AUTHENTICALLY BIZARRE RARE 1966 UK ORIG A RAISE OF EYEBROWS Ron Geesin pSyCh
$
60
$ 60
Sold For
Aug 7, 2016
Sold Date
Aug 4, 2016
Start Date
$ 10
Start price
7
Number Of Bids
USA
Country Of Seller
eBay
Auctioned at
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Description
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RARE ORIGINAL 1966 BRITISH FIRST PRESS
..
Ron Geesin
"A Raise Of Eyebrows"
UK- TRANSATLANTIC RECORDS - TRA 161
RARE ORIGINAL 1966 UK-ONLY release on the TRANSATLANTIC label, housed in stylishly mod-psychedelic laminated cover...
Recorded in the basement flat of 34 Elgin Cres., London W11. Most of 1966All tracks composed, performed and recorded by Ron Geesin (voice, hca, pno, harmonium, bjos, gtrs, percussion, sound fx & tape manipulation)
RON GEESIN is generally known only for his collaborations with Pink Floyd on ‘Atom Heart Mother’ and Roger Waters on the 1970 soundtrack to ‘The Body’, but his solo albums (at least the ones that I’ve heard) are little-discussed gems that, in my opinion, surpass these collaborations in creativity and general strangeness. The first of these was ‘A Raise of Eyebrows’) also was the first STEREO album released on the UK Transatlantic label. And listening to this, you could almost believe that STEREO was conceived purely so that Geesin could mess around with sound more effectively.
The liner notes to this album gave a pretty good idea of where Geesin is coming from. “Ron Geesin makes music that is not like any other music. He uses words, sounds, music, electronics and other people, in fact everything that is to hand. Ron Geesin is a new and startling experience.
‘A Raise Of Eyebrows’ [2:16] opens the album with shattering crockery and the disturbed giggling laughter of a right nutter, getting more and more multi-tracked, panned and crazy, collapsing midway with a big crash and segueing to weird gargling and blubbering noises over a radio sports broadcast, before another crash and an upper-crust voice telling us all deadpan “there are bricks in your garden, go and throw them at your neighbours...”
‘Freedom For Four Voices And Me’ [2:25] has Geesin groaning and singing to himself in pre-language sounds as though he’s just woken up from a huge bender on glue and paint thinner, as weird and funny chants emerge forming a choir of nitrous oxide crazed barbers over which Geesin scats nuttily and wordlessly, now more (or less) conscious.
‘Psychedelia’ [1:08] consists of crazed organ fingering (keep your minds out of the gutter now, folks), settling quickly into a repeated motif and silly monologue consisting of all sorts of semi-connected lines and finishing with “Humans pulsate! (where?) Somewhere else...”
‘Positives’ [2:15] is another bizarre disconnected monologue in Geesin’s distinctive Scottish voice, warbling with comedy although you can’t really pick what’s so funny about what he’s saying – perhaps that it’s just so juxtaposed and odd, holding together despite being apparently meaningless, delivered in an amiable lilt, and humorous due to kooky bamboozlement rather than the presence of a punch-line. Who knows if there’s any reasoning behind this jumble of mad poesy? But who cares, it’s fascinating to listen to.
‘It’s All Very, You Know’ [5:37] opens with unsettled jangling and throbbing piano stabbings, suddenly morphing into a crazy bebop routine (still just piano) before getting all dramatic and tense like a silent film musical accompaniment hinting that something unexpected and possibly scary is about to happen, then collapsing into seemingly random improvised plonks and fractured mini-melodies, though still holding a degree of tension and sparse drama, and finally returning to a rollicking up-tempo finale and fading to a gentle ending.
‘A Female!’ [0:22] is a short poem recited dramatically – “A female walk-ed down the street, her knees were bare, her ankles neat, her eyes did flash with false preparations, but in her head...” and ending almost embarrassed – “well, I didn’t manage to finish that line, but I daresay she wouldn’t have been able to, either...”
‘Certainly Random’ [2:49] opens with improvised banjo ruminations, soon joined by a weird clucking and cooing voice as though emulating some small farmyard animal on good drugs, as the banjo picks up a thread and jams with it, going into a tune joined with wordless lunatic scat singing that sounds like a demented old lady who doesn’t remember how to speak any language, but has great fun just making funny noises in (and out of) tune.
‘The Eye That Nearly Saw’ [4:29] begins as a solemn slow beat and unsettled quiet droning groans that grow and become nearly recognisable, perhaps as a slowed-down snore or animal grunt, sounding like a heavily-doped dinosaur or some other large beast lying on the ground and drooling over itself as it lurks on the very cusp of a coma. Soon this recedes and a free-form piano enters, though sounding more harpsichordish, then echo effects are added with sounds now bouncing all around, and the groans and slow thud beat return and disappear. The intoxicated treated piano ramblings take over as some drunken bum you’ve never seen before walks out of your bathroom, muttering and dribbling curses you can’t understand and leaving a trail of dank debris as he walks down the hall and out your open front door. ‘Two Fifteen String Guitars For Nice People’ [2:28] consists of freeform acoustic guitar explorations, with resonant attacks inside a piano occasionally sending discordant vibrations across the mix. The two guitars intertwine and spindle away, descending to a close.
‘From An Electric Train’ [3:23] has a discordant organ drone with another nonsensical monologue, and the organ soon takes off on a semi-coherent gothic interlude before Geesin delivers some more lines – “people are burning their souls in their fires, from out of their chimneys comes smoke... TV is burning their eyes and their brain, brown bricks crumble, and the people? They collapse...” The organ dominates again, going more nuts and freeform this time. “Mother gives sweeties to Robert! Will he throw himself on the railway line? Father’s not puzzled, four pints he’s just guzzled, and Robert’s not his, anyway!” Closing on a more extended and together organ improv, the track fades out on a final drone and a mischievous single light note reminding you not to take any of it seriously.
‘A World Of Too Much Sound’ [2:07] begins with fractured electric guitar spinning coiled-up webs like those famous spiders doped up on caffeine, as a croaky old voice requests “oh, talk to me, guitar!” and the music descends into a nutjob fast dance at an old folk’s home as a demented old crone skronks away with her vocal cords, then fading out for a brief monologue. The dance continues as Geesin blows on his ‘red machine’, sounding halfway between a jug and a kazoo. “Throb your guts out... Pound the strings! Pound the microphone diaphragm, pound your mother when you get home!”. The dance stops and a crazed Salvation Army coot enters banging a tinny drum, as Geesin squawks demands of “louder! louder!”, and the Salvo slips and falls into a rubbish bin with a clatter. “Not loud enough!” is Geesin’s judgement. He sighs “another hundred pounds gone, on a more powerful amplifier...”. “Where’s it gone” he asks himself in a different voice. “To the manufacturer of course, to make more powerful amplifiers, to make more powerful amplifiers, to make more powerful amplifiers...” etc. ad infinitum, fading and finishing with a tropical banjo theme that’s then gone, too.
‘Another Female!’ [0:06] is just one short poem, “Trot trot old lady, how was your body in the bath, or were you just disgusted?”
‘We’re All Going To Liverpool’ [3:57] is more freeform piano dramatics, interspersed with another crazy monologue, this time about train travel in some way but soon extending to bizarre existentialist ponderings and more seemingly meaningless disconnected ramblings. Suddenly Geesin spots a heart running down the road, and a crazed chase begins, until having to stop for traffic and, instantly forgetting about the blood-pumping organ on the run, returning to the public transport-related babbling.
‘Ha! Ha! But Reasonable’ [1:37] closes the album with a jaunty and nutso good time romp led by piano and harmonica, and again sounding improvised except for the start and end. And that is the end to a quirky and unusual listening experience.
A- A Raise Of Eyebrows 2:14
Freedom For Four Voices And Me 2:25
Psychedelia 1:06
Positives 2:13
It´s All Very New, You Know 5:36
A Female! 0:21
Certainly Random 2:49
B- The Eye That Nearly Saw 4:29
Two Fifteen String Guitars For Nice People 2:28
From An Electric Train 3:22
A World Of Too Much Sound 2:05
Another Female! 0:05
We´re All Going To Liverpool 3:56
Ha! Ha! But Reasonable 1:36
CONDITION: The cover: rated: VG++ collection worthy, the laminated cover is nice shape, finding a better copy without lots of use would be difficult for sure, very hard to find item from 50 years back. Still has smart graphics depicting the then on-coming psychedelic era. There are no delete marks, no split seams and no writing ... VERY collection worthy appearance ...
The vinyl: Rated: VG++ no more than soft (not deep) top surface scuff, expect excellent audio enjoyment. Both UK Transatlantic labels are clean!
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
NOTE: All Items backed by money back guarantee! IF you have a problem PLEASE let us solve for you BEFORE leaving ANY negative feedback. Thanks! GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M Completely clean, no marks M- Carefully used, looks clean, plays clean, shiny gloss, no marks EX Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, clean VG+ a bit more scuff or markls still plays well with very minimal surface at worse VG more marks/scratches only minor, nothing deep, no loud clicks or pops this grade is abused by many, VG here does not mean "trashed" VG- surface noise present, will not have skips or jumps ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END BIDDERS PLEASE = Do Not Bid If You Are Not Serious About Following Through The Transaction! ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!
