The Mamas & The Papas – The Mamas And The Papas (1966)

The Mamas & the Papas is the self-titled second studio album by the Mamas and the Papas, released in September 1966.[1] The album peaked at number 4 on the US Billboard 200 album chart and number 24 in the UK. The lead off single, “I Saw Her Again”, reached number 5 on the US Billboard Hot 100 chart and number 11 in the UK Singles Chart. “Words of Love” was released as the second single in the US peaking at number 5. In the UK, it was released as a double A-side with “Dancing in the Street” (a cover of the 1964 hit by Martha and the Vandellas) and charted at number 47 in the UK.

After it was discovered that group member Michelle Phillips was having an affair with Gene Clark of the Byrds, the tension in the band erupted and Phillips was fired from the group on June 4, 1966. In June, a new singer was hired to replace her. Jill Gibson was producer Lou Adler’s girlfriend at the time and was already a singer/songwriter who had performed on several Jan and Dean albums.

There has been considerable speculation over the years about which songs, if any, Jill Gibson sings on. In 2009, dedicated fans Richard Campbell and Greg Russo talked to Gibson herself, and consulted session sheets from the recording of the album. Their conclusion was that Gibson sings on “Trip, Stumble and Fall,” “Dancing Bear,” “Strange Young Girls,” “I Can’t Wait,” “Even If I Could,” and “That Kind of Girl,” as well as “Did You Ever Want to Cry” (which turned up on the following album, Deliver); while Michelle Phillips sings on “No Salt on Her Tail,” “Words of Love,” “My Heart Stood Still,” “Dancing in the Street,” “I Saw Her Again,” and “Once Was a Time I Thought.”

The photo already chosen for the album’s cover featured Michelle Phillips prominently, so Dunhill had Gibson take a photo posed in exactly the same position as Michelle, and then superimposed the new photo over that of Phillips. However, the decision was then made to shoot an entirely new picture with the new line-up and to also change the album’s title to Crashon Screamon All Fall Down. Several thousand advance pressings of the album with this cover and title were sent out to radio stations and record distributors, but with the return of Michelle to the group just prior to the LP’s general release, the original cover and eponymous title were quickly reinstated. Copies of the rare Crashon pressings are now highly sought after collector’s items.

The album was first issued on CD in 1988 (MCAD-31043) and also appears in its entirety on All the Leaves Are Brown, a retrospective compilation of the band’s first four albums, with the single versions of “I Saw Her Again” and “Words of Love”.

Track Listing:

Side one
“No Salt on Her Tail” – 2:35
“Trip, Stumble and Fall” (John Phillips, Michelle Gilliam) – 2:35
“Dancing Bear” – 4:08
“Words of Love” – 2:13
“My Heart Stood Still” (Richard Rodgers, Lorenz Hart) – 1:43
“Dancing in the Street” (Marvin Gaye, William “Mickey” Stevenson, Ivy Jo Hunter) – 3:00

Side two
“I Saw Her Again” (Phillips, Denny Doherty) – 2:50
“Strange Young Girls” – 2:45
“I Can’t Wait” – 2:40
“Even If I Could” – 2:40
“That Kind of Girl” – 2:20
“Once Was a Time I Thought” – 0:58

AllMusic Review: Sometimes art and events, personal or otherwise, converge on a point transcending the significance of either — a work achieves a relevance far beyond the seeming boundaries of the creation at hand. During the 1950s and 1960s, in music, it used to happen occasionally for Elvis Presley, the Beatles, and Bob Dylan, once or twice for the Byrds, and a few times for the Beach Boys and the Rolling Stones. For the Mamas & the Papas, it happened twice, with their first album, If You Can Believe Your Eyes and Ears, and, on a more complex level, with this album — which was astonishing, given that they had a major upheaval in their membership in the midst of recording it. The Mamas & the Papas (also sometimes referred to as “Cass- John-Michelle-Denny,” which might well have been the official title until that lineup started to shift) was recorded over a period of almost four months, in the wake of the massive success of their first two singles and the debut album, issued in February of 1966. The members were riding a whirlwind in the spring of 1966, which showed — along with a lot more — in this album’s unintentionally revealing cover photo, depicting all four of them framed in a window, the other three standing while Michelle Phillips reclined in front, bisecting the trio behind her. She looks happy, even pleased with herself, while the others look just a little tired, even fatigued — a lot like the Beatles did on the cover of Beatles for Sale, the main difference being that the latter album was made two years into their international success, while this album was just a few months into the Mamas & the Papas’ history as a recording act.

If the demands and rewards of success — the concerts, the money, the drugs, and the need to keep up the quality — were causing the group to burn the candle at both ends, Michelle Phillips’ extra-curricular romantic activities with Denny Doherty burned it right through the middle, and did a lot more than bisect the group — it disrupted all of the interlocking relationships, including her marriage to John Phillips and any trust that she shared with Cass Elliot (who had long adored Doherty), as well as greatly complicating Doherty’s relationships with all of them; and another problem was her relationship with Gene Clark, formerly the best singer and songwriter in the Byrds, with whom she was flirting very publicly and spending lots of time with in private during that season. Phillips was finally dropped from the group in late June and replaced by Jill Gibson, a friend of the band, a girlfriend of producer Lou Adler, and a good singer who did a few shows with them before it was decided that they needed Phillips back — at one point, a cover photo with Gibson replacing her in the window was prepared, but it was never used, though billboards of that shot were put up to promote the upcoming release. Gibson did end up on parts of the album, but precisely where is one of the great unanswered questions to this day.

As to the album, it still holds up magnificently as music, and shows how, even juggling live performances, television appearances, a marriage going bad, and Lord knows what drugs in his life, John Phillips could think on his feet and create like few people this side of John Lennon, Paul McCartney, and George Martin, and get the others to work it his way — “No Salt on Her Tail” started life as a backing track to a Rodgers & Hart song on a television special that Phillips thought was too good not to use on one of his own songs, and he wrote one just for that track that was more than good enough to open the album. Indeed, the song has an almost tragic beauty about it — one gets a strong sense of sadness behind the words and the music and between the lead vocals and the soaring harmonies, while uncredited guest organist Ray Manzarek of the not yet famous or especially successful Doors plays an Al Kooper-ish, “Like a Rolling Stone”-style keyboard; Hal Blaine’s drums and Joe Osborn’s bass provide a rock-solid rhythm section; and Eric Hord, Tommy Tedesco, and John Phillips’ guitars chime away. All of it sounds a little like the Byrds channeled through God. “Trip, Stumble and Fall” was lyrically more ambitious than anything on the first album, and offered luscious harmonies, while “Dancing Bear” was an art song, opening with a small orchestral accompaniment in the foreground that recedes, switching to an acoustic guitar accompaniment and voices almost totally isolated, a cappella style, building layer upon layer in their accompaniment as though the quartet was suddenly transformed into the Serendipity Singers. “Words of Love” was Cass Elliot’s great showcase, giving her the spotlight that she filled magnificently with an elegant, bluesy pop sound — and then comes Rodgers & Hart’s “My Heart Stood Still,” which is transformed into a 12-string-driven, horn-ornamented piece of folk-rock, and it leads into the first side’s finish, “Dancing in the Street,” arguably the best straight blue-eyed soul rendition ever done of a Motown number and also the song that resulted from Michelle Phillips’ return to the fold in the summer of 1966.

Side two opened with John Phillips’ masterpiece, “I Saw Her Again,” the hardest-rocking song of the group’s history as well as the place where he crossed swords with the Beatles as a songwriter and producer, and succeeded in matching them. “Strange Young Girls” was a hauntingly beautiful yet ominous take on the youth scene in Los Angeles at the time, and then there was “I Can’t Wait,” an angry but beautifully harmonized bitter love song, with a bassline that’s one of the most memorable instrumental moments in the group’s history, all about a busted romance. The latter song, the equally venomous “That Kind of Girl,” the bittersweet “Even if I Could,” plus the singles “Words of Love” and “I Saw Her Again” all seemed to reveal more about what was happening to the band than any press release could have — some of what’s here is mean-spirited enough that garage punk misogynists the Chocolate Watch Band could have covered it without too much trouble. They combine to make this album one of the nastiest-tempered statements of romance in a mainstream rock album of its era, and a lot edgier than any other long-player the group ever issued. (And for those who want to hear an almost equally good folk-rock album that is a companion piece to this album, check out Gene Clark with the Gosdin Brothers, recorded a little later than this album — listen to some of the more cynical love songs and one must wonder seriously if Clark wasn’t, consciously or not, giving his “take” on the relationship with Phillips.) The Mamas & the Papas does end on a harmonious note, however, with the equally bittersweet “Once Was a Time I Thought,” a piece of vocalese that rivals the work of Lambert, Hendricks & Ross and anticipates the records of the Manhattan Transfer, and might be the group’s single best vocal performance. It’s all a good deal messier than the first album, but it holds up just as well and is just as essential listening. — Bruce Eder

Schill Score: 2.5/10

Schill Comment: This album is severely overrated, and is downright repetitive and boring at times and doesn’t hold a candle to ” If You Can Believe Your Eyes And Ears”

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The Mamas & The Papas – If You Can Believe Your Eyes And Ears (1966)

If You Can Believe Your Eyes and Ears is the debut album by the Mamas and the Papas (written as The Mama’s and the Papa’s ), released in 1966. In 2003, it was ranked number 127 on Rolling Stone magazine’s list of the 500 greatest albums of all time, with its rank rising to number 112 in the 2012 revision.

The stereo mix of the album is included in its entirety on All the Leaves are Brown (2001), a two-CD retrospective compilation of the band’s first four albums and various singles, as well as on The Mamas & the Papas Complete Anthology (2004), a four-CD box-set collection released in the UK.

The mono mix of the album was remastered and reissued on vinyl by Sundazed Records in 2010, and on CD the following year.

Track Listing:

Side one

“Monday, Monday” (John Phillips) – 3:28
“Straight Shooter” (J. Phillips) – 2:58
“Got a Feelin'” (J. Phillips, Denny Doherty) – 2:53
“I Call Your Name” (John Lennon, Paul McCartney) – 2:38
“Do You Wanna Dance” (Bobby Freeman) – 3:00
“Go Where You Wanna Go” (J. Phillips) – 2:29

Side two

“California Dreamin'” (J. Phillips, Michelle Phillips) – 2:42
“Spanish Harlem” (Jerry Leiber, Phil Spector) – 3:22
“Somebody Groovy” (J. Phillips) – 3:16
“Hey Girl” (J. Phillips, M. Phillips) – 2:30
“You Baby” (Steve Barri, P. F. Sloan) – 2:22
“The ‘In’ Crowd” (Billy Page) – 3:12

Review: In the spring of 1966, If You Can Believe Your Eyes and Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet the Beatles had seemed two years earlier. Released just as “California Dreaming” was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips’ discovery of what one could do to build a polished recorded sound in the studio — it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. “Monday, Monday” and “California Dreamin'” are familiar enough to anyone who’s ever listened to the radio, and “Go Where You Wanna Go” isn’t far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal “Got a Feelin’,” the rocking “Straight Shooter” and “Somebody Groovy,” the jaunty, torch song-style version of “I Call Your Name,” and the prettiest versions of “Do You Wanna Dance” and “Spanish Harlem” that anyone ever recorded. If the material here has a certain glow that the Mamas & the Papas’ subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members’ personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions.

Schill Score: 8/10

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