Beggars Opera are one of the most intriguing of all the bands to emerge from the Progressive Rock era of the 1970s. Hailing from Scotland the group was and still remains built around the talents of guitarist Ricky Gardiner and his wife Virginia Scott, who sings, plays keyboards and composes lyrics.
Still active today, but now based in Wales, the pair have released such albums as ‘Close To My Heart’ (2007), a richly varied and dynamic set of performances that took ten years to bring to fruition. This was mainly due to the effects of a medical condition known as ‘electro sensitivity’ that has affected Ricky Gardner for many years. This is brought about by exposure to radiation from mobile phones and computers. Ricky and Virginia have based their latest album ‘Lose A Life’ (2011) on the theme. Sub-titled a ‘Nano Opera’ it is based on the story of his battle against ‘E.S.’
Roderick ‘Ricky’ Gardiner’ was born in Edinburgh, Scotland in 1948. He has enjoyed a busy career, including working with David Bowie and Iggy Pop. But his first brush with fame came when Beggars Opera was formed in 1969. The original group was based in Glasgow and took its name from the ‘The Beggar’s Opera’ a play by the poet John Gay. Ricky began playing guitar in bands at the age of 14. Among his earliest groups were the Kingbees, Vostoks and the System. Beggars Opera first comprised Gardiner (guitar, vocals), Martin Griffiths (lead vocals), Alan Park (organ, piano), Gordon Sellar (bass, acoustic guitar, vocals) and Raymond Wilson (drums). Virginia Scott (Mellotron and vocals) joined later.
The group signed to Vertigo, alongside Black Sabbath, Colosseum and Manfred Mann’s Chapter Three. They released four albums over the next few years, ‘Waters Of Change’ (1971) was their second , the band had now added a female mellotron-player named Virginia Wolf who also wrote some material for the group too. Openoing track "Time Machine" has a relaxed and dreamy feeling to it, while "I've No Idea" and the folky "Festival" were both more energetic and excellent progressive rock tracks. "The Fox" was probably the most complex song the group ever recorded. "Silver Peacock" has a very beautiful mellotron arrangement, and especially the intro sounds cool. There are also some short and very nice instrumentals between the longer tracks. The best of these is probably "Nimbus". An essential album from the early 70's progressive scene of England. Repertoire
Tracks
1. Time Machine (Park, Gardiner, Griffiths) - 8:08
2. Lament (Park, Wilson) - 1:50
3. I've No Idea (Park, Griffiths) - 7:42
4. Nimbus (Griffiths, Gardiner, Sellar) - 3:35
5. Festival (Park, Erskine, Griffiths) - 5:59
6. Silver Peacock (Intro) (Scott, Park, Griffiths) - 0:23
7. Silver Peacock (Scott, Park, Griffiths) - 6:32
8. Impromptu (Scott, Gardiner) - 1:18
9. The Fox (Scott, Gardiner, Griffiths) - 6:47
Beggars Opera
*Ricky Gardiner - Lead Guitar, Vocals, Acoustic Guitar
*Martin Griffiths - Lead Vocals, Cow Bell
*Alan Park - Organ, Piano
*Gordon Sellar - Bass, Acoustic Guitar, Vocals
*Virginia Scott - Mellotron, Vocals
*Raymond Wilson - Percussion
«My Mind Goes High» is a true excavation of the vaults, picking overlooked album tracks and neglected singles from a cornucopia of WEA-owned labels, including Warner Bros., Cotillion, Jubilee, Valiant, Reprise, and Atco.
While the focus is on acts that released a single or forgotten album, there are a handful of recognizable names -- the Association, Kim Fowley, the Electric Prunes, the Bonniwell Music Machine, the Tokens, the West Coast Pop Art Experimental Band -- and in the Monkees' "Porpoise Song," there's even a genuine hit. But that song is the exception to the rule: most of these are quite obscure, and it's even arguable that because they were released on major labels (or at the very least, high-profile labels), the songs haven't been given the attention or respect as psychedelia released on smaller, regional labels.
That argument is laid out in the introduction of the excellent liner notes, and the music on «My Mind Goes High» supports it strongly. Often, collections of rare heavy psychedelia and garage rock can grow a little samey even when the musical quality is high, since bands tended to emulate the same sounds and ideas, using the same production techniques as their peers. «My Mind Goes High» is a much more interesting listen than the average psychedelic rarities collection since these underground ideas are applied in bizarre, unpredictable ways to professionally written, melodic songs that were designed for mainstream radio.
Where its companion collection, Come to the Sunshine, is heavy on lush surfaces and harmonies, «My Mind Goes High» is overtly trippy and psychedelic, filled with fuzz guitars, echoes, phased vocals, organs, studio effects, and minor-key drones. This brings it closer to familiar Nuggets territory, but there's a much heavier emphasis on studiocraft and production here than there is on anything on the original double-vinyl Nuggets or Rhino's original box set; again, the focus is on the record, not the song, even though there are some excellent songs here.
Nevertheless, the sound and effects of the productions are the most memorable aspects, Jeff Thomas' "Straight Aero," quite likely the trippiest square anthem ever recorded, has a weird undercurrent of menace in its hiccupping bass and clanging piano.
«My Mind Goes High» is filled with moments as strong as this, and it makes a convincing argument that psychedelic pop is at its best when it's pure, undiluted ear candy like this. It's not just a good introduction to the charms of psychedelic pop; it holds its own next to any collection of freaky, guitar-fueled garage-psychedelic rarities. by Stephen Thomas Erlewine
Tracks Disc 1 1. Baker Knight And The Knightmares - Hallcuinations - 2:54 2. The Misty Wizards - It's Love - 2:10 3. The Next Exit - Break Away - 2:47 4. The Collectors - Looking At A Baby - 2:18 5. Adrian Pride - Her Name Is Melody - 3:02 6. The Association - Pandora's Golden Heebie Jeebies - 2:53 7. The World Column - Lantern Gospel - 3:30 8. Tom Northcott - Who Planted Thorns In Miss Alice's Garden - 2:50 9. John Wonderling - Man Of Straw - 2:50 10.Ellen Margulies - The White Pony - 2:24 11.Jeff Thomas - Straight Aero - 3:14 12.M.C.2 - My Mind Goes High - 2:39
Disc 2 1. Brass Buttons - Hell Will Take Care Of Her - 2:59 2. The Salt - Lucifer - 3:04 3. Kim Fowley - Strangers From The Sky - 2:59 4. The Electric Prunes- Antique Doll - 3:13 5. The Bonniwell Music Machine - Astrologically Incompatible - 2:23 6. The Tokens - How Nice? - 2:58 7. Noel Harrison - Sign Of The Queen - 2:44 8. Lee Mallory - That's The Way It's Gonna Be - 2:57 9. The Glass Family - House Of Glass - 3:13 10.The Holy Mackerel - Wildflowers - 3:59 11.The Monkees - Porpoise Song - 4:04 12.The West Coast Pop Art Experimental Band - Smell Of Incense - 5:48
Dedicated to the enduring appeal of 60s music in its various guises. UK bands in the 60s successfully fused their love of U.S. black music with other styles, charged it with a healthy dose of youthful aggression and called it their own.
That's in essence the Beat and R&B era, of course, in a nutshell. But a quick glimpse at the credits for this compilation reveals more: previously, serious-minded musicians shunned "pop". The R ‘n’ B explosion brought them into the fold: now, hardcore jazz musicians could be found in the ranks of various beat combos.
Running parallel with this musical renaissance was a similarly exciting evolution in youth culture. Mod was the catch-all term used to describe the newly-acquired aspirant lifestyle adopted by many teenagers - with a strongly identifiable look, the emphasis on the neat, the sharp, the modern.
Four or so decades on, Mod has now come to symbolise the era, inseparable from the iconography of the mid-60s, and kept alive by a small but perfectly formed scene of people who weren't even born at the time. What's Mod? What you want it to be. Is this Mod? Who cares?! In essence, Take My Tip is a fascinating jukebox of classic rarities.
From CD liner notes
Artists - Tracks
1. Ottilie Patterson with Sonny Boy Williamson - Baby Please Don't Go - 1:48
2. Long John Baldry And Hoochie Coochie Men - Up Above My Head I Hear Music In The Air - 2:50
3. Duffy Power - If I Get Lucky Some Day - 2:42
4. Tony's Defenders - Yes I Do - 2:23
5. The Manish Boys - Take My Tip - 2:15
6. Chris Farlowe And The Thunderbirds - Buzz With The Fuzz - 2:30
7. The Shotgun Express - Curtains - 2:21
8. Herbie Goins And Night Timers - Cruisin' - 2:40
9. The Ram Jam Band With Geno Washington - Shake Shake Senora - 2:31
10.Cliff Bennett And The Rebel Rousers - Strange Feeling - 2:37
11.Simon Dupree And The Big Sound - Medley: 60 Minutes (Of Your Love)/A Lot Of Love - 4:37
12.Haydock's Rockhouse - Mix-A-Fix - 2:24
13.Beryl Marsden - What's She Got - 2:35
14.The Roulettes - Jackpot - 2:05
15.Mike Patto - Love - 3:01
16.Rod Stewart - I Just Got Some - 2:40
17.Toni Daly - Like The Big Man Said - 2:51
18.Murray Head with Blue Monks - You Bore Me - 2:11
19.Kenny Lynch with Laurie Jay Combo - Harlem Library - 2:22
20.Edwick Rumbold - Boggle Woggle - 2:48
21.The N' Betweens - Evil Witch Man - 2:19
22.The Shadows - Scotch On The Socks - 2:18
23.Ben Carruthers And The Deep - Jack O'Diamonds - 2:44
24.Paul Williams And Big Roll Band, The - Gin House - 2:37
25.Night-Timers Featuring Herbie Goins - The Music Played On - 2:46
When Keith Emerson disbanded The Nice, Lee Jackson decided to hang up his bass guitar and go back to 'simpler' music. With this in mind he gathered together some musicians he had known for a number of years: Charlie Harcourt, Tommy Sloane and Mario Tapia. The result being the first Jackson Heights album King Progress, on which Jackson sang and played acoustic guitar.
The standout tracks are 'Mr Screw' and a reworking of the old Nice song 'The Cry of Eugene'. It did not sell in any great numbers. The band started to drift apart and Jackson's next recruitment began. Joining him were John McBurnie and Brian Chatton, both multi-instrumentalists. He did not, however, recruit a drummer.
The band was now a trio with Jackson playing bass, sounds familiar! McBurnie took over the majority of the writing with all three sharing the vocals and a second Album The Fifth Avenue Bus, was recorded with Mike Giles on drums. At this stage the band was touring as a trio, without a drummer. There are no outstanding tracks on the album and once again there was a lack of commercial success.
Undaunted, writing and recording of the next album, with Brian Chatton now contributing to the song writing, began. The resulting album Ragamuffins Fool, was easily their best so far. There was almost a hit single with 'Maureen' and the overall sound was of a band confident in what they were doing. Again most of the drumming was done by Mike Giles. They toured, again without a drummer, and recorded their only Radio One Session in support of the album. It what was becoming inevitable it did not sell.
By now Lee Jackson was getting a bit downhearted and poorer, he was using his own money to keep the band solvent. The master plan was the dreaded 'Concept Album'. The theme was to be about the lives of the 'ladies' who worked in Burlesque theatre. It didn't quite work out that way but, armed with two drummers, Mike Giles and Ian Wallace, and a 20 piece orchestra they went into the studio and recorded Bump 'n' Grind. The publicity machine went into overdrive and the actual record was presented in a deluxe laminated sleeve. Even the record company wanted this one to be big! Guess what? that's right - it bombed.
A major problem in touring with the album was reproducing the orchestral sound. Jackson approached Patrick Moraz, Swiss keyboard wizard with a view to him touring with the band. He declined but suggested Jackson might consider forming a band with him. Moraz had the record deal and other finances in place. In view of his own 'money problems' Jackson agreed and with Moraz and ex Nice drummer Brian 'Blinkey' Davison formed Refugee.
Tracks
1. Mr. Screw - 3:21
2. Since I Last Saw You - 7:03
3. Sunshine Freak - 4:52
4. King Progress - 3:30
5. Doubting Thomas - 4:16
6. Insomnia - 5:03
7. The Cry Of Eugene (Keith Emerson, Lee Jackson, David O'List) - 7:54
All songs written by Lee Jackson and Charlie Harcourt except noted.
Rust is the real deal. Originally recorded in 1969, their album, Come With Me, is something of a lost mini-classic. Originally released on the independent German label Hor Zu, and bringing it to light in the early 21st century.
Great, psychedelic rock tunes are embellished with phased vocals, treated piano, samples of radio broadcasts, washes of organ, and electronic effects. Mind you, this isn't total freak out music, or anything. Songs like You Thought You Had It Made and Rust revel in blues licks, and rock with a genuine joy, even if the subject matter of their lyrics is somewhat pessimistic, and softer tunes like Please Return and the gorgeous Find a Hideaway are full of acoustic guitars and vocal harmonies.
For a reference point, listening to it I hear a lot of The Deviants, with touches of the 13th Floor Elevators. It's melodic rock that likes to experiment.
by Jeff Fitzgerald
Tracks
1. Come With Me (Introduction) - ;36
2. You Thought You Had It Made (Jonny Thomas) - 3:34
3. Please Return - 2:37
4. Should I - 3:31
5. Think Big - 3:57
6. Rust - 3:33
7. Delusion (Jonny Thomas) - 2:45
8. Doesn't Add Up To Me - 3:36
9. Find A Hideaway (Jonny Thomas) - 3:38
10. Come With Me - 4:25
11. The Endless Struggle - 2:32
All songs by Brian Hillmann, Walter Monahan except where noted.
This is one of my favorite psych-blues albums and every track is just to forgotten gem of past generation. Both albums are allocated different guitars, throaty vocals and elastic hard-rock rhythms. John Thomas is John Thomas, nothing else intended.
He came from Australia, where he recorded in the 60s with The Flies. Then moved to London, but soon after settled down in Germany, where he recorded the pretty good psych album "Come With Me" with his band Rust (UK &US members) He then formed Creepy John Thomas with German musicians Andy Marx & Helmut Pohle (who were not amused, when this LP came out with wrong musicians-credits and a bunch of uninvolved hipsters on the cover).This first LP was released in UK too, but sank like a lead elephant. Next was the album "Brother Bat Bone" 1970, a German only release on Telefuken, and one that's pretty weird as well released on LP by Decca - in Germany.
Reissue by Progressive Line on one disc contains two excellent albums (in order: second album of 1970 and then debut of 1969) Debut RCA orange label ,includes a brief, 3-minute tracks maintained for the 1969 typical hard / folk / psychedelic climates. However,second album ( released on LP by Decca - only in Germany) are only 6 tracks full of heavy blues rock from of the highest shelf...forgotten, British band playing heavy psychedelic / progressive rock,first,lots very juicy play guitars, nice vocals solid rhythm section - a complete success. Previously, John Thomas played in the Rust and then in the Edgar Broughton Band (on LP: Bandages ).
Debut LP Creepy John Thomas (1969) starts with hard blues tune, "Gut Runs Great Stone" with great rhythm that just kicks you at the very beginning, making you headbang and simultaneously tap the rhythm with your hand. Next tune is my favorite, it's "(Do I Figure) In Your Life", chilled psych classic rock tune. Lyrics are solid but fluid, they go great with melody. And melody is real thing here - although it's just few chords chaning in the background, second guitar runs around whole song and adds sweet guitar licks. Bass with drums makes solid groove and nice background - but highlight of this song is ingeniously executed sweet solo - it's one of those Hendrix's solo, with so much emotions that after few listening it became one of my favorite solos.
"You've Gotta Hide" is bluesy tune with solid elements of pure classic rock, chorus is catchy and it's good fitter on first side of album. "One Way Track Blues" is awesome blues riff, lead on acoustic guitar and filled with riffing on electric guitar. Vocals are good-fitting and are totally bluesy, with sour tone but with strenght on finish. Solo is another great thing in this tune. I've noticed that they're singing "...Left my house, spend my time, Blue Cheer, plunder sky..." which left to conclude that they were probably in good releationship with Blue Cheer while Thomas was in San Fran. "Trippin' Like A Dog" is another Muddy Waters-stylish blues tune but with psychedelic guitar wailing through whole song.
"Ride A Rainbow" is psychedelic-trip themed tune, made by hippies for hippes - oriented on peace, unity and love. Thomas' guitar talent is obvious - with his psych-bluesy guitar sound he's painting every song with colors of vivid picture. Next tune, "Green Eyed Lady", instantly reminded me of bass groove on "The Other Side Of This Life" by mighty Jefferson Airplane, which proves Thomas' connection with San Fran scene. Although bass sounds similiar, this song is nothing like upper mentioned. If anything's been really catchy here - than "Sun and Woman" is winner. Guitar is so cheery and catchy, it'll stuck in your head for weeks.
Pumping rhythm of "Lay It On Me" will really satisfy you, and knitlling of guitar will make you love this band. It's funny how they use chorus from "Ride A Rainbow" in this song, just like that, in the middle of song - you'll hear part from previously mentioned song. "Bring Back The Love" will wake oriental side in you. There's bongos and sitars, outrhythmic singing - like in a middle of some ritual. However, ender song could be better. Realising strenght of this album, I would expect psych-bluesy version of, let's say, 10 minutes long jamming, but it ends with cool but rather short tune.
by Adamus67
Tracks Brother Bat Bone 1970
1. Down In The Bottom - 5:11
2. What’s The Matter With The Mill - 3:16
3. Brother Bat Bone - 9:06
4. This Is My Body - 3:28
5. Standing In The Sunshine - 8:34
6. 100 Lib. Noomy - 2:29 Creepy John Thomas 1969
7. Gut Runs Great Stone - 4:03
8. (Do I Figure) In Your Life - 2:46
9. You’ve Got To Hide - 2:34
10.One Way Track Blues - 2:09
11.Trippin’ Like A Dog - 4:19
12.Ride A Rainbow 3:05 - 5.65
13.Green Eyed Lady - 3:35
14.Sun And Woman - 3:38
15.Lay It On Me - 3:21
16.Bring Back The Love - 3:23
17.Moon And Eyes Song - 3:43
Creepy John Thomas
*Creepy John Thomas - Lead Vocals, Guitar
*Andy Marx - Lead Guitar, Bass
*Helmut Pohl - Drums
*Dave Hutchins - Bass
*Roy O’Temro - Drums
Originally released on LP format in 1971 with a cloth burlap cover, Gooduns is the second album by Richard "King Biscuit Boy" Newell. After the success Official Music the year before, Gooduns was more of the same style with a few left over songs from the previous albums' sessions with Crowbar (although by this time they had officially parted company) and backing from some new musicians that included members of Janis Joplin's Full Tilt Boogie Band, Seatrain and Canada's Dr. Music.
For this album, Newell recorded on a couple of cover songs written by Dr. John,Little Walter and Willie Dixon but the album contained mainly original compositions by Newell. With a harder blues guitar sound and tighter band edge than the debut, "Gooduns" was supported by a successful tour of England in 1971 where King Biscuit Boy and The Real Gooduns Bandwere backed up by the British band The Idle Race.
Despite the success of the album and tour, the Daffodil Records label fell on hard times financially and folded with no single or album promotion, leaving King Biscuit Boy to move to the Epic label for the next release. This budget priced reissue by Unidisc does not contain any bonus tracks but faithfully reproduces the original album graphics and liner notes.
by Keith Pettipas
Tracks
1. You Done Tore Your Playhouse Down Again (Richard Newell) - 5:17
2. Boom, Boom Out Goes the Lights (Stan Lewis) - 2:45
3. Georgia Rag (Blind Willie McTell) - 1:35
4. Barefoot Rock (Scott Harper) - 3:31
5. Boogie Walk, Pt. 1 (Richard Newell) - 4:03
6. Ranky Tanky (Richard Newell) - 3:58
7. Twenty-Nine Ways to My Baby's Door (Willie Dixon) - 2:42
8. Bald Head Rhumba Boogie (Richard Newell) - 4:06
9. Lord Pity Us All (Dr. John) - 5:38
Except in name, for all intents and purposes, 1970's "Markley - A Group" served as the final LP by The West Coast Pop Art Experimental Band.
For a band about to collapse, musically 1970's "Markley - A Group" is surprisingly consistent and accomplished. With Markley and Lloyd co-producing, tracks such as "Elegrant Ellen", "Sweet Lady Eleven" and "Magic Cat" are nearly as good as some of the highlights from the WCPAEB catalog. Lyrically the set found Markley again engrossed in fighting personal demons (the paranoid sounding "Roger The Rocket Ship") as well as unloading on a host of social evils while finding time to express an keen interest in young (emphasis on young) women.
Along those lines check out Markley's sh*t eatin' grin on the back cover, as well as his non-too-subtle lyrics on songs such as "Next Plane To the Sun" and "Sarah The Bad Spirit". Luckily, Lloyd's influence is quite apparent in terms of the album's rich harmonies and full and delicate arrangements gracing selections such as "Elegant Ellen" and "Little Ruby Rain". Interestingly, on a number of tracks the band opts for a more commercial sound.
Overlooking Markley's anti-capitalist rant, "Zoom! Zoom! Zoom!" almost sounds like a slice of Kasenetz-Katz-styled bubblegum rock. The album's other big surprise is found in Dan's emergence as a major writer. Credited as co-writing eight of the twelve tracks, he kicks in several impressive numbers, including the dazzling country-rock opener "Booker T. & His Electric Shock". A highly personal effort, the song was reportedly inspired by Dan's experience as a manic depressive subjected to electroshock therapy. Surprisingly enjoyable and worth the investment.
Needless to say, the album vanished without a trace; the band calling it quits shortly thereafter. Shaun recorded an instantly obscure solo album. Lloyd went on to considerable success as a producer. Bad-Cat
Tracks
1. Booker T. And His Electric Shock. (Bob Markley, Dan Harris) - 2:22
2. Next Plane To The Sun. (Bob Markley, Michael Lloyd) - 2:13
3. Markley - A Group. (Bob Markley, Dan Harris) - 2:44
4. Elegant Ellen. (Bob Markley, Dan Harris) - 2:18
5. Little Ruby Rain. (Bob Markley, Dan Harris) - 3:01
6. Message For Miniature. (Bob Markley, Michael Lloyd) - 0:26
7. Sarah The Bad Spirit. (Bob Markley, Dan Harris) - 2:35
8. Truck Stop. (Bob Markley, Dan Harris) - 3:19
9. Zoom! Zoom! Zoom! (Bob Markley, Dan Harris) - 2:11
10.Sweet Lady Eleven. (Bob Markley, Michael Lloyd) - 2:18
11.The Magic Cat. (Bob Markley, Dan Harris) - 2:58
12.Outside/Inside. (Bob Markley, Shaun Harris) - 2:39
There are few groups as enigmatic, as mysterious as The West Coast Pop Art Experimental Band. The prime mover in the band was Bob Markley, born in Oklahoma and the son of an oil tycoon. He moved to Los Angeles early in the 1960's, and in late 1961 he began his recording career with "It Should've Be Me" / 'Summers Comin' On", released on Warner Bros.
Both sides were pure teen doo-wop, giving little indication what would follow. Markley remained involved in music, and three years later he met up with two brothers, Shaun and Danny Harris, whose interest in music seemed inevitable as their father was a renowned classical composer and their mother a concert pianist.
In 1964 Shaun and Danny formed a group The Snowmen, with two musicians who would go on to form The Sunrays and score 1967 hits with 'Andrea' and 'I Live For The Sun'. Later, with the group now split, Shaun and Danny were studying at the Hollywood Professional School where they met Michael Lloyd, leader of yet another local band, Laughing Wind, who had cut some tracks for Tower Records. With Bob Markley and John Ware, a friend of the family, they started a new group.
In 1966 the line-up was Dan Harris (lead guitar), Shaun Harris (bass), Michael Lloyd (guitar), John Ware (drums), and Bob Markley who became the inspirator of the band. They band played around all the Sunset Strip clubs and "every freakout that ever happened at the Hollywood Palladium" (to quote Ware).
Few 60s artists have attracted such mystique or so devoted a cult following as The West Coast Pop Art Experimental Band. This fascinating compilation draws together many of the rare recordings made by its members before, during and after their existence.
Taking in pop, garage, folk-rock, psych, the avant-garde and more, the set highlights the disparate elements that fused to create their extraordinary and enigmatic music, and comes complete with rare pictures and comprehensive notes by the world’s leading WCPAEB authority.
Tracks
1. Bob Markley - Will We Meet Again? - 2:35
2. Bob Markley - Tia Juana Ball - 1:57
3. Bob Markley - Summer's Comin' On - 2:23
4. Bob Markley - It Should've Been Me - 1:57
5. Lucifer & The Peppermints - The Green Itch Got The Bear - 2:41
6. Lucifer & The Peppermints - Money Back Guarantee - 2:18
7. Bobby Rebel - Valley Of Tears - 2:32
8. Bobby Rebel - Teardrops From My Eyes - 2:21
9. Judy Brown - I'm Such A Fool - 2:25
10. Sonny Knight - A Swingin' Door - 1:45
11. Sonny Knight - If You Want This Love - 2:04
12. The Rogues - Wanted: Dead Or Alive - 2:28
13. The Laughing Wind - Good To Be Around - 2:53
14. The Laughing Wind - Don't Take Very Much To See Tomorrow - 1:54
15. The Laughing Wind - John Works Hard - 2:07
16. The Laughing Wind - The Bells - 2:27
17. The West Coast Pop Art Experimental Band - Sassafras - 2:02
18. The West Coast Pop Art Experimental Band - I Won't Hurt You - 2:11
19. Neo Maya - I Won't Hurt You - 2:30
20. Boystown - Hello Mr. Sun - 2:17
21. Boystown - End Of The Line - 2:32
22. California Spectrum - She May Call You Up Tonite - 2:30
23. Rockit - Blame It On The Pony Express - 2:55
24. Rockit - Amblin' - 2:05
25. Brigadune - I'll Cry Out From My Grave (God I'm Sorry) - 2:50
26. Brigadune - Misty Mornin' - 3:10
27. Brigadune - My Wife Likes To - 2:14
28. California - Spectrum Rainbo - 2:07
29. Halim El-Dabh - Leiyla & The Poet - 7:32
The West Coast Pop Art Experimental Band was a psychedelic rock band from Los Angeles active during the late 1960s. Formed by the son of an Oklahoma oil tycoon and two aspiring surf rockers, TWCPAEB released their paramount release A Child’s Guide To Good And Evil in 1968. Taking a more rock n’ roll oriented sound than the folkier San Francisco scene, while still remaining poppy and psychedelic as any other group, the band manages to create a unique release that stands out in the horde of similarly veined releases of the ‘60s.
With a rocking sound heavily laden by a fuzzy guitar, and the world music influence (specifically Indian) that inflected the styles of many bands in that era, TWCPAEB leads you through their acid soaked world through infectious melodies, perfectly placed guitar chords, and nonsensically hippie lyrics. Instrumentally sounding like The Doors with an extra member who alternates between sitar and a heavily distorted guitar, the album is perfect for sitting on long green grass on a beautiful day, or journeying through a psychedelic forest, and doesn’t let up with its trip-induced melodies for its short duration (around a half hour). The vocal style alternates between a kind of staccato singing and almost disturbing Talking Tina-esque narration of visions giving another unique aspect to the band’s music.
All the songs are great (besides the worthless closer “Anniversary of World War III,” which is two minutes of silence), with a few top notch entries such as “Eighteen Is Over The Hill,” “Watch Yourself,” the fuzzy “In The Country,” and the eastern influenced “Ritual” tracks. “Eighteen Is Over The Hill” is one of the folk influenced tracks, opting for a softer sound through serene guitars, and a chorus that wouldn’t sound out of place on a Simon and Garfunkel album, while “In The Country” is the polar opposite, a true ancestor to fuzz rock.
The live track “Watch Yourself” is probably the best here, combining all the aspects that made the other tracks great: folky acoustic guitars, fuzz, and catchy vocals, not to mention a sufficient dose of drug-induced psychedelia.
A largely forgotten gem in the mines that are psychedelic rock, A Child’s Guide To Good And Evil should not be overlooked, and if prospective listeners are turned off by the rumors of common lyrics about infatuation with young girls, fear not, for those are fairly quarantined to the band’s sophomore release. A must listen for fans of the genre, and a good listen regardless of your preferences, The West Coast Pop Art Experimental Band created a quirky, unique, and most importantly, satisfying release in the field of psychedelic rock.
Tracks
1. Eighteen Is Over The Hill (Bob Markley, Ron Morgan) - 2:42
2. In The Country (Markley, Shaun Harris, Terry Kath) - 2:03
3. Ritual #1 (Markley, Harris, John Ware) - 2:09
4. Our Drummer Always Plays In The Nude (Markley, Harris) - 2:45
5. As The World Rises And Falls (Markley, Morgan) - 4:52
6. Until The Poorest People Have Money To Spend (Markley, Harris) - 2:18
7. Watch Yourself (Buddy Guy, Robert Yaezel) - 5:52
8. A Child's Guide To Good And Evil (Markley, Harris) - 2:29
9. Ritual #2 (Markley, Harris) - 2:04
10.A Child Of A Few Hours Is Burning To Death (Markley, Morgan) - 2:41
11.As Kind As Summer (Markley, Harris, Roger Bryant) - 1:10
12.Anniversary Of World War III (Markley) - 1:36
13.Shifting Sands (Single Mix) (Baker Knight) - 3:54
14.1906 (Single Mix) (Markley, Morgan) - 2:17
The West Coast Pop Art Experimental Band
*Bob Markley - Vocals
*Shaun Harris - Vocals, Bass
*Ron Morgan - Guitar
*Jim Gordon - Drums
*Hal Blaine - Drums
