Retro Reviews: Black Sabbath: Heaven and Hell

     I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Black Sabbath – Heaven and Hell (1980)

****

Producer: Martin Birch

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

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

Reviewed By Matthew Anthony Allair

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

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

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

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

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.

Retro Reviews: The dBs: Repercussion

 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. This is a lesser-known album.

The dBs – Repercussion (1982)

***1/2

Producer: Scott Litt

Musicians: Chris Stamey, Peter Holsapple, Gene Holder, Will Rigby, Andy Clark, Chris Gower, Dick Hansen, John “Irish” Earle

Songs: Living A Lie, We Were Happy There, Happenstance, From A Window To A Screen, Amplifier, Ask For Jill, I Feel Good (Today), Storm Warning, Ups and Downs, Nothing Is Wrong, In Spain, Neverland

Reviewed by Matthew Anthony Allair

    The dBs second album has been released, soon off the heels of the first. It’s hard to access if this will have a niche audience or not. The band is signed and distributed by Albion Records, there’s a great proliferation of smaller, independent labels, but their limited distribution systems can affect of reach of good or great bands. Yet Scott Litt has helmed the project and strikes a balance between their more polished numbers and the raw, unwashed pieces. Chris Stamey and Peter Holsapple are the driving force of the band. The ethos of Punk has always been about adolescent rebellion, but new wave has helped pull back in more nuanced ideas within the song craft, teen age angst can only go so far before one looks around and starts to ask questions.

    The pop instincts of the band are in full force with the opener “Living A Lie” with keyboards and a full horn section, with an honest, self-aware lyric. With “We Were Happy There”, the drums and bass are really accented, and in spite of keyboarding coloring, there’s a rawer feeling yet palatable, while having an odd resolve. “Happenstance” takes a darker direction with a relationship song and parental dependence with an interesting turn, as well as dysfunctional manipulation. Things are brought down with the quieter and atmospheric “From A Window To Screen”, this also has some of the best harmony vocals, and moody lead guitar work. “Amplifier” has a great rhythm that belies the darker lyrics, but one can’t tell if this is based on a true story, or if the self-pity is satirical Either way it has some of the most vibrant playing. There’s some more jagged guitar work on “Ask For Jill”, with a bass that acts like a great counterpoint. The added keyboards and bells give it some sheen with the sarcasm of the lyrics. The challenge is, how does the second half holds up?

    The more acoustic “I Feel Good (Today)” has a lot of coloring, either guitars or cello, and manages to shift in some interesting directions, and ir almost takes a nod to Syd era Pink Floyd at moments. “Storm Warning” takes things in a fresher direction with shifting rhythms and great dynamics. Their ethos returns with the cynical “Ups and Downs”, but the playfulness keeps it interesting which is just enforced from the keyboards. The slower “Nothing Is Wrong” has a kind of lament within the harmony’s, this is the closest they get to a blues dirge in spirit, but not really. “In Spain” crashes in with a dynamic edge, and interplay between the drums the band has a synergy The closer “Neverland” has a true thrift and a great hook and brings the album home. 

    Is the band Punk, New Wave, power pop, or new hybrid? hard to say, but this feels different and maybe a little ahead of the trends. While some of the lead vocal work is a little uneven, and they work best in harmony, the sum is greater than the parts. This could have a great impact on the music scene, possibly in the way that the Velvet Underground held an impact, but time will tell if they find an audience. This is worthwhile for anyone seeking something catchy yet different. 

Retro Reviews: The Call: The Call

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The Call – The Call (1982)

*** 3/4

Producer: Hugh Padgham

Musicians: Michael Been, Tom Ferrier, Greg Freeman, Scott Musick, Garth Hudson

Songs: War Weary World, There’s a Heart Here, Doubt, This is Life, Fulham Blues, Who’s That Man, Upperbirth, Bandits, Flesh and Steel, Unbearable, Waiting For the End

Reviewed by Matthew Anthony Allair

    In the Pantheon of what is considered new wave, the band The Call has managed to find a new sound that connects to the traditions of the past, while offering up something fresh. But it’s a little deceptive with how to get there – it’s a slow burn, based on one’s initial impression. Producer Hugh Padgham has given the band an impressive sonic sheen to offer with this material. There’s a simplicity and directness on certain tracks and a complexity with other tracks, and a lot of nuance. Lead singer Michael Been has a passion that is equal to U2s Bono, but a dramatic edge that might even rival Bono – it’s hard to say. Tom Ferrier’s work runs the gambit as a lead player and seems to serve the material well. One of the most notable aspects in the inclusion of guest keyboardist Garth Hudson from The Band – it is a testament to the quality of this new band that Hudson would even be involved. But make no mistake, this is a guitar driven band.

    The opening track “War Weary World” sets up the tone after a Segway of ominous tones, Been’s vocals are passionate, desperate,  while the chorus is complacent, jaded. We have seen this all before. At the start of the new decade and we are no closer to ending the cold war. The next track opens with the line: “I’m at Odds with this World” as Been delivers “There’s A Heart Here”, a conflicting relationship number with an interesting middle section break. With “Doubt” there’s a moody, simple groove as Been excoriates everything in front of him. There’s a hint of Nihilism, but a fight to not give into it.  The gradual build-up of keyboards really keep this compelling. The clever waltz shuffle of “This Is Life” feels like an Irish folk number in spirit. “Fullham Blues” is the closest to feeling like a punk number, but with far more contrast and drama. “Who’s That Man” has a reggae feel with a heightened paranoia lyrically, before switching towards a bolero, all is which is refreshing to see such risks. 

    The side two opener “Upperbirth” keeps up the energy with some great drama from Been, as much as it isn’t the strongest track. On “Bandits” there’s a real rhythmic drive between the bass and drums and interplay between the guitars, and a real disgust for ‘collateral damage’. With “Flesh and Steel” Garth really is showcased and offers some fascinating flavors. The fast tempo of “Unbearable” again connects to the punk ethos, but Been sounds tormented, with a push and pull between the guitars . The ominous closer heightens an apocalyptic sense of  dread  from the character if a vagabond who confronts a passer- by, but the track distills that sense of fragmentation that is looming in society. Some guitar trade- offs and keyboards bring the track, and there’s a kind of venomous agonist from Been closes out the proceedings. 

    One might be tempted to compare this to the pop leanings of The Cars, or the experimental adventures of Talking Heads, but that would be erroneous, they are their own band. I don’t know if this will find enough of an audience, but it distils social conscience and spiritual justice in the best sense of what new wave should represent. All is not right in the world and this is a plea for figure it out. Recommended.   

Retro Reviews: The Mothers Of Invention: Freak Out!

      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 Mothers of Invention – Freak Out! (1966)

***1/4

Producer: Tom Wilson

Musicians: Frank Zappa, Jimmy Carl Black, Ray Collins, Roy Estrada, Elliot Ingber, with Gene Estes, Eugene Di Novi, Neil LeVang, John Rotella, Carol Kaye and other session orchestras

Songs and music: Hungry Freaks Daddy, I Ain’t Got No Heart, Who Are The Brain Police?, Go Cry on Somebody Else’s Shoulder, Motherly Love, How Could I Be Such A Fool, Wowie Zowie, You Didn’t Try To Call Me, Any Way The Wind Blows, I’m Not Satisfied, You’re Probably Wondering why I’m Here, Trouble Every Day, Help, I’m A Rock (i. Okay To Tap Dance, ii In Memoriam Edgar Varese, iii It Can’t Happen Here), The Return of the Son Of Monster Magnet (Unfinished Ballet in Two Tableaux – i. Ritual Dance of The Child-Killer, ii Nullis Pretii (No Commercial Potential) )

Reviewed By Matthew Anthony Allair

    The Mother’s of invention is a new band that is headed by Frank Zappa, they represent the new self-described freak culture of Southern California. What is so audacious about this is that it is a double album, and outside orchestral session players were brought in to augment the core band. This is a hybrid of bizarre material and very pointed satire, so it won’t be for everyone. The fact that the band was signed by Verve, a label known for it’s jazz releases is revealing, it’s interesting producer Tom Wilson was brought in for quality control, as this will push the bounds of what is considered ‘pop’ or ‘rock’ The styles jump all over the place, from doo wop, psychedelic blues, free form jazz, and experimental orchestral work. I thought The Beatles were being experimental, but this takes things in a less formal direction. The fact that they were given the freedom to do this is impressive. Nevertheless, it may be polarizing for a certain subset of the culture.

    It’s opener “Hungry Freaks, Daddy” is a rhythm and blues flavored number with a psychedelic bent, but its lyrics are very pointed and the use of vibes hint at something very different. The fact that the singing is off key is beside the point, it an ugly feeling and it feels intentional in the context of the number. “I Ain’t Got No Heart” is a more musical number as far as the vocal and horn ensemble, it comments about a woman who may be too square for this man who narrates. “Who Are The Brain Police?” is a tuneful enough number with a barrage of fuzz guitar within its hint of a pop sheen. “Go Cry On Somebody Else’s Shoulder” is the first true satire of 50s Doo Wop teenage angst, but that character’s self-loathing and guilt shaming hints he isn’t really the hero to cheer for. “Motherly Love” almost feels like a satire of the burgeoning California psychedelic scene, if also hints at just how young the female groupie scene is and questions it. “How Could I Be Such A Fool” is another 50s satire with a horn section, yet it suggests the male character brought it on themselves.

    “Wowie Zowie” which opens side two is another psychedelic blues pop with a good dose of xylophone. “You Didn’t Try To Call Me” leans into a pop number with orchestra that leans into a movie score. Another satire where the main character has a desperate undercurrent. “Any Way The Wind Blows” is a guilt-based manipulation with some good electric 12 string work, much of this isn’t to be taken very seriously. Black and Collins seem to be the best vocalists. “I’m Not Satisfied” has another disaffected you, but the horns and flutes edge towards a western movie score. “You’re Probably Wondering Why I’m Here” is another teen, sardonic number with the flavor of Kazoo to lean into the humor. 

    Side three’s “Trouble Every Day” is a very pointed number about the media’s perception on youth culture - “You know people, I’m not black, but there’s a whole lot of times, I wish I could say I’m Not White.”, yes, boys, I can’t say I blame you for feeling that way. But the album takes a very strange turn with “Help, I’m A Rock” featuring “Okay To Tap Dance”, part two “In Memoriam, Edgar Varese” and “It Can’t Happen Here.” opening with an odd guitar figure, the groove settles into a random chant, morphing into the “Varese” section. This is probably some of the most avantgarde material for a pop. The chant “It Can’t Happen Here” seems to mock the paranoia about the freak culture in middle America, before shifting into some free form jazz, it all feels like a challenging taunt. 

    Side four’s “The Return of the son of Monster Magnet” has the taunt of Suzy Creamcheese, before a swing pop groove, with a strange pulse of plucked piano, and strange electronic sounds, the next chant shifts gears into other strange territory, it all starts to sound like a parody of some B movie. It even seems to morph into loops, backwards tracks, and speeded up audio, “America’s wonderful!” it declares and any aware person can sense the irony. 

    I can’t say the double album completely works, there’s a few songs that are thematically repetitive on the first two sides, and the audacity of side three and four won’t be for everyone. It is meant to provoke, to act as a slingshot for the consciousness, and some might not just want to be along for the ride. But this album feels a year or two ahead of everyone else and I have very little doubt that other musicians will be paying attention to what the Mothers have to offer. It’s a fascinating little ride as far as a sonic rollercoaster. Certainly, worth it if you are looking for something a little different.  

Retro Reviews: Phil Collins: Hello, I Must Be Going!

    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. This is part one of three.  This is a three part living tribute to Mr. Collins, in light of his growing health issues, and possible RNRHOF attention, this is part one. 

Phil Collins – Hello, I Must Be Going! (1982)

***3/4

Producers: Phil Collins, Hugh Padgham

Musicians: Phil Collins, Daryl Stuermer, John Giblin, Mo Foster, J. Peter Robinson, Don Myrick, Louis Satterfield, Rahmlee Michael Harris, Martyn Ford

Songs and music: I Don’t Care Anymore, I Cannot Believe It’s True, Like China, Do You Know Do You Care?, You Can’t Hurry Love, It Don’t Matter To Me, Thru These Walls, Don’t Let Him Steel Your Heart Away, The West Side, Why Can’t It Wait ‘Til Morning

Reviewed By Matthew Anthony Allair 

    Phil Collins second solo album has been released, and it acts as a companion to the debut, Face Value. It may not be as eclectic as the prior album, but the Production and musicianship remain consistent. Many of the same players are back, minus a few guests. Guitarist Daryl Stuermer, whom had worked with Jean Luc Ponty before Genesis nabbed him to fill in live, offers good support, session player John Giblin had cut his teeth with the fusion band Brand X, and Mo Foster has such  a long list of artists he has done sessions with, including jazz players and live performance that it is another nod to how respected Phil’s skills are that Fister would be involved. It also doesn’t hurt that the Earth, Wind and Fire horns make another more prominent appearance here. This is less rock, and more pop, lite rock and even a hint of art pop. Phil’s piano skills could never match his peer Tony Banks, but he doesn’t even to imitate him here. Phil works with what he can do as a player, and it works. Of course, Phil’s drumming, even when stripped down for the sake of a song is still impressive.

    The opener is one of the singles, “I Don’t Care Anymore” acts as a kind of sequel to “In The Air Tonight”, a moody and heavy vibe that is propelled by a live kit. Aside from Phil’s keyboards, Daryl adds some moody embellishments. “I Cannot Believe It’s True” is one of the most lively numbers on the album with the full horns. The mild rocker, “Like China” has some good guitar work, and a child like vocal from Phil as a teenage lad who pines for a girl. “Do You Know, Do You Care?” is, in fact the darkest mood piece on the album with an odd outro. The single, a cover of the Supremes “You Can’t Hurry Love”, is a faithful read with a modern sheen., all of which gives side one a certain energy.

    The second half opens up with the thrifty “It Don’t Matter To Me” with the full horn section again, and some playful interplay. The moody “Thru These Walls” acts as a companion to the prior albums “I’m Not Moving”, some marimba fills out Phil’s keys on a number about a deviant voyeur who listens to others lives. The ballad “Don’t Let Him Steal Your Heart Away” could give Elton John a run for his money, as well as some tasteful piano work from Phil. The instrumental “The West Side” gives the flavor of New York with a nice Pop jazz swing, the album closer “Why Can’t It Wait ‘Til Morning?” acts like a companion to the prior “You Know What I Mean” as a ballad. Ending on a stratifying note. This probably won’t appease old Genesis fans, but I don’t this was intended for them. For anyone looking for a pleasant pop record, this will be of interest, in spite of the use of synths and drum machine, there’s a nice balance between live musicians that helps to give this some extra humanity. 

    While not as stellar as Face Value, this is a strong effort for what it aims to do. There’s a constant debate over exceptional musicians going pop, it seems to be a cardinal sin for Progressive Rock musicians especially to go pop, since this the medium that Mr. Collins chooses to express himself with, so be it, I would ignore the naysayers.

Reviews Roundup - Pete Townshend

The Townshend Legacy 

Overview by Matthew Anthony Allair

    Song writer, guitarist and co lead singer of The Who, Pete Townshend is probably one of the most important figures from the 60s through the early 90s. Along with Bob Dylan, and Ray Davies, Pete didn’t have a McCartney for his Lennon, or a Jagger for his Richards, he mostly depended on himself, and as much as The Who’s John Entwistle wrote a number of songs, Pete was pretty much the creative driving force of The Who as far as content. In fact, he was so prolific that Townshend would sit on home demos away from The Who for his own uses. The trauma that Townshend faced with past managers Chris Stamp, and especially Kit Lambert, and with their disfunction as managers, helped seal the fate of his eighty's decisions. In spite of Bill Curbishley's role with The Who, Townshend mostly made the management decisions for his solo career. It was difficult enough that The Who themselves had been full of trauma. He didn't need anything else to add to his addiction issues. So, he started anew.  

    Pete’s writing just didn’t extend into some of the most insightful and incisive songs of the 60s, he wrote instrumentals, orchestral, and pure creative experiments that would carry over to his solo work. Some of Pete’s early solo albums were as much ‘accidental solo albums’, I could argue as the first two Phil Collins solo albums were ‘accidental solo’ albums. After a period, Pete would take longer and longer gaps between solo releases until he rejoined with Roger Daltrey to put over several albums under The Who banner, with Endless Wire and The Who.

    Yet much of Townshend’s solo work is fascinating, his evolution as a keyboardist, piano player, and guitarist, post Who, is notable. Some have argued that by 1980, Townshend started to save his best songs for his solo work, and while his solo catalogue is smaller, he has been prolific creatively.

Who Came First (1972)

    Pete’s first unofficial yet 'official' solo album came about due to a set of circumstances that that to do with bootlegs. Pete was signed to Track Records, and due to his devotion to Meher Baba, he had contributed tracks to two tribute albums to the guru, Happy Birthday and I Am. When inferior copies were circulated in the US, Decca asked Pete for permission to release the recordings, but Pete had other ideas, two songs from those tribute albums would be included, and tracks from the abandoned Lifehouse project. Those three Lifehouse songs were “Pure and Easy, Time Is Passing” and “Nothing Is Everything (Let’s See Action)”. The tracks from the Tribute albums were “Contact, Evolution” along with “Forever’s Not Time At All” and “Parvardigar” The remaining tracks were “Sheraton Gibson” and the other cover “There’s A Heartache Following Me”. The story about the album is more complicated when you consider the six bonus tracks added from the Ryko Records reissue in 1992, as well as the three remaining bonus tracks added in the Hip-O release from 2006. Those added tracks included “His Hands, The Seeker, Day Of Silence, The Love Man, Lantern Cabin, Mary Jane, I Always Say”, and the Cole Porter cover “Begin The Beguine”

    Regarding the Lifehouse recordings, Pete’s drums and bass are pretty basic, he wasn’t going to compete with Moon and Entwistle – part of his genius was always letting them put their own creative stamp in that band. Often the Daltrey vocals added more power, for example, to “Nothing Is Everything” solo recording. “Evolution” is a Ronnie Lane song that Pete contributed to – this wouldn’t be the first time they would work together. “Sheraton Gibson” has remained the most remembered and celebrated track from this period. Regarding the bonus tracks, there’s an undeniable charm to songs like “Sleeping Dog” and others. Of course, “Nothing” and “The Seeker” were recorded by The Who and released as singles, this was just his take.

Rough Mix (1977)

    Former Faces bass player, songwriter Ronnie Lane had originally wanted Townshend to produce his solo project and it turned into a collaboration. Yet Glyn Johns was brought in to produce it. During the period between The Who’s By Numbers record and before Who Are You and the record developed in earnest with an all-star cast of side players. Lane and Townshend played, guitars, mandolins, banjos, bass, ukuleles and vocals. Pete and Ronnie seemed to have a creative sympatico in the late 70s, and there is often a light feeling on many tracks. The title track and instrumental was co-written by Lane and Townshend. The bulk of the songs would be sung by the writer. Some of the all-star players included Eric Clapton, John Entwhisle, Mel Collins, Ian Stewart, Charlie Watts, with support from players like John “Rabbit” Bundrick, Boz Burrell, Henry Spinetti and Peter Hope Evans. Pete’s primary songs were “My Baby Gives It Away, Keep Me Turning, Heart To Hang Onto” and the two most known tracks “Misunderstood” and “Street In The City”. Pete did trade some lead vocal lines on a few Lane numbers. “Misunderstood” has a certain unique whimsy, and “Street In The City” has a certain lush introspection in the arrangement, and it’s not the last time he would work with arranger Ed Ashley. 

Empty Glass (1980)

    After Keith Moon passed, The Who were facing their embers, they soldiered on with Kenny Jones, another Faces alumni, but Townshend must have sensed the diminishing returns for the band, as I previously suggested, some would feel Pete was holding back his better songs for himself. In many respects Empty Glass was a tour de force and a massive hit. Chris Thomas, an alumnus of George Martin, was brought in to Produce. Musicians like John “Rabbitt” Bundrick, Tony Butler, Simon Philips, Kenny Jones and Peter Hope Evans were brought in, while Pete handled the guitars and many keyboard parts. The album loosely explored themes of the loss of friends, alcoholism, drugs and relationship problems. His self-reflection and self-confession had started as far back as 1975, but it was far more evolved by this point. 

    The opening track, “Rough Boys” was a shot across the bow that he hadn’t lost his edge with its cluster of horns at the end, it was the second hit after the significant “Let My Love Open The Door” became massive single. “And I Moved” was originally written for Bette Midler, who passed on it, but it raised eyebrows with some over the question if Pete was Bisexual. The excellent “I Am An Animal” was another type of confessional. “A Little Is Enough” would be another single, as well as the whimsy of “Keep On Working” Certainly, the group of “Boys, Animal, Moved” and “Open The Door” demonstrated a new range to Townshend. The title track, “Empty Glass” was another spry guitar number with interesting shifts. It also had other lively numbers like “Jools and Jim, Cats In The Cupboard”, and the pop rock blues of “Gonna Get Ya”. “Cats” features some great organ work in the mix. Pete sounded liberated on the album, and it would be the start of more bold risks.

Video samples are in compliance with "Fair Use".

All The Best Cowboys Have Chinese Eyes (1982)

    The follow up to Empty Glass triggered a significant amount of critical controversy, which we will get into in a moment. Once again, it was Produced by Chris Thomas and retained some of the same players as the prior album, Tony Butler, Simon Phillips, Mark Brzezzicki, Peter Hope Evans and new faces like Virginia Astley. Pete played all guitars and synths like the Prophet, ARP and Synclavier. Some of the material were tracks not used by The Who, but it also reflected a willingness to be influenced by the new wave scene. There has been hints of this influence on Empty Glass, but it was more pronounced here. Pete might have been listening to the Stadium rock trends that were ubiquitous.

    In the same declaration of intent, the album opens with “Stop Hurting People”, a partly spoken tone poem with a musically rich chorus, bridge and ending section. The keyboards with guitars feel fuller, and the track hints at a more orchestral sound for the album. The great “The Sea Refuses No River” opens with a slow burn yet with a clever Harmonica line. The drums and percussion is far more inventive on the first two tracks. The lovely “Prelude” features piano, synths, acoustic guitar and a simple vocal that leaves the mental image of an old man lamenting the work. The spry “Face Dances Pt 2” is the most up number as it was the single and reached the top 20. “Exquisitely Bored” begins as a folk blues that is insightful about human nature, yet also manages a Reggae feel in places. The second half opens with a few more experimental numbers, “Communication” could have been a throw back to The Who, with another tone poem, the track has a similar feel to The Who's "Cry If You Want" from that very year. “Stardom In Action” is idiosyncratic yet lively, the same is true with the new wave feel of “Uniforms (Corp D’Esprit)”, the playful, yet insightful “North Country Girl” plays like a memory. The excellent “Somebody Saved Me” feels like a self-confession. The closer “Slit Skirts” is the most remembered track and the most likely single, the Joni Mitchell influence is hard to miss on the track. The maturity and honesty of the record makes this one fascinating. 

Scoop (1983)

    If you want to see a bold move, the compilation of Scoop would have been a surprise after his second album. Complied by the alias ‘Spike’ Producer Helen Wilkins put together this collection that featured home recording and demo material from as far back as 1965 featured such future Who numbers as “So Sad About Us, Squeeze Box,” Piano from “Quadrophenia” as well as “Bargain” and “Behind Blue Eyes, Circles, Magic Bus, Cache, Cache” and “Love, Reign O’er Me”. A lot of the experimental material was fascinating as well, “Brrr” “Zelda, Politician, Dirty Water” a Piano vamp on “Tipperary”, and such tracks as “Melancholia, Things Have Changed”, and “Popular” which was re-written as “It’s Hard” on the Who album, the moody “Initial Machine Experiments” from a Yamaha CS-80, “Body Language” was another similar voice experimentation from the Chinese Eyes sessions. “You’re So Clever” was another electro track submitted for Bette Midler. After the country dobro of “Cookin’”. The last half couldn’t have been more audacious in it’s range, “Mary” was a lovely ballad from the abandoned Lifehouse sessions. After the noddle of “Recorders”, you had the psychedelic feel of “Goin’ Fishin’, a clear nod to Brian Wilsom, then the jazzy “To Barney Kessell” and the playful “You Came Back”, even absent drums – it was a delight.

The album featured extensive liner notes from Mr. Townshend that offered a glimpse into his creative process. This would not be the first of these compilations, but the generous offering must have been interesting as a next release. Pete almost played just about everything on these recording, including bass and drums with a few notations. What makes the recordings so inspiring is that Townshend isn’t just recording demos, he is often using the technology to experiment with audio effects or microphone positions to leave the listener with an immersive experience, there’s real artistry within the craft.

All music video clips are in compliance with "Fair Use".

White City (A Novel) (1985)

    His next album had a loose narrative within a number of the songs that takes place in a low income West district of White City and a circle of youth struggling with survival and their dreams as well as racial tensions. The accompanying film directed by Richard Lowenstein about an aging rock star with concerns about South African Apartheid that does a charity concert for his former neighborhood growing up. All of this is where the ‘novel’ idea applies, but the album works as a standalone full of great songs. Townshend managed to release three singles from the album “Face The Face, Give Blood” and Secondhand Love”. Once again the album was produced by Chris Thomas. Some newer faces supported Pete on the project. David Gilmour played guitar on “Give Blood” and guitar on the co-written “White City Fighting”. Once again, John “Rabbit” Bundrick, Tony Butler, Mark Brzezicki, Simon Philips, Peter Hope Evans returned along with Pino Palladino, Phil Chen and Clem Burke. Pete just played Guitar.

    The opener, “Give Blood” has some powerful guitar work from Gilmour, and was a plea for non-violence and world peace, it was also a top five single in America. “Face The Face” was the other top 30 single in the US, a modern yet retro swing number with horns that reconnected with Pete’s father’s big band jazz background. The bright and poppy “Brilliant Blues” managed to be reflective about maturing. Pete might be one of the rare rockstars from the 60s who realized he needed to grow up. The poppy “Hiding Out” manages to have a world music influence. The driving blues of “Secondhand Love” had an updated edge and released as another single. The edgy “Crashing By Design” had the most pop new wave feel on the album. The lovely, and partly acoustic “I Am Secure” is deceptive,  it opens with a heavy two chord groove before it shifts to the proper acoustic song. The aforementioned “White City Fighting” has a compelling guitar figure by Gilmour before it becomes lively. A reflection that the character childhood life wasn’t rosy as was remembered. Pete also adds some great extra lead guitar in the last half. The closer “Come To Mama” has a slow, instrumental build before coming to life in the second half with the vocal. A surprisingly solid album, and not surprisingly it did well.

Deep End, Live! (1986)

    Pete assembled a stellar band to promote White City, and did a series of charity concerts, and his appearance Brixton Academy in late 85, it was a mix of solo material, Who classics and various covers. Aside from Pete on guitar and vocals, it featured Gilmour on guitar, Simon Phillips, Chucho Merchan, once again John “Rabbitt” Bundrick, Jody Linscott, Peter Hope Evans, and the Kick Horns of Simon C. Clarke, Tim Sanders, and Roddy Lorimer. The show held a high quality and vibrancy. The track “After The Fire” was a Townshend original that featured on Roger Daltrey’s Under A Raging Moon. The numbers by the Who were “Behind Blue Eyes, I’m One, Pinball Wizard” and on the extended issue, “Magic Bus, Won’t Get Fooled Again” The covers included a new take on “Eyesight To The Blind” The solo tracks included, “Stop Hurting People” and “A Little Is Enough”, the other covers new takes on “I Put A Spell On You, Save It For Later” and “Barefootin’”. Much of Gilmour’s input is supportive but he has his moments in the spotlight and virtuoso Evans has a few moments to shine. There’s a certain freedom and interplay within the band. The live “Save It For Later” differs from the studio take that was included as a ‘b’ side. In later interviews Townshend would comment about his ambivalence about performing live yet the feel of the material has a fun, spry spirit and worth a listen. 

Another Scoop (1987)

    Sales from the first Scoop compilation must have done well enough to justify another two disc collection, of course, Pete had already reached iconic stature at this juncture, so that helped. Producer Helen Wilkins came back to oversee the project. Once again, it featured a wealth of demos for who material. “You Better You Bet, Pinball Wizard, Happy Jack, Substitute, Long Live Rock, La-La-La Lies, Christmas, Pictures Of Lily, Don’t Let Go The Coat, The Kids Are Alright” and “Call Me Lighting”, a drum less track that has some good guitar, bass, and decent guitar leads for 64. But the most impressive aspect is the originals, many from his home studios, and others are proper sessions with an orchestra that were shelved. To Begin with, there’s the incredible piano ballad “Brooklin Kids” and the acoustic “Praying The Game” from 78,  all arranged by Ted Ashley, the idiosyncratic “Football Fugue” or the evocative “The Ferryman”, three tracks that were shelved and one is puzzled as to why. 

    Just looking at the instrumental synth material. “Prelude: #556” sounds like an outtake from Vangelis ‘Blade Runner’, technically, “Prelude: The Right To Write” as an orchestral synth piece that was impressively put together. The moody “Baroque Ippanese” is a light electro percussion and synth piece, and “Cat Scratch” is a complex blend of electric percussion and random synth patters that is evocative. “Ask Yourself” is an adventurous instrumental and vocal that harkens back to ‘Eminence Front’, that takes a surprise shift. The vocal cover of Porter’s “Begin The Beguine” is lovely, and he even took a stab at a Sinatra flavored number with “Never Ask Me”. The laid back “The Shout” with light percussion, acoustic and Piano was an interesting summation of where he was before 85. The poppy “Girl In A Suitcase” may be a little out of his range vocally, but quite good.

The range makes this an impressive collection. 

All music video clips are in compliance with "Fair Use."

The Iron Man (1989)

    This is more a full project collaboration than a Townshend solo album, the project was inspired by his interest in the Ted Hughes tale of the same name from the late 60s and he wanted to build a narrative concept. A noble idea that featured an all star cast of singers and musicians. The first thing that was notable is the addition of Roger Daltrey and John Entwistle under the banner of The Who, for two songs. Plus the appearance of a blues legend like John Lee Hooker on several tracks or jazz piano legend Nina Simone on a track. Other songs featured Simon Townshend and Deborah Conway. Aside from Pete other musicians were Simon Phillips, Charlie Morgan, Chucho Merchan, John “Rabbitt” Bundrick, Peter Beachill, John Barkley, Patrick Clabzrv, and Pat Halling. 

    The premise is fairly straightforward, a Giant metal robot rises from the oceans, settles on a beach and befriends a boy named Hogarth, who after being frightened befriends the bemouth . Hogarth witnesses the machine fall, shatter, then put itself together again, before heading back to the sea, in a panic the boy runs, and later finds the Iron Man eating whatever scrap metal he finds. The boy runs to his father and the local farming community digs a hole and try’s to trap, but the machine isn’t tricked. The boy has to lure him into the trap with a metal bribe. After which the boy feels guilt after he starts to develop a connection with the metal man. The machine is freed and Hogarth leads him to a scrap metal yard. The machine starts to deal with waste problems. At the start of the tale, there has been a star in the horizon the grows closer, it is a massive space dragon that lands in Australia, nearly covering the continent, it demands living things to eat or it will destroy the planet. Globally military efforts fail and Hogarth asks the metal man to be their champion, and he agrees.  They face each other in the ordeal of a challenge by fire. The dragon gives up, and it is learned he was attracted to the negative things on earth, the dragon’s original purpose was the create celestial music, the creature is sent back into space and the Iron Man becomes a hero.

    With some of the more abstract ideas in the second half of the tale, it makes sense that Townshend would be attracted to it. Many of Townshend’s songs have a philosophical bent to them on the project. Most of Pete’s solo vocal tracks are  “I Won’t Run Any More, A Friend Is A Friend, Was There Life,” and “A Fool Says…” John Lee Hooker’s vocals are “Over The Top, I Eat Heavy Metal:” The Who perform “Dig” and “Fire”. Simon Townshend sings “Man Machines”, and Nina Simone performs “Fast Food”, there’s also the more ensemble of “All Shall Be Well” and “New Life / Reprise” with Townshend, Deborah Conway, Chyna, Nicola Emmanual. “Fire” is a cover of an Authur Brown song, and it’s a little heavy handed with the standard 80s production. The album is strongest with the more introspective songs sung by Pete. In many respects, the idea of the album reminds me of the 1969 Jesus Christ Superstar album that acted as a template for the later Broadway show – well get back to that in a moment. Yet the absence of Producers Chris Thomas or Glyn Johns was notable as Townshend was the producer. There was a lack of quality control that the sure hand of an outside producer could have helped with. The album was reviewed poorly as people didn’t understand it. But stage musicals were on the way for both Tommy and this project.

    The concept paid off as a theatrical staged version debuted at the Young Vic in late 1993 and ran for several months. The story didn’t end there as Hollywood decided in 1994 to develop the story for an animated feature. While Townshend’s work wasn’t used in the finished film, The Iron Giant, directed by Brad Bird, and written by Tim McCanlies, was Executive Produced by Townshend, and became highly regarded as an animated film. 

Psychoderelict (1993)

    What’s interesting about the bulk of Pete’s solo work is that he wasn’t doing concept records for most of it. There may have been general themes, but most were individual songs. It makes it fascinating that he went back to the narrative concept, and while The Iron Man may have seemed a focused outlier, he had committed to this approach with this album. Two versions of this album was released, the full narrative scope and a ‘songs only’ release. It was structured more like a radio play, and while it doesn’t reach the heights of  Quadrophenia, it does share a similar ambition. The album was produced by Townshend and it faces the same issue as the prior album, it needed a Chris Thomas or Glyn Johns to exert the extra quality control, but indeed there’s a greater focus than on the prior album, just a few choices drop the result down. 

    Aside from Townshend, the album featured many of the standard players, Bundrick, Brzezicki, Hope-Evans, members of the Kick horns, and a wide roster of musicians, singers and voice actors that helped the project along. Some of the guitar work doesn’t sound characteristic as Townshend wasn’t the only player, as Phil Palmer and Billy Nichols did play on the album. Perhaps this was done to compete with the popularity of alternative rock players at the time, hard to say. I had to listen to the music only version as well as the full album to access it.  The story has to do with an aging rock star with addiction issues, named Ray High, who get’s cynically used by his manager and a critic to revive his career, and bring back a long abandoned project to keep his relevance, in the process Ray gets entangled with a underage girl*, actually the critic, a teen, and that leads to murky  and questionable waters. In time, the critic takes credit for a hit song Ray wrote. 

    “English Boy” is the strongest cut on the album and not surprised it was the single.  “Let’s Get Pretentious” is the second best number. “Meher Baba M3 and M4” as instrumentals take nods to Who’s Next and Who Are You. “Early Morning Dreams” has some nice vocal harmonies, “I Want That Thing” opens with some in depth keyboard work before it edges into a 60s nod. Some light drums and bass drives “Outlive The Dinosaur” along with some funky acoustic. Some gothic organ leans into the laidback “Now And Then”, it features a strong chorus, The pop leaning “I Am Afraid” is pensive, but some great bass work anchors this. A false start sets up the up-tempo “Don’t Try To Make Me Real”. The next number, the laid back blues of “Predictable”  has some nice harmonies. The heavy and up-tempo “Flame” features another great lead vocalist. The keyboards of “Meher Baba M5” take a variation of the accordion from “Squeeze Box” with some clever over lapping synths. The closer takes a nod to 60s 12-string electric with “Fake it”. 

    If anything, the narrative helps take away from some good songs, the same problem would face David Bowie with Outside two years later. 

Scoop 3 (2001)

    The third, and allegedly, final of the two disc compilations of demos and released recording, The album was released and offered directly from his website, seemingly to by- pass record label issues Many of the songs were from The Who, “The Real Me, No Way Out (However Much I Booze), Sea And Sand, Eminence Front, Did You Steal My Money? How Can You Do It Alone,” Or “Theresa (Athena)” or “Variations on Dirty Jobs” or cuts from his solo albums. The German version of “Parvardigar”, “I Am Afraid, Tough Boys, Iron Man Recitative, Outlive The Dinosaur, Man and Machines, It’s In Ya”.

    Often it is the unreleased material that has been delightful, another acoustic version of “Dirty War”, another track from the White City, “Commonwealth Boys”, a number with a driving beat, guitar and piano and an ‘outside’ piano section. “Theme 15, 16 and 17” is a variation on a synth instrumental, curious, but not essential. The acoustic “Marty Robbins” is a plaintive and lovely little number. “I Like It The Way It Is” is from the same 78 Ted Ashley session, a self-admission of a man who doesn’t want to change his habits, more stunning work. “Collings” is another acoustic number. At times Pete is a vastly underrated acoustic player. The self-explanatory “971104 Arpeggio Piano” is a vibrant, digital piano and synthesizer sort of prelude. “Maxims For Lunch” is an electronic blues pop, and guitar, that has a certain whimsey, painting a picture of a slice of life moment. “Wistful” is another acoustic blues number with a few nice Jazz dynamics. “Lonely Words” sounds like a polished, country flavored ballad with some nice organ work. 

    “Prelude 970519” is a nice and brief Piano synth piece. The Synth string based “Iron Man Recitative” is another song narrative that retains the child like quality of the tale. “All Lovers Are Deranged” is a very different version from the David Gilmour take from his About Face album, this is far more pop and melodic. “Elephants” is a moody, blues based, synthesizer groove, interesting layers. “Wired To The Moon, Pt 2” is another atmospheric piano piece with a vocal improvisation. “Poem Disturbed” is a live piano and synth moment. Lastly, there’s “Squirm Squirm” is a charming acoustic and vocal number, it’s child like quality is similar to ‘Sleeping Dog’.  The compilation does a good job representing where he was at, even if some of the material doesn’t have the same dynamic as the prior Scoop albums.