February 2014 – Classic Rock Review

Yer’ Album by The James Gang

Yer’ Album is the debut album by James Gang, displays this power trio’s genius and raw power through the compositions but also shows their lack of recording experience due to the various filler throughout. Based in Cleveland, Ohio, it is clear that the group looked both to the East and the West for musical inspiration. This applies to their original compositions as well as the pair of covers. With a healthy dose of British heavy rock and California folk rock topping the trio’s Southern blues-flavored core, Yer Album is a celebration of all elements of the expanding world of rock and roll and the end of the sixties.

James Gang drummer Jim Fox was a member of the band, The Outsiders, who had a national hit, “Time Won’t Let Me”, in the mid sixties. After leaving that group, Fox wanted to form a group oriented towards British rock. He recruited bassist Tom Kriss and a guitarist and keyboardist to form the original incarnation of the James Gang. After several lineup shuffles during the group’s first year, Fox was approached in 1968 by guitarist Joe Walsh who wanted to audition for the group. As the group narrowed from a five piece to a trio, Walsh assumed lead vocal duties and would eventually be their most identifiable member.

ABC Records staff producer Bill Szymczyk was assigned to the group, a serendipitous move that began a long professional relationship between Szymczyk and Walsh. Szymczyk would go on to produce all three of the James Gang’s albums which Walsh played on as well as many of his solo albums through the 1970s and later albums by the pop group the Eagles, which Walsh joined in 1976. But long before the group was posthumously dubbed “Joe Walsh’s James Gang”, they were a legitimate power trio, with each given their own space to jam and demonstrate their musical chops.

Yer’ Album by James Gang
Released: March, 1969 (ABC Records) Produced by: Bill Szymczyk Recorded: The Hit Factory, New York City, January 1969
Side One	Side Two
Introduction Take a Look Around Funk #48 Bluebird Lost Woman	Stone Rap Collage I Don’t Have the Time Wrapcity in English Fred Stop
Group Musicians
Joy Walsh – Lead Vocals, Guitars, Keyboards, Piano Tom Kriss – Bass, Flute Jim Fox – Drums, Percussion

First the frivolous and annoying. In the grooves of the at the ends of each side of the original LPs were the infinite spoken messages, “Turn me over” and “Play me again”. Such antics also pertained to the opening tracks of each side. “Introduction” starts the first side with an improvised string quartet which cross-fades to a strummed acoustic riff which then roughly dissolves into the first proper song. It is a bit ironic that the first proper song by a group featuring a guitar legend like Joe Walsh is so keyboard dominated as “Take a Look Around”. The verses and chorus are dominated by an out-front organ and a piano holding the back end, all built on calm textures and acid rock ambiance. The song is strong on melody and mellow throughout with the middle section cut by a slow but piercing electric guitar lead, which returns again in the outro with a fuller arrangement. After this song is an odd, but interesting, section with competing spoken words and phrases.

“Funk #48” contains the simplest of grooves and lyrics in the simplest of songs, albeit still very entertaining and a great contrast from the previous song. Szymczyk commented that the song started as a sound check warm-up riff but quickly developed into the funk/rock groove, driven by the rhythm section of Kriss and Fox. The second half of the first side contains a couple of extended renditions of contemporary covers. Starting with a grandiose intro of piano and strings and interrupted by wild guitar interludes, the group eventually kicks into a rock-oriented version of Buffalo Springfield’s “Bluebird”. After a few verses, the song slowly meanders into a middle jam with exquisite drumming by Fox and texture-based guitar phrases by Walsh. The Yardbirds’ “Lost Woman” provides an extended showcase for each musician, particularly bassist Tom Kriss, who starts his showcase with a hyper-riff on bass and provides, perhaps, one of the most extensive bass solos in rock history. Most of this nine minute is an extended jam where each member leaves it completely out on the floor, especially the rhythm players, as the entire jam is much more than self-indulgence, it builds in tension and intensity throughout.

Side Two starts with more ambient noise, in the totally annoying “Stone Rap” before the beautiful, moody, and dark “Collage”, co-written by Patrick Cullie. This track could be the theme song for the entire album, as it truly is a collage of musical styles. The calmly strummed acoustic is accented by poignant but moody bass and strong drums and later some high strings and slight electric guitar join the mix. Overall, the tune is a real sonic treat and is original like no other. “I Don’t Have the Time” sounds (early) Deep Purple influenced as it is fast paced heavy rock, dominated by guitar overdubs and a furious drum beat, all while Walsh’s vocals carry an even keel, keeping the whole song grounded.

The final filler piece, “Wrapcity in English” goes back to the piano and string quartet with a melancholy, minor note and not quite as frivolous as the rest of the filler on the album. “Fred” is one of the odder songs on this oddest of albums. The organ returns (although not as much presence as on “Take a Look Around”) and first two verses have long and deliberate vocal lines for a somewhat psychedelic effect. In contrast, the middle bridge features an upbeat jazz/rock section with harmonized guitars. The twelve minute “Stop” feels like the most natural song for the band on the album – a totally legitimate power trio jam, which seems like it will never actually “Stop”. A great track for jam-band enthusiasts, especially those who lean towards the heavy rock/blues side, the group provides a parting shot to show the great promise for the future.

However, Yer’ Album would be the one and only album to feature these three together, as bassist Tom Kriss departed from the group by the end of 1969, making this a true capture of lightning in a bottle.

Part of Classic Rock Review’s celebration of 1969 albums.

In the Court of the Crimson King
by King Crimson

Buy In the Court of the Crimson King

Seldom does a band release a debut album as critically and financially successful as In the Court of the Crimson King, an Observation by King Crimson. Released in the winter of 1969 the album is filled with echoes of the darkest parts of the decade. Interestingly, although the album had existed since that year, it was not until 34 years later, in 2003, that the true album would be heard. The original recordings of the album had been lost during production, resulting in the release of a musically imperfect composition. This version of the album was the only one available until the master tapes were rediscovered.

King Crimson has now existed for forty six years going through eight different band iterations but this is the only album released by the band’s original line up. Almost immediately after In the Court of the Crimson King was released founding members Ian McDonald and Michael Giles left the band. Greg Lake followed them out of the band a few months later leaving only Peter Sinfield and Robert Fripp in the band. Sinfield would only last until the first day of January 1972. All of the members of the band would go on to achieve success outside of King Crimson, with the exception of Fripp who remains the keystone of the band to this day.

McDonald went on to found Foreigner, Giles became a session drummer, Sinfield wrote songs for other artists and Greg Lake went onto fame with Emerson, Lake and Palmer. He also had a successful solo career, producing Big Blue Bullfrog‘s 3^rd best Christmas Rock Song of all time, “I Believe in Father Christmas”. So it can be argued that In the Court of the Crimson King is the only actual album by King Crimson as the band lost so many members afterwards that it is hard to call it the same band, although Fripp obviously does.

In the Court of the Crimson King by King Crimson
Released: October 10, 1969 (Island) Produced by: King Crimson Recorded: Wessex Sound Studios, London, July-August 1969
Side One	Side Two
21st Century Schizoid Man I Talk to the Wind Epitaph	Moonchild The Court of the Crimson King
Group Musicians
Greg Lake – Lead Vocals, Bass Robert Fripp – Guitars Peter Sinfield – Lyricist Ian McDonald – Keyboards, Woodwind, Vocals Michael Giles – Drums, Percussion

The album opens with what could arguably be its best song, “21^st Century Schizoid Man”. An image of the song’s namesake appears on the albums cover. The song opens with a burst of horns and drums before Greg Lake’s distorted voice kicks in with eerie vocals. Fripp’s guitar solo in the middle of the song might be it’s highlight but there are many to choose from. The innovative use of woodwinds is certainly another huge one. The lyrics read a bit like nonsense except for the line, “Innocents raped with napalm fire,” which is a clear nod toward the Vietnam War. It finishes in what can only be described as a mad crescendo of wicked and wild sounds. As expected, it is fantastic.

From here the album goes in a completely different direction. “I Talk to the Wind” is a slow mellow tune one would expect to hear while relaxing in a meadow. Greg Lake’s voice has a majestic feeling here and Giles drums are subdued into a jazzy rhythm. The flute is given center stage throughout the song by Ian McDonald who provides an enchanting melody. The listener almost feels transported into the magic forest of Shakespeare’s A Midsummers Night’s Dream. Lyrically it sort of seems like a different take on Bob Dylan’s “Blowing in the Wind”. In that song Dylan uses the line ‘the answer is blowing in the wind’ as a metaphor for the ignorance of society. Sinfield uses ‘wind’ itself as a metaphor for essentially the same thing.

Sinfield’s lyrics continue the anti-war themes with “Epitaph”. It is here the album really takes on a dystopian feeling. Lake’s voice is melancholy while Fripp’s guitar returns to add acoustic picking in certain sections. The line, “I fear tomorrow I’ll be crying,” really illustrates the bleak nature of the Cold War. Overall, the song is an extremely pessimistic take on the era but it is wonderful in its darkness.

“Moonchild” is probably the least interesting song on the album. The song essentially describes a perfect and peaceful woman. In many ways this song should have just been called flower child as it is essentially describing that. It is very similar to “I Talk to the Wind” and “Epitaph” in musical composition but adds a symphonic section that simply goes on too long. It takes up most of the song and just doesn’t do enough to entertain the ear.

The album ends with its namesake, “In the Court of the Crimson King”. Musically, the Mellotron is used to its full potential here. The entire song is essentially a fantasy tale involving the Crimson King. The name of the character was chosen because it was given to any monarch who reigned when there was a great deal of bloodshed and civil unrest. This links the song to the albums antiwar concept and the lyrics of it seem to be a metaphor for the band member’s perceptions of the Western World in the late sixties. Near the ending, when the song gets quiet and has only one instrument take center stage, it is really haunting.

In the Court of the Crimson King, an Observation by King Crimson is an extremely interesting work. It inspired many future artists including some out of musical genres. Inspired by this work, Stephen King named his primary villain in the Dark Tower Series the Crimson King. The album is essentially an anti-war album disguised as a fantasy concept album. The deeper meaning of the songs is interesting but a little too obvious in places and none of the songs really say anything different. The message of every one amounts to,” war is bad.” That said, there is a large amount of room for interpretation. It can be said that the album borrows a bit too much from the Moody Blues, Days of Future Passed, even down to the trippy art work of the 21st Century Schizoid Man on the front cover. Despite this, there may not be an album that does a better job of conveying the sense of doom that loomed over people living during the Cold War.

Part of Classic Rock Review’s celebration of 1969 albums.

Arthur (or the Decline and Fall of the British Empire)
by The Kinks

Buy Arthur (or the Decline and Fall of the British Empire)

Although The Kinks were part of the first wave of British artists to break through following the Beatles, they were never really considered to be directly influenced by the Fab Four. However, to listen to the Kinks 1969 album ,Arthur (or the Decline and Fall of the British Empire), is to hear some of the finer elements of their more famous British counterparts, performed in parallel time. All that being said, this concept album is truly unique and excellent in its own right, exploring many genres of English and American music. In fact, the album may have been their finest overall output during the 1960s.

The album was born out of an unfinished television play, partially developed by novelist Julian Mitchell in January 1969. Kinks front man Ray Davies composed an accompanying soundtrack, with a plot which roughly revolved around a fictional character based on Davies’ own brother-in-law. The songs explore about a hundred years of English history through the eyes of one this fictional character.

Although the group was in the midst of their finest work, development took place during a period of turmoil. Their previous album, The Kinks Are the Village Green Preservation Society ,was a commercial disappointment and founding bassist Pete Quaife abruptly quit to form a new group and was replaced by John Dalton. Recording for the album began in May 1969, with Davies as producer and chief composer. Guitarist Dave Davies did write a track which was used as a B-side of a single, while also releasing his debut solo album during the year. By July, the album was ready for release but was delayed as production of the television play developed with a planned broadcast of late September. However, problems got progressively worse and the show was cancelled at the last minute when financial backing fell through.

Arthur (or the Decline and Fall of British Empire) by The Kinks
Released: October 10, 1969 (Pye) Produced by: Ray Davies Recorded: Pye Studios, London, May–July 1969
Side One	Side Two
Victoria Yes Sir, No Sir Some Mother’s Son Drivin’ Brainwashed Australia	Shangri-La Mr. Churchill Says She’s Bought a Hat Like Princess Marina Young and Innocent Days Nothing to Say Arthur
Group Musicians
Ray Davies – Lead Vocals, Guitars, Keyboards Dave Davies – Guitars, Vocals John Dalton – Bass, Vocals Mick Avory – Drums, Percussion

While most songs on Arthur (or the Decline and Fall of the British Empire) are under four minutes in duration, they are very richly arranged as Ray Davies packs more into short songs than any other top-level composer. The driving rhythm and orchestra of guitars lay the foundation of “Victoria”, with an intro which sneaks up until hitting full rock and roll throws. A great melody and hook with subtle moments of extravagance (such as the sparse horn arrangement and background hysterical laughter) gave this pop song some chart and radio success.

The marching drum of Mick Avory introduces “Yes Sir, No Sir”. A song of cynicism, glazed with humor in the tradition of the novel Catch 22, Ray Davies’ vocals seem intentionally flat in order to portray a sense of meek obedience through the opening verses. The song then breaks into different sections with many horns with much packed into to this three minutes and forty-five seconds song. “Some Mother’s Son” continues the anti-war/anti-military theme but in a more melodramatic and haunting fashion. With heavy use of harpsichord and strings and melancholy vocals, Davies does a masterful job of tugging on heartstrings

While loosely continuing the anti-war theme, “Drivin'” does so in a Beatle-esque, happy-go-lucky theme that is more about escaping the worries of the day. The good, upbeat song with strong bass and rich background vocals was the first song recorded for the album and should have been a big hit for the band at the end of the sixties. “Brainwashed” is a song which takes another venture musically, with pure sixties hip, heavy rock instrumentation, and just the right amount of brass. The bass of newcomer Dalton really shines on this riff-driven rocker that is a precursor to punk. The first side concludes with the extended track “Australia”, which is put together almost like a commercial, albeit with much sarcasm. A cocktail jazz rhythm during first verses with cool piano mixture and high-pitched bass eventually gives way to some changes before settling into a calm jam which persists through the second half of the tune.

The second side begins with “Shangri-La”, a definitive British folk song and the best overall song on the album. Starting with a picked acoustic guitar and later harpsichord before climaxing with the intense chorus hook, “Shangri-La” is an in-depth look at middle class aspirations, lyrically. The bridge section adds more intensity with strong rhythms and horns and forceful vocals before dissolving back into the final verse, which includes great drum accents by Avory. This is one of those songs that seeps in slowly but ultimately makes an indelible mark.

The middle of side two contains the weakest material on the album, although not totally terrible. “Mr. Churchill Says” is a rock blues song about World War II era Britain during the first verses. Air raid sirens divide the song with a pure old-time rock jam section following. Some tacky chanting rap near the end of song is quite annoying as it obscures an otherwise fine percussion section. “She’s Bought a Hat Like Princess Marina” is another harpsichord-driven ballad, almost like an English children’s nursery song, while “Young and Innocent Days” starts as a gentle acoustic folk song but, like most songs on this album, builds in intensity. That song ends with nice, gentle acoustic guitar outro and contains lyrical nostalgia like;

I wish my eyes could only see everything exactly as it used to be

The album ends very strong with a couple of very good rockers. “Nothing to Say” is almost like a counterpart to “Yes Sir, No Sir” on the first side, a very good rock rhythm topped with fine piano and slide guitar by the Davies brothers. The title song “Arthur” has almost Southern guitar riffs with an upbeat country rhythm through verses. Again, there are pleasant sonic surprises around every corner and, although this song does not vary much through its five and a half minute duration, it never gets bogged down by predictability. In the end, the lyrics sum up the entire plot line of the album, retelling the story of Arthur Morgan.
Arthur was met with almost unanimous acclaim upon release. It received generous coverage in the US rock press

Although Arthur (or the Decline and Fall of the British Empire) only reached number 50 on the charts in the UK (and number 105 in the US), it was their highest charting position since 1965 and set up the commercial success of their 1970 album, Lola Versus Powerman and the Moneygoround. More importantly to us future rock fans is the excellent music itself, which is ultimately all that matters.

Part of Classic Rock Review’s celebration of 1969 albums.

The Allman Brothers Band

Buy The Allman Brothers Band

As a group that became known for their live performances, The Allman Brothers Band did put out a handful of excellent studio albums. The first of these was their self-titled debut which fused blues, soul, and jazz into a potent rock and roll mixture. The album was produced by Adrian Barber with the original compositions written by lead vocalist and keyboardist Gregg Allman and features the inventive lead guitar work of Duanne Allman. Led by the brothers that gave the group its name along with a rich ensemble of six talented musicians, The Allman Brothers broke new ground in the very fertile music year of 1969.

Originating from the coast of Florida, the brothers Allman formed many groups through the 1960s. Starting with The Escorts in 1963, when the brothers were in their mid-teens, they went on to form the Allman Joys in 1965 and Hour Glass in 1967. Finally, The Allman Brothers Band was formed as the fourth incarnation of an Allman led group. Dickey Betts was enlisted as a second lead guitarist along with bassist Berry Oakley and the twin drummer/percussionists of Butch Trucks and Johanny “Jaimoe” Johnson.

After forming in early 1969, the group worked out their sound by playing throughout the South and building a dedicated audience. They also migrated their base from Jacksonville, Florida to Macon, Georgia during this time, as illustrated by the album cover photo at Mercer college. Once they worked out a record deal, the Allman Brothers recorded their debut album in New York City in September 1969.

The Allman Brothers Band by The Allman Brothers Band
Released: November 4, 1969 (Atco) Produced by: Adrian Barber Recorded: Atlantic Recording Studios, New York, September 1969
Side One	Side Two
Don’t Want You No More It’s Not My Cross to Bear Black Hearted Woman Trouble No More	Every Hungry Woman Dreams Whipping Post
Group Musicians
Gregg Allman – Lead Vocals, Keyboards Duane Allman – Guitars, Vocals Dickey Betts – Lead Guitars Berry Oakley – Bass, Vocals Butch Trucks – Drums Jai Johanny “Jaimoe” Johanson – Drums, Percussion

Perhaps an odd selection for the opening track of a debut album, the Spencer Davis Group instrumental cover “Don’t Want You No More” takes the lead. The track thunders in through a rudimentary first section with excellent drum beats by the duo drummers of Trucks and Johanson, and acts as a perfect overture and intro to the weeping blues of “It’s Not My Cross to Bear”. The most striking thing about this tune isthe soulful vocal by Gregg Allman in the type of intense blues rock which would soon be echoed by Led Zeppelin, especially on 1970’s “Since I’ve Been Loving You”.

With a joyous intro riff with odd timing in rhythm, “Black Hearted Woman” may be the quintessential Allman Brothers composition from this album. While the verses are funk/rock in nature, the song is the most rock-oriented song with catchy riffs, a cool percussion section, and vocal wailing to match the guitars. After a false ending, the song gets even more frantic for the final 30 seconds. “Trouble No More” ends the first side with the second and final cover song, originally recorded by Muddy Waters in 1955. It starts with straight-up drum beat and contains acoustic and electric guitar interplay between Duanne Allman and Dickey Betts throughout, which works to bring the blues standard into the stratosphere.

Allman Brothers Band 1969

Side two starts with “Every Hungry Woman”, a cool sixties electric rock track. After an intro slide guitar, a rock riff, meanders its way into the verses, accented by Gregg Allman’s overloaded organ sound and single guitar notes squeezed out with the urgency of a car horn. The rhythm is also excellent with the bouncy bass by Oakley and twin drummers hitting every jazz and blues button. The best overall song on the album, “Dreams” rolls in with methodical sound scape of sustained organ and savored guitar notes. It soon morphs into a high-class blues rock tune with a masterful musical interlude during the refrains with a rapid guitar rotation and matching rhythm. The long middle guitar lead starts prior to the two minute mark and takes up the bulk of the middle of the song before the group returns with another two verses divided by sections which feature a much stronger organ presence and a descending guitar riff.“Dreams” is a nice slow blues song that, at seven minutes, gives Duane some room to improvise

The album closes with “Whipping Post” and the doomy, picked bass intro which has become one of the more famous riffs in rock music. The song illustrates Gregg Allman’s travails in the music business, although he was only 21 at the time of composition. By far, this is Berry Oakley’s best performance on the album and definitely its most popular song. The tune does tend to get melodramatic towards the end, but not to the point of tackiness. While only five minutes long on this studio version, “Whipping Post” would swell to over twenty minutes when performed live, as illustrated on the side-long epic on the 1971 live album, At Fillmore East.

The Allman Brothers Band was in no way successful commercially, as it received little beyond the Southern region of the United States and would only peak at number 188 on the album charts. However, it set the table for the vastly more popular material of future years and established the Allman Brothers Band as a musical force.

Part of Classic Rock Review’s celebration of 1969 albums.

Aoxomoxoa by Grateful Dead

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Aoxomoxoa is the third studio album by Grateful Dead and, perhaps, the one most dominated by lead guitarist and vocalist Jerry Garcia. Created under the working title of “Earthquake Country” (because the group wanted to create a “seismic shift” in popular music), the album’s unique name was a fabricated palindrome by lyricist Robert Hunter who co-wrote all of the songs, marking the commencement of a longtime songwriting partnership with Garcia. Aoxomoxoa was completely self-produced by the Grateful Dead and claims to be the very first recorded on a 16-track tape machine.

The Grateful Dead was formed in 1965 as a five-piece group called The Warlocks consisting of Garcia, Bob Weir on guitars and vocals, Ron “Pigpen” McKernan on keyboards and harmonica, Phil Lesh on bass and Bill Kreutzmann on drums. They changed their name to Grateful Dead for a performance at one of Ken Kesey’s Acid Tests in December 1965. With various influences mixed into a loose format, the group has been labeled “the Godfathers of the jam band”. Their self-titled debut album was released in March 1967 and consisted mainly of covers with only two band originals on that album. Later that year, the group added Mickey Harty as a second drummer. The second album, Anthem of the Sun was released in July 1968 and contained completely original material, with each of the (then) six band members contributing to the compositions. Keyboardist Tom Constanten joined the band in the studio to provide piano and “electronic tape” effects on Anthem of the Sun, which eventually led to his formally joining the band as a seventh member, although he would only be with the group for barely a year.

With this widely expanded lineup, one might expect rich, full, orchestral arrangements. However, Aoxomoxoa does have a strong emphasis on acoustic songs and simple arrangements, which give it a very accessible sound on most tracks. Still, the group put tremendous time, effort, and money into the production of this studio album, something they would focus much less on as their career unfolded and they became more focused on their legendary touring.

Aoxomoxoa by Grateful Dead
Released: June 20, 1969 (Warner Brothers) Produced by: Grateful Dead Recorded: Pacific Recording Studio, San Mateo, CA, September 1968-March 1969
Side One	Side Two
St. Stephen Dupree’s Diamond Blues Rosemary Doin’ That Rag Mountains of the Moon	China Cat Sunflower What’s Become of the Baby Cosmic Charlie
Group Musicians
Jerry Garcia – Lead Vocals, Guitars Bob Weir – Guitars, Vocals Phil Lesh – Bass, Vocals Ron “Pigpen” McKernan – Keyboards, Percussion Tom Constanten – Keyboards Bill Kreutzmann – Drums, Percussion Mickey Hart – Drums, Percussion

With Garcia taking the lead on most of the recorded material, “St. Stephen” acts as an exception with some compositional work by Lesh and some strong vocals and guitars by Weir. The song feels its way around before it kicks in to proper verse and after three rapid renditions of verses, the tune enters a middle European folk section for the bridge, driven by instrumental motifs from keyboards, bass, and lead guitar. A couple of good jam sections dominate the ending sections of the song, which tell of 1st century martyr and saint of the new Christian religion. This is followed up by “Dupree’s Diamond Blues”, an entertaining carnival-like blues with ascending and descending single-note guitar riffs complimented by bouncing organ. Garcia delivers rapid vocal verses which are melodic and entertaining, built on his advanced sense of jug band songcraft.

“Rosemary” Is a short acoustic ballad with emotional, flanged vocals by Garcia. Beginning immediately with no lead-in, the lyrics are hard to decipher because of the heavy vocal treatment and, after three brief verses and a couple of bare guitar phrases, the song quickly ends. “Doin’ That Rag” contains very interesting musical arrangements and great drumming by the team of Kreutzmann and Hart. With much melody and song craft, this piece goes through various style changes rotated through the verse, post-verse and chorus along with some well-timed sudden stops and starts. “Mountains of the Moon” closes the first side with a picked acoustic rhythm topped by harpsichord. This track has a definite Baroque feel musically, but Garcia’s vocals are more blues-based and Lesh’s sparse acoustic bass provides just enough variation to make it interesting.

Grateful Dead in 1969

An odd drum roll introduces “China Cat Sunflower”, which takes a few seconds to find its groove but when it does the great complementing riffs make this one of the most indelible Dead songs ever. Here the group also provides vocal choruses which actually harmonize decently (something they fail to do on many songs in their catalogue). A very popular song among “Deadheads”, “China Cat Sunflower” was one of the most performed songs in through the decades. In contrast, “What’s Become of the Baby” is one of their most forgettable tracks. Almost monk-like chanting by Garcia throughout with well-treated vocal effects, this song almost ruins an otherwise fine album with this ridiculous eight and a half minute indulgence, which was only really meant for use with the right chemical mix. Then, like landing back to Earth with fine rock blues, “Cosmic Charlie” finishes the album with fine rudimental harmonies during the bridge section and whining lead guitars throughout. Finishing things on a high note, this song sets the band up for the type of music they would forge and make famous the in 1970, when they produced two of their most famous albums.

Aoxomoxoa was not a tremendous commercial success, as it did not receive “gold” certification until 1997, nearly three decades after its release. However, it was a critical success and held in high enough regard by the band that they completely overhauled the mix in 1972 to catch up with technical innovations.

Part of Classic Rock Review’s celebration of 1969 albums.

Stand Up by Jethro Tull

Buy Stand Up

1969’s Stand Up is an early classic by Jethro Tull. The album was produced in the wake of a splitting of musical directions, as the band’s original guitarist Mick Abrahams left the group due to differing musical philosophies with Jethro Tull’s lead vocalist and primary composer Ian Anderson. The band’s 1968 debut album, This Was, was primarily blues-rock based, which Abrahams wanted to continue but Anderson was moving towards folk, jazz, and classical fusions of rock and roll. Stand Up would strike a nice balance of both musical directions as well as strike a chord with music fans, as it went all the way to #1 on the UK album charts.

The origin of the band dates back to the early 1960s in Blackpool, England, when several future members of Jethro Tull were involved in a a seven-piece Blue-eyed soul band. In 1967 Anderson and bassist Glenn Cornick migrated to London and joined forces with Abrahams and drummer Clive Bunker to form the group which named itself after an 18th-century agriculturist. A long time guitarist, Anderson reportedly pursued the flute as a rock instrument out of frustration that he couldn’t play as well as Eric Clapton. After a single album where Anderson and Abrahams were co-equal musical visionaries, Anderson found himself in full control of the music and lyrics on Stand Up.

To replace Abrahams, the group first turned to guitarist Tony Iommi, then from a group called Earth, which would later rename themselves Black Sabbath. Iommi performed with Jethro Tull during The Rolling Stones Rock and Roll Circus television show in late 1968, but soon returned to his former band. After auditioning several more guitarists (including future Yes guitarist Steve Howe, who failed his audition), Anderson eventually chose Martin Barre as Abrahams’ permanent replacement on guitar. While Jethro Tull has had over 20 band members through their long career, Barre has remained with the group consistently (as of 2014), making him the second longest-standing member of the band after Anderson.

Prior to releasing Stand Up, the group recorded “Living In the Past”, which was Barre’s first recording with the band. This became one of Jethro Tull’s best known songs while originally issued only as a single. Notable for it’s 5/4 time signature, this melodic tune driven by a catchy melody became the band’s first Top 20 hit, peaking at #11 in the US and #3 in the UK.

Stand Up by Jethro Tull
Released: August 1, 1969 (Island) Produced by: Ian Anderson and Terry Ellis Recorded: Morgan Studios, London, April 1969
Side One	Side Two
A New Day Yesterday Jefferey Goes to Leicester Square Bourée Back To the Family Look Into the Sun	Nothing Is Easy Fat Man We Used to Know Reasons for Waiting For a Thousand Mothers
Band Musicians
Ian Anderson – Lead Vocals, Flute, Guitars, Keyboards Martin Barre – Guitars Glenn Cornick – Bass Clive Bunker – Drums, Percussion

A doomy blues rocker, with an almost psychedelic vibe, “A New Day Yesterday” works the same riff over and over. Anderson adds harmonica licks through the verse sections and a flute lead later on, but the song is dominated by the rock rhythms provided by the other players along with reverb and panning effects throughout. Probably influenced by Cream, this song is atypical for Jethro Tull and fresh–sounding. “Jeffrey Goes to Leicester Square” is the second in a series of songs which play tribute to Jeffrey Hammond-Hammond, a once and future band mate of Anderson’s who would become Jethro Tull’s future bassist. The song features guitar and bass riff leads to folk-style verse melody in an odd and asymmetrical song.

The lone instrumental on the album, “Bourée” is also the only track not composed by Anderson. Composed by Johann Sebastian Bach centuries earlier, the piece influenced a popular French folk dance called a bourrée. While the flute takes the lead throughout, the bass by Cornick is the real highlight of the track, which breaks into a jazzy rock jam near the middle before two overdubbed flutes in final section make for great effect to close the song.

With a slight and slow intro and more great bass riffs, “Back to the Family” contains laid back verses which are sub-divided by more straight-forward rock in the bridge sections that each conclude with flamboyant flute leads by Anderson, with Barre joining in on guitar later in the second one. The fantastic first side concludes with the acoustic ballad “Look into the Sun”. A true folk ballad with fine guitars throughout by Anderson and instrumentation added throughout, such as electric blues riffs and bass guitar spurts.

Jethro Tull 1969

“Nothing Is Easy” is a big time rock jam, especially towards the end. Bunker’s drumming burns with rudiments between jamming verses and solos. A lead by Barre in the middle is soon interrupted by Anderson’s flute, as the group may have tried a little too hard to be progressive with multiple parts, but nonetheless a great jam song. “Fat Man” contains Indian musical elements with sitar and hand percussion, while “We Used to Know” is another great acoustic ballad by Anderson. This latter song builds on repetitive chord pattern sections for lead instruments, including a couple of great leads by Barre where he chops out some great sonic motifs.

While certainly not as strong as the first side, side two does have its share of brilliant moments. “Reasons for Waiting” may be the best overall song on the album, with a fantastic melody and tone. Pretty much a ballad throughout with slight sections of rock tension thrown in after the choruses, Anderson’s dual flute lead is accompanied by strings provided by David Palmer, which persist throughout the second half of the song. “For a Thousand Mothers” starts with a slight drum intro by Bunker before the song kicks in with much the same style and sonic intensity as the opener “New Day Yesterday”, together paving way for emerging “heavy metal” music which would proliferate in the 1970s. After a grandiose false stop, Bunker restarts the tune for a closing instrumental section laced with about 30 seconds more of intense jamming to close the album.

Following the release of Stand Up, the group recorded and released “Sweet Dream” and “Witches Promise”, both of which rose to become Top Ten non-album singles as Jethro Tull entered the 1970s with great momentum.

Part of Classic Rock Review’s celebration of 1969 albums.

Crosby, Stills & Nash 1969 album

Buy Crosby, Stills & Nash

Crosby, Stills & Nash is an extremely rich and influential debut album from the “super group” of the same name. The trio of vocalists / guitarists which forged this group each came from successful 1960s pop/rock acts. David Crosby was from The Byrds, and Stephen Stills played in Buffalo Springfield, both Southern California folk/rock groups, while Graham Nash was from the British pop group The Hollies. Together, the group put an original twist on folk, country, blues, and rock topped by their masterfully blended three-part harmonies. Many credit this album for helping spawn the prolific soft rock groups of the 1970s which dominate many of the pop charts through that decade.

Crosby was dismissed from The Byrds in late 1967 due to internal conflicts, while Buffalo Springfield broke up a few months later, leaving Stills without a permanent gig. The two met informally during a jam with Jefferson Airplane’s Paul Kantner. Crosby knew Nash from a UK tour in 1966 featuring The Byrds and The Hollies. The three members first performed together at a private party in July 1968 where they instantly realized they had a unique vocal chemistry. This sparked Nash to depart from The Hollies and use their surnames as the title of a brand new group.

The debut album was co-produced by Bill Halverson, in collaboration with the three members of the band. Musically, Stills took the lead role by providing most of the lead guitars, bass, and keyboards along with his vocal parts. Crosby and Nash each added some acoustic and/or rhythm guitar along with their vocals, with Dallas Taylor providing drums. The simple, improvised album cover features the three members sitting on a couch in front of an abandoned homes just days before that dwelling was torn down.

Crosby, Stills & Nash by Crosby, Stills & Nash
Released: May 29, 1969 (Atlantic) Produced by: Bill Halverson, David Crosby, Stephen Stills and Graham Nash Recorded: Wally Heider’s Studio III, Los Angeles, June 1968-April 1969
Side One	Side Two
Suite: Judy Blue Eyes Marrakesh Express Guinnevere You Don’t Have to Cry Pre-Road Downs	Wooden Ships Lady of the Island Helplessly Hoping Long Time Gone 49 Bye-Byes
Group Musicians
Stephen Stills – Guitars, Bass, Keyboards, Percussion, Vocals David Crosby – Guitars, Vocals Graham Nash – Guitars, Vocals

The seven and a half minute “Suite: Judy Blue Eyes” is a true suite in every way. Stills wrote this about his former girlfriend, folk singer Judy Collins. It is an early example of truly progressive music built on acoustic rhythms and harmonies throughout it’s four distinct sections. The first section is a traditional pop song, with the second, slower section focused on three-part harmonies, concluding with a brief acoustic lead by Stills. A unique percussion is played during the third part with a full drumbeat introducing the climatic ending part, which features some Spanish lyrics accompanying the famous “doo-doo-doo-da-doo” vocals. The song actually preceded Nash’s involvement in the group and was the very first recorded once he joined in mid 1968.

“Marrakesh Express” is a short but pleasant pop song by Nash, written while he was still with The Hollies but originally rejected by that group. It features an unforgettable, well-treated lead guitar by Stills and less harmonizing than on the opening song. The song was a pop hit, reaching the Top 10 on the Billboard charts. Stills’ guitar riff floats over the song in a way reminiscent of the sitar. Crosby’s initial contribution, “Guinnevere”, is much darker song than preceding two songs. Very soft and hypnotic, the song never picks up the pace or the intensity and features strange tuning and time signatures.

Side one concludes with Stills’, “You Don’t Have to Cry”, a pleasant country-influenced song with more fine three-part harmony and some pedal steel, and Nash’s “Pre-Road Downs”, which features really cool pedal effects on the lead guitars and cool, funky bass. The second side begins with “Wooden Ships”, a song which dates back to the original jam of Crosby, Stills, and Kantner (who co-wrote the song and did his own version with Jefferson Airplane), and is the only songwriting collaboration on the album. The song was written from the point of view of the few survivors of a post-apocalyptic world, with Crosby using his boat to set the scene.

Crosby Stills and Nash in 1969

Next comes a couple of pure folk tunes, “Lady of the Island” is nearly all Nash, with Stills adding some laid-back harmonies in a duet reminiscent of Simon and Garfunkel. “Helplessly Hoping” returns to the rich harmonies with some beautifully done, picked acoustic providing the sole backing throughout this quintessential Crosby, Stills, & Nash song.

“Long Time Gone” is a cool 1960s pop/rock song with Stills playing a great funky bass, organ, with lead guitar licks throughout the verse and fantastically strong harmonies in rock context during the chorus. Crosby wrote it the night Bobby Kennedy was assassinated by Sirhan Sirhan. The album concludes with the fine, “49 Bye-Byes”, a rock waltz led by choppy organ and more great multi-part vocals. The song breaks into some interesting sections (almost its own mini-suite) and really rocks in its own way while never getting too intense.

Crosby, Stills, & Nash peaked at #6 on the Billboard Albums chart. After its release, the group played some high-profile shows, including the famous Woodstock Music Festival. Later in 1969, the group joined up with Neil Young, expanding the trio to a quartet as the new decade began.

Part of Classic Rock Review’s celebration of 1969 albums.