In the decades that follow an artist’s introduction into the musical world, it is not an easy task to remain exceptionally adept when it comes to making songs. More often than not, it can be a struggle to listen to an artist’s creation that has been made generations after they initially rose to fame. However, Twink defeats the odds here, making an album that is not only absorbing, but compelling as well…
After first recording for The Fairies in 1964, Twink joined R&B based band The In-Crowd, which evolved into Tomorrow, whose self-titled album is one of those legendary 60’s psychedelic albums that has stood the test of the time. When the short-lived Tomorrow broke up, Twink replaced Skip Allan during The Pretty Things’ infamous ‘S.F. Sorrow‘ album, before releasing his solo debut in 1969. This would be followed by The Pink Fairies debut album ‘Never Never Land‘ in 1971
After creating a sequel to his fantastic 1969 album ‘Think Pink‘ in 2015, Twink decided to create a third instalment in the series. ‘Think Pink III’ is brimming with ideas that make the album sound fresh and invigorating, as well as having fantastic guitar playing throughout. This is a record that knows how to pull the listener in, and to keep them there until every second of it has finished.
Take a song such as “Lydia Ladybird” for example. With Twink’s stutter induced chorus, echo filled verses, and a melody to die for, the song takes the listener on a trip into wonderland, with no tolls in sight. There is also the vocally hypnotic “Fountain” which contains compulsively intriguing backing vocals that are an excellent companion to Twink’s own vocals. It finishes with a dynamite guitar part that could have gone on for an eternity and nobody would complain.
The infectious “Firelight” will have you humming the song’s title in your head for days and days. Repetitive in a favorable way, Twink’s commanding vocals guides the song in upward direction, all the way to Jupiter, and maybe even Saturn. “The Shaitan” is a psychedelic trip to the land of the forgotten, with a circulating guitar sound that refuses to let up even an ounce of fascination. Additionally, the acoustic guitar that is here really adds exuberance to an already exciting track.
The album has a romantic element to it as well, as heard in the beautifully made “I Miss You.” The swirling guitar sound found in “The Shaitan” is here, only this time it adds an affectionate element to the sound, as opposed to the darker feeling it gave on the other. This would be the perfect song to show an ex that you really miss, since this displays the regret one has after a breakup, or even the loss of a loved one.
Elsewhere, “Planet 39” actually does sound like it was made 39 planets away from Earth with its trippy atmosphere and hallucinatory effects on the vocals. Twink’s assertive vocal delivery makes it feel as though he is the ambassador to this Planet 39, and is trying to convince us all to join him there. I do have to admit, he does make a strongly convincing case, and definitely makes me want to take a journey there myself.
The album finishes with the menacing “Sundown”, an instrumental that sounds like a snake crawling through the desert, with no creature around it because everything is so absolutely afraid to go near it. Dark and threatening, it is an excellent piece of enthralling music that just gives his fans even more to rave about.
What Twink manages to do is create impressive sounding music that will have newcomers become enticed by it, as well as keeping his longtime fans pleased and satisfied. There is this overwhelming sense of confidence found all over the album, which is no surprise, since Twink has every right to feel that way with such a remarkable career.
Listen to ‘Think Pink III’ here
Twink is the cover star of MOOF issue 3, pre-order the issue here to read an in-depth and exclusive interview with the psych-rock icon
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Have listened to this two or three times and I do like it – very much. Its of a time that, like the time of the Elves in Lord of the Rings, is slipping away. A hark back to simpler times, of dreams and dreaming, of hope, enchantment and as-yet undreamed-of possibilities. I think that Firelight would have fitted well on ‘Piper at the Gates of Dawn’ and that, given a slightly different arrangement and another verse, Lydia Ladybird would have had a good chance of being a Top 20 hit in the late 66/67 period. Planet 39’s acoustic space rock is very good and I like You can’t fool an Angel very much as well. The whole album is very delicately mixed and produced. Its a cracker!!
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