Lani Hall "Sun Down Lady" 1972

                I have been looking for this album for quite a while. About 10 years ago when I was on my first huge Sergio Mendes 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. 

                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.

                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. 

Whoever I’m with, I’m always, talking to you

I’m always talking to you, and I’m sad that you can’t hear.

                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 Herb Alpert (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. 

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. 

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.

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. 

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. 

Mark Volman and Howard Kaylan (Flo & Eddie) "The Phlorescent Leech & Eddie" 1972

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 who 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.

       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.
              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. 

                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. 

                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 me in the car.   

            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.  

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.”

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.

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.

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.