Sunday 26 February 2017

The Guess Who &“These Eyes”





The late 1960’s was an exciting time for rock and roll, and the popular music scene in Canada was no exception to what was happening in Britain or America. While those countries had numerous groups and singers dominating the radio and the billboard charts, we had the Guess Who and the song “These Eyes”. 

The story of the Guess Who is well known. A group of four young men from Winnipeg who worked hard, wrote their own material, eventually had a number one hit in the U.S and were Canada’s first million selling group. The two leading figures in the band then had a major falling out, (at the peak of their success) leading to Randy Bachman leaving the band. Concerning those days, Randy has been quoted as saying that "Burton Cummings joining the Guess Who in January 1966 changed my life forever. It's been a rocky affiliation no doubt. One journalist once described our relationship as the longest running soap-opera in Canadian history. That may be a bit oversimplified."  

While the Guess Who had recorded a number of songs prior to the release of “These Eyes”, it was that song that put the band on the road to success. It’s fair to say that the song didn’t appear out of nowhere; Randy Bachman and Burton Cummings were the main songwriters in the Guess Who in addition to their respective roles as guitarist and lead vocals/keyboards. As songwriters, they worked diligently on their craft, and that dedication payed off with “These Eyes”. There was another significant factor this time as well. They had a new producer.  

Enter Jack Richardson, a producer from Toronto and part of a company called “Nimbus 9” that specialized in audio recording. He became familiar with the Guess Who, and decided to offer his services to the group. He also had enough belief in the band to underwrite (and produce) their next recording session in New York at the famous “A & R” studio operated by Phil Ramone (allegedly he took out a mortgage on his Toronto home to pay for the recording session). Jack Richardson also extricated the band form their current record contract, and got them signed with RCA, one of the major record labels of the day. The album that resulted from that trip to New York was titled “Wheatfield Soul”, and contained the hit single “These Eyes”. The song was released in both Canada and the U.S., and although it did well here, it was the success the song had south of the border that made the Guess Who famous. After the song was released in America in March of 1969, it began to climb the billboard charts and eventually reached the number 6 position. It was the Guess Who’s first million seller, and from that point on, there was no looking back for the group (for at least the next few years, but that's another story). 

The song certainly benefitted from the quality of the studio and Jack Richardson’s production values. It was a quintessential piece of pop. Like many classic hits, the beginning has a timeless feel that the listener is drawn to, and after hearing will immediately remember. The song starts with the opening chords played on electric piano, joined sequentially by guitar, bass and finally drums. After the musicians have established the feel, Burton Cummings begins singing the first verse. The song has a decided “Motown” influence, especially with the use of a string section at the beginning of the second verse. "These Eyes" is an excellent vehicle for Burton Cummings’ incredible vocal talents, allowing him to go into his upper range and build the song’s emotional impact. Many later Guess Who songs would have a heavier (or bluesier) feel, with Burton Cummings using a grittier style of singing. This song was different, as it was meant to be a “top forty” type of song. The band and their producer rolled the dice, and they produced a classic.   


The Guess Who (with Randy Bachman) would have a number of hit singles after the release of "These Eyes", including the iconic "American Woman", which would be a number one record in both Canada and the U.S. Subsequent to the release of the album "American Woman", Randy Bachman played his last show with the Guess Who in May of 1970. He would have a couple of tough years, but his work ethic and determination paid off with the formation Bachman-Turner Overdrive, which sold millions of records and was a major concert draw during the 1970's. Burton Cummings became the sole leader of the Guess Who, and replaced Randy's role as guitarist with two other guitar players. Although he and the new members of the band would continue to record and release some very popular material, this version of the Guess Who would not have a number one record. The band began to go through a number of personnel changes, and in October 1975, unhappy with the band and deciding to embark on a a solo career, Burton Cummings disbanded the Guess Who. 
  
The musical careers of Mr. Bachman and Mr. Cummings would not end in the 1970's. They continue to perform (sometimes even together!) and record. Their contribution to Canada's pop music scene has been incalculable, and the songs they wrote and performed are still popular today. "These Eyes" was the beginning of an amazing musical journey for two of Canada's most popular musicians.      


Sunday 19 February 2017

Buffalo Springfield “For What It’s Worth” Fifty Years Later



Buffalo Springfield were a band that was created in Los Angeles in the second half of the 1960’s. They were comprised of five young men, two of whom were from Canada. The band released three albums and one iconic single, “For What It’s Worth”. None of these details are particularly noteworthy, as they could apply to any number of rock and roll groups who came to California during that time period seeking their fortune. What was different was that Neil Young, Stephen Stills and Richard Furay were three of the group’s members. Buffalo Springfield was the initial platform for these young artists, all three of whom would subsequently go on to very successful musical careers (especially Stills and Young), and create some of the most seminal music of the late 1960’s and early 1970’s. However, the strong personalities within the group that made Buffalo Springfield’s music so vibrant and engaging also ensured that the group would have a short period of incandescent light, and then quickly fade to darkness.
 Neil Young and Stephen Stills had made each others acquaintance in Thunder Bay Ontario in the early 1965.  Both were on the road with their respective groups of the time. They hit it off and Stills told Young to look him up. Approximately a year or so after this meeting, Neil Young (accompanied by his friend and fellow Canadian, bassist Bruce Palmer) left Canada to go to Los Angeles. The story about how Neil Young then met with with Stephen Stills has since become the stuff of legend. Stephen Stills was driving in one direction on Sunset Boulevard, and noticed a hearse with Ontario licence plates being driven on the same street in the opposite direction. Guessing Neil Young might be inside, Stephen Stills made a "U turn" and managed to get the driver's attention, and have the vehicle pull over. Of course, Neil Young was the driver, and the rest, as they say is history. Stephen Stills was in the process of forming a band, and Richard Furay had already been recruited. Neil Young and Bruce Palmer were then added to the lineup, and so the only position left to fill was that of drummer. A drummer named Dewey Martin contacted the group, and Buffalo Springfield was born. 
Things began to move very quickly from that point on. The group debuted at the famous Troubadour club in Los Angeles on April 11, 1966. They then became the opening act on a bill featuring a couple of more established groups for a short tour of California. Commencing May 2nd, they became the house band at the famous Los Angeles club, the “Whiskey A Go Go” for a seven week period. A flurry of activity involving various parties competing to manage the group, and also sign the group to a record label followed. Managers were decided upon, and in mid 1966, Buffalo Springfield signed a recording contract with the famous Atlantic record label, with the personal involvement of the legendary Ahmet Ertegun, one of the owners and the face of Atlantic.  
Atlantic has gone on to be recognized as the American record label that contained such iconic rhythm and blues artists as Ray Charles and Aretha Franklin, and some of the top rock acts of the late 1960’s (and the following decade of the 1970’s) such as Led Zeppelin, the Rolling Stones and Yes. But much of this was in the future back in late 1966, and  at the time of the signing, Atlantic was known primarily as a record label that focused on African-American artists. However, with the changing demographics of the American record buying public, Atlantic recognized it had to become competitive in a larger more diverse market if it was to survive. Ahmet Ertegun, who has subsequently been recognized as an intuitive genius in recognizing and mentoring musical talent, made it a personal priority in signing the group. It is noteworthy that while the groups’ tenure with Atlantic was brief, and not very successful from a commercial point of view, Stephen Stills and Neil Young, the two musicians from the band who gone on to have the greatest success, maintained a close personal relationship with Ahmet, including performing a heartfelt musical tribute at his funeral, approximately 4 decades after their initial meeting and the signing of Buffalo Springfield to Atlantic records.  
“For What It’s Worth” is the song that would go on to define the group and start the careers of Stephen Stills and Neil Young. The song has become a cultural signpost of late 1960’s America. It deals with the issues of alienation and paranoia among young adults and frustration with society and its rules (and authority in the guise of the police). Inherent in the lyrics is a plea for reconciliation and understanding between the generations. Much has been written about the genesis of the song, and I don’t intend to go over all those details again. I would instead like to focus on the musical aspects of the song itself. From that standpoint, the song contains many of the ingredients that would go on to define the classic rock music genre of psychedelia. The song opens with a sparse arrangement featuring a classic bright guitar riff, complete with a compelling vibrato. The rhythm section features a simple snare drum, high hat and bass drum pattern along with a half time feel from the bassist Bruce Palmer. The verse has Still’s plaintive vocal, featuring Bob Dylan influenced social commentary lyrics. However, the chorus changes things up dramatically, with a series of chord changes and subtle shift in the rhythm section. The bass changes feel to a funky mix of moving quarter notes along with the drummer moving from the “2” and “4” pattern on the high hat to a more “4/4” feel. The guitar solo in the song has a reverb drenched feel that is symbolic of the psychedelic influence that was starting to be heard in the rock music of the time. All of these factors combined to make the song the classic it has become.
While Buffalo Springfield would continue to record and perform for a short period after the release of this record, none of their other songs would have the impact that “For What It’s Worth” had. Intense artistic turmoil within the group, as well as a number of other difficulties (including personnel changes) lead to  the band's demise approximately two years after it had been formed. There is no doubt though that “For What It’s Worth” is an amazing example of the creative genius of the members of the band, and was a harbinger of the tremendous musical contributions to come, especially from Stephen Stills and Neil Young. Please take the time to check out everything Buffalo Springfield and its various members have graced us with. You won’t be disappointed.    

Sunday 12 February 2017

The Album Cover As Art - "Hipgnosis"







For those of us who came of age in the 1960’s and the 1970’s and who had more than a passing interest in the music of that time, the cover art of our record albums in many cases was inextricably linked to the music the albums contained. The album cover provided an exceptional opportunity for musicians and recording labels to personalize their product in a visual fashion. While album cover art has basically been around since recorded music has been commercially available, it was the vast increase in sales of records associated with the rise of popular music that coincided with the concept of the album cover as being more than just a place to write the name of the recording artist. There are more than a few publications relating to this subject, and it is not the intention of the author to add to that total. However, I would like to focus on a company from England who became famous for the large number of album covers their artwork graced. That company was called “Hypgnosis”.  

According to a 2010 interview with a Ms. Helen Dorion in the Guardian newspaper, the company was started as a design studio in 1960’s London. Their intention was not necessarily to specialize in album cover art, but their friends in the band Pink Floyd approached them in 1968 to design the cover for the group’s second album, A Saucerful of Secrets. The rest, as they say, is history.  

It would take more space than I am prepared to fill to try identifying and describing the entire list of album covers Hypgnosis was responsible for creating. There were ones (such as Pink Floyd’s Dark Side of the Moon) that became famous, as well as many more that have remained obscure and known only to those who purchased the record album the art work adorned. Many of the covers they produced have become so iconic that they are inseparable from the music contained in the records from within the album cover. What those of us who are fans of album cover art find so attractive about Hypgnosis though is the originality and brilliance displayed in their designs. A review of their work seems to indicate that the majority of their clients were recording artists from the British Isles. While this could simply be a by-product of their being an English firm, I tend to think it is not. It would seem to me that there was something unique in their art that appealed to their clients. 

One of my personal favourites from the list of albums featuring Hypgnosis cover art is Argus, a recording from the group “Wishbone Ash”. This particular album is generally considered the band’s best work, (and is a personal favourite of mine). Wishbone Ash were a typical English rock band of the time, their lineup comprising of two electric guitars, bass and drums, with their bassist also being their lead singer. While the music the band recorded for this record was typical of the guitar based rock of the period (the album was released in April, 1972), the context of the songs for this particular record, (including their lyrics) were based on the medieval imagery that was so popular at the time. And so, subsequently, the album cover was designed to reflect this. The initial cover was of the gatefold design, which opened up to provide photographs of the band members inside. It was the exterior though that captures your imagination. The photograph on the front was of a soldier from some much earlier time.  The soldier is wearing a helmet with a visor, so we are unable to see his face (I’m assuming the soldier is male). He is standing and holding a spear, as if he is on guard and overlooking a green valley filled with mist. When you look closely at the cover however, the ghostly image of a flying saucer can be seen, coming out of the mist, flying across the valley. The picture has always struck me as very enigmatic. One the one hand, the early medieval scene, and then the contrast with the twentieth century concept of space travel, and "U.F.O.'s". Then you have the depiction of the verdant countryside, very symbolic of pre-industrial England, with the emphasis on green fields and nature. Of course, as mentioned earlier, the music contained within the album had a specific theme, and the cover art beautifully reflects this in a very understated yet effective manner. 

Hypgnosis album cover art was intrinsically linked with many outstanding recordings in the late 1960’s and 1970’s (primarily the latter).  A great place to find examples (available for purchase of course!) of these recordings is "Alleycats Music & Art" in downtown Orillia at 95 Mississaga Street East.   




Tuesday 7 February 2017

When Giants Walked The Earth - Led Zeppelin






The first Led Zeppelin album was recorded in October of 1968 and released Jan 12, 1969; over 46 years ago.  For those of us who were in high school during the first half of the 1970’s, it was impossible not to have heard this group.  Their ballad Stairway to Heaven was the slow dance of choice at any given prom night or school dance where records were being played.  Their influence in the hard rock/blues (heavy metal not yet having arrived) musical genre was profound, and spawned any number of imitators, as any cursory review of them on the internet will show.  While they may not have actually been larger than life, their recordings, tours and reputation for rock star excess (which may not actually have been as outlandish as was reported) certainly made them the quintessential 70’s rock music icons.  

While there were some releases after the bands’ demise (their last studio recording was released in 1982, and it comprised of a collection of various tracks gathered from the groups 12 year history), it has only been recently that their catalogue was seriously re-examined.  In 2013, the guitarist, song writer, producer and band mainstay Jimmy Page indicated that he would be re-mastering all nine studio albums, in chronological order.  This is a commentary on the re-issue of their iconic first release, simply titled “Led Zeppelin”. 

I was heartened to see that the re-issue has the period correct album cover art work.  It was a stroke of genius (whoever came up with the idea, according to Mr. Page it was him) of taking the famous Hindenburg airship explosion and having that as the cover.  To my ears, the newly re-mastered version has an obvious sonic difference, sharper and clearer with more depth and presence the bottom end than previous compact disc releases.  According to information from an online site (credited to author Dave Lewis and his book The Complete Guide to The Music of Led Zeppelin) the original album was recorded in about 36 hours (including mixing) over a period of several weeks, with Jimmy Page footing the bill.  The material on the record came from the band’s live set at the time.  Unlike many of their contemporaries, Led Zeppelin had not been together for several years developing their sound.  Although all of the musicians hd a considerable amount of musical experience,  Jimmy Page only put the band together around September of  1968, and commenced recording not long afterwards.  The very short period of time taken to complete the recording gave it a live, unpolished feel, with some of the tracks having almost a “demo” quality.  While the album certainly has the sonic imperfections one would expect, considering how quickly it was recorded, to me this is one of the reasons it has become such a tremendous success.  The album has the live feel of musicians performing the songs together in the studio.  The recording format allowed the superb musicianship of the players, particularly bassist/keyboardist John Paul Jones, to really shine.  Excessive overdubbing and production can suck the life out a performance, and that certainly was not the case here.  Many of the songs from this album have become classics, played and heard untold thousands of times over the years.  
This is a worthy re-issue of a classic recording so many of us grew up listening to.  The album “Led Zeppelin” launched the career of one of rock’s most popular groups.  Very few bands have had their first album make such an impact, and have had such a lasting influence.