1970′s Historic & Classic Albums . . . . . . . . . . . . . . DAVE GRUSIN – “THREE DAYS OF THE CONDOR” Soundtrack – September 24, 1975

EXPERIENCE KILLER SOUNDTRACKS!
“THREE DAYS OF THE CONDOR”
Original Soundtrack – Dave Grusin – September 24, 1975

Just the mention of “THREE DAYS OF THE CONDOR” in last week’s “Trouble Man” post was enough catalyst to honor this supreme classic album.  The Film is a Top 20 fave, as is the Soundtrack – a serious combo!

This is much more than a movie soundtrack, this is the one record to send into space to rep the 1970s.  Three Days Of The Condor is the epitome of the Height of Smooth-As-Silk Raunchy ’70’s New York Porno Nightlife and Espionage set in hot sexy sax and wonderful wah-wah tracks.

Some albums literally evoke a time and place; this is New York in the ’70s, back in the classic gritty days before the Disneyfication of Manhatten.  The sophisticated emblematic ‘70s Sax ‘n’ Wah-Wah has much to do with it – but it is also the timing and the direct association with this classic film that creates love for this music.

Like with Angelo Badalamenti’s David Lynch film scores, it was music 00individual was waiting for all his life! Also, it is music from his Homeland, his place of origin, wherever that may have been. To feel good, comfortable, mysterious and groovy is to hear this score.  It all comes together as a cool, hip, dangerous, trippy, jazzy, emotional, seductive, funky, gotta-love-it, exciting experience – every time.

Redford and Dunaway can speak more dialog with their facial expressions that most others can barely do with words, as does Max Von Sydow; the plot is priceless and super heavy for the times and still extremely impressive today – (just now it’s all well-known fact) – and Grusin is in world-class top form to bring all of the screen’s elements together to make this a classic Killer Soundtrack!

The only grievance with this album is that it is waaay too short – approximately 30 minutes total!
Side One
1             Condor! (Theme From “3 Days Of The Condor”)   3:33
2             Yellow Panic 2:14
3             Flight Of The Condor    2:28
4             We’ll Bring You Home    2:22
5             Out To Lunch  2:00
6             Goodbye For Kathy (Love Theme From “3 Days Of The Condor”)    2:15
Side Two
1             I’ve Got You Where I Want You  Vocals – Jim Gilstrap  3:10
2             Flashback To Terror  2:22
3             Sing Along With The C.I.A.    1:31
4             Spies Of A Feather, Flocking Together (Love Theme) 1:54
5             Silver Bells  Vocals – Marti McCall 2:36
6             Medley: Condor! (Theme) / I’ve Got You Where I Want You  1:56

Do yourself a sublime favor, give yourself a visual, mental and aural orgasm: see this excellent, excellent true thriller of a movie and then listen to the equally excellent soundtrack!  But be aware; 3DC can be addicting!  00individual has been hooked for over 40 years!

“THREE DAYS OF THE CONDOR” – Dave Grusin – 1975

For those who want to soak in the full coolness of the ’70s soundtrack sounds like Dave Grusin’s 1975 “Three Days of the Condor”, 00individual suggests the superb “Trouble Man”,  and would play them back to back with a little of the Bernard Herrman/Tom Scott 1976 “Taxi Driver” soundtrack to extend the coolest Trip of the ’70’s Sax “n” Wah-Wah genre.

“For years studio development execs have tried to use Sydney Pollack’s classic conspiracy thriller as a template for would-be blockbusters, but hardly any of the various subsequent attempts have equalled it. A model of plot construction and cleverly built tension.” – Don Coscarelli

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1970′s Historic & Classic Albums . . . . . . . . . . . . . . MARVIN GAYE – “TROUBLE MAN” Soundtrack December 8, 1972

EXPERIENCE KILLER SOUNDTRACKS!
MARVIN GAYE – TROUBLE MAN – Original Soundtrack – December 8, 1972

Released between two history-making Marvin Gaye landmark albums, “What’s Going On? 1971 and “Let’s Get It On” 1973, “Trouble Man” 1972, gets overlooked due to those two epic giants, but is actually their instrumental equal.

Trouble Man is the crème de la crème of noir hipster cool!  Marvin Gaye is the Man!  The music ebbs and flows like a good thriller would, so it creates its own nightlife atmosphere of danger and cool intrigue.

A Blaxplotation film score in the Best of the Best category along with Isaac Hayes’ “Shaft” and Curtis Mayfield’s “Superfly”, “Trouble Man” shows Gaye’s genius for scoring a film that also achieves solid stand alone tracks that soar above all others as a solid, righteous example of hip, cool, ambient Soul, Rock, Blues and Jazz!

The only song with full lyrics among all of the fine Gaye-penned instrumentals is Trouble Man, sung by Marvin Gaye – and it is riveting – his croon gives way to a seriously cool rap about “T”, … and life.

With satisfying sax throughout and the best mixture of R’n’B/Jazz/Blues; this KILLER SOUNDTRACK comes highly recommended by 00individual.

TROUBLE MAN
All songs written by Marvin Gaye (except side two, track two)
Check out these hip tracks:
Side one:
“Main Theme From Trouble Man (2)” – 2:30
“‘T’ Plays It Cool” – 4:27
“Poor Abbey Walsh” – 4:13
“The Break In (Police Shoot Big)” – 1:57
“Cleo’s Apartment” – 2:10
“Trouble Man” – 3:49  – This is the shit!
“Theme From Trouble Man” – 2:01
Side two:
“‘T’ Stands For Trouble” – 4:48 (vocal version)
“Main Theme From Trouble Man (1)” (Gaye/Dale Oehler) – 3:52
“Life is a Gamble” – 2:32
“Deep in It” – 1:25
“Don’t Mess with Mister ‘T’” – 3:04
“There Goes Mister ‘T’” – 1:37

The Talent:
Marvin Gaye: vocals, drums, keyboards, piano, Trevor Lawrence: alto, tenor and baritone saxophone, Dale Oehler: horns, Eli Fountain: alto saxophone, Marty Montgomery: soprano saxophone, Gene Page: strings, Bob Ragland: piano, strings, James Anthony Carmichael: horns

“Trouble Man” film intro and alternate take sung over the opening credits by Marvin Gaye:    Dig it!

MARVIN GAYE – TROUBLE MAN – 1972

For those who want to soak in the full coolness of the ’70s soundtrack sounds like Trouble Man, 00individual suggests Dave Grusin’s 1975 “Three Days of the Condor”, a superb match/follow up to Trouble Man and a beyond excellent ’70’s vibe.  00individual would play them back to back with a little of the Bernard Herrman/Tom Scott 1976 “Taxi Driver” soundtrack to extend the coolest Trip of the ’70’s sax “n” wah-wah genre.

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1970′s Historic & Classic Rock Albums . . . . . . . . . . BEAVER AND KRAUSE – GANDHARVA – 1971 Ambient, New Age, and Electronic Jazz Originators!

EXPERIENCE PSYCHEDELECTRAGLIDE SOUNDS!

(Paul) Beaver & (Bernard) Krause
GANDHARVA – Warner Brothers WS1909 – 1971

Psychedelectraglide indeed!

With their 1967 “The Nonesuch Guide to Electronic Music” and 1970 “In A Wild Sanctuary” album releases, Paul Beaver & Bernard Krause literally created the Ambient and New Age genres and were early leaders in Electronic Jazz!

“Gandharva”, their third release, was truly a landmark LP that virtually slipped under the radar at the time, (but not by 00individual, who has been basking in its power and glory for over forty-five years) this iconic album is now recognized for its incredible visionary style that spawned highly-successful genres for musicians in the decades to come.

Side One: Is a clash of styles; that opens very promisingly with Soft/White only to be the intro to a rousing “Rocker”.  Then Beaver’s psychedelic moog and style influence that was featured prominently on the “Performance” film soundtrack is evident with Nine Moons in Alaska and Walkin’ – then the side ends with a righteous Gospel.
1   Soft / White  0:52
2   Saga Of The Blue Beaver  4:19
3   Nine Moons In Alaska  3:04
4   Walkin’  2:42
5   Walkin’ By The River  2:39

However, it is Side Two that makes history – here is the essence of soulful music with instrumentals that had the ability to not only spiritually-stir one’s very being, but to provide an aural place to call home.

Side Two was recorded at Grace Cathedral, San Francisco, February 10-11, 1971 and captures a wholly-unique sound that was their “soundtrack to a non-existent film” – only this rich sound easily creates images that become a film in one’s mind.  All of side two is truly a transcendent group of tracks that EVERYONE needs to hear.

The world-class heavyweight talent on this record is listed below, but it’s Gerry Mulligan’s Baritone Sax that reverberates within the cathedral, that in turn reverberates in one’s heart and soul.
This is inspired music:
1  Gandharva  1:12
2  By Your Grace  5:13
3  Good Places  3:37
4  Short Film For David  5:23
5  Bright Shadows  4:53

The talent:
Alto Saxophone, Flute – Bud Shank.
Baritone Saxophone – Gerry Mulligan.
Bass – Ray Brown, Rod Ellicott.
Drums – George Marsh, Lee Charlton.
Guitar – Howard Roberts, Mike Bloomfield, Rik Elswit, Ronnie Montrose.
Harp – Gail Laughton, Mixed By – Robert Orban.
Piano – LaMont Johnson, Mike Lang.
Synthesizer [Moog] – Bernard L. Krause.
Synthesizer [Moog], Organ [Hammond, Pipe] – Paul Beaver.
Voice – Bernard L. Krause, Bill King, Edna Wright, Evangeline Carmichael, Lewis Morford, Ron Lee Hicklin, Vanetta Fields.
Voice [Lead] – Clydie King, Patrice Holloway.
Producer – Bernard L. Krause, Paul Beaver.
Engineer – Ed Peterson, John Payne, Phil Edwards, Robert De Sousa, Robert Orban, Rudy Hill, Sol Weiss.

Many a dreamy surreal evening was further mystified and made a deeper experience by the Moogy Saxy Sounds of side two of “Gandharva”.  The smokey wisps of weed and hash intertwined with Gerry Mulligan’s sax, filled the room, and spilled-out into the ethers for everyone to enjoy.  Spiritually Cool!

While this is not a psychedelic album, it actually is, as it represents the Psychedelic Mood, that etheral timeless place where one’s spirit runs free – a very hard emotion to convey but Beaver and Krause accomplished the nearly impossible.

To fully appreciate the true quality of this recording; the warm original sound of analog vinyl is highly recommended.

Beaver & Krause
GANDHARVA

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Celebrate the Height of Psychedelic Culture with the 50th Anniversary of 1967 – featuring AUGUST!

“00individual Celebrates 1967’s 50th Anniversary!” copyright 2017 00individual  TLL

EXPERIENCE the HISTORICAL HEIGHT of POP and ROCK and PSYCHEDELIC CULTURE!

00individual was among those blessed to be born into this existence during the most concentrated Cultural events of the late ’50s, ’60s and ’70s.  To have been able to experience the slow innocent build of the ’50s as a single-digit Rocker, and of the real-time experience in his teens in the ’60s, and twenties in the ’70s, is an exceptional gift, especially for those who appreciated it then, as now.

In August the release of the Psychedelic Summer of Love albums and singles increased.

Let’s Rock:
Aug 3: 45,000 US soldiers sent to Vietnam.
Aug 4: Shortwave group ANARC’s 1st convention (Chicago).
Aug 4: US performs nuclear test at Nevada Test Site.
Aug 4: USSR performs nuclear test at Eastern Kazakh/Semipalitinsk USSR.
Aug 5: Pink Floyd release their first album “The Piper at the Gates of Dawn”.
Aug 5: Bobby Gentry releases her #1 hit “Ode to Billy Joe”.
Aug 7: The Byrds’ release their Greatest Hits album.
Aug 7:  Frank Zappa original release Lumpy Gravy; subsequently reedited and reissued in 1968.
Aug 18: The Rolling Stones release the single “We Love You” with Lennon and McCartney on back-up harmony vocals.  This was a “Thank You” from Mick and Keith to their fans and supporters throughout their arrests – and a timely companion to . . .
Aug 19: The Beatles’ “All You Need is Love” single goes #1.
Aug 25: The Beatles go to Wales to study transcendental meditation with Maharishi Mahesh Yogi
Aug 27: The Beatles manager Brian Epstein dies of accidental overdose – The Beatles return to London.
Aug 27: Stevie Wonder releases I Was Made to Love Her. 
Aug 29:  Diana Ross & the Supremes release Greatest Hits.

Aug 29: Final TV episode of “The Fugitive” starring David Janssen watched by 78 million.
This was huge back in ’67!  This was the first TV “event” that 00individual can remember.
“The Fugitive, a QM Production…starring David Janssen as Dr. Richard Kimble, an innocent victim of blind justice. Falsely convicted for the murder of his wife… reprieved by fate when a train wreck freed him en route to the death house… freed him to hide in lonely desperation… to change his identity … to toil at many jobs… freed him to search for a one-armed man he saw leave the scene of the crime … freed him to run before the relentless pursuit of the police lieutenant obsessed with his capture.”

The Fugitive was a perfect TV series; great lead actor, David Janssen’s expressions alone told volumes and he was totally convincing in his role, as was Barry Morse as the rellentless Lt. Philip Gerard. The writing, directing, actors, storylines, and plots were all riveting, and the main storyline was pretty heady stuff back then.

The final episode was really exciting for 00indidvual because it took place at POP – Pacific Ocean Park in Santa Monica, an amusement park that he went to in his pre-teens and teens and that closed two months later in October 1967.  This final episode would see Dr. Richard Kimble not only face the One Armed Man, but beat the Hell out of him, something every viewer vicariously enjoyed. However, in the fight atop the park’s “Mahi, Mahi” ride tower the One Armed Man wrestles away the gun given to Kimble by a wounded Gerard and . . .

This classic really great historic TV series was made into a very decent movie with Harrison Ford and Tommy Lee Jones, and David Lynch’s “Twin Peaks” had a one-armed character named Philip Gerard who was really, well, that would be telling.

Many years later in the mid-’80s The Fugitive was in syndication and 00individual watched it with his young son every day – in glorious black and white.

Albums with undetermined August date of release:
Make It Happen – Smokey Robinson & The Miracles
United – Marvin Gaye and Tammi Terrell
Big Brother and the Holding Company – Big Brother and the Holding Company
Born Under a Bad Sign – Albert King
Carryin’ On with Johnny Cash and June Carter – Johnny Cash and June Carter
Chuck Berry in Memphis – Chuck Berry
Cold Sweat – James Brown
Goodbye and Hello – Tim Buckley
Joan – Joan Baez
Love of the Common People – Waylon Jennings
Spanky and Our Gang – Spanky and Our Gang
Underground – The Electric Prunes
Vanilla Fudge – Vanilla Fudge

US Top 20 Singles for the week ending August 26, 1967:
1 ODE TO BILLIE JOE – Bobbie Gentry (Capitol)
2 ALL YOU NEED IS LOVE – The Beatles (Capitol)
3 PLEASANT VALLEY SUNDAY – The Monkees (Colgems)
4 LIGHT MY FIRE – The Doors (Elektra)
5 BABY I LOVE YOU – Aretha Franklin (Atlantic)
6 I WAS MADE TO LOVE HER – Stevie Wonder (Tamla)
7 COLD SWEAT (Part 1) – James Brown and the Famous Flames (King)
8 REFLECTIONS – Diana Ross and the Supremes (Motown)
9 YOU’RE MY EVERYTHING – The Temptations (Gordy)
10 A WHITER SHADE OF PALE – Procol Harum (Deram)
11 A GIRL LIKE YOU – The Young Rascals (Atlantic)
12 HEROES AND VILLAINS – The Beach Boys (Brother)
13 I THANK THE LORD FOR THE NIGHT TIME – Neil Diamond (Bang)
14 COME BACK WHEN YOU GROW UP – Bobby Vee and the Strangers (Liberty)
15 WORDS – The Monkees (Colgems)
16 SILENCE IS GOLDEN – The Tremeloes (Epic)
17 TO LOVE SOMEBODY – The Bee Gees (Atco)
18 CARRIE-ANNE – The Hollies (Epic)
19 APPLES, PEACHES, PUMPKIN PIE – Jay and the Techniques (Smash)
20 MY MAMMY – The Happenings (B.T. Puppy)

AUGUST MOVIES
All right, here’s where it gets real, August 1967 explodes with
Righteous (with a capital R) Genre-Defining Movies:

August 2: In the Heat of the Night
Black Cop White Cop
gritty, sweaty Southern law and order murder case,

August 13: Bonnie and Clyde
Bad Boy Bad Girl Love Story?
classic, historic, operatic, bullet-ridden, notorious 1930’s bank robbers,

August 18: The Born Losers
Tom Laughlin’s, Billy Jack creates a brand and a trilogy
motorcycle gangs, injustice, martial arts, iconic loner heroics.

WHEW!

The Calm Before The Storm
While 1967 celebrated the Summer of Love, there was a curious darkness that was off in the distance in the ethers – an unknown, but serious vibe.  That vibe was attained by the enlightened who were tuned into higher frequencies; for by August of the next year, 1968, Martin Luther King Jr. and Robert Framcis Kennedy would both be asassinated – as the Vietnam war escalated.
1968 was a harrowing time.

But in August 1967 no one could have known – this was an epic summer for anyone anywhere who tapped into the fun, magickal Vibe.  The awareness that Marijuana unveiled also included a distant voice saying “Question Authority” and the true sixth sense of “justified paranoia and self-preservation while flyin’ high” began.

The loss of innocense is the cost of awareness; for while it is possible to maintain a youthful soul, awareness is a maturing process that reveals the truth – and therefore the world is never the same.

At sixteen 00individual stepped through the Veil into a New Reality; enjoying his entry-level indulgence in Marijuana, Hashish, and a Upper or Downer here or there, and the Freedom that came with a Part-Time Job, Drivers License, and a Car that facilatated Sex, Drugs, and Rock ‘n’ Roll.

It was his first real sense of the Counter-Culture’s Lifestyle of Individualism that yet had an undefinable cosmic Tribal  link – a Vibe, The Vibe.

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From sky-surfing to off-rail mode Summer of Love beach parties, The Psychedelic Train morphs into Deep Marine Mode and takes a dip in the Pacific Ocean to cruise the Legendary Deep Sea Cities.

“The Psychedelic Train Cruises The Deep Sea Cities of the Pacific Ocean”
copyright 2017 00individual  TLL

OK, Cosmic Kids, 1967’s Psychedelic Train continues crossing over psychedelic sixties landscapes and is headed for four more monthly psychedelic stops and psyide-trips on the way through Historic Psychedelic 1967!

Next stop, the Last Month of the Summer of Love:
September!

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1967 Archives

January . . . February . . . March . . . April . . . May . . . June . . . July 

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1970’s Culture Archives . . . . . . . . . . . . . . . . . . . . . . . 1970’S HISTORIC MOVIE ERA

1970’s HISTORIC MOVIE ERA

Movies have chronicled the public zeitgeist since the art’s inception.

For those who grew up during Hollywood’s Golden Era, the “art for art’s sake” film industry of the ’40’s, ’50’s and ’60’s, saw the 1970s as the last era before quality, story, characters, and plot lost out to big box office tallies.  It is historic fact that the movie Jaws created more than one monster in 1975 as the “Blockbuster” was born – and the movie business as an artform became the business where the greed of “boffo” profit ruled.

While the ’70s will always remain as the last outpost of classic film-making, one look at the decade’s movies also reveals the psyche of the times. While balanced with comedies and musicals, the decade had an ominous Vibe.

To start off, smack in the heat of the Vietnam War are the presentations that war is a ridiculous Hell with M*A*S*H, Catch-22, Patton, and Kelly’s Heroes – but that Love was alive with Woodstock and Love Story.

Frustration with the war, injustice, and the general unrest caused many to buck the system;
Dirty Harry, Dog Day Afternoon, and The French Connection ignited the anti-hero genre which fueled satire with A Clockwork Orange, Harold and Maude, and then existentialism with Vanishing Point.

The ‘70s took matters into their own hands with The Godfather, Deliverance, Superfly, Death Wish, The Getaway, The Sting, and Dirty Harry’s Magnum Force.

By the mid ‘70s things were not what they seemed with Chinatown, The Parallax View, Don’t Look Now, Performance, and Three Days of the Condor.

Then all Hell broke loose with The Exorcist, Earthquake, The Towering Inferno,  The Rocky Horror Picture Show, One Flew Over the Cuckoo’s Nest, Last Tango in Paris, and Jaws.

Mid-‘70s also saw the last of the great films with All the President’s Men, Rocky, and “I’m mad as Hell and I’m not going to take it anymore” Network.

In the late ‘70s no single movie genre dominated, it was either Comedies with Blazing Saddles, Annie Hall, Smokey and the Bandit, and Up In Smoke – Fantasies with Superman, The Muppet Movie, Grease, and Saturday Night Fever – Gritty Noir with Taxi Driver, Eraserhead, and Apocalypse Now – or Outer Space with Star Wars, Close Encounters of the Third Kind, Star Trek: The Motion Picture, and Alien.

And then there was Horror. Desensitized and accustomed to the horrendous death toll of Vietnam’s “causalties” the rise in violent horror escalated to genre-defining levels. With Alien the Horror of the 1970s ended, however the following ’70s movies greased the bloody wheels of the on-coming ’80’s Freddy and Jason Slasher Splatter-Fests: Toby Hooper’s The Texas Chainsaw Massacre, Richard Donner’s The Omen, Stuart Risenberg’s The Amityville Horror, Robert Fuest’s The Abominable Dr. Phibes, Brian De Palma’s Carrie, John Carpenter’s Halloween, Don Coscarelli’s Phantasm, Dario Argento’s Suspiria, David Cronenberg’s Rabid, William Friedkin’s The Exorcist,  Wes Craven’s The Last House on the Left, and The Hills Have Eyes, and George Romero’s Dawn of the Dead.

As is apparent, the overall strain of the incredibly compact novelty of the historic ‘60s was expressed in film in the ‘70s as one of justified paranoia, exposed reality, dark visions, and imagination realized – sprinkled with a little laughter and song and dance.  Sigh.  The Good Ol’ Days.

Movies in bold are 00individual’s favorites that were seen on opening day or week of release in a first-run theater near him.

As a matter of fact, he saw ALIEN a week before nationwide release at a righteous theater/screening room on the M.G.M. studio lot in Culver City.  Gotta hand it to Ridley Scott, this claustrophobic horror, like Friedkin’s The Exorcist, make the viewer one of the characters in the movie, whether they like it or not.

Like many Rock ‘n’ Film Fans of the ’70s, 00individual saw everything worth seeing to the point of viewing foreign films or rare screenings on college campi or community centers.  These were days of voracious hedonism and indulging in fine cinema was just one of the joys of the ’70s.

And then there were the Drive Ins.  Sigh.  The Good Ol’ Days.

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1960′s Historic & Classic Rock Albums . . . . . . . . . . TEN YEARS AFTER – Debut Album – 10/27/67 . . . and the 50 Year Old Mystery of the Weird Fifth Face

EXPERIENCE ROCK HISTORY!
TEN YEARS AFTER – Debut Self-titled – 10/27/67 – Deram DES 18009

Ten Years After – with a very sci-fi, futuristic, doomsday, paradise, premonition, undead, band name that begged the question, Watt?  It soon became clear that the TYA name meant a Psychedelic Blues Rock Band and Vibe that delivered with a distinct, unique sound and style.

Coming into the first year’s end of 00individual’s first year of getting high, Ten Years After released a very impressive time-stamp imprint of a space in time that served as an introduction to a vast new world of sound on the horizon.  By 1967, British bands were plumbing the depths of American Blues with electrifying results.  These sincere “tributes” to the Blues created a solid genre of British Blues Rock.

Led by Alvin Lee’s righteous Blues vocals and incindiary guitar, Ten Years After were  blessed with the Rockin’ precision of Leo Lyons’ bass, Chick Churchill’s organ, and Ric Lee’s (no blood relation to Alvin) drums.

TYA had the Psychedelic aspects of the Blues ingrained from the start, including a very LSD influenced album cover that continued with Undead and then to make sure they got their psychedelic point across TYA let Rockers know that they too were Stoners with the title of their next studio album, Stonedhenge.  Alvin Lee and Company were right there, on the scene at every milestone of the Rock ‘n’ Roll Highway during the Classic Rock Era.

There were two tracks that really resonated with 00individual and stone Blues Rockers everywhere; I Can’t Keep from Crying Sometimes and Help Me.  These two alone speak volumes of  the passion and intense smoldering casual ambience of ’67/’68/’69 – and if you can dig it, up to the present.

TEN YEARS AFTER
Side one
“I Want to Know” (Sheila McLeod as pseudonym Paul Jones) – 2:11
“I Can’t Keep from Crying Sometimes” (Al Kooper) – 5:24
“Adventures of a Young Organ” (Alvin Lee, Chick Churchill) – 2:34
“Spoonful” (Willie Dixon) – 6:05
“Losing the Dogs” (Alvin Lee, Gus Dudgeon) – 3:03
Side two
“Feel It for Me” (Alvin Lee) – 2:40
“Love Until I Die” (Alvin Lee) – 2:06
“Don’t Want You Woman” (Alvin Lee) – 2:37
“Help Me” (Ralph Bass, Willie Dixon, Sonny Boy Williamson) – 9:51

The 50 Year Old Mystery of the Weird Fifth Face
. . . what’s with the weird fifth face peeking over Chick Churchill’s shoulder?

It is obvious that who or what is peeking was not in the original shot as all others are equally over-exposed and saturated and the tilted semi-motion blur that is uniform with TYA runs opposite with the Peeker.

Definately a pretty clean 1967’s paste-up job, but not as good as the infamous February 21, 1964 Life magazine cover of Lee Harvey Oswald – the conflicting shadows and lighting, the proportions, the stance – horrendous by today’s discerning eyes, but back then it was real.

What really begs the question is: Were TYA aware and was it done with their approval? Was this an art department prank that stuck? Was this an inside joke?  Or was this just another accepted step in psychedelia that was expected; something to trip on – as the cover’s text and the image are both very LSD influenced. Or was it a ghostly apparition only seen when the film was developed?  Yeah, the last one.

Bottom line, Trippy Far Out 1967 Psychedelic Blues Rock record and cover!

Ten Years After would make Rock History with their next two albums ’69’s “Ssssh” and  ’70’s “Cricklewood Green” – both Iconic ’70’s Rock.

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1960′s Historic & Classic Rock Albums . . . . . . . . . . TEN YEARS AFTER – STONEDHENGE 2/22/69 plus a Mini-MindBlower – TYA & 2001: A Space Odyssey!

EXPERIENCE ROCK HISTORY!

TEN YEARS AFTER – STONEDHENGE – February 22, 1969 – Deram Des 18021
plus
a Mini-Mindblower: TYA & 2001: A Space Odyssey!

The day after 00individual turned eighteen Ten Years After released the album Stonedhenge.  The overtly clever album’s title acknowledged the band’s endorsement and certainly their fans approval.

Stonedhenge was one of those direct hits at a time when music really shaped the environment. The beach pad 00individual shared with two good friends was a nightly place to gather, get high,
hang-out and enjoy music and good times.

Most everyone, whether they consciously know it or not, have imprints made by the music associated with personal life events, or even casual moments, these imprints can unlock detailed memory files – here’s a trippy example from the Stonedhenge-era:

Ten Years After and 2001: A Space Odyssey – Dig this Mini-Mindblower 
2001: A Space Odyssey was released on April 4^th, 1968 and was considered a huge event at the time with nearly everyone and especially the Counter-Culture.  The heavy symbolism and sounds of Strauss’ waltzes as background to the glorious images of a real space station in orbit and the slowly well-paced direction of Stanley Kubrick created a technical and realistic foundation for the film’s phantasmagorical ending – which was both the definition of visual psychedelic AND a true mental mind-blower.  This wall-to-wall, floor-to-ceiling psychedelic extravaganza was a must LSD Trip.

00individual has seen this film stoned and straight and it’s aces either way, but that ending sequence was epic and far out and truly like nothing anyone had seen prior to Kubrick.  No concert light show could come close.  And since the sequence was meant to literally put you into the main character, actor Kier Dullea’s, Point Of View surging through space and time; mid-theater was a good peripheral choice for viewing.  By the time one vicariously emerges as the Starchild, well, whew, what a Trip!

A year later in February of ’69, Ten Years After released their album, Stonedhenge.  Two months later 2001: A Space Odyssey played in selected theaters for its one year anniversary celebration.

00individual dropped acid and went to see and experience this great event again.  Toward the end of the film, the viewer is literally inside Dullea’s space suit and can hear him breathing throughout nearly the entire Psychedelic Trip sequence and the aging process, which is a perfect way to immerse and engage the audience.

Anyway 00individual tripped good, and he carried the mysterious contemplative high with him from the theater out into the late evening air.

Back at his beach pad, still stoned on acid but manageable, he put on TYA’s Stonedhenge and the first track is “I’m Going to Try” – and it starts with a heart beat and deep audible breathing and immediately 00individual flashed on the breathing/heartbeat in 2001 and it was a cool trippy synchronistic connection – and an archival stamp on a place in time and history for his experience of film, music and pure Hippie exhilaration!

Aside from the 2001 synch, “I’m Going to Try” gets cooler when Alvin begins to sing – at 1:23 into the track it sounds as though he’s channeling Elvis – he starts out like Elvis and then becomes Elvis.  00individual had heard Alvin Lee live on camera in a TV interview back then and 00individual could hardly understand a word he said because of his thick English accent, but right there on camera he started playing acoustic guitar and singing, and his voice was clear and totally understandable, but when he stopped and chatted with the interviewer, 00individual lost him again.

Stonedhenge was the perfect blend of diverse genres; Blues, Rock, Jazz, Scat, Boogie, Ballad and Psychedelia, that once heard as a whole, took on a weird concept feel, and it was the first album where nearly all tracks are by Alvin Lee.

STONEDHENGE
Side one
“Going to Try” (Alvin Lee) – 4:52
“I Can’t Live Without Lydia” (Chick Churchill) – 1:23
“Woman Trouble” (Alvin Lee) – 4:37
“Skoobly-Oobly-Doobob” (Alvin Lee) – 1:44
“Hear Me Calling” (Alvin Lee) – 5:44
Side two
“A Sad Song” (Alvin Lee) – 3:23
“Three Blind Mice” (traditional, arranged by Ric Lee) – 0:57
“No Title” (Alvin Lee) – 8:13
“Faro” (Leo Lyons) – 1:10
“Speed Kills” (Alvin Lee, Mike Vernon) – 3:42.

Even the back album cover’s infrared heiroglyphed Stonehenge image triggers memories of ’69.
These were the carefree days just before things burst loose and all forms of cosmic shenanigans  became seemingly daily adventures that were physical, mental, emotional, and fucking fun.

STONEDHENGE!

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