Golden Groovy
You could have thought the Nuggets and other label collections/compilations would have
exhausted the discovery of further late 60s gems, but this trawl from the
Golden State Recorders label proves otherwise. It is either frightening to
think about how much good music is still out there unknown and unheard [and
also in the sense that those bands and artists missed their moment and all the
potential that went with this] or it is exciting to think such unearthings can
and will continue.
Or you could think it doesn’t merit the finding, but I would
disagree.
I’m not saying there are startling revelations on this
album, but there is certainly material good enough to be better than much else.
If you like the period, obviously. And it is great fun at times in its
exuberant sense of discovering the boundless trajectory music could, and did,
take at this time.
I’ll just mention a few of the 25 presented on this album:
opener The Goody Box Blow Up is a
superb garage pop burst, with organ beeps and church chords with fuzz guitar
and a short drum solo; The Carnival Meditorium
is vocal rich in harmonies and musical shifts, brilliant drumming and bass; The
Tow-Away Zone Shab’d is
Airplane-esque jangled guitar and vocals as well, suitably psyched; The Bristol
Boxkite Sunless Night coming in after
these first three introduces a slower folk element with sweet harmonies; next
The Immediate Family Rubaiyat
continues that folky lean with more Airplane-esque sounds [hardly surprising
that JA will be such a prominent touchstone] and this is a gorgeous song; a
little later Celestial Hysteria Speed
is the first psychedelic rock with a female vocal reminiscent of [yes, her] and
the interplay of vocals and instruments is more manic; Magician Fuck For Peace is simply Far Out with
lyrics including feeling groovy; The
Seventh Dawn Don’t Worry Me with raw
and earnest rather than great vocals; The Short Yellow Hand Full with its rampant female vocal – operatic at times – and feminist assertions including a strident
disregard for going to school, partly to rhyme with the breaking of a rule, but this too is deeply earnest and
cool,
and it continues, at times easy to mock for its being passé,
therefore I need to stop before I do so at the expense of the wonderfully dated
garage and psyche authenticity. This is an immensely enjoyable album, mixing familiar
nostalgia with just enough sense of the new.
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