Alexander Skip Spence’s Oar - Godfather of Psychedelic Lo-Fi

Alexander "Skip" Spence

That was the opening track, “Little Hands,” of the psychedelic 60s forgotten masterpiece, Oar (1969 Columbia Records), by the tragically tortured visionary, Alexander “Skip” Spence.

Alexander “Skip” Spence, described as “one of psychedelia brightest lights,” was a lamp that burned too fast and too furious, but during his regrettably short-lived career, he left quite a mark on the fabric of California 60s psychedelia.  The Canadian born musician first played guitar for the psychedelic rock band, Quicksilver Messenger Service, but he soon moved on to play drums for the California legends, Jefferson Airplane, appearing on their debut release, Jefferson Airplane Takes Off (1966 RCA Victor).  Shortly after, he co-founded the psychedelic folk rock group, Moby Grape, and played guitar for the band until 1969.  He released several albums with the group, but it was during this part of his career that “Skip” Spence began to show signs of mental illness, instigated perhaps by excessive drug use.  The group relocated to New York to record the album Wow (1968 Columbia Records), and according to band members, Skip Spence began hanging with some “weird” folks of the city’s underworld.  His behaviors became more erratic and alarming culminating in the widely known episode where he attempted to attack fellow band members, Don Stevenson and Jerry Milller, with a fire axe while staying in a NY hotel. Once restrained, he was checked into Bellevue Hospital and soon diagnosed with schizophrenia.  It was during his six month stay at Bellevue when Alexander Spence wrote much of the material for what would become his only solo album, Oar (1969 Columbia Records).  Upon release, he reportedly bought a motorcycle and immediately travelled straight to Nashville to record his solo effort.  Spence recorded the material in a total of 7 days all on a simple 3 track recorder, playing every instrument himself. The album is a lo-fi, minimalist masterpiece that was way ahead of its time, and it was the worst selling record in Columbia’s commercial history.  The lo-fi aesthetic just wasn’t all the rage.  Most of the album remains minimalist with a strong country-folk influence.  Here’s the 2nd track of the album, “Cripple Creek”:

His voice has a deep, warm quality to it that reminds one of Fred Neil at times. I just love the 1st side of this album, and it continues to be perfect with the third track, “Diana,” a song that almost recalls early John Martyn or Nick Drake. Check it out:

My favorite track on the album is the last song of Side A, “War in Peace.”  It's psychedelic perfection, simply put, and it was done with such minimal, cheap equipment!  I love this song; check it out:

Side B is excellent as well.  The last track, “Grey/Afro,” is definitely the most experimental song on the album.  One critic described it as a “mantric drone”; it’s a really weird tune, for sure:

Alexander Skip Spence (1946-1999)

Alexander Spence gradually withdrew from the music industry and all public culture shortly after the album’s release, and his record was quickly abandoned and forgotten about, only to resurface years later for a new generation of eagerly appreciative listeners.  Spence, however, never returned to the musical limelight; mental illness and drug addiction continued to plague him.  Spence’s spark had burned and raged too furiously, and there was only night left.  His story is a sad one, and in 1999, he passed away, mostly unnoticed by the commercial music world.  Rest in Peace, Alexander “Skip” Spence. <> Well my few loyal readers, enjoy the little music Spence has left us... It will make you pine for more....

Alexander Skip Spence's Oar

Celebrating Labor Day through the Anthems of the Rust Belt Part 1: Detroit Rock City

Wherever there is labor, one can immediately find the roots of rock’n’roll’s greatest innovations. Marx was right; there is a deep connection between economic realities and the products of culture that inhabit those realities. The Bolsheviks like Alexander Bogdanov, however, were way off the mark to insist that artworks from societies of Bourgeois Capitalism were useless for the interests of the average Industrial worker. No better example to illustrate the point than the musical culture of America’s industrial epicenter: Detroit, MI.

MC5

In honor of Labor Day, let’s take a look at 1970s Detroit proto-punk, and when discussing the origins of America’s punk rock tradition, one has to start with Detroit’s MC5. I always cringe at the “origins of punk rock” conversation because, most of the time, people debate the issue without ever making sure there is some agreed upon definition for the umbrella term “Punk Rock.” To me, the term applies more accurately to say the Sex Pistols than (and here we go with immediate yells of disagreement) say the Ramones. Punk designates more than a stripped down, up-tempo music genre; it implies a whole package of irony, negation, pastiche fashion, and uncompromising political radicalism. This is why the Pistols defined Punk Rock (for a little less than a year...), and I credit their famous (or is it infamous) manager, Malcolm McLaren (RIP...), who was steeped in French Situationism and the European tradition of nihilism, radicalism, and the avant-garde. With this said, MC5 were also so much more than a hard-playing proto-punk band.

They were the whole thing. If anything was “Punk” at this time, it was Motor City Five. They were known for supporting the Black Panthers and the Panther’s form of Maoist-Marxist politics (I believe their manager, at one point, tried to start a White Panthers organization to support the radical movement), and the band famously played at the riots of 1968 at the Democratic National Convention in Chicago. They are the closest thing to “true” Proto-Punk Rock. Although Back in the USA (recorded in 1970; released by Atlantic) was not their 1st full-length, it was their first studio album. One of my favorite tracks is their protest song against the US involvement in Vietnam, “The Human Being Lawnmower”:

Their album, Back in the USA, is a must have for ALL rock enthusiasts, and what better time to rock these tunes than on Labor Day! (Definitely check out the live debut Kick Out the Jams as well.)

dl: http://www.mediafire.com/?dejvyldl2qm (BITU)

dl: http://www.mediafire.com/?z3ltfmtinne (KOTJ)

Can you guess who’s next?

The Stooges

When asked about the 1st American Punk band, I think most people would respond with the answer, Iggy & the Stooges. To me, MC5 was way more “punk”; they are the godfathers, but the Stooges are definitely the drunk & disorderly godmother. When considering the bands as a pair circa 1970, UK rock’n’roll had nothing on the motor city (with the exception of maybe the Deviants or the Pink Fairies, but that’s another post....). These two acts (along with the New York & Cleveland rock scenes) redirected American popular tastes towards sounds of larger & angrier proportions. The Stooges debuted on Halloween in 1967, signed to Elektra in 68, and released their 1st studio self-titled full length in 1969 (which was produced by Velvet Underground’s John Cale). It tanked for the most part, but it has seen a second life with the explosion of punk a decade later. The album definitely dates the Stooges, for one can still hear the conventions of 60s San Francisco fuzz rock. Check out the track “No Fun”:

The Stooges immediately released a 2nd album, Fun House, in 1970 with the addition of a saxophonist (yawn). It was around this time the Stooges began to turn heads in the music world. That year they played the famous Cincinnati Pop Fesitival where famously Stiv Bators (of Dead Boys....we’ll talk about them next time...) handed Iggy a tub of peanut butter that the Stooge’s frontman proceeded to wipe all over his chest. (Of course, this is now an iconic image of the legendary Proto-Punker.) I believe the band was performing the track “T.V. Eye”:

Oh Iggy... (I love the tv announcer’s perspective... classic!)

The Stooges re-signed with Columbia (due to David Bowie’s urging) and recorded their most successful album, Raw Power (1973). Of course everyone, as well as every dive bar jukebox, knows the famous single “Search & Destroy.” I have to say I listen to Raw Power more than any other recording. Musically, it is excellent Proto-Punk Rock. All rock enthusiasts should own it (so get it!!!).

dl: http://www.mediafire.com/?tm5wk2jozjw (s/t)

dl: http://www.mediafire.com/?nnyfvzmiy5d (FH)

dl: http://www.mediafire.com/?etfdm1jny9t (RP)

The Frost

The Frost were a late 60s rock group from Alpena, MI. They released 3 albums and were led by guitarist Dick Wagner (who later played with Lou Reed, David Bowie, and others). They were a lesser known act that was also part of the prolific Proto-Punk scene of the motor city region. Their most famous record was probably Rock and Roll Music, released 1970 on Vanguard. Here’s their opening title track of the album (the sound should be familiar by now):

A great album for one’s collection if you like that whole Detroit rock thing....

dl: http://www.ilivid.com/lp_bna.htm

(wait 20secs before clicking file link...)

Death

Death was a Proto-Punk band of the early 70s formed by three brothers (the Hackneys!) out of Detroit, MI. The wonderful world of Wikipedia informed me that they actually started as an R&B group and then they saw Alice Cooper (another Detroit rocker) in concert and understandably proceeded to change their approach to raw rock’n’roll. Ah Alice Cooper, you have impacted so many of us, and we thank you for that. (“We’re not worthy; we’re not worthy!”) Death recorded very little in their short-lived run. In fact, they entered the studio in 1974 to record an album for Columbia Records, but due to their insisted refusal to change their name, the Corporate slime of a label dropped the band. The album was recently released by Drag City, and it is entitled ...For the Whole World to See. Here’s the opening track:

If you like everything else about this post, then you NEED this album. It’s great!

dl: http://www.mediafire.com/?mmn1ikmndiw

There are so many other great bands of this era & scene to check out: Frijid Pink, Amboy Dukes (even though Nugent is a douche...), Alice Cooper, and many many others... Perhaps I’ll post some more later.... Enjoy! (Oh, and Happy early Labor Day!)

A Selection of Texas Psychedelia

It’s common knowledge that many seminal figures of Psychedelic Rock have repeatedly  cited Roky Ericson and the 13th Floor Elevators of Austin, TX as a major influence.  Texas had a thriving garage/psychedelic music scene throughout the 60s & early 70s, and it was not limited to the Austin area.  In fact, a good amount of Texas Psychedelic music was recorded and released by the independent Houston label, International Artists.  Gorki’s last post got me digging deeper into my collection of underground Texas music, so I’ve decided to post some random gems of Texas 60s music. Enjoy!

Houston’s The Red Crayola:

So let’s start with Houston and Mayo Thompson’s The Red Crayola.  An art student in the mid 60s, Mayo Thompson started the psychedelic rock group with Steve Cunningham and Frederick Barthelme, and yes, Red Crayola’s original drummer is related to the celebrated writer, Donald Barthelme (they’re brothers I believe....).  Although the band is no longer together, M. Thompson still performs under the name Red Krayola (and I believe Jim O’Rourke plays with him...).   Their music was ahead of the curve to say the least.  One hears the roots of punk, noise rock, no wave, and other avant-garde genres of the more recent past.  They released their debut, Parable of Arable Land, in 1967 on the Houston label, International Artists.  On the album every song begins with what has been described as a “free form freak-out” where the band, along with their “Familiar Ugly” friends (which includes cameos of Roky Ericson), play whatever they wanted.  Ahhhh yes, the roots of noise rock.  Check out their song, “Hurricane Fighter Plane,” as it was released as a single:

Now listen to the same song as released on their 1st LP (with “freak outs” and all):

Gotta love the psychedelic imagery that compliments the 2nd video. Their album, Parable of Arable Land, is a must have for all noise rock & no wave enthusiasts.  Check it out.


dl: http://www.mediafire.com/?1xlth0u0cue

Mayo Thompson recorded some great solo material from this period as well.  Some have described Thompson as the “Texan Syd Barrett,” and I hear that in his solo work for sure.  Roky Ericson, however, seems to be better suited for that designation for obvious reasons.  Thompson released the album Corky’s Debt to his Father in 1969 (Texas Revolution), and the record probably appeals to a broader listenership than that posted above.  Truthfully, I listen to this record much more than any Red Crayola material; the music reveals Thompson’s folkier sensibilities. The music still experiments with eccentric arrangements, and Thompson’s lyrics are often playful & non-sequitur.  He rocks here as well, and when he does, it’s more bluesy than anything Crayola.

This album is definitely worth a listen.

dl:  http://www.mediafire.com/?bkynmydmzib

San Antonio/Austin’s Bubble Puppy:

Bubble Puppy were a Psychedelic Rock group that formed in mid/late 60s in San Antonio, TX.  They eventually moved to Austin, signed with Houston’s International Artists, and released their sole full length, A Gathering of Promises, in 1969.  This is a great album, lots of Cream-influenced fuzz rock with progressive changes all viewed through the lens of Southern rock & blues.  Their name was taken from Huxley’s A Brave New World (seems appropriate for the period...).  The band never had much success beyond the release of one single, “Hot Smoke & Sassafras” (gotta love that name), so they eventually moved to L.A., signed to a new label, and changed their name to Demian (named after the writings of yet another author celebrated by the rock’n’roll 60s generation..... geeks!) Oh, and they hired the manager of...... guess which band?  That’s right, Steppenwolf! I wonder if they all got together for Herman Hesse book discussions?  Anyways, check this out:

                        (It's definitely very Creamy....)

dl: http://www.mediafire.com/?tnzmggzmton

Austin’s The Golden Dawn:

Everyone’s knows of Austin’s contribution to psychedelia, namely the 13th Floor Elevators.  A lesser known but similar sounding act was Austin’s short-lived group The Golden Dawn.  (They have reunited in recent years...) They released one full length in 1968 entitled Power Plant (on International Artists as well).  (I know, the reunited Golden Dawn has now released a 2nd album....) One can’t help but think of that classic “You’re Gonna Miss Me” garage-psychedelic sound.  To illustrate listen to their track “Starvation”:

Sure, it sounds just like Ericson’s Elevators, but why complain?  Garage rock by nature all sounds similar, and some of us just don’t get tired of hearing it.  I really like George Kinney’s vocals as well.  If you like that Austin psychedelic sound check out their album Power Plant.

dl:  http://www.mediafire.com/?jtyikcymn0y

So one more post and then I'll call this one quits.

Tyler’s very own Mouse & the Traps:

So I have to add Mouse & the Traps.  Not too often does one come across Psychedelic Rock from the buckle of God’s favorite belt: East Texas!  Mouse & the Traps were from Tyler, TX, and being from that small, conservative town, I thought it appropriate to conclude this posting with a band from the old neighborhood.  Mouse is hit and miss; the music’s garage frat-rock at times, fuzzy and progressive at other moments;  some of the songs are very bubblegum psyche-pop while some tracks lean more towards bluesy folk rock.  It’s kind of all over the place.  The below video makes a comparison between Ronnie (Mouse) Weiss’s vocals and that of Bob Dylan. (Is that good or bad? not sure...) So all East Texans, here’s your psychedelic heritage:

Here’s the entire album, The Fraternity Years:

dl:  http://www.megaupload.com/?d=HW4U8O1J

(wait 45 secs at meagaupload before clicking file link)

Wow, that was a long post, and I have so much more material from this era. I will add more soon.  Peace.