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DISCID=9707b00c
DTITLE=The Mamas and the Papas / The Mamas And The Papas (Japanese Pre
DTITLE=ssing)
DYEAR=1966
DGENRE=Rock
TTITLE0=No Salt On Her Tail
TTITLE1=Trip, Stumble & Fall
TTITLE2=Dancing Bear
TTITLE3=Words Of Love
TTITLE4=My Heart Stood Still
TTITLE5=Dancing In The Street
TTITLE6=I Saw Her Again Last Night
TTITLE7=Strange Young Girls
TTITLE8=I Can't Wait
TTITLE9=Even If I Could
TTITLE10=That Kind Of Girl
TTITLE11=Once Was A Time I Thought
EXTD=The Mamas And The Papas (Japanese Pressing)\nMamas and the Papas\n
EXTD=\nOriginally Released 1966\nCD Edition Released 1987 ??\n\nAMG EX
EXTD=PERT REVIEW: Sometimes art and events, personal or otherwise, con
EXTD=verge on a point transcending the significance of either -- a wor
EXTD=k achieves a relevance far beyond the seeming boundaries of the c
EXTD=reation at hand. During the 1950s and 1960s, in music, it used to
EXTD= happen occasionally for Elvis Presley, the Beatles, and Bob Dyla
EXTD=n, once or twice for the Byrds, and a few times for the Beach Boy
EXTD=s and the Rolling Stones. For the Mamas & the Papas, it happened 
EXTD=twice, with their first album, If You Can Believe Your Eyes and E
EXTD=ars, and, on a more complex level, with this album -- which was a
EXTD=stonishing, given that they had a major upheaval in their members
EXTD=hip in the midst of recording it. The Mamas & the Papas (also som
EXTD=etimes referred to as "Cass- John-Michelle-Denny," which might we
EXTD=ll have been the official title until that lineup started to shif
EXTD=t) was recorded over a period of almost four months, in the wake 
EXTD=of the massive success of their first two singles and the debut a
EXTD=lbum, issued in February of 1966. The members were riding a whirl
EXTD=wind in the spring of 1966, which showed -- along with a lot more
EXTD= -- in this album's unintentionally revealing cover photo, depict
EXTD=ing all four of them framed in a window, the other three standing
EXTD= while Michelle Phillips reclined in front, bisecting the trio be
EXTD=hind her. She looks happy, even pleased with herself, while the o
EXTD=thers look just a little tired, even fatigued -- a lot like the B
EXTD=eatles did on the cover of Beatles for Sale, the main difference 
EXTD=being that the latter album was made two years into their interna
EXTD=tional success, while this album was just a few months into the M
EXTD=amas & the Papas' history as a recording act. \n\nIf the demands 
EXTD=and rewards of success -- the concerts, the money, the drugs, and
EXTD= the need to keep up the quality -- were causing the group to bur
EXTD=n the candle at both ends, Michelle Phillips' extra-curricular ro
EXTD=mantic activities with Denny Doherty burned it right through the 
EXTD=middle, and did a lot more than bisect the group -- it disrupted 
EXTD=all of the interlocking relationships, including her marriage to 
EXTD=John Phillips and any trust that she shared with Cass Elliot (who
EXTD= had long adored Doherty), as well as greatly complicating Dohert
EXTD=y's relationships with all of them; and another problem was her r
EXTD=elationship with Gene Clark, formerly the best singer and songwri
EXTD=ter in the Byrds, with whom she was flirting very publicly and sp
EXTD=ending lots of time with in private during that season. Phillips 
EXTD=was finally dropped from the group in late June and replaced by J
EXTD=ill Gibson, a friend of the band, a girlfriend of producer Lou Ad
EXTD=ler, and a good singer who did a few shows with them before it wa
EXTD=s decided that they needed Phillips back -- at one point, a cover
EXTD= photo with Gibson replacing her in the window was prepared, but 
EXTD=it was never used, though billboards of that shot were put up to 
EXTD=promote the upcoming release. Gibson did end up on parts of the a
EXTD=lbum, but precisely where is one of the great unanswered question
EXTD=s to this day. \n\nAs to the album, it still holds up magnificent
EXTD=ly as music, and shows how, even juggling live performances, tele
EXTD=vision appearances, a marriage going bad, and Lord knows what dru
EXTD=gs in his life, John Phillips could think on his feet and create 
EXTD=like few people this side of John Lennon, Paul McCartney, and Geo
EXTD=rge Martin, and get the others to work it his way -- "No Salt on 
EXTD=Her Tail" started life as a backing track to a Rodgers & Hart son
EXTD=g on a television special that Phillips thought was too good not 
EXTD=to use on one of his own songs, and he wrote one just for that tr
EXTD=ack that was more than good enough to open the album. Indeed, the
EXTD= song has an almost tragic beauty about it -- one gets a strong s
EXTD=ense of sadness behind the words and the music and between the le
EXTD=ad vocals and the soaring harmonies, while uncredited guest organ
EXTD=ist Ray Manzarek of the not yet famous or especially successful D
EXTD=oors plays an Al Kooper-ish, "Like a Rolling Stone"-style keyboar
EXTD=d; Hal Blaine's drums and Joe Osborn's bass provide a rock-solid 
EXTD=rhythm section; and Eric Hord, Tommy Tedesco, and John Phillips' 
EXTD=guitars chime away. All of it sounds a little like the Byrds chan
EXTD=neled through God. "Trip, Stumble and Fall" was lyrically more am
EXTD=bitious than anything on the first album, and offered luscious ha
EXTD=rmonies, while "Dancing Bear" was an art song, opening with a sma
EXTD=ll orchestral accompaniment in the foreground that recedes, switc
EXTD=hing to an acoustic guitar accompaniment and voices almost totall
EXTD=y isolated, a cappella style, building layer upon layer in their 
EXTD=accompaniment as though the quartet was suddenly transformed into
EXTD= the Serendipity Singers. "Words of Love" was Cass Elliot's great
EXTD= showcase, giving her the spotlight that she filled magnificently
EXTD= with an elegant, bluesy pop sound -- and then comes Rodgers & Ha
EXTD=rt's "My Heart Stood Still," which is transformed into a 12-strin
EXTD=g-driven, horn-ornamented piece of folk-rock, and it leads into t
EXTD=he first side's finish, "Dancing in the Street," arguably the bes
EXTD=t straight blue-eyed soul rendition ever done of a Motown number 
EXTD=and also the song that resulted from Michelle Phillips' return to
EXTD= the fold in the summer of 1966. \n\nSide two opened with John Ph
EXTD=illips' masterpiece, "I Saw Her Again," the hardest-rocking song 
EXTD=of the group's history as well as the place where he crossed swor
EXTD=ds with the Beatles as a songwriter and producer, and succeeded i
EXTD=n matching them. "Strange Young Girls" was a hauntingly beautiful
EXTD= yet ominous take on the youth scene in Los Angeles at the time, 
EXTD=and then there was "I Can't Wait," an angry but beautifully harmo
EXTD=nized bitter love song, with a bassline that's one of the most me
EXTD=morable instrumental moments in the group's history, all about a 
EXTD=busted romance. The latter song, the equally venomous "That Kind 
EXTD=of Girl," the bittersweet "Even if I Could," plus the singles "Wo
EXTD=rds of Love" and "I Saw Her Again" all seemed to reveal more abou
EXTD=t what was happening to the band than any press release could hav
EXTD=e -- some of what's here is mean-spirited enough that garage punk
EXTD= misogynists the Chocolate Watch Band could have covered it witho
EXTD=ut too much trouble. They combine to make this album one of the n
EXTD=astiest-tempered statements of romance in a mainstream rock album
EXTD= of its era, and a lot edgier than any other long-player the grou
EXTD=p ever issued. (And for those who want to hear an almost equally 
EXTD=good folk-rock album that is a companion piece to this album, che
EXTD=ck out Gene Clark with the Gosdin Brothers, recorded a little lat
EXTD=er than this album -- listen to some of the more cynical love son
EXTD=gs and one must wonder seriously if Clark wasn't, consciously or 
EXTD=not, giving his "take" on the relationship with Phillips.) The Ma
EXTD=mas & the Papas does end on a harmonious note, however, with the 
EXTD=equally bittersweet "Once Was a Time I Thought," a piece of vocal
EXTD=ese that rivals the work of Lambert, Hendricks & Ross and anticip
EXTD=ates the records of the Manhattan Transfer, and might be the grou
EXTD=p's single best vocal performance. It's all a good deal messier t
EXTD=han the first album, but it holds up just as well and is just as 
EXTD=essential listening. -- Bruce Eder\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=Masterpiece!, August 2, 2004\nReviewer: Gary Morris (Portland, OR
EXTD= USA)\nWhy John Phillips is not considered in the first rank of s
EXTD=ongwriters is incomprehensible. This is a typically masterful eff
EXTD=ort with soaring harmonies, brilliant singing, heartbreaking lyri
EXTD=cs (listen to "Even If I Could") that maintains the spell it conj
EXTD=ured on first release. No major AM hits here except, I think, "I 
EXTD=Saw Her Again" - which others have noted is probably their hardes
EXTD=t rocker. But the bittersweet beauty of these songs, the longing,
EXTD= is simply without peer, from the eastern-mystical riffs of "Danc
EXTD=ing Bear" to the towering blend of voices on "I Saw Her Again." I
EXTD=ncomparable and indispensable.\n\n\nAMAZON.COM CUSTOMER REVIEW\nT
EXTD=HE MAMAS & THE PAPAS" (2nd release-1966), October 23, 2003\nRevie
EXTD=wer: A music fan\n"This, the second album by the Mamas & the Papa
EXTD=s, was recorded and released during the precise high point in the
EXTD=ir brief career, and, not surprisingly, one of their most tumultu
EXTD=ous times. During the recording of the album, Michelle Phillips (
EXTD=temporarily estranged from husband John Phillips) was unceremonio
EXTD=usly booted out of the band. Replacement Jill Gibson filled in fo
EXTD=r a brief period before Michelle was finally brought back into th
EXTD=e band. (It's uncertain weather Gibson is on the album however.) 
EXTD=The end result - while not quite as striking as a whole as their 
EXTD=debut - is still magnificent. Aside from the hits "I Saw Her Agai
EXTD=n",which was possibly the hardest-rocking track the group ever re
EXTD=corded, and "Words of Love" (featuring Cass Elliot), the rest of 
EXTD=the album has numerous highlights. Most notably, "My Heart Stood 
EXTD=Still" (written by Rodgers and Hart) and "Once Was a Time I Thoug
EXTD=ht" are perhaps the finest recordings that the group ever cut."
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