A Lifetime-Plus of Music

     The ongoing competition between the Beatles and the Rolling Stones continued on, and the Stones followed the Beatles with their release of “Beggars Banquet”.  Moving beyond the hot mess that was “Their Satanic Majesties Request”, this album cover swapped out the overtly colorful band portrait for a simple, white cover.  Sound familiar?  Anyway, this change was much needed for the Stones, as they returned to their roots, recording what has been rated as album #185 on Rolling Stone’s Top 500 Greatest Albums of All Time.

     Not unlike the Beatles, the Stones also released a non-album single during this time frame, “Jumpin’ Jack Flash”, which will live on as one of the greatest riffs and rock and roll songs ever released.  On to “Beggars Banquet”.  Both side one and side two open with dramatic and highly politically charged songs of the time.  Starting with “Sympathy for the Devil”, I consider this to be possibly the most complete and powerful song the Stones ever released.  Effectively capturing the darkest of our own instincts, the combination of lyric and music is remarkable.  Keith Richards lays down a timeless bass line, and Nicky Hopkins, who also plays frequently with the Who and Jeff Beck, rocks in unison on the piano.  Backing vocals come from Anita Pallenberg and Marianne Faithfull, who were respectively with Keith and Mick at the time.  This song even overwhelmed the Stones at times, and after a fan was violently killed following the performance of this song at the Altamont Raceway Music Festival, they removed this song from their live set for several years.  Dark indeed, as intended, but just an incredible song.

     Side two opens with “Street Fighting Man”, another powerful anthem that captures the anger and frustration of our world in late 1968, following the violent year of world events.  Fueling the fire, the Stones were eager to champion the anger fight back against societal oppression. 

     The rest of the album is not quite as well recognized, but still a great album.  The rest of side one has a very country flavor, and the remainder of side two returns to their highly successful blues-rock formula, ending with Keith Richards on lead vocal to begin “Salt of the Earth”.  This is the last album to comprehensively feature Brian Jones, as continued drug use separated him from the rest of the group.  As I listen to “Beggars Banquet”, I hear the template for what would shape the their next several albums.  This is the Rolling Stones doing what they do best, and it stands the test of time very well.

     If ever there was an album custom-made to be listened to in a warm coffee shop on a cold, grey winter day, it is “Astral Weeks” by Irish folk-rock singer Van Morrison.  Rated as the #60 album on Rolling Stone’s Top 500 Greatest Albums of all time, this cohesive and consistent record was a big departure from his pop single “Brown Eyed Girl”, but to most audiences, a highly meritorious release that he had to fight with management and record executives in order to record and deliver.

    Exuding a sense of warmth and comfort, “Astral Weeks” is eight songs of blissful peace, blending 7-minute songs with shorter tracks.  The album opens with the title track, one of the very best on the album, and has a great blend of folk, jazz, rock and roll with a classical background.  The strings in the background lift the tone, and add depth and substance to much of the album.  Van Morrison wrote and performed all of these songs on vocal and acoustic guitar, accompanied by a variety of musicians on guitars, horns and percussion.  The more I listen to this, the more I appreciate how good this record is, another intentional and unintentional discovery beyond his catalog of well-known hits.  I can honestly say that I really enjoy this album from beginning to end, and don’t necessarily appreciate any song more or less than the others.  The peaceful harmony carries from beginning to end, a perfect mood setter for a relaxing morning, afternoon or night.

     Van Morrison ultimately stepped back a bit from this album, and did not necessarily concur with the extensive praise it was ultimately accorded, but to this one individual, it is worthy of all the praise and hype it has garnered over the years and will become a definite background for future happy days.

     Following the release of the Hendrix double album “Electric Ladyland”, the Beatles followed with their own double-album. Formally it is just self-titled as “The Beatles”, in casual terms it is known to most as “The White Album” for its stark white, and otherwise empty, cover.  Yet another massively impactful album from the band that underscored and reflected the current and future state of the band, it is rated as the #29 album on Rolling Stone’s Top 500 Greatest Albums of All Time.  There is a lot to talk about here, without question.

     By 1968, the tension within the band had grown to a nearly untenable point.  During the recording of this album, the band spent weeks on a transcendental meditation visit before departing in dissension and disillusion.  Ringo Starr left the band and returned, frustrated and humiliated by internal criticism and on certain tracks, having his work re-recorded by Paul McCartney.  (Yes, that is Paul on drums for “Back in the U.S.S.R” and “Dear Prudence”).  Tensions also spilled over as the band struggled with Yoko Ono’s sudden and constant presence in the recording studio, as well as the ongoing battle between Paul, John, and George over style, songwriting, and micro-managing musical control from McCartney.

     The net result is a highly diverse collection of 30 songs, many of which were effectively solo songs performed by one of the band members, with the others either absent or effectively serving as well-compensated session musicians.  Starting with John Lennon, highlights include “Dear Prudence”, “Glass Onion”, “Happiness is a Warm Gun”, the biographical ballad “Julia”, and the bluesy-acoustic version of “Revolution 1”.  Paul’s contribution in kind was typical McCartney.  “Back in the U.S.S.R.” is just a great rock and roll song parodying the patriotic theme of past Chuck Berry & Beach Boy songs, and “Blackbird”, complete with its highly relevant and timely racial commentary is one of the most complete songs Paul ever delivered.  “Ob-La-Di, Ob-La-Da” tortured the rest of the band with its style and obsessive recording takes, and songs like “Honey Pie” and “Rocky Raccoon” are classically ridiculous McCartney songs that are annoyingly catchy, and “Martha My Dear” is very consistent with some of his melancholy work on “Sgt. Pepper”.  “Why Don’t We Do It In The Road” sets the stage for some of what would follow on “Abbey Road” and “Let It Be”, and “Helter Skelter” was recorded in direct response to The Who, trying to prove that the Beatles could still rock harder, louder, and longer than anyone, including Townshend and company. Just ask Ringo Starr, who yelled out at the end, “I’ve got blisters on my fingers!”

     George Harrison continued to raise his profile, and “While My Guitar Gently Weeps” returns the album to a sane and more impactful place following some of the relative absurdities on side one.  I have always been impressed that even as the lead guitarist for the band, George felt this song deserved a bigger sound than he could deliver, reaching out to his friend Eric Clapton to provide the solo only he could deliver.  If you ever want to see something really special, look up Prince’s solo on this song as performed at the 2004 Rock and Roll Hall of Fame induction of George Harrison, not long after his death in 2001.  It is phenomenal.  Harrison has three other songs on the album, the best of which is probably “Piggies”.

     Even Ringo Starr steps in with the songwriting, with his first solo credit on “Don’t Pass Me By”, a surprisingly infectious tune, and he is the only Beatle to appear on the closing number “Good Night”, sung with a string section and written by John Lennon.

     Overall, like many double albums, there is a lot of great music, even in their semi-dysfunctional state, along with a few tracks I could do without.  “Revolution 9” is beyond my taste for experimentation, with essentially no musical appeal other than a collection of distorted sounds and clips.  And even though someone is likely to hear this song once a year, “Birthday” has never been a big favorite of mine, unless it is being performed by Farmer Ted in Sixteen Candles.  Seriously though, a lot of really good music from all four members of the band, which is not surprising given their collective talents.

     You really can’t talk about the famous “White Album” without mentioning the massive single they released during the recording of this album. Neither the “A” side or “B” side was ever released on this album, but “Hey Jude” by McCartney, and “Revolution” in its grittiest rock form, by Lennon, remain two of the greatest Beatle songs, and simply two of the greatest rock songs, ever recorded.  The building chord structure, thoughtful lyrics and timeless sing-along outro of “Hey Jude” will live on forever, and in contrast, John’s complicated relationship with politics and social commentary is never more visibly and effectively blended with musical excellence than on “Revolution”.

     “The Beatles” is a timeless and historic album, just as the Beatles were and are a timeless and historic band.

     Amidst all the psychedelia and increasingly loud and intense rock and roll, popular music and its various offshoots all continued to advance, offering a diverse selection of sounds beyond the explosion of guitar rock.  Today is a step back in time, with the album “The Ice Man Cometh”, by Impressions lead singer Jerry Butler, rated the #8 soul album of all time by digitaldreamdoor.com.

     I even had to do some digging for this one, as it was not available on my streaming service, but I was able to piece the album together song by song using other internet sources.  To sum it up, this album is exactly what I expected when I saw the cover, an experienced R&B singer with a doo-wop background updating his sound in the late 1960s with a twist of soul and funk.  Most of the tracks are Jerry Butler originals, and they blend the upbeat with the soft soul.  I think my favorite track is the funk-laden opener “Hey, Western Union Man”, and I also really liked “Can’t Forget About You Baby”.  This is simple, feel good music that has a clear time stamp that helps us realize that through all the tough times, we can all come together through music.  “Never Give You Up” is a third song I really enjoyed, with a slow and easy-cool delivery.

     This was a great sidestep, as the music began to further splinter among the many divides of culture, race, and the earliest foundations of R&B that evolved into soul, dance, disco and eventually hip-hop music that was immersed in black America.

     Looking at the third and sadly, final studio album from Jimi Hendrix, it reminds me of the proverb Goldilocks and the Three Bears.  While his first album was a bit too standard and simple for a talent like Hendrix, and his second album was a bit too far out there for my tastes at times, the third album, “Electric Ladyland” was just right…   Rated as the #53 Greatest Album of All Time by Rolling Stone, this album is the perfect blend of experimental jams and sharply focused classic songs.  In case you didn’t notice, all three of Hendrix’s albums are in the RS Top 100, a testament to his lasting influence and impact to this day.

     After asking us if we have ever been to “Electric Ladyland”, the album punches you with one of his funkiest tunes, “Crosstown Traffic”, always a favorite of mine.  This album, a double album of material, then blends in long jams, mellow ballads, and even old school rockers like “Come On (Let the Good Times Roll)” that take you back to when Jimi was a supporting act for Little Richard.  This record gives us our best preview of what Hendrix could have given us over the last 50 years.  Listen to the guitar opening on “House Burning Down” or the unreal accompaniment on “Still Raining, Still Dreaming”.  There just wasn’t anything else like it.  In addition to his core band the Experience, many legends support this album at some point, including Stevie Winwood, Al Kooper, Dave Mason, Jack Casady, Buddy Miles and Brian Jones from the Rolling Stones.

     And if I needed to love this album anymore, it closes with two of his most iconic songs, starting with his cover of Dylan’s “All Along the Watchtower”.  On a rare occasion, the cover artist claims someone else’s song permanently, and although many have tried over the years, there is, and will only ever be, one best version of this song.  Jimi’s beautiful yet intense guitar adds a context this song couldn’t even imagine on its own, and he turned it into one of the signature timepieces of the turbulent late 1960s.  To close it out and follow that up?  Perhaps the single most remarkable 5 minute representation of his greatness, in my humble opinion.  “Voodoo Chile (Slight Return)” is the one song I would play for someone who has never heard or studied Hendrix before when trying to sum up his talent, and this song is the perfect exclamation point and farewell to the recording career of the Master of the Stratocaster.  He was truly one of a kind and changed rock guitar forever.

     Another important step today in the world of rock and roll, especially in the form of electric guitar.  Today’s album comes from guitar god Jeff Beck, the second of three guitar legends to play for The Yardbirds. 

     For his solo debut album, “Truth”, Beck assembled quite the collection of talent, starting with the unmistakable voice of Rod Stewart on lead vocals.  These two would come in and out of each other’s musical orbit for several decades to follow.  On bass guitar for most songs was future Rolling Stone Ronnie Wood, with Mickey Waller on drums, although there would certainly be some highly significant guest appearances.

     The album is another twist on British blues rock.  It opens with the Yardbirds track “Shapes of Things”, includes “I Ain’t Superstitious” and “You Shook Me”, by Willie Dixon, and even includes an instrumental version of the traditional “Greensleeves”, displaying the versatility of Jeff Beck’s guitar skills.  I have always been very impressed by Jeff Beck, particularly as a soloist.  His sound is very different and unique when compared with contemporaries like Eric Clapton and Jimmy Page.  There is also a great live track called “Blues Deluxe”, an excellent showcase of the entire band.

     And speaking of Jimmy Page, he makes a notable and significant appearance on this album.  Updating the classical piece “Bolero” from the French composer Joseph Ravel, we are given “Beck’s Bolero”.  This explosive building number is not only a great track, the lineup assembled for this song is phenomenal and planted the seed for the UK’s next blues rock explosion.  With session musicians John Paul Jones on bass, Nicky Hopkins (who frequently played with The Who) on piano, and Keith Moon, also from The Who on drums, Page’s 12 string acoustic sets the foundation for Jeff Beck to rip the lead melody and carry the tune.  I remain fascinated to this day by this intersection of greatness within this tiny circle of talent in the UK.

     Ultimately, Jeff Beck’s eccentricities and songwriting limitations kept him from reaching the same commercial success as Clapton or Page, but to this day he remains respected as one of the most dynamic and influential guitarists of his generation.

     The Doors released their third album in 1.5 years with “Waiting for the Sun”.  Listening through it, I had a reaction that was ultimately reaffirmed as I read some reviews and assessments of the album.  While it has its moments, it is not as consistently strong as their first or second album, which isn’t that surprising given how quickly these albums were following one another.  My guess is that the record company executives at Elektra Records probably had some reservations regarding its mass commercial appeal, although the band was vindicated with a four-week run as the number one album in America.

     There is only one clear commercial hit on this album, “Hello, I Love You”, which is a brilliant song.  Interestingly enough, it was the second single released, after “The Unknown Soldier”, a powerful and graphic war commentary.  After those two songs, the rest of the album just isn’t quite as interesting, although I do recognize their attempts to take some new steps musically.  I liked the flamenco-to-psychedelia transition of “Spanish Caravan”, and “My Wild Love” is another clear homage by Morrison to the southwestern native American culture that fascinated him so much.  I will also single out “Not to Touch the Earth” and the always appealing and unique sounds of Ray Manzarek on electric organ.

     By now, the Doors were not only battling a heavy workload, but the strain of Jim Morrison’s erratic and unpredictable behavior was already taking a larger toll on the band.  Through that, some great music emerged, even if it wasn’t quite as impactful as other releases along the way.

     I have always looked at today’s artist with a clouded sense of appreciation.  Directly associated with Bob Dylan, another artist who I have evolved in my appreciation for, The Band is an act who has always come with great critical acclaim, for which I did not fully understand.  After listening to their debut album, “Music from Big Pink”, which is the #100 rated album on Rolling Stone’s Top 500 Albums of All Time, I still don’t know if I quite get the hype, but I definitely see their influence in style and sound.

     Formed in the early 1960s, they worked directly with Dylan as his backup band before breaking off as their own act and ultimately recording this album.  With a talented group of musicians, most of which who came from Canada, this band is full of talent and diverse style.  When I listen to this album, I hear a style of complex vocal harmony and blended folk rock that emerged more prominently in the 1970s with bands like the Eagles, America, and even Crosby, Stills and Nash.  In fashion and sound, I can even see the beginnings of what we all know as “yacht rock” now, a group of musicians whose message is less urgent in social significance, and more casual in its delivery.  The most recognizable song on this album is “The Weight”, is written by Robbie Robertson, featuring Levon Helm and Rick Danko on vocals.

     I will continue to follow and study “The Band” in this exercise and beyond.  In a sad footnote, keyboard player and vocalist Richard Manuel took his own life in Winter Park, Florida in 1986, approximately 3 years I made that town my home for 25 years.  Their history, including the highly rated film “The Last Waltz” remain highly regarded in the music world, especially with the minds like those at Rolling Stone so closely linked to Dylan.  I look forward to learning more, and hearing more along the way.

     Back to the blues today with some of the best pure blues guitar I have heard yet.  Today’s album is “A Man and the Blues”, by Buddy Guy.  He has a rich, high tenor voice that compliments his guitar playing very nicely, but it is definitely the instrumental side of this album that stands out for me.  It is rated as the #5 Best Blues Album of All Time by digitaldreamdoors.com.

     The title track opens the album with his sublime guitar and Otis Spann just crushing it on the piano.  Somehow, this really delivers one of the most authentic and pain-laden blues songs I have heard.  The rest of the album goes from fast to slow, and from slow to fast, all dominated by the nimble solos of Buddy’s guitar.  A pleasant surprise was “Money (That’s What I Want), written by Berry Gordy as one of the very first hits for Motown, several years before John Lennon and the Beatles released their version.  Later in the album, another surprise discovery was Buddy’s take on “Mary Had a Little Lamb”.  Having come of age in the 1980s, I always assumed it was Stevie Ray Vaughan who created this musical take on the simplest of nursery rhymes, but it was great to hear the original blues version by Buddy.

     By this point in time, British and American rock bands had fairly well overtaken traditional blues artists in popularity.  As such, it is refreshing to hear this music in its purest form still thriving in parallel, untouchable in its truthful lineage.

     Today’s album is one of the more unique live albums ever recorded, “At Folsom Prison”.  Inspired by one of his first singles, “Folsom Prison Blues”, Cash developed a rapport with prisoners across America, and even performed a song, “Greystone Chapel”, written by one of the inmates in this set while performing a recorded show in California’s Folsom State Prison.  Very well received, the album is #164 on Rolling Stone’s Top 500 Greatest Albums of All Time, and is also the #1 rated album on tasteofcountry.com’s Top 10 Country Albums of All Time.

     Johnny opens the show with “Folsom Prison Blues”, and plays a mixed set of ballads and up-tempo songs.  One of the more interesting songs, given the setting, is “25 Minutes to Go”, a song performed in the voice of a man waiting to be executed on Death Row.  He doesn’t shy away from other tough topics on songs like “Cocaine Blues” and “Dark as the Dungeon”.  Despite these tough reminders, I have to think most really enjoyed the show as a brief respite from their depressing fate behind bars.

     The concert is vintage Johnny Cash.  With one of the most distinctive and recognizable voices in music, he takes full command from the very start.  He performs one duet with his wife June, and he actually had Carl Perkins open the concert for him.  By recording this album, and subsequently other live albums in a prison setting, Johnny Cash shed a new light on the human side of prison inmates, hoping to be a positive influence for each of them so they could make the most of whatever their path was in life.