“As a kid who hit his teens in the early 1970s, I sort of always knew about Frank Zappa and his Mothers and their various crimes against humanity, but I never really fell in love until I heard Absolutely Free toward the end of high school, Plastic People in particular, and how nastily, incisively, hilariously it skewered all the transparent, pre-fab zombies I walked the halls with, who I once thought of as friends, but now, they just seemed hard-wired for lives of desperate boredom, intent on becoming just like their parents, only worse, because normal always gets worse. Yet Plastic People is in fact not about suburbia 1977, but Los Angeles 1967, a grand piss take of pretty much everyone, even the hippies, and how there was plastic where their souls should have been. It was just that kind of town, I guess. Still is, apparently.” (Philip Random)
“Procol Harum achieved improbable levels of success with their very first single, 1967’s Whiter Shade of Pale, and it was taken rather seriously. Because it was rock meets Johan Sebastien Bach with lyrics obscure enough to almost make you forget that Bob Dylan had taken a vacation, more or less. But then what do you do for an encore? You go further, higher, deeper, longer, you give all of side two of your second album to a single seventeen minute track called In Held Twas In I, which to many ears, ranks as the first genuine prog rock epic. In other words, yeah, it probably goes too far, too high and deep, definitely too long. But what do expect from young men cut loose from the herd, more or less commanded to go climb the highest mountain? Or as the Dalai Lama puts it in the intro. Life is like a beanstalk. Isn’t it?” (Philip Random)
“The Bee Gees from very near the beginning of things, psychedelic and strange, and as good as they ever got (to my ears anyway) giving their all as every Christian Lionhearted band should, complete with chanting monks and mellotron from days of future past. They really are as good as the Beatles here.” (Philip Random)
“See Emily Play is one of those tracks that was a big hit in the UK, but missed pretty much completely in the Americas, the upside being, I never got overexposed. In fact, I never even heard it until at least 1980 when I stumbled across a cassette copy of Relics (a 1971 compilation). And fine it was. Because what better time and place than a bleak Canadian midwinter, almost thirteen years after the fact, to finally catch the peak of London’s psychedelic spring via Emily and the free games she dared playe? It still feels like sunshine, every time I hear it. Shine on, Mr. Barrett.” (Philip Random)
It’s 1967 and The Pink Floyd have followed their increasingly deranged leader Syd Barrett to the very Gates of Dawn where some genuinely weird shit is going down. But don’t ask him exactly what. He’s too deep into the psychedelics to communicate on a rational verbal level, and he just keeps going deeper and deeper. Yet this particular message speaks volumes anyway. It calls itself Pow R Toc H and, in spite of the genuinely tragic madness that informs it, it’s really quite fun in a harrowing sort of way.
“As with pretty much every band or artist that lasts for more than a couple or three albums, there is more than one Pink Floyd. And much as I can say wonderful things about at least four of them, it’s the first I get most rapturous about. The Syd Barrett Floyd, the madly off in every imaginable direction, with equal emphasis on ‘madly’ and ‘every’ and ‘imaginable’. Call it psychedelic, I guess, but only if you mean the real stuff, drenched in Owsley grade LSD25 and spraying it in all directions, dosing everyone it touches, so not a particular sound so much as an open door, or perhaps a collapsed dam. Whatever it is, you can perhaps hear it best in Astronomy Domine, side one track one of the first Pink Floyd album, and the only one to feature an intact (though that’s arguable) Syd Barrett on vocals and guitar and overall sonic commitment toward the heart of the sun.” (Philip Random)
“Arguably David Crosby‘s greatest contribution to the Byrds, maybe to music in general. Because it’s absolutely true. If it hasn’t happened to you already, it will. Love will find you, fill you with its sweet, impossible light, and eventually burn you, though probably not fatally. But it will leave scars.” (Philip Random)
The Dukes of Stratosphear being XTC in psychedelic disguise, their first EP 25 O’Clock being one of those sublime moments wherein parody transcends itself, becomes its own wonderful thing. And from 1985 no less, which was about as far from the giddy light of the original psychedelic age as the culture ever got. In fact, go ahead and call 25 O’Clock the turning point, its 25 minutes of wild and weird technicolor pop invention being precisely the kind of superlative noise that could cause a shift in a planet’s orbit.
“Yeah, Jim Morrison was an asshole, who died for his own sins, nobody else’s. But damn, the Doors were a strong band, and yet they were pretty much nothing without him. And that first album in particular – well, somebody had to do it. 1967. Summer of Love – offer at least a hint that there was a darker side to things even as it was rocketing to the top of the charts. Soul Kitchen makes the list because it’s remained mostly well hidden over the years, and thus, no allergies.” (Philip Random)