Tattoo You by The Rolling Stones


Tattoo You by Rolling Stones
Part of the fun of reviewing all these great albums is discovering that some of your own long held preconceptions are, in fact, false. Approaching this album, Tattoo You by The Rolling Stones, I was “sure” on a couple of things that I had always “known”. I was “sure” it was a bit of a comeback album for the band, a return to Sticky Fingers-like rock n’ roll after the various glam, disco, and funk tangents that the band undertook in the 1970s. I was also “sure” that it was a fun and cohesive album for the band to make (I mean, just listen to the first two songs and tell me they’re not having fun).

But with some initial research for this article, I found that I was wrong on both counts. The album is not directed or cohesive. It is a mishmash of unreleased material recorded over that same time period when the Stones were exploring different tangents. It was also recorded at a time of great stress within the band, so it was hardly “fun” to make, despite the resulting vibe.

In fact, album’s creation is the direct result of a practical business decision. The band was about to embark on a huge worldwide tour in late 1981/early 1982, and it was decided that having a new album to promote would boost the band’s ticket sales. With no time to write, rehearse, and record new material, long time associate and producer Chris Kimsey stepped in. He told the band that he could make an album from what he knew already existed as outtakes over the past decade or so and began sifting through old recordings to find suitable material.
 


Tattoo by Rolling Stones
Released: August 24, 1981 (Rolling Stones)
Produced by: Chris Kimsey, Mick Jaggar, & Keith Richards
Recorded: Various Locations, November, 1972 – June, 1981
Side One Side Two
Start Me Up
Hang Fire
Slave
Little T&A
Black Limousine
Neighbours
Worried About You
Tops
Heaven
No Use in Crying
Waiting on a Friend
Band Musicians
Mick Jagger – Lead Vocals, Guitars, Harmonica
Keith Richards – Guitars, Vocals | Ronnie Wood – Guitars, Vocals
Bill Wyman – Bass, Synthesizer | Charlie Watts – Drums

 
Kimsey spent a few months going through the material from several previous Stones albums, discovering many incomplete or under-developed songs that had been either forgotten or rejected in the past. The earliest of these would become the songs “Tops” and “Waiting For a Friend”, the latter being Tattoo You‘s critically acclaimed signature number that closes the album’s laid back second-side.

These songs were originally written and recorded in late 1972 during the sessions for the album Goat’s Head Soup and feature ex-guitarist Mick Taylor. “Waiting For a Friend” also features a solo by jazz saxophonist Sonny Rollins.

In 1975, during the sessions for the album Black and Blue, the band recording the backing tracks for a reggae-influenced song, but after twenty or so takes they got frustrated and shelved it. This same song would be re-born three more times during sessions for subsequent albums, as “Never Stop” during the sessions for Some Girls in 1977, then as “Start It Up” during the Emotional Rescue sessions in 1979. At that time, most of the band were convinced they had a hit, but guitarist Keith Richards was sure that he heard something very similar on the radio somewhere and insisted it be scrapped. Finally, with the production of Tattoo You, the song would be released as “Start Me Up” to tremendous success, reaching #2 on the Billboard pop charts, a position that the band would not reach or eclipse again in their lengthy career.
 

 
The remainder of the album comes from the sessions of those two most recent albums, Some Girls and Emotional Rescue. Most of these “songs” already had the instrument tracks recorded and just lacked vocals from Mick Jaggar. In fact, the bulk of the actual recording sessions for Tattoo You Jaggar was the only band member in attendance. The exceptions were “Neighbours” and “Heaven” which were the only brand new songs on the album.

Physical Graffiti Cover Building

However, even though the album was not constructed in a traditional fashion nor did it contain much up-to-date material, it certainly used cutting promotion. On August 1, 1981, MTV went on the air, a mere three weeks before the album’s release. The band would produce four videos to appear on the new network, including a rather creative one for “Neighbours” that plays off of Alfred Hitchcock’s film Rear Window and a memorable one for “Waiting For a Friend” that takes place in front of the same New York building featured on the cover of Led Zeppelin’s Physical Graffiti.

The use of this new cable medium, would bring this (then) twenty-year-old band front and center to a new generation of music fans, including myself. At thirteen, I believed this was all new material by the Rolling Stones, and I continued to believe so right up until earlier this week.

~
Ric Albano

Part of Classic Rock Review’s celebration of the 30th anniversary of 1981 albums.

Escape by Journey

Escape by JourneyRarely does a band become more successful after one of its founders and leader departs from the group. Greg Rollie was the original lead singer, keyboardist, and overall and heart and soul of the group Journey from the band’s beginning in 1973 to the arrival of front man Steve Perry in 1978. After some lukewarm sales of the band’s moderately successful initial three albums with Rollie as lead singer, the band hired Perry at the request of Columbia Records, initially to split vocal duties with Rollie. However, Perry eventually became the primary lead vocalist and, by the end of 1980, Rollie had decided to call it quits altogether.

Fortunately for Journey, the British pop band The Babys were breaking up at about the same time, freeing up keyboardist Jonathan Cain to join the band. This created the respectable songwriting triumvirate of Perry, Schon, and Cain that launched the band into mega popularity through the early 1980s, starting with their 1981 album, Escape.

Although a critical listener may find the lyrical content a bit common and trite, there is no denying that sound that was forged on this album creates a niche and feeling that is quite fantastic. There is an edge to each and every song that makes it indelible and taps into a deep reservoir of nostalgia, while some of the individual, performances are at a stratospheric level.
 


Escape by Journey
Released: July 31, 1981 (Columbia)
Produced by: Kevin Elson & Mike Stone
Recorded: Fantasy Studios, Berkeley, California, Winter-Spring, 1981
Side One Side Two
Don’t Stop Believin’
Stone In Love
Who’s Crying Now’
Keep On Runnin’
Still They Ride
Escape
Lay It Down
Dead or Alive
Mother, Father
Open Arms
Group Musicians
Steve Perry – Lead Vocals
Neal Schon – Guitars, Vocals
Jonathon Cain – Keyboards, Piano, Guitar, Vocals
Ross Valory – Bass, Vocals
Steve Smith – Drums, Percussion

 
While Cain was the driving force behind crafting many of the songs on Escape, and Perry and Schon provided, without a doubt, the incredible performances of this album (more on them later), bass player Ross Valory added a special touch to this album, with a unique-sounding, high end buzz to his bass sound that gives it just an edge to make the overall sound distinct. This is evident right from the jump on the hit “Don’t Stop Believin’ ” as he compliments the low end of Cain’s rotating piano riff in a preview of one of the elements the distinguishes this album from any other (including other Journey albums).

Don't Stop Believin' singleNeal Schon knows how to make an entrance, holding off for nearly a minute in this opening song, then providing a memorable rapid guitar tap that builds in intensity and volume. The guitarist is on at every moment in this album, making one wonder why he is not better recognized in the present day. He adds a solo at the end of “Who’s Crying Now” that elevates the otherwise standard love song to a new level and shines brightest on “Mother, Father”, the best song on the album.

A true classic in every sense, “Mother, Father” was arranged by Neal’s father and jazz musician Matt Schon who put together the ingenious chord structure that sets the mood for Perry’s soulful vocals and the absolutely superlative solo in the mid section. It climaxes with a surreal, harmonized outro, which completes a song that is as melodramatic as anything The Who ever did, while as deep into the “inner space” as anything that Pink Floyd ever did.

Steve Perry’s voice is a unique entity, unlike any ever quite heard before or since. He compliments any odd 7th or augmented chord by smoothly transitioning from note to note along an almost-superhuman range. He never seems to miss a note, but especially shines on the rockers “Lay It Down” and “Stone In Love”, as well as the ballad “Open Arms”, a calm lullaby that eases the album to its conclusion after the emotional journey of “Mother, Father”.

Another high point on the album is “Still They Ride” a haunting ballad, dripping with melancholy, that is dark yet addictive, here the band displays amazing discipline in measuring out the simple and slow notes with perfect, moody precision.

Journey in 1981

In total, Escape is a difficult album to pigeon hole. It is best known for its ballads that rose high in the charts, but yet has made a few “Top Heavy Metal Album” lists. It was undoubtedly a template for scores of album oriented rock efforts in the 1980s. Yet it gives a slight nod to the progressive rock of the 1970s with the exotic arrangements, jazz fusion, and the mini-suite title song, “Escape” (not to mention the official title of the album being the cleverly arranged “E5C4P3”).

No matter how it may be classified, it was certainly and instantly a hit, and the band did not shy away from reaping the benefits from this new found fame. In 1982, with the gush of a mainstream audience, Journey became the top-selling concert ticket, and that same year a Journey Escape video game was released for the Atari 2600 system.

Journey may be credited or blamed for what followed in the wake of Escape, when acts such as Poison, Bon Jovi, and countless other “hair” bands would put forth their own inferior carbon copies of this album but nonetheless stuck to the formula and gained success from it. In any case, they were the originators of this hybrid of pop-friendly “hard rock”, whether by design or not.

~

Part of Classic Rock Review’s celebration of the 35th anniversary of 1981 albums.

1981 Images

Who’s Next by The Who

Buy Who’s Next

Perhaps THE most complete rock album in history, Who’s Next has just about everything a classic rock fan can want in an album. It has plenty of three-chord power riffs, melodic piano ballads, cutting edge technological innovation, virtuoso performances, raw power, accessibility, depth, message, anthems, a nice balance between acoustic and electric, and an even nicer balance between electronic and analog. In total, this album by The Who is satisfying, wildly entertaining and hits its absolute peak at the very end.

That moment in “Won’t Get Fooled Again”, set up by the then cutting edge synth, that lulls the listener into believing that the album is over and will simply fade away. But then comes a few drum hits (and with Keith Moon “a few” is perhaps 20 or 30), that build to a dramatic re-introduction and Rodger Daltry’s scream, and the keystone lyric of the entire album;

Meet the new boss, same as the old boss…”

This lyric stands completely alone on an island of sonic majesty that ends with the band working through the hammering, staccato ending chords. It is a true thing of beauty. So on this note, Classic Rock Review will grant our very first Album of the Year for the very first year we’ve covered, 1971 to the album Who’s Next by The Who.
 


Who’s Next by The Who
Released: August 14, 1971 (Decca/Polydor)
Produced by: Glyn Johns & The Who
Recorded: Pete Townshend & John Entwistle’s Home Studios, Olympic Studios, London, The Record Plant, New York, 1970 – 1971
Side One Side Two
Baba O’Riley
Bargain
Love Ain’t for Keeping
My Wife
The Song Is Over
Gettin’ In Tune
Going Mobile
Behind Blue Eyes
Won’t Get Fooled Again
Band Musicians
Pete Townshend – Guitar, Keyboards, Vocals
Roger Daltrey – Vocals, Harp
John Entwistle – Bass, Brass, Vocals
Keith Moon – Drums, Percussion

 
Who’s Next is pure authenticity. It is completely unaware of itself, built totally of the kinetic energy of the moment, it is neither calculated nor contrived. This is quite ironic when put in the light of how Who’s Next actually came along.

The album derived from a “concept album” idea by guitarist and primary songwriter Pete Townshend. The title of this was to be Lifehouse, and it was started in 1970 as the follow up to the band’s 1969 rock opera, Tommy. The concept itself was futuristic and far out, so much so, in fact, that absolutely no one else in the band “got” it. This caused much friction and, according to Townshend himself, brought him to the verge of suicide.

After giving up on recording some of the Lifehouse tracks in New York, The Who went back to London to start over with a new producer, Glyn Johns. However, many elements from Lifehouse persisted through this new project. None more so than the heavy use of synthesizers by Townshend.

VCS-3 Synthesizer
VCS3 Synthesizer

The album starts with a song with a strange name and a strange sound. “Baba O’Riley” is a hybrid name, derived from the names of a guru and a friend, that starts with what must have been such a strange sound to listeners in 1971. It is an organ fed through a VCS3 synthesizer, physically played by Townshend, to come up with these strange, yet interesting, rotating patterns. It finally breaks in with the simplistic two chord riff – on piano then bass than guitar – that dominates the song, but does so much to hold together what is today a very familiar anthem with the central theme of “Teenage Wasteland”. The song climaxes with a violin solo by guest Dave Arbus, with a building rhythm behind it that works itself into a frenzy before coming to a climatic end on a single note.

All songs are written by Townshend except for “My Wife”, written and sung by bass player John Entwistle, a comical song that includes some brass played by Entwistle. The song is rare in that the bass line is almost normal, but this is easily accented by the frenzy of Moon’s drumming.

One of the most unique and endearing legacies of The Who, is the band’s frequent use of two lead vocalists (Daltry & Townshend) within a single song. It is a brilliant tactic that transforms the mood and temperament. This change is particularly dramatic in “The Song Is Over”, which alternates between a Townshend ballad and the Daltry-led majestic screed.

The Who in 1971

The rest of the album is filled with, enjoyable, pop-oriented songs. “Bargain” contains some pleasant guitar and synth motifs built on top of an acoustic riff. “Going Mobile” has a Woodstock-era, traveling the countryside vibe and a signature synth solo. “Love Ain’t for Keeping” contains harmonies and (gasp) almost a straight-played drum beat, while the ballads “Getting’ In Tune” and “Behind Blue Eyes” both contain some dramatic and theatrical bridge sections.

Which brings us back to “Won’t Get Fooled Again”, which starts awkwardly in the very first second, but there is not another unsure moment for the rest of this 8 ½ minute anthem. Years later, people would give punk credit for bring rock back to its roots, but isn’t that exactly the message in this song?

What started out as a “plan B” after a frustrating, failed project was spun into pure gold by the band that never shied away from taking chances on this album. As a result, The Who struck a chord that still resonates to this day, forty years later. We have no doubt it will continue to do so forty years from now.

~

1971 Images

Part of Classic Rock Review’s celebration of the 40th of 1971 albums.

Pearl by Janis Joplin

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Pearl by Janis JoplinPearl was the final, posthumous album in the brief but explosive career of Janis Joplin. She died before the album’s completion on October 4, 1970, at just 27, done in by an overdose of heroin. Janis lived hard and died young.

An awkward girl from Beaumont, Texas, she would make her mark in a time and place that must have seemed like another universe – San Francisco in the late 1960s. She was fearless in the sense that she never let the shallow opinions of her adolescent peers define her and she found her place making her mark in unapologetic, unyielding fashion.

But this radical transformation ultimately came at a tragic price, as chemical dependency grabbed hold of her and refused to let go. It’s not that she didn’t try to escape this fate, even going so far as to move back to Beaumont and adopt the fashionable bee-hive hairdo of the day. But in the end, she just couldn’t stay away from the scene, the lifestyle, the drugs, and the music.

“You can go all around the world trying to do something with your life, but you only got to do one thing well…”

Janis’s style was rough, raw, and completely genuine. She didn’t have an image manufactured by a team of publicists, and would not have done well in an American Idol-like situation. She lived in the moment with every note she sang, deeply entrenched in the emotions that effervesced from every strained vocal.
 


Pearl by Janis Joplin
Released: January 11, 1971 (Columbia)
Produced by: Paul A. Rothchild
Recorded: Los Angeles between September 5 and October 1, 1971
Side One Side Two
Move Over
Cry Baby
A Woman Left Lonely
Half Moon
Buried Alive in the Blues
My Baby
Me and Bobby McGee
Mercedes Benz
Trust Me
Get It While You Can
Primary Musicians
Janis Joplin – Vocals
John Till – Electric Guitar
Bobby Womack – Acoustic Guitar
Ken Pearson – Organ
Richard Bell – Piano
Brad Campbell – Bass
Clark Pierson – Drums, Vocals

 

Pearl has a more polished and accessible sound than anything Joplin had done earlier with Big Brother & the Holding Company or The Kozmic Blues Band, the original bands she worked with in San Francisco with limited success on the national and international scene.

The sound of the album was due in large part to the expertise of Paul A. Rothchild, who had shaped the sound of The Doors as their long time producer. Further, The Full Tilt Boogie, a profession group of backing musicians, shaped the sound that was the canvas for Janis’ dynamic vocals. Joplin had previously met and worked with the band over the summer of 1970, when they were on board the famous Festival Express, a train filled with performing and partying musicians that rode across Canada.

Aside from the Kris Kristofferson penned hit “Me and Bobby McGee”, there is really nothing special about the selections on this album. But, they are entertaining enough to make Pearl the crown jewel in the catalog of this rare talent. Most of the songs are standard rock and blues with a bit of country influence here and there. This is immediately apparent on the first two tracks, “Move Over”, which Joplin wrote herself, and the quasi-famous “Cry baby”. But there are also a few oddities on the album, like the a capella “Mercedes Benz” and the purely instrumental “Buried Alive in the Blues”, which was included despite the fact that Janis died before recording the vocals.

I’d trade all my tomorrow’s for one single yesterday…”

Kristofferson had just introduced his song to Joplin just a few weeks before her death, and wasn’t even aware that she had actually recorded it until afterwards. Ironically, it would be her biggest hit and most famous song, true fame that she wasn’t able to experience during the shooting star trajectory of her life.

~

1971 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1971 albums.

 

Sticky Fingers
by The Rolling Stones

Buy Sticky Fingers

Sticky Fingers is the third of the trilogy of Rolling Stones albums that, in our opinion, comprise the heart of the band’s prime. The first two were Beggars Banquet in 1968 and Let It Bleed in 1969, which collectively provided the sessions from which three of the songs on this album originated. However, Sticky Fingers stands out from the rest by being a distinctly transitional album. It is the band’s first “independent” album on their own Rolling Stones label and it bridges the gap between their hit-making, English-sound of the 1960s and the more urban-American sounding Stones that would develop through the 1970s.

Further, this album is also one of the first that is a bit reflective of the sixties culture and attitudes, something that would be repeated by many others throughout the seventies. The large number of (mostly) negative references to drugs shows an awakening in response to the recent deaths of Hendrix, Joplin, and Morrison and morbid wondering if there may be some among this band that will be next to go to the grave. This is also the first studio release since the 1969 debacle at Altamont, a festival which was supposed to be a west coast counterpart to Woodstock but ended up in a riot which resulted in the death of an audience member.

But the main reason for this transition is due to a major shift in personal, away from the band’s original leader Brian Jones, who was dismissed from the band in 1969 and then died mysteriously a few months later. Jones’ replacement was 20-year-old guitarist Mick Taylor, who makes his mark on Sticky Fingers as a suitable counterpart to Keith Richards.
 


Sticky Fingers by Rolling Stones
Released: April 23, 1971 (Rolling Stones)
Produced by: Jimmy Miller
Recorded: Muscle Shoals Sound Studio, Alabama; Olympic Studios, London
March, 1969 – January, 1971
Side One Side Two
Brown Sugar
Sway
Wild Horses
Can’t You Hear Me Knocking
You Gotta Move
Bitch
I Got the Blues
Sister Morphine
Dead Flowers
Moonlight Mile
Band Musicians
Mick Jagger – Lead Vocals, Guitars
Keith Richards – Guitars, Vocals
Mick Taylor – Guitars
Bill Wyman – Bass, Piano
Charlie Watts – Drums

 
The song that elevates Sticky Fingers from a good album to a great album is “Wild Horses”. Recorded at Muscle Shoals Sound Studio in Alabama in December 1969, this ode to heartbreak contains sweet excellent interplay between the electric and acoustics of Richards and Taylor, along with some of Mick Jaggar‘s finest lyrics ever;

“I’ve watched you suffer a dull aching pain / now you’ve decided to show me the same…”

The song was allegedly written about Marianne Faithfull, who played another large role on this album, as co-writer of the dark “Sister Morphine”, the oldest song on the album, dating back to March 1969, when Jaggar and Richards backed up Faithfull on what was originally a song of her own.

“Sister Morphine” is the first of the three songs that close the album with similar drugs n doom lyrical themes. The next is “Dead Flowers” which, although just as dark lyrically, is a nice upbeat and light departure from its melodramatic predecessor, even though Jaggar’s country voice is less than convincing. His voice is much more suited for the album’s fine closer, “Moonlight Mile”, a moody, melancholy, and slightly dark ballad that eases the listener out of the album. Like much of the album, it was recorded in March 1970 at Jaggar’s home at Stargroves and is the product of an all-night session between the singer and guitarist Mick Taylor after Keith Richards mysteriously disappeared from the sessions.

Aside from the country feel of “Dead Flowers”, the band experimented with a few other genres on Sticky Fingers. “You Gotta Move” is an attempt at 1930s Delta Blues, obviously in response to some of early work by Led Zeppelin. Another song, “I Got the Blues” is a better effort that tilts towards sixties soul and contains some excellent organ by guest Billy Preston.
 
Rolling Stones in 1971
 
The glue that holds the album together is three solid rockers built around Richards’ signature riffs. “Brown Sugar” and “Bitch” are quasi-twin songs that open each side to the upbeat, catchy vibe that made this band so popular in the first place. In fact, this was played out in real time as the opener actually hit #1 on the pop charts. And then there is the classic “Can’t You Hear Me Knocking”, a hybrid that goes from a rocker hitting on all cylinders that suddenly relents into a wild, five-minute instrumental section with guests Rocky Dijon on congas and Bobby Keys on saxophone, and a spacey, droning guitar section by Taylor.

Models of longevity, the Rolling Stones surely did some fine and interesting work over the years and decades that followed 1971. But they would never quite reach the level of Sticky Fingers again.

~

1971 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1971 albums.

Surf’s Up by The Beach Boys

Buy Surf’s Up

1971 was an exceptionally great year for rock n roll, and we at Classic Rock Review regret that we can not give a proper review to all the great works from that year in the short time we allotted ourselves. However, there is one that we felt we had to “squeeze in” before we’re done, due to it being probably the most unique and unusual album of that year – Surf’s Up by The Beach Boys. This 17th overall album by the group was also sort of a commercial comeback as it reached the Top 30 on both sides of the Atlantic.

To be honest, this album can be very frustrating. It is a mish-mash that, on the one hand, offers deep, rewarding, quality compositions worthy of the talent in this band. But on the other hand, there are some tacky, directed “social commentary” songs that, in many cases, barely rise to the level of musical Public Service Announcements. However, the album does possess a cohesive mood and tone and it does get more consistent and stronger as it goes along. So, in the end, we decided that the good here outweighs the bad and that the album needed to be reviewed.

Some has stated that Surf’s Up defined the band’s tumultuous career better than any other album, and this very well may well be the case. The Beach Boys rode to fame on selling good times, fast cars, surfing, and girls. In the process, the squeezed every bit of the “endless fun” out of California and over-used the term “surf” (which, including this album and title song, is used in some form in the titles of four different albums and eleven different songs). In the end, this was all a nice fantasy, but eventually you have to grow up and face the realities of life.
 


Surf’s Up by The Beach Boys
Released: August 30, 1971 (Brother)
Produced by: The Beach Boys
Recorded: Los Angeles between November, 1966 and June, 1971
Side One Side Two
 Don’t Go Near the Water
 Long Promised Road
 Take a Load Off Your Feet
 Disney Girls (1957)
 Student Demonstration Time
Feel Flows
Lookin’ at Tomorrow
A Day In the Life of a Tree
Til I Die
Surf’s Up
Band Musicians
Brian Wilson – Guitars, Keyboards, Percussion, Vocals
Carl Wilson – Guitars, Keyboards, Vocals
Mike Love – Vocals, Saxophone
Al Jardine – Bass, Vocals
Dennis Wilson – Drums, Vocals

 

The band’s primary songwriter and musical driving force, Brian Wilson, retired from performing live by 1965 due to psychological and anxiety issues. He instead concentrated on studio production for the band. In 1966 he produced the brilliant Pet Sounds, a great departure from the band’s early work that was universally acclaimed.

Later that year, Wilson brought in Van Dyke Parks to collaborate on a follow-up album titled SMiLE, but due to growing artistic turmoil within the band, Brian’s deteriorating mental state, and a prolonged production problem, Parks abandoned the project in 1967 and the album was never released.

A key song from those sessions called “Surf’s Up” was performed live on piano by Brian Wilson for a CBS News special on “modern” music, which caused much curiosity and speculation by fans and critics about the unreleased “SMiLE” material over the next several years. During this time (1967-1970), The Beach Boys released several more albums, but each decreased in popularity, signaling a rapid decline for the band.

Then in 1971, Jack Reiley was brought in as manager, and he master-minded this new album. It was to be built around the (now mythical) song “Surf’s Up”, along with other abandoned out-takes from previous projects and new, politically-orientated songs. Reiley would also co-write a couple of fine songs with Carl Wilson and even performed the lead vocals on the psychedelic Parks/Brian Wilson song “A Day in the Life of a Tree”, after everyone in the band refused to sing it.
 

 
The youngest of the three brothers in the band, Carl Wilson had never previously written anything of significance for The Beach Boys, but his co-written contributions of “Long Promised Road” and “Feel Flows” are two the best songs on this album. Further, with Brian all but absent from the (1971) production of this album, Carl stepped up and assumed many of the producer responsibilities, although production credit was ultimately given to simply “The Beach Boys”.

The album’s sound is further diversified by the large number of other songwriting contributors. Al Jardine wrote some of the new “politically conscious” songs, including the opener “Don’t Go Near the Water”, an ironic message from a band that had been advocating the exact opposite for many years. Mike Love reworked a live standard into “Student Demonstration Time” and, although not quite yet an “official” member of the band, Bruce Johnston wrote and sang lead another on the album’s finer songs, the nostalgiac “Disney Girls (1957)” (Johnston was a long time “stand-in” for Brian Wilson on stage).

However, even though his actual participation was minimal, Brian Wilson managed to contribute the album’s two most significant songs, the two that close out Surf’s Up.

First, there was the newly-penned “Til I Die”, a beautiful but haunting ode to helplessness, which contains the tradition “Beach Boys sound” built around the rich harmonies of Carl, Brian, and Mike Love.

Then, of course, there is the climatic title song written five years earlier. A mini-suite in three distinct parts fused together seamlessly. The original, Brian Wilson produced backing track provides a backdrop for new vocals by Carl during the first part, while Brian’s original vocals are used in the middle part. The song’s concluding section was based on another SMiLE-era track, “Children Are the Father of Man”, and features Jardine on lead vocals and Carl and Brian doing harmonies. As a whole, even though the song distinctly changes and the lyrics are a bit thick, the message is undeniable.

Through the rest of the 1970s and well into the 1980s, Brian Wilson virtually dropped out of the music scene while the rest of the band would tour and play some of their greatest hits from the early 60s in what would become known as the “Endless Summer”. Surf’s Up proved to be their last, best effort as, artistically, the Beach Boys would not quite reach this level again.

~

1971 Images

Part of Classic Rock Review’s celebration of 1971 albums.

 

Love It to Death & Killer by Alice Cooper

Buy Love It to Death
Buy Killer

Alice Cooper ComboDue to his legendary live shows, Alice Cooper tended to get swallowed up by the stage persona that would come to define his career. But the foundation that preceded the stage act, was built on some very solid, very original, and very interesting music. In 1971, Alice Cooper was not merely the individual Vincent Damon Furnier, but was also a solid and excellent Alice Cooper Band which stood toe to toe with many of the more heralded groups of the day musically. Book-ending the year were two classic releases from this group, Love It to Death and Killer.

The band consisted of former members from the sixties rock band The Spiders, which Furnier joined as a 16-year-old in 1964. The Alice Cooper name and persona was adopted in 1968 and the following year they released their debut album Pretties for You. In 1970, the group recorded and released Easy Action, which was mired in production and censorship issues, temporarily halted the group’s momentum.

That all turned around in 1971, with the release of these two albums, which are similar in many ways. Both were recorded at the RCA studios in Chicago, with the same performers and the same producer, the legendary Bob Ezrin. These albums are also similar in tone and style, which took a quantum leap here from the band’s previous two albums. With this in mind, Classic Rock Review has decided, for the first time, to combine two albums into a single review.


Love It to Death by Alice Cooper Band
Released: January 12, 1971 (Warner Brothers)
Produced by: Bob Ezrin
Recorded: RCA Mid-American Recording Center, Chicago, 1970
Side One Side Two
 Caught In a Dream
 I’m Eighteen
 Long Way To Go
 Black Juju
Is It My Body
Hallowed Be My Name
Second Coming
Ballad of Dwight Fry
Sun Arise
Killer by Alice Cooper Band
Released: November, 1971 (Warner Bothers)
Produced by: Bob Ezrin
Recorded: RCA Mid-American Recording Center, Chicago, 1971
Side One Side Two
 Under My Wheels
 Be My Lover
 Halo of Flies
 Desperado
You Drive Me Nervous
Yeah, Yeah, Yeah
Dead Babies
Killer
Band Musicians (Both Albums)
 Alice Cooper – Vocals, Harmonica
Michael Bruce – Guitars, Keyboards
Glen Buxton – Lead Guitars
Dennis Dunaway – Bass
Neal Smith – Drums

 
If we were to compare these albums with each other, Love It to Death would get a slight edge overall, primarily because it is more complete throughout. This album also contains the brilliant “Ballad of Dwight Fry”, which is perhaps one of the greatest overlooked songs ever, due to it’s haunting original theme and the quality of the music itself.

The song has some perfectly layered acoustic, a crisp bass line by Dennis Dunaway, an organ rotation by Ezrin, and a crazy, moaning electric guitar by Glenn Buxton. A perfect backdrop for the spastic, insane vocals of Cooper, which draw heavy influence from the poetry and theatrics of Jim Morrison and The Doors.

Love It to Death also contains more diversity than its successor, with “Black JuJu” drawing from Pink Floyd circa Saucerful of Secrets and “Sun Arise” being nearly the polar opposite, a happy-go-lucky pop song in the vein of the AM hits of the day. But the core of this album is made up of straight-out rockers.

Guitarist and keyboardist Michael Bruce actually had a bigger hand in songwriting than Cooper himself and his songs are some of the most recognizable on either album. On Love It to Death, these include the upbeat “Caught In a Dream” and “Is It My Body”, along with the slightly doomier but brilliant “I’m Eighteen”, the biggest early hit for Alice Cooper.

But while Love It to Death is the more complete album, the best “side” of music is the first side of Killer. “Under My Wheels” kicks things off with a guest appearance by guitarist Rick Derringer, followed by “Be My Lover”, both of which are solid, accessible rockers by Bruce, and give the impression that this album will be much more mainstream than it’s predecessor.

However this notion is quickly dismissed, as the band launches into the progressive “Halo of Flies”, a King Crimson-esque virtuoso that features extraordinary playing, especially from drummer Neil Smith, and proves, without a doubt, that Alice Cooper was much more a band than an individual in 1971.

The side concludes with “Desperado”, an excellent and completely original song that alternates between a moody crooner and an agitated shouter. It was allegedly written as a tribute to Morrison, who had died in Paris shortly before the making of Killer.

After this solid sequence of songs on the first side, Killer runs out of steam on the second, as the material becomes a little thin and gets very repetitive. Nonetheless, this album is worth owning right alongside Love It to Death.

Over the next two years, Alice Cooper the band would put out three more albums and continue to gain in popularity. Unfortunately, the live show cast an ever larger shadow and the band broke up by 1975, with Alice Cooper the individual carrying on as a solo act for decades to come.

~

1971 Images

Part of Classic Rock Review’s celebration of 1971 albums.

 

Every Picture Tells a Story by Rod Stewart

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Every Picture Tells a Story by Rod StewartWith his solo album, Every Picture Tells a Story, Faces lead singer Rod Stewart produced a unique and entertaining album, albeit strange in many ways. The album only really contained four original songs with the other six being covers, but it sounded completely original in the ways the songs were arranged and interpreted. It was done in a year when Faces would release two albums as a group, and each member of Faces contributed to this “solo” album. Guitarist Ronnie Wood and keyboardist Ian McLagan were featured prominently throughout. However, the album’s credits were very vague on some of the credits and recording information. The mandolin player who is front and center on a few tunes is referenced as; “the mandolin player in Lindisfarne” after Rod Stewart had forgotten his name (this was later revealed to be Ray Jackson of the folk-rock group Lindisfarne).

The album blends an incredible mixture of rock, folk, country, blues, and funk. Classical guitarist Martin Quittenton is front and center with his acoustic guitar through much of Every Picture Tells a Story, setting the tone for many of the other intruments and styles to blend along. While constantly alternating between originals and covers, there is a definite consistancy and flow to the album, which was once aptly described as “a romantic, earthy portrait of a young man joyously celebrating his young life”.
 


Every Picture Tells a Story by Rod Stewart
Released: July 9, 1971 (Mercury)Produced by: Rod Stewart
Recorded: Los Angles, November 1970
Side One Side Two
Every Picture Tells a Story
Seems Like a Long Time
That’s All Right
Amazing Grace
Tomorrow Is a Long Time
Henry
Maggie May
Mandolin Rain
(I Know) I’m Losing You
Reason To Believe
Primary Musicians
Rod Stewart – Lead Vocals, Acoustic Guitar
Martin Quittenton – Acoustic Guitars
Ian McLagan – Organ, Piano
Ronnie Wood – Electric & Steel Guitars, Bass
Micky Waller – Drums

 
The album starts with the title song, “Every Picture Tells a Story”, which was written by Stewart and Ronnie Wood. A great song with excellent motion (in the music as well as the lyrics) that sets the pace for the feel of the album. Drummer Micky Waller Plays a strong and loose rhythm throughout as the song has a vibe of an improvised jam that comes together serendipitously. Theodore Anderson’s “Seems Like a Long Time” follows as a fine piano ballad with good lead guitars by Wood and nice distance effect on the vocal as the song persists.

The rest of side one works through original interpretations of standard covers. “That’s All Right”, made most famous by Elvis, contains a bluesy, slide acoustic intro to piano driven rocker. The traditional spiritual “Amazing Grace” is in the same bluesy vein and is mostly instrumental then one verse before end. Bob Dylan’s “Tomorrow Is a Long Time” is a fine song to wrap up the side with acoustic, fiddle, and interesting vocals by Stewart as he tries to adopt a “Dylan-esque” accent but comes off sounding more like Johnny Cash.

Maggie May singleThe true genius of the album lies on side two with Quittenton leading the way with a short classical intro to “Maggie May”, which would become one of the most celebrated songs in rock history. Driven nicely with a bright acoustic in the forefront and a driving bass and organ heavy in mix, the song works through the entertaining story of a young man involved with an older woman. Initially released as a B-side (but with its total length), it soon became favorites of radio stations and fans across the world. After the many verses, the song breaks down to feature the solo mandolin of Ray Jackson which leads the song through the famous coda phase.

Jackson is also featured in “Mandolin Wind”, but as a more traditional mid-song solo. This final original by Stewart is a very calm and moody acoustic ballad with a stop/start format and some excellent over-layed guitars in the vein of some recent material by the Stones, giving the song a strong and unique edge. At about 4:50, the song becomes more intense and rock-oriented with the drums kicking in and bringing the song home.

The album concludes with a couple of remakes of sixties songs. “(I Know) I’m Losing You” was first recorded by the Temptations and includes a funk rock groove unlike anything else on the album, making for a nice change of pace. “Reason To Believe” was first recorded by folk singer Tim Hardin in 1965 and became a nice ballad to finish the album as well as a pop hit. The song was re-done by Stewart later in his career but the arrangement on this album, with the fine piano, organ, and fiddle, was the best by far.

Even though it was near the very beginning of a very long solo career, Every Picture Tells a Story would go on to be universally considered as Stewart’s masterpiece. It has timeless quality that introduces pop and rock fans to the best of folk, while still offering rich arrangement and production.

~

1971 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1971 albums.

 

Low Spark of High-Heeled Boys by Traffic

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The Low Spark of High-Heeled Boys by TrafficTraffic reached a level of distinction with the second album of the second incarnation of the band (their fifth album overall). The Low Spark of High-Heeled Boys is a diverse and entertaining album that showcases the band at its absolute peak, but also forges a path as peculiar as the album’s title. The album follows-up 1970’s John Barleycorn Must Die and pretty much follows the same formula of a methodical mix of rock and slow fusion jazz, built mainly in the studio. Although it was not a rousing commercial success, The Low Spark of High-Heeled Boys was met with a great critical response.

The original phase of the band, led by Dave Mason was more rock and pop oriented than this second more experimental and progressive phase led primarily by Steve Winwood.

The band nearly broke up after Mason left the band in 1968. Winwood moved on to the super-group Blind Faith while the remaining members joined various other projects. Blind Faith disbanded after just one album and Winwood soon went to work on a solo album. He called in his former band mates Jim Capaldi and Chris Wood to help out but their contributions were so significant that it was decided that the project would become a Traffic album. Released in July, 1970, John Barleycorn Must Die was a surprise hit reaching #5 on the Billboard charts, and giving Traffic unexpected new life.
 


Low Spark of High-Heeled Boys by Traffic
Released: November, 1971 (Island/Reprise)
Produced by: Steve Winwood
Recorded: Island Studios, London, September, 1971
Side One Side Two
Hidden Treasure
The Low Spark of High-Heeled Boys
Light Up or Leave Me Alone
Rock & Roll Stew
Many a Mile to Freedom
Rainmaker
Group Musicians
Steve Winwood – Guitars, Piano, Organ, Vocals
Jim Capaldi – Percussion, Vocals
Chris Wood – Flute, Saxophone
Ric Grech – Bass, Violin
Jim Gordon – Drums

 
While Traffic operated as a trio for Barleycorn, they became a quintet for the follow-up by adding Ric Grech, who played with Winwood in Blind Faith, on bass and Jim Gordon on drums. This not only gave the band a fuller sound, but also allowed them to branch out towards richer sub-genres, as showcased in the album’s title song.

This eleven and a half minute anthem draws deep influence from Mile Davis’ Bitches Brew, released just a year earlier, with a nice break towards standard rock for the choruses. The title of “Low Spark of High-Heeled Boys” has been the subject of much debate over the years, including references to many drug, but the lyrics suggest that it most likely is a direct shot at the music industry in general and the fad of glam rock in particular –

“The percentage you’re paying is too high priced while you’re living beyond all your means and the man in the suit has just bought a new car from the profit he’s made on your dreams”

 

 
A commentary on commercialism of the industry, the artists are a means to a financial end, the creative process takes a back seat to profits, it can steal your pride, but it can’t take your spirit.

” But spirit is something that no one destroys.”

Listening to the album as a whole, which contains a mix of jazz, progressive, and classic rock, “Rock & Roll Stew” may have been a more appropriate title song. Along with “Light Up or Leave Me Alone”, it is one of two songs where Capaldi takes over on lead vocals, a rarity on Traffic albums before or since. Both songs are also similar as straight up classic rock with some funk influence.

The rest of the album is at a calmer, more “mellow” pace, as set by the album’s opener, “Hidden Treasure”, with a jazzy piano, steady beat, and strategic flute motifs. “Many a Mile to Freedom” is a progressive rock “ballad” co-written by Winwood and Capaldi’s wife, Anna. It has a beautifully flowing style, accented by some soaring electric guitar, with the flute “floating” dreamily along with the lyrics –

“for together we flow like a river, together we melt like the snow…”

In all, The Low Spark of High-Heeled Boys is a bold and creative album using the talents of each band member to their fullest, and showcases Traffic at their absolute peak.

~

1971 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1971 albums.

 

What’s Going On by Marvin Gaye

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What's Going On by Marvin Gaye

When something is completely original, breakthrough, and/or innovative it grabs our attention. Classic Rock Review’s mission is to spotlight what are, in our opinion, the most essential albums in the history of rock n roll. And classic rock n roll is our focal point, so we don’t normally drift too far from the mainstream center of that particular genre. But we do reserve the right to occasionally travel to the fringes when we spot something there that is extraordinary and cannot be ignored.

What’s Going on is, in no way, a rock n roll album. But it did evolve from a common ancestor and would become an incredibly influential album that would effect the direction of rock n roll (as well as many other genres) as the subsequent decades unfolded.

It was written in the wake of a great tragedy in Gaye’s live after the death of his longtime singing partner Tammi Terrell, who died of a brain tumor at age 24 in March, 1970. Gaye went into a deep depression and temporarily retired from music order to try out (unsuccessfully) for the the Detroit Lions football team. Then he was contacted by Al Cleveland and Renaldo Benson, who asked Gaye to produce a politically conscious song that they were working on.
 


What’s Going On by Marvin Gaye
Released: May 21, 1971 (Tamla)
Produced by: Marvin Gaye
Recorded: Hitsville USA, Golden World, & United Sound Studios, Detroit
& The Sound Factory, Hollywood between June, 1970 and March, 1971
Side One Side Two
 What’s Going On
 What’s Happening Brother
 Flyin’ High (In the Friendly Sky)
 Save the Children
 God Is Love
Mercy, Mercy Me (The Ecology)
Right On
Wholy Holy
Inner City Blues (Make Me Wanna Holler)
Primary Musicians
 Marvin Gaye – Vocals, Piano, Percussion
Joe Messina & Robert White – Electric Guitars
James Jamerson & Bob Babbit – Bass
David Van De Pitte – Orchestral
Chet Forest – Drums

 
The song was titled “What’s Going On” and it was slated to be performed by the Motown R&B group The Originals, but soon Cleveland and Benson was able to convince Gaye to come out of his brief retirement and perform it himself. The song contains a cool groove highlighted by the animated bass of James Jamerson and Marvin’s emotional and soaring vocals, with deep, introspective lyrics that fluctuate the title from a statement to a question and then back again. It would set the pace for the eventual album of the same name, although none of the other songs on the album would quite reach the excellence of this title song.

However, when the song was complete, it initially faced resistance from Motown founder and CEO Berry Gordy, Jr, who felt it deviated from the “Motown sound” and consequently, would not sell to the target audience. Gordy eventually gave in and was proven wrong to the highest degree as “What’s Going On” became the fastest selling song in Motown’s history upon it’s release in early 1971. Encouraged by this success, Gaye set out to record a full album in the same basic theme, this time with the full support of Gordy and the label, who let Marvin take the reigns and produce it as he saw fit.

The result is what many consider to be Marvin Gaye’s masterpiece, although some of the accolades bestowed upon this work have been ludicrously fawning through the years, especially by those critics looking for deep political or spiritual meaning. Although, it has much of both, the music is not done justice by inflating this meta data beyond the thin shell of its environmental context.

The music, however, is deep. Influenced by a wide array of contemporaries, ranging from Miles Davis (“Flyin’ High In the Friendly Sky”) to War (“Right On”). But, most importantly, there is a spark of originality here that make it distinct from anything else during Marvin Gaye’s career or, perhaps even, Motown’s. It is richly produced with many background singers and vocalists, an array of percussionists, and an orchestra conducted by David Van De Pitte. Further, the songs fuse together, unfolding like an audio movie much like a rock opera, except (as we noted earlier) this is not rock n roll.

What’s Going On started as a happy accident, where a down-in-the-dumps singer comes across a work that gives him principal and purpose and, utilizing deep talents not before discovered, he produces an extraordinary work of art, well ahead of its time.

~

1971 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1971 albums.