Search - Eric Burdon & the Animals :: Winds of Change

Dark and very beautiful

Jinkyu | 04/09/2002

(5 out of 5 stars)

"When I try to think of an album in which the music is polar opposite to the performer's characteristic sound, this is the one that come to mind. In Winds of Change, the blues/rock, roots sound of The Animals metamorphoses into a darkly atmospheric, instrumentally sparse, poetically versed concept album of Eric Burdon. It is a masterwork.Though I say "instrumentally sparse" (certainly from a rock and roll perspective), this recording is at the same time instrumentally and atmospherically (with frequent sound effects) rich, and even occasionally lush. As to sound effects, guess what we hear in the title cut and the next number, "Poem by the Sea"? But violins and horns enhance a number of songs, and varied percussion and vibrations are often prominent. The lead guitar usually sounds Spanish, not really flamenco, more soft and simple, without flourishes, to let Eric's spoken words be more dominant. Indeed, Burdon pronounces the words very clearly throughout, unlike in some of his other work, creating poetry that punctuates an atmosphere that is usually haunting or dark, and often subdued. The result is songs that are sometimes sensuous, and at other times beautiful and highly evocative. The best case in point of the latter is the lovely ballad "Anything," perhaps the best song on the album, with Eric expressing passionately what he would do for a friend, who seems to be a female, backed by pretty guitar and gorgeous violin arrangements. Both "Good Times" and "San Franciscan Nights" are sweet and sentimental, and excellent songs. The former is actually also sort of melodramatic, embellished by violins and the sudden appearance of a crowd."The Black Plague" and "Man-Woman" are not songs, but poetry surrounded by sound effects. The latter is almost entirely percussion-driven (primitive-style drum beat), musically spare with orderly chants from Burdon to send his 60s message. "The Black Plague" is about what it suggests: a medieval tale of morbid woe, with plucked strings, low-pitched bass, eerie organ, (single chimes--triangle?), and church-style harmonic wailing backing Burdon's narrative."Hotel Hell" is the noticeably horn-backed number, to great effect. It is precious, extremely evocative, even as it is bleak and despondent: "And I, so very far from my home." It (so does "Good Times") seems to have an Old English feel. Also lovely is "Poem By the Sea," in which Burdon engages in introspection surrounded by guitar crescendos and psychedelia, and even a gong.Other songs keep us more in the real world. Fittingly, Burdon enlists the Rolling Stones' big hit "Paint It Black," an authentic metaphor for this work, and makes it darker and more mystical, and intense, and, this time, we hear some blistering guitar work. The title cut, with its signature sitar backing, and the finale, "It's All Meat," show Burdon chanting the names of familiar, accomplished, innovative musicians and scattered other people. In "Yes, I Am Experienced," he answers Jimi Hendrix in one of the album's livelier numbers.This is one of my favorites, but I acknowledge individual tastes could vary. Regular rock and roll it isn't, but full of excellent, often very pretty songs; evocative lyrics; and a dark atmosphere it is. Anyway, you have my view."

This captures a momement for me....

Thomas J. Kessler | San Jose, CA USA | 07/01/2002

(4 out of 5 stars)

"Lately, I've used this album to explain to some of my younger
friends what the times were like when I was young. The album just
speaks to me."

The most underrated of the first 'Sixties "concept albums".

R. L. MILLER | FT LAUDERDALE FL USA | 04/25/2000

(5 out of 5 stars)

"Most people, when they look back on that sub-genre, can only think of "Sgt. Pepper". The Rolling Stones, whose sound didn't really lend itself to the, uh...concept...made a halfway decent effort in "Their Satanic Majesties Request". But this album, from a similarly blues-oriented band, managed to fuse the implied introspection underlaying the blues with the stylistic intricacy which was later to find full voice in the first generation of prog rock. Try to look past the chart hit "San Franciscan Nights" to the bongo-driven "Man-Woman" as a look back at 'Fifties beat poetry--and possibly an ancestor to rap. To "Hell Hotel", with its lyrics about loneliness and its clean trumpet solo reinforcing that mood. To "The Black Plague", a narrative history lesson of the Middle Ages. There are some weak moments, to be sure. Like an overly melodramatic cover of the 'Stones' "Paint It Black. And it wasn't really necessary to write a response to Hendrix's "Are You Experienced". This album was the first of a short string of such albums by Burdon & Co. ("The Twain Shall Meet" and "Every One Of Us", for example") which were all the stronger for the fact that their creative identity wasn't undercut by industry and period overhype."