Rock & Roll Review: John Lennon - GIMME SOME TRUTH: The Ultimate Remixes

Score: 85/100 

Release Date: October 9, 2020

Genre: Rock & Roll, Pop

Similar Artists: The Beatles, Bob Dylan, Neil Young

---

Forty years ago, tonight, December 8, 1980, I was a 17-year-old senior in high school when I heard the stunning, tragic news that John Lennon had been shot and killed in New York City. Anyone reading this review, old enough to remember that night, most likely remembers where they were when they heard the news. 

On October 9^th of this year, what would have been Lennon’s 80^th birthday, a compilation GIMME SOME TRUTH, produced by the love of John’s life, Yoko Ono was released. 

The overall song order is refreshing and thoughtful. Yoko’s selections bring some of Lennon’s best songs forward to speak to our times. As with many of The Beatles' songs, these timeless Lennon pieces continue to resonate deeply. “Instant Karma (We All Shine On)” kicks things off with its opening lines, “Instant Karma’s gonna get you/Gonna knock you right on the head,” and who hasn’t been knocked on the head this year?  The next track, “Cold Turkey”, recounts, in throaty visceral screams and groans, John’s withdrawal symptoms from his heroin addiction that he decided to overcome at home on his own. 

Two songs in and it is clear that Yoko, knowing John so well, has selected songs that sing of autobiography, but also songs that speak to the masses, for we all suffer and feel. For example, “Isolation,” from his first post-Beatle solo release Plastic Ono Band (1970) speaks to the separation we all feel at times and the different things we try to do to remedy it.  His political anthem, “Power to the People”, sees the early seedlings of his political stances with The Beatles with such songs as “Revolution” come to potent fruition. 

The next three songs are from his second post-Beatle release Imagine (1971) starting with the title track, a song that reached around the globe and back with its utopian imaginings of a better world with the line, “You may say I’m a dreamer/But I’m not the only one,”  which still moves many to keep the dream alive. “Jealous Guy” is another confessional song that speaks to his insecurities related to his deep love for Yoko. “Gimme Some Truth” sadly continues to resonate  in this age of fake news. I imagine this is what fueled Ono to use this song as the album title.

“#9 Dream” from Walls and Bridges (1974) is an ethereal walk, “through the heat whispered trees” in which Lennon wonders if it was real or a dream, “On a river of sound/Through the mirror go round, round/I thought I could feel/Music touching my soul.” One thing is for sure, as the songs on this compilation attest, John Lennon touched a lot of souls with his music and continues to. This very dreamy, cerebral song is followed by “Mind Games” from the album of the same name released in 1973. Lennon encourages all to keep exploring the endless frontiers of our mental landscapes.  “Whatever Gets You Through the Night,” also from Walls and Bridges, pardons all for whatever it takes to make it through the nocturnal challenges of being human. “Stand By Me” from Rock ‘N’ Roll (1975) is an excellent cover of the classic Ben E. King song.

At this point, the compilation moves into the poignant tracks that appeared on John and Yoko’s last album Double Fantasy (1980) which is loaded with so much cruel irony that it is still painful to listen to 40 years later. “(Just Like) Starting Over” shows Lennon and Ono emerging from a five-year hiatus from making music in which they focused on raising their son Sean, with a new resolve and appreciation, “Our life together/ Is so precious together/ We have grown/ We have grown.” Lennon is ready to be starting over. 

Exactly three weeks from its release on November 17, 1980, Lennon would be shot dead. “Beautiful Boy (Darling Boy)”, a love song to 5-year-old Sean adds to the cruel irony, “Every day in every way/It’s getting better and better…I can hardly wait/To see you come of age/But I guess we’ll both/Just have to be patient.” At the end of the song John sings, “Before you cross the street/Take my hand/Life is what happens to you/While you’re busy/Making other plans.” A message to us all.  Yes, Yoko clearly knew what she was doing in making these selections. “Watching The Wheels”, one of the finest songs John ever wrote, is Lennon’s declaration of “watching shadows on the wall” in which he sings, “I tell them there’s no hurry…/I’m just sitting here doing time” and that he “Just had to let it go.” Here, a healed and happier Lennon reintroduces himself to the world in a song full of the joy of hard-earned self-realization. 

“Grow Old With Me” released posthumously on Milk and Honey(1984) adds to the tongue in the ashtray cruelty where John sings, “Grow old along with me/The best is yet to be.” Yoko, being aware of the dark shadows of these selections ends the compilation with two uplifting, hopeful songs that leave us with the optimism that Lennon shared with the world despite all its problems starting with “Happy Xmas (War is Over)”, an annual rite of listening each December and “Give Peace A Chance”, Lennon’s ultimate anthem for peace and love in a world that is in need of both more than ever.

For a long time Lennon fan, this compilation is a freshly sorted feast and for a newcomer serves as an excellent introduction. 

- Richard Meadows | Guitar & Pen

8.5.5

Folk-Rock Review: Neil Young - Homegrown

Score: 85/100

Release Date: June 19, 2020

Genre: Country Rock

Similar Artists: Bob Dylan, Graham Parsons, The Byrds, Brett Dennen

---

The Fountain of Young

Poet William Stafford said, “There’s a thread you follow” and the release of Homegrown, originally recorded December 1974/January 1975, but not released until June 19, 2020, has Neil Young pulling his countrified thread through the small vinyl holes of Harvest (1972) Homegrown (2020), Comes A Time (1979), Harvest Moon (1992), and Silver and Gold (2000). 

Although Young has a broad range of genres that run through his genes, his latest album is clearly of the country gene, most notably with the work of Ben Keith, who first appeared on Harvest, playing steel and electric guitar. Young and Keith work together like root beer and ice on this set, bringing that country twang to life. As Homegrown was not released for 45 years, several of the songs appeared on other albums along the way as Young continued his prolific spinning of yarns.

For example, the title track is a song that first appeared on American Stars & Bars (1976), and it fits here much better 44 years later. Has it really been that long? Obviously, young never grows old. “Separate Ways” opens the door to Homegrown (2020), and one can easily hear “Old Man” from Harvest, which is fine considering the thread. “Love is a Rose” is a metaphorical gem that made its way onto Young’s greatest hits compilation Decade (1978) but fits much better here.

Spoken-word, “Florida,” brings to mind some of the soliloquies from Tonight’s the Night (1975), minus the pre-grunge rock sound which has been replaced by a tone that sounds like a Tibetan crystal bowl that doesn’t belong. “Kansas” might be the weakest song of the set, leaving me wishing that Neil wasn’t in Kansas anymore. Though recorded in late ‘74/early ’75, it sounds like an outtake from Hawks & Doves (1980) that just doesn’t fit here. Speaking of Hawks & Doves (1980), “Little Wing,” which is the opening track on that album, is next to last on Homegrown and fits there perfectly. Same with “Star of Bethlehem,” which ended up on American Stars & Bars (1976), the same album that gave us the song which gave us the title for Homegrown. Here “Star of Bethlehem” ends the album while “Homegrown” ended American Stars & Bars. How about that?

“Homegrown” on this album sounds truly homegrown, like Crazy Horse snuck into the barn to lay this one down. “We Don’t Smoke It No More” sounds like Dylan’s “Rainy Day Woman #12 & 32” on drugs, making one doubt that someone doesn’t smoke it no more. Enough said. This is the one throwaway on the album. I’d stay in Kansas to hide from this one. Unlike “Kansas,” “White Line,” which eventually made it onto the classic garage rock album Ragged Glory (1990), fits perfectly with the other country songs served up on Homegrown.

The follow-up, “Vacancy,” could have made its way on Ragged Glory as it continues the groove in similar fashion and could have certainly been rocked up on that album. Here, the thread runs through every note, though near the end, I begin to wonder if I wished that there was no vacancy.

All in all, it must be an amazing place to be as an artist to be able to pull an old ball of yarn out of the closet after 45 years and roll it out. Solid songs from the past brought forward into a new light. Overall, the thread works here, though it gets a bit ragged at times. A lot like life.

Richard Meadows | Guitar & Pen

Prog/Glam Rock Review: Be Bop Deluxe - Modern Music Reissue

Score: 85
Release Date: December 6, 2019

Genre: rock, prog-rock, glam-rock

Similar Artists:  David Bowie, King Crimson, Roxy Music

---

Born out of the blues-based British rock scene of the late 1960s, Be-Bop Deluxe are part glam, part pop, part punk, and part prog. This limited five disk (4 CD/1 DVD) reissue of their 1976 classic Modern Music is a complete remaster from the original tapes. The box set contains unreleased out-takes, a BBC Radio concert performance, A TV session from BBC’s Old Grey Whistle Test, and a previously unreleased bootleg of a performance at the Riviera Theater in Chicago. These recordings were all captured during the height of the band’s creativity in 1976.

Founder Bill Nelson’s vocals conjure the earthiness of Billy Joel mixed with the gravitas of David Bowie. Lyrically, the album was inspired by the disillusionment Nelson felt toward the music business after touring the U.S. and a longing for home. Far ahead of their time, one doesn’t have to listen too carefully to hear the influence they had on post-punk English bands such as The Jam, XTC & Joy Division.

Disk 1 contains the remastered album in its entirety. “Kiss of Light” is chockfull of catchy hooks amplified by screaming guitar. It is but one side of the band as they switch gears with a softer, multi-textured beauty in “The Gold at the End of My Rainbow.” “Shine” is an extended seven-minute rock and funk jam initially released as the B side to “Kiss of Light” and this reviewer’s personal favorite.

Disk 2 is the real gem of the collection with “First Versions” and “New Stereo Mixes” of the entire album.  Those that stand out are: “The Bird Charmer’s Destiny” and “Forbidden Lovers.” Free from the sanitization of heavy production, these tracks are sharp, organic renditions, and the heart and soul of the collection. The “New Stereo Mixes” give the listener a feel for how alternative arrangements may have affected the final song.

Disk 3 gives the listener a taste of Modern Music live, with select tracks from a live show at the Hammersmith Odeon in London. “Blazing Apostles” is an extended twelve-minute sojourn where the progressive runs of Nelson’s concise guitar work are met with Simon Fox’s deep rhythms and Andrew Clark’s dancing piano riffs. This respite rings a bell in the harbor of your mind, clearing the fog and guiding you safely to shore.

While Disk 3 constrains itself to Modern Music, Disk 4 reaches back with music from the band’s first three albums, Axe Victim (1974), Futurama (1975), and Sunburst (1976) live from Riviera Theater in Chicago. Previously unreleased, the live guitar work of Bill Nelson on this disk is exceptional and will leave you wondering how he flew under the radar for so long and never reached the commercial success he so deserves. On this disk, you’ll hear the unrestrained sounds of the band breathing new life into their most popular hits at the time. 

Be-Bop Deluxe is a sound you’ll feel you’ve heard before, yet it is unlike anything you’ve heard before. Textures, even within the same songs, are interspersed to produce a profound effect. You’ll hear T-Rex-like rock riffs followed by Genesis-like playful explorations followed by Jeff Buckley-like resonant vocals. If you’re discovering Be-Bop Deluxe for the first time, you’ll be pleasantly surprised and feel as if you’ve unearthed a real gem.  If you’ve known them all along, this reissue, especially Disk 2 and 4, will take your appreciation to new heights.

- Tom Endyke | Guitar & Pen

Prog-Rock Review: King Crimson - In the Court of the Crimson King - 50th Anniversary Reissue

Score: 93
Genre: Progressive Rock
Release Date: October 25, 2019
Related Artists: Gentle Giant, Emerson, Lake & Palmer, YES

The beauty of the current wave of 50th Anniversary box set releases is that they are entering the golden age of modern rock music— the 1970's. If In the Court of the Crimson King foretells a string of influential 50^th Anniversary reissues to follow, music fans have cause for celebration.  

In 1969, there was the crisp, airy resonance of vinyl. In the 1980s, Compact Discs sucked out all the air and antisepticised the sound. In the late 1990s, clarity and depth were eliminated altogether through compression to fit on portable digital devices and streaming services. Only recently have we begun to move in the opposite direction. More storage and bandwidth mean larger digital files with "less loss" and high-quality sound has come full-circle and is attainable once again. Herein lies the opportunity to bring these 50th Anniversary reissues back to life by leveraging modern technology to restore the sound to its organic, multi-dimensional form. 

This Blu-ray disc in this collection does just that, featuring all-new 5.1 & stereo mixes by Steven Wilson, approved by Robert Fripp in 24/96 resolution. Wilson not only remixed the original album; he also remixed much of the bonus material that he had mixed initially in 2009. This 4-disk set includes 3 CDs of the original remixed album by Steven Wilson plus instrumental versions, an expanded edition of the alternate album from the Blue-Ray, the original master edition of the 1969 mix, plus additional tracks. Suffice to say, the sound will overtake you and force you to surrender to its majesty.   

I distinctly remember the first time I heard this album. I bought it from a used record store based solely on the bizarre artwork of the Schizoid Man himself, which resembles a modern-day Edvard Munch Scream. On a warm spring day on the porch of my college apartment, I poured myself some Carlo Rossi wine from a jug, scraped enough resin for a decent bong-hit, dropped the needle, and surrendered. "Said the straight man to the late man, where have you been?" I was indeed the late man who had "been here and there and in-between." The album went immediately into heavy rotation and to this day, I can't listen to this seminal masterpiece without thinking back to that afternoon.

To think that In the Court of the Crimson King was King Crimson's debut album boggles the mind. Typically, bands need a few throwaways before finding their identity. King Crimson came out of the gates with unadulterated rawness and a sound much like truth, which hadn't been spoken very loudly until then. Not only did the music illuminate the chaos of the times, so did the lyrics. 1969 is when the walls of establishment crumbled at the hands of the counter-culture, songs such as "21st Century Schizoid Man" conveyed the angst of the dissociative and marginalized youth of the time. Images of burning politicians and starving children shed light on the mental and physical destruction of the Vietnam War and deepened the divide between generations. 

Standout tracks include the original studio instrumental take of "21st Century Schizoid Man," which has been completely remixed and re-imagined by David Singleton. It adds Greg Lake vocals from later studio sessions as well as Saxophone and guitar overdubs, creating a juggernaut of a song that infuses energy amidst bravado, leaving the listener's consciousness forever altered. The instrumental closing version of "The Court of the Crimson King" strips the vocals exposing deeper-layered intricacies of sound evoking an entirely different atmosphere. 

The dissection and reverse-engineering of this masterpiece provide a bounty of tracks for King Crimson and progressive music fans to sink their teeth into. "Epitaph," for instance, appears in five different forms. The "Isolated vocal, 2019 mix" is the most provocative as it isolates Greg Lake's vocals for three minutes and forty-four seconds before elevating the instrumental tracks to carry the song to its dramatic, yet gloomy conclusion. 

Over the years, the band's lineup has evolved with its sound. Their 2019 tour featured eight musicians, including three drummers. They remain highly influential, and their live shows have garnered the highest of accolades. This collection falls between the 40th Anniversary Series remixes a decade ago, the earlier 2019 remastered release, and the planned 2020 box set release (which will include all of this material). What it offers collectors and fans alike is a more affordable package of Steven Wilson's remixes plus rare bonus material. Most importantly, this thoughtfully mixed and packaged release serves as a 50th Anniversary tribute, a genuflection and a gift left at the altar in the Court of the Crimson King. 

- Tom Endyke | Guitar & Pen

Purchase

This edition is unavailable on Spotify.
The following is a link to the 2014 release.