The Comeback of Folk Rock

A few years ago I got so fond of the Association that I still get a warm feeling just by thinking about the group's music. Even though I wasn't then swept away by much any other folk rock group, familiarizing myself with another California music entity has recently created a fairly similar experience.

The Grass Roots (also referred to as the Grassroots) were originally a title that songwriters P.F. Sloan and Steve Barri used while hoping to score folk rock hits. After a couple of albums Sloan moved on to other projects while Barri stayed. From the early days to the latest performances a few years ago, including the Happy Together tour, the Grass Roots have undergone so many personnel changes that I am not even going to try to make sense of it all. Sufficed to say, the popular early member Rob Grill still performed with the band's latest incarnation but unfortunately died in 2011.

I have mostly been focusing on the earlier material on the 1960s albums, although moving to the 1970s and to a more blue-eyed soul style the Grass Roots surely sounded great as well. Released already in 1968, a real white soul classic Midnight Confessions was the band's biggest hit by far. I think the song is so catchy that I still tend to listen to it at least twice in a row. If I wasn't so lazy I would also definitely practice the horn parts on my alto sax!

So, what is it that makes the Grass Roots so awesome? There are obviously fantastic jangly, sometimes psychedelic folk rock sounds. Also, it probably comes as no surprise that I very much enjoy P.F. Sloan's vocal renditions of I've Got No More to Say, Lollipop Train (You Never Had It so Good), and Only When You're Lonely.

Actually, I had pretty much no idea who P.F. Sloan was until I heard a great song called P.F. Sloan performed by the Association a few years ago. By now I have certainly become aware of Sloan being responsible for a multitude of 1960s classic songs performed by my favorites such as Herman's Hermits, The Searchers and The Mamas & the Papas.

When I first heard Let's Live for Today I thought it was the greatest song I had heard in quite some time. Then I found out that it had already been performed before by another band with different lyrics. The main chorus melody was even originally plagiarized from the Drifters! With all this said, the Grass Roots version is still fantastic, and really dramatic. At first it sounds like a very classy carpe diem song, but towards the end there is kind of a fascinating manic twist.

The Grass Roots represent so many of the greatest aspects of 1960s pop. Just listen to Wake up, Wake up and notice the awesome acoustic guitar, jumping harpsichord, melancholic yet hopeful mood, encouraging lyrics, soul-soothing vocal harmonies and a punchy chorus. Much the same can be said about Here's Where You Belong. Another huge favorite is Melody for You, which was written by Sloan (the other two by Sloan & Barri).

For a while ago there was a time when I couldn't stop listening to the Grass Roots. But that is what happens with this kind of music.

Leaving the Folk Music Behind

What a cool coincidence to notice that my latest post before the very long break was about a Mamas and Papas song. That band has, in fact, become quite a big favourite since then. I had known about the band for years and I enjoyed some of their songs such as Monday, Monday and I Saw Her Again. The harmonies and vocal arrangements always struck a chord with me but it took a while to finally begin to see all of the beauty behind this group of two men and two women.

The Mamas and the Papas were not a very long-lived band but recorded lots of excellent late 60s baroque/kind-of folk pop music. Huge harmonies, baroque elements and sunny California spirit also justify a link to sunshine pop. In my opinion, the Mamas & the Papas stand out best due to their brisk, cheery male-female vocal harmonies, arranged by John Phillips.

Despite the harmonious, well-balanced, often even playful sounds, lyrics and rhythms, there was quite a bit of drama in the band. The members ended up disliking each other and breaking up on more than one occasion. They however became an iconic American band of the late 1960s having released five albums and several successful singles in 1966–1971. The Mamas and the Papas also performed at the prestigious Monterey Pop Festival in 1967.

As usual, I ended up enjoying this band a great deal after the usual getting-to-know period. There is indeed a lot to love: beatlesque stuff such as Straight Shooter, the huge sunshine pop harmonies of Monday, Monday, the band's most famous hit California Dreamin', a non-successful yet awesome debut single Go Where You Wanna Go, Dancing Bear with its great baroque sensibilities, as well as other quieter songs Got A Feelin' and Strange Young Girls. The Mamas & the Papas also show their talent with several versions of good old classics such as Do You Wanna Dance, Spanish Harlem and Dancing in the Street.

I also discovered a song called Twelve Thirty (Young Girls Are Going to the Canyon) and knew immediately there was something quite special about the song. Listen to it on the headphones and you'll hear the pure genius of a vocal harmony. There are different interpretations of the lyrics and I don't know which ones are true but the song is anyway amazing in its baroque melancholy.

A lot of the Mamas & Papas magic comes from Cass Elliot's superb vocal abilities which also play an important role in the band's overall sound. I don't pay attention to female singers all that often but here is one that I really appreciate. There is no denying the power of her impeccable sound and sense of style and dynamics. Check out songs such as Dream A Little Dream Of Me, Words Of Love, and The In Crowd.

The Mamas & the Papas are probably usually remembered by California Dreamin' but there is a lot of other great stuff as well. Their charming music is definitely worth checking out.

Eerie, Yet Terrific

Now let me share with you a childhood memory of mine. Even though it isn't winter yet, this song is just perfect for this moment – despite the fact that the darkening evenings and cold weather rather tend to make me choose my sunniest sunshine pop hits...

A couple of months ago it occurred to me once again that my favorites, the Beach Boys have also made a version of California Dreamin' which was originally performed by the Mamas & the Papas in 1965. When this Beach Boys version first came out in 1986 I hardly had been born but I remember hearing this sometime later, when I was still only a child. It was the early or mid-90s and for some reason this music video was aired on Finnish TV, possibly even a few times, actually. The video seemed to make a huge impact on me because it looked really familiar when I watched it again many, many years later.

I still find this video impressive. It is definitely gothic and eerie, which is always unusual of the Beach Boys. Seeing the guys here is really nice even though it leaves me feeling kind of melancholic. Roger McGuinn makes an appearance with his 12-string Rickenbacker (wow...) and there are also alto sax solos (arguably the coolest instrument there is) by John Phillips. I also enjoy the 80s-styled production, not to mention incredible vocals from Al and Carl! I could listen to this for hours.