The Collectors
The Collectors
Warner Bros. WS 1746
1968
This is the debut album by the Canadian band the Collectors who released two albums in the late 1960s before evolving into the better known band Chilliwack. I'm interested in Canadian pop music so I took note of this album in the bins, but it tends to be a bit pricey so I didn't splurge on it until I fell in love with the song "Lydia Purple" which I first heard on Giant Crab's "
A Giant Crab Comes Forth." I bought the album for that song alone, but fortunately the entire album is worthwhile. The album opens with "What Is Love" which was self-penned by the group, like all the songs on the album aside from "Lydia Purple." It is a slow moody song with a chamber pop flavor that speculates on the nature of love. It gradually swells to a dramatic climax before returning to the slowness it started with. "She (Will-O-the-Wind)" is a trippy portrait of the title character. It is driven by a raga like riff and features lovely vocals and a dynamic flute solo worthy of Ian Anderson. It is one of my favorite tracks. "Howard Christman’s Older" is the most overtly psychedelic track on the album. It is a portrait of a child genius that is driven by swelling organ riffs and howling guitars. The song evokes the majestic sound of Vanilla Fudge without the bombast. It is followed by the fabulous "Lydia Purple" by Don Dunn and Tony McCashen which is delivered in a wonderfully atmospheric chamber pop arrangement with strings and elaborate multi-part vocals. I think one could make a case that the song is condescending to the point of cruelty in its portrait of the alienated and delusional main character, a poor man's "Eleanor Rigby," but I'm not the one to make that case because I love it to death. I've heard several other versions of the song but this is easily the best one and I find it endlessly compelling. I played it over and over when I got this album and it still sends me every time I play it. If there was any justice the song would have been a hit and I consider it one of the best songs of its era. Side one concludes with "One Act Play" which is a striking depiction of a deteriorating relationship. The solemn chamber pop sound of the song serves it well and it builds in power to give side one a satisfying conclusion. Side two is devoted to "What Love (Suite)." I am generally not a fan of 20 minute rock songs unless they are jams, but this is a pretty solid one. It is a return to the opening track of side one but elongated and more elaborate. The song begins with a slow, chamber pop section similar to "What is Love" but with a strong middle-eastern flavor added that gives the lyrics mystical resonance. Unfortunately the lyrics are not worthy of the exalted music as they explore the deficiencies of human love with half-baked philosophizing that make the Moody Blues sound like Plato. Lyrics like "what the hell is fate, screw the world, it's raped" or "blood is masculine violence" make me think someone in the band was a big Jim Morrison fan. To some extent the bad poetry is covered up by outstanding music that moves from chamber pop to psychedelic blasts of organ driven cacophony to a jazzy sax solo and even a groovy flute solo. The song is melodramatic and pretentious but it holds my interest and I find the changes in texture stimulating. Nonetheless I often just play side one whenever I feel like listening to the Collectors. I am fond of this record, but I feel like it is a near miss. It is very ambitious but ultimately it comes up short of being a psychedelic classic. I mostly blame "What Love (Suite)" for this because side one is uniformly excellent. This album reminds me of Love's "Da Capo" which similarly had it's brilliant first side undermined by a self-indulgent suite on the second side. However I am the sort of music fan who respects bands who take chances even if I don't like the results. I listen to so many albums that I like when someone messes with the formula if only because it is something different. I recommend this album to Doors fans with a healthy appetite for chamber pop.
