Though not without its moments, 1971’s Fireball described something of a non-descript holding pattern for Deep Purple. Not a bad album as such it was, artistically at least, a curious underachiever compared to In Rock. What they needed was something with as much impact and which delivered them new standards to ensure their upwards path. With not a lot of spare change in the pocket as far as new material went, the recording session was a fraught affair. Yet out of such adversity, Purple dug deep into their reserves producing their strongest and most consistent set.
Released in 1972, Machine Head become the benchmark against which everything that followed would be judged. In the canon of heavy rock this is an album replete with classic tracks. Concise in nature, killer punches are only ever a minute away no matter which song you play. Vocalist Ian Gillan excels himself on Highway Star, and Never Before, the latter an excellent single, released ahead of the album covering both pop, rock and some righteously funky turn-arounds. Blackmore dominates the album turning in some of his most understated and reflective playing on When A Blind Man Cries (the b-side to the single and not included on the original album) and of course, Smoke On The Water.
Its devastating simplicity is the foundation stone of the whole record and one of rock’s most archetypal riffs. Not only heavy as hell, it was insanely catchy and the long-haired denim-wearing world grasped it to their bosom without a moment’s hesitation. Detailing the burning of the casino near Lake Geneva (which caused yer actual smoke on the water), the lyrical content perhaps presaged the internal fires that would consume the group.
Released in May it went straight to number one but by August Gillan had resigned. Though he would stay on to record the live Made In Japan and the lack-lustre, Who Do We Think We Are, the mark II line-up was all over bar the shouting – and there was going to be plenty of that. Machine Head however remains their finest hour.
Got a real "marmite" record in the player this week. The incredible Incredible String Band record is frankly amazing. It's just very different. It's fairly indescribable. The closest description would be a sort of folk, sometimes termed psychedelic folk:
In their amateurish mish-mash of world music styles, epic poetic traditions and copious psychedelics they stumbled upon a style of music all their own.
However you like to describe it, it polarises listeners - many love it, many hate it. It has enjoyed much reverence from musicians and critics. Paul McCartney, Dylan and John Peel were fans. McCartney selected the album as his favourite of 1968. Led Zeppelin were apparently heavily influenced by it, particularly around the time of producing their III album. It frequently features in "greatest albums of all time" lists.
Yet many find it unlistenable:
"Plas man" on amazon describes it as "amateurs playing various instruments, and different tunes, all at the same time." Another amazon customer was even less charitable describing it as "by far the worst album I ever bought. What the hell were they thinking or indeed smoking. Utter and complete garbage."
In her amusing review Alt Rock Chick writes: "What I find incredible about this group is that they were ever allowed in the studio in the first place. They have all the talent of third-rate buskers, the kind of street performers whose sound makes you dash to the opposite side of the street as you approach the spot from which their horrible noise emanates." She goes on to damn the music as "the most repulsive music I have ever heard."
To many western ears it sounds out of tune and Alt Rock Chick describes the singing as beyond any notes found on any scale known to humankind! Fantastic stuff. I don't know about you but anything that elicits such extreme views has got to be worth a listen.
The ISB at their infamous Woodstock appearance, songwriters Mike Heron and Robin Williamson, backed by girlfriends
In the style of a good court room drama I'm pleased to take the role of the defending barrister putting the case for the defence of this album. I will present three pieces of evidence which I will show prove beyond reasonable doubt that The Hangman's Beautiful Daughter is in fact an amazing record. In fact I can do this by an examination of the first three tracks only.
Exhibit A
I first present the opening song Koeeoaddi There as Exhibit A. There are enough ideas in this 5 minute piece for a whole career let alone a single album or song. The structure of the song, like a lot of Incredible String Band songs is all over the place but in my opinion it holds together and works. It's actually a masterpiece!
The lyrics present a description of childhood to which many of us can relate, particularly the "shadowy fingers on the curtains at night":
Born in a house where the doors shut tight Shadowy fingers on the curtains at night Cherry tree blossom head high snow A busy main road where I wasn't to go I used to sit on the garden wall Say hello to people going by so tall Hallo to the postman's stubbly skin Hallo to the baker's stubbly grin
There is also a mention of Mike Heron's enigmatic girlfriend* Licorice in a Dr. Seuss inspired verse:
But me and Licorice saw the last of them one misty twisty day Across the mournful morning, moor motoring away Singing ladybird, ladybird what is your wish Your wish is not granted unless it’s a fish Your wish is not granted unless it’s a dish A fish on a dish is that what you wish
There is even a sort of chorus which is the catchiest part of the song:
Earth water fire and air
Met together in a garden fair
Put in a basket bound with skin
If you answer this riddle
If you answer this riddle, you’ll never begin
The girls in the band are an interesting case. They were Christina "Licorice" McKechnie and Rose Simpson. I'm not sure whether they were more important as musicians or girlfriends - certainly it appears they were the latter before the former. Licorice was partnered with Robin Williamson and left the band in 1972 after their romantic relationship ended. Rose was Mike Heron's partner and allegedly was invited to join the band only because Licorice had been invited too. By all accounts there was a fair bit of rivalry between Williamson and Heron personally and professionally. The girls didn't get on either!
[*Hang on a minute - you said Licorice was Mike's girlfriend, but then was with Robin. Which was it? Ed.
Actually it was probably both - you know, the swinging sixties, and just look at that cover! Or was that Rose?..
In the middle of the night she (Rose) left Robin's sleeping bag, crawled in with Mike, and stayed with him for the next three years.
Joe Boyd
... actually my error, Koeeoaddi There was written by Robin so it was him, apologies. Glad we've cleared that up.]
Mike Heron, Rose Simpson, Licorice and Robin Williamson
Exhibit B
Exhibit B is The Minotaur Song which is an enjoyable call and response marching song. It features Richard Thompson and Judy Dyble from Fairport Convention. Roll up your sleeves and sing-a-long:
Straight from the shoulder I think like a soldier I know what's right and what's wrong He knows what's right and what's wrong! I'm the original discriminating buffalo man And I'll do what's wrong as long as I can He'll do what's wrong as long as he can! I live in a labyrinth under the sea Down in the dark as dark as can be I like the dark as dark as can be He likes the dark as dark as can be!
Heron and Williamson - never great friends
Exhibit C
Exhibit C is the thirteen minute epic A Very Cellular Song, a kind of circular suite that opens with a wavering organ riff and harpsichord refrain which ebbs and flows, and leaves and returns throughout.
The lyrics are out of this world, literally:
Nebulous nearnesses cry to me At this timeless moment someone dear to me Wants me near, makes me high I can hear vibrations fly Through mangoes, pomegranates and planes All the same When it reaches me and teaches me To sigh Who would mouse and who would lion Or who would be the tamer? And who would hear directions clear From the unnameable namer? Who would skip and who would plot Or who would lie quite stilly? And who would ride backwards on a giraffe? Stopping every so often to laugh Amoebas are very small Oh ah ee oo There's absolutely no strife Living the timeless life, I don't need a wife Living the timeless life If I need a friend I just give a wriggle Split right down the middle And when I look there's two of me Both as handsome as can be Oh, here we go slithering, here we go Slithering and squelching on Oh, here we go slithering, here we go Slithering and squelching on Oh ah ee oo There's absolutely no strife Living the timeless life Black hair, brown hair feather and scale Seed and stamen and all unnamed lives that live Turn your quivering nerves in my direction Turn your quivering nerves in my direction Feel the energy projection of my cells wishes you well May the long time sun shine upon you All love surround you And the pure light within you Guide you all the way on
I have heard the last verse before as a yoga mantra. I had assumed this was a traditional mantra but apparently the mantra was lifted from this original ISB song.
Apparently the spiritual leader of Kundalini Yoga, Yogi Bhajan, once came into a room where a group of yoga students were singing the ISB song. Yogi asked them to keep it up, and from then on requested them to sing it after his classes. It quickly became a tradition that continues today at the end of every Kundalini Yoga class taught throughout the world.
When the Incredible String Band toured the States in the late 60s May the Long Time Sun was always the closing song at their gigs.
They were invited to play Woodstock but didn't make the edit for the original film. Originally scheduled to play the more acoustic Friday evening as one of the headliners they were bumped to the heavy rock Saturday due to the famous rain and didn't go down so well. An opportunity lost.
The Woodstock setlist: Invocation The Letter Gather Round This Moment Come With Me When You Find Out Who You Are
Oddly no songs from "Hangman".
Closing Remarks
It is time to rest my case, your honour. I hope I have made a case strong enough for listeners to investigate, or reappraise, this most unusual and fascinating album.
After Hangman the band fell within the clutches of Scientology and despite some decent later albums and continuing good sales (much of the proceeds they invested in the Church) they gradually lost their edge:
Soon the new compositions began to lose their wild melodic beauty. In the studio, there were fewer moments of surprise and inspiration.
Joe Boyd
The band broke up in 1974, both leading members going on to take up solo careers with the occasional short lived reunion. The enigmatic Licorice, like one of her front teeth, sadly went missing in the late 80s, presumed dead.
The full log this week:
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1. Neil Young - On The Beach
2. Deep Purple - Machine Head
3. Cocteau Twins - Four Calendar Cafe
4. Sigur Ros - Agaetis Byrjun
5. Susumu Yokota - Sakura
6. The Incredible String Band - The Hangman's Beautiful Daughter
~
To read more about the Incredible String Band, along with all the other artists Joe Boyd managed and produced in the late 60s - Fairport Convention, John Martyn, Nick Drake, early Pink Floyd etc. I highly recommend his brilliant and very readable White Bicycles memoir.
Since you’re here…
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Is On The Beach Neil Young's greatest ever album? The middle of the so called "ditch" trilogy, On the Beach came out in 1974 between 1973's Time Fades Away and 1975's Tonight's The Night.
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1. Neil Young - On The Beach
2. Deep Purple - Machine Head
3. Cocteau Twins - Four Calendar Cafe
4. Cocteau Twins - Treasure
5. Susuma Yokota - Sakura
6. Ludovico Einaudi - In a Time Lapse
~
Heart of Gold put me in the middle of the road. Travelling there soon became a bore so I headed for the ditch. A rougher ride but I saw more interesting people there.
Neil Young's off quoted statement explains his deliberate "sabotage" of a career that had reached commercial success with his Harvest album - the single Heart of Gold reached No. 1 in the US in April 1972.
As it happens this "sabotage" actually secured a long term reputation for unpredictable brilliance as he followed the (relatively) soft acoustic Harvest with these three albums of raw angry rock that many fans now consider collectively his greatest work.
The catalyst for the change was the death of his backing guitarist Danny Whitten from a heroin overdose in late 1972. Young had fired him from his band Crazy Horse and for many years afterwards blamed himself for Whitten's death.
Recorded live on tour without Whitten Time Fades Away is a raucous scattered selection of previously unreleased songs. Still unavailable on CD the album has unaccountably been dismissed by Young himself but remains a firm favourite of fans.
The tracks that went on to form Tonight's The Night were recorded in sessions following the Time Fades Away tour. By then Young had lost another colleague to heroin, roadie Bruce Berry who became the subject of the album's title track. Not originally intended for release the harrowing Tonight's The Night album eventually came out in 1975.
With it's mix of rock, ballads and blues On The Beach is like a darker After The Goldrush showcasing Young's instrumental and lyric writing prowess. Rarely has he reached such heights since.
On The Beach Tracklisting:
1."Walk On"
2."See the Sky About to Rain"
3."Revolution Blues"
4."For the Turnstiles"
5."Vampire Blues"
6."On the Beach"
7."Motion Pictures"
8."Ambulance Blues"
The album begins with a straight forward rocker Walk On. Next follows the beautiful See The Sky About To Rain which Young often performed solo on piano in concert. Here he is backed by Graham Nash on electric Wurlitzer keyboard with some echo effect.
Revolution Blues is the heaviest track on the album. Recalling the horror that was Charles Manson (a subject Young would return to again in the future) Young barks:
Remember your guard dog?
Well, I'm afraid that he's gone
It was such a drag to hear him whining all night long.
Well, I hear that Laurel Canyon is full of famous stars,
but I hate them worse than lepers and I'll kill them in their cars.
For The Turnstiles features Young playing banjo in the same unique percussive style with which he plays acoustic guitar.
The band go all down and bluesy with the slow walking Vampire Blues. Young plays one of his most intriguing guitar solos since Southern Man and is backed by humming Hammond organ which recalls some of CSNY's best live work. Young sings cynically:
Good times are coming, I hear it everywhere I go. Good times are coming, but they sure are coming slow.
The title track is a gorgeous slow blues which precedes the expansive guitar of the Zuma album:
All my pictures are falling From the wall Where I placed them yesterday
Motion Pictures is another very laid back acoustic based number with some gentle slide guitar and harmonica backing. The song was an ode to Neil Young's then wife Carrie Snodgress:
Well, all those people, they think they got it made But I wouldn't buy, sell, borrow or trade Anything I have to be like one of them.
The final song is the sprawling 9 minute stream of consciousness acoustic masterpiece Ambulance Blues - up there with Thrasher, Last Trip to Tulsa and The Old Homestead as one of Young's greatest lyrical achievements. The guitar riff is unintentionally influenced by Bert Jansch's Needle of Death song (Young was a great fan of Jansch).
That guy was so good. And years later, on On the Beach, I wrote the melody of "Ambulance Blues" by styling the guitar part completely on "Needle of Death". I wasn't even aware of it, and someone else drew my attention to it.
Young reminisces about the good old days:
Back in the old folky days The air was magic when we played.
Digs at the critics:
So all you critics sit alone You're no better than me for what you've shown. With your stomach pump and your hook and ladder dreams We could get together for some scenes.
... and Richard Nixon again:
I never knew a man could tell so many lies He had a different story for every set of eyes. How can he remember who he's talkin' to? 'Cause I know it ain't me, and I hope it isn't you.
And takes a snipe at his CSNY colleagues not for the last time:
You're all just pissin' in the wind You don't know it but you are. And there ain't nothin' like a friend Who can tell you you're just pissin' in the wind.
In 2008 Young treated fans by resurrecting this song during his epic World Tour:
So is it Young's best album? It's a close run thing. Young was on a very rich run of form at the time and produced a streak of classic albums between 1970 and 1975. You probably need to get them all:
1970 After The Goldrush
1972 Harvest
1973 Time Fades Away
1974 On The Beach
1975 Tonight's The Night
1975 Zuma
... but if I was forced to save one from the waves on my Desert Island I'd probably grab Zuma. Standby for a forthcoming album ranking listing.
~
Ed. What about the Journey Through The Past album? Journey Through The Past is a rare and oft overlooked soundtrack album that strictly came between Harvest and the Ditch Trilogy. Released at the end of 1972 the double album comes from Young's random film of the same name and features various gig footage and studio outtakes including Buffalo Springfield and CSNY. Only one original track was included - a piano solo entitled Soldier.
Since you’re here…
… I have a small favour to ask. No more people are reading the blog than ever and advertising revenues across the media are falling fast. But unlike many news organisations, I haven’t put up a paywall – I want to keep my journalism as open as I can. So you can see why I need to ask for your help. My independent, investigative journalism doesn't take much time, nor money, and little work to produce. I do it because its fun and I learn a lot and believe my perspective matters – because it might well be your perspective, too. If everyone who reads my reporting, who likes it, helps to support it, we could have more great music in our futures. For no money at all you can support 6 Album Sunday and it only takes a second. Please sign up for email alerts here>>.
