It's Psychedelic Baby Magazine

It's Psychedelic Baby is an independent, music magazine. We are covering alternative, underground, non-commercial and non-mainstream artists in variety of shapes and genres. Exclusive interviews, reviews and articles. A place where musicians can express themselves. We serve an international readership.

JAZZ CORNER Presents: Pharoah Sanders - Black Unity (1971)


During the 1960s, many new and exciting musical movements emerged. Psychedelic rock is of course the first that comes to mind, but it was also the decade of a new kind of jazz music, where the musicians tried to get rid of the old rules of the genre to create transcendental sounds: free jazz.
Saxophonist Pharoah Sanders is one of the most well-known representatives of this genre. Originally playing for John Coltrane, most notably on his masterpiece Ascension, Sanders then created his own band to bring to the world his vision of a universal black music, expressed through the form of free jazz.

Marvin Gardens - ‘1968’ (2016) review


Marvin Gardens - 1968 (High Moon CD/2xLP)

I’m sure I’ve said this before but it’s something worth repeating ... don’t you just love it when you’ve been hit by a new, never heard before, or sometimes never even heard of group who were in operation during the glorious 1964-70 heyday and, after having had a good listen through what they’ve left behind, you get to thinking, wow, they’re really quite something. Of course we’ve been very fortunate with quite a few of these golden-style musical excavations that’ve come to our attention through dilligent conduits over the last few years or so.

From The Vault: Pink Floyd - Meddle (1971)


What Pink Floyd did on what’s considered their ‘breakout’ album, was for the first time, to find a collective voice, and collaborate full throttle, creating a sort of musical bridge between their earlier works, and what was to become their triumphant earth shattering release Dark Side Of The Moon.

Snake Eye Rises Out Of Red Dirt


Snake Eye Rises Out Of Red Dirt
Snake Eye The Journey (Angel Air SJPCD 493; 54.13)

Just released is a recording by an obscure band Snake Eye, but it’s got a tale to tell and the only sting was done to them. Aficionados of rare blues rock with a psych feel will know the name Red Dirt, who were leased to a major 60’s label—by a studio label!—but only released 200 units which now can fetch four figures in the collectors’ market. The name even spawned a genre of dirty rock stateside—but guess who were there first? With the kind help of a founder member of Snake Eye, who joined Red Dirt after their debut, let’s dust off our piths and hack through the overgrowth for a clearer view.

From The Vault: Relatively Clean Rivers - “Relatively Clean Rivers” (1976)


Mystery and rumors have swirled like hazy blue smoke around this very enchanting privately released limited edition bit of folk rock psychedelia since it first slid onto the scene back in 1976 … being the brainchild of Phil Pearlman[Editor’s note: Phil Pearlman was member of The Beat Of The Earth, The Electronic Hole]

Ulrich Rois interview


“Music is never a fixed thing”

With the Along The Belt, Around The Bend tape, Ulrich Rois made a beautiful banjo record between folk and avant-garde.

Why did you decide to make this record as a solo record? Did you feel like you made kind of a full circle (because your first Bird People records were solo recordings too)? 

Bird People kind of started as a solo project but actually the first few recordings are with a band line-up and more song-oriented than the stuff I did in the last few years. I had fun doing Bird People as a solo project but a while ago I realized that the kind of music I want to make with that project really needs the social and musical interaction with other people. So Bird People is now an open collective with shifting line-ups but I don’t do it solo anymore. Therefore, I wanted to have another outlet for the music I make on my own. 

Angela Sawyer interview


You’re allowed to turn your faults into your charms

With Croaks, Angela Sawyer made an album with 2 side-long tracks, using only one instrument: her own voice.

Why did you want to make a voice record?

I use voice a lot, because I have a wider range of resources there than I do with some other instruments. I think of music as something you make primarily with your head (as opposed to your hands), so any instrument or even using no instruments is always an option.

I have a whole lot of art theories about how the different parts of your head have to work together to make something. That’s mostly just because I’m a big fan of theories in general. However, I also happen to have a weird sinus cavity, which gives my voice a lot of  ‘color’. It’s extremely whiny up in the nasal register, and very unresonant at the bottom end where people sound like frogs. Lots of textural ambiguities arise when you chop off the first milliseconds or last half of a typical sound, and although there are lots of vocal skills I’m bad at (terrible breath control, e.g., Galas could choke me out in seconds flat), I’m pretty good at that chopping and color stuff, which is also known as tone.

From The Vault: Don Shinn - Takes A Trip (1969)


Sometimes, at the oddest moments, I find myself thinking of Don Shinn, and wondering what he’s doing today.

It would be easy to say that Don Shinn was capitalizing on the headiness of the 60’s with the implications of this album’s title, yet if you consider the fact that the man was a musical genius, who in 1966 not only pioneered, but forged the progressive rock organ template, one that would bring fame to Atomic Rooster, and of course Keith Emerson [then of The Nice, and later with ELP] it’s rather prophetically sad that Don Shinn should sit in the corner almost unrecognized to this day for the groundbreaking work he laid down. Shinn, while not psychedelic in nature, did speak to the times with his flowering flowing presentations that momentarily captured the attention of audiences as an opening act, and was instantly forgotten as soon as the headliners took the stage.

JAZZ CORNER Presents: John Coltrane - A Love Supreme (1965)


     A Love Supreme is a very special album, even in the large scope of John Coltrane’s work. Bearing resemblance with the post-bop style of its time, it is nonetheless absolutely innovative, without ever going to full-on free jazz territory. It is most of all the work of an enlightened mind, who, after years of confusion, finally finds peace of mind and discovers the power of the Universal oneness, Tat Tvam Asi, the Love Supreme.

It's Psychedelic Baby presents: Holy Monitor - Bed Of The Earth premiere


Holy Monitor is a music collective that blends space rock with repeatable psyched riffs & beats and ambient music sensibility. They are based in Athens,  Greece and they have released two EPs Golden Light and Aeolus. Their lyrical themes are tripping from Greek ancient mythology to the small scale structure of the universe.

Ross Beattie presents It's Psychedelic Baby podcast #10 (January)

A brand new podcast hosted by Ross Beattie (The Night Tripper)

Kaleidoscope - Music
Gong - Fohat Digs Holes In Space 
Creme Soda - Numero Uno
Matching Mole - Part Of The Dance
Petra Haden - I Can See For Miles
Lungfish - Slip Of Existence
Os Brazões - Modulo Lunar
The Brian Jonestown Massacre - The Sun Ship
Pugh Rogefeldt - Stinsen I Bro
Earth - Old Black
David Lynch - The Ballad Of Hollis Brown
The Human Beinz - April 15th
Giant Squid - Octopus 
Suzuki Junzo - If I Die Before I Wake