It is with great sadness that I heard this morning of the death, aged 67, of the actor Lewis Collins, best known for his role as Bodie in "The Professionals".
In large part because of his image as the quintessential tough-guy or action-man, the contribution which Lewis Collins' acting talents made to the success and appeal of "The Professionals" has been underestimated. His performances often revealed a capacity for comedy, and also for more gentle and cerebral moments. The characters of both Bodie and Doyle were more complex and rounded than the typical TV cops or secret agents, but only the latter has been accorded the great acclaim of the critics, being perceived as a sensitive, culturally-aware type. However, if one closely watches the episodes, it can be seen that the dialogue involving Bodie was often challenging and above-average in its profundity. The exchanges both with Doyle, and with the irascible George Cowley (played by Gordon Jackson) often brought out the idiosyncrasies in the Bodie psyche. Above all, Lewis Collins managed to make his character seem both human and vulnerable, as well as heroic and resourceful.
As many people have correctly observed, he would have made a superb James Bond....
Many people of my generation will be touched by today's news....
Thursday, 28 November 2013
Wednesday, 27 November 2013
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....
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....
Tuesday, 26 November 2013
The Crimean War
It is a curious thing that people in Britain know comparatively little about famous, or infamous, episodes in our history. The Crimean War is a case in point. Most of us are familiar with the stories about Florence Nightingale or the Charge of the Light Brigade, but ask the man in the street to give even a basic explanation of the geo-political background, or the strategic "reasoning" behind the conflict, and one is likely to be confronted with a blank expression.
Throughout my own childhood, the war was a constant subject of media references, and even of conversation amongst elderly relatives, seeming to conjure up a certain mystique and mythology. In order to remedy some of the gaps in my own knowledge and understanding, I recently did some reading, part of this process being Alexis Troubetzkoy's book on the subject (part of the "A Brief History Of.." series....)
In the book, the scene is set against the backdrop of the Tsar's visit to England in 1844, which proceeded most amicably, although the seeds of later conflict were buried beneath the surface of the diplomatic exchanges which took place.
Reading about this period provides an important, and disconcerting, reminder of how deferential and reactionary a place Britain still was in the mid 19th century, and how many callous attitudes still prevailed. Different times, yes, but no more edifying for all that.
The time between the end of the Napoleonic Wars and the Crimean War often appears to me like a "twilight zone" in British history. It must have seemed to many like a period of tranquility and peace, but instability remained, and new grievances and designs were being nurtured. The sources of potential were many and diffuse.
Troubetzkoy's book to me underlined the importance of Europe's years of revolution and upheaval (1830, 1848), and equally how incomplete and unevenly distributed the genuine change was. Some of the structures and movements which supplanted and succeeded the "ancien regime" were, looking back, hardly beacons of enlightenment. In some cases it was considered that the only way to consolidate power and prestige was to be strident and belligerent, and to curry favour with regressive elements.
Upon closer inspection, it becomes clear that the reasons for the outbreak of war, and the way in which it was ultimately conducted, are more complex than is popularly considered to be the case. The role of religious privileges in Turkey, for example, although the extent to which this was employed as a smokescreen for the exercising of imperial pride and grandeur, and commercial interests, is open to debate.
The central role of Napoleon III is also clear, possibly determined by his need to assert and consolidate his domestic position. It seems like Britain was forced into a diplomatic corner by France and Russia, forced to choose between alliances and wars. They may have sought to contain the Turkish difficulties, but the alternative would have been a Europe-wide conflagration.
As with so many major events around this time, one appreciates the leverage and power of independent and ambitious diplomats, with their own agendas, awkward to control in the era of rudimentary and primitive communications. Colourful characters they may have been, but their influence was often malign.
Many aspects of this war remain obscure to the general reader, such as the fact that Britain was gradually relegated to a junior role in the "coalition" as the fighting progressed, and the level of distrust between the military commanders, and between the military men and the politicians. The campaign seems to have been largely improvised, and been characterized by compromise, muddle, vacillation and misunderstanding. The Allies "won", but this could have been achieved at much less cost for all concerned. The war did lead to some calls for reform in various areas, but this was to be a long and slow process.
Learning about history is often cited as a means of ensuring that we humans learn from our past mistakes. I would also offer the thought that it can help us to appreciate that, for all our gripes and misgivings, the world has progressed in at least some respects.....
Throughout my own childhood, the war was a constant subject of media references, and even of conversation amongst elderly relatives, seeming to conjure up a certain mystique and mythology. In order to remedy some of the gaps in my own knowledge and understanding, I recently did some reading, part of this process being Alexis Troubetzkoy's book on the subject (part of the "A Brief History Of.." series....)
In the book, the scene is set against the backdrop of the Tsar's visit to England in 1844, which proceeded most amicably, although the seeds of later conflict were buried beneath the surface of the diplomatic exchanges which took place.
Reading about this period provides an important, and disconcerting, reminder of how deferential and reactionary a place Britain still was in the mid 19th century, and how many callous attitudes still prevailed. Different times, yes, but no more edifying for all that.
The time between the end of the Napoleonic Wars and the Crimean War often appears to me like a "twilight zone" in British history. It must have seemed to many like a period of tranquility and peace, but instability remained, and new grievances and designs were being nurtured. The sources of potential were many and diffuse.
Troubetzkoy's book to me underlined the importance of Europe's years of revolution and upheaval (1830, 1848), and equally how incomplete and unevenly distributed the genuine change was. Some of the structures and movements which supplanted and succeeded the "ancien regime" were, looking back, hardly beacons of enlightenment. In some cases it was considered that the only way to consolidate power and prestige was to be strident and belligerent, and to curry favour with regressive elements.
Upon closer inspection, it becomes clear that the reasons for the outbreak of war, and the way in which it was ultimately conducted, are more complex than is popularly considered to be the case. The role of religious privileges in Turkey, for example, although the extent to which this was employed as a smokescreen for the exercising of imperial pride and grandeur, and commercial interests, is open to debate.
The central role of Napoleon III is also clear, possibly determined by his need to assert and consolidate his domestic position. It seems like Britain was forced into a diplomatic corner by France and Russia, forced to choose between alliances and wars. They may have sought to contain the Turkish difficulties, but the alternative would have been a Europe-wide conflagration.
As with so many major events around this time, one appreciates the leverage and power of independent and ambitious diplomats, with their own agendas, awkward to control in the era of rudimentary and primitive communications. Colourful characters they may have been, but their influence was often malign.
Many aspects of this war remain obscure to the general reader, such as the fact that Britain was gradually relegated to a junior role in the "coalition" as the fighting progressed, and the level of distrust between the military commanders, and between the military men and the politicians. The campaign seems to have been largely improvised, and been characterized by compromise, muddle, vacillation and misunderstanding. The Allies "won", but this could have been achieved at much less cost for all concerned. The war did lead to some calls for reform in various areas, but this was to be a long and slow process.
Learning about history is often cited as a means of ensuring that we humans learn from our past mistakes. I would also offer the thought that it can help us to appreciate that, for all our gripes and misgivings, the world has progressed in at least some respects.....
Monday, 25 November 2013
The 2013 Formula 1 Season
So, another season of Grand Prix racing comes to an end, with Interlagos witnessing another victory for the imperious Sebastian Vettel. It is worth reflecting on the year just passed, and looking forward to what 2014 may have in store.
After the (freakishly) competitive and close-fought 2012 season, expectations were high for another riveting campaign. Although victories were shared about amongst some of the leading contenders in the opening half of the year, there were ominous signs of the underlying strength of Red Bull and Vettel. I remember thinking around the time of Canada that the die was already cast, but few were expecting the Vettel steamroller to render the remaining races so disheartening and one-sided.
As a few people have remarked, F1 was "due" a less than sparkling year. The dividing line between what spawned this year's fare and that of the 2012 season was comparatively thin, and we were lucky to get 2012 as it was. I am far from despondent. Some of the issues which contributed to how 2013 unfolded will not necessarily be there next year;they will doubtless be replaced by new variables and imponderables. To me, Vettel's dominance did not somehow "feel" so overpowering or overwhelming as, for example, Williams in 1992 or McLaren in 1988. The slender margins were focused in areas where Red Bull personnel excel, and their weaknesses are not ones which are greatly magnified by the current F1 format and circuits.
The sense of ennui and disgruntlement engendered in many quarters by Vettel's domination should not be allowed to obscure the other sub-texts and feats which characterized the season. The gallant and relentless efforts of Fernando Alonso are so taken for granted these days that there is a danger that they become under-valued. He coped with the adversity, and came out it still exuding some buoyancy. Although the performance of the 2014 Ferrari out of the box gave grounds for cautious optimism, there were a few races where things dipped alarmingly. How many other drivers could have finished runner-up in the championship under those circumstances?
The presence of Mercedes at or near the front of the field has acquired a greater sense of permanence, and although second place in the Constructors' standings is a fine accomplishment, in a strange away it only serves to underline what still needs to be done. More changes may be in the pipeline, but fine-tuning rather than radical measures may be all that is required, provided that they don't make a mess of embracing the new regulations. By and large, Lewis Hamilton appears to be adjusting to his new surroundings, and a tolerably harmonious partnership with Nico Rosberg has been established.
Some may advance the view that Lotus simply trod water, failing to make that further step, but others may interpret this as consolidation. There is clearly change ahead, and the loss of Kimi Raikkonen to Ferrari deprives the team of its catalyst and spearhead, but the rehabilitation of Romain Grosjean was one of the good news stories of the Formula 1 year.
For McLaren it was a year to forget on the track, but sweetened by the tantalizing prospect of a renewed partnership with Honda in 2015. Even Jenson Button's renowned good humour and forbearance were severely tested at times, and for Sergio Perez, though an opportunity he could not turn down, it was a hugely challenging season, culminating in his departure. The young Mexican, who occasionally showed glimpses of his raw talent, has much to offer, and it is good to hear that he is likely to remain in Grand Prix racing. There is inevitable speculation that 2014 will be an interim year for McLaren, with the impending change in engine suppliers, but you never know, they might just produce an effective chassis this time around!
So, we move on to the new turbo era. The most radical change in engine regulations since the move to 3.5 litre normally-aspirated units in 1989?. There are a few ways of regarding this new dawn. There is a school of thought which maintains that all major regulation changes unduly favour the larger, well-financed teams, whose resources give them the capacity to concentrate on the current season's contest, whilst at the same time laying substantial groundwork for the new requirements. Also, the perceived tightness of the modern rules does not perhaps allow such fluctuations and dislocations as occurred, for example, in the early 1980s, when turbo units were becoming more commonplace. On the other hand, the "envelope of uncertainty" surely makes it more than likely that one team or engine manufacturer could hit a sweet spot, and prosper in this new age, while others may struggle to adapt initially. Added to the continued vagaries of the tyre situation, this is surely a recipe for potentially greater volatility fluidity?
Whatever reservations or cynicism one may have, however jaded we may have become by the predictability of the recent Grands Prix, once the New Year is upon us, and the car launches and testing commence, the spark and buzz will ignite anew, and we will relish the prospect of a new season.
A couple of other random thoughts. It is great that Felipe Massa is to remain in the sport. The move to Williams could herald a new lease of life for the likeable Brazilian. Their driver line-up looks to be a perfect blend of experience and youthful vigour. My other abiding hope is that Nico Hulkenberg also finds a race seat for next year. If he does not, then there is genuine reason for us to be disgruntled. Encouragingly, we are hearing rumours of a Hulkenberg/Perez pairing at Force India. That should be worth watching....
Roll on 2014!
After the (freakishly) competitive and close-fought 2012 season, expectations were high for another riveting campaign. Although victories were shared about amongst some of the leading contenders in the opening half of the year, there were ominous signs of the underlying strength of Red Bull and Vettel. I remember thinking around the time of Canada that the die was already cast, but few were expecting the Vettel steamroller to render the remaining races so disheartening and one-sided.
As a few people have remarked, F1 was "due" a less than sparkling year. The dividing line between what spawned this year's fare and that of the 2012 season was comparatively thin, and we were lucky to get 2012 as it was. I am far from despondent. Some of the issues which contributed to how 2013 unfolded will not necessarily be there next year;they will doubtless be replaced by new variables and imponderables. To me, Vettel's dominance did not somehow "feel" so overpowering or overwhelming as, for example, Williams in 1992 or McLaren in 1988. The slender margins were focused in areas where Red Bull personnel excel, and their weaknesses are not ones which are greatly magnified by the current F1 format and circuits.
The sense of ennui and disgruntlement engendered in many quarters by Vettel's domination should not be allowed to obscure the other sub-texts and feats which characterized the season. The gallant and relentless efforts of Fernando Alonso are so taken for granted these days that there is a danger that they become under-valued. He coped with the adversity, and came out it still exuding some buoyancy. Although the performance of the 2014 Ferrari out of the box gave grounds for cautious optimism, there were a few races where things dipped alarmingly. How many other drivers could have finished runner-up in the championship under those circumstances?
The presence of Mercedes at or near the front of the field has acquired a greater sense of permanence, and although second place in the Constructors' standings is a fine accomplishment, in a strange away it only serves to underline what still needs to be done. More changes may be in the pipeline, but fine-tuning rather than radical measures may be all that is required, provided that they don't make a mess of embracing the new regulations. By and large, Lewis Hamilton appears to be adjusting to his new surroundings, and a tolerably harmonious partnership with Nico Rosberg has been established.
Some may advance the view that Lotus simply trod water, failing to make that further step, but others may interpret this as consolidation. There is clearly change ahead, and the loss of Kimi Raikkonen to Ferrari deprives the team of its catalyst and spearhead, but the rehabilitation of Romain Grosjean was one of the good news stories of the Formula 1 year.
For McLaren it was a year to forget on the track, but sweetened by the tantalizing prospect of a renewed partnership with Honda in 2015. Even Jenson Button's renowned good humour and forbearance were severely tested at times, and for Sergio Perez, though an opportunity he could not turn down, it was a hugely challenging season, culminating in his departure. The young Mexican, who occasionally showed glimpses of his raw talent, has much to offer, and it is good to hear that he is likely to remain in Grand Prix racing. There is inevitable speculation that 2014 will be an interim year for McLaren, with the impending change in engine suppliers, but you never know, they might just produce an effective chassis this time around!
So, we move on to the new turbo era. The most radical change in engine regulations since the move to 3.5 litre normally-aspirated units in 1989?. There are a few ways of regarding this new dawn. There is a school of thought which maintains that all major regulation changes unduly favour the larger, well-financed teams, whose resources give them the capacity to concentrate on the current season's contest, whilst at the same time laying substantial groundwork for the new requirements. Also, the perceived tightness of the modern rules does not perhaps allow such fluctuations and dislocations as occurred, for example, in the early 1980s, when turbo units were becoming more commonplace. On the other hand, the "envelope of uncertainty" surely makes it more than likely that one team or engine manufacturer could hit a sweet spot, and prosper in this new age, while others may struggle to adapt initially. Added to the continued vagaries of the tyre situation, this is surely a recipe for potentially greater volatility fluidity?
Whatever reservations or cynicism one may have, however jaded we may have become by the predictability of the recent Grands Prix, once the New Year is upon us, and the car launches and testing commence, the spark and buzz will ignite anew, and we will relish the prospect of a new season.
A couple of other random thoughts. It is great that Felipe Massa is to remain in the sport. The move to Williams could herald a new lease of life for the likeable Brazilian. Their driver line-up looks to be a perfect blend of experience and youthful vigour. My other abiding hope is that Nico Hulkenberg also finds a race seat for next year. If he does not, then there is genuine reason for us to be disgruntled. Encouragingly, we are hearing rumours of a Hulkenberg/Perez pairing at Force India. That should be worth watching....
Roll on 2014!
Sunday, 24 November 2013
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.
Saturday, 23 November 2013
Deep Purple
In recent months, I have been listening to some of the music of Deep Purple, primarily that which the group recorded during what is generally acknowledged to be their peak period, 1970-73. It occurred to me that Purple are still somewhat under-estimated in the grand scheme of things, and it is tricky to pinpoint the precise reason for this.
Over the years, the musical “establishment” seems to have crystallized its view of which artists demand inclusion in some kind of pantheon. For various reasons, many of the influential writers have had blind spots about artists who by any objective reasoning deserve greater respect. It strikes me that Deep Purple is one of the groups which suffers unfairly in these deliberations.
I have detected a particularly ambivalent attitude towards Purple here in England, the country where the band was formed. It is often said of my countrymen that we sometimes fail to appreciate the value of what we have on our doorstep, and this could be just another example of this phenomenon. Even the mighty Led Zeppelin have fallen prey to this shortcoming, in my opinion.
There may be a residual stigma resulting from Purple’s perceived role in the development of “heavy metal” (debatable in itself), and also a sense that they epitomized the excesses of Seventies rock.
In addition, they were never consciously or identifiably part of any “scene” or “movement”, emerging from disparate origins and sources, and tended to plough their own furrow in the music world. Also, the fragmented and sometimes acrimonious nature of the band’s history may leave people disorientated.
Although Deep Purple seem to have enjoyed the support of certain journalists who were known to be sympathetic to the practitioners of hard rock and progressive rock, to others they were much less palatable.
Perhaps Purple’s “crime” in the eyes of some pundits was to possess technical proficiency, and to be base their live shows on a display of their improvisational prowess. Or maybe the group’s lyrics were not as “socially conscious” as the self-appointed arbiters of taste would have preferred?
Oddly enough, many of the factors which led to resistance are the ones which I find so endearing. A cursory listen to their blistering live album “Made In Japan” should convince anyone without tin ears of their qualities. It is easy to see why the Mark II incarnation of the band regarded this record as its crowning glory. Dynamism, energy and inventiveness in abundance.
Admittedly, things post-1973 were a trifle patchy. If only the Mark III version of Purple had been able to maintain the standard of the title track of the “Burn” album, in my humble estimation one of the high points of the entire Purple saga…
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
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
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