Psychedelic Sunrise

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Artists: Chesterfield Kings.

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6 customer reviews.  4.5 out of 5 stars.

As leaders of the modern garage rock movement, The Chesterfield Kings deliver a sensory experience of psychedelic sight and sound that has earned them legions of fans worldwide. Their latest release is no exception - Psychedelic Sunrise is bursting with twelve original nuggets of mind blowing rock and roll. Liner notes by Andrew Loog Oldham. Mixed by Ed Stasium (The Ramones, Joe Strummer, Talking Heads).

Psychedelic Sunrise was influenced by years of collecting, listening and studying every cool record from from the 70s, 60s, 50s and beyond. With influences that include blues, rockabilly, British invasion rock, and punk, the production style of the record reflects the band s love of music and their large arsenal of vintage instruments.

Psychedelic Sunrise is the follow-up to the critically acclaimed 2003 release, The Mindbending Sounds Of The Chesterfield Kings - now available on Wicked Cool Records.

this is the real deal. no other band embodies what garage rock is all about.they are the "kings".with 12- string guitars, fuzz bass and, of course, a sitar, they sound just like what the sixties were all about. dig it, man.it's a trip. you will not regret it.

It ain't too new, but it ain't old. So goes good rock 'n' roll. Throw in some mid '60s Stones, the larger than life early '70s sounds of The Who, add the feedback and psychedelia from The Byrds, add a little weirdness from The Electric Prunes, invite Roky Erikson and the ghost of Syd Barrett, then add the energy and volume of The Ramones, and maybe it will add it up to The Chesterfield Kings latest gift to rock 'n' roll, Psychedelic Sunrise. These guys have been around about 30 years forever but are also up and coming 30 years young. They have cult band status with a new lease at greater recognition since Little Steven picked them up, got them the exposure they always needed and deserved, then set them free in the studio to rock, shake, fuzz, and freakout the world. Psychedelic Sunrise is the second platter released on Wicked Cool Records. We all should be thankful for it.

These guys are from Rochester, New Yawk and Greg Prevost always had this semi-gutteral voice without much tone that's almost Southern, but it's always sounded damn cool. I always loved the decisiveness of his lyric "Out in the darkness, I light my cig-uh-rette" from "I Don't Understand" on 2003's The Mindbending Sounds of The Chesterfield Kings, which was also reissued to much better reception in 2006. That's only proof that The Chesterfield Kings had to wait for the world to catch up to them. The first thing you notice about Psychedelic Sunrise is it sounds BIG. The opening "Sunrise (Freak Out)" tells you to get ready for something huge and then it hits like the first song at a gig where the band makes their presence known in a larger than life sort of way. Claves on a rock 'n' roll song? Why not? It's just a little touch that makes you think "Wait a minute. This is pretty damn cool."

Psychedelic Sunrise is the inevitable outcome of letting loose four great rockers into a studio toystore full of instruments to play with. On the music credits, each band member plays between 7 to 12 instruments. It's not Smile, though. It rocks and swings so loud and hard that the extra things just make it rock more. Lucky for us. It gets down and dirty basic with the channeled "Jumpin' Jack Flash" swagger of "Up and Down" and sounds just as cool and groovy. No one can be really sure what they were going for on "Rise and Fall," but you'll probably end up swinging your grog back and forth to it. There's also the baroque swoon of "Inside Looking Out." Like beer with hard liquor, one usually doesn't like string arrangements in their rock, but like the former, it all works out the same in the end since you get the effect you want if you're careful, so we can allow them the indulgence as part II of "My Sweet Lady Jane."

One's not going to be able to help drawing parallels on "Spanish Sun" to "Paint it Black." Who cares? It rocks. Besides, Brian Jones rocked on a sitar and so can Andy Babiuk. There aren't very many people you can say that about. Mike Boise's wall of sound drumming also gives the song a little more thunder than its inspiration. Even with the big sound, multiple instruments, a few tape effects, multiple hand held percussion instruments, Vox and Hammond organs, a dulcimer (!!??), and just about everything else that the vans got overloaded with from raiding the high school music room, Psychedelic Sunrise plays like a good 'ol dirty blues ROCK ALBUM that's as much at home in Muscle Shoals or New Orleans as it is in a club in New York or even better, at some outdoor festival in Europe, which like many great rock 'n' roll bands, The Chesterfield Kings have always enjoyed better success in Europe since there's less of a genre barrier and according to many, including The Chesterfield Kings themselves, a greater enjoyment for just rock 'n' roll. The Chesterfield Kings have always drawn comparisons to The Rolling Stones. This is a well earned and deserved compliment and not a musical generalization. Afterall, The Stones embraced the heavier Delta Blues sound to make their music a little less clean but more appealing. The Chesterfield Kings have this approach perfected on "Stayed Too Long" with it's boogieing piano and outrageously Ron Wood inspired riffs. Good Stuff! You just listen to it and think "Yeah, that's it." They slow down and give a stronger blues treatment on "Gone," but the added organ and '70s classic rock guitar solo give an old approach something new. Even with the southern influences, The Chesterfield Kings and fuzz guitar have always been inseparable terms. They give us a heaving dose of it on "Outtasite!" that lives up to its name- "That's hip, that's cool, that's great, it's outta site, yeah!" The acid rock tinged "Yesterday's Sorrows" that's loud but just trippy enough to put you in London's UFO Club in the mid '60s for a few minutes. But it's all about the rock 'n' roll. "Dawn" is a raunchy howl of a track to end Psychedelic Sunrise, but a confusing in sequence since dawn comes before sunrise.

The second release by The Chesterfield Kings on Wicked Cool Records, Pyschedelic Sunrise is rock 'n' roll with easily recognized influences. There's a lot more to it, though. The best rock 'n' roll, including The Rolling Stones and other legendary acts, was made from mixing a bunch of previously independent influences into something new. That is what they're known for. Rock 'n' roll itself is a mix of blues, r&b, soul, gospel, country, and some other far off influences to varying degrees. It's not an original form of music in and of itself. Furthermore, I doubt anyone can honestly name a "new" rock band that's original. New forms of rock are never really created because they're directly influenced by earlier forms. Everything great in rock 'n' roll draws from the better parts of the past and is recognized for having that. Psychedelic Sunrise is the same. Nothing less, but a lot more because it's tried and true rock 'n' roll. It's a quintessential, must own rock 'n' roll album since it's rooted, good enough to be timeless, and damn fun every time you play it.

There's a sticker affixed to the shrink wrap of The Chesterfield Kings' latest which maintains the album will be right up the wheelhouse of anyone who loves the Rolling Stones, circa 1965. Talk about an understatement. "Psychedelic Sunrise" goes even further into slavish, uncharted Nanker/Phelge territory - Brian face down in the pool, Keef and Anita holed up in Redlands trading hits on a hookah, Mick, Marianne, fur rug, candy bar, and 20 police officers at the door - than 1994's "Let's Go Get Stoned," and it sounds as if they might not be back for a while.

Hailed as "neo-garage rock royalty" by no less an authority than their own web site, the band have been at it for nearly 30 years now, singer Greg Provost and bassist Andy Babiuk the only two constants in the liner notes of countless albums, singles, and even a feature film, 2000's "Where Is the Chesterfield King?". Unfortunately, most of that back catalog is on polyvinyl chloride, hard to find, and too pricey for tourists. There's a killer box set in there somewhere I'd barter my soul for.

Caught up in the moment I may be (stay with me, I don't get this chance very often), but on something as simple as a shiny silver disc wrapped up in a tri-fold cardboard sleeve, the Kings deliver 12 songs which pulse, throb, soar, breathe, and release endless waves of endorphin rushes. Who knows? Maybe it's the caffeine.

Chalk it up if you must to the involvement of Little Steven or "sixth Ramone" Ed Stasium, but it's hard to remember them ever sounding this inspired, focused, or dedicated not only to supplying the basic daily requirements of guitar, bass, and drums, but throwing in Mellotron, maracas, claves, castanets, sitar, Bijou dulcimer, autoharp, tabla, Theremin, zither, electric mandolin, and (whew!) tape effects for roughage. Haven't a clue what a baritone guitar or zoom bass are, but they're in here somewhere, too.

Provost rocks out with his cock out - hands on hips, chip planted squarely on shoulder - on pounding opener "Sunrise (Turn On)," stands well back of the stuttering psychedelic soup of "Elevator Ride," knocks "Streaks and Flashes" into a cocked hat, and despite the best efforts of Babiuk, drummer Mike Boise, and guitarist Paul Morabito, stares down everything they throw at him in "Spanish Sun," and "Yesterday's Sorrows." Why his mug isn't silkscreened on baby doll T-shirts in junior highs schools from Schenectady to Aberdeen is one of life's great imponderables.

But it's the Dollsy slouch and strut of "Up and Down" and the "Sticky Fingers" swank of "Stayed Too Long" where The Chesterfield Kings go supernova, Morabito channeling Chuck Berry, Mick Taylor and Johnny Thunders in equal measures, Provost swaggering with all the pomp of a peacock.

Despite well-intentioned but meandering liner notes from an obviously-flummoxed Andrew Loog Oldham, holed up in Bogota, Colombia (go figure...), "Psychedelic Sunrise" is a godsend - nothing less than a revelation - swirling with druggy madness and dripping with punk `tude, and quite possibly the best thing I've heard this year. No, scotch that. DEFINITELY the best thing I've heard all year.

Get your wallet out.

Who knew rock could still rock like this? This album is classic, and deserves to be in everyone's library.
You want a disc to shake to? Here it is.
You want an album that grooves? Got it.
Want a disc to hang out and just enjoy? Here you go.

Buy this disc.

 

 

 

 

 

 

 

 

 

 

 

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