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Herb Alpert, Whipped Cream And Other Delights Full Album Zip !LINK!

This iconic album cover said it all about coy mid-60s sexuality, bachelor-pad style. Despite its daring appearance, if you looked closely, the whipped-cream clad model was actually wearing a wedding dress.

Herb Alpert, Whipped Cream And Other Delights Full Album Zip

Subsequently, I bought, again, the album Whipped Cream & Other Delights from a used record store. As it turned out, the LP inside was actually the TJB album Going Places. Oddly, I did not mind.The album cover was legendary. It featured model Dolores Erickson, who was three months pregnant when they photographed her. She was actually covered mostly in shaving cream because whipped cream melts under the hot photography lights.

denys - i don't have too much information on harry arms. only thing i know about are all of the george garabedian produced tijuana brass albums i have seen. george had his hands in many pies and i speculate (far fetched guess) that the harry arms album is a comedic attempt like the sour cream and other delights record that was put out. i wonder which came first?

The album cover that made a generation salivate at the notion of licking away a truckload of whipped cream to reveal what was underneath. (Fun facts: it was actually shaving cream, and model Dolores Erickson was three months pregnant.) The image was memorably parodied by Soul Asylum on the EP Clam Dip & Other Delights.

odds and ends...Artists reviewed on this page:A Christmas Gift For You From Phil Spector - Herb Alpert's Tijuana Brass - Bee Gees' 1st - Captain Beefheart - Blood, Sweat & Tears - Blue Cheer - Lori Burton - Johnny Cash - Chicago - Otis Clay - Sam Cooke - The Delfonics - Donovan - Nick Drake - The Electric Flag - Jonna Gault And Her Symphonopop Scene -Genesis - David Gilmour - Buddy Guy - Tim Hardin - Iron Butterfly - Robert Johnson - Albert King -B.B. King - Freddy King - Leadbelly - The Loading Zone - The Lovin' Spoonful - The MC5 - Mrs. Miller -The Monkees - The Moody Blues -Mountain - New Riders Of The Purple Sage - NRBQ -Van Dyke Parks - Ajda Pekkan - The Pentangle - Elvis Presley - Billy Preston -Rotary Connection - The Shaggs - Shake Me, Wake Me: A Tribute To Holland-Dozier-Holland -Soft Machine - Soul Christmas - Spirit -Steppenwolf - The Stooges - Koko Taylor - TammiTerrell - Carla Thomas - Big Mama Thornton - T. Rex -Doris Troy -The Turtles - Earl Van Dyke - Vanilla Fudge - Jr. Walker &The All-Stars -Larry WilliamsIt's frightening how many records are out there, 60s or not. We've tried to cover the most important ones, but there's a limit to what two guys with other things to do (believe it or not!) can accomplish. Here we inventory a few 60s artists whose work we know mostly from one or two records, usually good ones. Most of them deserve more extensive coverage - and we're working on it. Short takes on 70s, 80s, 90s and later acts are on separate pages, and if you can't find someone you saw on this page earlier, like the Allman Brothers, Booker T. & The MGs, David Bowie, Tim Buckley, Ray Charles,Leonard Cohen, Joe Cocker, Fleetwood Mac, the Grateful Dead, Screamin' Jay Hawkins,Isaac Hayes, the Hollies, Janis Ian, the Isley Brothers, The Jackson 5,the James Gang, Jethro Tull, Elton John, Carole King, King Crimson, Kossoff/Kirke/Tetsu/Rabbit, Little Richard, Mar-Kees, Martha Reeves and the Vandellas, Curtis Mayfield, Van Morrison, LauraNyro, Procol Harum,Quicksilver Messenger Service, Rotary Connection,Santana, Ike & Tina Turner, War, or Yes, they've probably graduated to their own full-length review page. (JA) Various Artists, A Christmas Gift For You From Phil Spector (1963)I expected to come out against the canonization of this girl group sock hop disc as the ultimate Christmas album; I figured I'd say, "Almost no original material, and Spector uses the same tricks on every track."But you know what? It's extraordinarily well done from start to finish: each song has the fresh delivery and easy pride of a new composition, and though Spector does rely heavily on echo, stacksof pianos, guitars, horns and strings (his famous Wall Of Sound) and an occasionally overprecise feel, there's a great deal of variety in the arrangements. Drummer Hal Blaine adds distinctive rhythmic figures to each tune, so even the kitchiest have some oomph ("Frosty The Snowman"), and the combination of fast rock tempos and classy orchestral arrangements keeps boredom at bay. "Santa Claus Is Coming To Town" is a percussion showcase, betweenBlaine's fills, a descending triangle line, and all the melody instruments dropping out at the bridge. And most of the tunes have cute arranged endings - a trifle corny, but better than unimaginativefadeouts. The songs are divided equally among the Ronettes, Crystals, Bob B. Soxx & the Blue Jeans, and Darlene Love:I'm not crazy about Ronnie Spector's nasal voice, and the Crystals' Lala Brooks isn't the most distinctive singer, but Love (who also sings most of the songs credited to Bob B. Soxx)is terrific: belting with passion and authority, and adeptly handling aranger Jack Nitzsche's subtly changing harmonies.She serves up the one original, "Christmas (Baby Please Come Home)," which has the same dramatic thunder and anthemic backing vocals as Spector's "Be My Baby." Session musicians include Sonny Bono on percussion, and Don Randi and Leon Russell on keyboards,among others.(DBW) Herb Alpert's Tijuana Brass, Whipped Cream & Other Delights (1965)Trumpeter/bandleader/entrepreneur Herb Alpert had formed A&M Records with Jerry Moss in 1962, and this second Tijuana Brass release became the label's biggest hit, topping the charts for eight weeks though the only single, "A Taste Of Honey," peaked at #7. The secret of Alpert's success was a talent for making different styles of music all sound like Muzak mush: he tackles a few different Latin rhythms ("El Garbanzo," "Bittersweet Samba") without any authenticity that might have offended the Lawrence Welk crowd; he makes Naomi Neville's rowdy "Whipped Cream" sound like a game show theme. Aside from the horns (mostly in unison, occasionally backing Alpert solo), the backing is L.A. mellow: 2/4 electric bass, precise but unexciting percussion, hardly any strings, keyboards or guitars.If you wanted to, you could call this a concept album, since each song is about something edible ("Green Peppers," Lieber & Stoller's "Love Potion #9") - it would have been appropriate to include a couple of songs about cheese. Produced by Alpert and Moss.Alpert continued to run up hits through 1968, at which point he shifted focus to his label, only occasionally releasing new material like "Rise" (#1 in 1979) or "Diamonds" (#2 in 1986, featuring Janet Jackson).(DBW) The Bee Gees, Bee Gees' 1st (1967)You may think I'm crazy, but... Although the Bee Gees were just teenagers fresh off the boat from Australia when they cut this, back home they'd already been TV and radio stars for years, and they already had a clear-cut musical agenda. Surprisingly, that formula isn't just British bubblegum a la Herman's Hermits or the Monkees, despite the nasal Peter Noone-like vocals and frequent lapses of taste - what they're really trying to do is rip off the Beatles' early 1967 psychedelic formula, right down to the booming Ringo-ey drums, zooming Macca-ey bass lines, light orchestration, harpsichords, mellotron, you name it.Even more surprisingly, it works: tracks like the druggy, Gregorian chant-infused "Every Christian Lion Hearted Man" sound almost like the real thing.Admittedly, a million other bands were running the same race, and only a few like the Kinks, Small Faces, and Zombies knew how to make a good record without being so damn derivative. But I'm impressed with the brothers' solid pop instincts - they wrote all the tunes and manage to make all of them sound different, at least from each other.A couple attempts are downright catchy, like the singles "Holiday" and "New York Mining Disaster 1941" - not to mention "To Love Somebody," a Top 40 hit like the other two and probably better remembered despite its corny arrangement, gratingly bombastic chorus, and mock-soul vocal. The album's an amusing 60s artifact for those who care about such things, if a waste of time for anyone hunting for hints of the Bee Gees' 70s disco sound. (JA)Captain Beefheart, Trout Mask Replica (1969)Here's the real reason we call this the "odds" page - if avant garde is what you're after, look no further. Backed by bass, drums, two distorted guitars, and an occasional horn section, vocalist/sax player Captain Beefheart rambles his way through an exhausting double album (now on one CD) of shouted, chanted, screeched, and occasionally sung beat poetry. Snippets of conversation and incoherent instrumentals are scattered between the "songs," which themselves seem to be minimally directed first takes - hence, the band often thuds off in a million directions at once.Here's the good news: the individual tracks are all short; Beefheart has a gripping, far-ranging voice; his poetry is some of the best put on record during the 60s ("Steal Softly Thru Snow"), full of clever rhymes ("Dust Blow..."), sly political allusions ("Ant Man Bee"; "Veteran's Day Poppy"), and wild, arresting imagery ("Pena"); and the band is riffy and adventurous ("Ella Guru"), if frequently atonal and maximally slipshod. If all of this sounds like Frank Zappa in an unusually experimental mood, well, it's no coincidence - Zappa and Beefheart already had been friends for years, and Zappa produced the record. Beefheart recorded slightly less experimental albums both before and after this, and even eventually collaborated with Zappa on a duo LP, but this is his most influential and widely-cited effort. (JA) Blood, Sweat & Tears, Blood, Sweat & Tears 3 (1970)BST was the pioneer jazz-rock fusion band, back when that meant pop music played in a 50's sax- and piano-dominated jazz style. Formed in 1968 by keyboard player Al Kooper (Child Is Father To The Man), they went on to huge commercial success with their eponymous 1969 LP, which was recorded after Kooper quit and vocalist David Clayton-Thomas joined. Although Clayton-Thomas wrote that record's most memorable hit ("Spinning Wheel"), by 1970 the group already was artistically exhausted. Instead of original numbers, rote covers of contemporary rock songs are everywhere: Goffin and King's "Hi-De-Ho," the Band's "Lonesome Suzie," James Taylor's "Fire And Rain," Joe Cocker's "Somethin' Comin' On," even Traffic's "40,000 Headmen."But the record's misguided centerpiece is an endless, ornate, thoroughly unlistenable "experimental" version of the Stones' "Sympathy For The Devil." The non-stop, tightly executed, listless horn parts rob the arrangments of any energy; and Clayton-Thomas' made-for-Vegas vocals are so gratingly insincere as to make most of the record downright unlistenable. The closest thing to unbridled fun is the near-rocker A-side "Lucretia Mac Evil." BST's artistic and commercial nosedive continued for several years after this; try to track down their two earlier records if you're interested in them at all. (JA) Blue Cheer, Vincebus Eruptum (1968)Once upon a time, bands like Blue Cheer littered the airwaves with sloppy, amateurish, grovelingly unoriginal attempts to ape Jimi Hendrix.But after about 1968, everybody just rolled over and gave up trying to rip off Hendrix's RUX-era feedback, distortion, atonal soloing, blues influences, and even drum sound.Too bad, it's fun.Bassist/singer Dick Peterson is a strutting, screaming blues shouter who writes feeble-minded rhyming couplets ("Doctor Please") and sounds about as authentic as Nancy Sinatra.Drummer Paul Whaley gets to embarass himself with a couple of competent but boring drum solos.And guitarist Leigh Stephens is a total gearhead, obsessed with duplicating Hendrix's tone and volume - make no mistake, Stephens uses Marshall amps.But alas, he's completely unconcerned with playing anything remotely musical.Meanwhile, Peterson's such a weak songwriter that half of the six tunes are the world's most predictable covers: "Rock Me Baby"; "Parchment Farm"; and Eddie Cochran's "Summertime Blues," which became Blue Cheer's only Top 40 hit.His originals are weak, but at least on "Out Of Focus" they deliver a stomping, tambourine-fortified acid rock riff that would have fit in well on an Airplane record.It's loud, stupid, indulgent, and monotonous, but they're drawing from the best possible hard rock influences, and they're really not that much worse than better-remembered West Coast competitors like the Dead or Big Brother.Take another bong hit and give it a spin.Produced by Abe "Voco" Kesh.After this Peterson kept the band going for several more albums, despite some lineup changes. I've got Outsideinside, from later the same year, and it's a step down. (JA)Lori Burton, Breakout (1967)Lori Burton and Pam Sawyer were another 60s songwriting team, writing hits for Lulu and Patti LaBelle & The Bluebelles, but when their schoolyard soap opera "Nightmare" was passed over by the Shangri-Las, they decided to record and release it themselves as the "Whyte Boots." Though the single wasn't a huge success an album followed, credited to Burton. The tunes are all over the pop map, including some remarkably brazen ripoffs - "Bye Bye Charlie" sounds just like "Cherry Cherry," "Only Your Love" recalls "I Got You Babe," while "Since I Lost Your Lovin'" slavishly copies a much better song with "Lost" and "Lovin'" in the title - and the arrangements are as flexible as Burton's alternately smooth and down-n-dirty vocals. But every style is rendered so tongue in cheek that the tunes never compel: the Shangri-Las are over the top and ridiculous, yes, but it's not a joke because they sound like they really mean it. Here, whether Burton's belting like crazy (the sappy "Love Was") or attempting Supremesian iciness ("Let No One Come Between Us") there's never an emotional connection.One could easily argue that Burton and Sawyer were ahead of their time, anticipating the irony-steeped swagger of the New York Dolls by several years, but since I don't like the Dolls I'm not going to be the one to make that argument. Burton and Sawyer soon stopped working together; Burton sang backup on "Number 9 Dream" among other ventures, while Sawyer hit it big co-writing smashes like "Love Child" for the Motown machine.(DBW) Johnny Cash, At San Quentin (1969)Near as I can tell, Cash is the Method Man of country music: underwhelming vocal technique and not much of a writer, but so successful at projecting a down-home but dangerous Everyman image that he's widely respected by genre insiders and novices alike. The followup to Live At Folsom Prison, and similarlyrecorded before a wildly appreciative audience of inmates, Cash reels off his biggest hits - "I Walk The Line,""A Boy Named Sue," "Folsom Prison Blues" - and two run-thoughs of "San Quentin," a biting condemnation apparently written for the occasion.My cassette also includes a pile of bonus tracks ("Ring Of Fire"), some featuring Cash singing with wife June Carter and the Statler Brothers ("Daddy Sang Bass"). Lyrically a mix of love songs ("I Still Miss Someone"), outlaw tales (Dylan's "Wanted Man") and Christian homilies ("He Turned The Water Into Wine"), all plain-spoken.The recording quality isn't great, but with such simple music - three chord songs witheasily anticipated melodies - it hardly matters. Cash's gruff charm and offhand humor are satisfying, but there's not muchelse going on here.(DBW) Chicago, III (1971)Formed in the Windy City in 1967, this group was halfway between pop and prog, cutting lengthy fusion jams but also reining themselves in to craft catchy singles. In fact,much of the time they sound like CSN with horns ("Happy 'Cause I'm Going Home," carried by wordless harmony vocals, until it devolves into a pointlessly extended flute solo).These dudes were perhaps second only to the Beatles in genre versatility, but the results aren't that listenable: "Free Country" is a painfully long improvised flute-piano-vibes tossoff; "What Else Can I Say" uses CSNY's trick of adding Beatlesque high harmonies to country instrumentation, though not as effectively.They attempt a big band wah-wah guitar funk jam in 6/8 time, and just don't pull it off ("Sing A Mean Tune Kid") - the BST-style jazz fusion"Loneliness Is A Just A Word" is also in triple meter. "Mother" is a rousing, TOP-imitating brass workout with a busy funk bass line;"A Hard Risin' Morning Before Breakfast" is country rock that's very close to Marshall Tucker's subsequent "Can't You See," down to the raspy vocal (guitarist Terry Kath's, I believe).The double album contains two side-long suites, "Elegy" and "Travel Suite," which incorporates the high energy, vaguely Santana-like hit single "Free." But withoutany consistent themes or motifs to hold them together, they don't achieve any impact beyond the sum of their parts: the instrumental jam "The Approaching Storm" is so lively it's hard to take itas part of a piece about the coming extinction of humanity. Still, the set nearly topped the charts, stalling at #2. Most of the songwriting is by organist Robert Lamm or trombonist James Pankow; produced by James William Guercio.Though I don't hear anything here beyond chameleonlike technique, I'm willingto grant that their other early records may be a lot better.The band famously ruined its reputation with a string of schlocky AM ballads, but continued to sell strongly through the end of the 80s.(DBW) Otis Clay, I Can't Take It (1977)Chicago soul singer Otis Clay, who notched his first hit in 1968, moved to Hi Records in Memphis in the early 70s, and served up a well preserved mid-60s Stax/Volt sound.He does occasionally venture into labelmate Al Green's territory ("Keep On Loving Me," with the mellow pace and plaintive vocal of hits like "Tired Of Being Alone"), but more often he's channeling Otis Redding or Sam & Dave, singing with rough emotion(title track) with the Memphis Horns blaring and the rhythm section chugging. It's perfectly authentic, and there's some variety in thearrangements: funky guitar in "Pussy Footing Around," cycling keyboards on "I've Got To Find A Way (To Get You Back)." But the songwriting is distressinglyroutine ("Home Is Where The Heart Is" and "House Ain't A Home (Without A Woman)") and Clay doesn't do anything better than the mastershe's imitating. The writers are unfamiliar to me: D. Bryant, D. Carter, E. Randle... unlike the other Otis, Clay doesn't appear to have written anything himself.Produced by Willie Mitchell; backing by the Hodges brothers (Leroy on bass, Charles on organ, Teenie on guitar) plus Michael Toleson guitar, Archie Turner on piano and Howard Grimes on drums.(DBW) Sam Cooke, Live At The Harlem Square Club, 1963 (rec. 1963, rel. 1985)Sam Cooke is generally considered the father of soul music, with a long string of hits starting in the late 50s, and hisreputation has only grown since his 1964 shooting death.This belated release has become known as the definitive twistin', testifyin', toe-tappin' Cooke in concert album, deliveringall the mesmerizing intensity with none of the whitey-pacifying show tunes of At The Copa. Well, I don't hear it that way. It's not nearly as frenzied as, say, James Brown's first Apollo LP, it's not well recorded, and it's too short.Cooke wrote all the material - including hits like "Cupid," "Chain Gang," "Having A Party" - but that's not as big a plusas you might think, because it's a relentless stream of I-vi-IV-V and I-IV-V chord progressions, mostly in the same key at the same tempo. Most importantly, Cooke belts every song in the same gritty gear, not showing any of the tonal variet


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