Less than two years after the Box Tops took "The Letter" to number one,
this Lettermen-style group ,with the help of future John Lennon engineer
Roy Cicala and his wife, Lori Burton, took a semi-orchestrated remake
of the Alex Chilton/Joe Cocker signature tune to the Top 20. In doing
so, "The Letter" became their signature tune as well, bringing the group
with impeccable vocals to a much wider audience. Starting off with
"Motet-Overture," the Arbors
give new meaning to the term Gregorian chant. It's a wonderful prelude
which melts into their astonishing version of "The Letter." The
combination of acoustic guitars, vocal harmony, and orchestration takes
the sterling composition into uncharted territory. The jet sounds at the
end are more subdued than the Box Tops, but everything blends
perfectly. Following this innovative production with a Beatles medley is
as foretelling as the "Motet-Overture," which begins the disc. Hugh
McCracken, guitarist for both Paul McCartney and John Lennon at various
times, gets to play on "Good Day Sunshine" and "Got to Get You Into My
Life" before his work on Ram and Double Fantasy. More than a medley,
this version is a mixture of the two songs -- the Ray Coniff Singers
gone rock & roll, if you will.
"Lovin' Tonight (Maybe Tonight)" is
one of the two originals here, put together by arranger/conducter Joe
Scott, a pleasant diversion from all the pop reconstructon that is the
album's main focus. It's the combination of talents, from Joe Scott and
engineer Shelly Yakus to the producers, and all involved's willingness
to experiment with a style considered so straight-laced that makes songs
like the complete reinvention of "Like a Rolling Stone," with
modulation and stops, as creative as what Jimi Hendrix would do to the
same melody. Al Kooper's "I Can't Quit Her," Billy Roberts' "Hey Joe"
(who says they weren't listening to what Jimi Hendrix was covering?), the Doors,
and even another song from "The Letter" author Wayne Carson all get the
treatment. Carson's "Mr. Bus Driver" sounds like "Come on Down to My
Boat Baby" fused with the "gotta get back to my baby" line from "The
Letter." Get it? First he used an airplane, now the sequel has the
author taking a bus -- from "listen Mr." at the airline ticket counter
to listen "Mr. Bus Driver," it's a little contrived, but sequels are
always fun. Stripping the sexuality out of the Doors'
"Touch Me" makes it sound more Simon & Garfunkel than the cover of
"For Emily, Whenver I May Find Her." Edward Farran and Fred Farran,
along with Scott Herrick and Tom Herrick, the two sets of brothers who make up the Arbors,
may think the music is sexy, but it is not. More important is that
they've created a soundtrack for seduction. There's an excellent
interview with the bandmembers from Circus Magazine used as the liner
notes. The Arbors Featuring: I Can't Quit Her/The Letter is a highly
experimental and entertaining album. It's too bad they didn't take this
concept a bit further. Imagine doing this to songs by U2, Roxy Music,
and the Velvet Underground? The album closes with an explosive,
apocalyptic "Hey Joe" and the return of the sound which Tibetan Monks
would find popularity with a couple of decades later. Truly
groundbreaking work. (Joe Viglione, allmusic.com)
Here is another album from the Arbors and it consists of cover versions. But that shouldn't deter anyone, because what the Arbors do with the songs is just great. Enjoy.(Frank)
Thank you Don, for the great album.
Flac
no mp3
alternative Flac
Thank you very mouche.
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