Top 100 Albums of the 1970s - #67 - Pink Floyd - Meddle (1971)

Psychologists speak of the Primacy Effect and the Recency Effect to describe how our brains tend to remember experience that come first, and come last respectively, with less attention paid to those in between. This may explain why people remember Meddle as being a better album than it is. As an album, it's bookended by two blindingly good tracks, with relatively unremarkable filler sandwiched in the middle.

Meddle is unquestionably a transitional album, bridging the gap between the band's early psychedelic experimentalism and the polished art rock productions of their classic period. Coming just before their breakthrough Dark Side of the Moon, Meddle finds the band pushing boundaries while not quite abandoning their roots just yet. The results are at times awe-inspiring.

Side one opens with One of These Days, a largely instrumental piece that features Roger Waters' bass guitar run through a delay effect and surrounded by wind sound effects and increasingly intense guitar patterns from David Gilmour. As simple as the concept is, it really delivers, playing with rhythmic drive as a vehicle for textural exploration and atmosphere. Towards the end, a distorted vocal proclaims "One of these days, I'm going to tear you into little pieces!" It's not clear where this hostility is coming from or where it's directed, but it's certainly effective. A brilliant start to the record.

Next, A Pillow of Winds is a pastoral psychedelic ballad, leading into Fearless, which follows in the same vein. These songs feel like the remnants of an earlier band being shaken off to make way for the new sound. They are not bad, but they don't really live up to what we would come to expect from Pink Floyd in the near future.

The album then reaches it's nadir, with the two songs, San Tropez and Seamus. The former is a playful, tropical throwaway that really doesn't fit with the otherwise gloomy and watery feeling of the record, and the later is a regrettable, low fidelity twelve-bar blues about a dog, complete with howling and whining sound effects. Besides being actively annoying to listen to, it is beneath the band's talents.

Side two is comprised entirely of the 21-minute epic Echoes, and here we see the strongest hints of what Pink Floyd was about to become. Beginning with a distinctive sonar beep and morphing into an inspired jam session, Echoes showcases how well the individual band members play together, and how inventive they can be. The song's main riff was ripped off by Andrew Lloyd Webber for the title track to Phantom of the Opera, but that does nothing to lessen its power here. Though the track runs for over twenty minutes, I could honestly listen to it for an hour. It's arguably an even more effective use of the long-form piece than even Shine On You Crazy Diamond, and if anything its more primitive nature just adds to its atmosphere.

The lyrics from Echoes state that "everything is green and submarine", and thta would be an apt description of Meddle as a whole, from the cover art to the watery sound of the production. In that respect, it's a success as a quasi-concept album, even though the majority of the individual tracks are not too memorable. While I don't think it lives up to the very best of Pink Floyd, it certainly has its moments, and is notable for the direction it pointed in the band's forard trajectory.

Top 100 Albums of the 1970s - #70 - Pink Floyd - Dark Side of the Moon (1973)

What can one say about Dark Side of the Moon that hasn't already been said? For many people, this album would not only top the list of the best albums of the 1970s, but the best of all time. And here we find it at a lowly #70. Personally, I wouldn't even rank it as my favorite Pink Floyd album. Nevertheless, it is undeniably a great achievement in music and in terms of influence alone is worth celebrating, so let's dive in.

Dark Side of the Moon represents the moment when a somewhat eccentric psychedelic band really got its act together. Previous Pink Floyd albums had moments of brilliance on them, but they tended towards self-indulgence, excessive experimentalism, and the inclusion of filler tracks to round out the running time. With Dark Side, they produced a tightly composed, semi-concept album with no wasted space, as well as some of their most memorable tunes. It would set the stage for the next two albums, Wish You Were Here and Animals, which both surpass this one in my opinion, but we have to award points for coming first.

While it's true that Dark Side sees the band at their sharpest, both in terms of songwriting and performance, I think the lion's share of the credit for the success of the album as a whole is due to engineer Alan Parsons, who would later find fame (albeit on a less extravagant scale) with his own band, The Alan Parsons Project. In this age of digital music editing software and laptop wizardry, it's easy to forget just how difficult it was to perform complex edits back in the day.

It's astonishing to think that the intricate 7/4 rhythm of cash registers and jingling coins at the beginning of money, or the cacophony of chiming clocks in Time, were produced using a razor blade to slice and splice physical tape together with almost superhuman precision. These effects go a long way towards giving the album its unique charm and cohesion, and Parsons is the man responsible for them.

Still, Roger Waters and David Gilmour were no slouches either. Waters' bitterly sarcastic lyrics and memorable bass hooks (particularly in Money) are the work of a master, whereas Gilmour's trademark slow and dreamy guitar solos lend a soaring grandeur to the music, and once again prove that effective guitar playing need not be about speed or technical virtuosity. Gilmour pours more emotion into his playing than any dozen hair metal shredders, and is rightly regarded as a guitar hero for it.

Lyrically, the songs have their fair share of memorable lines. "Hanging on in quiet desperation is the English way" manages to be poetic, poignant, and catchy. And while I don't agree with Roger Waters' politics, his vitriolic diatribe against Money is as enjoyable now as it ever was. Even when there are no lyrics at all, as in The Great Gig in the Sky, the epic vocal solo sends the listener on quite a thrill ride.

Dark Side of the Moon may not be the best album of all time or even of the 1970s, but it is certainly a stone cold classic thta belongs in every record collection worthy of the name. And yes, I have lined it up to the Wizard of Oz and it does work. Check it out sometime. It's not just for stoners anymore.

Liminal Phase - LP (2011)

This is the debut album from Liminal Phase, a sort of free form psychedelia ensemble recorded live in the studio with barely any preconceived ideas for composition. The result is an extremely diverse, sprawling set of tracks that traverse a wide range of influences and genres.

Despite having only six members, Liminal Phase really has the feel of an avant garde big band, perhaps due to their jazz-informed practice of structured improvisation with alternating solos, as well as the fact that every member plays several different instruments. However, jazz is only one of the many styles brought to bear here, with a good deal of inspiration being drawn from world music, such as Indian raga and Middle Eastern motifs.

A trippy vibe is maintained throughout, and one is put in mind of modern day jam bands like Ozric Tentacles only with a more varied sound, and improvisational collectives like Volcano the Bear only less weird. However, the album's greatest strength is also its weakness.

Because the material was edited down from several hours of jamming, there is a certain discontinuity that is noticeable as some of the tracks don't flow into each other as well as they might. Still, for those who relish the wild side of free-form psychedlia, there is much to enjoy here.

The "songs," all of which are instrumental, range from under two minutes to over thirteen in length, and there is sure to be something for everyone. Personally, I prefer the long, drawn out pieces where themes really have a chance to develop into something special, but sometimes a bite sized chunk of weirdness is just what the doctor ordered. It will be a pleasure to watch how this fledgling group develops over the next few years and I will certainly be curious to see what their next release brings.

Power of Zeus - The Gospel According to Zeus (1970)

 
Power of Zeus were a hard rock/psychedelic group that had the misfortune to get signed to a Motown subsidiary. The folks at the label really had no experience with this kind of music, and the result of their efforts packs less of a punch than it might. The band members have expressed dissatisfaction with the album, claiming that it did not capture their live sound and, regrettably, they never got another chance.

Before writing them off as a footnote to the psychedelic movement, however, we have to admit that many of the songs presented here are quite good. The band had a lot of unique ideas, solid musicianship and the charm that only a Hammond Organ can bring. A couple of the tracks teeter on the edge of the then burgeoning progressive rock movement, while simultaneously delivering quite a trip to those inclined to such things.

The albums highlight is, at least for me, the seven and a half minute "The Death Trip" which, as the title implies, chronicles a man's journey into the afterlife. Apart from being spooky as all get out, it also rocks really hard. The climax has the singer screaming "I see the light!" over swirling and majestic Hammond chords, and is sure to get your adrenaline pumping. The closing track, "The Sorcerer of Isis," is similarly dark, although not quite as intense, with Eastern influenced guitar lines and mystical lyrics. The band's singer cites it as best capturing their live sound. "In The Night" is a personal favorite, and although a pretty straightforward rock song, it touches on the Devil and things that go bump in the night in a very satisfying way.

The rest of the album is filled out by capable, if somewhat mainstream, hard rock and the obligatory flower power hippy lovefest "Green Grass and Clover." While not a masterpiece, this album is a solid slab of seventies hard rock/psychedelia, and ranks a good deal higher in my book than Iron Butterfly's debut. It is sure to please fans of Uriah Heep, Deep Purple and Atomic Rooster.

Eloy - Floating (1974)

Eloy are a German band that played psychedelic rock in a somewhat British vein, steering largely away from the free form improvisational nature of their Krautrock contemporaries, instead drawing inspiration from bands like Deep Purple and Pink Floyd. "Floating" is their third LP, and the first on which they really refined their sound as a band.

Eloy's later career would be dominated by concept albums with a somewhat gentle space rock vibe. There is no concept here, nor is there any gentleness to speak of. This is hard psych to be sure. Hammond organs scream through walls of distortion and the guitars are turned up to eleven. The third difference between this and later Eloy releases is the marked absence of synthesizers, further emphasizing the heaviness of the record.

The album consists of five somewhat lengthy tracks, with the centerpiece being the fourteen minute "The Light From Deep Darkness," a splendid prog rock track that contains numerous tempo changes, catchy melodies, great solos and a wide variety of moods. On this song, as well as on the rest of the album, wah pedals and other watery guitar effects add to the trippy nature of the music, living up nicely to the title "Floating." The vocals are not terribly strong, but they are infrequent, mixed low and take a backseat to the music anyway.

The instrumentalists are all very proficient and at the top of their game. I particularly enjoy the way the guitar, bass and organ trade lines and play off one another, often in quite complex ways. Although most of the songs rely on one or two (mostly awesome) riffs that are repeated over several minutes, the band manages to keep it interesting by changing instrumentation, mixing up the rhythm section and overlaying countermelodies in the form of solos.

Anyone who has an interest in the heavier side of psychedelic rock should give this album a spin. With its combination of superior musicianship, trippy textures and a talent for coming up with memorable melodies it is a great find in a genre that is sometimes overwhelming and difficult to navigate.

H. P. Lovecraft - H. P. Lovecraft (1967) / H. P. Lovecraft II (1968)

When most people think about psychedelic rock from the sixties, it's a pretty good bet that H. P. Lovecraft is not one of the first names they come up with. Despite having a relatively successful couple of years, and two pretty solid albums, the band has largely been forgotten in the annals of rock history. That's a shame because, although their records don't exactly qualify as lost masterpieces, there is a lot to enjoy in their music. Luckily, those of us who wish to seek it out, can pick up this two-fer (can you tell I like these?) containing both of their studio records and a couple of singles.

The style of the band is basically psychedelic folk, but with a more complex instrumental palette than other similar groups. Rather than the standard folk dominated by acoustic guitars, H. P. Lovecraft employ many orchestral instruments as well as organ, piano and harpsichord. The sound is, however, not nearly so dark as their name implies. In fact many of the songs are (unfortunately) rather standard interpretations of popular folk songs. I find these a bit tedious, and the insipid peace-and-love lyrics of these hippies drives me nuts, but that's not the whole story.

Where the band really shine is on their original compositions, most notably the six and a half minute "The White Ship." The atmosphere of this track is one of mystical gloom, with french horns and ships bells droning on somberly. It's a really nice mood piece and the vocal harmonies are quite lovely. There's also an a capella rendition of the Gloria Patria prayer at the ned of the album which is pretty cool. Finally, the faux-twenties pastiche "Time Machine" is usually derided, but I find it quite fun, although strangely out of place on the record.

Thankfully, the second album shows the band in a more adventurous mood. After wading through a bit of folk nonsense at the beginning, we are treated to some real psychedelia. "Ellectrolentando," "At The Mountains of Madness," and "Mobius Trip" deliver a three-in-a-row punch of trippy atmospherics and gloomy dirges. There's also a forty second sound collage/recitation called "Nothing's Boy" that reminds me a lot of "In The Beginning" from the Moody Blues' "On The Threshold of a Dream." Actually, this group could be compared to the Moodies in a lot of ways, now that I think of it.

Folk is not a style of music that it is very easy for me to enjoy, and I find a lot of it dated and silly. Nethertheless, H. P. Lovecraft's expansion of the genre with inventive arrangements and progressive song structures is worth hearing, whether you are a fan of the genre or simply interested in the hostory of Psychedelia and Progresive rock.

Dr. John - Gris-Gris (1968)

Dr. John's first solo album is a psychedelic tour de force of the Louisiana voodoo variety. From the murky production, sludgy tempos, distant female backing vocals and African drumming, it's a listening experience almost akin to a balmy night out in a swamp somewhere, complete with will o' the wisps and black magic rituals.

The music is hypnotic in it's slowness and repetition, and the tasteful use of mandolins, flutes and saxophones lends interest without stealing the show. Despite Dr. John's reputation as a piano powerhouse, there is no keyboard virtuosity to be heard here. Instead, he smartly restricts his playing to essential rhythmic patterns and coloristic touches, never overpowering the general group dynamic. "Croker Coutbullion" features a prominent harpsichord part, which is somewhat bizarre for a New Orleans band, but then again the whole record is somewhat bizarre and it ends up being one of the album's best tracks, so I'm not complaining.

The album is most successful when it sticks to non-melodic swamp ambiance combined with minimalist chanting and animal sound effects, as on "Danse Kalimba Ba Doom" or the masterful closer "I Walk on Gilded Splinters." Unfortunately, it falls a little flat when attempting more traditional song structures ("Mam Roux.")

After this, Dr. John would veer increasingly towards straightforward blues, and while there are a number of enjoyable voodoo moments on his next few albums, he would never again embrace the concept so wholeheartedly as he does here. Definately something worth checking out for the psychedelia fan in search of something a little different.

Earthmonkey - Be That Charge (2007)

Earthmonkey is a project by the oddly named Peat Bog, best known for his collaborations with Nurse With Wound. On this release, however, he strays far afield from the avant garde sound collages and eerie soundscapes, tackling instead the trippy, strung out world of Ravers. The difference is that, unlike Rave music, this doesn't suck.

On this two disc set (three discs if you got one of the first 300 copies. I did not.) the listener is assaulted with relentlessly frenetic, out of focus music that drifts between rock, disco, trance, jazz and experimental. The guitars are fuzzy, the vocals are distorted and mixed way back. Everything is designed to feel like a haze of thick smoke and intoxication. The consistently fast tempos and overworked drum machines prevent you from ever really relaxing, though, which makes this an oddity among psychedelic records.

The fact is that the music is unnerving and it's hard not to be slightly on edge when listening to it. Combine that with the sheer length of the album (two hours without the bonus disc) and we're talking a seriously draining experience. For that reason, I don't often listen to this record, but it works well at parties where you want to keep the energy up, or when you're just in one of those moods.

That being said, the whole production is quite impressive, especially given that all the instruments were played by a single man. "Funhouse" is a standout track, with its repeated vocal sample and twelve minutes of Gong-like psychedelia. "Be That Charge" is certainly an interesting record by a talented guy. It just may be a bit much to take in a single sitting.

Ozric Tentacles - Strangeitude (1991)

The name of the game here is "trippy." Ozric Tentacles are an instrumental space rock band that borrow heavily from Gong and Steve Hillage, but with a more modern sound (and frankly, a somewhat tighter group dynamic.)

I don't know any other albums of theirs, but I'm told that there's a bit of a "heard one, heard 'em all" feeling to them, not that that's necessarily a bad thing. The band does one thing and they do it very well, and that's to create spaced-out rock jams that will blast your brain stright into the stratosphere.

The tracks are largely groove oriented, and are comprised of a very pleasing blend of mellow flutes, bubbly synths and searing psych guitar. The bass and drums are also quite prominent and are essential to laying down the driving rhythms that give the songs their structure.

There is a good deal of world music influence, particularly from the Middle East. The track "Bizarre Bazaar" conjures up images of shifting desert sands, mirages and opium dens, while the seven minute title track features a long, slow buildup, leading into a furiously rocking finale. Simultaneously relaxing and energetic, the whole experience is very mind bending and will definitely put your head in a good place, if you're into that sort of thing.

The Crazy World of Arthur Brown (1969)

Ladies and gentlemen, welcome to the Crazy World of Arthur Brown. This fire and brimstone psychedelic gem is a kaleidoscope of fire-centric imagery, demented howling from Brown and really great Hammond organ from Vincent Crane, who would later found his own band, Atomic Rooster. Miraculously, this album actually produced a #2 hit in England with the single "Fire."

The first half of the original vinyl iis dedicated to a nightmarish suite on the subject of Hell. Seriously wild stuff. Brown is the real deal, and was one of the first rock musicians to really incorporate performance art into his shows. He would dress up in crazy costumes, hold mock crucifixions, and generally act like a madman, anticipating Alice Cooper and his legions of imitators. It also helps that he posseses a voice unrivaled in both power and intensity.

Unffortunately, on the second half of the record the concept, as well as the songwriting falls apart. With the exception of a truly phenominal cover of Screamin' Jay Hawkins' "I Put A Spell on You," the remaining music is mostly lightweight silliness.

Despite its weaknesses as a whole, the first half of The Crazy World of Arthur Brown is so strong that I would unhesitatingly recommend it to anyone, except perhaps those with mental problems, as this is certain only to aggravate them.