Track Listing

1. Urizen
2. Holy Thursday
3. The Smile
4. A Dream
5. Sonf Of Innocence
6. Merlin's Prophecy
7. The Mental Traveler

Product Details

• Amazon Sales Rank: #62192 in Music
• Released on: 2000-05-29
• Number of discs: 1
• Dimensions: .26 pounds

Amazon.co.uk Review
David Axelrod is a man beloved of beat-diggers everywhere. DJ Shadow swears by Axelrod's epic arrangements, and Dr Dre (amongst many others) has sampled the essence of the funk bounce that lace his productions. This intellectual hipster founded the black music department at Capitol Records in the 1960s and did production work for Cannonball Adderley, Lou Rawls, Electric Prunes and Man From Uncle's David McCallum. This, Axelrod's first solo album for Capitol in 1968, was inspired by the visions of 18th-century British mystic, poet and painter, William Blake, and (along with it's sister album, Songs Of Experience) is classic Axelrod. Majestic in its gothic vision, the record is formed around a cohesive "suite" of seven songs that unselfconsciously marries jazz cool and prog virtuosity to classical elegance. This is music with a sense of higher purpose, striving to reveal some kind of truth. --Chris Campion

CD Description
In 1968, jazz producer and arranger David Axelrod--best known at that point for his hits with Lou Rawls and Cannonball Adderley--was on the staff at Capitol Records' home base in Hollywood. In his spare time, Axelrod teamed up with his friend Dave Hassinger across town at Reprise Records and recorded two bizarrely wonderful classical-rock mash-ups, MASS IN F MINOR and RELEASE OF AN OATH, under the band name the Electric Prunes. (The original Prunes, garage-rock one-hit wonders, had essentially split up, but Hassinger and Reprise still owned the band name.) In response, Capitol signed Axelrod as a performer, and his masterpiece SONG OF INNOCENCE was the first result. An instrumental concerto based on the works of William Blake, SONG OF INNOCENCE is entirely unique: neither rock, jazz, classical, nor easy listening, the album conflates elements of all four into a richly layered whole. Distorted guitars, funky bass lines and drums that were shockingly loud for 1968 (all of which brought this album to the ears of adventurous hip-hop turntablists and producers decadeslater) blend with churchy organ and symphony-size orchestras on songs like "Holy Thursday" and the epic closer "The Mental Traveler". Imagine if Brian Wilson had suddenly decided to turn SMILE into a prototype for Isaac Hayes's soundtrack to SHAFT, and you're halfway there.

Customer Reviews

A fantastic album, and a must for beatheads everywhere
2000 saw the first ever CD issue of this 1968 album; previously only available on vinyl, it was nigh on impossible to find and on one listen it's obvious why. Frighteningly ahead of its time, the songs feature the powerful basslines and gorgeous drums that are prevailent in so much of today's best hip-hop, all over a backdrop of overwhelming soundscapes. Each track is varied, alternating seamlessly between thick orchestral strings, pink floyd-style guitar solos and jazzy piano and xylophone. Endlessly sampled, I also could not write a review of this without pointing out that DJ Shadow cites Axelrod as a major influence. My only criticism of the album is that, bizarrely, the CD has a slightly poor sound quality, as if it were recorded straight from a 32 year old vinyl. This is unimportant, however, as it is barely noticeable, and the quality of the music simply shines through. If you have any interest in modern beat based music, you must buy this.

A Work of Wonder
Along with its counterpart "Songs of Experience" -both single, consecutive releases about William Blake book of poems- "Songs of Innocence" represents, perhaps, the essence of Axelrod's daring and beautiful work.
Released in 1968, this album reflects much of what was going on with music then, and probably represents one of its most interesting documents. Axelrod, still rather young was already at a creative peak: Jazz discovering Rock and willing to embrace it, orchestral arrangements that are bold and pushing the envelope of the traditional big band concept and -along with the addition of electric guitars- engage in full psychedelic flight without indulging in trippiness for trippiness' sake.
Where its succesor, Song of Experience, can be dark and ominous at times, something that would be even more pronounced in the albums that follow these, Songs of Innocence is hopeful, the wide-eyed wonder of someone wanting to tell you all the promise they see ahead.
As you listen to it, you may find difficult not to be swept by this music and be impressed by its visionary power. Don't be surprised if you find sounds you might have credit other artists for, who only got there years later.
I recommend that you get both albums and listen to them in tandem. Of course begin here with "...Innocence" -just like life does- and then move on to "... Experience." Although both works stand alone and each is a distinct marvel, the combined listening experience will provide even more pleasure and insight into the mind and heart of one of a great contemporary composer who, given the weight and depth of what he has to offer, has been sadly under-recognized.

The Drummer Steals the Show!!!!!
It is easy to understand why people so highly praise this album but in reality it's only merit is the virtuosity of the incredible drumming that is on display in almost every track. Orchestrally the Album is very simple. Repetitive ensemble scales persist and repeat without any melodic direction. Without the remarkable drumming the Album would be forgotten. The production is excellent throughout but for my money the Drummer simply steals the show.

Other Artists of that era such as Lalo Schifrin and Ennio Morricone knew that the back-bone to any composition is the melody and their legacies are firmly assured. David Axelrod on the other hand is seriously lacking in that department and so justifiably revels in the realms of trendy obscurity.