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Posts tagged ‘Fifty Year Friday’

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

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Can: Monster Movie

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

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

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

Can

 

StoogesStooges

The Stooges: The Stooges

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

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

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

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

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

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

The Stooges

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

Additional personnel

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

 

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Jethro Tull: Stand Up

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

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

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

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

This is one of the must listen albums of 1969.

Jethro Tull

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

 

Fifty Year Friday: Unhalfbricking, Five Leaves Free

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Fairport Convention: Unhalfbricking

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

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

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Nick Drake: Five Leaves Free

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

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

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

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

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

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

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

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Fifty Year Friday: 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

 

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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)

 

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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: Chicago Transit Authority

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

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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

Fifty Year Friday: Uncle Meat, With a Little Help from My Friends, On the Threshold of a Dream

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The Mothers of Invention: Uncle Meat

Frank Zappa continues to challenge the boundaries of commercial music, producing an audio collage of breathtakingly fresh music, snippets of musique concrète, and dialogue from his unfunded movie.

Recorded from September 1967 to September 1968 and released on April, 21, 1969, Uncle Meat is a particularly colorful album on a number of levels besides just the colorful dialogue included.  Zappa aggressively and artfully deploys twelve-track recording and speed alterations to affect the timbre and character of voices and instruments, creating a clearly contemporary work not possible just a few years earlier.

This is album is a barrel-full-of-monkeys fun to listen to with the highlights including the title theme, Ian Underwood’s keyboards and sax contributions, “Mr. Green Genes”, and the King Kong tracks on side four of the original LP.

 

Joe_Cocker-With_a_Little_Help_from_My_Friends_(album_cover)

Joe Cocker: With a Little Help from My Friends

In 1969 and in the early seventies, I not only unsympathetically and almost unequivocally dismissed any version of a Beatles song not performed by the Beatles, but its accurate to say that I generally formed a dim view of any performer making such an attempt.  And so my first impression of Joe Cocker was particularly negative when I heard his version of “With a Little Help From My Friends” on AM radio and later saw Cocker perform on television.

Wisdom and time has helped me overcome this teenage bias, and as a musically mature adult, I actually respect anyone with enough nerve (or even recklessness) to do a cover of one of the Beatles classics.  If they do it well, that is, they deserve my respect; looking back on Cocker’s rendition of one of the last of McCartney and Lennon’s true collaboration’s, “With A Little Help From My Friends”, and comparing it against Ringo’s vocals, I must admit that Cocker and his backing musicians pull this off pretty nicely.

In fact, the whole album is pretty good, with some original tracks along with a diverse set of covers including the well-known and often recorded 1926 composition, “Bye, Bye Blackbird” as well as a couple of Dylan covers.  Cocker and back-up singers team up with musicians as capable and as well respected as Albert Lee, Jimmy Page and Stevie Winwood, taking Cocker’s debut album as high as the thirty-fifth spot on the billboard chart.

 

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The Moody Blues continue with their signature style of music crafting an album that encompasses elements of the past, present and future:  “To Share Our Love” harkens back to 1966 British Beat music, “Send Me No Wine” is country rock with an English accent, and “The Voyage” is an exploration into the territory of progressive rock.

Recorded in the first two months of 1969, and released in the UK in April of 1969  and in the US in May of 1969, On the Threshold of a Dream quickly reached the number one spot on the UK album charts by May 4, 1969, staying there for a couple of weeks.  There are some that would profess this to be the first progressive rock album to claim the number one spot, but to my mind that distinction either belongs to the Beatles’ 1967 Sgt Pepper’s album or ELP’s 1971 Tarkus, depending on how stringently one defines progressive rock.  That said, it is a tribute to British taste how well this album did, particularly since its best mark on the US charts was the twentieth spot occurring the week of July 26, 1969.

Though the Moody Blues is not one of my favorite bands, and one that I rarely listen to today, I am always impressed by their dreamy, evocative artistry that unfailingly creates a consistent, though often varied, mood — an enveloping, trademark mood providing a generally calming, mystical musical palette distinct from that of other bands of that era.  Pay particular attention to the ethereal flute and oboe provided by Ray Thomas and the cello and mellotron contributions from Pinder, Hayward and Lodge.

Track listing  [From Wikipedia]

Side A

#

Title

Writer(s)

Lead vocals

Length

1.

In the Beginning Graeme Edge Hayward, Pinder, Edge (narration)

2:08

2.

Lovely to See You Justin Hayward Hayward

2:35

3.

Dear Diary Ray Thomas Thomas

3:56

4.

Send Me No Wine John Lodge Hayward, Lodge, Thomas, Pinder

2:20

5.

To Share Our Love Lodge Pinder

2:54

6.

So Deep Within You Mike Pinder Pinder

3:07

Side B

 #

Title

Writer(s)

Lead vocals

Length

1.

Never Comes the Day Hayward Hayward

4:43

2.

Lazy Day Thomas Thomas

2:43

3.

Are You Sitting Comfortably? Hayward, Thomas Hayward

3:29

4.

The Dream Edge Pinder (narration)

0:57

5.

Have You Heard (Part 1) Pinder Pinder

1:30

6.

“The Voyage” Pinder  

3:58

7.

Have You Heard (Part 2) Pinder Pinder

2:32

The Moody Blues Personnel

Justin Hayward – vocals, guitars, cello, mellotron on “Never Comes the Day”
John Lodge – vocals, bass guitar, cello, double bass
Ray Thomas – vocals, harmonica, flute, tambourine, oboe, piccolo
Graeme Edge – rums, percussion, vocals, EMS VCS 3
Mike Pinder – vocals, mellotron, Hammond organ, piano, cello

Fifty Year Friday: Overcast, With a Chance of Showers

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Overcast: With A Chance of Showers

Trevor Stuart arrived in the United States at the age of fifteen in 1965 when his mother,  accepted a teaching post at Pierce College — Dr. Catherine Stuart becoming only the third female mathematics professor at a California college.  Trevor’s father, an electrical engineer and sometimes studio pianist, stayed in London, for several months, eventually joining Trevor and Catherine after getting landing a job as production engineer at Capitol records.

Like his mother and father, Trevor had received classical piano lessons starting at an early age, and around the middle of 1968, started getting uncredited work on an occasional rock or pop album as well as providing piano and electric organ for small ensembles recorded by Jazzco, a Muzak-like provider of  commercial background music. It was late 1968 when Trevor Stuart and Overcast singer and guitarist Bill Fortney first met while standing in line at the Troubadour club, when Fortney bemoaned the lack of success in finding a suitable replacement for guitarist Greg Paulson, who, convinced that Overcast best days were behind them, had taken a full time position at the Orange County Kimberly-Clark paper products plant.

Stuart asked a few questions about this band he had never heard of and then gave it no more thought until January 1969 when he noticed an entry for Overcast in the recording schedule at the La Brea Recording Studios immediately after a session he was sitting in on.  He stayed around to say hello to Fortney; the Overcast leader had arrived with Douglas Brandt and David Amato and it was clear that Fortney was a bit distracted.  It turned out that David Amato had broken up with Claire Stanston who, along with tenor saxophonist Rick Stephenson, would help fill in the void for guitarist Greg Paulson.  It was bad enough that Stanston didn’t want any thing whatsoever to do with Amato, but this was compounded with Rick Stephenson immediately taking an interest in Claire and determining that time spent with Overcast could hardly compare to any anticipated time spent with Claire.

It was at this point that Stuart allegedly said he would have a go at it, informing a surprised Overcast that he could play keyboards and could quickly pick up tunes, particularly if Overcast would call out the chords if the music got tricky.

Fortunately, there wasn’t anything particularly tricky in Overcast’s current set of tunes and within the next three sessions,  Overcast had laid down their second album, recorded on January 11, 17 and 18, 1969 and released on the first of April of that year.

David Amato, once again suggested the title for the album, and this time Elektra acquiesced.  However, they weren’t too keen on Amato’s suggestion for the cover of “With a Chance of Showers” — a photo of a bikini-clad model in the shower.  Neither did they go for Amato’s suggestion of a photo shoot of the band in bathing suits in the Fullerton Junior College Locker Room showers — with or without accompanying bikini-clad models.  Brandt suggested reusing the same album cover used for the first album, but with the new title added, and though this was also rejected by Elektra, a similarly looking cover, but of a somewhat lower quality, was quickly created at the last moment.

Also occurring at the last moment was Elektra’s decision to not include the song, “Better Yet”, later released on their third album, due to its lyrics which included lines like “Is there anything you’d rather get than your sugar daddy’s red corvette’ and “Am I better, better, better yet, am I better than a cigarette?” causing the band to quickly come up with “Huntington Beach Baby Blues.”  Notably, also added in that January 18th recording session, was Stuart’s psychedelic-rock version of the chord progression of Irving Berlin’s Blue Skies, with title based on Thelonious Monk’s own version of that same tune titled “In Walked Bud.”  Not censored, were any of the lyrics in “The Hallway Episode”, which included in the chorus,  “I can see, you and me, doing what we want in the hallway.”  The ideas of photo shoots with scantily clad models, as well as the lyrics in “Better Yet” and “The Hallway Episode”, all same quite tame by today’s standards,  would soon become commonplace starting in the 1970s — but for now, Frank Zappa and the Mothers of Invention excepted, this was still 1969 and Overcast was just another local band trying to make the big time by any means available, quietly giving in to the judgment of a randomly assigned Elektra representative regarding what was appropriate and what was not.  That would soon change with the poor sales of this second album and Elektra’s lack of interest in funding a third album.

all tracks written by Bill Fortney and Douglas Brandt except where noted.

Side A

No.

Title

Length

1.

“Sand, Wind, Water and You”

5:10

2.

“Chemistry with Kimberly”

3:22

3.

“Choice Decisions Left Alone”

3:50

4.

“Huntington Beach Baby Blues” (Fortney, Brandt, Amato, Stuart)

3:43

5.

“Pancake Breakfast”

4:47

Side B

No.

Title

Length

6.

“Another message for the masses”

7:02

7.

“The Hallway Episode”

3:15

8.

“Sheila Said”

4:50

9.

“Twentieth Century Overload”

3:43

10.

“In Walked Mud” (Trevor Stuart)

3:03

Personnel

Overcast

  • Bill Fortney – guitar, lead vocals
  • Douglas Brandt – bass guitar, vocals
  • Trevor Stuart, hammond organ, electric piano
  • David Amato, drums
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