THE CRAZY WORLD OF ARTHUR BROWN

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.