terça-feira, 31 de julho de 2018

LYNYRD SKYNYRD Debut Album


Original released on LP MCA 363
(US 1973, August 13)


The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together - the blues, country, garage rock, Southern poetry - in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, "Pronounced Leh-Nerd Skin-Nerd". Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands. Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. 

Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential. The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album. (Stephen Erlewine in AllMusic)

sábado, 28 de julho de 2018

ON THE ROAD AGAIN - VOLUME 36

The Fantastic SHADOWS (Mono + Stereo)

Original released on LP Columbia 33PQX 8052
(ITALY, January 1964)

TOMMY ROE '67

Original released on LP ABC 594
(US, 1967)

Even though Tommy Roe was coming off two huge chart hits in 1966 (Top Tenners "Sweet Pea" and "Hooray for Hazel"), he felt the need to grow his hair and get with the changing times. Producer Curt Boettcher's work with the Association earned him a gig with Roe, and together they began working on changing the singer's good-time rock & roll image into something a bit groovier. Instead of junking Roe's basic tight and rocking sound on 1967's "It's Now Winter's Day", the two made the wise decision to add massed vocal choirs (provided by Boettcher mainstays like Dotti Holmberg and Michele O'Malley as well as future Millennium members Sandy Salisbury and Lee Mallory) and semi-psychedelic effects on top and keep the rhythmic drive and soulful punch at the foundation. Strip songs like "Aggravation" or "Sing Along with Me" of their sonic frippery and you have classic Roe-styled bubblepop tunes. Roe helps keep the project grounded by holding the lyrical flights of fancy down to a minimum. Apart from the goofy outer space love song "Moontalk," Roe writes the same basic kind of lightweight love songs that made him popular. The album is a very successful blend of old and new, the arrangements are always interesting, and Roe never sounds out of place. The song that makes the album more than a quirky detour in Roe's career is the astounding "It's Now Winter's Day." Built on atmospheric minor chords as well as a lachrymose and seductive vocal from Roe, the tune is layered with atonal, reverbed tape effects, a shimmering vocal chorus, and so much icy warmth it sounds like Boettcher is channeling a frozen Phil Spector. The track sounds like nothing else on earth, so it's no surprise that it wasn't a hit at the time and resonated with lovers of left-field pop fans for years to come. It's also not surprising that after one more psych-pop album, 1967's "Phantasy", Roe went back to his formula and cranked out a couple more hits before the decade turned, including the number one smash "Dizzy" and "Jam Up Jelly Tight." (Tim Sendra in AllMusic)

Original released on LP ABC ABCS 610
(US, 1967)

In early 1967, Tommy Roe took a leap into the world of psychedelic pop, and with the help of wonder producer Curt Boettcher created a minor soft psych gem with the "It's Now Winter's Day" album. Adding walls of heavenly vocals along with inventive and strange arrangements to Roe's tough and propulsive rhythmic underpinnings was a stroke of genius that sadly wasn't repeated on the follow-up from the same year, "Phantasy". While the sound of the album is less elaborate and therefore less interesting, the main problem is the quality of the songs. As on "Winter's Day", Roe wrote the bulk of the songs on "Phantasy", and it may have just been too much to ask for him to deliver another album's worth of good songs so soon. The melodies are weak and the lyrics sound forced, especially "Plastic World," where he laments that the world has become a place where "money buys everything," which surely sounded trite even in 1867, much less 1967. The two songs penned by an outside writer are even worse, as the usually reliable Sandy Salisbury (a Boettcher regular who made great records under his own name and with the Millennium) digs two clinkers from the back pages of his songbook, the saccharine "These Are the Children" and "Goodbye Yesterday." Only a couple songs ("Little Miss Sunshine," "The You I Need") have any of Roe's trademark memorable hooks that might inspire listeners to dance, to smile, or at least to make it to the end of the album. Along with being an artistic flop, "Phantasy" was a commercial disaster that prompted Roe to go back to his hitmaking formula of the recent past. Quite often this kind of retrenching fails miserably, but Roe was rewarded with his first number one single since 1962's "Sheila" when "Dizzy" topped the charts in 1969. "Phantasy" became a forgotten record, and like many "lost" albums, uncovering it gave people a chance to see why it was lost in the first place. (Tim Sendra in AllMusic)

sexta-feira, 27 de julho de 2018

"Time Is On My Side" By The ROLLING STONES

THE ROLLING STONES 2nd British Album

ORIGINAL RELEASED AS LP DECCA LK 4661
(UK 1965, JANUARY 15)


The group's second British album actually appeared after their second U.S. LP, mostly owing to the fact that the British rock & roll audience wasn't focused on the long-player as a medium (singles and EPs were the driving force of the business in England then). It uses the same David Bailey cover shot that had graced the U.S.- issued "12 X 5" album two and a half months earlier, but only four songs - "Under the Boardwalk," "Suzie Q," "Grown Up Wrong," and "Time Is on My Side" - overlap on the two albums. Rather, "Rolling Stones No. 2" offered seven songs that weren't to make it out in America until four months later on "The Rolling Stones Now!" and they're all solid numbers: "Off the Hook," "Everybody Needs Somebody to Love," "Down Home Girl," "You Can't Catch Me," "What a Shame," "Pain in My Heart," and "Down the Road Apiece," plus one of the group's best blues covers, their version of Muddy Waters' "I Can't Be Satisfied," which wasn't released in America until 1973 and features some killer slide playing by Brian Jones. The U.K. LP also had the advantage of only being released in mono, so there are no "rechanneled stereo" copies with which to concern oneself. (Bruce Eder in AllMusic)


NEW SEEKERS '74

Original released on LP Polydor Super 2383 264
(UK, March 1974)

Known chiefly for making a Coca-Cola jingle into a massive worldwide hit, the New Seekers ostensibly grew out of the ashes of the Australian folk-rock outfit the Seekers ("Georgy Girl"). Although their clear harmonies, pop leanings, and squeaky-clean image were similar to the original band, their actual connection was tenuous at best. After the Seekers disbanded, guitarist/vocalist Keith Potger put together an otherwise completely new band in late 1969: female vocalists Eve Graham and Sally Graham (no relation), guitarists/vocalists Laurie Heath and Marty Kristian, and bassist/vocalist Chris Barrington. Potger christened them the New Seekers and produced their self-titled 1970 debut album, and while he did sing with them at first, he soon retired from both performance and production to become their manager, leaving them with no members of the original Seekers. His last appearance was on the ironically titled follow-up "Keith Potger and the New Seekers", which was issued before the end of the year and featured numerous personnel changes; only Eve Graham and Marty Kristian remained, joined by singer Lyn Paul and guitarists/vocalists Paul Layton and Peter Doyle. Thus constituted, the New Seekers scored their first American hit with a cover of Melanie's "Look What They Done to My Song, Ma" in late 1970. They toured the U.S. in early 1971 and appeared on several variety shows, and the title track of "Beautiful People" was a significant follow-up success; they also broke through in the U.K. later that year with a version of Delaney Bramlett's "Never Ending Song of Love." Their biggest success, however, came from an unlikely source: an ad jingle they recorded for Coca-Cola, which became part of a hugely popular campaign that summer - so popular, in fact, that radio listeners actually called in to request the commercial. It was decided to release the song as a single called "I'd Like to Teach the World to Sing (In Perfect Harmony)," with the lyrics rewritten to remove product references. 

Original released on LP Polydor Super 2383 293
(UK, September 1974)

Since the New Seekers were unavailable at the time, a country-tinged version by the Hillside Singers was actually released first. The New Seekers recorded their own version while touring America toward the end of the year, and since it naturally sounded more like the commercial, it proved the bigger hit, reaching the U.S. Top Ten despite stiff competition from the alternate recording. Helped by the ad campaign, "I'd Like to Teach the World to Sing (In Perfect Harmony)" was a smash hit all over the world, topping the charts in several countries (including the U.K.) and giving the New Seekers their biggest hit ever. In 1972, the New Seekers placed second in the annual Eurovision Song Contest with "Beg, Steal or Borrow," which was their highly successful U.K. follow-up to "I'd Like to Teach the World to Sing"; the title track of LP "Circles" was another hit that summer. The New Seekers kicked off 1973 by playing Richard Nixon's inaugural ball, but subsequently tried to hip up their image and gain a little more critical respect by recording more rock-oriented numbers (including material from the Who's "Tommy") on "Now"; it didn't work, and their sales began to slip as a result. Peter Doyle left the group that summer and was replaced by Peter Oliver. The singles "You Won't Find Another Fool Like Me" and "I Get a Little Sentimental Over You" (featured on the 1974 album "Together") returned them to the U.K. Top Ten, but both female singers (Eve Graham and Lyn Paul) decided to leave the group in early 1974. They embarked on a farewell tour of the U.K. that spring, and entered the studio one last time to record "The Farewell Album", which was issued that summer after they had officially disbanded. That wasn't the end of the New Seekers, although it was the end of their commercial prime. The group re-formed in 1976 with original members Eve Graham, Marty Kristian, and Paul Layton, plus newcomers Kathy Ann Rae and Danny Finn. They recorded the album "Together Again" and began playing the U.K. cabaret circuit with other non-rock pop acts. While they would land a few minor hits over the next two years, none were on the scale of their previous successes, and after one final album, 1978's "Anthem", Graham and Finn left the group to marry and perform as a duo. With their departure, the New Seekers effectively ceased to be an active recording concern. Kristian and Layton continued to lead various New Seekers lineups into the '80s and sporadically during the '90s, but despite continued world tours, they were strictly a nostalgia act. Peter Doyle died of throat cancer on October 13, 2001. (Biography by Steve Huey in AllMusic)

quinta-feira, 26 de julho de 2018

BUFFALO SPRINGFIELD Debut Album (Mono + Stereo)


Original released on LP ATCO R2 33200M
(US 1966, December 5)

The band themselves were displeased with this record, feeling that the production did not capture their on-stage energy and excitement. Yet to most ears, this debut sounds pretty great, featuring some of their most melodic and accomplished songwriting and harmonies, delivered with a hard-rocking punch. "For What It's Worth" was the hit single, but there are several other equally stunning treasures. Stephen Stills' "Go and Say Goodbye" was a pioneering country-rock fusion; his "Sit Down I Think I Love You" was the band at their poppiest and most early Beatlesque; and his "Everybody's Wrong" and "Pay the Price" were tough rockers. Although Neil Young has only two lead vocals on the record (Richie Furay sang three other Young compositions), he's already a songwriter of great talent and enigmatic lyricism, particularly on "Nowadays Clancy Can't Even Sing," "Out of My Mind," and "Flying on the Ground Is Wrong." The entire album bursts with thrilling guitar and vocal interplay, with a bright exuberance that would tone down considerably by their second record. (Richie Unterberger in AllMusic)

Original released on LP ATCO R2 33200
(US 1966, December 5)

KOZMIC JANIS


Original released on LP Columbia CS-9913 
(US, October 1969)

Janis' new direction album, in reality her first solo. She dropped out of Big Brother and the acid sounds, and plunged herself in soul. She had always felt it deep down inside her. The orchestral arrangements, with pipes predominance over guitars, give her voice such a majestic power... She sounds immaculate, not less powerful, but even more self-confident and firm than in precedent albums. The intention was to turn her into the new Aretha Franklin, but it seems that she turned out James Brown. Some records do not need innovating to be successful. This soul rocks indeed.
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