THE ARTHUR BROWN BAND

I absolutely love The Replicas part - and if you thought the organist playing with Arthur was mad, then the guitarist surely was his great master. I'm absolutely certain I've never heard anyone play a guitar like this. There is some kind of robotic structure to the sound - I mean... you need to sniff a tone of coke to start playing like this.

And Arthur's singing is superb! We mustn't forget Arthur! The way he does The Lord Doesnt Want You is just so intense! And keep in mind that it was only a jam session. Loopy music for loopy ears. Theaker said there were hours of recorded material. I wish I could listen to the whole session.

Gave 4 stars because I understand this music is just too hard to listen to.

The big accomplishment CRAZY WORLD OF... made is the novelty hit ''Fire'', and that hit best explains the album in a nutshell. Arthur Brown might as well be the very first heavy metal singer as his range is incredible hitting shrieks that could be considered Halford-esque. And he sings likes he is on the stage; there's great drama in his voice that makes ''Fire'' believable. Add those on top of the rich Hammond organ sound (courtesy of Vincent Crane of Atomic Rooster fame) and you get a sense of why this group is in the PA database. The rhythm section is pulsating, driving and not overtly technical. (By the way, Carl Palmer does not play on the album; he was a member of the touring group)

''Fire'' gives you the biggest taste of what the album is like as ''Nightmare'' and ''Come and Buy'' are of similar form. ''Fire'' actually has a prelude that reminds me of the Doors' track ''Horse Latitudes'', only better (spoken poetry over wild music). ''Child of My Kingdom'' is jazzier than the other tracks and is worth its seven minutes of airtime. The second half of the album is generally safer and more different than the first half including the poppy ''Rest Cure'' and the two cover tracks (''I've Got Money'' and ''I Put a Spell on You''). But then there's still ''Spontaneous Apple Creation'', the weirdest track on the album by far (and you thought ''Fire'' was out there...).

CRAZY WORLD OF... is more than a 60's novelty band. There are some great psychedelic cuts on the record belted out by one of the most underappreciated singers in music. It's one of the wackiest experiences in music and deserves at least a mention in the vast space of prog rock.

"Prelude-Nightmare" has this orchestral intro before the organ comes in followed by the bass, drums then vocals. Arthur gets theatrical before 2 minutes (get used to it) as Crane lets it rip on the organ. Horns come in late. "Fanfare-Fire Poem" opens with horns then this groovy led organ melody takes over. Spoken words join in. It becomes very intense.

"Fire" was the hit single. A catchy organ / vocal led tune. "Come And Buy" is a mid paced relaxing track with vocals. It picks up 1 1/2 minutes in with fast paced vocals then it settles back as contrasts continue. Arthur gets theatrical 5 minutes in.

"Time / Confusion" is a mellow tune with vocals. It changes 3 1/2 minutes in to a more upbeat sound. I like it. "I Put A Spell On You" is kind of bluesy and is a cover.

"Spontaneous Apple Creation" is all about Arthur with the spoken words then singing then his fast paced spoken words. "Rest Cure" is one of my favourites. Piano late. "I've Got Money" opens with drums as piano and vocals join in before a minute. Arthur gets...theatrical.

"Child Of My Kingdom" sounds great when it settles 30 seconds in with piano, drums and reserved vocals. It does pick up after a minute. Some whistling in this one too.This is my favourite track.

A must for fans of sixties psychedelia. My rating is based on how innovative this was at the time. I must admit I much prefer his later stuff with KINGDOM COME.

Cult-hero Arthur Brown's only album that is actually really good was his debut of '68. His appearance and style made him the first shock-rock act and he can also be attributed to be one of the first artists to make fun of the hell and the devil on stage. Lyrics like "Why is it so cold out here, let me in!, -"The price for your entry is sin" are classic examples of how the rock musicians would eventually get 'hell' out of the realm of scary things.

I wouldn't lay to much weight on this aspect of 'The Crazy World of Arthur Brown', because the album has way more to offer then it's lyrical exploration. The compositions of Brown are actually very catchy and his vocal performance stands out as original, energetic and at times mind-blowing. The electric guitar is absent, but the heavy organs of Crane (who would later form Atomic Rooster) are both great sounding and a document of it's time. The wind-sections on some songs add a slightly big-band jazz vibe at times, which works very well with these songs. The song 'Fire' ("I'm the god of hellfire, and I bring you!") became a hit, but all songs of side one are of the same quality. The 'Fire Poem' is a great psychedelic track with spoken words by Brown that make a perfect intro for 'Fire'. 'Come and Buy' has vocal-jazz influences (think of Sinatra) and is very original. On side two Brown's version of the obscure classic 'I put a spell on you' is very well sung. The psychedelic/spoken (or screaming) word track 'Spontaneous apple creation' is really funny and remains funny after more spins. 'I've got money' is a cover of the James Brown song (keep on laughin'). The last track 'Child of my kingdom' is easily overseen, but it's one of the strongest tracks of the album because of it's epical and devoted style.

Conclusion. For collectors of proto-prog and '60 psychedelic rock classics this album is highly rewarding. The vocals, compositions, originality, pleasant craziness and pure catchyness are all winners for me. I must say I wasn't too fond of it before I heard it on a vinyl. The digital versions seem to lack the ability to really produce what was intended, so it seems. Four stars for this great '60 psych album.

The Crazy World Of Arthur Brown was an unusual rock album since it lacked the traditional sound of an electric guitar that otherwise dominated the music scene at the time. Instead the band relied on two other factors to keep the creative energy flowing. Arthur Brown was quite an elaborate poets at heart and delivered some of his work on the debut album while Vincent Crane supplied just the right Hammond organ textures to underline the band's front man. The collaboration is indeed a success on the band's original compositions.

Unfortunately, just like many other debuts of its time, the Arthur Brown Band just didn't have enough material to fill out two sides of an LP and had to rely on two pretty uninspired covers of I Put a Spell On You and I've Got Money. The former must been one of the most overused tracks of its time with cover versions available by everybody from Audience, Jeff Beck, The Animals, Joe Cocker, Creedence Clearwater Revival and many more. While James Brown's I've Got Money just doesn't add anything new to the classic composition especially since Arthur Brown is basically replicating the original without adding anything new or interesting to the mix.

It's quite unfortunate that the band couldn't transfer the excellent atmosphere that they created on their original works onto the cover material since it definitely knocks The Crazy World Of Arthur Brown down a notch for me. This recording is nonetheless an interesting product of its time well worth seeking out if just for the fun factor and/or shock value!

***** star songs: Prelude - Nightmare (3:28)

**** star songs: Fanfare - Fire Poem (1:51) Fire (2:54) Come And Buy (5:42) Time/Confusion (5:12) Spontaneous Apple Creation (2:55) Child Of My Kingdom (7:02) Rest Cure (2:44)

*** star songs: I Put a Spell On You (3:43) I've Got Money (3:10)

Esoteric have truly excelled themselves with this definitive, deluxe edition of what can only be regarded as a cornerstone of proto-progressive rock. The career of the `Crazy World' was a short one, "you're gonna burn!" sang Arthur on the Number One smash `Fire', and burn out they certainly did, so this remains their definitive recorded document. Hats off to the exemplary packaging here, it is a truly lovely artefact assembled with the utmost care. The slipcase features a wonderful photo of Arthur, head-dress ablaze at the height of his children-scaring powers. Within, of course, is the iconic original sleeve restored to perfection and second only perhaps to `In The Court Of The Crimson King' in impact. A foldout poster sleeve complete with all the ephemera you could wish for really makes this package something special.

Produced by Who manager Kit Lambert and overseen by Pete Townsend, the album is clearly divided. Brown was intending the whole album to be about fire (and of course the next three albums to be about the other elements in turn, this was 1968) Lambert, however, had other ideas and insisted on stage favourites `I Put A Spell On You' (Screamin' Jay Hawkins) and `I've Got Money' (James Brown) appearing alongside unrelated band pieces on Side Two. Ironically of course it was `Fire' which leapt out of the flames on side one's suite and all the way into the singles chart, making Arthur Brown a pop star overnight. I'd bet that few who saw his original appearance on `Top of the Pops' have been the same since.

It is the `Fire' suite on side one of which Brown is justifiably proudest. Whitby's finest has a scream to make Ian Gillan blush with shame, and Vincent Crane's well orchestrated organ and string arrangements carry most of the musical weight, backed by Drachen Theaker's drums (Carl Palmer was to join the band after Theaker's sacking in the USA, although he never recorded with them). The 5 song suite is held together musically by well thought out thematic reprises, over which the god of hellfire weaves his impressive poetic and vocal spell. There is a mystery, humour and charm here which makes it a delightful listen in these cynical times, and it can truly be said to qualify as one of the first progressive rock epics, released as it was in June 1968.

Side Two is no let down by any means, and although lacking in cohesion there is much to entertain, not least the bizarre `Spontaneous Apple Creation'. Just what were they ON? (don't answer that). The first disc retains the original album intact in re-mastered glory. The second disc is another 40 odd minutes of very worthwhile bonus material, including both sides of the pre-album single `Devil's Grip' with comedy B-Side `Give Him A Flower'. There's an intriguing first version of `Fire' replete with bizarre ending, BBC recordings featuring the plummy tones of Brian Matthew sounding not quite hip to the trip, and a worthwhile restatement of the Fire Suite in Mono.

This excellent package is all you could ever want to know about The Crazy World of Arthur Brown, and serves as the last word on this highly influential and entertaining album.

The flower power movement flourished in 1968 but Arthur Brown drove a spike through its heart and danced on the grave. This debut is a staggering wall to wall triumph. Arthur Brown's vocals are as hot as the flaming headpiece he wore and as dark as the Pagan black make up around his eyes. I am blown away by the musical virtuosity on this album that ranges from minimalist piano to crazy Hammond staccato stabs ? Vincent Crane, prog legend who became the spirit of Atomic Rooster (eg: Vug) after this, just pounds the hell out of those keys. The drums by Theaker are erratic and spontaneous, deliciously sporadic beyond compare. Nicholas' bass is masterful, especially on 'Come and Buy'. It is a genuine master act with enormous influence, drawing back the curtain to invite the prog chariot in.

I listened to this bizarre treasure ad infinitum as a child in the 70s and it was chilling then and equally chilling now. Nostalgia led me to this album after so many years and I had forgotten how brilliant it is. I had never forgotten certain sections such as "Come and Buy"s haunting melody, 'when you see a fire burning inside your mind's eye', or "God-brother you lie" which always used to scare me. Returning to it now, some 30 years later is a cathartic and almost emotionally draining experience. It all came flooding back to me as if I were back in my bedroom with the blind drawn and the crackling vinyl spinning once again. Brown's vocals are immense and theatrical on every track. The mood swings are as diverse as the time signatures and styles. Let's look at the track list. Forget the mono throwaways and get into the stereo section. It is best to listen to this end to end in stereo. Loud.

"Fanfare - Fire Poem" is an orchestral intro to the whole thing and is a pastoral prelude to the zaniness to come. Suddenly a freakout of Hammond and manic screaming is unleashed and we are on our way to psych prog heaven.

"Fire" is quintessential to early prog and is ferociously original acid soaked psychedelica par excellence. Although this blitzed the pop charts, sitting uncomfortably aside the Beatles "Lucy in the Sky with Diamonds", it was quirky enough to stand alone and wielded the power to confuse and bedazzle music listeners who had heard nothing else like it in the 60s. 'I am the god of hell fire and I bring you... Fire!' Gene Simmons adored this and Alice Cooper used the makeup, both were clearly influenced, but the pantomime vocal shrills and screams and manic laughing must have made an impact on the likes of shock rockers King Diamond or Marilyn Manson, who has actually sampled this track. ELP and Ozzy Osbourne even played a cover version. Why? It is pure twisted brilliance, well ahead of its time and yet sounding so current today. Crane slams his Hammond down the throats of the passive puerile trash bands of the late 60s and they had no choice but to bow in submission. What an indefinable blast of power this track was and still is.

"Come and Buy" slows things down and Brown's vocals are calm and unnervingly sinister; threatening to break into torturous shrieks, but alarmingly restrained. He focuses lyrically on 'the sun that sweats and burns at midnight, burns you alone' and the theme of fire is constant. The playful childish melody only adds to the ethereal macabre interplay of Gothic grandeur.

"Time/Confusion" is a very slow and a somnambulist piece lulling the listener into a haunted dream. There is a jazz fusion section that erupts and then a narrative voice forces us to wake up and take notice. This is a sleeper track for me, all but forgotten until recently, but is still compelling music.

"I Put a Spell on You" is the darkest version you will hear and I saw this performed live on a TV special on rock history last year drawing me back to this legendary album. Crane's shimmering Hammond organ is relentless and macabre and never better.

"Spontaneous Apple Creation" is impulsive and unstructured, yet absolutely mind blowing psych nonsense that makes less sense than the film 'Mulholland Drive'. Listen to that rhythmic psych rap narration to a contorted 'Psycho' violin: 'When the world was travelling faster and faster and colours became just a blur..and the buildings were falling plaster and plaster and things just weren't what they were'... Then AB breaks into a melodic catchy melody: '... what can save mankind from man when the blind, the blind overran from the scene of confused devestation, came the great spontaneous apple creation...' There you have it and you had to be stoned to understand it. I don't want to even try to explain the rest of this nonsense. It means what it is. But it's experimental and off kilter to the max focusing on the demonic Hammond and some of the spaceyest effects you are likely to hear.

"Rest Cure" is an intriguing cover version of the classic but this is faster and darker with Brown as mesmirising as ever. It remains the weakest track on offer however.

"I Got the Money" is a blast of jazz lunacy, based on various maestros' version, but this is the definitive freak out version; acid prog sung with such conviction but like all AB compositions is structured with the tongue firmly planted in the cheek. It is hilarious at times listening to the ferocity of this band. They played like their lives depended on it. The final track is "Child of my Kingdom" which is simply stunning, from the quirky childish intro to the very calm but foreboding vocals in the verses. The chorus speeds up and is absolutely going to stay with you for days, that melody is catchy to the point of delirium. I can still hear it now. 'I won't be leaving you, leaving you child... but I'll be driving you, driving you wild'. The piano is beautifully executed with virtuoso precision, the time sig changes constantly and draws the listener in. The jazz break down in half swing time is very endearing. I adore this.

"Child of My Kingdom"' is pure prog. Switching to many paces, sigs and including a diverse range of jazz fusion breaks; the track simply motivates along with the coolest riffs and even includes whistling in unison. It ends the album on a high note and sealed the deal for me. I was thinking of giving this 4 stars but after listening to this over and over, it has made such an indelible impression on me I cannot give anything less than the full score. It is THAT good.

Overall, "The Crazy World of Arthur Brown" is a 'must-have' piece of prog history. A thematic, bombastic, sporadic and deliciously dark but humorous guilty pleasure. Nothing more needs to be said. Grab this treasure at your nearest opportunity.

Other than that, the first side of the album is absolutely perfect 60's psych shock rock. The songs almost flow together like a perfect suite(though I don't know if this would be intended to be a conceptual album?) with Come and Buy being my favorite of the tracks. Most people who have heard and Arthur Brown will recognize the groove on Fire as it was the song that would make most call AB a One hit Wonder(we all know it isn't true though).

All in all, great album. Just what I was looking for back in ninth grade when I started listening to psych and prog. Arthur Brown's writing is perfectly eery, his voice is great, and if you get a chance to see some videos, his stage perfomance is awesome. Vincent Crane is one hell of an organ/piano player as you can tell on this album (everybody also needs to check out the first Atomic Rooster album featuring him, as well as Carl Palmer, who played drums for Crazy World of Arthur Brown on the tour than followed the release of the album). I don't even remember who the drummer is, but he's one hell of a drummer. Everybody needs to check out this album, and everything else (Arthur Brown's Kingdome Come) you can find by any of the musicians on the album.

But this delectable style was already available on the opener ''Prelude-Nightmare''. A fully psychedelic rock track with loaded Hammond organ. Brown is actually also showing the whole of his vocal range during the more complex and disjointed ''Come & Buy''. A six minutes mini rock-opera with heavy organ and bass; and the ''crazy'' feel that prevails on several songs here (''Time - Confusion'').

This is an excellent preview of the later work of ''Atomic Rooster'' (except the vocal department of course). The cover of the great ''I Put A Spell On You'' which has been immortalized by Creedence, offers a different angle here of course. No gorgeous guitar but a superb and heavy organ play. A very good version even if it is a bit odd on this album.

The rest of the album is somewhat weaker (''Spontaneous Apple Creation'') and is filled with less psychedelia and more rhythm & blues / funk (''I've Got No Money'') which is not quite my cup of tea. And the jazzy-spacey ''Child Of My Kingdom'' can't really compete with the early songs from this album either.

The music played here was quite pioneering in '68 and their stage performances were sought after. There will be unfortunately no follow-up album from this line-up. But we'll get the Rooster to console.

Three stars.