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Archive for the ‘Progressive Rock’ Category

Fifty Year Friday: January 1970

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Chicago:  Chicago

For most of us in our teens, 1970 was filled with many memorable and important musical moments.  Out of the hundreds which expanded my musical appreciation greatly, three stand out. The first (the last of these three) occurred in December of 1970: the Beethoven all day, one-dollar, open seating, 10 AM to 10 PM, Bicentennial Beethoven Birthday Concert at the L.A. Music Center. Attending a school Advanced Placement English all-day field trip, I first heard live chamber music, including the Beethoven Octet in E-flat major for pairs of clarinets, oboes, bassoons and french horns  — providing a kaleidoscope of remarkably distinct timbres — interacting yet maintaining separateness and distinctness and as brilliantly clear as the decorative icing on a cake but as substantial as the actual cake ingredients underneath that icing.  When the school bus was ready to leave that afternoon, I unsuccessfully tried to arrange transportation.  I had originally come to the concert that day as one who liked and enjoyed classical music, and left as one who couldn’t be without it.

The second of the three most important musical events of 1970 for me was the acquisition of King Crimson’s first album, In the Court of the Crimson King.  This was the heaviest music I had yet heard and I heartily shared it with my friends that were willing to accept such adventurous and different music.  The album definitely contributed to my developing the preference, tastes, and sensibilities for the numerous progressive rock albums that would late follow and, because the album included Greg Lake, it was ultimately responsible for my purchasing of yet-to-be-in-existence Emerson, Lake and Palmer albums.

The third of these three most important musical memories was initiated by my next door neighbor bringing over his newly purchased “Chicago” double album (nowadays referred to as Chicago II), but really the first Chicago album to us at the time as we were yet unaware of the first Chicago Transit Authority album.)  I recorded that “Chicago” album on my tape deck with a copy of Abbey Road and played those two albums over and over during the summer of 1970 while reading the Hobbit and the Lord of the Rings Trilogy. When I  stayed with my aunt and uncle during part of the summer of 1971, I talked my cousin, a talented snare drummer in a drum and bugle corp, into purchasing the 2 LP album and it soon was the main soundtrack to my multi-week visit there.

I usually avoid ranking albums,  but it would be difficult to not acknowledge that this album is one of the very best pop/rock albums of 1970s as well as the last fifty years.  The entire album is a cohesive work, best listened to attentively from start to finish and comparable to other complete works like novels or symphonies.  Unlike most albums before, during ,and afterwards, there is not one minute of filler material, everything on the album is indispensable and contributes to the remarkably high quality of the completed work.

Tracks

1. Movin’ In (James Pankow) – 4:06 Lead singer: Terry Kath
2. The Road (Terry Kath) – 3:10 Lead singer: Peter Cetera
3. Poem for the People (Robert Lamm) – 5:31 Lead singer: Robert Lamm
4. In the Country (Kath) – 6:34 Lead singers: Terry Kath and Peter Cetera
5. Wake Up Sunshine (Lamm) – 2:29 Lead singers: Robert Lamm and Peter Cetera
6. Make Me Smile – 4:40 Lead singer: Terry Kath
7. So Much to Say, So Much to Give – 1:12 Lead singer: Robert Lamm
8. Anxiety’s Moment – 1:01 Instrumental
9. West Virginia Fantasies – 1:34 Instrumental
10. Colour My World – 3:01 Lead singer: Terry Kath
11. To Be Free – 1:15 Instrumental
12. Now More Than Ever – 1:26 Lead singer: Terry Kath
13. Fancy Colours (Lamm) – 5:10 Lead singer: Peter Cetera
14. 25 or 6 to 4 (Lamm) – 4:50 Lead singer: Peter Cetera
15. Prelude (Kath, Peter Matz) – 1:10 Instrumental
16. A.M. Mourning (Kath, Matz) – 2:05 Instrumental
17. P.M. Mourning (Kath, Matz) – 1:58 Instrumental
18. Memories Of Love (Kath) – 3:59 Lead singer: Terry Kath
19. 1st Movement (Lamm) – 2:33 Lead singer: Terry Kath
20. 2nd Movement (Lamm, Walter Parazaider) – 3:41 Instrumental
21. 3rd Movement (Lamm, Kath) – 3:19 Lead singer: Terry Kath
22. 4th Movement (Lamm) – 0:51 Lead singer: Terry Kath
23. Where Do We Go From Here” (Peter Cetera) – 2:49 Lead singer: Peter Cetera
Chicago

Peter Cetera – Bass, Vocals
Terry Kath – Guitar, Vocals
Robert Lamm – Keyboard, Vocals
Lee Loughnane – Trumpet, Vocals
James Pankow – Trombone
Walter Parazaider – Woodwinds, Vocals
Danny Seraphine – Drums

BOTW

Simon and Garfunkel: Bridge Over Troubled Water

Bridge Over Troubled Water was the first album I bought within a few days after it was released. (A year or two after that, buying albums as soon as they came out would become a common purchasing pattern.)  My sister had previously purchased each and every Simon and Garfunkel album, and probably would have bought this one, but I spotted it at the local K-mart and grabbed it without question.  Taking it home and then playing it attentively, I was a bit disappointed as I was expecting that this would be even better than their previously album, Bookends.  I was still pretty naive, even for a 15-year-old, and I assumed that artists got better with each and ever attempt.  It had seemed that way with Simon and Garfunkel, as Bookends was better than Parsley, Sage, Rosemary and Thyme which was better than the Sounds of Silence album which was definitely better than Wednesday Morning, 3 AM.  Wasn’t it natural that this new album, Bridge Over Troubled Water would be their best so far?  I had a lot to learn, and I would soon learn that pop and rock artists peak — often with their third or fourth album  — sometimes even peaking with their second album. (I learned this indisputably when I bought the Chicago III album, my jaw dropping down close to the floor as I had expected the same improvement from the CTA album [first Chicago album] to the Chicago II album to occur from the Chicago II to the Chicago III — it was very unfitting, and perhaps, in my mind at that time, unethical of them to turn out such an inferior product to Chicago II)

I listened to  Bridge Over Troubled Water a few times, trying to  sort out  what was the best songs — I liked “Frank Lloyd Wright” and “Song for the Asking” the best and considered “Bye Bye Love” and, to a lesser degree, “El Cóndor Pasa” to be filler. (Yes, “El Cóndor Pasa” isn’t that bad, but i would much rather have it replaced with a strong Paul Simon composition — which I was expecting the album to be overflowing with.)

Perhaps a week to ten days after purchasing, I had started to hear the title track on the radio.  Yes, that was reassuring, but it did get a bit trying to hear it over and over.  Then the same occurred with “Cecilia.”  I had already played the album over a dozen times, so didn’t need those songs filling the airwaves, but nonetheless, was happy for Simon and Garfunkel to get all the attention and resulting benefits from the constant exposure for those few months. Overall this album is their most commercial effort, and not surprisingly their most successful.  It is also pretty good — especially “Frank Lloyd Wright” and “Song for the Asking.”

Tracks

Side One
1. Bridge Over Troubled Water (Paul Simon) 4:52
2. El Condor Pasa (If I Could) (Jorge Milchberg / Daniel Alomía Robles / Paul Simon) 3:06
3. Cecilia (Paul Simon) 2:55
4. Keep the Customer Satisfied (Simon) 2:33
5. So Long, Frank Lloyd Wright (Simon) 3:41

Side Two
1. The Boxer (Simon) 5:08
2. Baby Driver (Simon) 3:15
3. The Only Living Boy in New York (Simon)
4. Why Don’t You Write Me (Simon) 2:45
5. Bye Bye Love (Boudleaux Bryant / Felice Bryant)
6. Song for the Asking (Simon) 01:39

Personnel

Paul Simon – lead vocals, acoustic guitar, percussion
Art Garfunkel – lead vocals, percussion
Los Incas – Peruvian instruments
Joe Osborn – bass guitar
Larry Knechtel – piano, organ, Fender Rhodes
Fred Carter Jr. – acoustic guitar, electric guitar
Pete Drake – Dobro, pedal steel guitar[40]
Hal Blaine – drums, percussion
Jimmie Haskell and Ernie Freeman – strings
Jon Faddis, Randy Brecker, Lew Soloff & Alan Rubin – brass
Buddy Harman – percussion
Bob Moore – double bass
Charlie McCoy – bass harmonica
Roy Halee – engineer and co-producer

Fifty Year Friday: November 1969 including David Bowie and Almendra

Somos seres humanos
Sin saber lo que es hoy un ser humano
(We are human beings, without knowing today what a human being is.)

— Almendra

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On Nov 14, 1969,  Philips released David Bowie’s second album in the UK, originally titled “David Bowie.” Mercury released the album in the US as “Man of Words/Man of Music” which was re-released by RCA in 1972 as “Space Oddity” after the success of the Ziggy Stardust album. Whereas Bowie’s very first album sounds like he is intentionally imitating Anthony Newley and includes mostly songs of limited musical and lyrical depth, this second album raises the level of artistry considerably, bringing together a few easily accessible songs with several more carefully crafted, more reflective numbers.  Perhaps Bowie’s break up with his deeply-loved girlfriend, Hermione Farthingale contributed toward a decided shift to a more personal artistry.  Bowie thought of her as a soulmate and suffered deeply from the end of their relationship — two songs on this album are clearly about her: “An Occasional Dream” and “Letter to Hermione” — both providing an insight into the impact of the loss.

With the exception of the second track, “Unwashed and Somewhat Slightly Dazed”, a clear homage to Bob Dylan, Bowie is mostly his own artist on this album,  produced mainly by Tony Visconti, who also plays bass.  One track, the single “Space Oddity”, which Bowie wrote after seeing Kubrick’s “2001, A Space Oddity”, was produced by Gus Dudgeon and climbed up to the number 5 position on UK charts, though in the U.S. it did not fare any better than the 124th spot.  The general US AM listener would not be exposed to it until 1973 when it reached the 5th position and then again, in 1975 when it made the #1 spot and seemed to be played unceasingly.

The album includes Rick Wakeman on mellotron and harpsichord and Gus Dudgeon on cello.  It will be another year before Bowie works with Mick Ronson and Mick Woodmansey and another year after that until Trevor Bolder is added on bass. Though there are many better albums to follow, this may be the most personal and the one closest to reflecting the native-state David Bowie as opposed to Bowie the mastery of multiple external personnas and styles.

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In November of 1969, Colosseum release their second album, Valentyne Suite, which did fairly well in the UK, reaching number 15 on the UK album charts.  The highlight of the album is Dave Greenslade’s contributions, both as a performer on keyboards and as a composer on the first two sections of the three movement Valentyne Suite.  Interestingly the original version of the suite was included in the 1969 US release of Colosseum’s previous album “Those Who Are About to Die Salute You”, which is a combination of the first and second UK albums.   For the UK version of the second album, the original third part of the suite, “Theme Three, Beware the Ides of March”, co-written by Greenslade, Dick Heckstall-Smith, Jon Hiseman and Tony Reeves is replaced by “The Grass is Always Greener”  co-written by Heckstall-Smith and Hiseman, since “Beware the Ides of March” had previously appeared on the first album.  The suite works in either configuration and provides a strong ending to both the UK version of the second album and the US version of “Those Who Are About to Die Salute You, which is a mix of tracks from both the first and second UK albums.

Other November 1969 albums include Steve Miller’s Your Saving Grace and Jefferson Airplane’s Volunteers, both albums including Nicky Hopkins on keyboards. Volunteers is the more significant album historically and musically, containing both strong language and strong political content.

Steppenwolf’s Monster, also released in November 1969, starts with a similarly strong political message. recounting how “Like good Christians some would burn the witches;
later some got slaves to gather riches.” and “While we bullied, stole and bought a homeland, we began the slaughter of the red man”, and warning of the inevitable transformation into a monstrous beast with cities turned into jungles, strangling corruption, and the costly Vietnam war.

Moody Blues released To Our Children’s Children’s Children on November 21, 1969 with the first track “Higher and Higher” and the general thematic direction of the album inspired by the Moon Landing.  The album continues to distill the Moody Blues identifiable sound with tracks melting into each other.  The album reached number #2 in the UK and #14 in the US.

Amidst a number of other November 1969 albums, many of them debut studio albums like those by the Allman Brothers and Mott the Hoople, Rod Stewart releases his first album, around 32 minutes of music including Ronnie Wood on guitar and Keith Emerson on organ on  “I Wouldn’t Ever Change a Thing”

Humble Pie’s second album, the appropriately named Town and Country, released November 1969, provides an attractive balance of acoustic and electric guitar work with some Wurlitzer piano.  The album contains a good measure of country-rock, two strong Peter Frampton songs, and Steve Marriot’s particularly evocative, mood-setting, “Silver Tongue.”

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Kevin Ayers released his debut album, “Joy of a Toy”, in November of 1969 — a slightly tongue in cheek, intentionally laid back and understated set of songs that look forward to indie rock of the 1980s as much as an distillation of Soft Machine, sixties rock, show tunes, pop and early progressive rock.  Even though the lyrics range in quality, the nature of the music and Ayers delivery always make the words work well with the music. The opening instrumental sets the appropriate mood, followed by the wry “Town Feeling” with effective oboe and then “Clarietta Rag” which sounds a bit too much like “For the Benefit of Mr. Kite”;  a variety of songs follow, some having  that identifiable “Canterbury” sound, some like “Religious Experience” which seems more spur of the moment composition and performance, and includes an appearance from Syd Barrett.  Perhaps the best tune is “Lady Rachel” with a mysterious oboe introduction nicely setting the mood as well  as the the colorful orchestration and the judicious use of  a chromatically-raised augmented chord in the chorus.  Musicians include Robert Wyatt, Michael Ratledge and Hugh Hopper from Soft Machine as well as David Bedford on piano and mellotron and Paul Buckmaster on cello. All in all an under-the-radar album (at that time and now), that had better material and more an influence on music than generally given credit for.

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Argentina bands, as with bands from other Latin American countries, mostly were imitative or cover bands for most of the sixties.  This “Nueva Ola” style, represented by local bands (having English names), though popular enough and providing live music, couldn’t compete in terms of record sales with new music from U.S. and Britain, and eventually the “Rock en Español” musical movement produced bands like Los Gatos and Almendra.

Led by songwriter, guitarist and vocalist, Luis Alberto Spinetta, Almendra released their first album, the self-titled Almendra, on November 29, 1969.  How much this influenced future progressive rock bands in South America, Spain and Italy is not clear, but the album, like Spanish and Italian music to follow, incorporated folk music together with jazz, pop and rock elements.

The album opens with their earlier released, and successful single (in Argentina), “Muchacha (ojos de papel)”, a modern art song with beautiful melody and lyrics over Spinetta’s acoustic guitar. Another highlight on the album is Spinetta’s “Figuración” which alternates between a gorgeous folk-like melody and a rock section anticipating future Italian prog-rock groups like PFM. This is followed by the upbeat and partly Beatles-like “Ana no Duerme.”

Side two opens up with reflective, acoustic folk-like “Fermin”, followed by the equally graceful “Plegaria para un niño dormido” and the multi-thematic “A estos hombres tristes.”  Bass guitarist contributes the jazzy, almost Brazilian-like “Que el viento borró tus manos.”  The poignant and elegant “Laura Va”, with harps, strings and woodwinds provides a graceful and satisfying end to one of the best albums of 1969.

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: 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

 

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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: In A Silent Way

 

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MILES DAVIS: IN A SILENT WAY

Recorded in one session on Feb 18, 1969 as three performances, “Shhh/Peaceful”, “In A Silent Way”, “It’s About That Time”, then edited by Ted Macero (with apparently minimal input from Miles Davis) into two compositions in ABA form, one for each side, In A Silent Way, was released on July 30, 1969, peaking at number 134 on Billboard’s Top LPs chart.  The music is available today in both the edited form, which for a long time was all that listeners were familiar with, and in its original form.

What is striking about either the edited or original form, is the original style of both the music and the musical approach to structure and form that was deployed.  The album version differs considerably than the original takes.  For “Shhh”/”Peaceful” the original starts off with a whole-tone sort of motif (with traces of the flat-second Dorian mode) on which the entire work unfolds.  There is this amazing guitar work from McLaughlin and a brief but luxuriantly melodic Davis/Shorter passage.  All of this is dropped from the album version, which begins with the initial statement of another theme from the original take (about ninety seconds) followed with the restatement of this theme that occurs during the last four and a half minutes of the original, then followed with earlier material.  Whereas the original is multi-thematic and provides more contrast, the album version is more mono-thematic and ambient in nature.  It is basically in A B A form, resembling the Sonata form found in Mozart, Haydn and Beethoven era music, with the middle section analogous to a development section.

On the second side of the album, Teo Maceo continues to aggressively edit the original music, once again creating an ABA structure by taking the group’s performance of Davis’s simplified version of Zawinul’s “In A Silent Way” for the A section and using Davis and Zawinul’s collaborative “It’s about That Time” as the B section.  The results provides us with an impressionistic A section, and a quasi-bluesy, slightly funky B section, with a perfect repeat (as it is just a copy) of the original A section.

Though a transitional style for Davis, this landmark ambient jazz album would have considerable influence on many styles of music in the next few years ranging from other jazz or jazz-ambient artists to a subset of progressive rock groups, particularly several of the so-called Kraut-rock bands including Can, Cluster, Tangerine Dream, Amon Duul II, to Brian Eno to a number of New Age artists to even several modern “classical music” composers.  It’s tempting to debate the artistic pros and cons and the artistic merit of the original music versus the final edited album, but it was that final edited album that was the sole source of this music for musicians and music lovers during the last five months of 1969, all of the seventies, the eighties and the nineties.   Commercial music is often notable for its externally enforced limitations, but in 1969 in particular, music markedly stood out for its bold exploration outside of established boundaries, with In A Silent Way being one of the best examples of music liberated and unencumbered from the realm of retail-driven mechanical patterns and formulas, purposefully, yet seemingly spontaneously, creating a new and unconfined expanse of musical expression.

Side One

“Shhh”/”Peaceful” (Miles Davis)  18:16

Side Two

“In A Silent Way/It’s About That Time” (Joe Zawinul, Miles Davis)  19:52

Musicians

 

Fifty Year Friday: Men on the Moon, Yes, Larry Coryell

“That’s one small step for man. One giant leap for mankind.” Neil Armstrong

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Fifty years ago, on July 20, 1969, television gave us nearly front row seats as Neil Armstrong and Buzz Aldrin each made an appearance on what is still today, the most distant theatrical stage ever occupied by human performers, while above, circling around 60 miles above them, was their ride home.  It was such an extraordinary event that there are individuals and semi-organized clusters of people that deny that this amazing technical performance, this greatest non-musical show of all time, ever even happened.  Did Keith Emerson’s piano rotate around at the California Jam in 1974?  Could one see some of the jazz greats of all time at the Hermosa Beach Lighthouse Café throughout the early and mid seventies? Did Elton John dress up in something akin to a large sequined chicken suit as part of his performance at the Fabulous Forum in 1974? Could one, without more than an hour in line, get an up close seat in 1978 to see Peter Hammill at the Trouboudor perform “A Plague Of Lighthouse Keepers” or a seat in the front three rows to see Gentle Giant perform their very last U.S. concert at the Roxy in 1980?  All these things, as unbelievable as they may seem, actually happened!

And rock was reaching new heights, proving its relevance beyond dance music, beyond catchy three minute pop songs tailored for car radios.

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Yes: Yes

Recorded in Spring of 1969 and released on July 25, 1969, the world heard the very first Yes album.  Their first studio effort is indeed impressive and immediately identifiable by its sound as both progressive rock and, more relevantly and significantly, a Yes album!  Authored primarily by Jon Anderson and Chris Squire, we already have that recognizable, identifiable Yes style from their compositions and collaborations, Peter Banks pre-Howe guitar work, Tony Kaye’s keyboards, and Bill Bruford’s percussion work, influenced by such cosmic musical giants as Art Blakey and Max Roach.

Most of us baby boomer progressive rock fans, first heard Yes in the 1970s, initially from either their third album, The Yes Album, or their fourth album, Fragile.  The reality was that most of us music lovers usually started with the third or fourth album of a number of the so-called progressive rock groups — and as we had some spending money, we invariably went back and purchased earlier albums of groups like Jethro Tull, Gentle Giant, Genesis or Yes — even after knowing (after the first back catalog purchase or two) that the albums would not be as good as the later albums. The fact was that even those earlier albums were still good enough and provided further insight and material from some of the finest bands outside of the jazz universe — but maybe not so completely outside of jazz  as one might think:  the jazz influences were indeed there for many of these musicians in these bands. And worth noting, so was the classical music influence.

So even though this first Yes album isn’t up to the standards of their third album, The Yes Album or Fragile, it still is Yes, and the music is captivating and engaging. It’s way too easy for those of us used to the later Yes to find fault with this album, but if we just listen to this in the context of it’s own time, when jazz, rock, and classical styles were first intermingling, its remarkable nature reveals itself.

The album opens up with “Beyond and Before” from Squires, Banks and Anderson’s previous band, Mabel Greer’s Toyshop.  Even at this early point in time the music sounds clearly the work of Chris Squire with co-authoring credits (perhaps the words) for Clive Bailey, the guitarist and vocalist of Mabel Greer’s Toyshop.    The bass/drums pairing of Squire and Bill Bruford and vocal combination of Squire and Jon Anderson establishes the framework of a style that would become unmistakably a feature of the Yes sound. The music is not as polished as later Yes, but is clearly a different sound distinct from anything else being released, and Peter Bank’s guitar work is representative in both it’s uniqueness and its sometimes rough edges.

There are two covers on this album: the second track on side one is of the Byrds  “I See You” and the second track on side two is of the Beatles “Every Little Thing”, both absorbed and incorporated into Yes’s own sound.

The other five tracks are Yes originals, ranging from good to borderline excellent.  Also recorded during these sessions is the amazing cover of “Something’s Coming” from West Side Story, which is included as a bonus track on some CD reissues, or in most of the many Yes anthology albums.

Yes

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Larry Coryell: Lady Coryell

One of the earliest, if not the earliest true jazz-fusion albums, Lady Coryell features the complex, multi-track layers of  Larry Coryell’s  jazz and rock guitar polyphony.  Joined by drummer Bob Moses from Coryell’s earlier psychedelic, rough-edged jazz-rock group, “The Free Spirits”, the album moves away from the more British-rock influenced style of the earlier Free Spirits’ Out of Sight and Sound into a more convincing blend of rock and jazz.  Coryell sings, less than exquisitely, on most of the tracks, but his guitar and bass guitar work is beyond reproach.  Jimmy Garrison provides acoustic bass on track seven, and Elvin Jones provides drumming on tracks 7 and 9.

Personnel

 

 

 

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