Two Fingers Pointing On You - The Seeds

Rola: Two Fingers Pointing On You
Traducción: Un ciento de sombras
Intérprete: The Seeds
Compositor: Sky Saxon
Disco: Future
Productor: Sky Saxon
Orden al bat: 074


"Mr. Farmer." Perhaps the first major label song to hint broadly and openly about maryjane. Not even the Beatles were doing that yet. And it's such a weird-ass song. It has a great rolling organ intro from Hooper, and soon Sky is telling us the story of a city man who gets fed up, moves to the country, buys five acres, and well, waters his crops. He sings:


Duración: 03:17
Año: 1967
Formato: 7"
A la venta: 01/10/1967
Disquera: GNP Crescendo



Two Fingers Pointing On You
Un ciento de sombras
He used to live in an apartment in a big old city
With thick and priestly windows built right in it
But he decided to move to a little tiny town
He wanted to be a farmer all year round
And on a country road where you can't see a thing
He's got five acres filled little green things, he said
He's working so hard all night and day

Mr. Farmer let me watch your crops
Mr. Farmer let me water your crops
Mr. Farmer let me harvest your crops
I want to have a dream come true
I said a farmer, farmer, farmer
I want to be just like you




With their third album, Future (1967), the band attempted a psychedelic concept album in the vein of Sgt. Pepper's. The record reached the Top 100 and spawned the hit "A Thousand Shadows."

Future is full-blown psychedelic rock, with ornate flower-themed graphics to match, and another was devoted to the blues (with liner notes by Muddy Waters).


The Seeds: Estados Unidos

The Seeds were an American rock band. The group, whose repertoire spread between garage rock and acid rock, are considered one of the pioneers of punk rock.

The Seeds have an incredibly apt name because from their humble, barely visible germ sprung some mighty, mighty oaks. Like The Doors (very woody) and Alice Cooper (kinda tinny). There is a direct connection from The Seeds' organ/synth-heavy Flower Power psychedelia - chiefly authored by unsung '60s keyboard genius Daryl Hooper - to Ray Manzarek and all the rooms of the Morrison Hotel. And the proto-punk screechings and snotty ramblings of Seeds singer Sky Saxon. . . well, I think it's safe to say that raw '60s garage rock reached some of kind climax with him and it was up to Alice and Iggy to take that stash and run with it, later handing it off to the kids at CBGBs.

The Seeds were the farmers, planting the crops that grew into so many branches of loud and damaged rock. They are best known, of course, for that unsurpassed slice of garage-y bliss "Pushin' Too Hard," which, when it came out in 1966, pushed its way into the Top 40 thanks to Saxon's spooky-druggy, angry-yet-emotionless repetitiveness and one of the great early fuzz guitar solos by Jan Savage (who later became an LAPD cop, in about as big a turnaround from Flower Power as you can get . . . Sky Saxon claims to have coined the term "flower power," by the way).

Another essential element of The Seeds' sound evident on "Pushin' Too Hard" was Hooper's carnival-like organ, and his electric keyboard solo which, I swear, sounds as if The Doors had come out bit earlier than we all thought. Saxon was quoted by music writer Ralph Hulett as saying the lyrics were his reaction to the Sunset Strip riots in 1966 in which the cops and L.A. city fathers moved to close the Pandora's Box music club and rock fans reacted by going nuts in the streets and staging protests. These episodes were also the inspiration for the Stephen Stills classic "For What It's Worth."

"Pushin' Too Hard" was on The Seeds' first eponymous LP. It's infamous for its primitiveness - which I think is a good thing, really. But in my opinion, their second disc, A Web Of Sound, released later in 1966, was the group's high point artistically. Of course, it also was the point in which it became obvious they were never going to score a Top 40 hit again. Their sound was so extremely strange and Sky Saxon's lyrics were so repetitive that it consigned them to the has-been file pretty quickly. It took Jim Morrison's persona to take that sound and really put it out to a post-Flower Power mass audience. But as a weird and fascinating glimpse into the psychedelicized soul, Sky can give Jimbo a run for his whiskey money any day.

Lead singer Sky Saxon had a musical career that went back to pre-Beatle music days, when he recorded a few 45s under the name Richie Marsh. Born in Salt Lake City, he was based in Los Angeles from the early 1960s. The Seeds were formed in 1965 with Saxon joining as a response to an advertisement. Keyboardist Daryl Hooper was a major factor in the band's sound; the band was one of the first to utilize keyboard bass. Guitarists Jan Savage and Jeremy Levine with drummer Rick Andridge completed the original quintet, but Levine left shortly after the first recording sessions for personal reasons. Although Sky Saxon is usually credited as bass player, he did not play bass on any of the Seeds' recordings. This was handled by session men, usually one Harvey Sharpe. On stage, keyboardist Daryl Hooper would handle the bass parts via a separate bass keyboard, in the same way as Ray Manzarek did with the Doors.

The Seeds' first single, "Can't Seem To Make You Mine", was a regional hit in southern California in 1965. The song was also played regularly on AM rock stations in northern California (and probably elsewhere), where it was well received by listeners. The band had their only national Top 40 hit, "Pushin' Too Hard", in 1966. Three subsequent singles, "Mr. Farmer" (also 1966), a re-release of "Can't Seem To Make You Mine" (1967), and "A Thousand Shadows" (1968) achieved more modest success, although all were most popular in southern California. Musically uncomplicated and dominated by Saxon's vocal style and flair for simple melodic hooks, their first two albums are today considered classics of '60s garage music. A later album (Future, 1967) was full-blown psychedelic rock, with ornate flower-themed graphics to match, and another was devoted to the blues (with liner notes by Muddy Waters).