The True Adventures of The Rolling Stones - Stanley Booth

 I recently finished reading Stanley Booth's book "The True Adventures Of The Rolling Stones". I had been aware of this tome for some time, and had the opportunity to experience it after being given a copy by a relative.

The book was first published in the mid-1980s, although the settings and the actual subject matter rarely go beyond the early Seventies. The chapters alternate between the author's recollections of the Stones' 1969 American tour and more general "biographical" material and interviews. We also gain some insight into Booth's own travails and struggles in getting his project off the ground.

There is a fly-on-the-wall flavour to the chronicle of the 1969 tour, and this helps to create a warts-and-all idea of the chaos which apparently prevailed within the Stones' organisation around that time. The numerous colourful tales and anecdotes are given a higher sharpness because of the author's poetic and idiosyncratic writing style.

The "counter-cultural" outpourings of all concerned seem hopelessly dated to 21st century sensibilities, but this does ensure that the work serves as a rich time-capsule. This was what 1969 was like for the in-crowd, if not necessarily for ordinary people. I would like to think that the participants in the drama of the tour have grown up and learned something from how the sojourn ended.

Not surprisingly, Charlie Watts and Bill Wyman come across as the most grounded and likeable of the Stones, with the then new boy Mick Taylor barely visible for the most part. 

The biographical-historical sections of "The True Adventures....." contain some interesting points and revelations, especially concerning the role and attitudes of Brian Jones. These observations are given added weight because they arise from quotes by members of the Stones circle (Wyman, Keith, Ian Stewart etc.). My interpretation is that Brian became estranged and "difficult", in a meaningful way, at quite an early stage. 

For me it is difficult to escape the suspicion that Jagger and Richards, even in the late 1960s, were playing up to a role and an identity which was expected of them, although Mick in those days appears to have been rather difficult to pin down or appraise. Wyman and Watts often had more interesting and insightful (and honest) things to say about their lives and the band's status and progress. Bill and Charlie appear to have had a detached relationship to the rest of the group, and to have enjoyed a measure of autonomy.

Booth's accounts of life in Los Angeles just prior to the '69 tour are entertaining and quite evocative. The comings-and-goings of the various participants, hangers-on, journalists, roadies and so forth are depicted in a highly absorbing manner. It is striking just how haphazard, even amateurish, concert tours still were at that point in history. The ultra-professional, buttoned-down methods which we know today were still quite a distant prospect.

Mick Taylor, as ever, emerges as an enigmatic figure, and as alluded to previously, gets comparatively little attention, even as the highly talented new addition to the line-up. Looking back, it should not really surprise us that he rarely looked as though he "belonged". I think he came out of it with honour and dignity. I don't blame him if he felt uncomfortable, and even embarrassed, by some of the things going on around him. His legacy remains in the elegant and tasteful contributions which helped to elevate the Stones' recordings, especially in the early 1970s.

Despite some early misgivings, I increasingly warmed to this book and its atmosphere and tone, coming to realize that the author was not as opinionated or as naive as I had first assumed. Booth seems as disorientated and confused as anyone else close to the Stones at that time. Ultimately I feel that his perspective is one of realism, resignation even.

Towards the close of the work there is a vivid and quite chilling account of the disastrous free concert at Altamont. The writer wisely refrained from indulging in any prolonged agonizing or philosophizing about the debacle; the description spoke for itself.

The over-riding achievement of this book is in capturing what the Rolling Stones were all about at the time when they were at their most visceral, "dangerous" and relevant. It is a very worthwhile read.

When The Levee Breaks - The Making of Led Zeppelin IV - Andy Fyfe

 I received this book as a Christmas present, and I made short work of reading it.  Ostensibly it is a volume which examines Led Zeppelin's famous fourth album from the year 1971, but it also serves quite capably as a mini-biography of the group. It was first published in 2003.

I must confess that I was not totally convinced by the author's assertions about the album's place in the grand scheme of things (personally I prefer "Physical Graffiti" and the debut album), but he does make some effort to get to the heart of the record's mystique, and he argues quite persuasively and forcefully that its focus and its cohesive qualities set it apart from the Zeppelin works which came before and after it.

As I worked my way through "When The Levee Breaks,,," some of my misgivings disappeared and I began to warm to the writer's style and his approach. His musical knowledge is impressive and quite extensive, and he approaches this subject from a different angle to most other Zeppelin-orientated observers, which gives his analysis a refreshing tone.

There is some illuminating material concerning the album's famous artwork, and although this might appear as "tangential", it helps to shape a well-rounded portrayal of the band, its mentality and its character.

We are given some insight into the group's methods and working habits, how they went about the creative process. In addition, I liked the entertaining and well-rendered biographical passages about the individual members and the early days of Led Zeppelin. Very occasionally the prose lapses into the reductive and the simplistic, but by and large the author's reasoning and arguments are nuanced and sharp.

A track-by-track "commentary" also strengthens the authoritativeness of the tome. Again Fyfe illustrates and embellishes his points with imaginative allusions and sub-texts about the merits and the intricacies of the songs.

The idea which he eventually succeeded in getting across to me was that "IV" is more focused and fully-realized, and was the stage at which their sound and their grasp of their musical influences crystallized and was in harmony. He contrasts this with the more disparate nature of some of their earlier offerings. It is true that "Physical Graffiti" contains some "old" material, making it feel slightly less unified.

For me, the discussion of the stories behind the songs, the inspiration for the compositions and the arrangements, and the themes explored, helped to flesh out and deepen my understanding of what made Zeppelin tick.

This book also chronicles and appraises the shifting relationships and balances of power within the band unit, as Jones, Plant and Bonham, in their different ways, exerted greater control and contributions in the song-writing, the arrangements and the overall sound and direction.

Ironically, given the book's titular remit, the sections of the book which I enjoyed the most were those which address the periods which followed the release of the fourth album, and the years subsequent to their disbandment in 1980.  A word of praise too for how Fyfe links the group's influence and legacy to more "modern" artists and musical sub-cultures. This was a nice, fresh perspective as far as I was concerned, although the comparisons with those later groups only serve to underline Zeppelin's own greatness and quality.

Relatively small criticisms would be that the author sometimes repeats himself in labouring points or theories, and I didn't always concur with his attempts at social commentary, but overall I consider this to be a laudable and enjoyable book, which is recommended reading both for Zeppelin devotees and general rock fans.

A Hard Day's Night - The Beatles - album analysis

In assessing the back catalogue of The Beatles, one curious thought has assailed my mind. It occurs to me that the album "A Hard Day's Night", though a highly accomplished and engaging work, is somewhat overlooked and underrated, if not exactly forgotten. So why the relative indifference?  This is possibly because the record gets rather lost in the shadow of the film of the same name, which admittedly is a charming and sharp piece. 

For me, the album represents a very definite and solid staging point in the group's maturation and development, but such accolades are normally reserved for the albums which followed it, including "Rubber Soul" and parts of "Help". 

There is a peculiar solidity and compactness about "A Hard Day's Night", insomuch as it has little in the way of egregious filler material (what filler exists is skilfully concealed) or "outlier" tracks. The "holes" which characterize many albums of that era are not perceptible, and the "Merseybeat" elements are slowly evaporating.

The record also possessed a distinct stylistic or sonic unity, and ironically this particular quality may contribute to a perception that it is "samey" and lacking in variety. This impression is actually illusory, but by the same token close scrutiny is required to draw out the material and cut through any misconceptions.

It is noteworthy that this record contains only "Lennon-McCartney" song-writing credits, and this tendency doubtless helps to bolster the feeling of uniformity when regarding the work. One thing which I think can be said for certain is that "A Hard Day's Night" is not a transitional album; it captures The Beatles in a stable, buoyant and self-confident place. 

A point to remember is that the group managed to maintain such excellence and focus amidst a hectic and demanding schedule of touring and other activity. Even the Beatles were human, however, and similar feats proved beyond them in late 1964 and into 1965. The seeds of "Rubber Soul" can be discerned here, I would contend, but the full realisation of that promise would have to wait, delayed by the workload imposed by their commitments.

The burst of creativity and ideas emanating from John Lennon at this time may have saved "A Hard Day's Night" from a fate similar to that which befell "Beatles for Sale" and "Help". Also, the adrenaline and excitement of the first portion of 1964 helped to forestall ennui and world-weariness. This album has a reputation as a "Lennon album", but Paul McCartney's contributions, as composer, vocalist and instrumentalist are impactful and of a high standard.

The earthy and organic textures of this LP are intriguing, and possibly stem in part from the breadth and pervasiveness of the influences which the members of The Beatles were absorbing in 1964, including folk music and the nascent folk-rock scene. 

I feel that the absence of cover versions imbues the record with a forward-looking, streamlined and purposeful identity and momentum. This is almost akin to a crystallization of their development and growth to date. The ascent to the next level was perhaps less smooth and straightforward than they might have envisaged.

"Thinking out loud" slightly now, but this collection inaugurated what I have tended to view as a distinct phase, spanning 1964-65, one of more acoustic-tinged fare, a maturing of the songwriting, and the eventual forsaking of the rock n roll covers. It could be argued that the relatively disjointed nature of the two albums which followed "A Hard Day's Night" was an inevitable consequence of the process of evolution.

As mentioned earlier, it is recognised that John Lennon's personality and song-writing predominate on these sides, but that Paul McCartney's all-round musical panache and exuberance contribute greatly to the overall effect. Additionally, McCartney's own songs make up in interest and quality what they lack in sheer volume. There is an argument for saying that this is the first Beatles album where the complementary strengths and traits of Lennon and McCartney really interact and make their presence felt in a noticeable and meaningful way. Lennon's restless energy and brooding spirit mesh with McCartney's dynamism and optimism, the facets reacting agreeably in elevating the group to new heights.

Examining the record track-by-track, I would say that the title song tends to be taken for granted, but it is very impactful, with its famous opening "chord" and the arpeggiated ending. The music in between those two points is very impressive, having a raw rhythm and blues feel, and in that sense it is a quintessential Lennon song. This number deserves to be re-appraised in isolation from the film of the same name.

"I Should Have Known Better" is eminently likeable, and for me it typifies a slight incongruity with some Beatle songs of the period, that of maturing musical content and aspirations, but progress was not necessarily reflected in correspondingly "advanced" lyrics. However, the Dylanesque harmonica and a pleasing melodic base override any minor reservations.

The next song, "If I Fell", is an example of sumptuous Beatles vocal harmonies of a kind which they should really have tried more often on record. It is also emblematic of the fluent melodicism and musicality which are characteristic of the LP as a whole.

Although George Harrison did not get one of his own compositions on to the album, he was allotted a lead vocal spot on "I'm Happy Just to Dance with You". By no means a masterpiece, but it also emits some of that spark and charm which graced almost everything which they touched around this time.

"And I Love Her" is a number which displays the burgeoning sophistication of The Beatles as song-writers and musicians. There is also a hint of a "confessional" style of lyrics, exploring relationships and personal experiences in a more advanced manner. The song is pleasantly tuneful in the customary McCartney way.

I always found "Tell Me Why" to be filler material of sorts. It sounds good and it helps to fill out the album running order, but the filler here is less jarring and conspicuous than in the releases made by their contemporaries. It has some brio and joie de vivre, and Lennon's vocal is quite forceful and memorable.

"Can't Buy Me Love", one of the record's most famous songs, is another one which illustrates a growing polish and confidence in the group's work. I suspect that tunes such as this one brought more people of the older generations into the Beatles' camp, as it swings like some jazz and "easy listening" recordings. The production is also smooth and clean.

From the same territory as "Tell Me Why" comes "Any Time At All", a song which is not from the top drawer, but which packs quite a punch. It has sufficient atmosphere and melody to maintain the interest and the attention. Lennon once again impresses on vocals, and the piece exudes some assurance.

"I'll Cry Instead" is another of those tracks which is unexceptional, but which blends seamlessly into the fabric of the project. There is a country and western flavour, and this genre crept into the band's output in the period 1964-65, courtesy in part of Ringo Starr's musical leanings. Also, country music is not a great leap from the rockabilly so beloved by all four Beatles. I detect a Rolling Stones vibe in parts of this song, the verses especially.

Another highlight, in a quiet way, of the collection is "Things We Said Today". The lyrics are interesting and the song has an affectingly enigmatic, almost haunting, quality. It signals a shift away from formulaic song-craft.

Probably the weakest effort on the record is "When I Get Home". It is rather uninspired, but never genuinely becomes a "sore thumb", in the sense of tarnishing the overall effect of the album. It is not quite as bad as some reviewers have alleged, and it has a few interesting moments.

"You Can't Do That" performs an important role in the running order. Its R & B flavour imbues the album with some rhythmic incisiveness and breaks up the diet of folk-rock and beat music which pervades the LP. 

The closer, "I'll Be Back", is another slice of "wooden" folk-inflected music, epitomizing the forward-looking dimensions of this work, and anticipating the "Help" and "Rubber Soul" eras to come. 

On reflection, "A Hard Day's Night" is one of The Beatles' most impressive and solid achievements. The hallmarks of the early days are still there, but the future direction and influences are also visible. A crucial and coherent part of the canon.

Now And Then - "new" Beatles song

 I am sure that I was not alone in my eager and curious anticipation of the release of "Now And Then", billed as the last Beatles song. I have to confess that I was there, refreshing the page on my chosen streaming service as the time of release approached. So, what do I make of "Now And Then"?

Inevitably, when appraising the single, people are going to draw comparisons with "Free as A Bird" and "Real Love", the two Beatles tracks which emerged from similar foundations and source material, and which formed part of the Anthology projects in the 1990s.

For me "Now And Then" betrays more signs of its origins than its aforementioned predecessors, but at the same time the production and the arrangement which surround the lead vocal feel more organic and restrained.

The atmosphere of the track is somewhat mournful, enveloped in a kind of wistfulness. My initial reaction was that this is apposite for our times, a sense of melancholy, ennui and nagging anxiety. Was this general tenor intended to tap into the perceived public mood of 2023? I'm not really sure, but it was one of the first characteristics of "Now And Then" which jumped out to me. It may be another case of that perennial Beatles facility for effortlessly evoking the zeitgeist. 

On the face of it the song lacks the "charm" and ebullience of, for instance, "Real Love", and even its musical subtlety, but that may be missing the point; on reflection, "Now And Then" should perhaps be viewed more as a "mood piece", rather than as a hook-laden potboiler. 

In putting the track together, they resisted the temptation to try too hard to make it "exciting", relying instead on the qualities of the basic song, then judiciously embellishing the raw material, as it were.

I think they have done a commendable job in playing to the song's strengths and lyrical direction, as opposed to making it into something that it wasn't. Having suggested that the overall ambience is downbeat, I think that the instrumentation and arrangement are in keeping with the reflective nature of the words. The piano and electric guitars are tastefully done, and Ringo Starr's drumming exhibits his distinctive "feel" to some effect.

So, overall a creditable effort, provided that the listener did not have excessive expectations beforehand. It sounds "modern", which to some degree is inescapable, but it has a personality and an effect. 

John Wesley Harding - Bob Dylan

An album which has recently reintroduced itself to my orbit is John Wesley Harding, by Bob Dylan.

My perspective on this record has tended to oscillate between two points. The first, which held sway for many years and was admittedly based on insufficient and superficial listening, was that it was a slight and bland work whose reputation and myth were out of proportion to its real artistic weight. The alternative view was that the first appraisal was harsh and my earlier assessment of the album as "lightweight" had militated against any more nuanced or thorough examination of its merits. I can report that after a more rigorous inquiry the strengths and charms of John Wesley Harding are no longer obscured from my view.

The songs, by and large, have a stripped down and austere flavour, with pared-down instrumentation. Story-telling is to the fore. If the stories themselves are sometimes enigmatic and mysterious, the language employed is generally more straightforward and less oblique than that which characterized Dylan's classic mid-60s releases.

In some ways the material is similar in tone and character to that from the "Basement Tapes" sessions, if less ebullient in its execution and production. Despite the more direct and literal mode of song-writing, there is still sufficient poetic acuity and wit to leave many of the songs open to interpretation, enveloped in an almost sepia-tinted haze.

The title track sets the pattern. In a sense, John Wesley Harding is one of the precursors to the emergent trends of "country rock" and the "retreat" to a more rootsy and authentic fashion of composition and performance. As always, although nominally part of a wider musical movement or scene, Dylan puts his own signature and stamp on things.

Looking at the lyrics and the delivery here, I get a strong sense that Bob was deriving great satisfaction and fascination from the process of putting together these tunes and stories, with their themes, spiritual and rustic. No longer under pressure to be the hipster or the troubadour for a generation, he could immerse himself in the simple joys of song-writing and poetry. 'As I Went Out One Morning' and 'I Dreamed I Saw St. Augustine' are examples of these factors playing out in practice.

As for 'All Along the Watchtower', well Bob's version of the song has understandably been overshadowed by Jimi Hendrix's monumental and apocalyptic rendering, but the original presented here has its own quieter drama and charm, with the lyrics unencumbered by production excesses.

Some of the material on the record even arguably harks back to Dylan's very early albums, with their simplicity and more basic brand of expression and narrative - 'The Ballad of Frankie Lee and Judas Priest', for instance.

There are references to 'Dustbowl' injustices and concerns, although presented in a restrained and even ambiguous way. The characters in the songs are often outsiders or outcasts, oppressed by societal pressures and prejudices. The tenor and structure of these compositions could well be illustrative of Dylan's literary inclinations and tastes.

It has become customary to refer to albums possessing "hidden gems". It could almost be said that the majority of the tracks on John Wesley Harding are hidden gems, but 'Drifter's Escape' and 'Dear Landlord' certainly stand out in this respect. This all rather serves to dispel any notion that the album lacks substance or depth. In its own way it is fuller and more thought-provoking than LPs which have garnered lavish praise. It packs a lot of content and expressiveness into a comparatively short running-time, with numerous murky corners, tangents and detours to explore and savour.

Perhaps as a listening experience the record packs less of an outright punch, and elicits less exhilaration, than other Dylan efforts, and one's enjoyment or appreciation of it might well depend on individual preference. attention span, patience and mood at any given moment.

An aspect of the album which intrigues me is the subject matter of the lyrics, and their approach to social and cultural issues. Dylan to me seems to be consciously delving into such territory, finding its possibilities and its themes stimulating and interesting, perhaps hoping that they would provoke corresponding levels of contemplation and reflection among listeners.

The religious imagery, often subsumed within other topics, is a feature, and despite its restraint it helps to equip this record with its distinctive hue and flavour. As with other singer-songwriters over the years, the religious themes may occasionally be intended as metaphors or symbolism for other matters.

I would contend that John Wesley Harding is a worthy contender to be held up with some of Bob Dylan's most important work. The songs are intelligent and interesting, and should encourage thought and imagination. Another thing to its credit is that this collection of songs is unpretentious, and it will be a rewarding process for those who persevere with it. The record incorporates subjects and musical elements which both hark back to his early output and also anticipate some of his later concerns and excursions. So disregard any notion of "blandness", and lose yourself in this album's crevasses and recesses.

David Bowie's Berlin Trilogy

 I have in the past couple of years, belatedly and rewardingly, become a wholehearted and fully-fledged adherent to the notion that David Bowie was perhaps the most important and influential solo artist ever to emerge from Britain. Even now, I think that many people under-estimate just how good he was.

Bowie's period of greatest creativity and consistency arguably spanned the years between, let us say, 1969 and 1984. He maintained a remarkably high standard allied to what, looking back, seems a prodigious work-rate. It seems barely credible that he managed to cram so much into the time available. Writing and recording, not to mention touring and engaging in various side-projects as producer and collaborator. That's before we even get on to his acting career! This productivity and prolific output remain one some of the most notable aspects of the Bowie story.

For what it's worth, my personal view is that his work in the period 1970-73 remains his most vital and his most enduring. The other clearly identifiable series of works which attracts most praise, comment and scrutiny is the so-called 'Berlin Trilogy', released between 1977 and 1979, in the form of the albums 'Low', 'Heroes' and 'Lodger'. 

I approached this blog article with a vague sense that the trilogy had received slightly excessive praise, that the critics had grasped hold of these records out of relief, following Bowie's musical excursions and meanderings of the mid-1970s. Anyway, in order to confirm or refute my tentative analysis, I resolved to review the three LPs and commit my conclusions and observations to blog form.

Of course it is debatable whether the sounds unveiled on 'Low' were genuinely new or revelatory to the music-listening public at large. Groups such as Kraftwerk and Tangerine Dream and, to a lesser extent, Can and NEU!, had acquired some attention on both sides of the Atlantic, so this brand of experimental work came as less as a shock than some might might have us believe. This, however, was an established, mainstream rock "superstar".

It is worth mentioning how much of the material on 'Low' is instrumental - 'Speed Of Life' and 'Sound and Vision' (sort of !) for example. Bowie was clearly sufficiently enamoured with this type of music to take this step. It was also a sign of his confidence and comfort with the new technology which he was utilizing.

'Low' has its hard edges too, and an uncompromising side to it . Songs such as 'Breaking Glass' display no little aggression. It may be that some of the rhythmic vigour was a legacy of the 'Station to Station' album. The directness could also have been prompted by the shadow of punk, which was making a genuine impact in Britain in 1976/77.

By and large the synthesizers and the experimental features do not come across as gimmicky. Bowie and his colleagues managed to make it sound as though this was a perfectly logical new direction, but also a matter of wrapping some familiar Bowie hallmarks in dynamic new clothes.

Like its two successors, 'Low' is not quite as 'experimental', not quite as much of a departure as might be deduced from some of the comments one hears and reads. Traditional song structures and musical basics still just about predominate, although songs such as 'Always Crashing In The Same Car' and 'Be My Wife' would have been regarded as unusual by more vanilla circles in 1977.

There is a uniformity of sorts to the musical palette of 'Low'. Meaty, big drums and sinuous bass lines, overlaid by keyboards and guitars. A few years ago this recipe might have assailed my ears as 'synthetic' or 'soulless', but I know better now.

The second half of the record is where much of the interest resides. 'A New Career in A New Town' is quite radical-sounding, with the influence of Can detectable in its quieter moments. As with most of other other numbers, there is plenty going on to hold the attention.

'Warszawa' is on on another level, both emotionally and sonically, to what surrounds it. A brooding 'semi-instrumental', bearing the stamp of Brian Eno. Making clever use of 'wordless vocals', it is perhaps the centrepiece of the album. Like other parts of the album, it is distinctly 'central European' in its influences.

'Art Decade' is almost a continuation of 'Warszawa'. As for 'Weeping Wall', there once again is that irresistible, intangible pull, atmospheric in a way that even the other quasi-instrumentals cannot quite manage.

The closer, 'Subterraneans', which was apparently inspired by East Berlin, is appropriately unsettling and stark, and features a great and evocative saxophone solo. 

To be fully appreciated and understood, 'Low' has to be listened to in its entirety and 'in sequence'. Only this way can one grasp and comprehend where Bowie was in 1977, and where his thoughts were leading him. The result is a measure of his imagination, his curiosity and his restless energy. My esteem for this work has been elevated a notch.

'Heroes' commences with 'Beauty and The Beast', which in part appears to take up where Side One of 'Low' left off.  Robert Fripp's guitar contributions add something to the mix, literally.

The title track of 'Heroes' is, of course, justly celebrated and revered, and it does embody those traits which made David Bowie so important and rewarding. The song is even sometimes cited as a "hinge" uniting two eras of rock music, or at least signifying a change.

I would say that this record feels considerably less "Berlin" in character and substance than 'Low', There could be more than one reason for this perception. The overall mood is more cheerful and less foreboding, perhaps reflecting what was going on in Bowie's mind and life. Also, what instrumental fare there is on 'Heroes' is different to that which formed the backdrop to 'Low' - although 'Sense Of Doubt' tries its best!

Other instrumental passages on 'Heroes' are more purely ambient in nature; 'Moss Garden' is the main example of this. 'Neukoln' on the other hand is more avant-garde than menacing; great saxophone part, too.

Whether all this makes it a more pleasant and congenial LP to listen to is still I guess a matter of personal taste or inclination. To me, it lacks a little of the gravitas and measured mastery which were so palpable with 'Low'.

So, it is a more buoyant and 'ebullient' record than the one which came before it, but this does not equate to 'better' or 'superior'. It lacks the philosophical depth and emotional power of 'Low', notwithstanding the presence of the 'Heroes' song itself.

It would not be surprising if the initial energy which was summoned up on 'Low' could not be sustained, leading to a slightly different type of record. Who knows, Bowie may have wanted it that way....

To be frank, I have never really associated 'Lodger' with the other two, and it often seemed that the reason for its existence was that it was an album which followed those other two, and journalists and others could therefore speak in terms of a 'trilogy'. If anything, my mind links 'Station to Station' with the series more than 'Lodger',

Also in my recollections, 'Lodger' has been linked to the musical trends of 1979 and beyond, rather than connection with some thematic or stylistic continuity from before. This may be because 1979 was the year when I first became truly interested in music on anything more than a superficial level. I was too young to remember the hype and chatter about 'Heroes' or 'Low', and the profound outpourings of critics and observers would have gone completely over my head, anyway. It was interesting to see how 'Lodger', more freed from the aforementioned preconceptions, would stand up.

The 'world music' content and orientation have been cited (Middle Eastern, African), but they hardly jump out at me. If Bowie was indeed exploring such genres, it would be typical of his ceaseless search for inspiration and knowledge. It would also be characteristic if those styles were absorbed into his musical framework in a subtle manner. 'Yassassin' does have quite an impact, the first truly impressive track on the album.

After a sluggish beginning the pace and the intensity pick up; 'Red Sails' maintains some momentum, with echoes of the German group NEU!. 

'D.J' reminds me of Talking Heads, and it presages some of the material which would be found on the 'Scary Monsters....' record. The song has some conviction to it, and this goes a long way.

Some of the songs ('Look Back In Anger') are illustrative of the artist's uncanny knack of anticipating trends (or alternatively of harnessing forces already present underground). Quite a lot of 1980s music can be heard in 'Lodger', as with the two previous albums, but presented here in more digestible and compact form.

Sound-wise 'Boys Keep Swinging' starts almost like 'son-of Heroes'.  I remember this song being played heavily on British radio in that year of 1979. It bears some Bowie trademarks, the relatively simple 'rock n roll' melodic and rhythmic foundation, the enigmatic lyrics and the backing vocal arrangements and 'horns'. It was the obvious choice as a single. Traces of 'Diamond Dogs' and 'Blue Jean' can also be heard within it, methinks.

The album does rather tail off after 'Boys Keep Swinging'. The track sequencing perhaps left a little to be desired?

So, how do I sum up the Berlin Trilogy? The three works each possess their own identity. 'Low' remains the most substantial and impactful, the most radical and the one which adheres most recognisably to the Berlin 'concept' (if indeed there was a concept), in artistic terms at least. 

'Heroes' is also excellent, but appraisal may have been skewed ever so slightly by the hold which the signature tune has on our collective consciousness.

'Lodger' is good in parts, but it lacks the edge and the breadth of ideas which propel the other two records towards some kind of greatness.

Above all, these three albums show Bowie's fearlessness, his openness to new ideas, the vigour of his quest and his refusal to settle for easy options or to tread water artistically. Overrated, underrated, it is almost irrelevant. These are important collections, and they should be experienced by every serious student of rock music. Their legacy continues to be heard and felt in our music and culture in 2022. 

Berkmann's Pop Miscellany - Marcus Berkmann

As part of some festival which occurred in late December 2021, I received a gift in the form of this book, Berkmann's Pop Miscellany, by Marcus Berkmann.  It struck me at the time as the type of book which was a quintessential gift given at the time of the aforementioned festival. Consequently, I did not get around to reading it until recently.

The bulk of this tome is made up of "pen portraits", of varying lengths, of assorted luminaries from the world of music. These are broken up with other content, most of which relates to songs and albums which the author considers to be noteworthy in some way.

I found the author's quirky and impish humour to be endearing at first. In his views on music and musicians he does not seek to conform with trends and what is perceived to be cool. He makes it clear what kinds of music he is drawn to, and whilst I consider myself to have possibly the most eclectic musical tastes in the known universe, his arguments are bright and persuasive.

Although I did not agree with all of Berkmann's opinions, and did not concur with all of his reasoning, the anecdotes and stories were invariably entertaining and often very funny.  He is not trying to appear as a contrarian, but rather comes across as honest, unpretentious and sincere in his inclinations. This is actually quite refreshing when I think of much of the music-related literature which I have been exposed to down the years. 

The paragraphs contain lots of amusing tales of music-industry chaos, and in places these elaborated or expanded usefully on already well-known stories. All of this is delivered in a breezy and digestible style. 

If I was to venture one criticism it would be that, as the book progresses, it becomes a touch "formulaic", and relies too much on the same styles of jokes and humour. It even threatens to become slightly smug. Then again, I don't think this was intended to be a major work of scholarship, or to be taken too seriously.

In spite of the minor criticism outlined above, I found this to be quite an enjoyable book.

Transformer - Lou Reed

For reasons which are difficult to fathom accurately, I had until relatively recently steered clear from examining in detail the solo career of Lou Reed. Maybe I thought that the subject matter of the songs would not be to my taste. 

Anyway, having opened my eyes (and ears) to other so-called alternative quarters of the musical universe, Transformer and other Reed solo LPs entered my consciousness. I am resoundingly glad that I felt ready to make that leap.

On first impressions, Transformer felt more meaty and guitar-heavy than The Velvet Underground. However, as has become customary for music people to emphasize, Lou Reed is primarily a tunesmith. These songs have an infectious and invigorating quality about them. Some of the energy and accessibility of the album may be attributed to the involvement in the project of David Bowie and Mick Ronson, as producers and musicians, The tunes are compact and tastefully captured. It may well be true that the material lacks the provocative and "subversive" flavour of the Velvets' greatest output. However, the tracks here are generally likeable and catchy - 'Vicious', 'Andy's Chest' and 'Hangin' Round', for instance.  They have also hidden depths and fascinations.

'Perfect Day' was hitherto a song which I rather loathed, considering it vacuous and overblown, but it now inspires my admiration and affection. I "get" the sentiments now, probably because I am older (or wiser?). 'Walk On The Wild Side' has undergone a similar transformation (pardon the pun) in my estimations, but for different reasons. I had tended to regard it as a novelty song, almost. The other famous number on the record, 'Satellite Of Love', has an elusively absorbing quality, in keeping with much of what surrounds it.

If Transformer ever appears in danger of growing too cosy or bland, then Mick Ronson's incisive and adroit guitar contributions serve to lift it. I also detected, vaguely, the influence of Bowie's Hunky Dory period here and there. All these elements assist in ensuring that the record retains its validity as an artistic endeavour worthy of exploration and respect.

A word too for 'Goodnight Ladies', a whimsical offering which has a strong 1920s Berlin ambience, and which adds welcome variety and humour.  A great and vibrant way to close. 

As for Reed's reputation as one of the godfathers of punk, it may be more visible and discernible on other records, but certainly the short and simple arrangements and riffs must have struck a chord with some aspiring musicians. 

So, not as challenging as other works involving Lou Reed, but a tight and coherent set of entertaining and sometimes intriguing pieces, competently produced and performed. It has been widely influential, and it still sounds urgent and energetic. The type of album which demands attention, and which draws the listener back repeatedly, despite its minor shortcomings.

Time - Electric Light Orchestra

 It is always an intriguing and revealing process to re-evaluate the output of a particular group or artist, and come to recognise that one's opinion of said discography has shifted. I myself have gone through such a series of instructive revelations and discoveries with regard to the work of the Electric Light Orchestra.

In years past I generally 'ran with the crowd', the crowd being the masses, and deemed their work in the period 1976-1979 to be the strongest and the most appealing which they had managed. However, my assessment nowadays would be that they started off with some excellent, rich but unfocused and slightly flawed albums, then polished and refined the sound in the years 1973-1975, before the music gradually grew too 'slick' and over-produced; although it was difficult to find fault with the pop craftsmanship and the tunefulness of Jeff Lynne's compositions.

My new appraisal of ELO's oeuvre was in all likelihood of my broadened cultural horizons and philosophical outlook, and a new emphasis on modernistic and progressive currents. Harder edges and diminished sentimentality assumed a greater importance.

Which brings us to Time, the excellent and cohesive record which Electric Light Orchestra released in the year 1981. Though it was probably not acknowledged or recognised at the time, the group was reborn and revitalized with this LP (if only temporarily, as it turned out).

Gone were the 'syrupy' string arrangements, more reliance being placed on keyboards and new technology. I gather there is some orchestration, but it is much less conspicuous, much less ostentatious, and to my ears almost indistinguishable from the keyboards, in the main.

 There is something of the concept album here, with common themes of science-fiction, space exploration, futurology and other aspects of 'modernity'. To add to the potent mixture, Jeff Lynne seems fully engaged and motivated here, imbuing Time with a certain vigour and air of commitment.

The changes in the 'format' of the band evidently freshened things up, and the album exudes a more contemporary feel, ELO becoming a combo more in keeping with the brave new decade.

Of the tracks,  'Twilight' is an invigorating first salvo (if we disregard the 'Prologue'), exuding real intent, and illustrating many of this record's sonic hallmarks, showcasing an electronic 'dryness'. The listener can really gauge the renewed urgency and zeal within the musicians. 

'Ticket To The Moon' has grown in stature down the years, and to my mind it builds on some of the foundations established by a couple of the sophisticated but less heralded tracks on A New World Record. The atmosphere is engineered quite adeptly, to draw you in.

Of all the tracks, 'Here Is The News' is one of those which exemplifies both the musical and thematic patterns which Time weaves. It does not look out of place when set against some of the music being purveyed by younger, more 'hip' bands in the early 1980s. '21st Century Man' and 'Rain Is Falling' are other highlights, exhibiting many Beatlesque leanings.

The main single from the album, 'Hold On Tight', is an infectious and compact effort which sees Jeff Lynne returning unmistakably to his rock n roll roots. Despite the quality of the melody and the studio implementation of the song, it does in truth sound rather out of place in the folds of this collection.

So Time was something of a new dawn for ELO, but it proved to be a false dawn. Subsequent projects prior to the group's mid-80s disbandment were relatively tired and uninspired.  Basically Time appeals and endures because of its freshness and its brightness, and the prevalence of ideas and enthusiasm.

Aladdin Sane - David Bowie

 When considering the David Bowie discography, I would say that his 1973 album Aladdin Sane occupies a curious place, and fulfils a rather nebulous role. It sometimes might seem that the record is a token gesture, an afterthought in the wake of the spectacular '...Ziggy Stardust....' project which came before it. Indeed, such evaluations had until comparatively recently instilled in me a tendency to ignore the work. The better-known numbers were familiar to me, of course, as were snippets of the less prominent tracks.

It was whilst on a lengthy car journey (as a passenger) a few years ago that the sheer effervescence and excellence of Aladdin Sane was truly brought home to me. The CD was playing on the car stereo, and although the road noise and other extraneous distractions conspired to make the listening experience less than ideal, I was left enthused, and eager to explore the work more at my leisure.

The 'Ziggy Stardust' album is regularly held up, along with a couple of other releases from around the same time, as one of the primary monuments of British glam rock. This assessment is difficult to contradict, but I would also contend that Aladdin Sane exudes a consummately 'glam rock' sensibility in large measures.  This stems in part from what I would term the 'sleazy decadence' of much of the sound, and the extravagant, almost exaggerated production values of some of the tracks are in line with other landmark 'glam' records of the early 70s. Add the 'avant-garde' trappings, which many have drawn attention to, and you have an invigorating spectacle, which does not feel contrived or self-conscious. The music has many dark and mysterious corners and departures to examine, imbuing it with a peculiar personality and force.

To me, the influence of contemporary American rock music can be keenly felt on the album; I am thinking of songs like 'Watch That Man' and 'Panic In Detroit'. which exhibit harder edges and are less buttoned-down and contained. On closer inspection, these tendencies predominate on a goodly portion of the record, and the presence of 'The Jean Genie' only underlines and reinforces this point, but somehow they linger less in my memory and my psyche than do other elements or affectations, and therein lies my perception of the record.

Some of the material, including the title track, has an unsettling atmosphere, perhaps reflective of the tense and uncertain social and economic climate of the times. What unites the compositions though is their air of confidence and self-assurance on the part of the artist, as if he rather revels in, and thrives on, instability and foreboding.

Although this record sees Bowie engaging in some experimentation, and hinting at the direction his music would take in the mid-Seventies, one or two of the songs would not sound out of place on previous LPs, notably 'Drive-In Saturday'. 

'Cracked Actor' is, I would estimate, a case of the two 'schools', the rock and the art-rock, coalescing, but the pugnacious narrowly wins out in the end. 'Time' on the other hand sees the Bowie of 1971/72 assuming new goggles, taking the 'template' into fresh territory, growing, expanding.

'The Prettiest Star' is another track which embraces the flavour of all of Bowie's classic 71-73 studio albums, highlighting traits which we might associate with them all. When joined together, they help to assign Aladdin Sane its identity and its aura. The essential sound of '73, perhaps?

A word must also be reserved here to draw attention to Mick Ronson's crunchy and pleasing guitar work throughout, a motif and a recurring delight. It has been said before, but those guitar parts add a new dimension, standing out even amongst the genius of Bowie.

Arriving last on the original album, but for me constituting the centrepiece of the album, is 'Lady Grinning Soul'. Its slinky 'out of time' spirit and its menacing inventiveness are a reminder of what, in qualitative terms, the collection is really all about. 

So there you have it. One of Bowie's greatest achievements, but also one of his most 'deceptive' and awkward to pin down. Essential listening for a full, if complicated, understanding of what Bowie meant in '73, where the world and culture were in '73, and for some tantalising hints of where Bowie might have been heading in the years ahead.

Animals - Pink Floyd

Following on from my review of Pink Floyd's Wish You Were Here album, it seemed logical to more closely examine the record which succeeded it, titled Animals.

Traditionally Animals had largely escaped my close attention.  I invariably skipped over it whilst navigating their catalogue, moving directly from Wish You Were Here to The Wall.  It seemed a bit of an anomaly, a fly in the ointment, and even the record's title and artwork may have acted as deterring factors for me.

More recently, however, I have grown significantly more receptive to the album's tone and its philosophical angles. My own world-view has moved on, becoming more radical and left-leaning, more conscious of the societal forces and dynamics portrayed and critiqued here. Anyway, I quickly discovered that Animals was in fact less antagonistic and 'threatening' than I had previously imagined. It is still though a powerful and impactful work, both musically and lyrically.

One of the striking features of Animals is the direct, almost rhythmic, hypnotic character of the sound. The music comes across, to me at least, as less contrived and ponderous than some of their other work, and it complements the less cryptic nature of the words, whilst also holding the interest. These characteristics are heard in the album's first major piece, 'Dogs'. This song sets the tone for what follows. David Gilmour is on stellar form on lead guitar, and the backing formed by the rhythm section and the keyboards is vibrant and engrossing. 'Pigs (Three Different Ones)' operates in a similar vein.

In some quarters I have heard it stated that the Floyd's lyrical approach here and elsewhere smacks of 'overkill', and that in some sense the 'grandiosity' and stridency might actually dull or obscure the effect of the message, turning people off.  One's attitude to this I think depends on the listener's personal preferences. It does make a change for a band, especially a prog-rock band, to adopt direct, 'harsh' methods, and the album would not be half as memorable or enduring if it had been compromised by a dilution of the passion and vigour.

What I would say is that some of the lyrics might feel corny or trite to modern ears and eyes; some might compare them to the sort of over-earnest things that could have been written by an excitable and idealistic teenager. That doesn't mean that they lack relevance or strength, and arguably it helps if the listener concentrates on ascertaining the broader meaning behind the words rather than according great credence to the literary merits or sincerity of the lyrics themselves.

'Sheep' is the musical and poetic centrepiece of the LP.  It has a deeply impressive fluency and self-assurance which imbue it with genuine authority. The propulsive bass and the evocative electric piano part are two of the potent ingredients which form a formidable whole. This song is a major reason why I view Animals as signalling the way into the future, both musically and philosophically, rather than harking back to past statements. The production and overall effect feel more 1980s than 1970s. Even by the standards of Pink Floyd, these recordings seemed to represent a departure from a comfort zone, a reaching for liberation.

This album does not exude the sonic diversity of other Floyd works, but the very narrowness and concentrated focus of its anger and its gaze are what contribute to its authenticity and its ability to unsettle and foster contemplation. It must also be mentioned that the concerns and grievances expressed here remain as pertinent and crucial as ever, if not more so. The allusions and metaphors employed on Animals are pointed and unapologetic, and for these reasons it is probably the Floyd album which I would most like to reach the ears of younger people today. 

Aretha Franklin - The Queen Of Soul Box Set

There are certain cultural "artefacts" in which I seek refuge from time to time, works or collections in which I seek solace, comfort or reassurance that beauty and imagination can still be found. One such item is the Aretha Franklin box-set The Queen Of Soul (it was previously released under a different title).

This collection essentially documents the time during which Aretha recorded for Atlantic, in other words her time of greatest critical acclaim, creativity and commercial success. The period covered is approximately from 1967 through to the mid-1970s.

When I first listened to this release I was immediately struck by the relentless excellence and quality, and was assailed by a renewed, and most welcome, appreciation of Aretha's talents and artistry. There is hardly a weak track, or a substandard performance, throughout the four discs which make up The Queen Of Soul.

Taking in her halcyon period in such concentrated form led me to appraise the reasons for her status and her reputation. Perhaps the best way in which I can express or articulate this is to stress her interpretative skills - each syllable of every word almost feels like a major event in itself, such is her ability to encapsulate and convey emotion. Some of the credit no doubt goes in some instances to the producers and/or arrangers, but I would estimate that it is mainly Aretha's uncanny sensitivity and savvy which lies at the heart of the appeal of these recordings.

I will avoid discussing some of Aretha's most famous hit recordings, partly because in some cases they are burdened by over-familiarity, or do not show off her capabilities to their fullest or truest extent. They tend to be promoted and pushed by media types who are excessively worried about how they themselves are perceived, and as a result some of her more dazzling and affecting performances possibly remain comparatively unrecognised by the wider public.

Her version of "Bridge Over Troubled Water" is one of the highlights here, a spine-tingling rendition which appears to accomplish the kind of mood and power which Simon and Garfunkel themselves might have intended. Just check out the electric piano part near the beginning of the song.

Another stand-out item is "Ain't No Way". Probably not the strongest song Aretha ever committed to tape, but her phrasing and her vocal flexibility elevate it to another level, and it remains one of the most outstanding showcases for her unique talent. "You're All I Need To Get By" works in a similar vein as far as I am concerned, although in that case the singer starts out with more promising raw material.

I could go one, but rather than attempt to articulate this compilation's manifold virtues, the best advice would be listen to it, and enjoy.

Bob Dylan at 80

As Bob Dylan reaches his 80th birthday, I feel it appropriate to commit a few words to blog form about the great man, his influence and his achievements.

My respect for Dylan's artistry and genius has only continued to flourish in recent years, as I have acquired a deeper and broader understanding of his music, its reach and its effects. I would go so far as to say that Dylan's impact on Western culture is comparable to such figures as William Shakespeare and Johann Sebastian Bach.

He gave rock, and by extension pop, music a literate, poetic voice, and practically invented the modern concept of the 'singer-songwriter', an idea which still plays a major role in today's music, albeit in diluted and shallower form. Many 21st century artists owe a major debt to Dylan's pioneering efforts, even if they don't appreciate it themselves.

In his influence on his contemporaries, notably The Beatles, Dylan helped to shape the creation of modern rock music as a credible art form which was deemed worthy of respect, study and analysis in intellectual and high-brow cultural circles.

Although critical favour tends to focus primarily on his mid-1960s work, and his mid-70s resurgence, I think that a wider exploration of his oeuvre is desirable when appraising his talent and scope. There was the outbreak of prolific song-writing in 1967/68, and his role in shifting the musical focus away from psychedelia and back towards simpler modes of expression and storytelling. 

Of course, there was also his courage in 1965/66 in 'going electric' and fusing folk, blues and rock music to create something genuinely intoxicating and vibrant. Those three albums, 'Bringing It All Back Home', 'Highway 61 Revisited' and 'Blonde on Blonde', represent one of the most dazzling and assured outbursts of brilliance and expressiveness ever essayed by a recording artist. 

Dylan was often unpredictable, sometimes downright contrary, but he is a symbol of something extraordinary, a world in which humanity can rise above the mediocre and see in itself something progressive and adventurous. All people who call themselves music lovers should immerse themselves in the work of Bob Dylan. 

Wish You Were Here - Pink Floyd

 As far as Pink Floyd albums go, Wish You Were Here is different from the other albums which surround it in their catalogue, but they were all in their own ways expressing a disillusionment with the zeitgeist, the way the world, in particular the business world, and more specifically in this case the music industry, were developing during the 1970s.  The idea of a 'tribute' to the departed Syd Barrett was also a good vehicle for projecting discontent about the power structures which underpinned and sustained "the system".  Was what happened to Syd merely a symptom of a more profound malaise afflicting Western civilization, his fate a microcosm of what our society does to so many?

Musically I think that Wish You Were Here treads a fine line between sublime confidence and self-assurance, and charges of appearing contrived and over-bearing.  On balance, I think they remained on the 'correct' side of the line, and the resultant record is thoroughly fresh, credible and vital. The messages and themes which it explores remain firmly relevant to twenty-first century audiences.  In some ways Floyd were prescient in their estimation of the forces which oppress and manipulate us. If people were listening to the message, they didn't act on it, or heed it with sufficient vigour or honesty.

One thing which occurs to me is that of Floyd's momentous sequence of albums, spanning the period 1973 until 1979, two of them (Wish You Were Here and Animals) are what I would call "modernist" or "post-modernist'.  The Wall, for all its supposedly uncompromising force, is in places quite traditional, retro even, in musical terms. The Dark Side Of The Moon is a concept album, and I feel that it lacks the hard edges and driven anger of the two studio sets which followed it.

Of course the work is 'bookended' by the two sections which make up the epic 'Shine On You Crazy Diamond', the first part's more conventional structure and tempo contrasting with the more chaotic and free-form nature of the closing 'reprise'. Despite their length, both sections maintain the interest due to the excellence and vitality of the instrumentalists' playing, and the arrangements are cleverly put together. The lyrics of the song, and the passion and sincerity of the singing, also serve to carry it along. In a feature which is characteristic of much of the album, the sound retains an organic hue, partly due to the use of 'non-electronic' instruments (acoustic piano, organ, saxophone etc), and partly because of David Gilmour's expressive, blues-inflected guitar work.

'Welcome To The Machine' harks back in some respects to The Dark Side Of The Moon, with its portentous, effects-laden opening, but soon develops a life of its own. A track which is perhaps ahead of its time, and although some might be tempted to deride it as 'Pink Floyd by numbers', the drama and grandeur of the musical backdrops and the undeniable validity and importance of the sentiments expounded here make it a compelling and gripping musical spectacle. The music, the words and the vocals combine to paint an unsettling and, one would hope, thought-provoking picture.

With its 'funkiness' and general mien , 'Have A Cigar' anticipates some of the material to be found on the later Animals LP. Another sardonic take on the absurdities and "evils" of the music industry, I don't find it as interesting or as inspiring as the other numbers on the album, and it never really goes anywhere, exuding a rather airless lethargy. OK, the song's subject matter is crucial and central to the album's 'concept', but I think people who eulogise about the song are indulging in some wishful thinking.

If 'Have A Cigar' is comparatively turgid, then the title track is a refreshingly uplifting and invigorating, the poignant lyrics notwithstanding. The sincerity and heart-felt nature of the song comes shining through. Again, the utilization of 'ordinary' instruments, such as acoustic guitars, mixed with some tasteful synthesizer work, means that the component parts have space to breathe and thrive, and something rather marvellous is what emerges.

One of the elements which comes across loud and clear to me is that this is an album which has conviction and polish. The Dark Side Of The Moon examined some Big Ideas, but its general impact was to some degree ameliorated by its format, in that many of the songs were almost vignettes. Wish You Were Here is less cryptic or abstract in its approach; the social critique is more channelled and the tone is harsher, more bitter and angry.  The group deserved credit for showing the courage and assertiveness to persist with this project, and their determination and belief is crystal clear in the quality and the cohesiveness of the finished work.

I would even go so far as to say that Wish You Were Here is the point at which Pink Floyd came into their own, and found their real voice. This "voice" only really remained vibrant and consistently intense for another two studio albums after this, but what a legacy was left behind. 

Wish You Were Here remains compelling and important.

Red - King Crimson

From time to time, and by and large this is a process that first made itself visible to me around my  mid-twenties, my musical horizons and my musical sensibilities undergo a realignment. Over the past couple of years, I sense that I have gone through one such phase. If my musical world-view is like a living creature, then its sinews become stronger and more dextrous, and the process feels like a natural companion to the cycles of life.

Part of this latest renewal was fuelled by my properly exploring the music of King Crimson for the first time. All of their albums from the period 1969-1974 are noteworthy in their own right but Red, released in 1974, warrants special praise and examination.

I think that one of the things which sets Red apart is its deceptiveness.  It perhaps has a reputation as 'uncompromising' and 'challenging', and early exposure can reinforce this notion, but more careful inspection reveals the marrying of differing tendencies. Moments which might induce a sense of foreboding are tempered by flourishes of melody and finesse. Importantly, the instruments are allowed space in which to breathe, and John Wetton's purposeful but soothing vocals introduce an extra dimension.

It is worth noting that even before this record was released, King Crimson had disbanded, a move which in fact turned out to be a mere hiatus. I have heard it postulated that this move demonstrated great savoir-faire, by anticipating dramatic shifts in the direction of rock music. From my point of view, in any just, rational world King Crimson should not have had anything to fear had they remained together.

Red is portentous, in the creative and constructive senses of the word, and indicative of a cultural time and place, but without the posturing. Just look at some of the people who 'name-check' the record. Its aesthetic, and the brand of edgy and challenging prog-rock which it exemplifies, endure brightly. King Crimson's music from this period has a curious and invigorating quality. Melodic yet propulsive, organic yet modernistic, crystalline yet strangely calming. 

The original LP had just five tracks, but it doesn't need any more to make it fulfilling and impactful. 

The (instrumental) title track really does set the tone. For 1974, this is heavy stuff.  Bill Bruford's work on drums and percussion definitely imbued the group with additional depth and Robert Fripp's guitar teeters on the verge of losing control. There is a menace and a sense of purpose which for me are emblematic of Crimson at this stage of their evolution.

'Fallen Angel' benefits from a strong melodic base, an endearing John Wetton vocal and a reflective, almost wistful quality, but it also emits some of the darkness and anger which permeates the record as a whole.

In my estimation 'One More Red Nightmare' is the centrepiece, epitomizing the 'duality' which is one of the album's most striking traits. The saxophone passages, some 'surreal' percussion, the driving guitar riffs and the energetic vocal all form part of the mixture. 

The track 'Providence' is very 'experimental', it must be admitted, but it does have its pleasing moments, and the vitality of what surrounds it perhaps excuses some indulgence.

And then to 'Starless', one of the group's signature songs. The central guitar motif is highly lyrical, seductive almost, and the separation between instruments, and between instruments and vocals, is in keeping with the album's general orientation. Saxophone is employed again, this time more softly, and greatly enriching the palette. The 'middle section' of the track might seem uninspired at first, but stick with it! 

This is the kind of album which reveals more of its secrets and its dark recesses with each successive listen. Not always a comforting experience, but invariably a rewarding one.

The Rise and Fall of Ziggy Stardust and the Spiders from Mars - David Bowie

There are some records which render the listener open-mouthed and humble at their consummate effervescence, mastery and inventiveness. An example of this is David Bowie's 1972 glam-rock opus The Rise and Fall of Ziggy Stardust and The Spiders from Mars. If you ever find someone enquiring what 'all the fuss' is about Bowie, just play this for them. It should swiftly assuage their doubts.

A little while ago I blogged my thoughts on the great man's previous LP, Hunky Dory  , That magnificent album succeeds partly on its mystique and its restrained brilliance.  The 'Ziggy Stardust' record is a more demonstrative and outgoing creature, dazzling and bewitching, whereas Hunky Dory charms and beguiles. This was all part of the astounding burst of creativity which Bowie essayed in the early 1970s, stemming from his innate talent and a boundless curiosity about cultural trends and modes of expression.

Over the years people have made veiled accusations that Bowie 'appropriated' ideas which were already thriving 'underground' and brought them into the mainstream. Whilst there may be some substance to these remarks, Bowie was far from alone in harnessing such forces, and cultivating the clarity of vision and the savvy to do so successfully is a talent in itself. If it was so easy, why weren't other people doing it to similar effect?  My philosophy is simply to savour the product of Bowie's inquisitiveness, which decisively outweighs any qualms which people may voice.

Song-for-song, the record represents a powerful outburst and flowering of ideas. It is more mainstream, arguably, than Hunky Dory, but exudes enormous vitality and command. The music has a crystalline and vibrant urgency which makes it stand out.

For all its reputation as a repository of 'futuristic' and 'visionary' work, much of the album's content is firmly rooted in decidedly 'traditional' rock and pop music styles. So by some interpretations it may be viewed as musically 'conservative', but there is little doubt about it being adventurous and daring in a 'philosophical' sense. This juxtaposition of the musical foundations with the 'poetic' orientations helps to imbue 'Ziggy Stardust' with its edge and its bite.

The 'retro' flavour of some of the music means that it has something in common with other glam-rock offerings from the early 1970s. There, however, the tenuous similarities end. Its sweep and its scope make it altogether more ambitious and progressive than the majority of the 'competition'.

'Five Years', the opening number, very much conforms to notions about musical 'traditionalism' as a motif pervading the album. In another respect this song goes against conventions, in that it is an 'untypical' choice to commence proceedings, not being up-tempo or vigorous. To some extent 'Five Years' introduces a template; 'old-time' with clear traces of modernism. This 'syncretic' character is part of what propels the whole project.

From the outset another pattern becomes clear. For all the talk of 'post-modernism', most of these recordings are underpinned by a solid, organic core, often consisting of acoustic guitars and piano, as a layer anchoring the sound in reality. Depth is thus added to the sonic strata, and the separation between instruments is another appealing feature. 

Bowie sounds remarkably self-assured and in control of what he is doing, and this sensitivity extends to ensuring that the music is 'cinematic' without lapsing into bombast, not always an easy balance to achieve. The listener is soon immersed in the unremitting excellence, and there is an abundance of ideas and surprises to maintain the interest.

A word too for those who helped with the production and the arrangements. 'Soul Love' is an example of a fairly ordinary track which is elevated by some inventiveness in these areas. A reminder, maybe, that music is often a 'holistic' discipline.

For me 'Moonage Daydream' is the 1970s Bowie creation par excellence. Again, Bowie exudes a certain mastery, and the dramatic soundscapes help transport the listener to a different plane - there is lots going on!. We also get a glimpse here of Mick Ronson's importance to the sound.

'Starman' is perhaps the most well-known song here. Like many of the compositions, it illustrates Bowie's often-overlooked gift for melody and 'musicality'. The sonic palette is again embellished to great effect, with guitars and what sounds like a Mellotron. It may also be that this song is a showcase for the star's idiosyncratic method of lyric-writing, with words which conjure up vivid images in the mind.

It has to be said that 'It Ain't Easy' is an unexceptional piece, and it sounds to my ears as though they tried a little too hard to infuse it with some zest and excitement. 

My feeling is that with 'Lady Stardust' we begin to reach the heart of the album, on more than one level. It possesses a rich and sinuous melody, which in places is redolent of Elton John. The piano is also pleasing. In addition, Bowie's vision and faith in the material comes shining through once more.

'Star' sounds like a part of a greater whole than just a self-contained song. It has a 'live' and 'theatrical' feel, like it might belong in a rock opera. As it happens, it fits very well into this concept-album-of-sorts.

I would say that the next number, 'Hang On To Yourself', has some of the same qualities as the one which precedes it, if in more minimalist packaging. It possibly harks back to the Velvet Underground, whilst also looking forward tentatively to musical happenings of the later Seventies.

The title track has a strong melodic framework, and once more that air of authority which echoes throughout the entire LP. The impression one gets with so many of these tracks is of a preponderance of ideas and creativity from all concerned. 'Ziggy Stardust' the song also contains some memorable lyrical imagery.

'Suffragette City' embodies the same sort of frantic energy as ' Hang On To Yourself', with added Ronson flourishes.

The closer of the original album, 'Rock 'n' Roll Suicide', is a rather unlikely conclusion, meaning that the record is bookended by two intriguing choices. Again, a 'retro' atmosphere prevails here, and there is much to hold the interest as it unfolds. 

All in all, The Rise and Fall of Ziggy Stardust and the Spiders from Mars is a delight, and a thrilling and invigorating ride. The music is exuberant yet tasteful, accessible yet profound, edgy yet engaging. A landmark release.

The Visitors, by Abba

It is always a pleasure, a pleasant surprise, to discover the depth and quality of an artistic work to which one had previously given little more than cursory attention. Like turning a nodding acquaintance into a lifelong, meaningful friendship. I experienced this feeling not long ago when I decided to devote some undivided attention to Abba's 1981 album The Visitors.

This is a finely realised, confident and well-paced work. Given that this was the final studio album recorded by Abba before disbanding, one would perhaps expect to be confronted with a tired effort, lacking in ideas and inspiration. The mood is downbeat, it is true, but on the evidence here Abba, musically speaking, still had much to offer. It would seem that it was only other factors which precipitated the cessation of operations.

The Visitors finds Abba fully embracing new technology, such as synthesizers and electronics generally. They sound comfortable within this altered musical clothing and, far from being awkward or alien, the sounds ideally complement the lyrical tone and outlook of most of the songs, if we confine our appraisal to the original nine-track release.

So this is a mature and self-assured Abba, delivering a record which is cohesive. One of its strengths is that the 'lesser known' tracks capably hold matters together, plugging the gaps which characterize lesser records.

Much has been made of the cover/sleeve design, and the degree to which it embodies the mood of the songs, and the dynamic within the group at that point in time. Gone are the smiling faces and bright, primary colours. An autumnal flavour prevails, and this also permeates the music inside. Autumn, however, can be an invigorating and productive time....

The title track, which seemingly concerns itself with the plight of Soviet dissidents, is a shrewd selection to open with. It sets the tone, and in a cool and controlled way illustrates Abba's acceptance and quiet mastery of the opportunities which the new technology opened up.

As for 'Head Over Heels', this is very sophisticated and 'European' in its style, and helps to remind us that Abba were not simply adopting the fashionable or vogue-ish styles of the period, or acting as opportunists. They were, if perhaps not in the vanguard, then certainly more ahead of the game than numerous other prominent acts, and they arguably helped to popularize the notion of electro-pop or synth-orientated pop music, and to place them into the mainstream.

'When All Is Said And Done' is underpinned by a strong melodic and rhythmic base, and the lyrics perhaps exemplify the general themes which run through the album. Melodically there are definite shades of the 'old' Abba, but with less 'organic' backing.

The first of the 'unknown' songs, which contribute so much to the album's substance, is 'Soldiers', which tackles 'real world' issues, but in a poetic and universal way.  Who knows whether there is also some hidden meaning in there, regarding personal relationships? In this song I detected musical echoes of an earlier Abba song, 'Eagle', albeit with less of the grandeur.

'I Let The Music Speak' fulfils a similar role to 'Soldiers', although carrying a different message. More words which appear to reflect the prevailing ambience. What is striking is how convincing and sincere Abba sound here without seeming maudlin or excessively self-pitying. Their pop-craft, honed so much by then, helps them to achieve this. An intangible sense of what worked, and what didn't work, coupled with a facility for expressing emotion compactly and powerfully.

There are several outstanding candidates for the title of the song which most aptly sums up 'late period' Abba, and I think that 'One Of Us' qualifies better than most. The backing track, the lyrics and the poignant and emotive melody and singing, all communicate to me a feeling of an era drawing to a close. In a way, the atmosphere resembles that of Side 2 of the Beatles' Abbey Road album.

To round up the remaining numbers on the original nine-song release, 'Two For The Price Of One' is quite minor, but not without its quirky charm. 'Slipping Through My Fingers' is a fine ballad with apparently very personal lyrics, dealing with adult concerns. In a different context, this might have made a great Eurovision song. 'Like An Angel Passing Through My Room' is a suitably downbeat and vaguely enigmatic way to end the original album.

With or without the bonus tracks which padded out the re-issues of The Visitors, the record stands as a highly developed and substantial collection of musical statements. In some respects it might just be the strongest of their studio albums.

Last Train To Memphis - The Rise of Elvis Presley - Peter Guralnick

Last Train To Memphis - The Rise of Elvis Presley is the first part of Peter Guralnick's epic, and justly acclaimed, two-volume Elvis biography.  I know that when one is faced with a two-volume biography, about any subject, it is advisable to read the first volume before tackling the second. However, in this instance I tackled the process in 'reverse order', as it were. This situation arose because I have traditionally been more interested in the latter stages of Elvis's life and career than in the beginnings. Either way, I don't think that the order of my reading significantly affected my appreciation the merits of the works. I wrote a review of the second volume Careless Love in an earlier article on this blog.

First of all, it is a delight to read a biography composed by someone who is not only authoritative and enthusiastic about his subject, but who can also write engagingly and fluently. From the outset Guralnick immerses his readers in a sense of time and place. One senses his commitment to evoking the historical and social context of events, but he does not obscure the main narrative by forcing those matters unduly.

Ironically, some of the most affecting passages in the early chapters did not concern Elvis directly, but rather offered an atmospheric and detailed depiction of life in Tupelo and Memphis during the 30s and 40s. One of this book's strengths is the way in which the tale is gradually and credibly unfurled, so that the evolution of Elvis the person and the performer is a continuous and rolling tapestry, and not a series of 'contrivances'. 

There is a vivid and intriguing depiction of the times and the circumstances into which Elvis was born, and in which he grew up. These chapters are characterised by a lot of detail, and the story is told in a more or less chronological format. A reminder that even seemingly mundane matters can be of great interest when sensitively and adroitly addressed.

Guralnick creates endearing portraits of some of the colourful characters who inhabited the Memphis scene during Elvis's youth. The picture of Elvis which emerged for me was of a complex but very human figure who, although gifted and unusual, also possessed idiosyncrasies and insecurities like everyone else. No case is proffered for him being 'superhuman' in any way. 

When reading large parts of this book I detected a mood of cautious optimism and confidence, even among humble folk, in the post-war era, but again this is not overplayed, and there is always the risk of later generations romanticizing something which, to those who were actually there, was nothing out of the ordinary. The author's apparent circumspection in commenting on such matters helps to ensure the book's realism and integrity, in my view.

Learning how Elvis and those around him in those early days navigated their lives and passed through the 'necessary' stages of growth, I was left pondering how much more informal and seamless life's journey appeared to be back then. 

The attention given to examining the psyche of Elvis and his motivations and ethos, particularly from the time before he became famous, is a key ingredient in the quality and value of this biography. Some might view the author's observations on these topics as somewhat nebulous, but this might be because there are no simple answers to most things...

As regards the emergence of the 'youth culture', in which Elvis first immersed himself and then personally helped to intensify, this is documented not by outlandish philosophizing but largely by simple but persuasive prose. The excitement and 'novelty' of the early-to-mid 50s is conveyed without recourse to hyperbole or inflated claims of the period's significance.

One of the themes which struck me was that Elvis was no 'overnight sensation'. His impact is properly illustrated, but we are also reminded that this was a gradual ascent, punctuated by minor setbacks, mis-steps and false dawns. The 'transitional' stage, between the singer's becoming a local celebrity and attaining national stardom, is a fascinating phase, and Guralnick cleverly relates the tension and ferment.

The areas of the book which discuss the processes by which Elvis's management structure came about I found very enlightening, and it may surprise some people as to how Colonel Tom Parker came to be the undisputed boss.

For me the picture was augmented appreciably by the care taken to explore Elvis's musical influences, and the way in which he had direct contact with many prominent Memphis singers and musicians long before he made it big. I was also interested to discover that the author was very sincere and even-handed in assessing the genres and styles which actually constituted the Elvis sound.

I loved the accounts of the recording sessions, both at Sun and RCA. Very atmospheric, and peppered with rich and amusing anecdotes and nuggets of observation concerning Elvis's demeanour and manner, and the reactions which he inspired. 

Another surprising but revealing pattern which I discerned was how calm and resolute Elvis remained at some critical stages, whilst many of those around him were feeling fretful and apprehensive. It seems that he had a vision and a shrewdness which are not always credited to him.

In the chapters covering the time when Elvis had become an international phenomenon, my perception was that he still seemed to be regarded as a 'second class' star, when compared to movie actors and 'pop' singers. A hint, perhaps, that rock n roll was still looked down on, or viewed with suspicion?

Even as early as 1956, one can sense some of the things which came to characterize the decline of Elvis - difficulty in maintaining 'ordinary' relationships, the beginnings of estrangement from a normal existence, and so forth.

I enjoyed reading the insights into the strategic vision of Colonel Tom Parker and others, about how the Presley career was expected to pan out. People sometimes forget how short his first burst of stardom was, and things may already have been changing before he entered the Army. The hysteria which attended the concerts, whilst initially exciting and gratifying, could clearly become wearisome and unedifying.

Even at a relatively early stage, an entourage was starting to build up around Elvis, and the dynamics and comings-and-goings amongst that group form an interesting sub-plot, which would of course assume greater importance later in the star's life.

Towards the end of this book one can feel change closing in, and the mood is very adeptly captured by the author. The perfect scene is starting to unravel. It is also clear what a pivotal event the death of his mother was for Elvis. It also underlined that nothing was going to be the same again.

Last Train To Memphis is a gripping and illuminating read. Both this volume and its 'sequel' Careless Love are very much recommended.