Backstage Pass: The Monkees Studio Albums Ranked

I've been revisiting my studio albums, and here's what I thought of them, in order of preference - all 13, not including Missing Links or the early Rhino Box Set "Listen to the Band", which I love - love many of these missing numbers, but I'll get lost in the weeds if I go down that path, so to keep it simple (stupid), I'm doing Justhese.

The weak and fair...

Changes (June 30, 1970)

Just Micky & Davy - recorded to fulfill the contract they signed in the 60s; and indeed, this sounds like a couple of guys who are just going through the motions, recording the vocals, and aside from one Dolenz penned track, that's about it for personal artistic investment and expression - it's like the early days but with weak tunes - Davy hated the album and I agree; the dreamy, repetitive Ferry Ride is about the only song I can finish. 

Should I include "Dolenz, Jones, Boyce & Hart" (1976)? Some do; others don't. I remember seeing them on a talk show, never bought the LP, but did give it a listen and... soft vanilla pop, like tunes the Partridge Family would have rejected.

Pool It! (Aug 1987)

In 1986 MTV reran episodes of the TV series (I remember watching them) and that sparked renewed interest from a new generation. The next year, a brand-new album, with music videos. I remember liking "Heart and Soul" well enough, and Davy's "Every Step of the Way" was fine - there are decent songs here and there, but mostly this was overproduced, very 80s, and pretty me'h. I know they were originally created for TV for your viewing and listening pleasure, but at least the songs were damned good way back when, but this is plastic and contrived, and not in a winning way.

Christmas Party (Oct 12, 2018)

After being wowed by Good Times! I was really looking forward to this, and the opening tracks had me high—Andy Partridge and Rivers Cuomo get things started off in an energetic way, as does "House of Broken Gingerbread", but eventually that energy, and my interest, evaporated. It's a weird mix, there are the traditionals (which Davy handles well), some rock standards (didn't care for Mikey's sluggish "Jesus Christ" (for a great cover, try the one from "Considering Lily") and did we really need another version of "Simply Having a Wonderful Christmas Time?") Also, Peter's autotuned vocals on a track are sad and painful to hear; it made this old Monkees fan want to cry.

Great Mike Allred cover, however. Expand that image and drink in the details.

Justus (Oct 15, 1996)

9 years after Pool they were back at it again, this time with Mike joining in, and an LP filled with original material written by the band... odd that one time songwriting ace, Nesmith, only gives us one (Admiral Mike, which he doesn't sing on), his other is cover of an older tune. Anywho, this is not as plastic as Pool It, and they are playing their own instruments, which is cool - Peter impressed me with his bass playing on "You and I", and the guitar work on "Dyin' of a Broken Heart" is sharp. There is some good material here and I think it's a step up from Pool it! Unfortunately, it does crash and burn as it approaches the end.

Instant Replay (Feb 15, 1969)

A mixed bag, you have stupid crap like Shorty Blackwell (which even Dolenz disparaged years later—and he wrote it!) alongside killer cuts like Davy's "You and I" with Neil Young providing that sweet fuzz tone, with a clean, string bending guitar solo. Replay's not a horror, not with tracks like "Through the Looking Glass" (I enjoy the opening 3), though there's too much filler to upset the flow (The Girl I Left Behind Me), and the sprinkling of skippers don't help (Me Without You), + Teardrop City is a clumsy Clarksville knockoff - so yeah, not a smooth listen.

The Toppermost...

8. The Monkees Present (Oct 1, 1969)

First LP without Peter - Micky finally gets "Mommy and Daddy" on an album (rejected in the past due to the lyrics), and Nesmith's "Listen to the Band" is a knockout, arguably the only one that qualifies as a big timer, with much of the remainders acting as entertaining album tracks. Still, while not stocked with A-listers, I enjoy this underrated LP - there's some groovy vibes (Jones' French Song), and a persistent playfulness ("Never Tell a Woman Yes", "Oklahoma Backroom Dancer", and "Ladies Aid Society"). Lastly; In this CD and streaming era, I’m glad the B-side, “Someday Man,” can be included. I’m not usually a fan of this style of song that Jones tends to favor, but this one lands.

7. The Birds, the Bees & the Monkees (April 22, 1968)

A slow starter that opens with fair to poor material—the highlight being "Daydream Believer". It's the second side where the record catches fire (aside from "The Poster", pee-ew). But "P.O. Box 9847" (both versions) is a Boyce & Hart psychedelia laced gem, and while "Magnolia Simms" sounds like Nesmith's just dicking around, it's a kick. BB&tM closes with its best pieces - The Jones sung "Valleri", a simple tune, built primarily on 4 chords, but vibrant, with a cool flamenco guitar riff - the song grabs you and doesn't let go, unfortunately this is the fade out version, and I prefer the longer take with the clear cut finish. Lastly, the anti-war anthem "Zor and Zam" wraps up the record, adding a dramatic horn and string section (not heard in the TV version), which elevates the track to a whole new level of great.

6. More of the Monkees (January 9, 1967)

Monkee mania was in full bloom - MotM stayed at No. 1 for 18 weeks, the longest run of any Monkees album, and is notable as the first pop album to become the best-selling album of the year in the U.S. Nesmith contributes two more songwriting gems (the amazing "Mary Mary" & "The Kind of Girl I Could Love"), Dolenz slays on the grooving "(I'm Not Your) Steppin' Stone", as well as providing great vocals on "She", the melodic and harmony rich "Sometime in the Morning" and of course, the big hit staple, "I'm a Believer" (to counter these, there's Jones' cringy, spoken word "The Day We Fall in Love"). Now, the group wasn't happy as they had no say in it and were surprised by its release. Nesmith punched a wall during the conflict with Kirshner and called it the worst album in the history of the world - he was wrong on that point, but the end result of all this hubbub was more creative freedom, which they used to record one of their very best.

Note: My Deluxe edition includes a song I love, “(I Prithee) Do Not Ask for Love” with vocals by Micky (Peter and Davy gave it a go as well - but Dolenz's take is the best, even surpassing the original).

5. The Monkees (Oct 10, 1966)

Sure, they were created for a television series, but the music was so damned good, the melodies, hooks and harmonies - Mm-mm-good. The talent they picked to play this band were an entertaining, personable bunch, and along with the singing, they could play and write, even though it took a while to convince the bosses of this (it's funny that Davy was a drummer, though that's where producers put Micky - they wanted handsome Jones up front). Still, the Boyce and Hart numbers are catchy and fun, and Mike Nesmith quickly establishes himself as a talent to be reckoned with, his originals "Papa Gene's Blues" and "Sweet Young Thing" (written with Goffin & King) are among the best things on this album, along with the Dolenz sung #1 hit, "Last Train to Clarksville". First album released, also my first album owned, and I was head over heels for it. 

4. Good Times! (May 27, 2016)

I can't remember why I bought this, as I wasn't overly impressed with the previous comeback albums. Was it getting good notices, did a friend recommend it - maybe mom sent me birthday money, and I used it on the CD (perfect timing Monkees)? Whatever it was, I clearly recall hitting play and being knocked out. This wasn't just okay, passable old guy rock, no, this was amazing, joyous in sound and tone, from a variety of songwriters both old (Jeff Barry, Goffin & King, Boyce & Hart) and new (Andy Partridge & Ben Gibbard composed my favorite tracks). Yes, the record is dominated by Micky Dolenz; and Davy Jones, who'd passed away 4 years earlier, is only represented by an older tune, Neil Diamond's "Love To Love", an unreleased track which found its way on several compilations and a box set (it's a goodie) - but Peter did write a unique bluesy original and sings on another, and Mike takes the lead on the amazing "Me & Magdalena", and shares vocal duties with Micky on a spacey Gallagher & Weller tune; he also wrote a number - so it still has the feel of a Monkees release - no longer young, voices not at peak power, but beautiful and lively - Good times indeed.

3. Head (Dec 1, 1968)

Pisces, Aquarius, Capricorn & Jones Ltd. has some trippiness in it, but Head is even more out-there; a soundtrack to their avant-garde feature film, it blends 6 new songs, with sound collages overseen by Jack Nicholson, that gives the release a bit of a "Revolution 9" flavor. Peter's contributions were among his finest - the groovy, "Can You Dig It" with its memorable guitar work (supplied by Tork?) and, "Long Title: Do I have to Do This All Over Again?" (dig that Lance Wakely bass). Also, Goffin & King's hypnotic "Porpoise Song" is a surreal, keyboard infused Acid classic.

2. Headquarters (May 22, 1967)

The Dolenz written “Randy Scouse Git” was the standout for me when I first listened to the record, I loved how it starts as an easy-going stroll, which gives way to urgency in the vocals, and a dramatic timpani for added punch. But the entire record, their first with some creative control as songwriters and performers, showed that yes, they we're a talented unit, not simply glorified karaoke singers. Headquarters opens with Nesmith's "You Told Me" (Lennon & McCartney-like, with a bassline straight out of Paul's playbook). Mike continues to soar with "You May Be the One", and the western twanged "Sunny Girlfriend". I admit, I prefer the other version of "I'll Spend My Life With Her" to this album cut, and there are throw aways like Band 6 & Zilch, which was like White Album stuff, a year before the White Album (or Head, for that matter), but mostly this is fantastic.

Notes: "For Pete's Sake" co-written by Peter Tork, became the closing theme for the second season of their TV show. The Deluxe edition includes several versions of "The Girl I Knew Somewhere", and other goodies.

1. Pisces, Aquarius, Capricorn & Jones Ltd. (Nov 6, 1967)

Davy Jones was the old-style entertainer who could sing and dance. Tork, the musician, keys, banjos, guitars and bass were his tools, Micky was silly on screen, but could be experimental off, his Moog contributes to the psychedelic tone of the LP, and Mike Nesmith, the songwriter, was the bands John Lennon so to speak—that's the Monkees mix, and this record is the Monkees masterpiece. The foursome took control with “Headquarters” and with PACJ, they recorded a bon a fide classic. This time with a little more help from their friends, songwriters and session musicians.

Mike is well represented vocally, he sings lead on 5 tracks, gives the album some country flavoring, and establishes the tone with Salesman, a song about a drug dealer (NBC executives thought so)? Yeah, this going to go down a few different lyrical paths, from anti-war statements (The Door Into Summer) to the Sunset strip riots (Daily Nightly) and lyrics whose meanings were being interpreted or misinterpreted (The Lennonesque, "Love is Only Sleeping"). And then there's "Pleasant Valley Sunday", a social commentary on status symbols, the boredom and conformity of life in suburbia, and "keeping up with the Joneses" (wiki), but on the outside, musically, it's a happy sounding rocker, with strong melody and hook and boosted by Mike's distinct, 'Beatles inspired' guitar riff - by the end this 'not so' paradise comes crashing down with reverberation and echo. A classic fusion of songwriting, performance and production coming together to perfection.

Great album from top to bottom.

Backstage Pass: Melanie from 1980 to 1993

The 80s opened with Melanie writing and recording demos for a theatrical musical based on a series of letters written by Annie Oakley to her daughter Janey. Titled Ace o' Diamonds, it was ultimately performed only as staged readings at the Lincoln Center. The decade closed with her winning an Emmy Award for the lyrics to the theme song for TVs Beauty and the Beast. In between, music, music, music - and confusion, confusion, confusion, because some of these LPs were not initially released in the States, and they sometimes came with various titles and covers, as well as re-recordings or re-issues of songs (this continued with re-releases in 2024, same titles, but with new CD covers).

I'll try and untangle these webs with the help of Dave Thompson's book, Melanie on Record.

Ace o' Diamonds (80-83 - unreleased until Feb 2025)

With something like this, you really have to see the show, especially during the spoken word bits - still, despite much of it being lo-fi, with the sounds off stage noises an intrusion, the numbers are solid, there's some nice songwriting here, good melodies, wonderfully sung and played (Don't Cry for me Darlings). Also had are slicker productions that were recorded later, like the winning Let the Punishment Fit the Crime, from the 2002 album “Victim of the Moon”.

As a whole the release is more of historical interest, compiled for those who love the artist and want to hear everything she did. And I do appreciate that sentiment and the effort that went into getting it into her fan's hands and ears.

From the website: "Drawing upon every available source, disc one is based upon a 1981 copy of the script, and includes not only the songs, but also key pieces of dialogue, performed by Melanie in 1981, and Beau Jarred and Leilah earlier this year. Disc two then rounds up the best of the alternate versions, plus a number of songs that drifted in and out of the play as Melanie and writer Ed Kelleher saw fit."

DISC 1 - Please Give This Journal (dialogue - Janey) / Hand Me Downs (Calamity) / If You Could See Me Now (Janey) / Deadwood Territory (dialogue - Calamity) / Hard Hard Love (Wild Bill) /. Hickock (dialogue - Janey) / Shack Fight Song (dialogue - Janey) / I’m Saving Everything You Do (Janey) / Society (dialogue - Calamity) / Teddy Blue’s Song (Shit on The Ground - Teddy) / My Mother Was a Gambling Woman (Janey) / Taking a Bath (Calamity) / It Weighs Heavy on Me (Calamity) / Let The Punishment Fit The Crime (Little Janey) / Wild Bill Song (dialogue - Wild Bill) / Married (dialogue - Janey) / Wear It Like A Flag (Wild Bill) / You Coulda Had Me for a Nickel (Janey) / You Might Mistake Need for Love (dialogue - Saloon Girls/Wild Bill/Calamity) / Buckle Down (Wild Bill) / James O’Neill (dialogue - Janey) / Piano Interlude / Running After Love (Janey, Calamity) / Slop ‘Er Up Over the Rim (Calamity) / Some of us Have Not Been Blessed (Deadwood Ladies) / We Accuse You (dialogue - Becky Cooper) / Guitar Interlude / Some of You Have Been Caressed (Calamity) / Your Mommy Is the Kind of Woman - Buffalo Bill (dialogue - Calamity) / Don’t Cry For Me My Darlings (Calamity) / Annie Oakley (dialogue - Calamity) / Photograph (Janey) / It’s Not a Job (Calamity) / Back in Deadwood (dialogue - Calamity) / I’m Gonna Walk You Down (Dialogue - Calamity) / Young Lions (Calamity) 

DISC 2 - Hand Me Downs (studio session 1981) / How Could I Do Anything for You (cast demo) / The Champagne Song (cast demo) / Bigger Than You (cast demo) / Some Men Are Brave (cast demo) / To Be a Star / Bad Guy (1993 demo) / Shit on The Ground (studio session 1981) / Buckle Down (live 11.25.1981) / Running After Love (live, 11.25.1981) / Saving Everything You Do (live 11.25.1981) / Slop It Over The Rim (live 11.25.1981) / Taking A Bath (Melanie’s Children, 2024)

Arabesque (1982)

Tracks: Detroit Or Buffalo (Keith) / It Don't Matter Now (McDonald) / Any Way That You Want Me (Chip Taylor) / Roadburn / Fooling Yourself (De Vitto) / Too Late / Standing on The Other Side (Of Your Love) / Love You to Loath Me / When You're Dead and Gone / Imaginary Heroes (Cathy L. Evans) / Chances (Russell) 

2024 Bonus Tracks: Too Late (Alt Take) / Roadburn (1979 Version) / I Can't Help Falling in Love / Any Way That You Want Me (Alt Take) / Get High on Yourself (Alt Take) / In the Summertime / What Have They Done to My Song, Ma (Live)

It's loaded with covers, but boy, what covers. Her take on Barbara Keith's exemplary Detroit or Buffalo delivers as much emotive power as the original - she does the same for Michael McDonald's It Don't Matter Now and the Troggs Anyway You Want. She even covers herself, with Roadburn, a honky-tonk revamp of Between the Road Signs from "Stoneground Words". 

The mid-section belongs to Melanie the songwriter, with the bluesy Love You to Loath Me the highlight, before closing on two more covers. And while some of the production's a bit iffy (Too Late) the songs are melodic, and the vocals are strong.  

Seventh Wave (1983)

2024 Remaster Tracks: Every Breath of The Way / Apathy / Dance to the Music / Lovers Lullaby / If You Go Your Way / Son of a Rotten Gambler (Allan) / Lonesome Eyes (Castro) / Nickel Song / Lovin' the Boy Next Door / Lay Down Sally (Clapton/Levy/Terry) / Didn't You Ever Love Somebody / What Do I Keep

Bonus Tracks: Crazy Lady / Clever Boy / Don't Pull It Away / It's Not a Job / Put a Hat on Your Head / What Do I Keep (2 alt versions) / Darling Be Home Soon

From the opening track, you get a fun, upbeat tempo and a vocal that brought Cyndi Lauper to mind (Cyndi released her debut in October of '83) and gave her a top 100 hit in the UK, her first since the Madrugada singles (she had a non-album number, "One More Try", that came in at 110 in the US in 1981). Groovy Apathy and Dance to the Music with its Motown style backing singers, got under my skin and had me rocking in my seat. After that it cools down with a real pretty ballad, Lovers Lullaby, which takes you back to a more 70s sound, and she returns to Country with If You Go Your Way and her sweet cover of Johnnie Allan's Son of a Rotten Gambler (it and Lonesome Eyes were not on original pressings of the LP, but were included in later releases, including the 2024 Cleopatra version I'm reviewing here). Lovin' the Boy Next Door is another that takes me back to an early stage in her career, it's one of those charming, playful ditties that I always enjoyed hearing from her - the harmonies are wonderful, as is the child's chorus at the end.

So yeah, I like the record quite a bit, though why we get Nickle Song, "Photograph" version, is beyond me - it was a skipper then, it's a skipper now. Lay Down Sally (recorded in '79) has never been a fave, though she does a catchy take on the tune. She also covers her own What Do I Keep from "Sunsets and Other Beginnings", with a new arrangement; it's all right.

Bonus tracks include some unreleased material, and aside from Put a Hat on Your Head, these have a different flavor from the album, they're overall more relaxed, Don't Pull It Away for one, is a haunting ballad with Melanie accompanied by a piano. There's a live song, a few alt takes and a cover to fill out the release.

Am I Real or What (1985)

Tracks: Who's Been Sleeping in My Bed / Maybe I'm Lonely / Private Parts / Cut the Cord / Am I Real to You / Crack Seeks the Edge / Abuse / Every Breath of the Way / Some Body Love 

2024 Bonus Tracks: She Don't Need No Complications / Who's Been Sleeping in My Bed (alt version) / Rag Doll (long version) / Soldiers of the Heart / Some Body Love / Private Parts / Who's Been Sleeping in My Bed (extended)

Disco Melanie, oh my! The synth heavy, paper-thin production murdered this album, rendered it nigh unlistenable. That said, there were several songs that, under all the gloss, the trashy 80s style electronics and limp drums, displayed some decent songwriting, and had she been accompanied by an acoustic guitar and simple 3-piece band, they might have won me over, but nope - heck, dammed record manages to ruin Every Breath of the Way and Didn't You Ever Love Somebody (retitled as Some Body Love), which was just had on the previous LP; why, Melanie, why?

Even the cover is awful, with a portrait that has an airbrushed quality - which matches the plastic vibe within. 

Note: Cut the Cord, Am I Real to You, and Crack Seeks the Edge (the one tune I enjoyed) were recorded in 1983 with members of Rick James' Stone City Band, in Buffalo, during a blizzard (Melanie on Record).

The Clearwater Florida Sessions 1987-1994

CD1 - Tracks from the Dutch Album: Rock and Roll Heart / To Be A Star / Another Lie / Cyclone / Roadburn / On The Lam From The Law / Wonderer / Only Goes To Show You / It's A Fine World / Window Pane * Tracks from Cowabunga: Racing Heart / What Have They Done To The Rain / Only Goes To Show You (Remix) / Ruby Tuesday / Prematurely Grey / Chosen Few / Lovin' The Boy Next Door * I Can't Help But Wonder (non-album B-side, version of Wonderer) * Tracks from Precious Cargo: Tonight's The Kind Of Night / Rock And Roll Heart (Remix) / Undertow

CD2 - Tracks from Freedom Knows My Name & Silence is King: Estate Sale / Silence Is King / I Will Get Over / Rock and Roll Heart (version 2) / A Hard Rain's A-Gonna Fall / Gone With The Wind / Fallen Angel / Wear It Like A Flag / Detroit Or Buffalo (version 2) / Arrow / Freedom Knows My Name / Purple Haze / Live Coal / Life Will Not Go Away / Tonight's the Kind of Night (version 2) / Wear It Like A Flag (version 2) / Some Day I'll Be An Old Record / Silence Is King (remix)

This compilation album from Cleopatra is your best bet for the next stage of her career. You get the "Dutch Album", "Cowabonga"/"Precious Cargo", and "Silence Is King"/"Freedom Knows My Name" with none of the duplicated tracks (though Rock and Roll Heart gets a good working over with 3 versions included). 39 songs, 2 and a half hours of music without repeats in a nice package. Works for me. But let's look at each individual release that came from these sessions.

Melanie (The Dutch Album, 1987) 

Tracks: Rock and Roll Heart / To Be a Star / Another Lie / Cyclone / Roadburn / On the Lam from The Law / Wonderer / Only Goes to Show You / It's A Fine World / Window Pane

Melanie's first to be released on CD, was not, however, released in the US. While it recycles Cyclone (Photograph) and Roadburn (Arabesque) the rest are fresh and new to my ears. The music roars at the start, and the singer roars right along with it - forceful and ever building atop that, in a Bonnie Tyler/Jim Steinman kind of way (To Be a Star).

Rock and Heart is a blast, love the "whoo-hoo" falsettos that introduce the chorus, there's so much fun in that, you get the feeling she's having the time of her life, and that joyful energy transfers to the listener.  

It mellows out at the end, with the countryfied Only Goes to Show You, the smooth mid-tempo It's a Fine World, and the catchy Window Pane. All told a good solid release and a welcome return to forum for the artist.

Cowabonga – Never Turn Your Back on a Wave (1988)

Tracks: Racing Heart / What Have They Done to The Rain / Only Goes to Show You / Ruby Tuesday / To Be a Star / On the Lam from the Law / Another Lie / Prematurely Grey / Window Pain / Chosen Few / Lovin' the Boy Next Door

Precious Cargo (1991)

Tracks: Undertow / Rock and Roll Heart / Ruby Tuesday / Tonight's The Kind of Night / Lovin' the Boy Next Door / Prematurely Grey / What Have They Done to The Rain / Only Goes to Show You / Chosen Few / Window Pain / Hard Rain

Cowabonga was released in Europe, Cargo is the US version of that album with a few changes. Cowabonga has a lot of filler, material from the past 2 records ('Lovin' the Boy Next Door, To Be a Star, Window Pane/Pain, On the Lam from the Law, Another Lie, Only Goes to Show You, and yet again, Ruby Tuesday, this time as a pop rocker). After that, what you wind up with is 4 fresh new tracks... hardly worth a bother, except that Prematurely Grey, with its weary, life lived lyrics, is a standout. The other 3 newbies are Racing Heart (which will be retitled Be the Sky for 1997s Lowcountry CD), a cover of What Have They Done to the Rain and Chosen Few, which is a lament on the way her career was going, though with that, I think it would have worked better as a mournful folk ballad, than the popper it is.

When the album came to the States a few years later, they dropped Racing Heart and most of the Dutch Album tracks and replaced them with the good (Tonight's The Kind of Night), the unneeded (a new version of Rock and Roll Heart), and the weak (a cover of Undertow). 

Freedom Knows My Name & Silence is King (1993)

Freedom Tracks: Estate Sale / Silence Is King / I Will Get Over / Rock and Roll Heart / A Hard Rain's A-Gonna Fall / Gone with the Wind / Fallen Angel / Wear It Like a Flag / Detroit or Buffalo / Arrow / Freedom Knows My Name / Purple Haze / Live Coal / Life Will Not Go Away / Tonight's the Kind of Night 

Silence Tracks: Estate Sale / Silence Is King / I Will Get Over / Rock and Roll Heart / A Hard Rain's A-Gonna Fall / Gone with The Wind / Detroit or Buffalo / Fallen Angel / Wear It Like a Flag / Undertow / Some Day I'll Be an Old Record

Silence was released in Europe, Freedom in the US, with additional tracks. The American's ditched Undertow (originally on Precious Cargo), and Someday I'll Be an Old Record (a version of Record Machine), and added six acoustic tracks from the German release, Silver Anniversary (1993 - and never released in the USA)

The Cheryl Wheeler covers are fantastic, I love the black humor, handclaps and hooks in Estate Sale, where Melanie amusingly adds an important item from her past (roller skates, lol) and Arrow is a tender, beautiful number that has always moved me, the gentle guitar picking, the feeling in the vocals, an amazing song, performed brilliantly.

While there are a couple that do little for me (Hard Rain, the re-dos), those unplugged numbers at the end more than make up for any small weaknesses. Speaking of which, allow me to add...

Silver Anniversary (1993)

See Melanie-Music for the original track listings - for the 2024 Cleopatra Track Listings... 

Disc 1: Brand New Key / Too Late to Go / Long Long Time / Beautiful People / Candles in the Rain / My Rainbow Race / Babe Rainbow / Cyclone / Ruby Tuesday / Perceive It / Friends & Co / The Sun and Moon / Ring Around the Moon / Peace Will Come (According to Plan) / Look What They've Done to My Song, Ma / Natural Man (San Bernardino)

Disc 2 - Close to It All / Ballerina / How Can I Help You Say Goodbye / Taking a Bath / If I Needed You / Count the Days You're Gone / Record Machine / Every Breath You Take / I Never Had a Clue / If My Heart Should Lose It's Way / Prematurely Grey / Unchained Melody / You Don't Know Me / Bitterblue / Missing You / Long Long Time (Rehearsal & Song) / Purple Haze (Live 1994-02-12) / Life Will Not Go Away (Live Tarpon Springs 1996) / Gimme a Little Kiss

Melanie's unplugged album, released in Germany, and, with some changes, the Netherlands - 6 tunes did show up in the States on Freedom Knows My Name and what a teaser, you had to have more, and in in 2024 we got more, in an extended version of this impressive collection (which does not include the 6 from the Freedom and Clearwater Florida CDs). 

The original cover was no great shakes, and this new one... hmm, maybe they were shooting for the look of a cameo, but it appears to me like she's emerging from a tub full of eggnog. But it's the music that counts, and you get a bunch of classics here, including a Brand New Key that might be closer to what she originally intended, and tunes that improve on what was, like Too Late to Go from 1982s Arabesque. 

And on that high note we close the book on this chapter - after this you'll find more re-recordings and re-workings, with some originals in her final decades of releases. When it comes time to tackle those, I'll really need to lean on Thompson's book to try and make sense of it all.

Back to Melanie: Part I

Backstage Pass: Helicopter Helicopter - Discography

Formed in Boston in the spring of 1998 by guitarist/vocalists Julie Chadwick and Chris Zerby, both of whom were involved in the local punk scene, Zerby as a member of Flycatcher, Chadwich leading The American Measles. Despite an inauspicious first rehearsal, the two later got together and made it work with a new sound. They were joined by drummer Ned Gallacher and a host of bassists, including Shawn Setaro.

I happened upon Helicopter Helicopter while going to see a concert by the Juliana Theory and Bleach at my regular Nashville hangout, The Exit/In (side note: I always wanted to play the Exit/In, never made it. I did play their sister club across the street, The End. I remember standing on stage, getting ready to sing and thinking, "Jesus, I'm standing where Joey Ramone stood"). Anyhoo, Juliana was great, Bleach was great but Helicopter Helicopter were captivating, I remember Ghost Face knocking my socks off, but song after song I was floored by the hooks, the vocals/harmonies, arrangements and play  - I fell head over heels for the band that night, even got all geeky and had them sign the CD I bought that night (By Starlight), they were nice about it, Julie was the one who sold it to me and patiently listened to me gush about how amazing they were.

It can be difficult to find all the music these days, several can be had at Bandcamp, and can be heard at Spotify, but I bought 'em as I found 'em. 

I do remember one of the Nashville entertainment mags comparing the duo to Frank and Kim from The Pixies, other places have other ways of describing the sound, for me they were catchy, I like catchy tunes... Beatlemania was catchy, and 'Copter's the same, it's the kind of music that got into my ears and I never wanted it to leave.

Squids and Other Fishes (1998) 

Tracks: Gay Porno / Cut Down by Trees / Great Big Meaningless / Lucky / Leakage Disappeared / Cadillac Drugs / Squids and other Fishes / Steel Bull / The Accidental / Please Please Tito

I didn't know this album existed until years and years into being into the band and gave it a listen at Spotify sometime in 2023. It and the follow up display H2 at their edgiest - raucous, yet familiar - while they'll refine their sound over the years, they're fantastic right out of the gate - grungy garage-like, with grinding guitars, and twin vocals that snake around one another - clashing, then uniting (Lucky). Tito sounds like the cacophonous lovechild of the Pixies and the Red Hot Chili Peppers; and here and there, the ghost of Kurt Cobain haunts a track. The debut offers up incendiary titles (track one) and caustic lyrics ("I'm the only one who can stand you"), and runs a lean 28 minutes, no filler, no fat. It sets the stage nicely. 

Analog & Electrical Fields (1999) 

Tracks: Ghost Face / Scarab in A Hole / Please Take Me to Mars / Firefly Mechanical / Map / Self Sick / The Deep Sea / Ever Since the Buzzards Moaned / Those Bees / Sinking Light / The Drunken Taxi Cabs of Absolute Reality

Ghost Face, what a great song - at the concert I only had cash enough for one CD and was torn between this and By Starlight. Julie suggested going with Starlight, and in hindsight it was the right pick, but I later bought this because I had to have Ghost Face, IMHO it's quintessential H2 - with a simple, howling guitar riff, driving backbeat, killer hooks, killer vocals (Chris's leads are raw and urgent, and Julie takes over at the bridge, giving the tune a cool, brief detour) it also boasts some of their finest lyrical work - haunting, pleading, lost ("I saw the future, it's like a hammer - And now I'm senseless, I have no thoughts"). After this, the collection cools down with the groovy Scarab, minimalistic at the verses with bass and drum anchoring the song, accompanied by a sliding, spacy guitar - before giving away to the full, heavy chorus. Chris is again in fine voice.

Julie takes over with the bass heavy Mars, signaling a stream of steady rockers that go quiet/loud (Firefly, with more of that spacey guitar) - or loud/quiet (Map). Bluesy, beatnik Deep Sea was a nifty shift in sound & style, and I'm especially enamored with the steady, punky Buzzard, with its hooky chorus, that breaks into the hammering, noisy bridge, just love this thing structurally. While I often skip Taxi Cabs (a backward, instrumental replay), all told Analog is another winner from the band.

By Starlight (2001) 

Tracks: And Just Once / Moveable / Trembling God / By Starlight / Unfortunate / Passing Car / Slow Dying Flashlight / History of Space Flight / Bottom of the Ocean / The Afterworld

My first CD and my favorite. I used the term "catchy" in the introduction, this is very catchy - Chris' songwriting is top drawer, featuring (among other things) impressionistic tales of space and oceans (which he spoke of in the interview linked to in the intro). I love the vocal handoffs in certain songs, the harmonies are ace, and Julie's numbers are her finest. Starlight's more radio friendly than the previous 2, though that doesn't mean they're neutered, it's just that the melodies, hooks and vocal pairings are especially strong here, more polished. The Beatles fan in me was seriously drawn to this release, and that's present right from the opening track - a rocking earworm with harmonies that thrill. Moveable offers more of the same - I'm sitting here rocking in my seat, digging the vocals, the stinging riff and crunchy rhythm guitar. Julie's Trembling God is incredible, dramatic, soaring, and what a great title. Passing Car has a Broadway Musical feel to it, what with Julie and Chris trading lines back and forth, and the building pre-chorus (there's no true chorus). 

As amazing as these tracks are, the final 4 is even better. Flashlight (another great title) has an eerie vibe, slow at the start, before building to this beautiful, melodic pre-chorus (again, no traditional chorus here) then to the gorgeous, blended vocals (though I do need to focus on Chris's side of it, because Julie seems a little hot in the mix?) the lead guitar is also pretty - I just adore this song to death, it might be my very favorite from the Bostonians. Julie's Space Flight is a fun one, both words and music, as is Ocean, which takes us to the ominous closer, Afterworld, which isn't as poppy as the other tracks, leaning into the dreamy, moody and apocalyptic - it's Syth heavy with FX laden backing guitars - a striking number that wraps up the bands most consistent effort... my only complaint, at 28 minutes it's over and done with too quickly, I want more, but have to admit, it's perfection as is.

Wild Dogs with X-Ray Eyes (2003) 

Tracks: Helicopter Fight Song / Harsh Light / Talented Socialites / The Devil / 1234 / Like Detroit / The Misfit / Talk the Flyer Down / August / Time Machine / Pine Trees on Fire / Waves Roll into Boston

The first track was awesome, the second even more so.... Harsh Light's thundering drum intro and memorable guitar riff - the irresistible verses, and sing-songy harmonized drive to the title gets the blood pumping. On the other side of the spectrum, you have The Devil, which is beautifully melodic, melancholic and lingering - the instrumentation, the smooth bassline and piano just takes me away... and just when I think the number reached its peak, the soaring bridge shifts it to another emotional high.  

The release does this frequently, from strong verse to stirring chorus and bridge, and Chris and Julie's twinning vocals are vital in amplifying the affecting power of these numbers (see Like Detroit). 

It also takes a surprising left turn with Chris going solo on the folky acoustic Pine Tree - it's another one I found moving and pretty. Also, I'd like to know the backstory on these lyrics, the words fascinate me, with their tales of firefighters and pilots. 

Wild Dogs displays a new level of musical maturity for H2, it's both familiar but distinct, and succeeds on all phases, from production (Matthew Ellard, his second time at bat for the band), to songwriting and performance (I can't say enough about Gellacher and Setaro's contributions, they brought their A-games). Sensational album, significant and affecting -- but unfortunately, this lineup's last, which is a shame because the pieces were all in place; flawless and firing on all cylinders.   

Hello Dragon 

I don't know the details, but at some point, Chris and Julie moved to L.A. and took on a new identity, er, band name. You can read an interview with Chris that goes into it a bit, here... Buzzbands

The Quantum Explorers (2008) 

Tracks: Millions of Terrible Moths / Birds of Prey / Rats of L.A. / Such a Drag / Stephen Hawking / Good Cops and Coke Fiends / Dirt and the Body / Automatic Friends / I Believe You / Garcia Marquez / End of the World

This one actually slipped past my notice, I found, purchased and listened to Information first, discovering Explorers around the same time I did Squids. Once more, my journey with these folks is chronologically screwy.

While Julie is credited on guitars and vocals, she has no solos, this is Chris' baby, he's the only songwriter, and will be the only one pictured on the back cover of the following Album. 

Quantum is rather laid-back and tonally somber, though it doesn't start that way, the sprightly acoustics of Moths, the ringing keyboard in response to the guitars strum on Birds of Prey, these are its brightest moments, after this the record begins to drag.

In that Buzzbands interview, Zerby was quoted, "We used to be a straightforward power-pop band – two guitars, bass and drums. Now there’s a more going on, a lot more tomfoolery in the arrangements.” and yeah, you can hear that, the continued growth in the studio, straying from the rawer elements. It's crisp and professional, but I find I respect it more than love it, it doesn't leave as deep an impression on me, take my breath away or reach the emotional highs of their best efforts.

 

But God forbid I bemoan Chris' desire to try new things and write tunes that reflect his new headspace and their new living space (L.A. finds its way into the words, Echo Park for one).

Information (2010)

Tracks: Siberia / 107 / Ones and Zeroes / Ambulance Driver / All My Friends Live in Buffalo / Engines Blown / Cities Need a Subway / Death of the Americas / We Are Mythology / Skin and Bones / Coasts and Continents

Information continues the bands trajectory towards creative change and challenges (while retaining their musical identity) which interestingly always comes in pairs, from punk-garage (Squids/Analog) to melodic power pop (Starlight/Wild Dogs) to the refined and varied studio sounds of Hello Dragon, evolving but still Zerby and... yes, Chadwick - who gets to sing a solo number this time out; her voice is ever present and utilized well. Plus, she designed the cover and provided the photography.

I liked Quantum, but not passionately, the follow up, however, is more to my taste. Info's injected with a liveliness that was missing on the previous CD. Siberia has that somber thread, but there's heat there as well, with the big beat, the evocative vocals. 107 starts off relaxed and smooth, before becoming irresistibly danceable, Ones and Zeroes is funky 'n' rocking and highlights the vocal gymnastics I always loved from the duo. 

While it doesn't host my favorite chorus, Ambulance gives us the acoustics, tuneful verses and lyrics with an autobiographical connection (Chris has worked as an EMT). Subway continues the 'keys responding to guitars' thing we heard in Quantum - it's a lovely ballad, with a moving melody and interesting phrasing ("And I pity the poor American this time, who's a sad anachronism in his prime") and superb, blended vocals (with folk-flavored solos bits). The instrumental spot is sweet too. 

Death of America has a biting, indie style, wonderfully structured - Skin and Bones is a return to the sing-songy catchiness we heard in the last 2 Helicopter CDs, with a dash of punk attitude.

The production ranks among their slickest, without becoming cold or plastic, there's a vibrancy here. And as players, the band is in fine form.  

The brief return of H2

The Modern World (2015)

Tracks: The Modern World / Get Harmed

And then it went silent - no more Dragon no more H2, where did they go, would they return? 5 years later, a single - 2 songs, nearly 6 minutes - and it was heartwarming to the hear Chris and Julie again, with their brand of up-tempo pop rock. 2 delights, the kind that would have fit snugly on By Starlight - plus, a video - cool beans! And that was it, one sweet sendoff. Their last Facebook post was in Dec 2019, and then.... Wherever they are, whatever they are doing, I hope they are happy and healthy and know that those who loved them, loved them a lot.

Flycatcher and The American Measles?

Flycatcher - Ovulation (April 26, 1994)

Tracks: Stuck Pig / Cannibal / Sound / Blister / Poor Lucy / Up from The Ground / Too Many Aspirin / Nothing Is Something / Firetrucked / Cold Water / Lung / I Have an Animal / Stupid Like All the Rest / Sick Again / Feels Like Lisa / Elephants and Tigers / King of the World

Flycatcher - Pee (1995)

Tracks: Bad Wombats / The Wreck / Donor / Pissed On / Winter of Hate / Boy Du Jour / Knuckle Under / Dog Whistle / Pick Up Sticks / A Tasty Chew / Nerve / Washout / Running with Scissors / I Smell Blood / Suck / 27 / A Butterin' We Go

Produced by Blondie keyboardist Jimmy Destri, Flycatcher was Chris' band before H2, they had 2 releases according to Discogs - Ovulation and Pee. I listened to the 2nd first (the other is on order); what greeted my ears was heavy Indie rock, and Nirvana style grunge, Zerby's even doing his best Kurt on vocals. He's joined by drummer Jen Chouinard and a couple of bassists; Dan Sotak-Cooper (ovulation) and Joe Melchionda (Pee). It's a decent release, though it took a few spins to get used to it, as they sound like an imitation of other bands, who frankly do it better - while you can hear hints of H2 popping up in spots, in finding their own style for 'Copter, I think Chris moved closer to Julie's sound, as Flycatcher's Pee is a lot noisier. 

Update: Ovulation arrived, of the two it goes down easier on a first listen, Pee's more rewarding with time. It too shares the same the inspirations, parts of Poor Lucy recalled Black Francis and Cobain can be heard on Firetrucked. All tracks were written by Chris, save for Dan's Lisa - There are some cool guitar solos (Sean Keefe is credited as providing the one on Blister), drumming's speedy, fill happy and a little off kilter,when need be, there's some deft bass work and Chris is a scream machine... when he's not crooning to acoustic accompaniment (seriously).   

The American Measles - Shover the Cupcake (1997)

Tracks: Uncle Bernie / Carlo / Chinese Girls / Stoic / God Took My Bike / Rockets / Mirth the Baddie / Gravy / The Z / No It's Not / Chicks on Crack / Little Carlo

A year before Helicopters debut release, Julie Chadwick could be heard on CD as a member of the American Measles, where she is credited as singer, songwriter, guitarist, photographer and -judging by the cartoon she drew with her autograph on my CD- art (which I loved BTW). As for the sound, it's not any punkier than what we heard on Squids, and I think if you dig something like Bikini Kill's Rebel Girl, you'd dig the Measles. There's attitude throughout, and while Chadwick doesn't have the most tuneful voice, she'll throw in these little touches that add tone and feeling to a number, whether that's bratty, incensed or as heard in Chicks, vulnerable - she can also scream out a lyric pretty well when she wants to. Additional grinding guitars are played by Adrian Healey (who also provides the bass, keys and backing vocals), while Mike Gioscia is the man hammering away on the drums. It's a good, uncomplicated, kick in the head type of record - well worth checking out.

Note: They also had a song on the "Twisted Rico: Class of 1998" compilation LP, titled Parade of the Diaper People - lol - sure, I'd like to hear that one.

Links: Lunch Records / Facebook / Bandcamp / Daily Free Press (article)

Backstage Pass: The Psychedelic 60s

Not an authoritative list of the all-time greats, just a rundown of personal favorites in random order. 1 album per band (though I'll mention others).  Aside from the LPs, there are songs I liked - "Pictures of Matchstick Men" from Status Quo, "I Had Too Much to Dream Last Night" by The Electric Prunes, "Incense and Peppermint" from The Strawberry Alarm Clock, "Green Tambourine", The Lemon Pipers, "In-A-Gadda-Da-Vida", Iron Butterfly, a couple of First Crow (Crew) to the Moon singles, "The Sun Lights Up the Shadows of Your Mind" and "We Walk the Rain", The Balloon Farm, with "A Question of Temperature" - the Saphire Thinkers album "From Within", the electronic drone of Silver Apples and the taste of tropicália with Os Mutantes are others worth checking out. 

The 13th Floor Elevators, The Psychedelic Sounds of the 13th Floor Elevators (Oct 17, 1966)

Tracks: You're Gonna Miss Me / Roller Coaster / Splash 1 (Now I'm Home) / Reverberation (Doubt) / Don't Fall Down / Fire Engine / Thru the Rhythm / You Don't Know / Kingdom of Heaven / Monkey Island / Tried to Hide

While Dylan was the lyrical inspiration for the genre, this is the first band to refer to themselves as psychedelic rock. Formed in Austin, Texas in 1965 by guitarist and vocalist Roky Erickson, electric jug player Tommy Hall, and guitarist Stacy Sutherland. Their debut has a raw, rough noisy garage band sound, drug inspired, "You're Gonna Miss Me" is an enduring classic. I might like their more polished follow up, Easter Everywhere a little more, but this, and the next listed album, is where the sound really gets going. 1966 is your true launching point.

The Deep, Psychedelic Moods (October 1966)

Tracks: Color Dreams / Pink Ether / When Rain Is Black / It's All a Part of Me / Turned On / Psychedelic Moon / Shadows on the Wall / Crystal Nite / Trip #76 / Wake Up and Find Me / Your Choice to Choose / On Off-Off On 

This acid fueled release might have been the first album to use to term psychedelic in its title (near to it was the Blue Magoos, "Psychedelic Lollipop", which sound-wise was more garage than psych) - recorded in the dark, reportedly under the influence of LSD, over the course of 2 days - with strange overdubs and offbeat vocals (lead and backing). Lyrics are a hippy trip, and while a product of the time and the genre, I'm not going to ding it too much it for that (okay, "Psychedelic Moon" is goofy), because for the most part it effectively takes listeners on a hallucinogenic journey to the past.

Neighb’rhood Childr’n (1968)

Tracks: Up Down Turnaround World / Long Years in Space / Feeling Zero / Over the Rainbow / Changes Brought to Me / Please Leave Me Alone / Chocolate Angel / Happy Child / Patterns / Happy World of Captain K / She's Got no Identification / Hobbit's Dream

Starting off an Oregon R&B, surf band, before moving to San Francisco, where they were influenced by that musical scene. Their lone release features several psyche gems, like the moody mantra-like "Long Years in Space" - but they also blend in sunshine pop, a silly cover and nursery rhyme fluff, a screaming instrumental/spoken word, with bits of Jefferson Airplane - like the Electric Prunes debut, it's all over the place, but this is stronger - some great songs, some fair, but never a dull moment. A 1997 compilation (Long Years in Space) includes previously unreleased material.

Pretty Things, S.F. Sorrow (Dec 20, 1968)

Tracks: S. F. Sorrow Is Born / Bracelets of Fingers / She Says Good Morning / Private Sorrow / Balloon Burning / Death / Baron Saturday / The Journey / I See You / Well of Destiny / Trust / Old Man Going / Loneliest Person

Pretty Things have been around for a while and have seen their sound change, but they dabbled with the psychedelic on a couple of albums, with this also earning the distinction of the first rock opera, which tracks the progression of a character named Sebastian, from birth to eventual disillusionment - life is a tragedy, illustrated in the stellar "Balloon is Burning", where S.F. loses the love of his life in the Hindenburg disaster, grim stuff, but an incredible listen, produced by Norman Smith (The Beatles, Pink Floyd). The song that came out before, "Deflecting Grey" is pretty wild too.

Tomorrow (February 1968)

Tracks: My White Bicycle / Colonel Brown / Real Life Permanent Dream / Shy Boy / Revolution / The Incredible Journey of Timothy Chase / Auntie Mary's Dress Shop / Strawberry Fields Forever / Three Jolly Little Dwarfs / Now Your Time Has Come / Hallucinations

The only studio release from UK freakbeat band that featured Steve Howe (Yes) on guitar, with Keith West as vocalist and songwriter. The stellar "My White Bicycle" was the song that brought me to the LP, but there's a lot to enjoy beyond that one, like "Hallucinations", which reminds me of Cream. I've been listening to the 1999 remaster, but in 2023 Howe reworked the album, with extra tracks, as "Permanent Dream"

The United States of America (March 6, 1968)

Tracks: The American Metaphysical Circus / Hard Coming Love / Cloud Song / The Garden of Earthly Delights / I Won't Leave My Wooden Wife for You, Sugar / Where Is Yesterday / Coming Down / Love Song for the Dead Ché / Stranded in Time / The American Way of Love (I. Metaphor for an Older Man - II. California Good-Time Music - III. Love Is All)

Electronic, acid rock with a political slant. Founded in Los Angeles in 1967 by composer Joseph Byrd and vocalist Dorothy Moskowitz, with electric violinist Gordon Marron, bassist Rand Forbes and drummer Craig Woodson. They disbanded shortly after releasing their debut. Their sound is both jarring and melodic, primitive yet progressive - while short lived, they had an influence on several who came after (Portishead, Broadcast). A 2004 reissue included bonus tracks.

Red Crayola, The Parable of Arable Land (June 1967)

Tracks: Free Form Freak-Outs, with songs, Hurricane Fighter Plane / Transparent Radiation / War Sucks / Pink Stainless Tail / Parable of Arable Land / Former Reflections Enduring Doubt  

Freak-outs by The Creative Ugly, coupled to 6 nightmarish numbers from Mayo Thompson (vocals, guitars), Steve Cunningham (bass), and Rick Barthelme (drums). The standout is "Hurricane Fighter Plane", which always makes me feel ill at ease. It's like the music equivalent to "Eraserhead". Maybe it's that 3 note bass (?) line that repeats over and over. Or the static and off-key arraignment. The song weirds me out, but I can't stop listening to it. I love it even though it makes me feel... off.  The LPs been recategorized as Noise Rock, rather than psychedelic, though truth be told, as AllMusic's Mark Demming wrote, "it exists on a plane all its own".

The Moody Blues, The Search of the Lost Chord (July 26, 1968)

Tracks: Departure / Ride My See-Saw / Dr. Livingstone, I Presume / House of Four Doors - Part 1 / Legend of a Mind / House of Four Doors - Part 2 / Voices in the Sky / The Best Way to Travell / Visions of Travel / The Actor / The Word / Om

A musical journey of discovery - an exploration of the self and the world, as filtered through a veil of mysticism and philosophy... sometimes poetically serious about its themes, at others, taking a piss out of it all when it comes too close to pretention. The Blues are experimenting with new instruments, seeing just how far they can push the boundaries, while keeping to a sound that is melodic and flows like water. And if all of that reads like cosmic hooey, I can't help it, the record has that effect on a person. "Ride My See-Saw" and "Legend of the Mind" are two of the highlights.

Jefferson Airplane, Surrealistic Pillow (Feb 1, 1967)

Tracks: She Has Funny Cars / Somebody to Love / My Best Friend / Today / Comin' Back to Me / 3/5 of a Mile in 10 Seconds / D.C.B.A.–25 / How Do You Feel / Embryonic Journey / White Rabbit / Plastic Fantastic Lover

The Sgt. Pepper's inspired Bathing at Baxter's might be freakier, but I prefer the tunes on this one, with classics like the dreamy "Today", "Plastic Fantastic Lover", and “White Rabbit” - a tune that opens with the minimalistic rat-a-tat-tat of the drums, a throbbing bass, and a snake like guitar lick - it builds in intensity as it goes, telling the surreal tale of Alice in Wonderland as drug metaphor. Grace Slick has a strong contralto voice. Her singing weaves sinuously and powerful, matching the force of the music note for note. It reaches its frenzied peak and climaxes in a storm of crashing drum and guitars… 2 minutes and 30 seconds of pure rock and roll bliss.

Airplane personifies and acts as the perfect soundtrack to the Haight-Ashbury counterculture, folk, psychedelia movement of the 60s.

Cream, Disraeli Gears (Nov 2, 1967)

Tracks: Strange Brew / Sunshine of Your Love / World of Pain / Dance the Night Away / Blue Condition / Tales of Brave Ulysses / SWLABR / We're Going Wrong / Outside Woman Blues / Take It Back / Mother's Lament

R&B given a psychedelic makeover. Aside from the throwaway number at the end ("Mother's Lament" mars this masterpiece) “Gears” is Cream's most consistent effort, with songs about Ulysses (my favorite here), strange brew and a bearded rainbow. The cream of crop for this band, though Wheels of Fire, with the amazing "White Room" is pretty awesome too. 

The Who, The Who Sell Out (Dec 15, 1967)

Tracks: Armenia City in the Sky / Heinz Baked Beans / Mary Anne with the Shaky Hand / Odorono / Tattoo / Our Love Was / I Can See for Miles / I Can't Reach You / Medac (Spotted Henry) / Relax / Silas Stingy / Sunrise / Rael 1 & 2 - (the 1995 CD included several bonus tracks)

This is my favorite Who album because it’s fun and very catchy. With radio commercials interspersed between the tunes, it's like having the radio in record form. “I Can See for Miles” is the LPs highlight, though not it's only ace. There are surreal sounds and acoustic ballads with pretty harmonies ("Mary Anne with the Shaky Hand"). I remember how the cover stood out on the record racks, you just had to check it out to hear what it was all about - a successful ad campaign all around.

Pink Floyd, Piper at the Gates of Dawn (Aug 4, 1967)

Tracks: Astronomy Dominé / Lucifer Sam / Matilda Mother / Flaming / Pow R. Toc H. / Take Up Thy Stethoscope and Walk / Interstellar Overdrive / The Gnome / Chapter 24 / The Scarecrow / Bike

Syd Barrett's Floyd was a different animal - While self-consciously surreal, it's done with such fresh-faced exuberance that I was easily charmed. "The Gnome" is a hoot and "Bike" is equally fun, I loved its shifting tempos, and the way it moves from sing-song vocals at the verses, into an off-kilter, non-chorus, accompanied by theremin-like backing, which ends with a clipped explosion of percussion. The LP might not have the polish and gravity of later PF works, but it's that freewheeling spirit that drew me in. I liked the psychedelic flourishes. I liked the playful vocals and strange trippy lyrics. I liked the overall production - Norman Smith was George Martin's right-hand man before helming this project, and his work is tight, while maintaining an open experimental feel.

The Jimi Hendrix Experience, Are You Experienced (May 12, 1967)

Original US Track Order: Purple Haze / Manic Depression / Hey Joe / Love or Confusion / May This Be Love / I Don't Live Today / The Wind Cries Mary / Fire / Third Stone from the Sun / Foxey Lady / Are You Experienced? - 1997 CD Bonus Tracks: Stone Free / 51st Anniversary / Highway Chile / Can You See Me / Remember / Red House

A lot of the greatest, familiar tunes are here (Purple Haze, Hey Joe, Foxey Lady, Wind Cried Mary) but there is so much more to enjoy. Mitch Mitchell's unique jazzy drums and Noel Redding's trebly, chord-heavy bass lines add layers to Jimi's smooth guitar work. Blues and psychedelic rock collide brilliantly, and even lesser tunes have something to offer ("Remember" features some of Jimi's best vocals, for example). "Axis: Bold as Love" and "Electric Ladyland" are two other psych classics well worth experiencing, but the bands stellar debut is my go-to Hendrix.

The Zombies, Odessey and Oracle (April 19, 1967)

Tracks: Care of Cell 44 / A Rose for Emily / Maybe After He's Gone / Beechwood Park / Brief Candles / Hung Up on a Dream / Changes / I Want Her, She Wants Me / This Will Be Our Year / Butcher's Tale (Western Front 1914) / Friends of Mine / Time of the Season

The Zombies are best known for 3 hits, "Tell Her No", "She's Not There" and the stupendous number found on this masterpiece, "Time of the Season". This psychedelic, keyboard pop, is boosted by expressive vocals and lyrics that probe a variety of subjects, including the great "Care of Cell 44" which is a letter sent to a girlfriend in jail. Hooky popper "This Will Be Our Year" (but I need the horns), the haunting "Butcher's Tale" with Chris White's effective, warbly vocals, and "Beachwood Park" a flower power gem, are among the cuts that make this a timeless classic - even as it embraces the era so completely, Odessey never sounds dated. The CD includes both Mono & Stereo mixes (and there are differences) and the bonus songs on my copy includes "Imagine the Swan" and "If It Don't Work Out", which has an incredible groove, I just love the arrangement of the instruments on that track.

Love, Forever Changes (Nov 1, 1967)

Tracks: Alone Again Or / A House Is Not a Motel / Andmoreagain / The Daily Planet / Old Man / The Red Telephone / Maybe the People Would Be the Times or Between Clark and Hilldale / Live and Let Live / The Good Humor Man He Sees Everything Like This / Bummer in the Summer / You Set the Scene

After the heavy electric of "Da Capo", Love returns with this lush, acoustic masterpiece. Lee has kind of a Johnny Mathis thing going on with his vocals and this style meshes perfectly with his singing. Lyrically it's a juxtaposition between light and dark. "Andmoreagain" is one of the most beautiful tunes I've ever heard, and as a whole this album transports me, from the memorable opening track, to the epic closer, with its changing time signature signaled by beguiling horns (and Lord, those strings), Forever Changes takes me on psychedelic journey. I've read that "Wonder People" was left off the LP because Lee felt it didn't fit, is that lyrically, because musically it suits the record better than the Dylanesque "Bummer in the Summer" the only (minor) misstep on an otherwise flawless collection. (but hell, I just switch them out and I'm in Heaven).

The Monkees, Head (December 1, 1968)

Tracks: Opening Ceremony / Porpoise Song (Theme from Head) / Ditty Diego—War Chant / Circle Sky / Supplicio / Can You Dig It? / Gravy / Superstitious / As We Go Along / Dandruff? / Daddy's Song / Poll / Long Title: Do I Have to Do This All Over Again? / Swami—Plus Strings, Etc.

A difficult choice between 2 bits of Monkee madness - Pisces, Aquarius, Capricorn & Jones Ltd. is my overall favorite, with tracks that certainly fit the criterion, what with Mickey's Moog contributing to the vibe; but Head is even more out-there; a soundtrack to their avant-garde feature film, it blends 6 new songs, with sound collages overseen by Jack Nicholson that gives the release a bit of a Revolution 9 flavor. Peter's contributions were among his finest - the groovy, "Can You Dig It" with its memorable guitar work (supplied by Tork?) and, "Long Title: Do I have to Do This All Over Again?" (dig that Lance Wakely bass). Also, Goffin & King's hypnotic "Porpoise Song" is a surreal, keyboard infused Acid classic. Last but not least, lets close with 2 I've spoken of previously on this blog...

Alice Cooper, Pretties for You (June 25, 1969)

Tracks: Titanic Overture / 10 Minutes Before the Worm / Sing Low, Sweet Cheerio / Today Mueller / Living / Fields of Regret / No Longer Umpire / Levity Ball / B.B. on Mars / Reflected / Apple Bush / Earwigs to Eternity / Changing Arranging

Not an album you'll see named often in lists like this, but I unapologetically love it. To quote myself - "Puzzling and original, Cooper’s experimental lo-fi debut album is like nothing you’ve ever heard from the band. There are little snippets of songs, bits that start here then suddenly go there, and lengthy but utterly enthralling instrumental segments... it's trippy and weird and raw, but not unfocused, there are catchy guitar licks (Living), bass lines (Apple Bush), harmonicas (Cheerio) and melodies to dig." for more on it, check out my full review... Cooper - Part 1

The Beatles, Revolver (Aug 5, 1966)

Tracks: Taxman / Eleanor Rigby / I'm Only Sleeping / Love You To / Here, There and Everywhere / Yellow Submarine / She Said She Said / Good Day Sunshine / And Your Bird Can Sing / For No One / Doctor Robert / I Want to Tell You / Got to Get You into My Life / Tomorrow Never Knows

"Magical Mystery Tour" is arguably the most psyche of the Beatle psychedelic albums, and Pepper's is the one that changed the musical landscape, but "Revolver" is my favorite, and while it offers a wide mix of styles and personalities, Lennon's She Said and Tomorrow Never Knows are prime, mind-bending examples of the style, and marks the lad's transition to a whole different musical realm. For more of my thoughts on these and other records... Beatle Rankings

Psychedelic Cinema of the 60s

Movies with a groovy look, a groovy sound with a story that's a trip - here are a few I dug

1965: Juliet of the Spirits * 1966: Daisies * 1967: Magical Mystery Tour / The Trip 

1968: 2001: A Space Odyssey / Yellow Submarine / Head / Barbarella / The Girl on a Motorcycle / Danger: Diabolik * 1969: Easy Rider / Psych-Out