Classic Rock Review – Page 22 – Classic Rock Review

Southern Accents by
Tom Petty & the Heartbreakers

Tom Petty & the Heartbreakers found a nice blend of mid-eighties pop and their traditional rock sound on 1985’s Southern Accents. This sixth album by the group (and first new release in nearly three years) was put together by a vast number personnel. Along with Heartbreakers’ members Tom Petty and Mike Campbell, three other producers were involved in the production and beyond the five band members, over thirty session players and singers were used in recording this album.

Petty and the Heartbreakers entered the 1980s on a high streak, following the success of their 1979 album, Damn the Torpedoes. However, the follow-up album, Hard Promises in 1981, saw some friction between the band and the record company over pricing policy. Their 1982 album, Long After Dark saw the arrival of bass player Howie Epstein, who had been a member of Del Shannon’s backing band.

Southern Accents was originally conceived as a concept album about the “modern South”. This mission was ultimately abandoned when Eurhythmics founder Dave Stewart contributed some compositions and production techniques which contrasted with the overall concept. Tensions arose among the band members, who each had distinct visions of the album’s musical direction. These frustrations culminated with Petty breaking his left hand after punching a wall during a mixing session.

Southern Accents by Tom Petty & the Heartbreakers
Released: March 26, 1985 (MCA) Produced by: Tom Petty, Jimmy Iovine, Mike Campbell, David A. Stewart, & Robbie Robertson Recorded: Sound City, Village Recorder, & Sunset Sound, Los Angeles and Church Studio, London, 1983–85
Side One	Side Two
Rebels It Ain’t Nothin’ to Me Don’t Come Around Here No More Southern Accents	Make It Better (Forget About Me) Spike Dogs On the Run Mary’s New Car The Best of Everything
Group Musicians
Tom Petty – Lead Vocals, Guitars, Piano, Keyboards Mike Campbell – Guitars, Keyboards, Dobro Benmont Tench – Piano, Keyboards, Vocals Howie Epstein – Bass, Vocals Stan Lynch – Drums, Percussion, Vocals

The album begins with “Rebels”, which features a traditional Tom Petty-style, musical approach with the additional elements of brass and rich backing vocals. Thematically, this track perfectly fits the “Southern Accents” theme and the song also found mainstream appeal by reaching #5 on the Billboard Album Rock Tracks chart. “It Ain’t Nothin’ To Me” is the first Petty/Stewart collaboration and migrates more towards, mid-eighties slick production, But with a funk bass by Epstein and call and response vocals between Petty and a backing chorus, the song is still interesting, especially with Benmont Tench‘s cool new-wave/jazz piano during the long outro.

The album’s biggest hit, “Don’t Come Around Here No More” employs Indian-style sitar by Stewart and repetitive but effective track percussion. The song proper is pleasant and melodic throughout and it breaks out into a full rock jam at the end with a wailing guitar lead by Campbell, thumping bass by Epstein and some “real” drums by Stan Lynch. The song was allegedly inspired by Stevie Nicks break up with Joe Walsh, but is best known for its Alice in Wonderland themed music video.

“Southern Accents” is a Jackson Browne-like piano tune, which is unique for the group, albeit a little bit dragged out and mundane, Still, the track works as a graceful title track which hits on the original theme of the album. “Make It Better (Forget About Me)” is the third and final collaboration between Petty and Stewart and employs a full-fledged, upbeat Motown vibe which is executed finely. Oft forgotten in the Petty catalog, this song reached the Top 20 of the Modern Rock charts.

The rest of the second side features an eclectic mix of lesser-known songs. “Spike” is down-home country with cool, chanting lyrics, brush drums and Tench’s electric piano to carry the day. “Dogs On the Run” was co-written by Campbell and returns to old Heartbreakers-style rock for the final time on the album. “Mary’s New Car” has a late-seventies funk/pop vibe (almost disco), along with interesting sounding lead vocals and a subtle, reverb-drenched sax lead. Like the first side, the second side ends with a piano ballad. “The Best of Everything” contains better melodies and good brass to close out the album with style.

Southern Accents reached the Top 10 in the US and the Top 40 in several other countries. The subsequent concert tour spawned the live album Pack Up the Plantation in late 1985 before the band toured with Bob Dylan through the next couple years.

Part of Classic Rock Review’s celebration of 1985 albums.

Brothers In Arms by Dire Straits

Buy Brothers In Arms

Dire Straits reached their commercial peak and achieved worldwide fame with their fifth studio album, Brothers In Arms. All the songs on this album were composed by lead vocalist and guitarist Mark Knopfler and he and the group honed their signature sound of r&b and jazz with an increased sense of pop song craft that ultimately paid off as the album dominated charts worldwide and won two Grammy awards. It is also notable for being one of the first directed towards CD sales by offering extended versions of some songs and, as a result, Brothers In Arms became the first CD ever to sell over one million copies in that medium.

Early in the 1980s, Dire Straits had a couple of successful albums with 1980’s Making Movies and 1982’s Love Over Gold. The latter of these two featured long and experimental songs with extensive piano and keyboard Alan Clark’s piano and keyboard work and was the first Dire Straits album produced by Knopfler. The group embarked on an extensive world tour before taking a break in late 1983 and early 1984.

Recording for Brothers In Arms took place on the Caribbean island of Montserrat during the Winter of 1984-85. The album was co-produced by Neil Dorfsman, who made good use of the limited space of the small studio. During the sessions, group drummer Terry Williams was replaced by Omar Hakim, who reportedly recorded all of the album’s drum parts in just two days. A second keyboardist, Guy Fletcher, also joined the group for the first time during recording.

Brothers In Arms by Dire Straits
Released: May 13, 1985 (Vertigo) Produced by: Neil Dorfsman & Mark Knopfler Recorded: AIR Studios, Montserrat, November 1984–March 1985
Side One	Side Two
So Far Away Money for Nothing Walk of Life Your Latest Trick Why Worry	Ride Across the River The Man’s Too Strong One World Brothers in Arms
Group Musicians
Mark Knopfler – Lead Vocals, Guitars Alan Clark – Piano, Keyboards Guy Fletcher – Keyboards, Vocals John Illsley – Bass, Vocals Omar Hakim – Drums

The opening track, “So Far Away”, was also the album’s lead single, reaching the Top 20 in the UK. The song features a very simple but effective structure, with two complementing guitar patterns and subtle vocals by Knopfler. Lyrically, the track speaks of distance in a relationship, whether it be real or symbolic. The only song to feature a co-writer and co-lead-singer, “Money for Nothing” was co-written by Sting (credited as Gordon Sumner). The song was a pure pop attempt that paid off big time, as this catchy dance track with a crunchy riff became the group’s most successful single. The lyrics were inspired by a conversation Knopfler heard while in an electronics store in New York City, with the words delivered entirely as a third person narrative.

“Walk of Life” is the best pure pop song on the album and the high point of danceable pop before the album comes down to a more mellow level. Musically, it is built a classic Hammond organ line by Clark along with a contrasting Western-style guitar by Knopfler. The melodic lead vocals are nicely complemented by interesting backing vocal patterns, which made for another smash hit worldwide and the group’s biggest commercial hit in their native UK. Starting with a signature saxophone by Michael Brecker, “Your Latest Trick” is Adult contemporary at its best, utilizing fine electric piano chords and a steady bass by John Illsley along with jazzy, clicking percussion by Hakim. “Why Worry” may be the finest overall song on this album, as a quiet and reserved ballad with finely picked guitars throughout. It starts with a long, subtle guitar intro and remains mellow throughout, building only slightly during the chorus with a nice, descending keyboard line in between verse sections. Poetic lyrics persist throughout;

“Why worry, there should be laughter after the pain, there should be sunshine after rain, these things have always been the same, so why worry now…”

The album’s second side has less pop pursuit with several tracks lyrically focused on militarism. “Ride Across the River” contains a very slight reggae beat and distant horns throughout the long, story-telling song. “The Man’s Too Strong” is an acoustic, outlaw country-style track with interesting hard electric guitar riffs after each chorus, while “One World” is much weaker musically with a totally 80s style of fretless bass, standard funk guitar, simple beats and cheesy keys. The album concludes with the title track, “Brothers in Arms”, which starts with a dramatic key swell before settling in with a slight guitar lead in the vein of Pink Floyd. Later, the track contains calm but effective melodies before the keys and lead guitars carry the mood through most of the second half of the song.

Early in 2015, Brothers In Arms re-entered the UK Album Charts, making it a total of 356 weeks it has spent on those charts. It is one of Earth’s best-selling albums, having sold over 30 million copies worldwide. Another successful world tour followed, including 21 straight nights playing in Sydney, Australia in 1986. However, another long break after the tour led to a temporary breakup of the band, and they would not release another studio album until 1991, six years after Brothers In Arms.

Part of Classic Rock Review’s celebration of 1985 albums.

Moondance by Van Morrison

1970 Album of the Year
Buy Moondance

We’ve covered more music from the year 1970 than from any other year at Classic Rock Review. Through these nineteen articles covering twenty-three different albums, we’ve observed some of the finest rock groups as they branched out to embrace some roots or otherwise raw musical genres. Through all that great music, we believe that no one hit the sweet spot like Van Morrison and the most and authentic, entertaining and timeless effort of his long career, Moondance. Morrison blends diverse styles such as jazz, folk rock, country, R&B, and American soul with potent melodies and pristine arrangements, all on a cohesive album which always sounds fresh. For these reasons, we have chosen Moondance as our album of the year for 1970.

Morrison’s previous album, Astral Weeks, was filled with impressionistic, stream-of-consciousness tunes and was recorded in just a few sessions in New York City in late 1968. After that recording, Morrison and his wife decided to move to upstate New York, where the composer began writing songs for a follow-up album. Despite the critical acclaim of Astral Weeks, its improvised nature did not lead to much commercial success and Morrison looked to strike a balance between musical integrity and audience accessibility.

Coproduced by Lewis Merenstein, fresh musicians were recruited for Moondance, starting in the summer of 1969. While all the tracks were composed by Morrison on acoustic guitar, he entered the studio with no written arrangements, leaving room for this album to grow organically with any riffs or fills generated spontaneously through jam sessions. The result is a record of renewal and redemption which is every bit as authentic as its predecessor while shedding that album’s dark and gloomy feel, as Morrison employs simple memories and nature motifs lyrically.

Moondance by Van Morrison
Released: February 28, 1970 (Warner Bros.) Produced by: Van Morrison & Lewis Merenstein Recorded: A & R Studios, New York, August–December 1969
Side One	Side Two
And It Stoned Me Moondance Crazy Love Caravan Into the Mystic	Come Running These Dreams of You Brand New Day Everyone Glad Tidings
Primary Musicians
Van Morrison – Lead Vocals, Guitar, Harmonica John Platania – Guitars Jeff Labes – Piano, Keyboards Jack Schroer – Saxophones Colin Tilton – Flute, Saxophone John Klingberg – Bass Gary Mallaber – Drums, Percussion

The lyrics of Moondance seem to be symbiotically linked through the individual tracks with certain elemental themes reappearing throughout. One of these primary elements is water and nowhere is it more prominent than on the opening track “And It Stoned Me”. This nostalgic song about a day of adolescence in Ireland, speaks of walking to a fishing hole, getting caught in the rain, and ultimately receiving some H2O rejuvenation. Each lyrical line is filled with vivid yet poetic images and emotions while the moderate yet soulful rock sound features sax accents and a dual lead section featuring Morrison’s acoustic guitar and the piano of Jeff Labes.

The pure jazzy title tune is built on a walking bass pattern of John Klingberg, subtle piano chords by Labes and a great overall melody by Morrison. It later features a jazzy sax lead by Jack Schroer The lyrics of “Moondance” are specifically a tribute to the autumn season as well as romance in general and this hit song did not actually chart until 1977, seven years after its release. “Crazy Love” features Motown inspired, high pitched soul vocals which were accomplished by Morrison getting as close to the microphone as possible. This song is also the to feature Gospel-style backing singers while the music is very reserved with acoustic, bass, and brushed drums.

“Caravan” is a pure celebration of radio portrayed through a moderate rock backing and very intense vocalization. After two verses comes the first of two improvised bridge sections that bring this song to a new level along with syncopated beats and punching brass. The side one closer “Into the Mystic” paints an indelible picture of life on the water where Morrison again returns to his youth in the port city of Belfast. The mood of this subtle folk tune is driven by a cool but direct bass line, strummed acoustic, and a building array of other instruments added ounthe duration, including a foghorn-mimicking alto saxophone for great effect.

“We were born before the wind, also younger than the sun / Ere the bonnie boat was won as we sailed into the mystic…”

The album’s second side contains some lesser known but quality songs. The Top 40 hit “Come Running” is upbeat, almost country in its approach, especially with the boogie-woogie piano by Labes, a two chord guitar pattern by John Platania and the first real affirmative presence by drummer Gary Mallaber. The track is not very complex lyrically but this is intentional as it works as an upbeat counter to some of the deeper songs from the first side. “These Dreams of You” portrays upbeat blues with bass rhythm, slide acoustic, and harmonica by Morrison. On “Brand New Day”, the tone is excellent even if the vocal melody seems a bit recycled. Nonetheless, this track is definitely a spiritual, Gospel influenced, song of redemption with rich backing harmonies.

Van Morrison The energy returns fully on “Everyone”, which starts with a cool harpsichord by Labes that persists through repetitive, beat driven pattern of this song of pure celebration. Colin Tilton provides flute flourishes throughout this Baroque-styled track which is an ode to the power of music. The album concludes with “Glad Tidings”, featuring the most pronounced bass line, exceptional drumming, subtle saxophones and squeezed out electric guitar notes all behind Morrison’s clarion vocals. While many songs on this album revisit the past, this one is set firmly in the present day of 1970 as Morrison sends “glad tidings” from his new home in New York.

Moondance was a critical and commercial success, peaking in the Top 40 in charts in both the US and the UK. It has continuously sold well during the four and a half decades since its release, eventually certified as triple platinum in sales. Later in 1970, Morrison released the follow-up album, His Band and the Street Choir, which feature “Domino”, the song which ultimately became Morrison’s biggest hit ever. Through the 1970s and into decades beyond, he released a succession of fine albums but none have reached quite the level of esteem as our album of the year, Moondance.

Part of Classic Rock Review’s celebration of 1970 albums.

Déjà Vu by
Crosby, Stills, Nash & Young

Buy Déjà Vu

Déjà Vu is the sophomore effort by the super group with the expanded name of Crosby, Stills, Nash & Young, after the addition of Neil Young to the group. Each of the four named members of the group contributed an original composition to each side of the original LP, which worked to give this album a very diverse musical and textual feel overall. following its release, the album topped the charts in the US and went on to be the most successful record overall for the group as a four piece.

The 1969 self-titled debut by Crosby, Stills & Nash was a critical and commercial success. On that album, Stephen Stills played the bulk of the instruments with drummer Dallas Taylor being the only player outside the core trio. After the album’s release and success, the band looked to add more players, at first trying to recruit Steve Winwood (to no avail). At the urging of Atlantc Records founder Ahmet Ertegün, Young was brought on as a fourth member, reuniting him with Stills, his Buffalo Springfield bandmate. This updated group then embarked on their initial tour in the summer of 1969.

Through late 1969, great anticipation was building for another album by the group. Ultimately, the album took a long time to record, with over 500 studio hours logged over the course of five months. The end result is an album filled with precise playing, rich harmonies, and strong rhythms, with three charting singles and several more tracks which have sustained throughout the decades.

Déjà Vu by Crosby, Stills, Nash & Young
Released: March 11, 1970 (Atlantic) Produced by: Crosby, Stills, Nash & Young Recorded: Wally Heider’s Studios, San Francisco and Los Angeles, July-December, 1969
Side One	Side Two
Carry On Teach Your Children Almost Cut My Hair Helpless Woodstock	Déjà Vu Our House 4 + 20 Country Girl Everybody, I Love You
Primary Musicians
David Crosby – Guitars, Vocals Stephen Stills – Guitars, Keyboards, Bass, Vocals Graham Nash – Guitars, Keyboards, Vocals Neil Young – Guitars, Keyboards, Harmonica, Vocals Greg Reeves – Bass Dallas Taylor – Drums

The songs through most of Déjà Vu are great Americana classics which, if they are flawed at all, are just a bit too short in duration. “Carry On” has an upbeat acoustic folk intro. Still’s thumping bass and some hand percussion are present through much of the opening verses. The later section changes direction a bit while still giving room for harmonies to fully shine along with some great electric guitar licks. “Teach Your Children” is a pure, steady country tune by Graham Nash, featuring exquisite harmonies throughout. This track also has some impressive pedal steel by guest Jerry Garcia, who made this signature arrangement in return for the CSNY teaching members of the Grateful Dead how to effectively harmonize for their upcoming 1970 albums.

“Almost Cut My Hair” is a bluesy, hippie anthem by David Crosby, featuring a triple guitar attack by Crosby, Stills, and most especially Young on lead guitar. This track is also the most ‘live’ sounding on the album and features no harmonies, with Crosby alone supplying the soulful lead vocals throughout. The album again changes direction with Young’s “Helpless”, where Neil plays acoustic, electric, piano, and harmonica along with the lead vocals. This track was originally recorded by Young with Crazy Horse in early 1969. The album’s first side concludes with “Woodstock”, a song written by Joni Mitchell as a folk song but adapted by CSNY as a rocked out version with potent, electric guitar motifs and exceptionally harmonized counter-melodies during the choruses. Mitchell did not play at the actual Woodstock festival, but wrote the song based on accounts from then-boyfriend Nash, and recorded her own version for the album, Ladies of the Canyon.

Crosby Stills Nash Young

Side two of the album contains five more fine tracks, although not quite at the level of the first side. Crosby’s title track, “Déjà Vu”, may be the oddest song on the album, as it slowly works its way into an acoustic groove for the intro section but then abruptly breaks into a slow, bluesy rock for the duration. Nash’s “Our House” is a very British pop, piano love tune, unlike anything this band had done before or since. The song simply portrays a day in the life of Nash and Mitchell verbatim. “4 + 20” is a short acoustic folk tune by Stills, followed by Young’s “Country Girl”, a loose medley with a waltz-like beat, deep organ textures in the background, and slight harmonies. The album concludes with “Everybody I Love You”, the only collaboration on the album (between Stills and Young), which seems like the least finished track on the album overall.

Within a year after the successful release of Déjà Vu, each of the four members recorded solo albums — Crosby’s If I Could Only Remember My Name, Stills’ self-titled debut, Nash’s Songs for Beginners and Young’s After the Gold Rush, all four of which reached the Top 20 on the charts. However, there would not be another CSNY studio album by all four until American Dream in 1988, nearly two decades later.

Part of Classic Rock Review’s celebration of 1970 albums.

Chicago II

Buy Chicago II

Officially titled Chicago, the second double-length album by the group with the same name saw their full immersion into mainstream success while still building on their fusion of rock, funk and jazz. This album also saw expanded participation by many of the seven group members, in composing the songs and suites. While the album is interesting and entertaining, it is not without some filler and flaws as at times the group tries too hard to forge messaging, which sometimes comes off awkwardly or forced.

Then known as Chicago Transit Authority, the group released their self-title debut double LP in the Spring of 1969. That album was critically acclaimed for its groundbreaking musical approach but did not spark much initial interest on the radio. After its release, the actual city of Chicago transportation department claimed the name as proprietary and threatened a lawsuit, so the group shortened their name to simply, Chicago.

The album was recorded in less than a month during August 1969 for an early 1970 release. Like the opening album, the compositions are once again mainly provided by guitarist Terry Kath and keyboardist Robert Lamm. However, Chicago II also features a seven-part suite by brass arranger James Pankow as well as the first composition by bassist/vocalist Peter Cetera, who would provide a growing role in the group’s sound as the 1970s progressed.

Chicago II by Chicago
Released: January 26, 1970 (Columbia) Produced by: James William Guercio Recorded: Columbia Studios, New York & Hollywood, August 1969
Side One	Side Two
Movin’ In The Road Poem For the People In the Country	Wake Up Sunshine Ballet for a Girl in Buchannon
Side Three	Side Four
Fancy Colours 25 or 6 to 4 Memories of Love	It Better End Soon Where Do We Go From Here
Group Musicians
Terry Kath – Guitars, Vocals Robert Lamm – Keyboards, Vocals Peter Cetera – Bass, Vocals James Pankow – Trombone, Brass Arrangements Lee Loughnane – Trumpet, Flugelhorn, Vocals Walter Parazaider – Woodwinds, Vocals Danny Seraphine – Drums, Percussion

Chicago II is a bit top-heavy with some of the best material on the first two sides. Side One starts with Pankow’s celebratory horns of “Movin’ In”, which crams in plenty of jazz-style improv sections on this fine opening track. Kath’s “The Road” starts with a complex riff pattern before settling into a funky ballad led by Cetra’s vocals. “Poem For the People” starts with deliberative solo piano by Lamm, who composed the song. When it fully kicks in, it is a soulful song with nice, mellowly picked guitar interludes and a core meaning. The side concludes with “In the Country”, which may be the first example of an extended filler as the track gets very repetitive and quite corny as it goes along.

The second side starts with “Wake Up Sunshine”, a direct, happy-go-lucky track by Lamm which could’ve been (and should’ve been) a hit for the band, This is one of the most accessible and pop-oriented as well as one of the shorter tracks and ends with a cool, industrial-like organ part. Pankow’s multipart suite, “Ballet for a Girl in Buchannon” follows, starting with the classic single “Make Me Smile”, which bookends the medley. This features driving acoustic, funky bass, good vocals throughout and animated drums by Danny Seraphine. Next comes “So Much to Say, So Much to Give”, a waltz-like bridge section with lead vocals by Lamm. “Anxiety’s Moment” and “West Virginia Fantasies” are a couple of horn-drivren instrumental sections before the music cleverly dissolves into “Colour My World”, a simple but brilliant tune sung by Kath and featuring a long rotating, piano riff. The section ends with flute solo by Walter Parazaider and would go on to be a hit single on its own. The piece concludes with the bass-driven “To Be Free” and the reprise section “Now More Than Ever” and a military-like drum march by Seraphine to the end.

Side Three starts with “Fancy Colours” starts with percussive chimes and a long, psychedelic organ. After slow slosh through the first verse, song breaks into a Broadway-like 6/8 with plenty of flute parts for the main hook of this track. “25 or 6 to 4” is one of the most indelible Chicago tunes, with a rock oriented core bass, drums, and guitars. The horns play a reserved but effective role, led by the trumpet of Lee Loughnane. The nin-plus-minute suite “Memories of Love” contains orchestral arrangements by Peter Matz, who co-wrote the crooning love song with Kath.

The fourth and final side starts with another extended suite, this time a rock/jazz fusion called “It Better End Soon”, co-written by Lamm, Kath, and Parazaider. The track seems to have been intentionally built for live shows and was kind of manifesto for the group’s political viewpoints. The album concludes with “Where Do We Go from Here”, the first track composed by Cetera and is a more pleasant and uplifting track than its predecessor while still being a bit preachy on world affairs.

Chicago II was an instant hit on both sides of the Atlantic, reaching the Top 5 in the US and the UK. Followed by their third consecutive double album, Chicago III in 1971, the band would release about one album per year through the seventies and had continued commercial success through most of that decade.

Part of Classic Rock Review’s celebration of 1970 albums.

Cosmo’s Factory by
Creedence Clearwater Revival

Buy Cosmo’s Factory

If nothing else, Cosmo’s Factory is a unique and unconventional album in its structure and approach, as it starts out oddly and packs all its pop/rock firepower towards the back end. That being said, this still ranks as one of the finest albums by the prolific Creedence Clearwater Revival and captures the band near their peak musically and creatively. The album was also a worldwide success commercially as it topped the album charts in six nations and was certified Gold less than six months after its release.

The fifth studio album over a span of just two years, Cosmo’s Factory follows a prolific year of 1969 which saw three albums released by CCR. Recording for this album actually began in late 1969 with the first of three “Double-A-Side” singles which came out ahead of this album, with each one reaching the Top 5 on the US pop charts. Each of these successful singles were written by guitarist and lead vocalist John Fogerty while four out of the remaining five non-single tracks are cover songs.

The album’s title comes from a warehouse in Berkeley, CA which the group used as rehearsal space early in their career. Drummer Doug Clifford (whose nickname was “Cosmo”) called this practice space “The Factory” because they practiced every day, like going to a regular job.

Cosmo’s Factory by Creedence Clearwater Revival
Released: July 25, 1970 (Fantasy) Produced by: John Fogerty Recorded: Wally Heider Studios in San Francisco, Late 1969–June 1970
Side One	Side Two
Ramble Tamble Before You Accuse Me Travelin’ Band Ooby Dooby Lookin’ Out My Back Door Run Through the Jungle	Up Around the Bend My Baby Left Me Who’ll Stop the Rain I Heard It Through the Grapevine Long as I Can See the Light
Group Musicians
John Fogerty – Lead Vocals, Guitars, Piano, Sax, Harmonica Tom Fogerty – Guitars Stu Cook – Bass Doug Clifford – Drums

For all the hits on Cosmo’s Factory, the listener has to wait nearly a quarter of the album’s running time to get to one. The seven-minute-plus “Ramble Tamble” was the last song composed for the album and the only Fogerty original not released as a single. It starts with quasi-funky beat which quickly changes to a hoe down rhythm by guitarist Tom Fogerty and bassist Stu Cook. After some short vocal sections, the song enters a long musical rock intermediary which builds in intensity as it goes along and, when it finally breaks, it returns to the main beat by Clifford and one more quick verse. Next comes “Before You Accuse Me” a pure blues cover of a song originally by Bo Diddley, with this version having a little of the CCR “swamp” attitude on top.

Incredibly, CCR toured constantly while recording their five albums between 1968 and 1970. “Travelin’ Band” portrays this side of the band as a pure, fifties style rocker with Fogerty’s vocals conjuring Jerry Lee Lewis and/or Little Richard in the hyper scream mode. The song reached the Top 10 on both sides of the Atlantic. “Ooby Dooby” is a Roy Obison cover that seems odd and out of place this early in the album, although its fifties style does fall in place with the previous track. Starting with “Lookin’ Out My Back Door”, the album gains momentum and continues to improve right to the end. On this return to the traditional sound of CCR, the dual guitars of the Fogerty brothers are a highlight along with its great melody which delivers the colorful imagery of the lyrics.

“Run Through the Jungle” has a psychedelic beginning with well treated guitars, piano and kick drum. The song’s body features the best bass performance by Cook thus far on the album, a cool rock riff throughout, and a later distorted harmonica lead which gives it a live, blues-club feel. “Run Through the Jungle” and “Up Around the Bend” were featured as the second Double-A single in April 1970. This later track is the most straight-forward, direct pop/rock song on the album, complete with cool guitar riffs and a fantastic hook. “My Baby Left Me” follows as an upbeat R&B track, which seems to fit better with the CCR sound than the cover tracks on the first side of the album. Here there are great guitar sounds and animated symbol-centric drums.

The album finishes with Fogerty’s two finest originals wrapped around an extended version of the Marvin Gaye classic “I Heard It Through the Grapevine”. On this eleven-plus-minute jam the group does a decent job at being cohesive yet spontaneous with the main section featuring a “spooky” sounding bass by Cook and strategic rolls by Clifford. the pure folk “Who’ll Stop the Rain” adds yet another dimension to this very diverse album, with a potent message, simple riff and structure and another great melody by John Fogerty. “Long as I Can See the Light” is a bluesy, electric piano ballad with very soulful vocals by Fogerty. It starts with a steady drum beat, which betrays the overall tone of this Motown-inspired track that features some sax behind the verses and then a full-fledged solo later. This excellent closer puts a bow on this album perfectly.

Cosmo’s Factory only grew in stature and commercial viability throughout the years, eventually selling over four million copies. However, it was later revealed that internal tensions began within the group during these sessions and, after two more years and two more albums, Creedence Clearwater Revival disbanded leaving a short, but potent, legacy.

Part of Classic Rock Review’s celebration of 1970 albums.

The Guess Who 1970 Albums

Buy American Woman
Buy Share the Land

The year 1970 saw the apex of popularity for The Guess Who as well as the initial cracks in their band unity. The two albums they released that year, American Woman and Share the Land showed the progression of their sound from the strictly pop-oriented output of the late sixties to their more diverse fusion sound of the early seventies. In between these albums, founding guitarist Randy Bachman left the group and some studio recordings were abandoned as the group started over with two new guitarists.

The Guess Who started as Allan and the Silvertones in Winnepeg, Canada way back in 1958. Bachman, bassist Jim Kale, and drummer Garry Peterson were all on board from the jump and this original incarnation of the group released several singles through the early sixties but with minimal success. In 1965 the group adopted the name “Guess Who?” and added then 18-year-old Burton Cumming as lead singer and keyboardist. The late sixties saw the group find Top 40 success in Canada and beyond, due in part to their extended run as house band on a CBC radio show. The group’s 1969 albums, Wheatfield Soul and Canned Wheat, primed The Guess Who for the rock mainstream.

Peaking in the Top 10 of the album charts, American Woman is the most commercially successful album ever put out by the group. In part influenced by the sound of Led Zeppelin’s 1969 albums, a harder-edged rock sound was introduced on this album, led by Bachman’s fuzz-tone guitars and Cummings’ ever more dynamic and bluesy vocals. This album also included a few suite-style medleys as well as slight forays into prog rock.

Share the Land saw the arrival of guitarists, Kurt Winter and Greg Leskiw and slightly richer overall arrangements. Recording began almost immediately after Bachman’s departure, but producer Jack Richardson found a cohesive sound for the now five piece band. Being how it was so quickly written and recorded, the group was pleasantly surprised when Share the Land reached the Top 20 on the album charts and spawned a few successful singles.

American Woman by The Guess Who
Released: January, 1970 (RCA Victor) Produced by: Jack Richardson Recorded: RCA Mid-America Recording, Chicago, August-November, 1969
Side One	Side Two
American Woman No Time Talisman No Sugar Tonight/New Mother Nature	Cumberland 969 (The Oldest Man) When Friends Fall Out 8:15 Proper Stranger Humpty’s Blues/American Woman (Epilogue)
Share the Land by The Guess Who
Released: October, 1970 (RCA Victor) Produced by: Jack Richardson Recorded: RCA Mid-America Recording Center, Chicago, 1970
Side One	Side Two
Bus Rider Do You Miss Me Darlin’? Hand Me Down World Moan For You Joe Share the Land	Hang On to Your Life Coming Down Off the Money Bag Song of the Dog Three More Days
Group Musicians
Burton Cummings – Lead Vocals, Keyboards, Guitar, Flute, Harmonica Jim Kale – Bass, Vocals Garry Peterson – Drums, Percussion, Vocals Randy Bachman – Guitars, Vocals (American Woman only) Greg Leskiw – Guitars (Share the Land only) Kurt Winter – Guitars (Share the Land only)

The opening title track of American Woman starts with an acoustic blues intro before stopping completely and re-starting as a droning, hard rocker, led by Bachman’s distinctive riffs. The song would go on to be one of the most popular and distinct in the Guess Who library. “No Time” is actually a remade version of a song originally released on Canned Wheat the previous year. This version starts with the distinct drum beat of Peterson and features call and response with backing vocals during the verses and great harmonies throughout. The 1970 single of “No Time” peaked at #5 in the U.S. and topped the charts in Canada.

The album drastically changes up with “Talisman”, a pure folk song by Cummings and Bachman with dark acoustic elements and traditional English folklore-like vocal melodies. The medley “No Sugar Tonight/New Mother Nature” may actually be more like a two part suite. It is acoustic throughout with an introductory riff starting each section. Kale’s bass sets the rhythms for each of these sections with a slight variation between each and Cummings’ piano makes an appearance during the “New Mother Nature” section. The lyrics morph from those of regret in “No Sugar Tonight” to a quasi-party theme during “New Mother Nature”.

The second side of American Woman contains more obscure material. Bachman’s double-track guitar rock instrumental “Cumberland 969” later morphs into a jazzy, Jethro Tull-style flute solo by Cummings before returning to the strong rock elements to complete the track. The album’s second remake, “When Friends Fall Out”, dates back to a 1968 release as a marching pop track with repetitive verses and a psychedelic ending. “8:15” is a funky rocker with deep Hammond organ and a unique vocal approach by Cummings, while “Proper Stranger” somewhat returns to the vibe of the first side with duo acoustic, sharp bass notes and animated rhythmic drumming later accompanied by electric riffs and lead. The closing “Humpty’s Blues/American Woman (Epilogue)” starts as slow blues with crying guitars and heavy harmonica before the song dissolves awkwardly into a reprise of the intro section of “American Woman” to encapsulate the album in a thematic way.

Share the Land saw Kurt Winter step up as a primary composer in his new band. The opening track “Bus Rider” was penned by Winter as a fifties-style rocker with seventies-style rock riffs to make it overall fun musically, albeit a bit trite lyrically. “Do You Miss Me Darlin’?” is a bit richer and deeper as a ballad with nice, whining guitar and soulful and dynamic vocals by Cummings, accompanied by rich harmonies between the verses and during the softer, piano driven mid-section.

Winter’s “Hand Me Down World” is one of the most enjoyable tracks on the album with a descending electric guitar riff, bright acoustic chords, driving rhythms, and pleasant vocal melodies. The song reached the Top 20 as a single in The US. “Moan for You Joe” is a jazzy tune with odd timings and a an exceptional overall drumming performance by Peterson along fine guitar and piano work, especially an extended lead by Cummings. The title track “Share the Land” is a fine “hippie” anthem by Cummings featuring dual lead guitar riffs by Leskiw and Winter. This sing-along ballad features dynamic and soulful lead vocals with Cummings almost taking on a revival preacher role.

“Hang on to Your Life” is riff driven with frantic vocals during the rock-oriented verses while the chorus leans back slightly towards pop. An extended outro has guitar leads over the chorus hook before it breaks down in feedback backing with a spoken recital of the biblical Psalm 22. “Coming Down Off the Money Bag”/”Song of the Dog” is perhaps the most unique Guess Who song ever with the first section, written and sung by Leskiw, having an Americana/Country vibe with plenty of cool instrumentation. After a single verse, the song breaks into a rock interlude before morphing into the acoustic driven bluesy “Song of the Dog” by Cummings. Closing out Share the Land is the nearly nine-minute track, “Three More Days”. Led by Kale’s bass, this moderate blues rocker contains lyrics about death and the philosophy of a finite life and musically moves through different sections including a chant about “freedom” and a flute lead.

Although The Guess Who were still high on the pop/rock echelon at the end of 1970, further personnel shifts would undermine and ultimately dissolve the group. Leskiw left the group early in 1972, followed by Kale shortly after. Eventually, it was Cummings who grew weary of the band and departed himself to start a solo career in the mid seventies.

Part of Classic Rock Review’s celebration of 1970 albums.

Let It Be by The Beatles

Buy Let It Be

Released less than a month after the announcement of their breakup, Let It Be was a unique release by The Beatles on several fronts. First, the bulk of the album was recorded over a year earlier (and before the recording and release of 1969’s Abbey Road) and was slated to be released twice in 1969 as different incarnations of an album called Get Back. Also, after it was finally released, there was debate over the enriched production added by Phil Spector, which ultimately led to a 2003 re-mixed version called Let It Be Naked.

The idea for this project was sparked by Paul McCartney who wanted to use these sessions to “get back” to the rock basics of the band’s early years. McCartney was also eager to play live again and wanted simplify the band’s sound, which had gotten increasingly complex in the studio. As an added dimension, the rehearsals and recording sessions would be filmed as part of a planned documentary showing the group prepare for a return to playing live.

Starting in late 1968, the project was marred by confusion in purpose and production duties and, ultimately, led to strong animosity within the band itself. In fact, George Harrison temporarily quit the band and agreed to return only if plans for a live tour were nixed (the band ended up playing a single “show” on the roof of Apple Studios). Still, the band was incredibly prolific in rehearsing over a hundred songs during these sessions, which included early incarnations of songs which would end up on Abbey Road and several early solo albums by individual band members.

An originally intended release date for Get Back was set for the summer of 1969, but the group members were dissatisfied with the mix and the project was temporarily shelved while they worked on Abbey Road. Early in 1970, a second version was attempted, again to less-than satisfactory results. Finally, Spector was brought in to “save” the project in March 1970 and finished the album which now had a new title and new status as the final album by the world’s most popular rock band.

Let It Be by The Beatles
Released: May 8, 1970 (Apple) Produced by: Phil Spector & George Martin Recorded: Abbey Road, Twickenham & Apple studios, London, February 1968-April 1970
Side One	Side Two
Two of Us Dig a Pony Across the Universe I Me Mine Dig It Let It Be Maggie Mae	I’ve Got a Feeling One After 909 The Long and Winding Road For You Blue Get Back
Group Musicians
John Lennon – Guitars, Bass, Vocals George Harrison – Guitars, Tambora, Vocals Paul McCartney – Bass, Keyboards, Guitar, Vocals Ringo Starr – Drums, Percussion

“Two of Us” was written by McCartney about a driving adventure with his future wife, Linda. While early incarnations were electric guitar-driven, the final album version was mostly acoustic with harmonized vocals by McCartney and John Lennon. “Dig a Pony” was composed and sung by Lennon, almost as a counterpart to the opener as it was inspired by his future wife, Yoko. This song was also the first of several to feature guest Billy Preston on electric piano.

The oldest composition on Let It Be, “Across the Universe” was written by Lennon in 1967 and originally recorded in early 1968. The song’s vibe was heavily influenced by the transcendental meditation the band was studying at the time, and its melodic flow make it one of the most enjoyable tracks on the album. “I Me Mine” was Harrison’s first songwriting contribution to the album with lyrics that mock the bickering within the band. Late on the album’s first side are a couple of filler tracks, each less than a minute in duration. “Dig It” is credited to all four group members (giving Ringo Starr a rare songwriting credit), while “Maggie Mae” is a traditional British skiffle tune.

McCartney’s title ballad was Billboard’s highest debut single to that date and the final single before the band’s breakup announcement. The song was sparked by a dream he had about his mother (Mary), who had died when Paul was a teenager and its title and theme served as a call for serenity in the face of the band’s breakup.

Beatles on Sound Stage 1969

The album’s second side begins with “I’ve Got a Feeling”, a fusion of two unfinished songs, along with John Lennon’s “Everybody Had a Hard Year”, which may have been one of the last true collaborations between the famous songwriting team. McCartney’s guitar-driven and upbeat rock theme fuses nicely with Lennon’s mellow folk lines to make a unique tune. In contrast, “One After 909” was a song written a full decade earlier in 1960, as one of the first Lennon–McCartney compositions. It was recorded here as a symbolic gesture to signify the band’s return to “good ol’ rock n’ roll”. “The Long and Winding Road” became the group’s twentieth and final number one song as a mature and philosophical piano ballad by McCartney. After production modifications by Spector, which included orchestral strings Richard Anthony Hewson and a choral arrangement by John Barham, McCartney expressed outrage at the enhancements without his input.

Harrison’s “For You Blue” features Lennon playing lap steel guitar with McCartney playing an intentionally dulled piano, which act as the only “bass” on the track. The album closer, “Get Back”, was the earliest single from the album, released over a year before the album as a single credited to “The Beatles with Billy Preston.” The album’s version is a different mix of the song. The song’s evolution was fully documented on film and the album’s version ends with the ironic quote by Lennon,

“I’d like to say thank you on behalf of the group and ourselves,
and I hope we passed the audition…”

Let It Be topped national charts in a half dozen countries worldwide and won an Academy Award for the Best Original Score for the songs in the film. Beatles fans still debate whether this is truly their final studio album or more of a posthumous release of tracks from an unfinished project. In any case, it is a quality addition to the band’s portfolio.

Part of Classic Rock Review’s celebration of 1970 albums.

Grateful Dead 1970 Albums

Buy Workingman’s Dead
Buy American Beauty

With the arrival of a new decade, the Grateful Dead decided to shift towards scaled back folk and country style rock. This proved to be a wise endeavor as their two 1970 releases, Workingman’s Dead and American Beauty are both regarded among the finest studio albums of their long career. These albums were recorded and released just a few months apart with each expanding further into the realm of Americana as tracks on each album explicitly cite locations throughout the United States.

Prior to producing Workingman’s Dead, members of the Grateful Dead were facing tumultuous times. The cost of recording their ambitious 1969 album, Aoxomoxoa had put the band in significant debt and they were also dealing with the aftermath of a drug bust while on tour in New Orleans. The new musical direction was at least partially influenced by the group’s friendship with Crosby, Stills, and Nash, who inspired the harmonized vocal approach above simple, acoustic-based music. The title of Workingman’s Dead was coined by Jerry Garcia when describing the new sound of the band. The album was recorded front to back in just nine days in February 1970.

American Beauty takes an even more reserved approach, with just four of the six band members recording the vast majority of the album. Co-produced by Steve Barncard, who was brought on board when the group’s normal sound crew was off working on the Medicine Ball Caravan Tour in Canada. Guitarist Bob Weir describes the approach as a total abandonment of the San Francisco sound that they helped establish in the mid 1960s but was co-opted by the press hyped “summer of love”. On this latter album, the group’s compositions, melodies and harmonies were all better formed and more brilliantly refined, making this perhaps the finest overall Grateful Dead album.

Workingman’s Dead by Grateful Dead
Released: June 14, 1970 (Warner Bros.) Produced by: Bob Matthews, Betty Cantor, & Grateful Dead Recorded: Pacific High Recording Studio, San Francisco, February 1970
Side One	Side Two
Uncle John’s Band High Time Dire Wolf New Speedway Boogie	Cumberland Blues Black Peter Easy Wind Casey Jones
American Beauty by Grateful Dead
Released: November 1, 1970 (Warner Bros.) Produced by: Steve Barncard & Grateful Dead Recorded: Wally Heider Studios, San Francisco, August–September 1970
Side One	Side Two
Box of Rain Friend of the Devil Sugar Magnolia Operator Candyman	Ripple Brokedown Palace Till the Morning Comes Attics of My Life Truckin’
Band Musicians (Both Albums)
Jerry Garcia – Guitars, Banjo, Vocals Bob Weir – Guitars, Vocals Phil Lesh – Bass, Vocals Ron McKernan – Keyboards, Harmonica, Vocals Bill Kreutzmann – Drums Micky Hart – Drums, Percussion

Workingman’s Dead commences with “Uncle John’s Band”, built on moderate, acoustic chords and an overdubbed lead acoustic guitar. There are exquisite harmonies during first half of each verse, with Garcia taking solo lead at sporadic parts beyond that. The dual drummers, Bill Kreutzmann and Micky Hart have a strong presence throughout the song, which was written by Garcia and lyricist Robert Hunter, like the majority of songs on this album.

Workingman's Dead by Grateful Dead “High Time” is an almost pure country song with a strummed acoustic waltz and vocals to match by Garcia. Here the harmonies are a little off and bass a bit too deep sonically, but the later pedal steel works really well on this track. “Dire Wolf” is an upbeat folk ballad with very active pedal steel along with other lead guitar licks over the strummed acoustic backing. This colorful tale features the catch phrase “don’t murder me”, which makes it dark and accessible at once. “New Speedway Boogie” leans more towards British-style blues of the 1960s with rumbling bass and hand clap-like percussion, while the lyrics tackle the tragic events of the December 1969 Altamont concert in the group’s home region.

The second side of Workingman’s Dead begins with a couple of unheralded gems. “Cumberland Blues” was co-written by bassist Phil Lesh and is a fun, rambling song where Garcia’s banjo and Lesh’s bass drag the adventurous music along as the group’s new direction towards Americana and roots music fully materializes. “Black Peter” is a slower country track where Garcia’s reverb-drenched vocals are strong but sweet, bringing the sad song up to a higher level of quality. Dual acoustics, bass, and brushed drums set the sparse backing that gives the vocals the room they deserve. On “Easy Wind” keyboardist Ron “Pigpen” McKernan takes the helm, with his vocal style matching Hunter’s laboring lyrics and the rocky beat dual drum beats. Mckernan’s harmonica lead after first chorus commences a long middle section with sporadic guitar leads interspersed throughout.

The album concludes “Casey Jones”, starting with an infamous “snort” and unabashedly narrating a tale of cocaine abuse. Musically, the group launches into the most popular and accessible song on Workingman’s Dead with great electric guitars throughout that compliment Garcia’s fine vocal melodies along with great, animated rhythms by Weir, Lesh, and Kreutzmann, making this the most complete group performance on the album.

American Beauty by Grateful Dead American Beauty starts with “Box of Rain”, a collaboration between Hunter and Lesh where the bassist takes a rare shot at lead vocals above bright and jangly music and a chorus of harmonized vocals. The song is constructed with subtle chord changes which give it an air of unidirectional originality. “Friend of the Devil” is a more straight-forward rendition of bluegrass-inspired Americana with a consistent, descending riff and fine vocal melody by Garcia. An exceptionally well produced track, the song features a mixture of guitars, bass, and a lead mandolin by guest David Grisman and lyrics about an outlaw on the run. “Sugar Magnolia” ia a quintessential Dead “hippie” song and a rare collaboration between Weir and Hunter. Written as a souped-up love song by Weir, it features a definitive groove on guitars and well-defined drums by Kreutzmann with lyrics speak of an extraordinary woman in beauty and character;

“She can dance a Cajun rhythm, jump like a Willys in four wheel drive / She’s a summer love in the spring, fall and winter, she can make happy any man alive…”

“Operator” is the fourth track on American Beauty with a fourth different lead vocalist, McKernan, who also wrote the tune. This song has an Arlo Guthrie feel with root acoustic and a bright electric lead and is the only song to include all six band members as Hart adds some cool percussion effects. “Candyman” completes the album’s first side as a slow, bluesy ballad with an exception slide guitar lead with weird tremolo effects which, combined with Hammond organ of guest Howard Wales, give it a real spacey and surreal effect.

Grateful Dead

“Ripple” may be the sweetest overall song recorded by the Grateful Dead with exquisite lyrics by Hunter which are poetic and quasi-religious. Musically, a consistent drum shuffle by Kreutzmann is complimented by Lesh’s potent and sharp, yet extraordinarily complementary bass and rapid mandolin notes by Grisman. But, by far the best element here is Garcia’s voice, as he delivers the haiku phrased lyrics masterfully. “Brokedown Palace” is almost a medley from “Ripple” as it starts during the dissolve of that song. However, where the previous track was so effortless, this ballad almost tries too hard, especially during the closing harmonized scat section.

“Till the Morning Comes” is an upbeat acoustic with various lead guitar phrases and harmonized vocals throughout, while “Attics of My Life” bring the harmonies to a whole new level while the song is musically rhythm driven with Lesh, and Kreutzmann moving to the forefront. American Beauty concludes with “Truckin'”, the quintessential song about touring. An autobiographical song which was a complete band collaboration, it was written to be an “endless tune” with future verses added as new experiences were had. The hook harmonies are complimented by Weir’s verse vocals, almost like a Greek chorus response, and the bridge is the payoff, where the group almost employs a traditional rock riff and coins the famous phrase “What a long, strange trip its been…”

Following the release of American Beauty, Hart briefly left the Grateful Dead, returning in 1974. The year before that, McKernan lost his life to alcoholism and Garcia lost his life in 1995. In July 2015, the remaining band members will play select shows to celebrate the Grateful Dead’s 50th anniversary as a band. These shows have been dubbed as the “Fare Thee Well” tour after a lyrical phrase in the song “Brokedown Palace.”

Part of Classic Rock Review’s celebration of 1970 albums.

Layla & Other Assorted Love Songs
by Derek & the Dominos

Buy Layla & Other Assorted Love Songs

Layla and Other Assorted Love Songs was the sole studio album by super group Derek & the Dominos. A double length LP, the fourteen tracks on the album included a few traditional blues jams along with original compositions written mainly by Eric Clapton and Bobby Whitlock. Although the album was originally panned by critics and record buyers alike, it has deservedly grown in stature over the decades as a bonafide classic rock gem. In Fact, it may be the best overall effort of Clapton’s long career.

Clapton’s 1969 super group, Blind Faith, lasted less than a calendar year. Late in that year, the legendary guitarist joined Delaney & Bonnie and Friends because he desired the relative anonymity of this group. However, Clapton soon discovered that three of his fellow bandmates had planned to leave Delaney & Bonnie and, after an extended tour into 1970, guitarist Clapton, keyboardist Whitlock, bassist Carl Radle and drummer Jim Gordon formed the core of Derek & the Dominos.

The first project by the quartet was actually Clapton’s self-titled debut album, released in August 1970. Whitlock and Clapton began jamming and composing as early as April 1970 and, starting in May, all four members did session work on George Harrison’s All Things Must Pass album. The group then toured, with the band’s name being spontaneously conjured backstage before their first gig in June. That same month, band members along with Harrison and Dave Mason recorded a single produced by Phil Spector. However, the group was not thrilled with Spector’s method and decided to pursue other recording arrangements.

The band flew to Miami to record with producer Tom Dowd at Criteria Studios. Dowd, who was also producing the Allman Brothers Band’s album Idlewild South, took the Dominos to an Allman Brothers concert and Clapton and Duane Allman formed an instant bond that resulted in Allman contributing to the majority of the album as a second lead guitarist. Although Allman declined to join the group outright, he played a few gigs with the band while they were in Florida.

Layla & Other Assorted Love Songs by Derek & the Dominos
Released: November 9, 1970 (Atco) Produced by: Tom Dowd, Derek & the Dominos Recorded: Criteria Studios, Miami, August-October 1970
Side One	Side Two
I Looked Away Bell Bottom Blues Keep On Growing Nobody Knows You When You’re Down and Out	I Am Yours Anyday Key to the Highway
Side Three	Side Four
Tell the Truth Why Does Love Got to Be So Sad? Have You Ever Loved a Woman	Little Wing It’s Too Late Layla Thorn Tree in the Garden
Group Musicians
Eric Clapton – Guitars, Vocals Bobby Whitlock – Piano, Keyboards, Guitar, Vocals Duane Allman – Guitars Carl Radle – Bass, Percussion Jim Gordon – Drums, Percussion, Piano

Although the song that gives the album its name is on side four, near the end of the running order, the heart and soul of the album may very well be right up front on side one. “I Looked Away” is a melodic song built on a potpourri of guitar riffs and a distinct southern rock aesthetic. Both Clapton and Whitlock trade lead vocal lines on the song which is the first of several to reflect of Clapton’s obsession with Harrison’s wife, Patti Boyd. In fact, it may be the case that every song on Layla illustrates all the different sides of love, with Boyd being the consistent protagonist. Without a doubt, “Bell Bottom Blues” is the best and most emotional of these, as authentic, bluesy, and soulful, the song’s post-chorus has an extraordinarily brilliant progression that, when played over and over creates a recursion of emotion that never dulls nor wares. It also sounds like the perfect culmination of everything Clapton did to that point in his career and his finest vocal performance with its melancholy desperation of unrequited love;

“Do you want to see me crawl across the floor to you?
Do you want to hear me beg you to take me back?
I’d gladly do it because I don’t want to fade away…”

“Keep On Growing” has more traditional blues riffing but with a touch of harder edge rock and upbeat rhythms. The vocals are harmonized by Clapton and Whitlock with about four or five distinct guitar tracks, making for a carnival of sound. Jimmy Cox’s “Nobody Knows You When You’re Down and Out” is the first traditional blues cover, as well as the first track on the album where Clapton and Allman have room for their blues chops, with great slide techniques being employed throughout this song. Side two begins with “I Am Yours”, a changeup in feel and style with acoustic guitars, Hammond organ, hand percussion and just the slightest touch of electric lead guitar. Clapton gave co-writing credit to Nizami Gəncəvi, a 12th century Persian poet whose story of Layla and Majnun gave this album its title track and whose poem was used for the lyrics of this track.

“Anyday” returns to the core style of Clapton and Whitlock, with each trading lead vocals and joining together for the melodramatically exciting choruses. Musically, this song contains frenzied guitars and fantastic rhythms with drummer Gordon adding frenzied energetic fills during the more excited parts of the song and Radle adding his share of funky bass. “Key to the Highway” is a nine-plus minute impromptu jam of a song by Big Bill Broonzy that was not intended for the album but recorded on the fly by Dowd (hence, the fade-in). “Tell the Truth” sounds like a pure pop/soul/funk compositional approach but with lead guitars giving it all an edge that makes it unique to this group, while “Why Does Love Got to Be So Sad?” is a showcase for bassist Radle as it has the most upbeat rhythm of any song on the album. It also features a souped-up jam with melodic hook and fantastic energy, making it, perhaps closest to an Allman Brothers track than any other on the album.

Derek and the Dominos- We swing back to the classic blues jam on “Have You Ever Loved a Woman”, where Clapton gets to showcase his skills both instrumentally and vocally. Then comes the fantastic rendition of Jimi Hendrix‘s “Little Wing”. The arrangement here makes it almost a completely different song than the original featured on Axis: Bold as Love, as this one has vocals up front and extended jam in middle, with dual vocals and dual lead guitars throughout by Clapton and Allman. In a tragic coincidence, Hendrix died just days after Derek and the Dominos recorded this song.

Of course, the climax of the album comes with its title song and classic rock radio staple, “Layla”. Inspired by the tragic poem by Nizami, the song is a funk/rock rendition of Clapton’s growing friendship and infatuation by the wife of his friend and musical collaborator, George Harrison, who turned to Clapton when Harrison all but abandoned her for Indian religion. Originally written as a ballad, Allman brought it into the hard rock realm with the signature riff, while the rest of the group plays tighter and more focused during the song proper than on any other part of the album. The ending was developed independently by drummer Jim Gordon, who Clapton heard playing a piano piece before one of the sessions and convinced him to allow it to be used as part of the song. The second movement of Layla was recorded a week after the first and concatenated to the end of the track, making its total length of seven minutes. This turned out to be a brilliant move, as a crescendo ending, constantly building with the dual whining guitars simulating the wailing emotion that underlines the song’s theme. The album concludes with “Thorn Tree in the Garden”, a short and sad acoustic ballad by Whitlock (and only track where he performs sole lead vocals), which serves as a final ode to lost romance.

Layla and Other Assorted Love Songs originally peaked in the Top 20 of the Pop Albums chart and made reoccuring appearances in the Billboard 200 in 1974, 1977, and 2011. Although Derek and the Dominos were poised to record a follow-up album in 1971, because of tensions and drug abuse among the band members, along with the tragic death of Duane Allman later that year. In the end, this was a unique snapshot of serendipitous music that still sounds brilliant 45 years later.

Part of Classic Rock Review’s celebration of 1970 albums.