ALBUM REVIEW: MOUNTAIN – “CLIMBING!”

Love, death, and the very essence and origin of hard rock.

Taine Knox for The Mindstate.

The disbanding of legendary band Cream in 1968 changed music history. The supergroup featured Eric Clapton, Jack Bruce, and Ginger Baker, who all went on to have solo careers of their own—to varying degrees of success—while others were left in the fallout. One such example was their producer and frequent collaborator Felix Pappalardi—a man who would go on to lead a career which was, more than anything, chaotic.

THE BREAKDOWN - “NOW I’M GETTING MINE!”

Pappalardi continued to work with a few bands across the fast-developing Rock ‘n’ Roll scene of the late sixties, including a Long Island-based R&B crew named The Vagrants, featuring a guitarist named Leslie West. Eventually, West sought to make his own group, and collaborated with Pappalardi once again. Not long after, Mountain was formed. 

With this formation, the pair ditched the smooth R&B for raw, rogue, and restless Rock ‘n’ Roll. They began playing very well-received live shows, and by their third gig, they were performing at Woodstock ‘69 alongside names like Jimi Hendrix, The Who, and Sly & the Family Stone. 

Now fully immersed in the rockstar lifestyle, Mountain thundered into 1970, which would turn out to be the biggest year (musically, at least - hint, hint!) in their careers. Internal quarrels drove drummer Steve Knight to leave the band just before the turn of the decade, which saw him replaced by Canadian drummer Corky Laing who arrived in time to play drums in their landmark 1970 album Climbing!

The peak of the band’s success came with the album’s lead single, “Mississippi Queen”, an exhilarating two and a half minutes of rousing vocals, slick cowbell, and one of the most iconic guitar solos in the history of rock. At its best, the track sat #21 on the Hot 100 and is immortalised as one of the most legendary rock songs in history. You may know it—as I do—from one of the best scenes in Regular Show. 

Though the rest of the tracks on the album never really matched the commercial success or reputation of “Mississippi Queen”, there’s still plenty of quality to be found in the project. With its picturesque cover (designed by Pappalardi’s wife Gail), it boasts a healthy blend of audacious energy and sore solemnity, with the presence of anthems both zealous and withdrawn. West and Pappalardi both flex their more-than-respectable vocal abilities, but still leave room for the sensational and forceful instrumental work Mountain built their reputation (and lifestyle) on. 

But soon enough, this lifestyle would catch up to them. 

In the early 70s, Pappalardi was forced to retire from performing live due to severe and sustained ear damage, resulting in partial hearing loss. West reported similar hearing issues. The cause of this? The signature high-volume (and lack of ear protection) which Mountain built their shows on. 

The problems continued into their personal lives too, and Pappalardi in particular had a healthy share of issues. Following his hearing loss, his drug abuse worsened—all the while his open relationship with his wife Gail created a rift in their marriage, resulting in an abundance of fights between the two. These disputes culminated with an incident in which Gail, enraged by Felix bringing home yet another mistress, shot the musician in the neck with a pistol that he had gifted to her a few months prior: a derringer pistol—the same type used to kill Abraham Lincoln. 

Mountain remain a towering influence over Rock ‘n’ Roll to this day. Their work, particularly Leslie West’s on guitar, has been cited as a key influence on bands like Van Halen, Red Hot Chilli Peppers, and even the Beastie Boys. Though revered, their career—particularly Pappalardi’s—remains an infamous example of how some flames burn out too quickly for their own good.

THE TRACKS - EARNING TIME

“Mississippi Queen” - 10/10

Fun, loud, and undoubtedly Rock ‘n’ Roll. Worthy of every bit of praise it’s received in the 56 years since its release.

“Theme for an Imaginary Western” - 9/10

A nice take on the original version by Jack Bruce (which was also produced by Pappalardi). Great instrumental - a version of an acoustic ballad renewed with a rock twist, rounded off with a solid vocal performance by Felix Pappalardi and a mighty guitar solo by West. Personal fave.

“Never In My Life” - 6.5/10

A solid riff. A good song held back by how repetitive it gets. 

“Silver Paper” - 6.5/10

Not bad. Not outstanding. Needs time to grow on you.

“For Yasgur’s Farm” - 8/10

Named for the venue of Woodstock ‘69. An enjoyable bluesy rock song with a good balance of highs and lows. Only hampering it is that by this point, the album is starting to drag a little bit, lacking variety.

“To My Friend” - 7/10

A change. A softer acoustic instrumental, and a great demonstration of Leslie West’s skill on a guitar. You’d either love it or not. I don’t think I do - but there’s still an undeniable quality there.

“The Laird” - ??/10

A psychedelic detour. Very different. I’m honestly not sure how to rate it. You’d have to listen for yourself.

“Sittin’ On a Rainbow” - 6/10

A jump right back into the upbeat. Short and fun enough. Nothing outstanding.

“Boys In the Band” - 5.5/10

By now, the lack of variation is starting to seriously drag out.

“For Yasgur’s Farm (Live)” - 7/10

A solid performance. 

OVERALL RATING - 6.5/10

Though the flame of unparalleled energy awkwardly fizzles out over its 37 minute runtime, Climbing! undoubtedly laid the groundwork for rock as we know it today.