The Mamas And The Papas Best Of Rar
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Thematically speaking, shit's dark. There's a song called "Misery", there are not one but two songs in which the narrator's lover might be a ghost ("Graveyard", "Bad Feeling"), and though "Beachy Head" might sound like a carefree postcard from indie rock's current backdrop of choice, it's actually about jumping off a cliff and drowning yourself. Thankfully, the record ends on a high in every sense: "Come on Over" is perhaps the most hopeful-- and best-- track the band's got to their name. "Crimson and clover, I'll touch your shoulder," Clifford sings over the mounting tension of a furiously strummed guitar. It's the Veronica Falls aesthetic in miniature: the ghosts of pop past conjured convincingly and intimately enough to feel like flesh and blood.
It's easy to dismiss John Denver as a popular lightweight, and it's not unfair. Nonetheless, when we look over the acts who played the West Hollywood Troubadour in 1970, and particularly the last part of the year, we see some of the best selling acts of the 1970s playing a 300-seat nightclub. John Denver was another of those acts, just as big as James Taylor, Elton John, Carole King, Cat Stevens or Linda Ronstadt.
In May, 1970 Ode had released Writer, Carole King's first solo album. Just about all the songs had been co-written by King with Gerry Goffin. She was backed by James Taylor and members of Jo Mama, which was pretty much the crew on Sweet Baby James. Writer wasn't particularly a chart hit, although once its followup Tapestry became one of the best selling albums of all time, the album sold plenty. Nonetheless, all the people who had jumped on tickets for the hot James Taylor had then heard Carole King, and in retrospect she was just as big a part of 70s songwriter music as he was.
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