An Ear For An Era: 1975

OK that's better. No shortage in great music here. Music was really moving forward in most every genre, from the fringes of outlaw country to the New York underground. Let's just get started.

Patti Smith made her triumphant debut with Horses. She kind of gets pulled into discussions of the origins of punk rock. I'm not sure how accurate that is with all her sprawling experimental jams, but the attitude was certainly forming. I read her book Just Kids recently and she was living THE New York lifestyle at this time, and it is all very apparent from the opening of "Gloria," the opening track. "Jesus died for someone's sins but not mine..." she immediately expressed an entirely original voice, something quite different from everything else out around that time. Rebellion, newness.

Of course, the original New York rebel Lou Reed had to push things forward more than anyone else (possibly in all of "pop" music history) with his middle finger of an album Metal Machine Music. There's not much I can say about this that hasn't been said but I have to take a side...right? Let's just say that the ways it influenced countless experimental rock bands of the Sonic Youth variety justifies anything negative you can say about it. Yes, it's rough to listen to. It gets old after one track, let alone all four. I couldn't focus on the music while it played, I just let it be my background for an hour. But the last 2-3 minutes of side 4? It became apparent how important the record is. There is a pulsating rhythm that starts to rise out of the fuzz and it sounds like the opening to a truly epic jazz rock freakout. To push things out you have to create new boundaries. Lou Reed re-defined what rock music could sound like by creating something that was really vague about its genre. It's not the best thing to listen to in a sitting. But thanks to Metal Machine Music, we have post rock, we have noise rock, we have everyone from Sonic Youth to The Jesus And Mary Chain that may not have otherwise existed.

There's not really a good way to transition from this, but I've been a lifelong fan of Queen. I own the pre-1975 albums on vinyl but my digital collection only has stuff from the greatest hits collections. But I do digitally own A Night At The Opera, which might be their best album. I have lots of stories about the two big hits off the album, so that's how I'll talk about this. Once I was making a computer game starring my childhood dog Ringo. When you go downstairs (where my room as well as my brother's) I had the background music change to a midi version of "You're My Best Friend." Which was silly, but it's the only thing about that game that I remember and the song always makes me think of Ringo. It makes me smile. And now it also reminds me of Shaun of the Dead because it's featured over the end credits. Ok and Bohemian Rhapsody. So much to say about this song! The wikipedia page for it is one of my favorite uses of wikipedia, as it breaks down the song and analyzes every part of it. Pretty great. I used to think the song was "Bohemian Rap City" and I thought it was so cool. This was when the song was re-released as a single due to its inclusion in the Wayne's World soundtrack (and being the centerpoint of the greatest scene of the movie). I also did karaoke of this song once. It was me and the other quietest person at the party and we decided to go for it. We were both super shy but we just went for it. I can't not sing along with that song. I don't think I'm alone in that sentiment. And for the hell of it, here's another song that'd be considered more of a "deep cut." It shows how truly creative the band is (not that Bohemian Rap City ever fails to do that itself) and there is a pretty amazing vocal workout in the center of this song that reminds me of that Nilsson song I said reminds me of of Montreal. "Now I know...Now I know...Now I know...Now I know..."

Queen "The Prophet's Song"

Hey, Pink Floyd! Wish You Were Here is a quite brilliant album. The "Shine On You Crazy Diamond" bookends that dominate the album are a pretty beautiful tribute to Syd Barrett, while the title track "Wish You Were Here" is heartbreaking. The other songs are an attack on the music industry, so that's pretty awesome too.

Captain Fantastic and the Brown Dirt Cowboy is probably one of Elton John's best albums. The hit song "Someone Saved My Life Tonight" is great, but I am really into "(Gotta Get) A Meal Ticket" and the closer "Curtains." My mom is a big fan of Elton's. I am less so but albums like this make me respect her opinion on the matter.

Hey, the first Bruce Springsteen in my collection! Born To Run is nowhere near his first album. But this one was pretty huge. I think he's kind of responsible for musical self-importance. If that's the best way to express it. Hell, I sometimes like musical self-importance. But it involves artists like The Arcade Fire and The Killers taking a cue from Springsteen with certain chord progressions to make a song and its lyrics "seem" important. The vocal delivery, the urgency. It doesn't always feel earned but there it is, intensely singing about this or that. Epic at 3 1/2 minutes. Not enough build. Not accusing Springsteen of this, but it seems like some artists take the inspiration and take the shortcut to the emotional punch. Of course, album closer "Jungleland" is quite earned (and owned by sax player Clarence Clemons, rest in peace).

Bruce Springsteen & The E Street Band, "Jungleland"

And I got to hear the "return" of Bob Dylan with his classic Blood On The Tracks. I like this one a lot, it takes Dylan's usual style of storytelling and makes it much more personal, much more immediate.

Speaking of storytelling, Willie Nelson's Red Headed Stranger is quite the concept album. Sadness, murder, travel. Denver. And lots of instrumental breaks. The way it's put together kind of works against my general definition of a country album. Country opera maybe? Willie pullin' a Who? Sure.

I only have the one song by him from this year (thanks to the Crazy Heart soundtrack) but Waylon Jennings' "Are You Sure Hank Done It This Way?" seems like it must have been a rallying cry for the outlaw country movement, as mainstream country got worse and worse. It really is saying something that my introduction to Emmylou Harris was "Hank And Lefty," a song about what she was raised on. Declaring her as on the right side of country music history.

That was a bonus track from the re-release of Pieces of the Sky. This angelic voice is now upon us. My favorite of all country voices, Emmylou Harris could break my heart singing the dictionary. But instead she'll break my heart singing about her dead fried Gram Parsons (on the brilliant, and one of her most if not her most successful song "Boulder to Birmingham"). There were also many Beatles covers (Elton John, David Bowie) but the best of the bunch was her take on "For No One." She actually had two albums come out in '75 with Elite Hotel following closely in Pieces of the Sky's wake. Elite Hotel was a bit more upbeat in general with a cover of Hank Williams' "Jambalaya" and a song about Vegas. My favorite song on this album (even though I think I slightly prefer Pieces of the Sky) was "Till I Gain Control Again." Seems to be similarly arranged to "Boulder to Birmingham" but this Rodney Crowell composition is refreshing (in that I haven't heard it nearly as many times) and one of the top heartbreaking moments of Harris' long career:

Emmylou Harris "Till I Gain Control Again"

Other Highlights Worth Mentioning:

• Frankie Valli's chameleon quality of blending in with the popular music of the day reached its logical conclusion, as the 50s pop star put out "Swearin' to God," a 9+ minute disco opus.
• Also a sign of the pending upending of music rising out of New York? The first demos from Blondie have come up. Including a very early version of "Heart of Glass" referred to "Once I Had A Love (The Disco Song)." It's funny, that song was considered by many to be a moment they sold out, but it was one of their first songs, before they even released a record. It's funny how people get associated with their environments so much that the supposed "values" of said movement are assumed to apply to everyone. Blondie had nothing against disco, even though punk rock was thought to be the antithesis of disco.
• Blowfly's "Aries (If Eating You Is Wrong I Don't Want To Be Right)" is quite the dirty song. I actually saw him perform once, opening for Nashville Pussy. Who else? I think I downloaded this track because I'm an aries. I don't particularly like it (especially the hateful homophobia involved in the song).
• I think the 1975 singles of James Brown are the last in my collection. That's sad. I was quite enjoying those. But it just shows that we are moving along quickly. Funk is about to give way to full disco times. I really liked "Thank You For Lettin' Me Be Myself, And You Be Yours." Total funk and an awesome trombone solo.
• Neil Young's Zuma (with Crazy Horse) showcases his rocking out skills. Which are great. But I still prefer his quieter moments.
• Tom Waits' Nighthawks At The Diner is a very intimate performance, a live performance from a studio. It'd be great to be in that crowd. 
• Lloyd Brevett & The Skatalites' African Roots is an awesome instrumental ska album. Seems to be years after their heyday, particularly since it features Lloyd Brevett instead of Tommy McCook, and this was reggae time in Jamaica, but this is old school ska through and through.
• Led Zeppelin are back for the last time! Physical Graffiti is a nice double album, meaning it has some degree of experimentation filling out the 80+ minutes. But I'm still mostly into "Kashmir." 
• Young Americans is a very catchy David Bowie album. Kind of disco even? Particularly non-album track "John, I'm Only Dancing (Again)."

On The Next Installment...

We get deeper into this emerging underground/punk rock movement. An actual Blondie album! The Modern Lovers! More Patti Smith! And it's official...we have launched. THE RAMONES. Also...funk's not dead if Parliament has anything to do with it. Or Stevie Wonder! Also Fleetwood Mac, The Runaways, more Tom Waits (always welcome), and (a little bit) more! It looks like I don't have a ton but the bit I have looks like it counts.

An Ear For An Era: 1972

It started out bold, got boring for awhile, then got better. Or something like that. 1972 was not a great year for soul in my opinion despite a few landmark albums released. The highlights were in the glam/power pop/whatever genre it's considered. I think they go together. And singer/songwriters had a great year as well. Stuff was music back then, you know? You don't?

Stevie Wonder's Talking Book is kind of maybe the first in his famous great-70s-albums series, but most of it seemed to be ballads and kind of bored me (although I did appreciate the many layers of orchestration). Still, "Superstition" was on the album so that was an obvious highlight. I think I like his later stuff a bit more though, it gets deeper and more complex soon.

Then a string of R&B popped up and it was all kind of continually weightless. Bill Withers, Allen Toussaint, Roberta Flack with Donny Hathaway, Jr. Walker, Smokey Robinson...all artists I do quite like, but this all seemed too slight, flighty. Too many ballads, not enough funk.

Then Can came back on. And oddly was the funkiest thing I'd heard yet. Yes, the album Ege Bamyasi is quite a bit more grounded and accessible than Tago Mago, mostly because of shorter song lengths, lots of funky rhythms, and the song "Vitamin C," which was kind of a hit I believe. But my mind was completely blown when "Vitamin C" ended and "Soup" came on. The longest song on the album, it was advanced post punk before punk was even a thing. Crazy rhythms, blasts of guitar, screaming vocals, shifting time signatures and tempos, a drawn out version of loud (and fast) - quiet (and slow) - loud (and fast and slow) dynamics.

Can "Soup"

I don't have a good transition out of Can because there's really nothing else like them in this era in my library. How about back to soul, but the more positive stuff I have to say?

Maybe I just don't have any of the possibly great possibly popular funk of the day. But the best I got was from compilations of obscure stuff, like The Funky 16 Corners (Ernie And The Top Notes Inc. had a great song called "Dap Walk.") and Eccentric Soul: The Prix Label (Chip Willis & Double Exposure!).

The main, kind-of-funky, cinematic and great soul album (ok obviously it's cinematic, but I'm just saying he did a great job with it) was Curtis Mayfield's Superfly, the soundtrack to the movie. It's tough not to compare it to Isaac Hayes' Shaft, but it really is a different beast. Lots of very apt commentary in the lyrics (and lots more songs with lyrics!), Mayfield's completely different style of arrangements, it does really feel more like an album to listen through in a sitting without needing any context of the movie to go along with it.

And that's it for soul. Awkward transition to singer songwriter types?

Lou Reed solo. The album is called Transformer. It has his gigantic hit "Walk On The Wild Side." It has more of those sentimental songs in the style that I liked so much in the later Velvet Underground material, such as "Perfect Day." That may be my favorite. Or maybe "Hangin' Round" is my favorite. The line from the chorus, "You're still doing things that I gave up years ago" seems pretty apt considering the history of the Velvet Underground and how influential they were. Not that that seems to be what this is about.

Now the last we'll hear from Rodriguez (unless he decides to put something new out one of these days), some bonus stuff recorded after his last album that can be found as bonus tracks on the reissue as well as the Searching For Sugarman soundtrack. I just wanted an excuse to post this song, as he was slipping away from the music biz.

Rodriguez "I'll Slip Away"

We're also hearing our last of Nick Drake (other than a posthumous album that will be waaaay later). Such a tragic loss. Such a beautiful album Pink Moon was, appropriately sparse in a time when more and more music was getting overproduced. All short simple folk songs, mostly just a guitar and vocals.

Harry Nilsson followed up on the great Nilsson Schmilsson with Son of Schmilsson. I have a long standing opinion of this album as kind of a big laugh, not too memorable or really much of a successor to his probably-greatest achievement, but this time I realized that amongst all the joke lyrics ("I sang my balls off for you baby..." "Let me be your Joy boy," "You're breakin' my heart, tearin' it apart so f*** you," "I'd rather be dead than wet my bed...") there is a lot of Nilsson's impeccable vocals and plenty of heartbreak and authenticity. "You're Breakin' My Heart" is kind of the spiritual grandfather of Shellac's "Prayer To God," which is an id-driven, raw expression of heartbreak that can make you laugh through your own pain (at least both of those songs worked for me when I went through heartbreak). Still a silly follow up to Schmilsson, but far from something to be dismissed.

Neil Young's Harvest is yet another brilliant album, a very worthy successor to After The Gold Rush. I don't feel the need to say much aside from the fact that it's the album with "Old Man," "The Needle & The Damage Done," and "Alabama." What else do you need, man?

A couple words about Kris Kristofferson. He started sounding just slightly more 70s country on Jesus Was A Capricorn, but at this point it was pretty subtle and he still had some brilliant songs. It's not quite on the level of his first two albums but still quite enjoyable.

Rock & Roll! The Rolling Stones' Exile on Main Street may be my favorite Stones album. Mostly because the double album is usually something bands will use to indulge in more experimental material because hey, everything fits, but the Stones just kind of made their rockin' more loose and fun and wild. Then the slower songs are all winners. Particularly "Sweet Virginia." Yep.

Rolling Stones "Sweet Virginia"

Big Star popped up. I was definitely in the 70s based on the fact that the song "In The Street" came on. The one that was covered as the theme for That 70s Show! So there's that. But seriously, #1 Record is damned amazing. Of course the song "Thirteen" is one of the best throwback nostalgia tunes that will remind anyone of grade school crushes. Something very authentic in the songwriting considering this was basically pop music.

Big Star "Thirteen"

I like to think Big Star alongside the glam heroes of this time. T-Rex came on shortly afterwards with their album The Slider and I found a lot of parallels in the atmosphere developed. More authentic, lovely songs but with a bit more edge...

And it ended of course with the ultimate 1972 album, the ultimate in the world of glam rock, and possibly the ultimate David Bowie album:  The Rise And Fall of Ziggy Stardust and the Spiders From Mars. Front to back, just a great album of space travel, song structure experimentation, protopunk, and glam party music.

Where I Stand: 4537 of 37161

Other Highlights Worth Mentioning:

• It actually started with Alice Cooper. "School's Out." Yeah!
• A couple Johnny Cash cuts...I'm not sure when he totally fell off the radar, but "Jacob Green" was from this year so maybe he was still doing all right.
• Chuck Berry had some sort of comeback as he had the live hit "My Ding-A-Ling." I have the full 9 minute version and some sort of edited short version. Maybe not a song that needs to be 9 minutes.
• Michael Jackson's version of "Rockin' Robin." That goes out to my sister.
• We say goodbye to Ricky Nelson here with "Garden Party." A nice sentimental song about an earlier era of rock & roll.
• Aretha Franklin's Young, Gifted and Black kind of toed all the different lines of the different directions soul was heading, from the overproduced lightweight stuff, a bit of funk, and a bit of disco. 
• Elvis! "Burning Love."
• Some more post-Morrison Doors, the song "The Mosquito" is quite the curiosity.

On The Next Installment...

Soul is Al Green, Curtis Mayfield, Barry White, Marvin Gaye, Stevie Wonder is definitely in his stride, and others. More Bowie (I think pretty much every year will have some sort of Bowie for the 70s). Iggy & The Stooges have a finale. The return of James Brown. Band on the Run. Quadrophenia. And these guys all make their AEFAE debut: New York Dolls! Pink Floyd! Queen! Roxy Music! Tom Waits! Willie Nelson!