September 2011 – Classic Rock Review

The Psychedelic Sounds of
The 13th Floor Elevators

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Emerging from Austin, Texas in the mid-sixties was the band which many consider to be the pioneers of psychedelic rock, The 13th Floor Elevators. The band was led by guitarist and vocalist Roky Erickson and lyricist Tommy Hall who added a very special and unique element to the band’s sound with the “electric jug”. This was a crock-jug with a microphone held up to it while it was being blown into. However, in contrast to traditional musical jug technique, Hall vocalized musical runs into the mouth of the jug, using the jug to create echo and distortion of his voice.

The band’s debut album, The Psychedelic Sounds of The 13th Floor Elevators was recorded in Texas and released in late 1966. The band found some commercial and artistic success in 1966-67, before dissolving amid legal troubles due to heavy drug use and unabashed vocal advocacy for the practice. In fact, in the album’s liner notes Hall wrote a manifesto detailing the history of mind-altering substances and advocating for societal acceptance of LSD, mescaline, and marijuana as a gateway to a higher, ‘non-Aristotelian’ state of consciousness”. At Hall’s urging, the band played most of their live shows and recorded their albums while under the influence of LSD, which was not yet illegal in 1966. At the peak of their success, the band appeared on Dick Clark’s American Bandstand, where the host innocently asked, “who’s the head of the band?” To which Hall replied, “we’re all heads”.

Despite their very short time in the limelight, The 13th Floor Elevators are credited with being major influences for many future artists including Big Brother and the Holding Company, the Allman Brothers, and fellow Texans ZZ Top, whose guitarist Billy Gibbons credits Elevators’ axe man Stacy Sutherland with shaping his band’s earliest sound. Further, Erickson’s wild, banshee-like screams and high-pitched notes have been credited by some as a major influence on Robert Plant of Led Zeppelin. The band was also credited by many as being a major influence on the punk rock genre, which wouldn’t fully emerge until a decade later.

The Psychedelic Sounds of The 13th Floor Elevators
Released: November, 1966 (International Artists) Produced by: Lelan Rogers & Gordon Bynum Recorded: Sumet Sound, Dallas TX, January-October 1966
Side One	Side Two
You’re Gonna Miss Me Roller Coaster Splash 1 (Now I’m Home) Reverberation (Doubt) Don’t Fall Down Fire Engine	Thru the Rhythm You Don’t Know (How Young You Are) Kingdom of Heaven Monkey Island Tried to Hide
Band Musicians
Roky Erikson – Lead Vocals, Rhythm Guitars Stacy Sutherland – Lead Guitars Benny Turman – Bass, Violin John Ike Walton – Drums, Percussion Tommy Hall – Amplified Jug

The 13th Floor Elevators were formed in late 1965, when Erickson left his band the Spades to complete the lineup. In January 1966, the band went to Houston to record two songs for producer Gordon Bynum to be released as a 45 single. The songs were Erickson’s “You’re Gonna Miss Me”, which he had previously recorded with the Spades, and Hall-Sutherland’s “Tried to Hide”. These songs would eventually bookmark the Psychedelic Sounds… album. “You’re Gonna Miss Me” eventually became popular outside Texas, and by October it peaked at #55 on the Billboard charts, the band’s one and only “hit” single. The song sounds like it was influenced by a mixture of Van Morrison and Them and California surf music. It is quite edgy for the time, with the electric jug going wild and powered by Erickson’s feral vocals and Sutherland’s concise but agile guitar work. “Tried to Hide” finishes the album ends on a “high” note (no pun intended) with some high-pitched percussion up front and all the intensity of Hall’s electric jug and Erickson’s voice.

The album’s body contains a mixture of adequate, sixties-style rock and ballads cut with this new “acid rock” sound the band was forging. “Roller Coaster” is a song with sharp, echoed, electric notes that was likely a heavy influence on Pink Floyd’s “Lucifer Sam” on their own psychedelic debut a year later. “Splash 1 (Now I’m Home)” is a pleasant little ballad with a dreamy, nicely picked guitar and the noted absence of the electric jug (which appears on just about every other song). “Reverberation (Doubt)” is a song which was clearly years ahead of its time, a true hippie creed in 1966, while “Fire Engine”, with its wild, freaky siren effects (which may be laughable using today’s technology), may be one of the earliest examples of punk. Although there are some throw-away, forgettable songs on the album, most of it is interesting, innovative, and unique, probably due to the very mind-altering substance that would lead to the band’s quick demise.

The 13th Floor Elevators

By 1968, four of the five members of the 13th Floor Elevators were facing pending drug possession charges and Erickson was eventually sentenced to 10 years for marijuana possession (but pleaded insanity and spent much of the coming decades in and out of mental institutions). To this day, there is much debate over whether the band members were the single originators of “psychedelic rock” or just part of a select movement spearheaded by lesser known artists. In either case, there is no doubt that the 13th Floor Elevators were rock pioneers.

Part of Classic Rock Review’s celebration of 1966 albums.

Freak Out! by
The Mothers of Invention

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In one of his last interviews, Frank Zappa said, “sounds are for people to listen to,” while summing up all the different types of instruments and objects he used to make sounds over the years. This is certainly a true motto for the musician who spent three decades creating the most avant garde art rock. His body of work was incredibly vast with 62 albums of original work released during his lifetime and about 30 more since his death in 1993. The first of these was an ambitious effort done by his band, The Mothers of Invention, in 1966. It was a debut double LP called Freak Out!.

Perhaps one of the most ambitious debut efforts ever, Freak Out!‘s two original LPs each contained a different approach. The first two sides consist of short, pop-oriented songs with edgy lyrics and musical flourishes while the final two sides are dedicated to longer art pieces, more in line with later psychedelia. This was all masterminded by Zappa who possessed incredible musical composition and arrangement talents and was able to replicate the pop music that he actually despised in order to make the highly satirical first half of the album. He then employed many innovative techniques such as shifting time signatures and disparate arrangement for the second part of the album.

The Mothers of Invention were formed in the early 1960s, when Zappa met vocalist Ray Collins. By 1965 the band was playing clubs along the Sunset Strip and were offered a recording contract basedupon the strength of one song, which happened to be the sole pop song to be recorded for the album. The entire album was recorded in four days in a Hollywood studio in March 1966 and produced by Tom Wilson, who had previously produced several albums by Bob Dylan and Simon and Garfunkel. Wilson was unaware of the band’s unique musical approach, thinking the Mothers were a blues band when they entered the studio.

Freak Out! by The Mothers of Invention
Released: June 27, 1966 (Verve) Produced by: Tom Wilson Recorded: Sunset Highland Studios, Hollywood, CA, March 1966
Side One	Side Two
Hungry Freaks, Daddy I Ain’t Got No Heart Who Are the Brain Police? Go Cry On Somebody Else’s Shoulder Motherly Love How Could I Be Such a Fool?	Wowie Zowie You Didn’t Try to Call Me Any Way the Wind Blows I’m Not Satisfied Probably Wondering Why I’m Here
Side Three	Side Four
Trouble Every Day Help, I’m a Rock	The Return of the Son of Monster Magnet
Primary Musicians
Frank Zappa – Guitars, Vocals Ray Collins – Vocals, Harmonica, Effects Elliot Ingber – Guitars Roy Estrada – Bass, Vocals Jimmy Carl Black – Drums, Percussion, Vocals

The album begins with the fuzz-guitar driven “Hungry Freaks, Daddy”, a song with a 1966 beat and music along with 1977 lyrics and tone and contains the first hints of odd instrumentation including vibraphone and kazoo. The first side then proceeds through the bluesy rock of “I Ain’t Got No Heart”, the totally psychedelic “Who Are the Brain Police?”, and the doo-wop parody “Go Cry on Somebody Else’s Shoulder”, with a three-part harmony among Zappa, Collins, and bassist Roy Estrada.

“Motherly Love” is the best song on the first side, almost with pop sensibility although definitely dirty-minded. It became the sort of anthem for the band in the early years and probably one of the first to directly take on the world of groupies and sex on the road. “How Could I Be Such a Fool?” finishes off the first side as another good song with some nice Mexican horns in the mix.

The album’s second side is probably the most entertaining and interesting. Starting with the almost-bubble-gum kid’s tune “Wowie Zowie” with its frivolous play on words, the side then moves through two legitimate pop songs. The excellent “You Didn’t Try to Call Me” contains some additional horns, woodwinds, vibes, and extra layers of guitar by Elliot Ingber. “Any Way the Wind Blows” is a 50s-style love song, composed by Zappa in 1963, and was the song that ultimately got the Mothers their record deal. “I’m Not Satisfied” is an upbeat, sixties rock popper with more great background brass while “You’re Probably Wondering Why I’m Here” is a bit more freaky, striking a balance between a totally off-the-rail piece and quasi-pop song.

Side three begins with “Trouble Every Day”, a groovy, bluesy number with poetic lyrics. It is perhaps the most memorable song from the album and has a rocked-out, Dylan-esque quality. The eight and a half minute “Help, I’m a Rock” is in three pieces, all very experimental, repetitive, and a bit lazy. Much of the track sounds like someone chanting along to a skipping record. “The Return of the Son of Monster Magnet” takes up the entirty of the fourth and final side. It is a studio jam over a simple rock motif with many street percussionists and other “freaks” brought in from the Sunset Strip to improvise thid final track.

While Freak Out! was far from a commercial or critical success upon its release, the album did develop a cult following among fans and fellow musicians. It was a major influence on The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and would eventually make many “all time ” lists.

Part of Classic Rock Review’s celebration of 1966 albums.

Parsley Sage Rosemary Thyme by Simon and Garfunkel

Parsley Sage Rosemary Thyme
by Simon & Garfunkel

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Although Parsley, Sage, Rosemary and Thyme is officially the third album by Simon & Garfunkel, they certainly did not take the traditional path to get to this point. Nevertheless, this album would be their commercial and artistic breakthrough which would launch them into international stardom through the rest of the 1960s (and far beyond that for Paul Simon). This album, like many albums from 1966, fused different styles and genres while it experimented with non-traditional instrumentation which helped push out the outer walls of the rock n roll universe.

Starting out a decade earlier as the teen duet Tom & Jerry, these natives from Queens in New York City struggled for years to find an audience and an identity. While attending college in 1963, Simon & Garfunkel began to catch on in the burgeoning folk scene in New York’s Greenwich Village and this ultimately led to a record deal with Columbia Records. Their debut album, Wednesday Morning, 3am, was recorded and released in 1964 and contained a few originals penned by Simon among mostly cover songs. However, it did not fare very well in popularity leading to a breakup of Simon & Garfunkel shortly afterward, with Paul Simon moving to England to pursue a solo career. There in 1965 Simon recorded his solo album, The Paul Simon Songbook and began his own rise through the English folk scene. But back in the states a song from the Simon & Garfunkel debut album called “The Sound of Silence” was slowly climbing the charts, due mainly to its vast popularity on college radio stations. Seeing an opportunity, the duo’s producer, Tom Wilson dubbed in some electric guitars, bass and drums onto the original, pure acoustic track of “The Sound of Silence” and released it as a single nationwide. The song climbed the charts an ultimately hit #1 on January 1, 1966. With this development, Simon & Garfunkel reunited and quickly recorded a bunch of songs, including five from Simon’s recent solo album, which were released on the duo’s second album, Sounds of Silence in early 1966. This album fared much better than their debut effort and gave them some creative freedom to work on a new, all-original album of independent songs.

Released in October 1966, Parsley, Sage, Rosemary, & Thyme got its name from a traditional English ballad that originated in the 16th century, which Simon learned while in the United Kingdom. The album would go an to receive popular as well as critical acclaim and serve as a lynchpin to Simon & Garfunkel’s career.

Parsley Sage Rosemary Thyme by Simon & Garfunkel
Released: October 10, 1966 (Decca, UK Version) Produced by: Bob Johnston Recorded: December 1965-August 1966
Side One	Side Two
Scarborough Fair/Canticle Patterns Cloudy Homeward Bound The Big Bright Green Pleasure Machine The 59th Street Bridge Song	The Dangling Conversation Flowers Never Bend with the Rainfall A Simple Desultory Philippic For Emily, Whenever I May Find Her A Poem on the Underground Wall 7 O’Clock News/Silent Night
Primary Musicians
Paul Simon – Lead Vocals, Guitars Art Garfunkel – Lead Vocals, Piano Joe South – Guitars Carol Kaye – Bass

“Scarborough Fair / Canticle” is a song unique in the Simon & Garfunkel library, with an almost psychedelic, Pink Floyd-ish vibe (although that band did not appear on the scene until 1967). This song would also set a template for future bands drawing on traditional folk such as Traffic’s “John Barleycorn Must Die”. But beyond just recanting the traditional song, which contains lyrics where a young man asks his female lover to perform impossible tasks, the song fuses with a counterpoint, “Canticle”. Here, Art Garfunkel sings a reworked version of Simon’s 1963 “The Side of a Hill” with new, anti-war lyrics. In stark contrast, the next song “Patterns” bursts through with sparks of musical notes by acoustic guitar, organ, bass, and various percussion, combined with lyrics about how life is a labyrinthine maze, following patterns that are difficult to unravel. Here the listener is already made aware of the diversity of this album.

Although most of its songs were written during 1966, Parsley, Sage, Rosemary, & Thyme does include a few songs from the previous year, including a remake of “Cloudy” from Simon’s solo album and the single “Homeward Bound”, which Simon wrote while at a railway station near Liverpool during a long, overnight wait for the next train. The song itself is, perhaps mid-sixties folk at its best and became a huge, top-five hit for the duo.

Interspersed between a variety of simple folk songs are some radical departures, most of which work brilliantly. “The Big Bright Green Pleasure Machine” is an upbeat, almost rock song. As is “A Simple Desultory Phillippic (or How I Was Robert McNamara’d into Submission)”, with its heavy fuzz guitar and high organ chops along with a Dylan-esque accent on Simon’s vocals. The later of these two is one of the more entertaining on the album, almost comical. “The Dangling Conversation” doesn’t quite work as well in its experimentation with strings and orchestral arrangements.

Another catchy pop song which greatly improved Simon & Garfunkel’s radio appeal is The “59th Street Bridge Song (Feelin’ Groovy)”, although this ong was not officially released as a single until a few years later. Using the colloquial name of the Queensboro Bridge in New York City as a backdrop, the song’s message is immediate – in deep contrast to the rushed pace of city life, the protagonist is simply taking his time and enjoying the day, feelin’ groovy. It features Dave Brubeck Quartet members Joe Morello on drums and Eugene Wright on bass.

The album concludes with a couple of unique and interesting numbers. “A Poem On the Underground Wall” is almost psychedelic in its approach, containing an upbeat acoustic guitar up front and a contrasting deep, doomy organ in background. “7 O’clock News / Silent Night” is a haunting, artistic statement on the state of affairs in late 1966. On one side it contains a simulated news broadcast by Charlie O’Donnell, which amazingly forecasts subjects that will be front and center in years to come – Nixon, mass murderers, Martin Luther King, and war protests. On the other side is a simply arranged version of the Christmas carol “Silent Night”, backed by Garfunkel’s piano. The closing track with its dual themes and titles, mimics the opening tracks and bring the album full circle.

After Parsley, Sage, Rosemary, & Thyme, Simon & Garfunkel’s popularity continued to rise with the soundtrack to the film The Graduate and two more highly successful albums. They split up again for good in 1970, although they would reunite for several special shows and tours over the years.

Part of Classic Rock Review’s celebration of 1966 albums.

Aftermath by The Rolling Stones

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Although it was their fourth album released in Britain and their sixth album released in America, Aftermath was really the second “true” album by The Rolling Stones, following 1965’s Out Of Our Heads. This one, like that previous one, was released in two distinct versions in the UK and in the USA, a common practice for the day (this review will look at the “greater” album, considering all the tracks included on either version of Aftermath). The UK hit single “Paint It Black” was added to the American version, replacing four songs that were included on the UK version.

With Out Of Our Heads, the band reached the peak of their mid-sixties (then cutting-edge) mixture of Chicago-style blues and pop-rock. Aftermath builds on this while it progresses the band more towards their distinct sound and image as “rock and roll’s bad boys”. It is also the first Stones album to include all original material, written by the tandem of Mick Jagger and Keith Richards. Although not himself a songwriter, multi-instrumentalist Brian Jones was the driving force behind some of the unique and distinct sonic quality of the album. Jones incorporated wider musical influences, such as psychedelia and folk, and widely expanded the use of instrumentation, with songs on Aftermath including touches of dulcimer, sitar, marimba, and various keyboards.

Aftermath was also the first Rolling Stones album to be recorded entirely in the United States at the legendary RCA Studios in Hollywood and it was the first album the band released in true stereo.

Aftermath by Rolling Stones
Released: April 15, 1966 (Decca) Produced by: Andrew Loog Oldham Recorded: RCA Studios, Hollywood, December 1965-March 1966
Side One	Side Two
Mother’s Little Helper Stupid Girl Lady Jane Under My Thumb Doncha Bother Me Goin’ Home	Flight 505 High And Dry Out Of Time It’s Not Easy I Am Waiting Take It or Leave It Think What To Do
Song Included On U.S. Version
Paint It, Black
Band Musicians
Mick Jagger – Lead Vocals, Harmonica Keith Richards – Guitars, Vocals Brian Jones – Guitars, Dulcimer, Sitar, Keyboards, Percussion, Vocals Bill Wyman – Bass, Organ Charlie Watts – Drums. Percussion, Marimba

Much of the music’s backbone is still rooted in Chicago electric blues, with Jones’ instrumental tangents adding strategic flavoring to several songs. The opener “Mother’s Little Helper” contains a signature riff of heavily compressed 12-string electric guitar played with a slide. The song itself is a Beatle-esque, upbeat ode with a much darker message about drug dependency that made it one of the more thought provoking songs of the era.

“Stupid Girl” features a Fafsa organ by band manager and studio keyboardist Ian Stewart. It has the musical vibe of mid-sixties surf music and contains some juvenile lyrics that degrade the band’s groupies, one of several songs on the album that portray the fairer sex in a less-than-stellar light. Feminists have long lamented the message in “Under My Thumb”, which speaks of gaining the “upper hand” in a sexual relationship. No matter the message, the music to this song is absolutely brilliant, led by Jones’ marimba riff throughout with Richards’ acoustic and electric guitars and Bill Wyman‘s driving “fuzz” bass. Jones later brings back the marimba for the Phil Spector-esque “Out of Time”. This song was soon covered by English solo artist Chris Farlowe, whose recording was actually produced by Mick Jagger and reached number one on the UK singles in July, 1966.

“Paint It, Black” is, in reality, constructed very similar to the band’s 1965 smash hit “Satisfaction”, in the sense that a catchy and heavy rock song is wrapped around a signature riff. However, the riff on “Paint It, Black” uses the much more exotic sitar which Jones recently learned from Beatles guitarist and Indian music enthusiast George Harrison. During the verse, drummer Charlie Watts adds to the atmosphere by playing a Middle Eastern-flavored drum pattern while Jagger contributed the dark lyrics, about depression, mourning, and cynicism. Keith Richard plays both electric and acoustic guitars as well as contributes background vocals to this hit song.

“Lady Jane” showcases Brian Jones on dulcimer and has a middle-age feel throughout due to its distinct instrumentation and precise vocals. Fans have long considered this song a hidden gem from Aftermath and critics have long argued that Jones deserved a song writing credit. The dulcimer is brought back by Jones on “I Am Waiting”, another good, meditative song.

Unfortunately, Aftermath does include a lot of filler as not all the songs hit the mark. “Goin’ Home” is an 11-minute blues jam, remarkable for its length in the era, but really Mundane in its delivery. “It’s Not Easy” is uninspired, basic filler while “Think” is a feeble attempt to rip-off “Satisfaction” with its buzz and precisely picked strings falling short of anything really interesting. Other songs are more interesting but don’t seem quite done, such as the bluesy “Doncha Bother Me”, the piano rocking “Flight 505”, and the upbeat, acoustic folk/bluegrass “High and Dry”, which has a nice edge due to Jagger’s vocals and Jones’ blues harp, but also contains an annoying, up-front and distracting hi-hat beat.

Aftermath would ultimately be the high-water mark for Brian Jones’ influence on the band. Over the next few years and albums, his contributions were eventually diminished in lieu of the Jagger/Richards influence until he was ultimately nudged out of the band in 1969. He died shortly thereafter under mysterious circumstances.

Part of Classic Rock Review’s celebration of 1966 albums.

Blonde On Blonde by Bob Dylan

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I had the pleasure of seeing Bob Dylan live over the summer. It was a great experience, which I wrote about for Modern Rock Review. So I jumped at the chance to review one of Dylan’s greatest albums – Blonde on Blonde for Classic Rock Review. Dylan’s music has served as an inspiration to me through some dark times. EVERYBODY MUST GET STONED! Just kidding about getting stoned, but those last two sentences illustrate a good deal about Blonde On Blonde. It is a seminal album in Dylan’s sixties career that somehow balances the silly, philosophical, and melancholy. I dare say it does this a great deal better than I just did. This said, this album is not Dylan’s masterpiece. That honor, in my humble opinion, belongs to its 1965 predecessor, Highway 61 Revisited. However, these albums have been linked together as Blonde On Blonde is sometimes regarded as the third part of Dylan’s mid-1960s trilogy of rock albums which commenced with Bringing It All Back Home. The album has also been considered the first significant double album in rock music (and is the first true double album to be reviewed by Classic Rock Review.

After the release of Highway 61 Revisited in August 1965, Dylan went on some extensive touring with his new “electric” band which had so upset the audience and organizers of 1965 Newport Folk Festival. During this time he contacted a group who were performing under the name Levon and the Hawks. The band was comprised of four Canadian musicians, including guitarist Robbie Robertson, and would eventually come to be called “The Band”. Dylan rehearsed with the Hawks in Toronto on September 15, and eventually they all went into Columbia Records studios in New York City. There they recorded a hit single “Positively 4th Street” (which was not included on the album). Dylan was trying to formulate the shape of his next album, and soon became frustrated by the slow progress of the recordings with the Hawks in New York. Producer Bob Johnston suggested moving the sessions to Nashville where Johnston lived and had extensive experience with Nashville session musicians. Recordings for what would become Blonde On Blonde began there in February 1966.

Keyboardist Al Kooper assisted Dylan in the songwriting process by working song arrangements out on piano and then teaching the tunes to the studio musicians at the recording sessions. However one song, “Sad Eyed Lady of the Lowlands”, confused the musicians who expected to end many times before the entire eleven and a half minutes of the final recording. The final day of recording sessions ultimately produced six songs in thirteen hours of studio time, including “Most Likely You Go Your Way (And I’ll Go Mine)”, which featured a trumpet part by bassist Charlie McCoy, and the giddy, half-serious “Rainy Day Women #12 & 35”, where a local trombonist was recruited to join in.

Blonde On Blonde by Bob Dylan
Released: May 16, 1966 (Columbia) Produced by: Bob Johnston Recorded: Columbia Music Row Studios, Nashville, February-March 1966
Side One	Side Two
Rainy Day Woman #12 & #35 Pledging My Time Visions of Johanna One Of Us Must Know	I Want You Stuck Inside of Mobile (with the Memphis Blues Again) Leopard-Skin Pill-Box Hat Just Like a Woman
Side Three	Side Four
Most Likely You Go Your Way Temporary Like Achilles Absolutely Sweet Marie 4th Time Around Obviously 5 Believers	Sad Eyed Lady Of the Lowlands
Primary Musicians
Bob Dylan – Guitar, Piano, Harmonica, Vocals Robbie Robertson – Guitar, Vocals Al Kooper – Organ, Guitar Charlie McCoy – Bass, Trumpet Kenneth A. Buttrey – Drums

The fun, if silly, song with dual meanings is about the escapism of getting stoned on pot due to the inevitability of getting stoned by society. Combine this with a wild musical ride brought about by tambourine, harmonica, clapping, hooting, hollering, piano, and the aforementioned trumpet and trombone, and “Rainy Day Women #12 & 35” is an extremely unique and fun song. “Pledging My Time” follows with a similar quickly-put-together sound, but without the fun of the opener. Luckily, this is followed by “Visions of Johanna”, a lyrical triumph with a simple but effective musical backing. There are some really cool effects thrown throughout the song, but it leans a bit on the lengthy side. Not that Dylan fans ever minded length very much.

The album returns from a lyrical odyssey with the fantastic keyboard-driven “One of Us Must Know (Sooner or Later)”. This song blends Dylan’s lyrics with a great musical spine. The piano drives the song up and down like rolling hills as Dylan’s voices leads the way. It also contains great lines –

And I told you, as you clawed out my eyes
That I never really meant to do you any harm
But sooner or later one of us must know
But you just did what you’re supposed to do
Sooner or later one of us must know
That I really did try to get close to you…”

The lyrics point to a scorned lover, but the music keeps things up beat and mellow almost as if the music is trying to keep the scorned lover happy while Dylan breaks her heart. Side Two of this four-sided album begins the classic, simple and perfect “I Want You”. This song contains perhaps the best opening line of any song period –

The guilty undertaker sighs, the lonesome organ grinder cries
The silver saxophones say I should refuse you
The cracked bells and washed-out horns, blow into my face with scorn
But it’s not that way, I wasn’t born to lose you…”

From here the song becomes one of the most simplistic sex songs in history. Dylan doesn’t convolute the feelings being expressed in the song and he adds little imagery to the fact that he wants the woman the song is addressing. It’s a love song without love, but it isn’t lust either. Dylan just isn’t sugar coating what he wants with hidden meanings.

“Stuck Inside of Mobile with the Memphis Blues Again” is another long one, but the funky guitar and keyboard use makes this song a lot more interesting than the goliath “Sad Eyed Lady of the Lowlands”, which closes the album. I could keep putting in examples of Dylan’s fantastic lyrics, but then this review would have more of Dylan than Dylan. That was a joke playing on my middle name which comes from this very same artist. Silly yes, but needed? I think so. “Stuck Inside of Mobile…” is a lyrical jam that still feels fresh after seven minutes of run time. Especially with lyrics like –

One was Texas Medicine, and the other was Railroad Jin, and like a fool I mixed them…”

“…your debutant just knows what you need, but I know what you want…”

So maybe I lied about quoting from the songs anymore. Those lyrics are two that always resonated with me for personal reasons. Who hasn’t mixed Texas Medicine and Railroad Gin? “Leopard-Skin Pillbox Hat” is another very Dylan song that pokes fun at the fashion industry. Dylan is commenting on the fact that outrageous fashion trends, like leopard-skin pillbox hats are fleeting and silly much like fashion as an industry which creates faux crazes over the clothes it declares to be in to rack up cash from people who can’t just be comfortable with what they want to wear. The song is great and the guitar and drums again create a topsy-turvy sense in the music.

“Just Like a Woman” has Dylan’s lyrics, but the music sounds so similar to the simple beats of “Visions of Johanna” that someone who has heard the album multiple times can get a bit bored. In order for a Dylan song to be great it must have the lyrical and musical components working together to bring about a unity of song. Not all the songs on Blonde On Blonde do this, yet none of these songs really lack lyrically. They occasionally just have overly simple beats that don’t change enough to keep a listener’s attention.

As we proceed to “Most Likely You Go Your Way (And I’ll Go Mine)”, it becomes apparent that there are two distinct sounds that make up Blonde On Blonde – the up-tempo, fun sounding sound, as on this song, and the melancholy, simple-beat songs like “Just Like a Woman”. If you couldn’t tell, I prefer the up-tempo fun sounding ones. “Most Likely You Go Your Way..” is a bit short, but still a good listen. “Temporary Like Achilles” is one of the melancholy songs. Dylan’s voice is slow and simple but the piano plays a strangely interesting melody through the first chorus, until the song slows down a bit for the duration. The album then jumps back to the fun, more pop-oriented “Absolutely Sweet Marie”, where the guitar and drums return to exciting change-up mode and Dylan’s voice is back at its peak. The lyrics also seem more interesting with a good back beat –

Well, six white horses that you did promise/Were finally delivered down to the penitentiary/But to live outside the law, you must be honest…”

Verbal hypocrisy abounds in those fine-tuned lyrics. The song even has a few jam sections spread throughout the chorus. Slight changes in instruments and times also seem to flow out towards the end of the song.

One of the few melancholy songs I really love on this album is “4th Time Around”, a loose tribute to the Beatles’ “Norwegian Wood”, which was in itself an ode to Dylan in that it uses his language to hide a scandalous affair. I love the song because of the guitar which runs up and down through the songs. Up to this point I’ve avoided the stories surrounding Dylan’s various songs only because there are so many, but this one just seemed to cool to ignore. Onwards to another playful song – “Obviously 5 Believers” which has quite blues vibe running all the way through it. I could easily see a house band jamming out in a crowded bar to this song which closes out side three. The album closes with the side-long “Sad Eyed Lady Of the Lowlands”, perhaps the only Dylan song from the period that I really don’t like. It is a far cry from “Desolation Row”, which closed out the prior album.

I still contend that I think that previous album is superior to Blonde On Blonde, but that does not mean that this is not a solid album with a solid place in Dylan’s sixties career. The songs that have lyrics and music are the classics here and they are the ones people remember for a reason. Then again, this is just one Dylan’s opinion. Feel free to argue the point with me.

Part of Classic Rock Review’s celebration of 1966 albums.

Revolver by The Beatles

Buy Revolver

As many times as I’ve heard someone say they love The Beatles, I have heard someone else say they think they are overrated. To a generation of listeners raised in the digital era, this lack of appreciation may be understandable. It is like trying to explain what people did to entertain themselves before every home had a television. The genius of the Beatles lies in their innovation. Their songs are tangible evidence of what was possible when you broke the rules of accepted songwriting styles and production techniques. What they produced nearly half a century ago on analog tape with limited tracks stands the test of time. It remains relevant even in today’s age of digital production, seemingly limitless tracks, and computer aided sound engineering.

Due to their unprecedented and phenomenal success, The Beatles had a license to kill. By the end of summer 1966, the band stopped touring all together. Their primary focus would be recording albums as the individual members settled into domestic life in England. While Rubber Soul, released in December 1965, kicked off the Beatles evolution from four mop tops playing simple guitar based pop/rock songs to ventures with ethnic instruments and a folk rock sound, Revolver pushed the band into a new direction with an eclectic mix of sounds spun together in unconventional ways that shouldn’t have worked. Not only did it work brilliantly, it laid the groundwork for the future of sound production. The album also marks the beginning of more individualistic styles in the band’s songwriting. Like in the past, most of the songs are credited to “Lennon/McCartney”, but on Revolver the songs are more distinctly Paul McCartney or more distinctly John Lennon.

Before getting into the nuts and bolts of this review of Revolver, it is important to realize that there were two different versions of this album. It was customary at this point in the international music business to release a UK version of an album as well as an altered US release with less songs and jumbled sequence. Revolver was not released in the US in its present form until the release of the digital CD in 1987. This was when it was settled that the UK versions were the “official” Beatles albums, so this is the version we have reviewed.

Revolver by The Beatles
Released: August 5, 1966 (Capitol) Produced by: George Martin Recorded: Abbey Road Studios, London, April-June, 1966
Side One	Side Two
Taxman Eleanor Rigby I’m Only Sleeping Love You To Here, There, and Everywhere Yellow Submarine She Said, She Said	Good Day Sunshine And Your Bird Can Sing For No One Doctor Robert I Want to Tell You Got to Get You Into My Life Tomorrow Never Knows
Band Musicians
John Lennon – Guitars, Piano, Organ, Synths, Vocals Paul McCartney – Bass, Guitar, Piano, Percussion, Vocals George Harrison – Guitars, Sitar, Percussion, Vocals Ringo Starr – Drums, Percussion, Vocals

The album kicks off with George Harrison’s “Taxman”, inspired by the shockingly high income taxes paid by the band and other high earners in Great Britain – sometimes as high as 95%. It is a political song that takes a direct shot at Harold Wilson, the British Labour Prime Minister, and Edward Heath, Britain’s Conservative Leader of the Opposition. This was a very bold move for the times. Like “Taxman”, there are several straight-forward rock/pop songs on Revolver, molded in the Beatles’ mid-60s, “Swinging London” style. These include Lennon’s guitar driven “And Your Bird Can Sing” and “Doctor Robert”, and McCartney’s uplifting “Good Day Sunshine”. But the heart of the album is built from multiple unconventional songs.

“Eleanor Rigby” consists of layers of strings and vocals. The stark instrumentation and arrangement set the scene perfectly for the tale of the ‘lonely people” in the song. It is noteworthy that this is a song where no Beatle plays any instrument, just McCartney’s lead locals and backing vocals by the other band members. The music is driven by a string octet arranged by producer George Martin. McCartney also wrote “For No One”, a mellow song featuring the writer playing clavichord and a famous horn solo played by guest Alan Civil, and “Here, There, and Everywhere” which showcases his knack for writing and arranging stunningly beautiful melodies.

McCartney’s “Got to Get You into My Life” was influenced by the Motown sound with extensive use of brass. The song was not released as a single in the US until 1976, ten years after Revolver and six years after the Beatles disbanded, and amazingly, it became a top ten hit at that time. Harrison’s “Love You To” is a nod to his fascination with Indian music featuring the sitar front and center, which was used previously on “Norwegian Wood” from Rubber Soul, but is more famously used here. Harrison’s third and final composition on the album is the piano-driven “I Want To Tell You”, a far more traditional song with lyrics about his difficulty expressing himself.

John Lennon wrote “I’m Only Sleeping”, an odd stroll through a state (most likely drug induced) between being awake and being asleep. The backwards guitars add to the confused and muddled feeling of John Lennon’s vocals. “She Said, She Said” includes lyrics taken almost verbatim from a conversation between Lennon and actor Peter Fonda while they were under the influence of LSD in California in 1965. During a conversation, Fonda said “I know what it’s like to be dead,” because as a boy he had almost died from a self-inflicted gunshot wound.

The Beatles in 1966

The most groundbreaking song on this album from a technical aspect is the psychedelic final song, “Tomorrow Never Knows”. The lyrics were inspired by Timothy Leary’s book, “The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead”. Musically, the drone-like song included such groundbreaking techniques as reverse guitar, processed vocals, and looped tape effects. The elaborate recording, which included several simultaneous tape machines and creative processing of Lennon’s vocals, was conducted by engineer Geoff Emerick.

The light and childlike “Yellow Submarine” was written to provide Ringo Starr his token lead vocal for Revolver. With the help of all band members and the Abbey Road production team, overdubbed stock sound effects from the studios’ tape library were used to add the memorable soundscape to this famous song.

Revolver is considered by many critics to be one of the top albums of all time. It marked the beginning of the second half of the Beatles’ career, when they produced a string of highly influential, classic albums right up to the very end of their storied run.

Part of Classic Rock Review’s celebration of 1966 albums.