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Innehåll tillhandahållet av Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik. Allt poddinnehåll inklusive avsnitt, grafik och podcastbeskrivningar laddas upp och tillhandahålls direkt av Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik eller deras podcastplattformspartner. Om du tror att någon använder ditt upphovsrättsskyddade verk utan din tillåtelse kan du följa processen som beskrivs här https://sv.player.fm/legal.
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BILL MESNIK'S SUNNY SIDE OF MY STREET PRESENTS: WILDFLOWERS BY THE HOLY MACKEREL (REPRISE, 1968) - EPISODE #80

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Manage episode 446370679 series 1847932
Innehåll tillhandahållet av Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik. Allt poddinnehåll inklusive avsnitt, grafik och podcastbeskrivningar laddas upp och tillhandahålls direkt av Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik eller deras podcastplattformspartner. Om du tror att någon använder ditt upphovsrättsskyddade verk utan din tillåtelse kan du följa processen som beskrivs här https://sv.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

394 episoder

Artwork
iconDela
 
Manage episode 446370679 series 1847932
Innehåll tillhandahållet av Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik. Allt poddinnehåll inklusive avsnitt, grafik och podcastbeskrivningar laddas upp och tillhandahålls direkt av Rich Buckland and Bill Mesnik, Rich Buckland, and Bill Mesnik eller deras podcastplattformspartner. Om du tror att någon använder ditt upphovsrättsskyddade verk utan din tillåtelse kan du följa processen som beskrivs här https://sv.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

394 episoder

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