The Birth of Progressive Rock Music: 1968

January 6, 1968 - ULTIMATE SPINACH Ultimate Spinach 

A Boston-based band's answer to the West Coast psychedelic scene. Band leader Ian Bruce-Douglas really had some courage in order to be able to express his philosophical as well as musical ideas here.

Line-up / Musicians:
-Ian Bruce-Douglas / Keyboards, Guitars, Harmonica, Theremin, Wood Flutes, Sitar, Vocals, Vibraphone, 12-String Bass Guitar
-Barbara Hudson / Vocals, Guitar
-Keith Lahteninen / Drums, Percussion, Vocals
-Ted Myers / Guitar, Vocals
-Richard Nese / Bass
-Geoffrey Winthrop / Guitar, Sitar, Vocals

1. "Ego Trip" (3:14) Ian Bruce-Douglas' hip hippie philosophy expressed openly in this rather simple four-chord organ-based Doors/San Francisco psychedelia song. (8.875/10)

2. "Sacrifice of the Moon [In Four Parts]" (3:46) a four-part instrumental suite opens using hypnotic bass and organ arpeggi rolling over and over, creating quite an alluring sound and feel. The second part, then, moves into Baroque folk territory with lead recorder played over gentle electric guitar arpeggiated chords. The third part is more old-time folk lullaby-like with lower register of the wooden flute used within the guitar and bass lines. The final part is more West Coast psych-pop with its organ solo over hypnotic bass, drums, and rhythm guitar chord strumming. (8.875/10)

3. "Plastic Raincoating/Hung Up Minds" (2:56) spinet-sounding piano gives this Ian Bruce-Douglas tune a Old West saloon feel--as do the saloon-like background voices and noises. Interesting if more for the relaxed, almost cocky confidence expressed in Ian's vocal performance. (8.6667/10)

4. "(Ballad of) The Hip Death Goddess" (8:14) infectious three-chord psychedelic song over which Barbara Hudson provides some eerie and almost-incongruous frail/fragile "little girl" soprano vocals. Lots of effects used on the multiple guitars. The incessant six-note bass line is quite hypnotic--which gives the extended psychedelic guitar solos and drums their opportunity to dig deep into the listener's psyche. Some of the song's editing is flawed but otherwise this is a very memorable song. (13.75/15)

5. "Your Head Is Reeling" (3:40) more Doors-like experimentation with the expression of Ian Bruce-Douglas' countercultural observations, opinions, and ideas. (8.875/10)

6. "Dove In Hawk's Clothing" (3:54) an almost-standard blues rock vehicle for more of Ian's anti-war venting. The instrumentation is so perfect a representation of the era's musical palettes and ideas. (8.66667/10)

7. "Baroque #1" (4:48) more instrumental West Coast psychedelic blues rock with Doors-like organ play at the bass as Ian Bruce-Douglas works his way through a variety of temporary instruments including harpsichord, effected vocalese, vibraphone, harmonica, and electric guitar. (8.875/10)

8. "Funny Freak Parade" (2:35) more psychedelic sounds and engineering of a pretty standard folk-blues -rock pop song with a very theatric vocal and background. Ian Bruce-Douglas has quite a sense of humor. (8.66667/10)

9. "Pamela" (3:09) opens as if a theatre song to a B-level "horror" film or off-Broadway stage musical farce (pre-Rocky Horror Picture Show). Interesting and amusing but also bewildering. (8.75/10)

Total time: 35:17

Though the music here is rather simple, the ideas being expressed, psychedelic sounds, and vocal performances make this a quite interesting and respectable album. Barbara Hudson is given a lot of attention for her Ultimate Spinach vocal performances when in fact her contributions are quite minimal other than to the one long song, "(Ballad of) the Hip-Death Goddess." The music and ideas expressed here are, in fact, almost entirely the emanations of one individual's creativity.  

88.42 on the Fishscales = B/four stars; a very interesting and engaging view and reckoning of a country's counter-cultural, human potential, hippie, and psychedelic perspectives.  

January 15, 1968 - MILES DAVIS Nefertiti

To be sure, this has to be one of the most talented lineups ever in jazz history--and despite Miles' collaborators being in their young 20s and, thus, most definitely showing signs of some immaturity, the greatest innovations occurring here are with Tony Williams' drumming.

Line-up / Musicians:
- Miles Davis / trumpet
- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano
- Ron Carter / double bass
- Tony Williams / drums

1. "Nefertiti" (7:52) a rather dull and slightly melodic lead song with Miles and Wayne up front has some rather adventurous performances from Herbie Hancock and, especially, the dynamic Tony Williams. (13.25/15)

2. "Fall" (6:39) another pleasant, melodic song in which the musicians are operating more nearly on the same wavelength--until fourth minute, that is, when Tony begins to go off into his own world, rhythmically, beneath Herbie's piano solo, but then he backs off and gets very quiet during Wayne's following solo and what follows. Interesting! (8.875/10)

3. "Hand Jive" (8:54) a much more dynamic song construct with Ron Carter walking all over his upright double bass while Tony Williams flies around his cymbals and toms. There is an odd, subtle shift in tempo in the third minute that I do not think is intentional but obviously not considered significant enough to correct or redo--and Ron Carter is not always "in the pocket" (at least not according to these amateur ears), but the song certainly displays the skills of all of the band members, with a considerable amount of time given to Wayne Shorter's solo in the middle. When Herbie is next given his turn, he seems a bit lost at first, but, after he gets warmed up, he starts to move better. Maybe everybody's just a little overwhelmed or intimidated by Tony's creativity (and Ron's hot-and-cold conformity to the "pocket"). (17.5/20)

4. "Madness "(7:31) more of the same as the previous song with Ron's fast walking and Tony's cymbal play providing the bulk of support beneath one of Miles' more dynamic and passionate solos on the album. The trio seem quite entrained. Then Wayne is given the nod to take over from Miles. He's not quite as dynamic but very impressive for his softer, breathy notes. When it comes time for Herbie's turn, everybody nearly cuts out, with only Ron and Tony remaining beneath part time, not flying around the fretboard and cymbal like they were. But then they return to their earlier form as Herbie heats up, though not quite as synched as they were with Miles--which may have something to do with Herbie's less smooth, less-melodic approach. And then they all come back together ever-so briefly before bringing the song to a quick close. (13.375/15)

5. "Riot" (3:04) Same cymbal play from Tony while Ron machine guns around the upper registers of his bass and Herbie plays a lot of chords beneath Wayne's initial lead. Then Miles is there, too. It's nice to hear the whole band working together (and Tony does get a little more active as the song develops). (8.875/10)

6. "Pinocchio" (5:08) a song that feels more like standard or old Miles bebop or hard bop. Opening with the whole rhythm section behind Wayne and Miles, Ron and Tony become more active as the song develops, something that is more noticeable during Wayne's solo (as Miles and Herbie check out). Tony really picks it up here, even when Miles and Wayne return to recapitulate the main melody. Then Herbie gets his solo. It's good, probably the best on the album, but then its over and the band pulls together to close. Very tight, "standard" jazz tune. (8.875/10)

Total Time 39:08

I think this album is most significant for confirming how much of a force drummer Tony Williams is (and is going to be). As impressive as Tony is (and Miles and Wayne, as well), I think Herbie Hancock and Ron Carter are showing how much growth they have yet to achieve--especially to be able to achieve the moment they are called upon.

88.4375 on the Fishscales = B/four stars; an excellent album for prog rockers to gain insight into the genius of some of Jazz-Rock Fusion founders and all-stars--especially the phenom that was drummer Tony Williams.   

January 16, 1968 - BLUE CHEER Vincebus Eruptum

The debut album by an acid blues rock power trio that is often credited with leading the loud, aggressive musical expression style that would become known as "heavy metal."

Lineup / Musicians:
- Dickie Peterson / Vocals, Bass

- Leigh Stephens / Guitars

- Paul Whaley / Drums

1. "Summertime Blues" (3:43) a heavy version of Eddie Cochran's famous hit that is obviously the inspiration for Alice Bowie (Cheech & Chong)'s "Earache My Eye" from their Wedding Album from 1974. Solid and tight (if evocative of smiles). (9/10) 

2. "Rock Me Baby" (4:18) a heavier, raunchier version of B.B. King's blues standard. Great lead guitar work from Leigh Stephens in the third minute, raw vocals from Dickie Peterson in the final verse and chorus and animated drumming towards the end, otherwise it's just a cover of another blues song. (8.875/10)

3. "Doctor Please" (8:50) feels like a cross between a heavier version of "I'm a Man" and a male version of a vigorous Janis Joplin vocal performance. More loud and aggressive play from all three instrumentalists in the instrumental passage of the third and fourth minutes, including some impressive hard rock drumming and guitar power chord play. Dickie Peterson's emotional state of consternation and indecision with regards to experimental drug usage is well-expressed. A shining example of hard rockin' psychedelia at its finest and purest. (18.75/20)

4. "Out Of Focus" (3:52) another Dickie Peterson original that obviously draws inspiration from the music being put out by The Jimi Hendrix Experience (it sounds a lot like "Manic Depression"). Another powerful heavy metal classic that sets the bar high for future power trios. (9/10)

5. "Parchment Farm" (5:48) Back to more of the psychedelic sounds from Leigh Stephens while Dickie sings an aggressive version of this Mose Allison blues standard. Great innovative stop, slowdown and restart at the two-minute mark that previews Iron Butterfly's classic "In-a-gadda-da-vida" hit. (Perhaps this is the song Doug Ingle and the band were jamming to when they recorded the original version during an all-night drunken stupor.) The three motif "suite" construction of this song is also pretty clever. (9/10)

6. "Second Time Around" (6:18) a Peterson original that sounds a lot like a British hard rocker--something that might have inspired or influenced the Rolling Stones. Great use of multiple tracks for Leigh Stephens lead guitar tracks--which might have served as inspiration for all the metal bands that chose to sport dual lead guitarists (Allman Brothers, Thin Lizzy, Lynyrd Skynyrd, etc.). Nice, creative drum solo in the third minute leading into the quiet bass-led passage for the wild drum and lead guitar resurgence. I can see how and why the Hell's Angels latched onto this album in an anthemic fashion. (9.5/10)

Total time: 32:49

91.61 on the Fishscales = A-/five stars; a minor masterpiece of heavy metal that certainly set the bar to new heights for future rock and even prog and jazz-rock bands (drummer Paul Whaley may have been on Tony Williams' radar). 

Jan. 22, 1968 - SPIRIT Spirit

Before forming Spirit, journeyman jazz drummer Ed Cassidy had worked with Cannonball Adderly, Gerry Mulligan, Roland Kirk, Thelonious Monk, and Lee Konitz as well as served as a founding member of the blues rock band Rising Sun with Taj Mahal and Ry Cooder. (Ed was born in 1928 and was thus 20 years older than the other members of what would become Spirit.) Ed met 14-year old guitar prodigy, Randy Wolfe in San Francisco in 1965 and then went on to marry Randy's mom, Bernice Pearle, whose uncle owned an SF folk music club called the Ash Grove. 

     A series of gigs Ed had lined up in New York City led the family to move across country for the summer of 1966. While Ed sat in on many gigs at the NYC jazz clubs, Randy happened to meet Jimmy Hendrix at a music store. After talking music theory and guitar technique, Jimmy asked Randy to join him in his band, Jimmy James And The Blue Flames. Hendrix dubbed Randy "Randy California" to distinquish him from another guitarist in the band--also named Randy--whom he had dubbed "Randy Texas."

     At the end of the summer, Chaz Chandler tried to convince Randy to go to London with he and Jimmy, but Randy had to decline due to his 15-year age. In 1967, Ed and Randy returned to California where they met Mark Andes and Jay Ferguson of the band The Red Roosters. They clicked and formed Spirit Rebellious, which became Spirit for their first album. The new band was discovered by music and film promoter (and legend) Lou Adler of Ode Records (Ode Sounds and Visuals) which Lou had founded the year before by Lou Adler.  

     

Line-up / Musicians:
- Jay Ferguson / lead vocals, percussion
- Randy California / guitars, backing vocals
- John Locke / keyboards
- Mark Andes / bass, backing vocals
- Ed Cassidy / drums, percussion
With:
- Marty Paich / string & horns arranger

1. "Fresh Garbage" (3:11) I think that this song choice for the opening of the band's debut album must have been intended to let the world know that this new band did not take themselves or their careers as pop musicians too seriously--that they were thoughtful, serious musicians who might have a little Zappa-like message of wit and social commentary to pass on to the public. Jay Ferguson's reverbed voice almost feels British for its effect and styling, but the music beneath is quite sophisticated and shifty, even moving into a jazzy vamp in an instrumental second minute for John Locke's electric piano solo. The Latin flavored percussion accompanying the blues-rock rhythm section coupled with Jay's treated voice is interesting and fairly fresh sounding. (8.875/10)

2. "Uncle Jack" (2:43) using a chord progression that sounds like some of Jay's later solo work, the harmonized group vocal presentation of the lyrics is more akin to The Byrds or The Association. At least two tracks are dedicated to Randy's searing fuzzy electric guitar soloing--an effect that is fairly constant, at times in front, often pushed more into the background while the singing is going on. Definitely a heavier blues-rocker--and probably a song that could be quite easily extended for soloing in the live concert setting. The song is also notable to me for the clear and clean distinctiveness of each and every one of the instruments throughout; excellent production. (8.75/10)

3. "Mechanical World" (5:14) a sophisticated song in which each and every one of the musicians' roles is clearly defined and integrally important to the mix and magic. Here Jay's reverbed lead vocal is virtually solo. (8.75/10)

4. "Taurus" (2:37) cinematic strings open this, soon taking on a sinister jazz flavor as horns and lower register strings join in. The appearance of acoustic guitar playing arpeggios that are quite remarkably reminiscent of the sound and chord progression that would become the most famous song of all-time, "Stairway to Heaven," confirms the reason for the legal dispute with Jimmy Page over compostitional credit to Led Zeppelin's song. On, this album, in this version, it is a truly remarkable feat of beauty and "simple sophistication" (and great production). (5/5)

5. "Girl in Your Eye" (3:15) nice with piano, acoustic guitars, sitar, banjo, and pleasant, melodic, full-group harmonized vocals. There is a nice fuzz guitar solo in the instrumental "C" passage. (8.875/10)

6. "Straight Arrow" (2:51) what opens as more of a Byrds/Buffalo Springfield-like song we are later introduced to what would become Randy Bachman's until-now unique signature guitar sound, captivating the listener's attention while Jay sings within a Americana sound. (8.75/10)

7. "Topanga Windows" (3:36) A laid-back, almost-Country & Western sound is presented with this "hip" song though it creeps into a bluesy, even, at times, jazzy form during the instrumental "C" part. (8.75/10)

8. "Gramophone Man" (3:49) an unusual song that seems driven by jazz-drummer Ed Cassidy, this one starts out slow and bland with milk toast vocals but then, at the 1:10 mark, just as the vocals have stopped, takes a slowly speeding up shift into a pure jazz vamp. Drums, bass, keys, and especially guitar shift into a strikingly electric jazz sound: Randy's guitar play closer to Wes Montgomery than the Stephen Stills sound he finishes with as the music returns to the original motif. (8.875/10)

9. "Water Woman" (2:11) sounds like a nursery rhyme that's been set to music: group vocals carrying the ditty while Ed's jazz drums and Randy's dextrous guitar picking rhythmically carry the melodies with and beneath the vocalists. Very cool and surprisingly sophisticated (for a debut album from a relatively newly formed band) song. (5/5)

10. "Great Canyon Fire in General" (2:46) using a bit of a bluesy-rockabilly foundation, the choral vocals present the melodies and lyrics with a lot of Hendrix-like bluesy electric guitar playing beneath and between the vocal phrases. (8.875/10)

11. "Elijah" (10:49) or "Elijah's Kitchen Sink" because it feels as if the band is here throwing a bunch of leftover ideas together into some kind of semi-chaotic Doors-Van Morrison pseudo-"free jazz" "suite." Very interesting and, I'm sure, very liberating for the jazzier band members like Ed Cassidy and keyboard player John Locke, but also for the more-rock-oriented guitar and bass players.(It's not hard to remember here that guitarist Randy Wolfe "California" is only 16-years old.) I do like Mark Andes' bass solo in the seventh minute quite a bit; not so much Ed's drum solo that follows. (17.375/20)

Total Time 29:35

A debut album filled with very high. quality music, musicianship, with quite sophisticated, mature, and creative compositions and great engineering and production. And here's Randy California introducing an electric sound that will be borrowed heavily by many future rock and prog guitarists (including Robert Fripp, Stephen Stills, and Randy Bachman). Jay Ferguson's slightly-reverbed vocals are fairly standard for the time, recorded a little oddly within the musical mix instead of in the front (which was, again, fairly commong at the time--especially among Lou Adler's other bands like The Mamas and The Papas and The Grass Roots); the lyrics are also rather typical in their naïve, pseudo "hip" American swag.   

88.98 on the Fishscales = B+/4.5 stars; an album that I like more than my ratings would seem to indicate: I really appreciate the tremendous talent and highly-ambitious commitment to sophistication that exudes from the music throughout this album. Plus, I do love Lou Adler's production.

March 4, 1968 - THE MOTHERS OF INVENTION We're Only in It for the Money

More anti-hippie/counter culture sarcasm and humorous social commentary using the musique concrète forms he's used on his three previous albums, Freak Out!, Absolutely Free, and Lumpy Gravy. Like those previous albums, this one proves quite challenging to render ratings to individual songs due to the predominant presence of odd and unusual tongue-in-cheek social commentary, theatric delivery of sarcasm, and quick stop and start, constantly shifting musical styles and forms. Like Lumpy Gravy, this is really meant to be experienced as a one (or two) act stage musical: all at once; the individual songs should rarely be examined outside of the context of the whole. One could argue, in fact, that this album (and many of Frank's albums) is not even progressive rock but purely Rock-In-Opposition because of the constant use of parody and sarcastic imitation of others' very recognizable styles and sounds. I mean: a look at the song titles alone ought to prepare the listener for the social criticism that they're in store for.

Line-up / Musicians:
- Frank Zappa / lead vocals, guitar, piano, arranger & producer
- Ian Underwood / woodwind, piano
- Roy Estrada / bass, vocals
- Billy Mundi / drums, vocals
- Euclid James 'Motorhead' Sherwood / soprano & baritone saxophones
- Bunk Gardner / woodwind
- Jimmy Carl Black / drums, trumpet, vocals
With:
- Sidney Sharp / orchestral conductor (8,17,18)
- Eric Clapton / voice

1. "Are You Hung Up?" (1:24)
2. "Who Needs the Peace Corps?" (2:34)
3. "Concentration Moon" (2:22)
4. "Mom & Dad" (2:16)
5. "Bow Tie Daddy" (0:33)
6. "Harry, You're a Beast" (1:21)
7. "What's the Ugliest Part of Your Body?" (1:03)
8. "Absolutley Free" (3:24)
9. "Flower Punk" (3:03)
10. "Hot Poop" (0:23)
11. "Nasal Retentive Calliope Music" (2:02)
12. "Let's Make the Water Turn Black" (2:01)
13. "The Idiot Bastard Son" (3:18)
14. "Lonely Little Girl" (1:09)
15. "Take Your Clothes Off When You Dance" (1:32)
16. "What's the Ugliest Part of Your Body? (reprise)" (1:02)
17. "Mother People" (2:26)
18. "The Chrome Plated Megaphone of Destiny" (6:25)

Total Time 38:18

Frank (and Company)'s musical genius, social commentary, and creative wit are here all at their peak and are undeniably sharp and insightful (and humorous). The man's legendary status is not only well deserved but perhaps even grossly under-appreciated. As an American who lived through the famous excesses and indulgences of the Sixties, it is exceedingly entertaining and even a bit uncomfortable and embarrassing to listen to Frank's shrewd and unapologetic commentary of the flaws and hypocrisies of the times.

As a reflection of the awkwardness of a certain period of American history I'd call this album invaluable. As I pointed out before, I think Frank's early works provided the jumping off ground for many social satirists including George Carlin, Lenny Bruce, and, especially, Cheech and Chong. As a landmark of musical innovation and expression, I would not give the songs from this album much credit other than to acknowledge Frank's mastery of many, many, many particularly American musical styles that had gone before him. Therefore, I do not consider this essential music but instead a masterpiece of what is possible within the realms of recording and publication.

March 6, 1968 - THE UNITED STATES OF AMERICA The United States of America 

This is a review of the original March 6, 1968 Columbia Records release only.

Formed on the West Coast by East Coasters Joe Byrd and former girl-friend Dorothy Moskowitz, the collective created some highly visionary and innovative sound and music with their one album before lack of record label support forced the band to disintegrate. Leader and principle songwriter Byrd even had the creative wherewithall to commission the custom construction of several electronic instruments including a ring modulator from Tom Oberheim (Yes: that Oberheim) as well as electronic oscillators in a monophonic synthesizer  and by NASA aerospace engineer Richard Durrett. In fact, all of the band's instrumentalists performed highly creative and innovative sound adjustments to their instruments' sounds including octave dividers (to David Marron's violins), ring modulator to Dorothy Moskowitz's voice microphones, and contact microphones and hanging appendages  (like Slinkys) to Craig Woodson's cymbals and drums.  

Line-up / Musicians:
- Dorothy Moskowitz / lead vocals (1-4,7,8)
- Joseph Byrd / piano, electric harpsichord, organ, Calliope, electronics, lead vocals (5,10), arranger
- Gordon Marron / electric violin, ring modulator, lead vocals (6,9)
- Rand Forbes / bass
- Craig Woodson / electric drums, percussion
With:
- Ed Bogas / organ, piano, Calliope

1. "The American Metaphysical Circus" (4:56) a bAroque and then circus instrumental palette with the likes of recorders, calliope, parade drums, and more turns serious in the second minute with Dorothy Moskowitz' deranged-child-like vocals over "distant" rock instrumental support. Odd, heavily-distorted circus-like keyboard (or violin) joins in the third minute and haunts the rest of the song beneath Dorothy's steady if eerie vocal--a vocal that becomes increasingly eerie as it is channelled through some kind of distortion modulator before the circus band seems to disintegrate into cacophonous (drunken) disarray. Wow! (10/10)

   
2. "Hard Coming Love" (4:41) a hard-driving heavy 60s beach song (constructed almost like The Doors' "Light My Fire") whose instruments are all quite heavily-distorted--more than The Doors or Blue Cheer or The Yardbirds. Dorothy enters in the second half of the second minute as distorted violin continues to screech over bass and drums and squealing organ also persists as a disrupter. What a singer this woman is! The attitude she wishes to convey comes across so powerfully! Another psychedelic song that is years and miles ahead of nearly all of its contemporaries! (9.5/10)

3. "Cloud Song" (3:18) Dorothy singing angelically as if on a cloud while watching all of the oddities floating by among the dreamy, floaty psychedelic music. More absolutely creative genius! Beyond anything Jefferson Airplane ever dreamed up or executed. (9.125/10)

4. "The Garden Of Earthly Delights" (2:39) again, the sound effects and engineering here are so far ahead of their time--like 1980s techno sounds and samples--but then the psychedelic post-Beat music supports Dorothy's Grace Slick-like powerful vocal performance. Very much a song extolling the virtues of the psychedelic experience of 1960s drug experimentation. (9/10)

5. "I Won't Leave My Wooden Wife For You, Sugar" (3:51) an early dirty-funky Americana song with lead vocals performed by keyboard player Joseph Byrd. So many weird (circus-like) instruments and sounds used prominently throughout this song--even for solos and main components of the dominant weaves. Extraordinary creativity! At 2:40 the band once again steps into the roll of city park bandstand parade band for an extended period of WWII-like theme music. Not my favorite kind of song, but it is gutsy and masterful. (8.875/10)

6. "Where Is Yesterday" (3:08) opening with a Gregorian chant approach--even using Latin for the chorus' lyrics. Again, the talent, courage, creativity, and genius exuded from this music is nothing short of astounding! Droning violin in the background screeches behind the sophisticated group-choral music taken up in the second verse of the song and carried through to the finish as the music continues to feel/sound choral/liturgical before rock bass and drums join in at 2:30. Amazing! (9.25/10)

7. "Coming Down" (2:37) organ and harpsichord weave opens this before stun- and unaffected bass (alternating) and Dorothy Moskowitz join in. All kinds of weird instrumental sounds parade wildly around within and behind Dorothy's attempted light-hearted vocal giving the song a decidedly schozophrenic (and hallucinagenic) feel. (8.75/10) 

8. "Love Song For The Dead Ché" (3:25) contrary to the tongue-in-cheek and even-satirical tone of many of the other songs on this album, this one feels almost reverential--until Dorothy's vocal, then I'm no longer certain. The pleasant nostalgia her lyric and delivery seem to convey make me wonder if she really did sleep with Che Guevara! (9.125/10)

9. "Stranded In Time" (1:49) string quartet beneath Gordon Marron's second lead vocal in the band's obvious attempt to parady (and borrow from) The Beatles (and, later, The Doors). Despite being tongue-in-cheek, the music is impressively sophisticated. (4.5/5) 

10. "The American Way Of Love" (6:38) another very theatric song (sung by violinist Gordon Marron) that could've come from a Pippen or Hair soundtrack that is so different from anything one might hear from this year--so far ahead of its time! So creative--even more avant than Zappa and The Mothers--especially the first movement of the suite, "Metaphor for an Olderman"! The second movement sounds like a parody on The Beach Boys that turns full Beastie Boys a full 15 years before there was such a thing as The Beastie Boys! BAck to small-town outdoor cabana town band music for the wild, psychedelic finish. A tongue-in-cheek Beatles-like "How much fun it's been!" layered within mutliple themes from multiple generations of stereotypic (and idealistic) Americana. Pure genius! (9.33333/10)  

Total time 37:02

Overall, this album is an extraordinary landmark in technological and theatric musique concrète music in a way that feels like Frank Zappa incorporating all that was best in 1968 technological innovation with much greater and further imaginative synthesis and integration of the day's musical trends.

92.59 on the Fishscales = A/five stars; a certifiable masterpiece of progressive rock music that stands out (and above) from almost all of the music of the 1960s--even Zappa and George Martin and The Beatles! One of the best/most creative records of the 1960s!

March 7, 1968 - THE ASSOCIATION Birthday

The album that presented to the world one of my all-time favorite songs: "Everything That Touches You"

Lineup / Musicians:

- Terry Kirkman / wind instruments, vocals, percussion

- Larry Ramos / lead guitar, vocals

- Russ Giguere / rhythm guitar, vocals, percussion
- Brian Cole / bass, vocals, woodwinds
- Ted Bluechel, Jr. / drums, vocals, rhythm guitar, bass
- Jim Yester / rhythm guitar, vocals, keyboards
With:

- Hal Blaine / drums

- Larry Knechtel / piano, keyboards

- Red Callender / double bass, tuba

Basses: Joe Osborn, Ray Pohlman

French horns: James Decker, Arthur Maebe, William Hinshaw, David Duke

Guitars: David Bennet Cohen, Mike Deasy, Dennis Budimir, Al Casey

Percussion, Vibes: Milton Holland, Dale Anderson, Gene Estes, Larry Bunker

Trumpets: Emanuel Klein, Jimmy Zito, Buddy Childers, Tony Terran, Bobby Bryant

Trombones: Lew McCreary, David Wells 

Saxophone: John Johnson

Strings: Paulo Alencar, Arnold Belnick, Henry Ferber, Jacques Gasselin, Jerome Reisler, Ralph Schaeffer, Sidney Sharp, William Weiss, Shari Zippert 

1. "Come On In" (3:16) great bass and vocal arrangements. (8.875/10)

2. "Rose Petals, Incense And A Kitten" (2:49) angelic voice, beautiful music and melodies. (9.25/10)

3. "Like Always" (3:04) folksie blues that received radio play. Great chorus! The finish sounds like something from a contemporary Broadway hippie musical. (9/10)

4. "Everything That Touches You" (3:17) one of my all-time favorite songs--as much for the lyrics (that encapsulate my feelings for and about the human that is my wife: she loves for real) as for the great vocals and melodies. (9.75/10)

5. "Toymaker" (3:25) more gentle, beautiful melodies and harmony vocal arrangements over some surprisingly sophisticated and nuanced French-feeling music. (9/10)

6. "Barefoot Gentleman" (3:23) an exquisitely constructed and rendered song that reminds me of the flower children and at the same time THE COCTEAU TWINS' most beautiful and emotionally-evocative music. A new discovery and, now, new addition to my list of all-time favorite Association songs for me. (10/10)

7. "Time For Livin'" (2:43) a catchy hit with a great message. (9.33333/10)
 

8. "Hear In Here" (3:13) the only weak song on the album and it's still an admirable, respectable composition. (8.75/10)

9. "The Time It Is Today" (2:15) another song that received radio play back in its day--more for its vocal and its lyrics' fashionably-positive message. (8.75/10)

10. "The Bus Song" (3:27) a theatric, three-part story-telling song that tries to cross time barriers and generational gaps with its barbershop quintet center. The first & third parts lack any harmony vocals, which is always a bit of a disappointment for this amazing band, but it ends with a great closing chord! (8.75/10)
 

11. "Birthday Morning" (2:25) a pleasant and melodic song with a cool harpsichord-based rock foundation. (8.875/10)

Total time: 33:22

Vocal arrangements and performances like the ones throughout this album are so rare--and very much missed. Also, I always think of albums from the 1960s as hit vehicles: two 18-minute sides set up with one hit song each and the rest just filler, but this album puts on full display the fact that every song on an album can be lovingly constructed and rendered. The spirit conveyed throughout this entire album is one of such overwhelming positivity and loving optimism that it fills me with deep, deep nostalgia and regret (for all of the evils that we Americans have perpetrated upon our country, planet, children. and children's children).  

91.21 on the Fishscales = A-/five stars; a minor masterpiece of experimental proto-prog that represents The Association's best overall studio album. 

April 3, 1968 - MOBY GRAPE Wow (recorded between Aug 30, 1967 and Feb 5, 1968)

The West Coast psychedelic band's sophomore album(s), Wow and Grape Jam, were the result of separate recording sessions and were released together, in one single packaging release. This release became the band's biggest selling album as well as its most highly praised album with the music critics. Wow is the more attentively-produced, song-oriented representative of the two albums. Stylistically, the band has moved away from the West Coast psychedelic sounds to what feels more in line with Americana musical styles. 

Lineup / Musicians:

- Peter Lewis / Rhythm Guitar, Vocals

- Jerry Miller / Lead Guitar, Vocals

- Bob Mosley / Bass, Vocals

- Skip Spence / Rhythm Guitar, Vocals

- Don Stevenson / Drums, Vocals

With:

- Lou Waxman and His Orchestra (5)

- Arthur Godfrey / Spoken Voice and Ukelele (5)

A1. "The Place and the Time" (2:07) an interesting electric guitar and bass CSN&Y/Country Joe and the Fish sound backing the band's plaintive plea to their parents' generation to "open their minds." Powerful,--even in its brevity. (4.5/5)

A2. "Murder in My Heart for the Judge" (2:58) messy blues-rock that sounds like a tired/drunken choir at the end of a party-at least that's what it sounds like before Don Stevenson's song was like well enough to be picked up and covered by several other bands, including Three Dog Night and Chrissie Hynde. Not my cup of tea. (8.6667/10)

A3. "Bitter Wind" (3:09) here is the band sticking to the West Coast folk-blues rock medium that they started with on this Bob Mosely song (with lead vocals sung by Bob). I like the Greek choir/JC Superstar-like background choir vocals. (8.875/10)

A4. "Can't Be So Bad" (3:41) high energy blues-rock shuffle with a great vocal from guitarist/composer Jerry Miller that reminds me of a Joe Cocker song as well as Dave Mason and the whole Southern Rock style/sound. (8.875/10)

A5. "Just Like Gene Autry: a Foxtrot" (3:05) * A Skip Spence composition fully intended to be feign an old-time radio "blast from the past"--complete with an introduction from iconic CBS radio and television personality, Arthur Godfrey, "Old Redhead"--by being present on the album with the other 33 1/3 rpm songs as a 78! (8.75/10)

B1. "He" (3:36) a gentle, nuanced folk/Americana song (with orchestral strings support) credited to Peter Lewis that reminds me of my beloved OZARK MOUNTAIN DAREDEVILS. (8.875/10)

B2. "Motorcycle Irene" (2:24) another Skip Spence composition, this one opens with the sounds of a (cheap) motorcycle starting up before the band is allowed to enter. The music established is nice, engaging funky blues-rock ballad music. Nice band cohesion on this one behind Skip's excellent vocal. (9/10)

B3. "Three-Four" (5:01) piano-based and orchestral-strings-supported with a very strong Ben E. King-like vocal performance on top from composer Bob Mosley. (9/10)

B4. "Funky-Tunk (2:23) the album's third and final Skip Spence composition (in case you haven't guessed, I have an affinity to Skip Spence due to my familiarity with his solo career), it's a tongue-in-cheek play (as made obvious by the Alvin & The Chipmunks voice in one of the lead roles and the drunken whole-band chorus singing at the end) with the bayou/swamp blues style of music. (8.6667/10)

B5. "Rose Coloroed Eyes" (2:11) another pretty song on the mellower/gentler side of Americana.  again I am reminded of The Ozark Mountain Daredevils. (4.375/5)

B6. "Miller's Blues" (5:22) what sounds like a live recording at an outdoor blues festival, with Jimmy Miller showing his excellent blues guitar chops and Bob Mosley his awesome Country-Western blues singing. Also great dum play on display from Don Stevenson. (8.875/10)

B7. "Naked, If I Want to" (0:52) a sleepy-sounding band making light of The Mamas & The Papas and other hippie Sunshine Pop artists with their whole-band singing. Hillarious! (4.5/5)

Total time: 38:23

* included on the original release as a 78 rpm track! 

If you like high-quality group American folk bordering on Americana music, you will probably love the songs on this album. My one question is: who's playing the piano?  

89.48 on the Fishscales = B+/4.5 stars; a near-masterpiece of early blues-rock Americana.

April 3, 1968 - MOBY GRAPE Grape Jam

The companion album of loosely-structured jam songs the band recorded between January 15 and February 14, after most of the material for Wow had been completed, here recorded and completed without original band member Peter Lewis. I've not been able to discover who made the decision to release the two albums together, in the same packaging, which is a source of some interest because it is such an unusual phenomenon.

Lineup / Musicans:

- Jerry Miller / Lead Guitar, Vocals

- Bob Mosley / Bass, Vocals

- Skip Spence / Rhythm Guitar, Vocals

- Don Stevenson / Drums, Vocals

With:
- Al Kooper / Piano (A2) 
- Mike Bloomfield / Piano (B1)

- Michael Hayworth / Vocals, Composer (B2)

A1. "Never" (Mosley) (6:16) built upon a great vocal melody and some excellent, slowly-developing blues-rock. The guitar, bass, and drum performances are so beautiful, so present, nuanced, and thoughtful/sincere. This song--and album--has a very GRATEFUL DEAD like feel. I normally don't really like this kind of music, but I really love this song. (9.25/10)

A2. "Boysenberry Jam" (6:03) a little funk coming from Bob Mosley's bass and Don Stevenson's drums propel this song into a fun direction so that Jerry Miller's electric guitar can wail away. (Skip Spence is on the piano.) (9.125/10)

A3. "Black Currant Jam" (7:11) a great classic blues-based piano-and-guitar jam with the great Al Kooper playing the raucous piano part. Drummer Don Stevenson and bassist Bob Mosley are in full synch with Mike--it's a great interaction. Not my favorite kind of music but it's very exciting and engaging. (13.25/15)

B1. "Marmalade" (14:05) a fade in to a standard blues with the great Mike Bloomfield playing the very active blues piano. Jerry Miller's blues guitar is quite subtle and held in check while Mike solos during the subdued for the first five minutes, then he gets more of the spotlight for a minute or two. (25.5/30)

B2. "The Lake" (4:01) a group production of sparse and psychedelic piano-based music and smatterred musique concrète recordings behind fan Michael Hayworth's KFRC contest-winning poetry being sung and spoken by the poet.(?) I happen to like this; it's very peaceful. (9/10)

Total time: 37:31

88.167 on the Fishscales = B/four stars; an excellent album of bluesy jam songs.

April 1968 - THE MOVE Move 

A British psych band exploring the edges of loud distortion and hard rock within melodic pop forms. The music is quite interesting for both its literate lyrics as well as the fact that everyone in the band seems to be involved with the vocals: both harmonically as well as taking turns in the lead roles.

Line-up / Musicians:
- Carl Wayne / lead vocals (5-8,11,13)
- Roy Wood / guitar, vocals (2,3,6,11-13)
- Ace Kefford / guitar, lead vocals (1,9)
- Trevor Burton / bass, lead vocals (4,10)
- Bev Bevan / drums, lead vocals (9)
With:
- Nicky Hopkins / piano (7), harpsichord (12)
- Tony Visconti / strings (3,10,12) and woodwind & brass (6) arrangements

1. "Yellow Rainbow" (2:35) recorded with a lot of pre-BLACK SABBATH volume, distortion, and attitude, this song manages to remain melodic and ktischy enough to be radio- and pop-friendly in the way The Who did as well. (9/10)

2. "Kilroy Was Here" (2:43) edgy and almost raw with so many slightly-distorted sounds (guitars, vocals) (8.875/10)

3. "(Here We Go Round) The Lemon Tree" (2:59) an unsettling song for both its lyrics as well as its poppy in an almost Archies / Monkees way (and the lead vocalists's uncanny similarity to the sound, pitch, and stylings of Ozzie Osborne). (8.875/10)

4. "Weekend" (1:46) an exaggerated Elvis voice over some mega-electrified Beach-Boys-like Surfer music renders this song more akin to The Who. Odd how often this band seems to be breidging more than one seemingly-incompatible pop/rock music genre. (4.375/5)

5. "Walk Upon The Water" (3:22) another Beach Boys-similar song with heavier/more distorted instrumentation and more angsty vocals (and lyrics) giving it the feel of the darker side of The Beatles. (8.75/10)

6. "Flowers In The Rain" (2:29) another fairly standard pop song with all kinds of experimental nuances in the woodwinds, vocal performance, and lyrical content that render it far more affecting in the way a padded bludgeon might render someone. (8.875/10)

7. "Hey Grandma" (3:11) piano-based blues rock with poorer-than-normal melody and lyrics. (8.6667/10)

8. "Useless Information" (2:56) another heavier version of what feels like a former-sunshine pop song now turned dark and cynical. Melodically and musically this is one of the less-engaging, more mundane-feeling songs on the album. (8.75/10)

9. "Zing! Went The Strings Of My Heart" (2:49) Shannana-like doo-wop! What could be purposely dark parody of the style feels too real and invested (long) to be pure sarcasm. (8.875/10)

10. "The Girl Outside" (2:53) opening with some string quartet arrangement that sustains itself throughout the song Pre-ELO. The band plays acoustic instruments along with Tony Visconti and Nicky Hopkins' strings. Hear the band are usurping the Baroque pop song in a way that predates Paul Weller's acerbidc JAM and STYLE COUNCIL work. Brilliant (if weird). (9/10)

11. "Fire Brigade" (2:22) On this song I hear 1980s Brit bands like The Mighty Lemondrops, The Housmartins,  Dexy's Midnight Runners, and even XTC and The Wallflowers. (8.875/10)

12. "Mist On A Monday Morning" (2:30) more BEATLES like Baroque pop with harpsichord, strings, and recorders. There is definitely a folk rock element here that reminds me of John Martyn and The Strawbs. A complete, rather mature composition here. (8.875/10)

13. "Cherry Blossom Clinic" (2:30) Dark Beatles-like with John Lennon and Ozzie Osborne alternating on the lead vocals, coming together for some Sgt. Pepper-like choruses. The commanding presence of the full, horn-dominated orchestra is quite interesting--especially for the feeling as if Sgt. Pepper's Lonely Hearts Club Band came marching into the studio just to play on (take over) this song. Fun and memorable in a Mr. Kite kind of way. (8.875/10)

Total time 35:05

The music on this album is deceptively engaging, more interesting that its forms and melodies might expect due mostly to the heavy engineering of all the instruments as well as the frequent inclusion of nearly-violent imagery in the lyrics. I don't know if it was the engineers and producer or the band themselves who envisioned the hard edges and heavy touches to the sound, but if the lyrics are any indication, I'd say the band members were all on the edge of wanting/needing to release some rather wild and even savage energy. I also should comment/commend the band members for their very tight/proficient performances on all of their instruments as well as their compositional acumen.

89.43 on the Fishscales = B+/4.5 stars; a quite excellent album of creative pop songs that seem to convey both a high level of professional competence while, at the same time, expressing the irritability of a generation of worried and unsettled youth. 

April 1968 - SPANKY & OUR GANG Like to Get to Know You

A folk-jazz jug comedy band that foraged their way into the Sunshine Pop arena due to the number of multi-voice harmony bands they worked with in 1965 and 1966. The band continued to get help from Mercury Records producer/arranger Stuart Scharf continued to provide songs for Spanky And Our Gang, as he had done on their debut album from the year before ("[It Ain't Necessarily] Byrd Avenue"), this time for the title song, which became a big hit. 

Lineup / Musicians:
- Elaine "Spanky" McFarlane / Vocals

- Malcolm Hale / Guitar [Lead], Trombone, Vocals

- Nigel Pickering / Guitars [Rhythm], Vocals

- Lefty Baker / Guitars [Lead], Vocals

- Kenny Hodges / Bass

- Paul "Oz" Ozbach / Bass Guitar, Vocals

- Artie Schroeck / Organ, Piano

With:

Bass – Chet Amsterdam, Larry Knechtel, Richard Davis 
Drums – Bill LaVorgna, Donald MacDonald, Hal Blaine, John "Chief" Seiter
Guitar – Mike Deasy
Performer – Little Montgomery and The Blue Band
Steel Guitar – Red Rhodes
Trumpet, Soloist – Lee Katzman
Twelve-String Guitar – Walter Raim

1. "The Swingin' Gate" (2:14) Sunshine pop with a little sophistication (especially in the vocal arrangements). (8.75/10)

2. "Prescription For The Blues" (3:07) here the band covers a deep South, New Orleans blues song from Porter Grainger that was first published in 1924. The songs serves as a showpiece for Elaine McFarlane's vocal talents (which, to my ears, sound not unlike Ella Fitzgerald). A fine rendering of this genre piece. (8.75/10)

3. "Three Ways From Tomorrow" (3:25) back to the sunshine pop that got the band to the top of the charts: great spohisticated vocal arrangements with Lefty Baker and Malcolm Hale serving as the co-leads with Spanky and others serving almost constant harmony/background purposes. Interesting electric guitar solo with horn accents at the end of the second minute. Some of the poppier moments sound like The Turtles, The Association, The Mamas & The Papas, or The Gang's other hits. Could easily have been a minor hit (thought I've never heard it before). (8.875/10)

4. "My Bill" (2:27) a theatric/comedic lyric with matching construct and performances--like it could have come straight off of a stage performance of "The Music Man," "Newsies," or "Guys & Dolls" Ver 

y good for its genre. Composer (and the band's new guitarist) Lefty Baker must have had a deep penchant for and experience in Broadway musicals. (P.S. It's very well done!) The final minute sees the music turning into a television radio soundtrack with a whole comedic family scene happening (8.875/10)

5. "Sunday Mornin'" (3:54) a B-side to the radio hit, "I'd Like to Get to Know You" in the vein of The Mamas & The Papas (and, I'm sure, often mistaken for Mama Cass & Company). It was written by Margo Guryan and later covered by Oliver as well as by the author herself on her 1968 debut album, Take a Picture (and, curiously, released as the B-Side to her own hit, "Spanky and Our Gang"). (8.875/10)  

6. "Echoes (Everybody's Talkin')" (3:10) Fred Neil's 1966 hit that gained world wide attention in Harry Nilsson's 1969 version that was used prominently in the Academy Award winning film of the same year, Midnight Cowboy. The Gang's version is here sung by Malcolm Hale. This version sounds like a tame "elevator music" cover of Nilsson's by someone like The Lettermen or Jay & The Americans. (8.6667/10)

7. "Suzanne" (3:47) another cover of another classy, time-honored tune, this time by Leonard Cohen. The Gang (and their management, label, or producer really knew how to pick 'em!) A great song given a rather nice treatment. (8.875/10)

8. "Stuperflabbergasted" (1:10) another stage musical like piece fronted by Lefty with his sassy trombone getting into the act rather prominently as well. I really appreciate the talent of these multi-dimensional artists. (4.5/5)

9. "Like To Get To Know You" (2:15) a nice studio musicians-backed boy-barbershop quartet song that is elevated 100% by the amazing force of the presence of Elaine "Spanky" McFarlane in the lead vocal position from the third verse on. Amazing shift! (9/10)

10. "Chick-A-Ding-Ding" (2:23) the band here takes a little deeper dive into the world of Country-Western music. Nice song, ineterestingly arranged, that, once again, is elevated tremendously by the dynamic pipes of Elaine McFarlane. (8.75/10)

11. "Stardust" (3:32) S&TG's version of THE "Stardust"--yes, Hoagy Carmichael's all-time classic. This is, actually, one of my favorite versions of the song. I love the respect for and honor the band has for all of these timeless classics. (9.75/10) 

12. "Coda (Like To Get To Know You)" (0:59) I absolutely LOVE this return/reprise of the album's hit song--here rendered in a dreamlike form with the acoustic guitar and orchestra strings playing an even more prominent role that the voices. (5/5)

Total time: 32:23

Though really not a very "progressive" or even rock album, I have decided to include this on my list of significant albums released in 1968 to celebrate this band's talent and diversity. Obviously the band and label recognized the special quality of the title song and its Coda/reprise because they issued them blended together as one song for the band's greatest hits (which is the way most radio stations will play the song to this day). Also, this was really an incredibly well-produced/arranged album by a band that I feel has long gone under-appreciated.

89.39 on the Fishscales = B+/4.5 stars; a near-masterpiece of high-quality, sophisticated performance diversity.

 

May 17, 1968 - THE PENTANGLE The Pentangle

The debut album from one of Prog Folk's peak representatives.

Line-up / Musicians:
- Jacqui McShee / vocals
- Bert Jansch / acoustic guitar, vocals
- John Renbourn / acoustic guitar, sitar, vocals
- Danny Thomson / double bass
- Terry Cox / drums, percussion, vocals

1. "Let No Man Steal Your Thyme" (2:37) straight out of the gate we get the sense of how serious these musicians are about their music as well as about the kind of messages they wish to convey with the songs they choose: I love the double entendre presented in the song title while the in-your-face presentation of each and every instrument as well as Jacqui McShee's warm and luminous voice makes this song a crystalline presentation of this band's talents. (9/10)

2. "Bells" (3:52)  This instrumental puts on full display the instrumental skills and talents of each and every one of the band members. There are really three songs incorporated into one here. (9/10)

3. "Hear My Call" (3:01) a bluesy blues-rock construct given a kind of folk/road-Americana treatment by the instrumentalists while Jacqui soars mellifluously over the top like a tern soaring playfully in heavy winds. (9.25/10)

4. "Pentangling" (7:02) memorable melodic hooks abound in this Pentangle classic. Has recorded music ever benefitted from higher quality trio of virtuosi as Bert Jansch, John Renbourn, and Danny Thompson? And drummer Terry Cox and Jacqui McShee are no slouches either! Danny's playful solo in the song's middle, besides being laughable, is nothing short of genius. (13.75/15)

5. "Mirage" (2:00) more bluesy folk balm for the wounded soul. The virtuosity of these musicians five--adding so much to what seems like rather simple notes and melodies--is absolutely astounding. (4.5/5)

6. "Way Behind The Sun" (3:01) more great performances on a song that is not as engaging or pleasurable as the others (for me). (8.875/10)

7. "Bruton Town" (5:05) a brilliant song rendering that predates the music that COMUS and SPIROGYRA would soon continue to explore and expand upon. I love the male lead vocals being mirrored from behind by Jacqui, and then her taking over the telling of the story in the third verse. So powerful! Like many British folk songs, the music gets a bit monotonous in its repetitiveness, but the band brilliantly diverts the listener's waning attention with an absolutely brilliant instrumental passage in the second half in which Terry Cox's drumming amazes. My favorite song on the album. (9.5/10)

8. "Waltz" (4:54) a t-part suite to end the album starts out as a folk tune, moves into the jazz realms with a couple of motifs before meandering back into folk territory with the rhythmic support of syncopated handclapping, but then Terry picks up his sticks again to support just before Danny steps into the spotlight solo for some more super playful solo play. A hillbilly crow accompanies the band's recongealing into a full combo for the final minute of jazzy-folk virtuosity. Amazing folk musicianship bordering on jazzmenship. (9.25/10)

Total Time: 31:32

An incredibly well-engineered and performed album that puts on display the fact that none of these musicians are newbies--that they've all paid their dues to acquire the skills and maturity to put together such perfect renditions of each and every song. My only hesitation in offering full five star masterpiece status to this album is my personal aversion to bluesy music--but the skill and talent presented here is far from flawed. Brilliant performances, engineering, and production. Though the instrumental quartet is always a marvel to listen too, sometimes I regret two songs (worth nine minutes of this relatively short album) that do not involve the scintillating talent of singer Jacqui McShee; not using one of the great jazz, folk, prog voices of all-time seems almost wasteful. 

91.41 on the Fishscales = A-/five stars; a masterpiece of folk- and jazz-rock that every prog lover should hear if not own. There are not many Prog Folk bands with the skill, talent, and creativity of this quintet; this combo should not be missed. 

June 1, 1968 - SILVER APPLES Silver Apples

The debut release from this New York City-based duo, Simeon Coxe was a true pioneer of electronically-generated sounds, employing old and new oscillators as well as Theremins and more. Some historians give Simeon and Silver Apples credit for the existence and transformation of such artists as White Noise, Tangerine Dream, Kraftwerk, Brian Eno, Throbbing Gristle, Bill Nelson, Talking Heads, New Order, Aphex Twin, Massive Attack, Underworld, Nimh, and Com Truise.

Line-up / Musicians:
- Simeon Coxe / electronics, vocals, composer & arranger
- Dan Taylor / percussion, vocals, composer & arranger

1. "Oscillations" (2:47) opening with modulated sound oscillations before being joined by a CAN-like bass-and-drums rhythm track and vocals with background harmony singer. An interesting lyric that is full of information and definitions of oscillations within and without the context of sound. (8.875/10)

2. "Seagreen Serenades" (2:53) another bass-and-drum rhythm track over which Simeon and his electronic sound generators (and, later, recorder) play. Interesting co-existence of the purely-acoustic recorder and the purely-electronic sounds. The bucolic lyrics here are not quite as interesting to me. (8.75/10)

3. "Lovefingers" (4:10) industrial synth droning sounds! Calmer drums join in with pulsing synth note used to provide the two-note bass line. Two-voice singing enters and establishes their melody and motif over the top. A barrage of (I'm assuming) individually-tracked synth sounds joins in with the advent of the second verse and continues to move and entertain throughout the rest of the song. It's weird, but there are actually moments in which I feel I'm listening to Simon & Garfunkle vocals over the top of this very Brian Eno/Talking Heads-like music. (9.125/10)

4. "Program" (4:05) nice rock drum pattern from Dan Taylor's kit while Simeon giving this a very Bill NELSON/BeBOP DeLUXE sound and feel (despite the occasional Simon & Garfunkle passages in which Dan provides his harmony vocals to Simeon's leads). The radio voices and Vivaldi/classical music additions also pre-date some of the experimental work of CAN and Holger Czukay. (9/10)

5. "Velvet Cave" (3:28) very 1980s Euro-house/dance music foundation over which Simeon gives a kind of Tom Dooley folk vocal performance. Wow! These guys were definitely way ahead of their time. Then there's the rather taboo subject matter of the lyrics: way ahead of the Tipper Gore sensors! Wild and frenzied as the tension mounts at the end, the music and voice becoming almost tribal or animalistic toward the end. (8.875/10)

6. "Whirly-Bird" (2:39) another song that has a kind of folk feel from its vocalists--not unrelated to S &G "Cecilia"'s melodies and South American flavors--though the pulsing county fair-like music feels more like something from Ralf and Florian (KRAFTWERK). (8.75/10)

7. "Dust" (3:42) opens with a little BEATLES "Get Back" effect though it never bursts into the blues-rock kind of motif that John, Paul, George, and Ringo do. No, this is almost purely experimental B-movie Sci-Fi lo phi stuff with oscillators, cymbal play, and nearly-crazed/deranged-sounding, disjointed vocal "list recitation" within and over the top. Weird stuff that will feed many so-inclined experimentalists. (8.75/10)

8. "Dancing Gods" (5:55) near-Native American multiple-tom, conga (and/or djembe?), and timpani drumming with more David Byrne-like crazed chant-singing while droning oscillator notes and sounds accompany. Interesting if not my favorite. The rant goes on just a bit too long for my nervous system.(8.75/10)

9. "Misty Mountain" (2:38) playful oscillator, bass, and drum play over which higher-pitched male vocal performs. This one sounds very 1980s-ish--like Aphex Twin, Boards of Canada, or Ultravox. A little too intentionally (and creepily) -hypnotic for me. (8.6667/10) 

Total time 32:17

Definitely an album of revolutionary sound that is way, way ahead of its time.

88.40 on the Fishscales = B/four stars; a landmark achievement in experimental music that would be a masterpiece if not so obscure.

June of 1968 - DON ELLIS Shock Treatment (Recorded February 14 & 15, 1968) 

Recorded on February 18 & 19 of 1968, this is the album that caused such a stir in the public eye because of the record company (Columbia)'s massive mess up with its initial mastering and publication. Here' the story in Don's own words extracted from a letter he sent to the "Chords and Discords" forum of DownBeat magazine immediately following the magazine's review of (the first version) of the album:

“Regarding the review of my record Shock Treatment by Harvey Pekar (DB, Sept. 19), I would like to set the record straight on some little known facts in connection with this album. The copy that was reviewed was one about which I am embarrassed and not proud. The story behind this is as follows:

Upon completion of the album, I did the mixing and editing here in California and then sent the finished product to New York. It wasn’t until the album was already released that I heard a pressing. Much to my horror, I found that without consulting me the whole album had been changed around—rejected masters and unapproved takes were used (not the ones which I had selected and edited), the wrong tunes were on the album, unauthorized splices were made which disturbed the musical flow of some of the compositions (beats were even missing from bars), whole sections were cut out, some of these being the high points of the album. Therefore the liner notes, which were done to the original album, do not agree with what is actually on the album, calling attention to solos and high spots which are not there. I’m surprised that this wasn’t mentioned in the review! Also, the wrong personnel is listed on the jacket. When I discovered what had happened I was, naturally, disturbed and asked Columbia to redo the album. They graciously consented and I was able to change the album back to its original form except that I left Mercy Maybe Mercy, which my producer particularly liked, in place of Zim, which I hope will appear in a future album. Unfortunately, they were not able to call back all the thousands of albums which had already been released. However, they did send a note to the reviewers telling them that the copy which they had received was defective, and to please not review it until they received the corrected copy. It looks as if Down Beat didn’t get that letter. In conclusion, let me state that I have no quarrel with Harvey’s review, but I do wish that he or someone else would review the correct album.”

Great story: One that illustrates, once again, how obtuse record companies can be to the desires, preferences, and wishes of their artists as well as to how little say/control an artist has over the finished product of their work. What they think will sell is not always in line with the artist's creative vision for their finished product--in this case, not nearly in line.

Line-up / Musicians:
- Don Ellis / quarter-tone trumpet

Saxes & Woodwinds:
- Ruben Leon / alto & soprano saxophones, flute
- Joe Roccisano or Joe Lopez / alto & soprano saxophones, flute
- Ira Shulman / tenor saxophone, piccolo, flute, clarinet
- Ron Starr / tenor saxophone, flute, clarinet
- John Magruder / baritone saxophone, flute, clarinet, bass clarinet

Trumpets:
- Glenn Stuart
- Alan Weight
- Ed Warren
- Bob Harmon
- Trombones
- Ron Myers or Vince Diaz
- Dave Sanchez
- Terry Woodson (bass)

Rhythm:
- Mike Lang / piano, clavinet, Fender piano
- Ray Neapolitan / bass, sitar
- Frank De La Rosa / bass
- Dave Parlato or Jim Faunt / bass
- Steve Bohannon / drums
- Chino Valdes / congas, bongos
- Mark Stevens or Ralph Humphrey / timbales, vibes, miscellaneous percussion
- Alan Estes or Joe Pocaro / miscellaneous percussion

FIRST VINYL PRESSING
A1. A New Kind of Country (Hank Levy) (4:10)
A2. Mercy Maybe Mercy (Hank Levy) (3:22)
A3. Opus 5 (Howlett Smith) (8:05)
A4. Beat Me, Daddy, Seven to the Bar (edit) (3:03)
A5. The Tihai (7:16)
B1. Milo's Theme (4:26)
B2. Star Children (3:22)
B3. Homecoming (3:03)
B4. Seven Up (Howlett Smith / arr. Joe Roccisano) (3:58)
B5. Zim (John Magruder) (3:58)

Total Time 44:43

SECOND VINYL PRESSING
A1. A New Kind of Country (Hank Levy) (4:10)
A2. Night City (Ellis, MacFadden / arr. Don Ellis) (2:58)
A3. Homecoming (3:00)
A4. Mercy Maybe Mercy (Hank Levy) (3:22)
A5. Opus 5 (Howlett Smith) (9:22)
B1. Star Children (3:18)
B2. Beat Me, Daddy, Seven to the Bar (6:15)
B3. Milo's Theme (4:24)
B4. The Tihai (8:40)

Total Time 45:29

THIRD 2005 Columbia (Terra Haute) VINYL PRESSING
(Same as the second but with slightly different liner notes):

2003 Koch Jazz (Sony Music)) CD release:
1. "A New Kind of Country" (Hank Levy) (4:10) sounds like a modernized big band standard (with some electrified instruments and recording techniques) waiting for a young crooner to sing over the top--like Don is here definitely taking advantage of all of the Latin-infused musics infiltrating the American music scene in the 1960s--especially and probably Stan Getz (and, to a lesser degree) Paul Desmond more than any others. Could have been a theme song to one of the game shows of the day--like The Dating Game or The Newlywed Game. (8.875/10)

2. "Night City" (Ellis, McFadden / arr. Don Ellis) (2:56) the co-composers must have been trying to reach the wider record-buying audiences of the day (1967) with this very LAWRENCE WELK-like song. Elaborately arranged MITCH MILLER-like choral vocals (male and female) are accompanied by a Latin rhythm to create this rather heavy-hearted song. I like it though it is not very progressive or particularly fusionary. Also could be a tribute to the great music being written for Broadway musicals by new artists like Burt Bacharach and Stephen Schwartz. (8.875/10)

3. "Homecoming" (3:02) sounds so familiar--like the more emotional old-time music that was so popular with moms and pops on the old porch settings. (Could've fit in Gershwin's Porgy and Bess.) (8.75/10)

4. "Mercy Maybe Mercy" (Hank Levy) (3:20) sounds like a watered-down version of Billy Page's "The 'In' Crowd" (8.75/10)

5. "Zim" (John Magruder) (3:59) a fan favorite from the first release that Don grew to like specifically because of the enthusiastic feedback he received. Composer and, here, bandmate John Magruder came up with several memorable songs for Don and the Orchestra over the years. (9.25/10)

6. "Opus 5" (Howlett Smith) (9:19) nice polyrhythmic foundation over which muted horns play makes for a cool start. In the second minute a bridge serves as a kind of rewind so that everything starts over, only this time the full horn section--in two different lines--can recapitulate the superceding melody--and then piano and very odd upper-end bass make themselves known to be the soloists for the second half of the third and first half of the fourth minutes. Lead trumpet takes over at 3:30. Rest of horns slowly creep back in in the middle of the fifth minute before backing off to a softer bank, but, man! I keep getting lost in the rhythm lines! Congas and drums actually get some spotlight before horn banks bridge into more "team-sharing" section of rather complex multiple team-interplay. By the time we get to the eighth minute there are so many layers working together at the same time (like 9 or 10!) that it shocks me that they all can stay on their own path--and it all works incredibly well blended together! Amazing! What a design (composed by pianist/composer Howlett Smith)! (19.25/20)

7. "Star Children" (3:21) weird song with weird combination of sedate jazz with choral vocals. (8.666667/10)

8. "Beat Me, Daddy, Seven to the Bar" (6:12) this spirited blues-rock vamp makes me feel as if I'm at a party in a Peter Sellers movie from the day--maybe even a pool party--which gets kind of "serious" when the percussionist (conga player) is given sole occupancy of the recording tape. Supremely tight performances of yet-dated music. (8.75/10)

9. "Milo's Theme" (4:23) experimentation with echo effects on Don's trumpet and then all the instruments to follow. Weird but pretty cool! (And using very pretty and melodic cinematic music to do it). I love hearing artists take chances like this. The ensuing horn and then full band harmonized buildups are wonderful (if "Big Band Era" dated), but then we return to the modulation effects experimentation for the finish. Cool! (9/10)

10. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:59) like a blast from the past with this one sounding like the soundtrack music for either "I Dream of Jeannie" or "Bewitched" (maybe that's why I love it: I grew up on those shows). Awesome jazz bass walking beneath Don's trumpet and his complex, multi-horn accompaniment. Again, to think that we're at an episode of some dance routine on the Lawrence Welk Show is not a far-off stretch of the imagination, but those big explosions of horns and alternating cutesie flute and muted-horn passages are so fun! (8.875/10)

11. "The Tihai" (8:44) Don's preferred edit and mix of this one sounds. There are moments where the melodic rhythm track feels and sounds like something from The Flinstones cartoon soundtracks of the day and others that feel like soundtrack music to an Elvis Presley (or Our Man Flint or Pink Panther) beach movie scene. And then, surprise of all surprises, there is the Konnakol Carnatic Indian percussive vocal exchange taken from the South Indian traditions at the six-minute mark. Odd use of minor keys at times where popular tradition would have made different choices. (18/20)

12. "Zim" (alternate take) (John Magruder) (4:00) a much more smooth-flowing "Take Five"-like version of the tune; this was not Don's preferred version of the song but he was serving popular demand from the response of listeners from those who had purchased or heard the original unapproved version on Columbia's initial release of the material. I can't say that I dislike it. The mix ius a bit muddier than the other one, but that almost gives it an era-appropriate psychedlic acid-trip feel!  (9/10)

13. "I Remember Clifford" (Benny Golson / arr. Terry Woodson) (5:25) a more traditional lounge jazz tune like something you might have heard at Rick's Café in Casablanca. (8.875/10)

14. "Rasty" (2:52) another song that sounds like a Big Band remnant brought into the late 1960s for renovations. (8.666667/10)

Total Time 65:42

While most of music on this album does sound (almost laughably) out-dated and anachronistic one cannot the technical and compositional skills required put together and then pull with such tight (and professional) performances--captured in just two days in the recording studio!

I've decided to post my rating and ranking according to the version of music published in CD from in 2003 because this release offers the listener a fine cross-section of the two original releases.

89.58 on the Fishscales = B+/4.5 stars; a near-masterpiece of large-spectrum jazz and jazz-rock performances of cutting-edge compositions. 

P.S. That girl photographed for the album cover has some long-ass toes!  

June 1968 - STRAWBERRY ALARM CLOCK Wake Up … It's Tomorrow

The band's sophomore album has some pretty big shoes to follow! They had popular support as well as admiration and respect of many other people within the music world but karma seemed against them; chaos and the astrological pull of the stars were against them.

Lineup / Musicians:

- Randy Seol / Drums, Keyboards, Percussion, Vocals

- George Bunnell / Bass Guitar, Vocals

- Edward King / Guitar, Vocals

- Lee Freeman / Guitar, Sitar, Vocals

- Mark Weitz / Vocals, Keyboards

1. "Nightmare Of Percussion" (2:57) a fascinating song with some virtuosic drumming and powerful theatric narrator/spoken poetry vocals. What an opener! I hope this portends more highly-creative music in the rest of the album. (10/10)

2. "Soft Skies, No Lies" (3:07) pure Sunshine pop with a pleasant if slightly-uninspired lead vocal over harpsichord and drum and bass combo with some occasionally nice vocal harmony arrangements. (8.875/10)

3. "Tomorrow" (2:14) Beautiful whole-group vocal arrangement over slightly-Beat oriented music with harpsichord. Great melodies, catchy lyrics, and very happy Sunshine Pop. Wish it were longer! (4.75/5)

4. "They Saw The Fat One Coming" (3:25) sounds so much like the Youngbloods and their massive hit, "Get Together"--something that has the affect to fit perfectly in the Apocalypse Now soundtrack. (9.25/10)

5. "Curse Of The Witches" (6:46) Excellent presentation of a complex historical story. Brian Wilson eat your heart out! I love The Association-like vocal arrangements despite the way the main melody in the verses almost becomes irritating when drawn out over almost seven minutes. Thankfully there are enough instrumental interludes and instrumental subtleties to distract one from the tedium. (13.875/15)

6. "Sit With The Guru" (2:59) a song whose clean modern palette feels like something from a 1990s STEREOLAB album, the bass, drums, organ/keys, and RFripp-like electric guitar sound really surprise. Then there are the amazing vocals with their rather brilliant and sophisticated harmony arrangements and Randy Seol's amazing contributions on vibraphone and percussion. (9.3333/10)

7. "Go Back, You're Going The Wrong Way" (2:19) a song that is built upon an old European-sounding polka/waltz palette and rhythm pattern has some very pleasant and impressive vocal arrangements. It definitely feels strong enough to have lasted longer than two minutes. (9/10)

8. "Pretty Song From Psych-Out" (3:15) opens like something from a Burt Bacharach album/soundtrack before the Association-like rock/pop vocals enter. This band's rhythm section and nuanced construction  of their sonic fields is so impressive. Again, it just makes me so sad that they couldn't continue producing music together: so much talent! This is so much the kind of music that I love from the depths of my chore being. Too bad the lyrics and melodies aren't as impressive or engaging as the musicianship. (8.875/10)

9. "Sitting On A Star" (2:55) simple chord construct that sounds like (and pre-dates) Paul Weller's The Jam, George Bunnell's bass work is so strong and hypnotic--throughout the whole album! The vocal arrangements, as strong as they are, somehow could have been better--and the music could have been a little more developed. The titular lyrics are quite impressive. (8.875/10)

10. "Black Butter, Past" (2:23) an organ-based chord progression introduces the instrumental palette for this one before lead singer takes us into another Association-like journey, harmony vocals joining (pushed to the background) in the second verse. Nice electric guitar work (from both guitarists) on the solo during the instrumental "C" part, which is then followed by an awesome organ solo to the song's end. (9/10)

11. "Black Butter, Present" (2:10) sitar, organ, and a hazy Indian-infused psychedelia lay the foundation for the lead vocalist's rather aggressive vocal. I still don't get what the meaning of "black butter" is. (4.375/5)

12. "Black Butter, Future" (1:32) trying for the spritely British anachronistic choral sound, the song opens with quite a different feel than the previous two Black Butter movements, edning with a Van Morrison-like vamp over which Randy Seol gets to play his xylophone. A little too disjointed and weird to garner too much praise. (4.375/5)

Total Time: 36:02

The creativity, clean yet-experimental engineering, astute, meaningful lyrics, and amazing vocal arrangements of many of the songs are among the highest caliber of the decade. I'm amazed by the sophistication and quirky experimental elements of these mature, polished songs! What an amazing, underrated band! If only they had gone on in this vein forever!

91.44 on the Fishscales = A-/five stars; a minor masterpiece of sophisticated Sunshine Pop from one of the supernovae of the subgenre.

 

June 14, 1968 - IRON BUTTERFLY In-A-Gadda-Da-Vida

The American band's sophomore album (barely) containing the iconic title song.

Line-up / Musicians:
- Erik Brann / guitar, vocals (4)
- Doug Ingle / organ, vocals
- Lee Dorman / bass, backing vocals
- Ron Bushy / drums

1. "Most Anything You Want" (3:44) Doug Ingle definitely possessed some of that word-mashing gene that The Kingsmen's "Louie, Louie" singer Jack Ely had. Stil, it is a nice, powerful, even iconic baritone voice. Ray Manzarek riffs on the organ can't hide from catching my notice. (8.75/10)

2. "Flowers And Beads" (3:09) a little too standard/Sunshine Pop for this band (and that iconic voice). Where are the guitars?! (8.5/10)

3. "My Mirage" (4:55) opens with more Ray Manzarek-like organ play before drums, bass, and guitars crash in. Around 0:35 everybody settles into a rock motif with staccato rhythm guitar strums, arpeggiated organ chords and solid rock electric bass and drums over which Doug sings rather plaintively. This is definitely more of the type of hard-drivin' music this band should be doing--though when the guitar starts picking its chords into arpeggios it starts sounding more like The Youngbloods. (8.75/10)

4. "Termination" (2:53) using a heavier sound palette and impressively sophisticated instrumental play that previews bands like Deep Purple and Black Sabbath, there is a Moody Blues-like team approach (and sound) to the vocals. Great rock song! (9/10)

5. "Are You Happy?" (4:29) the final song of Side One, the band here roams fully in the heavier rock realms with  some CREAM, URIAH HEEP, HENDRIX, and DOORS-feeling music. Great theatric performances from Doug on vocals, Erik Brann on lead guitar, and Lee Dorman on electric bass. Another great rock tune that feels like a classic. (9/10)

6. "In-A-Gadda-Da-Vida" (17:05) a song I'd always liked--even the long drum solo--but one that still continues to satisfy my pleasure centers despite my perspective as a prog reviewer. A powerful, hypnotic, high-quality recording. I espeically love the extended organ play as the band comes out of Ron Bushy's drum solo: it's almost as if Johann Sebastian Bach were at play (literally: at play). That is, without a doubt, my favorite part--though I also really like the bass-led drum-and-guitar frenzy from 13:13 to the 15-minute mark. (32.5/35)

Total Time: 36:35

90.0 on the Fishscales = A-/five stars; an excellent addition to any prog lover's music collection--especially if you like to study and appreciate the history and evolution of early prog. This is a rather iconic album--even accounting for its album artwork. 

June 1968 - THE CRAZY WORLD OF ARTHUR BROWN The Crazy World of Arthur Brown

Theatric British front man and vocalist Arthur Brown's first release with his new band mates. The album became a big hit on both sides of the Pond, with the single "Fire" becoming a major hit and propelling Arthur into fame for his use of fire on stage. The band's version of Screamin' Jay Hawkins' "I Put a Spell on You" also gained modest radio play and chart success.

Line-up / Musicians:

- Arthur Brown / vocals

- Vincent Crane / piano, Hammond organ, organ bass pedals, vibes, orchestral arrangements

- Nick Greenwood ("Sean Nicholas") / bass

- Drachen Theaker / drums 

1. "Prelude-Nightmare" (3:30) (8.875/10)

2. "Fanfare-Fire Poem" (1:53) great theatric Screamin' Jay Hawkins/Little Richard-like intro to the band's biggest hit. (5/5)

3. "Fire" (2:55) Not really a great song, in my opinion, but it does have some dramatic vocals, that five-chord organ and chorus lyric hook and some solid band support. (8.875/10)

4. "Come And Buy" (5:45) after a rather dull opening 90 seconds, the chorus delivers some sparks and flames. But then the song returns to the dull Vincent Price motif for another minute before the next chorus. Great work from bassist Nick Greenwood as well as Vincent Crane and Drachen Theaker on keys and drums, respectively. The fact that find myself continuously hoping for more breakout passages like the all-too-brief choruses makes me rate this one a little lower. (8.75/10)

5. "Time / Confusion" (5:18) great performances from Vincent Crane, Nick Greenwood, and Drachen Theaker but it's often hard to get any attention with Arthur's domineering show up front, plus, the overall feel here is too funerary (with Arthur's Alan Rickman-like speaking voice). (8.75/10)

6. "I Put A Spell On You" (3:38) not the version that Screamin' Jay does--not even close--as Arthur has some odd effect on his voice and proceeds to stand back for longer stretches here than on any other song (which is great for his band members as they all have a chance to shine a little). Rated up for Vincent Crane and Drachen Theaker's performances. (8.875/10)

7. "Spontaneous Apple Creation" (2:51) opens with what sounds like Arthur's book or film narration before the band joins in with some Roald Dahl-appropriate eerie carnival music. (Nice work Vincent, Nick, and Drachen.) (8.875/10)

8. "Rest Cure" (2:39) the odd ball song on the album turns out to prep us for the future appearance of phenomena like The Rocky Horror Picture Show and Meatloaf and even Freddy Mercury. (8.875/10)

9. "I've Got Money" (3:05) some great ahrd-drivin' blues rock in the Yardbirds vein with Arthur's raw, gravelly voice taking us back into some psychedelic blues rock theatrics. The band is so tight! (8.875/10)

10. "Child Of My Kingdom" (7:02) some fairly pleasant piano-based jazz-rock with an odd, slightly sinister and definitely unsettling vocal performance that sounds like an African American blues singer like Joe Williams. I very much like this song and all of its performances. Pure and perfect. (14.5/15)

Total time 37:41

This is an album that is just not what I'm in to: there's too much theatric macabrism conveyed in Arthur's melodramatic lyrics and performances. It's as if he's trying to rock opera the vampirian underworld. The use of Screamin' Jay Hawkins' iconic song as the album's centerpiece feels all-too perfect as Arthur's entire schtick feels just like the one Screamin' Jay made famous through his own song and performances. There's solid music coming from his band--his instrumentalists often commanding jaw-dropping stuff--but there is never any doubt as to who the star of the show is: it's always frontman Arthur Brown, and he usually dominates 90% of the minutes of each song.

     I should not forget to mention the wonderful and powerful use of horns and orchestral support on several songs. More of this, please!

90.0 on the Fishscales = A-/five stars; a minor masterpiece of entertaining and unusual musical theater. Arthur carves out a theatric niche that many rock, heavy metal, and goth bands will take full advantage of over the coming decades. 

June 1968 - OZ MUTANTES Oz Mutantes

 The Brazilian psych rock band's debut album. Notice: they are talented, they are clever, and they have a message they wish to serve with their music.

Line-up / Musicians:
- Rita Lee / vocals, flute, percussion
- Sérgio Dias Baptista / guitars, vocals
- Arnaldo Dias Baptista / keyboards, bass, vocals
With:
- Rogério Duprat / orchestral arrangements
- Jorge Ben / vocals & acoustic guitar (2)
- Dr. César Baptista / vocals (11)
- Clarisse Leite / piano (6)
- Dirceu / drums
- Gilberto Gil / percussion (7)
- Cláudio Baptista / electronics

1. "Panis et circenses" (3:40) a song that demonstrates the huge influence THE BEATLES' Sgt. Pepper's Lonely Hearts Club Band era has had--even on Brazil! The female vocals present a nice change for prog world. Also, I'm very glad that the band decided to sing in their own native language rather than picking up English. I love the little musique concrète finish. (8.875/10)

 
2. "A Minha Menina" (4:45) an odd but very entertaining (and even humorous) little peephole into a kind of mamba Beatnik psychedelia that may have existed in Brazil! I like this very much! Something that previews David Byrne's work of the late 1980s and 1990s as well as the Gypsy rock of bands like Les Negresses Vertes? (9/10)

3. "O Relógio" (3:32) gentle, bare-bones musical support for angelic reverb-voice of Rita Lee opens this song for the first 90 seconds--beautiful! But then the band jumps into a different room/universe of joy and ZA! partying for a minute before giving way to the somnambulant music of Rita's heaven. Brilliant! (9.5/10)

4. "Adeus Maria Fulô" (3:06) opens with some eerie cemetery/garden music with musique concrète inputs before Brazilian percussion group jumps in with a group choir presentation. Not really prog or rock but definitely interesting. (8.875/10)

5. "Baby" (3:02) an odd take on an early British approach to organ and electrified pop music. Not great--and certainly not innovative--but highly entertaining for its (intentional?) poke of fun at the early 1960s Anglo love song. (8.75/10) 

6. "Senhor F" (2:36) another excessively clever and humorous interpretation on the pop music coming out of the Northern Hemisphere in the late 1950s and early 1960s (even 1920s!) Part parody of The Beatles, part of New Orleans and Parisian jazz pop. Even the fade out, fade in, and re-fade out at the end is totally cheeky/disrespectful of The Beatles. (8.875/10)

7. "Bat Macumba" (3:10) surfer pop rock that sounds so much like the music revived by Spanish psych-rockers ZA! in the 2010s. Infectiously fun. (8.875/10) 

8. "Le premier bonheur du jour" (3:40) a turn to 1960s French Ye-ye dream pop with some brilliantly paired musical and vocal arrangements. I could live off of this type of music! It's almost Gamelan! (9.75/10) 

9. "Trem Fantasma" (3:19) more wild ZA!-like indigenous music to open this one before stopping and resetting into a musical form that is more of a Brazilian Hollywood-surfer rock. Very nice vocal arrangements to accompany (and parody) this jazzy musical form. It sounds so much like a Brazilian/Beach Boys rendition of Donovan's "Sunshine Superman." (9/10)

10. "Tempo No Tempo" (1:49) opens like a sleepy reluctant-wake up song, it turns into something much more caffeinated with the complex, lightning fast group vocals. (4.5/5)

11. "Ave, Gengis Khan" (3:51) more totally sarcastic parody of British rock forms and styles, the facetiousness of the lyrical topic seems to give notice that the Brazilians get how corny and ludicrous some of the British song topics are. (8.875/10) 

Total Time 36:30

What I LOVE so much about this album is the total freshness of the Brazilian mind and cultural interpretation of rock, prog, psychedelia, parody, sarcasm, etc. Retention of their own cultural and musical backgrounds is the key to my enjoyment of these songs, even when they try to go Anglo ("Panis et circenses," "Baby," "Senhor F") . Plus, the engineering/production of this music is so interesting! 

90.36 on the Fishscales = A-/five stars; a minor masterpiece of early Southern Hemisphere proto-prog. this is an album that I think any and every prog lover would find very entertaining and humorous, no matter your linguistic background. One of South America's first contributions to Prog World.

June 14, 1968 - VANILLA FUDGE Renaissance

Technically considered a proto-prog, we all know the effect their hard-rock cover of The Supremes' monster hit, "You Keep Me Hanging On" had on the rock and pop world as well as the tremendous respect the rock world had for long-time journeymen, bassist Tim Bogert and drummer Carmine Appice (Cactus, Beck Bogert & Appice; Bobby & The Midnights, Boxer, Rick Derringer; Rod Stewart, King Kobra, Blue Murder, et al.), but not a lot of people know the overreach of excess that was this band's sophomore album, The Beat Goes On, or the triumph of innovation that was this album, Renaissance.

Line-up / Musicians:
- Vince Martell / guitar, vocals
- Mark Stein / organ, lead vocals
- Tim Bogert / bass, vocals
- Carmine Appice / drums, vocals

1. "The Sky Cried - When I Was a Boy" (7:41) opens with quite the bombastic barrage of sound--and not just rock instrumentation but LOUD storm noises and more--while all four musicians flail away with their volumes turned up to 11. The sound recording is not great (especially on the drums) but then what engineer and tape could tame and contain this kind of barrage? The theatric, impassioned lead vocals of Mark Stein are reminiscent of The Animals' Eric Burdon as well as many of the hard rockers to come, including those of Grand Funk Railroad, Uriah Heep, Deep Purple, and Black Sabbath. (14/15)

2. "Thoughts" (3:32) a powerful song using two vocalist in the alternating way that Uriah Heep, Grand Funk, and others would do, I'm told these lyrics are equally moving. (9/10)

3. "Paradise" (6:04) B-movie horror soundtrack organ opens this one before inane Killing Eve theme music bass and vocalese join in. It's really not until 2:20 that the song kicks into full rock form--and it's a killer--one that THE ANIMALS and ARGENT would be quite proud of. Then it reverts to cinematic theater for a church choir vocal section before exploding into the hard rockin' chorus of the title. The final minute has the band winding down into a more subdued vocal part. Interesting and creative song! (9/10)

4. "That's What Makes a Man" (4:29) opening like a FOCUS song from one of the Dutch band's early albums. Mark Stein enters as the music softens, singing sensitively in his higher-pitched almost-falsetto register. The bridge to the multi-voiced chorus is a great build with heavily distorted guitars and swelling organ chords What a well-crafted, perfectly-constructed rock song! So many hard rock bands will benefit tremendously for the example of this song and album! (9.25/10)

5. "The Spell That Comes After" (4:32) a song credited to Frank Zappa album artist Calvin Schenkel and Frank Zappa protogé, Essra Mo(w)hawk. (Will the real author please stand up!). It opens with quiet, syncopated high bass notes, gradually joined by gentle strains of organ and higher-pitched vocalese notes giving the soundscape an eerie and misty feel. At 1:45 the band finally bursts into its full rock motif--another one that previews so many dramatic hard rocking prog-related bands in the near future like URIAH HEEP, IRON MAIDEN, GRAND FUNK RAILROAD, MOUNTAIN, HUMBLE PIE, and even Andrew Lloyd-Weber's rock operas (Jesus Christ Superstar). (9/10)

6. "Faceless People" (6:07) the pensive opening 90 seconds feels based on a familiar riff/construct from classical music, but then the rock juju can no longer be contained and the band bursts forth with a nicely complex, if somewhat ragged (drums and electric guitar) motif. Still, it's not till the end of the third minute that any singing enters--and then 30 seconds later Vince Martell is encouraged to take his dirty distortion guitar to another level: launching into a very nice solo for about 20 seconds. Then we return to the rock motif for more of Mark Stein's vocals, but in the sixth minute we are privileged with a side tangent that seems to re-engage the classical side of these artists training bass for a very cool instrumental and choir finish. (8.875/10)

7. "Season of the Witch" (8:47) here the band shows how their own particular vision of how a song should and could sound still drives them as they rock/psych out for nearly nine minutes on this Donovan song (which in Mr. Leitch's catalogue was originally only three-minutes long). The song opens with another 90 second intro speckled with subtle, individual note and sound contributions in an attempt at creating a mysterious mood. This is augmented when the singer, organ, bass, and drums join in, not really changing the sparse cave-like feeling, only adding their own elements--until the choruses when they ramp it up to full rock power (though never as heavy as they did on their previous songs). Then there is the sixth minute in which Mark Stein recites some poetic theater with some great acting chops. The theatrics go well on into the seventh minute, even when Mark returns to "singing" around the 6:40 mark. The band's extreme efforts are pretty effective but never really totally persuasive--though their "failure" could have more to do with the shortcomings of the original song (which had never really impressed me in the first place). Anyway. Kudos for the attempt! It is fairly entertaining! (17.75/20)

Total Time 41:12

A great rock album that for well qualifies in the "proto-prog" category. I can definitely see how and why these musicians were in demand after the breakup of this band: they're really skilled professionals.

90.44 on the Fishscales = A-/five stars; a minor masterpiece of skillfully composed and executed proto-prog that I think all prog rockers would enjoy; it's a true "blast from the past"! 

June 28, 1968 - PINK FLOYD Saucerful of Secrets

The band's sophomore album sees tremendous growth and expansion of recording techniques and musical ideas. Was this album the signal of the actual birth of progressive rock music?

Line-up / Musicians:
- Syd Barrett / acoustic & slide guitar (2), guitar (3,7), lead vocals (7)
- David Gilmour / guitar & kazoo (1,3-6), vocals (1,4), voice (5)
- Richard Wright / organ, piano, Mellotron, vibraphone, xylophone, tin whistle (7), lead vocals (2,6), vocals (1,4), voice (5)
- Roger Waters / bass, percussion, lead vocals (3), vocals (1)
- Nick Mason / drums, percussion, vocals (4), kazoo (7)
With:
- Norman Smith / drums & backing vocals (2), voice (4), producer
- Stanley Myers Orchestra / brass (4)
- International Staff Band (Salvation Army) / brass band (7)

1." Let There Be More Light" (5:38) opens with a guitar and bass riff that must have been an inspiration and model for Grand Funk Railroad's iconic song "I'm You Captain (Closer to Home)," but then the instruments fill out with organ and drums, both slowly panning across the sonic field in opposite directions until 1:25 when the music thins out and settles into a CREAM-like blues rock pattern over which some two different and unusual vocal approaches alternate, on with multiple voice whispers and soft accompaniment, the other with background and very aggressive organ-led rock bombast. A long guitar solo occupies the fifth minute with one standard guitar soloing up front (constantly panning around) and another freak-out guitar squealing away in the back left. Interesting song that definitely goes beyond the usual psychedelia of the day. (9/10)

2. "Remember a Day" (4:33) an interesting song for its many familiar riffs and parts that have been masterfully synthesized into something totally new and fresh. Piano and guitar play together while Richard Wright occupies the mercurial lead vocal spot with a gentle, breathy style. Syd's slide guitar is all over the place, but then, Richard's Colin Blunstone-like vocal is sliding all over the wide sonic field. The use of really odd minor chords within a context of more standard pentatonic blues is really fresh--giving the song a kind of classical music feel. Quite ingenious songwriting and production. (9.25/10)

3. "Set the Controls for the Heart of the Sun" (5:28) this is perhaps the only song from the Syd Barrett-era of Pink Floyd that I've actually ever really liked. I love how well-recorded Richard Wright's vibes and keys are. (9/10)

4. "Corporal Clegg" (4:12) with this heavier song the band seems to be reaching back into THE BEATLES' repertoire for inspiration "Being for the Benefit of Mr. Kite," "Yellow Submarine"), but, as usual, the band doctor it up with plenty of inventive sound engineering and stylistic juxtapositions. The song is very theatric, using multiple voices in stage-like character performance roles. The use of kazoos and marching band drums at the end are so Sgt. Pepper/"Yellow Submarine." I don't dislike it but it loses its novelty in the face of all that the Beatles had done before. (8.5/10)

5. "A Saucerful of Secrets" (11:57) timpani and other percussive noise thingies populate the sound feel behind a macabre soundscape of organ, brass, Mellotron, and effects for the first four minutes of this one, giving the listener the feeling of being either in an amusement park's "house of horrors" or else a Loony Toons-imagined version of other planets. Around the four-minute mark cacophonous butt-sitting piano play and militaristic drumming are embellished by plenty of fly-by guitar squeals, screams, and crashes. Storm thunder interrupts the song around 7:15 allowing a kind of reset/start-over as organ, timpani, and percussives begin to repopulate the soundscape over the next minute. Progressing sustained organ chords then dominate--almost solo--for the next 90 seconds before other incidentals begin returning to the field's background. At 10:15, choral vocal "ahhs" and Mellotron join in, amplifying the organ's chord progression, multiplying as the song continues right up to the end. I can definitely see where Mike Oldfield got some of his inspiration for his first two or three albums. Quite a remarkable expansion of what is possible with musical expression! (23/25)

6. "See-Saw" (4:36) to go into this dreamy, French-sounding psychedelic pop song (something that must have inspired the founders of STEREOLAB immensely) is quite a ballsy move. Piano, jazz bass and drums, with Mellotron strings. Brilliant! This happens to be Richard Wright's second turn on lead vocals and I must say he's very effective over and within the controlled chaos going around him in the sonic field. What a delightful, fun, and truly beautiful song! (What killer chord sequences!) Not the most innovative music or song but it hits all of my pleasure buttons (including the incorporation of a little The Soft Machine's self-deprecating humour). (9.6667/10)

7. "Jugband Blues" (2:59) were the Beatles playing jugband music when they did some of their silliest, most "drunken" psychedelic songs? The "la-la-la" infinite choir and village square oompah band is brilliant. And then Syd returns with a solo-with-acoustic guitar verse. (8.6667/10)

Total Time 39:23

This is definitely the proggiest album I've heard from 1968--maybe the only one that could/would qualify as a true progressive rock album (as opposed to proto-prog or prog-related). 

90.69 on the Fishscales = A-/five stars; a minor masterpiece of early progressive rock music that deserves major credit and kudos as a major innovator in the possiblities of both multi-track recording and song expression. 

July 1968 - DEEP PURPLE Shades of Deep Purple

The iconic band's debut album. The question being asked here is: Can a record label mold a group of musicians with very heavy inclinations into a radio-friendly pop band?

Line-up / Musicians:
- Rod Evans / lead vocals
- Ritchie Blackmore / guitars
- Jon Lord / Hammond organ, backing vocals
- Nick Simper / bass, backing vocals
- Ian Paice / drums

1. "And the Address" (4:38) an instrumental jam in which the band shows off its musicianship and stylistic preferences, here within a heavy rock chord progression. The sound engineering (recording clarity) is weak yet the instruments can be heard and distinguished. There is definitely something in the way the musicians play (and add subtle flourishes here and there) that makes me think of full-blown 1970s prog. (8.875/10)

2. "Hush" (4:24) the band's first hit has a familiar 1960s feel to it with an Elvis-like vocal performance with its renowned "nah, nah-nah nah" line. The musicians' tightness is notable: they're all so tightly in the pocket. (9.125/10)

3. "One More Rainy Day" (3:40) multi-tracked lead vocals and b vox during the choruses gives this rather simple song a very pop orientation. At the same time, each of the instrumentalists is adding their own fill nuances, convincing me that they are really skilled musicians. (8.875/10)

4. "Prelude: Happiness / I'm So Glad" (7:19) a fairly simple and almost-monotonous song (especially, but only, the lyrics/vocals) on which the band try to produce something anthemic. (13/15)

5. "Mandrake Root" (6:09) an HENDRIX-style sound and structure gives the band members ample opportunity to show that they have chops--especially Ian Paice. (9.33333/10)

6. "Help" (6:01) here the band displays more of their independent vision with a totally unique take on The Beatles classic hit--sounding as if they're playing in the sacristy of an Aquarian Age church. (8.75/10)

7. "Love Help Me" (3:49) the band (or producers/record company) trying to fit a heavy rock band into a contemporary pop song. Sorry, but the band's proclivity for heavy slash-and-burn outweighs any sunny pop intentions. (8.75/10)

8. "Hey Joe" (7:33) opening with a motif that is very much like Jefferson Airplane's "White Rabbit," we get an extended instrumental intro (almost two-and-a-half minutes with some very nice organ soloing from Jon Lord) before there is a sudden transition into the classic Hendrix version of "Hey Joe" at 2:25. Rod Evans vocal performance here is my favorite on the album and the others do a remarkable job of taking The Experience's masterful version even further. (14/15)

Total Time 43:33

Despite relying on covers and imitation, Deep Purple proves that they have chops and they have vision.

89.68 on the Fishscales = B+/4.5 stars; a near-masterpiece in which some highly-creative and -skilled musicians try to conform to the expectation of fitting their expansive vision and style into the clothing of some very simple rock compositions. The band shows that it can work but that they really need different clothes--ones of their own design and imagination.   

July 19, 1968 - FAMILY Music in a Doll's House

The first Peter Gabriel, who preferred to be called "Roger Chapman," arrived on the pop scene a full month before Mr. Gabriel and his Charterhouse mates ever recorded a note for their own debut album (though Genesis' first single, "The Silent Sun," backed with "That's Me," was recorded in December of 1967 and released in February of 1968). Recorded at Olympic Studios in December of 1967 and early 1968, Family's album was released on July 19, 1968.

Line-up / Musicians:
- Roger Chapman / lead vocals, harmonica, tenor saxophone
- John 'Charlie' Whitney / lead & steel guitar
- Jim King / tenor & soprano saxophones, harmonica, vocals
- Rick Grech / bass, violin, cello, vocals
- Rob Townsend / drums & percussion

1. The Chase (2:14)
2. Mellowing Grey (2:48)
3. Never Like This (2:17)
4. Me My Friend (2:01)
5. Variation on a Theme of Hey Mr. Policeman (0:23)
6. Winter (2:25)
7. Old Songs, New Songs (4:17)
8. Variation on a Theme of the Breeze (0:40)
9. Hey Mr. Policeman (3:13)
10. See Through Windows (3:43)
11. Variation on a Theme of Me and My Friend (0:22)
12. Peace of Mind (2:21)
13. Voyage (3:35)
14. The Breeze (2:50)
15. "3 x Time" (3:48) Anachronistic music with acoustic guitars, gentle folk vocals, publican percussives, and a troubadour nose flute (or kazoo). The song turns Beatles Sgt. Pepper at the two-minute mark--two motifs worth. (9/10)

Total Time 36:57

The first time I heard this album (only two or three years ago, now) I found myself thinking--almost immediately--"So this is where GENESIS got their sound"--at least the sound that they displayed on their first album, now known as "...from Genesis to Revelation." The instrumental effects, the song stylings, and especially the vocal stylings and effects used by Peter Gabriel imitate those of Family and Roger Chapman, respectively, quite strikingly. The Charterhouse lads' first album was released nine months after this one so it is quite likely that Peter, Tony, Ant, and Mike were familiar with the album--especially as it did not take long for The Family's acclaim to vault it into the same conversations with fellow psychedelic rockers Pink Floyd, Soft Machine, The Move, and The Nice. Anyway, to Music in a Doll's House (which, for some reason, is one of my all-time favorite album titles). There are an alarming amount of stylistic varieties represented here--especially remarkable for a first album release. Producer DAVE MASON did a great job of capturing the essential spirit of each song in these relatively short song formats. There are a lot of blues- founded songs--especially in the middle of the album (7/ "Old Songs, New Song" through 10. "See Through Windows") but it is the more unusual, treated Chappo-vocal songs that verge into the realm of psychedelia that intrigue and interest me most (especially in the way I feel I'm listening to "..from Genesis to Revelation" Peter Gabriel), like "The Chase," "Me My Friend," "Peace of Mind," "Voyage," though the more folk-oriented Cat Stevens-like songs like "Mellowing Grey" "3 x Time" are also intriguing. I also adore the three little "Variations" (on themes). I could feast on a little more of those! A great album from an amazing period of music. Not essential as a landmark or hallmark of progressive rock music but definitely an excellent addition to any prog lover's collection!

July 26, 1968 - THE MOODY BLUES In Search of the Lost Chord

The band's follow up to its mega-successful landmark album, Days of Future Passed shows marked influence from The Beatles recent work as well as, perhaps, the psychedelic inputs of mind-altering experiences provided by experimental drugs and Indian cultural and musical traditions.

Line-up / Musicians:
- Justin Hayward / electric & acoustic (6- & 12-string) guitars, sitar, bass, piano, Mellotron, harpsichord, tablas, bass, percussion, lead vocals (2,7,9,10)
- Michael Pinder / piano, Mellotron, harpsichord, acoustic guitar, bass, autoharp, cello, lead vocals (2,8,12), spoken voice (11)
- Ray Thomas / flutes, soprano saxophone, lead vocals (2,3,5,12)
- John Lodge / bass, acoustic guitar, cello, tambourine, snare drum, lead vocals (2,4,6)
- Graeme Edge / drums, timpani, tambourine, tablas, piano, spoken voice (1)

1. "Departure" (0:44) here we go again: a spoken word intro to an album means we're probably in for a Days of Future Passed-like adventure.

2. "Ride My See-Saw" (3:38) solid psychedelic rock music with the near-patented Moodies harmonized group vocals over the top. I must say that Justin Hayward's lead guitar is surprisingly good: aggressive and decisive. The vocal melodies are pretty engaging but its the tambourine and bass combination that get my attention. Well played, Graeme Edge. (8.875/10) 

3. "Dr. Livingstone, I Presume?" (2:58) another band that feels compelled to imitate the almighty BEATLES, here a melancholy as-if disinterested "Yellow Submarine" like vocal and music. The chorus, at least, is original and highly alluring. Yes, We're all looking for someone. (8.875/10)

4. "House of Four Doors" (4:12) there's the Mellotron! Starting out with the choral vocals and then switching to single lead for part two of the verse is interesting. Graeme Edge's drumming has become very Ringo Starr-like. I love the anachronistic acoustic interlude at the end of the second minute, and then an even further dive into Baroqueness with the introduction of the harpsichord at the end of the third. The classical bombast in the first part of the fourth minute is a bit much--as if Liberace had just walked in. An interesting if ultimately weird and disjointed song. (8.875/10)

5. "Legend of a Mind" (6:36) Timothy Leary's dead? No, he's on the outside looking in! I guess this might tell us where the band might have been getting some of its psychedelic inspiration. The sound palette and engineering here is, fittingly, quite unusual with its partially muted parts. At the two-minute mark the motif shifts into something more trotting for the next installation of the story. Then there is a mediæval pastoral instrumental section with some Indian-like cello slides. An interesting and proggy song but nothing Earth-shattering or worth writing home about. (8.75/10)

6. "House of Four Doors, Pt. 2" (1:47) great orchestral opening with Mellotron and timpani and bass. Then the vocal choir returns to recant the main melody of song #4. (4.5/5)

7. "Voices in the Sky" (3:25) a very pleasant acoustic-oriented song that feels/sounds like a song from Justin Hayward's great 1975 BLUE JAYS release with John Lodge. Though nothing groundbreaking, this would make a good John Denver or Dave Mason song. (8.75/10)

8. "The Best Way to Travel" (3:14) fading in with multiple strumming acoustic guitars, once the bass, drums, and vocals arrive it feels all BEATLES. Again Graeme Edge's drumming is so Ringo Starr-like. At 1:04 the music suddenly cuts out leaving space for some doppler effect rapid pitch descents repeated over and over, spaciously, until the third minute when everybody returns to what they were doing before the "break"--with the slight addition of a rather annoying squeak repeating itself every second. (8.66667/10)

9. "Visions of Paradise" (4:15) flute and acoustic guitar picking open this one with some very pleasant chords and melodies. "Distant" voices join in at the 0:30 mark with sitar and banjo, singing its lyrics in another very pleasant melody that weaves harmonically with the other instruments. I like this very much; it sounds mature and sophisticated yet expresses itself with nice delicacy. Also, I love the growing confidence Justin Hayward exudes on the sitar as the song progresses. Exquisite flute playing, Ray Thomas. A top three song for me. (9.25/10)

10. "The Actor" (4:39) using flute and acoustic guitar picking again, the melodies here are ver yfamiliar as if they come from/were left over from their previous album, the classic Days of Future Passed. I especially like the fullness of the Mellotron-drenched choruses. Another top three song. (8.875/10)

11. "The Word" (0:48) a standard Moody Blues poetry reading, here by Mike Pinder, this time introducing a song. Powerful.

12. "Om" (5:44) Indian instrumentation here dominate as the band members take turns singing BEATLES-esque from different vantage points in the sonic field sounding a bit like "A Day in the Life." I love the sound of Indian instruments--especially when played by native Indian musicians. 'Nuff said. Still, not many Western bands/musicians in the 1960s did as nice a job without the help/presence of Indian musicians as these guys do here. Great finish to this album. (9/10)

Total Time 42:00

88.86 on the Fishscales =  B/four stars; an excellent addition of psychedelic acoustic-dominant early prog that rises above its tendencies toward Beatles imitation.  

August 1968 - ULTIMATE SPINACH Behold and See

Boston-based Ian Bruce-Douglas' hippie psychedelia reaches its peak and pinnacle with its second album released in the same calendar year. Production and sound have reached different levels since the January debut as has Ian's delegation of the performance spotlight has opened up to more of the other band members.

Line-up / Musicians:
- Ian Bruce-Douglas / Guitar, Harmonica, Keyboards, Wood Flutes, Vocals
- Barbara Hudson / Vocals, Guitar
- Geoffrey Winthrop / Lead Guitar, Sitar, Vocals
- Richard Nese / Bass
- Keith Lahteninen / Drums, Vocals
- Carol Lee Britt / Guest Vocalist

1. "Gilded Lamp of the Cosmos" (2:30) another West Coast psych-blues rock song with bluesy female lead vocals (courtesy of "guest vocalist" Carol Lee Britt) in the vein of Country Joe and The Fish or The Holding Company. The music is clothed different (I think better) sound production. (8.66667/10)

2. "Visions of Your Reality" (5:49) a little more rock-oriented psych blues rock, less folk-spruced, as Ian performs with more of a "serious" blues rock vocal than his theatric philosophic rant style of the previous album. Some elements are improvements showing growth, others showing movement toward standardization and  conformity. I miss the reckless abandon of the old hippie social-political commentary lyrics. (8.66667/10)

3. "Jazz Thing" (8:20) melodic and slightly jazzy, Ian seems to be trying on a lot of new clothes--here some Dave Brubeck-Van Morrison. It's okay, but I really liked the naked naïveté of his earlier music. (17.5/20)

4. "Mind Flowers" (9:38) one of Ian's hypnotic celebrations of psychedelia. The sound Petri Walli would perfect 25 years later. I do like the increased volume in Ian's expression--both through his vocal as well as in the guitars and organ. The examples of Jimi Hendrix and Jim Morrison are having an effect. (18/20)

5. "Where You're At" (3:10) back to the rockin' San Francisco heavier psychedelia with Carol Lee Britt again lending her vocal talents to the front. The quick three-chord rhythm guitar foundation gets a bit old rather quickly but the choir vocals and continuously playing fuzz guitar lead are interesting. (8.75/10)

6. "Suite: Genesis of Beauty (In Four Parts)" (9:56) another four-part suite starts out with electric piano leads this blues-rock styled music over which "church choir" sings the main lyric. Then, in the more familiar MAMMAS & PAPAS blues-rock pop style, Ian takes the lead vocal while the "church choir" provides "ooo's" in the background. The third part moves back into the church in the form of a solo pipe organ playing a fugue variation of some kind of "ode to joy"-like theme in a way that becomes more familiar to the non-classically-oriented public through the likes of Keith Emerson and Rick Wakeman. It's actually very interesting and nice. The fourth part sees a return to the opening part in all aspects including melody and choir-presented lyrics. Very interesting. (17.75/20)

7. "Fifth Horseman of the Apocalypse" (5:50) an instrumental Dylan-like song: complete with electric guitar sound and harmonica play above the electric bass and drums. In the final third of the song the instrumental palette moves back toward a Baroque and then church-like orientation. It's nice, but the pure fact of absence of any vocals--Ian or otherwise--only lends credence to my assertion that Ian is trying to be more of a "serious" musician and less of an "original ideas" pusher. I respect his wishes--as well as his desire to grow and branch out as a musician--but I really do miss the arrogant, brash independent spirit being almost-recklessly expressed on the first album. (8.875/10)

8. "Fragmentary March of Green" (6:51) an interesting song for its almost-church-choir presentation of its lyrics over some rather innocuous music in which Ian gets back to his social-political commentary as dominant in his debut album. I like the lyrics, and am amused by his choice of how to present and express them, I just wish the music weren't so dull. (But then, the dull, plodding nature of the music may in fact be the perfect complement to his lyrics and their indictment of modern laziness.) (13/15)

Total time: 52:04

The "improvements" in sound engineering and vocal performing feel like a "cop out" toward conformity while a loss of the naïvely (and headstrong) courageous originality that flavored the debut so strongly. This album is like an artist trying to make music whereas the first album was more like a creative trying to express his ideas using musical theater. Though there are some interesting high points, I 

88.01 on the Fishscales = B/four stars; a slightly better production of mostly conformative music that tones down Ian's formerly unique and highly-creative and -individualistic expression of ideas and spirit. 

August 1968 - THE MANDRAKE MEMORIAL The Mandrake Memorial

Sounding as if they were coming out of the folk-rock scene, this Philadelphia-based band attempted to enter the psychedelic pop scene with this album and its interesting if under-developed and poorly produced ideas. 

Line-up / Musicians:

- Craig Anderton / guitars, electronics, sitar
- Michael Kac / keyboards, voices
- Randy Monaco / bass, voices
- John Kevin Lally / drums

1. "Bird Journey" (2:40) using harpsichord and sitar with country rock instruments gives this song an odd psychedelic sound and feel--as if a band just threw in the kitchen sink and hoped it would work. The lyrics most definitely land it firmly in the realms of psychedelia. (8.875/10)

2. "Here I Am" (3:50) more harpsichord and rock instrumentation forming a pretty standard folk-rock like hippie pop song. The harpsichord gets a little more action on this one. (8.75/10)

3. "Rainy May" (3:45) a gentle, dreamy folk pop song with a nice vocal performance and lilting melodies. Perhaps not enough else going on to warrant top scores--even with the tempo shift in the third verse and chorus. Still, this is effective enough to worm its way into one's brain. (8.875/10)

 
4. "This Can't Be Real" (3:45) (unavailable)

5. "Dark Lady" (4:14) after a rather tinny harpsichord opening, the band checks in with full sitar work leading the way. The problem with the verses lies in the monotony of the two chord structure, while the choruses are a bit more interesting. The guitar solo in the instrumental interlude at the end of the third minute is interesting, and then again I hear an interesting female voice singing back-up harmonies. Why is she uncredited? (8.75/10)

6. "House Of Mirrors" (2:28) this one sounds a little too much like a very slight variation on the previous song. Is the band's creative stores drying up? The "heavy" fuzz guitar and droning Brit vocal (a bit like Paul Weller in The Jam) aren't quite enough to elevate this one much above the others. (8.875/10)

7. "To A Lonely" (3:50) (unavailable)

8. "Strange" (3:55) slow and plodding with piano, bass, cymbal-less toms, and sitar-sounding electric guitar (or electric sounding sitar) with poppy plaintive vocal over the top make for odd bedfellows. Trying to be a creepy Beatles song? At 2:20 the band bursts into life with some crashing drums and wailing electric guitar before reverting to quieter bass and electric piano with snare and drum kit--all the while the lead singer continues to try to sing in his soft, creep voice. Weird. (8.75/10)

9. "Next Number" (4:11) quirky synth/keyboard-and-bass rhythm track accompanied by what sound like a machine-driven plastic drum while harmony vocals try to carry the listener from behind or within the mix! More odd lead guitar work (on multiple tracks?) Just weird enough to be interesting. (8.75/10)

10. "Sunday Noon" (7:08) opens with an intriguingly mature sounding instrumental palette and chord progression. Harmonized lead vocals enter using the now-familiar gentle near-folk approach. Toms and Byrds-like picked electric 12-string take over to carry out a prolonged instrumental section over more electric piano chord play and grounding bass. The sound engineering and mix could be better but at least it is interesting. The fifth minute sees the synth-harpsichord return to the fore for a prolonged "Light My Fire"-like solo. The most interesting and best song on the album. (13.375/15)

Total Time 39:46

Overall this album shows a band starting out with an ambitious goal of creating interesting and unique psychedelic pop music. The band's next two albums will prove how willing they are to do the hard work to bring their music up to the "A level."

88.24 on the Fishscales = B/four stars; a very interesting collection of high-reaching songs from a still-developing band. Not a great album for sound engineering but interesting from a creative perspective. 

August 1968 - BLUE CHEER Outsideinside 

Only seven months after the release of their debut album, Vincebus Eruptum, the power acid blues rock metal trio is back with another album--this one under the guidance of experienced hard rock engineer Eddie Kramer.  

Linup / Musicians:
- Dick Peterson / Bass, Vocals

- Leigh Stephens / Guitar

- Paul Whaley / Drums

• 
  

1. "Feathers From Your Tree" (3:29) a heavy rock song with some innovative electric guitar playing in the third minute (that is all-too brief). My question is: So, who's playing the piano? (8.75/10)

2. "Sun Cycle" (4:12) I wish the electric bass, vocals, and drums could have been recorded so that they sound like they're on the same stage, but that is one of the new advantages of multi-track stereo recording: room to experiment and play. In the meantime, Leigh Stephens' guitar is panning all over the soundscape, soloing rather impressively from start to finish. Because of this fact, the vocal and lyrics fall into the background of inconsequentialities. (9.25/10)

3. "Just A Little Bit" (3:24) The flanged drums let drummer Paul Whaley be known: the man is on fire (perhaps even literally--at least for the first 1:40). Dickie Peterson's vocal performance is so strong and unbound it makes me think of both Little Richard and James Brown but with the angsty psychedelia of the next decade's punk rockers (putting The Who to shame). Not a particularly great or memorable song, there are (8.75/10)

4. "Gypsy Ball" (2:57) previewing BLUE ÖYSTER CULT's "Godzilla"--both in main riff, tempo, and vocal timbre and style. It's probably intended as a take on Jimi Hendrix's style of delivering melancholic, sarcastic malaise-drenched vocals. (8.875/10)

5. "Come And Get It" (3:13) mix The Hendrix Experience, Clapton's Cream, and some Alvin Lee or Ten Years After and this is what you might get. (8.875/10)

6. "(I Can't Get No) Satisfaction" (5:07) the band's heavier, faster, and punkier version of the Rolling Stones classic hit. Tongue-in-cheek? (8.75/10)

7. "The Hunter" (4:22) a bluesy foundation is given a British pop-rock vocal. I don't think the boys invented the term "love gun" nor would they have been the first to sing about it, but I doubt if there's been a more insistent or descriptive song about it before or since (unless it was by Spinal Tap). (8.875/10)

8. "Magnolia Caboose Babyfinger" (1:38) a little Hendrix-like blues-rock guitar jam. (4.3333/5)

9. "Babylon" (4:22) heavily wah-wah-ed guitar leads this one but there are other tracks devoted to a second guitar (in the background) and multiple mics dedicated to the drums, otherwise this is a very standard blues song that's been rockified in the way that Stevie Ray Vaughn will perfect in the 1980s. I do, however, really like bassist Dickie Peterson's way of taking his way beyond the blues with his rock sounds and flourishes. It's a very bizarre and not entirely-cohesive song with some heavy implications for future musicians. (9/10)

Total time: 31:45

The fact that Hendrix and Kingston Wall are considered prog-related but this band is not is simply ludicrous. Blue Cheer are pioneers and creative innovators who should be studied and lionized.

88.77 on the Fishscales = B/four stars; an excellent and truly original band that trailblazed sounds and recording techniques that inspired many future musicians and creative sound engineers.

August 1968 -  FRANK ZAPPA and the Abnuceals Emuukha Electric Symphony Orchestra Lumpy Gravy (Recorded in May & June of 1967; unofficially released in June of 1967.) 

I only discovered this amazing album upon embarking upon my recent historical research into the advent of the "prog epic" (long-playing multi-part songs or "suite" as well as extended jams and side-long songs). I absolutely love the music here: so much fusion and experimentation within so many musical genres, including jazz, big band jazz, cinematic scoring, classical, Latin, avant-garde, and, of course, rock and pop. As everyone knows, the music is presented within the flow of a kind of burlesque of the mundane life of the Everyman. At first I thought that the album-long radioplay was intended to serve as the interludes for the music, but now I'm almost convinced that the music serves more as the cinematic interludes within the burlesque. My reason for this conversion is due to the extraordinary amount of editing and overdubbing and sound effects applied to the spoken word passages. I mean, yes, the music is intricate and complex--and often stunningly beautiful--but the radioplay is even more so. Plus, the amount of time dedicated to the wacky dialogue scenes (or skits--which HAD to have inspired/motivated future comic legends, Cheech and Chong) eventually exceeds that given to the music! Because of my reverence for all things Cheech and Chong, the excellent (and highly inventive) engineering and production here, as well as for the often-jaw-dropping, envelope-pushing music, I am fully persuaded to give this album full marks. People! This was early 1967 (though the record company delayed the official release date to May of 1968)! The progressive progression to the phenomenon we like to call progressive rock music doesn't get more progressive than this!

August 18, 1968 - JEFFERSON AIRPLANE Crown of Creation

After becoming America's most popular band in 1967--an achievement fueled by their significant contributions to their own West Coast's "Summer of Love": a rigorous schedule of touring, two Top 20 Album releases (one platinum selling) and four top 60 singles (two Top 10)--the band was able to continue to create and serve at this peak level with this, their one and only album release of 1968 (and two minor hit singles). A whole-band collaborative effort, almost all the songs were composed or arranged as a collective though some outsiders were allowed in (David Crosby, Tim Davis, Frank Zappa & The Mothers of Invention, Gary Blackman, Bill Goodwin) for their valued contributions.

Line-up / Musicians:
- Grace Slick / vocals, piano, organ
- Marty Balin / vocals, rhythm guitar,
- Jorma Kaukonen / lead guitar, vocals
- Paul Kantner / rhythm guitar, vocals
- Jack Casady / bass
- Spencer Dryden / drums, percussion, piano, organ, vocals
With:
- Gary Blackman / nose (1), co-composer (7)

- Charles Cockey / guitar, vocals
- David Crosby / guitar, co-composer (3)
- Tim Davis / congas
- Bill Goodwin / talking drums
- Dan Woody / bongos
- Gene Twombly / sound effects
- Frank Zappa / leader (13)
- Ian Underwood / piano & woodwinds (13)
- Donald Preston / keyboards (13)
- Arthur Tripp III / drums & percussion (13)

1. "Lather" (2:55) the B-side to the album's second single release, the album's title song, it is based in acoustic guitar and electric bass with a rather unusually vulnerable vocal from lead singer and composer Grace Slick. "Nose" player Gary Blackman presents his unusual talents after the first verse. Grace's feigned Irish accent is fine but the constant stream of theatric musique concrète voices and effects going on beneath are not only distracting but diminishing to her own performance. (8.875/10)

2. "In Time" (4:10) acoustic guitars highlight this Paul Kantner and Marty Balin composition while Marty sings the lead with some insistence. This is the second song in a row that feels as if the band are trying to emulate folk rockers from the British Isles--here SPIROGYRA (Martin Cockerham) or COMUS (Roger Wootton). (8.875/10)

3. "Triad" (4:50) a wonderfully-nuanced acoustic guitar-based folk-rock song about polyamorous relationships (composed by The Byrds' David Crosby but rejected by his own band) with a great Grace Slick performance as the lone vocalist. My favorite song on the album. (9.5/10)

4. "Star Trek" (3:08) back to the electric side of things, with Paul Kantner getting extensive play on his newly-acquired wah-wah pedal. Fair but nothing so very remarkable (even considering the title and implied subject matter). Marty Balin's lead vocal is just too dull. (8.66667/10)

5. "Share A Little Joke" (3:07) the B-side to the album's first single release, "Greasy Heart," the Balin-penned song gets a nice vocal performance from its composer and some interesting multi-motif music. Those toms that Spencer Dryden has been hammering for the past two songs are getting very annoying. In fact, his drums in general are recorded a little too brightly or forward or something. Still, I like the song shows a little of the band's experimental side, which I like--and its ending. (9/10)

6. "Chushingura" (1:16) Paul Kantner's response to the Japanese film of the same name. Oscillators, hand drums, manipulated guitar strings. (4.25/5)

7. "If You Feel" (3:21) another Marty Balin contribution--this time with friend Gary Blackman's help--it sounds almost as if he's trying to create an anthemic song for some kind of human potential rally or church revival. The drums are overboard, the bass rather loose, and too much leeway is given to Paul Kantner's play on his new toy (the wah-wah pedal). (8.33333/10)

8. "Crown Of Creation" (2:53) the second single release. Unfortunately, the song is trying too hard to be driven more by its high-brow philosophical human-potential ideas rendered in obtuse Jon Anderson-like lyrics than melodies or earworm hooks. Horribly sloppy drumming, disappointingly simple bass and rhythm guitar work with okay lead guitar work and nice multi-voice vocal performances and arrangements just don't all gel the way one would hope. (8.75/10)

9. "Ice Cream Phoenix" (3:02) a song that feels as if the band is "going back" to its blues- and folk-rock roots shows a little maturity and experience but at the same time suffers from the pervasive anti-establishment attitudes of the zeitgeist of San Francisco in 1968. I wonder what the band members would think when they listened to these songs in their middle and elder ages. Probably a lot of embarrassed cringing. (8.66667/10)

10. "Greasy Heart" (3:19) the first single released from the album. It and its companion song, "Lather," were recorded in February at RCA studios, while the rest of the album's songs were more carefully pieced together between March and June in the new basement studio of the band's newly acquired communal home, called "The Mansion," located directly across from San Francisco's Golden Gate Park. The song sounds very much as if Grace is trying to capture the power and force that she projected in her breakthrough performances from Surrealistic Pillow. (8.75/10)

11. "The House At Pooneil Corners" (5:48) striving for more return to the heavier side of rock 'n' roll the band turn on (and up) the amps and fill the sonic field with controlled chaos and multiple voice vocals from the famed tandem of Grace and Marty. The lyrics seem to express a kind of prophetic/apocryphal vision that is probably intended to raise anti-war sentiment. Not a bad song made better for the lyrics. (8.875/10)

Total time 37:49

88.37 on the Fishscales = B/four stars; a collection of diverse songs from a fully-functioning if slightly-fogged collective of rock stars riding high on their newly acquired fame. Not for everyone--and not much of a forward contribution to the birth of progressive rock music--but a satisfactory representation of its time.

August 1968 - SWEETWATER Sweetwater

When you're fronted by a very strong singer who belongs in the same club as Grace Slick, Janis Joplin, Annie Haslem, and Julia Holter, your chances for success are pretty strong. So, why had I never heard of this band (except as a similar name for the made-up cover for Led Zeppelin in the Cameron Crowe bio pic, Almost Famous: Stillwater)?

Line-up / Musicians:
- Nancy Nevins / vocals
- R.G. Carlyle / guitar, bongos, backing vocals
- Alex Del Zoppo / keyboards, backing vocals, arrangements
- Albert Moore / flute, backing vocals
- August Burns / cello
- Fred Herrera / bass, backing vocals, arrangements
- Alan Malarowitz / drums
- Elpidio Cobian / congas, percussion

1. "Motherless Child" (5:09) So, don't you want somebody to love? Lead singer Nancy Nevins has a powerful, professional voice, even if it is a carbon copy of two other iconic Nice flute play. (8.75/10)

2. "Here We Go Again" (2:34) a nice composition that, unfortunately, represents a blending of Jefferson Airplane and The Association's harmonized male choir vocals for accents/tandems to Nancy's lead. (8.75/10)

3. "For Pete's Sake" (2:53)  a little jazzy ditty with great fell, harpsichord, and totally wordless choir vocals that reminds of The Mamas & The Papas. (Was Lou Adler involved with the production of this album?) Very happy and catchy. (9/10)

4. "Come Take a Walk" (3:51) a very pretty, warm and engaging song that almost feels like a white singer's attempt at a heart-felt R&B performance. Bongos, drums, gentle bass, organ and, of course, active flute support Nancy's masterful vocal. The flute, electric piano, and drum finish is very fun. (9/10)

5. "What's Wrong" (4:04) open social commentary over Latin-based rhythms and instrumentation, the whole-group choir lyrics are accented by a few individual performances--especially from Fred and Nancy. (8.875/10)

6. "In a Rainbow" (3:18) more music that sounds like Lou Adler or John Phillips might have been involved (I know they weren't) with another Latin-flavored palette over which Man! Nancy Nevins' voice sounds just like current West Coast vocal sensation Julia Holter! (9/10)

7. "My Cyrstal Spider" (3:57) Nancy moves back to her Grace Slick-like power voice over this very cool, very-creative, heavily-engineered song. A top three for me to be sure! (9./10)

8. "Rondeau" (1:19) like a pop-version of a classical choir piece. Interesting and not unpleasant. (4.33333/5)

9. "Two Worlds" (3:59) more Baroque harpsichord pop with Nancy's Mama Cass/Grace Slick power vocals; this one crossing into territory made familiar by artists like Nancy Sinatra and Petula Clark as well. The male "bah-bop" choir vocals accenting Nancy's performance from the background are also quite stereotypic for this era of music. Great instrumental palette and recording. (8.875/10)

10. "Through an Old Storybook" (2:35) delicate music from harpsichord, flute, cello, picked acoustic guitar, and tuned metal percussives precede the entry of the LETTERMEN-like gentle male choir vocals. Nancy's joinder to the choir adds a nice little nuance--sometimes with her harmonies, sometimes through her counterpoint--sounding/feeling not unlike ANNIE HASLAM's contributions to her band, Renaissance's sophisticated compositions. (9/10)

11. "Why Oh Why" (3:01) turning to a more raucous Country R&B sound and style, the band launches into a very unique and idiosyncratic song that sounds like it could come from the Carter family or some other Southern Baptist choir. Interesting--and talented! (8.875/10)

Total Time: 36:06

A very collection of very creative, very well-crafted and skillfully rendered and engineered songs that expand upon the power psychedelic rock of Jefferson Airplane and other early Latin- and Baroque pop bands. I must repeat my praise for the rather exceptional sound recording/rendering and engineering: the vocals and instruments are all so clear and distinguishable. As was the pattern at the time (especially in the West Coast music scene), there is a lot of social commentary and consciousness-raising attempts in the lyrics--especially the songs credited to Fred Herrera. 

89.01 on the Fishscales = B+/4.5 stars; a near-masterpiece of very creatively-crafted and superbly-rendered psychedelic and often-sunshine pop songs. Highly recommended to any self-respecting "prog lover." 

(Recorded March 27 & 28, 1968) - TERRY RILEY In C

After composing and then practicing and performing this piece for three or four years--sometimes in the context of all-night concerts--Terry finally gets to render this unto vinyl. Columbia (CBS) Records orchestrated this recording in Buffalo, New York at the Center for Creative and Performing Arts at State University of New York, Buffalo with a significant number of overdubs occurring in the editing and mixing processes.

    While Columbia Records' release date of this album has been a real challenge to track down (it continues to elude me), we know it was recorded in March. We can only assume it had a 1968 release. My guess is that it was probably released somewhere between May and September. (Columbia Records could be equally fast or notoriously slow in releasing their recorded pieces.) I can find absolutely no information on how well this album sold, but we know it fell upon the ears of members of The Soft Machine and The Who for their "Out-bloody-rageous" and "Baba O'Riley" songs, respectively. Like the famous influence of Velvet Underground's debut album, I have a feeling that this is one of those albums that few people heard but those who did were strongly affected and/or influenced. 

Line-up / Musicians:
- Terry Riley / sax, leader, composer
With:
- Margaret Hassell / piano
- David Rosenboom / viola
- Darlene Reynard / bassoon
- Jerry Kirkbride / clarinet
- David Shostac / flute
- Lawrence Singer / oboe
- Stuart Dempster / trombone
- Jon Hassell / trumpet
- Edward Burnham / vibraphone
- Jan Williams / marimba

1. "In C, Part 1" (23:50)
2. "In C, Part 2" (19:10)

Total time 43:00

While many find Miminalist music dull or boring, I LOVE it! It reminds me so much of Bali's Gamelan music, which I ADORE!

      I find the hypnotic mathematical forms and patters mesmerizing, relaxing, and often tremendously engaging and interesting--especially the way the tracks of polyrhythmic instruments blend and flow, alternate between conflict and then falling conciliatorily into the weave, how new instruments can be surreptitiously snuck into the weave while others mysteriously go missing, over and over. Fascinating!

      In C definitely registers as not only a landmark album in the history of music but a masterpiece in a new genre that would go on to inspire so many prog artists including the Berlin School, Brian Eno, all members of the 1981 incarnation of King Crimson, modern loopers and electronica, Post Rock, and Tech/Extreme Metal artists.

September 1968 - PROCOL HARUM Shine On Brightly

The highly-touted home source of one of prog's first true epic song productions: Side Two's "In Held 'Twas I," the rest of the album is to my ears fairly standard blues-rock.

Line-up / Musicians:
- Gary Brooker / lead vocals, piano, Mellotron
- Robin Trower / guitar, co-lead vocals (4)
- Matthew Fisher / Hammond organ, piano (7-e), lead vocals (7-c)
- David Knights / bass
- Barrie James Wilson / drums
With:
- Keith Reid / recitation, lyricist

1. "Quite Rightly So" (3:40) standard British blues rock nicely rendered. I can see how/why this was a failure as a 45 rpm single release. (8.75/10)

2. "Shine On Brightly" (3:32) a slightly better rendering of fairly standard British blues rock; the bouncing piano and slowly tremoloed guitar notes with background and relatively-sedate bass and drums provides a solid foundation for Gary Brooker's professionally-protracted vocal performance. (8.875/10)

3. "Skip Softly (My Moonbeams)" (3:47) demanding a little more theatricity from vocalist Gary Brooker, this song uses another fairly standard rock format, BUT there is more complexity presented here with the different motif used for the chorus and the wide-open sprawl provided for the instrumental passage--which all of the band members take full (awesome) advantage of. The beer-barrel polka finish is a bit bizarre. (8.875/10)

4. "Wish Me Well" (3:18) HENDRIX/CREAM/JOE COCKER-like rendition of a blues rock standard here sung by the duo of Brooker and Trower and jammed over by Trower's most dirty blues guitar playing. Interesting and entertaining but ultimately forgettable. (8.75/10)

5. "Rambling On" (4:31) listening to this for the first time I kept having to check to make sure I wasn't listening to a version by the American band COUNTING CROWS. Very VAN MORRISON-like. (8.66667/10)

6. "Magdalene (My Regal Zonophone)" (2:50) piano, organ, and military snare drum play support this monotonous dirge. (8.5/10)

7. "In Held Twas in I" (17:31) having just been revealed the mystery between the oddly-worded title (the incorporation of the first word of each stanza of each of the song's five movements--something called an "acrostic"), I am much better equipped to appreciate and enjoy this true epic. The band gave great credit to engineer Glyn Johns for pulling all of it together the way it is. (30.625/35):
- a) "Glimpses of Nirvana" (4:30) There is a reverent, almost religious nature to the feel of this portion of the epic in which spoken poetry is delivered in an almost-whisper.

- b) "'Twas Tea Time at the Circus" (1:19) a brief and rowdy excursion into pub-like ribaldry.

- c) "In the Autumn of My Madness" (3:03) a BEATLES-like song that changes when the organ joins but only amplifies it's connection to the Fab Four with all of the silly musique concrète additions going on beneath the vocal and within the music.  
- d) "Look to Your Soul" (5:06) a two-part song, in the first part the organ and electric guitar get ramped up in a circus-like music instrumental. Then, in the second half, Gary Brooker gives a theatric vocal performance (that must have been quite inspiring and liberating to young PETER GABRIEL) over a simple harpsichord-dominated, "tuba"-bass-accented anachronistic sound palette. 

- e) "Grand Finale" (3:41) processional music with piano opening and, later, organ supporting an impassioned rock guitar solo from Mr. Trower. The wordless choir vocals give it quite the regal touch.

Total Time 39:09

I have to admit that I've never been much of a fan of singing voices like the one possessed/commanded by Gary Brooker (which is, to my ears, like Countig Crowes singer Adam Duritz, a Van Morrison sound-alike), which already puts the music of this band at somewhat of a disadvantage. 

87.41 on the Fishscales = B/four stars; despite the landmark presence of one of rock music's first prog epics, I would consider this album as a whole merely an excellent contribution of proto-prog, nowhere near the Earth-shattering, mind-blowing music of next year's In the Court of the Crimson King or The Nice's Ars Longa Vita Brevis

September 1968 - H.P. LOVECRAFT II

The sophomore studio album release from these creative proto-proggers. Rumor has it that the busy band, fresh off of an extensive touring spell to promote their acclaimed debut album, came into the studio with little or no prepared material and thus had to improvise the foundations for most of the music here. Also, the legend goes that much of this studio time was performed by the whole band while using LSD. (This would definitely help account for the very different, very trippy songs created for this album.) Obviously, multi-track recording techniques used enabled the band and producers to doctor up the songs with plenty of embellishing sounds and effects--all equally representative of the psychedelic path the band was attracted and adhering to. Also, the record label's employment of British-born audio engineer Chris Huston brought in the creativity to embellish all of the songs with the extraordinary psychedelic sound effects. The band actually give Chris great credit for the album even happening saying that they were too fried from touring to get their creative juices going. The result, however, was not commercially successful with no hits or album sales reaching Billboard's charts, but the band's reputation on the "psychedelic tour" continued to grow.

Line-up / Musicians:
- Tony Cavallari / lead guitar, vocals
- George Edwards / acoustic & electric guitars, bass, vocals
- Dave Michaels / keyboards (including Mellotron!), vocals, string arranger & conductor
- Jeffrey Boyan / bass, vocals (3)
- Michael Tegza / drums, percussion, vocals
With:
- Ken Nordine / voice (8)

1. "Spin, Spin, Spin" (3:26) one of two songs that the band used that came from George Edwards' friend folk singer Terry Callier, it's a simple yet engaging song with a very catchy chorus and excellent use of piano, harmony vocals, Mellotron and strings! The pairing of the two very-different voices of lead singer George Edwards with the background/harmony vocals of Dave Michaels is quite striking but works! (9/10)

2. "It's About Time" (5:20) opens a little too Americana-like (it's the other song borrowed from folk singer Terry Callier) but then it launches into a great train ride of Southern rock after the 45-second mark. But then, less than 25 seconds later, everything comes to a halt: a spacious field of simple and singular offerings populates the music from bass, drums, organ, piano, percussion as the train moves slowly along. At the three minute mark the iron horse picks back up its speed until the strings turn our attention back to the interior of the train, then releasing in a powerful vocal and a "Long Train Running"-like motif. (In fact, I would not be surprised to hear that The Doobie Brother's Tom Johnston got his inspiration for the aforementioned song from this one here.) This song also sees more use of the effective-yet-peculiar pairing of George and Dave's voices. There are definitely loads of proggy elements, sounds and effects integrated creatively into this song. Too bad it's a little too disjointed. (9/10)

3. "Blue Jack of Diamonds" (2:55) though this opens with some oddly-effected reverse piano chords, it soon becomes a nice acoustic guitar-based song with a very pleasant lead vocal and beautiful clarinet support. (8.875/10)

4. "Electrallentando" (6:27) percussion wind chimes start out this song before odd organ, bass drum, and guitar picking join in. It makes for such an ethereal, feathery musical listening experience. For me, it's a real pleasure for to listen to. (I would think it would be for all prog lovers.) (9/10)

5. "At the Mountains of Madness" (4:48) a song that seems to bridge the worlds of JEFFERSON STARSHIP, THE MAMAS & THE PAPAS, and the wildest of the psychedelic movement. (9/10)

6. "Mobius Trip "(2:46) a very cool song that feels like the birth of the mid-1980s version of XTC. Definitely my favorite song on the album. (9.75/10)

7. "High Flying Bird" (3:15) funk?! With George's great DAVID CLAYON THOMAS-like vocal performance supported by some interesting organ play and unusual choral vocal arrangements. Rated up for the lead vocal performance: it's amazing! (9/10)

8. "Nothing's Boy" (0:40) creepy heavily-effected voice speaking "zero-zero-zero" into infinity while other cult voices and spoken poetry by commanding voice of guest Ken Nordine over the top.

9. "Keeper of the Keys" (3:06) a near-operatic vocal performance (from Dave Michaels?) over piano, bass and drums. One of the more straightforward pieces that is, of course, enriched by bowed bass and effects throughout and especially at the end. Sounds a bit like something by Puddles' Pitty Party. (8.875/10)

Total Time: 32:43

90.625 on the Fishscales = A-/five stars; an album that, thanks to studio engineer Chris Hutson, definitely meets all of the requirements of being cited for being one of the first representatives of the new progressive rock music movement. For the best album by this band I'd recommend their live album from 1968.

September 1968 - FORD THEATRE Trilogy for the Masses

A Boston-based psychedelic band opens their brief sojourn into the world of recorded music with this interesting rock opera novelty.  

Line-up / Musicians:
- Joey Scott / lead vocals
- Arthur Webster / lead guitar
- Harry Palmer / guitars
- John Mazzarelli / organ, vocals
- James Altieri / bass, vocals
- Robert Tamagni / drums
With:
- Wally McGee / string quartet arrangements
- Aaron Rosand / violin
- Bernard Eichen / violin
- George Ricci / cello
- Charles McCracken / cello

1. "Theme for the Masses" (2:52) a very nice, well-composed intro/overture with a pretty perfect blend of Hammond-dominated rock musicians and string quartet. (9.25/10)

2. "Harrison Street / Excerpt (from the Theme)" (10:29) now we're definitely in the territory of theatre soundtrack music, but then singer Joey Scott enters. The musicianship is very good though the composition is a bit stilted by conformity to stereotypic structures of Broadway rock operas and the ABCs of rock music construction; everything feels as if by-the-numbers--tight and constricted. Even the extended organ solo in the third and fourth minutes seems restrained and held in check. Arthur Webster's lead guitar solo follows and it's either filled with intentional mistakes or made horrible by beginner-like inexperience. The second guitar that joins in a little later at least has some knowledge of chords and jazz structures--and still it keeps going! This is one song that I know that I could have better composed and performed! (16/20)

3. "Back to Philadelphia / The Race" (4:39) turning to Philly's R&B sound, the band settles back into the smoky darkness of a late-night lounge on the shady side of town. It's better than the previous song but it's so cautiously conservative: again, by the numbers. It is, however, good music for Joey's rather nice, nuanced vocal performance. (8.75/10)

4. "The Race / From a Back Door Window (The Search) / Theme for the Masses" (17:18) blending together several motifs of very familiar DOORS-like pop music over which Joey Scott tries to deliver Eric Burden/Jim Morrison-type vocal performances. The musicians in the rhythm section show some proficiency at their instruments--at least until the two guitarists try to impress again, then it becomes near disaster. I find myself cringing with embarrassment (cuz I've been there)! (29.33333/35)

5. "Postlude: Looking Back" (2:10) the country-rock finale is another bookend of nicely rendered pop music. (8.875/10)

Total Time 37:28

An odd novelty topic serves as a vehicle for some fairly amateur musicians to serve up a rather mundane collection of standardized musical styles for a wannabe Jim Morrison-like rock star. An album that perhaps should not be included in my list of significant 1968 contributors to the Birth of Progressive Rock if not for the ambitious rock opera conceptual theme. Too bad the producers and band failed to incorporate the string quartet from the opening song throughout the entire album.

84.95 on the Fishscales = C+/three stars; a good but not very valuable contribution to the development of early progressive rock music. And if you're thinking, after reading my review, that the band might have potential that will be better realized on its successive albums, you'd be wrong: this is the peak of their sound and development; the next one just gets more kischy Off-Broadway-like. 

October 1968 - HANSSON & KARLSSON Rex

The second  album release from this collaborative pairing of two jazz virtuoso instrumentalists.

Line-up / Musicians:
- Bo Hansson / Hammond organ
- Janne Karlsson / drums

1. "Live" (1:17) why the band chose to include this excerpt from a live concert performance I can only guess--to display the tight, skillful rhythmic play of the duo.

2. "I Love, You Love" (13:52) While the loud sections of this recording are a difficult listen due to trouble in the source tapes at handling the decibel levels on the recording tapes, I am quite fond of the slower, more spacious downtempo (and volume) sections. Drummer Janne Karlsson definitely delivers from his end--which is no small accomplishment given that he's one of only two instrumentalists up on that stage--and considering that he's up against the monster potential of an organ. At 8:45 Bo starts into a new motif, chugging forward with the insistence of a freight train while Janne gallops alongside, the peak of which begins at the end of the eleventh minute. By the middle of the twelfth minute Bo has slowed everything back down to a stop, creating a peaceful patch in which he barely fills with some extremely low-volume note play. Subtle drum play returns and some gentle organ pulses and swells, but the song is really just suffering a slow death. Stellar performances from two masters of their instruments. (27/30)

3. "Carolus Rex" (1:46) a smash-up and distortion-pack of double-tracked performances by the duo performing a kind of public band piece in the shell on the city green. Weird but interesting! (4.3333/5)

4. "Chateau Plaisance" (21:55) opening with a fade into a blues-tinged swing that sees Janne holding down the rhythm with Bo's foot pedals while the organ fills the rest of the sonic field with some very expansive chords and play. Janne has plenty of room in which to fill and embellish--a lot of it quite impressive--while Bo keeps testing the number of notes he can hold on the organ all at the same time with his raunchy Hammond sound. At 5:40 there is a weird fade out while, at the same time, there is a fade in of a whole new motif with totally different sounds and engineering effects--and again at 6:18. I really love the new motif that is established: something in the nearly-funky groove really succeeds at drawing me in--but then its lost when the organ backs out at the nine-minute mark and we're left with a drum solo. The dude's good, I just don't really like drum solos. Another fade out/fade in at the eleven minute mark serves up more drum-dominated music--until Bo finally gets his act back together in the 12th. From there out it's a Hammond fest with lots of requisite screeching, swirling and wailing. One good five minute section is not, however, enough to make this a winner. (39/45)

Total Time 38:50

I'm a little irked to think that song edits like these--of obvious live performances--keep getting passed on to the public as "studio recordings." I, for one, am so thankful for the invention and advent of multi-track recording!

     While I am not a fan of either this type of music or the organ (especially the Hammond), I have decided to include this album in my celebration of 1968's contributions to the Birth of Progressive Rock music due to the creative engineering and editing as well as the obvious skills and creative talents of the two instrumentalists involved. Plus, I can see how this tandem might quite possibly be where modern day psychedelic jazz-rock prog artist Ståle Storløkken got his inspiration for his small trios, duos and quartets.

87.92 on the Fishscales = B-/four stars; a fine representative of the organ and drum genre of 1960s blues-rock displaying two very fine musicians.

October 1968 - DAVID AXELROD Song of Innocence

A very unusual album for its fully orchestrated presentation, David Axelrod's funky, jazzy compositions take on a lively fullness that is rarely experienced outside the concert hall or Broadway/West End music hall. Way ahead of its time! And employing a cast of sessions musicians that make up a virtual Who's Who in music history--including a cast of The Wrecking Crew as well as orchestra members who would all go on to become very accomplished and known in the orchestral world.

Line-up / Musicians:
- David Axelrod / vocals, composer, arranger
- Carol Kaye (THE WRECKING CREW) / bass

- Earl Palmer (THE WRECKING CREW) / drums

- Gary Coleman (THE WRECKING CREW) / vocals
- Don Randi (THE WRECKING CREW) / keyboards, conductor

- Howard Roberts (THE WRECKING CREW) / guitars

- Al Casey (THE WRECKING CREW) / guitars

- Ollie Mitchell (THE WRECKING CREW) / trumpet

- Tony Terran (THE WRECKING CREW) / trumpet

- Gene Estes (WESTFALL) / percussion, vibraphone

ORCHESTRA STRINGS: Alvin Dinkin [viola], Anne Goodman [cello], Arnold Belnick [violin], Benjamin Barrett ([violin] FRANK ZAPPA; well known for his session work on 1970's funk, soul, and disco releases]), Bobby Bruce [violin], Douglas Davis [cello], Gareth Nuttycombe [violin, viola], Harry Bluestone [violin], Harry Hyams [violin], Harry Roth [violin], Jack Shulman [violin], Leonard Malarsky [violin], Marshall Sosson [violin], Myron Sander [violin, viola], Nathan Ross [violin], Raphael Kramer [cello], Sidney Sharp [violin], Tibor Zelig [violin].

ORCHESTRA HORNS: Allen Di Rienzo [trumpet], Art Maebe [French horn], Freddie Hill [trumpet], Harry Sigismonti [French horn], Lewis McCreary [trombone], Richard Leith [trombone], Vincent DeRosa [horn], Bill Hinshaw [horn].

1. "Urizen" (4:01) an awesomely jazzed-up orchestral funk composition that seems way ahead of its time (but for its similarity to contemporary sound developments both on Broadway and at Motown Records). Melodic and dence-provoking. Nice lead guitar work in the second half of the second minute followed by some stunningly awesome bass and drum work from legendary Wrecking Crew members Carol Kaye and Earl Palmer, respectively. (9.25/10)

2. "Holy Thursday" (5:32) more great orchestra-presented funky jazz musical fare that could've come off of an album coming out of Motown or from Burt Bacharach as likely as a 1970s Black Sexploitation film soundtrack. Is that future Westfall and 1970s soundtrack session drummer Gene Estes on vibraphone? and Howard Roberts shredding on the electric guitar? Great stuff! Carol Kaye is so amazing! (9.5/10)

3. "The Smile" (3:26) sadly, a variation of the previous song with the exact same drumming and orchestration but harpsichord/electric piano and electric guitar given more solo spotlight. Bassist Carol Kaye has some funky chops! And David's orchestral arrangements and Don Randi's orchestra are awesome! (8.875/10)

4. "A Dream" (2:30) bass and harpsichord open this one before gentle support drums and some low end orchestral support appear. At 1:23 the orchestra takes over. Beautiful! The bass and Harpsichord play are rather simple. (8.875/10)

5. "Song of Innocence" (4:33) another great, surprisingly funky orchestral composition blended supremely well between the strings, horns, and the bass and drums. Gene Estes and Carol Kaye provide such an awesome rhythmic foundation and Howard Roberts' Eric Gale-like electric guitar (even volume pedaled) is awesome, but the strings/orchestra steal the show on this one. I also like the addition of Don Randi's supportive organ work. Who knew jazz-rock fusion could/would ever look like this! (10/10)

6. "Merlin's Prophecy" (2:44) this cinematic song feels more like the orchestral rendering of a famous pop radio hit or main theme song from a spy movie: crossing over a little too much into the realm of elevator music. Still, it has great sound, melody, and funk! (8.875/10)

7. "The Mental Traveler" (4:02) starting with a long orchestral opening, Carol Kaye's bass is the first instrument to lead the shift to jazzy-rock funk motif that follows. Electric guitar and the presence of vibes gives this song a slightly different feel though it does end up feeling as if it's all coming from the same funky movie soundtrack. (9/10)

Total time 26:48

It's been such a joy and delight to have discovered this album--one of the surprise/delights of the year! I had no idea how much funk existed before the 1970s! Despite being so short, this is definitely one of my favorite albums from the year 1968. 

91.96 on the Fishscales = A-/five stars; a masterpiece of jazz-rock fusion--one of the finest blends of orchestra with jazz-rock musicians (The Wrecking Crew!) that you will ever hear!  

October 1968 - DONOVAN The Hurdy Gurdy Man 

The album that took its name from the massive hit that was released in May, the album is notable for the inclusion of many sounds and instruments borrowed and learned from an adventure that was predicated upon learning Transcendental Meditation from Maharishi Mahesh Yogi in Rishikesh, Inda. The group (which included members of The Beatles and other luminaries of the stage and screen at the time) ended up latching on to the sounds, musics, and instruments of India and bringing some home. 

Lineup / Musicians:
Donovan (Leitch) / Vocals, Acoustic Guitar, Tambura, Harmonium 
With:

- John Cameron / Piano
- Danny Thompson (THE PENTANGLE) / Double Bass
- Harold McNair / Flute, Saxophone
- Tony Carr / Drums, Percussion
- John "Candy" Carr / Bongos, Percussion

- David Snell / Harp- John Paul Jones / Bass Guitar & Musical Director (1)

- Jimmy Page (THE YARDBIRDS, soon to found LED ZEPPELIN) / Electric Guitar (1)

- Alan Parker (BLUE MINK; NOT Allan Holdsworth) / Lead Guitar (/1)

- Clem Cattini / Drums (1)

- Deirdre Dodds / Oboe (8)

A1. "Hurdy Gurdy Man" (3:18) released as a single in May of 1968, this was a big radio hit that gave my 10-year old self ambivalent thoughts and feelings back in 1968. Today I recognize its achievements: listen to that guitar! Those drums! The tamboura! 

     There is a bit of some controversy surrounding the musicians contributing to the recording of this song as many of the collaborators (including Donovan himself) have dubious and unreliable memory associated with this session as their use of mind- (and memory-) altering substances was quite rampant and liberal during this period of their lives. Thus, where some swear John Bonham was involved, it is almost certain that he was not; some swear that Allan Holdsworth occupied one of the guitar leads (with Jimmy Page the other) but it is almost certain that he did not (one only has to listen to the guitar work to know that there is no inkling whatsoever of any Allan Holdsworth style or technique present here--especially when played side-by-side with the very jazzy work he did for his 1969 release with his first band, 'IGGINBOTTOM, 'Igginbottom's Wrench). The guitarist that makes the most sense and who most of those involved with the project cite (and claim to remember) was Alan Parker (who soon after helped form the band BLUE MINK). (9/10) 

A2. "Peregrine" (3:36) droning Indian instruments and hand percussion accompany Donovan's wistful voice. (8.875/10)

A3. "The Entertaining Of A Shy Girl" (1:40) here Donovan goes back to his roots in true folk sounds while employing his unique lyrical and vocal approach. Beautiful as a bird ... or a shy girl. (4.5/5)

A4. "As I Recall It" (2:07) oompah lounge jazz, with full band, on which Mr. Leitch gives a full-on jazz vocal that could be from 21st Century Michael Bublé. (4.375/5)

A5. "Get Thy Bearings" (2:51) another jazz piece with Danny Thompson's double bass, Harold McNair's saxophone, Tony Carr's drums and Donovan's acoustic guitar and treated vocal. Interesting and totally unexpected. (8.875/10) 

A6. "Hi It's Been A Long Time" (2:36) John Cameron's piano opens this one before Tony Carr, David Snell, and a small orchestra accompany Donovan on this upbeat, poppy song. Could've been longer and further developed. (4.375/5) 

A7. "West Indian Lady" (2:17) an attempt at some Caribbean/calypso music? Quaint but ineffectual. (4.25/5)

B1. "Jennifer Juniper" (2:40) another "hit" radio single that was released in March of 1968, before any album was in the works but written and recorded just before the artist's famed trip to India with The Beatles. Small orchestral support is nice (anachronistic reed instruments). It's pleasant and innocuous enough to possibly been popular. (8.875/10)

B2. "The River Song" (2:14) a cool, moody song that feels like something important instead of frivolous. I like this one very much. Music that probably inspired/informed artists like GRAVENHURST's Nicholas John Talbot and Perry Blake. Would that the D-man had made a career of this type of music. (5/5)

B3. "Tangier" (4:10) finally capturing a place with his music, the droning of the harmonium and tambura are the keys here, though Donovan's equally droning vocal styling is pretty ingenious as well. (8.875/10) 

B4. "A Sunny Day" (1:55) a good old-fashioned guitar-centered pastoral folk tune is aggregated by Harold McNair's gentle flute. (4.5/5)  

B5. "The Sun Is A Very Magic Fellow" (2:45) more relaxing folk music of a very frivolous and frolicking "Puff the Magic Dragon"-like vein. Danny Thompson, John Carr, and Harold McNair's contributions are quite dull yet steadfast. (8.66667/10)

B6. "Teas" (2:33) piano and double bass following Donovan's vocal melody line until the chorus in which The D Man's voice gets run through a fast-flange or some vibratory effect pedal. Again, simplicity is the order of the day, despite the appearance of a trumpet at the end. (8.75/10)

Total time: 34:44

88.42 on the Fishscales = B/four stars; an excellent collection of pre-prog folk songs crossing many styles and sound palettes, though not always hitting their mark.

Oct. 16, 1968 - THE JIMI HENDRIX EXPERIENCE Electric Ladyland

The third and final studio album by The Experience, the album is notable for being perhaps the most fully-realized representation of Jimi's ever-evolving sound--a fact corroborated by Jimi's legendary and almost-obsessive perfectionism in each song's production. (Jimi is listed as the album's sole producer despite Chaz Chandler's presence and role in its making.) The album's revolving door of guests is also indicative of Jimi's growing wanderlust: looking outside himself and his trio for ideas and inspiration.

     As I prepare for this review I am listening to the album for the very first time in my life. 

 

Line-up / Musicians:
- Jimi Hendrix / lead vocals, guitar, piano, electric harpsichord, percussion, comb and tissue paper kazoo, bass (2,6,8,11,14,15), arranger & producer
- Noel Redding / bass, acoustic guitar & lead vocals (5), backing vocals
- Mitch Mitchell / drums, percussion, lead (5) & backing vocals
With:
- Dave Mason / 12-string guitar (15), backing vocals (3)
- Al Kooper / piano (6)
- Steve Winwood / organ (4)
- Mike Finnigan / organ (10,13)
- Chris Wood / flute (11)
- Freddie Smith / tenor saxophone (10,13)
- Jack Casady / bass (4)
- Buddy Miles / drums (10,13)
- Larry Faucette / congas (10,13)
- Brian Jones / percussion (15)
- The Sweet Inspirations / backing vocals (9)

A1. "...And The Gods Made Love" (1:21) a couple bass drum kicks and a whole lotta psychedelic sound effects signal Jimi's intention with this album: push all boundaries! (4.5/5)

A2. "Have You Ever Been (To Electric Ladyland)" (2:11) Wow! Having never heard this album or this song before, I a totally surprised at the PRINCE-like classic Soul sound and aim of this. This must be where THE ISLEYS BROTHERS, and especially guitarist Ernie, got their impetus for a renaissance. (8.875/10)

A3. "Crosstown Traffic" (2:13) a song familiar to me for Living Colour's rendition in the 1993 Hendrix tribute album, this one is awesome. I can sense the attention to detail and "over-production" of Jimi's perfectionism--especially in the treatment of his own vocal, but also the perfectly-timed pans of the b vox. (9/10)

A4. "Voodoo Chile" (15:01) welcome Stevie Winwood (on organ) and bass player Jack Casady (JEFFERSON AIRPLANE). This blues song is so iconic that I'm feeling rather speechless. Jimi's sound engineering creates a lot of space between the instruments, too much compression of the high ends, and not enough volume to any one but especially his voice. I love a song that lets a virtuoso go free as Steve Winwood has a lot of room for expression here--which Jimi seems to feed off of. Again, I find myself wishing Jimi's guitar were up front and center--and louder! or, at least, not having so much of its high end cut off. (I love feed back and hate muting and dampening.) A son of this length, of course, must have extended solos from everyone in the band, and this is no exception, with drummer Mitch Mitchell getting plenty of spotlight in the tenth and eleventh minutes (and lots of cheers, whistles and clapping from the numerous hangers-on present in the studio). (27.5/30)

B1. "Little Miss Strange" (2:52) an odd tune with Noel and Mitch being given the co-lead vocal duties. (Was Jimi this embarrassed/under-confident in his own voice?) Odd sound engineering palette with each instrument being so separate and compartmentalized while at the same time being treated so very differently: it's as if they were each in totally different universes. (8.75/10)

B2. "Long Hot Summer Night "(3:27) a bluesified pop song with multiple guitar tracks, heavily-flanged b vox, and Jimi's lead vocal poorly captured and rendered almost in the background. (8.75/10)

B3. "Come On (Part 1)" (4:09) pretty standard blues given Jimi's rock treatment, but the drummer and guitarist are quite out of synch with each other! (8.25/10)

B4. "Gypsy Eyes" (3:43) Jimi singing with his guitar: now here's a duet worth hearing! Another weird engineering treatment of Jimi's voice and Mitch's rather dull shuffle almost hamper one of Noel Redding's finest bass performances. Great guitar riffs from Jimi around the two-minute mark, but the instances of dual singing with guitar leads are the true highpoints. (9/10)

B5. "Burning Of The Midnight Lamp" (3:39) here we enter a world of Baroque psychedelia with Jimi's electric harpsichord. The muted bass, drums, and lead vocal are a little disappointing. The wordless female choir background vocals are awesome and Jimi's lead guitar work is phenomenal if sadly distorted. Despite so much potential, it just doesn't work very well: too much dampening of the main instrumentation. (8.75/10)

C1. "Rainy Day, Dream Away" (3:42) Jimi sitting in with a true jazz combo that includes Mike Finnigan, Buddy Miles, Freddie Smith and Larry Faucette. Noel does a fine job of fitting in while Mitch seems to struggle quite a bit, but then, the way Jimi and Mike feed off each other seems to compensate. The relatively-untreated, and unfiltered vocal performance of Mr. Hendrix is probably the best on the album--the one that is most true to Jimi's authentic self (and sound). Too bad it's cut short. (9.125/10)

C2. "1983... (A Merman I Should Turn To Be)" (13:39) I like very much the experimental soundscapes Jimi created here. I also like the easy-going, laid-back feel of the song as a whole: the way the spaciousness allows the nuances of the instruments to be heard so clearly. I'm sure this song was quite influential to many, many artists over the past 55 years. This is definitely my favorite song on this album and one of my favorite songs from 1968. (29/30)

C3. "Moon, Turn The Tides... Gently Gently Away" (1:01) heavily-treated/-engineered cymbals, percussion, and other stuff. A nice space-psychedelic finish to Side Three. (4.5/5)

D1. "Still Raining, Still Dreaming" (4:25) back to the blues--and here one of those (now) rare songs on which Jimi lets his vocal run free (and in the foreground). It's hard to believe that the collaborating musicians are the same from the previous "Rainy Day, Dream Away" cuz they sound so much less jazz-oriented and much more standard blues. And yet, it's obvious that this is an edited cut from the same jam as the previous track. I wish the multiple tracks of lead guitar were coming from multiple guitarists but, no, they're all from Jimi. I also wish the guitar tracks weren't drowning out the saxophone. (9/10)

D2. "House Burning Down" (4:33) One of the more powerful and well-blended songs on the album. Lyrically, it's kind of a variation on the "Hey Joe" theme. The two guitar tracks playing off one another is cool, and Jimi's vocal is thankfully up front and center. This is definitely more like what I was expecting to hear when I took up this album. (9.25/10)

D3. "All Along The Watchtower" (4:00) my Jimi Hendrix song of all-time, this is the song that finally got me to try to listen to more than Jimi's radio-friendly "hits." One of the greatest rock intros of all-time. This version is a little different from The Cure's rendition for the 1993 Hendrix tribute. 😁 (9.75/10)

D4. "Voodoo Child (Slight Return)" (5:13) Southern railroad blues rock at its absolute finest. So many artists and bands must have received a kick in the butt from this one! (Especially, obviously, Stevie Ray Vaughn.) Amazing even if you've never heard this before. (9.5/10)

Total time 75:09

I can truthfully say that the only songs from this album that I'd ever heard (in the form released on this album) were the hits, "All Along the Watchtower" and "Voodoo Chile (Slight Return)"--which feels weird to me since I've known and respected Jimi and his work my entire life--distinctly remembering hearing "Foxy Lady" and "Purple Haze" in elementary school and "Watchtower" and "Hey Joe" in my early teens. I'm also glad for the second disc and its much less-experimental engineering, more standard "Jimi" song renderings.  

90.79 on the Fishscales = A-/five stars; a minor masterpiece of next-generation blues rock that sends some very influential waves into the primordial soup of proto-prog. Disc Two alone is a true masterpiece of musical achievement, while Disc One tends to be a little too scattered with Jimi trying to venture outside of his wheelhouse (and, apparently, comfort zone).

Nov. 1, 1968 - THE PENTANGLE Sweet Child

The sign of a fruitful, positive relationship is a double album release the very same year as your debut album release. My beef with this album is the feature of being called/considered a studio album when a whole disc (Disc 1) comes from a concert performance before a live audience. The credits on the album's liner notes, therefore, are quite incorrect in claiming that the guitarists are playing acoustic guitars only and for not crediting a drummer/percussionist with any hand drums. Since it is against my principles to review live albums, I will basing this review exclusively on the studio album (Disc Two). 

LP 1 (Recorded live at the Royal Festival Hall, London, June 29, 1968.):

A1. "Market Song (3:39) a band original to open up the album, it is here captured from a performance given front of a live audience with electric guitar and one of the gents in the lead with Jacqui offering some harmony vocals alongside.

A2. "No More, My Lord (3:55) the baad's interpretation of a traditional English folk song 

A3. "Turn Your Money (2:16) a Furry Lewis composition, 
A4. "Hatian Fight Song (3:31) Charles Mingus
A5. "A Woman Like You (4:00) Bert Jansch
A6. "Goodbye Pork Pie Hat (3:43) another Charles Mingus song
B1. "Three Dances: Brentzel Gay / La Rotta / The Earle of Salisbury (4:32) Claude Gervaise/ traditional/ William Byrd arranged by John Renbourn and Terry Cox
B2. "Watch the Stars (3:03) a traditional arranged by Jacqui McShee and John Renbourn
B3. "So Early in the Spring (3:06) another traditioinal British folk song, here arranged by Jacqui McShee
B4. "No Exit (3:16) a traditional English folk song arranged by John Renbourn and Bert Jansch
B5. "The Time Has Come (3:04) Ann Briggs song
B6. "Bruton Town (5:31) a remake of a traditional English folk song that the band had debuted earlier in the year on their first album, The Pentangle.

Total Time 43:36

Line-up / Musicians:
- Jacqui McShee / vocals
- Bert Jansch / acoustic guitar, vocals
- John Renbourn / acoustic guitar, vocals
- Danny Thomson / double bass
- Terry Cox / drums, hand drums and other percussion, vocals

- LP2 :
C1. "Sweet Child (5:15) a Pentangle original with one of the gents in the lead voice with Jacqui harmonizing the whole way through. I like the drum sound and playing style. (8.875/10)

C2. "I Loved a Lass (2:44) traditional folk song re-interpreted by the band. Danny and the guitarists are in top form while another one of the gents takes on the lead vocal with some spectacular folk results. Donovan: eat your heart out! (9.33333/10)

C3. "Three Part Thing (2:29) another Pentangle original, here composed by Bert Jansch, Danny Thompson, and John Renbourn, it opens like a classical string quartet rondo with Danny bowing his lovely Victoria as the guitar twins play their own harmonized melodies into the weave. It remains an instrumental, just the three string players, start to finish. It is so wonderful to listen to virtuosos! I feel so glad & privileged. (9.125/10)

C4. "Sovay (2:51) a traditional English folk song arranged by the band opens with gentle guitar finger play and background bass notes, but then Jacqui enters with the lead vocal, a complex affair that causes the other instrumentalists to shift into much more demanding syncopated and nuanced performances (and Terry Cox to perform on hand drums). Excellent and extraordinary! (9.5/10)

 
C5. "In Time (5:09) a Jansch, Thompson, Renbourn, and Cox original a shuffle that reminds me of a lot of Van Morrison's popular hits as well as Paul Desmond's "Take Five." Again, it remains an instrumental from start to finish, though this time the strings players engage drummer Terry Cox to provide the appropriate jazz cymbal play. Again, extraordinary work and collaboration. (9.25/10)

D1. "In Your Mind (2:16) a Pentangle original that opens with some gentle guitar interplay before one of the gents opens in the lead vocal position. He is almost immediately joined by both Jacqui and John, each providing bacckground vocal lines in the form of accent interjections. (4.375/5) 

D2. "I've Got a Feeling (4:29) another full-band original opens with single guitar and Jacqui singing a gospel-bluesy form (one that is unusual for her, more commonly heard from plenty of 1950s jazz and pop singers). The rest of the band joins in during the second verse. Jacqui goes into some wordless vocalese for the third verse, long held notes that remind me of the kind of stuff Annie Haslam will be doing from the start of her career with Renaissance as well as some of Cass Elliot's most impassioned work. (8.75/10)

D3. "The Trees They Do Grow High (3:51) a traditional folk song arranged by the full band, Jacqui sings over a gentle weave and gentle Highland drumming, the song is, of course, an ultimately sad ballad that is quite typical of the British Islands' folk traditions. (8.875/10)

D4. "Moon Dog (2:44) a Terry Cox composition with Terry singing over his hand drum play--which becomes the singular focus of the song in the instrumental middle section. (8.66667/10)

D5. "Hole in My Coal (5:23) written by Ewan MacColl, the band here performs it as an instrumental with Terry Cox playing hand drums and toms (on multiple tracks), no cymbals (except one crash around the three minute mark). Despite a nice bass solo from Danny and Victoria in the fourth and fifth minutes, this song is not quite as impressive as some of the other tracks the boys have done. (8.75/10) 

Total Time 37:11

90.0 on the Fishscales = A-/4.5 stars, elevated to a five star masterpiece by the addition of the live album (LP 1); an excellent addition to any prog lover's music collection.

November 4, 1968 -  THE COLLECTORS The Collectors

Where has this album been hiding? I am blown away by the passion, maturity, and confidence exuded throughout every aspect of this album! Too bad Canadian music had such trouble gaining access to US-UK markets and marketing machines, cuz this is some powerful stuff--so far ahead of its time! Yes, the band is launching from the sound and in-your-face sound of The Doors, but the lyrical and compositional experimentalism shown here is so far beyond anything else I've heard before this. This is progressive rock, synthesizing elements of blues, rock, classical, jazz, folk, with incredibly incisive and confrontational social-political commentary in ways that many bands in the early "prog" era will only dream of. Plus, there is a full-length, multi-part, side-long epic on Side Two! How many other full-side 19-minute epics can you point out in or before 1968???! How is this not prog? How is this relegated to "Proto-Prog"? And it's a debut album!

1. "What Is love" (3:45) sparsely-backed organ and picked electric guitar over which vocalist Howie Vickie and church choir-like supporters ponder the definition of love. Such sensitivity; such a powerful vocal presence--and with David Clayton-Thomas-like passion! (9/10)

2. "She (Will Of The Wisp)" (3:45) simple folk-rock weave with more multi-voice vocals in the realm of church angels over bass, snare, acoustic guitars, and flute. Pretty. (8.75/10)

3. "Howard Christman's Older" (5:10) a fascinating story with a supernatural sci-fi theme and music that builds from sparsity to heavy psychedelia over and over. Reminds me of the sound of many of today's Psychedelic/Space Rock bands. (10/10)

4. "Lydia Purple" (2:45) the Baroque pop psychedelia that was so popular in this era from bands like The Mamas and Papas, The Association, and The Buckinghams, and which informs so much of early YES and GENESIS. (9.5/10)

5. "One Act Play" (3:40) a gem of a song, perfection in sound, composition, performance, and engineering. Almost a Paul Anka or Andy Williams vocal. (10/10)

6. "What Love" (19:15) mostly slow and vocal-centric, the Indian-influenced and Jefferson Airplane-reminiscent musical palette does occasionally vary and build dynamically (for example, the excellent jazz-guitar-centered passage in the fourth and fifth minutes which is then followed by a kind of RAVEL "Bolero"-like section, and then the aggressive WHO/STONES/DOORS-like passage in the 11th minute--which is then contrasted by the following Gregorian chant-like passage). But, once again, it is the passionate vocal and timeless, issue-piercing lyrics that keeps the listener on edge, enrapt. (That is, the predominance of masculine perspectives in our intellectual and cultural interpretations of "love".) I find myself quite often reminded of Tim Buckley during this performance. Also Aphrodite Child's classic 666 album. (35/40)

Total Time: 38:20

91.39 on the Fishscales = A-/five stars; in my opinion, this is one of the earliest masterpiece representations of all that is meant by the term "progressive rock music." Brilliant! and so brave!

November 6, 1968 - APHRODITE'S CHILD End of the World

The debut album from this trio of Greek expats living in Paris. Their exposure to and inspiration from the music seeping across La Manche from la Grande-Brétagne is quite apparent. 

Line-up / Musicians:
- Demis Roussos / vocals, bass, guitar, bouzouki
- Vangelis Papathanassiou / keyboards, flute, vibes, percussion, vocals, arrangements (4)
- Lucas Sideras / drums, percussion, guitar, vocals
With:
- Claude Chauvet / vocals (1,4)
- Boris Bergman / arrangements (4)

1. "End Of The World" (3:13) Is the lead vocalist here a woman--Claude Chauvet? or Demis Roussos? It's so French--and so beautiful in that dramatic French tradition à propros to 1968. Despite the song's beautiful melodies, the screams at the end of each verse belie some kind of deep-seated angst or frustration which, to my mind, gives this song quite another (rather surprising) element than just one of simple beauty. (9.5/10)

2. "Don't Try To Catch A River" (3:38) very pleasant and engaging R&B given a Baroque pop sheen. Masterful keyboard work from Vangelis Papathanassiou. (8.875/10)

3. "Mister Thomas" (2:52) Demis Roussos' theatric song inspired by The Beatles' "Being for the Benefit of Mr. Kite" doesn't work for me (especially being lyric incomprehensive as I am). (8.6667/10)

4. "Rain And Tears" (3:10) another Baroque Pop song that feels very familiar from so many British songs as well as due to the blatant employment the famous Pachelbel melody and chord progression. Demis' vocal performance is quite emotional--much like that of a French chanteuse. I can see the reason this was a popular radio hit. Claude Chauvet's operatic soprano vocalese in the background only adds to that beauty. (8.875/10)

5. "The Grass Is No Green" (6:05) nature-focused psychedelia in a bit of a Beatles/Moody Blues fashion. Not enough variety or development for me--despite the vocal performance that previews those of Led Zeppelin's Jean-Paul Jones. (8.6667/10)

6. "Valley Of Sadness" (3:13) using more of the Baroque pop instrumental palette the  (8.75/10)

7. "You Always Stand In My Way" (3:55) a little funk in this energetic song: bass, drums, clavinet and screeching blues-rock vocals in the vein of Janis Joplin, Mick Jagger, or Eric Burdon. (To my ears, Demis' voice often sounds like that of a scratchy-voiced woman.) Impassioned and dripping with synth strings (Mellotron?), this kind of aggressive blues-rock is just not my cup of tea. (8.666667/10) 

8. "The Shepherd And The Moon" (3:04) multi-voice psychedelia with dynamic bass, drums, and acoustic guitar strumming before everything goes mellow-pastoral, then Vangelis' Mellotron takes over while Demis vocal becomes more theatric (sounding like Moses on the Mountain). The folk melodies and references are quite obvious and impressive--as is Vangelis' keyboard  work. (8.875/10)  

9. "Day Of The Fool" (5:50) a long subtle keyboard intro precedes a melodramatic Jesus Christ Superstar-like vocal performance from Demis Roussos. Very passionate and theatric. (I know: JCS won't be coming to London's stages for another four years but I have nothing from the 1960s to compare this to.) Vangelis' keyboard work is again quite impressive. (8.875/10)

Total time 35:00

Most of this music is oriented toward radio play and the vast majority is in fact quite appropriate and fitting for popular interest. Lead singer Demis Roussos is quite good--even in his lightly-accented English--and these songs all feel quite sophisticated and top tier; no simplistic drivel here.

88.61 on the Fishscales = B/four stars; an excellent collection of very impressive and mature (and diverse) songs that any proto-prog lover will enjoy. 

November 1968 - THE NICE Ars Longa Vita Brevis

Keith Emerson's breakout fusion of rock and classical musical styles, here he has been vaulted into the position of sole band leader and idea-maker--which some people see as a step down from their previous work. At the same time, the release of the title song's side-long Symphony for Group and Orchestra signifies another step toward the birth and manifestation of a more complex form of rock music that would go on to be called (eventually) Progressive Rock Music.

Line-up / Musicians:
- Lee Jackson / vocals, guitar, bass, timpani
- Keith Emerson / organ, piano, harpsichord, keyboards, lead (1-3) & backing vocals
- Brian Davidson / drums, bells, timpani
With:
- Robert Stewart / orchestral arrangements & conductor
- Malcolm Langstaff / guitar (6.b)

1. "Daddy Where Did I Come From?" (3:43) a sophisticated, almost-punked-up blues-rocker with an awesome David Bowie-like all-in theatric lead vocal from Keith Emerson while, in the second half, Lee Jackson provides a very entertaining spoken-word sex talk via an analogous tour of a garden. Drums and bass are right there with Keith's piano, organ, and synth. Great song to play for your kid when the ask the title question. (9.25/10)

2. "Little Arabella" (4:17) more theatric vocals over some county fair-like interlude/processional music from Keith's organ and piano. The second motif in the end of the second minute is quite BEATLES-esque. Musically this is just too much like my many visits as a child to Detroit's Olympia Stadium for hockey, Stars On Ice, the Harlem Globetrotters and other basketball games. A little too silly and novelty like. (8.75/10)

3. "Happy Freuds" (3:27) BEATLES-like bass and drums over which Lee gives a near-John Lennon-like vocal performance (with Keith providing accent vocals from the background and, later, a second lead singing voice). Keith's play of his swirling organ is rather subdued and carnivalesque. Interesting and entertaining but that's about it. (8.666667/10)

4. "Intermezzo from the Karelia Suite" (8:57) the band (and Keith)'s interpretation of a Sibelius piece. Again, I am a little turned off by the militaristic drums, circus-sounding organ sounds chosen, as well as the overall processional feel of the music/performance. I like Lee Jackson's bowing of his bass in the second half and Brian Davidson's cymbal work as the music starts getting more avant/macabre. (Thank god for the creepy effects-drenched seventh and eighth minutes or I'd really slam this one.) Plus, Keith's playing feels so rote and "by the book"--that is, without any flare or individuality (until the final 30 seconds) (17.25/20)

5. "Don Edito El Gruva" (0:13) funny take on the orchestra tuning.

6. "Ars Vita Longa Brevis - Symphony For Group And Orchestra" (18:20) Keith's rock interpretation of a classical music piece from J.S. Bach. (35.75/40)
- a) "Prelude (1:49) an awesome opening. 
- b) "1st Movement: Awakenings" (4:01) a little keyboard play before a long drum solo. Pretty good (for a drum solo)!
- c) "2nd Movement: Realisation" (4:54) vocals! Punk rock vocals! then a long piano solo. Poorly recorded.
- d) "3rd Movement: Acceptance 'Brandenburger'" (4:23) orchestral intro to a lively organ-led Baroque motif. Why this movement has such great sound engineering while the previous one has such poor is a mystery (though, according to the credits, the 2nd Movement was co-composed by David O'List, who was fired from the band while this album was being prepped and conceived. Perhaps the 2nd Movement had been recorded before David had been dismissed.)
- e) "4th Movement: Denial" (3:23) wild organ play with some more punky vocals toward the end.
- f) "Coda - Extension To The Big Note" (0:46) big horn finish

Total Time: 39:27

Before hearing this album, I didn't know Keith Emerson could or ever did sing! And I like his theatric, enthusiastic voice! I also found myself surprised at how restrained Keith's keyboard work stayed for 90+% of the album. I guess I figured all his tendency toward bombast and excess had been there since the beginning. (Perhaps he was channeling it all into the band's famous rendition of Leonard Bernstein's "America".)

88.52 on the Fishscales = B/four stars; an excellent album of creative and adventurous music that could have been even more creative and adventurous. (More like the opening song.)

November 22, 1968 - THE BEATLES The Beatles (The White Album)

Not being much of a fan of The Beatles (despite growing up with my mother's obsession with them in the 1960s), I have never owned, heard, or desired to hear this album. I am familiar with its seven or eight hits as well as the song titles that Charles Manson's Family wrote with the blood of their murder victims on the walls of the residences (and carved into the bodies) of their murder victims. 

  

Line-up / Musicians:
- George Harrison / lead, rhythm & acoustic guitars, bass, Hammond organ (7), drums, percussion, Fx, lead (7,12,24,27), harmony & backing vocals
- John Lennon / lead, rhythm & acoustic guitars, bass, piano, Hammond organ, Mellotron, harmonium, harmonica, tenor sax, drums, percussion, tape loops & Fx, lead (2,3,6,8,10,17-19,21,21,25,28), harmony & backing vocals
- Paul McCartney / bass, lead, rhythm & acoustic guitars, acoustic & electric pianos, Hammond, drums (1,2,5,9), percussion, recorder, flugelhorn, lead (1,4,5,9,11,13,15,16,18,20,23,26) & backing vocals
- Ringo Starr / drums, percussions, piano & sleigh bell (14), lead (14,30) & backing (6) vocals
With:
- George Martin / piano (13), orchestral arrangements and conducting, co-producer
- Chris Thomas / Mellotron (6), harpsichord (12), piano (24), sax & organ & electric piano (27), co-producer
- Yoko Ono / lead (6) & backing vocals (6,18), speech & tapes & Fx (29)
- Eric Clapton / lead guitar (7)
- Chris Shepard / stumpf fiddle (6)
- Henry Datyner, Eric Bowie, Norman Lederman and Ronald Thomas / violin (3)
- John Underwood and Keith Cummings / viola (3)
- Eldon Fox / cello (3)
- Reginald Kilby / cello (3,9)
- Ted Barker / trombone (9)
- Leon Calvert / trumpet & flugelhorn (9)
- Tony Tunstall / French horn (9)
- Stanley Reynolds and Ronnie Hughes / trumpet (9)
- Alf Reece / tuba (9)
- Bernard Miller, Dennis McConnell, Lou Soufier and Les Maddox / violin (9)
- Frederick Alexander / cello (9)
- Leo Birnbaum and Henry Myerscough / viola (9)
- Jack Fallon / violin (14)
- Mal Evans / trumpet (23), backing vocals (2)
- Dennis Walton, Ronald Chamberlain, Jim Chest and Rex Morris / saxophone (26)
- Raymond Newman and David Smith / clarinet (26)
- Harry Klein / saxophone (26,27)
- Art Ellefson, Danny Moss and Derek Collins / tenor sax (27)
- Ronnie Ross and Bernard George / baritone sax (27)
- Jackie Lomax / backing vocals (2)
- Maureen Starkey / backing vocals (6)
- Pattie Harrison / backing vocals (18)
- The Mike Sammes Singers / backing vocals (30)

Disc 1 (46:22)
1. "Back In The U.S.S.R. (2:43)
2. "Dear Prudence (3:56)
3. "Glass Onion (2:17)
4. "Ob-La-Di, Ob-La-Da (3:08)
5. "Wild Honey Pie (0:52)
6. "The Continuing Story Of Bungalow Bill (3:14)
7. "While My Guitar Gently Weeps (4:45)
8. "Happiness Is A Warm Gun (2:43)
9. "Martha My Dear (2:28)
10. "Im So Tired (2:03)
11. "Blackbird (2:18)
12. "Piggies (2:04)
13. "Rocky Raccoon (3:32)
14. "Don't Pass Me By (3:50)
15. "Why Don't We Do It In The Road (1:41)
16. "I Will (1:46)
17. "Julia (2:54)

Disc 2 (47:07)
18. "Birthday (2:42)
19. "Yer Blues (4:01)
20. "Mother Nature's Son (2:48)
21. "Everybody's Got Something To Hide Except Me & My Monkey (2:24)
22. "Sexy Sadie (3:15)
23. "Helter Skelter (4:29)
24. "Long Long Long (3:04)
25. "Revolution 1 (4:15)
26. "Honey Pie (2:41)
27. "Savoy Truffle (2:54)
28. "Cry Baby Cry (3:01)
29. "Revolution 9 (8:22)
30. "Good Night (3:11)

Total time 93:21

I really don't care if I ever hear this album as I do not know if I would ever be able to reclaim the hours of time it would take to get to know it--especially should I dislike it enough to regret wasting such a great deal of time and energy on it. Suffice it to say, it came out on November 22 of 1968 and became a big deal to a lot of people. I hear it's a good album. I'll take your word for it.

Dec. 1968 - THE PRETTY THINGS SF Sorrow

A mature and confident British band with some great ideas and great production team. (I didn't realize until after I wrote this review that this was The Pretty Things' fourth studio album!)

Line-up / Musicians:
- Phil May / vocals, story author
- Dick Taylor / lead guitar, vocals
- John Povey / organ, sitar, percussion, vocals
- Alan "Wally" Waller / bass, guitar, piano, wind instruments, vocals
- Twink (John Charles Alder) / drums, vocals

1. "S.F. Sorrow is Born" (3:12) the album's opening song sound like Fairport Convention or some other folk band trying out some rock and psychedelic sounds and instruments, not quite sure how to incorporate them into their sound palette. Quite a little feel to some of the early Rolling Stones as well. (8.75/10)

2. "Bracelets of Fingers" (3:41) definitely psychedelic, the band definitely has an acerbic rock edge--as if they are aching to turn up the volumes on their amps and really rock it out. Otherwise, there is just too much in ideas and lyrics and not enough in full or innovative development. (8.66667/10)

3. "She Says Good Morning" (3:23) again the Rolling Stones (and Beatles) come strongly to mind while listening to this straightforward (if lurkingly angry) blues-rock song--more Beatles-lie with experimental voice samples in the finish. (8.66667/10)

4. "Private Sorrow" (3:51) this one has some great production, a nice 12-string guitar chord progression in the opening with some (wooden?) flute accents, and several clever turns of phrases and unusual instrumental hooks, still this one struggles to rise above the mundane, feels constrained and not fully realised. (8.875/10)

5. "Balloon Burning" (3:51) Finally! At 1:25 the band bursts into a sound palette that feels like their true selves! And boy do they fly high! The Byrds, Moodies, Animals, Stones, and Beatles--comparisons to all other bands are put to rest with this truly innovative song. My favorite song on the album. (9.75/10)

6. "Death" (3:05) another song that feels as if the band's unique ideas are finally being fully realized--or at least nearly so. Sitar and weird "trombone-bass." These last three songs feel like a suite--and feel like the band's unique ideas and tremendous potential are finally being exposed. (8.75/10)

7. "Baron Saturday" (4:01) Beatles comparisons are inevitable, yet these vocals, lyrics, instrument choices, and sound mixes are unusually unique. Bravo, Pretty Things! Very interesting. Just wish I liked it more.(8.75/10)

8. "The Journey" (2:46) another innocuous song that perhaps would connect more with me if I were attuned to lyrical content. (8.6667/10)

9. "I See You" (3:56) nothing daring or beyond The Beatles here. My oblique barrier to lyrics may make me miss something, but until the guitar and effected "steps" voice at the end, this is nothing special. (8.66667/10)

10. "Well of Destiny" (1:46) interesting guitar and effects (4.375/5)

11. "Trust" (2:49) a very well-realised pop song with some Baroque psychedelic BEATLES-like sounds and stylings rises to take a place among my top three songs. (9/10)

12. "Old Man Going" (3:09) complex and aggressive MOODY BLUES-like acoustic guitar work opens this one before fuzzy electric guitar, percussion, and hard rock, pre-metal, electric guitar strumming and effected vocal join in. I feel and hear a bit of SYD BARRETT's psychedelic mania here--and a GREAT finish! (9/10)

13. "Loneliest Person" (1:29) finger-picked acoustic guitar with vocal reminds me of folk rock artists like DONOVAN. (4.5/5)

Total time 40:59

This is a very well-engineered album though I feel that many of its "experimental" ideas are under-developed--the band settling for sounding like the Rolling Stones or Beatles when it feels as if they really wanted to go further (I feel strongly that there is a lot of unrealized potential and repressed emotion). Upon learning more about the band and the history of its members, the art school origins and brief tenure of guitarist Dick Taylor with the original Rolling Stones both make total sense. There is tremendous creativity bursting out of these songs yet feelings of pent up energy still seeking to find a way to find full expression.  

88.72 on the Fishscales = B/four stars; an excellent addition of beautifully rendered sophisticated song compositions that often feel surprisingly ahead of their time and yet at others feel horribly repressed.

Dec. 1968 - THE SOFT MACHINE The Soft Machine

The album that launched a subgenre. Experimental pop rock jazz with a sense of humor both musically and lyrically. 

Lineup / Musicians:

- Mike Ratledge / Lowrey Holiday Deluxe organ, piano (13) & piano strings (5)
- Kevin Ayers / bass, piano (5), lead (10,12) & backing (7,9) vocals (& a little guitar)
- Robert Wyatt / drums, vocals
With:
- Hugh Hopper / bass (13)
The Cake vocal group:
- Jeanette Jacobs / backing vocals (12)
- Barbara Morillo / backing vocals (12)
- Eleanor Barooshian / backing vocals (12)

1. "Hope For Happiness" (4:20)
2. "Joy Of A Toy" (2:49)
3. "Hope For Happiness (Reprise)" (1:37)
4. "Why Am I So Short?" (1:38)
5. "So Boot If At All" (7:22)
6. "A Certain Kind" (4:10)
7. "Save Yourself" (2:25)
8. "Priscilla" (1:05)
9. "Lullabye Letter" (4:37)
10. "We Did It Again" (3:46)
11. "Plus Belle Qu'une Poubelle" (1:01)
12. "Why Are We Sleeping?" (5:31)
13. "Box 25/4 Lid" (0:47)

Total time: 41:08

Experimentalism seems the band's modus operandi as almost every song seems to be trying something new or unusual. Not nearly so bold or boundary pushing as their next album, this one does push boundaries--and buttons. I find that the band has not yet established its propensity for melodic hooks--though the lyrical/linguisitc hooks are certainly full on display. Also, the individual members are still honing their instrumental skills--a fact that gets much more exposure with each successive album (Soft Machine and Matching Mole). My two favorite songs also happen to be the two shortest: the organ beauty, "Priscilla," and "Plus belle qu'une poubelle"--though the beatnik "Why Are We Sleeping?" is also great. The others remain musical oddities that test already-proven styles and sounds though usually contributing Robert Wyatt's unusual approach to both vocals and lyrics. If you want great music--memorable music with the more fresh innovative spirit--go to their second album.

December 1968 - SPIRIT The Family That Plays Together 

The band's sophomore album shows their tremendous growth (remember: they'd only been together as a quintet for about a year), displaying a greater commitment to rock and less to their previous jazz tendencies (which I loved: the skills and discipline that jazz training gave them are definitely serving them well), but the growth and exuberance shown on Side One of this album sadly wanes significantly with the hurried, under-developed feel of all of Side Two's songs. The result of the bane of a career in music? That is: partitioning one's time and energy between touring versus time dedicated to creating new material and spending the appropriate time (and money) to record it properly. 

Line-up / Musicians:
- Jay Ferguson / lead vocals, percussion
- Randy California / acoustic & electric guitars, backing vocals
- John Locke / keyboards
- Mark Andes / bass, backing vocals
- Ed Cassidy / drums, percussion
With:
- Marty Paich / string & horns arranger
- Marshall Blonstein / spoken voice

1. "I Got A Line On You" (2:37) a very catchy song that helped the band break into the radio/pop scene and charts. I feel quite a British influence here: less jazz tendencies, more blues-rock. John Locke's hard-pounding beer-hall piano drives the song giving full license to guitarist Randy "California" to   (9.125/10)

2. "It Shall Be" (3:25) opens like a mellowed out, orchestral version and continuation of the previous song but then becomes its own thing when the vocals kick in. I love the multiple voices finally NOT singing in choral harmony but separating (even in different channels in the soundscape). It's amazing how Jay Ferbuson's sticks can. And I love the bass sound and playing. Randy's guitar alone feels a little out of place being here a bit too aggressive for the rest of the mix. (8.875/10)

3. "Poor Richard" (2:29) a great rock song with great California choral vocals within which Randy gives one of his first truly great guitar performances. (Remember: he's only 16-years old with the release of this material). Such great melodies over the fairly simple chord progression. The band is learning how to make more with less; they're really progressing! (9.5/10)

4. "Silky Sam" (4:06) more great melodies and wonderful orchestral integration and support (thanks, Marty--and Lou!) is nearly undermined by the sparse bluesy rock instrumentation. (8.875/10)

5. "Drunkard" (2:38) a step up from the nursery rhyme that was "Water Woman" from their debut album, here the band seeming to seek out an adult audience on the multiple levels of something like The Wizard of Oz. Another very interesting idea and arrangement. (4.5/5)

6. "Darlin' If" (3:38) electric guitar and piano seem to vie for dominance on the opening of this one before strummed electric guitar wins out, providing the support and guidance to the plaintive BAND and CSN&Y (and Loggins & Messina) -like Americana vocal and style. (8.7/10)

7. "It's All The Same" (4:40) opening with an "alien spaceship landing"-like sound generated from Randy's electric guitar, the fully-formed blues-rock song that then pops out of the vehicle is quite stereotypic of the bands that would soon be coming out like Grand Funk Railroad, Crosby, Stills, Nash & Young, and The Guess Who. While I really like these bands, I am not particularly a fan of this blues-rock side of their output. Plus, drummer Ed Cassidy's playing feels a little off (weak). (Was he sick?) (8.7/10)

8. "Jewish" (2:48) An odd song for its vocals sung in Yiddish over some fast-shifting multiple-motif music. A little too weird for me--more like a novelty song--despite some nice guitar play (4.25/5)

9. "Dream Within A Dream" (3:01) piano pounding to support The Association-like group vocals with dynamically shifting sections while Randy's soloing electric guitar plays rather continuously, rising to the fore whenever the vocal choir pause or takes breaks. Interesting but not feeling fully developed. (8.75/10)

10. "She Smiles" (2:30) a nice song idea with great melodies and construction that, again, feels unfinished or cut short. (4.5/5)

11. "Aren't You Glad" (5:31) Another song with some absolutely great ideas and sounds that feels sadly under-served and not properly developed though Randy's guitar play and  the horn and orchestral support in the final minute are amazing. (More of this, please!) Was the record company/producer in a hurry to get this stuff recorded and published? Was the band too busy touring to give their studio time the attention it deserved? Were the ideas really so fresh and undeveloped and studio time so dear that they couldn't take the time to fully realize these rather bare and stark bones? This song, like many on Side Two, could've easily been so much better! (8.875/10)

Total time 37:23

While the album starts out quite strongly, I get the feeling as it goes along as if some of the songs on Side Two were rushed: they feel incomplete or not-fully- or under-developed. Also, I feel that drummer Ed Cassidy's contributions here are either under-developed or even negated and that keyboard player John Locke's tendency to present as a saloon-performing piano pounder has been indulged too much. Some of the vocal arrangements also feel rather rushed or under-developed--which I find particularly disappointing since this was one of the band's remarkable strengths and features on the first album.    

89.37 on the Fishscales = B+/4.5 stars; an excellent addition to any proto-prog lover's music collection. While the highs are higher than the band's debut album (recorded less than six months before this one) but the lows of so much under-developed material definitely weigh The Family That Plays Together down.

Late 1968 - TERJE RYPDAL Bleak House

Recorded in October, the Norwegian multi-instrumentalist and composer this is the first album to be released by the then-21-year old musician under his own name--an album that announces his new (and life-long) interest in exploring a wide variety of jazz-related idioms. 

A 21-year old Norwegian guitarist bursts onto the world scene with some highly experimental "future" jazz in which he fuses together multiple genres of jazz and rock (with shocking facility) into tightly-designed compositions that profess a maturity and musical understanding far beyond his years. Recorded in three days during early October, its release date is somewhat controversial: either late in 1968 or early 1969.

Lineup / Musicians:
- Terje Rypdal / guitar, flute, vocals, producer
With:
- Tom Karlsen / drums (1)
- Christian Reim / piano, organ (1,3,5)
- Jon Christensen / drums (2-5)

- Terje Venaas / bass (2-5)

- Carl Magnus Neumann / alto sax & flute (2,5)
- Hans Knudsen / baritone sax (2,5)
- Jan Garbarek / tenor sax, flute & bells (2-5)
- Kjell Haugen / trombone (2,4,5)
- Tore Nilsen / trombone (2)
- Øivind Westby / trombone (2)
- Ditlef Eckhoff / trumpet (2)
- Jarl Johansen / trumpet (2-5)
- Kåre Furuholmen / trumpet (2,4)
- Knut Riisnæs / tenor sax (3), arranger & conductor (2,4,5)
- Frode Thingnæs / trombone & tuba (4,5)
- Frøydis Ree Hauge / horn (5,6)
- Odd Ulleberg / horn (5,6)

1. "Dead Man´s Tale" (7:03) Hawai'in guitar over Hammond organ and blues band (with loud kick drum) over which Terje sings in a very lovely emotional voice. Total blues. Beautiful interplay between the Hammond and Terje's voice, guitar, and flute. Christian Reim's Hammond play is actually good even if his instrument is recorded a little dirty. (14/15)

2. "Wes" (4:15) big band horns with Terje's chameleonic guitar. The rhythm section sets up a couple of excellent swing patterns that they smoothly from, back and forth, over the course of the album. Great song with great solo performances from Wes and saxophonist Jan Garbarek. At times Terje's guitar sounds Wes Montgomery-like, at others less so. (9.25/10)

3. "Winter Serenade" (6:04) imitation wolf sounds with delicate piano tinkling and percussives open this before the piano takes over. Guitar sneakily joins in during the first half of the second minute with a lot of wobbling sounds--single string and whole fretboard. Horns and drums add a variety of wind-like bursts and gusts as the storm arrives and its intensity increases, varies, and wavers. Ingenious orchestration of musical instruments to achieve such a mirroring "reproduction" of Mother Nature. (9/10):
- a) Falling Snow
- b) Snow Storm
- c) Melting Snow

4. "Bleak House" (7:05) this one starts out soft and slow, sounding very Sixties, but then the loud big band horns join in and the song becomes something totally different--even transforming the guitarist right before our ears. It's part Larry CORYELL, part DON ELLIS ORCHESTRA! The bass, drums, guitar, and saxophone performances are all excellent but it's those horns that carry this one over the top! An excellent, lively, and very melodic song. (14.25/15)

5. "Sonority" (5:21) a song of stunning emotion and tenderness--even from the horns! Terje's electric guitar expresses a feeling of such depth, pain and beauty as to evoke tears. I've only heard Roy Buchanan do it as well! The best song on a great album and one of the prettiest jazz songs I've ever heard. (10/10)

6. "A Feeling Of Harmony" (2:29) acoustic guitar, flute, and wordless voice scatting from the artist alone. Feels sounds like an intimate moment from Maestro John Martyn. (9.5/10)

Total time 33:05

94.29 on the Fishscales = A/five stars; a shocking revelation of masterful jazz-rock fusion; a remarkable achievement of music for 1967-68 with some breathtakingly beautiful music. This is one of the finest most unforgettable musical listening experiences I've ever had the privilege of hearing.

January 6, 1969 - CARAVAN Caravan (Recorded in September of 1968.) 

Out of the ashes The DAEVID ALLEN TRIO and THE WILDE FLOWERS comes this debut album from one of the three most important contributors to the Canterbury legacy. Daevid Allen has moved to France, Robert Wyatt, Kevin Ayers and the Hopper brothers are moving all over the place (Soft Machine to Matching Mole, et al.) which leaves the Hastings, Sinclair, and Coughlan families to sort out their own directions and desires.

Line-up / Musicians:
- Pye Hastings / guitars, bass (3,7), vocals (1,2,4-6,8)
- David Sinclair / organ, piano (?), backing vocals
- Richard Sinclair / bass, guitar (3,7), vocals (3,5-8)
- Richard Coughlan / drums
With:
- Jimmy Hastings / flute solo (4)

1. "Place of my own" (4:01) nice vocal melodies for this organ-based tune. Solid and engaging with very warm, nice sound engineering. (8.875/10)

2. "Ride" (3:42) a rather bland, ordinary and sedating 1960s song with Pye singing the lead up close and personal. (8/10)

3. "Policeman" (2:44) Richard Sinclair taking a turn at the lead--he's more conservative than we'll hear in a year or two. Quite a little similarity to THE BEATLE's "I am the Walrus" without the crazed, surreal lyrics. (8/10)

4. "Love song with flute" (4:10) a very catchy and almost perfectly polished prog pop song (using melodic themes that they would return to over the course of the next few years). (9.5/10)

5. "Cecil runs" (4:07) opens with experimental guitar chords, spaciousness, and a new synth to play with. Chorale harmony vocals enter to announce the telling of a story. Animated organ play provides the action here. I love the beat to this one. And the theatric vocal displays. My favorite song on the album due to both its experimental play and its unbound theatric storytelling. (9.5/10)

6. "Magic man" (4:03) serves notice to the fact that the boys are struggling to find the voice of their own, instead they are talented singer/musicians taking on sounds and styles others have had success with. This one is more of a combination of PROCUL HARUM's now-classic "Whiter Shade of Pale" and ELP's monster "underground" hit, "Lucky Man" (bass and guitar). Not bad! (9/10)

7. "Grandma's lawn" (3:25) here Richard is again in the lead vocal spotlight. The organ and guitar are quite a bit looser here and the lyrics and sound are more MOODY BLUES-like while the vocal flow feels more extemporaneous. (8.5/10)

8. "Where but for Caravan would I be" (9:01) their first prog epic--containing a lot of elements reminiscent of contemporary bands like THE BEATLES, THE DOORS, THE ZOMBIES, and even THE MOODY BLUES, this organ-based blues-rock song is musically quite rudimentary yet contains some very interesting vocal and lyrical choices. The final 90 seconds is the best. Tidings of things to come. (17/20)

Total time: 35:13

87.08 on the Fishscales = B-/four stars; the talent is there, you can feel it, but they've got a ways to go before they figure themselves out. 

The best is yet to come.

Released in early 1969 - DON ELLIS Autumn (Recorded in late 1968.)

Don's first album since the Shock Treatment debacle (Columbia Records' righted wrong), it is a bit of a scattered collection of songs. Also, it is the Orchestra's first album without superhuman work of drummer Steve Bohannon (replacement Ralph Humphrey [The Mothers of Invention] is pretty amazing in his own right). The band here stretches out with new arrangements of "Indian Lady" (recorded live at Stanford University) and a cover of Charlie Parker's "K.C. Blues" as well as two other songs recorded under live conditions during the "Summer of Love." It also presents to the world the rollicking fun "Pussy Wiggle Stomp"--a song that would become the band's signatory opening song at live performances for the next few years. Autumn manages to showcase Don's continued compositional exploration of how to simplify complexities (i.e. create memorable, even danceable melodies while still incorporating constantly shifting time signatures) while also continuing to explore his own private fixation with the replication of classical Indian music melodies through his quarter-tone trumpet. 

Lineup / Musicians:

Don Ellis / quarter-tone trumpet, amplified trumpet
With:
 - Saxes & Woodwinds:
Ira Schulman - alto sax
Frank Strozier - alto sax, clarinet
Ron Starr - alto sax, flute, piccolo, soprano sax, clarinet
Sam Falzone - tenor sax, soprano sax, flute, clarinet
John Klemmer - tenor sax clarinet
John Magruder - baritone sax, clarinet, bass clarinet
 - Trumpets:
Glenn Stuart
Stu Blumberg
John Rosenberg
Bob Harmon
 - Trombones:
Ernie Carlson
Glenn Ferris
Don Switzer - bass trombone
Terry Woodson - bass trombone
 - Tuba:

Doug Bixby
Roger Bobo
 - Rhythm:
Pete Robinson - piano, clavinet, electric piano, prepared piano
Mike Lang - piano, claviniet, electric piano
Ray Neapolitan - bass
Dave Parlato - bass
Ralph Humphrey - drums
Gene Strimling - drums, miscellaneous percussion
Lee Pastora - conga
Mark Stevens - vibes, miscellaneous percussion

1. "Variations for Trumpet" (19:23) A wonderfully-recorded exploration of spacious arrangements and shifting time. Don's trumpet in the lead is as strong as ever, as are the clarity of the recordings of all of the other instruments of the Orchestra--which in and of itself is quite a feat for the follow-up of the massively corrupted and misproduced predecessor, Shock Treatment. (38.5/40)

2. "Scratt and Fluggs" (1:57) sounds like a real hoot at a country barn dance! (4.375/5)

3. "Pussy Wiggle Stomp" (6:47) a couple steps out of the deep woods of the Ozarks or Western Appalachia starts this rollicky dance tune. Eventually, the music conforms to more normal WW II-like Big Band jazz dance hit styles--only waiting for the professional dancers or the Andrews Sisters to step up front for the stage entertainment. Pretty amazing drum solo in the fifth minute! And then there is a downshift into yet another face of the Pussy Wiggle Stomp (a return to the opening motif). Such an infectious song with such tightly performed and well-recorded musicianship! (14/15)

4. "K.C. Blues" (8:44) opening with Frank Strozier's lone alto saxophone tearing up the skies yet playing with such distinct clarity that I'm sure original composer and performer Charlie "Bird" Parker would be proud. The band finally joins in during the third minute, playing pretty straightforward 1950s big band jazz, at first supporting and accenting Frank but then finally taking over for him around the five-minute mark. The rich, full arrangements that follow are notable for how numerous the banks' memberships feel. More sax soloing int he sixth minute but this time on a tenor, eventually finding the full band backing him in every way possible before everybody recedes for an electric piano solo. Nice performances, arrangements, and sound recording; just not my favorite kind of jazz. (17.5/20)

5. "Child of Ecstasy" (3:14) such solid musical performances of what feels like a simple (but we know is not) composition. The realization of the ideas of a true master of musical composition. And let's not forget how infectious is this man's energy and passion that he inspires such incredible performances like this! (9.510)

6. "Indian Lady" (17:42) those familiar horns at the start are the same but some of the instrumental performances have changed or the emphases within the soundscape mix. It feels as if the bass and drums and trumpet play have all been speeded up and clarified. The fact that this is from a live performance is nice for having the reactions of the live audience captured in the recording. But, man can these instrumentalists boogie! Because of the familiar earworm of the main melody one forgets how long this song is: so many twists and turns, so many ways to keep the main melody going on different levels while the other elements go off on crazy solo or group tangents--every expression displaying amazing skills instrumentally as well as compositionally. The all-percussion frenzy in the fourteenth and fifteenth minute is another amazing highpoint as is the frenetic bass playing behind and throughout. Simply astonishing! And that's not even mentioning the four or five times Don and the band "trick" us into thinking they're winding down to the finish only to start right back up again! I have to say that the amazing precision, recording, and energy of this long version of a song that was only eight minutes long in its first studio presentation on Electric Bath is more impressive and winning than even the great original. (33.75/35)

Total Time: 53:49

While continuing to hold the bar exceedingly high for demanding skills and performance cohesion, the music on Autumn, on the whole, feels far more diverse, dynamic, and rollicking than Don's previous recordings have captured. I may be wrong--it may be the wonderful clarity and separation of all of the individual instruments captured by the recording engineers, but it's just a great music listening experience, start to finish.

91.81 on the Fishscales = A/five stars; an excellent collection of diverse jazz-rock fusion songs coming from one of the greatest compositional and motivational masters of the movement. 

(Released in the USA) January 13, 1969 - LED ZEPPELIN Led Zeppelin (Recorded in September & October of 1968.)

Often cited as the greatest debut rock 'n' roll album ever produced, I am not going to be one who disagrees; I am simply one who is not interested enough in the discussion to want to participate.

Line-up / Musicians:
- Robert Plant / lead vocals, harmonica
- Jimmy Page / acoustic, electric & pedal steel (5) guitars, Theremin, backing vocals, producer
- John Paul Jones / bass guitar, Hammond M100 organ (3,5), backing vocals
- John Bonham / drums, timpani, backing vocals
With:
- Viram Jasani / tabla drums (6)

1. "Good Times, Bad Times" (2:46) great opening, guitar and drums, verses; poor chorus. (9.25/10)

2. "Babe, I'm Gonna Leave You" (6:41) excellent bluesy singing from frontman Robert Plant over Jimmy Page's acoustic guitar work that builds to the explosive instrumental rock motif that bursts into the history books with the chorus. And then it turns into that five chord downward progression jam! Who could ask for more!? Without doubt or hesitation, this is one of the all-time great rock songs. (9.75/10)

3. "You Shook Me" (6:28) where Jimmy Page tries to out-Jeff Beck Jeff Beck. (It takes him multiple tracks). Robert's efforts to mimic and even go beyond Page's masterful guitar play is stunning. And then Jimmy takes a turn trying to mimic/top Plant! So cool! Even John Paul Jones' Hammond solo and Robert's harmonica solo are noteworthy, but it's Jimmy's solos that steal the show. (9.6667/10)

4. "Dazed And Confused" (6:26) more descending chord blues-rock that has never been my favorite but definitely is full of classic hooks and riffs and many subtleties that surprise and astonish with each and every listen. (9/10)

5. "Your Time Is Gonna Come" (4:34) an awesomely unexpected organ opening minute that sounds almost church processional turns ALLMAN BROTHERS-like folk-rock in the second minute despite Robert Plant's bluesy vocal. Very cool song that I do not remember from my hundreds of listens as a youth (which illustrates the fact that I either skipped this song or rarely played Side Two). (8.875/10)

6. "Black Mountain Side" (2:05) an two-channel acoustic guitar piece that finds accompaniment from Viram Jasani's tabla. (8.75/5)

7. "Communication Breakdown" (2:27) sounds more like a predecessor of all the curt metal and punk songs from the middle and late 70s (including Thin Lizzy and AC-DC). (8.66667/10)

8. "I Can't Quit You Baby" (4:42) one of the theme songs from the coming of age film, Brokeback Mountain (j/k) Actually based on a music model that was created by Carol Kaye and The Wrecking Crew when working on Sonny & Cher's hit "The Beat Goes On": a walking bass line that is syncopated and thrown out of its standardly linear form, the band go on to embellish and aggrandize the sound with lots of power sounds. Robert's vocal is fine but it's really the extended instrumental section that is the song's highlight. (9/10)

9. "How Many More Times" (8:28) a long, drawn out song that, for me, shows flaws in John Bonham's  drumming skillset and diversity while allowing Jimmy Page ample room for exploration and experimentation. Unfortunately, however, at this point in the Led Zeppelin listening journey I am simple tired and worn out from the blues music and shrill Robert Plant vocals. (17.5/20)

Total Time 44:37

Though every video I've ever seen capturing Jimmy Page's live performances has left me totally convinced that the "guitar god" is horribly over-rated, the performances on this album definitely impress me. This may be a perfect album but, unfortunately, this (and the blues in general) is not (nor has it ever been) my favorite kind of music.

89.96 on the Fishscales = B+/4.5 stars; a near-masterpiece of blues-rock music that certainly sets the bar high for future hard rockin' bands.

 My Favorite Albums of 1968:

1. TERJE RYPDAL Bleak House

2. DAVID AXELROD Song of Innocence

3. PINK FLOYD A Saucerful of Secrets

4. THE ASSOCIATION Birthday

5. FRANK ZAPPA and the Abnuceals Emuukha Electric Symphony Orchestra Lumpy Gravy

6. THE UNITED STATES OF AMERICA The United States of America

7. DON ELLIS Autumn

8. DON ELLIS Shock Treatment

9. THE COLLECTORS The Collectors

10. TERRY RILEY In C

11. STRAWBERRY ALARM CLOCK Wake Up … It's Tomorrow

12. THE PENTANGLE The Pentangle

13. THE MOVE The Move

14. THE MOTHERS OF INVENTION We're Only in It for the Money

15. THE PRETTY THINGS SF Sorrow

16. SWEETWATER Sweetwater

17. ULTIMATE SPINACH Behold and See

18. IRON BUTTERFLY In-A-Gadda-Da-Vida 

19. SPIRIT Spirit

20. OZ MUTANTES Oz Mutantes

21. H.P. LOVECRAFT II 

22. SPIRIT The Family That Plays Together 

23. CARAVAN Caravan

24. ULTIMATE SPINACH Ultimate Spinach

25. THE JIMI HENDRIX EXPERIENCE Electric Ladyland

26. FAMILY Music in a Doll's House

27. PROCOL HARUM Shine On Brightly

28. MILES DAVIS Nefertiti

29. THE SOFT MACHINE The Soft Machine

30. APHRODITE'S CHILD End of the World

31. SPANKY & OUR GANG Like to Get to Know You

32. LED ZEPPELIN Led Zeppelin

33. VANILLA FUDGE Renaissance

34. BLUE CHEER Outsideinside 

35. DEEP PURPLE Shades of Deep Purple

36. BLUE CHEER Vincebus Eruptum

Honorable Mentions:

DONOVAN The Hurdy Gurdy Man
THE BEATLES The Beatles (The White Album)
THE MANDRAKE MEMORIAL The Mandrake Memorial
SMALL FACES There Are But Four Small Faces (March 18, 1968)
MILES DAVIS QUINTET Miles in the Sky
THE PENTANGLE Sweet Child
MILES DAVIS Filles de Kilamanjaro