Biography without Psychoanalysis

A Freud comment, accepting a prize in honor of Goethe, and responding to the general academic hostility towards psychoanalysis, not least of all from historical biograhers, with some psychoanalysis-- 

"All the same, we may admit that there is still another motive force at work. The biographer's justification also contains a confession. It is true the biographer does not want to depose his hero, but he does want to bring him nearer to us. That means, however, reducing the distance that separates him from us: it still tends in effect towards degradation. And it is unavoidable if we learn more about a great man's life we shall also hear of occasions on which he has done no better than we, has in fact come near to us as a human being. Nevertheless, I think we may declare the efforts of biography to be legitimate. Our attitude to fathers and teachers is, after all, an ambivalent one since our reverence for them regularly conceals a component of hostile rebellion." 

--Sigmund Freud, 1930

"You Keep Me Hangin' On," The Supremes (1966)

The Billboard Disco chart began in late 1974, Gloria Gaynor's "Never Can Say Goodbye," based on a template already established by a Philly Sound, with a big assist from the Temptations/Eddie Kendricks, in 1972. But what was the first disco song or what pre-disco song hinted most at the classic disco sound to come? Manu Dibango's "Soul Makossa" has some claim, essentially because it got big at David Mancuso's Loft in 1972, generally recognized as the NYC private party danceclub where disco started; or an important early model, anyway. Archie Bell & The Drells were an early disco staple, from "Tighten Up" in '68 to "Let's Groove" in '75. The Isley's "It's Our Thing" in '69 deserves some attention. Uptempo, insistent, even stomping, funky rock & soul was showing the way. But this Supremes nugget-- 1966!-- should not be overlooked. Pathbreaking proto-disco, if you ask me. 

"My World Fell Down," Sagittarius (1967)

 Underside of Summer of Love; the dark side of Sunshine Pop? Best Beach Boys copy maybe ever? Gary Usher, Curt Boettcher, Glen Campbell, and probably an army of Wrecking Crew regulars. Bad trip, to be sure, but as vocal group psychedelia goes this belongs on a short list of great examples of this precious sub-genre. Reached 70 on charts. And the 4th song, on the 4th side, of Lenny Kaye's Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968. The studio perfectionism, uncharacteristic of the garage punk aesthetic prevailing on the Nuggets collection, puts some off but I like the slick multi-tracked whip cream glee club sheen. And the delicious agony of the sad blue boy lead; "My World Fell Down." Worthy of the Brill Building.  

"Long Season," Fishmans (1996)

 

Apparently, much of the internet psych world has been aware of this 35 minute masterpiece for a long time but still very deserving and glad to spread the love. Japanese band that put out five records in three years in the late '90s before the sudden death of the singer. An explosion of alt-indie Trip Hop creativity. And on this one the universal language of pastoral psychedelia, blenderizing Philip Glass, jangly guitars, funky drums, sweet group harmonies and the kind of swelling cathartic collective jamming characteristic of long from psychedelia. No translation needed. Brilliant. 

Medley: The Great Brain Robbery/Glimpses of the Next World's World, Autosalvage (1968)

Sure, for every choice psychedelic Nugget there were 10 comically pretentious trend hopping posers. But this hard psych workout is proof the vein of golden psych Nuggets (1966-1969) is in fact big and varied; hits and groups came and went like forgotten college art projects. I suppose that's why Rhino put out 15 volumes of the Nugget's comps of the stuff in the 1980s; and the Pebbles' series is near 30 volumes. Let's just say they were not wrong. Frank Zappa suggested the Autosalvage name, an early band song he especially liked. 

"Big Fun," Inner City (1988)

Two inner city club cultures getting together, Chicago and Detroit, incubating new electronic dance music. Inner City was vocalist Paris Grey, from Chicago, where Frankie Knuckles was creating a Queer friendly dance music scene so popular regulars called it House music or just House. And "Big Fun" composer Kevin Saunderson, as part of the Belleville Three (w Juan Atkins and Derrick May), created a Detroit Techno sound combining icy Kraftwerk inspired Black Futurist tempos w heated soul vamping. Early peak. 

"Let No Man Put Asunder," First Choice (1977)

Souped-up post-Motown girl group club banger. Which could be faint praise, a putdown of assembly line product, but not in this case. A gracefully galloping Salsoul disco groove pumped up by DJ Frankie Knuckles; the Godfather of Chicago House music. In no hurry, bawdy body music, slowly building, half way through before it lifts off, pumped up with stomping religious fervor. Until death do us part disco.