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Van der Graaf Generator: The Aerosol Grey Machine

 A l b u m   D e t a i l s


Label: Fontana Records
Released: 1968
Time:
 53:50
Category: Progressive Rock
Producer(s): John Anthony
Rating:
Media type: CD
Web address: www.vandergraafgenerator.co.uk
Appears with: Peter Hammill, David Jackson
Purchase date: 2001.03.02
Price in €: 14,99





 S o n g s ,   T r a c k s


[1] Afterwards (Hammill) - 4:55
[2] Orthenthian St. -Part 1 & 2 (Hammill) - 6:18
[3] Running Back (Hammill) - 6:35
[4] Into a Game (Hammill) - 6:57
[5] Aerosol Grey Machine (Hammill) - 0:47
[6] Black Smoke Yen (Banton/Ellis/Evans) - 1:26
[7] Aguarian (Hammill) - 8:22
[8] Necromancer (Hammill) - 3:38
[9] Octopus (Hammill) - 8:00

Bonus Tracks:
[10] People You Were Going To (Hammill) - 2:44
[11] Firebrand (Hammill) - 4:08

 A r t i s t s ,   P e r s o n n e l


Andrew Hammill - Acoustic Guitar, Vocals
Hugh Robert Banton - Piano, Organ, Sa Sa Ka, Dissent, Vocals
Keith Ian Ellis - Wah-wah Bass, Added Vocals, Chant, Croon
Guy Randolph Evans - Drums, Talking Drums, Sa Sa Ka
Peter Joseph Andrew Hammill - Vocal, Acoustic Guitar, Chant, Hype
Jeff Peach - Flute

John Anthony - Producer
Robin Cable - Engineer
Gordian Troeller - Photography
Barrie Wentzell - Photography
Peter Joseph - Promotional Director

 C o m m e n t s ,   N o t e s


Recorded at Trident Studios, London, July 31/August 1, 1969, except 'Afterwards' and 'Necromancer', recorded in one afternoon in January 1969 at Marquee Studios, London.

LP - Fontana 6430 083 (Germany, 69)
LP - Mercury SR 61238 (USA, 68)
LP - Mercury 6338 412 (Brazil, 75)
CD - Repertoire, REP 4647-WY (Germany, 97)
CD - Fie! Records, FIE 9116 (UK, 97)

The first USA Mercury LP release included 'Giant Squid' in place of 'Necromancer'.

The FIE! Records CD release includes both tracks plus an extra one, 'Ferret And Featherbird'.

The Repertoire CD misses 'Squid One', but contains 'People You Were Going To' and 'Firebrand' as additional tracks (both these songs were first published in 1968 as a single)



Original Release Notes

In June, the original Van der Graaf Generator spit up for a number of reasons, among which personality conflicts figured not at all. We regretted its passing very much and sadly headed off in our separate directions, my own being to work solo in an acoustic context. Eventually the time came to record this album, originally intended to be mine alone. "I'd like to get together again," I said to Guy, Keith and Hugh, "and do some nice sweet, gentle things". "Great", they said. Six hours of rehearsal and one week later we found ourselves in Trident with three songs completely ready to record, an eager crowd of friends, and the mysterious Jeff on flute, while the unholy twins, John and Robin, lurked in the control room flicking switches and sipping tea. After twelve hours, much sweat and a couple of hundred photographs, we discovered, to our great surprise and elation, that we'd made an album, a band album to boot, albeit with passages of gentleness, but mostly consisting of bare-your-tonsils-to-the-world-music.

A lot of things happened in the studio: Hugh sat the piano for ten minutes, playing one note at half speed with one hand and eating a banana out of the other. At one point everyone in the studio was gathered together to form the imtromptu Aerosol chorus. Keith pretended to be Bring Crosby. Guy lurched, grinning, round the drumming room and was very industrious. John flitted up and down the stairs and became an adopted member of the band. The cans kept falling off my head at crucial moments. Gordian crawled round everyone's legs taking photographs. And somewhere amidst all this chaos of people, instruments, empty bottles and plastic cups, Van der Graaf Generator was reborn, slapped into life by the heavy pressure put on us in the making of this album.

It's not the same as the old Van der Graaf… by the time we're on the road again, the personnel will have changed, too. But this album is the starting point. Each copy's a bit like a slice of our first birthday cake; in fact, the sessions degenerated into some kind of freaky part after a while, maybe some of that comes through in 'Aerosol Grey Machine'… it was a very happy, if very taxing twelve hours.

I wonder if Mr. Robert J. Van der Graaf of M.I.T. knew quite what he was doing when he invented his little bit of electrostatic apparatus!

Peter Hammill



John Anthony (of Tynemouth) had a bit more to say on this version:

"On Monday I was asked to produce an L.P. for the Van der Graaf Generator, by Thursday we were in the Studio. Up until that time I had vaguely seen the band play the Speakeasy (the playground of the stars) and at the Marquee (the playground) and had heard them perform Octopus on the radio, one Sunday afternoon. I had no idea what numbers we were going to do, or any conceptions of a 'production'. What resulted is what happens when a group 'blows' in a studio. I hope some of it comes through, as we all had a good time. I hardly knew any of the group, but during and after two sessions, became a friend. Peter Hammill was doing all the singing and playing his guitar, and being cool (in the nice way). Hugh Banton ate bananas and drank milk, played piano and organ well and pottered about murmering. Keith Ellis smiles, played his bass and was a nice person. Guy Evans hammered away, intelligently on his drums, and laughed a lot. Jeff played flute on a track or so, and was very quiet. An assorted crowd of loons were the atmosphere, were the vocal group, were happy and were quiet, during the playback Rob engineered professionally, everyone worked hard."



The first album of Van der Graaf Generator was released in the US in 1969. In Europe it was only released very late in 1974. This European pressing did contain the track Necromancer, while Giant Squid was not present on this pressing. New to this release is an old version of Ferret and Featherbird also to be found on In Camera. Also note that on the vinyl versions Orthenthian St. is a two part track.

After all this talk on releases and whatever happened let's now talk of the music on this what was originally supposed to be the first PH solo album. Compared to the other VDGG albums, even compared with the follow up The Least We Can Do...., is that it sounds a lot more sixties than whatever else was done by the band. Now, I'm rather a fan of the band and this album should be seen as a historic document, a way of seeing how things led up to the later more chaotic and confronting VDGG. Although I like it less than most VDGG albums, this is not because I think the band is watered down or tired (something that I did find sometimes on the very late VDGG/VDG albums), but the style is still so much influenced by the sixties, that it sometimes seems a different band, although already a good one. Most of the tracks can stand the test of time and for instance Into A Game is quite a heavy track with very busy drumming and the second part sounding rather improvised. The titletrack is a very odd track and cannot be considered seriously and also the following psychedelic tracks Black Smoke Yen and Aquarian can not really capture my attention.

Necromancer is a bit of a doubter because the chorus is a bit well naive, but at leats part of this track it has also some very good moments.

On the other hand there's at least one track Octopus that already advented was what to follow later: desperate, frightening, frightened and dissonant, it holds what VDGG later stood for.

With an extensive booklet on the story of the band and this album this is a necessary release to all those VDGG and PH fans out there. Although by far not the strongest album of the band this is still a nice album, that is more in the vein of PH solo and also still very much with the roots in the sixties, than anything they did later. The music isn't too loud or claustrophobic and confronting as that later work, but the bite in the vocals of Hammill is already present when they render his heartfelt songs. Nostalgia rides again. Next time they might try to find that early VDGG single Firebrand/People You Were Going To and include it in some package. They missed that opportunity here.

© Jurriaan Hage



Gehofft hab ich's immer, geglaubt aber nie, daß diese Platte irgendwann noch mal als CD das Licht der Welt erblickt. Was war ich damals stolz, als ich das Teil auf einer Plattenbörse für horrende 40,- DM erstand (allerdings in 1A Zustand), alles andere aber schon auf CD hatte. Seltsamerweise gab's den VDGG Backkatalog von Virgin (Charisma) recht früh auf CD, nur die erste fehlte halt. Erschienen ist die CD dann in 2 Versionen. Die eine bei "Repertoire Records" mit der erste Single "People You Were Going To / Firebrand" und die andere bei "Fie !" mit "Ferret & Featherbird (unveröffentlicht)/ Giant Squid (auf der US-Version anstelle von Necromancer)" als Bonustracks.

VDGG ist, ums mal zu umschreiben, eine düstere Version der alten Genesis, was auch nicht verwundert, haben die beiden Bands in frühen Tagen enge Kontakte gehabt und gemeinsam getourt sind (in irgend einem Genesis Buch las ich mal ein Zitat von Peter Gabriel, daß er versuche so zu singen wie Peter Hammill - ob's stimmt??). Den Vergleich mit Genesis kann man auch bei den Alben benutzen.

Im Verhältnis der musikalischen Entwicklung der Band ist "TAGM", das was Trespass für Genesis war - ein Rohdiamant (wie pathetisch).

Für Neulinge ist "TAGM" ein zweischneidiges Schwert, da die Platte eher nach einem Peter Hammill Solo Album klingt und damit bißchen zugänglicher ist. Andererseits ist der typische VDGG Sound nur in Ansätzen vorhanden, was teilweise daran liegt, daß David Jackson (Sax) noch nicht dabei ist. Die Kompositionen wirken noch nicht so ausgefeilt und komplex wie auf den Nachfolgealben. Der Sound der CD ist recht rauh, was nicht verwundert, da die gesamte Platte in nur 3 Tagen eingespielt wurde.

(Jens)



Beginning as a Peter Hammill solo effort following the dissolution of the first Van Der Graaf Generator, this quickly recorded album brought Hammill together with producer John Anthony and caused the reformation of the band (which immediately thereafter shifted personnel once again). A raw, energetic effort that sometimes did little to show off the young Hammill's talents, the album nevertheless has some fine moments that hint at the possibilities for future releases. The fact remains, mind you, that the second album, The Least We Can Do Is Wave to Each Other, is far superior. CD versions of this album appeared in 1996 and 1997, both including additional material such as the first (and very rare) Van Der Graaf Generator single, and the previously unreleased VDGG recording of "Ferret and Featherbird."

Steven McDonald - All Music Guide



Rockfans der 90er für Van der Graaf Generator zu begeistern, ist ähnlich mühsam, wie Computer-Freaks für den Rechenschieber zu gewinnen. Bei Zeitgenossen der Art-School-Band wecken die getragen-kantigen Weisen rebellisch-romantische Erinnerungen: an endlose Diskussionen bei ewigen Improvisationen. Dazwischen, als Denkpause, darf zum schrägen Shuffe-Rhythmus des Titelstücks gewippt werden. Auf diesem Fundament lernten Peter Hammills Gedanken fliegen, die er '69 schon mit spröder, fast brüchiger Stimme hinreißend formuliert. ** Klang: 02-03

© Audio



Warum Van-der-Graaf-Kopf Peter Hammill sich später oft von diesem als sein Solo-Album geplanten Erstlingswerk (erschienen 1969) distanzierte, bleibt rätselhaft. Denn schon bei der Premiere erklang von herrlichen Melodien ("Afterwards", "Running Back") über psychotische Ausbrüche bis zu anarchich-ausladenden Rätselwerken vieles von dem, was die Generator-Kunst später ausmachte. Zur Freude des Sammlers packte Repertoire noch die rare 1968er Single "People You Were Going To / Firebrand" als Bonus dazu. Der bisweilen übersteuerte Sound erzeugt indes keinerlei Spannung.

© Stereoplay
 

 L y r i c s


Afterwards

You stare out in yellow eyes larger than my mind;
in viscous pools of joy, relaxing, we glide...
it's all too beautiful for my mind to bear.
and, as we shimmer into sleep, something's unshared.

But, seeing the flower that was there yesterday,
a tear forms just behind the soft peace of your shades...
The world's too lonely for a message to slip
but between the dying rails of peace you trip.

The petals that were blooming are just paper in your hand;
your eyes, which were clear in the night, are opaque as you stand...
It was too beautiful for it to last...
These visions shimmer and fade out of the glass.


Orthenthian St. (part 1)

I feel a calling for the sea, I want to walk on the sand dunes...
I hope you'll forgive me if I say I can't take you:
at some times I've got to get away,
if just to get a break from the play
that we're all involved in.

All the love I'm living now could have ended yesterday
if the snow had fallen too hard up there on the Motorway...
If it happens, don't feel sorry, I won't feel alone:
it's just another travelling zone
that you can't come on.


Orthenthian St. (part 2)

Can't stop for a second:
we might see how silly we all are.
Can't get out, even for a moment:
might be hit by a passing car.
Dreams shatter and fall into dust,
as long as we're travelling I suppose they must.
But, while we're on the road, our days'll be glowing;
and when we part, as you know we must,
we'll leave, just going
ever so slowly,
ever so slowly.

Motorway signs flash past like flies,
it's getting late and we're going home.
We all travel in parallel lines,
heading into the twilight zone.
All I really want now is you by my side;
yes, it's a sweet ride
while we're still together.

Yes, it's a sunny day, and we're off on our sea trip;
The water may be cold in the bay,
but we're safe on our sailing ship,
and, if ice forms, you can walk home to land
and still cling to my hand
if you still want to...


Running Back

I thought I'd give it up for good,
'cause none of my actions are understood.
I thought I'd really leave,
and my coming back's something you'd never perceive.
I thought I'd make it;
Yes, I really thought I'd make it,
but then you smiled, you didn't rile me,
now I'm running back
running, running back.

I saw a vision of a love long deceased
and a chilly wind coming from East.
I know I can say I did my best,
but there were no more warm winds from the West.
Still I thought I'd make it;
Yes, I really thought I'd make it,
but then you smiled, you didn't rile me,
now I'm running back
running, running back.

I thought you'd never be missed,
and I really believed we'd never share another kiss.
And I thought for the last time I'd touched your hand,
but your love draws me back like quicksand.
Still I thought I'd make it;
Yes, I really thought I'd make it,
but then you smiled, you didn't rile me,
now I'm running back
running, running back.

And now I'm coming yes home.

I'm coming home.


Into a Game

I never thought it could come to this,
as you sit there crying,
hanging on with your fingertips
to something that's already dead.
Now we're into a game
and it's all a bit strange.

Once on a time we were sincere;
now, we're acting charades,
hiding behind cracked images
from other people's stages;
now, we're into a game,
and it's all a bit strange,
but familiar, too...
the rules never change; I know it, but do you?

I've seen it all before,
and this play no longer moves me,
but the closing of a door
is never easy.


Aerosol Grey Machine

Just one breath, and it's instant death,
it's the Aerosol Grey Machine!
Just one breath, and it's instant death,
it's the Aerosol Grey Machine!

You're walking along the road one day,
up comes a man dressed all in grey;
he blows a little aerosol in your face
and you find your mind's all over the place...

Just one breath, and it's instant death,
it's the Aerosol Grey Machine!

(hype:) "Buy an Aerosol Grey Machine for your own home today!"
(dissent:) "Shan't. Shan't. I'm not going to!"
(sniggersnigger. chortle.)


Black Smoke Yen

Instrumental


Aquarian

Now we sit here in our special place,
all wearing our happy faces gladly.
Sunlight appears in our world; our joy
has been turned from badness.
Now we've moved and left alone
and it's easier that way.
We are riding on rainbows
and happy today.
Now we move to the sun in every direction;
we are cloaked in veils of mystic protection...
joking a lot, smoking or not,
floating our yacht off to freedom,
voting to be Aquarian!

I hold silver flashing metal in the palm
of my petal hand, watching it quiver:
to breathe too close is death -
ah, but wat is breath but a way to deliverance?
Soon we will all be joined
in a great silver tube,
wanting every one to come along,
that means you too!
Now we move to the sun in every direction;
we are cloaked in veils of mystic protection...
mapping the way, clapping to say
we're happy today, and assured of
the fact that we're all Aquarian!

Hardly any money... who needs bread anyway?
Well, I mean to say, it's just the read to freedom!
Everything's too funny; we just ride along so high,
watch the bad scenes floating by, who needs them?
Soon we will all be joined
in a great silver tube,
wanting every one to come along,
that means you too!
Now we move to the sun in every direction;
we are cloaked in veils of mystic protection...
Lighting the path, righting the past,
fighting the dark like centurions,
writing our names as Aquarians!
As Aquarians, but as Aquarians!

Writing our names as we move to the sun,
we're Aquarian!


Necromancer

Yes I live in the black woods, where you dare not even
speak my name.
If there is evil in your heart and you will come near to me you will
lose your sane.
My form is mystic, but my heart is pure,
you'd better believe what I say:
I am the Necromancer.

I cast deep spells and potent: I am a Seer
of the Real.
My forces work against evil, for I love
all I feel.
I know the secrets long forgotten,
you'd better believe in me:
I am the Necromancer.

Look into my eyes!
I tell you, occults power lies in love.
I fight against darkness, the power
of the Black.

Every day the power is greater, and soon the world will
come to rights.
Through the magic, through the power, shaman shall die
on the seventh night.
And now remember magic is here;
you'd better believe in the White.

I am the Necromancer,
and I come to carry your heart away to good.


Octopus

I want to paint you poems full of fire,
you who I do not know.

Now my mind is tested with love which
twists and wavers from side to side and which
some day soon you may see...
I want you to cascade through ten thousand
rainbows with me and dredge mountains
from the sea:
you who I now begin to know. But emotion is pent up inside,
too scared of dying again to live,
and meanwhile I must endure your
red-copper hair screaming like a
water-baby black eyes stare
from my ceiling:
you who I now truly know...

Now I cannot see too clearly
and already my trellis stands bare...
How can I break free of these overclinging
arms which entwine and enfold me?... And reach
to the clear blue sea?
I want you to know, but how can I
tell you? I want you to see
but my own eyes are blind...

The Octopus now enfolds me,
I know you too well...

 M P 3   S a m p l e s


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