In vein of the Arnie Lawerence Album I put up awhile ago. Here is a great record by Pat Martino. This is an all instrumental album. Baiyina has that Miles Davis "In A Silent Way" feel about it. The major difference is the Indian instrumentation. There is Indian percussion and droned out sitars throughout the record. With this and the mix of rock, jazz, and psychedelia you end up with a truly unique album. Not to mention the fact that Pat Martino is a freaking amazing guitar player. I highly recommend this record for those into the psychedelic jazz side. The album is very relaxing and smooth. Great for late night mellow time. Turn on your red light, or light your candles and incense. Spin one up and enjoy this masterpiece.
Here is some Psychedelic Pop for your weekend enjoyment. After many 45's, RCA released there first full length record. Which came to be the only release on RCA, and with that group of musicians. The songs all have that pop formula with that Psychedelic twist. Each song has a little something, be it guitar or vocal effects, tape loops or experimentation in instrument choice. One thing is for sure, you got to love Skip Bifferty's record cover. I do wonder why they called Skip Bifferty? Its not a band member's name. I do like to say it over and over. Its catchy in a weird and annoying way. Enjoy the music.
I just added this music player. To the upper right of the blog. I'm in the process of experimenting with it. I plan to use it with the albums. This way you can hear some of the music before you go through the process of downloading the record. I think I might also put music on the player that may be of interest. Such as new bands that are keeping the psychedelic spirit alive and fresh. Let me know what you kats think. For my trial effort I have put up two songs from the and Relatively Clean River. This is another of Phil Pearlman's projects. As his others it is great. Have a listen for you yourself. I got this from Chris's blog site. The C.G.R Site. Thank you Chris. So, make sure you go over to Chris's site and thank him. There are many scores to be had there.
Note. Chris's link has expired. I have posted a new link. Enjoy.
Here is a great psychedelic jam record. Bruce Palmer was the first bass player for Buffalo Springfield. He came done from Canada with Neil Young. Unfortunately, he had to leave early on due to pot busts of all things. And by the sound of this album those busts did not stop the smoke from going in, because it sure came out on this record. The Cycle Is Complete is his first and only solo album. It is primarily an instrumental trip. There is some scattered singing by the percussionist Rick Matthews, who was later known as the crack smoken' Rick James. The music has lentght, but many instruments to keep things interesting. Violin, organ, flute, oboe, organ, piano just to name a few. And all this is blended into a jazzy, blues, folk, rock mind meld. So, roll one up, and kick it back to this masterpiece.
I got this album from a fellow music blogger. The C.G.R. Site. This record is Psychedelia to its' very core. I can't thank Chris enough for sharing this one. And I highly recommend that you give it a listen.
Here is some background info from Chris's site:
"Last time we discussed Phil Pearlman, I stated he must've been some kind of musical genius, though I knew very little about him apart from the evidence of two highly obscure privately pressed albums. This time around I only know a touch more about his back-story, but this record of his from 1970 under the moniker the Electronic Hole proves he was indeed, a musical genius. Recorded in between the Beat of the Earth and the rural rock masterpiece Relatively Clean Rivers, the Electronic Hole bridges the gap between the drone raga rock of the former and the tunefulness of the latter. And it just may be the best of the three. Two long suites comprising seven songs of very forward-looking psychedelic rock quite unlike any I've ever heard before, effortlessly prefiguring the likes of Galaxie 500 and Spacemen 3. The Electronic Hole is somewhat more menacing than either of Pearlman's other incarnations, more heroin-y sounding perhaps, but from what I understand he was a teetotaler only prone to getting high on life and the fragrance of incense. Heroin seems an appropriate touchstone though as the only other group even coming close to the primal-ness of these songs were the Velvet Underground, and by 1970 even they'd primarily traded those baser emotions in for a sort of melancholic roots rock. On the final track, an early incarnation of one of the Relatively Clean Rivers songs appears, devoid of any ruralness with pure white noise in its stead. And I mean like Les Rallizes Denudes molten white noise. Superb.
Reissue of the extremely obscure 2nd Radish label album, originally issued in 1970. "Raw, noisy, droning and completely mesmerizing album recorded by Phil Pearlman between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled The Electronic Hole in 1969 strictly for personal use -- to audition musicians for his new band. To do this, and to add to his own collection of demos, he used local studios in off-hours thanks to his friendship with album engineer Joe Sidore. The result is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of 'compositions', including a wild cover of Frank Zappa's 'Trouble Every Day'. Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable -- an effect he achieved by running his Fender amplifier out of a child's chord organ ('sounded great for about two weeks, then it blew up!'). Few albums have such an eclectic yet appealing sound."
A raw, noisy, droning and completely mesmerizing album recorded by PHIL PEARLMAN between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled the ELECTRONIC HOLE in 1969 strictly for personal use to audition musicians for his new band." Recorded in local studios during off-hours, the album is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of "compositions," including a wild cover of Frank Zappa's "Trouble Every Day." Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable."
Alright after all that, you know you got to check this one out.