Deep Psychedelic Moods

Psych music has such a huge back catalog at this point, it is sometimes difficult to pick out artifacts from the original period that are authentic as opposed to folks who figured that it’d be a good way to make a name for themselves to record in this particular mode. But even some of those sham records have become scarce enough that collectors loose their collective minds when discussing them.

The Deep’s Psychedelic Moods appears to be one these albums that was constructed to sell a few copies. Of course, being released in early 1966 and beating the first 13^th Floor Elevator’s album to the market might make some question the viability of my perspective on this work. But seriously, the first Monkee’s disc came out that year as well. And I’m pretty sure the episode of Dragnet where the fellas visit a psychedelic den of inequity is from roughly that same period.

What makes me believe that Psychedelic Moods was merely a construction is the fact that the principal character in this, Rusty Evans, never performed live with this band. And in fact, the folks that recorded this tripe with good ole Rusty were just studio musicians recruited for the day. Evans would reconvene another group, dubbed Freak Scene, to record a pseudo follow up in the months to come. And yet again, that band wouldn’t make it outta the studio and onto the road.

Of course, though, music should be judged as music not necessarily some grand statement. And for full disclosure, I find that first Monkee’s disc more than palatable. Here, though, most tracks fall short of even the most subtle groove. “Crystal Nite” sports the most basic girl group backing track as Evans’ vocals are buried underneath reverb. But even this inanity isn’t surpassed by the lyrical content of “On Off On Off.” As the track and album conclude, the snippet of “Joy to the World,” which serves to introduce the sound of a bomb exploding, seems like not only a forced point of politicism, but also out of place on an album given over to the touting of drug use.

A few numbers do stick out as worthwhile works, though. “It’s All a Part of Me,” even with a baby crying to introduce the track, swings pretty hard. The various frog and cricket sounds that come along with it only add to the timpani that accents every sixteenth beat. The nonsensical lyrics about the unity of the world are even bolstered by some vibraphone on occasion. The track really does encompass a great deal of territory in just three minutes. “Trip #76” sports a more pronounced use of vibes and timpani. When taken in with the serpentine, distorted guitar figure, it is curious that the Deep weren’t able to score a hit.

That, though, is how the music industry works. If Evans and his recruits were able to hit the charts, probably no one would be talking about his disc anymore. Its success would have only made it less remarkable.