Some Words from the Bird

 My father was a fan of the Butterfield Blues Band, so I was familiar with the name. I have stated before that I am far from a student of the blues, but I know what I like when I hear it. This musical sojourn has introduced me to a few artists I have not heard of before, and I have been enlightened as to the influence the blues acts had on the bands that came afterwards. This includes the Beatles, Stones, Yardbirds, and the Who albums we have listened to previous to this post. But the blues is American music, and though the English bands did a good job, some white boys from Chicago did them one better. This album is unbelievably good electric blues.   Apparently Butterfield was interested in playing the blues harp, so he did what anyone would do, he went and sought out Muddy Waters and Howlin' Wolf, and the rest of the Chicago blues scene, and learned his craft. The harp on the album is outstanding. I didn't once find it annoying, and if you recall our chats about Mr. ...

 The Yardbirds. The band that spawned three of the most prolific guitarists in rock history. The genesis of Led Zeppelin. When I saw this album as the next on my listening list, I thought "Now we are getting somewhere!".  I was not disappointed. This album bridges the era where the band went from essentially another English band doing blues covers, to delving into a more psychedelic sound. The departure from the blues is apparently largely the reason that Eric Clapton left the band. Side 2 features Clapton playing on live blues tunes from our old friends Bo Diddley, Howlin' Wolf, and the Isley Brothers. Side 1 features Jeff Beck and the more experimental Yardbirds sound.  The album opens with "Mister You're a Better Man Than I" which is a piece of social commentary that was written by the Hugg brothers. The song is like a cross between Bob Dylan and Jimi Hendrix. The fuzzy sound of the guitar shows the availability of new sounds as technology advances. ...

 The Beatles. What a surprise! This record is a soundtrack of the movie with the same name. The songs stand up in their own right; there is no feeling of pasting together some tunes to accompany a flimsy plot line designed to milk the hard earned wages of adoring fans out of their pockets in exchange for an hour or two with the Beatles. Listening to this album, I get a feeling that the Beatles were settling nicely into their role as the premier band of all time at this point. The songs are diverse and well written, and it is obvious that they could do as they pleased in the studio, just so long as there was something the record companies could sell.  The record company was not without influence however, apparently the title track was sped up and made into a pop song at the behest of the corporate overlords. When you listen to the lyrics you can imagine it as a slower dirge, an actual plea for succor, as opposed to a snappy pop song. That being said, it works as a pop vehicle...

 Hello Again! I was looking forward to listening to this album, as I was aware of Smokey Robinson, and his status as a Motown icon, but was not familiar with much of his repertoire. The song I knew best of his was "Being With You" from the Eighties. It isn't a bad song, I guess, but it isn't currently on the playlist on my Iphone. I figured that an artist that is held in such high esteem must have some really good music to offer, and it would likely reside on the album du jour, "Going To A Go-Go".  I was about half right.  "The Tracks of My Tears" is a well known song; my first exposure to it was the soundtrack to the movie "The Big Chill". It also features memorably in the movie "Platoon" as the backdrop to half of the platoon blowing off some steam by smoking and drinking up a storm. I recall Forest Whitaker dancing around with a pipe that measured about a foot long, and Rhah swaying while clutching a doll to his chest wit...

 After a lengthy break, we begin our sonic odyssey once more. This recording was released in 1965, and was the eighth studio album from the Beach Boys.The band was looking to branch out from the genre of surf music, this album marked a move into a new direction; the songwriting was becoming more intricate, resulting in tracks with more depth than in their previous offerings. The musicianship on the album is spectacular, as are the unmistakable vocals. I do find the topical matter somewhat juvenile, the lyrics are lacking the same depth as the music. It could be taken out of context, but it seems like the album is made up of the concerns of a teenager hanging out at the malt shop in a 1950's movie. Listening to these songs, you get a whiff of that nostalgia of a simpler time, of an America that many say never actually happened. That being said, the time capsule aspect adds to the allure, and the overall vibe of the album turns out to be a positive one.  The album begins with ...

 There were two thoughts that came to mind after listening to this album. First, I was surprised to hear two James Brown cover songs, and second, I could not help but notice the aggressive and up front style of the bass and drums. With no offense meant to Mr. Daltrey and Mr. Townshend, the rhythm section is almost manic throughout most of the album, which is a new twist compared to what we have heard up to this point.  The album starts off with some jangling guitar chords, and then it heads off into "Out in The Street" which is a rocking number that displays Daltrey's gritty voice. At one point Townshend  experiments with a crunchy guitar sound. The second track is the first James Brown cover, "I Don't Mind",  and it is recognizable immediately. They do a good job. As I said, I was surprised to hear this downtempo R&B tune. The pounding drums are the biggest difference, giving the tune a more in your face feel than James Brown did that night at the Ap...

 I was looking forward to hearing the Byrds. I love the title track on this album, which affirms my suspicions that I do indeed enjoy Bob Dylan's songs, but I prefer other artists to perform them. I think I have already made that point ad nauseum, so I won't elaborate. As for the Byrds, apparently the guys in the band stood fast when the record company wanted to use session players for much of the album. Good for them. Anyhow, this album is touted as the first to blend American folk music with the new sounds of rock coming across the pond from England.  It starts out with "Mr. Tambourine Man", one of four Dylan tracks on the record. I love it. The session players were present on this track, and I have to say they did it well. I will go out on a limb and assume you have heard this song countless times, and move along. "I'll Feel a Whole Lot Better" was covered by Tom Petty, and I figure Tom was a big Byrds fan, because this is the sound he borrowed an...

 The last offering in our trio of Rolling Stones albums is Now! Overall, the album is very similar to "Out of Our Heads"; it is comprised of R&B covers and some original tunes written by Jagger and Richards. It has many of the same tracks as the second album released by the band in the UK, which makes it just as confusing as any of these other albums popular on both sides of the ocean in those days. I assume it would be far easier to release one album and sell it as is, and if you need other songs, make another album. But I am not a 1960's record exec, so what the hell do I know?  I know that I like this album, for the same reasons that I like the two previous Rolling Stones offerings. They feature strong songwriting for the original tunes, and the covers are very well done. The album starts off with "Everybody Needs Somebody To Love". The song is originally by Solomon Burke, but the version I am most familiar with is from the Blues Brothers. The next trac...

 This album is the first on the list that I actually already own on vinyl. I have been waiting for this one, longing to actually pull the LP out of the cover and listen to the songs in Mono, as opposed to some digitally remastered copy. It seems to be the appropriate way to enjoy these albums. After some digging around in the closet, I finally located the album, blew the dust off of the turntable, and let it rip. I've listened to this record several times, and am far more familiar with it than many I have posted on previously. The one drawback is the fact that my turntable is nowhere near my computer. Hence the delay in posting for those of you I've kept waiting, grinding your teeth in anticipation of more gritty analysis of fifty-plus year old albums. For this I apologize. The solution is to post using my iPhone, instead of using the iPhone to play the music. So far, I have found the blogger app to be fairly user friendly. I'll have to read this again on the computer sever...

 Aftermath is the first album from the Rolling Stones that we have encountered. In fact, due to the somewhat chronological nature of my list, we have a triple shot of Stones albums to listen to. They run into one another seamlessly, so it won't be too painful. I really like the raw sound of the early Rolling Stones. A disclaimer here, the album that is on the 500 Greatest Albums list is the American release of Aftermath. The most notable difference on the British release is the substitution of  "Mother's Little Helper" for "Paint it Black" and three other songs on the track listing. The American release included "Paint it Black" since it was the number one single at the time of release and presented a sleeker, better organized package as a whole.  "Paint it Black" is one of the Stones' most recognizable songs, and shows that they were ready to branch away from their bluesy roots, with the adventurous use of the sitar for the main r...

 This album is a perfect example of why this project is a worthwhile endeavour. From the first chunky guitar notes I found my interest was piqued. Then the horns came in. Wow! This is pure Stax magic. The background music is fantastic, yet Otis manages to capture center stage and keep the focus on the vocals. The album is mostly cover songs but he definitely makes them his own, and the result is outstanding.  There are eleven songs on the album, first of which is "Ole Man Trouble". This is an excellent song, the guitar riff is captivating, and then the horns come in and round out the tune. Otis is strong throughout, and manages to stay in the forefront at the end of the song, pleading for trouble to stay away. There is a lot of power in his delivery, and his pleas seem heartfelt. I like this song quite a bit.   "Respect" is next. The horns blare out and then we hear the familiar lyrics. I have to say that I like the Aretha Franklin version a little bit better...

 Let's step away from the mainstream for a moment. Enough Beatles and Bob Dylan. We are headed back into the realm of jazz. I am still hung up on the Ornette Coleman experience, but this album is far more accessible to the jazz neophyte. It is quite a nice listen, with lots of different facets to the music for the listener to enjoy. The album consists of three tracks for a total run time of thirty three minutes.  First up is "Acknowledgement". It starts off with some fluttering saxophone that gives way to the drums and piano. It returns with the main melody line, and the busy chord structure underneath. He noodles around and the changes seem erratic, but the whole thing melds together into a nice sound, with each element distinct and remarkable in it's own right. The sax is quite busy at times, but rarely shrill, making it easy on the ears. The piano chord changes seem to pick up when the sax melody simplifies, keeping the complexity of the track alive. Then sudden...

 Here we go again. The project has been sidelined by Bob Dylan. I am finding it hard to be enthusiastic about this album, so it has taken a while to sit down and start typing. There are eleven songs and the album runs for forty seven minutes and change. I am finding that I am listening to the first three songs and then my attention is diverting to anything else that is available. As I mentioned before, this guy just doesn't do it for me. But that is part of the fun, right? Here we go...  I knew the title "Subterranean Homesick Blues" before putting on the record, and recognized it instantly. The lyrics seem to be stream of consciousness, phrases that rhyme together, sang in a monotone, with the band chugging along behind. I have no inclination to spend any time at all figuring out what the hell he is talking about. The song is relatively inoffensive, but I'm in no rush to hear it again. Actually, I take that back. I just looked up the lyrics and I get what he's...

 Back again with another album from the Fab Four. The first thing that I have noticed about this album is the use of different sounds and textures than in the earlier Beatles albums. It is apparent that they are maturing as musicians and honing the art of songwriting to a fine point, and also embracing the effects that the studio can deliver in a recording. This is a good album. The songs are short, and the total listening time is just over thirty five minutes.  It starts off with "Drive My Car". The standout feature on this one is the bassline. It is a catchy tune, with nice harmonies and nice lead guitar playing. But the bass sliding around in the background is what grabs my attention. You really get a sense that they are understanding that they can do what they want in the studio, and not adhere to the previous recording standards. Evolution.  Next up is "Norwegian Wood (This Bird Has Flown). This song has always intrigued me. The lyrics conjure up a late night, p...

 With trepidation, I press play. I have nine Bob Dylan songs, fifty one minutes of listening, coming my way.  The opening track is familiar; "Like A Rolling Stone" is a pretty good song; so far so good. In fact, Rolling Stone magazine picked this track as number one on their compilation of the Greatest 500 Songs of All Time. I don't necessarily agree with that. But I am listening to it out of context many years later. Undeniably, it had an impact and was instrumental into propelling Dylan to icon status, and apparently was the impetus for a new direction in music, opening doors to new possibilities for following artists. So lets just say the album is off to a pretty good start.    "Tombstone Blues" has some wicked guitar licks, it rambles along like a train barreling down the track. I like this one. The guitarist is Mike Bloomfield, and you can tell he did his time in the blues clubs of South Side Chicago. I was checking out "I'm Not There", ...

 In the eighties, I recall hearing the "Be my little baby" in the Eddie Money hit "Take Me Home Tonight", and thinking that the singer's voice was remarkable. It was Ronnie Spector revisiting  twenty or so years before when she was a member of an all girl group the Ronettes. This album features Ronnie as the predominant force, with the Ronettes providing backup vocals, and the Phil Spector Wall of Sound rounding out the mix. I have to say that it is a little dated, but a good listen nonetheless.  The album starts out with some thunder and then Ronnie starts to sing. "Walking in the Rain" sets the tone for the rest of the album. Her voice is angelic and the backups are strong as well. The music is intriguing, it is in your face, but each instrument can still be discerned. It is not a muddy mess, but rather a testament to the recording genius of Phil Spector. I watched a YouTube piece on the studio they used to capture the Wall of Sound. It seemed real...

 One more post about the Beatles, and I promise we will move on to something different for an album or two. When creating my listening list, I sorted the albums more or less chronologically, and they were originally sorted by ranking. Thus, when I check which album I am listening to next, I sometimes have back to back (to back, in this case) entries from the same artist. It is unfortunate to a degree; I have listened to these three albums one after the other; so the impact of this album may have bled together with the others.    From the first chord this album stands out as more complex than the previous offerings from the Beatles. I heard this chord, and thought it sounded odd, and so I sought out it's identity via Google. There were several different answers given, often conflicting, and there are some thorough presentations as to how this sound is arrived at available online. I had no idea that this debate existed. It is fascinating that someone would go to the leng...

  Listening to this album, I have a sense that I am quite familiar with these songs. It is not just listening to songs by the same artist over and over again, this is essentially the same album as the one reviewed in the last post, "With The Beatles." So, as promised, I am going to explain why I thought that album's ranking of number 420 was a little bit low.  Here is why. The track listings are exactly the same with the exception of the differences. Duh. "Meet The Beatles" includes only three tracks that were not on "With The Beatles".  Two of these tunes are "I Want To Hold Your Hand", and "I Saw Her Standing There" (borrowed from the first album). In my opinion, this trumps all five of the cover tunes on the other album. Throw in "This Boy", which isn't bad, but after the energy of the aforementioned tracks, it seems like a bit of a downer, and there is an excellent argument that "Meet The Beatles" is ...

  We are back with the Fab Four again. Get used to it, it is a recurring theme. This is their second album released in the UK. It has well known originals and several covers, and was certainly instrumental in building this little band from Liverpool into the rock and roll icons they are today. I was listening to Howard Stern interview Paul McCartney a little while back and he described the progression of the songwriting of the Beatles, claiming that at first they were singing simple songs directly to the listener and then realized that they could broaden the scope and depth of the songs by encompassing a variety of topics. This album falls into the early stages, but damn, those songs are well written. Here is a link to that interview. I found it fascinating.  When I was beginning to play the guitar, I found a book of my father's, that contained the chords to several Beatles songs. Many of the tracks on this album were my favourites, as they were  not so comp...

 Here we go again. Take two. The actual album included in the original Rolling Stone list is "Go Bo Diddley". But if you read the entry on the RS website, it includes his eponymous first album. There was a reissue in 1990 of these two albums, and that is what Rolling Stone included at number 214 on the  500 Greatest Albums of All Time . I think. The matter is further confused with Rolling Stone using the cover art only from "Go Bo Diddley", as opposed to the repackaged 1990 set that was included on the list. Since it really doesn't matter anyway, I have bought the reissue and will now proceed to post about it.  Having just listened to the two albums for the fifth or sixth time, I have to say that I am not as enamored with these albums as the one that I previously posted about. I think these albums are more what I was expecting; mostly blues with a little rock and roll thrown in. There isn't the genre bending to the extent that appeared on the later album. ...