laat ik maar eens beginnenquote:
vertel er dan ook iets bijquote:Op dinsdag 29 mei 2007 16:47 schreef Laurens. het volgende:
13th floor elevators - May the circle remain unbroken
Bee gees - Every christion lion hearted man will show you
Soft machine - Fire engine passing with bells clanging
Simply saucer - Mole machine
Galaxie 500 - Snow is falling
Chocolate watchband - Psychedelic trip (geweldige titel)
Spirit - Space child
Voorts is het aangenaam naar internetradio's waarop obscure kraut-, garage- en canterburyrock wordt gespeeld, te luisteren. Onder andere te vinden op www.live365.com .
Ja, maar ik moet bekennen dat het nog geen groot kwartje was. Gooi hem direct weer in de que voor ronde 2!quote:Op dinsdag 29 mei 2007 16:43 schreef le_knightclub_soda het volgende:
Nou TVP dan maar. Ga dit album v.d. week even checken.
Bigshadow, dat Relatively Clean Rivers album nog geluisterd?
zie het all helemaal voor me met z'n haardrogerquote:The recording of the material took some months, with the Ffolly availing themselves of every possible moment of studio 'downtime'. Creative juices in full flow, they experimented with manufacturing new sounds. Ideas included John wrapping paper around the strings of the piano, and also placing a Neumann microphone wrapped in a polythene bag under the carpet and "jumping up and down to try and get a particular stamping noise." For the track Go Girl, John created a primitive phasing effect by singing into a hairdryer hose while twirling it around his head to the accompaniment of everyone else's hysterics!
"We had all sorts of ideas, some of which people are doing now," says John.
quote:The Ffolly proudly recall their innovative stage show as being second-to-none, even though the costumes, stage props and dazzling effects were all home-made. The lighting unit was a wooden box covered with silver paper inside, and a 'strobe', in the form of a 200w lightbulb set behind a revolving disc with a hole, was utilised until it caught fire. John describes the Ffolly's gimmickry as "A bit like Sgt. Pepper, but before that". Eight-by-four hardwood screens were set in front of the speaker stacks. On them were depicted flame-spurting dragons painted in fluorescent colours. Behind the drum-kit an old mike-stand supported a cardboard carpet tube topped by a giant wooden lollipop – the Ffolly-pop, naturally – bearing the band's name. Sometimes the performance was enhanced by kettles, timed to boil and whistle at an appropriate moment, prompting the band to stop and make tea. Richard and John frequently bounced their guitars across the stage like pogo sticks. After one gig they discovered the impact had neatly removed small squares of lino from the village hall's new flooring!
For their extraordinary finale, the guitarists would throw down their instruments, leaving them howling. To the accompaniment of stage smoke, UV lighting and flashing strobe, Roger and John would lift the lightweight painted screens high, bringing them down slowly towards the audience. With the 'dragons' appearing on the point of attack, John Sparrowhawk would pull the plug, leaving instant darkness, silence and an audience of bemused, but well-entertained kids.
Although totally unfounded, the usual assumption was that this kind of psychedelic happening could not be achieved without the aid of mind-expanding substances. One night at London's trendy Flamingo Club, a guy asked John, "What are you on, man?" John gave his standard answer to this oft-asked question. "Smarties," he replied seriously, helpfully going on to describe the multi-coloured sweeties to his enthralled listener – whom he later discovered to have been a police plant
Trapdoor mix is zeker tofquote:
Ja baasquote:Op dinsdag 29 mei 2007 20:45 schreef cafca het volgende:
ff aftrappen met een klassieker:
The Psychedelic Sounds Of The 13th Floor Elevators
Debuutplaat van de geniale gek Roky Erickson, met meesterwerkjes als "You're Gonna Miss Me" en "Rollercoaster".
De meesten hier zullen hem wel kennen, mocht dat niet zo zijn: meteen gaan luisteren!
http://www.pitchforkmedia(...)21094-parallelogramsquote:As can be gleaned from the cover of her one and only record, Lindna Perhacs was a stunning, beautiful love child. Anyone who spent the $200-400 necessary to obtain copies of the original vinyl could attest that the music she made was comparably stunning and beautiful, infused with all the trappings of being a late-sixties love child (in the best possible way).
Ace of Discs reissued her album after unsuccessful attempts to track her down, mastering from a poorly pressed vinyl copy. For whatever reason, the first issue on CD was completely unlistenable on headphones, although delightful in the open air. Since that first go-round, Perhacs has come out of her obscure Pacific Northwest woods with quarter-inch reels of the sessions, and now that Ace of Discs comes round again with a vindicating, expanded reissue, the tray card photo reveals: she's still a babe.
Anyway you eye it, this is a magical, sublimely singular piece of gentle folk-psych that belongs with those lone album classics by folks like Skip Spence or Vashti Bunyan (or the countless other souls that only released one record before disappearing into history's communal farms or funny-farm madness, like Elyse). It is a sound so personal and intimate that I can only hear it in the privacy of my own room. Although it's been near-impossible to gain biographical information about her, the experience of hearing her music reveals so much about her soul and mindset at the time that I really don't think I could share it with anyone else.
As mentioned above, she's a love child in every sense, a young woman blossoming into her sensual world. Of the elements, every song culls its images from her forest environment, permeating down into her own physical core. "Chimacum Rain" is not only the forest's silence and that sound of rain washing over her, but the palpable sexual presence of her lover, too. In almost every evocation of a tactile natural image, there is a mysterious man who physically embodies these characteristics, a tension courses through her body as she sings about these near-deities. And as she reaches the bridge with lines such as "I'm spacing out/ I'm seeing silences between leaves...I'm seeing silences that are his," her voice begins to echo within itself, and her sung notes assuage open the aural synesthesia of the words. The diaphanous taste of lysergic acid creeps to the fore, and what was once a moderately played acoustic song about the forest expands into a hallucinatory clearing as her multi-tracked held tones meld with the infinite. As her voice dilates, so does the background, now all electrically-processed source sounds like xylophones and wind chimes, and all is enveloped by a low, distorted drone that would one day sound like Phill Niblock, created by-- as the liner notes so baldly state it-- "amplified shower hose for horn effects."
It's nothing compared to the album's peak, "Parallelograms". Perhaps you fantasize that Joni Mitchell teaches painting and pottery at your high school, or that Chan Marshall mumbles about the Apocalypse poets during English class, but Perhacs teaching geometry is tantrically hot for teacher. To just read the lyrics of "Quadrehederal/ Tetrahedral/ mono-cyclo-cyber-cilia" is to miss how she and producer Leonard Rosenman assuredly layer her heavenly-sung rounds in concentric circles over a cycling guitar-picked figure, a cumulative effect that reveals a dimension scarcely achieved anywhere else in the world of music. Closer to the Mysterious Voices of Bulgaria or Tim Buckley's cellular self-choir "Starsailor" than Melanie or Linda Ronstadt, Perhacs drops us into drifting clouds of reverberating bells, echoing flute, and ghostly effluence, her throat outside of time. That a dental assistant in Northern California could more effectively convey the psychedelic experience through the use of the technology of experimental effects, be it early Pink Floyd, Fifty-Foot Hose, or Buffy Saint-Marie's electroacoustic Illuminations, is, in every clich餠use of the word, mind-blowing.
http://reverendfrost.blog(...)head-of-my-time.htmlquote:The Third Bardo recorded just one single, "I'm Five Years Ahead of My Time," which appeared on Roulette in 1967. That one single, however, is lauded by many collectors as one of the greatest 1960s garage/psychedelic tracks.
With its mysterious lead guitar lines that recalled the theme to the Twilight Zone, Eastern-like minor melody, creepy organ, and one of the most definitive sub-Jagger garage snarl lead vocals ever, it was worthy of more exposure than it got.
However, although it got some airplay on the East Coast, it was pulled off the radio, lead singer Jeff Monn has recalled, because of perceived drug associations, although in fact there are no overt drug references in the lyrics