Uh, wow. Constant rotation. -Ian!
Who gave acid to these kids? Chemically induced or not, they committed a psychedelic gem of “Present Tense” (1968, by Sagittarius) and “Begin” (1968, by Millennium) proportions, lyrically and musically. The uniqueness and charm of the release is increased by the stripped down treatment of the vocals, which sound like voices of the best girls at their respective primary school – drowsing choir – and given a record deal, and it worked handsomely.
If we compare with the superbly carried out the studio piloting backing up The Millennium, we will easily see that Curt Boettcher – the spiritual father of XTC’s Andy Partridge – was confirming his innovative ways of commanding recording knobs, facing this task as substantial part of the artistic direction, which became a kind of common sense in current rock-pop productions. With Wendy & Bonnie we have to take another vintage point. The release is the epitome of studio simplicity and technical straightforwardness, which more than often leads to utter crap, but not in “Genesis”. Wendy & Bonnie Flower knitted a masterpiece, and in the Palaeolithic way. In an era of hardcore industrial reproduction of works of art to which music is no exception, the album at stake sounds hand-made. A superior hymn to obsolescence, the way masterpieces mechanically produced should sound.
Wendy & Bonnie-GENESIS (1969)