Customer Reviews

Song of Innocence

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This 1968 album was inspired by the writings of William Blake, as was it's followup "Songs of Experience". Record producer Axelrod had produced hits for folks like Cannonball Adderley, The Electric Prunes, and Lou Rawls, amongst others, in '68 he got the chance to produce his first solo album. Featuring a full bass heavy sound that isn't a million miles removed from the soundtracks John Barry was doing for the James Bond films at the time, but Axelrod is far more musically ambitious and psychedelic.
Almost symphonic orchestrations with loud electric guitar, an insistent beat, plenty of dreamy atmospherics, great drumming and more.

Along with its counterpart "Songs of Experience" -both single, consecutive releases about William Blake's books of poems- "Songs of Innocence" represents, perhaps, the essence of Axelrod's daring and beautiful work.
Released in 1968, this album reflects much of what was going on with music then, and probably represents one of its most interesting documents. Axelrod, still rather young was already at a creative peak: Jazz discovering Rock and willing to embrace it, orchestral arrangements that are bold and pushing the envelope of the traditional big band concept and -along with the addition of electric guitars- engage in full psychedelic flight without indulging in trippiness for trippiness' sake.
Where its succesor, Song of Experience, can be dark and ominous at times, something that would be even more pronounced in the albums that follow these, Songs of Innocence is hopeful, the wide-eyed wonder of someone wanting to tell you all the promise they see ahead.
As you listen to it, you may find difficult not to be swept by this music and be impressed by its visionary power. Don't be surprised if you find sounds you might have credit other artists for, who only got there years later.
I recommend that you get both albums and listen to them in tandem. Of course begin here with "...Innocence" -just like life does- and then move on to "... Experience." Although both works stand alone and each is a distinct marvel, the combined listening experience will provide even more pleasure and insight into the mind and heart of one of a great contemporary composer who, given the weight and depth of what he has to offer, has been sadly under-recognized.

David Axelrod is a musical genius and although he has been sampled by some of the greatest names in hip hop/rap, he's been greatly underappreciated for what he's done and accomplished. His music will stand the test of time!

5.0 out of 5 stars The Hidden Gem of the '60s, February 3, 2009

David Axelrod was way ahead of his time when he recorded his solo debut in 1968 which even blew away what the Beatles were doing in the studio at the time (except the great Axe remained under the radar). He had an impeccable ear and with it a sense of production and composition rare in rock music (more akin to jazz and classical music). The most talented and skillful session musicians of the time came aboard for his two companion piece albums which were both completely instrumental conceptual pieces based on the visionary and mystic Romantic poet William Blake. Fusing deep, thick, and soulful bass grooves and drum breaks with psychedelic atmospherics, acid rock guitar, and orchestral grandeur, David Axelrod created a masterwork that has been sampled countless times as the bedrock of ambient, electronic, and hip-hop music and is still being rediscovered today. A true hidden gem and treasure.

I bought the vinyl version of this when it was first released (you do the math). I used it to sell high end audio to those who were more interested in listening than physically experiencing music; this was the first 'yes' in the process. It quickly became my most often borrowed disc, I probably drove quite a few sales as well. This is still one of my favorites when I need to take 40 minutes off from the world. I am happy to see more of David's work finding its way onto digital media. It may not be uniformly great but it is all good.