Author Archives: hyperbolium

OST: Original Music From the Addams Family

Vic Mizzy’s character themes and incidental music from the 1960s TV show

This is the original music composed for the 1960’s Addams Family television series, as written by noted television and film composer Vic Mizzy. The familiar vocal version of the main theme is presented at album’s end; the longer, instrumental version that opens the album is more in line with the jazzy themes and incidental music that Mizzy scored for the show. Alongside the trademark harpsichord (most prominent on “Gomez”), Mizzy mixed a healthy dose of electric guitar, jazzy woodwinds and bouncy bass into his charts, but the female chorus and tympani will remind you that these are easy instrumentals in the vein of Neal Hefti, Nelson Riddle, Billy Mure and others. If you’re a fan of the television show you’ll quickly recognize the character themes and incidental music cues, many of which were used in abbreviated form – here you get the entire tunes. This is a great find for Addams Family fans and anyone who collects ‘60s easy-pop. [©2011 hyperbolium dot com]

Ohio Express: Chewy Chewy

Sweet second album from bubblegum legends

Alongside the 1910 Fruitgum Company, the Ohio Express was among the purest expressions of producers Jerry Kasenetz and Jeff Katz’s bubblegum ethos. “Ohio Express” was used to name several different musical groups, including singles originally recorded by Rare Breed, a touring outfit originally called Sir Timothy & The Royals, and various aggregations of New York studio musicians fronted by the nasal vocals of singer/songwriter Joey Levine. It’s the latter group that hit with Levine’s “Yummy Yummy Yummy” (a song that plays “God Bless America” to the Archies’ national anthem, “Sugar Sugar”), and followed-up with the title track of this 1969 album. Levine would leave the group shortly after the album’s release, and still another edition of the Ohio Express, comprised of future members of 10cc, released the Graham Gouldman-penned “Sausalito (Is the Place to Go).”

Like the best of the bubblegum groups, the Ohio Express fashioned nursery-rhyme lyrics, earworm pop melodies and sharp studio production into music as effervescent as it is devoid of intellectual calories. If you’re looking for scholarly heft, you need to look elsewhere, but if you want two-minutes-thirty-eight that can lift your mood, “Chewy Chewy” is a good bet. In addition to Levine’s originals, the group covered a pair of 1910 Fruitgum Company hits (“1, 2, 3 Red Light” and “Simon Says,” apparently with reused backing tracks), employing Partridge Family-styled harmony vocals and touches of organ. There’s light psych (“Let it Take You”) and Tommy James-styled frat rock (“So Good, So Fine”), and though “Yes Sir” unashamedly borrows from “Yummy Yummy Yummy,” it shows that the hook still had life in it.

Resnick’s ballad “Fun” provides a few minute’s respite from the relentlessly chirpy bubblegum productions, and the odd bits of dialog laid in between several of the cuts suggest the quick-cutting, non-sequitur humor of Rowan & Martin’s Laugh-In. The Chewy Chewy album is available as a two-fer with the group’s eponymous Buddah debut, the latter of which is otherwise out-of-print in the US. If you’re looking for all of the group’s biggest hits in one place, opt for the Best Of, which includes “Yummy Yummy Yummy,” “Down at Lulu’s,” “Chewy Chewy,” “Mercy,” and “Sausalito (Is the Way to Go),” but for the group’s devotees, it’s great to have the album cuts readily available. [©2011 hyperbolium dot com]

The Premiers: Farmer John Live

Garage rock from the East Side

It may be true that the Premiers recorded this live, but in the studio, rather than at the Fullerton club originally claimed to be the venue. The crowd sounds may well have been dubbed in afterward, but they still create the atmosphere of a loose, enthusiastic club gig. The album’s title track (originally waxed by Don & Dewey as ‘50s R&B) was included on Lenny Kaye’s seminal Nuggets, and the rest of the tracks follow in the same vein, with unison vocals from guitarists John Perez and George Delgato, and female fans shrieking and singing along. The rave-ups feel like a Saturday night in East L.A., and the ballads, including covers of the Moonglows’ “We Go Together,” Johnnie and Joe’s “Over the Mountain, Across the Sea,” and Johnny Ace’s “Anymore” provide slow dances to hold your partner tight. Notable East Side producer, musician and songwriter Max Uballez is represented by the originals “Annie Oakley” and “Feel Like Dancing” (the latter of which mentions his classic “Slauson Shuffle”). The Premiers weren’t accomplished musicians, but that’s part of their charm; they played with the foot-stomping verve that kept the party going. The two- or three-track stereo sounds like an early Beatles record, with vocals on one side, instruments on the other, and crowd chatter on both. Switch your set to mono and have yourself a dance party! [©2011 hyperbolium dot com]

Jerry Reed: Explores Guitar Country

Early Jerry Reed album explores country, soul, jazz, blues and folk

Long before Jerry Reed became a music star, breaking through with 1970’s “Amos Moses” and 1971’s “When You’re hot, You’re Hot,” and before he became a television and film actor,  he was an in-demand A-list Nashville guitar player and struggling solo star. No less than Chet Atkins felt that Reed was a major talent as a picker, encouraging him to add instrumentals and solos to his albums, and bestowing upon him the title “Certified Guitar Player.” This 1969 collection shows off the tension between Reed’s incredible talent as a guitarist and his self-image as a singer. Together with Atkins as producer, Reed creates modern-pop arrangements of standards and traditional folk, country and bluegrass tunes, adding original twists (such as jazz-inflected blues-funk on Bill Monroe’s “Blue Moon of Kentucky”) and leaving plenty of room for his finger picking. This is a thoughtful and at times deeply contemplative album, surprisingly experimental and forward-thinking for a Nashville artist who’d yet to fully establish himself with country music fans. Those who know Reed’s later hits will enjoy this earlier work, and those who aren’t fond of Nashville’s ‘70s sounds (and perhaps favor Willie Nelson’s Stardust era interpretations of standards) will be impressed at the soul, jazz, blues, and folk flavors woven into the country base. [©2011 hyperbolium dot com]

Johnny Mathis: Those Were the Days

Terrific easy listening vocal pop from 1968

After an underwhelming run on Mercury, Johnny Mathis returned to Columbia in 1967 to begin a string of fine albums with arranger/producer Robert Mersey. His second album back at Columbia provided Mathis an opportunity to rework 1960s pop, folk and adult contemporary hits in his own style; chief among the covers is his romantic treatment of the title tune. Reclaiming the song from Hopkins’ dance hall hit single, Mathis and arranger Robert Mersey give the song a romantic treatment that adds Latin touches to a vocal whose cadences suggest “If I Were a Rich Man” from Fiddler on the Roof. Mersey leaves Mathis a great deal of room to stretch out, claiming a number of MOR classics with his trademark vocal waver, and adding a nice twist to Jose Feliciano’s interpretation of the Doors’ “Light My Fire.” The album included two adult contemporary chart hits, “You Make Me Think About You” (from the soundtrack to With Six You Get Eggroll), and a cover of Simon & Garfunkel’s “The 59th Street Bridge Song (Feelin’ Groovy).” There’s nothing truly startling here, in fact the album’s craft is finely understated, but Mathis’ subtle reinvention of these hits shows the magic of his style. [©2011 hyperbolium dot com]

Johnny Mathis’ Home Page

Jan and Dean: Surf City and Other Swingin’ Cities

Take a road trip with Jan & Dean

As great as are the singles (1963’s “Surf City” and “Honolulu Lulu”), Jan & Dean’s first concept album doesn’t always represent their most interesting or inventive work. Heavy on covers that pale in comparison to the originals, the duo’s nasally voices weren’t well-suited to Rodgers & Hart’s “Manhattan” or Tony Bennett’s classic “I Left My Heart in San Francisco.” Still, Jan Berry’s true stereo production is excellent, and there are some unusual touches in his arrangements – like fuzz guitar played against violins – that are oddly compelling. They manage to rock Freddy Cannon’s “Tallahassee Lassie” in a sun-bleached West Coast sort of way, and fare nicely with the nostalgic novelty “Philadelphia, PA” the swinging cha cha of Chuck Berry’s “You Came a Long Way from St. Louis,” and the go-go closer “Soul City.” [©2011 hyperbolium dot com]

Various Artists: San Francisco Roots

Mid-60s San Francisco rock and pop from the Autumn label

This is a reissue of a 1968 Vault Records LP that anthologized mid-60s tracks from San Francisco’s Autumn Records. The Beau Brummels, the label’s biggest stars, sing four tracks, including the stellar “Don’t Talk to Strangers” and “Sad Little Girl.” Superstar-in-waiting Grace Slick sings lead on the Great Society’s pre-Jefferson Airplane version of “Somebody to Love” and provides background wails on “Free Advice.” The Mojo Men, Vejtables and Tikis offer up great pop-rock tracks, but the set’s gem is the Knight Riders garage-rock “I.” This collection doesn’t match the depth of Big Beat’s out-of-print Dance With Me: The Autumn Teen Sound, but it’s a good start for those who want a taste of San Francisco’s mid-60s teen scene. [©2011 hyperbolium dot com]

The Earls: Remember Then

Fine sides from doo-wop’s later years

The Earls were a doo-wop group formed in the Bronx in the late ‘50s. They’re most fondly remembered for this set’s title track, released in 1962 and peaking at #24 the following year. The group’s first four A-sides are included here, starting with 1961’s “Life is But a Dream” and its follow-up “Looking for My Baby,” 1962’s “Remember Then” (presented here in a stereo mix that doesn’t have the same punch as the original mono) and 1963’s “Never.” Their 1963 demo of “I Believe” and 1964 single “Cry Cry Cry” are also treats. The odd-bodkin in the lot is a suitably overwrought cover of “I Who Have Nothing” that seems to be from a later, non-doo wop period in the group’s history. The Earls stayed together in various lineups for quite a few years, which means this collection is missing numerous B-sides and additional singles. The Earls were a terrific example of the artistry that could still be found in doo wop’s waning days, with Larry Chance’s strong lead vocals backed up by sharp harmonies. This selection of their early A-sides is a good taste, but for the whole story you’ll need to track down out-of-print collections released by Collectables, Emor and Ace. [©2011 hyperbolium dot com]

Larry Chance and the Earls’ Home Page

Bobbie Gentry: Ode to Billy Joe

A strong debut album overshadowed by its title hit

The raw, bluesy edge in Gentry’s voice as she spells out “M-I-Double S-I-Double S-I-Double P-I” sounds as if she’s still clearing her throat from the previous night’s bourbons and Marlboros. The album’s title hit doesn’t really prepare you for the hard soul guitar, funky drumming and swampy horns of the opening track. That same vocal edginess also works well on the album’s ballads, combining folk, country, soul and jazz notes with textural orchestrations. The album’s few pop tracks, including “Sunday Best” and “Hurry, Tuesday Child,” don’t play to Gentry’s strengths and are outclassed by the funkier, bluesier, country-folk. Gentry wrote ten of the album’s eleven cuts, but she didn’t have ten fully original arrangements, as the acoustic guitar and bass hooks of “Ode to Billy Joe” are repeated on nearly every track, blunting the punch of “Ode to Billy Joe” by the time you get to the hit at album’s end. Her lyrics sketch the Delta’s poverty, fauna (“Bugs”), commerce, characters, and gothic secrets. This is a strong debut, though it doesn’t fully live up to its original single (“Mississippi Delta”), nor the flip-side (“Ode to Billy Joe”) that shot Gentry to stardom. [©2011 hyperbolium dot com]