31 January 2012
Listen To Dr. Schluss' Glaze Of Cathexis and Damaged Tape
As I review more albums, I'd love for you to check out my own music and leave some comments to tell me what you think. The Glaze of Cathexis albums are my more psychedelic rock based offerings, while the Damaged Tape recordings are my journeys into electronica. Please have a listen!
19 January 2012
Damaged Tape & Andrew Bland - 2012 - Beyond the Ghost House
While we're on the topic of collaboration, here's a new set of recordings that I worked on with Andrew Bland. This is the first time we've shared space on a record since 'Paper Fences' in 2006. From what I understand, Andrew spent 2007-2010 working on his "Field Pictures of Echoes" album (which you'll find at his website http://andrewbland.net/. I took a bunch of bits and pieces that didn't end up on the album and worked them into finished tracks. I sort of assumed that we'd be working with a rustic groove (as you'll hear on his 'Cosmic Relief' album), but I guess that he'd been infected with the synth bug at the time, so I ended up adding a lot of percussion and guitar to the soundscapes in order to get them nice and warm.I enlisted Scott Atkinson to add a bit of spoken word, and he came up with most of the song titles while flipping through a biography of Chairman Mao. I didn't touch Andrew's track for 'Sailing on the Mekong,' while 'Riptydes of Existence' is actually an outtake from the Damaged Tape album 'Ambiguous Reality.' It didn't make the cut for that one as the completed album was a little too ambient for the tune.
I do hope that you dig spending a little time in our miniature sonic worlds. I welcome any comments and if you're running another blog and like this, I'd be happy for you to repost.
Listen to Me:
Cosmic Relief - 2011
Quality: 4.25 out of 5Trip-O-Meter: 4.5 out of 5
Here's the latest release from one of my past, present, and likely future collaborators Andrew Bland. His musical trade has basically become creating miniature, instrumental sound paintings and the pallet on this album comes out sounding quite colorful. The instrumentation here is rustic and organic, with a variety of percussion, bass, and electric and acoustic guitars mind-melding with flute and violins. The atmosphere reminds me of the rural cult sound of A Cid Symphony, which I reviewed way back when. Really this one is better - where the A Cid Symphony tends to drone on, Cosmic Relief provides a little more melody and texture.
This music is pretty much meant to meander on in the background in its entirety, but there are a few choice cuts that you may want to explore. "Manic Gaze Rag" does a fine job of occupying the sound of a long-in-decline hippy commune in the Ozarks. Meanwhile, you'll find a groovy, lumbering Crazy Horse with violin epic in "Wetlands." And I'm always up for the percussive, Indo-pulse of "Panorama." Really, you'll find a lot of short 'sound paintings' throughout the length of this set, and different ones will probably strike you in different moods.
I"ll admit that there may be a touch of conflict of interest with reviewing this as the primary artist was my roommate in uni, but I have found this album stuck in my regular listening rotation in the past few weeks. There a very nice variety of sound permeating this album which should interest the sonic mind explorers out there. The music definitely reeks of bohemian weirdness going on behind closed doors, and albums like that tend to get the Doctor's interest. I hope you'll have a groovy journey into this forest of sound.
You'll find me in the downloads section of this website:
11 January 2012
Timothy Leary - 1970 - You Can Be Anyone This Time
Quality: 4.25 out of 4Trip-O-Meter: 4.5 out of 5
So, realistically Timothy Leary, the Ron Jesus of LSD, probably shouldn't have stretched out into the musical arena, but I'm pretty glad that he did. While his collaboration with Ash Ra Tempel, "Seven Up," is typically pooed upon, it's actually one of my absolute favorite psychedelic albums. This earlier effort isn't as good as that one, but it's still a damn entertaining slab of vinyl. This disc was issued in conjunction with his strange gubernatorial campaign in California against Ronald Reagan. Of course, Leary probably had real business entering that field either, but it's way more entertaining that Donald Trump pretending to run for president. In Leary's words, "The function of government is to get everyone high and feeling good." Of course the truly disturbing parts are when Leary makes sense.
"Live and Let Live" takes up the first side with clips of Leary on the campaign trail backed with a musical jam from Leary's buddies. Fortunately, Leary's buddies consisted on Jimi Hendrix on bass, Stephen Still, John Sebastian, and Buddy Miles. None of them are at the top of their game - I imagine part of the deal was that Leary would keep them heavily 'medicated' - but it's still pretty to hear these guys casually rocking out. And of course if you lend your ears to Leary himself, you'll probably giggle a bit at his political platform, yet dig the words of the man. Side two gives us the title track, which is probably the best thing on the album. A heavily echoed Leary rants on about Hinduism, reincarnation, and the rat race as the music continually shifts - melding R&B jamming with classical Indian music, and a touch of the Beatles and the Floyd, along with some various electronic meddling. "What Do You Turn On When You Turn On" gives Leary a chance to explain his views on astrophysics and brain physiology, I guess. We'll just have to trust the professor on this one. The music simply jams out with tribal percussion, oscillators, and a bit of piano.
I think this album is a wonderful way to let Timothy Leary brainwash you from beyond the grave. Maybe my fellow Americans will even write him in for president in November. North Korea's got a necrocracy, why not us as well? Anyway, this disc will likely put off a fair amount of you, but if you're willing to follow Leary down the rabbit hole, you may dig what you find.
Alan Hull - 1973 - Pipedream
Quality: 3.75 out of 5Trip-O-Meter: 3.5 out of 5
Hull's solo career sprang forth from Lindisfarne, the English folk-rock band that he fronted. I must admit that I know next to nothing about that band, but the music on "Pipedream" claims some very 1970's which incorporates a bit of folk-rock, a bit of prog, a shot glass of the singer/songwriter vibe and a dash of psych rock. This album doesn't really do anything that's going to knock your socks off, but it's got a few worthy attributes that make a few spins worth your time. The production here is super crisp with that early 70's analog glow. The basic tonal palette here is very groovy. Also raising this disc's stock is Hull's very good songwriting skills, running a nice spectrum from power pop to English folk.
"Pipedream" is a pretty solid listen through and through, but there are definitely a few highlights of note. The disc really gets cranking with "Song For a Windmill," which greatly benefits from a throbbing pulse from some kind of British folk drum. "Blue Murder" tests the waters of the folkier sound of Pink Floyd (best illustrated on their soundtrack for "More"). Hull does a pretty good echo of early power popsters like Badfinger and Big Star with the one-two punch of "Breakfast" and "Just Another Sad Song." As the album progresses, Hull gets even groovier with his folk side, with "Money Game" and "United States of Mind" ranking as the best of a few lightly tripped out acoustic tunes.
Hull's debut solo album is a very pleasant and infectious listen. It's sort of a musical tour of the more creative side of British rock in the early 70's. I don't know if Hull necessarily deserves a spot in the Pantheon of rock (maybe I've got to hear some Lindisfarne before I know that), but he definitely had the cohones to piece together a fine album.
21 December 2011
Dr. Schluss' Best of 2011
I never got around to publishing my best of last year, but I've heard a pretty wide abundance of tunes this year and feel like I need to take a crack at it. For whatever reason, I've gravitated towards dreamy, ambient sounds even more than usual this year, so you'll hear a fair amount of that wafting around on these tracks. Anyway, here's the rundown for you:10. Tom Waits - Bad as Me: The Man doesn't do anything new here. but it's a perfect iteration of his bone-clanging, skid row poet vibe.
9. Jonas Reinhardt - Music for the Tactile Dome: I definitely dig Reinhardt's Berlin school vibes vibrating through this release. Will zone you out for the most part but wake you up every now and again as well.
8. Yuck - Yuck: This UK band sounds like Kevin Shields fronting Dinosaur Jr., or My Bloody Valentine covering Dinosaur Jr.'s tunes. It doesn't really matter as we've got the modern shoegazer stance perfected on this disc.
7. Dementia and Hope Trails - Parts of the Sea: Although not quite Manuel Gottsching at his best, this ambient freakfest has had my undivided attention for the past few months.
6. Paul Simon - So Beautiful or So What: Melding his sonic experiments of the past 30 years with the best of his 70's songwriting, Simon manages a classic album pretty late in the game. Dylan's the only other who could pull this off, but Simon's got the added draw that his voice isn't shot.
5. Atlas Sound - Parallax: Bradford Cox keeps pulling direct punches with his solo prokect and his main gig, Deerhunter. He's got it down to a science now, and Parallax continues to perfect his dream-rock sound.
4. Mohave Triangles - Eternal Light of the Desert Plateau: This is the grooviest ambient music I;ve heard this year. Although we'll always reserve a spot at the table for Philip Glass, this takes the yearly cup for a sonic Koyaniisqatsi.
3. Real Estate - Days: The best straight-up rock I heard this year walks a fine tightrope between early R.E.M. and Joy Division with some great songwriting keeping the balance.
2. Fleet Foxes - Helplessness Blues: I didn't buy into the hype on their first album, but the Simon & Garfunkel and Crosby, Stills, and Nash grooves shine through this disc. This mayvery well be your hillbilly Smile.
1. Panda Bear - Tomboy: Keeping Brian Wilson in mind, I'll be damned if anyone else manages to better fill the vocal space of that man in his 1966 prime than Panda Bear. Although the computerized trippiness of his last solo album is largely missing here, the stellar songwriting and insular production more than makes up for it.
Here's a sampler of some of the sounds that I've been talking about. You find the full releases of Dementia and Hope Trails and Mohave Triangles elsewhere on this site. As usual, I threw in a few previews of my new Glaze of Cathexis and Damaged Tape projects, not because I think my music is the best, just because it seems like a good excuse to run them by your ear.
1. Tom Waits - Raised Right Men
2. Panda Bear - You Can Count on Me
3. Jonas Reinhardt - To Lord Eminence
4. Atlas Sound - Te Amo
5. Glaze of Cathexis - Dream's Visions
6. Mohave Triangles - Eternal Light (edit)
7. Paul Simon - Getting Ready for Christmas Day
8. Fleet Foxes - Lorelai
9. Damaged Tape - Melted Into Angel Form
10. Real Estate - Kinder Blumen
11. Yuck - Holing Out
12. Dementia and Hope Trails - It Rung in My Ears and Still Does
Listen to Me:
07 December 2011
Mohave Triangles - 2011 - Eternal Light of the Desert Plateau
Quality: 4.25 out of 5Trip-O-Meter: 5 out of 5
I've gone on a bit about all the strange electronic and ambient music that's been drifting around on cassette tapes over the past few years, and this is definitely one of the real winners. The truly trippy cover reflects the washes of sound that you're going to hear on this set. It's a hazy and mystical experience, with the tape hiss becoming a integral ingredient of this sound world. As a musician, I tend to pick out the instruments when I listen to tune, but I have no idea what the hell's going on in these tracks. Personally, I find this kind of disorientation invigorating.
The two tracks tend to follow a similar path of a full on drone which slowly builds in detail with small melodies slowly peaking through the haze. "Eternal Light" begins with an invocation/warning from a Mohave(?) fellow which echoes the environmental/apocalyptic vibe of the great film "Koyaanisqatsi (Life Out of Balance)." You'll hear him drift back into the track as if submerged later on. "in the Realm of the Desert Temples" build ominously, as if we're preparing for a human sacrifice before entertainingly plunging into a coda which provides release as it comes across like the tape of a new age album that's been melting in your Ford Escort since 1985.
It's been a few months since we've had a real brainwasher on the blog, but I think this'll do the trick. I've found it to be addictive listening. This kind of music requires a sort of painterly control and sweep. Mohave Triangles may very well be masters of the form.
Head to their website to download this one and perhaps a few more:
Parton Kooper Planetarium - 2011 - Glass and Bone
Quality: 3.75 out of 5Trip-O-Meter: 4 out of 5
I'm really have no idea where these folks are from, but I'm going to guess it's a desert. I've done my psychic detective work. The first track is called "In A Desert," which seemed like a possible tip off. Also you slowly realize that this is a blooze-infected shoegazer album as the psychedelic shards of desert sands wind-blast like glass though your bones. Anyway, this album is slightly spotty, but in that positive sort of way where the good stuff is really good, and you find yourself hoping that this will be a nostalgic prelude to something even better in the future.
The opener didn't quite hook me, but I found myself diggin' the almost gothic rock of "Future Unions" quite well. Then the band floors you a bit more with the full bore shoegaze blast of "Chew Off Your Foot," before cranking the amps to 11 for the title track, which recalls the completely deranged noise-pop of Astrobrite. "Patmos" and "Voyager" also rank well in the sweepstakes for the next rockin' pop hit on Neptune, and I do hope the band expands a bit on the strange, truncated sound worlds of "Gasoline" and "Abstraction" next time around.
This isn't the best album I've come across this year, but it's got enough that I'm looking forward to hearing more from these guys in the future. The bedroom shoegazer has become a bit of a cliche (which I've admittedly fallen into on some of my own Glaze of Cathexis recordings), but this album has the meaty production and band interplay to take it somewhere a little different, and that's definitely worth your attention. They also include influences such as the blues and "More," "Meddle"-era Pink Floyd, which shoegazers typically avoid.
Head to their website for a free download:
Akiko Nakamura - 1968 - Hit Album
Quality: 3.5 out of 5Trip-O-Meter: 2 (plus a ghost point for surf guitar) out of 5
As you may or may not know, I'm based in Japan and as such many sounds of the island pass by my ear. Unfortunately, J-pop is pretty rotters, although there is definitely some awesome music lurking in the underground. I do did the older sounds of Japanese pop and old school enka (enka is the traditional form of Japanese popular music), and Akiko Nakamura's album has a bit of both running through her musical DNA along with a candy-coated obsession with the contemporary sounds coming from the West. I hope you dig the groovy, if a bit square, sounds on this LP. Japan didn't really have any of the 'peace, love, and LSD' revolutions we had in the West, and it shows.
Nakamura goes for a few Western cover tunes, but that's not really the place to start. The arrangements are pretty schmaltzy, and I've got to admit that I hate Peter, Paul, and Mary's "I Dig Rock n' Roll Music" with a passion - regardless of who's playing it. No, you're here for the day-glo, go-go dancing pop tune, and you'll get that in spades. "Niijiro no Mizumi (Rainbow Lake)" gets us started with an almost funky drumbeat almost drowning in an amusingly enka-like string arrangement and punctuated with a surf guitar lead (the Japanese LOOOOVED the Ventures in the 60's). "La, La, La" throws us another great surf guitar bone, and would've felt right at home in the Bond flick "You Only Live Twice." "Betsuri (Wakare) (Separation)" goes full-enka, which basically mean a depressing melody with even more depressing lyrics played melodramatically. Of course you haven't really heard enka until you've heard a drunken, middle-aged, crying salaryman belting it out at karaoke, but this will do for now. "Tokyo Flower" will pick you up again anyway with a jaunty horn arrangement. But y'know, by this part of the album they've completely stopped trying to be groovy for the kids anyway. They try to trick you by sticking the Peter, Paul, and Mary cover at the end, but that's kind of like trying to make up to your girlfriend by pooping on her doorstep.
So, this isn't really psychedelic, but it may be mind expanding, especially if you haven't spent time in Japan. Anyway, it goes well with senbei (Japanese rice crackers) and Asahi beer. Does anyone know a good blog for 60's and 70's Japanese pop? All I can find at the record store is damn AKB48.
22 November 2011
Glaze of Cathexis - 2011 - I Often Dream of the Apocalypse
The title here is a true fact, although my dreams do tend to be like tripped out blockbuster films rather than nightmares, so I pretty much welcome them. The seed for this album started as I was scoring tracks for the 60's styled exploitation film, "The Erotik Castle of Dr. Humpinstein." I was going for surfin', bikin', and all around 60's crunch. I really got going when I had some work days scrapped in the aftermath of the March 11th Japan quake, and kept on recording through the aftershocks. Obviously, some of the palpable paranoia from the prospect of getting irradiated by Fukushima is quite present as well. I remember being told by my boss to wear a mask outside during the radiation spike of March 15th. Not that I was going for a depressing vibe - I want you to rock n' roll to this music. Like the last Glaze of Cathexis album, I'm presenting this in both a rockin' crunchy mono mix, and a 60's styled psychedelic stereo mix with the drum kit shoved in the left channel. I also need to give some props to Gonzoriffic Films' Andrew Shearer, who was groovy enough to serve as the drummer, and pounded away to these tunes. Here are some song notes for your perusal:1. I Often Dream of the Apocalypse (2:28) – I had already given this album the name, but I thought a title track would be fun. This was originally recorded for Andrew Shearer’s film ‘The Erotik Castle of Dr. Humpinstein’ as a dance number called ‘The F@&k!!!’ For the album track, I felt compelled to try and match the insanity of the original track, so I did my best unhinged Roky Erikson impression on the vocals.
2. Coconut Sunstroke (1:35) – I had a few drinks and tried to record this as a sort of 60’s Marc Bolan acoustic guitar and bongos thing. It was a little short for a real tune, so I decided to use it as an acoustic interlude. It does have a vocal melody that I never bothered recording, though.
3. Nuclear Sundown (3:06) – I came up with this tune while strolling into UGA’s Russell Hall during my freshman year of university back in 1997. For this rendition, I revised the lyrics to reflect the time after Fukushima went wild and tried to give it a groovy Byrds/Velvet Underground approach. Previously I’d tried to make it a punk or soul number, but I think this one fits best.
4. Cold Fusion (3:02) – And how to solve our nuclear problems? Maybe by inventing cold fusion. This started as a surf number for ‘Humpinstein,’ but for the album version I found a list of radioactive elements and sang all the ones that ended with ‘-ium.’ Certainly it’s the best track to follow ‘Nuclear Sundown.’
5. Drifting Concepts (3:51) – I recorded the original instrumental groove about 12 years ago and made a version with lyrics around 2007 (that one can be heard on one of the compilations at the 'Homemade Lo-Fi Psyche' blog). That recording sounded like strangled butt, though, so I’m glad that I made this re-recording.
6. Nothin’ll Ever Let You Down (2:26) – This was another instrumental for ‘Humpinstein,’ but I threw in some lyrics for this version, even if they get entertainingly pretentious. I started recording around the time of the March 11th earthquake, and you’ll hear a flaw in the recording at 1:05 that was the result of one of the aftershocks. Instead of getting under a table or leaving the building as a sane person would, I just kept recording as the room was shaking around me.
7. Technicolour Clouds (4:05) – I recorded this in Atlanta during the ‘Golden Konbanwa’ recording sessions. I recently rediscovered it on my hard drive. The track was a little more electronic and I intended it to be a Damaged Tape track, but I took out some synth parts and stuck it on this album. The tune is meant to be a bit of a palette cleanser. I really dug how ‘Treefingers’ on Radiohead’s ‘Kid A’ sort of served that purpose, and that’s what I want this to be.
8. Explosions in the Sky (2:09) – This was the title track for ‘Humpinstein,’ but a retrofitted it and it kickstarted the apocalyptic vibe, along with the apocalyptic vibes that were all around back in March. I let my Southern accent rip a bit on the vocals, and the lyrics were meant to have a bit of a ‘Major Tom’ groove, with an astronaut watching the world end from a space station. Sonically, I was going for the theme song to the ultra-obscure psychploitation film ‘Psyched by the 4-D Witch,’
9. The World is a Circle (4:03) – This is a Hal David/Burt Bacharach tune from the horribly cheesy ‘Lost Horizon’ musical from the early 70’s. You can find the original on youtube, but you’ll probably regret it. For my take, I was trying to go for John Lennon stealing Kurt Cobain’s amphetamines and recording showtunes.
10. Stream Moves On (3:52) – I wrote this for ‘Underground Sound,’ but didn’t get around to recording it until this year. It ended up a little more acoustic than I originally planned, but I through in some Moog parts to balance that out. Vocally I’m going for the lovechild of Roger McGuinn and Ira Kaplan (from Yo La Tengo).
11. The World Cannot End (3:31) – I also wrote this for ‘Underground Sound,’ and recorded the drums and rhythm guitar during those sessions. I think it came out a little like R.E.M. and Bruce Springsteen in a juke joint
12. Run Again (2:43) – This is a country ditty that I originally wrote and recorded in 2001. I used to try to sing it like Johnny Cash, but I found it was much better to go for a Roy Orbison approach.
Listen To Me:
Or you can play the stereo mix online here:
Glaze of Cathexis - 2011 - I Often Dream of the Apocalypse by Glaze of CathexisIf you are groovy enough to give this a listen, I'd love to hear your comments. That's the only cost to downloading this, really.
Lee Hazelwood - 1970 - Cowboy in Sweden
Quality: 4 out of 5Trip-O-Meter: 3.5 out 5
If you've spent any time listening to my Glaze of Cathexis recordings, then you'll know that I have an affinity for old school country and folk that slips through the psychedelia every now and then. Lee Hazelwood first crossed my radar when I was a college DJ, and his late 60's and early 70's albums definitely caught my attention. This is the best of them. Let's face it - a cowboy in Sweden is pretty trippy, and this is just what Hazelwood did in pursuit of a Swedish independent filmmaker who churned out a film of the same name. The tracks here kind of, sort of fit into a country pop sound, but there is some strange gauze informing the music here that at least sounds influenced by the wacky tabacky. The string arrangements are sometimes a touch overwhelming, but the overall effect of this album is worth your attention.
Hazelwood's road worn voice definitely takes us into the sonic labyrinth of his mind on the first to tracks, "Cold Hard Times," and "The Night Before." The well-picked acoustic guitar is well balanced by the arrangements and result in some catchy tunes. "For a Day Like Today," "Vem Kan Selga," and "Leather and Lace" serve up some fine female voices filling in for Hazelwood's old collaborator Nancy Sinatra (think of the 60's classic "These Boots are Made For Walkin'"). "Leather and Lace" in particular presents us with a great haunting melody where the string arrangement works out quite well. You'll find the orchestral arrangements cheesing up the sound a bit on "Hey Cowboy" and "What's More I Don't Need Her." Fortunately, "no Train to Stockholm" and the phenomenal psychedelic Louis Lamour vibe of "Pray Them Bars Away" balance things out.
Whereas a lot of psychedelic bands switched gears to country rock during this time period, you'll find Lee Hazelwood attempting a strange fusion of the two. You'll likely require a touch of a yearning to traverse the New Mexican wilderness by peyote-fueled horse to really get into this one, but it strikes me as a very groovy sonic prospect, and it may do it for your ear as well.
12 November 2011
Robyn Hitchcock - 1999 - Jewels For Sophia
Quality: 4 out of 5Trip-O-Meter: 3.5 out of 5
This is sort of the starting point for the modern day Robyn Hitchcock vibe, and it's probably the album of his I've listened to the most. I grabbed a promo copy of this one in a groovy purple case at the university radio station that I used to DJ at, although I subsequently lost it to an old girlfriend (although in full disclosure, I probably deserved it). I recently came across a copy of it again, and realized that half the songs on here have been bouncing around in my head for the past 12 years. This is Hitchcock's songwriting at it's catchiest, and the indie rock royalty groove is boosted with the jangling guitar of R.E.M.'s Peter Buck on a few tracks.
Opening track "Mexican God" gets a prime spot in the top of the pops of my head, and the fine lyrics ("Time will destroy you like a Mexican god.") are shored up with an acoustic arrangement backed by a slowly pounding beat. My band at the time of this release seriously considered taking on the name of this track - that or the absurdly referencing 'Sexxxican Gods.' 'Viva Sea-Tac' is a mildly dopey, but infectious stomping ode to Hitchcock's adopted home base. 'I Feel Beautiful' and the closing title track pretty much own the psychedelic ballad, while 'Sally Was a Legend' and 'Elizabeth Jade' are endlessly catchy rockers that suggest what Syd Barrett would have sounded like fronting an indie band. And I'd be remiss not to mention the infamous hidden bonus track paranoidly ranting on about Gene Hackman.
I don't think that this one typically tops most people's list of Robyn Hitchcock albums, but it's pretty near this top of mine. With some wonderfully crisp production and some lyrics that sound hit in the head with a psychedelic paddle, it'll at least keep you entertained for three quarters of an hour. We'll give a pass to the already dated album cover, which would probably be a fitting one for the worst of Sarah McLachlan.
02 November 2011
The Mojo Men -1966-1967 - Sit Down...It's the Mojo Men
Quality: 4 out of 5Trip-O-Meter: 3.75 out of 5
This compilation covers the second iteration of the Mojo Men, who sprang forth from the primordial San Francisco scene. They started off as a more garage rock affair, but had added singer/drummer Jan Errico and ambled off into fields of folk-rock and sunshine pop. The other big early San Francisco band, Autumn Records labelmates the Beau Brummels, were arguably a little better, but the Mojo Men throws out more sonic signposts to the later explosion of Bay Area rock n' roll. Jan Errico comes across like a less intense version of Grace Slick (who was of course the legendary Starship vocalist), and the folk rock strut here is not too far removed from the Jefferson Airplane's first album with Signe Anderson. You'll also hear some very groovy early touches of psychedelia, and a sunshine pop sheen borrowed from the Mamas and the Papas. It may be heresy, but I think I dig the Mojo Men a little more than that particular musical (kinda) family. There's a touch of the Buffalo Springfield lurking around as well, which makes sense since Steven Stills penned their hit, "Sit Down, I Think I Love You." Round two of the Mojo Men never resulted in an actual album, but we get their awesome singles, some of which include the arranging talents of Van Dyke Parks, and a few tracks from an aborted album.
The production here is nice and chonky, and the sound makes most of this sound like a coherent even though the music is sources from several different places over a two year period. "Whatever Happened to Happy" is a prime sunshine pop singles, with some space echo adding just the right of trippiness to a fine melody. Of course "Sit Down, I Think I Love You" did make it to the charts, and it's a classic folk-rocker. Most of the tracks here are pretty stong, but I really stand up and take attention to "What Kind of Man," which evolves into a full blown psychedelic raga jam. I typically don't dig horny rock (y'know, of the brass kind - am I just digging my hole deeper?), but the arrangements on "Flower of City" does set the song on fire, and if you pay attention, there are also some nice pizzicato strings. The band occasionally threatens to ring the cheese alarm, but they only manage to do so on "Do the Hanky Panky." Really, though, I can't blame the band. Not even musical Jesus can save that song (along with "The Hippy Hippy Shake," which fortunately does not appear on this album).
This is an essential collection for a variety of you seekers. Historically, it's a not-so-missing link on the road to San Francisco rock. It's also prime rib for those that are squinting for sunshine pop. But most of all, it's a catchy set of lite psych, where all of those light touches are primed for maximum grooviness.
27 October 2011
Seventh Sons - 1968 - Raga (4am at Frank's)
Quality: 3.75 out of 5Trip-O-Meter: 4.25 out of 5
The somewhat unverified claim behind this album is that it was actually recording back in 1964, making it one of the first (if not The first) white boys ragas put to tape at a time when the Beatles still just wanted to hold your hand. If this is true, then these boys certainly deserve some props, although later folks of various colours would certainly top the achievement of sound found here. Still, this is a very groovy raga and coasts along nicely as it bops through your brain. It makes me think of that time about ten years ago when I visited San Francisco and jammed with a bunch of hippies in a century old house. If nothing else, this rather short album will likely send you into that psychic zone as well.
We've got two tracks here, although it's a casualty of a vinyl split and really amounts to one tracks. Really, the whole thing is a sonic mantra and pretty much stays in the same groove with some cycling instrumental and vocal parts wafting in and out of the mix. You've got your trance-like acoustic guitar augmented by bongos permeating the entire thirty minutes. There's also plenty of bohemian flute cropping up competing for time with some stoned, wordless chanting vocals. Honestly, that pretty much constitutes the beginning and end of this release. There's really no variation, but the gentle floating, western raga will transport the minds of those of you inclined to follow this thing.
Really, after the first thirty seconds, you'll have a pretty good idea if you're into this or not. I find it a pretty enjoyable affair, but it all comes down to a question of taste. Are you down with the manically strumming hippies or aren't you? Fortunately, the smell of this thing is more of the nag champa variety, and not that patchouli scent that makes me run out of the room in terror.
16 October 2011
Dr. Strangely Strange - 1970 - Heavy Petting
Quality: 4 out of 5Trip-O-Meter: 3.75 out of 5
I suppose one of the strangest things about this collection is how addictive it is. This a relatively above average set of Irish folk rock. Typically, that wouldn't interest me too much, but this album does have a few aces in the hole. While it's squarely rooted in Irish folk, a few San Fran psychedelica hallmarks make an impact, with some of the male/female vocal leads coming across like Grace Slick and Martin Balin, as well as a few great acid guitar leads hiding away on the disc. It probably doesn't hurt that psychedelic/folk deity Joe Boyd was behind the boards as the producer. The drums in particular have an awesome, crisp sound.
While the band does stick mostly within the folk millieu, they do manage quite a few diverse sounds in that context making for a fine variety of sound on this album. 'Ballad of the Wasps' will likely become stuck in your head forever with its great melody. There are some distinct echoes of the Incredible String Band on 'Kilmanoyadd Stomp.' Although Dr. Strangely Strange doesn't quite match the manic minstrel vibe of the ISB, their result does seem more 'groovy' to me. The mostly instrumental 'Sign On My Mind' gives us a fabulous folky space rock jam. Maybe this is what mid 70's Floyd would have sounded like if they'd stuck with the folkier tunes from "More" or "Obscured By Clouds." I really dig the very pastoral instrumental of 'When Adam Delved' as well. The band finally blasts out some full-blown rockin' on "Mary Malone of Moscow,' which is punctuated with some fine acid rock guitar leads and a billowing organ.
This is definitely a top-self set of folk rockin' Irish style. I'd claim this as one of the highlights on Joe Boyd's resume. Come to think of it, I'd wager that this is more or less what the Essex Green (whose early albums we covered on this blog some time ago) was using this album as a template, especially as their sound and album cover wasn't too far removed from "Heavy Petting." Here's the gold though - it's more authentic and very groovy.
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