Sometimes it’s the
minor groups that really get to you.
When a group flies slightly under the radar, it has the opportunity to
behave with less pretension and more sincerity, less pomp and more
honesty. To me, The Cyrkle falls into
this category. The group is best known
for its lovely hits “Red Rubber Ball” and “Turn Down Day.” Both of these were offered up on their first
record though. It was only as a follow
up to their modest success that we get the lovely “Neon.” I love The Cyrkle, but I am not going to say
they are the most underrated band of the 60’s or anything like that. What I will say is that they are very
talented and pleasing to the ear. They
also have flashes of brilliance that make this well worth having in your
collection.
The opening number,
with the lengthy name “Don’t Cry, No Tears, No Fears Comin’ Your Way,” starts
with some interesting guitar sounds.
There is very little attack on the front end of these chords. Think of it like this: Imagine I said the
word “Bang.” Now picture me saying it
with as little emphasis on the “B” sound as possible. The “ang” sound then rises up and rings out,
leaving you with a gong like impression.
The song then vacillates between mantra like verses and chipper
choruses. We also get not one, but two
modulations at the ending fade.
“Please Don’t Ever
Leave Me” has the boys singing to a typical late 60’s arrangement. The harpsichord and oboe are very nice, but
it is the sincere vocals that make the song so enjoyable. There is nothing particularly special about
the song. It’s just a nice melody sung
by some nice voices. I always liked the
sound of Don Dannemann’s (the lead singer) voice. Some people sing like a violin, with notes
sliding all over the place. Don sings like a piano: clean, unwavering, and solid.
It’s hard for me to picture him singing out of tune. Don also sings lead on, what I consider to be,
the stand out track on the record.
“I Wish You Could
Be Here” really tugs at my heart. Don’s
lead vocal is performed at about the level of a quiet phone call. Picture a time in your life when you said “I
wish you could be here.” to someone over the phone. Remember that feeling as you listen to this
song. Sometimes the circumstances of
life keep us apart, and what are we to do?
Here are a few of the lyrics:
Sundays in this town, there’s not a lot for me to do.
I’ve been listening to some records, but my thoughts have turned to
you.
I try to read the paper, but the words aren’t very clear,
And I know there’s something missing.
I wish you could be here.
There is a gentle melancholy
to this song that I just love. Sad songs
have a tendency to pull me down into whatever hole the the artist is wallowing
in, but this one is different. I don’t
know why it’s so touching, but something about it really resonates with
me. After listening to it multiple
times, I looked on the back cover and found out that Paul Simon (who also wrote
“Red Rubber Ball”) was a co-writer. I
guess that makes sense why it is so good. My wife also noticed some moaning
percussion in the back ground that I have not been able to positively identify. The sound feels just like that aching in your
gut when you really miss someone.
There are also a
couple of well placed covers on the record.
“It Doesn’t Matter Anymore,” written by Bacharach and David, features a
complex melody. It’s the kind of melody
that is dissonant, but doesn’t feel dissonant.
Similarly, the Beatles cover, “I’m Happy Just to Dance With You,” has
some funky chord changes that diverge from the original. It’s not something that totally messes with
the song, but it does alter it enough to make it interesting. The drummer also performs some nice patterns that
help soften some of the harder melodic changes.
The only song that
feels out of place is “Problem Child.”
Everything about it feels too harsh and over the top. I am sure it was supposed to be tongue in
cheek, but it messes with the overall tone of the album. It feels like it would be more at home on a
Lovin’ Spoonful or Monkees record. I
have heard plenty of other records that have this same problem, so it’s not
anything particular to The Cyrkle. Heck,
even most Beach Boys records had a weird honker like this on them.
Tones: There are some very
simple sitar parts spread out across the album.
I imagine that producers in 1968 told bands, “You are required to
feature sitar, harpsichord, mellotron, or fuzz guitar on this record. I suggest all of them.” Actually these touches are very nice. I especially like the muffled tone on the rudimentary
piano solo on “Our Love Affair’s in Question”
Cover Note: I have always
associated neon colors with the late 80’s and early 90’s, so it’s interesting
to see it in a 60’s context. The cover
is actually a little boring, especially when compared to other covers released
in 1967. It is just the four band
members stoically staring at the camera with two neon circles around them. 80% of the cover is black. Oh well, they can’t all be gems.
Price paid: I paid about $12.00
for this at a local shop. This
particular shop is usually pretty over priced in general, but they do have a
massive collection. I bought it early in
my record collecting career, when I was more impulsive. I am not sure if it’s original or not, but it
was in great condition. Years later, I
also bought a copy for my sister that was under $5.00. Sundazed Records has also reissued both this
and the first Cyrkle album. I highly recommend
anything Sundazed presses. Their attention
to detail is unsurpassed.
Bottom Line: This is the kind of
record you pull out and listen to once every few years. I am never disappointed with it when I do. If you already have a large collection of 60’s
pop, then you will find a lot to like here.
My wife found it to be pleasant and said she liked a few of the
songs. Given her ambivalence towards
soft psych, I consider that a win. $5.00-$6.00 is a fine price to pay.
