Seventies • “Yes” poses
for a promotional photo. Of those
on the list, Yes is the only band that
continues to perform.
’70s
back with a vengance
By Jon Matsumoto
Online Forty-Niner
Staff Writer
Arguably rock’s finest decade, the 1960s featured numerous artists like
Bob Dylan, the Beatles and the Velvet Underground that transformed music into
something artistically and culturally revolutionary.
The 1980s was a decade where alternative rock galvanized the musical underground,
rap became a creative force, and extreme forms of punk and heavy metal invigorated
disillusioned youth.
Sandwiched between these two dynamic eras was the 1970s, which is often viewed
with a certain disdain by rock critics and cultural anthropologists. Despite
launching the first salvos of the punk movement, the ‘70s is often perceived
as an era of excess when music became big business and it was just as important
to be a rock star as a rock artist.
But to blindly dismiss the music of the ‘70s are inconsequential is to
deprive oneself of a huge amount of quality music that has endured quite well.
Here’s a look at some recently released or re-released albums from the
era of bellbottom trousers and wide neckties.
Queen. “A Night at the Opera.” Hollywood Records. 1975.
The regal British quartet is best known for songs like “We are the Champions” and”“Another
One Bites the
Dust”—longtime favorite anthems at professional sporting events.
But 30 years ago, Queen released this ambitious album that stands as one of
the signposts of ‘70s rock. “A Night at the Opera” contains
British cabaret-music hall type tracks, smoking rockers, catchy ballads and
one operatic rock song called “Bohemian Rhapsody” that is more
like two or three songs tied into one. The diversity stems from the band having
had four quality songwriters with very different influences. The flamboyancy
comes courtesy of vocalist-pianist
Freddie Mercury, who died of AIDS related complications in 1992.
Queen was pompous and its members reveled in being rock stars, thus perpetuating
the view the ‘70s was about self-indulgence. But there is no denying
the tremendous imagination and inspiration that infuses “A Night at the
Opera,” particularly tracks like the majestic rocker “The Prophet’s
Song” and the moving “Love of My Life.” Plus, it’s
hard not to get caught up in those glorious vocal harmonies that appear to
have been overdubbed about 50 times to give songs like
“
Bohemian Rhapsody” its grand, billowy effect.
Hollywood Records recently released a deluxe version of”“A Night
at the Opera.” The new version features remastered stereo sound as well
as a 5.1 surround sound DVD mix of the album. The DVD disc contains band commentary,
new and old videos to coincide with each song on the album.
Yes. “The Word Is Live.” Rhino. 2005.
Yes is another ‘70s band critically skewered for its musical high-mindedness.
The English group, which continues to
perform today, takes the instruments and energy of rock and applies them to
material more symphonic in nature. Yes tracks sometimes flow for 10 to 20 minutes
and include grand arrangements and hopelessly cosmic lyrics.
Pretentious? Maybe. Unique, musically sophisticated and instrumentally formidable?
Absolutely.
Unlike jam bands such as Phish and the Dave Matthews Band, there is nothing
improvisational about Yes’ lengthy musical excursions. The music is charted
like a Beethoven symphony.
What makes Yes special is that its so-called “progressive rock” manages
to achieve the right balance between rock fury and classical music elegance.
It doesn’t hurt that guitarist Steve Howe, bassist Chris Squire, drummer
Alan White and keyboardist Rick Wakeman also happen to be the best instrument
players in popular music.
“
The Word Is Live” is a three-disc set that comes packaged in a compact
hardcover book featuring handsome photos and text written by fans. The collection
compiles live tracks between the band’s early days in the 1970s through
its late 1980s mid-period. Because many of the band’s more popular songs
have been previously released on other live discs, “The Word Is Live” concentrates
on lesser-known pieces. The fact that the band can release an engaging live
package like this without resorting to many of its big hits is a tribute to
the quality of its music.
The Yes material from the early ‘70s is a revelation. Tracks like “Then” and “Astral
Traveler” swell and ebb with power and sophistication. “Awaken” is
Yes at its best as the track’s elaborate arrangement take the listener
on a glorious journey through rock hyperspace.
John Lennon. “Walls and Bridges.” Capitol. 1974.
John Lennon. “Sometime in New York City. Capitol. 1972
George Harrison and Friends. “The Concert for Bangladesh.” 1971.
In the 1960s, the public was blessed with a treasure trove of brilliant Beatles’ music.
In the ‘70s, the public was presented with a less impressive collection
of Beatles’ solo material.
There is no denying John Lennon, Paul McCartney and George Harrison released
fine tunes in the decade following the breakup of the Fab Four.
The recently released reissues of Lennon’s “Walls and Bridges” and “Somewhere
in New York City” are not among his
best solo efforts. But they do contain a few indispensable numbers like the
ballad “Bless You” and the rave-up
“
Whatever Gets You through the Night,” both from “Walls and Bridges.” Beatles
aficionados will appreciate the previously unreleased bonus tracks on these
two Lennon albums.
Of more historic importance is Harrison’s two-CD concert performance
that benefited the impoverished country of
Bangladesh. Harrison plays some of his best numbers from his solo career and
his days with the Beatles.
This collection also includes a great live performance by Bob Dylan, who delivers
five songs, one unreleased until this remastered version. His version of his ‘60s
anthem “Blowin’ in the Wind” is a showstopper.
Harrison’s backup band, though a tad ragged from lack of rehearsals,
is a good one. The album includes, among others, Eric Clapton on guitar and
ex-Beatle Ringo Starr on drums.
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