Copies of the rare Crashon pressings are now highly sought after collector's items. Several thousand advance pressings of the album with this cover and title were sent out to radio stations and record distributors, but with the return of Michelle to the group just prior to the LP's general release, the original cover and eponymous title were quickly reinstated. However, the decision was then made to shoot an entirely new picture with the new line-up and to also change the album's title to Crashon Screamon All Fall Down. The photo already chosen for the album's cover featured Michelle Phillips prominently, so Dunhill had Gibson take a photo posed in exactly the same position as Michelle, and then superimposed the new photo over that of Phillips. Their conclusion was that Gibson sings on "Trip, Stumble and Fall," "Dancing Bear," "Strange Young Girls," "I Can't Wait," "Even If I Could," and "That Kind of Girl," as well as "Did You Ever Want to Cry" (which turned up on the following album, Deliver) while Michelle Phillips sings on "No Salt on Her Tail," " Words of Love," " My Heart Stood Still," " Dancing in the Street," " I Saw Her Again," and "Once Was a Time I Thought." In 2009, dedicated fans Richard Campbell and Greg Russo talked to Gibson herself, and consulted session sheets from the recording of the album. There has been considerable speculation over the years about which songs, if any, Jill Gibson sings on.
In 1982, the group was reformed, including founding member Denny Doherty and two new Mamas: Mackenzie Phillips (daughter of John) and Elaine Spanky McFarlane, a longtime friend who had. They broke up in 1968 and reunited briefly in 1971. Jill Gibson was producer Lou Adler's girlfriend at the time and was already a singer/songwriter who had performed on several Jan and Dean albums. After briefly calling themselves the Magic Circle, they took the name The Mamas and The Papas. The Mamas & the Papas (also sometimes referred to as 'Cass- John-Michelle-Denny,' which might well have been the official title until that lineup started to shift) was recorded over a period of almost four months, in the wake of the massive success of their first two singles and the debut album, issued in February of 1966. In June, a new singer was hired to replace her. In the UK, it was released as a double A-side with " Dancing in the Street" (a cover of the 1964 hit by Martha and the Vandellas) and charted at number 47 in the UK.Īfter John Phillips discovered that group member Michelle Phillips was having an affair with Gene Clark of the Byrds, he fired her from the group on June 4, 1966. " Words of Love" was released as the second single in the US peaking at number 5. The lead off single, "I Saw Her Again", reached number 5 on the US Billboard Hot 100 chart and number 11 in the UK Singles Chart. The album peaked at number 4 on the US Billboard 200 album chart and number 24 in the UK. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions.The Mamas & the Papas is the self-titled second studio album by the Mamas and the Papas, released in September 1966.
If the material here has a certain glow that the Mamas & the Papas' subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members' personal conflicts began interfering with their ability to work together. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio - it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. In the spring of 1966, If You Can Believe Your Eyes and Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet the Beatles had seemed two years earlier.
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