Phil Ochs
Reviewed on this page:
In Concert -
Tape From California - There & Now
I grew up listening to Phil Ochs, and for years he was my only
reminder that there were other leftists in the world outside of my
immediate family. I still have a sentimental attachment to him that
probably colors my ratings, but what the hell, that's never stopped me
before. Ochs was part of the second wave of NY topical folksingers,
getting started in the early 1960s, and once thrown bodily from a cab
by no less than Bob Dylan for the crime of
sounding like a "singing journalist." But after Dylan dropped protest
music and folk faded, Ochs embraced progressive struggles more strongly
than ever, and at times (like the '68 Chicago convention) seemed to
consider his musical career secondary to his political activism. Ochs'
greatest strengths were his wry, heartfelt lyrics and uncluttered
melodies; his tenor was unassuming, and his guitar playing was never
more than rudimentary.
The late 60s seemed to confuse nearly everyone, and Ochs was no
exception. He finally moved away from folk music and topical lyrics,
committed various embarrassments while searching for a new
identity (including an attempt to channel the spirit of the still-living
Elvis Presley), then watched his career slip away as he lost control
over his drinking. Less than a year after organizing a 1975 War Is Over
concert, Ochs hanged himself, leaving behind a legacy that's influenced
such disparate figures as Billy Bragg and (gasp) Sean Penn.
There's a fine Phil Ochs fan site with lyrics and other goodies. (DBW)
All The News That's Fit To Sing (1964)
Ochs' debut is quickly-recorded, minimally arranged folk, with two
guitars and his vocals. The tension between his idealistic optimism
("Power And The Glory") and his bitter sarcasm ("One More Parade") is
already evident, and both are effective, but his melodic sense isn't
highly developed, and he still tends to be more of a journalist than a
songwriter ("What's That I Hear"). Like the following album,
this was produced by Jac Holzman and recorded by Paul A. Rothchild. (DBW)
I Ain't Marching Anymore (1965)
Ochs is more confident and humorous here, belting out the title track
with gusto, and venturing a harmonically interesting, hilarious ragtime
number ("Draft Dodger Rag"). On the down side, he does occasionally go
overboard with self-righteous didacticism ("Here's To The State Of
Mississippi"). (DBW)
 Phil Ochs In Concert (1966)
By far Ochs' high point, this was either recorded in Boston and New
York, or in a studio with crowd noise overdubbed, depending on which
liner notes you believe. Whichever, this album presents all-new material
far above his previous standard, both writing and performance. Pointed
barbs are hurled at the US military ("Is There Anybody Here," "Cops Of
The World," "Santo Domingo"), college administrators ("I'm Going To Say
It Now"), and - threatening to alienate his core audience - liberals
("Love Me I'm A Liberal"). All of the above delivered with searing wit,
ingenious wordplay, and catchy, hummable melodies. He also goes beyond
single-issue politics with "There But For Fortune," which became his
signature song after Joan Baez recorded a hit version, and two stunning
ballads: "Changes" and "When I'm Gone." The solo guitar-and voice
arrangements put the tunes across quite convincingly. The one exception
is the endless, dull "Canons Of Christianity." If you're interested in
60s folk music at all, give this a listen. Produced by Mark
Abramson and Holzman. (DBW)
Pleasures Of The Harbor (1967)
At this point Ochs changed from Elektra to A&M, and moved out to
California. I heard this album a lot many years ago, but I don't
remember it well enough to write a full review. It's highly orchestrated
with abstract lyrics, a dramatic departure from the intimacy and
immediacy of the previous album. "Outside Of A Small Circle Of Friends"
is a typical example: allusive and more broadly social than political.
Four of the tracks are eight minutes long, and as I recall, don't quite
hold your interest all the way through. (DBW)
 Tape From California (1968)
This time around Ochs went in for very long songs with minimal melodies,
Dylan-style, and often obscure lyrics to match (the 13-minute "When In
Rome," title track). The arrangements are pretty simple, though there
are a few keyboards thrown in ("Floods Of Florence"). It's not easy
listening, but if you're a fan you'll enjoy the few straighforward
songs ("The War Is Over") and trying to puzzle out the meanings of the
rest. The album credits Van Dyke
Parks, Jack Elliot and Lincoln Mayorga as "heroes of the
Revolution," but doesn't indicate what specific parts they played in the
making of the record. (DBW)
There & Now (rec. 1968, rel. 1990)
This posthumous release of a 1968 concert is a massively depressing
listen, recorded in Vancouver just after the Chicago '68 police riots
that evidently broke Ochs' heart. For just that reason, it's a riveting
document, but can be devastating - the disc should come with a warning
label. He sounds bitter and disappointed throughout, both on new
material ("William Butler Yeats Visits Lincoln Park And Escapes
Unscathed") and his standards ("There But For Fortune"). Ochs is
unaccompanied except for impressionistic bell accompaniment by Allen
Ginsberg on "The Bells." (DBW)
Rehearsals For Retirement (1969)
I've never heard this, but about half the tunes are included on There
& Now. (DBW)
Greatest Hits (1970)
Naturally, not a greatest hits at all but a collection of all-new
material. Produced by Van Dyke Parks. (DBW)
Gunfight At Carnegie Hall (rec. 1970, rel. 1974)
This album documents Ochs' infamous live appearance in a gold
lamé suit performing tributes to Elvis and Buddy Holly.
One theory is that this was performance art that went over everyone's
heads at the time.
Later the same year, Ochs played a benefit concert with Joni Mitchell and James Taylor, released in 2009 as Amchitka.
During the early 70s Ochs gradually disintegrated, releasing a
couple of singles but no more LPs. (DBW)
What's that I hear?
|
