How did such a wonderfully strange name such as Ant Trip Ceremony come about? The band's name came from Steve DeTray. He entered Oberlin College in Ohio in 1964 but took a hiatus from college in 1966 and part of 1967. He went to stay with his brother in Logan, Utah. There Steve formed a band and needed a name. By chance he mentioned it to an English professor at the nearby University in early 1967. The professor suggested a phrase, "ant trip ceremony", from an American novel whose title Steve can't recall. The author described modern societal life as an ant trip ceremony. Steve thought it spoke to the alienation felt by many of the younger generation in 1967, and the name stuck. So in essence there were two different groups with the name Ant Trip Ceremony. The first one Steve formed in Utah in early 1967 and then the second one which he formed at Oberlin in the fall of 1967.
Steve left Utah in the summer of 1967 and headed back for a tour of duty at Oberlin College. The band he had in Utah had broken up and Steve wanted to put together another band at Oberlin. Steve put out the word that he wanted to form an electric rock and roll band. Gary Rosen was playing in a blues band with George Galt and Mark Stein. Stein, a multi-talented instrumentalist, was a flute major at the Oberlin Conservatory. Roger Goodman was a brilliant keyboard player, but refused to play it while in Ant Trip Ceremony and only wanted to sing. All the members for the new band were from Oberlin with the exception of Jeff Williams who was a local sixteen year old up and coming jazz musician.
The Ant Trip Ceremony album was recorded during two sessions. the first session was in February of 1968 in a rented hall at Oberlin. Steve was there for the first sessions but had left Oberlin by the spring of 1968 and was not present for the second recording session. The album was called "Twenty Four Hours"because that was the feeling behind the sessions (ie.that it took what seemed like twenty four hours to record). The machinery used for the recordings was primitive. The band used a KLH tape deck for playback and a two track Roberts reel to reel for recording. When they wanted to multi-track they would record on one side of the tape and then record on the other side as well. Then they would mix it down to the KLH. The reason the album sounds somewhat imbalanced is because the KLH had one faulty speaker and thus the speaker balance leaned heavily to the left. This ended up affecting the final mix-down.
How were the songs chosen for the album? The band felt ready to record their original songs. These were performed live before student audiences. During live shows, the band was wild, but sadly no live tapes exist. Thus the original songs done on the album when performed live were more psychedelic and improvised. Where did the band play live? Mostly at Oberlin and at off campus parties. The band was known for getting into strange and long jams. Furthermore no song was ever done twice exactly the same. They were, in some ways like the Grateful Dead of the region. When the band played it was a happening, a genuine psychedelic event. Shows went on for hours, with the audience in a wide variety of states of consciousness.
Three hundred copies of the album were pressed and one hundred were sold for $3.00 each!! The album's expenses was shared equally by the band members. The artwork and production was done at Oberlin for free. Why was the album done? Steve was leaving Oberlin, and the band wanted to capture some of the magic they had collectively created anything could happen in those days, that there were no limits. The producer of the album was David Crosby, an Oberlin student and good friend of the band who was very much into music production and sounds. Sadly, he passed away during the making of this reissue and will be missed greatly. The artwork for the album was of its time with psychedelic-mind-zapping art work. It was without a doubt a counterculture statement!!
What are the songs about?
"Elaborations"-a great example of Steve's development of the Indian Raga form, with his guitar tuned to get a sitar sound. He had also been to Berkeley in the summer of 1967 and was wowed by bands such as The Grateful Dead, Jefferson Airplane, and Quicksilver.
" Pale Shades Of Gray"-.words were written by Steve's first wife, with some Procol Harum influence, is about the pain of alienation.
"River Dawn"- George wrote this song about escaping the restrictions of campus life by sitting on the banks of the Ohio River when the sun was coming up.
"Locomotive Lamp"- Gary’s first song as a singer-songwriter. It was a forerunner to the Grateful Dead’s train/drug imagery. “Little Baby”- a blues cover song that was done by Gary and George's blues band before Ant Trip Ceremony.
“ Violets Of Dawn”- the band members were fans of Eric Anderson and covered the song, that was also done by the great Northwest group, The Daily Flash.
“ Hey Joe”- the band loved Jimi Hendrix (of course) and did this cover version in his honor. “Four In The Morning”- a weird but strangely ethereal song that bears a striking similarity to “Hey Joe” with its despondency and desperateness.
“Outskirts- A song about alienation, has words by Oberlin poet, Sandy Lyne and music by pianist, Neal Evans.
“What the matter now”- written by George's friend , Jack Lee. Lee used to play with Mother Earth. George got the tune from Jeff and added different words to it.
“Get Out Of My Life Woman”-a then popular cover song that west coast bands such as “The Doors” were performing.
“What’s The Matter Now”-a lovely psychedelic number that predates the background vocal effect John and Yoko were doing in 1969 and 1970. “Sometimes I Wonder”- no available comments on this blues flavored melody.
Ant Trip Ceremony lasted for about one year, then disbanded upon the member’s graduation from Oberlin College. In their wake they left this fine artifact from their oeuvre and forty years after “24 Hours” was first released it sounds as good as ever.
Pale shades of gray
Four in the morning
What's the matter now
Violets of dawn
Sometimes I wonder
Get out of my life woman
Wednesday, 22 December 2010
Wednesday, 24 November 2010
Volume 6 here
And please go to the original post to find volume 9 which now includes JA Caesar. (Vol 6 also there as well of course with new link!)
Posted by psychelatte at 11:36
The New Wave -The Sound of the New Wave -US 1967- Fading Yellow artist -really nice breezy Soft Psych
The line-up consisted of singers/guitarists Tommy Andre and Reid King (the latter looking like a young Paul Williams). Judging by the brief liner notes on their album, the pair apparently met while attending college where they seemingly discovered a common interest in music.
Signed by Ken Handler's small L.A.-based Canterbury Records, the pair debuted with 1967's somewhat pretentiously titled "The Sound of the New Wave". Produced by Handler, most of the album's 11 tracks are originals that showcase the pair's heavily orchestrated soft-pop moves. Lots of references carry this as a psych effort. but other than the cover art, be forewarned that it isn't. Tracks such as 'Shadows of Good Bye', 'The Evening Mist - A Mounring Dew' and 'In a Lonely Towne' aptly exhibit the duo's decent voices and nice harmony work. Most of the songs boast fairly attractive melodies, though the arrangements are occasionally overwhelming and their lyrics suffer from standard college student angst which probably drove young female English majors crazy. Stuff like 'Live for Today' and the dreadful 'Autrefois (J'ai AIme Une Femme)' (the one non-original) maybe simply too MOR for some personal tastes, but anyone who likes late era Chad and Jeremy or Peter and Gordon (the phase where they started to get arty) might enjoy this lesser known act. Elsewhere, two 45s were lifted from the album::
- 1967's 'Where Do We Go from Here' b/w 'Not from You' (Canterbury catalog C-503
- 1967's 'Little Dreams' b/w Autrefois' (Canterbury catalog C-512)
1.) Little Dreams
2.) Shadows of Good Bye
3.) The Evening Mist - A Mounring Dew
4.) Autrefois (J'ai AIme Une Femme)
5.) In a Lonely Towne
6.) The Shade of the Sun
7.) Walkin' On Down the Street
9.) Live for Today
10.) Not From Here
11.) Where Do We Go From Here
The interplay between the amplified harpsichord and electric guitar in this gem of a psychedelic group is worth the price of admission alone.
There is no air between the tracks so a seamless dance spins hypnotically for 38 minutes through a variety of moods and tempos.
Chord progressions and musical structure sound a wee bit simplistic and dated on this first outing, but nothing grates and the vocals are silky and soothing.
The musicianship is excellent though slightly constrained in the studio, compared to their live concerts.
Mandrake Memorial seemed to play constantly in the Philadelphia area when I was groping my way through adolescence.
I saw them three times without really trying, they just showed up where I happened to be, from Beach Haven, NJ to my high school auditorium at Conestoga in Berwyn PA.
On stage they didn't jump around, they weren't flashy like Nazz, or obtuse and humorous like Lothar and the Hand People, (two other regional groups Mandrake were friends with) -they just played really fine rock.
Music that moved but was also poetic, ethereal and dreamlike--their sound defined a very rich, turbulent and painfully short era (1968 through 1970) for those who came of age in that time.
Today Mandrake's music is still refreshingly cheerful, introspective, warm and innovative. They are also overlooked and unknown on a national scale.
Mandrake Memorial was a cherished group by those who grew up with them. They were the tangible and accessible underground alternative to commercial top 40 radio.
I know friends who kept their Mandrake albums into the 1980's and were delighted when they finally reappeared on cd. After 9/11/01 I sought the selective comfort of nostalgia and the smiling sounds of forgotten friends. Mandrake Memorial's first album fit the bill perfectly.
I started listening to these guys in the late 60's and to me this album is timeless.
I actually heard them for the first time in 68 when they played on the same card as The Doors! They stole the show that night. A sold out arena and they got a standing ovation! I immediately became a fan!
If there is a question in your mind don't hesitate to GET THIS CD!!!! (by Das Organic Impressionist).
01. Bird Journey
02. Here I Am
03. Rainy May
04. This Can't Be Real
05. Dark Lady Listen
06. House Of Mirrors
07. To A Lonely
09. Next Number
10. Sunday Noon
*Craig Anderton (guitar, modulator)
*Randy Monaco (bass, vocals)
*Kevin Lally (drums)
*Michael Kac (keyboards, vocals)
Price at Amazon:
3 new from $199.00, 5 used from $127.50 (!!!!!!)
Here i am
***Purple Overdose -Painting the Air (Greece 2004)-FANTASTIC recent Psych band -Rarities and unreleased tracks -SUPERB, SUPERB!!***
Purple Overdose - "Painting The Air"
(On Stage Records 2004, OSR005, LP)
Rarities and Unreleased
From Aural Innovations #29 (October 2004)
Based in Greece , Purple Overdose were one of the great Psychedelic bands of the past several years . Though disbanded for a couple years now , their manager , Stefanos Panagiotakis , enthusiastically pursued making available this vinyl only collection of rarities and unreleased tracks . The songs on " Painting The Air " were originally recorded in 1989 with the intention of comprising their second album , slated to be titled " Magic Forest " . Five of the songs later ended up , in different forms , on what ultimately became their second album , " Indigo " .
Long time Purple Overdose fans will be pleased to know that two of the tracks are unreleased . "Painting The Air" is classic Purple Overdose 60's inspired psychedelia , a heady mixture of trippy song and acidic instrumental . And " Still Ill " is a special treat , being one of the first ever recorded Purple Overdose songs , and featuring a guitar/bass/drums trio version of the band . It has the trademark Purple Overdose sound , but has more of a down ‘n dirty garage-psych feel , and includes an ultra trippy jam section . Excellent!undefined
" Sail On Your Wings " originally appeared on the volume 3 CD of the fanzine " The Thing " in 1996 , and was later included on the CD version of The Salmon's Trip Live . This track is a real highlight , featuring Purple Overdose at their most cosmic , with swirling guitars , a luscious 60's organ sound and a mind expanding atmospheric vibe . " 2008 Old View " is the B side of the bands only 7" single , and is an intense song with more classic 60's organ melody and cool shimmering trip guitars .
Those who own the album " Indigo " will of course recognize the 5 songs that appeared on that album - " Moonlight Sunshine " , " Cosmic Ladder " , " Rain Without Storm " , " Golden Eyes " and " Magic Forest " . Diehard fans with a taste for historical perspective will enjoy hearing these earlier versions of the songs . Most have a rawer sound and feel than the Indigo versions , which in some cases has a special charm of its own , having a cool trippy flower power vibe .
01.Painting The Air
03.Sail On Your Wings
06.2008 Old View
07.Rain Without Storm
Too little-known in their time to qualify as forgotten, the Misunderstood were, in all but riches and renown, the American Yardbirds: a panzer-garage quintet from Riverside, California, combining electric-blues lust with rave-up dementia and tight, flammable songwriting. After an early-’66 line-up change, the band boasted, in the country-raga invention and greased lightning of steel guitar prodigy Glenn Ross Campbell, its own Jeff Beck and Jimmy Page rolled into one.
Something of an anachronism, in that they originated in California but recorded in London, The Misunderstood have two claims to fame: they were managed for a while by John Peel and recorded two of the best singles of the psychedelic era:- I Can Take You To The Sun and Children Of The Sun. Both contain some excellent guitar riffs and are sought-after by collectors. Both were recorded at the same time but the second was issued belatedly. The group started out in Riverside, California, when Treadway, Moe and Phelps (lead gtr) formed their own surfing group, The Blue Notes, changing their name to The Misunderstood in 1965 by which time Brown and Whiting had been added to their line-up. Then, having recruited Campbell from another surfing band, The Goldstones, as a replacement for Phelps, who left the band, they had cut two blues tracks, Jimmy Reed's You Don't Have To Go and Howlin' Wolf's Who's Been Talkin' as a single. These can now be heard on Before The Dream Faded, Cherry Red's 1982 release of the group's earlier material. After seeing them play a gig at the opening of a shopping centre in Riverside, John Peel (then known as Ravenscroft) realised their potential and acted as their manager. The band soon developed a mind-blowing stage act. Treadway was soon called home to be drafted and was replaced by Tony Hill, but when Moe, too, was drafted the band began to fall apart.
However, the six songs they recorded here in England (now contained on side one of Before The Dream Faded) captured the band at their creative zenith. Musically they predated Pink Floyd by several months and had the whole band not been eventually deported back to the States, they could well have attained similar status.
Campbell reformed the band in 1969 with an entirely different line-up which recorded two Rhythm and Blues influenced singles, You're Tuff Enough and Never Had A Girl (Like You Before). These were not as good as the first two singles although they do now fetch similar prices. When they collapsed, Campbell formed Juicy Lucy, with other members of this group, who reached No 14 in the UK Charts in March 1970 with Bo Diddley's Who Do You Love?. Tony Hill later joined High Tide.
However, the indications of a psychedelic revival in 1981 saw Cherry Red records reissue an EP of the band's finest songs and Rick Brown and Glenn Campbell form an Eastern-influenced hard rock outfit called The Influence. In 1982 they recorded a one-sided flexidisc, You're My Girl (Bucketfull Of Brains BOB 2), which appeared with the excellent 'Bucketfull Of Brains' magazine.
The Golden Glass EP contains material by the second line-up on the 'A' side. By then the band had veered towards blues-based progressive music. On the flip are two tracks by the earlier 1966 line-up:- Shake Your Money Maker and I'm Not Talkin', recorded at the legendary Gold Star studios. Other material recorded at these sessions was thought to have been lost, however in 1998, The Legendary Goldstar Album appeared, which combined the later Golden Glass album with these earlier 1966 cuts. Of these, I'm Not Talkin remains the highlight, with a splendid feedback freakout section.
The Golden Glass album contains material by line-up (B), including both sides of their two singles, You're Tuff Enough and Never Had A Girl Like You Before. The remaining four tracks were a cover of the Spencer Davis Group hit Keep On Running, Freedom, I'm Cruising and the Little Richard Okeh track I Don't Want To Discuss It, which is ladened with feedback. This isn't for psych heads but many appeal to progressive fans who are into long, bluesy guitar solos.
We've also recently heard that Cherry Red have released a CD of post-Misunderstood recordings, from the 1980s, which includes the re-working of many of their classic tracks.
Compilation coverage has included:- Children Of The Sun on Chocolate Soup For Diabetics, Vol. 1 (LP); Golden Glass on Rubble Vol. 4: 49 Minute Technicolour Dream; Never Had A Girl Like You Before (45 version) on Rubble Vol. 1: The Psychedelic Snarl (LP) and Rubble Vol. 1 (CD). In addition a live track recorded by Line-up 'B' Bad Hat, has also resurfaced on Turds On A Bum Ride, Vol. 4 (CD).
1 Children of the Sun Hill 2:51
2 My Mind 2:34
3 Who Do You Love? 2:26
4 I Unseen Hill 2:01
5 Find a Hidden Door 2:16
6 I Can Take You to the Sun Brown 3:38
1 I'm Not Talking 2:25
2 Who's Been Talking? Burnett 2:57
3 I Need Your Love 3:20
4 You Don't Have to Go Out Reed 4:43
5 I Cried My Eyes Out 2:39
6 Like I Do 2:51
7 You've Got Me Crying Over Love 2:22
Saturday, 20 November 2010
An obscure psychedelic band based in Oregon, Afterglow released only one album in 1968 before vanishing. Afterglow's lone, eponymous release was sort of like a sampler of American psychedelic styles, featuring songs that recalled not only the Doors and Jefferson Airplane, but also the Byrds, Donovan and trippy garage-psychedelic bands like the Strawberry Alarm Clock.
Led by guitarist/vocalist Tony Tecumseh, the group formed in August of 1965 when Tecumseh was convinced by a friend to contact drummer Larry Alexander and a bassist named Mike. The trio, dubbed the Madallions, soon added vocalist Gene Resler and the band played several shows, usually at a local pizza parlor, before they went their separate ways to attend college. They re-formed in 1966, adding new bassist Ron George and keyboardist Roger Swanson. That fall, they began recording with producer Leo Lukla at his Golden State Recorders studio, but due to their studies, they were unable to complete an album until late 1967; the resulting eponymous record appeared early the following year on MTA Records. Afterglow was ignored at the time and the group broke up shortly afterward, but the record became a favorite of psychedelic collectors and was reissued by Sundazed Records in 1995.
Afterglow starts with "Morning," a gentle folk-rock song that finds the middle ground between the Byrds and Jefferson Airplane. Although there are a couple of tracks similar to "Morning" on the album, it is no more an indication of what's to follow as any other song on the record. Each song on Afterglow sounds as if it could have been written by different bands -- sure, there is the sighing "Mend This Heart of Mine," but it follows the downright bizarre "Susie's Gone," which, with its dissonant Farfisa organs and slide guitars, sounds like a space voyage gone bad. It's not particularly coherent but its nature as a sampler makes Afterglow a charming psychedelic relic.
AMG Review by Stephen Thomas Erlewine
04.Mend This Heart of Mine
07.By My Side
08.It's a Wonder
10.Riding Home Again
11.Meadowland of Love
12.Susie's Gone (altered version)
13.Chasing Rainbows (unissued alternate backing track)
14.Afternoon (unissued altered backing track)
susie's gone, lol
Neon Pearl was a 1960s British psychedlic band consisting of Peter Dunton (vocals/guitar/keyboards/drums), Bernard Jinks (bass guitar/backing vocals) and Nick Spenser (guitar/harmonium/keyboards).
In 1967, Neon Pearl released the album 1967 Recordings, which is a fine example of experimental British psychedelia with its hazy riffs, mild guitar distortions and vocal harmonies. Dunton was also in the marginally less obscure British psychedelic bands the Flies and Please, while Jinks later played in Bulldog Breed and T2, the latter also including Dunton.
Popular songs included "Forever", "Going With The Flow", "Just Another Day", "Out Of Sight" and "What Do You See".
1. What You See
2. Dream Scream
3. Out Of Sight
4. Just Another Day
6. Going With The Flow
7. Urban Ways
8. Going Back
9. Dream (Bonus)
10. Nothing To Say (Bonus)
Peter Dunton vocals again
A collection of demos taken from original master tapes and restored acetates from 1968-1969.
Featuring members of The Flies, Bulldog Breed, Gun and pre T2.
60`s archives recordings.
01. We Aim To Please (2:51)
02. No More White Horses (3:21)
03. Paper Anne (3:15)
04. Seaweed (5:10)
05. Break The Spell (3:17)
06. Strange Ways (3:21)
07. Man With No Name (3:27)
08. Watching (2:11)
09. You're Still Waiting (2:05)
10. Breakthrough (3:23)
11. The Story (2:24)
12. Folder Man (2:24)
Please: *Peter Dunton (drums, vocals except tracks 3,4,7,12) *Bernard Jinks (bass) *Nick Spenser (guitars) *Jurgen Ermish (organ) *Robin Hunt (flute, vocals tracks 3,4,7,12) *Rod Harrison (guitar on tracks 2, 4,
PLEASE DON'T MISS!!
Line-up A * PETER DUNTON: vocals, drums * JURGEN ERMISCH: organ * ADRIAN GURVITZ: guitar * BERNIE JINKS: bass Line-up B * PETER DUNTON: vocals, drums * ROD HARRISON: guitar * NICK SPENSER: guitar * ROB HUNT: flute, vocals * BERNIE JINKS: bass
01. Seeing stars [3:18]
02. Words to say [3:21]
03. Before [3:20]
04. Time goes by [4:32]
05. The road [5:30]
06. Rise & shine [3:56]
07. Still dreaming [3:27]
08. Secrets [3:13]
09. Who you know [3:34]
10. But [2:57]
11. Steal your dreams [3:01]
All tracks composed by Peter Dunton. Please were formed by Peter Dunton and Bernie Jinks in late 1967. They had just returned to Britain from Germany where they had played with Neon Pearl, which also included their third member Jurgen Ermisch. The fourth original member Adrian Gurvitz later co-founded Gun. Unfortunately this line-up left no vinyl legacy or unreleased recordings that have been located behind it. They disbanded in May 1968 when Peter Dunton joined The Flies for whom he wrote both sides of their Magic Train 45. When The Flies split up at the end of 1968, Dunton reformed the band (line-up 'B'). Rob Hunt had also been in The Flies. They recorded all the cuts compiled on this album. Please split again in April 1969 when Peter Dunton joined Gun. The remaining members recruited a new drummer and renamed themselves Bulldog Breed. They later cut the Made In England album. In the Autumn of 1969, Peter Dunton quit Gun to reform Please with Bernie Jinks and Nick Spenser (ex-Neon Pearl). This incarnation was relatively short-lived as they had difficulty recruiting a suitable keyboard player. In early 1970 Dunton, Jinks and a later Bulldog Breed member Keith Cross joined forces to form T2, who were responsible for the excellent It'll All Work Out In Boomland album. One of T2's tracks, No More White Horses also crops up in a radically different form on Please's 1968/69 retrospective. ~ (Taken from: "Tapestry Of Delights")
The keyboards are a bit too much in front at times on this album full of dreamy psychedelic music where "Before" is the track that catches the ear. This is their second release of unreleased material on Acme (Acme Deluxe ADLP 1028 / 2000).
Tuesday, 16 November 2010
ALBUM: 1(A) ARMAGEDDON (MTA MTS 5012) 1969 NB: (1) counterfeited on vinyl in 1989 and reissued legitimately on CD(Sundazed SC 6060) 1995 with six previously unreleased tracks - a combination of outtakes from the album and earlier folk-rock offerings from 1967. From Fairfield, California, this band were previously known as Stone Henge, who in turn had evolved out of The Donnybrookes. Their album was produced by Larry Goldberg and Leo (De Gar) Kulka who operated out of Golden State Recorders in San Francisco. The album starts out with the melodramatic Armageddon which comprises most of Side One, the rest is taken up with the more melodic and laid back I'm So Sad.
The second side begins with the rather lightweight goodtime Happiness, but Whispering Shadows opens with some great discordant guitar work which gives away to some good group harmonies and Kissy Face also features some great vocals, Dejected Soul, with its sleepy vocals and fine fuzz guitar work, is among the album's finer moments. The final track, As For Now, seems to return to the more melodic, laid back style of I'm So Sad An album well worth tracking down. The Sundazed CD bonus cuts nclude two unreleased efforts from 1967 as by Stone Henge Compilation appearances have included: Whispering Shadows on Psychedelic Crown Jewels, Vol. 1 (CD); As For Now on Sundazed Sampler, Vol. 2 (CD); Kissy Face and Dejected Soul on Crystalize Your Mind (CD).(Vernon Joynson / Max Waller)
1. Armageddon 7:13
2. I'm So Sad 7:03
3. Happiness 2:08
4. Whispering Shadows 4:22
5. Kissy Face 3:05
6. Dejected Soul 2:32
7. As For Now 2:40
****The Spoils Of War -The Spoils of War II -US 67-68- Outakes and live material WELL WORTH HEARING!!****
REVIEW FROM AMAZON.CO.UK:
"This is a truly superb album that was way, way ahead of it's time. The recordings herein date from '67 - '68, yet there are samples, scratching and all sorts of computer-generated weirdness. The emphasis is on psychedelic (how could it not be?) but there's much more besides: folk, country, pop, a dash of blues, and of course, plenty of jazz. The lyrics are unusual, thought-provoking, sometimes cheeky, competently written (no "oh baby"s here) and fit very well with the experimental ethos of the whole Spoils of War project. With such an eclectic mix it would be easy for the album to descend into a collection of interesting but unconnected clips. II runs this risk doubly because it is, despite its title, not really Spoils of War's second album but is rather a compilation of outtakes and live material. However, the sheer level of musical competence and sensitivity of arrangement and compilation keep the whole thing together. There are a number of wonderfully catchy tunes, some pleasantly odd Beefheart/early Beck moments, great eastern-style guitar work and some beautiful singing from Annie Hat. There're less computer-generated squeaks, wobbles and booms than on the previous, self-titled album; that is until you get to the live material at the end, wherein they threaten to (but never do) overwhelm the music. These final five tracks give a good feel of the atmosphere of a late 60s freak out, or "happening". Great stuff! And it's surprising to hear how different yet recognisable songs from the first album are when played live. But for home listening the studio recordings are more apt and therein lies the strength of II. Overall, the album is surprisingly well-rounded and addictively listenable. It makes a worthy successor to Spoils of War's classic, ground-breaking first album. If you're a fan of psychedelic and/or experimental music, or are interested in the roots of electronic music, and haven't got Spoils of War's first album, get it now... then get this one.""
1. Big Sugar Plantations
2. Dear Belgium Boy
3. In Again Out Again
4. Frosted Windows
5. Lightning Snakes
6. Poughkeepsie Blues
7. Missed Opportunity
8. Bomb Song
9. Morning Be Merciful
12. Rubab To Bed
13. Big City Frank's Drum Solo
15. You'll Never Know
16. Our Secret Place
Monday, 15 November 2010
Beat Of The Earth was assembled by Phil Pearlman, who had earlier released a surf/hot rod 45 Chrome Reversed Rails (shown as by Phil and The Flakes, on the Fink label).
One of the earliest known electric experimental bands, The Beat Of The Earth sound very similar to their East-coast counterparts The Velvet Underground...
These two records were recorded live in the studio during the Summer of 1967 and consist of long, unstructured jams using a myriad of acoustic and electric instruments.
This early incarnation of the band is the one most familiar to collectors and copies of the first album have been changing hands for hundred of dollars since the mid-eighties.
The music the band produced during this period is not for everybody (compare to the long tracks on the first two Velvet Underground albums), but their debut remains an unusual and rare item of significance from the California rock scene.
During 1968-9 the line-up of the band was in constant flux and Beat Of The Earth made no known "proper" recordings, but Pearlman continued to add to his own collection of demos using local studios in off-hours via his friendship with the engineer Joe Sidore.
At the end of 1969, Pearlman assembled The Electronic Hole strictly for personal use - specifically, to draft musicians for his new band.
Several names are listed on the sleeve but I believe this is actually very close to being a Phil Pearlman solo project. The album is entirely different stylistically from the earlier one in that it abandons the freeform improvisational approach in favour of 'compositions' including a wild cover of Zappa's Trouble Comin' Every Day.
None of the tracks are given titles on the album which complicates singling any out for commentary, but there are real highlights and the raw, unpolished feel only serves to make it utterly magical.
Pearlman plays sitar on one track to great effect, and another has the thickest wall of fuzz guitars imaginable - an effect he created by running his Fender amplifier into the amp circuit of a child's chord organ ("sounded great for about two weeks, then it blew up!").
There are few albums I known of that have such an eclectic yet appealing sound. Had the story ended here it would have been a real tragedy, as Pearlman's finest hour was yet to come.
Six years later (with who knows what in between), recording commenced on the majestic Relatively Clean Rivers album with an entirely new band and musical vision (by D.Glazer).
1. The Beat of the Earth (This Is An Artistic Statement), Pt. 1 20:59
2. The Beat of the Earth (This Is An Artistic Statement), Pt. 2 20:54
The Beat of the Earth:
Sunday, 14 November 2010
George Edwards, an ex-folk troubadour who had cut a solo 45 for Dunwich, Norwegian Wood/Never Mind, I'm Freezing, and a raw cover of Bob Dylan's Quit Your Low Down Ways, that remained unreleased until its inclusion on Happy Tiger's Early Chicago compilation in 1971, was working as in-house session vocalist with Dunwich when this Chicago-based outfit was first assembled. Aside from David Michaels, the other three members of the band were borrowed from another Chicago ouffit, The Rovin' Kind. The name H.P. Lovecraft was appropriated from the deceased fantasy horror wrighter. This initial line-up (February 1967) was responsible for the first 45, although the flip side was a George Edwards solo outtake from the previous year. The group came together as a stable entity in the Spring of 1967 (line-up B), although Tom Skidmore soon made way for Jerry McGeorge, who'd previously played with The Shadows Of Knight and Dalek/Engham: The Blackstones. (Joe Kelly, also of The Shadows Of Knight, was briefly in the band when Tony Cavallari, was absent for a while in late 1967).
The vocal combination of the folkie Edwards and Michaels, a classically-trained singer, gave the band a unique and distinctive vocal sound effectively supplemented by Michael's powerful keyboard-playing. Their debut album is one of great variety. The stand-out track was The White Ship and this is the song with which the group are most usually associated. Making use of a 1811 ship's bell, sombre harmonies, reeds, feedback and some baroque harpsichord pieces it conjured up a hallucinogenic atmosphere ideally suited to the times. Also of note were an excellent upbeat version of Dino Valente's hippie anthem Let's Get Together, which preceded The Youngblood's hit by over a year; That's The Bag l'm In, which had its roots in the garage; Wayfaring Stranger, a folk-based number and the dopey, sleepy number, I've Been Wrong Before, which gave a clear indication of the direction they would follow on their second album.
In the Spring of 1968 they relocated to Marin Country in Northern California, having already briefly toured the West Coast. They became a frequent attraction at the nearby San Francisco ballrooms playing alongside most of the top Bay Area bands. Jerry McGeorge wanted to stay in Chicago and was replaced by Jeff Boyan, previously with Hezekiah and before that Saturday's Children. Not only was Boyan a talented guitarist, he possessed a distinctive lead voice, too.
Later that year the group moved on again to Los Angeles where they recorded a second album which contained many fine moments. The sleepiness of the tracks like Spin, Spin, Spin, Electrallentando and Mobius Trip was reminiscent of the second side of the first It's A Beautiful Day album. There was a fine version of High Flying Bird, a song recorded by many West Coast groups; At The Mountains Of Madness, which captured the group's vocal harmonies at their tinest, and Blue Jack Of Diamonds, which had an unusual chiming intro. This is reputedly the first major label album where all those involved in the recording were high on acid!
H.P. Lovecraft effectively dissolved in 1969. Their first 45 got a further airing on the Early Chicago compilation a couple of years later. A new line-up of Edwards, Tegza, Marty Grebb (ex-Buckinghams and Exceptions), Michael Been (ex-Troys) and Jim Dolinger (ex-Aorta and Exceptions) signed with Reprise in 1970 calling themselves Lovecraft. Edwards departed before they recorded a rockier album and 45 the following year and soon Lovecraft were no more. Tegza later joined Bangor Flying Circus, but he reformed Lovecraft with an entirely new line-up in 1975 and a disappointing further album and two 45s were released which attracted little attention.
"Spin, Spin, Spin" (Terry Callier) – 3:21
"It's About Time" (Terry Callier) – 5:17
"Blue Jack of Diamonds" (Jeff Boyan) – 3:08
"Electrollentando" (George Edwards) – 6:34
"At the Mountains of Madness" (George Edwards, Dave Michaels, Tony Cavallari) – 4:57
"Mobius Trip" (George Edwards) – 2:44
"High Flying Bird" (Billy Ed Wheeler) – 3:21
"Nothing's Boy" (Ken Nordine) – 0:39
"Keeper of the Keys" (Mike Brewer, Tom Shipley) – 3:05
George Edwards – vocals, acoustic guitar, electric guitar, bass
Dave Michaels – vocals, keyboards
Tony Cavallari – lead guitar, vocals
Jeff Boyan – bass, vocals
Michael Tegza – drums, percussion, vocals
if you like this, you will probably love Tripsichord as well!
**Psychelatte says: -i have added a bonus track which is a re-working of "Let's Get Together." I have altered the balance so that the joyous sound of the organ can be clearly heard through speakers, without muffling the sound of the recorder. hope you like it!!
Often considered as folk rock this Chicago-origined group is most surely one of the prime examples of intelligent and adventurous psychedelic rock (as opposed to the more conventional Garage rock groups discussed in the Nuggets box-sets compilations) and shows that late 60’s in new world were also a fertile ground for progressive psych rock. Comparable groups of the era would be JEFFERSON AIRPLANE, SPIRIT and LOVE.
Folkie guitarist-singer George Edwards had recorded a few folk tracks, before playing with jazzman Will Mercier, where Edwards met KB man Dave Michaels, before heading back to his next solo single which will become the first HP LOVECRAFT recording - they took the name from their collective love of the writer’s oeuvre to which they asked his estate for permission to use the name. Guitarist Cavalleri, bassist McGeorge and drummer Tegsa completed the line-up. Their first album is a mostly-covers (albeit completely rearranged) album that can be compared to a much more subtle VANILLA FUDGE album.
They relocated to the San Francisco region following a few high-profile shows at the Fillmore West opening for PROCOL HARUM, DONOVAN, PINK FLOYD, TRAFFIC as well as all the local San Fran Flower Power groups and were on the brink of wide success. Around this time HP Lovecraft was at its peak touring almost constantly and a stupendous show was recoded on May 11, 1968, (but not released before 91), showing just how great and progressive they were.
Their second album had everything to achieve that goal (including a change of bassist) but they seemed to lack confidence in their own songwriting skills (it is formidably underrated) and again concentrated on covers. The album is incredibly strong and still nowadays quite impressive. However, just after its release, KB man Michaels will leave (exhaustion and loos of musical direction) prompting the group to implode soon after, causing the label to pull its promotional effort.
They tried to reform early 70, but failed (even as they had found anew record deal), but this effort prompted a group with no link to the original line-up (except for drummer Tegza) to record an album as LOVECRAFT (but bearing no resemblance to the first album) and a second album in 75, this time a funky affair. Most of the original members still dabble in music nowadays, around the Chicago area with Edwards and Michaels still playing together in folk
- Jerry McGeorge / bass, vocals
- Dave Michaels / organ, piano, clarinet, harpsichord, recorder, vocals
- Michael Tegza / percussion, drums, tympani (timpani), vocals
- Paul Tervelt / French horn
- Bill Traub / reeds
- Bill Traut / bells
- Herb Weiss / trombone
- Clyde Bachand / tuba
- Ralph Craig / trombone
- George Edwards / guitar (acoustic), guitarron, vocals, guitar (12 string acoustic), bass, guitar
- Jack Henningbaum / French horn
- Eddie Higgins / vibraphone, horn arrangements
1. Wayfaring Stranger (2:35)
2. Let's Get Together (4:35)
3. I've Been Wrong Before (2:46)
4. Drifter (4:11)
5. That's the bag I'm In (1:46)
6. White Ship (6:37)
7. Country Boy and Bleeker Street (2:35)
8. Time Machine (2:05)
9. That's How Much I Love You, Baby... (3:55)
10. Gloria patria (Trad.) (0:26)
11 BONUS Let's Get Together re-worked (by psychelatte)
Saturday, 13 November 2010
Ultimate Spinach's second album is a slightly more subdued continuation of the derivative psychedelia in their debut. Again, it's like a hack take on West Coast groups. There's Country Joe & the Fish in Ian Bruce-Douglas' electric keyboards (which don't play anything as good as his solos on "Sacrifice of the Moon" from the first album); Jefferson Airplane-like female vocals (by guest singer Carol Lee Britt) and songwriting on "Where You're At"; some Quicksilver Messenger Service-type guitar arrangements on "Mind Flowers"; a melody and vocal reminiscent of Kaleidoscope's "Keep Your Mind Open" on "Fragmentary March of Green"; and more. Songwriter Bruce-Douglas' lyrics are unintentional hippie parodies without any irony or humor, whether solemnly aspiring to a beatnik state ("take a trip to the center of your mind") or indicting the straight world ("he has an ulcer in his brain, from thinking of how to divorce his wife"). When the album turns to social critiques, it's uncertain whether the band is trying to mimic the Mothers of Invention without the wit, or whether they're unwittingly embodying the very kinds of groups whom the Mothers took the piss out of on "We're Only in It for the Money". [Richie Unterberger/AMG]
1. Gilded Lamp Of The Cosmos
2. Visions Of Your Reality
3. Jazz Thing
4. Mind Flowers
5. Where You'Re At
6. Suite:Genisis Of Beauty
7. Fifth Horseman Of The Apocalypse
8. Fragmentary March Of Green
If you like this, you may like this Bosstown band too!! (see ITEM #2 on page)
The Ultimate Spinach was a psychedelic band originally from Boston, composed of keyboardist/guitarist Ian Bruce-Douglas and singer Barbara Hudson.
"Ultimate Spinach" is the 1967 self-titled debut album by Ultimate Spinach and was released on the MGM Records label.The phenomenon of a "Boston Sound", (whose other top acts included The Beacon Street Union, also on MGM), was more a publicity stunt than a legitimate artistic movement, and the Bruce-Douglas version of the band tends to be remembered for its name.
On "Ultimate Spinach" the standout cuts are "(Ballad of) The Hip Death Goddess", with an instrumental interval for theremin (an early electronic instrument), feedback and reverberation, and the psychoanalytic folk-blues "Ego Trip" , the 4-part suite "Sacrifice of the Moon" as well as "Your Head Is Reeling" and the Frank Zappa-esque "Plastic Raincoats".
Their first album was reviled by the critics as phoney, now 40 years later it's getting some respect as an acid classic. In 2008 the English glossy magazine Classic Rock listed the 42 Greatest Psychedelic Albums. This album was Number 36, in there with Sgt Peppers, Axis Bold as Love, Disraeli Gears, etc.
Ian Bruce-Douglas: vocals, electric piano,organ,theremin,sitar
Barbara Hudson: vocals,electric guitar,kazoo
Keith Lahteinen: vocals,drums,tabla
Richard Nese: bass
Geoffrey Withrop: vocals,lead guitar,electric sitar
2.Sacrifice of the Moon [In Four Parts]
3.Plastic Raincoating/Hung Up Minds
4.(Ballad of) The Hip Death Goddess
5.Your Head Is Reeling
6.Dove In Hawk's Clothing
8.Funny Freak Parade
funny freak parade
Friday, 12 November 2010
This group, part of the 'Bosstown Sound', were energetically promoted in 1968. Their debut album, though often pretentious, was a mini-psychedelic masterpiece. The material, a mixture of acid rock, blues, and ballads, was usually original and often interesting. The album is recommended it you are able to obtain a copy.
Their second effort "The Clown Died In Marvin Gardens" continued in a similar vein, but contained the orchestrated "Clown's Overture" and "Angus Of Aberdeen".
Either or both albums are well worth checking out and both met with some commercial success.
1. Recitation/My Love Is 4:07
2. Beautiful Delilah 2:09
3. Sportin' Life 3:09
4. Four Hundred and Five 2:09
5. Mystic Mourning 5:58
6. Sadie Said No 2:46
7. Speed Kills 1:55
8. Blue Avenue 2:50
9. South End Incident 3:53
10. Green Destroys the Gold 4:00
11. The Prophet 4:33
Monday, 13 September 2010
Psychedelic Boston-based band who cut a single brilliant album in 1968.
Hailing from Boston in the late sixties, Phluph recorded their one and only album for the Verve record label before drifting off into obscurity. One wonders why such a talented group never achieved success in the music industry. Perhaps Verve, being a predominatly jazz based label, did not know how to promote the band properly. Or perhaps it was because Phluph were part of the ill-fated "Bosstown Sound" scene which caused such a furore in the music industry at that time.
The Scene That Never Was?
The “Bosstown Sound” was started as a publicity campaign by producer Alan Lorber, aiming to market the various Boston based psychedelic bands on MGM’s books (The Ultimate Spinach, Eden’s Children etc) as being part of one singular movement. The idea was to rival the burgeoning San Francisco scene as well as the Mersey-Beat sound that was being imported from across the Atlantic. Unfortunately the rock critics and the underground took umbrage at what they deemed was a shallow corporate attempt at selling the counter-culture back to them as a package.
There was strong anti-establishment feeling at this time because of the Vietnam War, and this helped to fuel the fire against the Boston scene. This coupled with the subsequent pressure from those on the West Coast who declaimed them as frauds, meant that many of the bands became black- listed, never getting the sales figures that they deserved.
NOT JUST A BIT OF PHLUPH!!
Thursday, 19 August 2010
An Electric Storm is justly renowned among techno boffins as one of the first albums to fuse pop and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album. For although the White Noise were almost exclusively composed of virtuoso knob twiddlers and tape splicers moonlighting from the BBC Radiophonic Workshop, luckily they were no slouches when it came to penning a decent tune. There's also anarchic humor at play on the manic "Here Come the Fleas," which contains more edits in its two minutes than the whole of Sgt. Pepper's.Yet it's the retro-futurist textures that still grab the ear most. These are sounds that will be familiar to anyone who knows the soundtrack of Forbidden Planet or the early series of Doctor Who, but they had never before been deployed in the service of pop music, nor have they since. And whereas the Moog would supplant all of these primitive, time-consuming techniques of sound generation and manipulation within the year, it also destroyed much of electronic music's spirit of adventure in the process. How could you boldly go where no man had gone before when your sound universe was suddenly overlaid by tram lines and route maps? So although most of the songs that make up the first half of An Electric Storm are pretty much your standard-issue polite British psychedelia (the somewhat embarrassing United States of America-style orgy of "My Game of Loving" aside), the way they're dressed up still sounds innovative decades later. Sometimes songs dissolve into bleeps, whooshes, and gurgles that hurtle between your speakers, but compared to the extended guitar and organ solos that were common currency at the time, they are the very essence of restraint. That said, restraint was put to the sword on the final two tracks, the 12-minute "The Visitations" and the seven-minute "The Black Mass: An Electric Storm in Hell." The former is a decidedly spooky "Leader of the Pack"-style drama with a supernatural twist. The biker, having departed this life, attempts to make one last attempt to cross over and console his grieving beloved, only to fall agonizingly short. If you can suspend your disbelief -- and persuade yourself that the biker's departing spirit doesn't sound like a cappuccino machine -- it's spine-tingling stuff that you won't dare listen to with the lights off. Which is more than can be said for the concluding track, a would-be satanic jam session botched together in a hurry to meet Island's suddenly imposed deadline.
1. "Love Without Sound" – 2:57
2. "My Game Of Loving" – 3:38
3. "Here Come The Fleas" – 2:31
4. "Firebird" – 2:43
5. "Your Hidden Dreams" – 4:25
6. "The Visitations" – 11:45
7. "The Black Mass: An Electric Storm In Hell" – 7:04
Review from allmusic, forcedexposure.com)
From New York, this short lived band evolved around the namesake guitarist Steve Morgen.
A foreboding bass riff and staccato drumming introduce ‘Welcome To The Void’, and for the next thirty-eight minutes one is hurled headlong into a vortex of dual-guitar overload, lyrically woven with romantic and Victorian imagery residing on a tab of microdot.
There are some cool passages here, like the sudden rush of Jimi Hendrix/the Who-hybrid notes in “Love” as a jungle beat throbs in the background, and the lasciviously fey vocal and sweetly fuzzy guitar sustains in “Of Dreams.” “Eternity in Between” does make it clear Morgen was a big Who fan, with its lifts of the chord sequence from “Underture” and the stuttering distortion of “My Generation”.
- Steve Morgen / vocals, guitar
- Rennie Genossa / bass
- Bob Maiman / drums
- Barry Stock / rhythm guitar
01. Welcome To The Void – 4:47
02. Of Dreams – 5:37
03. Beggin Your Pardon (Miss Joan) – 4:49
04. Eternity In Between – 5:06
05. Purple – 4:11
06. She’s The Nitetime – 3:30
07. Love – 10:53
There's not much to compare this album to, even in the weird musical climate of 1968 -- there are echoes of Country Joe The Fish and the Doors, perhaps, in the mysterioso organ and morbid imagery. Not that Ken Erwin was in the same league as Jim Morrison, or even Country Joe, as a songwriter. But (with the exception of the brassy good-time cut "Underground Music"), psychedelia was very rarely this dementedly gloomy. Occasional pealing bells and curdling screams (to say nothing of the Boschlike cover art) add to the foggy underworld menace. Reissued without authorization in Europe in the 1980s, the 1995 domestic CD is a first-class job: the 12 bonus cuts gather some rare non-LP singles, alternate takes, and previously unreleased songs, and the liner notes feature extensive interviews with Ken Erwin and engineer Steve Longman.
- Richie Unterberger, All Music Guide
1.Trip Thru Hell (Part 1)
5.Sleepy Hollow Lane
6.Smooth as Silk
7.Trip Thru Hell (Part 2)
8.Dr. Of Philosophy
9.Blow to My Soul
10.Ain't No Doubt About It - (previously unreleased)
12.I Put a Spell on You - (previously unreleased)
13.I Shot the King - (previously unreleased)
14.Fortune Teller's Lie - (previously unreleased)
15.Sadie Lavone - (previously unreleased)
16.Bury Me in a Marijuana Field - (previously unreleased)
17.Colorado Mourning - (alternate version)
18.Underground Music - (alternate version)
19.Smooth as Silk - (alternate version)
Friday, 6 August 2010
Little is known about this late-'60s psychedelic group, except that they were dominated by James Cuomo, who wrote all of the material in addition to producing it. From Urbana, IL, they recorded an album's worth of unreleased tracks in 1969 which finally saw the light of day as a very limited edition German LP in 1998. The record is interesting as an early example of a rock band making heavy use of experimental electronics. These augment, and occasionally overwhelm, Cuomo's rather fragile and spooky songs, which are often real songs, despite the overlays of and detours into effects and noise. It's somewhat in the style of the United States of America or Fifty Foot Hose, although it certainly isn't as excellent and innovative as the U.S.A., nor as conversant with the potential of electronic equipment as Fifty Foot Hose. Worth hearing, though, if you're into that vibe, Cuomo sometimes exhibiting a spacier and folkier sensibility than his counterparts did. ~ Richie Unterberger, All Music Guide
-You know from the very start you're in for something extraordinary. With its wailing feedback, layers of spaced out effects and weird-as-weird-can-get lyrics, it's easy to describe The Spoils of War as a psych outfit, and in many ways they are. To do so, however, would short change them. Psychedelic is chiefly a phenomenon of the 1960s and this album was recorded in that headiest of eras, but it sounds like it could have been recorded yesterday. We've all got a lot of catching up to do, to keep up with what these guys were doing 40-odd years ago! There are strong jazz and folk influences, as well as gestures to the modal arrangements of the more experimental classical composers. But in truth, there is no adequate way of describing this recording, due to an absence of referents. It really is that original. Perhaps I should just call it Art and leave it at that. I think that'd be doing it an injustice, though, as The Spoils of War are ultimately listenable. No matter how avant garde they get there is always structure and melody. The group were a short-lived entity, only producing one studio album, and it's hard to determine if the extremely high quality is due to brilliant musicianship, intuitive genius or inspired production. All three are present in abundance here. Add to that a cover that is pure sci-fi nightmare kitsch and you've got something special indeed.
-this is truly one of the greatest pieces of music i ever heard! so freaked out and/but on the other hand it all comes together with harmonies and sections, raw recording,(sounding like it was done in a bathroom...) man this is just wonderful..! i really cant say how happy i am after hearing this! it was missing from my collection for a while, i found the lp and now got a mint copy on disc, if you are lookin to expand your head/collection then get this.. or even if you look for the next thing, this will come as a great surprise..
This has not aged at all. super weird and it hits all the right tones. get freaked and get your head laid! if i only ever had to have one piece of music with me then this would be it.. i love to freak y'see!!
this is a personal lp, it will take you there! i thoroughly recommend this piece of genius!
1. Walk In Walk Out
2. First Love Last Love
4. You're The Girl
5. Now Is Made In America
6. Rit Yellow Of The Sun
7. Crimson Uniform/Jena's Score
8. Record Rejects/After The Party/Lonesome Is A Truer Word/End
9. What Happens Now/Now Is Made In America/Henry T. Joseph
10. Void Of Mystery/Greyness Moves In Quietly
11. Susan Never Smiles
12. Ring Magic Telephone Ring
13. Victoria Falls
PART ONE -ENJOY!
PART TWO -ENJOY!
Formed: New York City, NY, United States
- Danny Prosseda, Guitar
- Drew Sbordone, Bass
- Joe Siano, Vocals
- Jesse Luca, Drums, Percussion
- Milan, Rhythm Guitars and Screams
- Geoff Wright, Hammond/Farfisa Organ, Fuzz Bass (on "Heaven Here We Come" and "I Feel Love Comin' On")
- Maxim, Violin Solo (on "Prophecy")
- Larry Coryell, Guest Musician, Guitar Solo (on "I Feel Love Comin' On")
01. Head Shop (Milan/Maxim/R. Craig), 2:56
02. Heaven Here We Come (Milan), 2:40
03. Sunny (Bobby Hebb), 3:11
04. Listen with a Third Ear (Milan/Maxim), 2:30
05. Opera in the Year 4000 (Milan), 4:25
a. Where Have All the People Gone (Milan)
b. Yesterday (John Lennon/Paul McCartney)
01. Revolution (John Lennon/Paul McCartney), 2:28
02. I Feel Love Comin' On (Milan), 6:20
03. Prophecy (Maxim/Milan), 2:17
04. Infinity (Milan), 4:45
ALBUM:1(A) THE HEAD SHOP (Epic BN 26476) 1969
NB: (1) has been reissued on CD.
Along with many other one-off major label psych albums such as Gandalf (Capitol Records) and Savage Resurrection (Mercury Records), the sole album by the Head Shop has become a major collector’s item in recent years. As with Gandalf and Savage Resurrection, the attention given to the Head Shop’s album is fully justified by the excellent psychedelic rock music contained therein. The album’s opening cut, “Head Shop”, begins with heavily distorted guitar and an insane scream. This is an appropriate introduction to a heavy, heady barrage of psychedelia. The group’s style is heavy rock, but it is driven by mind-melting fuzztone guitar rather than the more smoothly distorted guitar sound generally featured in heavy rock of the era (see Blue Cheer and Frijid Pink).
Thus, the Head Shop have created a demented fusion of ’69 era heavy psych and ’66 era garage punk. This makes for some very interesting original songs and cover tunes. The group’s version of “Sunny” is, appropriately enough, totally dark and creepy, driven by funeral-style organ work. Likewise, if you thought the Beatles original version of “Revolution” was heavy, wait till you hear the over-the-top fuzztone version by the Head Shop. The originals are perhaps even more interesting, including the aforementioned “Head Shop”, “Heaven Here We Come”, and the killer “Infinity”. Another of their songs, “Opera in the Year 4000” is a bizarre medly of an uncharacteristically “straight” original tune “Where Have All the People Gone” melded with another Beatles song, “Yesterday.” All in all, this is a most excellent and unusual album of heavy psychedelic rock.
Now that the LP has been reissued on CD by Synton Records, this fine album is finally much more widely available than the extremely scarce original 1969 issue. This is definitely a recommended release for psych fans.
~ Reviewer: Kurt Sampsel (December,2001)
Thursday, 5 August 2010
A great little record of hippie freakout almost like some of the weird bits you'd find in the ESP catalog from some of the sub-Fugs rock groups of the time! The songs have a very trippy nature, mixed with a bit of politics ("draft beer, not students") and the album's produced with lots of cool effects that make the guitars go wild, the voices sound spooky, and which introduce some sound snippets and a small bit of electronics! The whole thing's definitely a "Freak Scene" overall the kind of tripped out album that somehow sounds even better today than it did a few decades back.
The album is virtually a second Deep LP and almost identical in style...[net]
1 A Million Grains of Sand
2 "When In Course Of Human Events" (Draft Beer, Not Students) / Interpolation: We Shall Overcome
3 Rose of Smiling Faces
4 Behind the Mind
5 The Subway Ride Thru Inner Space
6 Butterfly Dream
7 My Rainbow Life
8 The Center of My Soul
9 Watered Down Soul
10 Red Roses Will Weep
11 Mind Bender
Monday, 15 March 2010
**Psychelatte says: This is really a plug for her film, the album doesn't mean much without seeing the powerfully sad film the songs come from, so I IMPLORE YOU to see it! (There is a link below to watch the entire film on Youtube). It is so beautiful & amazing, and so is the music.
"I've Seen it All"
(If you prefer the movie versions of the above 2 songs, (which I do), then
you can download the Free Youtube to MP3
Converter, which will extract the audio from the video for a perfect mp3!)
This is the amazing sad musical starring Bjork as a poor Czech factory girl, in love with musicals, who's going blind, working all hours to pay for an operation for her son so that he doesn't have to go blind too.
You can watch the whole film now on Youtube, in 14 parts, starting from here:
Dancer in the Dark, part 1/14
Youtube viewer reactions:
-No matter how many times I see this scene, I still cry. Brilliantly acted and very powerful NeoEvangelion (2 years ago)
I'm hysterically crying...there are tears all over my keyboard. I feel so sad and sort of nauseous...this is such an amazing movie. I can't even describe it... princedepressia (2 years ago)
-Oh god I can't stop crying... I just can´t Björk is such a great actress. I can feel the pain like I actually know her character personally. Thank you so much for uploading the movie ChildofFangorn (2 years ago)
-I've _never_ cryed this much for a movie before in my entire life. So sad .AinaaAzhar (2 years ago)
-It's weird. I can't cry. I'm shaken and nauseous and shaken and... purtiepoppies (2 years ago)
-OMG I'm bawling my eyes out right now. That was the saddest film I have ever seen. It was so amazing though. joyoust (2 years ago)
-I saw this years ago and just found it last week. But, I could not bring myself to see it again until tonight. It is an amazing performance from Bjork, her music is beautiful, and as she has decided not to make another film, we've lost
a excellent actress. I cannot think of another film as devastating as this. I don't think I can watch it again. maxyboy44 i --
just whatched the whole movie, thanks so much for uploading.
-first time i saw this movie i cried like somekind of*tearmachine*...which
means that it is a freaking good movie," cephalicus/
-i watched this moving knowing only how much i love Bjork- other then that, i didn't know anything about it. It wrecked me for about 3 days. The most brilliantly heartbreaking thing i've ever encountered.Bjork is magical." codifiedmatter
02. Cvalda [W catherine Deneuve
03. I've Seen It All [W. Thom Yorke]
05. In The Musicals
06. 107 Steps [W siobhan Fallon]
07. New World [W Massive Attack]
Wednesday, 10 March 2010
***Halfnelson (pre-Sparks) A Woofer in Tweeter's Clothing -very rare '68 charming, whimsical Psych-pop Demo album, excellent fun!***
**Psychelatte says: this is a super early psych-pop bit of fun from the U.S band that later became the well-known glam-rock legends called Sparks. This demo version of the album is DIFFERENT from the official Halfnelson release a few years later, with completely different (and in my opinion, better) songs. If you like Syd Barrett sounding songs (with the occasional operatic tendency!) Plus lots of swirling organ, you'll LOVE this! I can't see that it has been featured on any other blogspots offering Psych, so I'm very happy to oblige! xxx
Ron Mael Russ Mael and Earle Mankey made quite a lot of home recordings during the late 60's and the most famous one was the Halfnelson's "A Woofer In Tweeter's Clothing" demo (not to be confused with the second official Sparks' Bearsville album). The band was Russell Mae(vocals & bass), Ron Mael (keyboards), Earle Mankey (guitar & vocals) All the songs had been written by the Maels. There are two songs on this demo, which were early versions of songs : " The War" available later on the official Bearsville release. The demo album was produced by Earle Mankey who also sang " Mountain". More info here. The demo version of the album was packaged in a large rectangular box resembling a restaurant checkbook. A hand-written bill for " $100,000 For One Halfnelson Album" was scrawled on the checkbook. Inside were photos, a bio, and the vinyl disc.
Chile Farm Farney /
Johnny's Adventure /
Roger / Arts & Crafts Spectacular
/ Landlady /
The Animals At Jason's Bar & Grill /
Big Rock Candy Mountain /
Saccharin And The War /
Join The Firm /
Jane Church /
Thursday, 4 March 2010
1. Get Your Personality Together
2. Light Of Day
3. Sunlights Beautiful Daughter
4. Tell Me What You Want (Tell Tale)
5. Blue Flashing Circle
6. Snow White And Blue
7. Human Bondage
8. Gipsy Man - Bonus Track
9. That's What I Do - Bonus Track
10. Stehaufmadchen (Trailer) - Bonus Track
*****The Eyes of Blue -In Fields of Ardath- (1969) WONDERFUL PSYCH ALBUM, GREAT TUNES AND ATMOSPHERE!!***
**Psychelatte says: I LOVE THIS PSYCH ALBUM!! I've played it non-stop since I found it. Much more interesting and spellbinding than their first. Please give it a try!!
Wyndham Rees was eased out of the Eyes Of Blue before the spring of 1969, having reputedly contributed little to the band. He was present during most of the Chappell Studios early recording sessions for the group's second album 'In Fields Of Ardath' but was gone by the time they gravitated to more modern eight-track facilities. It was released in November and is generally regarded as the more successful and 'progressive' of the two albums released under the Eyes Of Blue name. Quincy Jones supplied the sleevenotes this time, and commented; "All the ethnic qualities which I had recalled about the people of Wales were manifest in that tape. There was a native sensuality in their playing. Eyes Of Blue was musically curious." The record has also been described as having "Pop, R&B jazz, classical, psychedelic and Eastern influences." A fair sprinkling one must admit."
01. Merry Go Round (From the Film Toy-Grabbers) (Ritchie Francis) 9:13
02. The Light We See (Gary Pickford-Hopkins) 2:19
03. Souvenirs (Tribute To Django) (instrumental) (Django Reinhard – S. Grapelly) 2:49
04. Ardath (John Weathers) 2:45
05. Spanish Blues (Graham Bond) 4:06
01. Door (The Child That Is Born On the Sabbath Day) (Rhil Ryan) 6:53
02. Little Bird (Ritchie Francis) 2:42
03. After the War (Gary Pickford-Hopkins) 3:40
04. Extra Hour (Phil Ryan) 2:40
05. Chances (Ritchie Francis) 3:06
By rights, The Eyes of Blue should have an exalted place in the pantheon of art-rock and progressive rock bands. They were around before almost all of them, and doing film work and making music in a jazz-rock fusion idiom before the latter had been understood, and they were signed to two major labels in succession, Deram and Mercury. Instead, except for drummer John Weathers, who later joined Gentle Giant, The Eyes Of Blue are scarcely remembered at all. The Eyes of Blue started out as a jazz and rhythm-and-blues oriented outfit (Graham Bond wrote the notes for their first album), doing songs in that vein as well as less well suited material such as "Yesterday." The group was initially signed to Decca's progressive rock imprint Deram Records, and cut a series of excellent but neglected singles, and then moved to Mercury, where they concentrated on albums, enjoying greatest musical if not commercial success. They were taken seriously enough to collaborate with Quincy Jones on the score of the movie Toy Grabbers, and the group actually managed to appear in the movie Connecting Rooms. Their early strength lay in r&b-based material, including Bond's "Love Is The Law," "Crossroads of Time," and "7 and 7 Is," but even on their first album The Eyes of Blue showed some Eastern influences Their second album had some tracks off of the first film score as well as one Graham Bond song, but is more experimental, with extended instrumental passages and some classical music influences. In late 1968, The Eyes of Blue backed Buzzy Linhart on a self-titled album. The Eyes of Blue rated a supporting act spot at the Marquee Club in London in 1969, but the group's days were numbered, given the lack of their success as a recording outfit. Phil Ryan later played in Man, and John Weathers joined Pete Brown and Piblokto! on the Harvest label, before jumping to Gentle Giant.
~ By Bruce Eder, All Music Guide.
The Eyes debut album 'Crossroads Of Time' was eventually released early in 1969. It included two Graham Bond R&B songs (Bond also wrote the sleevenotes) 'Love Is The Law' and 'Crossroads Of Time' which was especially written for the band. It also included an interesting version of Love's '7 + 7 Is' while The Beatles' 'Yesterday' is given a treatment suggesting something of a jazz hymn. Ritchie Francis claimed the remaining songs of which 'Inspiration For A New Day' is noteworthy and 'Prodigal Son', which features some psychedelic guitar work from Ray 'Taff' Williams. 'Largo' is an arrangement of the Handel piece by Ritchie Francis and he claimed this was indicative of the way the group were going.
Following on from their earlier collaboration with Buzzy Linhart, the Eyes also worked with Quincy Jones when they contributed to the unreleased 'Toy Grabbers' film score. Later they also appeared in the film 'Connecting Rooms' as well as playing on the soundtrack, but the film wasn't given a general release in the UK.
Formed: Neith, United Kingdom
*Ritchie Francis (guitar),
*Gary Pickford Hopkins (vocals),
*Phil Ryan (keyboards),
*Windham Rees (drums),
*Ray Williams (bass),
*R. Bennett (bass),
*Jign Weathers (drums).
Pete Brown & Piblokto!, Gentle Giant, Big Sleep, Man, Wild Turkey
01. Crossroads of Time 5:00
02. Never Care 3:18
03. I'll Be Your Friend 3:48
04. 7 + 7 Is 2:32
05. Prodigal Son 5:27
06. Largo 3:14
07. Love Is the Law 5:16
08. Yesterday 4:22
09. I Wonder Why 3:13
10. World of Emotion 2:48
11. Inspiration for a New Day 3:09
Tuesday, 2 March 2010
Saturday, 27 February 2010
Community biography from
Multi-instrumentalist and songwriter Sufjan Stevens loves thematic concept albums. His first release to come to public attention was the mostly electronic Enjoy Your Rabbit (2001), which was based around the animals of the Chinese Zodiac. In 2003 he announced plans to record an album for each of the 50 States of the USA, and released the first based on his home state, Michigan. It was widely praised by the media, as was the follow-up Seven Swans (2004). Seven Swans was a folkier album, based around bible stories. The second of his '50 States' project followed in 2005: Illinoise was his best album yet, and became one of the most critically praised albums of the decade so far, winning many Album Of The Year polls. In 2006 he released two more albums: The Avalanche was mostly comprised of out-takes from the Illinoise sessions, while Songs for Christmas was a box-set of Christmas-themed songs he had been giving as gifts to family members over the previous few years.
Since Stevens' announcement that he plans to record 50 State-themed albums, he has released three albums which haven't advanced him towards that target. Although Stevens is a prolific and impressively consistent writer, it's debatable whether he will ever complete the task he set himself.
1. Concerning the UFO Sighting Near Highland, Illinois
2. Black Hawk War, Or, How to Demolish an Entire Civilization and ...
3. Come on! Feel the Illinoise!: Pt. 1: The World's Columbian Exposition
4. John Wayne Gacy, Jr.
6. Short Reprise for Mary Todd, Who Went Insane, But for Very Good ...
7. Decatur, Or, Round of Applause for Your Stepmother!
8. One Last "Whoo-Hoo!" for the Pullman
10. Casimir Pulaski Day
11. To the Workers of the Rock River Valley Region, I Have an Idea ...
12. Man of Metropolis Steals Our Hearts
13. Prairie Fire That Wanders About
14. Conjunction of Drones Simulating the Way in Which Sufjan Stevens ...
15. Predatory Wasp of the Palisades Is out to Get Us!
16. They Are Night Zombies!! They Are Neighbors!! They Have Come Back from
17. Let's Hear That String Part Again, Because I Don't Think They Heard It
18. In This Temple as in the Hearts of Man for Whom He Saved the Earth
19. Seer's Tower
20. Tallest Man, The Broadest Shoulders: Pt. 1: The Great Frontier/Pt. ...
21. Riffs and Variations on a Single Note for Jelly Roll, Earl Hines, ...
22. Out of Egypt, Into the Great Laugh of Mankind, And I Shake the ...
COME ON FEEL THE ILLINOISE!!
Friday, 26 February 2010
***REPOST -Psychedelic Pstones Series-(Quality issues now sorted)***************************************
Hot Smoke & Sassafras- Psychedelic Pstones Vol 1
1. Hot Smoke And Sassafras - Mooche
2. Riding On A Wave - Turnstyle
3. Lavender Popcorn - Scrugg
4. Lazy Old Sun - Kinks
5. Dr Crippen's Waiting Room - Orange Machine
6. Mr Mind Detector - Status Quo
7. All Day All Night - Blonde On Blonde
8. I Can See Through You - Episode 6
9. Cave Of Clear Light - Bystanders
10. Frederick Jordan - Glass Menagerie
11. I Can See The Sky - Fire (1)
12. Stay Indoors - New Formula (1)
13. I Wonder Where My Sister's Gone - Anan (1)
14. Counting Time My Way - Taxi (4)
15. Pictures In The Sky - Orange Seaweed
16. I Won't Hurt You - Neo Maya
17. Where Is My Mind - Pesky Gee
18. Biography - Woody Kern
19. Captain Reale - Gentle Influence
20. Tamaris Khan - Onyx (2)
21. Running Wild - Fresh Air (2)
22. Pink Purple Yellow Red - Sorrows (1)
23. Creeping Jean - Davies, Dave (1)
24. You're Just What I Was Looking For Today - Status Quo
Haunted �Psychedelic Pstones Vol 2
Sgt. Pepper, eat your heart out!!! (and tremble,baby!), 11 Nov 2002 (Amazon.co.uk review)
I bought this album a few months ago and I love it even more now than at first. The standout tracks i consider to be the title track 'Haunted' by Peter Thorogood, both Orange Machine tracks (superior covers of 'Tomorrow' songs),'Valley of the Shadow of Love' by Tuesday's Children, Consortium's totally OTT 'The day the Train Never Came' and The Onyx 'So sad Inside.'Out of the 28 tracks i liked 21 very much. It was a revelation to hear great Psych. tracks by the Tremeloes, and Marmalade!!
the majority of tracks are jolly, whimsical and full of spangled
instrumentation. I was impressed by the two tracks by 'Blonde on Blonde', and pleased to discover from the inner notes that they have a back catalogue available (as do The Rockin' Berries, Marmalade, Episode Six, and The Flying Machine.)
I reccommend anyone who enjoys the silly psych. Beatle songs
of their later years will find a lot to enjoy on this great
compilation..I would also recommend tracking down the 94 same label compilation of 'Paisley Pop' which has other tracks by Anan,The Flying Machine, The Montanas,The Onyx,and Consortium. And if you like Folky rock, i also recommend the superb 'Jingle Jangle Mornings' which has another Montanas track on it, along with lots of other wonderful, quintissentially English, slightly eccentric stuff by other great obscure bands.
1. Haunted - Thorogood, Peter
2. Yellow Rainbow - Rockin' Berries
3. Real Life Permanent Dream - Orange Machine
4. Kaleidoscope - Marmalade
5. Locked In A Room - Poets (2)
6. Suddenly Winter - Tremeloes
7. Time And Motion Man - Episode Six
8. Wicked Annabella - Kinks
9. Spinning Wheel - Blonde On Blonde
10. Crazy Dream - Searchers (1)
11. Haze Woman - Anan (1)
12. Auntie Nellie - Status Quo
13. In The Valley Of The Shadow Of Love - Tuesday's Children
14. Flying Machine - Flying Machine
15. Colour Sergeant Lilywhite - West Coast Consortium
16. Only George - Scrugg
17. Stay Awhile - Orange Seaweed
18. She's A Rainbow - Glass Menagerie
19. So Sad Inside - Onyx (2)
20. She Can't See For Looking - Bobcats
21. Roundabout - Montanas (1)
22. Three Jolly Little Dwarfs - Orange Machine
23. Day The Rain Never Came - Consortium (1)
24. Country Life - Blonde On Blonde
25. Madena - Anan (1)
26. Plastic Love - Episode Six
27. Phenomenal Cat - Kinks
28. Mr Kipling - Tuesday's Children
House of Many Windows �Psychedelic Pstones Vol 3
1. Morning Morgan Town - Jude
2. Renaissance Fayre - Orange Bicycle
3. Utterly Simple - Smoke (1)
4. Come Back June - Pussy
5. Memories - Red Dirt
6. On A Meadow Lea - Motherlight & Bobak Jons Malone
7. Marrakesh - Fortes Mentum
8. Green Mello Hill - Angel Pavement
9. Sister - Wade, Cliff
10. Take It Or Leave It - Cinnamon Quill
11. Amy Peate - Orange Bicycle
12. Mr Partridge Passed Away Today - Fortes Mentum
13. Sydney Gill - Smoke (1)
14. House Of Many Windows - Motherlight & Bobak Jons Malone
15. Mary's Mystery - Chimera (3)
16. It Never Stays The Same - Grimm, Bob
17. Leilla - Neogy, Chiitra
18. Joe Organ And Co - Barnaby Rudge
19. We Should Be Free - America (2)
20. Girl In The Park - Smoke (1)
21. Water Woman - Angel Pavement
22. Saga Of A Wrinkled Man - Fortes Mentum
23. Sam And Sadie - Fickle Pickle
24. Candy - Cinnamon Quill
25. Hyacinth Threads - Orange Bicycle
26. Open Ground - Pussy
27. Peru - Chimera (3)
Under The Silent Tree- Psychedelic Pstones Vol 4
1. Under The Silent Tree - Honeybus
2. Playing With Magic - Smoke (1)
3. Flying Saucers Have Landed - St. John, Paul
4. 1984 - Wishful Thinking
5. Sewing Machine - Tuesday
6. Like To Help You If I Can - Fire (1)
7. She - Fat Mattress
8. Whip Lady - Kinks
9. Around The World In Eighty Days - Stray
10. Son Of God - Parchment
11. Forget Her - Nimbo
12. Visitor - Quiet World
13. Two Of Us - Penny Arcade
14. Hard Time - Tremeloes
15. 3rd Mona Lisa - Brett, Paul Sage
16. Shy Fly - Status Quo
17. Dreams - Kinks
18. Time Machine - Stray
19. Buffalo - Writing On The Wall
20. Love Is Come Again - Parchment
21. Devil's Well - Laurels
22. Hiroshima - Wishful Thinking
23. 10000 Years Behind My Mind - Jordan, Earl
(click on individual volume titles for links!)