Dimentia 13 - Dimentia 13 !
Dimentia 13 - Dimentia 13
Midnight Records 1985
01. We Are
02. I Think I Should Know
03. Farmer Brown
04. Lysergic Mental Vibrations
05. I Am A Whale
07. Last In Line
09. Psilocybin Spot
10. The Lizard
Ohio Dimentia 13 was Brad Warner's post-Zero Defex band (the hardcore band he played bass for), and played a lysergic blend of psych and garage rock.
Brad is of course the renowned author of Hardcore Zen, Sit Down and Shut Up, and Zen Wrapped in Karma Dipped in Chocolate.
Dimentia 13's music started out as extremely lo-fi garage punk on the eponymous debut album and finished up as relatively polished psychedelic pop on the final album 'Flat Earth Society'.
Brad's voice has something in common with the Wayne Coyne school of 'brave' vocals ie if he had to sing to save his life, he'd almost certainly die, but not before he'd belted out his bum notes with confidence and verve.
Dimentia 13 (named after an early movie by Francis Ford Coppola) fused together garage, psychedelic rock, and acoustic folk, issuing a total of six albums during their six-year-long recording career.
Smog Veil Records is reissuing all of the Dimentia 13 releases throughout 2010, adding Demo tracks to them!
Influenced by such artists as Roky Erikson, Syd Barrett, Plan 9, the Electric Prunes, The Vipers, Fuzztones, Meat Puppets, Moving Sidewalks, Hendrix, The Mothers, Chocolate Watch Band, the band was secretive about their identities.
Now here's what Brad says about the SONGS! (go HERE to read complete liner notes about the D13 albums)
WE ARE: This is the first Buddhist song I ever wrote. It doesn’t expressly present itself as Buddhist, but the lyrics are all drawn from my own teenage psychedelic misinterpretation of Buddhism. All that “we are the now” stuff. The idea of having the guitar solo under the vocal comes from a Country Joe and The Fish track called Not So Sweet Martha Lorraine. The idea of ripping off the chord sequence from Purple Haze comes from The Ultimate Spinach who did the same thing in their song Gilded Lamp of the Cosmos. Oh what obscure influences!
I THINK I SHOULD KNOW: This song is about Christianity. At the time I was curious about the whole born-again movement and believed there might be something mystical to it. The lyrics are about what I thought a born-again experience must be like. The 12string guitar on this track was a double-necked Rickenbacker owned by the studio.
It gives the final track a Byrds-like feel. I don’t think I had any idea at the time how out of tune the vocal was!
FARMER BROWN: Pure cheese! It seemed cooler to rewrite songs I liked than to cover the actual songs. The lyrics are not about a drug dealer but are in fact about Srila Prabhupada, the leader of the Hare Krishnas. It amused me to write stuff that appeared to be drug references but really wasn’t. The “seeds” referred to in the final line of the song are partly The Seeds, whose song Farmer John I was ripping off, but more about the way I thought the Krishna philosophy contained a lot of useless stuff the way a bag of pot that had too many stems and seeds wouldn’t really get you very high.
LYSERGIC MENTAL VIBRATIONS: I always loved weird heavy psychedelic instrumentals like Iron Butterfly Theme by Iron Butterfly and Blues Theme by Dave Allan and The Arrows. This was my tribute to that genre. I’m playing the guitars through two fuzz boxes at once to make it extra fuzzy. At the time this was recorded Cleveland’s great 70s horror movie host The Ghoul was making a comeback. He used to use instrumentals like this on his show and I always hoped he’d use mine. But by the time the record came out he was off the air again. The guitar solo is heavily influenced by Albert King who I was listening to a lot at the time.
I AM A WHALE: Maybe a year before this was recorded I had a chance to catch what was then an extremely rare screening of The Monkees’ classic film HEAD. I fell in love with the theme song, The Porpoise Song. But I couldn’t find the record anywhere. So I recorded something at home that I thought had the melody and lyrics of that song.
A little while later Rhino Records put out a compilation containing The Porpoise Song and I realized that my song was nothing like it, except in feel. Dig the Mellotron and backwards guitar!
THE POLITICIAN: Oh this is so awful! Makes me cringe! Zero Defex had been a highly political band and it seemed like I ought to write some kind of “political” song. I just wish I hadn’t been so obvious. Instrumentally it’s supposed to sound like Cream or Black Sabbath (hence the “All right now!” before the guitar solo). The reference to “some Jews and a cripple” was the only lyrical nod on the album to anything current. Ronald Reagan’s secretary of the interior James Watt had made the news the previous year saying he had included “two Jews and a cripple” on a committee he’d put together.
LAST IN LINE: Pure garage rock! The most obvious influence was the Thirteenth Floor Elevators’ You’re Gonna Miss Me. The chord sequence spelled out EGAD, which amused me and also sounded cool. Again with the double-fuzz guitar and even a few Ace Frehley licks in the solo!
COLORS: Pure psychedelic madness! I didn’t even care that the harmonies were completely off. There is a secret back-masked message in this one that says, “You are playing this record backwards. For better results please play the record in a clockwise direction.”
PSILOCYBIN SPOT: This is actually a song called Spot Goes To Town by a side band I had in the Zero Defex days called The Eric Nipplehead Project. Jim Krane, the bass player for that band, came up with the main riff. The guitar solo contains my own variation on Eddie Van Halen’s two-handed tapping, another rare nod to the fact that the album was recorded in the 80s rather than in the 60s.
THE LIZARD: This was my variation on Neil Young’s song Last Trip to Tulsa. It’s all about taking acid twenty years too late. The demo version is actually a lot better than the one that came out on the album, so I’ve included it as a bonus track. The psychedelic break-down in the demo is a lot weirder. Some of the tapes used in both versions were recorded on an actual acid trip for true authenticity.
Thanks to Gomed once again for trusting the ole bastard I am and lending me some of his good ole records, so what you get is yet another neat vinyl rip made with love, 224~320kbs VBR Mp3 encoded, scans & tags included as usual.
Dezip pass: deathburger