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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

 

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Fifty Year Friday: Extrapolation, More, Audience

 

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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

 

Fifty Year Friday: Power to the People, The Giant is Awakened, Empty Sky, At San Quentin, and Charisma

 

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Joe Henderson: Power to the People

Recorded in late May of 1969, Power the Power stands out distinctly from both those late-sixties partly-commercially friendly hard bop albums and the bevy of free-jazz albums being recorded in 1968 and 1969.  It opens with one of the most sensually gorgeous jazz ballads of the era, the beautifully lush Black Narcissus with Herbie Hancock’s Fender Rhodes electric piano providing the appropriate ambient backdrop. Henderson’s tenor work here is stunningly elegant as he shapes his lines with a rare level of delicate control.  And though “Black Narcissus” is the highlight here for me, Ron Carter’s “Opus One-Point-Five” is also particularly beautiful with Henderson’s tone capable of the most nuanced reflection and introspection.  Hancock is on acoustic piano, and Jack DeJohnette’s percussion fits in perfectly.

Despite all this beauty, on cannot overlook the other tracks including an updated version of Henderson’s Monk-influenced “Isotope” that Henderson and Hancock had previously recorded in 1964 for the “Inner Urge” album.  As a Thelonious Monk fan, this resonates with my personal music sensibilities, and so very glad to have both the longer 1964 version and this version. “Lazy Afternoon” swings effortlessly, “Afro-Centric” is hard-edged, modally adventurous hard bop, and “Foresight and Afternoon” omits keyboards with the trio charging into the realm of free jazz territory.  The title track, “Power to the People”, is also adventurous, with a modern hard-bop theme, aggressively inventive improvisations, and sparking electric piano work by Hancock. Now if I had to change one thing about this album, I would have liked to have a second version of “Power to the People” included with Mr. Hancock on acoustic piano. That would be one way to make an amazing album even more incredible!

Track listing [from Wikipedia]

All compositions by Joe Henderson, except where noted.

  1. “Black Narcissus” – 4:50
  2. “Afro-Centric” – 7:00
  3. “Opus One-Point-Five” (Ron Carter) – 4:56
  4. “Isotope” – 4:53
  5. “Power to the People” – 8:42
  6. “Lazy Afternoon” (MorossLatouche) – 4:33
  7. “Foresight and Afterthought (An Impromptu Suite in Three Movements)” – 7:33

Recorded on May 23 (2, 5) and May 29 (all others), 1969.

Personnel

 

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Horace Tapscott: The Giant is Awakened

Recorded on the first three days of April 1969, released later that year to negligible sales and then not reissued until 2015, The Giant is Awakened is Horace Tapscott’s first album as a leader, with not another album in his name until 1978, by Tapscott’s choice, as he was reportedly disappointed in being excluded from the mixing process of this album despite assurances to the contrary.  Reportedly, Tapscott was particularly dissatisfied with the over-emphasis on the piano, which aggressively stands out whether soloing or providing accompaniment. The two basses could have been brought out more, particularly in passages where one is bowing and the other is being plucked.

The album finds middle ground between standard hard bop and extreme free jazz as nicely exemplified in highly structure and rhythmically-driven “The Giant is Awakened.”  This is also Arthur’s Blythe’s first recording, but his distinct alto playing is evident even at this point in his career as he provides an orchestra’s worth of tension and forward momentum in the first track, preceding Tapscott’s unrestrained and exploratory solo. Blythe also contributes the composition “For Fat’s” with its Monk-like opening theme and its freer contrasting section —  the two themes rotating in a straightforward ABABA form.  The third track,  the relentlessly rhythmic “The Dark Tree” is particularly appropriate for showcasing Tapscott fearless piano technique. The final track, “Niger’s Theme”  begins with a distinct, angular melody that then gives way to Blythe’s almost chaotic, but brilliant, free improvisation, followed by some pungent and highly accentuated piano.  This returns to an extended restatement of the main theme, with a suitable diminuendo bringing an accessible, engaging, and adventurous album to a pleasant but decisive close.

Tapscott Giant (3)

Track listing [From Wikipedia]

All compositions by Horace Tapscott except as indicated

  1. “The Giant is Awakened” – 17:23
  2. “For Fats” – 2:20
  3. “The Dark Tree” – 7:01
  4. “Niger’s Theme” – 11:55

Personnel

 

Empty SkyA1ou+ufLWyL._SL1500_

Elton John: Empty Sky

Recorded in December of 1968 through April 1969, Elton John’s first album was released in the UK on June 6th 1969.  Like many baby boomers in the States, my first exposure to Elton John was his self-titled second album, which at the time I purchased it, I believed to be his first.  It wasn’t until a few months after I had purchased Tumbleweed Connection, that I saw Empty Sky in the import section, and as it was at a reasonable price for an import album, $3.99,  I bought it.  I listened to it once, put it aside, listened to it again, but never took a strong liking to it as I had with those second and third albums, which, along with Yellow Brick Road, are what I consider to be the best of his long, productive career.

That said, Empty Sky is still a good album, with well-written lyrics by Bernie Taupin, skillfully set to music by Elton John.  Yes, the second and third albums have stronger songs, and also benefit from the wealth of quality musicians that contribute as well as Gus Dudgeon’s accomplished production — Empty Sky lacks anything approaching “Your Song”, “Take Me To the Pilot”, or “Burn Down the Mission”, does not have the same production values or range of contributing musicians — and appears to be constrained by a lower budget.

My favorite songs are the opening (and title) track, “Empty Sky,” “Western Ford Gateway,” which sounds similar to content from Tumbleweed Connection, and “Hymn 2000,” which would fit in nicely on the second album.  The last track has a jazz-blues section, which would provide a nice ending to the album, except for the intrusion of a collage of snippets from each track that provides a musical flashback — a puzzling approach, but something repeated by both Gentle Giant (“In a Glass House”) and Queen (“Jazz”), with Gentle Giant keeping their snippets to a little under two seconds each, for a total length of nine seconds (not counting the few seconds of shattering glass) compared to the nearly two-minute recap on Empty Sky.  (In regards to Gentle Giant and Elton John, Elton, when still Reginald Dwight, played with Simon Dupree and the Big Sound for a couple of months when their regular keyboard player, Eric Hine, was ill.  The Shulman brothers and Reggie got along great, and recorded Elton and Bernie Taupin’s “I’m Going Home” as mentioned here.)

Track listing [From Wikipedia]

All songs written by Elton John and Bernie Taupin.

Side one

  1. “Empty Sky” – 8:28
  2. “Val-Hala” – 4:12*
  3. “Western Ford Gateway” – 3:16
  4. “Hymn 2000” – 4:29

Side two

  1. “Lady What’s Tomorrow” – 3:10
  2. “Sails” – 3:45
  3. “The Scaffold” – 3:18
  4. Skyline Pigeon” – 3:37
  5. “Gulliver/Hay Chewed/Reprise” – 6:59*

Personnel

  • Elton John – vocals, piano, organ, Fender Rhodes, harpsichord
  • Caleb Quaye – electric guitar, acoustic guitar, congas
  • Tony Murray – bass guitar
  • Roger Pope – drums, percussion
  • Nigel Olsson – drums on “Lady What’s Tomorrow”
  • Don Fay – saxophone, flute
  • Graham Vickery – harmonica

 

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Johnny Cash At San Quentin

Whereas Elton John was just getting to his first album, Johnny Cash was tackling his thirty-first. If you had any relatives in 1969 or the early seventies that were partial to country music, there’s a good chance that this album would be in their collection, and for good reason: it is an exceptionally engaging live album, recorded on February 24, 1969, just two days before Cash’s 47th birthday, and released on June 4, 1969.  Those of us with any memory of 1969, will recall the repeated playing on the airwaves of this live concert’s version of Shel Silverstein’s cleverly-written “A Boy Named Sue”, and the bleeping out of “son of a *****” — how quaint censorship was back then.

Track Listing [From Wikipedia]

Side one
1. “Wanted Man” (Bob Dylan) 3:24
2. “Wreck of the Old 97” (arranged by Cash, Bob Johnston, Norman Blake) 2:17
3. “I Walk the Line” (Johnny Cash) 3:13
4. “Darling Companion” (John Sebastian) 6:10
5. “Starkville City Jail” (Johnny Cash) 2:01

Side two
1. “San Quentin” (Johnny Cash) 4:07
2. “San Quentin” (performed a second time at the audience’s request) (Johnny Cash) 3:13
3. “A Boy Named Sue” (Shel Silverstein) 3:53
4. “(There’ll Be) Peace in the Valley” (Thomas A. Dorsey) 2:37
5. “Folsom Prison Blues” (Johnny Cash) 1:29

Personnel

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Lee Morgan: Charisma

With a lineup that immediately ensures a high level of quality, Charisma was recorded in 1966, but not released until May 1969.  Compared to the plethora of free jazz albums being released in 1969, this may seem embarrassingly accessible to more sophisticated jazz listeners, but there is nothing embarrassing about the quality of the musicianship and the level of improvisation. One can scarcely go wrong with any Lee Morgan Blue Note album, so given that everyone must own a copy of his 1963 Sidewinder album with Joe Henderson as well as the 1964 Search for the New Land with Wayne Shorter, Grant Green and Herbie Hancock, it seems reasonable one would be able to find a place in their music collection for an album where Lee Morgan teams up with Jackie McLean, Hank Mobley, Cedar Walton, Paul Chambers and Billy Higgins, particularly when it is also on Blue Note and is this good!

The album starts with “Hey Chico”, one of those mid-sixties blues-based jazzed numbers tailored for AM radio, though it never got such exposure, followed by, what for me, is the gem on the album, “Somethin’ Cute”,  rich in great solos, particularly the alto solo from Jackie Mac. Walton is exemplary on the lovely ballad, “Rainy Night”, and the fourth track, is another of those relatively simple, commercially friendly tunes, upbeat and perfect for the excellent soloing after the initial statement — particularly impressive is Lee Morgan’s trumpet solo.  This is followed by another Duke Pearson tune, with particularly notable solos by Morgan and Walton.  The last track, “The Double Up”, provides a nice symmetry against the opening track, and includes strong solos by Morgan and Mobley and a notable solo by Walton against the horns.  Chambers and Higgins are excellent, with Higgins flavoring these performances with unobtrusive ranges of shading and percussive hues and tints that lie almost below the range of general perception yet significantly contributes to the overall impact.

 

Track listing [From Wikipedia]

All compositions by Lee Morgan except where noted

  1. “Hey Chico” – 7:17
  2. “Somethin’ Cute” – 5:39
  3. “Rainy Night” (Walton) – 5:39
  4. “Sweet Honey Bee” (Pearson) – 6:54
  5. “The Murphy Man” (Pearson) – 7:34
  6. “The Double Up” – 6:01

Personnel

 

Fifty Year Friday: Crosby, Stills and Nash

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

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

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

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

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

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

Track listing [From Wikipedia]

Side one

#

Title

Writer(s)

Lead vocals

Length

1.

Suite: Judy Blue Eyes Stephen Stills Stills

7:25

2.

Marrakesh Express Graham Nash Nash

2:39

3.

Guinnevere David Crosby Crosby with Nash

4:40

4.

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

2:45

5.

“Pre-Road Downs” Graham Nash Nash

2:56

Side two

#

Title

Writer(s)

Lead vocals

Length

1.

Wooden Ships Crosby, Paul Kantner, Stills Crosby with Stills

5:29

2.

Lady of the Island Graham Nash Nash

2:39

3.

Helplessly Hoping Stephen Stills Stills with Crosby & Nash

2:41

4.

“Long Time Gone” David Crosby Crosby with Stills

4:17

5.

“49 Bye-Byes” Stephen Stills Stills

5:16

 

Personnel 

Fifty Year Friday: The Who’s Tommy

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Though not the first rock opera, The Who’s Tommy, released on May 23, 1969, due to its length, two long playing records, the inclusion of an opening instrumental track titled “Overture”, the prominence of Entwistle on french horn, its greater commercial success and overall quality, and the deployment of three recognizably distinct vocalists, surpasses earlier, less operatic, generally more narrative albums by the Pretty Things (SF Sorrow)  and Nirvana (The Story of Simon Simopath.)

It wasn’t until Christmas of 1970 that I got this album.  After hearing “See Me, Feel Me” on the radio when visiting Oregon in the summer of 1970, I determined that this was a must-have album and put it on my Christmas wish list.

And from the start, this album lived up to its promise.  The overture, is a true rock overture, magnificent, dramatic, spacious, and expectant.  Much to my delight (at that time of first listening) the opening of the overture is a simple display of the chord sequence of  the chorus of “See, Me, Feel Me” morphing into a true fanfare section with french horn, coming back to the “See Me, Feel Me” theme, moving away into new material, coming back once again and then touching on material from “Pinball Wizard”, which soon meanders into a brief explanatory vocal, “Captain Walker didn’t come home: His unborn child will never know him.  Believe him missing with a number of men, don’t expect to see him again”, and then meanders back out into a guitar passage that, without any break, becomes the next track, “It’s a Boy.” So much going on in this overture to absorb in the first listening!  Astonished and delighted to hear three alternate references to that “See Me, Feel Me” theme,  I had heard in Oregon! It wasn’t until hearing the album all the way through and starting again, that I could notice that the overture was more Broadway-like than classical, incorporating music from the entire album similar to a Broadway musical overture. And yet, this doesn’t detract from the integrity of this overture, which is one of the finest examples of an instrumental (excepting the short expository-like Townshend vocal) opening to a single-topic rock album.

After less than two years since McCartney fought to get the lyrics included in the Sgt. Pepper’s album, accompanying lyrics were now, in 1969, becoming commonplace — particularly important for an opera. At this point in my life I had started to check out full opera albums from the library and the inclusion of lyrics with Tommy made listening to the music while following the lyrics a similar experience to listening to those opera albums — except instead of having to track the original language at the same time following the translation, Tommy was in English!  That Christmas I had also received Andrew Lloyd Webber’s Jesus Christ, Superstar (lyrics by Tim Rice) and had just purchased a low-cost four LP box set of Handel’s Messiah (lyrics by Charles Jennens)  — this was my first experience in following libretti booklets that required no cross referencing from the original language to the translation.  It made me wonder why the classic operas weren’t recorded in English so they would have wider appeal and be to be more competitive with contemporary albums sold in English speaking countries. It certainly would make following the text much easier.

Looking back, Tommy is certainly not produced like a real opera, as Daltry, Townshend and Entwistle handle all the vocals.  Clearly the 1975 movie soundtrack provides distinct parts, underscoring the inherent operatic nature of the work. This original, though, is the true reference, a musical work of art as good as any album of the 1960s.

Its worth noting that this work incorporated some previously written songs, including “Sensation”, “Sally Simpson” and “I’m Free”, the latter an expression of the spiritual peace Townshend achieved from association with Meher Baba, the Irani-Indian self-proclaimed Avatar and spiritual master.

We also have a blues number based on Sonny Boy Williamson’s “Eyesight to the Blind”, re-titled, “The Hawker” as well as two John Entwistle tunes, written on request from Townshend to cover the heinous actions of Cousin Kevin and Uncle Ernie.  Not surprisingly, given the nature of his earlier compositions, Entwistle makes use of chromatic passages in both songs, creating a darker, perverse mood that contrasts sharply with the usually brighter Entwistle compositions.

In short, this is a classic rock album, and though Who fans may freely dispute if this is better than the preceding Who Sell Out or the two subsequent albums, “Who’s Next”, and Quadrophenia, one point is indisputable: this album has stood the test of time for the last fifty years and will stand up just as nicely for the next fifty years.  It is my favorite Who album, filled with musical color and magic, and it continues to sound fresh, alive and vital to me — even though I listened to it this time around at much lower volume levels!

What is your favorite The Who album and why?

Track listing [from Wikipedia]

All tracks written by Pete Townshend, except where noted.

Side one

#

Title

Lead vocals

Length

1.

Overture Townshend

3:50

2.

“It’s a Boy” Townshend

2:07

3.

“1921” Townshend, Roger Daltrey on chorus

3:14

4.

“Amazing Journey” Daltrey

3:25

5.

“Sparks” Instrumental

3:45

6.

The Hawker” (Sonny Boy Williamson II) Daltrey

2:15

Total length:

18:36

Side two

 #

Title

Lead vocals

Length

1.

Christmas Daltrey, Townshend

5:30

2.

“Cousin Kevin” (John Entwistle) Entwistle and Townshend

4:03

3.

The Acid Queen Townshend

3:31

4.

“Underture” Instrumental

10:10

Total length:

23:14

Side three

#

Title

Lead vocals

Length

1.

“Do You Think It’s Alright?” Daltrey and Townshend

0:24

2.

“Fiddle About” (Entwistle) Entwistle

1:26

3.

Pinball Wizard Daltrey, Townshend on bridge

3:01

4.

“There’s a Doctor” Townshend, Daltrey, Entwistle

0:25

5.

Go to the Mirror! Daltrey and Townshend

3:50

6.

“Tommy Can You Hear Me?” Daltrey, Townshend and Entwistle

1:35

7.

“Smash the Mirror” Daltrey

1:20

8.

“Sensation” Townshend

2:32

Total length:

14:33

Side four

#

Title

Lead vocals

Length

1.

“Miracle Cure” Daltrey, Townshend and Entwistle

0:10

2.

“Sally Simpson” Daltrey

4:10

3.

I’m Free Daltrey

2:40

4.

“Welcome” Daltrey, Townshend and Entwistle

4:30

5.

“Tommy’s Holiday Camp” Townshend

0:57

6.

We’re Not Gonna Take It Daltrey, with Townshend and Entwistle

6:45

Total length:

19:12

The Who

 

 

Fifty Year Friday: After the Rain, Everybody Knows This is Nowhere, Unicorn

after the rain muddy waters_

Muddy Waters: After The Rain

in comparison to a multitude of rock-blues albums and blues-rock albums, and even Mr. Morganfield’s own quasi-psychedelic blues album, Electric Mud, Muddy’s next album After the Rain, released May 12, 1969, stands out for its immediacy,  authenticity and natural, honest modern blues sensibilities. This is a treat to listen to and the music has been captured with clarity, presence, and depth.

 

Track listing [from Wikipedia]

# Title Writer(s) Length
1. “I Am the Blues” Willie Dixon 4:36
2. “Ramblin’ Mind” McKinley Morganfield 4:44
3. Rollin’ and Tumblin’ McKinley Morganfield 4:47
4. “Bottom of the Sea” McKinley Morganfield 5:21
5. “Honey Bee” McKinley Morganfield 4:14
6. “Blues and Trouble” McKinley Morganfield 4:20
7. “Hurtin’ Soul” Charles Williams 4:35
8. “Screamin’ and Cryin'” McKinley Morganfield 4:59
Total length: 39:11

 

Musicians

 

EverybodyKnowsThisIsNowhere

Neil Young with Crazy Horse: Everybody Knows This is Nowhere

Neil Young releases his second album of the year on May 14, 1969. A sensitive mixture of rock, folk, country and a bit of blues.  Gems include “Cinnamon Girl”, “Round & Round”, “Down by the River”, and the brilliant “Cowgirl in the Sand” If this is not Neil Young’s best albums, it’s clearly in the top three as it effectively and efficiently mixes substance and simplicity.  Neil Young’s lyrics are neither polished nor refined, and his music is forged from the basics with minimal diversions, but all of it comes together well and there are many magic moments like the punctuated single syllable chord changes on “Cin-na-mon Girl.”

Track listing [from Wikipedia]

All tracks written by Neil Young.

Side one
# Title Length
1. Cinnamon Girl 2:58
2. “Everybody Knows This Is Nowhere” 2:26
3. “Round & Round (It Won’t Be Long)” 5:49
4. Down by the River 9:13
Side two
# Title Length
1. “The Losing End (When You’re On)” 4:03
2. “Running Dry (Requiem for the Rockets)” 5:30
3. Cowgirl in the Sand 10:06

Personnel

Crazy Horse

Additional musicians

 

T rex unicorn-1582333-1230063687.jpeg (2).jpg

Tyrannosaurus Rex: Unicorn

This third Tyrannosaurus Rex album, Unicorn, released May 16, 2019,  is also the last for Steve Took.  Apparently Marc Bolan found various aspects of Steve’s personality and lifestyle (especially Took’s recreational drug use and reputation for spiking beverages with hallucinogens) less than endearing (particularly when Bolan once imbibed some STP-spiked punch) and their relationship came to its end shortly after Took expressed that his own songs should be included in the group’s recorded material.  This record then becomes a document of the duo at their peak, providing hints of Marc Bolan’s future direction.

Though there is much to like on this album, starting with the first track, “Chariots of Silk”, don’t miss the bonus tracks that one finds on the 2 CD deluxe reissue including “Once upon the Seas of Abyssinia” and “Blessed Wild Apple Girl.”

Track listing [from Wikipedia]

All tracks written by Marc Bolan.

Side A

No.

Title

Length

1.

“Chariots of Silk”

2:26

2.

“‘Pon a Hill”

1:14

3.

“The Seal of Seasons”

1:49

4.

“The Throat of Winter”

1:59

5.

“Cat Black (The Wizard’s Hat)”

2:55

6.

“Stones for Avalon”

1:37

7.

“She Was Born to Be My Unicorn”

2:37

8.

“Like a White Star, Tangled and Far, Tulip That’s What You Are”

3:49

Side B

No.

Title

Length

1.

“Warlord of the Royal Crocodiles”

2:11

2.

“Evenings of Damask”

2:26

3.

“The Sea Beasts”

2:26

4.

“Iscariot”

2:53

5.

“Nijinsky Hind”

2:20

6.

“The Pilgrim’s Tale”

2:07

7.

“The Misty Coast of Albany”

1:43

8.

“Romany Soup”

5:40

Personnel

Tyrannosaurus Rex
Additional Personnel

Fifty Year Friday: Chicago Transit Authority

“Only the beginning, only just the start.”  Robert Lamm, from “Beginnings.”

cta (2)

Chicago Transit Authority

Formed in Chicago in 1967, originally named the Big Sound and incorporating three horn players, a drummer, and guitarist Terry Kath, this band of talented individuals was coaxed to pick up and move to L.A. by the independent producer James Williams Guercio in 1968. Guercio provided a new name, “Chicago Transit Authority”, and ensured them of attractive gigs including the opening show at the Whisky A Go Go. Soon the group started recording their first album in January 1969, the self-titled double record set that was released on April 28. 1969.

Like many people, I didn’t hear this album until after hearing their second album.  My next neighbor first bought their second, one of the great masterpieces of 1970’s rock, and then went back and purchased their first, this generally strong eponymous Chicago Transit Authority.  Their first album, then, became a means of being able to hear additional material by the group that had released that classic double Chicago album, the group’s name change prompted by the threat of legal action by the mass transit operator for that extreme northeast section of Illinois bordering Lake Michigan, the original Chicago Transit Authority.

I am sure I would have been much more impressed by this first album, if I had heard it before their second, for it’s a fine album on its own, and the second best album of their entire catalog.  Terry Kath’s guitar work is creative and full of life, and his voice is that of a jazz or R&B singer. Robert Lamm’s  compositions, with the exception of “South California Purples”, which is a spruced up blues number, burst out with energy and sparkle and are as good as anything in rock music at that time.  The performances by the rest of the band are all excellent, and the brass arrangements, primarily by trombonist James Pankow, are effective and focused.

And yet, after Guercio arranged for CBS west coast executives to hear the band at the Whiskey, the execs were not impressed.  A second attempt by Guercio to convince the west coast CBS “brass” to sign Chicago Transit Authority met with similar results: no interest, no deal. Guercio then finally cut a demo at a small independent studio that he circulated around to others outside of CBS, and soon, when CBS Clive Davis found out, he overruled the West Coast and the band signed with CBS’s Columbia label.

With a wealth of material to record, and wishing to create a serious product, the band insisted on making a double album.  When Columbia heard about this, they would only go along on one condition: the band must give up a percentage of their royalties for a double LP.  The band agreed, and the first debut rock double album since Frank Zappa and the Mother of Inventions’ “Freak Out” was released.

Of the four sides of this album, the first two are far the strongest, with the first song composed by Terry Kath and the remaining by Robert Lamm, followed by a more exploratory third side and then a generally strong side four.  “Free Form Guitar” on side three may not be the most accessible track, but it displays Kath’s mastery of the guitar, and help provide a fuller picture of why Hendrix purportedly told Chicago sax player Walter Parazaider, “The horns are like one set of lungs and your guitar player is better than me.” While “Free Form Guitar” provides indisputable evidence of Kath’s, imagination, control, and technique, other tracks on the album, particularly the first and last tracks, convincingly showcase Kath’s musicality and artistry.  Throughout the musicianship is excellence, and the combination of strong material and strong execution makes this one of the best debut rock albums ever.

Up to this point, many would consider the Beatles the most substantial of all the 1960s pop groups, but with 1969 comes a new upsurging of talent: bands that were, to some degree or other, influenced by the Beatles, but also heavily influenced by jazz and classical music — bands that could make music equal to or surpassing the works of the Beatles.  Chicago is one of the first of such rock groups, a progressive jazz-rock group, at least initially, that produced a first and then a second album that will be listened to, like the best of the Beatles’ albums, long into the future not only by music lovers like us but by our children and the generations that follow.

 

Track listing 

LP 1
1. Introduction (6:35) (Kath)
2. Does Anybody Really Know What Time It Is? (4:35) (Lamm)
3. Beginnings (7:54) (Lamm)
4. Questions 67 and 68 (5:03) (Kath)
5. Listen (3:22) (Lamm)
6. Poem 58 (8:35) (Lamm)

LP 2
7. Free Form Guitar (6:47) (Kath)
8. South California Purples (6:11) (Lamm)
9. I’m A Man (7:43) (Steve WinwoodJimmy Miller)
10. Prologue (August 29, 1968) (0:58) (James William Guercio)
11. Someday (August 29, 1968) (4:11) (Pankow)
12. Liberation (14:38) (Pankow)

Production

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