Archive for the ‘ Psych ’ Category

The Troyes “Rainbow Chaser: The Troyes Complete Recordings (1966-1968)”

The Troyes were a garage psych band who hailed from Battle Creek, Michigan. The group formed in 1965 and later on released two coveted 45s in 1966/1967 by the Space label. In later years, Cicadelic Records/Lion Productions released two CDs/LPs of fantastic, unreleased music from the group’s prime years, 1966-1968. These recordings stand up with some of the very best local garage/psych of the era – without a doubt essential listening.

Most of the songs recorded by the Troyes were in the 2 to 4 minute range. Some of these tracks, such as Morning of the Rain, the Good Night and Tomorrow verge on acid punk (all tremendous cuts), with fast tempos, crazed vocals, fuzz guitars, and raga guitar solos. Blanket of My Love recalls the folkish cuts on the Beatles’ Revolver LP, with its circular guitar riffs and stoned sensibility. One of my personal favorites, Someday You’ll See My Side, has raw vocals and buzzing organ that remind me of the Monks. Some tracks are repeated with alternate versions but none of it is overkill. We also get the classic Rainbow Chaser and Love Comes Love Dies 45 versions, which are perhaps the group’s best cuts.

The CD/LP has 3 earlier teenbeat folk rock cuts and one late period (1968) guitar fuzz monster that clocks in at nearly 5 minutes which effectively ends the Troyes story. The Lion Productions vinyl repro is preferred but beware as it’s relatively expensive. As mentioned above, garage psych sounds don’t come any better than what’s on this first-rate reissue. Well above average songwriting, strong pop instincts and tight playing make this a very attractive package.

Love Comes Love Dies

Morning of the Rain

:) LP | Rainbow Chaser | Cicadelic/Lion | ebay ]
Stream | Glimpses V1 & 2 | amazon ]

Tamam Shud “Evolution”

Evolution was one of the first original hard rock/psych albums released by a homegrown Australian band. Prior to Tamam Shud, this group of musicians had been known as the Sunsets, a rock n roll combo that specialized in beat/R&B styled material. As trends progressed, the Sunsets changed their name to Tamam Shud. Evolution was their first album, released by CBS in 1969. The LP was financed by Paul Witzig, who would use four of the tracks as background music to his surf film Evolution. Leader, guitarist and primary songwriter Lindsay Bjerre wrote all the tracks on this LP.

The sound quality is very rough due to most of the movie’s budget being spent on transporting (and filming) the surfers to exotic overseas locations. The tracks laid down were little more than demos, recorded live in studio; all songs were first takes. That being said, Tamam Shud’s material and performances still hold up very well in today’s age. The opening Music Train is a Beatles-like pop number that segued into the paranoia of Evolution. This outstanding track features lots of explosive feedback and psychedelic guitar work courtesy of Zac Zytnik. Lady Sunshine was the group at their most pop oriented, a funky folkish number that is perhaps Tamam Shud’s most popular track. Other gems are I’m No One, a track that effectively balances power and grace. Both Mr. Strange and It’s a Beautiful Day feature plenty of dynamic acid guitar work. The latter track opens with jazzy chords but is pretty much a psychedelic blues number with a melodic bridge.

Tamam Shud was one of Australia’s finest psychedelic/progressive groups ever. Any of their prime era recordings are considered essential listening for psych fans. While Goolutionites and the Real People is Tamam Shud’s true masterpiece and one of the great psych prog LPs of all time, Evolution has its moments of brilliance that make it a must have.

Music Train/Evolution

It’s A Beautiful Day

:) LP Reissue | buy from Tamam Shud ]

The Misunderstood “Before The Dream Faded”

Before the Dream Faded

Of the thousands of 1960s garage bands who progressed from garage rock to psychedelia, The Misunderstood were quite possibly the best. They were a legendary group who at the peak of their powers, could meet groups such as the Yardbirds and the Animals on a level playing field.  In Rick Brown they had a commanding vocalist who at the end of the group’s legendary run began writing songs that are now acknowledged psychedelic classics. Their lead guitarist Glenn Ross Campbell had an unorthodox playing style but what he lacked in technical form he made up with in innovation. In 1966, they were a force to be reckoned with.

The Misunderstood started out in Riverside, CA in the mid 60s.  They began playing the blues, much like their British Invasion counterparts the Animals and the Yardbirds. The second side of Before The Dream Faded is made up of recordings from this formative era (1965).  While these songs aren’t up to the standards of the first side (6 psychedelic era tracks from 1966), they are still enjoyable pieces that show the group developing a signature sound. Among them, “I Need Your Love” is a fine garage cut that weds Mersey style harmonica with raw, under-produced American garage. Another track, “Who’s Been Talking” is a strong rendition of an old Howlin’ Wolf blues classic.  The best song on side B is a powerful psych rendition of “I’m Not Talking.” This gem features squalling feedback and a huge, guitar-heavy sound that could only be compared to the Yardbirds. The only real dud on this album is the sappy teen ballad “Like I Do.”

In 1966, just before Jimi Hendrix, the Beatles and Pink Floyd began recording their great psychedelic era material, the Misunderstood walked into the studio and laid down 6 outstanding tracks that even today are still revered as some of the finest rock n roll ever cut. Most of these tracks are originals although note the radical psych reworking of “Who Do You Love” and the hard rock arrangement of “I Unseen.”

mp3: I Need Your Love
mp3: Find a Hidden Door
mp3: I Can Take You to the Sun

:D Compilation | 1997 | Cherry Red | buy here ]
:) Compilation | 1982 | Cherry Red | search ebay ]
8) Spotify link | listen ]

Mother Tuckers Yellow Duck “Home Grown Stuff”

Home Grown Stuff

Mother Tucker’s Yellow Duck were a folk rock group from Vancouver, British Columbia formed in 1968. Commercial success eluded them although they managed to release two fine albums that melded blues, country, folk, hard rock and psychedelia seamlessly. The group had a few interesting non-LP 45s as well, “I” being the best of these forgotten releases.

Most psych fans prefer their highly regarded Home Grown Stuff album from 1969 (Capitol). Mother Tucker’s Yellow Duck has a strong SF influence, at times sounding like Kak or more accurately, the late 60s Youngbloods. “Someone Think,” the album’s best song, features plenty of fuzz guitar distortion and a superb psych styled guitar solo.  This cut is mandatory listening and a true classic of underground psychedelia. “One Ring Jane,” which isn’t far off in terms of quality, was released on 45 and is another excellent psych jam with lots of chaotic electric guitar soloing. Much of this record is folk-rock best exemplified by bouncy, uptempo numbers like the “Times Are Changing” and “Blue Dye.” Other gems are the sparkling country rock track “One Glass For Wine” and the folk psych cut “Elevated Platform.”

Admittedly this album has three or four dud tracks but is still notable for it’s strong songs (it’s highs are pretty high) and fluid SF style guitar work – it’s a firm favorite among late 60s Canadian/American psych rock collectors.  Their second album, Starting a New Day, is more of a country rock record but a good one that’s perhaps more consistent than the great Home Grown Stuff album.

mp3: One Glass For Wine
mp3: Soneone Think

:D  LP | 1969 | Capitol | search ebay ]

PODCAST 29 Garage,Psych,Folk-Rock

I Will Go  – The Beau Brummels (1965)
You Gotta Run – The Roosters  (1966)
Song of a Gypsy – Damon (1969)
Invisible People – Hamilton Streetcar (1968)
Walkin’ Shoes – The Trolls (1964)
The Losing Game – The Five Americans (1966)
Thesis – The Penny Arkade (1968)
Swim – The Penny Arkade  (1968?)

Do I Love You – Powder (1968)
Wanting You – Paul Revere & the Raiders (1967)
Mother Nature – Father Earth – The Music Machine (1969)
Merry Go Round – Reggie King (1969)
So Now You Know Who You Are – Peter Lindahl (1970?)
Think of the Good Times – The Stumps (with the Grodes)  (1967)
Secret Police – The Belfast Gypsies (1966)

Download: Podcast29.mp3
To subscribe to this podcast: https://therisingstorm.net/podcast.xml [?]

Beachwood Sparks “The Tarnished Gold”

Tarnished Gold

Beachwood Sparks are one of the most accomplished country rock bands on the indie rock scene today.  Influenced by classic LA country rock styles rather than 90s alternative country, the group has been around since the late 1990s.  In The Tarnished Gold Beachwood Sparks have released perhaps their finest album to date, their masterpiece and a return to form (their last album came out 10 years before).

While there are a couple of throw away tracks (see the clumsy “No Queremos Oro”), the album as a whole is uniformly excellent – easily one of the finest country rock releases in the past 20 years.  “Sparks Fly Again,” “Mollusk” and “Tarnished Gold” strongly recall the Byrds from their Younger Than Yesterday and Notorious Byrd Brothers albums, as they combine Bakersfield/LA style country with trippy guitar work.  “Goodbye,” “Nature’s Light” and “Talk About Lonesome” find the group arriving at their own sound (indie folk, rock and country) and are more original than much of what’s here (even though what’s here is great).  “Water From The Well” one of the album’s finest songs, sounds like a classic and should be as it’s a great folk rock cut with catchy guitar figures.

The sounds here are soft, laid back and sublime – none of this music rocks hard but it doesn’t matter because the quality of the songcraft here outshines the lack of rock n roll music.  Without doubt The Tarnished Gold is one of the finest folk/country/rock/indie albums of 2012.  It’s an important album for Beachwood Sparks in that it shows the group’s maturity as song writers and performers.  Let’s hope Beachwood Sparks continues to release records this good.

mp3: Mollusk
mp3: Water From The Well

:) Reissue | Subpop | 2012 | buy from amazon ]

Clear Light “Clear Light”

Clear Light

Clear Light was a folk-rock/psych-rock group from LA that released one LP off Elektra in 1967, 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 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,” written by Wolfgang Dios, was released in September of 1967. 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, loading the songs 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 these were all Elektra groups. 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 was 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 ]

Blo “Chapter One”

Chapter One

Blo (based out of Lagos) grew out of the Clusters, a popular late 60s group who made ends meet by covering Beatles and Stones tunes.  Before long people began refering to the Clusters as the “Nigerian Beatles” but the group also soaked up the sounds of Jimi Hendrix, James Brown, and local hero Fela Kuti.  To make a long story short things did not work out for the Clusters who included future Blo members Akintobi and guitarist/songwriter Berkley Jones.  In 1972 Blo made their Christmas debut at Lagos City Stadium and by all accounts blew supporting act Osibisa off stage.   Lagos City Stadium housed 10,000 vistors strong, all who were chanting “we want Blo” that day – a trio they had never seen before!

Press reports began describing Blo as Africa’s first real rock band. Following the explosive live performance at Lagos City EMI issued Chapter One in the summer of 73.  At the time nothing sounded quite like it.   The album is an extraordinary mixture of funky James Brown beats and spacey psychedelic guitar jams (check out the superb instrumental “Miss Sagitt”).    Album opener “Preacherman” combines both these styles into something really far out and classic.  The spiraling acid guitar solos and shuffling drum work really stand out on this cut. Brilliant.  Every song is worth listening to multiple times but I’ll single out all 6 minutes of “Don’t” for it’s hazy, hypnotic vibe that’s similiar to early Can.

Sadly, Blo never really broke out of Nigeria despite having the look, superior chops, and an excellent batch of songs.

edit: Chapter One is now available on CD through Mr. Bongo (with a vinyl edition due by the end of this month). They’ve also posted the full album as a video playlist here.

mp3: Preacherman

:D CD Reissue | 2013 | Mr Bongo | buy here ]
:) Vinyl Reissue | 2013 | Mr Bongo | buy here ]
8-) Spotify link | listen ]

Kalacakra “Crawling To Lhasa”

Crawling to Lhasa

This is perhaps one of the strangest and most underrated records to have emerged from the first wave of krautrock. 1972’s Crawling To Lhasa was the first and, ultimately, only set of recordings ever released by Kalacakra, the short-lived duo of Claus Rauschenbach and Heinz Martin, but where the band lacked in staying-power they more than made up for themselves in pure imagination. You would be hard-pressed to find much in the way of comparable material from this era in time.

Resting somewhere between the surreal communality of Amon Düül and the spooky grooves of Can, Crawling To Lhasa is a largely instrumental affair (even when vocals are featured, they are generally whispered, cackled or chanted to the point that they serve more as instruments than as any real vehicles of communication) exploring a sort of mysterious, stoned spiritualism hinted at by the record’s many allusions to Tibetan Buddhism. Songs meander, drift, or press on at indistinguishable points, and while this may seem to point to the record as simply being a collection of directionless jamming, the modus operandi serves the mood here in a way more elaborately crafted songs would fail to do.

All this talk about religion and mystery is not to say that this record lacks a sense of humor, however. My German is not very good, but judging by the amount of (admittedly eerie) laughter going on in the background to some of these songs, Martin and Rauschenbach definitely made it a point to enjoy these sessions “ even when discussing such topics as the Black Plague in opener Nearby Shiras. Tempos are generally slow, though the electric Indian/medieval music hybrid Raga Eleven does up the energy a little with cymbal crashes and an alarmingly insistent tambourine. Though the record maintains an extremely constant atmosphere, the band is not afraid to explore several different facets of sound, from the rather beautiful, nine-minute acoustic guitar and flute meditation September’s Full Moon to the creeping blues pastiche Tante Olga, which keeps reminding me of some sort of cosmic, acoustic Endless Boogie jam session. Rauschenbach’s deranged vocal mantra and Martin’s nauseous electric guitar riff just keeping their cyclical choogling from driving me up the wall.

Garden of Delights reissued this album back in 2001 on compact disc, but unfortunately took it upon themselves to grace the end of this issue with two New Age synthesizer numbers from what must have been a reunion of sorts. Their vinyl issue makes the crime even worse: rather than tacked on at the end of the record where they can be easily ignored, these two additions are spread across both sides of the LP. Looks like you will either have to suffer through these two anomalies or look for one of the few rare original pressings of Lhasa before we can get a properly restored remaster from the band. Don’t let it dissuade you from hunting this number down, though. This is a real gem from the krautrock underground that anyone interested in the music deserves to hear.

 mp3: Nearby Shiras

:D Reissue | 2012 | Bacillus | buy here ]
8-) Spotify link | listen ]

Flaviola e o Bando do Sol

Flaviola e o Bando do Sol

Interest in Brazil’s 1960s/1970s music scene is pretty much dominated by Tropicalia these days, but behind this popular front lay a bevy of fantastic psychedelic rock albums that don’t otherwise fit in with the kaleidoscopic coastal sounds of folks like Caetano Veloso, Gal Costa or Os Mutantes. One of these is the self-titled release by Flaviola e o Bando do Sol, an ethereal slice of psychedelic folk music put together by many of the same cats who made Lula Côrtes and Zé Ramalho’s Paêbirú such an enduring classic.

There is a lazy, mellow vibe to the proceedings here that really puts you in a midnight, beach campfire vibe, with jangling acoustic guitars and wispy flashes of percussion bedding Flaviola’s warm, reassuring vocals. Flute, dulcimer, and what sounds like a harp also make appearances here, as well as several other instruments that sound distinctly Brazilian, though I’ll be damned if I can name them. The rare, rapid-fire semi-electric number Asas and the catchy Balalaica are definitely the numbers to play to Tropicalia fans, featuring the record’s most energetic rhythms, with Flaviola and friends cheerily chanting out the title on the latter (whether or not the song actually makes use of a Russian balalaika I have no idea). Slower pieces like Noite and the autoharp punctuated Canção de Outono are more personal numbers, with sleepy sways to them and delicate finger picking.

The record is pretty short, at just under half an hour long, so I’ll keep the review short in turn. After all, this isn’t exactly an album that you can say very much about, as it’s more about the magic of hearing all these simple acoustic sounds come together “ there is nothing shocking or avant-garde here, simply beautiful music that is bound to stick with you long after the needle’s been lifted. British-based reissue label Mister Bongo has done us all a favor by repressing this one on 180 gram vinyl, though if that’s not your thing (and it should be) then they also have copies on compact disc. Don’t miss this one.

mp3: Canto Fúnebre
mp3: Do Amigo

:) Reissue | 2012 | Mr. Bongo | search ebay ]
:D Reissue | 2012 | Mr. Bongo | buy here ]
8-) Spotify link | listen ]