MONKEES - HEAD
Released December 1968
Billboard LP chart # 45 - 15 weeks
This was the first Monkees album not to go platinum. The others before this one were all top 3 in the USA. So this album was thought of as a flop at the time. It's a soundtrack from a movie that the group was in. Some people consider it a cult classic nowadays. The best known song is "Porpoise Song," which was a single that charted at # 62 on Billboard.
On RYM it's 3.71 on 629 ratings.
Some reviews:
Reza79 Apr 30 2014 5.00 stars
I adore this album, probably the best thing The Monkees ever did. More psychedelic and experimental than their earlier works. Well worth checking out.
JanFreidun Apr 17 2013 5.00 stars
"We were speaking of beliefs, beliefs and conditioning"
It's a very extraordinary scene
To those who don't understand
But what you have seen you must believe
If you can, if you can
[Mike Nesmith – Circle Sky]
Introduction
I know what you are going to say
Here he comes again probably the biggest Monkees fan in RYM
I have just gotten a hold of a proper 180 gram vinyl copy of Head Original Motion Picture Soundtrack and as you may predict this review to be biased (what review is not) I will make my best to come clean about this particular LP.
Head was the first album proper I ever got into by this said group, it started as reading review and hearing snippets online on amazon. When I once upon a time went to a what we in my day called an actual record store, [however now bankrupt] browsing for records Head was the one I picked up as I knew beforehand I was in for something special, I am now talking of the then (1994) digital re-master on CD format with expansive linenotes and bonus tracks, as you might have seen I wrote a somewhat clumsy review of early on. As I later on have grown more accustome to a turn table, although it sometimes gives up on me: I felt more and more compelled to get the album proper, and not rely on re-mastered issues with bonus tracks or deluxe editions.
Just from reciving the LP, despite being a new pressing, the delivery on 180 g was still up there with my expectetions I knew I was in for something good when the album cover design came out as initially planed (to reflect the listeners own head) and the writing on the back saying in CAPITAL LETTERS “ALBUM PRODUCED BY THE MONKEES” and nothing but the original presentation spread out on two separate sides.
Background
HEAD may not have been the first LP to carry the connotation ‘Produced by the Monkees’ but in comparison to the preceding and also quite impressive LP ‘Birds and the Bees and The Monkees’ despite the fact that a creativity peak was also looming on that one album, it is obvious if we look upon the two albums one after the other, that on the whole HEAD was the better accomplishment and the selective, and still somewhat eclectic quality over quantity mindset proved very effective for them.
All the songs on Head was really the Monkees at their best, and the low number of performances aside, the album is still perfected by intriguing soundcollauges as initially put forth with assistance from the Film Director Jack Nicholson and the brillianti incidental music as presented by Ken Thorne. All in All it was the band at the peak of their powers, and especially Pete stepped forward on Head, after this release the band members wanted to revert to producing their own songs individually and the cohesive pioneering approach that was present on Head hasn’t ben recaptured ever since, and although I have heard the guys are occasionally touring it still probably never will be.
Head remains very own one and only masterpiece, they never achieved anything quite like it, before or after. For anyone looking for an essential listening release from the monkees, with out a doubt Head is THE ONE.
‘Actual Review’
To some listeners and high fashion critics dismay there has been a certain disappointment concerning two facts that make up the foundation of The Head soundtrack:
Firstly: the album lacks the existence of an obvious hit like Birds and The Bees Chip Douglas produced ‘Daydream Believer’.
Secondly: Only one track Ditty Diego sees the each and every monkee working together in the studio at the same occasion. Meaning that out of the Monkees inner circle session musicians were often employed.
To answer this critique
Fristly: Whatever Chip Douglas had in mind, Head was never meant to be a ‘hit record’ in the traditional sense.
Secondly: As it says ‘Album produced by the Monkees’ it is still very much a band project. Granted no every monkee appears as performing on every single track, but there are various variations such as Davy and Micky on one track, Mike and Davy on another or Pete and Micky on a third one. Then there is always the same criticism always hurled upon the Monkees as a group in saying “They don’t even play their own instruments” this is odd per se, because a person like Nesmith is playing organ on ‘Circle Sky’ I don’t know if you call the organ ‘his own instrument’ but the recording speaks for itself in saying anyhow he gets the job done.
Then again you may always act upon the need for comparison and ponder the same reasoning when you say, did the Beatles play all the instruments on Within You Without You? Did Beach Boys play all their instruments during the Pet Sounds sessions?
Let us take an affirmative stance in saying yes there were a few ‘hired hands’ as you would involved in the making of this LP. The difference from albums previous albums like More of The Monkees or Headquarters or albums that would follow like Changes (1970) or Monkees Present (1969) which also has some elements of self producion from individual memebers. is that on Head as with the precedent Birds and The Bees fact is that it is the Monkees as group calling the shots in being responsible for the final product, i.e not as produced by Mike Nesmith or as produced by Micky Dolenz, as on subsequent albums.
The above said shows that The Monkees had a difficult time getting along inasmuch as creating a common view of what was a could work as plan for good path for the Monkees as a group to follow. Head on the other was a gallant last attempt and it is really good, and there has never been a Monkees LP quite like it before or after.
The conceptualisation of Head as a motion picture soundtrack
As you may be aware I have review and rated as good as every Monkees LP and even own many of their releases in multiple formats.
Head is the obvious favourite above all others, and for me the only monkees LP Worth a five star rating. An Album Like Birds and The Bees, also is a strong contender because they were at a creativity peak there, as are certain moments on albums like Changes, instant replay or ‘Monkees Present,’ but on all the previously mentioned albums as well as the rest of the Monkees catalouge we all found a bunch of interesting ideas or fine songs, but it was only on head they raised to the occasion to highest level in saying that This is going to be a great album all the way.
Head: a Template for Quality over quantity
I know that everyone on RYM is not as interested in the Monkees back-story but to prove a point there are a few things to take in to consideration,
Compare Head to The Birds and The Bees
You will notice:
1.Head has a lesser amount of actual songs
2. There are no Self Penned songs from Jones on Head
3. Nesmiths high time as a composer is less evident
4. There are more ‘obvious hits’ on The Birds and The Bees
Knowing that 1968 was a difficult year for the Monkees you will see that even if The Birds and The Bees features some of the mos creative ideas the band ever came up with, not all of it makes for cohesive album.
Nesmith was on a roll by then, having already grown tired of The Monkees moniker and released a (great) solo album of free form instrumentals ‘Witchita Train Whistle Sings’
The Monkees television series was shutting down and as a group they found themselves having a hard time to figure out which way to follow – most prominently Pete Tork despite long time close cooperation with Stephen Stills(of ‘Buffalo Springfeild’ fame, couldn’t make up his mind about how he wanted his composition to sound and thusly they failed to make an inclusion on ‘
The Birds and The Bees’
Granted Mike Nesmith only contributed one composition to the table while HEAD was in the making, which could be considered a ‘small contribution’ compared to all of the tunes he churned out for his solo LP and ‘The Birds and The Bees’.
Nevertheless, saying Circle Sky was essential to the content of the film, is an understatement. It was a dynamite song. It really proves how successful the Quality over Quantity approach was for the Monkees at this point of time, there is no point in expecting Writing Wrongs part II. ‘Circle Sky’ is a true Nesmith triumph.
There has been a lot of talking about the fact that this version is a studio version essentially recorded by Nesmith and his cohorts more than it is ‘the real’ Monkees.
Playing the organ here in a carefree manner is Nesmith while rest of the instrumention is being handled by bill Chadwick et al,
The top argument is not that Mike Nesmith is not a bad organplayer, for it has been proven he knows his way around that instrument eg. On for Pete’s sake’ from headquarters. The Low down for most people is the fact that a live version from the original monkees was not included on the soundtrack. Despite this criticism you cannot argue against the prolific cohesiveness an dynamic present on this album version I goes all the way down to the cowbell, ie. There is some real sophistication and crunch to it i.e. a great version, the live cut is also good, but has a different consistency of approach. I hope I am not offending anyone in saying this version was the better one to make the flow of the rest of the album work.
There has been more of a discussion on the studio muscians and hired hands on this LP
So Let’s look into that. Many of them such as Neil Young and Dewey Martin (both of them also ‘Buffalo Springfield’ fame) and other people such as Carole King (guitar on As We Go Along), Eddie Hoh (Drummer on ‘Circle Sky’) and the duo of guitarists Keith Allison and Bill Chadwick, previously heard on ‘Circle Sky’ returning for ‘Daddy’s Song all of the above were all long time Monkees collaborators one way or the other.
Headquarters as produced by Chip Douglas was never my favourite album anyway
The songs brought to the table were all stronger, and the vision of how to make an album was better executed. The whimsical ‘Ditty Diego playing around with varispeed features, may be the only track that features all of the four monkees in the same recording booth at the same time, but It surely sets the tone for the LP and it wouldn’t have been complete without it.
Davy’s ‘Daddy Song’ here brought into a Swing Barouque cross over with a great solid guitar lineup of the aforemtioned Keith Allison, Bill Chadwick and Mike Nesmith, makes up for the non existence of self penned number in the same style like ‘Dream World’ or ‘Poster’.
The Monkees had a certain way of working with Harry Nilsson songs and Daddy’s song filled to the brim with wit, is no exception. Here it is inasmuch as Davy although not formally being the composer of this particular number totally makes it his own.
‘As We Go Along’ another Micky Showcase is really folksy and from Carole Kings pen
another song he performs to perfecion is Torks can you dig it, an existential philosophical number with obvious elements of eastern and Spanish folk in a mashup.
The same Can You Dig it is up an running for the title as Torks best contribution to the Monkees Canon with “Long title” being a lyrically juxtaposing guitar groove not far away from the raga like stretching and sweeping genre transcending sounds the Byrds were inro on Fifth Dimension LP” a few years earlier.
In all this we also have the Porpoise Song, a Goffin/ King penned number so essential to the over all confusion of the times and the content of the film that it is also known simply as ‘Theme from Head’ elements of it like with other songs are reworked into the sound collagues through out.
Most tellingly to wrap things up there is a slight reprise of the Theme near the end before the exquisite Ken Thorne composed original score kicks in.
‘Theme from Head’ is rightfully considered one of the Monkees biggest triumphs.
From a different view:
meaning on the album per se it is equally interesting to find that Peter Tork finally comes his to his own rising to the occasion to really contribute. On 'Head' he gets his act together in a manner he failed to on ‘The Birds and The Bees’ apart from the world famous piano part on ‘Daydream Believer’
Micky has the lions share of the Lead vocals but production wise it is more openly a group effort.
‘The Final Say’
The mix between soundcollauges and a selected few of brilliant songs, makes this album the most fully serving of all Monkees LP’s they never succeded in doing anything quite like it before or after. This was the second and last album as produced by the Monkees, Directly after it’s release band members would start parting for their own ways. Knowing that still for a fact that Mike Nesmith had already released his first Solo album, Head still comes of as a group effort, even more so than ‘The Birds and The Bees’ and the material is stronger here than on Headquarters or ‘Piscecs’.
No single member dominates the sessions and the sequencing and presentation of tracks are eclectic in nature.
I would like to make a special not for this 180g vinyl edition
As you might be aware Rhino has every since the first digital remaster tried to fleshout the listeningexperience by not only digitally remastering said tracks but even more so adding ‘outtakes’ and bonus tracks not originally included on the set.
While this may be considered interesting what I saw of the Deluxe boxed set has some dangers of actually taking away the cause of attention to how the orginial album was delicately put together.
A clean-cut edition on Vinyl I think comes closer to what the artists really intended, there is a side 1 and side 2 and when it is over, it is over. The sound on this edition is soft and clean and that is all, there are no additions made to the track list, and none are necessary.
This may not be a five star album in the same sense as the refinement of Verve Urban Hymns are Oasis Be Here Now from 1997 are, but considering the era Head is really enjoyable all the way, the swami speech is definatly not to miss.
R1 528615 Vinyl LP (2011)
JanFreidun Apr 17 2013 5.00 stars
This Album, The Monkees secound outing for 68, was the soundtrack for the feature film of the same name. This was the first album I ever bought by the Monkees, and also their best album (although I haven’t heard all of monkees present and changes, I am quite sure of this)
This is also the album that has the most fascinating production
With the monkees third album (the so called group debut) Headquarters the monkees got more input over the recording, playing and how the products came to be produced. That album is often regarded as the groups best, because of the admire factor of the group members own triumphs, as a band. I am with no reason, neglecting the great moments on that album, and its similar follow-up Pisces, Aquarius, Capricorn & Jones Ltd
Head is still a more amazing production as a whole, regardless if the monkees play all the instruments themselves or not.
The complaint of too few tracks is another complaint I Don’t understand since, all six tracks are amazing in someway, and the sound collages, from the film, made by Jack Nicholson surrounding them, are flowing well with it.
Produced by the Monkees, and Gerry Goffin, this is essentially something else than "_I’m a believer_" ”I can’t get her off my mind" "_Clarksville_"
I find all the songs exciting, and thrilling, as there is a cool vibe surrounding all of them. It is a diverse album that never looses its flow, it’s got the dreamy Porpoise song, that is comes after the interlude of the opening ceremony. the songs instrumental parts, are driven solely by session musicians, yes but great ones at that, the organ sweeps along with one of Micky Dolenzes most swaying vocals, Davy Jones backs up, in an enthusiastic stretching cry in the choruses, which gives it great striking effect, as does the strings the drums, the strumming of the guitars, the bass, (played by Douglas Lubahn, bass session man with the doors.) well its just a great number so to speak.
Written by Goffin & King, it’s also one of the most sentential songs to the content of the film, and the situation of the monkees and overall feelings around life.
its fades out, and in comes the made run piano romp "Ditty Diego- War chant" written by bob Rafelson and Jack Nicholson, its a little ditty, with the monkees swaping the leading roles as vocalists, neatly delivered in a half spoken, and whimsical poetical sense, its madness is also increased by the use of vary speed in the vocals.
Its mocking around with the monkee-imaige in an amusing way too... after thís its time for one of Nesmiths regular triumphs, a rock boost for all with country beat (!) Circle sky is a winning number, with interesting lyrics with it too, also reflecting the over all situation of the monkees playing as a band, and presenting, its also presenting feels of confusion, of the times
the crunch of the guitars, are here being delivered with a boost from Nesmith’s usual studio associates, Bill Chadwick and, Keith Allison, and the bass work and drumming are crashing to, this cut also features some great percussion, that gives the song yet another boost from the cowbell, Nesmith himself, delivers a confident, and steady sort of shouting vocal, and puts pressure on an a organ, to boost the pack up even more on top. (Something that he also did, on For Pete´s sake on, Headquarters)
although there are no other Monkees, having any instrumental or vocal contribution to this studio cut, the live version issued, as a bonus track, and in the film features Micky on drums, Pete on bass, Mike on guitar, and Davy on percussion and organ, this is a good go effort, with rather crazy drum rolls both of the versions are good, the live version has got the direct edge.. But on the other hand studio version has got THE BOOST he he great song anyway.
_Can you dig it?_ follows after a sound snippet interlude, one of Torks more philosophical numbers, the writer plays electric rhythm guitar chunking along good with the lead acoustic fingered playing of Lance Wakley that also plays, bass(!) the sound is psychedelic blues mood, with veins of Spanish and oriental folk music in the guitars, and its great, the rhythm is great too. And the vocals are being delivered neatly with no hassle by Micky Dolenz, who I think, also backs himself up, with harmony.
Pete Tork gets his time to shine later on again on the albums final song "Long Title: Do I have to do this all over again" which is a great blues rock n roll frenzy with Tork delivering both vocals, lead and rhythm guitar, the guitar solo clearly boost of a psychedelic fusion boost, in some way reminding of something that could have been taken from The Byrds third album: Fifth Dimension
Lyrically it seems filled with disappointment and depression, and could very much be reflecting over the Producers of the monkees project, and an overall feeling of feeling hopeless. This was Torks Final contribution to The Monkees, and it shows what a misunderstood talent he was.
in-between this we have an amazing jolly run number too, a Jazz/Baroque/Swing brass punch, written by Harry Nilsson Daddy’s Song which is being delivered fine by Davy, this being his only spotlight number on this record, its good, and not overmushy as some of his contributions might come of as.. it features some groovy chunky guitar go, in it too, from the chunky guitar trio of Chadwick Allison, and Nesmith, (this song was originally cut at a Nesmith session, and the bonus section also feature a shorter version, with lighter brass arrangement, that feature Nesmith on vocals ).
Micky Dolenz also get another moment before its over, and As we go along is surely one of his finest deliveries vocally, this Carole King/Toni Stern Penned number is a sombre folksy piece, with fine guitar and melody structure , the rhythm pattern is interesting to, as is the guitar line-up, delivering this song no other than Ry Cooder, Carole King, and Neil Young, that are three out of the 6 session guitarist delivering this number, the song also finishes off, sweetened by a melodic flute. And it’s great.
The Ending Swami plus strings, as an ongoing guru speech from the film, mixed with voices, clips from the film, and music, when the music finishes, the end credit orchestra romp head on. And it rounds off this album nicely.
This, is the monkees essentially breaking loose from the producer’s frames, and putting some groovy input, without loosing touch, while some monkees albums are albums of amazing moments.. This is an all in all experience, yes there is only 6 actual songs in between all the whimsical and swirling collages, but its all fine !
if one wonders why, Nesmith didn’t get anymore space on this for his talent, have in mind that he pulled of 3 major numbers for the previous Birds and Bees and contributed tasty country balladry to the upcoming Instant Replay while Pete for instance got very little space on the previous and the first two..
if anyone wonders why Davy got no more than one solo spot, well I don’t know, but its one that he really delivered well, and as for the backing on porpoise song,
It’s good. Enough, Balanced, and the most exciting Monkees album Produced, as a whole
don’t stare yourself blind, on how many songs are in the track list, or judge it after how many Instruments, Per monkee, Per track etc.
Perhaps this album is not the quartet, always playing along in the studio, but it’s a great production.
People that might think that the albums 1968 onward is a setback to the production days of more of the monkees, are a bit of their feet, its clear that here one can’t measure the artistic input on the production shape, solely on how many session musicians who played, or who not played.
And one last note, people who seem strict on the fact that Monkees where just the well packed, put together swinging direct impact of I’m a believer.. Please open your ears for this, this album should not be overlooked.. And by the way, I take this over the dullness of Magical Mystery Tour, Any Day
This album, and film is the biggest proof that the monkees creativity, deserves more recognition , which is something you will never, EVER hear, if you stick with those, Very best of, greatest hits collections.
(To Be Honest, before reading about head, I was never that interested in the monkees.... and now I have nearly all of their albums)
(The bonus tracks feature: live version of circle sky, rehearsal takes of ditty Diego, Happy Birthday To You, Pete Tork vocal on Can You Dig It, alternative take of Daddy’s Song with Mike Nesmith on vocals. and radio promos for the film.)
"Porpoise Song"
My, my
The clock in the sky is pounding away
There's so much to say
A face, a voice
And overdub has no choice
An image cannot rejoice
Wanting to be, to hear and to see
Crying to the sky
But the porpoise is laughing, good-bye, good-bye
Good-bye, good-bye, good-bye
Clicks, clacks
Riding the backs of giraffes for laughs
Is alright for awhile
The eagle sings of castles and kings
And things that go with a life of style
Wanting to feel, to know what is real
Living is a lie
The porpoise is waiting, good-bye, good-bye
Good-bye, good-bye, good-bye
Good-bye, good-bye, good-bye
Published
4509-97659-2 CD (1994)
markgibson May 10 2009 5.00 stars
Oh miles better than The Magical Mystery Tour, owing to the fact the Monkee's could actually act. Come's this puzzling sound scape called the Head soundtrack. The songs are great,
Porpoise Song- Carole King/Jerry Goffin written. Tin Pan Alley goes psychedelic in a little charmer with nods to the San Francisco freak out scene. It's a mighty fine song, which you guess so, being by the pen of the divine Mrs King.
Circle Sky- The live version and one from the movie is the one to check out. The Ness's brilliant guitar licks and the full band showing how its done. The Monkee's were known at the time to do a full 2 hour live show, and it pays off here. Like a country garage band. Raw.
Can you dig It?- Peter Tork's masterpiece. Sung by Mickey on the album, but its a raga infused saunter up the same street as the Byrds were exploring with 8 Miles High. And a nod 20 years before hand to the Manchester dance sound.
AS we go along- Beautiful. And with guitars by Neil Young and Ry Cooder. The song works well with the movie too, providing a perfect marriage of sound and vision. And I love the little wig out section at the end.
Do I have to do this all over Again- It's another beat infused song. With nods to the late 60's psych scene. Strange to think the Monkee's did some of the best exponents of this kind of music. And were still considered a childrens show band. Not that theres anything wrong in being pure pop. But dig deeper and theres a lot more going on than history allows us to believe.
Daddy's song- I love a bit of Nilsson he always had a cute sound that was very refreshing but always with something else going on. And his melodies are always top draw.
A top band. and very under rated.
By the way the sound collages tipping a wink to the world of advertisements and also John Cale which make up the rest of the album are really something else too.
The album is on youtube:
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THE SAVAGE RESURRECTION - THE SAVAGE RESURRECTION
Released 1968
Did not chart
Another cult psychedelic album. This was the final year that psychedelic music was really popular. By late 1969 that era was over. This one is also somewhat blues rock and somewhat garage sounding too. On RYM it's got a 3.67 on 312 ratings.
some reviews:
psych_rock Mar 08 2015 4.50 stars
Very good album
Ok I updated this to 4,5.
Awesome acid Psych, a little better songwriting and it could have been a masterpiece but
"Thing In E" is one of my favorite psych songs from the 60s.
The best songs on the album are "Thing In "E""and "Tahitian Melody"
4.5 Stars
/Chris
tymeshifter Mar 06 2014 ▼ 4.50 stars
A good friend here on the site has pointed out they I have neglected to review this fine album, so hopefully, this will correct that oversight. This has long been an absolute fave of mine. I even once met Bill Harper through a mutual friend while he was with a later band known as The Stepford Husbands. But he got called away from the table before I could get into this band with him. Their album is pure psychedelic heaven! While I often gravitate toward the heavier sounds, with all of their psychedelic effects and mayhem, this one doesn't really fit that bill. I won't tell you it doesn't have its share of heavy sounds, but I don't think that that is an accurate description of their music. They represent that rare San Francisco band that psychedelically rock your world with subtle sounds on tracks such as the awesome "Tahitian Melody", while blowing you away with the intertwined dual guitars found on almost every other track. The extended blues fest found on "Jammin" is pretty much what the title suggests. Fuzz guitar abounds, and Harper's relatively fair voice lends itself well to their reserved style. I can only imagine what a Savage Resurrection performance was like, and they would have fit in well sharing the bill with contemporaries such as Kak and The Frumious Bandersnatch, or even Blue Cheer for that matter. Quality material such as this sounds good with almost anything. I can't recommend this album enough.
CooperBolan Dec 10 2011 4.50 stars
Now this one is an interesting release right here. This band is pretty unknown in these days and that's a bit shame since their only studio album includes some amazing stuff. These guys were so young when they released this album but their inexperience cannot be heard in their music. They're playing like professionals here.
The stand out cuts include "Tahitian Melody", "Jammin'", "Appeal to the Happy" and the closing track "Expectations". But you can't find any weak parts from this album. Mostly these songs are damn awesome psych rockers. The album cover is fantastic too.
This one is a must-have album for the psych rock fans even though I'm not rating this with five stars. It would have been nice to listen to another studio disc by these guys and see how their music would have changed when they got a bit older. But sadly this was their only album before their disbanding. I have the original first US pressing of this LP.
The album is on youtube:
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JOHNNIE TAYLOR - WHO'S MAKING LOVE
Released Nov-Dec 1968
Billboard LP chart # 42 - 18 weeks
Includes 2 big hit singles, the title track and "Take Care of Your Homework." "Can't Trust Your Neighbor" is about the same subject as the 2 hits. Johnnie's career was about that same subject (cheating) for years. For a soul album that was not a huge crossover seller, it does pretty well at RYM with a 3.71 on 122 ratings. Love the hrons!
Some reviews:
soulmakossa Oct 14 2007 5.00 stars
The BIG one...
Yes, the title-track was a huge, huge hit... but this album is killer all the way through. Johnnie Taylor does it all here; gettin' down, bein' bluesy, balladeering... you name it. A must for Soul fans.
Ironically, Taylor himself initially didn't like "Who's Making Love", which he dubbed the 'boogaty-boogaty'-thing. Be that as it may, his vocal performance really immortalizes this stomping, rocking workout. The groove is so very, very tight.
Trebling, reverberating guitars set off the sweaty blues vamp "I'm Not the Same Person", while the delightfully arranged (check those flutes!) mid-tempo ballad "Hold On This Time" is plain sweet.
Taylor's reaffirming his blues credentials yet again on the bitter 'slugged-in-the-stomach' wailer "Can't Trust Your Neighbor" and the resigned, pensive lamentation "Woman Across the River" (both later covered by Freddie King).
Right after that, Johnnie lays another hard-socking, busy soul groove on you with the funky "Take Care of Your Homework", featuring some nice, punching stabs at the organ during the instrumental break.
"I'm Trying" is one of my favs here... a sweet, plaintive ballad sporting some of Johnnie's finest pleading... Superb brassy intro, as well. The desolate mood is sustained on the painfully sensitive "Poor Make Believer", which is a tastefully orchestrated, quiet, calm and somewhat depressing ballad.
The album closes with no less than three stupendously deep, raw blues excursions: the pounding "Payback Hurts", the wistful "Mr. Nobody Is Somebody Now" and the decided "I'd Rather Drink Muddy Water".
Interestingly, the CD reissue includes the previously unreleased gem "Rumours"... why this gorgeous low-key workout remained in the cans for decades is a mystery to me.
Nodima Jun 21 2011 4.50 stars
Who's Making Love... (Produced by Al Jackson, Jr. & Don Davis) [Stax Records 1968]
A1|Who's Making Love?|2:47 5
A2|I'm Not the Same Person|3:03 4.75 - 5
A3|Hold on This Time|2:36 4
A4|Woman Across the River|3:14 4
A5|Can't Trust Your Neighbor|2:39 5
The lyric hilariously turns to a rant about an untrustworthy neighbor at the end, sort of like the shoutout section at the end of hip-hop tracks in the '90s. Except sung wonderfully.
B1|Take Care of Your Homework|2:38 4 - 4.5
B2|I'm Trying|2:59 4.25 - 5
B3|Poor Make Believer|2:42 4
B4|Payback Hurts|2:28 4.75 - 5
B5|Mr. Nobody Is Somebody|3:21 5
B6|I'd Rather Drink Muddy Water|2:47 5
Side A: 22.75 - 23 4.58/5 91 - 92%: Best of decade
Side B: 27.5 - 28 4.63/5 92 - 93%: Best of decade
Overall: 50.25 - 51 4.60/5 91 - 93%: Best of decade; BUY IT
Full of all the Motown-cum-dirty south hallmarks you'd hope for, Who's Making Love... is one of soul's great vocal turns. Equal parts James Brown and Ray Charles, Taylor was really one of the finest vocalists of his time and one of the more charismatic ones to boot. The album kicks off with it's title track, a real romper of a legendary track and one of the crown-bearers of black soul's long line of infidelity anthems. The song hints at indictment of the practice, but mostly comes off to my ears like a song about Johnnie Taylor having no problems making love to a housewife while the spouse is out making love to a mistress. The circular logic of the song is just as addictive as the music itself.
From there, Taylor gives us just about every style he's capable of and the Stax team provides him with all the right backdrops and lyrics to make the music sing and his vocals shine. It's hard to say these guys ever do wrong here, there are clichés and songs less interesting than others, but that's essentially the case with just about any album, especially the ones that came off the Motown and Stax assembly lines. Obviously none of that should really deter you from a Stax record from the late 1960s, but I'm sure some foolish, poor souls have allowed it to.
The album is on youtube!
MORE LATER! Only a few more albums to go.
