Blue Cheer – Vincebus Eruptum – New LP
textured sleeve, white vinyl
When it comes to the late 1960s, i tend to swerve focus away from US coastal (and the UK) and zero in on middle America, from top to bottom, Detroit to Houston and everything in between, because one look at Woodstock shows how middle America was ignored, when everyone now knows that was where it was at, for me at least. For example, if i could only keep my pile of records from Detroit 1969 or all the rest from the whole decade, I’d pick my Motor City ‘69. If you saw that pile, you’d see what I mean. Of course, I’d wanna take Memphis too, and first offerings by Them and The Who, and the Kinks and post-Clapton Yardbirds, and my records from the Pacific Northwest, all that essential Tacoma from the early 60s, and let’s not forget Hendrix who besides all the chops he added to R&B sides in the mid 60s, released his entire studio LP discography in 18 months, ten album sides from May 1967 to October 1968! Insane. You can’t talk about Blue Cheer inventing heavy metal in ‘68 without talking about Jimi. You can’t talk about Zeppelin formatting the hard rock album without talking about Hendrix. But these two bands are perhaps the two biggest next steps from Hendrix, and Blue Cheer deserves a lot of notice for this album of raw explosion, which stands mostly in contrast to the directions Zeppelin would take after 1968, and even more in contrast to the stoned hippy meanderings of their fellow Californians. This album is the shit, and like Detroit at this same time, reminded the world then and forever after that trying to sound like Hendrix will probably lead to you sounding like a dumbass, but you can snab philosophy lessons from the master—be yourself, and play from the gut, from the joy and darkness inside, crank them amps until they crackle, kick out the jams like it’s your last day on earth. Like Eddie said, “there ain’t no cure.” This album ain’t just for metalheads, it’s for anyone who love raw explosions, it’s Green Noise to the core.
Many bands rose in the wake of Hendrix's brand of acid rock, perhaps most influential were MC5, Led Zeppelin, and Blue Cheer, all three outfits releasing their debut in 1968.
"...The new Sundazed reissue restores the album to its glorious, bulldozer mono mix...". - Blurt magazine
Esteemed East Coast label Sundazed goes back to mono on this reissue of a landmark 1968 release by the screeching San Francisco hairies. The result is fuzzier and more primal than ever. -- Mojo magazine
"Blue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal, and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the seminal San Francisco power trio was churning out ballsy blues-rock anthems whose fuzz-heavy, adrenaline-charged intensity helped to alter the course of contemporary music.
"Vincebus Eruptum, Blue Cheer's landmark 1968 debut, is widely regarded as Ground Zero of the heavy metal explosion. The album, featuring the classic Blue Cheer lineup of guitarist Leigh Stephens, bassist/vocalist Dickie Peterson and drummer Paul Whaley, includes the trio's mind-melting reading of Eddie Cochran's "Summertime Blues," which became a Top 20 single, along with such raw, overdriven originals as "Doctor Please" and "Second Time Around" and distinctive reworkings of the blues standards "Rock Me Baby" and "Parchment Farm." Long out of print on vinyl, with original copies trading for steep collectors' prices. Sundazed's vinyl MONO edition is sourced from the original Philips reels, complete with the unique original cover design."
Summertime Blues • Rock Me Baby • Doctor Please • Out Of Focus • Parchment Farm • Second Time Around