Billy Mitchel: “Electronic Dance”: Brace for the Obscure (60s rock)! — December 26, 2025

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

1,826) Billy Mitchel — “Electronic Dance”

This jazz-rock/psych pocket symphony ended up on the soundtrack of Nicolas Roeg’s Australian new wave film Walkabout. It is “[j]azzy folky dreamy hippie goodness” (newarkpsych, https://rateyourmusic.com/account/login), “[a] forgotten slice of late 60s lysergic studio-psych”. (Soul Jazz Records, https://soundsoftheuniverse.com/sjr/product/billy-mitchel-electronic-dance)

The Australian label Roundtable’s release notes state:

[“Electronic Dance” is] a “whirling mix of Indian raga, heavy jazz drums, buzzing electronics and tape collage melding into blue-eyed soul folk from the Woodstock scene. The perfect psychedelic supplement to John Barry’s hallucinogenic orchestral score.”

https://www.discogs.com/release/9517832-Billy-Mitchel-Electronic-Dance?srsltid=AfmBOopZEd0rhd9UATgfKf5gEgCE1-1qJCJjN1YVvYkHbQJ2URvdAB01

EugenOhneland writes :

Billy Mitchel sang at the end of the sixties . . . [in] the blues and psychedelic scene. He performed in the Gaslight Cafe, Night Owl Cafe and Cafe Au Go Go. . . . [H]e gave the opening act for Hendrix, played guitar on Carly Simon’s “Summer Song” and also on Richie Havens . . . “Portfolio”. He took over a speech part in Milo Forman’s Hair.

https://johnkatsmc5.tumblr.com/post/183012037624/billy-mitchel-might-be-hope-1970-us-psych-pop

As to Walkabout, Luke Buckmaster tells us:

Nicolas Roeg’s 1971 classic, Walkabout, about two young British siblings who get lost in the desert and befriend a wandering Indigenous man, is a work of striking atmospheric contrasts. . . . [g]lorious and awe-inspiring one moment, dangerous and harrowing the next. . . . It is regarded as one of the earliest works of the Australian New Wave and is considered seminal — particularly for its bold, dreamlike exploration of the Australian wilderness and the deep spiritual bonds between the land and its original occupants. . . . In the Outback, a] father of a well-to-do family sits in a car with his teenage daughter and young son . . . . The dapperly dressed dad starts shooting at his children . . . then lights the car on fire and kills himself. . . . Walkabout finds an emotional centre when the kids meet an Aboriginal Australian . . . who helps them find water and joins them as they drift between sun-parched settings. . . . The unforgettable vividness with which Roeg captures the Australian outback arises from the perspective of a foreigner trying to understand it. . . . Roeg revels in the hallucinatory, creating a wilderness that exists as much in the mind as it does the land.

https://www.theguardian.com/film/australia-culture-blog/2014/jul/11/walkabout-rewatched-a-wilderness-of-the-mind-as-much-as-of-the-land

The release notes state:

In addition to John Barry’s spellbinding original score, several pieces of popular music can be heard throughout the film transmitting from a portable radio, an obvious symbol of western civilization as the protagonists wander disorientated in the ancient tribal Australian wilderness.

https://www.discogs.com/release/9517832-Billy-Mitchel-Electronic-Dance?srsltid=AfmBOopZEd0rhd9UATgfKf5gEgCE1-1qJCJjN1YVvYkHbQJ2URvdAB01

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