Retro Reviews: Bee Gees: Main Course

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

The Bee Gees – Main Course (1975)

****

Producer: Arif Mardin

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

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

Reviewed By Matthew Anthony Allair

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

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

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

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

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

 

Retro Reviews: The J. Geils Band: Love Stinks

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

The J. Geil’s Band – Love Stinks (1980)

***

Producer: Seth Justman

Musicians: Peter Wolf, J. Geils, Magic Dick, Seeth Justman, Danny Klien, Stephen Jo Bladd

Songs: Just Can’t Wait, Come Back, Takin’ You Down, Night Time, No Anchovies Please, Love Stinks, Tryin’ Not To Think About It, Desire (Please Don’t Turn Away), Till The Walls Come Tumblin’ Down

Reviewed By Matthew Anthony Allair

    This northeastern band has spent the 70s putting out some solid records, but their great strength has been as an electrifying band live, their last album Sanctuary was a well-done recording, it also pretty much felt like a product of that era. They have been well regarded by peers for such albums as Bloodshot - there's a lot of goodwill. Their new release, Love Stinks has a few surprises. Singer Peter Wolf still has his Jagger mannerisms and remains more a party vocalist, but some tracks feel like they are stretching out. While the band’s namesake is guitarist Geils, it has often been Keyboardist Seth Justman that drives the direction of the band. The rhythm section of Klien and Jo Bladd, and the varicosity of Magic Dick (Richard Salwitz) has always given the band it’s color. The addition of synths has not just been done for coloring but has opened their sensibilities into new wave; and the bludgeoning post punk.

    This has helped them to find a new focus and leaves one curious about the new decade for them. The band had used a roster of Producers from the prior decade, but now that Justman is behind the board, it feels different. There’s a story that when musician Prince was singed to Warner Bros, there was a condition he would produce and have full control – it’s a smart move, and Justman and the band may have seen that now. This might pay off.

    The opener sets the tone - a fun rocker, “Just Can’t Wait”, the follow up “Come Back” has an even more new wave dance feel. “Takin’ You Down” has a clever false start before shifting into another up tempo number. “Night Time” has a RNB ‘Cool Jerk’ feel to it with a great harmonica lead. The spoken “No Anchovies, Please” opens like a Springsteen ballad, be shifts to an old radio, comedy narrative, with nice saxophone leads. The title track became the perennial single, “Love Stinks” has a darkly humorous, pop post punk vibe. The surprisingly guitar heavy opening to “Tryin’ To Not Think About It” shifts to more dynamic blues RNB feel, where there is an interesting drum breakdown towards the heart of it. “Desire (Please Don’t Turn Away” has the most contemporary feel as a moody ballad. The closer “Till The Walls Come Tumblin’ Down” has a swing blues feel to it, it also might remind people of Ray Charles ‘Hit The Road Jack’.

    There’s the old adage; ‘you can’t teach an old dog new tracks’, yet in their case with the band, these ‘old dogs’ have managed to add some new tricks. There’s nothing more to add, it’s all pretty straightforward. While none of this is particularly profound, it is a fun spin.  

Retro Reviews: Sly And The Family Stone: Stand!

 

    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. 

Sly And The Family Stone: Stand! (1969)

****

Producer: Sly Stone

Musicians: Sly Stone, Rosie Stone, Freddie Stone, Larry Graham, Greg Errico, Cynthia Robinson, Jerry Martini, Vet Stone, Mary McCreary, Elva Mouton

Songs and Music: Stand!, Don’t Call Me Nigger - Whitey, I Want To Take You Higher, Somebody’s Watching You, Sing A Simple Song, Everyday People, Sex Machine, You Can Make It If You Try

Reviewed By Matthew Anthony Allair

    Sly Stone’s first three albums have been moderate successes. In spite of the success and charm of ‘Dance To The Music, and to a degree ‘Life’, so this album feels like they have turned a corner. It is concise, focused, seems to capture the spirit of the band, and seems very candid in it’s social relevance. I would like to offer a rebuttal with peers that have compared this band, The Family Stone, to Frank Zappa’s Mothers. I don’t hear it and I think comparisons seem superficial. Zappa’s brand is built on cynicism and sarcasm, and while it’s all brilliantly executed with The Mothers. The whole vibe with Family Stone feels very different. Sly’s ideals are to blend folks of different genders and races together through music, and demonstrate that unity is possible, and make no mistake, there are several great players in his band. Sly’s song writing has become so adept at taking something catchy yet so present to the now.

    The opening title track, ‘Stand’ is a statement of purpose and offers some pearls of wisdom where things stand, then the track ride out takes things to an entirely new level. ‘Don’t Call Me’ is a very pointed number, a funk tune that perhaps takes the spirit of James Brown to the next stage. “I Want To Take You Higher” has become one of the perennial singles for the album, the opening blues riff jumps into an infectious groove with nods to James Brown. On the surface, “Somebody’s Watching You” appears to be a whimsical pop number with some strong organ runs, but there’s a social comment that drives the number.

    The second half opens with the strong number, “Sing A Simple Song”, a number that allows many members to contribute vocally, and another clever groove. “Everyday People” has become the other perennial single, a simple groove that supports the lyrical point. “Sex Machine” is a funk-based jam that sits around two chord changes with an odd scat vocal processed through effects, Wah and fuzz guitar leads, and saxophone, Greg Errico is allowed to shine especially towards the end, and there’s some nice interplay on guitar between Sly and Freddie. “You Can Make It If You Try” is another fun and apt closer for the album. The whole of Sly’s stance seems to be ‘if you believe in nothing, you’ll fall for anything’, and this is a wise position during tumultuous times.

    Sly Stone’s ability as a songwriter has really evolved, and this album is that needed showcase, the whole band is a revelation and as equally talented as Sly. He’s offering another perspective in the counterculture movement, and it’s just as valid. Recommended.

Sly & The Family Stone: Greatest Hits (1970)

****

Producer: Sly Stone

Musicians: listed on prior albums

Songs: Everybody Is A Star, Hot Fun In The Summertime, Thank You (Falettinme Be Mice Elf Agin)

    This review isn’t going to focus on prior album tracks, but the three singles featured in this compilation. “Everybody Is A Star” is a lovely ballad RNB fused mood that shifts into a steady groove in the vamp. All of the key singers of the band are featured on the track. It has a positive pathos that is uplifting. It has been awhile since I have heard something as infectious as “Hot Fun In The Summertime”, or as well crafted, while Sly has most of the vocal focus, the other members manage to hold their own vocally. As a guitar and bass line up, Larry Graham, Sly and Freddie Stone are the centerpiece of this funk groove with “Thank You (Falettinme Be Mice Elf Agin), the song features some clever lyrical nods to prior songs, and the horns weave around this dance number. Sly continues to evolve and improve as a writer and visionary. I will be curious to see where this goes in the new decade.