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Archive for the ‘Progressive Rock’ Category

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

 

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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

 

 

 

Fifty Year Friday: It’s A Beautiful Day, Beck-Ola, Pretties For You, A Salty Dog

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It’s a Beautiful Day: It’s a Beautiful Day

Recorded starting in 1968 through 1969, released in June 1969, the debut album of the Bay Area group, It’s a Beautiful Day, is clearly rooted in the Bay Area culture of mixing folk rock and psychedelic rock.  In addition, the music reaches into the classical-influenced rock genre by incorporating the violin of classically-trained David LaFlamme and the keyboards of his first wife, Linda LaFlamme.  The finally product is an early progressive rock album, accessible and more mellow than busy or just complex for the sake of complexity.

It’s A Beautiful Day

Additional musician

  • Bruce Steinberg – harmonica (track 2)

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Jeff Beck Group: Beck-Ola

I am not normally a jam-album fan.  This album, recorded in April of 1969 and released that June, is mostly a thrown together assembly of music that would be suitable jam-rock material.  What is inescapable is the quality of the improvisation and the distinctive character of the individual musicians and what they have to say. Mozart and Beethoven could dazzle listeners by improvising on the most mundane material.  Here we have the 1969 equivalent, with the exception of Nicky Hopkin’s reflective ballad “Girl From Mill Valley”, a welcome contrast with Hopkins providing both the piano and organ tracks.

In fact, Nicky Hopkins particularly shines throughout the album.  Add to that Jeff Beck’s unerring musicality, Ron Wood’s hard-rock bass, and some earthy vocal work from Rod Stewart and we get an album that is a pleasure to listen to.

Personnel

Alice_Cooper_-_Pretties_for_You

Alice Cooper: Pretties for You

Also recorded starting in 1968 through 1969, released June 25, 1969, Pretties For You, is another one of those 1969 total commercial failures by a band that would go on to make it pretty big.  The album is heavily influenced by some of Frank Zappa’s more musical works and Sid Barrett-era Pink Floyd — not surprising, the band is on Zappa’s “Straight” label, which recorded a small number of artists, including Captain Beefheart, and Alice Cooper was the opening band for Pink Floyd during Barrett’s tenure.

At this point in time, Alice Cooper was still the band’s name, not yet taken as a stage name by their singer, Vincent Furnier. The album is full of content that required careful rehearsal before recording, with many instances of time signature changes or compound meters. Despite the Zappa and Barrett influences, this music is different from anything before, and different from later progressive rock or Alice Cooper albums to follow. Perhaps with some better production, fine tuning, and further crafting, this album would be particularly noteworthy — unfortunately, it doesn’t quite come together and so it is a bit of a curiosity — but still a particularly enjoyable work and one of historical interest, for unlike most of the future progressive rock bands that start sounding more traditional and refined and extended their approach, this band, Alice Cooper, starts with some pretty lofty objectives, delivering an interesting art-rock album, to later distinguish themselves as a hard-rock, quasi-glam-rock band.

Alice Cooper band

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Procol Harum: A Salty Dog

Recorded in March 1969 and released in June 1969, this album begins with one of the finest early orchestral-based prog-rock pieces, “A Salty Dog”.  The soft cries of the sea gulls and the chromatically descending strings create the appropriate atmosphere for the narrative to follow “All hands on deck, we’ve run afloat“)  With the classic early prog-rock anthem unfolded and completed, the rest of the album continues to flirt with a nautical-based theme, and though nothing on the remaining album comes close to the first song, overall we still have an eclectic mix of blues, rock, Jamaican pop, gospel, country-rock, classical and British pop, with strong vocals, and strong musicianship.  Listen to the second track, “Milk of Human Kindness” and try to not compare to later Supertramp songs like “Bloody Well Right” — or try to ignore the simple charm of the third track “Too Much Between Us.”

The arpeggios that open “Wreck of the Hesperus” and their stubborn recurrence later,  provide the pattern for many upcoming prog-rock symphonic-style numbers, including Genesis’s “Fifth of Firth.”  The strings here, might be later replaced by synthesizers, but the basic quality is much the same.

“All This and More” is another trademark Gary Booker song, providing that dark, sinuous, introspective quality so strongly associated with Procol Harum at their best.

The slow bluesy-gospel style of the alternatively-spelled “Crucifiction Lane” anticipates some later McCartney and Lennon works like Lennon’s “She’s So Heavy” and material on Paul’s first solo album. The album ends with “Pilgrim’s Progress” which clearly influenced later prog-rock groups like Kayak and Fireballet.

All in all, an important album historically, required as necessary listening for anyone that is looking for a broad understanding of the development or post-1960s rock.

Personnel

  • Gary Brooker – lead vocals (1–4, 6, 8), piano, celeste, three-stringed guitar, bells, harmonica, recorder, wood, orchestral arrangements (1, 8)
  • Robin Trower – lead and acoustic guitars, lead vocals (9), sleigh tambourine
  • Matthew Fisher – organ, lead vocals (5, 7, 10), marimba, rhythm and acoustic guitars, piano, recorder, orchestral arrangements (7), production
  • Dave Knights – bass
  • B. J. Wilson – drums, conga drums, tabla
  • John “Kellogs” Kalinowski – bosun’s whistle, refreshments
  • Keith Reid – lyrics

 

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: Trout Mask Replica, Brave New World

Trout Mask Replica

“I don’t know anything about music.”  Don Glen Vliet (aka Captain Beefheart)

Captain Beefheart & His Magic Band: Trout Mask Replica

Recorded from August 1968 to March 1969 and released on June 16. 1969, Trout Mask Replica is a double album for the ages whether you might love it or hate it — and for most people, it’s rather easy to hate.  Far different from Captain Beefheart’s previous album,  Safe As Milk (which though partly confined within a traditional blues framework and ethos, provides many imaginative moments and approaches), Trout Mask Replica breaks into territory no artist has yet covered on record:  it’s been called out as the musical equivalent of rusty barbwire, and it certainly is as about as far away from easy listening as music gets.  But careful, focused, not-so-easy listening reveals the complexity in a large portion of music on the album which includes complex polyrhythms and polytonality.

Yes, there is a lot of non-musical content on the album — Frank Zappa produced this gem and granted total artistic freedom to Captain Beefheart and his band, so one doesn’t get continuous, highly refined music.  Instead one gets pockets — and the treasures here are in the instrumental accompaniment and interludes.  It’s been said that Captain Beefheart’s voice makes Tom Waits sound like Julie Andrews, that’s true, and the engineering of the album emphasizes these vocals as does their general lack of alignment with the backing instrumentation. It has been alleged that the lack of synchronization was due to Beefheart’s not wanting to wear headphones during recording, which resulted in him becoming hopelessly dependent on his own sense of time and on the immediate sonic reverberations of the studio.

Though there are people that will swear that the main value of this album is to drive away unwanted visitors, its influence on many musicians is indisputable.  Bands or individuals reportedly influenced include Henry Cow, The Residents (clearly), The Clash, Tom Waits, The Sex Pistols, Velvet Underground, The Little Feat and myriad others.  For me, the repeated polyrhythmic motifs anticipate Gentle Giant, King Crimson and some of the more aggressive math rock bands.   If you don’t like this album immediately, try it again, clearing away any possibility of distractions, as well as any expectations, taking the music and non-musical elements for what they are — rejoicing in the unusual, and what most would consider weird, amalgam of musical freedom and musical discipline.

rack listing [from Wikipedia]

All tracks written by Don Van Vliet and arranged by John French.

Side One
 # Title Length
1. “Frownland” 1:41
2. “The Dust Blows Forward ‘n the Dust Blows Back” 1:53
3. “Dachau Blues” 2:21
4. “Ella Guru” 2:26
5. “Hair Pie: Bake 1” 4:58
6. Moonlight on Vermont 3:59
Side Two
# Title Length
7. “Pachuco Cadaver” 4:40
8. “Bill’s Corpse” 1:48
9. “Sweet Sweet Bulbs” 2:21
10. “Neon Meate Dream of a Octafish” 2:25
11. “China Pig” 4:02
12. “My Human Gets Me Blues” 2:46
13. “Dali’s Car” 1:26
Side Three
 # Title Length
14. “Hair Pie: Bake 2” 2:23
15. “Pena” 2:33
16. “Well” 2:07
17. “When Big Joan Sets Up” 5:18
18. “Fallin’ Ditch” 2:08
19. “Sugar ‘n Spikes” 2:30
20. “Ant Man Bee” 3:57
Side Four
 # Title Length
21. “Orange Claw Hammer” 3:34
22. “Wild Life” 3:09
23. “She’s Too Much for My Mirror” 1:40
24. “Hobo Chang Ba” 2:02
25. “The Blimp (Mousetrapreplica)” 2:04
26. “Steal Softly thru Snow” 2:18
27. “Old Fart at Play” 1:51
28. “Veteran’s Day Poppy” 4:31
Total length: 78:51

Personnel

Musicians

Additional personnel

  • Doug Moon – acoustic guitar on “China Pig”
  • Gary “Magic” Marker – bass guitar on “Moonlight on Vermont” and “Veteran’s Day Poppy” (uncredited)
  • Roy Estrada – bass guitar on “The Blimp” (uncredited)
  • Arthur Tripp III – drums and percussion on “The Blimp” (uncredited)
  • Don Preston – piano on “The Blimp” (uncredited)
  • Ian Underwood – alto saxophone on “The Blimp” (uncredited/inaudible)
  • Bunk Gardner – tenor saxophone on “The Blimp” (uncredited/inaudible)
  • Buzz Gardner – trumpet on “The Blimp” (uncredited/inaudible)
  • Frank Zappa – speaking voice on “Pena” and “The Blimp” (uncredited); engineer (uncredited); producer
  • Richard “Dick” Kunc – speaking voice on “She’s Too Much for My Mirror” (uncredited); engineer

Brave New World

Steve Miller Band: Brave New World 

Also released on June 16, Steve Miller and his band’s Brave New World and Captain Beefheart and His Magic Band’s Trout Mask Replica are as far apart musically as composers such as Muzio Clementi and Harry Partch.   Brave New World may display less overt, convention-defying courage than Trout Mask Replica, but the musicianship is solid and Steve Miller’s vocals flexibly fit the songs whether those vocals are reassuring and comforting as with the dreamy evocative “Seasons” or appropriately bluesy as on the Hendrix-like “Got Love “Cause You Need It.” Of course, the hit of this album, is “Space Cowboy” which borrows the ostinato-like chromatic blues riff from Lady Madonna, possibly with Paul McCartney’s blessing who jams (under the psuedonym, “Paul Ramon”,) with Steve Miller on another track on this album, “My Dark Hour.”

Track listing [from Wikipedia]

Side one

#

Title

Writer(s)

Length

1.

“Brave New World” Steve Miller

3:27

2.

“Celebration Song” Miller, Ben Sidran

2:33

3.

“Can’t You Hear Your Daddy’s Heartbeat” Tim Davis

2:30

4.

“Got Love ‘Cause You Need It” Miller, Sidran

2:28

5.

“Kow Kow” Miller

4:28

Side two

#

Title

Writer(s)

Length

6.

“Seasons” Miller, Sidran

3:50

7.

“Space Cowboy” Miller, Sidran

4:55

8.

“LT’s Midnight Dream” Lonnie Turner

2:33

9.

“My Dark Hour” Miller

3:07

Total length:

29:52

Personnel

Additional personnel

 

Fifty Year Friday: Extrapolation, More, Audience

 

jmclaughlinR-3093046-1315393792.jpeg (2)

John McLaughlin: Extrapolation

Recorded on January 18, 1969 and released later that year, this very well could be the first true fusion album.  The electric guitar of one of the finest electric guitarists in the generation after Grant Green and Jim Hall (how is it John McLaughlin is listed only at 68 on Rolling Stone’s 100 Greatest Guitarists list and Grant Green and Jim Hall are not on the list?) is featured prominently and emphatically throughout along with English sax jazz musician, John Surman, who incorporates his free-jazz experience seamlessly within the scope of the album’s intent.

The first composition is the Thelonious Monk sounding “Extrapolation”, setting the tone for a dynamic, musically extroverted album. Each track runs into the next, except for the side change (originally on LP, of course), creating a greater sense of mood and material continuity. The last track showcases a solo, acoustic McLaughlin, bringing a sometimes wild, but always musically accessible, stellar, and leading-edge jazz album to a thoughtful conclusion.

Album is produced by Georgian/Swiss/Italian/UK producer Giorgio Gomelsky, who also had produced and managed the Yardbirds and later worked with The Soft Machine, Gong, Magma, Bill Laswell and Laswell’s band, Material, and one of my favorite groups, Henry Cow. Album is engineered by Eddie Offord who later engineered the first four ELP albums and co-produced and engineered several of the Yes albums.

Track listing [From Wikipedia]

All tracks written by John McLaughlin.

Title Length
1. “Extrapolation” 2:57
2. “It’s Funny” 4:25
3. “Arjen’s Bag” 4:25
4. “Pete the Poet” 5:00
5. “This Is for Us to Share” 3:30
6. “Spectrum” 2:45
7. “Binky’s Beam” 7:05
8. “Really You Know” 4:25
9. “Two for Two” 3:35
10. “Peace Piece” 1:50

Personnel

  • John McLaughlin – guitar
  • John Surman – baritone and soprano saxophones
  • Brian Odgers – double bass
  • Tony Oxley – drums

Pink-Floyd-More

Pink Floyd: Original Motion Picture Soundtrack from the film More

Pink Floyd’s first full album after Syd Barret was a movie soundtrack, More, recorded from January to May 1969, and released in the UK on June 13, 1967, a couple of weeks after the premiere of the movie More.  Though the music is meant to support the movie, and is a collection of basically unrelated tracks with a significant breadth of musical variety, the album holds together nicely, like a well-conceived sampler LP.

The music ranges from the dreamy “Cirrus Minor”, to the eerily pre-grunge-rock track, “The Nile Song”, to the exquisitely harmonically and melodically simple “Crying Song” to music that anticipates space rock and Kraut Rock. This is virtually a catalog of some of the adventurous musical styles that would become popular in the coming years.  Not hard to imagine why this is many listeners favorite Pink Floyd album.  It is hard to imagine why Allmusic.com gives this two and a half stars or Rolling Stone Album Guide gives it two stars.   More is more than just a movie soundtrack, it is an instruction manual of future musical styles.

Track listing [From Wikipedia]

Side one

#

Title

Writer(s)

Length

1.

Cirrus Minor Waters

5:18

2.

The Nile Song Waters

3:26

3.

Crying Song Waters

3:33

4.

Up the Khyber” (instrumental) Mason, Wright

2:12

5.

Green Is the Colour Waters

2:58

6.

Cymbaline Waters

4:50

7.

Party Sequence” (instrumental) Waters, Wright, Gilmour, Mason

1:07

Total length:

23:24

Side two

#

Title

Writer(s)

Length

1.

Main Theme” (instrumental) Waters, Wright, Gilmour, Mason

5:27

2.

Ibiza Bar Waters, Wright, Gilmour, Mason

3:19

3.

More Blues” (instrumental) Waters, Wright, Gilmour, Mason

2:12

4.

Quicksilver” (instrumental) Waters, Wright, Gilmour, Mason

7:13

5.

A Spanish Piece Gilmour

1:05

6.

Dramatic Theme” (instrumental) Waters, Wright, Gilmour, Mason

2:15

Total length:

21:32

Pink Floyd

Additional personnel
  • Lindy Mason – tin whistle (5, 7)

 

AudienceAudience (2)

Audience: Audience

Audience recorded and released their first album in 1969, though it is not easy to find out exactly when. The band formed in 1969 and within weeks after their first rehearsal they had a record deal with Polydor and were playing at the famous Ronnie Scott’s in Soho, London, also site of the 1969 premiere of the Who’s Tommy.  Polydor, though quick to sign the band, was not so efficient at promoting them or their album.  The album had insignificant sales, not helped by the puzzling album cover, a dim negative of the band members, and shortly after its release was discontinued.  Meanwhile during live performances, the band drew critical praise for their performances and material, and soon, while the backup touring band for Led Zeppelin, was signed to the Charisma label.

The first two songs on this album are unquestionably progressive rock.  The tracks that follow, though more traditional rock, are still catchy and showcased the nylon-stringed acoustic-electric (fitted with an electric pickup) classical guitar  of Howard Werth and the sax, clarinet and flute of Keith Gemmel, the latter using echo and wah-wah pedal to fill in some of the role of the traditional rock guitar.  The album is worth listening to more than once, and the musicianship and arrangements are very good.

Track listing [From Wikipedia]

Unless noted, all tracks credited to Werth, Williams.[2]

Side one

  1. “Banquet” – 3:47
  2. “Poet” – 3:05
  3. “Waverley Stage Coach” (Williams) – 2:59
  4. “Riverboat Queen” – 2:57
  5. “Harlequin” – 2:35
  6. “Heaven Was an Island” – 4:18

Side two

  1. “Too Late I’m Gone” – 2:37
  2. “Maidens Cry” (Gemmell, Richardson, Werth, Williams)- 4:47
  3. “Pleasant Convalescence” – (Gemmell, Werth) – 2:30
  4. “Leave It Unsaid”
  5. “Man On Box” (Gemmell, Werth) 
  6. “House On The Hill”

Audience

 

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