Category Purple Haze and other Psychedelia
Check out the brand spankin’ NEW Pre-Fab Messiahs video here (a fittingly surreal cartoon for these cartoonishly surreal times): https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DzAnUJ7MjnZ4&h=ATOPhol0JrD6O-uJnI9KreX528r34HTCMovCwE_-GcVYAUFPBRn7xXgvaKerRizt-v0mdtO9IpcmrpBMcoBDK6YhunvmPxF9lwpMcZwlRLIK8RxY17aevvExkg49PSzn3lW37R5oMoGulrB_G5sYB1w https://theprefabmessiahs.bandcamp.com/ Source: Absolutely Pre-Fabulous! The Messiahs Trip Back To The Future in Bobb’s Psychedelic Car
The “Summer of Love” it may have been, but much of the music on those iconic records of 1967 contained a far more complicated series of emotions and refracted a darker reality shot through with chaos and doubt, turmoil and altered perceptions. Unlike some of its contemporaries, the music on Love’s ‘Forever Changes’ – not to mention the mystique that continues to surround the work — seems only to have deepened with time.
If it’s a bit hard to believe that my friend and colleague Ted Drozdowski is “only” celebrating the tenth anniversary of his lava-hot, molten blues trio, it may be because the veteran bandleader and award-winning music journalist has spent close to a lifetime listening to, and writing about, the very music he’s always treasured and revered. Playing it […]
Right up front, I would concede, in point of fact, that my headline for this post may be debatable given “The Who”‘s activities of the past decade or so. Following the substance-and-alcohol-related deaths of drummer Keith Moon in 1978, and more recently, bassist John Entwistle in 2002, the surviving twosome of guitarist and principal songwriter […]
With a deadpan monotone rimmed with a barbed and thorny edge of sarcasm, an air of jaded self-loathing, and disaffected resignation, Reed’s voice was ideally suited to chronicle his drug-and-drag noir tales (both lived and imagined), of shadowy protagonists slinking down shadowed hallways, darkened alleys, or penthouse crash pads, in search of sin, salvation, or both at the end of a needle.
“Jimi was so shy,” Kramer says. “He never said a word in the beginning. He was very polite, very reserved, but once he plugged in and started playing I realized, ‘this is pretty special’. I had heard a couple of singles he had done, but hearing him playing right there in the same room was a whole different ball game. But very quickly, once I established the sound that he liked, we got on extremely well and we could communicate – even though he would describe sounds to me as colors, like, ‘Man, I want it to sound kinda purple, you know what I mean, man?’ And I would come up with a sound that was purple. We inspired each other …”