“Donovan never really gets the credit he deserves for kicking the future into motion. I’ve said that already, I know. But seriously, here he is detailing an acid trip in all its cool-and-gone poetic glory at least half a year in advance of the Beatles Sgt Pepper. And better yet, he keeps the groove bluesy, the whole thing strutting comfortably along, the sunshine superman in full cosmic bloom. Nothing could stop him but a drug bust, which is precisely what happened.” (Philip Random)
It’s 1966 and it seems only Frank Zappa and his Mothers realize just how freaky and weird things are about to get, and Frank never even did drugs (beyond cigarettes and coffee). Nevertheless he could see them — the Brain Police. Or more to the point, he felt them, because you can’t see the brain police, can you? They’re within you, hiding behind your devices of oracular perception. Recording things. Seriously, they are there, implanted at birth.
The story on the Zombies is that they’d broken up before their best stuff was ever even released. A classic case of being too far ahead of the curve as a track like Indication indicates, a pumped up ride with some killer keyboards at the heart of it all, and all months before the Beatles had gotten around to releasing Revolver. The upside being that we’ve never really grown tired of it.
“To my ears, the split that eventually sank the Beatles was evident as early as 1965-66. Because while Paul was getting all moist about Yesterday, John was penning a psychedelic love letter to lethargy, just wanting to roll over and sleep for a few more hours. Which is why John will always be cooler, better than Paul. Or as my friend Tim used to say, the key question isn’t, who do you like better, the Beatles or the Stones — it’s John or Paul? And anyone who says Paul needs immediate help.” (Philip Random)
In which The Byrds lay it all out for eternity, man. Because it’s 1966 and something is most definitely happening, but what!?!? (note the question and exclamation marks), What’s Happening !?!? being notable as A. David Crosby‘s first solo songwriting credit for the Byrds, and B. succinct to say the least, the whole virulent, acid drenched confusion of the times laid out in fifty-seven words or less. Not that it was a bad historical moment — more just a state of spiritual, philosophical and emotional critical mass, a sustained chain reaction of apparently conflicting beliefs, ideas, demands and feelings that was demanding an entirely fresh and conceivably radical new point of reference, man.
“I find I generally don’t have much to say about the Beatles (and they do have quite a few selections on this list) — probably because so much has already been said. And yet, there’s always someone new coming along who needs to be reminded. They Changed Everything Forever. With a bunch of help from their friends. Western man couldn’t even see in colour until they came along – not with his third eye anyway. I believe Love You To was the first time a sitar graced a Beatles tune. 1966, final seeds being sown for the summer of love about to erupt.” (Philip Random)
“Love were already on their second album by 1966, and hitting their timeless stride. Of course, being only seven years old at the time, I was more into the Monkees, Herb Alpert and Peter Paul + Mary, so I’d have to wait thirty years before I could declare that 7 and 7 was a pretty much perfect chunk of garage psychedelia – short, sharp, smart, and with a nice explosion at the end.” (Philip Random)
“Motron was right. I was wrong. It turns out the Fugs were the first genuinely Underground American outfit, certainly of psychedelic 60s. I was arguing hard for the Mothers of Invention, but no, it turns out the Fugs beat them to it. They weren’t as good as the Mothers, but that’s a different argument. Kill For Peace (from the Fugs’ Second Album by which point the Mothers were in the game) certainly set things straight about what was going down over in Vietnam: if you don’t like foreigners and their strange habits and customs, then kill them, for peace, because if we don’t, the Chinese will. It stands to reason.” (Philip Random)
“Pretty much everybody took a swing at the Batman theme back in the 60s, but Link Wray‘s take wins because it’s just so dirty (the guitar that is) without losing any of the fun. Which is key. Because as far as I’m concerned, there’s still only one Batman worth talking about, and that’s the 1960s TV version, the Adam West Batman, the mod-pop technicolour silly Batman, in the wake of which all these more recent brooding, shadowy versions just seem sillier.” (Philip Random)