I almost know nothing about the Chad Mitchell trio, except that John Denver was in the group. I'm not even sure that this is the same guy for that matter. I guess it's really not too suprising that an old folkie would team-up with geniuses like Bob Dorough & Stu Scharf for a little boot in the ass, since those guys seemed to be working a lot of crossover pop material. That's really the reason I picked this up, basically to see what could happen.
The record ends up being incredible actually. Imagine a mix of "golden throat" type schmaltz, Tom Rapp-ish hip folk, Nilssonesque melodrama, and the poetic and jazzy humor of Scharf & Dorough and that will sum it up. It can grow on you for sure.
This track is in the sort of word jazz thing in a highly characterized way hard to describe without taking up too much space... just listen. I think this was a piece from an Alan Arkin LP. Suppose I will have to get one of those now.
19 Mar 06 ·b. toklas: The album "Chad" on Bell records is the one to get.
Great songs (by Jake Holmes, Joni Mitchell and others) and fantastic arrangements. Hal Blaine and a couple of other wrecking crew members and great musicians are on it, too. In places it also reminds me of the group H.P. Lovecraft. So it might even be interesting for lovers of psychedelic music (not for those who hate strings, of course). I wonder if I should call it a masterpiece. 18 Apr 07 ·artlongjr: I second that on the "Chad" album...it's terrific. There's a 7-minute plus cover of Tim Buckley's "Goodbye and Hello" on there that rather stunned me, since it seems like a very challenging song to sing. The H.P.Lovecraft connection comes through Chicago producer Bill Traut, who owned Dunwich Records (the album is a Dunwich production). Traut was involved with H.P. Lovecraft, and of course the Shadows of Knight.
This is so wrong; it ends up being right somehow. On paper, this cover is a car wreck. Barbara takes on Bowie’s brilliant, epic ballad of camp surrealism – his homage to big, theatrical female belters like Judy Garland, Shirley Bassey and…Streisand, herself – and the song escapes her utterly. Her delivery sound like she learned the lyrics phonetically. (She might as well be singing in Cantonese.) And Jon Peters’ production/Tom Scott’s arrangements bring to mind the cool, “L.A.-sound” of Joni Mitchell’s “Court and Spark” LP – minus all the clever bits Joni brought to the table. Yet it spite of all of these faults – this version works. The song is just too good, and Babs’ charisma is just too powerful. It’s a [Space] oddity you’ve got to hear to believe.
probably my favourite early elvis recording, this bouncy little rockabilly number neatly captures his recording persona before he got consumed by his own image. dig the staccato guitar beat in the refrain.
Oh, my... I know that she gets played to death, and has her lion's share of recommendations on these pages, but I have to mention this one.
For an artist considered sexy in any context this really takes it high. The track just makes you wanna light the candles, pour the cava, burn the buddah, and get freaky-sticky all over the couch! I mean come on! A total love down... Reminds me of the best stuff from the Moments/Sylvia Robinson camp... Smooth smooth soul. And with one of the most sultry voices in recorded history, it's just insane.