One of the biggest selling albums of the early sixties, “Trini Lopez at PJ’s” spent nearly 2 years in the US charts. It also spawned the phenomenally successful single "If Had a Hammer” which had the good fortune to top the singles charts in 32 countries at the same time (although not the US or the UK).

For those unfamiliar with the work of Trini Lopez he specialises in a unique feel good, sing-along style of rock and roll that essentially involves injecting Latin rhythms into folk, R and B and traditional tunes. Typically, he is accompanied by an incessantly rhythmic guitar, a driving drumbeat and an audience that insists on joining him on every chorus or familiar line.

The material on this CD, recorded at PJ‘s nightclub in the US was Trini’s debut and most successful album. At first instance the decision to record a new artist at a live gig seems unusual. In this case, however, it was most appropriate as Trini Lopez is an artist who shines brightest when before an audience. Further, he was at the time an established and very popular nightclub act. In fact he got his recording contract after Frank Sinatra (then owner of Reprise Records) saw him perform at PJ’s.

Tracks

There are 10 tracks on the CD and all are in stereo. The music is live as you would expect. That being said the sound, particularly for an early sixties recording, is very good. Further, the involvement of the enthusiastic audience in many of the performances is part of the intended charm of these recordings.

“If Had a Hammer”

As mentioned, this was the hit single (US: 1963 #2) from the original album. A more subdued version of the song was released a year early by folk music pioneers Peter, Paul and Mary but with less chart success (1962: US #10). Though containing the same conviction, the Trini Lopez version is very different in that it is more rock and roll oriented and the tempo is significantly increased. It is also done in an infectious sing-a-long feel good style that is immediately compelling.

The performance on this CD is littered with Trini’s trademark “ooh ooh” vocals and an odd tongue-flicking thing that he does. Fortunately this is all done without a blue note in sight and strangely adds to the richness of the performance.

For me the last verse is one of those classic lyric moments. I particularly like the notion that the hammer and bell that he is singing about turns out to be the “hammer of justice” and the “bell of freedom”.

“La Bamba”

For some reason this song seems to be forever linked with Trini Lopez. In fact he is often referred to as “Mr La Bamba”. As far as I know he did not have a hit with the song (at least in the US and UK) and the version here is the one that earned him the accolades. I could be wrong, however, as even on this early recording there are constant shouts from the audience requesting him to sing the tune.

By all accounts the interpretation of “La Bamba” on this CD is excellent. Listening to this performance reminds one that the essence of the 50’s rock sound was a pounding back beat, rebellious attitude and a dose of good old-fashioned fun. The audience goes absolutely wild throughout.

In the final choruses Trini sings the word “Ahhh” repeatedly each time hitting a higher note. This makes for great rock and roll. Those familiar with the Beatles’ version of “Twist and Shout” will know the technique that I am referring to.

“America”

This fine tune from the musical “West Side Story” opens the CD. It is a feel good hand clapping number that effectively injects Latin rhythms into the rock and roll sound. The sing-a-long “la la” ending beautifully sets the tone for this collection.

We are also introduced to another trademark oddity of Mr Lopez – a predisposition to exchange the words “oowee” with his audience. I don’t understand it, but as it all seems in context with the tenor of the performance and everyone seems to be having so much fun with it – who am I to criticise!

“This Land is Your Land”

Many have tried to sing this “I love my country” folk classic from the pen of Woody Guthrie. No one, however, has ever come close to the Trini Lopez interpretation.

Trini gives the composition a rock rhythm, an Elvis Presley influenced vocal delivery and all the patriotic fervour that he can muster. The enthusiastic hand clapping and general joining in at key times by the audience further enhances this classic. The only disappointment is that at times Trini’s voice moves too far to the rear.

The medley

The track listing on some of the CD shopping sites plugging this CD indicate, contrary to my statement earlier, that there are more than 10 tracks on this CD. What in fact they have done is merely listed songs performed in this medley individually.

The medley starts off with couple “oowee” squeals before Trini launches into a Gospel rock interpretation of the medium tempo “Gotta Travel on”. The rendition is so Bobby Darrin like that you would think that Bobby himself had popped in and taken over.

The remaining tracks are essentially a musical amalgamation of some of the hockiest standards ever written. The material we are talking about are the songs “Down By the Riverside”, “When the Saints Go Marching in”, “Marianne” and “Volare”. All are given a rock and roll rhythm, a mandatory audience sing along on the chorus and vocal delivery that teeters between Elvis Presley, Bobby Darin and Trini’s own unique “let’s all sing together” Latin style.

The final verdict – I’m almost embarrassed to say it, but I love this track. I suspect, however, that I am not the only fan of such “cheesy” nerd-like brand of rock as this medley remains in Trini’s concert repertoire (with some minor alterations) to this day.

“Bye Bye Blackbird” and “Cielito Lindo”

The poorest tracks on the CD are the English and Mexican standards “Bye Bye Blackbird” and “Cielito Lindo”, respectively. The audience participation is taken too far on these numbers with the result that they have the same appeal as my Dad’s old album of rugby songs. In fact I just checked – both of these are actually on that old collection and after an insufferable listen I can confirm there is only marginal difference between a bunch of off key drunken football players singing these songs and the tracks here.

“Unchain My Heart” and “What’d I Say”

Ray Charles hit the top 10 with “Unchain My Heart” (1962: US #9) and “What’d I Say” (1959: US #6). Trini’s rendition of the former is in the same vein as the hit version. Further, the sing-along style prevalent on so many of the tracks on this collection is totally abandoned. In its place we get a straight down the line rock blues performance characterised by an unrestrained vocal expression where the artist is totally at one with his material. Trini’s love for the song is undeniable and his performance matches his admiration.

Trini’s interpretation of “What’d I Say” is quite different from that of Ray Charles. The version here is much faster and though retaining its individuality there are similarities in feel to “La Bamba”. By way of a side note, Elvis Presley the following year recorded a cover of “What’d I Say” that was remarkably similar to the performance on this recording (it even included a fake sing-along).

“Granada”

Without doubt one of the most unique interpretations of an operatic song ever recorded, Trini’s version of “Grenada” fuses opera with Latin rhythms. Fortunately, the performance (which is almost impossible to describe) is raised beyond that of a mere musical curiosity because of the outstanding vocal and musical artistry (particularly the guitar work) that is invested in it. In short – a musical gamble that only just comes off.

Rating

Although rarely making the UK and US charts after the success of “Trini Lopez at PJ’s”, Trini continued to enjoyed international musical stardom and recorded well over 40 albums in various styles and languages. As the owner of some of these albums in one form or another, I can confirm that he on many occasions surpassed much of the work on the original PJ set (the exceptions being the performances of “La Bamba” and “If I had a Hammer”).

That being said, there is an undeniably compelling charm in this most unique debut album that cannot be overlooked. If for nothing else the performances here remind us that music is a remarkable tool for having fun.

My rating - 3.5 stars.

If you liked this CD what else would I recommend?

I would suggest:

- Trini Lopez 25th Anniversary Album (1991): WEA Latina; and
- The best of Trini Lopez (1993): GNP Crescendo.


Recommended: Yes