"MORGEN - MORGEN" (PSYCHEDELIC 60s GARAGE PUNK US 1969)

"Steve Morgen" (vocals, lead guitar), "Barry Stock" (rhythm guitar), "Rennie Genossa" (bass guitar) and "Bob Maiman" (drums), originally hailed from Long Island, New York.
Morgen was signed by "ABC Records"'s short-lived "Probe Records" subsidiary, for their 1969 debut Morgen (Probe Records CPLP 4507 S, 1969).


Despite its major label origins the sound is remarkably RAW and 60s GARAGE, with NO compromises anywhere. Punk vocals, great and highly original material, acid guitars that won't quit [PL].

It's easy to explain why this is *THE* best heavy Psychedelic album: it's a Hard-Rock album that comes from a 60s Garage tradition with NO Blues or Heavy Metal influence at all.
This results in two vocal styles, both of which are superior to anything else you'll hear on a 1968 Hard-Rock record.

The first song, as heard on the aptly named "Welcome To The Void", is a Punk, youthful snarl that suits upbeat Hard-Rock better than any macho swagger.
The second song, as heard on the also aptly named "Of Dreams", is a breathy whisper that is sexual and eerie.
"Steve Morgen" is one horny guy, and it's hard to tell whether he's more interested in hallucinating or getting laid, but both obsessions really create a kind of urgency here that is Powerful and exciting [AM].


Morgen's album had the same Punk vein like "The Koala" and "The Lollipop Shoppe".
And, the songwriting and FUZZ guitar are absolutely TOP of the heap.
Even before dropping needle on groove, the stark black-and-white sleeve features a monochrome reproduction of "Edvard Munch"'s "The Scream" in contrast to the multicolored hues so prevalent then, and a single word, "Morgen" which is at once the artist's name, the album's title, and the German word for 'tomorrow' makes an immediate statement.


And then the music makes another immediate statement...
The album begins with the great 60s Garage Punk track "Welcome To The Void" an absolute GARAGE PUNK song.


A foreboding guitar bass riff and staccato drumming introduce "Welcome To The Void", and for the next thirty-eight minutes one is hurled headlong into a vortex of dual-guitar overload, lyrically woven with romantic and Victorian imagery residing on a tab of microdot.

Morgen: "Of Dreams" / "She's The Nitetime", Probe Records CP 474, 1969

Radio stations didn't bite on the single, "Probe Records" closed up shop, and the world became a decidedly sadder place.