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CD version of this post-Phantasia band that recorded about 150 songs on a 4-track machine during 1973/1974. The musical spectrum ranges from 2 minute psychedelic beat/garage tunes with harmony vocals, excessive fuzz reminding of the Seeds, Stooges, Yardbirds and Music Emporium, to distorted Zappa-esque hardrock and stoner acid folk. This issue contains 15 tracks and the first part of an extended biography.
Trizo 50 (post-Phantasia) added one new member on keyboards, Bob DePugh, the younger brother of drummer John DePugh. The band recorded about 150 songs on a 4-track tape recorder during 1973-74. A cross-section was released on a demo album (25 copies). The band introduction on this demo album says: 'Excuse the technical shortcomings. What we want you to notice are the songs, the sound, and the fact that we are exactly what the market is looking for, what the upcoming rock generation is looking for..' Listening to that album you will surely agree.
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By 1974, the line-up of the Texas band “Homer” was: Don Evans (vocals & drums), Chet Himes (bass), Van Wilks (guitar), and Galen Niles (guitar). This version of the band lasted for only a short while, as Van Wilks left to pursue a solo career (“Bombay Tears” - Mercury Records) and Chet Himes left to pursue a career as a recording engineer (“Christipher Cross”, “Ted Nugent Live”, etc.). After a brief time-out, remaining “Homer” members Galen Niles and Don Evans teamed up with Larry McGuffin (guitar), Scott Stephens (bass), and Tom Schleuning (drums) to form the group “Ultra”. They agreed that the music of Ultra would be a departure from the 3-part vocal harmonies and “mellotron” background characteristic of Homer’s music; Gibson Guitars plugged directly into Marshall 100 watt stacks blasting out twin lead guitars playing harmony and trading solos would form the basis of Ultra’s music. After several months of rehersal, they set about securing management. Not wanting to be labeled a “club band”, the group found management services in the form of a Texas rock-concert promotion company: “Stone City Productions”. Consequently, Ultra’s public performances were almost exclusively as the opening act for several touring bands popular at the time. Performing at this level gave Ultra a fair amount of audience exposure, but it also meant that their road expenses were very high; in fact, their “roadies” usually took home most what little money that there was. Three years of starvation and the creeping popularity of “disco” and “punk” music convinced the band mambers that the prospect of getting a hard-edged rock band off the ground at that point in time was not very good, and the group disbanded in 1978. These songs were recorded from 1976 - 1978 at United Audio Recording Studios in San Antonio, and were engineered by Bob Bruce. All songs were written by Niles, McGuffin & Evans
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Get out the lava lamp, love beads and granny glasses! This classic 1967 LP was recorded in NYC at the height of the Flower Power Movement. It features David Dalton and Victoria Sackville on vocals and many other musicians of the day in a free-for-all bun.
Recorded during the height of the Flower Power Movement, classic 1967 free form LP that features lots of sitars, chimes, harpsichord and other far out sounds. Even includes notes on how to spice up your parties using TV's, kaleidoscopes, and other "natural things"
Crazed and hilarious acid exploitation album that goes far out enough to become genuinely psychy, like a second tier Deep. One side is cheesy garage psych including the classic "Play your game", the other is 'meditation' featuring strange fairytales, Hare Krishna chanting, and more. The short spoken segment on Pebbles vol 3 that's puzzled many comes from this LP. A Canadian mono release exists.
01. I've Got a Zebra- She Can Fly
02. Play Your Game
03. Girl from Nowhere
04. Flora's Holiday
05. Love Supreme Deal
06. Prana
07. Electric Buddha
08. Hare Krishna
09. Parable
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New York born friend and protégé of Jimi Hendrix cut this album in 1972 supported by Presscot Niles and Tim McGovern(both of whom appeared on the Randy California Kapt Kopter LP)." versions of this album were recorded and this is the heavier of the 2 which retained the wild acid soloing in the mix.
Velvert Turner was apparently a friend of Jimi Hendrix's, and the Hendrix vibe on the album Velvert Turner Group is almost overpowering, right down to the fish-eye photo on the back cover. Turner's got great guitar tone and a playing style quite similar to Jimi. The songs are also similar to later-period Hendrix, circa First Rays of the New Rising Sun, but with some keyboards added. In fact, "Three O'Clock Train" starts out with a riff very close to "Izabella," then sounds more like "51st Anniversary" in the body of the tune. The really shocking thing, though, is how much Turner's voice sounds like Jimi. It's jarring, right down to the same vocal inflections. But it doesn't sound like imitation, it just sounds like they came from the same places. The songs are good, although not the equal of Hendrix's, but some of the guitar playing is great, with some good feedback and panning effects to boot. It's certainly derivative, but Jimi left so few official albums that this will be a welcome sound to Hendrix fans.
01. Madonna (of The Seven Sons) - 3.39
02. Talkin´´Bout My Baby - 4.00
03. Country Chicken - 2.48
04. Strangely Neww - 5.15
05. Scarlet Warrior - 3.33
06. Trhee O´ Clock Train - 5.09
07. Just Look And See - 4.23
08. Excuse Me, Gentlemen (The Fall Of Atlantis) - 4.27
09. (Love Rides) The Slow Swirling Seas - 3.36
10. Freedom - 5.49
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Their scarce albums can command hundreds of dollars from collectors across North America and Europe. Their mystique seems to grow by the year among their few but avid fans, to a level more befitting a stadium-filling supergroup. They are the Wilson McKinley, a West Coast guitar-based rock group who may just be the first Jesus People rock band.
They certainly were the first Christian rock band to be known in Washington, Alaska and throughout the Pacific Northwest. There were, of course, Christian solo artists who produced rock albums, but the Wilson McKinley is the first known band to come out of a secular rock and roll background and into the Kingdom of Heaven, name and all, bringing their instruments and rocking style with them. It is a long and fascinating story, with elements of legend and apocrypha that deserve a good sorting out.
For those blessed to have heard them in person or worked with them, this ongoing interest may be a bit unnerving. That is because the Wilson McKinley also tried to adopt a humble, self-sacrificing, "Whole Body Ministry" style that has yet to catch on in the current Christian music industry (more on that later).
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Yesterday & Today is the self-titled debut studio album by American hard rock/heavy metal Y&T, released in 1976 through London Records. Long out of print, in 2009 it was made available on the band's official website together with the follow-up, Struck Down, on a single CD.
Y&T (originally known as Yesterday & Today) is an American hard rock/heavy metal band formed in 1974. They hail from Oakland, California. The band released two studio albums on London Records as Yesterday & Today in the 1970s, before shortening their name to Y&T and releasing several albums on A&M Records beginning in 1981, as well as albums on Geffen Records, Avex Records, and others. The band was originally co-managed by Herbie Herbert (who also managed Journey) and Louis "Lou" Bramy. The band has sold over 4 million albums worldwide to date.
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Unreleased second album from the collectable UK progressive rockers. Mainly recorded in 1971, this contains the solid heavy rock - with fine lead guitar - that the band have become known for. On Certain songs zior used organs,harps & flutes making a variety of progressive/psychedelic inroads which become really noticable on the 6 minute epic 'Angel of the Highway'.
An obscure progressive/heavy rock group whose debut album has few memorable moments but has become quite collectable because of the label it's on. The vocals are poor, the composition's weak and the playing is ponderous. The pick of a poor batch are I Really Do, Za Za Za Zilda (also released as a 45), Love's Desire and Oh Mariya, but all four were in a similar, rather flat, heavy rock style.
The See For Miles album reissue includes five previously unreleased tracks from a second projected album which never saw daylight. The best of these was Strange Kind Of Magic, which had a good voodoo beat and some distorted guitar. Overall, they were stronger than the material on the original album. Cat's Eyes had some decent heavy rock guitar riffs. The CD featured three additional tracks to the album but I can only really recommend this to Zior and Black Sabbath fans.
Zior had their roots in Southend's early sixties R&B scene. Kevin Bonsor had previously been in a local R&B outfit, The Essex Five, and then classical/rock fusion outfit, Cardboard Orchestra. Pete Brewer had been in another Southend R&B band, The Night Riders. He and Bonsor were Zior's founding members recruiting Truba and Skeels (who'd once played in a London band called The Bum) via a 'Melody Maker' advert.
Zior did have a reputation as a wild live band. They were heavily into Black Magic and Satanic Mass etc. They recorded an album on the Beacon label, later in 1971, which was credited to Monument, though in fact it featured all four members of Zior.
Pete Brewer eventually ended up a successful musical instrument/equipment dealer in Southend. Skeels sells dress jewellery in his native Newcastle. Bonsor worked for many years as an engineer/producer at Tin Pan Alley Studios and also became a dee-jay in the late seventies, hosting 'Capital's Big Night Out' at 'The Lyceum' in London's Strand.
01. Entrance Of The Devil
02. Chicago Spine
03. Have You Heard The Wind Spear
04. Time Is The Reason
05. She'll Take You Down
06. Dudi Judy
07. Strange Kind Of Magic
08. Ride Me Baby
09. Evolution
10. Every Inch A Man
11. Cat's Eyes
12. Suspended Animation
13. Angel Of The Highway
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Reissue of a fantastic Californian psych-based only released in 1969 as test pressing (was planned to be released on A&M label but never came out); it had this real 'west coast' guitarsound like Jefferson Airplane, Moby Grape, some folkrock passages ala Fairport Convention but also some exotic hippie atmospheres ala Traffic Sound; great alternate male/female vocals not unlike Balin/Slick but also crystal vocal passages ala Sandy Denny.
Underground masterpiece from this mystic folk band out of California. Recorded in the early 70s, it's never been released & test pressings are collector's items. The singer Clara Miles had a voice similar to Grace Slick, especially on the acoustic tracks. Gatefold sleeve.
01. Empty Room
02. Changing Seasons
03. Tell Me
04. Forgotten Bridge
05. Parade
06. Sandwiches Rock 'N' Roll
07. Lost Youth
08. Ballad Of The Spirit Of The World
09. Final Song
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Reissue of the 1970 solo debut by the drummer for English psych/ prog rock act the Pink Fairies. Twink recorded the album with Paul Rudolph and T. Rex's Steve Peregrin Took.
Reviewer:"fee_mercury_moon" (East Sussex, England, United Kingdom)
This Album was in its time totally ground breaking. Even now it still sounds pretty ground breaking. Read the other reviews for the details of the album - but don't under estimate the input from Steve Peregrin Took to this album's uniqueness. Took was still with Tyrannosaurus Rex when he recorded this with Twink and when Bolan found out he was furious and this was a contributing factor to the sacking of Took by Bolan and Da Management. Took was sacked before the US tour but contractually obliged to go ahead with it. Little wonder then that he chose to go to the Think Pink end of recording party at the Speakeasy and overslept the following morning when he was supposed to be flying to the US! So do a search for 'Steve Took'.
You'll find 'Lone Star' which is his work with Larry Wallis in Shagrat. The 'Missing link to Tyrannosaurus Rex' reissued as 'Crazy Diamond' which are spacey, stoned home recorded sessions with various Pinks and (a very high probability) Syd Barrett (Took recorded with Syd in 1968 and remained friends with him long after Syd had gone into seclusion) and a new release "Blow It!!!" which is Steve Took at his electric finest with his band `Steve Took's Horns'.
01. Coming of the One
02. Ten Thousand Words in a Cardboard Box
03. Dawn of Majic
04. Tiptoe on the Highest Hill
05. Fluid
06. Mexican Grass War
07. Rock and Roll the Joint
08. Suicide
09. Three Little Piggies
10. Sparrow Is a Sign
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Truly experimental Psych/Rock/Pop album from 1967. Featuring some very good garage, psych, and British Invasion sounds. Fuzzed out guitar, great vocal harmonies, and some really bizarre background sounds.
Fantastic garage psyche from The Tormentors -- raw and rollicking, with sweeter moments, too -- getting off a number of modes this one album, which would make a lesser group sound aimless -- but they manage to pull it all off! Some tunes have a raw, no frills garage sound, others have sweeter, but still kinda gritty melodic vibe with some organ in the mix, and still others steer towards moody psychedelia.
This adventurous, garage-tinged LP from America's 1967 underground gets its first reissue since the EVA-LP from the 80s. On offer are delicious psych and British Invasion influences, fuzzed out guitars, great vocal harmonies, and some really bizzare background sounds!
This fascinating outfit, from L.A., put out one LP that encompasses a variety of influences and styles from frat-rock, British Invasion-style beat, folk-rock, Everly Bros style harmonies to garage fuzz-rockers. Highlights of this eclectic platter for garage fans are: the frat-fuzzer Black Coffee; garage punkers Blue Blooded Lady and 'Cause You Don't Love Me (the same songs as by The Odds And Ends on Boulders, Vol. 2 and Garage Punk Unknowns, Vol. 3); a good cover of The Beau Brummels' Still In Love With You Baby, and the cool beat-ballad She's Gone with its Jaggeresque intonations. [Various Sources]
01. Didn't It Rain
02. Capricious Lolita
03. Blue Blooded Lady
04. Childhood Memories
05. Still In Love With You Baby
06. What's Goin' On
07. Black Coffee
08. She's Gone
09. 'Cause You Don't Love Me
10. Hey, Hey, Little Girl
11. It's Not Over
12. Sounds Of Summer
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The Standells are a 1960s garage rock band from Los Angeles, California.
The band was formed in 1962 by guitarist Tony Valentino and organist Larry Tamblyn. After the addition of vocalist and drummer Dick Dodd and bassist Gary Lane, The Standells' had their first hit single with "Dirty Water," which reached #11 on the Billboard Hot 100 on June 11, 1966.
Other popular tracks included "Sometimes Good Guys Don't Wear White" (later covered by Washington, D.C. hardcore band Minor Threat, Swedish garage band The Nomads and The Cramps in their live sets around 1982), "Why Pick On Me," "Riot On Sunset Strip," and "Try It."
Earlier in the 1960s, Dick Dodd was the original drummer for The Bel-Airs, known for the hit surf rock song "Mr. Moto". Dodd is also a former Mouseketeer. Larry Tamblyn is the brother of actor Russ Tamblyn and uncle of Amber Tamblyn, star of Joan of Arcadia. Lowell George, who would go on to play with Little Feat, briefly played guitar in The Standells prior to their breakup in 1968. Gary Walker, later of The Walker Brothers, was also a member of the band.
Prior to their success on the Capitol Records label Tower, in 1964 they signed with Liberty in 1964 and issued three singles and an album, The Standells In Person At P.J.'s. The following year, they recorded one single for Linda Records (crediting Larry Tamblyn & The Standells), and by 1965 they had signed with Vee Jay for two singles. They also released one single on MGM that year. Stylistically, the band was mostly a live covers band with some California surf material.
It was not until they signed with Capitol Records (Tower) and utilised record producer Ed Cobb that the garage/punk style crept in. When they signed to Capitol, their first single on Tower was "Dirty Water", which became a hit, although it took some time for the single to break nationally. Subsequently, Liberty issued one single from the Liberty album and put it out on their Sunset label (one of the few singles issued on Sunset).
The group appeared in several low budget films in the 1960s, including Get Yourself a College Girl and Riot on Sunset Strip. The Standells also made an appearance on the television sitcom The Munsters in the episode "Far Out Munster," wherein the band performed "Come On and Ringo" and a version of The Beatles' "I Want to Hold Your Hand."
Despite the references to Boston and the Charles River in "Dirty Water," The Standells are not from Massachusetts. Nevertheless, "Dirty Water" is still played after every home victory won by the Boston Red Sox, Boston Celtics, Boston Bruins, and Northeastern Huskies hockey games. The song was written by the band's producer, Ed Cobb, who hailed from New England, and the Boston and Charles River references are reportedly based on an experience of Cobb and his girlfriend with a mugger in the mid 1960s.
In 1999, the original band members got together for a live show at the Cavestomp festival, and their performance was subsequently released as an album called Ban This!
The band continues to play shows occasionally, having performed at the second game of the 2004 World Series as well as the first game of the 2007 American League Division Series at Fenway Park. The Standells are also scheduled to play in London, England, on June 19, 2010.
01. Medication
02. Little Sally Tease
03. There Is A Storm Comin'
04. 19th Nervous Breakdown
05. Dirty Water
06. Pride And Devotion
07. Sometimes Good Guys Don't Wear White
08. Hey Joe, Where You Gonna Go?
09. Why Did You Hurt Me?
10. Rari
11. Why Pick On Me
12. Paint It Black
13. Mi Hai Fatto Innamorare
14. Black Hearted Woman
15. Girl And The Moon
16. Mr Nobody
17. My Little Red Book
18. Mainline
19. Have You Ever Spent The Night In Jail
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The Zodiac, the greatest semi-band in the world? This little piece of work is their only album together, though many of them had and would work together again in other stuff. Anyhoohas, the music is excellent, and the narration is...we, the narration is utterly 60s. It says "Must Be Played In The Dark" on the cover, and that's approporiate, but for the words, an additional "Must be Played While Stoned" would be nice. Cyrus Faryar has a cool voice, but Jac Wilson's words are so dated and sound so silly now that it sounds totally absurd. My dad laughs every time he hears the words, expecially "six men and six trees" on Taurus.
The Moog is hot stuff on this one. PaulBeaver blows off some sweet riffs. Emil Richards shows off fine percussive tricks, Hal Blaine shows fine drumming, finer than any of his session work. Carol Kaye has some fine bass goin' too. Bud Shank can creep you out with his flute work, Nobody knows the guitar players' names, which is sad, 'cause they give this a hot California acid rock feel that makes me wonder when Grace Slick will jump in. Wilson's poetry sounds pretty Jim Morrison also!
Highlights:
Leo-Lord Of Lights, this is the happiest song on the album. Real coo, guitar funk there!
Taurus-The Voluptuary: Heavy Metal synth blasts the opening riff into youe ears and some creepy flute keeps you goin.
Sagittarius-The Versatile Daredevil: Circus music gone mad. Swirling sythns tricks and Cyrus's slightly crazy vocals make this worthwhile
Capricorn-The Uncapricious Climber: More creepy flute and some exotic synth make this is cool little piece of ghost rock.
In my personal list of the Ten Best Rock Albums, this is right there at ten! Believe me, the narration is a bit silly, but the voice si cool and the music is top notch! This is one truly forgotten classic.
01. Aries -- The Fire Fighter
02. Taurus -- The Voluptuary
03. Gemini -- The Cool Eye
04. Cancer -- The Moonchild
05. Leo -- The Lord of Lights
06. Virgo -- The Perceptual Perfectionist
07. Libra -- The Flowerchild
08. Scorpio -- The Passionate Hero
09. Sagittarius -- The Versatile Daredevil
10. Capricorn -- The Uncapricious Climber
11. Aquarius -- The Lover of Life
12. Pisces -- The Peace Piper
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More goodies again from Sequel who once again have issued another batch of rare CD's from Holland Dozier & Holland's label pairing of Hot Wax/Invictus. This time the rare CD from the Politicians gets a timely UK release. Fronted by McKinley Jackson this set could easily be fit into the current blaxploitation category with its early 70's wah wah style of guitar playing so reminiscent of the soundtracks of Isaac Hayes and Curtis Mayfield of the day. Best example check out the superb guitar playing on the track entitled 'Church'.
The Politicians were the house band for Hotwax/Invictus and their style of playing is so evident of the big hits of the label by the likes of Chairmen of the Board/Freda Payne/Honeycone/Laura Lee etc. Not an album for dancing, mind you it does include the instrumental version of 'Love Machine' which back in 1971 was my top floor filler at Manchester's Jilly's nightclub in Gore Street, where nothing could topple it from being the most requested single for almost three months. The vocal version featuring Jackson is here too.
If you prefer your music a little gentler then check out the gorgeously arranged 'A Song For You' which could match Isaac Hayes' 'Ellie's Love Theme' any day of the week. A truly amazing arrangement and must surely rank as one of the best tunes on the set.
The 'Politicians Theme' takes you on an instrumental journey again and another tune that could have been another 'Across 110th Street' for example. Classic blaxploitation at it's best. If your looking for a Hot wax CD full of dance hits then you will be disappointed, however if you want a really class album that gives the listener the best of what was on offer at the time from these now famous labels then this is a must purchase. Worth the price alone for Love Machine in it's instrumental form.
This is one of those albums you have to walk into. I had never heard of this band, nor of McKinley Jackson. But I am glad I bought it waaay back in 1999. This is pure, unadulterated hard heavy funk in the style of early Funkadelic, early Ohio Players and those sadly underrated soul bands out of the Invictus stable (100 Proof Aged in Soul, Flaming Ember).
The Politicians were in fact the Invictus house band and trombonist McKinley Jackson was in practice its head. This album, originally released under the title "The Politicians featuring McKinley Jackson" in 1972, came into being after Jackson's contact with Funkadelic - he can be heard on Funkadelic's 1971 tune "Back In Our Minds". Impressed with George Clinton's entire Thang, he wrote and recorded "Psycha-Soula-Funkadelic", a heavy funk track washed in psychedelic gimmicks.
But it are the lesser known instrumentals that really appealed to me. "Church", for example, is gutbucket funk at its best, with the uplifting leit motif and fatback horns.
The most wonderful piece here, in my opinion, is the terrific "Free Your Mind", with the superb funky drumming (Zachary Slater) and a guitar line that is so nasty it hurts. Incidentially, "Free Your Mind" was in fact a R&B Top 30 hit for the Politicians.
But each track is a revelation. There's a hint of Sly Stone in "Speak Your Mind", a touch of fuzzed-up Motown with "Love Machine" and hardcore James Brown FONK with the stupendous "Big Mouth"... the horninfested outro is pure gold.
Get this while it is still in print. If you're into early '70s heavy funk, you will want to give the Politicians a try! (Reviewer: Deyna.K "deyna70" (Netherlands)
01. Psycha-Soula-Funkadelic
02. The World We Live In
03. Church
04. Free Your Mind
05. Everything Good Is Bad
06. A Song For You
07. Speak On It
08. Funky Toes
09. Politicians Theme
10. Close Your Big Mouth
11. Love Machine - Vocal
12. Love Machine - Instrumental
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Released 1968 on Acta
Reviewed by The Seth Man, 4th September 2001ce
“When The Other Half records, all their amplifiers are turned to maximum volume…it is the hope of The Other Half that you enhance your enjoyment of this record by playing it at least once at FULL VOLUME.”
-Anonymous original liner notes to “The Other Half” (1968).
Despite the cover looking like every inch a typical San Franciscan 1967 cash-in after the fact like the cover of the “Revolution” soundtrack, The Other Half’s sole album contains awesome incendiary rock performed with amplifier knobs glued to the most clockwise position available, and there they stayed for the duration. Of their five singles, all but the first (the legendary “Mr. Pharmacist”/”I’ve Come So Far”) were on the Acta label and of those four, all but one B-side (“No Doubt About It”) provided the bedrock upon which a further two tracks were recorded, creating an album with a running time just squeaking under 28 minutes. But for all its brevity, an inordinate supply of elevating mind destruction prevailed, most of which was provided by the guitar work of Randy Holden. Already more than halfway on the road between his previous group and side 2 of Blue Cheer’s third album, Holden had been continually pushing the sonic envelope as his forays into controlled feedback, sustain and pure channeling of power through volume nearly blew all the fuses as his extraordinary battery of customised pedals and amps wove sound into towers of near-uncontrollable feedback, howls and unending lines of sustain. Oh, Holden steps out in a most roughshod manner here, despite the album’s straight-jacketing record company hi-jinks like adding fake audiences to the first two tracks. As the liners explain, they took the advice of engineer Leo De Gar Kulka, and “faithfully duplicate their live performance such as at The Avalon Ballroom in San Francisco, where they draw ‘turn away crowds.’” It’s about as fake as Jack Nicholson’s ponytail in “Psych Out”, and the first track that suffers from this clued-out direction is “Introduction”, where a snootful of snot comes shooting from vocalist Jeff Nowlen, Holden joining in on second vocals on a wooden “call and response” routine which quickly breaks down into laughter and an exchange of words. Holden then quietly informs Nowlen after his harmonica solo that he’s in the wrong key, and It’s clear they’ve already given up with playing along with the charade, so they sneak in a final exchange that probably sent ol’ Leo De Gar Kulka’s blood pressure skyward:
“Ain’t gonna say it!”
“Every time you sing it --“
“--Clap hard.”
“I don’t want the clap.”
(Wild applause)
Just as the torrential downpour of Beatlemania screaming ensues into the red, OH NO…
The album really begins from this point on as the group have now hurtled themselves headlong into a blistering whirlwind of Arthur Lee’s unissued classic, “Feathered Fish” (which for some reason is credited to Country Joe on the album). Holden has now unhitched his guitar from the main wagon train and is now running rampant on a steed of his own in true longhair noise mongering fashion with no apologies at all. Following is “Flight Of The Dragon Lady”, opening with a jaunty bass line and lightly-tapped drums’n’cymbals when -- WHOOOM!!! -- right into another Golden Holden Opus of ultimo sustaino, navigating completely controlled, earsplitting guitar through hairpin back alleys of silence with a super-slowed grace that manages to JUST FIT the tempo and what the rest of the band are doing. If anyone else had blinked for even one millisecond, it would’ve fallen apart, but Holden just keeps reigning it in with a lot of space, control and even more volume. He hits a note in the middle section break that is placed sonically somewhere between the lowest foghorn and the worst public fart never lived down. It’s a wonder someone had not only the ability or desire to play that, but got it down as early as Holden did. On record, no less. But it just gets better…
Despite its title, “Wonderful Day” is a first Love LP moody downer with its heart planted firmly in the ‘66 greaser tradition of beaten-off women frustration. And I’m frustrated, too, because Holden has temporarily suspended all fuzz and sustain monopolization for the time being. But he returns like he never left for the penultimate outing of side one, “I Need You”. A freakin’ high-energy releasing shit storm whose opening is a ’65 live Who guitar and drum freak out/destructo-barrage, it settles into an immediate course into the late night railroad junction of “Baby, Please Don’t Go”. Except here Holden releases a stentorian double slash of guitar after every line as accent AND IT IS LOUD AS ALL FUCK. It’s so sawtoothy and savage, it applies even more of a crunch as vocalist Nowlen has taken to enunciate ala Mick Jagger during his highly affected “Lady Jane” fop period. It works hilariously well as the vocals are pitched high in the mix as the now adenoidally-endowed Nowlen is issuing forth the word “way” like “WAUHHHYY” in yet another woman’n’frustration epic, encased in a flower punker with Holden operating like he’s already in Blue Cheer, tugging constantly on the sleeves of his compatriots to kick it out even half as brutally loud and sloppy. He then raises the stakes to unbelievable heights with a solo accompanied by nothing but vertiginous drum rolls into a resounding fury-fuck of all time. The freakily titled “Oz Lee Eaves Drops” opens with tight, hammering drumming that serves to shore up Nowlen’s proclamations of unearthly powers (“I can bring the sun up/Yes, and I can turn the tide”). Everything cuts out for a sudden, near-random harmonica and guitar interplay except those moronic insistently, non-stop spazzaroo drums. Finally, Nowlen states “Only I can get you high!” and repeats it during the stuttered ending, guffawing up a storm in all certainty because that quip probably sent old man De Gar Kulka’s hypertension to hover even above the decibel level of Holden’s amps.
“Bad Day” begins the second side, almost an “answer song” to the previous side’s “Wonderful Day” bum-out as it runs at a carefree clip, sunny and clean being the forecast for this particular sublimated “Satisfaction”-riff out, with extra fuzz guitar snarling-age thrown in for good measure. “Morning Fire” opens with a bass line all tippy-toes creeping in the dark and set against a bleeping UFO signal with military snare work. Holden’s ringing playing is as loud as it is downered, adding to the wandering loveless in the wilderness scene, complete with the mantra-like chorus: “I sat in front of a morning fire/With the kindling of our love/I sat in front of a morning fire/With a burning moon above…” The fragility of the vocal delivery and the ringing, rippling guitar lines create a piece of gruff punk that is supremely transcendental. The album concludes with the elongated “What Can I Do For You”, subtitled into two sections, “First Half” and “Other Half”. An initial rallying cry of “HEY!” bursts in as the band is already into their slow, druggy sexual come-on piece. Like a hornier, hashish’ed and altogether heavier “Viola Lee Blues”, it grinds on throughout the more vocal based “First Half” segment. A short silence demarcates the beginning of “Other Half”, the “half song” that wasn’t included on the single version because of its length and harrowing guitar penetrations. The drums scatter fill and the group have taken it WAAAYY down. And Holden’s guitar is WAAAYY up, and this indelicate balance allows him to wrench out a sonic run-on sentence of outbursts that send vibrato, howling sustain and plain NOISE riffing to rebound left, right and centre, almost irregardless of what the rest of the band are playing. When the vocals return, Holden mimics them on guitar and soon chases them down a wormhole of abstractions. He’s breaking in his bucking bronco guitar, and it’s not giving in a single inch although it’s rearing up on its hind legs. When the final build erupts, he is conspicuously absent…that is, until the final, circuit-breaking feedback howl that ends the album and must’ve sent all three of their co-producers scattering from the studio in
record time. Perfect.
01. Introduction - 1.53
02. Feathered Fish - 2.30
03. Flight of The Dragon Lady - 2.29
04. Wonderful Day - 2.16
05. I Need You - 2.41
06. Oz Lee Eaves Drops - 2.27
07. Bad Day - 2.14
08. Morning Fire - 2.32
09. What Can I Do For You (First Half) - 2.42
10. What Can I Do For You (The Other Half) - 6.48
11. I´ve Come So Far (Bonus) - 2.22
12. Mr. Pharmasist (Bonus) - 2.30
13. No Doubt About It (Bonus) - 2.36
14. It´s Too Hard (Without You (Bonus) - 2.13
15. I Know (Bonus) - 2.41
1.
https://rapidshare.com/files/1302102851/Other_Half.rar
or
2.
http://uploadmirrors.com/download/E3RTUS9L/Other_Half.rar
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Size: 126 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
THE MISUNDERSTOOD
It was late 1966, and Fontana Records had assembled several dozen members of the press to hear the label's newest and most adventurous act at its London headquarters. The Misunderstood had just blown the audience's mind by running through a set of songs that took the psychedelic explorations of the Yardbirds to new heights. Monstrous feedback dovetailed with shimmering Indian-flavored melodic passages; Glenn Ross Campbell coaxed all manner of dive-bombs and eerie tidal-wave sustains from his steel guitar. But the band had one last trick up their sleeve.
"We pulled out an envelope," remembers Campbell. "We said, 'There's a piece of paper in the envelope with a word written on it. What we want you to do in this next song -- if you want to call it that -- we'll play for approximately six minutes, and then we're gonna ask you questions about what you heard. And what we want is, basically, your feelings -- what the song made you feel like, or makes you think of. We're not interested in whether you think it was too loud or too long. We're not interested in a critique. We just want to know what you were feeling.
"At the end, we asked three or four people. One person goes, 'I kept getting flashes of when I was a kid in my father's apple orchard or something.' The next one goes, 'I had a craving for applesauce.' We did about three or four, and they were all spot-on. So we open the envelope, and of course the word in the envelope was 'apple.' One way or another, everybody we talked to, their feelings or thoughts were centered around apples. Oh, man -- the flashbulbs went off, and some women started screaming, yelling out, 'They're witches! They're witches!'"
If the Misunderstood were indeed witches, they were sorcerers of the most benign and progressive sort, using their extraordinary powers to smash the outer limits of psychedelic rock, expounding a message of love and possibility. Their supposed supernatural powers, however, could not prevent a few external Blue Meanies from breaking up the party almost before it had started. In early 1967, the Misunderstood should have been standing alongside Jimi Hendrix, Pink Floyd, and others as the greatest newcomers of the just-blossoming psychedelic scene. Instead, the group had suddenly and irrevocably dispersed, unable to keep playing together in the face of insurmountable obstacles placed in their paths by both the American and British governments.
Just two years before they seemed poised to become underground heroes in London, the Misunderstood were a struggling American garage band, finding what work they could in Riverside, California. Evolving from a surf combo called the Blue Notes, by 1965 they had added lead singer Rick Brown and begun writing material in the spirit of blues-based British Invasion heroes like the Yardbirds and the Rolling Stones. An acetate from around this time (some of which can be heard on the Before the Dream Fadedreissue) shows them to be an above-average garage act, caught in the transition between surf music, Del Shannon, and the Animals. There was little to indicate that they were any more special than hundreds of other similar bands across the U.S.; being based a good 50 miles of so from Los Angeles meant that they were unlikely to attract any attention from the music industry.
The arrival of Glenn Campbell (no relation to Glen Campbell the pop star) helped the band find a much more startling direction. Campbell had already played the swooping, ear-catching steel guitar leads on an instrumental single by the Goldtones, "Gutterball," now considered a cult classic in its own right by surf collectors. Always looking for new sounds -- "the steel for me was just a big experimentation," to be used "in every way conceivable" -- Campbell was asked to audition by the Misunderstood, looking for a replacement for recently departed guitarist George Phelps. Used to getting physically beaten up for bringing a steel guitar to rock group auditions, Campbell made sure he was heard by bringing along eight or so of his own friends to stymie any threat of physical attack. He needn't have worried -- after just one song, he was in.
Campbell brought not only a new instrument into the group, but new influences as well. His eclectic tastes extended beyond rock and blues to Indian ragas, Library of Congress recordings of tribal New Guinea music, and African songs with cycles that wouldn't repeat for minutes on end (as opposed to the usual four measures or eight-bar repetitions found in much pop music). "Usually I would meet with resistance from most bands I'd been with," says Campbell. "But with Misunderstood, there was none of that. They were fascinated, much as I was. They were willing to try anything. There was never any of the usual sort of ego paranoia. They'd take a chance of looking like a fool just to try something new."
While remaining fairly blues-based, the group began to improvise and experiment with amplification and guitar effects in a manner reminiscent of the Yardbirds, who were, Campbell noted, "almost to us like a kindred spirit." An obscure single of blues numbers recorded by the Misunderstood in their Riverside days betrays relatively little in the way of daring approach. Unreleased demos of "I'm Not Talking" (based on the Yardbirds version), however, are startling even today, with their shrieking banshee steel guitar leads, blistering raga runs, and extended bouts of feedback. Campbell points out that it was all but impossible to find old blues records in the States in those days, meaning that they had to be learned by playing them over and over at the house of a friend who had a big collection. "That's also partly why we never copied anything exactly. Because we didn't have it to copy. That's another thing that led us to be a little more original, because we didn't have any choice. Our memories weren't photographic enough to copy 'em directly."
Southern California didn't know what to make of a group that would literally leave the stage for extended periods to let their instruments feed back on their own. Even on rare trips to Los Angeles, says Campbell, "The audiences just didn't know how to take it. They came to a standstill, would stare, mouths hanging open." Part of the thrill was the sheer novelty of seeing a steel guitarist set up his equipment in a hard electric rock combo -- "it looked weird, sounded bizarre, and added greatly to the uniqueness of the band. Most kids didn't know what it was. I used to hang sort of joke packets of potato chips and those little beef sticks off my guitar on strings and sell them at gigs."
Glenn pushed things into a different dimension by asking some engineers he knew to construct a light show of sorts, well before such accoutrements were common at rock concerts. "I wanted to make a unit which, as you play, would be assigned three primary colors. It would divide the musical frequencies up to those colors, and pulsate the lights accordingly. We were told it was impossible to make at that point. But I refused to give up, so I got some motorcycle light bulbs and car tail lights, hooked them up with guitar jacks, and stuck them into the external speaker connections of our amps.
"And lo and behold, they worked like a charm. They weren't color, but they were white, and as you played and got louder, they would ebb and flow with the volume and frequency range. We tried it at rehearsal with the lights out at my mom's house in the living room, and it was great." When it came time to debut the contraption in front of an audience, "We got the instruments feeding back, and left the stage. The way we did it, they would just go on indefinitely. The feedback would go into harmonics and octave changes and so on. It was quite eerie in itself. But when you combined that with these lights, it was a really bizarre effect. The lights were going up and down, [the audience's] faces would come into focus and stuff, and they were absolutely hypnotized, stunned, just standing there. We thought, man, we've stumbled onto something here. From that time on, we were considered the sort of alchemists of the music scene."
But Riverside -- where the band were regularly hassled, sometimes physically, merely for wearing their hair long -- was not exactly the most sympathetic climate to boldly take rock groups where none had gone before. What they were doing was more in line with British groups such as the Yardbirds and the Who. The arrival of a certain British DJ into San Bernardino confirmed an inkling they were starting to toss around in their minds. Radio personality John Ravenscroft -- soon to change his name to John Peel and become Britain's most influential rock announcer/programmer (as he still is three decades later) -- became a big fan of the band, helping them to arrange demo recordings. When the Misunderstood mused how they might stand a better chance of acceptance in England, Peel encouraged them to make the move. Unlike most young men with little cash, less name recognition, and no work permits, the group decided to go for it.
Not ones to accept what could or couldn't be done with their music, the band scrapped together enough money to make the journey. Some of the funds were raised by winning several Battle of the Bands competitions that Campbell cheerfully admits "were virtually fixed -- but, I mean, we probably would won it anyway." They had to smuggle their equipment off their boat through U.K. customs with help from a sympathetic crew, and soon found themselves riding into London, a couple of impressed females in tow. As Campbell remembers it, they were riding in the same sort of baggage compartment that the Beatles used for a famous scene in A Hard Day's Night.As far as the band knew, John Peel's parents were expecting them at a house in London, where the Misunderstood planned to stay until they got settled. So far, so good, but the screenplay would soon be hijacked by the likes of Fellini and David Lynch.
"We're riding high," recounts Campbell gleefully. "We got off and a get a taxi to John's place. We thought they were all informed and knew we were coming. There's nobody there. I mean, we've got a mountain of equipment -- amps, drums, all in cardboard boxes. We're sitting there, it starts raining on us, and we're pulling out raincoats and putting it over the equipment and getting soaked. Pretty soon the neighbors get curious, 'cause we'd been there overnight. They come the next morning and bring us cups of tea and more blankets. We're all wrapped up like Indians on a reservation.
"We're there, literally, for a couple of days. Finally, John's parents come home. And they walked straight by us, didn't even look at us. We went banging on the door and said, 'Excuse us, but we're the Misunderstood.' And they go something like, 'Yeah, we can believe it!'" The band had to wait yet another eight hours before Peel's parents got hold of their son in the States to confirm the story and let the Californians in. Their hearts sunk when they found unsent promo packages in one of the closets, and realized "there was nobody waiting to see us or any interviews set up or anything." But they did call a manager from a list that Peel had supplied, and through that contact got a deal with Fontana Records.
Rick Brown came over a couple of weeks later than the rest of the group, and had somehow been led to believe that the Misunderstood were already famous in England. Instead of mobs of screaming fans, he was met by bandmates so strapped of cash that they'd had to jump subway barriers just to make the trip to the airport. Ending up at the wrong side and running late, they then had to run across a landing strip as a plane was taking off overhead. Getting back into London meant crashing the subway barriers again; "The cops were chasing us and jeez, this wasn't what Rick had in mind at all!"
The band were by now getting more "unsettled" than "settled"; bassist Steve Whiting got a job at a hospital carrying body parts down to the incinerator that lasted about one day, and, more seriously, rhythm guitarist Greg Treadway was drafted and had to return home to join the Navy. The band were living in a rat-infested basement that was so cold that ice cream wouldn't melt, although Brown managed to share a flat with Yardbirds guitarist Jeff Beck. Yet in the midst of this Keystone Cops-gone-Kafka routine, the band actually began to make some headway.
With a new English guitarist, Tony Hill, the band recorded material for Fontana that stands as a pinnacle of early psychedelia. The guitar work was thrilling, Campbell's especially, recalling Jeff Beck's most experimental work with the Yardbirds, with the unusual super-amplified steel guitar runs adding textures that were (and still largely are) unheard of within a rock context. While the songs could be recklessly cosmic, they were delivered with a mix of aggressive raunch, hypnotic raga-rock, and sudden shifts into meditative passages of glistening beauty. Best of all was "I Can Take You to the Sun," which shows the band at its most tender and Indian-influenced, moving from a Yardbirds-ish rave-up to an exquisitely delicate acoustic classical/raga guitar arrangement, devised and played by newcomer Hill. "I Can Take You to the Sun," backed with "Who Do You Love," would be their debut single; four other tracks from the sessions, thankfully, surfaced in 1982 on the Before the Dream Faded reissue.
"When Tony was in the band, we virtually had no limits," exclaims Campbell. "We could do umpteen different styles or colorations. We were approaching it like a trio, much like Hendrix did later, and Cream, even though there [were two guitar players]. But the way Tony and I were playing, it was almost like one instrument. We kind of weaved and ducked and twisted around, but quite often, we were taking solos at the same time. And we were sort of dancing together as soloists.
"I actually had an advantage over the guitar in the sense that I had this huge fat sound, and I could sustain it as long as I want. [With] regular guitar players, there wasn't a whole big choice of pickups, and their strings are thinner; I had huge, heavy strings. I could get quarter-tones, eight-tones, anywhere in between, where guitar players can only get half-steps, except when you bend strings." Campbell also used a fuzz box that "made all these horrendous noises. We cranked it up like screaming and squawking and feedback, which was exactly what we wanted."
The single wasn't a hit, although Fontana had been excited enough about the group to actually bump established artists' studio time to make room for the Misunderstood's sessions. And the band weren't entirely pleased with the coverage surrounding the "apple" incident at Fontana's press launch. "I had a book that was about two and a half inches thick," says Campbell. "It was a notebook of various chords and rhythm combinations and all sorts of stuff, inversions, harmonies that would seem to produce certain effects, so that we could write songs with these various already researched combinations, and expect a certain response from an audience. The idea was not to control an audience. The idea ultimately was that we could set up healing centers to use music and lights in a sort of holistic kind of way, and also to communicate our experiences.
"But we all got a bit worried, and we actually took the book and destroyed it. We might have been maybe giving ourselves a little more credit than we were due. We felt we stumbled onto something we didn't really want to get in the wrong hands, and it kind of spooked us a bit. So that book just got torn up and burned."
The Misunderstood would never get a chance to implement their still-futuristic notions (and before you laugh too hard, consider that Jimi Hendrix has also been said to have considered the use of music as a healing mechanism). Their gigs were infrequent due to lack of work permits, though those that saw them were impressed, including Pink Floyd, who had yet to make records -- "we kept getting reports from people that were seeing Pink Floyd that they were copying a lot of our stage act." From Campbell's perspective, the Misunderstood were truly ready to assert themselves once drummer Rick Moe heard Mitch Mitchell's drumming on Jimi Hendrix's first single, "Hey Joe." "I wanted another soloist in there, coming from the drums. I go [to Rick], 'That's the kind of drumming I'm talking about.' And he goes, 'Now I see what you mean!' To me, that was the last awkward link in the group. From then on, we could have just skyrocketed. That probably saddens me more than anything, because he knew what I was talking about. I can't even remember now if we ever even got a chance to rehearse again after that."
Because Rick Brown had gone back to the United States to sort out his draft problems -- unsuccessfully, as it turned out, since he was briefly drafted before going AWOL in Haight-Ashbury. With the FBI on his trail, he returned to London briefly, managing to slip out of England just before the authorities caught up with him there; he went on from there to India to join the Hare Krishnas for a time, after which he eventually established himself as a gemologist. Meanwhile the rest of the band had unsuccessfully auditioned for a replacement vocalist. In keeping with the larger-than-life adventures that seemed to be dogging them at this point, they found themselves stranded in France in early 1967 after being sent to nonexistent gigs. Whiting managed to get back into England with the help of an elite London call girl, on the pretense that she would marry him. Moe and Campbell got shuttled back and forth on the ferry between France and England for three days; immigration refused them entry to either country, and they were reduced to stealing food off of other passengers' plates. They were even considering jumping overboard to reach England before being dissuaded by the crew.
Finally they were allowed into the U.K., on the condition that they leave within 24 hours. Campbell had to sell his steel guitar, and Moe his drums, to pay for their tickets back to California. It was suddenly over, although Glenn would soon return to England to front an entirely different lineup of the Misunderstood that played a much different sort of blues-funk-rock. Campbell hadn't wanted to use the Misunderstood name for this venture, but was pressured into it by his record company.
Says old friend John Peel of the Misunderstood's peak lineup today: "If they'd managed to get themselves sorted out in London, I really think they would have done quite extraordinarily well. Even if they hadn't been influential up to that point, I do think they could have certainly taken their place amongst the more notable bands at the time. They were barely getting started. It's one of the great disappointments of my life, really, that Rick got drafted, and it all fell apart."
Amplifies Campbell: "I think we would have achieved quite a bit. I think it would have been a major group. It would have been like a symphonic rock band, really. Not that we'd have done that -- what I mean is, there would have been a lot of colors, a lot of shades, and lots of ideas thrown in there. The only thing that really stopped it was the bloody Vietnam War. I'm not saying that just [in] a selfish respect. For such a useless war, its tentacles just reached everywhere."
Campbell went on to experience a bit of success in the U.K. in the early '70s with the bluesy hard rock band Juicy Lucy. He's now living in Auckland, New Zealand, where he does a lot of session work and TV/radio ads, and plays with New Zealand country artist Al Hunter. Not that he's stopped experimenting -- he's recently built an archtop nine-string semi-acoustic guitar with special blues and jazz tunings, using an old Hofner body. "Everybody said it couldn't be done -- it's really revitalized my interest in music."
Trying to summarize a one-of-a-kind band like the Misunderstood is nearly impossible, but Campbell gives it his best shot: "It wasn't that we were so much overlooked when we were around. It was just that nobody knew we existed! The people that heard us couldn't overlook us. We were just too different.
"The Misunderstood might have some powerful, rough sections that were anger. But we'd always balance it off somewhere in the song with something soft, and more serene. It's like a good book. It takes you through ups and downs, but in the end, it all balances out."
THE 1965 GOLDSTAR ALBUM
01. Blues With A Feeling
02. Who's Been Talking
03. You Got Me Dizzy
04. You Don't Have To Go Out
05. Goin To New York
06. Skake Your Money Maker
07. I Just Want To Make Love To You
08. I'm Not Talking
THE 1969 PSYCHEDELIC ALBUM
09. Never Had A Girl (Like You Before)
10. Golden Glass
11. I Don't Want To Discuss It
12. Little Red Rooster
13. (You're) Tuff Enough
14. Freedom
15. Keep On Running
16. I'm Cruising
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