Psych and Prog

Lothar And The Hand People “Presenting…” (Capitol, 1968)

Look at that cover. The five members of Lothar And The People seem like the high-school students most likely to join a benign cult based on the plot of a ridiculous fantasy novel. Yet after they moved from Denver to New York City, the quirky quintet signed to Capitol Records… and the rest is cult-rock history.

LATHP cut two surprisingly good albums and then adios’d. But they had the distinction of being the first rock group to tour with synthesizers and one of the few to manipulate Theremins. These nerds had an air of gimmickry about them, but they also had talent. Their 1968 debut album, Presenting…, abounds with high-quality, Moog-enhanced novelty rock.

Produced by Robert Marguleff of the excellent synth duo Tonto’s Expanding Head Band (who later worked studio magic on Stevie Wonder’s best albums), Presenting… begins auspiciously with “Machines.” A Mort Shuman composition originally cut by Manfred Mann in 1966, the track rides a ludicrously chunky, mechanical rhythm while the singer belts a cautionary tale about said machines transforming from things that serve humans to becoming our enslavers. The grim message almost gets lost in the robotically bouncy joy the music induces.

A jarring transition occurs with “This Is It,” an easy-going, jazzy charmer that carries the air of a sly Mose Allison tune. The melody is sophisticated yet attention-grabbing, immediately burrowing itself into your memory bank and wiggling adorably there forever more. More catchiness ensues on “This May Be Goodbye,” a psych-pop tune toggling between endearing and annoying, thanks to John Emelin’s nasal, forceful vocals, and “That’s Another Story,” which feels at once old-timey and as hip as Pentangle-esque folkadelia, thanks to its wonderful see-sawing melody.

LATHP could go hard, too. “Sex And Violence” is a groovy, heavy jam featuring the title chanted and sung menacingly. Rusty Ford’s bass line is sick and the guitar solo anticipates Butthole Surfers freak Paul Leary. The tough yet baroque garage rock of “You Won’t Be Lonely” evokes Detroit’s SRC. “It Comes On Anyhow” is the most psychedelic and disjointed moment on the record, full of “OM”s, warped harpsichord motifs, Paul Conly’s synth drones, Tom Flye’s huge beats, and mutterings of “It doesn’t matter.” Imagine a more concise “Revolution 9.”

For Moog-lovers, Conly shines on “Milkweed Love,” an ominous ballad in the vein of Mort Garson and Jean-Jacques Perrey, and “Paul, In Love,” a beautiful reverie à la Garson’s Plantasia. Plus, nearly every song here is capped by little Moog filigrees.

A cloying wackiness occasionally mars Presenting… “Kids Are Little People”’s goofy children’s-television rock and “Woody Woodpecker” (yes, the cartoon theme) especially annoy. But the loony-bin-bound pop of “Ha (Ho)” at least has the decency to end with an enticing electronic coda that foreshadows Tonto’s Expanding Head Band. Thankfully, most of this LP hits the sweet spot between sublime and silly. These songs may carry an indelible late-’60s timestamp, but that only adds to their charm when heard in 2020. -Buckley Mayfield

The Undisputed Truth “Cosmic Truth” (Gordy, 1975)

The plaything of producer/composer/arranger Norman Whitfield, the Undisputed Truth were Motown’s great black freak-soul hopes—basically, the Temptations’ younger, wilder siblings. UT even recorded several songs cut by the Tempts (and Rare Earth, for that matter), a ploy that demonstrated Motown boss Berry Gordy’s practice of recycling the catalog in order to milk hits for all they’re worth. Because Whitfield and his songwriting partner Barrett Strong were on a scorching creative roll in the ’70s, the Undisputed Truth reaped the artistic rewards of their genius, if not the commercial successes of Motown’s more palatable acts.

Cosmic Truth is UT’s sixth album and their second of 1975, following the flamboyantly soulful and funky Higher Than High. For me, Cosmic Truth is the group’s peak. It should be discussed with the same reverence people reserve for classics such as Jimi Hendrix Experience’s Axis: Bold As Love, Funkadelic’s Maggot Brain, and Love’s Four Sail.

The LP’s gatefold spread features UT’s five core members wearing garish silver makeup and sporting huge white afros, a visual analogue to what you’ll hear in the grooves. Opener “Earthquake Shake” immediately tips you off that Cosmic Truth isn’t going to be your father’s typical Motown release. This brassy, tumultuous psych funk is the sonic embodiment of the title. A bit beyond the halfway point, a massive drum break enters and the whole song gets about 77 percent funkier and stranger. The coda of birdsong, distant backwards strings, oboe (?), more earthquake rumble unexpectedly takes the song into prog territory (Moody Blues or early King Crimson). So far, so surprising.

But you ain’t heard nothing yet. How about an oozing-molasses cover of “Down By The River”? Undisputed Truth soul up Neil Young’s 1969 epic to the max, elevated by an absolutely heavenly keyboard performance by Mark Davis. The guitar solo here—it sounds like Motown session badass Dennis Coffey—is a shimmering helix of spun gold. Neil had to have been gobsmacked by how godly this version was.

However, “UFO’s” [sic] is not a surprise; it’s spacey, psychedelic funk with guitars that sound like gnarly, alien engines. It’s also the LP’s most explicit Parliament-Funkadelic homage, with vocals evoking Bootsy Collins’. Similarly, “Lil’ Red Ridin’ Hood”’s sleazy funk could’ve easily slotted on Free Your Ass And Your Mind Will Follow. “Spaced Out” is my go-to track on Cosmic Truth for DJing purposes. Its strutting and rutting funkadelia with exceptional dynamics, caustic guitar pyrotechnics, and the echoed unison backing vocals send this interstellar lust song over the edge.

“1990” features mad guitar heroics in a dank, midtempo, War-like vein, harmonica and all. Finally, the fantastic, heartbreaking “(I Know) I’m Losing You,” which the Temptations made a hit in 1966, receives a supremely soulful treatment with a sweet piano solo, subtly effective congas, and masterly vocal arrangements. It’s up there with the commanding renditions by Rod Stewart and the Faces and Rare Earth.

The aptly titled Cosmic Truth is one of Motown’s most fascinating, undersung magnum opuses. -Buckley Mayfield

Gong “You” (Virgin, 1973)

Led by guitarist/vocalist Daevid Allen and singer Gilli Smyth, Gong perfectly threaded the needle between prog rock and psychedelia during their early-/mid-’70s peak. The group’s ability to blend the whimsical, the absurd, and the cosmic culminated in their Radio Gnome Invisible Trilogy: Flying Teapot (1973), Angel’s Egg (1973), and You (1974). Composed of British and French musicians, Gong combined some of the most interesting traits of both countries’ progressive scenes, creating fetching melodies, funky and jazzy grooves, and deep space excursions. One can hear these elements and more coalesce into a stunning zenith on You.

The album flows like a brilliant DJ set on purest LSD. After two short, inconsequential pieces of goofy space-out and zany prog shenanigans, You really kicks into gear with “Magick Mother Invocation.” With its gong hit, calming “om”s, Smyth’s beatific sighs, and Tim Blake’s arcing, lysergic synth ripples, the song creates the sensation of flipping end over end in space. And how often does that happen?

This heavenly drift sets the scene for “Master Builder”; everything’s been, uh, building to this masterpiece. It’s a tom-tom-heavy astral-jazz-funk mega jam of monumental dimensions, with Allen’s Leslie-speakered vocals adding tasty frosting. Drummer Pierre Moerlen, bassist Mike Howlett, guitarist Steve Hillage, synthesist Blake, and saxophonist Didier Malherbe are all on peak form. A flaming wig-out for the ages, “Master Builder” makes you feel as if you’re on all of the drugs at once. The beneficent comedown after that mindfuck is “A Sprinkling Of Clouds,” a methodical, burbling-synth explosion. This one merely makes you feel as if you’re on most of the drugs and foreshadows chillout-room ambient music by about 16 years, before the beats and bass lines start punching out the stars and the music starts to emulate early Pink Floyd in their most aggressively extraterrestrial zones. An abrupt mood shift occurs on “Perfect Mystery,” which twirls into jaunty, Zappa-esque prog territory, as Allen and Smyth natter on about “cops at the door” and “octave doctors” and “middle eyes.” The xylophone work here is bonkers.

Side 2 goes deep, y’all. One of Gong’s most adventurous tracks, the 10-plus-minute “The Isle Of Everywhere” is totally devoid of the wackiness that occasionally mars their music. Smyth’s opiated chants and murmurs intertwine with Blake’s synths while Howlett’s and Moerlen’s suavely funky groove never stops ascending. Malherbe’s sax solo is one of the most flavorful and sophisticated in rock annals; Hillage’s guitar solo is a serpentine wonder that would make Larry Coryell and Peter Green jealous. I’m high as fuck just listening to this on my headphones on a Tuesday night in the middle of a pandemic.

“You Never Blow Your Trip Forever” is a jolly continuation of “Isle”’s interstellar trek. Allen jibber-jabbers as if he’s auditioning for Monty Python’s Flying Circus before settling into more conventional space-rock vocal mode. The band locks into a centrifugal groove that morphs into a zonked waltz, then downshifts into a “Set The Controls For The Heart Of The Sun” creep, filigreed with poignant, trilling flute. Contrary to the title, I think I did blow my trip forever.

In the end, Gong are You, and you are Gong. -Buckley Mayfield

Pharoah Sanders “Karma” (Impulse!, 1969)

Karma is the Sgt. Pepper’s of spiritual jazz, in that it appeals to both the public and critics on a large scale. Dominated by the nearly 33-minute “The Creator Has A Master Plan,” the album has become a totem of transcendental music, at once approachable and challenging in a rare way. Consider it the ambitious offspring of John Coltrane’s A Love Supreme—maybe even the student who ends up surpassing his mentor.

“The Creator Has A Master Plan” starts with a glorious two-minute fanfare, putting the listener on tenterhooks. Then Reggie Workman fingers the immortal bass line that emulates Jimmy Garrison’s in Coltrane’s “Acknowledgement”; it’s like a trampoline for your soul. Add in Nathaniel Bettis’ shakers and belltrees, James Spaulding’s flute, and Sanders’ saxophone calligraphy (ranging from gently poignant to catastrophically raspy) and you have the beginnings of a momentous trip. When Leon Thomas brings in his sly “yeah yeah yeah yeah yeah”s, you sense things are going to rise to another level. They do.

With his heartfelt lyrics, Thomas outlines the Creator’s basic yet essential blueprint for peace and happiness through all the land, and then embellishes those salubrious words with a series of acrobatic scats and yodels that articulate the song’s theme even more powerfully. Leon truly has too much soul for one body.

The track attains a chaotic peak a bit before the halfway point and then again near 20 minutes; both passages sound like the painful birth of planets that are superior to Earth—and the cries of a panicking elephant herd. They truly are some of the wildest and most transcendent moments in jazz. The last few minutes return to the opening section’s see-sawing bass line, trilling flute, and shiver-inducing belltree/shaker action. Thomas lets off some of his most sublime ululations and hums. He repeats the chorus to the fadeout. You sit there stunned, your life changed forever for the better. Lord—if you’re there—have mercy.

The cumulative effect of “The Creator” is to convince even the most hardcore atheist that just maybe there’s a shred of a chance that the universe is overseen by some god-like authority who has humanity’s best interests at heart. It’s a potent sonic fantasy, for sure. Sanders, Thomas, and company possess the power to make you believe, against your rational mind.

“Colors” has a hard act to follow, but it’s a beauty, too. Undoubtedly, its air of languorous resolution surely influenced Don Cherry’s “Isla (The Sapphic Sleep)” in Alejandro Jodorowsky’s The Holy Mountain. “Colors” features Thomas’ tender paean to Mother Nature, embroidered by Lonnie Liston Smith’s cascading piano, Leon Thomas’ shower of metallic percussion, and Sanders’ swooning sax motifs. After the momentous ebbs and flows of “The Creator,” “Colors” provides a soothing comedown.

A cornucopia of tantalizing textures and heart-searing melodies, Karma is as essential as the oxygen you breathe and that Pharoah’s blowing through his instrument. -Buckley Mayfield

It’s A Beautiful Day “It’s A Beautiful Day” (Columbia, 1969)

You’ve seen this album in bargain bins a billion times. Maybe the cover intrigues you… or maybe it repels you. Its corny wholesomeness does not exactly promise a wild sonic ride. I shouldn’t have to say this, but don’t judge an album by its cover. It’s A Beautiful Day often soars far above what its packaging suggests.

The story goes that IABD’s manager, Matthew Katz (the notorious jerk who effed Moby Grape, among others), forced the band to move from the Bay Area to Seattle to record their debut album, made them endure penurious conditions during the winter in the attic of a house owned by Katz, and generally engineered a miserable experience.

Yet despite these setbacks, IABD produced an outstanding debut LP that smacks of a certain kind of ambitious hippiedom circa 1969. Orchestral psych-rock, ornate balladry, baroque folk, gritty blues rock—these sorts of things interested major-label bigwigs back then, and the album peaked at #47 in the US. Hence, the ubiquity of It’s A Beautiful Day in 21st-century cheapie bins. Columbia manufactured a ton of it, and the single “White Bird” hit fairly big, but the album just didn’t engender the devotion that some other releases from the era did.

You can understand why “White Bird” struck a chord in the late ’60s: It’s a paragon of mellifluous hippie folk with male/female vocals. However, IABD should’ve made Pattie Santos’ dulcet tones more prominent in the mix and muted David LaFlamme’s plummy croon. Still, the song takes off wonderfully thanks to LaFlamme’s sonorous, soaring violin solo and Hal Wagenet’s glistening, rococo guitar excursion.

At his best, LaFlamme can approach Scott Walker’s deep, velvety expressiveness, as he proves on “Hot Summer Day,” a laid-back reverie not unlike Jefferson Airplane’s mellower moments. By contrast, the anguished blues rock of “Wasted Union Blues”—with its gnarly guitar and violin interplay—verges on the frayed-nerve intensity James Blood Ulmer/Ornette Coleman. Again, though, Santos’ voice should be to the fore.

The tough, Eastern-leaning orchestral psych-rock of “Bombay Calling” was so enticing that Deep Purple lifted its main motif for “Child In Time.” “Bulgaria” conjures a mood similar to that of the Doors’ “Indian Summer” and the Stooges’ “We Will Fall,” but it’s not as eerie. The lines “when you’re in a dream/the time passes so slowly/open up your heart/go to sleep on the moment love was born” epitomize IABD’s infatuation with the cosmic aspects of romance.

IABD save the best for last. The album’s longest song at nearly 10 minutes, “Time Is” embarks on an adrenalized journey to the center of existentialist-rock nirvana. It’s not quite as out-there as Chambers Brothers’ “Time Has Come Today” and Val Fuentes’ drum solo isn’t as impressive as Ron Bushy’s in Iron Butterfly’s “In-A-Gadda-Da-Vida,” but it’s a splendid spectacle nonetheless.

Don’t let the cover fool you; It’s A Beautiful Day is bargain-bin gold. -Buckley Mayfield

Margo Guryan “Take A Picture” (Bell, 1968)

Writing about this classic sunshine-pop album during one of the grimmest periods in world history seems perverse, but what the hell? Maybe listening to Margo Guryan’s sole full-length from 1968 will bring much needed light and joy to your quarantined existence. I’m here to help you get through this.

Take A Picture starts auspiciously with “Sunday Morning”—not a Velvet Underground cover, but rather a diaphanous orchestral-pop tune with a deceptively swaggering funkiness in its undercarriage. Guryan’s voice is sheerest bliss, a meringue-y delight. “Sun” might be the epitome of sunshine pop, right down to its on-the-nose title. Elevated by lashings of FX’d sitars and slashing, swooning strings, it makes “Eight Miles High” seem earthbound. “Sun” blows away your blues with the lightest, lavender-scented breeze. Shout out to guitarist John Hill for the arrangements on these two beauties.

“Pretty love songs always make me cry,” Guryan coos with sangfroid poise on “Love Songs,” and it should irk you with its clichéd sentiment, but the dulcet melody and sumptuous, swaying strings make your curmudgeonly feelings seem ridiculous. The understated McCartney-esque jauntiness of “Thoughts,” undercut with a lightly morose flute and oboe, is fairly slight, but still winsome as hell. “Don’t Go Away”’s waltz time baroque pop verges on breezy prog, while “Take A Picture”’s baroque pop sashays into the exalted realm of the Left Banke.

If you crave more jauntiness, “What Can I Give You?” offers much sugary corniness, but it’s offset by Guryan’s wondrously wispy whisper. The maudlin orchestral pop of “Think Of Rain” is almost too precious, but that’s balanced out by the hushed splendor of “Can You Tell” and the early-Bee Gees bravado and melodic momentousness of “Someone I Know.”

These intimate romantic vignettes are all well and good, but Guryan saves the best for last. By far Take A Picture‘s most adventurous and psychedelic moment, “Love” begins like a drug-induced dream, with drummer Buddy Saltzman busting out outrageously odd beats amid Kirk Hamilton’s gently swirling flute and Hill’s weirdly tuned guitar fibrillations, before a sinuously funky groove enters and the guitars shift into Ceyleib People-like radiation. The flute gets echoplexed to infinity, as the groove gets greasy, and then Paul Griffin’s cosmic keyboards soar into earshot. Margo doesn’t start singing until the three-minute mark, and when she does, you’ll get shivers down your backbone. The change that occurs at 4:30 lifts everything yet again to a head-spinning zenith; the rhythm starts spasming like that in the Doors’ “Peace Frog,” Guryan’s coos spiral heavenward, and Phil Bodner’s oboe foreshadows Roxy Music’s fantasias. “Love” is one of the greatest album-closing tracks ever—hell, one of the greatest tracks ever, period. It’s almost all you need. -Buckley Mayfield

Howard Wales & Jerry Garcia “Hooteroll?” (Douglas, 1971)

If you ask Siri, “What’s the funkiest album with Jerry Garcia on it?” you’ll probably get the wrong answer—if any. But if you ask me, that would be Hooteroll? Sorry, Merl Saunders.

Garcia and Howard Wales cut Hooteroll? during a brief spell when the Grateful Dead guitarist/vocalist was jamming with the brilliant keyboardist, who had previously played with A.B. Skhy and collaborated with German electronic musician and Irmin Schmidt cohort Bruno Spoerri. The result’s one of the more interesting and DJ-friendly GD spinoff projects.

“South Side Strut” bursts out of the gate with bravado, a brassy soul-jazz effusion with a surplus of greasy, chunky funk in its trunk. (Think the Doors’ “Peace Frog” or Deep Purple’s “Hush.”) This is my go-to track from this LP when I’m DJing. Its sports-highlight-reel brashness really grabs the attention.

“A Trip To What Next” opens with John Kahn’s snaky bass line and the triumphant orange-yellow bursts of sax and trumpet by Martin Fierro and Ken Balzall, but the mid section finds Wales and Garcia going off on a Floydian psychedelic excursion before the song returns to a peppy soul-jazz riff and a final Grateful Dead-meets-early-Chicago flame-out.

“Up From The Desert” is a beautiful sundown-shimmer of a song, a piece of meditative rock that hints at the grandeur of the Electric Prunes’ Release Of An Oath. Garcia is in prime form, sounding like Wrecking Crew badass Howard Roberts. Another great cut to drop into DJ sets, “DC-502” brings frenetic, funky soul jazz that flaunts Incredible Jimmy Smith/Richard “Groove” Holmes vibes.

The spangling, ECM-ish meditation “One A.M. Approach” offers an exquisite respite while “Uncle Martin’s” foreshadows Medeski, Martin + Wood with its swaggering organ swells while Garcia coaxes articulate wah-wah punches and feints. “Da Birg Song” (sometimes rendered “Da Bird Song”) closes Hooteroll? on a lackadaisical blues note, borne aloft by Fierro’s gorgeous, tranquil flute and Wales’ florid piano. (The 2010 CD reissue contains four bonus tracks, including “Morning In Marin,” which bear a resemblance to Miles Davis’ landmark fusion album, Bitches Brew, and “Evening In Marin,” which exudes a pastoral-cosmic peacefulness akin to Popol Vuh or Ashra.)

Even if you don’t dig the music (you philistine), the cover by Abdul Mati Klarwein—who’s also done work for Santana, Miles Davis, Last Poets, and Jon Hassell—is worth the price of admission alone. -Buckley Mayfield

The Chambers Brothers “The Time Has Come” (Columbia, 1967)

The Chambers Brothers—who included four actual African-American brothers and, oddly, a white drummer named Brian Keenan who lived in England and Ireland as a child—are best known for their hit single “Time Has Come Today.” And rightly so. Recorded in 1966, released a year later, and covered many times since by artists as diverse as Joan Jett, Me’shell Ndegoecello, Smashing Pumpkins, Bootsy Collins, Pearl Jam, and Ramones, “Time Has Come Today” is a landmark in psychedelic rock—especially the full 11-minute version. But more about that later. The Time Has Come has many other great songs on it besides that monster tune.

The Chambers Brothers’ debut LP busts out of the gate fantastically with “All Strung Out Over You.” With its bobbing bass line worthy of Motown session immortal Bob Babbitt, a barrage of cowbell, handclaps, and rough soul belting, this is a full-tilt expression of romantic expression—certified dance-floor dynamite. It’s followed by “People Get Ready,” a faithful cover of the Impressions’ Curtis Mayfield’s gospelized ballad of political resistance, which was deemed by Martin Luther King as the unofficial anthem of Civil Rights movement. But coming right after “All Strung Out Over You” makes it a momentum-killer. Because it’s more moving than a mover, it would’ve fit better at side’s end.

With “I Can’t Stand It,” the Chambers Brothers fling us back into uptempo heart-/groin-throb action, a potent slice of Northern soul slathered with of harmonica and elevated by possessed backing vocals. Dozens of acts have covered Steve Cropper and Wilson Pickett’s Stax soul classic, “In The Midnight Hour,” and unfortunately the Chambers Brothers’ attempt is merely functional. Another cover that doesn’t play to the Chambers Brothers’ strengths is “What The World Needs Now Is Love,” Burt Bacharach and Hal David’s popular 1965 sanguine ditty. I could easily live without this stodgy rendition. The album’s best cover is “Uptown,” which was written by Betty Mabry (aka funk goddess Betty Davis). This is a sleek, slithering soul gem full of diamond-hard guitar jabs and boisterous vocal interplay. It’s one of Betty’s greatest compositions.

The Chambers Brothers definitely saved the best for last: the aforementioned “Time Has Come Today.” Joseph and Willie Chambers wrote this masterpiece, which must have made Lester and George mad jealous. Everything about this track is fire: the tick-tocking cowbell, the rambling main guitar riff, the massed shouts of “TIME,” the lead vocal’s righteous sagacity, the bizarre bridge during which time slows and dilates to nightmarish dimensions, the delayed “TIME”s, the serpentine guitar solo, the build up to the first climax, the most audacious “OOOHHHH” in rock history, the line “my soul’s been psychedelicized,” the conclusive warped-guitar explosion. I could go on, but your eyes are already glazing over.

This song has special personal meaning, as it opened my ears to psychedelic music when I heard it on the radio as a 6 year old. I’ve been chasing that dragon ever since. Eternal gratitude to whichever radio programmer decided the country was ready for such an outré specimen of rock—and to the Chambers Brothers, too, of course. -Buckley Mayfield

Tangerine Dream “Phaedra” (Virgin, 1974)

A lot of smart people—and yours truly, too—think Phaedra represents peak Tangerine Dream. With a catalog as vast as this German electronic group’s, you’ll never get a consensus on said peak, but for this blog’s purpose, let’s go with Phaedra.

While I dig the four preceding Tangerine Dream opuses, it always seems like I need stronger drugs to truly understand what the hell’s going on with albums such as Electronic Meditation, Zeit, Atem, and Alpha Centauri. Not so with Phaedra. It’s as if Edgar Froese, Christopher Franke, and Peter Baumann clarified what the group does best and then magnified it to infinity.

The opening sidelong title track is a case in point. It’s a 17-minute masterstroke of oscillations, arpeggios, fibrillations, whooshes, woobs, whistles, and phantom choirs criss-crossing and intertwining across the firmament in dramatic arcs. Ever so subtly, Tangerine Dream’s three VCS 3 synth and Mellotron maestros modulate the sounds to optimize tension and release. I once played “Phaedra” in a large club where I was DJing, and it might’ve been the closest I’ve ever come to feeling like a god.

Side 2—which reputedly was accidentally mastered backward—isn’t quite as momentous, but it is great. The Froese composition “Mysterious Semblance At The Strand Of Nightmares” exudes an enigmatic orchestral grandeur—which explains why it was used in the 2018 film Black Mirror: Bandersnatch. Sounding like a harsh meteorological event transpiring in an aviary by the sea, “Mysterious Semblance” is pretty dang disorienting. “Movements Of A Visionary” offers a menagerie of tantalizing tones and timbres—icicle-tinkling, motorized twittering, Doppler effect arpeggios and drones, etc.—to which any sensible person would want to dose. Finally, Baumann’s piece “Sequent ‘C’” closes the record on an elegiac, haunting note.

Tangerine Dream would go on to do a lot more good work—Rubycon, Sorcerer, Thief, Exit, etc.—but none as stunning as Phaedra. -Buckley Mayfield

Joe Walsh “The Smoker You Drink, The Player You Get” (ABC-Dunhill, 1973)

After he left James Gang (great band!) and before he joined the Eagles (hugely popular band who are not my bag, though I like a few of their songs!), Joe Walsh cut a few albums with Barnstorm, including The Smoker You Drink, The Player You Get, perhaps the guitarist/vocalist/keyboardist’s peak with that band—and the title that most resembles a line from a Firesign Theater routine.

The LP is distinguished by its opening track, “Rocky Mountain Way,” which reached #23 on the US singles chart in 1973. One of the most iconic guitar riffs of the ’70s—nay, of all time—kicks off this spaced-out, blues-rockin’ party tune. Yes, you’ve heard it 9 billion times, but its widescreen grandeur, crystalline crunch, and wonky, wah-wah-heavy solo refuse to pall, even after all that exposure. It’s a tough act to follow, but the rest of The Smoker… bears some low-key treasures.

“Wolf” is a spare, bleak ballad in the vein of Aerosmith’s “Season Of Wither” and some of Robin Trower’s ’70s output, generating some chilly melancholy. Written by keyboardist Rocke Grace, “Midnight Moodies” surprises with its elegant jazz-rock vibe, bolstered with piano, cowbell, and flute by drummer Joe Vitale. Another shockingly pleasant tangent comes courtesy of bassist Kenny Passarelli’s Caribbean-spiced rock cut “Happy Ways,” with its sprung rhythm and killer bass line. The song really blossoms into a rousing rocker during the choruses, bursting with “la la la”s and “na na na”s. It’s the feel-good non-hit of the record.

The second side of The Smoker… is more subdued and less interesting than the first side, but it has its moments. “Meadows” is tender, melodious rock with beefy-riffed power surges, while “Days Go By” (another Vitale composition) brings the sort of flute-augmented baroque rock that, oddly enough, sounds more like the Left Banke than anything else.

The Smoker You Drink, The Player You Get is the sort of wildly popular major-label album that litters nearly every bargain bin in the country, but don’t underestimate it. It reveals Walsh and company’s instrumental depth and aptitude for emotionally resonant songwriting beyond of the radio staples for which they were known and loved by classic-rock radio programmers and the people mesmerized by them. -Buckley Mayfield

High Speed And The Afflicted Man “Get Stoned Ezy” (Bonk, 1982)

A self-described “hippie punk,” British guitarist/vocalist Steve Hall cut this cult classic during the waning days of post-punk’s zenith. It must’ve sounded extremely out of time in that milieu of severely angular and often funky rock that frequently agitated for leftist/progressive political causes. Here was an unabashed, heavy-as-fuck psych-rock beast built for reckless—if not wreckless—speed that practically made listeners grow mutton chops while it was playing. Its three long songs hit you with Hell’s Angels-on-a-tequila-bender brutality.

Get Stoned Ezy sounded nothing like, say, post-punk touchstones such as Joy Division, the Pop Group, or Raincoats. Unsurprisingly, High Speed And The Afflicted Man pretty much vanished without much fanfare… until the reissues started materializing in the 2010s. (Thanks, Guerssen!)

The six-minute title track sets the tone; it’s dominated by primitive, ram-rodding riff, fuzzed and metallicized and run right into the ground, till it hits the earth’s core. Hall boozily bellows about getting blunted with not much difficulty, his guitar sounding like Ron Asheton trying to blend Jimi Hendrix and Tony Iommi at their brashest.

“Zip Ead” offers 14 minutes of slightly slower Neanderthal rock in which Hall’s guitar bleeds way outside the lines of decorum, like early Blue Cheer jamming with Japanese speed freaks High Rise. It’s another exercise in repetition as redemption, the road of excess leading to the chalice of (six-string) jizzdom [sic].

The 12-minute “Sun Sun” is a burly, fuzzed-out mantra that pummels its way into the delirious jam-band zone where Hapshash And The Coloured Coat, Ya Ho Wa 13, and Magic Hour dwell. Let us take a moment to praise bassist Paul Mason and drummer Billy Frater, who get the motherfuckin’ job done with minimal fuss. They’re the rock-solid foundation beneath Hall’s flagrant guitar wankery. And no, that is not a diss in my book, if the person musically masturbating has talent and cunning. Hall has just enough of those things to make his caveman rock punch above its weight. -Buckley Mayfield

Golem “Orion Awakes” (Psi-Fi, 1996)

This album is draped in mystery and has been suspected of being a hoax. It allegedly was recorded in 1972-73, but some production touches make it sound more like it was done in the ’90s. In an interview reproduced in the liner notes of the 2016 vinyl reissue on Mental Experience, producer Toby Robinson can’t remember any of the details—and the same edition’s credits bear a “℗ 1976.” They can’t keep their stories straight… All the musicians recorded under pseudonyms, but are reputedly well-known krautrock figures. Alan Freeman, author of The Crack In The Cosmic Egg krautrock encyclopedia, speculates that members of Dzyan, Birth Control, Baba Yaga, and Sixty Nine may have been involved. All the rest of the CD reissues from the ’90s on the Pyramid imprint (Nazgul, Galactic Explorers, Cozmic Corridors, etc.) have similar murky origins.

Someone on Discogs wrote, “I have sources from a musician that he confirms played on this record wich [sic] was recorded back in 1995 in Croydon near London.” I can believe that! But ultimately, the music on Orion Awakes is so good, its back story is beside the point.

Whatever the case, if you dig freaky, vocal-free krautrock, you’re gonna want Orion Awakes. The title track approaches tentatively and ominously with delayed guitar shivers, then slowly blooms into a glimmering, methodical psych-rock stomp, replete with thick organ swirls. I can’t help thinking of the ’90s band Sundial and their awesome Other Way Out album when I hear this song. Similarly, “Stellar Launch” is a contemplative space-out that meanders with menace, marked by subtle wah-wah guitar and wispy Mellotron sighs. Gradually, though, it achieves a semi-funky midtempo groove and ascends to sublime heights of cosmic chaos. The shortest track at 6:32, the aptly titled “Godhead Dance” will get you spazzing and throwing ridiculous shapes. It features an unstoppable groove powered by over-the-top Hendrixian wah snarl. If you hear “Godhead Dance” under the influence of hallucinogens, all bets are off. No wonder it’s my go-to Golem track in DJ sets.

The three-part, 14-minute suite “ Jupiter & Beyond” is powerful, surging psychedelic rock music geared for large venues. The album’s finale, “The Returning,” probably should’ve been left off of Orion Awakes. The fat drum sound and trademark indie-rock guitar tones really give away the ’90s provenance of Golem. This song sounds like something on Drag City, Matador, or Merge more than any subterranean German label. It’s also the least interesting work here. It’s not a good way to persuade anyone who suspects this LP is (mostly) a well-executed prank. -Buckley Mayfield