SONGS FOR A TAILOR

Being a non- yet could-be future fan of Cream [even at sub-30, I feel I'm late to the party], it surprised me just a bit to see this: Jack Bruce's 1969 solo debut was recorded and released well enough after Cream's 1968 dissolution. The other thing I found interesting and noteworthy was the producer of Songs for a Tailor, Mountain bassist-vocalist Felix Pappalardi (yet another band I feel I should honestly know better by now... like numerous others). Three years prior to Mountain's own debut, Pappalardi had first produced the 1967 self-titled debut by The Youngbloods, then, apparently as his sophomoric production(?!), Cream's beloved Disraeli Gears that same year(!). Before I move on, of most notable claim here, Pappalardi later produced The Flock's third album, Inside Out (currently sitting at an unremarkable 3.23 Stars). To wrap up (final) first thoughts, unsurprisingly stacked, Songs features George Harrison (a.k.a. L'Angelo Misterioso), Dick Heckstall-Smith and Jon Hiseman (Graham Bond Organisation, Colosseum), Henry Lowther, John Marshall (Nucleus, Soft Machine), and Chris Spedding.

Now, getting right down to business, "Never Tell Your Mother She's Out Of Tune" introduces our album with an approach super foreign to Rock music up till this point; that is, until the verse enters in. Overall it's Rock 'n Roll, Ameri-Roots, Rhythm & Blues and a growling, angry sort of Jazz, all set to a strangely happy tune. It's cool hearing familiarity (sonically and popularly identifiable well into the next decade) presented in a most unfamiliar fashion. This is not what we think of as 'Progressive Rock', its status and significance still then unknown. And to consider it Jazz Rock, though I can't think of much better, seems like a stretch. It's avant-garde in certain aspects. Something particularly familiar to Progressive Rock of the late-60s is the Baroque-Soul of "Theme For An Imaginary Western". This sonically hearkens back most immediately, to my ears, to the signature sounds of Procol Harum. Delightful and equally as timeless as their best, most beloved material. Jack Bruce's strong vocals roll over light, emotional percussion with a great mix of piano and an almost Classical-sounding organ. These keys, throughout the album, are performed by Bruce.

"Tickets To Waterfalls" has an exotic sort of sound, but got me thinking of Van der Graaf Generator honestly. We are still in Psychedelic territory on this one, but the composition, in its relative simplicity, is actually quite interesting. There is absolutely no waiting here. Fantastic and exciting music! Entering mystica, "Weird Of Hermiston" continues on in the warm but forward-driving feel of the last. This has plenty of Creamy elements to it. Not even halfway through the album and I am thoroughly impressed. Acoustic guitar strums along over more solid percussion on "Rope Ladder to the Moon", and Bruce plays the cello to great effect! Awesome to hear this sort of Prog Folk. I shouldn't be so surprised. Either way, a lot of daring choices in arrangement and production, reminding me of the similar experimentations that Zep would make years later on Led Zeppelin III and IV.

Under a straighter, more Rootsy measure, "The Ministry of Bag" strolls right along, sort of like a gruff, British rendition of James Brown. Bruce's vocals at times made me think of Greg Lake, Lee Jackson(?), and. causing all sorts of internal confusion, Ozzy Osbourne. We return to smooth, funky English pasture on "He The Richmond", quite the peculiar title (I couldn't find anything on its origin with ease). Melodically super unusual and turning dark, the tone is just as mysterious as some tracks that preceded it. I like it quite a lot, but it's a classic case of guesswork when it comes to a site-wide assessment. To each their own. "Boston Ball Game, 1967" has quite the lilt, a strut far too complex to be drunken haha. Delicious funk and soul, whether or not Bruce's voice is to your liking. Hard to be honest about this'n, because the truly progressive elements it possesses are very cool and provocative (just "Good" then?).

With that earlier mention of Led Zep, it feels appropriate that Jack also wants us to dream a little, to slip into Middle Earth with him, specifically "To Isengard". With the interesting approach to the guitar, I'm unsurprised this is one of the few on the album where it's actually performed by him and not Spedding, for instance. Super pretty track. We get to hear his upper vocal register at the start; airy, heartfelt, even childlike. I'm more than pleased to report that "To Isengard" doesn't just stop at beauty, as we get a nice helping of intensity in the second half. If you don't know them, two very effective Tolkien homages that are coming to mind are Camel's three-parter, "Nimrodel / The Procession / The White Rider" (specifically to do with Gandalf), and Rush's "The Necromancer" (supposedly inspired by Saruman of Isengard). Our final track, "The Clearout", is a real rocker. Beefy bass and bright English idioms bring delight to these American ears haha. Super fun.

Highly digestible album, I was delighted at some of the ideas that were fleshed out by Mr. Jack Bruce. In a way, glad I waited. I was in the mood.

Trying to be more consistent, a natural round-up from a True Rate of 3.6/5.0.