Love Depression＜限定盤＞

ベネズエラ・サイケ最高峰の一枚が待望のアナログ・リイシュー!!

かつてはSHADOKSから再発もされていた1968年リリースのベネズエラ産サイケ名盤。針を落とした瞬間、例えるなら「3×3×3」期のゆらゆら帝国的なテンションで繰り広げるアッパーなガレージ・サイケ作で、なんとも粘り気のあるファズ&クランチ・ギター・サウンドが最高中の最高ッ!!

同郷のサイケ・グループLADIES W.C.と同様、SOUVENIRレーベルからリリース、当然オリジナル盤はハイ・プライスな逸品となっています。本作は単なるカバー・アルバムの枠から逸脱し、冒頭のオリジナル・ナンバー"Gon'na Ride"などでもわかるようにジミ・ヘンドリックスやクリームらとも比肩しうるサウンドを携えた南米サイケが誇る究極の一枚!!

And the unearthing of various psychedelic-era obscurities continues. In this case, the chosen representatives -- reflecting turn of the century interest in a comparatively little-known Latin American '60s scene -- were from Venezuela; a teenage trio signed for a three-album contract that only recorded the one in 1968. The sparse liner notes indicate that it was pretty much the band's standard set, and as such, reveals that they were essentially a cover group with a fondness for soul -- the sole original, "Gonna Ride," kicks things off. It's actually a surprisingly blasting number once it hits the chorus, guitarist Alvaro Falcon going certifiably crazy via overdubs (in interesting contrast, the band's also good at simply cutting out fully for dramatic pauses). Bassist/singer Jesus Toro's slight accent tinges an otherwise standard-enough rock/blues delivery of the time, while the whole song ends on a wonderfully bemusing let-the-tape-slow-down note. After that, it's a reasonably standard selection in terms of musicians to reinterpret, though with admittedly sometimes intriguing song choices as representatives. For instance, though Jimi Hendrix was clearly an obvious influence on the group, tackling "Highway Child," "51st Anniversary," and "Stone Free" instead of "Purple Haze" and "Foxy Lady" showed more originality then than Lenny Kravitz now. Similarly, trying out Cream's notorious example of proto-arena-wank, "Toad" is clearly either inspired or flat-out nuts, right down to drummer Richard Rumaitre's over-the-top Ginger Baker impression. Not everything is a surprise -- there's the Leiber & Stoller standard "Kansas City," Procol Harum's "Whiter Shade of Pale," Robert Johnson-via-Cream's "Crossroads," and so forth. But sometimes, the juxtapositions are surprisingly inspired -- if "When a Man Loves a Woman" won't supplant Percy Sledge's take, credit to Toro for trying his best, and to the band as a whole for balancing implied heft with just enough restraint. ~ Ned Raggett