The Music For The Freak Out

Here are two fine tunes from the Golden Age of Hippie Exploitation Cinema.

The Glass Bottle performs this track from the film, The People Next Door. The film presents a tripped out tale of young hippies freaking out and their suburban parents who must deal with the freaking.



A soundtrack record was released and it is not as hard to find as you might expect. I found one a few years ago and I barely leave the house.



The song used to highlight the moves of Meg Foster in the film Thumb Tripping has (as far as I know) never been released on LP or CD. The film like the preceding one remains unavailable on DVD. This film captures the youth of the late 60's at a little older age than The People Next Door. Two youths using their thumbs to meander across the USA...




The music was written by Bob Thompson. He is known (well, to me at least) as the fellow who composed music that would be the soundtrack to some one wandering about on a giant marshmallow while zonked to the gills on painkillers and vodka cocktails:



The lyrics to the tune were written by Jerry Fuller. I'm guessing this is the same Jerry Fuller who wrote the song, Traveling Man, that Ricky Nelson took to the top of the charts. A quick look at Fuller's bio tells me it must be the same fellow. It looks like he is a person who likes to keep busy.

Beyond the tunes, though, there is Bruce Dern:



And that should sober you up real quick!

Acid Jam...Again!

Word is this was a big underground hit in Germany at the time.  I would have liked to have been at that underground party.    

Thee Cormans

Everything about Thee Cormans speaks to me.

Words on The Flat Can Co. - A Band Making Cleveland A Better Place in Which To Drink Beer.

FLAT CAN CO.



Ever see the symbol for infinity? Flat Can Co. has a sound that makes a listener think about the infinity symbol. The infinity symbol crumpled in the grotesque metal claws of a robot. Not one of the glossy robots in one of those fine late night sci-fi films. This robot is an unimaginable thing, dripping oil and unknowable fluids onto the floor of a shitty bar. Half human with bloody, pulsating entrails affixed to rusted metal. This robot-thing crumples up that infinity symbol and throws it into a trash can. The can is brimming with Xanax, vodka, Last Exit records, a tiny cardboard Flipper Tour Bus cut-out of their Gone Fishin’ LP, Greg Ginn’s damaged frontal lobe and beer...a lot of beer. The robot mixes up a brew that is ultimately anti-psychedelic. This is a sound grounded in the dirty stink of reality. A sound conjured from the empty belly of dying rust belt city. Flat Can Co. is free metal. Songs have no end. No beginning. There is only the infinite now in their music. Although, fucked and fried by a metallic beast-thing, Flat Can Co.’s roar can be felt in every empty storefront in downtown Cleveland. It is alive and it is grand. In a perfect world, Byron Coley and Thurston Moore would come up with more than a few funky adjectives to describe their sweet noise in their Cow Lips column in Arthur Magazine. But the world is not perfect. But Flat Can Co. nearly is...so take a few moments out of your busy day of downloading, private press psych records and sip some fucked, never-ending reality for a change.

Bill Dick from an article in Shanked Fucktard Noise and BBQ Magazine

The Flat Can Co. On MySpace

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