George Harrison (always the most psychedelic Beatle) offers up a nifty slice of so-called world music (before we had the lame marketing term for it). Found on the soundtrack for a 1968 movie called Wonderwall that nobody ever saw, but then Oasis copped the title for a song name a couple of decades later and went mega-platinum with it. But On The Bed is far better (and cooler) than that derivative and over seasoned pop stew.
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)
The Fleetwood Mac story is long and confusing if nothing else. We all know the stuff that made them mega-rich and cocaine famous, but there’s an entire decade that precedes all that, and deep it goes, often with completely different singers and players working entirely different worlds and angles. Except the rhythm section, Mr. Fleetwood and Mr. Mac. You might even say the original line-up isn’t just the best Mac, they’re one of the best damned bands EVER, with guitarist Peter Green spearheading things, taking the old school blues, amplifying and psychedelicizing them, giving us stuff that barreled along neck and neck with what guys like Eric Clapton and Jimmy Page were doing at the time. 1969’s Then Play On is the key album, capturing not just the breadth Mr. Green’s genius, but also hints of the psychosis that would soon tear him apart. Beautiful and gone, lost to ozone whilst Searching for Madge.
It’s 1984 and proto-goth underlords Bauhaus have broken up, but guitar guy Daniel Ash still has some shadows to explore with bassist (and former Bauhaus roadie) Glenn Campling, an outfit they’re calling Tones on Tail. And it all comes good (if weird) with Pop, an album that that goes all kinds of cool places that music of the moment generally doesn’t. In the case of Real Life, that means acoustic, expansive, dynamic – the right kind of psychedelic.
“Viv Akauldren were from Detroit, I think. I seem to remember hanging out with the guitar player one day, wandering the sidewalks of downtown Vancouver, mid-80s sometime. He was overwhelmed by how peaceful it all was – how safe. They were gigging in town that night. The booking agent was a friend. So I guess I was being hospitable. Anyway, it all speaks to how lost so much of that era is. So many great indie outfits coming and going, cranking out powerful stuff, leaving little or no trace. Of course, I did manage to hang onto a copy of one of Viv Akauldren’s albums – Old Bags + Party Rags – which was nicely paranoid, political, psychedelic, and entirely relevant, then and now.” (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.
By the time When Tomorrow Hits hit, Spacemen 3 had already broken up for all the regular reasons that drug addled, pioneering psychedelic outfits break up, and then some. A cover of a Mudhoney original, it was supposed to be part of a double-A split single which would also feature Mudhoney’s version of Spacemen 3’s Revolution, but for whatever hazy reason, that didn’t happen. What does happen is Spacemen 3’s equal parts smoother and sharper take on When Tomorrow Hits, particularly that part toward the end, when it hits!
First there was Aphrodite’s Child and its mad fusions of extreme psychedelia and extreme pop. Eventually, there was Academy Award winning soundtrack stuff so definitive it’s since become kind of a cliché. In the middle somewhere is Earth, Vangelis Papathanasiou‘s first solo album, where the two extremes fuse and find all kinds of room to move. Aeons of it as We Were All Uprooted attests, both ethereal and grounded, like history itself shrouded in mist, the clues buried in the earth.