Revisiting A&M Records No. 37
Pete Jolly: ‘Herb Alpert Presents Pete Jolly’ (April/May ‘68)
‘Since liner notes are seldom written by people who come into direct contact with the artist or the recording sessions in question, and since Pete Jolly really tells his own story inside this package, I’ll forego the usual copy on his first A&M release and simply say that I’m proud to have played a part in producing an album for people of all ages with one of the finest musicians in the world today.’
Revisiting A&M Records No. 32
‘Liza Minnelli’ (February ’68)
Despite its self-titling, this is far from the debut of Judy’s daughter. By the time she was about to turn 22 and relaunch her recording career via the auspices of Mr. A & Mr. M, Minnelli had already issued three LPs for Capitol Records, starting with ‘Liza! Liza!’ in ’64, the same year she embarked on her first national theatrical run as Luisa in the touring production of ‘The Fantasticks.’
But the reality remained that after four years of working her young tail off — including landing the lead in ‘Flora the Red Menace,’ her Broadway debut — Liza was still struggling to step out from her mother’s formidable shadow.
Revisiting A&M Records No. 27
Various artists: ‘Million Dollar Sound Sampler’ (Nov ’67)
Herb Alpert & the Tijuana Brass: ‘Herb Alpert’s Ninth’ (Dec ’67)
This is somewhat a housekeeping post as we near the end of the most crucial year yet in my more-or-less chronological look at A&M’s history. Certainly won’t be the last time we encounter Mr. A as a recording artist or take stock of these assortments his label compiled to entice buyers, but both topics have been addressed in previous installments.
Revisiting A&M Records No. 24
The Merry-Go-Round: ‘The Merry-Go-Round’ (November ‘67)
Ten installments ago I asserted Lee Michaels was the label’s first true rock star. I stand by that statement, even if it took him four years and five albums to score a genuine chart smash.
[Cherchez la femme.]
Revisiting A&M Records No. 21
Claudine Longet: ‘Claudine’ (April ’67)
Claudine Longet: ‘The Look of Love’ (October ’67)
Initially I’d planned for this lengthy look back at A&M Records to be a series of twofers, the better to coincide with #VinylTwosDays, a weekly scene I’m always happy to join. But as I started sorting through titles and structuring future installments, it quickly occurred to me that not everything will pair up so pleasingly.
I know what at least four or five of you are likely muttering to yourselves right now: ‘Man oh man, is she ever gonna stop with these damn Tijuana Brass albums?!? It’ll be Christmas 2024 by the time this #TuesdaysWithJerry series finally gets to the Police!’
Hate sounding like skipping wax when I yet again insist I’m as eager as anyone to hurl my #TuesdaysWithJerry survey of A&M Records firmly into the era of Cat Stevens and Peter Frampton, to say nothing of the Police and Squeeze and scads more who arrived toward the end of that decade.
Today’s #TuesdaysWithJerry topic: samplers!
I wish more labels had kept up with this promotional practice, tossing together gateway tracks as a means of enticing ears to seek out more from their rosters, while sometimes slipping in a rarity or two to help such things become collector’s items.
