home taping power pop country rock psychedelia

7/24/2019 Home Taping Power Pop Country Rock Psychedelia

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Home Taping: Country Rock

At the time of his death, Gram Parsons was in grave danger of being taken for granted.At!oug! it was accepted t!at !e !ad "invented" t!e musica stye known as Country Rock,t!is was simpy being overooked in a mass outbreak of droopy#moustac!ed yee#!awism.Today it is caed $ew Country and !as become t!e fastest growing market in American

popuar music. T!e roots of Country Rock ie in t!e %&'(s recordings of )est Coast artists*uck +wens and His *uckaroos, ere Haggard and T!e -trangers and t!e subime pop#country songwriting of t!e ate/ great Haran Howard. T!is was known as t!e *akersfiedsound, w!ere true#to#ife songs and fast s!uffe r!yt!ms, often performed by musiciansattired in fas!y )estern duds, caug!t t!e creative imagination of appro0imatey one person:t!e young Gram Parsons. )!en Parsons founded T!e 1nternationa -ubmarine *and in %&'',

rock and ro was entering its progressive p!ase and t!e $as!vie !it mac!ine was at t!e peak of its powers # a diaboica cimate in w!ic! to attempt a revoution. 23 years ater we seeGram Parsons in !is true ig!t: a man aone wit! no precedent, no road map, 4ust a vision t!at!as at ast begun to register wit! t!e record buying pubic. Today Gram Parsons5s spirit iveson in t!e music of arty -tuart, Travis Tritt, 6ince Gi. And twenty#somet!ing years ago,awestruck by t!e imports in t!e windows of 7ondon"s +ne -top or usicand, a sma t!rongof fans were aso traveing wit!out a road map. A of t!e record seeves were groovy anddesirabe8 foot s9uare promises, bod and inviting. an Hicks And His Hot 7icks; HungryC!uck; ason Profit; A mont!"s disposabe income woud secure but two.

+riginay recorded between %&'< and %&<=, a of t!e music on t!is tape was "dubbed fromdisc". igging out t!e 7Ps, 1 came across ong ost artefacts from a goden era of Americanrock8 w!en 7P seeves were constructed from t!ick card, often te0tured or grainy8 a tactiedeig!t. Grap!ics were strong and bod, straig!t out of *uffao *i"s )id )est Annua.-ure, t!ere was t!e facia !air, s!eriff"s outfits and muc! posing around t!e campfire, but stione"s imagination was captured in true frontier spirit. T!is was aso t!e time of "t!e vinys!ortage"; Panic; 1nvent t!in records; ynafe0 # >it is t!inner t!an any record you !aveever owned> # was RCA"s contribution to stemming t!e crisis8 a miniature wobbeboard of adisc t!at you coud bend in two. -ti sounds good t!oug!, so wit! a copy of Pete ?rame"s?ying *urrito *rot!ers famiy tree !andy: break out t!e $o.', crack open a Party -even andcrank up t!e stereo;

Side One

International Submarine Band

*ue @yes 2./

LP: Safe At Home (LHI) 1968

1s t!is man nutsB 1t"s %&'' and powerfu aromas fou t!e imited air in bouti9ues wordwide8sitars and subversive yrics rue, and rock musicians are "stretc!ing out". A bunc! of upstartsin )yatt @arp outfits are singing s!it#kicking country for t!e *eates generation. Tak aboutup!i; True, T!e ?abs !ave dabbed, e.g. Act $aturay, but !ere is Gram Parsons, a young

rocker, s!owing ma0imum commitment to country. 1t wi be a 9uarter century before t!e fureverberations are fet.



Bob Dylan

1" *e ou *aby Tonig!t 2.2=/

LP: John Wesley Harding (!S) 1968

An endorsement of sorts8 opening t!e infuentia %&'3 C*- samper T!e Rock ac!ine

Turns ou +n, it is for many, an introduction to t!e sound of t!e peda stee guitar. 1t isudicrous to suggest t!at t!is is *ob yan"s first foray into t!e genre, but coming w!en andw!ere it does, cosing t!e paintive Do!n )esey Harding and aying a foundation for t!ecountry sound of $as!vie -kyine/, t!e song sends out unmistakabe signas to t!e rockcommunity.

The Byrds

ou Ain"t Going $ow!ere 2.2E/ and Hickory )ind =.2</

LP: S"eetheart #f $he %odeo (!S) 1968

?irst to fee t!e effect, are T!e *yrds. Convenienty, t!ey !ave 4ust recruited Gram Parsons to provide keyboard noises for Roger cGuinn"s "space music". 1n a >yes yes yes, we" get tot!at> deaying tactic, t!e ambitious Parsons wastes no time in !usting !is new coeagues to

$as!vie to cut country wit! seasoned studio pickers, resuting in t!e semina -weet!eart +fT!e Rodeo. *ob yan"s ou Ain"t Going $ow!ere mi0es down#!omespun p!iosop!y>strap yoursef to a tree wit! roots...>/, wit! 4ust enoug! rock mysticism >G!engis F!an !ecoud not keep...>/, to ticke t!e fans and baffe t!e natives. Hickory )ind, cut t!e same dayas Going $ow!ere is a stering Parsons composition and t!e ony track on t!e 7P w!ere !isead voca survives t!e mi0. 1t won"t be ong before Gram Parsons 9uits T!e *yrds.

Beau Brummels

T!e 7oneiest an 1n Town %.&/ LP: !radley&s !arn (Warner !ros) 1968

1n t!e wake of "-weet!eart", t!e pigrimage starts. Caifornian !ipsters T!e *eau *rummesgo directy to $as!vie to record at +wen/ *radey"s *arn. A bod move, a minor triump!.

Poco

Pickin" p T!e Pieces =.%/

LP: Pi'in& * $he Pie'es (+*i') 1969

>T!ere"s 4ust a itte bit of magic in t!e country...> T!ey came from t!e smoudering as!es of

t!e great *uffao -pringfied. Reieved of -tep!en -tis" 7atin fi0ation and $ei oung"sdark brooding, Ric!ie ?uray and Dim essina form Poco, a brig!t and bouncy country!armony group. Recorded contemporaneousy wit! t!e ?ying *urrito *rot!ers" debut,Poco"s sparking sound is innocence personified.

Flying Burrito Brothers

C!ristine"s Tune =.(2/ and -in City .(&/

LP: ,ilded Pala'e #f Sin (A-.) 1969

?irst t!ere are t!e outfits, cue fanfare: >And now on t!e rock and ro catwak # $udie boero

suit wit! mari4uana motif from a !ot young designer, r Gram Parsons;> However attunedto image, Parsons" masterstroke is a musica one: !e manages to spirit C!ris Himan away



from t!e *yrds. 1t t!ickens up t!e vocas and aunc!es a prodigious songwriting partners!ipt!at produces t!e apocayptic vision t!at is -in City, w!ere even >a god pated door won"tkeep out t!e 7ord"s burning rain>.

Dillard & Clark

-!e arked T!e -un =.(&/ LP: $he /antasti' +0*edition #f illard - lar (A-.) 1969

T!e massivey underrated Gene Cark !as eft T!e *yrds for t!e second time and is 9uietymaking country records away from t!e imeig!t. His partners!ip wit! oug iard resutsin two fine 7Ps and t!is song, co#written wit! *urrito *rot!er and future @age *ernie7eadon/, is Gene Cark at !is post#*yrds best.

itty !ritty Dirt Band

-ome +f -!eey"s *ues =.(</

LP: n'le harlie And His og $eddy (Li2erty) 1934

T!e irt *and"s inestimabe contribution to country music wi be t!e tripe record set )iT!e Circe *e nbrokenB ?rom %&<=, on w!ic! t!ey wi record wit! and introduce to awider audience suc! country egends as aybee Carter and oc )atson. +ne of t!e eariestCountry Rock groups founded %&'E, wit! Dackson *rowne an eary participant/, t!e $G*"sversion of t!is ike $esmit! song opens t!e vibrant nce C!arie And His og Teddyabum.

Paul Siebel

-!e ade e 7ose y *ues 2.='/

LP: Woodsmoe And #ranges (+letra) 1934

T!e fok#based -iebe"s nasa twang roars out of )oodstock $, second coming#ike, duringt!e era of "new yans". T!is fabuous track opens wit! t!e !eart#stopping peda stee of)edon yrick and coses wit! -iebe"s >yep#t!at"s#a#keeper> yodeing.

!rateful Dead

ire )of =.%2/

LP: Woringman&s ead (Warner !ros) 1934

*y now t!ey"ve a got t!e message. @ven t!e Gratefu ead find time to break off from an

epic performance of ark -tar to record two cassic country rock 7Ps: )orkingman"s eadand t!e immorta American *eauty. )orkingman"s ead, from w!ence t!is song emerges, isaso notabe for its seeve art, for it !erads t!e sig!ting of ears. 1n fact, t!e P!i 7es! barnetas portrayed !ere ony a drawing mind you/opens up new possibiities for 4aded rockers.

Shiloh

-ame +d -tory 2.=&/

LP: Shiloh (Amos5!ell) 1934

?ar from t!e Perfect *east, t!is obscure 7P marks t!e recording debut of @age#to#be on

Heney, w!ose voca c!ops are aready in fine s!ape.



"inda #onstadt

-iver T!reads And Goden $eedes 2.2(/

LP: Hand So"n Home ,ro"n (a*itol) 1969

7inda Ronstadt gives impeccabe AR. -ubse9uent Ronstadt recordings wi suffer from

sick production, despite muti#patinum status, but Hand -own contains some of !er bestvoca performances and astutey seected materia.

#ick elson & The Stone Canyon Band

T!is Train 2.=/

LP: %dy $he /ifth (.A) 1931

Tired of !is !its and package tours, t!e Teenage 1do !ad been cutting country records sincet!e mid#si0ties. @ver t!e !ip dude, !e !as c!ecked out eary Poco cub dates and is 9uietyamused by t!e emergence of Country Rock. -teaing bassist and imminent @age Randyeisner from t!e embryonic Poco, !e forms Rick $eson and t!e -tone Canyon *and. -ady,Rick"s records from t!is era are erratic and a itte disappointing, but t!is coection wi beincompete wit!out !im.

"aramie

*ue @yed *ack Haired )oman 2.%2/

LP: Laramie (.er'ry) 1931

A teing e0ampe of 4ust !ow sordid a bandwagon can become, t!is truy dreadfu recordmust be !eard to be beieved. 1t wi become understandaby rare, i.e. not t!at many are

pressed/ and interestingy, in t!e credits, nobody owns up to vocas.

Side T$o

Commander Cody & %is "ost Planet Airmen

-eeds And -tems Again/ =.E

LP: Lost In $he #7one (Paramont) 1931

Apparenty, t!is is a drug song seeds and stems being t!e residue of a diminis!ed bag of"grass"/. Cody"s combo introduces t!e stoned !ippie ange to Country Rock and widens its!oriIons consideraby. -ung by co#aut!or *i Firc!en, taking over !ere from reguarfrontman *iy C "npugged" ?arowe/, it"s a mournfu tae of break#up and despair. ogs

die and repo men ca. AmaIingy, t!e tribuations of Cody Co wi be recorded in anentire book: -tar aking ac!inery by Geoffrey -tokes %&<'/. +bserved at cose range, itwi detai t!eir signing to )arners8 t!e arduous making of t!eir fift! fop/ 7P and t!e innerworkings of t!e mid#seventies music industry. 1t is a must#read.

e$ #iders of the Purle Sage

Henry 2.=E/

LP: e" %iders #f $he Pr*le Sage (olm2ia) 1931

anagement stabe mates of Cody, T!e $ew Riders are, it seems, aso partia to t!e odd DaII

)oodbine. -evera of t!eir yrics mention "t!e man" or "kios", !ardy references to a career



in freig!t forwarding/. Augmented !ere by t!e peda stee of Derry Garcia, $RP- wi go onto reease a string of ig!t#!earted cosmic cowboy opuses.

Poco

*ad )eat!er E.((/

LP: /rom $he Inside (+*i') 1931

)!en Poco enists t!e services of former 1inois -peed Press guitarist Pau Cotton, eventstake a rockier turn. T!is strong Cotton baad is one of Poco"s best cuts, enivening t!eir-teve Cropper#produced fourt! 7P. +riginay named Pogo ;/, t!eir career wi span twentyyears, but t!ese pioneers wi forever be denied a pace in rock"s premier eague.

Flying Burrito Brothers

Coorado .E(/

LP: /lying !rrito !rothers (A-.) 1931

Parsons 9uits t!e *urritos and Himan recruits t!e goden t!roat of Rick Roberts. T!egroup"s eponymous t!ird 7P is c!oc fu o" great songs and iting voca performances, t!e

best of w!ic! is t!e Roberts origina, Coorado.

'anassas

Coorado 2.E(/

LP: .anassas (Atlanti') 193

Happening pace. C!ris Himan !as yet to pay in a oser group or on a duff record. Hisstock is !ig! as !e !ooks up wit! -tep!en -tis in anassas and t!is doube record set is

recorded w!ist -tis, one of rock"s most awesome voices, is at t!e peak of !is powers.

The (agles

Take 1t @asy =.23/

LP: $he +agles (Asylm) 193

A simpy great intro. +ne instinctivey knows t!at a ma4or act is on t!e bocks. T!e @ageswi often get a bad press, but consider t!e facts. T!e origina 9uartet covers a t!e important

bases: severa cracking singers, one of w!om bears t!e stamp of voca greatness8 a strippeddown r!yt!m section8 an inspired guitarist8 pus t!e vita ingredients in no particuar order/:songs and ambition. T!e @ages don"t dick around wit! !af#baked productions and crappy

arrangements. T!ey go straig!t to t!e !eart of t!e matter, !iring Gyn Do!ns to produce t!eirdebut and its foow#up, t!e truy briiant esperado. ?or a of t!is and t!e e0cesses t!at areto foow, t!ey wi be constanty rubbis!ed.

)ohn Da*id Souther

T!e ?ast +ne =.(E/

LP: John aid Sother (Asylm) 193

?ormer partner of @age Gen ?rey in t!e ig!tweig!t 7ongbranc! Pennyw!iste, -out!erw!o opens for T!e @ages at t!eir %&<2 7ondon debut/ wi soon got !is eg over Asyum

stye.



Pure Prairie "eague

Tears 2.=/ and Take 1t *efore ou Go .(E/

LP: Pre Prairie Leage (%A) 193

?or an import#!ungry viny casuaty wit! a cod nose pressed up against usicand"s crowded

window, t!is is t!e utimate grap!ic: t!e $orman Rockwe iustration of an od timercinging to a ten inc! c!unk of s!eac abeed "reams +f 7ong Ago", adorned wit! t!eegend "Pure Prairie 7eague". $ow are you, or are yo not , going to part wit! t!e t!ree 9uidB?ortunatey, t!is time t!e music ives up to t!e packaging.

#ick #oberts

1n y +wn -ma )ay 2.E</

LP: Windmills (A-.) 193

After t!e demise of t!e *urritos, Roberts !angs on to !is A contract and deivers a braceof beauties. T!is is from t!e first.

Chilli +illi And The #ed %ot Peers

1" *e Home 2.%2/

LP: ;ings #f $he %o2ot %hythm (%eelation) 193

@ngis!men sing wit! American accents. Protagonists: artin -tone e0 -avoy *rownJT!eActionJig!ty *aby/ and t!e ate P!i "-nakefinger" 7it!man, aided and abetted by "t!e*rinseys". T!e F"s first pubJcountry rock combo cut a c!arming 7P"s wort! of tunes,

presented in a artfu *arney *ubbes package.

'ichael esmith)inona! =.E'/

LP: Pretty .'h <or Standard %an'h Stash (%A) 193=

>)inona!, t!e w!iskey owns !er...> T!e defecting onkee"s country triogy: agnetic-out!J7oose -auteJ$evada ?ig!ter, defines t!e territory. Tantamount To Treason and AndT!e Hits Dust Feep +n Comin" consoidate matters. *y t!e time of "Ranc! -tas!", a ?rankKappa kind of tite/, $esmit! is e0asperated, as reveaed in t!e 7P"s seeve notes. >1 wassure t!is woud be t!e abum t!at woud cataput me rig!t up t!ere wit! yan and CoePorter...>/. @ven t!e desperate "*uy T!is Record" poy ne0t to !is portrait doesn"t work. Hewas a onkee for C!rist"s sake; $esmit!"s great songs from t!is era wi one day reac! an

appreciative audience.

!ram Parsons $ith (mmylou %arris

)e" -weep +ut T!e As!es 1n T!e orning =.%=/

LP: ,P (%e*rise)193=

And so we return, fu circe, to t!e man w!o !ad t!e vision and t!e nerve. ?rom t!e momentt!e et!erea voice of @mmyou Harris enters t!e picture, a career is born. 1n t!e cassictradition of t!e great !eartbreak duos: George Dones Tammy )ynette, Conway Twitty 7oretta 7ynn, Gram Parsons @mmyou Harris rewrite t!e rodeo rues and ay traps for

future riders.



-pecia t!anks to Feit! -mit!, Pau *rads!aw od 7ang/, R!ett avies Heo Goodbye/,and ike at Hare9uin, circa <2.

)i *irc! L wibirc!.com?irst pubis!ed in o4o, $ovember %&&

Home Taping: Power Pop

Imagine a thousand guitars s'hlanging away in unison, some Rickenbacker %2#stringarpeggios and a deart! of improvised sooing. 1magine a warm understated bass ine beneat!a firm backbeat and c!imp#friendy tambourine part. Add voca !armonies, an upiftingmeody and some straig!tforward words and you may !ave, in s!ort, music t!at draws itsinspiration from t!e RevoverJPet -oundsJounger T!an esterday ineage.

)!at woud you ca t!isB Power PopB ou mig!t, but t!at woud be to impy t!at ot!erforms of pop ack power. T!e term aso con4ures up images of skinny ties and boy#meets#girnaivety. T!erefore, 4ust as s!eriffs" outfits and yee#!awing Ds aienate t!e potentia countryfan, many potentia isteners are turned off. *ut, for t!e sake of e0pediency, Power Pop is t!eterm resorted to for t!e purpose of t!is piece.

After t!e first wave in t!e "'(s T!e *eates, T!e *yrds, T!e )!o, T!e oveM/ power popay dormant unti a number of new mainy American/ groups appeared in t!e eary "<(s, e.g.Raspberries, *ig -tar, T!e )ackers. ?ranky, t!ese were groups out of time and none of t!emen4oyed asting commercia success. A t!ird wave emerged post#punk. 1n America: C!ris-tamey and t!e d*s, PeIband, 2(J2(, T!e Fnack y -!arona;/ and *ondie, w!ie in t!eF, w!o can forget T!e Autograp!s, T!e Pencis, T!e Peasers or T!e odgersB Today,t!ere are many new groups mining t!is ric! seam, but t!e word steadfasty refuses to ignite.

T!e foowing tape compiation is a persona seection w!ic! 1 beieve encapsuates t!e bestof t!e Power Pop genre. 7ack of space pro!ibits incusion of -tories, T!e *eckies, T!e d*s,T!e Pimsous, T!e -mit!ereens, Game T!eory, Red Fross, Deyfis!, *eage, T!e Gin*ossoms, Adam -c!mitt, ateria 1ssue, artin $ewe, T!e Pribata 1da!o and C!opper,w!ie faiing memory pro!ibits t!e incusion of many ot!ers.

odesty forbids me from incuding a track by T!e Records, but not from giving my formergroup a pug. *ack t!en we were trying to c!ampion t!e music of t!e eary power pop

pioneers. T!ankfuy today, names ike *ig -tar and *adfinger drop from t!e mout!s ofyoung musicians, 1"m sure wit! a sincerity, but sti very few peope !ave actuay !eardmuc! of t!is music. 1t is deserving of a bigger audience, but seems destined to forever beart!e stamp: Top -ecret;

)ohn Fogerty

Amost -aturday $ig!t 2.2=/

Al2m: John /ogerty (Asylm) 193>

)!at an opener; $ot typica ?ogerty and 9uite unike !is Creedence rockers, t!is countryis!item mi0es "good od boys" and a guitar figure reminiscent of Ciff"s ony unwitting/ venture



into t!e groove, on"t Tak To Him %&'=/. ?ogerty"s ost cassic was covered by Rick $eson, T!e -earc!ers and, at your correspondent"s be!est, ave @dmunds. T!is scorc!ingtrack sets t!ings up nicey.

'arshall Crensha$

Cynica Gir 2.=2/ Al2m: .arshall rensha" (Warner !ros) 198

To be fair, Capita Radio gave t!is song muc! e0posure. 1t foows t!e ?ogerty seection perfecty. 1 remember being in a re!earsa space fied wit! musica e9uipment t!at wasstencied "ars!a Crens!aw". T!is incuded an eectrica fan, per!aps to coo t!eirdrummer. A wag in our party cruey remarked: >7ook, ars!a Crens!aw"s ony fan.>

The Byrds

T!e )ord Turns A Around Her 2.%2/

Al2m: $rn $rn $rn (!S) 196>

T!is song !as a t!e ingredients of cassic *yrds: a mediaeva guitar part, airy !armonies, atwisting Gene Cark meody and a briiant midde eig!t8 components t!at form t!e bueprintfor a 9uarter#century of infuence, imitation, and tribute. agnificenty eads into...

Shoes

Tomorrow $ig!t =.%(/

Single (!om*) 1938

T!eir best song. +riginay a E t!at bridged t!e gap between t!eir 1 commercia debut,

*ack 6iny -!oes, and t!eir first ma4or abe abum, Present Tense @ektra/, for w!ic!-!oes re#recorded t!e song, eaving its wonderfuy concise guitar break intact. As is oftent!e case, t!e E wins out, picking up T!e *yrds" gauntet wit! ease.

Pagliaro

7ovin" ou Ain"t @asy 2.3/

Single (Pye) 1931

Canadian ic!ae Pagiaro saw !is %&<% Power Pop cassic reeased on Pye in t!e F. 1tc!arted; N=% in ?ebruary %&<2/. Pagiaro"s Do!n 7ennon fi0ation is best !eard on -ome-ing -ome ance "'= *eates meets "'< 7ove/ from !is abum, Pagiaro. @ven better t!oug!,is 7ovin" ou Ain"t @asy, a *eates pastic!e t!at ros aong on sustained aa!s and oo!s. ay1 now suggest two seconds sience to fuy fatter t!e intro to...

Badfinger

*aby *ue =.=2/

Al2m: Straight * (A**le) 193

T!e *adfinger story is a tragedy waiting to be tod. )!ere"s t!e bookB )!at ot!er pop groupcan boast two suicides by !angingB How coud it !ave been t!at bad for *adfingerB @it!ert!ey were mismanaged and e0poited beyond t!e bounds of !uman decency, or Pete Ham and

Tommy @vans !ad become 4ust a tad bitter and twisted. -orry guys, we"re not taking genius



!ere8 merey an e0traordinary meodic gift and an uncanny abiity, on occasion, to weave*eate#scae magic, as on t!e magnificent *aby *ue.

The Paley Brothers

@cstasy 2.23/

Single (Sire) 1933

Andy Paey is a pop c!ameeon w!o"d moved comfortaby between drums for Donat!anRic!man/, keyboards for Patti -mit!/, singing and co#writing for *rian )ison, no ess/ andscoring an aternative movie soundtrack for adonna/. 1n %&<<, wit! !is brot!er Donat!an,!e formed T!e Paey *rot!ers and signed to -ire. T!e art department prompty airbrus!edt!e duo"s features into ?rampton#ike yout!fu innocence, but t!e music remained toug! andt!is big beat baad captures t!e spirit of -pector, pus guitars.

D$ight T$illey

7ooking ?or t!e agic =.%2/ Al2m: $"illey on&t .ind (Shelter) 1933

How did Twiey faiB ?re9uenty given a eg#up by eary abe mate Tom Petty, Twiey possessed a se0y -out!ern rock"n"ro voice, above average ooks and t!e rig!t !and man t!atPau cCartney woud ki for, but it"s too ate # Twiey"s former partner, P!i -eymour, diedin August %&&=. espite !oding a t!e aces and en4oying an eary !it wit! 1"m +n ?ire,Twiey met wit! massive pubic resistance and cut#out bin infamy, save for !is dedicated,amost obsessive, cut foowing. 7ooking ?or T!e agic is prime Twiey.

Phil Seymour

Precious To e 2.3/ Al2m: Phil Seymor (!oard"al) 1984

After eaving Twiey and turning down an offer to 4oin Toto, -eymour went soo and scored a- and Austraian !it wit! t!is gorgeous sice of pop.

Chea Trick

1 Can"t Take 1t =.2/

Al2m: e0t Position Please (+*i') 198=

*ack in %&<3 C!eap Trick !ad t!e )ord at its feet. )it! t!e 7Ps 1n Coor and HeavenTonig!t, t!e group ooked unstoppabe8 singer Robin Kander !ad t!e voice of an ange andt!e face of a saint, w!ie eader Rick $iesen was writing cassics owned, -urrender.../ ands!aking !ands at a ferocious rate. Conse9uenty, t!ey did rat!er we, but t!en spent severayears in t!e widerness unti t!is Kander origina, produced by Todd Rundgren, marked acreative return to form.

The Posies

ream A ay =.(%/

Al2m: /rosting #n $he !eater (,effen) 199=

1t"s t!e od Desus and ary C!ain trick. )rite briiant pop meodies and bury t!em under amiion distorted guitars. T!e upside: approva from boys w!o paint t!eir bedrooms back.



T!e downside: t!e mikman does not w!iste your tune. T!e difference !ere is T!e Posies putt!eir briiant meodies on top of t!e fit!y guitars. Cever stuff. )it! a contemporary soundand some of t!e best tunes in pop, t!e guys w!o get to be *ig -tar ?or A ay may we find awide audience in t!e "&(s.

Blue Oyster Culton"t ?ear/ T!e Reaper E.(E/

Al2m: Agents of /ortne (+*i') 1936

After t!e !eavy meta rus! of *+C"s first t!ree studio 7Ps dig t!ose song tites/, Agents +f?ortune was +R by comparison. -o muc! did 1 ove t!is record and its standout trackon"t ?ear/ T!e Reaper, t!at 1 dutifuy boug!t every successive *+C 7P, wit! ridicuousnames ike Cutosaurus @rectus and ?ire +f nknown +rigin, in t!e vain !ope t!at it mig!tcontain T!e Reaper"s wort!y se9ue. on"t bot!er ooking, it"s doesn"t e0ist.

The #ubinoos

1 )anna *e our *oyfriend =.%/

Al2m: !a' $o $he ra"ing !oard (!eserley) 1939

After t!e ot!er#wordiness of *+C, T!e Rubinoos bring wecome reief wit! t!is ig!t sabof teen angst.

The +ackers

1 Hardy Fnow Her $ame %.'/

Al2m: Hot Wa's (+letra) 193

T!e )ackers, featuring *ob -egarini and Randy *is!op, were t!e brave second wave"sCanadian wing. evoid of more info, pease aow me to 9uote from t!eir iuminating inernotes: "1n ontrea, )ackering Heig!ts and 7ondon, t!e )acks, t!eir adies, and 1 spent T!e?a of "<% pursuing a circus over t!e rainbow, armed ony wit! our c!anges... " mmm.

Bob Segarini

Gotta Have Pop =.2&/

Single5Al2m (!om2) 1938

Aready a veteran of t!e beat group wars T!e ?amiy Tree, Ro0y, T!e )ackers, T!e udes/,*ob -egarini summoned t!e energy in %&<3 to reease t!is sef#produced mini#cassic,decrying t!e t!en current pop scene. "1t"s a synt!esised mess," opines *ob, and goes on, "1oved T!e *eates up to -gt Pepper...> Picky.

Side T$o

The Searchers

)!en ou )ak 1n T!e Room 2.%3/

Single (Pye) 196?

ou coud say, if pus!ed, t!at T!e -earc!ers, guided by t!e spirit of *uddy Hoy and t!e

!and of Tony Hatc! before !e became "r usic"/, invented t!e w!oe t!ing. ou coud aso



say t!at t!is is T!e -earc!ers" greatest. )ritten by song goddess Dackie de -!annon, it pre#dates Ticket To Ride and r Tambourine an by some si0 mont!s.

Tom Petty

?ee A )!oe 7ot *etter 2./

Al2m: /ll .oon /eer (.A) 1989

As t!e -earc!ers" fina c!ord fades, Tom kicks in, as t!ey say, ike Do!n )ayne encounteringa bar room braw. Gene Cark"s monumenta *yrds cassic is t!e pinnace of t!e genre, butTom Petty"s ovingy crafted facsimie sounds even greater in t!e conte0t of t!is coection.Produced by Deff 7ynn, w!ose post#@7+ motto must be: keep it simpe and t!en simpify it.

Stone #oses

-!e *angs T!e rums =.=E/

Single (Silertone) 1989

At t!e time of writing, we eagery await new -tone Roses materia. 1t is unikey t!at t!eirnew songs wi be in t!is stye as t!ey wi !ave moved on, matured. T!is cracker, toget!erwit! ersey Paradise from t!e same disc, s!ows great "pop sensibiity" and makes youwonder if t!e -tone Roses !ave ever !eard our ne0t seectionM

Blue Ash

Abracadabra Have ou -een HerB/ =.(%/

Al2m: o .ore@ o Less (.er'ry) 193=

T!e -earc!ers on speed, as covered by T!e Records. Apart from minor indiscretions suc! as

waiing guitar and busy drumming, *ue As! were cassic power pop. T!eir debut 7P asoincudes usty +d ?airgrounds an obscure *ob yan song/ and -mas! y Guitar, w!ic!is pure @ngis! w!imsy in a Feit! )estJ-yd *arrettJ6iage Green#era Finks kind of way.

The "a,s

T!ere -!e Goes 2.2/

Single (,ois's) 1988

7ive, t!e %&33 7a"s were a !ot proposition, vindicating Go;iscs" beief in t!e group as t!is,t!eir most commercia song, was remi0ed and reissued reentessy unti it became a !it. $ew

product from t!e maverick taent of 7ee avers is ong overdue.

Aimee 'ann

?ifty ears After T!e ?air =.=&/

Al2m: Whateer (Imago) 199=

1t woud be poiticay incorrect to incude a gir for gir"s sake and, apart from T!e *anges, itis !ard to t!ink of many young adies w!o !ave entered t!is musica arena. A recent o4ointerview wit! Aimee ann suggests an artist angry at not gaining wider commerciaacceptance but it can ony be a matter of time before t!e !its keep coming.



Bram Tchaiko*sky

Gir +f y reams =.3/

Single (%adar) 1938

?ormery of T!e otors, victims of 6irgin"s "faces not fit for pubic viewing" dictate, guitarist

*ram Peter *ramme/ broke away and recorded Gir +f y reams, a !ook#aden, guitar#driven - !it. And now:

#asberries

Pay +n =.((/

Al2m: Starting #er (a*itol) 193?

1f swimming against t!e tide were a crime, in %&<2 t!e Raspberries were caug!t bang#to#rig!ts. T!eir perverse, amost wifu approac! mig!t be viewed as !eroic, even if eader @ricCarmen"s bouffant and satin cummerbund combination remains rock"s best e0ampe of punter

aienation. How did t!ey !ope to surviveB ost of t!e Raspberries" eary Es big guitarintros edited onto smoot! +R#and meodies/ were a bit ike T!e )!o meets cCartney in baad mode. However, on t!eir fourt! and fina 7P, wit! revised ine#up, t!ey reay !it t!eirstride, despite t!eir strides. $ew boy -cott cCar"s 7ennonoid voca on Pay +n is a !ig!

point and amost my favourite Raspberries song. C!rist; -cott cCar; )!ere Are ou $owB

The Scruffs

y ind 2.(</

Al2m: Wanna .eet $he S'rffsB (Po"er Play) 1933

)!at 1 know about T!e -cruffs coud be written on t!e back of a postage stamp, and 1 domean t!e *oivar -tate %( cent green of %3'=.

The Po

own +n T!e *ouevard 2.(/

Single (!a' oor .an) 1933

T!is cracking itte item put T!e Pop near t!e top, but t!eir gory was s!ort#ived. T!e namemaybeB

Star-

C!erry *aby =.23/

Single (a*itol) 1933

)it! sub#*oston guitars and veering dangerousy cose to t!e big !air and stadium#facedgenre known as Pop eta, t!e ant!emic C!erry *aby !as a pace in t!is coection if ony for its guitar intro and Hoies#stye !armonies. T!e *#side, Rock -i0 Times, is a bit of a corkeras we.

Big Star

-eptember Gurs 2.2/

Al2m: %adio ity (Ardent) 193=



1nvariaby, w!en we meet our !eroes, our feet and mout!s connect. our correspondent"s-urrea @ncounter wit! Ae0 C!iton invoved t!e kind !ospitaity c!eI *rieau0, -undayunc! wit! severa bottes of T!e Host"s ?ine Caret and a -urprise Guest. T!e sociayrea0ed conversation went somet!ing ike: >we Ae0, now t!at you"ve got 7ike ?ies +n-!erbert under your bet, !ow about a ma4or record deaB> Per!aps cus!ioned by imminent

royaties from !is *anges" cover of -eptember Gurs, our !ero scratc!ed !is !ead, ooked att!e foor and mumbed a repy of t!e >aw s!ucks, 1 don"t reay know> variety. )e wi neverknow !ow many ma4or deas, if any, Ae0 C!iton !as !ad to turn down to maintain !isimpeccabe cut status but, back in %&<2J=, !is group *ig -tar made two of t!e greatest pop7Ps of a time. T!e tragedy is t!at saes figures suggest few peope !ave actuay !ad t!e

peasure of !earing t!em, even if *ig -tar remains t!e name to drop.

Tom Petty & The %eartbreakers

7isten to Her Heart 2.E3/

Al2m: <o&re ,onna ,et It (Shelter) 1938

>ou t!ink you"re gonna take !er away, wit! your money and your cocaine...> )!en TomPetty and co emerged in %&<<, t!e rock word was besotted wit! punk. Petty some!owmanaged to gain immediate acceptance, despite e0travagant !air engt!. His eary songswere s!ort and snappy, and t!is is one of t!e best, wit! its easiy#pundered *yrds#stye intro.Petty remains one of t!e few to bring t!is sound to a wider audience.

The Byrds

7ady ?riend 2.2</

Single (olm2ia) 1963

)e are now on t!e !ome straig!t wit! avid Crosby"s finest moment. Aong wit! @ig!ties Hig! and -o ou )anna *e A Rock"n"Ro -tar, t!is is one of T!e *yrds" most e0citingrecordings.

Flamin, !roo*ies

-!ake -ome Action =.23/

Single (Sire) 1936

1nspired by %&'' Roing -tones, Cyri Dordan and !is %&<' fans#as#musicians outfit werereay wearing t!eir !earts on t!eir vevet seeves. T!ey !ad t!e rig!t ook, t!e rig!tinstruments and probaby t!e rig!t mains eads. T!ey certainy made t!e rig!t sound and

-!ake -ome Action t!eir own composition/ is a cassic of t!e genre and a fitting way tocose t!is tape.

-pecia t!anks to -tuart *atsford, Pau *rads!aw od 7ang/, Fen -!arp aut!or of+vernig!t -ensation: T!e -tory of T!e Raspberries/ and Dason +akes of eow PismagaIine.

)i *irc! L wibirc!.com?irst pubis!ed in o4o, Dune %&&

Psychedelia. The /00 !reatest Classics



O .oCo, Dune %&&<

Psychedelia 1SA

D+ight .iles HighE ?irst @dition/ Q T!e *yrds

Recorded: ecember 22, %&'EAvaiabe on: /ifth imension and $he !yrdsE ,reatest Hits CoumbiaJ7egacy/

-even weeks after recording t!e simpe foker DHe Was A /riend #f .ineE , T!e *yrds bastedinto !yperspace wit! t!is version of D+ight .iles HighE , t!e first aura reproduction of t!e7- rus!: Gene Cark5s 9ueasy yric and Roger cGuinn5s CotraneJ-!ankar improvisationsmade t!e pane fig!t t!e centra pop metap!or for 7-5s trip into t!e ot!erword. Recordedof RCA studios, t!is first, wider version went unreeased for neary 2E years.

DAla2ama !ondE Q T!e C!aratans-pring %&''$he harlatans +ne )ay Records/

T!e first -an ?rancisco psyc! group was a concept dreamed up by singerJauto!arpist GeorgeHunter: swes dressed in cot!es t!at matc!ed t!e @dwardian mansions of t!e Haig!t. An7-#drenc!ed, summer 5'E season at t!e Red og -aoon in $evada added t!e )id )estinto t!e mi0: guns, dogs, country bues. Good#timey rat!er t!an messianic, T!e C!aratans5tour de force was DAla2ama !ondE , w!ere t!ey stretc!ed out Dey Ro orton5s tune of ossand disocation into a new American symp!ony of sweet, s!immering guitars.

DFisions #f JohannaE Q *ob yan

ay 2', %&'' !londe #n !londe and !iogra*h -ony C*-/

As eary as %&'=5s DLay o"n <or Weary $neE , yan was e0poring t!e egoess surrenderto t!e universe t!at woud c!aracterise t!e first, benign p!ase of psyc!edeia. ?rom %&'E on,!is gnomic, gnostic utterances aid down t!e parameters for w!at woud foow, as T!e*eates, T!e *yrds and T!e Roing -tones fe under !is spe. yan issued discaimers Q1 never !ave and never wi write a drug songM1t5s 4ust vugar,S !e e0caimed on t!e astnig!t of !is %&'' word tour Q but t!is DFisions #f JohannaE , taken from t!e nig!t before,!as t!e infinitesima focus of acid#time compression.

D!les /rom An Air*laneE Q Defferson Airpaneay %&''?44 /lton St and !est #f Jefferson Air*lane RCA/

Defferson Airpane were t!e first -? rock group to sign wit! a ma4or abe, for t!e t!enun!eard#of advance of 2E,(((. D!les /rom An Air*laneE features first singer -igne ToyAnderson and is a good e0ampe of t!e turf t!ey5d make t!eir own: drug epip!aniestransated into romantic storyines. 15m sure of !ow 1 can be t!e man 1 fee,S arty *aincries, parading a oneiness topped off wit! soaring fok !armonies and acidic ead guitar.

DSe'tion ?=G Q Country Doe And T!e ?is!

August %&''$he /irst $hree +Ps +ne )ay Records/



1n ate 5'E, *erkeey activists Country Doe And T!e ?is! reeased t!e first version of t!eirinfamous anti#6ietnam tune DI/eelLieIEm/i0inE$oie %agE . T!is seven#minuteinstrumenta from t!eir second sef#produced @P !as a fragie, first#time innocence.ominated *y avid Co!en5s reedy organ, DSe'tion ?=G is a fog, space and possibiity Q a

perfect representation of t!e *ay Area at t!at time.

DSomeone $o LoeE Q T!e Great -ociety-ummer %&''

!orn $o !e !rned -undaIed Records/

DSomeone $o LoeE is one of t!e few accurate representations of t!e -an ?rancisco -ound asit !appened: teenage angst deiciousy ampified to cosmic proportions, wit! t!at baroomec!o and wid, distorted guitar. T!e group5s ambition outstripped t!eir abiity Q producer -y-tone 9uit t!e studio in disgust after E( takes Q but t!at5s w!at makes t!em resonate sti.Grace -ick took t!e song wit! !er to Defferson Airpane, w!o retited it DSome2ody $o LoeE and went Top E in ay %&'<.

D+le'tri'ityE Q Captain *eef!eart And T!e agic *and-ummer %&''Safe As .il Caste Cassics/

on 6an 6iet unveied !is new ook at t!e Avaon *aroom in summer %&''. As Gene-cuatti writes in -an ?ranciscan $ig!ts, T!e rea Captain *eef!eart stood up in pre#newwave pastic wraparound sungasses, tasse#topped s!riner5s feI, and a braided bandeader5scorset rig!t out of T!e usic an.S )it! kier drumming, !orror movie t!eremin and sideguitar payed by Ry Cooder/ t!at went straig!t to t!e t!ird eye, @ectricity surfed on t!emetaic puse of t!e new era: Go into brig!tJ?ind a ig!t and knowJT!at friends don5t mind

4ust !ow you grow.S

D/oolish WomanE Q +0ford CirceAutumn %&''

+ndless Jorney Reverberations 111/

?rom -acramento, +0ford Circe recorded rig!t on t!e garageJpsyc! cusp. T!eir ony E,D/oolish WomanE , begins wit! a punk T!em#stye rant t!at, after a minute or so, runs out ofspeen. T!ere is a pause before some backwards guitar, t!en t!ey5re off into t!e stratosp!ere,speeding into feedback drones. A 9uick restatement of t!e basic t!eme, and t!ey5re cut dead

Q from misogyny to transcendence and back again, a wit!in 2.=(.

D/eel $he .si'E Q 6e4tabesAutumn %&''

/eel$he FeCta2les -undaIed Records/

1n %&'E, t!e 6e4tabes foowed t!eir Autumn abemates, T!e *eau *rummes, onto t!enationa c!arts wit! t!e *eates9ue DI Still Loe <oE . A year and two femae drummers ater,t!ey regrouped for an attempt at mind e0pansion. T!e re9uisite ego#oss is rendered by tworagaike breaks, as t!e guitarist wanders up and down t!e frets in sitar simuation. 1n t!e !ig!register, finger cymbas8 at t!e end, a cymba cas!8 and t!e band are gone in a puff of smoke.



D%oller oasterE Q T!e %=t! ?oor @evatorsAutumn %&''$he Psy'hedeli' Sonds #f Coectabes Records/ and $he !est #f $ectar Records/

+ne of t!e first psyc!edeic groups to !it nationay wit! D<oEre ,onna .iss .eE /, t!ese

Te0ans made fre9uent visits to t!e *ay Area in t!e second !af of %&''. *eginning 9uiety,D%oller oasterE soon peaks into unabas!ed proseytism: ou5ve got to open up yourmindJAnd et everyt!ing came t!roug!JAfter t!e trip your ife opens upJou start doing w!atyou want to do.S riven by Roky @rickson5s uneart!y s!rieks, t!e @evators take yout!roug! every stage of t!e 4ourney Q eig!t !ours compressed into E.(E.

DPsy'hoti' %ea'tionE Q T!e Count ?ive-eptember %&''

Psy'hoti' %ea'tion @dse/

1ncuded as muc! for its tite and its contemporaneity, DPsy'hoti' %ea'tionE was 4usty

ceebrated by 7enny Faye in !is groundbreaking ggets coection Q w!ic!, in %&<2,e0cavated U'(s punk for t!e ne0t generation to punder. A Top E !it, DPsy'hoti' %ea'tionE wasT!e ardbirds5 DIEm A .anE as payed by five gawky teens from -an Dose Q a punker so

perfect as to inspire t!e 7ester *angs rant t!at tited !is book Psy'hoti' %ea'tions And

ar2retor ng .

Dhildren #f $he SnE Q T!e isunderstoodAutumn %&''

!efore $he ream /aded C!erry Red/

Anot!er ardbirds cop, per!aps t!e finest ever, as t!is Riverside, Caifornia, group Qtranspanted to t!e F Q go stratosp!eric wit! a toug!ened up rewrite of DSha*es #f

$hingsE . ominated by Genn Ross ?ernando Campbe5s searing side guitar, Dhildren #f

$he SnE rocks so !ard you wonder !ow T!e isunderstood coud top it, and t!ey didn5t.7ike 1carus, t!ey 9uicky fe to eart!, draft dodgers !ounded by t!e army and t!e ?*1.

D/eathered /ishE Q -ons +f AdamAutumn %&''

.ondo .tiny )ay *ack/

A tota punkJpsyc! cassic, wit! a massive, fuIIed stop#start riff, !ig! !armonies and wacko

yrics by none ot!er t!an 7ove5s Art!ur 7ee. 7ike, u!: 1 don5t knowJT!ere 1 go.S A t!at weknow about -ons +f Adam is t!at t!ey were an 7A group, affiiated wit! 7ove. 1mpressed byt!eir rendition of t!is ferocious tune, 7ee pinc!ed drummer ike -tuart for 7ove5s upcominga Capo abum.

E3 And 3 IsE Q 7ove-eptember %&''

a a*o @ektra/

A !yperspeed sice of acid#amped teen angst. -ampe yric: )!en 1 was a boy 1 t!oug!tabout t!e time 15d be a manJ15d sit inside a botte and pretend t!at 1 was in a canJ1n my oney

room 15d sip my mind in an ice cream coneJou can t!row me if you wanna Ucos 15m a



bone.S At t!e break, Art!ur 7ee counts it downS +ne, two, t!ree, four;S and t!en 7ove5sony Top ( !it e0podes in your face, eaving a fragment of t!e bues in its wake.

D,ood Fi2rationsE Q T!e *eac! *oys+ctober %&''

Smiley Smile5Wild Honey and $he !est #f $he !ea'h !oys CapitaJ@1/

Recorded over si0 mont!s, t!e fina version of D,ood Fi2rationsE is a masterpiece of editing.*rian )ison5s pocket symp!ony begins wit! a deceptive simpicity, a soo voice andmoduation organ, but twists and turns into a fu#bown t!eremin psyc!#out. 1t reac!ed

$umber % in ecember %&''8 for a brief moment T!e *eac! *oys were a!ead of T!e*eates. And yes, it was t!e first time you !eard t!e p!rase.

D/ranti' esolationE Q -opwit! Came@ary %&'<

Hello Hello Again -e9ue/

$amed to refect t!e obsessions of t!e moment @dwardiana, fig!t/, -? art#sc!ooers-opwit! Came are best known for t!eir Top =( !it DHello HelloE , w!ic! rode T!e 7ovin5-poonfu5s sweet 4ug#band stye for one ast time in Danuary %&'<. -ince !aving a !it wasuncoo, t!e Came were consigned to t!e outer darkness Q an in4ustice, as t!is une0pectedsice of desperation makes cear. T!e eo9uent fuII soo is as pure a distiation of -an?rancisco as you wi ever !ear.

D$he rystal Shi*E Q T!e oorsDanuary %&'<$he oors @ektra/

Aways t!e most understated and t!us persuasive song from t!e group5s infamous first abum.)it! images of parting, madness, surrender and deat!, T!e oors set sai for unc!arteredwaters and took t!eir audience aong wit! t!em. Dust so you didn5t forget t!at t!ey came from7A, t!e )est Coast5s media centre, Dim orrison came up wit! some great soundbites: 15drat!er fyS8 anot!er fas!ing c!ance at bissS8 deiver me from reasons w!yS.

D.r /armerE Q T!e -eedsarc! %&'<

.ore ggets lassi's /rom $he Psy'hedeli' D64s Fol R!ino/

7A5s finest for a season, T!e -eeds stradded t!e punkJpsyc! divide unti t!ey went over t!eedge in ate 5'<. As t!e notes to t!eir t!ird abum, ?uture, say, eading t!e way once more

back past t!e dragons t!roug! t!e crooked forest to t!e fairy caste surrounded by fowers andfower c!idren paying in t!e sun.S T!is E was t!e foow#up to DPshinE $oo HardE and,at!oug! drenc!ed in t!e same c!eesy organ, is more psyc! in its imagery and sub4ect matter:y ?armer, et me water your cropsss.S $ow w!at were t!ose itte green t!ingsB

D;ee* <or .ind #*enE Q FaeidoscopeApri %&'<

!les /rom !aghdad $he Fery !est #f ;aleidos'o*e @dse/



A t!e more impressive for its restraint, t!is baad was one of t!e first anti#war songs fromwit!in t!e emerging countercuture. *erkeey5s Faeidoscope were t!e first to fuy integratenon#)estern music and pop. Here, an e0otic, !ot!ouse mood wind c!imes, $ear @asterninstrumentas/ is sowy undermined by gunfire swes Q t!e Reapoitik be!ind psyc!edeia.

D,et .e $o $he World #n $imeE Q T!e @ectric PrunesApri %&'<

Psy'hedelia usic Coection 1nternationa/

D,et .e $o $he World #n $imeE was t!e foow#up to t!e @ectric Prunes5 $umber %% !it DI

Hold $oo .'h $o ream (Last ight)E and, ike a great foow#ups, tig!tened t!e mes!. 1nt!is case, t!at meant snotty vocas, mind#meting yrics s!rouding a basic teenage !orniness, akier *o iddey beat and a w!oe battery of effects meant to induce freaking out: fuII, wa!#wa!, reverb. Here 1 go go go,S t!e band gibber on t!e fade, as t!e guitarist s!oots for t!estars. Top =( -, deservedy.

DJohnny Was A ,ood !oyE Q ystery Trenday %&'<San /ran'is'an ights R!ino/

+ne of t!e first wave of -? groups, ystery Trend took t!eir name from a mis!eard ine inyan5s DLie A %olling StoneE . T!is toug! punker Q sped up in t!e cut Q was t!eir ony E.Announcing itsef wit! breaking gass, it tod a story t!at !as since become a too famiiar:t!e boy ne0t door, good wit! kids and animas, w!o makes front#page news wit! somet!ingso unmentionabe t!at t!e group doesn5t dare to name it. Great but twisted and,unsurprisingy, not a !it.

D#mahaE Q oby Grapeay %&'<Fintage: $he Fery !est #f .o2y ,ra*e CoumbiaJ7egacy/

T!e received wisdom t!at !ippies were about peace and ove is e0poded by records ike t!is.*ackwards guitars come at you ike !ammer bows, t!e dua#octave riff starts, and t!ey5reoff. D#mahaE is not!ing if not intense, a 4ammed#up coision of fas!ing guitars and raggedvoices t!at taps t!e craIy, aggressive energy of a moment turning in on itsef. A -kip -pencesong from w!at is undoubtedy t!e finest first#wave -? abum, oby Grape, and a Top =( !itin Duy %&'<.

DWhite %a22itE Q Defferson AirpaneDune %&'<Srrealisti' Pillo" and !est #f Jefferson Air*lane RCA/

Aice in )onderand set to a boero beat, t!is is Grace -ick5s record. -!e broug!t it from T!eGreat -ociety, and it is !er sardonic, precise voca t!at gives t!e mora aut!ority to t!e kiss#off: )!en ogic and proportion !ave faen soppy deadJAnd t!e )!ite Fnig!t is taking

backwardsJAnd t!e Red Vueen is off wit! !er !eadJRemember w!at t!e ormouse said:U?eed our Head; ?eed our Head;S @0picit drug propaganda and one of t!e oddest recordsever to reac! t!e - Top %(.



DHall'inationsE Q Tim *uckeyDune %&'<,ood2ye And Hello @ektra/

To t!e mass media, t!e point of psyc!edeia was ove. 1n fact, psyc!otropic drugs ony serve

to augment w!at is aready t!ere, and w!at comes across as strongy as t!e utopian propaganda of t!is period is an overw!eming sadness. *uried in an abum subty dominated by 6ietnam, *uckey5s UHaucinations5 are not paisey patterns but yrica, disturbing paradigms of !ow oss fucks your !ead up.

DAre <o ,onna !e $hereB (At $he LoeIn)E Q C!ocoate )atc! *andDune %&'<

o Way #t -undaIed Records/

?rom t!e -out! *ay, t!e )atc! *and are best known for t!eir performance in t!e A1P fimRiot +n -unset -trip rus!ed out to e0poit t!e ecember %&'' -unset -trip riots/, w!ic! t!ey

enivened wit! a perfect ardbirds rip#off, DonEt eed <or LoinEE . DAre <o ,onna !e$hereBE is anot!er od R* record, written for a fim caed $he LoeIns: a crunc! andsneer, an outsider5s view of a cuture curding into conformity.

D!all And hainE Q *ig *rot!er And T!e Hoding CompanyDune %&'<hea* $hrills and 18 +ssential Songs (Janis Jo*lin) CoumbiaJ7egacy/

7ike most first#wave -? groups, *ig *rot!er didn5t !ave muc! of an idea about makingrecords. T!eir first abum was a bunc! of demos8 t!eir second a ma4or abe botc! 4ob. T!isive cut from t!e onterey festiva is t!e one t!at made t!em superstars. $ot a second tooong at 3.(<, it captures t!e group at t!e !eig!t of t!eir powers and !ints at t!eir future demise

Q t!e oser script t!at Danis Dopin woud be re9uired not ony to sing but to ive out.

DIEm /ie <ears Ahead #f .y $imeE Q T!ird *ardo-ummer %&'<

Psy'hedeli' .i'rodots = -undaIed/

$ew ork5s T!ird *ardo took t!eir name from t!e Tibetan *ook +f T!e ead and recordedt!is unging come#on wit! yrics so perfecty pretentious t!at t!ey bear printing in detai: 1tmay strongJ*ut 1 know 4ust w!ere it caring Ubout t!at rig!t or wrong to ife5s mystery; Dust

step in.S

DAn0ios olE Q Painted ?aces-ummer %&'<

Pe22les Fol =Farios !rnot A1PJArc!ive 1nternationa/

$ot!ing is known about t!e Painted ?aces e0cept t!at t!ey came from ?ort yers, ?orida,and t!ey reeased t!ree singes. T!is was t!eir first: a marveous encapsuation of !ow 7-!it nonmetropoitan America. As t!e group take you t!roug! a t!e styes t!ey5ve earned upto t!is point Q frat rock, *rit beat, punk Q t!ey offer t!e definitive summing up of t!e acide0perience in t!e tite p!rase.



D.agi' Hollo"E Q T!e *eau *rummesAugust %&'<$riangle )arner *rot!ers/

T!e *eau *rummes5 Danuary 5'E !it, DLagh@ LaghE , was t!e first creative American

response to t!e *ritis! 1nvasion. 1t aso !eped to finance Autumn Records, t!e abe w!ere-y -tone attempted to produce first#wave -? groups ike T!e Great -ociety and T!eC!aratans. At!oug! in at t!e ground eve of t!e -? boom, t!e group were too minor#key for t!e fu t!under of psyc!edeia as it became defined. T!is song, from t!eir $riangle 7P, a!arpsic!ord and c!imes, !ints at t!e secret sadness t!at ay beneat! t!e wonder.

D!roen Arro"E Q *uffao -pringfiedAutumn %&'<

!ffalo S*ringfield Again and %etros*e'tie $he !est #f !ffalo S*ringfield Atco/

1n arc! %&'<, *uffao -pringfied went Top %( wit! D/or What ItEs WorthE , written after t!e

-unset -trip riots. T!e group t!en began to disintegrate, recording t!eir second abum on t!erun. $ei oung e0pored !is ambivaence to fame in t!is si0#minute epic w!ic! begins wit!drummer ewey artin5s fake sou Wero0 of oung5s D.r SolE , recorded ive wit!out itsaut!or/. )it! an ambition typica of t!e period, oung t!en vauts into American 1ndianmyt!oogy and t!us t!e core reason for t!e s!adowy absence t!at5s aways present inAmerica: t!e e0terminated native race.

DIn'ense And Pe**ermintsE Q -trawberry Aarm Cock +ctober %&'<Stra"2erries .ean Loe *ig *eat/ and Anthology +ne )ay Records/

$utra-weet psyc!edeia, DIn'ense And Pe**ermintsE went to $umber % in t!e - in $ovember %&'<, si0 mont!s after it was first reeased ocay an t!e )est Coast, w!ic! tesyou somet!ing about t!e time ag invoved in !itting t!e mass market. *y t!e winter, ofcourse, t!e song5s uncritica acceptance of t!e !ippy et!os was passX. ?or a t!at, it isaddictive as a sugar !it, wit! soft !armonies and an irresistibe meody.

D$he %ed $ele*honeE Q 7ove $ovember %&'< /oreer hanges @ektra/

)!at was so great about 7ove was t!at t!ey were nasty !ippies. $o#one was more perfectycast as $ero t!an Art!ur 7ee, sitting on t!e !iside, watc!ing a t!e peope die. ?oreverC!anges cuts t!roug! t!e pacific pieties of %&'< wit! an astringent viciousness, sweetenedony by 7ee5s crooning vocas and avid Ange5s us! orc!estration. D$he %ed $ele*honeE is amasterpiece of meodic bie, one source of w!ic! is made apparent in t!e song5s famous fade,w!en a no0ious nce Tom voice offers: A God5s c!iun gotta !ave t!eir freedom.S

Dhange Is o"E Q T!e *yrdsAugust =( %&'<$he otorios !yrd !rothers CoumbiaJ7egacy/

At!oug! t!ey !ad recorded some of t!e best e0ampes of t!e genre before t!ere was one, T!e*yrds were not part of t!e psyc!edeic !ierarc!y. Dust to s!ow everyone, t!ey pieced toget!er



t!is droning masterpiece of acid ift#off. Propeed by C!ris Himan5s pumping bass,Dhange Is o"E moves t!roug! a country c!orus before entering serious t!ird#eye territorywit! a muti#dubbed, backwards#guitar symp!ony. *y now, w!en Roger cGuinn singsdance to t!e day w!en fear is gone,S you5ve 4oined !im.

D(SittinE #n) $he o' #f $he !ayE Q +tis ReddingDanuary %&'3$he efinitie olle'tion +ne isc/ and $he efinitie ?our isc *o0/ Atantic/

?or a brief moment, words coided as w!ite psyc!edeia impacted on back dance music.1nspired by Sgt Pe**er and t!e -? scene, +tis Redding recorded t!is ambient baad of oss,trave and time repete wit! sea atmosp!erics and seagu noises from -teve Cropper5sguitar/, w!ic!, after !is deat! in an airpane accident, went to $umber % on bot! sides of t!eAtantic. 1n t!at process, w!at !ad been refective became unbearaby poignant8 w!at !ad

been a pause became a fu stop.

DA Kestion #f $em*eratreE Q T!e *aoon ?armarc! %&'3$he Larie %e'ords Story Ace/

A t!rowback to t!e c!eerfu certainties of %&'' punk, t!is Top ( !it features one of t!e bestHu!sS on record Q no sma ac!ievement Q and same neat catc!p!rases: Coo disposition!anging by a t!readS8 $onstop eevator going to t!e topS. 7ust reduced to pat!oogy, t!etension and psyc! 9uotient/ is kept up by treby, fuIIed guitar and w!at sounds ike veryeary oog synt!esiIer s9uigges.

Dan'e $o $he .si'E Q -y And T!e ?amiy -tonearc! %&'3,reatest Hits @pic/

)aiting to aunc! !is own vision, -y -tone witnessed t!e birt! pangs of t!e new era as !ouse producer at Autumn Records. He took t!at ambition and appied it, wit! incredibe gee, to areconstruction of back music. Dan'e $o $he .si'E , t!e ?amiy -tone5s first Top %( !it,

breaks up 4aII, doo wop, sou and Tama into a w!oy new t!ing. 1n t!is psyc!edeic funk,you can !ear everyt!ing t!at came after, from ?unkadeic t!roug! to today5s rap.

DPride #f .anE Q Vuicksiver essenger -ervice

ay %&'3Ki'siler .essenger Seri'e @1/

T!e -an ?ranciscan bidding frenIy wasn5t aways to t!e benefit of t!e musicians, many ofw!om !ad fractious reations!ips wit! record companies w!o !ad no understanding of w!att!ey5d boug!t. Vuicksiver !ed out, signed ate, and deivered a carefuy arranged debut.T!is opener !as unusuay confident vocas and stinging ead guitar by Do!n Cipoina, asmetaic as t!at acid taste in your mout!, w!ic! backs up t!e yric5s bibica curse.

D$hatEs It /or $he #ther #neE Q T!e Gratefu ead-ummer %&'3

Anthem #f $he Sn )arner *rot!ers/



T!e ead were aways t!e furt!est out, but you coudn5t !ear !ow far unti %&'35s Ant!em +f T!e -un, recorded at concerts and studios around t!e - over a si0#mont! period. ?rom t!etime w!en musicians taked about taping air, t!is %2#minute se9uence mi0es t!e t!under oft!e ead in fu fig!t wit! P!i 7es!5s musi9ue concrete and a gorgeous guitar meody aboutseven minutes in, w!ic! by itsef 4ustifies Derry Garcia5s reputation. A tour de force of editing

and cross#fading, it carries t!e ambience of t!e moment ike not!ing ese.

DInA,addaaFidaE Q 1ron *utterfy-eptember %&'3

InA,addaaFida Atco/

Aong wit! *ue C!eer and 6ania ?udge, 1ron *utterfy epitomised t!e moment t!at t!eig!tness of psyc!edeia became !eavy rock, a process ater industriaised by 7ed Keppein. Acorruption of DIn $he ,arden #f +denE , t!is was t!e tite track of 1ron *utterfy5s secondabum, w!ic! stayed on t!e c!arts for neary t!ree years and became one of t!e first miion#seers of t!e new era. )it! its afioso tite, ponderous soos, moronic riff and udicrousy

deep vocas, DInA,addaaFidaE s!ows t!at t!e ridicuous can be a ot of fun.

D.agi' ar*et %ideE Q -teppenwof +ctober %&'316 ,reatest Hits CA/

ore psyc!edeic sc!ock, t!is time from e0ied Canadians w!o !itc!ed t!e -? wit! ane0istentiaist name and a stye t!at t!ey named in t!eir first !it D!orn $o !e WildE : !eavymeta t!under.S T!is foow#up $umber = - in $ovember/ is even better, wit! its dogfig!tintro, definitive rock riff, Hammond organ break and spooky premonition of U<(s peasure#

babbe: ?antasy wi set you free.S

DSongs /or #r An'estorsE Q T!e -teve ier *and $ovember %&'3Sailor and $he !est #f $he Stee .iller !and 1968193= Capita/

-teve ier woud !ave been successfu in w!ic!ever period !e came to prominence, and !ewas, wit! !its in t!e U<(s and t!e U3(s. ?or severa abums in t!e ate U'(s, !owever, t!is rock

pro !ad !is game raised by t!e scene of w!ic! !e was a part. +pening t!e -teve ier*and5s second, and best, abum, -aior, DSong /or #r An'estorsE is Country Doe5s DSe'tion

?=G , two years and a ot of record company investment ater: a creeping fog and bay

atmosp!ere, wit! a dept! of fied t!at we woud now describe as ambient.

D.a'hinesE Q 7ot!ar And T!e Hand Peope $ovember %&'3$his Is It@ .a'hines -ee ?or ies/

1nvesting !eaviy in t!e new rock, t!e ma4or abes deep#trawed ong!aired groups fromacross America. Among t!e 9uacks, fase messia!s and 4ourneymen t!us given e0posure weregenuine oddities ike t!is $ew ork group. T!e opening cut on t!eir first abum, D.a'hinesE s!oud !ave been covered by Gary $uman in t!e ate U<(s. 1ts synt! basts and automaton

percussion 4ust beg for robot dancing.



Drimson And loerE Q Tommy Dames And T!e -!ondesecember %&'3

Anthology R!ino/

*ubbegum pus!ed by spacey yrics and an overdose of reverb into t!e ast great psyc!edeic

$umber %. ?ormery best known for pup cassics DI $hin WeEre Alone o"E , DHany PanyE and D.ony@ .onyE , Dames made !is move in summer %&'3, w!en !e advised emocrat

presidentia candidate Hubert Hump!rey on yout! affairs. Drimson And loerE was t!e firsttime t!e group !ad artistic freedom, and t!ey reay !it it8 for a its transparent dopiness, t!esong sti s!immers in its own time.

DWilliamE Q )!ite 7ig!tning@ary %&'&$he A'id reamEs $estament 7/

1mpossiby intense and vicious, t!is is 7ove5s E3 and 3 IsE severa !undred trips ater. *uit

around a monstrous trebeJfuII riff, William is bot! a perfect psyc! put#down, Q !ow canyou be !appy wit! a symbo for your goaBS Q and an encapsuation of t!e moment w!en t!emovement impoded. ou t!ink you5re making music but it5s twisted out of key,S t!ey sneer,t!en rip off a distorto#soo of w!ic! Furt Cobain woud be envious.

Dream Within A reamE Q -piritDanuary %&'&$ime ir'le 1968193 and $he /amily $hat Plays $ogether @picJ7egacy/

*ookended by @d Cassidy and Randy Caifornia, a (#year#od 4aII drummer and a teenageguitar prodigy w!o !ad worked wit! Dimi Hendri0, -pirit !ad a generosity of taent t!at madefor t!e most enduring records of t!at era. ?rom t!e abum $he /amily $hat Plays $ogether ,Dream Within A reamE cois and uncois ike a desert rattesnake w!ie retaining a truy

psyc!edeic sense of wonder. And o! my sou ike some newborn baby cries.S

DWar In Pea'eE Q Ae0ander -kip -pence?ebruary %&'&#ar -ony -pecia Products/

-kip -pence !ad ived out t!e breakdown of t!e psyc!edeic age, from t!e first DeffersonAirpane t!roug! oby Grape and 7- psyc!osis to an enforced !ospitaisation in $ew

ork5s *eevue Hospita. Recording by !imsef in $as!vie, -pence took on t!e mutipecracked personae of t!e street singer w!o grabs you by t!e seeve. Poised between ineptitudeand infinite deicacy, DWar In Pea'eE resoves t!e tensions of its tite into, as Grei arcuswrites, a fina version of t!e -an ?ranciscan -ound, a scattered, but sti geaming.S

Darness@ arnessE Q T!e oungboods-pring %&'&

+le*hant .ontain @dse/

?rom t!e same $ew ork fokJbues scene as T!e 7ovin5 -poonfu, T!e oungboods movedto -an ?rancisco and went Top E in %&'& wit! t!e dippy D,et $ogetherE , a snatc! of w!ic! is

parodied in $irvana5s D$erritorial PissingsE . Recorded decades before t!e !ippies5 c!idrenwoud return to !aunt t!em, Darness@ arnessE is T!e oungboods5 masterpiece, a fu



recognition of t!e s!adow absent from t!e rest of t!eir work, given a tota aut!enticity by oneof -an ?rancisco5s great guitar soos.

D+le'tri' SailorE Q Fak -ummer %&'&

;a @picJ7egacy/

A rea -? obscurity, Fak5s ony abum disappeared as 9uicky as it came. 1f you dig deep,!owever, you5 find connections wit! t!e +0ford Circe and *ue C!eer, w!ic! makes sense.D+le'tri' SailorE !as %&'&5s ponderousness, but t!e mood is payfuy acid#fried. T!eirceebration of a !ippy everykid, wit! !is coffee#cooured T#s!irt and striped be pants, is

bisected by a yattering, bending guitar soo t!at pus!es t!roug! into anot!er dimension. 7iket!ey say, ou5ve got to smie if you5re from space.S

D.ontains #f $he .oonE Q T!e Gratefu eadDune %&'&

Ao0omo0oa )arner *rot!ers/

@ven more so t!an ark -tar, w!ic! is fu of ife and movement, t!is is t!e ead at t!eirmoment of fuest outreac!. Trapped wit!in t!eir paindrome, t!e band barey stirredt!roug!out Ao0omo0oa: D.ontains #f $he .oonE is a !arpsic!ord and ceestia !armonies,!arnessing t!is wasted entropy to a science#fiction scenario of weig!tessness and myt!ica!eroism wort!y of P!iip F. ick. ?rom !ere on in, t!e rest was a sow retreat.

DStarS*angled !annerE Q Dimi Hendri0August %3, %&'&$he ltimate +0*erien'e Poydor/ and Jimi Hendri0: Woodsto' CA/

A bast of reaity from a coective deusion. Paying to a !af#aseep audience, in !is backest,most American p!ase, Hendri0 redrew t!e psyc!ic map of !is own country wit! a soo t!at!as everyt!ing and not!ing: t!e rage of t!e back American 1ndian, t!e !aucinatory terror oft!e 6ietnam )ar, t!e end of t!e !ippy dream at t!e very moment w!en it seemed to !avewon.

PS2C%(D("IA 13

D$omorro" eer ;no"sE Q T!e *eates

Apri %&'' %eoler Parop!one/

D$omorro" eer ;no"sE takes you rig!t into t!e maestrom: s!amanistic drums compressedand imited to t!e ma08 guitars fuIIed and payed backwards8 tape oops from five differentsources a topped by Do!n 7ennon5s mutated voice, artificiay doube#tracked, t!en fedt!roug! a w!iring 7esie speaker so t!at !e5d sound ike t!e aai 7ama singing from t!e!ig!est mountain top. T!e fina cut on a $umber % abum in t!e - and F, it immediateyimpacted on pop cuture.

DPaint It !la'E Q T!e Roing -tones

ay %&'' Hot %o's and !ig Hits (High $ide And ,reen ,rass) 7ondon/



T!e first miion#seing singe $umber % - and F/ to open up t!e et!nic sonorities ofw!at woud become psyc!edeia. Typica for T!e Roing -tones in t!is careening, ni!iistic

p!ase, DPaint It@ !la'E is a tota downer: 1 wanna see t!e sun botted out from t!e sky.SPsyc!otic overtones were provided by $ear @astern !umming, inward#ooking yrics and t!einternationay teevised sig!t of *rian Dones, crossegged and priesty, paying t!e sitar.

D.aing $imeE Q T!e CreationDuy %&''

Painter .an @dse/ and .idsmmer ight reams ebutante/

*uit around massive R* bass riffs and !eavy, sas!ing )!o#inspired c!ords, t!is stomperfas rig!t on t!e odJpsyc! cusp. *est known for t!e wid break, w!ere guitarist @ddieP!iips sends t!e !armonics fying wit! a vioin bow, D.aing $imeE e0podes wit!frustration: akes you sick;S t!ey sneer, and you remember t!at, yes, t!e -e0 Pistos payedCreation songs eary on.

DSeason #f $he Wit'hE Q onovanAugust %&'',reatest HitsAnd .ore @1/ and .idsmmer ight reams ebutante/

A masterpiece of controed menace, DSeason #f $he Wit'hE captures t!e nascent psyc!edeiccuture wit! its foies *eatniks out to make it ric!S/, possibiities )!en 1 ook in mywindow, so many different peope to beS/ and paranoia, aways returning to t!e ominousrefrain, ou5ve got to pick up every stitc!S, w!ic! states an essentia acid fact: 7- was notan escape but a reckoning.

DHa**enings $en <ears $ime AgoE Q T!e ardbirds $ovember %&'' %oger $he +ngineer @dse/

)!en asked w!at t!ey were about in summer %&'', T!e ardbirds repied, 1mages insoundS, a caim t!ey5d soon back up wit! t!is, t!eir finest moment. 7yricay, DHa**eningsE ist!e standard mi0ed#up confusion, but t!e song cracks open in t!e break, w!ere Deff *eck andDimmy Page convert t!eir ego battes into sensory overoad: sirens, ow#fying 4ets, seismicdisturbance.

DI /eel /reeE Q Cream

ecember %&'' /resh ream and $he Fery !est #f ream Poydor/ and .idsmmer ight reams ebutante/

*eginning wit! a cappea vocas, DI /eel /reeE e0podes into ife wit! an eectric Captonguitar figure, and t!en t!ey5re off: fast, !i#!at drumming, repeated !ig!#register piano notes, asuccinct Capton soo, and a !yperventiating Dack *ruce voca. Psyc! yrics: 1 can drivedown t!e road and my eyes don5t seeJT!oug! my mind wants to cry out oudJT!oug! mymind wants to cry out oud.S

DStra"2erry /ields /oreerE Q T!e *eates

?ebruary %&'< .agi'al .ystery $or Parop!one/



)!en t!is first came on radio in eary %&'<, it sounded ike not!ing ese, wit! its wrackedvoca, out#of#tune brass section and 9ueasy strings. T!ere was a good reason: t!e finaDStra"2erry /ieldsE edited toget!er two 9uite distinct versions. espite t!e fact t!at t!ey werein different tempos and different keys, t!e intimate origina was sped up and t!e !eaviyscored manic second version sowed down, giving a disoriented s!een to 7ennon5s trip back

into !is tortured c!id!ood and orp!aned adoescence.

DInterstellar #erdrieE Q Pink ?oyd?ebruary %&'<$he Pi*er At $he ,ates #f a"n @1/

T!is %':' interpanetary voyage is t!e finest e0tant e0ampe of -yd *arrett5s improvisation:intuitive, free of ongueurs, surprisingy deicate. As C!ris Cuter writes in ?ie under: Pop,*arrett took t!e guitar into a new ream8 !e introduced a w!oe range of new tec!ni9ues but,most important, an inspired and risky approac! to performance. He unocked t!e eectricguitar to a degree beyond anyt!ing t!at !ad come out of rock unti t!at time.S

D.y /riend Ja'E Q -moke?ebruary %&'<

ItEs Smoe $ime Repertoire/

@ary F psyc!e0poitation. D.y /riend Ja'E begins wit! a tota reverb + before makingits statement of intent in t!e first ine: y friend Dack eats sugar umps.S Points are awardedfor t!e effete vocas and mystica yrics, but everyt!ing comes down to t!e reverb, w!ic!sas!es and s!immers t!roug!out.

Days #f Pearly S*en'erE Q avid c)iiams-pring %&'<

%emem2er $he Pirates @1/ and .idsmmer ight reams ebutante/

A !eaviy produced fok#rock song, DPearly S*en'erE coudn5t !ave been made in any ot!eryear. 1t5s somet!ing to do wit! t!e strings t!at swir into t!e c!orus wit! c)iiams5scompressed voice, and t!e detaied yet distanced underdog yrics: 1ron trees smot!er t!eairJ)it!ering t!ey stand and stareJT!roug! eyes t!at neit!er know nor careJ)!ere t!e grass!as goneS

DIn <or $o"erE Q T!e Poets

arc! %&'<$he %22le olle'tion Fol 6 *om Caruso/

Gasgow5s finest, T!e Poets were on a dying curve w!en t!ey cut t!is storming E in eary%&'<. *uit around a fute riff and distorted raga i.e. detuned/ guitar, DIn <or $o"erE is totafairy#tae medievaism and a fabuous document of !ow 7- impacted on t!e styes of t!etime, at!oug! 1 bame T!e Roing -tones and DLady JaneE mysef.

D,reen ir'lesE Q T!e -ma ?aces-pring %&'<Small /a'es Repertoire/ and $he Fery !est #f C!ary/



D,reen ir'lesE was T!e -ma ?aces5 first ma4or psyc!#out, a gente tune t!at is dominated by !ig!#register tack piano and mystica yrics And wit! t!e rainJT!e -tranger cameJHiseyes were fied wit! oveS/ before t!e fina rave#up w!ere t!e sound is s9ueeIed by a

primitive form of stereo panning. Dir'lesE seems to !ave been t!e most popuar @ngis!metap!or for 7- disorientation in 5'' and 5'<.

DI an Hear $he ,rass ,ro"E Q T!e oveApri %&'<$he .oe Repertoire/ and .idsmmer ight reams ebutante/

A big F !it, t!is !as everyt!ing: a kier riff, t!e compe0 ove production, percussive yipyip background vocas, *eac! *oys !armonies, weird eectronic aarm noises and mind#meting yrics: y !ead5s attracted to a magnetic wave of soundJ)it! t!e streams ofcooured circes making t!eir way around.S 1n t!e fina verse, some acid one#upmans!ip: 1fyou can5t sme w!at you5ve foundJT!en 1 know t!at you5re not my kind.S

Dight #f $he Long ,rassE Q T!e Troggsay %&'<$he $roggs ,reatest Hits Poygram T6/ and .idsmmer ight reams ebutante/

Coming off four caveman Top %( !its Q t!e F e9uivaent of - punk Q T!e Troggsdipped wit! t!e formuaic D,ie It $o .eE . T!eir ne0t E, Dight #f $he Long ,rassE ,

briianty adapted t!eir two#c!ord trick to t!e new era. )ind noises segue into !ig! femae!armonies and w!ispered c!oruses of evanescent desire and oss. a4or psyc! move: )it!ips apart 1 t!oug!t t!at you were going to ca my nameJ1nstead t!e kiss t!at foowed wasenoug! to met my brain.S

DPa*er SnE Q Trafficay %&'<

;ee* #n %nning and $he !est #f $raffi' 1sand/ and .idsmmer ight reams ebutante/

T!e first E by -teve )inwood5s second group, DPa*er SnE went $umber E F in earysummer %&'<. T!e PR about Traffic was t!at t!ey went to get t!eir !eads toget!er in t!ecountryside among t!e *erks!ire Poppies/, and DPa*er SnE , wit! its sinuous sitar, buIIingsa0op!one and -winging 7ondon burnout yric, !as t!e e0pected ooseness stiffened by a

bitter, beak undertow t!at stays on t!e tongue ong after t!e period trappings !ave faded.

DAre <o +0*erien'edBE Q T!e Dimi Hendri0 @0perience:ay %&'<

Are <o +0*erien'edB CA/

+pening wit! backwards beats t!at eap forward %' years to t!e scratc!es of !ip !op, DAre

<o +0*erien'edBE moves t!roug! a basic come#on to somet!ing muc! sweeter and infiniteycosmic: Trumpets and vioins 1 can !ear in t!e distanceJ1 t!ink t!ey5re caing ournamesJaybe now you can5t !ear t!em, but you wi !a !a/J1f you 4ust take !od of my!and.S A great ant!em, pinned to t!e back of your brain by martia drums, repeated !ig!

piano notes and t!e definitive backwards guitar soo.



D.idsmmer ightEs S'eneE Q Do!n5s C!idren-ummer %&'<

.idsmmer ightEs S'ene *am Caruso/

T!ere5s a face disfigured wit! ove: a rea oddity from a group t!at epitomised t!e *ritpop

tendency to foppis! vioence. T!is E was sc!edued as t!e foow#up to t!e banned arc*oan song, DesdemonaE , and stakes out its currency wit! repeated p!rase petas andfowersS. T!is idiot mantra recurs t!roug! a string#breaking, freak#out soo, before *oancras!es in wit! a voca t!at tears t!e song to s!reds Q !is fina act wit! t!e group.

DItEs All $oo .'hE Q T!e *eatesayJDune %&'<<ello" S2marine Parop!one/

An unusuay soppy *eates recording, wit! an unnamed curse and overamped guitar eadinginto mad brass and !andcaps so uscious t!at t!ey sound ike t!e c!ewing of a t!ousand

cows. T!e George Harrison yrics are t!e usua domesticated F acid fare Q -!ow me t!at15m everyw!ere t!en get me !ome for teaS Q but a t!at is subsumed wit!in aura peasureas T!e *eates rea0 into t!e first of t!eir ong fades, a few baro9ue fouris!es, a snatc! ofT!e erseys5 DSorro"E , t!en everyt!ing merges into t!e acid !aIe.

Dolors #f .y .indE Q T!e Attack Dune %&'<$he %22le olle'tion Fol 6 *am Caruso/

ore detuned raga guitar and raging mae !ormones coaked by pseudo#profound yrics: yeyes are green and yeow because t!ey5re t!e roving kind.S T!e Attack span t!e 4ourney

between t!e basic punkJR* and prog rock t!at bookends t!is period. Dolors #f .y .indE

comes from t!at moment w!en groups tried to !ave !its wit! yrics ike 7iving is a !abitt!rust upon mankind.S $evert!eess, t!ey rock.

DWe Loe <oE Q T!e Roing -tonesAugust %&'<

.ore Hot %o's: !ig Hits - /a7ed ooies Abkco/

T!e song of t!e cause ceebre. A few days after t!eir Duy =% reease on appea, ick Daggerand Feit! Ric!ards went in wit! t!e ot!er Roing -tones and two *eates Q 7ennon and

cCartney Q to record t!is gorious fuck#you mas9uerading as a -ummer of 7ove ant!em.DWe Loe <oE sounded fabuous on t!e radio in !ig! summer of 5'< wit! its monster pianoriff and eotron arabes9ues !anging in t!e air. 1t was ony ater t!at you noticed t!e !eavywaking of t!e prison warden at t!e song5s start or t!e sarcastic !ostiity of t!e yrics.

DIt'hy'oo ParE Q T!e -ma ?acesAugust %&'<Small /a'es Repertoire/ and $he !est #f $he Small /a'es -ummit/

+ne of t!e few F psyc! records to make t!e - Top 2(, DIt'hy'oo ParE is a surprisingysimpe production, making t!e most of acoustic guitar, Hammond organ and -teve arriott5s

w!ite#sou voice. T!e sentiments coud easiy curde Q 1 fee incined to bow my mindS Q but are given tota aut!ority by a gorgeous meody and p!ased cymbas t!at take t!e roof off



your !ead, so t!at by t!e time ariott yes 1t5s a too beautifuS at t!e song5s fade, you5ve beieved !im.

D$he Stars $hat Play With Laghing SamEs i'eE Q T!e Dimi Hendri0 @0perienceAugust %&'<

$he Singles Al2m Poydor/

Tucked away on t!e fip of Hendri05s fourt! singe, D!rning #f $he .idnight Lam*E , wast!is demented aura simuation of 7-5s stronger cousin -TP. A 9uick wa!#wa! ift#off, t!enet C Dimi be your guide: T!e iky )ay e0press is foating. A aboard; 1 promise eac!and every one of you won5t be boredM+!, 15d ike to say t!ere wi be no t!rowing cigarette

butts out t!e windowMT!ank ouM$ow to t!e rig!t you5 see -aturn. +utassig!t. And ifyou ook to t!e eft you5 see arsMS

D.atilda .otherE Q Pink ?oydAugust %&'<

$he Pi*er At $he ,ates #f a"n @1/

D.atilda .otherE is a perfect evocation of c!id!ood wonder, sung by a c!id to !is mot!er ass!e reads !im stories at bedtime. T!e verse carries t!e written fairy#tae, A t!ousand mistyriders cimbJp !ig!, once upon a timeS aternating wit! t!e c!id5s point of view in t!ec!orus: )!y d5you !ave to eave me t!ereJHanging t!ere in my infant air, waiting;S 1nretrospect, suc! empat!y masked rea disturbance, but !ow coud anyone know t!at !eady,first#time summerB

D%ela0E Q T!e )!oAugust %&'<$he Who Sell #t Poydor/

espite t!eir singe in support of Dagger and Ric!ards, despite t!eir appearance at onterey,T!e )!o !ardy embraced t!e new era. T!eir big !it from t!is period, DI an See /or .ilesE ,is a furious e0posion. *uried deep wit!in t!eir !ymn to pirate radio and pop commerce,D%ela0E is one of T!e )!o5s sweetest songs, a trip guide en!anced by a goden, droningfeedback gow: -ette your affairs and take your timeJ5cos everyt!ing in t!e word is yoursand mine.S

D/light /rom AshiyaE Q Faeidoscope

-eptember %&'< ie Into <esterday ?ontana/ and .idsmmer ight reams ebutante/

Anot!er take on t!e fig!t motif, made pop as ony t!e *rits knew !ow: a fokis! tune,t!rumming bass ine, fey vocas, romantic sadness. 7ondon5s Faeidoscope master t!e basicre9uirements of t!e time Q t!e emp!asised word !ig!S, t!e visions of c!id!ood, t!e !ig!spaces!ip/ concept Q but make t!em t!eir own wit! a curious, 9uavering c!orus t!at carriesa !int of psyc!edeia5s end, far from anyw!ere t!at you coud ca !ome: $obody knowsw!ere we are.S

Defe'ting ,reyE Q T!e Pretty T!ings

Autumn %&'<$he %22le olle'tion Fol 1 *am Caruso/



An 7P5s wort! of ideas in one side of a singe, Defe'ting ,reyE moves t!roug! severastages: a pusing, bass#!eavy intro8 sitar#dominated verses sitting aone on a benc! wit!you/8 rave#up c!oruses wit! !eavy, rock guitar8 a yrica midde eig!t bars8 a music#!afinae8 and a wistfu psyc!out fade. @ven wit! a t!is, T!e Pretty T!ings didn5t get t!e gir, afar cry from t!eir days as R* $eandert!as.

D/rom $he nder"orldE Q T!e Herd-ept %&'<

/rom $he nder"orld *R usic/, $he Herd feat Peter /ram*ton ?antana/ and .idsmmer ight reams ebutante/

T!e story of +rp!eus and @urydice fait!fuy rewritten for t!e teen market and goosed upwit! a cassic %&'< overproduction: funera bes, t!undering brass, !ig!#register piano, fuIIguitar, and t!at awfu Rickenbacker bass you !eard everyw!ere t!at year. yt!oogica kitsc!of t!e !ig!est order: )!at was t!e sudden wi to destroy t!e ove and t!e 4oyBS

D.i'hael AngeloE Q T!e 2=rd Turnoff -eptember %&'<$he %22le olle'tion Fol 6 *am Caruso/

T!e Turnoff were named after t!e 7iverpoo e0it on t!e ' !ig!way, Dunction 2=. T!ismeanc!oic ceebration of t!e Renaissance artist was underscored by p!ased strings, DPenny

LaneE trumpets and Dimmy Campbe5s -couse vocas. 7ike many ot!er ong#ost groups, t!eTurnoff wrote t!eir own script: How can it be t!at a man suc! as meJ)!o cares not formoney and fameJ-!oudn5t be ric! wit! God5s natura giftsJTo !ave somet!ing to s!ow at t!eend of ife5s game.S

D;ing .idas In %eerseE Q T!e Hoies+ctober %&'<$he !est #f $he Hollies @1/ and .idsmmer ight reams ebutante/

anc!ester5s finest, T!e Hoies !adn5t ignored t!e trend towards odd noises and inventivestory ines, but !its ike DSto* Sto* Sto*E kept t!e weirdness firmy wit!in t!e everyday. D;ing

.idas In %eerseE was t!eir -ummer of 7ove move into myt!oogica ausion, wit! fuorc!estration, surred e0otic vocas, and gratifyingy pretentious yrics. T!e idea, of course,was t!at our !ero turns everyt!ing not into god but into dust: 15 break you and destroy yougiven time.S

Dream .aga7ineE Q -vensk Autumn %&'<

+le'tri' Sgar'2e /lash2a's A1P/

-vensk run T!e )!o5s DPi'tres #f LilyE concept Q boy fas in ove wit! image of woman,is devastated w!en !e reaises t!at it5s not rea Q into un!eat!y obsession: -aw !er picturein a dream magaIineJ-weetest gir 15ve ever seenJ1n wide ange s!e5s so fineJ1n teep!oto s!eis mine.S T!e domination of t!e t!undering c!urc! organ s!ows t!e immediate infuence oft!e F -ummer of 7ove !it, Proco Harum5s DA Whiter Shade #f PaleE .



DIm*osters #f LifeEs .aga7ineE Q T!e 1de Race+ctober %&'<

!a' $o $he Story @1/

*efore ate#period @7+, Deff 7ynne !ad five years of making great records wit! T!e ove,

eary @7+ and T!e 1de Race. DIm*osters #f LifeEs .aga7ineE was t!eir first E, a compressed production typica of t!e period, wit! storming riffs, sped up wa!#wa! guitars, strings and t!erest. )!at begins in media, !owever, ends in acid riddes: Touc! your friend5s gir. )i !emindBJ)i !is mind wi itB )i your friends t!inkBJ1n t!eir t!oug!ts t!ey5re wit! youJAret!eyBS

DSan /ran'is'an ightsE Q @ric *urdon And T!e Animas+ctober %&'<$he !est #f +ri' !rdon And $he Animals 19661968 Poydor/ and San /ran'is'an a7e ebutante/

DSan /ran'is'an ightsE was t!e most effective of a t!e records t!at e0poited Haig!t#As!bury t!at summer wit! its sweet meody and evocative yrics8 it5s now part of t!e fokmemory of %&'<. ebuted at onterey in Dune and a F Top %( by $ovember, by w!ic!time t!is beatific vision of Haig!t#As!bury was aready in t!e past.

DLoe Is All ArondE Q T!e Troggs+ctober %&'<$he $roggs ,reatest Hits Poygram T6/

Continuing t!e 4ourney t!ey5d begun wit! Dight #f $he Long ,rassE , T!e Troggs scoredwit! t!is -ummer of 7ove ant!em disguised as a romantic baad. nderpinned by ceos andvioins, Reg Presey makes fideity sound ike 7- ift#off: 1 fee it in my fingersJ1 fee it inmy toesJ7ove is a around meJAnd so t!e feeing grows.S As t!e strings bend wit! t!e et!erat t!e fade, Presey wa0es wistfuy cosmic. T!eir ast big !it $umber E F8 $umber < -/,and a fitting epitap!.

DFa'm leanerE Q Tintern Abbey $ovember %&'<$he %22le olle'tion Fol 6 *am Caruso/

Tintern Abbey, fas!ionaby named after Art!urian egend, made t!is one defining E. A

simper yet ambient production, DFa'm leanerE is driven by fas!ing cymbas and avidacTavis!5s awe#struck voice. T!e yrics ceebrate a surrender made p!ysica by t!e droning,feedback guitar break: ?i0 me up wit! your sweet doseJ$ow 15m feeing ike a g!ost.S T!egroup disappeared into t!in air, eaving be!ind t!is perfect testament.

D.adman %nning $hrogh $he /ieldsE Q antaians C!ariotAutumn %&'<$he %22le olle'tion Fol > *am Caruso/

A t!e !ard#drinking oons from t!e mid#U'(s cub scene fe ike ninepins to acid and none!arder t!an Koot oney, w!o foded !is *ig Ro *and and got seriousy psyc!ed wit! a

myt!oogica name and t!is compe0 E dominated by backwards cymbas and !ig!#pitc!eddrone. As R.. 7aing mig!t !ave said: 1f reason5s goneJHow do 1 ive onBJ*ecause 1



knowJ)!ic! way 1 must go.S $ote aso t!e guitar on t!e great spacey fade, t!anks to futurePoiceman Andy -ummers.

D;itesE Q -imon upree And T!e *ig -ound $ovember %&'<

;ites -ee ?or ies/

A Top %( F !it in ecember %&'<, D;itesE is pure e0otic kitsc!, a straig!tforward ove baad embeis!ed wit! t!e trappings of t!e time: gongs, woodbocks, wind sounds, fig!tmetap!ors, a C!inese rap and, dominating t!roug!out, t!e eotron. -imon upree And T!e*ig -ound affected to despise t!e atmosp!eric performance, and soon formed Gente Giant.-!ows !ow muc! rock groups know, it was by far t!e best t!ing t!ey did.

DI Am $he WalrsE Q T!e *eates $ovember %&'< .agi'al .ystery $or Parop!one/

1n ate 5'< DI Am $he WalrsE sounded ike not!ing on eart!, a biIarre effects andgobbedegook yrics. *eginning wit! t!e two notes of a poice siren, DI Am $he WalrsE isanot!er cassic *eates overproduction, featuring vioins, ceos and !orns, t!e %'#strongike -ammes -ingers Q w!o w!oop and mutter nig!tmaris! backing vocas Q and t!einfamous sweep across t!e edium )ave on t!e fade. A t!is ony serves to coak areversion into prima, psyc!ose0ua muck Q as 7ennon repeats t!roug!out: 15m crying.S

D%eoltionE Q Tomorrowecember %&'<$omorro" -ee ?or ies/ and .idsmmer ight reams ebutante/

Anot!er 7P compressed onto a E, D%eoltionE is t!e second singe from one of U'<5s big!ypes. Tomorrow featured future Pretty T!ing Do!n UTwink5 Ader, future es guitarist -teveHowe, and Feit! )est, w!ose soo !it, D+0'er*t /rom A $eenage #*eraE , staed t!e group.D%eoltionE is absurdy committed to t!e fower#c!id et!ic, paranoid and goriousyoverproduced. T!is being @ngand, !owever, revoution was more ameiorist t!an in t!e -.Tomorrow5s programmeBS A we want is peace to bow our minds.S

DItEs Alright .a@ ItEs #nly Wit'h'raftE Q ?airport Convention@ary %&'3

/air*ort onention Poydor/ and .idsmmer ight reams ebutante/

DItEs Alright .aE begins wit! a manifest: 7ooking t!roug! t!e window to see w!ic! way t!ewind bowsJ1t seems as t!oug! a !urricane is due todayJ-unny on t!e outside, stormy on t!einsideJ-tormy weat!er5s best for making !ay.S A 4aIIy s!uffe breaks into a boogie, t!en t!egroup e0pode ike t!ey5ve been et out of a cage, wit! soaring !armonies and acid guitarfrom Ric!ard T!ompson. T!e source of t!is freedomB T!e sound t!at !e found on t!e U?riscoway.

DPi'tres #f .at'hsti' .enE Q -tatus VuoDanuary %&'3

Pi'trese .at'hsti'a2le .essages /rom $he Stats Ko Caste Cassics/



riven by a monster moronic riff, p!ased and wa!#wa!ed to sice out of your transistor,DPi'tresE carries its obsessive nonsense wit! a certain good !umour: )!en 1 ook up to t!eskyJ1 see your eyes, a funny kind of yeow.S Top %( F in ?ebruary, it occasioned cassicT6 appearances wit! t!e Vuo in fu %&'3 regaia: paisey tunics, fris, centre !air partings,and t!e astonis!ed grins of five peope w!o coudn5t beieve t!eir uck.

D$he #thersideE Q T!e Appe@ary %&'3

An A**le A ay Repertoire/

Anot!er s!amanistic gem from two unikey sources: produced by future @ton Do!n guitaristCaeb Vuaye, reeased by FinksJTroggs manager 7arry Page. T!is mournfu message fromt!e underword is T!e Appe5s moment: 1f you see me and 15m coming from t!e ot!ersideJon5t be sad because 15 be going wit! t!e rising tideJT!e seeds are sown, t!e soi !as

bown my ove so far awayJTo a and w!ere spirits cimb !afway to t!e sky.S

D/aster $han LightE Q T!e irror ay %&'3$he %22le olle'tion Fol 1 *am Caruso/

-ome ate acid omnipotence from t!is *at! group, w!o appeared nude in t!eir pubicity p!otos. T!e fip of t!eir ony singe, D/aster $han LightE is t!e sort of record t!at mig!t !avegot wider e0posure if t!e pirate radio stations !ad sti been broadcasting: od pop wit! anacid s!een, bisected by a transistor#friendy, totay p!ased drum break t!at ived up to t!etite5s promise.

D%ain2o" haserE Q $irvanaay %&'3$raelling #n A lod 1sand/

Anot!er ceebration of t!e s!aman w!o traves on a coud, backed by a p!ased orc!estra t!atrips t!roug! t!e speakers ike a 4et fig!ter: any mies to goJHow many bridges do wecrossBJ)inter rain and snowJ+ver mountains !ig! and ow.S $irvana !ad a great streak ofeaborate pop psyc! Es in %&'<J5'3. D%ain2o" haserE was t!e t!ird and t!eir ony Top (!it. 1t epitomises t!e freedom t!at t!e -eatte group of t!e same name woud !af#mock, !af#ac!e for 2E years ater.

Dold $reyE Q *ig *oy Peeay %&'3

+le'tri' Sgar'2e lassi's A1P/

$o reation to t!e Pastic +no *and E, t!is is a tota one#of#a#kind. -et to a vicious, off#kiter -ta0 beat, peppered wit! eectronic w!irrings and aarms, Dold $reyE e0pands on t!e drug#e9uas#ove addiction t!eme wit! tota panac!e, before being broug!t to a cose by a fuIIe0posion t!at makes everyt!ing ese pretty redundant.

D.e .y /riendE Q ?amiyDune %&'3

.si' In A ollEs Hose -e ?or ies/



ore acid omnipotence from 7eicester5s finest and anot!er kitc!en#sink productiontrumpets, eotron, stereo panning, p!asing/, t!is time by Traffic5s ave ason. -omegreat vocas from Roger C!apman, some suitaby fried yrics Q e my friendJ1 !ave seenmany ands, me my friendJ 1 !ave been far and wideJ1 !ave saied many a tideJ1 !ave rodemany a rideS Q a add to a precious cassic. T!e first singe from one of t!e period5s most

enduring abums, .si' In A ollEs Hose.

DJg2and !lesE Q Pink ?oyd-eptember %&'3Sa'erfl #f Se'rets @1/

Possiby t!e beakest record ever made, as -yd *arrett wit!draws from t!e group t!at !ecreated and w!ic! was no onger !is: 1t5s awfuy considerate of you to t!ink of me !ereJAnd15m most obiged to you for making it cear t!at 15m not !ere.S T!e song sowy urc!es into a-avation Army band break and a fina, s!immering space e0poration, before *arrett returns,as if from anot!er song, intoning over an acoustic guitar !is 4udgement on t!e era w!ose stye

!e defined: And w!at e0acty is a dreamBJAnd w!at e0acty is a 4okeBS

D/ireE Q T!e CraIy )ord +f Art!ur *rown-eptember %&'3$he ra7y World #f Arthr !ro"n Poydor/

riven by 6incent Crane5s monster organ riff, D/ireE can now sound udicrous, if ony because it was t!e first to mine t!e fertie seam of @ngis! Got!ic. 1t wasn5t so at t!e time.T!e c!arismatic Art!ur *rown Q wit! faming !eadset Q woud s!riek and twist in a truyc!iing, demonic performance t!at burned t!e song5s curses into your brain: ?ire8 to destroya t!at you5ve done.S A !arbinger of riot and disturbance, and a massive !it $umber % F8

$umber 2 -/ in t!at season of t!e emocrats5 convention in C!icago.

E198=(A .erman I Shold $rn $o !e)5.oon@ $rn $he $ides,ently ,ently A"ayE QT!e Dimi Hendri0 @0perience+ctober %&'3

+le'tri' Ladyland CA/

At %.=3, Hendri05s fuest 4ourney into t!e underword. T!e story#ine is simpe: facingArmageddon, Hendri0 decides to return wit! !is girfriend to t!e sea, t!e source of a ife. *yt!e time we get to D.oon@ $rn $he $idesE , we5re in underwater currents. As Harry -!apiro

writes: At one point t!e tapes are sowed down and t!en speeded up again to represent as!oa of fis! swimming up to investigate t!ese strange beings t!at !ave 4oined t!eir word.T!eir curiosity satisfied, t!ey swim away.S i0ed in one compete take in an %3#!our session.

Diamond Hard !le A**les #f $he .oonE Q T!e $ice $ovember %&'3$he i'e olle'tion Caste Communications/

?ip T!e $ice5s kitsc! version of 7eonard *ernstein5s DAmeri'aE and you get t!is sou#infected popJpsyc! gem, w!ic! begins and ends wit! eectronic noises t!at Hendri0 woudn5t!ave been as!amed of. 1n between you get some deig!tfu, eotron#drenc!ed nonsense Q

about circes, !eroes, back cats and, yes, t!e diamond !ard bue appes of t!e moon Q t!at a



year before mig!t !ave been unremarkabe but t!at in mid#%&'3 sounded ike t!e penutimategasp of an endangered species.

DanEt /ind .y Way HomeE Q *ind ?ait!August %&'&

!lind /aith Poydor/ and .idsmmer ight reams ebutante/

*ind ?ait! were t!e first officia F supergroup, puing in @ric Capton and Ginger *akerfrom Cream, Ric Grec! from ?amiy and -teve )inwood from Traffic. *uried in t!e !ypewas t!is ament for a time past, sung by a )inwood adrift on stormy seas: 15m wasted and 1can5t find my way !ome.S T!is isn5t an e0ercise to fi out an abum, it5s a matter of ife anddeat!, an intensity w!ic! makes you reaise !ow muc! t!e atter few years !ad meant and!ow muc! !ad aready been ost.

Psychedelia #e*isited

Dde PhotoE Y R!yt!im 1s R!yt!im%&3' Transmat - import/

etroiter errick ay took tec!no, t!e city5s emergent eectronic disco, into t!e abstractterritory of t!e id wit! !is eary R!yt!m 1s R!yt!m reeases. Dde PhotoE predated acid!ouse5s overt psyc!edeia and sti astounds today. *ass notes sweep around a metronomic3(3 drum mac!ine pattern8 tinny grace notes and a aug!ing femae voice embeis! t!eapparenty random meody, and t!e w!oe arrangement is backit by in!uman, oddy fataisticstrings. )!ere t!e best of t!e origina psyc!edeia gave t!e istener a !oiday from sef!ood,Dde PhotoE ets t!e istener try on a w!oe new personaity too: t!at of a !orny mac!ine.

DA'id $ra0E Y P!uture%&3< Tra0 - import/6arious Artists abum: /l0 $ra0 @WP/

)!en t!e synt! manufacturer Roand buit a set of contros into its T*#=(= *assine mac!ine,t!e programmer coud now ater t!e sound of notes w!ie t!ey were being payed. *y %&3',artists ike P!uture5s D Pierre found t!at t!is =(= s9uec! coud roug!y simuate t!e sensorydistortion produced by taking @ctasy. DA'id $ra0E is prototypica of t!e sound: a simpemeody c!urning over and over on t!e =(=, unti repetition and t!e constant tweaking of t!esound carries isteners into a menta space outside time. And w!en t!e *ritis! cub audience

came t!roug! a U<(s reviva p!ase and began to disinter U'(s iconograp!y, acid !ouse was born Q a s!ift in *ritis! music cuture more profound and wide#ranging t!an any since t!eorigina -ummer of 7ove.

DFoodoo %ayE Y A Guy Caed Gerad6arious Artists abum: efinitie Hose .aster'ts Fol 1 astercutsJ*eec!wood/

+ne of t!e first *ritis! tec!no records, t!e nine#note signature meody, wordess femaevoices and crisp, spacey beats of DFoodoo %ayE seem !ardy psyc!edeic at a. T!is friskydance tune makes no attempt to derange t!e senses, and neit!er are t!ere any yrics save t!etite voca sampe, reputedy taken from a erek Cive sketc!. *ut DFoodoo %ayE is second#

generation psyc!edeia, for an era w!ose attitudes to perception were defined by @cstasyeup!oric, communa, a personaity reinforcer/ rat!er t!an acid introspective, random, t!e



dismanter of t!e sef/, and its word 4ust as transcendent as t!at of any psyc!edeic rockrecord. 1t !ad to be: Gerad -impson was working in a conad5s in anc!ester at t!e time.

DIn $he ame #f LoeE Y -wan 7ake%&33 )arock - import/

T!e psyc!edeia of t!e U'(s soug!t to prove t!at t!e ego and t!e rea word were iusions.Armed wit! t!e tec!noogy of samping and t!e ideoogy of postmodemism, t!e psyc!edeice0perimenters of t!e U3(s and U&(s wanted not to deny reaity but endessy to remake it.-wan 7ake was one of many aiases for !ouse producer Todd Terry, and DIn $he ame #f

LoeE Q t!oug! buit stricty for t!e dancefoor Q is a sampadeic tour de force. eo, T!eT!ompson Twins, an arsena of effects and nervy, circuar meodies combine into a recordt!at sounded ike t!e w!oe word of popuar cuture s!outing at once Q a vision as utopianto t!e U&(s as on @ngis! country garden was to t!e U'(s.

DPalEs !otieE Y T!e *eastie *oys

%&3& PalEs !otie Capito/

T!e east ikey psyc!edeic e0porers of a Q two years previousy t!ey5d toured t!e wordwit! D/ight /or <or %ight ($o Party)E and a giant !ydrauic penis Q t!e *easties5 secondabum was fas!ioned from so many sampes t!at copyrig!t awyers recoied in !orror. Asoaunc!ing t!e career of coaborators T!e ust *rot!ers, it did for t!e !ip !op samper5s artw!at Pet Sonds and Sgt Pe**er did for t!e rock abum. PalEs !otie turned $ew orkinto an urban Pepperand, a day#go payground for *#boys w!ere race dissoved and t!eimagination reigned. )it!out it, suc! tributaries of psyc!edeic dance as trip#!op andc!emica beats woud !ave been ut!inkabe.

DA Hge +er ,ro"ing Plsating !rain $hat %les /rom $he entre #f $he ltra"orldE YT!e +rb%&&($he #r2Es Adentres !eyond $he ltra"orld *ig 7ife/

Pink ?oyd and 7ee Perry obsessives T!e +rb s!are t!e !onours for making t!e first ambient!ouse music wit! T!e F7?5s pure trance series, but t!eir debut psyc!edeic epic DPlsating

!rainE was more t!an a ?oyd pastic!e. *ased around c!urc! bes, and a innie Ripertonsampe, it created t!e weig!tess but never structureess tempate t!at was ater to be traduced

into formuaic w!oe#noise s!tick. $ot ony did T!e +rb reinvent @ngis! w!imsy for a essinnocent generation, t!ey made if funny too.

D+nergy /lashE Y *etram%&&% R-/

Dimi Hendri0 understood t!at punis!ing repetition of a simpe tune coud be more psyc!oactive t!an any s!apeess freakout or rustic reverie. Tec!no rediscovered t!is fact wit!a vengeance Q w!o better at infinite repetition t!an a mac!ineB D+nergy /lashE is ess a tunet!an an insistent papitation in t!e bass register. @ffects and distortion arc across, but t!e ow#end trance impacaby draws us into t!e t!robbing of our own ribcage and tempes. Trance

creates a private menta space in a room fu of sweating peope, somet!ing w!ic! t!e



origina psyc!edeia Q rooted between t!e rea word and t!e c!aotic andscape of t!eunconscious Q rarey coud.

DAnaloge !22le2ath Fol 1G Y T!e Ap!e0 Twin%&&2 ig!ty ?orce/

)!ere so muc! of t!e mind#atering dance music of t!e U&(s reies on sensory overoad anddispacement of t!e ego t!roug! force ma4eure, Ap!e0 Twin Ric!ard Dames instead usedminima instrumentation, unpretentious sounds and surreptitious meody to find a crack in t!eistener5s psyc!e. 1nsofar as t!e songs are about anyt!ing, t!ey5re often about t!e instrumentst!at made t!em. Here t!ey create suc! an abstract itte word in t!is s!arp pause breaking t!e!ectic pace of dance music Q and t!e ife it mirrors Q t!at we begin to 9uestion bot! bydefaut.

Do"girlE Y nderword%&&

2no2ass"ithmyheadman Dunior *oys5 +wn/

T!e first psyc!edeic revoution was overw!emingy midde#cass and pastora Q t!at5s !owwe got prog rock. Acid !ouse and t!e new psyc!edeia, on t!e ot!er !and, are working#cassand urban, and !ave produced an inner#city psyc!edeia of disocated ove songs to dirt andrandomness. nderword are its masters, spewing out street imagery over reentess %(#minute tec!no tracks ike automatic writing. T!ey are reticent on t!e sub4ect of drugs butt!eir music is acknowedged to be probaby t!e most accurate depiction of t!e @cstasye0perience. Repetition reigns in Do"girlE , as it does in t!e A#dosed mind, in twocoiding p!rases capturing t!e sef#abstraction of @cstasy and trance cuture: An eraser ofoveM15m invisibe.S

D$he Priate Psy'hedeli' %eelE Y T!e C!emica *rot!ers%&&<

ig <or #"n Hole 6irgin/

Today5s dance music is not about escaping rock, but finding a roundabout route back torock5s psyc!edeic p!ase. T!e fina component Q a renewed reverence for t!e most powerfu

psyc!oactive of a, T!e *eates Q ironicay came courtesy of t!at most conventiona rock band, +asis. T!ey made T!e *eates coo again, but T!e C!emica *rot!ers dug out t!eirsubversive, revoutionary, psyc!edeic edge. D$he Priate Psy'hedeli' %eelE concudes a

ineage starting wit! T!e *eates5 D$omorro" eer ;no"sE , w!ic! obsessed Tom Rowandsand @d -imons8 t!e C!emicas5 own $umber % !it DSetting SnE a trife w!ic! usedD$omorro"E as a 4ump#off point for a song $oe Gaag!er coud sing/8 and t!e C!emica*rot!ers5 unreeased indeed, unreeasabe/ acid !ouse cut#up of D$omorro" eer ;no"sE itsef. D$he Priate Psy'hedeli' %eelE synt!esises a t!ree into a muti#sensory trip#!op#tec!no#!ip#!op#raga fugue, an eig!t#minute crescendo w!ere D$omorro" eer ;no"sE mantra of Turn off your mind, rea0 and foat downstreamS is vioenty remade for an eraw!ic! !as ost its fait! in nirvana. Ree passes t!e simpest test of psyc!edeia it makes youfee ike you5re on drugs w!en you5re not/ and opens up t!e canyon of your mind, and makesit more rea t!an reaity.

@0cerpted from I Want $o $ae <o Higher: $he Psy'hedeli' +ra 196>1969 by T!e RockAnd Ro Ha +f ?ame useum, pubis!ed by C!ronice *ooks.



DOZY TAKES A TRIP (AKA 'CAKE OUT IN THE RAIN')

Mojo, June 1997

Once the psychedelic bandwagon picked up speed, it also picked up some unlikely passengers. Rob

Chapman hops on board for a 90 minute ride down Dementia Lane

here is a splendid moment on the !9"# roggs track $urple %hades when Reg $resley sings the line

&bamboo butterflies, twice their normal si'e, flying around in my mind& with such disturbingly drawling

(est Country con)iction that you want to reach for the *ndo)er phone directory to call him up and

e+plain that, well Reginald, a butterfly twice its normal si'e still isnt )ery large, you know. -uru Reg

recently re)ealed on Channel what inspired his flight of fancy/ nothing more potent than Rich ea

biscuits and a nice cuppa...

*h, the synthetic side of psychedelia. t matters not a 1ot whether the artist in 2uestion had dropped a

tab or 1ust put on a paisley shirt for the day and pretended. 3or an all4too4brief period in the late "0s we

all got our tan from standing in the 5nglish rain, cakes went soggy, and we were reliably informed by

6im (ebb that we would ne)er ha)e the recipe again. %itars were wielded bra'enly. (ords like &saffron&

and &mind& were dropped without due care and attention into choruses which had pre)iously consistedentirely of &youre&, &my& and &bird&. $op stars who only months earlier had aspired to being chassed

through Carnaby %treet by a gaggle of screaming typists on their lunch breaks now came on in disc 7

8usic 5cho like rishnamurti togged up by Lord itcheners :alet. ;*lthough no matter how cool the

threads, one member of the group always had to look like <arry (om of he Rutles=

Other stylistic options/ a liberal sprinkling of $enny Lane trumpets> a kitchen sink approach to flange,

echo and, if a)ailable, stereo panning. 3or )ocalists the two simple syllables of the word &away& had to

be spread o)er se)eral bars> if combined with &blown&, the song could go on indefinitely. 8ercifully, it

didn?t. hanks largely to lab4cost wearing producers beamed in from $lanet %traight, clarity and

conciseness continued to be the watchwords, and most of these products of the i'er4aid acid test

came in at under three minutes. 5)en after the summer of !9"#, when lengthy @ey 6ude endings

became obligatory ;thus replacing the pre)ious years model, the &oh my minds completely blown&

rambling acoustic outro=, most groups undertook the return trip to $i+ie land in the time it takes to boil

an egg.

<ut these beat boom defectors all seemed to bottle out so soon. (ithin a year of disco)ering their inner

%couseness and writing songs about meter maids and circus posters, he <eatles were pounding away

at 3ats Domino riffs and getting back to basics. Ditto most of the acts featured here. <ut for those of us

who prefer 6elly 6ungle ;of orange marmalade4lade4lade= to -reen ambourine, and ce n the sun to

Down the Dustpipe ;or indeed who e)en care enough to make the distinction=, its time to stand up,

sprout fins and be counted> time to bounce up and down upon what Da)e Diamond knowingly dubbed

&the late+ trampoline of tomorrows promises& and claim back our scorched legacy. Oh, and the (alrus

was Reg.

SIDE 1

The Cedars - For Your Information ;A.B#= %ingle ;Decca= !9"#

Lebanesefi)e4piece create balalaika4dri)en psych4pop classic with rather fetching pidgin 5nglish

chorus/ &ts time settled down%topped roaming like a nomadts time looked around3or a girl who

would keep me glad& -roup perform said platter on O$s new releases spot. Record sinks without a

trace.

Paul and Barry yan - Pi!tures of Today ;A.A= %ingle ;8-8= !9"#

he story so far/ after a couple of bree'y beat ballad outings, 8rs Ryans lo)ely boys are transformed

into shining4brained psychsters. Cue play4in4a4day sitar intro and conspicuously cle)er wordplay ;&5)er

blowing, e)er glowingne)er showing signs of latent fear at all&=. *t one point they appear to sing



&someones reading from a book and turning into Luco'ade&. *ll deli)ered in butter4wouldnt4melt4but4

blotting4paper would harmonies.

"o!omoti#e - Mr $rma%eddon ;.B= %ingle ;$arlophone= !9"9 *lbum/ he -reat <ritish $sychedelic

rip :ol B ;%ee 3or 8iles=

& am e)erything you see and what is more am father of a thousand children8other of a thousand

million more&. <limey. ony <lackburns Radio One Record Of he (eek, but best en1oyed in full L$

)ersion with e+tended intro, this hea)y4on4the4swell4pedal piece of profundity was the work of Eorman

@aines, whose solo albums are now so rare you arent e)en allowed to point at them.

To&o '( Bill - Jam ;B.0= %ingle <4side ;Charisma= !9"9

he <4side of the legendary (ithi ai o, a cod ndian war chant originally done by *merican group

5)erything is 5)erything. opo D. <ill featured Legs Larry %mith and probably other contract4busting

chums of <on'o too. On the e)idence of this oddball <4side penned by om 5 Cross ;&(ere co)ered in

1amommy and me&=, a certain (ho drummer wasn?t far away either. Complete with sound effects and

bib4dribbling chorus of &they washed it away boo4hooF&

The )er#e - Ma%i! *&e!ta!les ;A."= %ingle ;$age One= !9"#

Larry $ages record label was a rich source of second di)ision paisley pop and this gem was produced

by Reg &sprinkle some fucking fairy dust on it& $resley. (ith the aforementioned spectacles you could

apparently see &magic e)erywhere&, although you half e+pect Ronnie <ond to put them on during the

outro and go &ere Reg, oi can 'ee your ouse in these&.

+alla!e Colle!tion - 'aydream ;.!0= %ingle ;$arolphone= !9"9

& fell asleep amidst the flowers3or a couple of hoursOn a boo4tee4fool day&. he ma1estic string intro

has been sampled by e)eryone from $harcyde to $ortishead. Gnfortunately daylight gradually

encroaches upon magic during the @ey 6ude ending as the singer shouts out what he presumably

thinks are con)incing rock n roll e+hortations to &get amidst the flowers. Heah&

Cliff $nd an - Thro. 'o.n $ "ine ;A.= %ingle ;Columbia= !9"9%trung out on cake and still smarting from losing the 5uro)ision %ong Contest to a %panish entry which

bore a distinct resemblance to Death Of * Clown, Cliff teams up with his old %hads spar for a )enture

into the unknown. *ccompanied by a trade secret guitar sound that?s nearer to <olans <eard Of %tars

than 3oot apper, Cliff sings of &hanging in a nowhere tree&. * hit, so they try to repeat the formula with

the eco4conscious 6oy Of Li)ing. * miss, so @ank goes back to selling (atchtower, and Cliff follows

Lennon down the re)olutionary trail with $ower o *ll Our 3riends.

*tudio *i/ - *tra.0erry +indo. ;A.#= %ingle ;$olydor= !9"I

%cottish beat merchants who sounded like they would rather be playing soul co)ers/ &Ok boys, were

going to try and entice the flower children with this one, so Ronnie, if you could 2uote from 8olly

8alone and he *ssociations (indy in your freaky intro, then well bring in the %trawberry 3ields

3ore)er coda before hitting remeloes tra4la4la territory at full tilt. Oh, and dont forget the )y League

harmonies. (e don?t want to alienate Radio OneF& (arning/ a strawberry window can only be looked

through while wearing &magic spectacles&

o%er arl 2in - I Can3t Fa!e The $nimals ;A.0= %ingle <4side ;$arlophone= !9"I

* true obscurity. 5)en the freak4beat faithful don?t know about it. hat?s because it owes its cult status to

the Eorthern %oul crowd, whose role in retrie)ing psych oddities has fre2uently been o)erlooked. 5arl

Okin now makes his li)ing as a Radio wo4friendly song4and41oke man, but back then he was hiding

genius like this on <sides. *nimals is what re)iewers at the time would ha)e referred to as &a brass4led

stomper&. <aton4wielding by Jack 8r <loe Lawrence.

Cilla Bla! - $0yssinian *e!ret ;A.!!= 5$/ ime 3or Cilla ;$arlophone= !9"# *lbum/ Li)erpool !9"B4"#

;%ee 3or 8iles=

Cilla wants to show you something that?s &2uite uni2ue& which she picked up on a &trip& to *byssinia.



;Hou can be sure she didn?t inhale. <etter hide it in the pantry with your cupcakes=. Our Cillas one and

only entry into kaftan4and4bells territory was penned by 4 well knock me down with an eight4foot chillum

4 Roger 5arl Okin. @e also wrote @elen %hapiro?s psych4soul classic %top *nd Houll <ecome *ware.

%tep forward, sir, your ! minutes await.

*ta#ely Mae&ie!e - I +anna "o#e You "ie $ Mad 'o% ;B.0= %ingle ;$yramid= !9"9

* phasing4drenched bit of 5nglish oompah whose flip, -reasy @aired (oman, was B0 seconds long.

*lan 3reeman regularly featured both sides in Gnit A of $ick Of he $ops. <ut whats thisK he tack

piano, the bouncing beat, the (oodward43letcher writing credit. Can it be the future Lieutenant $igeonK

3raid so.

The Fortunes - The Idol ;A.0= %ingle ;Gnited *rtists= !9"I

Lieber 7 %troller rated their -reenaway 7 Cook4penned Hou)e -ot Hour roubles as one of the best

5nglish pop records e)er, but by the %ummer of Lo)e he 3ortunes were floundering. his self4penned,

-lyn 6ohns4produced, raw4edged item was all about a pop icon with designs on sa)ing the world but

meanwhile he had all these groupies to ser)ice. Lots of pirate station foreplay. Jero chart penetration.

ar&ers Bi4arre - I "o#e You $li!e B( Tolas ;A.A0= %ingle ;(arner <ros= !9"9

& lo)e you *lice <. oklas and so does -ertrude %tein lo)e you *lice <. oklas wanna change your

name to mine.& (ell we)e all been there, ha)ent weK $eter %ellers starred in the film of the same

name, loosely based on the woman who indeed ga)e us the recipe that well ne)er ha)e again.

The ollies - Pe%asus ;A.B= *lbum/ <utterfly ;<eat -oes On= !9"#

&m $egasus the flying horse& tweets the lead singer. Eo you?re not. Houre *lan from %alford and youd

be happier supping a pint than dressed in a kaftan and embracing all this mythological malarkey. (ithin

a year you will be so annoyed with your mate -raham for making you sing this twee nonsense that you

will banish him to the (est Coast of *merica where he will be forced to make records with Da)id

Crosby. @ell be back with his tail between his legs before you can say 6ennifer 5ccles. Houll see.

The 5arden Clu0 - "ittle 5irl "ost $nd Found ;B.00= %ingle ;*78= !9"ICo)ered in the G by the less con)incing $eter *nd he (ol)es, this swirling fairground organ opus in

B is, in its own sweet way, as beautiful a song about the loss of innocence as <rian (ilsons Caroline

Eo. &hey are all searching for clues for the whereabouts of the girl with the polka4dot eyes& chirps the

singer. (erent we allK

SIDE 2

'a#e 'ee, 'o4y, Beay, Mi! $nd Ti!h - The *un 5oes 'o.n ;A.= %ingle <4side ;3ontana= !9"I

Cue -regorian4lite chant and an ultra4brittle wah4wah guitar solo for a lost epic tucked away on the <4

side of Jabadak. Eot so surprising4Da)e Dee could always enunciate his Os in the f luting %yd style. he

final )erse commences with Dee screeching, apropos of nothing. &he mentals& $robably a (iltshire

thing.

'BM6T - Mr President ;B.0= %ingle ;3ontanta= !9I0

&(hen grow up to be a man wont lie for you wont die for youF& D<87 from their post4Da)e Dee

going hea)y period. ;* doctor writes/ &-oing hea)y was a condition which afflicted many otherwise

sane beat groups in the late !9"0s. n e+treme cases it resulted in a shortening of the groups name 4

eg Lo)e *ffair became L* and an immediate withering away of the hit gland. he remeloes are

thought to ha)e been the source of the )irus&= Eaturally 8r $resident failed to dent the charts but it does

contain the best wooh4weeeeow synth solo this side of 5L$s Lucky48an.

Manfred Mann - *i 3Full 2f Fitness3 Theme ;B.0= %ingle ;%ki= !9I!

Like many others of a purist persuasion ;he Hardbirds, %imon Dupree, 6ethro oe, etc= the 8anfreds

were not content with 1ust making great pop singles> they couldn?t wait to inflict their technicalproficiency upon us. *sk yourself this/ would you rather listen to 3or your Lo)e or RenaissanceK ites



or -entle -iantK Lifes * Long %ong or $assion $layK 8anfred 8anns 5arth <and or a chirpy yoghurt

commercial. Lets ask the girls first, shall weK

'a#e 'iamond $nd i%her le#ation - 'iamond Mine ;A.!0= %ingle ;Chicory= !9"I

Da)e Diamond was a D6 on 3RC Los *ngeles who specialised in alliterati)e gobbledegook 4 a cosmic

%lim -aillard, if you will. On this number he uses up a lifetimes 2uota of psychedelic wordplay in 1ust

o)er two minutes. <ut heres the twist/ at a time when the authorities were looking for drug references in

e)ery innocuous sentiment, Da)e sneaks through a song of e+plicit carnality dressed in druggy imagery.

&he fur lined )olcano&K &he peach fu'' forest&K &he gentle radiation of the one4eyed cufflink&K

mean, cmon.

)a&oleon I8 - I3m )ormal ;A.!"= *lbum/ heyre Coming o ake 8e *way @a @a ;(arner <ros=

!9""

& painted e)erything in my house purple8y fingernails8y potato peeler%*H *(*H 3RO8 8H

3RO-%& Gsing the same backing track as heyre Coming o ake 8e *way @a @a ;a 'eitgeist record

if e)er there was one=, Eapoleon once again e+ploits the misfortunes of the unstable. *pparently they

did come and take him away as well.

Matt Munro - +e3re 5onna Chan%e The +orld ;B.B= %ingle ;Capital= !9I0

* rousing affair in which the former Luton bus conductor with the %inatra tonsils adopts a social

conscience, urges us all to &throw away our ostrich notions& and 1oin those nice flower children on the

long march towards peace and free duffle coats on the Eational @ealth. $ossibly the only protest song

to contain the line &stopped and had a hermos brew&.

8in!e ill - +hen The +orld Is eady ;B.!!= %ingle ;Columbia= !9"I

*n 5+odus4style opening. he clouds part to re)eal the likeness of :ince in con)incing *fro wig and

lo)e beads. &(hen the world is ready*ll wars will cease&, he decrees. * session sitarist wails

plainti)ely. Come to think of it, has anyone tried smoking 5delweissK

5rim0le +ed%e $nd The 8e%etations $a Peter Coo - Beda44led ;A.AB= *lbum/ <eda''ledsoundtrack ;Decca= !9"#> and Circus Days/ $op4%ike Obscurities :ol ! !9""4I0 ;%trange hings= !9##

3rom %tanley Donens irre)erent take on the %e)en Deadly %ins in which Cook ;&Does the name $rince

of Darkness mean anything to youK&= plays the de)il and ruins Duds dreams ;many in)ol)ing 5leanor

<ron=. *lthough concei)ed as a pastiche, some of the go4go dancing is the best e)er seen in a "0s film.

&Hou dri)e me wild& coo the girls. &Hou fill me with inertia& drawls Cook, with drop4dead ennui. (ell not

see his like again.

Friends - Mytholo%i!al *unday ;.!"= %ingle ;Deram= !9"# *lbum/ he 3lowerpot 8en Lets -o o

%an 3rancisco ;<eat -oes OE= !9##

*ka Carter4Lewis and hea)y friends. *ka he )y League. *ka he 3lowerpot 8en. Ee)er let it be

forgotten that these guys wrote the Euggets classic 8y (orld 3ell Down. 8ythological %unday is the full

kitchen sink 1ob. 5)ery psych clichM in the book is dusted down and gi)en a fresh coat of day4glo.

<assist Eeil Landon subse2uently 1oined 3at 8attress. %inger ony <urrows 1oined 5dison Lighthouse.

t?s a thin line, all right.

'i! *ha. - "o#e Po.er ;A.= *lbum/ he $roducers soundtrack ;RC*= !9"I

he best moment in 8el <rooks he $roducers occurs when they audition the 3uhrers. Onto the stage

steps our Dick aka Loren'o %ay Dubois ;gedditK= as the befuddled off4<roadway hippy. <acked by a

swinging chick trio he commences a gentle ode to the 1oys of flowers before rising to a 8anson4es2ue

crescendo of thwarted ambition and crushed petals. &@*% OGR @L5R&

The Four *easons - 5enuine Imitation "ife ;".!= *lbum/ he -enuine mitation Life -a'ette ;$hilips=

!9"9

Re)iled at the time as an ingratiating attempt to get a little underground action, the %easons 3our

indicate that you can still pull it off if you had a lead singer as good as 3rankie :alli and producers as



sharp as -audio and Crewe. -enuine mitation Life is a bittersweet an obser)ation on hippy foibles as

6oe %ouths -ames $eople $lay. Contains obligatory @ey 6ude ending.

The Beatles - +hat3s The )e. Mary Jane ;".0I= *lbum/ *nthology A ;*pple= !99"

&%he like to be married with yeti@e groo)in such cookie spaghetti%he 1umping as 8e+ican beano

make her body more thin& magine a parallel past in which this had been seriously offered up as the

new <eatles single. <y now we would all ha)e e)ol)ed into other dimensional cube beings with suction

pads instead of senses. Lennons lysergic )isions could be as out there as anything %yd <arrett

con1ured up. Eo one, think, was in his tree.

i!hard arris - Pa&er Chase ;A.!B= %ingle <4side ;RC* Dunhill= !9"#

$ressed neatly underneath the epic 8ac*rthur $ark was this baro2ue little gem from the inky 2uill of

6im (ebb. &*ccompany me on your trusty harpsichord, 6ames& spoke Richard. &3or am going to apply

my finest thespian brogue to your delightful ditty of unre2uited lust. *nd this time will endea)or to hit

some of the right notes.

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