Making a mad dash to cash in on the burgeoning trend of psychedelia so fast they spelled "Psychedelic" wrong, these two albums pricelessly highlight a moment in '60s culture that came to be known later as the "exploito record." Even revolutionary producer made a habit of studying hit singles the moment they came out, just to record knock-off versions with lesser-known bands in an attempt to exploit the popularity of the original, or in some cases, trick the public into doling out their money for an inauthentic copycat of the real thing. In essence, is doing the same thing. This collection packages together two obscure instrumental records from the era whose goofy titles and contrived themes make them prime exploito fodder. The nameless band on presents the more traditional of the two halves of this collection. Presumably overworked studio musicians instructed to make a trippy record, the compositions here are more rooted in early surf and instrumental rock forms than anything truly out there, but when they take liberties with the fuzz (as on the barely coherent fuzz bass segments of "Take a Trip") things get at least interesting, if not mind-altering. is credited to a band called , who employ more genuinely psychedelic tactics. Laying in heavy with Moog synthesizer tones atop pop rhythms gives the more upbeat numbers an almost popcorn-like feel. "Pictures at a Psychedelic Art Exhibition" apes classical composer 's "Pictures at an Exhibition" in a way part clever, part annoying with synth overload and spastic drumming. touch on the menacing side of things more so than the cartoonish soundtracks on . Barnyard sound effects, spooky Theremins, and brief sound-collage moments nod toward bad trips before dipping back into the good vibes. As was the case with most of these ultra-corny mood music albums, there's nothing essential on either of the two records presented here, but essential listening doesn't always equate to fun, which this collection offers up in goofy, cheesy, terrifically dated lots. ~ Fred Thomas