Retro Reviews: The Velvet Underground: White Light / White Heat

     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 Velvet Underground: White Light / White Heat (1968)

****

Producer: Tom Wilson

Musicians: Lou Reed, John Cale, Sterling Morrison, Maureen Tucker

Songs: White Light / White Heat, The Gift, Lady Godiva’s Operation, Here She Comes Now, I Heard Her Call My Name, Sister Ray

Reviewed by Matthew Anthony Allair

    After the departure of Andy Warhol as a creative presence, and the departure of Nico, The Velvet Underground stand at an interesting cross-roads, can they manage a follow up to their debut from last year? What other interesting ideas do they have to offer. For that small percentage of people who listened in 67, their debut album was a shock to the system, it didn’t have the sensibility of California and it didn’t have any aesthetic like the British rock scene, it was unique. It is ironic that Verve Records, a label known for jazz innovation, would risk supporting bands like the Velvet’s or Zappa’s Mothers of Invention that stand in stark contract to their past, and yet both acts are truly innovative.

    For the bulk of the opening track and name sake, “White Light / White Heat” it manages to be accessible until it trails off at the very end, and should be the bell weather that this is going to be different, if not aa little difficult. The lyrics to “The Gift” is delivered as a spoken tone people behind a heavy two chord riff that evolves, the prose sounds like it’s taken from some semi experimental novel. “Here She Comes Now” is probably the second most accessible track alongside the title track, and it’s probably too short.

    The second half opens with the frantic “I Heard Her Call My Name”, parts of it sound like some R&B rave up. Yet Sterling’s feedback laced lead guitar jumps into some strange atonal and modal jumps. The final track “Sister Ray” opens with a heavy groove, and due to it’s sprawling ambition moves into interesting directions, Cale’s viola is about as distorted as the guitars, he also jumps to a Vox Organ to add coloring. Sterling’s guitar wails and trades with Cales Organ, the instrument’s distortion blurs into another. Before you are even half way through the organ sounds even more out there than anything Manzerek has attempted with the Doors, and that isn’t meant to diminish The Doors, just that the Velvet’s are reaching something that the Doors has been striving for. The lyrics are indeed gritty and crass and they don’t reflect person’s who are to be idealized. Once you are past the half way point “Sister Ray” sounds unrelenting. The noise of the organ and Sterling’s lead is chaotic. Something should be said about Maureen Tucker’s drumming, which while never elaborate, is steady and she serves the goals of the other players.

    This album isn’t as shocking for me as it might be for others, if you have followed the evolution of the free jazz movement from Ornette Coleman to John Coltrane. Or even the work of artist Gutav Metzger, there’s merit in the idea of noise as its own form of expression. The album seems to be attempting to break down the barriers of what is possible with rock music, and Lous Reed is such an astute lyric writer and observer of human nature – even when that nature is on the darker side. I could see the Velvet’s being a significant band for those who are receptive to it, and I could see others following their lead moving forward. This won’t be for everyone, but worth a few listens, and for the patient, something that could be captivating. Recommended.

Retro Reviews: Mahavishnu Orchestra: The Inner Mounting Flame

    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.

Mahavishnu Orchestra – The Inner Mounting Flame (1971)

****1/2

Producer: John McLaughlin

Musicians: John McLaughin, Rick Laird, Billy Cobham, Jan Hammer, Jerry Goodman

Music: Meeting Of The Spirits, Dawn, The Noonward Race, A Lotus On Irish Streams, Vital Transformation, The Dance Of Maya, You Know You Know, Awakening

Review By Matthew Anthony Allair

    After Mr. McLaughlin has enjoyed a nearly two year association with Miles Davis’s band, he’s decided to branch out. A man who has followed Indian culture, and a practitioner of Sri Chinmoy, his spiritual faith has become a component of his work and approach - the faith aspect will become important in a moment. Unlike John Coltrane’s spiritual faith which lead to the more abstract free jazz approach in the later half if his life. Mr. McLaughlin’s approach is more structured and focused, and his new band is building a new subgenre that will appeal to many rock fans. The path towards the fusion trend has been happening for awhile now. This album may be the apex of that direction.

    To say that John’s lead guitar work is incendiary would be an understatement: but he has put together a team that is equal to his skill and talent. Billy Cobham has been on the scene for awhile now, including stints with Miles, and his ferocity as a drummer is just about unmatched. Keyboardist Jan Hammer is a phenomenal new talent, and he keeps this material interesting and alive. Violinist Jerry Goodman is on par with the rest of the band, there’s some breathtaking moments. Bassist Rick Laird is another solid asset to the ensemble. This band is an important new step as demonstrated by the material.

    The mystery of the opening chords on “Meeting Of The Spirits” sets up the template, and a complex chord and rhythm pattern allows Goodman and McLaughlin free reign. John’s dexterity from the outset is unmatched, which switches to a slower melodic moment before the intensity resumes. Things scale back with the moody groove of “Dawn”, there’s a yearning introspection as McLaughlin and Goodman play in unison in the opener. John’s fire comes through as it progresses with the tempo shifts. It quiets down as it ends. There’s a heavy funk aspect to John’s playing on “The Noonward Race”, there’s a processed effect on Goodman’s playing. Hammer’s electric piano solo has another electronic texture at times that gives it an unreal element. Things are brought down with the lovely “A Lotus On Irish Streams” with some nice acoustic piano, acoustic guitar and violin interplay, a needed shift after the intensity of the prior tracks. Goodman’s violin has an Asian or Indian feel with the approach.

    Regarding the second half, Billy Cobham is allowed to be showcased at the opening of “Vital Transformation”, there’s a juxtaposition between the groove and the musical longing. Hammer’s organ ambiance takes on an unearthly, cosmic quality. The ominous chords set the mood for “The Dance Of Maya” with some great interplay with Cobham. It all shifts into a classic, and playful, blues shuffle in the last half. It becomes self-evident with further listening that McLaughlin may rival several rock players as you dig deeper into the album. “You Know You Know” opens with an introspective quality, basically a dark blues number. Hammer is allowed another showcase on the track as well as Cobham, a gradual slow burn. To say the least with the fiery “Awakening”, the band is at full throttle.

    Similar to the spirituality of Coltrane’s “A Love Supreme” and “Meditations”, McLaughlin’s approach shares the same unsettled searching for a connection of a deity, but he has put on his own stamp, and there’s simply some exhilarating playing throughout from everyone else on this album. There's more than one way to seek something greater than yourself. Recommended.

Perspectives: About that "Real Love" remix...

Perspectives: About that “Real Love’ 2025 mix…

By Matthew Anthony Allair

    Expectations and opinions have been all over the place and the new Anthology remastering’s and Anthology 4, after the significant success of “Now And Then” in 2024, and the reveal earlier this year of the “Free As A Bird” remix, the developments of the new mix with “Real Love” is a little baffling. I don’t have the same venom that some fans do over the new mix, in fact, I am not particularly invested in this. But I felt I had to address this as I have some insights into the issue.

    I feel a little like Michale Corleone from Godfather III: "I was out, and they pulled me back in." I didn't plan to write about this. 

    To begin with, remixes always get a strong reaction for fans who are familiar with an original track, and there’s always diminishing returns with doing such remixes, not everyone is going to be happy. The digital trickery of the A.I. that helped to separate John’s vocal from the piano on that demo used, was a great feat. It allowed more nuance and detail to be found in his vocal, and Paul with Ringo was able to realize a track that was intended for 1996, but the remaining band members back then just didn’t feel it worked, hance why it was absent from Anthology 3. People expected the same techniques would be used with the remix polishing of “Free As A Bird”, a track where’s Lennon’s vocal / Piano had a compromised edited quality, and John didn’t exactly feel like he was in the room. That 2025 remix was supervised by Paul and Ringo with only mild enhancements of the backing tracks from 1996, and overall, it felt like John was more present.

    With the success of two tracks, it was assumed that the same exact format would follow the new remix of “Real Love”, a song that some fans prefer over the others, and a song who’s 1977 Demo has a real fan following. But the results have been a mixed bag, indeed John’s vocal feels more present, but it also feels a little off. There is also the mixing down of some of George’s 12 string acoustic guitar parts. As well as changes to Paul’s ghost vocals, which felt mixed down for the sake of emphasizing John’s vocal.

    Now, in the past heyday of The Beatles, it wasn’t unusual for Paul and John to sing the same line in unison to thicken up the sound. In effect, Paul’s vocal on “Real Love” in 96, where to mimicked John was following in that direction. One of the complaints about the new mix is that John’s vocal sounds too thin or artificial, this is due to Paul’s absence with this mix. Now, many fans liked it when John would sound more vulnerable and stripped down, bhut there’s an argument to be made, in this case, it was a creative miscalculation. Also, Ringo’s drums feel a little more present, but the bass feels like it lacks some punch on this remix. Some people feel that they subtracted more than added, and that wasn’t really the mission statement. 

    How did we get here as far as who signed off on this? Apparently, nor Paul or Ringo approved or supervised the mix, and Giles Martin wasn’t involved with this. There was a mis conception that Jeff Lynne was involved due to his recent remix of “Real Love”, but he wasn’t involved. The one person who was involved with approving the mix was Sean Lennon, and it was also reported that Dhani Harrison was involved, but that seems baffling that he was sign off on the tweaks to Geroge’s guitar parts, we’ll get back to that in a moment.

     Regarding Sean’s involvement, it isn’t much of an surprise when you consider his heavy involvement with the remixes on the Gimmie Some Truth box set. Sean is a veteran musician and producer at this point, and since he has been appointed control over the Lennon estate and call business ventures related to John’s solo music. It is natural for Sean to want to see his father’s vocals presented in the best possible light, and the “Truth” box set did recontextualize his father’s songs to more moder ears. But Sean may have been so blinded by certain goals, he may not have seen the bigger picture regarding the track, some of the nuances that listeners would have felt. I don’t think Sean did anything with any real malice, just a possible short sightedness.

    This is where I can conject on the behind-the-scenes politics of certain decisions, but I have no proof, just an impression. When the game plan developed for the “Now and Then” project and the refurbishing of the Anthology enterprise in 2023, There may have been a agreement that Paul with Ringo would supervise the remix for “Free As A Bird” and Sean would supervise the remix for “Real Love”.  Again, I heard that Dhani was involved, but it’s possible his input was limited, or his suggestions were ignored. I can’t say.

    Sean has some peculiar ideas about how his father should be remixed, as evidenced by some choices in the Gimmie Some Truth set. The other figure that has not been involved with these projects is Julian Lennon, and in this case, I think his absence was a mistake. Julian was known for being good friends with Paul, and I suspect his perspective would have been, and offered, helpful input to the remix process. Why is there so  much possible politics have to do with Yoko Ono, as much as she is in retirement, and in the gradual decline expected in the winter of a person’s lifespan, she still may have some influence, or due to polite circles, a reluctance to alienate her, as it is pretty evident that Sean is seem as the defector heir to the Lennon estate, and almost always presented by some in the media as the sole son of John Lennon, some argue that Julian’s presence is inconvenient. It should also be noted that Sean and Julian get on quite well, and there’s a media construct to divide them that simply bears no relation to reality.

    I don’t want to pile on about Sean, I have no issues with him, and it does seem that the bile and bias against Yoko Ono, has shifted over to Sean in some circles. He seems like a very nice man. I feel that the racism and misogyny against Yoko has been so over the top for decades, that people lose their objectivity over her, as much as I don’t always agree with his past decisions. Nearly all of the baggage against Yoko has nothing to do with Sean, he inherited a history that has almost nothing to do with him, but fair is fair, and if he had a hand in the creative choices  of the “Real Love” remix, it was a misstep, and an example of the ‘emperor has no clothes’, there’s valid criticism over if the best choices were made this time.  

    The Beatles were a democratic band; all decisions were voted by them. We are edging to the point where the offspring of The Beatles should have an equal vote, and signing off, on all future projects, either remixes or A.I. projects. It will be interesting to see why the dynamics shifts once Yoko passes. Many of the Beatles siblings are musicians and producers in their own right. This is true with Julian, Zack Starkey, James McCartney and Dhani. All family members should have veto power regarding these decisions, as the original members fought for the legacy of their children and great grandchildren.

    It does not really matter if the widows of John and George would displeased by such a democratic decision, be it Olivia Harrison, or especially Yoko Ono, it is irrelevant to a greater good. No one person should have a single say for the sake of diplomacy. 

    On one hand is it just a mix of another song, one of many, and who cares. But a day is coming when Paul and Ringo will no longer be here as well, and if this was a ‘test case’ to see how certain decisions were made, I feel there may need to be a sober discussion over how many people should sign off on these matters.

    Personally, in the greater scheme of things, I don’t really care, and I am indifferent to the arguing over the mix of a song, but old and new fans still care about the details, and I can’t really discount that.

I'd like to add a comment about that new mix of "I am The Walrus" which just focuses on the strings and horns in the new set. The backing track is just a quiet reference, and you can really hear certain details about George Martin's arrangement. Mr. Martin may not have been the 'fifth Beatle', no one was, but his instinct and imagination as an arranger brought forth some great things. The strings have such a heavy, almost metal vibe to them, be it instructions over how the cello and strings players were supposed to attack or brush the strings, there's an abrasiveness to the sound that adds to the finished product. That could also be how it was engineered and recorded as well. I have always been an advocate for Martin's original composing skills, both the orchestral score for Yellow Submarine and his score for Bond's Live and Let Die, his instincts carried over to how he arranged for The Beatles. He was imaginative in his own right. Pardon the digression. 

    There might be more information that may come out about this, and so this piece is fluid, we shall see. Nevertheless, it is still a miracle that we got three more Beatles songs in our lifetimes, be it the mid-90s or 2024. Futrue generations won’t be able to make the claim they lived through that. 

Retro Reviews: Todd Rundgren: Something / Anything?

 

    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.

Todd Rundgren: Something / Anything? (1972)

****

Producer: Todd Rundgren

Musicians: Todd Rundgren, backing on various tracks, Rick Valentte, Randy Reed, Collie Reed, Mark Klingmen, Rick Derringer, John Siegler, John Stomos, Randy Brecker, Michael Brecker, Barry Rogers, Hope Huff, Vicki Robinson, Dennis Cooley, Cecilia Norfleet, Amos Garrett, Ben Keith, Jim Colgrove, Billy Mundi, Robbie Kogele, Ralph Walsh, Stu Woods, Bugsy Maugh, Gene Dinwiddle, Rick Vito, Charlie Schoning, Tony Sales, Hunt Sales, Jim Horn, John Kelson, Brook Baxes, Anthony Carrubba, Henry Fanton, Edward Olmos

Songs: I Saw The Light, It Wouldn’t Have Made Any Difference, Wolfman Jack, Cold Morning Light, It Takes Two To Tango (This Is For the Girls), Sweeter Memories,  Intro, Breathless, The Night The Carousel Burned Down, Saving Grace, Marline, Song Of The Viking, I Went To The Mirror, Black Maria, One More Day (No Words),  Couldn’t I Just Tell You, Torch Song, Little Red Lights, Overture-My Roots: Money (That’s What I Want), Messin’ With The Kid, dust In The Wind, Piss Aaron, Hello It’s Me, Some Folks Is Even Whiter Than Me, You Left Me Sore, Slut

Review By Matthew Anthony Allair

This is a sprawling, if not a little indulgent, album by Mr. Rundgren that may act as a calling card for an interesting recent past catalogue. His prior two bands, The Nazz, and then Runt, had managed to put out several albums, and had a few moderate hits with Nazz. This album feels like a creative purge of material that Todd has been sitting on for awhile, both focusing on the present, as well as looking at the past. Each side has a humorous description, side one: A Bouquet of Ear-catching Melodies, Side two: The Cerebral Side, Side Three: The Kid Gets Heavy, Side Four: Baby Needs a New Pair of Snakeskin Boots (A Pop Operetta). All of which gives the listener a vague idea over what to expect, this also gives the listener the freedom to pick and choose what to try out. This pouring of material reminds me of George Harrison’s All Things Must Pass, another situation where he had a backlog of ideas. Nevertheless, this is a bold move for a little-known artist in certain circles, but I have a feeling that is about to change.

The opening track “I Saw The Light” is already a perennial favorite on the radio, catchy, with some nice harmonized guitar leads, and tuneful background vocals. The next track, “It Wouldn’t Have Made Any Difference”, has the potential to be another single. “Wolfman Jack” has the feel of an RNB rave up, of course, the figure mentioned is a famous radio DJ from the 50s and 60s, this plays on a universal nostalgia. “Cold Morning Light” takes things down a little as a pleasant ballad. “It Takes Two To Tango (This Is For The Girls)” is a musically rich and rhythmically complicated number that may take a moment to get one’s bearings. “Sweeter Memories” is a mid-western soul ballad with some good jazz flavored vocal harmonies.

Side two opens with the odd, and helpful introduction that segways into the instrumental “Breathless”, a synth heavy number that seems to be taking a nod to the evolving Progressive rock movement. It takes a playful shift into tango blues. “The Night The Carousel Burned Down” has an odd waltz time feel, as well as a art pop sensibility within the carnival guise, as well as having a little of the invention of Brian Wilson. “Saving Grace” has a truly bizarre opening before it shifts into some comfortable pop with Rundgren’s rich vocal harmonies. The art pop spirit continues with “Marline”, the Wilson influence creeps in again with layers of melodic bells. This is followed by the tuneful and idiosyncratic “Song Of The Viking”. The side closes with the somewhat disjointed and experimental “I Went To The Mirror”. This side seems to be playing with the form of what music could be.

Side three opens with the dynamic, heavy, gospel infused “Black Maria”, some good brash guitar interplay within. The ballad “One More Day (No Word)” has a missing for the holidays longing, nice harmonies, it also demonstrates Todd’s natural song craft. “Couldn’t I Just Tell You” is the closest thing to the kind of powerful pop that Badfinger has been producing. “Torch Song” has an ambient mood as a ballad that will harken back to Brian Wilson. “Little Red Lights” has a Hendrix like opening before it settles into a modern RNB number with some clever drumming. This side lives up to it declaration as well as holding some of the more experimental ballads.

Side Four is dedicated with looking back at the past. The garage rock of the medley, “Overture: My Roots: Money (That’s What I Want / Messin’ With The Kid” has a raw , bootleg quality with it, of course, The Beatles had recorded ‘Money’ back in 1963, the track has a collage feeling. “Dust In The Wind” wasn’t written by Todd, but this RNB cover has a gospel feel and accented by some nice horns and solos. “Piss Aaron” is a whimsical, pop blues number with a dobro country accent. The afford mentioned “Hello, It’s Me” is an older Nazz number has been retooled, more up-tempo, with a real vibrancy beyond the dirge approach, and it’s not surprising it’s the other perennial single. “Some Folks Are Even Whiter Than Me” is a more up-tempo pop rocker with a whimsical edge., and some great horn soloing, and guitar leads. The next track begins with some studio banter and false starts before “You Left Me Sore” begins, another accessible ballad. The closer “Slut” is another mid-tempo rocker that rounds out the whole affair. The bulk of the studio banter on the final side helps to make you feel like you are eavesdropping as well as adding to a controlled live feeling. The entire experience will leave you feeling entertained and one of left with the sense that Todd Rundgren is going to be an important force in the decade, while highly excentric, rewarding as well.

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: Jefferson Airplane: After Bathing At Baxter's

 

    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.

Jefferson Airplane: After Bathing At Baxter’s (1967)

**

Producer: Al Schmitt

Musicians: Grace Slick, Paul Kantner, Marty Balin, Jorma Kaukonen, Jack Cassidy, Spencer Dryden, Gary Blackman, Bill Thompson

Songs and music: The Ballad Of You and Me and Pooneil, A Small Package Of Value Will Come To You, Shortly   , Young Girl Sunday Blues, Martha, Wild Tyme (H), The Last Wall Of The Castle, Watch Her Ride, Spare Chaynge, Two Heads, Won’t You Try / Saturday Afternoon

Reviewed By Matthew Anthony Allair

    It’s pretty surprising that some peers are praising this album, perhaps it has to do with Northern California geography, I can’t say. But after the success of Surrealistic Pillow, this feels like a letdown. That album had two Bonafide hits with ‘White Rabbit’ and “Somebody To Love”, as well as interesting instrumentals like Embryotic Journey”, as well as balanced mixed of songs where everyone contributed. The one notable absence is Marty Balin who only co-writes one song on this, and you can really feel the difference. Now, Kantner is a fine song writer, but his commitment to experimenting with the structure of songs can be a great risk, and it doesn’t pay off. However much The Beatles experimented with Sgt. Pepper, there was a cohesiveness with the writing, as much as the embellishments broke from the norm. I have no problem with experimenting with the form of music, but there has to be some real craft and focus, you can see my prior review about John Coltrane’s Meditations to see when the experimental risks pay off. Too much of this album, feels aimless and not focused, aside from the risk of breaking from the commercial. The weak material sabotages the good material that can be found herein.

    “The Ballad Of You and Me and Pooneil” is the perennial single, as well as the album opener, but it’s an odd opening statement - it sets the tone but it leaves the impression that the album will amble. The short piece, “A Small Package of Value Will Come to You, Shortly” has some free jazz drums and vibes, that just don’t work, and conversations that just spout cliches. The only Balin co-written number “Young Girl Sunday Blues” is the first strong number with some good harmonies between Balin and Cassidy. “Martha” is the first acoustic number with some clever drumming, and the kind of harmonies between Slick and Balin that seem like a natural fit. “Wild Tyme (H)” starts off for a moment promising, but the instrumentation and vocals seem to tumble over each other, and it seems to lack focus. “The Last Wall Of The Castle”, like the prior track, feels aimless, but the middle section tries for something heavy, but it doesn’t work.

    At least the side two opener, Slick’s “Rejoyce” has some interesting moments between the atmospheric piano and horns, and it seems to grow in strength as it evolves. “Watch Her Ride” reminds me of the vide of The Rolling Stone’s “Have You Seen Your Mother, Baby, Standing In The Shadows?”, but this simply doesn’t work. The long “Spare Chaynge” just opens with aimless noodling for the first two minutes before it get’s focused. It feels like a band struggling to find an idea, and it’s in stark contrast to the focus of Pink Floyd’s “Interstellar Overdrive”. It does double up in the second half, but it needed some good editing. “Two Heads” has a good Slick vocal and some interesting harpsicord embellishments, but it meanders. There’s some fleeting promise with the album closer, “Won’t You Try / Saturday Afternoon”, but it ends up feeling as aimless and unfocused as other tracks. The Airplane are as much as jam band as the Grateful Dead, but something has to translate in the studio verses the live performance. Looks like they forgot that. 

    I take no pleasure in not caring for this album - the prior album held such promise for the future. Rumor has it that there was some other material they scrapped to go in this direction, perhaps that was a mistake. This feels like an album that began with the best of intentions, but it doesn’t translate into anything focused enough the grip the listener. I hope this album doesn’t cast doubt into the relevance of the band. Perhaps they were embarrassed by the success of the prior album, I can’t say. Only for the merely curious.

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.