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Line up / Musicians
John Phillips - guitar, harmonica, vocals, songwriter RIP
David Cohen - guitar, harmonica
Dr. Hord - guitar, harmonica
James Burton - lead guitar, Dobro
Buddy Emmons - steel guitar
Red Rhodes - steel guitar
Hal Blaine - drums
Larry Knechtel - keyboards
Joe Osborn - bass
Gordon Terr - fiddle
Darlene Love - backing vocals
Jean King - backing vocals
Fanita Jmes - backing vocals
Lou Adler - producer
Tracks Listing
A1.April Anne
A2.Topanga Canyon
A3.Malibu People
A4.Someone's Sleeping
A5.Drum
B1.Captain
B2.Let It Bleed, Genevieve
B3.Down the Beach
B4.Mississippi
B5.Holland Tunnel
United States, Singer/Songwriter, Folk Rock ,Country Rock
\"In 1969, John Phillips resigned with the Dunhill label by promising to reform The Mamas & The Papas for the occasion, while the project he intends to carry out, the bastard, is a solo album. For the record, it is with Dunhill's lawyers in the ass that the quartet will end up entering the studio to burn the dispensable People Like Us , in 71.
It is that Phillips is at the time a little bored of the great flower power circus and that he has a collection of lovingly composed titles to defend. Production outright summons James Burtonon the guitar. Elvis himself will freak out on \"Mississippi\", which he will resume. The collaboration between Phillips and the King will not go much further, Colonel Parker is not too keen on hippies ...
1969 is the twilight of the Baba Gods. Altamont took place, Neil Armstrong walked on the moon and the Viêt-Cong is not giving up, over there in the rice fields. A bit like in Pacific Ocean Blue , this disc takes note of the turning point. John Phillips, in texts where melancholy disputes him with lightness, paints, with well-shot vignettes, the small company he frequented at the time, between Bel Air and Malibu. Special mention to the beautiful Michelle, who goes a little through everyone's hands, on \"Down the Beach\".
The musical background is decidedly country-rock and folk and, in the genre, it is one of the most successful records of the time. If it is no longer the flamboyance of Mama's, Phillips proves, in a more introspective register, that he is decidedly a great songwriter , an inspired composer who wanders off towards gospel (\"Captain (The Mermaid)\") or the honky-tonk (\"Let It Bleed, Genevieve\").
The ten tracks on this album are so many little wonders that require repeated listening and I will say the same for the bonuses delivered on the reissue, not the filling for once.\"
