Friday 15 March 2013

Side 4 - Was it Really Necessary?


How exciting!  In April, I am going to meet up with some old friends to see the Genesis tribute band, ‘The Musical Box’ play the whole of the ‘Lamb Lies Down on Broadway’ show, complete with costumes and back projection, at the Shepherds Bush Empire. Our little band of gig-goers first met up in the mid-1970s during the Genesis prog years but never saw them in their original line-up with Peter Gabriel, so this should be an interesting exercise in nostalgia.  Watch this space.

In fact, the anticipation prompted me to dig out my Genesis Archive 1967-1975 Box Set and listen to the live version of the Lamb recorded at the Shrine Auditorium, LA on their ’75 tour of the USA.  I say ‘Live’ but many of the vocal and some guitar parts were re-recorded to replace indistinct or error-strewn originals.  Egos eh?  As a double studio LP, I always felt that ‘The Lamb…’ was a bit front loaded, with all the good stuff on the first 2 sides and the remainder waning towards side 4 where it ends on the less-than-impressive ‘It’.  Which got me thinking about other studio double LPs – those much maligned products of the vinyl age.

Elton John’s ‘Goodbye Yellow Brick Road’ suffers from the same malaise whereby each of the first three sides has an ambience and continuity all their own but the fourth is a bit of a dumping ground for a rag-bag of left-overs.  And don’t get me started on Pink Floyd’s ‘The Wall’ which is great for three sides then after ‘Run Like Hell’ descends into pseudo-operatic boredom on side 4.  Some doubles are a little short of material, full stop.  Joni Mitchell’s ‘Don Juan’s Reckless Daughter’ is barely 16 minutes a side and those Dutch instrumentalists’ magnum opus, ‘Focus 3’ runs out of steam on side 4 with just the drum solo and reprise continuing from the previous track on side 3 and an old unrelated song (left off the CD reissue!) bolted on to make up the running time to about 14 minutes.  Hmm.

Even The Beatles weren’t immune from the falling off side 4 syndrome as the inclusion of ‘Revolution 9’ on side 4 of the White Album shows.  In fact, barring ‘best of’s’, I can’t think of a single double album where side 4 is the best.  It may be a deliberate ploy by the record companies, knowing that no-one ever gets as far as side 4 so why put all your best stuff there?  It begs the question: is the natural length of an extended musical work is nearer to three sides than four?  Since the advent of the CD this assertion has legs, as many albums issued since the mid-80s have a running time of 50-55 minutes, approximately equivalent to three sides of vinyl.  Q.E.D.

8 comments:

Charlie Ricci said...

Your comments are ded on. I can't think of one double disc that was worth it.

music obsessive said...

Me neither, Charlie!

Adrian said...

Here's a couple of double-albums to consider:

Bob Dylan's "Blonde on Blonde" - the whole of side four is one song - "Sad Eyed Lady of the Lowlands"

The Clash - "London Calling" - side four has "Train in Vain", "Lover's Rock" and others.

Perhaps, though, considering the overall collections, each of these titles could have been distilled into a three-sider!

music obsessive said...

Adrian - never much liked Blonde on Blonde so can't really comment objectively! The Clash may be an exception but there aren't many.

john said...

I've gotta say Humble Pie's Rocking The Fillmore and Deep Purple's Made In Japan rocked hard on all four sides in my opinion.

music obsessive said...

Hi John - Yes, I agree, as did many other live doubles as they had loads of material to squeeze into 4 sides. My post was aimed at Studio doubles which is a different kettle of fish entirely. Perhaps I didn't make that too clear.

Alan said...

May I suggest "Layla & Other Assorted Love Songs" is worthy of consideration?

music obsessive said...

Alan - You must be psychic! I was just thinking that myself and waiting for another comment so that I could add it in. Great minds...