Retro Reviews: The Allman Brothers Band: Idlewild South

       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 Allman Brothers Band – Idlewild South (1970)

****

Producer: Tom Dowd

Musicians: Gregg Allman, Duane Allman, Dickey Betts, Berry Oakley, Jai Johanny Johanson, Butch Trucks, Thom Doucette

Songs and Music: Revival, Don’t Keep Me Wonderin’, Midnight Rider, In Memory of Elizabeth Reed, Hoochie Coochie Man, Please Call Home, Leave My Blues at Home

Reviewed By Matthew Anthony Allair

    The second Allman Brothers Band has been released and it’s a rather strong affair, producer Tom Dowd must have great faith in this combination, Gregg and Duane Allman act as a central force, but Dickey Betts, and Berry Oakley have equal footing. This bands fusion of country, rock, gospel, jazz, and James Brown soul leaves one interested. The dual leads of Duane and Dickey has a dexterity and virtuosity that is hard to dismiss. Gregg’s Organ and Piano work is steady, but it is his soulful and gritty vocals that are impressive, and he manages to sound like an old soul, the dual drumming of Johanson and Trucks will remind some of that other rhythm section from the Grateful Dead, but this band seems to come at it from a different sensibility. If anything, this album seems all too brief and could have added in another track or two, but then again brevity might be for the best – leave the audience wanting more.

    It’s evident from the outset that there’s an accessibility and intimacy with the material, and not much pretense, this is true with the side one opener “Revival”, a playful acoustic guitar and dual harmonies sets up the tone, it takes a few minutes to realize this is a gospel number within a pop structure, hence the title. There’s a nice breakdown near the end with some brief tradeoffs. “Don’t Keep Me Wonderin’” has Duane set the mood with a good soul rhythm, some biting slide work from Duane, and Harmonica from guest Thom Doucette. The exceptional “Midnight Rider” is the single, which captures a longing and restless feeling within the lyrical drive, thus it opens up with the instrumental section. The bold “In Memory of Elizabeth Reed”, written by Betts, has a jazz instrumental adventure to it, with several breakdowns, and sections that channel a little of the spirit of someone like John Coltrane, while retaining their blues roots. This might even rival the goal of The Byrd’s “Eight Miles High” as it works better. Gregg’s organ offers a fine showcase that he’s as adept as the others. Trucks and Johanson are equally up to the task.

    Side two opens with the Willie Dixon blues of “Hoochie Coochie Man”, this allows Gregg to have a little fun vocally, and Duane sounds incendiary at moments, as well as some more incredible work from Johanson and Trucks. The soul piano ballad “Please Call Home” shifts the tone with a self-reflection by Gregg, the gospel organ gives the number an extra depth, some of Duane’s guitar leads may remind people of his work with Wilson Pickett. The album closers “Leave My Blues At Home” has a James Brown flavored groove that fuses with Gregg’s blues / soul vocal. But the number never stays in one place as the breakdowns open to new ideas, this Southern rock band is not a one note outfit, and leaves the listener guessing, but it’s all just a template for their live performances. This manages to live up the promise of the first and we shall see where this goes from here.

    This is an easy album to ponder an assessment on as the quality is quite high, I hope audiences discover this on their own, it may not be for everyone, and some might not know what to make of their southern rock sound. This manages to live up to the promise of the first and we shall see where this goes from here.

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.