The Black Angels - "Passover"

The Black Angels are the most promising psychedelic band to pop up over the past couple of years. They've got two amazing albums under their belt, "Passover" and "Directions to See a Ghost." Today I'm going to be focusing on "Passover," but both CDs are must-haves.


I remember my first time hearing The Black Angels. I was riding shotgun in my old buddy's truck, cruising the Texas hill country with nowhere to go and nothing to do. The best thing about exploring those back roads is the scenery, especially in the middle of summer. The grass is golden and overgrown, the cacti are bright green, and the sky is almost always completely clear. While soaking in the incredible view we were listening to my buddy's iPod. I had completely given up on modern music at the time so I had my doubts when my friend told me to play "Bloodhounds on My Trail" by this new band The Black Angels. I reluctantly started the song, but immediately I was blown away. The sound was so powerful that I couldn't resist bobbing my head slightly. Neither of us spoke the entire song. I was surprised. The next day I bought the whole CD. I was delighted to hear that all the other songs on "Passover" were just as compelling as "Bloodhounds on My Trail."

The Black Angels have a very distinctive vibe. They sound like The Velvet Underground's evil twin. They bridge the gap between being celestial and being haunting. It's very heavy music, but you can sing along with it, too. That's the great thing about "Passover." There's definitely more than one song that will get stuck in your head.

The first track, "Young Men Dead," will immediately have you hooked. The riff is very powerful and the drums are almost Bonham-esque, but there is also that secret-ingredient that makes it very psychedelic and unique. Number three on the CD is called "The Sniper at the Gates of Heaven." I always get the image of Vic Marrow in "The Twilight Zone Movie" hiding in the dark jungles of Vietnam when I hear this song. Other good tracks include "Black Grease" and "Manipulation." But my favorite will always be "Bloodhounds on My Trail." It will always remind me of the beauty of the hill country.


I got the chance to ask Christian Bland, a member of the band, some questions about The Black Angels:
　
KF: My first question is about the orgins of The Black Angels. How did ya'll meet? Where do The Black Angels come from?

CB: We come from Texas. Alex and i have been friends since 1994. we went to junior high and high school together in Houston, TX. The Black Angels formed 10 years later in Austin, TX after Alex and i had been looking for band members since November 2002. In may 2004, we met Stephanie after having parted with our previous drummer, Sabbath White, and The Black Angels were born. We played as a 4 piece for a while, then we played with 8 members, then we went back to 4 when we added Jennifer Raines as our 'dronist' in the summer of 2004. Then in early 2005 Nate joined as our bassist, and we played as 5 for a couple of US tours, then we recorded Passover, and we needed a sixth member so we could play all the parts we recorded, so we added Kyle Hunt. We played as a 6 piece until January 2008 when we parted ways with Jennifer. Now we're a group of 5.

KF: "Passover" is such a powerful album, musically as well as lyrically. What was the inspiration for this? What kind of music were ya'll listening to at the time?

CB: The inspiration came from The Beatles. The music I was listening to at the time is the same as I always ..mainly oldies, some new futuristic stuff, and the Beatles.

KF: Can you briefly describe how the music writing process went for the album?

CB: Most of the songs were written by Alex and I together just from our experiences in this life and beyond. Nate helped write some of the lyrics on "Prodigal Son".

KF: How did your music end up on the soundtrack for the movie "Death Sentence?"

CB: I'm not really sure. I haven't seen the movie yet.

KF: What is The Black Angel's connection with the 13th Floor Elevators? How did you meet Roky Erikson, and what was it like playing with such a legend?

CB: They're the reason i came to Austin in 2002, with their message of 'open up your mind, and let everything come thru' . We met Roky in august 2008 for practice for our upcoming West Coast Fall tour. It was surreal playing with Roky Erickson. He and the 13th Floor Elevators are why we do what we do, so words in this day and age can't explain the experience.

KF: I read that ya'll are working on a third album. What kinds of things can we look forward to hearing?

CB: The 3rd album is a blend of the first 2 albums. The songs are a but more structured than the jams on 'Directions To See A Ghost' . There's a more Beatles meets Black Angels vibe on this album.

Interview With James Lowe & Mark Tulin Of The Electric Prunes

Today I have a special treat for ya'll. I got a chance to interview James Lowe and Mark Tulin, two of the founding members of The Electric Prunes, one of the most famous psychedelic bands of the 1960s. Enjoy.

KF: I read somewhere that before ya'll were The Electric Prunes ya'll played with Kenny Loggins. Is that true?

James Lowe: In 1968 after I left the band during a tour; when they came home they auditioned players to try and reform for more live touring. Kenny was chosen as a guitar player. I was not around so Mark can tell you more about that.

Mark Tulin: Actually Kenny played in the band for what turned out to be The Electric Prunes’ final tour in the ‘60s. James had left the band and we attempted to go out with just Ken and I from the original group along with a new line-up and new songs. Kenny was part of the band and contributed some very cool material. He was much more of a rock ‘n roll kind of guy than the "smooth" musician everyone associates him with now. The tour itself was a complete and total disaster. Unfortunately we never got to record anything with Kenny as The Electric Prunes.

　
KF: The Electric Prunes is one of my all time favorite band names. Right up there with the Strawberry Alarm Clock. How did the name come about?

James Lowe: We had a weekend to select a name for a our first single called: Ain't It Hard. Warner Bros wanted the name for the record pressing. We were rehearsing all weekend in our garage and decided we couldn't leave till we had a name. When you really try to come up with a name it often gets rather silly and we went through about 6 hours and anything that came up became the new choice. Mark told a joke during all this to break the tension. The joke was: What is purple and goes buzz buzz? answer an electric prune. Well, we were pretty tired but the name just grabbed me because it was just what we were looking for. "Electric" was the sound part to me and "Prunes" was an absurdity. The thing was just so memorable we put it at the top of the list. When we sent 3 names into Warner Bros. I told them we only wanted the first one. Warner Bros. loved the name.

As a side note: Moby Grape got their name later from a variation of this very same joke: What's purple and lives in the sea? Moby Grape. Both jokes were purple.
　
KF: The soundtrack to Easy Rider includes two of The Electric Prunes' songs. How does it feel being such a major part of one the most defining movies of that era?

James Lowe: Often the group does not even know when these things happen. I didn't know about it till I saw the movie and heard the song in there. I had left the group to produce and engineer records so I was even more unattached to it. Looking back it was as important and being included in the first Nuggets collection by Lenny Kaye. It sort of carried our message further than the 60's had and let people know we had landed at one time.

Mark Tulin: It was and is an honor to be included in what turned out to be a seminal motion picture. I didn’t know until I saw the movie that our songs (actually Dave Axelrod songs – they come off our "Mass in F Minor" album) were a part of the film. If one is going to be in a film I guess a brothel is as good as place as any to make an appearance.
　
KF: "Underground" is one of those essential psychedelic albums that any fan of the genre has to own. What was your inspiration for the dark and foreboding atmosphere that is present throughout the album?

James Lowe: Probably our dissatisfaction with our relationship with the producer. After Too Much To Dream came out Dave Hassinger was offered other albums to do and he sort of just let us go in the studio and do what we wanted. If he came in he laid on the floor and read the newspaper. This was the real first chance we had at trying our own material the way we wanted. If we wanted it moody and depressing there was no one there to tell us it was too morose. We were not looking to be a Bubblegum group as we had our sights set on loosening up some of the bolts on the musical frame. Hassinger hated the album and it did not sell very well because it didn't have a hit single in there. We liked it because it was about what was going on at the time. A hit single was about the only way at that time to really sell any albums.

Mark Tulin: I never thought of it as dark and foreboding but maybe you’re right. Recording is as much a statement of mood as it is performance so if that feeling is there it is probably because that was the environment in the studio during most of the making of "Underground". Inner band battles, artistic differences and continual problems with one’s producer can do that to you.
　
KF: What are The Electric Prunes up to these days?

James Lowe: We are just getting ready to go on a tour of the eastern US called, California 66. The idea was to have 3 LA bands from 1966 play the music as it was then. We chose Love, Sky "Sunlight" Saxon of the Seeds and Electric Prunes. Unfortunately, SKy Saxon died a few weeks ago and we are reforming our idea a bit. We will be joined by guitarist Jerry Miller of Moby Grape and the Blues Magoos for one of the dates. We have put out 3 albums, er excuse me, CD's, since reforming. Artifact, our reunion album, California, a look back at the mood of the 60's, and Feedback, our latest bundle of noise that reflects ... feedback, I guess? We have been inspired to make new music because we still play it as we did in the 60's. We may have one more ... CD in us?

Mark Tulin: We continue to perform live – going out in August for a few weeks as part of the "California 66" tour to the East Coast and parts of the Midwest. The band actually sounds better now than it ever did Also looking at going back into the studio in September to cut some new material.


KF: Where can we go on the internet to learn more about "The Electric Prunes?"

the past: electricprunes.com
the present: electricprunes.net
the band: myspace.com/prunetwang

Interview With Danny Thomas Of The 13th Floor Elevators

Last week I posted my list of the "Top Ten Garage Rock Bands of the Sixties", in which I included the 13th Floor Elevators in the number four slot. Perhaps if the list was of the "Top Ten Psychedelic Bands of All Time" I would have put them in the number one position. I mean, they basically invented the genre. Lead singer Roky Erikson is even credited with coining the term "psychedelic rock."

The Elevators came about in 1965 when Roky Erikson joined up with Benny Thurman, Stacy Sutherland, John Ike Walton, and Tommy Hall. In 1966 they recorded the song that would make them famous, "You're Gonna Miss Me," which, in October of that year, reached all the way up to #55 on the national Billboard chart. The band's legendary debut album, "The Psychedelic Sounds of the 13th Floor Elevators," came out the following month.

After touring California and Texas, there was a change in the line-up of the band as Danny Thomas and Danny Galindo came in at the drums and bass, respectively. In November of 1967, the 13th Floor Elevators released their second and best (in this writer's opinion) album, "Easter Everywhere."

The band released two more albums, "Live" and "Bull of the Woods," before breaking up in 1969 due to legal problems. The legend of the 13th Floor Elevators continues to live on today. They are often thought to be one of the most creative and inventive bands of all time.

• I recently got a chance to interview drummer Danny Thomas, who played with the Elevators on the "Easter Everywhere" and "Bull of the Woods" albums.
  
  KF- I think I heard somewhere that you attended Trinity University here in San Antonio before joining the 13th Floor Elevators. I have a brother who is currently a student there. How were your experiences at Trinity, and what was San Antonio like in the sixties? Was there a psychedelic culture?
  
  DT- Good question! Before attending Trinity, I attended Culver Military Academy in Indiana. I heard about Trinity through the choir director there who had previously taught at Culver. He wrote a letter of recommendation for me and I was accepted to Trinity in 1966. I had never been to Texas and was overwhelmed by the atmosphere and environment, both cultural and geographical. Limestone cliffs and prickly pear cacti were abundant. In the mid 1900's, the Hispanic population was limited to the southwestern area and the cross cultural influences were a very pleasant change from the east coast and mid-west. At Trinity, I was elected as President of the Freshman class and enjoyed my Freshman year but decided to move to Houston when approached by Lelan Rogers, brother of country singer Kenny Rogers, to sign a record contract with International Artists to play with the 13th Floor Elevators. San Antonio was a very vibrant and bustling city with an intense energy in the 1960's. Young people were starting to question authority and rebel against the Establishment. The psychedelic culture was firmly rooted and the era of the "Flower Children" was in full bloom. Psychedelic music clubs were popping up and young people from all walks of life were congregating and celebrating this new felt freedom. Youth also brought with it the urges for foolish choices relating to unrestricted sexual behavior and drug use so there were some casualties. Jimi Hendrix, Janis Joplin, ZZ Top, and the 13th Floor Elevators all played the city auditorium. The Hemisfair brought the city together in a way I had never seen. I understand that there were many more great music artists who have called San Antonio home like the Butthole Surfers who also attended Trinity University but that is another story and time and space limitations prevent me from rambling.
  
  KF- Your musical talent and skill is very apparent on both "Easter Everywhere" and "Bull of the Woods." How did you first start playing music and how old were you?
  
  DT- Thank you. I played first in Charlotte, NC at age 11 on the local country-western television show, hosted by Arthur "Guitar Boogie" Smith and won a parakeet for taking first place in the talent show he sponsored. I sang "Short Fat Fanny". Throughout middle school, I played the local dances and sock hops with my bands until my parents decided to ship me off to military school in Indiana where, by the way, I formed a band called the "Soul Brothers" (pre-Balushi) and continued playing all the way up until I crossed paths with the Elevators in Austin in 1967.
  
  KF- How did you get involved with the 13th Floor Elevators?
  
  DT- The story is short and sweet. Danny Galindo and I had been jamming at pizza joints in San Antonio. We were invited to go to Austin to hear the 13th Floor Elevators play by my roommate at Trinity University, Charles Booker. Charles was from Kerrville, Texas, where three of the 13th Floor Elevators grew up and had a band called the Lingsmen (later to become the Elevators). Danny, Charlie, and I drove to Austin to attend the concert and afterward went to a small house up on a hill where we jammed until the crack of dawn with musician who at that time were unknown to us. About five months later, I got a call from International Artists asking Danny Galindo and me to come to Houston to discuss replacing John Ike Walton and Ronnie Leatherman. We accepted the offer without a second thought, packed the car, and moved to Houston.
  
  KF- The 13th Floor Elevators are considered to be one of the most progressive bands of their era. They are known to have influenced countless musicians over the years. How does it feel knowing that you were part of such an amazing and valued band?
  
  DT- Thanks again. The key word there is "progressive". I have always been one for adventuring into previously unexplored areas and the Elevators were undoubtedly far out into the unknown. That was the attraction. With innovative music and metaphysical lyrics, they were taking music into the future and I wanted to go along for the ride. I guess you could say I am a 13th Floor Elevators fan too !!! It took more than just the members of the band to make it happen. It is a phenomenon that is beyond explanation.
  
  KF- How did playing with Sam "Lightnin'" Hopkins compare to playing with the 13th Floor Elevators?
  
  DT- Well, I have always been rooted in the blues of the deep south. The records we listened to when I was growing up were all Delta blues and Gospel. So, the only difference is, and I'm sure Johnny Winter and Billy Gibbons will agree, that you just turn it up when you play rock and roll.
  
  KF- Tell us a little about your book "Twice Born A Vagabond."
  
  DT- Oh, I'm trying to become a writer and I have published a rough draft of a novel called "Twice Born A Vagabond" on the Internet. It is always in a state of flux and changing from day to day. It is fiction based on facts gleaned from my memory of my younger days with the intention of addressing some issues of growing up in America that are not usually discussed. I have three children who are married adults now and I have always been completely candid in sharing what I went through with them. I had good results so I thought it would be a good idea to share the story with everyone.
  
  KF- Where can we go on the Internet to learn more about you and your book?
  
  DT- http://13thfloorelevators.uuuq.com/index.html
  OR
  http://pouadahka.angelfire.com/index.html

Small Faces - "Ogden's Nut Gone Flake"

Today I'll be reviewing a classic disc that everybody needs to own. In mid 1960s London, nobody personified the mod lifestyle more than the Small Faces. But, in 1968, they were successful in breaking onto the psychedelic scene with one of the very first concept albums, "Ogden's Nut Gone Flake."

The album is almost 39 minutes in length, and separated into two distinct halves. Side A of the record is a mixture of early American style R&B and the popular psychedelic sound of the time. The title track and "Lazy Sunday" are some of my absolute favorite songs from this genre of music. But Side B is where things really start to get interesting. The second half of the album tells the fairy tale of "Happiness Stan" with both lyrics and the narrative of Stanley Unwin, a British comedian most famous for inventing Unwinese, a form of gibberish. Unfortunately, the tale of "Happiness Stan" is told in this ridiculous language, so it is near impossible for one to understand exactly what is going on. Basically the story is about a character named Stan who looks up at the moon one day and sees that half of it is missing. On his journey to find the second half, Stan encounters a gigantic fly and a hermit who knows the meaning of life.

This obviously LSD inspired nonsense makes the album most enjoyable. I don't think there is a person alive who could listen to the entirety Side B without bursting out laughing in enjoyment. I give this album 5/5 stars. One of the greatest albums of the era.

The Move - "Anthology 1966-1972"

Okay, so this is my first post. I hope you enjoy the review.


The Move's "Anthology 1966-1972" is one of my all time favorite box sets. It's a four CD box set released by Salvo, with a running time of about 3hrs 20min. It includes "classic hit singles, b-sides, choice album cuts, a wealth of previously unreleased material including never-before-heard songs, demos, alternate takes and live recordings" from one of the more talented (although now overlooked) British bands from the 60s.

The first disc contains 23 tracks from 1966-68 that provide a great overview of the band's earliest works. It is very interesting to hear how frontman Roy Wood (of Electric Light Orchestra fame) wrote music back then. A perfect combination of 60's pop, garage rock and early psychedelia. Some stand-out songs are "Respectable" and "Fire Brigade."

The second disc is a surprisingly well-recorded concert at the Marquee in 1968. Really a great performance. I really wish I was there; I'm sure it was really a great show to see. The thundering drums and and rocking guitar solos make for a very fast and rocking performance.

The third disc covers years 1968 and 1969. There's a much lighter vibe here as the psychdelic style of the decade was in full swing, although there is still a very heavy presence on some of the tracks.

CD four covers 1969 to the band's end in 1972. Jeff Lynne (also of ELO fame) joins at this point, and his influence can really be heard. The Move breaks into the 70's in full force, with some very rocking tracks such as "Feel Too Good" and "Chinatown."

I highly recommend this anthology for anybody interested in 1960's garage rock, psychedelic rock, and even those interested in hearing the beginnings of Electric Light Orchestra.

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