Blue Cheer
Band members Related acts
line up 1 (1967-) - Leigh Stephens -- guitar - Dickie Peterson-- vocals, bass - Paul Whaley -- drums, percussion
supporting musicians: (1968) - Ralph Burns Kellogg –\(RIP) -- keyboards, organ, reeds
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Genre: hard rock Rating: Title: Outsideinside Company: Philips Catalog: PHS
600-278 Country/State: N Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: -- Price: $
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Not exactly a hotbed for rock and roll, but I spent forty years working for the Department of the Navy. Most of that time was working for a small organization known as The Office of Naval Research. One afternoon I was having lunch with one of the organization's Department Heads - a gentleman by the name of Dr. Tom Drake. With a background as a teacher and researcher at North Carolina State University, where his areas of interest were terrestrial and coastal surficial processes, I knew him as a program manager and as the head of ONR's Ocean Battlespace Sensing Department. Anyhow we somehow started talking about music and out of the blue the band Blue Cheer came up. My response was "Vincebus Eruptum". Dr. Drake smiled at me and said something to the effect "They are so much more than that ..." Turns out one of his nephews had been a member of the band. And yes, Dr. Drake you were right. They were so much more than the debut album.
With Philips pressuring the band for more material, 1968's "Outsideinside" was released a mere seven months after their debut. Produced by Abe Kesh,
"Outsideinside" track listing: 1.) Feathers From Your Tree (Dickie Peterson - Leigh Stevens - Peter Wagner) - 3:29 Clearly an early stab at heavy metal, the standout performance comes from Paul Whaley's manic drums. 2.) Sun Cycle (Dickie Peterson - Leigh Stevens - Peter Wagner) - 4:12 3.) Just A Little (Dickie Peterson) - 3:24 4.) Gypsy Ball (Dickie Peterson - Leigh Stevens) - 2:57 5.) Come And Get It (Dickie Peterson - Leigh Stevens - Peter Wagner) - 3:13
(side
2) 2.) The Hunter (Booker T. Jones) - 4:22 3.) Magnolia Caboose Babyfinger (Dickie Peterson - Leigh Stevens - Peter Wagner) - 1:38 4.) Babylon (DIckie Peterson) - 4:22
Outsideinside is the second album by American rock trio Blue Cheer. Philips Records released the album in August 1968, only seven months after their debut LP, Vincebus Eruptum.[1] The album was recorded both outdoors and indoors—hence the title of the album.[1] The songs include contributions from all members, along with two covers: "Satisfaction" by the Rolling Stones and "The Hunter" by Albert King.[2] Outsideinside reached number 90 on the Billboard 200 album chart. "Just a Little Bit" was the first single from the album; it peaked at number 92 on the Billboard Hot 100 singles chart. Critical reception Professional ratings Review scores Source Rating AllMusic [1] Collector's Guide to Heavy Metal 8/10[3] Pitchfork 9.6/10[2] In a retrospective review for AllMusic, Mark Deming commented: [Outsideinside] captures the psychedelic side of their musical personality with greater clarity than the blunt approach of the debut; Outsideinside doesn't sound trippy so much as righteously buzzed, and the speedy roar of this the music is big enough that the legend that parts of this were so loud they had to be recorded outside seems not just plausible, but perfectly reasonable.[1] In a review of the two-for-one reissue of the album (coupled with Vincebus Eruptum), Pitchfork's Alexander Lloyd Linhardt noted, "Outsideinside converts their [Blue Cheer's] stylistic enthusiasm and leathery attitude into structured song. If it doesn't sound as influential as Vincebus's cataclysmic insanity, it's because it defines 'classic' rock."[2] Canadian journalist Martin Popoff praised the album where the band "pre-dispose of Purple, thwack the face of Hendrix, and generally pound psychedelia into the dirt" and concluded that "by most definitions this ain't heavy metal, but by most measures Blue Cheer stomp over Zep I and II".[3] Track listing Blue Cheer's debut album, Vincebus Eruptum, was widely and accurately described as "the loudest record ever made" when it first appeared in early 1968, and the band seemingly had the good sense to realize that for sheer brutal impact, there was little chance they could top it. So for their second LP, Outsideinside (which appeared a mere seven months later), rather than aim for something bigger and more decibel intensive, Blue Cheer decided to see how much polish they could add to their formula without blunting the skull-crushing force of their live attack. While Vincebus Eruptum was cut in simple and straightforward form with minimal overdubs, Outsideinside found Blue Cheer embracing the possibilities of the recording studio; Leigh Stephens overdubbed multiple guitar parts on several tunes, while the mix sends his leads flying around the room, though aggressive use of panning and the monstrous, fuzzy growl of his tone gets cleaned up on some tunes (check out the wah-wah solos on "Gypsy Ball"), though the results are still as gentle as a chainsaw. The engineering is friendlier to Paul Whaley's drumming; his traps don't sound as much like trash cans on these sessions, though the crude, phase shifting on "Just a Little Bit" remains gloriously amateurish. And if Dickie Peterson's bass sounds just about the same, he got to spend more time on his vocals here, and his blustery howl communicates better this time. The opening cut, "Feathers from Your Tree," also added a piano to the mix (which is somehow audible through the dozens of amps), while "Babylon" is almost funky in its lead-footed approximation of an R&B groove, and "The Hunter" is a broad but playful exercise in sexual swagger that, if nothing else, provided a lyrical conceit Kiss could use to more profitable effect nine years later. But if Outsideinside is cleaner, tighter, and more ambitious than Vincebus Eruptum, it's still clearly the work of the same band, and Blue Cheer sound every bit as thunderous on their sophomore effort. If anything, this LP captures the psychedelic side of their musical personality with greater clarity than the blunt approach of the debut; Outsideinside doesn't sound trippy so much as righteously buzzed, and the speedy roar of this the music is big enough that the legend that parts of this were so loud they had to be recorded outside seems not just plausible, but perfectly reasonable.
A lot of people will frustratingly inform you that the genius of Vincebus Eruptum lies in its overlapping of blues riffs and heavy metal guitars. A lot of people are also wrong. First, let's define the term: Trending Now 100 gecs Rate Korn, Giant Tattoos and Magicians Vincebus Eruptum (v.): to completely dispense with traditionally composed blues song by frantically bending every string on a guitar, strumming without playing any actual notes, ramming your head against the speakers, and generally inducing a psychotic thunderstorm of sound and fury signifying nothing. There's only one reason anyone has ever been interested in Eruptuming: Leigh Stephens. In the summer of 1967, Stephens heard the accumulations of blues and rock inside his head, and formed Blue Cheer, situating himself between Cream's rhythmic tightness and Hendrix's flamboyant excess. Fortunately for us, Stephens was resolutely less experienced than either, and in the process of developing this incompetence, he inadvertently birthed punk, heavy metal, and the most primal version of the inexorable and inept guitar freak-out. Vincebus essentially acts as the juncture of the lethally lethargic, basement-murder morass of Sabbath and the vomit-spewing anxiety of early punk rock. There may be occasional blues passages, but trust me, there's no overlap. When Stephens solos, there is nothing but wind-howling terror. Blue Cheer's signature song, "Summertime Blues", is a prime example of this bludgeoning. The band makes several attempts to get their instruments to sound like they're playing together, but whenever singer/bassist Dickie Peterson and drummer Paul Whaley accidentally forget that they're in the same band, Stephens rushes into the mix with a mind-expanding psychedelic gundown. Eddie Cochran's version actually sounded like summer; this sounds like whatever kind of season they have in a coal mine with skeleton scaffolds. The production is so lo-fi, it's practically transcendent. Whereas psychedelic used to be all about the Grateful Dead and Strawberry Alarm Clock (maybe "Tomorrow Never Knows" on a good day), Stephens was one of the progenitors of those gloriously nauseating spaz-outs we now know was to be the future of rock. On "Doctor Please", a sort of less subtle "Doctor Robert", Peterson yelps, "I need your pain killers!" while Stephens unleashes undulations of deafening wreckage and turbulent reverb. The rhythm section is barely audible, and when it is, it can barely stay ahead of Stephens. This is the kind of music Lester Bangs must have loved and Spinal Tap and Tenacious D must have mocked: musicians who, like the bands on Nuggets, live not to perfect their technique, but to simply rock. And while Blue Cheer, at this early stage, have yet to work out their kinks, their songs are already stunning: "Out of Focus" croaks tales of "the magic madness" and "mystic dream," a prepubescent version of Zeppelin's bombast, while "Second Time Around" is a grimier and more explosive predecessor to Yes' "Heart of the Sunrise". Only eight months later, on Outsideinside, the songs not only contained Stephens' paroxysms, but proved some of the best the 60s ever produced. The opening track, "Feathers from Your Tree", begins with a drowsy hush before escalating to a strikingly driving pop song, complete with tortured teenage vocals and backup singers. When I first listened to it, I had no idea Blue Cheer had written it. Then I realized the entire middle third is a direct duplication of "Pinball Wizard"-- or at least that's what I thought before I found out Tommy didn't come out till the next year. The Who ripped these guys off! Of course, once these acid queens get soloing, it's more like "Speedball Wizard" anyway: "Sun Cycle" is a slow rotating blues that reigns in fuzzed and tangled guitars. The version of Booker T.'s "The Hunter" begins as a bluesy hobble until strains of piercing guitar raze through the dinginess. "Just a Little Bit" and "Come and Get It" slow down the tempo and create the tense interaction between players that was sorely absent on Vincebus. The result is vastly more atmospheric and fulfilling, if not quite as stunningly anarchic. The one exception is the cover of "Satisfaction", perhaps the most exemplary version ever recorded, focused less on the music than the energy. It's as if Stephens is torturing the original. I didn't notice any remastering on any of the tracks on this two-for-one reissue, and if you already have both, there's no reason to seek this out. Putting both albums side by side, however, does contrast the two sides of the band. Vincebus is all catharsis and psychedelic mayhem; Outsideinside converts their stylistic enthusiasm and leathery attitude into structured song. If it doesn't sound as influential as Vincebus's cataclysmic insanity, it's because it defines "classic" rock. Everyone else was just shooting for this. Most Read Reviews My Way EP My Way EP Yola Balloonerism Balloonerism Mac Miller Let's face it, this is as good as this album is going to get! Blue Cheer was a muddy band; they looked muddy, they sounded muddy, they recorded muddy, and any remaster of their first two albums is going to be just that....MUDDY. You can improve it, but you can't escape it. That's what's down on the tape kiddies and that's that. I seriously doubt Mobile Fidelity Sound Lab could do a better job. With that being said, this is the best CD re-issue of Blue Cheer's second album "Outsideinside." The sound is improved as much as it can be, which isn't much. It's a DEFINITE step up from the 2003 two-fer that was issued in the U.K., where it appears that a different master was used. I trust Bob Irwin knew what could and couldn't be done when remastering Blue Cheer and I'm sure he did all he could do. The sound is a bit clearer and more "open." It sounded awesome when I cranked the volume up (which is how you're supposed to listen to this band ya know). I always knew I loved "Gypsy Ball" but it's one of the murkiest tracks on the original LP. I could finally FOCUS in on the track with this remaster. All in all I'm satisfied with this and the packaging is great. It's the best "Outsideinside" has ever looked (aside from the original tri-fold cover in 1968) and it's the best it's ever sounded. 51 people found this helpful Helpful Report Sebastian Gerber 5.0 out of 5 stars I Got Satisfaction Reviewed in the United States on August 31, 2012 Verified Purchase Besides the main, great original material on 'Outsideinside' I found the cover of 'The Rolling Stones' "(I Can't Get No) Satisfaction" on this album, to be the best cover of the song I've heard; it is full of wild abandon and genuine passion, that not only does the Stone's number justice, but makes it Blue Cheer's own, particularly when the famous riff is flipped to minor key towards the end, making an individual and bold musical interpretation, at a time when such twists were fairly new and innovative, but still keep their resonance today. As for the rest of the album: passionate, charismatic, hard rocking and stimulating tunes full of energy and charismatic power; brilliant, but not over-indulgent, guitar and soloing from Leigh Stephens; tremendous drumming (Paul Whaley), with very nice little fills and bass (Dickie Peterson, also on vocals), that is huge, but versatile and merges very subtly into the mix. There's heavy rock here, but also delicate moments; psychedelic overtones; solid compositions; groovy riffs and juicy songs and singing that make this an important record that, thanks to the great reviews here, lead me to an easily overlooked and brilliant classic...Great packaging (cardboard, but thankfully with a plastic jewel tray for the actual CD) and the latest, greatest, superior remaster (the lo-fi recording is part of it's charm, I think). Highly recommended. Read less 11 people found this helpful Helpful Report John H. McCarthy 4.0 out of 5 stars "BLUE CHEER Mature Incrementally While OUTSIDEINSIDE......" Reviewed in the United States on September 21, 2016 Verified Purchase For their second platter, 1968's OUTSIDEINSIDE (so named for being recorded both indoors and outdoors due to the band's penchant for playing at top volume, even when recording) BLUE CHEER added some psychedelic touches, among others, to their proto-metal stew. This was obvious the first time you see the album cover, an acid-dream portrait equal parts Dali and Bosch, unfettered by any font (the group's name and album title appeared on a shrinkwrap sticker). Designed by manager Gut and realized by Stefa Leinwohl it graced a L-shaped tri-fold sleeve which also featured photos by noted rock photog Jim Marshall. Success has it's perks. The platter within found the group stretching the rigid boundaries of it's pile-driving debut. Beside two covers (ROLLING STONES, Albert King) Bassist Peterson and Guitarist Stephens have five co-writes this go-round, with "founding member" and equipment manager Peter Wagner contributing lyrics to three cuts. Opener (and 2nd single) "Feathers From Your Tree" exemplifies their new direction, a twisting and turning slice of psychedelia, it features backing vocals and future band-member Ralph Kellogg on keyboards and reeds. A great live on TV version can be found on YouTube. "Sun Cycle" is prescient of soft-loud school of '90's grunge, in fact the instrumental "Magnolia Caboose Babyfinger" was covered/ripped-off by MUDHONEY on their debut as "Magnolia Caboose Babys**t." For those afraid the heavy-meisters have gone soft we have the followup single "Just A Little Bit" b/w "Gypsy Ball," a proto-speed metal take on "(I Can't Get No) Satisfaction" and album-ender "Babylon" which takes this version of the group out with a bang..... The 2007 Japanese mini-LP sleeve version reproduces the tri-fold L-shaped album cover to a "T" and sports a Philips Records label repro. The requisite excellent remastering and OBI goes without saying (yet I did). In 2012 U.S. reissue specialists Sundazed Records reissued OUTSIDEINSIDE in a straight tri-fold digipak with a Philips Records label CD ala the Japanese reissues. The stereo remastering sounds basically the same...... Blue Cheer's second album, Outsideinside, fully matches its predecessor's primal power. The last Blue Cheer release to feature the beloved lineup of Stephens, Peterson and Whaley, Outsideinside is a bracing orgy of volume, distortion and aggression, with such highlights as "Just a Little Bit," "Come and Get It," the instrumental "Magnolia Caboose Babyfinger" and the band's distinctive take on the Rolling Stones' "Satisfaction." Sundazed's compact disc edition is sourced from the original Philips reels, complete with the unique original cover design and features a new essay by Doug Sheppard of Ugly Things magazine. Blue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the seminal San Francisco power trio was churning out ballsy blues-rock anthems whose fuzz-heavy, adrenaline-charged intensity helped to alter the course of contemporary music. Includes: Feathers From Your Tree • Sun Cycle • Just A Little Bit • Gypsy Bail • Come And Get It • Satisfaction • The Hunter • Magnolia Caboose Babyfinger • Babylon
© Scott R. Blackerby
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