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Psychotic Revelation: The Ultimate Count Five by Count Five Original recording reissued, Import edition (2003) Audio CD

Import

Count Five Format: Audio CD

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Audio-CD, 30. Juni 2003

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18,13 €

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Produktinformation

Hersteller ‏ : ‎ Big Beat UK
Label ‏ : ‎ Big Beat UK
ASIN ‏ : ‎ B00G2JAH1U

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Vergessenes Juwel aus den Sechzigern

Kundenrezension aus Deutschland 🇩🇪 am 24. Februar 2004

Dieses Album ist grandios, enthält es doch die komplette Count Five LP "Psychotic Reaction" plus sämtliche Singles der Band sowie eine Demo-Version ihres grössten und einzigen Hits, eben "Psychotic Reaction". Heute, wo viel über Punk und Garagen-Rock schwadroniert wird und unzählige Bands das Erbe der Stooges, MC5 usw. verwursten, kommt der eingefleischte Liebhaber dieses Stils an den Count Five kaum vorbei, waren sie doch eine waschechte Garagen-Rock'n'Roll Truppe, die Mitte der Sechziger eine erstaunlich erdig-dreckige Variante des damals angesagten Beat spielten, die durchaus "Punky" angehaucht war. Bei den virtuos eingespielten Songs hört man deutlich die Vorliebe der Band für britische Kollegen ala Yardbirds, Them, Animals heraus, jedoch waren die Count Five keine lahmen Nachahmer dieser Bands sondern sehr eigenständig. Nicht alle Songs sind der absolute Knaller, doch allein schon das geniale "Psychotic Reaction" macht den Kauf dieser CD lohnenswert. Neben den Sonics, The Seeds für mich die beste amerikanische Sixties-Garage-Punk-Truppe! Psychotische Reaktion ist beim Hören garantiert!!!

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Cheyenne

Fantastic album.

Kundenrezension aus Großbritannien 🇬🇧 am 1. Februar 2014

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Got this album without knowing too much about the band after hearing their style was considered early garage/psychedelia, and not disappointed. Loads of great songs with what would have been a fairly unique sound for the time (1966). Also sound quality was v good, brilliant remastering. A great buy.

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Iacopo

Count Five

Kundenrezension aus Italien 🇮🇹 am 19. Juni 2021

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Album strepitoso, lo cercavo da tempo, ad un prezzo ottimo, spedizione impeccabile come sempre

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Five Stars

Kundenrezension aus Kanada 🇨🇦 am 31. Mai 2018

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Great cd, great music, great band. I wish they would have stayed together and made more albums.

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モニ

ついに出た！　決定版。

Kundenrezension aus Japan 🇯🇵 am 13. Februar 2004

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Nuggets以来、60sガレージのカリスマとして君臨し続けるCount Five（実はバンド名にthe はつかない）。現在まで折々にCDが出されてきたが、このCDは…スゴイですよ！
Double ShotからのLPに、以前Collectables版に収録されたシングル7曲、そしてさらにさらに！初お目見え6曲を盛り込んだ拡張盤。〈1〉〈8〉は嬉しい未編集版、彼らのゴロゴロとした迫力をより堪能できる。未発表だった〈12〉〈13〉は、ストーンズ風、ただしもっとファズ！もっと喧騒！もっと自堕落！
音は多少キレイすぎて、ぼあ～とコモる感じはないのですが、楽器の音がハッキリ聴き取れて、いろいろ発見もあり。こんなにドラムは騒々しかったんですね。
ブックレットはものすごい！　メンバのインタビューを中心に、当時の事情を詳しすぎるくらいに解説。古典"Psychotic Reaction"が出来るまでの経緯は必読。写真も盛りだくさん！　曲のほとんどを書いたJohn Byrne君のマッシュルームはカッコイイですね。

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johnf

Pure Unadulterated Garage Band Music

Kundenrezension aus den USA 🇺🇸 am 4. Juli 2022

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Count Five was a prototypical sixties garage band in every way, the real thing. First of all they were from the suburbs, in this case suburban San Jose, California in its quiet days before the tech revolution. Suburbia was the breeding ground of garage bands until a bit later when older musicians in big cities picked up on the style.Typically, the boys were inspired by the British Invasion. Nearly all these bands have noted this in interviews. Many of them actually did songs in the Merseybeat or Blues Revival styles. But more importantly I think the Invasion showed that a band could be a self sufficient unit and tour without orchestras or backup singers; also, you didn’t have to look like a teen idol. If these British guys could do it, so could they.

As was also typical, the band had formed from earlier bands and went through personnel changes before their final form. In their case, the Count Five had begun as The Citations, an instrumental surf band (this was unusual but they were in California), then morphed into The Squires, a party and dance band that played the usual R&B and rock and roll oldies (this was common to most of them). Among these bands they were on the younger side, still mostly in high school when the band created a local reputation and just starting college when “Psychotic Reaction” became a national hit.

Like most garage bands they got signed with a small label and had a sudden national hit. The same story often unfolded. The labels often didn’t have the clout or the connections to promote the group in a sustained way. The group found themselves unable to follow up their hit successfully and broke up within a year or so after the rush of fame. The songs were simple and easy to play, often the easier the better because other bands in other cities would be able to make the song an instant standard, like “Gloria”. The songs were often rough and contained a punkish or at least an assertive attitude.

All of this was true for the Count Five, whose “Psychotic Reaction” became one of the great rock standards, as fresh today as it ever was. The band was started by John “Mouse” Michalski (lead guitar) and Roy Chaney (bass). They added Butch Atkinson (drums), Kenn Ellner (vocals and harmonica), and John Byrne (vocals and rhythm guitar). Byrne was particularly important. Just being recently from Ireland made the band stand out a bit. But more importantly he became the band’s songwriter, composing almost all of their material. Sometimes he gets sole credit. Other times he would come up with the melody and basic idea of a song but it would be developed with a lot of input from band members so that the whole band got credit. But without him, they might have just been just a popular local cover band.

Like the Shadows of Knight, they got a regular giig at a local teen club (for them, The Cinnamon Tree) and built up a fan base. It was there that “Psychotic Reaction” was developed into their biggest number. There they were spotted by local disc jockey Brian Lord, who let them practice at his house and got them auditions. This is also common, as you really needed someone with connections in the business to get you in the door. Rejected by a number of labels including Capitol, they ended up signing to Double Shot Records (no connection with the Swingin’ Medallions), founded by songwriters Hal Winn and Joe Hooven. The label was so new that they hadn’t put out any records yet.

As was common, the relationship with the label became difficult after a while and you get different stories from different people. Recording sessions were quick. This was normal back then when only the single’s A-side mattered. But in their case the label was in L.A. along with the Nashville West recording studio and they had to be back in school on Monday. The band felt they were never recorded right; the recordings didn’t sound like they did on stage. Producer Winn thought they were too loud and tended to recess the lead guitar in the sound mix. The band, especially Mouse, loved to experiment with new things like feedback and a new Gibson fuzztone, somethin Winn discouraged. Not knowing what was going on, I can only speculate: the band might have been right about their sound, as the label guys were pop oriented and rock was alien to them. But it’s also true that an experienced producer may know more about how something will sound on the radio than members of the group.

“Psychotic Reaction” was recorded in seven takes and stitched together by Winn. Here everyone is in agreement that his work is what really made the single what it was. Their versions were short and ended abruptly. Winn extended the length by repeating sections and came up with the upward fading ending that was perfect for radio and enhanced the impact of the song. (both versions are on this disc). While most garage band songs moved slowly up the charts as they hit different markets, “Psychotic Reaction” stormed up the charts.making the top 20 in four weeks and the top ten in five, peaking in October at #5, an amazing feat for an unknown group. It;s a shame that the label did not seem to have the clout to get them on many TV shows, as there are only a couple live appearances on the internet.

The album is reproduced here exactly as it was on tracks 1-11 with thirteen bonus tracks that include all the A and B sides of their five follow-up singles and some unreleased tracks. “Psychotic Reaction” is presented first in its album version and in its single version as the final bonus track. It was recorded in a day and a half, so it’s anything but polished, but with farage bands, that’s a plus. All things considered - they were teens who had just been playing together a few years - they were really good. Of course they’re heavily influenced by the hit bands of the day, in their case, the Yardbirds (most obviously) and also the Who and the Kinks and the Rolling Stones as well. One of the key elements of their hit was the deadpan delivery of John Byrne, similar to Ray Davies on the early Kinks’ hits, and its rave up instrumental bridge is pure Yardbirds.

The songs overall are good and not all tintypes of each other. They’re all full of attitude: how about “She’s Fine” where the singer gloats to his new girl’s former boyfriend how much happier she is with him. There are no real ballads. Even the Impressions smooth “You Must Believe Me” is a rough hewn rocker by this band. They experiment a lot with rhythms, with almost every song having a different rhythmic scheme. John Byrne also plays around with odd chord progressions as in the feedback laden, psychedelic “Peace of Mind”, the offbeat “The Morning After” and the topsy turvy dream world of “Merry Go Round” “Peace of Mind” was the follow-up to their hit and I don’t see why it wasn’t bigger when the charts included songs like “We Ain’t Got Nothin’ Yet” and “I Had Too Much to Dream Last Night”. The voices are a bit young-sounding, but that only makes it more authentic. “Teeny Bopper, Teeny Bopper” is an instant garage classic that needs more exposure.

The only covers on the original album are “My Generation” and “Out In the Streets” , both by the Who. These songs would have been unknown to most of the American audience anyway. The Who’s “My Generation” famously flopped in the U.S. peaking at #75. If I wasn’t listening to WLS Chicago’s Sunday British Countdown I may have been unaware of it. I think it was killed by lack of airplay because the program directors found it too rough.Count Five’s versions are at least credible.

The CD’s cover is that of the original album, which critic Lester Bnags famously styled looking down at you in your grave. It is released by Big Beat, one of the finest reissue labels around. They go all out to create a deluxe presentation using all original masters and excellent remastering. In this case all the tracks are in mono. This may be because the album, on a small label like Double Shot may have been only produced in mono; stereo rock albums were generally afterthoughts for a very small audience at this time. It may also be an editorial decision by Big Beat because mono was the standard of the era and a punchy band like this really should be heard this way. There is also a definitive booklet with original interviews and basic information by Alex Palao, one of the best writers of liner notes that I know of.

Without more hit singles, the label lost interest in the band, Producer Winn notes the importance of a constant stream of hits and thinks they would have lasted longer in the later album oriented era. In the end, Mouse summed it up, saying, “We were just regular guys who happened to make it.” If you’re into collecting mid 60s garage bands this is absolutely one to get.

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Psychotic Revelation: The Ultimate Count Five by Count Five Original recording reissued, Import edition (2003) Audio CD

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