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Inhalt bereitgestellt von Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik. Alle Podcast-Inhalte, einschließlich Episoden, Grafiken und Podcast-Beschreibungen, werden direkt von Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik oder seinem Podcast-Plattformpartner hochgeladen und bereitgestellt. Wenn Sie glauben, dass jemand Ihr urheberrechtlich geschütztes Werk ohne Ihre Erlaubnis nutzt, können Sie dem hier beschriebenen Verfahren folgen https://de.player.fm/legal.
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WILDFLOWERS by The Holy Mackerel (Reprise, 1968) BILL MESNIK OF THE SPLENDID BOHEMIANS PRESENTS: THE SUNNY SIDE OF MY STREET - SONGS TO MAKE YOU FEEL GOOD - EPISODE #80

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Manage episode 446370679 series 1847932
Inhalt bereitgestellt von Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik. Alle Podcast-Inhalte, einschließlich Episoden, Grafiken und Podcast-Beschreibungen, werden direkt von Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik oder seinem Podcast-Plattformpartner hochgeladen und bereitgestellt. Wenn Sie glauben, dass jemand Ihr urheberrechtlich geschütztes Werk ohne Ihre Erlaubnis nutzt, können Sie dem hier beschriebenen Verfahren folgen https://de.player.fm/legal.

I discovered this track on a WB compilation set named “My Mind Gets High”, and boy… upon hearing this cut did I ever started experiencing flashbacks. In 1968, The Holy Mackerel was explicitly created as a vehicle for young, up and coming singer-songwriter Paul Williams, whose heavily processed vocal, along with the sitar, places this psychedelic artifact squarely into its late 60s time zone, and although I didn’t start my hallucinogenic experiments until a bit later (around 1970), Wildflowers sonic acid bath trips me out nostalgically.

Paul Williams became a household name in the 1970s when his elfin voice and tiny stature captured America’s imagination on tv, radio, and film. It didn’t hurt that he had a prodigious songwriting talent, too: (We’ve Only Just Begun; Old Fashioned Love Song, etc). His brother, Mentor - also a songwriting Colossus (Drift Away) was recruited for his sibling’s manufactured band, as well - it was a hastily, and often reassembled group of rotating membership, which only lasted about a year or so.

Interestingly, Paul didn’t write this tune; it was penned by bassist Bob Harvey, who later worked for Elvis - and, indeed, it eschews the sentimental tendencies of its lead singer’s writing. This is more of a mood piece, which perfectly captures that moment when the acid starts to come on. Sublime.

  continue reading

384 Episoden

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iconTeilen
 
Manage episode 446370679 series 1847932
Inhalt bereitgestellt von Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik. Alle Podcast-Inhalte, einschließlich Episoden, Grafiken und Podcast-Beschreibungen, werden direkt von Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik oder seinem Podcast-Plattformpartner hochgeladen und bereitgestellt. Wenn Sie glauben, dass jemand Ihr urheberrechtlich geschütztes Werk ohne Ihre Erlaubnis nutzt, können Sie dem hier beschriebenen Verfahren folgen https://de.player.fm/legal.

I discovered this track on a WB compilation set named “My Mind Gets High”, and boy… upon hearing this cut did I ever started experiencing flashbacks. In 1968, The Holy Mackerel was explicitly created as a vehicle for young, up and coming singer-songwriter Paul Williams, whose heavily processed vocal, along with the sitar, places this psychedelic artifact squarely into its late 60s time zone, and although I didn’t start my hallucinogenic experiments until a bit later (around 1970), Wildflowers sonic acid bath trips me out nostalgically.

Paul Williams became a household name in the 1970s when his elfin voice and tiny stature captured America’s imagination on tv, radio, and film. It didn’t hurt that he had a prodigious songwriting talent, too: (We’ve Only Just Begun; Old Fashioned Love Song, etc). His brother, Mentor - also a songwriting Colossus (Drift Away) was recruited for his sibling’s manufactured band, as well - it was a hastily, and often reassembled group of rotating membership, which only lasted about a year or so.

Interestingly, Paul didn’t write this tune; it was penned by bassist Bob Harvey, who later worked for Elvis - and, indeed, it eschews the sentimental tendencies of its lead singer’s writing. This is more of a mood piece, which perfectly captures that moment when the acid starts to come on. Sublime.

  continue reading

384 Episoden

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