This is such a compelling reminder that certain albums aren’t just collections of songs—they’re pressure points where arrangement, tension, and personality collide in ways that can’t be repeated. Your analysis captures that collision beautifully. I especially appreciate how you trace the musical consequences of the group’s real-life fractures, not as trivia, but as forces shaping the very sound we hear.
The Jill Gibson interlude, the exhausted cover photo, the guilt woven inside the sunniest harmonies—your framing brings out something I hadn’t fully felt before: that this album documents the moment where California pop began to curdle at the edges. You’ve given this record a depth that may slip past even longtime fans, and you make the case without sentimentality, just close listening and good judgment. It’s the kind of writing that sends me back to the music with new ears, eager to listen again, and that is the highest compliment I can offer.
"Dancing Bear" sticks out like a sore thumb from the rest of their work both for its classical music touches and its length. Whereas most of their tunes were ready to play for AM radio, that one is so elaborate it probably could only have been on the FM dial.
But that goes to show what kind of group they were- and the amazing experimentation of John Phillips as an arranger and a songwriter.
OK Robert, you got me again. I have the stereo album on CD only. Now I started searching for the mono LP version because of your words and me listening to the stereo album 3 times today. I've never thought of Mamas & Papas like you do (e.g. mentioning Brian Wilson), although I've been a fan of the hit singles since the early days. I've bought "Deliver'" as a 10 year old schoolboy in '67 and always liked that album. You are perfectly right about calling this the best M&P album. Looking forward to hearing the mono version when I get hold of it.
This was so wonderful! My first thought was how many groups really just had a few shots of stardom? And made meaningful music…their career path now seems much the same as Simon & Garfunkel’s…just a few classic albums that those of us of a certain age know by heart…not sure if you’ve done the first two Donovan electric albums, but I’d love to read your breakdown of those…excellent post, Sir!
Albert got to this before me. The core of the band on the album is Hal Blaine, Joe Osborn, Larry Knechtel and Tommy Tedesco with Eric Hord and John Phillips.
Yes, I have seen it and enjoyed it very much. Little did many people know that they backed up many groups who had hit singles. I was just looking at the songs that Hal Blaine appears on via Wikipedia.
The irony of the dose of ‘Sunshine Pop’ you offer in this post is I listened to it from 2-5 years old, so all of it sounded super playful and easy to nap to. I had no idea, of course, at that age… The words that stuck out in the harmonies I could most hear/understand sounded fun and playful as well. Go figure!
Whether it’s that, “No-o-o” or “You oughta know by now-w-ww” it all sounded great to chirp along and I never gave it a second thought! Then by the time I played flute in the school band, I had the solo in California Dreaming down flat. I still play it.
The M&Ps have given me nothing but joy my whole life. What an irony to find out at this age about all its darkness. Guess what? I get to listen to it all over again!
Thanks for the insights. I did have to look up the years on some of the singles to remind myself how old I was. Perhaps weave more dates into the storytelling? Just a thought.
Keep digging; you’ll surely be rewarded. The flute solo you learned was by Bud Shank. If your dad had their Monterey Pop live album or contract filler “People Like Us,” save your time to spare your estimation of them. In 1967 Warner Brothers released a modest 1964 effort of Cass and Denny in the Mugwumps that anticipates the Ms & Ps harmonies, a melding of folk and early Beatles influences.
Interestingly enough, “No Salt on Her Tail” uses the instrumental track behind their vocals on Rodgers and Hart’s “Here in My Arms” in April 1966 for an ABC special tribute to the duo. No disrespect to John Phillips, but his songwriting quantity was the inverse of its quality, so this “borrowing” is not surprising particularly given the pressure to quickly cash in on their success.
The single of “I Saw Her Again” is punchier (and a different edit) than the album, and if you’re really curious for a profile of the group at that time, track down the 9.30.66 issue of Life Magazine.
Indeed, that “Dancing Bear” was able to “climb” as high as #51 in Billboard a year later after their first farewell to their golden era is surprising given all the baroque post-Pepper psychedelia then hitting its zenith. Or nadir.
This is such a compelling reminder that certain albums aren’t just collections of songs—they’re pressure points where arrangement, tension, and personality collide in ways that can’t be repeated. Your analysis captures that collision beautifully. I especially appreciate how you trace the musical consequences of the group’s real-life fractures, not as trivia, but as forces shaping the very sound we hear.
The Jill Gibson interlude, the exhausted cover photo, the guilt woven inside the sunniest harmonies—your framing brings out something I hadn’t fully felt before: that this album documents the moment where California pop began to curdle at the edges. You’ve given this record a depth that may slip past even longtime fans, and you make the case without sentimentality, just close listening and good judgment. It’s the kind of writing that sends me back to the music with new ears, eager to listen again, and that is the highest compliment I can offer.
Thank you, Howard, for this very kind and encouraging comment. I'm glad you liked the essay and that it got you to re-listen to the music.
"Dancing Bear" sticks out like a sore thumb from the rest of their work both for its classical music touches and its length. Whereas most of their tunes were ready to play for AM radio, that one is so elaborate it probably could only have been on the FM dial.
But that goes to show what kind of group they were- and the amazing experimentation of John Phillips as an arranger and a songwriter.
It's an amazing recording that holds up as a good example of the ambition fuelling pop-music makers in 1966.
Record buyers were lucky people to be living then.
To have been around back then!
You are right to point out the darkness underlying this music (I hear it in the Beach Boys too) and I'd love to read more from you about it!
Thanks - it's a topic I've touched on in other essays and will continue to explore, for sure.
OK Robert, you got me again. I have the stereo album on CD only. Now I started searching for the mono LP version because of your words and me listening to the stereo album 3 times today. I've never thought of Mamas & Papas like you do (e.g. mentioning Brian Wilson), although I've been a fan of the hit singles since the early days. I've bought "Deliver'" as a 10 year old schoolboy in '67 and always liked that album. You are perfectly right about calling this the best M&P album. Looking forward to hearing the mono version when I get hold of it.
Best of luck in the search! 'Deliver' is really good too and kind of a companion piece to the second album.
This was so wonderful! My first thought was how many groups really just had a few shots of stardom? And made meaningful music…their career path now seems much the same as Simon & Garfunkel’s…just a few classic albums that those of us of a certain age know by heart…not sure if you’ve done the first two Donovan electric albums, but I’d love to read your breakdown of those…excellent post, Sir!
I've never heard either in full but hope to get copies at some point as I am a Donovan fan. Thanks as well for the kind words!
Cass Elliot had a great voice. Is the Wrecking Crew the backing band?
Albert got to this before me. The core of the band on the album is Hal Blaine, Joe Osborn, Larry Knechtel and Tommy Tedesco with Eric Hord and John Phillips.
Yes. The movie of that name is a good watch.
Yes, I have seen it and enjoyed it very much. Little did many people know that they backed up many groups who had hit singles. I was just looking at the songs that Hal Blaine appears on via Wikipedia.
Carol Kaye is still around and giving interviews. She’s one of the few bassists I’ve seen who uses a pick, although I’m sure there are others.
The irony of the dose of ‘Sunshine Pop’ you offer in this post is I listened to it from 2-5 years old, so all of it sounded super playful and easy to nap to. I had no idea, of course, at that age… The words that stuck out in the harmonies I could most hear/understand sounded fun and playful as well. Go figure!
Whether it’s that, “No-o-o” or “You oughta know by now-w-ww” it all sounded great to chirp along and I never gave it a second thought! Then by the time I played flute in the school band, I had the solo in California Dreaming down flat. I still play it.
The M&Ps have given me nothing but joy my whole life. What an irony to find out at this age about all its darkness. Guess what? I get to listen to it all over again!
Thanks for the insights. I did have to look up the years on some of the singles to remind myself how old I was. Perhaps weave more dates into the storytelling? Just a thought.
Listen to “Twelve Thirty” and “Safe in My Garden” on the fourth album to taste 1968.
Well now you have me dusting of my father’s LPs!
Keep digging; you’ll surely be rewarded. The flute solo you learned was by Bud Shank. If your dad had their Monterey Pop live album or contract filler “People Like Us,” save your time to spare your estimation of them. In 1967 Warner Brothers released a modest 1964 effort of Cass and Denny in the Mugwumps that anticipates the Ms & Ps harmonies, a melding of folk and early Beatles influences.
Interestingly enough, “No Salt on Her Tail” uses the instrumental track behind their vocals on Rodgers and Hart’s “Here in My Arms” in April 1966 for an ABC special tribute to the duo. No disrespect to John Phillips, but his songwriting quantity was the inverse of its quality, so this “borrowing” is not surprising particularly given the pressure to quickly cash in on their success.
The single of “I Saw Her Again” is punchier (and a different edit) than the album, and if you’re really curious for a profile of the group at that time, track down the 9.30.66 issue of Life Magazine.
You're right about the backing track for 'No Salt on Her Tail' - thanks for adding a detail that I missed.
Great! 🫡 on it!
Indeed, that “Dancing Bear” was able to “climb” as high as #51 in Billboard a year later after their first farewell to their golden era is surprising given all the baroque post-Pepper psychedelia then hitting its zenith. Or nadir.
It is surprising - it's unforgettable but not at all designer for hit radio.