1) Sybil Green (Of The
In-Between); 2) All The Better To See You With; 3) I Can Hear The Grass Grow;
4) Yellow Rose; 5) I Wanna Be There; 6) I Can Move A Mountain; 7) President's
Council On Psychedelic Fitness; 8) Scarecrow's Love Affair; 9) There She Goes;
10) Accidental Meditation; 11*) You're Getting Old; 12*) Subliminal Sonic
Laxative; 13*) Chicken Wire Lady; 14*) Let Your Love Ride; 15*) Who Do You Love.
The band's third and final attempt to make
themselves noticed in a world of gruesomely heavy competition. Some creative
growth is evident: all of the songs but one are originals, and the one cover is
that of a contemporary psycho-pop single — The Move's ʽI Can Hear The Grass
Growʼ, very suitable for the Magoos' current interests and much more «relevant»
than, say, another Jimmy Reed or Ray Charles tribute. However, this is where
the growth starts and ends: in all other respects, this is just another Blues
Magoos record, well on the level of Electric
Comic Book, but still lacking anything even remotely close to the «bomb» of
ʽNothin' Yetʼ.
The opening number, ʽSybil Greenʼ, is this
album's ʽPipe Dreamʼ: a song that seems to have plenty of potential, but
ultimately remains a failure — the descending organ riff, its main claim to
individuality, is not given enough prominence to register itself deep in the
emotional core, not against the wimpy vocals, the disappointing lack of hook in
the chorus, or the simplistic power-pop rhythm guitar backing. It has all the
ingredients of The Move, for sure, but none of that band's talent to make these
ingredients matter.
It is all the more evident when you look at
them actually covering The Move: on
one hand, they honestly work to bring out to light some of the facets of ʽI Can
Hear The Grass Growʼ that were underdeveloped in the original (such as the
colorful guitar riff introducing the verses, somewhat smudged in Roy Wood's
version, but quite resplendent here, despite worse production), but on the
other hand, they completely undermine the song's psychedelic capacity by
choosing a more aggressive, lower-pitched and barkier approach in the chorus: their "I can hear the grass grow, I
can hear the grass grow, I see rainbows in the evening" is delivered
almost like a call-to-arms, which is definitely not what this peaceful and, essentially, introspective song really
needs.
Elsewhere, the Blues Magoos now come across as
a slightly lighter version of Blue Cheer: on songs like ʽAll The Better To See
You Withʼ and ʽThere She Goesʼ they mask the paucity of ideas with a thick,
brutal sound that still lacks interesting chord sequences. ʽThere She Goesʼ has
a curious solo section (some proto-electronic bleeps in the nascent style of United
States of America, battling over turf with freakout electric guitar), but
that's about it. Maybe if they at least had hired an expressive singer... at
this point, the lack of a good vocalist in the band really becomes a problem — their vocal melodies seem to be more
thoughtfully constructed than instrumental ones, but neither Scala nor Tielhelm
know how to do them justice.
ʽI Can Move A Mountainʼ aspires to become a
touching epic, rooted as much in dark folk as it is in jangle-pop, but loses
out just as well because (a) the production is tedious, with everything, from
vocals to organ to rhythm section, glued together in tapeworm fashion; (b) the
vocals, apart from the first bars of its «romantic» opening, are nasal and «wooden» at the same time; (c) the
mid-section, with its twenty seconds of loud musical chaos instead of a normal
solo, is pointless, because the «crashdown» comes from nowhere, is completely
unexpected and out of place (unlike, just to quote the first analogy that
crept up in my head, a similar «crashdown» in the middle of Bruce Springsteen's
ʽAdam Raised A Cainʼ, where it concludes a ripping solo and has a well
identifiable purpose of its own).
And that is not to mention minor ridiculous
excesses — ʽScarecrow's Love Affairʼ, for instance, which is not only a bad attempt
to cross psychedelic trippings with a barroom rock vibe, but also ends in at
least one whole minute of recordings of engine noises, a minute we should all
have saved for something better to do. Or the generic psycho-folk conclusion of
ʽAccidental Meditationʼ, which is neither really a meditation nor certainly
accidental. (And I'm not saying anything
about the one-minute «link» of ʽSubliminal Sonic Laxativeʼ, attached as a bonus
track — except that it is hardly even worth checking out to learn what it is
that is so embarrassing about it).
I suppose that, on some level, the album
certainly justifies its «#435 for 1968» rank currently awarded to it by the
reviewers at RateYourMusic — considering the greatness of the year, #435 isn't too bad — but the rank more or less
correctly reflects the order in which I
would recommend adding Basic Blues
Magoos to anybody's collection, as well. Style-wise, I have no problems
with the record — the band has proved capable of adapting to changing fashions,
shifting to heavier grooves, modernized technologies, and a larger amalgam of
different styles. But the playing, the singing, and the songwriting departments
are still understaffed, and now that there isn't really a single song here that I'd like to keep in memory, I have no choice
but admit that the Blues Magoos' boat had sunk back then, even before the original
band split up and became replaced with a «Peppy Castro Post-Blues Magoos
Experience». Thumbs
down.
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