Ignored Obscured Restored
If you were asked who Jerry Yester is, you’d probably mention his time with the Lovin’ Spoonful—and you’d be right. Yester stepped in as the Spoonful’s guitarist after Canadian member Zal Yanovsky departed, following a controversial drug bust. Yanovsky and bandmate Steve Boone were caught up in a marijuana scandal in San Francisco in 1966. To avoid deportation, Yanovsky cooperated with the authorities, a move that was seen by some as betraying his friends and led to tensions within the band. But that’s a story for another time. This one is about Yester.
While Yester’s role in the Lovin’ Spoonful was significant—he contributed to their 1967 album Everything Playing—his most remarkable contributions to rock history are arguably his work as a producer.
Yester, alongside Yanovsky, played a pivotal role in shaping Tim Buckley’s experimental, jazz-infused sound on his 1969 album Happy Sad. A standout track on that record is the tender love song, “Buzzin’ Fly,” a testament to Yester’s ability to nurture an artist’s creative evolution.
One of my favorite “under the radar” albums is the self-titled debut of Aztec Two-Step, released by Elektra in 1972. This folk-rock gem is filled with sweet melodies, intriguing lyrics, and beautiful harmonies, all brought together under Yester’s expert guidance as producer. The track “Baking” is a great example of the band’s distinctive style.
Yester was also at the helm for the debut album by Tom Waits, Closing Time (1973). This version of Waits, with his smooth, crooning vocals, contrasts sharply with the more experimental, Kurt Weill-inspired Waits of the 1980s, known for albums like Swordfishtrombones and Rain Dogs on Island Records. Closing Time opens with one of Waits’ most famous songs, “Ol’ 55,” which was later covered by the Eagles on their album On the Border.
Jerry Yester deserves far more recognition for his work as a producer, which stands as a significant part of his legacy, beyond his fame as a member of the Lovin’ Spoonful.
Enjoy… until next week.