Archive for the ‘ Concept Albums ’ Category

Bill Fay “Time of the Last Persecution”

| Concept Albums,Folk,Psych

Bill Fay’s is a name that has crept back into the underground consciousness in recent years due to some unexpected word-of-mouth publicity which has culminated in a series of commendable reissues of the artist’s work. Going into Time of the Last Persecution, however, I was unaware of such recent windfalls and totally unprepared for what I was delving into save for having read a record store tag-line which compared him to Ray Davies and Bob Dylan, or something along those lines. Sounded like hype of the highest order, but I was willing to take a chance; it was a somewhat impulsive bargain-bin purchase, anyways: cut-out bin at $2.99, and with a stark photograph on the cover that was hard to ignore.

At first I was a little uncertain as to Fay’s songwriting, which is quite strong in exploring the author’s religious ideologies, but that hurdle was quite quickly cleared. The truth is that Fay does not preach or praise so much as pray for understanding and salvation; here is the same tortured spirituality that haunts such landmark recordings as Satan Is Real or Dave Bixby’s Ode To Quetzlcoatl. For example, if it were not for the cracked desperation in Fay’s voice, a line like “Satan is in the garden shed, he’d like to screw you all” might come off as ridiculous. As it stands, however, it is both surreal and terrifying. Fay invokes all sorts of twisted black imagery here, from mental collapse to ecological disaster to chemical warfare. The music is a dynamic tapestry of melancholy piano tracks and heavy psychedelic guitars, often exploding into free-jazz inspired chaos as in the incredible title track. Guitarist Ray Russell is sure to blow your mind over the course of Persecution, capable of shifting between savory Nashville accents and volatile Sharrockian squalls. Horn players Tony Roberts, Nick Evans and Bud Parkes help to underscore the occasional free aspects here – this is the kind of jazz-rock fusion I’ve always hoped to hear. Mahavishnu, eat your heart out.

Most of the time, however, the sound of The Last Persecution is closer to Ernie Graham’s equally underrated self-titled record in that it blends elements of British folk-rock with imported American weariness. Alan Rushton and Daryl Runswick make for a crisp rhythm section whose propensity for laid-back grooves is not too far removed from Rick Danko and Levon Helm’s work in The Band. Runswick’s melodic playing on “Dust Filled Room” is a particular delight, though I’m surprised to find that his own artistic background actually extends the record’s free-jazz connections: he has spent time with Ornette Coleman, of all people! Which is all to say that these are some serious musicians, and even if you have trouble latching onto Fay’s songwriting or reedy voice there’s an entire world of delicacies to be tried within the music. Just take a listen to the frenzied coda to “Release Is In the Eye,” with Russell painting lightning all up and down his fretboard as the rhythm section latches on to a droning freight-train pattern.

Eclectic Discs reissued Time of the Last Persecution back in 2005 and did a beautiful job of it, too. This is a unique and heartfelt statement of a man searching through the darkness and while it may not be easy listening, its grooves are full of rewards for the dedicated listener. As Fay himself writes in Eclectic’s liner notes, “I worry to an extent about its ‘heaviness’ circulating out there in a small way, but at the same time I feel there’s maybe something of a therapeutic release in some of the intensity of the music,” which is about as fitting a description as I could ever think to assign.

mp3: Release Is in the Eye
mp3: Time of the Last Persecution

:D Reissue | 2005 | Eclectic | buy ]
:) Original | 1970 | Deram | search ]
8) Spotify link | listen ]

The Freak Scene “Psychedelic Psoul”

| Art,Concept Albums,Pop,Psych

The story of pop music in the 1960s is littered with “bands” that were never truly bands, but were, rather, the creation of record companies and record producers anxious to cash in on prevailing trends. This, too, is the story of The Freak Scene.

The Freak Scene was the creation of Rusty Evans, an ostensible folksinger who’d gotten his start recording rockabilly for Brunswick Records. The Kasentez-Katz of psych-pop, Evans was responsible for several albums by “bands” that were, in actuality, Evans and a group of studio musicians.  The Freak Scene was the second of Evans’ psych-pop groups, following on the heels of The Deep, and featuring many of the same musicians who’d played on the The Deep’s sole album.

Like The Deep, The Freak Scene was credited with one album before Evans lost interest. Psychedelic Psoul, the lone contribution by The Freak Scene, is a fascinating late-60s curio, made up of songs interspersed with spoken word vignettes that address all the hot-button issues of the time – the Vietnam War, civil rights, the plight of hippies. The result is as much art-rock as psych-pop.

Not surprisingly, the spoken word vignettes have not aged well, but several of the songs on Psychedelic Psoul have lasting appeal. “A Million Grains of Sand,” “Rose of Smiling Faces” and “My Rainbow Life”’ bear heavily the Indian influence that dominated the music of the Summer of Love, with their mystical lyrics and swirling strings; however, “My Rainbow Life” suffers from banal lyrics that make it sound more like a soundtrack entry on an acid exploitation flick than a real song. “Behind the Mind,” “The Center of My Soul” and “Mind Bender” bear a striking resemblance to garage-psych on the level of the Electric Prunes (another pre-fab band) or the Strawberry Alarm Clock.

By far the best offering on Psychedelic Psoul is “The Subway Ride Through Inner Space,” which somehow manages to mash-up the stream-of-conscious lyrical quality of Bob Dylan’s “Subterranean Homesick Blues” and any of George Harrison’s sitar-heavy Beatles tracks, all on top of a loping, hypnotic rhythm.

Evans abandoned The Freak Scene after Psychedelic Psoul. Evans worked in A&R for a time, establishing Eastern Productions, which signed both Third Bardo and The Facts of Life, and producing the Nervous Breakdown for Take Six.

Although The Freak Scene was short-lived, Evans wasn’t quite finished with the band’s output; when he re-emerged as a recording artist in 1969 under his given name, Marcus, he recycled “A Million Grains of Sand” as “Grains of Sand,” slowing the tempo, simplifying the instrumentation, and generally going for a more seductive vibe.

mp3: TheFreakScene – A Million Grains Of Sand
mp3: The Freak Scene – The Subway Ride Through Innerspace

mp3: Marcus – Grains Of Sand

:D Reissue | 2010 | TBird | buy here ]
:) Original | 1967 | Columbia | search ebay ]

Bobbie Gentry “The Delta Sweete”

| Americana,Concept Albums,Country Rock,Folk

With its picture of the gorgeous Bobbie Gentry superimposed in monochrome over a falling down shack, The Delta Sweete promises the peculiarly Southern music that Gentry was known for. The Delta Sweete is Bobbie Gentry’s second album, coming on the heels of the tremendous success of one of the most memorable, if bizarre, hits of the 1960s, “Ode to Billy Joe.”

A loosely-formed concept album of sorts, Delta further explores the vagaries of the Mississippi Delta country  of “Ode to Billy Joe.”  Here, Gentry evokes the county fairs and family reunions that would have been events during Gentry’s girlhood, along with the small, everyday moments that made “Ode to Billy Joe” such a classic.

“Okolona River Bottom Band,” a song about a southern talent show, is a veritable travelogue of the Mississippi Delta area, delivered in the husky voice that’s Gentry’s trademark.  It sounds like something from another time, or at least a lost track from one of the Band’s early albums.

“Reunion” is a child’s experience at that most Southern of traditions, the family reunion, complete with gossip, hair pulling, and a finger stuck in a Coke bottle.

Songs like “Penduli Pendulum,” “Courtyard,” and “Jessye’ Lizabeth” don’t lyrically reference the Delta country, but are musically evocative of the South,  from the dog days rhythm of “Penduli Pendulum” and the folk-song like structure of “Courtyard” and “Jessye’ Lizabeth.”

“Sermon,” “Louisiana Man,” and “Tobacco Road” are well-known covers, but are of a piece with the rest of the album, referencing the hellfire and brimstone of a country church service and the hand-to-mouth existence of sharecroppers and trappers.

The strength of The Delta Sweete makes the case for Bobbie Gentry as one of the most underrated and largely forgotten songwriters of the late 1960s-early 1970s era.  Gentry’s episodic lyrics, referential of the South of her girlhood, married to the simple, often melancholic melodies of her music are as arresting today as when they were released, yet most of her catalogue is out-of-print in the U.S.  Even “Ode to Billy Joe,” in its ubiquitousness, is often dismissed as a one-hit-wonder or novelty song.

If you appreciated the husky vocals or the unforgettable lyrics of “Ode to Billy Joe,” The Delta Sweete is worth looking for.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Okolona River Bottom Band”

:) Original Vinyl | 1968 | Capitol | search ebay ]
;) MP3 Album | download here ]
8) Spotify link | listen ]

Lee Hazlewood “Love and Other Crimes”

| Americana,Concept Albums,Country Rock

Shortly after the release of the million-selling Nancy & Lee, Lee Hazlewood exercised his newfound clout with Reprise and headed to Paris to record a new solo album. Along for the ride were rhythm guitarist extraordinaire Donnie Owens and Wrecking Crew members James Burton, Hal Blaine, Chuck Berghofer, and Don Randi. If Hazlewood’s stream of consciousness notes on the back of the album are to be believed, they lived the life of the jet set, their days and nights a bacchanal of fine wine, beautiful women, and Lotus Europas with all the extras. Fortunately for us, Hazlewood and crew still managed to find the time to record the stunning Love and Other Crimes.

A baroque precursor to his minimalist Requiem For An Almost Lady, Love and Other Crimes finds Hazlewood in a reflective mood, sifting through the ashes of a love gone wrong. Yet the album isn’t all loser’s tears and raindrops – by the end of side two, Hazlewood is unbowed, undefeated, and above all, unrepentant.

This is prime Hazlewood and essential listening for fans of the man and his work. With its sophisticated production, this is a truly great sounding album, and at just under thirty minutes, it demands to be listened to from start to finish. James Burton and company effortlessly shift from country-fried pop to jazzy lounge to elegant ballads and back again. Among the inventive arrangements, “She Comes Running” and “Pour Man’” successfully pair twangy guitar and harpsichord, with “Pour Man’” coming off like a mash-up of Merle Haggard’s “Mama Tried” and Paul Mauriat’s “Love Is Blue.” And you haven’t heard Burton’s trademark volume swell technique until you’ve heard it on full display in “Rosacoke Street.” Even Chuck Berghofer’s distinct upright bass work deserves special mention – listen for his famous “These Boots Are Made For Walkin’” bass slide at the end of “Pour Man’.”

Tracking down an original copy of this album is highly recommended – to these ears, Hazlewood’s voice has never sounded better. Although Love and Other Crimes doesn’t appear to have been reissued as a stand-alone CD, tracks from the album are available on several compilations. However, note that the import LHI compilation, which inexplicably shares the same title and cover art as Love And Other Crimes, only contains four tracks from the album. A better bet is Rhino Handmade’s two-disc Strung Out On Something New, which presents Hazlewood’s three Reprise albums in their entirety, as well as a handful of hard‑to-find singles produced by or featuring Hazlewood.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Forget Marie”

:) Original Vinyl | 1968 | Reprise | search ebay ]
:D CD Reissue | 2008 | Rhino Handmade | 2CD Comp | buy here ]

Jimmy Arnold “Southern Soul”

| Americana,Concept Albums,Country Rock

Given that Jimmy Arnold may just have been the finest five-string banjo player on the planet in the 1970s, there’s precious little written down about him, and little more available to listen to. The best write-up I’ve managed to unearth is Eddie Dean’s sleeve notes to the Arnold best-of CD RidingWith Ol’ Mosby. Born in the cotton mill country of Fries, VA, the teenage Arnold emerged as a banjo prodigy in the bluegrass idiom of his native Blue Ridge Mountains, but he was never destined to become a country rock legend or an indispensable Nashville A-teamer. His maverick personality resulted in a wanderlust, possibly born out of his Cherokee lineage, that took him randomly over the US and Latin America and as far as Australia; a drive to widen his talents that saw him become similarly virtuosic on guitar and fiddle; a regime of alcohol and substance abuse that put the likes of Johnny Cash in the shade; and a refusal to stick with any one project that saw him release just three albums during a ten-year solo recording career.

The first two, Strictly Arnold and Rainbow Ride, are low-key instrumental expositions of banjo skills of astonishing quality and great variety, comprising traditional and original tunes sparely recorded with a respectful rhythm section and just the limpid Dobro of longtime musical companion Mike Auldridge as a foil. The third and final album is a rather different work, the product of an obsession that Arnold developed whilst resident in Fredericksburg at the age of 31, surrounded by the battlefields and graveyards of The War Between The States. Southern Soul is a song cycle dedicated to the Confederate cause.

As far as possible from the redneck rebel rawk’n’roll of the likes of Lynyrd Skynyrd, Arnold’s opus presents us with a series of wistful, occasionally maudlin paeans to heroes and generic figures of the South. We get five traditional ballads and instrumentals, eight original Arnold songs which mostly echo that same downhome feel, and a cover of Robbie Robertson’s lament “The Night They Drove Old Dixie Down” which ought to sound out of place amongst the rustic simplicity of the other tracks but which fits almost seamlessly due to Arnold’s unforced delivery and the gorgeous, restrained Dobro work of Mike Auldridge. Jimmy multi-tracks on lead guitar, fiddle and banjo, combining the most conservative of traditional licks with unexpected jazzy and modal flourishes. For the first time he vocalises on record, and his sweet, slightly cracked Southern accent is perfect for these lyrics.The three most immediately striking songs are “Jesse James” which recounts the adventures of that individual during and after the conflict, the self-explanatory “General Lee” and the traditional “My Home’s Across The Blue Ridge Mountains”, and these three tracks can also be found on the Mosby compilation. However that record concentrates mainly on Arnold’s earlier instrumental work, hence for the full flavour of Southern Soul hearing the actual album is a must. My personal favourites are the violin-drenched “Heroes”, the nostalgic waltz “The Dixon Line” and the traditional “Lorena” on which Auldridge and Arnold swap exquisite lines on Dobro and guitar.

After completing this album Arnold’s career veered wildly; he became a tattoo artist, a drug dealer (subsequently convicted), a painter and finally a musician in Pentecostal churches. However, continued severe alcohol abuse weakened him fatally and at 41 he was dead. A number of incomplete projects are rumoured to be still around, and the Mosby compilation also includes three previously unreleased instrumental tracks. Both albums are recommended, but the atypical Southern Soul will surely remain his masterpiece.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Lorena”

:D CD Reissue | 1994 | Rebel Records | buy here ]

Spirit “Twelve Dreams Of Dr. Sardonicus”

| Concept Albums,Prog,Psych

12 Dreams of Dr Sardonicus

Perhaps Spirit’s finest album although some fans champion the psych pop of 68′s The Family That Plays Together.  Twelve Dreams Of Dr. Sardonicus was released by Epic in 1970. Sessions for the album came to a grinding halt when Randy California fell off a horse and suffered a fractured skull. He spent one month in the hospital and because of this it took the group nearly 6 months to complete Sardonicus. On top of this, tensions within the group were mounting. Randy California (guitarist) and Jay Ferguson (vocals) could not agree on the future direction of Spirit; Ferguson wanted to play commerical rock n roll while California favored a loose, experimental approach. This would be the last lp from the original lineup as internal friction would lead to Spirit’s demise. The band split up after the recording of this album, which was subsequently pieced together by producer David Briggs.

If you were to round up all the essential LA/California rock albums from the late 60′s/early 70′s this would be amongst the very best on that list. The songs on Sardonicus are more structured than before, only “Space Child,” a trippy progressive instrumental, has a slight jazz/fusion element that was featured so prominently on earlier albums.  ”Animal Zoo” (a psych pop gem), “Mr. Skin” (quirky hard rock with horns), and the gorgeous “Nature’s Way” were all released as singles in 1970.  ”Nature’s Way” is one of Spirit’s most popular tracks and a definite highlight on Sardonicus. The vocals and electric/acoustic guitars on this number are positively sublime and create a very intimate mood; it’s the kind of song that’ll stick in your head for years to come. Other great tracks were the moody piano ballad “Soldier” and the psychedelic folk-rocker “Life Has Just Begun,” which features a beautiful chorus.

While the Twelve Dreams Of Dr. Sardonicus contained some of Spirit’s most radio friendly material, the group was still experimenting aplenty.  ”When I Touch You,” one of their best hard rock tracks, featured a strong psych influence and a fine vocal performance from Jay Ferguson. Another track, “Love Has Found A Way” is a morass of backwards effects, strange lead vocals, and pristine harmonies. Two other hard rockers, “Prelude – Nothin’ To Hide” and “Street Worm” are full of great guitar work, clever fuzz effects, and killer solos: these tracks cleary explain why Randy California is so highly esteemed by his peers. Despite its clean, commercial production and the fact that it was loved by musicians and critics alike, Sardonicus did not sell.

The Twelve Dreams Of Dr. Sardonicus was as good as any record coming out in 1970, certainly up there with the era’s very best.  And although Sardonicus is progressive and  foward thinking, it never sounds dated or self indulgent, the LP is a true masterpiece. It’s been reissued many, many times and originals on vinyl are easy to find. The best reissues have been put out by Sundazed (vinyl), Epic/Sony (cd) and Repertoire Records (cd). Spirit would soldier on with drummer Ed Cassidy and guitarist Randy California, releasing some fine albums and playing many memorable live shows. Ferguson went on to form Jo Jo Gunne, a commercial hard rock/boogie band that saw success in the 1970s.

In 1997 Randy California tragically died in Hawaii while saving his son from a dangerous ocean wave. It was a sad end to one of rock’s great groups.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Why Can’t I Be Free”

:) Vinyl Reissue | Sundazed | buy from sundazed ]
:D CD Reissue | Sony | buy from amazon ]
:) Original Vinyl | Epic | 1970 | search ebay ]
8) Spotify link | listen ]

J.K. & Co. “Suddenly One Summer”

| Concept Albums,Pop,Psych

Suddenly One Summer

This is a good, semi well-known psych album, indeed there aren’t too many 60s rock fans that dislike J.K. & Co.’s Suddenly One Summer.  It’s the only album this group would release.  Prior to Suddenly One Summer, Jay Kaye had been in the Loved Ones, though I don’t think this band released any singles.

Jay Kaye was only 15 years old when he recorded this album in 1968.  The lyrics, vocals, songs and musicianship are remarkably advanced for someone who was so inexperienced in the studio.  Jay Kaye made the trip from Las Vegas to Vancouver, Canada to record the lp with top flight session musicians (among them members of noted Vancouver band Mother Tucker’s Yellow Duck).  The album was inspired by recent Beatles’ masterpieces and of course LSD, so it’s not surprising that much of this record is full of orchestral psychedelia and heavy studio effects – music with a spiritual slant.  Another teen, Robert Buckley aided Jay Kaye with many of the album’s arrangements and psychedelic effects.  It was he who created the decaying backward effects on the masterful “Fly,” a track that sounds well ahead of its time and similar in feel to prime-era Radiohead (though 30 years prior).

Suddenly One Summer was conceived as a concept album and briefly featured in Billboard claiming “to depict musically a man’s life from birth to death.”  At least half the album is full of great psychedelia.  ”O.D.” features wild guitar playing, great drug addled madness, and soaring vocals, “Fly,” as mentioned before, is an all-time psych classic, and “Magical Fingers Of Minerva” is a great sitar based rocker that usually ends up on trippy compilations.  Other compositions of note are the gorgeous acoustic track “Nobody,” a great pop rocker titled “Christine,” and the dramatic finale, “Dead.”  The LP plays from strength to strength and never falls off into the deep end.

J.K. & Co.’s album was a decent size underground hit in California, leading White Whale to release a single to capitalize on the group’s popularity.  They chose the 36-second album opening intro which at the time was seen as a major marketing disaster.  In the end, White Whale’s terrible management blunder would halter the career of Jay Kaye and also hurt the company’s ability to market J.K. & Co as a serious group.   After the record’s release Kaye had even put together a band with his Cousin John (bass) and friend Rick Dean (drums) to promote the LP’s songs live but success eluded them.  In 2001 Sundazed released this great conceptual acid album through their BeatRocket label.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Fly”

:) Vinyl Reissue | BeatRocket | 2001 | buy from sundazed ]
:D CD Reissue | BeatRocket | 2001 | buy from sundazed ]

Karen Beth “The Joys of Life”

| Americana,Concept Albums,Folk,Psych

The Joys of Life is Karen Beth’s best early album which was released off Decca in 1969. Beth was not a popular artist so it was strange when this underground record peaked at #171 in Billboard’s Top 200 in 1969. The good thing about The Joys of Life is that it’s a strong record without a steep price tag and easy to find on vinyl – just check your local record dealer or better yet, ebay.

Beth’s vocals are a mixture of Karen Dalton and Buffy Sainte-Marie and the album is a beautiful blend of rural folk, lite psychedelia, and the more downer elements of the singer-songwriter genre. The album opener It’s All Over Now has one too many horns and is by far the lp’s weakest track. After this, there are no false starts or wasted notes; this album is completely solid all the way thru. The title track is an unsettling acid folk masterpiece that begins to rock about mid way thru and is highlighted by organ and vibes. Song to a Shepard is an impressive, stark vocal that sounds centuries behind, similar to what the English folk-rock groups were doing from around the same time. Other tracks reach into deeper, darker moods, just listen to Something to Believe In and the excellent Nothing Lasts. The former is a disturbing slice of spooky folk-jazz paranoia while the latter is a majestic, melancholy folk-rocker. White Dakota Hill, another great track, is wistful with a slight C&W feel that gives this album variety and substance.

Anyone into Margo Guryan or Linda Perhacs is strongly urged to track this record down. The Joys of Life really deserves a first time cd or vinyl reissue as it’s a pretty unique record that needs to be heard by more people.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Something To Believe In”

:) Original Vinyl | 1969 | Decca | search ebay ]

Poco “Pickin’ Up The Pieces”

| Concept Albums,Country Rock

Poco came to fruition after the breakup of Buffalo Springfield. The late Buffalo Springfield masterpiece Kind of Woman (every bit the equal of Gram Parson’s Hickory Wind), written by Richie Furay, had already provided a template for Poco’s sound. Jim Messina (a late Buffalo Springfield addition) and Furay built a group around this new, emerging country-rock sound. The lineup that recorded the above debut was Richie Furay (guitar/vocals), Jim Messina (guitar/Vocals), Rusty Young (organ/dobro/pedal steel/organ/vocals), Randy Meisner (bass/vocals) and George Grantham (drums/vocals).

Prior to the recording sessions Poco had worked on creating a live following, a clear vision, and a strong group identity. Song for song, this 1969 debut is one of the best buys in the country-rock genre. The playing is well above average, and because of the early release date and origins of this group, Poco’s importance was understood from the very beginning.

Many of these tracks are graced with beautiful hickory smoked harmonies and plenty of fine guitar playing. I have noticed that Poco is usually labeled as a good-time effort and while this is only partially true (due to the excellent Pickin’ Up The Pieces) there are plenty of country weepers and superb hard rockers. Tracks like Tomorrow and First Love capture the group in a reflective, mellow buzz mood and are highlighted by excellent lead vocals and great steel playing. Other stellar tracks like Short Changed and Calico Lady rock really hard and give the listener a solid dose of blistering fuzz guitar. The above mentioned Pickin’ Up The Pieces captures the genre’s essence and is one of the great country-rock classics. Another classic, Make Me Smile is one of the most heartbreaking love songs you’re likely to hear, with a great guitar oriented arrangement and plenty of unique twists and turns.

Poco had already developed into a first-rate group by the time of this recording, that’s a rare thing and it’s part of what makes these songs so great and fully realized. Also of note is the group’s strong, varied songwriting. Unlike many of their country-rock/country contemporaries Poco was able to deliver an album full of well written, fully formed originals. Poco would go on to record another 4 or 5 good albums but this is their finest and one of the seminal, early country-rock lps.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Pickin’ Up The Pieces”

:D CD Reissue | 1995 | Sony | buy from amazon ]
:) Original Vinyl |1969 | Epic | search ebay ]
;) MP3 Album | download at amzn ]

The Rascals “Once Upon A Dream”

| Concept Albums,Pop,Psych,RnB,Sunshine

Once Upon A Dream

After releasing three classic garage blue-eyed soul records, the Rascals felt a need to expand their sound, become a bit more ornate, and take in the influence of psychedelia. In early 1968 they released Once Upon A Dream, a vague concept lp inspired by recent albums Pet Sounds and Sgt. Pepper’s. The concept is a bit unclear to me but I believe each track is supposed to represent a different dream. The group’s vocal arrangements were some of their most ambitious to date and where the previous three albums had been excellent collections of album tracks and singles, Once Upon A Dream hangs together quite well as an album – a finished product if you will.

Once Upon A Dream opens up with a fairly well known track, Easy Rollin’. Easy Rollin’ is one of the mini classics on this album and stands out from previous Rascal outings in that it’s more roots influenced with edgy acoustic guitars, harmonica, and B-3. The production on this song is remarkable: one can hear birds chirping in the background and the band itself seems to have more space and breathing room. Other tracks like the dreamy Silly Girl and zany Rainy Day are psychedelic pop songs that have strings and horns in the mix. These sweet, confectionery treats give way to harder edged psych rockers Please Love Me and It’s Wonderful. Please Love Me harks back to the band’s mid 60s garage soul period but has wonderful flute and swirling fuzz guitar effects. Other great songs are the soul-blues of Singin’ The Blues Too Long which has a clear Ray Charles influence, and the great, overlooked blue-eyed soul classic, My World. My World is notable for including female backup singers as well as the Rascals’ own excellent vocal arrangement.

The Rascals would release other good albums after Once Upon A Dream but few pop records from the time are as instantly memorable and sophisticated as this. At the time, the album’s production and sound were considered a triumph. This is a true classic and should be part of any serious rock n roll collection. There are a few cd reissues of Once Upon A Dream currently available while the original Atlantic lp is fairly easy to find.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“My World”

:D CD Reissue | 2007 | Collector’s Choice | buy from amazon ]
:) Original Vinyl | 1968 | Atlantic | search ebay ]

The Turtles “Present the Battle of the Bands”

| Classic Rock,Concept Albums,Garage,Pop,Sunshine

Battle of the Bands

One of their very best, the Turtles Present the Battle of the Bands was released in 1968 off the White Whale label. The concept is pretty clear for once, with the Turtles presenting a different band on each track (greasers, a country band, surf rock group, indian tribe, psychedelicists, and so forth). This makes for an eclectic listening experience for sure but somehow the band makes the album gel together quite well.

Battle of the Bands is the kind of record that would have been too eccentric for top 40 fans but not underground enough for diehard freaks. Perhaps this is why Battle of the Bands never found the audience it deserved. It’s a confusing, jarring album at first listen but eventually the band and their songs worm their way into your head like some strange, fatal disease. Elenore and You Showed Me (written by Gene Clark and Jim McGuinn) were big top 10 hits but very worthy in their own right, coloured by a sarcastic sense of humor and gorgeous harmonies. If anything, these tracks prove the Turtles had a genuine gift of melody and a knack for creating 60s commercial pop gold. Other tracks like the semi fuzz guitar instrumental Buzzsaw, the Beach Boys parody Surfer Dan, and the wild, banjo-fuelled Chicken Little Was Right are over the top quirky rockers that are muscially entertaining and overlooked highlights. Food reminds us of the Beach Boys’ Vegetables, a wacky, tuneful psychedelic track with a few primitive snyth stabs and lyrics that recite a brownie recipe. The album closes with an undisputed sunshine folk-pop classic, Earth Anthem, which stands out for its pretty horn arrangement, heavenly harmonies, and sparse accoustic guitars. Earth Anthem, also notable for its ecology theme, was supposedly recorded at 3:00 A.M. by candlelight, to capture the exact mood the Turtles wanted.

Battle of the Bands was a signpost to Flo & Eddie, and is an album where the band let loose creatively and showcased their unique brand of humor. It had all the ingredients that made the Turtles so great: lush melodies, flawless harmonies and fun, pop friendly sounds. The Turtles are one of rock’s most severely underrated groups and anyone doubting this should really consider outstanding early tracks like Grim Reaper of Love, She’ll Come Back, Wanderin’ Kind, Outside Chance, and She’s My Girl – all lost classics. Most of their catalog was reissued by Sundazed back in the early 90′s but has remained out of print for years. Original vinyl lp’s of Battle of the Bands are easy to score but a cd copy will cost you $50+.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Earth Anthem”

;) MP3 Album | download at amazon ]
:) Original Vinyl | 1968 | White Whale | search ebay ]