The Turtles enjoyed eighteen US hit singles between 1965 and 1970, three of which (“Happy Together”, “She’d Rather Be With Me” and “Elenore”) were also huge hits in the UK. From their original incarnation as surf band The Crossfires, all the way to their final single, the Turtles traversed several different musical paths during their career. It is precisely this power through diversity that makes the Turtles’ body of work one of the most rewarding and enjoyable of the 1960’s – they never met a genre they didn’t like. Edsel Records is proud to present the band’s six albums, each as a 2 CD digipak set.
2CD SET: 1969 album & only to feat. all original material. Disc 2 incl. songs the bandoned follow-up album "Shell Shock" plus demos and outtakes. Newly re-mastered by Bill Inglot.
The group's final album, produced by Ray Davies, is a modestly enjoyable collection of good-time rock, occasionally with a slight progressive or satirical edge. The Turtles always seemed to harbor some serious ambitions, but the fact was that their only true forte was catchy pop/rock singles; when they aimed for more, the results were pleasant but unmemorable. There aren't any hit singles missing in action here, except maybe "You Don't Have to Walk in the Rain".
This release continued Abbey Lincoln's '90s resurgence. As with her preceding Verve releases, A TURTLE'S DREAM features notable guest musicians (including Pat Metheny, Kenny Baron, and Lucky Peterson), all of whom add grace to the proceedings. Her core backing trio comprises Rodney Kendrick on piano, Charlie Haden on bass, and Victor Lewis on drums. The set features primarily her originals, along with a pair of covers, including Eben Ahbez's "Nature Boy." The opening song, "Throw It Away," has a melancholy resonance that is utterly inviting as Lincoln pours herself into the lyrics with deep passion and subtle dramatics. The addition of a string section on a couple of numbers–especially "Down Here Below"–makes for some elegant blues.
A daring display of vocal gymnastics and a journey back to childhood when all sounds were wondrous, Turtle Dreams includes the title track composition for four voices (two men, two women) and four organs as well as shorter pieces featuring various combinations of voice, Casio, piano, miniMoog, and didgeridoo. Monk's work raises smiles as well as the hair on the back of the neck. Here she seems tapped into some primordial force – humming, babbling, chattering, all set to looping, funereal organ works of chromatic simplicity. .
Like some of John Fahey's other projects in the '60s, this was actually recorded and assembled over a few years, and primarily composed of duets with various other artists (including overdubs with his own pseudonym, "Blind Joe Death"). One of his more obscure early efforts, Voice of the Turtle is both listenable and wildly eclectic, going from scratchy emulations of early blues 78s and country fiddle tunes to haunting guitar-flute combinations and eerie ragas. "A Raga Called Pat, Part III" and "Part IV" is a particularly ambitious piece, its disquieting swooping slide and brief bits of electronic white noise reverb veering into experimental psychedelia. Most of this is pretty traditional and acoustic in tone, however, though it has the undercurrent of dark, uneasy tension that gives much of Fahey's '60s material its intriguing combination of meditation and restlessness.