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Archive for the ‘Brewer & Shipley’ Category

Love So Fine: Nick DeCaro’s “Works” Features James Taylor, B.J. Thomas, Andy Williams, More

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Though the A&M stands for (Herb) Alpert and (Jerry) Moss, A&M Records has meant a great many things to a great many people since its founding in 1962.  Those who came of age in the 1980s may think of the famous logo adorning records by Sting, Janet Jackson or Bryan Adams.  In the 1970s, the label was home to The Carpenters, Cat Stevens and Joe Cocker.  In the 1960s, A&M was not only a label but a “sound.”  That sound was a certain, beguiling style of sophisticated adult soft-pop epitomized by founder Herb Alpert as well as Burt Bacharach, Sergio Mendes, Chris Montez and Roger Nichols. Though Alpert and Moss sold their label (at one point the largest and most successful independent record company in the world) to PolyGram in 1989 and it is now a unit of Universal Music Group, its classic artists and albums have never fallen out of favor.

Universal Music Japan has launched an A&M 50th Anniversary Collection as well as a series of releases under the Nick DeCaro Posthumous 20th Anniversary umbrella.  A prolific arranger, composer and producer, DeCaro (1938-1992) was a mainstay of the early A&M era.  Among the titles already released in the series are albums by The Sandpipers, Chris Montez, Tijuana Brass offshoot The Baja Marimba Band, and DeCaro himself.  (Many of these titles are making their CD debuts.)  One new compilation has emerged, though, that celebrates DeCaro as well as some legendary artists from the A&M roster and elsewhere.

Nick DeCaro: Works is a 23-track anthology of DeCaro’s output as a producer and arranger between 1967 and 1982, and if it proves anything, it’s just how eclectic and adaptable the man’s style was.  Though he largely toiled behind the scenes in America, DeCaro became a star in Japan thanks to his 1974 solo effort Italian Graffiti, so it’s only fair that Japan is celebrating him with this diversely curated new release.

Mel Carter’s 1965 “Hold Me, Thrill Me, Kiss Me” on the Imperial label was Nick DeCaro’s first major hit as a producer and arranger, but it was the tip of the iceberg of his work at Imperial.  He produced records for studio groups like The Sunset Strings and a pre-Philadelphia O’Jays, and befriended young staff songwriter Randy Newman, who would later enlist him to write arrangements for his Good Old Boys album in 1974.  When he decamped for A&M, he became a primary architect of the label’s pop style, producing and/or arranging six albums for Claudine Longet, four for Chris Montez and six for the Sandpipers.  His work with Longet naturally brought him to the attention of her husband, Columbia Records artist Andy Williams, for whom DeCaro produced and arranged three LPs.  DeCaro also amazingly found time to arrange at Warner Bros. and Reprise, and he reunited with his old friend Newman writing charts for Harpers Bizarre’s renditions of Randy’s songs.

His own fitful solo career was less successful than his work for others, particularly when his 1969 solo debut Happy Heart went head-to-head with Andy Williams’ own version of its title song.  Williams had wanted his friend DeCaro to produce and arrange his recording, but DeCaro demurred, and Williams created a successful record of the song without DeCaro’s participation.  1974’s Italian Graffiti earned him cult status in Japan, but DeCaro continued to make his biggest hits for others.  Just a few of the names on the arranger’s client list reads like a “Who’s Who” of popular music: Gordon Lightfoot (If You Could Read My Mind, Sundown), James Taylor (Gorilla, In the Pocket), Little Feat (Time Loves a Hero), Neil Diamond (Beautiful Noise), Helen Reddy (I Don’t Know How to Love Him), Barbra Streisand (The Way We Were, Barbra Joan Streisand, Wet), Rickie Lee Jones (Rickie Lee Jones, Pirates),  Dolly Parton (Here You Come Again).  DeCaro was also in demand for his abilities on the accordion and concertina, adding the instrument to recordings by everyone from The Rolling Stones to renowned multi-instrumentalist Prince!  Before his passing in 1992, DeCaro returned to solo recording in Japan, toured the country twice and produced Japanese artists, as well.  But The Works focuses on some of his most renowned American work, with an emphasis on his productions during the golden years of A&M.

Hit the jump for the full run-down on Works, including the track listing with discography! Read the rest of this entry »

Written by Joe Marchese

April 10, 2012 at 10:07

The Road to Tarkio: Brewer and Shipley’s Debut “Down in L.A.” Remastered and Expanded By Now Sounds

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Oklahoma-born Michael Brewer and Ohio native Tom Shipley found fame on Missouri’s mythical Tarkio Road, thousands of miles away from Hollywood’s La Brea Avenue and the headquarters of A&M Records.  But before they took one pivotal toke over the line into stardom, Brewer and Shipley recorded an album for Herb Alpert and Jerry Moss’ label that couldn’t have been recorded at any other time and place than Los Angeles, circa 1967-1968.  Down in L.A. was almost entirely written by Brewer and Shipley, either individually or collectively, and recorded at such landmark studios as United/Western Recorders and Sunset Sound.  The names dotting the album’s personnel list are about as lustrous as you could possibly find at the time: Hal Blaine and Jim Gordon on drums, Joe Osborn and Lyle Ritz on bass, Leon Russell on piano, keyboard and organ.  These Wrecking Crew vets supported Brewer and Shipley in creating an album that stands as a lost treasure of the California folk-rock genre.  Thanks to the fine folks at Now Sounds, Down in L.A. has made its long-awaited CD release.

Brewer and Shipley first bonded over their mutual love of folk music, playing the coffeehouse circuit alongside countless other young troubadours in the early 1960s.  Brewer was the first of the duo to answer California’s siren call, teaming with songwriter Tom Mastin as Mastin & Brewer.  That twosome made vital connections with members of The Mothers of Invention and Buffalo Springfield, but Mastin’s personal demons brought the partnership to an abrupt halt.  Brewer’s brother Keith deputized for Mastin, but the real magic happened when Brewer and Shipley brought their voices together.  Shipley, an acquaintance of Brewer’s, had independently made his way to the Golden State and reconnected with his old friend.  Reissue producer Steve Stanley’s copious liner notes inform us that Brewer received an offer to join The Association in early 1967 as a replacement for the departing Jules (Gary) Alexander.  Brewer declined the offer, preferring to continue developing a professional bond with Shipley.  Shortly thereafter, Brewer and Shipley were signed as staff songwriters to A&M Records’ Good Sam Music publishing division.  At Good Sam, they placed songs with artists as diverse as Bobby Rydell, The Nitty Gritty Dirt Band and even Noel “The Windmills of Your Mind” Harrison.  But it wasn’t long before A&M gave them the green light to proceed with the album that became Down in L.A. under the production auspices of Allen Stanton and Jerry Riopelle.

Hit the jump to join us Down in L.A.! Read the rest of this entry »

Written by Joe Marchese

March 29, 2012 at 09:52