Retro Reviews: Michael Nesmith and First National Band: Magnetic South

     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.

Michael Nesmith and the First National Band – Magnetic South (1970)

**** 1/2

Producer: Felton Jarvis

Musicians: Michael Nesmith, Red Rhodes, John Ware, John London, Earl E. Ball,

Songs: Calico Girlfriend, Nine Times Blue, Little Red Rider, The Crippled Lion, Joanne, First National Rag, Mama Nantucket, Keys to the Car, Hollywood, The One Rose (That’s Left in My Heart), Beyond The Blue Horizon

Reviewed by Matthew Anthony Allair

    Generally, anything associated with The Monkees is seen as dubious - as to why I don’t know, - as they were not pretentious about who they were. I felt criticisms of The Monkees by my peers felt more pretentious and precious than anything the band were accused of.  Michael Nesmith’s new small quartet is quite refreshing, and Michael’s vocals remain uniformly strong on this release. He was already building a good reputation as a song writer before he joined The Monkees, and his Texas and country influences had already crept through with his Monkees output in the past, so this new project should be of little surprise. While The Byrds had already dabbled in the country field with Sweethearts of The Rodeo a few years ago, this feels like a progression. Michael has assembled a tight unit of great players to augment the album with Rhodes, Ware, London and Ball. Nesmith’s writing manages to be insightful and whimsical. Thus, the album may be a next step between the fusion of rock, pop, and country.

    The driving seventh chords of “Calico Girlfriend” set the tone while Michael’s rich vocal melodies demonstrate his pop instincts haven’t left him. Rhodes Pedal Steel work acts as a glue for this material. The odd moment shifts into “Nine Times Blue”, an apology for a mistreated lady, there’s a kind of self-awareness to the number that is impressive. There’s another shift into “Little Red Rider”, a number with a sweeping chorus, with a nice dynamic end. “The Crippled Lion” has a blues country feel with Nesmith’s rich melody guiding along. “Joanne” has been released as the single, a reflective number with a southern yodel. The first half is closed out by the brief “First National Rag”, a piece that acts as a live set rest, and considering that Michael is ever the showman, the side closer seems apt. The rhythm support is steady throughout.

    The second half opens with the playful “Mama Nantucket”, the country ballad “The Keys To The Car” shifts the pace with a laid-back narrative. The number “Hollywood” is a slow burn and one of the longer numbers on the album, with a good push and pull between the verses, it also allows a little more playfulness between London and Ware, there’s also some unexpected electric piano from Ball, this progresses into the most surprising number on the proceedings. The ballad “The One Rose” brings back some grounding, there’s even a hint of music hall with his approach on this Del Lyon cover. The album closer “Beyond The Blue Horizon” opens with some country blues piano and a kind of mind cinema, before it morphs into the proper number. It evokes pictures of rural farm life, another cover from Richard Whiting, but Michael’s strong vocal builds into a satisfying ending.

    I suspect the album will defy assumptions, and it makes a fitting edition to the country cannon.  

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: Joni Mitchell: Blue

     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.

Joni Mitchell – Blue (1971)

*****

Producer: Joni Mitchell

Musicians: Joni Mitchell, James Taylor, Russ Kunkel, Stephen Stills, Sneaky Pete Klienow

Songs: All I Want, My Old Man, Little Green, Carey, Blue, California, This Flight Tonight, River, A Case Of You, The Last Time I Saw Richard

Reviewed by Matthew Anthony Allair

    The theme of regret and reflection seems to be the persistent thread on Joni Mitchell’s outstanding album Blue. Four tracks use the dulcimer played by Joni to great effect, “All I Want, Carey, California” and “A Case Of You.” Her piano work remains outstanding, and her angelic voice remains the glue that ties this all together. There may be a little ornamentation as far as horns to flute, but the added percussion, a touch of bass, and extra guitars serve the material well. James Taylor and Stephen Stills make another appearance. There’s an honesty, candor and a sweetness that isn’t built on resentment, but resignation at various points. This is the kind of material one could need when they seek something meditative yet relaxing. Her production, while modest, archives intimacy and a relatability to the songs. The songs seems to run the gambit of friendships and lost loves.

    The aural vibrantly is there with the opener “All I Want”, a track that Mr. Taylor provides second guitar, but the Dulcimer drives the tone of the track. The longing of the lyrics about traveling onward in the midst of an ambivalent relationship latches onto the listener. The piano on “My Old Man” has a rich tapestry and the kind of harmonic complexity you come to expect, about a couple who aren’t bound by the convention of marriage, as well acknowledging the emptiness when separate. The acoustic work of “Little Green” almost hints at “Morning Morgantown”, but it develops into a more bitter sweet tone with a haunting or haunted quality. The bass And light percussion of “Carey”, along with the dulcimer, offers a whimsy over a complicated relationship. The title track, “Blue” closes the first half with some impressionistic piano. This song seems to be about the consequences of too much, too much indulgence, too much need in lieu of a healthy relationship.

    The second half opens with the acoustic whimsy of “California”, and some nice pedal steel guitar that responds to the lyric. There’s already growing mythos over the California folk and country scene that is unfolding and this seems to touch on this. There’s a dark tone musically to “This Flight Tonight”, but there’s an ambiguity and ambivalence to the lyrics, there’s a nice nod transistor radio rockabilly over a few lyrics. “River” is simply magical as a piano driven song, set around the holidays, it’s a kind of thematic hymn to childhood memories of winter adventures. Which is often the case, her best songs are often near the end of an album, “A Case Of You” is such a song, a piece about the deep connection that isn’t going to quite work out. The closing Piano piece, “The Last Time I Saw Richard” is a meditation - a reflection on a past relationship that has given the female partner a reality check, or perhaps they simply knew each other too well, but this paints a very vivid picture. 

    The consistency with Mitchell’s artistry, her work as a singer and musician, has remained impressive with four albums under her belt. Rumor has it, that she is going to sign with another label, and one could view these first four albums as the close of the first chapter, her growth is astonishing and I await the next phase. She is on par with contemporary Dylan, perhaps even surpassing him for the time being. That is a heady statement to make, but it bears fruit to argue it after this release.   

Retro Reviews: Nina Simone: Nina Simone Sings the Blues

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

Nina Simone – Nina Simone Sings the Blues (1967)

****

Producer: Danny Davis

Musicians: Nina Simone, Eric Gale, Rudy Stevenson, Ernie Hayes, Bob Bushnell, Bernie Purdie, Buddy Lucas

Songs: Do I Move You?, Day and Night, In the Dark, Real Real, My Man’s Gone Now, Backlash Blues, I Want a Little Sugar in My Bowl, Buck, Since I Fell for You, The House of the Rising Sun, Blues For Mama

Reviewed by Matthew Anthony Allair

    This is Nina Simone’s first album for RCA Victor, and it’s an impressive work. The definition of “Blues” is expansive here as the album explores a range of moods. Aside from her vocals, her piano work is impressive, she had apparently been trained at Julliard School of Music, that background gives her a little range from the conventions of most RNB players. Other than the guitar work of Gale or Stevenson, or the occasional horn work from Bubby Lucas, most of the musicians sit back to highlight her vocals and piano, which is pretty delightful. There’s a good balance between pop leaning blues material, more traditional, or more jazz soul material. While she writes her own songs, it features material from the likes of George Gershwin and DuBose Haywaard, Buddy Johnson, Rudy Stevenson, Andy Stroud, and Langston Hughes. Davis’s production seemed to be about recording the room more than anything else, it’s not glossy, but intimate.

    The opening number “Do I Move You?” sets the tone with a languid pace, and some tangy guitar leads, and harmonica. Nina’s piano accentuates the feeling. There’s a lighter touch with the blues pop leaning of “Night And Day”, Nina offers some nice harmonies, there’s a spry spirit with the band on this. Nina’s piano is front and center again with “In The Dark”, as well as some nice organ support, the guitar and harmonica bounce around each other. There’s a more spiritual gospel tinge with “Real Real”, the piano most sits back to let Ernie Hayes breath life into the number. “My Man’s Gone Now” is a Porgy and Bess number that Nina takes in a pensive read, and something of a tour de force on the album. “Backlash Blues” is a Simone original with a pointed edge, this feels like blues for right now. 

    The second side opener, “I Want A Little Sugar In My Bowl” begins with a Scott Joplin ragtime feel. It nods towards Bessie Smith into her style of blues as well as a sultry saxophone lead. “Buck” has a playful soul feel. The song “Since I Fell For You” has become something of a RNB standard since the late fifties, Nina’s read breaks it down into something a little new, along with her strong vocal. “House Of The Rising Sun” has been a traditional for many years, Nina’s approach takes it into a direct, gospel blues, the shuffle is really accented with this one, this often just sits on two chords that allow Nina to play with it. The closer, “Blues For Mama” is partly an Simone original that ties the album together with its blues intent.

    The album is a thoroughly enjoyable experience that should draw in the casual listener who doesn’t follow this genre often. Nina’s vocals are entirely unique, her musicianship as a player makes her even more interesting. I will be curious to see where she goes next. 

Retro Reviews: Love: Love

          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. 

Love – Love (1966)

***

Producers: Mark Abramson, Jac Holzman

Musicians: Authur Lee, Johnny Echols, Bryan MacLean, Ken Forssi, Alban “Snoopy” Pfisterer, John Fleckerstein, Don Conka

Songs and music: My Little Red Book, Can’t Explain, A Message To Pretty, My Flash On Your, Softly To Me, No Matter What You Do, Emotions, You I’ll Be Following, Gazing, Hey Joe, Signed D.C. Colored Balls Falling, Mushroom Clouds, And More

Reviewed by Matthew Anthony Allair

    Love, the new southern California band has launched their first album for Elektra records, and it’s an interesting release that seems to aim to compete with the likes of The Byrds, but the sound has elements that remind me of another European band, The Monks, there’s an underground edge and a slight raw feeling that comes through that makes Love interesting. It’s leader Authur Lee drives the sound with brash vocals or a melodic sense. There’s plenty of 12 string guitar, but pockets of an heavier bass tone than you’d expect from Ken Forssi. The lead guitar work from Johnny Echols is steady and varied on most numbers, as well as rhythm guitar work from Bryan MacLean and Bryan and Johnny blend well together. Lee also plays Harmonica on some of the blues-based numbers. Within the electric folk setting, the album stays interesting, if a little uneven.

    The opening number and single “My Little Red Book” have a playful drive, and sardonic melody, but yet it’s a memorable number. The Byrds influence is evident with “Can’t Explain”, an original that has no relation to The Who. The folk ballad “A Message To Pretty” has a harmonica that will harken to Dylan, but it’s unavoidable, the ease of the number has a good feeling, probably a plea to an ex-beau. “My Flash On You” has a rave up drive to the number and rolling bass. “Softly to Me” has a pop jazz feeling and guitar work that substitutes a jazz organ, Byran takes the lead vocal and he differs from Lee. “No Matter What You Do” is probably the number that has a local club feeling. The instrumental “Emotions” has a surf music feel and textured tremolo guitar.

    Side two opens with the whimsical “You I’ll Be Following”, some good vocal harmonies are undercut with some frivolous lyrics. “Gazing” is another folk ballad and some more nice vocal harmonies. The blues number “Hey Joe” has become a popular one on the scene, and Love offers up their version that isn’t dissimilar to their peers, but I can’t say it’s all that distinctive. “Signed D.C.” is an acoustic blues ballad that is one of the stronger numbers, more introspective that comments on the new drug culture scene. “Colored Balls Falling” brings the tempo up again, and manages to be another strong song. “Mushroom Clouds” is another acoustic ballad with some rich harmonies that take on an unsettled quality. The up tempo closer “And More” manages to wrap up the tone of the album.

    While the bulk of the songs are concise and focused, this album could have used a little editing, as some songs don’t distinguish themselves from others. Still, this is a talented band, and I am interested to see what unfolds next for them.  

Retro Reviews: The Grateful Dead: Live / Dead

       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 Grateful Dead – Live / Dead (1969)

***1/2

Producers: Grateful Dead, Bob Matthews, Betty Cantor

Musicians: Jerry Garcia, Bob Weir, Phil Lesh, Tom Constanten, Ron “Pigpen” McKernan, Micky Hart, Bill Kreutzmann

Songs: Dark Star, St. Stephen, The Eleven, Turn On Your Love Light, Death Don’t Have No Mercy, Feedback, And We Bid You Goodnight

Reviewed By Matthew Anthony Allair

    The band, The Grateful Dead is in an interesting place. A bay area psychedelic, and counterculture band, that chasing the heels of their Northern California peers. Jefferson Airplane, and Big Brother, yet those bands may have a slight leg up the dead as far as songs, but that might be changing. Those who have been able to see them live often offer up a different point of view over anyone who is just familiar with their three studio albums. The second, the experimental Anthem Of The Sun, had moments of whimsy, but the quality of the material felt uneven and lacked focus. This years Aoxomoxoa had some more focused material, and the presence of lyricist Robert Hunter has given them a more narrative thrust, however lose it may be. They are trying to put across more songs, while still dedicated to the ensemble sound. Their decision to release a live album, and a two disc set, may have been the most beneficial move yet. Let's acknowledge the album cover, the Dead has been one of the few bands to produce the most vibrant album designs yet, and this is no exception, 

    The principle of jazz and free jazz is to build from the inside out, find the core of a piece and build from there. The opening number “Dark Star”, which was a very short form single previously, encapsulates this notion well. It’s a slow burn, exploration, Jerry Garcia and Bob Weir’s guitars weave together, alternating between lead and rhythm and at moments blur into one. Phil Lesh’s bass work acts as a lead instrument that counterpoints the guitars. The first vocal verse comes in at around six minutes. Then progresses, Tom Costanten’s Organ eggs the band onward, one of the guitars goes out of tune, so they play with that in real time. The drums often take on an ambience in the freer second half.  The guitars hedge out of control until the 21-minute mark when the second verse vocal comes in. A guitar abruptly ends the track.

    Side Two’s “St. Stephen” opens with a laid-back tone, a track from the third album that is allowed to grow here as it moves into its heavy groove. The lyrics have a certain whimsy and the interplay between the band has a certain vibrancy Some of the organ work hints at an Irish dirge, the drums jump from a march to more free form. The shift to “The Eleven” just effortlessly falls into place, the number almost fall into chaos in the beginning, but they fall into sure footing fairly quickly, The chord structure of “The Eleven” will harken back for some people to the late fifties or very early 60s. Way past the five minute point do we get the vocal, but it’s a pleasant ride. 

    Side three dominates with “Turn On Your Love Light”, another RNB cover that has a spirited opening, the guitar interplay manages to substitute for a horn section. There are moments with the Dead that remind me of this other new duel guitar band folks have been hearing about, The Allman Brothers Band. While their vocal channels Bobby Blue Bland, it also channels the spirit of Elvis. Hart and Kreutzmann really stretch things out with the drumming around the mid-point. They manage a fun audience rave up with the number. 

    Side four closes it up by toning it down, their spiritual cover of “Death Don’t Have No Mercy” settles into a slow blues, the number also allows “Pigpen” McKernan to showcase his excellent blues organ work, Phil stretches out the bounds over the bass can do in a blues setting. Like all good blues, the number builds with intensity. Weir’s vocal is quite good throughout. The album takes it’s psychedelic turn with the barrage noises on “Feedback”, this is about as free form as you could expect, with the guitars playing a mournful violin role at moments with the volume swells, but it is all just merely interesting. The brief vocal hymn. “And We Bid You Goodnight” brings it back to some grounding. 

    This all makes for an interesting, if slightly uneven, experience as a album, but then again the journey seems far more interesting than the destination, thus making this an colorful time to be used it you turn it on. 

Retro Reviews: Neil Diamond: Stones

     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. 

Neil Diamond – Stones (1971)

***1/2

Producer: Tom Catalano

Musicians: Same line-up as prior album, Neil Diamond, Al Cassey, David Bennett Cohen, Neil LeVang, Don Peake, Louis Sheldon, Red Rhodes, Randy Cierley, Joe Osborn, Ray Pohlman, Artie Butler, Larry Muhoberac, Marty Paich, Don Randi, Hal Blane, Larry Bunker, Sandra Crouch, Earl Palmer, Gary Coleman,  Gene Estes, Emil Richards, Lee Shamburger, etc…

Songs: I Am…I Said, The Last Thing On My Mind, Husbands and Wives, Chelsea Morning, Crunchy Granola Suite, Stones, If You Go Away, Suzanne, I Think It’s Gonna Rain Today, I Am…I Said (Reprise)

Reviewed by Matthew Anthony Allair

    Neil Diamond’s follow up to last year’s Tap Root Manuscript, at points, may not be as compelling, but there’s little doubt that Neil’s writing keeps showing a marked evolution as the opening track acts as the emotional anchor, but we’ll get back to that shortly, it has a mixture of other’s songs Joni Mitchell, Roger Miller, Randy Newman, Jacques Brel, Neil’s few originals are what keep this album interesting, There’s more a selection of ballads and mid tempo numbers, with one original that comes to life, such is the way Neil works there days, and I have a strong hunch that producer Tom Catalano lead some of the safer selections. Arrangers Marty Patch, Lee Holdridge and Larry Muhoberac offers up a good balance between the rock and pop backing and orchestras, there’s some good playing throughout as much as little of it is intrusive to the vocals.

    One of Neil’s greatest strengths has been his introspective nature with his writing, and the opening, and the heart of the album “I Am…I Said” has a profound sadness, it’s the kind of self honestly you hope from Dylan, and get from Mitchell at various times. The ballad “The Last Thing On My Mind” is a good choice and fitting for the tone of the album, filled with regret. The country ballad by Miller “Husbands and Wives” does seem to channel the spirit of Jimmy Webb at moment. Mr. Diamond does a good read here, and sprinkles of saloon piano keep it interesting. Joni Mitchell has become one of the best out there, and Neil does a brisk, upper tempo read on the number, it gives a trace of hope from the bleakness. Neil’s “Crunchy Granola Suite” has a real life with the electric guitar, and bright shifts with the arrangement. Again, it represents the dark and shade that is necessary. 

    The second half opener and title track is another Diamond original has a sympathetic recollection has some memorable musical phrases. French pop songs has had a large impact in the pop firmament, Neil’s take on the pleading “If You Go Away” is good, and I recall that Streisand had done the record on her sixties French album. Leonard Cohen’s “Suzanne” is another fitting choice for the album’s tone, the spiritual take about romance gives something interesting for Neil to work with. Newman’s “I Think It’s Gonna Rain Today” has become a popular number to cover, but it’s a tricky number as some focus on the wistfulness but not on the bottomless sadness of the piece, Nail manages to handle this well. The reprise of “I Am…I Said” just sounds like another take that accents the strings, but it makes for an interesting coda for the album.

    The biggest frustration with the album is it doesn’t give Neil room to showcase where his original writing is going, and I will be curious to see if he can meet the challenge and deliver more original compelling work. This sounds like a stopgap.  

 

Perspectives: In Defense of Animal Logic

Perspectives: In Defense of Animal Logic

Piece and media by Matthew Anthony Allair

    Around ten months ago, when I was a participate of a music reaction channel with a host who is a very person. There was a reaction to the Animal Logic single “There’s A Spy (In The House of Love) 1989, and to say it was muted, if not negative, was an understatement. I actually felt sorry for the person who made the suggestion. To preface this, all music opinions are subjective, some things you like and other’s you don’t, I don’t mind that, furthermore, I don’t expect people to agree with my opinions here with the reviews or the articles, in fact, I am always prepared to get disagreement. You can’t please everyone. My issue with less with the host and more with the commentators that I felt reeked of an elitism or snob like disposition, and the reactions just seemed too kneejerk or ignorant, without understanding the intent behind the project.

    Now, I understand that most progressive rock and fusion fans have very high standards, and some tend to sneer at anything that is ‘pop music’, which I understand, but I also don’t understand as all forms of music have different intents and aims, and they should be judged on their own terms, and not based on what you wish something to be. There was a history that lead up to the formation of Animal Logic, as well as information that is little known. The Wikipedia entry for the band is woefully inadequate, and therefore it takes more work. Plus their two albums are out of print which makes this all harder. Plus, the Spotify account only covers one album as of this writing. But there are archived pieces that explain the origin of the albums and their real intent to be pop albums with a rock edge.

    Let’s look at the core players. Stanley Clarke had become a legend by the eighties. Clarke’s tenure with Chick Corea’s Return To Forever from 1972 until 1977 had produced some incredible work, during this period, Stanley had also done side projects, but his1976 album School Days had gotten him notable attention. The final Return To Forever line did reunite to record’s Corea’s 10 minute track “Compadres” for his album. During these period’s Clarke performed with Jeff Beck in the 70s and helped co found the brief New Barbarians with Ron Wood, and Keith Richards. Clarke was already leaning towards more rock and pop material at the time he collaborated with George Duke on the Clarke / Duke Project. Whose first album in 1981 did have a fusion and pop accent - they did two albums. 

    Later on, aside from Clarke playing with Paul McCartney for his Tug Of War and Pipes Of Peace sessions, Clarke did keep releasing solo albums that featured elements that kept up the tradition of his jazz fusion era, but he was open to interpreting pop material as well. As much as their future collaboration were already underway, Stewart Copeland already had played drums on a track on Stanley’s 1988 album, If This Bass Could Only Talk.

    As far as Stewart Copeland is concerned, after his run with The Police had technically ended. Stewart worked on some innovative projects, most notably his soundtrack to Coppola’s Rumble Fish in 1983, an album that featured the unusual single “Don’t Fence Me In” with Stan Ridgeway - from Wall Of Voodoo. Yet it was the instrumental material that is compelling, hybrids of reggae, off kilter pop, and jazz, was a continuation of the more idiosyncratic original material he brought to the Police. This led to other scoring work on other films, Namely Wall Street, Talk Radio, Taking Care of Business, She’s Having A Baby, and television shows like The Equalizer, and the pilot for Babylon 5. His 1985 album The Rhythmatist was a result of a pilgrimage to Africa where he worked with African players, featuring local drums and percussion as well as vocals. Stewart did session work for Peter Gabriel on his So album a year later.  But the desire to find and form a new pop rock project was there by the time of the preliminary collaborations in 1987 with what would become Animal Logic. 

    The intent was very much stated in the press kits and few interviews available. Clarke and Copeland shifted through hundreds of audition packages, when a two song demo from Deborah Holland, an L.A. based Piano teacher and singer stood out and that began the collaboration. Keep in mind that for the stature of Clarke and Copeland to help elevate this lady to notable attention is pretty significant. Many singers and musicians may be excellent and talented, yet never catch any professional breaks to platform their work. Their choice of Holland for the project was a real vote of confidence on their part. Even for their first set of shows in Brazil, Andy Summers was briefly in Animal Logic, but Andy wanted to just focus on jazz music not pop. 

Let’s look at the players, Stanley’s bass work on the first album really pops, and Stewart’s characteristic high hat and cymbal work - as well as his unusual fills - creep in on various tracks. Guitarist Michael Thompson’s guitar work, with its clean chorus tones, has a very crystalline bite on many numbers, and he brings the added edge with his over driven leads. Yes legend Steve Howe offers some fine second support especially on a number like “As Soon As The Sun Goes Down”. You also have other players like the music scene iconic L. Shankar on electric violin, and Jazz legend Freddie Hubbard on the closing track. 

The first Animal Logic album is uneven, I admit, but there’s some real gems, especially with the last half of side one, and the first half of side two. The first single “There’s A Spy (In The House Of Love)” is not the best impression, but it did manage to chart well enough. You have to find the gems amongst the dross with most bands.

Generally, singles are not a best representation of an album, just the intended gateway. 

The first several tracks are a slow burn, which makes it all a little deceptive, But “I’m Through With Love, As Soon As The Sun Goes Down,” and the side two opener “I Still Feel For You” have real vibrancy. Richard’s banjo work on “Elijah” gives it an extra sheen and lift, “ Someone To Come Home To” builds into something powerful with the chorus and great guitar work and bass leads from Clarke, and Copeland comes to life in the last half, the album closer, the ballad “I’m Sorry Baby (I Want You In My Life)”, is a musically pensive, compelling piano piece with a fine Hubbard solo and tasteful bass lead by Clarke. Deborah’s vocals are strong, aside from the jazz inflections, I also hear a slight county music drawl to her vocal approach, while the lyrics are pretty much in the area of relationships, she can offer a fresh twist of a lyric.

The first album was also a product of its time with the production flourishes. Paul McCartney’s Flowers In The Dirt was very synth heavy in its pop sheen. And even Neil Young had added some synths as extra coloring on his comeback album Freedom. People just didn’t see that a more stripped down, organic approach was just looming in the new decade. Madonna, Michael Jackson, and Tears For Fears were still the predominant forces at that moment and products of the eighties. 

Let’s talk about guitarist Michael Thompson a little, his work on the album was pretty phenomenal. Copeland and Clarke would continue to use Thompson – No relation to the legend Richard Thompson – He would soon work with David Foster, he would work with Babyface and namely additional guitar Clapton’s “Change The World”, and Quincy Jones would tap him to work on Q's Jook Joint in 1995. Thompson would work with Robert “Mutt” Lange on Shania Twain’s Up album. He worked with Michael Jackson, Whitney Houston, Celine Dion, Toni Braxton, Phil Collins, Rod Stewart, Michael Bolton, The Scorpions, Madonna, Mariah Carry, and En Vouge, and so on…all showing his range. He had studied at Berkeley College of Music and had studied under Pat Metheny before branching out. 

A second album would be released in 1991, this would often be characterized as a sophomore slump, but Animal Logic II has a similar yet muscular sound, and some of the material I like better as much as I lean towards the first album, it's worth it. The record label did do press promotion for it.  Aside from the core of Copeland, Clarke and Holland. Guitarist Rusty Anderson was brought in, with extra contributions from Thompson, Piano legend Mike Garson of David Bowie - Alladin Sane stature was brought to add his distinctive sound on two tracks. As well as another notable player, the well-regarded David Lindley, was brought in. Keyboardist Todd Cochran appeared on many tracks, as well as Saxophone from Doug Nowine, George Duke plays on one track and Jackson Browne does backup vocals two others, Deborah and Jackson's chemistry is notable on "Another World". So, there's some steady pool of talent involved.

Again, this album opens with a slow burn, and I can understand the complaints by some about it sounding a little bland. But there’s some life and funk infusion with “Love In The Ruins (Doctor Dear Doctor)” as well as Garson’s Piano work. The single “Rose Colored Glasses” is catchy, and has some exuberant feelings, Often, it’s the deeper cuts towards that are the most compelling. There’s a folk and funk infusion with “If I Could Do All Over Again”, as well as playful saxophone leads, Copeland really cuts loose on this, Clarke drives the bridge section. There’s also vibrant slow burn with “I Won’t Be Sleeping Anymore” with a great chorus, and Holland delivers one of her strongest vocals. “Talking Is Good” has a playful Reggae feeling and George Duke accents the sentiment. Stanley Clarke drives “Stone In My Shoe” throughout as well as some incredible bass leads in the second, and Copeland seems responsive, "Stone" pretty much feels like an improvisational vamp. 

Once again, not a perfect album, but overall, a very enjoyable listen. 

The other problem with the album was the timing. This was released around the same period as the music scene was shifting, Nirvana, The Seattle scene and ‘grunge’ was starting to creep through the public consciousness, for example, another band from the same period Jellyfish had released their first album in 1990, Bellybutton, their follow-up release in 1993, the masterful Spilt Milk would suffer from the commercial changes. A Lot of bands prior to 1990 struggled with the industry shifts. 

Now the history with Rusty Anderson is a little confusing as he isn’t always listed as a guitarist on the album, Rusty went on to work with Paul McCartney’s band, but as a teen Rusty’s band Eulogy opened for countless bands, after the Animal Logic sessions, Rusty worked with a wide range of acts. In 1993 his other band Ednaswap opened for Sublime, Social Distortion, No Doubt and Weezer. He has worked on sessions with Elton John, New Radicals, Willie Nelson, Tim McGraw, Michael Buble, Jewel, Stevie Nicks and Joe Cocker Rusty has continued on as a composer and Producer.

The band broke up after sales were softer, and as Clarke and Copeland were committed to other projects, Animal Logic didn't continue. The story didn’t exactly end there. In 2022, Animal Logic reformed for several dates, and recorded and released two new songs. It’s pretty evident that Clarke and Copeland mjust have liked working with Holland enough to try again. Thet new single “Can You Tell Me” had some inventive drumming from Copeland and featured ex-Flecktones player Howard Levy on Harmonica. The other track, “Ordinary” is merely decent, but whimsical. Holland has not lost her touch as a singer. Debroah Holland did a new interview around that period. I am aware the band may not be for everyone, and if you seek more adventurous fare, you can always check out Oysterhead with Les Claypool, Stewart Copeland, and Phish’s Trey Anastaio. My only complaint about Les is that so many of his outside projects - due to his idiosyncratic vocal sound - sound like Primus adjacent - but they are a good band. 

All video music samples are in compliance with "Fair-Use".

Samples from both albums have been included here, as well as the new single. Only the second album is featured on Spotify, and the titles are out of print. The new songs were featured on Bandcamp before it appeared on Spotify. 

The platform of Animal Logic did give Holland an independent solo career, she released five solo albums, continued to work with Stewart Copeland, she has been involved with the folk trio, The Refuges, she just released I Made It This Far in 2025. She has remained a steady talent that didn’t fall into the cliches of self-destruction and drug use that plagued so many others. She may not have been on par with Harriet Wheeler from The Sundays, another peer from that period, but Holland should not be dismissed. After receiving a master’s degree for CSU Los Angeles, she joined the faculty, running the masters in commercial music program, from 1998 until 2010. 

Again, this is all subjective, not everyone is going to like the same things, which I understand, and I don’t expect anyone to agree with me, all I ask for is some objective fairness. 

Additionally, it was not only Debroah who benefited from the project, but at least two guitarists who ended up with viable careers. That’s saying a lot. Clarke understood one key jazz tradition – to give unknown players the opportunity to be spotlighted and prove what they could do. Clarke and Copeland demonstrated the real spirit of paying it forward, that doesn’t always happen. 

Her time in Animal Logic left her with opportunities for a viable career, and great esteem from the critical community, Clarke and Copeland’s vote of confidence in her paid off back then, and I hope others take that inconsideration when judging the band.

Retro Reviews: Bob Dylan: Blood on the Tracks

     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. 

Bob Dylan – Blood On The Tracks (1975)

****

Producers: Phil Ramone, Bob Dylan

Musicians: Bob Dylan, Chris Webber, Kevin Odegard, Eric Weissberg, Charles Brown, Buddy Cage, Peter Ostroushko, Gregg Inhofer, Thomas McFaul, Billy Peterson, Tony Brown, Bill Berg, Richard Crooks

Songs: Tangled Up in Blue, Simple Twist Of Fate, You’re a Big Girl Now, Idiot Wind, You’re Gonna Make Me Lonesome When You Go, Meet Me In The Morning, Lily, Rosemary and the Jack of Hearts, If You See Her, Say Hello, Shelter From The Storm, Buckets Of Rain

Reviewed by Matthew Anthony Allair

    Over the past couple of years Bruce Springsteen has not only been compared to Dylan, but has been perceived as surpassing him. Yet Dylan’s new record may be nipping at the heels of Springsteen’s acclaim. Dylan’s last album, Planet Waves, brought back members of The Band, while also trying to update his approach, he dabbled with a new record label on Asylum, it was good, it was stripped down, but for some it felt slight. Bob has rejoined Columbia for this album, and has put out a record with a different set of priorities. Let’s start with the title. At first glance, one could look at it as a comment about a death on a rail train track, a murder or accident, but the real meaning is more the purging of one’s soul on this group of songs, these tracks. They appear to be far more personal that he has expressed as of late, and look to be explorations of failed relationship, hence, ‘the blood’. Those personal aspects on Waves felt like prelude, this feels like the next step after several stumbles at the start of the decade. While the album isn't perfect, it does flag at moments, this is a notable album. 

    There’s very little argument to be made about the album opener and single, “Tangled Up In Blue”, a narrative song about the search for an ideal female muse, whether he finds that muse is unanswered, but it’s one of the most gripping songs from the album. Half of the album was re-recorded apparently soon before release. Rumors are that Lester Bangs heard an early pressing and was dismissive. Even the final draft Bangs described this as a “Crying Towel” of breakups, and I can’t really agree with him.  The other thing that raises my hackles is the claim by Bangs that Dylan has betrayed his sixties legacy*, which isn’t true, but the attitude from Lester reminds me of “Judas” accusation in sixty-six at the Manchester Free Trade Hall. Or even the Pete Seeger and Newport incident from that year. There’s a sense of entitlement about Dylan from certain figures I find frustrating. Let’s be clear, no one owns Dylan, no subset, he is his own man and artist. He’s not obligated to anyone. 

    Dylan sounds like a man who is a little older and wiser, and meditating on the troubled waters with connecting with others. He has faced so much adulation that he has been given a permission to indulge for so many years, it sounds like it is taking a toll. The track “Simple Twist Of Fate” has a more developed sense of melody and chord changes that you don’t always hear from him, another more in depth tale of a woman and a missed connection. “You’re A Big Girl Now” is probably one of the most accessible ballads Dylan has written in many years. It has a slight Latin feel and modal sense, an appeal to his muse that he can change, but we aren’t really left for certain.  Nevertheless, the narrator is left pleading. The deeper you go into “Idiot Wind”, the more you realize how scathing it is, the scale of it is similar to “Like A Rolling Stone”, but this probably one of the most dismissive songs he has written about another. The more direct “You’re Gonna Make Me Lonesome when You Go” is a welcome change, and the voice will remind some of his Nashville Skyline album.

    The blues folk of “Meet Me in the Morning” has some good lead guitar work, but otherwise is just kind of there, as much as it manages to be a slow burn, it’s just interesting. The ambitious “Lily, Rosemary and the Jack of Hearts” is a country romp that is musically repetitive, but the emphasis is on the lyrics, it just depends on if you are willing to go along for it’s journey. The other acoustic ballad “If You See Her, Say Hello” has the nice wash of the organ, and the occasional surprise with the changes. The song is the recognition in the relationship with the woman has changed and she’s moved on – there’s a sad resignation to it. “Shelter From The Storm” might have a certain curability as it’s quite accessible and relatable. Very stripped down with just his guitar. The track also seems to sum up the tone of the album. The closer “Buckets Of Rain” is another folk blues that acts as a coda. 

    Years ago, Dylan described himself as a ‘song and dance man’, and this album seems consistent with his philosophy, others read so much into him as a messianic philosopher, it was always out of proportion, and not realistic, and Bob had to move on from that legacy, he’s just another flawed man. Bob has denied that the album is autobiographical, but it’s difficult not to hear an emotional purge unfold, it feels awfully personal, and there is blood, sweat and tears in the grooves of the album. This album does feel more focused and I am pleased by the change. 

* Editor's note: That accusation of betrayal would make more sense in the 80s with albums like Infidels or Empire Burlesque but seems premature here in 75.

Retro Reviews: Joni Micthell: Ladies Of The Canyon

  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.

Joni Mitchell – Ladies Of The Canyon (1970)

*****

Producer: Joni Mitchell

Musicians: Joni Mitchell, Teresa Adams, Paul Horn, Jim Horn, Milt Holland, David Crosby, Steven Stills, Graham Nash

Songs: Morning Morgantown, For Free, Conservation, Ladies Of The Canyon, Willy, The Arrangement, Rainy Night House, The Priest, Blue Boy, Big Yellow Taxi, Woodstock, The Circle Game

Reviewed By Matthew Anthony Allair

I rarely use the phrase ‘astonishing’, but Joni Mitchell’s new album is a marked evolution from Song To A Seagull or Clouds. Her songbird range has not diminished, and there’s an inventiveness to acoustic playing that is shimmering. There’s the added element of her piano work that is featured solely on certain tracks, or acts as extra orientation, but she’s added other players too to give extra color. None of this is any different Dylan started to use outside musicians circa 64 or 65, but the cumulative impression is that these elements add an extra sophistication to her music. Her presence as the producer gives her extra control to be relaxed and creative, and this has been a wise choice. She is a talent that is creating her own world after all, like all great artists before. I have seen a small of percentage critics that have been dismissive of her and I find that baffling. She might very be one of the most naturally gifted artists working at the moment. This might be for everyone, but I think the vast majority will find this accessible.

The spiritually translucent “Morning Morgantown” evokes the painting of small down life, the acoustics lull brightly and Joni’s piano accents enforce the point of the lyrics. Her piano work is sensitive and evokes the somber quality of the lyrics in “For Free” as she observes a street musician, a cello adds flavor, and a clarinet illustrates the street minstrel. The lively “Conversation” is a kind of shared whisper or secret about a friend who is in troubled relationship, a comment of ambivalent situations that feels very real. The flutes and baritone horn adds a playful element that belies the subject. The title track has a lovely quality, her harmonies are nearly angelic. The pensive piano work of “Willy” has a wistful, and sophisticated feeling.

The mood on side two is furthered with the introspective piano of “The Arrangement”, a track that paints a vivid image of a struggling person. There’s a sweetness to the piano work on “Rainy Night House” as much as it’s a confessional of a woman who is more complicated than assumed. The acoustic “The Priest” is supported by some light percussion which seems to reference a past memory. The acoustic piano is brought back one last time for the lovely “Boy Blue”, often these songs seem to reflect on regret in various guises. The closing trio of songs are magical and probably the best group of closers for an album I have seen. The up-tempo “Big Yellow Tazi” has become the perennial single, an ecological lament on progress, but it has such a joyful sad quality, the tasteful percussion adds extra life. The moody “Woodstock” is a reflection on that already seminal festival with a dark electric piano with vibrato places you in a certain space. The closer “The Circle Game” is magical with its acoustic framing and the choruses of Crosby, Stills and Nash, an illusion of a boy who grows from various ages that could represent anyone, that enforces the idea that time should seen as a friend and ally as grow up. It’s all relative, as we renew ourselves at each stage. Remarkable work. 

Retro Reviews: Pink Floyd: Relics

 

    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. Some of the albums reviewed are lesser-known titles.

Pink Floyd - Relics (1971)

***

Producers: Norman Smith, Pink Floyd, Joe Boyd

Musicians: Syd Barrett, David Gilmour, Roger Waters, Richard Wright, Nick Mason

Songs: Arnold Layne, Interstellar Overdrive, See Emily Play, Remember A Day, Paint Box, Julia Dream, Careful With That Axe, Eugene  , Cirrus Minor, The Nile Song, Bike

Reviewed by Matthew Anthony Allair

    Compilations are always a dicey proposition until there’s some value for your dollar. On one hand, since the release of Atom Heart Mother, this is fine primer compilation for the uninitiated, it is a welcome place to see the “Arnold Layne” and “See Emily Play” singles in one place, and interesting to see such b sides as “Paint Box” and “Julia Dream”, the rest of the tracks are culled from The Piper At The Gates Of Dawn, A Saucer Full of Secrets and More soundtrack. “Bidding My Time” is an unleased track, and an interesting, dark music hall number. But considering the baffling omissions with the singles, “It Would Be So Nice, Point Me At The Sky”, or “Apples and Oranges”, or even the Syd era “Candy And A Current Bun” track, and there’s other issues based on rumors.

    While, “Interstellar Overdrive” is a fine track, due to its run time, it’s omission could have allowed “Astronomy Domine” or a few other b sides included. There have been rumors of two Syd era Floyd tracks, “Vegetable Man” and “Scream Thy Last Scream” that Barrett fans would have clamored to get. There’s also the rumor of a recording for “Embryo” that could have made a fine addition. Record companies are always redescent to finance double album compilations, but it has been done. If a double album had been realized, they could have included a few tracks from Ummagumma, namely “Grantchester Meadows” or a segment from “The Narrow Way”, or from Atom Heart Mother “If” and certainly something else from Saucer, such as “Jug band Blues” or “Set The Controls For The Heart of the Sun”. The album art was drawn by Nick Mason.

    Of course, this is all second guessing, but for the casual listener, this would be an interesting find, or for completists.  

Retro Reviews: Bobbie Gentry: Ode To Billie Joe

     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.

Bobbie Gentry: Ode To Billie Joe (1967)

****

Producer: Kelly Gordon

Musicians: Bobbie Gentry, James Burton, Mike Deasy, Jesse Ehrich, George Fields, Harold Diner, Barrett O’Hara, Jack Sheldon, Norman Serkin, Joseph Saxon

Songs: Mississippi Delta, I Saw An Angel Die, Chickasaw County Child, Sunday Best, Niki Hoeky, Papa; Won’t You let Me Go To Town With You?, Bugs, Hurry; Tuesday Child, Lazy Willie, Ode To Billie Joe

Reviewed By Matthew Anthony Allair

    In places, this is an astonishing debut, and Bobbie wrote all but one song, and she has a range with her vocals, raspy, gritty, sensitive. Of course the single has been generating a lot of attention, there’s a surface, yet subtext to “Ode To Billie Joe” that is indeed tragic. There’s a candor to some of these songs that separate them from some of the typical country fare you hear these days. The opener “Mississippi Delta” Is an up-tempo country blues with a rock accent. The harmony vocals give it an extra grit, the horns give it an extra ominous flavor, there's also some clever word play. “I Saw An Angel Die” is a sensitive, jazz pop flavored number, and shows a little of her vocal range, the melodic harmonica is surprising, there’s a sadness that makes you feel Gentry might be an old soul. “Chickasaw County Child” is another blues, there’s some good guitar support, and the arrangement even features either steel drums or xylophone, there’s some high strings near the end that give it an unsettling feeling. The lovely “Sunday Best” had a laid back feel and some further musical sophistication. “Niki Hoeky” is the album cover, and has a faster blues feeling with some honky Tonk electric piano, and Bobbie is able to sing in a higher register, an impressive

    “Papa, Won’t You Let Me Go To Town With You” is another narrative blues with a rich arrangement, although the arrangement almost overwhelms her vocals, but not quite. The whimsical “Bugs” is pretty self explanatory with some nice arrangement accents the illustrate the mood. The jazz flavored ballad “Hurry, Tuesday Child” has a relaxed feeling and Gentry’s delivery reminds me of some of Sarah Vaughn’s vocals. She may have come from the south, but there’s a certain depth I hear that is refreshing. “Lazy Willie” has a bleak quality to it, in spite of the country blues setting, yet to does evoke an effective mental setting, and it does seem to prelude into the album closer and title track. “Ode To Billie Joe” is something of a wonder, it paints a bleak picture of rustic, small town life, dressed in a table conversation, the mournful strings just add to the unsettling quality.

    While it is subtle with its execution, there’s some real artistry with the arrangements and Gentry’s delivery, she sits on a lot of blues seventh chords, but she does it well. Some of the finer points of her work may get lost for some listeners, she may be marketed as a country artist, but there’s a relatability to her songs that move her  little above some peers, along with a new artist like Dolly Parton, Gentry is one of the freshest singers and writers I have heard thus far. Recommended.

Retro Reviews: The Grateful Dead: American Beauty

 

    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 Grateful Dead: American Beauty (1970)

****

Producers: Grateful Dead, Steve Barncard

Musicians: Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, Bob Weir, David Grisman, David Nelson, Ned Lagin, Dave Torbert, Howard Wales

Songs: Box Of Rain, Friend Of The Devil, Sugar Magnolia, Operator, Candyman, Ripple, Broke down Palace, Till The Morning Comes,  Attics Of My Life, Truckin’

Review By Matthew Anthony Allair

    The Grateful Dead has taken a major step forward this year, and it is likely going to pay off with this album. After the slight psychedelic RNB infusion of their debut, or the psychedelic collage freak out of Anthem of The Sun, or Aoxomoxoa’s blending of the jam with a more focus on songs, meant the band was bound of redirect as they had done earlier in the year with Workingman’s Dead. In reality, the band was always built for the stage as demonstrated by their live album least year, and the epic excursion with “Dark Star”. They already view songs as a vehicle to improvise over, but they needed something more accessible for the public to grasp, which is why the new emphasis on song craft is a pleasure. Perhaps the impact of The Band and “Music From Big Pink” has carried an influence over to more bands than realized.

    The album opens with the country acoustic flavored “Box Of Rain”, Lesh takes the lead, the piano ornaments this with some very full acoustic guitars and electric support, the electric fills sound like an attempt at an electric dobro. Phil’s vocal has a certain vulnerability that works for the context of the song, the harmonies assure you are in familiar territory. Jerry’s “Friend Of The Devil” is another acoustic number that manages to be playful and some nice alternative picking, and Grisman’s mandolin adds extra coloring, there fixation with renegades is interesting. “Sugar Magnolia” is the first Weir number, electric with the more standard sound fans are familiar with, This is also the first track with the two and three part harmony that the public has grown to know. Bob remains the best lead vocalist in the band, but the writer usually takes the lead in the band, some pedal steel ornaments this. It’s difficult to not think that Crosby Stills and Nash isn’t influencing the Dead. Ron’s vocal on “Operator” will probably remind listeners of Johnny Cash or Elvis. The percussion interplay between Hart and Kreutzmann is notable on this track, and a touch of playful harmonica rounds this out. Jerry takes the lead on ‘Candyman”, the vocal and instrumental interplay with the band is good on this one.

    “Ripple” opens the second half; lyricist Robert Hunter has really helped the band’s focus with the types of themes he explores. There’s a sense of community that drives this song, and it’s possible it is about outsiders who feel broken. Various instruments weave around it, and a children’s chorus seems to round it out. Some piano and tack piano is the focus of “Broke down Palace”, Jerry pedal steel is quite nice on this, as he takes the lead again. The more up tempo “Till The Morning Comes” seems to harken back to their past work. A guitar through a Leslie and the rich three part harmony drives “Attics Of My Life”. It’s no surprise with the album closer, “Truckin’” became the perennial single, the track seems to sum of the electric folk and country flavor of the album, Howard Wales’s organ is especially strong on the track. Bob’s lead vocal really anchors the track and the bridge seems to take  knowing nod to the band’s history thus far, “What A Long, Strange trip it’s been.” Indeed.

    Phil’s lead bass work is strong throughout, and his bright tone cuts through. The guitar interplay between Garcia and Weir manages to stay fresh and interesting. Hart and Kreutzmann’s drumming takes a back seat often to serve the material, but they manage to showcase themselves at various points. McKernan’s harmonica work, although a little sparse, is tasteful and interesting. This is another nice step forward after Workingman’s Dead. The 70s might treat this band well, hard to say, we shall see. Recommended.

Retro Reviews: Genesis: Selling England By The Pound

 

    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. 

Genesis: Selling England By The Pound (1973)

****

Producers: John Burns, Genesis

Musicians: Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford, Phil Collins

Songs and Music: Dancing With The Moonlit Knight, I Know What I Like (In Your Wardrobe), Firth of Fifth, More Fool Me, The Battle of Epping Forest, The Cinema Show, Aisle Of Plenty

Reviewed By Matthew Anthony Allair

    First off, I’d like to disagree with some of my peers who suggest that Peter Gabriel is the sole visionary of the band. That he acts like a Svengali who controls the direction of Genesis. What I see from the credits are five immensely talented individuals, that are equals. This isn’t to diminish Peter’s talents as a vocalist or flutist, indeed, he is unique as a stage performer and as an idea man, he keeps the audience engaged. I don’t buy into the idea that Messiers Hackett, Banks, Rutherford or Collins count for very little, I think they do, and the continue to create some of the best Progressive leaning material out there. After Nursery Cryme and Foxtrot, this line up has settled into such a groove, it just leaves you curious with where they will go next.

    The opening track begins with some A Capella by Gabriel that sounds like an English hymn in “Dancing In The Moonlit Knight” before it settles into the soft acoustic number, then shifts minutes later into some playful figures from Gabriel and Hackett, the heavier fast section has some real life with Hackett and Banks’ solos. A lot has happened by the halfway point, and the grandeur of Bank’s choir mellotron and Garbriel’s vocal drives the narrative in the other half. The track does paint a picture of medieval chivalry and quests. It's obvious why “I Know What I Like (In Your Wardrobe)” is the perennial single, after an ominous synth drone, it has a catchy verse with the sitar figure, then strong chorus. In a lot of respects, the piano driven “Firth Of Fifth” is astonishing even before the full band enters for the vocal section, the somber section has a nice Gabriel flute solo, Banks reinstates the opening with the full band and impressive synth leads, Hackett’s reinstatement of the other section features some moody lead work. “More Fool Me” is the Collins vocal showcase, an acoustic ballad, Phil’s vocal approach different from Gabriel, his approach is more soulful and accessible, and it will be curious to see if he contributes further.

    “The Battle of Epping Forest” is less an historical reference and more a satire of British class culture. Gabriel has gotten better at taking on various characters vocally separate from the stage costumes, Banks and Hackett’s lead work in quite good, the opening part offers some fife and drums, with Gabriel playing some clever flute, the main body of the song has some real craft musically. Collins drumming is inventive and interesting in several sections. “After The Ordeal” is a baroque pop instrumental, nice acoustic piano and guitar interplay before the full band comes in at the mid-point. The resolve has some good lead guitar harmony from Hackett and Gabriel’s flute plays off of it nicely, with an album that already has some long features. 

    “The Cinema Show” might be the tour de force of the album, after a lovely, introspective opening, there are moments several minutes in where Gabriel is able to make his flute sound nearly like an oboe. The three-guitar interplay with Rutherford, Hackett and Banks has always been a strong feature of the band, and it remains true here. The Gabriel and Collins vocal blend with the backgrounds remain strong on this one. The last half of the instrumental section is evocative and, once again, some good and clever drumming from Collins. The brief “Aisle Of Plenty” just seems to be a restatement of ideas from the album.

    Overall, the production on the album and the mixes seems significantly better and more present than on Foxtrot and Nursery Cryme. The band has shown some new growth and it all hints at exciting possibilities for the next album. It will be interesting to see where they go next. Recommended.