Posts Tagged ‘ 1969 ’

The Zombies “Into the Afterlife”

| Pop,Psych,RnB,Sunshine

Into The Afterlife

A rare and welcome treat from the Zombies’ archives, and a continuation of the wonderful box set, Zombie Heaven from the Big Beat label. This brand new release is a compilation of mostly unavailable tracks recorded by different incarnations of the Zombs during the unsure period of time after they broke up and before their next projects. This is what I live for!

The tracks have been packaged almost in album form, with the sleeve appearing to be a Ninja Turtle fan’s watercolor homage to Odessey & Oracle. It’s nice to pretend that this could indeed be the follow-up release to the Zombies’ fantastic final offering, but what we have instead is really a collection juxtaposing three distinct post-Oracle projects: Rod Argent & Chris White (who were recording demos trying to figure out how to be Argent), Neil MacArthur (Colin Blunstone’s alter ego), and The Zombies themselves.

Rod Argent & Chris White’s demo material on this record was never meant for release, they were just stretching out and trying to figure out how to expand their sound. But you can hear the Zombies songwriting still lingering in there. Unfortunately, you can’t hear the Zombies voice in there; Rod’s lead vocal on She Loves The Way They Love Her sounds like a karaoke mishap compared to Colin’s take on his brilliant One Year. Still, this material is indispensable to fans of the Zombs and Argent as a bridge between both groups.

The complete Neil MacArthur recordings on this disc are seriously awesome. It kicks off with the psyched out and groovy remake of She’s Not There and a version of Buffalo Springfield’s Hung Upside Down. Harry Nilsson’s Without Her gets a fitting redo as well as the classic Never My Love. Don’t Try To Explain and World of Glass both point to what Colin would achieve a year or so later with One Year and his subsequent solo career.

While all these recordings were going on, Time of the Season was becoming a big hit and efforts were made to eek a few more singles out and cash in on the success, known as the unreleased RIP album (available on Zombie Heaven). An interesting mix on this record, Walking in the Sun, has been reconstructed only with Colin’s vocal, original backup vocals, and an orchestral arrangement. If It Don’t Work Out, the official final single from the Zombs is presented with orchestral overdubs as well and in Going To A Go Go we can hear the hard-working Zombies exercise their chops. If you love the Zombies you need to get this brilliantly satisfying rarities release.

“Walking In The Sun”

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Captain Beefheart & His Magic Band “Trout Mask Replica”

| Art,Garage,Psych,RnB

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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The Koala (self-titled)

| Garage

The Koala

In 1969, the Koala released their only album. They were a New York band who were being hyped/billed as an Australian group. This strange gimmick sealed the mysterious band’s fate.

From what I know, the above album is very hard to find making the 2007 cd reissue a breathe of fresh air. While not a garage masterpiece on par with the Remains’ only album or the 13th Floor Elevator’s debut, the Koala album is damn good. It’s a late period garage album that is similar to the Canadian garage band It’s All Meat’s sole record (which is also great).

The Koala played a sloppy brand of rock full of power chords, out of control fuzz guitar solos and thundering drums. The album is uniformly strong and diverse, showing strong Cream, Rascals, and Who influences. Take a good listen to the mini revolution that is Look At The Way She Comes. This song is the very definition of punk rock: searing guitars, arrogant vocals and titantic drums. It’s pitched halfway between You Better Run era Rascals and the Blue Magoo’s circa self-titled 1968 album – a true classic with a definitive New York sound! Poppa Duke Tyler hits just as hard, with one huge, mind melting fuzz guitar solo and limey vocals. Other songs like Elizabeth and Nothings Changed play it soft and slow while still capturing an attractive sound. This is another lost treasure from the 60’s and an absolute must for garage heads.

“Look At The Way She Comes”

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Scott Walker “Scott 4”

| Art,Baroque,Pop

Scott 4

Scott Walker sure has an interesting career going. Starting as a teen pop idol in the early sixties, moving to session work on electric bass with Jack Nitzsche, Scott later formed the fabulous Walker Brothers (neither of which were Walkers, or brothers for that matter), broke away to a solo career that is the focus of this review, and in recent years has been recording acclaimed experimental music, his The Drift making Pitchfok Media’s top 10 albums of 2006.

Scott Walker’s albums from 1967 to 1969, Scott, Scott 2, Scott 3, and Scott 4 are all great and consistently satisfying records. Walker is kind of a psychedelic crooner, a deep tenored and dramatic singer backed with a full orchestra and groovy rock combo. His tunes almost sound kitschy, but should you choose to pay attention, you’ll find the words and images that no ordinary voice-man would dream to play with. It’s clear why David Bowie was so inspired by Scott; reading along with the lyric sheet is a mind wrenching exercise.

But I have to recommend treating this album as a series of poems. It’s obvious that the lyrics came before, and are tantamount to, the melodies and accompaniment. But that’s not to say that you won’t be singing along to Get Behind Me or any other great melodies on this record. On all of Scott’s earlier solo albums, Jacques Brel is a prominent songwriter, but on 4, Scott takes complete control.

There’s a new box set out but I think it would be cooler if you bought each separately and chronologically. Let us know when you get to 4.

“The Old Man’s Back Again (Dedicated To The Neo Stalinist Regime)”

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Mandrake Memorial “Puzzle”

| Art,Psych

Puzzle

Along with the Nazz, this was one of Philadelphia’s top bands throughout the late 60’s. Prior to Puzzle, they released two good rock albums that had a vague Doors influence, mixing keyboards with guitar oriented psychedelia. Puzzle, released in 1969, is an extremely challenging album that is not recommended to those who are into song oriented pop. It’s also a very progressive album that mixes classical/avant garde elements into a dreamy soundscape.

The album is really a mood piece, with plenty of strange moments including one track devoted to a choir of children praying while Whisper Play has, you guessed it, whispers amongst a classical backdrop. Randy Monaco croons throughout the album and there is the occasional guitar freakout, one heard at the end of the 9 minute instrumental Bucket of Air. The reoccuring theme, Just a Blur is a nice, short trippy piece of acoustic music that hints at a concept.

For the era, the Puzzle album is somewhat long, clocking in at around 50 minutes. The real meat of the album lies within the songs. Earthfriend and Hiding are so ambient and so full of great sound effects that they predate a style of psychedelia that Spacemen 3 pioneered throughout the late 80’s. Ocean’s Daughter is another great, menacing song, being a trippy psychedelic ballad with studio trickery and light orchestration. The song characterizes the album itself: confused, dark and unsettling on one hand but alluring and full of beauty on the other. Even the album cover art is really weird and demented, featuring a well known painting with chrome plated maggots inching their way up an endless flight of stairs.

While not for everyone, Puzzle shrouds itself in a velvet mystery. It’s a totally unique experience within the world of pyschedelia that sounds completely unfamilar!

“Ocean’s Daughter”

Big Boy Pete “World War IV”

| Concept Albums,Psych

World War IV

Big Boy Pete is your quintessential slice of lost psych. Or is he? Re-releasing a string of solid material from the 60s in the late 90s and 2000s, “Big Boy” Pete Miller’s prolific and good quality works have caused some archivists to wonder. Yes, I have heard some people claim that Pete Miller’s stuff is fake.

But regardless of whether Big Boy Pete’s music was recorded back in the day, or in a home studio by a modern-day-super-psych-fan, his works have been accepted as psychedelic standards. World War IV, recorded in the late 60s and released in 2000, is a strange and interesting album. Most of the other Pete Miller works, found on the Catatonia collections and Summerland have a breezier, poppier thing going on. WWIV is a whole ‘nother story. Well, it’s certainly meant as a story, but I have never been able to follow it. A “Symphonic Poem” indeed.

But the sounds here are nice. Pete loves his guitars (definitely check out his home on the web here!) and there are some great fuzz rhythms and bass lines throughout. Some catchy moments but definitely not enough to DJ a party. Well, I guess that depends on how you like to party. Overall, I just have to mention that this is pure, pure psychedelia. Give it a run when you are in the mood for that.

“Movement 4 (Echelon)”

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Henske & Yester “Farewell Aldebaran”

| Folk,Psych

Farewell Aldebaran

Farewell Aldebaran was one of the key albums that signified the end of the 60’s. It’s one of the great cult rock records with a beautiful melancholy edge that few artists have equaled since.

Farewell Aldebaran was released by the fabled Straight label in 1969. Both Judy Henske (folk) and Jerry Yester (production) had been in the music business for years before cutting this astonishing record. It’s actually unbelievable that few people picked up on the great music this duo produced. After almost 40 years, this album comes off like a well worn classic. Every song is uniformly strong and there are some exquisite arrangements, weird but clever lyrics, and creative string and horn arrangements.

The harpsichord laced folk ballad Lullaby is strangely alluring, with a puzzled, jarring edge that recalls how our great nation felt as the decade came to an uncertain end. Snowblind, opens the album with a boom, it’s really the oddball amongst a quiet group of songs but an effective, hard charging psychedelic rocker nonetheless. This composition really gives Henske room to stretch out and let her vocals roar with conviction and arrogance. The Raider is another great song with a great backwoods feel. For some people this is absolute nirvana, five minutes of great fiddle, banjo, accoustic guitars and hillbilly vocalizing delivered with 1850’s drunk on whiskey venom. But this is really just the beginning, as there are gothic ballads, bubblegum pop, entrancing folk-rock and psychedelic love songs. Three Ravens, is an absolutely stunning psychedelic ballad with a sweeping string arrangement (and horns) and an otherworldly vocal performance from Judy Henske. Others may have a soft spot for Charity, which is a finely crafted sunshine pop, folk-rock song with just a hint of sadness.

At this point in the decade, the Vietnam War and civil rights issues were exhausting people and musicians worldwide. Hence, you can hear the pain within the music. The duo managed to release one more album in 1970 under the Rosebud moniker. Rosebud was fair at best, possessing none of the magic the duo captured on Farewell Aldebaran. I must add that it’s records like Farewell Aldebaran that keep me going. It’s rare to come across something so honest, unpretentious, homespun and most of all, real. A wonder to behold!!

“Lullaby”

This record has unfortunately been heisted by Fallout Records and is being sold without permission from the artist or copyright holders. We won’t be reviewing any more records that are only available from Fallout and urge you to find it in any way that won’t profit this pirate organization. Click here to learn more.

The Can “Monster Movie”

| Art,Prog,Psych

Monster Movie

Few bands have had such an influence on modern underground and electronic music as krautrock heroes The Can, subsequently named just Can.

The Can today is most revered with their album Tago Mago, which perfectly showcases their hypnotizing, improvised (then edited) garage rock jams. Before japanese vocalist Damo Suzuki joined the group, however, The Can released their debut record featuring Malcolm Mooney as lead singer, and it’s a beast!

The first three songs on this album echo the psychedelic and garage scene that The Can came from. Unlike subsequent albums, you can hear a bit of a pop song format squeaking through on these excellent psych gems. The real heart of this album, though, is the epic track, Yoo Doo Right, apparently edited down from six hours of studio tape. It’s a beauty, with a laid-back and driving rhythm section, catchy bass, nutty drums, eery organ, and swirling guitar backing Mooney’s scream-tarnished voice. This song, more than the others, would foreshadow the Can to come.

If you haven’t heard The Can yet, you are in for a ride. Listen to this LOUD when you are in a panic! Their sound holds up remarkably well today, noobs will think this was recorded in 2005!

“Outside My Door”

Available as Hybrid SACD and Remastered