This record is a prime example of how, despite its various merits (primarily it's ability to get people excited about hearing music), Pitchfork's really easy to peg as often carelessly fickle and hipsterish. Getting a solid 3.0 from them and a wholly negative review which basically centered around the cheap sentiment, "I liked John Phillips, Wolfking of L.A. but this is not like that album," ie I felt cool when I listened to that album and I feel confused, and slightly sad, when I listen to this one.
The real story on this is that, yes, this is an odds and ends collection and not a lost masterpiece like his first, and is billed as such, and is actually very good as far as odds and ends collections go. With the exception of two rare tracks from the obscure Brewster McCloud soundtrack, none of the tracks have been previously released, and all have the benefit of being recorded in more or less a short period following his first album. The feel is quite different from John Phillips, Wolfking of L.A, which was essentially a masterful genre exercise. You do see a little of the genre exercises on this release, yet they're particularly interesting in themselves because instead of a popular well-established west-coast sound, Phillips is working off some of the precedents set by art-rock acts of the time like the Velvet Underground. In fact, Phillips seems to be doing something of a Lou Reed impersonation on many of the tracks. And while the quality of the productions does seem only slightly above demo standards, the quality of the musicianship is still heads and heels above your common recorded fare.
So, all in all, this is a highly recommendable release for Phillips fans to explore. While it is somewhat difficult, it's difficulty and uniqueness also afford the opportunity to play it over and over again. I have found new things to appreciate each time I explore it. If I were Pitchfork I would have rated it more like 6.95578.
Yes!
Comment by c — December 3, 2007 @ 1:50 pm
I agree with this review.
The album really does lend itself to repeated listenings and really does offer something new with each listen.
I bought it and I am enjoying it very much. Actually I’m surprised as to how very much I like it.
Comment by Lumpy — December 4, 2007 @ 11:50 am
DUDE. This album is so good.
Comment by CP — January 22, 2008 @ 10:56 pm
This is f-in fantastic! Devils on the loose is rockin! Chinatown is brilliant, love the scat vocals and the lyrics, beautiful melodies and progressions. Too bad seems to be about the m&ps, and is even funky. excellent versions of Revolution on Vacation and Cup of Tea. Also check out Pussycat, the original final masters that were only found in 2003 after Phillips died, and after the overdubbed and remixed Pay Pack and Follow version of the 76/77 album produced by Mick and Keith Glimmer.
A must buy for any serious music fan or music historian. Also check out Genevieve Waite solo album Romance is on the Rise produced and written by husband Papa John, as well as Michelle Phillips Victim of Romance (buy from soulmusicstore, or hip-o-select if you are in the states).
His kids myspace pages all site Papa John as their primary influence, and so they should be extremely proud of everything he produced even if much hasnt been released until now.. Im still waiting to hear a demo of the original Kokomo which became a #1 hit for the Beach Boys after they adapted an arrangement and Mike Love style lyrics and bass hooks, and shared writing credits with Terry Melcher… what most people dont realise is that John Phillips talked about a song called Kokomo in his 1986 Autobiography, which proves that papa was the principle force behind that brilliant song (which suffered somewhat from the production style of the 80s and Terry Melcherès decision to use drum machines), but is fun cos its a great melody no matter what.
Comment by Jells Avery — November 29, 2008 @ 8:26 pm
Yes, and he also had sex with his daughter.
Comment by Fred Brindle — September 23, 2009 @ 1:46 pm