Archive for the ‘ Psych ’ Category

uReview: Grateful Dead “Grateful Dead”

| Americana,Folk,Psych,uReview

The Grateful Dead's best album?

[ratings]

I thought I would spice up this uReview section with a rating system. You can rate the album up or down out of 10 now. I added the rating system to past reviews as well, so just click this uReview tag (also located at the top of every post) to rate the rest of them.

While we’re working on the next podcast, let’s hear what you have to say about the GD debut.

:D CD Reissue | Rhino | 2003 | amazon ]
:) Original Vinyl | 1967 | Warner Bros | ebay ]
;) MP3 Album | download @mazon ]
8-) Spotify link | listen ]

Read the rest of this entry »

Them “Time Out! Time In For”

| Garage,Psych

Time In! Time Out For

After Van Morrison’s departure from the group in 1966, Them relocated to Los Angeles, California and released a string of worthwhile efforts.  The group completely revamped their image and sound behind Jim Armstrong’s accomplished guitar work and Ken McDowell’s vocals; the only hold over from the Van Morrison era was guitarist Alan Henderson.  Now And “Them” and Time Out! Time In For are by far and away the best LPs the post Van Morrison Them ever produced.  The liners from the Rev-Ola reissue written by notable British rock historian Jon Mojo Mills take it almost too far, stating “they mastered West Coast psychedelia like no other Irish band.  And quite why Van Morrison gets all the credit is beyond me.  Which songs are better?  Gloria and Here Comes The Night or Dirty Old Man and Time Out Time In?”

Let me get this out in the open right here: the psychedelic era Them is nowhere near as good as early Them, particularly Them’s first LP and the early singles with Van Morrison (I’m sure psych fans will take issue with this!).  Early Them was a hard edged British R&B group who was both innovative and revered in their day.  Van Morrison is a legend, however, and Them’s early work is considered some of the best pure rock n roll from that time frame (64-66).

That being said, this album is a pretty good psychedelic record though not the masterpiece dealers and rock critics make it out to be.  This is the kind of album you get after you’ve heard a few hundred or so classics and are thirsting for more UK psychedelia.  The musicianship is way above average, particularly Jim Armstrong’s guitar work.  Mean lean fuzz leads are painted all over this album.  The opening cut “Time Out For Time In” is very good with jazzy time signatures and effective sitar work.   Some of the tracks are marred by dramatic vocal phrasing and pretentious lyrics but that’s a minor complaint.  Exotic numbers like “The Moth” and the lyrically bizarre “Waltz of the Flies” work best, employing a variety of instruments (mandolin) and strange sounds.   Another highlight, “Black Widow Spider,” is a classic sitar headswirler while the boys give a good blues psych reading of “I Put A Spell On You” (titled here “I Put A Hex On You”).

Once again, if you expect the unexpected and enjoy classic psychedelia, this record is for you.  It’s not the original Them but not many bands are.  The Alan Henderson/Jim Armstrong/Ken McDowell lineup was a very underrated group and while this LP may not be an essential purchase, the music is still very good and full of mysticism.  During this era, Them also had a good live reputation throughout the LA area and released some fine singles including the excellent garage punker “Dirty Old Man.”  Icing on the cake is the original vinyl album sleeve’s beautiful psychedelic collage.

“Waltz Of The Flies”

:D CD Reissue | 2004 | Rev Ola | buy from revola ]
:) Original Vinyl | 1968 | Tower | search ebay ]

Mighty Baby “A Jug Of Love”

| Americana,Classic Rock,Country Rock,Folk,Pop,Psych

After the release of their scorching debut, Mighty Baby drastically switched format and recorded this Dead/Airplane-influenced rural LP. Both are great records, but hardly by the same band.

The self-titled lead off track would get your attention first, it got mine enough to include it on the very first Rising Storm Podcast. This track, and the album overall, is loaded with vicious string bender guitar licks from either Alan King or Martin Stone (can anybody confirm?). Whether it’s a bender or not, Clarence White fans should take note for the onslaught of high-register fancy guitar pickin contained herein.   My only complaint is the length of songs, tending to jam on a bit, however to those looking to soak in these type of sounds this is a dream. Besides, with a touch of class and some minor theatrics they manage to give noodling a good name.

Influences range from The Band on the grooving “Tasting The Life,” CSNY on mellow “Virgin Spring,” and Untitled Byrds all over. “Virgin Springs” is a song so familar it sounds like a cover, I just can’t find any evidence of an original version. In this case, along with “Slipstreams,” the album is responsible for at least two bonafide rural classics.

Jug of Love is what happens to a band after their rock break out leads them to Sufism and a jaded view of the music industry; always makes for an interesting sound! Check out Jason’s post on their s/t debut to compare this to the “sleek, powerful piece of psychedelia” that is Egyptian Tomb (updated link).

“Keep On Jugging”

:D CD Reissue | 2006 | Sunbeam | A Jug of Love ]
:) Original Vinyl | 1971 | Blue Horizon | search ebay ]
8-) Spotify link | listen ]

These Trails “These Trails”

| Folk,Psych

These Trails was an acid folk group who released a very rare record in 1973.  The lp was released by Sinergia and is probably one of the best Hawaiian lps along with Mu.

Prominent members of the group were Margaret Morgan (vocals, guitar and dulcimer), Patrick Cockett (guitar, slide guitar and vocals) and Dave Choy (arp synthesizer, recorder, arrangements and final mix).  Margaret Morgan handles most of the lead vocals with Patrick Cockett occasionally chiming in.  Morgan’s vocals are dreamy and ideally suited for this kind of organic music (acid folk).  Comparisons that come to mind are Linda Perhacs, though Morgan’s vocals are more innocent and angelic and the music on this lp clearly betrays a Hawaiian influence.  Many of the songs are relatively pop friendly; this isn’t difficult, challenging music that has to be listened to closely – ie folk guitar virtuousos spinning off long, complex guitar solos or intricate passages with finely tuned arrangements – it’s not that kind of record.  The synthesizers give tracks like Of Broken Links an otherworldly sound, unlike anything you’ve ever heard.  El Rey Pescador is graced by some light sitar touches and close harmony singing.

Each track stands out on its own but Psyche I & Share Your Water is a tremendous favorite.  This 5 minute track begins with a calm, soothing folk feel highlighted by some fine acoustic guitar work.  Eventually it descends into bad trip territory with ghastly vocals and spooky electronics – an outstanding track, very trippy and worth the price of admission alone.  Garden Botanum is another strong hightlight that hits like a ray of Hawaiian sunshine, the arrangements are free and green with lots of interesting twists, the vocals are beautifully exotic.  This lp is one of the most relaxing listening experiences I’ve ever come across, an album to savour.  The songs are full of simple beauty and the power of the performances will never diminish over time.

If you’re looking for something different, These Trails could be the right tonic.  It’s one of the hidden gems from the early 70s and has been reissued on cd but is somewhat hard to come by these days.

“Psyche I & Share Your Water”

:D Reissue | 2011 | Drag City | buy from drag ]
:) These Trails | google search | ebay search ]

The Master’s Apprentices “1965-1968”

, , , | Garage,Prog,Psych

If the Easybeats were considered the Beatles of Down Under than the Master’s Apprentices were surely Australia’s answer to the Rolling Stones.  They released 5 records during their 65-72 heyday, including the above debut and their classic hard rock album, A Toast To Panama Red.  In between this period the group released a few unfocused but interesting lps and several good singles.  The Mick Bower era (65-68-) is usually considered the group’s highwater mark, even though Panama Red is an excellent progressive hard rock album.

The Master’s Apprentices started out in the mid 60s as the Mustangs.  This group played raucous RnB, covers of 50s rock standards, a few originals and some instrumentals.  Eventually the group would develop into something more original, under the leadership and guidance of guitarist/songwriter Mick Bower and vocalist Jim Keays.  In 1966 the group released their debut Astor 45 Undecided/War or Hands of Time.  The A-side was a powerful, raw RnB track that had cruching guitar riffs and a unique chord progression.  As great as Undecided was, War or Hands of Time was even better.  This unique anti-war track captured the original group at their peak with a powerful, reverberating guitar intro, hard hitting drum fills and a fractured acid solo.   Even today most Aussie rock aficionados agree that this was one of the most exciting singles to ever come out of Australia.  Their next Astor 45, released in 1967,  was Buried and Dead.  This was another classic single and one of the most explosive acid punk numbers ever recorded.  Mid way thru there’s a strong punkoid psych solo although it should be noted that the flip side, featured on their debut album, is rather weak.

The debut, made up of Bower originals and a handful of covers was released in 1967.  Admittedly there are five weak tracks – She’s My Girl, the feedback laden Beatles’ cover I Feel Fine, Chuck Berry’s Johnny B Goode, My Girl, and Don’t Fight It.  The rest of the album is rock solid and full of driving garage rockers and early psychedelia.  Undecided, War or Hands of Time and Buried and Dead are all featured on the lp though Theme For A Social Climber and the raga influenced But One Day were strong psychedelic numbers too.  Hot Gully Wind is a razor sharp bluesy garage rocker that recalled Ireland’s Them while Dancing Girl featured some slightly freaky guitar work that made it a worthy tune.  The good tracks (7 of them) were great, so based on this, the Master’s Apprentice lp comes highly recommended.

The Masters would release two other classic 45s during the Mick Bower era.  In 1967 Astor released one of their biggest hits, Living In A Child’s Dream.  This single hit the Aussie top ten and is often considered one of the greatest psych singles of all time.  There are no guitar freakouts or wild solos (though Rick Morrison’s guitar solo is tasteful and imaginative), it’s a mellow, spacey pop tune with flower power lyrics and a radio friendly sound.  The single’s B-side, Tired Of Just Wandering was another great Bower penned psych track.  In 1968 the group released Elevator Driver.  By then both guitarist Rick Morrison and Mick Bower had left the group.  Bower leaving the group was equivalent to Syd Barrett exiting the Floyd: nobody thought the Masters would recover such a devastating blow.  Against all odds they released their last great early 45 and to these ears it may edge out Child’s Dream as the better single.  Elevator Driver was originally titled Silver People and is another ace psychedelic track with vocal distortion and a good guitar friendly arrangement.  Ascension released a great cd back in 2000 that combines the Master’s first lp with all their early singles.  True, there are a few weak tracks and the disc is rather hard to find but it’s a great buy from one of rock’s lost bands.

If you’re into the Pretty Things, Outsiders or Q65, the Master’s Apprentices’ 1965-1968 is absolutely mandatory listening.

“Buried And Dead”

:D CD Reissue | search amazon ]
:) Orig Vinyl | 1967 | Astor | search ebay ]

The Byrds “Younger Than Yesterday”

| Country Rock,Folk,Pop,Psych

If Mr. Tambourine Man, Notorious Byrd Brothers, and Sweetheart of the Rodeo are acknowledged Byrds’ masterworks, Younger Than Yesterday isn’t far behind.  There’s a few tracks that haven’t held up, Mind Gardens – Crosby’s psychedelic folk-rock opus is a bit unfocused but not as terrible as the critics make it out to be.  C.T.A. 102, a track that must’ve sounded cool when this album was released in 1967, has dated space-age sound effects.  These are interesting experiments by all means but the 9 remaining cuts were prime mid 60s Byrds.  At this point Gene Clark had been out of the group for some time, knowing this Hillman and Crosby pitched in big time with some of their best ever compositions.  Younger Than Yesterday is one of the great American rock classics, very close in sound to the Beau Brummels Triangle, Moby Grape’s self-titled debut, and Buffalo Springfield’s Again. 

The two hits that anchored the lp were pretty great.  So You Wanna Be A Rock N Roll Star blasted out of radio speakers in 1967 sounding unlike anything else with a strong latin feel, great lyrics, and a killer groove.  The other major hit off the album was a cover of Bob Dylan’s My Back Pages.  This was one of their best Dylan covers yet and had a trademark, classic McGuinn twelve-string guitar solo.  Crosby offered up one of his best songs, Everybody’s Been Burned, a masterpiece of psychedelic folk-rock highlighted by his exquisite, crooning hippie vocals and drowsy acid guitar work.  Renaissance Fair was another Crosby psychedelic folk-rocker with strong acid imagery and shifting time signatures plus some more fine 12-string from McGuinn.  McGuinn and Crosby contributed great material to Younger Than Yesterday but for me it was Hillman’s contributions that have stood the sands of time best.  Hillman’s Have You Seen Her Face, Time Between, Thoughts and Words, and The Girl With No Name were all superb songs.  Have You Seen Her Face saw the Byrds in garage mode while Thoughts and Words was one of their best straight-up psych numbers.  Prior to Younger Than Yesterday the Byrds had flirted with a kind of proto country-rock sound on Mr. Spaceman and Satisfied Mind.  With Time Between and The Girl With No Name, that flirtation came to fruition.  Hillman had played in bluegrass bands prior to the Byrds, so the said experiments were just an extension of his roots – no gimmicks, completely genuine stuff here.  Both tracks rock pretty nicely and feature some fine guitar work by Byrd-in-waiting Clarence White.  Time Between and GIrl With No Name do not have a heavy Nashville sound but so what, this was the Byrds version of country music and probably a purer fusion than anything else they have done ever since.  Just as the Byrds had broken new ground with psychedelia a year earlier, their move into country represented an advancement of musical frontiers.  The album ended with McGuinn’s Why, a great rocker with a riveting space guitar solo.   This track had been released much earlier as the B-side to Eight Miles High in 1966. 

In the mid 90s Columbia rehauled the entire Byrds catalog, reissuing all their classic albums with plenty of extras.  The Younger Than Yesterday reissue includes two lost Crosby gems, It Happens Each Day, which is an outtake, and Lady Friend, one of their best mid 60s non-lp tracks.  Younger Than Yesterday is an important part of the Byrds evolution.  It’s a classic album that saw the group at the forefront of pop music – The Byrds were always three steps ahead of the game. 

“The Girl With No Name”

:) Vinyl Reissue | Mono | Sundazed | buy from sundazed ]
;) MP3 Album | download at amazon ]

Can “Delay 1968”

| Prog,Psych

Along with a handful of tracks featured on Unlimited Edition, Delay represents some of Can’s earliest recordings from 1968 when the band’s lead singer was sculptor Malcom Mooney.  According to legend these tracks were supposed to form the backbone of a Can debut album which was tentatively titled Prepare To Meet Thy Pnoom.  It never happened but thankfully these prehistoric gems were rescued from the vaults and officially released in 1981 – well after the group’s prime.

The Mooney era tends to be forgotten by most casual fans but I think Monster Movie is just as good as any of the Damo Suzuki era classics.  Delay is less polished than Monster Movie but also a really swell garage avante-garde psychedelic album.  Some of their early works even have strands of distorted R&B – listen closely and you can hear this.  Early Can looked to the Velvet Underground for their primary influence, especially the feedback laden monster that was 1968’s White Light/White Heat.  Free Jazz was also a vital reference point as heard on the brief 26 second PNOOM and the deranged Man Named Joe.   So if experimental German rock is your bag, these recordings are an absolute must, something that enriches the legacy of this most illustrious band.  I’ve never heard anything like Uphill.  It churns and twists violently while Malcom Mooney nervously spits out lyrics as if someone’s breathing fire into his ass.  There’s a nice thick, stinging guitar solo midway thru and the group locks into one nasty groove that’s really hard to beat.  Check out the lyrics too,  Mooney rants away and goes on a memorable lyrical journey in which he mentions “hot rods” and a certain “velvet touch,” this is classic 60s rock at its finest.  Butterfly hits the same kind of emotional nerves and is just as good but sounds very mechanical and frost bitten.  Another killer is Thief, a track that Radio Head regularly plays in their live set and possibly Can’s greatest stab of pure psychedelia – space trance with fabulous melting fuzz guitars and tribal rhythms.   These performances are loaded with high energy, aggression and  experimentation – this music was meant to be played loud.

Back in the 60s and early 70s Can used to blow people’s minds on a regular basis.  When I hear records like Delay, Monster Movie, Future Days and Tago Mago I can understand why.  Can outtakes and aborted albums are better than most band’s best material.  Delay is very worthy stuff.

“Uphill”

:D CD Reissue | 2006 | Mute | amazon ]
:) Original Vinyl | 1981 | Spoon | search ebay ]
;) MP3 Album | amazon ]
8-) Spotify link | listen ]

Q65 “Revival”

| Garage,Psych,Punk

Along with the Outsiders this was one of Holland’s top groups. They predated the MC5 and Stooges by a few years, their sound was powerful blues derived garage rock with a nasty edge. Willem Bieler’s vocals were spit out with venom and in Frank Nuyens they possessed one of rock’s great underrated guitarists.

Revival was their second lp released in 1968/1969. Prior to that Q65 had released a superb 1966 debut, plenty of great non-lp singles and an outstanding blues rock ep titled Kjoe Blues. It was a time of transition for the group, Bieler was tired of the club circuit and opted out for military service. Other members were making new music under the name Circus. These new tracks reflected the psychedelic era but it wasn’t long before Circus folded and Hans Van Hemert released a new Q65 album titled Revival. Revival was made up of earlier singles, stray album tracks and Circus material. Much of the music had more of a psychedelic vibe but still bore many of the classic hallmarks of Q65.

Revival opened with Cry In The Night. This was one of the Q’s greatest punk rockers, a pulverizing monster that stood out for it’s vicious, out of control guitar breaks and Bieler’s deranged vocals. So High I’ve Been, So Down I Must Fall is similarly excellent but more in an acid punk style. This track has more mental guitar work and a brilliant outsider feel – a very intense, emotional track. The album’s variety could be considered it’s strength. One track, World of Birds covers the exotic folk-rock spectrum and is notable for some fine psychedelic guitar work while It Came To Me is fast and furious blues-rock. Ridin’ On A Slow Train may be the best of the 3 Circus tracks, it’s overloaded with guitar effects and distortion. The other two, Fairy Tales of Truth, a nice psych pop number highlighted by mellotron and Sundance, a bizarre psychedelic instrumental are also very worthy.

Q65 would go on to make two more albums in the early 70’s, Afghanistan and We’re Gonna Make It. These are generic hard rock albums that are nowhere near as good as their 1965-1969 peak. During their peak I would say that Q65 recorded just one bad song, a cover of Otis Redding’s Mr. Pitiful (on their debut album). The rest of their catalog is ace, a strong body of work that stands up to the best the Yardbirds, Pretty Things and Outsiders have to offer. While Revival may not be a cohesive listen, this is because many of the tracks were recorded during different periods within the group’s lifespan. Each track is strong though and you could proudly stand this along side CQ or S.F. Sorrow as one of the classic acid punk albums.

There are great cd and vinyl reissues of Revolution and Revival that are somewhat hard to find but preffered. Rev-Ola’s best of Nothin’ But Trouble is recommended but omits a few essential tracks. During their heyday Q65 were one of the best rock groups around.

“So High I’ve Been, So Down I Must Fall”

:D CD Compilation | “Nothin But Trouble | 2008 | Revola | buy from amazon ]
:) Original Vinyl | 1969 | Decca | search ebay ]

Mountain Bus “Sundance”

| Americana,Country Rock,Folk,Psych

Mountain Bus is the kind of band you get into after you’ve exhausted all your major label heroes. They were one of Chicago’s great underground bands who were dealt a bad deck of cards. Mountain Bus were frequently cited as Chicago’s answer to the Grateful Dead, and indeed some of their songs on the above album sound like San Fransisco’s most cherished sons.

Mountain Bus’ roots extend way back to the early 60’s when Ed Mooney was fronting a band called the Moons and the Stars. Tom Jurkens was in another local group called Jurk & The Bushman and upon their demise formed a group with Mooney called Rhythms Children. This group took in Steve Titra, Joe Wilderson and Steve Krater. Eventually Rhythms Children dissolved when Wilderson left for Canada avoiding the Vietnam War draft. Bill Kees had formerly been in Fantasy and Hearts of Soul when he joined the struggling Rhythms Children. They began calling themselves Mountain Bus and playing as many live gigs as possible around the Chicago area. Mountain Bus never made alot of money during their day and always had low paying jobs. Their jobs funded the band’s equipment, activities and eventually, legal costs. Some of the group members worked at local record stores. One of the record stores, Round Records, ended up becoming the groups headquarters while owner David Solomon assumed Mountain Bus’ manager role.

In 1971 independent label Good Records released Mountain Bus’ only album Sundance. Good Records goal was to release good quality local music that could be sold to the public at reasonable prices. They also aimed to give the musicians a greater slice of the profit, unlike the major labels. Mountain Bus’ end was unfortunate and came very suddenly in November of 1971. Windfall Music slapped an ugly lawsuit on Mountain Bus and Good Records claiming that both entities were infringing on the established trade marks of Mountain (Leslie West’s band). Windfall Music demanded that all record sales, promotions, air play and so forth be halted and that such activities had hurt the sales of Mountain lps. Roger Maglio of Gear Fab records summed it up best, “It was a plain and simple matter that the major record labels at this time (Columbia owned Mountain) were not going to allow nor put up with upstart companies like Good Records or any others that offered good quality music at an affordable and lower price than the majors. Mountain Bus had never reaped any significant profits over these years – the band were paid very small wages and many of their performances were for benefits and other non-profit organizations. A record company founded with the express purpose of providing people with good quality music was run out of business. And a great band broke up as a result of these bully actions.” It’s funny to note that Mountain Bus had been together some years before Mountain had formed – 2 years to be exact. I guess it was a loss for the public and a big gain for the greedy record company executives.

These legal disputes should not overshadow the music though, which is often excellent and full of stunning guitar solos. Tracks like Sing A New Song and Rosalie are what the late 60’s Dead should have sounded like in the studio – they capture a good live outdoor sound. Rosalie is a superb jam rocker with lots of great melodic guitar work that is at once trippy but also laced with a C&W accent. Sundance is an awesome psychedelic folk-rocker that hits the 7 minute mark but never succumbs to any formless jamming – it’s a track that reminds me of 5th Dimension Byrds crossed with Live 69 Dead. Other highlights are a long but very good country-rock version of I Know You Rider and the psychedelic instrumental Hexahedron. “Deadheads” and fans of great rural rock sounds should not miss this mini classic. In the late 90’s Sundance was reissued by Gear Fab records with additional outtakes and live cuts. This package offers lots of good music for a cheap price.

“Sundance”

:D CD Reissue | 1999 | Gear Fab Records | buy from amazon
:) Original Vinyl | 1971 | Good Records | search ebay ]

Quicksilver Messenger Service “Comin’ Thru”

| Folk,Psych,RnB

A band known for their formation during the sixties with helping the onset of the psychedelic scene, Quicksilver Messenger Service’s seventh album (first with keyboard player Chuck Steaks), Comin’ Thru is brain child of guitarists Dino Valente and Gary Duncan. Although the band’s most notable albums such as their self-titled album (1968-) and Happy Trails (1969) show progressive notions of San Francisco’s psychedelic scene, Comin’ Thru shows more of the band’s musical influences of blues, jazz and folk. This album doesn’t follow a typical Quicksilver song montage of jamming then losing your mind for an allotted amount of time, but don’t get me wrong, it holds true to the psychedelic rock ideas of say the Dead or Jefferson Airplane.

The album’s front runner, Doing Time in the U.S.A., a song chronicling different themes regarding the law being broken has an almost Dicky Betts southern rock feel to it. Doing Time in the U.S.A. has somewhat of an ode to the Rolling Stones when Dino Valente recites in his most Jagger-esque voice, ¦I can’t get no, satisfaction; this being ironic seeing as how the band’s former organist, Nicky Hopkins, was doing work with the Rolling Stones at the time. Whether or not this is an actual response to the Stones classic is unknown, but in a genre where underlying song connections run wild, one can only imagine. Quicksilver’s jazz influences are recognizable within moments of the first horn solos found on Chicken. Sonny Lewis (saxophone) and Pat O’hara lay down a dueling solo of lows and highs that make this soulful jam extremely tight. As always twang blues guitar riffs are found throughout, most present on Mojo and Changes. Mojo, a song about what else than a man’s swagger/libido, has that psychedelic song formation found in their earlier albums. Ending the song via a line-up of solo’s starting from guitar to trumpet to bass then on to keyboard the band obtains a type of jam feeling usually only found in live performances. Stressing the difference between this album and their popular titles is the production of keyboard player Chuck Steaks. His approach to keyboard is much more up tempo and wild compared to a more classically trained Mark Naftalin. The albums organ solo’s reflect this greatly with a Bernie Worell style to them, most recognizable on Doing Time in the U.S.A and Don’t Lose It.

Many regard Comin’ Thru as a lesser work of Quicksilver Messenger Service since the band would fall apart near the end of the decade and many of the original members were not part of the album’s production (John Cippollina, David Friedberg & Jim Murray). An album that holds two sides of the love/hate spectrum: Some feel the horn work is used to compensate for a less talented band, then others feel it was innovative thinking (the band looking for a new sound). Some feel as though the use of a less classically trained pianist was by default (due to the band is disarray), while others feel it adds an element unknown style (coming from the school of thought that, the less classically trained you are, the more unique your style is). Let’s not hang signs, just listen.

“Doin’ Time In The USA”

:D CD Reissue | 2002 | Beat Goes On | buy from amazon ]
:) Original Vinyl | 1973 | Capitol | search ebay ]