The Goldebriars
The Goldebriars
Epic Records BN 26087
1964
I first encountered Curt Boettcher as a young teen in the liner notes on the back of my copy of "The Association's Greatest Hits!" where he was listed as one of the producers. I was obsessed with that album for a little while so the names associated with it stuck with me. Thus I remembered Boettcher when I encountered him in Sagittarius and the Millennium and became a fan. This was his first foray into commercial music. He formed the Goldebriars while in college with Sheri and Dottie Holmberg and Ron Neilson. Given that his career was largely devoted to extravagantly arranged sunshine pop, I was a little surprised to find Boettcher leading a folk group, but once I spun the record I recognized his style instantly. The group sings mostly folk songs with folk style accompaniment but the vocals are pure sunshine pop. They feature elaborate harmonies with multi-tracking to give the music an astonishingly rich and vibrant sound. This is evident on the opening track "Railroad Boy" which is a traditional song that is often known as "The Butcher's Boy." Joan Baez recorded it on her second album which I assume is where the group picked it up. It is one of those wronged maiden type ballads. The Holmberg sisters' voices blend beautifully and complement Boettcher's delicate voice and the result is a lovely and haunting performance. "He Was a Friend of Mine" is a well-known traditional song that the Byrds made famous the following year on "Turn! Turn! Turn!" when Roger McGuinn changed the lyrics to be about John F. Kennedy. Dave Van Ronk recorded it on his "Folksinger" album in 1962 and it was in Bob Dylan's early repertoire. It is a gloomy song but it sounds practically euphoric with the Goldebriars' enthusiastic vocal arrangement. "Come Walk Me Out" is listed as a traditional song but it is actually Bonnie Dobson's song "Morning Dew." That poor woman was always getting screwed out of her royalties - Tim Rose claimed a songwriting credit on it when he recorded it for "Tim Rose." My favorite version is the Grateful Dead's intense and emotional cover of it on "The Grateful Dead." In contrast the prettiness of the Goldebriars' version diminishes the song's gravity although I have to admit it sounds fabulous. I could say the same about "Alabama Bound" which is credited to Leadbelly although the song predates him. The grittiness of the song does not benefit from Boettcher's pretty vocal and the Holmbergs' captivating harmonies. They sound condescending and out of touch with the song. "Pretty Girls and Rolling Stones" is attributed to the Goldebriars themselves but it sounds convincingly like a folk song. It's a girl chasing I gotta ramble type of song. They sing it with winning enthusiasm. "A Mumblin' Word" is an old spiritual about the crucifixion of Jesus that is also known as "He Never Said a Mumblin' Word" and "They Hung Him On a Cross." This song was also sung by Leadbelly. Boettcher's vocal is a little more grounded and coarse than usual but I still feel like the song's arrangement trivializes the subject even though I'm not the least bit religious myself. This is equally true of "Old Time Religion" which has got to be the slickest version of that old song around. I don't actually like traditional versions of the song and I find the Goldebriars' performance invigorating and pleasantly brief (a mere 1:37 in length.) The gospel theme continues with "Long Time Travellin'" which is equally slick but I find it more successful than the other religious songs because of its folk propulsion and more traditional harmonies. It reminds me of the Seekers' work in this vein. It is followed by a gorgeous version of the venerable old folk song "Shenandoah" which I consider one of the highlights of the album. The vocals absolutely send me. It resoundingly points towards Boettcher's future as a sunshine pop master. "No More Auction Block" is an old anti-slavery spiritual that had previously been recorded by Odetta. This is arguably the most ridiculous song on the record. The contrast between the mesmerizing vocals and the harshness of the lyrics is almost comical. "Sing Out Terry O'Day" was written by Boettcher in a folk style. The group sings the song with great vigor and verve and again remind me of the Seekers. From a folk standpoint it is perhaps the most credible song on the album particularly in Boettcher's urgent vocal. The album concludes with "Voyager's Lament" which is an English language version of "Un Canadien errant" which was written by Antoine Gérin-Lajoie. I first heard it on the debut album by Ian and Sylvia where it blew me away however the song dates back to 1842. The song describes the unhappy exile of a French-Canadian following the Lower Canada Rebellion in 1837-1838. The Goldebriars strip the Canada references from the song in the English section of their performance and then they sing a verse in the original French which is then crossed with "Plaisir d'amour" (uncredited) which is sung in English. I find Boettcher's creativity in the song breathtaking and immensely pleasurable. When I first got this album I played this track over and over savoring the vocal richness and the brilliant splicing of the two songs. This is my favorite track and its dazzling arrangement again foreshadows Boettcher's future career. I think that if I were a folk purist I'd probably hate this album or at least have serious problems with it. The music is almost totally divorced from the foundations of the songs. However I am far from being a folk purist. I prefer folk-rock to folk and I like Curt Boettcher a lot more than I like Pete Seeger. Boettcher basically used these folk songs as a vehicle for his own creative interests and that is fine with me. There were lots of performers who did these songs the "right way" if I feel like hearing that (and I have to confess I seldom do.) Hardly anyone arranged music like Boettcher did so this album is more valuable to me. Recommended to people who think it would have been cool if Brian Wilson had produced a Seekers album.
A Giant Crab Comes Forth
Giant Crab
UNI 73037
1968
When I was in college I thought I knew everything I needed to know about 1960s rock after I read a bunch of rock encyclopedias and histories of the era. How many good records could have come out in the decade? I figured I could get them all. I was wrong. 40 years later and I am still working on it. By the time I was in my thirties I assumed I had all the essential classics but then the internet came along and I found out there were a lot more worthwhile records out there that I had never heard of. The Santa Barbara based band Giant Crab was not in any of the books I read as a youth. I first heard them on a specialty program on my favorite college radio station KXLU. I loved the song I heard and checked out the band on the internet. Eventually I was able to find their two albums. This is their excellent debut album. It begins with a spoken intro by Johnny Fairchild who was a Santa Barbara disc jockey who helped the band get on the radio. It simulates a dramatic news flash although its impact is diminished by an attempt to work all the song titles from the album into the intro which makes it sound contrived. Most of the album was written by the band's talented leader Ernie Orosco with occasional help from his band mate and brother Ruben (or maybe his other brother Raymond - it is not clear on the song credits) as well as the album's producer Bill Holmes. Most of the songs are catchy sunshine pop like "It Started with a Little Kiss," "Groovy Towne," "Thru the Fields," "Believe It or Not" and "The Answer is No." These songs feature charming vocal harmonies and elaborate arrangements often bolstered by punchy horn support from band members Dennis and Kenny Fricia. "Directions," "Intensify Your Soul" and "The Chance You Take" are harder in sound with a soulful flavor and heavier instrumentation. They remind me of the Rascals. "Watch Your Step" is pop-psych with hypnotic keyboard riffs driving it. "Hot Line Conversation" is also pop-psych and the heaviest song on the album. Its lumbering riff and organ washes make me think of early Iron Butterfly. The album closer is a slow and majestic ballad called "Why Am I So Proud?" that gives the record an emotional finish. There are also four covers on the album. "Enjoy It" was written by Scott English and Claus Ogerman and it plays to the bands' sunshine pop strengths. English also wrote "Hi Ho Silver Lining" with Larry Weiss and it was a British hit for Jeff Beck and I think it should have been one here as well. The cover version doesn't stray too far from the Beck version. The Beck version is more energetic and I miss his guitar solo but since singing was hardly Beck's strength, I welcome Ernie Orosco taking a crack at the song. Both versions are worthwhile. "I Enjoy Being the Boy" was written by Marc Bellack and bubblegum stalwart Joey Levine. It is less inane than a lot of Levine's stuff and features a lovely arrangement that makes it seem less lightweight than the lyrics would suggest. My favorite of the covers and my favorite track overall is "Lydia Purple" by Don Dunn and Tony McCashen. It appeared on the debut album by the Collectors earlier in the year. Giant Crab's version is heavier and more propulsive which I appreciate but I think the song's moodiness and portrayal of alienation was better served by the Collectors' chamber pop arrangement. I still love the Giant Crab version though. This is such a good album that I'm surprised it is not better known. It deserved a better fate. I was already middle-aged when I finally got a copy which I regret. I would have eaten this up back when I was a teenager worshipping the Turtles and the Hollies. Even in my dotage it still is immensely appealing to me. It is records like this that humble me and keep me from getting too cocky about my knowledge of rock history. If you dig pop-psych or sunshine pop this album is essential. I've played it a bunch of times in recent years and it still makes me happy whenever I give it a spin. Recommended to fans of the Strawberry Alarm Clock.
Let's Go To San Francisco
The Flower Pot Men
TELDEC 6.26179 AP
1985
This is a German compilation of various tracks attributed to the Flower Pot Men, which was a studio group concocted to record tracks by John Carter who had a significant career behind the scenes in the 1960s British pop music industry as a performer, producer and writer. Side one features the four original Flower Pot Men singles on Deram Records running in chronological order. Carter and his frequent partner Ken Lewis wrote "Let's Go To San Francisco" which was released in 1967. It was the band's only hit single and the song that attracted me to the group in the first place. I collect songs about my former hometown and this is a particularly good one although like so many songs about the summer of love it is loaded with hippie nonsense. Flowers do not grow high there (unless they mean a different kind of high) nor is there an abundance of sunshine. The lyrics may be silly, but the music is wonderful. It is more sunshine pop than psychedelic with soaring vocals and effervescent harmonies bolstered by an elaborate poppy arrangement. It sounds like Brian Wilson producing the Tokens. The song continues on the B-side of the single with a slightly moodier arrangement. Carter and Lewis along with Russell Alquist wrote the 1967 single "A Walk in the Sky" which is an obvious attempt to exploit the success of "Let's Go To San Francisco." It features a similar sunshine pop arrangement with mildly psychedelic lyrics. The song is not as engaging as its predecessor but it is fun and it has a surprisingly somber break in the middle that I find interesting but which probably sabotaged whatever chance it might have had to be a hit. Carter wrote the B-side "Am I Losing You" which is a more conventional love song that has an evocative arrangement that makes it sound like a lost outtake from "Pet Sounds." Carter, Lewis and Alquist wrote the band's 1968 single "You Can Never Be Wrong" which flopped but I think it is lovely. It has a chamber pop sound and another elaborate pop symphony style arrangement which sounds like the Zombies jamming with the Left Banke. It is one of my favorite tracks on the album. The B-side was "Man Without a Woman" by Carter and Alquist which is a much more sedate track. It is a bit sappy but it sounds pretty. Deram dumped Carter for the band's final single in 1969. "In a Moment of Madness" was written by Roger Cook and Roger Greenaway and it sounds little like the band's previous work. It is straight ahead commercial pop that borders on bubble gum. It is pleasant enough if you like that sort of thing. The B-side, "Young Birds Fly," was written by Bill Swofford who as Oliver had a hit with his cover of "Good Morning Starshine." It was originally a single by the Cryan' Shames and this version is similar to theirs although less inspired. It sounds like the Association on a bad day. Side two is a hodge-podge of Carter tracks. "Journey's End" was written by Carter and his wife Gill Shakespeare (which is Carter's real last name) and first appeared as the B-side on a 1974 reissue of "Let's Go To San Francisco." The song was credited to the Flower Pot Men but I have no idea if they were really performing it. It doesn't sound much like the original band, it has more of a rocked up sound. It reminds me of the Moody Blues. "Mythological Sunday" was the B-side of a 1968 Deram single that the Flower Pot Men recorded under the name Friends because Deram had soured on the commercial appeal of the Flower Pot Men. It was written by Carter and Alquist. I think it is the most psychedelic track that they ever did although it also has a chamber pop flavor to it. It is one of my favorite cuts on the album. "Blow Away" was an unreleased Carter/Lewis track that is credited to the Flower Pot Men although it sounds unlike any of their officially released recordings. It sounds more like the Byrds on "The Notorious Byrd Brothers." It is a great slice of zonked out folk-rock that is easily the hardest rocking and most compelling track on the album. I can understand why Deram passed on it, but it is better than any of the official recordings except "Mythological Sunday." "Piccolo Man" was the A-side of the Friends single. It was written by Carter, Lewis and Alquist and it is pure bubble gum. It is easily my least favorite track. Carter and Lewis wrote "Let's Go Back to San Francisco" which was a sequel to their hit and sounds very similar to it, basically the song sounds so much like the original that it seems pointless. It was released as a single in 1981 under the name Beautiful People. Its B-side was "Silicon City" which was written by Carter and Shakespeare. It sounds nothing like the Flower Pot Men and a lot like the early 1970s Beach Boys. I'm very happy with this comp aside from the lack of discographical info. John Carter had an interesting career and deserves to be better known. The first three Flower Pot Men singles are delightful and the odds and sods on side two are appealing and eclectic. I can't claim that any of this is essential, but it makes me happy whenever I put it on and I'm very glad to have it. This particular record isn't easy to find, but Carter's work has been collected on a bunch of modern CD comps which are worth seeking out if you have a taste for sunshine pop. Recommended to Zombies fans who dig Brian Wilson.
Keep On Singin'
Andraé Crouch and the Disciples
Light Records LS-5546-LP
1971
I picked this up in a thrift store in Williams, Arizona awhile back. I had no idea who Andraé Crouch was at the time. I'm not a big fan of religious music, but I dug the cover and hoped that the music was funky or soulful. When I got home I gave it a spin and was dismayed to hear that much of it sounded like smooth sunshine pop. It was so not what I was expecting that I stuck it on my purgatory shelf planning to discard it. Then last January Crouch died and I came across several lengthy obituaries of him that praised his work and its significance in the history of gospel music. I remembered that I had one of his records and pulled it out to listen to it again. It was pretty much as I remembered but this time it didn't bother me. Without my false expectations to prejudice me, I heard the music differently. I appreciated its eclecticism and its pop appeal. You might think I was just swayed by the critical praise of Crouch's work, but I think it is more of a case of me being motivated to listen to it more attentively. The record opens with "I Don't Know Why Jesus Loved Me" which like all the songs on the record was written by Crouch. It is sung by one of the Disciples, Perry Morgan. This song has more of a traditional gospel sound with a prominent organ line and soulful ensemble vocals. This is my favorite track on the record. Crouch sings lead on "I'm Gonna Keep On Singin.'" This is a more upbeat track bolstered by brass and winds and very poppy harmony vocals led by Crouch's twin sister Sandra who was also a member of the Disciples. It is a slick and accessible production that shows off Crouch's pop smarts. If it wasn't so religious I could imagine it as a top 40 single. Disciple Billy Thedford and guest singer Tremaine Davis sing "I'm Coming Home, Dear Lord" with a lot of feeling. The song is less dynamic than the previous track but shares the same elaborate pop style arrangement. Crouch takes the mike again for "Along Came Jesus" which is a jumping number with a catchy melody and energetic vocals. The record slows down for "Jesus (Every Hour He'll Give You Power)" which boasts a stirring vocal from Crouch. Side two begins with Crouch singing "Take a Little Time" which is another soulful performance with an elaborate pop arrangement. "What Ya Gonna Do?" is a jaunty number that almost sounds like a show tune. It is mostly sung as an ensemble with a solo passage sung by Crouch. It concludes with an odd bit of musical cacophony that sounds almost psychedelic. "I've Got Confidence" is a rocker that is driven by a stinging guitar line. It features a dynamic lead vocal from Crouch and it is one of my favorite cuts on the album. Thedford is the soloist for "My Tribute (To God Be The Glory)" which is a dramatic ballad. I find it sappy and overblown. For some reason fake applause is dubbed in at the end of the song. The album concludes with Crouch singing "I Must Go Away" which is country-flavored. I find the song appealing, particularly the harmonica work and tasteful piano lines. I'm not a Christian but I admire Crouch's expression of his spirituality. He's not preachy or self-righteous and his lyrics have some memorable images and language. Mostly though it is the music that gets to me. Crouch and the Disciples were all terrific singers and their vocal interplay is consistently engaging. Crouch was also a skilled arranger and I appreciate the variety of instruments and styles he employs throughout the record. Although I was initially turned off by the poppiness of the record, I'm hardly the sort of person who does not like a big juicy hook and Crouch sprinkles them liberally throughout the record. Crouch wanted to make religious music that would appeal to a broad audience and on this record he succeeded. Anyone who is a fan of sophisticated 1970s pop-soul or sunshine pop ought to find stuff to like on the album. Recommended to religious fans of the Fifth Dimension and Gladys Knight and the Pips.
Heaven/Earth
The Free Design
Project 3 PR 5037SD
1969
The third album by the Free Design. I'm a big 1960s buff, but I was not aware of this group until I heard Dressy Bessy's cover of one of their songs on "The Powerpuff Girls" soundtrack CD. I liked the song and looked up its origin and thus discovered this band that really I should have known about much earlier. They didn't appear in any of the rock encyclopedias or histories I used when forming my record collection. They toiled in undeserved obscurity during their existence from 1967 to 1972. The band enjoyed a modest resurgence of interest in the past decade fueled by the admiration of bands like Stereolab and the reissuing of their original albums. The band consisted of four siblings, the Dedricks, led by brother Chris who wrote the band's original material and did their elaborate arrangements. The band's style was a mix of arty soft rock and chamber pop akin to Orpheus or the Millennium. I'm not a big soft rock fan, but this group really appeals to me. I like all of Chris Dedrick's original songs which comprise most of side one. My favorite is "2002 - A Hit Song" which is about how to write a hit single and the band's failure to achieve one. Dedrick is mocking hit singles, but really this song should have been one. It has a big hooky bass line, a solid beat, a catchy chorus and the band's characteristically complex vocal harmonies driving it, a terrific song. The album's closing tune "Dorian Benediction" is Dedrick's most interesting song. It blends a vocal line that sounds derived from Medieval liturgical music with a jazzy instrumental backing with remarkable results. "Now Is The Time" is upbeat sunshine pop that is highly engaging and the most propulsive tune on the record. "You Be You and I'll Be Me" is in a similar vein and almost as good. I like the lyrics about keeping one's identity in a relationship. "My Very Own Angel" and "Girls Alone" are slight but very lovely thanks to the delicate instrumental arrangements and enchanting vocal harmonies. I like the cover songs on the album much less. They make up most of side two. My favorite is their cover of Tim Hardin's "If I Were a Carpenter" which is very slow and deliberate. Normally I would object to the lethargic pace of the song, but the vocals are so gorgeous I find that I appreciate the slow tempo. They do a jazzy version of Gershwin's "Summertime" which has an impressive arrangement and the studio band really cooks, but I find the vocals kind of weak. The song needs a stronger lead singer than the band can provide. There is a chamber pop version of "Where Do I Go" from the musical "Hair." I like the strings which make the song seem less like a show tune. "Hurry Sundown" was a flop single for Peter, Paul and Mary. I like the Free Design's version a lot better both for its superior arrangement and for the quality of the vocal harmonies. The worst of the cover songs is the group's version of "Memories" which was a hit for Elvis. They dress the song up pretty nicely but I still find it nauseatingly sappy although definitely an improvement on Presley's record. The Free Design and "Heaven/Earth" deserve to be better known. Side one of this album is about as good as any soft rock I've ever heard, I listen to it quite a bit. Recommended to fans of the Cowsills and Spanky and Our Gang looking for something a little smarter.
Neon
The Cyrkle
Columbia CS 9432
1967
As a younger person, I was a fan of the Cyrkle's debut album which features their two hit singles, "Red Rubber Ball" and "Turn Down Day." I still like it, although it is a bit too sugary for my taste nowadays. This is their second album which is less sugary although it doesn't stray too far from the folk-rock/sunshine pop of their debut. It flopped when it came out and when I first got into record collecting I often used to see cut-out copies of this in the bins so obviously nobody wanted it, but I think it has its merits. The only song I really dislike is "Problem Child" which sounds like something you'd hear in a Broadway musical or music hall. It was written by Toni Wine and Carole Bayer who would later become famous as Carole Bayer Sager and write a bunch more songs that I don't like either. My favorite song is "Don't Cry, No Fears, No Tears Comin' Your Way" which is a hard driving folk-rocker with mildly psychedelic overtones (including a sitar) written by band members Tom Dawes (guitar/bass/sitar) and Don Dannemann (guitar.) Dawes and Dannemann also wrote the jangly "Our Love Affair's in Question" which is nearly as good and "Weight of Your Words" which is pedestrian folk-rock. Paul Simon and Bruce Woodley (of the Seekers) wrote "Red Rubber Ball" and offer "I Wish You Could Be Here" this time around. It was a flop single for the band and it is easy to see why it tanked. It is too low-key to make much impact on the radio, but I like it a lot, it is melodic and has that collegiate earnestness characteristic of Paul Simon's early work. Susan Haber wrote the other single on the album (also a flop), the bouncy chamber pop flavored "Please Don't Ever Leave Me." It recalls the sugariness of their debut album. Chip Taylor's "I'm Not Sure What I Wanna Do" is also in a sunshine pop vein, it reminds me of the Monkees. Fans of the Cyrkle's debut album will probably like these two songs the most. The rest of the album is mostly filler. There is a cover of Ricky Nelson's "It Doesn't Matter Anymore" written by Burt Bacharach and Hal David. I like the upbeat poppiness of this arrangement, I never would have guessed it was a Bacharach/David song hearing the Cyrkle's version which I prefer to Nelson's. Their sitar-driven chamber pop cover of the Beatles' "I'm Happy Just to Dance With You" isn't nearly as successful. It sounds awkward and pretentious to me although there is no denying that it is unusual. "Two Rooms" by the band's drummer, Marty Fried and "The Visit (She Was Here)" written by Bodie Chandler and Edward McKendry are soft rock akin to the Association. They bore me. Despite its flaws, I find this album's blend of folk-rock and sunshine pop to be appealing and I think fans of either genre will find stuff to appreciate here. Recommended to fans of the Sunshine Company.
Every Mother's Son
Every Mother's Son
MGM SE-4471
1967
When I was a kid, "Come On Down To My Boat" was one of my favorite songs. In my late teens when I started going to used record stores, I came across the album that contained it and I was mortified by the pictures of the clean cut guys on the cover. This group seemed so square, that I instantly lost all regard for their lone hit single. As I got older I stopped worrying so much about what was cool. I just wanted to hear my old childhood favorite again. I finally broke down and bought this album to see if anything on it was as good as the single. Not really but I enjoy most of the record. I still like "Come On Down To My Boat" (which is actually listed as "Come and Take A Ride In My Boat" on the back cover.) It has a catchy bass line, hyperactive drumming, a punchy organ riff that reminds me of the Animals and a chorus that is a classic bit of sunshine pop that insidiously sticks in your head once you play it. It was written by Jerry Goldstein and the album's producer, Wes Farrell. The rest of the songs on the album are credited to band members Lary and Dennis Larden. "Didn't She Lie" is my favorite song on the record after "Come On Down To My Boat". The song features pretty vocal harmonies and a driving beat. I also like "I Won't" which has a big hooky bass riff from Schuyler Larsen who lists the Yardbirds and "raga music" as things he likes in the band bio which might explain why his bass playing is the most compelling music on the album (assuming it is not some session musician playing bass.) "Allison Dozer" is the hardest rocking song on the album. It is not entirely convincing, but I like the dynamic shifts in the music and the instrumentation although the guitar line sounds like it was lifted from the Kinks "All Day and All of the Night." "Ain't No Use" is a catchy pop song with interesting instrumental sounds that border on psychedelia without actually taking the plunge. "What Became of Mary" is a quiet song with ornate keyboard accompaniment, it reminds me of the chamber pop of the Left Banke minus the verve. Less appetizing to me are "Ain't It A Drag," "Sittin' Here (Peter's Tune)" and "Come On Queenie" which are good-time type songs reminiscent of the Lovin' Spoonful or Sopwith Camel, not a genre that I like all that much. "For Brandy" is a sappy love song with strings akin to the Association at their mushiest. "I Believe In You" is in a similar vein minus the strings. Unless you are really into sunshine pop, you can probably skip this record but it does have its virtues. The vocal interplay between the Larden Brothers is very appealing, their voices mesh together really well. Although the lyrics are mundane, the songwriting is otherwise above average for the genre, the Lardens have a knack for catchy choruses. Recommended for pop fans who think the Turtles were degenerate hippies.
Mojo Magic
Mojo
GRT 10003
1968
The Mojo Men were part of the first generation of San Francisco bands that paved the way for the San Francisco Sound without ever really being a part of it. I first encountered them on the original "Nuggets" comp which featured their classic 1967 single "Sit Down I Think I Love You." That song's delicious blending of chamber pop and sunshine pop resulted in one of the most infectious and delightful songs of its era. I loved it so much I sought out the original Reprise Records 45 just to hear the B-side, the very fine "Don't Leave Me Crying Like Before." It remains one of my favorite singles of all time. This is the sole album by the Mojo Men although by this time they had shortened their name to Mojo. Like their fellow early San Francisco band, the Charlatans, their album came out too late, after the band was already on the downside of their career. I'll never understand why Reprise never released an album by them earlier than this. Anyone who has heard the Sundazed comps of the Mojo Men's Reprise material knows how good that music was. Warner Bros. saw fit to release 3 albums by their Autumn Records contemporaries The Beau Brummels and no less than 4 albums by the far less talented Harper's Bizarre (known as the Tikis on Autumn) but just a few singles by the Mojo Men. Some of the Reprise material ended up on this album and if you have the Sundazed CD "Sit Down...It's The Mojo Men" you will have heard eight of the ten tracks on this album already, only "Candle To Burn" and "I Can't Let Go" are not included on it. That is unfortunate because "Candle To Burn" is an excellent song with some lovely orchestration. I consider it one of their best songs. "I Can't Let Go" is a weaker song but like "Candle To Burn" it features an impressive arrangement with orchestration that makes it sound more sophisticated than it really is. Parts of this album sounds like the Mamas and the Papas which might have been a good idea in 1966 but a dubious choice in 1968. Their influence is evident in the arrangements and harmonies on "Make You At Home," and especially "New York City" which could be an answer song to the Mamas and the Papas" "Twelve-Thirty." "New York City" is a memorable song, but it is so derivative that it doesn't do much for Mojo's artistic credibility. "Evelyn Hope" is the most interesting song on the record with a compelling guitar line from Paul Curcio and a psychedelic feel to it that is the closest they come to the San Francisco Sound on this album. When Jan Errico starts wailing at the end I'm reminded of Grace Slick with the Great Society. The gothic lyrics are derived from the poem of the same name by Robert Browning (although he is given no credit.) "Beside Me" is one of my favorite songs on the record. Errico's haunting vocal on this alluring chamber pop song really sends me. It is a slow, smoldering song reminiscent of "Don't Leave Me Crying Like Before." There is also a chamber pop feel to "Flower of Love" which has a complex structure with numerous tempo changes. "Not Too Old To Start Crying" is a mix of folk-rock and chamber pop. It is a conventional pop song but it has a compelling beat, a passionate vocal from Jim Alaimo and an arrangement that gives it some depth. "Free Ride" is one of the punchier songs on the record with a soulful brass arrangement and I like the flower power lyrics. "Whatever Happened to Happy" is the only song on the album that was not written by the team of Jim Alaimo and Jan Errico, it was written by Garry Bonner and Alan Gordon of "Happy Together" fame. It is first rate commercial pop and I don't know why it wasn't a hit. Even though it doesn't represent the band as well as the Sundazed CDs do, I really enjoy this record, there isn't a bad song on it. Alaimo and Errico had a lot of chemistry as singers and the arrangements are consistently interesting and appealing. This album deserves to be better known, as do the Mojo Men, they had a lot of talent. "Mojo Magic" isn't all that easy to find but the Sundazed comps are and the two that feature the post-Autumn recordings with Jan Errico are both excellent. If you are a fan of the early San Francisco Sound, chamber pop or sunshine pop, you will probably enjoy these recordings. Recommended for people who prefer "Jefferson Airplane Takes Off" to "Crown of Creation."
Happy Is The Sunshine Company
The Sunshine Company
Imperial Records LP 12359
1967
I have a bit of a sweet tooth for sunshine pop. It used to be a guilty pleasure, but of late this stuff has been gaining in popularity, even respect, with lots of reissues and comps devoted to the genre. There is a thin line between sunshine pop and bubble gum that has always made me a little uncomfortable, but I have no qualms about liking the Sunshine Company despite their embarrassing name. They did plenty of upbeat, commercial songs, but they also had a more serious side. From what I've read about them there was a conflict between the demands of the record label and the group's management and the direction that band actually wanted to follow, a familiar story in the 1960s. This was their debut album and I like it quite a bit. There is some saccharine stuff here, but there is also a lot of folk-rock styled seriousness as well. Their cover of the Beatles' "I Need You" is a chamber pop gem that I prefer to the original. It is brilliantly arranged by folk singer Mary McCaslin who also arranged their cover of the Beatles "Rain" with less success. That arrangement is similarly elaborate but it removes the psychedelic edge of the Beatles version and it ends up sounding like the Association. They also cover "Four In the Morning" which was written by Robin Remaily of the Holy Modal Rounders. Jesse Colin Young recorded a version on a 1964 solo album and then brought the song to the Youngbloods for their debut album the same year as this. I love the Youngbloods' version, but this is just as good with some killer fuzz guitar running all the way through it. Anyone who thinks this is just a lightweight group, should hear this dark and atmospheric song, it is terrific. They had a modest hit single with a folk-rock cover of "Back on the Street Again" which also appeared on the second album by the Stone Poneys around the same time. Both versions are really good but I give the edge to the Sunshines. The only number penned by a group member is "A Year of Jaine Time" by rhythm guitarist, Maury Manseau. It is a quiet, gloomy song that is mildly ambitious and beautifully sung. Of course there are a lot of lighter songs as well. Their version of "Up, Up and Away" was recorded before the hit version issued by the 5th Dimension and I prefer this version. Although the arrangements are similar, the Sunshine Company's version is a bit rawer. "Just Beyond Your Smile" is classic sunshine pop with its soaring chorus and upbeat lyrics. I wish I could say the same for "Love Is A Happy Thing" but instead I find it embarrassing. It is so corny and overdone that it sounds almost like a parody of sunshine pop/bubble gum. The band rebounds with the other single from the album, "Happy" which is really charming and full of everything I like about sunshine pop, harmonious vocalizing, upbeat romantic lyrics and a catchy memorable melody. I suppose some people would find this record pretty corny, but if you give it a chance I think most 60s rock buffs will find something to like on this record. Recommended for fans of the Mamas and the Papas or the Jan Errico era Mojo Men.
If You Can Believe Your Eyes and Ears
The Mamas and the Papas
Dunhill D50006
1966
When I started this blog, I thought I would just blog about whatever I was randomly listening to, but I find myself increasingly selecting records on the basis of whether I want to blog about them or not. Sometimes I pick a record and realize I don't have anything to say about it and put it back. Other times I pick a record that I don't particularly want to listen to, but which I want to write about, like this one. I don't play it very much but I have a long history with it. I discovered it through my Dad. My Dad was not a rock and roll guy, his taste ran more Streisand/Sinatra and mariachi music when I was a kid. For some reason though he got this album a few years after it came out. He played it all the time for awhile, it seemed like every Saturday morning I would wake up to him blasting it on the stereo. It was the first real rock album I ever heard and I loved it. My sisters and I used to stare at the cover and speculate about the people squished into the bathtub. They made hippies seem attractive and glamorous at least until I encountered my two uncles who had become hippies and then I decided they were kind of ugly and scary. This record and in particular "California Dreamin'" took on a special poignancy for me when my parents divorced and I was exiled to cold, snowy Salt Lake City. When I returned to California to live with my Dad, he no longer played this record and neither did I. It reminded me of the happier days of my childhood and I didn't want to be reminded of what I had lost. After I left home I came across this in the record store and decided to buy it and see if it was as good as I remembered. Not really, but I do like it. It is a well-produced mix of folk-rock and sunshine pop, a bit dated but still fun. John Phillips' lyrics are not very original, but he is good with language and even when the words seem trite I find them engaging. Everyone knows the two hits "California Dreamin'" and "Monday, Monday" and very little on this record can match them aside from "Straight Shooter," "Somebody Groovy" and "Go Where You Wanna Go" all of which probably should have been hits. "Got A Feelin'" is a nice slower tempo song with pretty instrumental backing and their trademark beautiful vocal harmonies. They approach most of their covers by slowing them down as well. They come up with interesting and sophisticated arrangements but I prefer the faster tempos originals of "You Baby" (Turtles), "I Call Your Name" (Beatles) "Spanish Harlem" (Ben E. King) and "Do You Wanna Dance" (Bobby Freeman/Beach Boys.) The slow versions do allow for more elaborate vocalizing but generally, propulsion means more to me than harmonies when it comes to silly love songs, otherwise I'd be listening to the Lettermen or the Sandpipers. Nonetheless this is a consistently enjoyable record that sounds wonderful. It is not very substantial but it is very tasty, kind of like a cake that is mostly frosting. Recommended for anyone who ever wanted to be a hippie but didn't want to get dirty.
Id Music
The Third Rail
Epic BN 26327
1967
I always thought this was called "ID Music" as in identity, but reading the liner notes I learned that it really refers to id as in id and ego. The liner notes are pretty amazing perhaps the most pretentious ones I've ever read. Considering the bubblegummy nature of the music, I think it is safe to assume that they are a joke. "We have placed songs as mirrors to reflect, in an aquinian sense, the world" reads one sentence. I wonder how many of the original purchasers of this record had ever even heard of the word "aquinian". Elsewhere the album is compared to Conrad's "Heart of Darkness", the record's search for truth evokes a reference to Diogenes and it is all part of the "Id movement" whatever that means. Hilarious. I first encountered the Third Rail on the original "Nuggets" comp via "Run, Run, Run" which was one of the poppiest tunes on that record. If you like that song you will probably like this album as well although only the Jan and Deanish "Boppa Do Down Down" approaches the bubblegummy quality of "Run, Run, Run". The rest of the record is all over the place from the blue-eyed soul of "Jack Rabbit" to the pop-psych of the excellent "No Return" with lots of sunshine pop and even some chamber pop in between. All of the songs are good and there is a surprising amount of sophistication and social commentary in the lyrics. It is no masterpiece, but I thoroughly enjoy this record and it is never boring. I have a re-issue, but if you stumble across an original pressing, it might well be worth the price to pick it up. Recommended for Monkees fans who don't like the Davy Jones songs.
