The Litter came from Minneapolis, Minnesota and recorded two of America's finest psychedelic punk albums. Distortions and $100 Fine are both strongly recommended. Distortions contained high energy psychedelic rock versions of many classic songs. ... Play it Loud! Feedback appears to have been one of the main weapons in their repertoire, and it is seldom used more effectively than on the aforementioned track. Also on the album are fine versions of Cream's I'm So Glad, The Small Faces' classic Whatcha Gonna Do 'Bout It, The Who's Substitute and A Legal Matter, Spencer Davis' Somebody Help Me, The Yardbirds' Wrack My Mind, Warren Kendrick's Soul Searchin' and Buffy St. Marie's much recorded Codine. Strandlof played lead on Action Woman, A Legal Matter, and Soul Searchin' but his attempts to steer the band in a folk-rock direction caused friction with Kane who wanted the band to become heavier. In the spring of 1967, he was replaced by Zippy Caplan, freshly back from a sojourn in California.
By their next effort $100 Fine the group were writing much of their own material. For this reason $100 Fine is probably the better album. Opening track Mindbreaker features fine fuzztone guitar work and culminates in a psychedelic haze. Their driving electric guitar work is well represented in tracks like Tallyman, Here I Go Again has a catchy guitar riff intro. More vintage psychedelic guitar work is evident on Morning Sun and (Under The Screaming Double) Eagle. The side culminates with a piece of psychedelic nonsense Apologies To 2069, which ends with the intro to Action Woman - a track on their first album. However, the stand-out track is the aptly named Kaleidoscope on side two, featuring an early use of 'phasing'. The remainder of this side is comprised of an impressive extended version of The Zombies' She's Not There and the self-explanatory Blues One. If you ever get the chance to hear either of these two albums, take it!
Bad management decisions hampered the band's progress during 1968. Both Elektra and Columbia made offers to the band but were knocked back because of heavy touring commitments. In August 1968 they recorded numbers for the film 'Medium Cool' but only made about 20 seconds of the final cut with the Mothers Of Invention overdubbed over them. Soon after Waite (who was burnt-out) and Caplan (who formed White Lightning and then Lightning) dropped out of the band.
1969 saw the group sign to a major record company (ABC) for a third album - a good hard rock effort that suffers only by comparison to the first two. Denny Waite had also departed and his place was taken by Mark Gallagher who'd previously been with The Troys.
Despite the band's legendary status there has often been confusion and misspeculation surrounding them and the other artistes under Warren Kendrick's guidance. The Electras/Twas Brillig outfit must be fed up by the constant claims that they were a Litter offshoot since they'd been around for some years beforehand - see their entry for details. This confusion was due to them also being under Warren Kendrick's wing apart from the fact they also recorded Kendrick's Action Woman and Soul Searchin' . No wonder the two outfits sounded similar. The confusion was aggravated by Eva's compilation, Litter. - Rare Tracks, which would have better been entitled 'The Best Of The Rest Of Warren Kendrick'. It features Litter's She's Not There (short version), On Our Minds, Little Red Book, Ungrateful Pig and Substitute; Electras/Twas Brillig's Dirty Old Man, You Love, This Week's Children and Soul Searchin'; White Lightning's William and Of Paupers And Poets; Zoser's Together and Dark Of The Morning and Second Edition's To Keep You.
Denny Waite and Jim Kane had been in another Kendrick-produced group, The Victors, prior to The Litter. Five unreleased The Victors tracks have recently been aired on the Get Hip album Electras vs. Scotsmen/Victors, which was released in 1993, and repeated on The Scotty Story CD. ... ~ (Vernon Joynson / Max Waller / Lloyd Peasley)
Odessey & Oracle (album) : It's rather tragic that The Zombies are splitting. But what a momentous last album they are leaving behind-quite the most outstanding record of the month for creativity, originality, sensitivity and sheer dimension. "Rose For Emily", a song that is related by implication to "Eleanor Rigby" or "Lady Jane", and has the same texture, is so tender, so sweet, that it should have been issued as a farewell single. All the songs were written by Rod Argent and Chris White; and they're a long way from "She's Not There", the song that shot The Zombies to the top of the international charts years ago. Their writing is now poetic and observant, sad and wistful. And if you like music with meaningful lyrics, it's joyful. Hear The Zombies-they're so good!
Friends of Mine : This group seldom gets the success it deserves from British fans and in an attempt to remedy that I'm told the boys have taken six months off to re-think their pop approach. Here they make excellent use of their harmony talents on this happy, driving number. Could well be the break they're looking for, hope so.
Time of The Season : The very last single from The Zombies before this talented group disbands. And this disc makes us realise just what we're going to miss, because it's a very good farewell offering. Pity is that the sort of thing one can confidently tip for the charts but the discerning listener will enjoy it immensely.
01. The Furthest Point 8:16 02. Old Boot Wine 4:19 03. Parallel Lines Never Separate 5:06 04. Spiggly 1:13 05. An Everyday Consumption Song 4:30 06. The Sergeant Says 3:43 07. In The Western World: 13:00 a. In The Western World b. Jungle Lore c. Coming Back d. Western World Reprise
1. Dangerous Dave (4:16) 2. Van Halen's Belt (2:35) 3. Runaway (4:55) 4. Grandad (3:23) 5. Wings of Thunder (3:08) 6. World's Eyes (7:31) 7. Don't Let It Get You (4:28) 8. Disraeli's Problem (4:15) 9. A Canterbury Tale (4:03)
Thought to have been Californian, this band was responsible for one of the rarer and stranger Mainstream releases, which incorporates many diverse influences. Sometimes it don't always gell but certainly makes interesting listening. All the cuts are originals, written either by Jonathan Caine or a guy called Murphy, who presumably had some connection with the band, since some tracks are co-written by Caine and Murphy. The material is wide-ranging from the accessible psychpop of Sara Wells, laid back, melodic opening cut What Went Wrong and uptempo Inside-Out Man to the highly experimental People I Once Knew, which starts with spoken lyrics over melodic piano and later descends into lots of fuzz and organ work. The Mister Grey 45, which is also on the album, is interesting too. Recommended for fans of psych and/or progressive rock but not for garage purists.
A very rare Southern Californian pop/psych album with dual organ, fuzz and sunshine vibes similar to Strawberry Alarm Clock.
(Vernon Joynson)
01 - David
02 - Rush Hour Blue
03 - Light Without Heat
04 - In the Middle of Happy
05 - Hammond Eggs
06 - Sometimes A Woman
07 - Secomd Thoughts
08 - Seven Times Infinity
09 - Colors Of Love
10 - The Fun Machine
ProgressiveRock : English Progressive acts were a huge hit in Italy by the early 70’s, so it was only a matter of time before the Italian groups steered their beat tradition to more Progressive pastures and produced their own unique twist on the genre. At the forefront of this were the unlikely named Premiata Forneria Marconi, or "Award Winning Marconi Bakery". Originally the beat/psychedelic group Quelli, they had some relative success in Italy covering English groups and as session men. But by the end of 1970, drummer Franz Di Cioccio, guitarist Franco Mussida, bassist Giorgio Piazza and keyboardist Flavio Premoli had formed PFM, named after the shop above their rehearsal space. Multi-instrumentalist Mauro Pagani joined shortly after, adding flute and violin. Their early shows were often in support of UK groups (Yes, Deep Purple) and their set included King Crimson and Jethro Tull covers. Their first album, Storia Di Un Minuto, is a brilliant statement. Mussida wrote the music, Pagani the lyrics, while the whole band arranged. Although some English influence (notably King Crimson) is apparent, the album is uniquely Italian and PFM. The opener, "Impressioni di Settembre" displays detail and gentleness quite unlike their British contemporaries. The tarantella of "E’ Festa!" (We like to call it "circus Prog") is both lively and loopy, a testament to both their virtuosity and humor. The compositions on the second side combine many styles, but the spirited performance keep the album as fresh as it is unique, in particular on the dramatic "Grazie Davvero". Although the album is sung in Italian, the language has a lyrical feel, rendering it more familiar rather than foreign. Progressive rock turned out to be a significant movement in Italy over the next few years - PFM’s debut was the first Italian rock album to top the Italian charts. Droves of Italian men cranked up their instruments and formed bands, however, few, Italian, British or otherwise - would surpass the excellence of PFM.
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