The Albums of 1967: The Jimi Hendrix Experience: Are You Experienced?

Release Date: May 12, 1967
The Jimi Hendrix Experience Were: Jimi Hendrix, Noel Redding, Mitch Mitchell
Produced by Chas Chandler

Side One

Purple Haze
Manic Depression
Hey Joe
Love or Confusion
May This Be Love
I Don't Live Today

Side 2

The Wind Cries Mary
Fire 
Third Stone From the Sun
Foxy Lady
Are You Experienced?

Two different versions of Are You Experienced were released, one for the European market and one for the North American. I listened to the North American release.

On vinyl, the Jimi Hendrix Experience sounds more raucous and psychedelic than they do on FM radio. In stereo the record sounds more . . . revolutionary. Hendrix took the London scene of the mid-60s and brought a new sonic dimension that was driven by soul. Using the blues as a foundation point, Are You Experienced delves into many genres - folk, jazz, and rock. The record is a genre onto itself.

"Purple Haze" opened the American version, a song for the Vietnam War that was raging at the time. In the film Apocalypse Now as Willard's crew are traveling down the Mekong River they get deluged with purple smoke at one point and the surfer soldier Lance revels in the psychedelic journey of the war, "purple haze in my brain/lately things don't seem the same." Like Revolver and Highway 61 Revisited, Are You Experienced takes you on a metaphysical journey.

"Manic Depression" used distorted guitar, while Hendrix's bluesy vocal channeled a state of mind that broke new ground for a rock record in terms of content. "Hey Joe" took a classic folk/blues trope of the avenging lover into a three minute epic of heavy guitar, upstaging Led Zeppelin by a few years. "Love or Confusion" is another head trip with a more melodic guitar, a Beatles song from an alternate universe. "May This Be Love" could be a Motown song with its catchy melodies, prodded along by Mitch Mitchel's drumming.The rambling "I Don't Live Today" ends side one on what sounds like an impromptu jam session.

"The Wind Cries Mary" became one of Jimi's most memorable hits, a melodic and haunting love song with some seductive guitar playing. "Fire" became another hit, a commercial jingle in its brilliant simplicity. "3rd Stone From the Sun" is an extended psychedelic jam with some Sci-Fi overtones. The unforgettable riffs of "Foxy Lady" speaks to pure desire. The title track "Are You Experienced?" calls on the listener to expand their mind with its looping guitars, a call from the cosmic mountain top.

Are You Experienced introduced Hendrix to the world and we are the better for it. The year 1967 featured an abundance of riches that would be spearheaded by the June release of Sgt. Pepper by the Beatles to which Hendrix would acknowledge in his live shows. As history has proven: Hendrix could not only emulate his contemporaries, but also expand their music. No one could imitate Hendrix. 

Albums of the Imagination: Beatles 70/71

I know what you're thinking, another blog post about an imaginary Beatles album. Hey, we live in troubled times, so why not write about the Fab Four? 

The Beatles recording career unofficially ended over the summer of 1969 as the four of them completed work on Abbey Road. As the latter stage Beatles albums indicate they were all becoming separate individuals with different styles and artistic interests. Their output in 1970 and 1971 highlighted their diverging paths in dramatic ways. They had a lot to say. What if the era could be condensed into a Beatles album?

John's Plastic Ono Band burned all bridges with the past with its spare minimal tracks of stunning anger, sadness, guilt, and faint hope. The follow up Imagine in 1971 was more optimistic in outlook, featuring some of the most beautiful songs of the 20th century.

Paul's eponymous solo debut McCartney featured him on all the instruments. Like John's Plastic Ono Band Paul took a minimal approach, sounding homemade and joyously nonsensical. McCartney's 1971 follow up Ram was more muscular and ambitious in scope, setting the foundations of 70s arena rock.

Yet George had the most to say with All Things Must Pass, a triple record magnum opus. "My Sweet Lord" and "What is Life" would become massive hits.

Ringo's underrated two releases of 1970 Sentimental Journey and Beaucoups of Blues are full of stellar arrangements, ideal comedown records after navigating the heady material of his old band mates. Sentimental Journey could be titled "Ringo Goes Sinatra", while Beaucoups of Blues was compared to Bob Dylan's Nashville Skyline with its country influences (ironically, future Dylan would spend almost a full decade doing Sinatra).

My idea was not to put together a compilation of the familiar hits, but to highlight the Beatles speaking to each other, sometimes past each other. The four of them stayed with and developed ideas as solo artists that preoccupied them as Beatles. The songs were sequenced with that in mind.

Side One

Valentine Day (Paul)
Wah Wah (George)
I Don't Wanna Be a Soldier Mama (John)
Run of the Mill (George)
Well Well Well (John)
Long Haired Lady (Paul)
Without Her (Ringo)

Side Two

What is Life? (George)
Imagine (John)
Too Many People (Paul)
Awaiting on You All (George)
Love (John)
The Backseat of My Car (Paul)
Stardust (Ringo)

So, what if the Beatles had put aside their differences and decided to pool their resources for at least one more album? Titled simply 70/71, the record was an attempt to address the past, present, and future of the band. 

Opening with "Valentine Day" an instrumental from McCartney that begins the record with a low key, but suggestive fragment, a mock overture recalling the subterranean Quarrymen days. "Wah Wah" was written by Harrison on the day he walked out of the Let it Be sessions out of frustration. George needles John and Paul with lyrics like "You made me such a big star/Being there at the right time/Cheaper than a dime." The high spirited production drowns out the cynical vibe of the lyrics.

Lennon's "I Don't Wanna Be a Soldier Mama"  is a tripped out jam that speaks to his anger at the roles society assigns to people. A parallel to "Working Class Hero"" and the agitprop of his 1972 record Sometime in New York City, the track taps into Lennon's growing activism. George's "Run of the Mill" is one of saddest tracks on All Things Must Pass dealing with the fallout of the Beatles break up, produced with unforgettable horns and piano. John's "Well Well Well" from Plastic Ono Band was another primal scream into the abyss, a screed on the counterculture and establishment's inability to effect change. A fade into Paul's "Long Haired Lady" makes for a nice segue way, with Paul crafting a basic pop song into a theatrical extravaganza. Ringo's "Without Her" is a melancholy country tune that brings side one to a subdued conclusion. 

Harrison's "What is Life" opens side two on a high note. The song was a top ten hit in America and the United Kingdom where it was the top selling single of 1971. "Imagine" is Lennon's most important statement as an artist, extending the idea of the Beatles into a post-Beatles world. Paul's borderline menacing song "Too Many People" from Ram is the type of song Lennon would aim at other people, here Paul appears to question Lennon's self righteousness. "Awaiting on You All" speaks directly to the listener, spiritual, yet grounded in reality. The mantra of the song, "If you open up your heart, you will know what I mean" is pan-spiritual in sentiment.

"Love" is connected to many other Lennon songs, "The Word" and "All You Need Is Love" come to mind. On Plastic Ono Band the song provides a respite from the emotional turmoil on the record and speaks to John's maturity as a songwriter. Paul's "The Backseat of My Car" is an elevated rocker reminiscent of Abbey Road that captures the romance and exhilaration of the road. Ringo's jaunty version of "Stardust" ends the album on a lightly comic note, a call back to "Goodnight" on the White Album, an appropriate Hollywood ending.

Arcade Fire: Neon Bible (2007)

Release Date: March 5, 2007
Active Members: Win Butler, Regina Chassagne, Will Butler, Jeremy Gara, Tim Kingsbury, Sarah Neufeld, Richard Reed Parry
Produced by Arcade Fire

Arcade Fire's second album Neon Bible looks at the world after a cataclysm, heavy on post 9/11 overtones, or at least the long term consequences of a world destined for another series of endless wars. Neon Bible attempts to find meaning in a broken world of failed belief systems. As the the opening track "Black Mirror" predicts:

I know a time is coming
All words will lose their meaning

By far the Montreal troupe's bleakest album, Neon Bible presents a world shaped by a decade that witnessed the potent influence of fundamentalist religion reveals itself again and again.

The futuristic "Keep the Car Running" imagines another Orwellian scenario with a protagonist knowing it's a matter of time before the authorities knock on his door, "Men are coming to take me away/I don't know why, but I know I can't stay." 

"Neon Bible" takes aim at eschatology obsession of modern religion, specifically the Book of Revelation."not much chance for survival if the neon bible is right." If people think our world is doomed and a better one awaits, no wonder the earth is treated with such contempt. In a similar vein, "Intervention" imagines fighting for a church in some past or present war for no purpose whatsoever. A sort of anti-hymn with heavy organs and despairing lyrics. 

Regina and Win share verses on "Black Wave/Bad Vibrations" on another song of escape. "Ocean of Noise" an ambient lamenting narrative, positing a relationship on the precipice. "The Well and the Lighthouse" tells a fairy tale of resurrection within another failing civilization.

"Antichrist Television Blues" is a brutal examination of the Christian fundamentalist mindset, a disturbing song full of pathos about a man trapped between his belief system, economic constraints, and his daughter who can sing "like a bird in a cage." By the end he wonders if he's the actual Antichrist in a grim epiphany. 

"Windowsill" channels T.S. Eliot's The Wasteland as the exhausted protagonist speculates on whether meet his fate in a flood or be incinerated in a World War III, all he knows is "he don't wanna live in America no more." 

"No Cars Go," the anthem of Neon Bible, imagines a utopia free of intrusion from the instruments of pollution and war - reminiscent of The Talking Heads song "Road to Nowhere." "My Body is Cage" is a meditation on repression from within and without.

Musically Neon Bible has the exuberant production of Funeral, but much darker in theme and tone. A heavy listen, the album doesn't give you a chance to breathe, music for the end times. 

The Albums of 2004: Arcade Fire: Funeral

Release Date: September 14, 2004
Active Members: Win Butler, Regine Chassagne, Richard Reed Perry, Tim Kingsbury, Howard Bilerman, William Butler

Track listing: Neighborhood #1 (Tunnels); Neighborhood #2 (Laika); Un annee sums lumiere; Neighborhood #3 (Power Out); Neighborhood #4 (7 Kettles); Crown of Love; Wake Up; Haiti; Rebellion (Lies); In the Backseat

On their ironically titled debut album Funeral (attributed to the inordinate amount of losses members of the band experienced during the time of recording), Arcade Fire fired an opening salvo into the heady music scene of the 21st Century, one rife with fragmentation, segmentation, and the much written about decline of "the album."

Funeral set the tone for the albums to follow: emotive, cinematic, flush with surreal sublime imagery, culturally dynamic, and bold statements. Strands of the past intermingle: 1960s pop, avant garde influences from Velvet Underground to Brian Eno, punk sensibilities, and throw in all of Phil Spector's ambition. 

The "Neighborhood" sequence of four songs possibly take place at different points in history, or at alternating places at similar points in the past. "Neighborhood 1 (Tunnels)" may take place in the 1960s with the lyrical clue:

We let our hair grow long and forget all we used to know
Then our skin gets thicker from living out in the snow

Musically "Tunnels" brings the bombast of Bruce Springsteen's 1970s albums. Told from the point of a young man who who will be leaving the neighborhood with his girlfriend (a Springsteen trope), as he leaves friends and family behind. The story ends years later with him wondering what happened to everyone. 

"Neighborhood #2 (Laika)" begins with infectious pop with accordions, bells, and a child like punk Greek chorus:

Alexander, our older brother
Set out for a great adventure

A popular interpretation is that Alexander was a rebel living behind the Iron Curtain who tries to escape to the West. Win Butler has stated "Laika" is a reference to the dog the Soviets sent to space. Others see parallels to A Clockwork Orange or Into The Wild.  Like the narrator in "Tunnels" Alex escapes the neighborhood, but ends up right back where he began. By the last verse the rush of pop in the first verse settles into an acidic key as Alex fights with his father, ending on a note of sarcastic disillusionment as police lights turn the street into a disco, "Now the neighbors can dance." 

"Une Annee Sans Lumiere" is the interlude in the Neighborhood sequence, a suite that begins as a French pop song and ends with an onslaught of guitars.

"Neighborhood #3 (Power Out)" has a heavier pop intro with an industrial sound. Here the imagery gets more dystopic with lyrics of kids swinging on the power lines and families freezing to death with no hopes or plans. Possibly inspired by the power outages across Canada in 1998.

"Neighborhood #4 (7 Kettles)" may take place in the near future with our lonely narrator once again contemplating what's to come. Butler's vocal here is weary, almost defeated, pondering spiritual malaise and whether it's worth bringing children into a broken world "there's some spirit I used to know, that's been drowned out by the radio."

The second half of Funeral opens with "Crown of Love," a beautifully arranged folk ballad of loss and love. "Wake Up" would become an anthem for Arcade Fire, David Bowie himself would join them onstage at the Grammy's to perform it. "Wake Up" has the theatrics of Queen, The Who, and Bowie's 1977 triumph "Heroes." 

"Haiti" is about Chasagnne's native country and growing up in the shadow of authoritarianism. The soft Caribbean rhythms with Chasagnne's tender vocal sets a lighter tone for the rest of the album.

"Rebellion (Lies)" examines children, parents and the dynamics of rebellion. What leads to children to rebel? Is it the lies of adults? The song is obsessed with youth as many of their albums are, specifically the pain of being young. "Rebellion" also connects to the "Neighborhood" sequence from a more detached perspective.

"In the Backseat" is a tender meditation on loss and learning how to live, ending the record on a subdued and cautiously optimistic note.

Funeral launched Arcade Fire into the stratosphere, evidenced by the high anticipation for their 2007 follow up Neon Bible. Embraced by both hipsterdom and the rock establishment, Arcade Fire would plunge on ahead into maelstrom of the troubled years ahead, reeling between high fueled theatrics, jaded critics, treacherous political fault lines, and epic campaigns for relevance. 

The Albums of 2018: Courtney Barnett: Tell Me How You Really Feel

Release Date: May 18, 2018
Produced by Courtney Barnett, Burke Reid, and Dan Luscombe
Special Guests: Kim Deal and Kelly Deal

Side One: Hopefulessness; City Looks Pretty; Charity; Need A Little Time; Nameless, Faceless

Side Two: I'm Not Your Mother, I'm Not Your Bitch; Crippling Self Doubt and a General Lack of Confidence; Help Your Self; Walkin' on Eggshells; Sunday Roast

The songs on Courtney Barnett's follow up to her 2015 debut Sometimes I Sit and Think and Sometimes I Just Sit, lean towards introspection, self analysis, and weariness.

On the opener "Hopefulessness" Barnett impels listeners to take their broken hearts and turn them into art. The song's steady build up ends with a tea kettle going off and into "City Looks Pretty," a self-deprecating rocker on struggling to live to high expectations we place on ourselves, "Sometimes I get sad/It's Not all that bad/One day, maybe never/I'll Come Around." 

"Charity" may be addressed to a more successful contemporary with a sarcastic chorus "You must be having so much fun."  She feels both envy and sympathy for song's subject, "Meditation just makes you more upset." "Need A Little Time Out" calls for everyone to slow down, take stock, and gather strength. 

Side One ends with the "Nameless, Faceless," a song addressing trolling and fragile masculinity:

Don't You Have Anything Better To Do
I wish that someone could hug you
Must be lonely
Being angry
Feeling over-looked
You sit home alone in the darkness
With all the pent up rage you harness
I'm real sorry
Bout whatever happened to you

Barnett muses on not being able to walk in the park at night and holding the keys between her fingers. Lack of empathy and narcissism are what drives the trolls.

The second side begins with the declarative "I'm Not Your Mother, I'm Not Your Bitch," a punk screed that sets a less compromising tone. "Crippling Self Doubt" closes with an anthemic chorus, "I don't know, I don't know anything" that brings catharsis. "Help Your Self"  features another catchy hook, once again pleading with the subject to slow things down. 

Penultimate track "Walkin on Eggshells" speaks to the exhaustion of fighting and not letting things go. On "Sunday Roast" Courtney confesses, "I spend a lot of my time/Doing a whole lot of nothing," a sort of taboo these days. The song ends with a full on McCartneyesque singalong.

Fueled by guitar driven power pop and lyrics with punch, Tell Me How You Really Feel showcases one of the decade's great singer-songwriters. 

The Albums of 1978: Johnny Thunders: So Alone

Release Date: October 6, 1978
Produced by Johnny Thunders and Steve Lilywhite
Special Guests: Many from the punk and hard rock scene took part in the sessions for So Alone including Chrissie Hynde (The Pretenders), Phil Lynott (Thin Lizzy), Steve Marriot (Small Faces), Peter Perrett (Only Ones), Steve Jones (Sex Pistols), Paul Cook (Sex Pistols)

Side One: Pipeline; You Can't Put Your Arms Around A Memory; Great Big Kiss; Ask Me No Questions; Leave Me Alone

Side Two: Daddy Rollin' Stone; London Boys; (She's So) Untouchable; Subway Train; Downtown

Bonus Tracks added to 1992 Release: Dead or Alive; Hurtin': So Alone; The Wizard

Johnny Thunders led a chaotic life. A key figure during the early days of punk (or pre-punk), he was a founding member of the New York Dolls and The Heartbreakers. So Alone marked Johnny's solo debut, an against all odds triumph. 

A near masterpiece, So Alone runs the gamut of emotions from the euphoria of pure freedom to the deepest depths of despair. The LP also works as a history of rock and roll, a work offering depth and passion.

A cover of "Pipeline" from The Chantays sets the tone, a guitar driven thrash through an "oldie" still pulsing with life. 

Then the brilliant "You Can't Put Your Arms Around A Memory," used to great effect in Martin Scorsese's Bringing Out the Dead. An existential rocker about loneliness, addiction, frustration, bordering on spiritual, the epic chorus supplies the defiant hope (essential for dark times.)

Another 50's homage, "Great Big Kiss", is all camp with heavy guitars and suggestive theatrics. "Ask Me No Questions" adds a ominous tension, a desperate yearning for connection with Johnny's pleading vocal driving the song. "Leave Me Alone" is all punk, rude and confrontational.

The second side opens with "Daddy Rollin' Stone", a bluesy rocker with hints of doo-wop. "London Boys" attacks the punks who scoffed at the "pre-punk" The New York Dolls. A Sex Pistols pastiche, Thunders does his best Johnny Rotten imitation. "(She's So) Untouchable" brings soul to an unrequited love ballad, the album version lightens the mood with backing guitars and saxophones, acoustic versions on bootlegs are more desperate. 

"Subway Train" continues in a similar vein with some blistering Chuck Berry riffs, featuring one of the best lyrics, "I wrote you an epic letter, but it never got sent." "Downtown" outdoes the Rolling Stones, ending the album with some more addled blues.

The exuberance of 1950s jukebox rock gets reconfigured into the downbeat and existential.  Moments of levity appear, yet most of these tracks deal with frustration and loss. So Alone, one of the ultimate comedown records ever recorded, containing all the contradictions of the late 1970s.

The Albums of 1968: The Rolling Stones: Beggar's Banquet

Release Date: December 6, 1968
Active Members: Mick Jagger, Keith Richards, Brian Jones, Bill Wyman, and Charlie Watts
Guests: Nicky Hopkins on Piano
Produced by Jimmy Miller

Side One: Sympathy for the Devil; No Expectations; Dear Doctor; Parachute Woman; Jigsaw Puzzle

Side Two: Street Fighting Man; Prodigal Son; Stray Cat Blues; Factory Girl; Salt of the Earth


Beggar's Banquet brought a charge to the turbulent rock scene of 1968. Like their contemporaries The Beatles, The Rolling Stones were moving on after a brief dalliance with psychedelia, going back to a more traditional rock and roll sound, albeit, with a darker edge. The ten songs on the album deal with evil, death, desire, revolutionary politics, working class malaise, and an ongoing exploration of the blues.

Side one begins with "Sympathy for the Devil."  The Stones tell the story of Lucifer as he joyfully reflects on the chaos he's wrought throughout history. The Dionysian beats and pagan chanting add to the ominous, yet attractive, mood of the song. Like Charles Manson, who would become known to the world the next year, the song ends with an entreaty to conciliation and then shifts to violent threat promising death to all who cross his path. A historical marker flower power's demise.

"No Expectations" is a beautiful track, a highlight of the album. A reflective meditation on the end of a relationship/era featuring Brian Jones on slide guitar and Nicky Hopkins on organ, one of the best collaborations in the Jagger/Richards catalog. 

"Dear Doctor" is a country-western ramble on drinking, broken hearts, and exhaustion. "Parachute Woman" is a thumping R&B tune with some Anthony Burgess Nasdat speak from A Clockwork Orange (Stones wanted to adapt their own version of the novel).

The aptly titled "Jigsaw Puzzle" is an observational song featuring pastiche blues and surreal imagery. Some have compared it to Dylan's "Stuck Inside of Mobile (with the Memphis Blues Again).

Side two opens with "Street Fighting Man," often considered the most "political" single the Stones ever released. "Street Fighting Man" definitely hit the zeitgeist of 1968, released as Chicago blew up during the Democratic convention. The Nihilist spirit of the song suggests youth have nothing better to do but storm the barricades, foreshadowing the punk ethos of a decade later. A sitar from Brian Jones echoes the psychedelia of 1967. 

"Prodigal Son" was a delta blues song written by Robert Wilkins, an appropriate parallel to "Street Fighting Man." "Stray Cat Blues" features a return to the vintage Stones style, heavy blues riffs with some taboo content. 

"Factory Girl" is a bluegrass ode of industrial romanticism. A similar sentiment prevails on the closing track "Salt of the Earth." A well produced track, even though the lyrics admit the working class are:

A swirling mass of grey
Black and White
They don't look real to me
In fact, they look so strange

In a year packed with legendary albums, Beggar's Banquet is a solid LP from start to finish. A marked contrast to the chaos of the Beatles White Album, capturing the Stones as they were about to enter the zenith of their creativity. Just as Dylan's early records reflect the changing culture of the mid 1960s, the Stones were defining the latter stage of the decade.