Showing posts with label 1974. Show all posts
Showing posts with label 1974. Show all posts

Friday, March 6, 2015

Yes - Relayer

Atlantic: 1974/1995

Holy cow, another rock album? That's, what, four in the last week alone? Who'd have thought the letter 'R' would hold so much of the stuff. This time out, we return to the realms of prog rock, that most pretentious of all rock 'n' roll forms. It's been a while since I last dealt with a Yes LP, and hoo-wee, is it ever a doozy. The band had just come off the Topographic Oceans tour, though more of a slog should you hear Rick Wakeman describe it. The album in support has long been considered the exact moment prog rock had transcended cleverness into self-parody, which isn't entirely accurate – after all, the '80s still loomed. But yes, a double-LP with four songs running twenty-plus minutes each was overboard, especially when tied to such a nebulous theme as- You know what, forget it. Explaining it would eat up two reviews alone.

With Relayer however, Yes decided another musical challenge was required, this time tackling nothing less than Tolstoy’s epic War and Peace, while adding jazz-fusion into their prog-rocky mix. Wait, where are you going? No, this is awesome, I swear it is! The main song on here, The Gates Of Delirium, is broader in its war theme than a chronicle of Napoleon’s campaign against the Tsars – it could be any ol’ battle, heck even a Tolkien conflict! Roger Dean’s cover art suggests more of a fantasy setting than any place on Earth, and I get something of a Wizards vibe from the piece too. And if Led Zepplin can make music about hobbits with cred’ intact, why not Yes? Oh yeah, that Topographics thing. They’ll never live that one down.

The Gates Of Delirium though, aw man, is this ever a beast of a tune. It starts out all jaunty and chipper, soldiers calm and ready to head off for battle, the music soon changing into a strident march. Some eight minutes in, everything grows urgent, the pace picking up, and all sorts of crazy jams, sounds, crashes, rhythms, guitar squalls and utter chaos ensues, a glorious psychedelic freak-out that explodes into triumphant bombast, Steve Howe’s Telecasters soaring high and proud after a hard fought victory. Following that, the song goes calm, quiet, and soothing, a steel pedal guitar gliding about like a KLF ambient moment (wait...). I guess this is the peace that follows war, though the way Jon Anderson sings, it sounds more like beaten warriors have ascended heaven. Interpretations obviously vary.

The other two tracks are Sound Chaser, a total rock-jazz-psych-prog jam-out with a kick-ass guitar solo (seriously, Howe was on fire on this album – guess he was anxious to try out his new toys). Plus, a charming ditty in To Be Over, a pleasant enough outing (more steel pedal!), but comes off overindulgent for my liking – yes, on an album that features a bloody war re-enactment. Still, The Gates Of Delirium is one of the essentials of prime-era Yes, easily worth the price of admission.

Saturday, November 29, 2014

Tangerine Dream - Phaedra

Virgin: 1974/1995

I've got a hundred angles to approach this with, and I'm stumped on every single one of them. Guess that’s why I'm going with the “I'm stumped in how to approach this” opener, wasting valuable self-imposed word count in the process. Tangerine Dream's history, their lasting inspiration on future producers of ambient and experimental synth-pop (!), even specific details surrounding the release of Phaedra: all better options in starting this review with. Nope, I gotta' make this all about me and my dilemma. How selfish.

But also a disclaimer. Though I've listened to some Tangerine Dream and assorted solo works from various members and contributors (Christopher Franke, Klaus Schulze, Michael Hoenig, Ulrich Schnauss), Phaedra is the only album I've thus attained. I intend to gain more down the road, but I had to start somewhere, and Phaedra is generally considered the Tangerine Dream album you're supposed to have, even if you're not a Tangerine Dream fan. I think the only reason it got that status is from the fact it was their first album released on Virgin, so has had the longest-running significant PR behind it. Easy enough to pluck tracks from here for those ambient compilations the label put together in the early ‘90s, right? Instant importance established, especially upon a newly reinvigorated ambient scene owing quite a bit to the groundwork these guys paved.

Without boring you with minute details (as any Wikipedia entry should suffice), what elevates Phaedra above so much other Berlin-School krautrock was the way these guys manipulated sequencers into something free-flowing and improvisational. Many would replicate and even improve upon what was accomplished here, but the Phaedra and Movements Of A Visionary sessions captured a moment of exceptional creativity on the participants’ part (founder Edgar Froese, Franke, and Peter Baumann). With a bubbly synth-pulse as a guiding rudder, Phaedra moves through spacious alien terrain, floating kosmic music, and eerie lands of the unknown. Movements, at half Phaedra’s length, serves as something of a b-side, exploring similar musical ideas but with less emphasis on creating outworldly atmosphere.

Two other tracks make up this album, another lengthy piece titled Mysterious Semblance At The Strand Of Nightmares, and a short sonic doodle at the end called Sequent ‘C’. The latter isn’t of much interest, unless you’re totally down for Baumann’s dark flute action. The former, on the other hand, has more in common with modern classical of the time than space synth and minimalism. Ol’ Edgar gets most of the composing credit for that piece, and it shows, lacking the musically creative melting pot the other tracks have. It’s a fine example of the genre (Tomita must have been impressed), but not as dynamic as Phaedra and Movements.

This album is unquestionably required listening for all folks interested in ambient music. It’s also rather spiffy for spliff sessions, as I’m sure some egg-headed sorts indulged in back in the ‘70s. Imagine hearing this for the first time in those years, eh? Schrägesten musik, mann!

Friday, October 3, 2014

Neil Young - On The Beach

Reprise Records: 1974/2003

So, how's your day going? Good, you say? That's cool, peachy. I'm doing pretty good myself. Enjoying my new Sennheiser Momentum headphones very much, thank you. What's that, you found $20 on the ground? Wow, that's some swell luck. You know, I think everything's looking bright for us. I almost feel guilty feeling good about things and stuff right now. Hey, I know what will bring me right the fuck down, Neil Young's On The Beach. Few things depress you quicker than that ode to post-hippie '70s existential crisis of being!

Not that you could blame the poor guy. Sure, he was a commercial success and all that, but at what cost had that fame come? If his musician friends weren't dying from drug overdoses, they were getting lost up their needles and noses with the stuff. He could sell out concerts, but considering how often he felt compelled to flee his fanatical fans, what comfort was there in that? And everything else in Americana seemed to be going tits up, the prosperity of the '50s and counter-culture idealism of the '60s getting hit with hard, bitter, cold reality of events out of their control. Where else could Neil Young go but straight for the ditch, burning his bridge to fame (but not his fortune!) as he tried making sense of it all.

Thus, you get a track like Vampire Blues, condemning the Western world’s growing dependence on fossil fuels. There’s Revolution Blues, painting redneck culture as ever the jaded reactionary types as we’ve stereotyped them into today. For The Turnstiles paints a dour picture of other charming Americana like county fairs and baseball games. See The Sky About To Rain is more poetic, coming off like After The Goldrush material (I think it was written around that time anyway). Motion Pictures laments his fame, and Ambulance Blues flat out criticizes all that hippie optimism that accomplished squat in the ‘70s. “Pissing in the wind” indeed.

As those song titles suggest, there’s quite a bit of blues music here, though only the titular cut’s out-and-out blue-blues as you imagine. Revolution Blues is a basic southern rock out (that bass!), and Vampire Blues is the chipper version of blues rock, what with a cool shuffle percussion, a bit of organ action, and one of Shakey’s weirdest solos ever (is he trying to sound like bubbling crude?). For The Turnstiles, meanwhile, goes for a banjo duo, and Ambulance Blues sounds like a whiskey-soaked country jam, including a ...bass fiddle? Whatever it is, it sure sounds sad. I think Toby Marks used something similar on Big Men Cry.

Okay, this is a depressing album, but the music is quite creative and beautiful in its misery. It also helps that Young’s perspective on things got better a few years after, so a happy(ish) wrap to this story. On The Beach is best treated as a time-capsule, a period in Young’s life where he captured a despondent spirit of a generation.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. 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