Psychobabble's Psychedelic 500: #475 - 451

Welcome back to Psychobabble's Psychedelic 500, in which I count my personal fave psych songs from 500 all the way down to #1! Today, let's see what's freaking out from 475 to 451...

475. The Association- "Pandora's Golden Heebie Jeebies" (1966), in which you refuse to listen to today's song because The Association is the band that did the wretchedly sappy "Cherish" and because it's called "Pandora's Golden Heebie Jeebies", and I shout, "You're the one who's missing out!" just as you turn the corner and disappear from view forever.

Review: 'Ringo: A Fab Life'

Telling the story of a backline player, even one in a band as massive as The Beatles, can be tricky. Ringo Starr drove the band's beat, but he didn't drive them artistically, barely writing any songs or calling any shots regarding their musical direction. So as distinctive as he is as a person, there is always the danger that he will disappear way back on the riser when writing his biography, at least when covering his years in that band fronted by John Lennon and Paul McCartney.

Psychobabble's Psychedelic 500: #500 - #476

Here at Psychobabble, we love many genres, from punk to soul to new wave to jazz to alt rock to prog to goth. But no genre is dearer to your host's heart than psychedelia. The fanciful lyrics! The cacophonous yet dreamy music! The sitars! The Mellotrons! The unfettered Lewis Carroll references!

And so today begins a new series intended to be the mind-melting equivalent of licking a sheet of acid the size of the Sgt Pepper's gatefold. You will be counting along with me downward toward my personal choice for the single greatest psychedelic song of all time. Along the way, you will drift pass my 500th favorite psychedelic song, my 499th favorite, my 498th, my...well you get the picture. 

Each new installment will go live every Monday from now until it all wraps up in September or whenever (whoa, man, I'm way too high to do calendar math!).

I have limited my selections to the original wave of psychedelia, which means there will be nothing by very worthy later-day trip makers, such as Dukes of Stratosphear and The Flaming Lips, and much by those who did their doings between the years of 1965 and 1971. 

Although the years are limited, the artists will not be, though some are more favored than others because, to reiterate, these are my personal fave raves. So while you will encounter artists from NYC to LA, from Shepherd's Bush to Liverpool, from Brazil to Lebanon, you will not encounter The Grateful Dead. They're bullshit.

So slip into your cleanest Nehru jacket, flick on that lava lamp, fire up a joss stick, repeat "Namu Myōhō Renge Kyō" until you reach nirvana, turn to page 100 of The Wind in the Willows, and we will begin with our first batch of 25 lysergic anthems...

#500. Status Quo- "Pictures of Matchstick Men" (1968), in which a bunch of future pub rockers jump the psychedelic bandwagon with warped wah-wah guitars, a piercing yet infectious riff, and some nonsense about men made out of the sticks you use to light up smokes, though the average Status Quo fan is probably more inclined to light a Chesterfield than an herbal jazz cigarette.

Review: Muddy Waters's 'Folk Singer' (Chess Acoustic Sounds Edition)

The most profound impact Muddy Waters would have on pop was just around the corner when he recorded his second album in the autumn of 1963. Since The Rolling Stones had yet to make Waters a household name in households that didn't include a blues devotee, the folks at Chess needed to think up another scheme to provide their most mature African-American artist with the cross-over appeal to reach the young white market. 

Review: 'Ad Nauseum: Newsprint Nightmares from the '70s & '80s'

As a young child in the seventies and early eighties, I'd flip through the newspaper every day and stop at two sections: the comics and the movies. When I'd come across an ad for a horror movie, I'd inevitably think, "What kind of disturbed, sick individual would want to torture themselves by watching this horrible stuff?" What I should have been thinking when perusing the paper was "Does anyone actually think B.C. is funny?"

Review: 'Pink Floyd: Shine On'

An oral history is of no worth if there is no involvement from the principal players, and the most valuable sort includes original interviews with those characters conducted by the author. So right off the bat, Pink Floyd: Shine On remains true to its title words. 

Mark Blake, who has dedicated a good portion of his career to chronicling Pink Floyd, personally interviewed Roger Waters, Dave Gilmour, Nick Mason, and Rick Wright over a 33-year period, right up until last year when he completed his oral history. Well, Wright's involvement didn't last quite so long, as the keyboardist died in 2008, and it shows in the relative scarcity of his quotes, but he still gets his say.

Review: 'White Zombie' Blu-ray

White Zombie was the first major zombie film, though today's legions of walking dead devotees might find it bewildering unless they somehow came across a musty box of classic E.C. comics. Victor Halperin's film features the voodoo variety of zombies rather than the shuffling brain-eaters that gave them the bum's rush right out the crypt door. Current sensitivities being what they are, this is probably for the best since the original zombie stories were so entwined with real-world issues of race and slavery. Garnett Weston's script does indeed identify slavery as evil, but it takes the zombification of a white woman to get anyone in his film to do anything about it. Plus there's one highly uncomfortable scene involving a white actor in blackface, which is especially galling considering how many genuine black extras there are in this movie. Welcome to 1932.

Review: 'Mr. Moonlight: Brian Epstein and the Making of the Beatles'

Brian Epstein lived with a massive secret at the same time that he was one of the most recognizable men of his era. To this day he remains the most famous band manager in pop history. He was also a gay man living in mid-twentieth century Britain, where homosexuality was outlawed and a man caught having sexual relations with another man faced prison or even chemical castration. When he should have been basking in his immense success as the business brain behind The Beatles, Brian Epstein lived under perpetual thunderheads of stress, fear, and self-loathing. That final quality may even account for why he fell in with The Beatles in the first place, as the Beatle that most enthralled him was regularly horribly cruel to him, Lennon casually ridiculing his manager both for being gay and Jewish. Even worse were some of the men Epstein with whom he had romantic and sexual relationships. It was not unusual for him to be robbed, beaten, or blackmailed. 

Review: 'Beasts in the Cellar: The Exploitation Film Career of Tony Tenser'

Tigon Films-founder Tony Tenser didn't produce exploitation movies to satisfy a fetish, like Russ Meyer. He was simply a businessman, more like Roger Corman. So despite some of his dubious accomplishments, like opening a member's only movie theater/men's club and coining the term "sex kitten", Beasts in the Cellar: The Exploitation Film Career of Tony Tenser is only lurid when describing the plots of some of his movies. And along with bringing such smutty stuff as Naked—As Nature Intended and Not Now, Darling into being, he also produced some genuine genre classics, such as Repulsion, Witchfinder General, Frightmare, and The Blood on Satan's Claw. 

Review: 'Bo Diddley' (Chess/Acoustic Sounds Edition)

He didn't have Chuck's knack for storytelling, Buddy's melodic gifts, Elvis's voice, or Little's sheer excitement, but Bo is still probably my favorite Rock and Roll pioneer. His rhythm defined his work—the "shave-and-a-haircut" groove will always be known as "the Bo Diddley beat"—but the artist formerly known as Ellias McDaniel also deserves credit for his spacey atmosphere. He's really the only major early rocker who prognosticated psychedelia, which is my personal fave genre. He was also damn funny.

'Monster Mayhem Collection' Blu-ray

Even in an age when bad movies like Hocus Pocus and Clue achieve classic status there have to be limits. Yet here we are with a special edition set of movies even fans of The Monster Squad will recognize as crappy. According to the ballyhoo for The Monster Mayhem Collection, this two-disc set features four films scanned from 35mm archival prints, maintaining their original aspect ratios, and supplemented with feature commentaries and several featurettes. A presentation fit for Citizen Kane! 

So which classics of Hollywood's golden age were lavished with such cinephile splendor. Well...

Review: Paul McCartney's 'Man on the Run (Music from the Motion Picture Soundtrack)'

It seems like it was only four months ago that a big, comprehensive Paul McCartney and Wings compilation hit the market. That's probably because it was. The wide release of Morgan Neville's documentary Man on the Run late last month has necessitated the release of yet another compilation with all due haste. Unlike three LPs worth of Wings, Man on the Run (Music from the Motion Picture Soundtrack) is an austere single LP collection. It might have been an opportunity to sweep up the major McCartney numbers that got shut out of Wings because they technically weren't Wings songs, essentials such as "Maybe I'm Amazed", "Uncle Albert/Admiral Halsey", and "Another Day". Perhaps those songs weren't in the documentary. I don't know because I don't throw my business at the fascism-supporting streaming service that's hosting it. 

Review: Smashing Pumpkins' 'Mellon Collie and the Infinite Sadness' 30th Anniversary Set

Just four years after a super-cool and stripped down debut, and two after a more elaborately produced alternative-radio hit-machine, Smashing Pumpkins unleashed the kind of madly ambitious set a group usually reserves for much later in their career. But, in the heady alternative rock hey-day, one never knew how long their band would last, especially a band as a volatile as Smashing Pumpkins, so I guess Billy Corgan figured he'd better not fart around too much.

The kind of elephantine project Mellon Collie and the Infinite Sadness turned out to be tends to be full of farting around, and yet, as gargantuan as this set is, it's short on pointless noodling, a much bigger hit-delivery vehicle than Siamese Dream (four of its singles went Top Forty on Billboard's Hot 100; nothing on the previous album pulled that trick), and shockingly consistent. That's saying a lot because in a lot of ways, the Pumpkins' third album almost plays like a parody of ambition. While releasing a double-album is traditionally a band's way of making a big, serious, artistic statement, releasing a triple-one is more like announcing a serious break from reality (just ask The Clash). Releasing a quadruple one? There isn't even an armchair-shrink assessment for that kind of folly. But that's basically what Smashing Pumpkins did in 1995. Sure, the CD release fit on just two discs, but those were two jam-packed CDs. They made a triple-disc set necessary when Mellon Collie was released on vinyl in Europe the following year, but only a quadruple-disc set would allow the album to play out in its intended running order and without any sides piling on so many tracks that they started to ooze out of audiophile territory.

Review: 'David Lynch' Revised & Updated Edition

Break the code, solve the crime. One thing that draws a lot of viewers to the films of David Lynch is Lynch's refusal to express his intentions on the surface. In an age when every film's message must be explicitly stated for an audience with the attention span of a puppy, David Lynch's dogged refusal to ever play that dull game is especially thrilling. 

It also means that theories about what, say, that blue box in Mulholland Dr. means are more plentiful than donuts in Agent Cooper's mouth. Whether they be glib brain farts or endless exegeses, explanations of what Lynch really meant are everywhere. To the late filmmaker's credit, he rarely validated any, but also rarely outright said any were wrong either.

Review: Velocity Girl's '¡Simpatico!' (Loser Edition)

Two years ago Sub-Pop released a long overdue reissue of Velocity Girl's first album, Copacetic. While simply getting that album back on vinyl would have been a big enough deal for fans, the package also included a bonus disc of B-sides and other such oddities, redesigned cover art, extensive notes from band member Archie Moore, and most significantly, a pretty radical remix. Moore had always been disappointed by the album's atmospheric yet muddy 1993 mix, and by brightening it up and drawing out the details, he helped UltraCopacetic to become that rarest of classic record birds: one that actually became better after a remix. 

Review: 'Rush & 2112: Fifty Years'

 

I haven't read much by him, but Daniel Bukszpan had a big impact on my own writing. Reviewing his Encyclopedia of New Wave a long time ago here on Psychobabble, I was most impressed by how he balanced humor with doing what any rock writer is supposed to do. So when I received a press release announcing his next book was on Rush's 2112, I lit up. I like Rush, and 2112 is a pretty good album, but I was mostly on board to read how Bukszpan would handle the topic. Considering Rush's highfalutin concepts, their kimonos, Geddy Lee's wood-sprite voice, and Neil Peart's mustache it's not like there's no material to poke a bit of good-natured fun at. 

Review: 'A Place Both Wonderful and Strange: The Extraordinary Until History of Twin Peaks'

A Place Both Wonderful and Strange: The Extraordinary Until History of Twin Peaks had already been on my radar for a bit when my wife told me she'd listened to Glen Weldon's podcast, and self-described Peaks superfan Weldon said he was surprised by how much he'd learned from Scott Meslow's book. 

Review: The Rippers' 'Honesty'

One of the delights of exploring classic psych is discovering how bands from around the world grooved around with it. Germany's The Rippers went the garagey route, with simple arrangements built around guitar, bass, drums, and organ and a pleasingly gruff singer who could pass for Zoot Money. You won't find anything as revelatory of Zoot and Dantalian's Chariot's "Madman Running Through the Fields" on The Rippers' one and only LP, but Honesty is still a highly enjoyable product of 1968 that often sounds more like a product of 1966. 

Review: 'Punk: The Last Word'

When you call your book Punk: The Last Word, you better be pretty damn comprehensive. A title like that yawps "Here's all that's left you'll ever need to know and everyone else can shut it."

At 600 pages, Chris Sullivan and (mostly) Stephen Colegrave's oral history is certainly fat. And they definitely cast a wide net to snare up whatever might be considered punk. Along with the expected punk rock bits, Punk: The Last Word also spews a lot of ink on fashion, venues, lifestyles, beatniks, underground theater, and old, dead philosophers and poets. 

Vinyl Reissue of The Animals' 'Animalisms'

While their top-tier British peers were progressing emphatically by the spring of 1966, The Animals were perfectly happy to continue on as if it were still 1964, doing what they always did best: putting their Newcastle stamp on American blues, soul, R&B, and tin pan alley tunes. "Shapes of Things","19th Nervous Breakdown", "See My Friends", "Substitute", and "Nowhere Man" were not enough to throw them off course. So May 1966's Animalisms was yet another platter of mostly other people's material, the two exceptions being Eric Burdon and new keyboardist Dave Rowberry's "You're on My Mind" and "She'll Return It" (I refuse to acknowledge the lame minute of clapping credited to Rowberry alone...whoops!). 

Review: 'Classic Monsters, Modern Art'

When I took my wife to see The Bride of Frankenstein at NY's Museum of Modern Art on one of our first dates, the one thing she commented on after seeing it for the first time was how "iconic" every frame of it is. It may not be as lauded as Citizen Kane, but Kane doesn't have an image half as indelible as Karloff's monster lumbering through a crypt or Lanchester's Bride shrieking in horror when she first meets him. As far as I'm concerned, the horror of the unseen (see The Haunting or The Blair Witch Project) will always be scariest, but the monsters, crypts, and graveyards of less frightening films will never fail to scratch the itchy shoulders of those like me who look forward to Halloween more than Christmas.

Review: 'SMiLE: The Rise, Fall, & Resurrection of Brian Wilson'

For nearly forty years, Brian Wilson's SMiLE existed more as a myth than a piece of music you could actually listen to. Sure, there were scores of bootlegs, but the average Beach Boys fan doesn't go that very, very naughty route. So, aside from a handful of songs that skittered out officially here or there, the SMiLE story was one that existed more on the page than emanating from speakers. While it was covered in any Beach Boys bio worth its salt, the biggest dose of SMiLE lore was Domenic Priore's Look! Listen! Vibrate! SMiLE! a truly wonderful, zine-like anthology of period press clippings and new essays first published in 1988. 

Review: 'Louder Than You Think: A Lo-Fi History of Gary Young and Pavement' OST

Gary Young was a bizarre yet extremely talented drummer and producer who consumed mass quantities of acid in Stockton, California, while listening to Yes; played in a punk band with the extremely punk name The Fall of Christianity; and most bizarrely of all, ended up as the drummer in slacker poster-boy  combo Pavement. While Stephen Malkmus, Spiral Stairs, and the rest of the dewy young guys were lurching over their instruments in their baggy shirts, with their shaggy hair dangling in their faces, middle-aged Gary would be standing on his drum stool, shirtless, twirling sticks like Tommy Lee. The incongruity delighted Pavement's audience of ironists, and Young's drumming supplied the pro-glue that held the whole melodic mess together. He only made one album with Pavement, but Slanted and Enchanted is the one most often cited as the band's best.  

Review: 'As Years Go By: Marianne Faithfull'

In 1990, Mark Hodkinson published As Tears Go By: Marianne Faithfull. Author and subject both disliked the book for different reasons. The author was embarrassed by his overwrought prose. The subject found it ghoulish, or in her term, "scaly." She seemingly thought that by focusing so much on her substance abuse issues, the author was "counting on her keeling over at any moment," as she commented in her autobiography. So, some two decades later, Hodkinson revised his text, brought the story up to date, and slightly altered the title to indicate As Tears Go By was now a different book.

Review: 'Visions, Dreams, & Rumours: A Portrait of Stevie Nicks' Remastered Edition

I'm not one to twirl around my apartment in a top hat and chiffon shawl, but Visions, Dreams, & Rumours: A Portrait of Stevie Nicks is not the first book I've read about the white witch. The other, written by Stephen "Hammer of the Gods" Davis, was disturbing enough that I waded into Zoë Howe's book with some trepidation. During these dark times, reading a book that makes me feel shitty is not at the top of my to-do list, but reviewing books about rock stars is what I do, so I agreed to review Howe's updated—sorry, remastered—edition of her 2017 bio nevertheless. 

Review: Blur's 'The Great Escape' 30th Anniversary Edition

If there was any question that Damon Albarn was positioning himself as the Ray Davies of the nineties with Parklife, The Great Escape shot any doubts dead. The Davies who spat at commercialization with "Holiday in Waikiki", gently mocked the ruined rich with "Sunny Afternoon", guffawed at trendiness with "Dedicated Follower of Fashion", and expressed disdain for a cad with "Dandy" was alive and alright in 1995 thanks to Albarn channeling him to craft such withering commentaries as "Dan Abnormal", "Stereotypes", "Charmless Man", "Top Man", and the positively Arthurian (the album, not the king) "Mr. Robinson's Quango".