T KAIL Somewhere, Sometime GREAT PSYCH LP Sealed & RARE
$
100
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Description
1980 Jade Records 8001. Sealed copy of this little-known gem. Check out the following rave reviews from the Acid Archive of Underground Sounds:
Remarkable trip in time back to the late 1960s femme-vox hippierock sound from this mystery band. Opening track in particular is a dead ringer for the fuzzed teen chick Yankee Dollar/Fear Itself style, while subsequent tracks show 1970s influences creeping in, both in terms of ambitious playing and arrangements, as well as an overall nightclub/singles bar atmosphere that I like. Sounds like it might be a pro loungerock band who wisely filled their sole chance at vinyl with originals rather than "Macarthur Park" and "Hair" medleys. Playing is very tight and both the gal and guys sing well. Unfortunately a completely misplaced disco track in the middle of side 2 breaks the spell a bit, but this is still one of the top 10 local psych-influenced LPs from the 1980s that I've heard. Recommended especially to fans of Titus Oates and the rocking stuff on Galaxy. Sleeve artwork utilizes the same Escher "stairs" design as Mandrake Memorial's "Puzzle", which is obviously a good sign. [PL]
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After Bobb Trimble’s work, this is the best 80s psych album. In fact, at least for side one I’d go out on a limb and rank it the very best co-ed San Francisco-style psych album. In the tradition of the best latter day psych, it clearly is influenced by the golden age of West Coast music, but sounds completely of its time as well. This is no simple throwback or derivative work; it’s a wholly unique and distinctive album that combines a very wide and unlikely set of influences in creative and wonderful ways. The album’s biggest criticism has come from the inclusion of a straight disco song on side two. The song is unlikely to appeal to the same audience as the garage-styled opener “Peace of Mind,” but in the context of the album, which flows from song to song, showing subtle shifts in style, it actually makes perfect sense. Similarly, neither the new wave-styled synthesizer on the title track or the long jazz-funk instrumental opening on the final song sound out of place. There seems to be no attempt at attracting any particular type of audience here: no artifice, no pandering. It’s a wonderful album. Highest among the many pleasures is the absolutely stunning title track, which benefits from a chill-inducing vocal from Kathy Bass. The long guitar solo on “Bye Bye” is also a winner, in the best tradition of Quicksilver Messenger Service or Tripsichord Music Box. This is also one of the very few albums of this style where the male and female vocals coexist without stepping on each other’s toes. If you can live with the disco tune, this is very, very highly recommended. The band is quite mysterious (no photos on the album cover) and sadly appear to have made no further recordings. Great Escher cover art. [AM]
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