Zumwalt Poems Online

Expectations is high on the new release of a previously unreleased 1963 studio session of saxophonist John Coltrane’s quartet called ”Both Directions At Once: The Lost Session”. It is yet another possible piece of the musical jigsaw puzzle that Coltrane left for his fans to discover after his early death in 1967 at 40 years […]

via The posthumous John Coltrane release puzzle — Jazz Desk

Also: https://www.udiscovermusic.com/news/lost-john-coltrane-both-directions-at-once/

The 2CD/2LP Both Directions At Once deluxe edition tracklisting is:

Disc One:
‘Untitled Original 11383’
‘Nature Boy’
‘Untitled Original 11386’
‘Vilia’
‘Impressions’
‘Slow Blues’
‘One Up, One Down’

Disc Two:
‘Vilia (Take 5)’
‘Impressions (Take 1)’
‘Impressions (Take 2)’
‘Impressions (Take 4)’
‘Untitled Original 11386 (Take 2)’
‘Untitled Original 11386 (Take 5)’
‘One Up, One Down (Take 6)’

 

 

 

Advertisements

isbalbum16

Continuing the trend of merging rock and British folk music as exemplified by Donovan, The Incredible String Band, and the then relatively unknown Roy Harper, the spring and summer of 1968 warmly welcomed The Incredible String Band’s third studio album, The Hangman’s Beautiful Daughter and Pentangle’s and Fairport Conventions first studio albums, both self-titled.

Released in March of 1968, The Hangman’s Beautiful Daughter continues much along the lines of the Incredible String Band’s two earlier albums, with Robin Williamson continuing to extend his cache of musical weapons and share writing responsibilities with fellow band-member and multi-instrumentalist Mike Heron.  As on the previous album, Williamson and Heron supplement this recording with additional musicians.

The first time I heard this group was around 1972 from their inclusion in a Warner Brothers’ Loss Leader compilation. Starting around 1969, Warner Brothers released $1 compilation albums of their artists, and these albums were my first exposure to Van Dyke Parks, Pentangle, Steeleye Span, Family, Curved Air, and Martin Mull, and the Incredible String Band.  I remember anticipating what a band called “The Incredible String Band” would sound like and when I got to the track, the next to last track on side two of the two LP set, I was disappointed as I was expecting a large string ensemble or exotic bowed instruments as opposed to a small folk group.

So its only lately again that I have explored the music of Incredible String Band, and for the most part it still isn’t music that excites me. I have avoided including mention of them in “Fifty Year Friday” as I like to stay with albums I really like, but due to the historic importance of this band, its appropriate to acknowledge both them and their third album in this particular post.

The Hangman’s Beautiful Daughter certainly includes a wonderful mix of instrumentation and it is peppered with many interesting moments.  The unconventional instrumentation and the use of 24 track technology enhances the underlying compositions and provides a level of sophistication to the music.  Unfortunately, the music is overly repetitive, and not particularly adventurous melodically or harmonically, often suffering from lack of originality (“The Minotaur’s Song” is clearly modeled after Gilbert and Sullivan.)   The highlight of the album is the thirteen-minute “A Very Cellular Song” which incorporates a diverse set of musical components and textures, but unfortunately none sound particularly original and the repetition of the melodies borders on annoying.    The following passage provides an example of this — each couplet is a repetition of the melodic “couplet” and so gets a bit tiring as there is no development or contrast throughout this section:

And I bid you goodnight, goodnight, goodnight,
Lord, I bid you goodnight, goodnight, goodnight,
 
One of these mornings bright and early and fine,
Goodnight, goodnight.
 
Not a cricket, not a spirit going to shout me on.
Goodnight, goodnight.
 
I go walking in the valley of the shadow of death.
Goodnight, goodnight.
 
And his rod and his staff shall comfort me
Goodnight, goodnight.
 
Oh John, the wine he saw the sign
Goodnight, goodnight.
 
Oh, John say, “I seen a number of signs”
Goodnight, goodnight.
 
Tell “A” for the ark that wonderful boat.
Goodnight, goodnight
 
You know they built it on the land, getting water to float.
Goodnight, goodnight
 
Oh, tell “B” for the beast at the ending of the wood.
Goodnight, goodnight.

You know it ate all the children when they wouldn’t be good.
Goodnight, goodnight.
 
I remember quite well, I remember quite well.
Goodnight, goodnight

And I was walking in Jerusalem just like John.
Goodnight, goodnight, goodnight.

The quality of lyrics is also a challenge for me.  In some cases the lyrics appear to be written first and the music added as an afterthought and in other cases the lyrics seemed to have been improvised over the music, as if by trial and error, until they sort of stuck.  Overall, I don’t hear an abundance of craftsmanship or refinement in the lyrics or the music.

And so, this is not an album that I find completely engaging.  Yes, there are some  good moments and good music, including the opening track if it was less repetitive, but there is too much content here that comes across as stream of consciousness or improvised inspiration that is then extended and over-repeated.  At a minimum, I expect an album to keep me entranced and ensnared — not covertly coaxing me to consider what else I could spend my time listening to.

That said, this is a critically acclaimed album, nominated for a Grammy and is rated five stars by both Rolling Stone Album Guide and by allmusic.com.  It was also influential for groups like Led Zeppelin and praised by Paul McCartney, Bob Dylan and John Peel.  Don’t let my opinion of this work keep you from checking this out yourself.  I encourage anyone that has not heard The Hangman’s Beautiful Daughter to listen to it on their streaming music service or via youtube.com at https://www.youtube.com/watch?v=DgQuVeMOyAk .  Please let me know what you think in the comments.

Track listing [from Wikipedia]

All tracks written by Robin Williamson, except tracks 4, 5 and 9 by Mike Heron.

No. Title Length
1. “Koeeoaddi There” 4:49
2. “The Minotaur’s Song” 3:22
3. “Witches Hat” 2:33
4. A Very Cellular Song 13:09
5. “Mercy I Cry City” 2:46
6. “Waltz of the New Moon” 5:10
7. “The Water Song” 2:50
8. “Three Is a Green Crown” 7:46
9. “Swift As the Wind” 4:53
10. “Nightfall” 2:33

 

Incredible String Band

Additional Personnel

pentangle1l

Pentangle released the self-titled first album on May 17, 1968.  The recording’s production brings out the strengths of the acoustic instruments, emphasizing the instruments individually by closely miking them.  The musicians play crisply and with distinction and the vocals fit in very nicely  This album blends folk with jazz and blues techniques and elements,  intermingling traditional tunes with originals, like the excellent “Bells”, creating vital and refined music that is a joy to listen to.

Track listing [from Wikipedia]

Side one
No. Title Writer(s) Length
1. Let No Man Steal Your Thyme Traditional 2:37
2. “Bells” Pentangle 3:52
3. “Hear My Call” The Staple Singers 3:01
4. “Pentangling” Pentangle 7:02

 

Side two
No. Title Writer(s) Length
5. “Mirage” Bert Jansch 2:00
6. “Way Behind the Sun” Traditional 3:01
7. Bruton Town Traditional 5:05
8. “Waltz” Pentangle 4:54

 

Pentangle

fc1a

Released sometime in June 1968 in the UK, but sadly not available in the US until 1970 except as an import, Fairport Convention’s first album is as much of a rock album as a folk album, blending folk and rock elements convincingly and effectively with use of both electric and acoustic instruments. We have some fine tracks with electric guitars and electric bass, as with the case with the first two tracks, which are really unlike anything else at the time — sounding more like early 70’s rock — and we have some  excellent acoustic work, most notably the fourth track of the album, “Decameron.” Overall, this is a strong, impressive album with some weak spots, like the last three tracks at the end of side two.

My definition of progressive rock is a rather broad one. I will acknowledge any rock music as progressive rock if it pushes past the conventions or boundaries that were generally adhered to by other groups for that time period and makes a convincing music statement while doing that.  I also lean towards considering rock as progressive rock if it is exceptionally excellent and worthy of being mentioned with other great music of previous generations.   For me, “Yesterday”, “Here, There and Everywhere” and “Eleanor Rigby” are included with “Strawberry Fields”, and “Lucy in the Sky with Diamonds” as progressive rock, even though one could argue “Yesterday” is no more a rock song than Cole Porter’s “Night and Day.”

Then there is the style of progressive rock considered as a genre and exemplified by groups like Yes, King Crimson, Van Der Graaf Generator, and Gentle Giant.  Decades later there have come about a number of groups that imitate these groups,  some of them creating high quality music, but without adding much new or stretching the boundaries of the original music that influenced them.  These groups are also categorized as progressive rock, or sometimes neo-progressive rock.  I would be hesitant to call such music progressive rock unless it really is saying something new or extending into previously unexplored or rarely explored territory.

The instrumental interlude in Fairport Convention’s “Sun Shade” and the instrument introduction to the next track, “Lobster” not only fit my personal definition of progressive rock, but, I think, would have to be classified as being music of the progressive rock genre. In fact, if one thinks strictly in terms of the music of progressive rock landmarks like King Crimson’s “In the Court of the Crimson King”,  one can listen to instances like Vanilla Fudge’s “That’s What Makes a Man” mentioned in last week’s Fifty Year Friday’s post , the Nice’s first album, and the instrumental introduction to “Lobster”, and hear not just the seeds of the progressive rock style, or music that some label as “proto-prog”, but clearly hear the “progressive rock” style of music, set in motion by the progressiveness of earlier efforts from the Beatles, Jimi Hendrix, The Doors, Jefferson Airplane, not to mention the earlier progressive contributions of jazz, big band music, be-bop, cool jazz, and hard bop.

Track listing [from Wikipedia]

Side one
No. Title Writer(s) Length
1. “Time Will Show the Wiser” Emitt Rhodes 3:05
2. “I Don’t Know Where I Stand” Joni Mitchell 3:45
3. “If (Stomp)” Ian McDonaldRichard Thompson 2:45
4. “Decameron” Paul Ghosh, Andrew Horvitch, Thompson 3:42
5. Jack O’Diamonds Bob DylanBen Carruthers 3:30
6. “Portfolio” Judy DybleTyger Hutchings 2:00

 

Side two
No. Title Writer(s) Length
7. Chelsea Morning Joni Mitchell 3:05
8. “Sun Shade” Ghosh, Horvitch, Thompson 3:50
9. “The Lobster” George Painter, Hutchings, Thompson 5:25
10. “It’s Alright Ma, It’s Only Witchcraft” Hutchings, Thompson 3:12
11. “One Sure Thing” Harvey BrooksJim Glover 2:50
12. “M.1 Breakdown” Hutchings, Simon Nicol 1:22

 

Fairport Convention

Additional Personnel

  • Claire Lowther – cello

iron20butterfly

In-A-Gadda-Da-Vida (Released June 14, 1968)

A while back, Time Magazine reported that the ideal length of time for workers to take a break was 17 minutes.  Not coincidentally, this is the time it took for Iron Butterfly to record “In-A-Gadda-Da-Vida.”

“In-A-Gadda-Da-Vida” created a revolution in rock albums, taking up an entire side, psychologically preparing the way for tracks like the sixteen minute medley on side two of Abbey Road, Van Der Graaf Generator’s 23 minute “A Plague of Lighthouse Keepers” on side two of Pawn’s Heart,  the 23 minute “Supper’s Ready” taking up most of side two of Genesis’s Foxtrot, Yes’s 18 minute “Close to the Edge”, Jethro Tull’s 44 minute complete album, “Thick As a Brick”, and Yes’s two LP, “Tales of Topographic Oceans”, not to mention very-long tracks from Can, Amon Duul II , Ash Ra Tempel and Pink Floyd as well as works like Morton Feldman’s 1983 six-hour String Quartet No. 2, Max Richter’s eight hour “Sleep”, Kuzhalmannam Ramakrishnanand’s 501 hour concert in 2009 and John Cage’s Organ²/ASLSP (As Slow as Possible) which if not rushed, lasts around 639 years.

And, yes, there were earlier long works going back hundreds of years across various continents long before recorded music.  We also have several cases of very long jazz tracks that pre-date “In-A-Gadda-Da-Vida.”  But we are talking about rock here, a genre of music born from the three-minute pop tune aimed at attention-deficit teens and cultivated to sustain a revenue stream through theoretically expendable music and even more expendable music groups.

It was “In-A-Gadda-Da-Vida” that bridged the gap between The Doors “Light My Fire”  and the multi-section progressive rock long tracks to follow.  And unlike some of the progressive rock to come, “In-A-Gadda-Da-Vida”  was not several songs bound together but a single song, with extended solos, including the famous drum solo that changed the role and egos of rock drummers until the end of time.

For historic purposes, one has to mention  Love’s 1967 single-side 19 minute song, “Revelation” — but the difference is that Love’s long “Revelation” was generally ignored at that time it was released, for good reason, and Iron Butterfly’s “In-A-Gadda-Da-Vida” carried its album to the number four billboard spot and made it in abbreviated form as a hit single.

Originally titled “In A Garden of Eden”, but reportedly changed to “In-A-Gadda-Da-Vida” upon hearing how composer Doug Ingle pronounced the title after a gallon of cheap wine. “In-A-Gadda-Da-Vida” starts off with Doug Ingle’s neo-baroque organ solo in d minor followed by baroque-like layering of the entrances of the other instruments including Ingle’s vocal.  Remarkable and clearly inescapable is the ostinato (a repeated musical phrase, often in the lower register) not too distantly related to the  opening of Tcherepnin’s Bagatelle op. 5 no. 1 (C, C, B-flat, C [long, short, short, long]) and the 1960’s more frequently played Ajax’s “Stronger Than Dirt” jingle, except transposed to d minor and transformed brilliantly so the opening pattern is D, D, F, E, C, D (long, long, short, short, short, long) thus creating one of the first and most impactful heavy metal riffs.

There are a number of notable components to this work including the hard rock introduction, the modulation from the verse to the chorus, the organ passage work, the guitar solo, the basic (basic enough for non-musicians to tap along with) but memorable two-and-a-half  minute drum solo, the organ solo incorporating “God Rest Ye Merry Gentlemen”, and the ensemble percussion section with organ and guitar commentary.  For comparison of how similarly In-A-Gadda-Da-Vida” was played live, one can check out the group’s Filmore East live album released decades later which includes two concert recordings of  from April 1968.

As a bonus, the first side has some very accessible tracks, mostly of the psychedelic era but here and there with early heavy-metal elements and a number of interesting organ passages. The first two tracks are upbeat with “Flowers and Beads” being material that would have worked quite well for the Turtles. “My Mirage” is more reflective, “Termination” includes a solid early metal ostinato on the chorus and a wistful, ethereal coda, and “Are You Happy” makes a solid case that this group has made the leap from psychedelic rock and acid-rock into heavy metal territory — also, note this track’s primal, dark, earthy opening, and then the descending chords sequence in the verse.

Track listing [from Wikipedia]

Side one

#

Title

Writer(s)

Lead Vocals

Length

1.

“Most Anything You Want” Doug Ingle Ingle

3:44

2.

“Flowers and Beads” Ingle Ingle

3:09

3.

“My Mirage” Ingle Ingle

4:55

4.

“Termination” Erik BrannLee Dorman Brann

2:53

5.

“Are You Happy” Ingle Ingle

4:31

Side two

#

Title

Writer(s)

Lead Vocals

Length

6.

In-A-Gadda-Da-Vida Ingle Ingle

17:05

Personnel

 

RVF.jpg

Renaissance (Released June 14, 1968)

Known mostly as a sophisticated cover band and not for their original compositions (if you need verification, ask Amazon’s Alexa to play songs by Vanilla Fudge and see how many hours, not minutes, elapse before she plays something that wasn’t a cover of a previously successful song), this album contains five original compositions by band members, one composition by songwriter  Essra Mohawk, and their cover of the Donovan song, “Season of the Witch”, which received some airplay for a few weeks on both AM and FM radio.   Not only are the original songs of satisfying quality, but were strong enough to propel the album up to the number 20 spot on the Billboard album chart only a few weeks after its release.

The opening of “The Sky Cried/When I Was a Boy” is as solidly progressive as just about anything in the first half of 1968. When the vocals arrive, the track sounds more psychedelic or early metal than progressive, but the musicianship is solid. “That’s What Makes a Man” also has an instrumental introduction that anticipates Yes.  The band’s vocalizing is effective on all seven tracks and their sometimes eerie, wraith-like supporting vocals likely had some influence on later bands, particularly Uriah Heep.  Overall, this album generally gets classified as psychedelic rock, hard rock or acid-rock.  Worth listening to if you haven’t previously heard this album and are interested in hard rock or the roots of progressive rock; also worth revisiting if you haven’t heard this since the late sixties or early seventies.

Track listing [from Wikipedia]

Side 1

  1. “The Sky Cried/When I Was a Boy” (Mark SteinTim Bogert) – 7:36
  2. “Thoughts” (Vince Martell) – 3:28
  3. “Paradise” (Stein, Carmine Appice) – 5:59
  4. “That’s What Makes a Man” (Stein) – 4:28

Side 2

  1. “The Spell That Comes After” (Essra Mohawk) – 4:29
  2. “Faceless People” (Appice) – 5:55
  3. Season of the Witch” (Donovan Leitch; interpolating “We Never Learn” by Essra Mohawk) – 8:40

Personnel

R-1911172-1319233476.jpeg

From 1967 continuing into 1968 and forward, popular music continues to become more serious, stimulating, and consequential at the same time that modern concert hall music (commonly called twentieth century classical music, modern classical music or avant-garde classical music) continues to struggle to appeal to sizable audiences, with most classical music concerts programming music from the 19th and 18th centuries with a few early, relatively accessible twentieth century works, like Debussy’s orchestral works or Stravinsky’s Firebird included now and then.

In the late sixties many of the best artists and bands in popular music became just as intent on creating works of artistic value as anyone in the more traditional and established areas of the fine arts.  When such artists or bands were lacking in a given area, they would either extend their own skills or reach out to others to assist them in completing a given objective or vision.  More and more this meant including orchestration in their albums.  At first this may have been more driven by producers and the commercial interests of the record companies, and in many of these cases the orchestration was added as something appended to the original product, as in the case with Stanley Turrentine’s “Look of Love” where strings are overdubbed on top of previously  recorded tracks.  But there were also many cases where the orchestration was part of the fabric of the music — or where electronic keyboards and more sophisticated usage of electric guitars, electric bass guitars and percussion replace the instruments of the traditional orchestra, further empowering the artistic determination of the artist or band.

Before the prevalence of electronic keyboards, either the artist or someone in the band had to be a skilled orchestrator or be able to effectively collaborate with a skilled arranger and orchestrator.  In Joan Baez’s case, she was able to partner with Peter Schickle on three of her albums.  Schickle, the mastermind behind PDQ Bach, with three PDQ Bach albums already to his credit on Vanguard, was also composing for film when he partnered with her for the third time on Joan’s 1968 concept album, Baptism. Though neither a commercial nor critical success, Baptism is a strong political statement against war and the ongoing inhumanity characteristic of “civilized” societies.  No doubt, some who had purchased this album were disappointed at the ratio of spoken word to singing, and I suspect this is not an album many will care to listen to more than once or twice, but as a document of the times, this remains an effective artistic statement with a well-selected mix of readings. some excellent orchestration, and Baez’s beautiful vocals.

Track listing [from Wikipedia]

  1. “Old Welsh Song” (Henry Treece)
  2. “I Saw the Vision of Armies” (Walt Whitman)
  3. “Minister of War” (Arthur Waley)
  4. “Song In the Blood” (Lawrence FerlinghettiJacques Prévert)
  5. “Casida of the Lament” (J.L. Gili, Federico García Lorca)
  6. “Of the Dark Past” (James Joyce)
  7. London” (William Blake)
  8. “In Guernica” (Norman Rosten)
  9. “Who Murdered the Minutes” (Henry Treece)
  10. “Oh, Little Child” (Henry Treece)
  11. “No Man Is an Island” (John Donne)
  12. “Portrait of the Artist As a Young Man” (James Joyce)
  13. “All the Pretty Little Horses” (Traditional)
  14. “Childhood III” (Arthur Rimbaud, Louis Varese)
  15. “The Magic Wood” (Henry Treece)
  16. “Poems from the Japanese” (Kenneth Rexroth)
  17. “Colours” (Peter LeviRobin Milner-GullandYevgeny Yevtushenko)
  18. All in green went my love riding” (E. E. Cummings)
  19. “Gacela of the Dark Death” (Federico García LorcaStephen Spender)
  20. “The Parable of the Old Man and the Young” (Wilfred Owen)
  21. “Evil” (N. Cameron, Arthur Rimbaud)
  22. “Epitaph for a Poet” (Countee Cullen)
  23. “Mystic Numbers- 36”
  24. “When The Shy Star Goes Forth In Heaven” (James Joyce)
  25. “The Angel” (William Blake)
  26. “Old Welsh Song” (Henry Treece)

51jTBjVF3eL

It’s certainly not a mystery why talented composers would choose to pursue the popular music of their times — music that they listen to, their friends listen to, and reflect the time they live in — as opposed to less popular music of academia, which can only unconvincingly assert its lineage to the great music of  Bach, Mozart and Beethoven.  One should expect that the most engaging, commercially viable, and prevalent music would attract a substantial proportion of able and talented musicians and composers: it was the case during the jazz era, the swing era, the be-bop era, and in the late sixties, during some of the most exciting days of rock music.

Randy Newman’s father and mother were not professional composers, but three of his uncles were:  Alfred NewmanLionel Newman and Emil Newman  — all noted Hollywood film-score composers, with the most famous, Alfred Newman, conducting, arranging and composing about two-hundred film scores, nine of which won Academy Awards.  Randy already had written a number of songs including a B-side (“They Tell Me It’s Summer”) for a hit single of the Fleetwoods (“Lovers by Night, Strangers by Day”), the song lyrics for Bobby Darin’s “Look at Me” (the title song of the 1964 movie, “The Lively Set”), and songs recorded by Dusty SpringfieldPetula ClarkJackie DeShannon, and the O’Jays, when he dropped out of UCLA, only one semester short of a music degree. By then, he had taken courses in music theory, music history and probably one or more orchestration classes, though clearly he had already learned the basics before his UCLA studies having written background music for a 1962 episode of TV’s The Many Loves of Dobie Gillis, and then eventually providing music for other TV shows including  Lost in SpacePeyton Place,  Voyage To The Bottom Of The Sea and one of my favorites as kid, Judd For The Defense.

With several years of experience in songwriting and orchestra scoring, Randy Newman released his first album, Randy Newman, in June of 1968.  The album did not sell well, and Warner Brothers provided any dissatisfied buyers the opportunity to exchange the album for any other album in their catalog.

But this album is a keeper.  From the beginning we see a thoughtful approach to songwriting.  The first song, “Love Song” immediately makes an impact with its dry, wry humor, its shrewdly crafted orchestration, and its structure: Newman’s ending to the song eschews the standard return of the chorus and ends with a bridge section that is followed by a final, modified verse with a simple brief coda, creating not a climax, but an ending that aligns well with the sober, yet tongue-in-cheek message: “When our kids are grown with kids of their own, they’ll send us away to a little home in Florida; we’ll play checkers all day ’til we pass away.”

Newman’s unique delivery, the reflective piano accompaniment, the excellent orchestration, often veering intentionally away from the core song material, make their mark on each and every track.  Repeatedly Newman is taking up the voice of the underdog, the rejected, or the trodden-down, forgotten citizen, even when reflecting on the status of God as in “I Think He’s Hiding.”  Songs like “Bet No One Every Hurt So Bad”, “Living Without You”, and “Linda” not only reflect on the sadness and angst of the persona of the lyrics (the point of view, narrator, speaker) but provide commentary on the character of that persona such that we may feel some sympathy but would sometimes also wish to distance ourselves a little from some of these characters if they came into our vicinity.

On the song “Cowboy”, perhaps the best song on the album, we feel genuine empathy and compassion for the persona. This is a song from the heart without any clever commentary or cloaked irony.  Newman raises this to an art song with his orchestration.  The work starts off with the images of the prairie, the orchestration developing and sculpting the mood, supporting the lyrics and evoking some of the characteristics of the music of Aaron Copland. Following “Cowboy”, “Beehive” is an interesting variant on the well-known “St. James Infirmary Blues”, followed by the classic “I Think It’s Going to Rain Today”, recorded by Judy Collins in 1966.  Ending this excellent album is “Davy The Fat Boy” — a track that might be considered politically incorrect today, but it is not a portrait about Davy but about the scoundrel exploiting him.  The orchestration/arrangement is again the star here, and it is every bit of an art song as anything turned out by the Beatles or Beach Boys.

In an act of full disclosure here, I once saw Newman perform “Love Story” on network television a very long time ago — perhaps this was in 1970 on an “In Concert” program — or perhaps on late night TV — and at that time, hearing him accompanied only by his piano, I was not impressed enough to follow-up further by purchasing an album or requesting it as a possible present for the next birthday or Christmas.  It turned out that for me, Randy Newman was an acquired taste, cemented by taking a music history course at my local college during my senior year in high school, in which course, the cellist, and course instructor, Terry King, played part of Newman’s “Sail Away” album. King had played on that album and reminisced about the experience.  Later that same week, Mr. King played, with great pride, a recording of Schubert’s Erlkönig.  At the end, one of the students asked “what was so special about that?  It’s just a song.”  King, unflustered, replied that no, Erlkönig was not an ordinary song, it was truly something extraordinarily special, but didn’t go into any details to support that conclusion.  At that point, I thought, yes, Schubert’s Erlkönig is quite dramatic and special — and even catchy, in an early-nineteenth-century-equivalency-of-hard-rock sort of way — but it is a song — and I thought back to that earlier class in which King had played Randy Newman — someone who also wrote songs, but one hundred and fifty years later. Yes, a song is a song, but there is no particular boundary to how good (or bad) it can be.  It’s up to the listener to make that evaluation, and if enough listeners have a favorable opinion over time, that song may have some longevity.

So possibly, the songs of Randy Newman will be around in the 22nd century.  If so, this album, out of print for fifteen years before being released on CD, and generally ignored by the rock critics of 1968, provides more than just an interesting assortment of early Randy Newman tunes, but a complete, and rewarding, musical experience.

Track listing [from Wikipedia]

All songs written and arranged by Randy Newman.

  1. “Love Story (You and Me)” – 3:20
  2. “Bet No One Ever Hurt This Bad” – 2:00
  3. “Living Without You” – 2:25
  4. “So Long Dad” – 2:02
  5. “I Think He’s Hiding” – 3:04
  6. “Linda” – 2:27
  7. “Laughing Boy” – 1:55
  8. “Cowboy” – 2:36
  9. “Beehive State” – 1:50
  10. I Think It’s Going to Rain Today” – 2:55
  11. “Davy the Fat Boy” – 2:50

album_large_3048_4e0ce5cf6f5d9

Silver Apples was what was left of the cover band, The Overland Stage Electric Band, after vocalist, Simeon Coxe III,  incorporated old-fashioned 1940’s technology audio oscillators into their performances at Café Wah in Greenwich Village, annoying, exasperating, and eventually alienating all other members of the band except the drummer, Danny Taylor.  Now, with only two of the five original members still on board, the band was renamed and, with a set of thirteen oscillators connected together, soon recorded an album for the small label, Kapp, which had recently been purchased by MCI after Kapp had repeatedly proved itself, including recording Louis Armstrong’s very successful single, “Hello Dolly”, in 1964 and recording the original cast album of “Man of La Mancha” in 1966.

For those that would propose that all the new music in any decade following the sixties is truly based on something already recorded prior to 1970, this first Silver Apples album, Silver Apples,  makes a good exhibit A for such a case. Here, in this album, we can hear many of the key ingredients of the music of Tangerine Dream, Kraftwerk, techno-rock, and various pockets of underground dance music and indie rock that followed. To their credit, Beck, the Beastie Boys, Stereolab and Portishead’s Geoff Barrow have all publicly acknowledged the influence of Silver Apples.

SA_03-1010-QLTJpag8TpA6MiyC2zFBBxDTkB2aoP68

Heralded by John Lennon and Gary Booker of Procol Harum, and joined by Jimi Hendrix for jam sessions, Silver Apples appeared to have a future that looked interesting, if not particularly promising commercially.  Unfortunately, the actual longevity of Silver Apples was brief, even in rock-career years, as a result of the album cover content of their second LP, Contact, which shows the band in a PanAm cockpit with the PanAM logo clearly visible in the upper right on the front, and Simeon and Taylor sitting amidst the wreckage on the back cover perhaps humorously hinting they weren’t up to handling all the sophisticated electronics.  Ironically, the agent of their “crash and burn” was not due to any misuse of electronics, or lack of public recognition, but was solely due to that back album cover itself, which precipitated a lawsuit from Pan Am Airlines; though PanAm had had originally approved the group’s use of the Pan Am logo for the front cover, they were completely taken by surprise with the wreckage portrayed on the back cover.

 

“They sued us, big‑time,” Simeon stated in a 2010 Sound on Sound interview.  “They sued Kapp Records, they sued us as a band, they sued us personally, they sued our management, they got some judge in New York to issue a cease‑and‑desist on us performing. All the records had to be taken off the shelves in all of the record stores. They put some sort of a lien on our equipment and they actually came to a club where we were playing and confiscated Danny’s drums. Fortunately, my stuff wasn’t there. That photograph led to the lawsuit that broke the band up. No record label would touch us from that point on. That was the end of Silver Apples.”

Let’s forget about this tragic demise for now (the band, like so many sixties band, have reunited for concert appearances), and celebrate the fiftieth anniversary of this influential and historical significant album.  It is rough in spots, with generally weak vocals, but there is no scarcity of interesting content — such content bookended by the strongest tracks, “Oscillations” and “Misty Mountain.”  Youtube audio doesn’t do this track justice, but still conveys that this music sounds more like a composition from the late seventies than the late sixties:

Track listing [from Wikipedia]

Side A

#

Title

Writer(s)

Length

1.

“Oscillations”

Simeon, Taylor, Warren

2:48

2.

“Seagreen Serenades”

Simeon, Taylor, Warren

2:55

3.

“Lovefingers”

Simeon, Taylor, Warren

4:11

4.

“Program”

Simeon, Taylor, Warren

4:07

5

“Velvet Cave”

Simeon, Taylor, Warren

3:00

Side B

#

Title

Writer(s)

Length

1.

“Whirly-Bird”

Simeon, Taylor, Warren

2:41

2.

“Dust”

Simeon, Taylor, Warren

3:40

3.

“Dancing Gods”

Navajo Indian Ceremonial

5:57

4.

“Misty Mountain”

Simeon, Taylor, Eileen Lewellen

2:47

Silver Apples Personnel

  • Dan Taylor – drums, percussion, vocals
  • Simeon – oscillators, flute, vocals

117748335

With a series of excellent albums on the Blue Note record label since he first signed with Blue Note in 1952, Horace Silver delivered another with Serenade for a Soul Sister released in early June 1968.

This is a high energy album, musically positive, with strong forward momentum; in addition, it conveys that special Blue Note quality captured in so many of the albums engineered by Rudy Van Gelder.  The first three tracks include Stanley Turrentine on tenor sax, sounding better than on his own 1968 album, “The Look of Love”, which is marred by overdubbed strings added into an otherwise surprisingly good performance of mostly contemporary pop tunes.  The very first track, “Psychedelic Sally” swings, bops, and rocks, brimming with a level of energy more commonly associated to electric guitars and electronic keyboards than a small acoustic jazz group.  The second and third tracks are in 3/4,  and the fourth track is in a fast 5/4 with a recurring syncopation between the second and third beats which extends its way with an added beat into a 6/4 bridge-like section that returns to the original theme followed by strong improvisation by Bennie Maupin, Charles Tolliver, and then Silver followed by the return of the ensemble.  The fifth track, “Kindred Spirits”, takes a slower and more casual tempo, and the last track, “Next Time I Fall in Love”, is a calm, relaxed, and somewhat carefree piano solo by Silver that nicely ends this upbeat and generally energetic album.

Track listing [from Wikipedia]

All compositions by Horace Silver.

  1. “Psychedelic Sally” – 7:14
  2. “Serenade to a Soul Sister” – 6:19
  3. “Rain Dance” – 6:21
  4. “Jungle Juice” – 6:46
  5. “Kindred Spirits” – 5:55
  6. “Next Time I Fall in Love” – 5:19

Personnel

Musicians

on tracks 1 – 3 (February 23, 1968)

on tracks 4 – 6 (March 29, 1968)

Production

 

hope takes a back seat to Fate

this bus,
the first and last bus
of the bus stop
where I stop
to catch the bus.

you know it will be allright
it needs to be, right?
being is an extension of
what is about to exist,
of course,
for the best.

a window —
well,
didn’t get one.

the back window?
sure,
except,
why watch what has gone by?

what will be —
ah,
that will be good —
better than now,
passing on the left anything
gone on before.

Fate…
ignores chipper hope
and the constant chattering
but does not look down
on innocent chance.

Fate!
muses not
on circumstances
nor takes
viewpoints or preferred destinations
into consideration.

for Fate
it’s just a steady job.
nothing to get so
serious about
and sooner or later,
all the annoying nattering
will stop
and hope will get off,
long gone before
the end of the line.

– zumwalt (1998)

sansui_4000

In July 1964, a battle against freedom of speech to promote freedom of speech began when the FCC (US Federal Communications Commission) adopted a prohibition against FM radio stations running 24 hour simulcasts of the content on their AM stations. With an eye towards containing costs, and perhaps ensuring a continuation of the current programming status quo, many owners of AM/FM affiliate stations fought against this new regulation, causing a delay in the ultimate enactment of this restriction until January 1, 1967. It was then, in 1967, that station owners examined their options for alternative programming to what was on the AM airwaves.

And within a relatively short time, FM became a mecca of musical variety!  In the greater Los Angeles area, where I lived, I started to explore FM content around 1968 to discover the wealth of international music being broadcast on Saturday and Sunday by multiple stations with the lowest numbers (the left of the dial) as well as the greater variety of classical music on 92.3 KFAC-FM compared to their AM counterpart, 1330 kHz KFAC.

In May 1968, KSAN-FM in San Francisco lured KPMX program director Tom “Big Daddy” Donahue (also author of the 1967 Rolling Stone article “AM Radio Is Dead and Its Rotting Corpse Is Stinking Up the Airwaves”) and several of the KPMX staff currently on an eight-week strike to work for what would apparently become the very first 24-hour underground rock FM radio station.  At the end of KSAN-FM’s last classical music broadcast, and to start their new format, Donahue appropriately played The Steve Miller Band’s “Children of the Future” which starts off with with a forty-eight second flurry of electric cacophony worthy of the current contemporary classical composers of the time that then nicely dissolves into the very simple and relatively brief anthem of the title track, “Children of the Future”

From this time on, FM stations in the largest cities, particularly San Francisco and Los Angeles, begin playing “underground” music, experimental and psychedelic rock, select tracks of various rock albums, and even complete sides or complete albums.  One could find a number of free-form programs: radio slots where the DJ played just about anything that they cared to play.  Soon Donahue extended his programming reach to Los Angeles taking over KMET and KPPC, making these two of the coolest stations in the greater Los Angeles area.

SteveMI0001844680

In 1967, “The Steve Miller Blues Band” changed their name to “The Steve Miller Band”, not to shorten it but to update it to match their new sound.  Steve Miller had been brought up by jazz-enthusiast parents, good friends of Les Paul and Mary Ford: Steve’s dad was the best man and Steve’s mother was the maid of honor at the December 1949 wedding of Les Paul and Mary Ford. Steve’s dad, a physician and amateur recording engineer, even played Les Paul a wire recording of Steve Miller “playing” guitar at age four, and upon hearing, Les encouraged Steve to continue with his interest in the instrument.

When his dad moved the family to Dallas in 1950, Steve dad’s recording skills and interest in music exposed Steve to visitors like world-class guitarists T-Bone Walker and Tal Farlow, and jazz great Charles Mingus.  Soon Steve would leave for Chicago to earn his living as a blues guitarist, playing rhythm guitar with Buddy Guy as well as participating in jam sessions with other blues greats like Muddy Waters and Howlin’ Wolf.

So it was natural that the Steve’s first band would be a blues band.  But it was also natural that Miller was a musician of his time, and by the time Miller’s band was ready to record an album, it would be a rock album, though with a significant blues footprint including four blues-based tracks on the second side.

Originally planned to be recorded at Capitol Records in the historic Studio B in the famous Hollywood Capitol Tower, Miller and crew drove down from San Francisco for a midnight recording session, and per Joel Selvin’s liner notes of a recent CD reissue of the album, the group started to record but “the Capitol engineers, who had already made their distaste known for hippie rock musicians, walked out of the sessions, leaving the band with no engineers.  Miller picked up the van and the band and went back to San Francisco.”  Later Miller and band would make the trip to Olympic studios in London to record their inaugural album under now-famed producer Glyn Johns.

The first side of this album is basically one interrupted track, knit together from several individual songs in the form of a rock suite, and includes the attention-grabbing opening of the first track and the exploratory soundscape of the final track on that side, “The Beauty of Time Is That It’s Snowing”, both possibly influenced by Steve Miller’s interest in contemporary twentieth century composers like Karlheinz Stockhausen and John Cage. Jim Peterman’s mellotron assists in the overall psychedelic nature and spaciness of this first side.

The second side includes Boz Scaggs’ two relatively unremarkable compositions (the first with Ben Sidrian on harpsichord and the second a blues-based song), one older composition by Steve Miller, and three blues covers with which the band acquit themselves quite well, distinguishing themselves from other California-based contemporary rock bands by the quality of their playing and general understanding and approach to the blues.  Overall, this gives us a second side, which not as interesting as the first side, is still noteworthy.

Track listing (from Wikipedia)

All tracks composed by Steve Miller except where noted:

Side one
Title Writer(s) Length
1. “Children of the Future” 2:59
2. “Pushed Me to It” 0:38
3. “You’ve Got the Power” 0:53
4. “In My First Mind” Miller, Jim Peterman 7:35
5. “The Beauty of Time Is That It’s Snowing (Psychedelic B.B.)” 5:17

 

Side two
# Title Writer(s) Length
6. “Baby’s Callin’ Me Home” Boz Scaggs 3:24
7. “Steppin’ Stone” Scaggs 3:02
8. “Roll With It” 2:29
9. “Junior Saw It Happen” Jim Pulte 2:29
10. Fanny Mae Buster Brown 3:04
11. Key to the Highway Big Bill BroonzyCharlie Segar 6:18
Total length: 38:21

 

The Steve Miller Band

Additional Personnel

%d bloggers like this: