"...I CAN REMEMBER EVERYTHING"
Parrot PAS 71020, 1968
SEE ME, FEEL ME, TOUCH ME, HEAL ME
Parrot PAS 71034, 1969
In the very first Chaz Reviews, Jennifer Warnes' third album, Jennifer, was examined, and reference was made therein to two previous albums produced and abandoned under the auspices of London Records. (They were reissued by Polygram on a single CD in 1992 in Europe, as Just Jennifer, Deram 820 989-2, though the label has yet to see fit to bring it out here.) A number of subsequent queries have persuaded your reviewer that it's time to look at those two LPs in their own right.
In 1969, the artist previously known as Jennifer Warren had joined up with West Coast producer/songwriter Marty Cooper, perhaps best-known as one-third of the Shacklefords, who had a 1963 folk/pop hit with "A Stranger in Your Town." (The other two-thirds were Lee Hazlewood and his wife.) Cooper evidently felt that Jennifer's versatility demanded a certain eclectism in the song selection; while there are three pretty decent Cooper compositions on the program, "...I Can Remember Everything" ranges all over the place, opening with the quirky early Bee Gees number "Close Another Door", and picking up gems from the Beatles, the Stones and Joni Mitchell along the way. "Here, There and Everywhere" might have been considered an obvious choice, but "I Am Waiting" definitely wasn't, and Jennifer's "Chelsea Morning" is at least as evocative as Joni's. Or, for that matter, Judy's.
When sales inexplicably failed to soar, it was decreed that an effort would be made to make things look trendier for the second album, which may explain the Tommy-esque title. The songs, however, still refuse to fall into any handy pigeonhole. Two songs from Hair are given a respectful treatment. Jennifer's old friend from The Smothers Brothers Comedy Hour, Mason Williams, shows up with his guitar and his song "Saturday Night at the World", and they duet on Ernesto and Norina's "Tornami a dir che m'ami" from Donizetti's Don Pasquale. "We're Not Gonna Take It", source of the title, mutates into something resembling a soul ballad, with churchy piano giving way to exultant brass. There's another Stones song ("Back Street Girl", of all things); Jacques Brel and Bob Dylan are covered. London, faced with all this bounty, picke