JEFFERSON AIRPLANE: The Last One

Original released on LP Grunt FTR 1007

(UK 1972, July 20)

The final Jefferson Airplane studio album - if their half-hearted 'reunion' from 1989 isn't (and really shouldn't be) counted - presented yet another alteration in the band's lineup. Not only would "Long John Silver" be the second project minus co-founder Marty Balin (vocals), who left after "Volunteers" (1969), but Joey Covington (drums) also split before the long-player was completed, forming his own combo, the short-lived Black Kangaroo. Covington contributes to a pair of Paul Kantner's (guitar/vocals) better offerings "Twilight Double Leader" and "The Son of Jesus," while Hot Tuna kinsman Sammy Piazza (drums) lends a hand to Jorma Kaukonen's (guitar/vocals) whimsical "Trial by Fire." Eventually, Turtles' and Crosby, Stills, Nash & Young percussionist John Barbata (drums) would fill the drummer's stool for the remainder of the Airplane's rapid descent. He would likewise make the transition alongside Kantner, Grace Slick (piano/vocals) and Papa John Creach (violin) into the brave new world of Jefferson Starship. Even more so than on their previous platter, "Bark" (1971), the material featured on "Long John Silver" rather blatantly exposes the two disparate factions to have emerged from the once unified Airplane. 

The Kaukonen/Jack Casady (bass) offshoot - à la Hot Tuna - and Kantner/Slick, whose "Blows Against the Empire" (1970) from two years earlier clearly pointed to the exceedingly cerebral approach evident on Slick's indistinct "Aerie (Gang of Eagles)" and "Easter?," or the mid-tempo meandering of Kantner's "Alexander the Medium." The edgy, blues-infused rocker "Milk Train" is one of the few standouts on "Long John Silver", giving Creach a platform for his ever-adaptable and soaring fiddle. Quite possibly the heaviest selection on the package is the Slick/Kaukonen co-composition "Eat Starch Mom." Appropriately, it concludes the effort on a positive charge with the Airplane hitting on all cylinders before landing the craft (for all intents and purposes) the last time. When the LP hit store shelves in the summer of 1972, it became instantly notorious for the cover that transformed into a cigar (read: stash) box. The inner sleeve went as far as reproducing the image of tightly compressed domestic ganja, replete with sticks, seeds and stems. (Lindsay Planer in AllMusic)

As Canções de Amor do FAUSTO

ON THE ROAD AGAIN - VOLUME 32

SUPREMES: "I Hear a Symphony"

Original released on LP Motown S 643

(US 1966, February 18)

"I Hear a Symphony" has some great soul numbers on it, mostly by the Holland-Dozier-Holland songwriting team, including not only the title track but also "Any Girl in Love (Knows What I'm Going Through)," "My World Is Empty Without You," and "He's All I Got" - the latter is one of the greatest album tracks the group ever recorded, with stunning vocals by Mary Wilson and Florence Ballard behind Diana Ross, showing the trio in just about its peak form. Other parts of "I Hear a Symphony" seem to take its title track almost literally, with the inclusion of the majestic "Unchained Melody" and the Bach-based "A Lover's Concerto"; the latter, in particular, is a Diana Ross tour de force, with very sweetly understated accompaniment by Wilson and Ballard. And elsewhere, Berry Gordy was pushing his vision of the Supremes as a mainstream pop trio, covering "A Stranger in Paradise," "With a Song in My Heart," "Without a Song," and "Wonderful, Wonderful." None of these are bad, but neither are they terribly distinguished - the group even adds a certain fresh sparkle to "Wonderful, Wonderful," but realistically, people were paying their money for the Holland-Dozier-Holland and Eddie Holland-authored songs, any of which would have made about as fine singles as anything the trio ever put out, and all of which are still a chunk of the best part of the group's legacy. (Bruce Eder in AllMusic)

The Sweet Things Of Georgie

Original released on LP Columbia (EMI) SX 6043

(UK, May 1966)

Georgie Fame & the Blue Flames' third album very much follows in the footsteps of its predecessors, a punchy R&B stomper that could (even should) have been recorded live, so high is the energy, and so abandoned the backing of the Blue Flames. This is especially apparent on side two of the original vinyl, as the band all-but replicate the closing run of a hot and sweaty club gig, pounding through an electrifyingly note-perfect "My Girl," a rattling "The Whole World's Shaking" and a truly incredible version of "The In Crowd," all honking horns and smooth-flowing Hammond. Don Covay's "See Saw" is another jewel, but for sheer audacity, the highlight has to be calypso king Lord Kitchener's gleefully risqué "Dr Kitch," a percussively swaying romp that only grows more delightful as it becomes apparent that Fame himself is having trouble delivering the lyric straight-faced - the story of a doctor attempting to administer an injection to a nervous young lady, after all, is so rife with double meaning that it is virtually a sex act in its own right. Not quite up to the standard of the group's debut (which, of course, was recorded live), "Sweet Things" is nevertheless one of the finest British R&B albums of the mid-'60s, and one of the last to illustrate just how many possibilities were still open to the U.K. scene at that time. The journey from soft soul to rude calypso, via every musical shade in between, was not one that many performers were willing to take, after all. Fame and co, on the other hand, make the journey in record time. (Dave Thompson in AllMusic)

DAVID GILMOUR Debut Album

Original released on LP Harvest SHVL 817

(UK 1978, May 25)

By the time of David Gilmour's solo debut, he had not only established himself several times over as an underrated, powerful guitarist in Pink Floyd, but as a remarkably emotional singer, his soothing approach perfectly suited to such songs as "Wish You Were Here." The self-titled album, recorded with journeyman bassist Rick Wills and Sutherland Brothers drummer Willie Wilson, later to be part of the touring Floyd lineup for its Wall dates, isn't a deathless collection of music in comparison to Gilmour's group heights, but is a reasonably pleasant listen nonetheless. Certainly it's much more approachable than "Animals", released earlier that year, eschewing epics for relatively shorter, reflective numbers. While Gilmour wrote the vast majority of the songs himself, the most successful number was co-written with Unicorn member Ken Baker: "There's No Way Out of Here," an agreeably dreamy, wistful song featuring an attractive acoustic slide guitar/harmonica hook. 

That it sounds a bit like a Pink Floyd outtake certainly doesn't hurt, but one figures Roger Waters would have tried for some heavily barbed lyrics to offset the melancholy. Throughout the album Gilmour sounds like he's having some jamming fun with his compatriots in his own particular blues-meets-the Home Counties style, adding keyboard overdubs here and there (his efforts are passable, but it's understandable why he's known for his guitar work first and foremost). Numbers of note include "Cry From the Street," with its fully rocked-out conclusion, the sweetly sad "So Far Away," one of his best vocal showcases, and the concluding "I Can't Breathe Anymore," capturing the recurrent Pink Floyd theme of isolation quite well. While one would be hard-pressed to hum a memorable melody outside of "There's No Way Out of Here," it's still a good enough experience for those who enjoy his work. (Ned Raggett in AllMusic)

THE BEAT OF THE POPS - VOLUME 32

ATOMIC ROOSTER: "Made In England"

Original released on LP Elektra EKS-75039

(US, June 1972)

The third incarnation of English prog rockers, Atomic Rooster make their debut on "Made in England". The group began as a trio featuring former Crazy World of Arthur Brown member Vincent Crane (organ), Nick Graham (bass), and Carl Palmer (drums). After a few significant shuffles within the lineup, only Crane continued with the name, recruiting Mick Jagger protégé Chris Farlowe (vocals), Rick Parnell (percussion), and Steve Bolton (guitars) as the next generation. They have an edgy and somewhat brooding sound, recalling early Mott the Hoople discs such as the highly underrated Mad Shadows (1970). Much of the material reveals the quartet's slightly funky groove, such as the pulsating "Stand by Me," or the gospel-inflection on the spoken "Introduction," which prefaces the Crane instrumental "Breathless." Somewhat misplaced is the orchestration - especially on "Time Take My Life" - which tends to congest the otherwise driving arrangement. Parnell penned a pair of the finest contributions on "Made in England", the slinky "Little Bit of Inner Air," as well as the Southern rock-tinged "All in Satan's Name." The latter comes off like a blend of the Allman Brothers and Deep Purple. Bolton supplies the power ballad "Never to Lose," as well as "Space Cowboy," which develops into an electric hoedown following a somewhat off-balance and synth-heavy keyboard intro. Bolton would be the next casualty of the combo, leading to the formation of the criminally underrated Headstone. A successful North American tour resulted in "Made in England", which charted briefly in the U.S., and would be the final Atomic Rooster album to do so. The band would successfully continue under Crane's tutelage until the early '80s, when he joined up with a post-"Come on Eileen" Dexys Midnight Runners. (Lindsay Planer in AllMusic)

SPLINTER Debut Album

 Original released on LP Dark Horse AMLH 22001

(UK 1974, September 20)

One of the first artist signed to George Harrison's Dark Horse label, this was George's Badfinger group. While Badfinger seemed to rely heavily on McCartney production / songs, Splinter was influenced by George's production / songs. It didn't hurt that George played numerous instruments (guitars / dobro / harmonium / percussion / bass / mandolin) and produced the effort. George also enlisted some of his pals to help out (Klaus Voorman, Gary Wright, Billy Preston, Jim Keltner, Mel Collins, and Alvin Lee). Some have described it as great Badfinger / "All Things Must Pass" outtakes and they aren't far off. This is their best album - a great find and a shame this obscure album didn't find more of an audience over time. (in RateYourMusic)

FATS DOMINO: The First 3 Albums

Original released on LP Imperial IR 9004

(US, March 1956)

The most popular exponent of the classic New Orleans R&B sound, Fats Domino sold more records than any other black rock & roll star of the 1950s. His relaxed, lolling boogie-woogie piano style and easygoing, warm vocals anchored a long series of national hits from the mid-'50s to the early '60s. Through it all, his basic approach rarely changed. He may not have been one of early rock's most charismatic, innovative, or threatening figures, but he was certainly one of its most consistent. Domino's first single, "The Fat Man" (1949), is one of the dozens of tracks that have been consistently singled out as a candidate for the first rock & roll record. As far as Fats was concerned, he was just playing what he'd already been doing in New Orleans for years, and would continue to play and sing in pretty much the same fashion even after his music was dubbed "rock & roll." The record made number two on the R&B charts, and sold a million copies. Just as important, it established a vital partnership between Fats and Imperial A&R man Dave Bartholomew. Bartholomew, himself a trumpeter, would produce Domino's big hits, co-writing many of them with Fats. He would also usually employ New Orleans session greats like Alvin Tyler on sax and Earl Palmer on drums - musicians who were vital in establishing New Orleans R&B as a distinct entity, playing on many other local recordings as well (including hits made in New Orleans by Georgia native Little Richard).

Original released on LP Imperial IR 9009

(US, August 1956)

Domino didn't cross over into the pop charts in a big way until 1955, when "Ain't That a Shame" made the Top Ten. Pat Boone's cover of the song stole some of Fats' thunder, going all the way to number one (Boone was also bowdlerizing Little Richard's early singles for pop hits during this time). Domino's long-range prospects weren't damaged, however; between 1955 and 1963, he racked up an astonishing 35 Top 40 singles. "Blueberry Hill" (1956) was probably his best (and best-remembered) single; "Walking to New Orleans," "Whole Lotta Loving," "I'm Walking," "Blue Monday," and "I'm in Love Again" were also huge successes. After Fats left Imperial for ABC-Paramount in 1963, he would only enter the Top 40 one more time. The surprise was not that Fats fell out of fashion, but that he'd maintained his popularity so long while the essentials of his style remained unchanged. This was during an era, remember, when most of rock's biggest stars had their careers derailed by death or scandal, or were made to soften up their sound for mainstream consumption. Although an active performer in the ensuing decades, his career as an important artist was essentially over in the mid-'60s. He did stir up a bit of attention in 1968 when he covered the Beatles' "Lady Madonna" single, which had been an obvious homage to Fats' style. (Richie Unterberger in AllMusic)

Original released on LP Imperial IR 9028)

(US, December 1956)

Fats Domino passed away this tuesday, October 24, 2017. He was 89 years old (born 1928, February 26, in New Orleans).

THE ACTION: Lost and Found

Original released on LP Dig The Fuzz DIG25

(EU 1998)

A true lost classic from the British Invasion era, the Action's "Rolled Gold" is the sound of an already-solid band trying to take a few steps forward, writing brilliant pop songs ripe for psychedelic embellishment. Unfortunately for the Action, the lush production these tracks demand would never come - EMI rejected the demos and these went unheard for 30 or so years. This makes the subsequent reissues a true service to all music lovers: the songs here are something special, and these demos would almost certainly have spawned one of the truly great records of the late-60s if only the band had been able to polish them. It's interesting to wonder how much of the appeal of this album is in wondering what could have been: with tracks like "Love is All," "Look at the View," and "Really Doesn't Matter" you can really hear that the Action were structuring these songs for the big, expansive psychedelic passages that were all the rage in 1967, and the verses/choruses were already so tight that it's quite possible the resulting record would be on par with "Odessey and Oracle" or "Forever Changes". 

How much of that is me projecting the mellotron/acid guitar freakouts I love onto these songs, though, and how much of it is actually there? Luckily, the best tracks here - I'm thinking "Something to Say" and "Strange Roads" - answer that question by being fully formed, brilliant songs, even with the lackluster recording quality. This is a release that should appeal to any fan of mod or freakbeat and UK psych-heads interested in hearing the roots of the genre. It's rare that you get to hear a classic psych-rock record in this stage of its infancy, with the songs learning to walk before the production can make it run; it's a shame that this record only found the home it deserved too late. (in RateYourMusic)