The album's namesake provides the first track and sets up a general mood one can trace through the subsequent songs that follow. From the very start, a mellifluous tone immediately takes precedence with the opening lines of the song. Most noticeable is Bobby Kimball's lead in this defining song from the Mama's and the Papa's and Jason Scheff's vocal contribution as he sings each guitar note.
The next track is an old Steely Dan number, “Rikki Don't Lose That Number." What defined this original were the guitar riffs and that definitive lead break towards the end of the song. The West Coast All Stars confidently cover this track, simulating the original's initial introduction that leads in with the piano, percussion, and a singular guitar riff with hand claps and low bass vocals before plunging into the singing. This track is an example of how a great song with amazing instrumentation can be ingeniously covered by the quartet's vocals alone.
James Taylor's good time song “Your Smiling Face" is the next song covered. The original spins a sense of jollity one would associate with running through parks in sunshine or beach outings at the Santa Monica pier. The West Coast All Stars capture that same sentiment from the original but simultaneously expand beyond James Taylor's vocal range. Their cover is longer as well, extending it to a solid four minutes and fourteen seconds as compared to the original's two minutes bordering on three.
The fourth track is actually not a cover but the band's own number. It manages to capture the same Californian vibe that pervades throughout the album. The tune is catchy, particularly the refrain and although the lyrics themselves don't offer anything out of the contemporary in terms of love songs, part of its allure is in its simplicity. This singularly demonstrates the quartet's own skill in crafting a song that fits perfectly with the rest of the album. It's a bit of a stretch to say that this song matches the classics in this album, but it hardly disappoints.
The classic “Takin' It To The Streets" by the Doobie Brothers incorporates jazz elements into this rock song much in the same spirit as the Rolling Stones in their well known hit, “Can't You Hear Me Knocking." This is particularly evident in Cornelius Bumpus's saxophone solo towards the latter half of the song. The vocal quartet performs the song in a similar build up fashion, starting if off from a whisper that crescendos into a finger snapping downbeat. This track demonstrates the quartet's vocal talent in its full measure as voices and hums effortlessly interlay one another to create a tone of smooth immediacy that grabs the listener's attention and holds it for the duration of the track.
Their cover of the quintessential Eagles' song “Hotel California" starts off in an unrecognizable manner that doesn't even remotely resemble the original. One would assume it was a completely different song until the quartet launches into the beginning of the lines the track, “On a dark desert highway...." Once the handclaps start in, it becomes instantly apparent how incredible this cover is. Their take on the original's guitar solo take is meticulously precise. Arguably the best track on this album.
Like “Heaven In Your Eyes," “Shine On Me" is the quartet's own number. The track invokes a feel good vibe but unfortunately, doesn't grab the listener's attention. This is through no fault of the artists however. It must've been extremely difficult to find a song that could follow up their impressive cover of “Hotel California." And like the fourth track, the song's title has been used by various recorded artists before which prompts the question if this was a conscious choice, maybe as an attempt to homogenize their solo efforts with the rest of the album?
The next is a Beach Boys' favorite, “God Only Knows." The original has undeniably been so overplayed throughout the years; many to this day would associate the song more as an advertisement jingle than an all time classic. The West Coast All Stars perform an exceptional cover of this single, employing a slower beat that lends the words a lulling hypnotic effect. However, in spite of this, this particular cover doesn't reach beyond simple euphony. It's nice to listen to, but nothing truly distinguishes it from the rest of the album.
Probably the most faithful to its original, the quartet's cover of “Sister Golden Hair" doesn't stray very far in its execution of this America classic. The initial vocals tracing the opening guitar lick cleverly replicates each individual note, but the simulation is somewhat lacking. Nonetheless, the quartet exemplifies in terms of their performance and this is not a track to be skipped. But if one had the choice of hearing the quartet's rendition or the original, I'm afraid most would prefer the latter.
The last track is a piano ballad by Boz Scaggs, “We're All Alone." The quartet covers the waltz simply, proving in this case the old adage of simpler being better. This is a song that requires a listen from start to finish but thankfully, the experience is worth the investment. >{? In summary, the West Coast All Stars' debut album holds a substantial measure of surprises while simultaneously paying homage to these old bands before their time. None of the tracks are un-listenable which far from being its strongest point, is definitely one many would consider before investing their time in tuning in. Their cover of “Hotel California" alone would be worth the investment and this album burgeons on becoming a classic in a making.
Listen to California Dreamin' album music.
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