FunkFreak75 This is an album that shows David's growth and maturation as a songwriter and band leader: the music here is much more full and sophisticated than the work he did in the 1960s that led to his fame. He has figured out how to blend his orchestral with the laid back, jazz-rock funk that he burst onto the scene with on his famous tribute to works of William Blake in Song of Innocence. The bass, guitar, keys, and horns are definitely offered much more freedom to be creative, to be flashy, and to show off their own skills and ideas here than they were the albums from a decade before. While I miss Carol Kaye (who wouldn't?), the bass playing by JIm Hughart is quite exceptional. As with Song of Innocence, David's genius for spreading the melodies of his music across the entire band is displayed here--maybe at times even more successfully (like on the amazing "Terri's Tune"). At times the orchestrated approach makes one feel as if you're listening to a film or television soundtrack, but that doesn't matter because it's just great, eminently enjoyable music! Period! Definitely my second favorite of David's discography (which includes the two Electric Prunes liturgical renderings in 67 & 68).

A1. "Aunt Charlotte" (4:46) a long strings intro is slowly joined by bass, funky clavinet, and trumpet with horn section support and a near-disco Rocky-like palette (and feel). It's peppy with that clavinet and Rocky-like trumpet, but perhaps a little too cheesy. (8.875/10)

A2. "Mujer Extrana (Strange Lady)" (9:18) a gentle, slow and steady melodic build (coming from the militaristic drum-paced rock combo) that feels a lot like a kind of bluesy R&B "Thrill Is Gone" like song. It then shifts at the 90-second mark with the addition of some new, discordant/counterpoint chords from the orchestra that bring in a little tension build up. The bluesy-rock Latin funk music continues with Don Randi's keys providing the most dominant forward momentum despite feeling a part of a whole-band weave throughout. A bass solo ensues for about 45 seconds before guitar, Rhodes seem to vie for the next solo but are then overthrown by loud orchestra swells and a rather insistent flute. At 7:20 a little reset lull allows everyone to kind of congeal into a whole-band march toward the finish line where it seems that only the snare and bass are strong enough to cross the finish line. Cool song! (18/20)

A3. "Tony Poem" (4:50) Jim Hughart's funky Anthony Jackson-like bass along with Earl Palmer's expert drums and Don Randi's clavinet and electric piano along to reinforce it make for quite an introduction to this wonderful album's great sound and comforting groove-cruisin'. In the end, though, it just might be a little too cheesy in the way it pulls at the listener's "white man's overbite" dance strings. (8.875/10)

B1. "Mrs. O.J.A." (5:38) more of the gentle funk from the studio band is led this time around by the chord play of Don Randi on the Fender Rhodes, then a great little bass solo from Jim Hughart before the horn accents enter in the second minute. This is great use of the horns to amplify and contrast with the song's awesome funk chord progression, followed up by a great Jay Graydon's guitar solo as the spacious play of Don Randi's Fender Rhodes continues to steer the song down the river. The trumpet solo in the fourth and fifth minutes is a little over the top, but the entry and weightiness of the string and horn sections' chords help to offset it. (9.125/10)

B2. "Terri's Tune" (6:44) an absolutely perfect piece of music: I am amazed how smoothly David spreads his melody-carrying work among the entire ensemble. Then in the middle of the fourth minute there is a curious pause--which lasts a little longer than is normally comfortable--but then sees the best of the song rising out of its reset--with some great clarinet soloing from Jackie Kelso in the sixth minute. The final two minutes of the song offer what feels like the album's very best music and motif. Heart-wrenchingly beautiful. (10/10)

B3. "Sandy" (5:44) long solo bass intro is eventually joined by finger piano-like acoustic guitar, doubling up the bass's near-classical melody line. Second time through the guitar breaks off to make its own harmonizing melody line before the orchestra's flutes and winds take over to claim their own melody. Strings-backed rock combo then pick up a a gentle, slow and steady melodic build that feels a lot like a kind of Jimmy Webb song. Beautiful! Acoustic guitars remain the lead instruments--working in tandem--until the four-minute mark when Don Randi's Fender Rhodes takes a turn. Here the rhythm section does an excellent job of support as the guitars turn into the accent-providers while the soothing strings float around in the heavens above. Nice! (9.125/10)

Total time: 37:00

A-/five stars; a minor masterpiece of masterful blending of jazz-pop combo and full orchestra. Awesome and highly recommended.

FunkFreak75 A very unusual album for its fully orchestrated presentation, David Axelrod's funky, jazzy compositions take on a lively fullness that is rarely experienced outside the concert hall or Broadway/West End music hall. Way ahead of its time! And employing a cast of sessions musicians that make up a virtual Who's Who in music history--including a cast of The Wrecking Crew as well as orchestra members who would all go on to become very accomplished and known in the orchestral world.

Line-up / Musicians: - David Axelrod / vocals, composer, arranger - Carol Kaye (THE WRECKING CREW) / bass - Earl Palmer (THE WRECKING CREW) / drums - Gary Coleman (THE WRECKING CREW) / vocals - Don Randi (THE WRECKING CREW) / keyboards, conductor - Howard Roberts (THE WRECKING CREW) / guitars - Al Casey (THE WRECKING CREW) / guitars - Ollie Mitchell (THE WRECKING CREW) / trumpet - Tony Terran (THE WRECKING CREW) / trumpet - Gene Estes (WESTFALL) / percussion, vibraphone

ORCHESTRA STRINGS: Alvin Dinkin [viola], Anne Goodman [cello], Arnold Belnick [violin], Benjamin Barrett ([violin] FRANK ZAPPA; well known for his session work on 1970's funk, soul, and disco releases]), Bobby Bruce [violin], Douglas Davis [cello], Gareth Nuttycombe [violin, viola], Harry Bluestone [violin], Harry Hyams [violin], Harry Roth [violin], Jack Shulman [violin], Leonard Malarsky [violin], Marshall Sosson [violin], Myron Sander [violin, viola], Nathan Ross [violin], Raphael Kramer [cello], Sidney Sharp [violin], Tibor Zelig [violin].

ORCHESTRA HORNS: Allen Di Rienzo [trumpet], Art Maebe [French horn], Freddie Hill [trumpet], Harry Sigismonti [French horn], Lewis McCreary [trombone], Richard Leith [trombone], Vincent DeRosa [horn], Bill Hinshaw [horn].

1. "Urizen" (4:01) an awesomely jazzed-up orchestral funk composition that seems way ahead of its time (but for its similarity to contemporary sound developments both on Broadway and at Motown Records). Melodic and dence-provoking. Nice lead guitar work in the second half of the second minute followed by some stunningly awesome bass and drum work from legendary Wrecking Crew members Carol Kaye and Earl Palmer, respectively. (9.25/10)

2. "Holy Thursday" (5:32) more great orchestra-presented funky jazz musical fare that could've come off of an album coming out of Motown or from Burt Bacharach as likely as a 1970s Black Sexploitation film soundtrack. Is that future Westfall and 1970s soundtrack session drummer Gene Estes on vibraphone? and Howard Roberts shredding on the electric guitar? Great stuff! Carol Kaye is so amazing! (9.5/10)

3. "The Smile" (3:26) sadly, a variation of the previous song with the exact same drumming and orchestration but harpsichord/electric piano and electric guitar given more solo spotlight. Bassist Carol Kaye has some funky chops! And David's orchestral arrangements and Don Randi's orchestra are awesome! (8.875/10)

4. "A Dream" (2:30) bass and harpsichord open this one before gentle support drums and some low end orchestral support appear. At 1:23 the orchestra takes over. Beautiful! The bass and Harpsichord play are rather simple. (8.875/10)

5. "Song of Innocence" (4:33) another great, surprisingly funky orchestral composition blended supremely well between the strings, horns, and the bass and drums. Gene Estes and Carol Kaye provide such an awesome rhythmic foundation and Howard Roberts' Eric Gale-like electric guitar (even volume pedaled) is awesome, but the strings/orchestra steal the show on this one. I also like the addition of Don Randi's supportive organ work. Who knew jazz-rock fusion could/would ever look like this! (10/10)

6. "Merlin's Prophecy" (2:44) this cinematic song feels more like the orchestral rendering of a famous pop radio hit or main theme song from a spy movie: crossing over a little too much into the realm of elevator music. Still, it has great sound, melody, and funk! (8.875/10)

7. "The Mental Traveler" (4:02) starting with a long orchestral opening, Carol Kaye's bass is the first instrument to lead the shift to jazzy-rock funk motif that follows. Electric guitar and the presence of vibes gives this song a slightly different feel though it does end up feeling as if it's all coming from the same funky movie soundtrack. (9/10)

Total time 26:48

It's been such a joy and delight to have discovered this album--one of the surprise/delights of the year! I had no idea how much funk existed before the 1970s! Despite being so short, this is definitely one of my favorite albums from the year 1968.

A-/five stars; a masterpiece of jazz-rock fusion--one of the finest blends of orchestra with jazz-rock musicians that you will ever hear!