James Taylor - One Man Dog

James Taylor - One Man Dog
Produced by Peter Asher
Record at James's house; A&R Recording, New York; Clover Recorder, Los Angeles
Warner Brothers, 1972

James Taylor's fourth album came as a bit of a surprise for his fan-base when released in 1972. One Man Dog is a care-free collection of short songs strung together to create, more-or-less, a continuous piece of music, different from his earlier releases. The album ranges from the mellow, self-conscious, semi-autobiographical folk-pop that James Taylor was known for, to more horn-driven upbeat acoustic jazz and funk numbers, a style he touched on in his early years. But most surprisingly, the LP ends with and an intriguing and ambitious musical song-suite, a change in direction which divided fans somewhat. Due to stylistic differences and experimentation, One Man Dog is a largely overlooked record that rarely features amongst a list of his best work.

By 1972, James Taylor was one of the most successful American singer-songwriters with the multi-platinum albums Sweet Baby James and Mud Slide Slim And The Blue Horizon and numerous top-ten hits. One Man Dog was eagerly anticipated before its release in November 1972, however, it stalled at #4 on the US charts and reception and sales were lukewarm. The criticism directed at this album, despite the appearance of stars such as Carly Simon and Carole King, claim that the songs are too brief, a bit amateurish, and seemingly half-baked in comparison to his earlier, more realized records. However, the sketch-like ideas is the exact reason why I love this record. One Mad Dog is an inspired folk-pop LP, with acoustic jazz and funk instrumentals alongside quirky pop vignettes, all recorded in a very home-made, off-the-cuff fashion.

One Man Dog opens with song 'One Man Parade', a minor US Hit and a tuneful, wistful and summery folk-pop number. The song has some good percussion playing and care-free lyrics about the simplest pleasure in life. A terrific opening song, 'One Man Parade' is one of the more underrated singles in Taylor's career. Next up is one of my favourite songs, the honest 'Nobody But You'. A lovely pop song with lyrics written and sung with such blunt sincerity, something Taylor had become famous for. The next few songs are lovely short tunes such as 'Chili Dog' and 'New Tune' and an instrumental, which all come under the half-finished category. The briefness and playfulness of these tunes is addictive and continue this care-free, home-spun vibe which I adore. The album picks up a bit commercially on the catchy Danny Kortchmar (JT's longtime sidekick) penned tune 'Back On The Street Again' and the albums' sole hit, the top twenty US hit. 'Don't Let Me Be Lonely Tonight'. The latter is an easy highlight; tuneful, good lyrics, and has that signature James Taylor sound.

Inside Cover of Vinyl

A highlight of Side B is the charming traditional folk ballad 'One Morning In May', a duet with Linda Ronstadt. A charming piece of music and is a showcase for Taylor's smooth and warm tenor. Interestingly, the legendary English Jazz guitarist John McLaughlin wrote the song 'Someone' for this album, an interesting fusion of folk and jazz. The results are breath-taking as McLaughlin's guitar weaves around Jame Taylor's soft tenor beautifully. The last six tracks on One Man Dog are strung together much like The Beatles Abbey Road from a few years previous. It is an adventurous 10-minute-long medley complete with horns, bells, and even a saw and hammer on the fun number 'Little David'! Overall, the medley flows quite nicely and is a solid end to the record and has some nice gospel moments, such as on the righteous 'Hymn'.

What really grabs me about One Man Dog is the spontaneity, playfulness, and humor, which probably lacks in all of JT's subsequent releases. He was never able to capture this sound again, probably a reflection of where he was during this time of his life and the fact that the album was mostly record at his home studio. I am disappointed that One Man Dog was greeted with a lukewarm reception at the time as I think it is a very creative and enjoyable record. Yes it does lack the song-craft of Sweet Baby James and Mud Slide Slim but it makes up for it with warmth, charm, and an unmistakable down-to-earth atmosphere which Taylor would slowly lose over the years. A must have for even the casual James Taylor fans and any lovers of great American folk-pop music.

Key Tracks:

One Man Parade
Nobody But You
One Morning in May
Someone

If you enjoyed this album, check out:

America - Hat Trick
Jackson Browne - For Everyman
Graham Nash - Wild Tales
Paul McCartney - McCartney or Ram

Richard Thompson - Henry The Human Fly

Richard Thompson - Henry The Human Fly
Produced by Richard Thompson and John Wood
Recorded at Sound Techniques Studio, London
Warner Brothers/Island/Reprise/Hannibal/Fledg'ling, 1972

Henry The Human Fly is the very obscure debut album by British folk rock guitarist Richard Thompson. Released in 1972, it is reported that this record was either the worst selling album in Warner Brothers history or the quickest record to be deleted from their catologue. Both claims I can't confirm but it is certain that the LP was very poorly received both critically and commercial at the time and faded into history. Sadly though, Henry The Human Fly is a great record and it successfully combines British folk music with rock n' roll, with a very unique and original twist. Furthermore, It features guest appearances from ex-Fairport members Sandy Denny and Ashley Hutchings as well as Thompson's future with Linda Pettifer.

After leaving Fairport Convention in 1971, Thompson worked as a session guitarist and began to write his own songs, formulating a style far different from other folk rock music at the time. The idea for to record a Richard Thompson solo record was reportedly not a planned career move, but one that happened organically over time. The result were a strangely captivating hybrid of folk and rock, however, it is easy to see why the record never caught on with critics and the record buying public. The folk is not 'folky' enough, and probably too electric and eclectic for his Fairport fan base and the rock isn't 'rocking' or 'cool' enough to gain a more broader mainstream appeal. Henry The Human Fly sits out on its' own musically and lyrically and far more idiosyncratic than his work in Fairport Convention. Despite its obvious peculiarity, if you approach the album upon its own merits, it will reveal itself as an exceptional record - a true musical outlier!

The record opens with the rough 'Roll Over Vaughan Williams', led by a trademark Thompson lead guitar riff which swirls and drones ominously. A tough tale about street life, the song is crunchy and raw, as though a British pub band was trying to tackle a traditional folk tune. The song is quite unique, and the accordion and guitar interplay is jarring and borderline un-listenable, however the combo makes for a scintillating opening and one of my favourite Richard Thompson songs. The next two tracks 'Nobody's Wedding' and 'Poor Ditching Boy' are more traditional folk in terms of arrangements and have a timeless feel to them. However, both have original musical arrangements and bizarre lyrics, further moving Thompson away from his Fairport Convention days. Both songs focus on Thompson's acoustic playing rather than his electric and the sound is filled out by violin, accordion and even a whistle, most notably on on the gorgeous tune 'Shaky Nancy'. Thompson further shakes things up on the pop-folk of 'The Angels Took My Racecourse Away' in which he blends chugging electric guitars and accordion to the story of a beloved racehorse being poisoned! On side B, notable songs like 'The New St. George' and 'Painted Ladies' are more traditional folk songs with that unique Thompson twist. All the songs demonstrate a developing sound and style which would be fully realized on his next LP; the timeless I Want To See The Bright Lights Tonight.

Henry the Human Fly is quite unlike any other record I have heard. Its odd, unique, familiar, and different all at once, I can't quite compare this mysterious release to any other records. Thompson's lyrics and subject matter is what makes this a very strange record, full of dark, humorous, and sad stories which are cleverly written and expertly performed. Furthermore, Thompson's guitar playing is incredible, so intricate yet so simple and easily recognizable, surely he must be one of the most accomplished players in his field. Henry The Human Fly has largely been dismissed (along with Thompson himself I believe) and has faded into obscurity. I urge fans of Richard Thompson' solo work to engage with this album as this is where it all began in all its strange and mysterious glory.

Key tracks:

Roll Over Vaughan Williams
The New St. George
Painted Ladies
The Angels Took My Racehorse Away
If you enjoyed this album, check out:

John Martyn - Solid Air
Nick Drake - Bryter Layter
Fotheringay - Fotheringay

The Band - Moondog Matinee

The Band - Moondog Matinee
produced by The Band
Recorded at Bearsville Sound Studios, Bearsville, NY; Capitol Studios, Hollywood, CA; New York, NY
Capitol Records, 1973

Moondog Matinee is a covers LP released by the legendary Canadian group The Band in 1973. An often neglected record, to me Moondog Matinee maybe is the most misunderstood record in their discography full of beautiful singing and tight grooves. After releasing to of the most influential records in the latter half of the 1960's, the incredible Music from Big Pink and equally impressive The Band in 1969, the group had sadly begun a creative decline, most probably due to internal squabbling over royalties and songwriting. After the ill received and musically chaotic Cahoots in 1971 and the live LP Rock of Ages the following year, The Band were clearly low of inspiration and needed to go back to basics. The decision to record a covers LP is seen by many as a sign of a creative nadir for songwriter and guitarist Robbie Robertson and the low-point for the group. However, I view Moondog Matinee  as the perfect anecdote for their dry spell and became subsequently their most focused record in years and the inspiration for some of their finest work yet to come.

Moondog Matinee is a joyous, slick, and thoroughly likable record full of modest recreations of songs which were features of their mid-sixties set-lists when they were know as The Hawks. From the punchy opener 'Ain't Got a Home' to the bizarre show tune instrumental, 'Third Man Theme', Moondog Matinee is a start-to-finish brilliant album. The group are tighter than ever and approach each song like the are playing at a sweaty club in the early sixties, with energy and slickness which had not been heard from the group in years. The Band are at their rocking best on 'I'm Ready' and the Chuck Berry's 'The Promised Land' and their most beautifully tender on the Richard Manuel sung 'Show Your Love'. With nods to Allen Toussaint on the records horn arrangements and the funky 'Holy Cow' and 'Mystery Train', Moondog Matinee is the sound of a band getting their groove back and rediscovering their love of playing. Levon Helm and the others' voices are on fine form sounding clearer and energized after the lackluster performances on Cahoots. The only downspot is the slightly underwhelming version of Sam Cooke's 'A Change is Gonna Come' (still a lovely version!) a mere blip in an otherwise flawless piece of work.

Moondog Matinee is widely viewed as a largely unimportant album when comparing to the quality and the difficult-to-overstate importance of their first two or three records and was dismissed by members of the group. As the music is unoriginal and the overall influence of the album minimal, the above position is arguably a correct observation to make about Moondog Matinee. More over, I feel that this record was a much needed step for The Band - a necessary reevaluating project for them. Not only did it refocus the group and tightened their sound, it inspired Robbie Robertson as a songwriter by The Band revisiting these old classic songs. As a result, Robertson went onto to compose some of their finest songs such as 'Ophelia' and 'Arcadian Driftwood' on their subsequent release, Northern Lights - Southern Cross. After Moondog Matinee, the group collaborated with Bob Dylan on the roots-rock classic Planet Waves and returned to forefront of American music on the Before the Flood joint tour with Dylan in 1974. Without the energizing Moondog Matinee, it is hard to see how The Band could have carried on making cultural important music and continue through until their final The Last Waltz concert in 1976. Undoubtedly, this record is vital in the history of The Band and can be viewed as a perfect anecdote to a period of musical uncertainty.

Key tracks:

Ain't Got a Home
Holy Cow
The Great Pretender

If you like this record, check out:

Allen Toussaint - Southern Nights
Eric Clapton - There's One in Every Crowd