The Complete Reprise Singles

Great collection of singles from the Electric Prunes! This wide variety of tracks represents the most complete recording history of the group. The Complete Reprise Singles is a complete package with detailed liner notes and photos acknowledging several membership changes throughout the years - this is the definitive story of the evolution of the group.

I have been a big fan since I first heard the Electric Prunes.These mono mixes sound fresh as can be. The Psychedelic sounds are clear and have a great sense of mono dimensional. This is a band that still has a sound that should motivate any pure rock loving person.Rhino real gone has done an exceptional job in releasing this 24 track gem. Long live those Electric Prunes!It's that sonic bumble bee electric guitar that drives me wild!

I got this cd and played it all the way thru, I Love the "I had too much to dream"song. The songs on this cd was mostly pchyodelic themed didn't really get into it. Somebody out there may like this album.

Great CD...

For those who weren't there in '66 and '67, the oldies radio shorthand for the Electric Prunes has been their one big hit, "I Had to Much to Dream (Last Night)," as anthologized (as the lead off track, no less) on Lenny Kaye's legendary  Nuggets  compilation. The few strokes of shading inclues their chart follow-up, "Get Me to the World on Time," and an oft-anthologized ad for Vox Wah-Wah pedals. It's an abbreviation that shortchanges the band's recorded legacy. Reissues of their albums along with single- and double-disc compilations (including Birdman's  Lost Dreams  and Rhino's  Too Much to Dream ) expanded the group's posthumous reputation, and are now joined by this collection of twenty-four mono single mixes. As a group whose tenure spanned across AM Top 40 and the birth of underground FM radio, their singles are just as interesting as the stereo album tracks.Like several other groups of their era, including the Chocolate Watchband and Grass Roots, the Electric Prunes name was applied to several wholly different aggregations of musicians. The original lineup shifted subtly through the group's first two albums ( I Had Too Much to Dream (Last Night)  and  Underground ), but with their third, the David Axelrod-produced orchestral  Mass in F Major , the original band essentially broke up. The album was completed with studio musicians, and its follow-up,  Release of an Oath , was produced similarly by Axelrod. The final album released under the Electric Prunes name,  Just Good Old Rock and Roll , was recorded by a newly recruited group of musicians, wholly unrelated to the original lineup.The singles gathered here span all three eras of the Electric Prunes - variations of the original lineup on the first two albums (1-12, 15 and 24), the Axelrod years (13-17), and the "new and improved" lineup (18-23). Original members James Lowe and Mark Tulin appeared on two of Axelrod's productions ("Sanctus" and "Credo"), but the compositions and productions are so far divorced from the group's earlier garage psych as to be nearly unidentifiable as the same band. The new lineup held on to only hints of the original group's roots, bringing hard rock, boogie, funk and soul sounds to the Electric Prunes name.As latter-day prune Richard Whetstone notes, the group's identity remains anchored to the garage psych of their hit single and first two albums; the follow-on material remains more curious footnotes than integral parts of the legend. The collection's rarest find, the one-sided single "Shadows" (from the film The Name of the Game is Kill) turned up on Rhino's earlier compilation (along with mono mixes of the band's early A-sides), but here proves itself the last gasp of the original Electric Prunes sound. Getting the group's entire legacy of mono singles (including the bleeped-for-airplay version of "You've Never Had it Better") is a great find for collectors, but those new to the group's catalog should start with the first two albums. [©2012 Hyperbolium]

Just when you think you might own everything ever done by the Electric Prunes, they put out this twenty-four track collection of their singles - mastered onto one must-own CD. These specific edits from the Prunes do sound a bit different from the original album versions. Reason is (according to vocalist James Lowe) is that the sound engineers at the studio - where these cuts were initially laid down at - actually stepped out into a parked car in the parking lot to ~make sure~ these mixes would be suitable for fans and listeners while they were on the road. In other words - these tunes were meant to be ideal to enjoy while driving. Reason(s) that I, for one didn't immediately recognize several of these songs were that a number of them are from the band's third album 'Mass In F Minor' plus some were from a couple of the Prune's lesser-known (perhaps) less-favored lp's 'Release Of An Oath' ('68) and 'Just Good Old Rock & Roll' ('69). There is one track here - the catchy "Help Us (Our Father, Our King)" that I just do not remember at all. My guess is that it's likely to be a previously unreleased B-side or something. So highly recommended, I nearly get dizzy just thinking about it.

I must've missed this release two years ago, because I found it for the first time at a branch of Barnes & Noble last week, and it's not only a lot of fun in the listening, but informative in the annotation. The Electric Prunes were one of those bands whose name -- good as it was -- was almost a distraction from who and what they were (i.e., a first-rate garage/psych punk band with some lingering folk elements in their line-up and sound). I personally have done a little bit of theater, enacting a scene I've imagined many times, of Frank Sinatra in his office on the phone, telling someone, "Oh yeah, them Electric Grapes -- Nancy and Sammy tell me the kids all go for that sound . . . . " They made some good music, a lot of which is represented on their singles, which are presented here in their authentic mono totality, even the one true rarity in their output. But equal to the merits of the music is Richie Unterberger's annotation, which tells the behind-the-scenes stories about these releases and what was really going on. And that's not only informative, but fascinating. In any case, buying this is a kind of no-brainer for anyone with taste or curiosity.

Groupe intéressant dans le rayon garage sixties que ces Electric Prunes pour le moins éclectiques même si à leur corps défendant. Et même si c'est dommage en vérité.Le groupe commence à enregistre en 1966 et, dans la famille garage, sort sans problème leur épingle du jeu. Déjà, ils ne foncent pas à toute berzingue en pratiquant le n'importe-quoi échevelé de façon brouillonne. Plus volontiers enclins aux mid-tempos lugubres et louches, ils imposent d'emblée une atmosphère, une ambiance, disons-le tout net, gothique, qui tranche avec leurs contemporains.Dans le même temps, et ce qui explique cette sensibilité, les gus se montrent excellents instrumentistes. De fait, et là encore, ils se différencient des autres groupes garage. Ils ne sonnent étonnamment pas sales, bien au contraire. S'ils utilisent les sons crades propres au genre, telle la fuzz, ils s'en servent toujours pour alimenter le morceau soniquement en jouant, encore une fois, sur les ambiances. La guitare, tout comme l'orgue, est utilisée donc dans tous les registres des possibilités de l'époque pour renforcer certains passages et en varier subtilement le climat. Bref, le son est ici réellement travaillé.A ce stade, le groupe maitrise parfaitement son sujet et ses enregistrements se révèlent un pur délice. Un peu chiche en refrains, les Electric Prunes n'en délivrent pas moins de bonnes compos, basées sur des couplets qui se résolvent et de ponts, plus dans une structure AABA, donc. C'est donc vraiment excellent, tout au moins pour les douze premiers titres sur les 23 que compte cette compilations de leurs singles (avec un dernier titre qui est une pub pour les pédales wah-wah).C'est que tout va très vite dans cette seconde partie des années 60. Or donc, le groupe enquille ensuite sur un curieux single fomenté par David Axelrod, deux titres religieux en latin pour le moins incongrus. Et enfin, le groupe se pare de psychédélisme mais en perdant ce qui faisait sa particularité. C'est invariablement moins bon même si sympathique. Les trois derniers titres frisent le hard et se révèlent formidablement poussifs. Mais le groupe n'a littéralement plus rien à voir: ce n'est tout simplement plus le même line-up que celui des débuts.Alors la compile vaut pour une grosse moitié fabuleuse et prouve dans le même temps, et une fois de plus, que, dans les sixties, il fallait impérativement monter un groupe dans la première moitié de la décennie. En étant bien ancré dans la période, fort d'une présence plus prononcée, on pouvait alors laisser passer les effets de mode et les changements rapides de la seconde moitié des années 60. Voir les Stones avec "Their Satanic..." qui sauront s'en remettre. Plus difficile à faire quand on est un groupe moins installé comme les Electric Prunes, auteurs cependant de débuts réellement enthousiasmants et empreints d'une vraie singularité. Déjà pas mal.

This is what I call a blast from the past! ( Thirty years on )I can not find my original 45 records so I decided to look on amazonfor re-placements!Low and behold All their singles had been re-mastered to CD Well pleased!Many thanks amazon.Regards mikesparkie

Gute Verpackung.passt.Lieferung schneller als angegeben.

Ich möchte aufmerksam machen, daß sich vielleicht auch die jüngere Generationan die Zeiten dieser Musikrichtung erinnenEs gab in den 60-iger Jahren eine Menge Elemente der Musik, die auch aus derPsychodelic-Musik weiterführten.

エレクトリックプルーンズのシングル集。最初は彼らの代表作である"I Had Too Much to Dream (Last Night)"をはじめとする、中期ストーンズの影響を受けたややチープ（褒め言葉）ガレージサイケバンドでありますが、途中でオリジナルメンバーがいなくなり、怪しいプログレッシヴな宗教音楽になったり、最後はファンキーなブルースロックになってしまったりと、音楽性がめまぐるしく変化します。その変遷も追って聴くとなかなか面白いバンドです。ストーンズのエンジニアだったデイヴ・ハッシンジャー、奇才デイヴィッド・アクセルロッドと名だたるプロデューサーが彼らを手掛けているわけで、やはりただのガレージバンドではない奥行きのあるサウンドになっています。B級に終わらず、ロックファンにガレージロックの代表グループとしてもアピールし続ける存在です。また、このコンピで収録されている楽曲は全てモノラルミックスのため（オリジナルアルバムではステレオミックス）ステレオではリバーブのかかった浮遊感のあるサウンドだったイメージが一転、60年代らしい音の塊がガツンときて、彼らのバンドサウンドのタイトさを引き出せています。