Tag Archives: Iron Butterfly

Highly-Unscientific Rock Poll: Best Psychedelic Rock Band

Sometimes there are questions too big for one man. Sometimes, in the search for ultimate truth, we must seek the guidance of others. And then there are times when one wants to increase traffic to one’s blog by actively seeking participation of one’s small readership by stoking the fires of eternal debate…

Yes friends, it’s time to review the lastest statistical disaster I like to call my HIGHLY-UNSCIENTIFIC ROCK POLL! This week I wrote a nerd-tastic article about NUGGETS, a boxset of trippy psychedelic rock from the 1960’s. It got me thinking about psychedelic rock bands in general and thus was born a poll.

Let’s break-down/over analyze what happened:

7, 6, and 5 (no votes) Iron Butterfly, T. Rex, and Steppenwolf: all three bands received exactly zero votes. Now, it should be noted right off the bat that only 10 people (myself included) participated in this survey (hence the “highly-unscientific” nature of the poll results) however I strongly agree and disagree with the votes these bands (didn’t) got.

First, let me address T. Rex. Marc Bolan and company were the last band I added to the list. I basically ran out of bands and didn’t want to add a band like The Beatles (which would have been too obvious and would have sweeped the poll). So I reluctantly added T. Rex. Although, to be honest, I don’t think T. Rex fits. They were more “glam” than “psychedelic” rock. True, they have some pretty trippy songs (especially in their early stuff). But for the most part, I think T. Rex was a mistake on my part. They didn’t belong on the list.

Iron Butterfly, and to a lesser extent Steppenwolf, didn’t get any votes probably because they were too psychedelic. I think most people dismiss Steppenwolf outright because their singles have been played so much on the radio they’ve lost their edge and have been relegated (unfairly) to parody. Iron Butterfly is a one-hit wonder–but that one hit “In-A-Gadda-Da-Vida” is probably the greatest pscyh-freakout song ever. But one song does not a “greatest band” make, does it? I approve of Iron Butterfly’s lack of votes, but feel bad for The ‘wolf.

3. (tie) Cream and The Strawberry Alarm Clock: all three bands (ironically)tied for third place. Just to be completely transparent in my reporting, let the record show that the one vote for Cream was my vote. I think that Cream should have been #1. I think that in general Cream has the best psychedelic songs of the bunch. As a power trio, Cream created the most dynamic, textured, weird-ass sounds of any band on the list. But that’s just my opinion. The Strawberry Alarm Clock are, like Iron Butterfly, one-hit wonders. Their one-hit, “Incense and Peppermints” is pretty much a textbook example of psychedelic rock. And like Steppenwolf’s many radio hits, the song has been over-played and (thanks to use in films like AUSTIN POWERS) is now a parody of the era in which it was created.

2. The Grateful Dead: The poll was dominated by bands with a massive cult following, which shouldn’t be too surprising. The Dead are a another band that I added to the poll but ultimately regretted, like T. Rex. I don’t think they’re the best example of psychedelic rock. Still, they made some freaky-ass music and God know’s their is a massive contingent of people that worship they at their tied-dyed altar.

And the winner…

1. Pink Floyd: Winning by a landslide, Pink Floyd came out on top as the “greatest psychedelic rock band ever.” While I didn’t vote for them, I can’t help but approve of this choice. Pink Floyd have always been innovators in sonic freakiness. Whereas psychedelia might have been a fad or genre that some bands might have tired (like The Beatles), for Pink Floyd psychedelic sounds were a way of life. Hell, founding member Syd Barrett did so much LSD that he completely lost his mind. DARK SIDE OF THE MOON is pretty much universally regarded as the freak-out album. Earlier Floyd albums are even trippier and go to even darker places.

So there you have it. Disagree with the results? Well then head on over to Facebook and “like” DEFENDING AXL ROSE. Then the next time I have a poll you can VOTE!!!

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NUGGETS and The Dukes of Stratosphear

Psychedelic. What does that word kick up in your mind? Drugs. Drugs that make you see bright, shiny, other-worldly colors. Back in 1960’s, when LSD was “discovered” popular music was altered (for the better in my opinion) when artists began experimenting in the studio to create songs that recreated and enhanced the “trippy” effect LSD gave it’s users. I have no interest in going on a real-life, honest-to-God psychedelic journey…but I’m always ready to dip my mind in the vibrant colors of psychedelic music. Back in 1972, near the end of the “Psychedelic Era,” a dude named Jac Holzman at Elektra Records assembled one of the greatest collections of American and British Psych-rock/pop. The 2-LP was called NUGGETS: ORIGINAL ARTYFACTS FROM THE FIRST PSYCHEDELIC ERA 1965-1968. Anyone wishing to earn a million-bajillion brownie points with me can do so by tracking this thing down and buying it for me…

Nuggets. Get your rainbow-shimmering dipping sauce ready...

Anyway, NUGGETS didn’t feature any bands that today are very well known…in fact, one of the reasons Holzman put NUGGETS out was to preserve these rare gems (or “nuggets”) of great 60’s music before they were lost to the ages. Despite being a bit random and obscure, this box-set influenced a shit-load of musicians (and critics).

One-hit-wonders have always fascinated me. I could, in fact, write a whole blog post about that strange musical phenomenon, but instead my focus is The Dukes of Stratosphear.

Flash forward from the 1960s, past 1972 and NUGGETS…all the way to 1980’s. The eighties music scene did not look kindly on the 1960s. The era of excess, for the most part, rejected the idealism of 60s–and psychedelic music. Which is why British rockers XTC probably adopted the guise of “The Dukes of Stratosphear.” Already heavily influenced by classic 60’s English pop, XTC admitted to being fans of The Beatles in a time when The Clash were pissing on the Fab Four (and selling lots of records). Going against the grain, XTC released two EP’s that hearkened back to an earlier, “trippier” time–1985’s 25 O’CLOCK and 1987’s PSONIC PSUNSPOT.

CHIPS FROM THE CHOCOLATE FIREBALL is a 1987 CD-only compilation that combines both shorter records into one larger package. Consisting of sixteen short, strange tracks, CHIPS is a great band both aping and embracing the music they grew up loving. Under the moniker of The Dukes, XTC imitate the styles of The Byrds, The Hollies, The Beatles, The Beach Boys, Jefferson Airplane, and yes…Iron Butterfly.

Lots and lots of Iron Butterfly. You know Iron Butterfly from their one (and only) great song “In-A-Gadda-Da-Vida.” That song featured a shit-ton of hypnotic organ playing. That’s the sort of thing found of CHIPS FROM THE CHOCOLATE FIREBALL. Except it’s not annoying. The record has a a lot of ALICE AND WONDERLAND-like spoken word bits in between tracks. It’s all really freaky man. Really freaky.

25 O'Clock, time to put up your DUKES.

25 O’CLOCK was released on April Fool’s Day, so this stuff is not meant to be taken seriously–however it’s hard to listen to the the Pink Floyd-eque “Bike Ride to the Moon” and not be impressed. Sure, it sounds like a Pink Floyd rip-off…but have you ever tried writing a Pink Floyd song? It’s not easy. Hell, Pink Floyd can’t even write Pink Floyd song anymore. I guess what I’m saying is, it would be wrong to dismiss this record on the basis that the songs are so derivative.

Consider, for example, The Hollies-influenced “Vanishing Girl.” This song has all the trademarks of The Hollies…the distinctive vocal harmonies, the jangly 60’s guitar flourishes, the intricate story-like lyrics. This song sounds like it was recorded in the 1960s. You could go back in time and play it on the radio, and not only would it sound of the era–it would have been a hit. Sure, it’s unlikely that the song could exist without The Hollies…

This is the case for many of the albums more memorable songs. “Brainiac’s Daughter” is a whimsical ode to the daughter of Superman’s nemesis that’s very similar to Paul McCartney’s 1975 B-Side “Magneto and Titanium Man” (both songs are wacky with lyrics that reflect the songwriters rather shallow understanding of their comic book subject matter–Brainiac has no daughter). Though it’s a bit too cute for it’s own good, the song works for me only because it’s so far “out there” with it’s psuedo-vaudevillian sensibility. Like “When I’m 64” it’s a throw-back to a throw-back.

While “Brainiac’s Daughter” may very simple, repetitious lyrics, a particularly clever set of lyrics on “You’re My Drug” (Byrds-style song) really showcase how versatile the Andy Partridge and company were at adapting differing styles of psychedelic music. Bouncing between American and British psych-rock can’t be easy. Compare the frenetic, bouncy roller coaster that is “You’re My Drug” to the Beach Boys-inspired “Pale and Precious” and it’s hard to believe they were composed by the same band (let alone performed by the same men in the same time frame).

The material from 25 O’CLOCK sounds nothing like XTC or 80’s music. This cannot be said of all the songs from PSONIC PSUNSPOT. “Have You Seen Jackie?” and “Little Lighthouse” sound a bit too polished, a bit too modern…here The Dukes drop their false beards and XTC shine though–not that it’s a bad thing but some of the magic is lost towards the end of the record. I would say about 85% of this record is perfect, and totally captures the spirit of the 60’s track they’re mean to emulate/pay homage to.

Many critics regard CHIPS FROM THE CHOCOLATE FIREBALL to be the best work from the musicians in XTC. The argument made is that by using another name (The Dukes…) the band felt free to experiment more and were generally more relaxed. I disagree with this partially. XTC is a great band, whose last two records were an amazing capstone to a storied career. That said, The Dukes of Stratosphear recordings were an astonishing feat of musicianship. The attention to detail and history that went into these songs are top notch.

I’m not the only one that feels this way. In August of 2005 Rhino Records released a four disc box-set titled CHILDREN OF NUGGETS: ORIGINAL ARTYFACTS FROM THE SECOND PSYCHEDELIC ERA 1976-1995. Among the many artists in the psychedelic/garage rock world included on this new compilation, were The Dukes of Stratosphear. In fact, “Vanishing Girl” is the first song on the first disc.

This inclusion on the “second generation” of NUGGETS is a fitting tribute to such an interesting band/project.

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NUGGETS and The Dukes of Stratosphear

Psychedelic. What does that word kick up in your mind? Drugs. Drugs that make you see bright, shiny, other-worldly colors. Back in 1960’s, when LSD was “discovered” popular music was altered (for the better in my opinion) when artists began experimenting in the studio to create songs that recreated and enhanced the “trippy” effect LSD gave it’s users. I have no interest in going on a real-life, honest-to-God psychedelic journey…but I’m always ready to dip my mind in the vibrant colors of psychedelic music. Back in 1972, near the end of the “Psychedelic Era,” a dude named Jac Holzman at Elektra Records assembled one of the greatest collections of American and British Psych-rock/pop. The 2-LP was called NUGGETS: ORIGINAL ARTYFACTS FROM THE FIRST PSYCHEDELIC ERA 1965-1968. Anyone wishing to earn a million-bajillion brownie points with me can do so by tracking this thing down and buying it for me…

Nuggets. Get your rainbow-shimmering dipping sauce ready...

Anyway, NUGGETS didn’t feature any bands that today are very well known…in fact, one of the reasons Holzman put NUGGETS out was to preserve these rare gems (or “nuggets”) of great 60’s music before they were lost to the ages. Despite being a bit random and obscure, this box-set influenced a shit-load of musicians (and critics).

One-hit-wonders have always fascinated me. I could, in fact, write a whole blog post about that strange musical phenomenon, but instead my focus is The Dukes of Stratosphear.

Flash forward from the 1960s, past 1972 and NUGGETS…all the way to 1980’s. The eighties music scene did not look kindly on the 1960s. The era of excess, for the most part, rejected the idealism of 60s–and psychedelic music. Which is why British rockers XTC probably adopted the guise of “The Dukes of Stratosphear.” Already heavily influenced by classic 60’s English pop, XTC admitted to being fans of The Beatles in a time when The Clash were pissing on the Fab Four (and selling lots of records). Going against the grain, XTC released two EP’s that hearkened back to an earlier, “trippier” time–1985’s 25 O’CLOCK and 1987’s PSONIC PSUNSPOT.

CHIPS FROM THE CHOCOLATE FIREBALL is a 1987 CD-only compilation that combines both shorter records into one larger package. Consisting of sixteen short, strange tracks, CHIPS is a great band both aping and embracing the music they grew up loving. Under the moniker of The Dukes, XTC imitate the styles of The Byrds, The Hollies, The Beatles, The Beach Boys, Jefferson Airplane, and yes…Iron Butterfly.

Lots and lots of Iron Butterfly. You know Iron Butterfly from their one (and only) great song “In-A-Gadda-Da-Vida.” That song featured a shit-ton of hypnotic organ playing. That’s the sort of thing found of CHIPS FROM THE CHOCOLATE FIREBALL. Except it’s not annoying. The record has a a lot of ALICE AND WONDERLAND-like spoken word bits in between tracks. It’s all really freaky man. Really freaky.

25 O'Clock, time to put up your DUKES.

25 O’CLOCK was released on April Fool’s Day, so this stuff is not meant to be taken seriously–however it’s hard to listen to the the Pink Floyd-eque “Bike Ride to the Moon” and not be impressed. Sure, it sounds like a Pink Floyd rip-off…but have you ever tried writing a Pink Floyd song? It’s not easy. Hell, Pink Floyd can’t even write Pink Floyd song anymore. I guess what I’m saying is, it would be wrong to dismiss this record on the basis that the songs are so derivative.

Consider, for example, The Hollies-influenced “Vanishing Girl.” This song has all the trademarks of The Hollies…the distinctive vocal harmonies, the jangly 60’s guitar flourishes, the intricate story-like lyrics. This song sounds like it was recorded in the 1960s. You could go back in time and play it on the radio, and not only would it sound of the era–it would have been a hit. Sure, it’s unlikely that the song could exist without The Hollies…

This is the case for many of the albums more memorable songs. “Brainiac’s Daughter” is a whimsical ode to the daughter of Superman’s nemesis that’s very similar to Paul McCartney’s 1975 B-Side “Magneto and Titanium Man” (both songs are wacky with lyrics that reflect the songwriters rather shallow understanding of their comic book subject matter–Brainiac has no daughter). Though it’s a bit too cute for it’s own good, the song works for me only because it’s so far “out there” with it’s psuedo-vaudevillian sensibility. Like “When I’m 64” it’s a throw-back to a throw-back.

While “Brainiac’s Daughter” may very simple, repetitious lyrics, a particularly clever set of lyrics on “You’re My Drug” (Byrds-style song) really showcase how versatile the Andy Partridge and company were at adapting differing styles of psychedelic music. Bouncing between American and British psych-rock can’t be easy. Compare the frenetic, bouncy roller coaster that is “You’re My Drug” to the Beach Boys-inspired “Pale and Precious” and it’s hard to believe they were composed by the same band (let alone performed by the same men in the same time frame).

The material from 25 O’CLOCK sounds nothing like XTC or 80’s music. This cannot be said of all the songs from PSONIC PSUNSPOT. “Have You Seen Jackie?” and “Little Lighthouse” sound a bit too polished, a bit too modern…here The Dukes drop their false beards and XTC shine though–not that it’s a bad thing but some of the magic is lost towards the end of the record. I would say about 85% of this record is perfect, and totally captures the spirit of the 60’s track they’re mean to emulate/pay homage to.

Many critics regard CHIPS FROM THE CHOCOLATE FIREBALL to be the best work from the musicians in XTC. The argument made is that by using another name (The Dukes…) the band felt free to experiment more and were generally more relaxed. I disagree with this partially. XTC is a great band, whose last two records were an amazing capstone to a storied career. That said, The Dukes of Stratosphear recordings were an astonishing feat of musicianship. The attention to detail and history that went into these songs are top notch.

I’m not the only one that feels this way. In August of 2005 Rhino Records released a four disc box-set titled CHILDREN OF NUGGETS: ORIGINAL ARTYFACTS FROM THE SECOND PSYCHEDELIC ERA 1976-1995. Among the many artists in the psychedelic/garage rock world included on this new compilation, were The Dukes of Stratosphear. In fact, “Vanishing Girl” is the first song on the first disc.

This inclusion on the “second generation” of NUGGETS is a fitting tribute to such an interesting band/project.

Tagged , , , , , , , , , , , , , , , , , , ,