Genre – Rock – Psych Rock

A Psych Masterpiece

More Spirit

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This is one of our favorite albums here at Better Records, and a true ’60s Psych Pop Masterpiece! The sound can be amazing as well, although you’d never know that listening to the average pressing. This copy gives you wall to wall width and layered studio depth like you will not believe, the kind of space you hear on engineering classics like Dark Side of the Moon and A Space in Time.

Fired Up

Want a glimpse into the kind of energy the band was generating in the studio? Drop the needle on Fresh Garbage, the opening track, and you will hear this band come alive in a way you probably never imagined you’d ever hear them. It’s positively startling how immediate and lively the sound is here.

This is the band at their best, fired up and ready to show the world that The Doors are not the only SoCal rock band with innovative ideas about rock music and the performing chops to pull them off, not to mention the studio wizards who managed to get it all down on tape with State-of-the-Art ’60s Rock sound quality.

The Doors Vs. Spirit

If I had to choose between The Doors’ first album and Spirit’s, say for a nice drive up the coast with the top down, no contest, Spirit would get the nod (not to take anything away from The Doors mind you). I had the album on 8 Track back in high school and played it to death. Doing this shootout, hearing the album sound so good after so many years, was nothing less than a THRILL. (I went right up to Amazon and bought a CD for the car. Might just take a drive up the coast.)
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Sowing The Seeds Of Love for Psych

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This Tears for Fears album is a real desert island disc for me. When you get a big, rich, smooth copy such as this one, the short list of problems with the recording don’t interfere with the music. Like good stereo equipment, a good record lets you forget all that audio stuff and just listen to the music as music.

The Seeds Of Love is the band’s masterpiece, and hearing it this way is nothing short of a THRILL.

The sound of most copies is aggressive, hard, harsh and thin. What do you expect? The album is recorded digitally and direct metal mastered at Masterdisk. Most of us analog types put up with the limitations of the sound because we love the music, some of the most powerfully moving, brilliantly written and orchestrated psychedelic pop of the last thirty years. Imagine if the Beatles in their Sgt. Pepper/ Magical Mystery Tour phase kept going in that direction. They very well might have ended up in the neighborhood of Sowing the Seeds of Love.

Analog Sound

But wait — both sides here have smooth, sweet, analog richness and spaciousness I didn’t think was possible for this recording. The bass is full and punchy. When it really starts cooking, such as in the louder, more dynamic sections of Woman in Chains or the title cut, it doesn’t get harsh and abrasive like most copies. It’s got energy and life without making your ears bleed.

Art Rock

I have a long history with this kind of Art Rock, stretching all the way back to the early ’70s. I grew up on Roxy Music, 10cc, Eno, The Talking Heads, Ambrosia, Supertramp, Yes and the like, bands that wanted to play rock music but felt shackled by the constraints of the conventional pop song. When I discovered these Arty Rocker bands in my early twenties, they quickly became favorites of mine and remain so to this day.

When it comes to genre busting Psychedelic Art Rock, I put this album right up at the top of the heap, along with several other landmark albums from the Seventies: More Songs About Buildings and Food, Roxy Music’s first, Sheet Music, Crime of the Century, Ambrosia’s first two releases, The Yes Album, Fragile, Dark Side of the Moon and a handful of others.

My equipment was forced to evolve in order to be able to play the scores of challenging recordings issued by these groups and others in the ’70s. Tears For Fears on this and their previous album continue that tradition of big-as-life and just-as-difficult-to-reproduce recordings. You could say that these albums informed not only my taste in music but the actual stereo I play that music on. I’ve had large dynamic speakers for the last four decades, precisely because they do such a good job bringing to life huge and powerful records such as these.

Robbie McIntosh, Guitar God

Check out Robbie McIntosh’s leads on some of these tracks, especially Bad Man’s Song on side one. His work here, as well as with McCartney (Unplugged), and as a member of The Pretenders for two of the best albums they ever made (Learning to Crawl and Get Close) put him in the company of the All Time Greats, unsung though he may be.

And here are some more of our favorite PSYCH ROCK ALBUMS for your viewing pleasure

Sergio Mendes + Psych + Your Mind Will Be Blown

Stillness

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Allow me to quote a length a wonderful review from Brasil66.com before we get into What to Listen For on Stillness.

A radical departure from anything that had gone before, Stillness remains the one album that Brasil ’66 fans either love or hate. Most complaints about it center on the fact that the familiar bossa sound of the earlier records was now mostly gone.

Nonetheless, Stillness is arguably one of the most fluid albums of Mendes’ career. It takes its cue from the work of many of the singer/songwriters of the day (Carole King, James Taylor, Joni Mitchell, etc.), with thoughtful lyrics and often delicate arrangements. It is a almost a concept album, with the theme expressed in the title song — the words of which are even printed on the front cover — and an outdoorsy, peaceful feeling running through many of the other lyrics. (This feeling is also reflected in the cover photos, which were shot in a rural setting.)

Stillness is also Lani Hall’s final album with Mendes; she left the group during these sessions and was replaced by Gracinha Leporace, who does lead vocals on several songs. Standout tracks include “Chelsea Morning” and “Viramundo,” both of which contain traces of the earlier Brasil ’66 sound; “Righteous Life” and Buffalo Springfield’s “For What It’s Worth,” both of which reflect the mood of late ’60s America through their lyrics; and the very pretty “Sometimes in Winter,” featuring an elegant orchestral arrangement by Dick Hazard.

If you are looking for DEMO DISC QUALITY SOUND with music every bit as wonderful, look no further — this is the record for you.

If I had one song to play to show what my stereo can really do, For What It’s Worth on a Hot Stamper copy would probably be my choice. I can’t think of any material that sounds better. It’s amazingly spacious and open, yet punchy and full bodied the way only vintage analog recordings ever are.

This one being from 1970 fits the bill nicely.

Side two of this album can be one of THE MOST MAGICAL sides of ANY record — when you’ve got a killer copy. I don’t know of any other record like it. It seems to be in a class of its own. It’s an excellent test disc as well. All tweaks and equipment changes and room treatments must pass the Stillness test.

To fail to make this record sound better is to fail completely. The production is so dense, and so difficult to reproduce properly, that only recently have I begun to hear just how good this record can sound. There is still plenty to discover locked in these grooves, and I enthusiastically accept the challenge to find all the sounds that Sergio created in the studio, locked away in the 40 year old vinyl.
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