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THE BALDWIN HILLS COWBOY RIDES AGAIN …
By Malcolm Searles

Some of the most maligned recording sessions by one of the most (unfairly) maligned recording artists of our time? A generous swathe of miscalculated musical direction … or a brave and oft-overlooked attempt at tackling a new musical path for one of California’s golden sons? The 1978 recording sessions undertaken by Mike Love and his host of musical compadres during that particular year revealed much about the man throughout that overtly nasal period of his career. Two complete albums were cut, one of which (First Love), taped under the production guidance of the multi-talented Paul Fauerso, continues to gain underground acclaim to those who have heard it circulating amongst the bootleg fraternity – and it’s not too difficult to locate either, despite its official release status reportedly being hindered by legalities, 40 years after the events. The second set of cuts, however, compiled under the dubious banner ofCountry Love, maintains an almost universal amount of vitriol hurled regularly upon its Stetson-hatted pate – despite the fact that that, too, remains a non-event in the official release stakes.

Withproduction duties being overseen by veteran country music giant, steel guitaraficionado and former Burrito, SHF, Manassas and Desert Rose member, Al Perkins,the eleven strongCountry Lovecollection does, notably, sit rather uncomfortably alongside Mr. Love’s otherwork from that period, be it The Beach Boys influenced summer anthems of“Almost Summer” (credited to his side project bandCelebration) or the aforementionedFirst Love sessions.

HadMike chosen the country-rock route, after all, he was the lead vocalist for oneof America’s primo exponents of pop-rock, instead of out-and-out country music,he may well have touched a nerve with the record buying public and seen theconcept succeed. LA’s former elite gang of desperadoes (Don Henley, Glenn Frey,Linda Ronstadt, Jackson Browne, etc.) had all vacated that particular wagontrain in previous years and were now seen plying their trade amongst a widerspectrum, and maybe the full impact of that particular outlaw genre haddissipated slightly, but there was still a huge market to be found out there.Sure, Mike didn’t have the sweeping vision or the country kudos of either Gram Parsonsor a Papa Nez figure (although with former Burrito and Nez alumni contributingto the sessions there was a certain amount of credibility on display), butstepping directly into the rhinestone-encrusted boots where the mightySweetheart Of The Rodeo had gone before,and had notably faltered, was a brave step indeed for one so recognizable andopen to condemnation.

Fromthe opening piano-led refrains of the Merle Haggard-Bonnie Owens composition “TodayI Started Loving You Again,” the album gently meanders through a tumbleweed-smotheredgathering of mostly Love originals, some of which, to be fair, are trulyunworthy of much of the criticism thrown at them. Following on from thatopening number, which pretty much sets the mood of what is to follow, theself-penned “Dallas” isn’t half bad – in fact, at times it’s mighty fine,albeit one that lyrically struggles to go far beyond the uncomfortable cornballrhyming of Dallas, Palace and Chalice within the opening bars – and sadly, thatlyrical factor is the cause for much of the subsequent downfall that continuesto haunt the collection to this day – and yes, sooner or later we are going tohave to mention “Wrinkles.”

Thegentle sway of “Beth On The Mesa,” the infectious “Brand New Start” and thedrivin’ “Rock ‘n’ Roll Country Bride” (all Love originals) suggest that Mikewas taking this project seriously enough, and with Perkins’ countrifiedproduction, accompanied by steel guitar and tinkling ivories, it held all the fascinationof a potentially successful notion. Accepted, Mike’s oh-so recognizable nasaldelivery was never a match made in Nashville, and he lacked the deep-setguttural claw of what makes a country singer “country,” but it still held …something.

Thereworking of the15 Big Onesself-composed “Everyone’s In Love With You” greatly benefits from the updatedcountry arrangement, as opposed to the sweetly saccharine coating that befellthe earlier rendition, whilst “Some Sweet Day” could equally match many of theaccompanyingFirst Lovecuts for itshummable hook. And then there is … that song. The one tune that this collectionis notoriously attached to. It is the one song that hits the heartstrings ofwhat country music is supposedly all about in the eyes of the unknowing –tragedy, lost friendships and dead dogs (cue recollections of “Ol’ Blue,” “OldShep” and “Bugler” here). Not that “Wrinkles,” musically, is bad by any means.Melodically, it’s catchy, infectious and downright cheerful – in contrast to itsrather insipid lyrical visualizations of pigtails and freckles, tiskets andtaskets, bunnies and doggie heaven – but, each to his own, and the genuine charmit exudes outweighs the oft-jovial yet maudlin childlike effect. Or does it? A finecover version by Beach Boys’ fan George ‘Junkster’ Faulkner remains (in mymind) a fitting tribute to the solo works of Michael Edward Love.

Thatall said, twangs of the dobro aside, what the album lacked was that one bighook line – the lead single, the headline act. The big one. Sadly, none of thechosen inclusions quite stand out enough in order to hang the Stetson off of. Maybea reworking of the seventies concert staple “Okie From Muskogee” would’ve beenthe home run? What about “Country Pie”? Certainly, some of The Beach Boys owntunes from that early seventies period leaned themselves toward a countryflavor. A new arrangement of the Love-favorites “Do It Again” or “Surfin’,”complete with banjo and fiddlin’ overtones?? The thoughts are endless … Or, hadthe moment now passed for Mike to don the cowboy boots and ride the rockytrails across the desert skyline? Probably so, but for that one fleeting momenthe had the nerve to try, and I duly offer my respect.

Click here to read Keith Devoe’s review ofFirst Love

Click here to read Andrew Doe’s review ofLooking Back With Love

Click here to read David Beard’s review of12 Sides Of Summer

Note: This album remains unreleased, although bootlegs have circulated for years.

Be sure to purchaseESQ’s Fall 2019Mike Love Collector’s Edition featuring full interviews with Mike andCountry Love producer and engineerAl Perkins. ClickHEREto order.