Let’s talk about hard rock and heavy metal.
Exactly where and when it started is a subject of much debate, and there is
probably not a real definitive answer. In England, most indications seem to
point pretty clearly to Cream, Deep Purple, Led Zeppelin and Black Sabbath as
the forefathers, but here in the U.S. of A things aren’t quite as clear. In the
late 60’s The Stooges, MC5 and especially Blue Cheer made some critical first
steps, but the more recognized conventions of heavy music started to come into
focus around 1969 and 70 when two bands in particular started to forge the raw
materials into something now very familiar. From Texas, Z.Z. Top emphasized a
blues-based form of the guitar fronted trio. Billy Gibbons’ guitar style and
tone would help define the southern strain of hard rock until this day. From
the stage at Woodstock though, came an East Coast band whose incendiary,
guitar-driven sound mixed with a headier style of songwriting to make Mountain
a potential peer to the best of the English bands.
Although lead vocalist and certified guitar
monster Leslie West had already released a solo album entitled Mountain in 1969, the album Climbing
(released in 1970) was the first album with the band itself (now featuring
well-known producer Felix Pappalardi on bass and double bass drum pioneer Corky
Laing on very muscular drums) now going under the name Mountain. With
Pappalardi (and then-wife, later murderer) Gail Collins’ sophisticated
songwriting and experienced and intelligent production, Mountain quickly
transcends the competition to offer one of the great hard rock albums of all
time.
Opening with a bona fide anthem, “Mississippi
Queen” is THE song about which the
much discussed penchant for cowbell in hard rock comes from. No song has used
it better (except maybe “Low Rider"by
War), and combined it with the almost Zeppelin-esque crunch of a classic lead
guitar riff. “Mississippi Queen” really
doesn’t need a lot of discussion because of its unquestioned status as a
classic of all rock. Used effectively in movies and T.V. advertising, it has
passed beyond the mortal sphere. And that would be that, except for the fact
that is followed up by a far more ambitious and equally iconic song by Cream
bassist Jack Bruce. “Theme For An Imaginary Western” is another stone classic
with mysterious lyrics, a great arrangement enhanced dramatically by Steve
Knight’s able Hammond organ work and, of course, thunderous guitar work and
mournful vocals by West. Again, this song is followed by another heavy classic.
Leslie West unleashes a master class of heavy guitar and really exercises his
unique vocal howl, which would be copied by virtually every metal singer in
decades to come. “Never In My Life” would
fit in on records coming out now - it does not feel dated yet it is years ahead
of its time. Side 1 of the original LP closes out and side 2 opens with songs
that would have fit beautifully on a Traffic or Procol Harum album. “Silver
Paper” and the gorgeous Woodstock
memory “For Yasgur's Farm” are both
smart, melodic songs benefitting much from Pappalardi’s experience producing
Cream (among others) to allow him to create songs that transcend any genre. “To
My Friend” finds West proving his acoustic chops ala Zeppelin’s “White Summer.” The album remains strong to the end, with “The Laird” especially offering some prime navel-gazing opportunity. Yes,
Mountain does fit the bill as proto-metal based largely on West’s guitar work
and shrieking vocals, but no, they were no one trick pony. Climbing ticks many other boxes. Like their British counterparts,
Mountain were reaching for the stars.
In the end, perhaps it is the fact that Climbing satisfies the specifics of so many genres - hard rock, soft rock,
psych, pop - and even produced a stadium-rock anthem, which makes it such an
enduring album to my ears. The totally boss image on the back cover of Felix
Pappalardi, the more experienced music legend, giving Leslie West a
congratulatory hand slap really says it all: job well done!
-
Paul
Epstein
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