Billboard #1 Hits: #359: “Lucy In The Sky With Diamonds”- Elton John. January 4, 1974. #1 for 2 weeks in Billboard Hot 100. The first #1 hit of 1975. Single: “Lucy In The Sky With Diamonds”- Elton John Record Company- MCA Genre: Psychedelic Pop Written by John Lennon and Paul McCartney Time: 5:54 B-side” One […]
Every Billboard Hot 100 Single 1970: #407:” Going To The Country”- Steve Miller Band. August 15, 1970. Single: ” Going To The Country”- Steve Miller Band Record Company- Capitol Genre: Rock Written by Steve Miller and Ben Sidran Time: 2:08 B-side:” Never Kill Another Man” Album-Number 5 Grade: B Peaked at #69 6 weeks in […]
Billboard #1 Hits: #287: “You’re So Vain”- Carly Simon. January 6, 1973. #1 for 3 weeks. The first of 27 different singles to hit #1 in 1973- 1972 was an impressive year for #1 hits- 1973 looks to be just as fine. Single: “You’re So Vain”- Carly Simon Record Company- Elecktra Genre: Pop Written by […]
2020 Album Draft- Round 4- Pick 6- Eclectic Music Lover-selects- Elton John- Goodbye Yellow Brick Road. Eclectic Music Lover’s blog can be found at- https://eclecticmusiclover.com/ My pick for Round 4 is the monumental double album “Goodbye Yellow Brick Road” by Elton John. And while I don’t feel it qualifies as a true masterpiece, I think […]
from Oannes Songs Of Childhood Nostalgia #1 Θα ακούσουμε μερικά τραγούδια νοσταλγίας για την παιδική ηλικία, γραμμένα από γνωστούς, ή όχι τόσο, καλλιτέχνες.Ξεκινάμε με ένα από τα πιο αγαπημένα μου τραγούδια του Neil Young. ✻ We will hear some songs of childhood nostalgia, written by well-known artists, or not very much so.We start with one […]
University was a great time for learning about new music. I studied in a bigger city with better record shops, and I had a part-time job and a bigger record buying budget. I found lots of favourite records in second hand bins, bargain bins, and most especially second hand bargain bins. Of all the additions […]
Hans Remembers- Tuesday July 28, 1970- 50 Years Ago. Mick Jagger made his acting debut in the movie Ned Kelly- a film about the legendary Australian outlaw. The film debuted in Kelly’s hometown of Glenrowan. Soviet leader Leonid Brezhnev who had disapproved of East Germany’s leader Walter Ulbricht’s effort to strengthen trade relations with West […]
Any album which followed Joni Mitchell’s groundbreaking 1971 album ‘Blue’, still considered to be her best by many, would have difficulty in competing with such brilliant, heartfelt songs and musicianship.
Predictably, Mitchell’s 1972 release of ‘For The Roses’ (Asylum), did indeed seem to underwhelm by comparison. Even the title of the album does not exactly inspire one as much as the emphatic ‘Blue’, unless you happened to be a gardener or a seeker of some bucolic escape. Nevertheless, I have to say I find this album something of a sleeper.
I, like many, first became aware of Joni Mitchell with songs like ‘Big Yellow Taxi’, songs which made you stop, listen and take notice. Then along came ‘Blue’ and the plaudits, rightly, went bananas. Then, at least to me at the time, a youngster barely in his teens, there seemed to be a bit of a lull. Suddenly it was 1974 and the wondrous ‘Court and Spark’ was released, another groundbreaking collections of songs. Somewhere in the middle of all that came ‘For The Roses’. It has only been over the last fifteen years or so that I have come to appreciate how good this album is.
And it turns out the album’s name and character did indeed indicate the singer songwriter’s partial retreat from the hurly burly of superstar life. So here are songs perhaps less intense than ‘Blue’, but reflective of a different inner life, the beginning of her more observational, anecdotal story telling songs which have become so much a trademark of her later career.
The opening track ‘Banquet’ sets the tone firmly, yet gently, indicating her retreat from all the pandemonium, stepping down towards the shoreline and taking a wider philosophical look at life and all its absurdities. Here too I can sense the true beginning of her more jazz-folk inspired trajectory, followed up in the next acoustic guitar driven track, ‘Cold Blue Steel and Sweet Fire’.
If the first two tracks evoke a certain subjective melancholy, track three, the more upbeat ‘Barangril’, really brings out Mitchell’s great gift of taking an everyday snippet of daily life and turning it into a timeless masterpiece of modern Americana.
‘Lesson in Survival’ returns to the reflective melancholy, but beautifully so. Few songwriters, one would imagine, have ever been so well read. The wish for escape is overpowering. ‘Let the Wind Carry Me’ continues with the theme, but gives us more than a glimpse of parental influences, how they seem to us as we age when we realise Mum and Dad were not perfect either. I love the little jazzy flourishes with the voices and wind instruments in this song, something she would continue to perfect in later albums. In this song they evoke the whistles of steamers.
Wild Canadian Expanse
It has been said before (probably by me previously too) that Russian composers like Rachmaninov can’t help but sound like the vastness of the Russian Steppes. I think the same goes for more contemporary Canadian composers too, particularly Joni Mitchell and Neil Young. In ‘Let the Wind Carry Me’ I can hear the vast open plains of central Canada where she was brought up and also the equally wide Pacific Ocean off California.
‘For the Roses’, the title track, is an understated guitar song of exquisite guitar work and minimal arrangement, critiquing the lifestyle she has become accustomed to and which she is now eschewing. ‘See You Sometime’ is more straightforward, reflecting on former loves, their lifestyles, in a major key, leaving open the possibility of staying friends.
‘Electricity’ is a beautiful guitar track, spanning this transition period. ‘You Turn Me On, I’m A Radio’ might also have appeared on an earlier album, but served the purpose of being a catchy hit single from this album.
‘Blonde in the Bleachers’ definitely looks forward, another anecdotal snippet finding meaning: It transforms beautifully in the middle to a more soft rock number with sophistication. ‘Woman of Heart of Mind’ really does sound to me like it was composed a year or so prior to the album’s release – it is, nevertheless, beautiful and understated.
The final track, ‘Judgement of the Moon and Stars (Ludwig’s tune)’, is probably the most sophisticated piano based track on the album, Joni leaving us typically with a philosophical view based on much reflection. The arrangement of wind and strings is also tasteful.
Overall, this is still one of my ‘go to’ albums. It helps me relax and reflect, probably the desire of the composer at this particular juncture in her life. It is generally understated and certainly not her best offering – yet it is still a great album in my view.
The continuing story of what I consider to be one of the greatest albums ever, Steely Dan’s ‘Aja’ (MCA) from 1977. If you haven’t seen part 1, check in my blog first.
If side 1 was a tour de force, then side 2 continues slightly differently, with four songs which are in their own way, equally impressive.
‘Peg’ gets going with a much lighter disco feel, compared to side one. It’s fairly typical of the time but done in Steely Dan’s own inimitable way, with attention to detail. It turns out the guitar solo which made it onto the album took some time to finalise, with numerous guitarists auditioning for the ‘role’. Listening to it, I think they made the right choice. This is probably the most ‘commercial’ track on the album.
With Track 2, ‘Home At Last’, we’re suddenly, though not surprisingly, in the realms of Homer (the ancient Greek writer, not the cartoon character) and Ulysses (Odysseus), with references to danger on the rocks and being tied to a mast over a bluesy jive that gets your foot a-tapping nicely. Once again the instrumentation, particularly the use of brass, I feel, is second to none. Very much of its time, almost ‘Starsky and Hutch’ in feel.
‘I Got The News’, the second to last track is an ‘angular’ sounding disco number, with those enigmatic, yet fitting lyrics full of innuendo and direct references which are so much a feature of the Dan’s music. There’s a great guitar break too, which belies the track’s disco setting, a feature first perfected I think on their previous album, ‘The Royal Scam’. It’s like they’re letting you know how sophisticated they are – and why not?
And so to the last, and certainly not least track on this classic album. ‘Josie’ is one of Steely Dan’s most celebrated songs, a fine R&B number, about a girl the guys simply can’t do without, it would seem, a bit of a hell raiser by the sound of it, who evidently could’ve been present when Nero set fire to Rome in AD 64. This has all the feel of LA and sophistication, the place Becker and Fagen made their home for some time.
Once again though, it’s the jazz inspired elements, like the rather haunting, minimalistic guitar riff/section sandwiching the main part of the track, which sets it apart from what anyone else was doing before or since.
‘Aja’ will always be a classic. Was it the peak of their success? Most definitely, which doesn’t mean you shouldn’t listen to ‘Gaucho’, or ‘Two Against Nature’, nor indeed the older back catalogue. It’s just that if I was to recommend one album of this band, it would have to be ‘Aja’. It gets an A+++.
I think I can say without qualification that Steely Dan’s 1977 album release, ‘Aja’ (MCA), changed my life. This is part one – I feel there’s simply too much to say in one piece.
At the time I was at college and it became the soundtrack of my time. It was a tape (I got the vinyl later) and I must have worn it out. On that tape ‘Josie’ was the opening track, swapping places with ‘Black Cow’ from the vinyl.
Of course, I was already a big fan of their previous five albums, beginning with the 1972 release of ‘Can’t Buy A Thrill’ and the singles, ‘Reeling In The Years’ and ‘Do It Again’. That was some entry into the mainstream.
Put simply, anyone who tries to play guitar or any instrument, like me, or just appreciates music, simply couldn’t help but be impressed, not merely with the virtuoso playing of various band and session guys over the years, but with the whole jazz infused rock style which is all their own.
And to say that the songs of Walter Becker and Donald Fagen are well-crafted would be a great understatement; they are simply peerless – witty, sarcastic, intellectual, moving, all in a wonderfully constructed, painstakingly produced package that is, nevertheless, often hard to define. The element of doubt I’m sure is deliberate, lyrically and musically, so that the listener can make up their own mind, take them to places they never thought they would go. And I’ve been everywhere.
But to the album. Is it their best? Probably, a classic certainly, released when punk rock was at its height, which makes its success all the more remarkable. Great music is great music in any age and will find its way.
New York night life
The opening track, ‘Black Cow’, is the name of a mixed alcoholic drink of New York origin, apparently, though as is sometimes the case, the name of the song is incidental to the main message: that there’s a relationship ending, badly, and one of them isn’t taking it too well. Pretty straightforward really. The song to me simply oozes New York night life, with a slow, steady, ‘catchy’ beat which has been sampled at least once since then. Great piano solo, superb de rigueur saxophone on the outro.
The title track is next and quite unlike anything the band had attempted before. ‘Aja’ is a girl’s name, quite a girl by the sound of it. The lyrics are concise, perfect, simply to illustrate the song, leaving the stage open for the incredible musicianship. The song is complex, evocative of sensory pleasures, Asian themes. I feel sunshine every time I hear it. Denny Diaz’s extended guitar solo is wonderful, almost like glints of sunlight on the Pacific Ocean, or maybe a boat bobbing up and down.
And then the saxophone solo (yes, another one, and why not!), seems to take you into the evening, more busy night life, romance. If this wasn’t enough there is, in my opinion, the most incredible outro ever, consisting of sensational drumming, a single piano chord repeat pattern and atmospheric synths all around it, taking you into the heady early hours of the morning. Quite wonderful.
‘Deacon Blues’ is the next track, completing side one of vinyl. The story of a loser? More than once I’ve toyed with the idea that it could be about me. The subject is resigned, yet determined to play saxophone, to drink Scotch all night and go out driving (no, I don’t do that).
Once more I sense the night, this time dark alleys, jazz clubs, New York street life. The saxophone illustrates the song beautifully (naturally), a long track of nearly seven and half minutes, but it’s over before you know it – a sign of quality, that not a second is wasted in creating these mental pictures. Great lyrics, great playing, great song. Just great.
It even inspired the name of a band, but that’s another story.
So that completes side one. Only three tracks, but all different. Quite simply the best first side of an album, period.