“I can’t remember who said it, but it’s stuck. Jimi Hendrix (all gods bless him to the nine known edges of the universe) gets maybe too much credit for defining what one could do, psychedelically, with an electric guitar, in 1967. Because it’s not as if The Pink Floyd‘s Syd Barrett wasn’t also unleashing gobsmackingly apocalyptic electrical storms. Maybe he didn’t have the licks, the elemental voodoo blues bubbling from his soul straight through his fingers … but he did have the angles, the great sheets of discord and noise that it was going to take to get this souped up, superlative noise clear of the earth’s orbit, off into the vastness of beyond, even if it was ultimately within (which in Syd’s case, would sadly prove a bottomless void). The rest of the band weren’t half bad either.” (Philip Random)
“I remember taping this song from the radio one night, early teens, maybe 1973. But I didn’t catch who it was, so for some reason I just assumed it was Donovan. Which threw things off for a good twenty years. I’d describe it to people as the one where he says, if I was a soldier, and they’d say, Universal Soldier, and I’d say, no, his other soldier song. Anyway, I finally got it figured about twenty-five years later. Special thanks to Rena, an ex-punk I used to know, who had a hate on for Jeff Buckley, because she thought he was an over-hyped shadow of his dad, the then long gone but not forgotten (by Rena anyway) Tim Buckley. Anyway, I asked her to make me a tape, and there it was, Once I Was, precious evidence of a time (1967) when a young man could just pick up a guitar, sing his deceptively simple song, put poetic truth to the brutality and chaos of the world, maybe change everything forever. At least, that’s what it must’ve felt like, I guess. I was just a little kid then, not allowed anywhere near the fun part of the party.” (Philip Random)
“Second of two in a row from Love‘s 1967 masterpiece Forever Changes, because it really is an album (as opposed to a collection of songs). Or as an ex-DJ friend once put it – ‘I find it hard to put tracks from Forever Changes in a mix, because they always work best next to each other, as part of the intended flow.’ And these songs aren’t exactly out to take prisoners, not obviously anyway. They’re just content to work a warm and consistent and slightly hazy (perhaps smoggy) LA vibe of heartbreak and beauty and colours forever changing and whatever else it is that Arthur Lee‘s singing about. With titles like Maybe the People Would Be the Times or Between Clark and Hilldale, he’s clearly singing about everything. But love most of all.” (Philip Random)
“I don’t believe I heard Love’s Forever Changes until at least the 1990s. Not consciously anyway, because it is the kind of album that might’ve just slipped by. Not for any inherent weakness so much as its subtlety and, I guess, its timelessness – its strings and horns and multicoloured melodies and mysteries. It may have come out of Summer of Love Los Angeles, but heard in the background at a café or from the next room at a party, it could be almost any decade (since the 1960s anyway). As for Alone Again Or, it’s all in the title, I guess. Not so much a love song as a lack of love song, yet there is still hope. It is 1967 after all.” (Philip Random)
Wherein young Neil Young, still just a member of Buffalo Springfield, hears the Beatles Sergeant Pepper’s and responds with an epic piece of something or other. It starts with a live snatch of one of the other songs from the album, slips sideways into various surreal reflections on this-that-other things, finishes up with some honky-tonk piano that just sort of fades away into a heartbeat. It’s all definitely about something, which in 1967 was all you really needed.
“This being the version of Like A Rolling Stone that Jimi Hendrix played live in 1967 at the Monterrey Pop Festival. I may have been only seven at the time and thousands of miles away, but I heard it anyway, such was the superlative noise that Mr. Hendrix set loose unto the universe that evening – it cracked the speed of light, broke the bounds of time. And, of course, a loose, wandering cover of Bob Dylan’s still fresh epic had to be part of that performance, because that’s how zeitgeists work. A few songs later, he’d be setting his guitar on fire, a heat you can still feel … but that’s another story.” (Philip Random)
“Barabajagal (the album) is not Donovan‘s strongest effort. Call it inconsistent, I guess, a hodge podge of hippie-dippy mucking around that may have nailed the zeitgeist had it been released two years earlier, but come 1969, well let’s just say, something harder, more fierce was required. Like Barabajagal (the song). Truth is molten indeed. It helped that Jeff Beck and band were on hand, not so much backing things up as kicking them forward. Also Madeline Bell, Lesley Duncan and Suzi Quatro! As for who or what a barabajagal is, apparently it’s just a made up word, but it’s a good one.” (Philip Random)
(Art: Victor Atkins)
In which The Hollies get more serious than usual with an almost-hit about a man who, everything golden thing he touches, he destroys, which rather confuses the original myth about the king with the golden touch who ended up starving to death, because who can digest golden bread, or stew, or porridge for that matter? But it’s still a hell of a strong song. Welcome to psychedelic England, 1967, where there was at least as much confusion as colour in the magical breeze. As it was, Graham Nash (who wrote King Midas) would soon be splitting from the band, taking off to America and all manner of future glory as a serious rock artist, while the rest stayed home and mostly stayed pop, with a few golden moments to come, but nothing like what they’d once known.
“More proof that when it came to a certain sunlit psychedelic sweetness (which it seems was only ever achieved by anybody in and around 1966-67) the singer songwriter (some called him a poet) known as Donovan had no peer. Yes, Bob Dylan’s poetry went deeper and destroyed more fascists, and Donovan did on occasion get lost in hippy dippy wormholes, but its darned hard to argue with the mystical magical stuff of Sunshine Superman (the album) and a song like Legend of a Girl Child Linda in particular … whatever it’s about. Because I never really seem to be able to track it all the way through, the trance takes me, like I’m stuck in someone else’s dream, and sumptuous it is, all cascading crystals, hillsides of velvet, valleys of flowers.” (Philip Random)