Happy End - 1971 - Kazemachi Roman

Quality: 3.25 out of 5
Trip-O-Meter: 3 out of 5


Happy End's second disc is pretty much their attempt the band's attempt to refine and crystalize their basic sound. It's a brighter and folkier affair than their debut, and I'd say that they seem more confident and both songwriting and playing. This doesn't necessarily mean that I think it's a better album however. Like the cover art you see, the music comes across as a lot more 'blah.'

What I really dug about the first disc was it's often almost tongue in cheek experimentation. It seemed to somehow mix the sound of a solid, but not completely inspired professional band and the sound of some very talented, but undisciplined kids making music in a garage. Here, the balance is more on the side of the competent, but less interesting band. In particular, the band seems to be exchanging their more psychedelic sounds for CCR rhythms and pedal steel channeled through the Eagles. Personally, I don't think that is a very exciting prospect, but maybe you do.

So this is a nice, solid album, even if not providing much variation; I guess you could say the same for a Poco album. You've heard "Kaze wo Atsumete" if you've seen the film "Lost In Translation," and it's most certainly responsible for Happy End's recent international visibility. If you dig that track, you'll find more to like here, although you should expect a stronger infusion of imported country rock on other tracks. Nothing really hits the peaks of the first album, but everything here is at a consistently "pretty good" level. I prefer tracks like "Haikara Hacuch" or "Taifuu," which shift to a more rock sound. Elsewhere, "Ashita Tenki ni Naare" is an extremely stange attempt at funk. Basically, you need to hear this album at least one, but my guess is that you'd play the first one a little more often.

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Happy End - 1971 - Kazemachi Roman

Happy End - 1970 - Happy End

Quality: 3.75 out of 5
Trip-O-Meter: 3.25 out of 5

Getting into popular world music is often a slippery slope. Of course you can always track down traditional and/or folk sounds and at least appreciate it. With popular world music, however, I feel musicians tend to take one of two routes. Most artists latch on to the sounds of best-selling American and British artists and copy it. Unfortunately, this falls victim to the law of diminishing returns, and woe to our ears for the artist that is using bad western pop as their template. Restoring my faith in humanity are the more select artist who still may use western popular music as their basis, but really try to incorporate something new and/or distinct from their culture.

Happy End is not one of the best bands I've heard, but they deserve some respect. In the 60's, Japanese rock tended to consist of instrumental 'surf' style bands and folks covering western rock songs or trying to write their own in often broken English (those wanting Japanese lyrics had to turn to the ultra-melodramatic Japanese pop called 'enka'). Happy End did draw a lot from light psych bands and sunshine pop in the west, but they carved out their own unique sound with some interesting production touches and sang completely in Japanese, often drawing their melodies from native folk ideas.

This debut is a solid psych/folk groover, with the band creating their own spacey atmosphere rather confidently. The disc starts well with the catchy "Haruyo Koi," but I think they saved their better material for the midsection of the album. The backwards swishes of "Tobenai Sora" signal a shift into more experimentation and stylistic shifts. This and the three following tracks could have made a perfect sundrenched Japanese psych EP. The band's eponymous track near the end is another folky winner starting of like Appalachian porch music in the middle of the Japanese Alps before shifting into a groovy marching rhythm. This runs into the weirdly experimental "Zoku Happyend," which closes the album.

For me, the big hook for this band is Takashi Matsumoto's vocals. Often coming as a double-tracked wall, Matsumoto usually sings in sort of a strange dispassionate tone. Yet, the emotions of the song still come through, even with a language barrier in place for non Japanese-speaking listeners. It's as if he is able to suggest emotion rather than express it.

While not the best psych album you'll ever hear, Happy End is a nice comfortable 36 minutes that is a distinctly different flavor from more western sounds and certainly worth a little of your time.

Buy Me:
Happy End - 1970 - Happy End

The Hollies- 1966 - For Certain Because...

Quality: 3 out of 5
Trip-O-Meter: 2 out of 5

This album came out in late 1966, and unfortunately the Hollies were a little behind the times. For Certain Because... has a lot more in common with the pure pop rock of 1965 than of the wild experimentation steady building to a Summer of Love explosion. The Hollies do attempt a few more contemporary production touches here, but they mostly fall flat on their face and leave the convention rockers here as the highlights.

For Certain Because... starts off strong. "What's Wrong With the Way I Live" bursts straight out of the gate with a strong composition and plenty of the immaculate harmonies that were the Hollies' trademark. "Pay You Back With Interest" was a deserving medium size hit and "Tell Me To My Face" has a slight touch of bossa nova that works well.

The Hollies then spend too much of the rest of the album uncomfortably trying out random styles. "Clown" and "High Classed" are dripping with that kind of 60's cheese that keeps forcing images of Davy Jones into my mind. Meanwhile "What Went Wrong" includes pompous orchestration that sounds like it belongs in a 1960's Vegas awards spectacular. By trying to stretch their sound they end up just sounding hopelessly square.

Not that there aren't some bright spots later on. "Suspicious Look In Your Eyes," "Peculiar Situation," and "Don't Even Think About Changing" are all solid pop, although I'd imagine that they sounded dated even in late 1966. The Hollies only manage to stay on the crest of the wave of musical change on the closing track "Stop! Stop! Stop!" It's the only track here that I'd actually rate as being psychedelic, and it's a harbinger of the next two albums where the band would find a lot more footing to expand their sound.

Also included on this disc is the non-LP "On A Carousel." It's another track that would have been a perfect track for 1965; meaning once again that it's a solid pop track, but has little new to offer. We also get the stereo and mono mixes of everything. I wouldn't say that there's much of a difference, although my personal pet peeve concerning extreme stereo separation is very present in the stereo mix. I prefer at least a little percussion in both channels.

Those looking for the more psychedelic sound of Evolution or Butterfly will only find small hints of that sound here. If you're cool with some B-list 1965-style folk rock, you should end up with a couple choice tracks from For Certain Because...

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The Hollies- 1966 - For Certain Because...

Shpongle - 2005 - Nothing Lasts... But Nothing Is Lost

Quality: 4.5 out of 5
Trip-O-Meter: 4.5 out 5


This is a damn fine album. Here Shpongle refines some of the atmospherics and world beat elements of Tales Of The Inexpressible and uses them to create a voyage more like their first album. The concept here is a series of dreams which equates to what I like to think of as some awesome audio paintings. Although there are 20 listed on the back cover, it's better to think of these as several long tracks, especially as there is no pause between many of the tracks.

Posfords guitars return here as do many of the female vocals and other worldbeat elements. But where the last album used these in a jarring manner that sometimes threatened to make these psychedelic explorers sound more like Deep Forest, everything here is fully integrated into the trance-inducing rhythmic structure. Of course Raja Ram is present to contribute some odd utterances and make sure things are properly twisted.

As far as I can tell, the first dream sequence is like a surreal trip to Rio, maybe a little fear and loathing during carnival. The second sequence makes me think of a flying dream, an out of body experience perhaps above the London skies. For the next sequence we have an encounter with ancient Mayan shamanic culture. The fourth sequence places images of a extremely technological future in my head; sort of a happier Blade Runner landscape. For the finale we get a sequel to "Divine Moments Of Truth," which sounds like another DMT trip to me, including a Ned Flanders sample from the psychedelic chili pepper episode of "The Simpsons."

Of course the beauty here is that everyone will probably come up with completely different images and interpretation. This is a concept as no concept, or perhaps an attempt to tap into the collective unconscious.

Shpongle's third album is a nice Roarshach Test. It's not enough to listen to this album passively. To really appreciate it properly you must imprint a bit of yourself into the music and listen actively and using your own imagination.

Buy Me:
Shpongle - 2005 - Nothing Lasts... But Nothing Is Lost

Shpongle - 2001 - Tales Of The Inexpressible

Quality: 4 out of 5
Trip-O-Meter: 4.25

Shpongle continued to inhabit their distinctive little musical niche on this 2001 album. Fortunately, they did not attempt to recreate the blueprint of their debut as many electronic acts tend to do. I don't think this is quite as good as the debut, but it is still quite impressive and manages a different feel.

While the first album evoked wild psychedelic trips through multi-dimensional space, this one sounds a little more like the hip tribal ceremony down by the beach. The tracks are somewhat shorter, focusing on a distinct vibe rather than the shifting canvases of the first album. Additionally, there is far more organic sounds here. Simon Posford breaks out his Spanish flavored guitar straight away on "Dorset Perception," and it turns out that his fine playing fits perfectly in Shpongle's music.

Shpongle does a great job matching atmosphere to song titles. "A New Way To Say "Hooray"" takes on a humorous bent as we listen to the almost plodding march-like rhythm. Raja Ram gets plenty of space for his strange exhorations and spacey flute too. Meanwhile, "My Head Feels Like A Frisbee" is set to a rhythm that seems to be sonically spinning, before it collides with a little space age mambo. The most 'epic' track here would be "Around the World in a Tea Daze." It shows some signs of Berlin school pulsing, but ends up throwing a wall of worldbeat sounds and vocals. Honestly, it probably comes close to the line of being a bit cheesy, which was never an issue on the first album. If you're ok with a couple symphonic synths and an occasional club beat, you'll be fine. Besides the song eventually glides into Raja Ram nice introspective "Flute Fruit," which closes the album.

I would definitely suggest picking up Shpongle's debut first, but if you find that the atmosphere is your thing, then Tales Of The Inexpressible will add some fuel to your musical fire.

Buy Me:
Shpongle - 2001 - Tales Of The Inexpressible

Shpongle - 1998 - Are You Shpongled?

Quality: 4.5 out of 5
Trip-O-Meter: 4.5 out of 5

Shpongle is a criminally underrated electronic psychedelic band which successfully mixes the sound of pulsing psychedelic trance, with first rate ambient atmospherics. Like Steve Hillage in System 7, Shpongle is the modern home for a former 60's underground psych musician. Raja Ram, formerly the flautist and vocalist for Quintessence, provides the personality and basic aesthetic for Shpongle, along with some flute and strange chanted vocals. Supporting him the more nitty gritty side of drum and sequencing programming, and synths is Simon Posford. The two apparently hooked up musically after witnessing a solar eclipse in India while tripping the life fantastic. That scenario pretty much sums up the sound of the album too.

Are You Shpongled? presents a very unique and interesting form of psychedelia. The tools here are made up of your basic late 90's electronic music kit, although with some nice organic sounds sprinkled in, but the aim has more to do with the 60's. Posford and Raja Ram seem to be attempting some sort of spiritual nirvana through their music, which I doubt the Chemical Brothers tend to try (even if they have managed several awesome electronic psych tracks).

The first half of this disc presents some relatively short songs (only 7-9 minutes!) that are a fine introduction to the world of Shpongle. There are lots of world percussion sounds, cool samples, and plenty of Raja's flute. I tend to view this as the prelude for the second half, however.

Starting with "Behind Closed Eyes," the album takes on a more epic bent. The 12 minutes track is like a voyage through a dance club slowly but shifting into a ayahuasca induced Peruvian forest. It's very visual music, especially if you follow the instructions of the title.

Even better, and the peak of the album is "Divine Moments of Truth." Pick out the initials and you'll find that this is a tribute to this strong psychedelic substance. Fortunately, the music does a perfectly fine job on it's own evoking the kaleidoscopic, multi-dimensional world beyond this one. The shifting beats, and vocoded and organic chants do an amazing job of pushing the listener through an auditory trip. Following this is the far more chilled out "...And the Day Turned to Night," which owes more than a bit to late 70's and early 80's Tangerine Dream synth epics, while still including Shpongle's own trance-like bent.

Shpongle's debut does a great job melding modern electronic beats and effect to music that aims for a 60's aesthetic. There's really nothing else that sounds quite like this band.

Buy Me:
Shpongle - 1998 - Are You Shpongled?

Mort Garson & Jacques Wilson - 1968 - The Wozard Of Iz

Quality: 3.25 out of 5
Trip-O-Meter: 4.5 out of 5

Occasionally, you run across an album that almost gives psychedelic exploitation a good name. This certainly rates in that category. What we have here is a positively strange combination of elements which tried to be completely turned on and tuned out, and failed to a certain degree. Yet, in it's failure it turned out so odd that it is still wildly tripped out.

Let's go for the negatives first. The whole "Wizard of Oz" overlay is pretty cheezy. Apparently, here Dorothy (who may or may not be voiced by Nancy Sinatra) is a Kansas kid who tries to become one of the groovy people and getting to where it's at, but ends up surrounded by her psychedelic new friends in a reality bending field of poppies. Yes, we get about every psychedelic cliche possible in 1968 thrown at us during the course of this album. Hopefully you'll find this naively charming as I did rather than annoying. More annoying for me are the voices of the Wozard, Scarecrow, and Tin Man. It sounds like they pulled Sid Caesar, Carl Reiner, and Milton Berle off of a Borscht Belt stage, hopped them up with 28 hits of acid each, and tossed them into the recording studio. Actually, now that I've read my description, you might dig it.

On the sunburnt side of the teeth (I got this fine descriptor from the album), we have an interesting pedigree running the show here. Jacques Wilson wrote the poetry for the Zodiac's Cosmic Sounds album, and the ramblings here are equally strange and amusingly cliched. "Blue Poppy" in particular gives us a truly deranged stream-of-consciousness ranting. The scoring here is also an interesting slice of early electronica. Here's a couple quotes I found just from randomly clicking around the album. Really, it's full of them:

"We have forgotten things that we've never known"

"I have to find out where my head belongs, and listen to the songs, the groovy people sing. I want to do my thing."

"Johnny is marching home again... and again... and again. No, not again!"


Mort Garson, the arranger of Cosmic Sounds, teetered on the edge of being one of those Moog pioneers who devoted their talents to those strange bleepy and bloopy easy-listening albums of standards that you can hear daily in Tomorrowland at Disneyland. Fortunately, this being facinated with exploitative psych, he juxtaposes this kind of easy listening side with some wild screaming synth sound and plenty of odd sound effects. Once again "Blue Poppy" is the freaked out six minute focus for all of this. We also have "Leave The Driving To Us," which comes across as a first draft of Pink Floyd's "On The Run."

I can't guarantee that you'll like this album, but you owe it to yourself to give it a listen. It's alternately embarrassingly cliched and mind-blowingly insane. Leave a comment and tell me what you think.

Kevin Ayers - 2007 - The Unfairground

Quality: 4 out of 5
Trip-O-Meter: 3.75 out of 5

A musical slacker in the best possible sense of the word, Kevin Ayers has apparently been lounging on the beaches of Spain for the past 15 years strumming these songs on his guitar. Someone fortunately heard the quality of these songs and has been occasionally shoving Mr. Ayers into the studio for the past few years. The final product is surprisingly prime Ayers and comfortably sits on the shelf along with his great late 60's early 70's psych/folk.

The production distinctly harkens back to the sound of "Joy Of A Toy." There's a extremely diverse and organic collection of instruments on "The Unfairground." Fortunately the glam/prog experiments of the 70's and the thin, uninspired sound of his 80's recordings are nowhere to be found here. If anything, the well-done orchestrations present here suggests "Sgt. Pepper's" or "Forever Changes." Still, this is just icing on the cake as the core of the tunes here really is just Kevin and his acoustic guitar playing some of his best written tunes since, uh, well... ever. Ayers' also manage to dodge any signs of aging in his vocals. The fellow is well into his 60's, but sounds pretty much the same as he did in 1969 (maybe there's a slight touch of gravel, but it sounds fine). I'm sure it helps that Ayers has always sung in a warm baritone rather than a soaring falsetto or something.

Even on the classic "Joy Of A Toy," Ayers often let his ideas overstay their welcome and threadbare constructions would drone on for five minutes. Here we have fully realized compositions, so the production serves the songs instead of the other way around. I'd be willing to say that what would make up the first side on vinyl ("Only Heaven Knows," "Cold Shoulder," "Walk On Water," "Friends And Strangers") is Ayers' best run of songs ever and is even able to stand side-by-side with a classic like "Forever Changes." The second half of the album loses a little steam, but "Wide Awake" logs in one more essential Ayers tune.

With the first side presenting some of the best tunes of 2007, "The Unfairground" isn't just a comeback, but rather a complete reinvigoration. Hopefully given a couple more years on Spanish beaches, Ayers will find a little more inspiration in the back of his mind and bless us with a follow-up to this fine album. If not, this is the perfect coda for an underground psych superstar.

Buy Me:
Kevin Ayers - 2007 - The Unfairground

Steve Hillage - 1977 - Motivation Radio

Quality: 4 out of 5
Trip-O-Meter: 4 out of 5

Now this is a horrific album cover. Apparently, the execs at Virgin Records decided that they wanted to market Hillage as some sort of new age Jesus figure, and I feel that this cover really reflects this. Fortunately, it does not effect the music inside, and if you get past the poor visual design, you'll find another solid Hillage album.

Once again, there are some changes here. Hillage had finally hooked up with a stable band (and still skilled) at this point, and Miquette Giraudy is now working her synth magic as a full member. To get an awesome dose of what she does, head straight for "Searching For The Spark." The songs here are also much more concise, giving Motivation Radio much more of a pop edge. It's a really happy, positive sounding album.

Hillage always came up with killer guitar riffs, and they work quite well in a more traditional song context. "Motivation" and "Saucer Surfing" in particular have some classic riffs. I like to refer to this stuff as sounding like the happy version of 70s era Pink Floyd. Feeling comfortable as a solo artist, Hillage references Gong a little more, especially in the goofy call and response of "Light In The Sky" and the Radio Gnome informed "Octave Doctors." He scores another great cover song too with the closing version of Buddy Holly's "Not Fade Away," which retains the Bo Diddley beat but injects the song with a cosmic vibe.

As a warning, there is a certain amount of cheese present here. Hillage's lyrics are often hopelessly new age naive, but he sounds so happy singing them that I can't help but forgive him. He projects a lot of joy in his music that glosses over some potential rough spots. There's also even more 70's white boy funk present here, but the band is more than limber and I think they make it through ok.

Motivation Radio may be the best introduction to Hillage. It retains most of his trademark sound, but serves it up in a more pop sort of context. As a result, Hillage's best compositions are present here.

Buy Me:
Steve Hillage - 1977 - Motivation Radio

Steve Hillage - 1976 - L

Quality: 4.5 out of 5
Trip-O-Meter: 4.5 out of 5

Let's try to ignore the terrible new age hangover cover art, L is where Steve Hillage really comes into focus as a solo artist. Giving him some focus is producer Todd Rungren, who also brought along a few musicians from his Utopia band. Also joining the band is Hillage's longtime girlfriend, Miquette Giraudy. She would eventually match Hillage's guitar with her cosmic synths, although here she is just providing some background vocals and playing something called 'Isis vibes." Still, this is the start of a great musical collaboration that continues to this day in their electronic act System 7.

Ironically, Hillage finds his own voice in part through a few covers, which bookend the album muc has the prog epics did on Fish Rising. He opens the disc with a phenomenal version of Donovan's "Hurdy Gurdy Man." Bypassing the proto-heavy metal crunch of the original, Hillage uses the track as a launching point for his echoing sonic explorations. The track eventually drifts into the sweeping pads and eventual climax of the original composition "Hurdy Gurdy Glissando." Closing the album is a cover of George Harrison's "It's All Too Much." This one is far less essential and somewhat closer to the sound of the original, but it's very pleasant.

Between these tracks is one of of Hillage's signature tracks, "Electrick Gypsies." It very much encompasses what will come to define the Hillage vibe, with soaring guitar, a slight 70's funkiness, and cheesy but earnest new age lyrics. Hillage's voice doesn't have much range and it's a bit thin, but he always sounds completely committed and I find his singing infectious. I don't think anyone else could sing this one without making it cringeworthy. "Lunar Musick Suite" is another prog epic, although slightly more condensed than the Fish Rising tracks at twelve minutes. Rundgren's production also helps a lot, giving the track the crisp sound it requires and more focus. His Utopia band mates fill in nicely for Hillage's missing Gong comrades.

I feel that L is the first real Hillage solo album. Here he carves out a sound that can recall his old bands, but also brings something distinctly new to the table. This is Hillage as the quintessential new age informed space rocker.

Buy Me:
Steve Hillage - 1976 - L

Steve Hillage - 1975 - Fish Rising

Quality: 3.5 out of 5
Trip-O-Meter: 4 out of 5

Steve Hillage was a phenomenal space guitarist (not that he's dead or anything; it's just that now he's more of an electronic guru) best known for being the axeman during Gong's prime, although he shines in lesser known projects such as Khan. In terms of sheer skill and interstellar trippiness, Hillage blows the far more famous space guitarist David Gilmour out of the water. For this particular niche of guitar music, Hillage really is the best there is.

This album was recorded while Hillage was still affiliated with Gong. The basic sound of this album seems to be an extension of Gong's You. In fact, he dragged along Gong drummer Pierre Moerlin, saxophonist Didier Malherbe, and bassist Mike Howlett along for the ride. This isn't to say that there aren't some major differences. While You drifts into extended grooves and synthesized ether, there is far more instrumental interplay and soloing here. I'd say that Fish Rising is much more of a tradtitional prog album than anything Gong ever did. For me, this is a tiny strike against Fish Rising as I'm not much of proghead, but it could very well be a positive for you. Also, a key component of earlier Gong is the strange humor of Daevid Allen and Gilli Smith. They are nowhere to be found here, and while Hillage has a quirky charm of his own, it doesn't come out as strongly in an atmosphere so reminiscent of Gong.

More annoying is the production. Hillage takes the production reigns himself, and while he would eventually become a fine producer, the sound here gets a little muddy. After hearing Moerlin's drumming with a crisp sound on Gong albums, it's a little disappointing to hear him smeared along the canvas. Keep in mind that this disc is very much a proper remaster, and is far from unlistenable, I just feel that this music would be best heard with a little more definition.

Songwise, the album is bookended by some prog epics. "Solar Musick Suite" and "Aftaglid" both clock in around 15 minutes and include some very extended instrumental sections. I prefer "Solar Music Suite" as it flows more and has a much less lumbering main riff than "Aftaglid." In the end though, both tracks tax my attention span a little bit. Sandwiched between is the short "Fish," the synth swirling "Meditation Of The Snake," and "The Salmon Song." "Meditation Of The Snake" recalls the more esoteric synth side of Gong's You, and that makes it winner in my book. "The Salmon Song" is a far more 'concise' prog rocker at eight and a half minutes, but it has the benefit of including a killer guitar riff.

I feel like Fish Rising was conceived more as a 'side project' to the mothership band of Gong. Hillage would sound much more committed on his second solo album after leaving Gong. Hillage did better soaring than grounded with a heavy prog sound. Just as a side note, I always get an image of midgets dancing around a tiny model of Stonehenge 5:44 into bonus track "Pentagrammaspin."

Buy Me:
Steve Hillage - 1975 - Fish Rising

Spacemen 3 - 1991 - Recurring

Quality: 3.5 out of 5
Trip-O-Meter: 4 out of 5

Recurring is really a Spacemen 3 album in name only. Once the 90's had rolled around, Sonic Boom and Jason Pierce's relationship had become so acrimonious that the two wouldn't even enter the studio together. In fact, I don't think they both appear on any of the album's tracks. Thus, we get sort of a weird double EP with Boom's tracks on side one and Pierce's tracks on side two. Even the backing is different as Boom uses some friends and a few folk that would follow him on to his next project, Spectrum. Pierce's backing is in fact the first line-up of Spiritualized. I guess Spacemen 3 simply had a contract to finish. Let's look at this as two separate collections.

I thought Sonic Boom supplied the better tracks on Playing With Fire (although only by a hair or two), but he sounds positively wasted here. Tracks like the opening "Big City," "I Love You," and "Why Couldn't I See" include some lame automated-sounding backing and a half baked 'Madchester' influence. Unfortunately, that influence comes through like a second-rate Inspirial Carpets. To add insult to injury, his vocals are a big cut below previous performances and he comes across as drug-addled bored rather than surreal and altered. With some different arranging and performances, these would've been a lot better. Maybe that's where Boom needed Pierce. I can't really say that for "Just To See You Smile," which appears in a vocal and instrumental version. Actually, it's a fine song with great production, but it was also a fine song with great production on Playing With Fire, where it was called "Honey" and sounded EXACTLY THE SAME.

Fortunately for this album, Pierce came in with his game face on. His tracks with the soon-to-be Spiritualized take the gospel vibe of Pierce's Playing With Fire tracks and amp up the production and dreaminess. With Boom out of the picture, Pierce goes for an airy, atmospheric drone rather than Spacemen 3's previous pulsing drone (not that there's anything wrong with a pulsing drone). Blessed with some great organic performances, this side of the album seriously contrasts with side a's badly programmed beats. The tracks on this side are uniformly great and serve as the not-so-missing link between Spacemen 3 and Spiritualized.

If you're new to this album, it would probably be in your best interest to skip to track 8 in case you have trouble stomaching Boom's songs. Or you might try the Mudhoney cover of "When Tomorrow Hits" on track 7 which harkens back to the Sound Of Confusion-era style. Mr. Boom manages to come through ok on that one.

Buy Me:
Spacemen 3 - 1991 - Recurring

Spacemen 3 - 1989 - Playing With Fire

Quality: 5 out of 5
Trip-O-Meter: 4.25 out of 5


Spacemen 3 finally live up to the space rock potential of their name on their third album, Playing With Fire. Excepting some programmed sounding drums, the band basically drops all conventional rhythmic structure, building songs of of pulsing, delayed, and droning guitars and synths. Most of the album creates a dreamy pad for the songs to float on, although we do get the buzzsaw drones of "Revolution" and "Suicide" to break things up.

At this point, the band was no longer projecting a united creative front, and it's clear that Sonic Boom and Jason Pierce were veering off in very different directions of psychedelia. Pierce's tracks like "Come Down Softly To My Soul" and "Lord Can Your Hear Me" are very dreamy, but seeped in old school R&B and surprisingly gospel. It's no coincidence that his later band would be dubbed Spiritualized, and the roots of that band are more than apparent here. Pierce's lyrics are surprisingly direct. Sonic Boom goes for a much colder sound, working with cycling drones and dispassionate, surreal vocals. Fortunately, on Playing With Fire these approaches compliment each other well and make the album all the better for it.

Everything on the proper album is quite good. As much as I enjoy Pierce's gospel-psych (which he would majestically perfect in his later band), it's Boom's strange droning that really does it for me here. "How Does It Feel" in particular takes the sound world of the earlier "Ecstasy Symphony" and gives it a little more definition and shape. The lyrics are somewhat cliched, but Boom's distant, unattached vocal gives it a few more layers. It's easily one of my favorite Spacemen 3 tracks. "Revolution" and "Suicide" adds distortion to the drones and basically tries to pummel your brain into a trance state. Once again, "Revolution" includes some strange lyrics, with Boom desperately pleading that revolution "takes only five seconds." It doesn't make any sense, but he sounds damn serious about it.

The opening track "Honey," is the only one that even tries to combine Pierce's and Boom's visions. With the vocals practically backshifting through time and an echoplexed sound, Boom's contribution is apparent. But unlike his other tracks on the album, Pierce's undercurrent of soul is also present. I guess they were playing nice that day (as they functioned mostly as bitter rivals by this point), and it resulted in one of the album's best tracks.

This disc is probably not the best introduction to this band, the Perfect Prescription is still a better place to start. Once you've attuned yourself to the sonic sphere of Spacemen 3, you may find that Playing With Fire is the band at their very peak. The kind of recent reissue includes a plethora of live tracks, demos, and a couple of random tracks. There's a Pierce-led version of "May The Circle Be" unbroken that is fun.

As a little note, the 4.25 Trip-O-Meter rating is basically averaging about 3.5 for Pierce's tracks along with the full 5 for Sonic Boom's tracks. The quality is obviously very high throughout.

Buy Me:
Spacemen 3 - 1989 - Playing With Fire

Spacemen 3 - 1987 - Forged Prescriptions

Quality: 4.5 out of 5
Trip-O-Meter: 4.75 out of 5

Forged Prescription is sort of an outtakes collection, with the core of the set focusing on alternate versions and mixes of the Perfect Prescription album. Typically outtakes suggest lesser or unfinished versions of songs. Here, however, we find the tracks adorned with additional production and coming across as arguable trippier. Supposedly the band did not issue these versions in the first place because they couldn't reproduce these versions live. Considering the fact that these guys haven't played a concert for more than 15 years, I now consider this version of the album to be almost definitive (in fact, I'll be skipping the Perfect Prescription for now as my disc is at my parents' house- unless someone wants to help me out with some mp3s).

Within the space of a year, Jason Pierce and Sonic Boom seemed to have sharpened their vision considerably, and this album is the Spacemen 3 sound in full blossom. Whereas Sound Of Confusion had a very dark edge to it, Forged Prescriptions is much more friendly and accessible album. These guys still come across as junkies as titles like "Come Down Easy," "Feel So Good," and "Call The Doctor" do little to refute, but the sound is far more textured and bright. It's sort of the reverse of the Velvet Underground's "Heroin." That song had a harrowing musical edge combined with lyrics about the ecstasy of drugs. Here, the lyrics are quite self abusing while the songs themselves float above the surface of the waters. Maybe Nancy Reagan's "just say no" crusade had at least a subliminal effect on Pierce and Sonic Boom.

The original album did have a superior sequencing documenting a blissful narcotic trip taking a eventual severe shift down (the album ends with "Call The Doctor," but it wouldn't be too difficult to resequence the tracks. I'd also replace the still good demo of "Come Down Easy" with the slicker produced version hanging out on disc two.

At this point, Boom and Pierce were still working together pretty well, giving the album a great unity. After the pounding fury of "Thing's Never Be The Same," starting off the album here in a far more swirling and intense mix, the album becomes quite a bit more chilled out, juxtaposing cloudy atmospheres with some wasted white boy blues.

The strange centerpiece of the album in my mind is the peak trip duo of "Transparent Radiation" and "Ecstasy Symphony" (unfortunately separated here; make sure to stick them back together). "Transparent Radiation" is a Red Crayola cover, although I consider Spacemen 3's take definitive. The band distills the Red Crayola's phased chaos for a truly interstellar atmosphere. "Ecstasy Symphony" takes it one step further, bringing the pulsing sound into an extended instrumental exploration of psychedelic bliss.

Among the extra tracks here are some also nice covers of Sun Ra's "Starship," and Rock Erickson's "We Sell Soul," which was originally played by Erickson's first band, The Spades. They aren't quite as inspired as "Transparent Radiation," but they are still quite successful. WE also get a few 'virtual' covers. "Ode To Street Hassle" is an original song, but as is apparent from the title, they are clearly attempting to channel. They also go for Reed on the Velvet Underground referencing "Velvet Jam," and "Soul 1," which always makes me think of the Velvet's "Booker T" jam. These last two tracks are more of instrumental noodlings, not in league with the A-list material, but still enjoyable.

My only real complaint here is the submersion of The Perfect Prescription album opener, "take Me To The Other Side." I guess they didn't have an alternate for this stellar track- it only appears in demo version on disc 2.

Although not a 'proper' album, Forged Prescriptions is Spacemen 3 at their best. They'd continue to make some great music after this period, but the personal and working relationship between Pierce and Sonic Boom would severely fracture after this. Here we get a unified Spacemen 3 at the top of their game.

Buy Me:
Spacemen 3 - 1987 - Forged Prescriptions

Spacemen 3 - 1986 - Sound Of Confusion

Quality: 4 out of 5
Trip-O-Meter: 4.5 out of 5

The 80's as many of you know harbored a psychedelic/garage revival. Solid bands like the Chesterfield Kings but out some very nice, although dated sounding albums reliving the raunched-out dreams of garage deviants. Spacemen 3, however, existed in a separate sphere. On their debut, Sound Of Confusion, the band clearly exists in a garage band line-up with bass, drum, a couple guitars, and sneering vocals, and they had the playing chops of your average garage band (which is to say not much). Conceptually though, Spacemen 3 were something else entirely and even here don't sound dated. On top of the garage compositions present on the album (originals and some choice covers), the band has adopted a Velvet Underground stomp and the industrial drone of bands like Suicide and Throbbing Gristle to basically create a new form of psychedelia. This is definitely evocative of the "bad trip" and a creepy narcotic buzzing. And it's all the better for it.

At this point in time, band leaders Jason Pierce and Sonic Boom were working very much in tandem and it's difficult to make out whose contributions are what. Their songs are relatively simple, but wonderfully direct. "Losing Touch With My Mind" is a great stomping opener which is as good an introduction to the group at this point as anything. Also standing out as a highlight is "O.D. Catastrophe," which lives up to it's name and is an early attempt at the band's epic drone.

Spacemen 3 also try their hand at a few cover tracks, stamping their own identity on the songs as a good cover version should do. They alter the 13th Floor Elevator's "Rollercoaster," eschewing Rocky Erickson's wildman wail and the pulsing electric jug for a narcotic rush. It's difficult to talk about this band without making drug references, as the band itself basically begs for them. They sound pretty seedy and dangerous most of the time. Girls, don't take these fellows home to mom; they'd probably have an overdose fit and then steal your jewelry to sell for more scag. Personally, I love their music, but I'd be scared to be in the same room as them (unless it's a concert hall) judging by the sound here.

They also do a fine version of the Stooges "Little Doll." It still sounds more like Spacemen 3 than the Stooges, but the desperate proto-punk sound of the Stooges is a little closer to what these guys do. I guess that the difference is that Spacemen 3 drain the song of it's swing and syncopation, focusing the song's rhythm like a needle into the vein (dammit! there I go again). There's also a cover of Juicy Lucy's "Just One Time" renamed "Mary Anne," but I have to admit that I'm not familiar with the original. The version here is pretty groovy on its own.

Stressing their arrangements as much as anything else, Spacemen 3 would often rework their songs in very different ways. Here we get an early version of "Walking With Jesus" from the same-titled EP as a bonus track. Later it would become a floating, acoustically interstellar track, but here we get it in a primitive sounding pummeling. It's not better or worse, just different, and very interesting. There's also the 17 long minute of "Rollercoaster" which adds some more sound effects, cuts out the drumming, and of course gives the listener far more time to succumb to the tracks distorted drone, if that's what you want to do. It's the best dose of Spacemen 3's trademark hypnotism present on the disc.

Spacemen 3 would perfect their very own form of psychedelia on their next two albums. The tracks here are a little more informed by the past, but as a good debut should, it provides a great entry point for the band. I think Sound Of Confusion is often underrated in Spacemen 3's catalog, but I feel it's just as essential as one of their great albums.

Buy Me:
Spacemen 3 - 1986 - Sound Of Confusion