The 'Leccy Prunes! Another awesome group featured on Nuggets (which commences with their psych classic 'I Had too much to Dream Last Night') and in many ways not as purely 'garagey' as the other units I've covered so far. Rather than playing three-chord wonders or repeating the same riff over the course of THREE albums (I'm looking at you Seeds though I still love ya!), the Prunes utilised layers of fuzzed out effects and inventive arrangements that give their tracks a level of complexity and weirdness that remains unrivalled aside from the most far out psychedelic groups of the day. The group originally consisted of lead singer/autoharp player James Lowe, lead guitarist Ken Williams, rhythm layer James Spagnola, bass player Mark Tulin and drummer Preston Ritter, all of which contributed to their album track arrangements collaboratively (although early on many tunes were written by outside writing team Tucker/Mantz). On their first album (named after 'Too much to Dream), the band confidently made their mark in the psych garage field, with great tracks like 'Bangles' and 'Get me to the world on Time' proving their ability to twist and enhance outside material to an almost unrecognizable form. However, the collection was held back somewhat by a couple of filler numbers like the cutesy 'Toonerville Trolley' and the wimpy 'King is in the Counting House' (20's vaudeville and renaissance folk pastiches respectively).
By the time of their second album 'Underground' however, the group began to get REAL WEIRD. We open with 'The Great Banana Hoax' (what a great title!), all pounding and grooving with slinky guitar and organ lines filling out Lowe's simultaneously wacked out and blissed out vocal. The fuzz solo in the middle is the icing on this proverbial cake, kicking us into a Beck era Yardbirds rave up near the end, so cool. 'Children of Rain' is next, even weirder than before (and all the better for it). A dark fairy-tale that features exhilarating descending passages of fuzz bass and some kind of Theremin wig out effect near the end, this will knock you off your feet on a first listen! After that its 'Wind up Toys', another Lewis Carrol esque ditty that also serves as a commentary on the disposable nature of '60s pop stars, intelligent piece, with all sorts of grinding mechanical noises added with metallic guitars and cowbells accompanying it. 'Antique Doll' now, the third in a series of toy/childhood related pieces, very reminiscent of Syd Barret era Floyd. This one's probably the most bizzaro so far, with a chorus that descended into whirring pool of sound that absorbs the listener in its utter strangeness (bonus points for the vocoder screaming, these guys really want to seem like nutcases don't they?). The next track doesnt help that reputation, a country turnaround called 'It's not Fair'. Not the strongest track on the album, but pleasantly psychedelic enough to fit in. Its the next track though that I absolutely adore the most, 'I happen to love You' written by Goffin/King (yes, they of tin pan alley fame!). Coolness adorns this song to the max, another blissed/angry vocal of Lowe, moaning 'bout his unfaithful girlfriend. He's been 'dragged to the pit, thrown in it' but he 'happens to love you' regardless. More and more layers of fuzz, oscillating organ and wild screaming build up to the songs climax, ending on the first side on an absolutely epic garage rockin' note.
Side two, 'Dr Do-Good', hammer horror campness paired with tremolo fuzz, what's not to love! Love the bugs bunny/mad scientist stammering at the end, has to be heard to be believed. San Fran inspired blissed psych next with 'I', lyrics revolve around a tinker, tailor, solider style nursery rhyme and is penned by the brilliant Tucker/Mantz from their debut. Long track as well, perfect to chill to on summers' eve with your relaxant of choice... (Also, nice nick of the 'Taxman' bass line, not uncommon thievery for the time, not that I really care of course, it rules!). And then... BAM!!! 'Hideaway' hits in with its raga fuzz perfection, more tribal drum pounding like 'Banana Hoax' but a million times harder rockin', so cool. If you dig '66/'67 stones (who had the same producer in Dave Hssinger), then you will absolutely adore this track! Real change in pace afterwards, 'Big City' is kinda reminiscent of Mamas and Papas/Beach Boys sunshine pop but with some weird little quirks like the atonal opening that set it in a distinctly different world to those groups. Love the depiction of '67 urban hippie perfection, 'people crowding, laughin shouting... gettin what they need to liven up their minds', so groovy. Penultimate track, we're introduced to 'Captain Glory', sort of a swami figure for these boys it seems, 'thank goodness Captain Glory got here in time', bit of Superman going on as well, interesting. Nice r&B groove to this one, probably the msot straightforward track on the album. 'Long Days Flight' closes out the proceedings in a brilliant garage stomper, complete with the characteristic tremolo fuzz and brill Lowe vocal, this is the band at its ballsy, psychedelic best, a truly amazing finish to this righteous collection of psych classics. Pick it up ASAP then work back to album 1, you will not be disappointed in the slightest.
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