Music reviews for music originally released in 1975.
1. Keith Jarrett: The Koln Concert (10/10)
Like much of the great music of the world, it sounds instantly familiar and yet I can’t place it, it sounds like it has existed forever; I can’t believe he could just make this up, either.
2. Pink Floyd: Wish You Were Here (10/10)
I can’t be objective about this record, FYI.
The Floyd take their earlier approach of pairing a side-long track with shorter pieces, and play with it, halving the track so that it bookends the record. It’s their best side-long track, in my opinion. Building to two crescendos and fading out twice. (Probably wasn’t conceived as a whole, especially given that one part that’s from “One of These Days.”)
The other songs on the record stand among Waters’ best lyrics. The title track is perhaps their greatest song (as opposed to composition) they ever recorded, and the other two stand as relatively unique in their oevre.
As a Floyd snob, this is my favourite record. I don’t really know if it’s their best, but it’s my favourite.
2. Neil Young: Tonight’s the Night (10/10)
Neil Young was a star for the first time in 1973. And yet even though he was star, and he was expected to pump out further “Heart of Gold” style hits, his life was a mess. Whether or not he may acknowledge it now, he had drug issues. And within a rather short span of time, the rhythm guitarist for one of his bands died, and then a roadie died, both of heroin overdoses.
4. Bob Dylan: Blood on the Tracks (10/10)
5. Led Zeppelin: Physical Graffiti (10/10)
I have been listening to this album for nearly two decades at this point, so it is way too close to my heart. But, on the occasion of its 40th anniversary, I am going to try to review it.
This is not Zeppelin’s very best record – it’s a little too spotty – and it’s not my favourite either. But I think it might be the most Zeppelin of Zeppelin albums. Nearly everything they did is available here: it’s got some of their very loudest material, and some of their poppiest; their longest songs and also their shortest; some of their flirtations with folk and country and tracks with ten (!!!) guitar overdubs; it contains some of their most mature, original compositions, and still has its share of ripoffs of other people’s work; despite being a showcase of Page’s abilities as a producer, it’s probably an even better showcase of how great a drummer Bonham was; it contains both new material and a host of outtakes from the last three albums; etc. Everything about the band is encapsulated here. If someone didn’t believe me about Zeppelin’s diversity I would point them to this record. If someone didn’t believe me that you could dance to Zeppelin (not that I do), I would point them to this record. (It’s their funkiest by far, I think.)
It’s a shame that so many metal bands either don’t like Zeppelin (not metal enough) or ignore the lessons; numerous good bands could benefit from following Zeppelin’s example of eclecticism and its on this album that that eclecticism is on its fullest display.
6. Brian Eno: Another Green World (10/10)
To my ears this is the missing link between Eno’s earlier solo albums and Bowie’s “Berlin Trilogy.” Sure, this is a little more jazz-influenced, and Eno is no Bowie (as a performer), but this music (and Eno’s early ambient stuff), makes Bowie’s Berlin albums sound a lot less like they came out of nowhere.
Eno’s early solo music is severely underrated – or at least severely underapreciated by people other than music nerds – and it’s crazy to me that this record doesn’t get more attention.
When he wanted to be, Eno was a pretty great “art rock” songwriter and this shows that off about as well as his first two albums, but includes all these diversions – hints at the ambient to come – that make a really unique record, unlike anything else in 1975 that I am aware of.
7. Neil Young and Crazy Horse: Zuma (9/10)
Young’s reunion with Crazy Horse is basically everything you’d want it to be: it’s a strong set of songs featuring the ragged playing from both Young and the band that you would expect.
Though, at first, the songs might appear to be not quite up to the rather high par that Young set with the so-called “Ditch trilogy,” this has nearly as many classics as any of Young’s other classics from the first half of the ’70s.
It’s only not among his very best because of the ridiculous records he put out before it.
8. Henryk Gorecki: “Amen” (9/10)
The “Amen” feels slight in comparison to Gorecki’s “Miserere,” in some ways, but it is still kind of immense, despite its relative brevity. It features even fewer words than the “Miserere” (to my ears, I only hear the one), and it just goes to show you that lyrics can be totally irrelevant. (Though that really doesn’t make sense in this case, since “Amen” carries a great deal of import for a great many people.) Gorecki’s crazy use of dynamics are on considerable display here and the contrasts between near-silence and the massed voices is incredible.
9. The Dictators: Go Girl Crazy! (9/10)
I haven’t listened to this record in ages (years?) and I forgot how much I loved it. It’s so unbelievably dumb but so self-aware that it makes it all the more wonderful.
Like so much “proto punk” this is clearly not punk – in this case it’s far too competent and conventional. (So ridiculously competent.) This band is clearly a hard rock band with punk lyrics. (And those pop backing vocals, too.) It’s like a arena rock band wished it was a punk band, or something like that. They also seem to have started the punk tradition of covering hit songs and trying to make them sound as stupid as possible. (I don’t know if that became a trend until the nineties, so they might have been close to a decade and a half ahead of their time.)
10. Patti Smith: Horses (9/10)
11. Joni Mitchell: The Hissing of the Summer Lawns (9/10)
At this point Mitchell had been moving slowly away from the straightforward singer-songwriter aesthetic of Blue for some time. But her interest in mainstream jazz had really never fully manifested itself previously as it does here: even if her songs rarely actually turn into jazz – save for that piano solo in the “Centerpiece” cover – their is the sound of jazz throughout the album.
The other thing that’s apparent in this (slightly) more experimental sound is the synthesizer, which plays a prominent role on two songs. And then there’s that African drumming.
These accents, added to her already rather unique approach to rhythm guitar and backing vocals (she creates choirs through overdubs) marks this as perhaps her most difficult album to date. But that shouldn’t put you off. Though the songs are not her very best, they’re still strong and, combined with the idiosyncratic approach to the arrangements, they make this one of her very best records.
It’s rather shocking it was poorly reviewed at the time. But then people probably expected her to just write sequels to Blue over and over again.
12. Jeff Beck: Blow by Blow (9/10)
13. Queen: A Night at the Opera (9/10)
14. Aerosmith: Toys in the Attic (8/10)
I grew up during Aerosmith’s reunion: I was eight when Pump came out and twelve when Get a Grip was released (which was apparently old enough to stay up to watch that SNL skit pointing out all Aerosmith ballads are the same). My introduction to Aerosmith was therefore Much Music (Canada’s version of MTV) and Wayne’s World 2. When I was young enough, they seemed cool. The older I got, the more like a caricature of the hard rock bands I was slowly discovering they seemed. And then they released “I Don’t Want to Miss a Thing” – which may be the worst thing about Armageddon (I exaggerate slightly), something that is a particularly difficult accomplishment – an ’80s power ballad somehow recorded and released in 1998 by a band that was supposedly good in the ’70s…Read the full review.
15. Oliver Knussen: Ophelia Dances (8/10)
I like the Ophelia Dances more than Trumpets (see below). I’m not sure that anyone could dance to this very well, but if it’s meant to conjure Ophelia in her descent into madness, then it does a good job.
16. Gentle Giant: Free Hand (8/10)
17. Tom Waits: Small Change (8/10)
18. Neu! ’75 (8/10)
19. King Crimson: U.S.A. (8/10)
The overdubs and the fade-outs make it weaker than it should have been.
20. Emmylou Harris: Pieces of the Sky (8/10)
I have listened to this record a few too many times and it’s funny because a lot of stuff I claim to dislike in seventies country and country pop are present here and yet here I sit claiming I like it. It’s horribly over-produced, it’s got a number of the Mellow Mafia on it, making it mellow. But it’s very varied for a country album. (Seriously, it’s true!) It lacks the rawness of her work with Parsons. I’m sure if I listened to it for the first time ever today I would disparage it more than a little bit for being a product of the ridiculous seventies obsession for making everything perfect. But I just can’t bring myself to say that, knowing the songs as i know them and with these standing as the definitive performances for me.
21. Ritchie Blackmore’s R-A-I-N-B-O-W (8/10)
22. Oliver Knussen: Trumpets (7/10)
Trumpets is not a piece for trumpets. Instead it’s a piece for clarinets and voice. The clarinets don’t try to sound like trumpets, either, as far as my ears can tell. Instead they jump around manically.
23. Oskar Morawetz: Concerto for Harp and Chamber Orchestra (7/10)
Morawetz’s concerto is, unsurprisingly, minor by comparison with something such as Ginastera’s. There’s nothing wrong with this piece, but it’s just not anything special, especially given everything that has gone before it. (And let us remember that it was written 10 years after Ginastera’s…)
24. Roxy Music: Siren (7/10)
25. David Bowie: Young Americans (7/10)
The critic’s cliches about this album seem to be true. This is more of an enthusiastic tribute than it is any kind of Bowie album of the quality of most of his other ’70s albums, albums which embraced various emerging styles but still managed to sound like Bowie, that is innovative and traditional at the same time. This album lacks a lot of that, and comparing it to Station to Station, for example, it is clear that Bowie hadn’t quite figured out his unique take on “blue eyed soul” yet. That being said, there are many fine moments. As has been pointed out many times before, “Young Americans” is fantastic and features probably Bowie’s greatest vocal performance ever (though the end of “Can You Hear Me” is also pretty impressive). “Fame” is also pretty classic. It’s weird that an album trying to recreate certain aspects of American music would be so full of the Beatles.
26. The Grateful Dead: Blues for Allah (7/10)
This is kind of shockingly middle of the road, given what I know of the Dead. I am kind of tempted to say they sound like Steely Dan here, though I hardly know what Steely Dan sounds like. This is a little too polished and safe for me, though I appreciate the musicianship and their attempts at incorporating at least somewhat unusual musical influences (for jazz rock).
Disappointing given the album’s reputation.
27. Al Green is Love (7/10)
28. Steve Hackett: Voyage of the Acolyte (7/10*)
29. Azymuth: Azimuth (7/10)
30. Bruce Springsteen: Born to Run (6/10)
Full disclosure: I have avoided Springsteen much of my life because I grew up with a bunch of stupid TV shows telling me “Springsteen saved Rock and Roll from Disco.” These interviewees (boomers all) were apparently ignorant of Punk Music but, also, in retrospect, maybe Disco won? Anyway…Read the full review.
31. Fleetwood Mac (5/10)
When I was a kid and a tween, I only listened to oldies. For reasons I may never know, the oldies station in Toronto played Fleetwood Mac songs from this album and Rumours, among the very limited amount of music it dared play from post-1970. This stuff was deemed acceptable.
32. Eric Clapton: There’s One in Every Crowd (5/10)
Not Ranked: Bob Dylan and the Band: The Basement Tapes (9/10)
Not Ranked: John Coltrane: Alternate Takes (6/10)
On its own, of interest only to the collector or Coltrane fanatic.