Album Review: The Final Solution – Just Like Gold: Live at The Matrix

Values and mores change over time. What was once fair game is now considered transgressive; detractors will call this reality “political correctness.” I see it as evolving compassion and empathy. When I was a kid, we routinely shared jokes about people of Polish origin. Nobody does than anymore, and that’s as it should be.

That said, when we look back at the past, we might wish to be careful and not always apply today’s standards. A case in point: in 1966, a San Francisco band called The Final Solution filled in for a gig originally booked by The Great Society. Sure, there’s irony in the polar-oppositeness of those catchphrases, and the former carries with it memories of – shall we say – some really bad stuff that happened in the 1930s and ‘40s.

But there’s nothing to suggest that this Bay Area band harbored any notions or inclinations of the antisemitic or fascist variety. No, they were more of a folk-rock combo with some musically ambitious ideas. In that era’s fertile musical landscape, labels seemed to have snatched up every act they could, hoping to score with record buyers. But that frenzy seems not to have extended to The Final Solution. Nothing they did nor recorded would be released during the band’s time together. Prior to 2016 they didn’t even have a Wikipedia entry.

Yet thanks to High Moon Records – a label earning well-deserved praise for its archival work – we now have a recording of The Final Solution at The Matrix from 1966. While much of the band’s material (as documented on this recording of fine fidelity) has a folk-rock flavor, there are flashing hints of Eastern influence (a la the Butterfield Blues Band’s “East West”) cropping up in their tunes. Even without electric sitars or effects pedals, the band turns out some exotic sonic textures. Some tasty modal soloing informs tunes like “If You Want.”

On this set, the four-piece group makes a cohesive sound. And unlike many of their contemporaries, the band had plenty of original material, freeing them from over-reliance on covers. The harmonies have a dark, moody vibe, full of minor chording. And that suits the often melancholy lyrical imagery of The Final Solution’s songs.

As solid as they were, the band’s big moment never came. Thank goodness that someone thought to record their Matrix set, as it would be their only gig at Bill Graham’s venue. They didn’t consider themselves part of the movement that included San Francisco bands like The Grateful Dead, and it’s true that their sound was – if anything – closer to that of San Jose’s Chocolate Watchband. As Alec Palao’s liner notes/interview makes plain, The Final Solution thought of themselves as punks.

That printed material in the record’s booklet is essential, as (save that Wiki entry) there’s not a great deal of documentation on the band. But listeners who are interested in the Bay Area’s rich musical history are encouraged to fill in a small but interesting piece of that puzzle by checking out this album. Just Like Gold doesn’t achieve the status of Great Lost ‘60 Recording or anything approaching it, but it’s certainly worthwhile.