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The original four-star review by Billboard was right on the money, but
unfortunately Brewer & Shipley’s great debut album is now a ‘lost classic.’
From the beginning Down In L.A. never got its due when staff
songwriters Michael Brewer and Tom Shipley immediately split L.A. after
recording the album for A&M. The newly formed record label figured their
songwriters had left the music business altogether. A year later Brewer &
Shipley, now signed as recording artists by Buddah Kama Sutra, released
their classic folk-rock Weeds album on their new label.
Their debut album came about because A&M Records recognized that two of
their staff songwriters had a unique sound of their own and green-lighted
them to record an album including some of the songs they had sold to other
artists. The Down In L.A. album has sometimes been unjustly
mislabeled a collection of demos. The fact is, the album was professionally
produced and recorded with some of the best studio musicians in the country,
the now famous ‘Wrecking Crew.’ These were not demo tapes. Leon Russell,
Jim Messina, Hal Blaine, Joe Osborn, and Jim Gordon were among the great
supporting musicians supplying their talents. As mentioned, several of the
songs on the album were originally recorded by other artists when Michael &
Tom were working solely as staff songwriters for A&M; but, as is usually the
case, the songwriters’ interpretations of their own songs were superior to
the other artists’ covers. A good example is Brewer & Shipley’s version of
Tom Shipley’s “Time & Changes,” which has a different feel and still sounds
good by today’s standards, while the four 1967-68 covers of it by other
artists all sound dated.
While I love to hear Brewer & Shipley perform their songs with just acoustic
guitars, I also love the production on Down In L.A. with its light
orchestration and full rhythm section that still lets Brewer & Shipley’s,
now trademark, intertwined acoustic guitars take center-stage. It has a
great sound, albeit different than their subsequent albums. This is one of
those albums where all the songs just seem to fit in mood, tone, and sound,
like a Rubber Soul, an After The Goldrush, or a Tea For The
Tillerman. All those albums had songs that fit together and created an
overall mood for the album. Down In L.A. fits in that ilk.
Because Down In L.A. was the only album recorded on A&M, none of
these songs ever made it to Brewer & Shipley’s Buddah compilation CDs, but
there are more than a half dozen songs that could have legitimately been
included on any label-neutral best-of compilation. "Truly Right," "Time &
Changes," and "Keeper Of The Keys" were good enough to be
covered by other artists, and other songs from the album like
the beautiful "Green Bamboo," "Dreamin' In The Shade (Down In L.A.)," "An
Incredible State Of Affairs," and the haunting "I Can't See Her," are
equally worthy of inclusion on a Brewer & Shipley anthology.
If asked to pick their favorite Brewer & Shipley album, most fans would
understandably pick Weeds or Tarkio. If asked to pick my
favorite, I would have to stop and think about whether it would be Down
In L.A. or Weeds. Down In L.A. is a great album that has
its own beautiful and unique Brewer & Shipley sound, and after almost 44
years, this lost classic album has finally been released on CD.
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