THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,076) Aorta — “Strange”
I don’t know whether to think of Aorta as a Chicago or Rockford band, but its members later stocked many notable Chicago bands (including, yes, Chicago). The song is a propulsive psych rocker — “You’re acting oh so strange!”– from an LP that is “[a] stunning song cycle of top-level playing, innovative production, and insightful lyrics”. (Kevin Cowl, https://www.furious.com/perfect/aorta.html) A long version of strange (above) was a ’68 B-side and a shorter version was a ’69 A-side (below). Kevin Cowl calls “Strange”:
A good angular boogie with a descending refrain, it’s the end of love. His girl is “strange, you act like this before, seems you don’t love me no more.” The middle part has a guitar solo that mimics a frenzied conversation between two people over proggy organ arpeggios, and eventually cutting back into a wild descent toward the end. A bummer? What can he do to “prove that he’s a man?”
https://www.furious.com/perfect/aorta.html
As to their first LP (which included “Strange”), Cowl says:
[It] appeared out of nowhere in 1969, a fully formed and exquisitely realized vision of American angst, hope, and imagination. . . . [Bill] Traut’s production does a damn good job of capturing the style of George Martin’s work on Sgt. Pepper and Magical Mystery Tour. Horns, strings, circus music, vaudeville, sound effects – all used liberally and thematically to add a story quality to each song. He understands the music and brings out its theatricality. . . . and makes it more than I think the band ever could have imagined it being. . . . [The album] achieves near seamless perfection in its writing and production. The performances are inspired and passionate. The playing is pro but not slick. The production elevates the material and never overshadows it. The mood perfectly bridges the gap between the giddy, fun psychedelia of prosperous ’60’s America and the dawn of the darker ’70’s. But this is not the San Francisco sound of the Dead and the Airplane, nor is it dusty Laurel Canyon country-rock. This is Midwestern suburban kids seeing the dark side of the thrill ride, the rot at the center, the comedown from the dream, and reflecting it here in this taut cycle of brilliant chamber rock.
https://www.furious.com/perfect/aorta.html
Jason adds that:
In 1969 Columbia released this startling record which was a mix of psychedelia, soul, jazz, folk, and rock. The album was housed in a beautiful, graphic sleeve that has always overshadowed the great music from within. Musically speaking, Aorta’s sound comes close to Boston band Listening or even the more psychedelic aspects of early Blood, Sweat and Tears [see #765] during its Al Kooper phase. . . . Aorta is solid throughout though, featuring strong musicianship, inventive studio wizardry, superb songs with a healthy dose of fuzz guitar and wonderful string and horn arrangements. . . . Aorta may seem grandiose and even downright indulgent at times but make no mistake this really is a great lost record. . . . some far out, wild psychedelia with a hint of early progressive rock.
http://therisingstorm.net/aorta-aorta/
As to Aorta, Jason tells us:
Aorta was a highly talented rock band from Rockford, IL that released two albums throughout 1969 and 1970. The band was originally known as the Exceptions, a popular soul rock group that played around the Chicago area and released a handful of singles. It’s interesting to note that the Exceptions had at one time included future members of H.P. Lovecraft [see #829, 1,073], the New Colony Six [see #410, 1,071], Chicago, The Buckinghams [see #409, 413, 632, 730], and Illinois Speed Press. The Exceptions eventually morphed into Aorta when band members felt a more progressive direction was needed.
http://therisingstorm.net/aorta-aorta/
JazzRockSoul adds:
Aorta had its roots in the Rockford, Illinois, pop combo Kal David and the Exceptions, formed in 1962 by singer/guitarist Kal David, bassist/singer Peter Cetera, drummer Denny Ebert, and saxist/keyboardist Marty Grebb. In 1965, David jumped ship to The Rovin’ Kind and later split with its other guitarist, Paul Cotton (later Poco), to form the blues-rock Illinois Speed Press . . . . He was replaced by singer/guitarist Jim Donlinger . . . . As The Exceptions, they released three 1965/66 singles and the EP Rock and Roll Mass . . . . Grebb moved on to The Buckinghams, replaced by Jim Nyeholt. After bassist Billy Herman stepped in for a departed Ebert, The Exceptions cut two 1967/68 soul-pop singles . . . . When Donlinger, Herman, and Nyeholt expressed a collective interest in psychedelic rock, Cetera departed for The Big Thing, which soon became Chicago Transit Authority . . . . With Bobby Jones on bass, the band changed its name to Aorta. They briefly included saxophonist Dan Hoagland, later associated with fellow Chicago-area band The Flock. Their first release was a cover of the Nuggets staple “The Shape of Things to Come[.]” . . . It was backed with “Strange,” a Hoagland original with lengthy, oblique jam sections. Aorta signed with Dunwich Productions (Shadows of Knight [see #184, 1,075], American Breed, HP Lovecraft). Under the management of Dunwich founder Bill Traut, they signed to Columbia Records, which issued their self-titled debut album in early 1969. Columbia issued Aorta simultaneously with Chicago Transit Authority and the debut albums by The Flock and the Illinois Speed Press, all in an effort to market a “Chicago Sound,” analogous to the San Francisco Sound . . . and the manufactured Bosstown Sound . . . . Aorta toured the album as an opening act for Led Zeppelin and the Mothers of Invention. Soon thereafter, Herman left for the New Colony Six and Jones departed to the Space Choir in Joe Cocker’s backing band. Donlinger and Nyeholt, along with Donlinger’s drummer brother Tom, briefly joined soul-psychsters the Rotary Connection (with singer Minnie Riperton).
https://jazzrocksoul.com/artists/aorta/
Here is the album track:
Here is the ’69 A-side:
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