I didn't think it would ever get here, how about you?
A number of us are online right now looking at Crawdaddy.
Daniel Gannon was my find, he reviews the Mamas & the Papas second album in the November 1966 issue. Excerpt:
Cass * John * Michelle * Dennie
The Mamas & Papas Dunhill 50010
A strange and wondrous animal is the new Mamas and Papas album. The style of the M's and P's has finally gelled. Mama Cass has been short-changed. The inventiveness and originality of the group has taken on a new self-confidence and improved its general musiciaanship. And they've gotten out a fascinating, if disorganized, album.
"Monday Monday" and "California Dreamin'" were but precursors of one of the most distinctive, though sadly hackney-prone, sounds in modern American music. The principle of the sound is simple: the melody is stated by the male voices in the bass line, and in intervals between phrases the upper voices sing a slightly ornamented version of the immediately preceding bass-line phrase. This is no great innovation. Dixieland music has been founded on this principle from the beginning. The distinctive quality of the M's and P's use of it lies i the way Mama Cass slides into notes that fall on strong beats from somewhere a whole note or a half-note below. What one hears is a sort of canon in which the second entrance of each note or phrase is disquised in such a way as to make the whole thing sound like a two or three voice fugue.
[. . .]
Mama Cass is a virtuoso, but someone's been cramping her style. Her debut in "I Call Your Name" immediately rocketed her into the same category as people like Dionne Warwick and gave every promise that her clear falsetto would be bringing relief from Nancy Sinatra, et al. for at least another year or so. And in spite of the fact that she has to use her lower register on the two cuts on this album that feature her, her talent and technique are very evident. "Words of Love" is emphatically the best all-around cut on the lp. It's sung best, it has an unorthodox but excellently thought-out structure, and its coordination of key words and melodic climaxes -- is perfect. The only thing "Dancing in the Street" has going for it, on the other hand, is Cass herself.
To check out the magazine's 1966-1968 archives, click here. There's stuff on Jefferson Airplane, the Animals, Donovan, Dylan, the Surpemes, Joni Mitchell and much more. It's fun just to go through them. I always mean to do that with The New Yorker set we have on disc.
Never have the time.
So take a nice little musical break this weekend and crawl through the archives.
Here's C.I.'s "Iraq snapshot:"