I knew next to nothing about this band when I got this album not that long ago.
In some ways there is nothing better than being surprised by something you have little knowledge about. Let's face it, you run the risk of being let down but if you are willing to take the punt, there are some gems out there that the casual collectors haven't discovered yet. Of course if you are Pavlov's dog or otherwise an idiot you will follow the fashion and the usual standard texts and, accordingly, you are probably not the type of person who could be bothered putting on something you have never heard of.
There was a time, before the internet, when you sat in the vacuous waste that was Brisbane (substitute your city if applicable) with no books to guide you when it came to buying music. You relied on words and reviews in your most respected music magazines (mine were "Bucketful of Brains", "Forced Exposure", "Kicks"), the recommendations of those older and wiser, the song covers an act you like attempt (which, if unknown, cause you to go out and search for the original artist), or just what the sleeve of a record looked like. Are these valid criteria to buy a record … fuck no, well maybe not. But again when you strike pay dirt it's like a cosmic happening where the centre of the universe is you … because you don't know about the record it's likely your friends don't so you are the bearer of the golden gift. Likewise, if the record is not mentioned in music magazines, the golden gift is yours to dispense with, making you the giver of wisdom.
This may be an astute observation on my part or it may be the Brown Brothers Red Moscato but either way I can say I have been let down by otherwise fine records because the critical acclaim that preceded them can never satisfy the expectations created in me. Likewise I have also been let down by the total trash unknown records which turn out to be total unknown trash for a reason. But there is nothing sweeter (apart from the aforesaid moscato) than the magnificent musical find when you have no preconceived notions or expectations.
Two that come to mind are The Youngbloods "Elephant Mountain" from 1969 and Nils Lofrgren's self titled first album from 1975 both of which I discovered back in my youth in the mid-eighties and was totally blown away by.
Like I said this was in the days before the internet, mega music stores and cheap CDs. If I had then what the kids have access to now it would have been great. Sadly though, it seems as if a lot of people now, despite the availability of just about any music in the world, still refuse to think outside the box. That's why Pearl Jam are so big.
Anyway, is The Cyrkle's "Red Rubber Ball" another to be added to this group of magnificent musical finds … sadly, no, not "magnificent". I actually knew they were a folk-rock band but I knew nothing of their music and I always associated "Red Rubber Ball" with Australia's The Seekers. That aside, the album isn't magnificent, but it is a very fine album, and though not stellar it certainly is amongst the best of 1966. And that in itself is a stellar feat.
Now, with some trepidation I turn to their bios on line to see what I can find (if you don't believe I'm doing this in real time then screw you)
from allmusic:
The Cyrkle didn't seem like much more than a two-hit wonder in 1966 when they charted with "Red Rubber Ball" and "Turn Down Day." Their pleasant, upbeat folk/pop/rock sound, coupled with the fact that they got to record two complete LPs, speaks volumes about how good music was in the years 1965-1967 as even second-tier groups like this were a delight to hear. Ironically, for a group remembered for just a pair of singles, the Cyrkle were considered a promising and choice signing, and were, to different degrees, wired into the management and creative circles surrounding the Beatles and Simon & Garfunkel.
This is lyrical folk rock with a nod to MOR pop or electric folk done through a pop regulator. However, in the mix The Cyrkle have made nods to all the styles around at the time as well as new emerging sounds – baroque pop, sunshine pop, folk pop, English Beat, R&B, garage – and this definitely sets it in time and place. But all these separate sounds are given a pleasant on the ear pop sheen. More importantly, and as a result, no song "jars" and each songs fits in with the whole. Moreover, and this is interesting, there is some instrumental experimentation going on – sitar, reverbed guitars, a calliope, harpsichord – all of which stimulates the ears.
Lyrically (most of the songs are written by the band), there's a lot of style from the Paul Simon school – not surprising co-lead vocalist and lead guitarist Dawes played bass for Simon & Garfunkel on one of their tours in pre-fame days.
OK, so this is mellow, really mellow, but I have always had a thing for harmonies and folk and it's not that far from here to Shellac or Big Black is it? Of course it is. But if I can see Simon & Garfunkel and The Dead Kennedy's within six or so months of each other as a kid I can certainly cut The Cyrkle some slack.
Tracks (best in italics)
- Red Rubber Ball – Simon, Woodley – written by Bruce Woodley of The Seekers and Paul Simon. I'm not sure how they hooked up but they were both living in England in the mid 60s … Bruce with The Seekers and Simon in pre-fame mode. A great folk-pop song. Not as MOR as The Seekers version but only just. Simon & Garfunkel only recorded it live. A big hit for The Cyrkle – #2 USA.
- Why Can't You Give Me What I Want – Dawes, Friedland – a nice mid-tempo pop song with some baroque touches
- Baby, You're Free – Crewe, Weston – This perfect pop not dissimilar in attitude to Bob Crewe's work with Frankie Valli & The Four Seasons. This is easily something the Turtles could have recorded.
- Big, Little Woman – Dawes, Dannemann – pleasant if unremarkable.
- Cloudy – Simon, Woodley – pre-empts "Windy" by The Association from 1967, and despite the meteorological references, there are other similarities in tempo and lyric. This is another Woodley-Simon track which later appeared on a Simon & Garfunkel's "Parsley, Sage, Rosemary & Thyme" album (also from 1966).
- Cry – Dawes, Dannemann – Cry is their garagy – pop number and it works well … and is very catchy.
- Turn-Down Day – Keller, Blume – nice sitar which predates The Beatles I believe. Co–written by Jerry Keller of "Here Comes the Summer" fame (a great song from 1959) … I wish I had more "turn down" days.
"It's much too groovy a summer's day / to waste runnin' round in the city / but here on the sand I can dream
away / or look at the girls if they're pretty /
it's a turn-down day / nothin' on my mind / it's a turn-down day / and I dig it / there's nothing easier I can do / than
lyin' around doing nothing /
it's a turn-down day…
- There's a Fire in the Fireplace – Friedland – garage influenced song but filler.
- Bony Moronie – Williams – A # 14 hit in 1957 for Larry Williams, "Bony Moronie" is a strange inclusion … but it's a total re-interpretation of the song. It has abandoned the rock of the original for harmonies, loungey keyboards, handclaps and other touches of craziness. Apparently, according to lead singer Dawes, "I recall asking Paul McCartney if he'd listened to the album and he went on to compliment our upside-down arrangement of Larry Williams' 'Bony Moronie'…"
- How Can I Leave Her – Dawes, Dannemann – an English beat type song.
- Money to Burn – Dawes, Dannemann – filler.
And …
I like this enough to keep it … in fact it's on high rotation at the moment.
Oh, apparently there are numerous Beatles links to the band – they were the opening act on the Beatles 1966 tour, and Lennon & McCartney were "fans" of sorts. Read the bios.
Sounds
Red Rubber Ball –
http://www.youtube.com/watch?v=rSkIY29ow3Y&feature=related
http://www.youtube.com/watch?v=rSkIY29ow3Y&feature=related
live
Why Can't You Give Me What I Want
attached
Cloudy
Cry
attached
Turn-Down Day
live
There's a Fire in the Fireplace
Bony Moronie
attached
Other versions of "Red Rubber Ball"
An ad:
Bio
Review
Trivia
- Dawes would go on with Dannemann to a successful career writing many nationally-known advertising jingles for television, such as the "plop, plop, fizz, fizz" commercial for Alka-Seltzer.
(originally posted: 13/06/2010)
