Monks Black Monk Time CD - Import

Repertoire reissue of their sole album from 1966 with four bonus tracks, including the singles 'I Can't Get Over You' & 'Love Can Tame The Wild'. Years ahead of their time, the Monks nearly punk rock version of beat music earned them a reputation as a formidable live act. Other two bonus tracks: 'Cuckoo' & 'He Went Down To The Sea'. 16 tracks in all.

The Monks: Gary Burger (vocals, guitar); Dave Day (banjo); Larry Clark (organ); Eddie Shaw (bass); Roger Johnston (drums).
Includes liner notes by Mike Stax.
Contains 4 bonus tracks.
The story of the Monks is one of those rock & roll tales that seems too good to be true -- five Americans soldiers stationed in Germany form a rock band to blow off steam, and after starting out playing solid but ordinary R&B-influenced beat music, their songs evolve into something that bear practically no relation to anything happening in pop in 1966. If anything, the Monks were far wilder than their story would suggest; they may have looked bizarre in their matching black outfits, rope ties, and tonsures, but it was their music that was truly radical, with the sharp fuzz and feedback of Gary Burger's guitar faced off against the bludgeoning clang of Dave Day's amplified banjo (taking the place of rhythm guitar), as Roger Johnston pounded out minimalist patterns on the drums, Eddie Shaw's electric bass gave forth with a monstrous throb, and Larry Clark's keyboard bounced off the surfaces of the aural melee. This would have been heady stuff even without Burger's wild-eyed vocals, in which he howls "I hate you with a passion, baby," "Why do you kill all those kids over there in Vietnam?" and "Believing you're wise, being so dumb" over the band's dissonant fury. The closest thing the Monks had to a musical counterpart in 1966 were the Velvet Underground, but existing on separate continents they never heard one another at the time, and while Lou Reed and John Cale were schooled in free jazz and contemporary classical that influenced their work, the Monks were creating a new species of rock & roll pretty much out of their heads. Given all this, it's all the more remarkable that they landed a record deal with a major German label, and while Black Monk Time, their first and only studio album, doesn't boast a fancy production, the simple, clean recording of the group's crazed sounds captures their mad genius to striking effect, and the mingled rage and lunatic joy that rises from these songs is still striking decades after they were recorded. Within a year of the release of Black Monk Time, the band would break up (reportedly over disagreements about a possible tour of Vietnam), and the two singles that followed the LP were more pop-oriented efforts that suggested the Monks couldn't keep up this level of intensity forever. But in late 1965, the Monks were rock & roll's most savage visionaries, and Black Monk Time preserves their cleansing rage in simple but grand style. ~ Mark Deming
One of the strangest artifacts of the 1960s, the Monks' sole album, BLACK MONK TIME essentially anticipates Blank Generation punk by about a decade. The music is a furious rush of minimalist drums (seemingly influenced by German marching bands), percussive electric banjo strums, fuzz guitar and feedback, and in-your-face lyrics expressing such tender sentiments as "I hate you" and "Shut up!" To be sure, the Monks will occasionally remind you of other rock bands of their day; L.A.'s Music Machine, for example, managed a somewhat similar mix of stop/start and fuzz. But the Monks did it first and with the most conviction; after all, these guys were serious enough about what they were doing to actually shave their heads and wear real Monks costumes. Needless to say, very few people grokked the concept back in 1966 (the LP was never released in America), but the album has since achieved genuine cult status. The 1997 CD version (on Henry Rollins' Infinite Zero imprint) thoughtfully includes one track from the BLACK MONK TRolling Stone (4/17/97, p.80) - 4 Stars (out of 5) - "...the most precociously extreme, exuberantly screwy platter in rock history....Imagine the stark, raving dada of the Fugs bumrushing the crisp la-di-da of '60s Brit-pop..."
Spin (p.81) - "Five discharged American GIs playing beat music in mid-'60s Germany....'Complication' remains the most credible antiwar song ever..."
Spin (5/97, p.112) - 8 (out of 10) - "...While Paul Revere & the Raiders were still headlining Portland bowling alleys, and before `(I'm Not Your) Stepping Stone' had even been composed, the Monks were inventing a blitzkrieg bop far stronger than what soon followed..."
Q (1/02, p.59) - "...Speed-crazed GIs stationed in Germany take rock'n'roll down a truly mental tunnel of primal, repetitive mechanized beats..."
Mojo (Publisher) (3/01/04, p.52) - Included in Mojo's The 67 Lost Albums You Must Own! - "[B]rutal punk rants about hate and war just when the 'peace and love' vibe was really kicking in....[A] head-driller of a rock 'n' roll record.""
Mojo (Publisher) (p.51) - Ranked #25 in Mojo's "The 50 Most Out There Albums Of All Time" - "Their one LP is an artefact of almost supernatural prescience..."
Blender (Magazine) - 4 stars out of 5 -- "The Monks came armed with a minimalist racket, frantic social diatribes, and churlish attitude that presaged punk..."
Pitchfork (Website) - "[I]n 1966, BLACK MONK TIME was beyond the cutting edge, and today it's easy to hear what made it so innovative and challenging."
Record Collector (magazine) (p.92) - 5 stars out of 5 -- "[O]ne of the wildest LPs ever. The bass is set to overdrive, the portable keyboards set to stun with blank stabs and manic runs....Colossal."
Signal To Noise (magazine) (p.78) - "[T]he Monks' debut album perfectly fixes the forces of sexual frustration and anti-authoritarian opposition within a template bounded by insanely catchy melody, raw aggression, and unstoppable rhythm."