Upon first hearing the album's title one might conjure up a Nashville rife with hallucinogens; but after glimpsing a crew cut adorned Floyd Cramer and dancing model teens on the cover, one can only fathom the reverie of wholesome moves and fruity punch. Thankfully, while Cramer's easy listening style oozes with glee-club innocence, it also, unwittingly, contains some strains of psychedelia -- ghostly sweet choruses, tinker-toy piano, space-age pedal steel, and the occasional variety show trumpet break -- muzak to many; a ...
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Upon first hearing the album's title one might conjure up a Nashville rife with hallucinogens; but after glimpsing a crew cut adorned Floyd Cramer and dancing model teens on the cover, one can only fathom the reverie of wholesome moves and fruity punch. Thankfully, while Cramer's easy listening style oozes with glee-club innocence, it also, unwittingly, contains some strains of psychedelia -- ghostly sweet choruses, tinker-toy piano, space-age pedal steel, and the occasional variety show trumpet break -- muzak to many; a needed break from being a Nashville-sound sideman for Cramer. After plying his unique slip-note technique on recordings by Jim Reeves and Elvis Presley, the pianist found time to record a slew of solo discs, including this 1963 release featuring the pianist's usual genre-busting program and countrypolitan sound. The mix roams from fairly substantial versions of Ray Charles' "Drown In My Own Tears" and something called "The Huckle Buck," to the strangely noirish "Satan's Doll" and an overwrought "Green Door." More novel than interesting -- with pearly-white versions of "Ol' Man River" and "Back in the Saddle Again" sealing the deal -- Floyd Cramer's Comin' On is tailored made for diehards of kitsch country. ~ Stephen Cook, Rovi
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