I am going to publish some more posts that aren't about specific records. They will be tagged "posts."
Anyway, one of the biggest revelations so far has been how good the Jefferson Airplane were. Especially After Bathing At Baxter's (1967), Crown of Creation (1968), and Bark (1971). Based on the recorded evidence, they were a much better band than the Dead. And yet the Dead got and get all the attention. The Dead are about mystique, not music. They were better at promotion, toured constantly, and had a longer career. The Airplane were not as cuddly, not as user-friendly. A little harder to understand.
Monday, March 26, 2012
Easy Action, Alice Cooper, 1970
Awful, just awful. Sub-Pink Floyd/Mothers of Invention claptrap. Not a trace of what Alice Cooper would turn into later.
Friday, March 23, 2012
Pretzel Logic, Steely Dan, 1974
There are two good songs on this album -- "Rikki Don't Lose That Number" and "Pretzel Logic" (which is the name of the "over a long time ago" song).
The rest of it is too surface, too glossy, doesn't have the cutting quality you expect from Steely Dan. The playing and production are sophisticated, but there’s something missing. Passion, humor, something. I feel the monkey in your soul? WTF?
The rest of it is too surface, too glossy, doesn't have the cutting quality you expect from Steely Dan. The playing and production are sophisticated, but there’s something missing. Passion, humor, something. I feel the monkey in your soul? WTF?
Thursday, March 22, 2012
Link: Time and critical revaluations
Noel Murray has a smart piece in The AV Club on how critical evaluations of music can change over time.
Wednesday, March 21, 2012
Everybody Knows This Is Nowhere, Neil Young with Crazy Horse, 1969
For me this album, which I had NEVER heard before this year, is four songs. But what songs!
“Cinnamon Girl,” “Everybody Knows This Is Nowhere,” “Down By the River,” and “Cowgirl in the Sand.”
I fell in love with the four instantly. The music sounds as fresh as today.
Since I am listening to this on Spotify and it does not have the musician credits, here they are:
Neil Young: guitar, harmonica, vocals
Danny Whitten (1943-72): guitar, vocals
Billy Talbot: bass
Ralph Molina: drums, vocals
Bobby Notkoff: violin “Running Dry”
Robin Lane: vocals “Round and Round”
Whitten is largely reponsible for the sound of this album. He was a heroin addict and was the inspiration for "The Needle and the Damage Done" on Harvest.
“Cinnamon Girl,” “Everybody Knows This Is Nowhere,” “Down By the River,” and “Cowgirl in the Sand.”
I fell in love with the four instantly. The music sounds as fresh as today.
Since I am listening to this on Spotify and it does not have the musician credits, here they are:
Neil Young: guitar, harmonica, vocals
Danny Whitten (1943-72): guitar, vocals
Billy Talbot: bass
Ralph Molina: drums, vocals
Bobby Notkoff: violin “Running Dry”
Robin Lane: vocals “Round and Round”
Whitten is largely reponsible for the sound of this album. He was a heroin addict and was the inspiration for "The Needle and the Damage Done" on Harvest.
Thursday, March 15, 2012
Holland, The Beach Boys, 1973
“He just sat in his camper and wrote all that shit.”
- John Steinbeck’s son on Travels with Charley
Sitting in the Netherlands, the Beach Boys wrote touching tributes to California. "Sail On, Sailor" is so beautiful and evocative and sad. So’s "Steamboat." "California Saga (California)" is a favorite of mine. I hear human-ness and deep caring, something unusual in the rock of that time. The mainstream critics don't like this album very much -- “a shitload of drivel” says Mark Coleman in the Rolling Stone Album Guide.
- John Steinbeck’s son on Travels with Charley
Sitting in the Netherlands, the Beach Boys wrote touching tributes to California. "Sail On, Sailor" is so beautiful and evocative and sad. So’s "Steamboat." "California Saga (California)" is a favorite of mine. I hear human-ness and deep caring, something unusual in the rock of that time. The mainstream critics don't like this album very much -- “a shitload of drivel” says Mark Coleman in the Rolling Stone Album Guide.
Nancy & Lee, Nancy Sinatra and Lee Hazlewood, 1968
I bow before the utter, utter wonderfulness of this album.
I had the LP but didn't keep it.
It's still just as good. If anything, it's gotten better. When I first heard it I thought it was kitsch. Now I know better, it’s the real deal.
Nancy’s voice is so sexy, smart and assertive.
Lee's croak is beautiful-ugly. His production presents everything super-clearly with vocals front and center, where they belong.
Kurt Wolff on
allmusic.com: “He plays the ... deep-throated, trail-worn cowboy to her bright-eyed girl-child.”
“You’ve Lost That Lovin’ Feelin”
There’s a tinkling lounge piano that seems to have wandered in from another song, or from another room.
“Greenwich Village Folk Song Salesman” (Greenwich is pronounced green-witch)
Lee: "a new song about the economic opportunity program"
Nancy: "what’s that?" It’s mocking but it’s also a tribute to protest song.
"Jackson" (I think my favorite version of this song)
Nancy: "go on down to Jackson/ go ahead and wreck your health"
Lee: "hmmm"
“Some Velvet Morning”
I think the Jesus and Mary Chain’s “Deep One Perfect Morning” takes off from this song.
“Sand”
Another brilliant song.
“You’ve Lost That Lovin’ Feelin”
There’s a tinkling lounge piano that seems to have wandered in from another song, or from another room.
“Greenwich Village Folk Song Salesman” (Greenwich is pronounced green-witch)
Lee: "a new song about the economic opportunity program"
Nancy: "what’s that?" It’s mocking but it’s also a tribute to protest song.
"Jackson" (I think my favorite version of this song)
Nancy: "go on down to Jackson/ go ahead and wreck your health"
Lee: "hmmm"
“Some Velvet Morning”
I think the Jesus and Mary Chain’s “Deep One Perfect Morning” takes off from this song.
“Sand”
Another brilliant song.
Wednesday, March 14, 2012
Walls and Bridges, John Lennon, 1974
Sad to say this is awful. Some of it sounds phoned in and some is just devoid of inspiration.
Beggars Banquet, The Rolling Stones, 1968
Nicky Hopkins (1944-1994) is the true star of this album, with his amazing piano, everywhere but especially on "Salt of the Earth," "Jigsaw Puzzle," and "Sympathy For the Devil." It's interesting that what the Stones were so praised for is tantamount to a folk-rock album, though that term was probably never used by Stones-watchers.
Three songs I don't want to listen to: "Dear Doctor" (one joke and it mocks the South), "Street Fighting Man" (Stones wanting to say something about revolution but not being sure what -- great acoustic guitar, though), and "Sympathy For the Devil" (those fake-African drums and grunts annoy me).
One song I could listen to over and over: "Parachute Woman."
Three songs I don't want to listen to: "Dear Doctor" (one joke and it mocks the South), "Street Fighting Man" (Stones wanting to say something about revolution but not being sure what -- great acoustic guitar, though), and "Sympathy For the Devil" (those fake-African drums and grunts annoy me).
One song I could listen to over and over: "Parachute Woman."
Sunday, March 11, 2012
Atom Heart Mother, Pink Floyd, 1970
Still as great as I remembered it. If anything, better. Ambitious, yes, pretentious, no.
Other Voices, The Doors (no Jim Morrison), 1971
Holy crap, this is god-awful.
“You gotta try everything once/ you better take out some insur-ance”??
“I’m Horny, I’m Stoned” has a tiny bit of the Morrisonian humor.
“You gotta try everything once/ you better take out some insur-ance”??
“I’m Horny, I’m Stoned” has a tiny bit of the Morrisonian humor.
Sticky Fingers, The Rolling Stones, 1971
Until now I had never listened to this entire album. It's surprisingly good, in fact great (though no Exile). Back in 1971, the zipper cover and the whole macho image turned me off.
You can see the Stones starting to work out the musical ideas they’d take further and dirtier in Exile. The inhabiting of American musical forms like country, blues and soul, not just imitating them or paying tribute to them.
Let me dispose of the songs I don't like first. I could quite happily never hear "Brown Sugar" again. Sexist, racist trash with predictable chords. "You Gotta Move" is just an OK imitation of Southern blues.
I like all the rest of the songs. For all these years, I thought "Bitch" was about a woman... just read the lyrics and realized it's about a heroine called heroin. Surprise, surprise, on an album with "Sister Morphine" and a “needle and a spoon” in "Dead Flowers" and a “head full of snow” in "Moonlight Mile." What woman could compete with heroin and cocaine in their affections?
"Wild Horses" (sometimes a horse is just a horse). I liked it then, as everyone did then. I liked it because of the sentimentality and the minor key vocals. Now, it more than holds up. I like it because of the subtlety, how you can have mixed feelings about someone but still want to be with them.
"I Got the Blues" is a great Memphis soul song.
"Moonlight Mile" is another great song and a perfect ending. Also a road song.
You can see the Stones starting to work out the musical ideas they’d take further and dirtier in Exile. The inhabiting of American musical forms like country, blues and soul, not just imitating them or paying tribute to them.
Let me dispose of the songs I don't like first. I could quite happily never hear "Brown Sugar" again. Sexist, racist trash with predictable chords. "You Gotta Move" is just an OK imitation of Southern blues.
I like all the rest of the songs. For all these years, I thought "Bitch" was about a woman... just read the lyrics and realized it's about a heroine called heroin. Surprise, surprise, on an album with "Sister Morphine" and a “needle and a spoon” in "Dead Flowers" and a “head full of snow” in "Moonlight Mile." What woman could compete with heroin and cocaine in their affections?
"Wild Horses" (sometimes a horse is just a horse). I liked it then, as everyone did then. I liked it because of the sentimentality and the minor key vocals. Now, it more than holds up. I like it because of the subtlety, how you can have mixed feelings about someone but still want to be with them.
"I Got the Blues" is a great Memphis soul song.
"Moonlight Mile" is another great song and a perfect ending. Also a road song.
Friday, March 9, 2012
Scott, Scott Walker, 1967, and Scott 2, Scott Walker 1968, and Scott 3, Scott Walker, 1969
The Jacques Brel songs stand out on these three albums (stand out among a lot of great stuff). Walker does so brilliantly with the Brel songs that I was wondering what Brel himself thought of Walker's versions. I never found out, but thanks to Spotify I was able to listen to Brel's originals. And surprise, I almost always prefer Walker's versions.
Walker's great Brel performances (to make it easier to find the originals, I've included the original title):
My Death (La mort)
Amsterdam (Amsterdam)
Mathilde (Mathilde)
Jackie (La chanson de Jacky)
Next (Au suivant)
Funeral Tango (Tango funèbre)
The Girls and the Dogs (Les filles et les chiens)
If You Go Away (Ne me quitte pas)
Walker's "Sons Of" from Scott 3 is a little mawkish for me compared to Brel's "Fils de," and Brel does a good job with "Mathilde." But for every other song he took on, Scott is a better Brel than Brel.
UPDATE: Mouron does some nice Brel interpretations on her album Quinze années d'amour.
Walker's great Brel performances (to make it easier to find the originals, I've included the original title):
My Death (La mort)
Amsterdam (Amsterdam)
Mathilde (Mathilde)
Jackie (La chanson de Jacky)
Next (Au suivant)
Funeral Tango (Tango funèbre)
The Girls and the Dogs (Les filles et les chiens)
If You Go Away (Ne me quitte pas)
Walker's "Sons Of" from Scott 3 is a little mawkish for me compared to Brel's "Fils de," and Brel does a good job with "Mathilde." But for every other song he took on, Scott is a better Brel than Brel.
UPDATE: Mouron does some nice Brel interpretations on her album Quinze années d'amour.
The Flying Burrito Bros., The Flying Burrito Brothers, 1971
No Gram Parsons and precious little inspiration.
Raw Power, Iggy and the Stooges, 1973
An album I listened to all the time before I went down the rabbit hole (i.e. started this project), its brilliance shines more brightly next to many more pedestrian records from 1973.
Johnny Marr said of guitarist James Williamson in The Guardian "he's both demonic and intellectual, almost how you would imagine Darth Vader to sound if he was in a band." (Quoted in the album's Wikipedia entry). Somehow the Stooges (and Bowie, who mixed the album) refined the rawer power of the earlier Stooges into something civilized but still menacing.
Johnny Marr said of guitarist James Williamson in The Guardian "he's both demonic and intellectual, almost how you would imagine Darth Vader to sound if he was in a band." (Quoted in the album's Wikipedia entry). Somehow the Stooges (and Bowie, who mixed the album) refined the rawer power of the earlier Stooges into something civilized but still menacing.
The Beatles (White Album), The Beatles, 1968
I am ready for another revisionism. This time I will like this album, but selectively.
When it came out, I listened pretty uncritically. But I did think it was dark, disturbed, and disturbing, with plenty of violence (“Bungalow Bill”, “Rocky Raccoon”, “Happiness is a Warm Gun”).
Later, in the punk era, I was revulsed. No Elvis, Beatles, or Rolling Stones. (Or in a more charitable mood- “I was in love with the Beatles.”)
Now - I will amuse myself by creating a one-record version with the songs I think worth keeping.
Worth keeping, and would have made a pretty kick-ass Beatles album:
Back in the USSR (Paul)
Dear Prudence (John)
Glass Onion (John)
While My Guitar Gently Weeps (George)
Blackbird (Paul)
I Will (Paul)
Julia (John)
Mother Nature’s Son (Paul)
Sexy Sadie (John)
Helter Skelter (Paul)
Long, Long, Long (George)
Revolution 1 (John)
Cry Baby Cry (John)
Good Night (John, w/ Ringo on vocals)
Throw away: (In today’s terms, “White Album Deluxe Edition”):
Ob-La-Di Ob-La-Da (Paul)
Wild Honey Pie (Paul)
The Continuing Story of Bungalow Bill (John)
Happiness Is a Warm Gun (John)
Martha My Dear (Paul)
I’m So Tired (John)
Piggies (George)
Rocky Raccoon (Paul)
Don’t Pass Me By (Ringo)
Why Don’t We Do It In the Road? (Paul)
Birthday (Paul)
Yer Blues (John)
Everybody’s Got Something To Hide Except Me and My Monkey (John)
Honey Pie (Paul)
Savoy Truffle (George)
Revolution 9 (John)
Later, in the punk era, I was revulsed. No Elvis, Beatles, or Rolling Stones. (Or in a more charitable mood- “I was in love with the Beatles.”)
Now - I will amuse myself by creating a one-record version with the songs I think worth keeping.
Worth keeping, and would have made a pretty kick-ass Beatles album:
Back in the USSR (Paul)
Dear Prudence (John)
Glass Onion (John)
While My Guitar Gently Weeps (George)
Blackbird (Paul)
I Will (Paul)
Julia (John)
Mother Nature’s Son (Paul)
Sexy Sadie (John)
Helter Skelter (Paul)
Long, Long, Long (George)
Revolution 1 (John)
Cry Baby Cry (John)
Good Night (John, w/ Ringo on vocals)
Throw away: (In today’s terms, “White Album Deluxe Edition”):
Ob-La-Di Ob-La-Da (Paul)
Wild Honey Pie (Paul)
The Continuing Story of Bungalow Bill (John)
Happiness Is a Warm Gun (John)
Martha My Dear (Paul)
I’m So Tired (John)
Piggies (George)
Rocky Raccoon (Paul)
Don’t Pass Me By (Ringo)
Why Don’t We Do It In the Road? (Paul)
Birthday (Paul)
Yer Blues (John)
Everybody’s Got Something To Hide Except Me and My Monkey (John)
Honey Pie (Paul)
Savoy Truffle (George)
Revolution 9 (John)
Friday, March 2, 2012
Electric Warrior, T. Rex, 1971
Not much to say about this album other than IT IS PERFECT. It observes unity of sound, tone and feeling.
And quote some lyrics:
You got the blues in your shoes and your stockings
There's very little that's ever said
All of which I understand
"Hello Goodbye", The Beatles, 1967
I was going to say this didn’t hold up so well, but I don’t think I liked it all that much then.
Like the strings, though. (Violas, according to Alan W. Pollack.)
"Hey Jude"/"Revolution", The Beatles, 1968
"Revolution"
Dr. O’Boogie’s amazing guitar, which wouldn’t have been out of place at an 80’s punk gig. The lyrics’ message, however reasonable, was not what people wanted to hear in 1968.
“Hey Jude”
Didn’t like it then, do now. Partly it’s because now I know it’s about Julian Lennon (and by Paul, not John). Also the sentiments of maturity. The extended repeats of the chorus are audacious and beautiful.
It’s interesting that both songs counsel against extremes of emotion, one in politics and the other in, well, emotions.
Dr. O’Boogie’s amazing guitar, which wouldn’t have been out of place at an 80’s punk gig. The lyrics’ message, however reasonable, was not what people wanted to hear in 1968.
“Hey Jude”
Didn’t like it then, do now. Partly it’s because now I know it’s about Julian Lennon (and by Paul, not John). Also the sentiments of maturity. The extended repeats of the chorus are audacious and beautiful.
It’s interesting that both songs counsel against extremes of emotion, one in politics and the other in, well, emotions.
Their Satanic Majesties Request, The Rolling Stones, 1967
How wonderful this album is. I had forgotten. Conventional wisdom at the time was that this wasn't a good album. How wrong that was. The Stones cross their normal blues-rock with psychedelia a bit uneasily, but the uneasiness makes for some great music.
On this re-listen, utter love. Loved it in the 70s, love it now. Why are the Stones punished for experimenting (with different instruments, orchestration, looser song structures) when others are rewarded? Unfair! Songwriting, playing and production (the Stones themselves) are great. Brian Jones still around to leaven Jagger and Richards' seriousness.
On this re-listen, utter love. Loved it in the 70s, love it now. Why are the Stones punished for experimenting (with different instruments, orchestration, looser song structures) when others are rewarded? Unfair! Songwriting, playing and production (the Stones themselves) are great. Brian Jones still around to leaven Jagger and Richards' seriousness.
"Penny Lane"/"Strawberry Fields Forever", The Beatles, 1967
"Penny Lane"
Fatal McCartney Cuteness Disease.
"Strawberry Fields Forever"
Disregard the psychedelic bafflegab of the lyrics and there’s a good song here, with some interesting musical experiments.
Fatal McCartney Cuteness Disease.
"Strawberry Fields Forever"
Disregard the psychedelic bafflegab of the lyrics and there’s a good song here, with some interesting musical experiments.
The Academy In Peril, John Cale, 1972
File under discoveries. I can recommend this album without reservation. The music is beautiful and thoughtful.
Cale has a sense of humor about himself and it shows here.
The academy is in peril because the rockers have invaded it (the very thing that might blow a little fresh air into the old place).
Not sure who Cale thought would be the audience for this. That’s the trouble with classicists.
Safe As Milk, Captain Beefheart & His Magic Band, 1967
This album wouldn't be that interesting if it wasn't by Captain Beefheart. It's a blues record with competent songwriting and playing.
Until this project, I thought Trout Mask Replica (1969) was Cap’s first album. Actually it was his third, this one was first. Most interesting song is "Zig Zag Wanderer," which evokes The Fall and also departs from the traditional blues structure.
John Wesley Harding, Bob Dylan, 1967
I know the reputation of this album is that it’s one of Dylan’s high points.
Maybe it's over-familiar to me because in the 70's I listened to it a lot.
But it seems blah and boring to me. It just doesn't have the emotional commitment of Nashville Skyline or Self Portrait, both of which I still listen to. JWH seems flat.
Best song on JWH - "As I Went Out One Morning." Finally Dylan seems awake.
Tape From California, Phil Ochs, 1968
This one's been hard to write about. I have lots of affection for Phil Ochs but with the notable, and glorious, exception of the title song, the songs on this album are pretty weak. Even on the weak songs, I love his voice.
The title track is spectacular because the music, lyrics and attitude come together to evoke the chaos of 1968. It's Ochs's response to the hippies and the drug culture, accepting not judgmental. I love this song and I only heard it this year for the first time. It's also one of Ochs's many "My Back Pages," questioning protest and embracing the emotions.
The title track is spectacular because the music, lyrics and attitude come together to evoke the chaos of 1968. It's Ochs's response to the hippies and the drug culture, accepting not judgmental. I love this song and I only heard it this year for the first time. It's also one of Ochs's many "My Back Pages," questioning protest and embracing the emotions.
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