Them - 'Them Again' Album Review

Having listened to hundreds of white R&B singers from the British Invasion, I'm starting to think that Van Morrison cuts it as quite possibly the best of the lot. There's something otherworldly to his Howlin' Wolf inspired snarl that transports his performances beyond pastiche (i.e. Mick Jagger) or overcompensation (i.e. Steve Marriot) and into the upper echelon of blues greatness (P.S, I very much dig those guys as well, don't attack me just yet...) His work with Them in the 60's/his first solo album (the one that features 'Brown Eyed Girl' and the dreaded 'psychedelic jacket' Van so despised) rank among my favourite British garage/soul material, and this album (the second by Them, hence the 'Again' bit) is a great showcase for Van's protopunk credentials as well as his future folkier material first introduced on the epic 'Astral Weeks' in '68. Released in 1966, the group at the time was a mix of rotating members and I can't find any details of the exact personnel playing on the record (apparently Jimmy Page is on here, somewhere...) so I'll have to skip this section today. Moving along swiftly, Lets get into Side One...

'Could You Would You' opens up the album, a funky Morrison original with some killer high note wailing in the lead vocal and a chunky rhythm section supported by floating Farfisa organ in the background, very cool stuff with nice Stax Soul edge. A groovy cover of 'Something You Got' follows, easily matching Wilson Pickett's version from the same year (dare I say it, this sounds meatier, sorry Pickett...) 'Call My Name' is next, written by Producer Tommy Scott  who gets a few more credits on the LP. This one's a moody folk rocker with more stomping rhythm and Van's passionate vocals, but also a bit of Zombies-ish darkness creeping in. 'Turn On Your Lovelight' is some great R&B, raw and raucous, seething in bar band attitude and Ray Charles good-timey atmosphere (love that surfy drum breakdown midway thru). Back to the darkness next with a beautifully Jazzy 'Put A Spell On You', great vibes work and haunted Sax (played by Van I believe). Van's surely channelling Nina Simone on this one, with her excellent cover coming out the year before this album's release, dig that scat bit near the end! And now, a complete 180 to the fuzzed-out garage classic written by Tommy Scott, 'I Can Only Give You Everything', an absolute stomping blast that for me makes the album well worth owning on its own merits. This is pretty much the basis for the American Garage sound we've covered so far on this Blog, mega fuzz guitar riffing (by the way, that is the riff from Beck's 'Devil's Haircut', the cheeky bugger...), tinny farfisa, Dave Clark Five One Beat and a lead singer screaming his heart out, pure rock n' roll excellence. 'My Lonely Sad Eyes' is another Van original and is stepping closer to the sound he's best known for; folk/soul pop tunes coupled with wonderfully poetic lyrics. 'I Got A Woman' closes Side One with more of that Ry Charles rave-up quality, great piano work on this one (whoever it may be...) You may have noticed by this point that there's quite a few songs for one side of an album (eight on each here), and you'd be right, this is around 45 mins which for the time was an EPIC length (most LP's were only 30 mins until 67/68, just thought I'd let you know, maybe its only me that cares bout this kinda thing...).

A smashing take of  Mr Brown's 'Out of Sight' opens Side Two and its another funky number with more solid drum/basswork (yes I know we've heard this track before on the Raiders album a few weeks back, I'm afraid we're going to see a lot of  overlap in the covers department between the British and American groups of the time). A cover of Dylan's 'Its All Over Now Baby Blue' is next, and for those of you who are Chocolate Watchband fans, this is where they got their arrangement from (swapping the keyboard riff for a glorious 12 string of course...). This has a majestic quality to it I can't quite pin down, probably the mix of tones laid down here, from background farfisa, to upfront strummed acoustics, all enveloped by Van's soulful vocals that enhance the beauty of Dylan's original lyrics tenfold, a stone cold classic. 'Bad Or Good' (another Van original) is next, sorta gospel-ish with call and response vocals and backroom piano lines a plenty, Van preaching in full on Ray mode. Tommy Scott gets another tune next here with 'How Long Baby', quite an old school 50's style ballad that Van absolutely rips through, also featuring a great Steve Cropper influenced tremolo-guitar solo (is that Jimmy Page? We'll find him someday...) The early rock n' roll spirit carries on next with a cover of Fats Domino's 'Hello Josephine' that the band knocks out with a kicking mix of honky-tonk piano and trebly guitar. 'Don't You Know' is a surprising return to Jazz, featuring flute, shuffling drums and some tight piano playing (another Scott original too, he's a great writer, although I'm sure Van had more original tunes at the time, maybe he was holding off for his solo career...). Speaking of his solo stuff, 'Hey Girl' is a real set-up for the emotional ballad side of Van that would emerge two years later with 'Astral Weeks', even the instrumentation is the same! Beautiful flutes, distant piano, echoey drums and Van striding above it all, a true timeless masterpiece. 'Bring Em' On In' closes out the record with YET MORE of that great R&B party sound and what seems like some improved lyrics from Van. A pretty cool ending to a superb LP, check it all out below and I'll see you next time when I'll be checking out the debut of some well known petite-headed cockneys (might write it on a 'Lazy Sunday', who knows...)

The Who - 'My Generation' Album Review

This time around I'm covering another classic Brit Invasion LP, The Who's 1965 debut 'My Generation'. This album pretty much birthed the sound of early punk and garage rock, featuring some of the heaviest rock n' roll sounds recorded at the time and inspiring thousands of young groups for generations after its release. Of course, most of you will know the members of this outfit, but for those who don't they comprised of; Rhythm Guitarist and main songwriter Pete Townshend (who gets a total of 8 originals on this record), Lead Vocalist Roger Daltery, Bassist John Entwistle and Drummer extraordinaire Keith Moon. Before I start, I've got to talk about that fabulous cover art, the band's name printed in military stencil, each member glaring up menacingly in true street punk style next to what looks like some oil barrels. The whole image sets the tone for the ground-breaking work you're about to hear, so lets get to it...

Tremolo guitar scraping, wild drumming and a blend of R&B blues wailing with pop backing vocals, all of this awaits the listener on Side One's opener 'Out In The Street', a Townshend original and a fantastic album opener. Listen out for the kill-switch/feedback guitar EXPLOSION that takes the place of the usual blues solo, such inventive stuff that still rocks like hell 60 years on. Next up is a comparatively straight - but still heavy - take of James Brown's 'I Don't Mind' that nicely fits into the groups original mantra of 'Maximum R&B' (maybe this is where the American garage groups got their Brown obsession from, who knows?). The next number though is where we enter truly pioneering territory... 'The Good's Gone' kicks off with a jangly raga inspired riff (in 1965!), leading into a grungy tune of a relationship gone wrong ('We should enjoy it, but the goods gone'). Townshend slashes his Rickenbacker on this one, with Moon supplying suitably chaotic drums as Entwistle holds down the low end with heavy bass riffing... Such a cool track, and really one of the first psych style rock songs recorded (laid down in April '65). A return to power pop (a term coined by Townshend  couple years later) is next with another original number, 'La La La Lies'. Nice Motown/girl group sound here, Moon's jazzy rolls blending harmoniously with the multi-part group harmonies. 'Much Too Much' follows, sounding a decade ahead of most contemporary UK groups, surging along with a perfect balance between sweetness and punky agro (particularly present in Daltrey's snarling vocal and Moon's epic drum-work), a brilliant number that could easily have been a single. And finishing off the side is the classic track, 'My Generation'. Townshend's piss-off lyrics/crazy guitar, Entwistle's bass soloing, Moon's perfectly mad drums and Daltery's rockin' vocals add up to make this one of the greatest rock tunes of all time (must have sounded crazy to the kids of '65, not exactly Herman's Hermits is it...)

Side Two starts with another blazing classic with 'The Kids Are Alright'. More ringing guitars, more power from the rhythm section and more era-defining lyrics that you cant resist shouting along with (and again, a super heavy mid section that still blows up with the energy of a split atom), can rock get better than this? Probably not, demonstrated by the kinda weak cover of another Mr Dynamite number, 'Please Please Please', Roger desperately trying to inject passion, instead sounding a bit strangled with his high notes (nice kill-switch soling from Townshend though). A return to excellence is next though, with 'Its Not True', a funny little ditty about - to put it in academic terms - "the misconception of identity in the modern world" (or just someone saying "that's bollocks", whichever you prefer...). Great band interplay here with nice keys work from session man Nicky Hopkins. 'I'm A Man' follows this gem, and is again  a little weak, even bordering on parody as Daltery alternates between his best Howlin' Wolf impression and a more relaxed Brown-ish scream. Aside from that, this one rocks, Townshend using controlled feedback and power chords to push the band into rock n' roll nirvana in the mid section (I'm sure that Hendrix dug this one...). 'A Legal Matter' features Townshend's debut as lead singer, and he gives the tune a bit of country sleaze (fitting for the broken marriage subject matter) as the guys kick up dust in the background (smokin' keys from Hopkins here). Capping off the album is the explosive 'The Ox', the only group written number on this collection and what a number it is... Townshend's guitar screams with distortion, Moon lays down a 'Wipe Out' inspired bit of anarchy, Entwistle keeps it grounded and Daltrey... is nowhere to be heard (I'm guessing that's not him on keys in the background...) A raucous showcase of band's power, truly a sign of things to come in the rock world (much like the album in general really). For me, this is The Who at their best, pushing the fringes of popular music to its breaking point (whilst also playing some straight tunes to satisfy the average listener). Seek this out pronto anywhere, anyhow, anyway you can... See you next time when we'll be covering an LP by a lesser known Irish rocker and his group of young punks... (can you guess it yet?)

The Kinks - 'The Kink Kontroversey' Album Review

Of course, I couldn't call myself a garage fan without discussing the guys who kicked it all off, The Kinks. This group have influenced almost every rock n' roll artist in existence since the release of the epochal 'You Really Got Me' in 1964, a track that to this day sounds heavy, menacing and timeless and shall remain so for eternity. Founded in 1962, the group was comprised of chief Songwriter/Rhythm Player Ray Davies, his brother, Lead Guitarist Dave Davies (pretty much the inventor of the distorted guitar tone), Bassist Pete Quaife and Drummer Mick Avory. Toddy I'm having a look at their classic '65 LP 'The Kink Kontroversey', a record that finds the boys transitioning into their pop-art second phase with the beginnings of the Davies' brothers' signature character study-in musical form tracks alongside more R&B garage material (a mix that I certainly dig!). 

Side One starts with possibly the GREATEST Kinks garage rockin' track, 'Milkcow Blues', a tune that would later be lifted wholesale for the Chocolate Watchband's 'Dont Need Your Lovin' featured in the hippie exploitation flick, 'Riot On Sunset Strip'. This is one hell of a rave up, the guys surging through the old blues number with powerhouse guitar and screaming vocals from the brothers' Davies. An excellent opening track that precedes a beautiful follow up, 'Ring The Bells'. Here we can spot a slight Merseybeat influence mixing with folkish picked acoustics, Ray cooing away in his classic subdued manner. Next up is more high energy rock with 'Gotta Get The First Plane Home', great snarlin' riffs from Dave and groovy bossa nova drumming from Mick Avory, could have easily fitted onto the first couple of Stones' records. 'When I See That Girl' follows with a kinda Motown/Brit-Pop feel, a straightforward pop number with a tricky middle eighth that suggests a Beatles influence. 'I Am Free' is where things get interesting, Dave oozing Dylanish introspection (and vocal intonation), the group backing him up with echoey backing vox and - curtesy of session man extraordinaire Nicky Hopkins - deep bass piano. Finishing off Side One is the absolute knock out that is 'Til The End OF The Day', featuring more of that slashing guitar distortion and stop start riffing that made them famous, such a blast of a track.

Side Two kicks off with the mildly psych-ish 'The World Keeps Turning Round', Ray tacking the forefront with a 'Rain' like tale of an over worried acquaintance who can't stop to see what's in front of them. Not a complex story I know, but a progression from 'Girl, You really got Me going' no? 'I'm On An Island' has a disorientating calypso feel next, pre-empting the groups' later experiments into complex instrumentation and metaphorical storytelling. 'Where Have All The Good Times Gone' is, of course, another classic, Ray quoting The Stones and The Beatles whilst reminiscing bout... when exactly, a year before? Jeez, not like your careers over yet guys! More great electric/acoustic combo riffing on this one and I've always dug Dave's high pitched harmonies in the chorus. 'Its Too Late' is a little weak to be honest, nice chorus but a bit too straight for my tastes. As always, the production is great - Shel Talmy got one hell of a sound from The Kinks and SOOOO many other groups from the time - and there's another Nicky Hopkins appearance in the solo so not its without interest. 'What's In Store For Me' sounds like another step forward for the guys, with more Dave introspection and a music hall two-step stomp (a lot like 'Party Line' from their next record, 'Face To Face'), pretty tight little number. Capping off the LP is another cool garagey number, 'You Can't Win', Ray and Dave sharing the lead vocal and the band rockin' away behind them (and of course, more savage guitar attack from Dave). All in all, a nice album, full of classics and a tight mid-sixties groove, definitely worth checking out if you're a Kinks fan or dig 60s' rock in general. Tune in next time when I'll be checkin' out another album from '65 (yes, I'm working chronologically now If you're interested...), see you then!

The Sorrows - 'Take A Heart' Album Review

After a short break I've returned to the Garage for the second series of this blog, focusing this time on British groups and beyond (a bit like Nuggets 2 if you wanna know where I got the idea...) To kick off this new batch we have Coventry's own 'The Sorrows' and their 1965 LP 'Take A Heart' (named for their only UK charting single), probably one of the closest-to U.S Garage sounding collections from ANY mid sixties U.K group. As usual, I'll start with the personnel; Lead Guitarist Pip Witcher, Bassist Phillip Packham (born in Bidford-On-Avon a few miles from where I am writing AT THIS MOMENT), Scot Drummer Bruce Finley, Rhythm Guitarist Wez Price and Singer Don Maughan (really he of 'Indian Reservation' fame Don Fardon). These guys really go to town on this album, mixing the proto-punk riffing of The Kinks, the agro-power of The Pretty Things and the tightly-chaotic sound of The Who within a 30 minute slice of Brit Invasion gold. 

Jumping onto Side One with 'Baby', the guys start and stop with a sharp combo riff, exploding into an energetic double time solo near the end, Maughan cooly hollering away between verses. This is one PUNKY number an awesome opening track. And next... wow, what a track this is. 'No No No No' is pure garage, rocking away with slicing Who power chords, wailing vocals and a souped-up rhythm section (as a side note, dig that 'Donald Duck' cameo in the solo, freaky man...) 'Take A Heart' comes next, the band's only big hit (in this country at least, more on that alter). This track was featured on Nuggets' second instalment and its easy to see why; this song is a dark, proto-psych stomping masterpiece, sounding more like Krautrock than Merseybeat. A pounding bass line paired with beefy tom tom riffs elevate this one to the top tier of 60's rock, sheer brilliance that rivals many of the great hard-rockin' singles of the time. 'She's Got The Action' rocks in with more jagged rhythms and mega-reverb guitar, unhinged and heavy in the best possible way. Nice change of pace now with 'How Love Used To Be', a 'Ballad' if its possible to name it as such, what with all the crunching guitars and moody playing/singing, pretty similar to the 'Pretty Things' sound on their second LP 'Get The Picture'. Capping off Side One is the groups' kick-ass take on Jerry Lee's 'Teenage Letter', heavy rock n' roll with an amphetamine ferocity, so cool. Crank this one to the MAX, its a blast.

Side Two opens with the Kinksy 'Don't Wanna Be Free', a garage punkfest of high octane R&B. Very few U.K groups sounded like this to my ears, combining the most mod-ish sounds of the day in a blast of energetic sound (much like the U.S groups already covered on this blog). 'Don't Sing No Sad Songs For Me' is next with a groovy Dylan-inspired folk-rock sound (a bit like early Love), harmonicas and jangly 12 string filling the tune out. Again, this could easily feature on a Shadows of Knight or Standells album from the same period, sounding far more Californian Cool than Anglo Beat. 'Car-Lin' is positively SEETHING with proto-punk energy, closest in sound to the hardest stuff from the Small Faces debut LP (with a bit of Who styled drumming thrown in for good measure), I can easily imagine The Stooges or MC5 covering this boss tune. The guys try their hand at the weirdo-ballad again with 'We Should Get Along Fine', a kind of twisted early Beatles number with atonal key changes and a strained Maughn vocal mashing up against a pretty baroque style middle eighth and boy-band harmonies. 'Come With Me' jaunts along in a quick waltz time groove, assisted by maraca shacking and tight guitar/bass interplay. Ending this barnstorming LP is 'Let Me In', a mod-rocker that blows away most U.K groups of the time in terms of sheer rawness, the guitars pumped up into the red and the band playing at their tightest, amazing stuff. This is one hell of an LP and - as an vid fan of this era - I can safely say this is some of the best garage R&B from ANY sixties group (to be fair, it helps that they're from me family's home city but regardless... they rock). Keep it peeled for more reviews soon and give this cracker a listen in the meantime, adios.