the words "i could be in love with almost every one/ and i will be alone again tonight with you" are sung in a very intimate high-register, backed by glorious acoustic guitar plucking and horn bursts. two minutes in, the song erupts into an extended horn solo! probably the most perfectly orchestrated pop song.
from Forever Changes, available on CD
09 Oct 04 ·plasticsun: I agree - unfortunately so did Miller beer, which used the horn part in a commericial aimed at the "Cinco de mayo" crowd. Still an incredible song.
This record always raises my temperature. Honest, charming, and always a delight to hear. The same chemistry that Burt Bacharach crafted comes across here without pretension or compromise. Great mix of loungey now sound and blue eyed soul. A timeless classic, and it doesn't stop there!
from Keith 98.6/I Ain't Gonna Lie (Mercury SR 61102/MG 21002)
08 Dec 05 ·Swinging London: Have you ever noticed how similar the intro sounds to the tune of 'Bridge Over Troubled Waters'?
The 'B' side to this song, 'The Teeny Bopper Song' is also very groovy. 17 Apr 07 ·artlongjr: This was the song that turned me on to Keith, I also have "Daylight Savin' Time" which is excellent as well. His producer Jerry Ross apparently added some jazzy elements to his arrangements.
Does anybody really know what's going on here? Probably one of the oddest records you will ever hear, unless you are completely jaded by Japanese noise & IDM. A legend to those who know him, but if you have only heard his collaborations you need to hear this, because it explains nothing. I chose this song merely because it's playing right now... This album is a giant standing on the shoulders of giants, the (pen?) ultimate of LA studio excess. What more can you say?
Super groovy percussive Hammond work-out on the mod-pop Page One label. (The B-side to Puppet On A String.) I got pretty tired of listening to wimp-out Hammond slop, but this is a dancefloor-filling boomer. Costs an arm and a leg on a 7" - anyone know if it's on a compilation?
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.