Desire - Bob Dylan - album review

Conventional wisdom has it that "Desire" was Bob Dylan's last record before his career entered another creative dip, lasting the best part of two decades. This may indeed be true, but the album merits examination, as one of the most enigmatic and intriguing of the great man's career.

One difficulty which some new listeners may encounter with "Desire" is that of "accessibility". The record is cloaked in an intangible shroud of mystery and vague nebulousness.  It is only when one sees through this cloud that the confidence and substance of the record can be fully savoured.

It is a more eclectic and varied album, lyrically at least, than "Blood On The Tracks", with the songs addressing a range of topics, from social injustice and relationships to travel and spirituality. Amid the diversity, some cohesion is supplied by the violin and the vocals of Emmylou Harris. These elements lend a pleasingly melodic and exotic texture to proceedings. It is surprising to note how little guitar work features here.

The mournful and reflective nature of some of the compositions, and the outward impression of sonic ennui and melancholy, are deceptive. I detect a real freedom about the work here, of a singer-songwriter warming to his task, bolstered by the presence of new collaborators and a sense of liberation from any straitjackets. The songs are perhaps less immediately engaging emotionally, but the subject matter is challenging, provocative and fresh. The songwriting tie-up with Jacques Levy doubtless contributed to the impetus and creative vigour. In places even Dylan's singing exhibits a certain exuberance.

"Hurricane" is the imposing and relentless opener, one of the most notable protest songs ever recorded. Unlike many protest numbers, this one stands up musically in its own right, and the melody and backing also ideally complement the message. If anyone doubted Dylan's capacity to still turn out music of power and relevance in the mid-1970s, this was their answer. Still as potent and resonant almost four decades later.

Serving as the other "bookend" of "Desire" is "Sara", one of  Dylan's most nakedly personal and candid songs, harking back to "Blood On The Tracks" in some ways. The presence at either end of the album of emphatic social commentary and frank confession is proof that all the bases of singer-songwriterdom were comfortably mastered, although Dylan stood, consciously or otherwise, outside any particular movement or "scene" by 1976.

Of the songs in between, "Isis" is to me the most affecting, combining lyrically the flavour of Dylan's mid-60s work with his less cryptic and oblique later style.

If there is a theme to this album, one could argue that it is preoccupied with drifters, outlaws and outcasts, if one also notes the presence of such songs as "One More Cup Of Coffee", "Joey" and "Romance In Durango". Whether this direction was itself a commentary on the times, or on anyone's state of mind, is open to question.

On first listen, "Desire" can seem like some of the jaded and listless American singer-songwriter fare being released circa 1976. However, it has much more vibrancy, focus and depth than that, and stands as possibly Dylan's last truly important record.

Queen - the debut album - review

Judgement of debut albums is fraught with distortions and wishful thinking, particularly those by artists who subsequently go on to achieve great things. There is a tendency to retrospectively attribute to them merit and qualities which they do not really possess.

I often think of Queen's debut album in these terms. A few pundits have hailed it as a minor classic, but their arguments rarely hold up to scrutiny. Yes, there is some promise there, but it is hardly the masterpiece which some maintain that it is. There is very much a sense of a work in progress, of a sound and style taking shape and not yet crystallized, and of a group still fumbling for a firm direction.

A distinct sound would not truly emerge until the third or fourth record, and this was in part due to the circumstances under which the guys were forced to record their music.  It was put together in fits and starts, with the four musicians apparently grateful just to be in the studio at all, but the situation was scarcely ideal if one was seeking to develop something genuinely coherent and well-crafted.

The spasmodic and rushed nature of the sessions is perhaps reflected in the relative lack of polish in some of the tracks, certainly when compared with their later work. The sound sometimes feels "half-baked", scrappy rather than genuinely raw. Only fleetingly does the trademark Queen sound, or indeed the hallmark of star quality, shine through brightly. "Keep Yourself Alive" remains impressively vigorous and fresh, but one or two other songs sound perfunctory and uninspired, and "Son And Daughter" and "Jesus" have not aged too well...

I have heard it suggested in the past that one of the deficiencies of this album is a failure to adequately project the talent and personality of Freddie Mercury. I am not sure that this criticism is fully justified. Upon closer inspection, his vocal range is quite well captured. The problem for me is the slightly nebulous and tentative feel of the album overall.

At this early stage, we can discern the beginnings of the complexity of "Bohemian Rhapsody", mostly in the structure and lyrical content of "My Fairy King" and "Liar". Brian May's ethereal and reflective songs, an often overlooked and important facet of Queen's 1970s albums, are strongly represented by "Doing All Right" and "The Night Comes Down".  These numbers help to provide texture and balance, and are probably the most pleasing to the ear for this listener in the 21st century.

It is also clear that the various members were still very much learning the art of songwriting, a process which began to bear real fruit on "Sheer Heart Attack".  The occasional rambling instrumental section betrays a lack of focus, and they would eventually learn how to achieve a more tasteful balance between grandeur and tightness, reducing the tendency towards self-indulgence whilst still allowing the band's talent and inventiveness to flourish and display itself.

It is often said that Queen were aiming for a "layered" sound, but they do not achieve that here, probably due to a combination of the circumstances under which the record was made and their own lack of experience and confidence. This may explain why on their second album, they went to extremes in terms of multi-tracking and overdubbing! The follow-up does have an identity, a sweep and a sense of drama which "Queen" lacks, even if the band in early 1974 was again still not the finished article.

This album does have a certain period charm, and of course historical curiosity and significance. It would be dishonest and foolish, however, to pretend that Queen's first record was of the same quality as the debut efforts by the likes of Led Zeppelin, Van Halen and Boston, and I say this as a Queen fan of 35 years standing!. It is not a bad album, but they did not arrive fully developed like some of their contemporaries.

Dire Straits

Just the other day, I stumbled across the music of Dire Straits again, and it occurred to me that they have been a bit forgotten amongst the public and music pundits.  I must admit that I myself had got away from listening to their stuff in recent years, but decided to take the time to revisit their studio work.

 

It is easy to forget how "cool" Dire Straits were, in relative terms, up until the mid-1980s. This status appeared to be diminished when they were perceived to have moved away from their earlier sound, perhaps in aiming to engage with a wider audience.

 

They achieved genuine global superstardom with the success of "Brothers in Arms". This album became notable, or perhaps notorious, as the one which untold millions bought in the mid-to-late 1980s in order to initiate themselves into the new-fangled technological wonderland of the compact disc. I vividly recall lunchtime visits to the home of a school friend, in order that we could gather round and listen with awe to the introduction to "Your Latest Trick", in pristine digital quality. The album came to be identified, rather harshly I thought, with safe conformity and the corporate face of rock music.

 

This was all a far cry from the gritty and earthy charms of their first couple of albums. The eponymous debut effort betrays an ethos somewhat "pub rock" in nature, with an impeccable list of other influences (JJ Cale, Clapton, Dylan, Ry Cooder etc). The broodingly atmospheric sound and lyrics draw the listener in, often reflecting the seamier side of life. The expressively brittle guitar of Mark Knopfler is prominent, of course, but is used sparingly and tastefully. Of course, "Sultans of Swing" is the best-known track here, but "Wild West End" is also a little gem.

 

With the sophomore release, "Communique", the sound becomes marginally richer and more varied, though the subject matter remains pretty much the same. The song "Lady Writer", perhaps even more than "Sultans of Swing", exemplifies the appeal and essence of the early Dire Straits sound, although the guitar is captured with greater clarity and bite, and the level of melodic subtlety and gloss are magnified. Of the other numbers, "Portobello Belle" stands out, in some ways pointing the way ahead for the band.

 

1980's "Making Movies" has a more "cinematic" flavour. Indeed, the title itself may have been an acknowledgement of this. There is an increased self-confidence about the band, and this displays itself clearly on the opening track, "Tunnel Of Love", arguably the group's finest achievement. The augmentation of the sound with more keyboards is another sign of this blossoming, and of a desire to branch out and diversify. I have heard it suggested that songs such as this, and also "Skateaway" and "Hand In Hand" for example, owe something to Bruce Springsteen's tunes, and this is hard to dispute, although "Tunnel Of Love" and others are also a logical and natural development of the themes and trends shown on the earlier records. On this third album, the impression which I am left with is more blue-collar romanticism than the almost seedy realism of the first two LPs.

One thing which you have to admit is that Dire Straits did not stand still, and each album has a distinct individual feel to it, and "Love Over Gold" sees an emphasis on longer, more experimental songs. These tracks seem to have worked excellently in the concert setting, though they must have further alienated those who had been reared on the immediacy and gutsiness of the early albums. The band was using the augmented instrumentation to paint pictures and create an atmosphere, the most notable examples being "Telegraph Road" and "Private Investigations". This is probably the "forgotten" Dire Straits album as far as the general public is concerned, as it did not feature much in the way of snappy, catchy hit singles.

I'm not sure whether "Brothers In Arms" signified a reaction to the "excesses" of "Love Over Gold", but the songs are more concise, and one or two of the numbers are more frivolous lyrically. The record is beautifully crafted and produced, and the compositions are generally strong and entertaining, but they have neither the genuine earthiness of the first two albums, or the sweep and emotional pull of the next two. Having said that, it is hard not to like the sophistication and melancholy of "Your Latest Trick", the jaunty "Walk Of Life" or the eerie title track.  It is noticeable how the guitar sound has changed - was this something to do with the types of guitars being used by Mark Knopfler?

To me, the final studio album "On Every Street", which emerged after the band had effectively broken up and taken a sabbatical,  sounds a little tired. Not that the band was going through the motions, but perhaps they themselves must have sensed that the game was up, and that it was time to move on definitively. To their credit, they have not indulged in any big "cash-in" reunions.  The nature of Mark Knopfler's side projects even during the lifetime of Dire Straits perhaps indicated where his musical heart truly lay....

 

Some might contend that Dire Straits at some point "sold out".  I don't subscribe to this notion. Their music never became fundamentally more shallow than it had been before, it just kept evolving and shifting naturally, retaining a certain integrity throughout, and their work was generally credible and sincere.

 

 

 

 

 

 

Little Feat - the first album - review

It is common to assert that Little Feat's best work centred around the period 1972-74, but their 1971 debut album was a substantial record, featuring, albeit in embryonic or prototype form, some of the hallmarks which would dominate their future endeavours.

On the surface, Little Feat seems a conventional effort, not as experimental, esoteric or eclectic as the group's subsequent recordings, but closer scrutiny reveals a distinct character, if enclosed within a relatively uniform veneer. The background of the musicians (some of whom had inhabited the Zappa/Beefheart arena) blends with the blues rock/country rock backbone to create something endearingly idiosyncratic, refreshing and entertaining.

The sound on this record is more streamlined and ascetic than the later Little Feat releases, and this is partly determined by the line-up of the band at the time, which was a comparatively straightforward four-piece (guitar,piano,bass,drums). The exotica of the later more "funky" style is largely absent here, and this less ambitious foundation is anchored by the proficient piano work of Bill Payne and a solid rhythm section. Lowell George's slide guitar is to the fore on several tracks. The group's acknowledged virtuosity is thereby more concentrated and less diffuse.

It is fair to say that some of the compositions on this album edge more towards the "conservative", in musical terms, but this should not mislead us as to its level of melodic invention, and the quality of the lyrics. Several of the more "mellow" numbers, such as "Brides of Jesus", "Takin' My Time" and "I've Been The One", can almost seem to drift by unnoticed, and real attention is required to appreciate their charms and depths. In that sense, this is a record to really listen to, rather than simply permit its vibes to seep into one's sub-conscious.

The lyrical content and general atmosphere are very varied, from the light-hearted ("Crack In Your Door", "Crazy Captain Gunboat Willie") to the vaguely surreal ("Strawberry Flats", "Hamburger Midnight") , to the poignant ("Truck Stop Girl") to the ethereal.

I'm not sure whether it was intentional, but the running order places two very meaty and energetic rockers up front. This may have been a way of emphasising that for all the diversity of styles and genres, Little Feat remained in essence a bluesy, rootsy rock n roll band. "Snakes With Everything", with its marvellous intro, is an ideal opener, and I can imagine that the members of the Black Crowes may have come across it at some point in their youth!

If there is any one feature of Little Feat which lingers in the psyche it is Bill Payne's superb piano playing, a foretaste of the artistry which would form a large part of the bedrock of the band's appeal and unique pull. His contributions here are almost exclusively on acoustic piano, in contrast to the more varied diet of keyboards (organ, electric piano, synths etc) which featured on the later albums. There is an agility and sprightliness about these parts, and it is a tribute to Payne's abilities that they almost overshadow the presence and guitar/vocal prowess of Lowell George.

If not as infectious, libidinous and irresistibly rhythmic as Little Feat's later releases, their debut LP betrays many of the characteristics which made them so special, and which continue to make them so cherished and fondly remembered. If people do nothing else, they should try at some point in their lives to check out "Crack In Your Door" - hilarious lyrics, beautiful guitar and piano work, and an overall effect which will make one both smile and marvel. An overlooked gem on an album which can justifiably fit the same description....

Sailin' Shoes - Little Feat - album review

Continuing a look at Little Feat's classic 70s albums, we come now to "Sailin' Shoes", released in 1972.

One of the charms of Feat's early work is that the albums have their own distinct character.  "Sailin' Shoes" lacks the clarity and simplicity which characterizes much of the first album, and the sensual suppleness of "Dixie Chicken", and ploughs its own defiantly gritty and bluesy furrow. The band line-up is ostensibly unchanged from "Little Feat", but the sound is warmer and more expansive, with more variety in the keyboard and guitar parts.

The album maintains the trend from its predecessor of embracing an eclectic mixture of lyrical themes, from the amusing, almost cartoonish songs celebrating life's hedonistic pleasures, to more introspective and profound sentiments. This combination was one of the under-estimated factors which contributed towards making Little Feat so unique and compelling. They were capable of evoking a range of emotions. "Sailin' Shoes" is possibly less "easy" and comfortable to listen to than those collections which preceded and followed it, but no worse for that.

Many might contend that the stronger compositions are packed into the first part of the album (what would have constituted Side One on vinyl), but this is a slightly harsh judgement on the closing tracks, which may be less immediately accessible, but which also surrender their hidden depths with repeated listening. Other bands might have mixed up the running order to balance things out, but being conventional and predictable was never the Little Feat way!

So what of some of the more notable tracks in that running order?

"Sailin' Shoes" begins with the vibrant "Easy To Slip", which a few people have likened to Crosby Stills and Nash, presumably on account of the acoustic guitar motif and the prominent organ.  It, however, contains notable Little Feat trademarks, including a subtle Lowell George vocal and that intangible and infectious vibe which pervades so many of their songs.

The less exuberant but equally memorable "Cold Cold Cold" follows, containing some powerful lyrics, and an almost claustrophobic production which perfectly complements and augments the subject matter. "Trouble" is one of those acoustic-oriented ballads which Lowell George was able to summon up with such facility. Lowell always managed to stamp his personality on songs such as this, and make them so much more substantial than they might otherwise have been.

The version of "Willin'" on this album is the definitive one, although this is not to decry the rendition which appeared on the eponymous record from the previous year.  The 1972 edition of the song has a more melodic quality, with various instrumental flourishes added.

"Apolitical Blues" is one of my favourite "minor" Feat numbers. Perhaps poking fun at the the penchant in those days for musicians (even some of their friends and contemporaries) to incorporate political messages in their work, the tongue-in-cheek humour partially overshadows the song's musical qualities, which include some tasty slide guitar, and familiar Bill Payne piano licks in a languid melodic base.

The title track has a deceptively simple tune, but as with so much of Feat's work, it is the "feel" which drags the listener in. The imagery in the words is exotic, euphemistic but hardly impenetrable! The country blues ambience is most agreeable, as is the phrasing in Lowell's idiosyncratic vocal.

As the record draws to a close, we are given hints as to the band's impending direction. "Got No Shadow" has jazzy and rhythmic inclinations which point the way towards the band's more "experimental" music later in the 70s. These features, together with Bill Payne vocal on "Cat Fever" are perhaps indicators that the other members of the band would begin to assume the creative limelight more.

For me, "Sailin' Shoes" is one of those albums which possesses real bite and character, and in some respects it is the most inimitable of all Little Feat's works, the one which most accurately encapsulates their quirky appeal. An enigmatic record, but an excellent one.

Some Girls - The Rolling Stones - album review

Much misty-eyed mythology surrounds the recordings which the Rolling Stones made during the period 1968-72, and indeed those prior to that, and it is commonly asserted that much of the band's existence since then has been spent living off past glories, and that their albums have often been made on auto-pilot. However, the 1978 record "Some Girls" emphatically gives the lie to this view, and stands comparison in its own way with anything in the Stones' catalogue.

There were numerous reasons for this sudden re-invigoration.  Personal problems, creative inertia and a changing musical landscape appeared to be conspiring against the Stones as the Seventies moved towards their conclusion. People were asking whether the Stones were still relevant,and if they had run out of steam artistically.  This tight and zestful set was an resounding response to such misgivings.

Being perceived as having their backs to the wall, the defiance shines through on "Some Girls", as if they were simultaneously putting a metaphorical two fingers up to the world, and revelling in the refuge and escape offered by music. It has often been said that this was the point where Mick Jagger began to stake a claim to de facto leadership of the band, but the sentiments were collective.

The focus, energy and strength of purpose could not present a starker contrast with the relative lethargy and nebulousness of the previous three studio albums. Yes, the emergence of punk and disco did contribute to the album's mood and content, but not to the extent that the Stones simply wrote and recorded "punk and disco songs". They absorbed the ethos and vitality of those two genres, and the consequences revealed themselves naturally within a broadly familiar framework. This is still very much a "Rolling Stones album".

One of the most startling features of "Some Girls" is the dearth of instrumental padding and decoration. Many of the songs are performed at a hefty rate of knots, reflecting perhaps a mixture of anger, frustration and even liberation from the directionless and torpor of the years which went before. The modern Stones sound is taking shape, seen in the guitar interplay and the nature of the riffs.

The resolve possessed by the band is amply displayed on the album's opener, "Miss You". Much has been made of its "disco" leanings, but I would also argue that it is part of the broader trend of rock bands in the Seventies to embrace more rhythmic and funky patterns (Little Feat, Steely Dan). The sleazy electric piano and guitars, and punchy rhythm section, allied with a sneering Jagger vocal, give it its potency

The breathless immediacy which pervades most of "Some Girls" really kicks in on the second number, "When The Whip Comes Down". Freshness in abundance.

The pace is maintained with the cover "Just My Imagination (Running Away with Me)". This is not a straight cover version, and the Stones' rendering shows a strong power pop/new wave sensibility.  It has a spontaneity to it, as if it was being performed at a sound check a few hours prior to a gig. This is not a criticism, and a lack of the over-reach and artifice often associated with cover versions is a joy to behold.

Moving on to the title track, and leaving aside the controversial lyrics, this son typifies the approach and mood on the album. Very bluesy and raw, accentuated by the harmonica and the ragged vocal harmonies. The Stones' "bad boy" image and notoriety was kept flickering by songs like this. The melody is simple and straightforward, but powerfully delivered.

"Lies" is stripped down, frenetic, almost minimalist.  "Meat and potatoes" one could say, but a statement of intent, and far from dull or pretentious. "Respectable" is similar in character, but is marginally more tuneful, and lyrically more decipherable, if not containing much in the way of emotional or psychological depth!

Of all the Stones' excursions into the domain of country music, "Far Away Eyes" is one of the most authentic and sincere, but equally one of the least entertaining or memorable. Some relief is introduced by "Before They Make Me Run", forming the usual Keith-on-lead-vocals slot, with what appear to be semi-autobiographical lyrics.

"Beast of Burden" is one of the most durable of Rolling Stones songs. High quality pop/rock which has stood the test of time. This one contains more intricate guitar work, and a more considered and complex melody. The album closes with "Shattered", another quick and sparse rocker, exhibiting a vaguely 50s flavour, and redolent of some of the New Wave sounds which would appear in the years ahead. A slightly odd choice to conclude the album?

So there we have it, "Some Girls" by the Rolling Stones. No-nonsense rock n roll, packing a considerable punch, and exuding the restless vigour of the those times. After this, the Stones enjoyed a new lease of life, and it was both a symptom and a cause of their continuing strength. Above all, it is an enjoyable and important collection of songs.

Dixie Chicken - Little Feat - album review

Many bands or solo artists reach a sweet spot, never to be repeated, at some point in their career.  Often this is not part of some pre-ordained masterplan, but rather a consequence of cumulative influences and experiences.  One of my favourite groups, Little Feat, arrived at this landmark in 1973 with their superb album "Dixie Chicken". They made great music before then, and made some fine records afterwards, but this remains their most coherent and affecting album.

"Dixie Chicken" marked a departure for Little Feat, both in terms of personnel and musical direction. New emphasis was placed on rhythm, with the recruitment of a new bass player, and the addition of a new percussionist and second guitarist. The first two albums had been primarily blues and country inflected, but the new record saw a partial immersion in more funky New Orleans R&B styles. The generally grittier tones of the eponymous debut and "Sailin' Shoes" were joined, if not totally supplanted, by the smoother, more sensuous charms of "Dixie Chicken".

Having observed this stylistic shift, it must be stressed that the idiosyncratic and quirky approach which made them such an endearing and compelling act still remained, that quality which causes so many people to become lifelong fans as soon as they hear Little Feat once. If anything this phenomenon was accentuated by the increased "funkiness" on display.

Some critics have complained that Little Feat's work became less focused and more self-indulgent from the mid-70s onwards, and it is fair to say that they were walking a thin line on "Dixie Chicken", where the tightness of the playing, the fresh angle and the residual rootsiness of earlier records, formed a very agreeable cocktail.  Did the later records become patchy?  In comparison, possibly yes, although by that time it may be argued that they were more renowned as a stellar concert attraction. There were great recordings post-1973, but they were fewer and less frequent.

Lowell George's penchant for writing amusing and entertaining lyrics was never better exemplified than on "Dixie Chicken", most clearly in evidence on the "Fat Man In The Bathtub" and the title song. The earthy rhythm guitar work of Paul Barrere added a new dimension to the sound, ideally complementing George's familiar chops. The augmented line-up also doubtless aided Feat's rise and rise as a live act, by filling out the sound, and aiding and encouraging improvisation onstage.

The overall sound on this album is very languid and seductive, and even ethereal in places ("Kiss It Off", "Juliette"), with some "swampiness" introduced, often by a combination of keyboards and percussion. The variety and diversity facilitated by the revised line-up of players, and several guests, creates a glossy veneer at times, but the music is never bland or clinical. The trend for such slickness in recording was pronounced in much West Coast rock of the time, but these guys did not lose their soul, at least on this record. They managed to conjure up an appetizing stew by allying their existing strengths to new influences and directions. And fear not, acoustic guitars do not totally disappear!

The centrepiece of the album for many people is the majestic "On Your Way Down", written by Allen Toussaint. Dripping with style, panache and even menace, this is a song with some social commentary, which was unusual for a Little Feat recording. The understated but propulsive rhythm blends with the intertwining guitars, and Bill Payne's atmospheric piano and organ work to create a compelling whole.

When I first heard "Dixie Chicken", it didn't immediately bowl me over. I was at the time very much immersed in my "West Coast" rock phase, and at the time the band's first two albums were more in keeping with my requirements in that respect . It did not take long, however, for my resistance to melt away, and by general consensus this is viewed as their best studio creation. The overall ambience is engrossing but also mildly disconcerting, perhaps subconsciously illustrating the social climate of those times.

Little Feat's music was often irresistible, with a tendency to get under the skin of the listener, in a benevolent way.  They recorded no finer or more rounded example of this than "Dixie Chicken".

Hold Out - Jackson Browne - album review

Continuing my exploration of the albums of Jackson Browne, we come now to the great man's 1980 release, Hold Out, the only album of his to top the American Billboard charts.

Coming after the "experimental" and idiosyncratic Running On Empty, this record is a more conventional and slick mainstream singer-songwriter rock album, and in some respects it picks up where 1976's The Pretender left off, serving as the far side of the hinge of Browne's career.

When I first listened to Hold Out, my reaction was that it sounded a touch soulless, like much "album rock" of that time. However, I soon realized that my assessment was flawed. It had only seemed relatively soulless, because I had heard it back-to-back with Jackson's classic "organic" sounding music from the 1970s. Closer inspection revealed hidden depths, and it remains to me one of his unfairly overlooked works, although it contains only seven songs!

Although Hold Out is deceptively meritorious in a purely musical sense, there is a case for arguing that lyrically some water-treading is in evidence. If anything, the subject matter is, by and large, less weighty and profound than on his previous LPs. Any social commentary is very mild, and is confined to "Disco Apocalypse" and "Boulevard". That said, the "personal" lyrics on a couple of the compositions are very moving and affecting.

Instrumentally, the accent is very much on keyboards, with little in the way of acoustic guitar work to be had. Thankfully, the subtle and soothing tones of David Lindley's lap steel feature prominently on several numbers. Also, acoustic piano survives, and the layers of keyboards give genuine texture to a few of the tracks, with the assistance Hammond organ. Any synthesizer work is very unobtrusive, and is employed primarily to accentuate melody and atmosphere.

The opening track on the album is "Disco Apocalypse", a dark and atmospheric song suffused with the aforementioned keyboards, in this case organ and electric piano.  The title track follows, with an expressive Browne vocal, and a bland if endearing melody, and the first appearance here of the Lindley alchemy on lap steel.

The production on this album has a glossy feel, which is not unusual for the early eighties, but I would contend that this does not suffocate the emotion, nuance and melody of the set. The separation between instruments is pronounced, and this is exemplified by "That Girl Could Sing".

"Boulevard" is the nearest thing on the album to a catchy, up-tempo commercial song, with an energetic "new wave" blue-collar flavour, the sort of track which would become a staple of American mainstream rock in the years which followed. It is often forgotten how much Jackson Browne pioneered this particular "sub-genre", at least in sonic terms.

Without doubt the most emotionally charged song is "Of Missing Persons", written largely in tribute to Jackson's friend, the late Lowell George of Little Feat.  The song is dominated by the vocal, seized with sincerity and sadness, and the poetic Lindley lap steel work.

"Let's Call It A Loan" then offers some light relief, preparing for the epic closer, "Hold On Hold Out", which almost has a suite-like quality, and the most grandiose arrangement on the whole album. The full range of keyboards is deployed, and the slide guitar again comes to the fore.

Hold Out often gets lost, as it falls between Browne's critically acclaimed early work and his more socially conscious albums of the 1980s.  However, it is worthy of respect, being an entertaining and superbly crafted record.

For Everyman - Jackson Browne - album review

After his acclaimed debut album, expectations must have been high for Jackson Browne's sophomore effort, destined to be entitled "For Everyman".  In the event, whilst containing some of his strongest and most memorable songs, it somehow lacks the uniform excellence of the records which came immediately beforehand and afterwards. Despite my occasional ambivalence about the LP, it is well worthy of examination.

The most immediately conspicuous thing for me about "For Everyman" is that it lacks the cohesion of most other Jackson Browne albums. The exact reasons are not easy to pin down, but the tracks do not fit together very seamlessly, despite the insertion of one or two segues. The presence of a couple of "filler" tracks also adversely affects the flow and continuity.

It almost feels like this record was partially assembled from left-overs and curios. The Browne rendition of "Take It Easy" emerges as quite anemic and perfunctory, as if there was some obligation to record it, and tick a box. "Red Neck Friend" and "Ready Or Not" are California rock by numbers, notwithstanding their amusing, charming or mischievous lyrical content. "The Times You've Come" and "Sing My Songs To Me" are well-crafted and tuneful, if a touch laboured and ponderous.

Thankfully, this is redeemed by the quality of the stronger numbers. It is here also that we seen the first signs of Jackson Browne's socially conscious side, in the title track, and in snippets of lyrics elsewhere on the set. Still, though, "confessional", introspective and personal subjects predominate. The first half (or side 1 on vinyl!)  is loaded with the more substantial songs, although the aforementioned title song rounds the album off in emphatic and powerful style.

There is a large cast list of session players and guest musicians and vocalists, but despite this, the album does not sound particularly disjointed or diffuse melodically or sonically.  There are some very pleasing acoustic guitar lines, with this instrument possibly more to the for than on any other Browne record.  On several tracks, the arrangements are quite heavily layered, with several keyboard and guitar parts intermingling, a departure from much of the debut album, and the succeeding "Late For The Sky".  A significant innovation is the emergence of the wonderful David Lindley as an integral part of the Browne sound.

Lyrically, this album undoubtedly contains some of Jackson's most penetrating and memorable lines, such as the opening sequence to "I Thought I Was A Child", the whole of "These Days", and "For Everyman". These pieces lend credence to Browne's status as a lyricist of insight and acuity.

"These Days" has become one of Jackson's most durable songs, having been covered by several other people. It has a simple but affecting melody which, in tandem with the lyrics, forms a profound impression. This is one of the first Jackson Browne songs to benefit from the guile and sensitivity of the aforementioned David Lindley, on slide guitar here.

"Our Lady of The Well" and "Colors of the Sun" are both slightly redolent of the stripped down haunting landscape of the debut album. Somewhat "pastoral" in nature, they conjure up mental images of rural living, community, hardship and melancholy. As elsewhere on the record, intricate acoustic guitar parts are well to the fore.

The first piano chords, and the ensuing words, perhaps summarize why some of us became so receptive to, and enthused by, Jackson Browne's music in the first place.  Yes, it bears distinct hallmarks of standard California singer-songwriter fare, but it also possesses that intangible Browne quality of striking an intimate chord with the listener.

The story of the origins of the closing title track is quite well documented.  It was apparently written in response to David Crosby's "Wooden Ships", and ironically features the very same Mr Crosby on harmony vocals. This is the most elaborate arrangement on the record, with strata of keyboards and guitars almost threatening to drown out the vocals and lyrics. The song explores similar, if not identical, territory, to the later "Before The Deluge";apocalyptic, but seeking to salvage some vestige of humanity and brotherhood. One can view it as part idealism, and part a reaction to the fears and threats of the age in which it was composed (Cold War, emergent ecological concerns).

As an overall package, "For Everyman" is not Jackson Browne's most consistent or coherent album, but it does show an artist in the course of development, on the road to the peerless "Late for The Sky".  The better tracks stand favourable comparison with anything else in his repertoire.

Running On Empty - Jackson Browne - album review

By 1977/78, Jackson Browne had established a well-deserved reputation as one of the standard-bearers for the singer-songwriter movement. His first three albums had virtually formed the template for this sub-genre. His 1976 release The Pretender had introduced additional musical diversity, as well as a broadening of the lyrical subject matter. The next record, Running On Empty,also embraced some of these trends, whilst maintaining many of the elements which characterized Browne's "golden" period, but against a fresh backdrop.

The album features tracks recorded in a number of environments, from the concert stage, to the soundcheck, to the hotel room, to the tour bus. There are even cover versions and songs co-written by Jackson with other people, another departure from the usual Browne formula.

It can almost be said that Running On Empty is a concept album, as quite a few of the numbers deal with the pressures, strains and delights of life for the touring musician. This is ideally matched by the rawness and spontaneity, which in turn is partly a reflection of the circumstances under which the recordings were made. The tenor of the songs also evokes the atmosphere of the times, one which is captured by the vague air of resignation and apathy.  The shallow hedonism of the rock lifestyle as a metaphor for the disillusionment of a generation?  None of the ten songs here contains much in the way of overt "social commentary", with the exception of the title track, but in its own way this collection eloquently conveys emptiness,disaffection and even retreat.

It has been claimed that some of the songs here are lightweight, trite even, and it is difficult to dispute that taken in isolation they lack the incisiveness and gravitas which people had become used to. However, the whole is greater than the sum of its parts, and the balance largely achieves the effect which the artist was seemingly aiming at.

Some backbone is provided by two tracks in particular, "The Road" and "Shaky Town". The former has a haunting melody, accentuated by David Lindley's violin. The lyrics depict a vivid flavour of the road life, and are delivered with the requisite amount of laconic and careworn cynicism. "Shaky Town" possesses a similarly bluesy, ponderous flavour which aptly complements the words.

The instrumentation and sound on Running On Empty are somewhat unlike that on the previous records, but primarily it is pleasingly sparse, economical and intimate. I hesitate to use the word "craftsmanship", but this is not over-laboured, being counter-balanced by the immediacy of much of the material.  For Browne devotees there are the comforting tones of David Lindley's lap-steel playing, both exuberant and delicate.

It would probably be inaccurate to say that this album was a major turning point in Jackson Browne's career;that would not occur until the early 1980s. However, it is one of the most intriguing projects which he has undertaken. Although we have hinted that the songs may not be as instantly memorable and profound as some of his introspective classics, the record has hidden depths and is relatively "undemanding" emotionally. An enjoyable and novel excursion....

German Experimental, Progressive and Electronic Music

It is always satisfying, but also strangely troubling, when one’s resistance to a genre of music is overcome, and a whole new vista of exploration and enjoyment is opened up. Satisfying because in a funny way the fact that there was a reticence to embrace the music makes one savour it all the more, troubling because there is an acute sense of what one has been missing.  In recent times I have felt this way about German progressive, experimental and electronic music.

I always knew that it was there, and it seems unaccountable that I had not taken the plunge much earlier.  My tastes are quite eclectic, and some of my other musical interests should have logically and naturally led me there.  However, first impressions count, and in retrospect I think that I chose the wrong entry point.  I began my previous “exploration” by listening to the internationally well-known acts from the genre, such as Can and Faust. I did not “get” the German prog scene until I approached it from a different angle, that is via British prog acts such as Yes.  A journey which included Tangerine Dream led to the more psychedelic and “kosmische” bands such as Ash Ra Tempel and Popol Vuh, and their various offshoots, and the door was well and truly flung open…

This music also ties in with my interest in the German political scene of that period, which was quite turbulent.  It has often been commented that the recordings by a few of these artists was closely identified with the social and ideological tensions then making themselves felt.  That said, the messages in the songs are generally delivered with a deal more finesse and subtlety than those produced by purveyors of similar sounds in other parts of the globe.

Despite a reputation in some quarters for being gloomy, introspective and angst-ridden, I have found much of the music made by these bands to be wonderfully optimistic, life-affirming and infectiously joyful.

Much has been made of the extent to which the German musicians of the 1970s influenced future generations, particularly in Britain, and I feel that the concentration on this has almost obscured the merit of the music in its own right.  An appreciation of how a track was “ahead of its time” can detract from a grasp of the innate vitality of what was being performed.

One thing which is noticeable when looking at the fraternity is how quite close-knit it seems, with members of the pioneering groups often leaving for new and stimulating pastures.  And many of these solo projects and offshoot ventures added something genuinely new and vital, rather than just being curios or blind alleys.  Real adventure and ambition was much in evidence, taking the various sub-genres into exciting and uncharted territory.

For neophytes, my own advice would be to first sample the sounds of the more psychedelic and electronic-orientated exponents, with their ethereal and invigorating textures and soundscapes.  This should ensure that the more esoteric and challenging groups make more sense, and feel less discouraging and daunting. I can understand how the work of some of the latter can seem “hit and miss” at times.  When the dust has settled, you may well, like me, see Amon Duul II as an important group, with a sound both accessible and clearly ahead of its time in several respects.

One other impression which I gleaned from exploring the German music of the era in question is its relative lack of self-consciousness and pretentiousness.  A sincerity and spontaneity is present which one does not always find in similar musical movements elsewhere. Once they have taken the plunge, many people will find this world very comforting and inviting, and it is quite a diverse arena, with something there for almost everyone, if one remains open-minded.

Blonde On Blonde - Bob Dylan - album review

It is often said that the series of albums recorded and released by Bob Dylan in the period 1965-66 represents one of the most fertile bursts of creativity of any artist, ushering in the "rock" era by making mainstream popular music socially relevant and worthy of critical and erudite analysis. I too subscribe to these theories, but in recent times the worthiness of Blonde On Blonde to belong in the same company as its two predecessors has become questionable to me. I sense a propensity to bracket the record with those which went immediately before it, simply because it was Bob Dylan, and that it must be similarly wonderful because to say otherwise would spoil the narrative...

The two albums which came before, Bringing It All Back Home and Highway 61 Revisited, were effervescent efforts, brimming with creativity, bearing all the hallmarks of a man with lots to say, and who was eager to express himself. There was a breathlessness, spontaneity and urgency about the songs, which must have seemed at the time to form an inexhaustible reserve.

It is curious that Dylan himself has been quoted as saying that Blonde On Blonde constituted the "sound" which he had been aiming for all along.  There is certainly a "progression" of sorts in the character and ambience of the three albums, from the vitality, energy and bite of Bringing It All Back Home to the jaded cloudiness and ennui of Blonde On Blonde. The fact that the great man's career took a dramatic detour immediately afterwards may or may not be instructive....

There is a deceptive listlessness to many of the songs, particularly the longer "epics" such as "Visions of Johanna" and "Sad Eyed Lady of the Lowlands". On the other side of the coin, I have come to regard many of the tracks as bordering on "comedy songs" ("Rainy Day Women #12 & 35, "Just Like A Woman", "Leopard Skin Pill-Box Hat"). This may indicate that my hipster antennae are insufficiently developed. Their exuberance does at least balance out and alleviate some of the gloominess which otherwise pervades the work.

When saying that on close inspection the songs are not as instantly and spectacularly memorable as those on the two earlier records, it is also true to say that Blonde On Blonde hangs together very well as a mood piece, the kind of album to immerse oneself in on a rainy Sunday afternoon. The lack of immediate accessibility demands a patience which not everyone possesses!

The lyrics are less cryptic and oblique than on earlier records, but in their own way just as enigmatic and impenetrable, if less conventionally evocative.  Equally, the soundscapes are more murky and nebulous. These factors do contribute to the album's relative absence of overt sparkle and immediacy, but they also imbue it with its distinctive quality.

Although it is commonly asserted that the "turning point" in Dylan's career occurred shortly after this album was released, it might be more accurate to state that Blonde On Blonde itself signals a new beginning. Despite all all my caveats, provisos and reservations, it is still a rewarding and ultimately enjoyable listen, and essential to an understanding of the Dylan mystique....

My blog posts about other Bob Dylan albums:

Blood On The Tracks

Highway 61 Revisited

Bringing It All Back Home

It's Only Rock N Roll - The Rolling Stones - album review

Following on from my blog post regarding the Rolling Stones' 1973 album Goats Head Soup, it seemed logical to then take a look at the record which followed immediately afterwards, namely 1974's It's Only Rock 'n' Roll. 

Some of the elements merely hinted at on Goats Head Soup are developed, projected and exploited further.This record feels a touch more ebullient and gaudy than its predecessor, and less nebulous and reflective. The production is not as murky and hesitant.

The opening track, "If You Can't Rock Me", sets the tone, with its purposefulness and intensity, and the overall freshness which it exudes. It also sounds curiously "modern", as if it had been recorded in an ensuing decade, whilst still exhibiting that certain 1970s flavour and vibe.

"Ain't Too Proud To Beg" strikes me as a rather pointless and incongruous cover version, even if it is an affectionate nod to Motown etc. Those with uncharitable inclinations may insinuate that its presence on this LP is indicative of a general dearth of quality original tunes. Despite these reservations, this rendition does have some conviction about it, and the Stones always sound reasonably comfortable when performing songs in this genre.

The title track, to some observers inextricably linked with its accompanying promotional video, is playful, frivolous even, but hugely infectious. Again, it displays a bite and vitality and lacks the aimlessness of some of the Stones' "rockers" of this particular vintage.

I suppose that "Till The Next Goodbye" qualifies as a "ballad", of the type which the band appeared capable of churning out almost at will. A middling melody is flattered or redeemed by acoustic guitars, harmonies and some above-average lyrics. The song gains in power and effect as it progresses.

The next number, "Time Waits For No One" carries distinctly Seventies traits, with its guitar treatments and flourishes, and a mildly unsettling eeriness. This track lingers a little too long, and becomes almost wearisome.   Musically it strongly reminds me of Stephen Stills' Manassas.

"Luxury" lends further weight to suspicions that the weaker songs were concentrated in the middle of the running order, although in mitigation it does contain glimpses of Mick Taylor's prowess and finesse, and some pleasing vocal harmonies.

"Dance Little Sister" is another prosaic if meaty rocker, largely devoid of inspiration.  The words formulaic and pedestrian also come to mind!

The quality begins to climb again when we reach "If You Really Want to Be My Friend".  An appealing and deceptively rich melody is augmented by some deft instrumental touches.  This one holds the attention well, and Mick Jagger's vocal is delivered with some pugnacity and intent.

The penultimate item, "Short and Curlies", betrays shades of Exile on Main Street, with Jagger and Keith Richards doing their joint vocal thing to considerable effect, and some diverting chord changes. Impossible to dislike....

Matters are concluded with "Fingerprint File", which is very much a rhythmic "feel" track, shining a torch on some of the excursions to be pursued by the Stones later on.  A bit of improvisation here too. The tune is just about substantial and coherent enough to prevent this descending into a meandering jam.

On reflection, it is fair to say that It's Only Rock 'n' Roll contains as much, if not more filler, than Goats Head Soup, but the better material carries genuine enthusiasm, spirit and drive, which lift it.  Even if it is artistically patchy and uneven, it is more "in your face", and feels like an "event", primarily because of the decadent sheen of the Stones circa 1973/74.  A fascinating and intriguing document and souvenir of an era....

Goats Head Soup - The Rolling Stones - album review

A little while ago I wrote an article about what, by common consent, was the most fruitful and inventive period in the illustrious career of The Rolling Stones, namely 1968 to 1972:-

The Rolling Stones 1968-1972


The first thing to acknowledge is that the Stones faced a quandary in the aftermath of Exile On Main Street.   Should they try to match or emulate their magnum opus, consciously move in a different direction, or just see where things naturally took them?  On balance, they appear to have followed the latter option, perhaps sensing that the first would invite disaster, and that the second would impose a straitjacket.

The first album which the band released after "Exile" was Goats Head Soup, which unsurprisingly betrays most signs of the comedown from the fertile and productive days of 68-72.  Just as it is often proclaimed that the classic 1972 double album is largely a "Keith album", then at first glance its follow-up shows up more of Mick Jagger's fingerprints, stylistically as well as lyrically.

A certain "fog" and pall hangs over this record, symptomatic of fatigue and jadedness, the effect being similar to a hangover  (which, in career terms, this album essentially was).  The emphasis of the lyrics has changed from the vibrant mixture of "Exile" to an overall, almost sinister, gloominess. The tone is set with the opening number, "Dancing With Mr D".  Electric piano and wah-wah guitar abound, making this LP distinctly "of its time", an accusation that can not be as easily levelled at "Exile".

It has often been asserted that Exile On Main Street represented the culmination of everything which the Stones had been striving towards for the previous decade. After scaling the metaphorical peak, the 1973 follow-up sees them wearily, if happily, descending, seemingly not taking too much trouble over the precise route down, or the style in which it was accomplished.

After the menace of the aforementioned "Dancing with Mr D", we move on to the languid "100 Years Ago". It is driven by electric piano, and contains just a trace of the magic of earlier albums, possessing a melodic shape and sense of purpose, but at the same time, it is also very typical of what was to characterise the mid-70s output.  In these respects it feels like a hinge between eras.  Similar sentiments could be applied to the song which follows, "Coming Down Again".

"Doo Doo Doo Doo Doo (Heartbreaker)" is possibly the strongest and most memorable track on the album, having genuine drive and abundant drama. The lyrics complement the music, and greatly contribute to the overall effect.  This is one of the songs on Goats Head Soup on which the band sounds truly interested, focused and motivated.  It has also proved very effective in the concert environment.

I imagine that "Angie" has the knack of dividing opinion among Stones fans, but looking at things objectively it is a fine and strong pop/rock composition, featuring a confident and authoritative Jagger vocal.  The song also serves to anchor an album which can feel rather lacking in direction and purpose.

"Silver Train" borders on "Stones by numbers", and is the rootiest number on the record, largely by dint of the slide guitar flourishes. Although a touch bland, and "meat and potatoes", it does inject some welcome relief in the context of what surrounds it. The next item, "Hide Your Love", is another track which although in itself unremarkable, does hark back vaguely to the glories of 1968-72.

Another ballad-like track follows in the shape of "Winter".  Largely unexceptional, it seeks to project itself as an epic, but ends up doing very little and going almost nowhere.  The run of superior mediocrity continues with "Can You Hear The Music" which, although equipped with a reasonably promising melodic base, is let down by a failure to accentuate and exploit its strengths.  A missed opportunity, methinks....

When people refer to the Stones descending into self-parody, "Star Star" could be presented as Exhibit A. It is difficult to ascertain what is and what is not intentionally tongue-in-cheek, and this song comes dangerously close to being the fly in the ointment. In a strange way, it is an apt way to close this album and presage the Stones' future career.

Having gone through Goats Head Soup track by track,  my conclusion is that it contains some decent songs, and flashes of excellent musicianship, but the overall effect is diminished by the sense of inertia, and a shortage of energy and inspiration. It is by no means a bad album, and it has a kind of semi-kitsch period charm of its own, exemplifying the sluggish hedonism which coloured much of the Stones' work for some time afterwards.

Jackson Browne/Saturate Before Using - Jackson Browne - album review

Some artists' debut albums are tentative, uncertain or patchy efforts, betraying only partially developed talents, albeit with strong hints of promise for the future.  Others display a genuine self-confidence, intelligence and sense of purpose.  One album which on balance belongs in the latter category is Jackson Browne's self-titled 1972 debut effort, unofficially dubbed "Saturate Before Using" on account of its sleeve design.

For me, there are a few reasons why this record is so cohesive, unified and impressive.  Although this was his first album as such, Browne had undergone a solid and varied grounding on the music scene, when one considers his relatively tender years.  His songs had already received plaudits, and even been covered, by some luminaries, and he had forged links and friendships with several of these figures.

In some ways, the topics explored in the songs on this album are as diverse as almost any subsequent Browne record.  The LP tends to be labelled in some quarters as exemplifying post-hippie angst, but I find this label to be overly simplistic.

Although lyrically "Saturate Before Using" is more varied than it is often given credit for, sonically and atmosphere-wise some common threads run through much of it. The words "haunting" and "mellow" may spring to mind for many, but in all honesty neither really suffices in describing the feeling I get when I listen to these songs.  They conjure up a kind of eeriness, like staring over a barren landscape as the sun sets and the temperature drops...

For all the enigmatic nature of much of the album, it also contains some of Browne's best-known numbers, including "Jamaica Say You Will", "Doctor My Eyes" and "Rock Me On The Water", all of which have been covered by other artists.  "Jamaica Say You Will" in particular is an absolute gem, a song of utter simplicity and charm, but combining this with real emotional pull.

Jackson Browne's singing still has an innocent and even tentative quality about it on this record, and it is true that his vocal confidence and phrasing improved as the 1970s progressed.  However, here the restrained delivery is in keeping with the tone of the compositions, the arrangements and the overall mood.

Jackson's qualities as a "storyteller" are very much in evidence here too, on tracks such as "Something Fine", "From Silver Lake" and "Looking Into You".  Other compositions do peer into darker corners of the human condition, giving us a real taste of the evocative and intelligent lyrics which were to become a hallmark of his career.

The instrumental backing is, for the most part, markedly less ostentatious than on the artist's other works, and it is worth noting that David Lindley had not yet entered the picture at this point.  The textures offered by   his contributions only began to take effect on 1973's For Everyman.  For all this, there is still some very pleasing piano and acoustic guitar work throughout.

On this album, Jackson Browne did not just announce himself as a promising talent for the future; he was unveiled as an important and eloquent voice in rock music.  In some respects it can be justifiably described as very much "of its time", but it still holds up very credibly today.

Abbey Road - The Beatles - album review

By the time that recording sessions commenced for the Abbey Road album in 1969, the writing was on the wall as far as any future for the Beatles as a continuing entity was concerned.  It is therefore common for the work released later that year to be lauded as a fitting and poignant parting shot (Let It Be was released later, but most of it was recorded in the early months of 1969).  So, from the perspective of over four decades later, were the plaudits truly warranted, or just a case of respectful wishful thinking?

A "bittersweet" but defiant quality runs through Abbey Road, although whether this has been accrued with the passing of time is open to debate.  I am in no real position to adjudicate, as the album was released shortly before I was born!

Certain aspects make this LP stand out from other albums released by the Fab Four.  The production and sound quality are markedly more lavish and "polished" than their other works.  They were now gaining access to more advanced recording technology.  Whether this makes the album sound "better" is a matter of taste, and the sheen possessed by these recordings could give rise to an accusation that the sound is a touch clinical. In fairness to the Beatles, they did not hide behind their newly acquired gizmos and equipment, and instead relied primarily on their trademark melodic inventiveness and imagination and songwriting prowess.

The album also witnessed the true flowering of George Harrison as a songwriter, and his two songs, "Something" and "Here Comes The Sun", have been the most enduring of the tracks on the listing. The clarity and sincerity of Harrison's writing here contrasts with the contributions of both Lennon and McCartney which, whilst substantial and important to the album's overall appeal, are beginning to diverge and possibly presage their respective solo careers to come.

Notwithstanding the reverence expressed for Abbey Road, there is some undoubted filler, although this being the Beatles it is interesting and entertaining filler!  It is a moot point whether the group members were holding some stronger material back for impending solo projects.  We know from the Anthology 3 album that some impressive songs were floating around circa 1969.

Even much of the fabled "medley" on side 2 of the vinyl album could justly described as "filler", but the group, and in particular McCartney and George Martin, expertly pull together this mixture of minor gems, vignettes and fragments, and fuse it into something vibrant, moving and enthralling.  A case of the whole being greater than the sum of the individual parts...

Partly because of the efficacy of the "medley", and also because of the diversity and quality of the other material, Abbey Road works better as an "album" in the truest sense than most of the Beatles' other work. Not quite as enigmatic and disparate as "The White Album", but much warmer and compact.  The musical ingenuity conquers all, together with the group's uncanny knack of knowing what to do, when and how, rarely if ever sounding self-indulgent or pretentious.

Abbey Road represents a brave, unapologetic and proud farewell, if it can be accurately described as a "farewell".  Bittersweet in tone, but captivating and, and one of those albums which demands to be listened to      from start to finish, in order for the full effect to be absorbed.  For this listener at least, there is never the temptation to skip tracks...

Throughout the record, there are hints and indications of what direction the Beatles would have travelled in musically, had they remained together during the 1970s.  Multi-tracked vocals and guitars, increasing use of synthesizers, more elaborate and ambitious arrangements, and of course the blossoming input of George Harrison.

On a sonic level, Ringo Starr's drumming is a revelation, sounding confident, idiosyncratic and "three dimensional".  Another hallmark of the album is the "trebly" and chiming guitar sound.  Both of these elements were doubtless accentuated by the better recording technology at the band's disposal, but as common threads they help to hold the record together.

I try not to categorise or rank Beatles albums in particular, because of the leap in musical sophistication and philosophical outlook which they made in such a short time during the 1960s, but Abbey Road is without doubt one of their most enjoyable and cohesive creations.

A Day At The Races - Queen - album review

I find that train journeys are often a good time for reflection and re-evaluation.  The feelings of solitude and tranquility and the different surroundings all contribute to this. On one such recent journey I found myself listening to Queens' 1976 album A Day At The Races.  

The record is oft maligned as an exercise in water-treading, or at least a pale re-hash of the ground covered by A Night At The Opera. However, my view is that it has many and varied virtues.  So, I thought that I would indulge in a little revisionism!

The first observation I would make is that A Day At The Races is the most quintessentially "Queenesque" of all their albums, containing in distilled and condensed form all of the elements which informed their 1970s output in particular.     Compact, lithe, comprising ten songs of roughly equal length, discarding the vignettes, oddities and curiosities seen on earlier records.  Straight-ahead, well-crafted melodic rock music.

Another trait of A Night At The Opera absent from its "sequel" is the excessive perfectionism and "patchwork production".  This was the first album which the group in essence produced themselves.  In places the mix is somewhat "muddy", with Freddie Mercury's voice almost buried, and not captured with too much clarity.

The genre excursions on this album are more fully rounded and realised than on previous works, and not just perfunctory nods.

Belying its reputation with some people, there are some genuinely memorable songs on A Day At The Races, which have withstood the test of time. The sequencing of the tracks was well executed, instilling a sense of balance and contrast. A clever touch was to book-end the album with an affecting "staircase" motif, adding to the feeling of cohesion and continuity.

After the meteoric success enjoyed by A Night At The Opera, many might have felt that Queen were under pressure to improve on it, or subject to the temptation to change direction radically.  However, what they seem to have done is just gone ahead and recorded an album to the best of their ability.  So this can be regarded as a pause for breath, or consolidation, but entertaining and skillful consolidation all the same.  Some of the self-consciousness and excess of the previous LP disappeared as part of this process.

In the songwriting stakes, Mercury and Brian May were still dominant, with the breakthrough of Roger Taylor and John Deacon still just around the corner. It is arguable that a greater "democratization" of the songwriting duties diluted some of Queen's later records.

The album opens with "Tie Your Mother Down", one of the band's most enduring rockers. When performed live, the song could be frantic and breathless, but the studio rendition has a certain grandeur about it. When Brian May addresses such subject matter, there is an endearing coyness about his approach.  This, however, is a good, energetic beginning, if not truly representative of the record as a whole.

"You Take My Breath Away" is one of the most chillingly ethereal and beautiful of all Freddie Mercury's creations.  It is tempting to view this as a "sequel" to "Love of My Life".  To my ears, many of these piano ballads have aged better than most of Queen's output.

A typically introspective, enigmatic and reflective May song, "Long Away" is sonically at variance, because of the different guitar sounds employed.  The melody is, in truth, quite bland, but there are other things which hold the interest.  Possibly the weakest track on the album, though.

It is the likes of "Millionaire Waltz" which tend to give fuel to Queen's detractors, who accuse them of being too pompous and overblown.  This intricate and ambitious song has a distinct Gilbert and Sullivan flavour, and it is more convincing and likeable than some other similar excursions. In saying that, it will hardly have endeared Queen to 1976's nascent punk scene!

"You and I" is a typically straightforward melodic John Deacon love song, although here imbued with the traditional Queen trademarks of multitracked vocals and guitars.  There is something intangibly attractive about this song, which may be traceable to its deceptive melody and warm production.

The big single from the album was "Somebody To Love".  This original studio recording does lack a certain guile and suppleness in comparison to the later spectacular live versions, which afforded much scope for improvisation and ad-libbing. The production is a touch leaden, perhaps weighed down by the "gospel choir", and Freddie's voice is a little submerged.  There are many highlights and hooks to be relished, however.

A protest song of sorts, "White Man" follows. I have never been able to fully reconcile in my mind whether this track is clumsy or subtle.  It was rare in those days for Queen to engage in socio-political commentary; this not becoming a more regular feature of their music until the 1980s. Brian May always seemed to have it in him, as has been displayed in recent times, but back then he was more reticent.  Light and shade are used to good effect here, and the lyrics are quite strident at times.

Another pleasing if ultimately lightweight effort, "Good Old Fashioned Loverboy" works well in the context of leavening things. An inventive and punchy arrangement lifts it above the mediocre.

An intriguing song, Roger Taylor's "Drowse" seems to allude to the composer's upbringing, and his attempts to rebel and transcend his sleepy and conservative environs.  The arrangement, dominated by Brian May's slide guitar, perfectly befits the soporific backdrop to the story. Taylor's vocal is delivered in a more deadpan style than most of his other performances.

The closer, "Teo Torriatte", seems to have been conceived as some form of tribute to Japan and its people, after Queen developed a real affinity with the country on their early tours there. Quite a mood piece, featuring some pleasing vocals from Freddie in the verses and haunting keyboard work by May.

So to conclude A Day At The Races is a solid effort, with some strong songs, and common strands holding things together, so that there is a real sense of having listened to an album.  Listen, and enjoy!

A Night At the Opera - Queen - album review

When people discuss the greatest album of Queen's distinguished recording career, A Night At The Opera more often than not is at the top of the list.  Whilst I agree that it is a fine piece work, I would also venture to suggest that it is not without its flaws, however minor.  As time has moved on, the more certain characteristics of the album have occurred to me. 

The album was recorded at a time when Queen had just achieved their first major international success, via the single "Killer Queen", and the album Sheer Heart Attack.  They entered the recording studio in the summer of 1975 flushed with this success, and perhaps conscious that they were under pressure to improve upon their efforts from the previous year......

Some of the avenues consciously, or subsconsciously, pursued by the band in order to achieve "perfection" end up creating the facets of the album which most grate, if only slightly, to the ears in 2012. The overdubs, whilst nominally adding depth and gravitas to some of the tracks, also lend it a  kind of "patchwork" effect in places, a trend perhaps exacerbated by the use of various different studios to record the album? This all makes A Night At The Opera sound very mildly contrived, calculated and ponderous, at variance with the freshness and spontaneity of Sheer Heart Attack. A case of trying too hard? These issues do not ruin the album, but it could have been even greater if they hadn't been present....

So, those are some of the criticisms of A Night At The Opera. What about the album's many undoubted strengths?  Well, one of the things which makes it distinctive is the trouble clearly taken to experiment with "unusual" instruments and techniques in order to achieve the desired soundscape or feel. Koto, ukelele, double bass, harp and electric piano are all employed at various points. Whilst this makes "Opera" seem more disparate and fragmented than some other Queen records, it does signify a laudable willingness to push boundaries and defy convention.

Some of the songs on A Night At The Opera have aged better than others.  To me, "Love of My Life", more and more sounds like the highlight of the entire album, "Bohemian Rhapsody" aside. Simple, heartfelt, sincere and free of artifice.  One of Freddie Mercury's finest songs, one of his most exquisite vocal performances, and containing some glorious piano playing from the great man.

"Death On Two Legs" was an inspired choice to begin the running order. One of Queen's most incisive and powerful tracks, with lyrics possessed of some vitriol.  The middle of the album is bookmarked by "The Prophet's Song", a ambitious track which finds favour with Queen fans, but which I suspect divides opinion amongst "neutrals".  Much multi-tracking of guitars and vocals here, with the recording technology of the day doubtless being stretched to its outer limits.  Pushing the envelope, I think it's referred to as these days...

The genre exercises on the album meet with variable success.  Looking dispassionately these days, "Lazing on A Sunday Afternoon" and "Seaside Rendezvous" sound a bit too similar, leading to a charge of "filler", even if both do exude a kind of lightweight, frothy charm.  "Good Company", on the other hand, still feels like a gem, a genuine showcase for the many talents of Brian May, and displaying bounteous ingenuity.

The "rockier" numbers, "I'm In Love With My Car" and "Sweet Lady" might seem incongruous in this company, but they have stood the test of time, the former in particular, with its numerous hooks, guitar histrionics and lyrics which are quintessentially Roger Taylor!  The power chords on "Sweet Lady" still have the power to move and satisfy.

In the past, "39" was possibly under-estimated by all and sundry.  However, it now emerges as one of the album's strongest suits, another one of Brian May's esoteric and thoughtful compositions.  For this particular writer, much of the residual appeal of the song rests in its Hermann Hesse-inspired lyrics.  I think that "Siddhartha" may be the novel in question.

"You're My Best Friend" remains one of the Queen songs most often played on the radio, and although a great pop song, it feels mildly out of place on this album, but does inject some valuable levity and spontaneity.

You may have noticed that this review contains relatively little mention of the epic "Bohemian Rhapsody".  Well, I do like to be different, and in any event everything which there is to be said about the song has already been committed to paper (or screen)!

Having commenced with some misgivings, I think that they have been more than balanced out by praise and extolling of virtues. 

For the record, I still prefer Sheer Heart Attack, just!

Highway 61 Revisited - Bob Dylan - album review

There are many debates, and much conjecture, about when the modern "rock" era truly began, but there is an argument for citing Bob Dylan's 1965 album Highway 61 Revisited as one of the key staging posts.

It is often taken for granted, or taken as a given, that Highway 61 Revisited is Dylan's greatest achievement, and in historical and critical terms it probably is. It contains some of his most famous songs, and has an ambition and grandeur absent from much of his other work.

Personally, I have always found Bringing It All Back Home, released earlier in 1965, to be a more organic, rounded and likeable record, and in some respects it can be argued that it was more ground-breaking and important than the album which succeeded it.

For all its many strengths and virtues, I have somehow never fully warmed to Highway 61 Revisited. I respect and appreciate its sweep and its audacity, but I don't always find it a comfortable listen.  It feels a little over-earnest in places, and I sense that it exudes a certain smugness.  Admittedly, when the songs are this dramatic and startling, such smugness can be excused!

Dramatic and startling the songs may be, but to me they lack the fluidity and verve of those on Bringing It All Back Home.  It is possible that Dylan was aiming for something different on "Highway 61".  The tracks don't feel as tied together seamlessly, and I would describe this more as a collection of disparate, if mighty, songs than a integrated, cohesive album.

This album may not have some of the homely charm of those which preceded and followed it, but there is no disputing its overall majesty, and it does definitely possess that "wow" factor.

The opening track, "Like A Rolling Stone", is one of the landmarks of 60s rock, although it is probably no more famous than one or two of his folk "protest" songs of earlier years.  It is still astonishing to think that this song almost reached the top of the Billboard singles charts.  Driven by rhythm guitar (possibly played by Dylan himself?) and the organ of Al Kooper, it develops an irresistible momentum, as the wordplay and vocal delivery become more emphatic and daring. Each new verse adds a new dimension, and additional interest.

Just recently I heard "Tombstone Blues" described as "punk music", and I can see why.  Frantic and almost minimalist, with lyrics seemingly speaking of general disaffection and despair. After the exhilarating opening, the level drops with two less inspired tracks, "It Takes A Lot To Laugh, It Takes A Train To Cry", and "From a Buick 6".

"Ballad Of A Thin Man" is something else entirely. One of the most dramatic and intense songs on the album, different in tempo and atmosphere to the others.  Was this a message to Brian Jones of the Rolling Stones?

"Queen Jane Approximately" is an appealing if ultimately minor song, with a pleasing melody, and it is followed by the title track. These two numbers prepare the ground for a momentous conclusion to the work.

Containing some of the most entertaining lyrics on the album, "Just Like Tom Thumb's Blues" has a distinctive backing track, and a real impishness about it, which is difficult to dislike.  I have some theories about some of the words, which need not detain us here!

On to the closing number, "Desolation Row".  It can seem lyrically almost like stereotypical Dylan, with the invoking of historical characters and so forth.  However, if one really listens to it, its power really emerges.  Some might argue that it actually says little which is different from several of Bob's other compostions, but its concentrated intensity wins out. The intricate guitar backing also sets it apart.

In the end, the various minor misgivings about Highway 61 Revisited do not detract from its quality and its importance.  A superb album.