THE CRAZY WORLD OF ARTHUR BROWN

This album is well, crazy. The instrumentation is fantastic, the lyrics are borderline sadistic sometimes, and it has it's moments. It isn't nessacary unless you like 'historical' prog. But it is a lot of fun to listen to, even dancable!

This album completely kicked my 12 year- old ass back in 1968. And to think that the track "Fire" was in regular rotation on AM radio and was somewhat of a "hit" is unbelievable when I think about it today. Being that it was released in 1968 this might be considered proto-prog by some folks, but I think "prog" really began in 1967. I think that it would be unfair to to call this album psychedelic as Vincent Crane's organ colors are much too dark and full bodied compared to the cheesy Vox and Farfisa sounds that most bands were using in the '60's. Arthur's lyrics are dark and frightning in a way that only obscure blues artists were in the same time period. And his presentation was completely unique. While there is no mellotron on this album, the string arrangements are very close to what someone might have played on a tron and the flutes are very tron-like also. The brass parts tend to sound a little "'60's Brittish" but they work nicely overall. I would imagine that this album left a rather big impression on the young Ozzy Osbourne. The CD reissue is a good transfer of a good analog recording and adds 5 tracks of mono mixes that the original LP did not have. And in the unusual way of Arthur Brown, the bonus tracks are at the start of the CD and not at the end. A good album to check out if you are interested in hearing what the roots of prog sound like.

This is absolutely irresistible stuff from an incredibly influential band that has been largely forgotten. The Crazy World Of Arthur Brown was built on the talents of manic showman Arthur Brown and his even more talented cohort organist Vincent Crane, two of the greatest (and ultimately unfulfilled) talents in the world of progressive heavy rock.

This album was released in 1968 and must have sounded like nothing else around at the time (come to think of it, it still sounds pretty damn unique!). Despite significant chart action (the single Fire was a #1, I believe), the group imploded after this one near-perfect album and while both Crane's Atomic Rooster and Brown's Kingdom Come went on to make great music, you can't help but feel that they were most complete with each other.

Brown's songwriting is steeped in Gothic horror, with mystical fire-based themes usually playing a strong part in his lyrics. As a singer he was part R&B raver, part crooner, occasional narrator and sometime blues shaman who specialised in proto-metal screams (that had a clear influence on Deep Purple's Ian Gillan). A theaterical live-wire on stage he wore helmets and robes (Peter Gabriel, anyone?) and wasn't afraid to set himself on fire for the sake of his art.

Vincent Crane was one of the first great organists in rock music and his musical contributions to The Crazy World Of Arthur Brown cannot be underestimated. Aside from co-writing most of the songs with Brown, he also did all the crucial orchestral arrangements on this album (that help give it a progressive flavour). Musically he was the main man in what was essentially a keyboard-based trio that was more than a match for the likes of The Nice. It has to be said that while bass player Sean Nicholas and drummer Drachen Theaker do provide Brown and Crane with sufficient support, neither one makes much of an impression on me (Incidentally, legendary prog drummer Carl Palmer joined The Crazy World Of Arthur Brown only after this album was recorded, playing on a live tour before departing with Crane to form Atomic Rooster).

Another small thing to be aware of ... My version of the album features 5 bonus tracks in the form of mono versions of some tracks here. Oddly enough they are stuck at the front of the CD, so make sure you skip them as the atmosphere that builds through this particular album is critical to its enjoyment.

The album itself begins with Brown's mock-horror anthem Prelude-Nightmare which features an atmospheric classical introduction which is "intruded upon" by some great heavy organ work from Crane. It is followed by the Gothic poem/song Fanfire - Fire Poem that echoed the kind of work Jim Morrison and Ray Manzarek were doing accross the Atlantic with The Doors. Brown then sends the album into the stratosphere with Fire, a great pop single with some very nice classical runs from Crane and both brass and woodwind contributions from the orchestra.

The atmosphere of the album should already be well-established by the time you hit the classic fourth track Come And Buy, and if Brown's "God-brother, you lied" line that kicks it off doesn't send chills down your spine, you might well have missed the point. A mixture of mesmerizing melodies (highlighted by the chorus and the imploring "Why is it so cold in here?" line that recurs throughout the album), soulful crooning and an excellent orchestral interlude (which Crane would re-use on Winter, a brilliant track from Atomic Rooster's first album) make this one of the album's best progressive moments. The brooding, glockenspiel-heavy (!!!) Time/Confusion takes the album to an even darker, heavier place that fans of Vanilla Fudge will certainly be familiar with.

A fierce cover of Jay Hawkins' blues classic I Put A Spell On You is so fitting that the track could almost have been written by Brown and Crane. It helps that Theaker's drumming is rather tasty here, too. Unfortunately the album's filler material then starts to kick in. Spontaneous Apple Creation is the album's weakest track and it really sounds like an experiment gone wrong ... it may be creative, but it's damn irritating to listen to. It's followed by the mildy funky Rest Cure which has some nice moments on strings and organ, but still sounds like a track that Petula Clark could have cut! Thankfully the extravagant drum-roll that heralds a cover of James Brown's I've Got Money proves to be a sign that the high-octane manic style of Brown is back.

The curtain closes with another true highlight in Child Of My Kingdom, a flowing piece that begins with a brief pantomime-style melody, moves in some moody verses with excellent piano playing from Crane, a frantic chorus, a jazz-blues instrumental section, and then some more delectable piano work that closes out this thrilling album on an eerie note. ... 88% on the MPV scale

I dearly love this album, but it does have some serious flaws. The Great Spontaneous Apple Creation, Rest Cure, and I've Got Money are all really bad, and it seems as though Brown was struggling to find enough material to fill the record.

However, side one is beyond reproach. This crazy, fire, orchestral suite of songs will take you to places you've never been before. I can't even imagine what it would be like on drugs. The album closer, Child of My Kingdom sounds like it belongs here as well, and the cover of I Put A Spell on You is, in my opinion, definitive.

Throughout the record we are treated to the amazing playing of organist Vincent Crane, whose compositional assistance and technical virtuosity are what make this album shine far brighter than anything Brown has attempted since. Essential? No. But certainly a treat for the ears, especially if you like dark psych rock.

This bizarre duet of organs and inhuman wails, with some drums and a bass guitar filling in underneath there somewhere, remains one of the classics of late 60s psychedelic rock. Deleted fairly swiftly on LP, this quirky oddity of rock and reason was released on CD in 1991 and is still readily available today, although you may have to look pretty hard.

Against all likelihood, this self-titled debut album from Arthur Brown's first band spawned a hit (#2) single with the energetic 'Fire,' commonly regarded, by people who judge music in terms of popularity, as one of the strangest one hit wonders in music history. At least, before the 80s came along ('Shaddap You Face' anyone?) Unfortunately, nowhere else on the record is the energy so vibrant and the musicianship as frantic as in those (in)famous two-and-a-half minutes.

The Crazy World of Arthur Brown takes its cues from blues rock, evidenced by the cover of Screamin' Jay Hawkins' hit 'I Put a Spell on You,' as well as more laid back R 'n' B style. Again, this is supported by the album's second cover song, 'I've Got Money' by James Brown. This album is psychedelic in a different way from the dreamy soundscapes and mellow singing of The Who, The Beatles and Pink Floyd, opting for a more concise and speedy mood most of the time.

The lack of guitar sets this album apart from those of its contemporaries, and the resulting over-compensation of Vincent Crane's organ makes it sound particularly dated today, as well as weirdly compelling. The album's main strength lies in the vocals of its frontman; Arthur Brown still reportedly possesses his famous four octave range, and he doesn't shy away from demonstrating it throughout this record, occasionally moving through his whole range in the space of five seconds. Even if you don't want The Crazy World of Arthur Brown to mean anything more to you than one stupid hit single, this proto-prog album at least has historical significance. And, um. not much else.

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The first half of this album forms an infernal psychedelic suite that sees Arthur Brown indulging his theatrical side. For no reason whatsoever, these five tracks are added in monaural form as bonus tracks on the CD release and placed at the start of the album, meaning that listeners have to skip to track six. Crazy. In any case, this is the more impressive of the album's two halves (or sides if you're stuck in the days of vinyl), although its rather grand scope and repetition may cause the more chilled second half to be more suited to casual listeners. In this suite, Brown describes a pleasant riverside walk becoming a descent into fiery Hell. It's sort of like Dante's Inferno, but without the poetic justice and the moral; Brown seems more concerned with presenting Hell for Hell's sake, although record burners can hold it right there, as the lyrics are never allied with the Satanic cause. Why is it so cold in here?

To enhance the scale of the piece, the band recruits what sounds like a small orchestra, but could easily be a couple of mates they brought into the studio. The 'Prelude' is an idyllic, pastoral orchestral opening before the organ and subsequently the vocals kick in, following sound effects that sound suspiciously like snoring (some kind of comment from the impatient, hyper-energetic vocalist?) A trumpet fanfare bridges the first and second songs, but no such transition is made from the spoken word poetics of 'Fire Poem' to the hit single that follows. Brown's vocals become demented in track two, a nice precursor to the only famous song he has ever done.

Brown's terrifying announcement opens the pointless but immensely enjoyable Hellfire anthem. His pseudo-croon that dominates thereafter is haunting and compelling, and works brilliantly alongside the piping organ, which is later usurped by parping trumpets. The break-off in the middle of the song builds anticipation for the reprise of the chorus, especially as the vocals become higher and higher as Arthur Brown's soul burns in the fires of Hell.

"God brother, you lie." As a striking contrast to the opening of 'Fire,' the longer, slower and calmer 'Come and Buy' works excellently in the arrangement and is one of the best songs on the album. The funky vocals as the song speeds up, and eventually the reprise of musical and lyrical themes from 'Fire Poem' and 'Fire' makes this a great proto- prog song. The same goes for 'Time/Confusion,' which begins slowly, aided by something like a xylophone, and features more poetic lyrics before reflecting back on the album thus far and drawing things to a fitting end. Of course, there's still half an album to go.

'Spontaneous Apple Creation' boasts the uncontested best song title of the album, but is one of its weaker moments; I don't know whether it's intentional, but the old- fashioned organ and plodding bass and drums really retreat to seaside music territory here. Adding Brown's fairytale lyrics to the mix, this sounds more like an old fairground ride at Blackpool Pleasure Beach than a song worthy of peoples' time. By contrast, 'Rest Cure' is a pretty good song that anticipates David Bowie in its low range English croon and is led by the bass for a change, plucking along in place of the irritating organ. This song is perhaps the most inherently commercial on here, so it's a shame it wasn't given the same attention as the hit single.

The album concludes with the long and progressive 'Child of My Kingdom,' featuring everything from mellow vocals to an extended instrumental jam session that actually gives the drummer something to do for once. It's nice to hear Brown whistling some of the alternating verse lines at seemingly random intervals, and it's almost sad to hear the instruments fade out after seven minutes. The cover songs 'I Put a Spell on You' and 'I've Got Money' are covered well, to the extent that they sound like they belong on the album rather than on someone else's, and although they fit in well when given the organ treatment, it would have been nice to hear some more original material.

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This is a fairly unbalanced album, clearly divided into two uneven halves, neither of which comes anywhere close to perfection. The 'Fire' cycle isn't particularly daunting, but does get a bit repetitive, and once it's all over with and the mini-orchestra have been sent home, the resulting songs sound shallow and simple. Based on the listener's orientation to this kind of thing, this will be a good or bad move; after all, most people will have bought this album based on a very short hit single, and probably didn't anticipate its position in the middle of a 'play.'

The impressively educated Brown's mundane, Monty Python style English name may not draw in the kids as much as those of the shock rockers he would directly inspire, most notably Ozzy Osbourne and Alice Cooper, the latter of whom reportedly stole Brown's make up ideas. Fortunately his stage presence and legendary theatrics with flaming helmets and cranes more than compensate, and have left a lasting impression: despite never achieving high sales of any albums hereafter, Brown still sells out every concert venue today.

Brown's vocals are something pretty special, but are only supported by primitive instruments here. Vincent Crane may be admired for his organ skills, but it still sounds like a supporting instrument struggling to take the place of a guitar. Nevertheless, he and Brown came up with some great songs here, and never burdened themselves with trying to be sensible, coherent or popular. I wonder how the hell 'Fire' happened?

Found here are the seeds of shock rock, a genre that was made unique by the theatrics of rock artist found in there live shows and dramatic recordings. Much of these theatrics had to do with pseudo-satantanic imagery which certainly shocked many conservatives, thus earning the title of shock rock. All of that can be traced back to the eccentric Arthur Brown, who screamed 'I am the god of hellfire' and would go as far to 'crucify' himself onstage and wear a helmet that would set a flame, while dressed in exotic garbs. Crazy stuff, crazy stuff. Sadly Brown is remembered mainly as a novelty act for his hit single 'Fire', an excellent song nonetheless. But Arthur deserves way more respect than that, since he was also very interesting musically.

As far as organ driven rock goes, this can't be beat. Vincent Crane pulls off some great riffs and melodies and plays like he's on fire. The music here is very melodic and full of hooks, making it very accessible. There is also light orchestrations, which give a symphonic edge. For that, many people also credit this record as 'proto-symphonic'. Luckily, the orchestrations aren't pretentious like stuff The Nice and Moody Blues were doing and don't draw away from the rock edge the album carries. Some of the songs are also structured in typical prog fashion, like 'Time/Confusion' and the epic 'Child of My Kingdom'.

Arthur Brown is also a truly amazing vocalist, singing like his arse is on fire at times. He shows a very strong soul influence, which adds another element to the albums diverse sound. Very often he screams in a proto-metal fashion, sometimes like he's in terror, which clearly influenced guys like Robert Plant and Ian Gillan. The way he sings in theatrical, he goes from a blues shaman (the blues covers are great by the way) to the god of hellfire to a tortured sinner, portraying each role perfectly with just his voice.

The atmosphere is dark yet comical, in a tongue in cheek kind of way. It's clear that Arthur isn't trying to be serious, and the sense of humor is a definite asset to the record. Sometimes it's kind of cheesy, but it's not meant to be serious, just good fun. Another fault is that often lyrics and melodies are repeated in other songs, which might annoy some people. The spoken word songs like 'fire poem' and 'spontaneous apple creation' are weak, but not at all cringe-worthy. While this album has it's flaws, it's still great fun and great songs.

I AM THE GOD OF HELL FIRE - AND I BRING YOU........!

Back in 1968 the smash hit single "Fire" sounded like nothing else at the time, i wore my copy out but only recently got round to buying this amazing album (better late than never!!). The original vinyl sounds fantastic if you can get hold of a good copy, though the reissued CD sounds ok. On it there are mono versions of the first five tracks which sounded rather different and lacklustre to me, especially "Fire". The stereo versions are quite different and sound normal, all the songs on the album still sound amazing. Produced by Who knob-twiddler Kit Lambert (Pete Townshend was associate Producer) and the keyboards and arrangement skills of Vincent Crane, this album holds a very special place in rock/prog history.

"Prelude - Nightmare" introduces the listener to Arthur Brown's wonderful vocals and Gillan- style screams, the fire/horror theme and story carries through with "Fanfare-Fire Poem", and the aforementioned hit "Fire" - "you're gonna BURN!!!!!". "God brother - you lie!"....."Come and Buy" continues the story starts with a slow plodding tempo which breaks into a typical 60's style rock rhythm, "come and see....come and buy..". This track has many interesting little motifs and signatures throughout, including a great brass section, very 60's sounding indeed. This is followed by a similar sounding "Time/Confusion", which includes half sung, half spoken vocals, backed by organ, strings and a glockenspiel, ends with a reprise of "Fire!" The next track is an all-time favourite standard of mine "I Put A Spell On You", there are some brilliant versions of this song, most notably by The Alan Price Set in 1966, the Arthur Brown version here is no exception, and includes some fine keyboard playing from Vincent Crane who you all know went on to form "Atomic Rooster". "Spontaneous Apple Creation" is another half sung/spoken song which includes some interesting lyrics about strawberries, three million people, confused devastation..... and apple creation! "Rest Cure" was released as the B- side to "Fire", a good song different to the mood of the album but fits in ok nevertheless. "I've Got No Money" is another track that seems disassociated with the theme of the album, but it's not a bad song. The last song "Child of the Kingdom" has a catchy piano "riff" if i may call it that, the song is a the longest track on the album and seems like a blues/jazz jam, and features all the musicians, including those who can whistle! It has some interesting keyboard effects here and there, and a very catchy chorus. Overall a very listenable album and for its musicianship, ideas and importance in prog rock history, an essential masterpiece!

MUSIC RATING 5/5 PROG RATING 4/5 HISTORICAL SIGNIFICANCE 5/5

"I am the god of hellfire, and I bring you fire!"

Arthur Brown will forever be immortalized for his single hit "Fire," but the rest of this masterpiece is left forgotten by the public. Brown's astounding concept album illustrates the journey to and experiences of hell. This album was one of the first symphonic prog albums and also one of the first organ-driven albums.

The Crazy World of Arthur Brown does not contain one glaring weak track, though many have said Fire Poem and Spontaneous Apple Creation are weak. Fire Poem sets up the entire concept of the album, and the strange narrative in Spontaneous Apple Creation always brings a smile to my face. Some of the strongest tracks include Child of My Kingdom and (you guessed it) Fire. However, all the other tracks are just as good. How can anyone forget the terrifying "God-brother, you lied' at the beginning of Come and Buy?

The musicianship is something to be reckoned. Vincent Crane creates a very full, symphonic sound with his Hammond organ. This is the same Vincent Crane who will later be in Atomic Rooster. Sean Nicholas is a good, but not great, bass player. Carl Palmer's (later of Atomic Rooster and ELP) drumming really shines. His jazziness complements Crane's articulate and symphonic yet jazzy organ playing.

The main attraction of the album is, of course, Arthur Brown. Arthur's menacing vocals highlight the entire album, especially in Fire, Come and Buy, and Prelude. When listening, one can tell who he has influenced. Arthur's amazingly high falsettos create a panicked atmosphere and further emphasize the terrors of hell. He also does very well in the blues covers (he originally was influenced by R'n'B).

Overall, The Crazy World of Arthur Brown is a masterpiece and an early milestone of progressive rock.

The best album about fire ever made :) I was suprised to see this album in ProtoProg genre. For me it's very psychcedelic and should be reviewed next to Hawkwind releases. First thing I would like to say about this album is that I like mono versions better than the stereo ones. They are slightly different. Prelude has great melody, and it's very psychedelic. For the first we can hear Athur's magnificent voice. Then we have Fanfare. Much talking not much singing. But what lyrics. And then... Fire. Many people thinks about Arthur Brown as a "one hit" man. That's not true, but I won't change it. Anyway it's a cool song. Then we have Come And Buy. Starts with and simple bass line then gets funky in the middle. Time/Confussion is a ballad with a nervous felling. Arthur does great job once again in the lyrics and voice. I Put A Spell On You it's a standard, who haven't play this one? Spontaneous Apple Creation gets more psychedelic, and strange as you listen to it. Rest Cure a normal psychedelic song from this album. I've Got Money is a cover of another Brown. James Brown (R.I.P [*]). Very fine played this cover is in here. The last one we have is Child Of My Kingdom. The longest song on this lp. Bluesy sound here, based on piano. Great album for psychedelic fans. I would give it five stars... What the hell, I will give it five stars.

After so many decades is almost impossible to understand the importance of ARTHUR BROWN, a Psychedelic musician that also fits in Proto Prog, Proto Metal and Proto almost everything. This lunatic dancing with a hat made of two candlesticks proclaiming himself as the "God of Hellfire" really altered forever the perception of music back in 1967 with his masterpiece called "The Crazy World of Arthur Brown"

His fantastic voice capable of going from 20 to 100 DB in less than a second has only parallel in David Byron, maybe the only problem is that once the monster was let free not even he was able to control it and his vocals scratched the limits of dementia, but at the same time this is his trademark, almost an animal out of control, simply amazing.

But this album is not only Arthur, because n his days the classically trained Vincent Crane had already gained fame as the wildest and loudest piano player. If you add Drachen Theaker, a very capable Jazz drummer who rejected an audition with Jimmy Hendrix to join Arthur and last but not least the excellent bass player Sean Nicholas who had already gained a name as session musician in UK you got a wild band.

This weird album is a mixture of everything, from R&B, Jazz, Rock, Psychedelia and experimental Rock, this guys were tears advanced to their pairs, in the album you can get not only music but also, narration, gongs, shouts, Symphonic passages (shorts though) and a trip to wherever you want to get.

The album really starts in the seventh song (The first six are mono versions of some tracks of the album). "Prelude/Nightmare" starts soft and symphonic, but once the bulbs of the organ are warm and Arthur has the voice ready, starts a concert of screams and keyboards solos with flute, wild drums and accurate bass but without ever loosing control simply brilliant, even the horns create a spectacular effect.

"Fanfare - Fire Poem" announces with a full wind section a narration that serves as an introduction to the central piece fire, or I'm crazy or this guy is playing with the words of the book of Revelations, everything seems under control until the killer end, pure and beautiful cacophony.

"Fire" is the best known track, even played by ELP because of Carl Palmer's involvement with this project, an incredible song, while other bands were creating the spirit of the 60's with the Farfisa Organ, Vince Crane was almost forcing his Hammond to the limit and giving Deep Purple a couple of free lessons about hard Rock with keyboards, the vocals go from controlled low ranges to extreme wild, the melody is really R&B but played with extra spice, radical changes, unexpected tempo, if this is not pure Prog, this guy was very close back in 1967.

"Come and Buy" acts as a relief (And God knows it's required), rhythmic and paused with a violin in the background give a feeling of control with a touch of mystery, but Arthur can't stop playing with his versatile voice, extremely beautiful and well developed song, pure Prog before Prog, at the end Vincent gets a bit carried away and lets himself a bit of freedom, another hit on the head of the nail.

"Time/Confusion" an almost dreamy and trippy song, the structure has it's roots in classical music but hard to identify the precise piece, in the middle turns into some sort of Jazzy Power Ballad with provocative vocals., this album keeps geting better and better, special paragraph for the drumming, Teaker is a human metronome, the final narration is really creepy but I love the feeling.

It's now the turn for Arthur Brown to remake the "Screamin Jay Hawkins" classic "I Put a Spell on You", even when the spirit of the song is respected, the wonderful interpretation of Crane in the Hammond and the vocals of Arthur are so unique that they manage to make probably the version with more attitude.

"Spontaneous Apple Creation" can't be described without loosing the sanity, a totally experimental and weird song full of sounds and narrations with a Jazz drumming that must be listened to be believed, I won't waste my time trying to review it, just will say it's weird and decades ahead of time.

"Rest Cure" is a return to normality, a typical song of the late 60's, not the highest point of the album, for the first time the music is predictable, but hey, not everything can be so out of hand, not bad neither great.

"I Got the Money" is an excellent Jazz song, if you heard Satchmo or any of the past glories playing in this style it wouldn't surprise me, of course Arthur's screams and the organ take us back to reality, a prove of how versatile this guys were.

The album is closed with the 7:02 mini epic "Child of my Kingdom", now I believe it's a sin to spoil the experience of the listener reviewing this song, I heard it without being told a word and I believe it's the only way to do it, I will just say it has everything and it's a perfect closer, one of the nicest piano songs I ever heard.

How to rate "The Crazy World of Arthur Brown"? Well, for me it's not hard, original, intelligent, ahead of it's time, not a weak moment, revolutionary and highly influential for everything to come later, so 5 stars is the only choice.

If you don't have it, you're missing not only an important piece of history but a masterpiece from start to end, despite the Psyche atmosphere, it's hard to believe somebody was so advanced in 1967 or 1968, make a priority to get it.

I hate to date myself but I will for the sake of this review. (Oh, the sacrifices I make for prog!) Back in the golden vinyl age circa 1959 one of the first 45 rpm singles I ever acquired as a wee child was "The Happy Organ" by Dave "Baby" Cortez and I fell head- over-heels in love with the irresistible sound of the Hammond organ. Later on in the early 60s my evolving musical tastes led me to discover the growling, jazzy stylings of "The Incredible Jimmy Smith." So in 1968 when the roaring pulse of that instrument came blaring out of the radio on "Fire" I felt a great sense of redemption and relief in the thought that perhaps the rock and roll world had at long last caught on to the magic of the big B3. I'm not saying they were the first but if this band helped to inspire Jon Lord, Keith Emerson, Tony Kaye, Alan Price and hundreds more keyboard players to bring this awesome room-filler to the forefront of modern music then they certainly deserve to be honored here as proto-prog. Thank God somebody did it!

The liner notes on the back of the cover by Charles Fox of the New Statesman read "Arthur Brown could easily be the first genuine artist to come out of our local underground. He's disconcerting, even faintly perverse, but distinctly original and very, very English." It's hard to top that description because it goes a long way in describing the incendiary but short-lived phenomenon that was "The Crazy World of Arthur Brown." The fact that Kit Lambert (The Who's producer) was at the helm and none other than Pete Townsend was credited as associate producer lends a considerable respectability to this, their first LP.

The album starts with a dramatic orchestral score for a prelude, then Vincent Crane's Hammond guides you into "Nightmare" where you get your first exposure to Brown's otherworldly approach to singing. His persona as some kind of spawn from Hell is presented in full here with his wide-eyed exclamations that "it's cold out here" and that the "price of entry (back into the Hotel Hades, presumably) is sin." (His whole "I am the God of Hellfire" thing was pretty controversial stuff for the Bible belt, to be sure.) After a short Handel-ish horn fanfare you are treated to "Fire Poem" which is pretty much a spoken recital by AB over some hip, swingin' (Yeah, baby!), boppin' down Carnaby Street, cool jazz from Crane and the group. It's a perfect lead-in to the song that would put them on the map and eventually reach #2 on the Billboard Hot 100, "Fire." AB's infectious and impossible to ignore delivery over the band's tight track roiling underneath made this a fitting tune for the rebellious youth of the era and the pyromaniac's ultimate anthem for all time to come. And, of course, there for me and all the world to hear was Vincent's gigantic Hammond organ roaring like a lion.

"Come and Buy" has an intriguing musical atmosphere with strong dynamics but I can't help but picture Professor Snape at Hogwarts in my mind, snarling the opening verse to his cowering wizardry students. And later on in the number AB starts to sound like Tom Jones on acid. However, you've got to think that a young Ian Gillian was listening intently every time Brown went into his power falsetto and didn't hesitate to use it liberally on songs like "Child in Time" and other Deep Purple epics. A very moody piece in two parts, the combination of "Time" and "Confusion" follows. Halfway through the track a heavy dirge of an organ riff emerges from the fiery abyss to keep things from getting stale musically but AB (for the third time) repeats the two phrases I mentioned earlier and he starts to come off like your strange uncle who's had a few and thinks he's a evil sorcerer or something. Enough already.

Thankfully their driving version of the Screamin' Jay Hawkins classic "I Put a Spell on You" is next and it's the best cut on the album. Vincent's organ performance is magnificent and AB does some very admirable soul shouting. (I just about wore the grooves out on this track alone.) "Spontaneous Apple Creation" has a good bit of general weirdness and spacey effects going on behind AB's narration of a convoluted tale. There's not much to it but Drachen Theaker's jazzy drums are worth listening for. By now the label executives had to be asking Arthur "Do you have any songs that aren't about the devil?" and so we get the very out-of-place pop ditty "Rest Cure" that would have been better suited for someone like LuLu to cover.

Speaking of drums, the opening snare salvo by Theaker on James Brown's "Money" is yet another highlight of the proceedings. Again, AB comes through with a very soulful vocal to do the tune justice. The most progressive cut is the ender, "Child of My Kingdom" wherein they take you through various and sometimes odd musical phases. It starts with an eerie melody, then breaks into a jazzy piano swing, then moves to a "mod" chorus complete with unison whistling, then transitions into a blues shuffle and a barrelhouse piano solo. They jump in and out of these segments, making this track unpredictable yet compelling entertainment.

This eccentric, demonically-possessed album peaked at a lofty #7. Alas, Arthur Brown was never able to come within screaming distance of the charts ever again. He eventually moved to Austin, Texas and started a house painting company with former Mothers of Invention drummer Jimmy Carl Black. But his influence upon later shock rock performers and Vincent Crane's impact on progressive rock with his mighty Hammond B3 organ cannot be overlooked. It certainly got my undivided attention as an impressionable proto-prog teen. I now look at this album as a well done novelty piece more than anything else but for the progressive rock historian it's a definite must- have. 3.5 stars.

4.5 Stars Really

This is an amazing album..... It is hard to believe it came out in 1968...... Sometimes it sounds a little like the Doors.....I am not expert enough to know whether Arthur Brown did it first or whether Jim Morrrison did.....but the poetry....and crazy organ music are definite similarities between the two bands.....Arthur Brown's vocal stylings are unlike anything I have heard by anyone else....and some of it puts you off a little at first......but I came to love all of the tracks on this great album.

Why is it so cold out here, so cold. Let me in...

Before Black Sabbath's 'satanic' first album, there was The Crazy World of Arthur Brown, which with the benefit of hindsight is one of the more frightening albums of the era. It's not often that one hears a singer begging to be let in to Hell. Sure that front cover is all psychedelic primary colors, but the back is all shades of gray and black.

What was Side 1 is a suite of sorts, the theme being sin and Hellfire and similar topics not exactly at the top of the average teenage mind at the time, which nonetheless did not stop Fire from being a successful single. Hence we all know (or should know) the famous I am the god of Hellfire... lyric of Fire, but what most don't know is that the song was merely a part of this great conceptual suite: Prelude/Nightmare, Fanfare/Fire Poem, Fire, Come and Buy, and Time/Confusion. This is pure proto-prog if there ever was such thing. The dynamics are impeccable: the slow awakening of Prelude contrasted with the staccato organ madness of Nightmare; the stately trumpet of Fanfare vs. the jazz groove of Fire Poem. Come and Buy and Time/Confusion are both surely dark beasts, that reprise lyrics/musical themes from Nightmare.

Beyond being Arthur Brown's first stab at rock immortality, this was also our first hearing (in hearing of) Vincent Crane's vision. Brown and Crane were made for each other: Brown's menacing lyrics and vocal histrionics, Crane's all-or-nothing Hammond music.

The music on the second side, though no less driving, is somewhat less compelling in that it consists largely of standard-fare R&B. Perhaps the high point is a cover of Screaming Jay Hawkins' I Put a Spell on You, which manages to merge the original Screaming Jay version with that recorded by ex-Animal keyboardist Alan Price that was released about this time.

Hugely overlooked, this album helped to spawn organ-driven rock, and Brown's vocals were surely an influence on singers as diverse as Ian Gillian and Rob Halford. No one can shreik quite like Arthur, however. For anyone interested in early incarnations of prog, this one is certainly recommended.

Jeeee-zuz! dat is one cah-razay werld!

Not familiar with The Crazy World Of Arthur Brown? Can't say I blame ya, but you definitely should lend an ear to this proto-shock-progger. While the band would be incredibly short lived thanks to members breaking off to form other various projects (such as Atomic Rooster, Khan and Love) this first album would be a monumental release in the world of psychedellia. The band would release later projects, without Crane (Atomic Rooster) at the helm of arrangements the band would find a loss of power and ultimately shaky future releases. This album, however, is a true (if often forgotten) gem that still manages to turn heads with it's quirk. It really could be argued that Brown was one of the original shock rockers with his stage antics as well (with Brown dancing around stage in a space helmet or in full drag), not to mention that this would be set in stone when Fire would eventually be sampled by undoubted shock rocker Marilyn Manson.

So, is Brown's Band just like a 60s Marilyn Manson? Well, you wouldn't be far off. Heavy on the organs (to my knowledge there's not even a guitar on the album) and the bass teamed with Brown's unnatural screaming, this one makes for a very crazy sounding record indeed. Looking back from the present day, Brown's voice can easily be compared to Ian Gillian of Deep Purple for his high shrieks, although Brown also takes his voice down low for the more malevolent songs. Again, there's a mix between pure evil and pure strangeness as far as the songs go, with some of the tunes like the opening trio being very evil and making reference of the devil, while others are just plain quirky.

If you're looking for a conventional 60s rock album... you're far from it here. Even if an associate producer for the album was Pete Townshend. What we have here is crazy organs and crazy vocals, perhaps exemplified the best by the hit single from the album, Fire with it's famous opening lines (''I am the God of Hellfire! And I bring you...!'') along with some of the slower (but no less strange) songs like Time/Confusion and Come And Buy. Really, it's the second side that sticks more to the conventions. Where side 1 was completely bizarre in every way (and that's a good thing), songs off of side two like the catchy (and somewhat calming) Rest Cure and the cover of I Put A Spell on You are easier to get into when you're not used to the acid soaked freakoutedness of some of the less conventional 60s psych scene. Child Of My Kingdom is the longest tune on the record, and the last one as well, with some fun whistling and a strong melody this is likely where the band's proto-prog tag comes from - one of the biggest standouts on the album as well.

As for the cd remaster of the album - I'm completely befuddled by it. It's the same track listing as the original album, but the first 5 songs are the mono version of the originals, after which the album starts again one track one, but in stereo. I suppose if they really wanted to include the mono versions there's no harm in that, but why put it at the beginning and not the end? In any case, when you want to listen to this cd, you might as well start it at track 6 because starting it at 1 is mostly pointless.

This does not deter from the original album though. As an important start to the career of many musicians and an excellent slice of 60s heavy psychadellia drenched in organ this one is definitely an excellent grab if you can find it. 4 spontaneous apples out of 5! Worth a listen or several, strangely attractive - this is one that grows on you.

Even if I was quite young, I still remember the promoting clip which went along with ''Fire''. I must have seen it in '71 for the first time.This song is of course the highlight of this album and the organ riff will always be in the minds. All the ''craziness'' of the man was depicted in this three minutes smash hit.

But this delectable style was already available on the opener ''Prelude-Nightmare''. A fully psychedelic rock track with loaded Hammond organ. Brown is actually also showing the whole of his vocal range during the more complex and disjointed ''Come & Buy''. A six minutes mini rock-opera with heavy organ and bass; and the ''crazy'' feel that prevails on several songs here (''Time - Confusion'').

This is an excellent preview of the later work of ''Atomic Rooster'' (except the vocal department of course). The cover of the great ''I Put A Spell On You'' which has been immortalized by Creedence, offers a different angle here of course. No gorgeous guitar but a superb and heavy organ play. A very good version even if it is a bit odd on this album.

The rest of the album is somewhat weaker (''Spontaneous Apple Creation'') and is filled with less psychedelia and more rhythm & blues / funk (''I've Got No Money'') which is not quite my cup of tea. And the jazzy-spacey ''Child Of My Kingdom'' can't really compete with the early songs from this album either.

The music played here was quite pioneering in '68 and their stage performances were sought after. There will be unfortunately no follow-up album from this line-up. But we'll get the Rooster to console.

Three stars.

The Crazy World of Arthur Brown. Anybody who remembers this album knows how to have a good time. I will just immediately mention that while I like the entire album, Spontaneous Apple Creation and Rest Cure are pretty weak tracks (bringing a 5 star down to a 4), and the final track is good, but not up to par with everything up to and including I Put a Spell on You (maybe the best track on the album).

Other than that, the first side of the album is absolutely perfect 60's psych shock rock. The songs almost flow together like a perfect suite(though I don't know if this would be intended to be a conceptual album?) with Come and Buy being my favorite of the tracks. Most people who have heard and Arthur Brown will recognize the groove on Fire as it was the song that would make most call AB a One hit Wonder(we all know it isn't true though).

All in all, great album. Just what I was looking for back in ninth grade when I started listening to psych and prog. Arthur Brown's writing is perfectly eery, his voice is great, and if you get a chance to see some videos, his stage perfomance is awesome. Vincent Crane is one hell of an organ/piano player as you can tell on this album (everybody also needs to check out the first Atomic Rooster album featuring him, as well as Carl Palmer, who played drums for Crazy World of Arthur Brown on the tour than followed the release of the album). I don't even remember who the drummer is, but he's one hell of a drummer. Everybody needs to check out this album, and everything else (Arthur Brown's Kingdome Come) you can find by any of the musicians on the album.

An album that blew the doors off the flower power hippy wagon.

The flower power movement flourished in 1968 but Arthur Brown drove a spike through its heart and danced on the grave. This debut is a staggering wall to wall triumph. Arthur Brown's vocals are as hot as the flaming headpiece he wore and as dark as the Pagan black make up around his eyes. I am blown away by the musical virtuosity on this album that ranges from minimalist piano to crazy Hammond staccato stabs ? Vincent Crane, prog legend who became the spirit of Atomic Rooster (eg: Vug) after this, just pounds the hell out of those keys. The drums by Theaker are erratic and spontaneous, deliciously sporadic beyond compare. Nicholas' bass is masterful, especially on 'Come and Buy'. It is a genuine master act with enormous influence, drawing back the curtain to invite the prog chariot in.

I listened to this bizarre treasure ad infinitum as a child in the 70s and it was chilling then and equally chilling now. Nostalgia led me to this album after so many years and I had forgotten how brilliant it is. I had never forgotten certain sections such as "Come and Buy"s haunting melody, 'when you see a fire burning inside your mind's eye', or "God-brother you lie" which always used to scare me. Returning to it now, some 30 years later is a cathartic and almost emotionally draining experience. It all came flooding back to me as if I were back in my bedroom with the blind drawn and the crackling vinyl spinning once again. Brown's vocals are immense and theatrical on every track. The mood swings are as diverse as the time signatures and styles. Let's look at the track list. Forget the mono throwaways and get into the stereo section. It is best to listen to this end to end in stereo. Loud.

"Fanfare - Fire Poem" is an orchestral intro to the whole thing and is a pastoral prelude to the zaniness to come. Suddenly a freakout of Hammond and manic screaming is unleashed and we are on our way to psych prog heaven.

"Fire" is quintessential to early prog and is ferociously original acid soaked psychedelica par excellence. Although this blitzed the pop charts, sitting uncomfortably aside the Beatles "Lucy in the Sky with Diamonds", it was quirky enough to stand alone and wielded the power to confuse and bedazzle music listeners who had heard nothing else like it in the 60s. 'I am the god of hell fire and I bring you... Fire!' Gene Simmons adored this and Alice Cooper used the makeup, both were clearly influenced, but the pantomime vocal shrills and screams and manic laughing must have made an impact on the likes of shock rockers King Diamond or Marilyn Manson, who has actually sampled this track. ELP and Ozzy Osbourne even played a cover version. Why? It is pure twisted brilliance, well ahead of its time and yet sounding so current today. Crane slams his Hammond down the throats of the passive puerile trash bands of the late 60s and they had no choice but to bow in submission. What an indefinable blast of power this track was and still is.

"Come and Buy" slows things down and Brown's vocals are calm and unnervingly sinister; threatening to break into torturous shrieks, but alarmingly restrained. He focuses lyrically on 'the sun that sweats and burns at midnight, burns you alone' and the theme of fire is constant. The playful childish melody only adds to the ethereal macabre interplay of Gothic grandeur.

"Time/Confusion" is a very slow and a somnambulist piece lulling the listener into a haunted dream. There is a jazz fusion section that erupts and then a narrative voice forces us to wake up and take notice. This is a sleeper track for me, all but forgotten until recently, but is still compelling music.

"I Put a Spell on You" is the darkest version you will hear and I saw this performed live on a TV special on rock history last year drawing me back to this legendary album. Crane's shimmering Hammond organ is relentless and macabre and never better.

"Spontaneous Apple Creation" is impulsive and unstructured, yet absolutely mind blowing psych nonsense that makes less sense than the film 'Mulholland Drive'. Listen to that rhythmic psych rap narration to a contorted 'Psycho' violin: 'When the world was travelling faster and faster and colours became just a blur..and the buildings were falling plaster and plaster and things just weren't what they were'... Then AB breaks into a melodic catchy melody: '... what can save mankind from man when the blind, the blind overran from the scene of confused devestation, came the great spontaneous apple creation...' There you have it and you had to be stoned to understand it. I don't want to even try to explain the rest of this nonsense. It means what it is. But it's experimental and off kilter to the max focusing on the demonic Hammond and some of the spaceyest effects you are likely to hear.

"Rest Cure" is an intriguing cover version of the classic but this is faster and darker with Brown as mesmirising as ever. It remains the weakest track on offer however.

"I Got the Money" is a blast of jazz lunacy, based on various maestros' version, but this is the definitive freak out version; acid prog sung with such conviction but like all AB compositions is structured with the tongue firmly planted in the cheek. It is hilarious at times listening to the ferocity of this band. They played like their lives depended on it. The final track is "Child of my Kingdom" which is simply stunning, from the quirky childish intro to the very calm but foreboding vocals in the verses. The chorus speeds up and is absolutely going to stay with you for days, that melody is catchy to the point of delirium. I can still hear it now. 'I won't be leaving you, leaving you child... but I'll be driving you, driving you wild'. The piano is beautifully executed with virtuoso precision, the time sig changes constantly and draws the listener in. The jazz break down in half swing time is very endearing. I adore this.

"Child of My Kingdom"' is pure prog. Switching to many paces, sigs and including a diverse range of jazz fusion breaks; the track simply motivates along with the coolest riffs and even includes whistling in unison. It ends the album on a high note and sealed the deal for me. I was thinking of giving this 4 stars but after listening to this over and over, it has made such an indelible impression on me I cannot give anything less than the full score. It is THAT good.

Overall, "The Crazy World of Arthur Brown" is a 'must-have' piece of prog history. A thematic, bombastic, sporadic and deliciously dark but humorous guilty pleasure. Nothing more needs to be said. Grab this treasure at your nearest opportunity.

REVIEW OF 2xCD DELUXE EDITION (Esoteric 2010)

Esoteric have truly excelled themselves with this definitive, deluxe edition of what can only be regarded as a cornerstone of proto-progressive rock. The career of the `Crazy World' was a short one, "you're gonna burn!" sang Arthur on the Number One smash `Fire', and burn out they certainly did, so this remains their definitive recorded document. Hats off to the exemplary packaging here, it is a truly lovely artefact assembled with the utmost care. The slipcase features a wonderful photo of Arthur, head-dress ablaze at the height of his children-scaring powers. Within, of course, is the iconic original sleeve restored to perfection and second only perhaps to `In The Court Of The Crimson King' in impact. A foldout poster sleeve complete with all the ephemera you could wish for really makes this package something special.

Produced by Who manager Kit Lambert and overseen by Pete Townsend, the album is clearly divided. Brown was intending the whole album to be about fire (and of course the next three albums to be about the other elements in turn, this was 1968) Lambert, however, had other ideas and insisted on stage favourites `I Put A Spell On You' (Screamin' Jay Hawkins) and `I've Got Money' (James Brown) appearing alongside unrelated band pieces on Side Two. Ironically of course it was `Fire' which leapt out of the flames on side one's suite and all the way into the singles chart, making Arthur Brown a pop star overnight. I'd bet that few who saw his original appearance on `Top of the Pops' have been the same since.

It is the `Fire' suite on side one of which Brown is justifiably proudest. Whitby's finest has a scream to make Ian Gillan blush with shame, and Vincent Crane's well orchestrated organ and string arrangements carry most of the musical weight, backed by Drachen Theaker's drums (Carl Palmer was to join the band after Theaker's sacking in the USA, although he never recorded with them). The 5 song suite is held together musically by well thought out thematic reprises, over which the god of hellfire weaves his impressive poetic and vocal spell. There is a mystery, humour and charm here which makes it a delightful listen in these cynical times, and it can truly be said to qualify as one of the first progressive rock epics, released as it was in June 1968.

Side Two is no let down by any means, and although lacking in cohesion there is much to entertain, not least the bizarre `Spontaneous Apple Creation'. Just what were they ON? (don't answer that). The first disc retains the original album intact in re-mastered glory. The second disc is another 40 odd minutes of very worthwhile bonus material, including both sides of the pre-album single `Devil's Grip' with comedy B-Side `Give Him A Flower'. There's an intriguing first version of `Fire' replete with bizarre ending, BBC recordings featuring the plummy tones of Brian Matthew sounding not quite hip to the trip, and a worthwhile restatement of the Fire Suite in Mono.

This excellent package is all you could ever want to know about The Crazy World of Arthur Brown, and serves as the last word on this highly influential and entertaining album.

Arthur Brown is definitely an important figure in the development of the theatrical movement within rock music that have inspired artists like Peter Gabriel, Alice Cooper and Marilyn Manson. Still this rising artist never managed to top the unexpected success that was achieved with the release of his debut album The Crazy World Of Arthur Brown. Even though some of his later Kingdom Come albums might have been considered critical masterpieces the public will most likely always remember Arthur Brown as the God of Hellfire!

The Crazy World Of Arthur Brown was an unusual rock album since it lacked the traditional sound of an electric guitar that otherwise dominated the music scene at the time. Instead the band relied on two other factors to keep the creative energy flowing. Arthur Brown was quite an elaborate poets at heart and delivered some of his work on the debut album while Vincent Crane supplied just the right Hammond organ textures to underline the band's front man. The collaboration is indeed a success on the band's original compositions.

Unfortunately, just like many other debuts of its time, the Arthur Brown Band just didn't have enough material to fill out two sides of an LP and had to rely on two pretty uninspired covers of I Put a Spell On You and I've Got Money. The former must been one of the most overused tracks of its time with cover versions available by everybody from Audience, Jeff Beck, The Animals, Joe Cocker, Creedence Clearwater Revival and many more. While James Brown's I've Got Money just doesn't add anything new to the classic composition especially since Arthur Brown is basically replicating the original without adding anything new or interesting to the mix.

It's quite unfortunate that the band couldn't transfer the excellent atmosphere that they created on their original works onto the cover material since it definitely knocks The Crazy World Of Arthur Brown down a notch for me. This recording is nonetheless an interesting product of its time well worth seeking out if just for the fun factor and/or shock value!

***** star songs: Prelude - Nightmare (3:28)

**** star songs: Fanfare - Fire Poem (1:51) Fire (2:54) Come And Buy (5:42) Time/Confusion (5:12) Spontaneous Apple Creation (2:55) Child Of My Kingdom (7:02) Rest Cure (2:44)

*** star songs: I Put a Spell On You (3:43) I've Got Money (3:10)

Arthur Brown - The Crazy World of Arthur Brown (1968) * review rewritten

Cult-hero Arthur Brown's only album that is actually really good was his debut of '68. His appearance and style made him the first shock-rock act and he can also be attributed to be one of the first artists to make fun of the hell and the devil on stage. Lyrics like "Why is it so cold out here, let me in!, -"The price for your entry is sin" are classic examples of how the rock musicians would eventually get 'hell' out of the realm of scary things.

I wouldn't lay to much weight on this aspect of 'The Crazy World of Arthur Brown', because the album has way more to offer then it's lyrical exploration. The compositions of Brown are actually very catchy and his vocal performance stands out as original, energetic and at times mind-blowing. The electric guitar is absent, but the heavy organs of Crane (who would later form Atomic Rooster) are both great sounding and a document of it's time. The wind-sections on some songs add a slightly big-band jazz vibe at times, which works very well with these songs. The song 'Fire' ("I'm the god of hellfire, and I bring you!") became a hit, but all songs of side one are of the same quality. The 'Fire Poem' is a great psychedelic track with spoken words by Brown that make a perfect intro for 'Fire'. 'Come and Buy' has vocal-jazz influences (think of Sinatra) and is very original. On side two Brown's version of the obscure classic 'I put a spell on you' is very well sung. The psychedelic/spoken (or screaming) word track 'Spontaneous apple creation' is really funny and remains funny after more spins. 'I've got money' is a cover of the James Brown song (keep on laughin'). The last track 'Child of my kingdom' is easily overseen, but it's one of the strongest tracks of the album because of it's epical and devoted style.

Conclusion. For collectors of proto-prog and '60 psychedelic rock classics this album is highly rewarding. The vocals, compositions, originality, pleasant craziness and pure catchyness are all winners for me. I must say I wasn't too fond of it before I heard it on a vinyl. The digital versions seem to lack the ability to really produce what was intended, so it seems. Four stars for this great '60 psych album.

The explosion of creativity let off when Vincent Crane and Arthur Brown pooled their creative talents didn't leave behind much when it blew over, but this single album is one of the best of both their careers. Wild, uncontrolled, alternatingly crooning and shrieking, putting the listener in mind of both a terrified sinner and the very devil himself... and that's just Crane's organ, though Arthur's vocal performance is just as good. With side one being a theologically-themed epic on the subject of damnation and side two being a fine set of Brown/Crane originals and finely picked soul covers (when was the last time you heard a James Brown track on a prog album?), the album's unique fusion of Brown's deranged-yet-philosophical lyrics and Crane's dark organ work would never be matched.

This was a very significant album at the time of it's release in 1968 because there was nothing out there quite like it. Sixties psychedelia gone beserk. Fronted by a man who was larger than life and a lot left of center.The crazy world of Arthur Brown indeed. It was produced by Pete Townsend and featured the legendary Vincent Crane on the organ. Interesting that Carl Palmer would join this band not long after this was released and toured with them for this album. He and Crane would then leave and form ATOMIC ROOSTER which was just a stepping stone for Palmer who would shorlly thereafter be in ELP.

"Prelude-Nightmare" has this orchestral intro before the organ comes in followed by the bass, drums then vocals. Arthur gets theatrical before 2 minutes (get used to it) as Crane lets it rip on the organ. Horns come in late. "Fanfare-Fire Poem" opens with horns then this groovy led organ melody takes over. Spoken words join in. It becomes very intense.

"Fire" was the hit single. A catchy organ / vocal led tune. "Come And Buy" is a mid paced relaxing track with vocals. It picks up 1 1/2 minutes in with fast paced vocals then it settles back as contrasts continue. Arthur gets theatrical 5 minutes in.

"Time / Confusion" is a mellow tune with vocals. It changes 3 1/2 minutes in to a more upbeat sound. I like it. "I Put A Spell On You" is kind of bluesy and is a cover.

"Spontaneous Apple Creation" is all about Arthur with the spoken words then singing then his fast paced spoken words. "Rest Cure" is one of my favourites. Piano late. "I've Got Money" opens with drums as piano and vocals join in before a minute. Arthur gets...theatrical.

"Child Of My Kingdom" sounds great when it settles 30 seconds in with piano, drums and reserved vocals. It does pick up after a minute. Some whistling in this one too.This is my favourite track.

A must for fans of sixties psychedelia. My rating is based on how innovative this was at the time. I must admit I much prefer his later stuff with KINGDOM COME.

Had the group sustained itself longer, this could have been the progressive rock version of the Alice Cooper Band (maybe without the tongue-and-cheek sense of humour). Both bands have gained notoriety for their frontmen's stage antics, and I believe both Brown and Cooper have great voices and great bands backing them. The similarities stop there; Cooper has had a longer career in the realm of garage rock/heavy metal while Brown sort of fizzled out, but Arthur Brown (on this album at least; I have yet to discover Kingdom Come) had a pseudo-jazzy psychedelic soundscape lurking in the background. But what an experience this album is.

The big accomplishment CRAZY WORLD OF... made is the novelty hit ''Fire'', and that hit best explains the album in a nutshell. Arthur Brown might as well be the very first heavy metal singer as his range is incredible hitting shrieks that could be considered Halford-esque. And he sings likes he is on the stage; there's great drama in his voice that makes ''Fire'' believable. Add those on top of the rich Hammond organ sound (courtesy of Vincent Crane of Atomic Rooster fame) and you get a sense of why this group is in the PA database. The rhythm section is pulsating, driving and not overtly technical. (By the way, Carl Palmer does not play on the album; he was a member of the touring group)

''Fire'' gives you the biggest taste of what the album is like as ''Nightmare'' and ''Come and Buy'' are of similar form. ''Fire'' actually has a prelude that reminds me of the Doors' track ''Horse Latitudes'', only better (spoken poetry over wild music). ''Child of My Kingdom'' is jazzier than the other tracks and is worth its seven minutes of airtime. The second half of the album is generally safer and more different than the first half including the poppy ''Rest Cure'' and the two cover tracks (''I've Got Money'' and ''I Put a Spell on You''). But then there's still ''Spontaneous Apple Creation'', the weirdest track on the album by far (and you thought ''Fire'' was out there...).

CRAZY WORLD OF... is more than a 60's novelty band. There are some great psychedelic cuts on the record belted out by one of the most underappreciated singers in music. It's one of the wackiest experiences in music and deserves at least a mention in the vast space of prog rock.

Lost Soul Music

Despite Brown's perennial citation as Godfather to the infant Prog, I'm not so sure he can continue to explain away the lingering cot deaths suffered by the likes of Yes and ELP or even that flushed denial behind which a Crimson prince's defence rests from charges of filling crushed velvet diapers. Arthur has always been an entertainer first, an artist second and an apologist for the worst excesses of his beneficiaries a distant third. It's only within the cosmiche cul de sac of 'Prog' that the description 'psychedelic soul singer' would be considered a pejorative one. This is unequivocally popular music albeit with subject matter, imagery, structural and textural innovation hitherto unprecedented at the time of it's release.

Spoiler warning: people whose taste you routinely abhor as crassly venal and shallow will 'dig' this record just as much as you do but for different reasons. Deal with it and move on esoteric hippy snobs. My dad is 81 years young and he loves this album hugely (his only reservation being that yes, the singer is certainly 'doolally' and that no, he wouldn't, even though he is on fire)

Arthur asks: what does Pop music want to be when it grows up? His question went largely unheeded but received the best response to date perhaps by Genesis, who on both Get Em Out By Friday and Supper's Ready share that quintessentially English take on rock with a vestige of R'n'B soulfulness (via the Gabriel tonsils) together with the storytelling elements provided by theatre that manage to avoid kitschy camp until the Lamb surrendered the keys to the Shari Lewis panto wardrobe.

Such is the convoluted, fractious and contradictory nature of how this album came into being, it might serve us well to consider several factors in its appraisal. Like most people, I cling to the comforting idea that my favourite records of all time are the painstaking result of innovative and visionary thinking, attention to detail and unswerving integrity. Well cherubs, we can spit all those pacifiers straight out of the cot now methinks. From what I can glean from a variety of competing sources, the only clear-cut consensus on offer here is that it's a miracle this dissolute, unwashed, inept, petulant and naive conglomerate of talents produced an enduring masterpiece as opposed to something that sounds like a fire in a pet shop. Producer Kit Lambert rejected the original band recordings featuring Brown, Crane, Theaker and Greenwood and opted instead to re-record the entire project in a variety of London studios using alternate personnel of his own choosing. These included John Paul Jones, Jon Hiseman, Aynsley Dunbar and John Marshall (Soft Machine) plus the addition of orchestral parts prepared by hired arrangers. It seems that Lambert and 'associate producer' Pete Townshend had also rejected the original orchestral arrangements submitted by Crane and despite what some Crazy World band-members lament as cheesy 'Danger Man' music in their place, I find the brass, flute and strings to be unfailingly inspired, commensurately subtle or dramatic when required and lend proceedings an elegant sheen that sits in perfect counterbalance to the gritty R'n'B grunt of the band. If such prevarication were not dispiriting enough for what was a new and untried group, the last straw must have been that 'executive decision' by Track Records to revert back to the original band recordings for the final release after much needlessly expensive delay. Organist Vincent Crane grew up very quickly at around this time and came to see Lambert's cynical modus operandi at close quarters: keep the band in debt so they can't leave.

Anyone who had attended the earlier 'Vincent Crane Combo' playing a gig in Brighton featuring Arthur circa 67 would have been privy to a phenomenon distinctly at odds with the music we are being asked to consider herein:

'It was very jazzy at that point' witness and future Crazy World drummer Drachen Theaker recalls. 'It was basically Vincent doing his set with Arthur squawking over it, coming on in a variety of different costumes and behaving like a maniac!' Crane had his reservations about this new teaming, but concluded: 'I felt compelled to work with this mad bastard, because he had a rapport with and control of the audience that was quite remarkable'

For me, this ability to intuit and manipulate (for benign purposes) a room full of potentially implacable, indifferent or discerning souls is a hard won skill that only entertainers of the calibre of Arthur Brown, Alex Harvey, Screaming Jay Hawkins, Ray Davies, Peter Gabriel and Alice Cooper could pass muster. Crane's admission here goes right to the heart of Prog's innate weakness i.e. it was mainly populated by long winded instrumentalists who couldn't string two words together.

Brown's sorcerer's apprenticeship was served during a residency at the Moulin Rouge in Paris where he entertained, amongst other luvvies from the transiently fab and groovy 'A' list, Ornette Coleman and Salvador Dali. It was during this wood-shedding period that Arthur devised and refined many of the performance techniques and ideas that were to provide such an irresistible momentum to his already burgeoning reputation. The flaming head-dress, mummer play/death mask face paint, multiple costume changes and theatrical props all became inseparable from the live experience that concert goers were immersed in by the Crazy World entourage. (not to mention that curious elbow flailing dance of his that resembles a much taller and skinnier Chubby Checker with Irritable Bowel Syndrome) If you want to catch a glimpse of what the Crazy World of Arthur Brown sounded like before the patronage of Kit Lambert and Pete Townshend then cast an ear to Strangelands, that abandoned and mercifully unreleased 2nd album that betrays it's lineage of free-form/jazz w.a.n.k extemporisation be-getting total freedom for those not remotely equipped to deal with same. Say what you like about Kit Lambert, but he had a nous for polishing unrefined talent despite not possessing a sliver of musical ability in his entire junkie soul. The 60's is not wanting for similarly flamboyant partying svengalis like Oldham, Epstein, Stratton-Smith et al and it's hard to imagine the longevity of a body of work by the counter culture without the intervention of those its creators habitually considered as irredeemably 'square' on first acquaintance. Pop group managers and midwives have some unlikely common ground: they often have perfectly justifiable cause to slap the baby. I know it's just pure speculation but I've long harboured the suspicion that the discipline, brevity, accessibility and imagery harnessed by this music was the result of a bartered compromise between the competing agendas of Brown/Crane and Lambert/Townshend. Art v Rock - not even Mrs Schoenberg wanted to f**k Schoenberg

Left to their own whooshy and sparkly devices, many a blurred visionary from the late 60's would have quickly disappeared up their own backside without the tutelage and business acumen provided by the aforementioned reviled 'suits'

It's unlikely that Mr B would have been afforded more than a passing asterisk in the margins of popular music shorn of the global smash hit represented by Fire. Denied that launchpad to what should have been a stellar trajectory fell considerably short of allowing Arthur to escape the wearying and stifling gravitas of our forbidding planet. Sued for stealing the melody from an avowedly drippy love song created by Messrs Finesilver and Kerr called Baby, You're a Long Way Behind (how hideously apt, like a chainsaw franchise suing a beaver) Arthur and Vincent lost most of their royalties as a result and waved goodbye to unforetold riches and welcomed home the ageing bulimic calf. I've never yet managed to locate a version of the purported original, so it begs the question: how many songs that have come to be considered emblematic of an entire decade were written in F minor?

Word to the wise Prog kinder: when listening to this record you should dispense entirely with those spurious 'mono version' tracks that clutter up most CD versions of this release. Program yer CD spinner to play from the sexy stereo Prelude Nightmare right through to Child of my Kingdom, pour yourself a measure of success, unleash the hush puppies, take your ears off the hook and simply luxuriate in one of the finest 40 (ish) minutes of your life you can enjoy as a willing and fully clothed accessory to crimes against inhumanity.

What strikes many as odd or unusual about this album is the complete absence of guitar and that the iconic single Fire is but just one part of a song suite spanning the entire first side of the original vinyl LP. This had the working title Tales From The Neurotic Nights of Hieronymous Anonymous and that Townshend and Lambert declined to use such was probably wise. They correctly surmised that discerning and inquisitive listeners i.e. you lot, would trace the line if provided with just the dots. Joe Blow on the other hand, does NOT find descriptions of - thematically linked albeit discrete song/spoken word sections that portray an individual soul's descent into the infernal region a.k.a hell y'all- particularly inviting or helpful. Joseph B would be perfectly justified in considering such a menu item to be 'the veggie choice' offered by those who describe a spade as a 'manual earth moving implement'. Here is where we meet the kernel of genius at the heart of Arthur Brown and it is hewn from the same stuff as that of the seemingly incongruous Roger Waters from Dark Side of the Moon i.e. both articulate very elusive and unpalatable ideas in such terms that they can be understood by anyone provided they have a pulse (the price of your entry is sin) The intellect is not required here to appreciate a moral fable that circumvents entirely the subsequent demarcation of the arts into hierarchical consumer 'brands'. There are those in our midst who naturally fear such deviant atavism as how else can they either champion or pour scorn on such music that stubbornly refuses to belong to any particular aisle in their upmarket ubermarket?

One of the pitfalls of mainstream success is that the particular is much more often confused with the general e.g. if a demographic think you are the devil and have come to devour their toddlers, drink granny's blood, molest her kittens and defecate in the local church fount, who are we to disabuse them of this deluded but lucrative notion? Alice Cooper, who I love to bits, has exploited this phenomenon in the pursuit of a very long and rewarding career.

Thus in the stubborn and unyielding popular consciousness, Arthur will forever be inextricably linked with the demonic iconography of what has since mutated into a particularly obtuse niche of the market place where confirmation bias is a plus (go figure hirsute paleface) Like anyone who exemplifies a strident humanitarianism wedded to an unstinting belief in the inviolability of the individual spirit, Arthur would be saddened by the idea of 'Satan' having been reduced to Rawk's favourite cartoon fetish villain. Let's be clear: the hero depicted in Arthur's tale is NOT a moral monster called to atone for his transgressions or a life of feckless debauchery. The unnamed protagonist is Everyman, he is one of us, an ordinary chap who has in parts, an innate and learned moral compass, is flawed but tries to be a good guy, doesn't shove his values down anyone's throat and probably sends his Mum flowers on her birthday. The real sin or crime that Arthur warns us about so brilliantly and thrillingly is that of unthinking conformity, consumerism (Come and Buy) self serving belief systems (God brother, you lie) and pretty much like everyone in our orbit, we would prefer your sincerity to your virtue. I would even forgive the Welsh (provided they emigrate).

I do have serious reservations however about the lazy association of Gothic that is thrown like careless confetti in the direction of this wondrous marriage of soul and psyche. I mean, it's got some spine tingling Hammond devilment on it which in places mimics a liturgical feel yes, but I can't see Arthur's corpse paint from where I'm sitting and as drummer Drachen Theaker stated:

It was a wild act, but it wasn't that wild musically. We were just an R&B group underneath. It wasn't like the Pink Floyd, because we took our cue from the whole US mid-sixties soul music invasion. What made it psychedelic was Arthur's acting ability and the fact that Vince and I just overplayed to death at gigs. We made a hell of a noise for two people

Crane agreed: Arthur was a soul singer then. We did psychedelic soul music and that's why you've got things like 'Money' on the album. A lot of people used to think he was coloured

Did you know that Chuck Berry's record sales declined when his predominately white audience came to realise he was black?. Is the opposite true for Arthur Brown? Even spookier is that the so-called God of Hell-fire was forced into semi-retirement during the 70's to become a (gulp) carpenter. Although it's true that the Crazy World of Arthur Brown presaged Prog, it should be abundantly clear by now that the good will 'oft be interred' with the formers bones (even those painted on for Top of the Pops)

The record "The Crazy World of Arthur Brown" from 1968 is a powerful record. It is early and inspired many musicians afterwards. In this music I mostly hear progressive rock but Browns mighty voice also discovers lands that later were showed in the hard rock and metal genres. Its cover shows a face painted in different colours and a pink star signs the name of band and record.

Arthur Brown sings, speaks, Vincent Crane plays keyboard and organ, Sean Nicholas plays bass and Drachen Theaker drums on this disc. The best songs on this album are "Come and Buy", a deep song with poetic lyrics, "Fire" a mighty melody and a gorgeous organ background, "Child of my Kingdom" which is magic, long and has some nice whistleling, "Prelude/Nightmare" where we first meet Browns voice and "I put a spell on you" which is a psychedelic hit. "Time/Confusion" is like a psychedelic rock lulluby and also fantastic.

Sometimes Brown reads and sometimes he screams and the full album is theatrical. His voice are so clear and distinct. What's most obvious in this music is the dramatic organs that show how you can do progressive music.Beside of that we have Brown thatrical voice that is something totally different with earlier pop song heroes. This is a new voice with integrity and power and music which can be considered pure art.

This album combines a dated but wonderful sound of the sixties I love with something very new and forward-looking and that makes it so essential. I like The Web's record from the same year "Fully Interlocking" and there are similarities I like between those two otherwise quite different gems. I recommend you this music because it's the roots of prog and it is prog.

The Crazy World Of Arthur Brown's debut is definitely one of my favourite psychedelic albums. An incredibly colourful and dreamy pre-prog album, yet still bold and well structured.

The album starts off with "Prelude - Nightmare" with luxurious chords and tunes which pushes onto the keyboard-based verses with Arthur Brown's unique vocal style, similar only to that of Ian Gillan of Deep Purple. The following track "Fanfare - Fire Poem" employs more musical styles and texture to the album. The fanfare evolves into an excellently lively organ playing as Brown recites an extraordinary, deliciously psychedelic poem leading you into the classic track "Fire". This track probably needs no description as you've probably come across the song before but just in case, "Fire" is really the essence of the album crammed into 3 minutes and presented to you as a catchy psychedelic tune with multiple hooks throughout.

From here onwards, the album sort of starts to go downhill or is not really as consistent as before. "Come And Buy" is more steady going song and acts nicely as a break from the earlier musical chaos. The melody is also quite relaxing, with the occasional upbeat section, although the lyrics aren't as adventurous as I would have liked in some places. "Time" further brings down the album into a calmer state into a wonderfully psychedelic dream, with more loud occasional interruptions to keep the listener interested. This segues into "Confusion" where familiar tunes are heard. Nothing too different is heard here.

Starting Side 2, an excellent rendition of Screamin' Jay Hawkins' "I Put A Spell On You" is heard. The band really make it their own, and create a brilliant atmosphere through the wall of sound. The Great "Spontaneous Apple Creation" follows with a bizzare intro, more creative poetry and chord progressions. Intriguing effects are used to fill the air along with vivid drumming. Overall quite an odd song but fits in nicely to this album. "Rest Cure" is another more mainstream attempt as heard on "Fire" (of which it is the B-side of). It makes a great upbeat fun song onto the album but upholds the adventurous standards as heard previously.

"I've Got Money" - a James Brown cover - has incredibly soulful sections which the whole of the band contribute to greatly, especially as the keyboard chords build up to the chorus. "Child Of My Kingdom" was a little bit of a letdown, not as memorable as the previous songs but still good. The song carries some nice Canterbury Scene-esque verses, with honky-tonk keyboards and steadily rocking rhythms. Interesting little tunes fill in any empty sections in the solos towards the end, without making them too clustered, and in effect creates a well structured ending to the album.

A(+) - One of the greatest and most underrated gems of the psychedelic era. Must be heard by anyone who likes the song "Fire" or bands like Deep Purple.

The essence of early prog

The music on "The Crazy World Of Arthur Brown" features minimalistic eclecticism, something that I admire in music and look up to as a musician myself. This album laid the basis for all organ-driven prog to come - Emerson, Lake & Palmer (Carl Palmer played in this band before joining Atomic Rooster, and than creating ELP), Egg, Triumvirat and so many more. Furthermore, this was the first shine of a great keyboardist Vincent Crane. This album is highly influenced by jazz, sould, gospel as well as classical music with an ambitious taste of theatricality, reminiscent of Screamin' Jay Hawkins or a British star Screaming Lord Sutch. Psychedelic elements are also at the first plan. Arthur Brown's concept was all about the beggining of time, gods and mythology. All of this dipped in a bit of psychedelic acid. The frontman recalls: "Seing into people's eyes, I saw all the universes. I saw them being born, saw them die. I would say it was the nearest I came to being able to see god". And this is what it's all about. Excellent, excellent work. "Prelude/Nightmare" opens the album with intelectual-sounding, romantic symphonic bits turning into the proper "Nightmare". And really, this is the essence of the album - has it all: conceptual lyrics, soul feel, a strain of classical music at the beggining, organ virtuosity. Those elements repeat on "Fanfare", "Fire", "Come And Buy", pretty much most of the tracks. Really good stuff. Even though it is kind of monotonous, it definitely is an outstanding experience!

Arthur Brown's music was all about being eccentric. He unconciously sparked something that would influence what we know as progressive rock. Although this is not full-blown prog, this should find itself on a shelf of every prog fan. 9/10!

Arthur Wilton Brown may not be a household name compared to the likes of other 60s pioneers such as The Doors, The Beatles, Jimi Hendrix or even Led Zeppelin, but has probably had just as much influence on countless other artists who followed in his footsteps after he set the world on "Fire" (as well as his head) with his pioneering proto-prog, proto-shock rock and proto-metal wizardry that he conjured up with his very first artistic expressions in THE CRAZY WORLD OF ARTHUR BROWN. This was the band name as well as the name of the self-titled debut which remained the band's only album until a reunion would find new life starting with 2000's "Tantric Lover" (excluding the archival release "Strangelands" in 1988). The rest of his output was released under his own name with some guests appearing on the bill along the way. While musically paving the way for many more to follow, this charismatic shock jock of horror is more remembered for his live eccentricities that earned them the title as one of the most shocking performers of the psychedelic rock scene.

While starting out somewhat normal growing up in Whitby, England and studying philosophy and law in Leeds later in life, the 60s offered BROWN the chance to nurture his wild side as he became one of the most outlandish and flamboyant figures to have emerged from the psychedelic rock era which included his famous head dressing that he would ignite and perform fully aflame during his live performances. This outrageous behavior is what got him noticed and still remembered some half century later, but during the day it also got him in a lot of trouble with self-inflicted injuries, property damage run amok, apocalyptic shocking material and to top it off was booted off the Jimi Hendrix tour for his reckless shenanigans. Not content to simply light his head on fire, he would also strip naked and let it all hang out so to speak, a feat that got him arrested in Italy and banned from even setting foot on stage in other parts of the world. THE CRAZY WORLD OF ARTHUR BROWN seemed like the perfect descriptive moniker for this unhinged lunatic.

All of these wild man antics naturally caught the attention of record companies as well and BROWN signed on to Pye Records where he and bandmates Vincent Crane (Hammond organ, piano), Drachen Theaker (drums) and Nick Greenwood (bass) would record and release their one and only self-titled album in 1968. The album received a bit of a boost due to The Who's manage Kit Lambert sitting in as producer with Pete Townsend on associate production. The album was a surprise hit on both sides of the Atlantic when the first single "Fire" catapulted to the #1 spot in the UK and shot all the way up to the #2 spot on the Billboard Hot 100 not to mention significant success all over the planet. The album musically was based in the catchy pop hook laden psychedelic rock of the era with an energized with a groovy bass line, bombastic organ soloing and BROWN's four octave vocal range including an over the top falsetto that would give birth to the heavy metal style of Rob Halford in Judas Priest, King Diamond in Mercyful Fate and Bruce Dickinson of Iron Maiden.

Stylistically THE CRAZY WORLD OF ARTHUR BROWN album was laid out like a rock opera which included a more commercial side one followed by a slightly more experimental side two. The album was basically built around the concept of the first single "Fire" laid out in poetic prose and ambitious musical delivery, although the full rock opera effect was truncated and tamed due to the technological limitations of the day, the band more than made up for this lack of album ambitiousness with their lavish live settings where BROWN engaged in numerous costume changes and donned his famous face paint appearance that would also prove influential with artists such as Alice Cooper, Kiss, King Diamond and the entire black metal world that would essentially adapt the entire BROWN playbook and adapt it to the modern day. The album, while not a fully fledged opera, nevertheless provided a prototype of progressive rock hot on the heels of The Beatles' "Sgt Pepper's" album and remains one of the key pivotal albums in ratcheting the rock paradigm into more sophisticated levels of musical mastery.

THE CRAZY WORLD OF ARTHUR BROWN album is flawless in how it creates the perfect atmosphere with the keyboard rich opener "Prelude / Nightmare" which finds a dreamy flute being replaced by a groovy bass driven rock beat and heavy organs offering a spooky overtone to the classical virtuosity that Crane dishes out. For the most part BROWN sounds a lot like Frank Zappa in vocal tone but had the ability to drop to extremely low bass notes and then whizz up the scales to hit high falsettos and blood curdling screams. He had the perfect intuitive drive of how to alternate singing, narration or just knowing when to just scream his ass off. There are even moments that sound like Robert Plant well before Led Zeppelin was even in its infancy. Some tracks are connected with orchestrations with some such as "Fanfare / Fire Poem" creating a tension building interlude that connects the opener to the powerhouse single "Fire" a track so catchy and built on unexpected changes that an unsuspecting public was defenseless against its persuasive charm. The album was primarily written by BROWN and Crane but includes two covers in the form of Screamin' Jay Hawkins' "I Put A Spell On You" and James Brown's (no relation!) "I've Got Money."

The intensity of this CRAZY WORLD period was too much to sustain and like a super nova star simply exhausted its fuel supply not too long after getting started. Due to all kinds of mishaps and creative differences, the band completely fell apart during the tour. Firstly, Theaker was morbidly frightened of airplanes and could not tour. He was replaced by Chris Farlowe and then Carl Palmer but everything else turned south very quickly and the band called it quits. But like a super nova that explodes, it created the star seedlings to spawn new life elsewhere. After disbanding, Carl Palmer would join Vincent Crane to form Atomic Rooster, Theaker would join Love and then Rustic Hinge while Nick Greenwood would join up with Steve Hillage to form Khan. BROWN himself would create Kingdom Come as well as pump out a few solo albums during the 70s. The influence of this one shot band though would extend to the present day in the trifurcated tree that extends into progressive rock, shock / glam rock and heavy metal. No small feat for a short lived but over the top act that was only in operation for a mere few years. The band is legendary but the album is a mesmerizing as the tracks offer many moods, tempos and dynamics to keep it enthralling throughout its entire listening time that offer a mature mix of psychedelic rock, R&B and pop with classical touches.

While perhaps the overall sound is dated as it could never be mistaken for anything other than the time period it was created with it's somewhat cliche organ sounds, psychedelic rock constructs and album layout, THE CRAZY WORLD OF ARTHUR BROWN does exactly what it is supposed to and takes the listener back to the year 1968 and delivers a collection of ten tracks that still sound as interesting as they must've back then. While rooted in the psychedelic rock sound of the era, this album implements interesting creativity in the nooks and crannies that must've driven the record company CRAZY! If BROWN hadn't been constricted by external forces this album may have been far more progressive, far more outlandish and the CRAZY turned up several notches, but even as it stands, this is a brilliant display of the late 60s underground scene that just happened to spawn a surprising top 10 hit around the world. The 2010 remaster is well worth the price of admission with a bonus CD that includes the B-sides of the singles as well as demos, mono mixes and a few extras. Even today, 50 years later after its release, THE CRAZY WORLD OF ARTHUR BROWN sounds fairly unique with BROWN's eccentric vocals standing out. This is a true classic.

This is one of those supposedly special enough Proto-Prog albums that was nearly inescapable for my fellow millennial Prog fans (presuming their journey was comparable to mine). Released 1968, The Crazy World of Arthur Brown was of the darker psychedelic persuasion, contemporary to bands such as Spirit, The Electric Prunes, Ultimate Spinach, 13th Floor Elevators, and Arzachel (Nicholas Greenwood, here, would go on to join two members of that band, Dave Stewart and Steve Hillage, forming the excellent Khan). Crazy World would spawn one other band of early Prog fame, Atomic Rooster, featuring Vincent Crane and eventual drummer Carl Palmer (later of ELP). Just prior to joining Crazy World to replace original drummer Drachen Theaker, I just learned, Palmer was in Chris Farlowe & The Thunderbirds, Farlowe being the eventual vocalist of Atomic Rooster (first appearing on Made In England, 1972) and previously (briefly) Colosseum, which stylistically is all making a helluva lot of sense. It's been nearly 10 years since I've last listened to this album, and I am so much readier than before. Although I will have listened through (most of) the 2010 Remaster, this will be a review for the original 10-song album.

"Prelude" in all its eeriness opens up our album into "Nightmare", a boisterous organ-led number (as most are). Arthur Brown's voice is absolutely insane, and to think this was released in '68 is a whole other thing. For those unfamiliar with him, his voice is a deep, rich and dramatic baritone, but at times he utilizes this effectively piercing falsetto. Huge opener. Orchestral arrangements, as with the woodwinds on "Nightmare" and the horns on the next, "Fanfare / Fire Poem", were handled by Crane. This is of course then the intro, of sorts, to the signature Arthur Brown tune that has been solidified in history, "Fire". This song is far richer than I remember. It's easy to recall the chorus and of course his bold opening statement ("I am the God of Hellfire!"), the latter becoming a calling card of sorts, but this song is a big'n. It's dark and layered, especially thanks to the excellent horn arrangement here.

Our apparent theme continues on the dark, soulful "Come & Buy" (a play on words, no?). The rhythm section is so grooving, and the composition, here (as is the varied trend throughout) written by Brown and Crane, is phenomenal. It's so well fitted with a larger orchestral ensemble than tracks before. It's easy to hear the effect Brown had on bassist (Sean?!) Nicholas Greenwood. A stark juxtaposition is found in the softer, introspective "Time"... And all seems to hush before "Confusion". This second half of this two-parter is more intense, yet still softer in tone. And thus ends the first side. Dark and looming forces preside here...

Next we have the Screamin' Jay Hawkins' tune "I Put a Spell on You". And we all know it, I'd think. This will definitely help to bring you back to the reality of Brown and Co.'s influences. Their rendition is, of course, quite dark, but ultimately a super classic feel, and how could it not be? Rapid string-plucks introduce our next, "Spontaneous Apple Creation", and such a wild feeling was produced in me. And here, I had mentioned before Arzachel as contemporaries (and sure, they are), but I have to wonder to what degree Vincent Crane influenced the early sound of Dave Stewart on organ (he later going on to form the Arzachel-offshoot Egg as well). Just some wild sounds that are rather surprising to hear this early on (just a year before Arzachel).

Our final moments ease into the shockingly upbeat "Rest Cure", certainly the least progressive number of the whole: Blue Eyed Soul as performed by a dramatic, seemingly crazed Englishman. Greenwood has a stronger nearly melodic performance on bass here. If you know Khan, you know he's got a lot to offer in this field. I guess it makes sense with a title like this, but "I've Got Money" continues in the wildly upbeat and positive feeling of the last. Not super exciting compositionally, but still a fun track. Finally we have the 7-minute "Child of My Kingdom", which feels perhaps like what he was prepared to accomplish with Kingdom Come. Ultimately, much of this tune is R'n'B. Just feels like a comparably weak overall ending to an otherwise fantastic album. And that all to say that there really isn't a weak song, a song on here that I would deem less than "Good"; thus the undeniable strength of the start won me over to a firm 4/5 stars.

"The Crazy World of Arthur Brown" is the eponymoustly titled debut full-length studio album by UK psychedelic rock act The Crazy World of Arthur Brown. The album was released through Track Records (Europe) in June 1968 and through Atlantic Records (US) in September 1968. The Crazy World of Arthur Brown was formed in 1967 by lead vocalist Arthur Brown. The remaining part of the lineup were Vincent Crane (hammond organ, piano), Drachen Theaker (drums), and Nick Greenwood (bass). While The Crazy World of Arthur Brown only released one full-length studio album in their original run (they disbanded in 1970), they were quite successful, which was largely due to the major commercial success of hit single "Fire", which sold more than one million copies. Frontman Arthur Brown had a flamboyant stage presence which included theatrical postures, customes, and facepaint, and paired with the success of the "Fire" single, The Crazy World of Arthur Brown were an almost immediate success, even touring the US.

Stylistically the music on the album is an organ and vocals driven psychadelic tinged rock´n´roll style. There is no guitar on the album, so the basis of the music is organ/piano, bass, and drums. The theatrical and versatile vocals by Brown dominate when they appear (he sings, whispers, recites poems, and screams his lungs out). Although the album features a pretty rough sounding production and the rhythm tracks are organic and raw, the album is still pretty sophisticated as a result of the way the vocals and organ are performed, often providing the album with an almost musical/theatrical performance quality. The brass- and string arrangements which were overdubbed on the request of the record label, provide some tracks with an additional musical dimension, but to my ears they don´t really fit the music, and it´s audible that they weren´t part of the original musical vision.

Upon conclusion "The Crazy World of Arthur Brown" is a decent quality psychedelic rock album, and although "Fire" isn´t the most interesting track here, it´s of course a huge hit and something most people recognise when they hear it. It´s a disjointed and incoherrent album too though, sticking in many different directions, and it´s a bit hard to grasp what it is the band really want. I´ll make the postulate that The Crazy World of Arthur Brown are probably more influential because of the customes and face paint that Arthur Brown wore on stage than for their music. Still a 3 star (60%) rating isn´t all wrong.

(Originally posted on Metal Music Archives).

Theatric British front man and vocalist Arthur Brown's first release with his new band mates. The album became a big hit on both sides of the Pond, with the single "Fire" becoming a major hit and propelling Arthur into fame for his use of fire on stage. The band's version of Screamin' Jay Hawkins' "I Put a Spell on You" also gained modest radio play and chart success.

1. "Prelude-Nightmare" (3:30) great start to the album--really sets the tone for what's ahead. (8.875/10)

2. "Fanfare-Fire Poem" (1:53) great theatric Screamin' Jay Hawkins/Little Richard-like intro to the band's biggest hit. (5/5)

3. "Fire" (2:55) Not really a great song, in my opinion, but it does have some dramatic vocals, that five-chord organ and chorus lyric hook and some solid band support. (8.875/10)

4. "Come And Buy" (5:45) after a rather dull opening 90 seconds, the chorus delivers some sparks and flames. But then the song returns to the dull Vincent Price motif for another minute before the next chorus. Great work from bassist Nick Greenwood as well as Vincent Crane and Drachen Theaker on keys and drums, respectively. The fact that find myself continuously hoping for more breakout passages like the all-too-brief choruses makes me rate this one a little lower. (8.75/10)

5. "Time / Confusion" (5:18) great performances from Vincent Crane, Nick Greenwood, and Drachen Theaker but it's often hard to get any attention with Arthur's domineering show up front, plus, the overall feel here is too funerary (with Arthur's Alan Rickman-like speaking voice). (8.75/10)

6. "I Put A Spell On You" (3:38) not the version that Screamin' Jay does--not even close--as Arthur has some odd effect on his voice and proceeds to stand back for longer stretches here than on any other song (which is great for his band members as they all have a chance to shine a little). Rated up for Vincent Crane and Drachen Theaker's performances. (8.875/10)

7. "Spontaneous Apple Creation" (2:51) opens with what sounds like Arthur's book or film narration before the band joins in with some Roald Dahl-appropriate eerie carnival music. (Nice work Vincent, Nick, and Drachen.) (8.875/10)

8. "Rest Cure" (2:39) the odd ball song on the album turns out to prep us for the future appearance of phenomena like The Rocky Horror Picture Show and Meatloaf and even Freddy Mercury. (8.875/10)

9. "I've Got Money" (3:05) some great ahrd-drivin' blues rock in the Yardbirds vein with Arthur's raw, gravelly voice taking us back into some psychedelic blues rock theatrics. The band is so tight! (8.875/10)

10. "Child Of My Kingdom" (7:02) some fairly pleasant piano-based jazz-rock with an odd, slightly sinister and definitely unsettling vocal performance that sounds like an African American blues singer like Joe Williams. I very much like this song and all of its performances. Pure and perfect. (14.5/15)

Total time 37:41

This is an album that is just not what I'm in to: there's too much theatric macabrism conveyed in Arthur's melodramatic lyrics and performances. It's as if he's trying to rock opera the vampirian underworld. The use of Screamin' Jay Hawkins' iconic song as the album's centerpiece feels all-too perfect as Arthur's entire schtick feels just like the one Screamin' Jay made famous through his own song and performances. There's solid music coming from his band--his instrumentalists often commanding jaw-dropping stuff--but there is never any doubt as to who the star of the show is: it's always frontman Arthur Brown, and he usually dominates 90% of the minutes of each song. I should not forget to mention the wonderful and powerful use of horns and orchestral support on several songs. More of this, please!

A-/five stars; a minor masterpiece of entertaining and unusual musical theater. Arthur carves out a theatric niche that many rock, heavy metal, and goth bands will take full advantage of over the coming decades.