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Taken as the follow-up LP to Easter Everywhere, the Elevators' approach quasi-religious transcendence by the thin limit of sound that defines the call of their sound.
Sound is heard according to air pressure. I guess that the high air pressure of a sun-scorched Texas landscape unfolds in the attenuated, echoey production of sound engineers, Poole, Duff & Carroll. At times there are nods to the highly mixed, un-live recording of dub music: the brass over-dubs & number 11 volume bass.
Church bells ring out on Never Another inflicting scenes from 'The Waltons' & that scene in 'The Man Who Fell To Earth' where Bowie encounters American pioneers in some uncanny time split.
Stacy Sutherland is accredited with most of the songs and his Germanic philosophical/theological lyrics are reflected in acidic, spiritual verse only to be lost in the manic vortex of thought-popping hallucingens.
Bull of the Woods is full of the great peaks & troughs that make the mind-altering experience endure. Here you shall find no commercial hooks nor radio-friendly sentiment: this is the purest, most austere contradiction of something that occurred around 68. It lives-on!
As I have mentioned before.. there are alot of albums that are such great efforts that seem to end up only in the pail shadows of other big rock n roll artist of the 60's
or perhaps.. also correct in this records matter, its genuinly put aside beacuse of crusual fans that miss the direct rawness of their first recordings like shall we say "your gonna miss me"
this is nevertheless and good effort.. oh sorry.. correction its a great record..
Its doubtless the most swingin record of theirs and its got great guitars great feedback effects great riffin great movin and great grovin, its got great echo effects that hymn gostly in the air on rose and the thorn for instance.. which perhaps starts off slow but later on gets to some real swing.. and some great riffin.
I have a theory that this albums exprimental features on the echo that I mentioned that are featured on tracks such as the above mentioned.. and the finishing track May the circle remain unbroken..
And the clever use of just enough brass orchestra backing up with a rich and filling feel on such tracks as the opening riffer.. living on , never another and the marvalous dr doom.
seems to be sadly unapriciated beacuse of them missing the hype when.. beatles were all on the same track a bit earlier.
(as you know the same thing happened to other overlooked albums from the same era, for example byrds noutorius byrd bros, the doors soft parade)
But I find this an unfair way of judging since really its used more cleverly here.. its not over done.. its not naive or just too much Its placed cleverly and done with some great feeling.
this album is also.. frankly overlooked beacuse of the fact thar roky erikson was not as dominant.. but why is that looked upon as a bad thing..
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