Retro Reviews: New York Dolls: New York Dolls

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

New York Dolls – New York Dolls (1973)

***1/3

Producer: Todd Rundgren

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

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

Reviewed By Matthew Anthony Allair

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

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

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

The Big Four: The Beatles

 

The Big Four: The Beatles

Photo: Robert Freeman

Article by Matthew Anthony Allair

    There’s a good argument, that is yearly made, that the Beatles remain the most relevant band out there, just about everything that came out since their end in 1970 as far as bands and solo acts, are just variations on the ground they broke. It’s almost impossible to ignore their work, even with acts that don’t cite them as an influence, there’s often some musical element that can be traced back to them. I would argue that every period of the band is important. Their evolution from 1963 until late 1965 is startling, to compare, only a few bands saw as much growth as the Beatles. They were blessed with several miracles, first, there is the fact four that super talented men happened to converge from Liverpool near the end of the 50s. Most musicians have a difficult time finding other musicians they are in sync with, forming bands that gel is not an easy task.

    The other miracle is that they found a manager with Brian Epstein who was so well intended, and protective, the rock scene is littered with less than honest managers who don’t protect their artists. For example, let’s compare The Beach Boys to the Beatles. The Beach Boys and the Wilson brothers were saddled with a tyrant of a manager and father with Murry Wilson, who also acted as their Producer until Brian Wilson took over. The Beach Boys were also plagued with a record label, Capitol, that were content to just have them follow the formula that was set up in 1963. Brian had to fight to evolve the music and it wore him down. The Beatles were blessed with Producer George Martin, that while he may have been strict in the beginning around 1962, Martin recognized their growth early on and didn’t inhibit them, and became a creative partner. Thus, allowing them to expand and redefine the decade. It also helped that Brian Epstein accepted their decision to stop touring and just record after 1966. He very easily could have insisted, as much as the decision was detrimental to him, Brian gave The Beatles the space to create. We have already covered Revolver and Magical Mystery Tour here. 

    Much of the early work from 1963 till 1965 had magical moments, they had massive hits, but it is the work from 1966 onward that is now seen as important. The UK Help album showed real growth with “Ticket To Ride,” the flutes on “You’ve Got To Hide Your Love Away”, and the string section on “Yesterday”, or “Help!, The Night Before, You’re Going To Lose That Girl,” or “I’ve Just Seen A Face”. All of which hinted at what was about to unfold in the second half of 1965. As they started to meet their contract obligations with the first two films, and their touring schedule, they had the clout to grow. If The Beatles had been an American band and on Capitol Records, they probably wouldn’t been allowed to develop in the fashion they did. With Parlophone, they could do anything and the next few years would prove that. 

Photo: Robert Freeman

Rubber Soul (1965)

    Rubber Soul is often described as the ‘wood and smoke’ album, it may not have featured outside musicians, but with the advent of the sitar, or Martin’s use of a slowed down and speed up piano, giving at least one track an Elizabethan harpsicord feel, or the much more present use of acoustic guitars, electric, and more exotic instruments, the album was the fusion between rock, folk rock, soul, baroque, and proto-psychedelia. The Beatles served notice that the full album as art had arrived. The influence of Bob Dylan was already self-evident on the Help! album, but it’s even more so here. While the instrumentation isn’t all that different on Rubber Soul, it feels different. There’s an added complexity on various numbers to be found here, argumentatively, there’s only two weak numbers on the album, but there’s a vitality to the rest of the material that one can’t ignore. One should note the singles recorded during the sessions, John’s riff rock on “Day Tripper”, and Paul and John’s folk optimism of “We Can Work It Out”, both hinted at what was on the way. 

    On one level, the opening number “Drive My Car”, which was a big hit for them, feels like a typical electric number, but there’s notable shifts. George’s twang guitar would be imitated by countless players at the end of 65 and through 66, the interplay between John’s single line guitar and Paul’s piano reveals an added growth. As well as playfulness with Ringo’s drumming and tambourine. John’s “Norwegian Wood (This Bird Has Flown)” shows incredible development with John’s acoustic guitar, and George’s first dalliance with the Sitar, an instrument that had been used as source material in western music, Lyrically, John’s narrative about a dalliance with a woman. Paul brings in the soul and RNB with “You Won’t See Me”, a piano anchors the number along with counter point melodies, another one of his songs about Jane Asher. John’s “Nowhere Man” is another marvel, and another hit. One should not ignore that the Beatles were not using standard chord voicings on the album, but inversions, therefore there’s an added depth and complexity here. The three-part harmonies enhance John’s lyric, and George’s bright lead guitar lines give it an extra shimmer. George’s “Think For Yourself” show’s more hints of growth, aside from Paul’s standard bass playing, there’s his added fuzz bass, which gives this a slight edge. More piano drives John and Paul’s “The Word”, a clever slogan for more than romantic love, the added harmonium is a nice touch. Paul’s “Michelle” has become iconic, the background vocals give The Beach Boys a run for their money, George’s tasteful jazz tone guitar solo seems so apt.

    The second half opener, the country flavored “What Goes On” is a showcase for Ringo, and some country shuffles from Ringo, and George is allowed bring out his rockabilly fills, but probably the weaker number on the album. John’s “Girl” feels like a Russian folk tune or dirge with some vivid lyrical content and a dose of John’s philosophical edge. John had a history of depression filled moments. Paul’s “I’m Looking Through You” is probably one of his most scathing numbers, one is hit with that lead guitar and organ accent, the sad realization when a person you know had been hiding who they are, another Jane related number. John’s “In My Life” has become one of his most enduring numbers, even George covered it on his 1974 Dark Horse tour. George Martin’s speed up piano managed a harpsicord quality, and Bach sensibility. John’s “Wait” manages some volume guitar from George, more a true co-written number with Paul’s bridge and vocal. Probably one of Harrison’s first great numbers “If I Needed Someone” and his 12-string work had a huge impact on countless players, The Byrd’s would lean into that sound, decades later you could still hear the stylistic influence, for example, on Queen’s “Long Away”. John’s “Run For Your Life” is probably the weakest number, despite its blue’s country feel attempts. Years later. John admittedly dismissed the number. Nevertheless, 12 of the numbers are real gems, and many took on an iconic status.

Cover: Peter Blake

Sgt. Pepper’s Lonely Hearts Club Band (1967)

    Yes, I admit, Sgt. Pepper isn’t my favorite album of theirs, that honor goes towards Revolver and one other title in this article. But Sgt. Pepper is a significant album, and a real game changer for them. For those paying attention to the importance of Revolver, there were clues that they were developing, and this album in some ways felt inevitable. It broke ground in many ways, the arrangements, the production, the use of the gatefold and printed lyrics, and the added inserts. It wasn’t really a concept album, but thematically, it pulled the audience in as though you are at a public square or Galizio, and you were being presented with a musical fantasy, just ignore the psychedelic embellishes, and you get an entertaining diversion that is brought back to reality with the final number. The album is awash with Pianos, Organs, Harmoniums, mellotrons, a swarmandel, sitars, various percussion, tape loops, and their guitars.

    It also feels futile to describe these iconic numbers, so I will offer the highlights. The band had already used audio source material before with Revolver, but the clever crowd sounds set the tone, the trio of acid guitars of “Sgt. Pepper Lonely Heart’s Club Band”, and punch of Ringo’s drums state what the listener will hear. Ringo’s showcase on “With A Little Help From My Friends”, is one of the rare Lennon / McCartney collaborations, something we’d see less of. John’s surreal fable on “Lucy In The Sky With Diamonds” was simply inspired by a child’s drawing, and Lewis Carol. Paul with John’s “Getting Better” has an optimistic yet dark edge to it. Paul’s “Fixing A Hole” feels like an appeal to focus less on trivial people, and what matter’s. George Martin was too busy to work on it, so Paul had someone else work on the strings for “She’s Leaving Home”, a number where John has a sympathetic read. John’s “For The Benefit Of Mr. Kite” has a carnival or fairgrounds feel, and some incredible tape loops from Martin and engineer Emerick.

    With side two’s opener, George wasn’t about to let himself be outdone, so he brought in the exotic philosophy of “Within You, Without You”, a piece that has grown with stature over time, his second number with Indian instrumentation. Paul’s “When I’m Sixty-Four” was an old number he dusted off, the music hall, or vaudeville quality of the number, it offers a fresh contrast to the rest of the material. “Lovely Rita” is probably one of the slighter Paul numbers, but George Martin’s piano solo with that unusual delay gives it an orchestral quality. John’s “Good Morning Good Morning” is the other slight number, but the overdriven horn section gives it an extra bite, and that fuzz guitar lead has a vibrancy to it. The animal segway is enormously clever. The “Sgt. Pepper (Reprise)” leans into a greater edge with the guitar work, the number gently guides the audience back into real life. The masterful “A Day In The Life” is the ‘reality song’, this is after you have exited the movie theatre, or leave the circus tent, or fairgrounds, and are back in the parking lot and facing the daily grind again, hence why ‘Day’ is the ‘reality’ number, and leave it to John to bring some grounding to the proceedings. Few had heard experimental orchestrations like it on a commercial record, but I think everyone knew we had reached the Rubicon due to the album – nothing would be the same again in pop or rock music. 

Design: Richard Hamilton

The Beatles (White Album) (1968)

    The second half of 1967 was taken up with the Magical Mystery Tour TV film and the album / EP, but the Beatles seem to have intuitively known they had to get back to basics. Of course a big part of this album’s origin was the Rishikesh, India sojourn to see the Maharishi Mahesh Yogi’s meditation ‘guide course’, but only half the band stayed for two months, nevertheless, the outing was highly productive, much of the material on their eponymous album was written there and then demoed at Harrison’s home in Esher. They were so productive that other material would be used for Abbey Road, a little for Let It Be, and even a few songs would appear on McCartney’s and Lennon’s early solo albums. Released as a double album, The Beatles might be their most audacious release and my second favorite album, the album just about encompassed every style of music imaginable, short of funk music that is, but there’s a lot to digest with the album. This is the closet to the Beatles producing themselves, with George Martin coming and going through the process. This was the first time that future producer Chris Thomas was given a notable role during the sessions. 

    The first clues about the album were Paul’s iconic “Hey Jude” and John’s proto metal with the “Revolution” single. There was also Paul’s “Lady Madonna” and George’s Bi side last Indian flavored, as singles. “The Inner Light”. The band decided to strip things down after all of the ornamentation of the prior year’s psychedelic experimentation. But the white album is a fascinating work, I admit uneven, not all of it works, but the highlights outweigh the drawbacks. The minimalist album design was another clue this was less elaborate. Nevertheless, there are still psychedelic elements within. After the audio effects, Paul’s “Back In The U.S.S.R.” is a kind of humorous nod to the Beach Boys, and offers a clever twist. John’s “Dear Prudence” is a Travis picked wonder, a haunting number that build’s in dynamics. John’s “Glass Onion” is another word play nod to recent songs, he was already spoofing the over analysis of the band’s lyrics. Paul’s “Ob La Di, Ob La Da” is a playful, fantasy narrative of a Caribbean life. Paul’s other throwaway is the acoustic “Wild Honey Pie”, a Spanish flamingo leads into John’s “The Continuing Story of Bungalow Bill” features a few mellotrons, and a big crowd chorus, including the first cameo of Yoko Ono, a satire about animal hunting. Then there’s the iconic “While My Guitar Gently Weeps” by George, with a little help from Eric Clapton’s electric lead, John plays organ, and Paul gallops on Piano. The first side is all rounded up with John’s “Happiness Is A Warm Gun”, one of his more adventurous numbers with four sections and a good dose of his whit.

    Paul’s “Martha My Dear” opens side two, one of his most dexterous piano pieces with Martin’s sympathetic scores. John’s “I’m So Tired” and it’s langued pace matches the lyrics, even John’s random numbles ease into the next number. Paul’s “Blackbird”, an acoustic, baroque ballad has a lingering power after the decades. George’s satirical “Piggies” is a clever comment on class warfare. Paul’s “Rocky Raccoon” is a western parody with some nice old saloon tack piano, all of which segways into the Ringo original “Don’t Pass Me By”, a country number and it is fitting that Ringo would write it, considering his affinity for that genre, he would release a country album at the start of his solo career. Paul’s “Why Don’t We Do It In The Road?” was just about a one man show, John was later disappointed he wasn’t involved. Paul follows it with his lovely ballad “I Will”, a bossa nova where John and Ringo helped with percussion. The side two closer, John’s “Julia” is a wonder, another intricate acoustic guitar piece from him, that is a touching tribute to his mother.

    Side three opens with Paul bringing back the whole band for “Birthday”, one of the more rousing rocker’s in the set. John’s full band number, “Yer Blues” is a satire on the genre, and while Clapton does not play on it, the lead work does capture the feel of Clapton, hence why people were confused over if Eric was involved. Paul’s “Mother Nature’s Son” is another touch acoustic number with tasteful horns arranged my Martin. John’s “Everybody’s Got Something To Hide Except for Me and My Monkey” is one of the more unabashed rockers on the album with an abrasive tone and manic vocals from John, the track was slightly speed up in the final mix.  John’s sardonic “Sexy Sadie” was a satirical dig at the Maharishi, where the guitars have a strange quality to them. Paul was able to match John’s energy with the heavy “Helter Skelter”, a rocker about a British playground spiral slide, where manages to capture the hyperkinetic joy of childhood. George’s “Long Long Long” is a hymn to God, with an eerie organ, manages to close out the side. 

    Side four is probably the most problematic. The energy of the album flags at this point. John’s “Revolution” is great, and I prefer the ‘soulful album version’ to the faster single release. After “Wild”, Paul’s “Honey Pie” is significantly better number, another music hall, vaudeville number with a nice little jazz guitar solo from John. Of the four Harrison number’s, “Savoy Truffle” is probably the weakest, but a fun number, with some meaty, and distorted horns. George’s lead and the horns have a nice interplay. John’s “Cry Baby Cry” is a folk flavored number with nice dynamics between the piano, harmonium and organ, John’s vocal has a relaxed, soulful quality to it. Paul’s “Can You Take Me Back” leads into the infamous “Revolution 9” a musique concrete piece that manages to have some brief interesting musical ideas within the strangeness and humor, and manages to still be a stronger result than John and Yoko’s three other experimental records at the end of the sixties. John’s “Good Night” with a lead vocal by Ringo and a lush orchestration and choir from Martin, is a welcome balance to the side and to close out the album. 

    There was a lot of tension during the making of the album, in spite of the many full band performances, often they would work in pairs on various numbers, or work solo. They were simply growing up and apart, but the public didn’t know that. Still The Beatles album is a high watermark of their catalogue.

Photo: Iain Macmillian

Abbey Road (1969)

    The last half of 1968 saw the release of the animated Yellow Submarine film and album that would soon be released in early 69. Paul tried to unify the band to play as an actual band again, the Get Back film, which would later be retitled Let It Be in 1970, was an attempt to film them rehearsing with the plan to do a live concert at a special event. Their productivity through January of 1969, from the rehearsal to session recordings, but the project was shelved by the start of February, Two non-album singles were released, Paul’s “Get Back”, which would appear on the 1970 album, and John’s “Don’t Let Me Down”. There’s was George’s “Old Brown Shoe”, a great number with a vibrant guitar solo that was released as a double A side, and John’s “The Ballad Of John & Yoko”, which would feature John and Paul playing everything when the lads were away. The album that would become Abbey Road was something of a compromise, but with George Martin having a more predominant role, engineer Geoff Emerick would have an important role, and would deliver a sonically impressive, and a young Alan Parsons, whom would be a major force through the seventies, was the assistant engineer.

    A number of material from the 68 India sojourn would be featured on the album, much of it had been rehearsed during the Get Back project, Paul talked John and George to be more fully involved, this would be to George’s great benefit as he would deliver the best songs and his two iconic singles. Even Ringo would write a song that would be a future single. There’s a feeling and Paul and John finally appreciated the value of George and Ringo enough to give them a fair shake. Aside from Martin’s musical keyboard contributions, Billy Preston acted as nearly a fifth Beatle with his Organ work. John’s “Come Together” which began as another non-sense words type of piece was helped by Paul’s swampy bass, and the harmonized guitars. George’s “Something” is masterful, with great playing from Paul and Preston’s organ. George’s guitar solo channels a trace of Clapton’s melody, yet it is his own. Paul’s “Maxwell’s Silver Hammer” has a musical hall quality, some dark humor, and odd feel. Paul’s nod to blues “Oh Darling” features one of his best vocals and has taken on a certain stature over the years. Ringo’s “Octopus’s Garden” had a little help from George, has remained one of their more endearing songs and fitting was it would be another country number. John’s “I Want You (She’s So Heavy)” remains groundbreaking, a cross between a proto metal number, and a lounge blues jazz number, its white noise build up near the end, and the abrupt edit is jarring at first listen but highly effective.

    George opens the second half with his iconic other number, “Here Comes The Sun”, the instrumentation is so perfectly balanced between George’s intricate guitar, Martin’s orchestration and tasteful keyboard flourishes George reached his first peak – but it wouldn’t be the last. The reverse Beethoven of John’s “Because” would the last time anyone would see their complex three part harmony, which was done with multiple passes. ‘The medley’ as it would become known began with Paul’s “You Never Give Me Your Money” was the first hint to the public that this was the end, but it also featured the acknowledgement of great freedom looming. John’s “Sun King” was inspired by the feel of Fleetwood Mac’s “Albatross”. John’s “Mean Mr. Mustard” and “Polythene Pam” were more numbers from India. “Mustard” represented John’s musical hall take, and “Pam” was a nod to his early Rock N Roll influence. Paul’s “She Came In Through The Bathroom Window” would be one of his more durable numbers and covered by other, and dress up here with a rockabilly feel. There’s a brief reprieve before the remainder of the Medley finished it out. With’s Paul’s final trio, “Golden Slumber’s, Carry That Weight” – based on a 17^th Century poem - and “The End”, where Paul manages a great vocal out of “Slumbers”, and “Weight” manages to tie back “You Never Give Me”, the dynamism of “The End” is nearly legendary. There’s an exuberance to Ringo’s drum solo, and the dueling guitars between Paul, George and John., and the band’s closing statement, which Paul described as a ‘couplet’, summed up the spirit of the band - the love they made was indeed equal to what the public took from them. The Beatles even managed a ‘bonus track’ before anyone thought of it with Paul’s “Her Majesty”.

    Ultimately, Abbey Road was a master class in song writing, arranging, performance and recording, The Beatles had said everything they needed to say, there would be one more posthumous album, but this was their final goodbye, and they just about went out with a bang.

    Post Beatles, most bands would try to emulate what they did, but nearly all of them just couldn’t match it. There was an magical chemistry as players by them that others just couldn’t define. Many people have tried to sound the notes without playing the music. In the end, the Beatles were not overhyped but represented the best of the sixties. 

Retro Reviews: Big Star: #1 record

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

Big Star – Number 1 Record (1972)

****

Producer: John Fry

Musicians: Alex Chilton, Chris Bell, Andy Hummel, Jody Stephens, Terry Manning

Songs: Feel, The Ballad of El Goodo, In The Street, Thirteen, Don’t Lie To Me, The India Song, When My Baby’s Beside Me, My Life Is Right, Give Me Another Chance, Try Again, Watch The Sunrise, ST 100/6

Reviewed By Matthew Anthony Allair

    New underground band from Tennessee has a creative duo that seems to want to model after Lennon / McCartney, But Big Star, while sharing similar elements from that power pop genre, seems to be also built on something different, they may be closest to the spirit of the British band Badfinger. The songs written by Alex Chilton and Chris Bell are often rather stellar, as well as an additional number from Hummel. Alex and Chris have very different voices, but they balance each other out well. The support from Hummel and Stephens works well to serve the material. Some of what Big Star does isn’t that different than some of The Byrds material, but there’s an additional intimacy, a more dryer sound, where production sweetening is done for effect, all of which pulls the listen in. I have to agree with Lester Bang’s early assessment with this band.

    The opener “Feel” is an odd number that may have been selected as a tone setter, but the next three group of songs are stellar. “The Ballad of El Goodo” has an infectious folk-based chorus, some of the lovely, intricate guitar work mirrors the vocal, there even might be a harpsicord present, the bright twelve strings make if difficult to discern. This already feels ahead of anyone else at the moment. Bell’s vocals are enrapturing. The power pop of “In The Street” has some great intricate guitar and a nice breakdown in the middle. The acoustic ballad “Thirteen” captures that feeling well of life before high school, with some lovely layering between the vocals and guitars. The rocker “Don’t Lie To Me” has nearly Stones spirit and a biting edge from Bell. Hummel’s song and vocal on “The India Song” offers something very different, a recorder or mellotron that harkens back to 1968 again. A diclinous closer to the first half.

    Side two opens with “When My Baby’s Beside Me”, a thrifty number that draws you and leaves you certain you are in good hand, there’s also a trace of Wah guitar for good measure, The ballad “My Life Is Right” shifts into life with the chorus, it’s the kind of thing you hope McCartney would write. The tone shifts to more quieter, contemplative material for the final half, as evidenced with “Give Me Another Chance” and another lovely vocal from Chilton, and rich instrumentation. The ballad “Try Again” has some nice and tasteful country slide work, some of that work mirrors Harrison’s post Beatles work. The brightness of “Watch The Sunrise” gives Chilton one of his stronger vocals, the final and brief number, “ST 100/6” feels like a Crosby, Stills and Nash Vingette. This albums feels so different from what is being offered, I hope it get’s attention, it’s impact may be similar to the Velvet Underground work, a band that may have a great impact if people listen, I have faith, regardless, this is a fun, worthwhile journey. 

Retro Reviews: Dolly Parton: The Coat of Many Colors

      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.  In light of the news, Rest In Peace, the legend Dolly Parton, this is part 2 of 2 parts. 

Dolly Parton – Coat of Many Colors (1971)

**** 1/2

Producer: Bob Ferguson

Musicians: Dolly Parton, David Briggs, Jerry Carrigan, Pete Drake, Bobby Dyson, Johnny Gimble, Dave Kirby, Les Leverett, Mack Magaha, George McCormick, Al Pachucki, Hargus Robbins, Billy Sanford, Jerry Shook, Buddy Spicher, Buck Trent

Songs: Coat of Many Colors, Traveling Man, My Blue Tears, If I Lose My Mind, The Mystery of the Mystery, She Never Met a Man (I Didn’t Like), Early Morning Breeze, The Way I See You, Here I Am, A Better Place To Live

Reviewed by Matthew Anthony Allair

    Dolly Parton’s association with Porter Wagoner has led to the opportunity to try her hand with solo releases, and she has tremendous talent as a singer and writer. Earlier in the year, the album and single of “Joshua” and gain her a great deal of attention, that album’s producer Bob Ferguson has been brought back with a similar line up of players. Dolly has written all the songs expect three from Porter Wagoner. Yet, there’s a clear accessibly from Dolly as a writer, and she is showing evidence of being a good storyteller, often the material is spirited with an easy manner. Wagoner’s songs seem tailored for Dolly, but I am not certain if they are needed. Dolly is such a robust singer that she is able to sell her originals well. 

    The opening title track and single has a sincere candor, and reflection of her childhood that is relatable. There’s a poignant quality to the number that feels universal. One could even say that her writing is similar to the more venerated Joni Mitchell, but they came at this from a different sensibility. The energic “Traveling Man” has a nice lyrical twist, with some thrifty bass and guitar twang. “My Blue Tears” has a pleasant feel with some nice harmonizing vocals from Parton. Wagoner’s “If I Lose My Mind” has a darker tale of woe with an entangled relationship. The other Wagoner number “The Mystery of The Mystery” has a more spiritual bent and the big question, but there’s a fatalism behind it that some might argue with the sentiment. Some might say “Gods will” is a cop out, but this reflects a traditionalist mindset. 

    The second half opener, “She Never Met A Man (She Didn’t Like)” is Dolly’s plea to another woman. There’s a fresh contemporary feel with “Early Morning Breeze” that evokes an easy, warm feeling. Wagoner’s “The Way I See You” attempts another more contemporary feeling, merely pleasant. The more robust “Here I Am” has a pleasant tempo, driven by the appeal for friendship, vocally there’s a gospel element that add extra life. The brisk closer, “A Better Place To Live” reflects Dolly’s philosophy with a nice key change.  Dolly has shown a real quality and depth to her work, there’s a purity and boldness to her work that leaves a strong impression, She is evolving and one has to wonder if the day is coming she will move on from the Wagoner partnership, she already has the tools to be on her own. She’s a major force now. 

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: Jaco Pastorius: Jaco Pastorius

      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.

Paco Pastorius – Jaco Pastorius (1976)

****1/2

Producer: Bobby Colomby

Musicians: Jaco Pastorius, Don Alias, Herbie Hancock, Narada Michael Walden, Sam Moore, Dave Prater, Randy Brecker, Roon Tooley, Peter Graves, David Sanborn, Michael Brecker, Howard Johnson, Alex Darqui, Lenny White, Bobby Economou, Wayne Shorter, Othello Molineaux, Leroy Williams, Peter Gordon, Hubert Laws, Richard Davis, Horner Mensch.

Music and Songs: Donna Lee, Come On Come Over, Continuum, Kuru / Speak Like A Child, Portrait of Tracy, Opus Pocus, Okonkole Y Trompa, (Use To Be A) Cha Cha, Forgotten Love

Reviewed by Matthew Anthony Allair

    Weather Report’s Jaco Pastorius has released a new solo album that blends a number of approaches with the occasional pop number. The fact that Bobby Colomby from Blood, Sweat & Tears is the producer is revealing as to where the priorities lie and that balance within this work. The album features a number of supporting star players, namely Herbie Hancock and Wayne Shorter, as well as a number of steady players like Don Alias on percussion. This runs the gambit of traditional fusion jazz to more introspective numbers, and a gateway vocal from Sam and Dave. But the focus is on Jaco’s bass work, he also fills in the role of a typical guitarist at times. His range as a traditional and fretless player gives Jaco a flexibility as to what a Bass player can, in the same fashion as to how rock players like John Entwhisle and Jack Bruce demonstrated what has been possible.

    Jaco wrote or co-wrote the bulk of the material. As a rite of passage, Jaco opens by tackling Miles Davis’s “Donna Lee”, the central focus is on Jaco and percussion on the number. The ambition of the album is on display on the one vocal “Come On Come Over”, Jaco sets up the hook before the iconic Sam And Dave provide the vocal, a driving pop funk number that channels the best of James Brown’s sensibility, Much of Hancock’s occasional pop leanings work well with this. The sturdier and melodic “Continuum” offers a contrast had harkens back to Miles’ sound from several years before, Jaco’s fretless makes this compelling. The ambition get’s larger with the string section infused “Kuru / Speak Like A Child”, which is thrusted in with an intricate string passage, Jaco matches the mood while Hancock opens it up. The mood shifts with “Speak Like A Child” as the strings and piano trade off one another. 

    The solo “Portrait of Tracy” is a fine, melodic composition that shows the depth of Jaco’s writing, the playing nearly accents an Electric Piano at times. The Steal drums of “Opus Pocus” is anchored by Jaco’s bass riffs, Wayne Shorter is more than welcome on the piece, it’s always difficult to escape the shadow of Davis as traces of him emerge. With “Okonkole Y Trompa” Jaco acts percussively as a French Horn offers a pensive quality. “(Use To be A) Cha Cha” is probably the most swing like number on the whole album, the flute and piccolo harkens back the most to mis sixties jazz, Jaco takes a traditional lead before the flute takes over.  Yet this manages to go more outside as it evolves. Hancock’s work will remind people of his time with the Davis Quartet. “Forgotten Love” manages to bring things down with Jaco’s bass, piano and large string section, pensive yet full of abstract voicings, it reveals Jaco’s inward thinking as a composer. The accumulative effect of the album is overall impressive, and it takes you on an interesting journey worth your time. 

Retro Reviews: Barry Manilow: Even Now

     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. 

Barry Manilow – Even Now* (1978)

****

Producers: Barry Manilow, Don Dante

Musicians: Barry Manilow, Bill Mays, Paul Shaffer, Mitch Holder, Jeff Mironow, Lee Ritenour, Jay Gradon, Will Lee, Bob Babbitt, Ronnie Zito, Jimmy Young, Alan Estes, Jimmy Maelen, Ginger Blake, Laura Creamer, Linda Dillard, Don Dante, Artie Butler, Dick Behrke, Richard Winzeler, Jimmie Haskell

Songs: Copacabana (At The Copa), Somewhere In The Night, A Linda Song, Can’t Smile Without You, Leavin’ In The Morning, Where Do I Go From Here, Even Now, I Was A Fool (To Let You Go), Losing Touch, I Just Want To Be The One in Your Life, Starting Again, Sunrise

Reviewed By Matthew Anthony Allair

    Barry Manilow’s new album is out, and the follow up to This One’s For You from a few years ago, it’s all pretty much safe, but is it any good? Manilow started out as the accompanying piano player for Bette Midler and produced her first two albums, and after struggling, he found a formula. It appears Barry must have heard Phil Spector’s production on The Beatles Let It Be, especially on “The Long and Winding Road”, and built a template from it. But the album is a pretty varied and mixed collection, with a touch of AOR for good measure. Barry remains a strong singer, and able piano player, he may not have the edge of a contemporary like Billy Joel, but production and the team of players make it fairly immaculate. Yet, there isn’t pretense behind this, if you are looking for light rock or pop, this will be ideal. Besides, Manilow fans probably won’t mind. Barry does seem like he has a knack for writing a catchy melody or finding one. There’s no soloists, so the ensemble playing is pleasant 

    Barry has a dalliance with Disco, and it makes sense, there’s an old Hollywood feeling behind the narrative to “Copacabana (At The Copa)”, it’s fun and good opener for the album. This is followed by the ballad “Somewhere In The Night”, pretty standard Manilow fare, but he is able to articulate an emotional arc. “A Linda Song” is a overlooked romance about a woman who supported an artist who was blinded their need for her, another well executed ballad. The brighter pop of “Can’t Smile Without You” is an obvious single, than manages to modulate keys four times, the spirit of it could be seen as sweet or pitiful depending on your outlook. The guitar pop of “Leavin’ In The Morning” has a touch of the current Neil Diamond sensibility. The ballad “Where Do I Go From here” ends the first half, and he does have a knack for a lovely melody. 

    The title track opens the second half, a regret about a lost love, and apparently the other single issued. Barry has dabbled before with writing American songbook jazz number before and does it again with the light swing of “I Was a Fool (To Let You Go)”. Barry has obviously figured out that ballads are his safe territory, so “Losing Touch” is about the end of a relationship. The slight mid tempo of “I Just Want to be One in Your Life” has a catchy melody with a bridge that has a hint of brief gospel, it’s not earth shattering, but well done with another modulating key. “Starting Again” is an ambivalent number that will feel all to common for many. The closer, “Sunrise” manages to have a haunted quality with a Latin feel, and a good closing statement for the album. Manilow and Marty Panzer wrote most of the songs, along with material from Richard Kerr, Will Jennings, Chris Arnold, David Martin, Parker McGee, and Michael Price, Dan Walsh. 

    Yes, the whole packaging, the production has a very corporate pop feel to it, I admit, nothing really profound per se, and mostly pleasant background music, but Barry does a good job of it, and it will probably help find a broader audience, it serves it’s purpose well.  

* This is one of those albums I have a sense memory with as it was one of my mother's favorites from in the mid-seventies.