The Best Band on Earth, 1962

It begins in 1962 as this was the birth of the "band" era.  Before that, in rock at least, it was all about singular performers and perhaps some acknowledgement of their side men.  This concept is based on the idea of cohesion, energy, and unity.  No bands repeat, so I guess it's not totally accurate.  It has very little to do with records and some bands will be number one when they did not release anything or maybe even released a weak album.  So, with that, the best band of 1962, The Beach Boys.

So, obviously I am not trying to say that the Beach Boys did their best work in 1962, but merely that they were the best band in the world at the time.  In a lot of ways, they were the best band they ever were at this point.  As the music got better they became more a project of Brian Wilson making use of five other vocalists and one other guitarist.  Then really just six solo projects that would share LPs.

1962, though the quintet of Brian, Carl, and Dennis Wilson with Mike Love and David Marks were the tightest and liveliest band so far.  Brian's songs were getting better and better by the day as he expanded beyond surfing and car songs into the likes of "Farmer's Daughter" and "Lonely Sea."  Though a weaker record, their debut Surfin' Safari showed how much potential the soon-to-be legendary band had and considering the hypnotic harmonies on "Ten Little Indians" were recorded live they may have already been there.

There is still a lot of controversy surrounding rhythm guitarist David Marks, but the extraordinarily young guitarist contributed much to the band being so cohesive.  The 1962 lineup was essentially a power trio of brothers plus one cousin and Marks.  Growing up in the same neighborhood as the Wilsons he was Dennis' young sidekick and even learned how to play guitar side by side with Carl.  These familiar bonds gave this era a rhythmic lock never head before that even a mature musician like Al Jardine just could not outdo.

The mostly teenage band did a lot of touring already and maintained a live schedule far more demanding than most bands since the 80s and their playing was improving as rapidly as the songwriting.  Sure, it may pale in comparison to Pet Sounds, but the 1962 Beach Boys were a live musical force far beyond many of over 50  the groups that will follow.  Plus, consider that the average age of its members was only 17!

Believe Me!

It seems that over the past year Dara Puspita has become a familiar sound in hip circles, perhaps a mostly as a name to drop, but to be honest, not even this cynic sees it that way. That being said, I am a little late on this, but I should throw in my two cents as well, and perhaps as in such "dire economic times" two cents has more value than we have thought. Either way, I just want everyone to know they heard it here too, plus it's been a while since I've posted one of those girl groups we love so much.

So, Dara Puspita or, in English "The Flower Girls" were an all-singing, all-playing girl group from Java who in my opinion represented everything great about sixties rock. This well-coiffed quartet had the sass and presentation of America's finest negro girl groups, the songwriting of the British invasion, the energy and low fidelity of garage/proto-punk, and all with a delightful psychedelic tinge. Obviously it's a ton of fun. This is as pure as it gets as the forward-thinking West had yet to see such a perfectly self-contained X-chromosome unit and this pre-dates even the Kim Fowley-dictated Runaways by nearly a decade. Like much of the music I have posted it is catchy and memorable even when largely in a foreign tongue, so don't let that bother you on pop gems like "Bhaktiku" and the fantastic title track which demonstrates the finest lo-fi production prior to GbV's Propeller, and maybe even beyond. For those intimadated by the language barrier you may want to start with their beautiful cover of the BeeGee's "To Love Somebody," or their own work in "Believe Me." Regardless this aptly-titled album is a real pleasure from beginning to end.

In some ways, I feel like Dara Puspita will be to 2009 what Os Mutantes was to 2004, so get hip to them before liking them too much makes you seem a bit behind the curve. On the other hand, David Byrne has yet to champion them and their cohorts, so you may be fine. Either way, if you love fun pure, rock 'n' roll, especially from girls this is essential.


Dara Puspita - A Go Go (1968)

Going Where No One Else Can Be

"Sailor" had always been one of my favorite Brina Jonestown Massacre songs, so I am pretty ashamed to have not known it was a cover. Here is the original. More "complete" update later.

And HERE is a link to the album.

They Weren't Kidding When They Called It "Obsession"

...and that is because all the featured artists have gotten bigger and bigger over the past year and a half. While not all of them have gotten proper re-issues, their names are out there and their music is on the blogosphere. I will continue this with the Quarteto Nova Era EP. There is not much more I can add to it - Brazilian, stands up to their contemporaries, shame there wasn't more from them despite making it into the 70s. Every song is good. A friend of mine bought a copy of this extremely rare find on eBay. The rest of us can get it here.


The Quarteto Nova Era EP (1968)

Be Kind and Humour Me

With their hit "A Whiter Shade of Pale" lifted from Bach, the music of Procol Harum lives in the subconscious of the Western mind. Unfortunately fewer and fewer people know the name and even less know of anything else the band did. It's a real shame since Robin Trower's guitar style was an key influence in classic Hendrix, and there's nothing like the majesty of the piano-organ duo.

So, here is some of their best work. "A Whiter Shade of Pale" was originally intended as one-off studio project, but by this time they had become a true band still playing a unique blend of baroque sounds and classic blues-based rock. All with unusual, carefully written lyrics Procol Harum stands as one of the more distinct bands of their era, albeit an often forgotten one. While the other instruments usually get the most credit, this album's drums really excel. Fromthe first track "Quite Rightly So" they are the extra little kick that gives the album so much of its appeal. This is a dark and pretty album with the band channeling all of their diverse influences to create something totally new, as best heard in the wild "Skip Softly, My Moonbeams."

There are plenty of bonus tracks here and those are many of the best. "Homburg" - the band's second attempt at a hit and perhaps a little much like the first one is here, and as similar as it may be it's still an amazing song. However it is "In The Wee Small Hours of Sixpence" that may be the band's best all thanks to the organ of course.


Procol Harum - Shine on Brightly (1968)

The Hidden Door: Found

Forming in Riverside, CA, in the mid 60s, the Misunderstood made one big mistake. Instead of remaining in their home and probably being a big hit on the Sunset Strip they followed the current British Invasion and relocated to England where they became one of the great lost bands of the sixties.

This album, recorded in 1966 was not even released until 1982, when even with the rise of neo-psychedelia this could never have hoped for an audience. The group's move is also significant in how it tells their sound. The Misunderstood is to the Yardbirds what the Olivia Tremor Control was to the Beatles. That is to say that their sound is what the blues rockers could have become had they gone further and further into their psychedelic territory. That London blues sound never leaves their sound even though the band goes as far into the psychedelic whirlwind as the 13th Floor Elevators - the band with whom they warrant the most significant comparison, particularly the first album. Lead vocalist Rick Brown's soulful voice on par with Eric Burdon's adds an element not often heard in American psych-rock, even outdoing Arthur Lee. The steel guitar provided by Glenn Ross Campbell wail in a way that set the standard of masterful use of alternative instrumentation is both the psychedelic and progressive rock that would follow in the footsteps. That is not to say the regular guitars don't kick ass as well. The songwriting is as strong, perfectly creating some of the heaviest rock of the sixties on par with the Creation. Some of the best tracks are opener "Children of the Sun," I Unseen," "I Can Take You To The Sun," and should-have-been hit "I Cried My Eyes Out." The Misunderstood's splicing of bluesy British Invasion, far-out acid rock, and proto-punk/metal heaviness makes it perhaps the quintessential underground rock album of the era.


The Misunderstood - Before The Dream Faded (1966/1982)

Classic Art has Had Its Day

Sorry it's been a while. Been busy for once and a little uninspired. Well, regardless, here's the Creation.

It wasn't just their heaviness (probably the heaviest until the MC5 came around, IMO) that made the Creation so ahead of their time. It was also their postmodern take on performance and their un-pretentious artiness of which today's artists' minds are not even capable of dreaming. Well, that and playing the guitar with a bow. Naturally, only the Germans got it.

Most informed people today know "Making Time" from the classic film Rushmore, but until then, "Painter Man" was their best-known song. These are two of their best and show the band at their peak with Kenny Pickett on vocals. The band was a staple of the original mod movement along with the Kinks, the Action, and the Who (Pete Townsend even offered guitarist Eddie Phillips a spot, which probably would have made the Who a better, yet less commercially successful band.) The band really re-wrote the rock format. With that in mind plus their loudness I would consider them beginning of "proto-punk." They do, however, keep in touch with the trends of the time with numbers like "If I Stay Too Long" and clovers like "Cool Jerk" plus the best cover I have heard of "Like A Rolling Stone." "Nightmares" and "For All That I Am" may be the quintessential mod tracks and forget proto-punk, "How Does It Feel To Feel?" is basically heavy metal in its most original form. A change of pace, "Ostrich Man"'s arrangement is a classic that shows the Creation had as much power to go in the baroque direction as their contemporaries. This is essential listening, plus one of the most bad-ass album titles which I was lucky enough to find at Barcelona's (where it is easily available) Révolver Records.


The Creation - Our Music Is Red - With Purple Flashes

God In Heaven, Won't You Help Us, Please

The most surprising thing that I ever heard about Emitt Rhodes was that this very album was EVERYWHERE at one point in time. Of course, the guy telling me this may have just been being a jerk as he charged me something like $15-20 for a not-quite-spectacular condition at Cheapo Records in Cambridge. However, considering the four years I had spent absorbing this rare masterpiece I hold no regrets on that purchase.

This album is often described as what Paul McCartney's solo records should have sounded like - I would agree, despite no negative feelings about many of his solo albums. There is a definite specifically McCartney Beatles vibe here and if you have a problem with McCartney even within the Beatles you really have to leave... obviously. This is the perfect pop album of its time, as it should be considering Rhodes' pedigree with L.A. pop group Merry-Go-Round (whose influence is heard directly on The Bangles) he splices the major influences of UK and Los Angeles guitar pop of the era here. What is extra cool is that Rhodes played and "produced" everything on here on a four-track, placing him among the likes of early one-man bands as Todd Trundgren, R. Stevie Moore, and yes, McCartney himself.

It is a true shame that these days the only people that know Rhodes are the geekiest of music lovers and die-hard Wes Anderson fans (myself both), whose The Royal Tenenbaums featured the short "Lullabye" (as per recomendation of Jason Schwartzman!?). The rest of the songs are of that quality, in particular "Promises I've Made" and the one-two punh of "With My Face On The Floor" and "Somebody Made For Me," so be sure to pick this up becasue it's either here or a long, expensive search... or another blog, I'm sure. Essential for fans of Big Star, The Beatles, and the Yelllow Pills series.


Emitt Rhodes - Emitt Rhodes (1970)

Right Now, Right Now, Right Now, Right Now it's time to...

KICK OUT THE JAMS MOTHERFUCKERS!!!!

Continuing off their notable followers from last night, here's the MC5. They are the greatest.

This debut album of theirs recorded after years together working as a house band, recording singles, and only a year after their long and legendary performance at the 1968 DNC in Chicago captures their unparalleled live energy. Recorded around the peak of their association with the White Panther Party there is a whole lot whole lot of political rambling which luckily just adds to the energy of the performance. It should be noted how loose these affiliations were in reality with members going on to say "We weren't really into the whole political thing but chicks seemed to dig it," and "Being the young hustlers we were, we knew this whole hippie thing was gonna be huge." And they sure were young. Fred "Sonic" Smith was only 19 at the time this was recorded, and he wasn't too far below the average age at all. Despite this, all musicians excel and Rob Tyner's vocal perforamce and stage presence is legendary.

The record, while recorded at two separate performaces in Michigan has the vibe of the best concert you've ever been to with a performance structure that puts any "theatre rock" to shame. This is highlighted by Tyner's delayed arrival after the poplitical rant/hype and Brother Wayne Kramer's bizarre vocal lead on "Ramblin' Rose." After the blues standard Tyner procedes to kick out the jams. The energy never wanes, especially on the first side with closer "Rocket Reducer #62 (Rama Lama Fa Fa Fa)." The album oozes with sexual energy and simply put is rock at it's rockinest.

While at the time this was considered heavy metal (a topic I could outline for ages), and now classified as proto-punk, the group really shows all their sides. There is a whole lot experimentation, not only in the heavily cited use of feedback and heavy distortion, but their moves in free jazz and psychedelic territory.


The MC5 - Kick Out The Jams (1969)

Best listened to in a muscle car. (RIP Pontiac)


If you ask me, THIS is the high society!

This House That You Have Spied

If you do not already have this album you need it immediately. This album is, in my opinion the best of the sixties. I love sixties music.

Following the almost as incredible Psychedelic Sounds of the 13th Floor Elevators, which arguably is the first psychedelic album, this 1967 release begins to show just how far that style can go. The combined genius (yes, genius) of the remarkably young (~20) Roky Erickson, guitarist Stacey Sutherland, and electric jug-player and essentially bandleader Tommy Hall becomes even more apparent. The music spares nothing is going all-out with the psychedelia always delivered with energy and urgency that set the bar impossibly high for contenders and giving fellow Texans Janis Joplin and ZZ Top their ultimate aspirations. In fact, the groups eventual visit to San Francisco at the height of Haight-Ashbury proved their drug-influenced music squarely in another league even when in the world's LSD capitol.

The epic opening track "Slip Inside This House" is an unparalleled psychedelic journey and Erickson's lyrical flow can put any rapper to shame immediately. Followed by frequent song contributor Powell St. John's chilling (but why?) "Slide Machine," the album's power hardly could be accused of cooling down. Giving Erickson a break, Sutherland's "Nobody to Love" is a perfect 60s US rocker and the much debated Dylan cover "Baby Blue" is a perfect side-closer.

Luckily, the other side is just as strong, most notably with "I Had To Tell You," which outdoes the debut's "Splash 1" in proving how well the band could write pretty songs. While there are no hits like the previous album's "You're Gonna Miss Me" who cares? Trip out, rock out, and spaz out to this masterpiece immediately. Essential for all fans of music, especially Janis Joplin, ZZ Top, The Butthole Surfers, and/or other Texas rock.

The 13th Floor Elevators - Easter Everywhere (1967)