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Op zaterdag 26 mei 2007 19:33 schreef le_knightclub_soda het volgende:
Iemand bekend met dit album? Draai 'm de hele week al nonstop, beste album wat ik dit jaar ontdekt heb!
[afbeelding]
[..]

Of in welk topic ik deze vraag eigenlijk zou moeten posten?

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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 .

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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?

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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.

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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

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Op woensdag 30 mei 2007 10:58 schreef le_knightclub_soda het volgende:
[afbeelding]
Ook wel aan te raden, deze Trap Door mixtape vol behoorlijk onbekende psych platen. Weet niet of ie nog te koop is, maar op die link staat wel een snippet van een kwartier.

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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!

Tevens tvp

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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.

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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

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Op zaterdag 2 juni 2007 22:36 schreef Uzumaki_Naruto het volgende:
eentje van nederlandse bodem dit keer

Surprieze-zeer oude klanken en heel nieuwe geluiden

[afbeelding]

een van de meest obscure platen ooit gemaakt in nederland

aanrader

lees meer hier

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Op zondag 3 juni 2007 10:49 schreef MuadDib het volgende:
Wat maakt psychedelische muziek eigenlijk psychedelisch? Eindeloze mantra-achtige herhalingen?

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Op zondag 3 juni 2007 11:56 schreef turnpike het volgende:
Die omschrijving lijkt mij eerder betrekking hebben op de associaties die sommige luisteraars bij de muziek hebben.

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Psychedelisch is het bijvoeglijk naamwoord dat werd gebruikt voor de experimentele rockmuziek en de bijbehorende cultuur uit het einde van de jaren 60.

De term verwijst naar de geestverruimende middelen of psychedelica. De muziek was geïnspireerd door de ervaringen met deze middelen. Het album "Electric Music for the Mind and Body" van Country Joe and the Fish was één van de eerste psychedelische albums.

De soort muziek is sterk verbonden met de cultuur rond de hippies en flowerpower. Voor de muziekstijl wordt ook wel de term acid-rock gebruikt. Psychedelica is door de jaren heen altijd een inspiratie geweest. Tot op de dag van vandaag wordt er muziek gemaakt die de term psychedelica waardig is.

Het genre wordt vooral gekenmerkt door zijn sferische karakter. Hiervoor worden verschillende methoden gebruikt: effectapparatuur voor extreme klankvervorming, minimale muziek en improvisatie.

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"Two long oriental esoteric jams with sitar, flute and percussion. This is a really psychedelic party where almost all of Xotic Minds members contribute. The improvisations that were recorded at Adam Axelzons home and at the Babalon Bar in Stockholm reaches orgiastic crescendos, especially the “Io Pan”, a primordial invocation to Pan, with polyrhythmical structures that grows and grows. Reminds one of such masterpieces as “Seven Ate Sweet” or “Taxim” by the mythical Kaleidoscope (USA). The Entheogens LP is a cleansing dip in a oriental acid distortion. A kind of record you seldom see nowadays." – Rockerilla, Italy

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Ton is either blessed or cursed with a voice that sounds just like Bob Dylan. His language barrier keeps him from coming close to anything as profound as Dylan wrote but it offers an interesting twist on this album. His cover of the Velvet Underground's Pale Blue Eyes is the closest you'll probably ever get to hearing Dylan cover them. The album is split distinclty into the vocal tracks and two long raga blues instrumentals that have a bit of Floydian overtones to their production. Both the vocal and instrumental tracks stand well on their own but compliment each other when placed into context. Overall an album worthy of reissue and wider acclaim.

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The Ton Vlasman LP White room with desintegrating walls, was musically a cross between urban folk and Indian tinted music. The album was released on the Amsterdam-based Flame Record label, an independent run by Don Peijters (originally from Assen, his brother played in the legendary formation The Sound of Imker ! ) but sold very badly at the time. Already in the eighties, record collectors worldwide particulary loved the album cover, made by fellow-Rotterdammer Leendert Le Duc, who was also responsible for the colourfull inner, a design wich would pop up again in 2000, when it was used for the cover of the prog-sampler Fantasio Daze on the (new) Op-Art label. When recording the LP, seven self-written compositions and one cover (the Velvet Underground’s Pale blue eyes ), Ton was accompanied by Frans Schoonen (organ, flute and harmonica) and Leo v.d. Vugt (Chincha tumba and tambourine)

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Op zondag 3 juni 2007 19:07 schreef Dogbreath het volgende:
Mijn favoriet is Paradise Now van Groep1850, het nummer zelf is fantastisch. Van Hollandse bodem en internationaal volgens mij ook gewaardeerd. Hoorde laatst de Arctic Monkeys in een interview zeggen dat ze fan zijn.

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Op zondag 3 juni 2007 19:47 schreef Uzumaki_Naruto het volgende:

[..]

Paradise Now is zeker tof,maar jammer genoeg is die volgens mij niet meer beschikbaar op CD
heb wel hun eerste album

vond laatst ook nog de b-kant van hun eerste single (1966) op mn pc

op youtube staat ook een video van Group 1850

Group 1850 - Mother Nohead @ van Oekel's Discohoek 1975

had ik niet verwacht van Artctic Monkeys dat hun fan waren

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Op zondag 3 juni 2007 19:53 schreef Dogbreath het volgende:

[..]

Ik heb inderdaad de LP, ik vind hem beter dan Agemo's trip. Mother no head, fijn nummer ook overigens

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Op zondag 3 juni 2007 13:10 schreef Uzumaki_Naruto het volgende:

nog een van nederlandse bodem
[afbeelding]

relaxt psychedelisch folk plaatje,de zanger heeft een stem die wat op Bob Dylan
beste tracks zijn de twee lange tracks
[..]


[..]

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Het album bevat vijf tracks, die gemiddeld 20 minuten duren en je geest naar onvermoede hoogten stuwen. Kenmerkend voor het album is de alomtegenwoordige in reverb gedrenkte gitaar, de tape-loops, rare zanglijnen en de regelmatige opduikende samples en geluidseffecten, drums en synthesizeraccenten. De muziek houdt het midden tussen vervreemdende ambient, freaky jazz, psychedelische rock, wereldmuziek en avant-garde.

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Op dinsdag 5 juni 2007 23:13 schreef HAL9000S het volgende:
Aanrader!! Geweldig psychedelisch gitaargeweld, ontzettend interessant album dat lang blijft boeien.

Achim Reichel & Machines - Das Echo

[afbeelding]
[..]

Hier een zeer uitgebreide review van het album:

http://www.headheritage.co.uk/unsung/albumofthemonth/476

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“The Echo of presents” bevat pijnlijk compleet de hele ego-trip gitaarsolo die Brian May van Queen live altijd speelt. Gezien het jaartal van deze LP dringt zich de vraag op: kende heer May dees album?

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Op dinsdag 5 juni 2007 23:38 schreef HAL9000S het volgende:
Opvallend detail trouwens:
[..]

Is er iemand die dit kan verifieren?

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Op vrijdag 8 juni 2007 18:03 schreef BeRightBack het volgende:
[afbeelding]

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Op vrijdag 8 juni 2007 18:22 schreef Uzumaki_Naruto het volgende:

[..]

niet alles op nuggets is psychedelisch

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Op vrijdag 8 juni 2007 19:30 schreef HAL9000S het volgende:
Ik heb allebei de cd-boxen, spaar ze nu op LP.

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Op zaterdag 9 juni 2007 12:37 schreef turnpike het volgende:


BTW ik kan Surprieze niet echt ergens terugvinden, ik ben wel nieuwsgierig.

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Excellent reissue from Japan of one of the world's rarest ($4000-$5000)?and strangest?and one of the best?psychedelic albums (Teichiku, 1971), finally getting it's due in recent days; what is it? in essence, it is a Buddhist ceremony, complete with chants and finger cymbals and bells, but with great fuzz guitar chugging away over slide guitar and sitar throughout the proceedings; all this leads up to orgasmic female moaning over fuzz guitar towards the end of the album; luckily, liner notes explain everything in detail.

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Guitarist Kimio Mizutani had previously [or simultaneously, or shortly after?] played with Love Live Life + One and Masahiko Satoh’s Sound Brakers . At any rate, their sole album, the concept piece ‘Ceremony – Buddha Meet Rock’ [Teichiku, 1971], is an absolute classic. The album came with extensive liner notes elaborating on the intended meaning for each track – the whole album flowing more or less as a conceptual whole. As the title would suggest, it was an attempt to fuse a Buddhist-influenced spiritual vibe into an innovative oriental form of hypnotic psychedelic progressive rock. It’s all quite unique and doesn’t sound like any preceding groups that I’m aware of, though some bits are like a much less-heavy Flower Travellin’ Band circa ‘Satori’. It’s a bit jazzy in places, hinting at some of Stomu Yamash’ta’s work with Come to the Edge.
There’s lots of nice fuzz guitar leads and overall, a very sanctified vibe that makes this a deep but groovy experience

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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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Classic Japanese underground rock album, previously reissued on P-Vine (and more recently, Walhalla). Kimio Mizutani (not the Rallizes dude) was the guitarist in the excellent Japanese freak out group Love Live Life +1 and this is a reissue of his first solo album from 1971, originally issued by Japanese Polydor. Mizutani plays electric and 'folk' guitar, leading a largish rock ensemble (bass, drums, organ, Moog, vocals, etc.) through the paces of what is widely regarded as the true psychedelic masterpieces of the early '70s Japanese scene. Sensitive interludes (with accompaniment by the Toyama String Quartet and Etoh Wood Quartet), tasteful nods to progressive/fusionist extension and lovely psych guitar hoverings by Mizutani dominate the proceedings. A nice merger of hard rock conceptualization and the complexities that would evolve from it.

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A Path Through Haze is an almost completely instrumental album, where heavy psychedelic acid guitar rock and Canterbury jazz rock are combined. Strangely these two possibly contradictory styles are integrated quite well. Besides great psychedelic guitar playing, other instruments include flute, sax, drums, bass, and keyboards (mainly moog, organ, and electric piano). Basically the keyboards provide the Canterbury feel, while the guitar playing adds the acid rock vibe. The first three tracks sound a bit like Canterbury jazz rock (maybe like Isotope or Zyma), but always with great acid guitar soloing on top. Several tracks on the second half of the album are much heavier, sounding like Guru Guru or Jimi Hendrix playinging some of the more free jazz tracks from Soft Machine 4. The result is great. There are two quiet tracks as well, one with a string quartet. Overall, a quite original and creative album.

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Op dinsdag 12 juni 2007 23:08 schreef Dogbreath het volgende:
Even een voor sommigen wat makkelijke vraag: wat is de oorsprong? Ik neem aan de zestiger jaren met de Jefferson Airplane, Pink Floyd etc. etc.

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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 19 juni 2007 01:11 schreef zwareshag het volgende:
Leuk topic.

Ik luister de laatste week veel naar The Mike Stuart Span. Met name het nummer Children Of Tomorrow draai ik al jaren bij vlagen grijs. Weet eerlijk gezegd niet of het echt psychedelisch is maar kan me herinneren dat het op een van de Nuggets staat.

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

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Op woensdag 4 juli 2007 22:27 schreef Dogbreath het volgende:

[..]

Jaaaa wat gaaf. Bedankt voor deze link

Edit: zie ik op je eigen weblog dat je hebt meegewerkt? Of lees ik dat weer eens verkeerd

Nogmaals edit: ik hoor het

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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

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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!

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Op dinsdag 16 juni 2009 09:16 schreef xpompompomx het volgende:
Kent iemand dit oudje:
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Op dinsdag 16 juni 2009 15:22 schreef SpauldingPF het volgende:

Ozric Tentacles - Fractal Eternal Wheel

Ozric tentacles! Weet niet of het bekend is, maar voor mij was het tot kort geleden onbekend!

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Op dinsdag 16 juni 2009 15:22 schreef SpauldingPF het volgende:

Ozric Tentacles - Fractal Eternal Wheel

Ozric tentacles! Weet niet of het bekend is, maar voor mij was het tot kort geleden onbekend!

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In 1991, the Japanese psychedelic powerhouse White Heaven finally released its first (and as it turned out, only) full length album. Though the members of this band played together since 1980 under a large number of different names, frequent changes of lineup and quite probably a lack of funds prevented much documentation of their music, which is best described as highly energetic, raw, noisy, occasionally beautiful and always thoughtful psyche garage. Guitar legend Michio Kurihara is in full force here, and sounds like a category 5 hurricane on "Blind Promise" and "My Cold Dimention"; elsewhere he calms down, glimpsing his more serene side many years before it would become a very prominent aspect of his music (hear "Dull Hands" and "Fallin' Stars End"). The original LP is become a collector's object limited to 500 copies, but the album has enjoyed a reissue on Modern Music (P.S.F. Records).

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Op dinsdag 16 juni 2009 20:19 schreef cafca het volgende:
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Gary Higgins - Red Hash
Nog zo'n meesterwerkje, wat meer psychedelische folk, maar geniale plaat!

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In 1973 Gary Higgins released a brilliant, yet impossible to find LP, called Red Hash. A Drag City employee got it from Ben Chasny of Six Organs of Admittance and became obsessed with the album and tracking Higgins down. He finally found him working as a nurse in Connecticut and discovered the reason why so few of his one and only album were pressed. Higgins recorded “Red Hash” knowing he was about to go prison on drug charges. It’s hard to set up distribution when you’re incarcerated.

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Op dinsdag 16 juni 2009 21:32 schreef cafca het volgende:
Ik heb nog een lijst gevonden met "100 GREAT PSYCHEDELIC ROCK ALBUMS"

Zou dit het topic doodslaan als ik die hier post?

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Op dinsdag 16 juni 2009 21:32 schreef cafca het volgende:
Ik heb nog een lijst gevonden met "100 GREAT PSYCHEDELIC ROCK ALBUMS"

Zou dit het topic doodslaan als ik die hier post?

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Op dinsdag 16 juni 2009 21:38 schreef Siniti het volgende:

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Digitaldreamdoor.com zeker?

Geweldige site

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Op dinsdag 16 juni 2009 21:38 schreef Siniti het volgende:

[..]

Digitaldreamdoor.com zeker?

Geweldige site

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Compared with their last album, Z, this is a pop record. Created in four frenetic hours in Hebden’s studio, it became a labour of love for the jazz-influenced producer. Performed by ten members it moves from the bizarre to the beautiful with the traffic-like, bolshy drones of “Nice Butterfly Mask” bleeding into the ethereal loops and cymbal clatter of evocative tracks like “The Wind Has Ears”. “Parakeet Beat” launches off a percussive platform into a maelstrom of delay and distortion. The clubbiest of the album tracks, it’s been remixed by Norwegian dance master, Bjorn Torske.

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Op dinsdag 16 juni 2009 21:46 schreef wallofdolls het volgende:
Laatst ontdekt:

Yuganaut... komt van hetzelfde label als die nu Soft Machine distribueert

"Whacked in the Head" featuring Yuganaut

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Op dinsdag 16 juni 2009 21:14 schreef cafca het volgende:
Is inderdaad wel enigszinds vergelijkbaar met Pearls Before Swine
One Nation Underground, hun debuut is ook zeer de moeite waard, trouwens

The Creation - Making Time

If I Stay Too Long - The Creation

the creation - cool jerk

The Creation , Like A Rolling Stone

Eight miles high bass solo

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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 Clark, 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 woensdag 17 juni 2009 14:22 schreef wallofdolls het volgende:
Wat n mooie hoes

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The Musicians:

Robert Wyatt - percussionist extraordinaire, then of Soft Machine, who played with the Amazing Band on many occasions, seemed to produce inspirational rhythms, sounds and vocal interjections at the exact and only possible moment. Both as an ordinary bloke and philosopher of the avant garde, Robert made a great deal of difference to the weight of this music.

Jim Mullen - the wonderfully soulful jazz guitarists of then and forever, let his copious hair down on this recording, playing deep, open string bass, underpinning and warming the disparate music around him.

Mick Brennan - always slightly distracted, favoured playing very near, shoulder to shoulder, with a very vocal tone, always bringing out the emotional aspect of any musical context.

Veleroy Spall - developed his own vocabulary for violin, and weaved sounds dramatically and unexpectedly into the couldron of musical possibility.

Maia Spell - often worked with the band in the early years at Pentameters, using her voice instrumentally. Mal called it "snake charming" but there are seagulls, swoops and swing enlivening and touching the music.

Chris Francis - G.L.C. Young Musician of the Year, stepped by for a while to add some accomplished bebop sounds on the second selection.

Mal Dean - was a creator and innovator more than a trumpeter but he knew how it went and always lead the band in the direction of honestly, cutting through the remotest sign of bullshit. the music here was specially his creation.

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Les Rallizes Dénudés (裸のラリーズ, Hadaka no Rallizes) was één van de vroegste en meest revolutionaire Japanse psychedelic rock bands, geformeerd in 1967. Ze spelen al 4 decennia lang samen en ze leiden een obscuur en teruggetrokken bestaan, zelfs in hun thuisland. De band wordt tevens verantwoordelijk gesteld als de grondlegger van het genre Noise rock. De muziek was rauw en met veel distortion. Hedendaags wordt de band gezien als een legende en hebben ze een wel erkende cult-status.

Ze toerden zelden en brachten een gelimiteerd aantal platen uit, zonder waarneembaar label. Ondanks de onbekendheid heeft de band grote impact en invloed gehad op de hedendaagse noise rock/psychedelic, maar ook avantgarde-scene.

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In 1969 White Noise released the groundbreaking album An Electric Storm on Island Records. The album was created using a variety of tape manipulation techniques, and is notable for its early use of the first British synthesizer, the EMS Synthi VCS3. Amongst many oddities, the first track on the album Love Without employed sped-up tape edits of Vorhaus playing the double bass to create violin and cello sounds.

'I use voices a lot too, but not as conventional vocals. I always use a lot of voices, and if somebody having an orgasm in the background is used as part of one of the waveforms, it makes the sound more interesting, without the listener actually knowing what they're hearing.' Interview with David Vorhaus

Although not initially commercially successful for Island, it has over the years proved to be a cult classic, going on to sell hundreds of thousands of copies worldwide, namechecked by such contemporary artists as The Orb and Julian Cope, influencing contemporary acts such as Broadcast, Add N to (X), and Secret Chiefs 3.

A brief extract from An Electric Storm can be heard in the Hammer Film Productions film Dracula AD 1972.

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Op woensdag 17 juni 2009 14:03 schreef xpompompomx het volgende:
Dit topique begint goed op stoom te komen!

OT:
Valet - Blood is Clean
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Op zondag 21 juni 2009 20:13 schreef wallofdolls het volgende:

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Klinkt echt heel erg naar John Cale, die ik ook in dit topic postte. Vind je dit tof, moet je ook zeker die van John Cale horen, hoewel die wel wat verder gaat in freakerigheid volgens mij.

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Op dinsdag 16 juni 2009 22:08 schreef arucard het volgende:
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astra
Een nieuwe band volgens mij, erg goed. Wat King Crimson achtig soms.
Ze hebben pas een nieuw album uit, The Weirding

ASTRA - The Rising of the Black Sun

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Op dinsdag 30 juni 2009 14:18 schreef trebremmit het volgende:

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Dat is inderdaad net King Crimson, klinkt wel tof, 70's progressive rock, lekker retro bandje.

ANEKDOTEN - The Book Of Hours

Anekdoten - In Freedom (1995)

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During the mid-'80s, XTC developed a deep fascination with '60s psychedelia that manifested itself on their late-1986 masterpiece Skylarking. While Skylarking was filled with lush pop reminiscent of the Beatles and Beach Boys, it was generally a sober affair, since they decided to leave many of the lighter songs off the album for B-sides and future albums.

During this time, they decided to develop their alter egos of the Dukes of Stratosphear, a way to let all of their infatuation with psychedelia flourish. Both the EP 25 O'Clock and the full-length Psonic Psunspot, collected on the single-disc Chips From the Chocolate Fireball, capture the sound of '60s psychedelia remarkably well. All of the sonic details, from the fuzz guitars to the cavernous echoes and sound effects, are in place, as are the self-consciously trippy lyrics.

But what makes the Dukes of Stratosphear far more than a comedy band are the songs, which happen to be some of the best pure pop tunes XTC ever wrote: "My Love Explodes" has a tense, spiraling guitar line and melody; "Little Lighthouse" and "You're My Drug" are wonderful pastiches; "The Mole From the Ministry" is a devilish homage to "I Am the Walrus" and Bowie; and the group rarely wrote a song as infectious as the bright, jangling "Vanishing Girl."

Despite the clever craftsmanship, XTC has never sounded so carefree or effortless, been quite as immediately catchy or consistent — Chips From the Chocolate Fireball is too good to be overlooked as a side-project folly, because it truly is some of the best music XTC ever made.

And, coincidentally, it's some of the best psychedelic pop ever recorded as well.

The Dukes of Stratosphear-What in the World

My Love Explodes

The Dukes Of Stratosphere-The Mole From The Ministry

Vanishing Girl

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De What Love Suite werd in Amsterdamse hippie tenten als Fantasio en Paradiso even veel gedraaid als In-A-Gada-Da-Vida, de sax-solo uit die kant-lange track werd begin 70s door Veronica als tune gebruikt en toch is deze wonderschone plaat totaal uit het oog en het oor geraakt.

Onbegrijpelijk want de songs zijn zonder uitzondering van hoog nivo. Prachtige drama's als beide What Love tracks, Howard Christman's & One Act Play worden afgewisseld met lichte hapjes als She & Lydia Purple. Als muzikanten zijn ze ook niet echt verkeerd, Dave Hassinger gebruikte ze in om David Axelrod's Mass In F-Minor af te maken toen de Electric Prunes niet tegen de taak opgewassen bleken en met Howie Vickers hebben een leadzanger van formaat in de gelederen. Vette aanrader !

The Collectors - What Love (Suite) [1/2]

The Collectors - What Love (Suite) [2/2]

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Op zondag 21 juni 2009 19:34 schreef wallofdolls het volgende:
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White Noise - An Electric Storm (1969)

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Dadamah - This is not a Dream - Brian's Children

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Roy Montgomery:
"The Dadamah album I look back upon as an exercise in weaving tunes into cacophony. The other members of the band had the energy and enthusiasm for experimentation and I had the "hooks", to put it crudely. I thought the common ground for us in Dadamah was that terrain occupied by Pere Ubu and the Red Crayola in their debut records, so I think I had that always at the back of my mind in trying write tunes to go with the words and ideas of the other members.

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Op donderdag 9 februari 2012 10:14 schreef Bosbeetle het volgende:
Uzumaki topic

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Op donderdag 9 februari 2012 11:27 schreef On het volgende:
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Dadamah - This is not a Dream - Brian's Children

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Ik kwam pas iets later op fok, maar wat ik er van heb begrepen was het een goede gast en een echte aanwinst voor Muz.