Tag Archives: 1973

Yoko Ono-‘Feeling The Space’: A 1973 Jazz/Funk/Rock Journey Of Female Liberation

Yoko Ono’s had her career in conceptual art during the early 60’s-including her association with the avant garde art movement Fluxus. Her musical involvement came through working with John Cage and through her second husband-film producer and apparent jazz musician Tony Cox. She became infamous through her marriage to John Lennon. It was with him that she finally pursued her own recording career. Her first two album was direct companion piece to John Lennon’s Plastic Ono Band-released in 1970. After this, Ono’s music career gradually expanded outward in another way.

With Ono finding herself increasingly withdrawn romantically from her all too close marriage to Lennon,  it would seem to me that the pair were finding themselves still peripherally involved in the others life. All the while remaining on very different life paths. To hear Yoko tell it? Her musical/art career began to regain serious power during the mid 1970’s,while John’s lifelong emotional insecurities got the best of him during his self named “lost weekend”. Yoko found herself as an empowered woman on a serious mission.

With access to an all star band of musicians such as David Spinozza and Michael Brecker? She was able to continue realizing her vision. Songs such as the flute powered “Growing Pain”, “Run Run Run” and “Angry Young Woman” are soulful, electric piano led ballads while “Yellow Girl (Stand By For Life)” and “Man Man Man” both have stomping, swinging cabaret jazzy blues rhythmic flavors about them. “Coffin Car” has a grinding blues/rock vibe that is repeated on the cooler “She Hits Back” while “If Only” is a harmonica led country/blues type ballad.

“A Thousand Times Yes” is a rhythmically clean jazz-funk number not too far from something the Crusaders might’ve done at this time while “Straight Talk” updates the rock ‘n soul shuffle of “Instant Karma” from her viewpoint. “Woman Power” is a stomping, percussive funk rocker with a rapped vocal from Yoko. “I Learn To Stutter” is a live spoken intro to a version of “Coffin Car” where Yoko talks of how the press attack that accompanied her marriage to Lennon deeply effected her emotionally. “Mildred” is a swinging, nightclub friendly piano ballad.

This album finds Yoko having made up her mind about her musical conceptualization for that time period.  She positioned herself as a jazzy soul/funk oriented artist. One with a lot of blues and pop song structure. As for her take on feminism?  She was now totally confident that women (both in and out of her own position in life) should allow their voices to make a difference. In a way? This is something of the graduation from the school of being Yoko Ono. Her marriage to John Lennon was on hiatus. Yet her art surely wasn’t suffering for it. One of Yoko’s most powerful and musically adept releases.

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Get It Together@44: The Jackson 5 Get A Brand New Thing

The Jackson 5 arrived at an important crossroads in 1973. Their recording career at Motown began with a string of four record breaking #1 pop and R&B hits for this literal band of brothers during 1969-1970. And the success continued fairly well over the next couple of years-with songs such as “Never Can Say Goodbye”,”Sugar Daddy” and “Little Bitty Pretty One”. By 1973, the youth appeal of the Jackson’s faded fast. These were now teenagers and young adults-with Tito Jackson already married and Jermaine engaged to be so. Was there a way for the Jackson’s to maintain their career in another way?

The mid 70’s arrived with changes to the music scene as well. The 2-3 minute,melodic and uptempo soul singles Motown had helped pioneer were giving way to a new sound. A cinematic,orchestrated sound with harder, funkier rhythms. The incoming funk era was based more on instrumentation than vocal groups singing refrain/chorus based songs. The Temptations had already taken this into account in the late 70’s-changing the base of their music to a more abstract “psychedelic soul” sound with the help of producer Norman Whitfield. Now it was time for the Jackson 5 to come of age.

The first Jackson 5 album of 1973 was Skywriter, a more musically diverse album that tried to offer more to the changing voice of 14 year old Michael Jackson. But the idea of a teenager singing so seriously about seduction on a cover of the Supremes song “Touch” went against the Jackson’s wholesome,youthful appeal. And (to me) wonderful songs such as the bluesy “The Boogie Man” and the more progressive funk/soul of the title song didn’t allow the album much success. It wouldn’t be until September 21st of that year that a change began to happen. Here’s what I wrote four years ago about it.


1973 was spelling out to be the year that would sink the Jackson 5’s thus far unbeatable luster at Motown. Skywriter and Michael’s solo album Music & Me had both been creative triumphs but huge creative failures. The brothers would all come to blame this on the fact that Motown was not welcoming their own input as songwriters and producers. In short,the Jackson’s were faltering because the realities of a music industry where artists were treated as commodities to be bought and sold had taken part of their innocence away.

Yet as the year progressed,Motown was suddenly no longer the mainstay of the pop/R&B scene anymore. The success from the O’Jays and Harold Melvin & The Blue Notes had made Gamble & Huff’s Philadelphia International Records the main focus on that level all of a sudden. And this began to fascinate the Jackson’s and their creative team to an enormous degree.

Inspired by this,the Jackson’s elected to musically refocus some so it seems. And one day in the summer of 1995,I managed to find someone to locate the then extremely hard to find 80’s era cassette tape of this album-not having a clue what to expect. Now that its thankfully available on CD? I can at last illustrate to others lovers of funk,soul,R&B and Motown the many wonders that this album has to offer.

The title song opens up the album. Its filled with the string orchestrations of the Philly sound. But the primary rhythmic nature of are these powerful layers of wah wah guitar,bass lines and an almost reggae style bass/guitar bridge. Michael’s nearly matured singing is heard with all it’s James Brown styled cries and accents-his iconic future already firmly in place. “Don’t Say Goodbye Again” is another Philly type midtempo groove-with a rather more resigned and adult take on romantic loss.

“Reflections” is the only interpretation that is actually relatively close to the original song. The 8+ “Hum Along And Dance” bares hardly any resemblance to the Temptations/Norman Whitfield original. Breaking out with organ,rock guitars,intense percussion,an almost Police Siren type synthesizer line, the song is a psychedelic funk/soul/dance behemoth-closing with a rather Spiritual/gospel West Indian drum style and choral vocal harmonies-with a mild Native American influence as well.

“Mama I Got A Brand New Thing” is another elongated number punctuated by a strumming acoustic style guitar and zig zagging and melodic synthesizer lines. “It’s Too Late To Change The Time” is right on time with Leon Ware acknowledging the rise of the reggae genre musically with the melodic,harpsichord led hook of a classic Jackson 5 number.

The lyrics have a reflective observation of the world at that time as well. “You Need Love Like I Do (Don’t You)” is a bassy, hand jive led funk number with a driving bass and harmonies that segues into the original full version of “Dancing Machine”-which led the way towards what would soon become the disco era of course.

Not too long after this album was released,the title song became a decent sized hit-though not to the level I feel it deserved. That being said? The albums last song “Dancing Machine” is the song that,when released as a single edit the following year ended up completely changing the Jackson 5’s commercial fortunes and bringing them their first top of the charts single since their 3 hit punch in 1970,really. In a way,this would become the last album of the Jackson 5 as part of the Motown family.

The two albums released in the two years following this album were released during a period of legal battles as they sought to split themselves from Motown for the purpose to gaining the creative control they felt they required for their music to succeed and grow further. This albums elements of funk,orchestrated soul and different world music/psychedelic instrumental turns led to this not only being something of a fully unified album statement for the Jackson’s.

But also heavily reflective of the transition from the funk era (in which this album was released during) and the disco era which would come later in the decade,and in which the by then creatively liberated Jackson’s would be a huge part of. But the road to that album starts right here-probably the Jackson brothers first fully formed and mature creative musical statement.


Get It Together was, and continues to be, possibly my very favorite full length album by the Jackson 5. I emphasize albums because of a conversation with my father when I first purchased this album. He wondered why I was at all interested in a full Jackson 5 album that wasn’t a greatest hits set. When I asked him why, he described the band as inconsistent. I didn’t know what the term meant then. But now, it does bring up an important point about how the Jackson 5 were perceived then. This was a carefully crafted cycle-with all songs flowing into the other for a strong album funk sound.

In terms of the Jackson’s music for Motown, Get It Together might’ve been the beginning of the end in terms of the bands love affair with what the label could offer them. Still, this was truly their coming of age album. Mike’s vocal hiccups, a trademark of his blockbuster solo career, first showed up on this album. Norman Whitfield helped put the album together-utilizing future Commodores arranger/producer James Anthony Carmichael in the process. Members of Motown’s LA session musicians-among them Crusaders such as Joe Sample and Wilton Felder, played on the album as well.

What I personally remember most about Get It Together the intersection between myself and the Jackson’s at the time of first hearing it. I was about the same age at the time as Michael Jackson had been during the time he and his brothers recorded this album. And as with Mike, my own creative outlook (especially with music) was growing independent from that of my family and social acquaintances. That experience with Get It Together taught me that sense of creative independence is key to growing up. And I have the impression this album has impacted many others in similar ways.

 

 

 

 

 

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Anatomy of THE Groove: “Inside Straight” by Cannonball Adderley

Julian “Cannonball” Adderley’s musical output and history is such a vast subject, I find it somewhat intimidating to write about. The Tampa native and his trumpet playing brother Nat were playing with Ray Charles in the early 40’s. After his musical studies and years of  band leading positions, he was noticed by Miles Davis for his blues rooted approach to the sax. His works with Miles included albums such as  Milestones  and the modal jazz classic Kind Of Blue. Miles’ musical journeys, from avant garde to electric jazz fusion, continued to inspired Adderley’s own music until his passing in 1975.

One idea that Cannonball and his brother Nat did at different times in the early 70’s were a pair of albums with their own groups with the subject matter being a lighthearted look at astrology. That was the side of Cannonball and Nat Adderley’s artistry that I’m most familiar with. Another album of Cannonball that was played around the household a lot was a 1973 album called Inside Straight. It was a live in the studio session recorded at the Fantasy studios in Berkeley, California. The song that got my attention right from the get go on the album is the opening title song.

Roy McCurdy’s  in the pocket drumming gets the groove going at 88 bpm, with Hal Galper’s Fender Rhodes and Walter Booker’s bass clomping along rhythmically right along with it. Cannonball plays an equally rhythmic 12 bar blues melody in his classic style over this-giving the song a strongly themed chorus. He improvises on this theme for much of the second minute of the song. On the second chorus of the song, someone (likely Cannonball) is making a squawking, almost flatulent like vocal horn effect. The choral theme of the intro fades out the song.

“Inside Straight” is just the kind of hard bop/soul jazz/funk process type of groove that shows how vital Cannonball’s music was in the early 70’s. Especially in terms of the evolution of jazz into the funk era. The groove itself is very straight forward and clear-its relatively slow tempo allowing Cannonball’s funky improvisations to really take flight. It really embodies how distinct Cannonball’s approach to sax was to allow it to evolve. That common ground between he and Miles Davis’s approach to music is really what makes this such a standout Cannonball Adderley number for me.

 

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Anatomy of THE Groove: “Joy” by Isaac Hayes

Isaac Hays, born in Covington, Tennessee in 1942 was raised by his grandparents. He was encouraged to finish high school several years after dropping out due to the encouragement of his teachers. After turning down musical scholarships from several universities, Hayes began performing in the late 50’s as a teenager. By the mid 1960’s, he and David Porter became one of the major songwriting partners at Stax. Especially for the duo Sam & Dave. His solo debut Presenting Isaac Hayes wasn’t a big success in 1968. But its jazzier orientation pointed in a vital new direction for his music.

By that time, Stax was in trouble. Otis Redding had died with most of the original Bar Kays in a plane crash. And Atlantic Records had absorbed most of their back catalog. As a label functioning with no music, label owner Al Bell decided to have its remaining artists to record 27 new albums to give Stax new content. Hayes’s sophomore album Hot Buttered Soul was the most successful in 1969. Its extended, jazzy and psychedelic treatments of his own songs and interpretations became his signature sound. Even through his record breaking 1971 soundtrack for Shaft.

With Shaft, Hayes had basically created the production template for the disco era. That was elongated dance songs with heavy string and horn orchestration’s. As the disco era arrived in earnest, Hayes mid to late 70’s albums swam right along with the tide his earlier 70’s works had initiated. Not to mention his continuing soundtrack work for movies like Truck Turner and Three Tough Guys. As similar artists like Barry White ascended to popularity, some of Hayes’ albums got lost on the musical public. One of them was an album with an amazing title song entitled “Joy”.

A 7 hit drum beat (with plenty of hi hat around the middle) starts off the song at an approximately 80 BPM’s-which continues throughout the rest of the song. Then the snaky bass and distant seeming wah wah guitar accents chime in. From there, the strings rise up in volume right into the song-spiraling horn charts in the back round. A sustained organ swirl also joins the mix. A bluesy fuzz guitar plays to Hayes’s vocals. On the b section of the chorus, the melody gets a bit higher key with the orchestration.  The song fades out with a long,grunting extended refrain.

At almost 16 minutes, “Joy” is one of those early 70’s funk operas. It actually reminds me a little bit of Barry White’s “I’m Gonna Love You Just A Little More Baby” from the same year. Its among the faster of Hayes’ usual extended ballad approach of the earlier 70s. Still, Hayes’ distinctive psychedelic and jazz tones keep this distinct as cinematic soul/funk was becoming more the mainstream at the time. And its for that reason that its actually one of my favorite Hayes’ solo numbers along with “Theme From Shaft”, “Groove-A-Thon” and his epic version of “Walk On By”.

 

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