Review: Tribute to Uncle Ray

 Tribute to Uncle Ray - Stevie Wonder

Rating: 4/10 (Not Good)

Track Listing (highlights are bolded):

1. "Hallelujah I Love Her So"

2. "Ain't That Love"

3. "Don't You Know"

4. "The Masquerade"

5. "Frankie & Johnny"

6. "Drown in My Own Tears"

7. "Come Back Baby"

8. "Mary Ann"

9. "Sunset"

10. "My Baby's Gone"

Review:

As inconsistent as Stevie's output was back then, I find it hard to get mad at any of these albums. Maybe it is my blind love for Stevie, or perhaps I forgive him because of his age. My best guess is that it is really just Motown's lack of cognizance when it comes to putting together records. Now, I understand that Motown aimed almost entirely at the singles market and put together albums for people who wanted a little more. I get that Motown operated like a music factory rather than an artistic pressure cooker. Yet, some of their decisions were just so bizarre and straight-up bad that it makes me wonder what kind of people they were allowed to assemble records.

Listen, I deeply love Ray Charles, one of my absolute favorite artists. I've probably memorized the originals covered here (along with the rest of his Atlantic singles). Don't you think I am giving this a bad rating because I do not love Ray with all my heart. It's just that Stevie Wonder and Ray Charles are not two artists that you can mix together just because both happen to be blind geniuses. Ray's voice and style are mature, gutsy, and rough, and songs like "Come Back" and "Don't You Know" are very suggestive and sexual in nature. It takes a real master to take on any of Ray's tunes, and as great as Stevie would become by 1972, he was and never can be like Ray. Stevie's greatness lies with intricately crafted smooth R&B overflowing with joy and humanism, a different paradigm entirely. This doesn't mean Stevie's music is unchallenging and boring because it is less "gritty" (you wouldn't say Brian Wilson was inferior to the Rolling Stones because he was less earthly, right?), but this is not the music he should be singing, period.

These six covers very clearly show this issue. Stevie's young age and inability to match the gutsy phrasings of "Drown In My Own Tears" make his cover truly painful to sit through. Maybe if he was a bit older with more singing experience, this would be tolerable, but this is just not a song he could have done well. "Ain't That Love" might look more promising, but it is still a very tough groove that Stevie couldn't handle yet. These are still better than the nauseating covers of "Don't You Know," "Mary Ann," and "Come Back Baby." The LAST thing I want to hear is a prepubescent kid forcing out sexual groans to imitate a grown man. Whoever listened to these tracks and didn't see any moral issues with releasing them is going straight to hell, that's for sure. The other songs aren't too bad, but they're either not terribly impressive or notable (did the world need yet another cover of "Frankie & Johnny?").

Thankfully, he did a great job with "Hallelujah I Love Her So." Maybe I am biased because it is my favorite Ray Charles song, but this is the only one I feel is well suited for Stevie. The original still has strong sexual romantic implications, but it is mainly a song expressing joy for being alive. Stevie capitalizes on that aspect and converts it into an expression of innocent, child-like joy. There's so much enthusiasm and energy to this cover that I don't even care when he misses a note. This one does show Stevie's young charisma much more than the general limpness of the material here.

At the very least, failing to imitate the magic of Ray Charles is much easier to digest compared to failing to adequately cover show tunes and third-rate surf anthems. The material they chose for this album is generally OK and produced at least one winner. Compared to this, the following two albums are much, much worse. Let's just be thankful that this 2-year slump didn't end his career, and the record label eventually got him on the right track soon enough. Luckily for us listeners, we can entirely forget that these early records even existed in the first place.

Review: The Jazz Soul of Little Stevie

 The Jazz Soul of Little Stevie - Stevie Wonder

Rating: 6/10 (Decent)

Track Listing (highlights are bolded):

1. "Fingertips" -> the live single

2. "The Square"

3. "Soul Bongo"

4. "Manhattan at Six"

5. "Paulsby"

6. "Some Other Time"

7. "Wondering"

8. "Session Number 112"

9. "Bam"

Review:

If this album was under anyone else's name, there very little chance anyone would remember this record. It's just easy listening and not a whole lot more. Pretty much all these songs are fine background noise, but most people who immediately hear this record after his classic run are bound to be disappointed. None of the tracks are flat-out awful or dull, and for a debut album, this isn't embarrassing at all. Just don't go tell all your family and friends to buy it or something.

There are pretty much two things that make this lightweight release notable. Number 1: it is made by the greatest genius soul music ever had, and for that alone, it deserves our attention. Yes, none of these tracks are that interesting, but it is indeed Stevie who plays on every song and even has a songwriting credit on two of them (neither of which are particularly noteworthy but hey, they're hardly bad). Stevie plays harmonica, bongos, drums, piano, AND organ on this record without seriously blundering. The fact that he is already capable of this at the young age of 12 is outstanding. Let's cut him some slack for not writing "I Believe (When I Fall In Love)" already.

The other notable aspect is that it features the studio version of his first significant song, "Fingertips." The studio version is pretty decent with its lush sound, but I think there's an obvious difference in the live performance that makes it superior: his harmonica subbing out the flute. His playing is already beautiful and individualistic at this young age, showing technique and passion. He always produces this thin, high-pitched wail from the instrument that profoundly nourishes your soul, every note dripping with warmth, compassion, and friendliness. He can make it jump around, dance, scream with joy, tease, laugh: it is the musical personification of an innocently joyful child playing right in front of you. This charismatic musicianship is what energized that audience, the vibe going so strong it even captured the hearts of listeners who weren't present at the performance, sending it to the very top of the charts.

In the end, this isn't an impressive start, where a lot of this record is defined by the label more than Stevie himself (a problem with Motown in general). Yet, we already get a lot of Stevie's lovable personality visible here and in that first single. It would be a long road to get to Talking Book and Songs In The Key of Life, but when it comes to genius of his caliber, every recording of his is a priceless chapter in the journey to that summit. And besides, an easy listening record from 1963 is so more listenable and enjoyable than a sterilized electronic easy listening record from today. So throw it on if you want some nice background music that pays tribute to future greatness.

Review: Surfin' Safari

 Surfin' Safari - Beach Boys

Rating: 5/10 (Mediocre)

Track listing (highlights are bolded):

1. "Surfin' Safari"

2. "County Fair"

3. "Ten Little Indians"

4. "Chug-A-Lug"

5. "Little Girl (You're My Miss America)"

6. "409"

1. "Surfin'"

2. "Heads You Win–Tails I Lose"

3. "Summertime Blues"

4. "Cuckoo Clock"

5. "Moon Dawg"

6. "The Shift"

Review:

Of all of the first-grade 60s bands, the Beach Boys' early period probably has the worst artistic reputation, commonly viewed as laughably primitive and juvenile in the face of "Please Let Me Wonder," Pet Sounds, and the peaks of Smile. This assessment is...correct, unfortunately, but most of these people approach these albums from the wrong perspective. Of course, this stuff is formative, but tell me, what doesn't crumble in the face of "Surf's Up?" How is it fair to compare these records to such an impossible standard?

The proper perspective is not to start after but before 1962, listening to all of the influences compromising their sound: the breezy riffage of Eddie Cochran, the sharp harmonies of the Everly Brothers, the smooth vocal flow of 50s doo-wop, the sly licks of Chuck Berry, the light-fun/subtle-darkness of the Ventures, Duane Eddy, and other surf-rockers. With that foundation, this record is derivative of their influences for sure, yet each of these songs is a serious attempt to staking their own style by fusing many of them together. Maybe these creative Frankensteins aren't impressive these days, but the freshness and authenticity of such an approach cannot be denied. They weren't just interested in covering their idols: they were aiming to become musical heroes themselves by modernizing these influences, and in that way, they played a significant role in opening up the new era of popular music.

However, this (very important) historical perspective still cannot make up for the fact that the album is mediocre by modern standards. It's impressive when you realize that at the age of 20, Brian Wilson wrote and put most of this together, but that doesn't make up for the record's apparent flaws. Much of this material is either too limp in performing energy (their cover of "Summertime Blues" is so goddamned lifeless) or too derivative of their influences to be taken seriously. Not only that, the songs are cringe-inducingly corny at times. I get that it was a different time, but is "here a mug, there a mug, everybody chug-a-lug" really the best they could have done? The album isn't a disaster or anything, but it's very reasonable why someone would ignore it today.

If there are two things are going for them, it's that they are attempting to write their own material and gelling impressively well as a vocal combo. When they put their harmonies to a rock n roll beat on songs like "Ten Little Indians" or "409," the intriguing vocal layers they create are pretty interesting. And even if some of their compositions are still pretty embarrassing, occasionally they strike upon a genuinely good piece of songwriting. "Surfin' Safari" is honestly a very good song. Perhaps the vocal performance is underwhelming compared to something like "I Get Around," but the vocal hook is catchy and memorable. They don't mess anything up here, which is why it was a deserved top 20 hit. 

And yes, the hipsters are correct: "Cuckoo Clock" is a great song that can proudly hold its ground against anything they made before 1964. Not only is that vocal melody gorgeous, but also there is a genuinely sad, heartfelt undercurrent here. Doesn't Brian's vocal performance sound oddly morose for a song about an inanimate cuckoo clock? Why do the lines like "I took that clock apart. I broke the cuckoo's heart. He'll never bother us again. We just forgot about him" sound so painful and tragic coming out of Brian's mouth? I have no idea why a cuckoo clock stimulated Brian to display his bleeding heart so openly, but the fact that I can empathize with him is nothing short of incredible. This is truly the beginning of Brian's introspective journey through his music, inserting himself into these pop-rock songs to make the hit much harder than they really should.

So, this is nothing more than an early attempt to establish their presence commercially (and maybe even artistically). Outside of the two best songs here, not much is treasurable in the present day. An early single like "Surfin'" has historical value but not much in terms of modern enjoyment. Yet, the diverse range of influences, the freshness of the approach, and the best songs on here show that this band wasn't planning on stopping here, and the Wilson brothers' dedication to expanding their musical boundaries is quite evident. Only an asshole would call Picasso's childhood sketches "laughable," so why should that mindset apply here? Chalk this up as an intriguing beginning to a glorious career.

Review: Bob Dylan

 Bob Dylan - Bob Dylan

Rating: 8/10 (Very Good)

Track Listing (highlights are bolded):

1. "You're No Good"

2. "Talkin' New York"

3. "In My Time of Dyin'"

4. "Man of Constant Sorrow"

5. "Fixin' to Die"

6. "Pretty Peggy-O"

7. "Highway 51"

8. "Gospel Plow"

9. "Baby, Let Me Follow You Down"

10. "House of the Risin' Sun"

11. "Freight Train Blues"

12. "Song to Woody"

13. "See That My Grave Is Kept Clean"

Review:

It's almost heartwarming to look back at the humbleness of this album nearly 60 years after its release. I mean, there you have the legend himself, looking back at us with that inobtrusive confidence. Nothing here remotely screams "grand artistic vision" or "bold cockiness," instead boasting no more than two quite ordinary original compositions and a bunch of folk/blues standards. By the looks of this, I don't think Bob would have believed that in just 3 years, he would be hailed one of the century's greatest artists. He takes minimal risks on the record, firmly intending this to be a toss-off. As a result, it is his least acclaimed album of the 60s, forever overshadowed by the monumental impact of Freewheelin'.

Yet, blame it on his magical presence: I absolutely love this record, and it's been one of my favorite Dylan albums from the first time I heard it. I understand it's formative and imperfect, but that is precisely why the album is so precious: it's the rawest form of Dylan we ever got. This is the only time we can catch him without a mask and get to see the man for who he is, even if it is through Bukka White, Blind Lemon Jefferson, and the others he covers. Once he began towards Freewheelin', Bob Dylan the musical enigma would be born. From then on out, it was impossible to tell whether he was being serious or playing a prank on us feeble listeners. He became the impenetrable genius that we all revere but struggle to understand. Here, we get Bob Dylan the ordinary, honest, lovable human being, a rare treat that I never will stop cherishing.

Yes, hardcore fans will probably take an issue with the lack of original compositions and complain that the covers are unremarkable. I can definitely understand the problem with the former: Dylan is at his best when guiding the ship the whole way through. Yet, suggesting the latter is akin to dismissing the early Stones as "boring blues covers" or the early Beatles as "teeny twee pop." Dylan was a great poet and songwriter, but what made him intriguing was his charisma, performing, and voice above everything else. Each of these covers is special because it is Bob covering them, and he has quite a lot of personality to spare. If you cannot see how Bob covering old folk/blues standards can be great, it will be hard to understand the big deal about albums like Bringing It All Back Home.

You don't need to hear more than the first track to get what John Hammond saw in young Dylan. Jesse Fuller's original is a lovely dance tune, but it is still fairly typical in form compared to other types of danceable country blues (Blind Willie McTell, for example). Dylan's version is so much juicier vocally, where every moment has an exciting vocal acrobatic move. It's a delight to hear him give the song a sharp rock n' roll edge with all those strange but effective vocal twists. This already reveals the greatness of Dylan the singer, prima facie ugly and unpleasant but with further listens becomes impressive and cuts deep. I would even compare his use of vocals to how Hendrix would wield his guitar: highly unconventional and harsh on the ears, but they use their musical weapons in such unique ways that it unlocks a mind-blowing palette of emotions. Add in his highly expressive style of harmonica playing, from the tight attack on "Gospel Plow" to the quiet melancholy on "Man of Constant Sorrow," and you got yourself a highly original performer who could put his stamp on anything you give him.

Even more impressive is how successfully he pays tribute to the giants of acoustic blues: Blind Willie Johnson, Mississippi Fred McDowell, Bukka White, and Blind Lemon Jefferson are all represented. There's no way that Dylan could match the technique of McDowell or Lemon Jefferson, but with his charisma and voice, each of these covers is successful. "Freight Train Blues" is fast and funny, and "See That My Grave Is Kept Clean" unlocks the subtle menace only hinted at in the original. The real cream of the crop are "Fixin To Die" and "In My Time of Dyin'," where his strained, forceful wails on both truly sound like a man groaning in pain in his last moments. 

Despite the excellent interpreting and performing, some of Dylan's most significant trademarks are established here. "Talkin' New York" is the first of his many great talking-blues songs (though I wish he put the hilarious "Talkin' Bear Mountain Picnic Massacre Blues" instead). He records his signature rendition of "Baby Let Me Follow You Down," becoming a staple of his live act. We even get a kickass performance of "Highway 51 Blues" (much darker in tone than "Highway 61 Revisited" indeed). The most famous number on his debut is the cover of "House of the Risin' Sun," one of the most famous (and best) versions. The timbre of Dylan's voice is so powerful that all he needs to do is sing it at a soft volume for it to become harrowing. Von Ronk tried his very best, but his delivery was no match for Dylan's beaten-down, skin-crawling groan. When the Animals would do it, they would make it a fiery, passionate warning call but lost a lot of this version's subtle terror and internalized world-weariness. 

Though, my favorite song on the record (and honestly one of my favorite Dylan songs) is the beautiful "Song To Woody." I get that it is just nicking off Woody's "1913 Massacre," but it is one of Bob's rawest, most sincere performances. Dylan confesses his deep affection for his musical heroes, almost as if he knew his great journey was about to begin and wants to get a last blessing from his idol. I feel only big music fans can sympathize with it: few songs express a deep-rooted love for an artist you love as a parent. The only flaw of the number is that it should have been the finale: the final farewell before the real show begins.

So, while it is possible to start your journey with Freewheelin' and entirely ignore this record, I personally feel that would be a great loss for the listener. To continue the previous analogy, it would be like doing the same thing with the Beatles with Rubber Soul or the Rolling Stones with Aftermath: that approach is easier to take, but with great artists, the journey to the peak of the mountain is much more rewarding than simply focusing on the highlights. Not only does this record capture his inner essence incredibly well but also is so much fun. It may not be outstanding, but he does this album with lots of energy and an impressive emotional range. If you like roots music and Dylan, it will be a delight. And even if this record doesn't do much for you, pay your respects to it anyways: it is the beginning of one of the 20th century's most iconic artists. How could you want to miss the very beginning of that?

Review: I Want To Be Loved - Rolling Stones

"I Want To Be Loved" - Rolling Stones

From: Come On / I Want to Be Loved (1963)

Composer: Willie Dixon

Review:

I actually prefer this one to the A-side by a good margin. To be fair, "Come On" is one of Chuck's finest and "I Want To Be Loved" was a minor song for Muddy Waters, but at least here they found a much more interesting angle here. The original was seductive in an aggressive way, where the harmonica and band crash down on each beat as Muddy tries to lure you into his love trap. The band doesn't even try to creep under your skin like Muddy. Instead, they make it a bouncy pop number by squeezing out all of the menace, the harmonica and guitar lines friendly instead of brutal. It might be a "sell-out" compared to the original, but it's pretty fun anyway. And hey, when Muddy re-recorded the song, his band clearly emulated the Stones' interpretation, so it's gotta be solid if the master approves of it, right?

Review: Come On - Rolling Stones

"Come On" - Rolling Stones

From: Come On / I Want to Be Loved (1963)

Composer: Chuck Berry

Review:

This is it: the very first release of the Rolling Stones. I do find it interesting that Keith, of the plethora of great Chuck Berry songs to choose from, decided on this one as their first. The original was one of Chuck's most elaborate performances ever with those rising horn swoops and the fluid melodic guitar playing. This version couldn't hope to live up to that perfection, not only because they lacked the horns and backup singers but also because Keith wasn't ready to beat the master at his own game yet. It was an ambitious move to take on one of Chuck's most beautiful compositions, but it was almost guaranteed to not fully succeed.

Yet, I kinda like it anyways. Although the band didn't possess technically impressive chops yet, they already were gelling quite well as a ensemble. Each of those guitar bursts, with the tight rhythm section, sounds fairly effective. Mick even shines a bit here: the vocal performance is generic, but the harmonica swoops help compensate for the lack of horns. Above all, the echoey subtle darkness and nastiness of the band are already starting here. So, it is not a terribly impressive debut single that adds little to the original, but I think it's a solid performance here all the same.