Velvett Fogg was a relatively short-lived psychedelic rock band that was formed in Birmingham, England, in 1968. The group released one self-titled album during their time together, Velvett Fogg (1969), before the group disbanded later that year, possibly in part due to a lack of sales for their record. Something interesting to me on Velvett Fogg’s Wikipedia page is that Tony Iommi was briefly in Velvett Fogg before leaving and co-founding Black Sabbath. Though the group’s only album didn’t have the greatest of sales when it was first released even though it did receive some radio play, the album has since become a very sought-after item by collectors and enthusiasts of the genre in recent years. I’m pretty stoked to give this album a listen, so with that said, I’m going to jump on into the music.
“Yellow Cave Woman” gets grooving right away with a classic psychedelic rock medley of reverberated organs, some super groovy electric guitar, and strong and sturdy drums that are accompanied by a bass line that emphasizes the beat really nicely. Oh wow, I think I’ve heard a cover of this song, or a song with a very similar melodic hook. I’m really digging this track so far. Oh wow, the jams keep on building with a classic psychedelic blues rock sort of sound that somehow reminds me of Grateful Dead in the late 1960s mixed with The Stooges. Holy smokes, the organs seem to keep digging further and further into the track while the electric guitar plays a similar, relaxing line, which has pulled me further and further into the listening experience. I can understand how this album might be a collector’s item based on this opening track alone. I’m really reminded of the psychedelic blues jam flavors in the track that really remind me a lot of the Grateful Dead from the mid-to-late 1960s. Wow, awesome track, and I’m excited to hear more.
“New York Mining Disaster 1941” begins with what sound to be the same three opening notes as Phantom of the Opera, but takes on a mellow, psychedelia-laced sound that I’m really digging. Oh wow, the track keeps building on itself with some really sweet jams. The chorus of the track has an almost pop-y Beatlesesque style that I’m really digging. Great track.
“Wizard of Gobsolod” starts out with some really interesting strings at the beginning that have a sort of lute-like, nearly medieval sound. Oh wow, there are some super interesting keyboards and organs in this track that seem to continually build up tension in the verses. Oh wow, I’m really digging the jams that the band gets into in all of these tracks thus far. Super sweet track.
“Once Among the Trees” starts out with some really sweet, nearly twangy electric guitar that reminds me of an electric version of the British folk style of Bert Jansch. Oh wow, this track is super groovy. There’s almost a sort of British, medieval-feel to the guitars and organs in this track that has me continually listening closer. Even the way the chorus breaks through reminds me of Irish folk and rock a bit. Holy smokes, the organs in this track are super groovy; the organs seem to be continually driving the guitar soloing to new heights, while the drums are driving the organs further out, and the bass line keeps things moving steady. Wow, great track.
“Lady Caroline” gets started right away with what sounds to be a classic British folk guitar part that’s played with a bit of twang and reverb with an electric guitar. I’m really digging the reverb in the organs in this track that nearly have a bit of a spacey sound. The percussion has a really light swing that keeps the song feeling tight with some light high-hats, while the bass guitar grooves the song along nicely from underneath. Great track.
“Come Away Melinda” starts out with a descending line from the organs, and what sounds to be a high-pitched synth gradually comes into the soundscape. Holy smokes, the drums and guitar come into the track and creating a super sweet heavy groove that reminds me a ton of Iron Butterfly. Oh wow, the track tightens and speeds up for a moment, just as everything falls away but the organs. Oh wow, the first vocals have finally entered almost 2/5ths of the way into the track, with an effect that sounds like the vocals are being sung through a fan of some sort. Oh wow, a really smooth vocal line comes into the opposite side of the soundscape, as though the different vocals are having a sort of conversation with contrasting styles. This track almost has a sort of psychedelic prog rock feel with the ebb and flow of the different movements and jams. Super sweet track.
“Owed to the Dip” gets started with a mellow bass line, and shortly some guitar and organs join in with a sort of jazz-like style. Holy smokes, the organs are super groovy in this track, and remind me a ton of Jimmy Smith. Oh wow, the guitar plays off of the organs really nicely, and has a certain style that reminds me a bit of Eric Clapton. Holy smokes, the guitar is taking the lead at this point, and I’m continually getting pulled closer to the edge of my seat by the music. Oh wow, the drums pick up a really groovy, blues-inflected jazz swing that adds a really subtle, very enjoyable layer to this jam track. So far, there haven’t been any vocals in this track, and it’s about 2/3rds of the way into the song. Oh wow, this jam keeps on giving. Holy smokes, I just noticed the bass line subtly evolving the jams alongside the drums. Wow, great jam track.
“Within the Night” starts with a sort chugging drum, and is quickly followed by some interesting, somewhat twangy guitar work that seems to have a mixture of flavors that include British folk, raga, and psychedelic rock. Oh wow, some organs come in as the jam comes to a bit of a crescendo and pull me even further into the listening experience. The vocals also have a sort of drone-like, raga-esque quality at times as well. Holy smokes, the track broke through to a super groovy psychedelic blues rock jam led by the electric guitar, while the bass and organs both keep the groove going steady to the sturdy beat of the drums. The main melody from the guitar sort of reminds me of “Paint It Black” by The Rolling Stones. Wow, great track.
“Plastic Man” starts with some classic psychedelic blues rock guitar that reminds me a bit of Eric Clapton and Cream, and is soon joined by a super fuzzed-out bass guitar, and some distorted organs that really drive up both the intensity and the psychedelia of the track. Oh wow, track breaks through to a super groovy jam, with the organs and the drums really digging deep into the soundscape. Great tune.
“Telstar ’69” starts out with what sounds to be a raga-inflected beat that is accompanied by some far-out, spacey synth/keyboard/effects. Oh wow, the guitar comes in and the track gets into a major key psychedelic jam that I’m really digging. I’m really digging the far-out, spacey jams in this track. Super sweet tune, and a great way to finish the album.
Holy smokes, this album is pretty sweet. The album contains a ton of classic psychedelic rock and psychedelic blues flavors, and even wanders into folk, jazz, and prog territory between the multitude of jams in the tracks. I can totally understand how this album has become a collector’s item in recent years, as original copies of the vinyl are listed for nearly $800 on Discogs. If you’re into classic psychedelic rock and psychedelic blues jams, then you might want to consider checking out this album. If you do decide to give this album a listen, I sincerely do hope that you enjoy the listening experience at least as much as I did.