Folk Rock - The Fleetwoods

Folk Rock

The Fleetwoods

Dolton BLP-2039

1965

I am a sucker for folk-rock.  Slap that label on an album and I'll probably buy it or at least think long and hard about it.  I didn't even hesitate about this one, I bought it as soon as I saw it.  I am a fan of the romantic lush pop recorded by the Fleetwoods in the late 1950s and early 1960s so even though I was pretty sure this was not really folk-rock, I knew I wanted it.  This was their final album and it seems like a desperate attempt to stay relevant with the changing times, but I find it worthwhile and enjoyable.  About half the record is folk-rock and most of the remainder is commercial pop given a "folk-rock" treatment, namely jangly electric guitars over a rock rhythm section.  The group's vocal harmonies are the biggest strength of the record and the primary reason I play this when I could be listening to the Byrds instead.  The group tackles several folk-rock classics.  Their cover of Bob Dylan's "All I Really Want To Do" regrettably sounds more like the Cher version than the Byrds version but I dig the Fleetwoods' vocals more than either.  The arrangement for Dylan's "It Ain't Me Babe" was obviously lifted from the Turtles' hit version.  It lacks the force of the Turtles' version but sounds very pretty nonetheless.   Their version of Sylvia Fricker's "You Were On My Mind" closely imitates the hit version by We Five right down to the big hooky bass line that drives it.  The vocal is a little stiff, but I like the group's enthusiasm.  Their version of Gordon Lightfoot's "For Lovin' Me" is weirdly given a bossa-nova style arrangement rather than a folk-rock one even though it is an actual folk song.  It sounds lovely and I like it a lot but it does not mesh with the rest of the album.  I have my doubts about the folkiness of Gale Garnett's "We'll Sing In The Sunshine" even though she stuck it on an album called "My Kind of Folk Songs" and it charted on Billboard's country chart.  The arrangement is straight pop and the song suits the Fleetwoods very well.  I prefer it to the original.  The rest of the songs are basically pop songs.  Lee Hazlewood's "Not The Lovin' Kind" was a top 40 hit for Dino, Desi and Billy and the Fleetwoods' performance sounds very similar.  It is not a folk song but I think it is the most convincing folk-rock performance on the album. Their version of the Toys' hit "A Lover's Concerto" begins with some harpsichord suggesting a chamber pop approach befitting its J. S. Bach origin, but then the jangly guitar and rhythm section kick in giving it an unconvincing folk-rock sound.  "You Can't Grow Peaches On a Cherry Tree" has a vaguely folk feel to it but it could also be an easy listening song.  I presume they picked it because the Browns released it as a single around this time and they have a similar sound.  It was also covered by Nancy Sinatra later.  Jerry Cole's "Run, Don't Walk" sounds more surf than folk-rock to me and rocks about as hard as any Fleetwoods' song I have ever heard.  Their cover of the Fortunes' British Invasion hit "You've Got Your Troubles" also doesn't sound like folk-rock and sticks to the hit version for its arrangement.  I like it more than the hit version because I prefer the Fleetwoods' vocal.  I never bought Sonny and Cher as a folk-rock act and the Fleetwoods cover of their "Baby Don't Go" doesn't even bother to force it into a folk-rock arrangement.  Since I can barely tolerate Sonny Bono's nasal whine I prefer the Fleetwood version once again for its superior vocal.  The concluding song on the album "This Is Where I See Her" was written by John McCartney and the album's arranger Billy Strange.  Although it has a folk-rock arrangement, it is straight romantic pop with a nice swelling chorus.  It is perfect for the Fleetwoods' style and I wish more of the record sounded like it.  It is easily my favorite track and although the Fleetwoods were obviously out of touch with the zeitgeist of the time this song suggests they might have had a future if they had followed this vein a little.  This song's quality does make me regret that this was the Fleetwoods' final album.  This record is too much of an oddity for me to endorse it whole-heartedly, I suspect some Fleetwoods fans will be alienated by its rocked up sound and non-fans may dismiss it as derivative.  I personally eat it up and play it more than any of my other Fleetwood albums even though I fully recognize that it is not up to the standard of their classic work.  It is not all that easy to find but if you are a folk-rock nut like me you might want to give it a try if you stumble upon a copy.  Recommended to fans of the Tokens.

Stockholm 67 - The Electric Prunes

Stockholm 67

The Electric Prunes

Sutro Park SP1010

2012

I like the first three albums by the Electric Prunes, "The Electric Prunes," "Underground" and "Mass in F Minor," but I think if you are going to own just one Prunes album this is the one to get.  It is a live album professionally recorded by Swedish radio from a concert in Stockholm in December 1967.  Since the Prunes were undermined by their management and record company during their recording sessions, this live album arguably represents the purest and most effective expression of the Prunes' vision and capabilities as a band.  There are only eight songs but the band offers up high energy and elongated versions of them that shred the original studio recordings.  The album opens up with "You Never Had It Better" which was the B-side of a single.  The studio version is a riff-driven psych rocker that is one of my favorite Prunes tracks.  The live version follows that blueprint but with a more thunderously heavy performance.  Ken Williams has a blistering guitar solo that is even better than the smoking studio version.  Vocalist James Lowe apologizes for America's involvement in the Vietnam War prior to launching into the Prunes' biggest hit "I Had Too Much to Dream (Last Night)."  The song is missing the psychedelic sound effects of the studio version but otherwise sounds similar.  "Try Me on for Size" was on their first album.  It opens with a blast of acid rock guitar that is right out of the Big Brother and the Holding Company playbook before launching into the song's hypnotic riff.  Lowe's vocal is far more impassioned than the studio version and Williams unleashes an extended killer guitar solo that I find thrilling.  Mark Tulin's bass solo is less compelling but energetic.  The song evolves into an acid rock jam that is unlike any of their studio recordings.  This is the highlight of the record for me.  The record slows down with "I Happen to Love You" which was on "Underground."  Lowe introduces the song as a Monkees reject that they picked up.  Lowe's vocal is grittier than the studio version and the band's performance is heavier with a wonderful rave-up at the end.  Side two opens with a cover of Muddy Waters' blues classic "I Got My Mojo Workin'."  The song is more garage-psych than it is blues however with Tulin laying down a mesmerizing bass riff over which Williams unleashes sizzling torrents of acid rock guitar.  Lowe delivers a riveting vocal that reminds me of Jim Morrison at this best.  "Long Day's Flight (Til Tomorrow)" is another track from "Underground."  Williams and Lowe again shine on this track which crushes the studio version with its power and energy.  It is followed by a tremendously exciting cover of Howlin' Wolf's "Smokestack Lightning" which is highlighted by Lowe's charismatic vocal and William's dynamic guitar runs.  The song was probably inspired by the Yardbirds' classic cover which has long been my favorite version, but this one is arguably even more exhilarating.  The record concludes with "Get Me to the World on Time" which was the band's second top 40 single.  The band kicks out the jams on the song with electrifying riffing from Tulin and Williams that gives the record an explosive finish.  What a breath-taking set!  I wish I could have been there.  I first heard this on CD about 20 years ago and it was revelatory to me.  I was a fan of the Prunes but I had no idea they were this talented.  I was thrilled when it finally came out on vinyl in 2012 in a very handsome package.  It is among my favorite records.  If you like edgier garage rock or hard-psych this is a must have.  I rate it among the best recordings of the genre.  Recommended to fans of the Chocolate Watchband.

Electronic Sound - George Harrison

Electronic Sound

George Harrison

Zapple ST-3358

1969

I don't think it is unfair to suggest that if George Harrison hadn't been a Beatle who happened to own his own record company, this recording would never have found its way onto vinyl.  It consists of two side long recordings of experimental music performed on a Moog synthesizer.  Side one is listed on my version of the album as "Under the Mersey Wall" but it is actually "No Time or Space" which was recorded in Los Angeles in 1968.  Reportedly it is actually an edit of a demonstration of the Moog for Harrison by electronic music pioneer and Moog sales rep Bernard Krause who was upset that Harrison appropriated it without permission for his record.   It begins with percussive bursts that sound like gunfire before some sci-fi style noodling emerges.  They are punctuated by short blasts of white noise that sound like escaping air.  Krause expands his palette of sounds in a variety of ways but the structure of short figures of melody interspersed with percussive sounds continues.  It actually does sound like someone attempting to demonstrate all the capabilities of the instrument.  It goes on for 25 minutes and I usually find it tedious to listen to but if I am feeling mellow I can make my way all the way through it and even appreciate some of it, particularly the sci-fi passages which have some psychedelic charm.  There is an energetic section about two-thirds of the way into the recording which I find stimulating if I am in the right mood, it sounds like someone destroying a ship's horn while tap dancing on a synthesizer keyboard.  If nothing else it does display Krause's impressive skill with the instrument.  Krause was so miffed with Harrison that he chose not to share this skill with him which left Harrison at a disadvantage when he later recorded side two in England which he entitled "Under the Mersey Wall."  This one is mercifully shorter clocking in at a mere 18 minutes.  Harrison sounds like a guy who is learning a new instrument, he is far less dynamic and bold than Krause but he also has more of a pop sensibility so his noodling is more melodic.  He is drawn to drones which is appealing to me and he is less inclined than Krause to deliver blasts of noise.  He uses the Moog more like a conventional synthesizer.  I would appreciate it if the recording was more structured and less tentative, but I do find it mostly pleasant and if I am in the right frame of mind, even engaging.  On the rare occasions that I pull this off the shelf, I generally just listen to "Under the Mersey Wall."  I can't say that I'm sorry that Harrison didn't pursue electronic music beyond this album, but I think he could have become pretty good at it.  I generally would rather listen to "Under the Mersey Wall" than most of "Living in the Material World."  Many Beatles fans dislike this record, but I respect it and admire Harrison's adventurous spirit in creating it.  One could argue that it was a display of arrogant self-indulgence that Harrison believed his experiments were worthy of a public audience, but he did get a chump like me to fork over 15 bucks for a used copy of this album so I don't think he was wrong.  I have no regrets about buying it and I listen to it more than John and Yoko's experimental records (although I think they are more interesting.)  Recommended to people who think Eno is too pop-oriented.

We Shall Overcome - The Freedom Singers

We Shall Overcome

The Freedom Singers

Mercury MG 20879

1963

This is a post in honor of MLK day.  Lately during these divisive and tumultuous times, I have been listening to political music from the 1960s, much of it folk music.  The debut album by the Freedom Singers is one of my favorites.  The group came out of the Student Nonviolent Coordinating Committee and several members were field secretaries for SNCC.  They were formed to spread the message of civil rights equality and to raise funds for SNCC activities.  I first encountered the group on an album called "Newport Broadside" which features political songs from the 1963 Newport Folk Festival.  I bought it because I was interested in the songs performed by Bob Dylan and Phil Ochs but the three tracks by the Freedom Singers greatly impressed me.  Aside from Joan Baez they are easily the best singers on the record which is otherwise comprised of music by white folkies.  Two of the tracks they performed are also on this record, "Dogs" and "Get on Board."  I was so impressed that I bought this record when I came across it in a record store many years ago.  The record opens with "Dogs" by civil rights activists James Bevel and Bernard Lafayette which uses the ability of different breeds and types of dogs to get along as a comparison for race relations.  The group performs acapella as they do throughout the album with only handclaps for percussive support.  They are applauded at the end of the song so I assume they had a small audience present when they recorded this album.  "Woke Up" is derived from an old gospel song but the lyrics have been adapted to focus on freedom rather than Jesus.  The group are superb singers and their harmonies are very invigorating to hear.  This is one of my favorite tracks on the album.  Next up they tackle the popular traditional folk song "I'm a Man of Constant Sorrow."  They have changed the setting of the song from Kentucky to Georgia where the group was formed and where most of them are from.  The song is not specifically about the civil rights struggle nor is Leadbelly's "Sylvie" which they perform after it.  The song is also known as "Bring Me Little Water Sylvie" and describes a thirsty farm worker seeking water.  The group deliver a powerful interpretation of the song that gets a strong reaction from the audience.  This is followed by another Leadbelly song "Pick a Bale of Cotton" which also has no obvious connection to the civil rights movement aside from perhaps the hardships suffered by black farm laborers.  I'm not complaining though as the group delivers a very spirited performance.  "We Shall Overcome" is such a cliché at this point I have trouble relating to it.  Whenever I hear Pete Seeger or Joan Baez singing it, I wince.  However the Freedom Singers are such skilled singers that they keep my attention as they deliver it and restore some of its potency for me.  Side two opens with "Ain't Gonna Let Nobody Turn Me Around" which is derived from a gospel song but instead of heading to heaven they are marching to freedom with topical references to segregation and reactionary city commissioners.  It is a heartfelt and stirring performance.  "We Shall Not Be Moved" is another spiritual that has been adapted for civil rights activism and given an energetic interpretation by the group driven by their wonderful harmonies.   It is followed by a mournful version of "Cotton-Eyed Joe" that will be unrecognizable to fans of Rednex's high energy dance song.  I don't perceive any connection to the civil rights aside from the song's pre-Civil War origins as a song sung by slaves on plantations.  "Get On Board" is derived from a 19th Century gospel song called "The Gospel Train."  Instead of riding to Zion, the song encourages fighting for human rights and freedom with topical references to getting arrested and resisting angry mobs.  It is a very engaging rendition.  This theme continues on "Freedom Train" where the slow somber pace of the song showcases the remarkable vocal harmonies of the group.  The album concludes with an enthusiastic performance of the gospel song "This Little Light of Mine" that substitutes the light of freedom for the light of God and gives the record an impassioned and uplifting finish.  When I was younger I was a fan of more pointed and aggressive political music, but as I've gotten older I prefer more subtle music like this that stresses emotion over dogma.  Much of this music is not overtly political at all but I think its aura of brotherhood and decency is more effective than most political music that I have heard.  Even beyond the lyrical content, the remarkable singing skill and the warmth of the performances make this an enormously appealing album.  I find it makes an inspirational soundtrack for contemplating the legacy of Dr. King and the Civil Rights Movement and hoping that during the difficult days ahead that this country will still reach the promised land of racial equality.  Recommended to fans of the Impressions.

Christmas Party - The Monkees

Christmas Party

The Monkees

Rhino RI 573134

2018

This was my go-to record this past Christmas.  Even though I knew this would not really be a Monkees album when it came out, I was still excited to get it last year.  It is basically a Micky Dolenz record with cameos from Michael Nesmith and Peter Tork, plus some archival recordings by Davy Jones.  To be even more accurate it is closer to being a Fountains of Wayne album with lead vocals by Dolenz which I think is probably a good thing.  I love the Monkees but I have my doubts about Dolenz on his own and besides I am also a Fountains of Wayne fan.  That band's Adam Schlesinger played bass and keyboards for most of the tracks and produced most of it as well.  He brought in bandmate Brian Young to play drums on the record and Jody Porter for a track as well.  Schlesinger had also had a big role in the prior Monkees' album "Good Times!"  He died last year of Covid-19 which along with Peter Tork's passing in 2019 gives this record a special poignancy for me.  The album opens with "Unwrap You At Christmas" by XTC's Andy Partridge which features a bouncy poppy tune to accompany mildly salacious lyrics.  "What Would Santa Do" was written by Rivers Cuomo of Weezer.  It is a punchy tune with an ebullient chorus and amusing lyrics in which the singer gets cuckolded by Santa Claus so you know this record is not directed at the kiddies.  Davy Jones sings "Mele Kalikimaka" by Robert Alex Anderson.  The vocal is lifted from a Christmas cassette Jones made in 1991 with Chip Douglas featuring new instrumental backing from Schlesinger and crew.  It is the sort of music hall type song Jones excelled at and his performance is very charming.  "House of Broken Gingerbread" was written by Schlesinger and Michael Chabon.  It is power pop with psych overtones featuring an inspired vocal from Dolenz that reminds me of the Monkees' "Porpoise Song."  The lyrics describe more Christmas debauchery.  Michael Nesmith croons the venerable classic "The Christmas Song" by Robert Wells and Mel Tormé which is given a lush interpretation with country embellishments courtesy of Pete Finney's steel guitar.  Even in his prime Nesmith did not have the chops to handle this song, but I find his clumsy yet sincere vocal rather endearing.  His son Christian produced and arranged the song and plays guitar and keyboards on it as well.  "Christmas Party" was written by power pop heavies Peter Buck and Scott McCaughey.  It is the most raucous and hard rocking song on the album as is appropriate for a song about a wild Christmas party that name checks James Brown, Darlene Love and, in a nod to Monkees fans, Auntie Grizelda.  The song opens with some Monkees dialogue that I assume was lifted from their TV series.  The side concludes with a lovely cover of Big Star's "Jesus Christ" by Alex Chilton.  Prior to this album I would never have believed that Micky Dolenz would someday be singing a song from "Third" but here it is and he does it very convincingly.  Side two opens with a cover of Wizzard's "I Wish It Could Be Christmas Everyday" by Roy Wood.  It is an exuberant song with a sunshine pop sound worthy of the Turtles.  Jones takes on another Christmas classic with Jay Livingston and Ray Evan's "Silver Bells."  Once again the vocal is lifted from Jones's Christmas cassette with tasteful new instrumental backing.  The song suits Jones very well.  Dolenz returns with a delightful cover of Paul McCartney's "Wonderful Christmastime."  It sticks pretty close to the McCartney version and is one of my favorite tracks on the album.  Nesmith dips into the past with his version of Claude and Ruth Thornhill's "Snowfall" which dates back to 1941.  The song was produced by Nesmith's son Jonathan who also plays all the instruments and sings back up.  Nesmith's vocal is pretty weak but his son covers up for him with a very dense and rich arrangement.  Peter Tork finally makes an appearance humbly warbling "Angels We Have Heard On High" in a bare bones country arrangement featuring Tork on banjo.  Tork's voice sounds frail presumably due to his illness, but I nonetheless find his performance moving and charming, easily the most authentic moment on the album.  Dolenz gets to break out his soul man schtick for the rhythm and blues Christmas classic "Merry Christmas, Baby" by Lou Baxter and Johnny Moore.  The song is given a heavy lumbering treatment that gives Dolenz plenty of room to emote.  The record concludes with a 1967 acapella performance of the 16th Century Spanish song "Riu Chiu" which was taken from "The Monkees" tv show and is the only track to feature the group performing together on the record.  It is a little jarring to hear the lads sounding so young, but it does give the record a memorable and touching finish.  I love this album but I have to admit it is not very cohesive.  The Dolenz tracks and the tracks from his bandmates sound like they come from entirely different albums.  On the other hand you could say that about some of the original Monkees albums as well.  I dig the eclecticism and there are no tracks on here that I do not thoroughly enjoy.  It will be spinning on my turntable for many Christmases to come.  Recommended to fans of Sloan and the Posies.

John Prine - John Prine

John Prine

John Prine

Atlantic SD 8296

1971

As Covid-19 rages unchecked through the country, I feel fortunate that no one close to me has come down with it or succumbed to it.  For me the Covid gut check came back in April when I heard that John Prine died from it.  It really brought home to me the danger of the virus.  I've admired Prine for many years although I have to admit that when I first heard him back in the 1970s as a teenager I was turned off by his homespun voice.  Eventually as I developed a taste for country and folk music, I came to appreciate his grit and authenticity.  This is my favorite of his albums.  It was his debut album and it is stunningly impressive, one of the great debut albums of that era.  It is loaded with classic songs that reveal Prine's sensitivity and insight into the lives of ordinary people.  Americana doesn't get any better than this.  The album opens with the catchy "Illegal Smile" which I always thought was a drug song although Prine claimed it was more about mental escapism.  I think it works either way.  I assume the reference to being in court with a judge named Hoffman is a reference to the biased judge who presided over the trial of the Chicago 7.  "Spanish Pipedream" is another escapist song with humorous lyrics set to a perky country melody.  "Hello In There" is one of Prine's best songs.  It is a poignant description of an old man's loneliness supported by a very lovely tune.  I think "Sam Stone" is Prine's greatest song.  It is an incredibly bleak and tragic tale of the downward spiral of a drug-addicted veteran.  It is so depressing I would find it unbearable were it not for the brilliance of Prine's unforgettable words.  Even though Prine delivers it in a matter-of-fact laconic style the song is absolutely riveting.  "Paradise" sounds like an old country classic particularly with Prine's brother Dave driving it with his fiddle.  You can easily imagine the Carter Family covering it and I am partial to the covers of it by Jackie DeShannon and the Everly Brothers, but Prine does sing it with more feeling than is typical with him probably because it was a highly personal song for him.  It is about the Kentucky town his parents were born in being ravaged by coal company strip mining.  The side concludes with "Pretty Good" which is about as close as Prine comes to rocking out on the album.  It is slow but noisy and punchy with loud electric guitar and organ runs.  It reminds me of Bob Dylan with the Band or Neil Young when he is leaning country.  That is even true of the lyrics which are slightly surreal and tongue in cheek.  Side two opens with "Your Flag Decal Won't Get You Into Heaven Anymore" which features humorous and understated criticism of supporters of the Vietnam War.  "Far From Me" is a mournful country song about a disintegrating relationship driven by Leo LeBlanc's sorrowful steel guitar lines.  "Angel From Montgomery" vividly describes the unhappiness of a disillusioned middle-aged woman.  My favorite version of this much-covered song is Bonnie Raitt's performance on "Streetlights" but Prine's version is very affecting, particularly Bobby Emmons melancholy organ accompaniment.  "Quiet Man" is more vague than most of the songs on the album, but it makes up for its lack of focus with a forceful rock sound that reminds me of the Band.  "Donald and Lydia" depicts the love affair between an overweight country girl and a young soldier who though separated in their real lives, meet in their dreams to make love.  It is a beautiful song that shows Prine's gift for evocative language.  "Six O'Clock News" is a grim song about a troubled young man who kills himself.  According to Prine the youth kills himself when he finds out that he was born because of an incestuous relationship between his mother and grandfather.  The song is enigmatic enough that I did not realize this from the lyrics, but listening to it after learning about it I can perceive the clues that indicate this.  The album concludes with "Flashback Blues" which is a jaunty upbeat tune with a western swing sound courtesy of Noel Gilbert's fiddle playing.  In contrast to the cheerful music the lyrics look back on a hard-living past with poetic imagery.  If this had been the only album Prine ever recorded he would still have to be considered one of the greatest songwriters in rock.  His gift for generating powerful emotions with understated evocative lyrics is almost unparalleled and as a rock wordsmith he ranks with the best American songwriters like Dylan, Randy Newman, John Fogerty, Bruce Springsteen and Dolly Parton.  No song on this album is less than good, many are great and four of them, "Hello In There," "Sam Stone," "Paradise" and "Angel From Montgomery," are immortal classics.  To my mind that makes this album a masterpiece that everyone ought to own.  John Prine was an American treasure and I greatly mourn his passing.  Recommended to Springsteen fans whose favorite album is "Nebraska."

Jim Brown Tells It Like It Is! - Jim Brown

Jim Brown Tells It Like It Is!

Jim Brown

Main Line Records MLP 101

1967

I bought this at a garage sale in West Hollywood for fifty cents about thirty years ago.  I bought it out of curiosity, gave it a single spin and then eventually it ended up on my purgatory shelf of records I'm thinking of discarding.  I pulled it out this summer and gave it another spin in the wake of the turmoil and racial activism that was sweeping the country.  I was impressed and also depressed that it still sounds relevant today.  The record was made to benefit the Negro Industrial and Economic Union (later renamed the Black Economic Union) which Brown founded.  The record consists of recordings of Brown's speeches as well as interviews with journalist Bill Jorgensen who also acts as a narrator for the record.  The record opens with some football highlights featuring Brown and recordings of civil rights activism before segueing into his speech at Jim Brown Farewell Day at Cleveland Municipal Stadium upon retiring from the National Football League.  The speech excerpt contains no reference to football but rather is devoted to racial equality and Brown's beliefs regarding the proper approach to it which involves economic betterment and earning respect.  This is followed by Brown explaining his program to Jorgensen in an interview which involves getting black Americans and supportive whites to join his union and providing the members with education, training and financial support through loans.  Brown believes economic self-sufficiency will lead to greater racial equality and social integration.  Jorgensen next interviews Brown about black nationalists.  Brown expresses respect but also distances himself from them because of their lack of organization and their attempts to separate from mainstream society.  Brown also makes some general comments about racism and how it deprives black males of their ability to be a "man."  The side concludes with some comments about racial violence.  He states that the violence is one-sided, that blacks are always on the receiving end of the violence.  He also criticizes riots as being unconstructive and a senseless destruction of property.  At the end of side one Jorgensen calls Brown a revolutionary and endorses his approach of equality through economic achievement.  Side two opens with Brown interviewing a new member of his union in his office.  He talks about the membership process.  Next Brown discusses the benefits of his union for young people and black businessmen.  This is followed by Brown talking about the people who have helped him in his life noting that some of them were white.  He argues that although racism is prevalent in American society, that there are sympathetic white people who can help the movement.  The next track is about black pride.  He approves of the expression of pride in their African heritage by young blacks.  He talks about his use of the term "negro" instead of "black" or "Afro-American" (which he does throughout the record) which I don't understand.  He doesn't justify it, just notes that you can get away with it if you don't act like an "Uncle Tom."  He again addresses black nationalism which he associates with young people on the West Coast.  He is sympathetic but rejects economic separatism considering it an impossibility.  He next speaks about black Muslims whose popularity he attributes to racism.  He believes they would be irrelevant if there was racial equality.  This leads into a discussion about Muhammad Ali whose defiant position he attributes to the historical emasculation of the black man.  I'm not sure why he feels a need to defend Ali or why he chooses such a convoluted defense.  He doesn't agree with Ali but he does not oppose him either.  He positions himself somewhere in between Ali and Martin Luther King Jr. who he also does not agree with.  The record concludes with Jorgensen outlining and defending Brown's positions presumably addressing white listeners which is reinforced by a clip of John F. Kennedy asking white people to try to relate to black Americans' frustration and impatience with racial inequality.  I suspect that white people are the principle target of this record.  It is so defensive and wary about being offensive that I think some black listeners of the time would have found it condescending or wishy-washy.  It is also extremely male-centric.  Brown's perspective is defined by a macho interpretation of masculinity.  He rarely has anything to say about black women.  He even complains about black men's authority being usurped by black women in their homes, not allowing them to be the "pillar of strength" in their families.  Given the prominence of women in the Black Lives Matter movement and the current civil rights struggle, this is the most dated aspect of the album along with Brown's insistence on using the term "negro."  Brown's entire ethos revolves around a man being a man.  This is clearly his problem with Dr. King's movement, the idea of being passive and non-violent in the face of aggression is an anathema to him - hardly surprising when you consider the style of football he played.  I think it is also at the core of his economic position.  A man should not take hand outs or complain about others, he should earn his own way in order to gain respect.  Fifty years later Brown's economic solution still makes sense to me.  It is why I find this record relevant.  I wish it was more of a historical artifact, but most of the problems that Brown talks about are still around today.  It is an interesting record and Brown is an engaging speaker, so I moved it off the purgatory shelf and back into my collection.  That said, I would only recommend it to black Republicans and misogynist libertarians.