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.

Painter Turns to Hammersmith


Painter Turns to Hammersmith
by Brock Silversides

Just before Christmas of 1973, an album by the Canadian band Painter hit the North American market like a ton of TNT. To call it “heavy” was an understatement – yet it was also sophisticated and melodic, and replete with radio-friendly hooks. And part of its appeal was that it came from a band which appeared to have no track record with the record-buying public. That was quite untrue of course.

Stack Waddy - “So Who The Hell Is Stack Waddy?” (2017) review


Stack Waddy - So Who The Hell Is Stack Waddy? (Cherry Red Records, 2017)

Once upon a time—September 1969 to be precise—a band formed in Timperley near Manchester from the unlikely cabaret and working-men club scene. This must have had an affect, as a character in the then-renowned Mad mag spawned the new band’s name, Stack Waddy. John Knail (vocals) and late guitarist Mick Stott were first in r‘n’b band The Knails from ’65, Stott and bassist Stuart Banham in Cream-like power trio New Religion whose album on Polydor and European tour came and went. The new quartet—with Steve Revell from Zap Band on drums—was almost a power trio with a vocalist added by sheer force and fear. Like none other, hod-carrying by day and nightly bestowing a healthy mix of Beefheart, Howling Wolf, pre-punk invective interlacing harmonica spurts with whistling and perverse little stories, attention was unavoidable.

Dijf Sanders - “Kaster” premiere


Belgian musician Dijf Sanders pens and produces soundtracks for distant, far-flung places that brood with exotica, psychedelia, jazz and electronica.
His new album ‘JAVA’, is a psychedelic and modern search for the sounds of the homonymous Indonesian island. Armed with a set of field recorders, Dijf traveled to every urban and rural corner of Indonesia in the spring of this year.


Dead Rabbits - “TimeIsYourOnlyEnemy” (2014) review


Dead Rabbits - TimeIsYourOnlyEnemy (Fuzz Club, 2014)

Creating a rather dark tumbling sonic image here on TimeIsYourOnlyEnemy, the band’s influences are evident from the very beginning, which isn’t to say that they are beholding to those sonic inspirations, because Dead Rabbits are truly in charge of their own destiny, dancing somewhere between the genre of shoegazer from the late 1990’s to the atmospherically driven attitudes of the neo-psychedelic movement that started sweeping the scene as the new century began to unfold.

White Manna - “Bleeding Eyes” (2017) review


White Manna - Bleeding Eyes (Cardinal Fuzz, 2017)

White Manna are back with their 6th release since 2012 and their first studio album since 2015 (Pan). The title tracks start things with an uptempo psych rocker. As with all the White Manna records, they have a special sound production. Drums are loud and dry, the guitars mixed to the back, space sounds quite low most of the time but present, and a nice rolling bass line.

Reason - “The Age Of Reason” (1969) review


Reason - The Age Of Reason (Gear Fab Records, 1969/2016 reissue)

An obscurity brought back to life, The Age Of Reason initially came out on the Georgetown label in 1969. The album was recorded by Reason, a Washington DC based band consisting of Tommy Dildy on vocals and keyboards, Billy Windsor on vocals and guitar, Bill Manning on drums and vocals, and bassists J. Jenson and T. Gorka. Danny Gatton, who eventually achieved status as “the greatest guitarist you have never heard” also participated in the project.

The Psychedelic Schafferson Jetplane - “The Psychedelic Schafferson Jetplane” (2010) review


The Psychedelic Schafferson Jetplane - The Psychedelic Schafferson Jetplane (Pastabase, 2010)

Drawing the group’s name [though this could very well be the work of a single visionary person] from the historic psychedelic band The Jefferson Airplane, this Chilean experience, The Psychedelic Schafferson Jetplane offer up a bit of 60’s hazy intoxication, but only so much as Spacemen 3 did in the 90’s, creating a new atmosphere that shares a kindred spirit for haunting musical delights, ethereal rhythmic meanderings and sonic layering that moves the music forward, though staying true to a warm scripted environment laced with a penchant for substances of the hypnotic nature.

Uffe Lorenzen - “Galmandsværk” (2017) review


Uffe Lorenzen - Galmandsværk (Bad Afro Records, 2017)

Uffe (Lorenzo Woodrose for most people) has created his first solo album. Last winter he spent 10 weeks on the island of Gomera off the coast of Africa. He rented a small apartment and spent time with his guitar, recorder and his mind.

Domboshawa interview


Anders Broström is a Swedish multi-instrumentalist. His latest album Mind Electrix consist of improvised jams for fans of lysergic space rock. Drone Rock Records released Mind Electrix on vinyl.

What do you consider to be your first real exposure to music?

I’m from a very musical home where my parents worked with music so there was always a lot of music at home, they played Beatles, the Moody Blues and Billy Joel and a lot of other of great music, but the first music that was mine own was heavy metal, 1984 was the year when I started to buy my own records, I loved Kiss, Mötley Crue, Twisted Sister, Dio, Alice Cooper, Guns N’ Roses and everything else that was happening back then.
My introduction to psychedelic music was probably in 1993 or something, I was taking drum lessons when I was younger and my parents had taped the Woodstock movie from the tv and they showed me Santana and the drum solo Michael Shrieve does in “Soul Sacrifice.” I was blown away! I watched the whole movie about 200 times and started buying records by Jefferson Airplane, Quicksilver Messenger Service, Grateful Dead, Country Joe And the Fish and much more from the San Francisco scene, then from there it just grow with the English bands and Swedish bands and so forth, I loved the whole “turn on, tune in, drop out” vibe.
The band I got really hooked on was Grateful Dead, I’m a huge deadhead.
Instrumental music with a lot of jamming and improvisation is really awesome, Earthless, Phish or Ozric Tentacles, it’s all great.

Skid Row - Skid / 34 Hours (2017) review


Skid Row - Skid / 34 Hours (BGO CD1302; 38.29 / 57.33 mins)

The original Skid Row are usually called Gary Moore’s band and therefore blues, but these confuse fiction with fact. The band was actually started by bassist/vocalist Brendan ‘Brush’ Shiels, nicknamed by his previous Uptown Band’s manager because of his moustache and long hair (this was, after all, the age of clean-cut, sequined show bands in Ireland). And blues is well stirred in this heady brew of flavours. The developing late ’60s Irish rock scene boasted Taste with Rory Gallagher, Van Morrison’s Them, The Action and Granny’s Intentions (on Deram) soon followed by Thin Lizzy.

Peter J. Faber-Jonker - “The Faber Book of Ballads” (2017)


Peter J. Faber-Jonker is a Rotterdam based guitarist-songwriter well known for his contemporary classic pop-sound. The Faber Book Of Ballads is an ambitious double album! Read more about its making.

From The Vault: Caravan - “If I Could Do It All Over Again, I’d Do It All Over You” (1970)


Without a doubt, most people walked backwards to find If I Could Do It All Over Again, I’d Do It All Over You from the success Caravan had with In The Land Of Gray and Pink, with this album seeming to have gained more praise and acceptance as the years have rolled on.

Electric Wizard interview with Jus Oborn: “Wizard Bloody Wizard”


Wizard Bloody Wizard
I hope we will start a new quest for a heavier, darker, dirtier sound again... this is just the beginning. The slate is clean.

A new album by Electric Wizard. Interview with Jus Oborn about Wizard Bloody Wizard available on 17 November 2017. 

I guess Wizard Bloody Wizard is a step to the roots?

Yeah the idea was to get back to our earliest musical influences. To get back to the core of the actual musicians that first inspired us to pick up a guitar. Hendrix, Ron Asheton, Iommi, Leigh Stephens, Jimmy Page etc. And to get back to the roots of heavy music... the blues, rock’n’roll etc.

The songs are fusion of the Stooges, Black Sabbath, early Alice Cooper, Blue Cheer and other heavy psych bands of the time. For me it’s like giving a candy to a kid, y’know? 

Haha... me too. I guess we are pretty much totally obsessed with the heavy bands from this period... all these bands created heavy rock/metal. It’s the birth place of all the music I still dig. I really hoped we could create something that was contemporaneous to all those albums... something that would stand outside of time and trends.

Stray - “Fire & Glass: The Pye Recordings 1975-1976” (2017) review


Stray - Fire & Glass: The Pye Recordings 1975-1976 (Cherry Red Records, 2017)

“Fire & Glass” is part two of the Stray saga, presented by Cherry Red Records, UK, a follow up to the 2017 four disc box set “All In Your Mind: The Transatlantic Yeas 1970-1974”, a four disc box set, which was reviewed a couple of weeks ago. This two disc, thirty five track set compiles all of the band’s recordings released by Pye Records on their Dawn imprint, home to Mungo Jerry and many other artists. Thus, “Fire & Glass” contains three LPs, a single edit, a non-LP b-side and two previously unreleased album outtakes, nearly two and a half hours of prime time rock and roll.

From The Vault: Neil Young - “After The Gold Rush” (1970)


So many of my early musical experiences were overshadowed by the War in Vietnam ... I used to envy those who discovered this album while in college, or on the road, sunk deeply into some overstuffed chair, a head full of weed, candles flickering in the darkness, wrapped in the arms of a lover or a friend. After The Gold Rush was first played for me by another Nurse who’d just returned from R&R. It was in the wee small hours of the morning, in one of many Evac Hospitals that dotted Southeast Asia, and she stood quietly, arms filled with new records, as I sat lost in needlework, patching the ripped uniforms and darning the socks of my boys. “This is for you,” I remember her saying, and I laughed seeing the album jacket, with the patches sewed onto Neil’s jeans. But the album did quickly become my personal record, especially side two, laced with lo-fi songs of distant places, double meanings, heartache, and change ... yet through it all, Neil cracked the door, leaving room for a breath of hope ... something that was in short supply in my corner of the world. 

Stack Waddy - “So Who The Hell Is Stack Waddy?” (2017) review


Stack Waddy “So Who The Hell Is Stack Waddy?” (Cherry Red Records, 2017)

Taking their name from a character in a Mad Magazine comic strip, singer John Knail, guitarist Mick Stott, bass player Stuart Banham and drummer Steve Revell formed Stack Waddy in late summer 1969 in Timperley, a suburban village, southwest of Manchester. Knail and Stott had been in a rhythm and blues band The Knails in 1965, while Stott and Banham later played in a power trio, New Religion, in 1968. Stack Waddy played the first Buxton Blues Festival, headlined by Fleetwood Mac, where they were spotted by DJ John Peel, as well as Zig Zag magazine’s Dave Neale. Taking the stage at 2 AM, the band jumped into their cover of Dale Hawkins’ “Suzie Q” impressing Peel sufficiently to sign the band to his recently created Dandelion Records label. Throughout 1969 Stack Waddy dazzled audiences with their mixture of primal rhythm and blues, drawing on the influences of Bo Diddley and Willie Dixon, and heavy psychedelic rock a la Cream and Hendrix. As with their recordings, begun in 1970, Stott’s delivery was filled with heavy doses of the overdrive on his amp/guitar combo and its raging tone was the signature of Stack Waddy’s intimidating sound, described by Zig Zag Magazine’s Dave Neale as a “lot of wonderful noise with a killer beat. They were loud and uncompromising!”

Pretty Lightning - “The Rhythm Of Ooze” album premiere


Christian Berghoff and Sebastian Haas are two lifelong friends from Saarbrucken, Germany who back in 2007 formed the band Pretty Lightning. The duo tick off a long list of influences – from 60s psych and delta blues through to krautrock and drone – and the end-product is a heady dose of raw, twisted psychedelic-blues recalling an utterly visceral, mind-blowing mix of Oh Sees, Wooden Shjips and early Black Keys.


Fast forward ten years and the German two-piece have two highly-praised LPs behind them and are now gearing up for the third effort, The Rhythm Of Ooze – due for release November 10th on Fuzz Club Records. Their latest long player sees them dive even further down the rabbit-hole of stomping garage-blues rhythms and unremitting motoric drones to dizzying effects.


Deluxe vinyl: 180g coloured vinyl, gatefold sleeve and printed inner-sleeve. Limited to 100. Standard vinyl: 180g coloured vinyl and printed inner-sleeve. Limited to 400. (https://fuzzclub.com/)

An interview with Frank Maston


Frank Maston has written a soundtrack for the best movie never made. 

The songwriter, producer, and now, label head, has spent five years away from his solo project, Maston, filling his days in the Netherlands accompanying Dutch rockstar Jacco Gardner. Having always wanted to live abroad, Maston jumped at the opportunity, assimilating into the culture and slowly easing his way back into songwriting—incorporating his experiences on the road and abroad into his new work. Tulips, out October 27th on his own Phonoscope label, is a document of time spent between two worlds. Rather than trying to paste together his experiences in Holland with the life he lives in Los Angeles, Maston has created an album that is neither tethered to place nor restricted by his nomadic living situation. Instead, Maston reached for untapped influence—particularly the deep-grooving soundtracks of French and Italian cinema—to help shape Tulips. The result is a technicolor tour de force of a world unseen yet wholly imaginable. On an album of catchy pop hits, it’s Maston’s aesthetic precision that truly stands out.

Carlton Melton - “Hidden Lights” (2017) review


Carlton Melton - Hidden Lights (Agitated Records, 2017)

Carlton Melton are back with another dream drone track to start things off called “Rememory.” Almost twenty minutes of slow crawling guitars, clam drums, and a sublime bass. The guys are taking it slow. Phil Manley accompanies them on guitar. He also recorded and mixed the LP in San Francisco.

An interview with George Brigman


George Brigman started recording his first LP when he was only 18 years old. Jungle Rot is an impressive recording made by this young man. Several albums of this acid drenched boogie rock followed. Read our interview with George Brigman.

Pansies - “Cascade of Colors” album premiere


Arriving out of Salt Lake City, Utah, is the velveteen trio; Pansies. The line-up is as follows: Arash Mafi – Organ, Vocals – Former member of Rainbow Black and also a vintage fashion Designer and Jewellery maker, Victor Armaya – Guitar, Vocals, and Alex Lackey – Drums. Cascade of Colors is the debut release from the band, and is a collection of dreamy, reverb-drenched, and kaleidoscopic tracks carried by echoed guitar tones, swirly organ, and bubbling vocals.



Limited to 250 copies, the vinyl LP is available to pre-order now and will be shipping this December.


Sourdure


Magic realism” 

As Sourdure, Ernest Bergez makes ancient music for post-modern times. With the over 100 minutes long triple tape Mantras, Bergez made a highly esoteric journey. 

A Potpouri Of Melodies And Mayhem: Latin American And Canadian Rock, Pop, Beat, R&B, Folk, Garage, Psych And Prog 1963-1976 by Vernon Joynson


NEXT UP FROM BORDERLINE...

This will be our next title in the series that has already brought us Fuzz, Acid and Flowers (US psych, prog and hippie-rock 1963-1976) (2010), The Two-Volume Tapestry of Delights (UK rock, pop, beat, R&B, folk, psych and prog 1963-1976) (2014) and A Melange Of Musical Pipedreams And Pandemonium (Australian, New Zealand, African, Turkish And Middle Eastern Rock, Pop, Folk, Psych And Prog 1963-1976) (2017).

Gin Lady - “Electric Earth” (2017) review


Gin Lady- Electric Earth (Kozmik Artifactz, 2017)

This is the fourth release by the Swedish band Gin Lady. I heard the last one and really liked it but they really hit the ball out of the park on Electric Earth! What a fucking great record! I recently received the record and my wife and I are spinning it everyday! Fantastic vocals, great songs and playing. The songs take me back to the early 1970s.

The Bleu Forest - “Ichiban - Live At Jimmie’s” (2017) review


The Bleu Forest - Ichiban - Live At Jimmie’s (Golden Pavillion/Gear Fab Records, 2017)

I’m betting most of you have heard the Bleu Forest’s A Thousand Trees Deep,” which was issued in 2016 on the Golden Pavilion label. Initially recorded in 1968, the disc duly renewed interest in the otherwise obscure Ventura County, California band. Prior to the birth of “A Thousand Trees Deep,” the Bleu Forest laid down a recording, that like “A Thousand Trees Deep,” had been hiding in the vaults for years.

Stray - “All In Your Mind: The Transatlantic Years 1970-1974” (2017) review


Stray - All In Your Mind: The Transatlantic Years 1970-1974 (Esoteric Recordings, 2017)

Formed in London in the late 1960s, Stray recorded a total of eight albums between 1970 and 1976, the first five for the Transatlantic label, and those albums and associated releases are the focus of a new four CD box set on Cherry Red Records’ Esoteric Recordings imprint. Stray comprised vocalist Steve Gadd, guitarist/keyboardist/vocalist Del Bromham, bassist Gary Giles and drummer Ritchie Cole. This set contains the five albums, four demos recorded for Pye Records in 1968, an outtake from the 1971 LP “Suicide,” two songs released on Transatlantic’s 1975 sampler “Tracks,” three non-LP b-sides and two single edits of album tracks, thus compiling everything Stray released on the label.

The Who - “Maximum As & Bs: The Complete Singles” (2017) review


The Who - Maximum As & Bs: The Complete Singles (2017)

More than fifty years after they hit the music scene, the newest release by The Who proves beyond a shadow of a doubt that they were masters of not only recording classic albums, such as “My Generation” (1965), “Live At Leeds” (1970) and “Who’s Next” (1971), but also immaculate singles, at a time when the music industry was driven largely by the three minute radio friendly 45. Long recognized as the “best rock ‘n’ roll band in the world”, “Maximum As & Bs” released on UMC/Polydor, Netherlands, compiles 86 tracks spread across 5 CDs, includes every UK single released on the Brunswick, Reaction, Track and Polydor labels, and serves as proof positive that The Who were also grand masters of radio friendly singles, especially in the 1960s and 1970s when this was the benchmark of a band’s abilities and the ultimate measure of their success. This massive collection includes every single by the original foursome of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon, as well as every incarnation of the band following the 1978 death of Moon and 2002 passing of Entwistle. The reality is that the band produced six top 5 hits, fourteen top 10s, twenty top 30s and twenty two top 40s on the UK charts, very impressive by any standards!

Chameleon Treat - “Soundtrack For Silent Comedies” album premiere


Chameleon Treat is a two-piece band living in the Midwestern U.S., who bonded in college while playing in a raucous power-pop band. Both members, (singer Andrew Kruske and drummer Jacob Edwards) shared a love for undiscovered or underappreciated music, and decided to write a few extra songs in their spare time. That plan eventually evolved over a few months into a full album: Soundtrack For Silent Comedies. The group brings in numerous 60s influences and samples, and attempts to create something that simultaneously feels new, yet filled with nostalgia. Much like Spacemen 3, Primal Scream, Boredoms, or the Flaming Lips in previous years, the band attempts to take the psychedelic/experimental textures that they love and adapt them for the modern soundscape. Even the album cover is a visual representation of this blending. To make the petri dish-like image on the cover, the band bought all of the components for the often overlooked 60s art form known as liquid light. After several kinds of dyes, filters, and experiments, they ended up with an image that seemed to represent the underlying culture and influence of this particular set of songs. Recording and producing the songs on the actual record went through an incredibly similar process in terms of research and experimentation.

Ross Beattie presents It’s Psychedelic Baby podcast #20 (November)


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



Gift - Drugs
The Mystic Tide - Psychedelic Journey
Gilli Smyth - Shakti Yoni
Brainticket - Watchin' You 
The Velcro Lewis Group - The Occulus Of The Winged Man
Last Exit - Enemy Within 
White Manna - Freak 
Walter Wegmuller - Der Magier
Thee Oh Sees - The Axis
Thee Headcoatees - Ballad Of The Insolent Pup
Godspeed You! Black Emperor - Fam/Famine
Carlton Melton - Hidden Lights
Charalambides - Lay Open 
Neu! - Lieber Honig

Feel free to submit your music directly to Ross for upcoming podcast at: ross_bt@yahoo.com