Graffiti

1968年のサイケデリック/プログレッシブ・ポップ隠れ名盤が待望の再発!
ワシントンDC周辺で活動していたガレージ・パンク・バンド、THE HANGMEN。シングル"WHAT A GIRL CAN'T DO"と"FACES"を残したことでガレージ好きには知られるこのバンドも1967年にサイケの波を被ってそのスタイルを変容させます。加入したヴォーカルのトニー・テイラー、そしてギタリストのジョージ・シュトルンツは、バンドの方向をサイケに舵を切りました。
1968年にシングル "HE'S GOT THE KNACK"(本作には未収)、そして同年に唯一作となるアルバム『GRAFFITI』をABCよりリリース。アソシエーションやママス&ザ・パパスを彷彿とさせる巧みなハーモニー・ワークと複雑なソングライティング、時折差し挟まれるFUZZと変拍子、THE SMOKEあたりに通じる実験性とポップさが融合したサイケデリック/プログレッシブ・ポップ隠れ名盤!

Graffiti's sole album was in some ways typical of numerous obscure psychedelic one-shots on fairly big labels in the late '60s: over-ambitious lyrics, a kaleidoscope of styles that butted heads as often as it blended, emulation of several passing psychedelic trends pioneered by bigger groups, and an absence of really good songs. All that said, as such albums go, it's better than average, though hardly noteworthy. That's kind of faint praise, but at least Graffiti were less ponderous than many such bands, with a sort of gossamer lightness to much of their material. As for what styles they mined, they're hard to pin down, though they're fairly influenced by West Coast psychedelia of the era, with some of the vocal harmonies so high that one can mistakenly think there was a woman in the group (there wasn't). Bits of jazz, classical guitar, blues-rock, psychedelic effects, and vocal harmonies both sunshine pop and Gregorian seep through from time to time as the band floats through ever-shifting melodies and styles. The songs and instrumental solos do tend to go on too long, however, and the songwriting isn't memorable. ~ Richie Unterberger