Blue Cheer - New! Improved! (1969 Acid-Psych)

New!Improved! Blue Cheer is the third album by Blue Cheer, first released in March 1969 on Philips Records. The group's sound was hard to categorise, but was definitely blues-based, psychedelic, and loud. The group underwent several personnel changes after the 1968 release of Outsideinside, and then yet more changes during and after 1969's New! Improved! Blue Cheer (different guitarists on side 1 and 2). After Leigh Stephens was replaced by Randy Holden, formerly of Los Angeles garage rock band The Other Half, in 1968, Blue Cheer's style changed to a more commercial hard rock sound ‡ la Steppenwolf or Iron Butterfly. For the fourth album Blue Cheer, Holden, who had left during the third album, was subsequently replaced by Bruce Stephens. Stephens later quit and was replaced by Gary Lee Yoder, who helped complete the album.

Randy Holden is a guitarist best known for his involvement with the West Coast proto-metal group Blue Cheer on their third album, New! Improved! Blue Cheer (1969).

Randy Holden was born on the 2nd of July 1945 in Pennsylvania and grew up on the move. He played in a number of bands including The Iridescents (blues rock), The Fender IV (surf rock) and The Sons of Adam (surf rock/psychedelic rock). While playing in The Sons of Adam Holden opened for the Rolling Stones at their first show at the Long Beach Sports Arena. Holden was heavily influenced by Keith Richard's guitar and amp set up which helped change his own attitude towards equipment and tone.[2] The Sons of Adam (specifically Holden) began experimenting with distortion and feedback which pushed into psycedelic rock. Holden left the band frustrated with the lack of original material.

Holden joined up with The Other Half, a psychedelic garage band from Los Angeles. They recorded one album together before Holden parted ways. He then replaced Leigh Stevens in Blue Cheer and appeared on one side of the album New! Improved! Blue Cheer (1969). Holden toured with Blue Cheer for an entire year before once again parting ways.

Frustrated with lack of control over the bands, Randy formed his own band with drummer Chris Lockheed. At first Lockheed played both drums and keyboard simultaneously, but later decided to stick with just drums. During this time Holden obtained a sponsorship deal with Sunn amplifiers. Through this he received his legendary sixteen 200 Watt amplifiers. His new band was dubbed Population II which was a reference to the fact there were only two members in the band as well as an astronomical term (see metallicity). The band recorded a single album, Population II (1969). Trouble with the release of the album led to Holden going bankrupt, losing all his equipment and quitting music. Population II was eventually released in bootleg forms and official released years later.

After 23 years he began playing music again, reportedly coerced into playing again by a loyal fan. He recorded Guitar God in 1994


01. "When It All Gets Old" (Kellogg) - 3:01
02. "West Coast Child of Sunshine" (Stephens) - 2:41
03. "I Want My Baby Back" (Stephens) - 3:19
04. "Aces 'n' Eights" (Kellogg, Peterson, Stephens) 2:47
05. "As Long as I Live" (Peterson, Stephens) - 2:20
06. "It Takes a Lot to Laugh, It Takes a Train to Cry" (Dylan) - 3:16
07. "Peace of Mind" (Holden) - 7:22
08. "Fruit & Icebergs" (Holden) - 6:05
09. "Honey Butter Lover" (Holden) - 1:16

Post by ChrisGoesRock

Bethnal - Crash Landing (British New Wave 1978)

Bethnal was a British rock band formed in London in 1972 and featured George Csapo (vocals, keyboards, violin), Pete Dwoling (drums), Nick Michaels (guitar), and Everton Williams (bass). A straight-ahead rock ensemble (albeit with the unusual addition of violin), Bethnal was mistakenly redefined as a punk group in the mid-'70s. It was an error corrected by listening to their two 1978 albums, the second of which, Crash Landing, was made under the direction of the Who's Pete Townshend. Bethnal failed to find an audience and broke up in 1980.

AMG Review by William Ruhlmann

UFO - Lights Out (Superb British Hard-Rock 1977)

Michael Schenker and Phil Mogg really started to find their groove as a songwriting team with their second album together (and fourth UFO release overall), Force It. In fact, the last remaining folk and space rock tendencies that had stolen much of Phenomenon's thunder are summarily abandoned here, as the group launches itself wholeheartedly toward the hard rock direction that would make them stars. The first step is taken by Schenker, of course, who confidently establishes the aggressive, biting guitar tone that would define all the releases of the band's glory years. "Let It Roll" and "Shoot Shoot" kick off the album in rousing fashion, and while holding them under a microscope might reveal them as rather disposable slabs of hard rock, they would remain concert favorites for the band nonetheless. The punchy single "Love Lost Love" sounds tailor-made for the American market and acoustic ballad "High Flyer" is quite good, despite taking a dip in energy. But things only really start to gell on the album's second half. Schenker and Mogg wheel out their most mature composition yet with the piano-led "Out in the Street," whose softer sections truly highlight Mogg's highly disciplined, understated vocal style and make the guitar player's more restrained soloing all the more memorable. Schenker is soon back in charge, however, on the stuttering riffs and blistering fretboard work of "Mother Mary" and the downright vicious stop-start strut of "This Kids" -- both UFO anthems. One of the band's best albums, Force It will not disappoint lovers of '70s English hard rock.

AMG Review by Eduardo Rivadavia

Plastic Cloud - Plastic Cloud (Great Folk-Psych 1968)

Quite simply, one of the greatest psychedelic albums ever made. This 1968 Canadian release is one hip album, full of catchy melodies and hippie harmonies, as well as some of the most superb (and trippiest) fuzz guitar ever recorded. There is no point singling out a specific track, they are all excellent. Remastered from the tapes; the accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of an original press release that must be seen to be believed.

From Bay Ridges, Ontario, this band made one of the best and most sought-after albums of the psychedelic era. All of the tracks were written by Don Brewer and it's one of the most consistently good Canadian albums of this era. There's lots of fuzz guitar on tracks like Shadows Of Your Mind, Face Behind The Sun and Civilization Machine, whilst Dainty General Rides and Art's A Happy Man are nice soft rock numbers. The pick of the album? The ten minute Eastern-influenced You Don't Care, which is full of lots of lovely fuzz. The album was produced by Jack Boswell and Bill Bessey.

01. Epistle To Paradise - 3.36
02. Shadows Of Your Mind - 4.18
03. Art¥s A Happy Man - 3.12
04. You Don't Care - 10.36
05. Bridge Under The Sky - 4.36
06. Face Behind The Sun - 4.50
07. Dainty General Rides - 4.14
08. Civilization Machine - 8.51

Post by ChrisGoesRock

Oriental Sunshine - Dedicated to the Bird We Love (Very Good Folk-Psych 1970)

Yet another mysterious and long-lost psych-folk album, Dedicated to the Bird We Love, originally released in Norway at the dawn of the '70s and then re-released by Sunbeam in 2006, is a more worthy candidate than most for its status, if not truly a unique artifact. It's a pleasant enough listen which mixes and matches its styles in an easygoing fashion. Thanks in part to the strong quality of Nina Johansen's voice, an obvious comparison point might be the Shocking Blue, but Oriental Sunshine's brief is less fierce, hook-driven hits than a more contemplative ramble. That said, this isn't a spare guitar-and-nothing-else effort either -- opener "Across Your Life" has a surprisingly thick, busy sound deep in the mix, with drums, sitar, keyboards, and more turning into a roiling bed of music at once agitated and strangely serene. This depth becomes a hallmark of the album, as Johansen and Rune Walle's singing steps to the fore with the key melodies while the music unobtrusively fills out the sound. Sometimes the mix does get calmer in overall comparison, as on songs like "Visions," but it provides a gentle variety to the album as a result. Flute and sitar appear often enough to be core to the sound rather than simply window dressing, though admittedly neither are used in strikingly unique fashion -- as with the album as a whole, the result is an enjoyable niche rather than a lost masterpiece flat-out, and once or twice, as with the introduction to "Unless," the effect feels more clichéd than anything else. (The lyrics themselves veer there at points too, but never to the point of distraction.)

AMG Review by Ned Raggett

The Cramps - Off the Bone (1983 Psychobilly Compilation)

This British compilation includes the entirety of the Cramps' first release, the Gravest Hits EP, along with selections from Songs the Lord Taught Us, Psychedelic Jungle, Smell of Female, and a live version of "You Got Good Taste" (shortened here to "Good Taste"). It covers the years 1979-1983, a formative period in the band's long career. Ten of the tracks can also be found on the domestic compilation Bad Music for Bad People, which was released the following year. Although the bulk of the material consists of covers, you can hardly tell (barring an intimacy with any of the originals). Once the Cramps get hold of a song, they always make it their own -- even the more recognizable numbers like "Surfin' Bird," "Lonesome Town," and "Fever." All benefit from Lux Interior's vocal prowess. He's a proto-punk screamer like Screamin' Jay Hawkins or the Sonics' Gerry Roslie on the rockin' numbers, but can caress a ballad like mid-period Elvis when the need arises. None of the songs sound as if they could possibly have been written anytime after the '60s. Alex Chilton produced the first ten tracks, the Cramps the remaining seven. The cover art for ...Off the Bone has varied over the years; the 1987 Illegal edition is rendered -- appropriately enough -- in 3-D.

AMG Review by Kathleen C. Fennessy

Cowboy Junkies - The Caution Horses (1990 Alternative Rock)

With the ethereal voice of Margo Timmins gleaning the lyrics "The phone rings, but I don't answer it/Good news always sleeps till noon" on the opener ("Sun Comes Up, It's Tuesday Morning), listeners rest assured -- the Junkies haven't compromised their comfortable, country-twanged, folk-rock style to cater more to the trends of the masses. Mellow, honest, and provocatively reticent at points, their melancholic tone might seem bland to those with more aggressive tastes, or to simply more mainstream palettes, but for those whose tastes float serenely upstream, and for Junkies fans in general, this album is a treat. As usual, brother and lead guitarist Michael Timmins has created narratives that make poetry of everyday observations and anecdotes. Not as rocking as later releases, but offering more originals than earlier ones, this, their third full-length, brings back the mandolin and fiddle playing of Jeff Bird, the accordion stylings of Jaro Czerwinec, and pedal & lap steel guitar from Kim Deschamps -- all of which gracefully complemented the Trinity Sessions recordings. Their arrangements seem simply planned, and it's the combination of such a consistently minimalist quality with Michael Timmins' delicate songwriting that evokes ghost-story moods ("Witches") and sunset-beyond-the-porch-swing moments. Aside from the Neil Young cover "Powderfinger," The Caution Horses marks the Junkies' gradual shift toward more original work, and stands as the calm before the more rocking, commercially successful storm of material that followed. Highlights include "'Cause Cheap Is How I Feel," "Rock and Bird," and "Escape Is Simple."

AMG Review by Deanne Briggs

Arthur Brown - The Crazy World of Arthur Brown (Superb Psychedelia 1968)

Though a bit over-the-top, this album was still powerful and surprisingly melodic, and managed to be quite bluesy and soulful even as the band overhauled chestnuts by James Brown and Screamin' Jay Hawkins. "Spontaneous Apple Creation" is a willfully histrionic, atonal song that gives Captain Beefheart a run for his money. Though this one-shot was not (and perhaps could not ever be) repeated, it remains an exhilaratingly reckless slice of psychedelia. The CD reissue includes both mono and stereo versions of five of the songs. Although the mono mixes lack the full-bodied power of the stereo ones, they're marked by some interesting differences, especially in the brief spoken and instrumental links between tracks.

AMG Review by Richie Unterberger

Craig Armstrong - The Space Between Us (Great Trip-Hop 1998)

Craig Armstrong's long history of string arrangements and composing (for U2, Massive Attack, the Romeo + Juliet soundtrack) helps him out on his solo debut album. The Space Between Us is impeccably produced, from the redos of Massive Attack's "Weather Storm" and the music from the balcony scene of Romeo + Juliet to the new ballad "This Love," with vocals by Cocteau Twins' Elizabeth Fraser. If there is a problem with the album, it's that the other tracks have that vague feel of a soundtrack or original score that sounds pleasant enough but doesn't make for diverting listening.

AMG Review by John Bush

Edgar Broughton Band - Edgar Broughton Band (Superb Blues-Rock 1971)

The most conventional of the Edgar Broughton Band's first (and best) three albums, 1971's Edgar Broughton Band finds the group dispensing with the no-holds-barred mania and theatricality responsible for such classics as "Out Demons Out," "Up Yours," and "Apache Drop Out" and concentrating instead on more musical endeavors. It's an approach that arguably captures the band at their very best at the same time as revealing them at their ugliest. The two-part epic "For Dr. Spock" conjures images of Gong, as it drifts closer to space rock than the Edgar Broughton Band had hitherto ventured, while "House of Turnabout" certainly restates the group's free-freak credentials with its rumbling percussion and scything guitars, a second cousin to the roars that punctuated Wasa Wasa and Sing Brother Sing. The heart of Edgar Broughton Band, however, lies elsewhere. The lilting chant "Thinking About You," with its spectral reminders of John Lennon's "Working Class Hero," is certainly one of their most rancorous concoctions, while "Evening Over Rooftops" rides an acoustic guitar as pretty as its flowery lyric, but you know there's something rotten squirming just below the surface, even if you can never quite put your finger on it. The pure pop backing vocals, all "sha-la-la" and "doo-be-doo-be-doo," of course, only add to your unease. And, as that is merely the opening number, you can guess what you're in for over the rest of the album long before you actually get it.

AMG Review by Dave Thompson

Eyeless in Gaza - Photographs As Memories (Post-Punk 1981)

With no real songs to speak of, Eyeless in Gaza's debut was inundated with an erratic pop sensibility and a frustrating non-style-over-substance sense of work ethic. Only the occasional success hinted of things to come. The one-two punch of "Speech Rapid Fire" and "John of Patmos" would go on to stand up well against anything the band later released, the former a mangled, melancholic take on '80s synth pop and the latter squealing off in far too many directions to suggest a well-adjusted mindset and using both pre-IDM beat mechanics and structureless Arkestra anti-music to deconstruct the ubiquitous mid-album ballad. [This was later reissued on CD in 2000 with the bonus tracks "Invisibility," "Three Kittens," "Plague of Years," "Others," "Jane Dancing," "Ever Present," and "Avenue With Trees."]

AMG Review by Dean Carlson

10cc - Sheet Music (2nd album Art-Rock 1974)

10cc's second album was the next phase in what guitarist Eric Stewart called the band's "masterplan to control the universe. The Sweet, Slade, and Gary Glitter are all very valuable pop," he proclaimed, "but it's fragile because it's so dependent on a vogue. We don't try to appeal to one audience, or aspire to instant stardom, we're satisfied to move ahead a little at a time as long as we're always moving forward." Sheet Music, perhaps the most widely adventurous album of what would become a wildly adventurous year, would more than justify that claim. "It grips the heart of rock'n'roll like nothing I've heard before," raved Melody Maker, before describing 10cc as "the Beach Boys of "Good Vibrations," the Beatles of "Penny Lane," they're the mischievous kid next door, they're the Marx Brothers, they're Jack and Jill, they're comic cuts characters, and they're sheer brilliance." Stewart certainly agreed -- he told that same paper, 10cc's music was "better than 90% of the sheer unadulterated crap that's in the charts" and, 20 years on, bassist Graham Gouldman continued, "Sheet Music is probably the definitive 10cc album. What it was, our second album wasn't our difficult second album, it was our best second album. It was the best second album we ever did." Three hit singles spun off the record, and most of the other tracks could have followed suit; it says much for Sheet Music's staying power that, no matter how many times the album is reissued, it has never lost its power to delight, excite, and set alight a lousy day.

AMG Review by Dave Thompson

Slade - Sladest (Glam-Rock compilation 1973)

Falling somewhere between the glam of T.Rex and the hard rock of Nazareth, Slade's finest moments came with arena rockers "Cum on Feel the Noize," "Mama Weer All Crazee Now," and "Gudbye t' Jayne," songs specifically written to be strong live numbers that would get kids up off their seats. Sladest is a "best-of" collection that includes all of the material that helped the band sell tons of records and fill arenas in the U.K. in the early '70s. When Slade stray from their successful formula of catchy guitar riffs and big choruses -- with soft rockers like "Coz I Luv You" and "Pouk Hill" -- they tend to fall flat.

AMG Review by Paul Tinelli

Jonathan Richman - It's Time for... Jonathan Richman (1986 Alternative Rock)

Produced by Andy Paley, It's Time for... welcomes back to the fold former Modern Lovers guitarist Asa Brebner, resulting in a fuller and more lively sound than Richman has enjoyed in some time. Taking full advantage of Richman's sax-blowing acumen, the record sports a wistful early rock & roll feel: "Let's Take a Trip" and "Yo Jo Jo" are energetic rave-ups, "This Love of Mine" is a sweet doo wop ballad, and "It's You" is a joyous romantic romp. The highlight is "Corner Store," an impassioned plea against modernization.

AMG Review by Jason Ankeny

Lucifer's Friend - Lucifer's Friend (Hard Rock 1970)

Lucifer's Friend is probably most known Lawton's project after Uriah Heep. Band was formed in 1970. (from almost a same lineup band Asterix)

This is the first album by heavy metal/progressive rock band Lucifer's Friend, released in 1970. There are many Black Sabbath and Led Zeppelin influences heard throughout this album, most notably the dark lyrics heard on many songs, especially the song "Lucifer's Friend." There is a little controversy that "Ride In The Sky" is a rip off of the "Immigrant Song" by Led Zeppelin, but this is not true due to the fact that "Ride In The Sky" was written before Robert Plant wrote "Immigrant Song." There are also some very striking similarities between this album and Black Sabbath's debut because both are the first and self-titled albums by both bands, both have a self-titled song, and both have arguable anti-christ band names.

The British-born John Lawton was vocalist for a group called Stonewall. Peter Hecht, Dieter Horns, Peter Hesslein, and Joachim Reitenbach were members of a band called the German Bonds. The five joined together to record an album under the band name of Asterix in 1970, then changed their name to Lucifer's Friend and continued under that name. Another group called the Pink Mice was a side project by some of the members in 1971 minus Lawton.

The early albums were released on the Vertigo Records label in Europe, but in the United States those albums were released on a series of small independent record labels (Billingsgate, Janus, Passport), often a year or more after their release in Europe. Thus, despite airplay in some markets and a cult following, the band's albums were hard to find and commercial success eluded them. The band was finally signed to Elektra Records in the late 1970s who released three albums with a more commercial pop oriented sound, but by then interest in the band had waned; those albums were even less successful than the earlier ones.

Lucifer's Friend was known for changing musical styles and influences on each album. The self-titled 1970 debut had dark lyrics and a stripped-down guitar and organ style heavily influenced by Led Zeppelin and Black Sabbath[citation needed]. That album is still sought after by fans of early heavy metal music. The second album, Where the Groupies Killed the Blues, took an entirely different direction; it was a very experimental album of progressive and psychedelic rock, mostly composed by John O'Brien Docker. On the third album, I'm Just a Rock & Roll Singer, they changed direction again, this time in the straightforward rock style popularized by such groups as Grand Funk Railroad, and gritty "life on the road" themes in the lyrics. Banquet featured extended, multi-layered jazz fusion compositions and a 30-piece backup band, alternating with some shorter tracks reminiscent of Chicago and Traffic. Those first four albums are all concept albums of a sort and along with the self-titled Asterix album are the most sought after today.

Mind Exploding established a holding pattern and tried to combine the jazz of Banquet with the garage-rock of Rock & Roll Singer, but was not as well received as the earlier albums. Vocalist John Lawton left in 1976 to join Uriah Heep and was replaced by Mike Starrs, former vocalist with Colosseum II. John Lawton returned for the 1981 album Mean Machine. On the two albums without Lawton they moved to a more commercial sound, on 1978's Good Time Warrior and 1980's Sneak Me In.

John Lawton's 1980 solo album on RCA, Heartbeat, was a Lucifer's Friend album in everything but name, with the lineup from Sneak Me In performing as backup musicians on that project. Lawton's official return, Mean Machine, found the band returning to heavy metal, this time in the vein of Rainbow. The band officially broke up in 1982 but briefly reformed in the early 1990s to release a new CD, Sumo Grip.

01. "Ride in the Sky" - 2:55
02. "Everybody's Clown" - 6:12
03. "Keep Goin'" - 5:26
04. "Toxic Shadows" - 7:00
05. "Free Baby" - 5:28
06. "Baby You're a Liar" - 3:55
07. "In the Time of Job When Mammon Was a Yippie" - 4:04
08. "Lucifer's Friend" - 6:12
09. "Horla" [Bonus]
10. "Lucifer's Friend" [Bonus]

Post by ChrisGoesRock

Magazine - Secondhand Daylight (1979 Great Post-Punk album)

Secondhand Daylight, the second Magazine album, sounds like it must have been made in the dead of winter. You can imagine the steam coming out of Howard Devoto's mouth as he projects lines like "I was cold at an equally cold place," "The voyeur will realize this is not a sight for his sore eyes," "It just came to pieces in our hands," and "Today I bumped into you again, I have no idea what you want." You can picture Dave Formula swiping frost off his keys and Barry Adamson blowing on his hands during the intro to "Feed the Enemy," as guitarist John McGeoch and drummer John Doyle zip their parkas. From start to finish, this is a showcase for Formula's chilling but expressive keyboard work. Given more freedom to stretch out and even dominate on occasion, Formula seems to release as many demons as Devoto, whether it is through low-end synthesizer drones or violent piano vamps. Detached tales of relationships damaged beyond repair fill the album, and the band isn't nearly as bouncy as it is on Real Life or The Correct Use of Soap -- it's almost as if they were instructed to play with as little physical motion as possible. The drums in particular sound brittle and on the brink of piercing the ears. Despite the sub-zero climate, the lack of dance numbers, and the shortage of snappy melodies, the album isn't entirely impenetrable. It lacks the immediate impact of Real Life and The Correct Use of Soap, but it deserves just as much recognition for its compellingly sustained petulance. Even if you can't get into it, you have to at least marvel at "Permafrost." The album's finale, it's an elegant five-minute sneer, and as far as late-'70s yearbook scribbles are concerned, "As the day stops dead, at the place where we're lost, I will drug you and f*ck you on the permafrost" is less innocuous than "All we are is dust in the wind."

AMG Review by Andy Kellman

Mainstream - Mainstream (1998 Alternative Rock)

Stranded
Join Us
Little By Little
Bewitched
Privilege
Castaway
Plain Truth
Transatlantic
Can Jam
Rolled On Southern Blues
Step Right Up

Caravan - In the Land of Grey and Pink (Superb British Prog-Rock 1971)

In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band's premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12" outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on "Winter Wine," as well as the organ and sax driven instrumental introduction to "Nine Feet Underground." These contrast the decidedly aggressive sounds concurrent with albums from King Crimson or Soft Machine. In fact, beginning with the album's title, there seems to be pastoral qualities and motifs throughout. Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair's lyrics are of particular note, especially the middle-earth imagery used on "Winter Wine" or the enduring whimsy of "Golf Girl." The remastered version of this album includes previously unissued demos/alternate versions of both tracks under the titles: "It's Likely to Have a Name Next Week" and "Group Girl," respectively. The remastered disc also includes "I Don't Know Its Name (Alias the Word)" and "Aristocracy," two pieces that were completed, but shelved in deference to the time limitations imposed during the days of wine and vinyl. The latter composition would be reworked and released on Caravan's next album, Waterloo Lily. The 12-page liner notes booklet includes expanded graphics, memorabilia, and an essay penned specifically for the reissue.

AMG Review by Lindsay Planer

Calexico - Aerocalexico (Great collection 2001)

This is one of the better odds and ends collections you'll run across from any band -- with one or two more vocal tracks, and a pinch more of their mariachi-surf-Ennio Morricone signature sound; this tour/website disc would be indistinguishable from the band's official releases and arguably as good. That's because Aerocalexico is home to some of the band's best songs, B-sides, and compilation entries, like the hard-driving "Crooked Road & the Briar," the holiday song "Gift X-Change," covers of the traditional ("All the Pretty Horses"), Nick Drake's "Clothes of Sand," and yet another version of "Crystal Frontier" (the band's EP, Even My Sure Things Fall Through, features two more versions). Many of the vocal-less interludes may be little more than studio snippets that don't amount to too much taken out of context (eight of the 23 tracks are under one minute long), but woven together they form a cohesive quilt for the traditional songs, and some of the more elaborate instrumentals. Some of the soundscapes stand on their own quite well, offering a compendium of the Calexico stylebook: "Blacktop" features tape loops, synth wash, and a slightly distorted nylon-stringed guitar accompanying the grizzled voice of Southwest historian and author Lawrence Clark Powell; "Impromptu for Piano & Contrabass" is a moody, Erik Satie-inspired composition showcasing the classical leanings of bandleaders Joey Burns (contrabass), and John Convertino (piano); the desert noir-like "Sequoia" is an evocative, image-conjuring soundtrack; and the full-band treatment that Goldfrapp's "Humano" gets morphs it from an electronica James Bond homage into a jazz-inflected, instrumental rave-up. Calexico is one of indie rock's more imaginative musical collectives, and Aerocalexico is a wide-ranging document of their talents and influences, despite its humble origins.

AMG Review by John Schacht

Andwella's Dream - World's End (Prog/Psych Rock 1970)

Andwella (also known as Andwella's Dream and The Method) was an obscure UK/Irish band in London formed in 1969. Specialising in progressive rock, it was fronted by Dave Lewis from Northern Ireland, who went on to write "Happy To Be An Island In The Sun" that was recorded by and became an international hit for Demis Roussos. Andwella released three LPs: Love & Poetry (Reflection 1969), World's End (CBS 1970) and People's People (CBS 1971). The track "World's End" was played frequently in the early 1970s on the then-underground FM station in Georgetown, WMAL. The original vinyl LP Love & Poetry has for some time been a valuable collector's item

http://en.wikipedia.org/wiki/Andwella

Dubrovniks - Audio Sonic Love Affair (1991 Aussie Rock)

The Dubrovniks are an Australian rock band formed in Sydney in 1987. The band's name was coined from the fact that founding members Roddy Radalj and Boris Sujdovic were born in Dubrovnik, a town in Croatia. Both Radalj and fellow founder James Baker had been founding members of Hoodoo Gurus (as Le Hoodoo Gurus). All three had earlier associations in Perth, Western Australian punk scene.

The band were first established in August, 1986 when Radalj teamed up again with James Baker (by then ex-Beasts of Bourbon), together with Boris Sujdovic (ex-Rockets, The Scientists, Beasts of Bourbon) and Peter Simpson (Spectre's Revenge) as the Adorable Ones. Within a year the Adorable Ones had renamed themselves the Dubrovniks in honour of the fact that Radalj and Sujdovic were both born in the historical Croatian city of Dubrovnik. The band having to change names as there already was a Brisbane band with that name.

Citadel issued the singles "Fireball of Love" b/w "If I Had a Gun" in April, 1988 and a cover of Alvin Stardust's "My Coo Ca Choo" b/w "Girls Go Manic" in November, 1988. By the time the band recorded and issued the single "Speedway Girls" b/w "Freezin' Rain" in June, 1989 and their debut album, Dubrovnik Blues in August, 1989, Radalj had moved on to form a new band, the Punjabbers, comprising Radalj, Brett Ford (drums; ex-Kryptonics, Lubricated Goat), Tony Robertson (bass; ex-The Hitmen, New Christs, Naked Lunch) and Tony Thewlis (guitar; ex-Scientists) The Punjabbers only had one release, a single "Rock'n'Roll Loveletter" on Timberyard Records in December, 1988. Radalj then formed The Surfin' Caesars and recorded several albums.

Chris Flynn (guitar, vocals; ex-Headstones) eventually replaced Radalj, and the band signed to Mushroom Records. The band's releases on Mushroom, both produced by Kevin "Caveman" Shirley, maintained the revved-up, trashy rock'n'roll tradition. Audio Sonic Love Affair released September, 1990 included the singles "She Got No Love" b/w "Got this Far" (June, 1990) and "Love is on the Loose" b/w "Something's not Right in the World" (October, 1990). Glenn Armstrong (guitar; ex-Horny Toads-Girlies) replaced Simpson in 1990, and the band issued Chrome in June, 1992. The album produced two singles, "Saigon Rose" (February, 1992) and "French Revolution" (June, 1992). In between albums, Baker and Sujdovic toured and recorded with Beasts of Bourbon. In early 1991, the two severed their commitments to the Beasts in order to concentrate on The Dubrovniks. Mushroom dropped the band in 1993. German label, Normal, issued Medicine Wheel in Europe, and Mushroom Distribution Services (MDS) distributed it in Australia.

The Dubrovniks broke up in 1995 with Baker returning to Perth, where he joined power pop band, Satellite 5, with John Rushin (vocals), Phil Bradley (guitar; ex-Jackals), Doug Thomas (guitar; ex-Dagoes, Spikes) and Howard Shawcross (bass; ex-Elks, Howard I Know, Jackals). Sujdovic went on to form a new band, Black Dirt, together with Flynn, Chris Collins and Paul Loughhead.

http://en.wikipedia.org/wiki/Dubrovniks

Electronic Hole - Electronic Hole (Psychedelia 1970)

Last time we discussed Phil Pearlman, I stated he must've been some kind of musical genius, though I knew very little about him apart from the evidence of two highly obscure privately pressed albums. This time around I only know a touch more about his back-story, but this record of his from 1970 under the moniker the Electronic Hole proves he was indeed, a musical genius. Recorded in between the Beat of the Earth and the rural rock masterpiece Relatively Clean Rivers, the Electronic Hole bridges the gap between the drone raga rock of the former and the tunefulness of the latter. And it just may be the best of the three.

Two long suites comprising seven songs of very forward-looking psychedelic rock quite unlike any I've ever heard before, effortlessly prefiguring the likes of Galaxie 500 and Spacemen 3. The Electronic Hole is somewhat more menacing than either of Pearlman's other incarnations, more heroin-y sounding perhaps, but from what I understand he was a teetotaler only prone to getting high on life and the fragrance of incense. Heroin seems an appropriate touchstone though as the only other group even coming close to the primal-ness of these songs were the Velvet Underground, and by 1970 even they'd primarily traded those baser emotions in for a sort of melancholic roots rock. On the final track, an early incarnation of one of the Relatively Clean Rivers songs appears, devoid of any ruralness with pure white noise in its stead. And I mean like Les Rallizes Denudes molten white noise. Superb.

Reissue of the extremely obscure 2nd Radish label album, originally issued in 1970. "Raw, noisy, droning and completely mesmerizing album recorded by Phil Pearlman between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled The Electronic Hole in 1969 strictly for personal use -- to audition musicians for his new band. To do this, and to add to his own collection of demos, he used local studios in off-hours thanks to his friendship with album engineer Joe Sidore. The result is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of 'compositions', including a wild cover of Frank Zappa's 'Trouble Every Day'. Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable -- an effect he achieved by running his Fender amplifier out of a child's chord organ ('sounded great for about two weeks, then it blew up!'). Few albums have such an eclectic yet appealing sound."

A raw, noisy, droning and completely mesmerizing album recorded by PHIL PEARLMAN between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled the ELECTRONIC HOLE in 1969 strictly for personal use to audition musicians for his new band." Recorded in local studios during off-hours, the album is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of "compositions," including a wild cover of Frank Zappa's "Trouble Every Day." Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable.

Post by ChrisGoesRock

Kristyl - Kristyl (1975 Psychedelia from Kentucky)

Recorded at Allen-Martin Productions Louisville, Kentucky. This is a psych christian rock group Kristyl who released this LP in private pressings of only 200 in 1975. The music is reminiscent of Wishbone Ash from the Argus album. This album is homemade guitar psychedelia from Kentucky. A nice mixture of gentle dreamy passages, heavier acid guitar and wah-wah fuzz along with charmingly teenage vocals.

Highly regarded local Christian 1970s melodic guitar-rock with an open late-1960s westcoast vibe, dual guitars and great organic playing/vocals all around. They have a very distinct sound which makes the tracks seem similar at first, but it opens up after some plays and remains that way. The best tracks such as "Deceptions of the mind" and "Valley of life" are truly monumental. Personal fave, one of the big ones in the style. Great sleeve design - note the drummers t-shirt. Originals were pressed on very thin vinyl, so most copies have slight bowl warps.

Timeless pinnacle of teenage, rural, Christian psychedelia. The consensus seems to be that this is a 1975 recording, but dealers always (accurately) describe it as sounding much earlier. The psychedelic playing on ëDeceptions of the Mindí often contrasts with the anti-drugs/sex lyrics: ìAlcohol and sex unclean, copping drugs all over the scene/What is it that we need, Lord itís love and itís for freeî. Kentucky canít have been an easy place to strike a deal to have this recorded, so maybe they felt they needed to put an anti-drugs message in here and there. The music is consistently wonderful, side 1 in particular, with side 2 ending with the beautiful ëMorning Gloryí. The dual guitars are laden with effects and full of interesting twists and turns. The singing is honest and clear. Not as crazed as Fraction, but in the same league of expressive, sincere musicianship. A beautiful, naÔve feeling pervades the whole LP, like they believed anything could happen, the world could change as a result of their sounds. For me, they were right. Why is the drummer wearing a shirt with a hash leaf on it, perhaps it says ìhash free zoneî underneath? The sleeve art is also top-ten, being a monochrome crudely drawn snake encircling the earth.

01 - Together
02 - Deceptions
03 - Like A Bird
04 - The Valley Of The Light
05 - Woman
06 - Blue Bird Blues
07 - Morning Glory

Post by ChrisGoesRock

Langsyne - Langsyne (Very Good German Prog-Rock 1976)

This album is a validation of the notion that less can, indeed, be more. Recorded in 1976, just as the progressive rock era had passed its peak, it never got the attention it should have earned from fans of Amazing Blondel, the Strawbs, Jethro Tull, or Fairport Convention. The quietly, elegantly harmonized vocals and interlocked acoustic guitars that run throughout this record, ornamented with some flute, banjo, koto, and sitar, among other instruments, are not only hauntingly beautiful but memorable in a way that many louder bands never quite achieved. The lyricism just pours out of the performances and the music, and this trio laces its folk preferences with elements of Orientalism and other exotic attributes. Listening to this record (which was re-released on CD in the 1990s) today, while luxuriating in the music, one must get past the sad thought that this group never cut another album. If there was ever one failed prog rock group that deserved better, this was it.
1. Medina (Frose)
2. Morning (Frose)
3. Changing (Nahle)
4. Cynghanedd (Nahle/Frose)
5. A Very Sarcastic Song (Frose)
6. Carnivore (Frose)
7. Mignon (Nahle)
bonus track
8. Lady Mary

Egbert Frose : gitarre, orgel, psalter, koto, maultrommel,
sitar, quintengitarre, sologitarre, gesang
Matthias Mertler : gitarre, glockenspiel, percussion, psalter,
banjo, sologitarre, basspedal, gesang
Ulrich Nahle : sologitarre, flote, slidegitarre, glockenspiel,
percussion, glocke, gesang

AMG Review by Bruce Eder

Magazine - Real Life (Great Debute Album 1978)

Howard Devoto had the foresight to promote two infamous Sex Pistols concerts in Manchester, and his vision was no less acute when he left Buzzcocks after recording Spiral Scratch. Possibly sensing the festering of punk's clichés and limitations, and unquestionably not taken by the movement's beginnings, he bailed -- effectively skipping out on most of 1977 -- and resurfaced with Magazine. Initially, the departure from punk was not complete. "Shot by Both Sides," the band's first single, was based off an old riff given by Devoto's Buzzcocks partner Pete Shelley, and the guts of follow-up single "Touch and Go" were rather basic rev-and-vroom. And, like many punk bands, Magazine would likely cite David Bowie, Iggy Pop, and Roxy Music. However -- this point is crucial -- instead of playing mindlessly sloppy variants of "Hang on to Yourself," "Search and Destroy," and "Virginia Plain," the band was inspired by the much more adventurous Low, The Idiot, and "For Your Pleasure." That is the driving force behind Real Life's status as one of the post-punk era's major jump-off points. Punk's untethered energy is rigidly controlled, run through arrangements that are tightly wound, herky-jerky, unpredictable, proficiently dynamic. The rapidly careening "Shot by Both Sides" (up there with PiL's "Public Image" as an indelible post-punk single) and the slowly unfolding "Parade" (the closest thing to a ballad, its hook is "Sometimes I forget that we're supposed to be in love") are equally ill-at-ease. The dynamism is all the more perceptible when Dave Formula's alternately flighty and assaultive keyboards are present: the opening "Definitive Gaze," for instance, switches between a sci-fi love theme and the score for a chase scene. As close as the band comes to upstaging Devoto, the singer is central, with his live wire tendencies typically enhanced, rather than truly outshined, by his mates. The interplay is at its best in "The Light Pours out of Me," a song that defines Magazine more than "Shot by Both Sides," while also functioning as the closest the band got to making an anthem. Various aspects of Devoto's personality and legacy, truly brought forth throughout this album, have been transferred and blown up throughout the careers of Momus (the restless, unapologetic intellectual), Thom Yorke (the pensive outsider), and maybe even Luke Haines (the nonchalantly acidic crank).

AMG Review by Andy Kellman

Lyres - On Fyre (Garage 1984)

Of the dozens of bands that emerged in the 1980s garage rock revival, Lyres were one of the few that seemed to realize that the point wasn't about how much paisley clothing you could wear or finding the right vintage effects pedals (i.e. wallowing in nostalgia for an era you were too young to have actually witnessed -- the musical equivalent of living in an episode of Happy Days), but about playing cool stripped-down rock & roll. Jeff "Monoman" Conolly understood that the Sonics and the Ramones were traveling in the same direction, but merely using a different path to get there, and, as a result, Lyres' recordings have an energy and passion that's stood the test of time far better than most of their contemporaries; their debut LP, On Fyre, may well be their best. Lyres divide their time equally between covers and originals here, and Conolly's songs are strong enough to stand proudly beside those of his heroes; truth to tell, the album's two most exciting songs, "Don't Give It Up Now" and "Help You Ann," came from his pen. While Conolly's Vox Continental organ keeps his 1960s obsessions up-front throughout, the rest of the band is capable of generating a hard-driving groove, and the performances capture what was exciting and soulful about 1960s punk without drowning in a sea of "retro." If On Fyre has a flaw, it's pacing; the best songs appear on side one, rendering the second half just a bit anticlimactic. But there's good stuff throughout the album, and anyone who digs rock of all eras will find something to shake to on On Fyre.

AMG Review by Mark Deming

k.d. Lang - Drag (Very Good Indie Rock 1997)

Returning, however tentatively, to the torch stylings that made Ingénue her most successful album, k.d. lang crafted an odd commercial comeback with Drag. A collection of covers that are somehow related to smoking, Drag is far more ambitious than the average cover record. She recasts Steve Miller's "The Joker" and the Hollies' "The Air That I Breathe" as slow, bluesy cabaret numbers, while traditional '50s pop like "Don't Smoke in Bed" and "Smoke Rings" act as seductive counterpoints. lang's rich voice and the measured arrangements make Drag a ringer for Ingénue in places, but the tone is considerably lighter and more humorous, which certainly makes it an enjoyable listen. Nevertheless, the very presence of a tongue-in-cheek, all-covers tribute to smoking is a little disheartening in the wake of the wonderful, if severely underappreciated, All You Can Eat, which found lang pushing herself forward. Drag, in comparison, can't help but sound like a retreat.

AMG Review by Stephen Thomas Erlewine

James - Laid (Great Alternative Rock 1993)

After having become superstars in the U.K. with songs like "Sit Down" and then undergone an acoustic American tour opening for Neil Young, James took a consciously quieter, subtler turn with its follow-up to Seven, Laid. This turned out not merely to be a nice way to undercut expectations, but a creative benchmark for the group, arguably its artistic peak. While there had always been a folky, rushed element to the band's work in its earliest days, the now-sextet, following the departure of trumpet Andy Diagram to concentrate on the Spaceheads, here focused instead on understated, moody compositions. Part of this approach no doubt had something to do with Brian Eno's production work, and certainly it's another feather in his cap. While his work with U2 combined with James' own seeming assumption of that band's throne in big rock terms could have resulted in The Joshua Tree redux, that didn't prove to be the case. Admittedly, a couple of songs are specifically aimed at arena-level singalongs, including lead single "Sometimes," which almost drowns under its own weight and speed, and the title track, a celebration of love and lust that ended up giving the band a surprise stateside radio hit. But Tim Booth generally avoids Bono's melodramatics in both hushed and soaring mode, his ruminative singing sounding more like the calm reflections after energetic action, the band's quiet soundscapes a perfect combination of Eno's ear for space and vastness and the group's own abilities. Strong tracks are legion, including "One of the Three," allegedly about British hostages in Lebanon but much more accurately a sharp, harrowing meditation on Jesus and apparently meaningless sacrifice, and the low-key beauties of "Out to Get You" and "Knuckle Too Far." But the best punch is right at the end -- the heartbreaking "Lullaby," a piano-led sigh of regret and wistful hope, and "Skindiving," Booth's near-wordless keen at his most affecting, floating over the low-volume shuffle and bite of the band.

AMG Review by Ned Raggett

And Also The Trees - The Evening of the 24th (Alternative Rock 1987)

Recorded at a Swiss gig for the Virus Meadow tour, Evening captures the Trees in their early prime, with their theatrical/ Romantic with a capital R art goth style running at full blast. Simon Jones sings at points like his breath is being ripped from his body, as the band demonstrates solid abilities at being able to create lush musical tapestries as much as full-bodied but elegant thrashers. Justin Jones' ability to flesh out the live sound on his guitar proves especially compelling, using what must have been a fair amount of effects pedals to reproduce the Trees' trademark sonic touches, often sounding like a mandolin producing amped-up folk for a electric post-punk world. Opener "A Room Lives in Lucy" sets the initial tone perfectly, with an especially impassioned vocal from Simon Jones, and the band never lets up throughout, to the cheers of an understandably enthralled crowd. Songs like "Wallpaper Dying" and an especially intense take on "Slow Pulse Boy" sound just fantastic, practically miniature Grand Guignol dramas; early tunes like the debut single "Shantell" have an even more concentrated power live than the sometimes murky studio production allowed. Wrapping up with frazzled, live-wire versions of "So This is Silence" and an thoroughly ominous take on "The Renegade," Evening is that rare live album worth its salt.

AMG Review by Ned Raggett

Moby Grape - Moby Grape (Superb Folk/Psych 1967)

Moby Grape's career was a long, sad series of minor disasters, in which nearly anything that could have gone wrong did (poor handling by their record company, a variety of legal problems, a truly regrettable deal with their manager, creative and personal differences among the bandmembers, and the tragic breakdown of guitarist and songwriter Skip Spence), but their self-titled debut album was their one moment of unqualified triumph. Moby Grape is one of the finest (perhaps the finest) album to come out of the San Francisco psychedelic scene, brimming with great songs and fresh ideas while blessedly avoiding the pitfalls that pockmarked the work of their contemporaries -- no long, unfocused jams, no self-indulgent philosophy, and no attempts to sonically re-create the sound of an acid trip. Instead, Moby Grape built their sound around the brilliantly interwoven guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the clear, bright harmonies of all five members (drummer Don Stevenson and bassist Bob Mosely sang just as well as they held down the backbeat). As songwriters, Moby Grape blended straight-ahead rock & roll, smart pop, blues, country, and folk accents into a flavorful brew that was all their own, with a clever melodic sense that reflected the lysergic energy surrounding them without drowning in it. And producer David Rubinson got it all on tape in a manner that captured the band's infectious energy and soaring melodies with uncluttered clarity, while subtly exploring the possibilities of the stereo mixing process. "Omaha," "Fall on You," "Hey Grandma," and "8:05" sound like obvious hits (and might have been if Columbia hadn't released them as singles all at once), but the truth is there isn't a dud track to be found here, and time has been extremely kind to this record. Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands. While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good.

AMG Review by Mark Deming

Julian Cope - Jehovahkill (1992 Alternative Rock)

Moving into what he later described as the second part of a trilogy of albums, Jehovahkill sees Julian Cope's focus shift from environmental collapse to raging against the destructiveness of mainstream religion and an attendant celebration of earlier, heathen impulses. The artwork and design draw this out further, with Cope providing commentary on a number of ancient megalithic temples and sites, along with attendant poetry. As with Peggy Suicide, though, the music is what is first and foremost, and following that earlier album's success Cope was on a roll. With only Skinner and Cosby making up the core band this time out, plus a variety of guest performers and snippets (including cult musician/astronomer Dr. Fiorella Terenzi on the crazed Krautrock/funk of "Poet Is Priest..."), Cope turned in another 70-minute-long effort. If Jehovahkill isn't quite as perfectly balanced as Peggy Suicide, it comes darn close, definitely leaving the late-'80s trough behind. "Soul Desert," the opening number, actually almost picks up where Peggy Suicide left off, with "Las Vegas Basement," with the same low-key late-night vibe. Cope's voice is again at full strength, whether gently singing or just going all out; here he's able to do both as the song amps up further about halfway through. From there Jehovahkill move through three phases, much like Peggy Suicide was divided into four. The overall tone of the record is looser than Peggy, with Cope's various celebrations and condemnations often sounding like they were captured on a first-time run-through. He definitely sounds like he's more performing intense rituals instead of songs, as on the powerful, building intensity of "Up-Wards at 45 Degrees" and the awesome "The Tower." Combined with everything from the rural blues-goes-drone rock of "The Mystery Trend" and the combined Neu!/Stooges tribute "The Subtle Energies Commission" to the amusing "Julian H. Cope," it adds up to another fine Cope album.

AMG Review by Ned Raggett

Fleetwood Mac - Mr. Wonderful (1968 Blues-Rock [Καλά εξώφυλλο με τον Ψάλτη έβγαλαν αυτοί;])

Although it made number ten in the U.K., Fleetwood Mac's second album was a disappointment following their promising debut. So much of the record was routine blues that it could even be said that it represented something of a regression from the first LP, despite the enlistment of a horn section and pianist Christine Perfect (the future Christine McVie) to help on the sessions. In particular, the limits of Jeremy Spencer's potential for creative contribution were badly exposed, as the tracks that featured his songwriting and/or vocals were basic Elmore James covers or derivations. Peter Green, the band's major talent at this point, did not deliver original material on the level of the classic singles he would pen for the band in 1969, or even on the level of first-album standouts like "I Loved Another Woman." The best of the lot, perhaps, is "Love That Burns," with its mournful minor-key melody and sluggish, responsive horn lines. Mr. Wonderful, strangely, was not issued in the U.S., although about half the songs turned up on its stateside counterpart, English Rose, which was fleshed out with some standout late-'60s British singles and a few new tracks penned by Danny Kirwan (who joined the band after Mr. Wonderful was recorded).

AMG Review by Richie Unterberger

Strawberry Alarm Clock - Incense and Peppermints (Terrific Psychedelic Album 1967)

This is the debut long-player from the southern California-based Strawberry Alarm Clock -- the title track of this album topped national singles charts in December of 1967. As the cover art might suggest, their image practically defined both the musical as well as peripheral aspects of the pseudo-psychedelic counterculture. However, below that mostly visual veneer, Strawberry Alarm Clock actually have more in common with other "Summer of Love" bands such as Love and Kak than the bubblegum acts they have long been associated with. Prior to Strawberry Alarm Clock, the band was initially named Thee Sixpence and issued a 45 -- "In the Building" b/w "Hey Joe" -- in the spring of 1966. As legend has it, none of the actual bandmembers sang lead on the hit single; the singer was in fact a vocalist named Greg Munford, who was attending the session as a visitor. The track was originally issued by Thee Sixpence on the regional All-American label. By the second pressing, however, the band's name had changed to Strawberry Alarm Clock. Sensing the possibility of a national hit, they were scooped up by the MCA Records subsidiary Uni and given the go-ahead to commence recording this, their debut LP. Much of the band's sound is due at least in part to the writing styles of George Bunnell (bass/vocals) and the uncredited Steve Bartok (flute/vocals). The edgy fuzz-toned guitar sound of "Birds in My Tree" and the Los Angeles freeway-inspired "Paxton's Back Street Carnival" exude a garage rock flavor similar in style to that of Spirit's self-titled debut long-player. Another distinguishing factor is Strawberry Alarm Clock's multi-layered vocals. "Hummin' Happy" and "Rainy Day Mushroom Pillow" are precursors to the sophisticated harmonies that would also inform "Tomorrow" and "Pretty Song From Psych-Out," from their follow-up long-player, Wake Up...It's Tomorrow.

AMG Review by Lindsay Planer