The album has been released for a year now, and still, I just now got the vinyl edition of Bob Dylan's Rough and Rowdy Ways. Without a doubt, this is my favorite Dylan album. I'm in the school of Dylan admirers but not a full-strength fanatic fan. Some of his recordings I can hear once, and that's enough. However, Rough and Rowdy Ways is a different type of work compared to his other albums. I feel it may have taken him 79 years to make a record like this collection of songs. What appeals to me, of course, are his words, which are masterful with the remarkable juxtaposition of images thrown together like a master bartender.
For the past twenty years, the sound of Dylan's recordings has become more fascinating to me. Admittedly, they remind me of old recordings from the 1940s and 50s, but that is an illusion. Dylan, if nothing else, is the master illusionist behind the red velvet curtain. The design work on the record label itself is a throwback to another era, but it's more of a memory or a Twilight Zone episode. There is something scary, eerie, odd when you listen to the record while thinking of the album's design work. Sometimes his images don't work for me, but I think he does think these things out, and I don't believe they are thrown together in such a state. Anyone who has an announcer saying "Columbia Recording Artist Bob Dylan" before appearing on the stage is a very well-thought-out song and dance man.
The first five songs on this album are one of the great sequencings of music. "Goodbye Jimmy Reed" breaks the mood for me a bit, and it's OK where it is placed on the record, but I adore the soft balladry of songs like "My Own Version of You" and "I've Made Up My Mind To Give Myself To You." At 79 (at the time of the recordings - I think), Dylan is a superb crooner. The band behind him is excellent, and the ambient touches of space allow the blending of instruments behind Dylan's voice is simply magnificent.
The track that leaves no prisoners behind is, of course, "Murder Most Foul." It almost feels like a separate afterthought or a bonus cut on an album. At the very least, an excellent B-side is the longest Dylan song ever recorded, yet it only seems a few minutes while listening to "Murder Most Foul." I'm an American of a certain age, and the death of Kennedy has numerous layers of feelings and dread, and this song captures that angst, fear, and the dark humor of the assassination. Nothing to laugh about, except it's absurd in such a classic American manner. Somehow Dylan brings up the feelings I had when I was nine, and Kennedy died. It was a cultural turning point, and some who are still here can feel that day on November 22, 1963. Without hesitating, this is clearly Dylan's best album.
I have been looking for the vinyl of this album for quite a while now. Novi is a Jazz vocal quartet from Poland. I have two albums by them. One is Vocal Jazz From Poland 1965-75, and the other is this masterpiece recording Novi Sing Chopin. For at least two years, I have been trying to locate this album in the United States, and finally, it shows up in yesterday's mail. Since then, I have been looking at this cover, not fully believing that I got this precious item in my house. Then I put it on my turntable - pure bliss.
I love Chopin's melodies. I knew his name, of course, but in reality, I first heard his music through Serge Gainsbourg's Lemon Incest. It took me a few years to realize that Gainsbourg 'borrowed' the melody for his magnificent record. Then came Jack Nitzsche's album of Chopin music, which is also a favorite of mine. And now I have and love Novi Sing Chopin. However, there is something perverse when I only listen to Chopin through a pop or jazz context. That, I can't explain why?
My knowledge of Novi is limited. They are from Poland and were formed in Warsaw in 1964. All their recordings are from the Polish label Polskie Nagrania Muza, except for their compilation Vocal Jazz From Poland 1965-75 came out on a German record label. The four members of Novi are Bernard Kawka, Ewa Wanat, Janusz Mych, and Ryszard Szeremeta. The entire album is their four vocals, with an occasional stand-up bass, but played so lightly it's almost an ambient sound. It's really a beautiful blending of vocals with heart-wrenching melodies. There is a 20th mid-century vibe, and one can close their eyes and think of themselves in a John Lautner architectural home, with a nearby wet bar. That is a surface visual reference, but the music on the album burns the essence of the purity of the melodies. For me, a perfect album.
My friend Taro sent this to me from his home in Tokyo, and it is one of my favorite Serge Gainsbourg projects. Not as famous or iconic as his work with Brigitte Bardot and Jane Birkin, but nevertheless a late Serge masterpiece. Recorded in London and in 1981, Catherine Deneuve, the marvelous French actress (actor), made her first album with Serge writing all the songs. She is seen in the early Jacques Demy musicals, but I believe her voice is dubbed over by another singer. Still, Deneuve can rock the party here on this album. Backed by studio guitarist great Alan Parker, a latter-day Jimmy Page here with riffing electric guitar. Arrangements and keyboards by Alan Hawkshaw, another great British studio musician and backed by bassist Brian Odgers, and drummer Dougie Wright of the John Barry (Jane's first husband by the way) Seven.
It's a solid rock background, and almost every song here is catchy as hell. My favorite cuts are Dépression Au-Dessus Du Jardin and Oh Soliman. Deneuve is not a singer, but her voice is still stronger than Birkin or Bardot, and she makes these songs by Gainsbourg spicy and hot. Not an accessible album to find, but it is an essential Gainsbourg project. It needs to be reissued.
In England, there were the Beatles and Rolling Stones. Here in Los Angeles, and in the 1970s Punk era, it was The Screamers and The Weirdos. There were many other bands in Southern California at the time, but those two were the ones that I found to be the most interesting. The Screamers were keyboard electronic orientated theater band. The Weirdos were rock n' roll but with a sense of absurdity. At least on stage, they were outlandish with their trashcan clothing style. On record, they are a powerful rock band.
It's amusing now to think of Punk as being one type of music. It never was. One would think it's all "One...Two...Three, and Go," but the truth that there were a lot of subtle differences between all the groups. The Weirdos will be placed in the Punk Rock section of a music store, but they are also a classic hard rock band. It is always backed by a powerful drummer such as Nicky Beat and the wonderful Danny Benair of The Quick/The Three O'Clock fame. Their music had a slow built-up tension, and then one approaches the chorus as it builds and builds to a sense of ecstasy. Listening to it now reminds me a bit of Howard Devoto's Magazine. There are intelligence and a fair amount of humor in how they presented their music and visuals. The other memebers of the band are Cliff Roman, Dix Denney, and his brother the vocalist John Denney.
"Who? What? When? Where? Why?" the six-song EP that is part of the compilation is superb. "Happy People," "Big Shot," and "Idle Life, among the others, are classic rock. Not far off from Slade or the hard glam sound of the early 70s. An artifact from my past, but when I listen to this record now, it takes me to a very contemporary present.
David Bowie - "Look At The Moon! (Live Phoenix Festival 97)" Parlophone, 2021
What surprises me about the discography of David Bowie is the albums released after his death. Sometimes when an artist dies and record companies release material, it's often the Earth's dregs. Bowie, on the other hand, had some exciting and superb album releases. My favorite of the bunch is his live album from 1997, "Look At The Moon!" There are many fine or even excellent live albums from Bowie, but "Look At The Moon!" is superb. At this time, Bowie got his groove or poison out, and he was coming with influential albums at the time. Especially 1995's "Outside," and the next album, "Earthlings." Bowie made the conscious choice not to rely on his older material but focus on his new interest in electronically orientated dance music that still rocked.
Bowie had consistently surrounded himself with great musicians. Lots of distinctive players throughout the years give the Bowie sound that special kick. It strikes me that he was a great collaborator and knew how to be a proper band leader by having his musicians offer their unique talents to the mix. When I listen to "Look At The Moon!" I get the impression I'm listening to a band and not an artist with a backup band. In all the other albums, I feel the presence of Bowie and whoever is playing behind him. But here, I'm hearing a band's effort, and this is what makes this live album exceptional. Four musicians are playing with Bowie, and each one has the space to fill out their instruments. The guitarist Reeves Gabriels plays like the combination of Eddie Van Halen and Robert Fripp. His guitar is in your face, but he also adds textures to the soup that are important to the overall sound. Bassist and singer Gail Ann Dorsey play aggressively as well as having a voice of a fallen angel. Tender, soulful, and a perfect compliment to Bowie's vocals. Their version of Laurie Anderson's "O Superman" is pretty spectacular. The harmonizing of Bowie and Dorsey's vocals are matched perfectly. The drums of Zachary Alford, throughout the album, you can feel it in your gut. You can say that about the bass as well. This has to be, on a sonic level, the best live album I have ever heard.
Mike Garson doesn't do small backup piano, he's up there in the mix, and his playing is a combination of Monk and Liberace. I heard his excellent work throughout the Bowie decades, but here you can really hear the magic that he makes. Another beautiful thing about the recording is that one can clearly hear each musician and their contribution to the song. These musicians have played with Bowie for years. Still, this particular recording or show comes off as a singular unit.
There are surprises here, even on the songs you know. The old Blues standard "Driftin' Blues" introduces a driving "The Jean Genie."
This is not a variety show by Bowie. Five of the songs are from "Earthling," his current album at the time. Two tunes from "Outside," and every other piece is a reloaded, remodeled, re-texturized version of his deep cut hits. Garson puts slight touches of Gershwin in the song "I'm Afraid of Americans." The songs from "Earthlings "are more fleshed out than their studio versions. But still, it's almost like a techno garage rock band arrangement. This is music being performed than staying close to the studio version—an aggressive and muscular approach to these songs. There are traces of "The Man Who Sold The World" era sounds, but with the addition of the jazzy Cecil Taylor touches by Garson. Come to think of it, that album does have a band sound as well.
"Look At The Moon!" in a manner captures Bowie's entire music life at that point. There are many references to classic soul music throughout the album/performance. Bowie sings the faint traces of Chic and The Commodores "Brick House" in the song "Fashion." The "Where do we go from here" line in "Looking For Satellites is like a great song from a forgotten Broadway musical. Bowie has the riff going, and then there is a beautiful melody behind the riff. I never get bored with his music because the layer of melodies/textures/word fragments makes the listener's brain go with the groove. Still, also a lot of brain food is here as well. Reeves guitar playing on a melody is noise but never losing the beauty of the music. When he's good, he's great. And the song ends in a classic piano motif one can hear in an elegant piano bar in Manhattan. On "Scary Monsters," Bowie does Anthony Newley. It is really a Newley-based song (at least in style) than anything else, at least in the live version. "Hallo Spaceboy" quotes the Everly Brothers "Bye-Bye Love." Bowie gives a James Brown tip-of-the-hat in "Little Wonder" by putting in "Night Train."
Criminally this is released as a limited edition of 6,000 copies. By luck, I pre-ordered the album for $39.95. Now it's going for over $100 in the second-market places and sites. The album is too good to be left in the hands of the few. And as I mentioned, the recording itself is so vivid and wonderful. I rarely call a live album a masterpiece, but this is true in that category and the case.
"All Hash and Cock: The Very Best of The Bachelor Pad - The Bachelor Pad (Emotional Response)
There are moments in life when one is confronted by something familiar but so beautiful. The Batchelor Pad is a band from Scotland, who released a handful of singles and one album "Tales of Hofmann." They recently released "All Hash and Cock: The Very Best of The Bachelor Pad," a compilation of their old recordings from 1987 -1991, but sounds like a solid album, not a collection of old recordings. It starts off with the song "The Album of Jack" that references "She Loves You" by the Fab Four and ends with "I Want To Hold Your Head," which lightly comments on "I Want to Hold Your Hand." In-between those two songs, you are taken on a ride through the 1960s/1970s UK pop music but never losing the touch of The Bachelor Pad's originality and humor. To define their sound, I could say they're noisy with irresistible pop melodies. Psych-rock in the most real sense, but their canvas is much larger than that.
Listening to this compilation, I can hear various artists' presence, but not necessarily a full-end tribute. It's more like a Richard Hamilton college or a Joseph Cornell box sculpture where there are individual pieces that tie to a specific visual or sensibility, but as a whole, it becomes an original artwork. The Bachelor Pad is the same in that they are part of their influences, but the way they put their songs together, it becomes un unique aural sound piece.
All the songs are layered with guitars, keyboards, bass, and drums, but merge into a sound that is partly Joe Meek meets classic Move (Roy Wood) when they did their early singles. The songs are written by Tommy Cherry and Martin Cotter, and both are credited for guitars and vocals. Due to the sonic qualities, I can't tell who or what guitar is playing; it all blends in such a style as an early Associates recording. They throw in the bathtub and sink, but the sound is chaos with plenty of hummable melodies. "Do It For Fun" sounds like a demented Dave Dee, Dozy, Beaky, Mick & Tich song, but even crazier.
There are no weak cuts on this compilation, but the stand out is what I believe was their last recording, and it was solely written by Cherry "Meet the Lovely Jenny Brown." The definition of this song is 'Perfect Pop." A beautiful build-up to the catchy chorus, it's a hit song that somehow fell through the cracks of time. A remarkable song on a perfect compilation that sounds like an amazing album. -Tosh Berman.
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| ISBN: 978-0-262-52661-6 MIT Press |
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| "The Beatles: White Album" by Rutherford Chang |
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