Album Reviews

Quicksilver Messenger Service “Shady Grove” (1969)

The first two Quicksilver albums are among the classics of the era. No doubt about it. They had a great talent for long, exploratory jams that really took you on that acid trip. When Gary Duncan left after 1968, it looked like the end. He was such an integral part of the band, how could they continue without him. Well, only the addition of a world class musician could save the band and that’s what happened when Nicky Hopkins, who had been living in San Francisco and recording with Steve Miller and Jefferson Airplane, decided to actually join a band. What an honor for Quicksilver that he chose them.

Okay, look, there’s no way this album could sound the same. But, that’s what’s great about bands…people come, people go, the music changes, sometimes for the better, sometimes for the worse. This album has none of the feel of the first two but it stands on its own as a fine recording. From the opening Hopkins blast on Shady Grove, to the achingly beautiful drawing room/salon type solo on Flute Song, to the countrified leanings of David Freiberg on Words Can’t Say, right up to the grandiloquent opening to the ultimate Hopkins opus, Edward, the Mad Shirt Grinder, this album has a lot going on musically. Many Quicksilver enthusiasts dismiss this album because Hopkins so thoroughly dominates the proceedings as to make the band almost secondary. That may be true, but the results are still extraordinary. —Sekander

Charles Mingus “Let My Children Hear Music” (1972)

One of the more convincing attempts to fuse jazz with classical. Certainly an unusual album, even by Mingus’s standards (witness the sampling of an elephant in full-trumpet) but it seems to hold together in spite of the potential for catastrophe. There’s so much going on here that, however meticulously composed it may be, at times one can’t help thinking of the opening moments of Coltrane’s free-jazz masterpiece Ascension. Everyone of the instruments here is doing something worthy of attention at all times but there’s little one-upmanship. It is a collaborative effort if ever there was one. This is orchestral jazz in the most literal form. Musically there are times when it is considerably leaning more to the classical side of things than jazz, although classical in a cinematic sense. When you expect brooding horn swells, you’re never far from swinging brass bombast, and vice versa. If this is music for children, it’s for a darker kind of children’s story. The musical accompaniment to Mingus’s spoken-word story on The Chill of Death isn’t unlike an alternative film score for The Wizard of Oz, all dramatic flourishes and atmosphere in abundance, with moments of black humour throughout.

This is not a Mingus album for the jazz or Mingus neophyte, nor is it necessarily one for anyone who enjoyed Ah Um and Pithecanthropus and is looking for their next port of call. It isn’t typical of the works for which Mingus is most remembered. It is worth noting, however, that this is the album that Mingus himself was most happy with. If you trust the man’s judgement, you might find this being one of your favourites too. —Jaime

The Electric Prunes “Mass in F Minor” (1968)

The album works almost as one long song filled with dynamic psychedelic jams with Gregorian chants, searing guitar leads, string and horn sections, and a pounding rhythm section. [The album’s producer] David Axelrod’s “Song of Innocence” comes to mind with the fusion of psychedelic guitar and orchestral arrangements and one could consider this to be Axelrod’s first album because this music is clearly his vision and influence. However, “Mass in F Minor” is far more rock influenced as each song rises and falls emotionally with horn and string sections embellishing the guitar chords rather than vice versa (which, I believe to be the case on “Song of Innocence). The buildup of the entire album climaxes with the final guitar chords of “Agnus Dei” and mark the closing ceremony of a truly unforgettable and holy music experience.

As a fan of out-there, experimental psychedelic rock from the late 60’s, “Mass in F Minor” strikes a chord with me in ways that other Electric Prunes albums can’t. Sure, those garage psych songs from their previous albums are great, but it’s hard for them to really stand out above the rest of all the other garage psych albums of the time as it was such a common sound. There isn’t a category for psychedelic concept albums simulating a church experience. For those who enjoy the more experimental parts of the Chocolate Watchband, H.P. Lovecraft, Ultimate Spinach, David Axelrod, USA, Beacon Street Union or Joe Byrd and the Field Hippies (just a few off the top of my head), do yourselves a favor and brush aside the mainstream reviews of the more “level-headed” rock fan and check this out. —Coldchisel/RYM

Peter Hammill “The Silent Corner and the Empty Stage” (1974)

The absolute pinnacle of Peter Hammill’s solo career. The Silent Corner and the Empty Stage is every bit as impressive as the finest records from Van der Graaf Generator, although with most members of the (temporarily-defunct) Generator chipping in it’s arguable as to what degree this is a true solo album. Many of the tracks here are especially reminiscent of the intense vocal/sax-centric sound featured on the upcoming Generator classics Godbluff and Still Life, and fans of either of those albums will almost certainly love this release. Yet Silent Corner is a somewhat different kind of album than Hammill ever produced with the Generator. Every song here is extremely “intimate”, be it via deeply personal lyrics or via a stripped down production that brings everything back to Hammill’s voice. It’s also an extremely “weird” and “difficult” album, even compared to the average Generator release (only Pawn Hearts compares here). Bizarre lyrics, sudden shifts in dynamic, and absolutely no percussion until track four(!!!)- after dozens of listens there are parts of this album that I’m still trying to “figure out”. Yet before I scare away all but the most devout prog rock fans, let me emphasize that this album is totally worth your effort. A true classic of progressive music that repeatedly rewards the thoughtful listener via a wealth of magnificent details.

As for the tracks themselves, Silent Corner is bookended by what are arguably the two finest tracks of Hammill’s solo career: “Modern” and “A Louse Is Not a Home”. The first of those tracks contributes one of the most memorable opening sequences of any album from my collection, gradually developing into a glorious mindfuck of a song that perfectly epitomizes Mr. Hammill’s unique musical vision. The latter of those two tracks is representative of the record’s Generator-esque tendencies- a 10+ minute epic rocker in which Hammill’s energetic vocals are complimented by an equally-remarkable instrumental arrangement. Other highlights include a slow-building piano-driven “ballad” in “Forsaken Gardens” and another Generator-esque rocker in “Red Shift”. Preventing a perfect 5.0 star rating are the relatively straightforward ballads “Wilhelmina” and “Rubicon”, which carry over the “singer/songwriter” aesthetic that was more pronounced on the previous Chameleon in the Shadow of the Night. As with a number of tracks from that earlier album, I find both of these songs to be nice yet remarkably unmemorable.

Alongside the subsequent In Camera, the cornerstone of any Hammill collection. Strongly recommended to any progressive rock enthusiast, and a record that every Van der Graaf Generator fan should seek out. —Paul

The Cure “Seventeen Seconds” (1980)

What a difference a year can make! Released only 11 months after the rather straightforward post-punk of Three Imaginary Boys, Robert Smith and company completely reinvent their sound and deliver one of the defining albums of the gothic rock movement. The songs here are bare and carefully measured, with little trace of the distorted wall-of-sound that would dominate later efforts like Pornography. Where Seventeen Seconds is very similar to those later releases is via the somber lyrics and the vocal delivery itself, which routinely take a backseat to the arrangements and rarely structures itself into a verse/chorus format. So if you enjoy the atmospheric slow-building side of the Cure, you’ll probably love this album. I personally consider it to be among the best in the Cure discography, rivaling the likes of Faith and Disintegration.

Despite a similar musical approach as Faith and Pornography, I find far more standout tunes on Seventeen Seconds. The entire back half of the album is nearly flawless. “A Forest” is particularly effective, mixing a haunting ambience with an almost Krautrock-esque driving groove. “Seventeen Seconds” is another personal favorite, although it does feel slightly underdeveloped at ~4 minutes. Gothic rock fans will also undoubtedly adore “Secrets”, “In Your House”, and “At Night”, while “M” should placate listeners starved for a slightly catchier and more upbeat melody. All things considered, one of the finest albums of the early-80’s. —Paul

Wigwam “Fairyport” (1971)

Third album by the Finnish Prog Masters Wigwam, marking the arrival of the group at a point of maturity after the initial period of searching for their unique voice, as reflected on their first two releases. This album is often considered as one of the finest examples of Finnish Prog and together with its follow up “Being” it presents Wigwam as one of Prog’s all time highest achievements. The band’s core: vocalist Jim Pembroke (a British expatriate living in Finland), keyboardist Jukka Gustavson, who was the band’s principal composer, bassist Pekka Pohjola and drummer Ronnie Osterberg are joined by several guest musicians, mainly guitarist Jukka Tolonen, who often cooperated with the band, and woodwind / brass players, including Jazz saxophonists Eero Koivistoinen and Pekka Poyry, expanding the overall sound of the basic quartet. The compositions are all outstanding, moody and full of unexpected turns and twists. Superb instrumental sections allow all musicians to express their talents, often moving into lengthy Jazzy improvisations. Pembroke’s English vocals were a great asset for the group and contributed to their immense popularity outside of Finland. Almost four decades after this material was recorded, it still sounds fresh and exciting, ready to be discovered by new generations of music lovers. Absolutely essential! —Adam

Zuider Zee “Zuider Zee” (1975)

During their existence, Zuider Zee stood as one of Memphis’ more talented (if lesser known) contributions to mid-’70s power-pop. They’re also one of those bands that deserved far greater recognition than they were given. Kim Foreman and Richard Orange originally came together in Louisiana, cutting their first record as members of Thomas Edison’s Electric Light Bulb Band. By 1969 they’d picked up a mentor in the form of manager Leland Russell, along with a new name. Relocating to Memphis, the band started playing local clubs. A 1973 showcase for Elektra failed to score a contract, but within a year they’d recruited a new drummer (Robert Hall) and signed with Columbia.

Their 1975 eleven track debut is a truly engaging set of UK-flavored power-pop. Imagine the best of Badfinger’s Pete Ham, or perhaps 10cc’s Eric Stewart doing their best Paul McCartney impressions and you’ll get a feel for the musical landscape. While “Zuider Zee” may not have been the year’s most original album, the set had more than it’s share of pleasures, including the Rickenbacher-propelled rocker ‘Zeebra’, ‘You’re Not Thinking’ and the slightly ominous Haunter of Darkness”. Normally a Paul McCartney comparison serves as a creative kiss of death, but Orange was among the few guys who could actually pull it off (Emitt Rhodes also readily coming to mind). Orange had a great voice which was particularly appealing on songs like the rocker ‘Rubber Men’ when he employed his raspy edge (imagine McCartney’s vocal on ‘Helter Skelter’). Skeptical of that description? Close your eyes and check out Orange’s truly uncanny McCartney-like deliveries on the rockers ‘She-Swing’ and ‘The Breaks’ (the latter sounding like something from “Band On the Run”). A package of great melodies and excellent guitar made this a pleasure for anyone who enjoyed Badfinger or The Raspberries catalogs.

From a marketing perspective having spent a fortune recording the LP, Columbia’s promotional and marketing scheme was curious. Credit Columbia’s art department with coming up with one of the year’s most unimaginative covers. Columbia decided not to tap the album for a single. Tour support was lukewarm at best, the band opening for a staggering array of acts ranging from Caravan (???) to The Tubes. Coupled with a pseudo-glam image that may have been a tad fey for many mid-1970s American audiences and in an era of punk aggression and disco madness the album vanished without a trace.

The final blow came in December 1976 when bassist Bonar interrupted a group of thieves trying to steal the band’s van. Beaten and stabbed, he was lucky to survive the attack. The band effectively collapsed when the other members refused to continue touring with a replacement while Bonar underwent extensive physical therapy. —Scott Blackerby

Deep Purple “Fireball” (1971)

Deep Purple’s 1971 and 1972 releases were a true one two punch of Deep Purple’s Metallic might at the very height of their prowess. The first, 1971’s Fireball was, outside of Black Sabbath’s first three albums, the heaviest thing on the planet at that time. Fireball’s songs are towering, crunching, Proto-Metal monsters of the highest order. The album is built around one of the greatest songs of Heavy Metal’s original Era, the invincible Demon’s Eye. It’s kind of difficult to discuss the individual musical performance of Fireball because they are all so good. Deep Purple Mark II was a super tight cohesive unit at this point, and everyone in the band is at their individual apex. The Mule is simply incredible. Fools cooks. No One Came is astoundingly good. Anyone’s Daughter is pure fun. And No No No is fantastic. Five utterly perfect stars. —Karl

Blondie “The Hunter” (1982)

Here’s an album waiting for some serious revaluation. The Hunter features several tracks of sheer classic quality, accompanied by lesser ones that still have, without exception, something remarkable to offer – a thing not always achieved by today’s acclaimed albums. “Orchid Club”, “Dragonfly” and “The Beast” are among the most interesting Blondie ever created, experimenting with hypnotic beats and unconventional song structures, hinting – along with “Fade Away and Radiate” from Parallel Lines – toward a parallel-world instance of Blondie as a trancey ambient-techno unit. “Island of Lost Souls” is not a rehash of “Tide Is High”, as some would imply. It’s arguably a better song, with a livelier tune and interesting lyrics. “English Boys” is a beautiful anthem honouring the hoisted flag of Pop Music. “War Child”: a fierce electro-disco with stabs of percussion and wind instruments – again, a faultless track. “For Your Eyes Only”: a cunning stylistic amalgam that could fit nicely among Parallel Lines’ reinventions of ’60s pop. “The Hunter Gets Captured…”, while anticipating Debbie Harry’s future work as a jazz singer, rounds off the record nicely, flashing a light on its undercurrent themes of life as adventure / race / bush warfare. —Redux

Sergio Mendes & Brasil ’77 “Primal Roots” (1972)

As the title suggests, this isn’t another excursion into Brazilian pop. Here, there’s no pandering to Tropicália, disco or whatever was en vogue in 1972 -yes despite being played by the Brasil ’77, the album was actually recorded in 1972 under the alternate title “Raízes.” This is an album of traditional Brazilian music. The compositions feature traditional percussion instruments such as the gogó, cuica, pandeiro and atabaques. Much of the compositions emphasize the African origins of Brazilian music. While “Primal Roots” doesn’t sell out to commercial pressures, it is far from a field recording of traditional music. While some songs feature minimalist chanting and drumming, others feature those silky smooth female vocalists, flutes and some psychedelic keyboard work. Sergio Mendes may never be remembered in the same light as Astrud Gilberto, Airto Moreira and Gilberto Gil but “Primal Roots” will always be remembered as his ‘important album.’ —The Delite Rancher

Barclay James Harvest “Barclay James Harvest” (1970)

A magnificent piece of early symphonic progressive rock with some of the most enduring melodies of all time. Barclay James Harvest’s first album can be categorized somewhere in the Procol Harum and early Moody Blues school of musical thought while still carrying their own personality. In many ways this debut album gives off a rather “Beatles’ish” feel as well; vocals are like velvet with superb musical harmonies and excellent lyrics which seems to fit the music with perfection. Recorded in ’69 and ’70 using only two eight-track machines with the assistance of Robert Godfrey (The Enid), the Barclay James Harvest Orchestra and a mellotron. Trivia buffs might be interesting to note that Jim Litherland (Colosseum) added some guitar brilliance to the opening number “Taking Some Time On”. Although sounding a little dated at times, this is still a tremendous recording which I fondly treasure. —James

Gogo’s “Beauty and the Beat” (1981)

The Go-Go’s’ 1981 debut LP Beauty and the Beat is as aptly titled as it is underrated. Few shiny power pop records are as dark as this one. The record is known primarily for its two big-beat hits “Our Lips Are Sealed” and “We Got the Beat,” two of the early 1980s’ greatest songs. The rest of the album, though, with few exceptions, is much different. After the Shangri-Las’ sounding “How Much More,” Side One takes a darker turn, focusing on the seedy underbelly of Los Angeles nightlife. As such, “Tonite,” “Lust to Love,” and “This Town” succinctly capture the exhaustion of being a scenester and the psychological toll it can take, especially in the superficial world of Hollywood. This tone is maintained on Side Two with “Fading Fast” and “Automatic,” probably the two most morose tracks on the record. From there on out, they return to catchy, bubbly pop in the form of “You Can’t Walk in Your Sleep” and the irresistible closer “Can’t Stop the World.” The reputation of Beauty and the Beat is dampened to a certain extent by outside forces, like the decline in the quality of the Go-Go’s’ music after this album, Belinda Carlisle’s weak solo career, and Guns N’ Roses’ Appetite for Destruction, which articulates these themes in a far more gritty, blunt manner. Nevertheless, Beauty and the Beat should not be slept on, and is a great early 80s’ power pop record. —Yerblues