Nico "Chelsea Girls" 1967

   

            In my early 20’s I had a healthy obsession with The Velvet Underground, and an understandable infatuation with Nico.  How could you not?  I think I was taken by the entire concept of the Velvet Underground.  The music was earth shattering and Lou Reed was writing songs that were different than anything that had ever been written.  Nico, with her unaffected German aloofness and gentle detachment, was the cherry on top.  Her delivery always sounded like she couldn’t care less, but her deep moaning voice resonated with sincerity.  Her singing has a beauty and strangeness that I have not heard duplicated by any other artist. 

                Because the original Velvet Underground was such a difficult sell to most people seeing the band, Andy Warhol suggested Nico be added to the band in order to make them more visually appealing.  Nico could actually sing though, so it’s not like she was some glorified go-go dancer.  She really did have a presence and added a lot to the band.  Who knows if the Velvet’s would have succeeded (as modestly as they did) had Nico not been a part of the group? She is certainly an acquired taste, but like beer, coffee, or Campari, acquired tastes can be delightful.  Nico sang three songs on the Velvet’s debut, but this is her first proper solo record. 

                The first two songs on the record are so good, so sweet and tender, so delightfully melancholy, so painfully grey, and so wonderfully milky that it’s hard not to just listen to these songs over and over again.  I feel like my eyes want to water up every time I hear that chimey guitar start.  I’ve probably listened to “Fairest of the Season” several hundred times over the years.  I have never given the lyrics a lot of thought, because the sound is so compelling.  Nico’s voice is as warm as a man’s, but her femininity is still able to shine through clearly.  It’s like sunlight through the clouds: bright yet soft, and clear yet muted.  The string arrangement also slowly burns over the guitar. 

          “These Days” is brighter than “Fairest of the Season” but contains the exact same sonic qualities.  The melody and guitar have a falling quality that always relax me.  Maybe falling isn’t the best word though.  It’s more like setting down something precious, maybe a baby.  This song doesn’t elate me or make my heart race.  It simply leaves me with a sense of absolute satisfaction.  Listening to it makes me feel like I've just sat and meditated for a while. 

              Jackson Brown plays some guitar on the record and his contribution cannot be overstated.  He is the writer of “Fairest of the Season,” “These Days,” and “Somewhere There’s a Feather.”  He really sets the pace and tone of this record.  I have never been a fan of his 70’s records, but he does some very nice playing and writing on this album.  Apparently, he and Nico had a quick romance around the making of this record.
               Because Nico was a member of the Velvets, the group contributed several songs to this record.  My favorite is “Wrap Your Troubles in Dreams.”  This sounds exactly like something Lou Reed could be singing.  The melody seldom changes, and for over five minutes the song drones on.   Lou and the Velvets were uncompromising with their songs, so to give the listener a break, we get only a spoken word interlude.  There is very little going on to change the sonic or vocal landscape.  It is a little challenging to listen to, but sometimes songs can still be good even if you don’t love them. 

                The lyrics to “Chelsea Girls,” also by Lou Reed and company, are pretty interesting.  Songs about prostitutes were not common in 1967, so this is definitely an anomaly.  For sure this is the only one on a Verve record.  Check out these lines:

Here's room five four six
It's enough to make you sick
Bridget's all wrapped up in foil
You wonder if she can uncoil

And

Here comes Johnny Bore
He collapsed on the floor
They shut him up with milk
And when he died, sold him for silk

What’s going on in these rooms?  I think you and I both know. 

           Bob Dylan also wrote a song on this album for her to sing.  Are you getting how important this woman was to the New York late 60’s music scene?  It is said that Tim Buckley used to come and watch her play, and Leonard Cohen used to write poems as he watched her perform.  Iggy Pop was also involved with her for a spell.  Anyway, “I’ll Keep It with Mine” is a major highlight on the record.  I really like the melody of this song and the lyrics are your typical Bob Dylan lyrics.  I especially like:

I can’t help it
If you might think I’m odd
If I say I’m not loving you for what you are
But for what you’re not

          I never had the guts to say that to a girl, even if it was true.  I’m sure Bob, and Nico by proxy, could have pulled it off though.  It may be the least loving way to say “I love you” ever.  There is a version of this song on “Bob Dylan: Bootleg Series Vol. 1” that has almost the same delivery, minus the strings.  It’s very good as well. 

Tones:  The most pronounced tone on this album is of course Nico’s voice.  I personally find it very appealing, but others do not.  On several occasions, others have asked if it was a man singing.  There is not a lot of middle ground here.  I really enjoy the fact that she has almost no vibrato in her voice and the timber of her voice reminds me a tenor saxophone as well. 

                There is also a noticeable difference in the guitar tone on “It Was a Pleasure Then.”  My assumption is that it is Lou Reed playing, seeing as he and John Cale wrote the song.  It is far harsher than any of the Jackson Brown played guitar parts and you can hear a lot of background hiss coming from the guitar amp.    

Cover Note:  Nico’s emotionless face is the perfect expression of the music on the inside.  I get the sense that Nico was disconnected from the world she lived in.  The black and white colors also feel very cold and stark.    

 

Price Paid:  I only own this one on CD, and I have never seen an old vinyl copy in my rummaging.  If I ever do, I would easily pay $15.00.  It was initially released on Verve Records, and they usually press some nice heavy vinyl, so that’s a plus.

Bottom line:  This is a good one to play with the family.  My wife’s love for the first two tracks even predates our relationship.  If you are a fan of the Velvet Underground then this should be of major interest for you.  I own all of the Velvet’s normal releases and a lot more.  “Chelsea Girls” fits in nicely with all of their stuff. This is especially true if you like the sound of their first record and the vibe of their third, more mellow record.   

Frank Zappa "Roxy and Elseswhere" 1974

                It’s hard for me to not gush about this album.  When I was a young impressionable musician in high school, I dove head first into the music of Frank Zappa.  As a result, I have put a lot of hours in with his tunes, and they have had a profound effect on the way I view music in general.  Zappa approached his music from the standpoint of a composer playing rock and roll music.  Because he literally wrote the music on the front end of things, his attention to detail was stunning.  As a result, “Roxy & Elsewhere” has stayed interesting to me for over 15 years.  It would be cliché for me to say that, “Every time I play it, I hear new things.”  Seeing as I have been listening to it for so long, it also may be untrue.  A more accurate statement might be that I have been able to figure out, and have grown to appreciate what he was doing with his music, as I have grown as a musician and music lover myself.  Zappa’s mind saw each detail in his music, and each one was precise and perfect.  

                For example, the title of the record is “Roxy & Elsewhere,” which led me (as a 16 year old kid) to believe this was a live album.  This is only partly true.  Zappa completely blurred the line between live recording and studio recording.  By taking a live show and heavily recording overdubs to it in the studio, he was able to create something that wasn’t quite a live record, but wasn’t a regular studio recording either.  While the idea of “sweetening” a live record wasn’t new, Zappa took it to an entirely new level and created a new art form in the process.  The final product is a live recording with things like double tracked and sped up vocals, carefully placed reverb, studio effects which add depth and distance, as well as tape edits and other studio sounds.  “Roxy & Elsewhere” indeed!

                Take a song like “Pygmy Twilight.”  It starts off with some great marimba work and two drummers banging away.  The performance is excellent, but what makes the song for me are the deep croaking vocals in both the left and right channels.  It’s not even something I picked up when I first listened to the album.  It’s just a little touch that creates something you would have never heard in a live setting. 

                “Cheepnis” takes this even further.  It’s about a giant poodle destroying a city in a cheap monster movie.  The topic of the song is silly as hell, so the recording really gets the special treatment.  My favorite part is when the singer says (with sped up vocals mind you), “Keep it away! Don't let the poodle bite me! We can't let it reproduce! Oh! Somebody get out the pants!”  Frank then lays down some of the most nasty nasally guitar work I've ever heard.  It’s inspiring.         

                Frank Zappa was a guitar master, although his playing can be a bit overwhelming to me.  His playing is like walking into a beautiful butterfly garden.  There are so many beautiful flowers and exotic butterflies to see, that after a while you start to become numb to the amount of 'amazing' around you.  I always love what I hear, but sometimes there is just so much.  His solos were also known to be very long, stretching out to the 10-12 minute territory. Considering the fact that he would often play 4 or 5 of these extended solos a night, and also the fact that he played easily 5,000 to 10,000 notes in a solo, he could easily play over 50,000 notes in a given evening.  Compare that to someone like Eric Clapton. Jimmy Page, or Jeff Beck.  None of these guys could have been averaging even half the amount of notes per night that Zappa was.  Not that it's a contest or anything, I just want to give you an idea of what we are talking about here.  It was as if Zappa had so many ideas to express that he would allow himself massive amounts of space in which to express them.    

                With that being said, any overwhelmed feelings I have about Frank's playing are completely lost as I listen to "Roxy."  Every note, every tone, every intro, every length of his solos is perfect.  The guitar tones are varied as well.  There is a popping filter used in “Penguin in Bondage” that is mixed with a phased out wash.  I hear people make sounds like this more these days, but in the early 1970’s, these sounds were much rarer.  There are also some great vibrating tones and solos on “Son of Orange County.”  Listen to the solo on this song.  It’s got the perfect balance of attitude aloofness.  The lengths of Frank’s solos are much shorter than on his other albums.  He is extremely focused and direct.  Some of my favorite solos of his are on this album. 

                I am reminded of a few old memories as I listen to this album.  The week I bought the CD, I drove around (blaring this record) in my Silver Volvo station wagon and dropped off oatmeal cream pies to my high school girlfriend.  Now, every time I listen to this album I get a hankerin’ for one of those oatmeal cream pies.  I also learned how to play “Echidna’s Arf (Of You)” note for note one time.  I did it as part of an audition to a music school.  Let’s just say it’s not like learning to play a Beatles song.  I remember how hard the song was to play.  I have so much respect for the musicians who perform this music.  There is absolutely nothing like a Frank Zappa song.  

Tones:  There is a cornucopia of funky instrumental tones from the early 70's here.  It's all wood, tubes, and metal.  The bass is dark and rumbly.  The electric keyboard sound is at an apex.  By that I mean, keyboards started to become a bit slick and shimmery in the late 70's.  Here they distort, crackle, and chime like broken bells.  The marimba is also a wonderful addition.  Ruth Underwood plays unbelievably fast, and as a result, creates vast sheets of sound.  Marimbas thump on Exotica records, and swing on jazz records, but here they fly like crazy birds in a mating frenzy.  

Cover:  I never understood what exactly was going on with the cover of this record.  My guess was that it had something to do with the song "Be Bop Tango."  The girl in the bikini must be dancing to one of George Duke's "funny little notes."  I am sure that Zappa was very aware that his music was complex and hard for the average person to appreciate.  Having a girl dance in a bikini while the songs were performed surely couldn't hurt.  I also love the dark purple/black color or the border.  It really fits nicely with how warm the album sounds in general.  

Price paid:  I only have the CD version of this record and I think I bought it new in 1998 for something like $12 or $13.  I see the vinyl (it's a double album) all the time though.  For some reason the cover is always gnarred up.  The "ring wear" is usually really bad.  I guess I should have picked it up, but I'm always looking for a better copy.  The Zappa family has apparently re-issued this on vinyl, so maybe I will go that route.  If you find a nice old copy, I don't think $15.00 is too much to ask.  The new vinyl is about $35, and having a pristine copy would be great.   

Bottom Line:  Because I am such a big Zappa fan, I have gotten the question: "Where is the best place to start with his music?"  "Roxy and Elsewhere" would be a wonderful place.  It contains all of the elements that make Frank's music so special: complexity, humor, outstanding musicianship, weirdness, strange banter with the audience, and guitar solos.  You could do well starting with other records, but this one has it all.  It cannot be stressed enough how different and how groundbreaking this record is.  Frank was on a roll during this period and seemed to have a collection of musicians who were very supportive and interested in his music.  This is also a peak because it represents a time before synthesizers and digital recording practices made some of Frank's record sound sterile and lifeless.  Go get this right now.  Maybe Frank's music could change your life the way it did mine.  

Duke Ellington "Far East Suit" 1967

                The title sounds exotic, right?  And it is, just in a heavily jazzy way.  I bought this with no prior knowledge other than the fact that Duke is the king, and the cover and title were appealing.  The funny thing is that even though it is supposed to be inspired by the Far East, it actually has more of a jungle vibe than many other records with “jungle” in the title do.  This is dark and pulsating, thick and hot, complex and woody.  It’s very much a “Far East” record, but it has that low rumble of a jungle LP. 

                The opening chord played by the horns in “Tourist Point of View” is so dense, the notes so close together, that it feels like someone’s put a mosquito net on your face.  The ride cymbal in the background clanks away and the sax moans and moans then screams like a flaming teapot.  This reminds me of some heavy Mingus stuff.  I know Mingus was inspired by Duke, but I’m more familiar with Mingus’ music.  As I’m listening to this, my pulse is a bit elevated, and my breaths are shorter than usual.  Its burning intensity affects you physically.  It’s like the coals at the bottom of the fire. 

                “Bluebird of Delhi (Mynah)” is brilliant.  Birdcalls are some of the bread and butter in Exotica, but rarely are they actually played by instruments.  In this case, a clarinet plays a repeating figure before launching into an almost cartoonesque (as in animated, fun, and energetic) solo.  Have you ever walked into a room and suddenly been confronted by an animal staring at you.  It’s a weird feeling.  If I had to write a story to this song, I would say this: A man walks into a room and sees a bird staring at him.  The bird makes some strange noise at him, and then suddenly flies around the room knocking every piece of glass off the shelves it can find.  It then settles, stares deeply into the man’s eyes, and gives the same call as before, just as the man’s friends walk into the room. 

                “Blue Pepper” is my favorite on the record, and is typically the one I have to listen to more than once.  This one has some serious swankiness to it and really grooves to that “Now Sound” beat.  There are massive amounts of space in the solos, which really lets you concentrate on how fat that groove is.  This is part spy movie, and part old-school strip tease.  The melody is slippery as an eel, but still easy to hold onto.  I am not sure I would want this to be my theme song, but if people happened to think of this song as I walked into a room, then I think we would all be better off.  Also, is it just me or does the trumpet seem impossibly high?

                “Amad” sounds the most Middle Eastern out of the lot.  I love jazz with lots of chord changes, but a song like this (with none) really hits the spot for me.  Duke’s melody ideas over the single chord really show you why he is so impressive.  The harmonies scratch at you like a tiger and the metallic piano bubbles in the background.

Tones:  The doubled saxophone on many of these numbers is very appealing.  It’s a very jazzy sound in general, and it sits in my gut well.  There is also some very good use of stereo panning.  Nothing really ping-pongs per se.  It’s more of a call and response between two sets of horns.  You get mid range horns on the left, baritone horns on the right, and solos in the middle.  The drums get a lot of my attention as the songs goes by too. 

Cover Note:  This cover is a cornucopia of Far East imagery.  I feel like the orange background color (lovely by the way) feels a bit like a desert.  Instead of the usually lush and wet Exotica covers, you get one more sandy and arid. 

Price paid:  $5.00 at Gary’s backyard record sale. 

Bottom line:  If you are someone who does not really like jazz a lot, but are into exotic type sounds, this may be good for you.  It’s important to remember that Duke was a composer, so there is a lot more going on here texture wise other than just solos and rhythm.  It’s also nice to have the focus on Middle Eastern sounds in addition to the jungle stuff.  Most of my exotic albums are of the Hawaiian, African, or Latin variety.  This is a wonderful change up.  I think this could easily go in the $10.00 range. 

The Association "Birthday" 1968

               Uh oh, did someone say soft psych masterpiece?  I have a running joke here at the house with my wife about soft psych.  Whenever I play an album, and she realizes what it is, she gives me a look that I have come to recognize.  On her irritating music scale, soft psych is in the 49% range.  It’s not grating for her, but it is just left of pleasant.  I always say, “But, it’s soft psych.” in a pathetic wanting voice.  Unfortunately, that does little to improve the situation.  She is not a huge fan, but tolerates my love of the genre very well.  She has even grown to like several albums by bands like The Millennium, The Free Design, and (today’s featured artist) The Association.  Soft psych is definitely an acquired taste.  You could compare it to a sweet bourbon or brandy.  The first time you try it, you are overwhelmed by its sweetness, and complexity.  However, once your pallet has matured, you can sit back and enjoy its glowing, sugary warmth. 

                “Birthday” by the Association was released in 1968, and stands as a crowning achievement for both the band and this great year in music.  While other albums were focusing on far out sounds and instrumentation, The Association spent most of its time polishing their vocal arrangements.  The result is one of the more complex vocal albums of the time.  I feel like the harmonies are far denser than other records of the era, and considering the era was known for dense vocals, that’s saying something.  When I listen to a song such as “Like Always,” I am struck by how the vocals function.  The background instruments are just simple drums, piano and bass.  The vocals act like an organ filling up the space, and provide a smoothing effect.  Move over to the bridge of the song and we get another effect.  The vocals have a jumping quality that sound more like a bouncy string quartet.    

    

            “Everything that Touches You” was a top ten hit when the album was released.  My buddy Vic had this song on a mix at his wedding, and we shared an appreciative glance as it played.  The perky, percussive bass line starts things off, but once again, it’s the vocals that carry the song through.  The tail of the song ends with a multi-layered lyric which repeats, “Love, love love, everything is love.”  I often hear that the super optimistic 60’s gave way to the cynical 70’s.  I wonder what it must have felt like to hear such a wonderfully simple proclamation of love back in a time when an entire generation of people believed that only music and love could change the world.  Imagine being a 16 year old kid sitting in your room listening to this song.  The singers are thousands of miles away sending you a harmonized message of love.  Now there’s a reason to get up in the mornin’.

                 There are also some other interesting lyrics on record.  “Time for Livin'” feels like a pretty good approximation of the Buddhist philosophy.  Every lyric explains how the singer cut through the garbage around himself and got into the present moment.  “I took off my watch and found I had all the time in the word.”  In a time when our cell phones take us so far out of the present moment, I feel like this song is more relevant than ever.  This sentiment is also echoed in “The Bus Song.”

                We also get some experiments with some interesting song structure and chord changes in “The Bus Song.”  I love how the last word of the chorus (it actually feel like you are falling) slips right back into the introduction of the song.  There is also an extended middle section that sounds like it was simply cut and pasted into the middle of the song.  It features some sleepy 'barbershop' type harmonies.  Listening to the very last chord of the song also pays off because there is a surprise inverted major 7^th chord (maybe with a 3^rd in the bass) that ends the song.  I like to think of it as a super tiny encore.     

Tones:  The vocals have a toasty quality that makes you feel like you've taken several deep breaths.  Hearing these guys breathing in and out while they are singing actually will slow down your heart beat and get you breathing easier.  I also noticed a lustful harmonica tone in “Birthday Morning” that I really loved.  It really floats the most positive qualities of wood and metal together.

Cover Note:  It’s blatantly psychedelic in both color and pop.   I also love how serious their facial expressions are.  It makes it feel a lot less goofy than some of the fun time, jumpy, throw your arms in the air and grin, album covers that I have seen (I’m looking at you Cowsills “We Can Fly”).

Price paid:  This was one of the first psych LP’s I ever bought and it was $3.00.  I know I bought another copy for my buddy Dave too.  It’s an underrated record, with one hit song, by an underrated band (a nice combo for record collectors).  That means you too should be able to find it easily.  I would hold off if it was $10.00, $7.00 should be your absolute max. 

Bottom line:  Soft Psych will put you into that nice middle territory with your family.  Most won’t love it, but most won’t hate it.  But be warned.  Just like candy, the average person can burn out quickly on soft psych.  There is a song called “Rose Petals, Incense and a Kitten” for crying out loud.  Don’t push your luck. You have been warned. 

Billy Mure "Hawaiian Percussion" 1961

                I picked up this pretty little record the other day and did a little research on it.  It turns out that Billy Mure just recently died this September at the age of 97, not too far away from where I live in Florida.  I thought it would be fitting to give this album the attention it deserved.  In addition to his solo albums, Billy was also the man who arranged Bobby Freeman’s late 50’s hit “Do You Wanna Dance?” He was also known for records that were filled with overdubs and crazy guitar work.  This, however, is a more straight forward affair.    

                Yes!  Another version of “Hawaiian War Chant!”  I am really amazed how many great versions of this song there are.  This one is bouncy and the melody is picked swiftly on the guitar. It’s very nice in a very non threatening kind of way.  However, after an organ break, the guitar turns savage.  Billy’s really not foolin’ around here.  As the song goes darker, this guy tears into his first solo on the record with some aggressively sharp guitar stabs.  It’s nasty sounding, especially by 1961 standards.  Then the steel guitar comes in and saves the day.  Like a loud drunkard being settled by his friend, the steel pacifies the guitar solo and the jaunty mellowness continues. 

                That’s one thing I really like about this record:  the songs don’t always keep the same rhythm throughout the entire song.  “Song of the Islands” is a wonderful example.  It starts off straight, with a major focus on the percussion, then starts to swing ever so slightly.  About ¾ of the way through, it kicks into high gear and gives us a beat we can really dance to.  It then slows down one more time and takes us home. 

                The organ sound on this album is absolutely heavenly.  It’s watery and dreamlike.  Sometimes it chirps like a cricket, and sometimes it just tickles your ear, but what it really does is make you feel something.  Some of the repeating figures played in “Kalua” sound like some of the 70’s arpeggiated synthesizers I have heard on some Todd Rundgren (among many others) tracks.  It makes me picture a gigantic piece of glass that has a million spider web-like cracks in it.  If someone could play those cracks, that’s what it would sound like.  It feels like some kind of effect, but because this was released in 1961, it’s more than likely just some good old fashioned fancy finger work.  Billy arranged/created some very interesting sounds that weren't explored until almost 15 years later.  I love hearing this kind of stuff.     

                There is a cover of “Sleep Walk” on here as well.  Considering the year this came out, and the instrumentation of the album, it is a very logical choice.  However, it’s really hard to capture (let alone top) the magic of the original Santo and Johnny version.  Billy’s take is adequate and close to the original, so it feels more like a rehash instead of a re-imagining.  It strikes me as something the record company would have asked him to include.  

                I actually passed over this record once.  It was only $.50 (what the heck was I thinking?) at a pawn shop. I told my wife that I saw a cool record with a geometric pineapple on it, but passed it up.  She told me I should go back and get it, and I am so glad I did.  This is everything I wanted it to be: cool percussion, cool guitar licks, cool steel guitar, and very cool greasy hair on Billy’s picture on the back cover.  Sometimes, wives are cool and make you delicious things to eat.  Sometimes wives are very cool and tell you to go back to the store to buy awesome records.  My wife was very cool that day.      

                On another personal note, buying this album so soon after Billy's death makes me wonder about the timing of things.  I would have loved to make the short drive to where Billy lived and see him play a show or get a guitar lesson.   My understanding is that he was still playing regularly.  Check out this link.  How often is it that someone from the 50's is still out there doing what they love?  I do consider myself lucky to have found this record though, and have heard a lot of good things about his other more layered guitar work.  I actually found a copy of "Supersonic in Flight" the other day, but it was scratched and unplayable.  That's how it goes sometimes.  

Tones:  Like I said, that organ is the surprise hit of this album.  It’s as inviting as a hug on a cold day.  The percussion is also captured nicely.  It is difficult for me to tell what the bamboo log is, and what the temple block is, but I like ‘em when I hear ‘em, and according to the liner notes, they're on here.  

Cover Note:  Geometric figures, weird paintings that have little to do with the actual music, and huge advertisements of stereo sound are all good signs when it comes to records collecting.  This one has an orange square pineapple and three other geometric modern marvels on it.  Mine also has an actual orange sticker placed on the bottom right that says “STEREOPHONIC.”  Was stereo some kind of selling point in the late 50’s or something?  Just kidding.

Price paid:  If you see a record that looks cool to you for any reason and it’s only $.50, just buy it.  Don’t be silly like me and have your wife tell you to go back and buy it.  I really must have been having an off day.  I think I had a job interview or something.  Anyway, $5.00-$8.00 is fair.  This is well above average.  

Bottom line:  It’s fun.  It’s melodic.  It has nice sound, and it has a great cover.  My wife also likes this record, so I advise you to throw your headphones away in the garbage (or keep ‘em, whatever) and listen to this with your family and friends.  Billy’s the man.  Let's go dig through some boxes, find Billy's records, and give his music the spins it so desperately deserves.  

Herb Alpert & the Tijuana Brass "The Brass are Comin'" 1969

                I feel like almost every vinyl collector has a few Herb Alpert records in his or her collection.  And rightly so, Herb’s music is so easy to dig that it’s easy to see how it became such a phenomenon.  It’s light hearted, but complex.  It’s airy, but not light weight.  It sounds great in the background, but doesn’t disappoint when you get the headphones on.  It is also the kind of vinyl that is extremely easy to find.  You seriously can go to almost any thrift store in America and find a copy of something he released.  Not all of it though.

                “The Brass Are Comin’” was the last album Herb did with the Brass before he took a much needed break.  He had done a ton of work and had a ton of success, but the Brass was losing a bit of steam in terms of sales.  As a result, this record is harder to find than much of his earlier work.  It’s quite delightful though, and has a lot of songs and rhythmic feels that show Herb trying to expand his ever expanding sound. 

                The opening number “The Brass are Comin’” is one of my Top 5 Herb Alpert songs.  The combination of the snare drum mixed with the banjo and trumpet is titillating.  It sounds like nothing I have ever heard.  I have expressed in the past my love of fast songs that are played softly, and this only deepens my love for them.  The doubled trumpet has a few notes at the end of the phrases where the notes don’t match up perfectly.  Herb probably didn’t mean for them to fall out of sync at the end, but I am glad he did.  It makes the concept of a doubled horn part played by one man seem much more human.  For you music nerds out there, there is a bridge that has an interesting line based on the whole tone scale (one of my favorites).  After this, the song suddenly pauses and then when it returns, it doesn’t do so with a large cymbal crash.  The entrance back into the verse feels more like the letting go of a deeply held breath.     

                “Good Morning, Mr. Sunshine” has all the elements of a great Herb Alpert song, but also includes a delightfully woody sounding string section.  Dig how the melody is played at first by the trumpet, then by the strings, then by both.  Some superb trombone counterpoint can also be heard if you concentrate. 

                Another gem which shows up is “Country Lake.”  It has an intriguing solo that sounds like it is played on a B-Bender Telecaster.  I cannot confirm it, but I would bet my wristwatch that it is Clarence White playing the solo.  A B-Bender guitar was first used by Clarence in his work with the Byrds.  It is a very distinct sound that he was known for.   He uses it here to great effect over some well placed chord changes.  While looking for Clarence’s name in the huge list of names on the inside, I also saw that Carol Kaye (most famous for playing bass on “Pet Sounds”) is listed.  I met her once, and she was just about the kindest, most open person I have ever met.  I’ll give you the full story on her another time though. 

                When I heard him start to sing “Sunny,” I thought Herb was going for another “This Guy’s In Love with You.”  To be 100% honest with you, I never really liked "Sunny," and when I heard how slow he was taking the pace, I was a bit nonplussed.  However!  Herb came through for me.  The vocal only starts the song.  Then, the drums kick in and pick up the pace in a major way.  The song really cooks.  The melody is played (once again) by the classic doubled trumpet, but you can also hear a non lyrical vocal by Herb underneath it.  I have always liked the sound of Herb’s voice even though it isn’t a super strong one.  He never tries too hard, and as a result, never overextends himself or shows off.  It’s just good old Herb, walkin’ down the street singing a little tune and enjoying life.  I actually think this is one of the best songs on the album, and the melody, when treated this way, is infectious.  I even like the beginning vocal now.  If I was "nonplussed" when I first heard it, then now I am just good old fashioned "plussed".  Ya did it, Herb.  Ya won me over on “Sunny.”

               

Tones:  I wouldn’t say there are a ton of new tones that have never been heard on his other records.  You get the standard trumpet, marimba, brass, and guitars that are up to their usually high standards.  There is a cool sounding electric piano/harpsichord on “Country Lake,” but I am not sure what it is.  It’s sort of a muffled popping chime.  Anybody know what that is?  Also, the mixing on this album is great and offers some great stereo panning that only the late 60’s can provide.  

Cover note:  I would describe the overall color scheme as psychedelic sepia.  The way the border is colored, kind of reminds me of the marker like inks on the cover of Paul McCartney’s “Ram.”  I also love the western outfits mixed with the horns the guys are carrying. 

Price Paid: Are you ready?  Are you sure?  Here it is.  I paid 25 cents for this record at the crummy bookstore at the library.  It was in almost mint condition except for the fact that all of the paper on the spine was taken off.  How does that even happen?  The bookstore had some characters in it too.  You think record collectors are strange?  Hardcore book readers/seekers are even stranger.    

Bottom line:  I distinctly remember hearing my wife say, “That’s pretty,” as I played this album.  I also made a few little videos of my boy running around while this record was playing in the background.  It ended up being a pretty surreal video scored to this music.  My boy seemed happy as it and he played though.  I think the reason I like this album so much is that it has a familiar sound, but it hasn’t been overplayed.  I’m not sure if this is rare, but I certainly haven’t seen it often.  It’s definitely worth $5.00 or even a little more.  If you don’t have any Herb, this is probably not the best place to start.  However, if you like Herb, just go for it.