original LP cover back
reissues from the 'World In Sound' label 

(done before : Dragonwyck ; Fear Itself)

Fred ('71-'73)
Head Shop, The ('69)
Id, The ('66-'67)
James, Michael ('78/'06)
Lund, Garrett ('75)
Modulo 1000 ('70)
Phantasia ('71,'72)
Simons, Jeff ('69)
V.A. (Psychedelic Minds ('67-'71/'06))
Wazoo ('70)
(see also Naked Lunch ('69), Headstone ('74), Sproton Layer ('70))

-new  items from the label :-
V.A. : Trip in Time  ('06)
(Karmic Society ; Obskuria)

original LP cover back
World In Sound                      The Head Shop (US,1969)***°'

For me this is a very special album, and an at times even amazing album, with a certain uniqueness, but you need to have a correct idea and look behind the attitude of the creator, or otherwise some parts of the concept, especially the covers, might be confusing, because they’re not really done in a usual way to make an 'alternative' version, but for very different conceptual reasons. 

This New York band started as an average college band with a single but soon had the chance to record this album for Epic, so the band really had the chance to make a well produced album.

I think part of the actual attitude behind the full album might have been influenced by Crazy Arthur Brown, and his surreal theatre, but for me, also someone like the other Brown, James can be associated, not for the last guy’s style but for the soulful vocals, and for some kind of fucked up vision behind a creator, like by a strange mix and over-stimulation of the mind, which can be confused by a injected mix of be it sex, drugs or religion or something like that, in a ‘black’ soul feeling that governs over the creation. It’s that kind of feeling which I have in the voice, songwriting and choice of musical combinations. I’m not sure how much of this is deliberate or not, but when realizing an odd leading creator and voice behind the musical creation, all tracks fit really well together. 

The titletrack “Head Shop” starts immediately and is pretty weird. It’s a heavy complex-rhythmic rocker with original garage-like heavy psych guitars, arranged in a loaded, clever and clear way, making it a very strong starter. “Heaven here we come” has a ready-for-the-revolution chorus, heavy brass sounds, distant piano, great arrangements of weird oscillations of violin, and masturbating Hammond. This is sweeping heavy rock with soul-funk-characteristic vocals, somewhat experimental with psychedelic effect. The cover of Bobby Hebb’s ’66 hit, “Sunny” is less weird, but for me still fits in the context I described, with an emotional ‘black soul’ rocking flavour. “Listen with the third ear” continues to look for a deeper, in the psychedelic rock music embedded magical experimental sphere, governed by a theatrical voice, half whispering then screaming, amongst other strange elements like weird harp and violin touches, flute, and heart beats. 

Opera in the year 4000” starts with a fucked up recording of classical music, then sings in a mainstream theatrical way “where have all the people gone” presented as if this is a vision of hypnotic unconsciousness, a track which the second part covers my least favourite and most mellow Beatles song, “Yesterday”, including strings, continuing the kitschy surreal sphere, slightly alienated. Real Beatles fans will possibly take upto the year 4000 before they appreciate this, but myself, not so much a hard fab’ fan, I don’t care if this receives a new context. It is with the next Beatles cover, “The Revolution”, that the band really takes you further to a completely different milieu. Here the self-destructive nature and controlled sick weirdness of the Head Shop composer for me is a example of how it can be good to be more bad in taste. 

Once more injected by the aforementioned "black soul", this makes it a good kind of a gangster cover version, with annoying fuzz and a result which at least I seem to like. The original idea was to mix Beatles with contemporary music (Schönberg and Mahler) into a new trip of music, making new music in a true ‘progressive’ edge. 

“I feel like comin’ on” has besides a song part, some organ and percussion, the most interesting electric fuzz guitar solo and duet parts of the album, which was improvised with Larry Coryell as a guest musician. Around this time Coryell had published his fabulous debut on Vanguard which also showed him as a great electric guitarist.

“Prophecy” confirms once more my idea that there is an underlying semi-religious feeling. It has a pretty avant-garde arrangement of contemporary classical nature mixed with soul-psychedelica, as if this is spiritual music from a devil praying to God. It comes complete with female choir, contemporary violin by Max Ellen, some harp and touches of organ. This track starts with a dance rhythm lead by fuzz, drums and organ. The second part of this track used LP noise and more extra weird stereo effects, including a speeded up sample which I recognise from first electronic soundtrack, 'Forbidden Planet' (1956) mixed with violin pitches and other effects, deformed to something completely different. This last LP track mixes well into the first of the more normal earlier tracks, as if one gets a more normal outro. It’s because the A-side, “Scars” still has a few weird nervous keyboard chords that the bonus tracks still make a perfect finish. Most of these tracks are more average but are also attractive, relatively slow beat or elsewhere danceable ‘60’s psych. 

The last track (even more than "Sunshine") of simple acoustic lovely-flowers-in-your-hair folk “In Central Park” in male/female duet vocals I think I like very much as well, and for me is a really nice ending for this great reissue.

Audio : "Head Shop" (or here)
Info : http://www.forcedexposure.com/artists/head.shop.the.html
Other reviews : http://www.geocities.com/punkpsych/headshop.html &
(second on page) : http://www.fufkin.com/columns/sampsel/sampsel_12_01.htm
Remarks : http://rateyourmusic.com/release/album/the_head_shop/the_head_shop/

click to see front of original LP cover
World In Sound          Phantasia (US,1971,1972)****°  

It is great to see how the label 'World In Sound' found some bands that left few traces of their careers after launching. Like Dragonwyck, who  failed to release their records in their time, or likewise with Phantasia, who did not lack the originality or musical qualities, but a range of circumstances. 
First of all, they lived in a really small and rather conservative village, within reach of Kansas. Most members did not have such an uplifting childhood, so Phantasia became a band with which to imagine a different world. When they tried to reach the real world through Kansas, they found that city was not exactly the place to be. After having heard their studio recording, recorded in only four hours (played live mostly, except for the drums with some parts that had overdubs in a second session), 3 of four guys were so unsure of themselves, they left the album as 25 coverless copies.

They continued writing songs. John DePugh (now called Cavanaugh, to forget his lineage) in cooperation with Bob Walkenhorst planned a second album. All the time there was, was spent in re-recording only the earlier songs. This recording was pressed on a one-sided promo album under the name of Walkenhorst-DePugh (a project they wanted to call ‘Seasonchange’), to present it to labels before recording the other tracks, hoping that with the help of a label they could still add orchestrations and other production ideas, in a kind of 'Love' vein, but a chance to do so unfortunately never came. One record company, ABC records, liked what they were doing and was going to provide a chance for them, if they could provide them a full album. Lots of personal events did not them ive that chance, and after some more gigs the band disbanded. The three remaining members regrouped in a band called Trizo-50,with another after-story that the label also planned to document in CD formats. On this CD the one-sided LP is also added to the Phantasia album reissue.

I understand the idea of how the group expected to sound best if they could get arrangements like and sound more like Love. The music of Phantasia has its own delicacy, also because of the soft drum and percussion and dreaming-away-in-a-fantasy-of-a-better-world vocals. It is colourful and charming music, with various acoustic parts with guitar, melancholic flute and simple piano and several of other touches, and surely has something romantic in it. On the 6th track, “Genena” there’s a beautiful larger, rather calm psychedelic improvisation in it, with beautiful additional dreaming-away electric fuzz guitar and almost exotic handpercussion rhythms. The last track concludes with a bit more freaking out guitar. For me this sounds like a definite classic, even when it is a little belated for music lovers to discover.

The bonus tracks are the reworked tracks for ‘Seasonchange’. The first two tracks of them sound slightly cleaner and more folkpop-catchy, somewhat less romantic, but with their own kind of attractiveness. But like I said, they were meant to be finished with extra arrangements, which in the end never happened. The last two surely stand on their own like they are, and all of them are surely worth hearing. Only the last song of that 4-track session was a new one. A great release with booklet, containing the rather personal biographical notes, rare pictures and song texts.

Audio : "I talk to the moon"
Info : http://www.forcedexposure.com/artists/phantasia.html
Other review : http://www.lysergia.com/AcidArchives/lamaArchiveP.htm

click here to see how the inner box looks like
click here to see how the inner box looks like
World In Sound       Modulo 1000: Nao Fale com paredes (BRAZ, 1970)****° 

Some years ago I saw a bootleg from this album, but this time this seems to be an official release, with an expensive hard board packaging that includes the LP poster, lots of pictures, a biography, but unfortunately no lyrics. Modulo 1000’s sole release was psychrock of a high original quality, very different from almost all Brazilian items that I know of. The group had started as an American and English rock and psychrock cover band with a certain popularity (they played for three months in a club near Sao Paulo). At some stage they were able to perform a song at Rio’s International Song Festival before 25000 people making it to the semi-finals. From that time they decided to starting writing their own compositions, with a more experimental side, something which their manager Marinaldo Guimaraes gladly encouraged. The group had also shared a stage once with the more popular O Terço. Another great memory was the Pedra Azul Rock festival where most of the public were hippies stoned as hell. They were perhaps the only band who could really deliver a harder psychrock sound with a real originality.

What makes their sound so unique are the musical experiments within the style of the harsh sounds of heavy psychrock. Just listen to the keyboards combined with guitar in rhythmic psychedelic pulses on several tracks, like on the strong opener, “Turpe est sine crine caput” (=”hairless head is ugly”), sung in a distorted voice. Here is shown a clever inventiveness of the organist using a dead simple idea to a level of psychedelic effectiveness by lifting it up to a combination with rhythms and guitar playing, in a very original way, and with some wa-wa effects. Elsewhere roaring guitar solo’s and complex changes in rhythms and very small improvised free forms uplift the genre of the already effective psychedelic rock genre to something different with an extra originality. 

The album gained much later a legendary status amongst collectors, and also a musical historical value for progressive and psychedelic music in Brazil. The album at that time did not receive any promotion and was not understood by radio or commercial music promoters. So it became almost impossible for the group to survive in the long term with their sound, even when they had their own followers who were looking for such a deeper-down-into-rock psychedelia, a certain rawness combined with creativity. (The original album also included near the end a couple of shorter tracks where the members tried some solo ideas with keyboards (“Teclados”) or guitars (“Animalia”)). 

The eight bonus tracks showed what happened to the band after their LP, making some moves and changes under pressure to survive and maintain their own identity. Two of the tracks are still similar in style. These are taken from an Odean sampler done in 1971. “The Cancer Stick” is a fun bluesy track with R&B influence with coughs all over the place, about a guy coughing, possibly meant for an anti-tobacco commercial, followed by another bluesy, hard rock track. These two tracks came from a single recorded in 1972. The left over tracks are more in the direction of Os Mutantes, another, popular group which found a perfect mix between originality and recognisability for a larger Brazil public. For Modulo 1000 however this change to something more accessible might have been the opposite as an encouragement for more experiment. In those tracks the group had changed their name already, into Love Machine

Modulo 1000's first album, together with these bonus tracks make a classic document of Brazil rock music history, with a historical, and of course musical value.

More audio : "Nao Fale Com Paredes", "Salve-Se Quem Pudea", "Big Mama
Info : http://www.forcedexposure.com/artists/modulo.1000.html
LP details : http://www.ratolaser.hpg.ig.com.br/modulo1000.htm
Portuguese review of group : http://cliquemusic.uol.com.br/artistas/modulo-1000.asp

World In Sound           Fred : a trip in time with (US,1971-1973)***°' 

Like many young college groups Fred started playing covers, chosing a not too obvious repertoire of Procul Harem, Frank Zappa and The Mahavishnu Orchestra, but they also formed their own repertoire. They quickly went professional and recorded just one single and two full albums between 1971 and 1974, albums which however were never released until now. Other influences were The Band, Traffic, The Allman Brothers, Spirit, King Crimson, as well as Jean-Luc Ponty and Stephane Grappelli for the violin parts (to give some idea). Especially for the first 4 tracks one could also easily associate the east coast style, with romantic songs and intelligent lyrics, arranged with progressive rock fuzzguitars, mixed in a splendid way a bit more in the background which gives the arrangements of the songs some unique delicacy and complexity, and with of course the aforementioned jazzy, but also romantic violin on top. Already these four tracks are fantastic stuff, which make this a great discovery of a lost attractive gem. The rather short “For Fearless Few” is one of the few tracks that recall the experience the group had in playing Mahavishnu. “A love Song” and “Windwords” have more progressive arrangements. Also brilliant is “Windwords”, where there’s even a Canterbury and jazzrock influence noticeable, a track with creative sound-combinations near the end. It makes me curious as to the other two newly released albums showing the further evolution of the band. As a bonus track, the single version of “A love song” is also included. It starts with a few seconds of orchestration, and shows a great version with extra attention to the arrangements, making it now almost unbelievable how such a band didn’t manage to release their album in those days.

Audio : "Four Evenings", "For Fearless Few"
Info : http://www.forcedexposure.com/artists/fred.html
Other reviews : http://www.shindig-magazine.com/reviews-july2005-4.html?flash=1
German reviews : http://www.ragazzimusic.de/fred.html
Label (with info and sound) :  http://www.worldinsound.com/

World In Sound       The Id : the inner sounds of the Id (US,1966-1967)***°° 

The Id is a studio project between some musicians who all had their own busy life in music business of which most of them had some fame as arranger or studio artist in the past, and who would also continue like this after this project.

-Guitarist Jerry Cole appeared before on “Tequilla” from the Champs and worked with numerous famous artists, like Jerry Lee Lewis, The Righteous Brothers, Little Richard, Aretha Franklin, Steely Dan, James Taylor, Blood, Sweat And Tears, Chicago, the Byrds, Greg Allman, the Righteous Brothers, Henry Mancini, Kenny Rogers, Hank Williams Jr., and so on, working for Phil Spector as a steady studio musician. Around the time of working on the Id he was recording with the The Beach Boys on their "Pet Sounds" album, besides he was playing kind of surf guitar with his Spacemen. Later he became producer for Frank Sinatra and Dean Martin, and always showed a certain vivid guitar style, while drummer Don Dexter also worked with artists like Rick Nelson ; bass player Glenn Cass went later into country music while his younger brother Norm Cass, as a guitarist, later will do arranging for more than 15 years with country music star Gene Watson ; several of these artists participated in various TV shows).-

It took two years of weekend meetings to get the tracks together before the quartet finally, in July and August 1966 recorded the album, and it was released in January 1967. Where they got their ideas for it, I cannot tell for sure, but the back of the LP says “The primitive rhythms brought back to popular rhythms” which explains partly where some inspiration came from. It was also with American primitive guitar explorations that at least since 1965 or earlier people began to adapt different explorations, also from Indian (that was the easiest part), and a bit less from Middle Eastern origin (often a bit too complicated to make any real start), stimulated by the publication of ethnic records in US, that might have given extra ideas. The same notes also say “The Primitive rhythm has been brought back to popular music.” To the ethnic music reference of opening up rhythms, I also remember how the ideas from the South-African Shangaans,was pioneering real African rhythms and ideas in their early beat music from 1965, which led to the hit of “Lion sleeps tonight” a song and context which also became known in those years. 

The recording had used a few unusual experiments for its time. Not only in the guitar, but also rhythmically unusual rhythms for Western standard pop/blues/rock were used, like in 17/8, 20/8, and 7/4, amongst the usual easier pop/blues/rock standards. In general one can say the style of the album was rooted in a whole range of history, mostly expressed itself as powerful and almost aggressive playing of a '60's avarage pop style with a good taste for music, but casually completely different areas opened up, wherever it took them.

The Rake” is a very unusual psychrock track for its rhythms, and for its different time schedule of layers for the song arrangement. “Wild Times”, which starts as an average rock track, has a very experimental part on guitar (?) with an eastern influence and flavour, and psychedelic effect. “Don't Think Twice” (not the Dylan song) is like a pre-Beatles harmony-vocal rock, with a guitar sound which I recognise from The Byrds’ “Mr.Tambourine Man”, a track where the incredible guitar that made the song so special, and big hit, actually was played by the same guitarist, Jerry Cole (who's contribution made that song so strong). After a more average ‘60’s poptrack “Stone and Steel”, “Baby’s Eyes” distinguishes itself with the heavy bass and rockin’guitar, loud and aggressive which was some key to success of many ‘60’s hits. “Boil The Kettle, Mother” is great and hot rock’n roll with “almost-spoken-word-singing with bass”, and really heavy and roaring guitar, a highly original track, which was one of the regular airplay tracks popular on L.A. radio in those days. “Butterfly Kiss” has an unusual arrangement of classical music with an operatic female voice, until the rock song appears and mingles. After two more good rock songs, “Short Circuit” and “Just Who”, “The Inner Sound Of The Id” is the most renewing track of all. With a reference to Freud’s id, the track predates Timothy Leary’s meditation with tampura on the background on “Turn on, tune in”, (-it is mostly given a reference to the later Beatles with Ravi Shankar sitar-use, I have no clue why, because this is a different approach). This kind of approach found several other examples later in the early sixties, like from Don Robertson and several other hippie-versions. It is not really for any other reason, than as a mind spell presented like a kind of soft psychedelic raga. The vocals recite as if some voodoo is partiticed to release something from the soul. And it is enriched with very psychedelic, harsh but colourful guitar sounds, a steady repetitive bass and rhythm, and some sitar. 

The unused tracks from the session which didn’t appear on the LP, were simply sold by the label for recycling without the band’s approval. Several tracks were first of all used to make ‘Sounds of Today’ by 101 Strings', which is a psych-exploitation group whose albums sold like sandwiches. Other missing tracks from the Id session masters reappeared later as The Animated Egg, a fake group’s record, using nine more of these tracks. Alternative versions surfaced later as the Give Me Some Lovin' by the Projection Company, released on Custom Records in 1967, then were once more re-launched as “Are You Experienced” (with a Hendrix association to attract costumers) by T.J. Swift & the Electric Bag, in 1968. It was I think these last sessions which reappeared here now as bonus tracks. But still, the story didn’t end.  Because The Animated Egg didn’t sell well enough for the label, they made a commission to rearrange them with extra strings as “Eggs and Strings” for another 101 Strings record ‘Astro Sounds from Beyond the Year 2000’, an even more popular game. Other outtakes include “the Exotic Sounds of Love” (with heavy breathing added by electronic composer Bebe Barron). Even until today his material still is sampled by people like Public Enemy and Fatboy Slim of course again without any credits. 

The first two bonus tracks, "Wild Times" and "Don't Think Twice", are in the already earlier described much-forward aggressive ‘60’s style, with harmony vocals and with the great recognisable guitar by Jerry Cole. The very different, moody “Kimeaa” is played on resonating guitar (which sounds a bit in the direction of a sitar-guitar, I wonder how this is done or with which instrument), with additional piano and bass on calm rhythms. “Our Man Hendrix” with bass, piano and freaking fuzz guitar, is the first a-go-go psychrock track, making it understandable how such tracks were used for psychploitation. Also “Tune out of that place” with smooth-jazzy guitar, on very danceable a-go-go rhythms with hammond organ are surely attractive for the same reasons. “Give me some lovin’” is the only cover, by Steve Winwood, in a (psych)poprock style, a track with a noticeable freakabilly influence. The intro for “Boil the kettle” is lead by dance-rhythmic bluesy and very heavy electric guitar. Also “What Else” has again this a go-go reference, with very rhythmic drums, wild organ, and the always great guitar. “Uh Uh Uh” is a bluesy rock track, with an effect that I was encouraged to shake while listening, is once more a great danceable track, followed by the slightly more soulful rocking “I can’t stand it”. These extra tracks fit well with another second story which wasn’t exploited by the group themselves before, but from which the cow was milked secretly, having brought forward several different calves that grew pretty big as well. The bonus tracks now deserve their second start.

A great compilation. I only wish the background story (which I just told) was included.

Audio :  "The Rake" (or WMFU broadcast), "Wild Times", "Don't Think Twice" (or here), "The Inner Sound Of The Id
Info : http://www.forcedexposure.com/artists/the.id.html
Original article about the connection "101 Strings", "Animated Egg" and The Id : http://www.nachos.net/forums/showthread.php?p=568762
or http://www.popmatters.com/music/features/060220-astrosounds.shtml
Other reviews : http://www.concreteweb.be/reviews/...
& (further down) http://www.lysergia.com/AcidArchives/lamaArchiveI.htm
German review : 
Label (with info and sound) :  http://www.worldinsound.com/

Info on Jerry Cole : http://www.rockabillyhall.com/JerryCole.html
on Don Dexter : http://www.rockabillyhall.com/DonDexter1.html

World In Sound     Garrett Lund : Almost Grown (US,1975)***° 

Garrath Lund was part of the Caretakers, a band which opened before the great psychrock bands of that time. He recorded this album but no label was interested. Releasing it privately it sold with the help of radio promotion 2000 copies in less than two weeks, but still there was no label to release it officially. So after 26 years this finally is the first release. 

The album can be compared to the kind of albums of singer-songwriters with a deeper concentration to the music with electric arrangements, far away from other influences and with a time taken to develop, like what John Saint-Field or so did, but here with a west coast direction, and with some attention to some sweet acidic development of the electric guitar, backed by a rock band. The voice goes from normal to higher notes, with emotional calm perspectives with closed eyes. "Serene" has a fine production of keyboards (mellotron and electric piano by Angie Gudino).

The bonus tracks are rough singer-songwriter tracks on guitar without arrangements. 

Audio on http://www.jpc.de/jpcng/books/detail/-/lang/en/currency/USD/hnum/6314011
Other reviews : (in middle) : http://www.shindig-magazine.com/reviews-mar2005-4.html
(bottom) http://www.lysergia.com/AcidArchives/lamaArchiveL.htm
Label (with info and sound) :  http://www.worldinsound.com/

World In Sound          Wazoo (US,1970)****'  

Since the late ‘60s the group “United Sound” performed 50s, 60s pop and soul music. They were invited to record cover tunes and easy listening in Bob Adell’s studio’s of a new company called Adell International. With a few extra studio musicians they did a jam to see what would came out of it and how they would enjoy playing together, and they recorded the track “the way I see it”. With this track, the idea of Wazoo was born. They left the other musicians to finish the original plan, whilst they achieved their freedom. In the same way they found their complete freedom for their new project, as opposite to the original intentions why they were hired, they invented for it a story concept, as if the band came from planet Oozam and came to earth as Wazoo (“to give the muzmic back to the peeple. Zit! Zblit. Zat…zzzzz? Zot on!”). This musical compromise was a kind of big thanks for the chance and freedom experience. This means that the songs have as well a complete freedom and improvised style experiment, with echoes and all, but also returns to recognisable soul/blues and rock, which makes their unique combination. Their first try-out “The Way I See It” (also included) had already a great psych-out improvisation with 2 saxes, organ with little bit echo, bits of handpercussion, and guitars, leading the track to over 11 minutes. The most free track is “Concert” with free vocal fun, cello improvisation, feedbacks and echoing sounds, and experiments with slowed down notes, leading thoroughly to a great soulrocking freak-out called “BH” Man” with great fuzz as well, and another recoginsable soulful song structure making fun of the whole concept on “Grand Ol’Land”, like a surreal rock opera, on the theme of living in the land of liberty (they could express what they want, because they are alien pixie-heads) with their being happy to be on earth with the freedom they have (with machine-guns, and strange associative sounds in the background), while brass accompanies the rock song like a national anthem. 

An odd thing to add, is that the album cover designer, John Williams, later worked for Frank Zappa, a musician who in his turn later in 1972 made the “Grand Wazoo” album. I have not heard that album yet, so I can’t tell if there was a real style connection and inspiration, but I’m sure, especially with the kind of Zappaesque humour in the last track the master would have loved this.

Audio : "Slip On", "Arnie Funny Far Fackor"
& on http://www.worldinsound.com/ by clicking the right album, or in the label's list.

World In Sound      Michael James : Runaway World (US,1978)****  
(Originally released on ASI Records).

This album is reviewed on http://singersong.homestead.com/reissue3.html#anchor_128
World In Sound     V.A.  : Psychedelic minds vol.1 (var.;comp.2006)*°°°   
    Heavy Underground (1967-71) 

The 'unknown pieces' are not always the best to (re)discover. Many of the artefacts listed in this compilation are enjoyable, but slightly on the edge of professional and amateurish, something which would fit well, as being charming, with ‘60’s related stuff, but which does not give enough power for the more serious drive of which psycherock tends to express. If powerrock doesn’t blow you away with power it doesn’t invite me for repeat listens. Sometimes even the singing is on the edge of amateurish (like with track 8,9 of Purple Canteen and Los Noevos Shains), which I prefer not to withstand. Although I like heavy (psych)rock a lot, the best tracks for me on the album are not heavy at all, but late ’60 psych, like the track from Bhagavad Gita, "Long Hair Soulful", which is a band who seemed to have tried to put the painter Paul Klee into music paintings, and the only single from the Californian Dirty Filthy Mud. The band leader of this group lived with 13th Floor Elevators in those days. Both 45’ sides are good. The rhythmic freakbeatpsych “The Forest of Black” has some crazed electronic effects and drugged lyrics. I would have preferred a replica single reissue of this single instead of a compilation from which I do not understand of why my three favourite tracks are doing next to the more mediocre psychrock. But because last single is extremely rare and sought after, already the single alone still is worth the purchase.* 

Audio : Dirty Filthy Mud : "The Forest of Black" (or here), Blackrock : "Bad Cloud Overhead", Bhagavad Gita : "Long Hair Soulful", Purple Canteen : "Brains In My Feet
Sangre Mexicana : "Good Cause
Label : http://www.worldinsound.com/

* It seems like the "Forest of Black" track can be found on two earlier compilations, "The Psychedelic Experience Vol -2", (1998), Mystic Records, and on "Endless Journey Phase 3" (1983), on Reverberation.

A separate radioshow was done, mostly with many of these releases 
on 2006-09-16 (Radio Centraal, Antwerp). Playlist on

World In Sound     V.A. : Trip in Time, Delighted by Psychedelic Rock (US,2006)***° 

World In Sound loves psychedelic rock, and so do we. I noticed that the last few years have been stimulating for groups to sound exactly as they want, without always deliberately looking back or looking forward. If ‘70s styled psychrock or any style is really liked, it can also be made outside that time’s perspective, because then it is reinvented honestly in the present, or eventually is meant for just local pleasure. While some groups still look back trying to imitate, the number of groups who just ARE there, is growing. 'Trip In Time' list some new groups who try to be or enjoy themselves, into similar areas and a few more groups of back then, who thanks to labels like WIO, found a way back to potential fans. Mostly there are listed live tracks to give an idea how the groups sound live nowadays.

Swedish Sienna Root I found already one of the greatest newcomers for the psychedelic rock genre. (See review here). They are listed here with their single track, “Mountain II”, which is bluesy rock with power vocals, Hammond organ, and great fat bass. German Vibravoid is listed with a live track of well played heavy spacerock, a Can cover, “Mother Sky” (a long jam originating from Can’s 'soundtracks' album). The vocals are not perfectly recorded, but this doesn’t spoil it. Stoned Circus is another German group, which reunited especially for some interest in Germany. Also this track is recorded live in a similar way. La Ira de Dios is a new promise for the psychedelic rock genre from Peru, with the typical Peruvian rawness, and a stoned rock feeling. (review of their release here). Treacle People are closely related to the label. The group's live track of the ambitious "Atom Heart Mother" (by Pink Floyd) is given a convincing and really enjoyable psychedelic rock version (of over 15 minutes). (Their real album couldn't convince me so). German based Loxley Beade’s music, influenced by psychedelic music interests, here have used obvious song melody basics, but they also improvise a bit with their guitars. I also remember the German band Fantasy Factory who were inspired by people like Robin Trower. They have now changed their name into Fantasyy Factoryy. I liked the vocals less, but I remember they always had a good drive with electric guitars and organ. i-H8 Camera is an Antwerp band with Craig Ward (ex-Deus) showing a very improvised independent rock sound. The convincing evolution in the track surely goes psychedelic in a raw underground form, and with a nice tempo change near the end. Dragonwyck is one of those old discoveries. The band reformed with the Karmic Society and found a new life. (review here). Listed is a rare live track. The German based Ma-Nia is another band with a groovy heavy rock style and with aggressively raw, almost postpunk vocals, with fine electric guitar, using a fast, almost oriental chord ! Convincing basement rock. Last track is a Greatful Dead cover by Karmic Society. Also this group convinced me with their use of tempo changes and with their improvised moody psychedelic boogie jam on guitars, organ, drums.

The record is a good presentation of what the genre can mean today, for possible new gigs and festivals. I only hope that re-establishing a safe genre in which bands can feel comfortable won't make them feel too at ease, so that they would forget the challenge which music can present.

Label (with info and sound) :  http://www.worldinsound.com/

World In Sound      V.A. : World In Sound Tracks, Episode 1 (var.2007)???

Another compilation album of the label spanning their reissues mostly.  

Check out http://www.worldinsound.com/ for details.

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