From the front cover, the Spellbinders appear to be a New Jersey showroom band/nightclub act whose repertoire is predominated by showtunes and covers. Actually, it’s a solid album from the magical year of 1966 teeming with outstanding vocal group harmonies/soul sounds and includes several songs that were also released as singles (that are somewhat elusive and in demand). Part of the album’s allure is that four of the songs are Van McCoy compostions and all of them were arranged by the legendary producer, vocalist and songwriter (of “The Hustle” fame and much more). The quintet’s other mark of distinction is that they could simply flat out sing and harmonize.
The opener “We're Acting Like Lovers” features some coiling guitar accents and call and response vocals. The song was also included on the Endless Beach comp that frequently appeared in used bins during the ‘80s. At the time, the comp confused me as I initially thought it was a surf collection as I was not then familiar with the term "beach music" that emerged from the Carolinas.
Liner Notes by Bob Merlis & Gene Sculatti
I recently learned that the group has been firmly embraced and revered by England’s Northern Soul circuit ever since they toured there in early 1967 and appeared with Donovan and the Mindbenders. Their first single “For You,” released in 1965, is a smooth number in the vein of the Miracles. The suaveness continues with the uptown soul of “Self Defense” that is adorned with Bacharachian horns, pizzicato strings and Gene Pitney-esque vocal inflections.
“Chain Reaction” was their follow-up second single and has more than a passing resemblance to “The Way You Do The Things You Do” by the Temptations. Its flipside, "A Little On The Blue Side" actually plays out stronger and could have seen chart action as it meets the Motown melodic and technical standards of cutting through on an AM car radio or transistor. Sweeping strings decorate the yearning “I Need Your Love” and take things into the Drifters and Ben E. King territory to conclude the album. A few highly sought singles were released after the album with “Help Me” (Get Myself Back Together Again) being the standout that features the top rate lead vocals of Bobby Shivers. The floor filler is a considered a staple in Northern Soul circles and can be found on The Northern Soul Story Vol.1: The Twisted Wheel.
While their singles encapsulate their peak moments, their entire album, touched by the magic of Van McCoy, has a consistency and momentum that makes it an enjoyable and engaging listen that deserves to be heard beyond the Northern Soul scene.
Songularity is the 2nd album of all-originals from the Japanese group that arguably understands and plays American pop better than most American outfits. Their core sound which can be described as “Land of the rising sunshine pop meets California color” has earned them a devoted world-wide following. This double album of 20 songs has the ability to expand their audience even further. Songularity radiates the widest-array of styles of all of their 10 albums by spreading out the writing duties. What other 21st-century groups have been operating at the high-level standards of the mid-60s for 10 albums over 15 years?
Shade After the opening statement of “Harbinger," Niina's vocals take on a tinge of Toni Tennille of Captain & Tennille on “Got to Be Rock and Roll.” (The octet has entered a different phase this decade as the lead singer role has transitioned from Megumi to Niina.) Next up is “Never Let You Go” that begs the question if the title was influenced by “Never Let Her Go” by David Gates? Nonetheless, it brings to mind Quincy Jones' productions of Lesley Gore, the theatrical stagings of Tchotchke and the mirage of Van Dyke Parks’ “Palm Desert.” With its exquisite arrangement and full bloom harmonies, it also sounds like it could have been culled from one the Best of Pied Piper Days volumes. The sophistication continues on “Begin Tomorrow” that falls into the Sunflower/Surf's Up/Spring-era of brother Brian. “Thelma” has immediate appeal with its blend of Bangles-ish pure pop combined with the '80s Americana of Lone Justice. Be sure to listen to the splendid banjo solo played by Yuichi Hirakawa. One of Disc 1's peak moments is “The National Bird” which allows the album to achieve lift off and soar with its ascending sound of anticipation and excitement as their sound heads off to new destinations. Additionally, its brisk pace unfurls to show off its vibrant and intricate arrangements. This could have been/or could be a Stereolab song and incorporates Eisako Otani’s tenor sax, which has always paired well with Pen Friend Club songs. The joyous “Really Feel” has all the catchiness of a TV theme song, while also somehow recalling Taeko Ohnuki’s Sunshower and the radiant Beach Boys-ish backing vocals heard on Brian Wilson’s first solo album on Sire. The striking “Die Alone,” composed by Rie Nishioka, evokes Brewer & Shipley (e.g., “I Can’t See Her”) with Alan Price of the Animals settling in on keyboards.
Sunlight Keyboard player Soi offers “Merry-Go-Round” which turns out to be one of the most instantly catchy songs in the PFC catalogue. “You’re the One 1965” seems like Spiral Staircase’s "More Today Than Yesterday” picnicking with “Does Anyone Reallly Know What Time It Is?” by Chicago, but belted out by Carol Connors. “Breaking Up” reopens the Brill Building as heard through retro Japanese sounds of the ‘80s like CONNY(ex.THE VENUS). "In Your Light" and “Little Life” both have a contemporary vibe, but meaning a Carly Simon/Carole King/Allee Willis kind of contemporary played on a silver stereo system between wicker furniture and under skylights, wood beams and hanging fern plants. One of the album’s deepest cuts that draws the listener in is the understated “For It’s Worthwhile.” Rie Nishioka’s composition is embellished with a banjo like those heard in those lavish and layered productions of Kaoru Sudo (須藤薫). “California Again” seems obviously inspired by the Beach Boys’ “Do It Again,” which we know as the Beach Boys rewriting the Beach Boys and always seems to work in getting listeners instantly in a good mood. With its back to basics approach, “California Again” works on the same level. The country sounds of “Promise” is not surprising given the wide-ranging listening habits of such a large group, but it's still their first recorded foray into country. This ambling number is lead singer Niina’s composition and features an appealing twanging guitar (Fender Telecaster?) played by Yuichi Hirakawa. The title track “Songularity” is a lovely Pet Sounds-like instrumental that also reaches the musical shores of Eiichi Ohtaki and Tarao Bannai Gakudan (多羅尾伴内楽団).
Over the course of 20 songs, there is a lot to take in, but Songularity has a flow and arc to it due to its sequencing and interconnectedness. Its stylistic diversity offers several entry points for new followers, while also accommodating their long-time listeners. Guided by their collective musical knowledge, melodic instincts and togetherness, the group has maintained their sound & style based on mid-60s West Coast pop-rock, while also exploring a wider array of musical realms and sonic dimensions. Overall, Songularity is the sound of the Pen Friend Club moving forward towards their Pacific-spanning dreams.
