By 1968, a new breed of long-haired U.K. bands was sprouting, armed with gigantic amps and loud, aggressive, songs influenced by the high-volume of Cream, Jimi Hendrix and Blue Cheer, among others. I’m A Freak, Baby is a three-disc set celebrating these bands, who from ’68-’72 invented new forms of angry blues, deranged prog-rock, and brain-melting psychedelia that would set the stage for heavy metal punk rock, lurking just around the corner.
It’s an under-celebrated scene. One which defies easy categorization and doesn’t even have a widely accepted genre name that can be slapped on it (you could call it proto-metal or heavy-psych, but I’ve also heard it called freak-rock, a more accurate catch-all). This new boxset gives you the best tracks from 48 freak-rock bands, running the gamut from Rock and Roll Hall Of Famers (Deep Purple and Fleetwood Mac on the ascent, and The Yardbirds’ last gasp before morphing into Led Zeppelin), to songs that were previously unreleased until now (The Kult, Hellmet and Barnabus).
While most of the tracklist is dedicated to hard rockers, the scene’s punkier side comes out in streamlined tunes from Stack Waddy, Crushed Butler, The Deviants and The Pink Fairies (whose “Do It” is one of the all-time great proto-punk anthems). Jerusalem and Iron Claw show how Black Sabbath’s influence spread quickly, with doom/downer classics “Primitive Man” and “Skullcrusher”, the latter of which provoked legal threats from Sabbath’s management for sounding so much like them. The seeds heavy metal’s next generation are here too, with songs that would be later be covered by Judas Priest (Fleetwood Mac’s “Green Manalishi (With The Two Prong Crown)” – a stone killer that has nothing in common with the soft-rock they’d later be known for) and Iron Maiden (“All In Your Mind” by Stray), as well as a song called “Falling” by a completely different band called Iron Maiden from the late-1960s. However, it’s Lemmy ghost that looms largest over this set, which is dedicated to his memory. First he’s in there as the singer on Sam Gopal’s 1969 song “Escalator”, which sounds a lot like Motorhead would have if Phil Taylor played tablas instead of drums. Then there’s his pre-Motorhead band Hawkwind, who are here with an unreleased pre-Lemmy single, “Sweet Mistress of Pain”, from 1969 when they were still called Hawkwind Zoo. Lastly, while there’s no direct connection, I’ll be damned if the box-set’s title song, recorded by Wicked Lady in 1972, doesn’t sound exactly like Motorhead’s amphetamine rock, three years before their first album.
There’s tons of great material, with remastered sound, informative liner notes, and a reasonable list price (under $25 on Amazon) to boot.
Exploded View are a new band, but you might know its members from other projects. Singer Annika Henderson has released music as Anika on Geoff Barrow’s Invada imprint, and her Mexican-based band is Martin Thulin, who’s produced Crocodiles; Hugo Quezada from the band Robota; and Hector Melgarejo, who plays with Jessy Bulbo. Together they’ve made an exciting debut album of songs that were improvised without any overdubs, only using first takes. That may have you imagining an album of messy jamming splattered around half-formed ideas, but that’s not the case. In fact, I heard the album several times before learning about the band’s recording techniques, and never suspected anything out of the ordinary. They avoid succumbing to the pitfalls of improvisation by valuing mood and economical playing over displays of flashy technique. It’s hard for the 1-2 note spacey dub grooves of “Lost Illusions”, “Call On The Gods” and “Killjoy” not to remind you of Can, but I also hear the influence of Silver Apples and Throbbing Gristle’s proto-electronica bleeps and bloops, and hints of No Wave in the occasional metal-scraping guitar tones. The music is great, but Annika Henderson’s performance behind the microphone is equally interesting, mixing the mystical wisp of Damo Suzuki with Nico’s Germanic intonations. It’s a malleable voice too, guiding listeners through lighthearted dub-disco (“Orlando”) just as well as a chilling condemnation of people who remain silent against the violence of war (“Larks Decending”). This is heady, inventive stuff (the rhythmic robotic mumbling on “Call On The Gods” is literally something I’ve never heard before) and as of today (8/13) it’s the best debut of 2016.
I recently received three limited-run singles from State Records…and here’s reviews of all three:
The Embrooks: Nightmare / Helen
I’d lost track of The Embrooks after being unimpressed by their 2000 album, Separations, but after a 10-year hiatus the UK trio are back in business with this new two-song single, and much to my surprise, it smokes. “Nightmare” is a speedy garage rocker, which is part Who/Creation freakbeat, and part high-energy Detroit proto-punk. A new recording of their old song “Helen” is thankfully more of the same hard-hitting stuff, with a slightly poppier feel and some stinging guitar fuzz slathered all over the back half. Everyone in the band sounds like they’re giving it their all on these songs, but Lois Tozzer deserves accolades for attacking her drums a bit like a young Keith Moon. Hopefully this single leads to more new material.
Thee Jezebels: Black Book / Cried Over You
UK trio Thee Jezebels’ debut 45 is four minutes of fuzzed up garage rock, the same way it was played fifty years ago, but with a pinky dipped into early punk rock. Both songs are rudimentary, and the recording is pretty lo-fi, but who cares? You can say the same thing about early-Kinks, Link Wray and Billy Childish, and they’re great. The key here is fun, and it sounds like Thee Jezebels are having a blast.
The Missing Souls: Sweet, Sweet Sadie / The Alligator
The Missing Souls are a French quartet with an album and some singles to their name, despite forming only two years ago. Their latest 45 is as perfect a recreation of garden variety mid-’60s garage rock bands as their name is. The A-side cover of The Teardrops’ “Sweet, Sweet, Sadie” has all the fuzz guitars, organs and guitar rave-ups you could possibly want. It’s cool, but I prefer the B-side cover of “The Alligator” by The Us Four. The guitars get a little crazier, the groove is a little stronger, and the cheap-o recording sounds just about right. Oh, and the alligator in question is a type of dance of course! Neither song will make you smarter, but I bet they can kick a party into overdrive.
A few years back I posted a positive review of a reissue of Mick Harvey’s mid-’90s Serge Gainsbourg covers albums – Intoxicated Man and Pink Elephants – and now I have to praise it again since its release inspired Harvey to revisit the concept almost two decades later and record the songs that would become Delirium Tremens. The concept of Harvey recording English translations of Gainsbourg’s songs hasn’t changed, however Delirium Tremens exists in an entirely different cultural context. Back in the ’90s these albums were like a public service for music geeks since Gainsbourg’s albums were hard to find, and even if you snagged one you didn’t know what he was saying unless you spoke French. Of course, since then the internet has made everything readily available, so Delirium Tremens is now simply one good performer covering the songs of another. That it begins with a mid-70s obscurity called “The Man With The Cabbage Head” (or “L’homme a Tete De Chou”) tells you right off the bat you’re not gonna hear Gainsbourg’s best known material. Harvey’s already recorded most of those songs anyway, so instead he digs beneath the surface to find gold in obscurities. He does just that with a set of largely unfamiliar songs that showcase his natural fit as a Gainsbourg interpreter as well as the arranging skills he’s honed over decades working with Nick Cave, PJ Harvey and his own solo projects. “Coffee Colour” and “Deadly Tedium” are both jazz cabaret, with witty lyrics and inventive playing from an interesting cast of backing musicians. “I Envisage” is a different beast altogether, with a none-more-black, almost Joy Division-like, performance that matches the bleak visions of Gainsbourg’s lyrics perfectly. “SS C’est Bon” is a Holocaust-era black comedy with rapid-fire lyrics that are hard to understand amidst the chaotic music, but worth looking up for a lesser-heard example of Gainsbourg’s warped genius. The album ends with Harvey and Katey Beale doing a stunning version of “The Decadance” which isn’t that far removed from the original, but is beautifully arranged all the same. It’s a perfect ending to a great album, and an exciting look ahead to Harvey’s fourth album of Gainsbourg covers – focusing on his work with female singers – planned for later this year.
It’s hard to believe someone agreed to publish a book on The Hollywood Brats, considering the band’s sole album – a 1974 glammy proto-punk classic – was only released in Norway, where it sold just 563 copies. Despite their obscurity, the book exists, and it’s a great read to boot. Author, and Brats singer, Andrew Matheson never wrote a book before, yet he tackled Sick On You without a cowriter. Despite his inexperience, he’s got an immediately enjoyable writing voice – part self-deprecating comedian, part arrogant rock-star and part street urchin – and a ton of great stories about the highs and lows of his almost single-minded attempts at getting a flamboyant Stones/Kinks circa-’67-meets-glam band off the ground in dull and depressing early-’70s England. His wild tales include dodgy gigs, even dodgier living situations, mafia-owned record labels, punch-outs with Freddie Mercury…and, like his run-in with Freddie Mercury, he pull no punches. He’ll tell you exactly what he thinks at all times, even when his opinions fly in the face of accepted wisdom. Unfortunately those opinions occasionally have him engaging in cheap ethnic stereotyping that rubs you the wrong way. Cut those parts out (and boy, I wish you could) and he’s got a great book on his hands – it’s no wonder Mojo Magazine named it their 2015 Book Of The Year. I bet it would make a great movie too.