tag:blogger.com,1999:blog-73441460636078360842024-02-18T23:10:00.788-08:00Portrait In ReverbA Family Man's Guide to Records. Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.comBlogger35125tag:blogger.com,1999:blog-7344146063607836084.post-43255336403548001622014-12-29T12:31:00.002-08:002014-12-29T12:31:30.657-08:00October Country "October Country" 1968<div class="separator" style="clear: both; text-align: center;">
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<span style="text-indent: 0.5in;">Prepare yourself to be mildly impressed with another
Soft-Psych masterpiece! Who is October
Country? What’s with the name and how
can a country be described by a month? Look at that cover. Is it
possible to have five stranger looking guys in one photo? Is that a Band-Aid on the girl’s finger? Who’s in charge here? It’s hard to tell with song names like
“Little Boy Smiling” and “My Girlfriend is a Witch,” if this album is going to
be light and sugary, or heavy and mind blowing. I’m not sure about you, but all these strange
things make me like this album even more. I know I’m being slightly/very irreverent here, but I really think there
is some exciting worthwhile music on this record. It’s just so easy to joke about Soft Psych
that I really can’t help myself. </span></div>
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The first thing that hits you on the opener, “October
Country,” is a nervous piano figure. It
reminds me of someone tapping their fingers on a table as they wait for bad
news. As quickly as the strings come in
to play the bass line your attention is diverted by a snare drum hit that
sounds like someone dropping a phone book in an empty gymnasium. The sound rises up with a poof like a rock
being thrown into a pit of ashes. The
vocals are interesting as well. It
sounds like boys and girls (teenagers?) singing together in unison. In contrast to the rest of the song, the
bridge swings quite a bit. The song is
only 2:37 minutes long, so you’re in, out, and ready to listen to the rest of
the songs, none of which crack the three minute mark. </div>
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“Painted Sky”
starts out with some great sounding electric harpsichord and a delightfully low
toned female voice. I just love how
simple the idea of painting the sky is. It’s just nice in that bright eyed, late 60’s, everything is going to be
okay kind of way. In that same vein you
also get “Little Boy Smiling” which expresses some complex thoughts about
seeing a small boy smiling. At first
glance the writer wonders if the boy is happy. In the second verse he wonders if the boy is really covering up some
sadness. The subject matter makes me
feel like I’m about 15 years old. There
is another jumpy, come out of nowhere bridge in this song as well. Hearing so many parts certainly makes me feel
like the writer had a surplus of ideas to explore and that usually keeps things
exciting for me. The little guitar
flourish as the end of the bridge (at about 1:21) makes me smile every time. <o:p></o:p></div>
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“Cowboys and Indians” is sometimes compared to the
Beach Boys track “Heroes and Villains,” although it is lyrically far less
oblique. It is however one of the few
songs mixed in mono, which is a Beach Boys trademark. I think it was a single so that probably
explains why. It really is the
barn-burner of the album and features a great organ solo. <o:p></o:p></div>
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“I Just Don’t Know” has some of the fastest sung vocal
I have ever heard. It’s one of those
songs that has not aged so well. I know
I wouldn't be able to play it for anyone without feeling a little cheesy. I don’t say that lightly either. I have an extremely high tolerance for
Soft-Psych, and even this one makes me blush. There is also a great horn section on this track that is panned hard
right in the mix. Can you imagine
calling in all those guys to play and record only to mix them all the way to
the right? It’s so weird and so
cool. <o:p></o:p></div>
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“My Girlfriend is a Witch” is another stand out
track. I guess the first thing I would
say is that I am glad the writer and his girlfriend haven’t gotten married yet. If you are taking the time to write a song concerning this, then I suggest you cut your losses and move
on. Any of your friends will tell you
that this is red flag. Do not by any
means as this song says, “become a warlock just for spite.” This will not serve you well long term. I would suggest putting a little distance
(perhaps a long weekend with the boys) between you and your
girlfriend/witch. Then, when you return
with a renewed sense of purpose, calmly break off the relationship and move
on. <o:p></o:p></div>
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Tones: The bass on “I Wish I was
a Fire” is pretty great, especially because it is doubled in several places by
a baritone saxophone. There is also an
interesting phased effect on “She’s Been Away” that makes the snare drum sounds
like it is being blown around by a gust of wind. <o:p></o:p></div>
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Cover Note: I have already poked
fun about this cover in the introduction and if you can believe it, I've still
got more jokes! Seriously, did bands in
the 60’s just sit around in the grass all the time? Also, it’s not fair to make fun of the dated
clothes, especially on the dudes, but nice "cinched at the waist" green shirt,
guy. I've got a bath robe that ties up the
same way and I just love it.</div>
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Price paid: I paid about $14.00 for this and I’m not
really sure why I paid so much. It was
for a brand new reissue that is very nice, but I just can’t remember why I was
drawn to this record. It has been well
over ten years since I bought this, and if you divide up the $14.00 by the amount
of times I’ve listen to the record (and take into consideration how much I’ve enjoyed
it) then it has been a good investment. <o:p></o:p></div>
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Bottom Line: I've joked a lot
about this album, but only because it is such a soft target. The truth is that this is a wonderful record
that I’m very happy to know about. I
never hear it talked about when I read about Soft-Psych, and that is
unfortunate because it really is a pleasure. If you have exhausted your late 60’s catalogs and want something fresh
yet familiar, then October Country is for you.
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<o:p></o:p>Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-31227403213666645382014-12-13T06:19:00.000-08:002014-12-13T06:19:48.838-08:00Nino & April "All Strung Out" 1966<div class="separator" style="clear: both; text-align: center;">
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This has been one of my "go to" albums for a handful of years. I put it
on when I have overplayed the Beach Boys, but I want something similar. Sonically, it fits somewhere in between Phil
Spector’s grandeur and the Beach Boys’ loveliness. I guess it makes sense because Nino Tempo worked as an arranger/session-man
for Mr. Spector. Overall, this is very
complex music with a lot of musical layers. I always got the feeling that this was a mature effort by musicians who
were very serious about their craft and had something to prove. The production (mixed in mono) is quite tasty
and the song selection is interesting, even ground breaking. <o:p></o:p></div>
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Let’s talk about drug references, shall we? The two songs advertised on the cover (All
Strung Out and The Habit of Lovin’ You) are written in large type. Artists were trying to be more “hip” during
the late 60’s, so maybe that was not an accident. The record shop owner who sold me this LP
said that Nino wrote “All Strung Out” when a musician did not show up to a
session one day. When asked where he
was, the other musicians replied that he was “all strung out.” Nino took this phrase, and in typical 60’s fashion,
wrote a song about a girl with it. In a
lot of ways this song sounds like druggy version of “You’ve Lost That Lovin’
Feelin’.” It starts similarly with a
bassy lead vocal, and explodes into a massive chorus. The chorus actually feels a bit like a head
rush. Maybe that’s what he was going for. The album closer, “Habit of Lovin’ You,”
sounds like a love letter to heroin. Whether
this song was actually about heroin or not, it’s pretty unbelievable. If Nino felt this way about heroin, then it’s
powerful. If he felt this way about a
girl, then it’s a disturbingly beautiful metaphor. Check out these lyrics. They're quite stirring. <o:p></o:p></div>
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<i>Baby, I don’t want to lose the
taste of lovin’ you.<o:p></o:p></i></div>
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<i>Baby, I’ve tried so hard to make
it without you, but I always lose. <o:p></o:p></i></div>
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<i>I didn’t see the danger when I
met you.<o:p></o:p></i></div>
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<i>I thought I’d try your love and
then forget you.<o:p></o:p></i></div>
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<i>But I can’t kick the habit of
lovin’ you, Baby.<o:p></o:p></i></div>
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<i>I can’t kick the habit of needing
you.<o:p></o:p></i></div>
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<i>No, I can’t kick the habit of
lovin’ you, Baby<o:p></o:p></i></div>
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<i>I need your lovin’ to see me
through. <o:p></o:p></i></div>
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While I can’t say enough about how nice the production
on this album is, the vocals are equally as wonderful. April really provides some interesting
background vocals on “Help You to See”. After an amazing piano intro, April sings some lightly repeated lyrics
that almost sound like she is coming into her part a little late. It’s a neat effect that almost sounds a
little like echo (if the echo of a man’s voice sounded like a woman’s). The melody (when they sing “I’ve been running
around, putting you down”) of this song has some really great bent notes as well. I just love how they slide into the word “running”. <o:p></o:p></div>
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There is just so much good stuff to enjoy all over
this record. The opener, “You’ll Be
Needing Me Baby,” has that frantic right hand piano tapping that Brian Wilson
so much favored, and a delightfully wandering melody. There is also an interesting folk-rock number
written by Warren Zevon called “Follow Me”. It sounds like something that would have been on an early Turtles
record. Nino & April were in fact label
mates with the Turtles on White Whale, so that make sense. “Wings of Love” has a falsetto line that is a
blatant rip-off of “When the Lion Sleeps” by the Tokens. You also get songs
like “I Can’t Go on Living (Without You)” that is wonderfully restrained in its
repetition. There is also some really
nice tambourine playing in there too. I also love the little touch of vibraphone in the bridge as well. I guess the vibe player was just standing
around smoking cigarettes up until that bridge, ‘cause I only hear him in that
one part. Not the hardest day’s work,
but I’m glad they called him in for the session. <o:p></o:p></div>
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Tones: Deep, dark, murky, thick
reverb covers this record like a heavy blanket. I’m not a fan of the song “Sunny,” but I just love how well the reverb
rings out on April’s voice. <a href="http://portraitinreverb.blogspot.com/search/label/Herb%20Alpert" target="_blank">Herb Alpert</a>
did a version of this song on <a href="http://portraitinreverb.blogspot.com/2014/02/herb-alpert-tijuana-brass-brass-are.html" target="_blank">“The Brass are Comin’”</a> that I really like as
well. It’s occurring to me that perhaps
I just don’t like the original version of this song. Liking two out of three versions ain’t that
bad. <o:p></o:p></div>
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Cover Note: Jeepers, don’t let
your kids play on that staircase. I’m
not even sure Nino and April should be up there. Can we get a railing on there or
something? I certainly wouldn’t let my
son play on that rotted out staircase with the world’s oldest collection of
broken tiles and gross mortar underneath. Seriously, guys. We know you’re
hip…just be safe!<o:p></o:p></div>
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Price Paid: This record was
actually suggested to me by a local record salesman, based on my love of the
Beach Boys. It was only $5.00, so I took
a chance. It is an original White Whale
pressing (I just love that little whale drawing on the record) so that is
always cool as well. Never underestimate
the power of a good suggestion from a record shop employee. I would have never heard of this otherwise
and would have easily passed this by on my own.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji10d3Zp_q5M2LNcyxZlEqOeJM3ASRQoOAQsGRyOdZQTndXLmVXeJy7HMAi4_bad3yEQ7fMBWV9ApZuhELpoWM5lZhn-4K5A00nAthU3lgL8LPhix6tLj1TXzxM6qHds9_vf9HhGTw15Lh/s1600/White+Whale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji10d3Zp_q5M2LNcyxZlEqOeJM3ASRQoOAQsGRyOdZQTndXLmVXeJy7HMAi4_bad3yEQ7fMBWV9ApZuhELpoWM5lZhn-4K5A00nAthU3lgL8LPhix6tLj1TXzxM6qHds9_vf9HhGTw15Lh/s1600/White+Whale.jpg" height="315" width="320" /></a></div>
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Bottom Line: I am always
satisfied after listening to this record. The melodies stick in your head and the production is great. There are songs on here that deserve to be heard
more than they are. I could see some of
them fitting nicely into an obscure 60’s compilation mix. As I said earlier, I keep coming back to this
record over and over again. I guess I can’t
quit the habit of loving this record. <o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-91479626580336586992014-11-28T09:33:00.000-08:002014-11-28T09:33:28.107-08:00Lani Hall "Sun Down Lady" 1972<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQPt-tue2POJZsy0I05uyMOaeKPsMn9nHzApjnyOQwWvemUoepo3_wpWWOr6i35zqP6CHnlLVG3xpxNFdMuNly0HoktmrTGv-k1ZtWr3LALBmJC8hCwZz_irtEwYsLZz8vNffX4GDVVcwY/s1600/LaniHall-SunDownLady-1974.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQPt-tue2POJZsy0I05uyMOaeKPsMn9nHzApjnyOQwWvemUoepo3_wpWWOr6i35zqP6CHnlLVG3xpxNFdMuNly0HoktmrTGv-k1ZtWr3LALBmJC8hCwZz_irtEwYsLZz8vNffX4GDVVcwY/s1600/LaniHall-SunDownLady-1974.jpg" height="320" width="320" /></a></div>
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I have been looking for this album for quite a
while. About 10 years ago when I was on
my first huge <a href="http://portraitinreverb.blogspot.com/search/label/Sergio%20Mendes" target="_blank">Sergio Mendes</a> kick, I heard that Lani had an interesting solo
album that she completed after leaving his group. It had always been on my list to pick up, but
I never found a copy that was worth purchasing. I particularly remember one occasion when I found a seemingly decent
copy with a very nice cover, only to be disappointed by the scratched record
inside. The search continued, and like a
good little record collector, I kept my eyes peeled. A few weeks ago I finally found a copy that
looked nice and I snatched it up. I have
been very happy about what I’ve heard and in some ways, am happy that it took so long to find it. </div>
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I wasn’t
expecting it, but there is a lot of Elton John inspired material on this
record. There are two actual covers
(Tiny Dancer and Come Down In Time), and one song that Elton covered on Tumbleweed
Connection (Love Song). Tiny Dancer is pretty wonderful to me. I used to love the original until it became way
too overplayed. Lani’s cover changes the
beat some by giving it a more jogging pace. Right before the chorus, there is a little piano break down that is not
in the original. It takes the momentum
out of the song only to throw you back into that great chorus. Here, Lani’s vocals are doubled just like they
used to be on the old Mendes records. Her version really helped revive my interest in this song. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVhdS4ryXDNc52oywd-snn8dy7dXUnM7CXbewGGh6LpcNrZuwJYGQs9KeEFLJnq2pkrDhr5TatgsGhchg6VHrG8Fbml7x-9HpflgDOV8SCsaPxn0IFL7-pGKp2clK5eim1E1DHK4xxxowc/s1600/hqdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVhdS4ryXDNc52oywd-snn8dy7dXUnM7CXbewGGh6LpcNrZuwJYGQs9KeEFLJnq2pkrDhr5TatgsGhchg6VHrG8Fbml7x-9HpflgDOV8SCsaPxn0IFL7-pGKp2clK5eim1E1DHK4xxxowc/s1600/hqdefault.jpg" height="240" width="320" /></a></div>
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Other highlights
include a heartbreaking cover of Cat Steven’s “How Can I Tell You.” I was folding laundry when I first heard this
song, and no foolin’, I teared up and had to stop for a bit. I have really become a softy in the early
days of my middle agedness. For some
reason the lyrics and the tone of her voice just cut me. The Cat Steven’s version never had the same
effect on me. I guess that says a lot
about how wonderful Lani Hall is. These
were the lyrics that really got into me.
<o:p></o:p></div>
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<i>Whoever I’m with, I’m always, talking
to you<o:p></o:p></i></div>
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<i>I’m always talking to you, and I’m
sad that you can’t hear.<o:p></o:p></i></div>
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<br /></div>
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A few other songs of interest are the Lani Hall penned “You.” This has a cloudy/dreamy feel and is really
the kind of song you could only find on a LP recorded in the early 70’s. My guess is that “Sun Down” is supposed to be
a centerpiece of the record, but doesn’t totally knock my socks off. It has some mild dueting with <a href="http://portraitinreverb.blogspot.com/2014/02/herb-alpert-tijuana-brass-brass-are.html" target="_blank">Herb Alpert</a>
(her husband and producer of the album), but I was surprised how much the
vocals were out of sync. It’s hard for me
to see what they were going for, especially when I think of how detail oriented
the work of both of them are. Lastly, I
really like the vocal only version of “Wherever I May Find Him” which closes
the album. This was an old Simon and
Garfunkel tune that Lani does quite well. I especially like hearing her sing the lyric “And when you ran to me,
your cheeks flushed with the night.” It reminds me of how wonderful it was to meet someone you loved late on a
cold night. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLoqKw9IWuZi6BaBkQ2uWeLxmoI7ACqTlGWI8jCLqKme2WGSqnMt9WxIjlFjlc4mkm1qb3uACCjG6bf_CNZ9fYMwm7oz03yxIYsi9DFGB_GO8z4TbYkRS1RaUSLcmvYZExDuDgvVYiebCk/s1600/371e8a1b9d4f17a29d3f86d312d13aa9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLoqKw9IWuZi6BaBkQ2uWeLxmoI7ACqTlGWI8jCLqKme2WGSqnMt9WxIjlFjlc4mkm1qb3uACCjG6bf_CNZ9fYMwm7oz03yxIYsi9DFGB_GO8z4TbYkRS1RaUSLcmvYZExDuDgvVYiebCk/s1600/371e8a1b9d4f17a29d3f86d312d13aa9.jpg" height="224" width="320" /></a></div>
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Tones: Check out the amazing
synthesizer on “Ocean Song.” It sounds
like a comet was flying by, so Herb Alpert recorded it and put in on the
record. I need to start going to some
synthesizer classes because I sure don’t know which ones make what sounds. I just know I like ‘em when they do,
especially when they are used this tastefully.
<o:p></o:p></div>
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Cover Note: Okay, I’m going to
be weird on this one. For some reason I
really noticed Lani’s eyebrow as I looked at the cover. It seems like the kind of thing that would
have gotten photo shopped out or softened in a modern picture. I like that it just is what it is. It’s her eyebrow and it’s dark and a little wispy. It’s exactly what it needs to be.<o:p></o:p></div>
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Price paid: Finally, I found a copy... and it was only $2.00! Like I said earlier, I have had trouble finding
copies of this, so I was really excited to find it, and in the cheap bin no
less. It would be reasonable to pay $5.00 or $6.00 as well. <o:p></o:p></div>
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Bottom Line: I have been really
into this record for the past week or so, but my wife was a little ambivalent towards
it. She did like the “Tiny Dancer” cover though. At this point in my life,
I am well aware that I have an above average interest in Lani Hall’s work in
general. I kind of like it that way
though. It’s always fun to have some
records where you see their charm because you really worked for it. If I had found this record earlier I might
not have been able to appreciate some of the Elton John (especially the Tumbleweed
Connection) influences. This album is extremely
decent and was worth my wait in finding it. <o:p></o:p></div>
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<br />Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-9904348939524227402014-06-18T07:56:00.000-07:002014-06-18T07:56:01.526-07:00Blue Cheer "Oh! Pleasant Hope" 1971<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwz63n80TIAp2twaZapaBc2cT1lMoCwdSSNMrXtRxXF6qxeSwHoEWxBnm2voFpA520Yz01fJgYBVPcmXpBXvjeuR84I9LaHlmMwWXdu4mR99UReTpGZxfWWIJZcsQN0XGA1-uPiIYu8Lua/s1600/B00005LQO2.01.LZZZZZZZ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwz63n80TIAp2twaZapaBc2cT1lMoCwdSSNMrXtRxXF6qxeSwHoEWxBnm2voFpA520Yz01fJgYBVPcmXpBXvjeuR84I9LaHlmMwWXdu4mR99UReTpGZxfWWIJZcsQN0XGA1-uPiIYu8Lua/s1600/B00005LQO2.01.LZZZZZZZ.jpg" height="400" width="400" /></a></div>
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The word “pleasant” is one of my
favorite words. To me, I’ve always
associated “pleasant” with a sense of joy and contentment, mixed with very low
levels of excitement. It’s not to say that
there is no excitement; it’s just that it is not what is important about the
feeling. I seldom find myself looking
for things that are exciting. I do
however find myself looking for things that are pleasant, and “Oh! Pleasant
Hope” by Blue Cheer is just that. </div>
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As a person who has played in his
fair share of bands, I have come into contact with a lot of musicians. Some have been absolutely amazing, and others
average. But what always amazed me was
when an average musician or band struck gold and came up with something
brilliant. Sometimes it was only one
song or one gig, but everything came together perfectly and created something phenomenally
pleasant. A song like “Money Troubles”
fits this description. There is nothing complex
or showy, nothing highbrow. It’s just a
song about how good it feels to blow all your money. </div>
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<i>Oh, don’t you know<o:p></o:p></i></div>
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<i>It feels so good to go
broke.<o:p></o:p></i></div>
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It would strike me as a perfectly bone-headed lyric if it
wasn’t so Zen like. It’s heartfelt,
sincere, insightful and true. The
singing and guitar playing are average by most standards, but are believable
and convey the message in a wonderfully plain way. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmnu5fj6-yn6-oktdLLIGl590reqLxxJUAoLLYkxWLnxhImn_YsmNPeA920kYd0lB-xycMx0vMe69pGJZpP5J1aI1BkD6J2byWZjDCFKSbvdV8ctI7RPAg56_byBQ7qAk_6q6dv0TLwRd/s1600/cheer39a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipmnu5fj6-yn6-oktdLLIGl590reqLxxJUAoLLYkxWLnxhImn_YsmNPeA920kYd0lB-xycMx0vMe69pGJZpP5J1aI1BkD6J2byWZjDCFKSbvdV8ctI7RPAg56_byBQ7qAk_6q6dv0TLwRd/s1600/cheer39a.jpg" height="270" width="400" /></a></div>
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The opening number “Hiway Man”
(note the spelling) starts with a rare fade-in to the track. Who knows how long they were playing that
groove before they brought the faders up.
I like to think it took them a few minutes to warm up before they
launched into the song in earnest. More
than likely it was an engineer who forgot to push record or some kind of false
start, but a planned fade-in to a song is certainly different. I also really like the perspective of the man
singing the song. The line “Money, give
me all you have” feels like a line that was meant to be read and not so much
sung, however it comes off really well when it is. </div>
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The song with the greatest emotional
impact is undoubtedly “I’m the Light.”
This one truly soars. Sonically
it has one foot in the late 60’s (sitar, harp, and a mellotron type synthesizer)
and one foot in the early 70’s (spiritual-hippie-cowboy lyrics, and dry rustic
sounding guitars). The lyrics come off as
cosmic Christian to me. It does not talk
about Jesus or God, but someone more mystical.
The combination of both the sitar and the repetition of “I’m the Light.
I’m the Light. I’m the only one you’ll see.” moves the song into almost
Indian/Raga/Mantra territory. Everything
comes together very nicely on this one. If
this album was a table, this would be the centerpiece. </div>
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On a lighter note, the song “Oh!
Pleasant Hope” is a relaxing number about not being able to find any dope. This is not a song with drug references. It’s a song that just comes right out and
says it. </div>
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<i><span style="background: white;">They said
they're burning farmers now</span></i><i><br style="box-sizing: border-box;" />
<span style="background: white;">Long live Mexico!</span><br style="box-sizing: border-box;" />
<span style="background: white;">For some uncertain
reason now</span><br style="box-sizing: border-box;" />
<span style="background: white;">Just won't let
grass grow</span><br style="box-sizing: border-box;" />
<span style="background: white;">All we have to do
is wait some more</span><br style="box-sizing: border-box;" />
<span style="background: white;">And bide our time</span><br style="box-sizing: border-box;" />
<span style="background: white;">And pretty soon the
times will change</span><br style="box-sizing: border-box;" />
<span style="background: white;">And grass will flow
like wine.</span></i><i><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><br style="box-sizing: border-box; mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><span style="box-sizing: border-box;"><o:p></o:p></span></span></i></div>
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In my
opinion, drug songs usually come off heavy handed or silly because of their
veiled references (especially in the late 60’s). Not the case here. I hear a lot of sincerity and can easily
picture the hot “yellow summer day” the singer refers to.</div>
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If you are a fan of the first two Blue Cheer records than
the last two songs may peak your interest.
They are the only songs that sound even close to the bands original
sound, but they are still pretty far removed.
Dickie Peterson was the bands original bass player and singer. At this point in Blue Cheer’s career, I
believe that Dickie was the only original member left. His voice is still full of the crackle, quiver
and angst it had from the bands more thunderous period. “Heart Full of Soul” also has the bass mixed
higher than any other track. “Lester the Molester” sounds like it would be
nasty, and it is, but not for the reason you would think. The lyrics actually refer to “Lester the
Arrester” for some reason, which is probably for the best. The sonic quality of the song is what is so
raunchy. It’s haggard, sloppy, and has a
swagger that can really only come from not giving too much of a damn if it
sounds right. Also, dig the slide
whistle in there. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeOqL_h8V3SB3QQi0_PQ1j3QOzCymzui6J7ju2_EFaowJC5dhv1fwkAOZV_pmjo4xNueQzdz7tuQAFmsL223X3R25PwZ4tGtEtvhlCRa_LwB8wRm5rak2EZOdmiBibYdwUBR8H-8vMWm6m/s1600/Blue+Cheer+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeOqL_h8V3SB3QQi0_PQ1j3QOzCymzui6J7ju2_EFaowJC5dhv1fwkAOZV_pmjo4xNueQzdz7tuQAFmsL223X3R25PwZ4tGtEtvhlCRa_LwB8wRm5rak2EZOdmiBibYdwUBR8H-8vMWm6m/s1600/Blue+Cheer+1.jpg" height="307" width="400" /></a></div>
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Tones: "Ecological Blues" has a fascinating combination
of non-percussion instruments. It’s only
bass, saxophone, guitar (acoustic and dobro) and vocals. The vocals are gruff in a sort of Louis
Armstrong-Tom Waits-Howlin’ Wolf kind of way.
This sounds like a back porch jam.
The lyrics are amazing too. Check
out the first verse:<o:p></o:p></div>
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<br /></div>
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<i>Oh baby, bring my gas
mask here<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Oh baby, honey bring
my gas mask here<o:p></o:p></i></div>
<div class="MsoNormal">
<i>I got a real bad
feeling<o:p></o:p></i></div>
<div class="MsoNormal">
<i>You know my mind’s not
clear.<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
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It’s all a bit tongue-in-cheek, and not nearly as serious as
something like “Don’t Go Near the Water” by the Beach Boys. But really, how serious do you expect Blue
Cheer to take conservation? The
satirical tone somehow makes it much more fun, even poignant. Again, I really love the tone of the guy singing. </div>
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<br /></div>
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Cover Note: I love love
love the patch work quilt and find myself staring at it as I listen to the
record. Is it hard to make this kind of
thing? I’m not sure. The soft blue is also a nice compliment to
the music itself. </div>
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<br /></div>
<div class="MsoNormal">
Price paid: I have a
little sticker on my copy that says $12.99.
I seem to remember buying this at a record shop brand new. It has been reissued and my pressing sounds
great. As I have said before, I am not
the least bit afraid of a vinyl reissue.
Having a clean copy for an affordable price is great. It seems like vinyl prices are going up these
days. The last time I looked at “new”
vinyl most of the records were above $20.00, many were approaching $40.00, so $12.99 is a very fair price for this lost
gem.</div>
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Bottom Line: My Dad
told me that “Vincebus Eruptum” (Blue Cheer’s first record) was one of the
first LP’s he ever bought. When I asked
him if he had ever heard of this record, he had not. I expect that to be true for most people. This is practically a different band all
together. While I do enjoy the bone
crushing sound of Blue Cheer’s early work, it is hardly pleasant. “Oh! Pleasant Hope” delivers the pleasantries
in spades. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCH6QSSFkRpzHiN9xzd_LYabqmfINyOZ9aNKYga_D7EUxNvPSHPqt2NDtJF0izQOodF8o2kZJsrr0Wvz9zmrMFuPsd72dyKwvDSWU57snlW-D25ul-sHqQ0TowI3vJ9xMvTUY41RULZHs/s1600/blue+cheer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCH6QSSFkRpzHiN9xzd_LYabqmfINyOZ9aNKYga_D7EUxNvPSHPqt2NDtJF0izQOodF8o2kZJsrr0Wvz9zmrMFuPsd72dyKwvDSWU57snlW-D25ul-sHqQ0TowI3vJ9xMvTUY41RULZHs/s1600/blue+cheer.jpg" height="190" width="400" /></a></div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-48326185292504293122014-05-17T05:02:00.002-07:002014-05-17T05:02:55.739-07:00Richard Hayman And His Orchestra "Voodoo!" 1959<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFyeqqw27vYZd_96GZp6zGUz0Ri_MbDEtbQ0ZugK5PnPf5goHHAd7Oo8NHeiQrBLoWnThw8cV5fb_F6JkGOIwBsCi2LxTRXHFrSwSlcpHy5y4MhlU3Zu-lktMGyPpqeimlMLUzcrAa_2UB/s1600/enlargement.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFyeqqw27vYZd_96GZp6zGUz0Ri_MbDEtbQ0ZugK5PnPf5goHHAd7Oo8NHeiQrBLoWnThw8cV5fb_F6JkGOIwBsCi2LxTRXHFrSwSlcpHy5y4MhlU3Zu-lktMGyPpqeimlMLUzcrAa_2UB/s1600/enlargement.jpg" height="400" width="396" /></a></div>
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I was talking to my wife about Exotica
records the other day, and we both agreed that there are a lot that sound quite
similar to each other. Because we both
really like <i>that </i>sound, this is a
good thing. It’s really nice to know that
when you pop on a Martin Denny or Arthur Lyman record, you are going to be taken
to a place that is exotic, but after a while, familiar. One thing I have noticed about Exotica records
though is that most artists are not afraid to play a little with the formula
and try to have at least one or two songs that are off the beaten path (to use
an exotic sounding phrase.) </div>
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“Voodoo!”
by Richard Hayman is no exception. At this point in my Exotica listening career,
I should know what a “voodoo” song sounds like, but when I put on the first
side of the record and hear “Danse Calinda,” I don’t get that vibe at all. This sounds like a jaunty Mambo number if I
ever heard one. It is great for lots of
reasons. It makes me want to move my
hips and find out what the lead instrument is. It sounds like a giant kazoo to me. When
I think of voodoo, wiggling my hips and giant kazoos are not what should come
to mind. With that being said, it’s a
fine opener to the album. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxyoowVBtySwcfw2hltLKU5-WuStU-dW-utoWAxgBSFob7TXCEl3q-oRvRGinqMOt4YVkNIgEh1b1ZC4QzerMMFaVCUP4L7EkvGlY6tw2dA_w603qLCD5CDFfgV6PUF-SFi-SJrCkt-9hQ/s1600/download.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxyoowVBtySwcfw2hltLKU5-WuStU-dW-utoWAxgBSFob7TXCEl3q-oRvRGinqMOt4YVkNIgEh1b1ZC4QzerMMFaVCUP4L7EkvGlY6tw2dA_w603qLCD5CDFfgV6PUF-SFi-SJrCkt-9hQ/s1600/download.jpg" height="315" width="320" /></a></div>
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“Mamba” and “Voodoo” are a little
closer to what I would expect from an album title “Voodoo!” Both feature the gut thundering drums that
are all over this record. “Mamba” also
makes wonderful use of some ear splitting flutes/piccolos and squawking
trombones. You really get a Les Baxter movie
soundtrack vibe from “Voodoo.” It makes
me feel like the characters are struggling with, or mystified by
something. Most people would need
context for this type of music. Without
the “movie,” your average listener might just find himself struggling with, or
mystified by this song itself. </div>
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There are some songs on here that
have more of a traditional Exotica sound to them. “Spell of Deatra” comes to mind first. This one is more Middle Eastern and creates
some beautiful textures with octave piano notes mixed with strings. “Gris-Gris” is one of the slower (but not
relaxing) paced songs on the record, and “Afro” has a similar feel to Dave
Brubeck’s “Take 5.” It’s not in 5/4
time, but it does sound like a jungle version of that song. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaAajq8YSet9nHyvMHwljsLUzI9waXbQ1ViU4xDrW4481jQQ1ufxfNdOdDnWJ-yrnH8psw2RyVRmlYqtwg5j9GFeXWGBj4AK-moRIg5ge6NBIBytjte5xbuRiJh7gC7cHViY81Q2u0bvR/s1600/m44JJ0EMXTX0ZJOFlV3uEcQ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaAajq8YSet9nHyvMHwljsLUzI9waXbQ1ViU4xDrW4481jQQ1ufxfNdOdDnWJ-yrnH8psw2RyVRmlYqtwg5j9GFeXWGBj4AK-moRIg5ge6NBIBytjte5xbuRiJh7gC7cHViY81Q2u0bvR/s1600/m44JJ0EMXTX0ZJOFlV3uEcQ.jpg" /></a></div>
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As I mentioned earlier, there is
usually a song on Exotica records that seems to take a chance. Arthur Lyman used to end his records with something
that was totally off the wall compared to the songs that preceded it. “Incantation” is that song here. Staring down at the grooves of the records, I
can see that it is about twice the length of any of the other songs. It starts with a percussive groove that
slowly ads tambourine, maracas, and toms.
After just under a minute, a “savage” starts to yell in some faux
language. Really, it sounds like a bunch
of gibberish. He does sing a few bent notes
that are fairly interesting though.
After a huge gong explodes, a call and response ensues between the “savage”
and the large group. This conversation
goes nowhere. By that I mean the people
he shouts at become less and less excited, and actually seem a little
disappointed by the end. It’s kind of
weird. The drums come back and the song and
gibberish finish up. This song sticks
out like a recalcitrant hair on a finely combed pompadour (maybe Richard Hayman's?). As a lover of Exotica, these songs are
interesting to me for both sonic and cultural reasons. However, this song is very much of its time,
and I could see someone getting offended hearing this in the wrong
context. </div>
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<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijhqH3kRATPHJUu-2ZWZI9eVmAsoevx4yfPGf3GXy3ZH7QXbF6j2RW2zAieVvSAYVxZb7xu0vPTfsagNwkcMbtjQhOczgY9gxBBKkSeooaVEa_uwrmrRU5UyanHs6k6ilWO7msLFHdmw8E/s1600/rihayman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijhqH3kRATPHJUu-2ZWZI9eVmAsoevx4yfPGf3GXy3ZH7QXbF6j2RW2zAieVvSAYVxZb7xu0vPTfsagNwkcMbtjQhOczgY9gxBBKkSeooaVEa_uwrmrRU5UyanHs6k6ilWO7msLFHdmw8E/s1600/rihayman.jpg" height="200" width="166" /></a></div>
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Tones: This is an
orchestra record, and to me the horns play a very important role. They have a thick pasty quality to them in
places, especially on “Midnight Ritual.”
There is only a little guitar on this record, but it is very noticeable on
“Conjuration.” It is light, plucky, and
sounds like someone getting hit continually with a pea shooter. </div>
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Cover Note: This
looks more like a picture of a moon walk than anything having to do with Voodoo. It’s more like a Voodoo cheerleader doll that
is filled with glee that it has found its way to lunar paradise. The back however has one of the best pictures
of an orchestra leader I have ever seen.
Richard Hayman, complete with horn rimmed glasses, shiny slicked back
hair, and two inch dimples, has the biggest, warmest smile I have ever
seen. This is the guy I want to meet at
a party. This is the cool kid I want to
sit with at lunch. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2-TYKbaJ3HBrXbeA3bMkgIfMIAvKq4hXhZStR0sPO9EaLiNrVKH1vHvoIe1OtOC-Xr4TsdxvsBsWSnZRAz2kLYEQUJAOCQvvHhLAKJMyMu4csYaSTr8VygKdFHYKq9LpQw1VUyHDo2Ur/s1600/hayman_voodoob.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2-TYKbaJ3HBrXbeA3bMkgIfMIAvKq4hXhZStR0sPO9EaLiNrVKH1vHvoIe1OtOC-Xr4TsdxvsBsWSnZRAz2kLYEQUJAOCQvvHhLAKJMyMu4csYaSTr8VygKdFHYKq9LpQw1VUyHDo2Ur/s1600/hayman_voodoob.jpg" height="320" width="320" /></a></div>
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Price paid: I had
read good things about this record, so I forked over $7.00 for a very clean
copy. If you are heavily into Exotica
then I think a few bucks more would be perfectly reasonable. </div>
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Bottom line: I wouldn't
say this is a must have record, but it is a very good record. This kind of record will plant you firmly
into “Exotic nerd” territory, or “Weirdo music” land. It is tough for me to think of a good context
to play this for someone. For me it is
one that is best enjoyed with headphones.
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-52172043301257653422014-05-10T01:00:00.000-07:002014-05-10T01:00:03.015-07:00The Turtles "Battle of the Bands" 1968<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrebE4hF5uWC2SQX620dVFwQhSw9SVzzpPUS3ADQjqaUz0GdYCxQyYNX1qZcVslj1pAlateXGItAdllV6jrW4bB154fTScrEGTbrAtmz4NlmnaK87n0gfrtw2AkRdIpjJFQCm0pILeZvLH/s1600/Battle+Of+The+Bands+cover.jpg" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrebE4hF5uWC2SQX620dVFwQhSw9SVzzpPUS3ADQjqaUz0GdYCxQyYNX1qZcVslj1pAlateXGItAdllV6jrW4bB154fTScrEGTbrAtmz4NlmnaK87n0gfrtw2AkRdIpjJFQCm0pILeZvLH/s1600/Battle+Of+The+Bands+cover.jpg" height="398" width="400" /></a></div>
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<span style="background-color: white;">There are very few truths in rock
and roll. Which band was the best? Who
was the most innovative? Which singer
had the best voice? Which group rocked the hardest? These are all questions that are hotly
debated, and for good reason. It is hard
to answer these questions definitively, and really, who wants to? Having arguments about music is almost as fun
as actually listening to the songs. For
example, if I said to you, “Who is the better songwriter: Brian Wilson or Paul
McCartney?” or, “Who is the better
guitar player: Jeff Beck or Jimi Hendrix?”
What would your answers be? We
could talk about it all night, and have a great time doing so. It's a Zen problem. There is no answer. That is why it is so fun to search for it. However, I bring this talk of absolutes up
for a reason. It's so I can instantly contradict myself. I am going to put this out there, and I encourage
you to defy my assertion if you feel you need to. There is really no point though because…</span></div>
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<span style="background-color: white;"><br /></span></div>
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<span style="background-color: white;">By far, The Turtles are the funniest group of the
1960’s. </span></div>
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<span style="background-color: white;"><br /></span></div>
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<span style="background-color: white;"> No
other group could be as overtly humorous, as slyly witty, or as satirically
jocular a The Turtles. This humor is on
great display on “Battle of the Bands.” The overall concept of the record is
that The Turtles would pretend to be a different band for each song on the
record, taking the “Sgt. Pepper” concept to a more disparate conclusion. </span><br />
<span style="background-color: white;"> The most obvious masterpiece on the record is
“Elenore.” The lyrics are about as hokey
and “teenaged” as possible, but in a highly satirical way. “You’re my pride and joy etcetera.” I mean come on, are you kidding me? This lyric must have slipped past so many
people. The line’s not a gut buster; it’s
more of a “Did he really mean to say that?”
The lyric actually sounds kind of unfinished. Of course it’s not; it’s perfectly crafted in
every way. To talk about the humor in
the song is to say nothing of the songs beauty.
The Turtles had clearly mastered the quiet verse/loud chorus formula
with “Happy Together,” and were able to explore its magic in a new and
wonderful way. I love this song. My wife loves this song. My sister loves this
song. This is probably in my all time
top 10 pop songs of the 60’s list. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tIkKH6mk1w939fBaK1gtfEASXBiAUrJLNH7w2x4a65Xmsz8tdH-c8F_8WFrPAMhIfcb4dGFHaNYKBFZRRXCionVx5tY3__vg7xdREh3ul3zeTQYkEN_LOACaXj5HiVNqAasl7TwVdRov/s1600/turtles+bw.jpg" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tIkKH6mk1w939fBaK1gtfEASXBiAUrJLNH7w2x4a65Xmsz8tdH-c8F_8WFrPAMhIfcb4dGFHaNYKBFZRRXCionVx5tY3__vg7xdREh3ul3zeTQYkEN_LOACaXj5HiVNqAasl7TwVdRov/s1600/turtles+bw.jpg" height="247" width="320" /></a></div>
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<span style="background-color: white;"> “Surfer
Dan” allows the band to flex their collective surf muscles. There were tons of Beach Boys rip-offs in the
60’s (check out “I Live for the Sun” by The Sunrays) that tried to cash in on a
very popular sound. “Surfer Dan” is one of the best because it
makes fun of the genre, while also writing a kick ass song. I really like the cheerleader vocals (“Be
True to Your School") sung by the guys. They
are so perfectly stupid, that they make me smile every time. The hyperbolic
lyrics (“27 girls follow wherever he goes”) and double meaning drug references
(“He’s so ripped he can’t see you go by”) give the song a lot of depth the more
you listen to it. </span></div>
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<span style="background-color: white;">Clocking in at well under two minutes, "I'm
Chief Kamanawanalea (We're the Royal Macadamia Nuts)" sounds like
something the Beastie Boys would come up with. With that bell clanging around in the background, it doesn’t really
sound like a Hawaiian song, but it sure is fun.
There is also a tape edit after the drum solo (just before the one
minute mark) that is just so slightly off beat.
I like stuff like that. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background-color: white;"> I have made a big deal out of
the humor that The Turtles have, but their musicianship is also
outstanding. Lots of bands had studio
musicians help them out to expand “their” sound, but Turtles did things the old
fashioned way and played their own instruments.
One of the nastier moments of music on the record is “Buzzsaw.” This sucker is heavy. The combination of the fuzz bass and
overdriven organ is enough to peel the paint off a car. In many cases, heavy music is something
that is more fun to play than to listen to.
I can imagine Howard and Mark at a concert watching some terrible
opening band drudge through some plodding, heavy, rock crunch fest and telling
each other, “We gotta make fun of this.”
Nothing they ever make fun of ever seems mean spirited though. It’s tongue-in-cheek, and full of winks and small grins. </span></div>
<span style="background-color: white;"> I have a personal
connection to the song “You Showed Me.”
I have a 45rpm of this one that my wife and I used to play very early in
our relationship. We used to sit around
and play this one on repeat, resetting the needle each time, just like they
used to do in the 60’s. This is fabulous
make-out music, and Mark and Howard’s voices set the mood perfectly. I am also pretty sure this is one of the
first times that a synthesizer (moog) was used on a popular recording. <o:p></o:p></span><br />
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<span style="background-color: white;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_47E08IE-_8TLsxPD_0fN20PxXk3pmPBFJfy2Wm-fvcy-aDDtwVLOPV5cwKlUPByyCVDQa1uDHpgtljzTwkdbs8R_JuIJQVnWjkiR4SoZIHR9DwPvfDupqKlQ7VpdRgI_nTU4XolGbjy0/s1600/wwturtles1969.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_47E08IE-_8TLsxPD_0fN20PxXk3pmPBFJfy2Wm-fvcy-aDDtwVLOPV5cwKlUPByyCVDQa1uDHpgtljzTwkdbs8R_JuIJQVnWjkiR4SoZIHR9DwPvfDupqKlQ7VpdRgI_nTU4XolGbjy0/s1600/wwturtles1969.jpg" height="400" width="317" /></a><span style="background-color: white;">Tones: I find myself
amazed at the sound of Howard Kaylen’s voice.
It can be so pretty, but so edgy as well. Compare the lead vocal on “Battle of the
Bands” to “You Showed Me,” and you will see what I mean. Mark Voleman also sings like a school choir boy
(that’s a good thing) on the bridge of “You Showed Me.” Listen to how he says “fall”. The note
actually drops as he sings it, making it sound like “fall…all…all". Lastly, Jim Pons contributes some impossibly low
country singing (mocking the Johnny Cash/Dave Dudley baritone) to “Too Much
Heartsick Feeling.” </span></div>
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<span style="background-color: white;"><br /></span></div>
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<span style="background-color: white;">Cover Note: This
album is an entire concept package.
While the cover is fairly tame (just the boys in tuxedos) the inside
cover is where it’s at. For each song
The Turtles not only created a song as a different band, but dressed up as the
band too. There is even a name for each “band.” Here they are:</span></div>
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<span style="background-color: white;"><br /></span></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">1.<span style="font-size: 7pt;">
</span><span style="color: #252525; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The U.S. Teens featuring Raoul</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">2.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">The Atomic Enchilada</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">3.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Howie, Mark, Johnny, Jim & Al</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">4.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">Quad City Ramblers</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">5.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">The L.A. Bust '66</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">6.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">The Fabulous Dawgs</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">7.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">The Cross Fires</span> (The Turtles’ original
name back when they were a surf band)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">8.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">Chief Kamanawanalea and his Royal Macadamia
Nuts</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">9.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">Nature's Children</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">10.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">The Bigg Brothers</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">11.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">Fats Mallard and the Bluegrass Fireball</span></span></div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="background-color: white;">12.<span style="font-size: 7pt;">
</span><!--[endif]--><span style="color: #252525;">All</span></span></div>
<div class="MsoNormal">
<span style="background-color: white;"><o:p></o:p></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1A-UNNtnyqOvLkyLV4ClFGYxvpRfE2rAP0ZmaIQOjFeD4zTBFmLJYkwwwhyphenhyphenCpT2jnTOl_nZRQ5NlqPdIac9bpNislWrjc8DeN-uTI27xMm89Xd9RgRsuu4TR1CEwjO5Yi-nb4aKFS8__/s1600/The+Turtles+-+The+Battle+of+the+Bands+gatefold.JPG" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1A-UNNtnyqOvLkyLV4ClFGYxvpRfE2rAP0ZmaIQOjFeD4zTBFmLJYkwwwhyphenhyphenCpT2jnTOl_nZRQ5NlqPdIac9bpNislWrjc8DeN-uTI27xMm89Xd9RgRsuu4TR1CEwjO5Yi-nb4aKFS8__/s1600/The+Turtles+-+The+Battle+of+the+Bands+gatefold.JPG" height="206" width="400" /></a></div>
<div class="MsoNormal">
<span style="background-color: white;">Price paid: I
remember paying around $10.00 for this one.
My copy is an original White Whale label pressing. I have never been a stickler for having an original
pressing. That just happened to be what
I stumbled upon. The cool thing about
the Turtles’ records is that they were reissued on vinyl in the 80’s by Rhino
records. That means you can find them
for cheaper than what I paid. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background-color: white;">Bottom Line: The
Turtles are an extremely satisfying band, definately an A-list band of the 60’s. In my opinion “Battle of the Bands” is their
best effort because it seems like they are really able to be themselves. That may sound ironic considering the concept
of the record, but that is exactly what makes the Turtles so intriguing. How can a band be its best self when it’s
pretending to be a band it’s not? I
think you better go ask your Zen master that one. He’s up at the monastery playing “Battle of
the Bands” right now.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2JRdwL1d422tWQcvDtvGBx2MpEaWNsAxmyP9v5sQN_ytTgfq-nXeBHNU0C_UC5fmXE87ivAjR-vEZ_pHNS_H45b5_f6CPgs3UUG5UVDlA3XiDrAkFK8UBG2Ya5KU2za0y_7PBOxwOM9Dp/s1600/01markcarlosm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2JRdwL1d422tWQcvDtvGBx2MpEaWNsAxmyP9v5sQN_ytTgfq-nXeBHNU0C_UC5fmXE87ivAjR-vEZ_pHNS_H45b5_f6CPgs3UUG5UVDlA3XiDrAkFK8UBG2Ya5KU2za0y_7PBOxwOM9Dp/s1600/01markcarlosm.jpg" height="253" width="400" /></a></div>
<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F2.bp.blogspot.com%2F-6309QBxZeNA%2FU2GdfGiBH-I%2FAAAAAAAAAYI%2F8gzkuiTo2iE%2Fs1600%2Fwwturtles1969.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_47E08IE-_8TLsxPD_0fN20PxXk3pmPBFJfy2Wm-fvcy-aDDtwVLOPV5cwKlUPByyCVDQa1uDHpgtljzTwkdbs8R_JuIJQVnWjkiR4SoZIHR9DwPvfDupqKlQ7VpdRgI_nTU4XolGbjy0/s1600/wwturtles1969.jpg" -->Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-36729786121717046872014-05-03T01:00:00.000-07:002014-05-03T01:00:05.048-07:00Sergio Mendes & Brazil '66 "Equinox 1967<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfziU1PVLmV3oVs7h1o-PI1EEsKJvCGke4sIOsfgLovaSVyxSY-8CGqIeU2JdLDb4CfhK4kI_QtlGlccLedbj-mnzfYZkgVpC40Gni_GQZh3_M74c9F4PzW53zWGRDqDIhS616UC4UwWPn/s1600/MI0000356934.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfziU1PVLmV3oVs7h1o-PI1EEsKJvCGke4sIOsfgLovaSVyxSY-8CGqIeU2JdLDb4CfhK4kI_QtlGlccLedbj-mnzfYZkgVpC40Gni_GQZh3_M74c9F4PzW53zWGRDqDIhS616UC4UwWPn/s1600/MI0000356934.jpg" height="400" width="400" /></a></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
Sergio Mendez was truly a master
interpreter. Being a fine interpreter of
the music of others seems to be an under appreciated art these days. Really, since the members of the Beatles blew
the doors wide open with writing their own material, the focus has been on
writing songs yourself. The problem is that
most artists/bands find it hard to consistently write a full album of top rate
material. This is not to say the Sergio
lacks the ability to write a good tune; that is beside the point. His albums are special for a different
reason. He has a sound, and you buy his
records to hear <i>that</i> sound. To me,
he could really take any song and make it his own. What makes this album such a delight, is that
he has some really great songs to apply his sound to. </div>
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Let’s begin with the last song for
a change. “So Danco Samba” is of course,
one of Antonio Carlos Jobims’ most well known songs. What sets this version apart from the myriad of
other versions is the mixture of both the male and female vocals. The double tracked vocals float over the Bossa
Nova beat like parallel lines disappearing over the horizon. Listen to the way the female singer pinches
out the word “vai.” It’s almost like a
reverse gasp. After Lani Hall’s main lead
vocal jumps to the forefront for a few bars, the song opens up with a reserved swinging
push. </div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="text-indent: 0.5in;">And speaking of Lani Hall, what a
voice! It has a dynamic subtly that
draws me in every time. It is beautifully plush and is accentuated by
its double tracked recording. Lani Hall’s
doubled vocals are as much a part of the Brazil ’66 sound as Sergio’s
piano. When I hear a song like “Constant
Rain (Chove Chuva)” I really feel a touch of warm sadness. Listen to how she sings “…to be alone and lonely
in the rain.” The notes go from being
sung hard to being sung softly in quick bursts.
I have to admit that I had a bit of a crush on that voice in my late
teens. (Herb Alpert must have had a
small crush too because he married her, and the two have been married for about
40 years.) </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdY6tdbVFXlfA8wcoMGhst18I-Lq7xtLIuEcgSsFl-LLwl_iqtjgdT_iPV0qhS94vqV02wSfJUfqYUID3xV-bbKLlmXzTWR-L0dL8pNY1E7flo1ovyPw2CMEy0ZB4WSB2Aw5h8pearU6G7/s1600/90e0440d9a11be8514bcd6a674e2d2a8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdY6tdbVFXlfA8wcoMGhst18I-Lq7xtLIuEcgSsFl-LLwl_iqtjgdT_iPV0qhS94vqV02wSfJUfqYUID3xV-bbKLlmXzTWR-L0dL8pNY1E7flo1ovyPw2CMEy0ZB4WSB2Aw5h8pearU6G7/s1600/90e0440d9a11be8514bcd6a674e2d2a8.jpg" height="266" width="400" /></a></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
A few more Jobim songs are covered
on this album as well. I find myself concentrating
on the maracas in the left channel on “Triste.”
How often do maracas catch your attention? They are featured heavily in “Sympathy for
the Devil,” but that is the only song that comes to mind quickly. I love how they are mixed right on top of the
drums as well. The other Jobim tune is “Wave.” I have a special place in my heart for the
melody of this song. I made a “sleep mix”
for my son right after he was
born. Every night, the original Jobim
version started off a 2 ½ hour mix of 60’s Bossa Nova and cool jazz that we
would listen to as he fell asleep (or stayed up all night). The melody really is something amazing, and
in the competent hands of Sergio Mendez, the song becomes more effervescent and
accessible. Before I heard this version,
I had never heard the lyrics (sung in unison by both men and women here) before. I love how simple they are:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i> <span style="background: white;">So close your
eyes</span><br />
<span style="background: white;">For that’s a lovely
way to be</span><br />
<span style="background: white;">Aware of things
your heart alone <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i><span style="background: white;">Was meant to see</span><br />
<span style="background: white;">The fundamental
loneliness goes <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i><span style="background: white;">Whenever two can dream a dream together</span><o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="background: white;">There
are a few other tracks that really grab me as I continue to listen to this album. “Cinnamon and Clove” has a wonderful hook
that I find myself singing along to. “For
Me” plays with rhythm in a way no other song on the album does. Quietly fading in, it starts with a show tune
feel that is filled out with some Walter Wanderley inspired organ stabs. It then
moves into a driving Bossa Nova beat that gradually weakens. “Bim-Bom” (sung in English as opposed to the
original Portuguese version) and “Night and Day” are also given the Brazil ’66 treatment
with excellent results. </span></div>
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<span style="background: white;"><o:p></o:p></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBZgi2dGXRzO4qai2OzEzEkvGCtz-MqGyZnSNi6nr6gx9ni2NcVcK7BPsRrPAhkTHm1KcYW7R4HUrYIje1XPd4RQtqaqeLhI_UVAtWJ_UtLYWXxp0FZncVj-aeNfuHINoWwju6hZ08riz2/s1600/tumblr_mo9mfgkKVC1qgxmy9o1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBZgi2dGXRzO4qai2OzEzEkvGCtz-MqGyZnSNi6nr6gx9ni2NcVcK7BPsRrPAhkTHm1KcYW7R4HUrYIje1XPd4RQtqaqeLhI_UVAtWJ_UtLYWXxp0FZncVj-aeNfuHINoWwju6hZ08riz2/s1600/tumblr_mo9mfgkKVC1qgxmy9o1_1280.jpg" height="256" width="400" /></a></div>
Tones: This album has
so many wonderful sounds that I just love: Latin
beats, softly sung vocals, light psych touches, and precise, detail oriented
production. Sergio's piano is like a neon
light in a bar. You don’t notice it all
the time, but the impression it leaves is undeniable. Other touches such as the sitar on “Constant
Rain (Chove Chuva)” and the dampened chorus like guitar at the beginning of “Wave”
create a sonic pallet that sets this album apart from other Bossa Nova influenced
records. Herb Alpert had a hand in the
production of this, and he always comes through when it comes to creating
beautiful tones. <br />
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<br /></div>
<div class="MsoNormal">
Cover Note: Not bad,
but not great. What could the context
for this photo be? Where are they and
why is everyone looking up? It screams “album
cover photo shoot” to me. Compared to
the other Brazil ’66 covers like “<a href="http://www.allmusic.com/album/look-around-mw0000060571" target="_blank">Look Around</a>” (which is far more natural
looking), and “<a href="http://www.allmusic.com/album/fool-on-the-hill-mw0000194855" target="_blank">Fool on the Hill</a>” (which is far more weird/artistic), “Equinox"
leaves me wanting more, especially because the music is so great. </div>
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<br /></div>
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Price paid: I do not
have a vinyl copy of this one. I have a
great CD reissue (an LP facsimile to be exact) that I bought in the early 2000’s
when I was first getting into Bossa Nova music. This was before I was into vinyl. I think I paid about $15.00 for it, maybe less. The good news is that I have seen vinyl
copies of it at places like flea markets quite often. Don’t pay more than $5.00 or $6.00 for it
though. </div>
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<br /></div>
Bottom Line: This
would be a great album if you are already into 60’s music, but would like to
dip your toe into the water of never ending pleasure that is Bossa Nova. It is definately where I started. After that I moved on to Jobim, Walter
Wanderley, Joao Gilberto, Luis Bonfa, and Caetano Veloso. There is nothing difficult about this
album. You could play this for your grandmother
or your coolest friend and both would find things to enjoy. Heck, invite them over to the same
party. You might get a laugh out of
watching them Samba dance to “So Danco Samba” together.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXVWpnVmzdpgOwM5_JnCJJME4UXOC3W68K_scjXZVY4iOk_gLrG5H_slYUmYjx0wOTTv-7WTJwC4APAqPdYFaBb3r7sPfKBEBiZRqLRPUdD8YHF6SZp_MQc-3UtfJTgXUhULfJtzJrQFX2/s1600/601aebbee696daffcc884aa30f199ed0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXVWpnVmzdpgOwM5_JnCJJME4UXOC3W68K_scjXZVY4iOk_gLrG5H_slYUmYjx0wOTTv-7WTJwC4APAqPdYFaBb3r7sPfKBEBiZRqLRPUdD8YHF6SZp_MQc-3UtfJTgXUhULfJtzJrQFX2/s1600/601aebbee696daffcc884aa30f199ed0.jpg" height="265" width="400" /></a></div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-89205337419610011442014-04-26T01:00:00.000-07:002014-12-07T17:13:47.288-08:00Mark Volman and Howard Kaylan (Flo & Eddie) "The Phlorescent Leech & Eddie" 1972<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9aGeIeuJ-a0_VjapIdPxQD9krcXgP0FLUDQVLyNCBijEnc0sheyd6xxvDoGUgGT3gA9PqkhipzE-HicfLSFI3Eb3_BmjzwyvhPNTFj9s6l5GTUdSi-cznJW1xG0pHQFKjt4gPmQ34jStG/s1600/IMG_4510.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9aGeIeuJ-a0_VjapIdPxQD9krcXgP0FLUDQVLyNCBijEnc0sheyd6xxvDoGUgGT3gA9PqkhipzE-HicfLSFI3Eb3_BmjzwyvhPNTFj9s6l5GTUdSi-cznJW1xG0pHQFKjt4gPmQ34jStG/s1600/IMG_4510.JPG" height="400" width="397" /></a></div>
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Mark Volman and Howard Kaylan (aka
Flo and Eddie) are easily two of the most underrated talents in rock
history. Everybody knows these guys voices, but
very few people know <i>who</i> they are. As the leaders of the Turtles, they turned
out satirical laughs, several amazingly idiosyncratic albums, and some of the
best singles of the 60’s. After getting
royally screwed by their record company, White Whale, they worked with Frank
Zappa on some of his most humorous work.
Some of it was totally over the line, and really irritated/offended a
lot of Turtles and Zappa fans. All of it
however was performed with stunning musical prowess and over the top
showmanship. After Frank Zappa was
hospitalized, by a deranged fan who pushed him off stage, Howard and Mark set
out on their own using most of Frank’s band as backing musicians. “The Phlorescent Leech & Eddie” was the
result.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCoUsiJvsc_cdJw9d9vzbj3zHfeQZ_9MwKCyPP-qh7AMySUFV-odxO5SqYxbzLnQwU1tZL9C8gxJHpt5j5sTbUWsNvaLYMkWIwzzAzRkjPl69itKijExlTAevGpZ3wAwXDyLR4P4UohFz/s1600/Flo%2527s+belly.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCoUsiJvsc_cdJw9d9vzbj3zHfeQZ_9MwKCyPP-qh7AMySUFV-odxO5SqYxbzLnQwU1tZL9C8gxJHpt5j5sTbUWsNvaLYMkWIwzzAzRkjPl69itKijExlTAevGpZ3wAwXDyLR4P4UohFz/s1600/Flo%2527s+belly.JPG" height="290" width="400" /></a></div>
</div>
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</div>
Listen
very carefully as the banjo on this album begins and you can hear someone
quietly say, “Pete Townsend” for some reason.
As the song begins and the boys introduce themselves, a choir
(literally) of vocals says “We hope you’re ready for Flo and Eddie.” And boy you better be because this is not
your regular run of the mill album.<br />
Mark
starts off “Thoughts Have Turned” with some raunchy clean guitar and takes the
lead vocal. The beat is driven hard by Aynsley
Dunbar, who plays dynamically in a sort of more focused Keith Moon
fashion. The vocals weave in and out
with falsetto that is as light as a cotton ball. Mark sings that his thoughts have “turned to
love” for a girl who is able to “share herself with everyone.” Poor Mark.
<br />
<div class="MsoNormal">
When I
first heard this album, the song that stuck out to me most was “Feel Older
Now.” If the falsetto in “Thoughts Have
Turned” as light as a cotton ball, then here it’s sharper than a straight
razor. Part of me feels like they are
making fun of bands like Led Zeppelin (Immigrant Song) here, but they do it
with straight faces. This is actually an
epic song with angry creaked out vocals, subtly nasty lyrics (“I’m hard on you”),
and a chorus that burns with rocket-like fury. </div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhzCyCxUUc9R3JmIywu8YIYm8q4z_ovulYGwmJeuQ5YkFAYSvpdpG4iMtPqLsH4qKoyvMwUBAy0p3KTebqjQnCmraCFIpnu0VatcvGJGlTF93GCUjuPghxH8Ha6DHoXVjChNccEVLP2FJE/s1600/download.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhzCyCxUUc9R3JmIywu8YIYm8q4z_ovulYGwmJeuQ5YkFAYSvpdpG4iMtPqLsH4qKoyvMwUBAy0p3KTebqjQnCmraCFIpnu0VatcvGJGlTF93GCUjuPghxH8Ha6DHoXVjChNccEVLP2FJE/s1600/download.jpg" height="320" width="315" /></a></div>
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Sometimes
I wonder what it would be like to walk into a party in the year 1972. As I picture it, “I’ve Been Born Again” would
be playing with its scant two chords and high-hat sizzle. This may be the best song on the album, and it
is easy to get wrapped up in this one. Everything
in this song is a hook. The trumpet and repetitious
vocals just go on and on. Things never
get boring though. Vocals harmonize and
fade in and out. It is not a song that
really builds. It is a song that holds
steady. I would rate its intensity a 7
from start to finish. Tell me you don’t want
to walk into a party that is cookin’ at a seven when you walk in. My wife absolutely loves this song. Her face lights up when I play it. She even asked for a CD copy of my vinyl copy
which I gladly gave her. Now, she plays
this song for <i>me</i> in the car. </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0ENzWUhtxe0jTXG-mbupvbmNXIrSZlQqnSeZbYDhKgE7EBEaLdrwlOqWxEvySgYkuP76BpphVwZybJGlqcL3ytwEZG3QB84Z9ACc6ImpqM98xmd5nVzbi-p_pQBDTAEmkbUkb_QYqan8/s1600/bath-70-flo-eddie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0ENzWUhtxe0jTXG-mbupvbmNXIrSZlQqnSeZbYDhKgE7EBEaLdrwlOqWxEvySgYkuP76BpphVwZybJGlqcL3ytwEZG3QB84Z9ACc6ImpqM98xmd5nVzbi-p_pQBDTAEmkbUkb_QYqan8/s1600/bath-70-flo-eddie.jpg" height="251" width="320" /></a></div>
My son
on the other hand really likes “Nikki Hoi.”
Either that or he likes how weird my wife and I act while it is
playing. This is a song that would have
fit nicely on the Turtles record “Battle of the Bands” (where the Turtles pretend to be a different band for every song). Mark and Howard were always great at making
convincing sounding genre exercises.
They always found a way to make them their own though. For example, the little bubbling sounds they
add on the song would never be on a real “Hawaiian” song, but are a silly (and
surprisingly fitting) addition. Also
catch some of the classic Flo & Eddie humor at the end with one of them
saying “Aloha, Joe” in a female voice to an American G.I. In addition to their talent, these guys are
silly. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS8xaDMfCTp0OKbpbEldt7RQfUo08lt80WOOggz7vX1khvGHlwIk9r5NMZotAIpUNT5jsFarEGkZBIA1V-EnZykCCvqmHYdfayaB-AS9RVkFMBEEJYAZCIR8ZD53L7BV3toqOlNqBh0_Xe/s1600/Flo+Eddie+Lou.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS8xaDMfCTp0OKbpbEldt7RQfUo08lt80WOOggz7vX1khvGHlwIk9r5NMZotAIpUNT5jsFarEGkZBIA1V-EnZykCCvqmHYdfayaB-AS9RVkFMBEEJYAZCIR8ZD53L7BV3toqOlNqBh0_Xe/s1600/Flo+Eddie+Lou.jpg" height="296" width="400" /></a></div>
<div class="MsoNormal">
Tones: Jim Pons sings
and plays bass on this record. He was
also in the Turtles, and followed Flo & Eddie for several Zappa records. His voice is extremely low and I love that it
is featured here. It really gives a bit
of continuity which flows from Turtles to Zappa to Flo & Eddie. You can hear his low “Ooh Ahh, Ooh Ahh” at
the end of “Goodbye Surprise.” Don Preston adds some great keyboard parts to
this record as well. Check out his piano
rolls on “Why It Never Happened.”<br />
<br /></div>
<div class="MsoNormal">
Cover Note: Wow! Look at these guys! Mark’s yellow shirt is incredible! And have you ever seen a more perfect set of chompers? I want to hang out with these guys so
badly. Howard was always a touch chubby
when he was in the Turtles, but here he is super thin and has a head of mostly
grey hair. Seriously, what is he,
31? His duck shirt is amazing too. I could frame this record on my wall and
smile every time I look at it. Looking
at it really makes me happy.</div>
<div class="MsoNormal">
<br />
Price paid: I had to
order this off of Ebay. It was about $11.00. I have seen a few of their later records in
the bins I dig through, but never this one.
If you find it, snatch it up because you won’t see it again.</div>
<div class="MsoNormal">
<br />
Bottom Line: This is
a great record for music weirdos and family men. It’s quirky, but not offensive. It’s silly, but not hokey. It’s musical, but not heady. This album lies in the middle ground between
the Turtles’ poppyness and Zappa’s musicality.
If you like the Turtles, there is enough of their sound to keep you
happy. The same is true if you are a
Zappa fan. I hope you’re ready, for Flo
& Eddie. <br />
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com2tag:blogger.com,1999:blog-7344146063607836084.post-16358107670081081682014-04-19T01:00:00.000-07:002014-04-19T01:00:04.727-07:00The Rascals "Once Upon A Dream" 1968<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_9J-ic2DrO6vL9hFmnm_9G0xHSEKlZXIbH5QioxaWPY9MnMDUhvQiNmt8DGD98pDIzo6JCHEQYfvJabd_5FOqNsCReezO6n9vO5Vdyp-yjD2poAzMSF8xdgr5cxdQCgtb3mHyiay3c_1h/s1600/Rascals_OnceUponADream.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_9J-ic2DrO6vL9hFmnm_9G0xHSEKlZXIbH5QioxaWPY9MnMDUhvQiNmt8DGD98pDIzo6JCHEQYfvJabd_5FOqNsCReezO6n9vO5Vdyp-yjD2poAzMSF8xdgr5cxdQCgtb3mHyiay3c_1h/s1600/Rascals_OnceUponADream.jpg" height="400" width="395" /></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
If you bring up the Rascals in
conversation with me, you are pretty darn cool.
However, very few people do. I
still remember the first time I heard this album. My old buddy PJ let me borrow this on vinyl
back in 2004 or 2005. I think he said
his dad gave it to him. Albums by bands
that had really big hits in the mid 60’s and then progressed have always fascinated
me. I guess you could say that about a
million bands but it’s the albums like this that are really neat. What I like about it is that it keeps that classic
“Rascals” sound but expands on it in not only a profound way, but a cool
way. It’s not like they just put a bunch
of stings and horns and harps on their existing sound and then called it “forward
thinking” music. This is heartfelt and rockin',
dark and reassuring. </div>
<div class="MsoNormal">
The
first thing that hit me about this record was how murky it sounded. Where did they record
this, under somebody’s house? It’s like
a cloud garden and each song is like a puff of smoke rising out of a long
forgotten fire. </div>
<div class="MsoNormal" style="text-indent: .5in;">
There is also an easy going quality
to this album. Sometimes it reminds me
of a relaxing day. Of course there are
two kinds of relaxing days: the ones you have to try to make relaxing, and the
ones that are relaxing all by themselves.
This album is the latter. “Easy
Rollin” feels like you are driving 50 mph on a smooth highway. That classic “Rascals’
organ” smooths everything out nicely and makes it feel like the wind is gently
blowing your hair. Nothing feels forced
on this record; everything is a logical progression from their earlier
sound. I also love the ending of this
song where the tape slows down and the organ falls. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7-F-W5sWnYx_le7omKnEktd9PDE6Ya7fdwgmriZC2erjKotwyjpp68stFXv4FNmKghF_kFoiLDSvCSw550it3-udd-Y78leR3nmZtCvzSRITkAKlSoEk1_fb0X27ArSeXBuZ7_Lp7mxYC/s1600/rascals4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7-F-W5sWnYx_le7omKnEktd9PDE6Ya7fdwgmriZC2erjKotwyjpp68stFXv4FNmKghF_kFoiLDSvCSw550it3-udd-Y78leR3nmZtCvzSRITkAKlSoEk1_fb0X27ArSeXBuZ7_Lp7mxYC/s1600/rascals4.jpg" height="267" width="400" /></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
“Rainy Day” is a gorgeous slice of
orchestral grandiosity mixed with unpolished vocals, and…wait for it…syrup. It’s just enough though. “Syrup” or “Syrupy” usually has a connotation
of something overly sweet on an album. Not
here. If you were eating pancakes, you
could compare the syrup factor to about ¼ of the way into your meal. That is the point where you are still really
digging the sweetness, but aren’t sick of it yet. I also really dig the bridge where everything
speeds up for a few bars. It feels like
some 50’s action adventure safari soundtrack.
Just lovely. </div>
<div class="MsoNormal" style="text-indent: .5in;">
What strike me about “Please Love
Me” (my wife’s favorite) and “It’s Wonderful” are the background vocals. They are wonderfully high and piercing. I think what I like about them is that they
feel like regular guys singing with their regular voices. These aren't the angelic tones
of the Beach Boys or the silky smoothness of The Association that I usually get caught up in. These are very functional background
vocals. It’s like they were in the
studio and said, “Can you sing the lyric ‘please’ really high and shrilly? You
can? Great! Go do it, and then do the
same thing on “It’s Wonderful.” And just
like that, the background vocals were done.
As I have stated in other reviews, it is that lack of pretension that
makes it feel so raw and compelling. </div>
<div class="MsoNormal">
When I
think of this album, I find that songs from the first side tend to pop into my
head first. The songs are a little
punchier and to the point. However, the
second side has some very pretty songs that are very much of their time. “Sattva” with its sitar and chants of “this
is love” is pure 1968. But it’s the second
part of the song that blends the more straight forward Rascals’ sound with the
hook. I think the real accomplishment
here is that they didn’t just try to just do an “Indian” song. They blended it successfully with their own
sound, making it something much more special. </div>
<div class="MsoNormal">
<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOyrn2bHyRzXaoSgMsB4Ciy25Leoj2GTn_Szf38wP2XyJgNkaD7fWV-gLO0tKSbiGRVDOxgZ170jWlcwAHTMYPsbR6U8U8WmtMBMTLpaVTlQ7MlOcH1ItBFElxwNLSFjvSAb_TanNFFBA/s1600/tumblr_inline_mmcma1JANn1qzx6bg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOyrn2bHyRzXaoSgMsB4Ciy25Leoj2GTn_Szf38wP2XyJgNkaD7fWV-gLO0tKSbiGRVDOxgZ170jWlcwAHTMYPsbR6U8U8WmtMBMTLpaVTlQ7MlOcH1ItBFElxwNLSFjvSAb_TanNFFBA/s1600/tumblr_inline_mmcma1JANn1qzx6bg.jpg" height="300" width="400" /></a></div>
<br />
<div class="MsoNormal">
Tones: There are several
songs that feature some very jazzy saxophone playing by King Curtis. Most bands that incorporated sax into their sound
did so in more of a honking R&B way.
The Rascals were able to explore jazz elements, which was rare in the
late 60’s. The jazz accents are one
reason I find this record so compelling and original. When you listen to bands like The Beatles and
the Beach Boys, you hear them pushing boundaries, but not in the way the
Rascals do. The Rascals would move in
this direction even more as they moved into the 70’s.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Cover Note: The
inside says that the drummer, Dino Danelli, was responsible for the cover. I feel like this is an interesting cover, but
I wouldn’t want to see these artifacts in person. It’s very grey/blue, and if my mind did not
attach the artifacts to the music, I would be uncomfortable. I also have to say that the gatefold on this
record (and all my late period Rascals’ records) is extremely high quality, and
has/have held up nicely. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Price Paid: $3.00 and
I have gotten so much joy out of this one.
It isn’t a terribly hard one to find either. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bottom Line: This was
one of the first records I found that was not an obvious classic. It took me a few listens before I really fell
in love with it and I think the same was true for my wife. She never made any comments about the record
until I had been playing it for a few days.
After that, she had all kinds of things to say. For example, she can’t decide if she likes or
dislikes the sped up vocals at the end of “It’s Wonderful.” I find that fascinating and it gives us
something to talk about each time we listen together with our son. My wife and I have also had a great time
singing, “I’m Gonna Love You Any Way I Can” to our boy. You can totally get away with playing this one
around your family. They’ll love
it. It’s wonderful. </div>
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<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12MnnIAUt5WKDyC96g0niLrA6T_VfBXc_NJCU9pahCCn4Td42p1lmUKrAhpfgb73uPIgJgIr4k1Z1Xf9ozLe4PWMRYe652wUh-na5oLvuLLioyGfmdl_AzLlgaL4YMQtA1sDADRTaaCt_/s1600/rascals-rehearsing-mf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12MnnIAUt5WKDyC96g0niLrA6T_VfBXc_NJCU9pahCCn4Td42p1lmUKrAhpfgb73uPIgJgIr4k1Z1Xf9ozLe4PWMRYe652wUh-na5oLvuLLioyGfmdl_AzLlgaL4YMQtA1sDADRTaaCt_/s1600/rascals-rehearsing-mf.jpg" height="225" width="400" /></a></div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com3tag:blogger.com,1999:blog-7344146063607836084.post-64890510142648984912014-04-12T01:00:00.000-07:002014-11-27T07:21:45.354-08:00The Millennium "Begin" 1968<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFluJQFVKi9MObZCOdJ_n8ygAlExR30d43c8gZM18CQyqvHOAHbhPPaBu_t3lx-qeevYc4mWxtiPJARnB1sRyHlV4WpPNSzx4momb7nyR5jLqoLDcz_pQs_w_H7wjm7CYrexlvqYmnMlXk/s1600/Begin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFluJQFVKi9MObZCOdJ_n8ygAlExR30d43c8gZM18CQyqvHOAHbhPPaBu_t3lx-qeevYc4mWxtiPJARnB1sRyHlV4WpPNSzx4momb7nyR5jLqoLDcz_pQs_w_H7wjm7CYrexlvqYmnMlXk/s1600/Begin.jpg" height="400" width="400" /></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
Now this one is obscure. The band Millennium was actually the
brainchild of Curt Boettcher and a few of his friends. Curt’s most notable work is as the producer
of The Association’s first record. This
is not the kind of record you are going to stumble upon in an old record bin
(unless you are incredibly lucky). Someone has more than likely suggested this record to you (as my old
buddy Vic did for me) or you have heard about it in some dimly lit corner of
the internet. The great thing about this
record is that it really is a lost masterpiece.
The songs are catchy, the production brilliant, and the performances
adroit. </div>
<div class="MsoNormal">
The
introduction to the album, “Prelude,” is a wonderful harpsichord and tuba
workout. When I first heard this piece,
I was extremely impressed. The
juxtaposition of the prickly harpsichord and the fat-bottomed tuba is lovely,
but what holds everything together is the sound of the drum beat. In 1968, there is absolutely no comparison in
terms of booming sonic splendor. It
would take 20 more years before people started getting into beats recorded like
this. My wife summed up “Prelude”
perfectly: "This song is just waiting for
a hip hop artist to sample this intro and turn it into a hit." And she’s right. There is nothing inherently “hip hop" about
the song to begin with, but could certainly be used
that way (with some gentle nudging). </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibqUl44GQfa1n11DBdPHEJfkkeIjNvtibtWQmYvNkNWQMz6ds3l0CsUZGlecNBcSzfuO0eEW0xRg0nkW5WRUELU1J0BgiMxELH5Rh3D-WCTfm70QZVGOLwMS17gFuj7kMJlph4zUSZBXDq/s1600/51JDVQiJlUL.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibqUl44GQfa1n11DBdPHEJfkkeIjNvtibtWQmYvNkNWQMz6ds3l0CsUZGlecNBcSzfuO0eEW0xRg0nkW5WRUELU1J0BgiMxELH5Rh3D-WCTfm70QZVGOLwMS17gFuj7kMJlph4zUSZBXDq/s1600/51JDVQiJlUL.jpg" height="320" width="312" /></a></div>
<br />
<div class="MsoNormal">
Speaking
of my wife, she loves this record, and so does my son. This has been dinner music for over a week
now. Soft Psych is a hard sell for most
people, but good music is good music, period.
There is not a song on here that she does not like. One of her favorites is “5 A.M.” I think it’s the rising chord progression and
the way he sings “5 O’clock.” Most
people would say, “A’clock,” but he clearly says “Oh.” “I Just Want to be Your Friend” also has a tiny sweetness to it. Sometimes I feel like I
would need a microscope in order to see the people singing this song. There is also some great percussive use of
shakers in this one. </div>
<div class="MsoNormal">
Personally,
I enjoy “The Island.” There is a
wonderful blend of Soft Psych and Exotica on this one. You get cloud like vocals and watery steel
guitar. You get circular guitar figures
and far off animal sounds. The bridge is
absolutely wonderful too. In the 1960’s,
record stores were inundated with Hawaiian records. It is only natural that Curt Boettcher would
have heard a lot of them. I think it’s
great he was able to incorporate these sounds into a forward thinking record
such as “Begin.”</div>
<div class="MsoNormal">
I
always got a bit of a Todd Rundgren vibe from the song “It’s You.” It’s a little like his song “Couldn’t I Just
Tell You” from Something/Anything. It
must be that double tracked acoustic guitar.
I have always thought that the lyrics were interesting as well. The concept of someone peering through a
frosted window at someone makes me feel weird.
Obfuscated points of view seldom leave me feeling warm and toasty.</div>
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<div class="MsoNormal">
<span style="text-align: center;">Tones: Oh man…so many.</span><span style="text-align: center;"> Here is a little list for ya:</span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<span style="font-family: inherit;">1. The chorus effect on the bass on “To Claudia
on Thursday” is very rare for the 60’s.
Chorus on bass is more of an 80’s thing to me. I have also never heard a <em><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-style: normal;">cuíca on a 60’s pop record before,
unless it was straight out of Brazil. It’s
the best squeaky sound ever. </span></em></span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
2. Speaking of squeaky sounds, the
guitar at the start of “It Won’t Always Be the Same” is almost Theremin
like. </div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
3. The vocals in “Sing to Me” show
that harmony is not always necessary. It
sounds like there are several voices singing in unison. Harmony is the default on most Soft Psych
records, so it is nice to see this vocal color used as well. </div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
4. Something is going on with the trumpets
in “The Know It All.” They may be
slightly sped up or on some kind of tape loop.
The drums also have a dead, flat, sloppy punch that sounds like a petulant
child punching a pillow. </div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal" style="margin-left: .25in;">
5. The vibraphone part on “Some Sunny
Day” sounds a lot like “My Girl,” doesn’t it? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Cover Note: I wonder
what they were going for here. Certainly
a cover with a black and white church scene is somewhat out of sync with late
60’s pop sensibilities. There just doesn’t
seem to be anything overly special about it.
I do like how it feels like you are looking out a window though. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Price Paid: I had to
pick this one up new for about $15.00.
The original is extremely rare, but surprisingly you can still find reissues
of this in print in both CD and vinyl formats.
It is pushing $27.00 for the LP version on Amazon, which I think is
high. Check out some other stores or
Ebay for a better price. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bottom Line: If one
thing is true, it’s that this is a quality record. A lot of hard work and focused energy went
into this LP. It is a niche record and will mostly appeal to
Soft Psych fans. There are some Beach
Boys and Association comparisons that are fair, but at the end of the day, it’s
really its own thing. </div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-50000993614043193612014-04-05T01:00:00.000-07:002014-04-05T01:00:02.847-07:00Tom Jones "Live in Las Vegas" 1968<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyXpuX_FwgttarWARfEuLQw-9638TQif9c3Pvt5N7AHeSVcEdSzaHGzP5mMfhrUmObFDs9ZQgz86Jnh59RnF-ogv9Q-nqA3qG7vECME_nCEL6VOMnxkCYRFuVy5J17yVNMvJsZudwG_nNQ/s1600/Tom%252BJones%252B-%252BLive%252BIn%252BLas%252BVegas%252B-%252BLP%252BRECORD-246313.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyXpuX_FwgttarWARfEuLQw-9638TQif9c3Pvt5N7AHeSVcEdSzaHGzP5mMfhrUmObFDs9ZQgz86Jnh59RnF-ogv9Q-nqA3qG7vECME_nCEL6VOMnxkCYRFuVy5J17yVNMvJsZudwG_nNQ/s1600/Tom%252BJones%252B-%252BLive%252BIn%252BLas%252BVegas%252B-%252BLP%252BRECORD-246313.jpg" height="385" width="400" /></a></div>
This is the first live album I have reviewed, and what a doozy it is. Tom Jones is absolutely electric in a live
setting, and based on what I hear on this record, the show must have been
absolutely wonderful. Everything on this
record is absolutely epic. The horns
blare, the guitar blazes, and the drums beat with sweaty fury. This is the sound of musicians giving
everything they have to the audience.
And to top it all off you get the explosive, bombastic, grandiose, and
decisively manly Tom Jones assuredly singing his guts out.<br />
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Tom was
at a great place in his career when this was recorded.
He had a nice string of hits, a television show, and lucrative touring
schedule. Playing is Las Vegas must have
seemed like the natural thing for him to do at this point. Some artists feel that playing the Vegas
circuit is a little stale. If Tom did
feel this way, you certainly don’t get any sense of it at all. He gives everything he has to the audience,
and they in turn give it back to him.
There are women screaming on the record and Tom just eats it up. Women screaming at Tom Jones are akin to spraying
Aqua Net on a fire. The things he says to
the women in the audience are classic:</div>
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“Has anyone got a handkerchief or something? There you are.” Then, as someone runs up quickly, “Oh…Oh…Everything
all right? You’re a fast runner, aren’t
you? You don’t run away that fast though,
do you?” <br />
<br /></div>
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One thing I like about this album
is the eclectic song selection. There
are some hits, but the covers/classics he sings make this album even more
interesting. I have never in my life
heard a version of “Danny Boy” that sounded like it was meant for someone like
me to hear. It’s one of those songs that makes me feel a
generation gap. On the other hand, Tom
makes this version feel like a smoky R&B number. Between the tiny guitar drips and loud brass
flashes, Tom makes it easy to forget what song you are listening to. It just feels right, and I’m impressed he was
able to make such a stuffy old song sound so big, powerful, and full of
emotion. </div>
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“Hard to Handle” also gets down
right funky. The wah wah guitars are
what really do it for me. They have a
bit of a bird chirping quality that contrasts so well with the volume swells of
the horn section. I also have to confess
that I have always had trouble deciphering what was being said during the hook
of both the Otis Redding and Black Crowes version. However, Tom is able to inject maximum power
and emotion into the immaculately articulated lyrics. I actually heard the Crowes version a few
days ago and realized how good both versions are, for completely different
reasons. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvdsCP29tqMTfDqYAFdxhwHYUHCij0w7cAi01wR6g3wZ44Xhe5Im4uuywZpvmiXaMYxVoaXfrov-RmEmjN5SlMp0IOa-hS0TpmmN1xDDbcxqpfXdOklVW34TRjYzxb3gwOLRF0CfKDEvA_/s1600/tom-jones-200-060408.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvdsCP29tqMTfDqYAFdxhwHYUHCij0w7cAi01wR6g3wZ44Xhe5Im4uuywZpvmiXaMYxVoaXfrov-RmEmjN5SlMp0IOa-hS0TpmmN1xDDbcxqpfXdOklVW34TRjYzxb3gwOLRF0CfKDEvA_/s1600/tom-jones-200-060408.jpg" /></a>There are also some hits on here
that Tom just burns up. “Delilah,” “It’s
Not Unusual,” and “I’ll Never Fall in Love Again” are great compliments to
their studio versions. Tom also sings
each with so much gusto and bravado that you could never tell he’s sung them time and time again. He sounds like he’s
having a ball. I have heard some people
call Tom Jones’ singing melodramatic, but that seems silly to me. That is like saying an elephant lumbers, or a
cheetah slinks, or a toad sits, or a butterfly floats. Yes, all these things are true, but an
elephant is just being an elephant. A
cheetah is just being a cheetah. A toad
is just being a toad, and a butterfly is just being a butterfly. Tom, my friends, is just being Tom. </div>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6AnPzU7BLbxhx4AbqK-zsyack3qwychWs7lJUA9WRlBQlVueWyY4zCfUhpKijPNBr_KV4R7oppTpQKhNBSNej6X8P2hyl3Q8aDB4Rdu3XkcyFx61TxpZu-wKzQxGHDsA5_ADIyXA_BHzp/s1600/article-0-0CABB71C000005DC-496_224x423.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6AnPzU7BLbxhx4AbqK-zsyack3qwychWs7lJUA9WRlBQlVueWyY4zCfUhpKijPNBr_KV4R7oppTpQKhNBSNej6X8P2hyl3Q8aDB4Rdu3XkcyFx61TxpZu-wKzQxGHDsA5_ADIyXA_BHzp/s1600/article-0-0CABB71C000005DC-496_224x423.jpg" height="320" width="169" /></a>There is not a dud on this
album. “Bright Lights and You Girl”
allows Tom to growl out a few nice lines.
The two Beatles songs, “Hey Jude” and “Yesterday” are handled exactly
the way you would assume Tom would handle them: Big. And the closing on the album is an almost
seven minute version of “Twist and “Shout.”
I can get enough of old rock and roll numbers played by late 60’s and
70’s artists, but Tom keeps it happening the whole time. It has as much, if not more energy than the
early versions, if for no other reasons than the fast tempo and vivacious
singing. </div>
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Tones: People don’t
do big notes like this anymore. Now,
people get all swoony when they hear men sing big notes. American Idol has made sure of that. This is different. There are so many amazingly sung notes on
this record that it is practically a rain storm of colossal strength. This is Freddie Mercury, Roy Orbison, Rufus
Wainwright territory. </div>
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Cover Note: Tom is really
workin’ it. He looks sweaty and
determined: a winning combination. I
haven’t seen too much video of Tom performing, but it looks like he’s got some
moves too. </div>
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Price Paid: I got
this for 25 cents at the library bookstore.
I thought they were kidding. I
didn’t even like Tom Jones at the time, but it just looked so cool. It had no inner sleeve, but it played (and
plays) great. Normally, not having an
inner sleeve is a bad sign, but sometimes you can get away with it. </div>
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Bottom Line: My wife
and I saw Tom perform on his “Praise and Blame” tour several years ago. It was amazing. He played a lot from that album, but he chose
his “hits” carefully. Interestingly enough,
he played “Delilah,” “I’ll Never Fall in Love Again,” and “It’s Not Unusual,”
which he did on this album. His voice
has deepened over the years, and the keys he sings the songs in have dropped
about 5 notes, but his tone was as rich and sweet as anything on this or his
other records. His hair was fully grey,
as well as his goatee, but he was still making jokes about “Hot Cross Buns”
that got the ladies screaming. If you feel
like my description makes him sound old, please know he seemed anything but. Whether it’s 2012 or 1968, Tom Jones knows
what he is doing on stage. Get this
one. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEa4hD5IdohYSVXQ0Y5OhWoyFUm5K9KBwusHxoQ8o1S7rkPnIwF5gEGYHNicOx47h-mlYGVhC7tW_xXd16lOgb8yL2yLKJTPeQQvF3jC9L_xoTIpsFgMheQ5MuCzLYf84GKt442R1Ho-V/s1600/MI0002815894.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEa4hD5IdohYSVXQ0Y5OhWoyFUm5K9KBwusHxoQ8o1S7rkPnIwF5gEGYHNicOx47h-mlYGVhC7tW_xXd16lOgb8yL2yLKJTPeQQvF3jC9L_xoTIpsFgMheQ5MuCzLYf84GKt442R1Ho-V/s1600/MI0002815894.jpg" height="397" width="400" /></a></div>
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My sister and I
are the only two people I know that like Laura Nyro. Her voice can take a little getting used
to. It’s like a bird tied to a string; it goes all
over the place, and is constantly on the verge of breaking free and losing
control. I happen to think that is cool,
but my wife does not. I put this album
on to make some notes, and the mood in the room instantly changed. She puts up with a lot of crazy music in this
house, but it was very clear that this was not a record that was going to be
in rotation for very long. I can get
that. She is not alone in this
opinion, and that is fine with me. She
asked if I would please put the Bob Dylan back in the player, after I was done
listening to “that girl with the ridiculous voice.” How could you be upset with a woman who
encourages you to listen to more Dylan?
She’s a keeper.</div>
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I,
however, love this record! It just soars
for me. Laura does all of the lead
vocals as well as the background vocals.
Having one person do all the vocals is like putting magnifying glass on the
personality of the performer. Instead of
one over the top vocalist, you get 20. My
favorite song is “Sweet Eyed Blindness.”
In some parts, I am hearing at least 4 vocals intermingling. The rhythm is also all over the place, and
the beat changes tempo throughout the song.
The most important thing is how wonderfully happy the song feels. The song is about drinking, and as a result
gives the song a bit of a medicated happy feel.
How could you not sing along to this?</div>
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“Poverty Train” is
full of intrigue. The song has a limping
quality, with its starts and stops.
Laura and her piano are joined by light flutes, ringing vibes, buzzy
fuzz guitar, and soft horns, but each instrument seems to be independent of the
others. They simply wander in and out of
the song like confused children. By the
end, Laura and her piano are again alone.
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This album came
out in 1968, but I get sort of a mid 60’s/Motown/Brill Building feel to
it. This makes a lot of since because
Laura was a songwriter who scored several hits with groups like The 5<sup>th</sup>
Dimension, Three Dog Night, and The Blood, Sweat and Tears. I happen to prefer her version of “Eli’s
Comin’” over Three Dog Night’s. I feel
like the vocals mesh far better in her recording than the hit version. The song also works much better from the
perspective of a woman than a man. I
find it hard to believe that a man, especially like <a href="http://www.cracked.com/article_16120_historys-7-most-astounding-sexual-resumes.html" target="_blank">Chuck Negron</a>, would
sing about watching out for a heartbreaker. “Stone Soul Picnic” on the other hand lacks the bold production of the
The 5<sup>th</sup> Dimension’s version.
Laura’s version, however let’s you focus on how wonderful the melody
really is. It’s very good, but far less
lush. </div>
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“Farmer Joe” absolutely knocks my socks off every time
I hear it. The piano is thick, guttural,
and as satisfying as butter on a biscuit.
Laura must have been pretty happy the day she found that groove. The lyrics are simple and repetitive and easy
to sing along to. Also, pay attention to
the section where she sings “run, run like a son of a gun.” The note she sings when she says “gun,” is so
out of key, but just so right. Who does
that? Why pick that strange note?
Because she pulls it off; that’s why.
Sometimes you just do things because others haven’t. I am glad she did. </div>
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Did I say I like
to sing to this record? Well, I should
make an exception for “The Confession.”
It is a lovely melody and the finger picked acoustic guitar really
percolates the song, but…and I do mean but…I am not sure this song was meant
for me to sing along to. Groove on these
lyrics:</div>
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<i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Super summer sugar croppin'</span></i><i><br />
<span style="background: white;">In the
mornin'</span><br />
<span style="background: white;">Do your shoppin' baby</span><br />
<span style="background: white;">Love
my love thing</span><br />
<span style="background: white;">Super
ride inside my love thing</span><br />
<br />
<span style="background: white;">You
may leave the fair</span><br />
<span style="background: white;">But
you'll be back I swear</span><o:p></o:p></i></div>
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And </div>
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<i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Oh I hate my winsome lover</span></i><i><br />
<span style="background: white;">Tell
him I've had others</span><br />
<span style="background: white;">At my
breast</span><br />
<span style="background: white;">But
tell him he held my heart</span><br />
<span style="background: white;">And
only now am I a virgin</span><br />
<span style="background: white;">I
confess</span><br />
<br />
<span style="background: white;">Love
my love thing</span><br />
<span style="background: white;">Love
is surely gospel</span><o:p></o:p></i></div>
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This is 1968 we’re talkin’ about here, and “Super ride inside my love thing,”
is so far past anything you will hear from this era. This is especially true for a woman. This was ground breaking music and credit
should be given where credit is due.
Even though I, as a man, am uncomfortable singing along with it, “The
Confession” should be viewed as the major statement it is. Sometimes songs push the boundaries of sound
or harmony, but this one was a great step forward for lyrics. </div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Tones: Everything sounds pretty
close mic’d except for the strings, which sound like they were recorded in a
massive studio with only room microphones.
</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Cover Note: It’s a very basic
cover. I guess the stark black cover is
notable because of how non psychedelic it is for 1968. I get kind of a singer/songwriter vibe from it. Also, I have seen this used quite a
few times, and each time the cover has had a massive amount of ring wear. Roxy & Elsewhere by Frank Zappa is the
same way. I guess some records were just
printed poorly compared to others.</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Price paid: I have the CD
reissue, but I did buy a vinyl copy for my sister. It was in the $4.00-$6.00 range, which is a fair
price. The bonus tracks on the CD are
also very good. </div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Bottom line: If someone was
interested in 60’s music and had never heard a thing, I would probably tell
them to start with the Beatles, then move to the Beach Boys, then The Stones, then
The Kinks and so forth. A logical
progression of appreciation would then develop and their life would gradually
improve until they exploded from pure joy.
This album and Laura’s others would probably not fit into the first
50-100 records I would suggest to a 60’s music novice. However, after some of the more obvious
choices are covered, this would be a great suggestion. It certainly won’t disappoint any long time
lover of 60’s music. </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSqYgtjzRqXdIP4fxRKq6LzP3Z85OptrA9JhXQMHMNPlzGUaW-_cCfrue_cRvMDDVWMQMhWOAplaZvczQQHufLluNctfbc5OCVbxtTr8jQccA7W2bSnBi9bPKL3Gyd641012ceCyZW7qrG/s1600/laura_nyro.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSqYgtjzRqXdIP4fxRKq6LzP3Z85OptrA9JhXQMHMNPlzGUaW-_cCfrue_cRvMDDVWMQMhWOAplaZvczQQHufLluNctfbc5OCVbxtTr8jQccA7W2bSnBi9bPKL3Gyd641012ceCyZW7qrG/s1600/laura_nyro.gif" /></a></div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-68587040304662403122014-03-22T01:00:00.000-07:002014-03-22T01:00:00.682-07:00Bill Evans Trio "Everybody Digs Bill Evans" 1958<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0weZPK1ufOMqG5AqsWNubQJVsuM6ovs9Oz_vILm5DEbyUEgDQgulF_K_F9HBBc9Ppty4R18JidZRZOo57tlgHSoAF1p1FsEO-M6cF9IzU4VnWaQWgfdRVz-XCjvTOG-CmA4JMOuiPxBJU/s1600/albumcoverBillEvans-EverybodyDig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0weZPK1ufOMqG5AqsWNubQJVsuM6ovs9Oz_vILm5DEbyUEgDQgulF_K_F9HBBc9Ppty4R18JidZRZOo57tlgHSoAF1p1FsEO-M6cF9IzU4VnWaQWgfdRVz-XCjvTOG-CmA4JMOuiPxBJU/s1600/albumcoverBillEvans-EverybodyDig.jpg" height="400" width="400" /></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
It took me some time to realize how
amazing Bill Evans was. Sometimes music
hits you over the head, but sometimes it just gets slipped under your pillow. Bill Evans always seemed like a fragile
character to me and I pick up a lot of that from the music. He can also really swing though. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Bill was the king of impressionist harmony,
which will only mean something to you if you are a musician. You may have heard of impressionist painters.
Well, whenever I look at their paintings, I always enjoy their hazy
quality. The clarity is gone therefore I
am forced to focus on other aspects. Well,
what they do with painting, Bill does with harmony. To do this, he stays away from the obviously
pleasant (and familiar) sounding notes in a chord. These would be the ones that make up about
98% of all written music. Instead he
plays notes that are close to the “good” notes, creating an impression of the
chord.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwh5FfYd87lZgmvlf7bc8tv9Vg1guOiAgVvF5I6FyMKmd-A5JWEDu3H5C96LD342MgBLlT0Ap7T_O1re2w89OPKNIaGcp_zqaCJoUThwfAc_alHEW0mz6Q8w_I7hwTrau3GFZbecApySl6/s1600/springtime-1886.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwh5FfYd87lZgmvlf7bc8tv9Vg1guOiAgVvF5I6FyMKmd-A5JWEDu3H5C96LD342MgBLlT0Ap7T_O1re2w89OPKNIaGcp_zqaCJoUThwfAc_alHEW0mz6Q8w_I7hwTrau3GFZbecApySl6/s1600/springtime-1886.jpg" height="318" width="400" /></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
Think about it like this. If you go outside on a sunny day and look up
in the sky, the sun can hurt your eyes.
So what do you do? You put you hand
up to cover the sun, and try to decipher what you can. You aren’t seeing an accurate representation
of what the sky really looks like; you just get an impression. You have lost the key element, so now you are
forced to focus on the rest. This is why
Bill Evans’ music sounds the way it does.
I hope that makes sense. Please
do not translate that into, “Bill Evans was an impressionist painter who couldn’t
see the sun, so he played wrong notes on the piano.” </div>
<div class="MsoNormal" style="text-indent: .5in;">
“Minority” starts off sounding
pretty menacing for a jazz record. They make
me think of someone slipping through prison bars. These jagged sounds are coming from the same
guy who played the beautiful opening chords on Miles Davis’ “Kind of Blue”
album. The main melody is quite memorable
and swings elegantly. I really dig how Bill’s
solo builds momentum. It starts off slow
and gets fancier as it progresses. The more
I listen to this, the more impressed I am by how planned out it seems. Bill starts to trade solo breaks with drummer
Philly Joe Jones and they taunt each other back and forth. Some of Bill’s runs sound like mice running
across the floor. Very hip jazz
mice. </div>
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On the emotional flip side, you get
“Young and Foolish” which is melancholy at its best. If I had to be sad, this is the kind of sad I
would want to be. Not the real thing,
but an oozing, gray version of it. Bill’s
piano rolls like constant thunder clouds dimly pushing their way out of an old
movie projector. Just when I think that being
gloomy is great, Bill hits some harsh dissonant notes that feel like pangs of
guilt or loneliness. It’s really quite
emotional. </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh33pwitMo2mw7ofUm6kYS9UkObZRB4mobR2pFeSBTf-G_vxBKJlfOEBfwTf219RZJZsus3XEI4eRTSEn6r5bSo7o7Gp0pUTB0KBZzFFIrutp6P4eJZ6ZDWv4AuS9_1RESC9iIk00QQJ90W/s1600/billevans.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh33pwitMo2mw7ofUm6kYS9UkObZRB4mobR2pFeSBTf-G_vxBKJlfOEBfwTf219RZJZsus3XEI4eRTSEn6r5bSo7o7Gp0pUTB0KBZzFFIrutp6P4eJZ6ZDWv4AuS9_1RESC9iIk00QQJ90W/s1600/billevans.jpg" height="197" width="400" /></a></div>
One thing
I like about this record is the interesting sequencing of its songs. The slightly eastern sounding “Epilogue” after
“Night and Day” closes side one beautifully.
Bill has a way of letting strange chords ring out with an uncomfortable
beauty. They are like looking at a
beautiful woman who scares the hell out of you. The same little “Epilogue” pops
up again at the end of the record. <br />
<div class="MsoNormal">
Side two
also contains what I consider to be the centerpiece of the record: “Peace Piece”. Bill’s left hand plays a creamy repeated
figure, and his right hand improvises. The
first half of the song is wonderfully calm and relaxing, like warm sheets on a
cold day. Conversely, the second half is
much more challenging to relax to. The
notes feel like sharp little pebbles or drops of black ink on canvas. The left hand keeps going though. You may still be lying in those warm sheets,
but you just got your heart handed to you by your lover. My wife loves the first half of this song,
but gets frustrated by the second half.
I think most people who are not into modern jazz would be too. </div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Tones: This is a
three piece jazz combo, so there is not a lot of tone variety. You do, however, get some changes in texture
that are quite charming. “Oleo” starts
with mostly bass and piano. Halfway
through, the drums crash in as Bill pays some chromatic bumblebee runs. These guys must have been aware that three instruments
can only create so much variety. As a
result, you get some fascinating interplay that generates patches of sound that very much hold my interest.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Cover Note: This was an innovative cover back in the
day. Miles Davis, George Shearing, Ahmad Jamal, and Cannonball Adderley<span class="apple-converted-space"><span style="background-color: white;"> </span></span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">all sing Bill’s
praises. In 2014, it’s hard to be
shocked by a cover like this, but I am sure it stood out back in 1958. Seriously, if Miles Davis thinks you’re cool,
there’s a pretty good chance you are. I’d
probably buy a sandwich if I thought Miles dug it. </span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGryzoB7OIfAOuj6UnE-pd44dh3fsBSNmJ-xfctH5oemNbyOcZKoaEVIysWaqCASR6N5BlBX7B3gpW7XMEAP2RGPTPBiwZNWWVcZJ988jQKjn5OgHT9bX_jwePZ4WvGBGT_oIAr75BEOgk/s1600/tumblr_ktg8v3jDeu1qzz5ieo1_400.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGryzoB7OIfAOuj6UnE-pd44dh3fsBSNmJ-xfctH5oemNbyOcZKoaEVIysWaqCASR6N5BlBX7B3gpW7XMEAP2RGPTPBiwZNWWVcZJ988jQKjn5OgHT9bX_jwePZ4WvGBGT_oIAr75BEOgk/s1600/tumblr_ktg8v3jDeu1qzz5ieo1_400.png" /></a></div>
<span style="background-color: white;">Price
paid: I have a vinyl reprint that I bought
online for about $16.00. I
feel like finding old jazz is pretty hard to do. Every time I look for old jazz stuff, it’s
either scratched, or way out of my price range.
I don’t think this stuff was ever majorly popular to begin with, so
copies are rare. I have no problem
buying a new reprint of an old album.
Besides, jazz on vinyl is a special thing. </span><br />
<br />
<div class="MsoNormal">
<span style="background: white; mso-bidi-font-family: Helvetica;">Bottom
line: You have to be sensitive to
appreciate an album like this. Sure, if
you are a musician, you can dissect the complex harmonies and technical intricacies,
but where does that leave you? Musicians
don’t push the boundaries of harmony just to push them. They do it so they can convey new, deep, and
hopefully insightful emotions. The
greatest part about this album is its ephemeral nature. The Bill Evans Trio was certainly in the
moment when they created this record, and what a great moment it must have been
to be in. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRHhNZ8Dp-2ta67dgi-hRaRddBveJ6bOzR6m7DZo-scvh0oxhlRzasbJBz7mcuvL6EP7KCk2NLO6OwPr1J3ol8odKTG-7jrtUNHHH4jv5RhKvU04g0oT29FzyLJoDUyaz_dEy_TsSqWUwY/s1600/tumblr_m92nuqvor51r30xm8_1345496839_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRHhNZ8Dp-2ta67dgi-hRaRddBveJ6bOzR6m7DZo-scvh0oxhlRzasbJBz7mcuvL6EP7KCk2NLO6OwPr1J3ol8odKTG-7jrtUNHHH4jv5RhKvU04g0oT29FzyLJoDUyaz_dEy_TsSqWUwY/s1600/tumblr_m92nuqvor51r30xm8_1345496839_cover.jpg" height="320" width="320" /></a></div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com2tag:blogger.com,1999:blog-7344146063607836084.post-55733270218944912672014-03-15T04:42:00.000-07:002014-03-15T04:42:13.557-07:00Todd Rundgren "Runt" 1970<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8orQE9l1YX69L1MQND6aiGrYrsu962VzSGqL5Qg17pUy3Spyzq_WJX5Rjf9ksAdDbq_LgUDF_-v9kCbpB0NjXcXrOJGJYbEGVM7FIthxRq_YEGfuudZ1fILan1GI1EfZKWnP4HFy6ptrV/s1600/MI0001801130.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8orQE9l1YX69L1MQND6aiGrYrsu962VzSGqL5Qg17pUy3Spyzq_WJX5Rjf9ksAdDbq_LgUDF_-v9kCbpB0NjXcXrOJGJYbEGVM7FIthxRq_YEGfuudZ1fILan1GI1EfZKWnP4HFy6ptrV/s1600/MI0001801130.jpg" height="392" width="400" /></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
If you are even a casual music
lover, then you have more than likely heard plenty of Todd’s music. He is one of those artists that had a smattering
of hits, however it’s his full albums that are really where it’s at. On many of his records, Todd does it all
(literally and figuratively in many cases.) He has been known to play guitar,
keyboards, bass, saxophone, and sing. He
also produces and engineers many of the records himself. </div>
<div class="MsoNormal">
On his
first record, “The Ballad of Todd Rundgren”, Todd plays many but not all of the
instruments. He is joined by a drummer, bass
player, and a few horns, but everything else is straight up Todd. Sometimes you can tell that the people who
make “one man band” records are more or less guitar and piano players with less
than amazing abilities on other instruments.
Todd seems to shine on every instrument he plays though. The guitar tone on “Devil’s Bite” is not only
a stellar riff, but has originality to its tone and presentation. It’s like a dog barking underwater, but with
a much thicker sound. His vocals are
also interesting. I would say that Todd
has a “nice” voice, but he really knows how to push it. He is at the top of his shouting range and he
must know it, because he certainly doesn’t blow it. He just hits that perfect rock and roll point
of exhaustion. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd5ao4ac0TH8ejPfyTNdzKoeq993AtqkpehWVsGzF9SZf98dKThJYtSCi_sYIoGlPhPv-Ts0zMbr2BrZf5JY9fwffTajQtVBhyosb5TkDy4LYNqMB2ISDYrYSK0WFH9sJcQBJXsyaMfYCX/s1600/TODD_RUNDGREN5101dfbb8648a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd5ao4ac0TH8ejPfyTNdzKoeq993AtqkpehWVsGzF9SZf98dKThJYtSCi_sYIoGlPhPv-Ts0zMbr2BrZf5JY9fwffTajQtVBhyosb5TkDy4LYNqMB2ISDYrYSK0WFH9sJcQBJXsyaMfYCX/s1600/TODD_RUNDGREN5101dfbb8648a.jpg" height="288" width="320" /></a></div>
My mother has always been a big fan of Todd
Rundgren, and as a result, “We Gotta Get You a Woman” has been played way too
loud in the car with her over the years.
My mom is the kind of person who listens to music at appropriate
levels…for rock and roll that is. She
likes to feel it, so that makes her a fun person to listen to Todd with. “We Gotta Get You a Woman” was the hit on
this record and it’s clear why. It’s
catchy as all get out, and really excels at the quiet verse/loud chorus
arrangement. The last line of the song
is great too. “And when we’re through
with you, we’ll get me one too.” I always
love it when artists make it worth your while to listen to the very end of the
song. <br />
<div class="MsoNormal">
It is safe to say that my wife does not like Todd Rundgren (or “Todd R” as she
calls him) at all. Believe me, I’ve tried hard to get her into his music,
but it just does nothing for her. One
time I even made her an unlabeled mix of instrumental songs, and included one
of Todd’s. I remember being at a
stoplight and hearing her say as Todd’s song came on, “This is the only song on
here I don’t like.” As I have said
before, my wife listens to a lot of really great music, so I give her a pass
when she really doesn’t dig something.
It looks like Todd and I have a date with some headphones. </div>
<div class="MsoNormal">
Which
is fine because I get to hear the double tracked guitars that sound like
fireworks exploding, and the lead vocals (some are thick and bassy, and others
supremely dry) that sound like they were meticulously recorded using different
microphones on different songs. There is
a real eye (ear) for detail on this record.
For instance, the guitar solo on “Who’s That Man” comes in like a
samurai sword slicing through a wild running animal; it’s hot, buttery, and
visceral. He’s clearly put some time
into the lyrics as well. Check out these
lines from “Broke Down and Busted”:</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgatfDqq-fnMsIaioGw9I3hfAhziKBiRsOlMiQkwbgqGPzWFpU_vN51KdT_vTxazONS634nMaUPJL2JcA4rGn0SKGj71HtPXZpROc8ZVcr5FFpfBXziY4MOn3JcgvRE6OoKdOHhn-QFmddp/s1600/ArtShay-MHG-ToddRundgren1971.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgatfDqq-fnMsIaioGw9I3hfAhziKBiRsOlMiQkwbgqGPzWFpU_vN51KdT_vTxazONS634nMaUPJL2JcA4rGn0SKGj71HtPXZpROc8ZVcr5FFpfBXziY4MOn3JcgvRE6OoKdOHhn-QFmddp/s1600/ArtShay-MHG-ToddRundgren1971.jpg" height="320" width="217" /></a></div>
<br />
<div class="MsoNormal">
<i>You know that I would
go anywhere<o:p></o:p></i></div>
<div class="MsoNormal">
<i>That I could go in my
old wheelchair<o:p></o:p></i></div>
<div class="MsoNormal">
<i>But I wouldn’t get far
‘till it fell apart<o:p></o:p></i></div>
<div class="MsoNormal">
<i>I’m a broke down man
with a busted heart. <o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To casual listeners, Todd is mostly known for his softer
numbers, and there are a few of those on here.
“Believe in Me” is probably the prettiest song on the album. I love how soft and tender his singing is on
this one. It really shows his
versatility, especially compared to the more rockin’ songs. </div>
<div class="MsoNormal" style="text-indent: .5in;">
My favorite song on the record is the
suite called “Baby Let’s Swing/The Last Thing You Said/Don’t Tie My
Hands.” The “Baby Let’s Swing” section
is especially fun because it appears to be a tribute to Laura Nyro. He emulates her style while also singing
directly to her. The “How I love to
shuffle” part is a dead ringer for many of the songs on her “Eli and the
Thirteenth Confession” record. This is a
huge thrill for me, being a huge fan of both Rundgren and Nyro. I have never had the guts to play this song
for my wife though. In addition to her…let’s
say ambivalence for Todd Rundgren, she also is put on edge by Laura Nyro’s
music (especially her voice). A
combination of both styles may just send her over the edge. Like I said, this is a headphones record in
my house. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK3Llqn8CiWCxxXrW8n5FqrH3FWV6uBSUohmoxK1cGB0ZRobwzkCbKtPYo0PonOUJLjqKxThkobxp9-5ANqT7r58yoROp5H2tFKqZgq36yj3hyxA5R39P9FWDMu9jAqN0NQX9fAyqliNNf/s1600/todd+rundgren.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK3Llqn8CiWCxxXrW8n5FqrH3FWV6uBSUohmoxK1cGB0ZRobwzkCbKtPYo0PonOUJLjqKxThkobxp9-5ANqT7r58yoROp5H2tFKqZgq36yj3hyxA5R39P9FWDMu9jAqN0NQX9fAyqliNNf/s1600/todd+rundgren.jpg" height="320" width="267" /></a></div>
<br />
<div class="MsoNormal">
Tones: What the heck
is that weird sound at the beginning of “I’m in the Clique”? It sounds like electronic wind. It also comes back in during the drum
solo. The horns on this song are also bouncy
in a sort of Frank Zappa kind of way.
The song (if you want to call it that) “There are No Words” creates a
strange effect with vocals and reverb alone.
If this song was a painting it would not be a John Singer Sargent
landscape. It would be more like a Mark
Rothko color swath. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Cover Note: Todd is
so young on the cover, and also skinny as a rail. The word “Runt” written on the manuscript
paper on the floor looks sharp too. I
also can’t resist calling his belt an “Alphabelt.” Make sure you check out the back for a very
flashy old school cartoon.</div>
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</div>
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<br /></div>
<div class="MsoNormal">
Price paid: $2.00 at
a record show. My copy is a little
banged up, but still sounds nice. You
should be able to find this because it did have a hit on it. I have seen “Runt” and the follow up, “The
Ballad of Todd Rundgren” a few times, so you should be able to pick it up for
under $6.00. </div>
<div class="MsoNormal">
<br /></div>
Bottom Line: Todd’s
records are amazing, but only if you are the type of person who thinks Todd’s
records are amazing. If you are into
song craft, music production, blazing guitar, or layered vocals you may love
this. If you are into music, and into it
deep, Todd Rundgren’s record catalogue is a diamond mine of delights. “Runt” is where Todd’s solo career started,
and would be a good place for you to start too.<br />
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-62996629734207434682014-03-08T05:14:00.000-08:002014-03-08T05:14:03.152-08:00Michael Nesmith & The First National Band "Magnetic South" 1970<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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I like the Monkees
as much as the next guy, but I am crazy about Mike Nesmith. Every album he released is good, and most of
them are great. When I talk to people
about country rock, Gram Parsons inevitably comes up. I in no way want to negate the contribution (which
is vast) that Gram made to country rock, but Mike Nesmith created an entirely
different strain, that is in many ways far more appealing. I know.
I know. I have already upset
you. Please just hear me out. </div>
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Mike’s solo career
technically started before he joined the Monkees, but it wasn’t until after the
Monkees broke up that he got his footing.
His first solo album was an instrumental album that is quite good, but
lacks his wonderful singing. “Magnetic
South” is his first proper record with the First National Band. Everything on this album feels fresh and
brings together the best aspects of 60’s pop and country music. A better name for the genre would be 60’s
country pop. There is a fresh bounciness
to the rhythms that melds cleanly with the wonderful gliding steel guitar
playing of Red Rhodes. </div>
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“Calico Girlfriend”
starts the album off with a bang. To me, this is the quintessential Nesmith song, and the one I would pick if I could
only play one of his tunes for somebody.
Mike’s deep, warm, double-tracked vocal sits atop a swift choppy snare
and a steel guitar which arpeggiates some wonderful chords. I have always been perplexed and intrigued by
the slight volume drop at the 1:20 mark.
It feels like someone is talking to you, and then suddenly puts a
blanket over their head before finishing their sentence. It is a strange and wonderful feeling that
sets the listener up perfectly for one of the most exciting moments on the
record; the double-tracked octave steel
guitar solo leaves me with a smile every time I hear it. It feels like a rush of birds being set free
at a wedding or other joyous occasion. </div>
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My wife was the
one to point out that Mike not only sings on “Nine Times Blue,” but whispers
the lines as well. I gave this record to
her, and it ended up staying in her car for weeks. We seriously had a period in our lives when
we pretty much only listened to Mike Nesmith for a while. The drive time of many a surf trip was spent listening to this and it’s follow up “Loose Salute.” It’s so wonderful when you find a record that
you and your loved ones can enjoy together.
Mike Nesmith certainly brought us a lot of joy. </div>
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“Little Red Rider” makes use of some
interesting rhythm patterns that really aren’t very country at all. There're actually pretty funky. The bass also plays a catchy melody that lies
back lazily. Check out how the steel guitar
plays a plucky palm muted figure in the background. Until you hear the strange altered chord it
plays on top of the groove, it sounds like something a regular guitar would
play. The last three chords of the song
are pretty thick too. They make me feel
a like I have cough syrup head. </div>
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“Joanne” was the
hit on the album, but has never been my favorite. It does feature the famous major to minor chord
change that Nesmith never stopped using. If you are not a music person,
listen to the chord change at 0:50. The
gentle softening of the sound is obtained by changing only one note in the chord. If you think of chords like colors, changing
from C to F to G would be like changing from Green to Blue to Red. Changing from F to F minor (like Mike does
right here) would be like changing from light Blue to dark Blue. He does this at least once on every record he
has made. </div>
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Other highlights
on the record include my wife’s favorite “Mama Nantucket.” This is the fastest and most rockin’ song on
here. They lyrics are cryptic and it’s fun to try and figure out what the heck
he is talking about. </div>
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<i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Oh, Bobby with a dollar, <o:p></o:p></span></i></div>
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<i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">He was sure he found the answer</span></i><i><br />
<span style="background: white;">But it
might take a little time</span><br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><span style="background: white;"><o:p></o:p></span></i></div>
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<i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Playing follow the leader</span></i><i><br />
<span style="background: white;">He was
sure would be a winner</span><br />
<span style="background: white;">But I
had other things on my mind</span><o:p></o:p></i></div>
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<span style="background: white; color: #333333; mso-bidi-font-family: Arial;">What? It’s just weird and awesome. I guess you could say the chorus is yodeled,
but it’s not overt or in your face. It
sounds quite nice to me. <o:p></o:p></span></div>
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<span style="background: white; color: #333333; mso-bidi-font-family: Arial;"> The closing track, “Beyond the
Blue Horizon,” is probably the most psychedelic of the lot, but more so in
planning than in tone. It starts off with acoustic
guitar, steel guitar, and farm sounds.
Mike teases the melody by singing very softly. As the song builds, the organ and bass drum
become more prominent. It feels like you
are drive up a mountain that the sun is about to pop over. The song peaks with some thrilling singing by
Mike. After that, he lets you enjoy your
sunny drive down the mountain as the song fades. Listen as each instrument fades out one by
one. <o:p></o:p></span></div>
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<span style="background: white; color: #333333; mso-bidi-font-family: Arial;">Tones: One of the most fun parts to this record is
Red Rhodes’s steel guitar. He seems to
be from the <a href="http://portraitinreverb.blogspot.com/2014/03/speedy-west-steel-guitar-1960.html" target="_blank">Speedy West</a> </span><span style="background-color: white; color: #333333;">school of playing</span><span style="background-color: white; color: #333333;"> (as in, let’s make the steel guitar fun
and exciting). His
tones are bright and shimmery, but it’s his ideas that are so fun. In the fantastically short “First National
Rag,” he creates a sound at the end that feels like a fountain bursting for the
first time. It’s explosively jubilant. Mike’s guitar also has a wonderfully dry
sound. He was a big fan of Jimmy Rogers,
so I am assuming that was what he was going for.</span></div>
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<span style="background: white; color: #333333; mso-bidi-font-family: Arial;">Cover
Note: I love embroidery in general, and this is no
exception. The cover pretty much sums up
every adjective about the music inside: American, detailed, creative, and warm. I also love the calming blue. <o:p></o:p></span></div>
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<span style="background: white; color: #333333; mso-bidi-font-family: Arial;">Price
paid: I seem to remember playing
$8.00-$10.00 for this one. Mine has a
couple of skips on it, but is pretty clean otherwise. I seldom see if for less than $15.00 (don’t pay
more than that), and it is never in a bargain bin. I got mine at a record show. <o:p></o:p></span></div>
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<span style="background: white; color: #333333; mso-bidi-font-family: Arial;">Bottom
line: Like I said, my wife and I love
Mike Nesmith. I do feel like I have
given this to a lot of people and told them how amazing the record is. Funny thing is, I have never gotten amazing
feedback from people on it. Maybe it’s
too country for my friends who like 60’s pop, and too pop for my friends who
are into more country stuff. I have
actually stopped suggesting it to people as a result. That is fine with me though. I am just going to hang out with my wife and
son, and keep this little lost classic in the family. <o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com5tag:blogger.com,1999:blog-7344146063607836084.post-64026353464882709242014-03-06T11:34:00.000-08:002014-11-29T11:36:58.283-08:00Speedy West "Steel Guitar" 1960<div class="separator" style="clear: both; text-align: center;">
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In both its pedal
and non-pedal forms, steel guitar is one of my favorite instruments. It’s a highly emotional instrument with very
few limits. While many instruments (such
as horns) are limited to single notes, steel guitars can play single note melodies,
double note harmonies, and full complex chords.
Notes can also be slid into, and volume and tone (thanks to electricity)
can be altered to great effect. Speedy
West makes use of every sound imaginable from this amazing instrument. He also creates sounds that are other worldly
and downright weird. If you are looking
for a record that contains only pleasant background steel guitar playing, then
“Steel Guitar” is not your record. If
you are looking for a record with playing that is fun, playful, strange,
bombastic, innovative, and smile inducing, then “Steel Guitar” is your record. </div>
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“Speedin’ West”
starts things off with a vivacious beat and some fancy twin lead playing. I would be interested in talking to Speedy to
see what kind of emotion he was trying to express in this song. There is a playful, cartoon jubilance that
bounces straight off this song into your ears.
The solos are about as zany as you can get. You might be fooled into thinking Speedy was
just messing around if the things he came up with weren’t so difficult to play
and express. If you tried to convey what
Speedy plays with only words and facial expressions, it would be extremely
difficult. Either that or people would
think you are a delightful maniac. </div>
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There is a
lumbering exotic vibe to “West of Samoa.”
A slippery low guitar, which descends like a boa constrictor down a
tree, sets the tone. In the background,
birdcalls (an Exotica staple) are created by an electric guitar. It’s only an approximation of a birdcall,
which makes it sound that much stranger.
The main melody is a wonderful Hawaiian tune that drips with humidity. It’s lazy, breezy, and calm. Back and forth, the two parts of the song
alternate between the dark and the daylight.
It’s the perfect mix of eeriness and beauty. </div>
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It is important to
recognize the work of Jimmy Bryant, who plays guitar on this album as well. Not doing so would be like not mentioning Art
Garfunkel when you talk about Paul Simon, or Billy Strayhorn when you talk
about Duke Ellington. Speedy and Jimmy were musical partners and
pushed each other on their respective instruments. Jimmy incorporated a lot of Be-Bop into his
country licks. He was also the first
guitarist to kill it on the Telecaster. This guy absolutely rips, and his Telecaster
really gave him as distinctive tone compared to other jazz and country players
of the day. Take a song like “Caffeine
Patrol.” Jimmy trades solos with Speedy,
and starts with some lyrical and catchy playing that experiments with wide
intervals between notes. In his second
break, he pulls out some straight up Charlie Parker Bop, that sounds like a line
of freshly blown bubbles popping in succession.
</div>
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Other highlights
on this album include “This Ain’t the Blues,” which has Speedy creating some
vocal like effects on the steel. As I
listen to this song, the sounds (which I love) remind me of my high school
Spanish class (which I loathed.) I
remember my teacher showing us how to “roll our R’s” with our tongues. Speedy actually creates a similar sound as he
plays the melody. “Stealin’ the
Moonlight” is a slow moving beauty with some juicy triplets that keeps things
interesting. This is exactly the song
you (as in me) would want to hear at 1:30 in the morning at a smoky bar. Also, pay attention to Jimmy Bryant’s dazzling
guitar lick at the very end of the song.</div>
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Tones: Picture the craziest
Psychedelic 60’s album cover you can imagine.
That is what Speedy’s playing sounds like to me. He is able to create some of the most out
there tones on the steel guitar that I have ever encountered. Sometimes it sounds like a synthesizer, and sometimes
it sounds like a squirt of water in the face. He also gets some great wah wah
sounds by playing with his tone control.
It’s not all weird though; he can also rein it in and play sweetly and
elegantly. </div>
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<div class="MsoNormal" style="margin-bottom: 0pt;">
Cover note: Lots of steel
guitars! Did I mention I like the look
of steel guitars as well? They are so
simple, sleek and clean. I count at
least 18 (some are just pieces though) on the cover. I like the purple one to the left of Speedy’s
head best. </div>
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<div class="MsoNormal" style="margin-bottom: 0pt;">
Price Paid: $1 or $2 at a record
show at the fairgrounds. It did not have
an inner sleeve, but it looked like it was in good condition (which it was.) I had never heard of Speedy, I just knew I
liked steel guitars, and his name sounded awesome (which it is.) It is one of my great pleasures in life to be
able to try new music on vinyl for small amounts of money. Some are duds, but then you find fun stuff
like this. What a joy!</div>
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Bottom line. Good for people who
like Country, Jazz, Texas Swing, Hawaiian, Exotica, and novelty music. It’s the kind of record that you can play for
your family because it’s fun on a superficial level. They can be diggin’ how fun it sounds, but
you can be grooving on all the cool technical stuff Speedy and Jimmy play. Not only that, you can point out all of the
amazing musicianship to your buddies who are music lovers like you. $3, $4, or $5 would be a nice asking price.
One more thing, this is not a stereo recording.
It plays in glorious mono!</div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com4tag:blogger.com,1999:blog-7344146063607836084.post-32925967067668682732014-02-22T06:53:00.003-08:002014-02-22T06:53:40.492-08:00Nico "Chelsea Girls" 1967<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqKqCuyZyJyZBBQvd5ilQpPz4goCooUrHz2KLgc09jf8kg5rQM5osprpJwCM74MAbxK8mv3s3FEWuaSmz_kf6jbchd6S3eDdxCQKtrITZLAR57enUG_WhyphenhypheniFCcsLd2FE9fHP1rfE9sGWrp/s1600/nico-icon-chelsea-girl-album.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqKqCuyZyJyZBBQvd5ilQpPz4goCooUrHz2KLgc09jf8kg5rQM5osprpJwCM74MAbxK8mv3s3FEWuaSmz_kf6jbchd6S3eDdxCQKtrITZLAR57enUG_WhyphenhypheniFCcsLd2FE9fHP1rfE9sGWrp/s1600/nico-icon-chelsea-girl-album.jpg" height="400" width="400" /></a></div>
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. <br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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. <o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mbOhDfihOQbz_zkoWUUErsgBGOsQT0OPaabGqosr7Qumc7ezisfWbEEXbYLkqZU8gct0ApPlPXJurTlm-lV_HO9EljMp5sMf85gVEFh2tZceyUMG9PxAddlaWKWlo_cNOnH8NyF_nMfu/s1600/Nico.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mbOhDfihOQbz_zkoWUUErsgBGOsQT0OPaabGqosr7Qumc7ezisfWbEEXbYLkqZU8gct0ApPlPXJurTlm-lV_HO9EljMp5sMf85gVEFh2tZceyUMG9PxAddlaWKWlo_cNOnH8NyF_nMfu/s1600/Nico.jpg" height="287" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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. </div>
“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. <br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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.<br />
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. </div>
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<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQgRL4M3EHiuiYKSbWH-5nOqJVjxBtOSGvY1GZTDoZh5oZPDKKWkXRksHKL1FfGh_N7E8gQ0lXluDpqxkDelfNnT2vP_G6vSpJ9e2BNbvlJLOpiBH0fxCCcmlrxW6fBngkk9PH_1yr6X-/s1600/ntab.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQgRL4M3EHiuiYKSbWH-5nOqJVjxBtOSGvY1GZTDoZh5oZPDKKWkXRksHKL1FfGh_N7E8gQ0lXluDpqxkDelfNnT2vP_G6vSpJ9e2BNbvlJLOpiBH0fxCCcmlrxW6fBngkk9PH_1yr6X-/s1600/ntab.jpg" height="210" width="320" /></a><i>Here's room five four six<br />
It's enough to make you sick<br />
Bridget's all wrapped up in foil<br />
You wonder if she can uncoil<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
And <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<i><br /></i>
<i>Here comes Johnny Bore<br />
He collapsed on the floor<br />
They shut him up with milk<br />
And when he died, sold him for silk<o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
What’s going on in these rooms? I
think you and I both know. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">I can’t help it</span></i><i><br style="outline: none;" />
<span style="background: white;">If you might think
I’m odd</span><br style="outline: none;" />
<span style="background: white;">If I say I’m not
loving you for what you are</span><br style="outline: none;" />
<span style="background: white;">But for what you’re
not<o:p></o:p></span></i></div>
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<br /></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> 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. <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK23pr6g52HBEPjoyXsMFkN0u2Pm68ydg8pReSbbtoZ6ivmlku4boKuj1kn-N-3FCTHSLek_VIi-DkhyphenhyphendZgKswKtXmCcWmfiFOKszZVDZt0hb4FywY95ndDr5YLpPZlgakGvyrC1j0N2o0/s1600/430385496_803bf1d756.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK23pr6g52HBEPjoyXsMFkN0u2Pm68ydg8pReSbbtoZ6ivmlku4boKuj1kn-N-3FCTHSLek_VIi-DkhyphenhyphendZgKswKtXmCcWmfiFOKszZVDZt0hb4FywY95ndDr5YLpPZlgakGvyrC1j0N2o0/s1600/430385496_803bf1d756.jpg" height="216" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="border: 1pt none windowtext; padding: 0in;">
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. </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="border: 1pt none windowtext; padding: 0in;"> 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. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="border: 1pt none windowtext; padding: 0in;">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. <o:p></o:p></span></div>
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<span style="border: 1pt none windowtext; padding: 0in;"> </span><o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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.<br />
<br /></div>
<span style="outline: none;">
</span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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. <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-73068901617209466922014-02-15T04:55:00.000-08:002014-08-28T15:29:27.934-07:00Frank Zappa "Roxy and Elseswhere" 1974<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbAkIlW2pw4cTG0WhUH4TgtX-l3ZMoE59R0-m1NgdP1XujPcBGL_5i-6VWsBdNTIltl-kyiCPFL3S3L8dlXJdPQuEsaW4rYtfuMdPTrY2rydlAomEbPApMTqQ8LrTSDSTgDzN2KBxPJewx/s1600/MI0001706552.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbAkIlW2pw4cTG0WhUH4TgtX-l3ZMoE59R0-m1NgdP1XujPcBGL_5i-6VWsBdNTIltl-kyiCPFL3S3L8dlXJdPQuEsaW4rYtfuMdPTrY2rydlAomEbPApMTqQ8LrTSDSTgDzN2KBxPJewx/s1600/MI0001706552.jpg" height="393" width="400" /></a></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> 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. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">
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!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">
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. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">
“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. </span><span style="color: #222222;"> </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU9Ot2kjBH5_ypLnUeMgZKG3xHeM46kmmduW2iDSevYd2v_LOoniyfkBuM-0bRLg_UG7NCHR-V_YJvEvtC7eF0zOCfBMh054cuzVrlz8GdjhAGANSlAqdN2PCBvdT61RkvST-ZdBbxZZRL/s1600/418233_Frank-Zappa--1974.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU9Ot2kjBH5_ypLnUeMgZKG3xHeM46kmmduW2iDSevYd2v_LOoniyfkBuM-0bRLg_UG7NCHR-V_YJvEvtC7eF0zOCfBMh054cuzVrlz8GdjhAGANSlAqdN2PCBvdT61RkvST-ZdBbxZZRL/s1600/418233_Frank-Zappa--1974.jpg" height="320" width="238" /></a></div>
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. <span style="background-color: white;"><span style="background-position: initial initial; background-repeat: initial initial;">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.
</span> </span><o:p></o:p><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">
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. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2-KE1igImz5Ui_962SbbaFygr8khVX5JgJWc8SKI1av668tcnYmr3HrCFmmEm9MUAJCqGBKzmHXQQc-jiWp_2gHWJvoMprSgvoeyWqfvW5iPaOaZOwMaAeS9OQcoJIeQqfJB9S352eWEm/s1600/zappa-hamburg-1973.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2-KE1igImz5Ui_962SbbaFygr8khVX5JgJWc8SKI1av668tcnYmr3HrCFmmEm9MUAJCqGBKzmHXQQc-jiWp_2gHWJvoMprSgvoeyWqfvW5iPaOaZOwMaAeS9OQcoJIeQqfJB9S352eWEm/s1600/zappa-hamburg-1973.jpg" height="214" width="320" /></a><span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">
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. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">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. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">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. </span><br />
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">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. <o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">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. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPlWX5SH9rDTslVTjvkHHM3RV_mUvO7MBfy6obcDI2Afsmj-e7U6-bY56Htl7g306YFVcz2ftgQhYWz1jU85y06Nodjkxg5JhvpZ4Uo3HzcPghDHMtOTcBbS-6W4z-N04VlWHMWvvrLtgO/s1600/Frank-Zappa-1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPlWX5SH9rDTslVTjvkHHM3RV_mUvO7MBfy6obcDI2Afsmj-e7U6-bY56Htl7g306YFVcz2ftgQhYWz1jU85y06Nodjkxg5JhvpZ4Uo3HzcPghDHMtOTcBbS-6W4z-N04VlWHMWvvrLtgO/s1600/Frank-Zappa-1973.jpg" height="276" width="400" /></a></div>
<o:p></o:p>Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-18039712442549384632014-02-12T03:17:00.000-08:002014-02-12T03:17:20.632-08:00Duke Ellington "Far East Suit" 1967<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdJUqxHWPuAxxS74Bv6hKUzCkdOwiG0VHNgMFpJoHW3LJsabyKh-mtOmwW2RxBHg6RUEFIsMNOEr1kSz7MQeOnQklglxJC7vwnfh-71bvNcBnHAjI_fkeHOgFFgffL4gFAsQbQzkFH41U/s1600/Duke+far.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdJUqxHWPuAxxS74Bv6hKUzCkdOwiG0VHNgMFpJoHW3LJsabyKh-mtOmwW2RxBHg6RUEFIsMNOEr1kSz7MQeOnQklglxJC7vwnfh-71bvNcBnHAjI_fkeHOgFFgffL4gFAsQbQzkFH41U/s1600/Duke+far.jpg" height="395" width="400" /></a></div>
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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. </div>
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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. </div>
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“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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA1kpMrIze0JRgO_3WWmhNodZZs5Q_jZCEcuv2oxCgXfa6qC6Vt1OKZ2BRNfhIYQdYDMoE_WBpSCDTPaThz-NJNEKP0s7nb8phG1k8lDPxbLYN3qmyc17Csm3skuvReGU4qWQFawWyQmF1/s1600/duke_ellington_indian+muscians.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA1kpMrIze0JRgO_3WWmhNodZZs5Q_jZCEcuv2oxCgXfa6qC6Vt1OKZ2BRNfhIYQdYDMoE_WBpSCDTPaThz-NJNEKP0s7nb8phG1k8lDPxbLYN3qmyc17Csm3skuvReGU4qWQFawWyQmF1/s1600/duke_ellington_indian+muscians.jpg" height="215" width="320" /></a></div>
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“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?</div>
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“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. </div>
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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.
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqqKUsRNiK7z6PjFhCOTXi4U4tPO1xt9qQPuEaiHmLI98B6nIaeQXfx7Z3Mf9_7tUxzHCBDnOxT-v5tiXtK76hFypClJ-OzCh-rAVrsfZfV5ltVZ40POdYNei1XsoBRaifJ6TsW6A-r5-5/s1600/duke-ellington-6_wide-8b517ab3aef2ef554b38e56b0174215d309c0abe-s6-c30.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqqKUsRNiK7z6PjFhCOTXi4U4tPO1xt9qQPuEaiHmLI98B6nIaeQXfx7Z3Mf9_7tUxzHCBDnOxT-v5tiXtK76hFypClJ-OzCh-rAVrsfZfV5ltVZ40POdYNei1XsoBRaifJ6TsW6A-r5-5/s1600/duke-ellington-6_wide-8b517ab3aef2ef554b38e56b0174215d309c0abe-s6-c30.jpg" height="179" width="320" /></a>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. <br />
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Price paid: $5.00 at
Gary’s backyard record sale. </div>
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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. </div>
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</div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-42409321391805262792014-02-08T07:36:00.000-08:002014-02-08T07:36:28.719-08:00The Association "Birthday" 1968<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ1hWbkL-1GuMZQH6VI0mOeec7PxyxYLfzKln5leZApqvOzcH17b5D5XR1iXvVqI2eBI7tnyyXE2bQHtpJFhKhyphenhyphenxLJrPKWgcGWJkuEHF4vzQQ0nVE8-PyX804MmessWpve1NP63VL35MGD/s1600/5013929061521.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ1hWbkL-1GuMZQH6VI0mOeec7PxyxYLfzKln5leZApqvOzcH17b5D5XR1iXvVqI2eBI7tnyyXE2bQHtpJFhKhyphenhyphenxLJrPKWgcGWJkuEHF4vzQQ0nVE8-PyX804MmessWpve1NP63VL35MGD/s1600/5013929061521.jpg" height="400" width="397" /></a></div>
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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. </div>
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“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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_gXHxVk-MdzUlafDrvrfh4NUmk5F7vJrGb64Lg2fMec-QPVrg02ifwvEMme7GGtYgq75RHF9CApAqicn7x3ADX1Xpu2tJLXQ_w0-qOI70DLk9_9-6Cji8OYAV5q2yM-STyYxNZua5HTje/s1600/The-Association.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_gXHxVk-MdzUlafDrvrfh4NUmk5F7vJrGb64Lg2fMec-QPVrg02ifwvEMme7GGtYgq75RHF9CApAqicn7x3ADX1Xpu2tJLXQ_w0-qOI70DLk9_9-6Cji8OYAV5q2yM-STyYxNZua5HTje/s1600/The-Association.jpg" height="266" width="400" /></a></div>
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“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’. </div>
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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.”</div>
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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<sup>th
</sup>chord (maybe with a 3<sup>rd</sup> in the bass) that ends the song. I like to think of it as a super tiny
encore. </div>
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<br /></div>
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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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbYX2ypAZuaxMVcB9ZWCaP7XQrRafbi3kuS58-Pki_eXICfP_OXtvF5WmlJp2GsZe4ek6HjtisOy1OLI4uxeeVR5kiT5WIl04CD2sompr3d0PH3Hw30ZxlX9_ovshiFbcS1mtWJ2rTjp5/s1600/cowsills+we+can+fly.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbYX2ypAZuaxMVcB9ZWCaP7XQrRafbi3kuS58-Pki_eXICfP_OXtvF5WmlJp2GsZe4ek6HjtisOy1OLI4uxeeVR5kiT5WIl04CD2sompr3d0PH3Hw30ZxlX9_ovshiFbcS1mtWJ2rTjp5/s1600/cowsills+we+can+fly.jpg" height="320" width="320" /></a>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”).</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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. </div>
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<br /></div>
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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. </div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-71306851993192490462014-02-05T03:08:00.000-08:002014-02-05T03:08:20.733-08:00Billy Mure "Hawaiian Percussion" 1961<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeXwO0bmkTX-AiCMYYsWutcrXMsOX4JGH0B1Y_vhQf-dsBMK5i202rRVrsaLYLs8AZvOe8u5W-9GMo1n-6O39sEjabtBME7a_ZsSO5cC4barIWkMBlckfIW4SSsg-WHW8y5I93W9WChzBZ/s1600/_l06_1368104757full.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeXwO0bmkTX-AiCMYYsWutcrXMsOX4JGH0B1Y_vhQf-dsBMK5i202rRVrsaLYLs8AZvOe8u5W-9GMo1n-6O39sEjabtBME7a_ZsSO5cC4barIWkMBlckfIW4SSsg-WHW8y5I93W9WChzBZ/s400/_l06_1368104757full.jpg" height="400" width="400" /></a></div>
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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. </div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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. </div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi89BUbBxZJ3TQBnMWzRrydBspiWw9VuJWzbg98nURgt5D4M4fjbu0YsVNRM65Ht3rvY28Vv40opTBsFotng5dcRosIvTd9jKwUOLAbkLaPYXyQXwLAXc057IjVH_uPtYjDo5kdjjnhciVJ/s1600/Billy+Mure.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi89BUbBxZJ3TQBnMWzRrydBspiWw9VuJWzbg98nURgt5D4M4fjbu0YsVNRM65Ht3rvY28Vv40opTBsFotng5dcRosIvTd9jKwUOLAbkLaPYXyQXwLAXc057IjVH_uPtYjDo5kdjjnhciVJ/s320/Billy+Mure.png" height="252" width="320" /></a></div>
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. </div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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. </div>
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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<i> very </i>cool and tell you to go back to the store to buy awesome records. My wife was<i> very</i> cool that day. </div>
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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. <a href="http://www.veronews.com/news/vero_beach/spotlight/happy-music-billy-mure-and-debbie-murphy/article_0522008c-2de6-11e1-9db1-001a4bcf6878.html" target="_blank">My understanding is that he was still playing regularly. Check out this link.</a> 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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJcKqK4-_M4w7CvMyxg9RJ8MsUXtEC7IJ1OWnyMLqyh9Wq2i6jptq7yjKqV4YpR6GouzN8Z6KD7ggmFBRgMbUdKOcsfpc2rnT1fK0v9-KHvSzY3bxidTn_F-fV-DmBra9UJzDGYmJIxzcm/s1600/Billy+Mure_Hawaiian+Percussion_LP_guitar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJcKqK4-_M4w7CvMyxg9RJ8MsUXtEC7IJ1OWnyMLqyh9Wq2i6jptq7yjKqV4YpR6GouzN8Z6KD7ggmFBRgMbUdKOcsfpc2rnT1fK0v9-KHvSzY3bxidTn_F-fV-DmBra9UJzDGYmJIxzcm/s1600/Billy+Mure_Hawaiian+Percussion_LP_guitar.jpg" /></a></div>
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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. </div>
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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.</div>
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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. </div>
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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. </div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com1tag:blogger.com,1999:blog-7344146063607836084.post-68843015252036652892014-02-01T04:24:00.001-08:002014-02-01T04:24:27.975-08:00Herb Alpert & the Tijuana Brass "The Brass are Comin'" 1969<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0c-5No8fIUS8nWNshW9pVV6iet3L82ZxniMO2jATcZTGauQ0Xo_KqKfEBfEvats9oUpwJwhZOpRiFeh0T3eRQyCf1QiFnHTuaON65TKWAyNlP6vrhhWlR4wzJXi7veeeK7aqTuh7mfgB7/s1600/alpert+Brass+are+comin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0c-5No8fIUS8nWNshW9pVV6iet3L82ZxniMO2jATcZTGauQ0Xo_KqKfEBfEvats9oUpwJwhZOpRiFeh0T3eRQyCf1QiFnHTuaON65TKWAyNlP6vrhhWlR4wzJXi7veeeK7aqTuh7mfgB7/s1600/alpert+Brass+are+comin.jpg" height="400" width="400" /></a></div>
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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.</div>
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“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.
</div>
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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. </div>
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“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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV9JeA6ydjrKm7WGU2GCRiZswdruAHyBSfXUeAllmxEit6Kzqej6peYUAItX08UXd8ZKFAMxP0-khbqBtz00Ee7AWpVztAO7jgaY5TPGNPriHBj5atzuO7sCXeJp-wNcuS4lWW6Q6ljKLN/s1600/clarence.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV9JeA6ydjrKm7WGU2GCRiZswdruAHyBSfXUeAllmxEit6Kzqej6peYUAItX08UXd8ZKFAMxP0-khbqBtz00Ee7AWpVztAO7jgaY5TPGNPriHBj5atzuO7sCXeJp-wNcuS4lWW6Q6ljKLN/s1600/clarence.jpg" height="320" width="259" /></a> 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 <i>huge</i> 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. </div>
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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.”</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXSFpR1Wcub0UGvVx_mRQCCTTmgqTpTi4p7JuI_4592MaPyuWP28grG4LpJ-Nggnvwr9g6eZlou1H-Src2qYFT9Pbyi5JXjUh4htfFw6uctK9KB9k-xK97kvyL_mNUbfq5JyenR2j_btGz/s1600/2bb2c016d005b0aa2805e96bb68c1dea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXSFpR1Wcub0UGvVx_mRQCCTTmgqTpTi4p7JuI_4592MaPyuWP28grG4LpJ-Nggnvwr9g6eZlou1H-Src2qYFT9Pbyi5JXjUh4htfFw6uctK9KB9k-xK97kvyL_mNUbfq5JyenR2j_btGz/s1600/2bb2c016d005b0aa2805e96bb68c1dea.jpg" height="256" width="400" /></a></div>
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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. </div>
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<br />
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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK74FVTFfBfAXAWr9J3ShMAwmKhdEp2npHAMKeK5G8u3lafWIuvkLjimNMHBe2yxiahTGTipAGUOZCmIJ1LTXMpbh2s8et-RSF1aUISAGM8uDp-IEMenUnaBboaCalbHi9AvDQXujO4JBH/s1600/herb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK74FVTFfBfAXAWr9J3ShMAwmKhdEp2npHAMKeK5G8u3lafWIuvkLjimNMHBe2yxiahTGTipAGUOZCmIJ1LTXMpbh2s8et-RSF1aUISAGM8uDp-IEMenUnaBboaCalbHi9AvDQXujO4JBH/s1600/herb.jpg" height="320" width="219" /></a>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. </div>
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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. </div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com0tag:blogger.com,1999:blog-7344146063607836084.post-79943875021872189642014-01-29T03:10:00.000-08:002014-01-29T03:10:59.840-08:00The Cyrkle "Neon" 1967<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKuAE_rP8osGeu4HaiFhR0Zb_AfLF_RhXzRTscRy05tbB2BLJCZAy5AkMIXz88Hff18OT-rQym5uUDeCpxQAclvnwSEQcqJRUZ7GtCkHgtMffW7SDLUH3XmJHMRIMHpdVWqbigqvuaIVR/s1600/The+Cyrkle+-+Neon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKuAE_rP8osGeu4HaiFhR0Zb_AfLF_RhXzRTscRy05tbB2BLJCZAy5AkMIXz88Hff18OT-rQym5uUDeCpxQAclvnwSEQcqJRUZ7GtCkHgtMffW7SDLUH3XmJHMRIMHpdVWqbigqvuaIVR/s1600/The+Cyrkle+-+Neon.jpg" height="395" width="400" /></a></div>
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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. </div>
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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. </div>
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“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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTJ_ZmBWhhzsa7fn-C2vtJfTvczrcyxBgAyYVvHDounNgc71T_p2ie8T4U-PaJEVh_K3t_tUBMtiM8ikA6s1kEGuKX_ZTOtQXTuUb6VBgYW_Xj6Firi6hv9zJWNQ4wMZUxvrzaDN5NHmg/s1600/The_Cyrkle_1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTJ_ZmBWhhzsa7fn-C2vtJfTvczrcyxBgAyYVvHDounNgc71T_p2ie8T4U-PaJEVh_K3t_tUBMtiM8ikA6s1kEGuKX_ZTOtQXTuUb6VBgYW_Xj6Firi6hv9zJWNQ4wMZUxvrzaDN5NHmg/s1600/The_Cyrkle_1.JPG" height="315" width="320" /></a></div>
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“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:</div>
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Sundays in this town, there’s not a lot for me to do.</div>
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I’ve been listening to some records, but my thoughts have turned to
you. </div>
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I try to read the paper, but the words aren’t very clear,</div>
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And I know there’s something missing.</div>
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I wish you could be here. </div>
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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. </div>
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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.
</div>
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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. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GGEDLapodTmFMLlfmYywifH71fo5voR3wBdz3ijl5MmC7jRQsoR1I-m5jfzqtpMXnaqE1AFcBPEhT_HXN4BQzSF81UCpW084dGHYxH9wefXDCzCTA84Xpo7M6LQ1280e5swulGzysNIn/s1600/Cyrkle+-+Neon+back.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GGEDLapodTmFMLlfmYywifH71fo5voR3wBdz3ijl5MmC7jRQsoR1I-m5jfzqtpMXnaqE1AFcBPEhT_HXN4BQzSF81UCpW084dGHYxH9wefXDCzCTA84Xpo7M6LQ1280e5swulGzysNIn/s1600/Cyrkle+-+Neon+back.jpg" height="149" width="400" /></a></div>
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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”</div>
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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. </div>
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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. <a href="http://www.sundazed.com/" target="_blank">Sundazed Records</a> has also reissued both this
and the first Cyrkle album. I highly recommend
anything Sundazed presses. Their attention
to detail is unsurpassed. </div>
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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. </div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com4tag:blogger.com,1999:blog-7344146063607836084.post-51468678472012888172014-01-25T05:17:00.000-08:002014-01-25T05:17:57.169-08:00The Beach Boys "Today!" (1965)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaEhZsmEyiy9BpJr-pIw1fGJDmzXBCiqUSvjg7oi_zaMVkHpYEl3l8S41LxDCwnwNRd1zJRv0EyOoda_6sYzBYZQ2ZRwpxUU4r-VykMxxEITQBFZ5OEcGw4fMPqoqQ0khgiofQ0lcpyrr/s1600/Today%2521.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyaEhZsmEyiy9BpJr-pIw1fGJDmzXBCiqUSvjg7oi_zaMVkHpYEl3l8S41LxDCwnwNRd1zJRv0EyOoda_6sYzBYZQ2ZRwpxUU4r-VykMxxEITQBFZ5OEcGw4fMPqoqQ0khgiofQ0lcpyrr/s400/Today%2521.png" height="400" width="400" /></a></div>
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I recently did a
write up of the album “Friends,” and called it the best album, start to finish, that the Beach Boys released
<i>post</i> “Pet Sounds.” I thought I
would follow up with my second Beach Boy post and write about the best album,
start to finish, <i>pre</i> “Pet Sounds.” “Today!”
is a beautiful album with a rock and roll themed Side One and a mellow/introspective
Side Two. <o:p></o:p></div>
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I got this album on CD back in
the winter of 2001. I have very strong
memories of driving around in my silver Volvo station wagon listening to it
just as it was getting cool out. A strange
thing I discovered about this time was that my dad actually really liked The
Beach Boys. He’d gotten me into Led
Zeppelin, Frank Zappa, and even tried to get me to listen to “Sweetheart of the
Rodeo." Unlike most
teenagers in 1997, I had actually heard of the band “The Flying Burrito Bros.” However, it would take me another decade to realize how good they were. So why not The
Beach Boys? <o:p></o:p></div>
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I hate to say it. I really do, but The Beach Boys are not
cool for some reason. I am sure my dad was not feeling
self conscious or anything, but it just never came up. It is only in certain music circles that the
Beach Boys are considered amazing anyway. When I tell people that my
favorite band is The Beach Boys, I always get a peculiar look. I always interpret it as people saying, “I
guess that’s super cool.” If I said my
favorite band was the Beatles, no one would bat an eye. Of course <i>they</i>
are amazing. It’s almost like people
know The Beach Boys are great, but can’t understand how they could be your
favorite band. Why would someone brag
about that? </div>
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Like I said, my
dad and I never talked about them back then. The
funny thing is though, is that we talk about them all the time now. It’s safe to say that we have spent
a large chunk of our relationship talking about Brian and The Beach Boys. It’s not like we’re done talking about them
either. It is not a rare occurrence for
me to go to my folk’s house and see sheet music to “Girls on the Beach” printed
out. We’ve talked about the double modulation at
the end of that song, at least once a year for the past 10 years. The Beach Boys are pretty much a building
block of our relationship, and “Today!” is one of the early albums we talked
about. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWEOBRiZ9Uik_W2C2yMekl6n3mqfihJrq6oprTtH1bcgAdsUQumUbyWa-qs9n4EifTlC1DnQr9SijYGfajA7LgN4GYa2wpLVDwCZOU1sgMUc_x4jcOKYrICSu1DWytxbR9i2VcicrO4UMS/s1600/bb-band.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWEOBRiZ9Uik_W2C2yMekl6n3mqfihJrq6oprTtH1bcgAdsUQumUbyWa-qs9n4EifTlC1DnQr9SijYGfajA7LgN4GYa2wpLVDwCZOU1sgMUc_x4jcOKYrICSu1DWytxbR9i2VcicrO4UMS/s320/bb-band.jpg" height="213" width="320" /></a></div>
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If you gave “Today!”
to someone who only had a passing fancy with The Beach Boys, it would be hard
for them to be disappointed. Every song
has a great hook and the production is second to none. Take a song like “When I Grow Up To Be a Man.” The chords are very strange, but not in a way
that is distracting. Brian was so good
at making complex stuff sound simple enough. Not simple, just simple enough. The harpsichord (which has a very nice prickly
quality to it) was an innovative choice of instrumentation. This is 1965 pre-psychedelic music, and I’m
sittin’ here trying to think of another song that featured it before this
album. Let me know if you can name
one. </div>
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“Dance, Dance,
Dance” is a roller coaster of a song: lots of excitement and surprises. It starts with a rippin’ bass line. Brian has the 12 string guitar double the
line, but only after the first half. This
detail really makes the beginning of the song shine. Then he does the same trick, only with
vocals. Mike sings lead, and it isn’t until
the second half of the line that the background vocals kick in. Brian’s falsetto sits right on top of the
song and flies over the chorus. There is
a funky 12 string solo that is glassy and buzzy at the same time. The most exciting part is the modulation
after the solo. Brian uses the same
trick in a third and different way. The
first half of the verse is in the original key, but modulates IN THE MIDDLE OF
THE VERSE! Brilliant and exciting. I love it every time I hear it. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLllQxc7bJlMYRUjlgz6JVwa8ZpOE5UeYKQu6z7rJN_ehX5kRBV-BdtY23cP4Uz0jtIDy2G78NF_9HUeraQEqGubkZ3yKpp9Cs8BT3N5hKuEaZEtXJdxH8M2BUra9zsyyrCpRhsjCPpIHq/s1600/good-to-me.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLllQxc7bJlMYRUjlgz6JVwa8ZpOE5UeYKQu6z7rJN_ehX5kRBV-BdtY23cP4Uz0jtIDy2G78NF_9HUeraQEqGubkZ3yKpp9Cs8BT3N5hKuEaZEtXJdxH8M2BUra9zsyyrCpRhsjCPpIHq/s320/good-to-me.jpg" height="320" width="268" /></a></div>
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The second side of
the album has been described as a precursor to “Pet Sounds,” and I think that
is accurate. It’s quite tender and introspective. “And please forgive my shaking, can’t you
tell my heart is breaking.” What a line
from “Please Let Me Wonder.” It’s
emotionally raw and Brian really puts his very sensitive heart out there. For those of you who ever had an “on again,
off again” relationship in high school or college, “Kiss Me, Baby” is the song
for you. I remember breaking up with my
high school girl and feeling like the world was truly over. It was crushing. I remember lying in bed at night and
wondering “were you still awake like me?”
I wish I’d had this song back them.
Dennis closes out the record with “In the Back of My Mind.” The manly heartthrob of the band sings, “So
happy at times that I break out in tears.
Back of my mind, I still have my fears.” It takes guts to write and sing
those lines, and both were done beautifully.
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The last track on the records isn’t even that. It’s just the boys talking and fooling
around. I’m not sure why it’s even on
here. As far as I am concerned, the
album ends after “In the Back of My Mind.”</div>
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Tones: There is a nice bit of
guitar and organ interplay in the bridge of “Please Let Me Wonder.” The tape echo on the guitar draws out the
guitar note in a way that feels like the note is falling away from you. As I mentioned earlier, there is a lot of 12
string guitar, both acoustic and electric.
When I think 12 string, I think Roger McGuinn and the Byrds. The interesting thing is that it is used in
an entirely different way. It sounds
nothing like them. </div>
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Cover Note: Nice sweaters guys. </div>
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<br /></div>
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Price Paid: $5.00 for a nice
original copy. It was open, but still
had shrink wrap on it. </div>
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Botton Line: At this point in
their career, The Beach Boys were still selling lots of records. This is great because there are still a lot
of nice clean records out there to find, and you can get ‘em cheap. I wouldn’t pay over $6.00 for this
though. Just keep an eye out and you’ll
probably find something cheaper than that.
Play it for your high school sweetheart.
I can’t imagine her not being impressed by side two. It’s is a no brainer. This is beautiful
heartfelt music.<br />
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One more thing. Talk to your dad, or son for that matter, about The Beach Boys. There is a lot of stuff to talk about. </div>
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Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com2tag:blogger.com,1999:blog-7344146063607836084.post-67204750693261021312014-01-18T04:44:00.000-08:002014-01-18T04:44:38.512-08:00Nino Nardini an Roger Roger "Jungle Obsession" (1971)<div class="separator" style="clear: both; text-align: left;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-E_sxe5INqspIm5s_ttocBs-3-WoFURot41_FcMIm3Hk0UN_fplUJMmVXz5n3TGgOOgq3rsJ9oh4wbTLzjlVDKR1EO8L59UAhu-o-8lQMlYNv4qfW4W29ENUvz8llQFZdKOpuLN6MWIb/s1600/nino+roger+jungle+obsession.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-E_sxe5INqspIm5s_ttocBs-3-WoFURot41_FcMIm3Hk0UN_fplUJMmVXz5n3TGgOOgq3rsJ9oh4wbTLzjlVDKR1EO8L59UAhu-o-8lQMlYNv4qfW4W29ENUvz8llQFZdKOpuLN6MWIb/s400/nino+roger+jungle+obsession.jpg" height="400" width="400" /></a></div>
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<br />
<br />
Special thanks to <a href="http://flashstrap.blogspot.com/">Flashstrap Blog</a> for making this album available.<br />
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I have been getting into Exotica over the past few years, and as a result, have become more excited about music than I have since my good friend Vic turned me onto The Beach Boys back in 2001. Every Exotica record I own is either from the 50’s or 60’s though. So, imagine my surprise when I found out that the genre was still being practiced in the 70’s, and that stellar artists were actually pushing the boundaries of Exotica forward. “Jungle Obsession” by Nino Nardini and Roger Roger (great name by the way) is one of those records. Picture everything you love about Exotica (animal sounds, floating strings, mounds of percussion, and marimbas) and mix it with funky drums, moogs, and guitars rife with wah wah, tremolo, delay, and reverb effects. There is a lot of really good stuff going on here. <br />
My wife digs this record a lot too. Part of being an explorer of music is figuring out what can be played in the house when others, such as your wife and kids, are around, and what is relegated to headphone land. My wife has always been very open minded when it comes to new music, and will give everything a fair chance, no matter how weird. As a result, “Jungle Obsession” has been rolling through our house during breakfast, lunch, and dinner for days now. My son has been getting some good head bobs in as this one plays as well. <br />
The song “Jungle Obsession” starts off with bongos, and a bass line played by a moog. I love this updated sound. “Murmuring Leaves” follows and really kicks in with that mellow exotic vibe. The synthesizer they use to play the solo reminds me of the lofty flutes solos from more classic Exotica. Some high pitched whistles, that are almost Theremin like, are very interesting as well. <br />
There is a bit of a “Jungle Book” theme with some of the track names. “Mowgli” has a wonderfully compressed wah-wah guitar sound. The tone sounds like some of the garage rock clean guitar sounds I have heard on some compilations. The volume is loud, but it is played very softly. It’s right on the verge of breaking up. The strings that start in “Bagheera” are replaced with some string ensemble synthesizer in the second verse. What a great idea! Like I said, this is updated Exotica. All these late 60’s sounds were just begging to be put on an Exotica record. These ideas were just there for the taking, and Nino and Roger took ‘em. “Shere Khan” is as creepy as the name implies and it’s hard to listen to without feeling like someone, or something, is staring at you. <br />
I really can’t say enough good things about this record, however there are two comments about the percussion from my sister and wife that were very interesting to me. First, I burned a copy of this for my sister (who has great musical taste) and she really liked it. She did say that the rubbing sound (the one that sounds like two pieces of paper being rubbed against each other) in “Creeping Danger” was horrible, and made her teeth hurt. Interesting, I really liked it. She does have a weird quirk where she can’t stand to hear the sound of cotton being pulled apart, so I think it’s part of that whole thing. Yeah I know. It’s strange. Everybody has their sounds they can’t stand, and one of hers just happened to be on “Jungle Obsession.” Secondly, my wife said that the clacking percussion of “Murmuring Leaves” sounded like she was “walking through a Hawaiian gift shop.” I couldn’t possibly come up with a more interesting way to describe it. It’s quite accurate.<br />
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Tones: The bass on this record
is very cool. It has a delightful thump
on the front end, and a thick sustain. “Bali
Girl” is a great example of this. I love
how the sound fills up the whole stereo spectrum, but isn’t overwhelming. This is a credit to the phenomenal mixing on
this record. Speaking of “Bali Girl,” I
love that clanky guitar sound. It’s
almost got a little pop to it. Very
tasty. The rest of the album also has
wonderful string sounds that are voluptuously thick and humid.</div>
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Cover Note: There are two! I really like the one with the bananas on it though. That green color is so lush. Here is the other one:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaABS82gutONbwq__L64N9kyrZFHxFSDFrwgqfw391qkpizVp6h1it5_WRoBsdXfRDn_BemPfRVLODsaeF4gZl-5x7zkcSGSc6SGCuT0JmbcguX4OSp0lb4UgkcPKfJsj0l6cpzBUIXjvc/s1600/o470986.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaABS82gutONbwq__L64N9kyrZFHxFSDFrwgqfw391qkpizVp6h1it5_WRoBsdXfRDn_BemPfRVLODsaeF4gZl-5x7zkcSGSc6SGCuT0JmbcguX4OSp0lb4UgkcPKfJsj0l6cpzBUIXjvc/s320/o470986.jpg" height="320" width="320" /></a></div>
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Price Paid: Not a thing. I found this record over at <a href="http://flashstrap.blogspot.com/2011/08/sophisticated-daydream-of-library.html" target="_blank">Flashstrap Blog</a> for
download. If you have not checked out this guy’s site, you are in for a treat. His writing is great and the stuff he puts up
will blow your mind. I am so grateful he
put this record up. It’s very
special. Finish reading this, and go
check his site out. </div>
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Bottom Line: I have never seen a
vinyl copy of this. If you see it, and
you have the means, I say just buy it.
If you paid $30.00 or $40.00 for a nice copy, it would be very reasonable. The words “Lost Classic” get thrown around a
lot, but this really is one. It’s a must
hear. </div>
Anonymoushttp://www.blogger.com/profile/09513871283442748044noreply@blogger.com2