The Deviants, also known as The Social Deviants, was an English psychedelic band founded by Mick Farren in 1967. Farren described the sound of The Deviants as “teeth-grinding, psychedelic rock.” The band formed out of the UK Underground, which was Great Britain’s correlation to the hippie counterculture movement that was developing in the United States at the same time.
The band’s album, Disposable, was released in 1968. Their music is considered to be the British equivalent to The Fugs from New York, and from what I’ve heard so far with Disposable, I like them much better than The Fugs. To me, they really don’t sound that much alike.
I didn’t quite know what to expect from Disposable, but was pleasantly surprised by this well developed, enjoyable record. The first song, Somewhere To Go, starts of with an infectious bass beat that got me interested right away. After the intro, that seems like they we talking about being young and in The Underground, or British counterculture, the song takes a garage rock turn, It is a great song with a killer psychedelic guitar solo, and I find myself wondering how I never heard of these guys until just recently. Great opening number.
Sparrows and Wires seems like filler at first, but it grew on me within the context of the record as a whole. It isn’t as much a song as it is a spoken word explanation, short and to the point, then on to the next tune.
Jamie’s Song is a slow moving psychedelic trip, pure psychedelic rock.
You’ve Got To Hold On is a great psychedelic song from start to finish, and is my favorite song on the album. Awesome lyrics, with killer guitar work makes this song so awesome! I find it hard to believe that The Deviants were not more popular than they were, as I think they have some of the best music of the psychedelic era.
Fire In The City is a song featuring sax, and it’s meaning seems to be about the turbulent times that was the norm in the late sixties, both in the United Kingdom and in the States. The smooth sax solo in the middle of the tune is well done and the song as a whole is mellow but packs a lyrical punch if listened to with the sixties counterculture in mind.
Let’s Loot The Supermarket is a partially incoherent ramble about seemingly nothing but a bunch of acid induced people hanging out on a street corner somewhere to stoned to stand. Ya know, a typical sixties type infusion of fun, drugs and at times, boredom. A funny song not meant to make any serious political statement, just a bit of fluff in the middle of the record. Not one of my favorite songs on the album, but acceptable.
If Pappa Oo Mao Mao sounds familiar, it should, as it is a cover of the 1962 Rivington’s piece Papa Oom Mow Mow, originally an incoherent do wop number. However, it seems to me that the spelling of the titled was altered from the original, referring to China’s communist leader Mao Tse-tung. The song was made into a statement against the communist Chinese regime, to me it seems pretty apparent. Good way to turn a funny, nonsensical tune into a political one.
Normality Jam is an great psychedelic instrumental piece with a funky drum beat and awesome guitars throughout. One of the best pieces of music on the record.
Guaranteed To Bleed is a slower, more mature song, with great keyboards. Sidney B. Goode is a short instrumental that emulates Johnny B. Goode by Chuck Berry. It is a good attempt at making the song sound like Berry’s original, but giving it a bit of a psychedelic spin.
Last Man is an eerie sounding spoken word piece that closes out the record. This ends a very entertaining record, with little filler, and a good representation of the British sound from The Uk Underground, the counterculture movement from across the pond. Good stuff!