Iron Butterfly - In-A-Gadda-Da-Vida
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CD Details
Artist: Iron ButterflyBrand: IRON BUTTERFLY
Edition: Music CD
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2000
CD Release Date: 1990-10-25
Music Label: Atlantic
Soundtracks:
- Most Anything You Want
- Flowers And Beads
- My Mirage
- Termination
- Are You Happy
- In-A-Gadda-Da-Vida
Music reviews of In-A-Gadda-Da-Vida
Music Review: much more than just psychedelic rock
Rating: 5 Stars
What made this album great is iron butterfly's one hit wonder, "In-a-Gadda-Da-Vida", which is slurred for in a Garden of Eden. Included in this release are 3 different versions, the studio version, live and the single. The single version is the truncated version of the former versions and not as epic without the extended guitar, drum and organ solos.
In-a-gadda-da-vida has musical elements that placed them in the history book of rock. For example, in-a-gadda-da-vida, the same catchy riff has been reused, modulated and used as the foundation for the extended solos in the glorious 17 minute song. Although it may seem repetitive, using this short riff and extending it over 17 minutes requires musical talent and physical endurance to perform this piece. Also, the extensive use of the organ, and extended instrument solos categorizes this epic piece as psychedelic (or psyche) rock.
Psychedelic rock bridges progressive, glam, hard rock with blues music and is heavily influenced by the effects of hallucinogens like LSD. The guitar sound has been heavily processed and distorted dubbed "fuzzbox" effect. This is very similar to French music experimentalist Pierre Henry's aptly named "Psyche rock". This characteristic is also similar to Elektronische Musik because the sounds were heavily processed and distorted with the use of fuzzboxes which processes the sound real-time instead of hours of preparation. The drum solo has a raw primal sound especially when the drummer removed the resonant heads from the tom toms to reduce the amount of resonance. The extended drum solo was revolutionary as it has inspired and influenced many drum set players. I do like how there is more music than actual voices due to the extended solos. Although this is the original re-mastered version, a slight tape hiss is noticeable when volume is turned up high or during quieter periods like during the organ intro. This is fine because sound engineers could only record using tape at that time.
The studio version applied flanging, a sound processing effect (characteristic of elektronishe musik), on the drum solo, which is evident when the drum solo pans from right to left and back again.
Not to be overshadowed by "In-a-gadda-da-vida", "Most anything you want" stands on its own with its organ background and catchy bass line. The simple lyrics reflect the mood of the song, to make the girl happy.
"Are you happy" is another evidence of the LSD's influence. The fuzzbox sound on the guitar and strong organ presence sounded almost like a synthesizer or MIDI. The guitar solo seems to go on and on giving the presence of unhappiness.
"Flowers and beads", "My mirage", and "Termination" are all good examples of psychedelic rock.
Buy this classic album even if it's just for the 17 (or 18 live) minutes of In-a-gadda-da-vida. As a work of art, the Garden of Eden would be the center piece, surrounded by the rest of the psychedelic rock album. Place this next to your "The Doors" CDs. This is a must-have if you're a `60s rock fan.
Description of In-A-Gadda-Da-Vida
Japanese reissue features 6 tracks packaged in a miniature LP sleeve. Atlantic. 2006.Iron Butterfly's 1968 album veritably defined the burgeoning genre of hard-rock, primarily by way of its utterly over-the-top title cut. Reportedly composed by keyboardist/lead singer Doug Ingle in such a stoned-out, numb-tongued condition that he couldn't properly pronounce its intended title--"In the Garden of Eden"--the track seemed almost a parody of every excessive inclination of psychedelia. Melodramatic vocals, repetitive riffing, aimless solos--you name it, this 17-minute behemoth had it. Aided by FM DJs who loved to program it in its entirety so they could take "legitimate" breaks, it became an unavoidable hit--and an anthem of its era. --Billy Altman
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