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Joined: November 09 2014
Location: New York
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Points: 8625
Posted: December 23 2014 at 15:29
Guldbamsen wrote:
I really dig this one too. It's commonly named together with the rest of the 'faux Krautrock' releases.
I say faux Krautrock, because all of these were recorded in the 90s but with the intent of posing as long lost gems from the 70s. Many people fell for it - and still do to this day.
Interesting. I do know that back in the late '60's, there were cash-in attempts by some record companies who would get itinerant and session musicians to lay down some psych, so as to ply it to eager hippies. A really good one to come from that:
They say that "Hell Preachers Inc." was an actual German band recording in disguise; they needed the money. They then went on to record some psychkraut in the early '70's.
EDIT: Something even more tantalising about Supreme Psychedelic Underground: a few like to say that Blackmore, Lord, and Paice all contributed too. Imagine that! This album is a gold mine of good music and good legends.
Now, Discogs likes to say that Cozmic recorded their album over the course of '72 and '73, like PA says, but it is entirely possible that it is this fauxkraut as you say.
Joined: November 09 2014
Location: New York
Status: Offline
Points: 8625
Posted: December 24 2014 at 17:11
Heaven's End, by the band Loop. This is psych and garage done in the time and style of the first alternative rock, much like Spacemen 3's spectacular work. The album is garage rock riffs backed by a beautiful, ever soloing psych guitar, and the singer sings in the usual alt vein. It works out rather delightfully. Reissues also include a mean cover they did of "Rocket USA".
Joined: April 11 2014
Location: Kyiv In Spirit
Status: Offline
Points: 20503
Posted: December 26 2014 at 08:35
The Soft Machine
Turns On: An Early Collection
In case SM fans forgot how psychedelically imbued their their early material was, and that they shared residency at at London's underground UFO club in the sixties with PinkFloyd, among others, their early live recordings of TurnOnVol. 1and2 have been combined on this new compilation of both albums. Just be aware that the original Turns On Vol. 2 contained some dodgy sounding live recordings. Aside from that, tune in, turn on, and get jazzed out.
Joined: April 11 2014
Location: Kyiv In Spirit
Status: Offline
Points: 20503
Posted: December 26 2014 at 08:59
Robin Trower
Bridge Of Sighs
Robin Trower's 1974 recording high point is still as fresh sounding today, forty years after it's initial release, due two several key factors. The first being that that Trower was unapologetic for his his influence and emulation of Jimi Hendrix, and the fact that while Hendrix questioned his own ability to play electric blues and his actual right to. Trower had no such hangups and was a proud Blues guitarist first and foremost. Another key to this album's success was that Trower, bassist and vocalist James Dewar and drummer Reg Isidore fully embraced the R&B of Band Of Gypsys, which was another musical avenue Hendrix felt conflicted about. The result was Trower's second album Bridge Of Sighs which saw Trower and company at the height of their writing and playing ability. This album incorporated dynamic R&B based numbers like Day Of The Eagle with the spacey majestic bluesy title track Bridge of Sighs.
The fact that former Beatles engineer Geoff Emerick (Sgt. Pepper's, Abbey Road) recorded the album greatly helps as this is some of his finest post Beatles' work alongside McCartney's Band On the Run.
If you haven't listened to Bridge of Sighs in a long while or are new to this album, do yourself a favor and give it a spin. And thank Mr. Hendrix for his inspiration.
Joined: April 11 2014
Location: Kyiv In Spirit
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Points: 20503
Posted: December 27 2014 at 11:16
Roky Erickson
The Evil One (Light I The Attic remastered edtion.)
Musical archivists Light In The Attic have released Roky Erickson's seminal comeback album The Evil One, first released in the U.K. in 1980 with 5 different but excellent songs from the U.S. version released a year later. As Roky had written some 400 songs during his 'hiatus' from Rock in the early seventies, it's easy to see why a firm set list for both issues was problematic until now. KITA have issued all 15 songs that include those omitted on the U.S. release and includes Roky's horror themed I walked With A Zombie, Night of The Vampire, the essential Two Headed Dog and the near explicit Bloody Hammer that was kept off the U.K. release. Light in the Attic has done a great job cleaning up and remastering the sound from the original master tapes.
Don't Slander Me
Rokys excellent follow up to The Evil One, Don't Slander Me shows Roky has moved on from the horror themes and back to good old hard rock with some of his best solo vocal work. this album features the seminal Roky song Starry Eyes. Another great remaster from Light In The Attic.
Joined: April 12 2008
Location: Denmark
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Points: 5898
Posted: December 27 2014 at 15:42
What are the differences between The Evil One and the Roky Erickson and the Aliens S/T. Seems like they have the same cover art and many of the same tracklistings. I'm guessing the S/T is the European release of the same recording and The Evil One the US release?
"The past is not some static being, it is not a previous present, nor a present that has passed away; the past has its own dynamic being which is constantly renewed and renewing." - Claire Colebrook
Joined: November 09 2014
Location: New York
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Points: 8625
Posted: December 27 2014 at 16:35
The band's masterpiece. This is a mainly calm, beautiful, serene album eventually drenched in lofty orchestrations, but then ends up harsh, dour, and depressed. It's meant to represent a whole LSD trip, finishing in a paranoiac comedown and near OD. This record is as such a heck of a trip. Just perfect, the height of '80's neo-psych alternative alongside Ocean Rain. The symphonic side to the band's sound foreshadows J Spaceman's work with Spiritualized.
Joined: April 11 2014
Location: Kyiv In Spirit
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Points: 20503
Posted: December 28 2014 at 09:22
Toaster Mantis wrote:
What are the differences between The Evil One and the Roky Erickson and the Aliens S/T. Seems like they have the same cover art and many of the same tracklistings. I'm guessing the S/T is the European release of the same recording and The Evil One the US release?
Yes, a little confusing. The Evil One was released in the U.K. in 1980 as The Five Signs with 5 alternate tracks and Roky And the Aliens was released in other parts of Europe with those track listings. Light In The Attic's remaster contains all of the different track combinations that total 15 tracks in all. All of the songs are excellent, btw.
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Joined: April 12 2008
Location: Denmark
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Points: 5898
Posted: December 28 2014 at 13:09
Listening to that album I can't help but get the feel Roky decided to embrace that it was the punk/garagerock crowd most of his fanbase came from, it's some pretty damn raw and abrasive stuff compared to his tenure with the Elevators with a lot of the songs being surprisingly aggressive even next to You're Gonna Miss Me.
"The past is not some static being, it is not a previous present, nor a present that has passed away; the past has its own dynamic being which is constantly renewed and renewing." - Claire Colebrook
Joined: April 11 2014
Location: Kyiv In Spirit
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Points: 20503
Posted: December 28 2014 at 13:14
^I have to agree. I think that Roky was looking for an audience similar to Ozzy's or BOC with The Evil One, but I still get a kick out of the album. Even if it's a long way from Prog or 80's Metal.
Joined: April 11 2014
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Posted: December 28 2014 at 13:27
Country Joe and the Fish
Electric Music for the Mind and Body 1967.
One of the few bands that I'm surprised is not listed under Proto prog as CountryJoeandtheFish sounded like a cross between the Doors and H.P.Lovecraft. More progressive than the former but less so than the latter. 1967's ElectricMusicFortheMind and Body sports some cool Farfisa driven rock with excellent electric blues supplied by two underrated guitarists, Barry Melton and David Cohen, who occasionally trade stellar leads. The album is known for it's explicit drug references and topical subject matter which may obscure some of the more adventurous tunes like Purpose Mouth, Section 43, The Masked Marauder and the 7 minute long avant garde closer Grace.
Excellently remastered by Ace/vanguard with both mono and stereo versions available on a double CD reissue.
Joined: April 11 2014
Location: Kyiv In Spirit
Status: Offline
Points: 20503
Posted: December 28 2014 at 13:36
Nik Turner
Space Gypsy
One album that is definitely listed under PA's Psych/Space prog site is the excellent 2013 album Space Gypsy by famed Hawkwind Co-founder Nik Turner. In case you missed it, the album is a blast and there's a great review of it on PA.
^I listened to that a couple of times at my friend's place. While I found the music interesting I still found it hard to enjoy on account of the production. I tend to have problems with modern records, supposedly psych, that sound like they've been recorded in a lab
Nahh give me Xitintoday instead
“The Guide says there is an art to flying or rather a knack. The knack lies in learning how to throw yourself at the ground and miss.”
Joined: April 11 2014
Location: Kyiv In Spirit
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Points: 20503
Posted: December 28 2014 at 13:48
^I can't lie David, the production is a bit home made, but Nik does some great turns on sax and flute and I dig the music as a whole. (I might be showing my age here!)
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We might be hearing things differently then Steve. I thought it sounded way too...erm studio-like. I missed dynamics in the overall sound and everything kinda sounded like it was recorded,or indeed played, at the same level. I tend to prefer the home made production over a professional studio job any day
Then again, it really depends on the band. Steve Wilson can pull off the modern production thang with everything in it's right place and no superfluous "noise" etc etc....but the psych and krautrock fan in me WANTS and NEEDS the noise. Hell, it's half the music if you ask me!
“The Guide says there is an art to flying or rather a knack. The knack lies in learning how to throw yourself at the ground and miss.”
Joined: September 26 2010
Location: USA
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Points: 1281
Posted: December 28 2014 at 13:54
A bit too obvious a choice, but it's something I've been listening to non stop since Christmas Eve (please help me).
I actually have two copies of the album, the 1999 edition and the 40th anniversary remix. I'm not too fond with the remix, however. There are some parts that I like - the whistling at the end of "Love Street", the clearer guitar on "We Could Be So Good Together", the quiet parts of "The Unknown Soldier" being a bit more louder, a little extra organ at the beginning of "Summer's Almost Gone" and so forth - but they do it by drowning out some other parts I do like. Oh well.
Whining aside, this is a fantastic album. I like the schizophrenic vibe I get from it; one minute you have the guys skipping along the street all happy like ("Love Street"), the next they're conjuring a deranged proto-Alice Cooper sound ("Five To One").
He looks at this world and wants it all... so he strikes, like Thunderball!
Joined: April 11 2014
Location: Kyiv In Spirit
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Points: 20503
Posted: December 28 2014 at 14:00
Guldbamsen wrote:
We might be hearing things differently then Steve. I thought it sounded way too...erm studio-like. I missed dynamics in the overall sound and everything kinda sounded like it was recorded,or indeed played, at the same level. I tend to prefer the home made production over a professional studio job any day
Then again, it really depends on the band. Steve Wilson can pull off the modern production thang with everything in it's right place and no superfluous "noise" etc etc....but the psych and krautrock fan in me WANTS and NEEDS the noise. Hell, it's half the music if you ask me!
Bad choice of words from me, David. To me, home made=digital sounding. Sorry about that.
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Joined: April 11 2014
Location: Kyiv In Spirit
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Posted: December 28 2014 at 14:04
KingCrInuYasha wrote:
A bit too obvious a choice, but it's something I've been listening to non stop since Christmas Eve (please help me).
I actually have two copies of the album, the 1999 edition and the 40th anniversary remix. I'm not too fond with the remix, however. There are some parts that I like - the whistling at the end of "Love Street", the clearer guitar on "We Could Be So Good Together", the quiet parts of "The Unknown Soldier" being a bit more louder, a little extra organ at the beginning of "Summer's Almost Gone" and so forth - but they do it by drowning out some other parts I do like. Oh well.
Whining aside, this is a fantastic album. I like the schizophrenic vibe I get from it; one minute you have the guys skipping along the street all happy like ("Love Street"), the next they're conjuring a deranged proto-Alice Cooper sound ("Five To One").
You're not alone KCIY, I'm not fond of the remix either and neither are many of my friends. I only listened to it once and it seemed to lack warmth. And you came to the wrong person for help. Just play it louder!
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Guldbamsen wrote:
