TIMES TO REMEMBER 39

TIMES TO REMEMBER 38

The AIR Album

Original released on LP Embryo SD 733

(US, 1971)

Well, we all grow older, don't we? Sometimes, our musical tastes mellow just a bit. In my case, I like to think I've matured since my younger days, when I was all full of piss and vinegar. Back then, I liked my acid rock loud and furious. I clearly had no time for something like this, which I doubt I ever listened to more than once before coming to it once again in my collection just the other day. It was one of the two albums I least liked in my collection, and I kept them just for demonstration should anyone want to hear what I disliked so much. Just for comparison. I still can't say this record is wonderful, but it surely deserves its rightful place among the rest of the albums I'm glad I own. Not to mention it appears to have been a solid investment, seeing what it goes for nowadays. Musically, it is almost never short of being at least interesting. Offered is all-female vocal, soft jazz/pop that at times veers into lounge territory, but at others is slightly scat influenced. The four-piece group uses a bevy of session players, including Jann Hammer and Herbie Mann, among many others. They opted to omit guitar, except for bass, with the lead instruments primarily organ, sax and trumpet (including what I swear sounded like wah-wah on one trumpet section). Notice that John Bongiovi's father produced it too. The closing cut is a solo by the singer on piano, and still does nothing for me. But I still say this bunch of guys and gal are a pretty unattractive group, both on the front, with the staged group-hug that looks awkward, to the opaque photo on the back with them all smiling and looking even worse! That guy at the top looks like a real-life vampire with those teeth, and the singer looks like a cousin to Joplin! (in RateYourMusic)

MOUNTAIN: "Nantucket Sleighride"

Original released on LP Windfall 5500

(US 1971, February 6)

Following the success of "Climbing!" and appearances at Woodstock and other outdoor festivals of the day, Mountain recorded more of the same for "Nantucket Sleighride". The title track is a nice mixture of classical-leaning intertwined with moderate rock; both "Don't Look Around" and "The Animal Trainer and the Toad" continue on the hard rock path so well-worn by this band. Not groundbreaking, but it is well worth listening to. (James Chrispell in AllMusic)

TIMES TO REMEMBER 37

MOTT THE HOOPLE: "Brain Capers"

Original released on LP Island ILPS 9178

(UK, November 1971)

Re-teaming with producer Guy Stevens, Mott the Hoople delivered the great forgotten British hard rock album with their fourth outing, "Brain Capers". Stevens was a legendary rock & roll wildman and he kept Mott careening through their performances; they sound harder than ever, even dangerous at times. Fortunately, this coincided with Ian Hunter's emergence as a fantastic songwriter, as tuneful and clever as any of his peers. All these changes are evident from the moment "Brain Capers" kicks in with the monumental "Death May Be Your Santa Claus," a phenomenally pile-driving number that just seems inevitable. As it gives way to a cover of Dion's "Your Own Backyard," it becomes clear that Mott have pulled off the trick of being sensitive while still rocking. And that's not the end of it - they ride an epic wave on the nine-minute "The Journey," pull off a love song on "Sweet Angeline," and generally rock like hell throughout the record. The most amazing thing about the album is that none of the songs really change character - it's all straightforward hard rock, graced with Dylanesque organ - but there are all sorts of variations on that basic sound, proving how versatile they are. It's a fantastic album, and stands as the culmination of their early years. When a record this confident and tremendous is stiffed, it's little wonder they thought about chucking it all in; and it isn't a surprise that, when they decided to continue, it was with a change in sound. They couldn't have topped this if they tried. (Stephen Erlewine in AllMusic)

MOTT THE HOOPLE: "Wildlife"

Original released on LP Island ILPS 9144

(UK, March 1971)

Since they had little success and seemed to be going off the tracks, Mott the Hoople was encouraged to produce their third album with anyone that wasn't Guy Stevens. Eventually, they chose themselves, creating a record that is bright and punchy, standing in direct contrast to "Mad Shadows" enveloping fog. They wound up with "Wildlife", a record that still seems a little transitional, yet is considerably more confident, unified, and enjoyable. Ironically, even if this is a much better record, few songs are as immediately gripping as "Walkin' With a Mountain," but both Mick Ralphs and Ian Hunter turn out some fine rockers, while driving the group toward some interesting territory, like the string-drenched "Waterlow," the country-tinged "It Must Be Love," and the ambling "Original Mixed-Up Kid," or even the surprisingly straight and faithful reading of Melanie's "Lay Down." These give the record a slightly rural feel, lending credence to the title, and the album is unique in Mott's decidedly urban body of work for that very reason - it's lighter, quirkier, and more friendly than the rest. Of course, it didn't widen their audience, and they returned to brutal rock with "Brain Capers", but in retrospect it's a charming anomaly in their catalog. (Stephen Erlewine in AllMusic)

"Em Cada Esquina Um Amigo..."

Edição original em LP Orfeu STAT 009

(PORTUGAL, Dezembro de 1971)

Em entrevista ao jornal “Público” mais de 20 anos depois da gravação deste album, José Mário Branco referia-se assim a "Cantigas do Maio": «Disco histórico. Mas há razões muito pessoais para esta escolha, além de razões que têm a ver com a História do meu país. Foi a primeira vez que pude trabalhar com o Zeca a sério, que descobri a riqueza incrível que está debaixo dos temas dele. Não me é possível separar este disco do que vivi ao fazê-lo. Algo de empolgante e importante para a minha vida toda.» José Afonso e José Mário Branco tinham-se conhecido em Paris, em 1969. José Mário estava exilado em França e, nessa altura, tinha preparado a maqueta do que veio a ser o seu primeiro LP, “Mudam-se os Tempos, Mudam-se as Vontades”. Foi o Zeca quem trouxe essa cassete para Lisboa, mostrando-a à Sassetti, com quem o José Mário veio a assinar um contrato de gravação. E foi na sequência desse feliz encontro que, dois anos volvidos, José Afonso convidou José Mário Branco para dirigir a gravação deste "Cantigas do Maio".

Gravado no Strawberry Studio, de Michel Magne, em Herouville (França), entre 11 de Outubro e 4 de Novembro de 1971 (antes da partida Zeca chegaria a ser preso algumas horas pela P.I.D.E. em pleno aeroporto de Lisboa), este disco assinala a primeira viragem de fundo na revolução musical iniciada por Zeca  Afonso uma dúzia de anos antes. O tratamento instrumental de cada tema, a beleza poética e a subversão temática atingem, aqui um nível nunca anteriormente possível. E, uma vez mais, Zeca recusa a facilidade, incluindo canções onde o surreal é já assumido na sua totalidade, para desespero da direita e de uma certa esquerda, que insistia na necessidade de uma 'definição clara' de Zeca, à luz do 'socialismo científico'. "Cantigas do Maio" voltaria a ser distinguido pela Casa de Imprensa como o melhor do ano e seria considerado, em 1978, como o melhor de sempre da música popular portuguesa, numa votação organizada pelo extinto semanário Sete que contou com a participação de 25 críticos e jornalistas. Um tema, no entanto, bastaria para fazer deste album um marco da história portuguesa: "Grândola vila morena", escolhida em 1974 como senha para o arranque do Movimento dos Capitães, que em 25 de Abril derrubou a ditadura fascista. Essa escolha, como mais tarde recordaria Otelo Saraiva de Carvalho, resultou do facto da maioria das canções do Zeca se encontrar proibida na altura e também por ter sido cantada cerca de um mês antes em pleno Coliseu de Lisboa, sem que a P.I.D.E. interviesse. Como curiosidade registe-se que a gravação dos passos que conduzem a cadência alentejana da canção foi feita à noite, por oito microfones estrategicamente colocados numa zona de cascalho que circundava o Chateau d’Herouville.

TIMES TO REMEMBER 36

PAUL And LINDA McCARTNEY: "Ram" + Bonus

Original released on LP Apple SMAS-3375

(US 1971, May 17)

After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations - Lennon with his lacerating, confessional "John Lennon/Plastic Ono Band", Harrison with his triple-LP "All Things Must Pass" - but Paul McCartney certainly didn't, turning toward the modest charms of "McCartney", and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, "Ram". Where McCartney was homemade, sounding deliberately ragged in parts, "Ram" had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken. It's filled with songs that feel tossed off, filled with songs that are cheerfully, incessantly melodic; it turns the monumental symphonic sweep of Abbey Road into a cheeky slice of whimsy on the two-part suite "Uncle Albert/Admiral Halsey." All this made "Ram" an object of scorn and derision upon its release (and for years afterward, in fact), but in retrospect it looks like nothing so much as the first indie pop album, a record that celebrates small pleasures with big melodies, a record that's guileless and unembarrassed to be cutesy. 

But McCartney never was quite the sap of his reputation, and even here, on possibly his most precious record, there's some ripping rock & roll in the mock-apocalyptic goof "Monkberry Moon Delight," the joyfully noisy "Smile Away," where his feet can be smelled a mile away, and "Eat at Home," a rollicking, winking sex song. All three of these are songs filled with good humor, and their foundation in old-time rock & roll makes it easy to overlook how inventive these productions are, but on the more obviously tuneful and gentle numbers - the ones that are more quintessentially McCartney-esque - it's plain to see how imaginative and gorgeous the arrangements are, especially on the sad, soaring finale, "Back Seat of My Car," but even on its humble opposite, the sweet "Heart of the Country." These songs may not be self-styled major statements, but they are endearing and enduring, as is "Ram" itself, which seems like a more unique, exquisite pleasure with each passing year. (Stephen Erlewine in AllMusic)

TIMES TO REMEMBER 35

OSIBISA: "Woyaya"

Original released on LP Decca DL7-5327

(US, 1971)

After an evocative, free-form intro of thunder storm sounds, flute and percussion, “Beautiful Seven” slowly builds-up submerged in the spirit of Africa into  a chanted & spoken word swinging declaration of intentions, ”We’ll give you our treasure-Be Happy!”,  followed by a percussion driven, flute lead Rock-Jazz instrumental, filled with keyboards, guitar and horns. The group’s sound improved  since "Osibisa"  and the circular, built around a pedal tone theme of “Y Sharp” , mixes Chicago like horns, Santana like percussions and backing vocals motifs, wah-patterns and blistering lead guitar, Jazzy electric piano and sax work and a strong dose of Fela Kuti like Afro feel-good vibes flowing to a climaxing finale. The underlying spirituality, shines on the Gospel-ish “Spirits up Above” slow pace intro, they don’t delve too long into, moving to an accelerated piano driven/lead groove, with a muscled percussive power and both sensual and wild guitar work stimulated by the horns, before a short resume of the initial vocal theme. With songwriting credits now shared by more, it’s diversity that wins: “Survival” opening in a tribal mood with percussion and percussive vocalizations by Loughty Amao, before a wordless choir spreads all over an infectious bass pattern driven groove, those singing horn lines the band excels at, an amazing tenor solo and a final a-capella Osibisa chant supported by congas and bongos, the Funky “Move On” preaching a message bolstered by Soulful horns, Jazzy keys and soaring guitar work and “Rabiatu” with an “in-your-face” Afro melody and energy, fuelled by an Earth-shaking bass, Santana like guitar leads and blaring horns before a sudden change allows the groove to re-start slowly building from naked percussions up, into an instrumental climax where Tontoh’s trumpet marks points. Joyful and supporting a “proselytical” message, the title track almost childish melodies are a concession to commercial, instant-pleasing material, and closes the album on a minus note that does not really affect the stunning level of what was accomplished before. (in RateYourMusic)

TIMES TO REMEMBER 34

OSIBISA Debut Album

Original released on LP Decca DL 75285

(US, 1971)

Osibisa's self-titled album opened up their unique blend of African and Western styled music to a wider audience, charting in both the U.S. and Europe. Produced by Tony Visconti, Osibisa's extraordinary merger of African drum beats, colorful rhythms, and rock-inspired keyboard and horn parts give it an expansive sound that infuses countless musical influences. Even the melodies take bits of rhythm & blues and modern rock and affix them to the accompanying percussion beats to come up with a contemporary feel with an avant-garde atmosphere. Tracks such as "Dawn," "Phallus C," and "Oranges" incorporate fragments of traditional jazz and jazz fusion mainly because of the flute and saxophone into their core, but then fashions the result to resemble the band's true heritage. Each song conjures up a certain African mysticism with its stressed rhythms and semi-primordial tempos. The most impressive track, "Music for Gong Gong," became a minor hit in the U.K. thanks to the well- balanced vocal charge and the beauty that's felt in the shingled layers of guitar, organ, and drum work. In both "Ayiko Bia" and "Akwaaba," Osibisa's Ghanian and Nigerian roots come alive through the use of the flute, flugelhorn, and trumpet - not exactly the traditional instruments of West Africa, but they are transformed and molded to take on the band's fundamental sound. What may be the most predominant aspect about Osibisa is that the vast blend of instruments and the playful lyrics inject just enough of a modern element into the album that it's properly kept from being labeled as world music or as new age. (Mike DeGagne in AllMusic)