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Pretty Things: S.F. Sorrow

Recorded from November 1967 to September 1968 in Abbey Road Studios, The Pretty Thing’s S.F. Sorrow, initially largely ignored but now generally considered a classic, was released in the UK in December 1968, and then not released in the U.S. until the middle of 1969.  Panned by the Rolling Stone’s Lester Bangs as an “ultra-pretentious” concept album, the album received limited attention for years. Its poor reception and lack of sales precipitated founder and lead guitarist into leaving the band for a period of nearly a decade.

There seems to be many contributing factors to the album’s commercial failure: the lack of promotion, the late release of the album in the States (coming out after, rather than before, The Who’s superior, more opera-like concept album, Tommy), bad reviews, and the dark, despondent subject matter, allegorical and tragic, with its primary character named Sebastian Sorrow.  Also, heavily influenced by the Beatles’ Sgt. Peppers and “Fool on the Hill”,  its musical language is that of the psychedelic rock of late 1967 and 1968, now losing much of its mass popularity.  By the time of the album’s release, the major proponents, adherents, and imitators of psychedelic rock were moving on to hard rock, progressive rock, or heavy metal.  These and other reasons caused the album to be pretty much ignored until reissued by Edsel records in the late 1980s on vinyl and then on CD in the early 1990s.

I purchased a S.F. Sorrow CD around 1992 and set it aside for some time, coming back to it recently, taking the time to appreciate what it had to offer and its historical significance — not so important as an early concept album — remember Nirvana’s 1967 album as well as other concept albums, including Sgt. Peppers, Days of Future Passed, and The Who Sell Out preceding it — but as one of the last carefully-crafted psychedelic albums of the sixties — and one that looks forward towards hard rock, progressive rock, and heavy metal — three of the most prevailing, and commercially viable, offshoots of the psychedelic rock era.

The Beatles’ influence, particularly from Sgt Peppers and singles like “Fool on the Hill”, is strong — the second track borrows elements from “Norwegian Wood” through “For the Benefit of Mr. Kite”, and the third track, “I am the Walrus” and “Good Morning” — yet, this is an album that incorporates and absorbs those influences more than mimics.

More to the point, is the quality of the album which starts out strong and builds to the end without weakness or filler; even the somewhat musique-concrete “Well of Destiny” (possibly influenced by the transitional section of “Day in the Life” ) serving its purpose in the musical narrative.  The arrangements, variety, and appropriateness of instrumentation further elevates the quality of the album, and in fact are usually of greater interest than the melodic/harmonic content of the songs themselves. (Perhaps the best song on the album, is the most simply arranged one, the poignant, “Loneliest Person”)

Though this album is very much a product of  1967 and 1968 sensibilities and styles, there are passages and techniques that anticipate other works of 1969 and the early seventies.  One can hear hints at later music from the Beatles-influenced Electric Light Orchestra (especially in “Trust”) and Badfinger to Benefit-era Jethro Tull (“Private Sorrow”) to the Who’s Tommy (“The Journey” and the intro to “Old Man Going”) to Queen.  The most remarkable similarity is to the heavy metal, bass-dominated style of Black Sabbath in “Old Man Going”  which also includes a short hard-rock electric guitar.

The CD release includes some notable bonus tracks, including “Defecting Grey” , a commercially unsuccessful single from this time period.

Track listing [from Wikipedia]

Side One

1. “S.F. Sorrow Is Born” Phil May, Dick Taylor, Wally Waller 3:12
2. “Bracelets of Fingers” May, Taylor, Waller 3:41
3. “She Says Good Morning” May, Taylor, Waller, Twink 3:23
4. “Private Sorrow” May, Taylor, Waller, Jon Povey 3:51
5. “Balloon Burning” May, Taylor, Waller, Povey 3:51
6. “Death” May, Taylor, Waller, Povey, Twink 3:05

Side Two

7. “Baron Saturday” May, Taylor, Waller 4:01
8. “The Journey” May, Taylor, Waller, Twink 2:46
9. “I See You” May, Taylor, Waller 3:56
10. “Well of Destiny” May, Taylor, Waller, Povey, Twink, Norman Smith 1:46
11. “Trust” May, Taylor, Waller 2:49
12. “Old Man Going” May, Taylor, Waller, Povey, Twink 3:09
13. “Loneliest Person” May, Taylor, Waller, Twink 1:29
Bonus tracks

14. “Defecting Grey” May, Taylor, Waller 4:27
15. “Mr. Evasion” May, Taylor, Waller, Twink 3:26
16. “Talkin’ About the Good Times” May, Taylor, Waller 3:41
17. “Walking Through My Dreams” May, Taylor, Waller, Povey 3:35
18. “Private Sorrow” (Single version) May, Taylor, Waller, Povey 3:50
19. “Balloon Burning” (Single version) May, Taylor, Waller, Povey 3:45
20. “Defecting Grey” (Acetate recording) May, Taylor, Waller 5:10

Personnel

The Pretty Things

  • Phil May – vocals
  • Dick Taylor – lead guitar, vocals
  • Wally Waller – bass, guitar, vocals, wind instruments, piano
  • Jon Povey – organ, sitar, Mellotron, percussion, vocals
  • Skip Alan – drums (on some tracks, quit during recording)
  • Twink – drums (on some tracks, replaced Alan), vocals

CFP National Championship - Alabama v Clemson

Led Zeppelin: Led Zeppelin

With the semantic essence of heavy metal captured in the group’s name, its hard to dispute that Led Zeppelin forged a new path down the nascent arena of hard rock and heavy metal. With a name remarkably similar to Iron Butterfly, and a similar, but more promising, blues-based musical DNA, we have the beginnings of what would soon be the quintessential hard rock group influencing predecessors like Free to countless successors like Aerosmith, Metallica, Queen, Alice Kooper, Guns N’ Roses and countless emulators that never landed a major recording contract.

From the opening guitar and drums in the opening track, “Good Times, Bad Times”, there is a focus, crispness and intensity not present in many of the blues-based rock albums immediately preceding this one.  My first experience with this album was when my next door neighbor brought it over for me to capture on my reel-to-reel tape deck for my own, limited music library.  Based on my friend’s direction, I recorded the tracks he thought worth putting on tape, securing the more accessible tracks, like”Good Times, Bad Times”,  “Babe I’m Going to Leave You” and “Communication Breakdown” but leaving out a couple I would not listen to again for decades — the last two tracks of side two.  Fortunately, since my friend had fairly good taste, we recorded all of side one, including the mysteriously dark and heavy, “Dazed and Confused”, a well-written composition, starting with, and repeating, a chromatically-descending chord sequence. Though credited to Jimmy Page on the album, the work is mostly based on a song by the same name on a 1967 album by Jake Holmes, which the Yardbirds (a group that included Jimmy Page for a while) had originally “borrowed.”  If you haven’t heard the Jake Holmes version, do yourself a favor and take the time to listen to it below.

Side Two of Led Zeppelin starts with a majestic organ solo by John Paul Jones as part of the captivating beginning of “Your Time Is Gonna  Time.” Unfortunately, the verse is much stronger than a weak, almost annoying, chorus that detracts from the rest of the work.

The next track, one which we also recorded for my repeated listening pleasure was “Black Mountain Side” based on an arrangement of the Irish folk song “Down by Blackwaterside” taught to Jimmy Page by Al Stewart.  This is followed by “Communication Breakdown”, later to become an AM radio hit.  For me, this title always brings to mind that famous phase in Cool Hand Luke — “What we’ve got here is a failure to communicate.”

The last two tracks are probably what my friend would have referred to as the band just jamming, but listening to these again, I appreciate the quality musicianship and the  overall mood.  That said, I can’t particularly bemoan not having grown up with these two tracks as part of the musical soundtrack of my high school years (1969-1973.)

Though I have mixed feelings about this album, which has many strong points, but is certainly guilty of not properly crediting others, a common enough practice in the Renaissance and Baroque days of music, but not so acceptable in the late 1960s,  I would pick this in an instant over contemporary albums by Steppenwolf and Iron Butterfly.  Do I regularly, or, on average, once-a-decade listen to this? Not really; I find the later Led Zeppelin albums more appealing — and I pretty much don’t listen to those due to all the more interesting jazz, rock and classical music that contends for my limited listening time.  However, that said, prior to posting this Fifty Year Friday entry, I did truly enjoy listening to this first “L-Zep” (modern transformation of their name) once again (and then a second time), forty-nine and a half years later after first hearing all of it, and  making a copy of it for my own use, just as Jimmy Page had made a copy of both “Dazed and Confused” and “Down by Blackwaterside” for Led Zeppelin’s own use on their very first album.

No. Title Writer(s) Length
1. Good Times Bad Times 2:46
2. Babe I’m Gonna Leave You

 

6:42
3. You Shook Me 6:28
4. Dazed and Confused Page, inspired by Jake Holmes[c] 6:28
 

Side two

No. Title Writer(s) Length
5. “Your Time Is Gonna Come”
  • Page
  • Jones
4:34
6. Black Mountain Side” (instrumental) Page 2:12
7. Communication Breakdown
  • Page
  • Jones
  • Bonham
2:30
8. I Can’t Quit You Baby Dixon 4:42
9. How Many More Times
  • Page
  • Jones
  • Bonham
8:27

 

Led Zeppelin

Additional personnel

 

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Establishing the starting point of progressive rock is a hopeless cause since elements of progressive rock appear in bits in pieces long before a general progressive rock style.  The best one can do is try establish the earliest date of the first progressive rock group. Some might argue that such an “earliest date” is established by the formation of the Wilde Flowers, a group of jazz-leaning musicians that took a crack at British Rock and Roll in 1964 and developed a more-or-less accessible, and even partly danceable style of music that foreshadows the music of the Canterbury scene — easily enough explained by the members of the Wilde Flowers all taking prominent roles in these later groups. Though no albums were recorded, we have a set of demos that have been released on CD and are currently available on You Tube.  Keep in mind that these were demos and not particularly representative of Wilde Flower live performances, which included some jazz-based improvisation.

Though I prefer to keep my distance from the term “progressive rock” as a label for a style of music, I support a concept of progressive rock representing the pushing of boundaries of status-quo music and breaking free of the constraints of commercial expectations, particularly when commercially successful as in the case of songs like the Queen’s “Bohemian Rhapsody.”  This means that any rock music, whether by the Beach Boys, the Beatles, Jefferson Airplane, The Doors, The Zombies or some other group from the mid or late sixties that goes past the minimal expectations of pop/rock to explore the passageways that naturally and unnaturally twist and spiral out into Robert Frost’s road not taken.  This is also why I am hesitant to consider some of the “neo-progressive” rock bands as notably progressive — such a use of the “progressive” label creates the ironic condition when applied to today’s musicians, of being indicative of a lack of progressiveness as they are trying to recreate an older style as opposed to pushing out to new territories. However, that said, quality and excellence is a more welcome and appealing feature in any music over progressiveness for the sake of sounding or being progressive. I will more readily listen to the post-romantic British symphony composers of the early twentieth century over many of their contemporary atonal composers.

The Wilde Flowers

Band members included, at various times:

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The Soft Machine: The Soft Machine

The Soft Machine, named after the 1961 novel by William S. Burroughs (titled based on the nature of the human body) started as a quartet in 1966 that included Robert Wyatt and Kevin Ayers from the Wilde Flowers, and classically-trained keyboardist Mike Ratledge and guitarist Daevid Allen from the free-jazz group Daevid Allen Trio. Following a European tour in August 1967, Allen, an Australian, was refused re-entry into Britain due to a previous overstay on an earlier visit.  Allen returned to Paris, to later form the group Gong, leaving Soft Machine a trio. On the first Soft Machine album we also have  Brian Hopper and Hugh Hopper, prior members of The Wilde Flowers, appearing in the writing credits.

This first Soft Machine album is a mixture of psychedelic rock and jazz elements as in tracks like “Joy of a Toy”, based on “Joy to The World” and sounding more like early space rock than Christmas music. Robert Wyatt makes up for any shortcomings as a vocalist with his contributions on drums.

Interestingly, the post of this first Soft Machine album on YouTube (link) has a Dislike to Like ratio of .0257 in the same ballpark of the Beatles’ Sgt. Peppers (link) ratio of .0254 — compare that to the Beatles’ Abbey Road ratio of .15 (link) or Gentle Giant’s Free Hand of .030 (link)

Track listing [from Wikipedia]

Side one
No. Title Writer(s) Length
1. “Hope for Happiness” Kevin AyersMike RatledgeBrian Hopper 4:21
2. Joy of a Toy Ayers, Ratledge 2:49
3. “Hope for Happiness (Reprise)” Ayers, Ratledge, B. Hopper 1:38
4. “Why Am I So Short?” Ratledge, Ayers, Hugh Hopper 1:39
5. “So Boot If At All” Ayers, Ratledge, Robert Wyatt 7:25
6. “A Certain Kind” H. Hopper 4:11
Side two
No. Title Writer(s) Length
7. “Save Yourself” Wyatt 2:26
8. “Priscilla” Ayers, Ratledge, Wyatt 1:03
9. “Lullabye Letter” Ayers 4:32
10. “We Did It Again” Ayers 3:46
11. “Plus Belle qu’une Poubelle” Ayers 1:03
12. “Why Are We Sleeping?” Ayers, Ratledge, Wyatt 5:30
13. “Box 25/4 Lid” Ratledge, H. Hopper 0:49

The Soft Machine

Additional personnel

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Caravan: Caravan

Also made up of band members from The Wilde Flower (Pye Hastings, David and Richard Sinclair, and drummer Richard Coughlan), Caravan started up in 1968 and released their first album about the same time as Soft Machine’s first album.  This would be the first British group signed to Verve records, the famed American Jazz label founded in 1956 by Norman Granz that not only carried the most jazz titles in their catalog of any label, but also was home to Frank Zappa and The Velvet Underground.

Even if one is able to somehow dismiss the first first two Nice albums or the first Soft Machine album as qualifying as fitting into the progressive rock genre classification (once again, I am making a distinction between between being considered progressive rock music and being classified under the prog-rock label), it is much more difficult to dismiss this first Caravan album. It is unfortunate that the balance and mixing of this album is dodgy at best, but the music more than compensates for this otherwise serious failing.

“Place of My Own” with its alternation between the dreaminess of impressionism and the insistent forward progress of a march creates a whole organic work of four minutes that is comparable in substance to a similar length classical or jazz track. With liberal use of keyboard arpeggios and emphasis on the instrumental section over the lyrics, Caravan creates an overall mood and character to the entire work giving it is own identity as effectively as bands like Yes and Genesis would do to many of their songs on their early albums.  This is followed by the Indian-influenced instrumental, “Ride”, the effective forward-moving and sometimes beautiful “Love Song with Flute”, and the quirky, mostly psychedelic Cecil Rons. ” However, the most notable piece is the nine-minute “Where but for Caravan Would I” which is co-written by Caravan and Brian Hopper (who also co-authored some of the tracks on the first Soft Machine album.)  It is epic in nature,  starting off with a relatively simple section, repeated, that modulates to a short contrasting section that quickly returns to the original section again before breaking out into a furious instrumental section dominated by organ that again returns to the original key and the altered and more intense original theme, which is followed by a more complex rhythmical section that nicely functions as the coda to bring the work to a satisfying and complete conclusion.  This is a template for the prototypical prog-rock track, laid bare without any unnecessary frills or complications, something easily grasped and enjoyed, and available to be copied with endless variation and development.  Yes, later groups would move well beyond this, but Caravan provides the necessary starting point — and though it may not so much have influenced other groups as much as it was just an instance of the parallel development of the post-psychedelic rock groups that got their start at the end of the late sixties, it is as an impressive example of the relentless nature of this new music to carve out its own language and means of expression from the available languages and expressions readily available in the diverse music of that time.

Track listing [from Wikipedia]

All tracks credited to Sinclair, Hastings, Coughlan & Sinclair except “Where but for Caravan Would I?” which is written by Sinclair, Hastings, Coughlan, Sinclair and Brian Hopper.

Side One

#

Title

Length

1.

“Place of My Own”

4:00

2.

“Ride”

3:41

3.

“Policeman”

2:45

4.

“Love Song with Flute”

4:09

5.

“Cecil Rons”

4:05

Side Two

#

Title

Length

1.

“Magic Man”

4:01

2.

“Grandma’s Lawn”

3:23

3.

“Where but for Caravan Would I?”

9:01

Caravan

  • Pye Hastings – lead vocals (side 1: 1-2, 4), co-lead vocals (side 1: 5 & side 2: 1, 3), guitars, bass guitar
  • Richard Sinclair – lead vocals (side 1: 3 & side 2: 2), co-lead vocals (side 1: 5 & side 2: 1, 3), bass guitar, guitar
  • Dave Sinclair – organ, piano
  • Richard Coughlan – drums

 

Side Note:

Interestingly, the post of this first Soft Machine album on YouTube (link) has a Dislike to Like ratio of .0257 in the same ballpark of the Beatles’ Sgt. Peppers (link) ratio of .0254 — compare that to the Beatles’ Abbey Road ratio of .15 (link) or Gentle Giant’s Free Hand of .030 (link)  

Caravan’s first album Dislike to Like Ratio on Youtube (https://www.youtube.com/watch?v=Bt1inf8CRnE&list=PLALZtwXPtUFKvbI7h8Fc5CdqRYoI_qyyd) is .0028 — or 356 likes to only one Dislike — rather unheard of in youtube land.

Century Sunday: 1918

New Orleans

First of all, wishing everyone a happy, productive and fulfilling 2019!

I was not around one hundred years ago, but my grandparents were.  My mother’s mom was twenty, and she sometimes referenced the terrible flu epidemic of 1918 and the lives it took.  For many, this affected them more directly than World War I.

World War I would end in November of 1918.  For many years, Armistice Day, November 11, was a notable holiday in the U.S. until sometime after World War II, when it was renamed Veteran’s Day, honoring those who served in both world wars. Now Veteran’s day is a tribute to all those that served in the U.S. armed forces, the true great heroes and protectors of our nation.

In movies, Charlie Chaplin, Harold Lloyd and Buster Keaton continued to provide silent comedies.  The big silent movie hit of 1918 was Mickey, starring Norma Mabel, the famous actress, writer, director, and producer of the 1910s and 1920s.

In 1918, the gifted seventeen-year-old Louis Armstrong was playing cornet on Mississippi riverboats.  With prostitution made illegal in New Orleans in November of 1917, not to protect the women involved, but as a step to prevent VD transmission to nearby army and navy camps, Storyville, the red light and entertainment district of New Orleans, and the musicians that made a living in Storyville would take a financial hit: soon Louis’s idol, King Oliver would move to Chicago, and Louis would replace him in Kid Ory’s band.

Original Dixieland Jass Band continued to release recordings including their most famous one, “Tiger Rag.

Pianist, and National Public Radio (NPR) host of “Piano Jazz”, Marian McPartland was born on March 1918, living until 2013. Other jazz musicians born in 1918 include trumpter Howard McGhee, pianist Charles Thompson, pianist Hank Jones, saxophonist Ike Quebec, and trumpet player, composer, arranger and band leader, Gerald Wilson.  King of the Slide Guitar, blues guitarist, composer, singer and bandleader Elmore James was also born in 1918.  Mr. James was one of the first guitarists in the 1950’s to intentionally overdrive the electric guitar’s amplification to produce distortion for musical effect.

Classical violinist, Ruggiero Ricci was born in 1918 and gave lessons to one of my good friends from college who talked about him in utmost awe and respect. Ricci gave performances as a member of the US Army in World War II and then later, in 1947, was the first violinist to record the complete twenty-four Caprices (Opus 1) by Paganini in their original form. Ricci also championed many twentieth century composer’s violin concertos including Ginastera’s.  In total, Ricci made over 500 recordings and performed over 6,000 concerts in sixty-five different countries.

Leoš Janáček composed Taras Bulba, Arnold Bax his first string quartet,  Igor Stravinsky his Histoire du Soldat. Operas first performed in 1918 include Béla Bartók’s dramatic Bluebeard’s Castle and Giacomo Puccini‘s set of three one-act operas, Il trittico.

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Seventy Year Saturday: 1948

 

1948 mar 3 deuces

Bebop continues to flourish with live concerts and recordings featuring Charlie Parker, Thelonious Monk and the up and coming Miles Davis. Imagine being able to go back in time to see Charlie Parker, Miles Davis, and Max Roach at the Three Deuces!

Coleman Hawkins continues his legacy, releasing his classic solo saxophone single, “Picasso”, almost as an important musical statement as his more famous swing-era masterpiece. “Body and Soul.”   Are there any other swing giants that were able to  make the transition into Bebop as successfully as the Hawk?  Musically successfully that is, since unfortunately, great artists like Coleman Hawkins received very little financial reward in 1948.

Serge Prokofiev, out of favor with the Soviet cultural authorities, premieres his final opera, The Story of a Real Person on December 3, 1948 at the Kirov Theater, Leningrad (now thankfully called Saint Petersburg again).  Given an unfavorable reception from the “authorities,” further performances were forbidden to the general public until after Prokofiev’s death, The Story of a Real Person not being performed again until October 1960 at the Bolshoi Theater, Moscow.

Oliver Messiaen’s completes his Turangalîla-Symphonie, a large scale orchestra work commissioned by Serge Koussevitzky for the Boston Symphony Orchestra and later premiered in December 1949 with Leonard Bernstein conducting.

Arnold Schoenberg at the age of seventy-five composes his cantata, A Survivor from Warsaw, written in tribute to the Holocaust victims. Richard Strauss at the age of eighty-four composes his “Four Last Songs” for soprano and orchestra.

Hans Werner Henze and Witold Lutoslawski finish their first symphonies, while Walter Piston completes his third, Brian Havergal composes his seventh, and Nikolai Myaskovsky wraps up his first twenty-sixth, his Symphony on Russian Themes.

Samuel Barber composes Knoxville: Summer of 1915, John Cage his Suite for Toy Piano, Howard Hanson his Piano Concerto, Dmitri Kabalevsky his Violin Concerto, Eduard Tubin his Double Bass Concerto, and famous film composer, later to write the scores to the first two Godfather movies, Nino Rota, takes a break from movie music to compose his String Quartet.

Cole Porter’s Kiss Me, Kate Broadway production opened on December 30, 1948 at the New Century Theatre and ran for 1077 performances,

On the extreme, commercial pop-side of music, Kay Kyser with Gloria Wood on vocals score a major hit with a song embedded in my childhood memories, “The Woody Woodpecker Song.”  If only the worst pop songs of today, were this good….

 

 

 

 

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Chick Corea:  Now He Sings, Now He Sobs

At age twenty-eight, Chick Corea had already made serious contributions on studio dates with Herbie Mann, Hubert Laws, Cal Tjader, Dave Pike, Donald Byrd, and Stan Getz often contributing arrangements as well as playing piano.  He had also recorded his first solo album in 1966, Tones for Joan’s Bones, with Woody Shaw on trumpet, which was released in April 1968.

Corea started playing piano at age four, developing not only impressive piano skills, but a passionate love for both classical and jazz music.  This mastery of the two genres is apparent in this album, the format of jazz trio working well in terms of emphasizing the piano part and facilitating optimal engagement between a small set of artists.

“Steps –  What Was” starts with piano solo soon joined by veteran Roy Haynes on drums and twenty-year old Czech classically-trained Miroslav Vitouš on acoustic bass.  The work brims with enthusiasm and freshness and, after a brief drum solo by Haynes and before a bass solo by Vitouš, is a wonderful piano-led passage that reveals an early version of Corea’s “Spain” theme.

“Matrix’ includes a brief statement of the theme and a wild ride of head-spinning improvisation, again including room for statements by Vitouš and Haynes.

The next two tracks take their title from the explanation of the third line of the  Kung Fú (Inmost Sincerity) hexagram   in the ancient Chinese Book of Changes, The I Ching, roughly translated as “Now he beats his drum, and now he leaves off. Now he weeps, and now he sings.”  These two works are very different with “Now He Sings, Now He Sobs”, being generally forward-looking, energetic and optimistic and “Now He Beats The Drum, Now He Stops” being more of a two-part composition, with the first section, a piano solo, full of reflection and inner-doubt, and the second section surging with revitalization and purpose.

The last track, “The Law Of Falling And Catching Up” is a free-jazz excursion with Corea directly accessing the strings of the grand piano.  Somewhat pointillistic and Webern-like, the piece is sweeping in texture and content yet, at under two and half minutes, compact and focused.

Track listing [from Wikipedia]

  1. “Steps – What Was”
  2. “Matrix”
  3. “Now He Sings, Now He Sobs”
  4. “Now He Beats The Drum, Now He Stops”
  5. “The Law Of Falling And Catching Up”

Personnel

 

Hugh Masekala: The Promise of the Future

Though sometimes Masekala’s work gets categorized as “Easy Listening”, this album contains some fine jazz and early world-fusion with Masekala providing quality trumpet with fine supporting musicians including uncredited folk-revival guitarist Bruce Langhorne.  Baby Boomers will recognize the instrumental  “Grazing in the Grass”, which went to the top of the charts, and was later revisited by The Friends of Distinction with added vocals.  Also notable is the reflective, meditative rendition of Traffic’s “No Face, No Name And No Number”, Miriam Makeba’s “Bajabule Bonke” and Masekala’s own “Almost Seedless.”

Track listing [From Wikipedia]

No. Title Writer(s) Length
1. Ain’t No Mountain High Enough Nick AshfordValerie Simpson 2:00
2. “Madonna” Al Abreu 3:10
3. “No Face, No Name and No Number” Jim CapaldiSteve Winwood 3:26
4. “Almost Seedless” Hugh Masekela 3:36
5. “Stop” Jerry RagovoyMort Shuman 2:35
6. Grazing in the Grass Harry Elston, Philemon Hou, Hugh Masekela 2:40
7. “Vuca” (Wake Up) Hugh Masekela 3:40
8. “Bajabule Bonke” (The Healing Song) Miriam Makeba 6:25
9. “There Are Seeds To Sow” (Guitar – Bruce Langhorne) Hugh Masekela 2:25

Personnel

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Spirit: The Family That Plays Together

In November 1968, Spirit follows up their impressive first album with an even stronger and more polished second album, again produced by Lou Adler with arrangements by Marty Paich.

The album starts out with Randy California’s rock classic “I Got A Line On You Babe”, first released as a single a couple of months prior to availability of the album, achieving some airplay on FM radio before later becoming a modest hit on AM.  Full of energy and unstoppable enthusiasm with a aggressive, celebratory guitar work, it represents youthful romantic optimism reversing the viewpoint of that classic Kink’s song “You Really Got Me” but sharing many musical and emotional qualities.

“It Shall Be” is evocatively sensual with flute and wordless vocals alternating in A-B-A-B-A form with a more down-to-earth B section. This is followed by a set of three semi-psychedelic songs by Jay Ferguson, and a country-like tune, “Darlin’ If” composed by Randy California

Side two opens up strongly with “It’s All the Same,” a mixture between psychedelic and early seventies rock, including a brief, relatively uninteresting drum solo in the middle.  The second track, is Caifornia’s “Jewish”, a short but expressive modal-melody pre-progressive track with Hebrew lyrics.  The album ends with with three more Jay Ferguson tracks, each with its distinct identity but all three incorporating elements of the psychedelic era of songwriting;  note the intriguing guitar work in the not-always-so-consistently-interesting last track, “Aren’t You Glad.”

Bonus tracks are available on the CD, including the artful, ambient instrumental, “Fog” and two other instrumentals by keyboardist John Locke as well as Ferguson’s sweeping,  gothically dark “Now or Anywhere.” 

Track listing [from Wikipedia]

Side one
No.TitleWriter(s)Length
1.I Got a Line on YouRandy California2:39
2.“It Shall Be”
3:24
3.“Poor Richard”Jay Ferguson2:31
4.“Silky Sam”Ferguson4:57
5.“Drunkard”Ferguson2:27
6.“Darlin’ If”California3:37
Side two
No.TitleWriter(s)Length
7.“It’s All the Same”
4:41
8.“Jewish”California3:23
9.“Dream Within a Dream”Ferguson3:13
10.“She Smiles”Ferguson2:30
11.“Aren’t You Glad”Ferguson5:25

1996 reissue bonus tracks
No.TitleWriter(s)Length
12.“Fog”
  • Locke
  • Cassidy
2:23
13.“So Little to Say”Ferguson2:58
14.“Mellow Fellow”Locke3:46
15.“Now or Anywhere”Ferguson4:20
16.“Space Chile”Locke6:25

Spirit

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Pentangle: Sweet Child

This fine double album, one LP from a live concert in June 1968, and the other from 1968 studio recordings, sparkles with precise, consistently clearly articulated acoustic and vocal passages that nicely blend folk, rock, jazz and classical renaissance elements to provide an engaging audio and musical experience.  Highlights of the live LP include Danny Thompson’s rendition of Mingus’s Haitian Fight Song, the group’s interesting take on Mingus’s homage to legendary Lester Young, “Good Bye, Pork Pie”, and the medley of three renaissance dances. Highlights of the studio LP include the immersive contrapuntal “Three Part Thing”, Jaqui McShee’s rendition of “Sovay”, the jazzy Brubeck-like instrumental “In Time”, the bluesy “I’ve Got a Feeling”, the classic folksy “The Trees They Do Grow High” and the final track of side two, “Hole in the Coal.”  Throughout the four sides the interplay between the two guitars and bass is exceptional.  Additional tracks are available on CD that were not on the original two LP Set.

Wikipedia Track Listing

 

Pentangle

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Rolling Stones: Beggars Banquet

Though not one of my favorite albums, one has to give credit where credit due and there are a number of reasons to recommend this often blues-based, somewhat historic album.

The first is the earthy and relatively respectful rendition of Robert Wilkins”Prodigal Son.” Is that Mick Jagger on vocals?  Hard to believe…

The second is Nicki Hopkins on piano.

The third is the mournful “No Expectations.”

The fourth is the bluegrass/country-blues “Dear Doctor.”

The fifth is the anthem-like “Salt of the Earth” replete with a chorus.

The sixth is the Keith Richards application of his chance-discovery of the already existing technique of five-string “open G” tuning, basically removing or avoiding the low sixth string, with the five strings tuned G-D-G-B-D (aligning with the overtone series of G-G-D-G-B-D) and in the case of Richards, and others to follow, using a sliding three-fingered guitar technique.

The sixth is the stretching of the then-current record-industry norms with songs with lyrics like “Sympathy for the Devil”, “Parachute Woman”. and “Stray Cat Blues”, the last two, perhaps even more offensive now in the context of political correctness than in 1968.

The seventh is the historical impact of this record, setting the tone, whether we like it or not, for how future bands would approach traditional blues and country music (like the music found on pre-WWII 78s)  and songs about Satan and groupies.

This work veers away from the accelerating trend of greater complexity and sophistication, taking a U-turn towards simplification.  It really is a collection of the basics of music, some as simple and crude as the album cover the Stones had originally intended for the album.  My apologies if I offend anyone by using the original LP cover that I associate with this album instead of the one prevalent on the CD reissues.

Track listing [from Wikipedia]

All songs written by Mick Jagger and Keith Richards, except “Prodigal Son” by Robert Wilkins.

Side one
No.TitleLength
1.Sympathy for the Devil6:18
2.No Expectations3:56
3.Dear Doctor3:28
4.Parachute Woman2:20
5.Jigsaw Puzzle6:06
Total length:22:08
Side two
No.TitleLength
6.Street Fighting Man3:16
7.“Prodigal Son”2:51
8.Stray Cat Blues4:38
9.Factory Girl2:09
10.Salt of the Earth4:48
Total length:17:42

Personnel

The Rolling Stones

Additional personnel

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Stevie Wonder: For Once in My Life

Recorded in 1967, while Stevie Wonder was still 17, this ninth studio album, released December 8, 1968, after Wonder was eighteen years old, is really the work of a mature adult artist.  Though Wonder only is credited as a co-author for the eight selections that lists his name, one can distinctly hear the composer of the early seventies albums. Besides the developing compositional skills, we have strong vocals and quality harmonica and keyboard work .

Track listing [from Wikipedia]

Side One

  1. For Once in My Life” (Ron Miller, Orlando Murden) 2:48
  2. Shoo-Be-Doo-Be-Doo-Da-Day” (Henry CosbySylvia Moy, Stevie Wonder) 2:45
  3. “You Met Your Match” (Lula Mae Hardaway, Don Hunter, Wonder) 2:37
  4. “I Wanna Make Her Love Me” (Henry Cosby, Hardaway, Moy, Wonder) 2:52
  5. “I’m More Than Happy (I’m Satisfied)” (Henry Cosby, Cameron Grant, Moy, Wonder) 2:56
  6. I Don’t Know Why” (Hardaway, Hunter, Paul Riser, Stevie Wonder) 2:46

Side Two

  1. Sunny” (Bobby Hebb) 4:00
  2. “I’d Be a Fool Right Now” (Cosby, Moy, Wonder) 2:54
  3. “Ain’t No Lovin'” (Hardaway, Hunter, Riser, Wonder) 2:36
  4. God Bless the Child” (Arthur Herzog Jr.Billie Holiday) 3:27
  5. “Do I Love Her” (Moy, Wonder) 2:58
  6. “The House on the Hill” (Lawrence Brown, Berry Gordy, Allen Story) 2:36

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James Taylor: James Taylor

There is always something reassuringly soothing in James Taylor’s voice. Like so many baby boomers, my first exposure to Taylor was his second album, Sweet Baby James, which my next door neighbor loaned my in 1970.

This first album, released December 6, 1968, and on the new, but short-lived, Beatles’ Apple label, which signed Taylor after Apple label A&R director Peter Asher (friend of Paul McCartney, brother of Paul’s girlfriend from 1963 to 1968, and member of the British group Peter and Gordon, which had recorded several of McCartney’s songs including their #1 hit, “A World Without Love“) had heard a forty-five minute demo tape Taylor had sent into to the new label. 

Overall this is an amazingly strong debut, and rivals or surpasses the quality of later Taylor albums, with the exception of the second one, which has the wonderfully transcendent “Fire and Rain.  Beatles fans should note that George Harrison and Paul McCartney make guest appearances on “Carolina on My Mind” and jazz fans should note Freddie Redd’s keyboard contributions. 

Besides James Taylor’s simple, home-spun, relaxed vocals, and his quality song-writing, there are some sophisticated instrumental introductions written by arranger Richard Anthony Hewson that are worth mentioning, whether they are an integral part of the track, as with “Sunshine Sunshine” or seem more like they were added after the final take of the song.  Yes, they don’t effectively assist in creating a single artistic identity to the album, or even bring out the best in the inherent nature of these James Taylor compositions, but both the handful of introductions and the arrangements have merit and add interest to the album, bringing an additional dimension to the final work.

If you have not heard this album, its worth the effort to check it out, particularly with the number of strong songs, the fine acoustic guitar work and other instrumentation, the quality of the arrangements and production, and the sterling sound quality (for 1968), partly as a result of the entire album having been recorded at Trident studio in England, at that time a state-of-the-art studio, using some of the session time that was previously booked by the Beatles.

Track listing [from Wikipedia]

All songs written by James Taylor unless otherwise noted. Times are from the original Apple LP vinyl label.

Side one
  1. “Don’t Talk Now” – 2:36
  2. “Something’s Wrong” – 3:00
  3. Knocking ‘Round the Zoo” – 3:26
  4. “Sunshine Sunshine” – 3:30
  5. “Taking It In” – 3:01
  6. Something in the Way She Moves” – 2:26
Side two
  1. Carolina in My Mind” – 3:36
  2. “Brighten Your Night With My Day” – 3:05
  3. Night Owl” – 3:38
  4. “Rainy Day Man” (Taylor, Zach Wiesner) – 3:00
  5. Circle Round the Sun” (Traditional; arranged by Taylor) – 3:24
  6. “Blues Is Just a Bad Dream” – 3:42
CD bonus tracks (2010 remaster)
  1. Sunny Skies” (Demo) – 2:12
  2. “Let Me Ride” – 3:57
  3. “Sunshine Sunshine” (Demo) – 2:51
  4. “Carolina in My Mind” (Demo) – 3:06

Personnel

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Blood Sweat & Tears: Blood, Sweat & Tears

Though the first BS&T album, a work of love from Al Kooper, includes jazz instruments, this second album really begins the era of what is commonly called “jazz-rock”, a genre  quite different than jazz fusion or rock-influenced jazz. Later adherents to this style, more or less, included American groups like Chicago and Chase, the Canadian band Lighthouse, and the British group If.

This second album (produced by  James William Guercio at the same time he was producing the Chicago Transit Authority album) left the generally more critically admired, Al Kooper first BS&T album in the dust, commercially,selling millions of copies and by March of 1969 taking the top US album chart spot away from Glen Campbell, twice until the Hair soundtrack displaced both for a bit, with the BS&T album again rising to the #1 spot for four more weeks in late July and August. 

The album provided three top five singles, Laura Nyro’s “When I Die”, Fred Lispius’s arrangement of fellow-BS&T-band member and lead singer David Clayton Thomas’s “Spinning Wheel” and the Al Kooper’s arrangement of Brenda Halloway’s modestly successful single, “You Made Me So Very Happy”.

The album is yet another 1968 that includes music by a classical composer.  In this case, this album starts out with an abridged, but tasteful arrangement of two of the three pieces of Eric Satie’s “Gymnopédies.” For many listeners, including myself, this was one of the highlights of the album, and was my first introduction to Eric Satie.

This is followed by BS&T’s extended version of Traffic’s “Smiling Phases”, with its traditional jazz piano trio middle section and then the evocative Dick Halligan arrangement of Steve Katz tune “Sometime in Winter.”  Next is “More and More”, which, as a thirteen-year old, was my favorite track on the album, with its fierce brass and drums.

Also, leaving an impression on me was the last track of the first side, Billie Holiday’s “God Bless the Child.”  As I had not heard the original version, or any Billie Holiday recordings, I made the mistake of considering this the reference version of the song.  (What kind of society would make it possible for the vast majority of Baby Boomers to have no knowledge of Billie Holiday until the release of the 1972 film “Lady Sings the Blues”?)

Blues — Part II has an interesting, progressive rock opening with Dick Halligan on organ, which is followed by a short brass outburst and then electric bass and drum solos as well as some flugelhorn, sax, electric guitar, and reflective, bluesy vocals. The album ends with a short reprise of Satie’s first “Gymnopédie“, providing a complete, fulfilling and distinct listening for anyone in 1968 and 1969 that had only a smattering exposure to real jazz.  Just as seventh grade Physical Education introduced me to basketball, which led to my watching John Wooden’s UCLA Bruins and then in 1969 West, Baylor and Wilt Chamberlain’s  Los Angeles Lakers, groups like BS&T and Chicago help lead my way towards the many jazz classics recorded prior to 1968.

Track listing [from Wikipedia]

Side 1

  1. “Variations on a Theme By Erik Satie” (1st and 2nd Movements) – 2:35
  2. Smiling Phases” (Steve WinwoodJim CapaldiChris Wood) – 5:11
    • Recorded October 15, 1968
  3. “Sometimes in Winter” (Steve Katz) – 3:09
    • Recorded October 8, 1968
  4. “More and More” (Vee Pee Smith, Don Juan) – 3:04
    • Recorded October 15, 1968
  5. And When I Die” (Laura Nyro) – 4:06
    • Recorded October 22, 1968
  6. God Bless the Child” (Billie HolidayArthur Herzog Jr.) – 5:55
    • Recorded October 7, 1968

Side 2

  1. Spinning Wheel” (David Clayton-Thomas) – 4:08
    • Recorded October 9, 1968
  2. You’ve Made Me So Very Happy (Berry Gordy Jr.Brenda HollowayPatrice HollowayFrank Wilson) – 4:19
    • Recorded October 16, 1968
  3. “Blues – Part II” (Blood, Sweat & Tears) – 11:44
  4. “Variations on a Theme By Erik Satie” (1st Movement) – 1:49
    • Recorded October 9, 1968

Personnel

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