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: 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: New York Dolls: New York Dolls

     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.

New York Dolls – New York Dolls (1973)

***1/3

Producer: Todd Rundgren

Musicians: David Johansen, Johnny Thunders, Slyvain Slyvain, Authur “Killer” Kane, Jerry Nolan, Todd Rundgren, Buddy Bowser

Songs: Personality Crisis, Looking For A Kiss, Vietnamese Baby, Lonely Planet Boy, Frankenstein (Org), Trash, Bad Girl, Subway Train, Pills, Private World, Jet Boy

Reviewed By Matthew Anthony Allair

    This new band, The New York Dolls, could easily be seen as another glam rock take off on the British scene, but that would be a little deceptive. While they seem like a pastiche on The Rolling Stones, I could hear the spirit of the Stodges, or last year’s debut with Roxy Music. Or the more subversive style of Bowie.  David Johansen can scream or croon with the best of them, Johansen writes much of the material along with Johnny Thunders contributing to several songs, or at least one co-writing credit from guitarist keyboard player Slyvain Slyvain. Rundgren adds additional keyboards and horns from Buddy Bowser. Some of the more brasher material has an unhinged quality, yet there’s a certain intelligence to some of the other songs. They also manage to reconnect to Rock N Roll’s past, while sounding modern, will this be for everyone? Probably not, but one should access on their own. There’s a feeling that the glam rock scene is already ebbing. 

    Producer Rundgren has given the band a sonic statement of intent. The Stone’s influence is evident with the opener “Personality Crisis” with some Nicky Hopkns piano work, and David’s best Mick sneer, Kane’s bass work manages a good walk. “Looking For A Kiss” opens with an RNB spoken rave up, then serves up some swagger. “Vietnamese Baby” adds some dissonance to the swagger. There’s some quirky synths wilt will remind some of Eno. Things settle down for the relaxed acoustic ballad “Lonely Planet Boy”, with some good lead interplay on the acoustics, a saxophone is pull back in the mix, this manages a loose feel that reminds one of the Stone once again. “Frankenstein” manages a dark structure, a song with the scathing critique of a controlling person. The synth nearly has a Velvet’s feeling in the mix, and interesting tone setter to close out the first half. 

    Side two’s “Trash” has a fast, playful feel, with some unhinged do wop vocals in the mix, and spirited lead work. Some highly clever guitar work opens “Bad Girl”, and an otherwise standard rocker. There’s another unhinged quality to the blues country rocker “Subway Train”, it manages a big Thunder’s guitar solo in the second half. “Pills” is the closest to a standard blues rave up with harmonica in tow. “Private World” is the most unique, a hybrid RNB Bolero march that shifts into classic rhythms The closer “Jet Boy” manages a fast tempo and offers a few dynamic shifts. While I am not completely sold on some of the material, the strong points keep this compelling, the band hints at a way that Glam may survive by being more savage now, I can’t tell how much milage this will get, but I am curious about their future. 

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: 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: David Bowie: Station To Station

    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. 

David Bowie – Station to Station (1976)

*****

Producers: David Bowie, Harry Maslin

Musicians: David Bowie, Carlos Alomar, Earl Slick, George Murray, Dennis Davis, Roy Bittan, Warren Peace, Harry Maslin

Songs: Station To Station, Golden Years, Word On A Wing, TVC 15, Stay, Wild Is The Wind

Reviewed By Matthew Anthony Allair

    David Bowie’s follow-up to last years Young Americans is a marked evolution from the white soul that was offered up from that album. The main shift is producers as Harry Maslin takes the helm, Carlos Alomar has been brought back, but Earl Slick has been brought in to add an extra rock edge, perhaps this is Bowie’s acknowledgment that Mick Ronson had given a needed component, yet don’t make the mistake, the accent of rhythm is all important with this release. While reviews from peers have been quite decent, I have to strongly disagree with Dave Marsh’s assessment that this album is ‘inconsequential filler’, this is nonsense, if true, I wouldn’t say this album is any more inconsequential that Lennon’s Mind Games (1973) or Walls and Bridges (1974). Bowie has completely removed himself from his glam rock persona at this stage.

    The album does seem to be a darker meditation on what had been explored with Young Americans. This time, the paranoia seems more desperate and sounds like a man, or character, who doesn’t like what he’s become, and perhaps can’t overcome it. The six tracks move at a good pace, and are varied. The album seems to coincide with Bowie’s first acting role The Man Who Fell To Earth, Jerome Thomas Newton, the title character of that film, and his new persona The Thin White Duke may mirror each other, but the Duke may be even more disturbing. The title track has an epic, and long build, the lyrics seem to build to a paranoid delusion, and a romance with addiction. “Golden Years” has been released as the single, the rhythmic groove has enough of an off-kilter quality to keep it enticing. The piano of “Word On A Wing” has a hymn like moment, before this mid-tempo ballad shifts into its core. Roy Bitten’s work anchors the piece. 

    The second half opens with the Rock N Roll whimsy of “TVC 15” with its barrel house piano, and dissonate guitar work that offers an ode to a British television station, but the tone belies that fact that this is likely an addict with an obsession. The album leans into dark funk with “Stay”, a track where Slick offers a fine balance to Alomar groove. The song seems to offer a moment of clarity for a person breaking out of a trap and in need of salvation from another. That moment of clarity is brought back with the album closer and ballad “Wild Is The Wind”, a cover from Dimitri Tiomkin, Bowie delivers a fine performance with a bottomless sadness. There’s nothing heroic about the tone of the album, unlike the Ziggy persona that offered glimmers of hope, it sounds like a persona that is trapped and wrapped in an enigma. Lost in the maze of their own design.

    This album hints that Bowie is headed in some fascinating directions, but one doesn’t know where those winds will blow. I will be curious. 

Retro Reviews: ZZ Top: Tres Hombres

      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. In light of the recent news about Mr. Beard, this has been in the cue for a spell and we decided to release it. In tribute, Rest in Peace rock legend Frank Beard.

ZZ Top – Tres Hombres (1973)

****

Producer: Bill Ham

Musicians: Billy Gibbons, Dusty Hill, Frank Beard

Songs: Waitin’ On The Buss, Jesus Just Left Chicago, Bear Drinkers & Hell Raisers, Master of Sparks, Hot Blue & Righteous, Move Me on Down the Line, Precious and Grace, La Grange, Shiek, Have You Heard?

Reviewed by Matthew Anthony Allair

    Something interesting is happening with ZZ Top’s third album, this Texas blues and rock band, sounds like they have a deep connection to Memphis. Some peers have compared them to The Allman Bros Band, but for one this seems erroneous, they are a trio that has a boogie accent to their work, this impression has left some unfair expectations by peers who don’t seem to want to assess them truly. Billy Gibbons is not Duane Allman, but Billy has his own unique take on southern blues. Dusty Hill and Frank Beard are quite good support players, and Dusty is a good second lead vocalist. This is largely unpretentious and direct, one can hear traces of various types of blues, John Lee Hooker, even a number that hints at gospel. This is all original material. Billy manages such a gritty sound when he plays in full, but he manages to find the right approach for each number, this album isn’t as loud and brash as some have suggested, but it has it’s moments. There’s a tale that Gibbons jammed with Jimi Hendrix, and Hendrix liked him. That sounds like a ringing endorsement, especially from Jimi’s stature. Therefore, people shouldn’t discount them.

    The obvious single is “La Grange” a number that channels The John Lee Hooker spirit before it comes in full. The album opener “Waitin’ On The Bus” has a blues and funk accent with a fairly blistering harmonica solo, and cutting Wah solo. The way that the number transitions into “Jesus Just Left Chicago”, a six-chord blues ballad that has an emotive ease within, and a blue solo that seems to channel Page. There’s some quiet good vocal trade offs between Gibbons and Hill on “Bear Drinkers and Hell Raisers”. The dynamic “Master of Sparks” has some slinky, southern swamp slide work, as well as incendiary lead guitar work. “Hot, Blue and Righteous” is a more gospel blues ballad where the band is allowed to sit back and focus on Hill and Gibbons vocals. Some of the three part harmonies may remind some of Neil Young’s vocal style.

    Side two’s “Move Me on Down The Line” has a more dual guitar pop leaning, with an interesting breakdown and searing guitar lead. The darker groove of “Precious and Grace” has some inventive drumming, just another aspect of their definition of ‘the blues’. The aforementioned “La Grange” take things to a new level for them. The clean, broken blues accents of “Shiek” makes this an interesting number, with some playful Wah RNB Wah guitar included. The closer “Have You Heard?” is the closest to them channeling The Allman Bros Band, and it’s a fitting closer. 

    This Texas trio has laid down a vision of the blues on their own terms. Some of my peers have been too reactive on their assessment of this promising band, I will look forward to seeing their evolution with interest. 

The Big Four: The Police

The Big Four: The Police

Article by Matthew Anthony Allair

    The three piece British and American band The Police became one of the most important new acts to arrive at the tail end of the UK Punk explosion, they had a massive influence on the eighties alternative music scene, which featured a hybrid of Reggae, world music, and jazz sophistication, all three members had prior jazz, fusion or pop backgrounds and were able to capitalize on a shifting British music scene. Composed of bassist, singer Sting, guitarist Andy Summers, and drummer Stewart Copeland, they had the benefit of Stewart’s brother Miles having management experience and being the cofounder of IRS records in 1979, yet nepotism wouldn’t have saved them if they didn’t have the musical talent to prove what they could do. The success of The Police helped Miles Copeland to convince A&M Records Jerry Moss to finance that record label. 

    Miles wasn’t initially involved with the formation of The Police, Stewart was the drive that formed the band, a man who played and recorded with Curved Air, Stewart found Sting in a local jazz band. They initially recruited Henry Padovani on guitar, they even released their first single “Fall Out” on the independent label Illegal Records – another Miles Copeland venture – but it did nothing. Several side projects lead to Stewart and Sting meeting veteran Andy Summers, there was undeniable chemistry between the three of them and Henry was soon dropped from the band Through Sting’s writing the band evolved quickly, Copeland initially had written songs to get the project started, but most were quickly replaced with Sting’s songs. That first album, Outlandos ‘D Amour felt like the biproduct of their club days, in spite of having three durable singles, “Roxanne, So Lonely” and “Can’t Stand Losing You”, if feels a little self-conscious with the Punk efforts, while it’s an outstanding album, the band would expand shortly into material suited for larger venues, and that would define the New Wave sound. The first album was produced by the band, but Engineer Nigel Gray would become a key player shortly. 

Reggatta De Blanc

    The second album, produced by Nigel Gray, was a real evolution for the trio. Sting’s writing had already come into fruition, Copeland wrote three songs, Stweart co wrote another with Sting, and the three of them co-wrote two songs, but Sting was the primary lyric writer. The band’s Reggae influences were a means to an end, they weren’t really a Reggae band, in the same way they weren’t really a punk band. The title translated into ‘White Reggae’. But the hybrid aspect that always elevated the band was the jazz structure influence, Andy and Sting had a deep understanding of the jazz idiom, it allowed a more ambient feel for the tracks that featured Andy’s echo delay effects, or Stewart’s echo delay effects on various tracks. While the band focused on relationship songs, Sting was starting to look outside of himself. Copeland’s drumming style used world music influences he would accent on different patterns - and not just depend on 4/4 - but the one drop beat which is common with Reggae. Sting’s bass work seemed simplistic but was founded on fusion elements.

    Much of this is self-evident on the first track and massive single “Message In A Bottle”, a very relatable song where one’s feelings of loneliness is universal. Summer’s jazz voicings would expand the palate of new wave and alternative rock music. The instrumental “Reggatta De Blanc” moves quickly with three sections and a vocal improvisation. Stewart plays with delays, while Andy’s chorus effects and ambience gives a statement of purpose. Co-written by Copeland, “It’s Alright For You” features some wild slide guitar work from Andy. “Bring On The Night” might be one of Sting’s other finest early compositions, and Andy’s layered cordial work keeps the verses interesting, a poetic number about disillusionment. With “Deathwish” Stewart’s expansive drums eases into a Bo Diddley beat, that shifts into a regular 4/4 beat. A light sounding number about self-destruction. 

    The second half tells you we are no longer in the smaller venue days. Between the drums and Andy’s guitar “Walking On The Moon” feels epic and expansive. That G7sus4 chord completely opened up players to new territories, lyrically there’s a whimsy and curiosity to the song.  That added synth pad hints to what is to come. “On Any Other Day” is a typical sardonic Copeland number with a punk ethos and a self-pity the feels satirical, and the subject probably deserved his plight. Sting’s “The Bed’s Too Big Without You” has a full Reggae accent with some self reflective admission that the narrator did this to himself. Sting’s instincts to be poetic gave the songs something distinct. Copeland’s “Contact” might be one of his more adventurous pieces, and allows for some real freedom for Andy. Stweart’s “Does Everyone Stare” has some great odd piano work, and Sting delivers the satirical lyrics well. The closer has a vibrant punk feel with “No Time This Time”, a critique about the fast pace, and it does stick the landing as far as a final statement.

Zenyatta Mondatta

    The Police’s third album, again produced by Nigel Gray, was more cohesive and accessible than the prior release. If the prior album had the compromise of Copeland’s writing presence – probably due to band politics -  Sting was given more free reign to bring in the material. Manager Miles Copeland had the uncanny knack to spot the potential singles. Not only for the Police, but other IRS records acts, and Sting had sown oats with his songs charting. Copeland wrote two songs, Summer’s offered one, and Sting brought in the rest. The use of synthesizers was more present, as well as Andy’s dalliance with guitar synths, but Sting really was broadening his thinking with the lyrics, this album took the Reggae, global elements with the jazz flavors, pop sheen and took it all as far as it could go. Copeland explained that the album title meant nothing, just invented words.  The common complaint is that the album feels the most even or safe. But it also may be their most accessible.

    With the opener, and big single “Don’t Stand So Close To Me”, it evolves from a slow burn with the drone to the infectious guitar of Andy, and moody synths. Sting used to be a teacher and so the idea of a taboo teacher and student dalliance makes for gripping stuff. “Driven To Tears” and “When The World Is Coming Down, You Make The Best of What’s Still Around” could have acted as a third and forth single, or double A side, both dealt with the media and public apathy, “Dirven’s” groove has a Motown influence. “Coming Down’s” groove is no less infectious. “Canary In The Coalmine” keeps the pace up with the same energy and a ska accent. The more moody tempo of “Voices Inside My Head” and it’s chant mirrors several things from Reggatta, and Copeland is able to have a lot of freedom with the number.  Stewart’s “Bombs Away” is probably one of his most accessible numbers while retaining that sardonic wit. The synth organ drives the number, but Andy’s middle eastern guitar solo really brings it home, thus building with a layer of guitars.

    Sting’s “De Do Do Do, De Da Da Da” was the other single and a witty view about simplicity, and a critique about over intellectualizing. Andy’s instrumental “Behind My Camel” may be a little simplistic, Sting refused to play bass on it and Stewart just offers a basic beat, but the keyboards have interesting layers. Sting’s “Man In A Suitcase” is probably one of the purer Reggae numbers on here, a comment on a traveling salesman, or business employee who has no home. Sting would later rerecord “Shadows In The Rain” and this is probably the most outside number on the album, aside from piano, there sound like a violin edge’s through at times. Andy’s guitar work manages to be very outside again. Copeland’s “The Other Way Of Stopping” sounds like a keyboard number that was transposed to guitar and bass, and all for the better of it.  A good closer for the album.

    This is the last album where Copeland was given much improvisational room, Stewart never plays the same thing twice, and due to his diminished role with co-writing, there were bound to be problems and tensions with the final two albums, but Sting would bring the band to greater heights soon enough, however much that is debatable.

Ghost In The Machine

    Sting had paid attention by the third album to the outside world, but by the forth, he was looking outside and within in a broader sense. Of course, it’s well known that Sting had a academic background and was a teacher in his pre band days, He had already cited Vladimir Nabokov with “Don’t Stand”, he was about to cite Arthur Koestler for the title of the next album. But the album would add more tension, Stweart’s role as a player would be more limited, and even Andy Summers would be frustrated by the focus on Sting’s songs. This would also be the first album with producer Hugh Padgham, whom was already working with Genesis and the solo album for Phil Collins. Hugh would bring a more sonic polish to the proceedings. Copeland would co-write one song with Sting and bring in another, Andy would bring in one song, but the band was already feeling less democratic. Sting seemed to be using the band as a showcase for his songs, and yet, the album might be their best and greatest achievement  The album featured many more synthesizer parts, and Sting even played all of the horn parts, a trade off the expanded the album, but perhaps at a cost.

    You can hear it with the opening track “Spirits In The Material World”, with it’s jagged synth, complex bass, and playful, yet disciplined drumming. The extra synths practically replace Andy’s guitar fills. The lyrics are pretty dark, and but raises the issue of our spirituality. There was even a hint of Sting’s saxophone. The second track would be their biggest single and a radio staple: “Every Little Thing She Does Is Magic”, a song he had written years before and kept in his back pocket, and it was Miles Copeland who convinced him to use. The demo was recorded in France with keyboardist Jean Roussel, the band used it, overdubbed and tied it together. “Magic” had been covered by Shawn Colvin, Ra, David Bryce, Ali Campbell, Michael Musso, Catherine Porter, The Shadows, Kyle Eastwood, The Flying Pickets, and sampled by De la Soul, Black Eyed Peas and Christopher Manias. “Invisible Sun” was a slow burn, the other single, it was built on a dark mood, Yet a number with a lifting quality in the chorus due to Andy’s guitar. A song and comment about an occupied police state. “Hungry For You (J’aurais toujours faim de toi)” manages some French lyrics, and Sting’s horn section, and layers of Summer’s guitar and a possible synth. There’s a slightly manic quality to “Demolition Man” with several guitars and more horns. Grace Jonce would soon record the number, it probably should have been one of the singles.

    Side two opens up with no less interesting material. A guitar stab opens “Too Much Information”, a driving number with more Sting horns, a comment about media saturation, right at the start of the bludgeoning computer age. Again, the concerns from Koestler were creeping through. The co-written Copeland number, “Rehumanize Yourself” has Stewart’s idiosyncratic sensibility. A keyboard drives it, while Andy’s guitar weaves around it. “One World (Not Three)” sounds like something Bob Marley could have written. A pleasantly defiant number about unity. Andy’s “Omegaman” has a strange opening with some of his most accessible verses. Ambient keyboards set up the mood for Sting’s “Secret Journey” before Andy’s guitar anchors it, and Stewart dances around the rhythm, a track that seems to characterizes a Buddhist sojourn. Stewart’s “Darkness” has a keyboard opening and work that may remind some of Tony Banks, more of Copeland’s sardonic lyrics are masked with depression. Interesting closer to the album.

    The album is sonically impressive, and Sting does manage to expand the format of the band, some consider this a prelude to what was to come, and other’s consider it their best album. But the story doesn’t end there. Sting’s interest with acting lead to a co-starring role in Brimstone and Treacle in 1982, the soundtrack featured standards performed by Sting such as “Spread A Little Happiness”. It also featured three Police numbers. “How Stupid Mr. Bates, I Burn For You,” and “A Kind Of Loving”, yet no one knew the end was near.

Synchronicity

    Sting’s marriage to Frances Tomelty was falling apart and he was on the way to courting Trudie Styler, the end of that relationship, complicated with having two children, prompted the writing of half of the material that would appear on Synchronicity, but there were two other related sources that would shape the songs. The seminal figure, psychologist Carl Jung, and another work from Arthur Koestler’s The Roots of Coincidence, and Jung’s Synchronicity itself; would be the others, Sting was looking further within, as well as questions about God and out own self-destructive nature. Hugh Padgham came back to produce - in spite of the growing tensions within the band -  Padgham would solider on with the project. Andy Summers wrote one piece, and Stewart Copeland wrote another, but Sting was the central guide for the material. In hindsight, the second half feels like a template for Sting’s future solo career. Of course, the album would hit mega status with at least four or five hit singles. This was the time where acts were expected to release albums where nearly every track could be a single, Michael Jackson had already set the template with Thriller. But this tour de force would come at a cost.

    A keyboard sequencer sets the tone with “Synchronicity I”, Andy adds coloring, while Stewart brings the urgency, Sting’s layered vocals had reached a new height, and this would mirror his vocals with the upcoming solo work. The African rhythms of “Walking In Your Footsteps” played by several in the band and Sting’s pan flute gives the track it’s unusual flavor. Sting’s “O My God” has some of the best bass work, a little more of a free drum sound from Copeland, Trevor Horn provides the horn solo filled with Arabic and free jazz improvisation, a mediation directed at the flaws of the deity. Andy’s “Mother” has a Captain Beefheart quality with sitar coupled with a Russian drudge tempo. Stewart’s “Miss Gradenko” is probably the most accessible number with some vibrant cordial guitar work and playful lead from Andy. The side one closer had become a huge single and unescapable number, “Synchronicity II” has great interplay between Andy and Sting, and a venomous vocal from the leader.

    Side two opens with their most known iconic number, Spirits had debuted the first of their two classics, this album debuted the other classic “Every Breath You Take”, s stalker number under the guise of a love song, the structure of it could have easily had been a country song, but Andy’s chord inversions, and patterns give it that necessary creamy tension. The synths and piano give it a majestic quality while Sting and Copeland keep it direct. Artists who have covered the song include UB40, Big Daddy, Everclear, Ian McShane, Juliana Hatfield, Dolly Parton and Violent Femmes. The other single “King Of Pain” opens simply with piano and xylophone before the full band comes in, Andy and Stewart manage to give it an extra lift, basically another perennial classic. The forth single “Wrapped Around Your Finger” with it’s detuned bell had the fitting tone, a philosophical and bitter number, while having some stateful classical guitar and some nice contrasts towards the end. The ambient “Tea In The Sahara” with it’s simple rhythm and strange oboe from Sting, manages to be anchored from Andy’s guitar. It was inspired by Paul Bowles book The Sheltering Sky, on vinyl it made a cryptic ending, but the final track “Murder By Numbers” reconnected their free form spirit and jazz origins, Stewart’s drumming is excellent and Andy’s voicings lures the listener with Sting’s dark, ironic lyrics, all of which brings the album home.

    The album has become such a part of a cultural vernacular on par with The Beatles Abbey Road, or Led Zeppelin IV that it now seems to be taken for granted, but the band would never have been able to top it. Near the end of the Synchronicity tour and at Madison Square Garden, the bend decided not to continue.

    The legacy of The Police is significant Starting with Talking Heads, The Cars, and Elvis Costello, Men At Work, Wang Chung, Rush, The Pretenders, Squeeze, and modern acts like The Expendables, Goyte, Maroon 5, The Nanos, and Warhol’s Theory. They created a fusion of various styles that managed to feel direct and accessible. In spite of skepticism from their peers, the bands feel and Sting intelligent lyrics pointed to new directions and made you think and question the world around you. While the ethos may have been different from other Punk bands, their aim was consistent. Post Police Andy put out a number of interesting solo projects including collaborations with Robert Fripp. Stewart Copeland is renowned as a soundtrack composer, and co-founder for bands like Animal Logic, and Oysterhead. Sting’s solo career was able to recruit some of the best jazz and rock players into a varied catalog.

    But for a brief period, there was an undeniable chemistry with the band, even with all of the arguments, they pulled the best out of each other.