From the Crates...

I thought I would share some thoughts about some recent LPs and tracks that I have come across.
The Chambers Brothers Greatest Hits. The title is a misnomer, of course. I am not a Billboard Hot 100 scholar, but really come on "Time Has Come Today" is the only hit I know of. The set opener "Funky" has a nice short break at the beginning. The LP version of "Time Has Come Today" has a much longer freak out / jam/ break than the 45 version that I have had for years. Look for this break to appear on a cratedigger labs release in the near future, sound pilgrims.

Side 2 contains a track that has much backwards weirdness and sound effects ala "Time Has Come Today" and was a nice treat that I had not heard before.

The name checking the Eric Burdon does on the track Monterey has not aged very well. The music is light as well. Not any of the Gratefully Dead unreleased single swagger is evident. Searh that track out as it has Burdon's growl, backwards guitars like Hendrix, and has that heavy acid sound that Chas Chandler (early Animals bassist, Jimi manager) became known for.

My ears perked up a bit when the stereo effects of "Closer To The Truth" where a blues dirge and and out of tune guitar line and twisted in a most peculiar way.

The hippie acid and horns concoction that M. Burdon brews up on this release is nothing to get charged up about. His acid soaked lyrics suggest a sophomoric obsession with Louis Carroll type topics. I won't be spending much time with this one.

Rockit Scientist Records-NYC

I had a long day at the office in Gotham, and my dinner plans changed.
So what to do? I decided to take a little hike a bit south and a bit east over to the new Disney Land that is The East Village.

As I ventured a bit, I came upon St Mark’s Place. In the back of my mind, I remembered that there was a record store that has been advertising in Ugly Things for 12 years or so. I could picture the ad, but could not remember the store.

On the south side of the street, I saw Kim’s Video, which is the most absolute sickest video store that I have ever seen. It has at least 2 levels, and to be honest, since I can only focus on one collecting addiction at a time, I just bypassed looking at all the video and DVDs, and went up straight to the back of the second floor to the vinyl section. I found a couple of things, but when I looked at the condition, missing the paper insert, general wear, etc, I could not pull the trigger on a few $6.99 records.

As I left Kim’s, the name of the record store came to mind—Rockit Scientist.

I went about another half block or so, and I saw Rockit on the north side of the street. It is a couple of steps down off the sidewalk. When, I walked in, I was taken aback. This is a place of musical nirvana. On the right side of the store there are racks from floor to ceiling, filled with cds that range from soul to funk to 60s garage, psych and cool music of all stripes. Along the left side of the store is the traditional record store raised counter of yore, featuring various record related ephemera and an older Technics turntable. Moving towards the back, past the basement stairs, there is a rack of LPs on the left and LPs on the right. Going up the walls and continuing onto the ceiling there are other records- mainly mid value 45s. The record explorer needs to be careful to not stub your toes on the budget LP crates that sit in front of the other racks.

I found a box of LPs titled, James Brown. Bingo. I looked through the box a bit and came up with a sealed copy of Sho is Funky Down Here priced at $9.99. The record is marked as all instrumental. “James Brown plays and directs the James Brown Band.” Done.

Frankly, I was a bit overwhelmed at the depth and breadth of the music on offer in this tiny store. I struck up a conversation with Robert (?) the proprietor. We discussed all manner of music and musicology. This guy knows his stuff and knew many of the old garage folks from whom I have purchased records, reissues, reviewed their releases, or even interviewed- Crypt Records, Norton Records, Mop Top Mike, etc. over the years.

I remembered something that I was interested in getting a copy of and asked for a recommendation of some Gil Scott Heron. I picked up an LP compilation of Gil Scott Heron called The Revolution Will Not Be Televised. I can’t wait to hear this one either.

I will definitely be back to visit.

The Index

I got a burn of their 1st 2 LPs. These are legendary to the garageistes out there. An original of of the second album is in the neighborhood of US$3000, I think.

Listening to the 1st track, on LP #1, (pictured above in ragged glory) all I can say is that they are not The Bachs.

The second track, I Can't See Nobody, is a thin moody track with multiple vocal parts. "My eyes can only look at you," they say. Quite an improvement over the lead track.

Now their sloppy, reverb drenched version of the nugget Spoonful, is bordering on genius. The outro of Spoonful repeated over and over is too much.

Then they dig into a version of 8 Miles High that sounds more in tune with the Ventures in Space as opposed to the folk stylings of Mssr. McGuinn, Crosby et Clark. The hook, is driven through reverb abuse. I detect Fender Pro Reverb on overdrive. Doesn't better the original, but their chiming vocals help to make it work. Set the controls for warp, gents.

Side two starts with a track called New York Mine Disaster.

The energy level goes way up as does the tempo with Paradise Beach. The guitar is an acoustic this time. The guitar break with an acoustic, with nary a folk feel is cool. Bring it on.

Break Out is a freak out jam that kicks back into electrical territory and features more overdriven tones, this time bordering on feedback. The bass sits and percolates in the pocket and the drums are beating a propulsive pattern.

The Index comes back to earth with another acoustic number, I Love You. Here the cymbals provide accent and a response to the repeating guitar loop. The break here once again is acoustic and not annoying. Dare I say it, it seems that they are providing Mood here.

Rainy Starless Nights closes the set. Vocalist John Ford sounds like he means what he sings. The loud reverb crash at the end must be positioned to give the listener a bad trip.

This LP will surely grow on me. I may have to take back that Bachs comment above. My burned copy is sourced from a rough copy of the original disc. I would love to hear a better copy.

Garage sale diggin'

Spring is here in the air at least in the greater Chicago area, it has been 80 for the past couple of days... all the better to open the screen doors and crank a recent LP find from the local garage sales.


One of the best grabs this past weekend was Push Push by Herbie Mann. I had seen a blurb about this LP somewhere that lead me to purchase this record, as the cover art alone would have scared me off. Dude, any kind of shirt would have been more flattering.

Piano, with both a large bass and some moderate wah wah propel the title, lead off track, providing the bedrock, from which Mr. Mann blows his flute. A minute or two into the song, a well placed tambourine, in the left channel, provides a counterpoint to the flute that is in the middle of the stereo image. A bluesy guitar riff populates the right channel. The guitar then busts into a laid back break that builds into something more. As the break builds it becomes obvious that the guitar is provided by Duane Allman, just a short time before he met his early death at the intersection of a motorsickle and a peach tree. Herbie heads towards the mother ship on his instrument after Duane's break. Pretty monster groove-- all 9 plus minutes of it.

The next track takes the listener to chill out land. Supposedly, it is a cover of What's Going On. I honestly can't say that it sounds like an instro cover to these ears.

Flipping the disc over to Man's Hope, the tempo picks up a bit and even features at least one flute break. The accompaniment, borders on the funky and will drive the point home as everything builds to the (too early) fade out.

The cover of If is more of a recognizable track to these ears at least. Here the build is quite massive from the entire band to the fade out, which is so tight it seems that it is more of a harsh cut.

The final track is an upbeat take on What I Say, that features licks a plenty from Allman, coming at you out of the right channel. The Rhodes appears to be in the left channel with the flute front and center again. The call and response with the flute taking the place of the vocal and back and forth with Allman is pretty cool.

The resident husky (and music critic) seems to dig this LP as she is stretched out in front of the speakers, grooving to the bass that has at times the syrupy consistency of flat root beer. This record sounds good and is in NM condition. I would recommend it. There are cd copies on AMZN.