(Onbekende) psychedelische meesterwerkjes

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Although his incredibly rare first album, Experiment in Metaphysics, was a sensational and dynamic slice of progressive acid folk, Perry Leopold took a phenomenal leap forward on the follow-up, 1973's Christian Lucifer. (It is a small miracle that the recording ever saw the light of day, since the studio at which it was recorded was sold and then closed, and all the master tapes from the sessions were erased and used again, leaving only a few mixdown copies.) The songs on the first album, while all strong individually, didn't quite hold together, but Christian Lucifer is conceptually a whole, impossible to imagine as anything other than what it is. Leopold's melodies again shine like slowly uncovered gems. Complex melodic lines and protracted vocal melodies stretch and build ominously, like the sight of a wise, enigmatic monk concealed beneath a woolen cloak. The religious reference is not an empty simile. If the songs on his first album came across as parables or ancient narrative tales, then Christian Lucifer is a collection of hymns, prayers, and litanies conflicted with the dualities of life, full of metaphysical depth. Whereas the first album stuck to the folk basics, this second album was stunningly produced.

Gorgeous layers of acoustic guitars, bass, clavinets, bassoons, recorders, oboes, cellos, tabla, MiniMoog, and explosive timpani and bells gave the album a rococo-styled grace and wispy beauty, invoking everything from medieval madrigals to Bach and Vivaldi to Middle Eastern musics to psychedelia and the Doors. And yet, it is none of those things. There are imprecise similarities to Nick Drake's oppressive but beautiful fragility, the theatrical majesty and scope of David Bowie (who is quoted at the beginning of "Serpentine Lane," a dystopian reply of sorts to "Space Oddity," with Leopold's deep voice infusing the music with the same alien quality), and the visionary mystical musings of Merrell Fankhauser and Jeff Cotton's cult band Mu.

The foreboding keyboards of "The Windmill" are pulled directly from "Riders on the Storm," but the album is an entirely unique and novel amalgam. There is a Renaissance Fair feel, particularly in songs such as "Sunday Afternoon in the Garden of Delights" and "The Starewell," harsh and pretty at once, and intriguingly arcane. Leopold was, in fact, a troubadour in the truest sense of the word, singing his music for whoever would listen.

Ultimately, the album is a very individual struggle with the duality that lies at its heart and is the crux of everything humanity is and does. Christian Lucifer is both terrestrial and ethereal, both tangible and transcendent. It is unquestionably Leopold's masterpiece, and one of the most artistic, intellectually mature, and haunting albums — released or not — of its era.

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Eight Miles High is een rockalbum van Golden Earring uit november 1969.

Met deze elpee doken de Hagenezen in de acid-rock ofwel psychedelische rock. Het nummer Eight Miles High, geschreven door Gene Clarck, Roger McGuinn en David Crosby van The Byrds, (later lid van Crosby, Stills, Nash & Young), leende zich uitstekend om de hallucinante sfeer weer te geven. Tijdens live-optredens in onder andere de Verenigde Staten werd Eight Miles High uitgerekt tot driekwartier en verrijkt met een gitaar-, drum- en bassolo. Omdat een elpeezijde slechts beperkt is tot plusminus 20 minuten moest dit nummer ingekort worden. Met 19 minuten is Eight Miles High de langste track die Golden Earring ooit op plaat zette. Song of a Devil's Servant komt al eerder voor op de voorganger On the Double (1969), maar kent op Eight Miles High een meer psychedelische productie. De elpee is in vijf dagen opgenomen in de Olympic Studio in Londen. De spontaniteit van de songs werd geprezen, de rudimentaire techniek kreeg na de release wat kritiek te verduren.

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Op dinsdag 3 juli 2007 20:08 schreef Uzumaki_Naruto het volgende:
nederlandse psychedelica

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Earthless is the brainchild of Mario Rubalcaba, Mike Eginton and Isaiah Mitchell. Rubalcaba, a prolific drummer, has worn the alias of Ruby Mars during his stint with Rocket From The Crypt, went on to bang away for the Hot Snakes, was the drummer for hardcore art-punks Clikatat Ikatowiand previously was in the Black Heart Procession… and prior to that? Mario was a member of Tony Alva’s Alva Team skateboarding crew. He now finds himself, along with bassist Mike Eginton and guitarist Isaiah Mitchell, knee deep in the near opposite direction of all things punk rock, ensconced in the world of jam, space and “cosmic nodding” a.k.a. Earthless.

The trio, based out of San Diego, met through mutual friends and a fondness for under the radar record collections. Mario explains how the band connected, “We discovered a mutual admiration for a lot of Japanese psychedelic hard rock bands, as well as primitive ‘60s garage music. After combing over each other’s record collections and lending out records, we came upon the idea of, ‘Let’s specifically start a Japanese-psychedelic-heavy-Kraut-rock-band.’ With the Japanese bands, it was always a really kind of heavy, blues, twisted take on Black Sabbath or Led Zeppelin. Isaiah is an awesome guitar player & Mike is an amazing bassist, playing with the both of them really sealed the deal. Magic happened in the room. Since then, we’ve followed that formula.”
Recently signed to Tee Pee Records, Earthless issues their debut album, Rhythms from A Cosmic Sky, this May. While Mario, Mike and Isaiah can be the most precise of musicians, the group also revels in adding a healthy amount of jam to the mix, as evidenced by the album’s two extended tracks “Godspeed” and “Sonic Prayer. (read all)

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Alexander Lee "Skip" Spence (born April 18, 1946 in Windsor, Ontario - died April 16, 1999 in Santa Cruz, California) was a musician and singer-songwriter. He was a member of Jefferson Airplane, as drummer, and Moby Grape, as guitarist, for both groups' first albums in 1966 and 1967 respectively.

Suffering from schizophrenia, he was committed to New York's Bellevue Hospital after a failed-attempt to murder Grape members Don Stevenson and Jerry Miller with a fire axe. Upon his release from Bellevue, he recorded his only solo album, the now-classic psychedelic/folk album Oar (1969, Columbia Records). However, mental illness and alcoholism prevented him from sustaining a career in the music industry, and he lived much of his later life as a homeless person in Santa Cruz. When it appeared that he may have been overcoming those afflictions, lung cancer claimed him.

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No one except psychedelic Renaissance man Alexander Skippy; Spence could have created an album such as Oar. Alternately heralded as a soundtrack to schizophrenia and a visionary solo effort Oar became delegated to cut out and bargain bins shortly after its release in the spring of 1969.

However those who did hear it were instantly drawn into Spence's inimitable sonic surrealism. As his illustrious past in the Jefferson Airplane, Quicksilver Messenger Service, and Moby Grape would suggest, this album is a pastiche of folk and rock. In reality, however, while these original compositions may draw from those genres, each song has the individuality of a fingerprint. As a solo recording, Oar is paramount as Spence performed and produced every sound on the album himself at Columbia Records studios in Nashville in the space of less than two weeks.

This burst of creativity was directly preceded by a six month incarceration in New York City's Bellevue Hospital after chopping down a door at the Albert Hotel en route to do the same to fellow Moby Grape members Jerry Miller and Don Stevenson. A common motif to this album is the presence of saints and demons. Even the straightforward narratives such as the love ballad Broken Heart or Cripple Creek; which feature vocal treatments reminiscent of folkie Fred Neil are bathed in unusual chord sequences and lyrical double-entendre. T

he majority of the sounds on this long-player remain teetering near the precipice of sanity. Primary examples include War in Peace the epic Grey/Afroand the sound effect-laden Books of Moses Comparisons have been made to Syd Barrett, John Lennon, and Frank Zappa &amp the latter especially for the intense sonic collage techniques displayed on albums such as Lumpy Gravy and Civilization Phase III.

In 1999, Sundazed Music issued what is considered the final word on Oar, which has been remastered and boasts over 20 minutes of additional material prepared by Spence. The album's lasting legacy is also captured on an all-star tribute CD to Spence titled More Oar.

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Why was this record released? Release, a dutch foundation and social workers organisation which was trying to find alternative ways of helping young people with various problems, needed money and decided to organise a benefit concert in the Rotterdam Youth Center 'De Ruimte' in April 1972.
They taped the concert by Dutch experimental band Ellufant or Abandoned Elephant or 11 phant, as they were also known as and pressed approx 150 copies of the album to sell in aid of the foundation.

What about the music? Ellufant was a two man band from Rotterdam, the Netherlands; keyboard player Ernst Kersting and percussionist Cees P. de Visser. Kersting used a modified keyboard, which he calls a V.S.K. Electronics organ on the sleeve. The music is dark, haunting underground improv sometimes comparable to early Pink Floyd, at other times sounding like german bands e.g. Can or even like electronic experimental music.

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“SOME OF THE MOST BRILLIANT AND DISTURBED GUITAR PLAYING ON RECORD…”

JPT Scare Band has been blazing psychedelic trails for quite some time now. Over the years and decades they have managed to progress from totally unknown to painfully obscure. In spite of all that… they are still together, with the original lineup intact. Still making meaningful music in the 21st century, this veteran group of jammers is also proud of their vast legacy of classic twisted insanity recorded back in olden analogue times.

Here and there, in odd corners of the world, growing numbers of those who love the old school guitar crazy heavy rock have somehow become aware of the existence of JPT. The band was featured in an article in the March 2007 issue of Classic Rock Magazine titled, “Lost Pioneers of Heavy Metal” in which they were included in the same exalted company with Iron Butterfly, Bloodrock and Leafhound. Although they have never really considered themselves to be a heavy metal band, they will take any positive publicity that the cosmic universe chooses to serve them.

The members of JPT are extremely proud of the fact that their first two albums were released on vinyl only. Good luck finding a copy of one, as they are long out of print. Their first CD, Sleeping Sickness, was originally released on Monster Records and featured tracks from the two vinyl albums.

JPT Scare Band - Ramona

JPT Scare Band - Titan's Sirens

JPT Scare Band - Wino

JPT Scare Band - Sleeping Sickness (Part 1)

JPT Scare Band - Sleeping Sickness (Part 2)

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Op dinsdag 29 mei 2007 20:45 schreef cafca het volgende:
Goed Topic!

ff aftrappen met een klassieker:
[ afbeelding ]
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!

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Op zaterdag 6 juni 2009 20:32 schreef Siniti het volgende:
Wat zouden jullie van 13th Floor Elevator aanraden? Slip Inside This House is namelijk tamelijk briljant.

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Op zaterdag 6 juni 2009 20:32 schreef Siniti het volgende:
Wat zouden jullie van 13th Floor Elevator aanraden? Slip Inside This House is namelijk tamelijk briljant.

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Op zaterdag 6 juni 2009 20:37 schreef n0r het volgende:
Nog eentje dan;

Come And Have Some Tea van the Tea Company, geweldige plaat

[ afbeelding ]

Met imo de gaafste versie van You Keep Me Hanging On

Tea Company - Flowers (Longplay 1968)

Tea Company - You Keep Me Hangin On

*Edit; En dat Hunger linkt ook erg gaaf trouwens, kende het nog niet!

SPOILER

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Op dinsdag 16 juni 2009 15:14 schreef xpompompomx het volgende:
Ik zal het straks eens gaan beluisteren!