THE RISING STORM

Clear Light were a folk-rock/psych-rock group from LA that released one lp off Elektra in 1967. Clear Light are famously known for including two drummers, one of them being Dallas Taylor of CSNY and Manassas fame. Paul Rothchild produced the lp, which explains why the recording sessions were fraught with tension and negativity. The group was really masterminded by guitarist/vocalist Bob Seal, bass player Doug Lubahn and lead vocalist Cliff De Young. Prior to Clear Light the band had been known as the Brain Train. Seal felt a name change was appropriate to coincide with the release of a newly recorded debut single, Black Roses. Seal decided on Clear Light, a concept he had come across in his readings of Eastern philosophy - a name also shared by a potent brand of LSD.

Black Roses was released in September of 1967 and written by outside songwriter and ex-boxer Bud Mathis. It was a great hard charging folk-rock single with an acid tinged guitar solo that deserved to sell much better than it did. Black Roses appeared on the group’s only full length platter, released in late 1967. Many psych fans are divided when it comes to the Clear Light lp but I think it’s a good one. Maybe not a true classic on par with Love’s Forever Changes or Moby Grape’s debut but still a very good lp without any weak tracks. The band tries nearly everything within a 2 to 3 minute pop song context, meaning the songs are loaded with good quirky ideas and great guitar solos (check out Think Again). Some tracks like They Who Have Nothing and the baroque Ballad of Freddie & Larry bear a strong Doors and Love influence but this makes sense considering the fact that all groups were on Elektra. Other songs like the outstanding fuzz guitar psychedelia of Sand and the trippy Night Sounds Loud are more original and hinted at a strong future for the group. The former track features some great organ and spiraling acid guitar interplay. The album’s most famous track, a cover of Tom Paxton’s Mr. Blue, sounds dated today with its spoken word dialogue although even this song is oddly appealing in its own way and definitely still considered a highlight.

Rothchild’s iron fist policy coupled with the lack of commercial success led to Clear Light’s demise, shortly after the release of this solid album. Not everyone will like this record because of its eccentric nature but it really is a crime that Clear Light were unable to release a followup to this debut. A very worthy release from a talented, accomplished California group.

mp3: Think Again
mp3: Sand

Vinyl Reissue | Sundazed | buy from sundazed ]
Original Vinyl | 1967 | Vogue | search @ ebay ]
MP3 Album | download @ amzn ]

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.

mp3: Intro/Easy Rollin’
mp3: My World

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

Al Kooper’s debut should really be heard by more people. This record was released by Columbia in 1968, sometime after Kooper had left the original Blood, Sweat and Tears. Casual listeners know Kooper as a mid-60’s Bob Dylan sideman, sometimes Mike Bloomfield/Shuggie Otis collaborator, respected record producer and keyboard player in the legendary underground New York City group, the Blues Project. Kooper left behind many fine solo records in the late 60’s and 70’s but I Stand Alone is something special, a disc that captures it’s place and time very well.

I Stand Alone is one of those records that’s inventive in a post Sgt. Pepper way, ambitious in its wide array of styles, experimental within a pop context and bound to confuse at least a few listeners. It’s amazing that Kooper’s solo work and the first Blood, Sweat and Tears record have never been reassessed for the great records they are. I Stand Alone is a strong listen all the way through, divided evenly between originals and well chosen covers. The disc opens with the title track, which was recorded in Nashville and is one of Kooper’s signature tunes. Had this strange but wonderful Nashville blue-eyed soul hybrid been released as a single it may have had a chance at reaching the charts. About half the tracks are in a pop sike vein. Kooper does a nice job covering Nilsson’s One and stretches out with the Kooperfone on an excellent reading of Traffic’s Coloured Rain. Song and Dance for the Unborn, Frightened Child is somewhat similar to one of the more arty, psychedelic cuts on Blood, Sweat and Tears debut, it’s an excellent, elaborate production though and proof that strings and horns can work well in the rock n roll format. Other tracks see Kooper cover classics by Sam & Dave (Toe Hold), Kenny Gamble and Leon Huff (Hey, Western Union Man) and Bill Monroe (Blue Moon of Kentucky). Blue Moon of Kentucky, which Elvis also covered in 1969, is a wild bluegrass rockabilly take on the classic that was clearly a homage to the Byrds’ Sweetheart of the Rodeo.

All the covers are great and Kooper gives his own individual stamp on each song but of course it’s the originals that grab your attention. The Stonesy swagger of Camille and the dreamy Impressions-like I Can’t Love A Woman are killer soul songs and two of Al Kooper’s best in this particular style. Another classic on the album, Right Now For You, sounds like a really good British psychedelic track with very trippy Kooperfone which sounds well ahead of it’s time. This is an undeniably great album by an artist who should really be looked at with the same esteem as say a John Cale, Captain Beefheart or Frank Zappa. Al Kooper is one of New York’s great musicians and his contributions to rock music have been tremendous. In 2008, Raven reissued I Stand Alone with Kooper’s 1969 followup lp, You Never Know Who Your Friends Are on compact disc. Both lps are a must.

mp3: I Can Love A Woman
mp3: Right Now For You

CD Reissue | 2008 | Raven | buy from Raven | buy from amazon ]
Original Vinyl | 1968 | Columbia | search ebay ]

It really doesn’t get any better than this, Funkadelic’s 1970 sophomore release off the Westbound label. Formed in 1968, Funkadelic was one of two bands on two different record labels fronted by George Clinton (the other group being Parliament, of course).

Some years back George Clinton had this to say about his two pioneering funk groups, “Parliament was more orchestrated with horns and complicated vocal arrangements while Funkadelic was more a straight up rock band with a heavy rhythm section.” He also added, “what we knew from Motown and what we’d seen with Sly, and everybody else… We were able to take that and make a real classy jazz funk and then be as silly as we were.” The early Funkadelic sound was more rock oriented with lots of insane guitar soloing and creative keyboard work coming from both Eddie Hazel and Bernie Worrell. George Clinton produced and provided vocals on this fine psychedelic masterwork which many feel is Funkadelic’s most “out there” recording. There are all kinds of zany production tricks at work here from the stereo panning on I Wanna Know If It’s Good For You to super phased vocals that smear Some More. Some More may be the album’s most conventional cut though it’s still a great experimental soul number with lots of reefer madness and a nice bluesy arrangement.

Clinton’s lyrics are pretty sharp and humorous throughout the album and there is no doubt that Hazel’s guitar playing was heavily influenced by Jimi Hendrix. For example, songs like I Wanna Know If It’s Good For You and Friday Night, August 14th have tons of feedback and wah-wah that recall late period Hendrix, specifically the Band of Gypsies. Hazel was surely one of the great guitarists of his generation and one can also hear a little Curtis Mayfield in his playing. But Funkadelic were first and foremost orginal artists and legend has it that George Clinton and the group engulfed an enormous amount of drugs during the album’s recording sessions. Other fine tracks like Funky Dollar Bill represent the group’s funky, good time side, a sound they would develop with great success on future releases.

Funkadelic were one of the great Detroit groups and nothing in the rock n roll or soul cannon resembles their early catalog. The song arrangements and performances on this lp are much looser and less pop oriented than other psychedelic soul masterpieces like Psychedelic Shack by the Temptations or Sly Stone’s Stand! Easy to find on cd or vinyl, this is truly an inspirational recording and one of the greatest psychedelic releases ever.

mp3: Friday Night, August 14th
mp3: Some More

CD Reissue | 2005 | Westbound | buy from amazon ]
Original Vinyl | 1970 | Westbound | search ebay ]

Preference towards monaural or stereophonic sound is often a point of contention. Most folks agree tho, that when it comes to the debut from Roky’s pioneering Texas psych garage band, Psychedelic Sounds of the 13th Floor Elevators, the original mono mix takes top slot. Sundazed definitely thinks so, offering a brand new hi-def mono vinyl, carefully restored from a copy of the long-lost master tapes and the mint IA original (all the details here).

Compare these versions of the powerhouse lead-off track, from Collectable’s stereo CD and the Sundazed mono vinyl LP:

mp3: You’re Gonna Miss Me (Stereo) [ Collectables | 1996 ]
mp3: You’re Gonna Miss Me (Mono) [ Sundazed | 2008 ]

So what’s your take? Hit us up in the comments.
Any other releases you know sound better in mono or stereo?

Mono Vinyl Reissue | 2008 | Buy at Sundazed Store ]

Kaleidoscope was an important architect of the American rock n roll sound. This group introduced ethnic sounds that were new and exciting back in the 60s and also featured some fine techinical players in David Lindley and Chris Darrow. Incredible! was their last really good album that saw the departure of Darrow, one of the group’s founders and a key component to Kaleidoscope’s special sound. Darrow explained a while back:

“The root of the problem, was a combination of business hassles and the fact that we weren’t a success commercially. The effect was astonishing; friends started acting like enemies…and, in the end, I just passed. I said ‘that’s it…I’m going,’ at which point David said ‘you’re fired anyway’ - it was he who fired me. So I quit and got fired at the same time. It just ceased to satisfy me all of a sudden - something had to give, and the obvious solution was a change in personnel.”

Darrow went on to release a few solo efforts and contribute some fine material to the late 60s/early 70s Nitty Gritty Dirt Band. His departure was a major blow but the group rallied and released what many feel is their most consistent record to date. Side Trips (1967) and A Beacon From Mars (1968) were both excellent, eclectic records with more of a psychedelic feel though Incredible saw the band maturing, incorporating elements of cajun, blues and bluegrass into an already diverse mixture of music styles. They never abandon psychedelia though, and turn in two outstanding eastern rockers, the funky Lie To Me, which had serious radio potential and the cosmic 11-minute Seven-Ate Sweet. These tracks bookend Incredible though blues rockers Killing Floor and Cuckoo are just as strong and highlight some fine harmonica playing and nice subtle fuzz guitar work. Other tracks like the stark instrumental Banjo are inventive and show us how good a banjo player David Lindley was.

Fans of psychedelia and roots music are urged to seek out Kaleidscope’s first three albums and non-lp singles, these are all “must haves.” Kaleidoscope is one of America’s greatest lost groups, they were always ambitious, trying out new ideas and never giving in to commercial demands.

mp3: Lie To Me
mp3: Banjo

CD Reissue | 1994 | Edsel | buy from amazon ]
Original Vinyl | 1969 | Epic | search ebay ]

Of all records that are considered “ahead of its time,” this may be the modern age’s strongest contender. There are thousands of albums from the sixties that didn’t jive with the times, and many that are still too ahead of its time; what happens in the evolution of music since then determines what we consider to be the most influential. In terms of popular electronic music, nothing really touches what the Silver Apples started up in 68.

To best understand what the Apples are all about, you have to check the diagram in the liner notes. They are only a duo, comprising equally complicated setups: Danny Taylors’ expansive drum kit and Simeon’s boggling assortment of electronic treats. Custom synths maintain several layers of oscillating drones over sequenced looping bass lines, while tape machines implement found sound recordings (bewilderingly predicting the sampling craze and adding even more their legendary status). Taylors’ drumming seals the deal with programmatic beats that would spawn or influence kit players from Can’s Jaki Liebezeit all the way to hip hop drummers such as ?uestlove. The Silver Apples were staggeringly prescient in their technical setup, but perhaps even more influential was their use of the drone. Hypnotic and trance inducing, I can’t imagine any modern day electronic pop that shouldn’t show some allegiance to this groundbreaking record.

Period vocal stylings sometimes distract modern day electro fiends, but they are surely missing out. The tunework and lyrics are the match of most good psych records from the time, and this record consistently continues to blow minds just as hard today as it must have back then, to the few who listened. The new Phoenix vinyl reissue carries a pretty high price tag, but looks like its worth the price, limited to 1,000 copies. For those looking to dive in at cost, check out the MCA twofer CD reissue, which also contains their next album, Contact. Positively essential for electronic and psych listeners.

mp3: Lovefingers
mp3: Program

Vinyl Reissue | 2008 | Phoenix | 180G | buy from dustygroove ]
CD Reissue | 1997 | MCA | w/ Contact | buy from amazon ]

Fantastic album from an English group that bridged the psychedelic and progressive worlds together. East of Eden had put out a non lp single prior to their debut album, Mercator Projected, which was released in 1969 off Decca. The band formed in 1967 and was centered around classically trained violinist Dave Arbus, guitarist Geoff Nicholson and vocalist/sax player Ron Caines.

The group had a strong underground following in London and in other parts of Europe but never attained the widespread success they deserved. Arbus’ flute, violin, and sax played a prominent role in East of Eden’s sound and on any given night they could have easily upstaged similar, like-minded bands such as the Mahavishnu Orchestra or Colosseum. Many of these songs have a clear Eastern influence as heard on the experimental Waterways. Waterways starts out as a trippy pop-sike number with lots of mellotron that eventually morphs into an explosive, metallic hard rocking raga piece. The opener, Nothern Hemisphere is a menacing, bass heavy piece of progressive rock that is somewhat similar to early King Crimson in its power and fury. In fact King Crimson’s debut may be Mercator Projected’s closest reference point. It’s difficult to mix classical, blues, jazz, folk, hard rock and psychedelia into a seemless whole but somehow East of Eden does this well. They shine on the classic jazz-psychedelic instrumental In The Stable of the Spinx and completely dismantle the superb blues-rock number Centaur Woman into something new and avant garde. There’s even a few good psychedelic pop tracks (Moth and Bathers) on an album known for its progressive tendencies.

All the songs are really good and there are few early progressive albums that are better than Mercator Projected. It’s all very intense in an English sort of way but there is no denying the greatness and talent that is packed within this record and group. In 1970 they would release another classic album, Snafu before taking a 360 turn and becoming a wasted country-rock outfit. The recent Esoteric disc is recommended as it includes the original album along with some interesting demos, which include an excellent cover of Eight Miles High.

mp3: Waterways

CD Reissue | 2008 | Esoteric | buy from amazon ]
Original Vinyl | 1969 | Deram | search at ebay ]

There are no doubts in my mind that the Speakers were one of the finest rock bands Columbia has ever produced. Prior to Ingeson they had released 4 albums, the first 3 lps mixed rock n roll covers with two or three beat garage/folk-rock group originals. All of their records are sung in Spanish and by the group’s forth lp they were concentrating exclusively on group originals and experimenting with primitive psychedelia.

Their fourth self-titled album from 1968 was a major advancement for the Speakers, as it was crammed with excellent originals that mixed garage pop and acid rock. Later that year the group released it’s final album, the psychedelic masterpiece En El Maravilloso Mundo De Ingeson (In the Wonderful World of Ingeson). A record such as this could only be released independently as it was too far out for major labels to market. Ingeson was notable for being the first Columbian rock record to use multi channel recording techniques which enabled the band to introduce all kinds of strange sound effects to the record buying public. When the lp was released in 1968 it came in a gatefold edition that included a 12 page full-color booklet with photos of the band by Danilo Vitalini, text, drawings, and even a replica of an acid hit! The album has a very cool lo-fi sound and its only flaw is the out of place Historia De Un Loto Que, a silly blues rocker with sped up alien-like vocals. That being said, the rest of this record is great and as whacked out as any of the early Mutantes records.

I cannot read or speak Spanish but I understand Ingeson to have a concept of some kind that runs throughout the lp and the group never makes any compromises in regards to the album’s lyrics. Some of the songs like Reflejos De La Olla and the beautiful folk instrumental Nosotros display a clear Columbian roots influence but are definite standouts and give the lp a unique flavor. Un Sueno Magico (wild guitar distortion and treated vocals), Oda A La Gente Mediocre (killer brain-damaged psych), Si La Guerra, and Ninos are all outstanding tracks and represent some of the deepest forays into Latin American psychedelia. The cheerful Si La Guerra in particular reminds me of something off the first Os Mutantes album while Ninos has an unhinged fuzztone solo about midway thru. There are also a few good psych folk-rockers in No Como Antes and Salmo Siglo XX that balance out all the madness.

Searching for originals is pointless as this classic is extremely rare and exchanges hands for outrageous sums of money. There have been two reissues of Ingeson though, the best being the pricey limited edition SalgaelSol cd (2007) which replicates the original mini lp gatefold, text, photos and placebo acid hit.

More info:
A few years back Speakers’ drummer Roberto Fiorelli shared some words with 60’s rock fanzine Ugly Things. Of En El Maravilloso Mundo De Ingeson he said, “The version of the Speakers that included Oscar Lasprilla and myself was formed during the last months of 1967. Rodrigo Garcia, group leader, and Humberto Monroy had problems with their drummer, Edgar Duenas and they decided to replace him. We talked to the owner of Ingeson Studio, Dr. Drezner, who said we could use the studio free of charge during the night. In return we would have to use the word “Ingeson” any way we could. Since I was a professional studio drummer who worked there eight hours a day, I asked him: “What if we call the album The Speakers in the Marvelous World of Ingeson?” And Dr. Drezner replied, “You can start tomorrow!” The recordings alone took four months, from June through September of 1968. There was an abudance of percussion instruments, marimbas, xylophones, tabla, glass, bells, indigenous percussion all which were used on “Oda a La Gente Mediocore” (Ode to the Mediocre People). The promotion for this record was enormous: television, newspaper, radio talk shows, we did everything you could possibly do and the critics loved it and the end result…….only 800 copies were sold. Things went downhill after this experience. Rodrigo had enough of Columbia and returned to his native country - Spain (He joined Los Pekenikes and recorded their fourth lp). Humberto and I decided to form Siglo Cero. I worked in other musical ventures until Columbia de Fuego, a band that toured Europe and Russia in 1973. I left Columbia being the number one drummer. I really didn’t want to return again and start from scratch. So I bit the bullet , I remained in my native country of Italy where I truly started again from scratch!”

Roberto continues to play drums professionally in Italy. In regards to band leader Rodrigo Garcia, everyone who knew him in Columbia thought he had died in combat fighting for the guerrillas in Central America during the 1970’s. The elusive, eccentric Rodrigo Garcia was shocked to hear this and called it all “rubbish.” He is still alive and well and has been recording in Spain.

From the Speakers self-titled 4th album:

mp3: Reflexiones

En El Maravilloso Mundo De Ingeson

mp3: Un Sueno Magico
mp3: Nosotros Nuestra Arcadia Nuestra

CD Reissue | 2007 | SalgaelSol | purchase ]