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Gong - Acid Motherhood CD (album) cover

ACID MOTHERHOOD

Gong

Canterbury Scene


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4 stars In my opinion, this is the most worthwhile and least derivative thing any Gong band has done since the classic years, it stands on it's own without having to rely upon it being a Gong disc, spacey at times, folkish others, heavy beat a little, overall a varied and unexpected late high water mark. If you like Gong, this is a must have, surpassing arguably anything since You.

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Send comments to Gonghobbit (BETA) | Report this review (#66850)
Posted Thursday, January 26, 2006 | Review Permalink
4 stars This is a very good album and a very good effort by Daevid Allen to bring somithing new and interesting in the Gong familly of albums. This album is for people who really want adventurous and sometime strange music. The second song in the album Daevid Allen sing the phrase "Take me away fron those comercial songs". Indeed, there is nothing comercial about this album, just look at the cover, i don't think comercial records store carry that CD. I found my copy at a records store who specialise themself in progressive music :)

So, you like Gong and you like adveturous music? Go get a copy now, it's must have. If adveturous music is not your thing, or you are new to Gong and you whant to discover the band, get "Angel's Egg" instead.

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Send comments to Fido73 (BETA) | Report this review (#81509)
Posted Monday, June 19, 2006 | Review Permalink
Warthur
PROG REVIEWER
5 stars Though the album cover bills this one to Gong, I'm with the people who refer to this particular lineup as "Acid Mothers Gong" - so-called because of the inclusion of Acid Mothers Temple members Kawabata Makoto on guitar and Cotton Casino on synths and vocals. Truly, it doesn't sound like anything else in the Gong catalogue - and giving how diverse that is, that's saying a lot. Acid Mothers Temple are, of course, hugely influenced by not just Gong, but just about every countercultural band from the 1970s, as it witnessed by the brief instrumental introduction "Ocean of Molasses", which sounds like a Black Sabbath track reinterpreted by a schizophrenic.

The first full track, "Supercotton", is a dazzling opener, combining the best of Gong's past with a host of AMT's own musical ideas. You have Gilli Smith's ethereal wailing in the background occasionally to remind you that this is a Gong album, whilst the music lurches violently between passages which hark back to Gong classics like "You" and the modern reimagined psychedelia of Acid Mothers Temple, whilst Daevid's characteristically eccentric vocals are enhanced by some exciting exchanges between him and Casino Cotton. The members of both groups are clearly energised by the collaboration; the Acid Mothers Temple boys must be thrilled to be working with one of their heroes, whilst Daevid's vocal delivery shows more enthusiasm and energy than some of his work in his 1970s heyday, so clearly having the young upstarts on hand prompted him and the other Gong stalwarts present to give this one their all. By the time the track climaxes in a wailing guitar solo and swirling synthesiser effects from Kawabata and Cotton, I defy anyone to say that this particular experiment wasn't worthwhile.

Subsequent tracks do not disappoint either; the steel drum-driven "Olde Foole's Game" providing a more laid back and contemplative counterpoint to the frantic "Supercotton", before the instrumental "Zeroina" picks up the pace again with harsher and more aggressive guitar work than has appeared on any Gong album to date. Other highlights include "Brainwash Me", in which the band delivers an acid-soaked backing to Allen's punk- fuelled diatribe against the soulless Hollywood machine. "Bazuki Logix" is, of course, built around Bazuki's enchanting work on the Bazuki, whilst the epic "Makototen" adds heavy guitar work and freaked-out synths to a structure much like the longer, trancier tracks on "You".

Daevid Allen has always had a knack for bringing new talent into the wider Gong family to keep his music fresh and up to date; in that sense, Acid Mothers Gong can be compared to projects like New York Gong (the backing band on which ended up becoming the excellent Material), or Planet Gong in which Allen and Smith were backed by the members of Here and Now. It's an album in which a new generation's energy replenishes, nourishes and renews the Gong sound, and adds something brand new to it in the bargain - in fact, I'd say it's even more successful than either New York Gong or Planet Gong's albums at reinventing the Gong idea. It's both essential to Gong fans - if you're missing this, you're seriously missing out - and something I'd heartily recommend to any fans of the more psychedelic end of prog, even if you don't necessarily get on with other Gong albums, because it's just different and novel enough to be of universal interest. The cover art might be off-putting to some, but this is one album you don't want to judge by its cover.

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Send comments to Warthur (BETA) | Report this review (#345630)
Posted Tuesday, December 07, 2010 | Review Permalink
4 stars the Canterbury-Space fusion of GONG, the first album that i heard of GONG was "Radio Gnome Invisible Vol. 3 - You", that was like 3 years ago, when i was starting my journey with prog rock, i didn't knew that GONG was a Canterbury Scene band, because they sounds very Space Rock. then i heard some other albums, the last was "Acid Motherhood" i heard this album only one week ago, and i had to say: it blows my mind!! in this album participate members of other of my favourite prog rock bands ever: ACID MOTHERS TEMPLE (Psychedelic/Space Rock), Kawabata Makoto and Cotton Casino, the fusion of this bands give to the album a new flavor, very mixed and full of weird songs. with the classic Canterbury style of GONG or the DAEVID ALLEN solo albums, but with the space rock style of the 70's albums of GONG and AMT. Daevid Allen (guitar and vocals) and his wife Gilli Smith (vocals in "Supercotton"), and now with their son Orlando Allen (drums), the members of ACID MOTHERS TEMPLE Kawabata Makoto (guitar) and Cotton Casino (synthetizer and vocals) and Josh Pollock (guitar), Dharmawan Bradbridge (drums) and Greg Sheerman (percussions in "Monstah!"). all of this fabulous and multi-nacional musicians, offer an excelent album, that is a masterpicece of Canterbury-Space rock. i totally recomend this album, and all the other albums of GONG.

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Send comments to Zeuhl Glikowski II (BETA) | Report this review (#992202)
Posted Friday, July 05, 2013 | Review Permalink

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