Love, Peace, & Poetry is a series of compilations following psychedelic music across the world. Previous installments of the series have travelled to Mexico, Brazil, Britain, Japan and the continents of Africa and Asia to unearth music from the past fifty years or so that most likely would have never been heard by a wide audience (especially a worldwide one). The ninth installment of the series pulls together sixteen tracks from the late 60s through the 70s and listening to the tracks, it seems that psych pop was a worldwide phenomenon that definitely wasn't confined to one locale.
Of course, that can be said of about every musical style, although the modern age has only accelerated the dissemination of styles while in the past I'm sure it took a bit longer for things to filter down. With recording qualities that vary a great deal, the compilation definitely isn't for those looking for a clean and lean collection, but with all the hiss and sometimes lousy production, the compilation actually seems to capture better the period and sound. One could easily talk about each track individually (and the liner notes do a great job of expanding upon the different tracks), but there are several standouts, including the eastern-influenced opener of "Bundan Sonra" by Selda which seems to perfectly blend exotic vocals with trippy instrumentation and swirling production.
Elsewhere, Üç Hürel drops the rocking "Aglarsa Anam Aglar," which features a slew of homemade percussion and guitars. Proabably the most famous artist on the entire compilation is Bülent Ortaçgil, who contributes the track "Sen Varsin," a western-influenced orchestral-pop track that moves with playful piano and horns. Some of the strangest tracks on the release are the most enjoyable, though, like "Gitmek Düs Tü Bana," a bizarre creation that swerves between lounge pop and fuzzy funk that sounds like it was lifted from a blaxploitation soundtrack. As a whole, the compilation suffers a bit from the production quality (which is downright poor at times) and the wide variety of overall songwriting (some is great, some is pretty forgettable). It works more as a document of a hookah-laced time period where psych music seemed to infect just about every continent on the earth, with just about everyone throwing their contribution into the ring. Because of this, it's more a release that will appeal to the hardcore fan (looking to round out their obscuro collection from this time period), but there are some treats for the casual listener as well.