The history of both Eden and these tracks in particular is thoroughly covered in the lengthy liner notes.
But for specialized British '60s rock collectors, it has some appeal as a roundup of very rare material, though Eden really didn't establish a signature production sound. the Fingers' 1966 45 "I Go to Sleep" also holds interest as a cover of a Ray Davies composition that the Kinks didn't release in the 1960s.
No, nothing here is great, though the Fingers' 1966 B-side "Oh" is good early Beatlesque pop that's almost worthy of the Rutles, and Palmer's "Stories of Jesus" is interesting as his British folk-at-heart sound is sympathetically dressed up with low-key strings. It almost acts as a gallery of British rock and pop styles of the period, including as it does some pretty, fey pop-psychedelia (the Crocheted Doughnut Ring's 1967 single) fair late-period freakbeat (the Fingers' "Just Like Loving You Baby") rough singer/songwriter folk (two unissued early-1969 tracks by Bill Fay) more traditional-based British folk ("Stories of Jesus," an unreleased early-1969 cut by original Incredible String Band member Clive Palmer) and quasi-vaudeville/jugband (Barry Fantoni's "Sadie Moonshine," the most unpleasant performance here). But some of them were OK, and this LP (a limited edition of 1000) collects 16 tracks he produced between 19, all but one of them from the '60s (and only four of which were previously released). None of them were remotely as talented as Donovan either, to be frank. However, Eden was also involved in managing and producing a number of other British artists from the mid-'60s to the early 1970s, though none of them remotely approached Donovan's success. If Peter Eden's name is known at all to rock fans, it's because of his brief but important role in Donovan's career, in which he was the singer's co-manager in the mid-'60s when Donovan put out his first records. These weak spots keep Fifth Dimension from attaining truly classic status. At the same time, the R&B instrumental "Captain Soul" was a throwaway, "Hey Joe" not nearly as good as the versions by the Leaves or Jimi Hendrix, and "What's Happening?!?!" the earliest example of David Crosby's disagreeably vapid hippie ethos.
#P DIDDY PRESS PLAY THROUGH THE RAIN LP UPDATE#
Spaceman" are among their best songs "I See You" has great 12-string psychedelic guitar solos and "I Come and Stand at Every Door" is an unusual and moving update of a traditional rock tune, with new lyrics pleading for peace in the nuclear age. The minor hit title track and the country-rock-tinged "Mr. "Eight Miles High," with its astral lyrics, pumping bassline, and fractured guitar solo, was a Top 20 hit, and one of the greatest singles of the '60s. Immaculate folk-rock was still present in their superb arrangements of the traditional songs "Wild Mountain Thyme" and "John Riley." For the originals, they devised some of the first and best psychedelic rock, often drawing from the influence of Indian raga in the guitar arrangements.
Although the Byrds' Fifth Dimension was wildly uneven, its high points were as innovative as any rock music being recorded in 1966.
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