1966 FREE SPIRITS OUT OF SIGHT Hard Garage Psych jazz

$

71

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1966 super rare & cool garage/jazz psychedelia ....VINYL!

                  THE FREE SPIRITS   

               Out Of Sight And Sound

...USA - ABC Records S-593 - stereo

Original 1966 VINYL first pressing of super cool and in-demand garage psychedelic jams with a unique sound indeed!  

The 1966 garage band, THE FREE SPIRITS feature young guitarist named Larry Coryell who brought what amounted to a nearly alien sensibility to electric guitar playing in the 1960s, with a hard-edged, cutting tone, phrasing and note-bending style like no other. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar...but there's more...in The Free Spirits Lp of 1966 "OUT OF SIGHT AND SOUND"

This, ladies and gentlemen, is a set of way-out jazz-psychedelia recorded in 1966—a full three years before Miles Davis flipped out Lp Bitches Brew. For anyone with even a passing interest in the cross-fertilisation of counter-cultural rock ‘n’ roll with ‘60s avant-garde jams, it’s an absolute mother lode.

The album kicks off with an almost prefect statement of intent: “Don’t Look Now (But Your Head is Turned Around)” is a lost LSD classic, coming straight out of the gates at full tilt, combining Chris Hills’ heavy R&B bassline and Bobby Moses’ storming, propulsive drums with some frantic tenor work from Jim Pepper, his winds sliding around all over the tune and taking off into screeching Albert Ayler-style upper-registers pyrotechnics. The vocals kick in with Coryell singing one of the great opening-line acid lyrics of all time—“check me out I’m sailing in a muddy stream of consciousness”—before the rest of the band join in for a massed, exuberant pop chorus extolling the virtues of turning-on, and it’s hard to imagine how utterly far-out this must have sounded over forty years ago.

Similarly, “I’m Gonna Be Free” sounds like a counter-cultural manifesto, a triumphant cry of youth and idealism, set in the musical context of the time with Coryell on sitar and Pepper’s darting, bird-like whirling flute. It’s pure, psychedelic perfection.

To a certain extent, these two tunes set the template for the rest of the album, though there are other flickers of experimentation. “Blue Water Mother” has two completely different sets of lyrics sung simultaneously—an acid decision if ever there was one—and “Tattoo Man” boasts a supremely weird lyrical notion concerning a cosmic tattooist who “wants to work his wonder on your skin”. Couched in the form of a neat psych-rock ditty, we’re told that “it’ll harmonise your karma just to be the master’s canvas”.

To be sure, the album’s lysergic heritage is in no doubt, but it’s the complex musicianship throughout that lifts it above so many other garage-psych offerings. Moses’ drums are a perfect blend of jazz lightness and rock insistence; Coryell’s guitar has a stinging, twanging presence all over the tracks; and Pepper manages somehow to combine stratospheric avant-garde shrieks with a bluesy bar-room hustle. What a trip indeed!

CONDITION: The cover is nice and clean EX (excellent)

the vinyl is all glossy clean "EX" (excellent!) plays super!!

the 1966 ABC Records  inner sleeve is included!

 Rare 1966 Garage psych tripper with flipped-out guitar & sitar!     

      A cool addition to anyone's music library!

SEE: SELLERS OTher items for similar cool sounds for "head" people...

EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record