The Peanut Butter Conspiracy – Barbara

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First off, I need to sincerely apologize for my extended absence. We just bought a house, which has consumed much of my time over the past couple months. We are settled in, and I should resume updating this blog regularly.

Second, the following review is a follow-up review for the new Peanut Butter Conspiracy album. I typically only review studio albums on vinyl from the 60s, but I had the amazing opportunity to make an acquaintance of Alan Brackett. I decided that reviewing this CD would make a good fit for the blog. I also made every effort at an unbiased review despite making the acquaintance of Alan.

Barbara is the labor of love that Alan Brackett self-released earlier this year. After deciding to create a compilation album based around Barbara Robinson’s beautiful voice, Alan put in many years of work, trying to find the right material and means to make this project a reality. Every song on this album features Barbara on vocals, and many of them have never been released. Although many fans consider Barbara’s voice to be among the premier voices of the late 60s, Barbara never gained as much notoriety as many of her contemporaries. While most of the songs feature PBC musicians, many of the songs on this album are very different from the typical psychedelic sounds that PBC fans have come to know and love. For example, the opening song, which is actually a song from The Ashes (the precursor band to PBC) called “Roses Gone,” is reminiscent of 60s lounge music. The song has very minimal instrumental accompaniment and is mostly dominated by Barbara’s powerful and warm voice. In fact, there are several tracks on the album that tap into the easy listening style in order to highlight Barbara’s vocal capabilities. While these songs are quite different from the psychedelic rock sound that The Peanut Butter Conspiracy has become known for, they actually complement the other numbers quite well. For those who may crave something a little more rock ‘n’ roll, this album contains several gems that are more typical of the PBC catalog. One of the most quintessential PBC songs on the album is a tune called “Shuffle Tune.” This song is a great blend of folk rock, psychedelic rock and beautiful harmony. Other highlights on the album include the vocal-driven pop single “Good Feelin'” and the bluesy “Fool Hearted Woman.” Because the album is in a way an homage to Barbara, there is not a strong continuity of sound or style. While an album of eclectic sounds does demonstrate the wide-ranging abilities of the band/singer, in this case, the varying styles may be too much for more traditional PBC and/or psychedelic rock fans. However, for an album dedicated to Barbara Robinson and curated and compiled decades later, this is truly a remarkable piece of art. Each song brings something special to the album, and listeners will be left wondering why Barbara did not reach higher heights in her career. A-

Pick up the new album at The Peanut Butter Conspiracy’s website.

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The Peanut Butter Conspiracy – The Great Conspiracy

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Released in 1968 on Columbia Records, The Great Conspiracy is a quintessential psychedelic rock album. After their mediocre debut The Peanut Butter Conspiracy Is Spreading, The Peanut Butter Conspiracy returned to the studio with a more polished and focused sound. Whereas their debut album dabbles in psychedelic rock, folk rock and pop among other sounds, this album is a firm commitment to the psychedelic rock sound. For example, The Great Conspiracy opens with the 60s anthem “Turn on a Friend (To the Good Life),” which lyrically sets the tone for the rest of the album. “Turn on a Friend (To the Good Life)” calls listeners to indulge and access their wild sides. These themes are repeated throughout the album with songs like “Pleasure,” “Ecstasy” and “Wonderment.” “Pleasure” is dominated by Barbara Robison’s powerful voice––a voice that should be remembered as one of the 60s greats. Barbara’s range and passion is reminiscent of contemporaries like Grace Slick and Janis Joplin. Although Barbara often takes a backup role on this album, when she is given the reins, she leads with beauty and grace. In addition to having great lyrics and vocals, The Peanut Butter Conspiracy also demonstrate their psychedelic instrumental capabilities with songs like “Too Many Do” and “Ecstasy.” Both of these songs contain extended, complex jams that make listeners envious of those who got to see a live PBC show. Instrumentally, The Peanut Butter Conspiracy provide just enough experimentation, sound effects and distortion to land them firmly in the psychedelic rock genre without reducing themselves to a bag of cheap studio tricks. Like most albums, this album has higher points and lower points, but even the lower points are reliably enjoyable. Songs like “Lonely Leaf,” “Living Dream” and “Time Is After You” provide the solid foundation that this album is built upon. This album is a must for psychedelic rock enthusiasts, but may not be as appealing to those 60s underground music fans who prefer a harder, garage/protopunk sound.  A

 

Full Disclosure: Alan Brackett, the bassist for PBC, reached out to me several months ago, and introduced me to The Peanut Butter Conspiracy. I have since become a fan and have had further correspondence with him. Furthermore, I do plan to review and promote the newly released PBC album Barbara. I have written this review trying to remove any bias these circumstances may have had on my listening/appreciating of this album.