| | Farside Rochambeau CD Farside Discography of CDs
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Recording information: For The Record Studios, Orange, CA (1991-1992).
Photographer: Dave Sine.
Personnel: Popeye (vocals, guitar); Rob Haworth (guitar); Bob Violence (drums).
Audio Mixer: Farside.
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With Adam Lambert, American Idol finally got a finalist who was completely, utterly contemporary, aware of what's hip in music and culture and aware of how music is made and consumed in 2009, never seeming to try to follow fads or set trends, just embodying the time. Mercifully, he came in second to Kris Allen, for if he came in first he may have had to tame his self-styled glamazon ways. A second place finish allowed Lambert to come out of the closet and indulge in his penchant for theater on his debut, For Your Entertainment -- which isn't quite the same ...
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"I'm Broken" was nominated for Best Metal Performance in the 37th Annual Grammy Awards.
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For her Bottom Line Records debut, singer/songwriter Susan Werner offers a collection of tales of patience and knowledge. With various styles and tempos -- from the gentle patterns of "Old Mistake" and "Sorry About Jesus" to the highlander twirl of "Standing in My Own Way," the Basia/Swing Out Sister pop of "Bring Round the Boat," and the island sway of "Petaluma Afternoons" -- Time Between ...
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Andy Kim's first four albums managed to escape CD reissue until 2006, when Collectors Choice released a pair of two-fers containing his three albums for Steed and his sole effort for Uni. The second of these contained 1969's Baby I Love You, his last album for Jeff Barry's Steed label, and his fourth album, 1973's Andy Kim -- two records that couldn't be more different in their sound or feel. Baby I Love You is of a piece with his two previous records for Steed, his 1968 debut How'd We Ever Get This Way and its 1969 follow-up, Rainbow Ride. Where the latter cribbed heavily from the psychedelic sounds of the late '60s, Baby I Love You took a different approach, leaning upon many of the middle-of-the-road sounds of the time, as well as several of the songs that were hip MOR crossover standards of the time: Tim Hardin's "If I Were a Carpenter," Jimmy Webb's "By the Time I Get to Phoenix," and Burt Bacharach's "This Guy's in Love with You." Clearly, there seems to be an effort to move Kim back into the mainstream -- a place he never left -- but the day-glo colored Rainbow Ride failed to generate a Top 40 hit, and Baby I Love You feels designed for Top 40 play in the best possible sense. It's crisply produced by Barry, who tones down the fuzz-tones and phasers of Rainbow Ride without sacrificing the scale or color of Kim's music, and it's a tight record. There may be five covers here, but they're not only well-chosen, they're executed with inspiration and imagination, particularly on the hit title song -- a lighter-than-air reinvention of the classic Phil Spector-produced single for the Ronettes -- and on "By the Time I Get to Phoenix," which boasted a dramatic, colorful coda. With the exception of "Walkin' My La De Da," which veers too close to cutesy, and the circular "I Got to Know," Barry and Kim's compositions -- all collaborations this time around, unlike its predecessor -- capture them at their bright, bubblegum best, particularly on the exuberant, propulsive "Didn't Have to Tell Her," the Spector-esque "So Good Together" and the cheerful "Let's Get Married." Those aforementioned pair of missteps -- which aren't complete missteps, just mildly awkward -- keep Baby I Love You from being as consistently absorbing as Kim's debut, and it lacks some of the period charm of Rainbow Ride, but it's yet another dynamic late-'60s pop sound that's quite addictive in its high spirits.
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