Retro Reviews: The Osbourne Brothers: Today Yesterday and the Osbourne Brothers

   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.

The Osbourne Brothers – Today, Yesterday and The Osbourne Brothers (1968)

***

Producer: Slim Williamson

Musicians: Bobby Osbourne, Sonny Osbourne, Dale Steed, Ray Edenton, Jimmy Buchanan, Ronnie Blackwell, Benny Birchfield

Songs: Will You Be Loving Another Man, Molly and the Tenbrooks, I’ll Never Shed Another Tear, My Little Girl In Tennessee, I’ll Never Love Another, I’ll Go Sleeping Too, Rocky Top, Gal, You Got a Job To Do, My Favorite Memory, Drivin’ Nails In My Coffin, If I Could Count On You

Reviewed By Matthew Anthony Allair

    Considering the release The Byrd’s Sweethearts Of The Rodeo, and the influence of new member Gram Parsons, it compelled me to think about the trends with the country scene and traditional Bluegrass, and established act The Osbourne Brothers has put out a new release of Bluegrass and Country material. Current Country has learned towards a pop sensibility with the aim to smooth out the rough edges, this is in contrast to Appellation culture, and segments of Bluegrass that embodies the deepest rural areas in America. All of which makes me wonder if the counterculture could embrace such an album, this isn’t to say, they shouldn’t, but many may perceive this as ‘square’ and out of step, which would be unfortunate. Many Bluegrass players, especially banjo players have a virtuosity with them that is enticing. 

    Leaders, Bobby and Sonny Osborune are adept players, and singers, and are backed by some solid musicians, side one is a little more stripped down with a sextet of players and side two features added percussion and Pedal Steel guitars. Most of these are traditional ballads, lost love, or affairs. Songs like “Gal, You Got A Job To Do” will feel hopelessly outdated to younger listeners, but then again The Rolling Stones get’s milage out of the same provocative attitudes as reflected here, therefore, it’s hard to say. Often the main showcase is Bobby’s Mandolin, Sonny’s Banjo, or Jimmy’s fiddle, all of which is established with the opener “Will You Be Loving Another Man”, There’s a certain spry feel to “Molly and the Tenbrooks” and the intimacy is reinforced. The pleasant “I’ll Never Shed Another Tear” has a catchy melody that is enhanced by the arrangement. The brisker “My Little Girl In Tennessee” has a similar set of changes from the prior number, but Bobby’s Mandolin stands out, Dale Steed offers the third vocal on many numbers. The first half is rounded out by “I’ll Never Love Another” has Bobby’s stretching out with his playing, and the closer “I’ll Be Sleeping Too” is a showcase for Sonny’s Banjo work.

    Side two has a more polished sound as evidenced by the single “Rocky Top”, a rather brisk number with electric pedal steal which duel with the banjo, and a shuffle. There’s a kind of kind of menacing humor to “Gal” with a nice switch up, but most people will take it with a grain of salt. With “My Favorite Memory” features some nice three part harmony, piano flourishes, pedal steal moments that offers a change of pace. “Drivin’ Nails In My Coffin” has a vibrant tempo, and honky tonk piano, in spite of the subject, someone spending too much time at the local bar. The closer, “If I Could Count On You” kind of finishes up the tone for the album. Most of this is all pretty straight forward, there isn’t much self-reflection, much of the music reminds me of the kind you’d hear on the Jukebox of a country bar. But it is pleasant for those looking for something relaxing and different. 

The Big Four: The Beatles

 

The Big Four: The Beatles

Photo: Robert Freeman

Article by Matthew Anthony Allair

    There’s a good argument, that is yearly made, that the Beatles remain the most relevant band out there, just about everything that came out since their end in 1970 as far as bands and solo acts, are just variations on the ground they broke. It’s almost impossible to ignore their work, even with acts that don’t cite them as an influence, there’s often some musical element that can be traced back to them. I would argue that every period of the band is important. Their evolution from 1963 until late 1965 is startling, to compare, only a few bands saw as much growth as the Beatles. They were blessed with several miracles, first, there is the fact four that super talented men happened to converge from Liverpool near the end of the 50s. Most musicians have a difficult time finding other musicians they are in sync with, forming bands that gel is not an easy task.

    The other miracle is that they found a manager with Brian Epstein who was so well intended, and protective, the rock scene is littered with less than honest managers who don’t protect their artists. For example, let’s compare The Beach Boys to the Beatles. The Beach Boys and the Wilson brothers were saddled with a tyrant of a manager and father with Murry Wilson, who also acted as their Producer until Brian Wilson took over. The Beach Boys were also plagued with a record label, Capitol, that were content to just have them follow the formula that was set up in 1963. Brian had to fight to evolve the music and it wore him down. The Beatles were blessed with Producer George Martin, that while he may have been strict in the beginning around 1962, Martin recognized their growth early on and didn’t inhibit them, and became a creative partner. Thus, allowing them to expand and redefine the decade. It also helped that Brian Epstein accepted their decision to stop touring and just record after 1966. He very easily could have insisted, as much as the decision was detrimental to him, Brian gave The Beatles the space to create. We have already covered Revolver and Magical Mystery Tour here. 

    Much of the early work from 1963 till 1965 had magical moments, they had massive hits, but it is the work from 1966 onward that is now seen as important. The UK Help album showed real growth with “Ticket To Ride,” the flutes on “You’ve Got To Hide Your Love Away”, and the string section on “Yesterday”, or “Help!, The Night Before, You’re Going To Lose That Girl,” or “I’ve Just Seen A Face”. All of which hinted at what was about to unfold in the second half of 1965. As they started to meet their contract obligations with the first two films, and their touring schedule, they had the clout to grow. If The Beatles had been an American band and on Capitol Records, they probably wouldn’t been allowed to develop in the fashion they did. With Parlophone, they could do anything and the next few years would prove that. 

Photo: Robert Freeman

Rubber Soul (1965)

    Rubber Soul is often described as the ‘wood and smoke’ album, it may not have featured outside musicians, but with the advent of the sitar, or Martin’s use of a slowed down and speed up piano, giving at least one track an Elizabethan harpsicord feel, or the much more present use of acoustic guitars, electric, and more exotic instruments, the album was the fusion between rock, folk rock, soul, baroque, and proto-psychedelia. The Beatles served notice that the full album as art had arrived. The influence of Bob Dylan was already self-evident on the Help! album, but it’s even more so here. While the instrumentation isn’t all that different on Rubber Soul, it feels different. There’s an added complexity on various numbers to be found here, argumentatively, there’s only two weak numbers on the album, but there’s a vitality to the rest of the material that one can’t ignore. One should note the singles recorded during the sessions, John’s riff rock on “Day Tripper”, and Paul and John’s folk optimism of “We Can Work It Out”, both hinted at what was on the way. 

    On one level, the opening number “Drive My Car”, which was a big hit for them, feels like a typical electric number, but there’s notable shifts. George’s twang guitar would be imitated by countless players at the end of 65 and through 66, the interplay between John’s single line guitar and Paul’s piano reveals an added growth. As well as playfulness with Ringo’s drumming and tambourine. John’s “Norwegian Wood (This Bird Has Flown)” shows incredible development with John’s acoustic guitar, and George’s first dalliance with the Sitar, an instrument that had been used as source material in western music, Lyrically, John’s narrative about a dalliance with a woman. Paul brings in the soul and RNB with “You Won’t See Me”, a piano anchors the number along with counter point melodies, another one of his songs about Jane Asher. John’s “Nowhere Man” is another marvel, and another hit. One should not ignore that the Beatles were not using standard chord voicings on the album, but inversions, therefore there’s an added depth and complexity here. The three-part harmonies enhance John’s lyric, and George’s bright lead guitar lines give it an extra shimmer. George’s “Think For Yourself” show’s more hints of growth, aside from Paul’s standard bass playing, there’s his added fuzz bass, which gives this a slight edge. More piano drives John and Paul’s “The Word”, a clever slogan for more than romantic love, the added harmonium is a nice touch. Paul’s “Michelle” has become iconic, the background vocals give The Beach Boys a run for their money, George’s tasteful jazz tone guitar solo seems so apt.

    The second half opener, the country flavored “What Goes On” is a showcase for Ringo, and some country shuffles from Ringo, and George is allowed bring out his rockabilly fills, but probably the weaker number on the album. John’s “Girl” feels like a Russian folk tune or dirge with some vivid lyrical content and a dose of John’s philosophical edge. John had a history of depression filled moments. Paul’s “I’m Looking Through You” is probably one of his most scathing numbers, one is hit with that lead guitar and organ accent, the sad realization when a person you know had been hiding who they are, another Jane related number. John’s “In My Life” has become one of his most enduring numbers, even George covered it on his 1974 Dark Horse tour. George Martin’s speed up piano managed a harpsicord quality, and Bach sensibility. John’s “Wait” manages some volume guitar from George, more a true co-written number with Paul’s bridge and vocal. Probably one of Harrison’s first great numbers “If I Needed Someone” and his 12-string work had a huge impact on countless players, The Byrd’s would lean into that sound, decades later you could still hear the stylistic influence, for example, on Queen’s “Long Away”. John’s “Run For Your Life” is probably the weakest number, despite its blue’s country feel attempts. Years later. John admittedly dismissed the number. Nevertheless, 12 of the numbers are real gems, and many took on an iconic status.

Cover: Peter Blake

Sgt. Pepper’s Lonely Hearts Club Band (1967)

    Yes, I admit, Sgt. Pepper isn’t my favorite album of theirs, that honor goes towards Revolver and one other title in this article. But Sgt. Pepper is a significant album, and a real game changer for them. For those paying attention to the importance of Revolver, there were clues that they were developing, and this album in some ways felt inevitable. It broke ground in many ways, the arrangements, the production, the use of the gatefold and printed lyrics, and the added inserts. It wasn’t really a concept album, but thematically, it pulled the audience in as though you are at a public square or Galizio, and you were being presented with a musical fantasy, just ignore the psychedelic embellishes, and you get an entertaining diversion that is brought back to reality with the final number. The album is awash with Pianos, Organs, Harmoniums, mellotrons, a swarmandel, sitars, various percussion, tape loops, and their guitars.

    It also feels futile to describe these iconic numbers, so I will offer the highlights. The band had already used audio source material before with Revolver, but the clever crowd sounds set the tone, the trio of acid guitars of “Sgt. Pepper Lonely Heart’s Club Band”, and punch of Ringo’s drums state what the listener will hear. Ringo’s showcase on “With A Little Help From My Friends”, is one of the rare Lennon / McCartney collaborations, something we’d see less of. John’s surreal fable on “Lucy In The Sky With Diamonds” was simply inspired by a child’s drawing, and Lewis Carol. Paul with John’s “Getting Better” has an optimistic yet dark edge to it. Paul’s “Fixing A Hole” feels like an appeal to focus less on trivial people, and what matter’s. George Martin was too busy to work on it, so Paul had someone else work on the strings for “She’s Leaving Home”, a number where John has a sympathetic read. John’s “For The Benefit Of Mr. Kite” has a carnival or fairgrounds feel, and some incredible tape loops from Martin and engineer Emerick.

    With side two’s opener, George wasn’t about to let himself be outdone, so he brought in the exotic philosophy of “Within You, Without You”, a piece that has grown with stature over time, his second number with Indian instrumentation. Paul’s “When I’m Sixty-Four” was an old number he dusted off, the music hall, or vaudeville quality of the number, it offers a fresh contrast to the rest of the material. “Lovely Rita” is probably one of the slighter Paul numbers, but George Martin’s piano solo with that unusual delay gives it an orchestral quality. John’s “Good Morning Good Morning” is the other slight number, but the overdriven horn section gives it an extra bite, and that fuzz guitar lead has a vibrancy to it. The animal segway is enormously clever. The “Sgt. Pepper (Reprise)” leans into a greater edge with the guitar work, the number gently guides the audience back into real life. The masterful “A Day In The Life” is the ‘reality song’, this is after you have exited the movie theatre, or leave the circus tent, or fairgrounds, and are back in the parking lot and facing the daily grind again, hence why ‘Day’ is the ‘reality’ number, and leave it to John to bring some grounding to the proceedings. Few had heard experimental orchestrations like it on a commercial record, but I think everyone knew we had reached the Rubicon due to the album – nothing would be the same again in pop or rock music. 

Design: Richard Hamilton

The Beatles (White Album) (1968)

    The second half of 1967 was taken up with the Magical Mystery Tour TV film and the album / EP, but the Beatles seem to have intuitively known they had to get back to basics. Of course a big part of this album’s origin was the Rishikesh, India sojourn to see the Maharishi Mahesh Yogi’s meditation ‘guide course’, but only half the band stayed for two months, nevertheless, the outing was highly productive, much of the material on their eponymous album was written there and then demoed at Harrison’s home in Esher. They were so productive that other material would be used for Abbey Road, a little for Let It Be, and even a few songs would appear on McCartney’s and Lennon’s early solo albums. Released as a double album, The Beatles might be their most audacious release and my second favorite album, the album just about encompassed every style of music imaginable, short of funk music that is, but there’s a lot to digest with the album. This is the closet to the Beatles producing themselves, with George Martin coming and going through the process. This was the first time that future producer Chris Thomas was given a notable role during the sessions. 

    The first clues about the album were Paul’s iconic “Hey Jude” and John’s proto metal with the “Revolution” single. There was also Paul’s “Lady Madonna” and George’s Bi side last Indian flavored, as singles. “The Inner Light”. The band decided to strip things down after all of the ornamentation of the prior year’s psychedelic experimentation. But the white album is a fascinating work, I admit uneven, not all of it works, but the highlights outweigh the drawbacks. The minimalist album design was another clue this was less elaborate. Nevertheless, there are still psychedelic elements within. After the audio effects, Paul’s “Back In The U.S.S.R.” is a kind of humorous nod to the Beach Boys, and offers a clever twist. John’s “Dear Prudence” is a Travis picked wonder, a haunting number that build’s in dynamics. John’s “Glass Onion” is another word play nod to recent songs, he was already spoofing the over analysis of the band’s lyrics. Paul’s “Ob La Di, Ob La Da” is a playful, fantasy narrative of a Caribbean life. Paul’s other throwaway is the acoustic “Wild Honey Pie”, a Spanish flamingo leads into John’s “The Continuing Story of Bungalow Bill” features a few mellotrons, and a big crowd chorus, including the first cameo of Yoko Ono, a satire about animal hunting. Then there’s the iconic “While My Guitar Gently Weeps” by George, with a little help from Eric Clapton’s electric lead, John plays organ, and Paul gallops on Piano. The first side is all rounded up with John’s “Happiness Is A Warm Gun”, one of his more adventurous numbers with four sections and a good dose of his whit.

    Paul’s “Martha My Dear” opens side two, one of his most dexterous piano pieces with Martin’s sympathetic scores. John’s “I’m So Tired” and it’s langued pace matches the lyrics, even John’s random numbles ease into the next number. Paul’s “Blackbird”, an acoustic, baroque ballad has a lingering power after the decades. George’s satirical “Piggies” is a clever comment on class warfare. Paul’s “Rocky Raccoon” is a western parody with some nice old saloon tack piano, all of which segways into the Ringo original “Don’t Pass Me By”, a country number and it is fitting that Ringo would write it, considering his affinity for that genre, he would release a country album at the start of his solo career. Paul’s “Why Don’t We Do It In The Road?” was just about a one man show, John was later disappointed he wasn’t involved. Paul follows it with his lovely ballad “I Will”, a bossa nova where John and Ringo helped with percussion. The side two closer, John’s “Julia” is a wonder, another intricate acoustic guitar piece from him, that is a touching tribute to his mother.

    Side three opens with Paul bringing back the whole band for “Birthday”, one of the more rousing rocker’s in the set. John’s full band number, “Yer Blues” is a satire on the genre, and while Clapton does not play on it, the lead work does capture the feel of Clapton, hence why people were confused over if Eric was involved. Paul’s “Mother Nature’s Son” is another touch acoustic number with tasteful horns arranged my Martin. John’s “Everybody’s Got Something To Hide Except for Me and My Monkey” is one of the more unabashed rockers on the album with an abrasive tone and manic vocals from John, the track was slightly speed up in the final mix.  John’s sardonic “Sexy Sadie” was a satirical dig at the Maharishi, where the guitars have a strange quality to them. Paul was able to match John’s energy with the heavy “Helter Skelter”, a rocker about a British playground spiral slide, where manages to capture the hyperkinetic joy of childhood. George’s “Long Long Long” is a hymn to God, with an eerie organ, manages to close out the side. 

    Side four is probably the most problematic. The energy of the album flags at this point. John’s “Revolution” is great, and I prefer the ‘soulful album version’ to the faster single release. After “Wild”, Paul’s “Honey Pie” is significantly better number, another music hall, vaudeville number with a nice little jazz guitar solo from John. Of the four Harrison number’s, “Savoy Truffle” is probably the weakest, but a fun number, with some meaty, and distorted horns. George’s lead and the horns have a nice interplay. John’s “Cry Baby Cry” is a folk flavored number with nice dynamics between the piano, harmonium and organ, John’s vocal has a relaxed, soulful quality to it. Paul’s “Can You Take Me Back” leads into the infamous “Revolution 9” a musique concrete piece that manages to have some brief interesting musical ideas within the strangeness and humor, and manages to still be a stronger result than John and Yoko’s three other experimental records at the end of the sixties. John’s “Good Night” with a lead vocal by Ringo and a lush orchestration and choir from Martin, is a welcome balance to the side and to close out the album. 

    There was a lot of tension during the making of the album, in spite of the many full band performances, often they would work in pairs on various numbers, or work solo. They were simply growing up and apart, but the public didn’t know that. Still The Beatles album is a high watermark of their catalogue.

Photo: Iain Macmillian

Abbey Road (1969)

    The last half of 1968 saw the release of the animated Yellow Submarine film and album that would soon be released in early 69. Paul tried to unify the band to play as an actual band again, the Get Back film, which would later be retitled Let It Be in 1970, was an attempt to film them rehearsing with the plan to do a live concert at a special event. Their productivity through January of 1969, from the rehearsal to session recordings, but the project was shelved by the start of February, Two non-album singles were released, Paul’s “Get Back”, which would appear on the 1970 album, and John’s “Don’t Let Me Down”. There’s was George’s “Old Brown Shoe”, a great number with a vibrant guitar solo that was released as a double A side, and John’s “The Ballad Of John & Yoko”, which would feature John and Paul playing everything when the lads were away. The album that would become Abbey Road was something of a compromise, but with George Martin having a more predominant role, engineer Geoff Emerick would have an important role, and would deliver a sonically impressive, and a young Alan Parsons, whom would be a major force through the seventies, was the assistant engineer.

    A number of material from the 68 India sojourn would be featured on the album, much of it had been rehearsed during the Get Back project, Paul talked John and George to be more fully involved, this would be to George’s great benefit as he would deliver the best songs and his two iconic singles. Even Ringo would write a song that would be a future single. There’s a feeling and Paul and John finally appreciated the value of George and Ringo enough to give them a fair shake. Aside from Martin’s musical keyboard contributions, Billy Preston acted as nearly a fifth Beatle with his Organ work. John’s “Come Together” which began as another non-sense words type of piece was helped by Paul’s swampy bass, and the harmonized guitars. George’s “Something” is masterful, with great playing from Paul and Preston’s organ. George’s guitar solo channels a trace of Clapton’s melody, yet it is his own. Paul’s “Maxwell’s Silver Hammer” has a musical hall quality, some dark humor, and odd feel. Paul’s nod to blues “Oh Darling” features one of his best vocals and has taken on a certain stature over the years. Ringo’s “Octopus’s Garden” had a little help from George, has remained one of their more endearing songs and fitting was it would be another country number. John’s “I Want You (She’s So Heavy)” remains groundbreaking, a cross between a proto metal number, and a lounge blues jazz number, its white noise build up near the end, and the abrupt edit is jarring at first listen but highly effective.

    George opens the second half with his iconic other number, “Here Comes The Sun”, the instrumentation is so perfectly balanced between George’s intricate guitar, Martin’s orchestration and tasteful keyboard flourishes George reached his first peak – but it wouldn’t be the last. The reverse Beethoven of John’s “Because” would the last time anyone would see their complex three part harmony, which was done with multiple passes. ‘The medley’ as it would become known began with Paul’s “You Never Give Me Your Money” was the first hint to the public that this was the end, but it also featured the acknowledgement of great freedom looming. John’s “Sun King” was inspired by the feel of Fleetwood Mac’s “Albatross”. John’s “Mean Mr. Mustard” and “Polythene Pam” were more numbers from India. “Mustard” represented John’s musical hall take, and “Pam” was a nod to his early Rock N Roll influence. Paul’s “She Came In Through The Bathroom Window” would be one of his more durable numbers and covered by other, and dress up here with a rockabilly feel. There’s a brief reprieve before the remainder of the Medley finished it out. With’s Paul’s final trio, “Golden Slumber’s, Carry That Weight” – based on a 17^th Century poem - and “The End”, where Paul manages a great vocal out of “Slumbers”, and “Weight” manages to tie back “You Never Give Me”, the dynamism of “The End” is nearly legendary. There’s an exuberance to Ringo’s drum solo, and the dueling guitars between Paul, George and John., and the band’s closing statement, which Paul described as a ‘couplet’, summed up the spirit of the band - the love they made was indeed equal to what the public took from them. The Beatles even managed a ‘bonus track’ before anyone thought of it with Paul’s “Her Majesty”.

    Ultimately, Abbey Road was a master class in song writing, arranging, performance and recording, The Beatles had said everything they needed to say, there would be one more posthumous album, but this was their final goodbye, and they just about went out with a bang.

    Post Beatles, most bands would try to emulate what they did, but nearly all of them just couldn’t match it. There was an magical chemistry as players by them that others just couldn’t define. Many people have tried to sound the notes without playing the music. In the end, the Beatles were not overhyped but represented the best of the sixties. 

Retro Reviews: Big Star: #1 record

    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.

Big Star – Number 1 Record (1972)

****

Producer: John Fry

Musicians: Alex Chilton, Chris Bell, Andy Hummel, Jody Stephens, Terry Manning

Songs: Feel, The Ballad of El Goodo, In The Street, Thirteen, Don’t Lie To Me, The India Song, When My Baby’s Beside Me, My Life Is Right, Give Me Another Chance, Try Again, Watch The Sunrise, ST 100/6

Reviewed By Matthew Anthony Allair

    New underground band from Tennessee has a creative duo that seems to want to model after Lennon / McCartney, But Big Star, while sharing similar elements from that power pop genre, seems to be also built on something different, they may be closest to the spirit of the British band Badfinger. The songs written by Alex Chilton and Chris Bell are often rather stellar, as well as an additional number from Hummel. Alex and Chris have very different voices, but they balance each other out well. The support from Hummel and Stephens works well to serve the material. Some of what Big Star does isn’t that different than some of The Byrds material, but there’s an additional intimacy, a more dryer sound, where production sweetening is done for effect, all of which pulls the listen in. I have to agree with Lester Bang’s early assessment with this band.

    The opener “Feel” is an odd number that may have been selected as a tone setter, but the next three group of songs are stellar. “The Ballad of El Goodo” has an infectious folk-based chorus, some of the lovely, intricate guitar work mirrors the vocal, there even might be a harpsicord present, the bright twelve strings make if difficult to discern. This already feels ahead of anyone else at the moment. Bell’s vocals are enrapturing. The power pop of “In The Street” has some great intricate guitar and a nice breakdown in the middle. The acoustic ballad “Thirteen” captures that feeling well of life before high school, with some lovely layering between the vocals and guitars. The rocker “Don’t Lie To Me” has nearly Stones spirit and a biting edge from Bell. Hummel’s song and vocal on “The India Song” offers something very different, a recorder or mellotron that harkens back to 1968 again. A diclinous closer to the first half.

    Side two opens with “When My Baby’s Beside Me”, a thrifty number that draws you and leaves you certain you are in good hand, there’s also a trace of Wah guitar for good measure, The ballad “My Life Is Right” shifts into life with the chorus, it’s the kind of thing you hope McCartney would write. The tone shifts to more quieter, contemplative material for the final half, as evidenced with “Give Me Another Chance” and another lovely vocal from Chilton, and rich instrumentation. The ballad “Try Again” has some nice and tasteful country slide work, some of that work mirrors Harrison’s post Beatles work. The brightness of “Watch The Sunrise” gives Chilton one of his stronger vocals, the final and brief number, “ST 100/6” feels like a Crosby, Stills and Nash Vingette. This albums feels so different from what is being offered, I hope it get’s attention, it’s impact may be similar to the Velvet Underground work, a band that may have a great impact if people listen, I have faith, regardless, this is a fun, worthwhile journey. 

Retro Reviews: Dolly Parton: The Coat of Many Colors

      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.  In light of the news, Rest In Peace, the legend Dolly Parton, this is part 2 of 2 parts. 

Dolly Parton – Coat of Many Colors (1971)

**** 1/2

Producer: Bob Ferguson

Musicians: Dolly Parton, David Briggs, Jerry Carrigan, Pete Drake, Bobby Dyson, Johnny Gimble, Dave Kirby, Les Leverett, Mack Magaha, George McCormick, Al Pachucki, Hargus Robbins, Billy Sanford, Jerry Shook, Buddy Spicher, Buck Trent

Songs: Coat of Many Colors, Traveling Man, My Blue Tears, If I Lose My Mind, The Mystery of the Mystery, She Never Met a Man (I Didn’t Like), Early Morning Breeze, The Way I See You, Here I Am, A Better Place To Live

Reviewed by Matthew Anthony Allair

    Dolly Parton’s association with Porter Wagoner has led to the opportunity to try her hand with solo releases, and she has tremendous talent as a singer and writer. Earlier in the year, the album and single of “Joshua” and gain her a great deal of attention, that album’s producer Bob Ferguson has been brought back with a similar line up of players. Dolly has written all the songs expect three from Porter Wagoner. Yet, there’s a clear accessibly from Dolly as a writer, and she is showing evidence of being a good storyteller, often the material is spirited with an easy manner. Wagoner’s songs seem tailored for Dolly, but I am not certain if they are needed. Dolly is such a robust singer that she is able to sell her originals well. 

    The opening title track and single has a sincere candor, and reflection of her childhood that is relatable. There’s a poignant quality to the number that feels universal. One could even say that her writing is similar to the more venerated Joni Mitchell, but they came at this from a different sensibility. The energic “Traveling Man” has a nice lyrical twist, with some thrifty bass and guitar twang. “My Blue Tears” has a pleasant feel with some nice harmonizing vocals from Parton. Wagoner’s “If I Lose My Mind” has a darker tale of woe with an entangled relationship. The other Wagoner number “The Mystery of The Mystery” has a more spiritual bent and the big question, but there’s a fatalism behind it that some might argue with the sentiment. Some might say “Gods will” is a cop out, but this reflects a traditionalist mindset. 

    The second half opener, “She Never Met A Man (She Didn’t Like)” is Dolly’s plea to another woman. There’s a fresh contemporary feel with “Early Morning Breeze” that evokes an easy, warm feeling. Wagoner’s “The Way I See You” attempts another more contemporary feeling, merely pleasant. The more robust “Here I Am” has a pleasant tempo, driven by the appeal for friendship, vocally there’s a gospel element that add extra life. The brisk closer, “A Better Place To Live” reflects Dolly’s philosophy with a nice key change.  Dolly has shown a real quality and depth to her work, there’s a purity and boldness to her work that leaves a strong impression, She is evolving and one has to wonder if the day is coming she will move on from the Wagoner partnership, she already has the tools to be on her own. She’s a major force now. 

Retro Reviews: Michael Nesmith and First National Band: Magnetic South

     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.

Michael Nesmith and the First National Band – Magnetic South (1970)

**** 1/2

Producer: Felton Jarvis

Musicians: Michael Nesmith, Red Rhodes, John Ware, John London, Earl E. Ball,

Songs: Calico Girlfriend, Nine Times Blue, Little Red Rider, The Crippled Lion, Joanne, First National Rag, Mama Nantucket, Keys to the Car, Hollywood, The One Rose (That’s Left in My Heart), Beyond The Blue Horizon

Reviewed by Matthew Anthony Allair

    Generally, anything associated with The Monkees is seen as dubious - as to why I don’t know, - as they were not pretentious about who they were. I felt criticisms of The Monkees by my peers felt more pretentious and precious than anything the band were accused of.  Michael Nesmith’s new small quartet is quite refreshing, and Michael’s vocals remain uniformly strong on this release. He was already building a good reputation as a song writer before he joined The Monkees, and his Texas and country influences had already crept through with his Monkees output in the past, so this new project should be of little surprise. While The Byrds had already dabbled in the country field with Sweethearts of The Rodeo a few years ago, this feels like a progression. Michael has assembled a tight unit of great players to augment the album with Rhodes, Ware, London and Ball. Nesmith’s writing manages to be insightful and whimsical. Thus, the album may be a next step between the fusion of rock, pop, and country.

    The driving seventh chords of “Calico Girlfriend” set the tone while Michael’s rich vocal melodies demonstrate his pop instincts haven’t left him. Rhodes Pedal Steel work acts as a glue for this material. The odd moment shifts into “Nine Times Blue”, an apology for a mistreated lady, there’s a kind of self-awareness to the number that is impressive. There’s another shift into “Little Red Rider”, a number with a sweeping chorus, with a nice dynamic end. “The Crippled Lion” has a blues country feel with Nesmith’s rich melody guiding along. “Joanne” has been released as the single, a reflective number with a southern yodel. The first half is closed out by the brief “First National Rag”, a piece that acts as a live set rest, and considering that Michael is ever the showman, the side closer seems apt. The rhythm support is steady throughout.

    The second half opens with the playful “Mama Nantucket”, the country ballad “The Keys To The Car” shifts the pace with a laid-back narrative. The number “Hollywood” is a slow burn and one of the longer numbers on the album, with a good push and pull between the verses, it also allows a little more playfulness between London and Ware, there’s also some unexpected electric piano from Ball, this progresses into the most surprising number on the proceedings. The ballad “The One Rose” brings back some grounding, there’s even a hint of music hall with his approach on this Del Lyon cover. The album closer “Beyond The Blue Horizon” opens with some country blues piano and a kind of mind cinema, before it morphs into the proper number. It evokes pictures of rural farm life, another cover from Richard Whiting, but Michael’s strong vocal builds into a satisfying ending.

    I suspect the album will defy assumptions, and it makes a fitting edition to the country cannon.  

Retro Reviews: Yes: The Yes 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. All the albums reviewed are indeed classic albums. 

Yes – The Yes Album (1971)

*****

Producers: Yes, Eddie Offord

Musicians: Jon Anderson, Steve Howe, Chris Squire, Tony Kaye, Bill Bruford, Colin Goldring

Songs and Music: Yours Is No Disgrace, The Clap, Starship Trooper (a. Life Seeker b. Disillusion c. Wurm), I’ve Seen All Good People (a. Your Move  b. All Good People), A Venture, Perpetual Change

Reviewed By Matthew Anthony Allair

    As a follow up to the prior years’ Time And A Word or the first album from 1969, The introduction of Steve Howe as a player is very different from Peter Banks, but his inclusion reflects real growth for the band, the prior album’s use of an orchestra seemed too self-conscious of The Moody Blues, or Pink Floyd’s Atom Heart Mother for my taste. The band has gone back to basics and this feels like a reset. In addition, the change of producers from Colton to Offord has helped to give them a new focus. To say that the playing between Howe, Squire, Bruford and Kaye is exceptional would be an understatement. Often the vocals between Anderson and Squire have a synergy to them that distinguishes this band. While the album only features five songs and one instrumental, it indeed packs a wallop and doesn’t’ wear out it’s welcome. Welther or not this band are the denizens of King Crimson is hard to access, but I can say it’s possible.

    The dynamics of “Yours Is No Disgrace” establishes an impressive tone. The opening rock section has a lifting quality, the band sits back with the vocals before the propulsive support with the verses, when you think you have reached a comfort zone, there’s a laid-back swing grove that reframes it. Although the core of it repeats, it manages to find interesting variations. The breakdown takes it to another level with some expressive guitar work from Howe, that swing section is represented with a folk a flavor. It all resolves with an ascending quality. Recorded live, “The Clap” is a showcase for Howe with an acoustic bluegrass excursion. “Starship Trooper” opens with a nod to the late sixties with some dexterous guitar and bass work, the first section “Life Seeker” seems to set up a narrative, the shift with the light bluegrass folk of “Disillusion” before another band shift again. The closer “Wurm” has a meditative anthem quality, Tony Kaye builds up some nice support before Howe rides out the solo. 

    The second half also moves at a brisk pace, the Two part “I’ve Seen All Good People”, opens with “a. Your Move”  the acapella establishes the feeling before a bright folk feel of the number, as well some tasteful recorder work, in the midst of the Organ, there’s a nice quote to Lennon’s “Give Peace A Chance”. The old school rock of “b. All Good People” has a bright rockabilly sensibility with some fine piano work, Howe sounds liberated at this moment. The gothic organ takes over in the resolution. A track that is definitely in the running for radio attention. A moody piano eases into the pensive pop of “A Venture”, the interplay between the guitar and piano is compelling. But Squire and Bruford opens up the second half up as well. The closer, “Perpetual Change” has a dynamic opening before the lighter pop tone of Anderson’s vocal settles, but like a creative mirror to “Yours”, manages to shift into an introspective jazz feel by the mid-point, and offers up surprises. A shift towards a rhythmic RNB shuffle riff allows some more work from Howe and Kaye solos. This is a track that could manage to stumble, but the manages to execute an uplifting ending.

    Yes, with its new line up, has managed to arrive, and I will be curious to see what they offer up next. 

Retro Reviews: Black Sabbath: Heaven and Hell

     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. 

Black Sabbath – Heaven and Hell (1980)

****

Producer: Martin Birch

Musicians: Ronnie James Dio, Tony Iommi, Geezer Butler, Bill Ward, Geoff Nicholls

Songs: Neon Knights, Children Of The Sea, Lady Evil, Heaven and Hell, Wishing Well, Die Young, Walk Away, Lonely Is The Word

Reviewed By Matthew Anthony Allair

    After the departure of Ozzy Osbourne from the band within the prior year, there’s been valid questions with how the band could stay relevant in the new decade, but they have retooled a new sound with ex- Rainbow and ex-Elf singer Ronnie James Dio. While Iommi hasn’t mimicking the Van Halen sound, there is a slight change and modernization of his sound. Butler and Ward remain. While Geezer had been the prior lyric writer for the band, Ronnie has taken over the lyrical duties. For a band that had the assumed reputation of somehow being satanic, an idea that was always erroneous as they only tackled the occult a few times. Let’s begin with the title track, an idea that we create our own torment or nirvana. Dio uses metaphor to tackle contemporary issues, and seems to have veered away the fantasy imagery he used with Rainbow.

    The opening track “Neon Knights” is a very strong album opener, a theme about the decadence of nighttime street life. “Children Of The Sea” opens with a classical, chordal guitar movement with vocal before Dio kicks it into high gear with the full band, a number likely about the connection with nature, with a middle section that manages to be fairly dynamic. “Lady Evil” is the closest to an occult number, then again, it could just be about a manipulative woman, nevertheless, it has some incendiary guitar work from Iommi.  The prior mentioned “Heaven and Hell”, an excellent number where the guitars sit back for Dio’s vocals, or add theatrical coloring as it evolves. The track manages several dramatic shifts, and ends with a medieval acoustic movement.

    Side two opens with a nearly pop hard rock number, “Wishing Well”, with some great bass work from Butler. A unique take on a courtship. A pad of synthesizers support Iommi’s guitar on “Die Young” before the full band drives this fast number. This is the closest to Iommi taking a nod to Hendrix with his lead work. Some guitar cordial work and keyboard’s brings up the melody in the middle section before the band shifts into hyperdrive. There’s a heavy swagger to “Walk Away”, another relationship song about a problematic woman. The closer “Lonely Is The Word” is a mid-tempo heavy number, and probably the number that has the most musical surprises. Iommi manages to channel a little of Page’s feel with the soloing, the while keyboards at the resolve builds up a theatrical mood.

    It would be proverbial apples and oranges to compare Dio to Osbourne as they are very different singers. But admittedly Dio has allowed Sabbath to stretch their musical chops more. But also, this Sabbath feels like a different band in some respects. My hunch is that, for most hard rock and heavy metal fans, this will be soon a very important album. 

Retro Reviews: Pink Floyd: The Final Cut

       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. 

Pink Floyd – The Final Cut (1983)

**

Producers: Roger Waters, James Guthrie, Michael Kamen

Musicians: Roger Waters, David Gilmour, Nick Mason, Andy Newmark, Michael Kamen, Ray Cooper, Andy Bown, Raphael Ravenscroff, Doreen Chanter, Irine Chanter

Songs: The Post War Dream, Your Possible Pasts, One Of The Few, The Hero’s Return, The Gunner’s Dream, Paranoid Eyes, Get Your Filthy Hands Off My Desert, The Fletcher Memorial Home. Southhampton Dock, The Final Cut, Not Now John, Two Suns In The Sunset

Reviewed By Matthew Anthony Allair

    This is probably one of the most frustrating albums to have had to access. This is an album seems to be 'in name only' as far as the band’s namesake. If it’s viewed as Roger Water’s solo effort then one can view it as a success as far as evoking the emotional goals, but if it’s accessed as a Pink Floyd release, then it feels like a forgery. The absence of Richard Wright is palpable on the album. Nick Mason only plays drums on seven of the twelve tracks, and this means that David Gilmour acts as the emotional glue as a player, when he is given free rein to showcase himself, but that becomes infrequent as it evolves. This feels like Roger is using the flatform to exorcise demons that could be more appropriate with therapy sessions. David, the best singer in the outfit, is only allowed to co-lead one vocal with “Not Now John”, the one song released as a single that manages to sabotage itself with profanity, the use of language I don’t mind, but it does seem like a bizarre choice.  Michael Kamen’s keyboard and arrangements have practically supplanted Gilmour’s role for the band.

    While Roger has moments of being effective as a vocalist, he is simply not a great singer, and it sabotages some of the songs would have been served better from Gilmour, or for them to have brought in outside singers, gone are the days of bringing in Roy Harper as a guest, or Clare Torry, the use of such singers could have helped bring differing perspectives on the themes explored. The album also feels too self-conscious about referencing their prior album The Wall, or the tone of Animals. While James Guthrie is brought back in, the absence of Bob Ezrin is notable. In terms of the production, it is indeed immaculate, and much of the sonic experimentation with the sound effects is there, but it just feels too superficial, if not based on gimmicks. While players like Raphel Ravenscroff do a commendable job, it just feels too imitative of Dick Parry’s past glories and my sympathies go out to the musicians asked to do this. Andy Bown’s Organ work is commendable as far as a mimic of Wright – but it’s an approximation. 

    While The Wall was an uneven album, it had a balance between introspective material, ballads, and up-tempo numbers, this album is top heavy with somber introspective numbers, and the ballads, but not much else, and it makes for a tedious listen. While I have little doubt that younger music fans will be forgiving about the album, the surface depth starts to sound rather hollow from Waters in what was initially probably well intended. The loose theme of the album, described as a ‘requiem for the post war Dream’ is a screed against modern war, the idea of broken promises for those who served in World War II, that society would be living in a utopia that never came to be, much of this feels like a variant over Roger’s past and the death of his father in Anzio when he was an infant. Ideas that were hinted at with The Wall but explored a little too in depth here. Once again, the addition of outside vocalists playing differing characters may have made this a little more compelling. 

    A harmonium drives the orchestral opener “The Post War Dream”, this is one of the few cases where Roger’s vocal fits as far setting up the tone, but it needed more moving forward. “Your Possible Pasts” is one of the few cases where David’s guitar seems present, but the occasional drum and organ accents don’t make a rock song, and some of the arrangements lean too heavy on the 1979 album, still David’s lead transcends at moments, but another vocalist should have handled the material. The brief “One of the Few” acts as preamble to the next number. Some of David’s pulsating guitar work reappears for “The Hero’s Return”, Roger’s unhinged vocal style wears pretty thin soon enough, and starts to feel like a one trick pony. The opening of the ballad “The Gunner’s Dream” acts as a trauma flashback before the core of the material creeps through. But the bombast feels empty in the instrumental section. The ballad “Paranoid Eyes” has a strange self-pity to it that may have been unintentional, due to Roger’s inability to translate the material, again, they needed another vocalist.

    There is a kind of dark humor that opens the second half with “Get Your Filthy Hands Of My Desert”. The next number seems to be told from the perspective of an older veteran, “The Fletcher Memorial Home”, but it needed a different vocal read for it, what is otherwise, a moving piece. The middle section seems to reference modern political policy, as Smedley Butler once said, ‘War Is a Racket’, and very little has changed. This is another case where Gilmour is allowed to cut through in the last half. With “Southhampton Dock” once again seems offer another perspective that needed another singer, perhaps Gilmour. The ballad “The Final Cut” has the last of the truly effective Gilmour guitar leads. Many of these songs seem driven by characters full of anger that have translated into defeated self-pity. The prior mentioned “Not Now John” is the most up-tempo number, Gilmour’s guitar leads bring some life to the number. The spare use of synths seems like an odd choice, other than  on “John”, that choice simply leaves the album feeling a little thinner somehow. The closer “Two Suns in the Sunset” seems to be warning about nuclear winter if we don’t abandon our warring inclinations. Wars are all built about land grabs and extraction of resources without the proper arrangements of trade deals seen in peace time. 

    I must disagree with my Rolling Stones peers on this one. If you want a political or sociological screed; then by all means, pick your poison. But music should partly entertain, and there’s a drudgery to some of the proceedings here.  I hold no ill will towards Gilmour or Mason, but I have serious questions about Mr. Waters now. If the album was Waters’ attempt to validate his argument about his importance within the band, his questionable choices has undermined that very objective, while Waters remains an incisive lyricist, the sum of the other parts have become all too apparent in their importance. In the end Waters manages to undermine some potentially good material, and you are not certain why – Perhaps over confidence in Roger’s omnipotent intellect. That’s for others to conclude*. 

    It isn’t as though I disagree with the sentiments of the album’s ideas, but I just feel the execution leaves a lot of be desired. Rumors are out there’s no intended tour for the album, and if this is final statement from Pink Floyd, a band with such an important legacy, then this is rather unfortunate. Roger seems to have run out of a bag of tricks to illustrate his ideas. This album isn’t really a move forward for the band, maybe Gilmour will have some fresh ideas in the future, but I have my doubts about Mr. Waters. This is an unfortunate listen. 

* In hindsight, we all know what happened after this album. To quote Saphire from Almost Famous, "I mean everyone knows". Roger would likely have a proverbial coronary for anyone to question his intellectual heft. But we have explored that here before.   

Retro Reviews: Fleetwood Mac: Then Play On

     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. 

Fleetwood Mac – Then Play On… (1969)

*** 1/2

Producer: Fleetwood Mac

Musicians: Peter Green, Danny Kirwan, John McVie, Mick Fleetwood - Guests: Jeremy Spencer, Christine Perfect, Sandra Elsdon

Songs and Music: Coming Your Way, Closing My Eyes, Fighting For Madge, When You Say, Show-Biz Blues, Underway, One Sunny Day, Although The Sun Is Shining, Rattlesnake Shake, Without You, Searching For Medge, My Dream, Like Crying, Before The Beginning

Singles: Oh Well part 1 & 2, The Green Manalishi (With The Two Prong Crown)

Reviewed by Matthew Anthony Allair

    Fleetwood Mac’s new album is coming off the heels of Mr. Wonderful and the excellent compilation Pious Bird Of Good Omen, and this is a good evolution from the blues structure of the first, then again with a leader like Peter Green, he has redefined what the blues could mean. Danny Kirwin is the other writer on the album, along with Green, with Fleetwood and McVie adding their own contributions as well. This is all original material and another departure of their status as interpreters of others work. Green seems to save his best songs for the singles and so let’s address the two excellent non album numbers first. “Oh Well, Part 1” is a vibrant blues riffing number with a vocal trade off that builds up momentum before settling into the last half and quieter section. Then, it is continued with “Oh Well, Part 2” a more pensive second half with recorders and cellos. The psychedelic and heavy “The Green Manalishi (With The Two Prong Crown)” is a dark and incendiary number full of dynamics. 

    The proper album opener, “Coming Your Way” begins with the heavy trade off between Green and Kirwin on guitar. Mick’s tom drums feel tribal. It shifts to a dramatic tempo as Green and Kirwin are allowed to cut loose. “Closing My Eyes” brings things down with a slower feel and tasteful lead, ironically this was written by Green, while the first number was written by Kirwin, the feel of the number will remind people of “Albatross”, the harmonized guitars almost have a steel pedal feel. Mick’s “Fighting For Madge” has a loose but rhythmic groove, that as an instrumental allows Green and Kirwin a lot of freedom, but builds up a lot of excitement. Kirwin’s ballad “When You Say” has some nice jazz or classical changes and shifts the mood again, with some nice slide work from Green, in spite of the fact it could have been more concise, but that is a minor complaint. Green brings back their roots with “Show Biz Blues”. They ease into the instrumental “Underway”, it’s looseness allows for more freedom, especially with Mick. “One Sunny Day” closes the first album with another heavy blues and another needed shift. 

    Side two’s “Although the Sun Is Shining” opens with a more pensive mood along with a more pop bridge section, and tasteful acoustic solo guitar work. Green’s “Rattlesnake Shake” is a heavy mid-tempo blues excursion that evokes a desert feel. Kirwin’s “Without You” is another blues ballad that manages to feel hypnotic. McVie’s “Searching For Madge” is another instrumental jam that manages some strange false stops and starts, it probably runs a little long but has some great moments. Kirwin’s “My Dream” is the most clear effort at a pop instrumental, pleasant with a trace of tension. The album get’s looser with the Green and Kirwin duet of “Like Crying”, as well as a playful interplay with the number, while John and Mick sits this one out. “Before The Beginning” has Green playing a more minor dynamic feel while Mick offers up orchestral drums to bring the point home. 

    The second half may not have the momentum of the first half, but this is a quite good album, with some real highlights. Peter Green is living up to the promise seen with John Mayall’s band, and he has pointed at a different direction than Clapton’s or Page’s vision, this makes for an interesting listen, even if not perfect, and while some material might just be only for the merely curious, it makes for an fascinating journey. 

Retro Reviews: Chuck Mangione: Land Of Make Believe

    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.

Chuck Mangione – Land of Make Believe* (1973)

****

Producers: Richard Siedel, Chuck Mangione

Musicians: Chuck Mangione, Joseph C. Crupi, Marta Hidy, Gap Mangione, Al Johnson, Joe LaBarbera, Steve Gadd,  Ron Davis, Don Porter, Tom Elliot, John Courtney, David Young, Jack McFadden, Esther Satterfield, Catherine Lehr, Edgar Hayes, Zdenek Konicek, Ned Corman, Paula Elliot, Gordon Johnson, Garry Niewood, Ray Ricker, Joe Romano, Charles Daellenbach, Eugene Watts, Bill Reichenbacj Jr, Janice Robinson, Art Linser, Robert Hansen, Gregory Hustis, Graeme Page, Brad Warnaar, Jon Faddis, Jeff Tyzik, Fred Mills, Ronald Romm, Barbara Hustis, Jaroslav Karlosky, Ann Armir, David Hung, Rudolph Kalup, Christine Haarvig, Beth Gorevic, Natalie Mysko, Margarett Neufeld, Kathryn Wunder, Michel Zaitzeff, Ron Berger, Scott Bump, Jeff Bowlby, Steve Russell, Kathleen Collins, Barbara Hendricks, Terry Lodge, Jan Walp, Russ Cembrinski, Michael Cleveland, Jim Smith, Jeff Wilber, Jim Wilber

Music and Songs: Legend of the One Eyed Sailor, Lullaby For Nancy Carol, El Gato Triste, The Gloria from the Mass Of. St. Bernard, As Long as We’re Together, Land Of Make Believe

Reviewed By Matthew Anthony Allair

    This is probably one of the more unique live jazz fusion concerts I have come across in a while. An event that feature’s Chuck Mangione’s core band with the Hamilton Philharmonic Orchestra, and large vocal choir and Esther Satterfield. Mangione has been something of an anomaly as he wasn’t a part of Miles Davis roster of fusion and jazz players who formed their own projects. There’s at least four vocal pieces and instrumental passages, thus giving the album an accessibility that may draw casual jazz fans who don’t always come on board. It’s to say the least that the playing is exemplary throughout, and vocally there’s some real talent displayed here. Aside the prowess, there’s a positive feeling and sweetness to much of the material. But the closing title track and album closer remains a stunner. The live event is mostly focused on highlighting Chuck’s compositions, thus there are large section of orchestral passages without instrumental soloing. 

    The album opens with a tone setter, “Legend of the One-Eyed Sailor”, a military march guides the opening number before the main theme, and Mangione’s Spanish themed soloing, there’s a freedom to the percussion interplay between Joe LaBarbera and Steve Gadd on this, and it manages some exhilarating moments within. Orchestration supports the sweetness of “Lullaby for Nancy Carol” and Esther Satterfield’s lovely vocal. Another Spanish fanfare opens “El Gato Triste” and is followed by a somber statement, this passage might evoke the feel of material from Davis and Gil Evans Sketches of Spain. A Latin bossa nova eases into the main body with more good playing from Mangione. 

    The second half opens with an overt spiritual, “The Gloria from the Mass Of. St. Bernard”, the entire ensemble is in fine form, once again the LaBarbera and Gadd rhythm section really brings the piece to life. There’s a more laid-back ease to “As Long As We’re Together” while Esther delivers another fine vocal, she’s about the most important figure in these live proceedings. The closer is a slow burn but also a stunner. “Land of Make Believe” has an evocative lyric about what is possible, and the necessary power of imagination. The gradual shuffle drives the number in the midst of the fuller sections. It feels like Mangione has been waiting for this moment to showcase what he can do with the first solo, it’s playful, melodic with some ensemble interplay that heightens it. There’s a lot of push and pull with the piece between the vocal sections, and instrumental passages.  The saxophone work from either Romano or Ricker is pretty stunning, and just as melodic as Mangione’s work. In many respects the number is the culmination of everything that the prior material explored. 

    This is one of the most enjoyable releases I have heard at the start of the year.

* This is one of those albums I have a sense memory with as it was one of my mother's favorites from in the mid-seventies. 

Retro Reviews: Joni Mitchell: Blue

     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.

Joni Mitchell – Blue (1971)

*****

Producer: Joni Mitchell

Musicians: Joni Mitchell, James Taylor, Russ Kunkel, Stephen Stills, Sneaky Pete Klienow

Songs: All I Want, My Old Man, Little Green, Carey, Blue, California, This Flight Tonight, River, A Case Of You, The Last Time I Saw Richard

Reviewed by Matthew Anthony Allair

    The theme of regret and reflection seems to be the persistent thread on Joni Mitchell’s outstanding album Blue. Four tracks use the dulcimer played by Joni to great effect, “All I Want, Carey, California” and “A Case Of You.” Her piano work remains outstanding, and her angelic voice remains the glue that ties this all together. There may be a little ornamentation as far as horns to flute, but the added percussion, a touch of bass, and extra guitars serve the material well. James Taylor and Stephen Stills make another appearance. There’s an honesty, candor and a sweetness that isn’t built on resentment, but resignation at various points. This is the kind of material one could need when they seek something meditative yet relaxing. Her production, while modest, archives intimacy and a relatability to the songs. The songs seems to run the gambit of friendships and lost loves.

    The aural vibrantly is there with the opener “All I Want”, a track that Mr. Taylor provides second guitar, but the Dulcimer drives the tone of the track. The longing of the lyrics about traveling onward in the midst of an ambivalent relationship latches onto the listener. The piano on “My Old Man” has a rich tapestry and the kind of harmonic complexity you come to expect, about a couple who aren’t bound by the convention of marriage, as well acknowledging the emptiness when separate. The acoustic work of “Little Green” almost hints at “Morning Morgantown”, but it develops into a more bitter sweet tone with a haunting or haunted quality. The bass And light percussion of “Carey”, along with the dulcimer, offers a whimsy over a complicated relationship. The title track, “Blue” closes the first half with some impressionistic piano. This song seems to be about the consequences of too much, too much indulgence, too much need in lieu of a healthy relationship.

    The second half opens with the acoustic whimsy of “California”, and some nice pedal steel guitar that responds to the lyric. There’s already growing mythos over the California folk and country scene that is unfolding and this seems to touch on this. There’s a dark tone musically to “This Flight Tonight”, but there’s an ambiguity and ambivalence to the lyrics, there’s a nice nod transistor radio rockabilly over a few lyrics. “River” is simply magical as a piano driven song, set around the holidays, it’s a kind of thematic hymn to childhood memories of winter adventures. Which is often the case, her best songs are often near the end of an album, “A Case Of You” is such a song, a piece about the deep connection that isn’t going to quite work out. The closing Piano piece, “The Last Time I Saw Richard” is a meditation - a reflection on a past relationship that has given the female partner a reality check, or perhaps they simply knew each other too well, but this paints a very vivid picture. 

    The consistency with Mitchell’s artistry, her work as a singer and musician, has remained impressive with four albums under her belt. Rumor has it, that she is going to sign with another label, and one could view these first four albums as the close of the first chapter, her growth is astonishing and I await the next phase. She is on par with contemporary Dylan, perhaps even surpassing him for the time being. That is a heady statement to make, but it bears fruit to argue it after this release.