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Archive for the ‘Folk Rock’ Category

Fifty Year Friday: Spirit, Led Zeppelin, Turtles, Pink Floyd, Renaissance, Pentangle

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Spirit: Clear

Spirit probably would have made the big time if they had played at Woodstock as planned, possibly right before Hendrix and his band played the festival’s last set. As it was, the band ended up going on a a multi-venue promotional tour. To make matters worse, lead guitarist/singer/songwriter Randy California  who had previously played with Jimi Hendrix for three months (it was Hendrix that give the originally named “Randy Wolfe” the new last name of California to distinguish him from Randy Palmer whom Hendrix named “Randy Texas”) and drummer/singer/songwriter Jay Ferguson begin to have differences of opinions on the style and direction of the band.  In the middle of all of this,  Spirit released their third studio album, Clear, an album with elements of early prog, blues-rock and psychedelic rock.  “Dark Eyed Woman” is probably the best known track, but the album contains two quality instrumentals on side two and has generally good, though not world-changing, material overall and some quality guitar work from Randy California.

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Led Zeppelin: Led Zeppelin II

On October 22, 1969, Led Zeppelin released their second studio album, more polished and musically interesting than their first and a undeniable success commercially, reaching #1 on the charts in the U.S., U.K., Canada, Australia, Spain, Denmark, and Holland. Included is “Whole Lotta Love”, “Living Loving Maid”, the passionate ballad, “Thank You”, and “Moby Dick” which features a drum solo that always brought to my imagination the virtuosic dribbling of a basketball. Though Led Zeppelin would get even better, this is a pretty good album, full of energy, life, and creativity.

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The Turtles: Turtle Soup

While newer groups are making significant commercial inroads, some older groups are winding down.  The Turtles released their last of five albums, an album very much in the style of the late sixties, closer to 1967 or even 1966 than late 1969.  That said, this is a fairly decent album with some good acoustic guitar work on the first side. Also of interest, is that the album is produced by The Kink’s Ray Davies, and one can hear this in several songs such as in the opening of “The House on The Hill.”  The most interesting composition is “John and Julie”  which includes added strings that enhance the qualities of the song. The one track on the album to get any notable airplay is “You Don’t Have to Walk in the Rain” which shares a few too many similarities with their 1968 hit, “Elenore” — such blatant mimicking of a previous hit, though, is not new for the Turtles, whose 1965 single, “Let Me Be”, followed almost immediately after the success of “It Ain’t Me, Babe”, sounding suspiciously similar.

This final studio album, though, did not mean an end for the Turtles, for their very best songs reflected the sixties so well, that they were not quickly forgotten — this is particularly true of their best song, and only number one hit, “Happy Together.”

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Pink Floyd: Ummagumma

Released on October 25, 1969 in the U.K. and in early November in the U.S., Ummagumma (pronounced “OOH-ma GOO-ma”) is a two record set, the first LP containing material recorded live in April and May 1969 and the second an interesting collection of individual contributions, both in terms of authorship and performance, from the band.  The first side is an indispensable document of 1969 Pink Floyd live, performing some of their earlier psychedelic space-rock classics, and serves as the main attraction of the album.  The second LP which showcases each band member’s individual efforts, has its moments, but clearly the group is much better together than as isolated soloists. Nonetheless, this set of solo offerings on the second LP is still more interesting than most avant-garde and exploratory music of its time.

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Renaissance: Renaissance

The first iteration of the newly formed band, Renaissance, formed by two former Yardbird band members, Keith Reif and Jim McCarty, released their very first album in October 1969. From the start, with John Hawken’s classically-influenced piano, the listener knows this is a special album. Reif and McCarty had tired of the heavier rock sound of the Yardbirds and were looking to blend folk, rock and classical elements — and classically-trained Hawken was a perfect fit for their vision.  Most of the material is has a fresh, progressive tone to it, effectively mixing rock, jazz, folk, pop and classical elements including incorporation of material from Rachmaninoff, Chopin and Beethoven’s Pathétique Sonata.

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Pentangle: Basket of Light

Released on October 26, 1968, this is the most commercially successful album for Pentangle and one of their best.  It opens with a Brubeck-like “Light Flight” with its off kilter meter of 5/8 and 7/8 with a 6 beat middle section. Quite the composition, it was the theme for the BBC’s “Take Three Girls” about three young woman in hip and swinging 1969 (to 1971) London.

The rest of the album is a mix of rearranged folk songs and new compositions, all performed beautifully and artfully on acoustic instruments with lead vocals distributed between Jacqui McShee, Bert Jansch, and John Renbourn.   A good album to start with if you haven’t devoted much time listening to Pentangle or wish to enjoy some quality English Folk Rock.

Fifty Year Friday: September 1969

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On September 20, John Lennon met with Paul McCartney, Ringo Starr, and the Beatles’ business manager to inform them of his intent to leave: “I want a divorce! Like the one I got from [first wife] Cynthia.”

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September 1969 was also an eventful month for baseball.  The Mets initiated a serious winning streak while the Chicago Cubs was losing games and overtook the Cubbies, even getting a 4-3 victory against Card’s pitcher Steve Carlson record-breaking 19 strike-outs, nine-inning pitching. On September 22nd, Willie Mays of the San Francisco Giants became the first major league baseball player since Babe Ruth to get his 600th home run; this was in the same game against the Padres that his teammate Bobby Bonds struck out for the 178th time, breaking  an 1963 record previously held by Dave Nicholson of the Chicago White Sox.

On September 26, ABC debuted a seemingly inconsequential situation comedy about six kids, three girls and three boys, merged as a part of a marriage of two divorcees, with a dog and maid thrown for good measure. At fourteen, I avoided watching the show out of principle, but this series was a favorite of the youngest girl next of our closest neighbors, geographically and personally, a family of three older boys, all good friends to me, and three younger girls.

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But anything else that happened on September 26, or in the month of September 1969, seems culturally inconsequential to the release of the Beatles final effort before they went their own ways, their last recorded studio album, Abbey Road.  I borrowed this masterwork from one of the three boys next door in the spring of 1970 and recorded it on to my own relatively good quality reel-to-reel tape recorder along with Chicago’s second album, the two of which I listened to over and over and over while reading The Hobbit and The Lord of the Rings series.  Though more of a collection of solo Beatles songs than some of the earlier albums, the assembly and production, along with the high musical quality, made this my favorite Beatles album.

For many years, I was not particularly fond of the first track, John Lennon’s “Come Together”, seemingly a musical throwback to an earlier time.  Harmonically, this was a standard rock-and-roll chord progression, with psychedelic, wildly colorful, but also mostly incomprehensible, lyrics. Not known to me at the time was that it was written as a campaign song for Timothy O’Leary in his averted attempt to run against Ronald Reagan for Governor of California — the campaign terminated by O’Leary being arrested for possession of weed.  Also not known to me at the time, was the similarity of the song to Chuck Berry’s “You Can’t Catch Me.”  These facts though, probably wouldn’t have made much difference to my quickly getting tired of hearing this played every morning on the bus trip to and back from school, five days a week, from the third Monday in October 1969 to the last Friday before Christmas vacation in late December.

During this same three-month window, George Harrison’s “Something”, the second track sequentially on Abbey Road, was also played on that same bus, courtesy of the local station that our bus driver was apparently captivated with or captive to.  Due to the poor audio quality and the noise on the bus, I didn’t get to fully appreciate the nuances of either of these two songs, and so also became slightly tired of “Something” sometime by late November.  However, its important to note, that compared to the other fodder on AM radio, these two tracks were gems.  It’s hard to imagine how I survived, but during these three months, as music was shifting from the diversity of the late sixties to a more homogeneous, more similarly produced approach to singles, there were numerous musically questionable songs being played on that bus radio including Oliver’s “Jean”, the Cuff Links’ “Tracy”, Bob Dylan’s  tortuous, “Lay Lady Lay”, R.B. Greaves “Take A Letter Maria”, Mel and Tim’s “Back Field in Motion”, and worse of all, The Archies’ unimaginably simplistic and simplistically unimaginable “Sugar Sugar”, one of the most blatant and annoying bubble-gum pop songs of the era. Compared to any of these and some of the other tunes being pushed at the time, “Something” was a work of art, and “Come Together”, even for the seventy-eighth time, was a welcome relief.

But back to Abbey Road — by the time I had transferred my friend’s copy of Abbey Road to tape and started playing it over and over,  I viewed “Come Together” and “Something”, (tunes I had already been overexposed to), as a pair of preludes to an extraordinarily, exceedingly, and unexpectedly high-quality, melodically-rich album. I could read over the sound of “Come Together” and even “Something”, but when I got to the rest of the album, I would often stop reading to listen for a while, before getting back to Tolkien’s more narrative story-telling.

Now certainly as my level of musicianship has increased I have come to better appreciate “Something.”  That said, even today, it is the rest of this album, starting with “Maxwell’s Silver Hammer” that really resonates with me.  In the previous two tracks, we have McCartney’s bass work, which is particularly impressive on “Something.”  With this third track, we have his first composition on the album, a delightful upbeat, perfectly crafted (and performed) narrative pop tune with facile, witty lyrics nicely supporting the song.   Lennon dismissed the work as more of McCartney’s “granny” music, but the work, like Ringo’s “Octopus’s Garden” provides the necessary lightness and contrast needed to hold together side one of Abbey Road.  “Oh, Darling” which follows, is a seriously heartfelt, blues-based ballad and  benefits from being preceded and followed by the two lighter tracks.

Whereas Ringo’s earlier composition that appeared on the White Album, “Don’t Pass Me By” was one of the simplest realization of a straightforward blues progression, his second composition, “Octopus’s Garden” is more sophisticated, possibly aided with some direction from George Harrison.   Not only does this work well with “Maxwell’s Silver Hammer” to bookend McCartney’s “Oh! Darling” , but it provides the contrast for the thickness and darkness of Lennon’s “I Want You (She’s So Heavy)” which starts off as plaintive blues-rock before diving into the depths of progressive heavy metal.  It ends suddenly, providing an unambiguous and unbreachable separation between side one and side two.

Side two opens up with Harrison’s masterpiece, “Here Come’s the Sun”, by itself enough to justify having a copy of the Abbey Road album.   This is followed by Lennon’s reworking (reversal and extension) of sequence of chord progressions of Beethoven’s Moonlight Sonata (first movement) as the core of “Because”, providing a level of reflection and sophistication that nicely sets up the unrivaled rock medley that makes the Abbey Road album an unforgettable masterpiece.  One could have taken the numbers in this medley and extended their length, falling into the trap we find on so many rock albums, where tunes are allowed to roam unchecked trespassing their natural boundaries — but by keeping each song to its minimum duration, George Martin and the Beatles maximized the musical impact to make this sixteen-minute medley the shortest sixteen minutes in the history of rock music.  The album ends with “Her Majesty” which was originally meant as part of the medley after “Mean Mr. Mustard”, but disrupted the flow and coherence, and so was intended to be left off the album altogether.  Acting under instruction not to throw anything away, one of the engineers added “Her Majesty” to the end of the master tape, after a generous length of silence.  The Beatles, when listening to the playback lacquer that also included this “added” track, liked the effect and the track ended up included as a final “hidden” track on the album, not listed originally on the LP album cover.   Growing up, I often debated with myself whether the album should have ended, predictably, with “The End”, but today, I have little doubt of the appropriateness of this unrelated coda that adds just one additional element of artistry to this overall timeless, seemingly flawless album.

Though Abbey Road was the best album from September 1969, there are others worth noting.

Laura Nyro’s dramatically intense “New York Tendaberry” was released on September 24, 1969.  Though I never caught Laura Nyro live,  this album provides me some solace as the immediacy comes about as close as a studio album can get to a real live performance.  With one strong track after another, all stylistically and compositionally individual, this is one of the best albums of September 1969.

The Band released their second studio album, self-titled “The Band”, on Sept 22, 1969. Generally country rock, music is accessible and generally good with music mainly written by guitarist Robbie Roberson, who also engineered the album.  For the most part, the lyrics are narrative and provide an historical aspect.  Particularly notable is “The Unfaithful Servant”,  with its art-song qualities.

Fleetwood Mac released their third album, Then Play On on September 19, 1969, the last Fleetwood Mac studio album with Peter Green.  The band takes advantage of the capabilities of studio recording technology for the first time, producing a strong, polished album incorporating blues, blues-based rock,  and contemporary rock numbers including Peter Green’s reflective, leisurely-paced and melancholic “Closing My Eyes”, the understated, simple and nostalgically effective, Pink-Floyd-like “When You Say”, and Peter Green’s “Rattlesnake Shake” which lyrically harkens back to those early blues records that cover taboo topics.  Notable is Peter Green’s guitar work throughout and the overall musical variety provided by contributions from all four band members.  The UK initial release was a relatively lengthy album, and the US version dropped two tracks.  The Rhino Deluxe CD edition includes not only the two omitted tracks, but Peter Green’s 1970 masterpiece, “The Green Manalishi (With the Two Prong Crown)” — which combines elements of psychedelic rock and early progressive rock.

The Guess Who release their fifth studio album, “Canned Wheat” sometime in September 1969. This is their strongest album to date including two radio hits, “Undun” and “Laughing”  and an early, and perhaps superior version, of “No Time” with a ear-awakening microtonal introduction.

Man releases the wittily titled 2 ozs of Plastic with a Hole in the Middle.  The album takes on a distinctly progressive tone with an incredibly strong opening instrumental track, “Prelude/The Storm”, solid evidence at how effective could the band could be at crafting and shaping larger musical statements.   Though the remaining album does not stay at this lofty level (the next track is more standard blues-rock and elements of blues and psychedelic rock dominant side two), it has its moments.

While Fleetwood Mac was able to get away with a suggestive album title and Peter Green’s more overt “Rattlesnake Shake”, an unambiguous song about male self-pleasuring, Man had some corporate censorship imposed.  Their label, perhaps not too unexpectedly for 1969, found some fault with the title of the second track on the first side, “Shit on the World”, forcing the band to rename it to the more innocuous “It Is As It Must Be.”  The title of “Spunk Rock” was also targeted, but due to miscommunication at the record executive level, it was inexplicably changed to the even less inoffensive “Spunk Box.” Re-releases of the album have kept the altered titles of “Spunk Box” and “It Is As it Must Be” thus inadvertently delivering a just and lasting subtle irony.

Al Stewart was able to dodge censorship completely on Love Chronicles with one of the first uses of the present participle form of the f word on a record released by a major label (CBS Producer Clive Davis learned of its inclusion after the release or it would have been not allowed.) Released in September 1969, the album is basically a song-cycle covering male/female relationships, some of which are clearly autobiographical including the eighteen minute title track.  The musicianship is outstanding with the 1969 line-up of Fairport Convention (minus vocalist Sandy Denny) and Jimmy Page and John Paul Jones from Led Zeppelin on the title track, “Love Chronicles.”

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The Nice released their third album, simply titled “Nice”, sometime in September 1969, with the album peaking to third position on the UK album charts.  The liner notes are provided, in handwritten form, by Keith Emerson. The album’s music is filled with classical and jazz references and includes Pepper Adams on baritone sax and Joe Newman on trumpet on the last track of side one, “For Example.” Emerson writes about this session in his autobiography expressing his elation at getting Pepper Adams (who was a musician on what Emerson notes was his favorite album of all time, Thelonious Monk at Town Hall.)  Side two of The Nice was recorded at the Fillmore East on April 9 and 10 of 1969 and these two particularly compelling tracks continue the trend of incorporating jazz and classical components.  The first live track,  “Rondo” is based on Brubeck’s “Rondo Alla Turk” and includes Bach references and a reference to Dukas’ “Sorcerer’s Apprentice.” The second live track is a extended and transformed rendition of Dylan’s blues number “She Belongs to me”, and includes references to Elmer Bernstein’s theme from the Magnificent Seven, Aaron Copland’s Hoedown, and more J.S. Bach.  All the diversity and wide ranging quotations are managed coherently, producing a substantial musical experience.

Fifty Year Friday: Woodstock and August 1969

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The history of people gathering together to hear others play music is almost as old as people gathering together to play music — both going back to prehistoric times.

And there were many older people in 1969, those of the “Great” generation and those of the so-called “Silent” generation, that would have identified “Woodstock” as just another prehistoric-type gathering to listen to primitive music.

Woodstock wasn’t the first multi-day music festival.   The Greeks had multi-day festivals where music played an important role.  In the Middle Ages and the Renaissance there were music festival that included a competitive element as portrayed in Richard Wagner’s Die Meistersinger von Nürnberg.

Wagner himself started the famous Bayreuth Festival in 1876, and though the first year was a financial disaster, it was a significant historical achievement with Russian attendee, composer Peter Tchaikovsky, writing “Something has taken place at Bayreuth which our grandchildren and their children will still remember.”

And so we can say the same about Woodstock.

There were many earlier multi-day rock events including the three-day Trips Festival in 1966, the two-day Fantasy Fair and Magic Mountain Music Festival in June 1967, the three-day Monterey Pop Festival from June 16 to June 18 in 1967, the Northern California Folk Rock Festival in May 1968, the two-day Newport Pop Festival in early August 1968, which had over 100,000 paid attendees, the two-day Isle of Wight Festival on August 31 and September 1, 1968, the two-day San Francisco Pop Festival on October 26 and 27, the two-day Los Angeles Pop Festival on December 22 and 23, the three-day Miami Pop Festival on December 28-30, several large, multi-day festivals in the first seven months of 1969 including the July 25-27 Seattle Pop Festival, and the three-day, attended by over 100,000, Atlantic City Pop Festival on August 1-3.

But Woodstock was one of a kind.  It was the peak of such gatherings — both a musical and social event the likes of which had never occurred before and has yet to occur again.

It was further celebrated and immortalized by the Warner Brothers movie, Woodstock, which came out in March 1970 — a important documentary that other studios had no interest in funding, and that, with its box office success, saved Warner Brothers from bankruptcy.

I had not even heard of Woodstock when my father, one evening in April 1970, while my sister and mom were attending some a Job Daughters or Eastern Star related meeting, took me to see a movie about music he personally had no interest in or no particular affection for. At fourteen, I was just along for the ride, so to speak, and would have accompanied my dad to any movie he chose.  Fortunately he chose Woodstock.

And what I saw were the myriad and complex vestiges of sixties mixing with, and more significantly, fueling the new music and culture of the upcoming 1970s — I was watching a document foreshadowing the world I would soon more fully engage and participate in.  Outside of sometimes reminding me of the importance of being considerate of others and sensitive to other people feelings, taking me to movies was the closest my dad ever came to explaining the facts of life or teaching me about what life would be like as an older teenager or young adult.  Woodstock, even in just its movie reincarnation, provided exposure to curse words, skinning dipping, drugs, and most of all some really timeless music.

Today there are various DVDs and on-demand streaming sources of video and audio that cover the music played at Woodstock and capture interviews of musicians and attendees.   I think its appropriate to celebrate this anniversary by watching the original movie or the extended version — or just listening to some of the audio from this landmark event.  Appreciate any comments on this topic!

Albums for the rest of August 1969

For the most part, by August of  1969, the sixties were wrapping up and the seventies were off to the races.

There were a number of musicians and groups that were symbols of the sixties that now had to make the transition to the seventies or fold trying.  Those that more-or-less folded, including Donovan, as mentioned in last week’s post, and groups like the Association, who released their fifth album in August 1969, the first of two Association albums that didn’t have a charting single, would be long remembered for their contributions in the sixties, but not recognized as a part of the seventies.

While other groups were declining, wrapping up, or dissolving, there were many new groups — with three genres becoming more and more prevalent: hard rock groups, which would evolve mainly into metal, progressive rock, and hard rock blues bands; the folk and country rock groups, which would often, in the case of some folk rock bands, get more progressive and complex, or with some country rock bands, develop a harder edge to their music or become more acoustic or folk-oriented; the blues rock bands, which depending on their musical sophistication usually evolved into metal, hard rock, jazz-rock, or more prog rock bands.  On top of this the Motown sound of the sixties was generally replaced with funk, soulful rock with the heart and soul of the Tamla/Motown set of record labels (including Tamla, Motown, Miracle/Gordy, VIP, Soul) shifting from Detroit to Los Angeles.

The shift from the sixties to the seventies was marked by the formation of super groups – — top musicians from different bands getting together as was the case earlier with Crosby, Stills, and Nash which released their album in May of 1969, and Blind Faith and The Hollies, both of which released their albums in August of 1969.

Eric Clapton, Steve Winwood formed Blind Faith with Ginger Baker and Ric Grech. The Blind Faith album, with its controversial original cover, which Eric Clapton fought for by stipulating their would be no album without that cover of the topless prepubescent strawberry blonde suggestively holding a Concord-like aircraft , and which cover was predictably replaced when initially released in the U.S. and Canada, is foundationally a blues rock album, with some particularly engaging writing by Steve Winwood and overall quality playing from Clapton, Winwood, Gretch and Baker.  Half of the album, side two, is an extended jam number which particularly showcases Eric Clapton.

Steve Marriot of the Small Faces and Peter Frampton of the Herd formed the Hollies.  Their first album, As Safe As Yesterday Is, released in early August of 1969, is a mixture of blues rock, jam rock, and some good solid songs. particularly the title song, “As Safe As Yesterday Is”, by Peter Frampton.  This style of British rock-blues looked forward to the blues and guitar oriented rock of the early seventies and contained few vestiges of the original British Invasion sound.

Ten Years After, who also played at Woodstock, was an English blues rock band  releasing their third studio album, Ssssh in August of 1969.  However by this third album Alvin Lee’s impressive guitar style had more of a seventies’ sound and his writing style likewise as was the the general hard-rock rhythmic drive of drummer Ric Lee and bassist Leo Lyons as well as the blues-rock sound of classical trained keyboard player Chick Churchill.  Ssssh, outsold the previous two albums and got as high as the twentieth position on the US Billboard Album Charts.

Mick Abrams, the guitarist on the first Jethro Tull album, leaving apparently from differences with Ian Anderson on the musical direction of Jethro Tull, had formed the band British Blues Band Blodwyn Pig.  Incorporating the reed work of Jack Lancaster and including elements of jazz-rock as exemplified by the track, ““The Modern Alchemist”,  the album reached number 9 on the UK charts. Again we have a solid, British Blues album, very much forging the way into the start of the seventies.

David Brown Plays With Santana At Woodstock

In America, starting in 1966, Carlos Santana led a Bay-Area-based live-concert jam band, Santana. Santana’s first album, recorded in May 1969 and released at the end of August, 1969, incorporated some actual songs in order to be commercially friendly — but as to be expected from this type of jam band, the album is mostly instrumental.  One of songs on the album, “Evil Ways”, caught on in a big way reaching #9 on the charts sometime in March 1970. With the combination of the heavy airplay of “Evil Way” and their appearance at Woodstock and in the film, their first album eventually climbed up to number 4 on the US Billboard Album Charts.  While “Evil Ways” received incessant airplay on AM, FM radio stations played other cuts of the Santana album.

Michigan, which had provided the MC5 and The Stooges, provided yet another hard-edged, blues-based rock band with Grand Funk Railroad. Though the level of musicianship was not at the level of English groups like Blind Faith, The Hollies, Ten Years After, or Blodwyn Pig it was clearly an improvement over MC5.  The first album, On Time, released in August of 1969, was also much better received by rock critics.   Grand Funk was a natural seventies arena rock band, so much so that Rolling Stone writer David Fricke later declared “You cannot talk about rock in the 1970s without talking about Grand Funk Railroad!”  And though an intelligent musically-oriented discussion of seventies rock music certainly wouldn’t suffer from an omission of Grand Funk (as they were more commonly called by fans), they were one of the few early seventies hard rock bands that managed to successfully steer away from what some considered the contaminating influence of progressive rock — staying mostly true to the vision of a generic, relentlessly devoid of any traces of self-awareness, hard rock.

Stevie Wonder, did not play at Woodstock, but continued to mature as a musician and composer, releasing My Cherie Amour on August 29, 1969. Wonder would become one of the most important voices of the 1970s, but for the most part My Cherie Amour is still a sixties album. The biggest hit was the title track, “My Cherie Amour”, a tune originally written by Stevie for his girlfriend as “Oh, My Marsha” when he was a student at the Michigan School for the Blind and then recorded in 1967.  Reaching #4 on the U.S. Billboard Singles chart, the song is relatively simple, instantly accessible and charmingly a product of the sixties.  “Yester-Me, Yester-You, Yesterday”, also recorded back in 1967, reached number #7 in the US and #2 in the UK.

Love also was making the transition from the sixties to the seventies. To start with, Arthur Lee, the primary creative force behind Forever Changes, dismissed all the previous members of Love after the departure talented songwriter, vocalist and guitarist Brian MacLean had left.  The new album, Four Sails, released in either August or September was a disappointment to fans expecting an extension of the melodically-rich, proto-prog sound of Forever ChangesFour Sail starts off promising enough, with the first track “August”, propelling forward with impressive contrapuntal interplay between the two guitars and the bass.  The next track though, pulls the listener back into the sixties as does “I’m With You” with its similarities to the quintessentially sixties “Feeling Groovy” and “Robert Montgomery” with its similarities to “Eleanor Rigby.” Overall, the album is supported by some strong, seventies-style guitar work, but it does not match the quality of the earlier Forever Changes album, and it garnered even less commercial and critical attention.

Another album bypassed by most consumers and critics alike, selling less than a total of 20,000 copies in 1969 and 1970, was Boz Scaggs solo album, simply titled “Boz Scaggs”, recorded after his departure from the Steve Miller Band and released in August 1969. This is mostly a country music album, but it smoothly incorporates elements of blues, folk, soul and gospel. One could make the case that this album is the most seventies album of all the late sixties albums as it effectively incorporates horns, and background singers into a polished presentation that is as much about style and appearance as substance.  Fortunately, there is also real substance to the songs. Scaggs own compositions are generally based on traditional country laments (unrequited love, being taken for granted, unappreciated, leaving because unappreciated, and abandonment.)  The covers Scaggs chooses are wisely selected and fill out the full county/blues spectrum with “Look What I Got” (I found someone else, so there — but it could/should have been you.”) and and “Waiting for a Train” and “Loan Me A Dime” covering down and out territory.  The album ends with a final country song, Scaggs and keyboardist Barry Becket’s “Sweet Release” that balances desolation with the promise of solace.  This strong and powerful ballad is reminiscent of Procol Harum and anticipates the country-rock sound of Elton John’s Tumbleweed Connections.  Overall Scaggs gives us one of the first seventies-style Americana albums, simple, effective, and liberated from the influence of the musical influences of the British Invasion. Once Boz made it big, the album was reissued and belatedly charted in 1976.

August was a busy month for releases, and with albums like Miles  Davis’s In a Silent Way, Nick Drake’s “Five Leave’s Left”, Yes’s first album, Yes, Jethro Tull’s “Stand Up”, Santana’s first album, Santana, and Can’s “Monster Movie”,  now in the hands of many listeners by the end of August, 1969, it seems appropriate to note that this was the beginning of the seventies, calendar mechanics and formalities ignored — and it you were to bring such silly technicalities up, my reply would certainly be typical seventies jargon — “screw that!”

 

 

 

Fifty Year Friday: Monster Movie, The Stooges, Stand Up

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Can: Monster Movie

Launching the genre of progressive rock that is sometimes called Krautrock, German Space Rock, or perhaps most appropriately Kosmische MusikMonster Movie was recorded in July 1969 and released one month later in August of 1969.  It’s Kosmische Musik rhythmic drive is present on the very first track which opens up with a high pitch space age electronic lead-in (an effect later more prevalent after the introduction of electronic sequencers), followed by driving drums, and repetitive bass and electric guitar riffs — all elements refined further by later German “cosmic music” bands.  The seemingly anomalous vocalist, is American Malcom Mooney, who lends a ranting, free-spirt to the otherwise organized and precise forward driving sound of the band.

Keyboardist Irmin Schmidt and Danzig/Gdańsk-born bassist Holger Czukay studied composition with Karlheinz Stockhausen.  Drummer Jaki Liebezeit played with European Free Jazz proponent, Manfred Schoof and guitarist Michael Karoli had both classical (violin, cello) and jazz backgrounds. Vocalist and sculptor, Malcom Mooney, became friends with Irmin Schmidt and Holger Czukay shortly after he moved to Germany and joined the first iteration of the band named “Inner Space.”  It was Mooney who suggested a new name, “The Can”, which was later shortened to just “Can.”  At some point later, an English newspaper article incorrectly suggested that “CAN” stood for “Communism, Anarchism and Nihilism” and this was soon adopted by drummer Liebezeit.

There is certainly a sense of Anarchism and Nihilism in this first album, as well as a communal performance mindset.  There is also some great music, making this one of the classic rock albums of 1969.  The first track, “Father Cannot Yell”, not only has historic importance as early space rock, but exemplifies the cosmic, time-stretching intersection between space rock, free-jazz, and 1950 and 1960’s “experimental/avant/garde” “classical” music . The second track, “Mary, Mary So Contrary”, is pure West Coast psychedelia, sounding more Haight Ashbury than Köln, Germany. The third track breaks into punk territory and flirts with New Wave elements with Mooney as effective as any punk vocalist. The fourth track, “Yoo Doo Right” takes up the entire side two at a little over twenty minutes melding blues-rock with Stockhausen at the Kosmische Rock level with a little extra musical nihilism and proto-punk thrown in for good measure. All in all we have a very different album than the usual recorded fare of the time — music that is influenced by early Pink Floyd and Velvet Underground but also unquestionably provides its own influences for upcoming bands.

Can

 

StoogesStooges

The Stooges: The Stooges

Those following this column may have noted my omission of MC5’s first released album, their live album, Kick Out the Jams.  I bought Kick Out the Jams as a used album around 1971 for about 50 cents but never took a liking to it.  I never much listened to another Michigan-based group, The  Stooges.  I have to say in all honesty,  I particularly made an effort to stay clear of them when Robert Hillburn, lead rock music critic for the Los Angeles Times, started to gush and effuse about them. Though there were many things Mr. Hilburn got right about music, he had an egregious blind spot, or deaf ear, when it came to progressive rock. Born in 1939, and enamored with the American Rock and Roll stars of the mid 1950s and seemingly more comfortable with the basics of rock and I-IV-V chord progressions than the more exploratory side of music, he absolutely hated progressive rock, and that was enough for me to discount his reviews from that point on.  When he unabashedly praised Iggy Pop and the Stooges for their primitive approach, while Hilburn was also trashing albums by Jethro Tull and Yes, that was enough for me to stop reading Hilburn’s reviews and lose any interest in ever listening to Iggy Pop or his “Stooges.”

However, this July, when looking over the calendar of albums released in August of 1969, I noticed that August 5, 1969, was the release of the first Stooges album.  I had listened once again to MC5’s “Kick Out the Jams” earlier this year in trying to decide if I would include that album in a February post for Fifty Year Friday, but it just didn’t spark my interest.  The music didn’t impress me and I didn’t even see more than a marginal connection between MC5 and later punk bands, a connection often emphasized by those examining the history of punk rock. For me, the most evident connection was a lack of instrumental skill.

So when I gave the first “The Stooges” album a spin, I expected little of interest.  And though the music didn’t send me into fits of musical pleasure, it had its moments.

The Stooges had basically five songs when Elektra (looking to expand their currently small cache of non-folk rock groups) signed The Stooges — partly based on input from MC5 regarding how loud The Stooges played.   For live performance, the group basically filled in extra time by jamming, but as this wouldn’t work for the album.  Iggy and the  Stooges assured Elektra they had more material, and then quickly, perhaps in a few hours, came up with four more numbers, three of which where included in the album on side two: “Real Cool Time”, “Not Right” and “Little Doll.”

The Stooges first album was generally panned by a wide range of critics.  Interestingly Robert Hilburn, avoided reviewing this first album. Another L.A. Times contributor, John Mendelssohn,  did,  and wrote the following: “Had I not the unpleasant experience of bearing [sic] The MC5’s “Kick Out the James” [sic] several months ago, I could say “The Stooges” was the worst rock album of the year. It’s unquestionably the second worst, featuring as it does several whiny, adolescently repulsive and barely distinguishable street-punk anthems and hypnotically boring 10 minute chant “We Will Fall.” (Sunday L.A. Times, December 7, 1969)

Note Mendelssohn’s prophetically uses “punk” in his review, a term that would soon be applied to marginally talented garage rock bands, and then later used for a specific style of music as performed by groups like the Sex Pistols and The Ramones.  One could make the case that the Stooges are truly a punk rock group, the first, as opposed to just being a loud, erratic, three-chord garage rock band like the MC5.  Not considering the Stooges lead singer’s live performance presence and antics, there are elements in this first album that reflect the ethos of punk rock as exemplified by tracks like “1969” and “I Wanna Be Your Dog”, a punk rock song title if there every was one.  Add to this that guitar work of Ron Asheton and a couple of actually interesting songs on the album (“Anne” and to a lesser degree “We Will Fall”) and we have something more here than an album that deserved to be widely dismissed by the rock critics of the time.  Supporting this contention is all the praise heaped upon this album in later years including the inclusion of this is the 185th best album of all time on the 2003 Rolling Stones “Greatest 500 Albums of All time.”  I won’t rate this as being one of the top 500 or even top 5000 albums of all time, but I wouldn’t say this is the second worst album of 1969 either.

The Stooges

  • Iggy Pop (credited as “Iggy Stooge”) – vocals, handclaps
  • Dave Alexander – bass guitar, handclaps
  • Ron Asheton – guitar, backing vocals, handclaps
  • Scott Asheton – drums, handclaps

Additional personnel

  • John Cale – piano, sleigh bell on “I Wanna Be Your Dog”, viola on “We Will Fall”, production

 

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Jethro Tull: Stand Up

Released on 25 July 1969 in  the U.K. and in late September in the U.S., Stand Up is more than just an interesting document of the Jethro Tull transitioning from blues-rock to a folk-rock/hard-rock/progressive rock band, it is one of the finest gems of 1969 rock music.

I am generally not enthusiastic about the blues-rock genre, but this album starts off with one of the most exquisitely rendered blues-rock numbers of all time,  “A New Day Yesterday”. compellingly mixing harmonica, electric bass, electric guitar, percussion, and Ian Anderson’s vocals into fresh, vital, bass-punctuated pre-progressive rock music with a brief yet naturally placed flute solo in the middle — all of this in an under-three-minute track.

“Jeffrey Goes To Leicester Square” takes us into early folk-prog territory, simple chords with a colorful arrangement creating interest; this is followed by Anderson’s arrangement of Bach’s Bourrée from the E minor Lute suite, a track that got some air play on the then cutting-edge FM album oriented radio stations that were became more prominent with the early seventies.

There’s really not one weak track on this album.  More importantly, there are some real classics here, like “Look Into The Sun” and “We Used to Know.” Primary credit must be given to the song writing skills and arranging skills of Ian Anderson, but bassist Glen Cornick also contributed to the arrangements, as did, to a lesser extent, guitarist Martin Barre. Arranger, and later on, Jethro Tull keyboardist, David/Dee Palmer, student of Richard Rodney Bennett when student at the Royal Academy of Music, also contributed, and particularly shines in the strings included in “Reasons for Waiting.”

This is one of the must listen albums of 1969.

Jethro Tull

  • Ian Anderson – vocals, flute, acoustic guitar, Hammond organ, piano, mandolin, balalaika, mouth organ, production
  • Martin Lancelot Barre – electric guitar, additional flute (on tracks 2 and 9)
  • Glenn Cornick – bass guitar (all tracks but 5 and 7)
  • Clive Bunker – drums, percussion

 

Fifty Year Friday: Unhalfbricking, Five Leaves Free

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Fairport Convention: Unhalfbricking

Released on July 3, 1969, Unhalfbricking is Fairport Convention’s third album, continuing their evolution towards a mostly English Folk music style despite inclusion of three unreleased Dylan songs.  Elements of progressive rock abound, due to the acoustic guitar work of Richard Thompson and use of organ, harpsichord, electric dulcimers, violin and the eleven minute “A Sailor’s Life” with it’s instrumental second half. Sandy Denny’s expansively liberated vocals, her deft handling of the melodic line, and the subtleties in the arranging contribute to a finely finished aura that envelops the album.

The album includes two Sandy Denny compositions, including  the deeply insightful “Autopsy”, and the widely praised “Who Knows Where the Time Goes?“, previously recorded two years earlier with the Strawbs, and performed with a more relaxed pace, greater freedom, and more maturity on Unhalfbricking,

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Nick Drake: Five Leaves Free

Fifty years later, it seems natural to look back and feel some level of loss for the music that never was — the music that never was because of the tragic and premature loss of such resonant artists as Sandy Denny and Nick Drake. It’s doesn’t help to reflect that general lack of commercial attention probably contributed to the depression that brought about Denny’s and Drake’s deaths.  However, such speculation is called into question upon consideration of artists whose stardom-level status similarly contributed to their shortened lives.

Whereas Sandy Denny at least got attention and opportunities from other, more prominent artists, Nick Drake was pretty much ignored not only up until 1974 when he died of an overdose of his anti-depressant medicine, possibly intentional, but also pretty much until the late 1980s.

Though barely twenty years old when he started to record Five Leaves Free in July of 1968, and though excited at the prospect of having an album, Drake’s life was already full of darkness and depression, as clear from the lyrics of the songs. His level of musicianship was impressive: he effortlessly sings and plays complex guitar passages artfully and effectively in real time with strings or other musicians as opposed to coming back later to dub the guitar work.  Though the recording sessions were rushed  (using downtime available courtesy of Fairport Convention) and the production and arrangements were not to Drake’s liking, by June of 1969, one of the finest singer-songwriter albums of the sixties was completed and released to the public on July 3, 1969. Unfortunately, the critics generally cared little for the album, and very few purchased it.  People like myself would never hear of Nick Drake until many years later.

It seems unimaginable today that this album was ignored for so long.  The quality of the music and the lyrics are undeniable, and the production is generally quite good.  Joe Boyd, a George Martin fan and the producer of this album, had a vision of leveraging all studio resources to provide a integral sound, whereas Drake wanted a simpler, more organic approach.  Boyd wanted an established arranger, Richard Anthony Hewson to provide the orchestration.  However, upon hearing Hewson’s attempts with Drake’s music, neither Boyd or Drake felt that such arrangements were suitable. Drake suggested they go with one of his friends at Cambridge University, music student Robert Kirby, who had previously arranged some of Drake’s music.  Though Boyd was initially reluctant to go with someone so unknown, lacking in credentials, and so inexperienced, after getting Kirby in the studio and hearing what he could do, Boyd settled upon Kirby for all the arrangements except one, “River Man” which, for whatever reason, was arranged by professional music director, arranger and composer, Harry Robertson.  Oddly, though Robertson is a skilled arranger, this is the weakest arrangement on the album. Perhaps it was just that Robertson didn’t have the personal familiarity with either Drake or his music that Kirby did.  Perhaps it was a matter of lack of attention to the depth of the lyrics and music.  Perhaps even Kirby would not have done the song justice. It’s not that this is one of those rare songs that works best left in bleakest, most natural state of single guitar and voice, the inclusion of the strings is a workable idea, its just that the particularly arrangement deployed lacks a true connection to Drake’s message. Nonetheless the song still works well, even if not as well as if it had been recorded with just Drake’s guitar and voice.  The composition is in 5/4 time — five beats to the measure, creating a slightly surreal effect. It’s not a jazzy 5/4 like Dave Brubeck’s “Take Five” or Lalo Schifrin’s “Mission: Impossible” theme song, but a flowing, natural 5/4 composition further enhanced by the relationship between the minor and major chord choices.

It’s fair to say that as particularly special as “River Man” is as a song, all the songs on this album are finely crafted compositions. How this album was initially overlooked by critics but now fully embraced by them is just one of those recurring oddities in the music world  — and often later attributed to the music being ahead of its time. Yet, this doesn’t seem to be the case here.  Yes, the music is timeless and seemingly perfectly suited to the Shoegaze era of the late 1980s and 1990s, but it also fits in nicely with contemporary work of many of the other singer songwriters of 1969.  And there is nothing difficult or elusive in either the relatively simple lyrics, or Drake’s personal and distinctive,  yet easily accessible songs.

Accessible and personal does not exclude universal as in the case of “Day is Done” with its poetic representation of the inevitable finality of any given life.  Here, as in all the Kirby arrangements, the strings appropriately support the essence and character of the song amplifying its impact and effect.   “Fruit Tree” also addresses the nature of life but focuses on fame and the underappreciated artist, eerily predictive of Drake’s own life and legacy:

“Safe in your place deep in the earth, that’s when they’ll know what you were really worth.” 

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Fifty Year Friday: Electric Storm, Deep Purple, Aoxomoxoa

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White Noise: An Electric Storm

Stylistically and artistically ahead of its time, its hard to believe White Noise’s first album was recorded in 1968 and released in June 1969. The electronic effects are achieved not with Moog Synthesizer, which was not available in 1968, but through a combination of various electronic oscillators and magnetic tape effects. These effects, including an aggressive exploration the stereo spatial terrain, do not sound forced or trite, added afterwards, or as a foundation on top of which the music is force fitted, but are organically part of the musical whole. The first two tracks, originally created as singles, are accessible and melodically catchy, and musically refined as is the entire first side which is subtitled “Phase In.”  The third track on that first side, “Here Comes the Fleas” is the novelty number of the album, followed by “Firebird” which though unrelated in terms of topic and theme to Stravinky’s Firebird, cleverly incorporates, subtly and briefly, at different points, a melodic fragment from that original Stravinksy Firebird in the background vocals. The last track on Side One, “Your Hidden Dreams”, is particularly notable for its compelling coherence and judicious use of electronics.

Side Two is subtitled “Phase Out” and is more adventurous and ambitious, starting with the eleven-plus-minute “Visitation” which includes traditional musical and dramatic/narrative components along with more Stockhausen-like and pre-industrial rock elements. The second and last track, “Black Mass” begins with lower registration monk-like chanting — clearly intending to sound ominous and more sinister than the standard Gregorian plainchant.  Dominated by demonic percussion work and some assorted hellish screams and fiendish and perverse electronic sounds, at a little over seven minutes in length, this is the perhaps the most serious track, providing a short. impression of electronic-musical Hell, if not Hell itself.

I got this album around 1972 and have been a fan of it ever since.  Coming out after the albums from United States of America and Silver Apples (previously blogged about here and here), this is perhaps the most accessible and most compelling of the three. The main force behind White Noise, David Vorhaus, would later release additional albums, including the follow-up White Noise 2 (aka Concerto for Synthesizer) which like its predecessor was available only briefly for purchase upon its initial released but now, like many of the previously difficult-to-find albums of early progressive rock, is now readily available for streaming or mp3 download.

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Track listing [from Wikipedia]

Phase-In:

1.

“Love without Sound” Delia DerbyshireDavid Vorhaus

3:07

2.

“My Game of Loving” Duncan, Vorhaus

4:10

3.

“Here Come the Fleas” McDonald, Vorhaus

2:15

4.

“Firebird” Derbyshire, Vorhaus

3:05

5.

“Your Hidden Dreams” McDonald, Vorhaus

4:58

 

Phase-Out:

6.

“The Visitation” McDonald, Vorhaus

11:14

7.

“Black Mass: An Electric Storm in Hell” Duncan, Derbyshire, Vorhaus, Lytton, Hodgson

7:22

Personnel

  • Kaleidophon – production
  • David Vorhaus – production co-ordinator
  • Delia DerbyshireBrian Hodgson – electronic sound realization
  • Paul Lytton – percussion
  • John Whitman, Annie Bird, Val Shaw – vocals

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Deep Purple: Deep Purple

With their third album, simply titled Deep Purple, but also known as Deep Purple III, released June 21, 1969, Deep Purple provides us a glimpse of their progressive side launching this album with the heavy, rhythmically driving, “Chasing Shadows”, based on one of Jon Lord’s nightmares and nicely fitting in with the Hieronymus Bosch inspired album cover. The remainder of the album is a mix of early progressive rock, hard rock, traces of psychedelia, and blues-based rock.  This is an enjoyable, relatively strong album with with both heavy metal and prog-like bass, guitar and keyboards that hints both of a path ultimately abandoned as well as the heavily-worn path that Deep Purple would soon wear into the grooves of such later albums like Machine Head.

Track listing [from Wikipedia]

Side one

1.

“Chasing Shadows” Ian PaiceJon Lord

5:34

2.

“Blind” Lord

5:26

3.

Lalena” (Donovan cover) Donovan Leitch

5:05

4.

“Fault Line” (instrumental) Ritchie BlackmoreNick Simper, Lord, Paice

1:46

5.

“The Painter” Blackmore, Rod Evans, Lord, Simper, Paice

3:51

Side two

6.

“Why Didn’t Rosemary?” Blackmore, Evans, Lord, Simper, Paice

5:04

7.

“Bird Has Flown” Lord, Evans, Blackmore

5:36

8.

“April” Blackmore, Lord

12:10

Deep Purple

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Grateful Dead: Aoxomoxoa

Released June 20, this high-quality work, recorded with 16-track technology, and a potpourri of rock, folk, blues, psychedelia and tinges of country ragtime, is undeniably endearing.  Don’t get hung up on trying to decode the album name, it certainly doesn’t indicate that the album sounds the same when played forwards and backwards (though, it is true the album was recorded twice, first with older technology and a working title of “Earthquake Country”, and then recorded a second time to take advantage of the just released 16 track technology, giving the band the opportunity to run up the studio time for the album as well as run up the associated studio expenses.)

What is delivered here is an album for posterity, with beautifully alluring tracks like “Rosemary” and “Mountain of the Moon” (setting the musical standard for soft, ethereal rock which would be a blueprint for the softer tracks for heavier bands like Led Zeppelin) and exploratory art music like “What’s Become of the Baby.”  The album concludes with, “Cosmic Charlie”, the perfect soundtrack song for the “Truckin’ Along” and “Keep On Truckin'” carefree attitude that brought the 1960s to its close.

Track listing [from Wikipedia]

All tracks written by Jerry Garcia and Robert Hunter, except where noted.

Side one
    Length
1. St. Stephen” (Garcia, Phil Lesh, Hunter) 4:26
2. “Dupree’s Diamond Blues” 3:32
3. “Rosemary” 1:58
4. “Doin’ That Rag” 4:41
5. “Mountains of the Moon” 4:02
Side two
    Length
6. China Cat Sunflower 3:40
7. “What’s Become of the Baby” 8:12
8. “Cosmic Charlie” 5:29

Personnel

Grateful Dead
Additional musicians

 

Fifty Year Friday: Crosby, Stills and Nash

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The first generally-recognized rock “supergroup” was the blues-leaning Cream with Eric Clapton, Jack Bruce and Ginger Baker.  Prior to that, Eric Clapton, Jack Bruce, and Stevie Winwood had formed Powerhouse, originally to have included Ginger Baker, but with only an output of three songs, and with two lesser-known members, Powerhouse could hardly have been considered the first supergroup. When Cream formed, Eric Clapton was already considered an established guitarist, Jack Bruce had survived the Graham Bond Organisation and made a name for himself in Manfred Mann, and Ginger Baker had established his credentials as a skilled drummer in the Graham Bond Organisation before founding Cream in 1966.

The second rock supergroup was formed during the initial stages of the inevitable rise of country-rock and country-folk-rock by three talented and recently “released” artists: David Crosby, was given the boot by the Byrds, mainly due to Crosby’s vision of the direction the Byrds should take not aligning with Roger McGuinn’s and Chris Hillman’s views, Stephen Stills was now free with the break-up of the Buffalo Springfield, and Graham Nash was now seeking new opportunities — Nash, the effective leader of the Hollies, had grown dissatisfied with the Hollie’s aggressive touring schedule and was also no longer interested in having to navigate the gap between Nash’s more creative and musically adventurous aspirations and the other Hollies’ members tendency towards more traditionally pop-oriented music.

Story goes that at a party in July 1968, either at Mama Cass’s or Judy Collin’s home, Nash had asked Stills and Crosby to sing Stills’ “You Don’t Have To Cry” and at some point Nash joined in, harmonizing on the spot.  The three then realized that had something, and soon determined to form a group — but not a group that would continue without any of them — and so they determined the best way to equate the group with the founding members was to name that group after those founding members: “Crosby, Stills and Nash.”

The trio reached out to the management team of Elliot Roberts and David Geffen who signed them with Atlantic, which then had to basically work out a trade for Graham Nash, sending  Richie Furay and his new band Poco to Epic.  (Note that Poco fit nicely into the rising popularity of country rock, releasing their first album, Pickin’ Up the Pieces, on May 19, 1968, only ten days before the release of Crosby, Stills and Nash. I ran out of time last week to review, but for those that like country-rock, this is a very solid country-rock album.)

Recorded in February and March of 1969, and released on May 29, 1969, Crosby, Stills and Nash album became almost instantly popular, with “Marrakesh Express”, a song Nash originally intended for the Hollies, getting airplay on AM radios in the middle of July, eventually reaching number 28 spot, soon followed by Suite Judy Blue Eyes peaking at number 21.  FM radio stations embraced the entire album, playing a number of the other fine tracks.

Excellency is really the hallmark of this album. Even if someone is not a fan of folk-rock, the effervescent and transparent blend of vocals and acoustic guitar work has to resonate with even the most selective of listeners.  If somehow you missed growing up with this classic album, or have otherwise not heard it, seek it out, for it is one of the most enjoyable country-folk rock albums ever recorded, so much so that I include this as another valid entry in my list of non-progressive-rock progressive rock albums!

Track listing [From Wikipedia]

Side one

#

Title

Writer(s)

Lead vocals

Length

1.

Suite: Judy Blue Eyes Stephen Stills Stills

7:25

2.

Marrakesh Express Graham Nash Nash

2:39

3.

Guinnevere David Crosby Crosby with Nash

4:40

4.

“You Don’t Have to Cry” Stephen Stills Stills with Crosby & Nash

2:45

5.

“Pre-Road Downs” Graham Nash Nash

2:56

Side two

#

Title

Writer(s)

Lead vocals

Length

1.

Wooden Ships Crosby, Paul Kantner, Stills Crosby with Stills

5:29

2.

Lady of the Island Graham Nash Nash

2:39

3.

Helplessly Hoping Stephen Stills Stills with Crosby & Nash

2:41

4.

“Long Time Gone” David Crosby Crosby with Stills

4:17

5.

“49 Bye-Byes” Stephen Stills Stills

5:16

 

Personnel 

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