Trilogy: 2:30 Casino/In Between A Dream/Lady Of The Garden (4:56)
Sweet Talkin' Woman (2:57)
Jane's Song (The Slow One) (2:15)
Hide The Water (2:32)
Afternoon (2:40)
Slow It Down (3:40)
Too Early To Be Late (2:52)
Last Monday Night (2:37)
Back Road Rider (2:39)
Livin' (Way Too Fast) (3:37)
Review: December's Children's self-titled album, a gem from 1970, encapsulates the shifting musical landscape of the late 60s and early 70s. With a blend of blues, country and rock, their dynamic sound bridges the gap between pop and heavy rock featuring both male and female vocalists, tight harmonies and a touch of psychedelia. While not explicitly psychedelic, the infusion of psyche-style keys and organ adds a depth that's especially evident in tracks like 'Trilogy' but the band's inclination towards straightforward rock 'n' roll sets them apart from the overtly psychedelic trends of the time. Their country-blues roots serve as a precursor to later acts like Savoy Brown and Blodwyn Pig, showcasing their influence on the evolving rock sound. Pressed on eye-catching pink vinyl, December's Children's sole album remains a testament to their musical innovation and versatility.
Review: Tiffany Shade's ethereal psychedelic sounds transport listeners to a heavenly realm on their lavishly pressed lavender vinyl album. With jazzy, acoustic guitars and lush harmonies reminiscent of The Association, their originals and a captivating rendition of Love's 'Softly To Me' sparkle with crystalline beauty. Hailing from Cleveland, the band's humble beginnings on a local teen dance show led to a whirlwind recording session, resulting in an album that belies its rushed production. Despite the time constraints, Tiffany Shade's meticulous arrangements shine through and shows their talent and dedication to their craft. The band's inexperience with studio recording only adds to the charm of their debut album, as recalled by bassist Robb Murphy and guitarist Mike Barnes. Their enthusiasm for experimenting with overdubs and embracing new recording technologies of the time is evident throughout the album, adding layers of depth to their already enchanting sound. Drawing comparisons to the Bosstown sound, Tiffany Shade's harmonious vocals and versatile instrumentation create a very engaging and beloved album.
Review: The beatdown summer of 1967 saw to many an album-length caramelisation, among them US rockers Vanilla Fudge's self-titled debut album, which saw the band take an unconventional route to psych rock pinnacling success, leaning heavily on slowed-down, dramatically reimagined covers as opposed to original songwriting. The record pairs three brief instrumental interludes with expansive versions of pop tracks, most famously their rework of 'You Keep Me Hangin' On' (Holland-Dozier-Holland), which was released in an edited single version and charted in its own right. Despite some parts of the stereo LP being mixed in mono, the record climbed to number six on the US Billboard and found international success. Critics later noted its unorthodox structure: freeform intros, drawn-out vocal harmonies centred on the Hammond organ, and explosive closing jams. Polarising in style, we've a shiftless snapshot of late-60s American psych on our hands here, leaving us in no wonder as to why it was their most successful record.
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