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DISCID=6e11ec19
DTITLE=The Mamas & The Papas / All The Leaves Are Brown: The Golden Er
DTITLE=a Collection - Disc 2 of 2
DYEAR=2001
DGENRE=Rock
TTITLE0=Sing For Your Supper
TTITLE1=Twist And Shout
TTITLE2=Free Advice
TTITLE3=Look Through My Window
TTITLE4=Boys And Girls Together
TTITLE5=String Man
TTITLE6=Frustration
TTITLE7=Did You Ever Want To Cry
TTITLE8=John's Music Box
TTITLE9=Glad To Be Unhappy (Non-LP Single)
TTITLE10=The Right Somebody To Love
TTITLE11=Safe In My Garden
TTITLE12=Meditation Mama (Transcendaental Woman Travels)
TTITLE13=For The Love Of Ivy
TTITLE14=Dream A Little Dream Of Me
TTITLE15=Mansions
TTITLE16=Gemini Childe
TTITLE17=Nothing's Too Good For My Little Girl
TTITLE18=Too Late
TTITLE19=Twelve Thirty (Young Girls Are Coming To The Canyon)
TTITLE20=Rooms
TTITLE21=Midnight Voyage
TTITLE22=I Saw Her Again Last Night (Mono Single Version)
TTITLE23=Words Of Love (Mono Single Version)
TTITLE24=Creeque Alley (Mono Single Version)
EXTD=All The Leaves Are Brown: The Golden Era Collection - Disc 2 of 2
EXTD=\n2001 MCA Records, Inc.\n\nThis compilation released August 28, 
EXTD=2001\n''If You Can Believe Your Eyes And Ears'' LP Originally Rel
EXTD=eased March 1966\n''The Mamas & The Papas'' LP Originally Release
EXTD=d September 1966\n''Deliver'' LP Originally Released 1967\n''The 
EXTD=Papas & The Mamas'' LP Originally Released March 1968\n\nAMG EXPE
EXTD=RT REVIEW: This is where fans of the group can sort of stop and s
EXTD=ettle down at last. MCA Records had previously let the Mamas & th
EXTD=e Papas' music out on CD in a trickle; the debut LP was upgraded 
EXTD=and a compilation of remastered hits showed later in the decade, 
EXTD=but the rest was left to languish. This two-CD set makes up for t
EXTD=hat neglect, assembling all four of the quartet's '60s albums on 
EXTD=two CDs and augmenting them with the mono single versions of "I S
EXTD=aw Her Again," "Words of Love," and "Creeque Alley," plus the non
EXTD=-LP single "Glad to Be Unhappy." One just wants to luxuriate in t
EXTD=he sound of this reissue and its little details, like the rhythm 
EXTD=guitar on "Do You Want to Dance" that cuts right through the air,
EXTD= the string basses on "Go Where You Want to Go" that sound like t
EXTD=hey're just across the room, and the rest of the first album. The
EXTD= real keys to the value of this set, however, are the second and 
EXTD=third LPs by the group, superb albums which were either never rei
EXTD=ssued on CD at all or never upgraded from the mid- to late '80s. 
EXTD=The group's second album has never enjoyed as strong a reputation
EXTD= as its predecessor, possibly because of the painful and convolut
EXTD=ed circumstances under which it was recorded (Michelle Phillips w
EXTD=as fired and then reinstated a few weeks later, but a version of 
EXTD=the cover does exist that features Phillips' temporary replacemen
EXTD=t, Jill Gibson, in the lineup). The songs may not quite match up 
EXTD=to the selection or the sense of free experimentation that went i
EXTD=nto the first album, but coming from any other group, the content
EXTD=s of The Mamas & The Papas LP would have been considered a triump
EXTD=h. "No Salt on Her Tail" and "Trip, Stumble & Fall" could have be
EXTD=en outtakes from the first album, while "Dancing Bear" put them i
EXTD=nto Peter, Paul & Mary territory. "Words of Love" didn't quite co
EXTD=me up to the standard they'd set for themselves, but "My Heart St
EXTD=ood Still" nearly succeeds in turning the Rodgers & Hart standard
EXTD= into a folk-rock piece of incomparable beauty. The whole second 
EXTD=half of the disc is a revelation in sound, simply because apart f
EXTD=rom the hits, none of its material had shown up on CD before, and
EXTD= here it is with resolution so close that Joe Osborne's bass soun
EXTD=ds like it's practically in the listener's lap. Cuts such as "I C
EXTD=an't Wait" and "Strange Young Girls" -- although the latter is ne
EXTD=ver cited as a strong point, it has a depth and richness in its a
EXTD=ppearance here that calls to mind textural echoes of the Beach Bo
EXTD=ys' Pet Sounds album -- and "Once Was a Time I Thought" (where th
EXTD=ey tread onto Spanky & Our Gang-cum-Manhattan Transfer territory)
EXTD= help make this set essential to virtually any fan of the group. 
EXTD=The quartet's third album, Deliver, which is divided between the 
EXTD=two CDs, is similarly improved in a startling upgrade from the mi
EXTD=d-'80s CD that makes their version of "My Girl," in particular, s
EXTD=ound gloriously radiant. Their fourth album, Papas & Mamas, altho
EXTD=ugh never in the same league with the group's earlier records, ca
EXTD=n be considered nearly essential musically for the upgrade on "Ro
EXTD=oms," "Too Late," "Mansions," and the classic "Twelve Thirty (You
EXTD=ng Girls Are Coming to the Canyon)." As an added attraction, in a
EXTD=ddition to the single mixes on three of their hits, the disc also
EXTD= features superb notes built around recollections by the survivin
EXTD=g members of the group and longtime session musicians, such as Er
EXTD=ic Hord. -- Bruce Eder\n\nAMG EXPERT REVIEW (''If You Can Believe
EXTD= Your Eyes And Ears'') In the spring of 1966, If You Can Believe 
EXTD=Your Eyes and Ears represented a genuinely new sound, as fresh to
EXTD= listeners as the songs on Meet the Beatles had seemed two years 
EXTD=earlier. Released just as "California Dreaming" was ascending the
EXTD= charts by leaps and bounds, it was the product of months of rehe
EXTD=arsal in the Virgin Islands and John Phillips' discovery of what 
EXTD=one could do to build a polished recorded sound in the studio -- 
EXTD=it embraced folk-rock, pop/rock, pop, and soul, and also reflecte
EXTD=d the kind of care that acts like the Beatles were putting into t
EXTD=heir records at the time. "Monday, Monday" and "California Dreami
EXTD=n'" are familiar enough to anyone who's ever listened to the radi
EXTD=o, and "Go Where You Wanna Go" isn't far behind, in this version 
EXTD=or the very similar rendition by the Fifth Dimension. But the res
EXTD=t is mighty compelling even to casual listeners, including the et
EXTD=hereal "Got a Feelin'," the rocking "Straight Shooter" and "Someb
EXTD=ody Groovy," the jaunty, torch song-style version of "I Call Your
EXTD= Name," and the prettiest versions of "Do You Wanna Dance" and "S
EXTD=panish Harlem" that anyone ever recorded.\n\nIf the material here
EXTD= has a certain glow that the Mamas & the Papas' subsequent LPs la
EXTD=cked, that may be due in part to the extensive rehearsal and the 
EXTD=exhilaration of their first experience in the studio, but also a 
EXTD=result of the fact that it was recorded before the members' perso
EXTD=nal conflicts began interfering with their ability to work togeth
EXTD=er. The work was all spontaneous and unforced here, as opposed to
EXTD= the emotional complications that had to be overcome before their
EXTD= next sessions.  -- Bruce Eder\n\nAMG EXPERT REVIEW: (''The Mamas
EXTD= & The Papas'') Sometimes art and events, personal or otherwise, 
EXTD=converge on a point transcending the significance of either -- a 
EXTD=work achieves a relevance far beyond the seeming boundaries of th
EXTD=e creation at hand. During the 1950s and 1960s, in music, it used
EXTD= to happen occasionally for Elvis Presley, the Beatles, and Bob D
EXTD=ylan, once or twice for the Byrds, and a few times for the Beach 
EXTD=Boys and the Rolling Stones. For the Mamas & the Papas, it happen
EXTD=ed twice, with their first album, If You Can Believe Your Eyes an
EXTD=d Ears, and, on a more complex level, with this album -- which wa
EXTD=s astonishing, given that they had a major upheaval in their memb
EXTD=ership in the midst of recording it. The Mamas & the Papas (also 
EXTD=sometimes referred to as "Cass- John-Michelle-Denny," which might
EXTD= well have been the official title until that lineup started to s
EXTD=hift) was recorded over a period of almost four months, in the wa
EXTD=ke of the massive success of their first two singles and the debu
EXTD=t album, issued in February of 1966. The members were riding a wh
EXTD=irlwind in the spring of 1966, which showed -- along with a lot m
EXTD=ore -- in this album's unintentionally revealing cover photo, dep
EXTD=icting all four of them framed in a window, the other three stand
EXTD=ing while Michelle Phillips reclined in front, bisecting the trio
EXTD= behind her. She looks happy, even pleased with herself, while th
EXTD=e others look just a little tired, even fatigued -- a lot like th
EXTD=e Beatles did on the cover of Beatles for Sale, the main differen
EXTD=ce being that the latter album was made two years into their inte
EXTD=rnational success, while this album was just a few months into th
EXTD=e Mamas & the Papas' history as a recording act. \n\nIf the deman
EXTD=ds and rewards of success -- the concerts, the money, the drugs, 
EXTD=and the need to keep up the quality -- were causing the group to 
EXTD=burn the candle at both ends, Michelle Phillips' extra-curricular
EXTD= romantic activities with Denny Doherty burned it right through t
EXTD=he middle, and did a lot more than bisect the group -- it disrupt
EXTD=ed all of the interlocking relationships, including her marriage 
EXTD=to John Phillips and any trust that she shared with Cass Elliot (
EXTD=who had long adored Doherty), as well as greatly complicating Doh
EXTD=erty's relationships with all of them; and another problem was he
EXTD=r relationship with Gene Clark, formerly the best singer and song
EXTD=writer in the Byrds, with whom she was flirting very publicly and
EXTD= spending lots of time with in private during that season. Philli
EXTD=ps was finally dropped from the group in late June and replaced b
EXTD=y Jill Gibson, a friend of the band, a girlfriend of producer Lou
EXTD= Adler, and a good singer who did a few shows with them before it
EXTD= was decided that they needed Phillips back -- at one point, a co
EXTD=ver photo with Gibson replacing her in the window was prepared, b
EXTD=ut it was never used, though billboards of that shot were put up 
EXTD=to promote the upcoming release. Gibson did end up on parts of th
EXTD=e album, but precisely where is one of the great unanswered quest
EXTD=ions to this day. \n\nAs to the album, it still holds up magnific
EXTD=ently as music, and shows how, even juggling live performances, t
EXTD=elevision appearances, a marriage going bad, and Lord knows what 
EXTD=drugs in his life, John Phillips could think on his feet and crea
EXTD=te like few people this side of John Lennon, Paul McCartney, and 
EXTD=George Martin, and get the others to work it his way -- "No Salt 
EXTD=on Her Tail" started life as a backing track to a Rodgers & Hart 
EXTD=song on a television special that Phillips thought was too good n
EXTD=ot to use on one of his own songs, and he wrote one just for that
EXTD= track that was more than good enough to open the album. Indeed, 
EXTD=the song has an almost tragic beauty about it -- one gets a stron
EXTD=g sense of sadness behind the words and the music and between the
EXTD= lead vocals and the soaring harmonies, while uncredited guest or
EXTD=ganist Ray Manzarek of the not yet famous or especially successfu
EXTD=l Doors plays an Al Kooper-ish, "Like a Rolling Stone"-style keyb
EXTD=oard; Hal Blaine's drums and Joe Osborn's bass provide a rock-sol
EXTD=id rhythm section; and Eric Hord, Tommy Tedesco, and John Phillip
EXTD=s' guitars chime away. All of it sounds a little like the Byrds c
EXTD=hanneled through God. "Trip, Stumble and Fall" was lyrically more
EXTD= ambitious than anything on the first album, and offered luscious
EXTD= harmonies, while "Dancing Bear" was an art song, opening with a 
EXTD=small orchestral accompaniment in the foreground that recedes, sw
EXTD=itching to an acoustic guitar accompaniment and voices almost tot
EXTD=ally isolated, a cappella style, building layer upon layer in the
EXTD=ir accompaniment as though the quartet was suddenly transformed i
EXTD=nto the Serendipity Singers. "Words of Love" was Cass Elliot's gr
EXTD=eat showcase, giving her the spotlight that she filled magnificen
EXTD=tly with an elegant, bluesy pop sound -- and then comes Rodgers &
EXTD= Hart's "My Heart Stood Still," which is transformed into a 12-st
EXTD=ring-driven, horn-ornamented piece of folk-rock, and it leads int
EXTD=o the first side's finish, "Dancing in the Street," arguably the 
EXTD=best straight blue-eyed soul rendition ever done of a Motown numb
EXTD=er and also the song that resulted from Michelle Phillips' return
EXTD= to the fold in the summer of 1966. \n\nSide two opened with John
EXTD= Phillips' masterpiece, "I Saw Her Again," the hardest-rocking so
EXTD=ng of the group's history as well as the place where he crossed s
EXTD=words with the Beatles as a songwriter and producer, and succeede
EXTD=d in matching them. "Strange Young Girls" was a hauntingly beauti
EXTD=ful yet ominous take on the youth scene in Los Angeles at the tim
EXTD=e, and then there was "I Can't Wait," an angry but beautifully ha
EXTD=rmonized bitter love song, with a bassline that's one of the most
EXTD= memorable instrumental moments in the group's history, all about
EXTD= a busted romance. The latter song, the equally venomous "That Ki
EXTD=nd of Girl," the bittersweet "Even if I Could," plus the singles 
EXTD="Words of Love" and "I Saw Her Again" all seemed to reveal more a
EXTD=bout what was happening to the band than any press release could 
EXTD=have -- some of what's here is mean-spirited enough that garage p
EXTD=unk misogynists the Chocolate Watch Band could have covered it wi
EXTD=thout too much trouble. They combine to make this album one of th
EXTD=e nastiest-tempered statements of romance in a mainstream rock al
EXTD=bum of its era, and a lot edgier than any other long-player the g
EXTD=roup ever issued. (And for those who want to hear an almost equal
EXTD=ly good folk-rock album that is a companion piece to this album, 
EXTD=check out Gene Clark with the Gosdin Brothers, recorded a little 
EXTD=later than this album -- listen to some of the more cynical love 
EXTD=songs and one must wonder seriously if Clark wasn't, consciously 
EXTD=or not, giving his "take" on the relationship with Phillips.) The
EXTD= Mamas & the Papas does end on a harmonious note, however, with t
EXTD=he equally bittersweet "Once Was a Time I Thought," a piece of vo
EXTD=calese that rivals the work of Lambert, Hendricks & Ross and anti
EXTD=cipates the records of the Manhattan Transfer, and might be the g
EXTD=roup's single best vocal performance. It's all a good deal messie
EXTD=r than the first album, but it holds up just as well and is just 
EXTD=as essential listening.  -- Bruce Eder\n\nAMG EXPERT REVIEW: (''D
EXTD=eliver'') By the time the Mamas and the Papas recorded and releas
EXTD=ed their third album, the group was continuing, in the words of s
EXTD=inger Denny Doherty, "on its own momentum." Acrimonious personnel
EXTD= changes, rock stardom, fame, money, and drugs (among other facto
EXTD=rs) were taking their toll on the group's chemistry. Fortunately,
EXTD= this momentum is precisely the reason that the album succeeds. B
EXTD=uttressed by the singles "Creeque Alley" (the sometimes hilarious
EXTD= story of how the group came together), "Look Through My Window,"
EXTD= and the stupendous remake of "Dedicated to the One I Love," the 
EXTD=album has some exquisite moments. "Look Through My Window" also i
EXTD=s one of the group's most realized recordings, and the cover of "
EXTD=Twist and Shout" is an absolute killer. Much of the record, frank
EXTD=ly, doesn't sound too different than the group's first two albums
EXTD=, but with the songwriting, vocal, and production excellence, why
EXTD= tamper with genius? The group felt so too, which is why this alb
EXTD=um is Michelle Phillips' personal favorite. It's not too hard to 
EXTD=see why.  -- Matthew Greenwald\n\nAMG EXPERT REVIEW: (''The Papas
EXTD= & The Mamas'') An often misunderstood album, this album (aside f
EXTD=rom the 1971 "reunion" album) was the final record by the Mamas a
EXTD=nd the Papas. As time goes by, it has held up incredibly well, an
EXTD=d sounds better today than when it was released in mid-1968. The 
EXTD=centerpiece of the album is "Dream a Little Dream," which very we
EXTD=ll may be the finest cover version that the group ever recorded, 
EXTD=and in the end, was a very nice way to end the group's short but 
EXTD=incredible career. The album also contains some excellent John Ph
EXTD=illips material such as "12:30" (a minor hit), "Rooms," and "Too 
EXTD=Late." These three tracks form a mini-medley in the middle of the
EXTD= second side, and add a lot of dimension to the record. Cut at th
EXTD=e Phillips' home studio, the album has a simple sound, but when t
EXTD=he vocal majesty cuts through on such tracks as "Mansions" (one o
EXTD=f the band's lost masterpieces), it's faultless.  -- Matthew Gree
EXTD=nwald
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