sábado, 10 de maio de 2008

Pussy - Pussy Plays (1969 UK Psych Progresivo Rock)


BANDA PSICODÉLICA EXCELENTE E ALBUM DE DIFÍCIL AQUISIÇÃO!!! O DISCO É MAIS PSICODÉLICO DO QUE PROGRESSIVO COM TROCA DE RITMOS MUITO BOAS E ONDE SE PODE ESCUTAR VÁRIOS INSTRUMENTOS, DESTACANDO-SE ORGAN HAMMOND ACOMPANHADO COM MAGNÍFICOS RIFFS DE GUITARRA!!! CERTAMENTE É UM DOS MELHORES DISCOS PSYCH PROGRESSIVO BRITÂNICO DE TODOS OS TEMPOS!! SÓ PRA INDICAR UMAS FAIXAS: DESTACARIA A 5, 7 E 8 COMO PSICODELIAS MUITO LEGAIS!! SE QUISEREM MAIS INFORMAÇÃO SOBRE ESTA ÓTIMA BANDA, SEGUE ABAIXO UM POUCO DA HISTÓRIA DELA TIRADA DA NET!!!

Info:
So, since most of the songs on the album were performed with the use of all the same instruments (lead and rhythm acoustic and electric guitars, a few different keyboards, bass, drums, and voice), especially because all these instruments sound specifically, with the same character styles of playing them throughout the album, now I am sure that Pussy was exactly a
quintet. (No, Pussy was a five-headed monster at the time!) Without guests, Pussy performed the following compositions of the album: All Of My Life, Comets, The Open Ground, Everybody's Song, and GEAB. I guess there were three guest musicians on the album. First of them was a female singer whose back vocals are clearly heard on the album's opening track Come Back June (maybe, she is June here, only masked with the dawn of the summer?) and on We Built the Sun (it must be great to build the sun in June, being in company with June).

There are two more guests, however, on "Pussy", but unlike the female singer (she's a lady after all!), they two, oboe and cello players, turned out to be squeezed (involved!) in the only Tragedy on the whole album. Really, there are five songs and three instrumentals on the album, but only one of the latter pieces, Tragedy In E-Minor, is full of drama. But, what a wonderful piece it is in reality! Performed without rhythm-section, slow and loftily sad, Tragedy In E-Minor is filled with a lot of various, always beautiful and quite virtousic roulades and passages of minstrel-alike acoustic guitar and piano, (guest) oboe and cello, duets of acoustic piano and guitar, as well as with electric piano and guitar melancholy solos and interplays between them.
Frequent changes of joint arrangements, diverse parts of each instrument, an obvious medieval feel all make Tragedy In E-Minor one of just a handful unique and beautiful (progressive, of course) instrumental pieces to come out of the 1960s. Both the other instrumentals differ from Tragedy more than radically (as well as the majority of tracks on the album in general). GEAB and Comets (what a proper title for this track!), both contain a wide variety of themes, solos and joint arrangements, and these are mostly powerful and sometimes highly bombastic, by no means ordinary things at the dawn of Progressive. Comets, as not Earthly entities, drive all over the universe, sometimes accompanied by an otherworldly growl and their, probably, own ghostly howls (created, though, by an Earthly engine called keyboards), as well as with such essential things as regular changes of themes, tempos and moods (both instrumentally and vocally), guitar, bass and keyboard solos, all of which form sometimes duets and trios.
There are enough of unusual moves and sounds on GEAB too, though, I can't understand (up to now) if a real or 'synthetic' flute plays to the accompaniment of bass and rhythm-guitar in the beginning of this composition. Well, it's time to talk about the songs. While a few episodes on each of both the 'bombastic' instrumentals sound sometimes almost as Prog-Metal parts, all five songs are of such a kind of Classic Art Rock, in which the famous band Camel worked and still works. Changing, yet mostly plain (as there are few elements of other musical genres) typical Classic Art Rock structures of Come Back June, All Of My Life, We Built the Sun, The Open Ground, and Everybody's Song sounded very innovative at the time, as lots of those bands once and forever dubbed as the most influential on the creations of other bands, used practically the same structural schemes in their compositions.
Changes of themes, moods, etc happen mainly within the same united (Art-Rock, for example) stylistics, while transformations into another genre (Prog-Metal, etc) are rare. The latter, however, doesn't prevent pure Art-Rock or Symphonic arrangements, typical for all songs of Pussy, from being complex and even intricate. The majority of vocals parts on the album I also regard as diverse, because the vocal palette here is really rich in emotions, especially dramatic, though using the female backing vocals only on two tracks doesn't look effective as a whole. Also, the album would have sounded richer if the accidental participants of Tragedy (they were just guests) had worked on each track.

1. Come Back June
2. All of My Life
3. We Built the Sun
4. Comets
5. Tragedy in F Minor
6. The Open Ground
7. Everybody's Song
8. G.E.A.B.

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