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Cass Elliot never publicly identified the father, but many years later, Michelle Phillips helped Elliot-Kugell locate her biological father, [44] Chuck Day. His paternity was not publicly revealed until his 2008 death. [ 45 ]
After consulting their attorney and record label, John Phillips, Cass Elliot, and Denny Doherty served Michelle Phillips with a letter expelling her from the group on June 4, 1966. [33] However, she was rehired on August 23 after the remaining band members concluded that her replacement, Jill Gibson , [ 34 ] lacked her predecessor's "stage ...
Cass Elliot and Michelle Phillips, as "the Mamas", were ranked No. 21 on the VH1 network's list of the 100 Greatest Women of Rock. The band received a box set when the four-CD Complete Anthology was released in the UK in September 2004 and in the US in January 2005. It contains the five studio albums, the live album from Monterey, selections ...
Mama Cass Elliot, a founding member of the popular 1960s folk rock band The Mamas & the Pappas was known for her ethereal harmonies and solos and strong stage presence. Born Ellen Naomi Cohen in ...
In 1963, Doherty established a friendship with Cass Elliot when she was with a band called the Big 3. While on tour with the Halifax III, Doherty met John Phillips and his wife, model Michelle Gilliam. A few months later, the Halifax III dissolved, and Doherty and their accompanist, Zal Yanovsky, were left broke in Hollywood. Elliot convinced ...
Cass Elliot was an influential figure in the Los Angeles-based Laurel Canyon music scene of the 1960s. She died from a heart attack in London on 29 July 1974, at the age of 32.
The Phillips' lyrics mention, directly or indirectly, many artists and bands who were part of the folk music scene at the time, including fellow band members Cass Elliot and Denny Doherty, Zal Yanovsky and John Sebastian of the Lovin' Spoonful, Roger McGuinn of the Byrds, and Barry McGuire of the New Christy Minstrels (the group had previously provided backing vocals for McGuire, including on ...
Michelle Phillips provided her high pitched "NO" before the refrain of the song. The mono single, while approximately the same running time as the stereo version, contains a horn section overdub not heard in the stereo mix, extra backing vocals, and a more prominent piano; Elliot's vocals fade out a bit sooner near the end.