Altered Images "Happy Birthday" (1981)

Happy Birthday [debut]
release date: Sep. 1981
format: digital
[album rate: 3 / 5] [3,18]
producer: Steven Severin
label: Epic Records - nationality: Scotland, UK

Track highlights: 2. "Love and Kisses" - 4. "Idols" - 8. "Happy Birthday" - 11. "Leave Me Alone"

Studio album debut by Scottish band Altered Images produced by bassist and musical composer of Siouxsie and the Banshees, Steven Severin (only track #8 is produced by Martin Rushent). At this early stage of its short-lived life-span the band is a quintet consisting of lead vocalist Clare Grogan, guitarist Tony McDaid, bassist Johnny McElhone (who would later join the Scottish band, Texas), and drummer Michael 'Tich' Anderson. Allegedly, the band had sent a demo tape to Siouxsie and the Banshees who responded by giving the band the chance by supporting its "Kaleidoscope" tour in 1980.
Altered Images plays new wave and post-punk with a clear positive touch - at times referred to as twee pop and with early jangle pop elements. Musically, the album contains only one great song, track #8, released one month earlier, which launched the band's career and secured it a singles chart peak at number #2 in the UK. The debut album made it to number number #26 on the albums chart list and the band was among the most promising new acts coming out of Britain.
Like many others, I was attracted to the band due to the title track but I was also left disappointed as the other songs on the album are shaped as more direct post-punk compositions. My guess is that the Banshees and Severin was more confident with the band's new wave and post-punk qualities, and that the successful single hit with Rushent as producer drew the band toward another and potentially more mainstream sound and audience.
[ allmusic.com 4,5 / 5, Uncut 4 / 5, Smash Hits, Q Magazine 3 / 5 stars ]

Pink Floyd "Ummagumma" (1969) (live)

Ummagumma (live)
release date: Oct. 25, 1969
format: 2 cd
[album rate: 2 / 5]
producer: Pink Floyd, Norman Smith
label: Harvest Records - nationality: England, UK

Track highlights: "Grantchester Meadows" - "The Narrow Way (Part 1)"

4th studio album by Pink Floyd released four months after the band's soundtrack album More to a movie by Barbet Schroeder (dealing with youth and heroin addiction). The album was released as a double lp (sold at the price of one normal album) with disc 1 as the recording of four live tracks, and with disc 2 featuring five new studio recordings. I recall this album from my brother's lp collection and an album he played frequently in the 1970s. The studio cd contains tracks composed exclusively by all four band members starting off with "Sysyphus (Part 1-4)" by Richard Wright - four pieces of highly experimental instrumental music (touching on modern classical), followed by two tracks by Roger Waters, "Grantchester Meadows", the finest track on the album in a blend of folk pop and psychedelic baroque pop, and the track "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict", which again is a highly experimental track of sounds and noises. followed by "The Narrow Way (Part 1-3)" (of different styles of instrumental and mostly harmonic music) written by David Gilmour, and ending with three experimental pieces "The Grand Vizier's Garden Party (Part 1-3)" by Nick Mason.

Well, my guess is that the album's popularity at the time of release had to do with the band's mix of highly experimental rock combined with chunks of more ordinary music, putting the band at the edge of creativity as avant-garde of pop / rock and as European counterparts to Frank Zappa. Today, I only find it somewhat amusing but generally of little musical interest.
[ allmusic.com 3,5 / 5, The Daily Telegraph 3 / 5 stars ]

Altered Images "Happy Birthday" (1981) (single)

Happy Birthday, 7'' single
release date: Aug. 1981
format: vinyl (EPCA 1522)
[single rate: 4 / 5] [3,86]
producer: Martin Rushent
label: Epic Records - nationality: Scotland, UK

Tracklist: A1. "Happy Birthday" (4,5 / 5) - - B1. "So We Go Whispering"

Single release by Altered Images preceding the band's forthcoming debut album. The single is produced by Martin Rushent who previously had worked with The Raybeats on their fine Guitar Beat and Human League on its great album Dare. The B-side is not an original album track, but has been included on later issues of the debut album containing bonus material.
"Happy Birthday" entered the singles chart list in the UK in Sep. '81 and peaked as high as number #2 one month later, ultimately making it the band's best-selling single ever but also, in retrospect, placed the band in the category as 'one-hit wonders'.

Bauhaus

~ ~ ~

l-r: Kevin, David, Peter, Daniel

Bauhaus: is a British gothic rock and post-punk band formed in Northampton in 1978. The band split in 1983 after its fourth studio album release, and re-united shortly in 1998, and again in 2006-08 for primarily live concerts, although, a second final album was released in 2008. Members: Peter Murphy (aka Peter John Murphy [birth name], vocals, occasional instruments), Daniel Ash (aka Daniel Gaston Ash [birth name], guitar), and the brothers Haskins: Kevin (drums), and David J (aka David John Haskins [birth name], bass). Initially, the band was called Bauhaus 1919 with reference to the German art school. The band is one of the pioneers of gothic rock, a musical style developed from post-punk played by British bands like Joy Division, Siouxsie and the Banshees, and The Cure. Bauhaus became exponent of a darker, gloomier, and more theatrical gothic rock, which also have sources in music by artists like David Bowie, Marc Bolan, The Velvet Underground, Iggy & The Stooges, The Doors, etc., i.e. bands and artists who also inspired in shaping punk rock and post-punk. After the disbandment in 1983, Peter Murphy launched a solo career into art rock alt. rock with elements of gothic rock, and the remainders of the band formed Love and Rockets (with Ash on vocals), a successful band playing an original combo of alt. rock, neo-psychedelia and pop / rock, and who became pioneers of college rock and the alternative rock scene of the 1990s. Bauhaus briefly re-united in 1998 for a live tour, and again in 2005, which followed a longer period of live concerts and tours throughout 2006, and the band began writing new material. They worked in the studio on a new album, released in 2008 but without a promotional tour, and once again, they ultimately split up. I first heard of the band when it was played on a late-night program on the national radio, dedicated to punk rock post-punk and all the new styles of the early 1980s. The first song I heard was "The Passion of Lovers", and I remember recording it on cassette, and I really enjoyed that track but didn't get hold of the band's name until weeks later. A couple of years later, I had found and bought a vhs-tape of a Bauhaus live concert film in a small music store with lots of import, and that video just made my day, and soon my teenage room had the b/w Bauhaus poster "Bela Lugosi's Dead" next to one featuring Elvis Costello.

~ ~ ~

poster

Elvis Presley "O sole mio (It's Now or Never)" (1960) (single)

O sole mio (It's Now or Never), 7'' single

release date: 1960

format: vinyl (47-9314)

[single rate: 4 / 5] [4,00]

producer: ?

label: RCA - nationality: USA

Tracklist: A) "O sole mio (It's Now or Never)" (5 / 5) - - B) "Make Me Know It"

Single release credited Elvis Presley and The Jordanaires. The title song is a cover of an Italian song credited Eduardo di Capua and Alfredo Mazzucchi with English lyrics by Wally Gold and Aaron Schroeder.

This German issue was part of my parents' record collection, although, I don't have clear memories of actually having heard my parents play this particular single. I did, however, used to play it on a portable turntable at 6-10 years of age. I liked Elvis but frankly never was a big fan. I think, growing up in the early seventees I had a more fixated image of Elvis in his late career, when he had gained weight, was all dressed up, and sometimes behaving as if intoxicated. I thought of him as a performer as someone more for my parents - say on par with Charles Aznavour and Frank Sinatra - and in that battle, Sinatra always won. And then, I was more a fan of The Beatles, whom I saw as more vital and with more to offer. In retrospect, and already into my 30s I had a more mature and positive perspective on the role of The King. His legacy is unquestionable, despite him overshadowing many great performers, who would only be known and put to fame long after Presley's death. His music lives on, and he made some truly great recordings, and "O sole mio" is one of many to know of.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Toots & The Maytals "Funky Kingston" (1973)

Funky Kingston
release date: 1973
format: cd (1991 reissue)
[album rate: 3,5 / 5] [3,68]
producer: Warwick Lyn, Chris Blackwell & Dave Bloxham
label: Island Records - nationality: Jamaica

Tracklist: 1. "Sit Right Down" (3,5 / 5) - 2. "Pomp and Pride" (4 / 5) - 3. "Louie Louie" (4 / 5) - 4. "I Can't Believe" - 5. "Redemption Song" (3,5 / 5) - 6. "Daddy's Home" (4 / 5) - 7. "Funky Kingston" (3,5 / 5) - 8. "It Was Written Down" (3,5 / 5)

7th studio album by Toots & The Maytals org. released on Dragon (Records) and the first to be released internationally. It's quite evident that the album had been in the hands of more talented producers, as the sound is clearly bettering the predecessor Slatyam Stoot (1972). The album comes in two major different versions: the original Jamaican and similar European issues, and a 1975 issue released for the American market with a completely different track set [found here].
Many of the tracks had been issued on previous albums. "Pomp and Pride", "Louie Louie", "Redemption Song" and "It Was Written Down" were all on the '72 album in other versions. "Daddy's Home" is also found on the previous album and on the debut The Sensational Maytals (1965) as "Daddy", but here that song has been given its original name and the song has doubled its running time and become a reggae composition instead of the former rocksteady version(s), which built on the original 1961 doo-wop single by Shep and the Limelites (written by James Sheppard. The song has been covered by a vast number of artists).
[ allmusic.com, Sputnikmusic 4 / 5, Rolling Stone 5 / 5 stars ]

Jimi Hendrix Experience "Electric Ladyland" (1968)

Electric Ladyland
release date: Oct. 16, 1968
format: vinyl 2 lp (1988 reissue?)
[album rate: 4 / 5] [4,38]
producer: Jimi Hendrix, Chas Chandler
label: Polydor Records - nationality: USA

3rd and final studio album by The Jimi Hendrix Experience originally released by Reprise (US) and Track (UK). The album is naturally included in "1001 Albums You Must Hear Before You Die".

1968 Favourite releases: 1. Van Morrison Astral Weeks - 2. Jimi Hendrix Electric Ladyland - 3. The Beatles The Beatles [The White Album]

Weather Report "Heavy Weather" (1977)

Heavy Weather
release date: Mar. 1977
format: vinyl / cd (1999 Millenium Edition)
[album rate: 4 / 5] [3,92]
producer: Joe Zawinul, Jaco Pastorius, Wayne Shorter
label: CBS Records - nationality: USA

Track highlights: A) 1. "Birdland" - 3. "Teen Town" - - B) 2. "Palladium"

8th studio album by American jazz fusion band Weather Report originally released by Columbia Records. Joe Zawinul is credited as producer, Jaco Pastorius as co-producer, and Wayne Shorter as assistant producer. The album is rightfully enlisted in "1001 Albums You Must Hear Before You Die".

Röyksopp "The Understanding" (2005)

The Understanding
release date: Jun. 27, 2005
format: cd (LTD.)
[album rate: 3,5 / 5] [3,32]
producer: Röyksopp
label: Wall of Sound - nationality: Norway

Track highlights: 1. "Triumphant" - 2. "Only This Moment" - 3. "49 Percent" - 7. "What Else Is There?" - 8. "Circuit Breaker" - 9. "Alpha Male" - *17. "Looser Now"
*Track 5 on bonus disc

2nd studio album by Norwegian duo Röyksopp continues where Melody A.M. ended - perhaps with an even stronger focus on synthpop on this.
The album was preceded by the single "Only This Moment", which fared quite Okay peaking at number #33 in the UK and as number #18 on the Dance list in the US. "49 Percent" was released after the album and it reached number #55 in the UK, but the single "What Else Is There?" featuring Karin Dreijer of the Swedish band The Knife became the best-selling single of the album peaking at number #32 on the general singles chart list in the UK; however, on top of the UK Dance list - and as number #4 in Norway. A fourth and final single release was issued in 2006 with the song "Beautiful Day Without You", which didn't leave traces on singles lists. The album entered the national albums chart list as number #1, peaked at number #7 in Sweden and number #13 in the UK.
The album doesn't contain a great number of hit songs but still serve to document how the duo is fully capable of making simplistic but alternative dance-friendly compositions without focusing on strong vocal harmonies, although, I still think they are best when making music with guest / featuring artists, which also is the case here with Chelonis R. Jones (tracks #3 and #13) and Karin Dreijer (track #7). Another thing, I like about the music is the way they make use of progressiveness as a musical trait, in a Jean-Michel Jarre (#9 "Alpha Male" and on other tracks) kind-of-way. It makes their music less confined though it often leaves me wanting it to lead to something instead of just running out.
[ allmusic.com, Rolling Stone, Slant 3 / 5, The Guardian, NME 4 / 5 stars ]

Ellen Foley "Spirit of St. Louis" (1981)

Spirit of St. Louis
release date: Mar. 1981
format: vinyl
[album rate: 3 / 5] [3,12]
producer: Mick Jones
label: Epic / Cleveland International - nationality: USA

2nd studio album by American singer an actress Ellen Foley. The album is produced by Mick Jones of The Clash, who was her then romantic affair. Foley had participated as background vocalist on the triple album Sandinista! (1980) by The Clash, and for Foley, Mick Jones and Joe Strummer have composed half of the album's twelve tracks and together with the two remaining members of The Clash, Paul Simonon and Topper Headon, they are all featuring musicians on all tracks.

The 101ers "Elgin Avenue Breakdown" (1981)

Elgin Avenue Breakdown (compilation)
release date: Mar. 1981
format: vinyl (AND 101) / digital (2005 reissue)
[album rate: 3 / 5]
producer: various
label: Andalucia Records - nationality: England, UK

Track highlights: B) 4. "Keys to Your Heart" (4 / 5) (2005 remaster)

Compilation album by British pub-rock band The 101ers consisting of Joe Strummer (aka Woodie) on vocals and rhythm guitar, 'Evil' Clive Timperley on lead guitar and vocals, 'Desperate' Dan Kelleher on bass, keyboards and backing vocals, John Mole on bass, and with Richard 'Snakes' Dudanski on drums and backing vocals. The album contains compositions recorded on four occasions from Nov. 1975 to Apr. 1976 and are with slightly different line-ups as John Mole only handles bass on four tracks. Joe Strummer is credited for lyrics on six of the album's twelve compositions - and the only song exclusively by Strummer is also the best track on what appears as an incoherent album. "Keys to Your Heart" was also the band's first of only two original single releases, and the compilation album wasn't issued until The Clash had become a major band.

The Clash "Sandinista!" (1980)

Sandinista!
release date: Dec. 12, 1980
format: 3 lp vinyl (CBS 66363) / cd
[album rate: 3,5 / 5] [3,74]
producer: Mickey Dread, The Clash
label: CBS Records - nationality: England, UK

Track highlights: A) 1. "The Magnificent Seven" (4 / 5) - 3. "Junco Partner" - 4. "Ivan Meets G.I. Joe" - 5. "The Leader" (4 / 5) - - B) 1. "Rebel Waltz" - 3. "The Crooked Beat" - 4. "Somebody Got Murdered" (4 / 5) - 5. "One More Time" (4,5 / 5) - 6. "One More Dub" - - C) 1. "Lighting Strikes (Not Once But Twice)" - 2. "Up in Heaven (Not Only Here)" (4 / 5) - 3. "Corner Soul" (4 / 5) - 4. "Let's Go Crazy" (4,5 / 5) - - D) 1. "Police on My Back" (4,5 / 5) - 3. "The Equaliser" - 4. "The Call Up" (4,5 / 5) - 5. "Washington Bullets" - - E) 1. "Lose This Skin" - 2. "Charlie Don't Surf" (4 / 5) - 4. "Junkie Slip" - 5. "Kingston Advice" - - F) 1. "Version City" - 3. "Silicone on Sapphire" - 4. "Version Pardner"
[ full album playlist ]

4th studio album by The Clash is a triple vinyl album introducing the band's perhaps most radical work of art. If London Calling is acclaimed for its daring huge blend of styles, then this should simply be the best album of all times, if ever that was enough to make great music. With this, The Clash has composed music in punk rock, rockabilly, jazz rock, reggae, dub, post-punk, rock & roll, experimental rock and several tracks with no familiar style to label it with. It was tremendously daring to release an album of this sort - at this point of time. My initial feelings towards the album undoubtedly were shaped by disappointment and delusion. "Where were the great punk songs? What was wrong with punk rock?", I thought. I had only just discovered punk rock - loved it, and then this! From one of my absolute favourite bands! For the first 5 years, I felt they could have released a great regular album using 10-15 tracks from this abundance of... 36 [!]. But it's an album, I have only come to like and enjoy more and more over the years. Today, I'm close to handing it 4 / 5 stars, and then, back in '81, I would probably have handed it 2 / 5 - maybe 2,5 'cause it is The Clash after all. Yes, they could have scraped everything away, all the experiments with styles and genres and released a hell of an album, but this is so... much fun. I think, in the future this could be on par with the works of Mozart, Stravinsky or other major classical composers' work 'cause it's really unlike anything else, and not just that. There are so many layers here that once you find into the substance / the essence, it will keep you entertained for years and perhaps decades. Critics have also been divided on this - and they still are. I think, the album fits perfectly on any best of lists comprising the most valuable, most important albums of all time. Because 'best' is such a defining label. How about the importance of an album instead of just 'best'? This would be nominated for exactly such a prize.
[ allmusic.com 2,5 / 5, Q Magazine 4 / 5, Rolling Stone 5 / 5 stars ]

The Band "Cahoots" (1971)

Cahoots
release date: Sep. 15, 1971
format: cd (2009)
[album rate: 3,5 / 5] [3,58]
producer: The Band
label: Mobile Fidelity Sound Lab  - nationality: Canada

Track highlights: 1. "Life Is a Carnival" - 2. "When I Paint My Masterpiece" - 5. "4% Pantomime" - 7. "The Moon Struck One"

4th studio album by The Band recorded in a newly built studio in Bearsville, New York, originally released on Capitol Records, is the group's last album of original material in the following four years. The songs here are credited Robbie Robertson (eight alone), Rick Danko and Levon Helm (one song as co-writers with Robertson), one original by Bob Dylan (track #2) and one song by Van Morrison (track #5 together with Robertson). None of the songs are credited Richard Manuel or Garth Hudson and according to Helm, Manuel only appeared to play his parts before going his own ways.

Success hasn't made things easier for The Band. Internal conflicts about writing credits split the members and on top of that alcohol and drugs stood in the way of artistic outcome.

The album was met by luke-warm reviews and didn't sell as their two previous albums had done, although, it went as high as #15 and #21 on the Canadian and US album charts lists, respectively.

It's, however, no bad album at all. The band members themselves may have bad memories about the process, but they still play better than most despite the fact that a few of the tracks sound more like blue-prints or demo-takes of songs that were simply left as they came to be, e.g. "Last of the Blacksmiths", "Thinkin' Out Loud" and "Smoke Signal", but the remaining tracks only serve to document how well these guys played as a unit.

[ allmusic.com 3,5 / 5, Q Magazine, Rolling Stone 3 / 5 stars ]

Van Morrison "Blowin' Your Mind!" (1967)

Blowin' Your Mind!
release date: Sep. 1967
format: cd (1998 remaster)
[album rate: 3 / 5] [3,16]
producer: Bert Berns
label: Epic / Legacy - nationality: Northern Ireland, UK

Track highlights: 1. "Brown Eyed Girl" (5 / 5) (live) - 4. "Spanish Rose" - 7. "Who Drove the Red Sports Car?" - 8. "Midnight Special"

Studio album debut by Van Morrison [aka George Ivan Morrison] originally released on Bang Records (co-founded by producer Bert Berns). While still a part of Them, he was too much wanted as a solo singer - and at live concerts - and the band was often referred to as 'Them and Van Morrison' a name they never officially accepted but that was how the public and the press saw... Them. The success of the band led Morrison to initiate a solo career, which apparently, had him sign a contract with Bert Berns label Bang Records without giving it much attention.

Blowin' Your Mind! is not an album in the hands of Morrison himself, as Berns compiled the recordings and had the album released without Morrison's knowledge, which seems plausible looking at the song titles, the album cover, and also his second album release Astral Weeks on which Morrison had more control and what also reveals his true potential.
Anyway, the album is "filed" as his debut, and it does contain a few memorable tracks including his own classic "Brown Eyed Girl", but the sound and style of the album is very much bound to his successes with Them proving Berns directional wish to continue in the pop soul and uptempo sound that seemed the obvious choice but basically wasn't what Morrison himself wanted at the time.
Nevertheless, the album is there - it isn't a great release but it can't disguise the fact that Morrison has a remarkable talent and a strong singing voice.
[ allmusic.com 3 / 5 stars ]

Best of 1975:Bruce Springsteen "Born to Run" (1975)

Born to Run
release date: Aug. 25, 1975
format: cd (1988 remaster)
[album rate: 4 / 5] [4,18]
producer: Bruce Springsteen, Mike Appel, Jon Landau
label: CBS Records - nationality: USA

Tracklist: 1. "Thunder Road" (4,5 / 5) - 2. "Tenth Avenue Freeze-Out" (3,5 / 5) - 3. "Night" (4 / 5) - 4. "Backstreets" (5 / 5) - 5. "Born to Run" (5 / 5) - 6. "She's the One" (4 / 5) - 7. "Meeting Across the River" (3,5 / 5) - 8. "Jungleland" (3,5 / 5)
[ full album ]

3rd studio album by Bruce Springsteen originally released on Columbia Records. The r&b and folk rock elements are tuned down, and instead there's much more focus on rock and what has become a term as heartland rock, which basically is a blend of more traditional American genres of folk, country, r&b, roots rock with electrified and energetic harmony-based pop / rock. New Springsteen producer, Jon Landau, helps building layers on the music, which complete the major difference from his previous two albums. The songs are more simple constructs, although, they're perhaps even more orchestrated. Several songs from the album have become staples at Springsteen concerts: "Thunder Road", "Backstreets", She's the One" and the title track, which became Springsteen's first (and perhaps biggest) million-dollar selling single hit.
Although, early familiar with the title track, I didn't listen to the album in its entirety until after Darkness on the Edge of Town.
The album is by most critics considered his breakthrough album and one of his best ever. Naturally, the album is enlisted in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Rolling Stone Album Guide, Sputnikmusic 5 / 5, Uncut, Mojo 4 / 5 stars ]

1975 Favourite releases: 1. Bruce Springsteen Born to Run - 2. Patti Smith Horses - 3. Pink Floyd Wish You Were Here

The Everly Brothers "That'll Be the Day" (1965) (single)

That'll Be the Day / Give Me a Sweetheart, 7'' single

release date: 1965

format: vinyl

[single rate: 3 / 5] [3,18]

producer: Jimmy Hilliard

label: Warner Bros. - nationality: USA

Tracklist: A) "That'll Be the Day" - - B) "Give Me a Sweetheart"

Single release by The Everly Brothers taken from the duo's album Rock'n Soul (Mar. 1965). The title song is a cover song, written by Buddy Holly and Jerry Allison, first recorded by the Three Tunes (aka Buddy and the Two Tones) in 1956 and made famous from a recorded version by The Crickets in 1957.

This particular German issue comes from my parents' singles collection.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Undertones "Teenage Kicks" (1978), ep

A) 1. "Teenage Kicks" (5 / 5) - 2. "Smarter Than You" (4 / 5)
B) 1. "True Confessions" (4 / 5) - 2. "Emergency Cases"

Nina Hagen Band "Nina Hagen Band" (1978)

2. "Rangehn"

Chaos U.K. "Chaos U.K." (1983)

11. "Farmyard Boogie" 

The Band "Stage Fright" (1970)

Stage Fright
release date: Aug. 17, 1970
format: vinyl (gatefold) / cd (2011)
[album rate: 3,5 / 5] [3,68]
producer: The Band
label: Mobile Fidelity Sound Lab - nationality: Canada

Track highlights: 1. "Strawberry Wine" - 3. "Time to Kill" - 6. "The Shape I'm In" (4 / 5) - 7. "The W.S. Walcott Medicine Show" - 9. "Stage Fright" (4 / 5) - 10. "The Rumor"

3rd studio album by The Band originally released on Capitol Records was initially intended as live recordings, which was shelved as rumors about the concert place became too overwhelming with people arrangers selling more tickets than was available, so the end-production setting was established to record the songs as is. The Band make the attempt to continue in their already familier style, but what appear most striking here is twofold: an immediate absence of enough good songs for a full album and what may sound like lack of presence. It's no big secret that the lifestyle they led at this point with too much alcohol and drugs didn't make things easier and tensions withing the band had become increasingly difficult just to stove away, but also Capitol, who had signed the band for 10 albums, was eager to see another album out that summer and pressed the band into the studio.
"The Shape I'm In" and "Stage Fright" are signature tracks and among their very best but the majority of the remainders seem to lack that quality one will find on The Band's first two albums. The album is far from poor but it may feel like a bit of a disappointment, although, it still contains classic material. I think the biggest complaint about the album is the sensation that you know they could've nailed these songs better proving that they could make a lesser song sound great just by being such great musicians as they truly were. And what are the lesser songs, you may ask. Well, songs like "Sleeping", "Just Another Whistle Stop", "All LA Glory" and "Daniel and the Sacred Harp" just don't rocket the band up the charts, but really, they are quite fine examples of an inner perspective that may have changed. And that's really what the album may be about: all the things that came with fame, and for once they sing about their own present story instead of glory days of the past.
The album sold quite well, reaching number #5 on the US album charts list (number #6 in Canada) but it wasn't met by the same overwhelming enthusiasm from critics as their two previous albums, although, most still saw the album as yet another fine classic release from The Band.
I think, it's better than its reputation as their first album out, or a minor release. Later on, the band members talked the album down, but that may likely reflect the negative emotions that tie around their relationships and unsound lifestyle more than this was about their musical skills and what they actually still produced together.
[ allmusic.com 4,5 / 5, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]