The Projection Company "Give Me Some Lovin'"/Staff Carpenborg & The Electric Corona "Fantastic Party" (Gear Fab Records, 1967, 1971/2014)
Both these albums, which have been roped together onto a single compact disc, were not created by genuine groups per se, but musicians hitching a ride on the acid rock bandwagon. Seldom were the faces behind the recordings billed, lending an aura of mystery to the sessions. The era was rife with exploitation endeavors, ranging from cringe-worthy to superb. Psychedelic music possesses a variety of ingredients, and these enigmatic figures took full advantage of the genre by stretching and exaggerating the multiple aspects as well as adding their own strange and screwy strokes to the canvas.
Originally released on the Custom label in 1967, The Projection Company's "Give Me Some Lovin'" is actually a rather conservative affair for an album of its kind. The title cut is a fine cover of the Spencer Davis Group's rousing hit song, while "Uh Uh Uh" and "I Can't Stand It Baby" favor a soul code, and an instrumental,"Kimeaa," with its slinky sitar-saturated slopes, appropriates a raga rock stance to appealing effects. Other instrumentals included on the record are a version of the Id's bubbly "Boil The Kettle," "Our Man Hendrix," and "Tune Out Of Place." Snappy hooks weave in and out of the picture, compounded by reedy keyboards, swinging rhythms, popping grooves, and fat fuzz chords, resembling a soundtrack to a cheesy teen flick. Gruff and gritty bluesy country vocals further steer the point home. Providing just enough tongue-in-cheek impulses to elicit a few chuckles, "Give Me Some Lovin'" is one of the best albums of its phony baloney stripe.
Defying time and space to such an extreme extent, Staff Carpenborg & The Electric Corona's "Fantastic Party" could have been recorded yesterday, today, or a decade from now. But the album was initially issued in 1971, and is so bizarre that it makes Pink Floyd and Frank Zappa seem mainstream by comparison. The vocals, if you can even call them that, are crooned, shouted, and warbled in German, so unless you speak the language, a big question mark will be drawn. Thankfully, the singing on "Fantastic Party" is minimal, with instrumentals dominating the show, but please don't get me wrong, as the disc sports a cool and interesting quality and will surely receive positive responses from those with a penchant for quirkiness. The first piece on the album, "All Men Shall Be Brothers Of Ludwig" kicks off to the booming burr of "A Fifth Of Beethoven" before melting into a pool of free-form frolic. Casting an exotic scent, "Let The Thing Comin' Up" could pass as an early world beat exercise, and the oddly christened "Shummy Poor Chestnut Idea In Troody Taprest Noodles" is stamped with lazy humming and trance-inducing waves of tinny drumming and tuneless fret work. Flooded with stinging fuzz guitars, "Swing Low, If You Like To Do," the spooky tremors of "Stainy Heavy Needles," and the tribal jazz motifs of "The Every Days Way Down To The Suburbs" evoke images of fairies and elves operating in a dimension decorated with flashing strobe lights, curls of smoke, trees spouting rabbit ears, laughing flowers, soda bottles turning cartwheels, and dancing ectoplasm. A whistling flute and jagged melodies adorn much of the material on the album as well. Simply dumbfounding, "Fantastic Party" is so simultaneously dated and futuristic that it's brilliant!
Review made by Beverly Paterson/2014
© Copyright http://psychedelicbaby.blogspot.com/2014