If you’re into private press garage albums or acid punk this is a must own title that lives up to the hype. This LP has a primitive sound that’s psychedelia is apparent through the guitarists eastern scales, guitar feedback and the occasional appearance of the theremin. Note there are no fuzz guitars or studio sound effects.
Again, song for song, the B-side is flawless and to this writer a highpoint in the local garage psych cannon. The album ends on a high note with Tobacco Road. These songs are followed by Sleep, a solid garage rocker with a stop/start rhythm and a raga style solo (listen to clip below).
It opened up with the eastern style guitar work of A Hundred Percent of Nothing followed by a wigged out Seeds-like number titled Love. Side B was even stronger, a true classic of acid punk. Other worthy gems on the A side are the garage punk of People Go/Better Life and two acid rock ballads Mountain High and Sunny Daze. This track opens the LP (A side) and is very different when compared to the original recording by the Who. They give a good reading of the Who’s I Can’t Explain, again with wild use of theremin and raw vocals. The good news is that it’s a very good garage psych platter with mostly original compositions. OUT-SIDER, along with the help of Crypt keeper Tim Warren, have finally mastered and released the rest of Peabody Co.’s recorded legacy on vinyl. It’s gone on to become an underground classic and rightly so. This seven minute rendition is characterized by insane blasts of theremin, guitar noise, a drum solo and sloppy, amateur vocals. was their crazed version of Tobacco Road, which appeared on the A Fistful of Fuzz compilation in 1998. If you’ve never heard their music, which hardly anyone has, Peabody Co.’s sound is reminiscent of Bohemian Vendetta or a private press version of the Blues Magoos.įor most psych fans, the first taste of Peabody Co. Record collectors agree these recordings probably date from 1967-1968. Nothing is known about Peabody Co., other than that the group recorded 10-11 tracks on acetate back in the late 1960s.
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