Upchurch, Phil - Upchurch

Name: Phil Upchurch
Album: Upchurch
Year: 1969
Style: Jazz Guitar, Funk
Similar Bands: Ramsey Lewis, Curtis Mayfield, Al Hirt, Jimmy Smith, George Benson
"One-Word" Review: Meditative Guitar Noodling in various settings.
Based Out Of: Chicago, IL
Label: Cadet, Chess

Cover, Record

Record, Back

Upchurch (1969)

1. Black Gold  4:31
2. America 3:30 (Paul Simon Cover)
3. As You Said 2:31 (Cream Cover)
4. You Wouldn't. You Couldn't Be True 3:02
5. Cross Town Traffic 4:00 (Hendrix Cover) /
6. Adam and Charlene 4:19
7. Spinning Wheel 3:28 (Blood Sweat & Tears Cover)
8. Voodoo Chile 2:52 (Hendrix Cover)
9. More and More 2:43 (Blood Sweat & Tears cover)
10. Midnight Chile 4:09 

Album Rating (1-10): 6.0

Members & Other Bands:

• Phil Upchurch- Guitar (Kool Gents, Dells, Spaniels, Curtis Mayfield, Otis Rush, Jimmy Reed, Dee Clark, Woody Herman, Stan Getz, Groove Holmes, BB King, Dizzy Gillespie, Oscar Brown, Howlin' Wolf, Muddy Waters, Gene Chandler, John Lee Hooker, Grover Washington Jr, Cannonball Adderley, Soulful String, Rotary Connection, Donny Hathaway, Harvey Mason, Ramsay Lewis, Quincy Jones, Tennyson Stephens, George Benson, Mose Allison, Gary Burton, Lenny Breau, Joe Williams, Chaka Khan, Natalie Cole, Carmen McRae, Cat Stevens, David Sanborn, Michael Jackson, Jimmy Smith, Jack McDuff, Bob Dylan, Peabo Bryson, Anita Baker, Minnie Riperton, Red Holloway, Sheena Easton, Hubert Laws, Ben Sidran, Maurice White, The Crusaders, Palladin, Ichiban, Ridgetop, Bo Diddley, Marlena Shaw, Whitney Houston, Julio Iglesias, Moonglows, The Co-Ops, more)
• Louis Satterfield - Bass (Phenix Choir/Horns, Philip Cohran & Artistic Heritage Ensemble, Sky, Intentions, Pharaohs, Salty Peppers, Phil Collins, Fontella Bass, James Cotton, BB King, Jack McDuff, Muddy Waters, Howlin' Wolf, Okie Duke, The Dells, Shel Silverstein, Mighty Joe Young, Earth Wind & Fire, Emotions, ChiLites, Staples, Denise Williams, Ronnie Laws, Gap Band, Tavares, Invisible Mans Band, more)
• Morris Jennings - Drums (Electronic Concept Orch, Operation Breadbasket Orch & Choir, Ramsey Lewis Trio, Woody Herman, Buddy Rich, Soulful Strings, Jack McDuff, Muddy Waters, Howlin' Wolf, Zeet Band, Odell Brown, Jerry Butler, Dells, Peabo Bryson, Terry Callier, Charles Jackson, Chi-Lites, Manhattans, Curtis Mayfield, Jesus Wayne, Superior Movement, Roy Buchanan  more)
• Donny Hathaway - Piano (Mayfield Singers, Salty Peppers, Woody Herman, Roberta Flack, Young-Holt Unlimited, Margie Joseph, Fascinations, Zeet Band, Billy Prewitt, Operation Breadbasket Orch & Choir, Little Milton, Barry Melton, Aretha Franklin, Jerry Butler, Cold Blood, Joe Cocker, King Curtis, Dr Dre, Nate Dogg, Sam Moore, Lo-Fi Allstars, Missy Elliott, Danny O'Keefe, Lou Vega, Rick Ro$$, more)
• Bobby Christian - Percussion (Carl Stevens, Harry Lookofsky, Soulful Strings, Louis Panico, Louise Massey, David Carroll, Dick Schory, Sid Cooper, Melody Four, Jack McDuff, Zager & Evans, Guy Lombardo, Okie Duke, Joe Venuti, Hollins & Starr, Gene Chandler, Bonnie Koloc, McLuhan, Dells, Terry Callier, Jerry Butler, Charles Bevel, Bonnie Koloc, Chi-Lites, Heaven & Earth, Honeytree, Morello, Cleveland Eaton, Ron Steele, Tyrone Davis, Walter Jackson, Teresa Wiater, Peabo Bryson, Little Milton, Marti McCartney, LeRoy Hutson, Eugene Record, Manhattans, Rotary Connection, Gus Gioradano, Russ Morgan)
• Dave Chausow - Strings & Horns (Ramsey Lewis, David Carroll, Joe Morello, Electric Concept Orch, Okie Duke, Jerry Sandifer, Mason Profit)
• Stu Black - Engineer
• Charles Stepney - Arrangement, Conducting, Producer
• Jim Taylor - Cover Photo
• Victor Skrebneski - Liner Photo
• Randy Harter - Album Design
• James Mack Singers - Vocals

Unknown-ness: This is one cool looking album...love the simple yellow and black art direction, the kaleidoscope image of Phil Upchurch, and most enjoyable, the Upchurch font. Since the cover shows just Upchurch and his guitar, I'm going to assume this is something bluesy, but along the lines of Clapton with more soul. However, the back of the record lists him as a Jazz-Rock guitarist, as well as the accompaniment of drums and piano (and 36 pieces on one track), so I assume it will be much more jazzy than that.

Album Review: The album spans the range of jazz from full orchestral support to three piece night club performances. The result is mood setting and relaxing for half the tracks, and bright, bombastic, yet gritty for a handful of others.  

Upchurch was a very talented guitarist, starting professionally at 16 years old. He had one big single in 1961 called You Can't Sit Down (US top 30), which President Clinton performed at his inauguration. In the mid 60's became the house guitarist for Chess Records, so he has performed on many records. 27 solo albums later, he is still performing today (2021), playing Jazz, Soul, Funk, RnB and Blues, not to mention an advertisement or a cameo role here and there.

Stand Out Track: As You Said

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Prophets (Thee) - Playgirl

Name: Thee Prophets
Album: Playgirl
Year: 1969
Style: Pop Oldies, Psychedelic, Vocal Group
Similar Bands: Herman's Hermits, Happenings, Buckinghams, Sunshine Express, The Vogues, Tom Jones, Bee Gees
"One-Word" Review: Tame neutered bubblegum vocal pop
Based Out Of: Milwaukee, WI
Label: Kapp, MCA, Universal

Cover, Record

Back, Record

Playgirl (1969)

1. Playgirl 2:05 
2. Broken Heart 2:22
3. Man Enough 2:13
4. It Isn't So Easy 2:29
5. Magic Island 2:31
6. Double Life 2:13 /
7. Some Kind-A Wonderful 2:17 (Single) (cover: Drifters)
8. Heartbreak Avenue 2:38
9. They Call Her Sorrow 3:08
10. I Pretend I'm With You 1:52
11. Kind of a Drag 2:03
12. Shame Shame 2:18 

Album Rating (1-10): 6.0

Members & Other Bands:

• Carl Bonafede - Producer
• Dan Belloc - Producer
• Lew Douglas - Producer, Arranger
• Brian Lake - Organ, Vox
• Jim Anderson - Guitar, Vox
• David Leslie - Bass, Vox
• Chris Michaels - Drums
• Tex Meyer - Write-Up
• Don Brown - Write-Up
• Stan Malinowski - Cover Photo
• Milton Sincoff - Artistic Design
• Bill Bradley - Engineer
• Ed Cody - Engineer
• Ron Malo - Engineer
• Don Van Gorden - Remixing

Unknown-ness: Never heard of this band, but they look like another run-of-the-mill late 60's pop group trying to be the next big thing. They probably won't be unusual or break out of the light male vocal ensemble that really owes more to Jack Jones and other crooners more than the Beatles or the Kinks.

Album Review: Strings and light smooth vocals perpetuate the album along, but there are a few shining moments, like "Man Enough" has some drive and big band pop energy. And single Playgirl is a bit in the a Motown swing vibe. "Magic Island" almost has a solid pop backbone, but it loses all of its appeal as it's tries to appease parents with a light lofty orchestral production. This album would be a lot better if it were a lot simpler. But it can't escape the safe zone with production half in cohorts with Tom Jones or Mitch Miller, and one foot trying for the youth appeal. The Youtube link has more songs than what are on this album, and almost every non album track is better than the songs here. It looks like Jim Anderson only wrote 2 songs on here: They Call Her Sorrow & It Isn't So Easy...the rest are covers. Apparently, even the band was unhappy with this album, as their musical tendencies were more toward Hendrix, Cream, Vanilla Fudge, not bubblegum pop, but the record company had their name & ownership, and ran it into the ground.

Stand Out Track: Man Enough

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Illinois Speed Press (the) - s/t

Name: The Illinois Speed Press
Album: s/t
Year: 1969
Style: Blues, Southern Pub Rock
Similar Bands: Hendrix, Chicago, Lynard Skynyrd, Buffalo Springfield, Allman Brothers
"One-Word" Review: Country R&B Rock
Based Out Of: Chicago, IL
Label: Columbia, CBS

Cover & Back, Sleeve, Record

Gatefold, Sleeve, Record

Illinois Speed Press (1969)

1. Overture 3:29
2. Get In The Wind 2:57 (single)
3. Hard Luck Story 4:46
4. Here Today 3:18
5. Pay the Price 5:18 /
6. P.N.S. (When You Come Around) 7:54
7. Be A Woman 4:57
8. Sky Song 2:25
9. Beauty 5:19
10. Free Ride 4:37

Album Rating (1-10): 6.5

Members & Other Bands:

• Paul Cotton (Norman) - Guitar, Vox (The Capitols, The Mus-Twangs, The Starfires, Carol Vega Trio, The Gentrys, The Rovin' Kind, Poco, Peter White, Gunhill Road, Ten City, Hannibal, Richie Furay)
• Kal David (David Raskin) -  Guitar, Vox (The Exceptions, The Rovin' Kind, The Fabulous Rhinestones, HP Lovecraft, The Stupid Guys, Merryweather & Carey, Rhythm Heritage, Kat McCord, Robbie Dupree, Leslie Smith, Jennifer Warnes, Julie Brown, Smokey Robinson, Darlene Love, Dirk Hamilton, Vonda Shepard, Rod Piazza & Mighty Flyers, Janis Ian, Bobby Martin, Bonnie Raitt, Tony Wilson, Robert Lee, Thelma Camacho, Ringo Starr, Johnny Rivers, John Mayall, BB King, Pete Levin)
• Mike Anthony - Keys, Vox (The Gentrys, The Rovin' Kind)
• Fred Page (Pappalardo) - Drums (The Gentrys, The Rovin' Kind)
• Rob Lewine - Bass (Song)
• Jerry Hochman - Engineer
• Dave Dillar - Engineer
• Roy Halee - Engineer
• Glen Kolotkin - Engineer
• James William Guercio - Producer (Chicago, Buckinghams, Blood, Sweat & Tears)
• Craig Butler - Design
• Dave McMacken - Design
• Patti Mitsui - Design
• Dave Swaney - Writer
• Mark Gottlieb - Photos
• Frank Bex - Photos

Unknown-ness: Never heard of them. Cover and front and back photo look like any CSNY or Loggins and Messina record, so i am supposing it will be southern-bluesy rock. The gatefold newspaper liner notes & stories is a fun artistic choice, centered around their printing press name suggestion.

Album Review: Although the album begins with a collage of tracks layered over each other, sounding like a bit of chaos, the album is a soulful slice of country-blues rock. Singer Paul Cotton went on to replace Messina in Poco, and the band was instrumental in the formation of Lynyrd Skynyrd. They were originally from Chicago, and along with The Flock, Aorta & Chicago, were touted as the "Chicago Sound" by Columbia Records, even through they had moved to LA. "Beauty" carries more Psych & California pop in it than the other tracks on the record.

Stand Out Track: P.N.S. (When You Come Around), Beauty

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Classics IV - Traces

Name: Classics IV
Album: Traces
Year: 1969
Style: Folk, Light Pop, Easy Listening
Similar Bands: Bachelors, We Five, Roy Orbison, Association
"One-Word" Review: Loungey pop vocals
Based Out Of: Jacksonville, FL
Label: Imperial, Liberty

 cover, record

record, back

Traces (1969)

1. Everyday With You Girl  2:34 (single)
2. Mr. Blue 2:31
3. Sunny 2:40
4. Free 2:27
5. Traces 2:45 (single) /
6. Something I'll Remember 2:30
7. Our Day Will Come 2:12
8. Rainy Day 2:37
9. Traffic Jam 2:18
10. Sentimental Lady 2:24
11. Nobody Loves You But Me 3:11

Album Rating (1-10): 6.0

Members & Other Bands:

• Dennis Yost - Vox (Echoes, Leroy and the Moments)
• Emory Gordy - Arrangement, Composer (Here Today, Kommotions, St John & the Cardinals, Hot Bandm, TCB Band)
• Bill Lowery - Producer
• Buddy Buie - Producer
• Lew Bradley - Engineer
• Woody Woodward - Art Direction
• Gabor Halmos - Design
• Howard Risk - Photographer
• J.R. Cobb - guitar (Atlanta Rhythm Section)
• DeWayne Blackwell - Composer
• Mac Davis - Composer (Zots)
• Mort Garson - Composer
• Bobby Hebb - Composer
• Bob Hillard - Composer
• Tommy Roe - Composer

Unknown-ness: Never heard of Traces. Hoping they sound like some fun oldies pop like Herman's Herrmits, Monkees or Box Tops. But I never heard of them, so, probably not.

Album Review: I had the band mislabeled as Traces, but their name is actually Classics IV. It changed from Classics, as there was another band with that name from Brooklyn, and they experienced early set backs because the Four Seasons felt their music sounded too close to their style and had the song Pollyanna's NY airplay cut back. They still tour & play out, with a back up vocalist for Yost, (hand picked after he went through throat surgery and passed away in Dec'08). "Traffic Jam" sounds like a Colin Moulding song, and some of the tracks have a mid-period Elvis Costello (Mighty Like A Rose) sound. But most of the songs are easy listening light, with some smooth jazz sax solos and basic pop melodies.

Stand Out Track: Traffic Jam

Links:
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Aorta - s/t

Name: Aorta
Album: s/t
Year: 1969
Style: Psych, Jazzy Rock
Similar Bands: Jefferson Airplane, Bonzo Dog Band, Blood Sweat & Tears, Strawberry Alarm Clock, Kinks
"One Word" Review: Swirling Cinematic Jazz
Based Out Of: Chicago
Label: Columbia, Dunwich Productions

 Aorta - Cover & Back

Aorta - Record, Gatefold Image & Lyrics

Aorta (1969)

1. Main Vein 2:17
2. Heart Attack 2:30
3. What's In My Mind's Eye 2:47
4. Magic Bed 2:37
5. Main Vein II 1:25
6. Sleep Tight 4:38
7. Catalyptic 3:32/
8. Main Vein III 0:42
9. Sprinkle Road to Cork St 3:06
10. Ode to Missy Mxyzosptlk 3:08
11. Strange 4:18
12. A Thousand Thoughts 3:48
13. Thoughts & Feelings / Main Vein IV 4:07

Album Rating (1-10): 8.5

Members & Other Bands: 
Jim Nyeholt - Orchestra Arrangements, Bass (Rotary Connection, Exceptions, Coven, Minnie Riperton)
Ron Coro - Album Design
Billy Herman - Drums (The New Colony Six, Dick Campbell, Exceptions, Johnny Cuomo, Iridescence)
Jerry De Clercq - Recording Engineer
Glen Kolotkin - Remix Engineer, Special Effects
Bobby Jones - Guitars, Vox (Bobby Jones & New Life / Super Choir, Jesse Davis, Joe Cocker, Bonnie Bramlett, Barry Goldberg)
Jim Donlinger - Keys, Vox, Producer (Rotary Connection, James Vincent, Electric Concept Orch, Lovecraft, Exceptions, Coven, Minnie Riperton )
Shabolt-Todd - Photography
Bill Traut - Special Effects, Producer
Bryce Robertson - Production Asst, Recording Engineer
Skeet Bushor - Production Asst
David Kalmbach - Recording Engineer
Barney Beck - Special Effects

Unknown-ness: I've never heard of this band, but I like the completeness and utter embrace of the band name, artwork, and songs. Its quite the concept album from 1969, so I can only imagine it is some sort of proto-Prog Rock. The songs are not too long, so it can't be too jammy, which is great.

Album Review: Aorta was a locally popular Chicago band, part of a psychedelic, rock scene in Chicago that also has an early version of Chicago as part of its relative bands. One member of an early stage of Aorta was Peter Cetera of Chicago. This incarnation of the band does not contain any original members of the preceding band Kal David and the Exceptions that evolved into Aorta. The album has been described as a mix of Psych, Soul, Jazz, Folk and Rock. There was only one follow up before the band members set out in different directions, coming back for a reunion once in a while.

“Main Vein” begins the concept album with two overlapping heartbeats, and then a mountainside chorus signing main vein washes over the sonic spectrum. Then a slow jam, sort of early Bee Gees-like begins, and the chorus of singers all give their own version of the title in lyric form repeats with electric guitars wailing lightly in the background. It is the wall of vocals continually washing over the surface like a tide that really gives the song its texture.

“Heart Attack” is a nice psychedelic song, with a toy keyboard melody in the beginning, and an emotional guitar played in echo of the vocal melody with its own twists and turns. The instrumental increases the psych vibe with the style of organ chosen, and the jazzy bass and marching drum beats. But it is the organ that is given spot light in the instrumental. The electric guitar plays its one note on repeat.

“What's In My Mind's Eye” features classical strings in the beginning. It straddles the line of disco and psych. The shuffling tempo mixed nicely with the warped warbly vocals. The melody in the verse reminds me of the Kinks. There are a bunch of melodic sections strung together, not always cohesively, to create a complex song. The reverb and back skipping effect bubbles away into a pure bubble sound to end the song.

“Magic Bed” is a straight forward folky pop melody with layered harmonic vocals and a Strawberry Alarm Clock style. It too is mystical and psychedelic thanks to the echoing vocals and keyboards. There is a breakdown in the middle of the song creating the image of a vaudevillian pier with barkers and games to be played. The song breaks character every once in a while to give a little familiar melody a chance to work its way in.

“Main Vein II” is a spiraling dream sequence reprise of the opening track. The song then thrashes as the dream becomes a stressful nightmare, with orchestral, back skipping arrangements coming and going, and the song finishes out with a sullen dark tone.

“Sleep Tight” brings a carousel’s light and magic (and slight psych tone) to wake up from the previous track. The melody has a crooner’s tempo to it, and it is in the chorus where the sound grows from psychedelic music to prog. After two minutes, the song breaks down, changing direction, as it slows down for a slow-motion psych bath of vibrating notes and gothic chamber keys. It is the gothic tomb vibe that carries the song out to the end.

“Catalyptic” begins with the same gothic tone, with a slightly adjusted melody. Drums and a slow swooping bass line are added, and the song oscillates from side to side until the drums kick in and the song takes on a full blown garage psychedelic sound. When the vocals are not sung in chorus, they have layers of distortion enveloping them. Here too, almost in a show tune sense, the time signatures change rapidly, as the distinct sections of the songs take their turns, like it was written for a musical. The chorus of vocals offers a Shhhh, and the song reboots, with a more creepy organ and haunting effects and bassline added. The tempo pulses, speeding up until a gong ends the side.

“Main Vein III” takes the album’s theme song to a medieval route, with a wind up musical box sound, and whispy, folky melody. Static overcomes the track in a cold wind, and the song abruptly gives way.

“Sprinkle Road to Cork St” and is introduced with more medieval wood winds, then opens up with a Kinks-like melody. After about a minute, the melody is abandoned for a break, then a slowly rising string section brings us back to the melody. The song goes for a pause again, and a vast cinematic orchestra revs up for a few seconds before it winds down mechanically. A whisper of wind blows through to end the track.

“Ode to Missy Mxyzosptlk” was the B-Side to Strange. It is a psychedelic lounge song. It has a nice upward melody and a grand Tom Jones-like hook in the chorus. Halfway through the song, the melody calms down for a few seconds, as if to recharge the battery before the wailing electric guitars take over, bridging us back into the chorus. The song ends with a machine gun drum section.

“Strange” was a single, written by a band member that had just left: Dan Hoagland.  This song transitions from the previous song with a similar machine gun tempo, but a squelching, blurping synth sound. Then the song marches on with a nice blend of electric psych guitar, general power pop melody, and jazzy break beats. The bare bones of this song are generic enough for the times (and would be outstanding if written today), but the production flourishes give it a weird edge, and perhaps the breakdown, and eccentricities did not make it as smooth of a song that appealed to the masses. Out the other end of the instrumental comes the evolving, catchy chorus. The song ends, but sci-fi sound effect whoop up and carry the track seamlessly to the next.
“A Thousand Thoughts” continues the effects from the first song, but they lighten up the mood, with a orchestral version of a Beach Boys style-song. Bells and strings waft sparsely over the song that slowly finds its ground and gently picks up the pace as it grooves forward. The vocals grow gruffer, and move further from the front as the music grows to take over. The song returns to the Beach Boys style melody sung in cinematic lounge style. The song ends with a phone ringing and a baby crying, which transitions to the next track without pause.

“Thoughts & Feelings / Main Vein IV” has a tinkling on the organ keys at the beginning while the phone and baby both fade out and are forgotten. The first lyrics directly reference these two things, and the bold psychedelic call and response song combines all the elements that have come before: bold harmonized vocals, and the electric guitar wailing, and bits of psychedelic production and progressive piano and chord changes. The vocals choose an odd emotional path, when they hold the word “down” for an extended segment, as if the vocals have fallen down. This is followed up by a layering of prog guitars that transitions to the final rendition of a psychedelic Main Vein, and perhaps the best version of the four on the album.

Stand Out Track: Ode to Missy Mxyzosptlk

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Chicago Area Bands

Fat Mattress - s/t

Name: Fat Mattress

Album: s/t

Year: 1969

Style: Folk/Psychedelic Rock/Pop

Similar Bands: Monkees, Bee-Gees, Echo Orbiter, Ween, The Who

"One-Word" Review: Renaissance Psychedelica 

Based Out Of: Folkestone, England

Label: Atco, Polydor-Englad, Atlantic

 Fat Mattress - Cover

Fat Mattress - Inner Fold

Fat Mattress - Record Labels

Fat Mattress - s/t (1969)

1. All Night Drinker 3:28
2. I Don't Mind - 3:51
3. Bright New Way - 3:45
4. Petrol Pump Assistant - 3:01
5. Mr. Moonshine - 4:04/
6. Magic Forest - 3:05
7. She Came in the Morning - 3:47
8. Everything's Blue - 2:50
9. Walking Through a Garden - 3:20
10. How Can I Live - 4:26

Album Rating (1-10): 8.0

Members & Other Bands:
Noel Redding - Guitars, Vox (Strangers, Lonely Ones, Loving Kind, Jimi Hendrix Experience, Burnettes, Road, Shut Up Frank, Lord Sutch & Heavy Friends, 305 AM)
Neil Landon - Vox (Pat Cahill, Cheetahs, Burnettes, The Flower Pot Men, The Ivy League, Mainhorse Airline, Klaus Voorman)
Jim Leverton - Bass,  harpsichord, organ, vocals, production (The Big Beats, Lonely Ones, Loving Kind, Engelbert Humperdink, Burnettes, Blodwyn Pig, Caravan, Juicy Lucy, Hemlock, Joe Brown & The Bruvvers, Steve Marriott, The Blue Devils, Rocky and the Natives)
Eric Dillon - Drummer
Mitch Miller - Drums
Chris Wood - Flute
Jimi Hendrix - Percussion
George Chkiantz - Engineering
Gered Mankowitz - Photography
Paragon Publiciy - sleeve design
Adrian Morgan - Liner Notes

Unknown-ness: I had never heard of Fat Mattress, and when I found this album, it was just the record: no cover, in a white cut out sleeve. So I did not know what I was getting with this. I was familiar with the label, and knew that it was an older record, but I was mostly enticed by the rather silly name to pick it up. A quick google search shed light on the album, but that does not mean I knew what I was getting when I picked it up in a thrift store. And when I did get it I had no ideas to go off of as to what it contained.

Album Review: I had never heard of Fat Mattress, and when I found this album, it was just the record: no cover, in a white cut out sleeve. So I did not know what I was getting with this. I was familiar with the label, and knew that it was an older record, but I was mostly enticed by the rather silly name to pick it up. A quick google search shed light on the album, but that does not mean I knew what I was getting when I picked it up in a thrift store. And when I did get it I had no ideas to go off of as to what it contained.


The research on the record revealed that it is a side project by the bass player in The Jimi Hendrix Experience: a folkier, psychedelic pop band. They even opened for JHE a couple of times, but barely held together for two albums.

“All Night Drinker” starts out with a very psychedelic feel, accented perfectly with a flute and back-mixed vocals, The tempo of the song is mystical and echoing production feels very beatnik-y. Overall it generates a bold, yet dark feel. It is also aptly names, as the music leads itself quite naturally to background music to an alcohol imbibing montage.
“I Don't Mind” starts with a drum beat and a jangely guitar sounding like a Belle & Sebastian song, but quickly evolves into a Monkees style side to side pop song, reminding me a little of “Pleasant Valley Sunday.” And the calming psychedelic chorus drifts off and blends nicely into the second verse, like something Echo Orbiter would do. The spacey breakdowns materialize nicely into straightforward driving pop, and vice versa. And the whole songs ends with a vibrating vocal fade.
“Bright New Way” is a bright and sunny, folksy guitar hoe-down, a little like the Kinks. It reminds me a little of Ween’s “Argus” or “Chocolate Town.”
“Petrol Pump Assistant” starts with a bass line that sounds like The Lion Sleeps Tonight, but the song takes on a style much closer to the Beatles “Tax Man:” a bouncy pop song, with a great build and drive in the chorus. The end is a bit of a drawn out jam, but it does not last too long.
“Mr. Moonshine” is a straightforward psych song. Wandering and echoey, and dark bass notes behind the Bee-Gees harmonies. The break down into an instrumental is truly dreamy, like spinning and falling at the same time, before it comes back into a heavier, classic rock stylized version of the chorus.

“Magic Forest” has a couple of odd voices before it dips into a psychedelic camp fire story song, reminding me of John Entwistle’s solo album. The chorus is a fun, staggered jangley romp, and it makes it hard to return the the body of the song, so it stays on the hook for the majority of the second half of the song, carrying the repetitive momentum out to the end.
“She Came in the Morning” sounds like a folksy produced balladeer’s song. Like something you’d hear on the adult comtemporary male vocalist records. I don’t even know the difference between the likes of Jack Jones, Paul Anka and Johnny Mathis to tell the difference, or give an accurate description. Just that this is a light slowish floating/dream song.
“Everything's Blue” sounds like a radio single. It starts out rushed and wired, and the chorus is great garage rock hook. This reminds me of the Who, maybe a little Big Star. Lots of energy and emotion as the song strides on to the end and fades out.
“Walking Through a Garden” is a renaissance style psychedelic tune, which sounds like it would involve a group dance amongst fancy dressed high society elites. Maybe like a very slow song from XTC’s Mummer album.
“How Can I Live” starts with a nice Beatle-y psychedelic jam, full on harmony and 7-note head-nodding bass line on loop. But they just can’t get away from the Lion Sleeps Tonight bass line, this time, it is inverted in the first breakdown.

Stand Out Track: Petrol Pump Assistant

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Cartoone - s/t

Name: Cartoon

Album: s/t

Year:1969

Style: Folksy Pop/Rock

Similar Bands: Tremeloes, Mercybeats, Hollies, Beatles, Bee-Gees, Kinks, Colin Moulding's XTC songs

"One-Word" Review: Late-60's-catch-all

Based Out Of: Glasgow, UK

Label: Atlantic

 Cartoon - Cover, Back, Record

Cartoone - Liner Notes, Lyrics, Record

Cartoone (1969)

1. Knick Knack Man 3:50
2. Withering Wood 2:24
3. The Sadness of Toby Jugg 2:39
4. Penny for the Sun 3:06
5. I'll Stay 2:07
6. Girl of Yesterday 3:10/
7. I Can't Walk Back 2:52
8. Let Me Reassure You 2:20
9. Mr. Poor Man 3:43
10. Ice Cream Dreams 2:47
11. Doing What Mamma Said 2:39
12. See Me 2:05

Album Rating (1-10): 6.5

Members, Other Bands:
Derek Creigan - Bass, Vox (Chevlons)

Mike Allison - Guitar (Chevlons)

Charles Mo Trowers - Guitar (Chevlons)

Chick E. Coffils - Drums 

Jimmy Page - Guitar

John Cameron - Orchestral Arrangements

Dave Siddle - Engineer

E. Offord - Engineer

Brian Humphries - Engineer

Mark London - Producer
Duffy - Album Photo
Peter Dyer - Album Design

Unknown-ness: I’ve never heard of this band. But from the style of the pictures on the front and back, I’d assume they are a late 60’s Rolling-Stones sort of band. I like the band name and logo, so I figured I’d give it a try. Can’t pass up on a band called Cartoone, when I enjoy dark, carnival-style music.

Album Review: Cartoone’s biggest claim to fame is that they employed Jimmy Page as a session guitarist while Led Zeppelin was recording their first album. But the style of this band is nothing really like their Zeppelin label-mates.

“Knick Knack Man” begins with whistling and a chime-sounding guitar strum. Then, a slightly off “Ah-Ah-Ah” harmony introduce the basic melody, and a very soulful and light Neil Young-ish voice sings, leading into the chorus of Hippie and Bob Dylan-like metaphor and word-play.  The song finds its groove early and does not detract from the one dimensional psyche vibe.

“Withering Wood” has a very earthy folk feel to it, started with a rollicking slow vocal melody. It follows up with a renaissance minstrel like tone, anchored by echoing flute notes, haunting harmonies and it floats along in a daze.

“The Sadness of Toby Jugg” sounds just like a Colin Moulding XTC song for the chorus. It then evolves into a fun southern-rock Kinks, complete with an alcohol soaked brass section, and wavering dream sections.

“Penny for the Sun” is a slow, swaying, raspy crooning love ballad. A little like Tom Jones without the confidence or swagger. Actually, what it would sound like if Cat Stevens covered Tom Jones. I’ll go with that.

“I'll Stay” starts with A Hard Days Night chord, and then the song takes a lazy turn to more relaxed swamp rock.

“Girl of Yesterday” has the light and airy atmosphere of the Bee Gees from the late 60’s period, where the vocals glide over the melody of the strings and instrumentation which is an early incarnation of a Disco-Love song with one two feet planted in the folk community, but opening the door to the Disco nightclub (in production only, not in danceable melody).

“I Can't Walk Back” reflects thoughtfully on growing up, but the song’s style is like many of the young college-touring boy vocal bands of the 50’s.

“Let Me Reassure You” finally gets to the rolling stones Rock & Roll vibe, but the vocals are less experienced and don’t hold any sort of punch. The music is fun and entergetic.

“Mr. Poor Man” falls back to the Stevens on Jones style of crooning folk ballad.

“Ice Cream Dreams” is appropriately dreamy and fluid. This has the most echoy prog-classic rock style vocals to tie them to Led Zeppelin. It also includes lots of Bomp-Bomp-Bomps in the background of the chorus, functioning as a complement melody. The construction of the song is somewhat like Lucy In the Sky with Diamonds.

“Doing What Mamma Said” falls in line with the light, flittering vocals that straddle the border between soulful blues, and Bee-Gees folk-pop style. The strings are featured prominently in the background bringing up the intensity when it is needed in the bridge and chorus.

“See Me” also feels like a Moulding XTC song in melody. It has a nice catchy groove, and more good usage of Bop-Bop-Bops. 

Stand-Out Track: The Sadness of Toby Jugg

Links:
Album on Wiki

Band on Wiki

Band on Myspace

Band on Allmusic

Discogs

Friday Music

Rocking Scots

(the) Incredible String Band - Changing Horses

Name: The Incredible String Band
Album: Changing Horses
Year: 1969
Style: Folk, Renaissance, Psychedelic
Similar Bands: Donovan, Nick Drake, Strawberry Alarm Clock
"One-Word" Review: Spaced Out ,Tired Minsterals
Based Out Of: Scotland
Label: Elektra

Changing Horses: Cover, Back & Record

Changing Horses: Liner Notes & Record

Changing Horses (1969):

1. Big Ted 4:21
2. White Bird 14:46
3. Dust Be Diamonds 6:14/
4. Sleepers, Awake 3:44
5. Mr. and Mrs. 4:54
6. Creation 16:04

Album Rating (1-10): 4.5

Members & Other Bands:

Joe Boyd - Producer
Walter Gundy - Harmonica
William S. Harvey - Sleeve Design
Mike Heron - Bass, Guitar, Guitar (Electric), Horn, Keyboards, Mandolin, Percussion, Piano, Sitar, Vibraphone, Vocals, Artwork (Heron)
Licorice McKechnie - Guitar, Kazoo, Keyboards, Organ, Percussion, Violin, Vocals
Ivan Pawle - Keyboards, Organ, Piano (Dr. Strangely Strange)
Janet Shankman - Photography
Rose Simpson - Bass, Percussion, Vocals
Robin Williamson - Flute, Gimbri, Guitar, Guitar (Electric), Keyboards, Organ, Percussion, Piano, Violin, Vocals, Washboard, Artwork
John Wood - Engineer

Unknown-ness: I’ve never heard of this band. From the cover art to the interior art work, I’m guessing it will be light and folky. Music from the hippie culture can be a vast array of music, though, but I’m thinking it is going to be more renaissance themes and medieval instrumentation.

Album Review: “Big Ted” sounds like a swampy southern jug & washboard band song. It is also a bit like Dr Dog. It’s about selling an old pig named Ted to market. It is kind of a silly song. In fact, it has nonsense words skatting over a fun bouncy bridge including a sound that I think is “Squirrelly.” It is this fun bouncy section that really brings the song together, and finishes out the song to the end. Very enjoyable.
“White Bird” is a slower, quiet, recorder played song. It is a long light, flittering ballad. The harmonized chorus sounds downright religious, especially with the organ playing long, drawn out single notes. It feels like it is going to tire out and stop at any time, as it slowly crawls along, but there is still 12 minutes to go. So rather than stop, a psychedelic bass and backing instrumental section lifts the song up as the vocals slowly change and wake up. But that stops and the recorder takes over, bringing back the renaissance style folk ballad and choir-like chorus. After this offering, the music stops completely and picks up with a painful moaning style of singing with only the faintest hint of musical accompaniment...strings perhaps? Then for a little there is a strings-only instrumental: a little plucked and flamenco style guitar play. This is eventually followed by more painful chanting and echoing, wind blown effects. The chorus chant of “white bird” is revisited in the end with bongo percussion, but it still sounds churchey.
“Dust Be Diamonds” feels connected to the previous song as it is slow and soft, but the melody of the verse sounds a little progressive, as it is broken and disjointed. The chorus is quite annoying, as it sounds like a folksy cover of something that would come from Ren & Stimpy. It has a sort of royal welcoming announcement as played on the piano feel to it too. But the song consists of these two uninteresting parts, making this song a long, drawn out chore.

“Sleepers, Awake” is an all acapella song that has a folksy church choir feel. It is harmonized with a strong separation of the male and high pitch female vocals.
“Mr. and Mrs.” Takes the mood back to folksy psychedelic genre. The song just has a feeling that it was played in a cloud of smoke and black light. It rambles along a path not quite cemented down, so bits of the melody do wander off track. It borrows a little in the melody from the Beatles odd creations, as this song reaches a point halfway through where the time signature and tempo constantly changes.
“Creation” starts with a quiet moaning chant and slow acoustic guitar playing with liquid percussion in the background. It has a spacey higher plane feel to it, with the spoken lyric dialogue over laying the sitar and chants. If it weren’t so serious sounding and plodding, droning on, I’d think it was a joke from something like The Monkee’s “Head.” The dialogue turns into a very calculated singing with minimal elevated emotion. Around 4:50, the style changes, bridged by an Eastern European sounding section. The spoken psychedelic poetry continues over a much more upbeat musical section, with la-la-la’s replacing the painful moaning. The eastern bridge comes back and continues longer, in a very klezmer dance section. That quickly turned back into the initial moaning and dark section from the beginning. Then a whirling piano sends the vocalists spinning around in a tripped out dream, as they exclaim “aaahhh” closer and further away from the mic. The style makes a complete turn about, as slow ragtime piano begins, and the vocals are sung through an olde tyme microphone, accompanied by a trumpet playing the vocal melody. This jazzy radio era section is followed by an instrumental section that finishes off completely. But there is still a minute left for the old tyme mic sound and vocals that sound drunken and swaying, accompanied by kazoos.

Stand Out Track: Big Ted

Links:

Wiki

Allmusic
fan site
be glad the song has no end
Mike Heron site

last fm
Web Resources for ISB
rate your music

Cold Blood - s/t

Name: Cold Blood
Album: s/t
Year: 1969
Style: R&B, Soul, Jazz
Similar Bands: Janice Joplin, Etta James, James Brown, Blood Sweat & Tears, Blues Project, Gossip
"One-Word" Review: Free-Form Relationship Soul-Jazz
Based Out Of: San Francisco
Label: San Francisco, Atlantic

Cold Blood - Cover & Record

Cold Blood - Back & Record

Cold Blood (1969)

1. I Wish I Knew How It Would Feel to be Free 5:58
2. If You Will 5:35
3. You Got Me Hummin' 5:47/
4. I Just Want To Make Love To You 5:13
5. I'm A Good Woman 3:00
6. Let Me Down Easy 5:35
7. Watch Your Step 5:27

Album Rating (1-10): 6.5

Members & Other Bands:

Fred Catero - Engineer
Frank Davis - Drums

Willie Dixon - Composer
Rod Ellicott - Bass
Larry Field - Guitar
Mick Gillette - Horn, Trumpet (Tower of Power)
Wrecia Holloway - Composer
Danny Hull - Sax (Tenor), Saxophone, Vocals
Jerry Jonutz - Sax (Alto), Sax (Baritone), Saxophone, Trumpet
Larry Jonutz - Trumpet
Carl Leach - Trumpet
Raul Matute - Arranger, Keyboards, Organ, Piano
James McDougal - Composer
David Padron - Trumpet (Tower of Power)
Bobby Parker - Composer
Lydia Pense - Vocals
David Rubinson - Producer

Rick Griffin - Cover Art

Unknown-ness: I’ve never heard of this band, and I literally have no idea what to expect. From comparing the front and the back, the woman on both is most definitely the leader of the band. But will this be groovy psychedelic music from San Fran in the 60’s? Will it be bluesy / coarse R&B like Janice Joplin? The outfits of the rest of the band are colonial or just plain odd and add nothing to the guesswork. I do like the cartoon artwork on the cover, which reminds me of Monty Python. So needless to say, I’m very interested on what is on this record.

Album Review: “I Wish I Knew How It Would Feel to be Free” combines the strong-willed feeling of female soul and gospel with its vocal-only introduction. It is a cover that originates back in 1963, written for the author’s (Billy Taylor) daughter. The first stanza is gospel with the piano and only truly comes alive the second time around, with Gossip like singing and praise with an extremely bold horn section. The song ends back where it began, with quiet, vocal only crooning the desperate message.
“If You Will” is a slow, bluesy, sultry/sexy mood setting piece. It is a jazz song presenting the vocal range of the singer, Lydia Pense. Her vocals are rough and slightly raspy but the intensity in her voice tightens the reigns and creates a melody impossible to fall for. The vocals are nicely complemented with the crashing backing brass and piano accompaniment when the chorus is sung, and a complex sax and instrumental section bridges vocal sections. The song plods along slowly, as if she could sing over this melody forever. With a minute left to go, her vocals get very intense and really remind us of Janice Joplin’s the chaotic looseness.
“You Got Me Hummin'” begins with simple a garage/pop-bass line and her vocals come on super soulfully. The song feels very much like Motown, especially in the build-up bridge between chorus and the next verse. The mood is excited, in a shy and sexy way. The instrumental sections are characterized by the Hammond organ that brings a classy sound to the basic pop hook layered underneath. The second instrumental, the bass and organ trade places in the spotlight. The last two minutes of the song are a breakdown of the melody, reinterpreted in an almost improvised way, completely departing from the great hook in the chorus.

“I Just Want To Make Love To You” starts out side two with a jazzy blues cover of this familiar song, written by Willie Dixon, & made famous by Muddy Waters. It evolves into more of a free flowing jazz number, much like “If You Will,” that carries a slightly familiar melody throughout the song, but really offers plenty of room for the vocals to be whatever they want to be. The brass instrumentals are solid, and the perfect length to not give the song too much big band feel. “I'm A Good Woman” shows the pain of trying to recapture a woman’s worth. Whether it’s because of cheating, or trying to outbid the competition, there is a self-worth in the vocals that make it hard to even believe there is a contest. Yet there is a youthful ego in the vocals that might make the singer overstep her bounds. But with an upbeat melody and show-stopping jazz composition, her case is made boldly if only a little shrilly. The song nearly comes to a halt as the singer begs how good she is.
“Let Me Down Easy” transitions without pause from the last song, telling the story of the girl who realizes she’s “not the one” and the mood changes to a sad mood, fighting whether to accept or fight more for her position. Ultimately, the sorrow becomes the full perspective, and she embraces the sorrow. The music accompaniment might as well be a blues swagger, giving canvas for the singer so sing in any range or any melody he/she would wish. There are bombastic full brass sections bringing the mood down, like the surprised look of falling from a skyscraper in slow motion. The song slowly winds down, begging and pleading, until only the bass remains as accompaniment.
“Watch Your Step” brings a bit of the garage pop back with a catchy, simple bass line and the organ and horns all sharing the stage. As the story line progresses, this song is warning the love interest of the past two songs. The format is free-formed singing over the instruments. They do come together for the chorus, but it feels like a live recording. The vocals almost sound hoarse by now, as if this was recorded in order, and the strain of the situation was heavy on the singer’s soul. The song ends quite dramatically, with a big grandiose finish and final flourish and wind down of the instruments.

Stand Out Track: You Got Me Hummin'

Links:small town pleasures

bold soul sister
dead disc
San Fran museum press release
Wiki
official site

associated entertainment

wnew radio
bluoz live

allmusic

Marshmallow Way - s/t

Name: Marshmallow Way
Album: s/t
Year: 1969
Style: Bubblegum Pop
Similar Bands: Lemon Pipers, 1910 Fruitgum Co, Jellyfish, Bubble Puppy, Beach Boys, Monkees
"One-Word" Review: Sickning-Sweet-Candied-Pop
Based Out Of: New Jersey
Label: United Artists

Marshmallow Way - Cover & Record

Marshmallow Way - Back & Record

Marshmallow Way (1969)

1. C'Mon Kitty, Kitty (Let's Go To The City) 2:35
2. Keep My Fingers Crossed 2:27
3. (Like the Love Of) Romeo & Juliet 2:45
4. Michigan Mints 2:40
5. Give & Take 2:33
6. Sugar & Spices 2:03 /
7. Sweet Thing 2:14
8. Wild One (Show Me The Way to Your heart) 3:04
9. She's A Dandy 2:27
10. Good Day 2:54
11. I Wish I Was 2:56
12. Music, Music 2:37

Album Rating (1-10): 10.0

Members & Other Bands:

Billy Carl - Producer, Composer, Arranger (1910 Fruitgum Co)
Mike Consi - Engineer
Reid Whitelaw - Producer, Composer, Arranger (1910 Fruitgum Co)
Harry Yarmark - Engineer
Jim Calvert - Conductor
Norman Marzanno - Musical Coordinator
Paul Naumann - Musical Coordinator
Ken Laguna - Musical Coordinator
(little) Joe D'Andrea - Musical Coordinator

Unknown-ness: I’ve never heard of them, but I have a feeling I’m going to love this record. The psychedelic and candy mixture of the band being stuck in a gumball machine, and then floating away on a marshmallow over top a plate of candy corn and marshmallows is enough of a give-away. This will be bubblegum pop, pure and simple. Reminds me of the look that many of the psychedelic bands on the Elephant Six record label tried to mimic. And from the date of 1969, plus their outfits, the music is something that I’m looking forward to and that I specifically hunt for in dollar bins. Exciting!

Album Review: “C'Mon Kitty, Kitty (Let’s Go To The City)” is immediately toe tapping and insanely catchy. Ok, so I’m going to try to not use the term insanely catchy again, but that is an apt description. It continues to drive as the bass and piano bounce along with harmonized humming and bopping backing vocals. Unfortunately my version skips.
“Keep My Fingers Crossed” rolls and floats right by with a Motown back beat and melody. The falsetto chorus of backing vocals singing the title stands out, and is a great hook that brings the song together. The song unfortunately ends in a fade out, rather than some creative ending, but I’ll still take it!
“(Like the Love Of) Romeo & Juliet” is again basically Motown filter through bubble gum pop. It is a touch slower, like a loving ballad verse that builds to a roller coaster melody of the chorus, which again, is just the title. Lots of harmonized Oooo’s support the lead vocals.
“Michigan Mints” is very side-to-side bouncy, and has the most complex melodies grouped together of any other song on the album. This band yearns to have a Motown name like So-and-So and the So-and-Sos.
“Give & Take” right off sounds like the Beach Boys with the harmony. And that’s what this entire song mimics.
“Sugar & Spices” starts with a steady, driving drum beat, and a great vocal hook of Na-Na-Nas that leads up to the title. There a lot of candy and sweets name dropped in the song, and the song feels very much like a 1910 Fruitgum Co song.

“Sweet Thing” is more of Motown bubblegum, and there are so many catchy sections all layered upon each other, it’s hard to keep up with the changes. Its just really good.
“Wild One (Show Me The Way to Your Heart)” is a call and response song that has a consistent drum and bass beat. Most of these songs do fade out, which seems like a bit of a cop-out, but they are still very good songs.
“She's A Dandy” brings back the center stage Motown singer with a backing guy group of Ooo’s and echoing the lead’s singing of “Dandy.”
“Good Day” reminds me of a chilled, hippy Davy Jones song. Or perhaps it sounds like Junior Senior’s “Shake Me, Baby” with all the hard edges sanded down.
“I Wish I Was” has an older feel to it when the chorus flattens out and the backing harmonized vocals accompany the lead. It makes the song feel like a Bachelors song, or any other of the 50’s vocal groups.
“Music, Music” is making me run out of ways to describe these songs, because they are all so good, yet so similar, there are only so many times I can call it Bubble Gum Motown. But this song is just as catchy. The bass beat is continuously bouncing, and reminds me of Of Montreal for some reason. This song is very literal, singing about pretty music. And it too fades out like the rest of the album, leaving the listener wanting more, or at least some kind of closure.
Any one of these songs could really be the stand out track, so I’ll just pick one.

Stand Out Track: Michigan Mints

Links:

Rate Your Music
Bubblegum Music
red telephone 66
discogs

Allmusic

(the) Illusion - s/t

Name: (the) Illusion
Album: s/t
Year: 1969
Style: Psychedelic Soul/Garage
Similar Bands: MC5, Mooney Suzuki, Hives
"One Word" Review: soulful-homemade-drugs
Based Out Of: Long Island, NY
Label: Steed, Jeff Barry Enterprises, DOT Records, Paramount Pictures

The Illusion - Cover & Record

The Illusion - Back & Record

The Illusion (1969)

1. Did You See Her Eyes 6:55
2. Talkin' Sweet Talkin' Soul 2:42
3. Just Imagine 3:30
4. Medley: Run, Run, Run / Willy Gee 5:55 /
5. I Love You, Yes I Do 2:20
6. Alone 3:00
7. Charleena 2:17
8. Medley: Why, Tell Me Why / The Real Thing 6:24
9. You Made Me What I Am 3:28

Album Rating (1-10): 7.0

Members & Other Bands:

Chuck Alder - Bass (The Uncalled Four, The Arrivals, The Del Sonics, The Creations, The Deep, Jerry Ross Orchestra, Vince Martell )

Rich Cerniglia - Guitars (Network, Daryl Hall and John Oates, Aviator, Ellen Shapely, Vince Martell, Wiggy Bits)

Mike Maniscalco - Guitars, Keys, Organ (Wiggy Bits)

Michael (Sylvester) Ricciardella - Drums (Network, Baraby Bye, Aviator, Wiggy Bits, Alice Cooper)

John Vinci - Vox (Network, Vince Martell)
Jeff Barry - Producer
Fred Weinberg - Engineer
Joel Brodsky - Cover Photo
Christopher Whorf - Art Direction

Unknown-ness: I’ve never heard of this band. I love the look of the album. It feels like I’m holding an artifact from a superb era of music. The photo reminds me of the Box Tops, whom I love. And I really enjoy the simplicity and color scheme of the logo. I don’t know if it’s going to be dripping in psychedelia, but I’m holding this record up to high regards and expectance.

Album Review: “Did You See Her Eyes” starts with the band counting down and marking the recording with the title. The song is very bluesy and possesses raw energy from many garage bands. The harmonies and some of the guitar work also give it the psychedelic edge. The lengthy instrumental section feels odd to have so early in the song, and so early on the album. Usually bands wait for deeper in the album to put unconventionally long instrument solos. And this features solos from every member it seems. The song then comes back in for a great rhythm section like some of their counterparts of the day performed, Vanilla Fudge. The song breaks down to sound as if it were a practice session, and feels nothing like the beginning of the song. The pounding bass and drum line throw the listener into the necessary psych trance. Then the vocals take over and the song returns for the last 50 seconds of the song.
“Talkin' Sweet Talkin' Soul” starts right off with a damn catchy ba-da-bap harmony hook. This song is a classic rock toe tapper. Every time it comes back to the harmonized chorus it fills the ears with such a happy hook. And it is that hook which we hear last as the song fades out.
“Just Imagine” begins with a psychedelic folky guitar and light echoy balladeer singing. It becomes a sing along with the rest of the band in harmony, but it always remains the light ballad.
“Medley: Run, Run, Run / Willy Gee” has an aggressive vocal and a driving tempo thanks to the drums and accenting guitars. This song too relies on another extended instrumental section. The song has basic generic lyrics and it feels like a party song without literal meaning, but one that creates a definitive atmosphere with a spacey harmonic chorus of Run, Run, Run. The guitar plays the last section and the bass picks up leading us into the second half of the medley; an early Beatles and Kinks like garage revival.

“I Love You, Yes I Do” carries over the same characteristics from the Willy Gee portion of the last song: Garage Soul. The vocals are angsty, like a lot of the good late 70’s jittery new wave rock. The chorus is a constant breakdown and restart. After every section, it feels like the song could end on the final discordant note.
“Alone” almost feels like it is a Motown single, it has all the bouncing bass and drum beat, but thanks to the guitars, and echoing harmonies, it is far grittier.
“Charleena” is a “wacka-wacka” guitar based poppy love song. It is the basic recipe of 50’s pop songs with a description of the sought after girl set to happy bouncy music.
“Medley: Why, Tell Me Why / The Real Thing” starts as a dark, stirring, “music-to-smoke-drugs- to” number. It lingers on with its only purpose to create an atmosphere to space out in. Then at 2:50, the tempo changes, and the psychedelics kick in for a jumping dance party. The guitars kinda make the song sound like a Pepsi commercial. It is a very catchy vocal melody and the song travels all over the place while maintaining its cohesion. And the song makes me feel like it is going to transition into the Cowsill’s “Hair”
“You Made Me What I Am” is a dark, but bouncy pop song that reminds me of the Robbers On High Street. The song breaks form to slum it in the experimental department. Suddenly, the song takes off and colors morph into each other for a rushed, bombastic psychedelic freak out. The drums fade out, only to fade back in to one last electric wah-wah guitar section before it fades out completely, yet too quickly.

Stand Out Track: Talkin' Sweet Talkin' Soul

Links:

allmusic Wiki
Official Band Site

myspace
Long Island Music

Chuck Alder.com

Rich Cerniglia myspace

Rich Cerniglia NY arts Mike Ricciardella's website

Rate Your Music

George Harrison - Electronic Sound

Name: George Harrison
Album: Electronic Sound
Year: 1969
Style: Ambient & Electronic Moog
Similar Bands: modem log-on noise, gun shots, zooming Moog sound, haunting bells
"One-Word" Review: Sampler Non-Melodic Moog Platter
Based Out Of: England / California
Label: Zapple, Apple

Electronic Sounds: Cover & Record

Electronic Sounds: Back & Record

Electronic Sounds (1969)

1. Under Mersey Wall 25:10
2. No Time or Space 18:41

Album Rating (1-10): 2.5

Members & Other Bands:

George Harrison - Moog, Electronics, Guitar, Vocals, Producer, Composer (Beatles, Traveling Wilburys, Quarrymen)

Bernie Krause - Assistant (Beaver & Krause, Weavers) Peter Mew - Engineer

Unknown-ness: So obviously I know who George Harrison is. I did not know this was his record when I found it. From the odd kids-like painting, I initially thought it was going to be a kid’s album. But I saw that the record had the Apple Records / Beatles label, and I also saw that there was one lengthy track per side. Now as far as the content of these two songs, I am not sure if it’s going to be complex or simple, melodic or chaotic, memorable or forgettable. It could be any or all, or even a mix of all these elements combined. I guess I’m picturing the album to possess a bit of the chaotic whirlwind of sounds & noises from the white album. But this is one album that I cannot guess anything about it from the cover art, unless this album is really geared toward impressing kids with sound effects. Over all, I guess I’m just intrigued to see what this musically famous dude does outside of the box.

Album Review:
“Under The Mersey Wall” begins with gunshots that end up sounding like firecrackers. The following section has echoing sounds that remind me of the video game breakout. A windy version of the deep echoing sounds come next which turns into wind and swooshing, sweeping static. A rotating hum slowly builds behind the static then goes away as ominously as it came. A bubbling effect is added around 4 minutes that takes turns with the windy pong and the static. Gurgling Star Wars droid sounds are paired with a chaotic moog to seemingly no rhyme or reason. All the while the rotating humming brings its presence back. Seven minutes in and we are treated to some higher pitch moog screeches, followed by a more defined rotating hum. The moog transforms into what sounds like a pole position car revving up & changing gears. Single moog tones are played in a random order and slowly grow from crisp to echoing, as if they are leading the way through a dark cave. A low hum and an insect infestation bridge the way to the next set of effects. What sounds like a metallic watering hose spraying all over concrete takes center stage, only to pause and let electronic echoing space sounds twitter and blow around, which eventually blend together to sound like a metal spring boinging out of control in an echo chamber. The swishing spring is joined by a water helicopter (also sounds like a mellotron) and the two have an argument. Single Moog notes are played below the helicopter sound and they soon decide to glide up and down as if caught up in the helicopter’s updraft. The static used next sounds like tromping through leaves. Low buzzing tones are used in conjunction with the leaves, and higher pitch warning tones also eventually get their share of audio time. Crackling & echoing moog sounds are rendered at a hyper-hysterical pace. Then around 20:30 the wind comes in to clear the palate. Sporadic laser shots are fired after what sounds like a huge rip in time. The moog is used next to send zigzagging notes past the ear like the sound of a truck passing on the high way. The high intensity and pace that the buzzing sounds travel to end the track makes me think of the agility and speed of the saucers in Batteries Not Included.

“No Time or Space” begins wit a single note forced through a couple of different effect loops and some low rumbling is added, like the dialogue out of Predator. A segment of ice-cold notes are stretched and elongated past our ears. And for a short burst, the most melodic, but still chaotic stream of notes crashes through. What sounds like tuning a guitar, with single notes played, and a huge synthesized cymbal fading in and out follows for a minute or two. Warbling electronic bird cries seem to be next fading in and out and accompanied by washing waves. The moog itself is tested with the volume knob it seems, where just as a note fades out, it is brought back to the forefront with a startling increase. For a few seconds, this experiment seems like it will become more of a song, but it goes right back to random notes.
An oscillating ringing sound of a metal disc, as it warbles to the ground and then back up fills the next space with the later addition of an emergency alarm, also slightly warbling. Buzzing notes played in disjointed order, like a 2 year old trying to make out a complete song take the forefront with more ringing tones sound like bells or alarms at different distances away from the listener. The moog effects are downright eerie with what sounds like the powering down of the echoing bell tones and the stuttering end of each tone played in an overlapping and random scheme. The ending of the song creates an image of metallic bats flying around a bell tower that had gone haywire and is toning out odd time signatures with its haunting pre-programmed effects.

Stand Out Track:

Links (associated with this album, as there is lots on GH):

allmusic

wiki

amazon with reviews 8-track blog

blogcritics

murashev review head heritage Bazounga: song files