Otro de los grupos interesantes que actuó en el festival fue Moby Grape, una gran banda relegada casi al olvido pues sólo llegaron a editar dos discos, el segundo de ellos bastante mediocre, si bien el primero podría pasar por ser uno de los mejores esfuerzos en aunar Folk y Pop, tras la brillante carrera de los Byrds de Roger McGuinn. Completan el disco las actuaciones de Laura Nyro y Hugh Masakela.
1. Tommy Smothers introduction
3. Mr. Blues
4. Sittin’ By The Window
6. Bajabula Bonke (Healing Song)
7. Renaissance Fair
8. Have You Ever Seen Her Face
9. Hey Joe
10. He Was A Friend Of Mine
11. Lady Friend
12. Chimes Of Freedom
13. So You Wanna Be A Rock ‘N’ Roll Starn
15. Wedding Song
16. Poverty Train
Disco de variados registros, desde el más intimista hasta el más popero y costumbrista o al descaradamente divertido, en el que seguro que podrás encontrar algún tema que te guste si eres buen aficinado al Pop.
Por cierto, a finales de septiembre la banda sufrió un desgraciado accidente de furgoneta en el que la mayoría de sus miembros salieron con heridas de cierta gravedad. Sabido es cómo funciona el sistema sanitario y los seguros médicos en Estados Unidos, por lo que el grupo está seriamente necesitado de ayuda económica para poder sufragar los gastos médicos y materiales. El día 30 tiene lugar en su Chicago natal un concierto de ayuda, y también puedes colaborar con un Paypal leyendo aquí.
“Chicago-based chamber pop collective The Scotland Yard Gospel Choir aren’t your typical debauched rock stars reveling in a pastiche of self-destructive clichés. Leading a band that’s shared the stage with both the Arcade Fire and Ira Glass, Spoon and Dave Eggers, it’s clear that lead singer, guitarist, and keyboard player Elia and his scrappy group are comfortable straddling the divide between the debased rock ‘n’ roll world and the high-minded literati. As it turns out, both shoes fit. Not content with merely performing with some of the most notable names in independent music, the band has explored their connections with the literary and theatrical worlds, performing with Eggers, DeRogatis, This American Life’s Glass, author Joe Meno, and Saturday Night Live regular Fred Armisen.
With Welsh-born Elia as the ringleader, The Scotland Yard Gospel Choir is a free-spirited collective of musical visionaries who turn out exuberant and rough-hewn chamber pop. Among the talent that performs and/or records with the Choir includes core players like bassist and recording engineer Mark Yoshizumi, guitarist and vocalist Mary Ralph, drummer Jay Santana, violin player Ethan Adelsman, keyboardist Alison Hinderliter (Le Concorde), and a brass section made up of Sam Johnson (Mucca Pazza, Hawk & a Hacksaw) and Matt Priest (Canasta). The extended Scotland Yard family is comprised of a who’s-who of the Chicago underground music community, boasting the likes of cellist / vocalist Ellen O’Hayer (Bright Eyes); Sally Timms, Nora O’Connor and Kelly Hogan, who sing backup on the self-titled album; and Nate Walcott (Bright Eyes, Rilo Kiley), and Brett Whitacre (Th’ Legendary Shack Shakers).
In a few short years, The Scotland Yard Gospel Choir has become one of the Chicago indie music scene’s best-kept secrets, with Chicago Sun-Times critic Jim DeRogatis opining upon “Jennie That Cries,” the single from the band’s debut i bet you say that to all the boys, “[is] a beautiful, lulling single, with special emphasis on the gorgeous vocals.” The band’s music has served as a backdrop to many television shows, including The OC, What About Brian and the movie Special, and their self-released debut received attention from Time Out NY, Billboard, and Popmatters” (bloodshotrecords.com)
“With bands like the Angelic Process, Alcest, and now Phil Elverum (aka Mount Eerie), a whole new world has opened up for heavy music, large in part because of Jesu mastermind Justin Broadrick’s tireless effort to not settle for the conventional sounds of metal. The effort has become to make this loud, abrasive music become melodic and sentimental—something Jesu’s latest track, “Deflated” is somewhat the pinnacle of. Its drop-tuned doom riffage is buried into a swarm of melodic guitar melodies and quite possibly one of the best vocal performances of Broadrick’s career. The track builds beautifully behind slightly atonal sustained chords into a stoner shoegaze haze while Broadrick chants, “You give me reason.” How’s that for hardcore.
Oddly enough, it somehow makes sense that Opiate Sun, the EP on which this track is contained, will be released on Caldo Verde Records, Red House Painters/Sun Kil Moon songsmith Mark Kozelek’s imprint. Hands down, this is the heaviest thing Kozelek has ever released (and he is doing so after being duly impressed by a Jesu show in 2007), but he is no stranger to spastic guitar passages –- something he experimented with earlier in his career. Opiate Sun is due out October 27th, and info on what formats it will be released on is TBD” (popmatters.com)
“Broadrick also announced that a new EP, titled Opiate Sun, would be released in July, 2009. The EP had originally been mentioned in 2008 but a title and official release date had yet to be announced. This four song EP will be the first studio recording to include the lineup of Justin Broadrick, Dave Cochrane and Phil Petrocelli. This lineup is featured on two of the four tracks, with the classic lineup of Broadrick, Parsons and Dalton performing the other two tracks. Opiate Sun has since been rescheduled for October 27, 2009, and will be released on Mark Kozelek’s record label Caldo Verde. The Daymare edition of the album will be released on November 6, 2009 in Japan and will include a “demo” version of one of the four songs as a bonus track” (wikipedia.org)
“Not everyone was interested in following OK Computer’s example of using electronic music for texture so much as another avenue towards anthems, and tracks such as “Bittersweet Symphony”, “Pure Morning”, “All You Good Good People”, and, yes, “D’You Know What I Mean” proved a natural fit between massive, if rudimentary hip-hop beats and what might otherwise be flag-waving, stadium-filling radio smashes. And so then, the lineage continues with the Big Pink’s mighty “Dominos”– it’s such an undeniable, simple hook, and such an undeniably locomotive but lumbering beat that it steamrolls any doubt you have about the rest of it being underwritten or misogynistic.
But more promising is how in spite of the IMAX-ready sonic presence of previously released singles like “Dominos” and “Crystal Visions”, History rarely feels something other than hand-crafted. Furze and Cordell produced the album themselves, with engineering done by Rich Costey who, judging from the latest Mew and Glasvegas records, knows his way around huge. A Brief History stills sounds surprisingly nuanced in headphones– you can enjoy how the group fits an entire album’s worth of power chords into a swath of synthesizers that honor their 4AD legacy on “Dominos”, but from the anticipatory shaker that leads into the hook or the feedback-scratched bridge, repeat listens are rewarded long after they’ve been demanded. “Too Young to Love” hurtles by on momentum more than melody, its raga drone breaking up into shards of scree like a comet through the atmosphere. But almost as hypnotic is the passionate vocal performance on “Velvet”, which reveals a similar endlessly upward arc to “Fake Plastic Trees”, right down to the distorted blow-out midway through.
Though History never fails to sound elegantly wasted at any tempo, its majority goes in buffet-style on the last two decades of UK’s beat-minded rock, united by Furze’s Jason Pierce-ing sneer. “At War With the Sun” nicks Stone Roses’ jangle with nastier distortion pedals, while “Frisk” is halfway between Damon Albarn’s early forays into funk and the more silken prog of Mansun’s Attack of the Grey Lantern. Two years ago, you might’ve caught Cordell releasing early singles from Crystal Castles and Klaxons on his Merok label, so it’s not a surprise that learning on the job resulted in nu-rave wondering how it missed out on shrieking dumb fun like “Golden Pendulum” and “Tonight”.
Despite all the cavalcade of classics that A Brief History of Love conjures, my favorite comparison for these guys is actually another youthful, romantically minded British act: The xx. By “comparison,” I don’t mean “sounds like”– the two bands seem like they’re operating while diametrically opposed. Some might find the Big Pink churlish or even anti-romantic (though I’d argue they hardly spend enough time acknowledging women enough to really comment on them) compared to the restrained and unusually mature xx, who hew more comfortable notions of gender relations. “Love in Vain” tries a little tenderness, but “if you really love him, tell me that you love him again,” hints at vulnerability before “then go” turns the sentiment as cavernous as the reverb surrounding it. But while sometimes you fall for the art of seduction, there’s the part of us that want to be overwhelmed– A Brief History of Love is a study in the enormity of sound doing just that, each reverbed kick drum, phasers-on-stun guitar, and wastrel vocal refuting the idea that you need to talk about the passion to express it” (pitchfork.com)
“Also notable was the festival’s innovative sound system, designed and built by audio engineer Abe Jacob, who started his career doing live sound for San Francisco bands, and went on to become a leading sound designer for the American theatre. Jacob’s groundbreaking Monterey sound system was the progenitor of all the large-scale PA’s that followed. It was a key factor in the festival’s success and it was greatly appreciated by the artists — in the Monterey film, David Crosby can clearly be seen saying “Great sound system!” to band-mate Chris Hillman at the start of The Byrds’ performance”
Igualmente como curiosidad os diremos que en el festival se dieron a conocer los primeros sintetizadores analógicos, que partieron de los primitivos Theremin desarrollados por el ingeniero electrónico y físico Robert Moog, de ahí que ése fuera el nombre que recibieran esos primeros artilugios electrónicos, usados en seguida por gentes como Roger McGuinn en The Byrds, The Doors o The Rolling Stones.
“Electronic music pioneers Paul Beaver and Bernie Krause set up a booth at Monterey to demonstrate the new electronic music synthesizer developed by Robert Moog. Beaver and Krause had bought one of Moog’s first synthesizers in 1966 and had spent a fruitless year trying to get someone in Hollywood interested in using it. Through their demonstration booth at Monterey, they gained the interest of acts including The Doors, The Byrds, The Rolling Stones, Simon & Garfunkel and others. This quickly built into a steady stream of business and the eccentric Beaver was soon one of the busiest session men in L.A., and he and Krause earned a contract with Warner Brothers”
En este tercer disco podréis disfrutar de grupos como los blueseros Butterfield Blues Band, Steve Miller Blues Band, The Electric Flag; y los inclasificables Quicksilver Messenger Service.
BUTTERFIELD BLUES BAND
01. Look Over Yonders Wall
02. Mystery Train
03. Born In Chicago
04. Double Trouble
05. Mary Ann
06. Droppin’ Out
07. One More Headache
QUICKSILVER MESSENGER SERVICE
08. All I Ever Wanted To Do (Was To Love You)
STEVE MILLER BLUES BAND
09. Mercury Blues
THE ELECTRIC FLAG
10. Drinkin’ Wine
11. Groovin’ Is Easy
12. Night Time Is The Right Time
“A pox on those who claim the venerable VHS format is dead ; in fact, Times New Viking delivered the master recordings to their forthcoming LP/CD/digital album ‘Born Again Revisited’ (OLE 860) on a Video Home System cassette. Addressing the mountain of constructive criticism they’ve received from self-styled musicologists wanna-be producers and persons with my initials, the Columbus based trio promise their 2nd Matador album (and 4th overall) features “25% higher fidelity”, a percentage our own engineering staff has confirmed after hourse of exhaustive laboratory tests.
Much has been made in the press of late of Cheap Trick’s attempts to steal Adam, Beth and Jared’s thunder by releasing their upteenth comeback album on 8-track, but with all due respect to the state fair fixtures Rockford’s finest, it’s been a generation since they’ve come up with anything as provocative as ‘Born Again Revisited’’s “Move To California” or “No Time No Hope” (mp3). While Times New Viking continue to make-it-look-easy, I can assure you it’s anything but that. A cursory glance at the American rock underground reveals a landscape littered with well-intentioned but vastly inferior bands who’ve caught the lo-fi bug ; Times New Viking are well advised to disavow responsibility for the epidemic, but whoever the guilty party is, the ferocity of TNV’s shows and their sheer quality of their songwriting should be enough to win them a presidential pardon, not unlike the one ‘Born Again’ author Chuck Colson never quite received” (Nota de prensa de Matador Records)
“¡Estamos de suerte, HELEN LOVE están de vuelta!, nuestro grupo favorito de Bubblegum-disco-punk están en su mejor momento y tienen una espléndida colección de canciones nuevas que van a enloquecer a medio planeta. “Calm down dad” es el single de adelanto de su flamante nuevo álbum, “Stick it”, que vera la luz muy pronto en Elefant Records. Mientras llega ese momento, y para apaciguar la dura espera, aquí tenemos este aperitivo con tres grandes canciones. “Calm down Dad” es pura energía, indie-punk-pop pegajoso que relata las diferencias entre un padre y su hija. Ella quiere divertirse, salir de noche, acostarse con un chico, vestirse como un vampiro sin que la miren raro en casa, viajar por todo el mundo, probar cosas nuevas e incluso llegar a cantar como Kate Nash, pero con acento barrio bajero. Como una mezcla a partes iguales entre Jilted John y THE WAITRESSES, en este single, limitado y en vinilo de color naranja, HELEN LOVE saltan del punk al pop y del pop al indie con unas letras realistas, sarcásticas y muy divertidas. Dulces melodías como un caramelo de naranja y al mismo tiempo acidas como la vida misma.
El single se completa en la cara B con dos píldoras hiperaceleradas de puro punk-pop. “John Peel Roadshow” habla de como reunir el suficiente valor para entregar una maqueta a un locutor de radio. HELEN LOVE, queridos y apoyados durante años por John Peel, grabaron una “Peel session” en 1997, lo que significo para ellos uno de los momentos culminantes en la historia del grupo, lo mismo que una tarde de verano en la que John Peel, después de pinchar “Does your heart go boom” dijo como una risita áspera “That’s HELEN LOVE… the sarcastic bastards”‘. “Candeelips”, cierra este single de adelanto con una acaramelada historia sobre el chico con los labios más dulces y deseados del barrio!!!” (Nota de prensa de Elephant Records)
Disco, en definitiva, que según he leído por algún lado, es un intento -loable- del dúo por acercarse al lado más hedonista del Pop, abandonando algo su pose algo más seria, incluido en el aspecto de las letras. Ésto está bien, pero personalmente encuentro que lo que realmente ha bajado el dúo, quién sabe si intencionadamente, ha sido su intensidad sonora: la distorsión es mucho más apagada, muchas guitarras están en un plano más secundario; las cajas de ritmos empleadas no aportan el matiz sonoro característico del dúo. Intensidad que por ejemplo, sí encontramos en otro grupo con componente femenino en sus filas: Gliss. Bien harían Sune Rose y Sharin Foo en volver a la senda perdida.
“On a superficial level The Raveonettes’ bittersweet allure has been obtained by filtering surf guitar motifs and doo-wop standard-bearers like the Ronettes through whatever electrical machination it was that gave The Jesus and Mary Chain their brittle searing edge. Which may sound like a simplistic idea on the face of it, but these two poles have provided the Danish duo of Sune Rose Wagner and Sharin Foo with four albums of distinctive, sometimes dark, frequently beautiful vignettes.
And though they’ve been hugely accessible and often great (their previous album, Lust Lust Lust, was outstanding and certainly worthy of consideration as one of 2007’s best), In and Out of Control is the most immediate material The Raveonettes have released to date. The vast wash of reverb and static that typifies their sound is still there to a greater or lesser extent – particularly on ‘Break Up Girls’, which is the sole track that makes real concession to the side of their character that luxuriates in offensive noise – but in the main this veil has been drawn back somewhat, forcing the melodies and bones of the songs to the fore; they feel cleaner, happier, and carry less baggage to get in the way of the obvious pop sensibilities.
It is a quite subtle but very real change in focus. In tracks like ‘Bang!’, ‘Suicide’, ‘D.R.U.G.S.’ and ‘Gone Forever’ big choruses dominate and though dark and dangerous lyrical themes abound, the delivery of them is sweet, almost removed – even on the saccharine ‘Boys Who Rape (Should All Be Destroyed)’. Similarly, ‘Last Dance’ sounds like a suicide at a prom, which is conveniently what it is about, on the face of it; that, or the last in a long line of overdoses, at least, which amounts to the same thing.
These regular grabs for attention stick a little – there’s a slight impression that some of the themes have been skipped across like a flat stone dancing across a deep lake, purely for effect: Drugs? Check. Suicide? Check. Rape?…but it’s to the Raveonettes credit that the superficiality and dark hunour with which these subjects are broached is ultimately liberating. Indeed, it’s not this that causes lingering doubts so much as The Raveonettes continued dependence on a one-trick formula. They can be either more overtly poppy, or more overtly noisy but those are the long-established and hard-set parameters and as a result a stationary if well-studied repetoire of songs is ultimately mined.
That not to say that you’d have them change; they were around before a host of bands trading on similar stock, and had a fair old dose of Shoey’ in them from the start. Besides, The Raveonettes won’t change. This is their thing, their schtick. And for the most part, bending phil Spector out of shape and dragging him by his hair through a raft of distortional devices and all the while kicking the hell out of the ‘Leader of the Pack’ is a very good thing” (drownedinsound.com)
“Almost every aspect of The Monterey International Pop Festival was a first: although the audience was predominantly white, Monterey’s bill was truly multi-cultural and crossed all musical boundaries, mixing folk, blues, jazz, soul, R&B, rock, psychedelia, pop and classical genres, boasting a line-up that put established stars like The Mamas and the Papas, Simon & Garfunkel and The Byrds alongside groundbreaking new acts from the UK, the USA, South Africa and India.
…Monterey Pop was a seminal event: it was the first real rock festival ever held, featuring debut performances of bands that would shape the history of rock and affect popular culture from that day forward. The County Fairgrounds in Monterey, California… had been home to folk, jazz and blues festivals for many years. But the weekend of June 16 – 18, 1967 was the first time it was used to showcase rock music”
Igualmente sirvió como rampa de lanzamiento para numerosos músicos o bandas que no eran del todo conocidas en los Estados Unidos, incluido Jimi Hendrix, quien recordemos que inició su corta pero intensa carrera musical en el Reino Unido, donde a mediados de los sesenta se produjo un verdadero resurgir del Rythmn and Blues.
“The festival launched the careers of many who played there, making some of them into stars virtually overnight. The Who and Jimi Hendrix had each already been sensations in the UK and Europe but were practically unknown in the USA. Other artists who rose to popularity following their appearances at Monterey included Janis Joplin, Laura Nyro, Canned Heat, Otis Redding, Steve Miller and Indian sitar maestro Ravi Shankar.”
En este segundo disco podrás disfrutar de las actuaciones de Canned Heat, banda pionera en mezclar Country y Blues Rural; Janis Joplin, formando aún parte de la Big Brother and the Holding Company; Country Joe and The Fish y Al Kooper.
“Monterey Pop was also one of the earliest major public performances for Janis Joplin, who appeared as a member of Big Brother and The Holding Company. Joplin was seen swigging from a bottle of Southern Comfort as she gave a provocative rendition of the song “Ball ‘n’ Chain”. Columbia Records signed Big Brother and The Holding Company on the basis of their performance at Monterey. “I became a supporter of feminism watching Janis Joplin at the Monterey Festival”, says John McCleary, author of The Hippie Dictionary. “A lot of people had similar experiences watching female role models with that kind of power, unafraid to express themselves sexually while demanding their rights” (wikipedia.org)
1. Rollin’ and Tumblin’
2. Dust My Broom
3. Bullfrog Blues
4. Down On Me
5. Combination Of The Two
7. Road Block
8. Ball And Chain
9. Not-So-Sweet Martha Lorraine
10. Fixin’ To Die Rag
11. Please Don’t Drop That H-Bomb
12. Section 43
13. (I Heard Her Say) Wake Me, Shake Me
“More than a few of these singles came from Philadelphia’s Dayve Hawk in the guise of either Memory Cassette, Weird Tapes, or Memory Tapes. To this point, he’d served as something of a microcosm for this sound, which has created intriguingly hazy, wistful but beat-informed one-offs and EPs, but nothing weighty enough to get it past “something we did that one summer,” as if it were a road trip or ill-fated romance recalled years later. That was before Seek Magic, a record of achingly gorgeous dance-pop that captures both the joy of nostalgia and the melancholic sense that we’re grasping for good times increasingly out of reach.
Initially, Seek Magic’s power derives from an intensely personalized ability to unlock hidden chambers in our memory banks. The half-submerged guitars that introduce “Swimming Field” suggest this is as a soundtrack for a restless evening, but between its F-G chord progression and aqueous thumb-piano and panflute synths, I’m reminded of scorching July days vibing out to Wilco’s A Ghost Is Born. Instrumental breaks “Pink Stones” and “Run Out” recall the unconventional beauty of Apehx Twin’s Richard D. James Album. “Green Knight” smacks of Police’s “Wrapped Around Your Finger” in its verse and any number of mid-80s light funk with its guitar licks, the sneaker squeak in the instrumental break is one of the most evocative found sounds I’ve heard in a while.
Seek Magic is something of an inhabitable universe that proves there’s far more to Hawk’s sound than a way with reverb and passing familiarity with dance loops. The rubber-smacks-road beat of “Bicycle” would be content to mirror its titular vehicle, but nearly every minute packs some sort of detailed compositional surprise: the widescreen breakthrough where Hawk’s androgynous vocals shake lo-fi two minutes in, the bass breakdown that soon rights itself into the second half’s backbone, and the choral coda that lays a euphoric vocal sigh over wave-running New Order guitars. By comparison, “Plain Material” is streamlined, but not by much– the way Hawk’s voice hits the fuzzed-out guitar chords, you might think this was an unearthed Flaming Lips track, and at first, it sounds like the first time on Seek Magic that he’ll adhere to a standard verse-chorus structure. It does, but only after a drum beat cribbed straight from Organized Noize turns in a bridge of teen screams imported from In Ghost Colours’ nastier breakdowns.
And yet in Seek Magic’s centerpieces, you sense a nocturnal unease usually attributed to more spare albums. “Stop Talking” could’ve been content to ride out its gummy bass riff to infinity, but it morphs through so many phases in its seven minutes that the half-time post-rock finale doesn’t feel tacked-on. On the following song, “Graphics”, Hawk offers an unnervingly lonely sentiment– “I don’t even recognize the sound of your voice, the feel of your touch, you could be alone even though I’m here by your side.” Lyrics are mere suggestions through most of Seek Magic, but Hawk lays out an “I can’t go on, I’ll go on” vibe throughout. One second, he sighs “this is the last time” and immediately thereafter, “one more time, baby, one more time.” It’s a sentiment that’s underpinned great works of art from Daft Punk (“One More Time” natch), F. Scott Fitzgerald (This Side of Paradise), Kanye West (“Why can’t life always be this easy?”), and um, Old Milwaukee– the times where you think “it doesn’t get any better than this,” and it’s simultaneously the happiest and saddest thing you can say” (Pitchfork.com)
“Turn Up The Sound favorites, The Twees, recently released their new EP…and it’s fantastic! Their EP entitled ‘Lessons To Connect’, mixes pop and indie rock reminding you of a mixture of The Strokes and Franz Ferdinand, ‘Full Circle’ showcases this comparison the most out of all the songs. Head bopping beats and catchy lyrics make ‘Lessons To Connect’ one of the years best releases, it’s a shame more people have yet to have discovered The Twees. ‘Full Circle’, ‘Different Pages’, ‘Start Again’ and ‘Lessons to Connect’ are the songs that make up the EP, each one stands out in their own unique way. The Twees have it down to a science, they have written songs worth listening to, songs that are sure to catch your attention. We’re telling you, The Twees are going places, it’s best you join them.” (turnupthesound.ning.com)
“With a name like “The Twees” there’s no getting around these NYC youngsters being the go-getting indie/pop/post-punk. But that’s too easy and there is something really worthwhile about these dudes, their chirpy guitars recall something of Fool’s Gold (afro-beat) variety.However, the Jason Abrishami’s vocals dial notions of a young Lou Reed, with more emotive qualities.
There are moments verging on “Lo-Fi” in their older tracks, and some more punchy math type guitars, always accompanied by Logan Sorrentino consistent drums. The highlights are when they loosen up by vocal distortion through emphasis (refer to I’m Not Saying). The new EP signifies a serious turn for these gentlemen, they are making music for the pop-kids of now. Above all of these is that The Twees are young dudes, who still have things to prove, which will be no major feat for them, listen to them while you lick the salt before the tequila.” (livinginatree.com)
“It’s 1985 in the Crack Babies world. Specifically 1985 with a copy of the Jesus and Mary Chain’s “Psychocandy” in hand. “Shine” kicks off and you are automatically absorbed by the lo-fi, feedback driven scorching sound. There is no greater homeage to the Reid brothers vision of pop music than this.” – SoundsXP
“Here is a seventeen-minute EP covering seven tracks delivered with jackhammer-like decorum. Yet, as usual, persistence pays and a careful listen beyond the surface throws up a few melodic delights like the first song ‘Shine’ – melodically a dead ringer for New Order’s ‘Ceremony’ with layers of feedback added. Other songs are reminiscent of Motown anthems unceremoniously mugged by a gang of ne’er-do-wells. All told, it’s primitive, raw yet fertile stuff.” – Leonards Lair
“Back in 2005 Lostmusic Recordings released this seven song EP titled Smoking at Gas Stations from the one man band project The Crack Babies based out of Sweden. During its initial run of very limited copies it sold out and was then offered as a free download, which amassed quite a few of those. However with the aforementioned label now gone and nowhere to download, Odd Box Records has risen to the demand after persistent requests to do another limited run of the album on CD for anyone that missed out the first time. If you’re a big fan of 80’s noise-pop, lo-fi, or just JAMC worship in general then by all means don’t miss out on it again.
The Crack Babies are very much what you think they are, incredibly blown out shoegazy noise. However, on this EP the decibels are driven even further upward landing them in the same area as fellow past limit pushers Skywave. Whether the aesthetics of the record were intentional or not (it was recorded with an extremely low budget), the results greatly work to its advantage. At times the vocals hit a high blown out yet muffled pitch that often reminds me of Scott Cortez’s work under the Astrobrite moniker. Anyway, check out the tune below” (builtonaweakspot.com)
The Crack Babies – Honey Believer
Found at skreemr.com
El promotor Lou Adler dijo al respecto:
“…Our idea for Monterey was to provide the best of everything — sound equipment, sleeping and eating accommodations, transportation — services that had never been provided for the artist before Monterey…
We set up an on-site first aid clinic, because we knew there would be a need for medical supervision and that we would encounter drug-related problems. We didn’t want people who got themselves into trouble and needed medical attention to go untreated. Nor did we want their problems to ruin or in any way disturb other people or disrupt the music…
Our security worked with the Monterey police. The local law enforcement authorities never expected to like the people they came in contact with as much as they did. They never expected the spirit of ‘Music, Love and Flowers’ to take over to the point where they’d allow themselves to be festooned with flowers” (wikipedia.org)
Pero lo que nos interesa del festival es la música, y podeos ofrecer el pack de todo el festival completo. Para ello, en el Retro-Visor inaguramos una sección que nos llevará nueve semanas, que son los discos que componen esta nueva edición del Monterey Pop Festival, que supongo que será la definitiva, porque en ella están todos los artistas que actuaron en Monterrey. Espero poder dejaros todos los enlaces y que la tarea no sea interrumpida, como ocurrió con Woodstock, del que os tenía preparados dos volúmenes hasta que el post fue eliminado. Como siempre, podéis disfrutar de los discos pinchando en su portada. Agradecimiento al blog The Ultimate Bootleg Experience (T.U.B.E.), de donde hemos tomado los enlaces.
El primer disco corresponde a actuaciones del primer día del festival, donde destacaron, como era natural, Simon and Garfunkel, y unos reformados New Animals, liderados por Eric Burdon. Junto a ellos, el guitarrista Johnny Rivers, el cantante soul Lou Rawls y los amenos The Association:
Disc 1 (Friday Evening 16.06.1967)
1. John Phillips Festival Introduction
2. Along Came Mary
4. Love Is A Hurtin’ Thing
5. Dead End Street
6. Tobacco Road
ERIC BURDON & THE ANIMALS
8. Paint It Black
9. San Francisco Nights
10. Ginhouse Blues
11. Hey Gyp
SIMON & GARFUNKEL
12. Homeward Bound
13. At The Zoo
14. Feelin’ Groovy
15. For Emily
16. Sounds Of Silence
18. Punky’s Dilemma
“Whilst all has seemed eerily quiet and calm on The Voices front, a series of one off incendiary shows and long studio sessions has finally helped mould and complete the third album in the bands career. However with 10 tracks completed and demoed The Voices scrapped this material in order to alienate themselves from their previous efforts. Without undoing the steps they have taken to help become a modern shoegaze band (The Voices are deeply proud of these roots) the trio decided to rework and reproduce their most intriguing album so far, and the first collaboration between the band and Phase One recordings. The album has been produced and engineered by The Voices with CS Munday in control. The band have finally let the listener take a few steps towards their hearts and minds, all be it on their own terms – vocals and lyrics becoming far more prominent, rhythms and drums taking a lead through the bands epic storm of feedback, noise and destruction. Death of a Lover’s song is The Voices producing pop songs -an album to be listened to from start to finish. With no time to catch a breath, every song leads on from the last and contains its place in what will surely become a modern day classic to turn to in your moments of need” (tonevendor.com)