Archive for the ‘ Psych ’ Category

The Beacon Street Union “The Eyes Of..”

The Eyes of the Beacon Street Union

The Beacon Street Union were part of the dreaded, overhyped Bosstown Sound. The scene was a reaction to the San Fransisco rock explosion but Bosstown could in no way compete with the Bay area. The Beacon Street Union released three good experimental psych/hard rock albums (one album under the Eagle moniker) during the late 60’s and early 70’s. They were one of the best amongst a desperate bunch which included the Ultimate Spinach, Eden’s Children, Puff and Orpheus.

The Bosstown Sound was not a total waste as it did produce other decent acts such as Earth Opera (which included a young David Grisman and the Rowen Brothers), Listening and Phluph. The Eyes Of The Beacon Street Union was the band’s debut released in 1968 off the MGM label. Most of the songs were written by John Lincoln Wright (vocals) and Wayne Ulaky (bass). The album opens with a silly introduction by Tom Wilson which explodes into the records first song, My Love Is. My Love Is was an excellent way to open up the band’s debut, as it was full of crashing Who-like drums and energy, strong harmonies, amateur lead vocals and a ripping psych guitar solo. Of the albums 11 songs, there are three weak songs which include two covers (Beautiful Delilah and Sportin’ Life) and a pointless jugband tune titled Four Hundred And Five. The rest of the album was pretty stellar, hard hitting garage psychedelia, full of highlights like the very trippy, percussion oriented Mystic Morning. Blue Avenue (with some great heavy riffs), the anti drug anthem Speed Kills and Green Destroys The Gold were full on psych assaults with guitar freakouts and a strong sense of urgency (Sadie Said No is more of the same). Just these three killer bad trips alone are worth the price of admission. Other compositions such as South End Incident/I’m Afraid and The Prophet are slow but still strong with lots of drug inspired dimentia. The Eyes of.. was a powerful debut that showed a band that took chances and fired on all cylinders.

“Green Destroys The Gold”

Also recommended are the more experimental Beacon Street albums, The Clown Died In Marvin Gardens, and the hard rock album from subsequent group The Eagle, Come Under Nancy’s Tent. Below, check out one of the cuts from Marvin Gardens. Not A Very August Afternoon is kind of like a trippy, jazzy languid mixture of Zombies organ and Association psychedelia.

“A Not Very August Afternoon”

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Relatively Clean Rivers (self-titled)

Relatively Clean Rivers

This album comes out of the mind of Phil Pearlman. Pearlman is a veteran of the American 60’s rock scene, being the brains behind such epic psych albums Beat of the Earth and the great Electronic Hole. Relatively Clean Rivers’ only album was released in 1975/76 though it sounds straight out of 1969. This album is extremely rare and has proven to be quite a controversial privately financed release.

Some feel this album is the second coming, with strong apocalyptic acid visions and wonderful musicianship. Others feel that it’s a solid rural rock record with strands of late period psychedelia. It’s important to note that Relatively Clean Rivers was name checked as an influence in a recent interview (via Record Collector magazine) with a Wilco band member concerning their latest album release. This Wilco band member called the record a 60’s guitar album that is “economic.” Regardless, RCR may not be the second coming but it’s still a great album from a period in rock (1974-75) that was thought to be void of such hidden country psych gems.

It’s really a quiet, flowing rural record that has many unsettling, strange moments. At first listen Hello Sunshine immediately stands out amongst the crowd. This song is pretty great, sounding like a stoned underground version of Crosby, Stills, Nash and Young. Everything comes off very natural and the music never sounds forced or dishonest. Much of the record is predominately acoustic, though Journey Through The Valley has some strong electric guitar acid leads. Other tunes like the effects laden Babylon are very spacey and almost veer towards progressive rock. The album closes with the reflective A Thousand Years. It’s another strong composition with some eastern influenced acoustic guitar playing, lyrics with bizarre religious overtones and backward cymbals. Relatively Clean Rivers is not bound to be everyone’s cup of tea, though fans of rural rock should investigate this great private press release.

“Hello Sunshine”

NOTE: Please avoid purchasing this album from the Radioactive label. Radioactive and related label, Fallout are pirate operations, meaning they do not pay the original artists or copyright holders when they sell bootleg vinyl rips on CD. Read more about it at NothingExceptional.com.

The Amboy Dukes “The Amboy Dukes”

Amboy Dukes

The Amboy Dukes were Ted Nugent’s first band (or one of). They came from the same Detroit scene as SRC, The Stooges, Mitch Ryder, Bob Seger, The Frost, The Rationals, MC5 and so forth. They began playing the clubs and ballrooms of Detroit in the mid 1960’s. In 1967 they released their self-titled debut. It was a legendary mix of psychedelia, blues, garage rock, and folk.

The album/music above is also a far cry from Ted Nugent’s mid to late 70’s prime cock rock anthems. At the time, Nugent was content playing his guitar in a rock n roll band. The reality shows, money, politics, redneck concerns and overproduced rock to come had not yet inflated his ego.

The five and a half minute version of Baby Please Don’t Go is an absolute acid garage classic with some fantastic feedback and great guitar sustain. Nugent creates some serious guitar noise on this number and shows off his brilliant chops. The album closes with another garage classic, Gimme Love. This song has some laser fuzz guitar riffs and angry Mike Drake vocals. In between these two garage monsters are many other great compositions. There are a few covers, two work really well (the splendidly bluesy Let’s Go Get Stoned and the gritty Who cover It’s Not True) while the Cream song I Feel Free is ill-advised (it’s the album’s only weak spot). The Amboy Dukes hit real hard with Colors, a furious acid rock song with some sinister soloing. Other psych songs like The Lovely Lady are excellent, recalling the Velvet Underground at their trippiest with spiraling guitar pyrotechnics. Phillip’s Escalator is very Syd Barrett era Pink Floyd with brit vocals, clanging chords and first class guitar scrape. It’s a true classic on this exceptional outing. Night Time and Young Love show the band effectively sticking to their garage band roots.

The Amboy Dukes would go on to release two or three other great albums throughout the late 60’s and early 70’s. None of them have that vintage, exciting 66/67 sound like this debut. The guitar freakouts, Who-like energy and great songs make this debut a prime slice of early Detroit rock.

“Down On Philip’s Escalator”

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The Wild Cherries “That’s Life”

That's Life

The above album is a compilation of the Wild Cherries’ 4 singles (the B-sides all being respectable soul rock songs) and 16 live cuts. The live cuts are entirely covers in weak fidelity and as such, do not represent a band who was considered exciting and explosive on stage.

The Wild Cherries or also known as the Wild “Indian” Cherries were one of Australia’s first genuine psychedelic groups. Aussie guitar legend Lobby Loyde came to this band in or around 1967, after doing time with yet another legendary band, the Purple Hearts. The Purple Hearts were a wild garage r’n’b group that released 6 very good singles during the mid 60’s (think early Pretty Things or Sorrows). Loyde would go on to make quality proto punk albums with the Coloured Balls and achieve greater fame as a solo artist throughout the 70’s. But it was the Wild Cherries who had a unique sound, a look, and that special something that only comes around every so often.

In early 1967 the Wild Cherries released their first single, Krome Plated Yabbie (Yabbie is an Australian crayfish) off the Festival label. Krome Plated Yabbie is now rightfully considered an Oz classic. This song sounds vaguely similar to the Small Faces or even the early Move, a superb, bouncy mixture of British style r’n’b and blasting Hendrix influenced guitar distortion. Loyde’s playing is incendiary and foward looking while vocalist Danny Robinson turns in an extremely soulful performance. This single made a big splash throughout the Aussie underground, giving the Wild Cherries much needed notoriety. Krome Plated Yabbie was a hard single to follow up, but in late 1967 the Wild Cherries released That’s Life.

In 1967, nothing on the airwaves sounded quite like That’s Life.

Even today, That’s Life is considered one of the most imaginative singles that ever came out of the Australian underground. It reached the top 40, and opens with a huge fuzz guitar riff which gives way to a pounding psych punk masterpiece. Throughout the song there are spacey organ runs and a great phased Loyde guitar solo.

In 1968 the Wild Cherries released another psychedelic gem, Gotta Stop Lying. This was a hard rocking, punkish original with a great paisley guitar solo, emotive vocals and trippy organ work. Later on in the year, the band released their final single, I Don’t Care. This song was a total departure from their earlier, raw sound, being a ballad with strings, backup singers and a heavily phased ending. Some fans consider this single their experimental peak, though I am not one of them. Lack of commercial success effectively ended this innovative group’s career in late 68/early 1969. In the early 1970’s, Lobby Loyde revived the Wild Cherries name (with none of the original members) and released a solid, spacey hard rocking acoustic single that dealt with environmental concerns.

“That’s Life”

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Nancy Sinatra & Lee Hazlewood “Nancy & Lee”

Nancy & Lee

In memory of Lee Hazlewood.

This can be hard to find (on CD), but don’t pass it up should you come across it on vinyl: it’s a real psych/period gem and a great introduction to both artists. There’s something magic about Nancy and Lee together on this record, and it’s probably the best record they put out together or alone.

Songs change form, Lee will take it on a weird slant, or Nancy will reflect for awhile over a softer bit of orchestration. It’s not without a few missed tracks, but this is a strange record to begin with, pairing The Chairman of the Board’s smokin’ hot daughter with this ragged-voxed drifter, legendary producer type. There are a few big tracks on here, opening with the righteous You’ve Lost That Lovin Feeling, plus Summer Wine, a cookin’ version of Jackson, and most out there of all, the enigmatic and wonderful Some Velvet Morning. But there are other gems on here too like Sand and Sundown, Sundown. This is a great album for Scott Walker fans.

Also the liner notes on the back!

Don’t mistake this record for Nancy & Lee Three. In fact, if you can’t seem to find it in the bins, take a look on iTunes, where they also have Nancy & Lee Again. I found this record out in the wild pretty soon after finding out about it, so it couldn’t be too hard. Oh, and check out (aptly named) Some Velvet Blog, where you can get an ear on Velvet Morning.

“Summer Wine”

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The Poets “Scotland’s No. 1 Group”

Scotland's No. 1  Group

The Poets were one of Scotland’s top rock groups during the mid 1960’s. The above disc is a collection of singles (all 6 of their official singles) and rough hewn studio outtakes. The singles play like an album because most of them were recorded between 1965 to 1966. Of the studio outtakes there is one aborted single in decent studio fidelity and a handful of rough, garage blues numbers that were recorded before their singles.

It’s a shame this great band never had the opportunity to record an album, they never did record a bad song and were loaded with talent. Now We’re Thru was their first single released back in 1964 during the original, first wave of the British Invasion. It was a minor key gem with awkward vocals that reached England’s top 30. None other than John Lennon sat up and took note, claiming the single was “weird” and original. The flip, There Are Some, was another strong sob rocker highlighted by piano and good drum work.

In early 1965 they released their second single, which was even better. That’s The Way It’s Got To Be began with throbbing fat bass lines and is a great powerful mod rocker that ends with some sizzling maracas. The b-side, was I’ll Cry With The Moon, an excellent, offbeat 12-string acoustic song with strange percussion. At this point, George Gallacher, founder and principal songwriter, was frustrated with the band’s lack of success. Their records were mostly originals (they just covered one song) and of a consistently high standard. I’ll Keep My Pride, Some Things I’ll Forget , I Am So Blue and I’ll Come Home are all first-rate British Invasion minor key compositions similar to that of another underrated mid 60’s band, the Zombies.

The Poet’s 5th single was their last hurrah with George Gallacher. The optimistic, promising I’ll Come Home was a departure from their moody, gloomy approach and it was backed by their legendary Baby Don’t Do It cover. This b-side was tremendous and in terms of originality it may even eclipse the Isley Brothers’ and Marvin Gaye’s versions. It’s got everything a great mid 60’s rock single should have: thumping drums, dramatic 12-string guitar runs and nervous, passionate vocals by Gallacher. This song is stronger than 99% of the cheap punk imitations it spawned during the 1977-81 era. The Poet’s soldiered on for one last single after Gallacher’s departure. In 1967, they released the double sided psychedelia masterpiece, Wooden Spoon/In Your Tower. The A-side was a storming mod rocker with an acid tinged fuzz guitar solo while the B-side had some strange renaissance-like flute, fat raga guitar riffs and smashing cymbals. All in all, it was a great way to end the career of this legendary Scottish cult band.

“Baby Don’t Do It”

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Kenny and the Kasuals “Things Gettin’ Better/Nothing Better To Do”

Things Gettin Better

Rock’s heyday is usually acknowledged to be from 1963 to 1975 or 1976 – just before the punk era (beginning with the Beatles and ending with the best work of early punk bands such as Television, Patti Smith, Simply Saucer, 76 era Flamin’ Groovies, The Ramones, Saints and so forth). This statement can definitely be argued though, as the original first wave of rock music during the mid 1950’s and postpunk era has its admirers. Rock during the mid to late 60’s and early 70’s was much different though. There was no MTV (I can’t think of any good bands MTV supported/produced anyway!) and rock musicians relied on radio heavily. This went doubly so for regional bands trying to crack the big time.

The Lone Star State’s Kenny and the Kasuals were a great regional band. During the 60’s they released numerous singles (7) and a live album from 1966. The garage reissue renaissance of the early 80’s saw two Kasuals albums released, consisting of their singles and outtakes. Their sound was similar in style to the Remains, crunchy and cool with that ringing guitar texture. They also outlasted the great Remains, heading straight into the psychedelic age. At times they pushed the garage label/tag, with excellent, thoughtful lyrics and instrumental virtuosity. There are numerous garage classics, psych punk epics, and solid good ole rock n rollers sprinkled throughout these two albums.

The highlight for many though, is Journey To Time. It’s truly one of the great texas acid punk singles beginning with thick fuzz bass and carrying on with angry, growling vocals, classic hallucinary lyrics and an ace psych guitar solo. This is Texas’ version of I Had Too Much To Dream Last Night by the Electric Prunes mixed with the Sons of Adam’s smoking Saturday’s Son. Come Tomorrow, Raindrops to Teardrops and Strings of Time are all first class garage rockers from the mid 60’s that Remains, early Rolling Stones, Zombies or Blue Things fans will cherish. The few covers of Money, It’s Alright (The Kinks) and You Make Me Feel So Good (The Zombies) are well executed and original too, full of good harmonies, fuzz and individual style.

Kenny and the Kasuals eventually morphed into the psychedelic Truth. This band released one solid, trippy single which is also included on this 2 for 1 album. For all it’s virtues and wondrous qualities it’s astonishing that Things Gettin’ Better/Nothing Better To Do is out of print.

“Journey To Time”

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Captain Beefheart & His Magic Band “Trout Mask Replica”

Trout Mask Replica

The Captain’s 10 Commandments for Guitarists

1. LISTEN TO THE BIRDS
That’s where all the music comes from. Birds know everything about how it should sound and where that sound should come from. And watch hummingbirds. They fly really fast, but a lot of times they aren’t going anywhere.
2. YOUR GUITAR IS NOT REALLY A GUITAR
Your guitar is a divining rod. Use it to find spirits in the other world and bring them over. A guitar is also a fishing rod. If you’re good, you’ll land a big one.
3. PRACTICE IN FRONT OF A BUSH
Wait until the moon is out, then go outside, eat a multi-grained bread and play your guitar to a bush. If the bush doesn’t shake, eat another piece of bread.
4. WALK WITH THE DEVIL
Old delta blues players referred to amplifiers as the “devil box.” And they were right. You have to be an equal opportunity employer in terms of who you’re bringing over from the other side. Electricity attracts demons and devils. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub.
5. IF YOU’RE GUILTY OF THINKING, YOU’RE OUT
If your brain is part of the process, you’re missing it. You should play like a drowning man, struggling to reach shore. If you can trap that feeling, then you have something that is fur bearing.
6. NEVER POINT YOUR GUITAR AT ANYONE
Your instrument has more power than lightning. Just hit a big chord, then run outside to hear it. But make sure you are not standing in an open field.
7. ALWAYS CARRY YOUR CHURCH KEY
You must carry your key and use it when called upon. That’s your part of the bargain. Like One String Sam. He was a Detroit street musician in the fifties who played a homemade instrument. His song “I Need A Hundred Dollars” is warm pie. Another church key holder is Hubert Sumlin, Howlin’ Wolf’s guitar player. He just stands there like the Statue of Liberty making you want to look up her dress to see how he’s doing it.
8. DON’T WIPE THE SWEAT OFF YOUR INSTRUMENT
You need that stink on there. Then you have to get that stink onto your music.
9. KEEP YOUR GUITAR IN A DARK PLACE
When you’re not playing your guitar, cover it and keep it in a dark place. If you don’t play your guitar for more than a day, be sure to put a saucer of water in with it.
10. YOU GOTTA HAVE A HOOD FOR YOUR ENGINE
Wear a hat when you play and keep that hat on. A hat is a pressure cooker. If you have a roof on your house the hot air can’t escape. Even a lima bean has to have a wet paper towel around it to make it grow.

(Via Music Thing)

“Veterans Day Poppy”

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Shiva’s Headband “Take Me To The Mountains”

Take Me To The Mountains

Shiva’s Headband was the first rock/country rock group to establish the Austin, Texas music scene. They were also the first Austin Texas group to be signed to a major record label. The above album, Take Me To The Mountains came out in 1970, off the Capitol label.

The cover art is very surreal and striking, only hinting at the sounds from within. Take Me To The Mountains is a wild and woolly mixture of psychedelia, country, blues, hippierock, folk, tex-mex and rock. Similar in style to the Sir Douglas Quintet, although Spencer Perskin’s fiddle dominates rather than Auggie Meyer’s classic organ sound. Vocals are mainly sung by Spencer Perskin with his wife Suzy taking the occasional lead, as heard wonderfully on the blues rock stomper Homesick Armadillo Blues.

The playing on this record is tight, care-free and fun, few records from the 1960’s – early 1970’s are so laid back and joyous. Ripple is a good example of this approach, highlighted by some great, icey blues guitar playing. Some of the country-rock numbers are real classics too. Take a listen to Take Me To The Mountains and My Baby for that real, reckless space cowboy feel. The psychedelic high point is without a doubt Song For Peace. Spencer’s fiddle and Suzy’s organ dominate this hypnotic, drifting psych masterwork. This song was released as a single in the late 60’s albeit in a trippier, even more psychedelic version.

There are no weak tracks on this record which really carves out it’s own sound. The production of Take Me To The Mountains works really well too, in a bare bones minimalist way. It’s important to note that Spencer Perskin is one of Austin’s most popular musicians having established Armadillo Headquarters. In 1971 Shiva released a private press album titled Coming To A Head. This is also a great record with more of a country western sound.

“My Baby”

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The Rising Storm “Calm Before…”

Calm Before¦

Hardcore fans of unknown 60s psych and garage all search for that taste of magic once committed to rare grooves of vinyl, a glimpse into an era when any rock combo with a few fans could get enough studio time to immortalize a set of their wildest sounds, and with Calm Before.., you get the full dosage.

If you have an original copy of this record, you ought to encase it in 15 sheets of mylar and lock it up in the safe, as garage rock hounds are probably sniffing you down as you read this. Only 500 LPs were pressed in 1967, just as these six young lads from Phillips Academy in Massachusetts were graduating prep school.

Typically, impossibly rare albums tend to get seriously over-hyped, but not so in this case. Collectors don’t go nuts over this one because it’s so rare, it’s because it’s so good! The Rising Storm rocks with the controlled frenzy of The Remains (even tearing open the album with their explosive “Don’t Look Back”), but manage to layer in a thin film of psychedelia. The contemplative original numbers are the real gems on this record. “To L.N./Who Doesn’t Know,” “Frozen Laughter,” and “The Rain Falls Down” are three must-hear folk-tinged treats.

“Mr. Wind”  with it’s lovely, lilting melody and the rollicking “Bright Lit Blue Skies” were both tunes borrowed from local Boston garage rocker contemporaries, The Rockin’ Ramrods, clearly heroes to the Storm. Another laid back treat is “A Message To Pretty,” a Love cover that proves the musical taste and cool sensibility of these young preps. Simply put, the rockers on here will start up the party, but the softer tunes give it all the sparkle.

Most of my favorite records take some time invested before they begin to reward, and Calm Before is a genuine grower.  The CD reissue includes the original LP lineup and follows with a 1983 reunion concert recorded in their home town of Andover. Surprisingly, the boys play with all the same energy and a little bit of welcome slop that actually recreates an authentic garage sound.

These guys arguably had one of the best band names of the time. ; )

“Bright Lit Blue Skies”

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Check out the band’s current website.