Trippiest Bands/Album?

[drakee90]

Everything about trippy bands is great. From the repetitive drums and bass to the swirling guitar and dreamy vocals...

My favorits as of late are:

Love

Cobra and Phases Group Play Voltage in the Milky Night by Stereolab

Soft Machine volumes 1 and 2

Piper at the gates of dawn/Animals by Pink Floyd

CAN

anyone else got a "favorite" trippy album?

[Shawn]

Dark side of the moon - Pink Floyd

Battle of Evermore - Led Zep

[rainbowdemon]

Kraftwerk-Autobahn

[Umma]

Parts of Mahvishnu Orchestra- Apocalypse used to make me freak...

Love it all now

John Martyn - Cooltide

. . . . . . . .

[KiwiCoromandel]

hawkwind : "doremi fasol latido" or "in search of space" .......the gods of pyschedelia and trippiness...it was my privilege to meet hawkwind leader and founder dave brock in the flesh, so to speak..one of my trippiest memories..

HAWKWIND:

- a U.K. space-rock band and is probably the most famous underground rock band in the world. They are known all over Europe and have a "cult"-like following all over the world. The band was founded in '69 by Dave Brock, Nik Turner et al as a musical result of the pyschedelic scene prevalent at the time. Hawkwind devoted itself to the central themes of psychedelia & sci-fi: LSD, hash, space, androids, aliens and the future. These themes have remained their primary focus. With the generous use of the synthesizer and tone/audio generator, Hawkwind practically created a genre of music that can be called: psychedelic space-rock. Their fan-base in the US, although not super-large - is nonetheless super-loyal.

What is this Hawkwind sound? Guitar under heavy delay "effect", ominous 2-part vocals, tons of reverb and delay, constant synth sweeps, constantly pushing synths to the limit. The music is often "barbaric", paganistic, and futurist full of a hard rock sound. Then again many songs are trance-inducing, with repetitious chord runs. Some of their music is often melodic and ambient.

It is the repetitious chord arrangements that make the music "mind altering"....these repititions allow for extended instrumental guitar and synth workouts. This invites the listener to "trip". Hawkwind's "acidic" space-rock style made them a big hit with "trippers", "stoners" and "heads". I will say right now that this music is even trippy without acid! Today, Hawkwind's mission is to enchant and entrance you into a fantasy world in the future....and they will take you there whether you listen to them "stoned" or "straight"!

HAWKWIND In Search Of Space

Doremi Fasol Latido

— Start your trip...

Edited April 23, 2004 by kiwibank

[Umma]

- a U.K. space-rock band and is probably the most famous underground rock band in the world. They are known all over Europe and have a "cult"-like following all over the world.

Stacia didn't do their promotion any harm either

[method77]

Everything about trippy bands is great. From the repetitive drums and bass to the swirling guitar and dreamy vocals...

My favorits as of late are:

Love

Cobra and Phases Group Play Voltage in the Milky Night by Stereolab

Soft Machine volumes 1 and 2

Piper at the gates of dawn/Animals by Pink Floyd

CAN

anyone else got a "favorite" trippy album?

CAN! Very good young man! This shouldn't be in the rock section but what the hell... I would say Portishead. Their debut album was a huge page turn in the history of music. I still listen to that album

[CTC Command]

Trippiest albums...

Emerson Lake & Palmer - Pictures At An Exhibition,

-also these tracks: Tocatta, Three Fates, Tank, Trilogy, Brain Salad Surgery, Bullfrog

Meat Beat Manifesto - 99%

Mothers Of Invention - Freak Out, Weasels Ripped My Flesh, Uncle Meat

Grateful Dead - Anthem Of The Sun, Live Dead

Phil Lesh & Ned Lagin - Seastones

Pink Floyd - Ummagumma, Meddle

Jimi Hendrix - Are You Experienced? Axis: Bold As Love

Also these tracks: Machine Gun II, and the "Fuck Her In The Ass" track from the bootlleg of Jimi and Jim Morrison

Black Sabbath - Born Again (Side 1)

David Byrne & Brian Eno - My Life In The Bush Of Ghosts

Robert Fripp and Brian Eno - No Pussyfooting

Andy Summers and Robert Fripp - I Advance Masked

King Crimson - Larks Tongue In Aspic

This Mortal Coil - It'll End In Tears

Portishead - Portishead

Butthole Surfers - Psychic...Powerless...Another Man's Sac, Rembrandt Pussyhorse, Cream Corn In The Socket Of Davis, Locust Abortion Technician, Hairway To Steven

Medicine - Shot Forth Self Living

Sasha - Airdrawndagger

Chemical Brothers - Exit Planet Dust

Prodigy - Music for the Jilted Generation, Poison EP

NIN - Further Down The Spiral, Closer To God

Infected Mushroom - have yet to find anything by them NOT trippy

DJ Spooky - Necropolis: The Dialogic Project

Edited April 23, 2004 by CTC Command

[gorphon]

after ctc commands nearly all encompassing list I can only add one rare artist... anything by zendik is pretty far out there in that oh so interesting psychedelic style... theres no info about it in AMG but heres what I found on the net:

The Zendik community may be the most peculiar group in Texas psych. A "tribal community," i.e., commune, the Zendiks are based in Bastrop, TX, southeast of Austin on a large farm where they practice environmentally-conscious living and organic farming, as well as engaging in numerous artistic endeavors, including psych rock. The music of the Zendik Tribe Band (as archived on the 1995 Truth EP) is more in the rock tradition, though wildly psychedelic. Nez Zendik, the leader (and group's guitarist/vocalist) of this particular entity has a powerful and captivating voice, producing frequent wails and bellows - often downright spooky. Nez' rhythm guitar on Truth is hard-drivin' and punkish, and moves right along with Bugz' basslines to produce succulent blanga. The guitar solos (often in dueling pairs) are total freakouts. Blissful listening. (Side note: The late Damon Edge (of Chrome) was in house long enough to produce a couple tracks, and add synth touches to one.)

The Zendik Orgaztra is the musical outlet for the elder statesman of the tribe, 70-something Wulf Zendik. Wulf's music relies more on the chanted poetic verse, which is always very expressive and delivered with great intensity. Wulf's voice is similar in ways to Nez', though with a tremendous vibrato that is really closer to 'quivering.' Talk about spooky! (Note: It may take some getting used to.) Peculiar synthesized noises, tribal drumming, and an overall more 'organic' flavor prevails in the music of the Orgaztra. On CD, the 1992 EP Strontium Rain was combined with ZTB's Truth. An earlier (?) recording (I'm guessing 1986) entitled Dance of the Cozmic Warriorz reappeared on CD in 1996. Both discs have merit, though the split one is recommended since each style is represented. Dance should be sought out also though, if only to hear Wulf's "Let's Get Stoned."

quoted from texas psychedelic

you can also find Wulf Zendik's web site here zendik.org he is the "patriarch" of a communal community that seems to be incredibly long lasting and interesting.

and btw, I have Dance of the Cosmic Warriorz. if anyone is interested in it just drop me a message in my inbox and we'll work something out.

Edited April 23, 2004 by gorphon

[CTC Command]

:good job: This is an excellent thread--lots of great info! I have a feeling many of us will be referring back to this over the next few days lol

[DudeAsInCool]

When I think of trippy albums, I think back to Hendrix's Electric Ladyland, Quicksilver Messenger Service, the first Jefferson Starship album, Funkadelic's Maggot Brain...stuff with alot of extended guitar instrumentals. Today, its the electronic bands who are trippiest...I still like early Tangerine Dream stuff (the electronica featured on the early Tom Cruise movie Risky Business)

[CTC Command]

There was so much cool trippy stuff from back in the day Dude--I didn't even touch on the jazz stuff that went off into the stratosphere and beyond. I also like alot of the drum-heavy world beat stuff with all the trancelike vocals; alot of that can get pretty surreal too. Then all the rave/trance/trip-hop/illbient/ambient/electonica...omg the colors the colors

Ya know, the first devo album was a trip too, imo.

Edited April 27, 2004 by CTC Command

[DudeAsInCool]

Try this band, Drakee - Lanterna - my favorite band of the moment, and very trippy:

http://www.badmanrecordingco.com/audio/elm..._elm_street.mp3

[Tic3]

Tales - Uriah Heep.

Tales isn't really an album, it's a song. But it's trippy.

Ain't Uriah Heep just a great band?

Tic3

[wingnut2600]

Damn you all!

I was going to add to the list, but every album I was going to add was already given by someone else :(

[DudeAsInCool]

Damn you all!

I was going to add to the list, but every album I was going to add was already given by someone else :(

Which ones were you going to recommend, WN?

[CTC Command]

Which ones were you going to recommend, WN?

Yeah Wingy?

[drakee90]

i downloaded some lanterna and hawkwind...thanx that stuff is verrry nice

[Umma]

i downloaded some lanterna and hawkwind...thanx that stuff is verrry nice

:good job: me too

listening to lanterna - highways now...

[wingnut2600]

mmm... 'kay (not Stellar BTW)

Pink Floyd stuff

King Crimson stuff

Butthole Surfers stuff

JH - Electricladyland (...And the God's made love?)

Assorted electronica (but isn't it supposed to be trippy?)

some NIN (but not the recent stuff... further down the spiral was fun)

P-Funk

Surf Rock (Ventures, Dick Dale, etc...)

Sneaker Pimps

Portishead (they are both trip-hop, but not really trippy)

other stuff... some of that post-punk orchestral stuff is kinda trippy too like Godspeed or Explosions in the Sky

[Crazy Diamond]

haha, i read this thread title wondering how long it was going to take someone to say Pink Floyd, and there it was, in the second post.

[robsterman1]

Talk about trippy tunes..."Tequila" by the Champs.

[DudeAsInCool]

Some of the 60s SF bands were really trippy. Anyone remember Section 43 by Country Joe and the Fish?

[KiwiCoromandel]

Some of the 60s SF bands were really trippy.  Anyone remember Section 43 by Country Joe and the Fish?

yep.....one of the fishes` first instumentals......

Section 43

Instrumental

Recorded at Sierra Sound Laboratories, Berkeley, June 06, 1966

Producer: Ed Denson

Engineer: Robert di Souza

Joe McDonald: vocals, electric guitar, harmonica

Barry Melton: vocals, electric guitar

David Cohen: electric guitar, Farfisa organ

Bruce Barthol: bass, harmonica

John Francis Gunning: drums

Paul Armstrong: tambourine, maracas

A History

Country Joe and the Fish came about as part political device, part necessity, and part entertainment. In the Fall of 1965, the remnants of the FSM (Free Speech Movement) on the Berkeley Campus were organizing a series of demonstrations against the war in Vietnam at the Oakland Induction Center. Drawing on the experience of the Civil Rights Movement, the anti-war organizers always provided entertainment either before or after the march -- to hold people's attention. This was the era of the Folk revival starting to turn into the San Francisco Rock Scene and "bands" were starting to appear all over the place. Joe McDonald had been editing a magazine he had founded, "Rag Baby," and, as the story goes, ran out of material. He got the idea of doing a talking issue and through various devices and favors wound up having an EP pressed; it was an extended-play disc with four songs on it: two by a group which included Joe, guitarist Barry Melton, singer Mike Beardslee, washboard player Carl Schrager and bassist Richard Saunders and called "Country Joe and the Fish" and two songs by another local folk singer, Peter Krug. This disc is considered to be the first self-produced recording to be used by a band as a form of promotion. It contained the original recorded version of the so-called anthem of the sixties "I Feel Like I'm Fixin' To Die Rag" and Joe's satire of President Lyndon Johnson, "Superbird".

After a brief period of performing as a folk duo under the name Country Joe and the Fish, Joe and Barry earnestly put together a rock band under the same name. The new lineup consisted of Paul Armstrong on bass, tambourine and other percussion instruments, Bruce Barthol on bass, David Cohen on guitar and keyboards, and John Francis Gunning on drums.

The origin of the name appears to have come from the band's manager, ED Denson, who coined the phrase drawing from Mao's saying about "the fish who swim in the sea of the people;" the Country Joe part refers to Joseph Stalin, whose nickname during World War II was "Country Joe."

The band worked regularly in Berkeley at The Jabberwock coffee house on Telegraph, and became familiar faces at the two San Francisco ballrooms, the Avalon and The Fillmore Auditorium. They also had a penchant for self-promotion and printed up posters and calendars using the style of the times. Tom Weller, "artist in residence," created these images. ED, who also wrote for the weekly Berkeley Barb, concocted with Joe the idea of letting the audience know what was happening at all times; so they took out a 52 week 1/4 page ad in the Barb informing their audience where they were going to be in the coming week -- even if it was in Canada. The band's popularity was further enhanced by the release in the summer of that year of a second EP -- called the "white EP" -- which contained three songs: "Bass Strings," "Section 43" and "(Thing Called) Love." "Bass Strings" became one of the most popular songs played on the new up-and-coming radio format then simply called "progressive" radio. Billboard magazine in 1967 referred to the Country Joe EP as "unique," and the airplay it received brought them to the attention of New York City in general and the music business in particular.

The band had signed a recording contract with Vanguard Records in December of '66 and, having recorded it at Sierra Sound in Berkeley, were unaware of and more or less free from the watchful eyes of a record company. Paul Armstrong left the group to complete a two-year alternative service as a conscientious objector to the draft, and John Francis Gunning was replaced on drums by "Chicken" Hirsh. Sam Charters, noted blues writer, producer and poet, was in charge of the record which was entitled Electric Music For The Mind and Body. It was to have contained Joe's most topical song "Fixin' to Die Rag" but it was left off at the urging of the Vanguard's president Maynard Solomon who felt that it would become a "thorn in their side and prevent the band from getting any single play on the radio." An unusual move by the company that staged the Weavers' reunion concert at Carnegie hall during the height of anti-left sentiment in the United States. "Not So Sweet Martha Lorraine," released as the band's first 45, only made it to #98 on Billboard's "Top 100," but became a staple of American college radio. It, along with "Masked Marauder" and the other instrumental added to the album "Section 43," were notable in that they were instrumentals and were not only played on the radio, but played in performance as well. This was unusual in an era of short three-minute singles. Radio and the way music was performed was changing and the band was helping to change it.

Electric Music and the follow-up LP, I Feel Like I'm Fixin' To Die, remained on Billboard's album charts around #32 for about two years, while the group increasingly toured the "ballroom" circuit and colleges around America. They appeared at and in the film of the Monterey Pop Festival and the film Revolution. In the summer of 1967, they were offered a series of gigs on the East Coast. They accepted and took with them a "light show," that curious by-product of the ballroom scene. It consisted of rear-screen projections of images, slides and liquids, containing colors swirled in water and oil producing paisley patterns on a screen suspended behind the band and creating a uniquely "psychedelic" experience. The New York City show, at the Cafe Au Go-Go was the first time a light show had been brought to New York. By 1968 they had released a third album Together and were touring successfully around the world. They toured Europe in the fall of 1968 and recorded a fourth LP, Here We Are Again, in the late spring of 1969. The "we" of Country Joe and the Fish had changed: Bruce Barthol had departed the band prior to the recording, and David Cohen and "Chicken" Hirsh left the band about halfway through the album. Along with the ever-present Joe and Barry are performances by bassists Mark Ryan, Jack Casady of the Jefferson Airplane and Peter Albin of Big Brother and the Holding Company, Big Brother's drummer David Getz and keyboardist Mark Kapner. Both LPs contained novel approaches to music -- the first, "Rock and Soul Music" Joe's paean to James Brown and the second, a dry, cutting, almost minstrel-show-like song about Harlem, "The Harlem Song." The second broke new ground in its use of horns and strings as "sweetening," a common device in standard pop, but until this record, not used at all in new "progressive" rock. Ironically two records released later that year -- The Doors' 45, "Touch Me," and the Rolling Stones' LP Let It Bleed, also made use of horns and strings.

An event at the end of the summer of 1969, the Woodstock Festival in upstate New York, became a milestone that forever changed the band's career and to a certain extent the direction it then took. After much haggling due to last minute cancellations, Country Joe and Fish were scheduled to play the festival. As is now common knowledge, the roads were clogged, the weather was terrible and due to the estimated 500,000 souls in attendance, it was almost impossible for the artists to get to the site, let alone appear at their intended time. The first show day, Friday, found most performers either trapped at their hotel in a surrounding village, or trying to get to the stage area. Joe, who had come down to see what was going on, happened to be onstage at the exact moment Richie Havens was finishing his set. A guitar was found, a set was organized and after four or five songs, he decided to "do the Rag," which he had intended to perform with the band later in the festival. Now, as a piece of background, it is necessary to add that as an introduction to the "Rag" on the second LP, the band shouts in high school cheerleader fashion, "Gimmie an F, gimmie an I ..." then "What's that spell? What's that spell?" etc. and the audience yells "FISH." All very innocent; but in the Summer of 1968, at the Shaefer Summer Festival in Woilman Rink in New York's Central Park before about 10,000 people inside and about 10,000 people outside the fence, drummer Chicken Hirsh suggested altering the cheer to "gimmie an F-U-C-K". Some writers have claimed that this act was one of true defiance, outrage toward the system and statement of how youth felt at the time; no one, so far as we know ever asked "why" the Cheer was changed -- it just was and it stuck. Also at Central Park that night were a number of executives from the Ed Sullivan Show; they had asked the band to appear near Christmas time that year. The following week they signed the contract, and sent in the agreed upon performance payment in full with a request: please don't appear on the show -- keep the money. They were also never invited back to the Shaefer Beer Festival. Back at Woodstock, when Joe yelled "Gimme an F!" at the end of the cheer the sound of all these people yelling "fuck" was astounding or better yet, hard to believe; it was as if a rather large cross-section of America's youth was telling the world "get stuffed." Things were never the same, in more ways than one.

The film of the Woodstock Festival was prepared for release in the spring of 1970, and almost coincided with The Fish's last LP for Vanguard C. J. Fish which was produced by Tom Wilson. This incarnation of the band featured Joe and Barry, along with Mark Kapner on keyboards, Doug Metzler on bass and Greg Dewey on drums. They appeared in and performed music for underground cult film Zachariah where Joe is the leader of a band of outlaws in the old west, carrying amplifiers on their horses and calling themselves "The Crackers."

When Woodstock, the movie hit the theaters, "Fixin' To Die Rag" was in the middle of the film, with its lyrics spelled out, highlighted with a bouncing ball, including the "Cheer" and copious remarks about how many people seemed to be in the audience. So what a recording, some airplay and countless performance could not do, the film did instantly. It brought the band's anti-war message and the "get stuffed," we-don't-like-what-you're-doing-ness of the "Cheer" into movie theaters all over the world. In short, all of a sudden 5 years after its debut at a demonstration in Oakland it became an anthem.

Shortly after, Joe and Barry embarked on solo careers and have only occasionally reunited to perform as Country Joe and the Fish over the years. Though relatively short-lived, Country Joe and the Fish proved to have a major influence on a whole generation of singer-songwriters and bands, notably due to their insistence on mixing music with politics, satire, and irreverence in an unprecedented way.

Edited June 6, 2004 by kiwibank

[Psychotronic420]

Pink Floyd - Ummagumma (My first mind expansion)

Black Sabbath - Black Sabbath

Hawkwind - Space Ritual

Jimi Hendrix - Electric Ladyland (and the gods made love :D ) thanx for the reminder wingnut :bigsmile:

Just a few there are toooo many to list, cause just about any kind of music sounds "trippy" when your head is right :bigsmile:

Edited June 21, 2004 by Psychotronic420