José Miguel Class “Trofeos Otorgados A José Miguel Class – El Gallito De Manati”

Without knowing anything about this record, I really like it just for how much of a time and place it sounds—it gives me the feeling of, say, the Forties (1940s)—even though I wasn’t remotely born yet, so I don’t really know what it would be like living then—what music I’d be hearing on the wind. Also, the feeling of a far-off (from Wisconsin, that is) land, such as one where English isn’t the primary language—and I guess it’s Spanish—and is sung in a very romantic, emotive style—bordering on corny—but good corny. I’d only be off by a few decades—in the Forties, José Miguel Class would have been a young boy, in Manati, Puerto Rico—maybe listening to music that sounds like this? According to the internet, he was born in the Thirties—grew up to be a famous singer in Puerto Rico, and later moved to Mexico. The “Discogs” site lists 85 record releases—but I can’t find one that matches to this record, exactly. My best guess is that it’s from the Seventies, though I may be wrong. You can use your internet to translate—somewhat—but you still need the context to really get it right. I don’t know what the songs are about, but they certainly sound romantic to me! And the liner notes are in Spanish, so the best thing I can do is describe what’s in front of me. Maybe it would be better if I always did that—and didn’t rely on the internet—like when I’m in a cabin in the North Woods. Which, to be honest, is where I wish I was right now.

The music is up-tempo, energetic (without being jaunty), with the vocals up front. In every song he sounds like he’s trying to convince us of something—maybe just the color of the story he’s telling. He’s got a compelling voice. There are lot of words—clear as bell. The album cover features José Miguel Class (I’m assuming) in the middle of a giant, pink, heart—on-stage pose—his hands beckoning for us. A young man with good hair, what looks like a gold tooth, and one of those thin moustaches, just above his lip. (In pictures on the internet, where he’s older, the moustache gets thicker.) He’s wearing a shiny, blue, tux jacket (I used to have an identical one) and a frilly white shirt. Besides his name (in alternating yellow and green letters) it also says, “El Gallito De Manati” (the Rooster of Manati, I believe)—his nickname. Also, there’s a couple of song titles, in large italics—hard to tell what the title of the LP is. There are also nine or so deep, pink, lipstick impressions—like when a woman with lipstick kisses a flat object. The name of the label, “Neliz Records” is in red, green, orange, and purple letters. On back, above the twelve song titles, and liner notes, it says: Trofeos Otorgados A Jose Miguel Class “El Gallito De Manati”—which is also on the label, so I guess is the title. Also, the Puerto Rican address of Neliz Records, and the Bronx, NY address of “Rico Record Dist.” (I looked it up, there’s a pharmacy there.) The record label is great—I’d be tempted to steal it (style, color, font)—the bottom half is black text on hot pink, and the top half is a groovy, Sixties-hippie-style Neliz Records logo, blue letters on green. This record’s been through some rough passage, over land and water, traveled many miles, been spun a million times. But it still sounds warm and excellent.

Frank Sinatra “Nice ‘n’ Easy”

On the cover is a black and white photo of Frank Sinatra looking exactly like Frank Sinatra—while at the same time looking exactly like your average, young to middle-aged, middle to upper middleclass, white, clean-cut, suburban American man, reclining in an easy chair, button-up sweater, open collar, hands behind his head, comfortable smile. It occurs to me that if you didn’t know that hands behind the head pose (using the hands, fingers clasped, as a headrest) (some cultures might not know it?) —that it would be very weird indeed, as if you were holding your brains in your skull, manually. It doesn’t even say “Frank Sinatra” on the cover! You’ve got to know that face. The only words (besides the Capitol logo in the corner) is the title—in small-case, jaunty, orange and red font with an asterisk filling in for the dotted “i” dot— “nice ‘n’ easy” —a font and title that says: “this is a Doris Day romantic comedy” as clearly as if it said those words. And it very well may be, actually—wait, I have to look that up. No. No movie by that name. But it’s the look (font), for the Doris Day movies of that era. It’s also a Clairol product, same font—it’s almost by law that the phrase must be rendered in jaunty, breezy, all small-case. Someone put out an “easy listening” collection with that title. But as far as albums go, this is in some ways (if this is even possible) the most Sinatra Sinatra record—if that makes sense. Slightly over the hill, 100% confident, on the edge of doing this in his sleep. The photo on the back cover, however, shows him being busy, now at work—white shirt and loosened tie, jacket removed, standing among sheet music, sheet music in one hand—I assume he’s in the studio with the Nelson Riddle orchestra, but the background is blackened, like there are no walls—only eternity.

This record came out in 1960—the year I was born—and it may well have played me to sleep in my crib—and may be as close to defining the musical side of my brain as anything—though, I’m not entirely sure my parents had this one. But likely. Certainly, the songs, here and there, are my growing up soundtrack—including the title track, “I’ve Got a Crush on You,” “You Go to My Head,” “Fools Rush In,” “She’s Funny That Way,” and “Embraceable You”—all songs I sing in my dreams. These (as well as six others) must be among the most mellow versions of these songs that Sinatra ever recorded—slow, quiet, slightly melancholy, no fireworks, but deeply moving. Three paragraphs of uncredited liner notes sound like the writeup on one of those Jackie Gleason mood music records—and I suppose this is not so different, but with vocals—and you might put this on during a quiet dinner with cocktails—introduction to the romantic mood—that is, if you aren’t too worried about Sinatra being a disruptive presence—even at his most mellow, he kind of takes over the room. I’m not bothering to look up Sinatra’s discography to see where this fits in (because his discography takes up a half day of bandwidth) but it came just after “No One Cares” (one of my favorite barstool classics) at the end of the Fifties. Turning point? Not really—but certainly the date was—no other calendar shift seemed so epic. But it’s Sinatra’s world—and it seemed like every other record had an exclamation point in the title, interspaced with records featuring sad clown pics with tears and cocktails. Kind of weird, no exclamation point here (just that asterisk), but I heard a rumor that the zippy title track replaced “The Nearness of You” (“at the last minute”)—a song which would have fit the mood better, in my opinion. And if you think about it, Sinatra probably has released countless sets of a dozen songs that would be more aptly titled “Nice ‘n’ Easy” than this one. And this one might have been better titled “That Old Feeling” (2^nd song on the record). Oh, well, another wrinkle of the ol’ Sinatra discography—which is always fun to pore over if you’ve got half a day to kill.

Paul Horn “Dream Machine”

One nice thing about checking out a new (well, 1978) record is the excuse to go back and listen to others by that artist—in this case, the excellent “Visions” from 1974—and seeing if that short span of years is as catastrophic here as for many recording artists. Certainly, you wouldn’t connect the two album covers—from hippie drawing (that one) to this one’s larger-than-life, full headshot, which looks like the promotional poster for a motivational speaker. Nice. Recorded a week after my 18^th birthday—not a record I would have bought my first year of college (when I budgeted one LP per week)—so it’s just had to wait for me somewhere for 46 years—ha! The next thing that catches your eye (back cover credits) (besides a list of excellent musicians) is Lalo Schifrin (“Composed, Arranged & Conducted by”)-—so this is kind of also a Lalo Schifrin record. But it’s first of all a Paul Horn record—it’s a flute record—flute from start to finish. I like it. All the musicians are good—what stands out to me most (besides flute) is some of the bass playing. Credited is Abraham Laboriel. As with flute, I’m no great judge of bass playing, but I know what I like, and some of these lines make me stop and wonder if I’ve left something burning on the stove.

As for the songs, I most associate Lalo Schifrin with some great movie scores—so will this be one of those records I’m best able to relate to by envisioning movie scenes? Why not. Six instrumentals that may as well be named anything, so maybe. The first one, though excellent, doesn’t take me anywhere, specifically, so I’m going to engage my imagination more. Next one, I’m seeing a slightly futuristic world and we’re following some kind of cop (naturally) through his daily rituals. This is the future where the cars got much cooler (as opposed to the one we’re living in) and 1970’s fashions (including moustaches) stuck around. Next song is a deal going down. Side Two starts with a kind of split-personality song that alternates from “too cool to even be bothered” to TV show about a well-adjusted high school teacher who only helps kids get the highest SAT scores possible and has no dark side. And then… a song called, “Quite Early One Morning,” which is, as you’d expect, quiet, meditative—one of those mornings more focused on beauty, mortality, and the meaning of life than, say, coffee. But, as coffee is as inevitable as death, we progress into the day with a sad coolness. Finally, then, “The Juggler” is a bit clownish—and since I find a happy clown unbearable, I’m imposing my own sense of irony on the proceedings and choosing to imagine a protagonist who juggles love affairs, bank accounts, and wellbeing—with disaster. The End.

Carly Simon “Hotcakes”

I’ll buy anything (record, book, movie) called “Hotcakes,” or “Pancakes,” or “Donuts,” or “Homefries,” for that matter—anything that you drink coffee with, and might be consumed for breakfast, or at a diner or lunch counter. If “Hotcakes” somehow refers to sex, however, I’m not as interested. I don’t know why it would, necessarily, but if you push anything far enough, it ends up on sex, eventually. Of course, the title of this record might have just meant that it was intended to sell a buttload of units. That doesn’t sound good, but I’ll edit that out—I’m trying to type as fast as the songs are going by. I’m really liking the sound of this record—but that doesn’t surprise me, seeing how it’s from my favorite year for pop music, 1974. Great musicians, fine production, good sound. The album cover makes me wonder. Carly Simon is wearing a very cottony or linen-looking white dress, sitting on a wooden chair painted white, in a room painted white, resting on a table (painted white) that’s built onto the wall, under a window with a white curtain. There’s a tiny bit of silver hardware. The window is closed, but the glass is covered over with, you guessed it, white. What does it mean? The back cover is a close-up, CS is contemplative, barely smiling (no teeth), looking off, holding what looks like rosary beads or a long necklace, part of which are white elephants… I think. Could be anteaters. If they’re elephants, I kind of hope they aren’t made of ivory. The cover opens up to reveal a striking two-foot-tall photograph of Carly Simon kind of dancing for the camera, hands outstretched, posing by the side of a mountain road. She’s, again, smiling, wearing a hippie dress, faded denim smock, wide brimmed hat, clogs, and red knee socks. My 14-year-old self could have hung this on my bedroom wall like a poster, and why not.

I made pancakes this morning—hadn’t made any in a while—and now I realized I might have been anticipating writing something about this record. Or else—the breakfast led to this, I’m not sure—but I like when things work that way. Most of the songs are written or cowritten by Carly Simon. “Forever My Love” is one of my favorites—it’s cowritten by James Taylor, who plays on, I think, every song. I believe they were married at this time. The one cover song is “Mockingbird” —you know that one—which they do as a duet—it’s a hot version—and some big names playing on that one. There’s an overall feeling of happiness to these songs, and this record in general. I don’t mind that so much—someone’s got to stay positive for the rest of us. Also, when the general mood is well-adjusted, positive, even happy—it gives added weight to the inevitable melancholy moments. One wonders if a song called, “Haven’t Got Time for the Pain” addresses this idea. Of course it does—and it could, as well, in my opinion, sell as much catsup as “Anticipation” (1971). There is a song called “Hotcakes,” by the way, but it’s only a minute long, sounds a little odd since its down there with the tight grooves—but it’s a rap song, with horns, about hotcakes. “Safe and Sound” is another good one. “Mind On My Man” kind of makes me jealous. As does “Think I’m Gonna Have a Baby.” I mean, my 14-year-old self with the two-foot-high poster on my bedroom wall. And finally, I’m fascinated with “Just Not True,” though I can’t figure out what it’s saying, exactly—but I like it for that—as well as that it won’t sell ketchup or set up James Bond—but I like it all the more for that.

Terry Gibbs “Vibes on Velvet”

Nothing starts out much smoother than this record—I guess it’s a five saxophone, ten (or so) piece orchestra—the beginning of “Autumn Nocturne”—and then the vibraphone comes in, and it goes even smoother, if that’s even possible. I guess I’m kind of partial to vibes—standards with orchestra and vibes—the kind of late Fifties early Sixties cocktail den jazz—because that’s (as I said before) what I listened to in my crib (baby crib, not bachelor pad). I suppose when they named the record “Vibes on Velvet,” smoothness was what they had in mind. There are extensive liner notes covering half the back album cover, if you’re interested in some serious biographical information. Also, a bit of selling—of this record, that is. It’s charming to imagine a time when a person might pick up an LP in a record store, and that small, serious, print would function as a selling tactic. Imagine! The cover is a closeup of a vibraphone, and some mallets—it’s pleasant, but not spectacular like the other Terry Gibbs record I have—it looks like a jazz album from the year it came out, 1956. Terry Gibbs released a ton of records—I’m not even going to count what the internet lists—but this was part of his first half-dozen. It’s an early one. And he’s still around! He’ll be 100 in October! Some of my very favorite standards are here, including “Mood Indigo,” “It Might as Well Be Spring,” and one of my major obsessions, “Smoke Gets in Your Eyes.” Really good versions, too. Plus, others I don’t know like the back of my hand, but still sound like remembering dreams. There are three Terry Gibbs originals—that are great, as well, and sound pretty familiar to me, too—maybe because I’ve played this record more times than I realize. I’d play it even more if I had a rec-room, with cocktails and mellow lighting, and I was entertaining dates with romantic intentions.

Stan Kenton & His Orchestra “7.5 on the Richter Scale”

This cornball Stan Kenton cartoon-album-cover cheapo masterpiece starts off with what sounds like a college marching band version of “Live and Let Die” (which every marching band in the country did, you recall, after that movie came out—despite the not very positive message of the lyrics). Still, I like it, as well as the ridiculous version of “Body and Soul” that sets me right in a movie set in Las Vegas. It’s all movie music, actually—the liner notes refer to “now” music (bordering on rock) (thus, the “earth shaking” reference). The datedness comes across as (to me) charming. “Down and Dirty” is a detective movie theme with a great bass part on top of which horn ridiculousness makes okay sense. If you can hear “Country Cousin” (a Gene Roland composition) without seeing 1973 mustachioed Burt Reynolds in tight pants, you’re too old (or too young). Their take on the Strauss (Zarathustra) is a weird one—as is, I suppose, every take on that oddball theme—it would be fun to rank them. All in all, this LP goes with my party records (as intended, I’m guessing)—I only wish I had a dedicated “Rec-Room” with a wet bar (whatever that is), a psychedelic mural, and blacklights. Hopefully the party would last much longer than the duration of this record, but “It’s Not Easy Bein’ Green” sounds like the mellowed to exhaustion climax, when people put their arms around each other and it seems okay (at least at the time). What to make of, then, that jaunty “Godfather” theme? Maybe it’s just a sequencing problem. Or maybe I’m wrong about the party. “Blue Gene” (another Gene Roland) is another movie, this time with that weirdo James Coburn. How does that guy seem to keep getting weirder, over time?

Gino Vannelli “The Gist of the Gemini”

Astute (or slightly insane) readers of the DJ Farraginous “blog” may recall an interesting mention of Gino Vannelli. Back in school, my friend Scott Suter was my hero after he turned me on to Mott the Hoople (first I’d heard of that band), so when he recommended this record, I rushed out and bought it… and I was… disillusioned. Oh, well, maybe I wasn’t ready for it, as a 16-year-old—and ol’ SS was simply more sophisticated. It sounds much better to me now—though, perhaps, barely. I love songs about the year at hand—generally—the one here, however— “A New Fix For ’76”—is the low point of Side One. But the ballads—which I certainly would have dismissed as a rambunctious lad—appeal to me, now, in my mellow years. The internet helps—briefly, GV is originally from Montreal, is relatively young, and is still out their touring—that makes me happy. You could reach GV, back then, via a New Orleans P.O. box (listed below the credits)—maybe you still can. The album cover is kind of incredible—glossy black with glowing white piano keys, and backlit GV and his giant hair. The inside gets even more lycanthropic—bandmembers’ disembodied heads, each seeming to have been radiated with some kind of follicle fertilizer. You kinda gotta see it. Side Two consists of a composition called: “WAR SUITE: Prelude to The War, The Battle Cry, To The War, Carnal Question, After the Last Battle, To The War (Reflection), Summers of My Life.” And they fit it all in. The limitations (in length) of the vinyl era (as opposed to the CD era) were often an undeniable strength. That last number, “Summers…” is technically credited as part of WAR SUITE—but it’s definitely a departure—quite welcome—and it’s my mellow favorite of the record.

Canyon Spells “Now That We’re Gone”

Where did I get this record? I’m guessing it strolled in while I was sleeping, like my dreams of imaginary cities. I never heard of this band, and the cover (close-up of a male-model-looking astronaut likely floating in space, looking back at Earth—a poetic visual representation of the title) most likely didn’t compel me to fork out record store dollars. I’m not even crazy about owning contemporary (2016) vinyl—on the shelf, it takes up twice the space as old records, and when moving-time comes, that mega-gram stuff adds up. If anyone wants this, and would like to stop by, it’s yours. I figured it would be one of those records I’d listen to once and write something amusing about (it’s a lot easier to be funny when you’re writing a negative review), but alas, I like the record—I like the production, and the playing, and the singing, and in particular, I really like some of the catchy, even intriguing, pop songs. They remind me of someone/something, but I can’t put my finger on it—not surprising, in that I’m pretty ignorant of the last quarter-century-plus of “indie” music. On the other hand, the music is about fifty-percent someone else’s cup of tea. There’s a website with slightly less info than the minimalist album cover—it opens up, revealing the most basic credits on one side, and on the other side, under what looks like a full solar eclipse, a poem. Or it could lyrics, which, by the way, I can understand as sung—but nothing reaches out and grabs me (which is fine, even good)—and I’m too lazy to dwell on them. That brings me around to the name of the band. What does it mean? I’m not going to make a dumb guess because it might be a fairly obvious literary allusion I’m not getting. Or it might simply be two rather good words that, when placed one after another, it’s safe to assume have not been used anytime recently to describe French fries, sell SUVs, on a fascism promoting hat, or as a fucking online game.

Brenda Russell “Get Here”

When the opportunity presents itself (cheap vinyl) I’ll buy records by anyone named “Randy” (my first name)—or with the same last name as mine. Over the years, this has proved a fine strategy (Randy Newman, Leon Russell, Randy Lee, Randy California, etc. [though… the jury’s still out on Bobby Russell])—though, sometimes, and occasionally, not. But it’s always worth a try. I heard about Brenda Russell way back, at some point—she’s got a long career—here and there—but never heard any of her records. So I picked this one up when I saw a super-clean copy. It kind of confused me—the cover art—a photo of Brenda Russell, treated to look like a painting—on a clean, white background—looks totally contemporary. Yet the record is from 1988—which is eons ago. Yet… I don’t normally buy records that are this “new.” Confused yet? Well, time is relative. I like movies from the Seventies—but for children’s books, that’s way too new—Thirties and Forties, I like much better. With records, 1972 through 1974 is the three-year period I’m drawn to. With tacos, I find them best if they are only a few minutes old.

I guess this music is considered pop, but also R&B—but those categories aren’t really that helpful. The overall sound strikes me as pretty much an Eighties style of production (which would make sense), but not as flagrantly so as most rock music from this era—it’s more timeless sounding. Faster songs and slower songs—I prefer the slower ones, like “Piano in the Dark”—which has a really catchy chorus—and has an emotional quality—the word “emotion” in the lyrics—and, as you might expect, a very cool solo piano part to conclude it. (According to inner sleeve notes, played by Russell Ferrante). “Le Restaurant” (I’m a sucker for dining establishment themes) is nice—I guess I just like slower songs—which wasn’t the case when I was younger. Something occurred to me—something I also thought about while listening to this last time I listened to it—the song, “Midnight Eyes” (a bouncy one) made me think of that band, Was (Not Was)—a record by them I had way back, “What Up Dog?”—so I looked that up—1988. So that’s interesting. Though… not so much the chorus of that song. A couple of her choruses make me think of James Bond theme songs—you know, the ones from the Eighties and Nineties, I guess—which are often instances when I’m suspectable to a mainstream sound—they’re usually catchy. The title song, here, is good—I like it—another slower, more soulful one. I’m not crazy about this record, but it’s okay. I can keep it around for when I’m in the mood for this kind of thing (which happens more and more often, these days).

Frank Sinatra “The Voice” EP

How many records start out with the words: “A cigarette…” Well, probably far too many—or maybe just this one. I have (and may have written about) the LP version of this record (both from 1955)—which probably has twelve songs, while this has four. The funny thing is, they have the exact same photo—a portrait of young Frank Sinatra, smiling, with a pool-table-green background—it’s just that this one is a “closeup” of his face—on cardboard scaled down to seven inches. The four songs here are: “These Foolish Things (Remind Me of You),” “Laura,” “She’s Funny That Way,” and “Fools Rush In.” Those are four of the best. These are older recordings… I’m not sure how many times Sinatra recorded each of these songs, but this quiet, ballad style of his older recordings—with minimal orchestra—well, it’s there, but voice in the foreground—I really like. If this was the only Sinatra record I owned—well, that’d be very sad—but I’d really have the essence of this era Sinatra. These are four seriously romantic, melancholy, mellow, sad songs. Is there anything in contemporary pop music this quiet and beautiful? Well, I’m sure there is—I just don’t know contemporary pop music. The only thing that comes to mind, for me, is Lana Del Rey.

One odd and funny extraneous detail here: the random song review selector picked two four-song EPs in a row—this one, and previously, the Iron Oxide record. So, similar format—very different approach to sonic output—but I like them both a lot. The really weird thing is, this record is also pressed on coffee-colored vinyl! I’m just kidding. It’s black (licorice-colored vinyl)—ho hum. But I almost thought it was for a second, because the label is that that older, red Columbia label—it’s a dark red, I think it’s carmine—almost maroon—which I like much better (including the lettering and style) than that red Columbia label (I think of it as contemporary—but I guess it’s the one from the Seventies). I’m always picking on the Columbia label—I don’t know why. Ubiquitous and boring? I’m sure I’d change my tune if I was signed to Columbia—don’t things always work that way? That nightmarish four-wheeled contraption, spewing toxic clouds and green fluid—once you get the keys—goes from hideous beast to love of your life.