Archive for the ‘ Pop ’ Category

Buffalo Springfield “Again”

| Classic Rock,Country Rock,Pop,Psych

Again

Buffalo Springfield recorded three albums from 1966-1968 and the first two are essentials. Again is their 2nd and affords some improvement over their near perfect debut. This is the group that launched the careers of Stephen Stills and Neil Young; Buffalo Springfield is a must for fans of Manassas, the Byrds, CS&N, Neil Young. At times, it’s almost as if they were all the same band.

Neil’s “Mr. Soul” is like the Byrds and the Stones with Neil Young on vocals, a great song along with the orchestral “Expecting To Fly.” “Bluebird” sounds like a CS&N preview with its hard riffin’ acoustic guitar lead, solidified by its postscript: an acoustic ‘take two’ on the track, genius. “Hung Upside Down” is a great track that caught the attention of Colin Blunstone (check out his rendition here). “Rock and Roll Woman” is total Manassas preview material and Neil closes it up with the lovely “Broken Arrow,” maybe the nicest track (and certainly most interesting, with its sound collages) on here. There are different directions on Again, but its all still cohesive enough to contain some magic.

What really drives this record for me is the rhythm section. That plucky electric bass and the punchy airless drums, it’s just the sound you want from the rhythm section on any rock record. If all you know of Buffalo Springfield is “For What It’s Worth,” get your shit together and find this record. (Don’t settle for Retrospective.)

“Bluebird”

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Sir Douglas Quintet “Mendocino”

| Country Rock,Pop

Mendocino

You could never judge The Sir Douglas Quintet by their name. It was picked out by a manager that wanted to give the boys an English vibe, pretty common practice in those days considering the influence of The Beatles. Thing is, there’s no name that could ever define the eclectic hodge-podge sound the Sir Douglas Quintet consistently rocked for a good 5 or 6 years after 1969. Well, except maybe ‘Doug Sahm.’

Mendocino is not only a great introduction to SDQ and Doug Sahm’s music, but its own style of music all together. Texas music was a result of a great cross section of western musical styles, including tex-mex, cajun, polka, country, rhythm and blues, rock, and the San Fransisco sound. Doug Sahm was probably the first musician who was legitimately steeped in all of this and couldn’t control himself from playing it all at once.

As for the tunes on Mendocino, there are nary a miss, but not exactly a first-time winner. I mean this album will have to grow on you before you can really enjoy it. Once you get the hang of the sound you’ll be ready for the whole Little Doug discog. Crossroads is an easy one to get into fast, as is the SDQ’s biggest hit: She’s About A Mover, featuring the classic Vox Continental organ lead from Augie Meyers. Lawd, I’m Just A Country Boy is a great illustration of a Texan’s view of the late 60’s scene in SF (and a microcosm of the album in general). I’ve got a big soft spot for some of the more subtle numbers as well, like I Don’t Want and I Wanna Be Your Mama. The seven bonus tracks included on the CD reissue are all keepers too; check out Sunday Sunny Mill Valley Groove Day.

All in all, this is an exceptionally strong album, and one you won’t regret picking up, after you give yourself some time with it. A real good grower.

“Lawd, I’m Just A Country Boy In This Great Big Freaky City”

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The Pretty Things “Parachute”

| Classic Rock,Pop,Psych,RnB

Parachute

In our world, the Pretty Things are as big as the Pink Floyd, and Parachute is our Dark Side of the Moon. And while this analogy works in terms of production values and signature albums, Parachute really owes more to The Beatles and Abbey Road.

The Pretties’ early material is strong and bluesy. They were pioneers in the style that influenced the Rolling Stones in the 60s. In 1968 they recorded the seminal rock opera S.F. Sorrow, known to have influenced Pete Townshend in recording Tommy. Parachute followed two years later and, unlike most albums reviewed here, was a critical success, receiving the Best Album of 1970 accolade from Rolling Stone magazine. It’s an amazing leap from Sorrow as well. While I love S.F. Sorrow for the gutsy and no-holds-barred psych bomb that it is, I must confess that I believe Parachute to be the better album for its intricate production, dynamics, and developed songwriting.

The opener tears it up with massive drum sola and intimidating rhythm section. Abruptly, we are swept into a soothing number that rallies into the next, The Good Mr. Square into She Was Tall, She Was High. And though we may not have a concept record here, the flow of Parachute continues as such, a dramatic experience, seamlessly passing from heart-pounding rock anthems to smartly arranged acoustic-based gems.

If you are a fan of rock music, this is a completely essential album. Bonus tracks are excellent quality.

“Grass”

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The C.A. Quintet “Trip Thru Hell”

| Art,Garage,Pop,Psych

Trip Thru Hell

The C.A. Quintet’s Trip Thru Hell is one of the most unique LPs from the 60s. It was a small indie pressing of under 500 from the Candy Floss label, making it a very rare 1968/1969 release. Originals will set you back a pretty penny (possibly over $1,000) but are worth it considering the CD version does not faithfully recreate the back side of the LP.

Prior to this LP, the Minneapolis-based C.A. Quintet had released a few respectable, though restrained, garage rock singles. Then something tweaked in the mind of Ken Erwin, the mastermind behind the Quintet, and the band’s frat rock would become infused with a dark, weird edge.  The Trip came housed in a classic, striking jacket and was a truly original acid concept album chronicling the hells of earth. It’s an album that takes you into another world, another mind, and there are some deep, lysergic excursions to behold.  The title track is a 9-minute instrumental with a prominent bass groove, angelic and eerie background vocals, shimmering organ, a suprisingly effective phased drum solo, and demented guitar distortions. The track may not sound as demonic as its title implies, but  it was unlike anything recorded before or since, and certainly worth the trip.  “Cold Spider” has Ken Erwin screaming his lungs out over some nice whacked out raga leads and Hendrix-style feedback. They bust out the brass for “Colorado,” “Sleepy Hollow Lane,” “Smooth As Silk,” “Trip Thru Hell (Part 2)” and “Underground Music,” which are dark oddities and compelling highlights.

Listening to this record may be an overwhelming experience for some, so in one sense it’s definitely an acquired taste. It’s pure psychedelia with a strong vision, and does not fit the ‘incredibly strange music’ tag at all. The C.A. Quintet were an engmatic band that was full of life but by the end of the 60s they faded into obscurity.  A 2LP vinyl reissue is available from Sundazed.

“Underground Music”

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The Move “Shazam”

| Classic Rock,Pop,Prog,Psych

Shazam

The Move are more of a household name in the UK, unlike in the US where most folks have never even heard of the Move or Roy Wood. Shazam is a prog rock/power pop tour de force that skyrockets to 11 from the opening lick and teeters at (and nearly over) the top throughout; you can hear a theatricality in Shazam that would hint at the band The Move would become, ELO.

This record comes off as a blueprint for heavy metal, glam rock, hair rock and all its derivatives (I can picture Jack Black singing these tunes), and as it was released in 1970, it most likely was used as such, though the album is definably progressive rock. The magic is in the album’s transitory sound: it’s probably one of the heaviest albums that still retains the glimmer and style of the 60s.

Hello Susie busts it open like a Yes climax, right off the bat, and lead vocalist Carl Wayne sets the tone with his gnarly shout. Beautiful Daughter is probably my favorite track from this set, with it’s clever phrasing and chamber orchestra. Cherry Blossom Clinic Revisited is the real eye opener, it always catches my attention when this album plays. If you can’t make it past the first few minutes (this album is NOT for everyone) just wait until the middle where there’s an excellent prog reworking of Bach’s Jesu Joy of Man’s Desiring and other classical melodies (can’t quite peg them, anybody know?). The 2nd side of the album consists of three cover songs, with The Last Thing On My Mind sounding surprisingly byrdsian.

Shazam was considered a snapshot of the eccentric Move’s live act. You can allow yourself to judge this one by the cover.

“Cherry Blossom Clinic Revisited”

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Neil Young “Tonight’s The Night”

| Americana,Classic Rock,Pop

Tonight's The Night

Easily my favorite Neil Young record.  I grew up not listening to Neil because I had never latched on to the sound of his radio hits. But a while back I got into his records (starting with On The Beach) and realized what a miss I had made. If you made this same mistake, go start with above record and make amends.

It’s a bit seedy and a little drunk;  Neil tells it like it is on “Borrowed Tune”: “..singing this borrowed tune…too wasted to write my own.” When I first heard this late night piano confessional, a tribute to the Rolling Stones’ Lady Jane, the final lyrics gave me the chills. Then they come in with “Come On Baby Let’s Go Downtown,”  a remake of the rollickin’ Crazy Horse tune, and you’re sold. Easy as that.

It was recorded in 1973 and released in 1975. The whole record feels as if it was as loosely constructed as possible, like they just wrapped a couple of one-take sessions in newspaper and dropped ’em off at the video store. It’s a masterpiece, on about loss, sorrow, and drugs. Apparently, this album was part of the ‘Ditch Triology‘, an unofficial grouping of three experimental albums recorded after his initial commercial successes.

The first of the trilogy is a live record called Time Fades Away which still hasn’t seen release. Give it a look @ aquariumdrunkard.com.

I love this song “Albuquerque.” It make you think every city should have a song.

“Albuquerque”

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Iggy Pop “The Idiot”

| Classic Rock,Pop,Power

The Idiot

Iggy Pop’s The Idiot is a record that breaks a lot of rules musically. It’s sweet but classless. It’s reminiscent as well as groundbreaking. Its sound is timeless as it is dated. This album will make you as confused as the mad men who wrote it. This is classic Iggy for the main reason that it’s nothing like he’s done before. It’s immediately likable for that best of reasons: because you don’t have a clear-cut idea of why you like it.

As soon as Sister Midnight kicks in, the influences of the album’s co-author are evident. David Bowie (specifically of the Berlin Trilogy variety) touched this project. The man produced it and shares writing royalties from the first to last track, and it’s heard throughout.

This undoubtedly had a major hand in pop’s new direction, but that’s not to undermine the growth of Iggy as an artist.

This record showcases a lyrical prowess that wasn’t always expressed with The Stooges. Maybe it was the lack of the machine gun guitars, presence of the more soulful Bowie (prevalent on the trackTiny Girls) or the stay in the mental hospital that changed him, but pop music morphed.

Nightclubbing has a heartbeat intro that slowly bleeds life into the rest of the arrangement. It rises like a sedated Frankenstein and moves heavily towards Iggy’s lyrics “ which have him sounding like he’s singing in an S & M themed karaoke bar. The song, along with Funtime and Dum Dum Boys, sets the stage for the new theme of the record – Iggy’s taking his time. He’s going to sing these songs slow and steady, fused with a new baritone and an amazing grasp of minimalist songwriting. China Girl is a perfect example. Take in the lines of any of these songs at face value and they can be dismissed just as easily as they were ingested. Accept the flaws and you will be rewarded.

Some may long for the frenzied sound of Raw Power. Some may dismiss the otherworldliness that reels in Mass Production – the closing track. But deserters will miss out on a lot of what makes The Idiot such an iconic album¦the mood.
Iggy would make another record (the also brilliant Lust For Life) with Bowie at the helm the same year before moving on. Both are poignant because they accomplish a true rarity: a recording that is testament to a time when an artist had nothing to lose.

“Baby”

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The Zombies “Into the Afterlife”

| Pop,Psych,RnB,Sunshine

Into The Afterlife

A rare and welcome treat from the Zombies’ archives, and a continuation of the wonderful box set, Zombie Heaven from the Big Beat label. This brand new release is a compilation of mostly unavailable tracks recorded by different incarnations of the Zombs during the unsure period of time after they broke up and before their next projects. This is what I live for!

The tracks have been packaged almost in album form, with the sleeve appearing to be a Ninja Turtle fan’s watercolor homage to Odessey & Oracle. It’s nice to pretend that this could indeed be the follow-up release to the Zombies’ fantastic final offering, but what we have instead is really a collection juxtaposing three distinct post-Oracle projects: Rod Argent & Chris White (who were recording demos trying to figure out how to be Argent), Neil MacArthur (Colin Blunstone’s alter ego), and The Zombies themselves.

Rod Argent & Chris White’s demo material on this record was never meant for release, they were just stretching out and trying to figure out how to expand their sound. But you can hear the Zombies songwriting still lingering in there. Unfortunately, you can’t hear the Zombies voice in there; Rod’s lead vocal on She Loves The Way They Love Her sounds like a karaoke mishap compared to Colin’s take on his brilliant One Year. Still, this material is indispensable to fans of the Zombs and Argent as a bridge between both groups.

The complete Neil MacArthur recordings on this disc are seriously awesome. It kicks off with the psyched out and groovy remake of She’s Not There and a version of Buffalo Springfield’s Hung Upside Down. Harry Nilsson’s Without Her gets a fitting redo as well as the classic Never My Love. Don’t Try To Explain and World of Glass both point to what Colin would achieve a year or so later with One Year and his subsequent solo career.

While all these recordings were going on, Time of the Season was becoming a big hit and efforts were made to eek a few more singles out and cash in on the success, known as the unreleased RIP album (available on Zombie Heaven). An interesting mix on this record, Walking in the Sun, has been reconstructed only with Colin’s vocal, original backup vocals, and an orchestral arrangement. If It Don’t Work Out, the official final single from the Zombs is presented with orchestral overdubs as well and in Going To A Go Go we can hear the hard-working Zombies exercise their chops. If you love the Zombies you need to get this brilliantly satisfying rarities release.

“Walking In The Sun”

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Lou Reed “Berlin”

| Art,Concept Albums,Pop,Power

Berlin

This album came out after the smashing Transformer. Berlin doesn’t rock and thrash in a perfectly sensible way like T-former, but it is understated and melodically enchanting, and you can grow with it in an unholy, or perhaps sacred way.

It plays like a miniature opera, with eerie sound montage and smoky piano interludes. Don’t expect the stabby guitar glam punk of this album’s predecessor; Berlin is sleepy and sad, beautifully orchestrated and a moody concept album. A few upbeat numbers will keep you coming back for more. It’s hard to remember exactly why you like this album when you replay it for the third time, but you’ll find yourself saying.. “oh yeah, oh yeah this one too!”

How Do You Think It Feels is a great laid back driver, with some Kicks style Lou vox going on. Caroline Says I is a pretty raucous, loosely based version of VU song Stephanie Says, which receives its full tribute in Caroline Says II. Men of Good Fortune is another Reedy classic receiving the Berlinesque operatic treatment. All together it’s one weird record, but a perfect Lou Reed experience, it’s really what he should have been up to all along. Transformer for the pizza party, Berlin for the doped up after-hours party.

mp3: Sad Song

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Nancy Sinatra & Lee Hazlewood “Nancy & Lee”

| Pop,Psych

Nancy & Lee

In memory of Lee Hazlewood.

This can be hard to find (on CD), but don’t pass it up should you come across it on vinyl: it’s a real psych/period gem and a great introduction to both artists. There’s something magic about Nancy and Lee together on this record, and it’s probably the best record they put out together or alone.

Songs change form, Lee will take it on a weird slant, or Nancy will reflect for awhile over a softer bit of orchestration. It’s not without a few missed tracks, but this is a strange record to begin with, pairing The Chairman of the Board’s smokin’ hot daughter with this ragged-voxed drifter, legendary producer type. There are a few big tracks on here, opening with the righteous You’ve Lost That Lovin Feeling, plus Summer Wine, a cookin’ version of Jackson, and most out there of all, the enigmatic and wonderful Some Velvet Morning. But there are other gems on here too like Sand and Sundown, Sundown. This is a great album for Scott Walker fans.

Also the liner notes on the back!

Don’t mistake this record for Nancy & Lee Three. In fact, if you can’t seem to find it in the bins, take a look on iTunes, where they also have Nancy & Lee Again. I found this record out in the wild pretty soon after finding out about it, so it couldn’t be too hard. Oh, and check out (aptly named) Some Velvet Blog, where you can get an ear on Velvet Morning.

“Summer Wine”

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