Band members Related acts
line up 1 (1966-67)
- Glenn Cass (aka Glenn Kastner) -- bass backing vocals
- Norman Cass (aka Norm Kastner) (RIP 2012) -- vocals, rhythm
guitar, backing vocals
- Rich Cliburn (aka Rich Clyburn) -- vocals, guitar keyboards,
- Jerry Cole (aka Jerry Kibrak) (RIP 2008) -- vocals, lead guitar,
dulcimer, backing vocals
- Don Dexter (RIP 2018) -- drums, percussion
- The Animated Egg (Jerry Cole)
- The Black Diamonds (Jerry Cole)
- The Blasters (Jerry Cole)
- The Champs (Jerry Cole)
- Glen Cass (solo efforts)
- Jonathan Cloud (Jerry Cole)
- Jerry Cole and the Country Boys (Jerry Cole)
- Jerry Cole & the Stingers (Jerry Cole)
- Jerry Cole and His Spacemen (Jerry Cole)
- The Detours (Glenn Cass and Norm Cass)
- Dave Dudley and Glenn Cass
- The Gee Gees (Jerry Cole)
- The Generation Gap (Jerry Cole)
- The Hornets (Jerry Cole)
- The Kickstands (Jerry Cole)
- The Knights (Jerry Cole)
- Jerry Kole and the Strokers(Jerry Cole)
- Mr. Gasser & the Weirdos(Jerry Cole)
- The Projection Company (Jerry Cole)
- The Scramblers (Jerry Cole)
- A Band Called Smith (Rich Cyburn)
- The Stingers(Jerry Cole)
- The Stone Canyon Rock Group (Jerry Cole)
- T. Swift and the Electric Band (Jerry Cole)
- Them (Jerry
Rating: **** (4 stars)
Title: The Inner Sounds of the Id
Company: RCA Victor
Country/State: Los Angeles, California
Grade (cover/record): VG+/VG+
Comments: stereo pressing
Catalog ID: 4532
Not to be confused with a similarly named mid-1970s Texan band (yes I have a review of that album as well), here's an outfit I wish I knew more about.
While there's considerable online information about The Id, much of it is questionable, contradictory, and you tend to see fragments of the same material repackaged time after time. What does seem clear is the group was formed in Los Angeles, though the member's roots were in Green Bay, Wisconsin). The concept was apparently the brainchild of Paul Arnold (aka Arnold Sukonick), with the band members taking Arnold's overarching ideas and turning them into discrete performances.
guitarist/singer Jerry Cole had been working as a professional musician since the
mid-1960s. As a studio musician he played on hundreds of songs and his
own recording catalog is extensive, if poorly documented. Looking at
his catalog, there doesn't seem to have been a musical trend (rockabilly,
surf, hot-rod, etc.) Cole wasn't ready to jump on in pursuit of
sales. Having participated in some early Byrds recording sessions, in line
with that "music-as-a-commodity" approach, The Id seems to have
been a crass attempt to get an early jump on the burgeoning consumer
interest in psychedelia. Yeah, consider it one of the first in a wave
of psychs-ploitation albums. With Cole on vocals and guitar, the rest
of the line-up featured long time friends and fellow sessions players Glenn
Cass on bass, rhythm guitarist Norman Cass, and drummer
Don Dexter. Singer/guitarist Rich Cliburn was briefly a member of the
band . He was pictured on the album cover photos, though not credited
on the liner notes.
In return for $25,000, producer Arnold signed to The Id to RCA without bothering to let the band know. Completing the album RCA sent the band on the road. They opened with a handful of showcase performances at The Happy Medium Theater. Unhappy with their lack of financial compensation, within a couple of weeks band parted ways with manager Arnold, returning to L.A. And that was the end of The Id.
As mentioned, the amount of on-line speculation about The Id is overwhelming. I stumbled across a fascinating "review" of the album by former rhythm guitarist Glenn Cass. Cass' comments provide the most unbiased overview of the band's history I've come across.
The Id are another band with a high morality rate.
- 68 years old, Norm Cass passed on in May, 2012
- The 68 year old Cole died of a heart attack in May, 2008.
- The 80 year old Dexter passed on in October, 2018. You can see a nice memoriam to the man at: Donald "Don" James Dexter Obituary (1937 - 2018) - Canon City, CO - The Canon City Daily Record (legacy.com)
"The Inner Sounds of the Id" track listing:
1.) The Rake (Paul Arnold) - 2:03 rating: **** stars
Geez, how would you describe 'The Rake'? Dance music for serial killers? Music for group psychosis experiences? This one's frightening when you hear it sober. Can't imagine trying to listen to it while under the influence of some illicit substance, or it you had significant emotional issues. The stereo panning effects made it even weirder. Even more of a surprise was RCA's decision to tap the tune as the album's second single. You just had to wonder what they were thinking given the album had some far more commercial choices.
1967's 'The Rake' b/w 'Wild Times' (RCA Victor catalog number 47-9195)
2.) Wild Times (Paul Arnold - Jerry Cole - Elijah) - 3:02 rating: **** stars
speaking of commercial options, powered by Glenn Cass and then Rich Cliburn's
growling voices 'Wild
Times' started out as a catchy rocker with a great top-40s edge. And then out of the
shifted into meltdown Indian influences. How'd they get those
sounds out of their guitars? And you thought George Harrison and Ravi
Shankar got there first Nah, it was Jerry Cole with a dulcimer
treated to provide the sitar-like sounds.
mentioned earlier, some of the online reviews draw a comparison to The
Beatles. For the most part I just don't hear it, but the ringing
guitar figure that powers 'Don't
Thing Twice' is one of those exceptions. If nothing else, this was one of the album's most conventional and commercial
tracks. With a great Glenn Cass blue-eyed soul vocal, awesome group
vocals, and propulsive melody, it would have
made a great choice as a single. Naturally RCA picked two less
conventional songs for 45s.
a pretty, if overly sensitive melody, 'Stone and Steel' reflected an unusual
folk-rock-collides-with- psych flavor. The tear jerk lyrics and
heartbreaking delivery were okay, but to my ears the overall effect was
marred by Arnold's over-the-top earnest lyrics.
by some tasty Glenn Cass bass and his bouncy vocals, 'Baby Eyes'
demonstrated these guys had mastered commercial, top-40 pop. This is
the track I would have tapped had I been employed by RCA's marketing
Although it's one of the album's most infamous tracks, 'Boil the Kettle, Mother' sounded like studio jam that went off the rails after someone dumped acid in their water bottles. Credited to Elijah, the haphazard, son-of-Dracula spoken words only added to the song's bizarre, throw-away feeling. As referenced above, Glen Cass revealed Elijah to have been television producer Jack Good. Good wrote the album's short liner notes and although he apparently had no creative role in the song, Good was listed as the co-writer under his Elijah alter-ego.
1.) Butterfly Kiss (Paul Arnold) - 2:29 rating: **** stars
dare you to listen to 'Butterfly Kiss'
and not at least crack a smile. Built on a sweet, classically-inspired
melody, this one sounded like the band had overdosed on a heavy rotation of
The Left Banke and The Zombies styled-pop-psych. Credited to Arnold,
the classical influences made sense given he has a background as a classical
trained violinist. Shame the song was so short. Extra
star for being so fey ...
Another track powered by Glenn Cass' pounding bass line, the weird, jerky time signature and song structure made 'Short Circuit' one of the album's most interesting performances. The tune's dark feel was underscored by Glenn Cass and Cole's intertwined vocals. Once again Cole's treated dulcimer (giving the instrument a sitar-like sound) added a cool psych-flavor to the tune.. All I can say is it was a weird choice as a leadoff single:
1967's 'Short Circuit' b/w 'Boil the Kettle Mother' (RCA Victor catalog
was another example of the
band's fascination with unusual timings and song structures. A weird
mix of garage, rockabilly and jazzy moves, Glenn Cass' semi-spoken vocals
were a hoot.
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