Retro Reviews: Lou Reed: Coney Island Baby

   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.

Lou Reed – Coney Island Baby (1976)

***1/2

Producers: Lou Reed, Godfrey Diamond

Musicians: Lou Reed, Bob Kulick, Bruce Yaw, Michael Suchorsky, Godfrey Diamond, Michael Wendroff

Songs: Crazy Feeling, Charlie’s Girl, She’s My Best Friend, Kicks, A Gift, Ooohhh Baby, Nobody’s Business, Coney Island Baby

Reviewed By Matthew Anthony Allair

    This is probably the most accessible Lou Reed album since Transformers, in contrast to the polarizing Metal Machine Music, or the concepts of Berlin, or even the showcase of the live Rock N Roll Animal, this feels like the Lou of old. While Lou’s vocal abilities are limited \, he does lean into the melodic here, and the album with its eight tracks is concise. As a Producer, Godfrey doesn’t try to emulate David Bowie, Steve Katz, or Bob Ezrin, but finds a space for Lou to be pretty informal here, Bob’s guitar work, and Bruce’s bass work finds room to keep’s Lou guitar rhythm interesting. Michael’s drumming is supportive and a far contrast from Mo Tucker’s Velvet’s days.  His melodic instincts on here nod to countless other artists, and that seems to be in contrast to what Lou has stated about pop and rock music in the past, but then again, the prior album was going to force a change.

    The warmer feeling is established with “Crazy Feeling” and lead guitar work that seems to imitate George Harrison, with background vocals and orchestral bells, has a statement of intent to pull listener, Bruce’s bass work is a standout. “Charlie’s Girl” is the closest to his Velvet Underground days, and I mean from the Doug Yuel period. “She’s My Best Friend” begins with some more open-ended chords before it shifts into familiar territory, a song about a partner who accepts the real person. The band really opens with the last half of the number, which is refreshing. “Kicks” has the misdirection of studio chatter before the lean back moods sets in, but the song acts as a kind of possible sequel to “Heroine”, but an older character who envy’s the youth’s self-destruction, or an ironic statement against such destruction. The boldness is a way to close out the first half. Michael’s free form drumming is a surprise. 

    Irony seems to be in good form with “A Gift”, is Lou playing the role of a Gigolo? It’s hard to say, but another observation to the New York street life he is all too familiar with. “Ooohhh Baby” is the most accessible nod to pop flavored Rock N Roll, with Lou’s piano, and the playful slide guitar that has a Stone’s nod, but this give’s Bob a lot of freedom, this also has some of Lou’s most narrative lyrics to be featured.  There’s the Country shuffle of “Nobody’s Business”, the background vocal’s of “Nobody’s” has the looseness of The Rolling Stones. The laid back feeling of “Coney Island Baby” has Lou in a spoken narrative mode, and it eases the listener out of the album.

    Regarding the album cover, Lou’s painted tuxedo shirt and bowler hat seems to take a surface nod to his glam dalliances. But Lou’s seems to be veering away from that mystique in the same way that Bowie has abandoned it. I am reluctant to adulate too much over Lou, The Velvet Underground as a collective was an important reset for the last half of the 60s and kept the scene more honest. Lou seems to be less interested in being provocative at the stage, maybe the burden of being a musical revolutionary has waned on him, like it did with Dylan years before. What you have is a well-played and vocally layered album, and perhaps Lou has figured out other means to paint pictures of urban life. It is one of the most romantic albums to come out of him as of yet, but the journey is worth it for the curious.

Retro Reviews: Van Halen: Van Halen II

        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. 

Van Halen II (1979)

****

Producer: Ted Templeman,

Musicians: Edward Van Halen, David Lee Roth, Michael Anthony, Alex Van Halen

Songs and Music: You’re No Good, Dance The Night Away, Somebody Get Me A Doctor, Bottoms Up!, Outta Love Again, Light Up The Sky, Spanish Fly, D.O.A., Women In Love, Beautiful Girls

Reviewed By Matthew Anthony Allair

    Van Halen’s debut was such a significant release in the field of modern rock music, some of my peers have been reluctant to admit it. Much of this is similar with the backlash against Lex Zeppelin in 1969, even though most people privately admitted that that band would define music for the next decade. It is safe to say that Van Halen will define the next decade. Edward’s guitar work is unique and exceptional; the Anthony and Van Halen rhythm section is solid and steady once again. Roth’s vocal, while not perfect, are just full of charisma and he manages to carry the mantle well as a frontman. Ted Templeman has returned and the sound is pretty identical to the prior album, then again, if a formula is working, why change it? While no one could claim this hard rock band has any relation to the Punk scene, it did share similar spirits, keep it short, focused, direct, and give the songs punch, something that the band does in spades.

    The album opener is the sole cover – the Dee Dee Warwick song, written by Clint Ballard Jr. “You’re No Good”, the song had been a hit single for Linda Ronstadt a few years earlier. Michael’s flanged bass solo eases into a grove with Eddie’s guitar swells. Roth plays with the body of the song, Edward displays his dazzling technique with a touch of guitar harmony at the end. It’s not much of a surprise that “Dance the Night Away” is the single, it has an infectious feel along with some nice guitar embellishments. The more muscular “Somebody Get Me A Doctor” has an appealing refrain, and flamingo change, it also demonstrates with the solo that Edward has some real compositional craft. “Bottom’s Up!” opens with a bluesy refrain before a shuffle shifts gears, and Roth has a good call and response with Eddie. “Outta Love Again” opens with buzzsaw guitar feedback on par with Hendrix, Alex’s shuffle work just brings home how good he is, overall, a good dose of swagger. 

    The second half opener “Light Up The Sky” opens with some playful guitar and bass counter point, before moving into a dramatic groove. The instrumental “Spanish Fly” acts as the acoustic companion to “Eruption”, very brief and informal. “D.O.A” is probably one of the more ominous numbers on the album. Roth’s vocal nearly channels Jim Morrison. Things take a lighter turn with “Women In Love..”, Ed’s delay and thick chorus sets up some brighter playing, before it shifts into a melodic tempo, and this is probably another single The album closer “Beautiful Girls” ends the proceedings with an up sentiment, and likely another single, it offers some whimsy and swagger. Yes, I admit, the album art feels like a corporate brand by now, but it’s no different than Queen’s logo or The Beatles drum riser brand, this aspect of rock music has always existed. 

    Peers like Lester Bangs have been dismissive of the band for pandering too much towards its audience, but I don’t read any pretense with Van Halen, it doesn’t feel self-conscious and the band seems to know exactly who they are. The band is designed to appeal with rural and urban kids, it’s designed to have fans play their albums on cassette or eight track, while cruising the weekend streets. Not everything has to be a profound statement. The kids need something to follow or believe in; the critical adults seem to forget that. 

Retro Reviews: U2: October

       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. 

U2 – October (1981)

***

Producer: Steve Lillywhite

Musicians: Bono, The Edge, Adam Clayton, Larry Mullen Jr, Vinnie Kilduff

Songs and music: Gloria, I Fall Down, I Threw a Brick Through a Window, Rejoyce, Fire, Tomorrow, October, With a Shout (Jerusalem), Stranger In a Strange Land, Scarlet, Is That All?

Reviewed By Matthew Anthony Allair

    U2 is a post punk band that leans into the new wave sensibility, they have been highly praised for their debut Boy, and they press on with their second album, I am not certain if a fully agree with my peers adulation in certain respects, but they are shaping into a damn good band just on the result of this album. Producer Steve Lillywhite has added a certain ambient sheen to the recordings as he continues on with them. The Edge is an adequate enough guitar and piano player with an ability to work within his skills. The rhythm section of Adam Clayton and Larry Mullen Jr remain a steady team that works around their skills to make it work. Bono tends to be a little overwrought as a singer, but with his sincerity he makes it work mostly. Having raised all of these points, the punk ethos was never about virtuosity but the ability to connect with an audience, a trait that U2 has been able to achieve. But it’s not lost on me that their sound runs counter to the standards of other punks – we’ll get back to that in a moment.

    The album moves at a fairly brisk pace, while having some musical moments of real introspection. The opening number “Gloria” acts as this album’s “I Will Follow” single. The track fades in before the real fire steps, but the track is also their open declaration of faith. It has many of the characteristics one heard from the Boy, the open piano passages give it ethereal quality, before the closing anthem section gives it vibrancy. The Edge’s echo piano textures that open “I Fall Down”, as well as acoustic guitar changes the tone until big full band chorus sets in. This also helps to illustrate the critique from the punk scene. The band’s sound is designed for larger venues, theatres or arenas, not for the club scenes that Punk bands rely upon. Steve’s production adds to the drama of that larger scale. 

    “I Threw a Brick Through a Window”, within the band, has a full-throated sound, The Edge’s slide guitar moments seem tactical. Larry’s tribal drum fills keep this interesting. The lyrics seem a little rudimentary, but the guitar phrases keep it dark. “Rejoyce” drives the album forward, it just reinforces their declaration of faith, and probably one of the most insightful lyrics for the start of a decade full of uncertainty. “I Can’t Change the world, but I can change the world in me.” The next track, “Fire” manages to round out the first half.

    The side two opener, “Tomorrow” begins with Uileann Pipes and a Bobhran, with a bass and acoustic track sets up the tone until the full band settles in the second half. The fact that the band is openly Christian is interesting and unusual, but the other truth is the band is so Quintessentially Irish, it seems intrinsic they would use this as a feature on their music. The nearly instrumental piano piece “October” has a dark and somber tone with a brief lyric in the last moments, making this one of the most introspective and interesting pieces that have offered. Larry’s brisk drums and toms set up the mood for “With A Shout (Jerusalem)” offers hints of echo-based horns in a fairly common number. With “Stranger In A Strange Land” Edge’s short delay fills, and piano colorings allow the rhythm section to come through. Things are scaled back with “Scarlet” as a more freeform vamp off of the spirit of the prior track “Rejoyce”. The more vibrant “Is That All?” is an interesting album closer, with the interplay between Edge, Clayton, and Mullen is full swing. 

    The album cover seems to harken back to the designs of the early sixties and I find that curious and revealing that they would draw parallels to the past. The major drawback with the album is that the lyrics seem a little underdeveloped. This is a typical sophomore release from a good band finding its footing and not quite there yet. The quitter, introspective moments are what stood out for me and will probably keep me coming back. They sound like young players struggling to find their place in the world, the midst of our shifting sands.

I wouldn't say U2 are the great hope of the eighties, but they are an interesting band.  

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.