02-12-07 - 09-12-07
Saturday, December 08, 2007
V.A. - WorldBeaters Vols 1-8
Can things get any crazier? As we scour the planet looking for the wildest and most obscure 60's punk on the planet we become more and more amazed at what we are uncovering.
From Italy, to Chile, Poland to Singapore the kids were going crazy over fuzzed out guitars, primitive drum beats and wild tambourines. It is with great pleasure that we give you the instalments of theworld beaters series.
As far as international 60s garage compilations go,
WORLDBEATERS IS TOPS!!!
Get it before it's gone, these bands ALL rock like crazy - and there's even some groups here from PAPUA NEW GUNIEA - i don't get no more obscuro than that, freak fanz!!!
Submitted by elroy (Wallingford, CT, USA)
We are dealing with a very good collection of later 60’s beat, freakbeat, punk and 60’s psych from various places from all over theworld (Latin America, Europe, Australia and New Zealand, Canada, the East). The compilation is well done also because the styles and songs fit well together.
An excellent approach to beat music from outside the Anglofile countries,is what this compilation is all about !
Track Lists & Links Here
Enjoy !!!
From Italy, to Chile, Poland to Singapore the kids were going crazy over fuzzed out guitars, primitive drum beats and wild tambourines. It is with great pleasure that we give you the instalments of theworld beaters series.
As far as international 60s garage compilations go,
WORLDBEATERS IS TOPS!!!
Get it before it's gone, these bands ALL rock like crazy - and there's even some groups here from PAPUA NEW GUNIEA - i don't get no more obscuro than that, freak fanz!!!
Submitted by elroy (Wallingford, CT, USA)
We are dealing with a very good collection of later 60’s beat, freakbeat, punk and 60’s psych from various places from all over theworld (Latin America, Europe, Australia and New Zealand, Canada, the East). The compilation is well done also because the styles and songs fit well together.
An excellent approach to beat music from outside the Anglofile countries,is what this compilation is all about !
Track Lists & Links Here
Enjoy !!!
Labels: innocent76, Opa-Loka, Various Artists 
Neighb'rhood Childr'n - Long Years In Space 1967-1968
Neighb'rhood Childr'nPersonnel:
RICK BOLZ 12 string gtr, tamb, hrmnca, vcls A B
GARY CAMPBELL ld gtr A
GEORGE GLEIM bs A
DYAN HOFFMANN vcls, organ, tamb A B
TOM RYAN drms A
W. A. FARRENS drms, hrmnca, tamb, vcls B
RON RASCHDORF gtr, tamb, vcls, hrmnca B
ALBUMS:
1( ) THE NEIGHB'RHOOD CHILDR'N (Golden State Recorders acetate) 1967 R5
2( ) THE BOOK OF CHANGES (Golden State Recorders acetate) 1968 R5
3(B) NEIGHB'RHOOD CHILDR'N (Acta A-38005) 1968
4(-) LONG YEARS IN SPACE (dbl) (Sundazed 5023) 1997
NB:
(1) is a 12" metal acetate album. Some tracks appear on the Acta album, most don't.
(2) is a one-sided 12" metal album acetate of Acta album tracks with different mixes. Chocolate Angel has a longer intro.
(3) pirated in 1989 and also on CD.
(4) is an essential retrospective collection, also issued on CD (SC 11041).
EP:
1 THE NEIGHB'RHOOD CHILDR'N (Vegas Productions 863) 1967
NB:
(1) issued with press kit by the group's booking agency. This promo-only 7" EP was not issued in a sleeve. It contained non-album cuts/versions of Up, Down, Turned Around World, Maggie's Farm, That's What's Happening and Please, Please Leave Me Alone.
45s:
1 Little Black Egg/Louie Louie (Golden State Recorders) 1967
2 Maintain/Just No Way (as 'The Neighborhood') (Acta 813) 1967
3 Please Leave Me Alone/Happy Child (Acta 823) 1968
4 Behold The Lilies/I Want Action (Acta 828) 1968
5 Woman Think/On Our Way (Dot 17238) 1969
NB:
(1) is a One-sided 8" metal acetate. Only
(3) is from the Acta album.
One of the many forgotten bands gigging in the 'Frisco area, Neighb'rhood Childr'n's sole album on Acta is a psychedelic 'gem'. But, alas, after its release they simply vanished from the scene. Back in '68 with comparatively crude instrumentation available they created some very spacey sounds on tracks like Long Years In Space, while Chocolate Angel is something of a psychedelic jam. Feeling Zero appears to have been specially written to bring you down after another trip, while tracks like Happy Child and Patterns feature Dyan Hoffmann's crystal clear vocals. lndeed on Long Years In Space she complements the other vocalists to give the band a Jefferson Airplane-type sound. They even perform a re-creation of Over The Rainbow from Wizard of Oz.
Neighb'rhood Childr'n also recorded a couple of acetate albums in addition to the album on Acta. Much of this material has been compiled on the excellent Long Years In Space retrospective on Sundazed, and this together with the 'Acta' album is strongly recommended to connoisseurs of psychedelia.
The band evolved out of Oregon's Navarros, when their original drummer John Morrison was drafted. After about a year Campbell, Gleim and Ryan quit too and Bolz and Hoffman were then joined by central California musicians W.A. Farrens on drums and Ron Raschdorf on lead guitar.
Collectors should note that a DJ 45, with Dancing In The Street on both sides (N.A.M.l. 2014) 1974, is actually by a different Neighborhood Children, and sounds similar to early Jackson brothers.
Compilation appearances include:
Changes Brought To Me on Turds On A Bum Ride Vol. 1 & 2 (Dble CD)
and Turds On A Bum Ride, Vol. 2 (Dble LP).
(Vernon Joynson / Clark Faville / Darryl F. Riffero / Stephane Rebeschini)
RICK BOLZ 12 string gtr, tamb, hrmnca, vcls A B
GARY CAMPBELL ld gtr A
GEORGE GLEIM bs A
DYAN HOFFMANN vcls, organ, tamb A B
TOM RYAN drms A
W. A. FARRENS drms, hrmnca, tamb, vcls B
RON RASCHDORF gtr, tamb, vcls, hrmnca B
ALBUMS:
1( ) THE NEIGHB'RHOOD CHILDR'N (Golden State Recorders acetate) 1967 R5
2( ) THE BOOK OF CHANGES (Golden State Recorders acetate) 1968 R5
3(B) NEIGHB'RHOOD CHILDR'N (Acta A-38005) 1968
4(-) LONG YEARS IN SPACE (dbl) (Sundazed 5023) 1997
NB:
(1) is a 12" metal acetate album. Some tracks appear on the Acta album, most don't.
(2) is a one-sided 12" metal album acetate of Acta album tracks with different mixes. Chocolate Angel has a longer intro.
(3) pirated in 1989 and also on CD.
(4) is an essential retrospective collection, also issued on CD (SC 11041).
EP:
1 THE NEIGHB'RHOOD CHILDR'N (Vegas Productions 863) 1967
NB:
(1) issued with press kit by the group's booking agency. This promo-only 7" EP was not issued in a sleeve. It contained non-album cuts/versions of Up, Down, Turned Around World, Maggie's Farm, That's What's Happening and Please, Please Leave Me Alone.
45s:
1 Little Black Egg/Louie Louie (Golden State Recorders) 1967
2 Maintain/Just No Way (as 'The Neighborhood') (Acta 813) 1967
3 Please Leave Me Alone/Happy Child (Acta 823) 1968
4 Behold The Lilies/I Want Action (Acta 828) 1968
5 Woman Think/On Our Way (Dot 17238) 1969
NB:
(1) is a One-sided 8" metal acetate. Only
(3) is from the Acta album.
One of the many forgotten bands gigging in the 'Frisco area, Neighb'rhood Childr'n's sole album on Acta is a psychedelic 'gem'. But, alas, after its release they simply vanished from the scene. Back in '68 with comparatively crude instrumentation available they created some very spacey sounds on tracks like Long Years In Space, while Chocolate Angel is something of a psychedelic jam. Feeling Zero appears to have been specially written to bring you down after another trip, while tracks like Happy Child and Patterns feature Dyan Hoffmann's crystal clear vocals. lndeed on Long Years In Space she complements the other vocalists to give the band a Jefferson Airplane-type sound. They even perform a re-creation of Over The Rainbow from Wizard of Oz.
Neighb'rhood Childr'n also recorded a couple of acetate albums in addition to the album on Acta. Much of this material has been compiled on the excellent Long Years In Space retrospective on Sundazed, and this together with the 'Acta' album is strongly recommended to connoisseurs of psychedelia.
The band evolved out of Oregon's Navarros, when their original drummer John Morrison was drafted. After about a year Campbell, Gleim and Ryan quit too and Bolz and Hoffman were then joined by central California musicians W.A. Farrens on drums and Ron Raschdorf on lead guitar.
Collectors should note that a DJ 45, with Dancing In The Street on both sides (N.A.M.l. 2014) 1974, is actually by a different Neighborhood Children, and sounds similar to early Jackson brothers.
Compilation appearances include:
Changes Brought To Me on Turds On A Bum Ride Vol. 1 & 2 (Dble CD)
and Turds On A Bum Ride, Vol. 2 (Dble LP).
(Vernon Joynson / Clark Faville / Darryl F. Riffero / Stephane Rebeschini)
Friday, December 07, 2007
"The Holy Modal Rounders... Bound to Lose"
"The Holy Modal Rounders... Bound to Lose"Anthology Film Archives, Friday December 7th - Thursday December 13th.
The Theatrical and DVD release of the
documentary film "The Holy Modal Rounders...Bound To Lose". The film chronicles the bizarre forty year history of The Holy Modal Rounders, a 1960's Greenwich Village psychedelic folk duo (sort of like "A Mighty Wind on Amphetamines"). Featured in the film are Dennis Hopper, former band member Sam Shepard, Peter Tork of The Monkees, Wavy Gravy, Ira Kaplan of Yo La Tengo, Dave Van Ronk, The Fugs, Loudon Wainwright III, among many others. Read More...
Roky Erickson- I Have Always Been Here Before
Roky Erickson; Tommy Hall, Clementine Hall (vocals); Stacy Sutherland (guitar); John Shropshire (bass guitar, background vocals); Bennie Thurman, Ronnie Leatherman (bass guitar); Danny Thomas, John Kearney (drums).
Given the influence Roky Erickson has had throughout a career dating back to his work with the psychedelic garage rockers The 13th Floor Elevators, it is amazing that it took until 2005 for an anthology as comprehensive as I HAVE ALWAYS BEEN HERE BEFORE to appear. Kicking off with "We Sell Soul," a 1965 lo-fi nugget Erickson cut with his pre-Elevators band The Spades, this wild ride spans over three decades. In addition to the seminal Elevators classic "You're Gonna Miss Me" (with its gravelly vocals and rubbery twang), there's his mid-'70s solo comeback featuring the Doug Sahm-produced, wah-wah-drenched dirge "Red Temple Prayer (Two Headed Dog)" and its hook-filled sibling "Starry Eyes."
Marred by frequent bouts with mental illness throughout his career, it is frightening to hear the enormous talent that Erickson displayed during moments of clarity. His raw, mercurial skills shine throughout, whether on the late '70s sessions with the Aliens (including the faux skinny-tie twang of "I Think Up Demons" and "Don't Shake Me Lucifer") or the forlorn, autobiographical chamber pop of "Please Judge" from 1995's ALL THAT MAY DO MY RHYME.
BUY IT HERE : http://www.cduniverse.com
Marred by frequent bouts with mental illness throughout his career, it is frightening to hear the enormous talent that Erickson displayed during moments of clarity. His raw, mercurial skills shine throughout, whether on the late '70s sessions with the Aliens (including the faux skinny-tie twang of "I Think Up Demons" and "Don't Shake Me Lucifer") or the forlorn, autobiographical chamber pop of "Please Judge" from 1995's ALL THAT MAY DO MY RHYME.
BUY IT HERE : http://www.cduniverse.com
After the suggestion of a friend...
and some more mature thinking about this release...
we decided to remove the links...
Labels: E, innocent76, R
Wednesday, December 05, 2007
Johnny Lunchbreak - Acetate (1974 / 1975)
"Found circa 2004 while digging through Connecticut, a mysterious nine-track 12-inch acetate housed in a stickered jacket. No real info, other than the aforementioned sticker giving the band a name, a photo giving the band a face and a psychedelic style drawing pulled from a notebook tucked inside. The label on the record gave a general idea of location...the Gallery Recording Studios in CT. The 'detective work' was started by calling the recording studio. They didn't remember anything. With no names, I posted a pic of the acetate and two MP3s up on the Yahoo psychedelic web board to see if anybody knew anything. Some unknown Swede noticed the drawing was signed by a chick and managed to track her down right away. She, in turn, got a hold of an original member who in turn got a hold of me. All within a day or two of my original post. Amazing how that works out sometimes! The acetate was impressive...all originals showing healthy influences of their heroes the Kinks, Bee Gees (Odessa era) and the Stones. Yet the band retained an identity much of their own. Since the acetate went unreleased, I thought it fit to press up 300 copies to share with the world. Had these sessions been pressed up on a private label back in the day, the resulting album would surely be on many a want list now. This reissue is a real gem for fans of early/mid-'70s underground rock. Strict pressing of 300 numbered copies with minimalist hand assembled packaging. Also includes liner notes (um...kinda) by an original member. The reissue is mastered from the original found acetate (and is by no means of 'audiophile' quality)."1) Tinsel Days
2) The Same Could Happen To You
3) Take Me Baby
4) The Best That I Had
5) Never Found
6) It's Got a Hold On You
7) A Very Papal State
8) Amazing Pain
9) Not a Dry Eye in America
***
The Voyage Limpid Sound - 2000 - Electronically Enhanced Dream
Soundflat writes :
Behind the Voyage Limpid Sound stands a 19 year old Greek -an original
psychedelic talent- who writes, plays and records his songs in his father's studio. Musically he is close to the British psychedelic groups of the 60's and mostly to the first records of Pink Floyd, while the accords of his vocals are influenced by the psych/pop era of the Beach Boys. I know the artist personally but I'm not lying when I say that this album is disturbingly good! As other reviewers have said, Pink Floyd and the Beach Boys can be heard in his music, but I'd like to add David Bowie to that list!
Here's a young man who's doing with ease all the things that others try to do for years:sophisticated arrangements,strong melodies and songs,stunning voice and original 60's sound as none 80's psychedelic outfit ever did!Find this album-then you'll know why!The song "Shades of the sky" is a fave!! Benjamin Roses
source : http://psychedelic-music.net/pmdb/db3/db_band.php4?id=346
Download It Here :
RapidShare or SendSpace
Behind the Voyage Limpid Sound stands a 19 year old Greek -an original
psychedelic talent- who writes, plays and records his songs in his father's studio. Musically he is close to the British psychedelic groups of the 60's and mostly to the first records of Pink Floyd, while the accords of his vocals are influenced by the psych/pop era of the Beach Boys. I know the artist personally but I'm not lying when I say that this album is disturbingly good! As other reviewers have said, Pink Floyd and the Beach Boys can be heard in his music, but I'd like to add David Bowie to that list!
Here's a young man who's doing with ease all the things that others try to do for years:sophisticated arrangements,strong melodies and songs,stunning voice and original 60's sound as none 80's psychedelic outfit ever did!Find this album-then you'll know why!The song "Shades of the sky" is a fave!! Benjamin Roses
source : http://psychedelic-music.net/pmdb/db3/db_band.php4?id=346
Download It Here :
RapidShare or SendSpace
Labels: innocent76, V
Monday, December 03, 2007
Collective Tools - St
"Collective Tools" 197 (Silver Crest Custom nt-5272) [insert; blank back]Dialater blues
Two of us
40 & 20 years [actually 4 & 20 years]
Get together
Time
Sunny days
Long tall Sally
Cloudburst
S ail to Maine
Someone's here
Clear silver
Run past my window
If I were carpenter
Just the same
Circa 1970 upstate New York collaboration on a NYC label. Features the groups Eon, Silverwood, and other musicians from a drug rehabilitation clinic. Moody basement folkrock and fuzz sounds. On the surface this is a terrible record, but amateur fans will go nuts over the loose playing, warbling female vocals, no-fi production, and downer vibe throughout. Similar to "Tool Shed" and the Earlham College comps but murkier. Highlights: the murky take on "40 & 20 Years" (sic), the thud fuzz instro "Clear Silver", and the mournful "Sail to Maine" which is about scoring cocaine. Real people with real damage. [RM]~~~
This mix of rock, folk and jazz is a lot more interesting when you discover the background behind it. Knowing that it was made by people in a drug rehabilitation clinic/mental hospital, it just plain creeps me out, starting with the mournful trumpet and out of tune harmonica on the opening instrumental, moving through the chilling “Sail To Maine” (in which the singer seems to have the attitude that she can’t beat drugs so she’ll just snort cocaine until she dies) and some really stark loner folk. About half of the songs are covers. “Two of Us” is especially chilling, with the heavily echoed vocals and abrupt ending making my own mind turn this hopeful song into something completely different, where the “home” they seek is the clinic... or death. I’m probably reading too much into it, but given the feel of the rest of this album I might be on the right track. Despite the basement production and a certain kind of sloppiness, most of this is reasonably well played and sung. The ones that aren’t (i.e: “Get Together”) have a weird urgency that’s compelling. Every song here sounds like a last gasp. Very interesting stuff. [AM]
From Acid Archives... http://lysergia_2.tripod.com/AcidArchives/
My opinion --- i did like it a lot. Not best played but sounds true and worm to me. Original
@256
RapidShare or SendSpace
Enjoy
Someone's here
Clear silver
Run past my window
If I were carpenter
Just the same
Circa 1970 upstate New York collaboration on a NYC label. Features the groups Eon, Silverwood, and other musicians from a drug rehabilitation clinic. Moody basement folkrock and fuzz sounds. On the surface this is a terrible record, but amateur fans will go nuts over the loose playing, warbling female vocals, no-fi production, and downer vibe throughout. Similar to "Tool Shed" and the Earlham College comps but murkier. Highlights: the murky take on "40 & 20 Years" (sic), the thud fuzz instro "Clear Silver", and the mournful "Sail to Maine" which is about scoring cocaine. Real people with real damage. [RM]~~~
This mix of rock, folk and jazz is a lot more interesting when you discover the background behind it. Knowing that it was made by people in a drug rehabilitation clinic/mental hospital, it just plain creeps me out, starting with the mournful trumpet and out of tune harmonica on the opening instrumental, moving through the chilling “Sail To Maine” (in which the singer seems to have the attitude that she can’t beat drugs so she’ll just snort cocaine until she dies) and some really stark loner folk. About half of the songs are covers. “Two of Us” is especially chilling, with the heavily echoed vocals and abrupt ending making my own mind turn this hopeful song into something completely different, where the “home” they seek is the clinic... or death. I’m probably reading too much into it, but given the feel of the rest of this album I might be on the right track. Despite the basement production and a certain kind of sloppiness, most of this is reasonably well played and sung. The ones that aren’t (i.e: “Get Together”) have a weird urgency that’s compelling. Every song here sounds like a last gasp. Very interesting stuff. [AM]
From Acid Archives... http://lysergia_2.tripod.com/AcidArchives/
My opinion --- i did like it a lot. Not best played but sounds true and worm to me. Original
@256
RapidShare or SendSpace
Enjoy
Sunday, December 02, 2007
The Tea Company - 1968 - Come And Have Some Tea With The Tea Company
The Tea Company from New York City was one of the early birds from the US psychedelic underground scene with an LP on the market by 1968 originally released on Smash Records. This album marks the evolution of the 45 rpm teen-psych-garage band market to the upcoming LP-generation with extended improvisational parts. “The Naturals” formed in 1963 with Joe Meek influence and evolved into the Tea Company which showcased a more psychedelic sound. Opening up big ballrooms for such acts as; The Mamas and the Papas, The Lovin’ Spoonful, Bob Dylan, Ritchie Havens, and many others, the Tea Company became popular in the US underground, also in San Francisco for spectacular live shows and lyrical hippie statements.
Influenced by and using the same equipment as the Beatles, the controversial and intense “East-Indo Sound” reflects “an assemblage of possessed rock performers; retinue preparing the unusual; alternating with the roots of soul…whose purpose is to cause sensation, due to stimulation of the auditory centers of the brain!” Played with lots of freaked-out-echo-organ/-guitar noises on a 12-string Rickenbacker and various-stereo madness, reminds strongly of Syd Barrett´s spirit but more driven by hard hittin´ drums. You will find an outrageous 9 min. cover version of Vanilla Fudge “You Keep Me Hangin’ On”, which is celebrated among 60s collectors as a true milestone. The album is a mindblowing and freaky production (LP includes 3 bonus tracks by the NATURALS). This LP-release (remastered) captures the end 60s stereo sound-experiments in a fresh and intense way! The insert contains a nice bio and photos. A must for those who wanna feed their minds with unusual heavy-psychedelic Rock-ROOTS!
source : http://anazitisirecords.com
Download It Here :
RapidShare or SendSpace
Labels: innocent76, T
Jim & Jean - 1966 - Changes
Some time without sharing anything, so I thought, hey, before the year ends, let's post at least another album. I recently upped this for a friend, so you can have it too :-)
I'll borrow some comments found on the net (from Madhaiku , credit to him! ) for it, so no need to give my poor opinion about it. My opinion is: I love it! Specially their cover of Cruxifixion... such beautiful voices!
I'm guessing that you've never heard of Jim & Jean who had the misfortune of releasing their first album just as the folk revival was being crushed by the weight of the British Invasion and its own pretentiousness. (And the dopes at the Newport Folk Festival booed Dylan when he plugged in and went a electrified. Sheesh.)
Anyway, Jim Glover and Jean Ray recorded a couple of albums on the Verve Folkways label in the mid-1960s, then seemingly vanished off the face of the earth. Their first album, Changes, was released in 1966 and covered songs by Phil Ochs, David Blue, Eric Anderson and Dylan. The rest were penned by Glover himself who is said to have introduced Ochs to the music of Woody Guthrie and taught Ochs guitar when they were roommates at Ohio State. It was Ochs who wrote the liner notes on the Changes album.
"The folk boom has come and gone like a plague," Ochs wrote ruefully. "As the scene came to its inevitable shift, some resigned and officially became salesmen, others became ethnic defenders of Mother Earth tradition even though there were no attackers.
"Many grew their hair down to their wallets and jumped on the Beatle bandwagon in true hands-across-the-sea spirit. Palms upward as usual.
"Myself, I also planned to form a new group of former folkies. We would expand our hair, be backed by an electronic symphony orchestra, we would play sitars and various other eastern instruments we learned of by reading record jackets, and we would talk about the free-form ultra-Zen music on television. The group would be called the Pretensions."
Of Jim & Jean, Ochs said, "Into this melange of ultra hip and ultra hyped scenes leap Jim & Jean, a true blend of Americana, the kind of couple who might well persuade people from Iowa to buy U.S. Savings Bonds.
"Can they sing? Are they worth listening to? I think so, because unlike many of the people you have come to know and love in the folk and folk-rock scenes, they actually have voices with timbre and tone, control and intelligence."
OK, Ochs was a bit overwrought, but it was the 60s, and he would later kill himself (hanged himself in 1976), and there would be big tributes to him (I remember reading how Allan Ginsberg wore Ochs' gold lamè jumpsuit on stage at one event). But he had a point when he wrote, "There has been a vacuum of decent interpreters of the new wealth of songs pouring out of the New York decadence. These lyrics demand sensitive treatments, and don't necessarily need the overwhelming blare of drugged speakers. They demand phrasing, harmonies, counterpoint and higher wages."
I first bought this album right after it came out; found it in a store downtown. Or rather it found me. It's not the greatest album in the world. I didn't think so then and I don't think so now. On some harmonies Jean's full, high-pitch warble can get downright irritating. But Jim & Jean do a killer version of Ochs' song Crucifixion, which is like a postmodern, pre-psychedelic interpretation of the New Testament. And the title track, Changes, which Ochs also wrote, has that snap and pop of quintessential hippie dippy Sixties. He wrote some damn good songs, Ochs did, and Jim & Jean did them justice after all.
Anyway, Jim Glover and Jean Ray recorded a couple of albums on the Verve Folkways label in the mid-1960s, then seemingly vanished off the face of the earth. Their first album, Changes, was released in 1966 and covered songs by Phil Ochs, David Blue, Eric Anderson and Dylan. The rest were penned by Glover himself who is said to have introduced Ochs to the music of Woody Guthrie and taught Ochs guitar when they were roommates at Ohio State. It was Ochs who wrote the liner notes on the Changes album.
"The folk boom has come and gone like a plague," Ochs wrote ruefully. "As the scene came to its inevitable shift, some resigned and officially became salesmen, others became ethnic defenders of Mother Earth tradition even though there were no attackers.
"Many grew their hair down to their wallets and jumped on the Beatle bandwagon in true hands-across-the-sea spirit. Palms upward as usual.
"Myself, I also planned to form a new group of former folkies. We would expand our hair, be backed by an electronic symphony orchestra, we would play sitars and various other eastern instruments we learned of by reading record jackets, and we would talk about the free-form ultra-Zen music on television. The group would be called the Pretensions."
Of Jim & Jean, Ochs said, "Into this melange of ultra hip and ultra hyped scenes leap Jim & Jean, a true blend of Americana, the kind of couple who might well persuade people from Iowa to buy U.S. Savings Bonds.
"Can they sing? Are they worth listening to? I think so, because unlike many of the people you have come to know and love in the folk and folk-rock scenes, they actually have voices with timbre and tone, control and intelligence."
OK, Ochs was a bit overwrought, but it was the 60s, and he would later kill himself (hanged himself in 1976), and there would be big tributes to him (I remember reading how Allan Ginsberg wore Ochs' gold lamè jumpsuit on stage at one event). But he had a point when he wrote, "There has been a vacuum of decent interpreters of the new wealth of songs pouring out of the New York decadence. These lyrics demand sensitive treatments, and don't necessarily need the overwhelming blare of drugged speakers. They demand phrasing, harmonies, counterpoint and higher wages."
I first bought this album right after it came out; found it in a store downtown. Or rather it found me. It's not the greatest album in the world. I didn't think so then and I don't think so now. On some harmonies Jean's full, high-pitch warble can get downright irritating. But Jim & Jean do a killer version of Ochs' song Crucifixion, which is like a postmodern, pre-psychedelic interpretation of the New Testament. And the title track, Changes, which Ochs also wrote, has that snap and pop of quintessential hippie dippy Sixties. He wrote some damn good songs, Ochs did, and Jim & Jean did them justice after all.
GET IT HERE : rapidshare.com/files/Jim___Jean_-_Changes__1966_.zip
Hope you like it folks ;-)
