October Country "October Country" 1968

Prepare yourself to be mildly impressed with another Soft-Psych masterpiece! Who is October Country? What’s with the name and how can a country be described by a month? Look at that cover. Is it possible to have five stranger looking guys in one photo? Is that a Band-Aid on the girl’s finger? Who’s in charge here?  It’s hard to tell with song names like “Little Boy Smiling” and “My Girlfriend is a Witch,” if this album is going to be light and sugary, or heavy and mind blowing.  I’m not sure about you, but all these strange things make me like this album even more. I know I’m being slightly/very irreverent here, but I really think there is some exciting worthwhile music on this record. It’s just so easy to joke about Soft Psych that I really can’t help myself.   

The first thing that hits you on the opener, “October Country,” is a nervous piano figure. It reminds me of someone tapping their fingers on a table as they wait for bad news. As quickly as the strings come in to play the bass line your attention is diverted by a snare drum hit that sounds like someone dropping a phone book in an empty gymnasium. The sound rises up with a poof like a rock being thrown into a pit of ashes. The vocals are interesting as well. It sounds like boys and girls (teenagers?) singing together in unison. In contrast to the rest of the song, the bridge swings quite a bit. The song is only 2:37 minutes long, so you’re in, out, and ready to listen to the rest of the songs, none of which crack the three minute mark.   

               “Painted Sky” starts out with some great sounding electric harpsichord and a delightfully low toned female voice. I just love how simple the idea of painting the sky is. It’s just nice in that bright eyed, late 60’s, everything is going to be okay kind of way. In that same vein you also get “Little Boy Smiling” which expresses some complex thoughts about seeing a small boy smiling. At first glance the writer wonders if the boy is happy. In the second verse he wonders if the boy is really covering up some sadness. The subject matter makes me feel like I’m about 15 years old. There is another jumpy, come out of nowhere bridge in this song as well. Hearing so many parts certainly makes me feel like the writer had a surplus of ideas to explore and that usually keeps things exciting for me. The little guitar flourish as the end of the bridge (at about 1:21) makes me smile every time. 

“Cowboys and Indians” is sometimes compared to the Beach Boys track “Heroes and Villains,” although it is lyrically far less oblique. It is however one of the few songs mixed in mono, which is a Beach Boys trademark. I think it was a single so that probably explains why. It really is the barn-burner of the album and features a great organ solo. 

“I Just Don’t Know” has some of the fastest sung vocal I have ever heard. It’s one of those songs that has not aged so well. I know I wouldn't be able to play it for anyone without feeling a little cheesy. I don’t say that lightly either. I have an extremely high tolerance for Soft-Psych, and even this one makes me blush. There is also a great horn section on this track that is panned hard right in the mix. Can you imagine calling in all those guys to play and record only to mix them all the way to the right? It’s so weird and so cool. 

“My Girlfriend is a Witch” is another stand out track. I guess the first thing I would say is that I am glad the writer and his girlfriend haven’t gotten married yet. If you are taking the time to write a song concerning this, then I suggest you cut your losses and move on. Any of your friends will tell you that this is red flag. Do not by any means as this song says, “become a warlock just for spite.”  This will not serve you well long term. I would suggest putting a little distance (perhaps a long weekend with the boys) between you and your girlfriend/witch. Then, when you return with a renewed sense of purpose, calmly break off the relationship and move on. 

Tones:  The bass on “I Wish I was a Fire” is pretty great, especially because it is doubled in several places by a baritone saxophone. There is also an interesting phased effect on “She’s Been Away” that makes the snare drum sounds like it is being blown around by a gust of wind. 

Cover Note: I have already poked fun about this cover in the introduction and if you can believe it, I've still got more jokes! Seriously, did bands in the 60’s just sit around in the grass all the time?  Also, it’s not fair to make fun of the dated clothes, especially on the dudes, but nice "cinched at the waist" green shirt, guy. I've got a bath robe that ties up the same way and I just love it.

Price paid: I paid about $14.00 for this and I’m not really sure why I paid so much. It was for a brand new reissue that is very nice, but I just can’t remember why I was drawn to this record. It has been well over ten years since I bought this, and if you divide up the $14.00 by the amount of times I’ve listen to the record (and take into consideration how much I’ve enjoyed it) then it has been a good investment. 

Bottom Line: I've joked a lot about this album, but only because it is such a soft target. The truth is that this is a wonderful record that I’m very happy to know about. I never hear it talked about when I read about Soft-Psych, and that is unfortunate because it really is a pleasure. If you have exhausted your late 60’s catalogs and want something fresh yet familiar, then October Country is for you. 

The Rascals "Once Upon A Dream" 1968

If you bring up the Rascals in conversation with me, you are pretty darn cool.  However, very few people do.  I still remember the first time I heard this album.  My old buddy PJ let me borrow this on vinyl back in 2004 or 2005.  I think he said his dad gave it to him.  Albums by bands that had really big hits in the mid 60’s and then progressed have always fascinated me.  I guess you could say that about a million bands but it’s the albums like this that are really neat.  What I like about it is that it keeps that classic “Rascals” sound but expands on it in not only a profound way, but a cool way.  It’s not like they just put a bunch of stings and horns and harps on their existing sound and then called it “forward thinking” music.  This is heartfelt and rockin', dark and reassuring. 

                The first thing that hit me about this record was how murky it sounded.  Where did they record this, under somebody’s house?  It’s like a cloud garden and each song is like a puff of smoke rising out of a long forgotten fire.    

There is also an easy going quality to this album.  Sometimes it reminds me of a relaxing day.  Of course there are two kinds of relaxing days: the ones you have to try to make relaxing, and the ones that are relaxing all by themselves.  This album is the latter.  “Easy Rollin” feels like you are driving 50 mph on a smooth highway. That classic “Rascals’ organ” smooths everything out nicely and makes it feel like the wind is gently blowing your hair.  Nothing feels forced on this record; everything is a logical progression from their earlier sound.  I also love the ending of this song where the tape slows down and the organ falls. 

“Rainy Day” is a gorgeous slice of orchestral grandiosity mixed with unpolished vocals, and…wait for it…syrup.  It’s just enough though.  “Syrup” or “Syrupy” usually has a connotation of something overly sweet on an album.  Not here.  If you were eating pancakes, you could compare the syrup factor to about ¼ of the way into your meal.  That is the point where you are still really digging the sweetness, but aren’t sick of it yet.  I also really dig the bridge where everything speeds up for a few bars.  It feels like some 50’s action adventure safari soundtrack.  Just lovely. 

What strike me about “Please Love Me” (my wife’s favorite) and “It’s Wonderful” are the background vocals.  They are wonderfully high and piercing.  I think what I like about them is that they feel like regular guys singing with their regular voices.  These aren't the angelic tones of the Beach Boys or the silky smoothness of The Association that I usually get caught up in.  These are very functional background vocals.  It’s like they were in the studio and said, “Can you sing the lyric ‘please’ really high and shrilly? You can? Great!  Go do it, and then do the same thing on “It’s Wonderful.”  And just like that, the background vocals were done.  As I have stated in other reviews, it is that lack of pretension that makes it feel so raw and compelling. 

                When I think of this album, I find that songs from the first side tend to pop into my head first.  The songs are a little punchier and to the point.  However, the second side has some very pretty songs that are very much of their time.  “Sattva” with its sitar and chants of “this is love” is pure 1968.  But it’s the second part of the song that blends the more straight forward Rascals’ sound with the hook.  I think the real accomplishment here is that they didn’t just try to just do an “Indian” song.  They blended it successfully with their own sound, making it something much more special. 

Tones:  There are several songs that feature some very jazzy saxophone playing by King Curtis.  Most bands that incorporated sax into their sound did so in more of a honking R&B way.  The Rascals were able to explore jazz elements, which was rare in the late 60’s.  The jazz accents are one reason I find this record so compelling and original.  When you listen to bands like The Beatles and the Beach Boys, you hear them pushing boundaries, but not in the way the Rascals do.  The Rascals would move in this direction even more as they moved into the 70’s.

Cover Note:  The inside says that the drummer, Dino Danelli, was responsible for the cover.  I feel like this is an interesting cover, but I wouldn’t want to see these artifacts in person.  It’s very grey/blue, and if my mind did not attach the artifacts to the music, I would be uncomfortable.  I also have to say that the gatefold on this record (and all my late period Rascals’ records) is extremely high quality, and has/have held up nicely. 

Price Paid:  $3.00 and I have gotten so much joy out of this one.  It isn’t a terribly hard one to find either. 

Bottom Line:  This was one of the first records I found that was not an obvious classic.  It took me a few listens before I really fell in love with it and I think the same was true for my wife.  She never made any comments about the record until I had been playing it for a few days.  After that, she had all kinds of things to say.  For example, she can’t decide if she likes or dislikes the sped up vocals at the end of “It’s Wonderful.”  I find that fascinating and it gives us something to talk about each time we listen together with our son.  My wife and I have also had a great time singing, “I’m Gonna Love You Any Way I Can” to our boy.  You can totally get away with playing this one around your family.  They’ll love it.  It’s wonderful.   

The Millennium "Begin" 1968

Now this one is obscure.  The band Millennium was actually the brainchild of Curt Boettcher and a few of his friends.  Curt’s most notable work is as the producer of The Association’s first record.  This is not the kind of record you are going to stumble upon in an old record bin (unless you are incredibly lucky).  Someone has more than likely suggested this record to you (as my old buddy Vic did for me) or you have heard about it in some dimly lit corner of the internet.  The great thing about this record is that it really is a lost masterpiece.  The songs are catchy, the production brilliant, and the performances adroit. 

                The introduction to the album, “Prelude,” is a wonderful harpsichord and tuba workout.  When I first heard this piece, I was extremely impressed.  The juxtaposition of the prickly harpsichord and the fat-bottomed tuba is lovely, but what holds everything together is the sound of the drum beat.  In 1968, there is absolutely no comparison in terms of booming sonic splendor.  It would take 20 more years before people started getting into beats recorded like this.  My wife summed up “Prelude” perfectly: "This song is just waiting for a hip hop artist to sample this intro and turn it into a hit."  And she’s right.  There is nothing inherently “hip hop" about the song to begin with, but could certainly be used that way (with some gentle nudging). 

                Speaking of my wife, she loves this record, and so does my son.  This has been dinner music for over a week now.  Soft Psych is a hard sell for most people, but good music is good music, period.  There is not a song on here that she does not like.  One of her favorites is “5 A.M.”  I think it’s the rising chord progression and the way he sings “5 O’clock.”  Most people would say, “A’clock,” but he clearly says “Oh.”   “I Just Want to be Your Friend” also has a tiny sweetness to it.  Sometimes I feel like I would need a microscope in order to see the people singing this song.  There is also some great percussive use of shakers in this one. 

                Personally, I enjoy “The Island.”  There is a wonderful blend of Soft Psych and Exotica on this one.  You get cloud like vocals and watery steel guitar.  You get circular guitar figures and far off animal sounds.  The bridge is absolutely wonderful too.  In the 1960’s, record stores were inundated with Hawaiian records.  It is only natural that Curt Boettcher would have heard a lot of them.  I think it’s great he was able to incorporate these sounds into a forward thinking record such as “Begin.”

                I always got a bit of a Todd Rundgren vibe from the song “It’s You.”  It’s a little like his song “Couldn’t I Just Tell You” from Something/Anything.  It must be that double tracked acoustic guitar.  I have always thought that the lyrics were interesting as well.  The concept of someone peering through a frosted window at someone makes me feel weird.  Obfuscated points of view seldom leave me feeling warm and toasty.

Tones:  Oh man…so many.  Here is a little list for ya:

1.  The chorus effect on the bass on “To Claudia on Thursday” is very rare for the 60’s.  Chorus on bass is more of an 80’s thing to me.  I have also never heard a cuíca on a 60’s pop record before, unless it was straight out of Brazil.  It’s the best squeaky sound ever. 

2.  Speaking of squeaky sounds, the guitar at the start of “It Won’t Always Be the Same” is almost Theremin like. 

3.  The vocals in “Sing to Me” show that harmony is not always necessary.  It sounds like there are several voices singing in unison.  Harmony is the default on most Soft Psych records, so it is nice to see this vocal color used as well. 

4.  Something is going on with the trumpets in “The Know It All.”  They may be slightly sped up or on some kind of tape loop.  The drums also have a dead, flat, sloppy punch that sounds like a petulant child punching a pillow.    

5.  The vibraphone part on “Some Sunny Day” sounds a lot like “My Girl,” doesn’t it?  

Cover Note:  I wonder what they were going for here.  Certainly a cover with a black and white church scene is somewhat out of sync with late 60’s pop sensibilities.  There just doesn’t seem to be anything overly special about it.  I do like how it feels like you are looking out a window though. 

Price Paid:  I had to pick this one up new for about $15.00.  The original is extremely rare, but surprisingly you can still find reissues of this in print in both CD and vinyl formats.  It is pushing $27.00 for the LP version on Amazon, which I think is high.  Check out some other stores or Ebay for a better price. 

Bottom Line:  If one thing is true, it’s that this is a quality record.  A lot of hard work and focused energy went into this LP.   It is a niche record and will mostly appeal to Soft Psych fans.  There are some Beach Boys and Association comparisons that are fair, but at the end of the day, it’s really its own thing.  

The Association "Birthday" 1968

               Uh oh, did someone say soft psych masterpiece?  I have a running joke here at the house with my wife about soft psych.  Whenever I play an album, and she realizes what it is, she gives me a look that I have come to recognize.  On her irritating music scale, soft psych is in the 49% range.  It’s not grating for her, but it is just left of pleasant.  I always say, “But, it’s soft psych.” in a pathetic wanting voice.  Unfortunately, that does little to improve the situation.  She is not a huge fan, but tolerates my love of the genre very well.  She has even grown to like several albums by bands like The Millennium, The Free Design, and (today’s featured artist) The Association.  Soft psych is definitely an acquired taste.  You could compare it to a sweet bourbon or brandy.  The first time you try it, you are overwhelmed by its sweetness, and complexity.  However, once your pallet has matured, you can sit back and enjoy its glowing, sugary warmth. 

                “Birthday” by the Association was released in 1968, and stands as a crowning achievement for both the band and this great year in music.  While other albums were focusing on far out sounds and instrumentation, The Association spent most of its time polishing their vocal arrangements.  The result is one of the more complex vocal albums of the time.  I feel like the harmonies are far denser than other records of the era, and considering the era was known for dense vocals, that’s saying something.  When I listen to a song such as “Like Always,” I am struck by how the vocals function.  The background instruments are just simple drums, piano and bass.  The vocals act like an organ filling up the space, and provide a smoothing effect.  Move over to the bridge of the song and we get another effect.  The vocals have a jumping quality that sound more like a bouncy string quartet.    

    

            “Everything that Touches You” was a top ten hit when the album was released.  My buddy Vic had this song on a mix at his wedding, and we shared an appreciative glance as it played.  The perky, percussive bass line starts things off, but once again, it’s the vocals that carry the song through.  The tail of the song ends with a multi-layered lyric which repeats, “Love, love love, everything is love.”  I often hear that the super optimistic 60’s gave way to the cynical 70’s.  I wonder what it must have felt like to hear such a wonderfully simple proclamation of love back in a time when an entire generation of people believed that only music and love could change the world.  Imagine being a 16 year old kid sitting in your room listening to this song.  The singers are thousands of miles away sending you a harmonized message of love.  Now there’s a reason to get up in the mornin’.

                 There are also some other interesting lyrics on record.  “Time for Livin'” feels like a pretty good approximation of the Buddhist philosophy.  Every lyric explains how the singer cut through the garbage around himself and got into the present moment.  “I took off my watch and found I had all the time in the word.”  In a time when our cell phones take us so far out of the present moment, I feel like this song is more relevant than ever.  This sentiment is also echoed in “The Bus Song.”

                We also get some experiments with some interesting song structure and chord changes in “The Bus Song.”  I love how the last word of the chorus (it actually feel like you are falling) slips right back into the introduction of the song.  There is also an extended middle section that sounds like it was simply cut and pasted into the middle of the song.  It features some sleepy 'barbershop' type harmonies.  Listening to the very last chord of the song also pays off because there is a surprise inverted major 7^th chord (maybe with a 3^rd in the bass) that ends the song.  I like to think of it as a super tiny encore.     

Tones:  The vocals have a toasty quality that makes you feel like you've taken several deep breaths.  Hearing these guys breathing in and out while they are singing actually will slow down your heart beat and get you breathing easier.  I also noticed a lustful harmonica tone in “Birthday Morning” that I really loved.  It really floats the most positive qualities of wood and metal together.

Cover Note:  It’s blatantly psychedelic in both color and pop.   I also love how serious their facial expressions are.  It makes it feel a lot less goofy than some of the fun time, jumpy, throw your arms in the air and grin, album covers that I have seen (I’m looking at you Cowsills “We Can Fly”).

Price paid:  This was one of the first psych LP’s I ever bought and it was $3.00.  I know I bought another copy for my buddy Dave too.  It’s an underrated record, with one hit song, by an underrated band (a nice combo for record collectors).  That means you too should be able to find it easily.  I would hold off if it was $10.00, $7.00 should be your absolute max. 

Bottom line:  Soft Psych will put you into that nice middle territory with your family.  Most won’t love it, but most won’t hate it.  But be warned.  Just like candy, the average person can burn out quickly on soft psych.  There is a song called “Rose Petals, Incense and a Kitten” for crying out loud.  Don’t push your luck. You have been warned. 

The Cyrkle "Neon" 1967

                Sometimes it’s the minor groups that really get to you.  When a group flies slightly under the radar, it has the opportunity to behave with less pretension and more sincerity, less pomp and more honesty.  To me, The Cyrkle falls into this category.  The group is best known for its lovely hits “Red Rubber Ball” and “Turn Down Day.”  Both of these were offered up on their first record though.  It was only as a follow up to their modest success that we get the lovely “Neon.”  I love The Cyrkle, but I am not going to say they are the most underrated band of the 60’s or anything like that.  What I will say is that they are very talented and pleasing to the ear.  They also have flashes of brilliance that make this well worth having in your collection.    

                The opening number, with the lengthy name “Don’t Cry, No Tears, No Fears Comin’ Your Way,” starts with some interesting guitar sounds.  There is very little attack on the front end of these chords.  Think of it like this: Imagine I said the word “Bang.”  Now picture me saying it with as little emphasis on the “B” sound as possible.  The “ang” sound then rises up and rings out, leaving you with a gong like impression.  The song then vacillates between mantra like verses and chipper choruses.  We also get not one, but two modulations at the ending fade. 

                “Please Don’t Ever Leave Me” has the boys singing to a typical late 60’s arrangement.  The harpsichord and oboe are very nice, but it is the sincere vocals that make the song so enjoyable.  There is nothing particularly special about the song.  It’s just a nice melody sung by some nice voices.  I always liked the sound of Don Dannemann’s (the lead singer) voice.  Some people sing like a violin, with notes sliding all over the place.  Don sings like a piano: clean, unwavering, and solid.  It’s hard for me to picture him singing out of tune.  Don also sings lead on, what I consider to be, the stand out track on the record. 

                “I Wish You Could Be Here” really tugs at my heart.  Don’s lead vocal is performed at about the level of a quiet phone call.  Picture a time in your life when you said “I wish you could be here.” to someone over the phone.  Remember that feeling as you listen to this song.  Sometimes the circumstances of life keep us apart, and what are we to do?  Here are a few of the lyrics:

Sundays in this town, there’s not a lot for me to do.

I’ve been listening to some records, but my thoughts have turned to you. 

I try to read the paper, but the words aren’t very clear,

And I know there’s something missing.

I wish you could be here. 

                There is a gentle melancholy to this song that I just love.  Sad songs have a tendency to pull me down into whatever hole the the artist is wallowing in, but this one is different.  I don’t know why it’s so touching, but something about it really resonates with me.  After listening to it multiple times, I looked on the back cover and found out that Paul Simon (who also wrote “Red Rubber Ball”) was a co-writer.  I guess that makes sense why it is so good.  My wife also noticed some moaning percussion in the back ground that I have not been able to positively identify.  The sound feels just like that aching in your gut when you really miss someone. 

                There are also a couple of well placed covers on the record.  “It Doesn’t Matter Anymore,” written by Bacharach and David, features a complex melody.  It’s the kind of melody that is dissonant, but doesn’t feel dissonant.  Similarly, the Beatles cover, “I’m Happy Just to Dance With You,” has some funky chord changes that diverge from the original.  It’s not something that totally messes with the song, but it does alter it enough to make it interesting.  The drummer also performs some nice patterns that help soften some of the harder melodic changes. 

                The only song that feels out of place is “Problem Child.”  Everything about it feels too harsh and over the top.  I am sure it was supposed to be tongue in cheek, but it messes with the overall tone of the album.  It feels like it would be more at home on a Lovin’ Spoonful or Monkees record.  I have heard plenty of other records that have this same problem, so it’s not anything particular to The Cyrkle.  Heck, even most Beach Boys records had a weird honker like this on them. 

Tones:  There are some very simple sitar parts spread out across the album.  I imagine that producers in 1968 told bands, “You are required to feature sitar, harpsichord, mellotron, or fuzz guitar on this record.  I suggest all of them.”  Actually these touches are very nice.  I especially like the muffled tone on the rudimentary piano solo on “Our Love Affair’s in Question”

Cover Note:  I have always associated neon colors with the late 80’s and early 90’s, so it’s interesting to see it in a 60’s context.  The cover is actually a little boring, especially when compared to other covers released in 1967.  It is just the four band members stoically staring at the camera with two neon circles around them.  80% of the cover is black.  Oh well, they can’t all be gems. 

Price paid:  I paid about $12.00 for this at a local shop.  This particular shop is usually pretty over priced in general, but they do have a massive collection.  I bought it early in my record collecting career, when I was more impulsive.  I am not sure if it’s original or not, but it was in great condition.  Years later, I also bought a copy for my sister that was under $5.00.  Sundazed Records has also reissued both this and the first Cyrkle album.  I highly recommend anything Sundazed presses.  Their attention to detail is unsurpassed. 

Bottom Line:  This is the kind of record you pull out and listen to once every few years.  I am never disappointed with it when I do.  If you already have a large collection of 60’s pop, then you will find a lot to like here.  My wife found it to be pleasant and said she liked a few of the songs.  Given her ambivalence towards soft psych, I consider that a win.  $5.00-$6.00 is a fine price to pay.