LP-Q-65 Revolution 60's dutch psych garage freakbeat re
$
26
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Description
(....REVOLUTION.......) by ( Q-65 )...... ....(a fan says:I've listened to so many albums from the 1960s that I am usually wary of the "lost classic" tag. While there are definitely some genuine unknown treasures out there (The Monks, the United States of America, etc.), most forgotten albums have been forgotten for a reason. Having said that, this album came to me as a pleasant surprise. It won't blow you away, but is certainly better than most of its garage punk peers. That it was released in 1966 (by a Dutch band, no less) is all the more amazing. It definitely comes across as a product of '67 with that year's dirth of post-Sgt Pepper eclecticism. Punk, blues, soul, and more, this album diverges in all directions, and the Q65 prove to be capable at all the sounds they try to tackle. The rundown: The album starts off with harmless garage rocker "The Life I Live", a good track though slightly forgettable. It is followed by the Troggs-like stomp-rock "I Got Nightmares", one of the album's highlights. They next change it up with the pseudo-Indian flavored "Just Who's In Sight" featuring a recorder(!) solo. "Mr. Pitiful" is a sax-backed Stax-inspired soul song that could have found a home on an Otis Redding album, reminiscent of "Lady Madonna" but better. "I'm a Man" is the Bo Diddley classic--not a Yardbirds original as another reviewer states, although the Q65 version is obviously based on the Yardbirds' cover. A nice fuzzy bassline and solid harmonica work might actually make this better than the Yardbirds' take, though still not in league with Diddley's. "Middle-Age Talk" takes the album in another direction entirely; a genuine acoustic blues number, the type which the Stones would build their late-60s career on (think "No Expectations" from "Beggars Banquet"). "Summer Thoughts" starts off as a slow, brooding blues song, then builds into a slow 60s punk tune. Not a bad song at all, though perhaps one of the weakest here. But if this is the weakest, it only speaks of the record's overall strength. The blistering "Down In the Bottom" is one of the most abrasive songs to find its way on record pre-Velvet Underground, on par with The Who's early work, but with a toughness that Dutch rock has become known for. "Get Out of My Life Woman" is an oft-covered song that the Leaves, the Paul Butterfield Blues Band, and the Fugitives all recorded around this same time. This version is a little bit tougher than the others, though nothing to get too excited about. The Q65's take on "Spoonful", on the other hand, is a rather inspired interpretation. Anchored by some nice acoustic blues guitar, it is still no match for the Howlin' Wolf original, but surely better than contemporaries such as the Shadows of Knight and Cream's attempts. "Sour Wine" provides further evidence of this album's classic status. With its accordian-laced balladry and raga-esque guitar work, this Dutch band somehow manages to successfully pull off a French-sounding, Indian-tinged love song with English lyrics. "Bring It On Home" is a 13+ minute version of the Sonny Boy Williamson song that would later be covered by Led Zeppelin. Though perhaps a bit tedious for some to sit through, this is one of the earliest examples of jamming that made it onto record, though it would become a staple of the psychedelic rock album in 1967 and 68. This attempt works, with enough surprises throughout (echoing voices, shredding guitar work, falsetto howling) to warrant repeat listenings. All in all, this a definite must-have if you are a fan of mid-60s garage rock in the Nuggets vein. Forget the over-hyped Electric Prunes, Remains, and Creation. Seek this one out. MINT UNPLAYED KILLER )........
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