BB: If I remember correctly, the first Love album took us about four days to record. The band came in, they were well rehearsed, and we basically documented where they were at. Jac got the performances out of them, made the decisions. Then he went back to New York and I mixed it by myself and then sent him the mixes. The industry standard was three seconds between each song. But in Jac's sequencing, he would make the spaces 10 seconds if they needed to be that long, in order to set up the songs properly. He was also very cognizant of the keys that the songs were in, so that we didn't have train wrecks of songs going from the one key into another. He invented a lot of that way of doing things. It wasn't just sequencing the songs, where you'd put the single at the top of one side, bracket the ends and throw a bunch of other stuff in between. He didn't do that. He treated it as an event where you listened from beginning to end, and I think that has influenced the entire industry. He's probably not that well known for it, but he invented that process.
BB: It stopped twice, and started three times. First time, I was going to produce it alone with Neil Young, and about two days into it he said that he couldn't really do it because of his commitments to The Buffalo Springfield. Then I was going to produce it alone, which I did, even though the credit says Arthur Lee and Bruce Botnick. That's because we'd gotten into a disagreement, and my pride outweighed my sanity, and I called Jac and insisted that my name not even be on the album. Later on I regretted what I did. So then I got the guys together and Arthur had all of these great songs, and they were playing really badly. Extremely badly; there was nothing there. I said to Arthur, "This isn't going to work; we're not going to get an album." Then I called Jac and told him that I'd like to do a couple of cuts with studio musicians, and I called in the Wrecking Crew, Hal Blaine and those people. Arthur played acoustic guitar and we did a couple of songs, which wound up on the albumyou can really hear the difference.
The Doors Strange Days Album Rar
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Before becoming the defining jam band, the Grateful Dead had rather humble beginnings. Their self-titled debut album was a mix of covers of blues and folk songs, with just a couple of originals. The psychedelia of Anthem of the Sun and Aoxomoxoa is nowhere to be found here, nor is the folk rock of American Beauty and Workingman's Dead. The two originals, "The Golden Road (To Ultimate Devotion)" and "Cream Puff War," are perfectly fine garagey rock songs, though the covers make for the best moments on this album. Their version of the traditional "Cold Rain and Snow" is great, and their pretty cover of the folk song "Morning Dew" (a rare song on the album to remain a show-stopper late into their career) is a classic recording. The Grateful Dead is better for completists and diehards than beginners, but once you've heard their more classic material, it really is a fascinating look into their early days as a band. Jerry's voice sounds as pristine as it did in the '70s, and the Dead's unique soloing is already starting to come together on this album. The studio albums were never as improvisational as the live shows, but the Dead's 10 minute version of "Viola Lee Blues" is a great showcase of their ability to jam. Maybe the biggest treat as far as studio albums go is the prominence of Pigpen's organ. It was a crucial part of their early sound, and he shines here as much as Jerry does. [A.S.]
Eric Clapton became so devoted to a rather traditional form of blues rock for so much of his career, that it's easy to forget that he's the guy who wrote "Strange Brew." Joined by the extraordinary talents of Jack Bruce and Ginger Baker, Clapton had one of the Summer of Love's strongest power trios with Cream, and surely a strange brew of some kind went into the making of Disraeli Gears. Plus, is there a better name for a Summer of Love anthem than the album's biggest song, "Sunshine of Your Love"? Decades of high school bands may have ruined that song's guitar riff, but every time you re-listen to Clapton play it, you remember why it's so iconic. Guitar god status alone doesn't make a great psychedelic rock record, though. It's the songwriting on Disraeli Gears that earns it a spot on this list. Take the woozy harmonies of "World of Pain" and "Dance the Night Away," or Jack Bruce singing "the colors of the sea bind your eyes with trembling mermaids" on "Tales of Brave Ulysses." Those moments make Disraeli Gears even more tripped out than Clapton's wah pedals do. [A.S.]
Sgt. Pepper's may be the most "important" Beatles album released in 1967, but the weirder Magical Mystery Tour is arguably more of a gem as far as anti-commercial psychedelic rock goes. John and George were really the ones who took The Beatles into genuinely weird territory, but Magical Mystery Tour was such an oddity that even Paul got trippy with "The Fool on the Hill." George's "Blue Jay Way," which took full advantage of the advancements in studio production techniques that The Beatles were making (like reversed tape), is one of the band's creepiest songs. "Flying" did wordless psych-pop as good as The Beach Boys. John's "I Am the Walrus" is delightfully strange, timeless, and really doesn't need an introduction at this point. The US release (the one I'm used to and prefer) tacked on five 1967 non-album singles, and those singles really do sound like they belong here. When I hear the opening notes of "Magical Mystery Tour," I know I'm about to embark on a journey that doesn't end until the climactic ending of "All You Need Is Love," much like I feel about the Sgt. Pepper's title track and "A Day In The Life." Among those five songs is the game-changing "Strawberry Fields Forever," the song Brian Wilson partially credits for causing him to abort Smile. Like "I Am the Walrus," it really needs no introduction and it's really everything everyone says it is. With some of the band's most gorgeous use of strings, horns, and Indian classical instruments, and some of John's most surreal songwriting, psychedelic pop almost never gets better than "Strawberry Fields Forever." [A.S.]
Before becoming the defining jam band, the Grateful Dead had rather humble beginnings. Their self-titled debut album was a mix of covers of blues and folk songs, with just a couple of originals. The psychedelia of Anthem of the Sun and Aoxomoxoa is nowhere to be found here, nor is the folk rock of American Beauty and Workingman's Dead. The two originals, \"The Golden Road (To Ultimate Devotion)\" and \"Cream Puff War,\" are perfectly fine garagey rock songs, though the covers make for the best moments on this album. Their version of the traditional \"Cold Rain and Snow\" is great, and their pretty cover of the folk song \"Morning Dew\" (a rare song on the album to remain a show-stopper late into their career) is a classic recording. The Grateful Dead is better for completists and diehards than beginners, but once you've heard their more classic material, it really is a fascinating look into their early days as a band. Jerry's voice sounds as pristine as it did in the '70s, and the Dead's unique soloing is already starting to come together on this album. The studio albums were never as improvisational as the live shows, but the Dead's 10 minute version of \"Viola Lee Blues\" is a great showcase of their ability to jam. Maybe the biggest treat as far as studio albums go is the prominence of Pigpen's organ. It was a crucial part of their early sound, and he shines here as much as Jerry does. [A.S.] 2ff7e9595c
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