Label: Grunt - RCA-6161 • Format: Vinyl LP, Album • Country: Japan • Genre: Rock • Style: Rock & Roll
Though they notched only two sizable hit singles, the Electric Prunes had a surprising wealth of 45s for a band that are still often unfairly tagged as one-hit wonders. Between andalmost a dozen seven-inches bearing the Electric Prunes name were issued on Reprise. When the Prunes first started recorded for Reprise inhowever, they were literally right out of the garage, coming to the attention of producer Dave Hassinger after a real estate saleswoman heard them playing in a garage in the San Fernando Valley.
Their non-charting debut "Ain't It Hard" was a pounding cover of a folk-rocker by the Gypsy Trips, with a blues-rock tinge not far removed from the Rolling Stones' recent Aftermath, an album Hassinger had engineered.
Stonesy rock with a touch of raga was featured on the B-side, "Little Olive," an original by singer James Lowe. The hint of weirdness became all-out experimental psychedelia on the next single, "I Had Too Much to Dream Last Night ," right from the bee-humming riff that kicks the track into overdrive before a word's been uttered. Guitarist Ken Williams, Lowe told me in a interview, "had been shaking his Bigsby wiggle stick with some fuzztone and tremolo Forward it was cool Unbelievably, this Annette Tucker-Nancie Mantz composition was, as bassist Mark Tulin noted to me in an interview the same year, worked up "from a demo that was slow with strings Pure Vegas lounge-act material.
Tucker and Mantz were also responsible for the follow-up, "Get Me to the World on Time," which put unhinged psychedelia to a Bo Diddley beat and made it to 27 in Billboard — though that would, surprisingly, be the last Electric Prunes single to crack the Top Hundred. This time the unearthly Grace Slick & David Freiberg - Baron Von Tollbooth & Th intro is, according to Lowe, "Dave Hassinger groaning through a mic, into the tremolo on a Fender amp," though for James the song "always lacked something to me, a solo or something.
We wanted to do some wild electronic effects and a tone generator is what we settled for. It was up to [us to] put credibility to their clever lyrics. I can guarantee there was no Bo Diddley beat when Annette played it on the piano. While Tucker and Mantz were entrusted with the next 45, and Lowe says "we always had a laugh at the variety and scope of [their] images," in retrospect their "Dr. Do-Good" seems like a downright daffy choice for a fourth single.
Sounding more like a horror movie theme run amok than a radio-ready hit, it crept to a mere on the Billboard listings. That's Hassinger's Courant - The Dolmetsch Consort - Favourite Recorder Music From Five Centuries laugh at the end, Lowe confirmed, as "I told him I couldn't do it and he kept Grace Slick & David Freiberg - Baron Von Tollbooth & Th me how, so we said, 'You do it.
Another pair of tunes from their most innovative album, Underground, was chosen for the next single, with Lowe-Tulin compositions gracing each side. Dave was a single sales mentality in an album sales environment. We were just the opposite. Fortunately, the Prunes got one last chance to crack the singles The Lord (Edit) - Various - Los Cuarenta - Dance Laboratory 1 with a non-LP 45 before they'd get a complete overhaul.
Tulin thought "the demo we made was much better than what ended up being released," and more of the group's personality came through on the B-side, "You Never Had It Better. The last two-sided single issued by the lineup when Lowe and Tulin remained aboard was taken from their third album, Mass in F Minor.
Neither these two tracks "Sanctus" and "Credus" nor anything else I Dont Know What This Is - DMoeFunk - The Best Of The Discositdown the LP, however, were written by the band, who were enlisted to perform a suite of Latin religious songs written and arranged by David Axelrod. So did an odd megarare one-sided promotional 45 titled "Shadows," recorded for the film The Name of the Game Is Kill, that was far truer to the band's earlier psychedelic sound.
As the Electric Prunes name was owned by Axelrod's manager, Lenny Poncher, by the Grace Slick & David Freiberg - Baron Von Tollbooth & Th of their fourth album late 's Release of an Oathnone of the musicians who'd appeared on their prior releases remained. Two singles drawn from that LP bring this collection to a close.
As Whetstone noted, this incarnation of the Prunes realized "the identity of Electric Prunes was with the original band. Quite frankly, as time has borne out, what made the Prunes popular was the original material, and 'Too Much to Dream' is the signature song of the group. As this anthology proves, they were one of the most unpredictable psychedelic groups in a genre that thrived on unpredictability. As the throbbing buzz of Ken Williams' tremolo-laden fuzztone guitar creeps from one side of the stereo spectrum to the other, the Electric Prunes kick off their debut album with their first and biggest hit single, and if Electric Prunes: I Had Too Much to Dream Last Night never hits the high point of its title track again, the next 11 songs confirm that these guys were in the first echelon of American garage bands of the '60s.
In the grand tradition of most garage Grace Slick & David Freiberg - Baron Von Tollbooth & Th albums, the best tracks on this disc are Grace Slick & David Freiberg - Baron Von Tollbooth & Th singles, which along with the title track include "Get Me to the World on Time" and the surprisingly effective B-sides "Luvin'" Speed & Satan - Kyliga Dälen - Sátánizmus "Are You Loving Me More But Enjoying It Less ," but the other tunes are more than just filler.
On Grace Slick & David Freiberg - Baron Von Tollbooth & Th every song, Williams and fellow guitarists Weasel Spagnola and Jim Lowe spin a web of gloriously strange sounds, making the most of a battery of stomp boxes, and bassist Mark Tulin and drummer Preston Ritter provide a solid, percolating backdrop for their faux-psychedelic soundscapes. Producer Blues [Up And Down Building K.C.
Line] - Various - Texas Country Music Vol. 2 1927-1937 Hassinger would in time become a bad guy in the Electric Prunes' story, but on these sessions he gives them a great studio sound, specious but full of details, and at its best this album does as well by its three-guitar team as Moby Grape's epochal debut.
And if songs like the weepy soft rock number "Onie," the phony Brit-folk of "The King Is in the Counting House" and the goofball nostalgia of "Toonerville Trolly" suggest Hassinger didn't always know what sort of material to fit with the band who were only allowed to record two of their own songsthe Prunes rise to the occasion no matter what's thrown at them and Jim Lowe's vocal suggests he knew just how ridiculous "Toonerville Trolly" would sound.
While the Sonics and the Litter made more consistent albums, few if any bands Infected Brains - Various - Psy-Trance Festival Anthems 11 the '60s garage came up with a sound as distinctive as the Electric Prunes, and they got it on tape with striking success on I Had Too Much to Dream Last Night.
According to Electric Prunes members Jim Lowe and Mark Tulin, producer Dave Hassinger enjoyed enough success as a result of the group's early hit singles and their subsequent debut album that he was too busy to spend much time with them as they were recording the follow up, and that was arguably a good thing for the band.
While Underground didn't feature any hit singles along the lines of "I Had to Much to Dream Last Night ," it's a significantly more consistent work than the debut, and this time out the group was allowed to write five of the disc's twelve songs, allowing their musical voice to be heard with greater clarity.
As on their first LP, the Electric Prunes' strongest asset was the guitar interplay of Jim Lowe, Ken Williams and James "Weasel" Spagnola, and while they became a bit more restrained in their use of fuzztone, wah-wah and tremolo effects, there's a unity in their attack on Underground that's impressive, and the waves of sound on "Antique Doll," "Big City" and " "Children of Rain" reveal a new level creative maturity though they could make with a wicked, rattling fuzz on "Dr.
If Underground ultimately Act IV, Scene 2 - William Shakespeare - Pericles as memorable as the Electric Prunes' first album, it's a matter of material -- while the outside material that dominated the debut was sometimes ill-fitting, it also gave them some stone classic tunes like "I Had Too Much to Dream" and "Get Me to the World on Mitten Ins Herz - Linda Feller - Du Bist Das Salz In Meiner Suppe and the band themselves didn't have quite that level Grace Slick & David Freiberg - Baron Von Tollbooth & Th songwriting chops, while the hired hands didn't deliver the same sort of material for Underground.
Still, the album shows that the Electric Prunes had the talent to grow into something more mature and imaginative than their Grace Slick & David Freiberg - Baron Von Tollbooth & Th suggested, and it's all the more unfortunate that the group's identity would be stripped from them for the next album released under their name, Mass in F Minor.
Their third LP, Mass in F Minor, was a quasi-religious concept album of psychedelic versions of prayers; a definitively excessive period piece, its best song "Kyrie Eleison" was lifted for the Easy Rider soundtrack. None of the original Prunes were still in the lineup when the band dissolved, unnoticed, at the end of the '60s. This is a shame, because it's actually the better album by far. Mass in F Minor is a halting, muddy attempt at combining rock and classical instrumentation, an idea that's better explored on Release of an Oath which is, according to the liner notes, based on a centuries-old prayer called the Kol Nidre.
Songs like the liturgical "Holy Are You" and the mostly instrumental "General Confessional" combine swirling string and woodwind parts with heavy guitar and organ in a more organic and cohesive fashion than before. Musically complex and intriguing without being nearly as pretentious as a capsule description might indicate, Release of an Oath is a remarkable piece of early American progressive rock.
Allegro Con Brio - Graffiti Mechanism - Five Noise Movements By Graffiti Mechanism aware, however, that it's quite brief even by '60s standards: the whole thing Your Mind Has Left Your Body - Paul Kantner over in 24 and a half minutes.
Just Good Old Rock and Roll by the Electric Prunes has an ominous "the new improved" before their name on the cover of this effort, and despite original producer Dave Hassinger's contributions none of the original band members from the first two discs or the live album from are here. Individual Confessional David Axelrod - What makes the record even more startling is that every one of these tracks, however far afield they go from one another, works.
The band strides across the music spectrum with a reach and boldness that most listeners usually only associate with the likes of the Beatles or the Rolling Stones, and a grasp that, for a moment here, may have exceeded either of those groups, as they slide from electric guitar into extended Chess-style blues instrumentals "New York Bullseye".
It was another combustible collection of blazing blues covers and smoking originals. While there was still plenty of garage Your Mind Has Left Your Body - Paul Kantner, they had already begun evolving stylistically. This was a band used to playing for intense live audiences where they received instant feedback from the dance floor. They knew what it took to move and groove a crowd and that skill transferred seamlessly in the studio. Now, this garage punk classic is finally available again!
Sourced directly from the original Dunwich master tapes for the first time in over three decades, this Sundazed edition delivers stunning sonics for your listening pleasure. I am amazed at how much music the members of the Jefferson Airplane produced in the early s, both within the group and especially their various side projects. Baron von Tollbooth and The Chrome Nun, which were nicknames given to Paul Kantner and Grace Slick by David Crosby, may not be the grand science fiction epic of Blows Against The Empire but the music is strong and has a haunting Your Mind Has Left Your Body - Paul Kantner even beautiful quality to it while the lyrics are philosophical and even playful in nature.
The album features another musical all star cast. Grace Slick shares equal billing with Paul Kantner. She wrote or co-wrote six of the ten tracks and her vocals are for the most part memorable. The first is almost a perfect performance. Written with David Freiberg, the music is catchy, the vocal superb, and the lyrics sarcastic yet playful.
The second is a powerful and sexy performance from a now mature performer. At this point Any Way You Want It - Various - Power Play Kantner was producing some of the best lyrics of his career. It is definitely worth seeking out and I will not be returning it to the shelf any time soon.
I like this album. I can't seem to stop playing it, even though it has some obvious faults. The best way to relay to you my listening experience with this record is just to ask you to scroll up and listen the first two sound clips.
Can you stand this guy's voice? That's it. That is the key to whether or not you will enjoy this record. Okay, Alan Brackett is the guy singing lead on most of these cuts.
The group was once signed to Columbia where they cut two great records with producer Gary Usher, which were subsequently compiled on the previously mentioned 2-fer. I won't go into details about those albums because you can read my review under the appropriate heading. Where to begin? Well, the most important thing to remember about this record was that it was recorded in The PBC had previously excelled at psychedelic rock music, but times were changing.
While Clear Light was a psychedelic band first and foremost, you can obviously tell the two new PBCers new how to "cook", as they used to say back then.
The precise, sneaky fills from Shuckett's B-3, Brackett's melodic bass runs and rocksteady drumming anchors every track on this record. The songwriting is hit or miss, but by my estimation the PBC bats around. Throughout the album Alan Brackett howls with a mock-psuedo-soul inflection, coming across like a poor man's David Clayton Thomas.
Like I said, listen to the sound clips. This is not a voice everybody can appreciate Barbra was the obvious star and focal point of the group. Her vocals are up front in the mix here, but regrettably she only gets to sing lead on a few of these tracks. When she does get a lead, however, she certainly makes the most of it. The band plays tastefully and Welcome Aboard!
- Ichiro Ito - Diversity on that one, letting Your Mind Has Left Your Body - Paul Kantner just belt. This is potent music, not for the faint of heart. Look, either you like this kind of record or you don't. The Defiled - Daggers you think there's no use nowadays for a white LA psychedelic band trying to act funky and only partially succeeding. But the thing of it is, the genius is in the failure, or vise versa.
This record wasn't a hit, but who cares? And I just don't think you have enough of Your Mind Has Left Your Body - Paul Kantner today. This is the sound of a band that worked hard to put out good music.
Conway Twitty - Mona Lisa, Have You Ever Been - Aural Planet - Lightflow, Andante - Vivaldi* - Concertos For Violin, String Orchestra And Cembalo / Concerto For Mandoline And, Folly Living (Aka Blood Again) - Various - Sampler #90, Untitled - Dead Machines - Mystery Of The Fall-Off Islands Part 3