The Beau Brummels, Triangle: Triangle is the fourth studio album by The Beau Brummels, released July 1, 1967 on Warner Bros. Produced by Lenny Waronker, the album marks the group’s first album to feature songs written by singer Sal Valentino and guitarist Ron Elliott wrote together. The band itself consist of Valentino, Elliott, and bassist/guitarist Ron Meagher, while the remaining personnel consists of our very own Jim Gordon on drums, Van Dyke Parks on harpsichord and keyboards, the great James Burton and Donnie Lanier on guitars, Carole Kaye on bass, Gene Garf on accordion, Lou Klass and Shari Zippert on violins, David Duke, George Hyde, and Gale Robinson on French horns, Jesse Ehrlich and Raymond Kelley on cello, and Dick Hyde on trombone. Generally, the album is a fairly solid if inessential listen. Jim Gordon, James Burton, Carole Kaye, Van Dyke Parks, those cats are each always a win, and this is just more proof of that. The group itself is a respectable psych folk group with good harmonies. The album isn’t a must have, but it’s far from being bad.
Time to update the list, and I am going to add some of Jim Gordon’s credits (only albums he had significant involvement in though) as well as Lowell George’s credits (ditto). The Everly Brothers, Beat & Soul (Jim Gordon) [1965] Mel Tormé, Right Now! (Gordon) [1966] Gene Clark, Gene Clark with Gosdin Brothers (Gordon) [1967] Van Dyke, Song Cycle (Gordon) [1967] The Stone Poneys, Evergreen, Volume 2 (Billy Mundi, Gordon) [1967] Canned Heat, Canned Heat (Henry Vestine) [1967] Judy Collins, Who Knows Where The Time Is (Gordon) [1968] Harry Nilsson, Aerial Ballet (Gordon) [1968] Harry Nilsson, Skidoo Soundtrack (Gordon) [1968] Randy Newman, Randy Newman (Gordon) [1968] Canned Heat, Boogie With Canned Heat (Vestine) [1968] Canned Heat, Living The Blues (Vestine) [1968] Canned Heat, Hallelujah (Vestine, Elliot Ingber) [1969] The Hamilton Face Band, Hamilton Face Band (Ruth Komanoff-Underwood) [1969] Bread, Bread (Gordon) [1969] Hoyt Axton, My Griffin Is Gone (Gordon) [1969] Dave Mason, Alone Together (Gordon) [1970] Randy Newman, 12 Songs (Gordon) [1970] Canned Heat, Vintage (Vestine) [1970] Hamilton Face Band, Ain’t Got No Time (Ruth) [1970] John Mayall, USA Union (Sugarcane) [1970] Don “Sugarcane” Harris, Sugarcane (Sugarcane) [1970] Joe Cocker, Mad Dogs And Gentlemen (Gordon) [1970] Don “Sugarcane” Harris, Keep on Driving (Sugarcane) [1971] Don “Sugarcane” Harris, Fiddler On The Rock (Sugarcane) [1971] Nolan Porter, No Apologies (Lowell George, Roy Estrada, Jimmy Carl Black) [1971] Bob Smith, The Visit (Don Preston) [1971] T. Rex, Electric Warrior (Mark Volman, Howard Kaylan) [1971] Canned Heat and John Lee Hooker, Hooker n Heat (Vestine) [1971] Canned Heat, Live At Topanga Corral (Vestine) [1971] Canned Heat, Historical Figures And Ancient Heads (Vestine) [1971] B.B. King, B.B. King in London (Gordon) [1971] Leon Russell, Leon Russell And The Shelter People (Gordon) [1971] Traffic, The Low Spark Of High Heeled Boys (Gordon) [1971] Maxayn, Maxayn (Andre Lewis) [1972] Nolan Porter, Nolan (George, Estrada, Black) [1972] Domenic Troiano, Domenic Troiano (Bunk Gardner, Buzz Gardner) [1972] Nicholas Greenwood, Cold Cuts (Bunk) [1972] John Lennon and Yoko Ono, Sometime In New York City (Live Jam/tracks 3-6 featuring Frank, Mark and Howard, Ian, Don Preston, Bob Harris #1, Jim Pons, Dunbar) [1972] T. Rex, The Slider (Mark And Howard) [1972] Pure Food & Drug Act, Choice Cuts (Sugarcane) [1972] New Violin Summit (Sugarcane, Ponty) [1972] Albert Hammond, It Never Rains in Southern California (Gordon) [1972] Bobby Whitlock, Bobby Whitlock (Gordon) [1972] Bobby Whitlock, Raw Velvet (Gordon) [1972] Skip Battin, Skip (Mundi) [1972] Roxy Music, Stranded (Jobson) [1973] Buddy Miles, Chapter VII (Lewis) [1973] Johnny “Guitar” Watson, Listen (Lewis) [1973] Maxayn, Mindful (Lewis) [1973] Don “Sugarcane” Harris, Sugar Cane’s Got the Blues (Sugarcane) [1973] Canned Heat, The New Age (Vestine) [1973] Canned Heat, One More River to Cross (Vestine) [1973] Art Garfunkel, Angel Clare (Gordon) [1973] Donovan, Essence to Essence (Gordon) [1973] The Incredible Bongo Band, Bongo Rock (Gordon) [1973] Albert Hammond, The Free Electric Band (Gordon) [1973] David Gates, First (Gordon) [1973] The Hues Corporation, Freedom for the Stallion (Gordon) [1973] John Cale, Paris 1919 (Lowell) [1973] Happy Ends, Happy Ends (Lowell) [1973] Gordon Lightfoot, Stallion (Gordon) [1974] Tom Waits, The Heart Of Saturday Night (Gordon) [1974] John Sebastian, Tarzana Kid (Lowell, Gordon) [1974] Robert Palmer, Sneakin Sally Through the Alley (Lowell) [1974] Mick Ronson, Slaughter on 10th Avenue (Dunbar) [1974] Roxy Music, Country Life (Jobson) [1974] Howdy Moon, self titled album (Lowell George, Roy Estrada) [1974] Luis Gasca, Born to Love You [1974] Billy Cobham, Crosswinds (George Duke) [1974] Maxayn, Bail Out For Fun! (Lewis) [1974] Roger McGuinn, Peace on You (Mark And Howard) [1974] Dave Mason, Dave Mason (Sal Marquez) [1974] Herbie Mann, London Underground (Dunbar) [1974] Freddie Hubbard, High Energy (Ian Underwood) [1974] Don “Sugarcane” Harris, Cup Full Of Dreams (Sugarcane) [1974] Don “Sugarcane” Harris, I’m On Your Case (Sugarcane) [1974] Junior Hanson, Magic Dragon (Lewis) [1974] Jack Bruce, Out Of The Storm (Gordon) [1974] Souther-Hillman-Furay Band, The Souther-Hillman-Furay Band (Gordon) [1974] John Stewart, The Phoenix Concerts (Gordon) [1974] Roxy Music, Siren (Jobson) [1975] Freddie Hubbard, Liquid Love (Ian) [1975] Billy Cobham, A Funky Thide Of Sings (Walt Fowler) [1975] Down And Dirty Duck Soundtrack (Preston, Mark Volman, Howard Kaylan, Pons, Dunbar) [1975] Mick Ronson, Play, Don’t Worry (Dunbar) [1975] Nils Lofgren, self titled (Dunbar) [1975] Don “Sugarcane” Harris, Keyzop (Sugarcane) [1975] Mallard, Mallard (Art Tripp) [1975] The Carpenters, Horizon (Gordon) [1975] Minnie Riperton, Adventures in Paradise (Gordon) [1975] Art Garfunkel, Breakaway (Gordon, Max Bennett, John Guerin) [1975] Joan Baez, Diamonds And Rust (Gordon) [1975] Darryl Hall and John Oates, Darryl Hall And John Oates (Gordon) [1975] Richard “Groove” Holmes, Six Millionare Dollar Man (Gordon) [1975] Thelma Houston, I’ve Got the Music In Me (Gordon) [1975] Gordon Lightfoot, Cold on the Shoulder (Gordon) [1975] Robert Palmer, Pressure Drop (Lowell) [1975] Joan Baez, From Every Stage (Gordon) [1976] The Carpenters, A Kind Of Hush (Gordon) [1976] Alice Cooper, Alice Cooper Goes To Hell (Gordon) [1976] Neil Diamond, Beautiful Noise (Gordon) [1976] Journey, Look Into The Future (Dunbar) [1976] Jean-Luc Ponty, Aurora (Ponty, T. Fowler) [1976] Roxy Music, Viva! [1976] Spirit, Farther Along (Ian) [1976] Jean-Luc Ponty, Imaginary Voyage (Ponty, T.Fowler, Allan Zavod) [1976] Grand Funk, Good Singin, Good Playin (Produced by Zappa) [1976] Air Pocket, Fly On (T. Fowler, Bruce Fowler, W. Fowler, Thompson) [1976] Stephen Stills, Illegal Stills (Mark And Howard) [1976] Ian Hunter, All American Space Boy (Dunbar) [1976] Flo and Eddie, Moving Targets (Mark, Howard, Ian) [1976] T. Rex, Futuristic Dragon (Mark and Howard) [1976] Nils Lofgren, Cry Tough (Dunbar) [1976] Carmen MacRae, Can’t Hide Love (Ian) [1976] Sammy Hagar, Nine On A Ten Scale (Dunbar) [1976] Alphonso Johnson, Moonshadow (Ian) [1976] Marathon Man Soundtrack (Ian) [1976] George Duke, Liberated Fantasies (Duke, Napoleon Murphy Brock, Ruth) [1976] Don “Sugarcane” Harris, Flashin’ Time (Sugarcane) [1976] Captain Beefheart And The Magic Band, Bat Chain Puller (Beefheart, Denny Walley) [1976] Seals & Croft, Sudan Village (Ralph Humphrey) [1976] Joan Baez, Gulf Winds (Gordon) [1976] Phil Keaggy, Love Broke Thru (Gordon) [1977] Chunk, Ernie, & Novi, Chunk, Ernie, & Novi (Ian) [1977] George Duke, From Me to You (Duke, Glenn Ferris) [1977] Demon Seeds Soundtrack (Ian) [1977] Journey, Next (Dunbar) [1977] Jean-Luc Ponty, Enigmatic Ocean (Ponty, Zavod) [1977] Little Feat, Time Loves A Hero (Lowell) [1977] Genesis, Seconds Out (Thompson) [1977] Quincy, Jones, Roots (Ian) [1977] Mandré, Mandré (Lewis) [1977] Alphonso Johnson, Spellbound (Thompson) [1977] Journey, Infinity (Dunbar) [1978] U.K., self titled (Eddie Jobson) [1978] Lynda Carter*, Portrait (Humphrey) (*yes, the same one who played Wonder Woman) [1978] George Duke, Reach For It (Duke) [1978] George Duke, Don't Let Go (Duke) [1978] The Brecker Brothers, Heavy Metal Be-Bop (Bozzio) [1978] Jean-Luc Ponty, Cosmic Messenger (Ponty, Zavod) [1978] Steve Hackett, Please Don’t Touch (T.Fowler, Chester Thompson) [1978] David Bowie, Stage (Adrian Belew) [1978] Alice Cooper, From the Inside (Mark And Howard) [1978] Ambrosia, Somewhere I’ve Never Travelled (Ian, Ruth) [1978] Herb Alpert and Hugh Masekela, Herb Alpert/Hugh Masekela (Ian) [1978] Captain Beefheart And The Magic Band, Shiny Beast (Bat Chain Puller) (Beefheart, B.Fowler, Tripp) [1978] Lao Schifrin, Gypsy (Ian) [1978] Barbara Streisand, Songbird (Ian) [1978] Little Feat, Waiting For Columbus (Lowell) [1978] Mandré, Mandré Two (Lewis) [1978] Karen Alexander, Voyager (Humphrey) [1978] The Grateful Dead, Shakedown Street (Lowell) [1978] U.K., Danger Money (Jobson, Terry Bozzio) [1979] Jean-Luc Ponty, Live (Ponty, Zavod) [1979] David Bowie, Lodger (Belew) [1979] Big Sonny and the Lo Boys, In Heat (Black) [1979] Apocalypse Now Soundtrack (Preston) [1979] The Residents, Eskimo (Preston) [1979] Jefferson Starship, Freedom at Point Zero (Dunbar) [1979] Lowell George, Thanks, I’ll Eat It Here (Lowell) [1979] Peggy Lee, Close Enough For Love (Ian) [1979] Little Feat, Down On The Farm (Lowell) [1979] George Duke, Follow the Rainbow (Duke, Nappy) [1979] George Duke, Master Of The Game (Duke, Nappy) [1979] Tony Banks, A Curious Feeling (Thompson) [1979] Jean-Luc Ponty, A Taste for Passion (Ponty, Zavod) [1979] Freddie Hubbard, The Love Connection (Thompson) [1979] Lalo Schifrin, No One Home (Ian) [1979] The Warriors Soundtrack (Ian) [1979] Mandré, M3000 (Lewis) [1979] Ray Pizzi, The Love Letter (Humphrey) [1979] Leroy Hutson, Unforgettable (Thompson) [1979] David Pritchard, City Dreams (Thompson) [1979] The Muppet Movie Soundtrack (Gordon) [1979]
VDP is a fascinating character who seems to have known and collaborated with every pop music figure at one time or other. And often fought with. I remember this article in which he recalls briefly being a Mother but quit "because I didn't want to be screamed at".
Definitely, you could easily make a documentary or movie on him (obviously, the latter hasn’t happened, though if the former did or not, I’m not sure). As far as being screamed at, I will say this: while we all here love and miss Frank, he probably wasn’t always the easiest guy to be in a band with or work for. With that said, I know very little to nothing about Van Dyke Parks’ five seconds as a Mother, so I can’t really offer much better on that subject. I do, however, know a decent amount about his history with The Beach Boys. There really isn’t any one reason why SMiLE fell through-to the point where the subject has its own page on Wikipedia. Collapse of Smile - Wikipedia However, certainly Mike Love’s reservations about the direction and particularly Van Duke’s lyrics were obviously a big factor, as well as all of Brian’s issues. Then again, Van Dyke played on “Kokomo”, so it seems their relationship wasn’t too bad.
I'd love to see a VDP doc if there ever is one - I'm a sucker for music docs, especially about musicians I know little about (Be There to Love Me) or even those I don't care about (Dig!). As far as FZ as a boss, there's a fine line between "perfectionist" and "tyrant" and many artists walk that line. Unlike the vast majority of SHF'ers, I never found the Beach Boys very interesting, either as musicians or a cultural touchstone, yet I find the story of Brian Wilson poignant and sadly not unique. I'd put Syd Barrett and Roky Erickson well ahead of him as songwriters but none of them was invulnerable to mind-altering drugs.
The Everly Brothers, Beat & Soul: Beat & Soul is the eleventh studio album by The Everly Brothers, released in August of 1965. Produced by Dick Glasser, the album’s lineup consists of our very own Jim Gordon on drums, the great James Burton on guitar alongside Sonny Curtis from the Crickets and Glenn Campbell, Leon Russell and Billy Preston on piano, and Larry Knechtel on bass. I’ll admit I’m not really that familiar with the Everly Brothers’ catalogue, though I certainly respect them and I like what I’ve heard. For this album, the vocals are extremely strong, as you’d expect from the Everlys. The musicians are super tight, which is also what you’d expect from those players. To think Jim Gordon was 19-20 when he laid these tracks down, and Billy Preston was 18-19. The material is decent, though not exceptional giving the talent. I definitely wouldn’t recommend this to a newcomer, though a fan might dig it.
What can I really say about Bunk? He’s a Mother for Pete’s Sake! Sure, anybody that worked with Zappa automatically gains a certain level of prestige, but to be a Mother, one of the guys that really built the legacy, the sound, the spirit, the humor, and the aesthetic that virtually all of Frank’s subsequent groups followed to one degree or another. No matter your favorite era of Frank, these are the guys that helped all of them become possible. I do love Freak Out!, it’s an alltime classic and one of rock’s finest debuts, but to me, Absolutely Free marked the point where things started to really fall into place, and Bunk is one of three or more reasons why that is. The early members were great rock and blues players, but even Jimmy Carl Black himself said that he, Roy, and even Frank had to really step up their game with Bunk and Don joined, their jazz and avant garde backgrounds helping to broaden the Mothers’ scope and realize Frank’s artistic vision. When I think of his greatest moments, the solo I think of isn’t “King Kong” or “Holiday in Berlin” but “Anything” off Cruising With Ruben And The Jets. It’s not necessarily the most structurally complex solo, yet it’s so perfect, so sweetly delivered, filled with love and care, so in tune with everyone else. Just like Bunk himself. Beyond what an amazing musician he is, beyond him and Ian being my favorite wind players that Frank worked with, I admire and respect him as a man. Even with all he’s done and being able to play with not only Zappa but also Tim Buckley, Jimi Hendrix, Roland Kirk, Little Richard, Jack Bruce, and Eartha Kitt among others, he has never let it go to his head, he has never looked down on others, and he has always tried to find the good in everything and everyone. I still hope to have at least one friendship like his and Don’s, one that lasts for years and even decades and can survive any hardships. Whenever I feel down on myself for not being able to do this or that at 22, I think of him and others like him that had their big break after turning 30 and realize that even if it takes longer and gets harder, I can still do something remarkable at least once in my life. Thank you Bunk for all you’ve given us, and I wish you the best possible birthday.
Mel Tormé, Right Now!: No, we aren’t reviewing that sh**y Van Hagar song, we’re reviewing the twentieth (fourteenth if we exclude any collaborative release) studio album by jazz vocalist Mel Tormé, released August 15, 1966 on Columbia. I can’t find information on who produced this album, which features Tormé covering pop songs of the era l. Fortunately, I can list the musicians, which consists of Tormé on vocals and drums, our very own Jim Gordon on drums, Howard Roberts on guitar, Mike Melvoin on keyboards, Gary Coleman (not that one) on vibraphone, Al McKibbon on bass, Myron Sadler and Joseph DiFiore on viola, Armand Karpoff and Frederick Seykora On cello, and James Getzoff, Robert Barene, Henry Ross, Marshall Sosson, Sidney Sharp, Arnold Belnick, Nathan Ross, and Harry Blueston on violin. TBH, I hadn’t ever heard of Tormé before looking this album up, and wow. I had no idea he co-wrote “The Christmas Song”, to say nothing of him working with the likes of Judy Garland and Benny Goodman. Reviewing this record, it seems to have a middling reception, but honestly, I enjoy it. Is it his best work? Maybe not, but it remains an enjoyable listen thanks to Tormé’s vocal talent and the energetic performances of the musicians. Once again, Jim Gordon was roughly my age when he laid these tracks down, and you wouldn’t know it just from listening. And Tormé, he keeps up with Gordon when he gets behind a kit of his own. That one of the songs on here is called “If I Had A Hammer” is fairly awkward in hindsight, and yet it’s my favorite track on here, go figure. If you’re into vocal jazz, lounge music, or just easy listening type of stuff, this is a nice record to put on.
Gene Clark, Gene Clark With The Gosdin Brothers: Gene Clark With The Gosdin Brothers is the solo debut by ex-Byrd Gene Clark, released February 1967 on Columbia. Produced by Larry Musks and Gary Usher, the album features our very own Jim Gordon on drums, Glenn Campbell, Jerry Cole, and Bill Rinehart on guitars, Van Dyke Parks on keyboards, former Byrds bandmates Chris Hillman and Michael Clarke on bass and drums, future Byrd Clarence White playing guitars on “Tried So Hard”, “The Same One” and “Needing Someone“, Vern and Rex Gardin on backing vocals (resulting in their being billed alongside Gene), Leon Russell on piano/harpsichord and string arrangements on “Echoes” and “So You Say You Lost Your Baby”, and Doug Dillard playing the electric banjo on “Keep On Pushin”. Needless to say, it was a huge risk for Gene to leave the Byrds right as they were taking off. Naturally, people then wondered what he would do now. Well, in February of 1967, people got their answer. It’s a shame this didn’t take off, because it’s a great album. If you’re going in for your Byrds fix, the Americanic folk sound is definitely there, along with some more experimental touches, adding a dash of psychedelia and baroque while still have this raw passion and honesty to it. Gene’s gift for melody and musical depth is shown all throughout this album. In some ways, this is the best Byrds album that the Byrds never made, it definitely has a lot of the Byrds’ hallmarks. I have to say, I feel that not only Gene but the Byrds don’t always get the credit they deserve. Sure, they have popularity, but as a band that were pioneers in at least three genres (folk rock, psychedelia, country rock), they don’t seem to get that same respect that some of their peers do. And Gene himself arguably realized Gram’s vision of cosmic American music, or some approximation of it, on No Other, but he never seemed to escape the shadows of the Byrds in life, most interest in his solo career being posthumous. But that’s the way it goes sometimes, isn’t it? Well, at least we have some killer music. Back to this record, this is essential listening for any Byrds fans, 60s fans, or fans of Americanic rock.
Van Dyke Parks, Song Cycle: Song Cycle is the debut album of Van Dyke Parks, released in 1967 on Warner Bros. Produced by Lenny Waronker, the album features a mix of bluegrass, roots music, avant garde, pop, and classical music. The album’s lineup consists of Parks on vocals/main performer, our very own Jim Gordon on percussion alongside Hal Blaine, Gary Coleman (not that one), and Earl Palmer, Ron Elliott and Dick Rosmini on guitars, Misha Goodatieff on violin, Virginia Majewski on viola, Carl Fortina on accordion, Nicolai Bolin, Vasil Crlenica, William Nadel, Allan Reuss, Leon Stewart, and Tommy Tedesco on balalaikas, Don Bagley, Gregory Bemko, Chuck Berghofer, Harry Bluestone, Samuel Boghossian, Dennis Budimir, Joseph Ditullio, Jesse Ehrlich, Nathan Gershman, Philip Goldberg, Armand Kaproff, William Kurasch, Leonard Malarsky, Jerome Reisler, Red Rhodes, Trefoni Rizzi, Lyle Ritz, Joseph Saxon, Ralph Schaffer, Leonard Selic, Frederick Seykora, Darrel Terwilliger, and Bob West on strings. Even though I tend to enjoy Van Dyke’s work with other artists, for whatever reason, I never got around to looking into his solo work other than that album he did with Brian Wilson some time ago. But for this thread, I’ve done so due to Zappa alumni being involved (before someone asks, I’m not doing Van Dyke’s whole discography as he never toured or recorded with Frank). And honestly, I’m glad I did, because Van Dyke shows yet again what a unique and creative artist he is. Rooted firmly in Americana yet with a surrealist take, it’s no wonder he and Lowell hit it off so well. He manages to make all these different sources into one incredible blend, perfectly encapsulating us with all our perfect imperfections and imperfect perfections. Compared to Dr John, who I still love, I have an easier time picturing Van Dyke being the keyboardist for the Mothers. That said, giving that Van Dyke can be very blunt, opinionated, and not one to easily compromise, it’s probably not a surprise he was so short lived as a Mother. After all, as Ponty would later learn, in Frank Zappa’s band, there’s only room for Frank’s ego. Nevertheless, Van Dyke still went on to have an incredible life and career, and never changing for anyone (probably yet another reason why he and Lowell hit it off so well). If you love Zappa (and if you’re in this thread, you probably do) or SMiLE era Beach Boys, definitely look into this album, it’s a total keeper.
I've been a big fan of his "Discover America" album for over 40 years. It was one of my horizon wideners.
I really like Song Cycle, more than anything the Beach Boys ever did, but not as much as the contemporaneous Mothers.
The Stone Poneys, The Stone Poneys: The Stone Poneys is the self-titled debut by The Stone Poneys, released January 30, 1967 on Capitol. Produced by Nick Venet, the album is best known for containing the first official recordings of Linda Ronstadt. Musically, the group was essentially a more contemporary version of Peter, Paul, and Mary, with the group (Ronsdadt, Kenny Edwards, and Bobby Kimmel) often singing in three-part harmony. Here, the group is backed by our very own Billy Mundi on drums, Pete Childs and John T. Forsha on guitars, Cyrus Faryar on bouzouki and guitar, Tom Wood on vocals and rhythm guitar, and Jimmy Bond. Don't really need to say why I'm listening to this record, but this is another album I wasn't aware of prior to this thread. Obviously, I knew who Linda Ronstadt was, but did not know about her ever being in a group, so I was naturally curious. I can't say the album really stands out, certainly not in the context of 60's Southern California, but it's a solid listen if you're into sixties folk rock. The group show themselves to be talented vocalists and skilled harmony singers. Since it's because of Billy that we're reviewing this album, he holds down the fort quite nicely, showing a good feel on the drums. Plus, since I’ve always felt kind of bad for him since he, of the main Mothers, is the one most often forgotten, I’m happy that I get to talk more about him. I’m not really surprised that this didn’t take off since, while there is certainly talent there, the Stone Poneys don’t really do much to stand out in a very crowded field. Nevertheless, it’s a decent listen that might be of interest to sixties folk fans and certainly Linda Ronstadt fans.
The Stone Poneys, Evergreen, Vol 2: Evergreen Vol 2 is the second studio album by The Stone Poneys, released June 12, 1967 on Capitol. Produced once again by Nick Vinet, the album is noted for the single “Different Drum”, written by none other than Michael Nesmith prior to his joining the Monkees. Unlike the previous album, Linda Ronstadt handles lead vocals on all tracks except for the title track, with Kenny Edwards singing on Part One and the sitar and guitar on both parts. Besides the group (Ronstadt, Edwards, Bobby Kimmel), the lineup consists of our very own Billy Mundi and Jim Gordon on drums, Dennis Budimir, Pete Childs, and John T. Forsha on guitars, Cyrus Faryar on acoustic guitar and bouzouki, Jimmy Bond and Joe Osborn on bass, Don Randi on harpsichord, Sidney Sharp on violin and as Concertmaster, and the following string players: Norman Botnick William Durasch Jesse Ehrlich Harry Hyams William Kurasch Leonard Malarsky Stanley Plummer Robert Sushel In addition, Steve Gillette performs guitar and harmony vocals on “Back On The Street Again”, while “Different Drum” features guitar work by Bernie Leadon from the Flying Burrito Brothers and eventually The Dude’s favorite band. I will say the album is an improvement over the first album. The increasing focus on Linda certainly doesn’t hurt, but even the songs are stronger this time around. Performance wise, the album feels more lively than its predecessor, with the musicians delivering emotionally engaged performances across the record. And again, wow, what a voice Linda Ronstadt had, absolutely beautiful. I can give this a solid recommendation, it makes for a good mellow listen.
Judy Collins, Who Knows Where The Time Goes: Who Knows Where The Time Goes is the seventh studio album by Judy Collins, released November 1968 on Elektra. Produced by David Anderle, this marked Collins’ first album to be recorded in LA. Backing Collins (lead vocals/piano/guitar) on here is our very own Jim Gordon on drums, Stephen Stills on guitar and bass, the great James Burton on guitar and dobro, the great Buddy Emmons on pedal steel guitar, Chris Etheridge from The Flying Burrito Brothers on bass, Van Dyke Parks and Michael Sahl on keyboards, and Mike Melvoin on piano. Truthfully, this is my first actual album by her that I’ve heard. Starting the album, I was surprised that I recognized the lyrics, and it turned out to be “Hello Hooray”, which Alice Cooper would later do on Billion Dollar Babies. I like Alice Cooper’s version more, I perfer his/their more tongue in cheek delivery which, to me, feels better suited to this song. However, the album is still quite an enjoyable listen. While it’s not normally something I would put on, her arrangements of the songs have a very musically rich feel to them without feeling overbearing, and certainly the musicians provide effortless performances in support of Collins’ vocals. If you’re into folk rock/pop sort of stuff, it’s an enjoyable listen.
I never realized how similar Judy Collins and Sandy Denny sound. Still, I much prefer Sandy's version of the title track. Something about harpsichords makes Judy's sound dated and quaint.
Harry Nilsson, Aerial Ballet: Aerial Bullet is the third studio album by Harry Nilsson, released July of 1968 on RCA Victor. Produced by Rick Jarrard, the album is named after his grandparents’ highwire circus act (and would, in turn, inspire Aerosmith’s name). Nilsson is backed on here by our very own Jim Gordon on drums, Dennis Budimir and Al Casey on guitar, Mike Melvoin on keyboards, Larry Knechtel on bass and piano, Lyle Ritz on bass, the unfortunately-named-in-hindsight David Duke on French horn and tuben, the also-unfortunately-named Dick Hyde on baritone horn and bass trombone, Carroll Lewis on flugelhorn and trumpet, Anthony Terran on flugelhorn and trumpet, George Roberts on baritone horn, Ollie Mitchell on trumpet, Dick Nash on trombone and baritone horn, Bob Hardaway, Plas Johnson, John Lowe, and John Rotella on wind instruments, Leonard Atkins, Arnold Belnick, James Getzoff, Alfred Lustgarten, Charlotte Soy, Darrel Terwilliger, and Tibor Zelig on violins, Jesse Ehrlich, Ray Kelly, and Jacqueline Lustgarten on cellos, and Milt Holland on percussion. Harry Nilsson is an artist I always meant to look into, but just never got around to it. With this record, I’m quite pleased with what I hear. The album has this delicate character to it, a sense of vulnerability that is tempered with good natured humor. Even with the melancholic subtext, there’s something quite beautiful about it at the same time. Makes perfect sense that the Beatles (ohmyga!) would dig Harry Nilsson. I’m so glad I finally looked into Harry, and it seems this won’t be the last time I’ll get to talk about him. I can definitely give this album an enthusiastic recommendation.
Randy Newman, Randy Newman: Randy Newman (also known as Randy Newman Creates Something New Under the Sun) is the self titled debut by singer-songwriter Randy Newman, released June of 1968 on Reprise. Produced by Van Dyke Parks and then Warner Bros President Lenny Waronker, the album is noted for its prominent use of an orchestra, in contrast to the more straightforward direction of Newman’s subsequent work. Newman (vocals/piano) is backed here by our very own Jim Gordon on drums, Herb Ellis, Al Casey, Mike Deasy, Ron Elliott, James Burton, Frank DeCaro, Joe Gibbons, Don Lanier, Louis Morell, and Tommy Tedesco on guitars, Larry Knechtel on guitar/bass/keyboards, Sal Valentino on guitar and vocals, Tommy Morgan and Gary LeVant on harmonicas, Nick DeCaro on piano and accordion, Gene Garf on piano and organ, Michael Lang and James Rowles on pianos, Carl Fortina on accordion, Carole Kaye, Lyle Ritz, and Don Bagley on bass, Norman Jeffreis on drums, Anthony Terran and Ollie Mitchell on trumpet, Jim Horn, Plas Johnson, Ted Nash, Gene Cipriano, William Green, Jay Migliori, Sid Miller, William R. Perkins, Wilbur Schwartz, Gordon Pope, and Tom Scott on saxophone, Milt Bernhart, Dick Hyde (cue Beavis and Butthead laughter), and Robert Knight on trombones, James A. Decker, David Duke (the poor bastard), Richard Perissi, and William Hinshaw on French horn, James Getzoff on flute, Hubert Anderson and Gary Coleman (not that one) on percussion, Israel Baker, Arnold Belnick, Harry Bluestone, William Kurash, Leonard Malarsky, Jerome Reisler, Sid Sharp, and Tibor Zelig on violins, Samuel Boghossian, Louis Kievman, Leonard Selic, Joseph DiFiore, Harold Ayties, and Jan Hlinka on viola, Ray Kelley, Harold Bemko, Frederick Seykora, Armand Karpoff, Victor Sazer, Jesse Emrlich, David Filerman, and Joseph Tullio on cellos, and Elizabeth Ershoff on harp. Randy Newman is another artist I always thought to look into but never got around to. Giving my age, I naturally know him as the guy who does music for all the Pixar movies. Outside of that, of course, I know “Short People”, and I’ve never really minded that track, but it didn’t really inspire me to look further. I will say listening to this, it feels fairly odd giving that he’s not singing in the nasally voice we associate with Randy Newman. The orchestra is a decent addition in certain tracks, though others would have benefited from a more stripped down arrangement. Nevertheless, Newman shows himself a talented writer, and the album is a satisfying listen overall. I can give this a recommendation.
It's almost creepy now many Newmans are or were Broadway and Hollywood composers. Randy's uncle Alfred was the most accomplished. He did the scores for All About Eve, Hunchback of Notre Dame and City Lights. Category:Newman family (music) - Wikipedia I honestly never cared for Randy's music at all, but no question he's had an impressive career.
Bread, Bread: Bread is the self-titled debut album by Bread, released September of 1969 on Elektra. Produced by the band themselves, Bread here consists of David Gates on Hammond organ/bass/guitars/percussion/piano/violin/keyboards/RMI electric piano/viola/vocals/Moog synthesizer, James Griffin on vocals/guitars/percussion/keyboards, and Robb Royer on guitar/percussion/piano/RMI electric piano/recorder/flute/bass/backing vocals. Backing them on drums is Ron Edgar and our very own Jim Gordon. Bread was a band I knew of, but again, never looked into. Didn’t hate them, just not a band I thought of looking into. Listening to this album, it’s not half bad for what it is. Soft rock is generally not my speed, but this a pretty good example of the genre, and of course Jim Gordon’s presence doesn’t hurt either. I can give this a moderate recommendation overall, and it will probably be of interest to anybody that enjoys lighter music.
Bread was pretty massive for a few years in the early 70s. Then David Gates had a few solo hits. Then he became a music critic. Pretty interesting career.
