Customer Reviews

Sound of Confusion [Vinyl]

5 star:		(5)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

During 1984-1985, Spacemen 3 were playing live gigs in their local area of Rugby, England, and they made numerous demo recordings. Their official debut album, "Sound of Confusion", was recorded and mixed during a 5 day stint in the first half of 1986, and was released in July of that year on Pat Fish's Glass Records. Despite Sonic Boom himself being notoriously unhappy with the results, specifically in regard to Bob Lamb's mixing of the album, "Sound of Confusion" is a flat-out masterpiece that doesn't sound at all compromised.

The album is wickedly bracing, with a powerful guitars-cranked-up-to-11 sound on basically every track, and yet, when you mix in the consistently booming, Velvet Underground-style tribal-flavored drumming, the album manages to simultaneously have a mellow, trance-inducing quality. To give some perspective, this is a definite touchstone for My Bloody Valentine's 1991 album "Loveless". "Sound of Confusion", however, is the better album.

The first 7 tracks on this CD are the ones that constituted the original "Sound of Confusion" album. Spacemen 3 nod to their influences with devastating covers of the Stooges' "Little Doll" and the 13th Floor Elevators' "Rollercoaster", as well as a drastically revamped, fuzzed-out version of Juicy Lucy's "Just One Time" (retitled "Mary Anne"). Spacemen 3 make each of these cover songs their own. The Stooges' original version of "Little Doll" is pretty great in its own right, but the Spacemen's version here eclipses it; and as for "Rollercoaster" and "Mary Anne", each of them are vastly superior to the originals. The more-or-less one-chord "O.D. Catastrophe", which deliberately recalls the Stooges "T.V. Eye", is a perfectly fitting, spine-chilling, feedback-soaked album closer. The frenzied, stomping garage rocker "2.35"; the Otis Redding-inspired "Hey Man" (aka "Amen"); and the album-opening declaration "Losing Touch With My Mind" are all superb tracks as well.

The two most prominent members throughout Spacemen 3's existence were Sonic Boom and Jason Pierce. Pierce, who is probably more widely known for his subsequent band Spiritualized, handles all of the vocals on the original album, and his vocals are absolutely perfect for the material--check out his sly, insinuating performance on "Little Doll", or his primal screams and wails at the end of each chorus on "Rollercoaster".

Like the Spacemen 3 in general, this debut album manages to be incredibly deriviative and yet startlingly original all at once.

The 1994 CD issue of "Sound of Confusion" on the Taang! label makes this already essential album even more valuable by adding on the entirety of the 12-inch "Walkin' With Jesus" single which was originally released in November of '86. It starts off with the full-throttle, fast-paced, grinding version of the title track. It's followed by a jaw-droppingly powerful, doom-laden re-recording of "Rollercoaster" that's even more haunting than the album version; okay, so it does run on longer than it needs to at 17+ minutes, with over half of its duration consisting of Jason playing lead guitar over a one-note jam--the version on the "Singles" CD which removes 3+ minutes worth of this is more manageable--but this is ultimately nitpicking. The EP closes with the only truly mellow song on the entire disc, an arresting version of "Feel So Good" with Sonic and Jason alternating back and forth between vocal lines as they would also do on the version that appears on the 1987's "The Perfect Prescription" album.

In closing, a HUGE thumbs up to the Taang! label for an absolutely superb job with this CD. Packed with spellbinding music, no serious music fan can go wrong with this disc from Spacemen 3, one of the most important and underrated bands of all time.

essentially along the same lines as the review Aaron made in 2002, if you're at all interested in Spiritualized or the Perfect Perscription and Playing with Fire albums, then thi album is NOT for you.

While I admit it has its moments, the album could've definately been enhanced by stripping back some of the needless overdubs that either hinder or just reduce the songs to cheesiness. The early version of Walking with Jesus is interesting as it more prominantly displays their Suicide influence. Other than that, the version that appears on The Perfect Perscription is the pinnacle version of the song.

The 17 minute version of Rollercoaster, which piqued my interest in buying the album because of the great live version found on the Performance album, is less thrilling than I thought ti would be. It's essentially a one-track demo recording that never really takes off and has EXTREMELY cheesey and obviously tacked on samples of rollercoaster noises at the begining and end of the track, all of which makes the track difficult to sit through...

All in all, it's not a bad release, but a very difficult one. It should also be noted that both Pierce and Kember prefered the takes of this album as heard on the Taking Drugs to Make Music to Take Drugs To album.

If the consumer comes to 'sound of confusion' after hungrily consuming the spacemen's more pulchritudinous later efforts, or spiritualized's wildly successful inroads into baroque pop, then what is almost readily necessitated by this album is a rapid shift in priorities. A number of things, then, have to be said about this:

1. Although jason pierce sings most of it, this album bears absolutely no resemblance whatsoever to anything spiritualized ever did. If your favorite spacemen songs are the long, quiet bliss-outs, you will find this record immensely unsatisfying. It isnt the least bit pretty - all of the songs are essentially constructed out of the same three slightly uptuned power chords repeated at different intervals with as high a volume as was permitted by the boys' fragile amps and surf guitars. It isnt the least bit soothing; in fact, it's one of the most corrosive records of the eighties, if not the most corrosive. Half of these songs are furious uptempo rockers, and the other half are slow-burning, acidic dirges. Jason pierce had little to do with the writing or arranging; his place was more to sing and contribute the consistently good lead guitar.

2. This is essentially a covers record. Although four of its seven tracks (on the initial release) were credited to the spacemen, in this phase of their career (carrying on to 'perfect prescription') most of their original material simply fastened new lyrics to old proto-punk numbers or traditional songs. Therefore 'hey man' is a loose derivation of 'amen', '2.35' is simply a copy of the rolling stones' 'citadel', and 'OD Catastrophe' is a ridiculous attempt to graft new words onto the stooges' 'TV eye' and take credit for it. The only new track is 'losing touch with my mind', and I use the term 'new' loosely because I simply dont know who it's taken from.

3. Virtually all of the songs are in the same key, volume level, and time signature. The boys were still very young and had a lot to learn about songcraft and dynamics. Consequently, while thrilling in small doses, this album is rather tough to swallow all the way through, especially in taang's expanded edition, for sale here.

4. This isnt nearly as good as the spacemen's later records. Perfect Prescription is still the best place to start, and their most legitimate claim to any level of >importance<.

5. The bonus tracks are an extremely mixed bag. We're given the contents of the 'walking with jesus' EP, an adjoining single between this album and 'Perfect Prescription', and the version of the title track on the former record was an awful eighties punk-rock song bearing no significant resemblance to what eventually turned up on the perfect prescription in glistening, gorgeous form. Other tracks from that EP include a needless 17-minute version of 'Rollercoaster' (a thirteenth floor elevators song delivered in fine form on the original LP) and demo versions of 'Feel So Good' and '2.35' that are not significantly different than the ultimately released ones.

Anyway, what this all translates to is an enjoyable record for droneheads like myself. However exciting though it may be for some as a glimpse into the beginnings of the spacemen 3, this author admits that to most listeners this album will be a laxative rather than an opiate.

This is the best starting point for those wishing to find the fuzzy, drugged out, blissful noise blues that is Spacemen 3. "Losing Touch With my mind" is my favorite shoegazer anthem with its fried lyrics, wall of noise, and old school blues guitar riff dragging the song along. The cd is worth the price for this song alone! "Hey man" and a cover of the Stooges drone classic "Little doll" show the Spacemen's soul side and the noisy jangle of "Mary Anne" is addictive. "Rollercoaster" and "O.D. catastrophe" are extended dronefests (the latter of which is a take on the Stooges "TV Eye", punctuated with noisy guitar squalls, and druggy lyrics. Personally, I like the version of "2:35" on For All The F#*$ed Up Children, but the 2 included here are alright and represent a certain point in the bands development of their sound. Loose and stoned fun!

Very stoned sound here. Usually pleasant; occasionally annoying. "Hey Man", "2:35", and "O.D. Catastrophe" stick up a little out of the overall drone. Rest sort of oozes together, which is not a bad thing. Sometimes all I want to hear is the drone.

It's 1986 and the rocket engines are gearing up for the launch of the Kember/Pierce starship called Spacemen 3. Although the band burst on the scene at the same time the Jesus and Mary did doing much the same kind of thing, the Spacemen are virtually ignored by the press on both sides of the Atlantic. Though the album consists of about half covers and half originals it ends up influencing a new generation of psychedelic explorers beyond measure, spawning both the early 90's shoe gaze movement as well as the late 90's space rock phenomenom. With the follow up "the perfect prescription" the band finally gets its just rewards though only in the underground american press.

This is a great representation of Spacemen 3's music. I think everyone should own it.

During their brief but brilliant career, Spacemen 3 were infamous for being infamous: their sound influenced countless British shoegazers to come but nobody cared. This album is where it all began. "Losing Touch with my Mind," "Mary Anne," "Little Doll," and "Walking with Jesus" are superb and the remaining songs complete the album perfectly. Though looking back on history is always easy and sometimes ignorant, with music like this it's welcomed. This album is a snapshot of a time and place that won't ever exist again.

This is one of my all-time fave fuzz/drone albums, and it's my fave SPACEMEN 3 CD. (PLAYING WITH FIRE comes second). When my head feels shredded and out of step with the time/space continuim <i.e., a LONG BAD TRIP I WANT OUT OF>, I listen to this CD for hours and the drone soothes the shattered mind, and the SPACEMEN 3 DO "Walk With Jesus" because this CD heals! It's also really cool when one is feeling good! The Brits do this the best (see My Bloody Valentine, Jesus & Mary Chain, but check out the NEW CD by USA band (!) BLACK REBEL MOTORCYCLE CLUB - all of the above plus some actual melodies on most of the tracks)