Retro Reviews: The Monks: Black Monk Time

 I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. These albums are lesser-known titles.

The Monks – Black Monk Time (1966)

***1/2

Producer: Jimmy Bowien

Musicians: Gary Burger, Larry Clark, Roger Johnston, Eddie Shaw, Dave Day

Songs: Monk Time, Shut Up, Boys Are Boys and Girls Are Choice, Higgie-Dy-Piggie-Dy, I Hate You, Oh, How To Do Now, Complication, We Do Wie Du, Drunken Maria, Love Came Tumblin’ Down, Blast Off!, That’s My Girl

Reviewed By Matthew Anthony Allair

    The first album by The Monks, a band on a niche label, is an interesting contrast in the deception of appearances. They have the trappings of your typical rave up band, and when several members sing legitimately, they are quite good, but rhythm and vibe is the core of this band. Often the vocals are a hook to pull the listener in. While there’s the typical rock instrumentations, guitar, bass, organ, drums, there’s also the use of an electric banjo, the bass is often as over driven as the guitar, the approach almost feels like songs are the vehicle for ideas rather than the desire for commercial songs, but make no mistake, there’s some catchy songs to be found. Burger, Clark and Shaw are talented singers indeed, yet the whimsy seems deceptive in a good way. They are out to blow people’s minds without the audience being aware of it – and this sets up a challenge over how they might be received.

    With the opener “Monk Time”, Clark’s gothic organ set’s the tone, the vocal is inviting while the rolling rhythm and organ dynamics keep this interesting. The irregular rhythm of “Shut Up” and the dynamics ease into some very free form guitar and organ leads. There’s almost a hybrid country and blues shuffle to “Boys Are Boys and Girls Are Choice”, but it’s all highly idiosyncratic, it’s also the first time we can hear the banjo in effect. With “Higgie-Dy-Piggie-Dy” there’s a surf, Bo diddley shuffle with some outside guitar leads, one can hear the experimental influence of British bands in this venture.  The lyrics seem nonsensical and that might be entirely the point.  “I hate You” is delivered with a wink and it’s all about the rhythmic vibe. Burger’s lead guitar is pretty loose.  The banjo acts like a second percussion instrument. The banjo and lead guitar have an off-kilter quality with “Oh, How To Do Now”, the vocal chant has a playful, urgent element to the proceedings.

    The insistent drive of “Complication” might make it one of the better tracks, with very direct lyrics and a free form organ solo. Very concise. The punchy bass and drums drive “We Do Wie Du”, outwardly silly but fun track. There’s something oddly vaudevillian about “Drunken Maria” as well as great brief bluesy organ solo. The banjo and drums drive “Love Comes Tumbling Down”, while the organ and guitar act as a counter rhythm, again, the vibe takes priority. The mood is set up long before the vocal sets in. A heavy and loud vibrato guitar sets up the tone for “Blast Off” with a carnival organ and surf guitar shuffle. The banjo and drums seems to blur together, there’s a manic quality to the track that set’s it apart. “That’s My Girl” brings it all back home at the soul rave opening with an ironic twist.

    I have seen publicity photos of the band where they dress in all black with ropes for ties, and wear friar monk haircuts, there’s a very conscious image with this band that enhances the theatrical flavor. This is a band that has managed to find a way to push the envelope with juggling accessibility, it will be interesting to see if they connect. I hope they do.