AARON (VA) "Music By Aaron" 1974 (Eastern ERS 539) [500p] This LP may show up on dealer lists with

a pretty big price tag and a "psych" label attached. Let me warn you that the psych content is pretty low, although the set's impressive on at least a couple of counts. It sounds remarkably professional and well produced for such a young band, with a fidelity that matches lots of big ticket productions. The album's also surprisingly diverse. The opening track sounds like the Marshall Tucker Band, while the mid-tempo rocker "Lovin' Woman" sports nice jazzy keyboard and guitar moves. The appealing harmony work on the ballad "Like the Season" could have made it a good single. Personal favorites - the bluesy rocker "You're Coming Down" (it's too bad this song is split between side 1 and 2) and the should've-been-a-hit "Dreamin'" [SB] PAUL ABELL (CA) "Rivers Of The Heart" 1981 (Arcana) [insert] Soft cosmic psych with oboe, flute, cello, etc. The label is from Santa Monica. [RM]

ABBREV'S (SC)

"Here Come The Abbrev's" 1966 (American Division 3074) Garage cover band with one original ("True fine lovin'"). Good guitar/ Farfisa-led group. No fuzz, but they were more into the gritty Stones sound than the typical frat-soul-beach beat groups. The track that appears on "Tobacco A-Go-Go vol 2" is from this LP, not from a (non-existing) 45 as the liner notes incorrectly claim. [RM]

RON ABERNETHY ( ) "Solo" 1975 (Avanti) Mix of cosmic loner folk and some tracks with electric rock setting. ACES COMBO( ) "Introducing" 1966 (Justice 134) "Introducing" 199 (CD Collectables 0605) No surprises on this Justice LP; Carolina beach music standards, surf instros, couple of lame top 40 covers done 2 years too late. No traces of any Brit Invasion. Musical skills below average from the very young band; sloppy drummer and crude vocals give a certain basement edge to the proceedings, as does the muddy recording. Would you pay $350 for an LP where an instro version of "Secret agent man" is the hippest thing? Hearing a 14-year old kid trying to sound like Ray Charles is worth something though. [PL] ~~~ Justice's typical bare bones production work didn't exactly hide the group's musical limitations, but the ragged tempos and blown notes somehow served to highlight the album's low tech charm. The same is true with the strained vocals, which were occasionally borderline painful (check out their cover of 'Laugh It Off'). Those overlooked charms were only underscored when you consider that these guys were only 14 and 15 years old when they recorded the album. Admittedly, musically you're unlikely to find anything here that will drastically change your life, but there is something quite charming about the band's enthusiasm and drive. Every time I read the liner notes I have to laugh and wonder how a record company could misspell the word rhythm. As an added bonus, they managed to mis-title two of the cover songs. [SB] A CID SYMPHONY (Berkeley, CA) "A Cid Symphony" 1967 (no label) [3 LPs; colored vinyl; 3 inner sleeves + 2 cvr slicks; outer plastic bag; 1000p] "A Cid Symphony" 1999 (CD Gear Fab gf-135) [2 CDs; +3 tracks] "A Cid Symphony" 2000 (Akarma, Italy) [3LP box set; poster; inserts; +bonus tracks] The artists' name are actually Fischbach & Ewing, while the LP is often listed as "Acid Symphony". The music is stoned acoustic counterculture brainstorms with an Eastern vibe. More bluesy/folky beatnik angle than psychedelia, so beware of the usual dealer hyperbole. Interesting period piece in any event, pre-dating the hippie era in its vibe. Engineered by Denise Kaufman of the Ace Of Cups, who handled the publishing via her Thermal Flash Music company (this is not the label). The records are on green, orange, and purple vinyl with matching inner sleeves. [PL] ~~~

We'll be real clear and tell you this ain't rock and roll. What you get are six sides of acoustic instrumentals that blend Eastern and Western instruments (dulcimer, guitar, sarod, sitar) and cultural genres (country, blues, flamenco, jazz, folk-psych and raga). There's nothing terribly wrong with the results, which have a certain quiet dignity and are occasionally quite impressive given they sound like improvisational pieces. Anyone who enjoys material such as "Magic Carpet" or post-Mighty Baby "Habibiya" will almost certainly find this collection engaging. That said, trying to sit through all three LPs in a single session can be a trying experience. [SB]

V.A "ACME SAUSAGE CO" (Canada) "Acme Sausage Co" 1972 (no label) [gatefold] Hippie folk comp with one side acoustic and one side electric. Mostly obscure acts like Manna, Bob Edwards, Joe Hall, Paul Hann, Richard Peddicord, and also includes a track by Brent Titcomb which is pretty decent. Best part about this LP is the glossy gatefold cover with superb psychedelic artwork.

ADAMKOSKY (OH) "In Your Eye" 1973 (Coronet no #) Singer/songwriter with folk and blues influences, often hyped as "acid folk". DOUGLAS ADAMS see Light Rain

AERON PALTEREON (San Francisco, CA) "The Far Memory of the Elves" 1979 (Eldar Productions) Strange little album that could have been marketed as anything from prog to new wave. The call themselves the trans rock elven band and the lyrics form a concept album about an otherworld of some sort. All of the songs have mixed male and female vocals. The band had a second LP "Girl with the golden eyes" in 1982. [AM]

AESOP'S FABLES ( ) "In Due Time" 1969 (Cadet Concept 323) [wlp & printed promo exist] Falling somewhere in the musical spectrum between The Young Rascals and Blood, Sweat and Tears, the shortlived and little known Aesop's Fables deserved a

better fate. "In Due Time" teamed them with producer Bob Gallo. Sporting two capable vocalists in Sonny Bottari and John Scaduto, the collection aptly demonstrated the octet's enjoyable blend of blue-eyed soul ("Lift Up Your Hearts", "What Is Soul", and the Rascals clone "What Is Love") and more experimental horn based outings ("Everybody's Talking", "Look Out" and "In the Morning"). Elsewhere, the group's lounge lizard cover of The Supremes' "I'm Gonna Make You Love Me" proved less impressive. Dock the collection half a star for having one of the year's ugliest covers. The band released a second LP "Pickin' Up The Pieces" that was only released in Australia and Canada (Mandala 001), possibly as a Bob Gallo tax scam. [SB] ~~~ see -> A New Place To Live AESSENCE (Detroit, MI) "Aessence" 1985 (Freezer) [insert; 300#d] Hippie folk and singer/songwriter sounds with artistic ambitions and a slightly refined air, but like so many others in the genre damaged by unconvincing vocals. The Joseph Pusey LP is a more successful exploration of a similar trajectory. John Sase is the name of the artist, and the LP features a wide variety of instruments. Recorded in 1975, which is why it is included here. AFTER ALL (Tallahassee, FL) "After All" 1969 (Athena 6006) "After All" 2000 (CD Gear Fab 161) "After All" 2000 (Gear Fab/Comet, Europe) Overlooked but pretty good moody late 60s organ/guitar psychrock with a Doors influence, has an unusual creeping menace a la Freeborne that gives it an original feel. Strong vocalist successfully walks the thin line between melodrama and sinister honesty while the band comes through impressive, esp the drummer. Worth checking out for psych fans. Recorded in Nashville. [PL] ~~~ A couple of brief reviews I'd seen tagged this as progressive. While there may be a touch of progressive influences on some of the longer numbers, the more obviously influences are Jim Morrison and the Doors. That may be an equally deadly comparison for some of you, but in this case it's meant as a complement. The first side features two extended pieces, both of which sport attractive melodies and strange ominous atmospherics. I can picture these guys recording in some haunted Southern mansion. Picture 'Riders On the Storm' with David Clayton Thomas handling the vocals and you'll be in the right mindset. The second side features a series of five shorter keyboard driven tracks. While the lyrics are occasionally over-the-top and material such as 'And I Will Follow' occasionally borders on MOR, these guys repeatedly surprise on all fronts. Kick ass drummer,

while both vocalists are excellent and songs like 'Let It Fly' (with nice guitar) underscore their rock credentials. [SB] AFTERGLOW (Chico, CA) "Afterglow" 1968 (MTA 5010) "Afterglow" 1995 (CD Sundazed 6074) [+4 bonus tracks] "Afterglow" 2001 (Beat Rocket 127) [+4 bonus tracks] Above average low budget garage/pop album on cool and obscure label. It has a nice mix of moody garage/folk punkers, sunshine pop and the twisted freakout "Suzy's Gone" which was supposedly named "Psychedelic" on the master reels. Not a killer album, but real good and a definitive keeper - and plus points for not including any covers. Two OK tracks have been comp'd. [MM]

AFTON (VA) "First Day of Summer" 1975 (Lark 2288) Rural stoner guitar rock.

AGAPE (Azusa, CA) "Gospel Hard Rock" cover] "Gospel Hard Rock" back cover] "Gospel Hard Rock" "Gospel Hard Rock" 1971 (Mark 2170) [live band pic on back 1971 (Mark 2170) [four individual photos on 198 (Hablabel Italy) 1996 (CD Agape 001) [+2 tracks]

A well-known item even 20 years ago, though now it's been surpassed by many recent discoveries in its genre, which is Christian psych/hard rock with a Hendrix/Blue Cheer vibe. Suffers from a rather stiff sound and lyrics that are upfront/preachy the wrong way, but has a couple of good tracks, and an appealing spoken apocalyptic section on the closer. Still, the Exkursions is a better LP in a similar style. [PL] "Victims of Tradition" 1973 (Renrut agape-101) [500p] "Victims of Tradition" 1996 (CD Agape 002) [+bonus track] Less famous second LP is clearly superior in my ears, band shows improvement on every level, relaxing the preachy mood while still retaining the jammy Hendrix guitar-psych vibe. Arrangements are remarkably elaborate and like many Christian albums it sounds like an "expensive" production all over. Prog and jazz moves dilute the impact somewhat but the best tracks such as "King Of Kings" are exceptionally good. The CD reissue has great presence and clarity which contributes to the classy feel. [PL] ~~~

The followup has a great cover of the band playing live in a graveyard and is much less strident. The band has a more mature, even progressive, sound on this one with jazzy runs balancing the fuzz attacks and hardrock vocals. Inspirational verse: 'Man is a mental giant and yet an ethical infant'. This was also issued on 8-track tape with bonus tracks. [RM] "The Problem is Sin" 1973 (8-track private) [no vinyl release] "Live and Unreleased" 1996 (CD Hidden Vision) 8-track only live recording from CA college gig in 1973 captures the band in just the right jammy guitarpsych mood you hoped for. Extended excursions on tracks from their studio LPs, plus a title track unique to this release; all of it certain to please any fan of westcoast Jesus psych-rock with a dose of Hendrix and keyboard prog/jazzrock. Raw recording with in-yer-face sound and an enthusiastic crowd. Retitled CD reissue adds 5 bonus tracks which are a lot less interesting. The tracks have been shuffled around, so a CD program is recommended for the genuine Agape live trip. Transfer from 8-track left some audio dropouts in the music. A must for genre fans. [PL] ~~~ see -> Rapid Richard Group AGAPE (Canada) "Le Troisieme Seuil" 1972 (no label) Doomy progressive with sinister organ and scary vocals. Gothic sound like the Italian group Jacula. AGE OF REASON (DC/VA) "Age Of Reason" 1969 (Georgetowne no #) Bad post-acid soul/FM rock LP with a number of poorly chosen covers and an operatic, "soulful" vocalist. Musically competent with Hammond organ upfront but still pretty dismal and a good example of the nasty downturn music took as the original psych era faded away. No relation to the NY group who had a good 45. [PL] AGGREGATION (Los Angeles, CA)

"Mind Odyssey" 1969 (LHI S 12008) [gatefold] "Mind Odyssey" 199 (Thorns Europe)

Unusual and atmospheric early artrock/psych item based on an acid trip amusement park concept from classically trained band who held a residency at Disneyland! Presence of sax has annoyed some but it's tasteful and adds to the mysterioso vibe, as do the slightly crooneresque vocals and hints of sacred classical music. This LP could be seen as a precursor to those extraordinary 1970s private press artefacts, and reveals its classiness and coherence over time. 1920s Charleston-style track may turn some off, the rest is great. Worth investigating for anyone better than Hunger, as an example. The LP was also released on cassette by Ampex. [PL]

see full-length review

EDEN AHBEZ (CA)

"Eden's "Eden's "Eden's "Eden's

Island" Island" Island" Island"

1960 1960 1998 2003

(Del-Fi DFLP 1211) [mono] (Del-Fi DFST 1211) [stereo] (CD Del-Fi) [stereo; +2 tracks] (Munster, Spain) [stereo]

Excellent and historically significant milestone in the merger of the west coast spiritual and pop cultures. Ahbez is most famous for writing "Nature Boy" which was a massive hit for Nat King Cole (and much later covered by Gandalf), but in recent years fans of exotica and psychedelia have fallen for this album in a big way. 12 terrific songs full of dreamy desert island moods, balances perfectly the starryeyed 50s quest for exotic locales with a deeper felt search for inner calm and belonging. Despite the 1960 date, Eden looks like a total hippie on the front cover. A must. There is also an interesting Eden Ahbez-related LP from the early 1950s; Herb Jeffries' "The singing prophet" (Olympic OLP-12001). [PL]

AINA (HI) "Lead Me to the Garden" 1980 (Kumanu km-1001) [gatefold] While this album has a distinctive 1970s vibe, forget all the dealer hype you read about acid folk, psych, etc influences. Some tracks showcased a clear religious agenda, though thankfully most of the material avoided a hard sell approach for a more subtle approach. Other tracks occasionally recalled something like Seals & Crofts, or perhaps America might have recorded had they abandoned the mainland for a life in the islands. With the exception of a couple of social and political statements, notably

the atypical rocker "Nuclear Power", "Many Roads" (which sported some cheesy synthesizers) and "America Be One Man" it was all quite pretty and quite forgettable. [SB] A J(NV) "Last Song First Side" 1973 (Black Walnut 3001) Unusual blend of styles on this obscure private press, mixing a desert western vibe with UK-style prog moves in the form of unpredictable song structures, numerous tempo shifts and crude jazzrock ambitions. Can't say its entirely successful, though it does produce a distinct and original feel. Main drawback is a lack of strong guitarleads, relying instead on plenty of frantic rhythm guitar and a bass laid on top in the mix. The mellow tracks work best, with pleasant vocal harmonies and a Mu-like feel at times. [PL] ALAN FRANKLIN EXPLOSION see Franklin, Alan JIM ALAN (Madison, WI) "Tales of the Songsmith" 1982 (Circle Sanctuary) Pagan mystic folk in similar style to Gwydion. The guy co-founded a magickal society which still exists.

ALBATROSS (Salem, VA) "Rockin' the Sky" 1975 (Dominion 1023) Southern hardrock with beautiful fantasy landscape cover.

ALBATROSS (IL) "Albatross" 1976 (Anvil 1001) Extended numbers such as 'Cannot be Found' and 'Humpback Whales' make it pretty clear these guys worshipped at the altar of Yes. As the owner of more than my share of Yes albums, I'll admit that isn't necessarily a bad thing, but then its probably not the smartest concept with which to pursue a musical career. Okay, enough of the negativity. All five of the tracks, including the 14 minutes plus epic 'Four Horsemen of the Apocalypse' are worth hearing. Novak's voice will be an acquired taste for some folks, but his delivery fits the material well. Lead guitarist Roe is quite impressive, but most of the spotlight is on keyboardist Dahlgren who effortlessly manages to span the gauntlet from tasteful

synthesizer passages ('Devil's Strumpet'), to Keith Emerson-styled wall organ overload. Certainly better than other Yes-wannabees like the dreaded Starcastle, but not quite as good as Cathedral. [SB] ALBRECHT & ROLEY (MI) "Albrecht & Roley" 1975 (Airborn) Mainly acoustic folk/folkrock with vocal harmonies, some electric leads, Christian vibes here and there. They had a second LP, "Gentle Flowing Feeling" in 1977.

ALEITHIA (KY) "Aleithia" 1975 (Airborn 750460) Christian rural folkrock with female vocals, organ, 12-string. Nice flow, with some electric guitar parts. [RM]

A LETTER HOME (Los Angeles, CA) "A Letter Home" 1975 (Blap lrs-rt-6152) Moody basement rock with Andy Sommers (pre-Police) and Pat Taylor (x-Ashes). Low-fi lost charms communal sounds.This is an LRS vanity job like Frolk Haven and may have played a part in the ultimate formation of the Police. [RM] ALEXANDER'S TIMELESS BLOOZBAND (San Diego, CA) "Alexander's Timeless Bloozband" 1967 (Smack 1001) The Smack album is pretty crude. Its recorded live (though theres no audience sounds) and has a sleazy blues vibe thats kind of appealing even though the music is only OK. There are a few standards, including Killing Floor and a jazzy instrumental take on My Favorite Things. Theres one great rock song, Sloppy Drunk, that has a Pretty Things-like vocal and some terrific, wild, loud lead guitar. Otherwise its of value mostly because of the sound, not the actual music. Their 2nd LP on UNI (1968) is a lot less interesting. [AM]

ALI-BABA REVUE ( ) "Let It All Hang Out" 196 (Boss BLP 1129) Local lounge/beat obscurity, described as "lame".

ALIEN CITY (Seattle, WA) "Alien City" 1979 (Dog Star dsp-1945) [lyric insert; 500p] "Alien City" is definitely different. Having listened to the album a dozen times, I'll readily admit I'm still confused by the story. While the concept was certainly unique, Turnbow didn't have much of a voice. On the other hand, exemplified by tracks such as "Information Overload", "Older Men" and the instrumental "Suffer", had a knack for crafting surprisingly catchy material. A couple of brief reviews compare the effort to mid-career Bowie. That's not a bad comparison - think "Ziggy Stardust" era glam and you'll have a feel for much of the project. 'Alien City was composed over a period of five years. It is a song cycle of epic proportions centered around the Incarnation of Celestial Visitors to this planet'. Jon reportedly spent some time in an asylum after recording this LP. [SB] ALIEN NATION see Larry & Myra

ALKANA (San Bernardino, CA) "Welcome to My Paradise" 1978 (Baby Bird no #) [lyric insert] This sought-after hard rock rarity was released in 1978, but sounds like an early 80s record. It has the kind of high vocals and streamlined lead guitar that would soon take over the mainstream hard rock world. The majority of this album is pretty standard macho flashy guitar stuff, better than most of its kind but nothing special unless you're a genre fan. What makes the album special is the 11-minute The Tower, an epic that incorporates everything thats good about the genre: melodic guitar leads, a stunning chorus, a smooth shift from mellow to heavy after a few minutes of the song. It's a classic, and the rest of the album gains appeal by association with it. Pretty album cover, too. Danny Alkana was formerly with Cock Robin, a local band that at times featured Misunderstood legend Glenn Ross Campbell. He later had some success on the classical-inspired metal guitar circuit. [AM]

CHAD ALLAN & THE EXPRESSIONS (Winnipeg, Canada) "Shakin' All Over" 1965 (Quality 1756, Canada) "Shakin' All Over" 1965 (Scepter 533, US) "Hey Ho What You Do To Me" 1965 (Quality 1764, Canada) Pre-Guess Who garage beat with a strong British Invasion sound. The group was originally named Chad Allan and the Reflections but changed their name due to the American group. Chad (Alan Kobel) left the group after the 45 release of "Shakin' All Over" to attend college and was replaced by Burton Cummings.

Randy Bachman was also a member. These LPs are sometimes referred to as hot collector's items, but interest seems to be on the wane. [RM] ALL IN ONE ( ) "All In One" 196 (KPS 9360) Late 1960s low-key nocturnal folk/folkrock with excellent female vocal harmonies, stand-up bass, occasional congas and understated drumming. Partly in a late folk-boom Simon & Garfunkel type mood, but also with appealing CA psych moves on tracks like "Errant In A Time" and the great "Days Of My Life", which has moody modal chords and atmospheric bells. Not a hippie scene, more like serious young ladies contemplating the world from a college dorm room. Too square for true greatness but worth checking out for folk and/or femme vox fans. Seldom seen item, with non-descript orange front cover and band pic on the back. [PL]

ALL NATURAL BAND see Frankie Carr ALL-NITERS (OH) "Recorded Live at the Barn" 1966 (Erie 001) Garage beat dancehall sound with saxophone. Recorded live in Sandusky, Ohio.

ALL OF THUS(NY)

"All Of Thus" 1968 (Century 27916) "All Of Thus" 1994 (Rockadelic 11.5) [500p; altered sleeve] Obscure local garage LP few had heard of until it appeared on the Rockadelic reissue. A good one too, one of my personal faves in this bag, with a punkedup Zombies sound, dreamy teenage vocals and a fractional acid edge to some lyrics. Less than half is cover versions, which is unusual for the era. A few slow cuts drag on, the rest is solid pre-hippie 60s music. The reissue has ultracool sleeve design (altered from original).[PL]

ALL RIGHT FAMILY BAND (HI/CA) "Music is Love" 1980 (A.F.B.)

Forgettable late-stage hippie barrock except for the enjoyable "Starry Ride" which features Sky Saxon; I believe this is the only track on the LP he's on. [PL] ALL SAVED FREAK BAND (Kent State University, OH) "My Poor Generation" 1973 table are clearly visible "My Poor Generation" 1976 on front cover] "My Poor Generation" 2000 (Rock the World nr-7825) [bible and on front cover] (Rock the World nr-7825) [cropped photo (CD Hidden Vision AC-26)

Debut LP from famous band on the Jesus Rock circuit, with a mixed bag of excellent psych-flavored 1970s rock and less successful tangents of gospel and country. "For Christians, Elves, And Lovers" 1976 (Rock the World afsb1001) "For Christians, Elves, And Lovers" 200 (CD Hidden Vision) Somewhat unexpected move from the X-ian mainstream rockers as they go on a British folk/folkrock bender here, complete with sparse guitar arrangements, some tasteful chamber music orchestration, and female vocal harmonies. This is surely due to the JRR Tolkien influence that enters about half of the song lyrics and make for an interesting marriage with the typical Jesus Rock moves on the other half. Unfortunately they can't keep from inserting a couple of tracks in the unappealing country-gospelrock style familiar from their other LPs, still the folkrock stuff is impressive enough to make this worth checking out. [PL]

"Brainwashed" 1976 (Rock the World nr-5974) [lyric inner] This is a tough band to figure out. With substantial resources and obvious talent on hand they were able to deliver some of the best Christian 70s rock by anyone anywhere, but just as often they would go into unsuccessful tangents of countryrock, goodtimey sounds and roots rock. At best their music is stunningly powerful (check out "Ode to Glenn Schwartz" on Brainwashed), with a dark, creeping psychrock menace achieved via songwriting and guitar/organ arrangements that spell big league all the way. Their other main asset are the testimonies/sermons, which are truly freaky and quite confrontational. The folkrockers are fairly agreeable on strength of the female vocals, while the male vocalists are more uneven. Both the first and third LP follow this pattern, with the third one being perhaps the stronger on balance. Apart from the incredibly strange testimonies the ASFB have a mainstream, upmarket 70s sound which has little in common with the basement westcoast style of bands like Kristyl or Wilson McKinley, or the raw heavy psych of Fraction. There is a CD with ASFB ex-member

Mike Berkey which contains folky stuff recorded 19731980 (Hidden Vision, 2002). [PL] "Sower" 1980 (War Again) "Brainwashed/ Sower" 2000 (CD Hidden Vision ac-27/28) [2-on-1] Man, these guys were just so good! Wailing away one minute - folk mood, jazz lightness the next. Seems impossible on paper, but with ASFB it works. All tracks are standouts. Maturity in sound and lyric. Many changes in tempo and very effective use of keyboards. Full of smoking guitar from Glenn Schwartz, wonderful use of solo violin, co-ed vocals. Beautiful Morning is pretty psychy with that organ outro. And a soulified killerized cover of Old Rugged Cross. All their albums are treasures with layers of interest both musically and lyrically. Dig deep. Bizarre liner notes describing prophesies to mate horses. The band has one track from "Sower" on the excellent "Holy Fuzz" compilation. [Bob Felberg] ~~~ see -> Lynn Haney

ALL THAT THE NAME IMPLIES( ) "Side 1" 1968 (ESP-Disk/ Oro 4) [lyric insert; bumper sticker] Hippie communal folk. There's also a non-LP 45 track. TANDYN ALMER (Los Angeles, CA) "New Songs Of" 196 (Davon demo 2257) [no sleeve] Songwriter's demo LP with unknown performers, showcasing recent compositions by mysterious Boettcher associate Almer, who wrote "Along comes Mary" for the Association, among other things. Includes "Menagerie of man", "Face down in the mud", "Sunset Strip soliloquy", "Alice Designs" and other promising titles. The latter was recorded by Pac NW band Mr Lucky & the Gamblers in early 1967, which may indicate a 1966 date for this demo album. ALPHA CENTAURI (Canada) "Alpha Centauri" 1977 (Salt 003) Hard prog-rock dedicated to Tommy Bolin, described as "lame" by one critic. ALSHIA (WI) "Alshia" 1980 (no label) This is another 80s private press hyped as "psych" by

deceptive or deluded dealers. Alshia are better than Child's Art, but don't let anyone mislead you as to the style, which sounds like low-budget version of 1980 FM radio fare. They were obviously kings of their small local scene, but were left to release their album on their own because everyone beyond their loyal fans saw them for the average act they were. Slow tempos and tons of really nice acoustic guitar (even on the quasi-heavy songs) make them more distinctive than your typical AOR or hard rock band. Nonetheless, the songwriting is average and the singing is very weak, especially when they try to harmonize. The highlights of the album are instrumental, and, indeed, the instrumental that closes the album is easily the best song. A female singer is wasted, given only one lead vocal, but she's not much better than the guy anyway. Lyrics occasionally reach toward Christian and meaning-oflife themes, but are mostly banal. This album was recorded and mixed in two days, and sounds like it. It's not a terrible album, but not an especially good one, and not psychedelic or even "prog" at all. Mostly it's illustrative of the desire of rare record dealers to keep finding new product to hype. [AM] ~~~ Here are some comments we received from Alshia band leader Paul Barlament, with reference to the review above: "I agree with much of your assessment of the album. It does sound like it was recorded in two days, although I think Andy Watermann did an admirable job with the time allotted and limited budget, as well as the relative inexperience of the musicians. It was actually Andy's idea to feature the acoustic guitar throughout much of the album, which did give it a rather distinctive sound. The Jefferson Airplane/Starship comparisons I've seen are interesting. There was a significant age difference between the bass player (Greg) and the rest of the band. Greg took up the bass after seeing the Airplane in concert and being floored by Jack Casady. I was 16 when I saw Jefferson Starship in support of Red Octopus, which is the only Starship album I owned. I would never consider anything they did in the same league as Volunteers or Surrealistic Pillow. My influences on guitar wereJerry Garcia from the Dead and Pink Floyd's David Gilmour.Jim, who played acoustic guitar on the album,was influenced a lot by the Dead's Bob Weir. In summary, I would say the sound we were going for wasa kind of Dead/Floyd/Airplane fusion.The albumdoesn't quite capture that, though it does have its moments.On our best nights, we were apretty goodjam band." ALTER EGO & FRIENDS (MI) "Obsessional Schizophrenia" 1972 (C Schneider) Vanity release from mental patient (real one) at Mercywood Hospital. The "friends" are probably alternate personalities of the guy, one Charles Schneider. He plays piano and sings, with material ranging from 1920s schlagers to the Rolling Stones, with some Thelonius Monk inbetween. Not blatantly crazy but with a creeping weirdness. Nice cover shows Schneider posing in the old nuthouse garden.

V.A "ALTOONA '68" (Altoona, PA) "Altoona '68" 1968 (Empire) Local sampler with some neat garage/folkrock originals by bands like the Young Lords, Society's Children and Showmen, weighed down by a couple of lame blue-eyed soul numbers. Covers include Doors, Cream and an obscure track from the first Human Beinz LP. All bands are unknowns. "Graduate" by Day After is an excellent, weird moody acid tune that sounds like a 1970s private press LP track, and has been reissued on a couple of modern comps. Although one of the better local PA samplers, it's still mainly a concern for completists. [PL]

AMBROSE (Cooksville, TN) "Bust Your Nose" 1978 (ARC 3661) This is southern rock that's heavier than the usual. The production is very thin, but the guitar playing is quite good and the genre's trademark, dual lead guitars, is in evidence throughout. The long solo on the last song is great, definitely the highlight of a decent but not consistently good album. The real issue here is whether or not you'll like the throaty Molly Hatchet-style vocal growl. I hate it, and it ruins the album for me, but if you're OK with that type of thing this is a pretty good genre piece. [AM]

AMBUSH ( ) "Ambush" 1981 (no label) Hard rock/AOR, highly rated by some. There are at least 5 different private releases called Ambush from the hard rock/metal era, so make sure you get the right one. This has a white cover with the band name in black on the front cover.

PAT AMENT ( ) "Songs by" 1971 (Signet) Relaxed electric folkrock. [RM] AMERICA IS HARD TO FIND ( ) "America Is Hard To Find" 1970 (Multi-Trax zb-176) Half anti-war spoken word poems by radical priest Daniel Berrigan, half Christian freak anti-war psychedelic rock mass. The mass is great fun for its ludicrous excess and tripped-out bohemian jamming.

Berrigan's history as an activist is rather remarkable and worth checking out. In 1972 Berrigan published some of these poems in a book with the same title. [RM] AMERICAN BLUES (Dallas, TX) "Is "Is "Is "Is "Is "Is Here" 1968 (Karma 1001) Here" 198 (Karma) [bootleg, says 'repro' on back cover] Here" 198 (Microdot AB-1) Here"/"Do their thing" 199 (CD Afterglow UK) [2-in-1] Here" 2000 (10" Akarma, Italy) Here" 2000 (CD Akarma, Italy) Pretty good Texas bluesy psych, well-known due to the ZZ Top connection. Opens with three psych killers but becomes more average as it progresses. Still, an OK item and worth checking out, at least in the reissued format. [PL] "Do Their Thing" 1969 (Uni 73044) "Do Their Thing" 1987 (See For Miles see-99, UK) "Is Here"/"Do Their Thing" 199 (CD Afterglow, UK) [2-in-1] Released by MCA's Uni subsidiary, 1969's "The American Blues Do Their Thing" was a major improvement over their debut. Self-produced, the collection found the band opting for a major change in direction. Written by the Hills, material such as the lead-off "You Were So Close To Me", "Captain Fire" and "Just Plain Jane" found the band attempting to capitalize on San Francisco-styled psychedelics. Elsewhere, the collection found the group mining a more conventional rock format; "Wonder Man" and "Shady" reflecting a distinctive Cream-influence, while the blazing "Comin' Back Home" (complete with Beard and Rocky Hill meltdown solos) offered up a nice Hendrix imitation. Sure, it was largely derivative, but that didn't lessen the enjoyment factor. [SB] AMERICAN BLUES EXCHANGE (Hartford, CT)

"Blueprints" 1969 "Blueprints" 1985 "Blueprints" 199 "Blueprints" 1998 "Blueprints" 1999 "Blueprints" 2000 tracks; gatefold] "Blueprints" 200

(Tayl 1) [1000p] (Heyoka 204, UK) (CD Flash 55, Italy) (CD Gear Fab 120) [+3 bonus tracks] (Void 16) [blue vinyl; insert; 500p] (Akarma 136/2, Italy) [3-sided set w/ bonus (CD Akarma) [+3 tracks]

Another one that's been known many years on the obscure LP circuit, though essentially a local white bluesrock LP and not the psych/hard rock winner some may claim. Has some decent numbers and a welcome moody, non-macho approach but all over not really

that interesting. The band came from Trinity College and mostly played college parties in the area. 'Tayl' was their friend, Nancy Taylor, who paid for the pressing. [PL] AMERICAN PEDDLERS (TX) "Once Upon a Rock" 1977 (AmPed ap-1003) Southern rock. Eric Johnson (Mariani, Electromagnets) guests on one track. [RM]

AMERICAN STANDARD (NY) "American Standard" 1970 (no label) [2 LPs; gatefold] College project. Inept psych and spoken word. [RM]

AMIGO ( ) "Stepping Stones" 1977 (Vee-Jay International) Heres a sleeper of an album, a late 70s release on a lost old label by a band that once backed up El Chicano and wrote for Malo and Santana. Between the odd, nondescript album cover and the bands Latin rock past (as detailed in the liner notes), youd never guess that this is actually a mix of San Francisco-styled guitar rock and Los Angeles-styled folk-rock/rural rock with excellent harmonies and sharp instrumentation. At times it slightly resembles Tripsichord. As the notes point out, these guys could really play, and theres plenty of hot lead guitar here. The closing The Clown is the key song, a dreamy ballad with harpsichord and evocative vocals that builds to a stunning closing battle of fuzz guitars. The songwriting here isnt always up to the level of performance, but theres plenty to like on this cool record. [AM]

AMROD'S BRAND (NY) "Live On The Playground" 1971 (BT Puppy 1024) Obscure one on noted label, pretty cool eccentric folk with a freaky guy in overalls on the cover.

AMULET (IN) "Amulet" "Amulet" "Amulet" "Amulet" 1980 199 1995 2000 (Shadow 00084) (Off the Beaten Path) [300p] (Shadow) [paste-on cover; blank back]) Amulet (CD Monster mcd-003)

Indiana hardrock with outstanding rhythm guitar. V.A "ANAHEIM HIGH SCHOOL" (Anaheim, CA) "The Original Rock'N Popsenanny" 1970 (Band 'n Vocal) [2 LPs] Mostly horrible vocal numbers but the last side features a psychy rock group. ANAL MAGIC & REV DWIGHT FRIZZELL (KS) "Beyond The Black Crack" 1976 (Cavern Custom 6104 12) [200p; booklet] "Beyond The Black Crack" 1998 (CD Paradigm, UK) [+bonus tracks] Avantgarde freakout LP of some notoriety and a truly disgusting album cover. V.A "A NEW HI: DALLAS 71" (Dallas, TX)

"A New Hi: Dallas 71 - Part 1" 1971 (Tempo 2) [poster] Local sampler famous for the two excellent psychrock tracks by the Mint reissued on Endless Journey, as well as two tracks by Cast Of Thousands, featuring a teenage Stevie Ray Vaughan. A NEW PLACE TO LIVE (Canada) "A New Place To Live" 1972 (Mandala 14003) This interesting pop album with a complex storyline and a few psychy and prog moments is as notable for the mysterious figure behind it as it is for the music on the LP. It's a Bob Gallo (aka "Robert John Gallo") project. Gallo pops up on a massive amount of records almost always associated with tax scam labels and oddball releases, starting in the mid 60's when he produced the strange beat LP "You Know Who Group" with no mention of any band members whatsoever. "A New Place to Live" was released on the Mandala Label, which was owned by Gallo. Other releases on this label include the very rare LP "Canada - What's So Bad About Feeling Good" which was only released in Australia, probably as a tax write off, and the second LP ("Pickin' Up The Pieces") by Aesop's Fables, which was released in Canada and Australia. The label also put out two solo LP's by Robert John Gallo: "Painted Poetry" and "Compositions." Gallo

later released various other solo projects including two LPs on the Guinness Label as Robert John and one on Guinness as Snowball. Some songs appear on more than one of his albums, though not always with the same names. All of these albums are pretty good, especially the Guinness release entitled "A Place To Live." He should not be confused with the Robert John who had a 70s hit with "Sad Eyes," though that Robert John has an equally long and complex musical history. [AM] V.A "ANGELS FROM HELL" (CA) "Angels From Hell" 1968 (Tower 5128) -- original soundtrack Includes rare tracks by Peanut Butter Conspiracy and Lollipop Shoppe, among others. ANIMATED EGG(CA) "Animated Egg" 1967 (Somerset 32700) [mono] "Animated Egg" 1967 (Alshire 5104) [stereo] Exploito organ and fuzz psych, and folkrock instros. One of the best studio hack expressions, wildness from budgetland. LA session pro Jerry Cole has recently confirmed that the original tracks were laid down during sessions for the Id "Inner Sounds" LP on RCA in 1966, then later sold to Alshire. A European pressing exists on the Europa label. These tracks, and others from the same sessions, appear on several LPs credited to different artists including: "Young Sound '68"; 101 Strings - "Astro-Sounds"; Bebe Bardon & 101 Strings - "The Sounds of Love"; Black Diamonds - "A Tribute to Jimi Hendrix"; Haircut & the Impossibles - "Call it Soul"; Generation Gap - "Up, Up an Away", and the jawdropping, Modern Sounds "Famous Songs of Hank Williams". Undoubtedly, that's just the tip of the iceberg for these clowns. [RM] ~~~ see -> 101 Strings; Id; Black Diamonds ANONYMOUS (Indianapolis, IN) "Inside the black/white "Inside the altered cvr "Inside the "Inside the 1] "Inside the Shadow" 1976 (A Major Label 1002) [blue/white cvr, label; booklet; 500p] Shadow" 1981 (A Major Label 1002) [2nd press w/ in black/white, red/white label; no booklet] Shadow" 1996 (OR 015) [insert; 375 #d] Shadow / J Rider" 2000 (CD Aether/OR 0009) [2-onShadow" 2001 (Akarma, Italy) [no insert]

Fabulous guitar-driven 60s-inspired folkrock and westcoast, firmly placed on my personal 1970s top 10 list. Comparable to Third Estate or Relatively Clean Rivers but deeper and earthier in a San Francisco sense, balances perfectly the album-oriented approach of the mid-70s with the magic and drive of the late 60s westcoast sound. Marvellous blend of male/female

~~~

vocals, strong songwriting with roots in the Beatles & Buffalo Springfield, and some extraordinary guitar passages. One of the big ones to me. Actually postSir Winston & the Commons, if you can belive that. All reissues are vinyl-sourced as the original master tapes are lost; furthermore the Aether/OR CD reissue accidentally used an unfinished master complete with vinyl pops and surface noise. The Akarma reissue sounds very good, but omits the insert and distorts the original sleeve color somewhat. [PL] ~~~ There are very few albums where a 60s Beatlesinfluenced songwriting sensibility moves seamlessly into the 1970s without sounding overly derivative or awkward. Zerfas and Michael Angelo are the only others that are in the same league as this amazing album, which, in terms of songwriting and execution is as good as anything released in the 70s by anyone. It suffers a tad from low budget production, but everything else about it is spotless, from the great male and female vocals to the intelligent and surprisingly complex songs, to the shimmering jangly guitars, to the stunning drumming on the closing jam. Had the world still been embracing great straightforward rock bands with pop sensibilities, Anonymous would have ruled the world, along with more well-known bands like Big Star and the Raspberries. [AM] ~~~ see full-length review see -> J Rider; Good Soil

ANOTHER WORLD PRODUCTION (WI) "The End of the Age" 1980 (no label, no #) X-ian prog guitar rock with Tolkien-inspired cover. Nice varied lp with melancholy downer strums, proggy hardrock with xian concerns, and winsome melodies with symphonic elements. [RM] ANTHEM (San Francisco, CA) "Anthem" 1978 (no label) [1-sided test press] Folkrock. Flowing westcoast sound with female vocals. Similar to the British group, Trees. [RM] ANTHONY AND SCOTT (Ann Arbor, MI) "Anthony and Scott" 1977 (Midwest MCR 1300) [500p] Weird mid-70s duo somewhere between folk-rock and post-Badfinger pop. Nice harmonies and an occasional dark lyric (the downer folk song 'Late Night Losers Dreams' is definitely the highlight of the album) add interest to a quirky but so-so collection of songs. Sparse arrangements make the vocals stand out front and keep the songs from sounding like power pop.

Dealers hype this one as an acid folk masterpiece because of the totally ridiculous (and great) lyrics to "Pink Octopus", the second-best song here. An enjoyable album for the right listener, and some of the lyrics are way off the wall, but don't be misled, as this is not psychedelic in any way. [AM] ANT TRIP CEREMONY (Oberlin College, OH)

"24 Hours" 1968 (CRC 2129) [black vinyl; thick cover; 300p] -- the original has 'CRC-2129A STEREO' etched in the dead wax "24 Hours" 1983 (C.R.C.) [close counterfeit; vinyl is bluish under bright light] "24 Hours" 198 (C.R.C.) [counterfeit; thin cover, thin vinyl] "24 Hours" 198 (Resurrection) "24 Hours" 1995 (Psychedelic Archive, UK) [paste-on cover; 300p] "24 Hours" 1995 (CD Anthology, Italy) "24 Hours" 1999 (CD Collectables) Odd late-night psychy folkrock that sounds like it was recorded at 4 AM by a bunch of guys on their way down from an acid trip - still turned on, but tired and reflective. Instruments ramble on each in its own time frame (perhaps more jazzy than sloppy), supporting anemic, almost apathetic vocals sometimes fed through weird filters. A few covers, some Deadtype instros, but mostly early spooky hippie folkrock. Not a real fave of mine but still an interesting LP, and sleeve too - note the hookahs. [PL] ANVIL see Boa A PASSING FANCY (Canada)

"A "A "A "A

Passing Passing Passing Passing

Fancy" Fancy" Fancy" Fancy"

1968 1988 199 2002

(Boo 6801) (Breeder, Austria) (CD Afterglow, UK) (CD Pacemaker)

Decent garage/pop-psych from Toronto notable mostly for an amazing psychedelic sleeve. Has more of a top 40/swinging London sound than American garage/psych, a common feature of Canadian LPs from '67-'68. A

couple of good punky tracks including a Music Machine cover but all in all too lighweight and a disappointment in my ears. The Pacemaker CD is a master tapes re, but mastered far too slow, enough to render it virtually unlistenable. [PL] ~~~ The album compiled tracks from four earlier singles, along with four new tracks. As a compilation the album's quite diverse with the band showcasing an almost chameleon-like adaptability. Tracks such as the slashing "I'm Losing Tonight" and "People In Me" are first-rate garage rock. The title track, the annoyingly catchy "I Believe In Sunshine" and "Island" showcase a top-40 pop feel, while "You're Going Out of My Mind" and "Spread Out" find the band immersed in wild psychedelics. Frequently diversity equates to lack of focus, but in this case it simply makes a great album even better. In fact, the only real disappointment is the bland and tame ballad "Sounds Silly". [SB] APHAZIA see Yankee Dog APOSTLES(Andover, MA)

"On Crusade" 1965 (MG 79909/10) Northeast prep rock r&b raveups, dual guitar, horns.

"An Hour Of Prayer" 1965 (Sound Rec 1245) Preprock band from the same school (Phillips Academy) as the Rising Storm and the Ha'Pennys."An hour..." supplies one track to a Garage Punk Unknowns. Haven't heard these though it seems to be all covers. Great primitive sleeve designs. V.A "A POT OF FLOWERS" (CA) "A Pot Of Flowers" 1967 (Mainstream s-6100) Highly rated sampler of local talents, some of who would go on to bigger things. Excellent tracks by Euphoria (the non-LP 45) and Harbinger Complex are among the highlights. Wild Flower and the Other Side are also featured. [PL]

~~~ This sampler is a more consistent listen than most Mainstream albums, compiling a number of light psychstyled pop songs. The four bands have a surprising stylistic consistency, and while nothing on this album reaches the heights of the best songs on, say, the Bohemian Vendetta or Growing Concern albums, overall this is one of the most enjoyable Mainstream LPs. [AM] JON APPLETON (CA/NY) "Appleton Syntonic Menagerie"1969 (Flying Dutchman fds-103) "Human Music" 1970 (Flying Dutchman) Avant garde electronics. The 2nd LP was a collaboration with noted jazz musician Don Cherry. There was also a 1974 LP on Folkways with some overlap with the earlier LPs. Jon Appleton had several more releases that fall outside the scope of the Archives.

APPLETREE THEATRE ( ) "Playback" 1968 (Verve Forecast ft-3042) [mono] "Playback" 1968 (Verve Forecast fts-3042) [stereo] Somehow, this popsike concept album found its way into the late 70s book "Rock Critics' Choice: The Top 200 Albums." It's the brainchild of John and Terry Boylan, and is a concept album mixing spoken words, song-stories and songs. It's a much more enjoyable listen than most similar records (i e: Family Tree) because the songs themselves are so strong. It's grade-A sunshine pop with occasional psychedelic arrangements, dipping occasionally into hard-edged soul and music-hall. Jaded Beach Boys or Sagittarius should like it. John Boylan later formed Hamilton Streetcar, on whose interesting but less successful concept album he would re-record a few of these songs. [AM] ~~~ see -> Terry Boylan; Hamilton Streetcar

AQUINOS (Hannibal, MO) "Aquinos" 1967 (IT 2318) "More Adventures with the Aquinos" 1968 (Saint Thomas 100) Instrumental prep rock surf covers by seminarians at the Saint Thomas Seminary! ARCESIA (RI/CA)

"Reachin'" 1968 (Alpha 103) [blank back] "Reachin'" 1997 (Little Indians 9, Germany) [altered sleeve; 400p] Insane loungepsych blowout by a middleaged crooner who dropped acid in the 1960s and decided to make a psychedelic (well, sort of) LP with mindboggling results. For a professional vocalist he sings remarkably bad, though this doesn't stop him from filling every line with overwraught passion. The music varies between orchestrated extravaganzas and more rockin sounds including some fuzz - the songs aren't half-bad actually and the lyrics appropriately OTT, though it takes several plays to get past his voice. Imagine Del Shannon's "Charles Westover" LP with Father Yod on vocals and you're halfway there. Recently a 45 on Alpha with a non-LP track has been found. [PL] ~~~ Johnny Arcesi was a 1940s big band singer in the northeast. In his 50s, he moved to Los Angeles, discovered LSD and recorded this otherworldly acid lounge real people LP with Doorsy organ and his sincere crooning way out front. A must for real people aficianados, everyone else duck and cover your ears! [RM] ARCUS (NJ) "Launching No 1" 1973 (HNP) [paste-on cover] Bluesy club rock and Santana groove guitar organ jamming. [RM] ARDEN HOUSE ( ) "Coming Home" 1977 (Dellwood) Dellwood is a subsidiary of the famous tax scam label Guinness (or vice versa), and this is one of the better releases on either label. Side one is mainstream 1970s rock with a little bit of synthesizer. Side two veers into more complex prog territory. "Streakin'" is an embarrassing novelty period piece, but otherwise this is quite good and the two long songs at the end (one of which, "Somewhere Beyond The Sun," was clearly recorded a few years before the rest of the album) are excellent. In true indifferent tax scam label fashion, side one runs 11:20 while side two runs 21:08. The big surprise here is that this band is actually Jasper Wrath, as is Zoldar & Clark (whose album on Dellwood is similar to this, but significantly better.) [AM] ~~~ see -> Jasper Wrath; Zoldar & Clark

ARICA (New York City, NY) "Arica" 1972 (Woo Soo a-1001) [2 LPs; gatefold; brown cover)

"Arica" 1972 (Audition a-1001) [2 LPs; gatefold; magenta-pink cover) Mystic trance with tablas, acoustic guitar, piano, and creepy voices. On the Woo Soo releases sides 1-3 are meditative instro trance sounds, side 4 is free jazz. On the Audition version all four sides are meditative instro trance sounds. The WooSoo version appears to be first and is rarer. The side-long free jazz track is titled "Water: Reception of the Buddha"! [RM] "Heaven" 1973 (Just Sunshine jss-1) [gatefold] [1?] ARK (SC) "Voyages" 1978 (no label 810-70) [100p] "Voyages" 1994 (Fanny 070194, Belgium) [paste-on cover; 500#d] A pretty good Christian effort in a mellow late-60s westcoasty psychrock style despite the vintage. Consistent throughout, with a relaxed and reflective late-night mood that makes it seem unexceptional at first, then it creeps upon you. Not a killer, but appealing enough to check out. Often compared to the Doors, but I honestly don't hear much of that. The very small press size figure comes from a band member. [PL] ARKANGEL (Houston, TX) "Warrior" 1980 (Joyeuse Garde jgr-001) [gatefold; insert] Recorded in Oklahoma, heavy guitar and synth-led Christian prog with a medeival edge and tons of different instruments. Produced by Jimmy Hotz. ExRedemption, after a relocation from San Antonio. Kemper Crabb later went on to a solo career with more recordings. ARKAY IV (Erie, PA)

"For Internal Use Only" 1968 (Marion 22595) [100p; insert] "The Mod Sound Of" 1988 (Cicadelic 1003) "Battle Of The Bands" 199 (CD Collectables 0519) [parts of orig LP +bonus; 2-on-1] 1966-style beat-garage with frat, folkrock and some Brill Building pop moves, more competent and prosounding than the genre average. Originals all the way, though their songwriting isn't that impressive. Some good tracks but not really top of the heap. An original copy with cover and insert sold for almost $5000 in 2001. The CD re is shared with the PA

Outcasts, whose half actually is superior. [PL] ~~~ Melodic garage beat. Clean teen dance-o-rama fun with ringing surf-styled leads, fuzz, pounding drums, Hammond organ, and warm vocals. [RM] ~~~ see -> Weigaltown Elemental Band ARMPIT (CA) "The Armpit Album" 197 (Monroe PU 101) "Thursday Afternoon at Bob's House" 1977 (Monroe PU 102) "Burned Out" 197 (Monroe PU 103) "Bizarro Album 104" 197 (Monroe PU 104) It's hard to believe that these albums actually exist, but they do. As you can guess from the band's name and the records' catalogue numbers, this is drugged out and deliberately offensive goofy comedy. I mixes spoken word sections with sound effects and "songs." The music is basically funny voices backed with solo guitars, probably done in one take. Apparently the material on these records was recorded over a span of several years, dating back to 1971, and assembled and "mastered" quickly for the LP releases. The liner notes and cover photos are all pretty funny (and twisted: one actually has a photo of a hard porn magazine in the back cover collage.) Anyone could have done this, but these guys actually had the balls to release four albums of it (though they didn't use their real names.) Some of the more amusing liner note bits are one that says the material within is "tedium," and another calling them "The world's most popular foursome." Wild Man Fischer appears on two songs on "Burned Out", which makes that the most valuable of the four albums, though all are quite rare. [AM] ARROGANCE (Greensboro, NC) "Give Us A Break" 1974 (Sugarbush 103) "Give Us A Break" 200 (CD Dixon Archival 003) The first Arrogance album works against their rock strength, with a full drum set on only one song. The rest feature bongos, which don't mix especially well with the mostly acoustic folk/county sound they develop here. The best songs just beg for electric guitars and powerful drums, and fall flat without them. Overall, the songs are decent and the vocals appealing, but this feels like a collection of demos and is just a shell of what they were capable of. On the 1976 album "Rumours", they would remake one of these songs, showing just how good it could be with a rock arrangement. The next album, "Prolepsis", with a full band, a higher recording budget, a less backwoods sound and a major leap in songwriting quality, is miles and miles better than this. [AM]

"Prolepsis" 1975 (Sugarbush 112) "Prolepsis" 200 (CD Dixon Archival 004) Arrogance were called "North Carolina's Beatles", not because of their sound, but because even into the mid 1970s they were the only regional band popular enough to draw large crowds while playing original material. There's no doubt that by the time they made this, their second album, they had achieved an amazing level of professionalism and confidence, and "Prolepsis" certainly compares well with any major label album of the period. Their sound is that of mainstream America in 1975, a blend of rural rock, guitar pop and folk-rock, equal parts vocal harmonies and dynamic lead singing. While it has none of the heavy or freaky aspects of the Greer album, it's an even better LP. The album is full of terrific songs, exciting moments, sharp instrumentation and thoughtful arrangements. Side one is practically perfect, side two merely great. Anyone who was in NC at the time will tell you these guys were the best, and hearing this album, it's easy to imagine that they could have been hugely successful if the stars were aligned the right way. Bass player Don Dixon would eventually achieve that commercial success as a producer and occasional performer, but he never did anything better or more inspired than this. Arrogance would release a few major label albums of which the 1976 album "Rumours", on Vanguard, is the best, just a level below "Prolepsis". The band also recorded tracks for a prospective LP called "Night Of Dreams" in 1970 that never came out; some of the tracks appear on the subsequent 1972 LP by Michael Greer. There was a non-LP 45 by Arrogance from 1970 which has been comp'd and has a tough rock sound that's unlike any of their other work. [AM] ~~~ see -> Greer

ARROW (PA) "Coming Attractions" 1977 (JAMA) Melodic xian rock. Rumbling electric guitar, subdued drumming, with the vocals way out front. The singing is really special on this LP, high and clear akin to Robert Plant crossed with All of Thus! The primitive 'recorded in a tunnel' production only adds to the creepy moodiness. The record does have a notable xian component but the songs are more about being 'down and out' than evangelizing, so downer fans should go nuts. Highlights: 'Reach Out' with gurgling, ringing wha-wha and the creepy lostness of 'Drum Fever'. [RM] ART (Alaska) "Art Is Whatever You Can Get Away With" 1972 (Oosik) Zappa/Fugs-like stoned goof basement folk, a live performance by Rudy Palmtree and his Exotic Fruits.

ARTHUR (Los Angeles, CA) "Dreams and Images" 1968 (L.H.I. 12000) [mono] "Dreams and Images" 1968 (L.H.I s-12000) [stereo] "Dreams and Images"/"Love is the Revolution" 2002 (CD Papa's Choice) [2-on-1] Remarkably successful chamber-music folkpsych trip, blows most of the similar L A producer-pop LPs away. Wistful, dreamy, nostalgic - you name it. Reason it works so well is that every song is a completely realized idea, and that all songs stay within the clearly defined boundaries of the album. Beautiful woodwind arrangements, strong songwriting, and the right type of lyte-psych vocals. Takes a cue from Donovan, but explores a branch of its own. To my ears clearly superior to his Nocturne LP. Main objection is that the playtime is so damn short. Released in March 1968; note that the Kitchen Cinq LP has an almost identical catalog #. [PL] ~~~ Quiet and beautiful folk/psych singer/songwriter LP produced and released by Lee Hazelwood. This is high quality stuff - trippy and melancholic with purely acoustic instrumentation spiced up here and there by the odd leslie fx etc. There's no drums whatsoever on the album, which makes it quiet in an almost Linda Perhacs way. Much better than his second album. [MM] ~~~ see -> Arthur Lee Harper ARTHUR [on Two:Dot & RD Records] see -> Arthur Gee ARTIFICIAL HORIZONS (GA) "Artificial Horizons" 1974 (Horizons hs-01) Electronic prog with synth, dulcimer, flute, echoplex. Sometimes listed credited to Tom Behrens.

ART OF LOVIN' (MA) "Art Of Lovin'" 1968 (Mainstream 6113) "Art Of Lovin' / Velvet Night" 200 (CD Hipschaft) [2-on-1] Light Airplane-meets-Mamas&Papas hippie-pop/rock LP, a genre which seems to contain an infinite number of mostly so-so's. Similar to Neighb'rhoood Childr'n or Yankee Dollar though more faceless than both. Songwriting is unexciting and the standard Graceclone occasionally operatic. Some good guitar and a strange ethnic folk art sleeve I dig. There was also a non-LP 45 on Mainstream. [PL] BILL ARTZ & HIS RHYTHM KINGS ( )

"Variety Time" 1965 (Justice 101) First LP on famous Southern garage label. Eastcoast club band with early 60s dancehall sound. Of interest mainly to folks running the label. [RM]

DAVE ARVEDON (MA) "Best of Dave Arvedon" 1971 (Wrecked 81474) [200p] "In Search of the Most Unforgettable..." 1996 (CD Arf Arf aa053/54) [2 CDs] Crazed garage basement goof with low-rent humor and songwriting rivalling the Shaggs. CD Includes all his recorded material plus a bunch of unreleased tracks. [RM] V.A "A SEA FOR YOURSELF" (Los Angeles, CA) "A Sea For Yourself" 197 (Rural) [2LPs; 1st pressing; gatefold with color paste-ons] "A Sea For Yourself" 197 (Rural) [2LPs; 2nd pressing; b & w gatefold] Two-LP soundtrack from the 1970s surf underground is all over the place, but pretty interesting. Highlights are some spacy instrumentals from the Dragon Brothers and some surprisingly solid songs from Rockin Foo, whose LP on Hobbit is usually poorly rated. Has been compared to the Farm "Innermost Limits" LP which features some of the same guys including the Dragon brothers. An Australian pressing with a laminated sleeve exists. The Farm entry contains details on the Dragons and related musicians. [AM] ~~~ see -> Farm ASHBURY (AZ) "Endless Skies" 1983 (private) Hardrock ripper with a progressive edge. Issued with a gorgeous fantasy cover. [RM]

BILLY ASHE (Salado, TX) "You-In-You" 1974 (Frigate) [300#d; plain cover; booklet]

Basement folk live from his living room. Issued in plain cover with handwritten title. Comes with 19pp of mimeographed lyrics and weird drawings!

ASHES (Los Angeles, CA) "Featuring Pat Taylor" 1971 (Vault 125) Apparently the group, which played most of its live shows in 1966 or so, reunited to record this album in 1968, with Pat Taylor in place of original vocalist Barbara Robison. It has some similarities to related outfit Peanut Butter Conspiracy, but mostly its closer to 70s soft rock than 60s folk rock. As such, its very nice, though. Taylors vocals are crystal clear, similar to Susan Jacks of the Poppy Family. Haunting harmonies shape the best songs, most notably Return Home. A few songs sung by the guys are less interesting. In line with the confused time warps around this band, the LP wasn't actually released until 1971. The Ashes also appear with four 45 tracks in unique stereo mixes on the "West Coast Love-In" sampler from 1967 (Vault). [AM] ~~~ see -> A Letter Home

ASHLEIGH BRILLIANT (San Francisco, CA) "In the Haight-Ashbury" 1967 (Dorash 1001) Hippie druggy street poet. Documentary of a 'happening' spoken and sung to hippies in Golden Gate Park so you know it's the real deal.

ASIA (SD) "Asia" 1978 (no label, no #) "Armed To The Teeth" 1980 (no label) Early 70s-influenced progressive guitar and mellotron rock in a Purple/Captain Beyondschool from band formerly known as White Wing; no relation to the more famous band, naturally.

ED ASKEW ( ) "Ed Askew" 1968 (ESP Disk 1092) [reverse-negative cover of a riot scene) "Ed Askew" 199 (CD ESP 1092, Germany) [art cover] "Ed Askew" 200 (CD) [+bonus track] This is a unique acid folk item, even by ESP standards. Askew plays the tiple, an acoustic

instrument in the same world as mandolin, dulcimer and autoharp. The effect isnt a whole lot different from guitar-and-voice, but its just exotic enough to have curiosity value. The instrument takes a lot of energy to play, and the effort gives Askew a strained vocal style that actually gives his music an appealing edge. The songs are odd enough (and good enough) to keep the listeners interest despite the sparse arrangements. The lyrics are quirky and occasionally mystical, but quite effective and affecting. Askew has a bizarre sense of romanticism that fits his street poet mentality. Supposedly some of these lyrics address his homosexuality, making him way ahead of his time. He does so, though, in such abstractions that the words can be interpreted in other ways. Like all purely solo albums, after 43 minutes theres a saminess to this, but this really is one of the best albums of its type, and is recommended highly to fans of loner folk and oddball singer-songwriters. there is apparently also a reissue retitled "Ask the unicorn" in an altered cover. [AM] THE ASTRAL PROJECTION (NY) "The Astral Scene" 1968 (Metromedia 1005) [wlp exists] "The Astral Scene" 2000 (Gear Fab) "The Astral Scene" 2001 (CD Gear Fab 153) "The Astral Scene" is an oddity falling somewhere between Curt Boetcher-styled sunshine pop, Association-styled top-40 and Animated Egg styled exploito. Thematically tracks such as 'The Sunshine Seekers' and 'Plant Your Seeds' were highly orchestrated tying together as a full-fledged concept piece. If you waded through the extensive back panel liner notes, the plot line had something to do with the concept of escaping the physical body to experience spiritual embodiment. In spite of the goofy titles and lyrics (' Today, I saw The Sunrise') and the fact the arrangements were full of rather spacey instrumentation, virtually all of the songs were quite commercial. It's easy to imagine stuff like 'Overture The Airways Of Imagination' or 'The Happening People' having been adopted for some sort of 1960s television theme song. Note: this is sometimes listed with the band name and LP title reversed. [SB]

ASYLUM (VA) "First and Last" 1973 (no label nr-3217) "First and Last" 2005 (World In Sound rfr-20, Germany) [insert] On the back cover of this Military Academy rarity is a list of the band's influences which seems OK until the names Carole King and Roberta Flack jump out at ya. Further proof is in the grooves, where several tracks are female singer/songwriter laments with piano, well-written, well-sung and well-played and therefore completely misplaced on what is elsewise a

typical local 70s rural melodic rocker. Also, there is only 1 guitar solo on the whole LP, and even that one is brief. I sort of liked this as an artefact and some nice westcoast grooves & it would have been cool on a CD-R with a cover scan, but I have to question whether it was worthy of a reissue, even though it is a very nice reissue job (as usual) from World In Sound. WIS spent a whole lot more $$$ on reproducing and texturing the generic cover than the band once did! [PL]

ATLANTICS (Detroit, MI)

"Live at the Nite-Lite" 1971 (Hashish) Lounge wah-wah rock with female vocals. ATLANTIS (MN) "Atlantis" 1972 (Tektra) Lounge blues rock with horns and fuzz. Good version of 'Down by the River'. ATLANTIS PHILHARMONIC (OH) "Atlantis Philharmonic" 1974 (Dharma) While we've seen the album show up on various psych lists, musically the collection's best described as progressive. For better or worse, propelled by Joe DiFazio's synthesizers, original material such as "Atlantis" and "Fly the Light" bore more than a passing resemblance to ELP. To be honest, anyone into mid-'70s progressive bands was likely to be familiar with DiFazio's blend of AOR moves (the Styx-meets-ELP "Death Man"), Yes-styled keyboards (watch out Rick Wakeman) and occasional classically-inspired interludes ("Woodsmen"). Those comments weren't intended to slam the LP. Taken as a package, it makes for a fairly impressive debut. Even more so when you consider it was recorded independently and with minimal financial resources. Besides, we'd rather hear this than "Tarkus" any day. Certainly worth a spin if you can find it for a reasonable price. [SB] ~~~ Top-notch private press prog record that works because it has the usual prog elements (mellotron, organ, snyth, heavy guitar licks, sci-fi/mythological lyrics) but is more geared towards songwriting than wanky soloing. The songs are long but don't branch

off into a million different directions; this is very well-conceived and not "difficult" to listen to. They (I should say "he," as the band is basically a duoone guy plays drums and another does everything else) probably couldn't have done a bunch of showoffy solos even if they wanted to, and the music ends up being very high on hooks, and, of course, drama. The 8 minute closing song is especially intense. The only problem here is the mediocre vocals. He's not pretentious or macho; he just plain can't sing very well. With a real singer this would have been a masterpiece. As it is, this is still one of the very best in the genre. [AM] ATTENTION SPAN (Richmond, IN)

"Crucible" 1975 (no label) Actually a various artists assembly from Earlham College with amateur folk, bluesy rural moves, and some fuzz rock. ~~~ see -> Sequoiah Stream AUGUST (PA or NJ)

"August" 1968 (Nise Sound 31) "August" 2001 (Shadoks, Germany) [450#d] UK-influenced late beat sounds with an introspective New England-type mood for most part, has a couple of goofy music hall-type numbers but also one deep killer and a dedicated feel about it. A Christian group though they hide it well, breaks through only on one track. Another cut has pantsy effeminate vocals raising the question of what the hell is going on. OK teen-sound LP with several originals and some oddball cover choices, but unexciting and unbelievably overpriced in relation to its limited musical merits. Funny sleeve design. [PL] AUTOSALVAGE (New York City, NY) "Autosalvage" "Autosalvage" "Autosalvage" "Autosalvage" 1968 1968 1988 199 (RCA LSP 3940) [stereo] (RCA LPM 3940) [mono] (Edsel 286, UK) (RCA) [bootleg]

"Autosalvage" 199 (CD RCA) [bootleg] Frank Zappa discovered this unique band, whose unusual arrangements and experimental songs make this a memorable LP that rewards multiple listens. The metallic guitar tone and odd song structures may throw a listener at first, but in the long run are what makes this record so compelling. Its progressive in the best sense of the word. The bootleg RCA CD has been reported as having inferior sound and a screwed-up track list. [AM] ~~~ see -> Bear

AUTUMN PEOPLE (AZ) "Autumn People" 1976 (Soundtech so-3020) [gatefold] "Autumn People" 2003 (CD Radioactive 030, UK) Didn't like this much at first but must admit its basement charm and rough edges makes the AOR progrock aspects easier to swallow. Skillful guitar/keyboard interplay on songs that go through a lot of changes but usually retain a sun-baked Southwest feel, like cruising in mid-70s Arizona with the radio tuned to a local battle of the bands broadcast. Vocals are amateurish and enthusiastic while the FM rock guitars and thick keyboard layers make for a Marcus-House Of Trax sound at times. Occasionally truly atmospheric local prog-rock that is never too self-indulgent. [PL] ~~~ This is hyped as prog, but its not complex or adept enough to earn that tag. Its mainstream AOR-ish 70s hard rock, not bad, but cheap sounding, with uninteresting vocals and with too many 80s-style synthesizers. A few songs rise above: See It Through sounds like it could have been an FM radio hit and has clever backing vocals and solid guitar hooks. They try to repeat the same formula on a number of other songs, less successfully. Not bad, but despite a few silly sound effects, not exactly the kind of thing Acid Archives readers crave. [AM] AVENGERS VI (CA) "Real Cool Hits" 1965 (Mark 56 no#) Surf beat LP issued as a promotional tie-in for Good Humor Ice Cream similar to how Flat Earth Society's 'Waleeco' was sold. Some outstanding tracks for genre fans. AWAKENING ( ) "God Come Down" 197 (Christos cs-1001) Half oversung and half moody deep Christian folky group. A couple of heavier tracks including a great one with distorted electric guitar. Nice homemade

project vibe going on here, introspective latenite winner. The sleeve offers no clues on their identity or origins. [RM] AZITIS (Sacramento, CA)

"Help" "Help" cover] "Help" "Help"

1971 (Elco 5555) [500p] 1996 (no label, Austria) [bootleg; 300#d; altered 199 (CD Synton, Europe) 2001 (CD Orchard 8532)

A highly rated title in the Christian psychrock bag, mellow and reflective which is the way these LPs should sound. An organ-based post-1960s sound with moody vocals and quality song writing, consistent all through. "The prophet" is a personal fave, but the across-the-board strength is what makes this LP stand out. They also had a non-LP 45 as Help, but changed their name due to the band on Decca. [PL] ~~~ One of the very best Xian records. This album reveals hidden depths with each listen. The dreamy, laid-back vibe will appeal to psych fans, but at first hides the abundance of melodic ideas. After a few listens you'll be drawn in by the excellent vocals, consistent sound and thoughtful (not preachy) lyrics. It's often quite dark, but the groove isn't depressive. The organ/guitar-based sound isn't exactly original but the overall feel is unique. [AM] AZTECS ( ) "Live At The Ad-Lib Club In London" 1964 (World Artists wam2001) Beat covers, not terribly good but plenty of adrenaline! Cover has a shameless Beatles tie-in showing them promoting the club. [RM] AZURITE (CA) "Azurite" 1979 (private) [500p] Collectable late 70s hard rock rarity (the cover specifies only 500 copies pressed) contains a lot of acoustic guitar and some really moody passages, which shows they were going for more than just headbanging. Unfortunately, a really annoying lead guitar sound (and solos that go nowhere) pretty much undermine even the good moments on this album. A few boogie rockers are especially bad. The lyrics are typically dumb, which is not unexpected for this genre. They take themselves really seriously; it would have been nice if they lightened up a little. [AM]

Acid Archives Main Page

BABY see Sidetrack

BABYLON (St Petersburg, FL) "Babylon" 1977 (Mehum 4641) "Babylon" 199 (CD Synphonic) Genesis-style progressive rock with lots of keyboard and long tracks, rated highly by genre fans. Oddly housed in a cover that looks like a punk/skinhead LP; this design was transformed into a space alien on the CD reissue.

BACHS (Chicago, IL)

"Out "Out "Out "Out "Out

Of Of Of Of Of

The The The The The

Bachs" Bachs" Bachs" Bachs" Bachs"

1968 1992 199 1997 2004

(Roto no #) [500p] (Del Val 007) [350p] (Flash 43, Italy) (CD Flash 43, Italy) (CD Gear Fab) [+bonus track]

One of the most legendary US garage-era LPs. Strong all through, in a crude garage folkrock style with some psychy edges and no covers, which is unusual. The band emits a rather unique, timeless vibe, with a middle third that is particularly impressive. Takes time to get into, but ultimately one of the truly big pieces among 1960s private pressings. Unfortunately, none of the reissues reflect the presence and punch of the original. The Del-Val reissue and the subsequent bootlegs of it are all mastered 1.5%-2.0% too slow. The legit Gear Fab reissue is the correct speed but has clearly inferior sound and digital skips. You need to hear an original (or a CD-R thereof) to understand the full magnitude of the Bachs experience. According to a band member, 500 copies were pressed. [PL] ~~~ Chicago jangle guitar downer garage psych with gorgeous aching vocals. Masterful guitar work covering the spectrum from Beau Brummels chiming to anarchic Litter runs. Haunting poetic originals full

of lost love and broken dreams - even moving into stream of consciousness territory on 'Minister to a Mind Diseased' and 'Tables of Grass Fields'. The closer, 'I'm a Little Boy', is an otherworldly dark feedback monster. Literally every track is a winner! Recorded in a butcher's shop by this high school group late 1967 and released January 1968. This group had a maturity and presence way beyond their years. For me, it comes down to this and the Litter's "Distortions" for best US garage LP. [RM] ~~~ In the world of private press, original song, garage psych The Bachs is one of the 2 or 3 best. Along with "All Of Thus", this LP is a great example of the transition from garage rock to psych that happened all across suburban America in `66-'67. The LP was recorded in a Butcher Shop on a cheap tape machine so the sound isn't quite up to major label quality, but the LP has a charm that truly captures the teen angst and emotion that so many of these type of LP's lack. In the scheme of things, if any LP is worth four figures, it's this one. [RH]

BACK POCKET (CA) "Have A Nice Day" 1971 (Allied Records AL-1971) [sticker] Los Angeles-area obscurity with a Dead-like rural sound.

BACKSTREET BOOGIE BAND (AZ) "Southbound Freight" 1981 (Platt & Klum) Dual guitar hard rock with a Southern vibe, has been compared to Wabash Resurrection.

BAD AXE (Riverside, CA) "Bad Axe" 1976 (Earth Breeze) "Bad Axe" 2004 (Hexamon 002) [500p; poster; insert] Teenage hardrock pointing towards metal with little or no residues of the stoner era to be found. Solid guitar-work as you would expect, with doubletracked axe-men battling it out Ritchie Blackmore-style. The band works the best during the instrumental temposhifts when the ace drummer kicks in the overdrive and they really take off into headbanger heaven. Unfortunately the songwriting is unexceptional, and the vocalist seems lacking in selfconfidence. Lyrics are mostly of the bonehead variety, and putting this all together you come up with an LP that early metalguitar fans will love, while those looking for a bit more needn't bother. Some nice use of phasing and some prog moves here and there. It appears the LP was pressed for demo purposes only in a tiny run. There is also a 45 from 1977 with a PS on the Progrezzive label. [PL]

BADGE & CO (KS) "Badge and Company" 1977 (Wilmarco lps-1) [1000p] "Badge and Company" 2000 (no label, Europe) [bootleg] Bluesy power trio with ZZ Top sound.The counterfeit has a whitish label, while the original label is more beige; otherwise they're very close.

V.A "BADGER A-GO-GO" (WI)

"Badger A-go-go" 196 (Night Owl KTV-3) 15 teen-beat tracks from local WI bands housed inside a silly sleeve. Bands include Dave Kennedy & Ambassadors, the Mule Skinners, Jerry & Continentals, Grapes Of Wrath, and others. The psych-flavored "Salem Witch Trial" by Kiriae Crucible is probably the highpoint. ~~~ see -> Mendelbaum

KALI BAHLU (CA) "Cosmic Rememberance" 1967 (World Pacific wps-21875) [gatefold] Eastern meditation exploito with sitar and jarring female narration. ~~~ see -> Lite Storm

ISABEL BAKER ( )

"I Like God's Style" 196 (Romco HF-101) Side One starts out with the title track and is far out there, Christian Garage Rock-A-Billy with vocals straight from the depths of Hell. Imagine the illegitimate daughter of Hasil Adkins and Mrs. Miller and you have an idea of what this sounds like. The second cut "The Gaderian" is PSYCHO-delic with

Isabel's rockin' guitar ever present. All of Side One is Real People Heaven that will appeal to everyone from Billy Miller to Jimmy Swaggart. Side two kinda sucks. [RH]

GARY BALDWIN & MASS MURDER ( ) "If I Only Could Play Piano" 1979 (Airhole 00001) [100p] Described as primitive DIY freakouts with one side being garage rock and the other hippie folk trance, plus 10 minutes of silence! The band is listed as Wombat Suicide on the label.

V.A"BALTIMORE'S TEEN-BEAT A GO GO" (MD) "Baltimore's Teen-Beat A Go Go" 1966 (Dome sr-4007) [2000p] "Baltimore's Teen-Beat A Go Go" 1997 (Get Hip) [500p] "Baltimore's Teen-Beat A Go Go" 1997 (CD Get Hip 5009) Only recently discovered comp of local Battle Of The Bands winners and runners-up that's an eye-opener for those blase with 60s samplers. A generous 16 tracks from unknown groups with great names. It's a consistent '65-66 ride through frat, dumb sax instros, beat, punk ballads, Stonesy garage and some all-out primitive '66 garage, such as the championed Bobby J & the Generations track. All originals with a New England-type sound, and for a Maryland comp it's surprisingly (and thankfully) light on soul-oriented material. As is often the case with these samplers many bands have a similar sound. Side two is solid from start to finish. Despite its scarcity, the press size has been reported as not less than 2000 copies, with two sleeve variants; the earlier version has no label info at the bottom of the back cover. [PL] BANCHEE (Eastcoast) "Banchee" 1969 (Atlantic sd-8240) [lyric insert; wlp exists] "Banchee / Thinkin'" 199 (CD Lizard, Europe) [2-on-1] Solid late 60s hard rock album with a definite pop influence (as many great melodies as there are long guitar solos). Vintage 1969 sound with lots of different effects on the guitars. There are three songwriters, but theyre all equally good, and the mix of writers lends variety. Ends with a terrific 9minute blow out. Side two is completely solid. [AM] ~~~ Like much late-'60s product the debut displays some psych influences (the leadoff, mid tempo number "The Night Is Calling" has a distinctively trippy feel), but the predominant sound is heavy, guitar-powered rock. With all four members contributing material, original numbers such as "Beautifully Day" (sic), the fuzz guitar-propelled "Evolmia", "I Just Don't Know" and the extended "Tom's Island" offered up a series of high energy guitar powered rockers that were both tuneful and structurally interesting. That said, the

album was surprisingly diverse. "Train of Life" sounding like Mike Nesmith after a week of speed, "Hands of a Clock" had a pseudo-jazzy feel, while the Latin-tinged "As Me Thinks" recalled early Santana. Overlooking the pompous back cover liner notes, it's a great if hard to find debut. [SB] "Thinkin'" 1971 (Polydor 244066) "Banchee / Thinkin'" 199 (CD Lizard, Europe) [2-on-1] Released two years after their debut, "Thinkin'" found the band aiming for an even tougher rock sound. Unlike the debut which was a largely democratic project, this time around singer/rhythm DeJesus was responsible for the majority of the material. Kicked along by squealing lead guitar, Latin percussion and their "group" lead vocals, songs such as the blazing opener "John Doe", "Willya" and the title track made for hard rock that was still tuneful and commercial. At least to our ears the results recall Santana at their most rocking. [SB] ~~~ Second album has a fantastic psychedelic sleeve. The sound is much less poppy this time around, in favor of Latin rhythms and relentless screaming lead guitars. The solos are overlong, unfocused, and all sound the same, making this weaker than the debut, but the new style is pretty powerful until the songs start blending together. Quite a bit rarer than the first album. [AM] BANDOLERO (Puerto Rico) "Bandolero" 1970 (Eclipse erc-5-m37925) "Bandolero" 199 (Eclipse) [bootleg] "Bandolero" 199 (CD Que Diablos) The record was pressed in Florida for export to Puerto Rico. A mix of basement fuzzed hardrock and jazzy funk Santana moves. Moody church organ and driving fuzz. Disjointed rhythms on many tracks with weird tempo changes within songs. The vocals, mostly in English, are obnoxiously bad. The closer, 'Truth and Understanding', gets a nice anthemic tension going only to dissolve into a formless funk jam. A pretty weak effort, really. [RM] BARBARA [aka Barbie] (NJ) "Journey to Jesus" 1971 (Bond 101) The first album by Barbie Sipple (credited simply to 'Barbie') is pure folk, unlike the more varied folkrock of the second. It's pretty good, as her songwriting is catchy and heartfelt. Her singing has a little too much of the Joan Baez-style vibrato, though, and isn't as appealing as on SINGS FOR LIFE. A backing chorus of children on a few songs is probably intended to be joyous, but comes off as creepy. Neat album cover could be mistaken for something Satanic if you didn't know better. The album came with a lyric/chord booklet. [AM]

"Sings For Life" 1973 (Lazarus Records) This obscure Christian folk-rock record is dedicated to the National Youth Pro-Life Coalition. Barbara has a beautiful and commanding voice and there are a bunch of really good songs here. Shes comparable to, but more mature than, Marj Snyder and Linda Rich. The highlight is Hold On, with an eerie loner folk vibe helped along by a great bassline and snaky acoustic lead guitar. Unfortunately this album includes two songs sung to and with a chorus of children. Theyre not as hard to take, however, as Song Of The Unborn, which comes complete with a heartbeat and narration from the point of view of a fetus. Its sincere beyond belief, and she plays the dirty trick of surrounding the propaganda with a truly haunting melody and arrangement. It hardly gets more surreal than turning to side two after this song and immediately finding Barbara joking with a gaggle of brainwashed young Christians-in-training. Did I mention that she can really sing? Her version of He Aint Heavy would be better than the Hollies if it werent for her inept drummer. I dig the picture of her with a Bert (from Sesame Street) puppet on the back cover. It can be framed and put on your mantle next to the famous picture of Osama Bin Laden and Bert. Oh, and isnt it wrong for a pro-lifer to sing Im so happy I could die? [AM]

BARBARA & ERNIE ( ) "Prelude To" 1971 (Cotillion sd-9044) This is a really odd album, beginning with the cover photo, which shows a tall, sexy black woman and a short fat stoned-looking hippie (somewhat reminiscient of Bunky & Jake if Jake went off the deep end.) The music is a mix of soul, rock and dreamy folk. Some of it is truly excellent, and the styles mix surprisingly well. "Listen To Your Heart" is a classic, the kind of thing that blows away most "Hippie Goddess" type psych/folk. This is an album that's too weird for soul fans, too R&B for folk fans and too 70s for psych fans. In short, it's unique. And it's wonderful. [AM]

BARBARA THE GREY WITCH (CA) "Barbara the Grey Witch" 196 (DEA 1d-1001) [gatefold] Classic with chants, rituals, and sexpot Barb giving you the straight dope on 60s grrrl power! "A fascinating trip through the world of modern witchcraft". BARBARIANS (MA) "Are You a Boy or a Girl?" 1966 (Laurie 2033) [mono] "Are You a Boy or a Girl?" 1966 (Laurie 2033) [stereo] "Barbarians" 1979 (Rhino 1008) [LP + "Moulty"]

"Barbarians" 1981 (Line 6.24351, Germany) "Are You a Boy or a Girl?" 199 (CD One Way) "Are You a Boy or a Girl?" 199 (CD Sundazed) Perhaps due to the majority of the LP being popular covers, to our ears the album was a mild disappointment. Understanding that mid-'60s marketing demanded a band include covers in their repetoire, there wasn't anything terribly wrong with their work (save a really lame "House of the Rising Sun and a rote remake of "Mr. Tambourine Man"). Elsewhere, largely written by producer Morris, tracks such as "What the New Breed Say" and "Take It, or Leave It" were stronger, benefiting from Moulty's raw vocals and the band's considerable energy. Curiously, in spite of all of the resulting publicity, including numerous appearances on ABC's "Shindig" television program, the parent set failed to chart. The band's pre-LP 45 is often considered the best thing they did. [SB]

BARDS (Moses Lake, WA) "Bards" 1980 (Piccadilly 3419) "The Moses Lake Recordings" 2002 (Gear Fab 183) "The Moses Lake Recordings" 2002 (CD Gear Fab 183) The Piccadilly LP is garagy pop containing singles and unreleased tracks recorded through 1969. The album was released without the band's knowledge. The Gear Fab title reissues an unreleased 1968 LP, produced by Curt Boettcher and Keith Olsen and is more adventurous with some experimental psych leanings. [RM]

BARONS (San Antonio, TX) "Barons" 1970 (Solar 101) "By Request" 1972 (Solar) Melodic lounge rock and pop soul. "By Request" has a decent cover of Buffalo Springfield's 'Mr. Soul', otherwise this band is pretty forgettable. [RM] BAROQUES (Milwaukee, WI) "The Baroques" 1967 (Chess 1516) [mono] "The Baroques" 1967 (Chess 1516) [stereo] "The Baroques" 198 (Chess, Greece) [bootleg; +2 tracks] Milwaukee's finest 1960s band had a taste of the bigtime with this good early (recorded March 1967) psych LP but never really made it. A unique dark intellectual vibe and odd moody vocals give them a distinct identity coupled with some monster fuzz tracks I hope everyone's familiar with by now. The LP

admittedly has some weaker spots but is all over essential and still easier to find than many lesser trips. As far as I can tell, this is the very first psych LP from the entire Midwest. The stereo mix is considered to be superior. Their privately released non-LP 45 is superb. [PL] ~~~ Good early US psych album with one foot still firmly planted in the garage. Nice mix of serious introspective moodiness and druggy fun. The psychedelic air-raid fuzz rave-up in "Iowa, A Girl's Name" never fails to deliver. The mono mix is somewhat muddy and lacks the dynamics and clarity of the stereo mix. The 80's boot sounds OK and includes their rare non-LP 45 as a bonus. [MM] "The Baroques Are In" 1989 (Baroque 9005) "Purple Day" 1996 (CD Distortions) The Baroque release is unreleased material of varying quality. Most or all of this is also on the CD release, which includes most of the Chess LP as well and is recommended. BARRACUDAS (Highland Springs, VA) "A Plane View Of" 1967 (Justice 143) "A Plane View Of" 1995 (CD Collectables 0606) Opens on excellent beat/garage note with strong original followed by tough Stones cover, rest of the LP is similar with mainly Brit Invasion numbers done in an agreeable manner, even has Beatles and Byrds covers plus a fuzz rave-up take on "I'm a man" that has been comped. Only the awful closing "Shotgun" drags the LP down, rest is fine by local US mid-60s LP standards with cool teen vocals, nice undistorted rhythm guitar and occasional sax. I've seen this cut down in more than one place but it sounds pretty good to me, along with the Tempos the most "normal" (as in 1965-66) sounding of all Justice albums. Released in early 1967, the album went on to sell more than 700 copies locally. The band cut a good psych 45 in 1969. [PL] YANK BARRY (Montreal, Canada) "Diary Of Mr Gray" 197 (McConnell Records Ltd. 2-001) [2 LP box-set; inserts; bonus 7"] An odd release by a somewhat infamous charlatanwhose story may remind one of an upscale Palmer Rockey. A "Yank Barry" search produces stories about Federal scams and imprisonment, friendship with Muhammad Ali, claims to writing "Louie, Louie," of Vietnam activism, of being a CEO and creator of a large corporation, etc. The opening track here, "Mr Gray", is the same song as on the Stone Circus album (on Mainstream) but this very similar version is credited to... you guessed it, Yank Barry. The packaging of this release is stunning: a faux brown leather boxthat opens like a book with gold leaf printing

with black & white photos on the inside. The contents consist of various inserts (pictures, sheet music, notes, cards, lyrics), a one-sided7-inch78 labeled as "Introduction ToThe Diary Of Mr. Gray" and two full length albums -- one is in stereo with lyrics (Acts 1 & 2), the other the instrumental version (Acts 3 & 4) inquadraphonic. Musically, it's pop psych with heavy orchestration. I find it interesting withtwo or threememorable tracks. Sort of a glitzy, poor man's version of the Sidetrack album. Yank Barry was only the vocalist on this work, which was masterminded by ex-Stone Circus member Larry Cohen aka Jonathan Caine, and the material was released again, now credited to Stone Circus, in 2001 ("Diary Of Mr Gray", Mcconnell, Canada). [JSB] AL BASIM see Revival

BASKERVILLE HOUNDS (Cleveland, OH) "Featuring Space Rock Part 2" 1967 (Dot dlp-3823) [mono] "Featuring Space Rock Part 2" 1967 (Dot dlp-25823) [stereo] Recorded to capitalize on a minor 45 hit, this collection offered up a then-typical mix of popular covers and originals. While all five member were credited as singers, the absence of a distinctive vocalist was a major distraction. Similarly, covers such as The Beatles "Penny Lane" and Neil Diamond's' "I'm a Believer" weren't particularly impressive. On the other hand, original numbers such as the fuzz guitar-propelled "Sad Eyed Lady", "Please Say" and the title track instrumental were all worth hearing. Hardly one of rock's "pretty boy" combos (the liner notes described Rossi as having a "comic appearance"), the doubled breasted brown suits sure didn't help their appearance - they looked like an exhausted burial party. [SB] JOHN BASSETTE [with DAYBREAK] (OH) "John Who" 1978 (private) Messed-up real people folk. Bassette, a black folkie, guy had several more local LPs, all of which are reasonably interesting, but this is the strangest and most enjoyable.

JON BATSON (DC) "Just Can't Lose" 1970 (Rising) [plain stamped cover] East coast loner protest deep folk from Scientologist, still active today. "BATTLE FOR THE MIND" see Willard Cantelon

V.A "BATTLE OF THE BANDS" (HI) "Battle Of The Bands" 1964 (Star SRM-101) Hawaiian rarity which is more frat/surf than garage punk, as the release year may suggest. One track by the Duplex has been reissued on Pebbles. V.A "BATTLE OF THE BANDS" (Westchester, NY) "Battle Of The Bands, Vol 1" 1967 (Ren-vell 317) Obscure New York City BOTB artefact with an unusually professional sound for the genre and a gritty urban vibe. Fairly unique as it does not contain one single Brit Invasion cover, but an equal mix of Byrds/Raiders/Spoonful and r'n'b/soul. The most famous track is the brilliant "High on a cloud" by the Traits which has appeared on a couple of comps, but the Henchmen are just as good with the fuzzdriven garage ace "Say", and the LP as a whole is above average. The Mystics had a non-LP 45 on RenVell. [PL] V.A "BATTLE OF THE BANDS" (Lawrence, MA) (1) "Battle Of The Bands Recorded Almost Live" 1967 (Onyx 80689) "1966 Battle Of The Bands Recorded Almost Live" 198 (Star Rhythm) BOTB testimony on the same label as Lazy Smoke. Kind of short with only nine tracks and a couple of odd choices alongside the usual covers. No originals, lowkey and sorta samey in sound, not all that exciting. Re-recorded after the actual contest with applause dubbed in. This was reissued in its entirety in the 1980s, this reissue is sometimes peddled as an "original". Some people have questioned the existence of an original 1967 release altogether, but it did come out and differs slightly from the repro, which has '1966' added to the front cover design and a different label color. [PL] V.A "BATTLE OF THE BANDS" (MA) (2) "Battle Of The Bands" 1967 (Normandy 30867) [2 LPs] Sub-title is "Live at the 1967 National Finals, in Ridge Arena, Braintree, Mass". Over 11,000 bands all over the country competed in this contest! There is supposedly also a loose third LP that was only given to band members. ~~~ see -> Tony's Tigers PAUL WAYNE BEACH ( )

"On Down the Road" 1977 (Aesthetic Artist) [100p] One-man band moody rural acoustic loner.

BEAD GAME (Cambridge, MA) "Welcome" 1970 (Avco Embassy ave-33009) "Baptism" 1996 (American Sound as-1004) [1000#d] Featuring all original material, tracks such as 'Punchin Judy' and the fuzz guitar propelled 'Wax Circus' showcase an engaging mix of hard rock with occasional jazz touches. That may not sound particularly original or appealing, but their performances were actually quite attractive. Jim Hodder had a voice that was well suited to the group's attack (anyone into early Steely Dan will instantly recognize him). Highlights include the rocking 'Amos & Andy' and 'Mora'. For fanatics, there's a non-LP single 'Sweet Medusa'. [SB] ~~~ Lots of excellent guitar here, and the jazz influence separates it from the rest of the Bosstown scene. Collectable value has risen greatly in recent years, usually a sign that a major label album has stood the test of time well. There's a professional sheen that makes the Steely Dan connection unsurprising, but that's not to say that this sounds like something you'd hear on 70s AM radio. Distinctive and strong. The "Baptism" material was recorded in 1970 and predates the Avco LP. The band also had two excellent tracks on the soundtrack "People Next Door" (1970, Avco Embassy 11002). [AM] BEAR MOUNTAIN BAND (Wickenburg, AZ) "One More Day" 1975 (Predator) [1000p] Local mountain air rocker with psychy westcoast flashes on the excellent title track and elsewhere. Shifts between wellwritten, more melodic numbers and a rootsier rural rock vibe, with a couple of extended jams showing good playing and a nice atmosphere all around. One of the better in the hippie/barrock crossover zone - superior to Travelers Aid to these ears. Not everyone is impressed with this album, though. [PL] ~~~ Trashy 70s not-quite-hard-rock private press with an appealingly stupid sleazy vibe (one song is called "Crotch Crickets," another "tihsllub"). Excellent opening song has a nice flowing dreamy feel to it, but the promise of the album ends there abruptly, as the rest is pedestrian and dull. One can picture these guys going over pretty well at a biker rally or in a truckers' bar, but there's a difference between sleaze and real menace, and this lacks the dangerous edge of, say, the Burnt River Band. [AM]

BEAT OF THE EARTH (Los Angeles, CA)

"Beat "Beat plain "Beat

Of The Earth" 1967 (Radish as-0001) [500p] Of The Earth" 199 (Radish, Europe) [60p; bootleg; white labels] Of The Earth" 2004 (CD Radioactive, UK)

The sleeve says "If you're looking for psychedelic music, do not buy this album unless you're looking for psychedelic music", a fair summing up of this demented cerebral acid-vibe journey. One of the big discoveries of the late 1980s and it certainly is one trancey organ/guitar tribal surfpsych jam trip stretched over two full sides. Warning: this is too far out for many, though I certainly dig it - close to the heart of the LSD experience, even while the main creative force behind it was opposed to drugs. Essential. Phil Pearlman was the main creative force behind the band, and went on to several related projects. [PL]

"Electronic Hole" 1970 (Radish as-0002) "Electronic Hole" 2004 (CD Radish) The most recent discovery in the amazing Phil Pearlman back catalog is this late 1960s drone psych extravaganza. Shorter tracks with clear song structures yet threatening to dissolve into atonal chaos at any moment. Hard to compare to anything else, but Velvet Underground and Zappa influences can be detected, alongside typical westcoast psychedelia with sitars and backwards tapes. Vibe is a bit like Mad River or 50 Foot Hose, true freak sounds from a freaky era, except more garagey. Some melodic moves clearly point towards Relatively Clean Rivers, although six years and another complete metamorphosis lie inbetween.[PL] ~~~ see -> Relatively Clean Rivers; Joyride "Our Standard Three-minute Tune" 1994 (Radish 0001) [500p; gatefold] The main Beat guy Phil Pearlman issued this previously unreleased recording in a 60s style FOC. Many avoided it due to the exceedingly high price but it was actually worth it for anyone with an ear for true 60s underground psych sounds. A variation on the same basic track as the first LP, maybe not as coherent but with clearer vocals

and some devastating Mystic Tide-style balance almost as awesome as the first notes refer to a 1967 live gig but the is studio, from the first LP sessions. BEAUREGARD AJAX (Oxnard, CA)

acid guitar. So on one. The liner actual recording [PL]

"Deaf Priscilla" 2005 (Shadoks no #, Germany) [350p] "Deaf Priscilla" 2006 (CD Shadoks, Germany) [+bonus tracks] Terrific unreleased album recorded for Del-Fi in 1968 by unknown quintet; melodic Beatle-psych with advanced songwriting, some tough fuzz edges and an impressive range of moods and moves. Like Fredric with heavier guitars, or what the HMS Bounty LP would have sounded like if it had been a true killer. A must for any fan of classic 60s-style psychedelia. [PL] ~~~ Showcasing drugged vocals, lots of fuzz guitar, great melodies and some interesting lyrics, material such as "Loneliness Is a Sometime Thing", "Is Tomorrow Thursday" and "Blue Violins" features all of the ingredients that should make this a sought after set among psych collectors. Elsewhere while I'm always reluctant to compare something to The Beatles (since most of the time such comparison fall flat), tracks such as 'I Will Be Looking Away' and the title track actually recall something out of the Fab Fours' "Revolver" catalog. Mind you the set's certainly not perfect. The poppish "Happy Brontosaurus" and the ballad "Take You Faraway" are both pretty lame and forgettable. Gawd only knows what condition the source tapes were in but be aware that sonically this release isn't exactly state-of-the-art. [SB] BEAUREGARDE (Portland, OR) "Beauregarde" "Beauregarde" "Beauregarde" "Beauregarde" 1971 198 200 2004 (F-Empire no #) (F-Empire) [bootleg] (CD Zeno) [actually a CD-R] (Jackpot)

The interest in this LP seems to build on the appearance of guitarist Greg Sage (later of the Wipers) rather than its musical merits, which aren't too impressive in my ears. Has a laidback, bluesbased sound with melodramatic vocals, organ and some good guitar licks. Beauregarde was a local wrestler and looks real neanderthal on the sleeve. There was also a pre-LP 45 with two album tracks on the NWI label. The label for the original is sometimes incorrectly listed as "Sound Productions". The Jackpot CD is a legit re from masters. [PL]

BOBBY BEAUSOLEIL & THE FREEDOM ORCHESTRA (CA)

"Lucifer Rising" 1980 (Lethal 8031, Canada) [1000p] "Lucifer Rising" 2004 (CD Arcanum/White Dog 0001) [2CDs] Soundtrack to legendary magick Kenneth Anger film, originally pressed in Canada only. Beausoleil had been linked to the 1969 Manson murders and recorded this while in a federal prison in the 1970s. The music is atmospheric instrumental space-rock with guitars and electronics and a strong ritual and visual quality, impressive in a way that recalls the better German 1970s cosmic psych albums. The 2 CD set has some terrific bonus material and is recommended. There are earlier vinyl reissues of "Lucifer Rising" not listed here. ~~~ see -> Orkustra

JOE BECK(PA/NY) "Nature Boy" 1971 (Verve Forecast 3081) "Nature Boy" 2002 (Breeder Backtrack, Europe) Jazz guy goes rock here with impressive results. The album starts with a wonderful heavy version of the title tune, with tons of wah-wah soaked guitar. The rest of the album offers plenty more wild lead guitar, though none quite as sublime as on this initial song. Fans of this kind of Hendrix-inspired playing could do much worse; I think this is more interesting and satisfying than better-known genre artists like The Road, Peter Kaukonen and John Ussery. If youre not a fan of the style, you may still find it a worthwhile album, as the arrangements vary, with a few solid ballads (one heavily acoustic) and some tasteful horns on a couple of tracks. 45 minutes is probably a bit too much, and the songwriting is only average, but this works because Beck is such a great guitarist and because his music isnt beholden to any particular hard rock style. [AM] ~~~ see -> John Berberian JACK BEDIENT & THE CHESSMEN (Wenatchee, WA)

"Where Did She Go" 1967 (Satori 1001) Obscure local album by Northwest frat/lounge/pop band

of the tuxedo dancehall variety. Seemingly patterned on the Raiders' "Here they come" with half crooner ballads & half teen rockers. The charming Orbisonstyle smoothies are a bit cheesier than the Raiders' but the garage fuzz tracks (I counted 3) are good with a fat rocking NW sound and neato teen vocals. Bizarre closing Dylan cover. One track has been comp'd. [PL] "In Concert At Harold's" 1969 (Chessmen) Their LPs are typically a mix of supper club pop with dramatic arrangements and the occasional garagy guitar raver. "In Concert" has grade-Z covers of Creedence, "Light My Fire", "Purple Haze" and more, as the band moved into the FM rock era. Earlier LPs include "Two Sides Of" (Trophy 101, 1964); "Songs You Requested" (Chessmen no #, 1965); "Live At Harvey's" (Fantasy mono & stereo, 1965); "Jack Bedient" (Executive, 1966?). [RM] V.A "BEE-JAY SAMPLERS" (Winter Park, FL) "12 Groovy Hits, 12 Florida Bands" 1966 (Tener 154) First LP in this series of demo LPs, all of which featured local bands available for live bookings. Includes the Starfires, Swinging Temptations, Wrong Numbers, Nation Rocking Shadows, and others. The label was based in Winter Park, but the bands came from a bigger area. "Bee Jay Demo vol 2" 1967 (Tener 1014) This second LP from the the BJ Booking Agency contains a generous 21 tracks. High points include originals by Willie & the Adolescents, New Generation and Hard To Believe, while Bad Pages, Consolidation and State Of Mind deliver excellent covers. The sound is pre-psychedelic with an equal mix of Brit Inv, r'n'b & contemporary US groups - classic garage in other words. Teenage vocals and sloppy drummers across the board. Hard to beat as a local garage testament, though it'll hardly change anyone's life. The tracks by Beau Jests and Hard To Believe have been comp'd.[PL] "Bee Jay Video Soundtrack" 1968 (Tener 1014) [1-sided textured color cover] -- same catalog # but different contents from above Includes Rovin' Flames, Wrong Numbers, Ron & the Starfires, the Enticers, and others. More soul moves on this sampler.

"Bee Jay Sampler" 1970 (Tener 1055) The 1970 LP includes We The People (two weak tracks in their blue-eyed soul style), the Barons, Soultenders, Missing Links, and others. Covers of Neil Young, Chicago TA, soul, and more. This should not be confused with the two very rare Bee-Jay EPs from the late 60s with the same title; Tener 1038 and 1039, or Tener 1070 below. See Jeff Lemlich's FLA discography "Savage Lost" for details. There is also a recently discovered third EP, Tener 1040. "Do It Up Right! 1971 (Tener 1067) The Brewed, East Coast Supply, Oxford Blue and 12 other bands. These later Bee Jay samplers are less attractive and feature horn-rock, soul and covers of Simon & Garfunkel, Creedence, etc typical of the era. "Bee Jay Sampler" 197 (Tener 1070) As several others in the series, this album has no actual title. East Coast Supply do reasonable basement hardrock with "Love machine". Other bands include Raintree County, Wooden Spoon, Brewed, plus something listed as "Moog Synthesizer Show". "Bee Jay Does It Again" 197 (Tener 1081) The Brewed, In The Beginning, East Coast Supply, and 15 other tracks. "Gettin' It On Again" 1973 (Tener) Features Wysper, Skydancing, The Brewed, Ricky & Tightrope, East Coast Supply, and others. WILLIAM C BEELEY (TX) "Gallivantin'" 1972 (North Park 101) [1000p] Lost folk very Dylanesque sounding. Warm and lyrical.

IRIS BELL ADVENTURE ( ) "Iris Bell Adventure" 1969 (Rubaiyat) Live jazzy hippie blues trio recorded in Ann Arbor.

RICH BELL (HI) "Rising Son" 1980 (Money Maker s-7780) [orange vinyl] Guitar rock with a gorgeous fantasy cover. BENT WIND (Toronto, Canada)

"Sussex" 1970 (Trend t-1015) [300p] "Sussex" 1984 (Heyoka 201, UK) "Sussex" 1992 (Del Val 007) [+2 tracks; 350p] "Sussex" 199 (Acme, UK) [altered b/w paste-on sleeve; +1 track; lyric insert] "Sussex" 199 (CD Kissing Spell, UK) [+2 tracks; altered sleeve] "Sussex" 199 (CD Green Tree) [+5 tracks] "The Lost Ryerson Tapes" 2005 (CD Psychedome) [+6 tracks] "Sussex" is one of the original Holy Grails of the LP collector scene and a wellknown artefact due to a number of reissues. The most expensive of all Canadian rarities with a $5000+ price tag. The music is heavy underground psychrock with a killer basement sound and some awesome tracks like "Riverside", "Hate" and "The lions". Not the greatest LP ever to me, but definitely essential. According to the band, only 300 copies were pressed, while the non-LP 45 was pressed in 500. Modern recordings include "The Fourth Line Is" (1989) and "Shadows On The Wall" (1996). The Psychedome CD is a complete reissue of the original LP in strong sound, plus 4 excellent live tracks from 1970, and the two 45 tracks. There is also a bonus CD with modern recordings featuring main guy Marty Roth. [PL] ~~~ A little overhyped, but still a worthwhile album. The overall sound is a neat cross between garage rock and heavy psych. It has a real basement (as in thats where they buried the bodies) vibe, with tons of fuzz guitar and reverb, desperate vocals, and often disturbing lyrics. The highlights are the albums two grisliest songs, Riverside and Hate. While the other songs arent quite at that level, there arent any real duds either. It sounds like it was recorded far earlier than the usually accepted 1969 or 1970 release date. The CD reissue contains a strong B-side and also some surprisingly good 90s recordings. [AM]

BEO WULF ( ) "Too Late To Turn Back Now" 1972 (Crown CST-632)

Unlike most exploitation Crown releases this is a real band, with some excellent tracks such as "The movement".

JOHN BERBERIAN [& ROCK EAST ENSEMBLE] (New York City, NY) "Middle Eastern Rock" 1969 (Verve Forecast fts-3073) [wlp exists] "Middle Eastern Rock" 1999 (Verve Forecast) [bootleg; textured sleeve] "Middle Eastern Rock" 2003(CD Acid Symposium 006, Italy) This is Berberian's key album for 1960s psych fans, a tremendous East-West amalgamation with both the oud and Joe Beck's fuzz given plenty of space. It's hard to imagine this trip being done better; strongly recommended to fans of Orient Express and the US Kaleidoscope. Berberian is an oud master of Armenian descent. Prior to this cross-over LP he did several LPs that are more traditional ethnic-folky, as follows: "Expressions East" (Mainstream 6023, 1967), "Oud Artistry" (Mainstream 6047, 1967), and "Music Of The Middle East" (Roulette, 1968). "Ode To An Oud" is a 2LP repackage of the two Mainstream LPs from 1974. Some of these albums have been reissued in recent years. Another Verve LP features Berberian's playing as a backdrop to poetry readings by DJ Rosko ("Music and Gibran", 1968). [PL] ~~~ see -> Joe Beck "Mid Eastern Odyssey" 1971 (Olympia olp-1001) "Mid Eastern Odyssey" 200 (CD Olympia) "Echoes of Armenia" 1972 (Olympia olp-1002) Berberian continued to record and release albums through the 1970s, via his own private Olympia label. These albums are harder to find than his 60s works, and while they are not "rock" genre-wise they attract some collectors. Another LP on Olympia is "The Dance Album". ERIC BERGMAN (NY) "Modern Phonography" 1978 (Patron Saint ps-1) [gatefold; insert; 100p] Lost basement folk and folkrock sound from leader of Patron Saints, with slide guitar and some acoustic solo tracks. There is also a second LP from 1982, "Sending Out Signals".

FATHER PATRICK BERKEREY ( ) "Prayers For a Noonday Church" 1969 (Glasgow 1500)

Intense xian recitations with rock backing by Spur. Even the priests were flipped out way back when! ~~~ see -> Rite of Exorcism BERMUDA TRIANGLE (Long Island, NY)

"Bermuda Triangle" 1977 (Winter Solstice 3338) Ambitious late hippie folkpsych LP with lounge aspects, transcendental female vocals and elaborate keyboard arrangements/production, not bad at all for those into eclectic 1970s sounds. Unexpected covers of Aerosmith and Circus Maximus are a plus while the Moody Blues track could have been left off. Fine originals. Would make a neat double bill with Jade Stone & Luv. The second LP has been described as a less effective dreamy keyboard rock effort. Ex-Roger & Wendy. [PL] ~~~ Truly bizarre folk-psych album that's more enjoyable than a lot of "better" records. Two of the first three songs are weird loungy covers of "Nights In White Satin" and Aerosmith's "Dream On," neither of which sound like anything else on the album. For surprise value alone, "Dream On" works the better of the two, since the Moody Blues tune was dangerously close to lounge to begin with. Most of the other songs are full of fiddle-style violin and autoharp, the latter of which is often treated with phasing, flanging and other effects. It feels like the songs are at a normal speed but the backing tracks are sped up. Some of the melodies are pretty speedy too. Spastic, cymbal-heavy drumming adds another layer of intrigue. One song sounds like a twisted take on funk, another like a hoedown. Both the male and female vocals are agreeable and work well in the context of these strange songs. The closing "Wind" (the Circus Maximus song) is another total departure, again not resembling anything else on the album, and sounding uncannily like a Linda Perhacs outtake. This album is kind of a shock on first listen, because at least to these jaded ears it's not often I discover something so original and bizarre. [AM] "Bermuda Triangle" 1983 (Sterling Sound) [two 12" acetates] [?] "Bermudas II" 1984 (Tribecket tr-0999) This may be the same material as on the Sterling Sound acetates. [RM]

BOB BERRY (San Jos, CA) "Heavy Berry" 197 (no label) [100p] Demo album with good westcoasty guitar/organ psych rock. Berry was formerly with San Jos band 4th St Exit, released an AOR solo LP in 1976, and rose to prominence (as Robert Berry) in the 1980s when working with various big name prog/AOR bands. The covers were individually hand silk screened and sealed with a gold sticker.

JOHN BERRY (GA) "In the Night Time" 1981 (Clear Sky) Rural loner folk. BEST (NJ) "More Of The Best" 1967 (RPC n-69852) [no sleeve] "The Gents/The Best" 1996 (no label) [split LP; partial reissue] Very obscure sleeveless garage era LP on the infamous RPC custom label; music is typical local '66 teenbeat with a bit more "punk" edge than usual. Several strong originals in the classic moptop style, fake British accents and a boomy lo-fi gymnasium sound adds to the overall charm. Nothing for purveyors of "acid fuzz" like the Litter or Nightshadow, but among local Northeast '66-67 LPs this isn't bad at all; like what Rasputin & the Monks would have sounded like if they hadn't been such losers. Three Stones and a funny misinterpreted Kinks number round out the set. Half this LP was reissued along with the Gents, but the reissue actually excludes some of the best tracks from the original. One track is included on the Oil Stains vol 2 comp. [PL] V.A "THE BEST OF FRANK'S BANDSTAND" (Canada) "Do You Wanna Dance - The Best Of Frank's Bandstand" 1965 (Arc 669) Compilation related to CBC TV show aired from different Canadian cities. Bands on this comp include the Offbeats, the Raindrops and the Brunswick Playboys. Contents are teen-beat/pop. V.A "THE BEST OF THE GREATEST" (Canada) "The Best of the Greatest" 1969 (Birchmount bm-535) Features the 49th Parallel (excellent tracks), Guess Who, Beaumarks. The same label also released

"Strictly Canadian". V.A "THE BEST OF THE HIDEOUTS" (Detroit, MI) "Best of the Hideouts" 1966 (Hideout hlp-1002) [1000p] "Best of the Hideouts" 199 (Hideout) [bootleg] A rare sort of companion piece to the "Friday At The Cage-A-go-go" LP with several enjoyable tracks by local folkrock/garage wizards like the 4 Of Us, Suzi Quatro's Pleasure Seekers and the Underdogs, most of which also came out on 45s. A couple of numbers have been comp'd as well. An equal mix of folkrock, moody garage and soul covers. The Underdogs are perhaps the stars of the show with some classy tunes. All over not quite as good as "Friday At The Cage" but an appealing snapshot of a legendary scene nevertheless. Nice sleeve with band photos. The 1990s bootleg may have been a counterfeit attempt; it's an old-style cardboard sleeve with paste-on slicks and exact label repros. The sleeve photo repros have some wear residue from the original copy used, and there is no title on the spine. The true original has 'XCTV121245-1A' in the dead wax. [PL] V.A "THE BEST OF TWIST-A-RAMA USA" (NY) "The Best "The Best cover; +2 "The Best tracks] Of Twist-A-Rama USA" 1965 (TAR 1000) Of Twist-A-Rama USA" 2003 (Norton 275) [altered tracks] Of Twist-A-Rama USA" 2003 (CD Norton 275) [+2

Local sampler of 14 Mohawk Valley teen bands put out by the "Twist-a-rama" TV show. Crude mix of instros, frat and "the new sound from England". Unlike most similar albums, this one seems to be group originals all through, even though some of them are quite derivative. Bands include Andy & the Classics, the Originals, the brilliantly named Merseyside 5, while the King Beats provide a moment of brooding folk reflection. The original cover shows a bunch of famous artists, none of which are to be found on the actual record, naturally. The pressing is notoriously poor. BETTY (CA) "Handful" 1971 (Thin Man afp-703) [200p] "Handful"2001 (Shadoks 019, Germany) Unpretentious get down-boogie barrock/rural rock with strong guitar leadsthroughout that lifts it above the usual trucker tattoo six-pack rockers. Not bad, though for hardcore 1970s fans mostly. Terrible, clichd sleeve unfortunately. [PL] ~~~ This is a grungy bar band with some sleaze appeal, but its hardly a monster hard rock album. The rhythms are boogie and the spirit is beer-belly. Some of the lead guitars are suitably fuzzy, and a few

songs have a heavy edge to them, but this is pretty mainstream and pretty weak. Lots of roundhouse piano underneath the drunken singing. Pick hit: Just For Fun, a Foxy Lady ripoff thats the raunchiest thing here. The lead guitar is simple, but plentiful throughout. The title track is as sexist as the album cover. No surprise. [AM] BEYOND (TX) "Music And... Beyond" 1979 (Tuhlotte Sound) Cosmic hard rock with lots of spacy guitar effects. This is pretty cool stuff for the most part, with energetic hard rockers and adventurous guitar playing. A few songs are perhaps a bit too proggy for some, but theyre full of ideas. Dirge Overature is an 11 and a half-minute instrumental with jazzy moments, an unusual time signature, classicalinfluenced interludes, nimble bass playing, long guitar solos and closing two-minute vibe solo! Its Over is packed with wacky stops and starts. Throughout, the experimentation level is creatively high. The lyrics leave something to be desired, and the singing isnt much better (something they must have known, as more than half of the album is instrumental) but for overall feel and mood it works well. More enjoyable and unpretentious than, say, Jimmy Hotz. [AM] V.A "BEYOND THE VALLEY OF THE DOLLS" (CA) "Beyond The Valley Of The Dolls" 1970 (20th Century Fox 10311) "Beyond The Valley Of The Dolls" 199 (CD) [bootleg; unrelated bonus tracks] "Beyond The Valley Of The Dolls" 2002 (CD Soundtrack Classics) [+bonus tracks] One of many excellent soundtracks from 1967-70, even more enjoyable if you've seen Russ Meyer's totally great film. This has some non-LP (and so-so) Strawberry Alarmclock tracks, some studio instro fillers, and six brilliant hippie chick AM blowouts by the Carrie Nations which is what makes the LP. Powerful girl vocals (although not by Lynn Carey, who is heard in the movie), great material and lots of fun all through, the perfect remedy after someone's forced you to listen to Janis Joplin. Beautiful sleeve too. Apparently the recent CD re also includes the real soundtrack versions with Lynn Carey. [PL] BEZALEL & THE SABRAS (New York City, NY) "Folk Rock Israeli Style" 1966 (Tikva t-128)

"Bezalel and the Sabras" 1966 (Tikva t-134) "Jerusalem Of Gold" 1967 (Tikva t-122) Jewish garage band featuring melodic guitar folk instros and reverb rockers, some fuzz. One track from the "Jerusalem" LP (released as by the Sabras only) appears on the "Riot City" compilation. B F TRIKE (Evansville, IN) "B F Trike" 1988 (Rockadelic 1.5) "B F Trike" 1995 (CD Rockadelic no #) Post-Hickory Wind demo LP recorded in 1971 for RCA. Rated highly by some, though not really top-level in my opinion, with a commercialized FM rock sound and dull fuzz riffs. I find this less original and atmospheric than Hickory Wind. First LP on the Rockadelic label, this caused quite a stir upon release. [PL] ~~~ The more mainstream hard rock sound may make this less interesting than Hickory Wind to some, and it certainly lacks the variety and just plain weird vibe of that album. Nonetheless, this is a more accomplished set of songs, straightforward fuzzy hard rock that hits far more than it misses. To my ears, this is an excellent example of the genre as it transitioned from the 60s to the 70s. [AM] ~~~ see -> Hickory Wind BHAGAVAN DAS (Laguna Beach, CA) "Ah" 1972 (Bhagavan Das rd-1) [2LPs; gatefold; book] "Ah" 2002 (CD Dharmaware) [+bonus CD-Rom] Neither psych nor folk but spiritual Indian trance chanting; recommended mainly to those with a special interest in this 70s cosmic community scene, which also involved Ram Dass/Richard Alpert (who wrote the liner notes). Bhagavan Das, then a young ex-surfer guy from Laguna Beach, is today known as "the Jimi Hendrix of kirtan". In addition to this release, there is a 1978 single-LP pressing which appears to be disc 2 & 3 from the double set. [PL] "Swaha" 1974 (no label) [2LPs; gatefold; book] "Swaha" 200 (CD Dharmaware) The rarer second LP is credited to Bhagavan Das and Amazing Grace and more Western-oriented with some

communal hippie folk and blues vibes, not bad at all. About 2/3rds is traditional Indian chanting while two moody, trancey Blind Willie Johnson covers should appeal to anyone, and there's also a downer singer/songwriter tune. Partly recorded live at Winterland. [PL] ~~~

see full-length review

BIG BROTHER [feat Ernie Joseph] (Santa Barbara, CA) "Confusion" 1970 (All American 5718) "Confusion" 1989 (All American) [bootleg] "Confusion" 1998 (Akarma 013, Italy) "Confusion" came as a major change in direction to anyone familiar with Ernie Orosco/Joseph's earlier pop/lite-psych moves with Giant Crab et al. Material such as "Heart Full of Rain", "L.L.A. (Lubricated Love Affair)" and the bluesy "Heavy Load" offered up a set of Hendrix-styled guitar pyrotechnics. Elsewhere, the heavily phased "E.S.P." (a strange reworking of The Pretty Thing's "L.S.D.") was actually a rehash of Giant Crab's final single. Given the abundance of guitar rockers, at least to our ears, the standout track was the atypical ballad "Wake Up In the Morning". Sweet and sincere, its a beautiful effort. Sure, it ain't the most original LP you'll hear this year and parts of the percussion heavy closing suite "Gravus Delictum" drag, but the performances were enthusiastic, and it's an album we play on a regular basis. [SB] ~~~ Mostly first rate hardrocker with a mix of blistering fuzz raveups and bluesy melodic tracks. Ernie Joseph's lead guitar and soaring vocals are exemplary throughout. The lengthy closer is a bohemian embarrassment however, unless you live for drum solos. [RM] ~~~ see -> Indescribably Delicious "South East Tour" 1998 (Akarma 036, Italy) Supposedly "South East Tour" was originally released in 1971 under All American catalog number AA-5773LPD. The title and packaging give you the impression this is a live set, but that's not really the story. Half of the ten tracks are pulled from Joseph's earlier band - A Giant Crab Comes Forth. The other five selections are billed as previously unreleased efforts, but tracks such as "Keeping the Faith" and "How Many Times" don't sound like concert recordings to our ears. In terms of quality, the new stuff varies from ponderous boogie ("Satisfied Woman") to mildly entertaining ("Truthfulness"). Giant Crab tracks such as the fuzz guitar propelled "Hotline Conversation" and the blue-eyed soul-ish "Save Me (Save Me)" provide the highlights. [SB] "An All American Emperor" 1999 (Akarma 042, Italy) To be honest "An All American Emperor" came as somewhat of a surprise to me. Judging by the cover I

was expecting to hear a set of guitar powered rockers similar to Joseph's Big Brother catalog. Instead material such as 'You Let Me Live', 'I Guess I Never Knew You' and 'I Can't Help Being Yours' features a much lighter and top-40 oriented commercial sound. Offering fair warning to all potential buyers, heavily orchestrated tracks such as 'Cleo' and 'Welcome To the World' have more in common with Mark Lindsay (perhaps even Gary Lewis) than a rock band. That's not meant as a criticism since stuff like 'Mary Jane' and 'What Became of Yesterday's Hero' stands as first rate pop. If I'd bought this knowing it was a pop album I probably would have given it an added star. Just don't buy this expecting to hear hard rock or something psychedelic. The material comes from a circa 1968 pre-Big Brother acetate. [SB] V.A "BIG HITS OF MID-AMERICA" (MN) "Big Hits Of Mid-America, vol 1" 1965 (Soma mg-1245 / Garrett 201) "Big Hits Of Mid-America, vol 2" 1966 (Soma mg-1246) Samplers of Minnesota bands with local hits and flops emanating from the wellknown Amos label nexus. Contains healthy doses of the swinging frat and teenbeat for which the region has become famous. Vol 1 has Gregory Dee & the Avanties, Underbeats, Accents. Vol 2 has Castaways, Gestures, High Spirits, CHancellors. Canadian pressings on the Apex label exist. See also the "Top Teen Bands" series. BIG LOST RAINBOW (CT) "Big Lost Rainbow" two inserts] "Big Lost Rainbow" two inserts] "Big Lost Rainbow" black cover] "Big Lost Rainbow" "Big Lost Rainbow" 1973 (no label 6364) [white/black label; 1973 (no label 6364) [blue/silver label; 1998 (CD Gear Fab gf-118) [+4 tracks; 1998 (Gear Fab gf-118) [black cover] 2000 (Akarma, Italy) [insert; black cover]

Pastoral singer/songwriter LP with an archetypal sound for the style. Many people seem to hate this, but revisiting it now I can't really see what all the fuss is about. There's nothing "psychedelic" or "acid folk" about it for sure, but taken for what it is I find it reasonably enjoyable. Drawing on CSN roots (without the "Y") with some James Taylor and maybe Cat Stevens on top, the main Big Lost Rainbow guy Ridley Pearson delivers a string of well-written and skillfully arranged songs with unassuming, somewhat weak vocals, light rock backing and frequent use of piano. Lyrics deal with hippie concerns, but the music is mainly in a sophisticated s/sw direction. The extended "Sail" goes all the way out into jazzy violin/flute/piano improv, which isn't bad but still one of the weaker aspects to the LP. Side 2 lays on a sombre, reflective mood with a typical post-60s feel, which combined with good use of flute makes for an agreeable period sound. Well worth checking out for

fans of things like Wilcox-Sullivan-Wilcox and Greenwood, Curlee & Thompson, never mind the bullshit "psych" hype you may see on it. The original pressing is somewhat noisy and comes in two variants, both have a silkscreened front cover and paste-on back. One cover is black and one is white. The total press size is probably upwards 1500. Pearson went on to fame as a novelist. [PL] BIG TOWN BOYS (Toronto, Canada) "Big Town Boys" 1966 (Capitol t-6168) [mono; gatefold] "Big Town Boys" 1966 (Capitol st-6168) [stereo; gatefold] Teenbeat & pop from popular band in the famous Capitol 6000 series.

BIKE (IN) "Bike" 1978 (no label 34160) Hardrock with Don Pierle. Don is Ray Pierle's brother (McKay, Rhythm of the Highway) but did not play in the Pierle Brothers Band. DON BIKOFF ( ) "Celestial Explosion" 1968 (Keyboard k711-s) New York City label. Instrumental guitar tracks with a cosmic edge. BILL HOLT'S DREAMIES see Dreamies BILLY (Minneapolis, MN) "Persephone" 1972 (Orion s80-462-2823s) [promo exists] Laid-back druggy folk from Billy Hallquist. This LP is typically listed as Persephone Billy. "Persephone" is one of the songs and promo copies make it clear the artist is "Billy". About 2000 copies were pressed, according to the man himself. There's also a second LP, "Travelling". Ex-Thundertree.

EDWIN BIRDSONG (Philadelphia, PA) "Supernatural" 1973 (Polydor 5057) "Supernatural" 200 (Polydor) "Supernatural" 200 (CD Polydor) Guitar/keyboard driven soul/funk/rock hybrid LP with some great moments. The playing becomes a bit too

accomplished and almost jazz-rocky at times though and it's the groove that suffers from it. Also the guitarist can't seem to calm down and go with the groove, he plays about twice as much and half as soulful and funky as Eddie Hazel or Hendrix. It's a pretty good album, but the "rock" element takes over too much and it's not near as good as the '75 one. [MM] "Dance Of Survival" 1975 (Bam-boo GR 004) [gold foil gatefold] "Dance Of Survival" 1975 (Bam-boo GR 004) [silver foil gatefold] "Dance Of Survival" 200 (Bam-boo) Spacy keyboard driven psychedelic funk, housed in a great looking sleeve. The guitars on this album are strictly clean sounding rhythm ones, the leads are handled by Edwin himself on freaky sounding moog etc fed through analog filters that gives those wonderful "whooshy" sounds. I'm usually no big fan of keyboard driven songs, let alone albums, but here it works surprisingly well. Good songs, great grooves, weird lyrics and a warm'n'spacy sounds makes this into one of the best and most original afro american funk/psych albums of the 1970's. [MM]

BIRDWATCHERS (Tampa, FL) "The Birdwatchers" 1980 (Florida Rock 4001) [1000p] This popular, long-running Florida band didn't have any albums released in the 1960s, but a whole bunch of 45s under their own name and in various related outfits. The retrospective 1980 LP collects many of their recordings, although there's more out there. "Mary Mary" is an alternate, previously unreleased version, while "Turn Around Girl" is listed on the cover but missing from the vinyl. The LP is seldom seen today, and oddly no other samplers of the band exist. A band member joined Magic of "Enclosed" fame in the late 1960s.

BIRMINGHAM SUNDAY (NV) "A Message From" 1968 (All American 5718) "A Message From" 1999 (Akarma, Italy) Super-rare LP on this infamous label, has been hyped as a "psych monster" but is more of a typical LA vocal harmony lytepsych artefact. Past this initial let-down the album still has things going for it that makes it worth checking out. There's 3-4 tracks in a Growing Concern-alike style that fits the band perfectly; mid-tempo minor chord folk-tinged tunes such as the great "Wondering What To Feel". The rich vocal harmonies work both ways, on the strong tracks they provide a powerful feel, while the weaker tracks sound bland and exploitative. There's some fuzz leads, unexpected use of saxophone, delightfully silly "drug" lyrics, and an overall feel of a vocal

harmony group who tried injecting a "freak" factor into their music as the times were a-changing. On the westcoast scale it lands somewhere between Mamas & the Papas and Yankee Dollar. [PL] RANDY BISHOP ( ) "Sing A Soft Song" 197 (Liquid Stereo 1) [100p] Demo press of pro-sounding, somewhat eccentric singer/songwriter material with lounge aspects. Recorded in Vancouver. It's the same Randy Bishop who was in the Wackers, etc. BILL BISSETT & THE MANDAN MASSACRE (Vancouver, Canada) "Awake in the Red Desert" 1968 (See/Hear #3 ST 55580) [500p; insert] "Awake in the Red Desert" 2001 (CD Gear Fab gf-169) Wild avant garde ensemble with electronics, caveman percussion, ranting vocals and a freaky psychedelic stew over what is essentially an audio book recording. The LP was issued in conjunction with a book of the same title published by Talon Books. Bissett went on to enduring fame as a poet and painter. [RM] ~~~ see -> "See/Hear"

BIT A SWEET (Long Island, NY) "Hypnotic 1" 1968 (ABC s-640) This popsike album gets points for early willingness to experiment, and it includes some very primitive electronics. The opening track starts out sounding like mediocre orchestrated AM pop, but then moves into an unexpected and cool sitar interlude. The rest of the album follows suit, with most songs being both bad and good. For example, the second song, 2066, mixes a pop melody that would make Hermans Hermits proud with some somewhat random synthesizer or theremin and sci-fi lyrics. If theyd never heard "Sgt Pepper", they would have been a second-rate Association wannabe. As it is theyre a second-rate Head Shop or Aggregation wannabe. Fans of Beatles covers might get a kick out of their version of If I Needed Someone, which dispenses with the songs best asset, the jangly guitars. This may seem like a negative review, but this album is actually pretty fun and has some catchy songs. That said, as this kind of thing goes, there are dozens of better albums. The mix of guitar pop, soft rock, trendy psychedelia and occasional soul brings to mind the Sundowners. A long orchestrated instrumental has the feeling of not being done by the band at all, a la the Chocolate Watchband. Pick hit: the dreamy With You. [AM] DAVE BIXBY ( )

"Ode To Quetzalcoatl" 197 (D-24 700320) Highly rated by the few who have heard it, this tormented religious loner/downer folk LP has to rank as one of the ultimate incarnations of the genre. The opening "Drug Song" sets the tone perfectly as a supremely world-weary, echo-laden guy laments on how he screwed himself up with dope; "I'm no longer a person, I can't even feel". The resolution is (of course) Christ, who is serenaded in the following tracks, although the despairing, suicidal mood is strangely unchanged. Salvation or none, it seems most things are still a mess for Bixby. Numbers such as "Mother" and the Grudzien-level "666" confirm such suspicions. Musically it's a wellwritten lo-fi recording of steelstringed acoustic and a single voice, much like Christopher Montgomery, but undoubtedly more tortured and intense. Frantic guitar strumming is used to tighten up the tension in an effective way a la Perry Leopold, while more lyrical moods are supported by swift fingerpicking. The vocals are amateurish and somewhat uneven, and in fact work best when most charged with emotion. The organic correspondence between lyrics, playing and arrangements is impressive and makes the LP seem more alive and artistically aware than most in this often disappointing genre. Must be heard by any fringe fan. [PL]

BLAC DOG (LA) "Backwoods Boogie" 1978 (Crazy Horse 2001) Swamp fuzz rock, harmonica. Heavy southern rock boogie sound. TERRY BLACK (Vancouver, Canada) "The Black Plague" 1966 (Arc 5001) "The Black Plague" 2005 (CD Unidisc 2313) Canadian teenybopper who moved to LA to collaborate with Sloan-Barri. The LP is often referred to as a collectable, but is mainly teenbeat with some tentative garage moves. This is the same guy who would make the Terence: "An Eye For An Ear" album.

BLACKBIRD ( ) "Blackbird" 1974 (Vinnick Studios var-122) Moody acoustic folkrock with hippie vibe.

JOHNNY BLACKBURN & MARY LAUREN (TN) "Echoes of Love's Reality" 1981 (Wind's Eye Music jb-5463) [booklet] Despite the 80s recording and release date, this album has a wonderful mid-70s acid folk vibe. The two voices blend together beautifully, and the occasional fuzz guitars give the music an appealing floating quality. It's dreamy and occasionally meandering, kind of like a lazy day at the park. The only obvious 80s nod is the use of string synthesizers. Unlike 80s rarities like Alshia or Child's Art this one just plain sounds good. The neat arrangements include oboe, a unlikely but wholly effective instrument for this type of music. There's not a lot of melodic variety; it's a long album that maybe could have been trimmed a bit, but that's a minor complaint. This is a good one. Most copies are missing the large booklet, which may have been sold separately from the album (it was not included inside sealed copies). [AM] ~~~ Most would probably agree that this is one of the very best psych-style LPs from the 1980s. Not retro at all but (like Bobb Trimble) a piece of the late 1960s preserved from time's rust. Male/female vocals lament and serenade "the quest for knowledge of love and beauty" in an appealing soundscape, with lyrical guitar leads throughout, good use of mellotron, occasional tablas, flute and bells. The recording has a definite 1981 sound but (again like Bobb) this somehow becomes an advantage. The vocal blend is superb and may recall Anonymous and Bermuda Triangle, while the wistful mood and beautiful melodies is a bit like British band Ithaca or the melodic sides of Seventh Dawn. Moments such as "Beautiful Dreamer" go truly deep and there's not a questionable song on it. Obviously superior to "collectable" 1970s hippie couple albums like Susan & Richard Thomas, this is recommended to anyone open for a folkpsych trip inside the melancholy and bliss of romance; starryeyed as a Valentine Day card written on LSD. [PL] BLACKBURN & SNOW see S F O Music Box BLACK DIAMONDS ( ) "A Tribute To Jimi Hendrix" 1971 (Alshire s-5220) This is a repackaging of the Animated Egg album. It's exactly the same songs, but in a different order and with new titles that evoke Hendrix songs (i.e. "Hazy Color," "Experienced You"). B-movie trash psych with fuzz, reverb, and cheesy go-go organ. Related/overlapping LPs also include Purple Fox and Jeff Cooper & Stoned Wings, none of which seem to have had US pressings. A Spanish pressing exists.

J D BLACKFOOT (Columbus, OH)

"The Ultimate insert] "The Ultimate "The Ultimate "The Ultimate

Prophecy" 1971 (Mercury sr-61288) [wlp; photo; Prophecy" 1971 (Mercury sr-61288) [insert] Prophecy" 199 (Mercury) Prophecy" 199 (CD Tokala)

Remember those "hip" clothes you wore when you were a young teen, that now, years later in retrospect, made you look like a complete dork? And how you used to try to acheive some sort of "oneupmanship" over your buddies by "discovering" that great unknown or obscure LP or artist that was really cool??. I bet that J.D. Blackfoot's "Ultimate Prophesy" was one of those "cool" LP's for alot of people back in the day. It was given FM radio play in isolated markets across the midwest, including heavy play in St. Louis. Unfortunately, some 30 years later, it's exposed as a shallow attempt at rural prog rock. Now I must admit that 15-20 years ago I thought this album was the shit, one of the best. So I may have entered this with high expectations... maybe too high. "One Time Woman" is a mediocre mid-west bar rocker with a dumb, tiresome chorus. The next cut "Angel" was/is still my fave on the LP. Sounds like a stoned Pure Prairie League/Ozark Mtn. Daredevils meets Arthur Lee & Love... brilliant!! By the third and fourth cuts I began to realize just how one dimensional the guitar playing was, not bad, just boring. "Good Day Extending Company" features more than a few of J.D.'s patented shouts of "Ugh!!" or somesuch... decent use of echoed vocals and effects... one of the better cuts on the LP. "I've Never Seen You" has a countrified/Byrdsy flavor and sounds like what I always hoped the "Spur" LP sounded like. "The Ultimate Prohesy" begins a 5 cut "song cycle" that describes the process of birth and death as if narrated by an American Indian with a profound olde english accent... HUH!!!??? (plenty of hath's, doth's and thou's). Lots of time changes, acoustic and electric dispersed pretty evenly, and I am a sucker for J.D.'s vocals when run through various effects. But overall it's GOOFY!!! Almost a parody of itself. I can certainly understand why I was once a fan of this LP, and why many folks, upon first listens will dig it as well. But like those red, white and blue bellbottoms and the t-shirt with Nixon/Agnew tap dancing across the front of it that I wore in the 7th grade, this LP just doesn't hold up in 2002. And by the time I got through side two I swore that if I heard him yell "Ugh" just one more time I was gonna send Mr. Blackfoot some Ex-Lax. [RH] ~~~ This album was once a collectors' darling, now a collectors' joke. As is usually the case, the truth is somewhere in the middle, and while the rantings and ravings on side two are laughable, they're never dull, and the songs rock with a manic intensity (the drumming is truly insane) that makes it easy to see how this became an underground classic on St Louis radio. One side of the craziness is enough, and in the long run it's the solid rural rock on side one that will stick with you. "Angel," in particular, is gorgeous, but their melodic sense is strong throughout. No, this isn't a masterpiece, but it's an album I enjoy every time I listen to it. J D Blackfoot would release two more LPs on Fantasy, and a local 2LP live set in 1982. The band continued on

see another full-length review

BLACKHORSE (TX)

as Osiris after he left the group. A UK pressing exists with a different cover. [AM] ~~~

"Blackhorse" 1979 (DSDA 1) "Blackhorse" 1993 (Limited Edition, Italy) Southern style hardrock trio on Dallas label.

BLACK MERDA aka MER-DA (MS; Detroit, MI). "Black Merda" 1970 (Chess lps-1551) "Black Merda" 199 (reissue) [altered cover] Early psych/funk mix that has a great sound and lots of cool (acoustic and electric) guitar. Songwriting isnt as strong as the overall vibe, though, and the vocals are lousy. A few instrumentals would seem to remedy that problem, but theyre among the least interesting songs on the album. Interesting but frustrating. This album achieved notoriety when the song "Cnythy-Ruth" was included on the outstanding funk/psych compilation Chains And Black Exhaust. [AM] "Long Burn The Fire" 1972 (Janus) [as Mer-Da] This second album is, for some reason, credited to Mer-Da. The overall vibe is similar to the debut but the production is smoother, which unfortunately dulls the effect of the guitars. The songwriting is better this time around, but the harmonies are the most out-of-tune youll ever hear, so flat that youll think theyve invented a new style of singing. If you can get past the singing the lyrics are quite interesting, with a post-"There's A Riot Goin' On" depressive feel. [AM] BLACK ORCHIDS (Charleston, WV) "AWOL" 1972 (Black Orchid) [no cover; 200p] Hard psych two-sided instrumental jam. BLACK VELVET (Las Vegas, NV) "Black Spirit" 1973 (Krio 01052) Lounge rock funky realness.

BLACK VOY ALLEY (El Paso, TX)

"Black Voy Alley" 1972 (Black Voy Alley Records BVA 82172) Obscure 70s cover band doing several Three Dog Night numbers, mixed with Deep Purple, Traffic, Blue Oyster Cult. BLACKWELL (TX) "Blackwell" 1970 (Astro 9010) Psychy bluesy rock. HAL BLAINE (Los Angeles, CA) "Psychedelic Percussion" 1967 (Dunhill d-50019) [mono] "Psychedelic Percussion" 1967 (Dunhill ds-50019) [stereo] Famous L.A. session drummer dons the studio psych hat and gets real. Spaced-out drum rock with Paul Beaver (Beaver & Krause) contributing electronics! BLAZERS (GA) "On Fire" 1967 (Perfection Sound Studios 5022/23) Obscure Southern teen-band club LP. BLESSED END (Philadelphia, PA) "Movin' "Movin' "Movin' "Movin' On" On" On" On" 1971 (TNS J248) [1000p] 1992 (TNS, Austria) [bootleg] 1998 (CD Gear Fab 112) [+1 track] 2000 (Akarma 118, Italy) [+1 track]

Have to state right away that I don't like this LP, I've heard it many times but always found it mediocre. It's biker psych-rock with Doorsy vocals and "heavy" outlaw moods, but the songs are simplistic and boring and the sound unfulfilled and claustrophobic. A depressing LP to my ears, some people love it though. The original pressing is apparently noisy. [PL] ~~~ Among the few folks who've actually heard this, the album comes off as either a wonderful slice of Doorsstyled rock, or utter and complete derivative crap. For some reason, moderation doesn't seem to exist with regard to this set. So where do we stand? Well, we'll cast our lot with the former group. While the Doors influence is unarguable, most of the ten originals are actually pretty good.While the vocalist occasionally overdoes the Jim Morrison vibe, overall he's a pretty impressive performer, kicking considerable energy into tracks such as the lead off rocker "Nighttime Rider", "Someplace To Hide" and the title track. At the other end of the spectrum, the set occasionally bogs down amidst the band's penchant

for doom and gloom lyrics, and the band simply can't match Ray Manzarek and Robbie Krieger in terms of compositional skills or instrumental prowess. [SB]

ARTHUR BLESSIT (Hollywood, CA) "Soul Session at 'His Place'" 1970 (Creative Sound css-1530) Self-proclaimed 'Minister to Sunset Strip'. 'His Place' was an all-night nightclub where Blessit preached his psychedelic take on the gospels. Hippie street preacher wierdness. On "Soul Session", one side is Blessit's goofball sermon and the other features a bizarre play and garagy jamming by exaddicts, The Eternal Rush! [RM] FREDDY BLIFFERT (WI) "You'll Like Bliffert" 197 (no label 1) [insert] Stoner folk blues and singer/songwriter. Bliffert was in 1960s band Freddy & the Freeloaders.

BLIND OWL (Canada) "Blind Owl" 1973 (KC 1010) 1970s folk from little-known act.

BLIND RAVAGE (Montreal, Canada) "Blind Ravage" 1972 (Crescent Street cs-1874) Rhythmic guitar and organ hardrock with growling vocals.

BLISS (AZ) "Bliss" 1969 (Canyon 7707) "Bliss" 2002 (Void 023) One of our favorite recent discoveries, "Bliss" was released by the L.A.-based Canyon Records. Musically the LP offered up a mix of originals (all three members contributing material), and blues covers. Based on the cover which shows a chalice and a young, angry looking priest, our initial expectations were that this might be a Christian-rock LP. Those thoughts were reinforced by the opener "Ride the Ship of Fool" which blended a nice melody with sweet harmonies and a pseudo-religious lyric and "Cry for Love". While those characteristics are enough to send a large segment of the population running for cover, in this case the results aren't half bad. The

religious sentiments are kept in check throughout and are wrapped in a series of tasty rockers. With powerhouse drumming and strong fuzz guitar (check out "Visions" and their cover of Joe Tex's "I Want To be Free"), this is simply a great LP! [SB] BLITZ (Cleveland, OH) "Oga Erutuf" 1975 (no label) This hard rock band performed in makeup that was similar to, but more tribal than, Kiss, making them a real product of their time. There is one truly putrid song here, Dont Wanna Be Bussed, which couples an annoying speak-sing vocal with a horrid attempt at social commentary. Bands this dumb shouldnt make attempts to be meaningful; they dare to insult some girls intelligence in one lyric, while elsewhere they think that the song title Holden Me Down is spelled correctly. An obvious explanation for their lack of brainpower can be found in the massive amounts of references to a stoner lifestyle. That said, considering the gimmick and the low IQ, other than that one song, the music on this album is very good, a pleasant surprise. Its melodic, hooky, even tasteful hard rock. A few songs verge on good power pop and none of them are bogged down by slow paces or tedious soloing. The dreamy, spacy Mr. Natural is fantastic. So, as long as you skip track two on side one and dont pay too much attention to the words, this is recommended. [AM] BLOODY MARY ( ) "Bloody Mary" 1974 (Family Productions fps-2707) Oddly, this LP has almost no credits, and the listing of "John Bradley" as an engineer has many speculating that the ex-Sir Lord Baltimore drummer/ singer is in this band. If so, he's certainly lost that je ne sais quoi that made him so amazing, because the vocals here are strident without being exciting. The band plays guitar/organ heavy rock that's relatively undistinguished, though the closing song on side one is pretty great. This album has an odd not-quitefunky hard rock sound that's hard to describe, but it's likely that a listener will either immediately like it or immediately hate it. Yet another bizarre album on the Family label. [AM] BILL BLUE ( ) "Indian Summer Blues" 1975 (Feather) "Street Preacher" 1975 (Feather 7001) Acoustic folk blues with slide guitar and occasional piano, second LP has full rock setting.

BLUEBIRD (Seattle, WA) "Country Boy Blues" 1980 (Piccadilly 3382) Early 1970s recordings rural folkrock sound with harmony vocals. The band recorded a still unreleased LP in 1972, including a live version of "Cantaloupe Island", also famously covered by Seattle colleagues Daily Flash. ~~~ see -> Grand Theft

BLUEBYRD (Bernidji, MN) "Bluebyrd" 1975 (no label) Introspective folk trio with psych leanings. Acoustic guitar, flute, hand drums. BLUE JOHN see Thrower Spillane & McFarland BLUE LIGHT (HI) "Reflections Of The Inner" 197 (BLPC) Obscure progessive folk from Hawaii. BLUE MAX (Amherst, Canada) "Limited Edition" 1976 (Solar 2011) [1000p] "Limited Edition" 2003(CD Gear Fab 203) Local Nova Scotia teenage hard-rock with band originals all through. BLUE MONEY BAND ( ) "No Money Down" 1977 (Money Master) "Do Your Duty!" 1979 (Money Master 1273-2) [blue vinyl] Mix of blues, hardrock, and psych with stinging leads. Ex-Woolies guys. BLUE MOUNTAIN EAGLE (Los Angeles, CA) "Blue Mountain Eagle" 1970 (Atco 33324) As far as music per $ value goes this is one of the best scores out there. A 2nd-tier supergroup of sorts, these guys put together an LP of ballsy psych-

hard rock transition tunes that ranks with any private press. Fat production with dual guitar leads, awesome bass runs (by Randy Fuller!) and tight ensemble singing. Occasional X-ian concerns in the lyrics and it does have an Agape/All Saved Freak Band feel. The sound is a consistently balanced mix of westcoast rock, British hard rock and early Southern rock; it would have fit well on the Nasco label. To nitpick some, the male ensemble singing creates a somewhat detached feel and the production is too slick in places, but if on a private label and with a female vocalist this would have been a $500 LP. Great opening track gives a good idea of the album's sound. Judging by the catalog number the LP was released in the Spring 1970. A French pressing exists, and there is also a non-LP 45 track. BLUE RIDGE (Long Island, NY) "Blue Ridge" 1974 (no label r-2025) [100p] Rural x-ian rock sound with a loose amateur feel. Several of the tracks have heavy guitar breaks worthy of Joshua. The vocals are charmingly bad and some of the lyrics are downright strange like on the trippy "My Love's Alright" and the amazing anti-abortion ditty "Unborn Baby". Not a great LP but an interesting obscurity. The drummer, John Hauser, went on to play on the Danny & Lynda LP. According to the band, as few as 100 copies were pressed. [RM] BLUES CLIMAX see Alan Franklin (Explosion) BLUES IMAGE (Tampa, FL) "Something to Say" 1977 (Illusion cm-2006) "Leavin' My Troubles Behind" 1977 (Illusion cm-2007) "Ride Captain Ride" 1977 (Illusion cm-2008) "Can't You Believe in Forever" 1978 (Illusion) "Clean Love" 1978 (Illusion) Bluesy guitar rock featuring Mike Pinera (Iron Butterfly, Thee Image) on his own tax-scam label. The band had an earlier hit on Atco with "Ride Captain Ride". The Illusion LPs are rather difficult to find, although musically they are a bit too much in the mainstream roadhouse bag to attract significant collectors attention. Hopney and Charmer members provide the backing. The band's earlier wellknown LPs on Atco are not listed here. [RM] BLUES SPECTRUM (PA)

"We Were the Blues Spectrum" 1969 (no label db-8970) High school group. Rough, garagy blues jams with horns and fuzz. One of the border pieces from garage into stoner rock. BLUES TRAIN ( ) "Blues/Train" 1969 (Condor 2465) "Blues/Train" 200 (CD Gear Fab 158) "Blues/Train" 200 (Gear Fab/Comet 406, Italy) Jammy blues-rock with possible Johnny Kitchen (Crazy People, Victims Of Chance, etc) involvement. BLUES UNION (Houston, TX) "Blues Union" 1980 (Lunar 2) Blues rock and Texas shuffle with wailing guitar courtesy Michael Heyman, early 1970s sound. A 45 was also released. BLUE THINGS (Hays, KS) "Blue Things" 1966 (RCA LPM 3603) [mono] "Blue Things" 1966 (RCA LSP 3603) [stereo] "Blue Things" 2002 (RCA) [bootleg] If you know them from the good psych 45s, beware as this is for the most part unexceptional Beau Brummels style folkrock. Admittedly has some good tracks but is a far cry from their best efforts to my ears. Nice sleeve design though. An exact vinyl repro now exists, and all tracks are also available on the Cicadelic 3-LP set, also issued on CD by Collectables. The third volume in the series features their excellent psych-oriented material from 1967. [PL] ~~~ Due to inclusion in Ritchie Unterbergers "Unknown Legends" book, theyve gotten quite a bit of attention. A series of CD reissues have mixed up the album, single and unreleased tracks in a rather haphazard manner, which in my opinion detracts from all of them. The actual album is a very enjoyable folk-rock record with great vocals and a bit of a rocking garage edge here and there. Most of the melodies are stolen from somewhere (a Youve Got To Hide Your Love Away rip is the most blatant), which keeps this from being completely top shelf, but the album isnt packed with filler like most relics of its time. It has aged surprisingly well. The post-LP psychedelic singles, which are completely different from the album, similarly have a great sound to them but are a tad short on ideas. The same backwards guitar sound runs through all of them and one of them steals the Monkees Last Train To Clarksville melody. [AM]

BOA (MI) "Wrong "Wrong "Wrong "Wrong Road" Road" Road" Road" 1971 199 1998 1998 (Snakefield 001) [circa 500p] (Snakefield) [bootleg] (CD Gear Fab 113) [+2 tracks] (Gear Fab 113) [+2 tracks]

This cool early hardrock item has every bit as much garage attitude as the best '66 LPs. An enjoyable energizer with wild stories about murder and infidelity in a raunchy basement guitar/organ setting. Crappy press and one of the least professional band photos ever on the sleeve. A minor classic within the field. A 10" acetate recorded as Anvil in 1970 has also been found. [PL] ~~~ This late garage album has a rough sound, cheesy organ, simple hooks, and lyrics about the singer murdering his girlfriend. I like the cymbal-happy drummer and the fact that the bass is way too high in the mix. I cant say the same about over-loud backing vocals, though. Overall, this is a decent garagebordering-on-hard-rock album where the cheap production works both for it and against it. The songs and playing are decent; the energy level is high, the singer is appealing. The closing song rocks particularly hard. The only problem is that the oh oh vocals in the last couple of minutes are horribly out of tune, ending things on a sour note. That issue aside, most of you will enjoy this quite a bit. [AM] ~~~ Here's some more Boa details, from ex-band member Ted Burris: "The first time we went to the recording studio (and made the acetate) was in 1970. It was Anvil's first attempt at recording. The guy that recorded us was a cerebral palsey victim and worked the controls with the back of his knuckles. The next time we got together we did it ourself in a Tupperware warehouse owned by Brian the keyboardists' dad. It was all done live, so if we made a mistake we had to start over." BOA CONSTRICTOR & A NATURAL VINE (Baltimore, MD) "Boa Constrictor and a Natural Vine" 1968 (Vanguard Apostolic vsd-6511) [promo exists] Dark bluesy underground folk. Primitive strummed guitar sound with moody sax and downer lyrical concerns. Like down and out country blues 78s filtered through a hippie seeker's prism. The LP was also released in Canada & UK. [RM] BOAZ (WI)

"Three of a Kind" 1978 (Blue Moon) Heavy guitar trio bluesy swamp rock mixed with rural Deadish sound. BOBBY'S BLUES BAND ( ) "Gold Dust" 1978 (Royal Rose) Inept real people guitar rock and keys with backwards parts and long wayward jams that sound like its the first time they've ever played together. "My love is like an island in the sun" brings in weird caribbean atmospheres for a memorable experience, approaching some of the sleepier Grateful Dead clone bands from a novel angle. [RM] BOHEMIAN VENDETTA (Long Island, NY) "Bohemian "Bohemian "Bohemian "Bohemian "Bohemian "Bohemian Vendetta" Vendetta" Vendetta" Vendetta" Vendetta" Vendetta" 1968 1968 1997 199 1998 199 (Mainstream 56106) [mono] (Mainstream S-6106) [stereo] (Mainstream) [bootleg] (CD Mainstream) [bootleg] (Distortions) [+bonus tracks] (CD Distortions) [+bonus tracks]

Interest in this has surged recently and quite rightly too, as this is one of the best acid-punk LPs ever. Clearly inspired by "Electric Comicbook"-era Blues Magoos, these Long Island kids definitely had a problem with both drugs and their attitude! Their originals are excellent Vox organ/fuzz teen garage psych and the covers pretty demented as well. The cough syrup highschool play vibe of "Deaf, Dumb & Blind" must be heard to be believed. Not a perfect album, but the highs are higher than on almost any other LP of this kind. Possibly the best on the label, at least if you prefer the 60s teen-garage approach over hippie longhairs. A Canadian pressing exists. [PL] ~~~ Easily one of the best on the label with lots of classy psychpunk originals and a truly unique vibe all through it. These guys must've been left pretty much on their own in the studio, probably accompanied by large amounts of weed and cheap beer! You can almost hear the degeneration taking place, from the almost straight punky performance of "Riddles & Fairytales" to the utterly demented "Satisfaction". They even manage to re-write "Gloria" into "(She Always Gives Me) Pleasure" and give it way dirtyer lyrics. The whole album must be heard to be believed - a truly unique LP, especially for a major label!

One of the few genuine US garage/acid punk LP's from the 60's no doubt. The pre-LP 45 ("Enough" / "Half The Time" on United Artists) is also an essential killer. [MM] ~~~ see -> Dust Bowl Clementine; Faine Jade

BOLD (MA) "The Bold" 1969 (ABC s-705) "Lullaby Opus 4" 2003 (CD Misty Lane 067, Italy) [album +6 tracks] Overlooked psych-era album from band with famous garage 45s; the LP is an appealing mix of floating dreamy Northeast organ psych a la Freeborne and early rural rock, has some really good psych tracks and is worth checking out. Three wellknown covers lessen the impact but not enough so to ruin the LP. Vinylsourced CD reissue has the band's garage-era 45s as bonus. [PL] ~~~ This Bosstown album probably failed to attract attention because it came a few years after the hype. Looking at the cover and seeing three familiar cover versions, youd expect something unremarkable, but this is a real find, an original, highly creative album that stands with the best from the city. Lots of cool organ, interesting experiments (including a shimmering guitar instrumental that anticipates ambient music), jazzworthy chops, hooks that sneak up on you. Should appeal equally to psych and prog fans. Even the cover versions are great. Despite being on a major label, this rarely shows up for sale. [AM] BOLDER DAMN (Fort Lauderdale, FL) "Mourning" "Mourning" "Mourning" "Mourning" 1971 1991 1997 2001 (Hit 5061) [500p] (Rockadelic) [altered cvr; insert; 300p] (CD Rockadelic) (Void 21)

Underground teenage hardrock LP in the typical early 70s bag with realistic lyrics about Vietnam. Strained pseudo-macho vocals may be seen as drawback, though probably appear charming to others. Often compared to Black Sabbath which is a fair analogy, though this has a more rural sound. Also shows some other ambitions on the long track on side 2. A classic among local hardrockers. As often, ridiculously low estimates of the pressing size have been in circulation, while the band has reported a more normal run of 500 copies. The vinyl reissue has altered track order. [PL] ~~~ This band's popularity was almost entirely due to their Alice Cooper-inspired stage show, something that obviously is missing from the LP. The result is that whatever excitement they generated just isn't apparent to the listener, and the result is an enthusiastic but not particularly distinguished hard rock album. [AM]

BONDSMEN ( ) "Bondsmen" 1966 (Austin) Quite obscure teenbeat LP. BONNEVILLES (NC) "Bringing It Home" 1967 (Justice 146) "Bringing It Home" 1967 (CD Collectables 0623) Perhaps the archetypal Justice LP, even has a ballsy statement declaring the death of the "Liverpool Sound" and the "Tottenham Sound", and the coming victory of the blue-eyed frat-soul Justice sound. The lame-ass Billboard R'n'B 100 covers and uninspired playing found on the actual record stand in stark contrast to this bravado. Usual fare for the label, the hippest things being an incorrectly interpreted "96 tears" and a closing instro. Organ upfront, sloppy drummer, harmony vocals with lyric mistakes left intact; everything you can ask for. Band are 6 shorthaired dorks, 2 with glasses. [PL] BONNIWELL MUSIC MACHINE see Music Machine T S BONNIWELL (Los Angeles, CA) "Close" 1969 (Capitol st-277) [green label] Dark crooner LP from Music Machine main guy. Held in low regard by MM fans but in fact well worth checking out for fringe/downer lounge LP fans. Bleak and introspective interiors from the acid hangover era: "Candles at noon, still shining/Poetry cold, unrhyming." [PL] ~~~ see -> Music Machine

BOOT (FL) "Boot" 1972 (Agape lp-2601) This hard rock album by some down home Southern guys has an amusing album cover and some excellent music. Side one has four winners : theyre hooky, the guitar playing is hot, the rhythm section is tight and the singing is very good. There are no keyboards on this album, but the guitars provide plenty of variety, with slide guitar, lots of wah-wah, acoustic to add color, and two nice side-ending washes of feedback. The sound is hard without being heavy; the tempos are upbeat, the vibe is bar band rock and roll. Side two adds a hint of a rural edge (after all, these guys are Southerners), and while its not quite as consistent as side one, its strong enough to make

this album a definite keeper. Its comparable to, as professional sounding, and better than, major label bands like Jukin Bone and Stray Dog, etc The label is Agape, but there are no Christian lyrics, as far as I can tell. [AM] "Turn the Other Cheek" 1977 (Guiness gns-36002) This shows typical second album growth, moving from the first albums straight hard rock into melodic guitar rock, bluesy southern rock and a side-long suite with prog leanings. Mostly its quite good and the guitar playing continues to be effective and varied. The great opening song Its All Comin Down beats the best songs from the first album. Too bad about the five minute drum solo near the end of side one. Its full of trippy sound effects, but its still a drum solo. Otherwise, this is recommended just a tad less strongly than their self-titled album. As is usually the case with tax scam label releases, it has not been determined when this music was recorded, but its unlikely that the distance between the two albums really is five years. [AM] BOOTH, DAVIS & LOWE (AZ) "Prototype" 1978 (Titicaca) Heavy progressive guitar rock with synth and glockenspiel(!). Excepting the chunky, finger-flying fusion guitar, not terribly memorable. [RM] BOREALIS (Canada)

"Sons Of The Sea" 1972 (Audat 477-9025/6) "Sons Of The Sea" 199 (Audat, Germany) [bootleg] "Sons Of The Sea" 200 (Void 23) [500p] "Sons Of The Sea / Professor Fuddle's" 2005 (CD Beatball, South Korea) [2-on-1] Obscure and not that exciting bluesy organ-led psychrock from Canada, similar to side 2 on Jarvis St Revue. Two or three standout tracks like "Tomorrow morning" while the rest is sort of average. The reissue might be worth checking out. [PL] ~~~ This is heavier than most Canadian keyboard-led rock of its time, but not a whole lot more memorable. It sounds pretty good on first listen but once you get used to the songs you realize there's not much there. [AM] ~~~ see -> Professor Fuddle's

BORN AGAIN (CA) "Born Again Pagan" 2002 (Rockadelic 42) [600p] "Born Again Pagan" 2005 (CD Shadoks 073, Germany) Previously unreleased 1970-71 tapes from Marin County band who flirted with success in L A. Cool, convincing early Southern rock expos with inspiration coming from the Faces and heroin-era Stones rather than Memphis, I would think. Strong songwriting and solid grooves with standard rock setting plus piano and appropriate bourbon-soaked vocals. It's All Meat at their rootsiest is one point of reference. Nice gatefold cover with a big pic of Pat Boone (don't ask), my only gripe being the compressed and tinny soundscape on some tracks. A neat trip for those who dare think outside the garage/psych box. [PL] BORUK ( ) "Blackhole Boogie" 196 (no label bg-0606) Beat poetry and sampling (Beatles, Stones, etc) collage. Has a strong sexual component. 25 tracks! V.A "BOSS DANCE HITS" (HI) "Boss Dance Hits" 1966 (Teen 1001) Hawaii sampler of local surf and frat. Side 1 is Telstars, side 2 is Mopptops, Casuals Of Waikiki, and more.

BOULDER BROTHERS ( ) "A Period Of Time" 1975 (Sheepeater 000-1) Obscure rural/countryrock with nice double exposure front cover.

BOUNTY (CA) "Bounty" 1981 (Harts 755) Synth-led progressive. Including ARP Odyssey, Solana string ensemble, Steinway piano, guitar, bass, drums. BOW STREET RUNNERS (Fayetteville, NC)

"Bow Street Runners" "Bow Street Runners" altered sleeve] "Bow Street Runners" "Bow Street Runners"

1970 (BT Puppy 1026) 1995 (T.U.T, Austria) [300#d; bootleg; 1996 (Sundazed 5029) [green vinyl] 1996 (CD Sundazed 6112)

A legendary LP, for long rated as the rarest psych LP on a "real" record label. Unfortunately some tracks are in a blues/jugband style I doubt anyone will enjoy. Side 1 is good with a youthful 1967-68 classic psych sound, while side 2 is clearly weaker. "Electric star" is sheer perfection with its female vocals, spaced-out lyrics and wild fuzz breaks, while "Another face" is drowsy pot-psych with an amusing one-note "solo". These two are the standout tracks, with the opening "Watch" a strong organ/guitar garage-psycher also worth hearing. That's about where the good stuff ends to my ears, and like the New Tweedy Bros it's a case of the legend overshadowing the actual music, once you sit down and actually listen to the album. Beware of the Austrian bootleg, which has a lame new sleeve. An original 1971 Mexican pressing on Panamusic/Sol exists, with altered cover design. [PL] KENT HARRISON BOYLES (MD) "Kent Harrison Boyles" 1973 (no label) Local obscurity described as 1970s basement folkrock/singer-songwriter with UK pop angles. J LELAND BRADDOCK (MS) "Evil Is On My Mind" 1975 (Live Bears no #) This occasionally shows up on dealer lists as a rare psych effort. The rare part is probably true since less than 500 copies were reportedly pressed. In contrast, the psych label is pretty far off target as his format is fairly straightforward blues. Backing himself on acoustic guitar and harmonica, nothing here is particularly original, though to my ears he occasionally bares a resemblance to a bluesy (if bizarre) cross between Joe South, Leon Redbone and some 80 year old blues guy ('The New Willie Brown' and 'Diamond Ring'). Another big drawback is the fact that much of the material has the same kind of sound. A guy strumming an acoustic guitar and playing harmonica has certain aural limitations and those are clear on Braddock's set of acoustic, mid-tempo numbers. It's simply hard to tell where something like 'Hometown Blues' ends and 'Lucy's Debut' starts.

Bottom line is this one didn't do much for me, but might find some interest in 'real people' devotees. Sides 1 and 2 are reversed between the liner notes and the actual playing sequence. [SB] "That Second Mile" 1976 (Live Bears)

DON BRADY & THE LAST EARTHBOUND BAND ( ) "Mostly Live" 1977 (Lizard) Wasted rural jams. VICTOR BRADY (NY) "Brown Rain" 1970 (Polydor) [wlp exists] "Brown Rain" 2005 (CD Syn-Ton, Austria) You'll never hear another album like this one -seriously heavy rock with the lead instrument being steel drums. Brady's band is really hot, and for a song or two this unlikely combination of sounds is exhilarating. A full listen to the LP, though, shows that it doesn't really work; it clashes and seems more like a novelty than a truly good idea, especially on a few long jams. Recommended to the brave among you. [AM] JOHN BRAHENY ( ) "Some Kind of Change" 1968 (Pete s-104) [gatefold] Braheny is remembered mostly as the writer of the Stone Poneys December Dream, but his talent ran much deeper than that, and this is a great album worthy of rediscovery. About half of the songs are excellent laid-back rural folk-rockers, including December Dream and the sublime Grey Day. The rest of the album is experimental, highlighted by the electronics on the title track and the long free-form instrumental that closes side two. Though marred by a six-minute track mixed below a monologue from an LA tour bus driver (mildly interesting on first listen, highly irritating thereafter), this album is near the top of the psychedelic singer-songwriter heap. [AM] BRAIN POLICE (San Diego, CA) "Brain Police" insert] "Brain Police" 600p] "Brain Police" sleeve] "Brain Police" "Brain Police" 1968 (K.B. Artists wr-4767) [no sleeve; 1997 (Rockadelic 26) [diecut sleeve; insert; 2000 (Akarma 174, Italy) [altered gatefold 2000 (CD Akarma 174, Italy) 2000 (CD Shadoks 8, Germany) [+bonus tracks]

Nicely done reissue of little-known (at the time) demo LP. Energetic organ/guitar psych-rock with a Brit/top 40 influence, pretty solid but slightly overrated to my ears; songwriting is good but not exceptional and loud simplistic drumming is a minus. Basically the vibe of a solid club band having rounded up enough originals to get with the new and more creative times. 50 copies of the Rockadelic release came on green vinyl. Reissued again to meet popular demand, this 2nd press is less ambitious in the packaging. [PL] ~~~ Demo LP from San Diego '68, with lotsa variation from folkpsych/pop and west coast/Moby Grape influences, to full-on fuzz blasters. It might sound a bit dull at first, but grows with repeated listening. One of the better Rockadelic reissues in my opinion. [MM] BRAMANTE & CROSS ( ) "When The Music's On" 1972 (private) Male & female duo doing hippie folkrock with basic band setting in homemade sleeve. BRAT ( ) "Brat" 1973 (no label r-2826) [1-sided; no cover; 150p] Guitar rock, includes covers of "The Nazz are Blue" and "The Kids are Alright". BRAZDA BROTHERS (Canada)

"Brazda Brothers" 1972 (Dominion 93077) [5000p] "Brazda Brothers" 2001 (Void 29) "Brazda Brothers" 2002 (CD Hallucinations) Appealing rural hippie folkrock with short, succinct tunes and a Neil Young vibe. Songwriting is good, and the vocals relaxed and soulful. The setting is acoustic guitars, drums and occasional keyboard, while one atypical rocker has raw fuzz-leads. Good LP with atmosphere, though they don't look too hip on the cover. Well worth examining for genre fans, while others may think it unexceptional. One of the better in the style from Canada, a lot stronger than the the Folklords or Jeremy Dormouse. Despite its relative rarity, a band member reports the press size as no less than 5000 copies. There was also a non-LP 45. [PL] J D BRENNAN & GOLD FEVER (Boston, MA)

Brennan's work falls outside the Archives timeframe but should appeal to some readers, at least those of an Incredibly Strange persuasion. Six LPs from 19841990 have been logged, done in pressings of 200 copies on his own Scyne label. The music has been described as "amazing 50 year-old 'real people' rocker who manages to sneak in a powerful psychedelic edge to his echoed rockabilly twist." ~~~ see -> J D Brennan (in the Attic) BREW ( ) "A Very Strange Brew" 1969 (ABC 672) This is a pretty solid garage rock effort. Though no one song really stands out and it's not especially original, it's enjoyable straight through. Pre-Impala Syndrome. [AM] BRIDGE (Canada) "Bridge" 1971 (Vintage Records) Bridge answer the question, for anyone who wishes to know, what happened to the Canadian band David after their lone record on Sound Canada in the late 60s. Guitarist Francis Webster, bassist John Webster, and drummer Tony Lecallion from David make up Bridge who recorded this ultra obscure and rare record at the same Sound Canada studios in 1971. Next to each song is a brief description of the musical genre of each ranging from "Ego Trip" to "Country" to "jazz shuffle." What this album is differs drastically from what you'd expect from David. The best way to describe Bridge's album would be "Sweetheart Of The Rodeo" on tons of acid! There is no fuzz guitar, but a clean westcoast shimmering tone on all tracks, bizarre vocal effects on the tripped out "It's My Life" and plenty of weirdness present for the whole album. The tracks that are labeled "Country" all have a strange bent to them despite being early back-tothe-roots country rock influenced by Graham Parsons and "real" country artists like Hank Williams. The long "Ego Trip" version of Little Richard's "You're My Girl" is great fun and the only good version I've heard of one of his songs. There is something here very enjoyable for anyone looking for a bizarre twisted record of fun music, especially "Brand New Day" with echoes of Spirit and a bit of Freeborne. Very rare and a good one. - Ben Blake Mitchner THE BRIDGE (Greensboro, NC) "Just For You" 1971 (Crescent City Studios 1226) "Hallelujah" 1972 (Crescent City Studios 1241) "Unto The Lord" 1973 (Custom PRP 44552)

"Best of the Bridge" 2001 (CD Hidden Vision) Christian melodic folkrockers rated highly by some. The CD is a selection of tracks from all three LPs. BRIDGES ( ) "Tradewinds" 1978 (no label) Communal hippie folk. BRIGADE (Portland, OR)

"Last "Last "Last "Last

Laugh" Laugh" Laugh" Laugh"

1970 1991 2000 200

(Band 'n' Vocal 1066) [inner sleeve; 100p] (Del-Val 003) [insert; 350p] (Shadoks 11, Germany) [insert] (CD Shadoks 11, Germany)

The charm of the amateur comes rolling off this record in waves. The recording quality is marginal, but the playing fits that like a glove. The vocals have a strident character that floors me whenever I hear this and the way the organ dominates the sound, the way the bass and drums struggle to hold things together, the harmonies on "Desert Song (You're Not Alone)", the almost jazzy quality the guitar takes on the killer opener track "Change In Me", the monster that opens the second side ("Self-Made God"), the way the band just shoots for moves they have no chance of pulling off... These guys must have fallen into a glacier in 1966 and were defrosted moments before the LP was recorded. Where most European, Latin American and Asian rarities are professional-grade rock records that never found the market to sell in numbers so we'd all be familiar with them thirty years down the line, the best of the lost & obscure American records are those that, like this one, are performed by young people more earnest than capable. It's that enthusiasm the pours from the speakers when I play this and that "charm of the amateur" collects in puddles on the music room floor. Highly recommended. [SD] ~~~ Moody organ-led garage by high school seniors with proggy tendencies in the compositions and lyrics. Really annoying warbling vocals and meandering songs. Of interest mainly for the organ textures and "Self Made God", which has some bite and the trippy reverse-negative cover. A good example of a band reaching way beyond their grasp and crashing to the earth in a disfigured heap. Some sealed originals actually contained the wrong record, a bonus I'd say! The atypically small press size has been reported by the band. [RM] ~~~ This album has the same low-budget reverby charm as

Mystery Meat or the Bachs, though the music is somewhat more complex than those garage bands. The songs are longer, the solos more extended, the organ jazzier and much more prominent than the guitar. Despite the more ambitious music, theres a definite ragged feel here, from the straining vocals to the occasionally sloppy rhythms to the guitars, which dont always sound in tune. There are some really good songs here, and the overall feel of a garage band thats desperately trying to be something more has its charm. Other reviews of this album appear to be either really positive or really negative. I think the true value of this album falls somewhere in between. Its likeable, has its moments, and grows on you, but isnt the very best in the genre. My favorites on the album: the dirge-like Desert Song, which has lots of eerie organ, the subtly powerful Self-Made God and the catchy title track. [AM] BRIGG (Danville, PA) "Brigg" 1973 (Susquehanna 301) [1000p] "Brigg" 1988 (Hablabel 1002) "Brigg" 199 (CD Mind's Eye) Been I while since I heard this though it didn't make much impact on me, sorta standard rural hippie folkprog that's OK listenable but not much more. Never heard anyone being too excited about it either. "Hey Mister" is a catchy track. [PL] ~~~ Dreamy stoned psych recorded for a high school winter term project. Brigg was conceived by Rob Morse and Jeff Willoughby. Rusty Foulke was added on and Hybrid Ice Company (including Willoughby and Foulke) played on three tracks to fill out the album. The back cover photos of Rob Morse and Rusty Foulke were inadvertently switched. Hybrid Ice reappeared with a local indie hit AOR LP in the early 1980s. [RM] GEORGE BRIGMAN [& SPLIT] (Baltimore, MD) "Jungle "Jungle "Jungle "Jungle "Jungle "Jungle Rot" Rot" Rot" Rot" Rot" Rot" 1975 199 200 2005 2005 2005 (Solid 001) [1000p] (Solid) [bootleg] (CD Synton, Austria) (CD Radioactive, UK) (Anopheles 009) (CD Bona Fide) [+3 tracks]

"I Can Hear The Ants Dancin'" 1994 (OR 004) [paste-on; white label; 225#d] "I Can Hear The Ants Dancin'" 1994 (OR 004) [printed cover; stock label; 1000p] "I Can Hear The Ants Dancin'" 2005 (CD Bona Fide) [+10 tracks] Local Maryland legend that's been popular almost since day one with collectors due to his uncompromising underground attack. He has an amazing voice full of snarl and venom plus layers of murky fuzz and phasing in the background. The overall feel of "Jungle Rot" is like looking out at a 70s ghetto street full of garbage and car wrecks from the window of a basement crash pad. Stylistically interesting as

it contains elements of both psych, hardrock and 1970s punk/DIY, and has garnered fans in all three fields. The recording has a crude demo sound which isn't entirely to its advantage, and it could be argued that the music would have been even more effective with a more stringent drummer. Nevertheless this is an important document of 1970s inner city despair. Lyrics hit the same renegade vibes as the music, even on the softer songs. Among Brigman's other releases are a 45 from 1977 and a 5-track EP for Bona Fide in 1985. The "Ants" material was recorded in 1976 and originally released on cassetteonly in 1982 (300 copies). [PL] BRIMSTONE (Youngstown, OH) "Paper Winged Dreams" [color cover] "Paper Winged Dreams" [bootleg; b&w cover] "Paper Winged Dreams" "Paper Winged Dreams" 1973 (Peppermint Productions PP-1022) 198 (Peppermint Productions, Europe) 199 (CD no label) 199 (CD Camellia)

Rather irresistable melodic prog/artrock LP with a light, airy feel throughout. The band belongs at the dreamy Moody Blues/Camel end of the prog spectrum, with flawless vocal harmonies, long classicalinspired keyboard excursions and plenty of nonaggressive guitar interplay. Side one is shorter structured song with a highpoint in the opening "Dead sleep at night" which is almost Beatleish in its directness and appeal. Side 2 is a sidelong suite in five movements and mainly instrumental, and fairly successful at that. The album's emotional range isn't terribly wide and the band skirts daringly along the edge of blandness, but the end result is superbly realized and charming in its harmonious mood. This is one of the least pretentious local prog LPs, and also one of the least preaching Christian albums around, and what might have been a dog turns out to be something of a surprise winner. There is also a nonLP 45. [PL] BRITISH MODBEATS (Saint Catherine, Canada)

"Mod Is... the British Modbeats" 1967 (Red Leaf 1002) "Mod Is... the British Modbeats" 1998 (CD Flash, Italy) The album compiles the band's four earlier singles, along with three previously unreleased tracks. Other reviewers have said the same thing, but in light of the stunning cover photo (those are some pretty friggin' amazing bell bottoms), the band's set of popular covers is somewhat disappointing. There's

nothing particularly wrong with any of the material, but tracks such as 'Whatcha Gonna Do About It', ' The Price of Love' and 'No More Love' sound surprisingly tame and even bland, seldom rising above the level of competent bar band fodder. Best of the lot are the up tempo 'Somebody Help Me' and The Pretty Things cover 'L.S.D.'. Interestingly, Loveman's vocals sound like he suffered from a lisp.[SB] BRITISH NORTH AMERICAN ACT (Montreal, Canada) "In "In "In "In The The The The Beginning" Beginning" Beginning" Beginning" 1969 1987 199 2004 (Now rss-6700) (Antar 7, UK) (CD Afterglow UK) (Akarma, Italy)

One of many pop-psych LPs from Canada, most of which are only so-so. I kinda like this, there are flashes of real talent and a solid consistency throughout, with the typical London/LA '67 mix, good vocals and excellent use of organ. "Don't run away" is perhaps the best track and has been reissued on Echoes In Time. Neat sleeve design.The LP is surprisingly expensive. [PL] ~~~ This album sounds earlier than it is; it's closer to British Invasion pop, or at least mid-60s Paul Revere & The Raiders-type garage rock, than to late-60s rock. The band's name is quite appropriate. It's a nice little pop album, unpretentious but confident, with consistently good songwriting and singing. Some of it is in a fine dreamy folk-rock mode with lots of reverb and echo and a strong backdrop of organ and choral backing vocals. Very nice. [AM] JAIME BROCKETT (Boston, MA) "Remember the Wind and the Rain" 1968 (Oracle ors-701) "Remember the Wind and the Rain" 1969 (Capitol ST 678) "Remember the Wind and the Rain" 2005 (CD Collector's Choice) Rural folk drifter with a notable, long story-song "Legend of the USS Titanic". The Capitol pressing is easy to find. Brockett had a second LP "2" on Capitol and a third LP in 1977.

BROKEN BOW (WI) "Arrival" 1980 (Couderay) Good drifting folkrock. [RM] BROKEN BOW & IDABELL (Shreveport, LA) "This Album Is Different" 1976 (Broken Bow & Idabell no#) [gatefold; lyric sheet; sticker] Psych fans and dealers seem to hate this album,

partially because when discovered it was immediately given an outrageous multi-hundred dollar price tag and inaccurate descriptions by several dealers. I may be in the minority, but I completely enjoy it. The back cover describes it as one garage, one album, two fools, three years, and it clearly is a labor of love. These two guys lovingly put together sixteen elaborately arranged songs on a 16-track machine. They pulled out all of the stopssome songs have horns, chorales, pedal steel, synth, etc, giving variety to a number of 70s melodic (not hard rocking) pop/rock styles. A strong sense of comedy is apparent throughout, which may be what put some people off (the album is most easily compared to Northern Front, though this is much better, or R. Stevie Moore, though this is nowhere near as good). Despite the oddness, the music itself is straightforward and of its time, with only a few dreamy ballads and one backwards bit to attract psych fans, and a tad bit of snyth to attract prog fans (i.e. its no surprise that both types of collectors reacted negatively to it.) The songs are well-written and tightly performed, though, and you have to give credit to a band that can pull off a calypso song with a country middle section. If the above descriptions havent yet sent you fleeing, I recommend it despite the naysayers. For a private press, this has very professional packaging. [AM] BRONIN HOGMAN BAND (Manchester, NH) "Bronin Hogman Band" 1976 (Gamut) [insert] Mainstream 70s prog with mild heavy moves. Very professional and competent for what it is, but I can't see it appealing to psych fans the way, say, Homer or Chirco sometimes do. Heartfelt lyrics, complex songs, and a large number of band members (with liner notes that detail exactly how and why this band was constructed) show that a lot of thought and effort went into this record. Of course, that was probably also the case with Styx and Kansas, who had equally annoying singers but a lot more hooks. Still, there's enough going on here to open new doors with multiple listens and I recommend it to serious fans of the style. [AM] TERRY BROOKS & STRANGE (Orlando, FL) "Translucent World" 1973 (Outer Galaxie 1000) [poster] "Translucent World" 1984 (Psycho 34, UK) First LP by legendary (in some quarters) Ohio/Florida drug prophet determined to conquer the world with endless space rock guitar attacks. The 11-minute "Ruler of the universe" is as notorious as "Dead man" and I have to admit I enjoy it quite a bit, the echoplex solo is unbelievable. The rest of the LP is a mix of hard fuzz Hendrix workouts and dreamier psych stuff. Operatic hardrock vocals and a crude recording may be off-putting for some, but to fans of local 1970s guitarpsych this is mandatory. [PL] ~~~

Brooks' first album (actually credited to "Strange") is one of a kind, a completely insane space rock guitarfest that will leave you dumbfounded. Brooks has one of the most annoying guitar styles on earth, playing endless solos that have no melody or direction at all, just a ton of ridiculously fast picking. On this album, though, he comes up with a truly memorable side one, with "Jimi" (a tribute to you know who), on which his singing style is as unhinged as his playing, and "Ruler Of the Universe," which trades the speed for echoplex, which has never been used with such abandon and lack of taste. It sure makes me wish more people would dispense with any common notion of "songs" and milk the noise factor for all it's worth as Brooks does. Brooks comes off like a guy who just discovered a synthesizer and wants to show all of his friends the very weirdest sounds he can make. Side two pales in comparison, but this album is a must own for fans of extreme rock insanity. [AM] "Raw Power" 1976 (Outer Galaxie 1001) "Raw Power" 1976 (Psycho 21 UK) They don't make them like this any more. If you want to contort your face into a penile-fixated frenzy of fret picking at the speed of light then step this way. The phasing on "Are you my friend" is so extreme and raw it sounds right out of the basement. This is the best moment to me, but "To the far side of time" and "Raw Power" are equally extreme in their own ridiculously fast space rock way. I've not played the backwards passages forwards, so mark me down. "Life Jam" is a bit of an endurance test, but has some moments, probably needs a huge GM reefer to fully appreciate its meaning. The thesis that 'they' were putting something in the water in mid-70s Florida just gets stronger and stronger. Intriguingly, Terry thanks a very long list of people on the cover. [RI] "To Earth With Love" 1980 (Star People spr-0005) This is the easiest Brooks album to find, and probably his most mainstream effort. What that means is that it isn't full of echoplex and sound effects, not that it would ever sound anything but bizarre on the radio. Though the songs are reasonably brief, they're full of Brooks' trademark fast-picking lead guitar style. The album's most memorable song, "It's A Beautiful Day," starts out a gentle ballad with wimpy lyrics and deteriorates into endless soloing. It's funny, and compelling in its own weird way. Brooks may be more convincing when he's not trying to write "normal" songs (which have derivative chord progressions and mindless lyrics) but this album has an odd charm, and his squeaky high voice subverts any AOR aspirations he may have had. Most people actually rate this as Brooks' best album, which is arguable. I'd suggest that straight hard rock fans start here, while people with more adventurous taste start with "Translucent World". The LP was pressed on various colors of translucent vinyl as well as on black vinyl. [AM] ~~~ Brooks' later work is listed in -> The Attic

BROTHERHOOD (OH) "Stavia" 1972 (Rite BH 501) "Stavia" 1995 (no label, France) [300p; +2 tracks] Obscure mellow hippie rock with organ and flute, similar to Borealis soundwise, plus some Santana moves. Listenable OK but hardly the stuff private press heads crave. The original was issued through the Rite recording plant, famous for dozens of great 60s punk 45s. Oddly, two tracks on the reissue actually are lifted from the UK "Psychedelic Salvage Co" comp and have nothing to do with the Brotherhood. Can anyone explain this? [PL] BROTHERHOOD OF PEACE (NC) "Cuttin' Loose" 1975 (Avanti 12003) Brotherhood Of Peace, despite the hippie name, are a straightforward mainstream 70s rock band. The album has a couple of hard rockers that will appeal to fans of bands like Magi or Sweet Toothe, but for the most part it's straightforward rock without distorted guitars. It does have a crude production style that might appeal to fans of garage rock. For the genre, it's not bad, but not great. Don Dixon produced. It's one of his earliest and most primitive productions. Greer fans won't find nearly as much songwriting talent or creativity on display here, but it's still a reasonably enjoyable album. [AM] BROTHERS & ONE (New Waterford, Canada) "Brothers & One" 1970 (Audat 477 9038) Little-known item on same label as Borealis, longhaired sextet with sax playing funky basement psych/rock. BOBBY BROWN (CA) "Enlightening Beam of Axonda" 1972 (Destiny 4002) [booklet] "Enlightening Beam of Axonda" 197 (Destiny 4002) [re-press] "Enlightening Beam of Axonda" 2004 (CD Akarma, Italy) As you probably guessed from the title, "The Enlightening Beam of Axonda" is pretty spacey, but in a surprisingly laidback and agreeable fashion. Brown had a nice voice (technically I think he'd be called a basso-profundo), that lent itself well to atmospheric tracks such as "I Must Be Born", "My Hawaiian Home" and "Mama Knows Boys a Rambler". Brown's liner notes claimed he had a six octave range. Lyrically Brown's hippy-dippy lyrics were pretty hysterical. Complete with between-the-songs narratives, the album almost qualifies as a concept piece with a plotline apparently having to do with Brown's search for fulfillment, though I'm not quite

sure how the space aliens and space travel fit into the storyline. That said, be warned that nothing here exactly rocks. Most of the ten tracks are quite melodic, tough in a new age kind of way. In fact, stuff such as "Tiny Wind of Shanol" and "Axonda" would be right at home playing as background music in something like the Nature Store. There are a couple of exceptions. "Mamba Che Chay" was pretty experimental and did little for our ears, while "Preparation Dimension of Heaven" sounded like a bad lounge act effort. Still, the set's goofy enough to be intriguing.Later pressings lack the booklet and have ordering info on back cover; the price differs between the re-pressings. Brown's later LPs "Live" (Destiny, 1978) and "Prayers Of A One Man Band" (Destiny, 1982) are less interesting than "Axonda". [SB] BROWN COUNTY BAND (IN) "Brown County Band" 1980 (Programme Audio Gold) [1000p] An extremely obscure private LP that's been adopted by the Swiss collector mafia who favor music that straddles the fence between Americana and psychedelia. A traditional bluegrass band that moved into more progressive directions for their first album, adding drums and electric bass to standard bluegrass instrumentation and vocal harmonies. The best moments veer into Modlin-Scott territory ("Far, Far Away" "Brown Paper Bag Rag") but the banjo dominates almost all tracks and all feet are squarely in the zone of contemporary bluegrass. What a handful of collectors hear here will likely evade most listeners. The band returned to traditional bluegrass and changed their name to Pine Mountain (after a song on this record) after this album, eventually disbanding in 1989. [SD] CHARLES BROWNING (DC) "A Choirboy's Lament" 1976 (SRI) 1970s folk with percussion, bass and female vocal harmonies and a surprise appearance by Emmylou Harris. Cover versions of Joan Baez and "Codine", rest is originals. BRUNSWICK PLAYBOYS (New Brunswick, Canada) "Looking In" 1965 (Excellent esp-109) Pop beat with covers and originals. Cover shows the band sitting on a gigantic 45 floating in space. ~~~ see -> Best Of Frank's Bandstand BRUTE FORCE (Los Angeles, CA)

"Extemperaneous" 1971 (B.T. Puppy btps-1015) "Extemperaneous" 2004 (Rev-Ola, UK) [+bonus tracks] He's most well known for his "I Brute Force" album on Columbia, a novelty item that still has some fans. A few years later he was slated to put out a single on Apple, but it never happened and the resulting album ended up in that neverland of limited edition (tax scam?) B.T. Puppy rarities. It's a messed-up live in studio recording with the notorious 'Fuh King,' dollops of unwanted political commentary and x-rated lyrics. Pretty terrible record from any perspective but virtually impossible to find, hence the value. What were the Tokens thinking? [RM/AM] DAVE BRYAN (Columbus, OH) "Synthesis" 1978 (private) [insert; poster] Eclectic bag of tricks including psych moves, doomy rock, some synth, a few tracks with female vocals. Great psychy sleeve with a landscape tinted crimson. BUBBLE PUPPY (Houston, TX) "Gathering "Gathering "Gathering "Gathering "Gathering Of Of Of Of Of Promises" Promises" Promises" Promises" Promises" 1969 1978 1993 199 199 (IA 10) [wlp exists] (IA 10) [reissue; board-printed] (CD Collectables 0558) (CD Eva b-41, France) (Get Back 537)

I.A:s second big act along with the Elevators, the Puppy enjoyed respectworthy chart success with their distinct high-energy AM hippierock sound and also had some good non-LP 45s. The LP is far from the deep acid psych of "Easter Everywhere" or Golden Dawn but still enjoyable; this type of freshfaced guitar sound was uncommon to the era. The original had cover slicks with a gold sticker on the shrink promoting "Hot Smoke and Sassafrass". As for all IA albums, the reissues are vinyl-sourced as the mixdown masters are lost. The IA box set reissue is close to the orig but has a matrix # that begins with 'Ach 7P V45...'. [PL] ~~~ see -> Demian; Ring of Power; Sirius BUCCANEER (IN) "Buccaneer" 1980 (Blunderbuss) [demo; brown cover; gatefold; sticker; lyrics inner] -- inferior demo mix with one less song than the final commercially distributed black cover version "Buccaneer" 1980 (Blunderbuss) [black cover; gatefold; treasure map, lyrics inner, 2 bonus 45s] Indiana progressive hardrock pirate concept. Apparently the whole thing was performed on stage in Indy. Ex-Primevil.

BUCCANEERS ( ) "In Duane's Pirate Cavern" 1965 (Custom Recorded lp-101) Early fratrock sound, very weak.

ROY BUCHANAN & THE SNAKESTRETCHERS (AR / DC) "Buch and the Snakestretchers: mm-519) "Roy Buchanan" 1972 (Polydor) "Buch and the Snakestretchers" "Buch and the Snakestretchers" One of Three" 1971 (Bioya Sound [remix] 1992 (Adelphi 75192) 200 (CD Genes)

Garagy blues rock on the Bioya Sound LP, which was issued in a plain cover enclosed in a brown burlap bag. The Polydor release is a retitled 2nd press with different mix and song order. Prior to this he recorded with David Denver with whom he did two obscure country-oriented LPs in 1969 and 1970. Roy went on to record extensively for major labels. DEL BUCKINGHAM (West Alexandria, OH) "No Gimmicks" 1974 (no label) Odd melodic rock with occasional acid guitar. BUCKINGHAMS (Chicago, IL) "Kind of a Drag" 1967 (USA 107) [1st version with 'I'm a man'] -- the rare "I'm a Man" version must be played to verify as the song is not listed. It extends across two bands in the vinyl! Only mono copies of this variation are known to exist. "Kind of a Drag" 1967 (USA 107) [mono; 2nd version without 'I'm a man'] "Kind of a Drag" 1967 (USA 107) [stereo; 2nd version without 'I'm a man'] "Kind of a Drag" 200 (CD Sundazed 6126) [+2 tracks] First rare version of the LP includes extended "I'm a man" raveup. The LP is actually pretty good garage pop even without "I'm a Man". The band's other (unexciting) releases fall outside the scope of our archives.

RUSTY BUDDE BAND (TX) "Main Man Stan" 1980 (FX 1000) [1000p] Jacksonville, Florida label. Heavy bluesy rock with fuzz. Proceeds from sales of the record were devoted to the 'care and therapy' of Rusty's friend, Stan Smith, in a Florida rehabilitation center.

BULBOUS CREATION ( ) "You Won't Remember Dying" 1994 (Rockadelic 13) [300p] 1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL] BULL (Richmond, VA) "It's A Rock'n'Roll World" 1979 (Wheels Records) Southern rock and hardrock with macho vocals and guitar action. The band leader later made an LP as the Ray Pittman Band ("Getcha Some", 1981) which has been raising some interest. BUMP (MI) "Bump" "Bump" "Bump" "Bump" "Bump" 1970 199 2000 2000 200 (Pioneer prsd-2150) [5000p] (Pioneer) [bootleg] (CD Gear Fab gf-142) [+2 tracks] (Akarma, Italy) (CD Mind's Eye)

Surprisingly good LP in the post-Fudge guitar/Hammond psychrock style. Vocals are appealing with a slightly quirky folk edge unlike the usual macho bombast, and there is a good sense of melody throughout. Apart from the shorter UK-influenced tunes there are two extended trip-outs, the doomy "Spider's Eyes" with excellent use of swirling organ and fuzz, and the closing epic "Lifelines" which goes through many moods and changes, including art-rock classical as well as cerebral soundscapes a la Mandrake Memorial. Reminsiscent of certain "heavy" Mainstream albums such as Tangerine Zoo, but clearly better, and predating the less successful Whalefeathers LP as well. For fans of this style Bump must rank as one of the top scores, and its skillful avoidance of the usual traps makes it enjoyable for others as well. There was also a good non-LP 45. Both the Gear Fab and Akarma reissues suffer from inferior sound processing. [PL] ~~~ Melodic swirling organ fuzz psych with a bit of a Swinging London sound at times. Beautiful vocals like New Tweedy Brothers. Meat mix of delicate melodicism on "State of Affairs", ringing guitar and shimmering church organ on "From My Slot", and the mysterious trippiness of "Spider's Eyes". There's even some heavy cavern fuzz moments. [RM]

WILBURN BURCHETTE (IA) "Occult Concert" 1971 (Amos 7014) "Opens The Seven Gates Of Transcendental Consciousness" 1972 (Ebos 6d-0001) [with booklet] "Guitar Grimoire" 1973 (Burchette Brothers bb-001) Laid-back Middle Eastern-flavored guitar trance instrumentals with occult concerns. New agey sound but he uses homemade instruments and gets some really exotic sounds going. The "Seven Gates" LP has a cool cover and booklet, while "Guitar Grimoire" is musically interesting with an orchestra of synthesized instruments blended on together on sidelong tracks 'Yin' and 'Yang'. Burchette would continue to record and release records on his own Burchette Brothers label, such as "Psychic Meditation Music" (1974), "Music Of The Godhead" (1975), "Transcendental Music" (1976), and "Mind Storm" (1977). [RM] BUREMAN & O'ROURKE (Independence, MO) "Strawberry Pickins" 1974 (Pearce 42550) Country-rock and folk, one side rocking and the other folk/bluegrass. ABNER BURNETT & THE BURNOUTS (Odessa, TX) "Crash and Burn" 1975 (Worpt) [500p] "Old McDonald" 1979 (Worpt) First LP is freaky DIY basement rock, second is more folky acoustic with some cover versions. A CD sampler exists with these early recordings from Abner ("197579", Worpt, 1997), although it's apparently a poor mastering job. BURNT RIVER BAND (Cleveland, OH) "Live at the Carlton - Harley Davidson Annual Swap Meet 1981" (Wild Turkey 1000) Ultimate sleaze biker artifact, complete with naked pictures of biker groupies on the back cover, a "fuck you" song and completely offensive racial and homophobic epithets in the song lyrics and liner notes. Musically it's average boogie rock (predictable cover versions include "Going Down"), not very heavy but with plenty of jammy lead guitar. I wouldn't want to mistakenly knock down one of these guys' bikes in the parking lot. More "interesting" than "good," but far more disturbing than Coven's "Witchcraft" or Manson's album if you ask me. [AM]

BURNT SUITE (East Hartford, CT) "Burnt Suite" 1972 (BJW css-9) "Burnt Suite" 199 (no label) [bootleg; 300#d] This is pretty bland, and suffers from the usual weak vocals. The cheap production buries the rhythm section and puts the mostly jangly lead guitars way up front. A few songs are in a lame country style, though a few have a mild hard rock sound. Some of the songs are pretty good (Lightning has a tough sound and some nice backwards guitar, and Got Time has a sly, memorable overlapped melody), but even those fall a bit flat in the execution and suffer badly from the vocals. Theres a weird sluggishness to this album. Oddly, many of the songs fade out when they dont appear to be finished. [AM] ~~~ Strangely subdued and understated LP that will go right past you unless you pay close attention. It's a genreless early 1970s sound which could be called rustic folkrock for want of a better term, with some heavy/hard aspirations on a few tracks. Everything about this album is withdrawn like a turtle under its shell, with low-key, humble vocals, an unusual lack of strong instrumental leads, and a very basic guitar-band setting, like a 60s garage group. At times a Creme Soda-like 60s throwback sound will emerge, or some bars of frantic rhythm guitar (mixed very high), and then it's back to the mumbled, almost embarrassed style. A couple of tracks show melodic promise, and there are some unexpected lounge moves. A weird experience, if nothing else. [PL] ~~~ see -> "Sunny Spring Fever" JERRY BUSCH (Cleveland, OH) "The Demo Tapes" 1976 (Midwife) [inner] "The Demo Tapes" 200 (CD Midwife) Local prog-rock/AOR with dual guitars and light soulful vocals a la Rush, recorded and released for demo purposes only, although some tracks got regional airplay. About 2/3rds guitar rockers, mixed with some ballads. Very much a local refraction of what was going on nationally at the time. Busch followed this with "City Boy" (1980), appeared on the "Pride Of Cleveland" sampler (1981) and is still active. [PL] BUSHES (IL) "Assorted Shrubbery" 1968 (Growth 200-08) Disappointing soul-rock/early FM rock LP with a Vanilla Fudge influence; despite occasional dealer hype no traces of psychedelia can be detected. I have a hard time seeing anyone enjoying this and put it on the same tape as Age Of Reason, for burial in the "never-play" drawer. With Ron Stokert (Three Dog Night). [PL]

BUSTIN' LOOSE (Spirit Lake, ID) "Bustin' Loose" 1981 (Cisco) Rural rock, very countrified but has good heavy lead guitar. BUTCH (CA) "The Bitch of Rock and Roll" 1977 (Sundial) Eastcoast hardrock with a primitive vibe. BUTTERFINGERS ( ) "Butterfingers"1970(Pot 457) [plain cover; inner] "Butterfingers" 1998 (Little Indians, Germany) [400#d] "Butterfingers" 2001 (CD Shadoks, Germany) Hilarious hard rock nonsense with soul-heavy vocals (no one knows for sure if these guys are black or white) and some over-the-top psych effects. They definitely spent more time screwing around with sound effects than they did writing these songs. Bad, in fact very bad, but not boring. The best moment is when he sings about feeling like an elephant trying to stand on top of a football. They'd get high points in any stoopid metaphor contest. The original came in a plain white cover and had an innersleeve with handwritten lyrics; the label was beautiful gold/yellow very different from the Shadoks release. All songs are BMI and there is no mention of 'demo' or 'test press' anywhere. [AM] ~~~ Cartoonish hard rock comes to mind with Butterfingers. Whoever he was, the lead singer had a decent voice, though he also exhibited an irritating habit of trying to sound overly soulful and continually injected needless 'whoops', 'screeches' and other sound effects into the mix. We've seen at least one review that says he sounds like a female Janis Joplin. To us a more apt comparison is a cross between Randy Bachman and Tony Joe White. Musically the set bounces around between conventional hard rock ("Has the Buggerman Got You" and "5 O'clock Trip"), more commercial pop sounds ("Key" and the oddball MOR ballad "In the Shade of the Night") and some pseudoblue eyed soul moves ("Look Out Now"). There's quite a bit of fuzz guitar throughout (the instrumental "High Walkin'" is actually quite nice) and the set (particularly the second side which sports three longer titles), boasts a certain stoned vibe that will probably appeal to some folks. "I Feel Like An Elephant" is worth hearing for the dumb lyrics, while the closing number "Bootleg" boasts some super cheesy studio production effects. Nothing great, but we've heard far worse. [SB]

Acid Archives Main Page

MICHAEL CACY (TX) "Gathering" 1972 (no label) Pretty good rural hippie rock with a slightly druggy vibe in the Grateful Dead vein, housed in an impressive thick cover depicting a snake.

CAIN (Minneapolis, MN) "A Pound Of Flesh" 1975 (ASI 204) This record is known mostly for its cover, which as of the 1975 release was possibly the most disgusting in rock history (how times would soon change!). The music is nowhere near as wild, but is definitely noteworthy. They obviously had FM radio aspirations but other than the high-pitched vocals their sound is decidedly uncommercial, and thats a good thing. The guitars have a shimmering, metallic sound to them, and the massed muted guitars on the ballad Katy really hit all of the right spots. A few songs are unmemorable, but as mid-70s hard rock goes, this is good stuff. For what its worth, this album also has one of the funniest masturbation songs this side of Skyhooks' Smut. There is also a second LP from 1977, "Stinger" (ASI 214). [AM]

CAL (NY) "Rock and Roll - Homegrown" 1980 (no label) Despite the 1980 release date, this upstate NY album feels like vintage 70s stoner music. It's mostly mild hard rock with some psych and prog moves. It features some effective moog, decent guitar playing, and good songs with idiotic lyrics. The album's highlight is probably "Courageous Cat" (based on the children's cartoon of the same name), which is slower and moodier than most of the album. The album's lowlight is definitely "Party Party," as bad an attempt at a rock anthem as you will ever hear and possibly the worst song on any album I own. Otherwise, the lack of brains on this album is perversely appealing. [AM] CALLAHAN & NAZ (Albany, NY)

"Callahan & Naz" 1981 (no label) Early 80s private press album from Albany, NY really has the feel of the era. It's a mix of mainstream rock and hard rock with female vocals. Jackie Callahan has a pleasant voice and unlike basically everyone else in the genre has no Joplin pretentions. A few songs really rock out. It's a short album without a whole lot of melodic variety, but is very enjoyable anyway. They also released two albums as "Nazjazz." These albums are unexceptional mellow jazz rock and probably won't interest fans of Callahan & Naz. [AM]

EDDIE CALLAHAN (CA) "False Ego" 1976 (Ocean) This wonderful album has been described as loner rock, an interesting distinction since so many of these thoughtful, quirky songwriters make folk records that, um, dont rock. Within about two minutes of the first song, I was eternally hooked. It starts abruptly, almost in the middle of a conversation with Eddie, acoustic guitar in hand, asking some of lifes bigger questions to an unnamed echoed respondent. After a few verses, the rhythm section comes in, followed by the most perfectly realized batch of synthesizer noises youll ever hear. The songs ends in waves of sound effects and at this point youll already be ready to proclaim Eddie a genius. The good news is that most of the album keeps pace, with gorgeous pop (Just Across The Line), power pop with backwards guitar (Dont You Know), stunning acid rock (Paper Rain) with a Stranglers-type synth break, and all sorts of surprises. This album has a timeless quality, like the very best pop, and only the talk box on one song places it firmly in 1975/1976. Otherwise it could just as likely have been from 1970 or 1979, and in fact has a bit of a new wave feel to it. Its not exactly psych or power pop, and genre fans might not be sure what to make of it, but its just plain too good for classification. Even a music hall ditty with comic snyth bleats and a funky rock song with a talk box manage to work. Callahan is a Hare Krishna, which explains the mystical questioning of many of the lyrics. Hes also a bit of a chameleon, sounding like three or four different singers over the course of the album (which, along with the unusual arrangements, makes this album fresh and unpredictable in ways few pop albums are.) The last three songs are a bit of a let down, as theyre merely good. If they had been as good as the rest for the album, it would be an eternal masterpiece. As it is, its still one of the finest and most distinctive private press albums Ive ever heard. Great album cover, too (despite being a cheap paste-on), and an even better label design. [AM]

BOBBY CALLENDER ( ) "Bobby Callender" 196 (Music Factory mfrs-20) [2LPs; no cover] Presumably issued to promote "Rainbow", this set

includes recordings and conversation between Bobby and producer, Tom Wilson. "Rainbow" 1968 (MGM se-4557) [lyric insert; ylp exists] "Rainbow" 2000 (Akarma, Italy) [2LPs; gatefold] This is highly pretentious pseudo-poetry with sitars. The lyrics are certainly not uninteresting, but they're not exactly high art either. He's obsessed with sex, for what that's worth. The music creates a nice mood but is pretty monotonous over 40 minutes. The Akarma reissue has three sides of music. [AM] "The Way (First Book of Experiences)" 1971 (Mirtha saab-932) [2LPs; gatefold] "The Way (First Book of Experiences)" 2000 (CD Akarma, Italy) Black artist doing sorta trashy middle-Eastern influenced sounds including fuzz, sitar, and chanting. "Le Muse De L'Impressionnisme" 1975 (Philips 6318 043, Holland) Bobby Callender's third and best LP, released only in Holland and credited to Robert Callender, is a tribute to Impressionism. All the songs tell the history of the movement and sing the praises of its key practitioners: Henri de Toulouse-Lautrec, Claude Monet, Vincent Van Gogh, Paul Gauguin, and so forth. It's an art history lesson done as psychedelic soul! Callender delivers a funky mid-70's psychedelic soul sound, with several tracks that would perfectly suit the dance floor. The lyrics are intricate, sung in his soulful, haunted voice, and there's lots of flute, exotic percussion, mystical vibe and strangeness. TIM CALLANDER (Minneapolis, NN) "Future" 1979 (no label) Obscure private press with a spacey Progressive Rock sound, a bit earlier in style than the release year indicates. CAMBRIDGE (PA) "Share A Song" 1977 (Green Dolphin 6024) Absolute cream of the crop for private press rural rock. The vocal harmonies are in the best CSN tradition and the sharp instrumentation is more Allman Brothers than Grateful Dead. Unexpected honkytonk piano and raga-style guitar solos add to the fun. The best two songs are in the middle of side two. Cowboy On The Trail is the closest thing to a pop song here, with an irresistible melody and tight harmonies, and Faithless Lady has a great guitar

hook and long, exciting jam in the middle. The only criticisms are that occasionally they force harmonies when one voice might have worked better, and two ballads to end side one may be one too many. Nonetheless, this is a great album. Note to obsessive collectors: virtually every known copy of this album has ringwear on the front cover. [AM] ~~~ Regarded by many as the best local countryrocker from anywhere, this album has a lot going for it including strong songwriting, tight playing and an overall friendly mood guaranteed to break the ice at your next barbecue. The style has been perceptively defined as "East Coast Dead/New Riders", which means an upbeat and snappy vibe like a clear day in June, with little of the dreamy westcoast feel or weepy Nashville style. In my ears not really rural rock but more of country pop with steel guitar and honky tonk piano, and none the worse for it with plenty of character and creativity. Opening title track is sheer perfection and a solid groove is maintained throughout with a few extended jam passages and surprising use of keyboard among the succinct 3minute creations. This LP is the one to beat in the style, and would have made the band famous if on a major label. [PL] ~~~ Some comments on the LP from ex-member Dan Vogan: "...the album was recorded in 1977 and the band had been together about 1 and a half years. We played all over the US and decided from the beginning to do all original music.This put us at an advantage to cover bands and catapulted us to a higher level of venues.I have always been inspired by the group POCO.Cambridge would practice and jam 6-8 hours per day and took great pride in our long jams.A song on the album "highs and lows" was actually a 12 minute song that had to be edited to what it is today.If you listen near the end of the song you can detect the edit during a drum lick on the tomtoms". Vogan is today continuing in the same music tradition with Deuble & Vogan. CAMERON (FL) "Cameron" 1975 (Home Groan) This Florida bar band was popular enough locally that they made this record just for their fans. The liner notes say that the songs are demos, but they sound complete. Their style is good-time rock and roll with a few twists. There are a few ballads and some weak boogie, but about half of the songs rock pretty well and have some nice guitar playing. The instrumentation is diverse, with one band member who plays sax, flute and synth. This isnt a great album, but much of it is worthwhile. The dreamy ballad Mystery Wind and the opening Illusions, which has a nice, sly buildup, are both excellent. [AM] "Keep On Movin'" 1976 (Home Groan 002) Lane Cameron, presumably the guy the band was named after, is no longer a member of the band here, but the album cover gives no clue why. Ill assume that

the Joe Cocker-like singing on one of the first albums long slow songs was by him. Just to further the illusion that he never existed, the song is redone on this album in a shorter, less gruffly sung version. Elsewhere this has the same uneven mix of styles as the first album. The title track has some sizzling slide guitar and is even better than the opening song on the debut. Unfortunately the slide is used sparingly thereafter, and its brief return on one of the ballads makes the listener wish there was a lot more of it. Its an up and down album with some low spots, but at least one song that makes me glad the record exists. Hilarious album cover; youve got to hand it to any band who seems to be having so much fun. [AM]

DICK CAMPBELL (WI) "Sings Where It's At" 1965 (Mercury) [mono; black label] "Sings Where It's At" 1965 (Mercury sr-61060) [stereo; gold label] Campbell has been dismissed by most as a Dylan wannabe, and he is, right down to the instrumental backing from the Butterfield Blues Band, who sound exactly like they did on "Highway 61 Revisited". They steal a guitar riff from Like A Rolling Stone and use it on every single song! Trust me, folks, the Rutles are nowhere near as entertaining as this great album, an absolute lost treasure of the early days of folk-rock. The songs are simple and repetitive, but completely catchy, not a dud in the bunch. Theres a little bit of fuzz guitar, and a much poppier sound (with nicer vocals) than Dylan's. Adding to the fun are the arrogant liner notes (most of which paint his girlfriend as intellectually inferior to D.C., as he calls himself), and a semi-serious song in which he proclaims himself the Don Juan of the Western World. None of it seems like a put-on to me, and Campbells just literate enough to pull off his I know everything, Im smarter than you, I have a way with words and you dont routine. The Butterfield Blues Band provides the backing, predating their debut LP and perhaps their first appearance on vinyl. [AM] EL CAMPO JADES (El Campo, TX) "13th Song" 1967 (Golden Eagle 101) Rather weak teen-beat and R&B/soul covers. "Good Guys Don't Wear White", "Ain't too proud to beg", "Mr. Pitiful", etc. One or two originals. The album title refers to a bonus "mystery" track, which turns out to be a cover of "Roadrunner". CANADA see "A New Place To Live" CANADIAN BEADLES (Sarnia, Canada)

"Three Faces North" 1964 (Tide 2005) Merseybeat and frat from Canadian trio looking like teddy-boys. Although often presented as a Beatle take-off, there's not a single Fab Four number present. The LP is surprisingly expensive. CANARIES (Spain) "Flying High With The Canaries" 1970 (BT Puppy BTPS 1007) "Flying High With The Canaries" 198 (Cocodrilo, Spain) Canary Islands group recorded and released in the US, which is why it's included here. Late beat with no garage or psych traces. A couple of good tracks. CANNABIS (MA/RI)

"Joint Effort" 1972 (Amphion Seahorse) "Joint Effort" 1998 (CD Gear Fab 114) "Joint Effort" 199 (Gear Fab) Disappointing LP for anyone expecting psych as this is fairly mainstreamish hippie 1970s rural rock/folkrock in the popular CSNY/America school, reminiscent of RJ Fox/Oasis at times. Pro-sounding but unexciting. [PL] ~~~ In spite of the band name and marketing hype, "Joint Effort" was hardly the psych masterpiece that one would have hoped for. Instead tracks such as 'Take It Easy', 'You Don't Get a Ride for Free' and 'It's Only Rock 'n Stock' showcased a mixture of bar rock boogie and Dead-styled jams. The vocals are pretty good and the rest of the band quite accomplished musicians, but with the possible exceptions of the atypical pretty ballads 'See You In the Morning' and 'Smiles' the Byrds-styled jangler 'Once Again' the ensemble never really caught fire. Gawd only knows why the Gear Fab label decided to reissue the album. [SB] FRANCES CANNON (The Singing Psychic) (Dallas, TX) "Music From Cannonville (A Brand New Sound)" 198 (no label) Lunatic woman who was hit by a lumber truck and 'acquired' psychic powers. She claims to have found thousands of lost children with her special powers including several hundred in a cave in Alaska! She lives in her own messed up fantasy world a la Lucia Pamela and sings nutty songs about aliens and the like. The first LP has a stripped down folky acoustic

guitar and vocal sound. There is a second LP, "The Singing Psychic" from 1987, credited to Frances Cannon & the Extraterrestials, which is electric with more production and is psychedelic in a nightmarish, lost soul fashion. [RM]

WILLARD CANTELON ( ) "LSD - Battle for the Mind" 1966 (Supreme m-113) "LSD - Battle for the Mind / Instant Insanity Drugs" 2002 (CD) [2-on-1] Spoken word ties LSD in with spirituality in oldschool paranoia propaganda. Drop some acid, laugh and learn about the 'dark and terrifying national menace'. Early, well-known title for spoken word drug LPs, with outstanding front cover art.

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CANTERBURY MUSIC FESTIVAL (NY) "Rain "Rain "Rain "Rain "Rain & & & & & Shine" Shine" Shine" Shine" Shine" 1968 2002 2003 2004 2004 (B T Puppy 1018) (CD Air Mail Recordings, Japan) (CD Rev-Ola, UK) (CD Beatball 005, Korea) (Merry Go Round/Beatball 006, Korea)

Apparently a quartet, this group was signed by The Tokens' short-lived B.T. Puppy label. Musically the set's kind of hard to describe. Imagine The Association singing with a distinctive British lilt and you'll be in the right ballpark. Much of the set consists of sensitive ballads. While there isn't anything wrong with material such as "First Spring Rain", "Sunny Days" and "Why Does Everybody Run To Home", these tracks don't offer up anything particularly original or memorable. Far better were up-tempo numbers such as "Sharin" and "Angelina" (both which would have made dandy top-10 singles), the fuzz guitar propelled "Super Duper Trooper" and the Sgt Pepper-inspired slice of lite psych "Mr. Snail". Certainly not the year's most original effort, it was still far better than anything label mates The Tokens or The Happenings ever did. [SB] ~~~ Beatles-influenced pop that for the most part falls into the realm of sunshine pop, though with a few excursions into psychedelia. B.T. Puppy released the LP at this point in an inexplicable pressing run of 150 copies. About half the songs are written by band members, with several written by the Tokens foursome. Legendary label mate Brute Force is credited with 2 songs, though Brute says one of those is not his. Musically, the first song, First Spring Rain (the 45 release) establishes the mood of most of the songs on the LP with its fragile upper register harmonies and light orchestration. Super Duper Trooper is the closest they get to psychedelia, and sounds very much like a "Revolver" outtake. Mr. Snail could be mistaken for UK freakbeat, complete with a backwards flute riffing throughout and lyrics & melody

reminiscent of some of the Syds lighter Piper ditties. The one non-label related song is an exploito instrumental cover of Son of a Preacherman with a distorted electric sitar taking the melody line over occasional wah-wah rhythms. Clocking in at just over 25 minutes, a very short, but sweet LP. [MA] V.A "CANTON HIGH SCHOOL PRESENTS" see "Sunny Spring Fever" CAPSTAN PLAYERS (Milton Academy, MA) "Capstan Players of Milton Academy" 1967 (Transradio tr-990) [no sleeve] Garage covers from prep-rock band, including Remains and Standells numbers. C.A. QUINTET (Minneapolis, MN) "Trip Thru Hell" 1969 (Candy Floss 7764) "Trip Thru Hell" 1983 (Psycho 12, UK) [back cvr altered] -- due to a mishap in mastering, this re has one channel missing and sounds completely different from the original "Trip Thru Hell" 1993 (CD Eva, France) -- copied from the Psycho re, which means that one channel is again missing "Trip Thru Hell" 1995 (Sundazed 5037) [2LPs; +14 tracks] "Trip Thru Hell" 1995 (CD Sundazed 11021) [+12 tracks] Ah yes, the "Trip", an LP so packed with talent and originality it alone justifies the existence of the underground collector circuit. You can pick just about any major 60s LP and this will blow it away on all counts. I assume most people reading this already knows Ken Erwin's conceptual acid psych monster, which sounds like nothing else done before and hardly since; a strongly cinematic exploration into weird and often unpleasant mental spaces, using only standard rock instruments -- and a surprising trumpet -- to get there. The legendary Psycho "channeling" screwup was rectified with the nice (though vinylsourced) Sundazed re's, but it should be pointed out that none of the reissues show the original back cover design. The band also appeared on the rare "Money Music" compilation. [PL]

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"Live 1971" 1984 (no label) [500p] First the good news. Given the primitive conditions under which this album was recorded, the sound is surprisingly good. According to Ken Erwin's liner notes, 'This recording was made simply by laying down two microphones on the floor in front of the group. They just happened to be in the best location for the circumstances.' Now the bad news. Capturing the band at what was to be their final performance at Lake Pepin High School, "C.A. Quintet Live 1971" sounds

like a band drawing its last creative gasps which was pretty much the situation. 'Bayou Jam' is a needless side-long mixture of popular rock hits including snippets of CCR's 'Down On the Bayou' and The Stones' 'Satisfaction'. It's listenable, but nothing you couldn't hear on any Friday evening at your local brewpub. Best thing I can say about it is that the 14 minutes go by quickly (okay the drum solo slows everything down for a couple of minutes). The Ken Erwin original 'Country Boy' is actually pretty good, though the country-rock sound is a little bit unexpected. Judging by this track these guys weren't bad in a live setting. The extended cover of Spirit's 'Fresh Garbage' also has it's moments - notably for giving guitarist Tom Pohling a chance to stretch out. Certainly not essential, but I've heard far worse.[SB]

CARDBOARD VILLAGE (Boston, MA) "Sea of Change" 1969 (Cardboard Village Records CVST 4) [lyrics insert] Trio with acoustic cosmic folk concept LP about the ocean. Guitars, congas, flutes.

CARDINALI BROTHERS (CA) "More Than Luck" 1971 (Windi wlps-1008) Rural hippie folkrock in the early 1970s Dead style, on the same label as Merkin and Creation Of Sunlight.

CARGO (Toronto, Canada) "Front Side, Back Side" 1969 (Trend 1006) Dreamy, jazzy psych rock that's not particularly well-known by collectors. It has a spaced out feel that should appeal to some, though the songs aren't especially memorable and a few long instrumentals are pretty dull. Unusual arrangements include woodwinds. The drumming is heavy on atmospheric cymbals, the songs are mostly at slow tempos and the vocals are heavily reverbed. The low budget production (sometimes the backing vocals are louder than the lead vocals) makes this sound quite different from their next album. Has a nice feel and a few good moments but certainly isn't worth its current $500+ tag. [AM] ~~~ For some reason there exists a bunch of obscure Canadian LPs with a similar sound, a late-night jazzy psychrock mood like the loungier side of the Doors, usually with keyboards upfront and understated guitar picking. This is a typical expression of that sound, with flute instead of organ, moody yet expressive vocals, and long tracks that seem to find their path

as they go along. Recorded live in parts or wholly, which adds to the organic basement feel -- one track actually has lounge ambience with people chatting and ordering drinks louder than the music! Songwriting isn't elaborate, yet the persistent mood and refusal to compromise makes for a memorable experience, with a couple of snakey instrumental excursions developing into hypnotic 3 AM Canadian Rye hallucinations. Comparable to Papa Bear's, while south of the border Ant Trip Ceremony and Feather Da Gamba spring to mind. [PL] "Simple Things" 1970 (Ringside 104) The second Cargo album is much more produced than the first, and it works in its favor, emphasizing the inherent heaviness of their sound, strengthening the sound of the guitar and organ. Still, too much of this record is given over to jammy instrumentals of little originality, which really drags it down. A couple of the actual songs are quite good, though, with Geordy, a terrific moody slow-burner, being the best. Theres also a bizarre song about how happy they are for their friend who fell out of a window to his death. [AM] FRANKIE CARR (MA) "Frankie Carr" 1976 (Tiger Lily) Collectors know about the really good Tiger Lily albums, and tend to forget that most records on the label are like this one: poorly produced recordings (demos?) of undistinguished music. This is a very, very, very poor man's variation on the John Scoggins album, if Scoggins had tried to jump on the various commercial bandwagons of the mid 70s (some songs have a disco-like rhythm to them.) In other words, Scoggins is timeless, this is dated. A couple of songs have some nice jangly guitar and memorable melodies, but mostly this is weak and forgettable. [AM] "Frankie Carr's All Natural Band" 1977 (Tribute 1001) Poorly done pre-Tea Company 1960s recordings by the Naturals, released as a tax-scam in the late 1970s. A couple of tracks have been described as garagey, others folkrocky.

CORKY CARROLL & FRIENDS (CA) "Laid Back" 197 (Rural rr-001) Corky is a world-renowned surfer. Hippie folk jamming by a variety of artists who were all friends. Produced by Corky and Dennis Dragon. ~~~ see -> Farm

JIMMY CARTER & DALLAS COUNTY GREEN ( )

"Summer Brings The Sunshine" 1973 (BOC 2002) Obscure album on Missouri label which has garnered fans among the psych in-crowd, described as outdoors/rural rock with an appealing quiet vibe. There is a retrospective CD with Carter's material, "Set Me Free", which has a few tracks from this LP. DAN CASAMAJOR (Chico, CA) "My Family" 197 (Eskay WA 1054) Little-known folk/folkrock with a vibrant 60s feel, mixes acoustic and electric tracks. CASCADES (CA) "What Goes on Inside" 1968 (Cascades ad-6280) Vocal group legends. This private press LP will appeal to flower psych collectors, much more so than their Valiant or Uni LPs. Ben Benay arranged and this one has a cool flower pop hippie love edge and a nice trippy art cover. [RM] CASE ( ) "Taking Time" 197 (private) Custom press in same generic sleeve as Birmingham Sunday, described as westcoast-sounding. CASHMAN-VAQUERO BAND ( ) "In Memory of Berry Oakley" 1979 (Walnut West) Most references describe the album as being Allman Brothers-styled Southern rock. That's not quite right. I certainly hear Allman-influences, particularly in some of the Cashman-Sadus guitar interplay, but the set's far more diverse than that. With the exception of a mildly-jazzy cover of John Mayall's 'California', the set boasts original material that finds the band taking stabs at conventional boogie ('Down In the Belly'), countryrock (the pretty ballad 'Driving Me Crazy') lite-jazz ('View from a Mountain Peak') and even Santana-styled Latin rock ('Security'). Cashman and Sadus share vocal duties and they both have pretty good voices.

Judging by the liner notes Sadus apparently died while the album was being made, but between his work and that of guest guitarist Robert John Guziejka (who contributed a couple of songs and played with Cashman and Oakley in their garage band days), there are quite a few tasty lead guitars scattered throughout the set including some Duane Allman-styled runs on 'Good Days' and some jazzy scatting on 'There's No Tellin'. Curiously, at least to my ears the biographical tribute title track is the least impressive effort. There's also a pre-LP 45 on the small Bridgeville label. [SB] ~~~ Here's some more info on the band and LP, from main guy Cashman himself: "Bob Guziejka (ga-j-ka) (guitar), Ron Sadus (drums), Berry Oakley (guitar), and Jerry Kokus (bass) had a band together (The Vibratones). I didn't play in that band, but Bob, Ron [then on bass] and myself playing drums had a trio called "Satish-chada" from 1968 to 1971. I moved to California in 1971 and Ron and Bob came out in February of 1972. We went into Wally Heiders Studio in LA and did a few recording sessions. The only tunes that sounded good were 'Good Days', 'Drivin Me Crazy' and 'Security.' Ron and Bob went back to Chicago and those tapes sat in the can until 1975. I met James Vincent in San Francisco where I was working as a street artist in 1975. We got together and rehearsed some of my tunes in Marin. In April 1975 we went into Wally Heiders with the other musicians and recorded [what was to become] side 2 of the album live. The lead guitar on 'California' and 'Down In the Belly were later overdubed by Joel Manchak in Chicago. The lead guitar on 'Security', the twin leads on 'Good Days' and all of the leads on side 2 were by Vincent. 'Vaquero' or cowboy is the name I picked after we put out the 45, because James Vincent got signed to Caribou Records and I couldn't use his name. I decided on Vaquero because I had worked on a cattle ranch and [had done] some bareback bronco riding in Utah.As for the album title track, Ron Sadus the bassist wrote the instrumental tune and I added the lyrics. The instrumental tune has a beautiful twin guitar solo throughout the tune. When we did it in the studio, I had completely rearranged the tune and that was the last time I performed that tune. The 45 had just a slight difference in the final mix. Sadly, Sadus passed away in July 1978. He was 30 years old. The album was released in 1979."

CASUALS (CA) "Absolutely 100% Live" 1981 (private) [#d; insert] Jammy blues-rock with fuzz leads, recorded in San Francisco.

CATALINA (CA) "Live from the Chi Chi Club" 1970 (Avalon) Bluesy sleazy club rockers, cover versions all

through. CATHEDRAL (PA) "Sing Me a Song" 1974 (Sky Piece) Melodic rock with rural AOR moves.

CATHEDRAL (Long Island, NY) "Stained Glass Stories" 1978 (Delta drc-1002) [insert] "Stained Glass Stories" 1989 (Delta) [bootleg] "Stained Glass Stories" 1991 (CD Syn-Phonic) Complex progressive with guitar and keys, including loads of mellotron. Superb playing with a strong King Crimson and Yes influence. Well-liked in spite of the arch vocals. Guitarist Rudy Perrone later made a private solo LP that may be worth searching out for Cathedral fans ("Oceans Of Art", 1981). [RM] ~~~ This is obviously very well played and conceived progressive rock, but to someone who's not especially inclined toward the genre, I find it a bit tedious, lacking the hooks of bands like Atlantis Philharmonic or Zoldar & Clark, and without the more outrageous experimentation of bands like Yezda Urfa or Polyphony. Like another well-liked prog album of the era, Brimstone's "Paper Winged Dreams," this is recommended more to genre fans than to the average Archives reader. [AM] ~~~ see -> Odyssey CATHERINE'S HORSE(Taft School, Watertown, CT)

"Catherine's Horse" 1969 (Jay-Put 5001) [no cover; 500p] Obscure, sleeve-less late 60s garage-bluesrock LP a la American Blues Exchange; may not appeal to everyone but I find it rather charming. No macho vocals or Clapton guitar showoffs, just local teens finding comfort in the nocturnal honkie blooz as represented by the Blues Project and Paul Butterfield, both of which are covered along with an unexpected "Rocket 88". Also one of the few LPs I know of with a clear influence from the first Grateful Dead LP, especially the Dead-derived take on "Good morning little schoolgirl". The downer tracks work the best; somehow these guys win me over. Not recommended for fans of the Ten Years After-type

guitar-hero "blues".The LP was recorded as a school project (a study of the blues) in New York City during Spring Break 1969, and all band members were Taft students. "Sun goin' down" is a band original. [PL]

JOANNA CAZDEN (Seattle, WA) "The Greatest Illusion" 1973 (Sister Sun) [insert] Little-known female singer/songwriter with psych and Eastern moves and an unusual cerebral edge. Mainly piano and a serious feel like Carole King on acid, title track is a high point with trip-praising lyrics. More comments will follow. Cazden's second LP "Hatching" is reportedly similar but not as good.

CEDAR CREEK SOCIETY (Odessa, TX) "Cedar Creek Society" 1971 (no label) Melodic folk/rock with violin and occasional orchestration. CELLUTRON & THE INVISIBLE (Northfield, VT) "Reflecting on the First Watch, We Uncover Treasure Buried for the Blind"1978 (Green Mountain gms-4015) Spacy experimental sound effects from Robert Greely, featuring machine noise, some poetry and guitar. Sometimes compared to Intersystems.

CENTER LINE ( ) "Sayin' It... Together" 196 (Vanco 1008) Late 1960s Northwest rural lounge rock on the same label as Easy Chair. Memorable for a 'so bad it's good', nearly side-long, Beatles' medley.

CENTURIONS ( ) "Louie Louie" 1965 (private) [10" 1-sided LP; no cover] Hot guitar frat rock with surfy leads. This is probably a different band from the surf group. CEPHAS (Pittsburgh, PA) "Teen Challenge Presents Cephas with Jeff Cogswell" 197 (No Label 32217/8)

Circa '73 Pittsburgh moody xian garage folk sponsored by the christian youth group "Teen Challenge". Acoustic and electric guitars, bass, farfisa organ, drums, teen femme backing vocals. Several originals but perhaps most notable for the nearly nine minute version of "Jesus Is Just Alright" with a long organ and guitar jam. Rite pressing. [RM]

CEYLEIB PEOPLE (CA)

"Tanyet" "Tanyet" "Tanyet" "Tanyet"

1968 1968 199 1993

(Vault 117) [mono] (Vault 117) [stereo] (Vault) [bootleg] (CD Drop Out, UK) [2-on-1]

Eastern psych instrumentals featuring Ry Cooder and other luminaries from the LA studio mafia. Has a good reputation and goes beyond the cash-in exploitation sounds one might expect. Very short playtime though. Great psych sleeve. There is an original German pressing with completely different cover art. They also made a good non-LP 45. The CD has both the mono and reprocessed stereo versions of the entire LP. [PL] ~~~ Studio group with Ben Benay, Larry Knechtel, Ry Cooter (=Cooder). East meets west instrumentals guitars, sitar, tabla, violin. Very short but a good one for Saddhu Brand fans. Exploito cash in but with this much talent it's a monster! Very trippy Rick Griffin cover art. The boot has a thin, board printed cover unlike originals. [RM] ~~~ see -> Friar Tuck and his Psychedelic Guitar

DON CHAFEY ( ) "Blue Iron Crown" 197 (private) Late 70s/early 70s local release of freaky folk/blues with pagan elements.

CHAIND (Los Angeles, CA) "Live at the Topanga Corral" 1972 (no label) [2LPs] Westcoast blues rock sound that has been compared to Canned Heat, with lengthy guitar excursions. Band member Peter Klimes made a private press solo LP in 1974 in a more rural direction.

CHAKRA (Redondo Beach, CA) "Chakra" 1979 (Brother Studio bs-15) [lyric insert] Driving guitar keys progressive rock with great vocals like Rush.

CHALIS ( ) "One Small Chance" 1975 (Ellen Abbey 25389) [gatefold] Symphonic progressive.

CHALLENGER'S (Puerto Rico) "Challenger's" 1968 (Mariel lps-104, Puerto Rico) [gatefold] Swirling organ, some fuzz, English vocals. Mix of folkrock, bluesy garage, and Latin moves. With some 7-Up cola commercials thrown in to pay the bills.

DAVID CHALMERS (CA) "Primeval Road" 1976 (Same Old Label 64109) [gatefold] "Primeval Road" 1976 (River srr-1000) [some tracks replaced; gatefold] Chalmers is known as a hot guitarist, but his first album is a refreshing departure from the guitar hero mold. His vocals are soft and appealing, the songs are subtle, the guitar playing is terrific (but tasteful and subdued), and the arrangements include plenty of acoustic guitar and piano. At times this is more like a folk-rock or singer songwriter album than a heavy guitar record. The often moody songwriting is as strong as the performances. Highly recommended. The first version of the album starts with two hot guitar rockers that are missing from the second edition, making the softer songs on side two a bit of a surprise. The second edition replaces these two songs with a gorgeous, dreamy ballad thats probably his best song of all. Since this song comes first, this edition of the album has a completely different feel than the first. If "Primeval Road" is ever released on CD, hopefully all songs from both versions will be included. [AM] "Looking For Water" 1977 (River srr-1001) [inner sleeve] Chalmers second album feels like it was released before he was ready for a full LP. Its 8 songs total just under half an hour, and half of them are filler: two covers and two remakes of earlier songs. The album is heavier and funkier than "Primeval Road", with a weird mix of styles including a quasi-disco song (intended sarcastically?) and one great dreamy

ballad that evokes the first album. Somewhat disappointing, but it has its moments, and the excellent guitar playing is more to the forefront this time. [AM] "All Night Long" 1977 (River Records) [no cover; 100p] The rare third Chalmers album is the kind of discovery collectors dream of, with a pressing of 100 copies, none actually sold commercially. It was produced only for demonstration purposes and as such actual album covers were never pressed. The music within shows Chalmers in a mellow, introspective mood. It's similar to side two of "Primeval Road"; there's not a heavy song here. The listener might keep waiting for a hot guitar solo to come and be disappointed that they just aren't there (the last song, especially, seems designed to end in a flourish of lead guitar, but does not). The quality and mood of the album almost make up for it, though, as this album is quite good. It's deep and melodic album that showcases tasteful guitar playing, sharp songwriting, mysterious lyrics, some dreamy arrangements, and excellent singing. It's a bit bland here and there, which makes it a less successful album than "Primeval Road", but it's still a worthwhile LP. Records were distributed in shrinkwrapped cardboard boxes, including cover slicks and lyric sheets and promotional stickers that optimistically read includes hit single Zig Zag. [AM] LES CHAMPIGNONS (Quebec, Canada) "Premiere Capsule" 1972 (GG 1) "Premiere Capsule" 2004 (CD Radioactive 089, UK) Bluesy prog and psych fuzz jammer with trippy dayglo mushroom cover. Highlight: 11+ minute "Le Chateau Hante" (The Haunted House) - great twisted Halloween music. [RM] CHANGES (Chicago, IL) "Fire Of Life" 1996 (CD Storm/Ctulhu) "Fire Of Life" 2002 (Hau Ruck!, Austria) [750p] "Fire Of Life" 2002 (CD Hau Ruck!, Austria) Previously unreleased 1969-1974 recordings from occult folk duo with ties to the infamous Process Church. The music is acoustic folk with arch, deadserious vocals and apocalyptic lyrics. As often with spiritual folk albums, the dedication works to its advantage, but is best enjoyed in small doses or a mind-numbing effect will follow from the uniformity of mood and monotonous songwriting. Nice spooky feel, like the Incredible String Band on belladonna. [PL] CHAPARRALS (Glen Rock, PA) "Times To Remember" 1968 (DB 21768)

Stereotyped slice of garage rock, propelled more by sheer enthusiasm than talent. Blown notes, rough tempos and strained vocals ("Stag-O-Lee"), abound. That said, to our ears the LPs interesting on two counts. The album's surprisingly accomplished given the lowtech production and the band's relative youth. The other surprise is the band's musical repertoire. Sure, cover bands weren't exactly rare in the mid60s', but these guys concentrated on soul covers. Not what you'd expect from a Pennsylvania-based outfit. They also had great tastes, taking on material by George Clinton, Eddie Floyd and Otis Redding. In case anyone's interested, there are two originals. The leadoff soul instrumental and the closer doomy "Empty", which was written by former member Kent Rehrbach and is unlike anything else on the LP. [SB]

CHAPIN BROTHERS (NY) "Chapin Music!" 1966 (Rock-Land rr-66) [mono; gatefold] "Chapin Music!" 1966 (Rock-Land rr-66) [stereo; gatefold] Charming basement folkrock in a definite nonpsychedelic style, sounds like a bunch of Kingston Trio fans discovering the alluring sounds of the Grassroots. Recording and performances reek of amateur enthusiasm, which makes the back cover's predictions of the coming victory of square US folkrock in general and "Chapin Music" in particular seem an outrageous pipe dream. The album clocks in at an overlong 40 minutes and would have benefitted from 2-3 tracks being removed, especially those that go in a crooner pop direction. Mostly originals, with the best stuff holding a middle ground between the NE prep rockers and the Holy Ghost Reception Committee #9. Worth hearing as an artefact, but ultimately a little too bloodless and squeaky clean for my tastes, although the third track has a nice Ylvisakerish sarcasm to it. Harry Chapin later became famous, sort of. [PL]

CHAPLIN HARNESS (Camden, NJ) "Chaplin Harness" 1970 (M.O.D Sounds 8069) [plain sleeve; insert] "Chaplin Harness" 2004 (Void 34) [new sleeve; bonus track; 600p] Local demo LP of jammy guitar/organ hippie-rock with some prog moves, unknown to exist until the Void reissue appeared. Supposedly only 50 copies pressed.

CHARIOT ( ) "Chariot" 1969 (National General 2003) [promos exist] Heavy psych-rock typical of the era, with Cream influence.

CHARISMA (FL) "Charisma Is Raptured" 197 (Rite 29556) Charismas two LPs are probably the most low-budget rock recordings Ive ever heard. It appears on this one that the master tape even dragged for a second on the first song when the record was being pressed!But the cheapness of the recording cannot mask the enthusiasm and strong songwriting of this teenage Florida band.Liner notes describe the sound as Afro-jazz, pure folk, country, acid rock, and ballad. Well I dont know if theres anything on here Id call Afro-jazz or acid rock, but what I do hear I like: lots of piano-based rock (recalling early Elton John) and folky cuts, with lead vocals shared by James Dudley (composer of 9 of the 11 songs) and Marijean McCarty, whose beautifully expressive voice brings me close to tears.Overall the folkrock sound predominates, but the rocky moments are there (screaming crashing dissonance the liner says) foreshadowing the groups second release. [KS] "Last Days" 197 (Rite 32700) Wait a minute. I do believe you could classify this as... yes... here comes the "p" word... progressive! Well, OK, maybe more like garage rock with some prog influences. Whatever you call it it's miles above their debut. Charges off from the start with the 10minute groovin' jam feast 'Down At The Crossroads' (not the Cream/Clapton cover) with guitar, piano, organ, and flute all getting their turn at lead, not to mention a lengthy drum solo at the end. 'Last Days' is a creative mysterious apocalyptic piece, percussion heavy with time changes and psychy guitar. 'Jesus The Messiah' is rather dramatic and includes a cool prog mid-section that has flashes of the sacred Vindication LP. A couple bluesy cuts: the upbeat 'Nowhere Blues' with slide guitar and piano and the moodier 'Blue Woman'. A few nice piano-led ballads in the neighborhood of the first lp. Real low-tech sound again, especially that organ - but it's far from irritating, more often giving the set a wonderful homegrown basement charm. Every track strong. One of my faves. Both these albums are bigtime rarities. Nice bellbottoms fellas! [KS] ROBERT CHARLEBOIS (Quebec, Canada) "Charlebois/Forestier" 1969 (Gamma 120) This is considered to be the most significant FrenchCanadian album of the psychedelic era. Charlebois, a big star in the province, shocked Quebec by following up a few mellow folk albums with this wildly experimental effort, going places he never went before and never would again. Listening all these years later, it doesnt sound particularly freaky, or even all that rock, due to the formal sound of the

French language, Charlebois loungy voice, and his theatrical bent. With bits of novelty, and more horns and organ than fuzz guitar, it sounds more like vaudeville-meets-swinging-London than psychedelia. That said, its pretty great. Louise Forestier duets with him on side one, and her various oohs, aahs, shrieks and crazed asides (this album created as much of a stir for her muttering of Christ on the hit song Lindberg as it did for the style of music) add quite a bit to the overall atmosphere. This album sure isnt heavy, but the Forestier scream and resulting frantic sax solo on California, or the lunatic ravings of Charlebois on the 7-minute Engagement pack just as much of a much as any wild guitar solo could. This album is always inventive and surprising, and while it certainly wont shock a modern listener, its sure to entertain. [AM] CHARLEE (Montreal, Canada) "Charlee" 1972 (RCA Victor 4809) [orange label; textured cover] "Charlee" 1972 (RCA Victor 4809) [brown label] "Charlee" 1976 (Mind Dust mdm-1001, US) [altered 'cartoon' cover] Killer hard rock dominated by guitar wizard Walter Rossi. The vocals are only OK, but this album rocks with a vengeance. Its powerful, hooky, and full of surprises. Rossi gets some great noises out of his guitar, culminating in the awesome Wheel of Fortune Turning. Most Hendrix worshipers are at best obvious copies and at worst unimaginative imitators without a zillionth of Hendrixs talent. Rossi is one of the few to use Hendrix as a springboard for his own original ideas. Easily one of the best of its kind. The Mind Dust version was issued with a sticker on the shrink reading "Charlee featuring Walter Rossi", and was also released on 8-track with a non-LP track. [AM]

CHARLIE NOTHING (Los Angeles, CA) "The Psychedelic Saxophone of Charlie Nothing" 1967 (Takoma c1015) "Inside Outside" 1969 (no label) Hollywood bohemian. Freaky sax noise on the "Psychedelic Saxophone..." LP. Instro flute and bongo jamming on "Inside Outside". There was also an EP titled "We Are You", and a 45 with a picture sleeve called "X-tra Hot Selections". [RM]

CHARMER (FL) "Your Presence Requested" 1977 (Jazz Forum cm-1068) "Your Presence Requested" 1977 (Illusion 1070)

"Your Presence Requested" 199 (no label) [bootleg] An unrelated Charmer recorded at least two LPs for the Rapides label out of Alexandria, Louisiana. Jazz Forum is a Hollywood, Florida label likely connected with the tax-loss Illusion label.

CHUBBY CHECKER (Philadelphia, PA) "New Revelation" 1981 (51 West) Recently brought to light obscurity in the king twister's back catalog, circa 1970 recordings mostly in a hard Hendrixy guitar funk/psych style, useful for samples or just to marvel at its strangeness. No whiffs of twist to be found in neither the garagey fuzz-funk-ploitation backing nor Chubby's raw vocals. The lyrics are far out too, and contain several references to the moon landing. There's also a heavy ballad called "Goodbye Victoria". The album was only belatedly released by a budget/scam label in the US, but given more contemporary releases in Europe: as "Chubby Checker" in Spain (Ariola, 1971) and France (MFP, 1976); as "Chequered" (London, 1971) in the UK; as "Slow Twistin'" (MFP, 1976) in Belgium. The Spanish (and other?) issue contains two tracks not on the US version. Read all about it in Ugly Things #23, where it was first introduced. Chubby himself has declined comment on this particular work.

CHECK-MATES, INC (Los Angeles, CA) "Live At Harvey's - Too Much" 1965 (Ikon IER S 121/122) [2LPs; gatefold] Recorded live at Harvey's Resort Hotel & Casino in Nevada (where Jack Bedient also recorded). A racially integrated club act that was originally formed by soldiers serving in the US Army. Typical mix of frat, r'n'b and soul: "Louie Louie", "Kansas City", "Turn On Your Lovelight", "Hang On Sloopy", etc. The album was a custom job by the Ikon label in Sacramento, home of a number of legendary garage 45s, and was a stereo pressing that was unplayable on mono equipment due a technical screw-up! The band went on to have success as Checkmates Ltd, and later hooked up with Phil Spector. CHECKMATES ( ) "Meet the Checkmates" 1967 (Justice 149) "Meet the Checkmates" 1996 (CD Collectables 0617) Generic chesspiece sleeve actually gives the band name as "Checkmate". One of the worst Justices with 3-man horn section & dorkylooking semi-pro band running through standards that are unhip even by the genre average. The fact that the band is fairly adept is actually a drawback in this context. Don't let

anyone tell you this is garage; even calling it "rock'n'roll" is a bit of a stretch. Best track is a slightly mysterioso sounding "Gypsy woman". One group original. [PL] V.A "THE CHEETAH - WHERE IT'S AT" (NY) "The Cheetah - Where It's At" 1967 (Audio Fidelity AFLP 2168) [mono] "The Cheetah - Where It's At" 1967 (Audio Fidelity AFSD 6168) [stereo] Exploito teenbeat and soul from the Esquires, Thunderfrog Ensemble, and Mike St Shaw & the Prophets. Covers all through, lots of Stones, some James Brown, Young Rascals etc. The LP is sometimes hyped, but not a rarity. Also out on reel-to-reel.

CHELSEA (NY) "Chelsea" 1972 (Decca dl-75262) -- also released in Australia This album has become collectable mostly because it contains a pre-Kiss Peter Cris. Some of it is uninteresting boogie rock, and at least one song (Hard Rock Music, which prints bizarre fake lyrics on the back cover, probably to disguise the real songs stupidity) is truly atrocious. A few songs rock convincingly, though, and a few others are great orchestrated dreamy psych. Despite the variety of styles, the odd production creates a thematic consistency. All of the rhythm guitars are acoustic, and the leads are trebly and often ear-piercing, moreso because the rest of the instruments form a wall of sound. On the good songs the overall effect is pretty powerful, but on the weaker ones its just strange. The hard rock songs, lacking electric rhythm guitars, rely on lots of lead guitar, loud drums and crazed vocals, not really to the musics advantage. This is a spotty album, but its weird and distinctive and has its moments. [AM] CHENANIAH (MN) "Chenaniah" 1977 (no label 7071-n-11) [1000p] Little-known Christian 1970s melodic folkrock at the commercial westcoast end of the spectrum, comparable to Harvest Flight. Opens with excellent psych-vibe track, rest is a little too much feel-good hippiedippy for my tastes. Nice arrangements with guitar tapestries and smooth CSN/America vocal harmonies, some countryrock moves, listenable OK with a relaxed, non-preaching attitude, although the lead singer is sort of dorky. A few lowkey folk tracks with acoustic guitar and strings project an appealing Tim Hardin feel. [PL]

CHICKEN AND THE EGG ( ) "Word of Mouth" 1974 (Gramex g-101) [paste-on cover] Mix of hippie funk and rural rock weirdness. Pressed by GRT in Nashville. Issued in a plain cover with a paste-on front listing the band name and title. A paste-on back labeled 'Reference Data' lists the songtitles and credits.

CHILDREN (San Antonio, TX) "Rebirth" cover] "Rebirth" "Rebirth" "Rebirth" 1968 (Cinema 1) [gatefold; gold title sticker on 1968 (Atco sd-33-271) [remix; mono wlp] 1968 (Atco sd-33-271) [remix; stereo] 2003 (CD Gear Fab GF 187) [+16 bonus tracks]

This co-ed soft psych album (produced by Lelan Rogers) is one of those records that seems like its going to be great, but falls a bit short. Even on the songs that rock, its all very twee, with flutes, harpsichords, falsetto backing vocals, wimpy vocals from the guy (as usual, they should have let the woman sing all of the songs), and occasional garish orchestration. The arrangements are certainly creative and elaborate, though word has it that the original mix is more colourful than the more commonly available version. Sitting on a Flower, which sports unexpected chord changes and punchier guitar than the rest of the album, and the long, drony Pictorial are probably the best songs. Mono stock copies may not exist. The band had an excellent nonLP 45 in a different style from the LP and were related to legendary garage bands the Mind's Eye, Argyles and Stoics. The Gear Fab reissue has a ton of interesting bonus tracks from their various incarnations before and after this album. [AM]

CHILDREN OF ONE (NY) "Children of One" 1969 (Real r-101) Eastern acoustic trance psych eastern sounds with femme vocals. CHILD'S ART (CT) "Un-Cut" 1982 (Gold) This one has been hyped by dealers as one of the truly great 80s psych albums, but I have no idea what they were thinking. It has a horrible-sounding 80s production style with way too much snare drum and acoustic guitar reverb, and ugly squealy lead guitar. The end result is somewhere between heavy metal and new wave. Anyone who says this sounds like the 60s is either lying through their teeth or out of their

mind. The male vocals are macho and unappealing and the occasional female vocals too tentative to work in this context. A few songs show some promise, but even those are ruined by the messy sound and overambitious song structures. This has become collectable, but even the worst of the Paisley Underground bands run circles around it. [AM]

CHIRCO (Westchester, NY) "The Visitation" 1972 (Crested Butte cb-701) [booklet; lyric inner; wlp exists] "The Visitation" 1999 (Gear Fab gf-130) "The Visitation" 2000 (Akarma, Italy) [insert] Interesting and ambitious album, though more prog than psych. A really great, crisp guitar sound compensates for the fact that this occasionally sounds somewhat like Styx. What Homer is to guitar rock, this is to keyboard rock. Barry Tashian of the Remains produced and contributed one of the better songs. Some of the songs are arranged into suites, and flow together nicely, just falling short of the kind of pretense that could sink something like this. [AM] ~~~ While we've seen the LP advertised as a high priced psych outing, it ain't! There are splashes of fuzz guitar and occasional progressive moves, but propelled by vocalist Anvil Roth's AOR-styled pipes and delivery, these guys probably have more in common with 1970s hard rockers. The label and the overall Western motif left us with the impression this shortlived early-'70s outfit was from Colorado, but it was recorded in New York and Connecticut. Sonically the album's surprisingly impressive and offers up a nice mix of 1970s hard rock and Styx-styled progressive moods. Several tracks sport a vague new age-styled spiritualistic message, but have interesting arrangements and a couple actually rock out. To our ears, highlights are the opener "Sound of the Cross" and "Golden Image". [SB]

CHI-RHO (IL) "Chi-Rho" 1972(Aslan 0100) Christian obscurity with horns and deep vibe, like the missing link between Khazad Doom and the more spiritual tracks on Search Party. Brass arrangements are in a classical/liturgical style that fits the LP well, and the male/female vocals have the right eerie sacred feel. Not really a "rock" sound, yet with obvious influences from contemporary folk and psychedelia. Lack of guitar leads and the overall weirdness makes this an aquired taste, but I found it rather interesting. All originals except for oddball version of "Jesus Is Just Alright". The LP was recorded in Illinois as an 'outreach of Jud Youth Ministries'. The front cover has a gold negative photo of the band. The back has a black and white photo of the band walking down train tracks looking

very hippie. [PL]

CHOCOLATE WATCHBAND (San Jos, CA) "No "No "No "No Way Way Way Way Out" Out" Out" Out" 1967 1967 1994 199 (Tower t-5096) [mono; tan label] (Tower st-5096) [stereo; tan label] (CD Sundazed) [inserts; +3 tracks] (Big Beat wik-118) [+8 tracks]

"The Inner "The Inner label] "The Inner "The Inner "The Inner "The Inner

Mystique" 1968 (Tower t-5105) [mono; tan label] Mystique" 1968 (Tower st-5105) [stereo; tan Mystique" Mystique" Mystique" Mystique" 198 1981 198 1994 (Tower) [bootleg] (Raven 1001, Australia) (Eva, France) [+2 tracks] (CD Sundazed 6024) [+4 tracks]

"One Step Beyond" 1969 (Tower st-5153) [wlp exists] "One Step Beyond" 198 (Tower) [bootleg] "One Step Beyond" 1994 (CD Sundazed 6025) [+4 tracks] "The Inner Mystique/One Step Beyond" 199 (CD Big Beat wikd111) [2-on-1] Legendary teen-punks with ace Jagger clone on vocals and an archetypal garage look and vibe. "No Way Out" (also released in Canada and Germany) is garagy fuzz with a mix of covers and great originals. "The Inner Mystique" retains some of the r'n'b and garage and adds a quite different yet appealing dreamy lounge-psych element via studio tracks such as "Dark side of the mushroom". "One Step Beyond", the weakest of the lot, has a more coherent group sound in a flowing late 1960s westcoast rural sound. Originals of this LP have 'printed in U.S.A.' clearly legible at the bottom of the back cover. Many of the tracks on the first two LPs were recorded by session musicians. They're nevertheless essential, although the band is best understood as a 45 outfit. They also have two killer non-LP tracks on the Tower soundtrack "Riot on Sunset Strip" (1967, Tower t-5065 mono, st5065 stereo) and a track on the sampler "Underground" (1969, Tower st-5168). There's plenty of retrospective samplers from the 1980s onwards, in case anyone still needs an introduction to this seminal band at this late stage. [PL]

CHOSEN ONES (Topeka, KS) "Chosen Ones" 1966 (Audio House AH267) [1-sided] Young band with horn section doing typical wedding/high school dance material, and not exactly tearing the roof off at that. Members were apparently selected via audition which accounts for a reasonable (but not overwhelming) musical proficiency, the most interesting attribute being female vocalist Angel who sings quite well in a sophisticated style and breathes good atmosphere into "As Tears Go By". The other 5 tracks are typical soul/r'n'b covers of the era, with a solid groove on "Turn On Your Love Light" and a nervous "Harlem Shuffle" highpoints. The guitar

is barely present. This inoffensive album probably succeeded in getting the band plenty of local gigs, but is far removed from what today is considered "garage" or "60s teenbeat". 1-sided album with 6 tracks. The band also had a local non-LP 45. [PL]

CHRIS, CHRIS & LEE ( ) "Chris, Chris, and Lee" 1970 (C C & L) Delicate folk/folkrock covers and some originals. "Thank you" has nice vocal harmony arrangements and an upbeat flow, like the Chapin Bros 4 years down the line. CHRISTBEARER (NC) "Songs And Friends" 1977 (Christbearer CR-1001) Like Majesty and Uncle Johns Band, Christbearer is one of a few groups headed up by Chris Hughes in the 70s.They also happen to be the heaviest of the bunch.Psych enthusiasts will immediately want to take note of Look and Into The Light, both of which rock slowly with some of the loudest droning fuzz guitar on record enough that "Songs And Friends" could easily earn a modest monster status. On the softer end of the spectrum is Twilight, a mesmerizing acoustic ballad with dreamy background synthesizer. A number of the remaining songs appeared on the Majesty album in the acoustic duo format but are re-interpreted here as spirited electric pop/folk, some of the best Ive heard. Light horn accompaniment on a couple of these blends in perfectly. Several folkrock tunes as well - airy and jangly on Fly, bluegrassy with banjo on Come To The Banquet. Members include Chris Hughes, Kay Woodard, Jimmy Rea, Jeff White and Lee Carpenter. Great album! Custom press from Durham, NC. [KS]

CHRISTIAN ASTRONAUTS (Fremont, OH) "Beyond The Blue" 1971 (Gospel Empire no #) "Beyond The Blue" 2004 (CD Companion) [CD-R] Christian family outer space concept act, "naive folk art" in great cover with homemade sound fx and offkey vocals. One for the incredibly strange fringe, needless to say. Some copies come with a promo photo.

CHRISTIAN YOGA CHURCH (Virginia City, NV)

"Turn On!! Music for the Hip at Heart" 1967 (Memorare ess101) A 50-minute tribal spiritual organ/percussion improvisation with occasional sanskrit chanting, as much a product of the beatnik seeker era as a precursor of 1970s communal tripouts. Not really a "rock" record, more a unique early psychedelic fringe artefact along the lines of Alan Watts' legendary "This is IT", less intense, more eerie, and just as interesting. An unplugged version of Beat Of The Earth also springs to mind. One of my personal favorites in the off-the-beaten-path category. [PL] ~~~ This record was connected to the Himalayan Academy Research Center in San Francisco (what an amazing 60s town!!) and the label address was a P.O. Box at the Los Angeles airport. It's definintely in the 'real people' zone, basically an acoustic no-fi hippie freakout. Musical improvisations with church organ, some sitar, chanting, flutes, and even a kazoo. Fans of trancy Krautrock excess might go for this. There are no track listings on the LP. [RM] ~~~

see full-length review

CHRISTMAS (Oshawa, Canada)

"Christmas" 1969 (Paragon 18) "Christmas" 198 (Paragon) [reissue; altered sleeve] -- the reissue has a b&W cover "Christmas" 2005 (CD Pacemaker 043) Their first LP has an intense westcoast sound similar to the second, although less evolved. One side is a long Bay Area-inspired (esp "Spare Chaynge") instrumental, other side is more conventional. Worth checking out. "Heritage" 1970 (Daffodil 16002) [gatefold; insert] "Heritage" 1970 (no label, Europe) [bootleg; no gatefold or insert] "Heritage" 1993 (CD Lazer's Edge) The most relevant of theirs for my purposes, a really good intense westcoasty trip with a distinct sound all through. You can hear that these guys knew what they were doing, especially ex-Reign Ghost whiz kid guitarist Bob Bryden. Moving towards prog in the advanced chord progressions and restless flow of ideas, not terribly varied in mood yet its inventiveness and energy makes for an impressive consistency. Around this time the band also appeared on a sampler "Proven Blooms" (Daffodil) with a track unavailable elsewhere. [PL] "Lies To Live By" -- released as by "Lies To Live By" "Lies To Live By" 1974 (Daffodil 10047) [gatefold; insert] Spirit Of Christmas 198 (Daffodil, Europe) [bootleg] 199 (CD Lazer's Edge)

Warm flowing prog psych rocker. Superb vocals and playing. Chaotic guitar runs, surging rhythms. [RM]

"Live 71" 1989 (Remember The Alamo) [300#d; booklet] "Live 71" 199 (CD Unidisc AGEK 2168) Legit release of rare live show from 1971, with some 45 only tracks added. First released as cassette. CHRISTOPHER (Houston, TX / Los Angeles, CA)

see interview "Christopher" "Christopher" "Christopher" "Christopher" "Christopher" "Christopher" 1970 1970 1989 199 1998 199 (Metromedia 1024) [wlp] (Metromedia 1024) [black stock label] (Amos, Italy) [bootleg] (CD Buy Or Die) (CD Gear Fab 108) (Akarma 408, Italy)

One of the better LPs in the popular subgenre of proto-heavy westcoast hippierock, Airplane and Cream being the obvious influences. Classy stuff, solid and uncompromising and with lots of strange lyrics. A mean looking trio too, from the crashpad sleeve photo looks like they hung out more with bikers than flower children! Originally a Texas band known as United Gas, they also had connections to Josefus. Anyone who digs "Crown Of Creation" will love this. Stock copies are considerably rarer. An Italian original pressing exists. [PL] ~~~ A decidedly mixed experience. Clever and thoughtful songwriting and an excellent drummer wage war with lots of inconsequential lead guitar and vocals that often veer towards the macho (and sound just as bad in this not-quite-hard rock as they would in heavy blues rock.) As annoying as the lead singer can be, the predictable harmonies are much worse, creating an odd and uncomfortable combination: too wimpy and too he-man at the same time. This album definitely works better when the lyrical subject is Magic Cycles (a leisurely, formless song that keeps threatening to break out into rock and roll, but thankfully does not) than when its Beautiful Lady, which wastes a nice bass part and sounds like an FM radio reject. Many of the arrangements are cool; on Wilbur Lite you can ignore the boring lead guitar and enjoy the chunks of feedback from the rhythm guitar. The pace is always slow; a blast of energy would have added something to the record, but other than the drummer they dont seem like they could have done it. Besides, Christopher are more successful when theyre just sitting back and feeling it than when theyre trying really hard. Any attempt to rock out here (as in the song Disaster) is quickly snuffed by a mellow middle eight or more lead guitar that doesnt go anywhere. They do a better job of creating a menacing atmosphere with the grisly Biblical-themed lyrics to Lies. Others like this album much more than I do; if youre amenable to this vocal style you

probably will too. [AM] CHRISTOPHER (Columbia, SC)

"What'cha Gonna Do?" 1969 (Chris-Tee 12411) [circa 1000p] "What'cha Gonna Do?" 1990 (Animus Ochlus/Rockadelic 102) [b & w cover; altered track order; 350#d] "What'cha Gonna Do?" 199 (Atlas, Europe) [b & w cover] "What'cha Gonna Do?" 1999 (CD Scenesof 1003) "What'cha Gonna Do?" 2004 (Lion 101) Ill have to admit that I cant figure out what people see in this one. The first song has a beautiful fuzz guitar sound, but thats the first and last highlight here. The vocals are really weak, and the songs forgettable. The long jam that ends side one is absolutely endless, one of the dullest Ive ever heard. The upbeat songs on the album still feel soft, as if the energy vibe was low during the recording session. The LP was released in August 1969. Of the reissues, the Lion has been reported as being best soundwise, while the Atlas repro may be a boot of the Rockadelic release, as none of these reproduce the orange monochrome of the original sleeve. [AM] ~~~ Most of the songs on this South Carolina bands LP are great. Theyre played with considerable vitality and with cool lyrics about the key concerns in life, such as drugs, death and the passage of time. The highlight has to be Holiday with fuzzed up guitar and lots of snarling about their trip being like a book, a real good book, its nice but not quite true. The Great Clock and Death Song are superb tracks with weary, wasted vocals lamenting the passage of time. The title track clocking in at over 12 minutes is not the highlight (and it starts the CD). However, its good enough not to mar the whole experience. The original LP usually sells for way into four figures. [RI]

CHRYSALIS (NY) "Definition" "Definition" "Definition" "Definition" "Definition" 1968 1968 1968 1993 2005 (MGM e-4547) [mono; ylp] (MGM e-4547) [mono] (MGM e-4547) [stereo] (MGM) (CD Revola 094, UK) [+8 tracks]

One-shot masterpiece from genius songwriter Spider Barbour. His songs show remarkable lyrical and musical depth. Acoustic rock (not quite folk-rock) songs dominate, but the album is full of surprises, from searing fuzz guitar to the whacked-out fantasy Dr. Roots Garden that closes the album. There are spots of jazz, prog (way before its time) and music hall, all of which can ruin psychedelic records, but

work incredibly well here because theyre part of Barbours vision, not just attempts to be trendy. Favorite lyric: God is a ring of smoke, wrapped around my finger, a wasp without a stinger, buzzing in my ear." Other lyrics veer towards the psychological and emotional with equally memorable results. Barbours voice is soothing and appealing. Nancy Nairn is used sparingly but effectively (two and a half songs) as the other lead vocalist. Her unhinged performance on April Grove adds to the appeal and strangeness of the album but is effective precisely because its not overused. Some other songs are stunningly beautiful and tragic. One of the alltime greats. [AM]

CHURLS (Canada) "Churls" 1969 (A&M SP 4169) [wlp exists] Canadian band merges the garage band sound of the Ugly Ducklings and the Haunted with a more up-to-date hard rock vibe. There are too many songs, and most of the lead guitar work doesnt go anywhere, but theres also a youthful energy and solid vocal style that wins out in the end. The trippy Time Piece blows away everything else on the album but there are lots of pleasures that reveal themselves with multiple listens. They also released a second album on A&M, "Send Me No Flowers," which is less collectable and more mainstream in sound (though still pretty good.) [AM] CINCINNATI JOE & MAD LYDIA (Cincinnati, OH)

"Cincinnati Joe & Mad Lydia" 197 (River Witch 001) [gatefold] An obscure item in the fringe sub-category of local lounge-rock bands with a stage musical "Hair" influence. Cincy Joe is a Sly Stone look-a-like who delivers some mediocre funk-rock tracks that are clearly lacking in groove. Mad Lydia is a selfappointed Cincinnati witch and some of her tracks is what makes the LP, with a rather irresistable backwater perspective on the American dream, as heard on "Jesus is our color man" and most of all "Plastic Rose", a heartfelt tribute to salt-of-the-earth women that becomes effective simply because of its slighly misguided and amateurish feel. Other enjoyable tracks include Lydia's witch testimony "900 years" (the psychiest track) and the hometown tribute "Cincinnati Soul". Glitzy period production details like female backing vocals, electric piano and flute help put you right in a half-empty Holiday Inn in Ohio 1973. A

meaningless collage of live-recorded "Hair" songs close the LP on a confusing note. Only about half the album works, yet clearly a must for genre fans (like me) and probably a complete mystery to others. Nice, ambitious packaging adds to the vibe. There were also non-LP 45s by both of them on the same label. [PL] CIRCUIT RIDER (CT) "Circuit Rider" 1980 (C.R 666) "Circuit Rider" 199 (no label, Germany) [bootleg; inferior sleeve job] I initially wrote this off as yet another Blessed End but further plays revealed more interesting aspects. Still sort of goofy in places but has some truly freaky biker/Cpt Beefheart late night explorations. The tracks where they break out of their swampy/bluesy mood are the best, such as "Limousine Ride" and "Chinese", which project visions of a biker high on PCP driving over a cliff at 100 MPH, laughing and screaming all the way. Songwriting is essentially non-existent, and the same riffs and rhythms are used throughout, which creates a sameyness that will grate if you're not in the mood. The "Billy The Kid" song is a goofy macho lowpoint not unlike Blessed End, and all over this is an LP likely to appeal to some while others may be puzzled. A late Doors influence can be detected. Several sources claim that it was recorded in 1971, but not released until 1980. [PL] CIRCUS (Cleveland, OH) "Circus" 1973 (Metromedia LPS 7401) Circus were one of those bands who were huge stars locally but never made it anywhere else. In Cleveland they were even more popular than the Raspberries and this album's "Stop Wait Listen" still gets local airplay. They were a hard rock band with major Badfinger-styled power pop leanings and minor prog leanings. There are at least three killer songs here, though the album as a whole tries to do too many things and doesn't fully work, especially on the longer songs. The recorded a number of songs after this LP, but couldn't find another label. Members of the band would form a number of other bands, including American Noise. [AM]

CIRCUS (Stevens Point, WI) "Circus" 1974 (Hemisphere ks-6679) "Circus" 2000 (Gear Fab gf-162) [+2 tracks] Jammy keys and heavy, distorted leads rockers including a 12-minute track, produced by Corky Siegel. CIRKUS ( )

"Cirkus" 197 (private) Early 70s garagy sound soul rock high energy covers with mixed vocals. "Get Ready", "Spill the Wine", "River Deep Mountain High". CITY BLUES (CA) "Blues For Lawrence Street" 1967 (Nouveau nr-5001) Fullerton, California label. Lo-fi garage blues by 16-18 year olds. Raw dual guitar, harmonica lo-fi action. Originals on side 1, covers on side 2 highlighted by a ten minute "Smokestack Lightning". [RM] CLAP (CA) "Have You Reached Yet?" 1972 (Nova-Sol 1001) [175p] "Have You Reached Yet?" 1990 (Phaze II) [bootleg] "Have You Reached Yet?" 2005 (CD Skyf Sol) Appealing exercise in cool by lost-in-time pool party rockers. Genuine teenage punk that sounds more '66 (or '64 even when the sax player honks away) than '72 with snotty Jagger vocals, basic garage tracks and a real attitude. Recommended to fans of local Stonesinspired rockers, whose unglamorous lifestyle is clearly audible in the grooves. Originals all through, and not bad ones at that. I like this at lot, a good one to play when fed up with psychedelic pipe dreams. [PL] TODD CLARK GROUP (Butler, PA) "We're Not Safe" 1979 (World Theatre TC-102) [300p] "Nova Psychedelia" 2005 (CD Anopheles 010) [2CDs; bonus tracks] Todd Clark's second and somewhat more well-known LP after the Eyes delivers similar suburban sci-fi stoner visions, with a less progressive and more garagey feel, including a (good) cover of the Raiders' "Hungry". The recording has a basement sound which is probably to its advantage, and the vocals are less idiosynchratic, with a definite influence from snotty "punk" stylings. All over a step towards a more contemporary underground rock sound, which probably explains the attention it has caught over the years, with an intense, sometimes chaotic sound. "X-ray X-tasy" sounds like a 1979 classic with a catchy chorus and demented glamrock postures, while making "I had too much to dream" sound like a Todd Clark composition is a remarkable feat. This early Prunes cover is a blast and suggests a more productive path than the "Nuggets" cover bands of the 1980s. The album closes with an ambitious 14-minute suite that looks back to the conceptual strangeness of the debut, but still fits with the more in-yerface nature of "We're not face". The band had a 2nd

LP "Into the vision" in 1984 with dissonant sci-fi sounds. The CD was released as by Todd Tamanend Clark and contains both the 1979 and 1984 albums. [PL] ~~~ see -> Eyes LINDA CLARKE ( ) "Yes, Indeed! 1976 (Tiger Lily 14035) Another mysterious album on Tiger Lily. Folkrock and soul, a bit in a Carole King vein with full backing band. CLAUDE & SHERRY ( ) "Claude & Sherry" 1976 (Tiger Lily 14057) Heres one of the weirdest Tiger Lily albums of all. Who are these people? What in the world was their audience? This duo plays 50s-style roots rock, slick AM pop, ballads, soul, and UK-sounding folk with equal energy. At first this sounds like a big mess, and I was ready to file it after two listens. But I gave it another chance, and sure enough it grew on me and I really enjoy this record. Sherry has a beautiful voice, equally suited for the ballads and the folk, and Claude is funny and high-spirited. Most of the songs on this short album are quite catchy. The ungodly mix of styles makes it obvious why they were doomed to obscurity, but this album was an oddly pleasant surprise for me. Nice obscure cover art, too. [AM]

CLAW (IL) "Diggin' In" 1978 (GDS 2051) Crude hardrock boogie. Back cover notes "Play this Ass Kicker Loud!", in case you were in doubt. ExEighth Day, who had two songs on the much earlier "Psychedelic Six Pack of Sound" comp. DAVID CLAYTON-THOMAS (Toronto, Canada) "And The Shays A-go-go" 1966 (Roman 101) "Sings It Like It Is" 1966 (Roman 102) These early LPs from the future Blood Sweat & Tears vocalist are both moderately desirable teenbeat/r'n'b rarities. The first LP was "reissued" with overdubbed horns by Decca in the 1970s, beware! CLEARING (Newton, MA)

"Who Is In My Temple" 197 (Unitarian Universalist) "Clearing" 1973 (Aberdeen Acme 6673) [insert] Little-known 70s folk with female vocals and mix of covers and originals.

CLEFS OF LAVENDER HILL (FL) This popular Florida 1960s band had a number of 45s and a taste of success, but it appears that their rumored demo/acetate album never reached beyond the tape stage. Several of their 45s can be found on the "Everywhere Interferences" compilation.

CLICK KIDS (OR) "Jesus Is A Soul Man" 196 (CLS 001) Christian teen quartet playing amateurish DIY Jesus pop, somewhat legendary among incredibly strange fans.

BILL CLINT (CA) "The Crying Of A Generation" 1975 (Joint Artists 332) [gatefold; poster insert] Rural folk weeper with an unnerving tortured feel like Bobb Trimble. Vocally, he resembles John Denver, with some oversinging thrown in for good measure. The highlights are: "Angels Don't Need Friends", an amazing downer track where he breaks down crying, and "Babe Is It Easy" which continues the crying theme and adds running water and a music box to the mix. There's also some creepy sounding xylophone in places. There are two cover variants. On one the opening for the record faces the spine, on the other it is at the outside edge. The insert reads: "I'm no longer afraid to admit I'm an insane animal"! [RM]

CLOSELY WATCHED TRAINS (RI) "Closely Watched Trains" 1975 (Follie's Bazaar nr-5666-1) [blank back; insert] Northeast communal group. Low-key rural folk with backporch progressive jamming. ~~~ see -> Follie's Bazaar

V.A "CMU SENIOR BANQUET" (PA) "Another Carnegie Mellon University First!" 1969 (AIP)

Collegians. Bagpipe group on one side and a basement folkrock group on the flipside.

STEVIE COCHRAN (Long Island, NY) "No Need to Worry" 1983 (no label) [plain black cover w/ info sheet; 100p] Hardrock cruncher like Truth and Janey, demo-only release.

RON CODEN (MI) "Live at the Raven Gallery" 1968 (Hideout 1003) Folk LP recorded live, on noted local label. DAVID ALLEN COE (Akron, OH / Nashville, TN) "Requiem for a Harlequin" 1973 (SSS International) "Requiem for a Harlequin" 200 (CD SSS) If it isn't a law then it should be: sooner or later, everybody makes a psychedelic record. This sequel to his 1968 debut LP, "Penitentiary Blues," sounds like a cross of "Rubber Room" era Porter Wagoner and the more experimental tracks on Peter Grudzien's "The Unicorn." Not so much a collection of songs as it is an album-length poem about an "asphalt jungle" populated by junkies, thieves, whores and misfits with a musical bed that runs from blues rock to psychedelic soul to jazz to avant-garde. Utterly unlike anything else this king of the racist red-neck outlaw bikers has ever done, and, while Coe's debut is a rare and expensive LP, "Requiem" is next to impossible to find and sells for mid-three figures whenever a copy surfaces. In the first five hits of a web search for information three different release dates are offered, 1969, 1971 and 1973. This is an amazing and unique record. The rest of Coe's vast output falls outside the scope of the Archives. [SD]

JOE COHEN ( ) "Pages" 1975 (Friendship Music) [photo & letter inserts] Rural hippie folk with two electric wah-wah tracks. Possibly the same guy who had an LP out in 1982, "Writings on my wall".

MIKE COHEN ( ) "Mike Cohen" 1973 (Diadelphous Stamens) [insert]

Basement folk from guy with lots of hair. COLD SUN (Austin, TX) see interview "Cold Sun" 1973 (Sonobeat acetate) [only 1 copy made] "Dark Shadows" 1990 (Rockadelic 2) [insert; photo; 300#d] "Dark Shadows" 199 (Atlea, Europe) [bootleg; no inserts] Incredible 1960s-vibe teen guitar-psych featuring autoharp wizard Bill Miller, later of Roky's Aliens. Best Rockadelic LP ever, and in my opinion the best Texas LP after "Easter Everywhere" and "Power Plant". The recordings were made in Austin 1970-71, the acetate was pressed by a band member years later just to be able to listen to the music. The Rockadelic release was mastered from the original Sonobeat tapes, not from the acetate which only features about 2/3rds of the band's material. Two completely different inserts exist for the Rockadelic release, 150 copies had one credited to Mike Ritchey, 150 copies had one credited to Arthur Bloch. [PL] ~~~ Austin band with an obvious 'Elevators influence recorded this amazing psychedelic demo LP in '70. There's no hints of prog or hard rock on this beast though, just 100% psychedelia. Truly inspired original and uncompromising stuff, it actually sounds like the logical next step after Easter Everywhere and Bull Of The Woods - great Texas desert psych! Most songs are long and winding, full of echoey fuzz, Roky-inspired vocals, autoharp and some harmonica. It never gets into boring hippie jams though. It's more like entering a state of mind than listening to a regular album. The lyrics are also some of the best I've ever heard, managing to be totally strange/psychedelic without getting the least pretentious. Not only the best Rockadelic release, but possibly one of the best and most important psych reissues ever. Roky's first backing band, Bleibalien, were essentially made up of members from Cold Sun. Fantastic LP! [MM]

STUD COLE (Los Angeles, CA) "Stud Cole" 1973 (Pacific Atlantic Tribune PAT 1123) "Burn Baby Burn" 2002 (CD Norton Records) [LP +4 bonus tracks] "Stud Cole" 2004 (Loopden) [exact reissue; insert] One of the more notable discoveries of the third millennium, this previously unknown demo LP has a unique sound not easily described. Tag-lines such as "Elvis backed by '66 Yardbirds" go in the right direction but don't fully capture it, as Stud (real name Patrick Tirone) is a lot weirder than Elvis ever was, and the backup band sounds more like '68 exploito-psych than the Yardbirds. "Hasil Adkins backed by the 31 Flavors" may be closer to the actual sounds inside the non-descript sleeve. Some tracks have a strange karaoke-like soundscape, with Cole's vocals upfront and perfect in sound, while the music is way in the back, compressed and muffled. On a few occasions the vocals or a guitar solo come in a beat too early or too late, creating a weird Shaggs-

like effect seldom found on record. Cole's vocals are in an obvious 1950s mode, while some of the lyrics come from an Ed Wood Jr type universe, and all this with a generic Hendrix-fuzz support. This LP and its unparalleled mix of styles may be too esoteric a trip for many 50s/60s fans, while those who enjoy the incredibly strange aspects of the Haze or Charlie Tweddle need to check it out. [PL] ~~~ Totally enjoyable album that is the perfect mix of 60s garage and 50s hipness. The weird out-of-timesynch vocals and muffled backdrops add to the overall effect, which is something of a cheesy exploitation horror movie for Las Vegas denizens. Along with the much less outrageous Dane Sturgeon, this is the apex of 50s-into-60s insanity. Stud really can sing, too. Utterly wonderful. [AM] ~~~ Here's some new Stud Cole info, supplied by original LP discoverer Scott Bubrig: "As expected, Stud Cole lived in a nocturnal world of stripper girlfriends, endless cocktails and dreams of becoming a successful recording artist. I was told he was very popular with the ladies and always had one by his side. I know most Stud Cole fans always wondered if he had a band or if he recorded the record alone with little or no assistance. Well, he had lots of help which is good because I was told Stud was a horrible guitar player. The bass player I'm in contact with already had a local band that Stud convienced into helping him record his album. For the record, Stud had six other musicians working with him (lead guitar, rhythm guitar, drums, bass, keyboards and a percussionist)."

"COLLAGE '75" (NJ) "Collage '75" 1975 (BCC-1975) [gatefold] College project album from Brookdale Community College, including the usual mix of styles. Instrumental psychedelic rock, poetry, funk, hippie folk, bluegrass and an awkward soul-searching singersongwriter. "Bands" include North Star, To Be Continued, Eric Marcusson, Maryann Sabanskas, Watchful Waiting, and more.

COLLECTIVE STAR (New York City, NY) "Music Of The Mantric Wave, vol 2" 1974 (Unanimous AnonimousUNAN 999) Manhattan guru and his astral soul-mate deliver slick, sophisticated new age meditation sounds with a production value that exceeds the yearly income of many a rural hippie homestead. Although it could be described as "cosmic folk", the vibe is closer to that of 70s space-jazz such as Alice Coltrane, with urban jazzy trumpet and flute ornaments and a suave nightclub vibe. I can imagine these people offering tantric self-realization classes for confused NYC rich people, and it certainly is a change of climate from the typical rural commune sounds. The

instrumental passages have a trancey drone flow and makes good use of dramatic chord and key changes, but it's difficult to reconcile the worldly, inner city feel of the music with any type of spiritual excursions. There is not much of actual singing, more like chanting and mantra-style instruction. The whole thing has a staged feel, making the listener a spectator rather than a participant. "God Of Beauty" brings in a raga sound and is perhaps the most psychedelic of the four lengthy tracks on offer here. This is not an expensive LP, after hearing it you will realize why. No "Vol 1" has ever been found. [PL] "Garuda" 1975 (Unanimous AnonimousUNAN 1001) The second LP moves in an unwanted downtown direction that brings in slick 1970s studio funk by adept but ill-fitting session musicians, with congas, sax and flute for that special studio hack latin groove. The amateur vocals of Mr Star and his chick urging for your spiritual breakthrough makes for an uneasy mix with this backdrop, to put it mildly. "Cosmic Boogie" is a useful example of how not to do your new age music, unless you're aiming for the Incredibly Strange bag. Things do get more cosmic psychedelic on side 2 with two extended kraut-style floaters with eerie femme voices and a sound fx-processed jew's harp on the first, and raga and kirtan moves on the second. If you want to know just how weird things were in NYC in 1975 I guess this is as good a street map as any, but I wouldn't want to listen to it too often. [PL]

COLLECTIVE TOOLS (NY)

"Collective Tools" 197 (Silver Crest Custom nt-5272) [insert; blank back] Circa 1970 upstate New York collaboration on a NYC label. Features the groups Eon, Silverwood, and other musicians from a drug rehabilitation clinic. Moody basement folkrock and fuzz sounds. On the surface this is a terrible record, but amateur fans will go nuts over the loose playing, warbling female vocals, no-fi production, and downer vibe throughout. Similar to "Tool Shed" and the Earlham College comps but murkier. Highlights: the murky take on "40 & 20 Years" (sic), the thud fuzz instro "Clear Silver", and the mournful "Sail to Maine" which is about scoring cocaine. Real people with real damage. [RM] ~~~ This mix of rock, folk and jazz is a lot more interesting when you discover the background behind it. Knowing that it was made by people in a drug rehabilitation clinic/mental hospital, it just plain

creeps me out, starting with the mournful trumpet and out of tune harmonica on the opening instrumental, moving through the chilling Sail To Maine (in which the singer seems to have the attitude that she cant beat drugs so shell just snort cocaine until she dies) and some really stark loner folk. About half of the songs are covers. Two of Us is especially chilling, with the heavily echoed vocals and abrupt ending making my own mind turn this hopeful song into something completely different, where the home they seek is the clinic... or death. Im probably reading too much into it, but given the feel of the rest of this album I might be on the right track. Despite the basement production and a certain kind of sloppiness, most of this is reasonably well played and sung. The ones that arent (i.e: Get Together) have a weird urgency thats compelling. Every song here sounds like a last gasp. Very interesting stuff. [AM]

V.A "THE COLLEGIATE SOUND 1968" ( ) "The Collegiate Sound 1968" 1968 (Allen Associates GCS-120) Highlights from a collegiate folk concert featuring groups from 10 northeastern colleges. Most do choral versions of pop and folk songs (with some acoustic guitar accompaniment), including the well-known Vassar G-Stringers, who perform Get Together. By far, the standout is the group from Smith College who go by the name of Maggies Farm performing what is presumably a late 50s or early 60s song called Stubborn Woman which has been transported forward to the 60s garage. This is totally primitive electric sound with drums bashing away, a crude guitar solo and retro-50s singing & harmonies. By the way, did I mention this was an all-female quartet? If this had been a private label single, the garage fiends would all be going Denise Who? [MA] V.A "COLORADO FOLK" (CO) "Colorado Folk, vol 1" 1973 (Biscuit City Enterprises) First volume has folk and singer/songwriters, including one good sitar-tablas track "Legend of the Washeen". Second volume from 1974 is similar but more bluegrass-oriented, and features a track by Tumbleweed artist Pete McCabe.

COLOURS (Lubbock, TX) "Colours" 1969 (Century 36550) Folk and melodic rock covers Dylan, Stills, etc. Has a bizarre, uncredited track where the engineer fools around with backwards looping for about two minutes! The front cover has a beautiful green acid splatter design, the back is black and white with band photos and song titles. [RM]

COLUMBUS CIRCLE (CT) "On Saint John's Eve" 1976 (Pharoah) Collegians doing avant-garde jazzy progressive weirdness with a side-long track.

COLWELL-WINFIELD & FRIENDS (Boston, MA) "Live Bust" 1971 (Za-Zoo 1) "Live Bust" 2004 (Akarma 272, Italy) "Live Bust" 2004 (CD Akarma 272, Italy) [+3 tracks] Progressive bluesrock recorded live at the Phoenix Coffee House. The band had an earlier major label LP in the same style ("Cold Wind Blues", Verve Forecast, 1968).

COMMON PEOPLE (Baldwin Park, CA) "Of, By, For label] "Of, By, For "Of, By, For Australia) "Of, By, For The Common People" 1969 (Capitol st-266) [green The Common People" 198 (Mr G, Canada) [bootleg] The Common People" 2000 (CD Ascension 022, The Common People" 2003 (CD Radioactive, UK)

An interesting piece with an unusual edge for a major label LP, uses a farout singer and some amazing string arrangements to create a pretty unique sound. Good album, particularly side one which is killer all the way, while it sounds like they ran out of money over on side 2 with a demo-feel club sound. The terrible vaudeville track must be skipped at each play, unfortunately. An original Canadian pressing exists. The 1980s boot used a worn sleeve and should be avoided. This used to be a "mystery" band but their origins have finally been cleared up via two pre-LP 45s on the private CA Flodavieur label, and reportedly excellent 45s at that. [PL] ~~~ This has become one of the more well-known major label psych items, and deservedly so. Some listeners wish that the awesome orchestration of the first three songs ran throughout the album (alas, the budget ran out quickly), but I think that the resulting mix of garagy rock, soul and folk makes for a more interesting album. The gruff singer comes as a shock when you first hear this, but once it all clicks you can't imagine these songs sung by anyone else. The "Funeral" song that opens side two is a complete piece of garbage, an unfunny novelty song thrown in to earn the producer extra royalties. It very nearly ruins the (already short) album, but on LP at least it's easy to skip. [AM] ~~~

see full-length review

COMMUNICATION 1 (MI)

"Communication 1" 1971 (Grotesque GS 101) Acoustic downer folk duo Rob Carr & Bill Kahl with flute and wind chimes, mostly instrumental with some vocal tracks; described as "psychedelic John Fahey".

COMPANION (TN) "Reap the Lost Dreamers" 1974 (RAV) [insert] "Reap the Lost Dreamers" 2003 (Gear Fab) The title is appropriate here, because this is definitely dreamy, ethereal music. Its American, but the closest comparison I can come up with is Ithaca, (or, at their most melodic moments, the Alan Parsons Project.) The album oddly begins with a cover, a version of Blackbird that omits the familiar guitar parts and places the emphasis on the vocals. Its a good lead-in to what follows. The vocals are soft and sensitive, the many keyboards layered like clouds, and the songs slow and carefully constructed. Spacy sound effects here and there work well with the memorable melodies. A few songs are a bit heavier, with some fuzz guitar, others have some Eno-like electronics. The songs on side two are a bit less inspired and drag a little, but it still all sounds very nice. A distinctive album. By the way, this is a Christian record, but youll never know it unless you pay very close attention. [AM] COMPANION (CA) "On The Line" 1977 (Sleepy Eye) Rural 1970s rock from Bay Area band; presumbaly no relation to the guys below. COMPANION (CA) "Mr Head Live" 1980 (Akashic) "Mr Head Live" 2005 (CD Syn-Ton, Austria) Dead/Allman Bros-style guitar jammers. BURT COMPTON & STEVE MELE (FL) "Rock n Roll Genius" 1977 (Wizard 1303) [500p] This one is a guilty pleasure. The first couple of songs are pretty heavy with an ahead-of-its-time-butstill-annoying squealy guitar sound (this is a year before the first Van Halen album opened the floodgates so that it would soon be the only guitar sound on FM radio). After that, though, the music is more mainstream, but quite appealing, radio pop/rock. They cant sing too well, and they arent so original, but they have a sense of humor (one song is

about how in the music business helps them earn literally hundreds of dollars a year) and the songs are catchy. Theres a surprisingly faithful cover of Open My Eyes and two showoffy instrumentals that are short enough to work. I like it, but dont expect most of the people reading this review to agree. Supposedly there are only 500 copies, but it seems to show up for sale pretty often. [AM]

CONAN (CA) "Tell 'Ol Anita" 1973 (Earthchilde ercd-101) The artist is Conan R.H. Dunham. Conan is a horrible singer but writes interesting, moody introspective tunes. Mostly folky offbeat singer-songwriter sound but three good heavier tunes with seedy fuzz and synth. Sacramento label. [RM]

CONCERN (Las Vegas, NM) "America, Where Are You?" 1973 (no label clp-813) Credited to Concern, this recording takes the best half of Guitar Ensemble's "The You-N-You" (the Bob Rivas tracks) and adds some cool new topical ones by Eloy Montoya with electric guitar and moody organ moves. Rarer than either of the Guitar Ensemble LPs.

CONCRETE RUBBER BAND (Alden, KS) "Risen Savior" 1974 (American Artists Custom aas-1164-lp) "Risen Savior" 200 (CD Hidden Vision) "Risen Savior" 2004 (CD Radioactive 0108, UK) Amazing murky basement lo-fi headtrip from the furthest depths of the Christian underground. While the lyrics are typical for the genre, the music is as un-holy as anything I've heard; droning psychedelic DIY excursions with a strong ritual undercurrent, as though recorded by some primitive society who practice REAL Christianity, which is not angelic choirs and cleancut folkies. Untrained male/female vocals half-sing liturgical Jesus movement praise and occasional damnation, while arhythmic drums, halting harpischord and spooky organ provide the backdrop. The real star of the show is Duncan Long's synthesizer, which ranges from piercing and oddly melancholic 3-D soundscapes to mindbending moog glissandos. The roots of the music is folk and blues, somewhere, but it really transcends genres. This is what Stone Harbour might have sounded like if they'd dropped enough acid to actually meet Jesus in person, and returned to their cavern studio on an even smaller budget. "Wicked" which opens side 2 is the peak for me, with an (accidental?) oscillator effect that sounds like a bat flapping its wings around your head, coupled with eerie, ominous vocals and music that sounds like 50 Foot Hose pleading for Thorazine.

The last couple tracks are somewhat more straightforward and almost garagey in style. Only album of its kind in the world. [PL] ~~~ There isnt anything else like this one, which mixes cheesy ballads, heavy guitar workouts, and freaky synth-heavy space rock. The production is so awful that you can barely hear the vocals or rhythm section, though, which masks the amateurishness somewhat but renders even the good songs (Wicked being my hit pick) something of a chore to sit through. Id recommend this more to real people fans than to psych or xian fans, though its unusual enough and so musically outrageous that it should give pretty much any listener a kick for a listen or two. The LP was recorded in a band member's living room via bouncing tracks on a 2-track, and the simple artwork was due to the band not being able to afford a generic custom sleeve. Most copies were given away after they failed to sell out. [AM]

CONDELLO (AZ/CA) "Condello: Phase 1" 1968 (Scepter srm-542) [mono] "Condello: Phase 1" 1968 (Scepter sps-542) [stereo] This fascinating album moves from sparkling pop to near heavy metal, almost like a compilation album by one man. Condello is an interesting figure, being connected to diverse figures like Lynn Castle and Warren S. Richardson, so its not surprising that his album runs the gamut. The popsike songs near the beginning of the album are the strongest tracks, but all of it is interesting and worthwhile. A neat artifact of a time when such diverse styles of music sat nicely side by side on radio, and here, on LP. Condello also released a number of 45s and EPs including the "Soggy Cereal" track of Pebbles fame. [AM] C1 C2 see Mad Dog LARRY CONKLIN & JOCHEN BLUM (Seattle, WA) "Jackdaw" 1980 (no label 11233) Little-known local album of haunting UK-style folk with 12-string and violin. V.A "CONNECTICUT'S GREATEST HITS" (CT)

"Connecticut's Greatest Hits" Conn 1966 (Co-Op 101) Bands include the Van Dykes, Chosen Few, Majenics. Some acts are doo wop/vocal groups.

CONSCIOUS EFFORT BAND ( ) "Conscious Effort Band" 1981 (no label) [gatefold] Basement folkrock. CONSTELLATION (Chattanooga, TN) "Constellation" 1978 (Pyramid 1590) "Constellation" is a pretty amazing effort; even more so given that creative mainstay Punkin Crye wasn't even old enough to legally play in a nightclub. In addition to handling lead vocals (he sure didn't sound like a 14 year old) and lead guitar, Crye wrote or co-wrote all nine tracks. Exemplified by tracks such as the blazing opener "8 O Clock Monday", "There's Talk" and "Sell Out" the trio's take-noprisoners brand of hard rock certainly won't appeal to everyone, but at least to out ears the LP's got more hooks and heart than a truck load of Slayer releases. Among the highlights were the sweet and atypical ballad "Little Things" and the chugging rocker "Always Be the Same". The album did little commercially and Crye relocated to L.A. where he enjoyed minor success playing in a number of local metal bands. Unfortunately, Crye also picked up a nasty drug habit. By the time he was in his early 20s he'd returned to Tennessee where he ended up homeless, living on the streets of Chattanooga.[SB] ~~~ The biggest clue as to the age of the songwriter here comes from the lyrics, which obviously refelect a horny teenager (or even pre-teen) view of dating. This album has a nice hard rock sheen, driven by a metallic but clean rhythm guitar sound. The performances are strong, the energy level high and the songs engagingly brief. It lacks riffs, though, and has a surprisingly sparse amount of lead guitar. They sound like a band with a lot of promise, but this album never really takes off. [AM] CONTENTS ARE (IA) "Through You" 1967 (Rok) [100p; blank back cover] Previously unknown LP from beat/folkrock/psych band, only sold at shows. The band was still at highschool when they cut this LP, which is remarkably advanced for the time and place. Only a few copies are known to exist. V.A "CONTEXT '70" (Long Island, NY)

"Context '70" 1970 (no label MP 4-1) Very obscure DIY high school project LP of which only a few copies are known to exist. High points include two long fuzz/organ instrumental freakouts, a girl garage band, and some folk moves. Jug-band stuff, bizarre poetry and crude classical round out the set. There's also a funny spoken introduction proclaiming it to come courtesy of "WTHC" radio. Interesting LP with plenty of 1970 NYC zeitgeist and a high freak value, though schizophrenic and local to the max. The college project "Tool Shed" album is somewhat similar and perhaps provides more good music than this one.[PL] ~~~ Here is the ultimate in the realm of reality known as the 60s/70s stoned high school student project LP. Hailing from the Island of Long, these suburban stonees definitely pulled some wool over the eyes of the faculty. Beginning with a mock broadcast from radio station WTHC (!), the drug references flow through a pastiche of psych, folk, jugband, some "classical music is great stoned" (courtesy of Igor Stravinsky), and a few truly bent poems including the Shakespearean ode to McDonald's, "Cheeseburger Lament" from Omlette. Highlights are Adam's Rib, a girl garage band performing a great pop-psych/punker "Hide Your Love"; the proto-roots sound of The Amalgamated Pickle Plant and Home Brew Distillery (whose repertoire includes David Peel's Happy Mother's Day) and most uniquely, one Emmanuel Angel. Angel performs 2 lengthy instrumentals on which he plays everything - guitar, keys, bass, drums - and quite well. The sounds are berzerk progressive psychedelia via early Zappa/Mothers filtered through distorted, fuzzed, speeded up guitars and organs. Finally, the last track is titled The End and lasts 1 second. The LP is housed in an incredible pink and black psychedelic cover. There are plenty of pics of our student stonees on the front. The back is a great abstract design. [MA]

COOKIN' MAMA (CA) "New Day" 197 (Rock Bottom cfs-3007) "Cookin' Mama" 1980 (Piccadilly 3376) [boot reissue] website version: This is a pretty original and exciting West Coast rock album, very hard to classify. It's too structurally complex to be blues and rocks way too hard to be rural rock. It's got horns, but they're integrated into the overall sound in a way that makes this no horn band. There are some similarities to the Screaming Gypsy Bandits, though this band doesn't cover as much stylistic ground and are more consistently good. The guitar playing on this record is powerful, and is what takes this way beyond the

realm of most commune-type albums. This isn't literally a commune, but the band has about a dozen members, the songs have chorus vocals, and they're definitely hippies. Sherry Foxx, from Oasis and R. J. Fox, is in this band and top billed (which leads to record dealers inaccurately hyping this as a female vocal album), but actually only sings lead on most of one song (she sings the verses). That's a shame, because though the chorus vocals are fine, the guys who sing lead don't have half the personality or excitement as Sherry. It's a blown opportunity, because albums that rock this hard, have no cover versions, and have female lead vocals are rare as hen's teeth. If she had sung all of the songs this would be something special indeed. As it is, it's still a pretty cool album, recommended to people like myself who wish that most of the jammy west coast bands had more upbeat energy. Steve Miller is listed as one of the album's three producers, by the way, and it's quite impressive how many instruments and voices are in the mix without sounding messy. For some reason the liner notes say "no thanks to the Illnois Highway Department". Two original pressings exist with different label designs. [AM] ~~~ book version: This is a pretty original and exciting West Coast rock album, very hard to classify. It's too structurally complex to be blues and rocks way too hard to be rural rock (the guitar is very exciting.) There are horns, but they're integrated into the overall sound in a way that makes this no horn band. They're something of a hippie commune, as the band has about a dozen members and the songs have chorus vocals. Sherry Foxx, from Oasis and R. J. Fox, is in this band and top billed (which leads to record dealers inaccurately hyping this as a female vocal album), but actually only sings lead on part of one song. That's a shame, because though the chorus vocals are fine, albums that rock this hard, have no cover versions, and have hot female lead vocals are rare as hen's teeth. Steve Miller is listed as one of the album's three producers, by the way, and it's quite impressive how many instruments and voices are in the mix without sounding messy. For some reason the liner notes say "no thanks to the Illnois Highway Department". Two original pressings exist with different label designs. [AM]

V.A "COOL AID BENEFIT" (Vancouver, Canada) "The Cool Aid Benefit Album, volume 1" 1970 (Arthfor 4001) Local psych and rock groups including tracks by Hydro Electric Streetcar, Mock Duck, Papa Bear's Medicine Show, Spring, Route 9 and Black Snake. The Papa Bear's track also appears on their rare LP, while the Mock Duck track is on the Gear Fab reissue. Vancouver Cool Aid provided legal assistance and other aid for wayfaring hippies in the late 60s. Mike Harcourt, future British Columbia premier, was one of their lawyers. [RM]

BILL COOLEY & ALAN MUNSON (Santa Barbara, CA) "In Debt" 1972 (Studio West 2874) Much of this album is gentle folk, with a sound similar to the early Chuck & Mary Perrin albums, if they didnt have female vocals. Japanese collectors crave it for those songs, though psych collectors will be more interested in Sightly Sue, which has bizarre use of guitar vibrato, and I Need a Change and Where Is The Change, which have a bit of mild fuzz guitar (the latter has maybe the shortest and most unlikely wah wah break ever.) A few other songs have some jazzy lead guitar and complex chord progressions. Overall, somewhere between stark hippie folk and folky singer/songwriter. Loner folk fans may enjoy it, as a couple of songs are pretty dark in tone. [AM] ~~~ "There are nine original songs on the "In Debt" album. The music style is predominately psych rock, but also includes songs which have both a folk rock and a bluesy acoustic feel. Instruments on the album include electric and acoustic guitars, electric and acoustic bass (guitarone), drums and other percussion instruments. Effects used in the Psych rock songs include guitar solos with distortion/wah-wah, and some soaring echoed vocals. The album has strong lead vocals and background harmonies (with many stacked vocal harmony parts on the title cut). The production objective was to record an album with Pop-rock arrangement sensibilities applied to Psych music and experimental sounds." (description supplied by Alan Munson) ~~~ see -> Alan Munson PAT COPALELLO (IL) "Daybreak" 1977 (Kerygma 1001) Nice Christian singer-songwriter with a very varied style range. Ranges from folk (including a Dylanesque talking blues) and country-influenced rock to heavy fuzz rock and progressive AOR. All quite excellent. [MA]

RUTH COPELAND (UK / Detroit, MI) "Self Portrait" 1969 (Invictus) "Gimme Shelter: Invictus Sessions" 200 (CD Castle, UK) [2-on1] Copeland produced the first Parliament album and wrote a few of its songs. As to her own album, what can you say about a record that starts with a spokenword religious manifesto and ends by combining an opera aria with an acid rock guitar solo by Eddie Hazel? In between are all sorts of goodies. Listen to Copeland screech horribly without conviction on the hard rocking I Got A Thing For You Daddy. Drop your

jaw in awe as you hear her cry on the childrens tune Music Box. Feel her pain as she reveals the pits of masochistic self loathing on No Commitment. This album has all this and much, much more! It goes in so many directions, and Copelands sincerity is so painful, that all the listener can do is scratch his/her head and thank goodness Ruth got a chance to put it on plastic. Totally ridiculous, and totally compelling!! As proof that she could be as good as she could be crazy, her version of Silent Boatman, which she wrote, is even better than Parliaments. The CD reissue sadly omits the opera song. [AM] "I Am What I Am" 1971 (Invictus snmas-9802) [gatefold] "Gimme Shelter: Invictus Sessions" 200 (CD Castle, UK) [2-on1] For her second album, Copeland went for a more straight hard rock/soul feel. Her singing is powerful but uncontrolled, and despite the comparative normalcy there are moments as bizarre as those on the debut. Sample lyric: Hare Krishna/right on baby/straight ahead/far freakin out. Two Rolling Stones covers give her a chance to exercise her lungs. The whole album really rocks, but the opening Medal is probably the highlight. A unique and bizarre figure in rock history, whose histrionics and sexual appeal (the gatefold cover has the best bellybutton photo of any rock album, ever) seem to have disguised the fact that she was a true pioneer as a female producer. [AM] COPS LTD (WA) "Play Old, New" 1975 (Tell International) Weirdo fringe LP of some notoriety as it was featured in one of the "Incredibly Strange Music" books; this is real live cops playing covers from the 1950s1970s, incl "Knocking On Heaven's Door" and "Memphis Train". Cover pics are priceless. For freak collectors mainly.

FRANK CORBIN (Austin, TX) "One Fell Swoop" 1976 (Prelude NS 10022) Obscure local album from guy who apparently was dying of cancer, which gives a chilly edge to the front cover drawing of a hooded executioner holding a guitar! Being Corbin's testament of sorts it's odd that it opens with an instrumental track that is the only thing he didn't write himself. The rest is fairly appealing melodic mainstream rock with a 1970s nightclub vibe I like. A couple of tracks have good female vocals that give it a loungey westcoast edge not unlike Titus Oates or T-Kail. Pro-sounding throughout with a bit of sophistication in jazzy piano embellishments, and suave guitar leads. Corbin's singer/songwriter aspirations drag it down but the overall moody vibe and a superb back cover

photo of the gang hanging out in true 1970s style makes for a neat break inbetween this psych monster and that psych monster. [PL] CORILLIONS (Springfield, MO) "Songs Of Divine Inspiration" 1977 (Corillions no #) "Double Album" 1981 (Corillions no #) [2 LPs] Basically the work of the seriously disturbed Marlin Wallace, the Corillions LPs feature adept yet strange singer/songwriter music based on Wallace's unusual experiences of being tortured by communists with invisible rays, as well as thoughts on the yeti, jungle women, space travel, dinosaurs, and more. The liner notes describe his background and the overall threat of communist conspiracies in greater detail than is really wanted. The 2-LP set is a classic of the mid-period fringe/incredibly strange domain and mandatory for genre fans, while the debut LP is strange in its own way, with religious-spiritual material. Various names are credited as performers on the LP, but it appears that they're all actually Wallace using pseudonyms, along with one Mildred Morris. Supposedly only 100 copies were pressed of the albums; there was also some 45s. CORPORATION (Milwaukee, WI) "Corporation" 1969 (Capitol st-175) [rainbow label] -- also released in England and France "Corporation" 1995 (CD Repertoire) Bluesy fuzz rock. Their two Age of Aquarius LPs ("Get On Our Swing; "Hassles In My Mind) are forgettable but the earlier and superior Capitol LP features a fine extended jam to John Coltrane's "India". [RM] CORPUS (Corpus Christi, TX) "Creation A Child" "Creation A Child" label; unbanded] "Creation A Child" [bootleg] "Creation A Child" "Creation A Child" "Creation A Child" 1972 (Acorn 1001) [banded tracks] 197 (Acorn 1001) [2nd press; green/pink 1986 (Breeder RPR 007-3C-567, Austria) 199 (CD Flash 45, Italy) [digipak] 2000 (Akarma 113, Italy) 2000 (CD Akarma 113, Italy)

Underrated, partly outstanding ballsy 1970s rock album in the Texas style, which means good production, strong vocals, and solid playing all around. Some of it is rootsy blues-rock which wins out on pure class and power, but the highlights are undoubtedly two psych-flavored epics that could easily slide onto the Garrett Lund or D R Hooker LPs; the nocturnal, moodily jazz-tinged "Mythical dream" and the even better "Joy", whose combination of soaring vocals and superbly controlled feedback licks

will have any fan of 70s private press sounds flip out. About 2/3ds of the LP is truly great, unfortunately the band starts running out of gas on a couple of less inspired and pedestrian bar-rockers. The LP is given additional appeal by realistic lyrics about relationships and fatherhood, planned and unplanned, that retain a male perspective without degenerating into macho clichs. I bet these guys were local heroes among kids cruising around Corpus, and in another time and place they would have hit the big time. Despite reservations, impressive and a must hear for 1970s rock fans, while undoubtedly too much of "classic rock" for 1960s guys. A marvy cosmic yet primitive sleeve adds bonus points. [PL]

CORVAIRS (Montreal, Canada) "Corvairs" 1964 (Olympia 106) Obscure teenbeat with frat, instros and r'n'b. This is their second LP.

COSMIC DEBRIS (Oklahoma City, OK) "Cosmic Debris" 1980 (Non Compos Mentis 3-7K) "While You're Asleep" 1983 (Non Compos Mentis 4-6K) The debut is spacey avant/prog/psych with acid guitar, moog and flute, mid-1970s sound. The followup is not nearly as adventurous. Despite the locale and similarity in name, the band had no connection to Debris. COSMIC MICHAEL (New York City, NY)

"Cosmic Michael" 1969 (Bliss no #) [paste-on cover; poster] The first LP perhaps looks greater than it sounds, but is still an appealing item for its compounded freak value. One of the least "cosmic"-sounding cosmic LPs around, with a loose urban soundcheck vibe using equal parts Vox organ, piano and crude guitar, on top of which Michael semi-improvs lyrics to a steady basement boogie beat. Not downer folk or such, but a 60s DIY r'n'r feel rare for Real People albums. Top attraction is Cosmic Michael's "Theme" which describes in third person the acid-induced transformations he's undergone: "some kind of chemical change is going on in poor Michael's brain..." set to a rockin' garage fuzz beat. Has a

female bluesy Joplin clone on one track, the extended "Mother Earth", which could have sucked but wins on rawness and realness. Unusual LP that falls between any genres you can think up; he would have made an excellent double bill with Bob Edmund. The poster is a larger version of the paste-on xeroxed front sheet. The LA album is considered inferior by most. A rare 45 featuring a track from each LP also exists. [PL]

"After A While" 1970 (Bliss) [wraparound cover slick] The followup is stoned acoustic folk psych and was done in Los Angeles. It's not as jawdropping as the debut but "Woodstock Nation" is hilarious. COSMIC SOUND OF GANDHARVA (a k a Gandharva) (CA)

"Energy" 1977 (Saddhu) "The Money Box" 1978 (Saddhu 522 516) Cosmic trance/meditation folk. "Energy" is not bad for the genre; a moody echoey soundscape and slightly eerie vibe rather than starry-eyed peace & love ramblings. Acoustic guitars, deep vocals, semiimprovised jammy songs with some crude sound experiments; imagine the Acid Symphony guys 10 years down the line. Brief spoken bit featuring a phonysounding Indian guru. "The Money Box" has one side of spoken word with background music, and one side of trancey folkpsych songs with acoustic guitars and tablas. Short playtime. [PL] COSMIC TRAVELLERS (Los Angeles, CA / Oahu, HI)

"Live At The Spring Crater" 1972 (Vulcan ct-00004) [poster; 1000p] "Live At The Spring Crater" 2002 (Dodo, Italy) [poster] -- the poster is 18"x24" and features 24 black and white live shots "Live At The Spring Crater" 2004 (CD Dodo, Italy)

Top-level guitar blowout in the form of a Hawaii live recording featuring 4 great musicians, ex-Raider Drake Levin among them. Long, intense jams on a mix of covers and originals, the total impression being a fine blend of vintage Quicksilver and Sly & the Family Stone. Essential to any fan of west coast acid rock jam bands. Great cover, and a cool poster that's included with the classy (bootleg) reissue. The band was formed for this concert while Drake Levin and Joel Christie were vacationing in Hawaii. The festival was a big deal with several bands (incl Little Feat) and an estimated crowd of 55.000. The recording and release of the LP wasn't pre-planned but happened as a consequence of the band's terrific performance. Christie was formerly with Orange Colored Sky and together with Levin plays on Lee Michaels' 6th LP, while Dale Loyola play on the Hook LP. I've been unable to document any other recordings of the superb lead guitarist Jimmy McGhee. [PL]

COUNTRY WEATHER (San Francisco, CA) "Country Weather" 1969 (no label, no #) [no cover; 1-sided; 50p] "Country Weather" 2005 (RD Records 015, Switzerland) [2LPs; booklet; bonus tracks] A much anticipated reissue of some historical importance featuring this mythical Bay Area band. Side 1 is studio recordings from a later (1971) phase in the band's career, leaning more towards rural CA early 70s rock than westcoast psych, pretty good and with brilliant sound. Side 2 is the original 1-sided demo LP from which the whole CW legend sprang, much better in sound than the old Italian "California Acid Folk" bootleg (which omits 1 track). Dominated by two extended psych/jam tracks with lots of originality and atmosphere, this remains a great 20-minute album, with a '67-68 Bay Area vibe and even a Yardbirds cover. Side 3 of the reissue is a live recording from Walnut Creek 1970 in terrific sound, which will send you back to "Happy Trails" in its jam mood and audience participation. Hits the prerequisite SF Ballroom vibe where the improvisation is organic, not some lame showoff. Couple of long jams on covers & originals. Side 4 is more from the same show(s), and continues in the same excellent acidrock style, although I personally don't go for the bass & drum solos on the closing "Wake me shake me". So: 1 OK side studio, 1 great side studio, and 1.5 good side live. All in superb sound. The historical importance of this Country Weather release shouldn't outshine its musical merits, but given the Rolls Royce pricetag I think some people should wait for a CD version (if there is one), while diehard westcoast fans will want to get the 2LP set. This is the first but hardly the final word on the band -- there's still plenty of unreleased material out there, including 3-4 tracks (such as "Confusion") that are superior to what this RD set delivers. Around the time of these recordings the band also backed up Terry Dolan on his excellent, unreleased Terry & The Pirates recordings from 1970, and Greg Douglass went on to play with several noteworthy Bay Area outfits. [PL]

COUNTS FOUR (Montreal, Canada) "Counts Four" 1965 (London eb-87) Obscure teenbeat album in goofy cover showing the members as "counts". Geared towards non-Invasion dance hits such as The Monkey, The Swim, The Watusi, and so forth. COUNTS ( ) "Introducing!" 1965 (Reliable 12048) Teen-beat and blue-eyed soul in generic-looking cover. BILLY R COUVSON (S F Bay Area, CA) "Bongo Sensational Soul" 1977 (private) Theres nothing else like this one, a mixture of bongos, vibes and Billys incoherent ranting, all bathed in deep reverb. Its not really soul, or jazz, or anything recognizable (or even classifiable as music). It is, however, a blast. Youd think that something so simple would get boring over the course of entire album, and it kind of does, yet Billy is so far out and the beat so hypnotic that it mostly works. Once in a while he starts blowing a harmonica or laughing hysterically for no obvious reason. Mostly he just sounds like hes talking to himself. If you make it through the first six songs youre rewarded with a completely different arrangement on the seventh and eighth: heavily echoed piano, about four thousand unidentifiable percussion instruments (or whatever he found in his kitchen), and something actually resembling melodies. This album is a real people classic! Billy has recently resurfaced and has recorded a number of new albums, so his madness can spread to a new generation. [AM]

COVEN (IN)

"Witchcraft" 1969 (Mercury sr-61239) [gatefold] "Witchcraft" 2003 (CD Hardrock Yankees) "Witchcraft" 2006 (CD Akarma, Italy) This is the same band who had the hit "One Tin Soldier" from the "Billy Jack" movie. They claim that

at the time of this first album they were legitimately interested in Satanism. Whether it's real or not, I defy you not to laugh at the scream of "kiss the goat" during the black mass that takes up most of side two. This isn't especially musically interesting; it's collectable because it's an oddity and for the creepy picture of a topless Jinx Dawson on the inner sleeve. An unfortunately timed Esquire magazine cover photo of Charles Manson holding the album cover in his hands assured that the label would bury it without hype. Coven did release two more albums, though neither of them are of interest to collectors. [AM]

COXON'S ARMY (Richmond, VA) "Live label "Live label From with From with Sam Miller's Exchange Cafe" 1972 (Trace) [black orange picture of Phil Coxon] Sam Miller's Exchange Cafe" 1972 (Trace) [purple no picture]

Funny bad lounge rock barband featuring a teenaged Pat Benatar. The album is taken from a soundtrack to a one hour television special produced by WCVE-TV and Sam Miller Exchange Cafe. Ten member group (nine guys and Pat) with four on horns. The purple label version was only sold at the club and only a handful are known to exist. [RM]

COYOTE (MD) "Coyote" 1973 (Chariot CH-500) Silly mid-1970s hard rock album that wastes almost seven minutes on a goof of a song called Horney Coyote and also includes an ode to a Flat Chested Woman. Even the straight hard rockers here include lyrics like I think hes a turd. This would all be well and good if the novelty songs were funnier, or if they rocked, but theyre as lame musically as they are lyrically. There are also a few throwaways (including an organ-heavy instrumental). All of the above is just side one. Its hard to imagine why anyone ever would turn the record over, but surprisingly there are some decent hard rock songs on side two. The rhythm section is solid, and the keyboardist is quite good too. The styles a bit prog/AOR, though, and the album ends with a terrible attempt at a soul ballad. Youve been warned. The album cover is pretty twisted, by the way. [AM]

COYOTE ( ) "Cast Off Your Old Tired Ethics" 1975 (Old Dog no #) Biker hardrock from bearded quintet, "Peter Gunn Theme" is an unexpected cover among the band originals. Housed in appropriate primitive cartoon cover. No relation to the Coyote on Chariot.

CRACK ( )

"Day Of Doom" 1976 (Tiger Lily tl-14048) "Day Of Doom" 2004 (CD Radioactive 083, UK) Classy mid-1970s melodic prog sounds from multiinstrumentalist duo with a completely professional, urban sound like many Tiger Lilys. Opening track is a pretty lame rootsy bar-rocker, after which it gets more adventurous. Good guitarleads throughout, prog-rock keyboard, some flutes and agreeable non-operatic vocals. Reminiscent of Thunderpussy at times, which is meant as a compliment. "Andrea" is a weird swamp-rock twilight zone excursion with burbly synth sounds, while the title track has some psych vibes. Side 1 rocks hard, while side 2 gets more introspective and spooky. Lyrics hint at Christian concerns, as also suggested by the title. The 1970s gasoline rationing is taken as a sign of the impending "day of doom". Very clearly from the post-psychedelic era, yet strong enough to be worth checking out for open-minded heads and 70s prog fans in particular. [PL] ~~~ This Tiger Lily album actually has credits, so its presumable that this really was at one point intended for a regular release. Its mainstream 70s rock and hard rock with an occasional prog edge. It has plenty of keyboards and a significant amount of flute, but also some hot lead guitar. Its nothing especially unusual or innovative, but its quite good. The playing is solid, and the arrangements are creative (dig the crazy piano playing on Early Riser and the weird synth section in Evil And Cruel.) The occasional Christian lyrics are more interesting than the usualtheres a definite sense of urgency here that works in Cracks favor. A couple of songs border on cheesy (Earth is somewhere between MOR and jazzrock), but this is a very cool mid-70s artifact. Just to prove this is, indeed, a tax scam record, the closing instrumental sounds unfinished. [AM] CRAFTSMEN (OH) "What Can We Say?" 1966 (Zap 3009) [100p] Mix of fratrock and Beach Boys covers. The cover is an oversized mailing envelope with band photo, song listings, and bio. MIKE CRAIG (AZ) "Daughter Of The Moon" 197 (MM Records)

Circa 1974 obscure private pressing in a downer folk vein with a slight hippie troubadour vibe. CRASH COFFIN (OH)

"Crash Coffin" 1974 (Mus-I-Col cc-69) [plain cover w/ label logo] This wellknown LP has a couple of great moody psych tracks with excellent vocals like "Alone together" and "God loves the loser", but also some less appealing stuff and is a rather inconsistent backwoods trip all over. "Amazon women" is a pretty funny 1950s b-movie throwback. Many sleeves come with artistic embellishments by Crash himself. Contrary to popular belief there were no "original covers" destroyed in a mythical fire, but simply a case of real sleeves being too expensive to print. A 1980s followup (Cuyahoga, 1984) is reportedly more in a hippie jugband style. [PL] ~~~ This is true oddball loner stuff. The mix of styles is unlikely to make anyone enjoy this from start to finish, but there are some great moments nevertheless. A few songs are straight ahead rock and roll, one is a completely offensive anti-feminism song (Mama, get back in the kitchen), three are goofy novelties with kazoos, a few others are cool folky psych tunes, and Alone Together is an absolute semi-heavy psych monster. Most copies of this are in hand-decorated covers, but some have a plain white cover with a Mus-I-Col label (after a while, Coffin got tired of decorating!). [AM]

CRAZY PEOPLE (Canada) "Bedlam" 1969 (Condor 2457) "Bedlam" 200 (CD Gear Fab 156) "Bedlam" 200 (Gear Fab/Comet 404, Italy) Late 60s freaky psych-rock of some notoriety, with Johnny Kitchen. The music is partly reminiscent, perhaps even overlapping, with Wildman Fischer's debut LP on Bizarre, but the story remains obscure. Shortly after this Kitchen was involved with the folk/protest-oriented Trio Of Time (Condor 2460).

CREATION OF SUNLIGHT (Long Beach, CA)

"Creation Of Sunlight" 1968 (Windi 1001) -- a Brazilian pressing from the mid-1970s exists "Creation Of Sunlight" 199 (Windi, Europe) [bootleg] "Creation Of Sunlight" 1997 (CD Mystic) "Creation Of Sunlight" 2002 (Void US) "Creation Of Sunlight" 2005 (CD Lion) Despite the reissues many are still unfamiliar with this Sunset Strip-style psych wonderama, so full of 60s summer charm you'll play it over and over. Strawberry Alarmclock's first two LPs are the obvious reference for these guys and they pull it off with equal talent and class, hardly a dull moment as "midnight travels to Mulholland Drive" are projected with swinging Hammond/guitar interplay and upbeat vocal harmonies. To me, one of the most essential 60s rarities. Original's on the same label as Merkin. They also did a non-LP 45 as Sunlight's Seven, as well as an acetate for the LP. According to the legal re on Void the band's name was actually just "Sunlight" but it will be time before this gets around; furthermore a 45 taken from the LP clearly lists the band as Creation Of Sunlight. [PL] ~~~ The perfect summer album. With harmonies to die for, colorful arrangements that highlight great organ and guitar playing, and, most of all, an album full of hit-worthy songs, this is an all-time classic. Like the similar SAC, at times the oh-so-happy sound veers towards the cheesy, but never quite pushes it too far. Instantly memorable, but also with a lot of depth. Every song is a winner. In a better world they would have been superstars. [AM] CREME SODA (Milwaukee, WI) "Tricky Zingers" 1975 (Trinity CST 11) [group pic cover] "Tricky Zingers" 1977 (Trinity CST 12) [2nd press; paste on 'titles' cover] -- this later pressing in a new sleeve has fewer tracks, removing "Numero Uno" from side 1 "Tricky Zingers" 198 (no label, Austria) [bootleg; 385#] "Tricky Zingers" 199 (Trinity, Italy) [bootleg; gold vinyl] -- several tracks on this boot reissue suffer from surface noise, there's also dropouts in the opening track "Tricky Zingers" 1993 (CD Cosmic Mind, Italy) An impressive and unfairly overlooked LP. Despite the vintage this has a strong 1966/67-sound, I'm in particular reminded of 2nd-tier Sunset Strip bands like Fenwyck or Fifo-era West Coast Pop Art. Strong folkrock/early psych songs with hooks and originality, while a lo-fi recording adds some garage ambience. Two experimental tracks with drone effects and backwards guitars are perhaps the highpoint, while a couple rootsy r'n'r numbers are a bit misplaced. Two tracks from the LP appear on Endless Journey vol 2. Member Billy Tanon made an LP in 1982 ("Free man's rainbow", Trinity). [PL] ~~~ 1975, not a year you might associate with psychedelia, overblown ELP "synth-workouts", maybe. Then up popped Creme Soda in Milwaukee. Their songs perfectly combine pop harmonies with a harder sound, every track is good. "Tonight", "Keep it Heavy" and

"Roses All Around" are moving and brilliant. "Numero Uno" features a "debate" between kind man and nasty man which makes for an interesting, menacing song. Billy Tanon was arrested for broadcasting to the world from the fifth storey ledge of a building that "Creme Soda is more than just soda pop". So you know it must be good, nearly 30 years on their efforts still stand up. The LP sports one of the best "local" sleeves, with the band looking beyond cool sitting on the sidewalk. Dig Jim Wilson's sideburns and Ron Juntunens hard-nut stare. Style wise these guys give Zerfas and Rayne a run for their money. [RI] ~~~ Despite the fact that everyone seems to like it, this great latter day psych album has yet to get its due. They could do pretty much anything, from ballads to melodic soft rock to crazed rockabilly to wasted psychedelia with Iggy-like vocals. A few songs here tread in truly untested waters. Flat production dulls the impact a little, but this a major album worthy of a high-quality reissue. This is another band that lends credence to the theory that the very best psychedelia was made in the 70s. [AM] CRISTAL WEBB (Baltimore, MD) "Misty Morning" 1973 (no label) Recently discovered obscurity with dreamy folk/folkrock.

CROMAGNON (CT) "Cromagnon" "Cromagnon" "Cromagnon" "Cromagnon" "Cromagnon" 1969 1969 199 199 199 (ESP Disk 2001) [color cover] (ESP Disk 2001) [b&w cover] (Get Back) (CD ZYZ) (CD Caliber, Holland)

An aural stew of experimental vocal sounds (tribal chanting, eerie whispering, animal-like screeching, monster sounding growls, ghostly howls, outright screaming, violent puking sounds, etc), various effects (over-dubbed sound bites played backwards, old sirens, common household sounds, manipulated electronics, field recordings) and the occasional use of a conventional instrument (spooky bagpipes, frantic rhythm guitar, scratchy fiddle) that are all meshed and held together with various forms of primitive percussion. A couple tracks have no rhythm instruments and are simply gravity defying acts of freeform music. Surprisingly, after being subjected to over 30 minutes of unintelligible voices, Cromagnon finally reap the benefits of evolution and use coherent words from the English language on the final two songs on the album. Cromagnon is ominous and experimental tribal music for the bad acid trip. An acquired taste that most will have trouble swallowing. [JSB]

CROME SYRCUS (Seattle, WA)

"The Love Cycle" 1968 (Command rs-925-sd) [gatefold] This appears to be another mainstream pop band who got caught up in the psychedelic craze, resulting in a far out album cover and a side-long epic. The soulful vocal style and slow tempos make this hardly something I expect most psych fans to like. The epic has its moments, but like all side-long tracks from so-so bands it could have put all of those moments into one solid single. Not an especially interesting album. [AM] CROSSCURRENT COMMUNITY (Toronto, Canada) "Let The Cosmos Ring!" 1970 (Avant Garde AVS 131) Interesting experiment here as Presbyterian ministry from Toronto seeks to discuss spiritual questions with people from a variety of backgrounds (including non-Christians) through the medium of music. The end result is sort of a musical equivalent of a rap session, with lyrics that reveal a search for meaning yet also express the Christian response. Dont let the word community scare you off this isnt a big massive choral production or anything. There are eleven people listed in the instrumental credits, plus another five providing the vocals. The Avant Garde label certainly lives up to its name on this release with not only rock and folk styles, but also jazz, psychedelia, and bizarre poetry readings (check out the hip The Wart Where It Was). Horns are used effectively in parts, though thankfully theyre usually playing second billing to the organ and electric guitar. Psychedelic guitar noodling intermingles with spacey washes of organ on the albums centerpiece: the thirteen-minute Genesis, an avant-garde Also Sprach Zarathustra-influenced composition structured around three cosmic spoken passages identified as Fluctuations 1, 2 and 3 (note how they work in the melodies from Jesus Loves Me and Onward Christian Soldiers). [RM]

CROSSCUT SAW (FL) "Mad, Bad, and Dangerous to Know" 197 (Surprise 0001) "Mad, Bad, and Dangerous to Know" 2005 (CD Akarma 133, Italy) Blues-rock and boogie with lots of guitar and harmonica, like the Groundhogs and Johnny Winter. The release year has been given as 1975, but looks to be a bit later from the sleeve design.

CROSSRODE (SC) "Crossrode" 1980 (Strawberry Jamm lp-801) Rural Southern hardrock with dual leads.

CRUCIBLE (Richmond, IN) "Shaggy Joe" 1971 (Earlham Crucible) "Crucible Two" 1972 (Earlham Crucible) Local coffeehouse folk various artist-assembly from the same college scene that spawned "Attention Span", "Sequoiah Stream", and the Hoi Polloi LP. Solo and band performances, some UK trad folk, etc. The second LP is the more interesting and features Charlie Bleak, one of the main guys behind Hoi Polloi. V.A "CRY 3" "Cry 3" 1975 (Clearlight cl-102) [envelope format cover] Soundtrack to a x-ian multimedia presentation with a variety of musicians participating including Mike Johnson (Exkursions). Features a couple fine spacy instrumentals with synth and covers of Stephen Stills and Cliff Richard songs. Decent but not too memorable. [RM] CRYSTAL CIRCUS (Santa Barbara, CA) "Crystal Circus" 1968 (All American test press) [no cover] "In Relation To Our Times" 199 (Akarma 134, Italy) "In Relation To Our Times" 199 (CD Akarma 134, Italy) Yet another obscure LP in the ridiculously entangled web that surrounds the All-American label. This band features Greg Mumford who sang on "Incense & Peppermints" and unsurprisingly aims for a total SAC sound on several tracks, while others move in a generic late 1960s psychrock domain. Good news is that it's pretty good; songwriting, vocal and playing all deliver and while not up to SAC levels it surpasses all the other All-American albums. Band also had an official 45 release as "Strawberry SAC". [PL]

CRYSTAL HAZE (Decatur, IL) "Crystal Haze" 1977 (no label erk-5207) [plain cover with info sheet; 100p] Guitar/keys hardrock with terrific wailing leads and weak vocals. Mostly rages but some delicate westcoast moments in there as well. [RM] CRYSTAL IMAGE (Lodi, CA) "Crystal Image" 1974 (Dream lrs-rt-6070) [insert]

"II - Rock and Roll" 1975 (Dream) "II - Rock and Roll" 2001 (CD Red Lounge Records) This is the second and most well-known of this bands three albums, all on their own Dream label. They also released 25 singles between 1968 and 1982! Crystal Image was the quintessential small town bar band. The music ranges from boogie to mild hard rock to funky rock to countrified rockabilly; they have both male and female singers, and songs are about roadies, hoping to be a star, and about desperately trying to get radio play. The feel is of a band who played covers for years and years and had enough local popularity to occasionally slip a few originals into their shows. The songwriting is so-so, and often kind of silly (lots of references to dropping drawers), and the production is crude, but the band has the kind of professionalism that comes with years and years of playing oldies. The funkified bass player is especially good, though his overenthusiastic playing doesnt always fit in that well. I cant honestly say that this is good, but it has a certain kind of nostalgic appeal (and historical value) to people like me who often went to see bands like this in the 70s and early 80s. As is often the case, the songs with the female singer are highlights; she doesnt have much style but her voice is pretty sexy. The CD contains, as bonus tracks, half of their first album, which is similar in style and quality to the second. [AM] ~~~ If you look beyond bonehead descriptions of this as "Airplane style psych" and take it for what it is, Crystal Image's second LP is a rather enjoyable showcase for a local 70s smalltown bar-band with above average aspirations. The band is supremely tight, which can't help but impress, and a couple of tracks with mixed male/female vocals and serious lyrics are quite respectworthy. Other facets to their output is more of a predictable 70s bar mentality and less enjoyable, but made passable by the performances and excellent recording. If nothing else, the LP works as a yard stick for the style, and may appeal to those who like Titus Oates and T-Kail, although this is a more humble affair. Being stuck in a Lodi isn't all bad, apparently. [PL] "Sure Feelin' Loose" 1976 (Dream) More barband guitar rock with rural edge and female vocals. V.A "CTV'S AFTER FOUR" (Canada) "CTV's After Four" 1968 (Yorkville yvm 33003) Sampler of bands who played on the TV show, including Ugly Ducklings (non-LP track), Big Town Boys, Terry Black, and others.

CYCLE (Canada)

"Cycle" 1970 (Tamarac 1003) "Cycle" 199 (Tamarac) [bootleg] Yet one more UK-influenced Canadian poppsycher, a bit later in sound than the others but still in a Swinging London mood, comparable to '68-era Small Faces, the Herd etc. Strong vocals and a tight band, though parts may be too loungey/top 40:ish. The extended "God" track has a good fuzz riff and interesting lyrics. [PL] ~~~ Canadian popsike band fall into the same boat as the Sundowners. They seem to either be a studio concoction or a band whose natural instincts were torn into several directions by their record company. So you start with a fuzz-guitar pop tune, end with a killer semi-heavy psych track called God, and in between is a bunch of soulful mainstream pop thats nowhere near as interesting. There are a few more nice guitar moments and some catchy tunes, but most of it is disposable. Somehow, it feels like the mediocre stuff is what these guys were really all about and the fuzz guitar and trippy finale are producer-inspired experiments. Horn-laden B-side of the God single seems to confirm this theory. Either way, its not a great album but if you just listen to the first and last songs and sleep through the middle youll think it is. The 45 version of God is heavily shortened. [AM] "Magic Music" 1973 (Tamarac) Obscure 2nd LP with lots of keyboard and some heavier aspirations. CYKLE (Lumberton, NC)

"Cykle" "Cykle" "Cykle" "Cykle" "Cykle"

1969 1988 1994 1997 199

(Label 59-261) [500p] (Label, Austria) [bootleg; 385p] (CD Flashback, Austria) (CD Gear Fab 106) [+7 tracks] (Gear Fab 203) [+bonus tracks]

Opinions divide on this, some think it an absolute monster while others (like me) are less impressed. Sure, there are 2-3 awesome fuzz garage tracks here,

some of which have been comp'd, but like Mystic Siva there's also a fair share of slow numbers and pop tunes that seem to go nowhere. High point is the incredible "Lesson to learn", a work of sheer garagepsych perfection, with great acid lyrics to boot. Drummer/band leader Jimmy Sossamon is about 3 times as good as any other band member, with amazing fills and grooves that contrast with the rather primitive songwriting. The "production" is unusually clear for a garage band and makes liberal use of stereo separation, which isn't always to the Cykle's advantage as it reveals the less developed aspects of their artistry and vocals. Cool cheesy sleeve. [PL] ~~~ Local teen garage album that sounds/looks more like '67 than '69, so don't let the release date scare you. Maybe the band had been going for a coupla years before finally deciding to make an LP so some of the songs might've been written as early as '67? Liberal doses of fuzz, vox organ and snotty Sky Saxon vocals in the punkpsych tracks makes for great listening. The slower tracks are moody, but don't quite match the quality of the punkers. On side two the quality drops somewhat and the ending 7:26 track gets a bit tedious, to say the least. About 50% of the LP delivers all the way and the rest is definitely weaker. All originals though, which is a plus. One of the better-sounding Gear Fab reissues. [MM]

Acid Archives Main Page

DADDY WARBUCKS ( ) "Daddy Warbucks I" 1976 (Tiger Lily) This typically obscure Tiger Lily LP has something most do not: accurate credits. Members of this band were previously in Goodthunder and would later form the melodic hard rock/AOR bands L.A. Jets and 1994. Daddy Warbucks are cut from the same cloth, but with some added prog moves (despite short songs.) This album is chock full of wonderfully used synthesizer and has its share of tricky rhythms/time signatures. It also has a bunch of catchy tunes. Check out the frantic bass playing on "Blue Eyes" or the atonal synth on "There's a time" and you can see that these guys had serious pop smarts. In fact, if it wasn't for the typically early 70s bluesy male vocals, this would be a grade-A power pop album. As it is, it's a grade-A mainstream rock album. In a similar fashion to the first two Cars albums, it shows that synthesizers need not be used only to make "synthesizer music," but can be beautifully integrated into a rock band as lead and rhythm instruments. It's a bit mainstream for psych fans, but if Crack and Steve Drake can be highly sought after by collectors, it stands to reason that this equally (maybe more?) rare album should be too. Note: A song from the Goodthunder album is remade here with a new title and new lyrics. In usual hilarious tax scam fashion, the back cover lists a song that's not on the album and the total time is a scant 21 minutes and 53 seconds, not a second of which is wasted. [AM]

DAILY FLASH (Seattle, WA) "I Flash Daily" 1984 (Psycho 32, UK) "I Flash Daily" 199 (CD Flash 60, Italy) [bootleg; +2 tracks] The only album release from a historically significant and occasionally brilliant folkrock/psych outfit that travelled up and down the west coast in 1966-67. Contains their 45 tracks, a couple of unreleased studio tracks, and two stunning live numbers on side 2 including the ahead-of-its-time acidrock magnum opus "Cantaloupe Island". A must for any fan of early psych. A recent CD boot titled "SF Odds & Ends" contains more tracks from this Seattle concert. [PL]

DAISY CHAIN (CA)

"Straight Or Lame" 1967 (United International lpm-13001) [mono cover, mono record] "Straight Or Lame" 1967 (United International lpm-13001) [mono cover, stereo record] "Straight Or Lame" 200 (CD Sundazed 6200) [mono mix] Somewhat legendary all-girl lyte-psych/top 40 album; its status perhaps due more to its unique nature than the perceived quality. The sound is typical So Cal sunshine product with harmony vocals, cheesy organ and occasional brass, reminiscent of Birmingham Sunday in parts. At best it approaches vintage Strawberry Alarmclock in its mix of easy listening and dreamy psych; the track "Zzotto" is an excellent example of this. The LP has some weaker moments of fake soul and bouncy pop but enough winners (I counted four) to be worth checking out for pretty much anyone. Reportedly 500 covers were made. All covers say "mono", but mono discs are considerably rarer. The stereo discs are binaural 'fake stereo' and rather badly done. [PL] ~~~ This is one of the holy grails of femme psych, terribly rare and with a fantastic sleeve design. About half of the album is quite trippy, with great use of swirling organ and just a bit of garagy sloppiness. The other half is commercial pop, with occasional horns. The mainstream songs are pretty good, though clearly this album would have been more fun if all of it was in the style of "Zzotto" and "Love Them All." Not the masterpiece insane collectors of female psych would hope for, but a worthwhile album with a few killer songs. [AM] DA KINGFISH BAND ( ) "Tennessee Feelin'" 1975 (JJ Sound Records) A four piece band (keyboards, guitar, bass & drums) unleash a strange concoction of countrified rock. RAY DALAN (Canada) "For Mature People" 1974 (Sky) Acoustic, introspective folk.

DALLAS (TX) "Casualty of Love" 1979 (Shimmer Bros. 97-15) Nice acidic folk with originals and Byrds and Neil

Young covers.

KAREN DALTON (NY) "It's So Hard to Tell" 1969 (Capitol ST-271) Unique, magical downer folk album that stands stranded in time (sounds like it could have been recorded in 1948, or 1998.) On these starkly recorded folk songs, Dalton sounds just like Billie Holiday, with the same power and resonance. She wasn't a writer, which is probably why she's a cult figure and not a household name. Even so, her singing style and obvious conviction makes this a completely coherent listening experience. Two of the songs are by her pal, Fred Neil, and his sad lyric about watching hotel lights blinking on and off is a perfect encapsulation of the feel of this album. The CD contains extended liner notes about her mostly unhappy life; all of it makes perfect sense when you hear the music. This is quickly approaching labelmates like Gandalf and Euphoria in collectability value, and in many ways is a better album. [AM] "In My Own Time" 1972 (Just Sunshine/Paramount pas-6008) Dalton's second album was a disappointment to fans of the first. It lacks the same coherence and conviction of the Capitol LP, and the more rock-oriented arrangements don't suit her particularly well. Even so, she still has a voice like nobody else in the genre and this is intermittently fascinating. [AM]

DON DALY (TX) "Matilda" 1971 (Matilda's Child 710 820) Busker folk with 2-chord songs and loud vocals. Acoustic guitar, bongos. "Sodomy With a Carrot" is a memorable title.

DAMASCUS ROAD ( ) "Damascus Road" 1973 (Icthus) Acoustic rural rock with some heavy garagy moments.

DAMASCUS ROAD (GA) "I Am The Light" 1982 (Damascus grp-1105) [500p] No sugar on this cool custom Skynyrd-type hard rock ripper from Georgia trio. If you like zippy loud slide guitar youll not be disappointed as they pound

through titles like Outer Darkness and Hell. Good production, no keyboards, an occasional flash of Byrdsy guitar. Southern rock saw a handful of releases on Christian labels; unfortunately most just werent quite there or blew it by tossing in token fluffola ballads - but these guys are the real McCoy. [KS]

DAMIN EIH, A.L.K & BROTHER CLARK (Minneapolis, MN) "Never Mind" 1973 (Demelot 7310) [orange/white back cover; lyric insert; 500p] "Never Mind" 199 (Demelot) [bootleg; thin cover with b&W back] "Never Mind" 2003 (Orange Double Dome) [300#d] One of those elaborate Midwestern headtrips that will send you into an aural space you didn't even know existed, like CA Quintet or side 1 of Yezda Urfa. The longer suites are particularly impressive, while the shorter tunes less so. A unique mix of multilayered acoustic guitars, treated vocals and extensive use of cymbals creates a piercing yet enjoyable high frequency soundscape that demands your attention, while some moog and fuzz bass round out the bottom. Someone spent a lot of money on this one and I would deem it largely successful, with parts that are truly spellbinding, even though the "message" remains obscure. Pretentious and rather Euro-proggish in its sensibility, yet playful and exotic enough to appeal to more adventurous psych fans. The band's ridiculously unwieldy moniker and the lack of a high profile reissue keeps this one buried. [PL] ~~~ One of a kind album from a truly warped, unique sensibility. It's a tough to describe mix of acoustic guitars, pop melodies, folk, prog, and just plain weirdness. Often brilliant (i.e. the truly classic "Thundermice") but just as often impenetrable. Those who "get it" seem to instantly place this in their personal all-time top tens. I can't say I'm one of those privileged ones, but on every listen I do discover something new and enjoy bits and pieces of it. The album is constructed to feel like one continuous whole rather than a collection of songs, which actually makes it harder to enjoy-other than "Thundermice" the individual songs don't really distinguish themselves. It reminds me of the better Gong albums, where you wade through a couple of minutes of forgettable jamming, and hit a great 20 seconds or so, thinking "wow... if they just developed that into a complete song rather than noodling around so much this would be an amazing record." The problem, though, is that they really don't have enough focus or fully-formed ideas to do so even if they wanted to, and my instinct is that Eih (whoever he really is) has the same problem. The good moments make you want to forgive the dull spots, thinking they're over your head, but I suspect they're just Eih rambling rather than Eih in the midst of inspiration. Of course, those chosen few who "get it" would certainly say I'm wrong about this. [AM]

DAMON (CA)

"Song Of A Gypsy" back] "Song Of A Gypsy" "Song Of A Gypsy" "Song Of A Gypsy" "Song Of A Gypsy" "Song Of A Gypsy" "Song Of A Gypsy" bonus EP; insert] "Song Of A Gypsy"

1969 (Ankh 968) [textured gatefold, blank 1969 1993 1994 1994 1998 2000 (Ankh 968) [single sleeve] (Fanny, Belgium) [single sleeve; 400#d] (CD no label) (CD Afterglow 13, UK) (CD Daily Bread) (3 Little Indians, Germany) [gatefold;

2004 (Guerssen, Spain) [gatefold; bonus EP]

One of the classics of the field, not without detractors but a great and special experience in my ears. Sometimes described as folk or folkpsych it is in fact tranced out gypsy Arabian acid fuzz crooner psych with deep mysterious vocals, an amazing soundscape and excellent songwriting. The tracks may at first seem too similar, and several plays are suggested before making your call. Unique, though Darius is a distant relative. The inner gatefold design was used for the single sleeve front and back. Of the reissues, most are vinyl-sourced bootlegs; the Daily Bread CD was done by Damon himself from taoes, and the Guerssen album is legit. He had several 45s including one great non-LP 45 track, and a surprisingly good comeback album in 1999 with sound and vibe close to 1969 LP, recommended to any Damon fan ("Gypsy Eyes", CD Daily Bread). [PL] ~~~ Mystic eastern sound fuzz psych with prominent rhythms and haunting vocals. You can dance to the beast! Hipster crooning vocals in Darius territory put to mystical lyrics which, for the most part, are about sex. Surgical fuzz leads and trippy effects throughout. One of the few eastern trippers with a backbeat. Similar to the British monster, Sam Gopal. The single sleeve version is somewhat more common. The front and back cover match the insides of the gatefold design.[RM] ~~~ Eastern/gypsy inspired psych with lots of finger cymbals, fuzz guitar and sincere crooner vocals. All the songs are in the same key though, and almost the same pace as well. Individually almost every song sounds like a winner, but it doesn't really work as an album for me as it quite frankly gets downright boring with the lack of variety. [MM] ~~~ see -> Atlee, Highway Robbery ~~~

see full-length review

DAMON (ND)

"Feeling Alone" 197 (Witherspoon 30522) This Damon was a DJ in North Dakota who was kind enough to record his deep thoughts for posterity in the early 70s. The record is a strange mix of hip spoken word and loner folk. The music is mostly acoustic and deeply personal with lost soul lyrics. A couple of tracks have fuzz guitar as well. [RM] DANIEL (IN) "Phoenix" 1978 (no label) "Phoenix" 2002 (CD World In Sound, Germany) [+2 tracks] Obscure 1970s singles bar macho rock LP by pompous classically trained cellist who recorded this en route to Hollywood, where he proceeded to make softcore movies. Much of this borders on unlistenable, the soulful "Debra" and a nightmarish calypso track in particular. Interest in this is based on two extraordinary psychish tracks where all his confused ambitions unexpectedy fall into place these must be heard. He's a good cello player, too bad he wanted to be a rock star. Recorded in AZ and NY. [PL] DANNY & LYNDA see First Revelation D'ARCY (Canada) "Back At The Beginning" 1972 (Polydor/Absolu 33001) Canadian obscurity in a nice color sleeve, poppy soft rock and CSN-type folkrock. DARIUS (Cleveland, OH / Los Angeles, CA) "Darius" "Darius" "Darius" "Darius" "Darius" 1968 1986 199 2000 2000 (Chartmaker 1102) (Breeder 565, Austria) (CD Flashback 009, UK) (World In Sound 010, Germany) [500p; +3 tracks] (CD World In Sound 1001, Germany) [+3 tracks]

A desert island LP for some guys I know and a splendid time for just about everyone else, this emotional LA folkrock/psych/r'n'b blowout rips throughout with ten strong tracks. Heavy macho postures mix with transcendental folk-psych and you can tell by the sleeve photo this guy already was a star in his own head. Unfortunately few agreed back then. Uncredited backing by session pros also in label-mates Goldenrod. The unreleased material that appeared in 2002 ("Darius II", World In Sound 11) was more in a soul/nightclub direction, with a few good tracks. Some copies of the LP came with a bio insert. There was also a non-LP 45. [PL] ~~~ Darius sounds something like Tommy James with a messiah complex. These are basically pop songs, but

they're great ones, and more importantly are chock full of drama and elaborate arrangements. He easily could have crossed the line to parody, but he holds it all together, and the results are powerful and compelling. A great one. [AM] DARK SHADOWS see Cold Sun

DARKSTAR (Toronto, Canada) "Into The Heartland" 1978 (Ariel) This hardrock/AOR trio had a series of subsequent LPs, but this debut LP is the one collectors seek and reportedly has a less mainstream sound with some psych and prog moves. There is another unrelated Darkstar from Canada, who cut a selftitled AOR LP in the early 1980s. DAVID (Los Angeles, CA) "Another Day, Another Lifetime" exists as mono promo] "Another Day, Another Lifetime" "Another Day, Another Lifetime" "Another Day, Another Lifetime" "Another Day, Another Lifetime" "Another Day, Another Lifetime" 1968 (VMC v-124) [mono; also 1968 1993 1995 2001 2005 (VMC vs-124) [stereo] (CD Eva b-34, France) (CD Flashback, UK) (CD Jamie/Guyden) (VMC/Scorpio)

If you can handle some lavish L A easy listening type horn and string arrangements then this LP is well worth checking out. Uplifting flowerpsych sounds with great production value and strong songwriting that's often compared to Strawberry Alarmclock. They had some good 45s as well. [PL] ~~~ Even with the horrible remix of the 2001 CD reissue (it was mixed by someone who'd never even heard the original LP), the brilliance of this album shines through. It's gotten plenty of praise elsewhere, all of which is deserved. To put it simply, these guys had not only a genuis ear for melody, but were able to perfectly match the right experiment to the right song. There are more ideas here than on ten other albums. Even all of the horns and strings work. Practially a how-to of American popsike. [AM] DAVID (Canada) "David" 1969(Sound Canada) "David" 2000(CD Gear Fab 163) "David" 2000(Gear Fab/Comet, Italy) Obscure Canadian late 60s top 40/psych LP with female vocals and a fairly professional sound. An even mix of UK & US influences, the worst part being a "Hey Jude" cover while a couple of Neighb'rhood Childr'n/Birmingham Sunday-style gems can be found on side 2. Listenable. [PL]

~~~ see -> Bridge MOSSY DAVIDSON (Alaska) "North Wind Calling" 1977 (Northwoods MD 101) [2 LPs] Mellow rural femme hippie folk LP with Alaskan themes, samey in sound but highly rated by some genre fans. Acoustic guitar, flute, piano, steel guitar. JEFF DAVIS (TX) "Dear Jeff" 1977 (Tap 0030) Mostly acoustic Christian folk on Houston label, originals all through, some use of female harmonies and environmental sounds. DAVY & THE BADMEN (Lawrenceville, NJ)

"Wanted!" 1963 (Gothic wa-63054) Primitive instro rock covers leaning into garage r&b, one of the earliest eastcoast LPs in this direction, from prep kids at Lawrenceville School. ~~~ see -> Toads

TIM DAWE (San Diego, CA) "Penrod" 1969 (Straight STS-1058) [wlp exists] "Penrod" 2004 (CD Radioactive 0095, UK) I had a great time listening to this album, even though it's not necessarily an outstanding piece in my ears. It's a bit of a paradox, with a terrific, lively sound thanks in no small part to arranger/producer Jerry Yester, and no matter where it goes it grabs your attention. However, it does go in two or three directions too many, and while almost every track sounds either good or great on its own, there is a weakening at the centre which begs the question exactly what Tim Dawe (who is not the same person as Jerry Penrod) was trying to do. There are moves into goofy Kingston Trio folkpop, raga psychedelia (the great "Sometimes alone"), UKinfluenced artrock and, on more than one occasion, schlocky showbiz balladry with Neil Diamond overtones. This LP may have been intended as an eclectic, egocentric Tim Buckley type showpiece for Straight, but to me sounds more like Rex Holman on a $20.000 budget. Of course, Rex Holman is great and

"Penrod" is undeniably entertaining, but I'd say that at least half its greatness lies in the excellent studio embellishments it was awarded, which holds together an album that threatens to dissipate into directionless zeitgeist. Special mention must be made of Chris Kebeck's brilliant guitar leads; possibly a more famous player under pseudonym. The LP was assigned a Warner Bros catalog # (WS 1841), but this appears never to have come out. Dawe released two obscure LPs in 1976 and 1978. [PL] ~~~ This is a rarity: a singer/songwriter album that's "rock" and not "folk." Often Dawe strives for a dark, grungy feel, most successfully on the album's centerpiece "Junkie John". Elsewhere some clever organ and guitar arrangements give the songs solid rock strength. Side one is great straight through, in my opinion as good as any obscurity in the genre. Side two isn't bad, but not quite at the same level. Highly recommended, especially to fans of weird singer-songwriter characters (i.e. the Rex Holmans, Bill Jerpes and John Brahenys of the world.) [AM] DAWSON (KY) "Can You Feel It" 1975 (Bridges) Side one is mainstream 70s AOR-style rock at its best: great tunes, nicely constructed arrangements that build in intensity, solid harmonies, melodic lead guitar. The title track would have been a huge hit if on a major label. A bit of silly talkbox guitar goes by harmlessly at the end of the side, and there's a brief backwards bit on side two that confirms their willingness to experiment a bit. The lyrics on side two, though, cover every lame 70s cliche. Respectively: horny rocker, hardworking (and horny) roadie, hardworking rocker whose life was saved by rock and roll, and prog geek mythological fantasy. The music on this side is reasonably good, especially the Sweet-like chorus of the roadie song and most of the prog song, but overall it's nowhere near the level of side one. Still, half of a great album. Cool album cover with shiny metallic silver (similar to the gold on the Cambridge album cover, and like the Cambridge album this is extremely prone to ring wear). [AM] JOHN DAY (NC) "John Day" 197 (no label 4123N12) Pastoral folkrock with full band including congas, mellotron, steel guitar, harmonica, housed in nice appropriate artwork. DAY BLINDNESS (San Francisco, CA) "Day Blindness" 1969 (Studio 10 101) [promo; plain cover; insert] -- promotional copies were issued in a plain white cover with

business card attached and an insert promoting the label's acts "Day Blindness" 1969 (Studio 10 101) "Day Blindness" 198 (Studio 10) [bootleg] "Day Blindness" 1997 (CD Flash, UK) "Day Blindness" 2005 (Studio 10/Scorpio) Unexciting teen psych-rock with an obvious Doors influence similar to those many 1969-70 Canadian LPs. Parts are so lame that it sounds almost like a Doors parody album, the deadpan sub-Lizard King vocals in particular. Lead guitarist has a nice garage fuzz sound but doesn't show much creativity, despite plenty of "jams" with equally cool-sounding and equally clueless Vox organ guy. "Heavy" lyrics about "squares" add entertainment / embarrassment factor. Songwriting doesn't account for much, and while they do achieve a nice cheese epic doom vibe on the last track, Ultimate Spinach did these dumb teen dope sounds much better. [PL] DAYBREAK (Pearl River, NY) "Daybreak" 1971 (RPC az-97731) [400p] Obscure LP with two raw basement psych winners, also a "Down By The River" cover, a Steppenwolf medley, and more. Haven't heard the whole LP, but those two originals seem to be the highpoints. DAYBREAK (Richmond Hill, NY) "A Celebration Of The Individual" 1974 (Dome 51374) [two posters; lyric insert] This high school project album is typically amateurish rock, folk, soul and even jazz, with the drummer and lead guitarist both being way overenthusiastic and the many lead singers (both male and female) ranging from terrible to adequate to charming. Give them credit for trying awfully hard. The gospel-styled chorus that backs the guy on Proclamation 1 steals the show from him. Loneliness moves from stark folk into a pseudo jazz/flamenco guitar solo that must be heard to be believed. Black Child Speaks To God has a flute-sax duel thats equally entertaining. There are so many styles here that if werent for the consistent sloppiness, out of tune guitars and piano, and absurd fast guitar runs, it would sound like a various artists album. Some of the lyrics are funny, but I cant tell if its intentional or not. One of the singers sounds awfully old for a high school kid; I wonder if the music teacher is responsible for the terrible piano-and-voice ballad I Strive To Make You Happy. These high school records have a certain perverse charm, and since this is one of the very few not to have any cover versions, its probably a good one with which to satisfy your curiosity. [AM] D-DRIFTERS 5 (Canada)

"Sing And Play Beatles Songs" 1965 (V-Records 3025) Beatles songs plus a couple of other Invasion numbers sung in Ukranian by a Canadian band. Lord knows why. Label is the same that had Neil Young's legendary 45 with the Squires. MICHAEL DEACON (Omaha, NE) "Runnin' In The Meadow" 1975 (Mustard Seed S80-1008) "When You Know It's Home" 1977 (Mustard Seed S80-1512) Folky singer/songwriter obscurities. HARRY DEAL & THE GALAXIES (Charlotte, NC) "I Feel Good All Over" 1966 (Lotus 6-7116) Mostly frat circuit soul rock, covers "My Girl", "Midnight Hour". Similar sound to Jack Bedient and the Chessmen but with a beach beat influence. Two cover variations exist, one red and one black. [RM] "United" 1968 (Eclipse) All originals this time straddling the frat and garage beat sounds. Harry Deal later ran his own studio, which recorded the May Street Tops among others.

DEAN BROTHERS (NY) "As They Are" 1976 (Pilgrim DB1002) This is a private press, but has a professional sound and easily could be mistaken for a major label singer songwriter album. The obvious influence is Elton John, though there Are a few country-influenced songs that give away their rural roots. About half of the album is quite good, with some nice acoustic ballads and a terrific long song about wanting to live on Mars. Not a killer album by any means, but enjoyable for genre fans and a nice semi-rarity you can still pick up cheap. [AM] DEBRIS (Chickasha, OK) "Static Disposal" 1976 (Pig 0000) "Static Disposal" 1999 (CD Anopheles 004) [+10 tracks] "Static Disposal" 1999 (Anopheles 006) [1000p; +1 track] Freaky yet accessible mid-70s psych/avant-punk crossover album from a most unlikely spot on the map; talent, originality and good clean fun present

throughout. I'm not too hip on this era & style but enjoyed it just the same. The band has no relation to fellow Okies Cosmic Debris. [PL] ~~~ Great '76 proto-punk private press, kinda similar to Cleveland scene of the same time. Basement trippy and freaky with obvious Beefhart and Stooges influences, it also includes a more unexpected Hawkwind vibe due to the quite massive use of electronic sound fx, echos, tape loops and such, to a great druggy effect. Not really your typical psych LP but definitely rewarding after a few spins, especially if you're into early Pere Ubu, Electric Eels and such. Maybe experimental, but never arty, this is a great LP. When you wake up in your living room at 04.00 in the morning, totally confused because someone obviously spiked your cough syrup with acid, this might be the perfect soundtrack. [MM]

DECADENCE (Chicago, IL) "Savagery and Grace" 1980 (Daystar dslp-8001) [1000p; bonus 45; booklet] Basement hard guitar progressive with female vocal. Only 500 of the 1000 copies came with the bonus 45 and booklet. The band had a couple of 45s also, one under the earlier name Doublecross, and released a second LP "Je Ne Sais Quoi" in 1982. CD reissues supposedly exist, but we have no details. DECEMBER'S CHILDREN (Cleveland, OH) "December's Children" 1969 (Mainstream s-6128) [wlp exists] Another interesting Mainstream release. Like many of the albums on the label, this has both male and female vocals, and a mix of Airplane-light psychedelia and heavier bluesy rock. The guitar playing throughout is creative. The album starts slowly but improves as it goes along, closing with what are probably the two strongest songs. Nothing phenomenal, but worthy of investigation. [AM] THE DEEP (New York City, NY)

"Psychedelic "Psychedelic "Psychedelic "Psychedelic "Psychedelic "Psychedelic

Moods" Moods" Moods" Moods" Moods" Moods"

1966 1966 1989 1993 199 2004

(Cameo Parkway p-7051) [mono] (Cameo Parkway sp-7051) [stereo] (Cicadelic) [remix] (CD Collectables 0521) [remix] (Thorns, Europe) [remix] (CD Radioactive 074, UK)

"Psychedelic Moods" 2004 (Radioactive 071, UK) Something of a psych head's dream, this LP dates from August 1966 when conceptual acid albums was still uncharted territory. Consequently Rusty Evans and his NYC ex-folkie pals managed to create an LP that sounds fresh and unique even 40 years on. The 12 tracks are essentially a series of musical trip reports covering the whole emotional spectrum from chaos and euphoria to introspection and melancholy with an intense, challenging atmosphere. The three tracks that have been comp'd give you an idea of the LP's full lysergic madness. Due to the bad remix originals used to be mandatory for this one, but finally the original trip became available via the exact Radioactive bootleg. Stereo copies are preferrable in my opinion, although the mono is enjoyable too, with a garage edge.An original Canadian pressing with Quality labels exists. Collectables' "Psychedelic Moods" series (vol 2-5) has some session outtakes and an interview with Rusty; vol 2 is an excellent garage psych sampler featuring Hydro Pyro which was a Deep-related project. [PL] ~~~ This groundbreaking album is widely misunderstood. It may have originally been intended as an exploitation record, but all these years later it sounds like the best NUGGETS-era garage album ever. Rusty Evans' songs are great, spanning snotty garage, melodic pop and thoughtful experimentation. Regardless of the reason, he sure was inspired when making this album, and while maybe the purposely awkward phrasing on "Psychedelic Moon" comes off as a gag, it's a fascinating one. Beyond that, it's hard to find any fault with killer songs like "Turned On," "Trip #76," "It's All A Part Of Me" and "On Off Off On." While the Shadows of Knight and Blues Magoos and everyone else were packing their albums with filler, here's a 1966 record full of creative, diverse originals. This is the kind of great record that could only have happened before the genre had any established "rules." Evans' creativity shines bright. [AM] ~~~ Killer LP from '66 ranging from punk psych, folk psych to true madness, it sounds like a missing link between the beatnik/prankster era and full on psychedelia. Just one year later this album would probably have been impossible to release on a major label - I don't think the A&R's at Cameo had a clue to what this was about at all! Titles like "Trip #76", "Turned On", "Color Dreams" and "Crystal Nite" should give a hint. It may look like an exploitation album, but it's much more than that. The songwriting is inspired and the recording/instrumentation is full of spontaniety and variation. It sounds like they had a blast recording this album. Lots of it actually sounds like it was recorded in early mornings, after nights of tripping, and it's full of all sortsa sound fx in the mix! The stereo mix is widely panned and reveals some mad soundscapes - one of the more successful examples of early stereo. The mono mix on the other hand has more punch in the bottom end, and sounds more "garagey" over all. Some songs are totally different in mono and stereo. [MM] ~~~ see -> Freak Scene; "Fifth Pipe Dream"; Marcus

DEERFIELD (Houston, TX)

"Nil Desperandum" 1971 (Flat Rock frs-1) [envelope; letter] "Nil Desperandum" 199 (Flat Rock) [bootleg] "Nil Desperandum" 2000 (CD Gear Fab 148) This is a solid LP. It's somewhere between acoustic west coast rock and late-period Beatles (esp George Harrison). The songwriting is strong and reasonably ambitious, including a well-realized Kak-like suite on part of side two. The album has a fresh, summery feel to it. Originals (pressed on thick vinyl, in thick covers) come with a clever insert, an envelope that has some of the song lyrics written into letter form. The bass player of this band was in 1960s Austin band Bryan's Blokes, whose members would occasionally fill in for absent 13th Floor Elevators members on live gigs. [AM] "Live" 199 (Flat Rock) [#d] 1972 live recordings in Houston with four songs not on the LP.

JAMIE DEFRATES (Jacksonville, FL) "Pegasus in Flight" 1976 (Sweet Appaloosa jd-123) [3000p] The first Defrates album is just guitar and voice, but quite accomplished singer-songwriter fare, with the opening Illinois Central being the highlight. The tone is serious throughout and the songs are relatively long, so after a while fuller arrangements would have been welcome, but this is a solid album in the style. Just dont expect acid folk". Defrates acoustic guitar playing is excellent throughout. One song has a repeated lyric about Fruit of the mother and semen spray that paints a pretty vivid picture, for better or worse. Defrates has been active in the Florida music scene for many years and has won numerous awards for composition (he has done scores and soundtracks, in addition to his own career as a singer/songwriter. He also has a number of impressive credits as a producer. He has several further recordings that fall outside of the scope of this book, but will be of interest to fans of these two albums. [AM] "Son of Dust" 1978 (Sweet Appaloosa jd-333) [3000p; gatefold]

The second Defrates album is a much more elaborate production, something that could be characterized as progressive folk. There are synthesizers, a solid rhythm section, flutes, and the guitars are laced with effects. The opening Ride is a stunner, with soaring falsetto vocals and a powerful arrangement. There are a couple of short instrumental interludes, and overall this has the feel of a loose concept album. As with the previous album, the lyrics are personal and evocative (and occasionally religious.) As the album moves along there are some songs with sparser arrangements, and while it continues at the same level of quality as the first album, it doesnt again match the same level of musical passion and complexity of Ride. Nonetheless, this is quite worthwhile. [AM] DEL-PHONICS ( ) "Del-Phonics" 196 (Edgewood Recordings Studio no #) [1sided] Recently discovered circa 1966 one-sided demo LP from Edgewood Studios in Washington DC, featuring an unknown teenbeat/garage band with organ. Five tracks including an excellent Zombies-style original and an inspired frat/medley called "Farmer Louie". Cover is plain except for the band name. DEMIAN (TX/CA) "Demian" 1971 (ABC 718) [gatefold; wlp exists] -- a Japanese pressing exists with a different cover "Demian" 199 (CD TRC, Germany) This album ranks up there with Jericho; it's a wholly successful transformation from psychedelia to hard rock. The obvious hard rock tendencies they showed as Bubble Puppy are tightened and sharpened, and the group harmony vocals are dropped. There's an unnecessary remake of a Bubble Puppy song, but there's not much else to quibble about. There are enough tempo and rhythm variations to keep the formula from getting dull. [AM]

DEMIAN (East Moline, IL) "Rock Star Farm" 1974 (Starburst arc-33-01) [insert] A non-Texas group that recorded their LP in Austin, also into heavy guitar rock. [RM] DENNIS THE FOX (WA) "Mother Trucker" 1975 (Musart 801) Priceless loungerock extravaganza like if Jade Stone & Luv had John Ylvisaker on vocals. Lengthy review is

being prepared. DESERT ESKIMO ( ) "Desert Eskimo" 1982 (North Star) California label. Aggressive 70s sound power trio, good LP. BOB DESPER (Portland, OR)

"New Sounds" 1974 (Rose City Sound) The Pacific Northwest is a dark, dank place, with a suicide rate higher than Keith Richards on a four day binge. Even their most articulate native son, Kurt Cobain, drowned in the sea of despair and offed himself. And what's the cause of this environmental depression??? It may be the constant grey skies and rain, it may be the extremely high runaway and homeless rate or it just may very well be the music of Bob Desper. Bob recorded his "New Sounds" LP in one take at the local Rose City Sound studios. Just him, his acoustic guitar and an amazing insight to the dark side of the human psyche. So dark in fact, that only a blind man can see it. Bob is that man, and on this LP he taps into a place that very few people have visited. His voice is quiet with an edge sharper than a Ginzu knife. His lyrics reflect a lonely man who recognizes the shortcomings of human kind. This LP gives me goosebumps each and every time I play it. Side one starts off with "Darkness Is Like A Shadow". A spooky, echoey tune where Bob introduces a topic that becomes a re-occurring theme throughout the entire LP, the fact that people with eyesight are blind to the things that are truly important in life. "It's Too Late" and "Lonely Man" follow and continue the introspective soul search, all accompanied by Bob's extraordinary guitar playing. The fourth and last cut on side one is "To A Friend Of Mine". This is where I usually start thinking about going into the bathroom and slitting my wrist with a razor blade just to prove to Bob that I could begin to understand what true suffering is. This 15+ minute journey is, in my opinion, the most flawless chunk of downer/loner folk music ever recorded. Side two is good, but pales in comparison to it's flip side. Songs are "Let It Shine For You", "Don't You Cry For Me", "Liberty" and "Time Is Almost Over". [RH]

DETROIT (Detroit, MI) "Detroit" 1979 (no label) This youthful hard rock album isn't great but has its

charms. Among them are high energy songs (all but the ballads are fast), amusing use of talkbox and electronics, and spastic bass and lead guitar playing. Certainly there's more enthusiasm than talent here, but it's fun nonetheless. The snotty vocals are clearly inspired by another Motown hard rocker, Alice Cooper, but lack his sense of theater and irony. Eventually they become annoying, especially on the otherwise enjoyable ballads. Side one has five medium length songs, side two three long songs, including the two ballads, which respectively have nice reverbed lead guitar and crazy dual leads. Often this album is reported as having a lot of synthesizer, but actually it's only a small amount on two songs. [AM]

EDDY DETROIT (Phoenix, AZ) "Immortal God's" 1982 (Pan) "Immortal God's" 2005 (CD Majora) Real-people two-chord voodoo folk craziness of some notoriety, with nasal vocals, percussion, fiddle and more. The songs deal with Vampires, Beelzebub, the god Pazuzo, and Mephisto Cigars. The cover shows a horseback Eddy holding his own head in his hand. He released more albums during the 1980s, such as "Philosopher's Journey" (1987).

DEVIL'S ANVIL (New York City, NY) "Hard Rock From The Middle [mono] "Hard Rock From The Middle [stereo] "Hard Rock From The Middle "Hard Rock From The Middle Collectables) [2-on-1] East" 1967 (Columbia cl-2664) East" 1967 (Columbia cl-9464) East" 199 (Fantazia, Europe) East / Psychedelic Psoul" 199 (CD

Early Middle-Eastern trip from Columbia's NYC office (just like Freak Scene, from around the same time). This mixes reasonably authentic ethnic sounds with "rock" moves, and is less exploitative and more genuine than one might expect. A couple of mid-tempo Arabian excursions get truly trancey, while the ballads suffer from over-length and foreign language vocals. The mix of prominent bass and piercing string instruments is familiar from the Freak Scene album, and like that LP this is a partly successful exploration that should have been given more thought and time. Worth checking out, though clearly inferior to John Berberian on Verve. [PL]

see full-length review

DIALOGUE (Philadelphia, PA) "Dialogue" 1972 (no label dm-68425) [orange cover; lyric insert] "Dialogue" 1974 (Cold Studio) [white cover; lyric insert; no

address on back cover] "Dialogue" 1974 (Cold Studio) [white cover; lyric insert; address on back cover] Obscure, pretty impressive local studio-pop LP in the early 1970s post-Beatles style; songwriting as good as any major act, solid vocal harmonies, charming California Sunshine pop arrangements with extensive use of keyboards. One really bad track, rest of the LP is enjoyable to anyone with an ear for a clever McCartney/Boettcher/Emitt Rhodes excursion; comparisons to Left Banke have also been made. Although the original "no label" pressing is supposedly rarer, most copies sold seem to be that version. Recorded in Alabama. There was also a non-LP 45. [PL] ~~~ Peculiar 1970s pop album that is a product of its time but really doesnt sound like anything else. In other hands these songs would have a quasi-McCartney feel but theres a dreamy, dark aura that would never have made it on 70s radio. Takes a while to sink in; the songs are thoughtful and moody but not especially catchy. Wall of sound may have more to do with low budget production than intent. One goofy song with fake childrens vocals spoils the mood, but this is an interesting record nevertheless. [AM]

DICK WATSON 5 (NJ)

"Baker Street" 1966 (United Int'l 1001) Haven't heard the entire LP which is very rare, however a pretty interesting folk-garage track has appeared on a comp where the group was mistakenly placed in Kentucky. They also had a 45 and were supposedly regulars at a local Jersey TV show. The LP is based on a Sherlock Holmes theme. The LP title has also been listed as "The World Of Dick Watson". After seeing the Fugs play live in NYC, two members left this band and started ESP legends the Godz. [PL] LES DIFFERENTS (Chambly, Canada)

"Differents" 1967 (Disque Monde 65001) "Soyons Differents" 2005 (CD Disques Mrite 22.962) The seldom seen Les Differents LP is usually rated as one of the best French-Canadian 60s LPs, and it's easy to see why. The band shows a Stones-inspired "punk" edge on most tracks, with several uptempo garage/r'n'b originals using fuzz riffs and a snotty attitude. The opening 3-chord snot-fest of "Je ne veux plus" sets the tone perfectly. The mid-tempo tracks work well too, although the language barrier may be more noticable for non-French speakers here, at least on the 6-minute "Je partirai". Good, soulful vocals and effective, minimalist guitar band arrangements give the music a timeless quality which impresses. The super-cool sleeve provides the final clue -- these guys were the Chocolate Watchband of Quebec. The CD reissue contains the whole LP with the running order changed. [PL] DIMENSIONS (Chicago, IL)

"From All Dimensions" 1966 (no label 1666) "From All Dimensions" 1983 (Eva 12018, France) [altered cover] "From All Dimensions" 1999 (CD Collectables) Celebrated Chicago frat-garage LP that's also one of the real rarities of the local mid-1960s LP scene. For those who find the North-East preprock LPs too lowkey this is the remedy - a solid party mood similar to the Raider's best albums with some Stones thrown in. The tape splice in "Mary Lou" derives from the original LP, apparently. A solid dose of mid-60s fun, all covers naturally. [PL] DIMITROFF, BURGESS & FRIENDS (Canada) "Dimitroff, Burgess & Friends" 1970 (no label) Basement covers and a freakout track.

V.A "DIRECT FROM THE RAINBOW BALLROOM" (Edmonton, Canada)

"Direct From The Rainbow Ballroom" 196 (Pace Records RS-101) Obscure teenbeat LP featuring local Edmonton groups circa 1967, produced by one Ray Schwartz. Bands include the Lords, It's Us Inc, Southbound Freeway. DIRT ROAD (AZ) "A Sunny Days Dream" 1977 (Compassion Records) Local obscurity on Phoenix label, described as good 70s psych-rock with only one weak track. V.A "DIRTY FEET" (CA) "Dirty Feet" 1965 (Fink 1007) [booklet] Soundtrack to an underground surf film. The music is primarily folk, however, with singers Tim Morgon, Vicki Arthur, and some eastern style instro wanderings as well. Phil Pearlman of Beat Of The Earth was involved with the crew behind this, but does not appear on the actual LP, which was released on the same label as his first 45.

DIRTY JOHN'S HOT DOG STAND (MA) "Return From The Dead" 1970 (Flying Dutchman/Amsterdam AMS 12004) [gatefold] Heavy fuzz rock, some horns. "Growing old" is the psychiest track. Due to a pressing flaw many copies are virtually unplayable on side 2. Ex-Ill Wind. DISCIPLE ( )

"Come and See Us As We Are!" 1971 (Avco Embassy ave-33015) Fun co-ed rock band who for once dont sound west coast at all. The cover versions on the album are the first clue that theyre more into the Beatles and Motown than the Airplane, and the power-pop styled shouts of hey and punky guitar riffs confirm that these are not necessarily hippies. The dreamy, catchy title song shows up in a few incarnations (once backwards) and frames the album nicely. A few duds are scattered about, and the soul cover doesnt work really well, but an upbeat energetic take on Got To Get You Into My Life will grow on you and two or three of their own tunes will stick in your head for days. An underrated album, probably ignored by collectors because of the lame drawing on the album cover and the lack of freak appeal. [AM] DIXIE DREGS (GA) "The Great Spectacular Dixie Dregs" 1975 (no label) [500p] This one is more of a wild, garagy raveup than their later, more commercial releases.

DIXIE PEACH (Dayton, OH) "Dixie Peach" 1975 (Raintree SP-827) Allman Brothers influenced rockers with searing dual leads. Despite the name the band came from Ohio and had roots in 1960s garage band the Pictorian Skiffuls. V.A "D M A FANTASTIC FIVE" (Detroit, MI) "D M A Fantastic Five" 1976 (DMA) Booking sampler of five heavy rock groups, including Badge. [RM] MICHAEL DOBBINS (ID)

"Music For The Seeker" 197 (no label) Amazingly pompous acoustic folk with overblown Ceasar's Palace-style vocals. The guy presents his Eastern (Eckankar) philosohopy in the most

uncompromising manner, with several references to the "Sugmad" whatever that is. Not really a "seeker" hippie LP, more like Charlton Heston narrating the Rig-Veda. I like this, though it's certainly not for everyone. Custom press in generic sleeve. [PL] ~~~ Lost monotonic religous seeker folk with sincere crooning in Dino Valenti / Arcesia territory. Unfortunately, the music is uniformly boring aside from the mystic trip "Two Keys". [RM]

DOC ROCKIT (Spokane, WA) "Doc Rockit" 1979 (P.S. ps-0002) [750p; two covers exist] Raging hardrock with superb metallic guitar. The band had another LP in the late 1980s, titled "Azugi" which is more mainstream hardrock. 450 copies had the silver cover, while 300 copies had the white cover.

DOCTOR FEELGOOD (MA) "Something to Take up Time" 1971 (Number One) "Something to Take up Time" 2005 (CD Synton, Austria) Jazzy rock. Heavy saxophone, guitar, flute. No relation to Piano Red's group. Three members came from Teddy & the Pandas. [RM] DOHTERS (NY) "Dohters" 197 (no label MSTRS-1) [no cover] Female choral group from upstate New York female prep school. Sing around the campfire real people quality duets of Byrds, Cat Stevens, Neil Young and more. They are accompanied by either piano or acoustic guitar. The highlight is their haunting cover of "Wooden Ships" with a very spooky organ. This would fit well on a future Hippie Goddesses compilation (and will). I would call this the most garage sounding female high school/college folk group LP Ive heard. Two known copies; neither with a cover. [MA] "Dohters '70" 1970 (RPC AZ 60871) [no cover] 1] This one features more contemporary covers ("Coming Into L.A", "Morning Dew", "Helplessly Hoping", "White Bird"). Straighter choral versions with acoustic guitar accompaniment. Still charming, but lacks the real people edge of the other LP. Again no cover. This only known copy came in a blank textured gold cover with Dohters 70" hand written on it; not sure if this was done by whoever did the pressing or the owner of the copy (there is a girls name in the upper corner - could be one of the group - the lettering is much different than on the title). [MA]

DO IT NOW FOUNDATION (Los Angeles, CA / Tempe, AZ) "First Vibration" 1969 (Do It Now) Amphetamine-themed antidrug LP with songs donated to the organization. Includes "The Dancer" by Things To Come, the non-LP "Long Road" by (the LA) Genesis, and famous bands up to and including the Beatles. This is all music, no spoken word. Two cover variations exist; one with a big "Speed Kills" logo. The organization went on to release more LPs, tons of pamphlets, and is still around today. "Do It Now - A Realistic Drug Education Album" 1972 (Do It Now) [2 LPs; blank gatefold w/ sticker; insert] Educational production in radio show format partly based on the mass market release above, including several of the same songs such as the excellent nonLP Genesis track. The commentary is pretty cool too. It's not one of those fire & brimstone anti-drug records, but rather an attempt to relate on a cool level to their intended school-age audience. The insert contains all the vital info. There is also a single LP mass market release called "Do It Now" from the same era featuring again some of the same songs, plus Neil Diamond and others. This should not be confused with the rare 2LP set. [MA] JEREMEY DORMOUSE see Jeremy Dormouse (under "J")

DOUG & DONNA ( ) "Abide In Me" 197 (DD-1001) Mid-1970s Christian folk obscurity.

DOUGLAS FIR ( ) "Hard Heartsingin'" 1970 (Quad qus-5002) [wlp exists] "Hard Heartsingin'" 2000 (CD Gear Fab 149) "Hard Heartsingin'" 2000 (Akarma, Italy) Recorded in Portland, Oregon. Mystic folkrock and bluesy, roots sounds. A bit Doorsy at times with the moody vocal and organ backing.

"DOWN A DIFFERENT ROAD" (Long Beach, CA) "Down A Different Road" 197 (Living Sound) Early 1970s project LP with one side choral work from the Long Beach State A Capella Choir, the other freaky vocal and electronic experiments with an eerie

vibe. Rated as one of the more worthwhile school project LPs by some.

DOWN FROM NOTHING (Chicago, IL) "Down From Nothing" 1971 (no label 23309-01) Jazzy prog/psych with sax. ~~~ see -> Pound

DRAGONFLY (CO/CA) "Dragonfly" 1970 (Megaphone 1202) [gatefold] -- a gold title sticker was attached to the shrink wrap "Dragonfly" 1992 (CD Eva b-27, France) "Dragonfly" 2004 (CD Gear Fab 208) Well-loved heavy psych album is worthy of the hype, for the most part. No one song stands out and blows you away, but its solid throughout, and the occasional trippy effect adds to the fun. It includes a Who ripoff even more obvious than that on the Morgen album, but stealing from the classics is what hard rock is all about, right? [AM] ~~~ "Dragonfly" offered up an excellent set of fuzz guitar-propelled psych/hard rock. Strong melodies and searing vocals made original material such as 'Blue Monday', 'Enjoy Yourself' and 'I Feel It' well worth hearing. Personal favorites were the fuzz and backward guitar drenched 'Crazy Woman' and the extended closing number 'Miles Away'. The set wasn't perfect; several numbers on the flip side found the band occasionally incorporating C&W elements into the mix, but overall the collection was nothing short than great. [SB] DRAGONWYCK (Cleveland, OH) "Dragonwyck" (1st "Dragonwyck" (1st reversed] "Dragonwyck" (1st "Dragonwyck" 2004 tracks; poster] "Dragonwyck" 2004 LP) 1970 (Pama no #) [85p: no cover] LP) 1990 (Rockadelic 4) [400 #d; sides LP) 1996 (CD Rockadelic) (World In Sound RFR 023, Germany) [+10" w/ 5 (CD World In Sound 023, Germany) [+5 tracks]

Demo only LP of intense Doorsy hard psych/rock that's become somewhat legendary over the years. The LP retains some of the appealing cheesiness of the style, yet is charged with enough presence and fire to transform itself into a winner before your eyes, with recurring feedback leads its strongest asset. One of the best of all the countless "Morrison Hotel" excursions around. The wide appeal and small press has made it one of Rockadelic's more famous releases, although their CD version has poor sound and is not recommended. The tape-sourced WIS reissue reinstates the original running order and adds 5 tracks from a

1968 studio session which yielded the band's pre-LP 45 (released as by Sunrise), but the 1970 material seems to lose a bit of the trebly garage intensity of the Rockadelic LP. The band was also known as Speed, Flying Turns and Fun at various stages in their career. There was another 45, "The music" on the Peckar label, and a later one "Lovin' The Boys" as part of the "Fun" project. [PL] "Dragonwyck" [acetate] "Dragonwyck" "Chapter II" "Chapter II" (2nd LP) 1973 (Cleveland Recording Company no #) (2nd LP) 1995 (Fantasia, Europe) 2006 (CD World In Sound, Germany) 2006 (World In Sound, Germany) [+ 7"]

Pretentious proggy album that works surprisingly well. Professional recording job and relatively mainstream arrangements makes it sound like they could have easily gotten a major label contract. Grows on you and has plenty of cool moog action. Their songwriting and performance instincts are good. Albums like this usually have lots of highs and lots of lows; there are very few dull spots here. [AM] "Fun" 1976 (acetate) Contrary to popular belief, the band name was still Dragonwyck at the time of this acetate, while "Fun" was the project name and album working title. The band did adopt the name Fun later on. After the impressive prog-rock of their 2nd album, this shows the band retaining some of the prog aspects while bringing in AOR and glam elements, as well as a humorous Zappa-inspired twist, which undermines the impact of the music. The end result is confused and confusing, and it seems this ambitious band were unsure of their direction at this point. The recording quality is clearly inferior to the prolevel sound of the 1973 acetate. Even at this late stage, the late 60s "Music" track was still part of their repertoire. The band eventually became Moonlight Drive, a Doors cover band with at least one release. The "Fun" acetate copy I've heard had some skips. [PL]

STEVE DRAKE BAND (Long Island, NY) "Cold Sweat" 1976 (Odyssey) "Nature Intended" 1976 (Tiger Lily tl-14054) Unbelievable "karaoke rock" with Long Island wizard dubbing his own vocals onto existing, official recordings by various obscure and famous rock/hardrock bands, mostly from UK import albums. The story behind this is unbelievable, and since "Drake" had good taste when selecting his karaoke targets, the records are quite enjoyable too. "Cold Sweat" has the excellent "Earthworm" (Stackridge) as well as Bebop Deluxe and Orpheus numbers, to name a few. Apart from the "karaoke" concept, several tracks have been fiddled with in terms of speed, edits, fadeouts, etc. The Tiger Lily album has some Babe

Ruth tracks along with more Bebop Deluxe, and it appears that Drake (or whoever put it out) here didn't even bother to dub on new vocals, but simply taped the tracks from the original sources. Pretty enjoyable collections of 1970s rock even without the bizarre background, but bear in mind what you're listening to before getting too impressed with Drake's "talent". ~~~ see -> Steve Kaczorowski DRAMA (Canada) "Loneliness" 1979 (Psycho) This synth record straddles the line between 70s Kraftwerk-styled experimentation and 80s new wave synth pop. Side two is entirely instrumental. Both sides are pretty good, with some compelling moods and catchy riffs. Mysterious album cover gives no information of any consequence at all. Ex-VIIth Temple. [AM]

DREAM (MI) "Living in a Dream" 1979 (Dreamusic Ltd. 5354) [lyrics insert; 300p] Light mystic proggy folk floater. Delicate 12-string, piano, flute, baroque shadings. DREAMIES (DE)

"Auralgraphic Entertainment" [insert] "Auralgraphic Entertainment" [bootleg; blue vinyl] "Auralgraphic Entertainment" "Auralgraphic Entertainment"

1974 (Stone Theatre 68481) 199 (Stone Theatre, Europe) 2000 (Gear Fab gf-206) 2000 (CD Gear Fab gf-146)

Headphone tripout concept LP with two extended Lennonesque folk tracks upon which has been imposed all kinds of electronics, tape loops of old radio broadcasts (JFK, Ali, and more), moogs and stereo effects. Elaborate sorta stoned college artefact, interesting for its freak value and pretty clever; could be seen as an analog precursor to the ambient artists of the 1990s. [PL] ~~~ This experiment was intended to redefine people's notions of "pop music." Bill Holt, just past the age

of 30, quit his job and devoted an entire year of his life to this ambitious musical collage, which at more than 50 minutes is alternately fascinating and tedious. There's no question that even the most random-sounding bits and pieces here were planned very carefully and put together painstakingly. There are only three real "songs," which are surrounded by and interrupted by spoken news clips and sound effects. The lack of drums dulls the impact of these songs, which are otherwise excellent Beatles-inspired soft-rock. Headphones help; this is not background music and for full effect each album side needs to be listened to without interruption. The long series of Moog bleeps and blips on side two can be really hypnotic if you're in the right frame of mind. Like Kraftwerk, Holt had an understanding of how repetition can be used to alter your concept of what music is. Fans of the Church of the Subgenius should love it. This is one of those albums that you won't listen to often but will really experience in a new way every time you do. Its success is arguable, but its uniqueness is unquestionable. [AM]

JOHN DRENDALL, B A THROWER & FRIENDS (MI)

"Papa Never Let Me Sing The Blues" 1972 (Deacon no #) [500p] This is an extremely accomplished private press album. They play acoustic and electric blues-rock, psych/funk jams, snappy acoustic folk, honky-tonk, and moody near space-rock, all with great success. The guitar playing is excellent, the vocals worldweary and evocative, and the arrangements clever (listen to the way the organ swoops in and out of Old Man Gibbs, for instance). A solid album, very worthy of reissue. [AM] ~~~ see -> Thrower Spillane McFarland DRNWYN (Salem, OH) "Gypsies In The Mist" 1978 (Wilderland 31778) [insert; 800p] Ambitious but rather disappointing hippie folkrock LP, has an appealing garage sound like Gandalf The Grey, but vocals suck in the bad 1970s street troubador melodrama style, and the basic vibe is that of overreaching without the necessary real people charm. Some neat arrangements and guitar leads, fairly consistent but unlikely to be anyone's favorite LP. Sounds more NYC/Village than Ohio. [PL] D R S & FRIENDS (WI)

"From Me to You" 1977 (Safari sa-77001) Eastern sounds hippie folk with sitar, tabla, dounbek, woodwinds. Long flowing tracks. D.R.S. was led by Dennis R. Schultz. "DRUGS: INSIGHTS & ILLUSIONS" ( ) "Drugs: Insights & Illusions" 1971 (Scholastic Records FS 12010) One of the more entertaining spoken word drug education LPs, with several hilarious segments such as "Reaching Out To A Glue Sniffer". Heads, doctors and judges speak out on the terrible drug menace sweeping across the nation. A corresponding book exists. DRUIDS OF STONEHENDGE (NY/LA) "Creation" "Creation" "Creation" "Creation" 1968 1968 199 199 (UNI 3004) [mono] (UNI 73004) [stereo] [promo labels exist] (UNI) [bootleg] (CD Synton, Europe)

The originals on this album are terrific, mixing garage-punk, folk-rock and some raga rock with punky Jagger-influenced vocals in a powerful Ugly Ducklings, Shadows Of Knight, Chocolate Watchband, etc, fashion. Earthless is an especially effective blend of the above-mentioned styles. Unfortunately the album contains four familiar cover versions that, while they allow the singer to really belt it out, interrupt the flow of the album. Even so, this is one of the best albums in the late garage style, and highly recommended to fans of the bands mentioned above, and also bands like the Jellybean Bandits and Lollipop Shoppe. Also released in Canada, both mono and stereo. [AM] DRYEWATER (CA) "Southpaw" 1974 (JTB 122) [1000p] "Southpaw" 1974 (JTB 122) [no cover] "Southpaw" 1996 (Void 04) [lyrics insert; photo; 350#d] There are many evocations of cold, bleak landscapes in this 1974 rural rock LP that is a cut above the rest and reveals something new with every listen. The playing is frantic and wonderfully emotive, in parts it is utterly brilliant. The band mash together drums

and guitars in a dense soundscape with alternately delicate and strident vocals flowing over the surface. Winterground starts a strong downer theme that runs through the whole LP. They sound like Hickory Wind grown up, grown wiser, after having taken some hard knocks. They have transformed a back porch sound into something much bleaker and darker. The first side is full of powerful hard rock riffs with subtle country influences. The second is slower and more reflective. They have a unique sound that I would guess is borne out of rural small town ambitions to make it big. Its a formula for success because they avoid the clichs of normal rock and tell us something about their own lives worth hearing. [RI] ~~~ Appealing local hardrock in the melodic style, mixing CA roots/rural influences a la Zini with a tight British mainstream hardrock sound like Fuzzy Duck and vintage Deep Purple. Very skillful band with fluent fuzz and good use of keyboard, but Dryewater's strongest asset lie in the vocals which are way above average, full of soulful teenage smalltown dreams not unlike similar LPs like Felt and Top Drawer in particular. Good songwriting with hooks and riffs; borders on UK prog bombast at a few turns but comes out unscathed. Recommended to pretty much anyone into local early 70s rock sounds. Fewer covers than records were pressed, and many copies were destroyed by the band when they failed to sell out. [PL] ~~~ "Southpaw" is a highly professional sounding hard rock album: tight rhythm section, solid heavy guitar playing, excellent backing vocals, strong lead vocals. There are echoes of well-known bands, including Cream and Led Zeppelin, but the pieces come together in a way that makes it more than just a genre piece. The songwriting is varied and clever. The trebly guitar patterns, poppy choruses, brief song lengths and speedy tempos show that theyre not beholden to any idea of what hard rock should or shouldnt be. Keyboards are used sparingly, but to nice effect, and theres a refreshing limit to the soloing here. Satisfying throughout, with the possible exception of Thunder, which has pretentious vocals, and constant and annoying phased lead guitar runs. Like great albums should, it ends with its most powerful song. A great one. [AM] DRY ICE (MA) "Marys Meth Dream" 2005 (American Sound) [300p] This archival release collects everything this lost Boston-area band ever did. There wasnt really enough to fill a whole LP, so there are three versions of one song, two versions of two others, and a few uninteresting cover versions. Scrap the filler, though, and this would make a very nice side of an LP. The overall sound is very British, akin to some of the better popsike bands of the era. Fans of Kaliedoscope, July, etc... should like this quite a bit. Lots of sound effects, wah wah, fuzz, spacy vocals, and phasing here. The thrice-included Mary Is Alone is a real killer, and the other originals arent too far behind. Some of the best tracks

appeared earlier on the New England Teen Scene Unreleased CD from Arf Arf. [AM] DRYWATER ( ) "Backbone of the Nation" 1973 (R.P.C.) [lyric sheet] Primitive crude inept garage rock with a solid 70s sound. Highlights are "Airplane Rider" and the title track. Though not everyone rates this highly, it is exactly the sound a lot of private press fans crave, and is a personal favorite. Somewhat reminiscient of the excellent JC & The B's LP. [Mike Krafcik] DU-CATS (Port-Aux-Basques, Canada) "Du-Cats" 1965 (RCA pc-1018) [mono] Teenbeat with instros and several Stones covers from band looking square in crewcuts and plaid jackets. DUCK (NY) "Duck #1" 1968 (no label) [500p] Three tracks, two are spoken word beatnik poetry with jazzy background music, one is a good blues jam. One of those "Why does this exist? What were they thinking?" specimens. Credited to "Jerry & Mike". [RM] THE DUO ( ) "The Duo" 1967 (Saxon) [10-inch] Primitive electric folk rock guitar and organ, mixed vocals. They are actually a trio! RICHIE DUVALL & DOG TRUCK (CA) "Richie Duvall and Dog Truck" 197 (United Sound usr-5825) Early 1970s (?) hippie jazz and rock underground oddness. DYNAMICS ( ) "Dynamics" 1966 (Quintet 2004) Obscure beat/blue-eyed soul on North Carolina label.

Acid Archives Main Page

EARLYWINE (CA) "The Long Journey Home" 1977 (Award) Rural rock guitar jams. EARTHEN VESSEL (Lansing, MI)

"Hard Rock" 1972 (NRS 2587-slp) -- the label lists the title as 'Life Everlasting' "Hard Rock" 1999 (CD Gear Fab 127) "Hard Rock" 1999 (Akarma 098, Italy) [insert] Its hard to figure why this album is so sought after by collectors. Its inept Christian rock with unappealing, soulless vocals and a rhythm section that cant keep time. The only thing it has going for it is the over the top lead guitar, which is really, really heavy. Maybe guitar fans can tune out everything else and focus on the fuzz, because I cant imagine any other way to enjoy this mess. A 45 with a pic sleeve also exists featuring two cuts from the album. [AM] ~~~ see -> U.S. Apple Corps EARTHEN VESSEL (Lafayette, CA) "'72 Tour LP" 1972 (Century 40970) "Earthen Vessel" 1973 (Century 41978) X-ian hippie folk with mixed vocals. Back cover of the debut LP has photos of them in monks robes. No relation to the "Hard Rock" group. EARTH FREE (NY) "Conjerti, Morreale & Dibley" 1972 (Sundance no #) Recently discovered Christian hippie 1970s folkrock LP with a nice, loose vibe. Sound is typical for the

style, rooted in a melodic CSNY sensibility, recalling Stills' melancholic moves in particular. I also catch an Eastcoasty "Big Pink" vibe here and there. Opening track is deceptively soft and poppy, after which the LP gradually increases its depth, ending up with some truly great numbers that rate alongside the best of the genre. Overall this is less SF jammy than Wilson McKinley or Last Call Of Shiloh, yet it clearly has a more personal, earthy vibe than things such as Harvest Flight or Chenaniah. Vocals are not remarkable but fit the overall reflective mood well, while the band plays loose (sometimes very loose) and laidback, with a bass unusually high in the mix for added groove. Comparisons made to Kansas City Jammers are useful, if you imagine this LP as the dark mirror image of the upbeat KCJ. There was also a 45 from the band. [PL] ~~~ This obscure folkie private press seems to have escaped notice for thirty years or so. The reason is probably that it took that long for psych dealers to get desperate enough to discover mainstream westcoast acoustic folk and folk-rock with lousy singing. This album has a few long, solo acoustic pieces, and some slightly more ambitious rural folk-rock tunes. The solo songs border on the tedious, but have some emotional depth to them. The full-band songs, by relying on harmonies, actually expose the bands weaknesses more. The dit dit dit backing vocals on I Lost My Love are beyond absurd. A few songs have a powerful sadness to them, and the weak singing actually contributes to it, as with Neil young's shaky voice. This album definitely has its fans, but I can't recommend it. [AM] EARTHRISE (NJ) "Earthrise" 1977 (Arcedem) Progressive trio. Dynamic synths, solid drumming, effects. Nice complex jazzy quality and the few vocal interludes are suitably soaring. Excellent LP. Press size has been reported as 400 copies. [RM] EASTER ISLAND (Louisville, KY) "Easter Island" 1979 (Baal 999) ['gold eye' cover] "Easter Island" 1979 (Baal 999) ['silver eye' cover] "Easter Island" 1997 (Void vlp-05) [altered cover; lyric inner; photo; 350#d] Complex heavy progressive rock like Yes. Mellotron, organ, guitar. A total of 300 records were pressed. Early demo copies came in the 'gold eye' cover. EASTFIELD MEADOWS ( ) "Eastfield Meadows" 1968 (VMC 133) The predominant sound is harmony-rich country-rock ala Gram Parsons era Byrds. "Travelin' Salesman" and

"Cowboy Song" actually sound a little like something Michael Nesmith might have penned for The Monkees. Less typical, "Only Girl" and "Silent Noght" sport more of a rock/psych-oriented sound, while "Young Love" sounds like a Buffalo Springfield effort and the ballad "Helpless Is a Feeling" recalls The Association. [SB] V.A "EAST SIDE REVUE" (Los Angeles, CA) "East Side Revue, vol 1" 1969 (Rampart) [splash vinyl] "East Side Revue, vol 2" 1969 (Rampart) [splash vinyl; poster] "East Side Revue" 1969 (Rampart 3303, 2LPs) [2LPs] Mostly East LA Chicano bands on these classic comps. First volume is mainly pre-Invasion r'n'b, and includes Cannibal & Headhunters, Premiers, Ronnie & Pomona Casuals, Ambertones, Romancers, and others. The second volume is more garage/teenbeat incl Thee Midniters, the Premiers fuzz classic "Get On This Plane", Romancers, Ambertones, Sunday Funnies, East Side Kids and more. V.A "EAST VILLAGE OTHER" (New York City, NY) "East Village Other" 1966 (ESP 1034) "East Village Other" 199 (CD ESP-Disk 1034) "East Village Other" 199 (Get Back, Italy) Aural montage with music and spoken word tracks dubbed over a broadcast of Luci Johnson's (the president's daughter) wedding. With Fugs, Velvet Underground, Ginsberg, Warhol. [RM] EASY CHAIR (Seattle, WA) "Easy Chair" 1968 (Vanco 1004) [1-sided; photo; handbill] Hallowed 1-sided westcoast LP with Jeff Simmons (Mothers of Invention); mature post-flower power psych sounds that are every bit as good as the legend would have you believe. Opens with 9-minute epic psychrocker that sounds quite a bit like D R Hooker, then a shorter track with dual fuzz/wah-wah raga interplay, and finally another extended moody tripout. Comparable to Bob Smith and Wizards From Kansas as a transition piece from the great ballroom 60s sound into the equally great epic early 70s big ego-psych style of D R Hooker, Garrett Lund, etc. Strong, understated vocals and some of the best use of piano around gives a 1970s flavor, while the guitars and overall feel is moody 60s acidelia. Recorded as early as April 1968. Each copy came with one of four different promo photos. Press size reports differ. In a combination of status, rarity and quality this is probably the heaviest title out there that has never been reissued. Lord knows why.

[PL] EASY STEAM (Duluth, MN) "To Be Alive" 1976 (Conglomerated) [red or blue peacock cover; lyric insert; photo] "To Be Alive" 1976 (Conglomerated) [paste-on or blank cover] Rather dull melodic jazzy progressive. A total of 600 records were pressed, but the silk screen machine used for the cover design (alternately done in red or blue) broke before all covers were completed. The rest came in a paste-on cover approximating the silk screened original, or were sold without the cover at all. STEVE EATON (Boise, ID) "Hey Mr. Dreamer" 1974 (Capitol ST-11245) "Steve Eaton" 1979 (Mountain Bluebird SE 46753) Eaton was previously in the horn band Fat Chance and wrote songs that were covered by better known artists (including Art Garfunkel and Glen Campbell). His solo LPs are in a folk/country singer-songwriter vein, and the Capitol album is every bit as hard to find as the privately pressed second album. He continues to perform and has several subsequent releases. EBBANFLO (Kent, WA) "Spectre Of Paradise" 1980 (Harmonic Tremor Records) Though this co-ed folk duo's album was released in 1980, the back cover lists dates next to each song, and those dates range from 1969 to 1979. There's no way of knowing if the dates refer to the year the songs were written or the year they were recorded, but the sparse arrangements (acoustic guitar, some congas, some flute) and unfettered production certainly don't scream out "1980." They also have a very 70s hippie aura to them. The album is heartfelt and energetic, but there's nothing to separate it from a hundred other albums of its type, and it really could have used some kind of edge (and the flute, which I find annoying, isn't that edge.) The title track is by far the highlight of the album, a jazzy folk-rock tune that has the albums only drum track, and is the only song with a remotely dark mood to it. Susan Smith's vocals are quite nice. Overall, this is well-meaning but not distinctive, only recommended if you're truly in love with the style. [AM] ECHOES AND A DREAM ( )

"Echoes and a Dream" 1973 (no label) 1970s folk/psych. ECLIPSE (IN) "Eclipse" 1983 (Sweetwood 1010) Biker power trio. ECLIPSE (MA) "Eclipse" 1983 (Third Avenue) [1000p] Heavy guitar rock. BOB EDMUND (New York City, NY)

"I See No Colors" 1970 (Rabo) [500p] Bob is backed by the organ-led group Byrth. Rhythmic folk aggression. Dylanesque vocal, churchy organ, jangle strumming, and a strong anti-war component. A good record with the vocals and rhythmic organ playing being the highlights. [RM] EDSELS ( ) "At Last" 1965 (no label co-1761) Garage/teen-beat. 808 RIDGE (Allegheny, PA) "808 Ridge" 1969 (Gateway aip-1119) "'71" 1971 (CH Records 01195) Garagy folk psychy school project recorded in a local coffeehouse by students of the Community College of Allegheny County. The debut is rated as one of the

best in the "genre" by some, with several strong tracks. Their second album is more into hippie commune backporch folk rock. ELDERBERRY JAK (WV) "Long Overdue" 1970 (Electric Fox ef-lp-555) "Eldeberry Jak" 1977 (Forrest) "Long Overdue" 2002 (Comet/Gear Fab, Italy) "Long Overdue" 2002 (CD Gear Fab) This band was the early 70s pride of West Virginia, that rare rock band in backporch country heaven. They position themselves as something of a band of all trades, as if their status as the areas only ace rock band compelled them to master every possible rock style in order to attract wider audiences. So, this album includes stark acoustic ballads, organheavy hard rock with occasional Led Zeppelin-inspired vocals, breezy westcoast folk-rock with CSN-style harmonies, etc. They can sure play and do each of these types of music very well, but its a bit brainless and faceless, making this a solid but not exceptional album. My pick hit is Mr. Sun, which combines a bunch of styles: folk-rock, straight-out rock, ballad, guitar pop. For some reason, the tax scam company Album World bootlegged this album (they probably mastered it from vinyl) and released it on the fake Forrest Records label about seven years later with informative liner notes. This re-release spelled the bands name wrong (Eldeberry Jak), presumably so that the band wouldnt instantly find out about it? [AM] ELDERS (OH) "Looking For the Answer" 1971 (Audio Fidelity) Christian flower psych, soul and bluesy moves. Also released in Italy and Israel. Formerly garage band Jerry & the Others who appear on the WONE compilation. ELECTRAS (St. Paul's School, Concord, NH) "Electras" 1962 (Electra elt-201) Instro guitar raveups and surf covers. No relation to the Minnesota group. A custom pressing by RCA. This band featured 2004 presidential candidate John Kerry on bass! ELECTRIC TOILET (Memphis, TN) "In "In "In "In "In The The The The The Hands Hands Hands Hands Hands Of Of Of Of Of Karma" Karma" Karma" Karma" Karma" 1968 1983 1996 200 200 (Nasco 9004) (Psycho 8, UK) (CD Golden Classics) (Akarma, Italy) (CD Akarma, Italy)

Mixed bag with four OK songs and two killers. "Within Your State Of Mind" is a long brooding psych number with fantastic swirling organ, an absolute classic. The almost gospel-like "Goodbye My Darling" is great too despite the last three minutes of it being basically the same thing over and over. They're from the south, and though "Mississippi Hippy" laments their location, the lesser songs here are in a rural rock/bar band style that doesn't seem unlikely at all. [AM] ELECTROMAGNETS (Austin, TX) "Electromagnets" 1000p] "Electromagnets" 3000p] "Electromagnets" "Electromagnets" 1975 (E.C.M. sd-1001) [green front cover; 1975 (E.C.M. sd-1001) [red front cover; 199 (CD, Italy) [bootleg] 1998 (CD, Rhino) [+2 tracks]

Jazzy guitar rock with Eric Johnson. Heavier than most bands of this ilk, with a strong Return to Forever influence. ~~~ see -> American Peddlers; Mariani THE ELECTRONIC HOLE see Beat Of The Earth ELEPHANT PATCH (NC) "Elephant Patch" 1979 (JTO) Unusual-sounding LP with female vocals. ELIZABETH (Philadelphia, PA)

"Elizabeth" "Elizabeth" "Elizabeth" "Elizabeth"

1968 199 2001 2001

(Vanguard 6501) [gold label] (no label, Holland) [bootleg] (CD Akarma/Vanguard 6501, Italy) (Akarma/Vanguard 6501, Italy)

Enjoyable trip through East Coast psych reminiscent of the 2nd Fallen Angels LP, not quite as outstanding with a couple of weak cuts, but mostly classy songwriting and execution; get this if you dig the melodic-neurotic NY/PA psych sound at all. Still unknown to many. Great psychy collage sleeve. Also released in Germany and Canada. [PL] ~~~ Strong major label effort which ranges from folkpsych to heavier stuff. Nice mix of styles, surprising feedback on one song, good songwriting. If it were a private press it would be worth a bundle. One of many interesting acts on Vanguard in the late

60s/early 70s. Has been reissued but originals aren't very hard to find. [AM] PETER ELIZALDE (CA) "Winter Playground Mystery" 1982 (no label) Elizalde is to Todd Rundgren what the Leopards are to the Kinks: an absolute dead-on soundalike of the artist's classic period, and with songwriting more interesting and inspired than the artist's thencurrent work. Unlike, say, the Rutles, there's no hint of parody. It's either a heartfelt tribute or an unbelievable natural resemblance in both voice and songwriting style. Mostly this album is pretty mellow, eschewing Rundgren's hard rock and electronic leanings in favor of songs that would sound at home on side one of "Something/Anything" or on "Hermit Of Mink Hollow." There are two exceptions, though: "Passion Play," an unpleasantly spiteful fast song that sounds completely musically and vocally different from the rest of the album, and the 7minute "Day Dreamer," which has an exciting synthesizer/heavy lead guitar duel that brings the album to a memorable close. A couple of songs in the middle of the album are so-so, but at least half of this album is excellent. Anti-80s collector types will like the old-fashioned production style. Fool your friends: play the album's best song, "Winter Reflexions," to them and tell them it's a lost 1972 Todd demo. It's more convincing than the stuff on side one of Rundgren's "Faithful." By the way, either this album has a vague lyrical concept to it or Elizalde just loves to write about winter. [AM] ELLIE POP (Detroit, MI) "Ellie Pop" 1968 (Mainstream s-6115) Simply said, Ellie Pop's self-titled 1968 album stands as a lost mid-'60s pop classic. Whoever these guys were, they definitely had a thing for Anglo-pop, tracks such as "Some Time Ago" and "Caught In the Rain" literally dripping Beatles influences. To many folks that's probably the kiss of death. Normally they'd be right, but not in this case. Exemplified by material such as "Seven North Frederick", "Seems I've Changed" and "Watcha Gonna Do" (love the "yeah, yeah, yeahs"), the Dunns avoided the usual clichs, turning in a wonderful set that was catchy and commercial, but retained an innovative edge that made ever selection worth hearing. One word of warning; while the set's occasionally been billed as psychedelic, in spite of isolated distorted guitars and a few oddball time signatures, to our ears it's simply too mainstream to be considered anything other than pop. [SB] ~~~ This album doesnt get as much attention as most of the Mainstream releases because its a straight postBeatles pop album lacking the heavy, psychedelic, and folk-rock aspects of the better-known albums on the label. Thats too bad, because its actually one of

the labels best: a solid, unpretentious effort with excellent singing and catchy songs. The only problem is that theres no one song that really stands out above the others; nothing sounds like it could have been a hit, but all of it is good. [AM] STEVE ELLIOT (New York City, NY) "Steve Elliot" 1969 (no label SE 1000) [handpainted cover] Folk/singer songwriter with session musicians backing. Acoustic guitar, piano, flute, sincere seeker lyrics. A CD-R "reissue" exists. ELLIOTT, WALTER & BENNETT (Houston, TX) "Zeta Reticuli" 1977 (Jam 106) Subtitled a science fiction love story, this concept album is a true labor of love. No doubt these guys thought theyd produced a masterpiece. If you can imagine a synth-heavy prog album with country crooner vocals, spoken sections and several really cheesy ballads, you might have an idea what to expect here. Even so, I doubt anyone could be prepared for just how weird the clash of styles can be. By the time an operatic female vocal appears on side two you wont be surprised by anything. When they remember to rock (basically the first song on each side), this is pretty interesting, but by the end its so cheesy and humorless that its almost unlistenable. Comparisons are hard to make, but it sounds to me like low-rent backwoods Alan Parsons, if hed hired cowboys instead of the Hollies to sing for him. A real headscratcher. [AM] STEVE ELLIS & THE STARFIRES (Pipestone, MN) "Steve Ellis's Songbook" 1967 (IGL 105) "Steve Ellis's Songbook" 1994 (CD Arf Arf) [bonus tracks] "Steve Ellis's Songbook" 1994 (Get Hip 5003) [+4 tracks] Legendary Midwest folkrock LP originally done as a tribute to bandleader Ellis who died in a motorcycle accident in 1967. Consists of eight good (but not outstanding) basement Love/Nightcrawlers style folkrockers interspersed with interviews with band members which not only shows Ellis to be a real cool guy and talent but also gives full technical data of his souped up 1938 DeSoto. An interesting and unusual snapshot of a time and place, but far from the masterpiece it's sometimes described as. The band also had a track on a local comp from the era. [PL] ELLISON (Quebec, Canada) "Ellison" 1970 (Supreme 2900) "Ellison" 199 (vinyl, France) [300p; insert] "Ellison" 1999 (World In Sound 003, Germany) [gatefold]

"Ellison" 199 (CD) French-Canadian Doorsy hardrock with psych leftovers. Those into the style swear bigtime by it but there's too many slow cuts for my tastes. Most original copies have press defects.[PL] EMBERS (Raleigh, NC) "The Embers Roll Eleven" 1965 (JCP Recording 2006) Fratrock beach beat r&b stompers with guitar, organ, sax. The first LP is the one of interest to garage collectors, the later ones head more in a lounge direction. Despite being a white beach music combo, some of the band's 45s are sold as "Northern Soul". [RM] "Just For the Birds" 1966 (JCP Recording 2009)

"Burn You a New One" 1967 (EEE 1069) Released by the Raleigh, North Carolina-based EEE label, 1967's "Burn You a New One" is likely to appeal to anyone with a fetish for stuff on the Justice label. Musically this wasn't a major change in direction from the band's first two collections. Like the earlier albums, this one offered up a set of popular pop and soul covers. What was truly interesting was how four of the nerdiest white guys you've ever seen (check out the back cover photos), could turn in such impressive performances. Sure, covers such as Get Ready', 'Groovin', 'Wish You Didn't Have To Go' didn't offer anything to improve on the originals. Still, vocalist Jackie Hamilton Gore displayed a truly amazing chameleon-like talent and the rest of the band turned in stellar backing. The results make for a wonderful set of 1960s beach music. In addition to sporting a classic album title, I've always loved the throwaway album cover design. The Embers have several subsequent albums and, amazingly, are still performing. [SB] EMERALD CITY (Montreal, Canada) "Waiting For The Dawn" 1976 (Hippopotamus hlp 97202) "Waiting For The Dawn" 1996 (Hippopotamus, US) [bootleg] Canadian hardrock with keyboard and guitar, opinions

differ on its merits. EMERALD WEB (CA/FL) "Dragon Wings And Wizard Tales" 1979 (Stargate 4230) [lyric insert] New agey folk electronica opera from male/female duo with Tolkien based fantasy theme. Synth, flute, and hippie femme vocals. The couple had several later LPs and achieved some success composing soundtracks. TIM EMERY (KY) "Alias Red Garrett" 1979 (Ros Sound 130) [1000p] Hardrock power trio guitar showcase. Half heavy and Hendrixy, half bluesy and rural outlaw. EMMANUEL (Canada) "You Color My Life" 1976 (EM) Christian folk rock with rural songs and some pop-ish and soft rock moves and mixed male/female vox. Not terribly memorable. EMMAUS ROAD BAND (NJ)

"This Could Be The Beginning" 197 (Trutone tr-520573) I gave this a lukewarm review at first but it has grown on me a bit; the ferocious guitar-leads and upmarket production make for a powerful sound, although I still prefer the west coast-inspired X-ian style of Kristyl or Wilson McKinley over this mainstream mid-1970s Southern rock/AOR trip. Prosounding female nightclub vocalist is a bit misplaced but adds to the classy vibe. Long title track is great. [PL] ~~~ Its pretty strange hearing such blatant Christian lyrics over what is essentially 70s redneck rock. The opening Gospel has guitar fills that come straight from the catalogue of any competent but unimaginative cover band of the time, but just when you start to think its lame the closing guitar solo goes into territory (and volume levels) that you arent expecting. The rest of the album follows suit, sneaking up on you only when you really pay

attention. This isnt usually a subtle style of music, but the songwriting here is sly and tasteful, and the two long songs at the end are powerful and deep, almost reaching classic status. A couple of songs are out of place, though: a so-so country rocker and a schlocky ballad. Theyre not awful, but they do interrupt the guitar-heavy mood that builds impressively throughout the rest of the album. A female vocalist on a few songs sounds nothing like the stereotypically pretty Xian folk singer, but more of a cross between a soul singer and an angry torch singer. Odd, but effective. The album closes with a brief version of Jesus Loves Me, sung by a child. It definitely wipes away the intensity of mood left by the two epics that precede it. Ack. [AM] ~~~ see -> Maranatha EMORY ALMANAC see So It Goes EMPORIUM (IA) "I'm So Glad" 1970 (Peace no #) Clean teen mixed vocal jangle guitar Christian collegians turning the corner and getting 'real' with rock covers. Highlights are a great 6 minute trippy "Jesus Jesus/ Trails of Your Mind", an insane go-go rumbling "I'm So Glad", and a really bizarre doubletime "For What It's Worth". Great fun, high 'real people' quotient, warp ten strumming, and stunning acid cover design. [RM] ENERGY PAK ( ) "The Answer" 1968 (Sound Associates) Grand Rapids, Michigan label. Mixed gender Christian folkrock teens. Nice psychedelic collage cover. GEORGE ENGLER ( ) "The Inside of the Outside or the Outside of the Inside" 1965 (Serenus sep-2010) Representation of avant and electronic sounds encountered on an outer space voyage! Creepy sounds and tape effects like a sci-fi movie soundtrack. A CD-R "reissue" exists. ENGLISHMEN ( ) "Summer Is Here" 1967 (Justice 155) "Summer Is Here" 1995 (CD Collectables col-0609) If you believe everything you read, this is one of the "best" Justice albums. In the real world it's the

same lame standards, surf, frat and beach music with weak vocals and a sleepy 1962 mood, making the band's hip name seem a mystery -- unless the Shadows is your idea of Brit Invasion. Title track original could be seen as a whiney New England type ballad if you're in a generous mood, but the only really appealing aspect of this LP is a superb drummer who is given plenty of space on "Penetration" and the band's "Theme". Hippest things are covers of "96 tears" and "Catch the wind", both done in an incorrect manner which suggests the band played from sheet music and never actually had heard the tunes. Stunning low-point is an instro "Girl from Ipanema". [PL] V.A "EPITAPH FOR A LEGEND" (TX) "Epitaph 5000p] "Epitaph "Epitaph "Epitaph For A Legend" 1980 (International Artists 13) [2LPs; For A Legend" 198 (Decal UK) [2 LPs] For A Legend" 199 (CD Collectables) [2CD] For A Legend" 200 (Get Back, Italy) [2 LPs]

Compilation of 1960s odds and ends from the IA vaults, plenty of unreleased tracks with a few winners and some garbage. Some obscure teen/garage acts plus disappointing rarites from the Lost & Found and Red Krayola. Also has one side of blues including spoken word bits with Lightnin' Hopkins (originally intended for the IA 1968 Lightnin' LP), and about 1 sides worth of Elevators-related material, some of which is unique to this release. The original plans for the 2 LP set were very ambitious, but as the IA revival didn't catch the full momentum Lelan Rogers hoped for, the end result is pretty stripped down. The album is sometimes referred to as "rare", but the press size tells you it isn't. This was the last release from the revived IA label, after which Lelan sold the rights to Charly Records in England. The Decal reissue replaces two Spades tracks with two Elevators 45 tracks. On the Collectables CD the Spades tracks are back, but the mastering is bizarre, with some unexpected jumps in volume and occasionally poor sound. [PL] CARL ERDMANN ( ) "Bizarrophytes" 1980 (no label) Excellent later day hippie gets lost in eastern Acid Symphony trip. Instro guitars, sitar, kalimba, tabla, percussion, sax, even some flute. [RM] WENDY ERDMAN ( ) "Erdman" 1970 (Audio Fidelity) This surprisingly scarce album is oddly appealing. Erdman has a warbly, classical-styled voice thats pretty strange in the context of the folk-rock and piano-based soft rock on this record. Somehow it works, though, and these deceptively simple songs

grow on the listener. In her own way, shes as out there as Essra Mohawk or Sally Eaton. Recommended more to fans of quirky singer-songwriters than to fans of folk-rock. Ex-Monkee Peter Tork played bass on most of this album. [AM] ERIC (OH)

"Eric" 1970 (CEI 11047) Mostly soft folk psych with a couple of songs that get a bit on the heavy side with fuzzed out passages. MARK ERIC ( ) "A Midsummer's Day Dream" 196 (Revue 7210) "A Midsummer's Day Dream" 200 (CD Revola 18, UK) [+bonus tracks] Inaccurately hyped as psych, this is basically a Beach Boys imitation, which still makes it appealing to collectors. Its comparable to Billy Nicholls, as Mark Eric has a very similar voice, but it lacks the songwriting talent and diversity of arrangements of the Nicholls album. Some of the album too soft and sweet to work, but about half of it is quite good, peaking on Night of the Lions, which proves even wimps can have a healthy sex drive. [AM] RIN ERIC (Los Angeles, CA) "Soundtrack To The Movie In Your Mind" 197 (no label) [booklet] Mighty obscure fringe/loner folk LP. According to Rin Eric himself, only 50 copies were pressed. ERICA [Pomerance] (Canada) "You "You "You "You Used Used Used Used to to to to Think" Think" Think" Think" 1968 199 199 199 (ESP Disk 1099) (ESP Disk) (CD ESP 1099, Germany) (CD ZYX)

Housed in an album cover that's shocking today, never mind for its time, this fits in perfectly with all of the other weirdness on ESP. It's as unmusical as the Godz, and as confrontational as the Fugs. It's not exactly all that listenable, though, but it's a pretty amazing period piece. Erica and most of her band dropped acid after the three short songs on side one, and it's worth noting that even those songs,

while having some "structure" and sense of melody, are as messed up as the long, meandering improvisations that follow. I'll be straightforward here -- I find this to be a self-indulgent mess that has freakshow appeal, but it's awfully hard to listen to. Admittedly, it is full of inspired moments. Erica starts singing in French half way through "The Slippery Morning" for no apparent reason. The competing vocals on the title track are effective, whether she can "sing" in the traditional sense or not. The album's most accessible song (OK-that's stretching it a little, you won't be hearing it on mainstream radio any time soon), "The French Revolution," is pretty great (and groundbreaking-one of the first uses of the f-word in a rock setting.) And when you can keep your attention long enough to pick up the lyrics, they're pretty amusing, and occasionally ingenious. The whispered/spoken moments and falsetto intro to "Anything Goes" have an appealing beat-poet feel to them. All that is well and good, but the monotonous "drumming" on "We Came Via" is headache-inducing, and on the long songs the memorable moments are spread awfully thin between the dull spots. Trevor Koehler, of Insect Trust, plays some sax here and seems as comfortable screwing around as he does playing it straight on the Trust's much more well-conceived albums. [AM] ERIC & THE NORSEMEN (Manhattan, KS) "Live" 1966 (Audio House) Garage/teen-beat from popular club band formed at Kansas State University. The LP contains overdubbed crowd noise that the band was dissatisfied with. There are no originals except for a brief "Norsemen Theme". The band also had a local 45 and some unreleased recordings. ERIK ( ) "Look Where I Am" 1968 (Vanguard vsd-79267) "Look Where I Am" 2004 (CD Radioactive 0061, UK) Most of this album is decent folky hippie stuff, but side one ends with a killer fuzz guitar downer tune that blows away everything else. The rest of the songs sound pretty samey except for one jaunty British-styled folker. Neat colorful album cover. Not a great album, but decent, and another cool Vanguard obscurity. [AM] ~~~ Obscure one on the label and not bad, with a psychy Eastcoast folkrock sound, sort of like where Jake Holmes might have gone after his debut LP. The guy's crooner nightclub moves and ambitious arrangements recall Darius, although a slightly flat voice and the two-chord "drone" songwriting fall short of such promise. Instrumentation includes bells, muted trumpets, flutes and strings over flowing basement folkrock. The LP could be hyped as "great" but ultimately the vocals and lack of strong melodies keep it from true greatness. Still, the middle third

is strong with a couple of killer psych tracks with fuzz and backwards bits, and as a period piece with a distinct sound worth checking out. Nice crude psychy cover art. Who was this guy? [PL] ESCORTS (Richmond, VA)

"Bring Down the House" 1966 (TEO lp-5000) [mono] "Bring Down the House" 1966 (TEO lps-5000) [stereo] Judging by the LP, The Escorts were your typical mid'60s frat band. Produced by guitarist Colleran, "Bring Down the House" consists of a dozen popular rock and soul covers (Beatles, Otis Redding, Stones, Them, etc.) with a couple of lesser known tracks thrown in. Lead singer Faber won't exactly knock you over (check out his out of tune performance on "You're Going To Lose That Girl" - understandable given the band didn't have any feedback speakers), nor will you be awed by the rest of the band's technical merit, though they do bring an admirable sense of enthusiasm to their performances and Colleran turns in several nice performances (he nail's Roger McGuinn's 12 string performance on their cover of Drylan's "Mr. Tambourine Man"). Highlights included a nice "These Arms of Mine" and an enthusiastic "Turn On Your Love Light". In spite of the fact it was recorded live with extremely primitive equipment (four microphones recorded straight on to a two track tape), the sound's surprisingly crisp. At least to our ears, musically the set compares favorably to better known frat acts such as The Ace's Combo, The Englishmen, The Invaders or any group signed to Justice Records. [SB] ~~~ With a massive thank you to singer/lead guitarist Nick Colleran for all of the wonderful information, here's a quick bio on the band. As a 16 year old attending Richmond's Douglas Southall Freeman High School, Colleran formed the band in 1961. The original line up included bassist Bob Buhrman, Colleran on guitar, sax player Buzz Montsinger and singer Sam Owen. The call of college saw Buhrman replaced by Richard Parrish, with Tom Hill taking over for Montsinger. The line up was eventually rounded out by drummer Richard Eastman. In spite of the band's relative youth, they became fixtures on the Richmond music scene, playing school dances, proms and local beer joints. The band continued to perform through college, although in 1964 Owen and a date were killed when the car they were driving was crushed by a 15 year old engaged in a drag race.

Singer Jimmie Faber was subsequently brought in as a replacement. When the Army draft claimed drummer Eastman, Sandy DeWitt was added to the line up. Perhaps reflecting the fact Colleran was taking accounting courses at the University of Virginia, the band proved themselves business trendsetters. Having formed their own label - TEO Records (The Escorts Operation), a 21 year old Colleran borrowed $1,200 from a local bank. Having long promoted their own events, the funds were used to rent Richmond's Mosque Ballroom, where the LP was recorded on June 24, 1966. Giving new meaning to the word independent, the band rented and set up the recording equipment, sold their own tickets, ran the show's concession stand, designed and prepared the album cover art work (Hill's father took the cover photo), wrote the liner notes (Colleran's father set the hot type for the back cover), hired the recording engineer, and arranged for mastering, pressing and final assembly. ESPERANZA ENCANTADA (Chicago, IL) "Esperanza Encantada" 1970 (Certron 7016) Young Hispanic vocal group doing mixed English and Spanish language material, about half covers of the Beatles, Stones, and Tim Hardin. The rest is originals with crystal clear teenage female vocals. Highly rated by some. The trio is backed by a pick-up band who provide some fuzz on "Gimme shelter" among the folkrockers. ESTES BROTHERS (OH)

"Transitions" 1971 (Edcom 7101) "Transitions" 1995 (Rockadelic 17) [300p; altered sleeve; bonus track] "Transitions" 2002 (CD World In Sound 1013, Germany) [+bonus tracks] Solid underground stoner blowout which is the way you wish all hardrock LPs were, relentless guitar jamming with a loud basement sound, punky vocals and a druggy/wasted attitude, only a few weak moments. Not slick or overpowering, but the sound of local nocounts letting it rip with no thought of the consequences. Strip-joint piano adds an unusual touch. They also had a pre-LP 45 with PS. The original sleeve was a generic/custom ocean image, which is reinstated for the CD reissue. [PL] ~~~ The Estes Brothers sound pretty much like the stoned kids next door, for better and for worse. They have average chops and are sloppy with them, which means the guitar solos are too long and the drummer does too many rolls. The grooves aren't bad, though, and this has a kind of earthy appeal. The vocals are hardly professional but don't have any of the usual

annoying hard rock tendencies either. The album loses steam toward the end; they have a likeable sound but didn't have too many ideas. I think this album is overrated by collectors, but can see why people like it. It's a refreshing alternative to the pretense and posturing of so many other hard rock albums. The World In Sound CD has a ton of mostly worthwhile bonus tracks, including their best song, the non-LP 45 "Tomorrow's Sunlight" (also on the Rockadelic LP). GENE ESTRIBOU & JEAN-PAUL PICKENS (San Francisco, CA) "Intensifications" 1966 (Scorpio MIA #CL-1) "Intensifications" 2004 (CD Locust) Split LP of guitar/banjo avant/improv instrumental folk with the guys getting one side each to strut their stuff. Pretty interesting experience with trad material reshaped beyond recognition, long tracks with plenty of raga moves and an intense live atmosphere. Can't really decide who wins this unusual battle of the bands, very solid playing that has been compared to Sandy Bull. A historically significant artefact from the early S F scene, and a must for genre fans. [PL] ~~~ Acoustic acidic edgy folk and banjo psych. Homemade meandering quality similar to Acid Symphony. Gene Estribou recorded the first Grateful Dead single that came out on Scorpio. [RM] ~~~ see -> Serpent Power ETERNAL SAVINGS & TRUST COMPANY (Acton, MA) "Wind and Spirit" 1972 (Amphion Modern) Christian folk with mixed vocals, using electric instruments and flute, percussion, harmonica. ETERNITY ( ) "Eternity" 1981 (Band of Gold 004) Dual lead hardrock with early 1970s sound. ETERNITY'S CHILDREN (Biloxi, MS) "Eternity's Children" 1968 (Tower t-5123) [mono] "Eternity's Children" 1968 (Tower st-5123) [stereo] "Eternity's Children" 1999 (CD Revola 062) [+bonus tracks] The Curt Boettcher-produced first Eternitys Children album is orchestrated pop thats even more far removed from rock and roll that the Sagittarius albums. Like a lot of the records Boettcher was involved with, this is hardly a coherent band effort or an honestly presented record, with a number of inaccurate songwriting credits and with two songs not

even actually performed by the Eternitys Children. The mixed vocals recall lightweights like Spanky & Our Gang. Occasional there are some surprising moments (i.e. the fuzz guitar and rave up at the end of Lifetime Day) but this is cloying and lacks soul. A few catchy songs win out nevertheless. One song thats played as a straight ballad with a lead vocal from the woman (as opposed to the harmony leads elsewhere) is a standout. The LP was also released in Canada by Capitol. The Revola CD contains both LPs and some additional material. [AM] "Timeless" 1968 (Capitol 6302, Canada) "Timeless" 2005 (CD Revola) [+bonus tracks] The second album, sans Boettcher, was definitely a coherent band effort. Since the US release was scrapped (Tower #5144 was allocated but never used) and the small Canadian release went unnoticed, its become one of the rarest and most sought-after major label records of the era. Its still a zero in the soul area, but is a more consistent listen and a more inspired work than the first album. Lots of catchy songs here. No fuzz guitar, though. There is also a Gear Fab CD from 2004, "The Lost Sessions". [AM] JEFF EUBANK (Kansas City, MO) "A Street Called Straight" 1983 (Dorothea Records) This singer-songwriter LP was discovered by collectors some twenty years after its release. Eubank was a bit later on the Kansas City scene than Michael Angelo and the great late-70s power pop bands that gave the city its reputation as a 70s pop haven. Rare record dealers will probably try to compare him to Michael Angelo anyway, because that's what they do every time they have a scarce singer-songwriter album that they don't know how to sell. This is better than most that fall into that bag, but its not particularly unusual; its folky in feel with about half of the songs being just voice and guitars (which are electric as often as theyre acoustic.) The album cover and some of the lyrics evoke outer space, and a couple of songs are very spacy in feel with echoed flutes, sound effects, martian voices, drony soundscapes and otherworldly falsetto vocals. Kamikaze Pilot, in particular, is excellent, the kind of song that would really turn heads if it was on a compliation. Eubank is a strong singer and the album is well-produced, but the solo songs drag and youll wish he went freaky more often or tried to rock out once or twice. For the most part, side two is better than side one, so stick with it despite the dull spots. If youre a fan of mellow dreamy folk and folk-rock youll certainly like at least half of this album. Its a shame, though, that there arent more hooks here and that the arrangements arent all as effective as on Kamikazi Pilot. [AM] EUCLID (ME) "Heavy Equipment" 1970 (Flying Dutchman ams-12005) [wlp

exists] Well-regarded psych/hard rock transition LP and undoubtedly one of the better LPs in that often disappointing genre. Obvious influences from the UK mod scene, covers two tracks from that era with fairly good results. Tight, pro-sounding affair with the token macho vocals a minus and a good modernsounding drummer a plus. Not 100% up my alley, but respectworthy. Ralph Mazzola of Lazy Smoke plays guitar, while other members came from the Ones and the Cobras, making this a New England "supergroup" of sorts. [PL] ~~~ It's understandable why this has become one of the most collectable hard rock albums of the period. A couple of ace songs on side one veer from the straightforward heavy sound towards a moodier psych sound, and the rest rock hard and true without succumbing to boring guitar solos or bluesy posturing. Great rhythm section--the bass playing on their cover of "Gimme Some Loving" is powerful and chill-inducing. [AM] ~~~ see -> Lazy Smoke EUPHORIA (CA) "A "A "A "A Gift Gift Gift Gift From From From From Euphoria" Euphoria" Euphoria" Euphoria" 1969 1996 2004 2005 (Capitol 363) [green label] (CD See For Miles, UK) (CD Rev-Ola, UK) (Capitol/Scorpio)

This ridiculously rare album begs the question: why was Capitol squandering such huge production budgets to create records that no one would ever hear? I suppose it wasn't the world's easiest marketing job. Who would expect the public to latch on to an album that alternates heavily orchestrated dream-state music with country rock with fuzz-guitar freakouts, not to mention lyrics that are equal parts spirituality and suicide? There's nothing else quite like this. The orchestration is as heavy as on the Food and Common People albums, but sounds completely different. The country songs sound "authentic," but also don't really sound like any other country or country-rock artist. The fuzz-guitar blowouts manage not to sound "heavy." The piano playing is equal parts Paul McCartney and honkytonk. The highly disturbing lyrics could either signal the apocalypse or treat suicide as a joke, and either way it's riveting. (By the way, most reviews of this album mention lyrics about drugs, but unless I'm totally misinterpreting something, I don't see them.) This is one instance where two madmen threw everything they had against the wall, and it pretty much all stuck. At its best this is the kind of record that will remind you why you got into psychedelic music in the first place-there's so much originality, so much willingness to experiment, and so many ideas here that whether it all works or not it's bound to be a completely fascinating listen. They also had a non-LP 45, a few tracks on "A Pot Of Flowers" and some unreleased stuff recorded during their spell in Houston, all of it ranging from good to great. [AM]

~~~ see -> A Pot Of Flowers; Bernie Schwarz ~~~

see full-length review

EUPHORIA (Milwaukee, WI) "Lost in Trance" 197 (Rainbow 1003) [blank back; group photo insert] "Lost in Trance" 199 (Rainbow) [bootleg; b & w cover] "Lost in Trance" 200 (CD Mason) Obscure biker guitar psych with long tracks and acid lyrics, I was impressed with this at first but further plays revealed it to be a bit sterile in a UK prog sense, all the right local underground psych moves but no real warmth or personality. Still it's listenable throughout and has some great guitar passages.This has the same generic rainbow cover as Skydog's LP. [PL] ~~~ I find this LP a frustrating listen. The guitar is meaty with lots of effects and there is some good heavy pounding drumming. However, its all let down by the vocalist who insists on some very silly vocal intonations. Pronouncing words in a ponderous, affected way does not add any gravity to them. Whats especially annoying is that the lyrics are good and meaningful enough not to need this bizarre treatment. The high sung vocal parts would have had me tossing this in the bin when I was a youngster, now I just shift uneasily wondering if Ive descended too far into the world of prog. Just for a Moment is the stand out track for me, it could have been Brotherhood, but then singing United Nations as Natoooons just blew it! [RI] EVERPRESENT FULLNESS (Los Angeles, CA) "Everpresent Fullness" 1970 (White Whale ww-7132) [promos exist] "Fine And Dandy" 2004 (CD Rev-Ola, UK) Released 4-5 years after the material was recorded, several tracks such as the instrumental "Yeah!" come off as little more than demos. Featuring a mix of originals and cover material, the album's pop-rock sound recalled a cross between The Lovin' Spoonful and The Turtles (checkout their cover of John Sebastian's "Wild About My Lovin"). The lead singer had an engaging voice and tracks such as "You're So Fine" and "Leavin' California" offered up radiofriendly top-40 melodies. The set was also interesting for including an early Warren Zevon cover ("The Way She Is"). Less impressive was the band's penchant for quirky numbers; the vaudeville-styled "Fine and Dandy" and the C & W-ish "My Girl Back Home". All-in-all not half bad, particularly if you can pick it up for a couple of bucks. The LP is sometimes referred to as "rare" but actually sells pretty cheap. The remixed Rev-Ola CD contains all tracks from the LP except one, plus other material. [SB]

~~~ see -> The Moon; Rocket Science; Thorinshield EVERYDAY PEOPLE (SC) "Born Too Soon" 1976 (United Music World) Mixed bag "Stepping messed up unrelated of sounds including one killer track, out of the darkness" with acid leads and vocals. There were at least two other bands with this name.

V.A "THE EXIT" (New Haven, CT) "The Exit" 1969 (XPL) Sampler from New Haven club with folk and blues locals. Same label as D R Hooker. Notable for two garage psych tracks by Better Daze. Lead guitarist for Better Daze played with Nova Local. Sticker on front cover promotes Tony Mason who made a semiinteresting bluesy folk LP a few years later. EXKURSIONS (Chicago, IL) "Exkursions" 1971 (no label) "Exkursions" 199 (Hidden Vision) "Exkursions" 200 (CD Hidden Vision) Pretty irresistable Christian bluesy guitarpsych exkursion featuring the prolific Mike Johnson in his younger days as a bible-carrying Hendrix epigon. Has to be one of the coolest x-ian LPs of all time, with a confident powertrio groove, laidback Jimi-style vocals, and several truly great tracks like "Third Eye". Despite being a private press originals aren't difficult to find. Two tracks can be found on the "Holy Fuzz" compilation if you want a sample. [PL] ~~~ If you werent paying attention, you wouldnt notice that this is a Christian album, which is a good sign. Mike Johnson is a truly talented guitarist and a few songs here have a fuzz sound to die for. The songwriting doesnt match the performances, and there are a few bluesy/hard rock clichs, but for the most part this is solid hard rock and one of the best in the Christian realm. [AM] ~~~ see -> "Cry 3"; Mike Johnson EXPANDING CIRCLE (GA)

"Conscious" 1980 (no label 75251) [500p]

Cosmic folk with piano, 12-string guitar and vocal harmonies, housed in weird brain cover. EXPEDITION (Montreal, Canada) "Live" 1971 (Cegep 1652) Seedy hard fuzz blues rock with English vocals. [RM] EX-TA-C'S ( ) "X-Ta-C's" 1966 (no label) Primitive teenbeat/garage. EYES (Cleveland, OH) "Stroke a Horse's Navel" 1977 (Eyes 710206) This album is often mistakenly listed as "rural rock," when in fact it's light power pop in an Emmit Rhodes/Paul McCartney vein. There are lots of keyboards, especially piano, and very little guitar. It's unlikely to appeal to too many psych fans, but it's quite good for those who like pop. The harmonies are weak, but the melodies are strong and the songs are zippy. They grow on you. It's a mysterious record--the credits (including songwriting credits) don't mention any band members' name, though they do list a producer and recording studio. I wonder if the two Ohio bands named Eyes were aware of each other? [AM] ~~~ I've seen this one hyped on high priced dealer lists as a psych masterpiece, a Beatlesque triumph, and as a slice of mind-warping hard rock. You probably won't be surprised to learn that it isn't any of the above.Musically this is slightly under-produced power-pop that will probably appeal to folks who like other mid-1970s Cleveland-based outfits like The Choir and Eric Carmen and the Raspberries. Originals such as 'Mornings' and 'Oh, To Be a Child Again' boast nice top-40 melodies that with a little bit of clean-up could've been massive radio hits. That comparison isn't 100% accurate since tracks like 'Probate Me Baby', 'Yesterdays' and 'Such Is Life' are more rock-ish than what you'll find on the formers releases. I'll also tell you that it took a couple of spins for this to click with me. The first couple of times I played the album I focused on the set's shortcomings (notably the lead singer's occasionally quivering voice and the less than perfect production), but by the third spin the album's low-tech charms caught my ear making this one of the few albums I've bothered to put on CDR. [SB] EYES (Butler, PA)

"New Gods: Aardvark Through Zymurgy" 1977 (World Theatre TC1/2) [photo insert; 200p] "Nova Psychedelia" 2005 (CD Anopheles 010) [2CDs; bonus tracks] Rather amazing teenage suburban prog/proto-punk science fiction concept epic with a garage psych feel in the fuzz leads and Vox organ, while moogs and oscillators galore add a mid-70s Ohio avantgarde layer. The listening experience is difficult to describe as the LP deflates any "good/bad" dichotomies and comes across as an irresistable piece of zeitgeist, straight out of home-made drugs, bad sci-fi TV re-runs and hazardous bedroom science projects. Musically quite competent with solid playing and inventive prog hardrock arrangements, yet Todd-O:s half-sung deadpan teen vocal style spells "incredibly strange" across the board. You haven't truly lived until you've heard morose recitations such as "My eyes blazing like a death ray/When the new gods unite in me/I shall conquer the universe". With a regular vocalist this would have been a completely different but not necessarily betterLP. What is it all about? Not sure but it involves a new evolution of the human brain, somehow. Do not miss. Todd Clark has hung around the psych scene for many years and made several more recordings. The Anopheles CD was released as by Todd Tamanend Clark and contains the entire Eyes album. [PL] ~~~ see -> Todd Clark Group EYES ( ) "We're In It Together" 1978 (Quiet Canyon) [lyric inner] Melodic hardrock AOR with Jeff Cannata (Arc Angel, Jasper Wrath) and James Christian (House of Lords). Searing guitar work and great vocals up there with Alpha Centauri. EZEKIEL (WA) "Inspired At The cover; insert] Cross" 1977 (Cross 75-101) [plain white

Christian 1970s rock and hard rock.

Acid Archives Main Page

FACEDANCERS ( ) "Facedancers" 1972 (Paramount pas-6039) Early crossover album headed in a prog direction but before the ground rules for that genre had been established. Some uninteresting solos, but mostly creatively designed songs that show thoughtful experimentalism. The lead singer claims that he hits the highest note ever recorded by a man on a rock record, and its hard to dispute that claim. Indeed, the girly-sounding vocals work well in this context. A few songs are pretty creepy, with one called Nightmare being a stand-out. Interesting album that rewards a few close listens. [AM] FACTS OF LIFE (TX) "Facts Of Life" 1970 (Sevens International 1038) Mostly garage and AOR covers Strung Out". The front cover negative image of a Drive In exceedingly rare and hard to on. FAINE JADE (Long Island, NY) "Introspection" "Introspection" "Introspection" "Introspection" "Introspection" 1968 (RSVP 8002) 1983 (Psycho 13, UK) 198 (RSVP) [bootleg; b & w labels] 1996(CD Sandiland) 1996 (CD Big Beat wikd-141, UK) with great original "All is a black and purple Theater. The album is put an accurate value

Well-known and well regarded Eastcoast psycher, recorded with acidpunk legends Bohemian Vendetta as backup band. Although not exceptional and somewhat derivative, this is an enjoyable trip through UKinfluenced 1967 landscapes with the Long Island garage roots showing now and then. "People games play" is a highpoint to me, with a genuine tribal psych feel and above-average acid lyricism. There is also an outstanding non-LP 45 that has been comp'd many times. Faine made a comeback recording in the 1980s. There is a sampler of unreleased tracks "It Ain't True" (Distortions, 1992). [PL] ~~~ Jade sounds and even looks British, and this wellproduced LP could easily pass for a UK major label popsike album of the era. Its all very groovy and mod and full of sound effects, trippy arrangements and eastern-flavored lead guitar; the far out album cover prepares you perfectly for whats within. The songwriting, which spans pop, folk-rock, minor-key

ballads and garage rock, is reasonably good, but this strikes me as one of those albums that people love more for how cool it sounds than for the actual content. Oddly, despite the attention paid to the musical arrangements, theres a scarcity of backing vocals. The few there are noticeably improve their songs. In the albums favor, there are no dud songs (though some may not be so thrilled about the freaky instrumental at the end), so its a continually enjoyable listen. Better than most in the genre, but not top of the heap. [AM] FAIRCHILD (MN) "Fairchild" 1978 (Flight FR 1706) Flashy progressive rock in Yes style. FALLEN ANGELS (DC) "It's a Long Way Down" 1968 (Roulette sr-42011) [gatefold] -- also released in Germany "Roulette Masters, part 2" 1995 (CD Collectables vol-5446) -- reissue of the second LP "It's a Long Way Down" 2004 (Roulette sr-42011) One of the ultimate examples of the East Coast psych sound; moody, intricate, with a peculiar intensity. A long time favorite of late 60s collectors and no wonder as it has the makings of a masterpiece. Hard to pinpoint really, but some parts are like a highbrow Common People, others like a folkrock Mandrake Memorial. Arrangements and songwriting are most impressive, with "A Horn Playing On My Thin Wall" being a personal favorite. Often compared to the equally rare Morning Dew LP but this is deeper and more original. The Sgt Pepper of DC, though of course much better! [PL] ~~~ From the depths of despair and angst comes this masterpiece, a howling wail of pain and discomfort that sounds like nothing else. Somewhere in here are elements of loner folk, Beach Boys-style pop and psychedelia, but all are used in a unique way that makes this as personal an album as I know, despite being recorded by a group. Great songwriting and solid performances throughout. By the time the upbeat pop of the title song appears (its the second to last song) it just drips with irony. A truly great album that justifies the high price tag. Very hard to find for a major label release. The band's common first LP (also on Roulette) is poppier and less interesting, with a good track in "Room at the top". [AM] TYLER FAMULARO (WI) "Down Deep" 1975 (Audiofex ax-7081) [plain cover; red label] "Down Deep" 1976 (Audiofex ax-7081) [plain cover; yellow label]

Probably the best of those mid-70s Advance reviewer copy albums that were sold through ads in Rolling Stone. Mostly a solid power pop album with minor hard rock moves, a bit of wah-wah. Nice vocals. One ballad with a lot of moog veers in the direction of cheesiness, but still works reasonably well. Like most of the albums in this series, "Down Deep" is very short - about 25 minutes. This Audiofex LP and others on the label were issued in plain, disco-style covers (labels exposed) and stamped "Advance Reviewer Copy -- Confidential". [AM] MERRELL FANKHAUSER (Los Angeles, CA / Maui, HI) "Things" "Things" "Things" "Things" 1968 1985 1997 1997 (Shamley 701) (Time Stood Still 2, UK) (CD Afterglow 015, UK) (CD Sundazed 6094) [+3 tracks]

Fankhauser fans will naturally go on at great length about the qualities of this LP (released as by Merrell Fankhause & HMS Bounty) but to others it may seem no more than a decent flowerpsych LP with strong UK influences. A couple of really good tracks like the sitar trip of "Ashiya" and fuzz-psych of "Driving Sideways", but also a bit of the mid-60s pop stuff I found hard to dig on the earlier Fapardokly album. Hardly the stuff of legend, but a good one for genre fans. [PL] "Merrell Fankhauser" 1976 (Maui 101) [lyric inner] "Maui" 1997 (CD Xotic Mind, Sweden) [album +7 tracks] A k a "The Maui Album", this has some great melodic psych and some weaker pop. Not quite on level with the MU albums. The CD contains several bonus tracks, at least one of which is a psych killer. Modern recordings, some of which are considered to be quite good, include "Dr. Fankhauser" (1986, Full Blast/ Line, Germany); "Message to the Universe" (198?, One Big Guitar); "Flying to Machu Picchu" (1992, CD Legend, France); "Further On Up the Road" (CD/2LP 200?, Akarma, Italy). [PL] ~~~ see -> Fapardokly; Mu FANTASTIC DEE-JAYS (McKeesport, PA)

"Fantastic Dee-Jays" 1966 (Stone 4003) "Fantastic Dee-Jays" 1984 (Eva 12028, France) -- the spine lists the title as 'Fight Fire' "30th Anniversary" 1996 (CD Millenia) [altered sleeve] "30th Anniversary" 1996 (Millenia) [altered sleeve] Above-average local beat-garage LP by Pittsburgh maniacs who later transformed into the Swamp Rats. Two killer tracks (also out on 45) have been comp'd on Hipsville vol 1 but there's some other good stuff

too, though more beat than garage. Some tracks have a lo-fi dawn of man feel, such as "Apache". They had several 45s as well. The old boot reissue has some sleeve wear from the copy that was used. [PL] FANTUZZI (NY) "An Open Heart" 1978 (Akashic) Eastern mystical swami sounds with sitar, flute, female backing vocals and percussion. FAPARDOKLY (CA)

"Fapardokly" "Fapardokly" "Fapardokly" "Fapardokly"

1967 1983 198 1995

(UIP 2250) [1000p] (Psycho 05, UK) [300#d; altered cover] (5 Hours Back, UK) (CD Sundazed sc-6059) [+3 tracks]

A legendary LP, both for its (supposed) rarity and the appearance of future Mu-wizard Merrell Fankhauser. This is mid-60s pop/folkrock rather than the psych dealers might it hype it for; the hazy "Gone To Pot" excluded. Pretty classy stuff with traces of the Byrds and Beatles but also obvious remnants of an earlier, pre-Invasion pop era of Buddy Holly and the Everly Brothers. Merrell's talent is on clear display even at this early stage, with each track being a finely tuned and completely realized pop song. Fave tracks include the dreamy opener "Lila" and the inspiredly weird "Mr Clock". Quite enjoyable all through as long as you don't expect Lemurian hippie psych magic. A retrospective Merrell & the Exiles LP titled "The Early Years 1964-67" exists on the American Sound label with the same lineup as the Fapardokly LP and collects earlier tracks. [PL] ~~~ This early Fankhauser album feels like two eras of recordings stuck together on one album (and apparently is a mix of recordings from a few different years). There are great moments from both the pop/folk-rock songs and the more experimental psychedelic tunes, but not enough to make this worth the $300 price tag it commands (even after a box was unearthed in the 80s). Super Market is the best song, a sparkling folk-rock tune with surprisingly effective horns. [AM] ~~~ see -> Merrell Fankhauser; MU FAR CRY (Boston, MA) "Far Cry" 1968 (Vanguard Apostolic vsd-6510)

"Far Cry" 2000 (Comet/Vanguard, Italy) "Far Cry" 2000 (CD Akarma/Vanguard, Italy) A true mess of an album, psychedelic jazz freakout that must be the strangest thing released on the Vanguard label. The singer is utterly unhinged and unable to carry a tune. He makes Fred Cole of the Lollipop Shoppe and the guy from the Hampton Grease Band sound mellow and in control. The long songs are boring, even the moody slow one. Some people like this but its more remarkable for its weirdness than for the quality of the music, which I find unlistenable. Recommended to people who like the Erica Pomerance album but wish the songs were more well-played. [AM] ~~~ Geez, ever heard the phrase something is "an acquired taste"? Well, it's certainly an applicable description for the Boston-based Far Cry. An early entry to the horn-rock sweepstakes, this seven piece outfit was signed by the short-lived New York-based Vanguard Apostolic Records, and the band's selftitled debut teamed them with producer Daniel Weiss. Imagine Blood, Sweat and Tears locked into a closet with Captain Beefheart and Quicksilver Messenger Service's John Cipollina... Largely original (the lone exception being a cover of Riley King's 'Sweet Little Angel'), the album featured a strange blend of jazz, fusion and psychedelic rock moves. While it may not have sounded particularly promising, the combination of styles was actually intriguing. Whiting's bizarre and wild voice (on tracks such as 'Shapes' and 'Hellhound' it sounded as if he were about to suffer a terminal stoke), Martin's free form sax (sometime it sounded as if he were reading the charts for a different song) and Lenart's fluid guitar (check out the introduction to 'Earthlight') made for an album we play on a regular basis.[SB] GLENN FARIA (KY) "Glenn Faria" 197 (Tiger Lily 14058) "Glenn Faria" 2002 (CD World In Sound 1007, Germany) [+7 bonus tracks] Wellwritten rootsy folk/blues recorded in the early 1970s and performed in an agreeable manner. Best tracks have a Perry Leopold quality, and it's perfectly listenable all through. He speaks of learning from "older musicians", and for a white guy his gritty down home sound is unusually convincing. Good voice too - strange he never got a real recording contract. Worth checking out, though it's not psychedelic in any way. [PL] ~~~ Farias album, credited to Glen Faria, is one of the most valuable Tiger Lily releases, and unlike many on the label appears to have been a complete album intended for actual release (probably on Roulette). It took a good five years from completion of the recording to the release of the record (and more than thirty before a legitimate release.) One of the quirks about a label like Tiger Lily is that it creates a situation where major label-quality recordings end up on records that as rare as any

private press. In other words, this is no real people recording. Farias album is a highly professional mix of and electric rock and acoustic folk/blues. On a couple of songs he adopts a macho growl that doesnt appeal to me, and the album is somewhat sluggish at times, but otherwise it is very good. It has a cool mellow sound, thoughtful songs and some nice understated lead guitar. Recommended to singer-songwriter fans. The CD includes seven okay demo-sounding bonus tracks, six of which are acoustic recordings that the CD claims are from 1964 but sound much later than that. Interestingly, the one song that would be re-recorded for the album is much faster in the original version. The other bonus track has the exact same melody as Bob Segers well-known Turn The Page, but the CD claims it was recorded in 1969, which is before the Seger song was released. [AM] ~~~ see -> Headstone Circus FARM (IL)

"Farm" 1970 (Crusade Enterprises 465) [500p] "Farm" 1995 (Crusade Enterprises, Austria) [bootleg; gatefold; 300p] "Farm" 2000 (Akarma, Italy) [10"; brown vinyl] Seen some excited ramblings on this but was disappointed upon hearing it as it's straight boogie for most part, has about two decent tracks in a westcoast style while the rest sucks. Maybe I'm missing something here but I can't recommend it to anyone. [PL] ~~~ Featuring largely original material, the set's fairly varied. The opening instrumental "Jungle Song" and "Sunshine In My Window" are both strong guitarpropelled numbers that sound heavily influenced by both The Allman Brothers and Santana. Elsewhere, 'Cottonfield Woman' was a nice slice of blues-rock, while as you'd probably expect from the title "Let the Boy Boogie" and a cover of "Statesboro Blues" were okay slices of boogie. [SB] ~~~ see -> Gene Hood FARM (Los Angeles, CA) "The Innermost Limits of Pure Fun" 1976 (Series 2) [swirl label] "The Innermost Limits of Pure Fun" 1976 (Dendra) [red label;

plain cover with title sticker] "The Innermost Limits of Pure Fun" 1976 (Series 2) [red label; plain cover with "Farm" stamped] Soundtrack to great obscure surf flick, mostly instrumental jams in a psychy 1970s surf style. One track has been comp'd. Also released in Australia in a laminated sleeve (Rebel label), and the movie does include Australian footage. Apart from the many surf soundtracks the Dragon brothers were involved in a ski movie called "Winter Equinox". ~~~ Here's some info on the band collected by Mike Cooper: "The lead guitarist Denny Aaberg was a keen surfer and well known surf writer from Pacific Palisades ("Big Wednesday" was based on Denny Aaberg's surfing youth, with Bill Pritchard who is also in this soundtrack band), while others in the band have been Beach Boys-connected in the 1980s-90s. Ernie Knapp briefly played bass with the Beach Boys before getting thrown out, while Dennis Dragon did sound work for them. The Dragon brothers hailed from Hollywood and Doug and Dennis (drums and organ on this soundtrack) were brothers to Daryl Dragon of "Captain and Tenille" (Daryl was a friend/collaborator of Dennis Wilson), and Daryl is an additional musician on this soundtrack, which was one of 30 produced by Dennis and Daryl in Dennis's Malibu bedroom. Movie producer George Greenough is a surfing legend for his many films with cameras "onboard" and his surf philosophy. He financed the making of "Pure Fun" entirely from the proceeds of his fishing business, and resides in Australia today". ~~~ see -> Corky Carroll and Friends; A Sea For Yourself FARM BAND a k a TENNESSEE FARM BAND; STEPHEN & THE FARM BAND(TN) "Farm Band" 1972 (Mantra 777) [2LPs; gatefold; lyric innersleeves; poster] "Farm Band" 2004 (Akarma 287, Italy) [2LPs; gatefold; poster] "Up In Your Thing" 1973 (Farm fe-1776) Religious communal group with westcoast jammy sound, led by noted hippie activist/philosopher Stephen Gaskin. The debut double is usually considered the best. The 1973 LP is credited to Stephen and the Farm Band. Later LPs include "On the Rim of the Nashville Basin" (Farm 1001, 1976; reissued by Akarma) and "Communion" (Farm 1013, 1977), credited to Tennessee Farm Band. They also recorded as Nuclear Regulatory Commission (1970s; Official 1180). J.W. FARQUHAR (Philadelphia, PA) "The Formal Female" 197 (no label) Early 1970s fringe art-avant/psych obscurity, highly rated by the few who have heard it.

FAT (western MA) "Fat" 1970 (RCA lsp-4368) "Fat" 2005 (CD Radioactive 138, UK) "Fat" 2005 (RCA Victor) [bootleg?] Somewhere between the Bosstown psychedelic sound and a more mainstream 70s rock sound, these guys put together a pretty solid album. The pick hit is the very catchy Shape Im In, but all of it is worthwhile. The last song has a painfully out of key or out of tune harmonica (I cant believe nobody in the recording studio noticed!), which closes the album off on an appealing, if unsettling, freaky vibe. A Canadian pressing exists. There is also a more mainstream-sounding 2nd LP released by the band themselves, "Footlose" (Dream Merchant, 1976). [AM] FATE (ME) "Fate" 1969 (no label, no #) [test pressing] "Sgt Death" 1999 (Rockadelic 37) [insert; booklet; marble pink vinyl] "Sgt Death" 2001 (CD Shadoks 017) One of the few 1960s-era titles in the Rockadelic catalog, this piece of zeitgeist plays like a completely finalized album that could, and probably should, have come out back then. Archetypal ambitious mainstream psych with a New England slant a la St Steven while extensive use of keyboards recalls the 1st Mandrake Memorial; the all-bases-covered approach could appeal to fans of Food as well. Vocals are a bit too Morrisonesque/operatic, while the production and arrangements are impressive. Not a bad LP but spread a bit too thin for my tastes; the sarcastic anti-Vietnam title track is what makes it stand out. Die-cut sleeve design makes the reissue look like a local heavy metal LP. Band (or main guy) recorded a rare garage 45 as Euphoria's ID prior to this. Here is a description of the original album: "a no info test pressing, other than the words FATE SIDE 1 and FATE Side 2 written on it. Side one dead wax says "6 25 68 a 1", side 2 dead wax "2 1 69 b 1". The reissue rearranges the track order and has a somewhat different (less compressed) sound than the original disc. [PL] FATHER YOD & THE SPIRIT OF '76 see YA HO WHA 13 FAUN (San Francisco, CA) "Faun" 1969 (Gregar gg-70000) [wlp exists] Odd mix of pop psych and swing band sounds. ExFrumious Bandersnatch. DIDI FAVREAU (NY)

"Rebirth of Wonder" 1968 (RSVP es-8004) Jazzy trippy femme folk with some avant jazz moves somewhat in Erica Pomerance camp. Same label as Faine Jade. FAXX (AK) "Faxx" 1977 (Faxx no#) [500p] Hard rock. FBC BAND (Fort Wayne, IN) "Worth a Fortune" 1982 (no label, no#) Heavy progressive rock guitar/keys with high pitched vocals and a mid-1970s sound. Side 2 was recorded live. The album title is of course wishful thinking. [RM] FEAR ITSELF (CA) "Fear Itself" 1969 (Dot 25942) Overlooked Big Brother/Janis-style psychrock LP with wailing femme vocals, crude guitarleads and two very good acid freakout tracks the main attraction. Attains some genuine intensity and the band definitely was more at home among freaks than teenyboppers. Three unimaginative blues/soul covers keeps this from being a classic. A French pressing with a different sleeve exists. [PL] ~~~ This is Ellen McIlwaine's first recording, and one of the very few female-led rock bands of the time. McIlwaine would soon make her name as a bluesy folk artist who plays a mean slide guitar, but here she tried to get heavy. Supposedly Led Zeppelin ripped off "In My Time Of Dying" from this record. The band's name refers to McIlwaine's feeling of being a woman in the male-dominated rock business, and admittedly there are moments where a certain kind of uncertainty shows through here. The album has some excellent moments and a nice tough sound, but feels like it was recorded before they were entirely ready. Nonetheless, it's quite listenable and a solid album that rivals the male heavy psych records of the era. [AM] FEATHER DA GAMBA (LA) "Like It or Get Bent" 1971 (D.G 7743) "Like It or Get Bent" 2000 (Void) Lo-fi basement swamprock obscurity covering an eclectic field of Ant Trip Ceremony late-night jazzrock, quirky jugband moves, murky Stone Harbour

rock with funny lyrics - doesn't appear to be entirely serious, but hard to tell the jokes from the seriousness. Organ and what sounds like a clarinet (?) upfront, lack of strong guitarleads may disappoint some. Plenty of atmosphere, closing track in particular is good. Not a great LP, but a cool trip for an open mind. [PL] FEDERAL DUCK ( ) "Federal Duck" 1968 (Musicor mm-2162) [wlp exists] "Federal Duck" 2004 (CD Radioactive, UK) Underrated album whose silly cover gives no clue to the moody, late-night sounds inside. Comparable to a more structured Freeborne, with a mild jazz influence, great bass playing and a dark vibe. A few upbeat songs break the mold (one sounds just like the Holy Modal Rounders), but this is consistently good, much better than a lot of albums with ten times the price tag. [AM] FELLOWSHIP CHRISTIAN CHURCH ( ) "Man Of Sorrow" 197 (no label) Moody xian folk psych. Acoustic and electric guitar, piano, some synth. Nice lost downerdom in the biographical 'lost musician finds God' title track and the downright weird "The Prostitute" which brings to mind Peter Grudzien's "Redemption". Pretty female vocal on "Rose of Sharon". [RM] FELT (AL)

"Felt" 1971 (Nasco 9006) "Felt" 2000 (CD Akarma 127, Italy) [digipak] "Felt" 2000 (Akarma 127, Italy) Strong Southern psychrock LP that's probably the best thing on the label. Excellent teenage vocals and a wide-ranging spectrum of influences including late Beatle-psych, mellow west coast-jamming and early 1970s hardrock, held together by a tight band who obviously put a lot of effort into this album. Strange that this took so long to get reissued, although the bizarre cover may have contributed. [PL] ~~~ Solid album that goes from Beatlesque pop to bluesy hard rock, this one gets everything right. The tenminute song that starts side two has an awesome riff and maintains a fantastic level of intensity. Sounds awfully mature for the work of a supposedly 17-yearold singer/songwriter. A really good one. The album was mastered a little off-center, and the Akarma reissue was mastered from the vinyl. The last song on

both orig and re has an annoying wavery sound to it. A reissue from the master tapes would be very welcome. [AM] ~~~ This album is unexpectedly diverse and impressive. The opener 'Look At the Sun' served as an atypical, but gorgeous ballad. It sounds kind of strange but the song actually benefits from Jackson's somewhat quivery vocal performances. Couple with some great lead guitar at the end of the track, it's also the most commercial song on the album. Sporting an antidrug lyric 'Now She's Gone' starts out with a pseudojazzy flavor complete with scat segments before mutating into a bluesy segment and then going back into jazz mode. It probably doesn't sound very promising on paper, but somehow these guys make it one of the album's most entertaining pieces. Musically 'Weepin' Mama Blues' is a pretty standard keyboard and guitar propelled blues workout that sports some killer drum work and a lead guitar and scat vocal combination that won't quit. It may also have Jackson's best vocal performance. He sure doesn't sound like a 17 year old on this one. Clocking in at over ten minutes and going through numerous time changes, "The Change" is an entertaining mix of progressive and hard rock moves. As for the two other tracks; "World" was a decent hard rock number that's knocked down a notch by Jackson's strained falsetto vocal (though part of the problem may explained by a pressing defect that saw the album mastered slightly off center). The final selection "Destination" was simply bland. All in all a real surprise with great songs, great performances and surprisingly clean and sophisticated production work. [SB] FEMININE COMPLEX (Nashville, TN) "Livin' "Livin' "Livin' "Livin' "Livin' "Livin' tracks] Love" Love" Love" Love" Love" Love" 1969 2000 2001 2001 2004 2004 (Athena 6001) (Teenbeat TB-196) (CD Gear Fab) [+bonus tracks] (Gear Fab) (CD Rev-Ola, UK) [+bonus tracks] (CD Beatball 13, South Korea) [+bonus

Legendary femme psych album that, like the Daisy Chain album, mixes horn-led pop with some much more interesting experimental songs. It opens and closes with screaming fuzz guitar blowouts, and nothing in between (except maybe the catchy pop tune "I Won't Run") is anywhere near as good. Would have made a great single or EP. For years it was questioned whether they really existed but the reissue confirms that they were an actual band, though session musicians helped with the album. The reissue CD has tons of bonus tracks of dubious value, making the album seem endless. [AM] ~~~ Nashville's little known The Feminine Complex have to be seen as groundbreakers (albeit some twenty years ahead of popular tastes). As an all girl, selfcontained band, simply having had the talent, skills and fortitude to record an album in the late-'60s stands as an amazing accomplishment. The fact the set is as good as it is, makes it all the more

impressive. "Livin' Love" was a strange effort. Largely penned by Mindy Dalton, musically the set offered up a weird mix of raw rockers and surprisingly tame MOR ballads. On one hand, fuzz and feedback propelled rockers such as the leadoff stomper "Hide and Seek", the feedback paced "It's", "Time Slips By" and the soulful, horn-propelled "Run That Thru Your Mind" were apparently a true reflection of the band's live act. At the other end of the spectrum, backed by studio musicians and elaborated arrangements, "Now I Need You", "Are You Lonesome Like Me" and "I Won't Run" reflected Kilpatrick and Powell's desire to give the band a more polished and commercial sound. With the latter material recalling the Petula Clark school of top-40 success (check out "Forgetting"), guess which numbers were more impressive? Ironically, by the time the record was released, falling victim to parental pressure to complete school, Napiers, Stephens and Williams had all quit the band. That probably explains why Dalton and Griffith were the only two band members shown on the back cover. [SB] HANS FENGER & LANGLEY SCHOOLS CHORUS (Langley, Canada) "Hans Fenger & Glenwood Region Group" 1976 (no label) "Hans Fenger & Wix-Brown Elementary School" 1977 (no label EPN 7259) "Langley Schools Music Project - Innocence & Despair" 2001 (Bar None) [2LPs; gatefold] "Langley Schools Music Project - Innocence & Despair" 2001 (CD Bar None) The title of the reissue (a compilation from the two albums) is perfect, as these high school recordings beautifully portray the exuberance and innocence of an age when everyone loved to sing. The stark and heavily reverbed production, combined with the huge wall of voices, give the songs a certain kind of eerie sound that would be awfully hard to duplicate. This is the kind of album that some people will absolutely fall in love with. An objective opinion, though, is that its really cool for a couple of songs but doesnt really need to be a whole album. Klaatus Calling Occupants is an inspired song choice. The highlight, though, is undoubtedly Desperado, with a heart-wrenching solo vocal from one young girl. It makes me think that an entire album like this, but with children singing the lead vocals rather than in chorus form, would be spellbinding. Of the original LPs, the first one includes things like "Space Oddity" and "Band On The Run", while the second has "Venus & Mars", "In my room", etc. Only a few hundred copies were pressed of each. [AM] FENNER, LELAND & O'BRIEN (Hamilton, NY)

"Peace In Our Time" 1969 (RPC AZ 41771/41772) [laminated cover; 50p; insert] "Fenner, Leland & O'Brien" 2003 (CD Wild Places) [2-on-1 re w/ 2nd LP] Superrare debut LP only known to exist in a handful of copies. More of a demo vibe than the 2nd, with flubbed lines left intact and a DIY attitude. Opens with a great but atypical 10-minute fuzz/organ folkrock excursion, while rest of the LP is lowkey and intimate hippie folk. Excellent unpretentious vocals reminiscent of the guy in Shadrack Chameleon, while lyrics address 'Nam concerns and other counterculture themes of the era, plus some introspective laments. Has a NYC college dorm vibe similar to Patron Saints, although the band was from upstate (Colgate University). A solid trip for genre fans, holds up well to the sequel. Generic tree foliage/sunlight sleeve. [PL] "Somewhere, Someday, Somehow" 1970 (RPC AZM 70402) [250p] "Somewhere, Someday, Somehow" 2000 (Wild Places) [altered sleeve] "Fenner, Leland & O'Brien" 2003 (CD Wild Places) [2-on-1 re w/ 1st LP] -- 3 tracks from the original LP are omitted on the reissues Obscure hippie folkrock/singer-songwriter LP on the mythical RPC custom label, discovered and reissued only recently. A good one too, with a CSN&Y influence typical of the genre, consistent and with quality songwriting. Some tracks utilize an electric setting + organ, others are more lowkey acoustic. I'm reminded of Timmothy and Brigg here and there, even has some Patron Saints vibes. Admirably relaxed and unpretentious vocals recall some of the more famous UK rural hippiefolk rarities. Worth checking out. Generic sky/clouds sleeve. [PL] FERRON (Vancouver, Canada) "Ferron" 1977 (Lucy Records no #) "Backed Up" 1978 (Lucy Records) Lesbian singer/songwriter with a long career; her first two albums contain downer folk moves with earthy vocals. Several tracks from these two privates were re-recorded for her first commercial release, "Testimony" in 1980. FIELDS (CA) "Fields" 1969 (Uni 73050) [unipak]

"Fields" is kind of an oddity; especially for a record label that's best known for a more poporiented catalog. The album's overall feel is very blues-rockish. A number of reviews we've seen draw comparisons to Cream. In this case the comparison isn't bad, with tracks such as the leadoff rocker 'Elysian Fields', 'Take You Home' and 'Jump On It' baring more than a passing resemblance to Clapton and company. Exemplified by tracks such as 'Bide My Time', the performances are quite raw. Personal favorite - the bizarre, sidelong 'Love Is the Word'. With backing from Motown singer Brenda Holloway, the song offers up a weird blend of rock, psych and soul influences. Stretched out over nearly 20 minutes, it has to be heard to be believed. [SB] ~~~ Decent hard rock effort by a band with a Cream fixation (but thankfully no drum solos). Lots of lead guitar on the normal length songs on side one. Side two is one 20-minute song that has a lot of creative ideas and builds in intensity. It's much better than most side-long songs of the era and is an actual composition, not just an excuse for jamming. Overall, a good but not great album that is interesting enough to be recommended to fans of the style. [AM] MIKE FIEMS (AZ) "I Would Dream" 1974 (Vermillion V-1974W) Little-known singer/songwriter produced by Ray Vernon for his label. Fiems collaborated with Vernon on another production around the same time. 15:60:75 a k a NUMBERS BAND(Kent, OH) "Jimmy Bell's Still In Town" 1976 (Water Brothers no #) "Jimmy Bell's Still In Town" 2005 (CD Hearpen Records 112) This is a cool, unique record. The standard Grateful Dead-meets-Velvet-Underground description isn't accurate at all, if you ask me. These guys peppered their soulful rock with jazzy jamming and a streetpoet style of vocalizing to create a distinctive sound. Lots of saxophones, but plenty of guitar too. The long songs are well-thought out and the live recording is very crisp and clear. They project coolness throughout. They're legends in Cleveland and some think they were one of the best live bands ever. It's likely that this live LP is better than anything they could have done in the studio, and later records don't come close to it. Other LPs include "2" from 1982 and "Among The Wandering" from 1987, both on the Water Brothers label. They also recorded a cassetteonly live show, "Blues" (1991, Reedurban). [AM] ~~~ Amazing droning urban 1970s guitar/sax underground rock outside of any known genre, with the tightest groove section since Bubble Puppy. A melting pot of inner city sounds grabbing you by the throat and shaking you down until you've forked over the $$$ needed to keep the Numbers Band party going with cocaine, women and Sly Stone records all night. Blows

95% of all "psychedelic" LPs off the map. [PL] FIFTH FLIGHT ( )

"Into Smoke Tree Village" 1970 (Century 39398) Unexceptional lounge rock covers with fuzz and organ, including heavy version of Neil Young's "Sugar Mountain". Beautiful generic mill wheel cover. V.A "FIFTH PIPE DREAM" (San Francisco, CA) "Fifth Pipe Dream" 1968 (SF Sound 11680) [1st issue with b/w cover; gatefold; sticker inserts] "Fifth Pipe Dream" 1968 (SF Sound 11680) [2nd issue with color cover; gatefold; sticker inserts] "Fifth Pipe Dream" 198 (SF Sound) [bootleg; color cover; no gatefold] While many obscure San Francisco LPs are disappointing, here's one that delivers in full. Tripsichord and It's A Beautiful Day turn in some of their best tracks ever and the obscurer acts are great too, particularly Indian Puddin & Pipe who contribute heavily to the aura surrounding this comp with "Hashish" and "Water or Wine" (both comp'd). Black Swan are also featured. This was an attempt from notorious scoundrel Matthew Katz to cash in on the S F scene and as far as music goes, he succeeded. Produced by Rusty Evans of The Deep under his real name. Most tracks were recorded in 1967. The band logo stickers are quite rare and may have been promo only. [PL] FIFTY FOOT HOSE (San Francisco, CA) "Cauldron" 1967 (Limelight 86062) [lyric inner sleeve; ylp exists] "Cauldron" 1995 (CD Weasel Disc) [+3 tracks] "Cauldron" 1996 (CD Big Beat wikd-158) [+bonus tracks] An old cutout bin staple and underrated for many years, has been revaluated and is now seen as a pinnacle for the true acid sound. Fillmore-style guitar jams mix with garage electronics and strong songwriting to create a truly unique and essential experience. The epic "Fantasies" is as good an approximation of an LSD trip as you'll ever find. I rate this among my personal top 20 60s major label LPs. Something of a mystery group as they didn't play live much, even in their native San Francisco. An original UK pressing on Mercury exists. Opinions on

their early 45 and unreleased pre-"Cauldron" material (issued as "Ingredients", Del-Val 1997) differ, personally I found it a bit too arty and unpsychedelic. There is also a "Live and unreleased" CD on the Jaspac label featuring 1995 recordings. [PL] ~~~ Fantastic electronic album that really pulls out all the stops. Its experimental, but not at the expense of great songs. The obvious comparison is the United States of America, and this album is better in some ways, weaker in others. Most notably, the United States of America succeeded in integrating their sound effects, synthesizer noise and other electronics directly into their compositions in logical ways, while here much of the noise and electronics sounds random. Theyre still fun and exciting, but dont have the same power as the more carefully thought out U.S.A. arrangements. The result is that the best songs here dont match the best of U.S.A. On the other hand, unlike that albums three or four weak songs, there arent any duds here. Nancy Blossom isnt half the singer Dorothy Moskowitz is, but she also takes more risks, with the eerie, freaky title track being a wholly successful example. The CD adds the earlier Bad Trip single, which has to be the most abrasive and free-from song to have been recorded in 1966. Its not exactly good, and is more enjoyable when heard separately from the album as a whole, but it shows this ahead-of-their-time bands willingness to try just about anything without letting good taste get in the way. [AM] ~~~ see -> Leland FILET OF SOUL (Thorp, WI) "Freedom" 1970 (Moniquid 4857) "Freedom" was different from a lot of era albums in that it showcased a largely original set of material. Largely penned by member Mike Peace, the album showcased an interesting mix of blue-eyed soul ("Treat Her Right"), top-40 pop ("Here's Where I Get Off") and tougher rock material ("Come To Me"). As lead singer Peace had a great voice that was more than capable of handling the band's diverse repertoire. It was all performed with the kind of naive enthusiasm that more than compensated for whatever performance short comings the band had and for the somewhat low-fi sound and production. Interestingly virtually every one of the twelve songs had commercial potential, but these guys were at their best when playing straight ahead rock - the wah-wah guitar propelled title track, "Big City USA", the fuzz-driven "Standin At the Wrong Machine" and the raging garage screamer "Steppin Into You Fire". There was also a nice cover of the Zombies' "Tell Her No". Certainly not the most original album you've ever heard, but thoroughly charming and one that I continually spin. The b & w cover is due to a color sleeve being beyond the band's means, after purchasing the rights to the album from Chess, who chose not to release it. [SB]

FINCHLEY BOYS (Champaign, IL) "Everlasting Tributes" 1972 (Golden Throat 200-19) [1000p; some copies w/ sticker] "Everlasting Tributes" 1983 (Golden Throat) "Practice Sessions" 1984 (Eva ev-102, France) [altered sleeve; bonus tracks] "Everlasting Tributes" 1993 (CD Eva b-28, France) [+3 tracks] "Everlasting Tributes" 2004 (CD World Psychedelia, Korea) Wasted bluesy album that has its moments, especially It All Ends. This is best when they veer from their bluesy base, but overall its a pretty solid heavy rock album. The material was recorded in 1968-69 but not released until 1972. Contrary to popular belief, there was no 'indistinguishable repress' by the band in the 1980s. The numerous copies that turned up then was due to someone connected to the band buying the remaining 500 copies that were held by the manufacturer. All these copies are originals, with or without the sticker. The 1983 reissue has a '1983' copyright on the label and a slightly thinner sleeve. The Eva CD reissue stupidly changes the running order and inserts mostly mediocre bonus tracks in between the songs from the album proper. If you listen to it in this context, youll really underestimate the quality of the original LP. [AM] ~~~ see -> Don Thompson PETE FINE (NY/AZ) "On a Day of Crystalline Thought" 1974 (no label 4374) [100p; insert] "On a Day of Crystalline Thought" 2001 (Shadoks, Germany) [insert; 450#d] "On a Day of Crystalline Thought" 200 (CD Shadoks, Germany) Post-Flow fullblown acid orchestrations, closest thing to a hippie symphony you can find. Covers a track from the Flow LP though you'll hardly recognize it in this context. Don't know how he could afford it all, and stranger still it actually works - the total effect is like walking around in a summery national park on acid. Only LP in this direction I've heard, interesting and worthwhile. The reissue has somewhat inferior sound to the original. [PL] ~~~ Massive production full of strings and classical themes. Must have cost a fortune for a record Fine knew would never make him back his investment. If youre in the right mood it sounds like a masterpiece, but really its overblown and tries way too hard. Clearly Fine is a unique voice with a lot of ideas, though this album feels kind of like the Damin Eih album, in that its too personal and quirky for more than a few bits and pieces to work unless youre on Fines wavelength. A couple of songs from the Flows album are re-done here in a completely unrecognizeable form. [AM] "Northstar" 2004 (Shadoks, Germany)

Previously unreleased 1976 recordings with female vocals, reportedly not very exciting. FINGLETOAD, STRANGE & SIHO (IL) "Fingletoad & Strange" 1969 (IRC acetate) [plain white sleeve; inserts and photos] Recently discovered acetate from Chicago area guys which lead to the find of the great "Mazzola" LP detailed below. This first album is enjoyable with a demo-like feel; most tracks are in an introspective rural folkrock style, reminiscent both of westcoast and British bands of the era. Use of flute and a loose, moody vibe recalls Traffic, while other parts show a Flying Burrito Bros embryonic countryrock influence. Extended last track on side 1 is great while the rest is either listenable or good. Reissued as disc 2 of "Mazzola" on Shadoks, below. [PL] "Mazzola" 1970 (Zut 1147) [plain cover with band photo attached] "Mazzola" 2004 (Shadoks 055, Germany) [2LPs; 350#d; lyric insert] Unlike the debut album this was properly released although in such a limited pressing that it was unknown to exist until recently. The moody westcoast/early rural rock moves from the 1969 effort are explored further and given a full "rock" sound on this superior album. New band member "Siho" contributes some of the best tracks, like the brilliant opener "Marshland". The influence from "Everybody Knows"-era Neil Young is obvious and like similar albums (Shadrack Chameleon springs to mind) the derivation is successful. Recorded more or less live in the studio the sound is appealingly warm and organic, with talent on display across the board. The band temporarily breaks out of the rural CA mood on "Screaming Spiders" which has some remarkable acid guitarwork. Not all tracks are equally great although the band shows a lot of class in letting the three (by my count) killers run on, while some less remarkable countryrockers are kept short and sweet. All over one of Shadoks' best reissue picks by my ears, not a killer all through but with moments of outstanding greatness and a whole that works fine. [PL] ~~~ The 2004 re-release of this previously unknown album was met with hype that's impossible to live up to. But if you don't expect it to be one of the top few psych albums ever, you're sure to find it worthwhile. They have a very interesting mix of influences, with a Beatlesque bit here (especially the McCartney-style bass playing), a CSN-style harmony there, some San Francisco style guitar here and some jazz there. Most of this is mellow and languid, with "Marshland" being particularly beautiful and dreamy. One pure country song falls a bit flat, but otherwise it's all very good or better. The absolute highlight is "Screaming Spiders," with stunning walls of feedback-heavy guitar. The songwriting has depth and this album gets better with multiple listens. The cheap production will appeal to some of you, but I think it detracts

from the quality of the music. [AM] FIRE & ICE, LTD (Los Angeles, CA) "The Happening" 1966 (Capitol t-2577) [mono] "The Happening" 1966 (Capitol st-2577) [stereo] All bases covered on this early psych & soul exploitation. This band included noted musician John Greek, known for "City Jungle" by the Beautiful Daze as well as session work that included Lollipop Shoppe, the Seeds' "Wind blows your hair", the "LSD" album on Capitol, a classic garage 45 by the Puddin' Heads, and more. FIRE & SNOW ( ) "Reflections of a New World Order" 1969 (Baha'I Publishing Trust CBF 2009) Not exactly Jesus music since it was recorded by the Baha'i Publishing Trust, but in terms of concepts and enthusiasm for the cause it actually fits in the same category. A compilation featuring 16 tracks with material from eight artists. Most of the performers are allotted two songs, though Phil Lucas is credited with four selections. The material is largely acoustic folk with religious oriented themes running through it, though such themes are more apparent in some selections than others. I'm assuming all of the performers were/are members of the Baha'i faith. Most of the tracks are at least mildly entertaining in a weird, dated kind of way. Probably because they reflect an Eastern influence, tracks like 'Baha'u'llah' and 'Baha'u'llah, The Nightingale' are the most interesting efforts (Mighty Baby fans might find those tracks worth hearing). To my ears the standout track is Chris Ruhe's 'Blues for Jere'. A rather personal narrative of his trek to preach the Baha'i faith in Honduras, it's funny and touching at the same time. Best voice probably goes to Joany Lincoln, though her crystal clear voice is wasted on two rather bland tracks. [SB] FIREBIRDS ( ) "Light My Fire" 1968 (Crown cst 589) "Light My Fire" 2002 (CD Radioactive 003, UK) This is as cool as exploito gets. Other than the opening instrumental version of the title song, it's pure grungy hard rock with heavy guitar, spastic drums and pained vocals. It's one of the best heavy albums of the 60s and sounds like nothing else. That is, it sounds like nothing else except the 31 Flavors album, since that's the same band from the same recording sessions (and actually includes two songs that are mistakenly listed on this album's front cover.) Great album cover, too. A 4-track format version on Flair exists with no band name credited and additional tracks, presumably the 31 Flavors

material. [AM] ~~~ see -> Underground Electrics FIRE ESCAPE (CA) "Psychotic Reaction" 1967 "Psychotic Reaction" 1967 exists] "Psychotic Reaction" 198 orange label] "Psychotic Reaction / Raw 1] (GNP Crescendo 2034) [mono] (GNP Crescendo 2034) [stereo; wlp (GNP Crescendo 2034) [reissue; & Alive" 1991 (CD Demon, UK) [2-on-

Some great snotty fuzz exploito. Cover says group is from San Francisco area but this is a Hollywood studio project with arrangements credited to Michael Lloyd. Half cover tunes including two Seeds tracks, one Music Machine and one Count V. Thee Midniters cover "Love Special Delivery" is pretty cool. Produced by Hank Levine. A Canadian pressing exists. [RM] FIRST CHIPS (Chicago, IL) "Clay Pidgeon vol 1" 1972 (Clay Pidgeon SFCV1) "Clay Pidgeon vol 1" 199 (Clay Pidgeon) [bootleg] Raunchy guitar rock wasted jamming. Not really a group but a collection of Vyto Baleska's recordings made at Clay Pigeon Sound Unlimited and at Crown Studios. One track dates back to 1964. Vyto produced and is backed by a variety of musicians on these tracks.[RM] ~~~ see -> Vyto B FIRST FRIDAY (Notre Dame school, South Bend, IN) "First Friday" 1970 (Webster's Last Word S 2895) [500p] Recorded September 1969 at Golden Voice in Illinois and released by Chuck Perrin's local Indiana label, this was the work of Notre Dame's other recording act (apart from the Shaggs), and is a mix of heavy blues rock and rural folk. FIRST LITE (NJ) "A New College Experience" 1982 (Nexusonics) Strange LP with eclectic mix of electronics, straight singer/songwriter, jazzy instros and one track with a psychedelic feeling. Titles include "The wabe", "Galaxy", "The beckoning". Odd, non-descript color cover photo looks like someone cut a postcard in half and blew it up in size. An album for the bold and the bored.

FIRST REVELATION (Long Island, NY)

"Gospel" 1972 (Revelation dl-4045) Credited to Danny & Lynda, this is a X-ian rock husband and wife team with drummer John Hauser (Blue Ridge). Half the LP is relatively normal soft rock praise and hymn material but on the remainder Danny goes into freakout distorted rubber band wah-wah riffs that are bizarre and heavy. The hard-rocking numbers include "Show Me One Place", "Keeper Of My Soul" and "Sing It Out". [RM] "This Side of Eternity" 1973 (Revelation d-5051) [first version] "This Side of Eternity" 1973 (Revelation d-5051) [second version; different recordings] Whats cool about the Danny & Lynda/First Revelation albums is that Danny is a hot guitarist in about ten different styles, with or without distortion and effects, slow, fast, country, 1950s style rock ballads, hard rock, bluegrass, you name it. Hes just fantastic, and hes equally adept at the banjo. Lynda has one of the stronger voices in the genrecapable of real power. Unfortunately, like a lot of Christian singers shes very precise and not very passionate. The few times she almost busts loose its obvious she could have been really great, as cool as Danny, if she lost a few inhibitions. This album offers a little of everything, for better or worse. (I could have done without Jesus Loves Me, for example.) As Long As you Listen, among others, rocks convincingly and the guitar gets pretty far out. An unexpected highlight is the worlds only banjo/moog duet, an instrumental version of Swing Low, Sweet Chariot, of all things. My kids, 1 and 5 when they heard it, danced like crazy to the song and asked me to play it again. Not the most consistent album in the world, but thats part of its charm. Its worth it for the good parts, and theres nothing else really like Danny & Lynda. The re-recorded second version with new drummer Bob Argirio is superior. The copies from the band find were this version. [AM]

"Upon This Rock" 1975 (Revelation d-6736) Danny and Lynda are back and a bit more convential

(read: solemn) but there are still some fine moments of Danny's flash guitar and Lynda's moog on "Upon This Rock", which has a more pastoral edge. "First Revelation Of Danny And Lynda" 1999 (World In Sound rfr-001, Europe) [500#d] A useful sampler of material from their career, focusing on the harder guitar stuff. Hidden Vision has released a CD featuring two live recordings from 1975 ("Alive in New York", 2005). FIRST VIBRATION see Do It Now Foundation ERNIE FISCHBACH & CHARLES EWING see A Cid Symphony DAVID FISHEL (PA) "Food For Thought" 1976 (Kats Eye CS 8106) Eccentric lost folk. KEVIN FISHER (CA) "First of Fisher" 1977 (P. Pan p-101) [75p] -- issued in a black and white silkscreened cover with blank back. The band members' autographs are around the border. Clearly a home grown vanity project. Technically the album has a fairly primitive sound, but in musical terms it's all over the spectrum. The acoustic ballad "Lullabye" has a heavy classical feel (Pentangle came to mind the first time we heard it), while "Flying" sports a 1950s' vocal group feel and the hornpropelled "Pirate's Song" recalls a post-David Clayton Thomas Blood, Sweat & Tears. The second side sports some mundane progressive moves in the form of "Indian Dance" and "In Search". Again it's fairly raw, but not without it's low-keyed charms, including the pretty ballad "A House for Wendy".[SB] JEF FISK (MI) "It's All Rootbeer" 1974 (Bird Productions BP-61851) Rare loner folk LP from Michigan. It has some great humorous songs with titles such as "Travellin' Pancakes", "Peanutbutter Buddy", "Blue Jean Day" and "Lawnmower Boy", with gruff vocals and great offbeat lyrics to match. Fisk also had a rare duo LP with one Tom Shader which was a numbered pressing of 100 copies. This solo LP isn't numbered, but one can figure it to be about as rare. Comes in great homemade looking cover with great handmade drawings of Fisk and a very crude label logo. [MA]

ED FISSINGER (MN) "Light Years Away" 1978 (no label) "Lunar Blues" 1983 (no label) "Lunar Blues" is loner folkrock with flute and 12string. Some downer fuzz psych moves as well. Sounds ten years earlier. These albums were recorded with local musicians including ex-Podipto members. Fissinger has released a CD sampler of tracks from the two albums, titled "Fishbowl", as well as a selftitled CD of recent recordings. [RM] FIVE EMPREES (Benton Harbor, MI) "Five Emprees" 1965 (Freeport 3001) [mono and stereo exist] "Little Miss Sad" 1966 (Freeport 4001) [mono and stereo exist] "Little Miss Sad" 2004 (CD Arf Arf) [+bonus tracks] Clearly recorded in a rush, this album offered up a mixture of popular pop and soul hits, including a cover of Curtis Mayfield and the Impressions' "Mama Didn't Know". While there wasn't anything particularly original to be found here the performances were surprisingly engaging and enthusiastic. Don Cook had a surprisingly versatile voice that was capable of handling the band's diverse repetoire. Moreover, in spite of their youth and clean cut all-American looks, on tracks such as "Georgianna" and "Johnny B. Goode" the band played with an enjoyable garage edge. As is frequently the case, the best track here was the lone original, "Why". There were also a couple of non-LP 45s on Freeport and Smash. "Little Miss Sad" is a repackage of the debut LP to exploit their near hit. [SB] FIVE KINETICS ( )

"The Snow Children" 1967 (RPC 81262) Garage covers, nothing special for the most part excepting a 3.5-minute cover of "You're Gonna Miss Me" with a jawdropping manic distortion solo for about a minute and a half! The band may have been from Michigan. [RM] FLAMIN' GROOVIES (San Francisco, CA) Sneakers 1968 (Snazz r-2371) [10"]

"Sneakers" 1975 (Skydog mlpfgg-003, France) [10"] "Sneakers" 199 (Munster, Spain) [10"; poster; 3 handbills] "Supersneakers" 199 (CD Sundazed sc-6077) [+10 tracks] Notable for being the first really well-known selfreleased album, this 10-incher is also the Groovies album most likely to appeal to psych fans, with plenty of fuzz guitar. Theyd get better, but this is still an enjoyable artifact with a few really good songs. Later Groovies albums are outside of the scope of this book. "Supersneakers" is a reissue of "Sneakers" plus ten live tracks from 1968 at the Matrix in San Francisco. [AM] FLAT EARTH SOCIETY (Lynn, MA) "Waleeco" 1968 (Fleetwood 3027) "Waleeco" 1983 (Psycho 17, UK) "Waleeco / Space Kids" 1993 (CD Arf Arf 042) [2-on-1] Well-known local moody teen psych LP, originally sold as a marketing device for candy bars! There's three tracks with an outstanding flowing melodic westcoast feel and acid guitar runs, also some downer introspections, and a few longer instrumental passages which show obvious ambitions. The only nonoriginal is a unique deconstruction of "Midnight Hour". "Portrait of grey" goes on a couple of minutes too long, while "Satori" is an unexpectedly atmospheric "peak time" instro with sitars and backwards masking. Way cool transition item from the MA prep/garage scene into the Freeborne/Ill Wind Bosstown psych era, better than most. Stellar sleeve too. [PL] ~~~ This album is most remembered for being sold as a candy bar wrapper offer. Its hard to imagine what a ten-year old candy-holic would have thought of this, because while it has a pop sense, some of it is pretty freaky. A couple of instrumentals are particularly far out, though the rest of the album shows that they could write and perform tight songs too. A good album, one of the better Bosstown artifacts. "Space Kids" on the Arf Arf CD is 'a space opera' by another Boston area band, The Lost. [AM] FLOATING BRIDGE (Seattle, WA) "Floating Bridge" 1969 (Vault vs-124) This hard rock album has a few really killer tunes mixed in with pedestrian heavy blues and two long instrumentals (both are covers of well-known 60s songs, where the chord progressions are used as a basis for jamming. Different idea, but the jams are only OK). Overall it's a really patchy album but is recommended to hard rock fans for the good songs. The UK version apparently has two songs that are not on the US version and vice versa. The Japanese press has the same songs as the US press and is on blood-red vinyl. [AM] ~~~ A standard mix of originals and popular covers, but

the results sported a distinctively heavy, Hendrixinspired sound. Propelled by Gossan's likeable voice and Dangel and Johansen's twin leads extended guitar rave-ups like "Crackpot" and their Byrds/Stones instrumental medley should strike a chord with the two hard rock fans out there reading this. Elsewhere another "Hey Jude" cover wouldn't have sounded like the year's most imaginative move, but these guys managed to pull it off. Envision the song redone as an instrumental with a heavy edge that would have sounded good on an early Allman Brothers album... In fact the only real disappointment is the routine bluesy closer "Gonna' Lay Down 'n Die". Much better than the standard references would have you think, and surprisingly hard to find in decent shape. [SB] FLOOD (NY)

"The Rise Of Flood" 1972 (Maple m-6005) "The Rise Of Flood" 1995 (no label, UK) [altered sleeve; 300#d] Came with the typical dealer hype when reissued but is a disappointment along the lines of Farm above. Local mid-70s sort of barrock/basement AOR vibes with (God forbid) honkie funk moves. Pretty stiff and flat soundscape a la the first Agape as well - only redeeming factor is a passable consistency. Don't waste your money on this one. [PL] FLOSS ( ) "Cruisin'" 1976 (Silver Crest Custom) [100p] New York area high school basement covers. Garagy guitar primitive versions of songs by Bob Dylan, Rolling Stones, Beatles etc. Lo-fi recording. Described as dull and inept by some. The small press size has been reported by the band. FLOW (NY) "Greatest "Greatest "Greatest version] "Greatest bonus 45; "Greatest Hits" 1972 (no label) [1-sided version] Hits" 1972 (no label) [2-sided version] Hits" 199 (no label, Europe) [bootleg; 1-sided Hits" 199 (Shadoks, Germany) [2-sided; poster; 450#d] Hits" 2003 (CD Shadoks 050, Germany) [+3 tracks]

Interesting, unusual LP that stands as a missing link between the late 60s hard psych era and the mid-1970s "first wave" Eastcoast punk bands like Television. Plenty of intense inner city vibes which make the occasional acid hippie digressions seem out of context. Loud, in yer face soundscape is great, and

the playing packs a lot of punch -- just dig that bass player. Some or all of it recorded live in the studio, it seems. With a bit more consistency on side 2 this would have been a major classic. As few as 100 copies may have been pressed of the original. Shadoks re has a bonus 45 which is pretty disappointing. [PL] ~~~ Fool your friends by playing them this album and Pete Fines solo album and telling them its the same artist... theyll never believe you. This album is heavy, full of chunky guitars. It has some powerful moments and an appealing rough sound. A few much quieter, more delicate songs manage to somehow fit in just fine. Like Fines solo album, its been a bit overhyped by collectors, but its definitely worth hearing. All original copies that came in plain covers read "1-sided" on the back, even though some discs have music on both sides. Some copies were issued with the paste-on 'amp' cover. [AM] ~~~ see -> Pete Fine FLUID OUNCES (GA)

"Picked Green" 1972 (Atteiram) Obscure private press from local band with soul and rock covers. Some dealers have tried to hype it with little success. FLY BY NIGHT ( ) "Zoo Road" 1980 (Maniac) [lyrics insert] Hardrock/AOR. FLYING DOGS OF JUPITER (NJ) "American Dream" 1975 (Jovian jr-1213-sd) Grateful Dead sound rural rock. FLYWHEEL ( ) "Flywheel" 1977 (Central Sound) [500p] Really bad AOR/prog with horribly dumb love songs and a wimpy vibe. Dealers try really hard to sell this one, because it is rare, but don't trust anyone who calls it "hard rock," "psychedelic" or anything resembling competent. [AM]

FOLEY AND KAVANAUGH (AZ) "Ways to Get Through" 1973 (Merlin mk-37-167) [2LPs; gatefold] 2 LP set of the never-ending kind; songs upon songs with the same "sincere" 60s folk vibe, half-assed songwriting and light guitar arrangements. What makes it hard to swallow are the vocals, of which one is unexceptional and the other a poor man's Art Garfunkel that becomes pretty unbearable and only occasionally matches the lyrical content. There is a distinct lack of connection between the lyrical topics, the accompanying melodies, and the presentation that gives the whole thing a phony feel, sometimes with an unintentional comic effect as on the grade A turkey "Peas, carrots and cabbages". With 80+ minutes of playtime there will of course be some good tracks, although wading through 4 sides of bad Simon & Garfunkel to get there is hardly worth the effort. Apparently a Christian outfit, although I didn't catch much of it, except in a slight liturgical feel. This is the kind of album that gives hippiefolk a bad name. [PL] FOLKLORDS (Toronto, Canada) "Release "Release "Release "Release the the the the Sunshine" Sunshine" Sunshine" Sunshine" 1969 2000 2003 2005 (Allied 11) (Void 14) (CD Folklords) [+2 tracks] (CD Pacemaker 047)

Disappointing hippie folk LP with a garage sound a la Gandalf the Grey and the presence of an autoharp the redeeming factors. Opens OK with Donovan and Brazda Bros moves but becomes progressively predictable and uninspired until it's pretty unbearable towards the end. Bad, deadpan male vocals, sloppy drumming and clichd songwriting all help define mediocrity. Not many people seem to like this. Nice cover though. There was also a non-LP 45, "Forty Second River" on the C.O.B (!) label. [PL] FOLKSWINGERS (Los Angeles, CA) "Raga Rock" 1966 (World Pacific wp-1846) [mono] "Raga Rock" 1966 (World Pacific wp-1846) [stereo] This is an early exploitation cash-in, instrumental versions of hits of the day, all performed with Indian instrumentation in a rock context. Many of them (i.e. Norwegian Wood, Paint It Black, Eight Miles High) had sitars, tablas and/or Easternsounding melodies in their original versions, so the choice of songs is pretty logical. This isnt exactly authentic, and in a few cases there are very few Indian instruments at all, but rather fuzz guitars that have a sitar-like sound. One original is tacked on to the end of the album. This is reasonably well done, and if the description appeals to you, youll find it a fun record. The "band" had more LPs. [AM]

FOLLIE'S BAZAAR (RI) "Follie's Bazaar" 1977 (no label 4257) First LP from RIU college project is a mixed bag with hippie-folk, boogie and bluegrass. The cover shows a drawing of a castle. Some of these guys were formerly with Right Of Little Rest and there's also a connection to Closely Watched Trains. "Follie's Bazaar" 1978 (no label 45284) This appears to be untitled, like the debut, but has different contents and comes in a cover that shows a photo of a VW bus. This is progressive folkrock with some jazzy horn moves. There is at least one more LP, "No 10" from 1980. FOLLY'S POOL (Fresno, CA) "Folly's Pool" 1977 (Century 44675) This is an unusual album, kind of to prog what The Third Estate is to psych, with the same combination of acoustic guitars and wide-open low-budget production sound. Its highly ambitious despite obvious recording limitations. Its also extremely varied, going from California-style 70s rural rock to long folk songs with jig beats to flute-heavy prog epics. The creative approach to an otherwise mainstream style is intriguing, though the sound is really smooth, with harmonies that occasionally make me long for the good taste, restraint and passion of the Eagles and Seals & Croft. The sharp acoustic guitar sound doesnt exactly mix well with the showoffy electric leads either. There seems to be a good deal of talent here to go along with the creative ideas, but ultimately it sounds like the slickest possible major label recording (but without a major label budget.) I find much of it irritating, but I think that if the basic sound of it doesnt turn you off, with deep listens youll find a lot more to like here than I do. In fact, this is the kind of unique record that may become an absolute favorite to the right person. The way they turn Jig in A from an old fashioned folk tune into a prog epic and back is unlike anything else Ive heard. Also noteable: the last song is based around the interesting lyric were waiting on a mountain to die. [AM] ~~~ These guys tried hard to eat their cake and have it too, as they mix Eagles-style 1970s westcoast with musically advanced UK guitar-prog and hope that noone's going to complain. Few people probably will, as they do both styles in a surprisingly adept way for a vanity label band, with nice country-flavored melodies and strong vocal harmonies on the LA cowboy stuff, and adventurous and technically impressive guitar arrangements on the prog moves. Possibly originating from Jethro Tull, the end result recalls another Tull-influenced band, Denmark's great Culpeper's Orchard, although Folly's Pool don't quite

reach that level of consistency and inspiration. Third Estate is another possible reference, although the dreamy psych x-factor magic of that LP isn't really to be found here. Still, I enjoy this LP quite a bit, and as a merger of two seemingly opposite musical styles it's a rare experience. [PL] FOLLOWERS OF THE WAY (MA) "Followers Of The Way" 1973 (Sadbird SLP-2513) Christian folkies, originally from MA but later based in Des Moines, IA. This first LP is basically straightforward Catholic folk/singer-songwriter with a sincere 60s folkboom vibe and Joan Baez school high-pitched female vocals, sometimes mixed with a male singer. Instrumentation includes piano, acoustic guitar tapestries, and a fullblown church organ instrumental. May appeal to some, but too Sunday School squeaky clean for me. "Community Lives" reflects a 1970s missionary zeal, "The humble way" has a nice psychy Simon & Garfunkel feel, while "Creator Blues" is not very successful. [PL] "Blessed Weakness" 1975 (NFCLC) The second LP from the sextet is more ambitious. Female vocals with acoustic and 12-string guitar, flute, recorder, piano, and hand percussion. Band originals all through. Recorded in St Louis. ROBERT LESTER FOLSOM (GA) "Music And Dreams" 1976 (Abacus) Obscure album in a mid-70s pop/singer-songwriter direction with full band and some psych seasoning. FOOD (Chicago, IL) "Forever "Forever "Forever "Forever is is is is a a a a Dream"1969 Dream" 2000 Dream" 2003 Dream" 2005 (Capitol st-304) [green label] (CD Ascension, Australia) (Breeder, Austria) (Capitol/Scorpio)

Overlooked and fairly impressive major label studiopsych LP in the Sgt Pepper tradition, comparable to J K & Co, the psych angles of Rainy Daze, and the 2nd Mandrake Memorial. Some ripping fuzz reveals the release date as 1969 rather than 1967. One of several good Capitol psych LPs, although a little too zeitgeist derivative for my ears. Vocalist Steve White later did an obscure Christian 45 as Vision. [PL] ~~~ Mysterious, wondrous masterpiece that most collectors dismiss as the little brother to the other Capitol monsters (Gandalf and Common People) when its actually the best of the three. Intensely emotional and dramatic; these guys had a vision and multiple

see full-length review

FOOTCH KAPOOT ( )

listens begin to reveal its depth. String-laden ballads hold hands with fleeting blasts of power chords. Bits and pieces that seem to have no purpose blend together to create a surprisingly coherent whole. Its hard to know if they even intended this to be a concept album, but its definitely a case of the whole being more then the sum of the pieces, good as the pieces are. [AM] ~~~

"Good Clean Fun" 1978 (Cornball nr-9348) "Good Clean Fun" 2005 (CD Radioactive 111, UK) Ridiculously hyped dull rock with some progressive leanings. Nashville label. [RM] FORD THEATRE (Milford, MA) "Trilogy For The Masses" 1968 (ABC s-658) [gatefold] "Trilogy For The Masses" 200 (CD Black Rose 173, Germany) Trippy guitar and organ on this debut LP which is pretty solid and has seen some interest. The followup "Time Changes" (1969, ABC s-681) is common and rather weak. [RM] LOUISE FORESTIER (Quebec, Canada) "L.F." 1969 (Canadian Gamma 121) Forestier followed up her work on the Charlebois/Forestier album with this solo album, which is even wilder (and, due to the topless picture of her in the cover collage, just as controversial.) The first song sounds like Edith Piaf, but is instantly wiped out by a wash of backwards instruments, heavy fuzz guitar, frantic bass and squawking organ. She sounds like she cant keep up with the instruments and the effect is wild, indeed. She does seem more comfortable afterwards, as the songs mellow a bit to jazzy pop/rock and spooky ballads. This album is definitely wilder in a rock sense than the Charlebois album. The sense of anything goes is appealing, though this album doesnt quite have the same creativity or consistency as that superior work. Forestiers tendency to get overdramatic makes it seem that no matter how much she wants to experiment shell never be 100% suited to a rock setting. Still, its recommended, and doesnt sound like any other US or Canadian psych-era album. [AM] ~~~ see -> Robert Charlebois FORMULA ( )

"Formula" 197 (no label) [blank back cover] Very obscure early 1970s westcoast style rock with covers of Neil Young, Traffic etc; the highlight has been reported as the band original, "Berkeley Woman". Band member David Riordan released a major label LP in 1973. FORT MUDGE MEMORIAL DUMP (Boston, MA) "Fort Mudge Memorial Dump" 1970 (Mercury 61256) [wlp exists] Johnny-come-lately Airplane epigon with an impressive full & tight sound and versatile musicians enjoying the freer reins of 1970 while performing 1967-type material. Vocalist chick very much in a Grace mode sets things rolling nicely but is inexplicably scuffed aside by less impressive tunes & male singers as the LP progresses. Still enjoyable with good guitar and a real band presence like most MA hippie outfits; Ill Wind's promising kid brother perhaps. [PL] ~~~ So-so Bosstown album that suffers from a lot of clichs of the genre, including a drum solo, boring bluesy numbers and the worlds most pretentious and annoying male vocalist. The female vocalist is good, though, and a few of the songs she sings are pretty strong. Too bad there arent enough of them to make up for the dreck that surrounds them. Not at all original; this album lends credence to the Bosstown just wants to be San Francisco but cant hold a candle to it theory. [AM] FORTUNE TELLER (Baltimore, MD) "Inner-City Scream" 1978 (R.M.T. Studios 4956) Raw 70s garage rock with a rough urban edge as hinted by the title; obvious influence from late 60s Stones but with the macho posturing replaced by a bleak blue collar outlook that gives it a realistic presence, not unlike the rootsier tracks on Rayne. Minimalist and concise, devoid of any hippie dreams, very appealing in its honesty. Imagine the guys in Clap after a week of hard factory shifts, or Boa's older Viet Vet brothers. Killer 60s garage-psych moves on "Looking Glass World" is a highpoint with fuzz-lead and bass runs straight out of "Psychedelic Disaster Whirl"; a couple of tracks show a more sensitive melodic side that works well too. A mysterious "1968" date on the sleeve and label had people thinking the LP was from the late 60s, an indication of its timeless nature. May appeal to fans of 70s punk/DIY. Originals all through I think. Judging from this and the George Brigman LP, Baltimore was a pretty heavy place in the late 1970s. [PL] ~~~ This album exists in a time warp. Its from the midst of the first punk era, but sounds genuinely 60s garage the way no neo-garage band ever did. The fuzz guitars are everpresent, and the songs are pure garage pop and garage rock, rocking hard without ever

sounding remotely hard rock. The sound is as cheap as can be, which only accentuates the coolness of the fuzz. Despite some awkward singing, there are a lot of catchy melodies here, and I can imagine that Baltimorians who discovered Nuggets in the late 70s went nuts over this band. A few songs flirt with rural rock, but basically its teen-sounding angst, just as cool as their punk peers. [AM] 49TH PARALLEL (Calgary, Canada) "49th Parallel" "49th Parallel" "49th Parallel" "49th Parallel" "49th Parallel" tracks] 1969 1969 199 1997 2005 (Venture 7001) (Maverick MAS 7001, US) (no label, Italy) (CD Flashback, UK) [album + bonus tracks] (CD Pacemaker 019) [album + 9 bonus

The mix of 60s pop sounds and garagy rock works well here, and there are surprising production fillips (i.e. the acoustic guitar licks on the opening Now That Im A Man.) A few songs flirt with soul with reasonable success, while others have some noisy fuzz guitar. I think this is much better and more ambitious than a lot of US Monkees-style pop albums (i.e. Lewis & Clarke Expedition), but its probably not unusual enough to explain the hefty price tag. The Canadian and US pressings seem to be about equally rare. The Pacemaker CD includes some excellent non-LP tracks as bonus. [AM] FORUM (WA) "A Funny Thing Happened on the Way to Our Tree" 1971 (Vanco) Early 70s organ fuzz barband AOR jams with covers of "Southern Man", "Evil ways" etc. Same label as Easy Chair. FOUL DOGS (Concord, NH)

"No 1" 1966 (Rhythm Sound ga-481) "No 1" 1985 (Resurrection CX 1296) One of those rare New England prep-rock (St Paul's School) LPs, this has a great sleeve but musically little to distinguish it. Punkier than the Half Tribe or the Ha'Pennys, more professional than Rasputin & the Monks (then again, what isn't?), closest relative is probably the Other Half from CT. Several Stones covers as always, with goofy "manly" Eric Burdon vocals plus two good originals. Will satisfy those familiar with the style, others should proceed with caution. [PL]

FOUR OF US (CO) "Illusions Of Hope" 1972 (RPC AZ 66401) Live recording of vocal harmony folk-group, in the same generic sleeve as the second Fenner, Leland & O'Brien. 4TH CEKCION (TX) "4th Cekcion" 1970 (Solar 110) Loungy barband rock in a cool, primitive cover.

4TH MOVEMENT (Burlington, VT) "4th Movement" 1980 (Tryangle) "Totally" 1982 (Tryangle 10018) Christian black power trio, with throwback to bluesy funky Hendrix - Funkadelic style riffs. Has been hyped but none too impressive to these ears. FOWLE, FOSTER & BRIGGS (MI) "Across the Horizon" 1981 (Michigan Nickel Company) Mix of southern rock and progressive sound with good guitar. Same generic cover as the rare Asylum LP. JOHN FOWLER & HARPOON (CA) "Live" 1980 (Lightworks 0002) [10"] Heavy Christian bluesy rock featuring dual leads and harmonica.

FOXX (Granite Falls, NC) Sirens Serenade 1979 (World Records) [inserts] Hardrock. Reportedly only about 100 copies pressed. FRACTION (Los Angeles, CA)

"Moonblood" 1971 (Angelus 5005) [die-cut plastic window cover; inner sleeve; 2 inserts; 1000p] "Moonblood" 1987 (no label, Austria) [385p; altered sleeve] "Moonblood" 1993 (CD Flashback, Italy) "Moonblood" 1995 (Angelus) [window cover] "Moonblood" 1995 (Cryptrock) [window cover; 500p] "Moonblood" 199 (CD, Italy) "Moonblood" 200 (CD Rockaway 01231) [+3 tracks] "Moonblood" 2004 (CD Radioactive 054, UK) "Moonblood" 2004(Radioactive 054, UK) The underground heavy psych monster to conquer them all! A bunch of Christians on an Old Testament style crusade armed with long intense tracks, dual fuzz/wah wah guitars and the grungiest vocalist imaginable. There is a strong late-period Doors influence that extends to direct quotes from "L'America", yet the emotional charge and completely different band setting turns this into an advantage, somehow. The holy song trinity that make up tracks 2, 3 & 4 is among the most powerful music ever laid down. Many rate this as the best local LP anywhere, though as originals currently sell for $2500 you might wanna try a reissue. Various bullshit figures on the miniscule press size are in circulation, but the guitarist has reported 1000 copies being made. The CD bonus tracks are only OK -- in order to realize just how great the album is, you shouldn't play those along with the album proper. The Rockaway CD is the only legit reissue, and it should be pointed out that none of the reissues capture the sound of the original, which is a hi-fi recording with much presence and clarity. The mid-90s vinyl bootlegs on 'Angelus' and Cryptrock reproduce the expensive "LA Woman"-style gimmick window cover, and may be worth searching out. [PL] ~~~ I would be very hard pressed to name a better private psychedelic LP than "Moonblood". Like the CA Quintet album this is that very rare thing, a concept album that works. Where the CA Quintet floods our minds with images of the various hells we create on earth, Fraction seize on the heaven we fail to create. I always feel my spine tingle when listening to this album, it never fails to astonish me. The vocalist Jim Beach sounds like he is undergoing agonized conflicts of faith, a righteous man, growling, snarling and finally screaming at a world where seekers after truth are downtrodden. The guitars are so overloaded with effects that they sound like a storm raging on the surface of another world. The drums have fantastic range, at times very delicate, at other times, pounding with raw energy. Every band member gives it all they have and all the songs were recorded as one takes. This really works as they sound very fresh and alive, like the band is playing right next to you.There is nothing righteous or preachy on the LP. You can feel the inner turmoil

boiling over. The themes are broadly Christian, but with a very strong pagan element incorporated. The Son will come to birth and free Mother Earth. I find the lyrics deeply moving, spiritually uplifting and filled with apocalyptic vision: Come out of her/ Come out of her/Embrace the Sons quiet warmth ever upward. On the final track This Bird (Sky High) Jim Beach is screaming the lyrics: No clown on the ground/Tries to put me down/Since I found the Lord Without the lyric sheet you could only guess at what he is saying, which only added to the mystery. Eye of the Hurricane is amazing. Mind-bending lyrics spat and shouted over a haze of fuzz and wah-wah, it builds and builds to an impossible intensity, you wonder where else the vocal chords can go, the fingers of the guitar players must have been wrecked. The hazy image of the band on the front of the 1986 Austrian boot (which was the first reissue) showed a band that looked beyond cool, crazy shaggy burns, shades and leathers. They stare down at you like some crazed pack of angry bikers about to ink over your tattooes. Extend your thumbs and burn the darkness out of her -- indeed, Brother, indeed. [RI] FRAGILE (Camden, NJ) "This Side Up" 1968 (Rubia't) [stamped front cover] Folk from the local Dulcimer Coffeehouse. FRAMEWORK (San Diego, CA) "Skeleton" 2000 (Rockadelic 32) [2LPs; inserts] "Skeleton" 200 (CD) [2CDs] Glossy 2LP set uncovering the story and 1968-69 studio/live recordings of an obscure San Diego outfit. Touted as "the second Brain Police" by hopeful dealers, the connection between the bands was marginal and this won't gain as many fans, I think. The informative but longwinded liner notes refer to the band as a power trio and Hendrixy, but in actuality this is a pretty low-key, latenight bluesy club affair for most part. Some tracks have an Ant Trip Ceremony ambience, others are a bit like the Metromedia Christopher - you get the idea. Despite the generous space given the total impression is "ambition but no direction" for me. Their rare 45 is included and one of the highlights. The packaging is unusual and appealing but maybe this one should have remained a standard format single LP. [PL] FRANCISCO (Santa Barbara, CA) "Cosmic Beam Experience" 1976 (Cosmic Beam Records CBE-001) [1000p] "Cosmic Beam Experience" 2005 (CD Radioactive 112, UK) Based on the title and cover art, I was expecting to hear a collection of instantly forgettable new age dribble. Well, I was only partially correct. The

album starts out with a killer piece of pop - with it's catchy chorus and uplifting lyrics 'Heal Yourself' would have made a dandy top-40 single. The flip side opener 'Love Sweet Love' is almost as good. Spread across two extended sections (at least part of it recorded in L.A.'s St. Paul's cathedral), the title track is much more in keeping with my original expectations. Musically the mix of sound effects (waves, rain, thunder), electronics, acoustic sounds and choral segments is mildly entertaining. Imagine a mix between 1990s industrial noise and a band of stoned hippies deciding to take a tape recorder along as they enjoy a day at the beach and you'll get a feel for how weird it is. I'll at least admit that I like it more than say, Atlantis Philharmonic. By the same token you're not going to get up an' dance your ass off to any of this. The album also attracted some attention when composer Hans Zimmer sampled some of it for his work on the soundtrack to Terrence Mallick's film "The Thin Red Line". [SB] ~~~ If someone had played this for me unseen, I would have guessed on a late 1980s release date. It opens with a strong, conventional rock song which is a dead ringer for the tribal "world-beat" sound that Peter Gabriel and others popularized in the 80s. The rest of the LP is electronica and ambient, mostly spooky and cerebral stuff without the lame new age angles. Parts sound like the "Apocalypse Now" soundtrack, but mostly I'm reminded of the more serious 1990s ambient artists, like David Toop. This music is currently out of fashion, and it's too bad Francisco missed the boat back around 1990, because I believe he really could have seen a bit of retro-rediscovery buzz at the time. [PL] TERRY FRANK (WI) "Loaded To Fire" 1981 (no label) "Loaded To Fire" 2005 (CD Synton, Austria) 1970s style heavy guitar LP. ALAN FRANKLIN EXPLOSION (Orlando, FL) "Climax" 197 (Horne) "Blues Climax" 1970 (Horne 888) "Blues Climax" 1983 (Psycho 18, UK) The wellknown Horne 888 LP is a bluesy garage clubsound blowout with desperate vocals and a sidelong jammer. Despite the early reissue it's hardly the stuff collector dreams are made of, but a nice local basement testament anyway. A cool primitive sleeve adds some points. "Climax" may be a demo press variation of "Blues Climax", and comes housed in a black cover bearing only the LP title on the front. It reportedly contains alternate, even rawer versions of tracks also on "Blues Climax". An acetate has also been found, having some overlap with the Horne 888 LP, and may simply be the "Climax" demo in yet another format.

"Alan Roy Franklin" 197 (Underground OVL 88-2) [no sleeve] This obscure, sleeveless LP released under the name Alan Roy Franklin has been described as a whacked out heavy guitar effort with "boogie" moves. The label notes a pressing defect on one side, which apparently makes Franklin's vocals sound even weirder. There is also a 1979 LP on Aladdin ("Come home baby"), credited to Alan Franklin, which is more refined electric blues rock housed in an ugly sleeve, and not very interesting. None of Franklin's LPs feature a real band, it's just him plus local session musicians.[PL] FRANKLIN & HAYES ( ) "Autumn To May" 1969 (no label) Mixed vocals loner folk/folkrock obscurity, rated highly by some, others are less impressed. Some Peter Paul & Mary numbers, Simon & Garfunkel, etc. FRASER & DEBOLT (Canada) "Fraser & Debolt With Ian Guenther" 1970 (Columbia C 30381) This remarkable album has left an imprint on many. It's hard to find another record that is so unanimously treasured by the rare people who have heard it, and has had such a huge influence on so many while being heard by so few. The reason is the same reason the record sold squat: it's full of gorgeous ragged edges and inspired imperfections. It's human and heartfelt with no pretense or gloss. We're talking out-of-tune violin licks, intentionally dissonant chord progressions, backing vocals that are out of time and out of sync, and a general loose feeling in which every experiment seems to have been dreamt up on the spur of the moment (though it's more likely that they picked and chose wisely after years of trial and error.) On all but one song (which adds sax and piano) the musical backing is merely two acoustic guitars and violin, often arranged with a punk-like simplicity. Yet every song sounds full and rich, each is different from the others, and the unique approach to dual vocals fills the songs with left turns, sublime beauty, and moments that will make the most jaded listener smile. It's been called "art-folk," which is as good a description as any. It's also rock and roll without electricity or drums, and acid folk without any of the daze or confusion. More than anything else, this is a style of singing that usually drives me nuts, a type of instrumental arrangement that usually leaves me wanting, and the type of duo for which I usually wish one or the other would just shut up and let the other sing, yet it's done so well that none of those thoughts ever cross

my mind. Brilliant. A US pressing also exists. Their second LP, "With Pleasure" (Columbia, 1973) is inferior. [AM] ~~~

see full-length review

V.A "FREAKOUT USA" (CA)

"Freakout USA" 1967 (Sidewalk t-5901) Good comp with various LA styles from fuzz punk to jangly folkrock. Bands include Aftermath, Mom's Boys, Hands Of Time, Glass Family (with great fuzz-punker "I'm losing it") and others. [RM] FREAK SCENE (New York City, NY) "Psychedelic Psoul" 1967 (Columbia cl-2656) [mono] "Psychedelic Psoul" 1967 (Columbia cs-9456) [stereo] "Psychedelic Psoul" 1996 (Head 2896, Germany) "Hard Rock From the Middle East / Psychedelic Psoul" 199 (CD Collectables) [2-on-1] "Psychedelic Psoul" 200 (CD Headlite, Germany) "Psychedelic Psoul" 2005 (Columbia) Rusty Evans' second classic after the Deep LP and pretty similar in style; industry-approved acidpunk/acidpsych with sound effects and weird lyrics. Adds a student counterculture dimension for further cheesiness and illumination. Underrated for long, but most people I know enjoy this LP quite a bit. My take is that almost all tracks have good basic ideas but often aren't adequately developed, and that some tunes go on too long. Nevertheless I prefer this over a whole bunch of turgid late 1960s heavy guitar LPs that sell for three times as much money. "Serious" progressive rock fans may not enjoy. Mandatory to any 60s-oriented psych collection. [PL] ~~~ Some like this as much as the Deep's album, but I think it's much more of a mixed bag, without the pioneering spirit and inspired songwriting that makes the Deep so special. Both albums are "exploitation records," but only this one feels that way. Nonetheless, there are some cool, unique songs here and it's worth wading through the failed experiments to find them. [AM] FREAKY BILLY (Hollywood, CA) "Loose" 1969 (Nocturne nrs-906) This is obviously the work of studio hacks, as there are no musician credits. Its pretty tame by biker standards, moderate blues rock with some soul moves. The lead guitarist, who makes liberal use of wah-wah and other effects (but no fuzz), is quite good. Hes the best thing about the album. The songs on side two are a bit more interesting than the fifteen minute motorcycle cantata that comprises side one, but all of it ends up being pretty forgettable. The album

cover (especially the collage on the back) is cool, though. Released as by Freaky Billy, The Wheelie King. [AM] FRED (PA) "Fred" 2001 (World In Sound 007, Germany) "Fred" 2002 (CD World In Sound 1003, Germany) Unreleased early 1970s recordings from band who cut a cool psych 45, "A love song". The LP has been reported as being mainly in a progressive style. There are two more retrospective releases, "Notes On A Picnic" (CD World In Sound 1016) and "Live At The Bitter End, 1974" (CD World In Sound 1020). FREDRIC (Grand Rapids, MI)

"Phases "Phases "Phases "Phases

& & & &

Faces" Faces" Faces" Faces"

1968 1993 1996 200

(Forte 80461) (Medium) [bootleg; 1 track omitted] (CD Arf Arf 061) [+5 tracks] (Medium, Germany) [laminated sleeve]

Top notch pop album from the future David Geddes. This is a truly solid record, full of interesting and well-conceived songs, a nice mix of styles, and a few production moments that place it firmly into the psychedelic era. That may just be a product of its time (the liner notes to the CD confirm that the song "Old Fashioned Guy" is wholly sincere), but however the influence got to them, it's welcome. Comparable to the David's album in songwriting and production quality, though the sound is quite different. The CD reissue contains good bonus material, although one bonus track listed on the sleeve is not on the actual CD. [AM] ~~~ We've seen various reference works describe 1968's "Phases and Faces" as flowery pop, leaving the impression these guys might be little more than Association clones. Having listened to the LP a dozen times, that's not exactly an apt description. With all five members contributing material, the set's actually quite diverse, much of it exhibiting a weird pseudo-English feel. While tracks such as "The Girl I Love" and "All About Judi" are rather commercial pop, the opener "Federal Reserve Bank Blues" and "Morning Sunshine" sport distinctive psyche influences. Elsewhere, "Taggin'" and "My Yellow Tree" offered up great slice of fuzz guitar-propelled garage rock. Strong melodies, some great harmonies ("Born In Fire") and surprisingly impressive production (particularly for a small label), make for an impressive package. [SB]

FREEBORNE (Boston, MA) "Peak "Peak "Peak "Peak Impressions" Impressions" Impressions" Impressions" 1969 199 199 199 (Monitor 607) [wlp exists] (CD Aftermath 014, UK) (CD Arf Arf) [+bonus tracks] (Fantasia, Europe) [altered sleeve]

Good subtle organ-led studio-psych with serious ambitions, similar to Mandrake Memorial's "Puzzle" but more low-key and spooky. Takes time to get into and not entirely successful, but worth checking out for any fan of classic psychedelia. An original German pressing exists. [PL] ~~~ The most unusual of the Bosstown groups. Jazzy freeform experimentation and really far out arrangements make this album truly one of a kind. No song stays in any one direction for any length of time; they had so many ideas they didnt seem to know how to cram them all in. Side one is fantastic from start to finish. Side twos experiments arent quite as interesting, but still this is a great and unique album recommended to all. [AM] ~~~

see full-length review

FREE DESIGN ( )

"There Is A Song" 1972 (Ambrotype 1016) "There Is A Song" 2005 (Lita 015, UK) "There Is A Song" 2005 (CD Lita 015, UK) The last Free Design album was self-produced and released on this small Rochester, NY label, and thus is significantly more valuable than the ones on Project 3. It has a similar airy soft rock sound with the usual bubbly harmonies. This contains more selfpenned material than their other, less obscure albums, which fall outside the scope of our archives. NAT FREEDLAND (CA) "The Occult Explosion" 1973 (United Artists) [2LPs; gatefold; booklet] Thee occult documentary! Probing dialogue about UFOs, psychic powers, witchcraft, ESP, yoga(!), Indian magic, satanism, etc. With an all-star cast including Anton La Vey, Louise Huebner, Alan Watts. Freedland published a book of the same name. UK band Black Widow provide two songs, rest is spoken word. [RM] FREEDOM EXPRESS (PA) "Brings Fresh Air" 1975 (Fresh Start RD 1) Deadish loose bluesy jams, mix of acoustic and fuzz, even some biker snarls.

FREEDOM HIGHWAY (San Francisco, CA) "Made In '68" 2000 (RD Records 9, Switzerland) "Made In '68" 2000 (CD RD Records 9, Switzerland) [+3 bonus tracks] Retrospective release of Bay Area band who played the ballrooms and festivals back then but never had any records out. This material dates from a slightly later area than their best stuff, as heard on a few live tapes, and goes in a rural/roots rock direction. Beautiful packaging. [PL] FREEDOM NORTH (Canada) "Freedom North" 1970 (Aquarius 501) This scarce Canadian LP is a good one in the late 60s co-ed sweepstakes. They may try to cover too much ground, mixing in some horn-heavy soft pop and country rock with a bunch of nice fuzz-guitar-laden rock songs. The album starts out wimpy, but soon enough a few songs really rock in a late garage style. The long "Lonely Man" is very strong, and "Dr. Tom" is even better, a should-have-been-hit with awesome fuzz guitar and evocative singing. (It was released as a single in the US and UK, under the band's new name "Freedom of Choice," and with a nonLP B-side. That was this band's only release outside of their native Canada.) Both the male and female vocals on the album are quite good. While a few songs end up being disappointingly out of place, even those kind of grow on you after a while, and a few have neat surprises (i.e. "Hey Carmen," which starts as pure country and ends in a wash of fuzz guitar.) All in all, pretty cool. [AM] FREE ENTERPRIZE ( ) "The Eye Of The Beholder" 197 (no label) Very obscure downer folkrock duo with introspective vibes, housed in primitive homemade cover. FREE FLIGHT ( ) "Night Hawk" 1976 (Pepperhead) A bit seedy rural Deadish guitar rock. FREEMAN SOUND (OH) "Heavy Trip" 2005 (World In Sound rfr 25, Germany) [+bonus 7"] "Heavy Trip" 2005 (CD World In Sound 1028, Germany) Unreleased recordings from obscure Ohio band with 1970 45 on the same label as Morly Grey. Much of this

is actually modern recordings, nevertheless about half of it is enjoyable sinister psychrock with a late Doors vibe. FREEPORT (OH) "Freeport" 1970 (Mainstream s-6130) [wlp exists] Mix of soft pop, bluesy garage psych, and heavy rock. Organ, fuzz. One of the weaker albums on the label. FREE REIGN (Louisville, KY) "Live" 1973 (Rondo 119) "Antonymous" 197 (Bridges) Southern sound rural rock/ roadhouse covers with horns like First Friday. The live LP is exceptionally rare but not anything to write home about musically. [RM] FREE SPIRITS ( ) "Free Spirits" 1967 (ABC 693) [mono] "Free Spirits" 1967 (ABC s-693) [stereo] Larry Coryell led this group, which made jazz rock before such a thing existed. It's hardly a fusion album; it's a garagey rock album with short, tight songs that just happen to have jazzy instruments and chord progressions. It's a unique and experimental record that makes the listener wonder why the two musical styles weren't combined in such a fashion again. In a way, it's an oddity, but in another way it's as groundbreaking as the Deep's album. The recording was apparently rushed and sloppy, and the songwriting is up and down, so the album is by no means a masterpiece, but it is an interesting and enjoyable listen with some excellent moments. Coryell's LPs on Vanguard and Flying Dutchman are also of interest to guitar-rock fans. [AM] FREEWAYS ( ) "Last Roundup" 1965 (private) Prep rock with horns. FREE WILL ( ) "Free Will" 1977 (Guiness gns-36041) This is one of the most interesting albums on Guinness. It's not great all the way through, but the good stuff on it is probably the best music to be

released on the label. Side one comprises an intense Yardbirds cover, some really hot boogie rock and a few jazzy pop/rock songs that sound like what the Zombies may have been in the 70s if they added a sax player and great lead guitarist. Best of all is the first song on side two, "Are You Gone?," 7:39 of heavy riff rock, jam packed with fantastic lead guitar patterns and powerful drumming. So far, a truly great album. Too bad the next song is a ten minute Chuck Berry medley. It's unusual, to be sure, and something of a tour de force, as they turn his songs into just about every rock genre you can imagine, but it's basically a novelty that becomes annoying with multiple listens. The album ends with a sax-heavy jazz instrumental that's almost as unexpected as the disco song on the T. Kail album. There really isn't anything you can compare this weird album to. As good as it is, it sounds like an unfinished rough mix. It occasionally seems like they hadn't finished all of the overdubbing, and here and there certain instruments are mixed too loud or too soft. Unlike a lot of Guinness records, the back cover does list full band credits. [AM] FREEZE BAND (Phoenix, AZ) "Freeze Band" 1978 (no label) Eclectic dual guitar progressive jammers running the gamut from rural, to Southern, to jazz and funk. THe band also had a track on the local "Arizona Dream" compilation. FREIGHT TRAIN (Philadelphia, PA) "Just the Beginning" 1971 (Fly by Nite fbn-1001) Heavy blues rockers doing classic blues covers similar to Chicken Shack. Songs by Jimmy Reed, T-Bone Walker, Sonny Boy Williamson (II), Willie Dixon. [RM] FRENCH LICK (CA) "Glider" 1976 (Fric Frac) [blank back; insert] "Glider" is a smorgasbord of 70s prog and AOR clichs, but they're assembled in a rather likeable way, as is the case with, say, Oz Knozz, though this isn't nearly as heavy. There are plenty of synths here, high male vocals, tempo shifts, and funky rhythms. Each side ends with a lengthy three-part suite. There's also an acoustic ballad, some obvious Yes influences, and a ridiculous synth instrumental that brings to mind 70s moog novelties like "Popcorn." All of it is very well-played and sung; they have a good youthful spirit and enough ideas for two albums. Not all of the experiments work, and the instrumental suite on side one falls a little flat, but if youre inclined to like this kind of album its recommended. I dont expect it to convert skeptics, though. Pick hit: Talk About Love, which

has backwards drum bits and a haunting hook/melody line. Some copies of this album came with the cover already pasted on while others came in a white sleeve with front and back cover both included as inserts. [AM] FRESH AIR (Los Angeles, CA) "A Breath Of" 1970 (Amaret st-5005) "A Breath Of" 2004 (CD Radioactive 076, UK) Obscure band on MGM subsidiary caught in transition from west coast psych to west coast rock with keyboard/guitar mix. Not rated that highly but I think it's pretty solid, with 2-3 great psychy tracks and a "heavy" cover of "For What It's Worth". Should appeal to fans of the '69-70 style of Sugar Creek or Wizards From Kansas. Pro-sounding affair with nice use of organ throughout. The band was originally called California Grassfield and competed locally in Ventura County with psych legends Children Of the Mushroom. [PL] ~~~ Standard semi-heavy rock with prominent organ, a soulful singer, and a pretty mainstream sound. If this album wasnt so rare, no one would notice it. Its not bad for what it is, but not particularly distinctive either. The LP was also released in Australia. [AM] FRESH BLUEBERRY PANCAKE (Pittsburgh, PA) "Heavy" 1970 (no label, no #) [no sleeve; stickers; 50p] "Heavy" 2001 (Shadoks 022, Germany) [new sleeve; 450#d] "Heavy" 200 (CD Shadoks, Germany) Local hardrock/guitar-psych jammer in the typical post-acid OH/PA bag, with a bluesy feel and a few lyrical jazzy elements. The sound is echoey and somewhat chaotic a la Brigade minus the organ. Should appeal to genre fans, although the vibrato vocalist may be a turnoff for some.Even after several plays the album sounds rather flat to me with no obvious depth or personality, but it's consistent and has a raw feel. The opening "Hassles" gives a good taste of the entire LP, and is probably the best thing on it if you want a sample. [PL] ~~~ Bluesy heavy psych rock. Mix of ferocious fuzz sustain and ringing, flowing leads. Incredible quavering vocals like Perry Farrell. World weary songs, a couple jazzy psych tracks, and a xian element sneaks in. The monstrous "Hassles" brings to mind Phantasia's "Transparent Face"! [RM] FRIAR TUCK & HIS PSYCHEDELIC GUITAR (CA) "Friar Tuck and his Psychedelic Guitar" 1967 (Mercury mg21111) [mono] "Friar Tuck and his Psychedelic Guitar" 1967 (Mercury mg61111) [stereo]

Studio psych exploito with half covers, featuring Mike Deasy and Ben Benay, produced by Curt Boettcher. Highly rated by genre fans. According to some there's actually some overlap in the music tracks with the Goldenrod LP. [RM] V.A "FRIDAY AT THE CAGE A-GO-GO" (Detroit, MI)

"Friday At The Cage-A-Go-Go" 1965 (Westchester 1005) "Friday At The Cage-A-Go-Go" 1988 (Hide The Sausage) [new sleeve] A rare local LP that was first issued as above, but as the Cage-A-Go-Go went out of business the remaining copies were retitled "Long Hot Summer". One of the better local comps, this has some cool R'n'B/dance covers by the Lourds and the Individuals as well as four great folkrock originals by the Fugitives and the Oxford Five. Enjoyable stuff, despite a new cheesy psych sleeve the reissue is worth checking out. Very short playtime, though. Some tracks have been comp'd. [PL] RUTHANN FRIEDMAN ( ) "Constant Companion" 1969 (Reprise rs-6363) [wlp exists] Superb moody femme folk psych with fragile singing and delicate acoustic guitar playing. stark and deep meditations on lost love, topsy-turvy moons, ringing bells. [RM] ~~~ Loner folk album with just voice and acoustic guitar throughout. She's got an unusual vision and writes some strong songs here, but it's hard to listen to this without wishing some of the songs had more elaborate arrangements. Worth it for fans of the genre, especially since there are so few women who made albums like this. Friedmann also did the music for a biker movie called "The Peacekillers". [AM] FRIENDS ( ) "Time For a Crossing" 1977 (R.P.C.) [insert] Basement folk on vanity label. FRIENDSOUND (Los Angeles, CA) "Joyride" 1969 (RCA LSP-4114) "Joyride" 200 (Joyride 01-1, Europe) "Joyride" 200 (RCA) Anyone expecting to hear something in the Paul Revere

or Brotherhood vein is going to be in for one major shock! Self-produced, 1969's Friendsound makes absolutely no attempt to go down the commercial road and to our ears may deserve to be noted as one of the first real "jam" albums. It's also one of those rare instances where the liner notes are dead-on: "We rounded up all our musician friends in the area and headed for a recording studio to have a musical freefor-all."That pretty much says it all. Exemplified by material such as the title track and "Childhood's End", the six extended numbers were largely instrumental in nature. Credited as group compositions, songs such as "Childsong" and "Empire of Light" are full of studio experimentation, including backward tapes, sound effects and acidinfluenced ramblings. Some of it's mildly interesting; some of it simply a bunch of guys too stoned for their own good. Luckily Raiders members Levin, Smith and Volk were too grounded in top-40 pop to totally abandon such concepts as rhythm and melody, but it's pretty clear late night parting imbued them with a lot more freedom and creative latitude than your typical Paul Revere & the Raiders session. Not for the faint of heart, or top-40 junkies, but worth checking out for the more adventuresome of you out there. This band featured one Ron Collins, reportedly of Beat Of The Earth, on organ. The LP is sometimes listed with band name and LP title reversed. British and Australian pressings exist. [SB] ~~~ see -> Cosmic Travellers JOHNNY FRIGO QUARTET (Chicago, IL) "Afro-American Jazz Dance" 196 (Orion lp-115) The one to have by this group. Black group bohemian jazz meets rock with long tracks and no horns. Loads of fuzz and wah wah churning over the bongos, bass, and drums underbelly though you'd never know it from the world music looking cover. [RM] FROGGIE BEAVER (Omaha, NE) "From the Pond" 1972 (Froggie Beaver dsi-7301) "From the Pond" 1999 (CD Gear Fab gf-132) [+5 tracks] "From the Pond" 2000 (Akarma, Italy) [+bonus 45] These guys have a keyboard/guitar sound as shimmering and peaceful as the pond on the album cover. There isnt a lot of variety here, but the sound is very appealing, the vocals are solid, and the mood set by the album is strong. A grower. The nine-minute Away From Home, with some great melodic lead guitar, is particularly good. Most reviews call this a prog album, but its farther from Yes and ELP than it is from, say, a less experimental version of Spirit. [AM] FROGS (Valley Stream, NY)

"For Everybody" 1976 (Lily Pad lp-68) [insert] Self-produced and released on their own Lily Pad imprint, "Frogs for Everybody" was a rather low-keyed and surprisingly charming set. To be perfectly honest anyone expecting to hear Mr. Flood, Part 2 was probably disappointed by the collection. On the other hand, almost all of the dozen songs were quite tuneful and commercial, though widely diverse in musical styles. With Toscano responsible for most of the material, the opener 'For Everybody' offered up a nifty slice of folk-rock. 'Drivin' On' mixed a rock base with some great jazzy leads from Prezioso. ' Floatin'' and 'Crashin'' were pretty if unoriginal acoustic ballads. Personal favorites included the goofy 'Been So Long' and the bar rocker 'Shakey Dave McCoy'. My only real complaints are the absence of one true killer track and the fact that my copy of the album has a somewhat flat, thin and tinny sound. [SB] ~~~ see -> Mr Flood's Party FROLK HAVEN (Berkeley, CA)

"At The Apex Of High" 1972 (LRS 6032) [blank back; two inserts; circa 500p] "At The Apex Of High" 1995 (LRS) [bootleg] I've seen some inaccurate descriptions of this ("Yahowa-style psych" etc) but it is art school experimental music with atonalities, free-form rhythms, and more. Parts are too much like amateur avant jazz, others are inspired and trancey; could be compared to the most farout aspects of the first Velvet U or vintage Krautrock. Mostly instrumental with some bent vocals. From Berkeley, where the freaks are in majority. Note: this is not psych, much of it isn't even rock. Features Stuart Copeland, later of the very un-psychedelic and non-freaky Police. Some copies had one of the inserts pasted to the back cover. [PL] ~~~ One has to assume the reason this 1972 set continues to attract attention has to do with the fact the line up included a young, pre-Police Stuart Copeland, or a lot of folks just enjoy hearing minimally talented California kids thrash their way through 30 minutes of vinyl. First off, let us warn you, we've seen various sales list advertise the LP as psych. It ain't! While it's hard to provide an accurate description of the album, just imagine hearing guitar, clarinet and drums in a free fashioned jam and you'll get a feel for much of the album. Exemplified by "Idiomatic Interlude" and "Zonation of Galactic Cosmoidal Entities" (the latter recalling something out of Lou Reed's "Metal Machine Music"), most of the seven tracks are experimental

instrumentals, full of oddball sound effects, but lacking much in the way of melody or rhythm. While the instrumentals were challenging, the LP included several vocal performances (we use the term loosely). None of the principals had much of a voice; a fact that wasn't hidden when they joined together in a sing-song effort to power their way through material. At least to our ears, the overall effect is of three art college kids with too much time and money on their hands. [SB] FROM BRITAIN WITH BEAT ( ) "From Britain with Beat" 1966 (Modern Sound 544) Southern fake Merseybeat studio cash-in covers. One of the best in the style, so obnoxiously bad its fun! FRONT PAGE REVIEW see Saint Steven FRUMIOUS BANDERSNATCH (Berkeley, CA) "A Young Man's Song" 1999 (CD Big Beat, UK) "Golden Songs of Libra" 2002 (Get Back) [purple vinyl] Legendary Bay Area outfit that should need no introduction. The rare EP is the only thing they released during their original era, but both retrospective releases contain brilliant unreleased material; perhaps the "Libra" album most of all. There's also several live tapes in existence, so more may be to come. FRUNK ( ) "If At First..." 197 (RPC Z69821) A real people masterpeice, this is a candidate for the weirdest release on the legendary vanity label. Five possibly stoned and/or drunk young women hang out in someones den with a TEAC reel-to-reel and sing their favorites. At first, it sounds like a very poor recording with their accompaniment mixed way too low in the background. However, as they are singing El Condor Pasa and you can hear Paul Simon singing with them, you realize their accompaniment for each song is the original recording itself. Thus, you hear them singing along with Karen Carpenter on Close To You, Maureen McGovern on Morning After, etc. They are often not very well in synch and even more frequently, you can hear the original singer soloing. It comes in a very primitive cover with 11" x 11" slicks paste on front and back. The labels are tan, which was the color used toward the end of RPCs production in the late 70s & early 80s. [MA] FUGITIVES (Detroit, MI)

"At Dave's Hideout" 1965 (Hideout 1001) Great local mid-60s r'n'r from Detroit legends with several Kingsmen covers and some swell originals. The LP captures perfectly the exciting but brief postInvasion, pre-garage era, when bands would freely mix frat, instros, soul and "the new sound from England", and getting kudos for it. Recorded in the Quackenbush parents' basement in 1965, the tapes were played back at Dave Leone's Hideout club, where applause and teenage ambience were ingeniously recorded on the second track. It's interesting to note that "Louie Louie" is met with greater crowd enthusiasm than "A Hard Days Night". There's also a couple of originals, including alternate versions of scene staples like "Friday at the Hideout" and "You're Gonna Be Mine". One of the best local '64-65 LPs around, to my ears. According to Hideout owner Dave Leone, 300 copies were pressed, although a 500 and 1000 press have also been mentioned. [PL] ~~~ see -> SRC FUGITIVES (Richmond, VA)

"On The Run With The Fugitives" 1967 (Justice 141) "On The Run With The Fugitives" 1996 (CD Collectables col 0613) Title track is classic garage (comped on Hipsville vol 2) with crude fuzz and untrained teen vocals. Rest is more of a club/frat affair with energetic sax-lead takes on things like "Lovelight" and "Tossing and turning", plus some echoey ballads for that special last dance. Superb take on "Bo Diddley is a gunslinger" is a high-point. Very much a 1963 Otis Day & the Knights trip with no Brit Invasion audible, but within the genre this is fun and with plenty of atmosphere. Excellent drummer, neat organ and good raw vocals, best party LP on Justice along with the Knights 5 + 1. Unusually punchy recording too -- not bad for a bunch of white teens from Richmond. [PL] ~~~ The Fugitives easily fit in the top-5 Justice LPs in terms of talent and enthusiasm. It isn't radically different from most of the Justice catalog, including a soundscape as if it had been recorded at the bottom of a toilet. That said, this set has two things going for it. First, overlooking a couple of the lame top40 covers (a painfully out of tune "Until" and yet another needless cover of "Ebb Tide"), the band plays with considerable enthusiasm which usually makes up for their limited technical skills. Blown notes and off-key vocals abound, but on material such as "Turn On Your Love Light" and "Bo Diddley" it just sounds like these guys were having fun. The other winning

factor is the album's high self-penned content. Four of the album's twelve selections are originals, with the roaring fuzz-propelled title track (which was apparently intended as a never-to-be-released single), and "Kidding Around" standing out among the most impressive performances. A worthy addition to any garage rock collection. [SB] FULL MOON (PA) "Full Moon" 1980 (Montagne) [lyric insert; 1000p] "Full Moon" 1996 (Monster) "State of the Artist" 2000 (CD Monster) [+5 tracks] Obscure private press 1980 hard rock album that really delivers. Occasional pig-squeal guitar and histrionic vocals place it firmly in the 80s, but this is one of the very best of its kind. These guys obviously spent tons of time perfecting their dualguitar hooks and solos, and all seven of these songs are full of great guitar work and memorable riffs, with the harmony guitar parts comparable to the best work of Boston or Thin Lizzy. Better than Tailgunner, Winterhawk, Sorcery, or any other latter-day hard rock rarity you can think of. The retitled CD reissue has a number of good bonus tracks that show they might have developed in some very interesting ways had they stuck around. [AM] FUN see Dragonwyck FURNITURE STORE see Northern Front FYTER (AR) "Fyter" 1978 (FMP) [500p] Hardrock with dual leads.

Acid Archives Main Page

GABLES (MA) "Snake Dance" 1966 (Fleetwood gab-1) Garage beat teens. GABRIEL GLADSTAR (Bellingham, WA) "Garden Song" 1973 (Flying Guitar no #, Canada) [color art cover] "Garden Song" 1981 (Flying Guitar no #) [reissue; b & w photo cover] Mostly acoustic flowing cosmic folk. The album was recorded at Haveaniceday Studios in Seattle and received some local airplay. GALAXY (FL) "Day Without "Day Without "Day Without "Day Without "Day Without tracks] Sun" Sun" Sun" Sun" Sun" 1976 1989 1997 1999 1999 (Sky Queen 1677) (Sky Queen, Europe) [bootleg] (CD Flash, Italy) (Akarma 008, Italy) [+2 tracks] (CD Akarma 008, Italy) [digipak; +2

Pretty late in the game but rooted firmly in the late 1960s sound, with female vocals and hippierock moves mixed with heavy riffing and spacerock ambitions. Has some pretty good tracks, the reissues might be worth checking out. The 1989 counterfeit is close, but can be recognized via the fine print on the back cover which is blurry, and the cover is of thinner stock than originals; furthermore in the dead wax the figure '7' is written the European way, i e crossed. [PL] ~~~ 1970s spacerock rarity by a heavily female band (the keyboardist is named Space Mama Geiger"!) Its the only album I know to have a drum solo by a woman... but its still a drum solo. The songs are long and somewhat tedious, but there are some neat ideas here and overall its a pretty enjoyable record for something so uneven. The band recorded two later unreleased LPs in 1976 and 1984, which are reissued in the Akarma set "Very 1st Stone" (LP and CD, Italy). These LPs are more in a traditional blues rock style and are less interesting.[AM] BOB [ROBERT] GALLO see A New Place To Live

JAMES GALYON ( ) "James Galyon" 197 (no label) [test pressing; no song titles; 300p] Loungy singer-songwriter with cheesy synths. ExMason. GAMES (CA) "Stargazer" 1977 (Cascade Court DAT-LP211) Melodic synth progressive pop with delicate female vocals. Too pop for some on the love songs but the synth textures, sweet vocals, and lively production are quite distinctive for a local LP. [RM] ~~~ Take this review in context, because there may be nobody who likes this album as much as I do, and it's possible that this album could send a pure psych fan off of a bridge. But... for what it is, this is an amazingly accomplished record. It's possible to describe it as the world's only disco/prog merger, as it has dance beats, keyboard textures and high female vocals that could only have come from 1976/1977, but also long complex songs with elaborate structures and clever synth playing. Fans of Abba (or early Cardigans, for that matter) will love the vocals and the melodies. The unusual jazzy chords and sweet vocals definitely have the same feel as the first few Cardigans albums, but the long songs, keyboard-heavy arrangements (there are no guitars on this album) and occasional rhythms straight out of Broadway put this somewhere else entirely. Disco that you can do a chorus line dance to? Every song has an infectious melody, yet at the same time the songs are complicated and unusual enough to reveal new depths multiple listens. The vocals are lovely (even the cheesy backing vocals), but show real strength when necessary, and it's clear that tons of time was put into perfecting these songs. Lead singer Colleen Fitzpatrick is very, very talented. Every vocal nuance is perfectly suited to the songs. For a private press, this is very well produced, too. Your friends will make fun of you for playing this, but collectors should be brave, no? [AM] GANDALF (Greenwood Lake, NY) "Gandalf" "Gandalf" "Gandalf" "Gandalf" "Gandalf" "Gandalf" "Gandalf" "Gandalf" 1968 198 1991 199 200 2002 2003 2003 (Capitol st-121) [rainbow label] (Amos, Europe) (CD See For Miles see-326, UK) (Fantazia am-121, Europe) (Capitol/Scorpio) (CD Sundazed 6152) (EMI-Capitol 121) [blue vinyl] (Radioactive 15, UK) [picture disc; 500p]

Moody melodic studio psych classic which most 60s fans dig. Predominantly covers and some seemingly odd choices at that, looking back to 1940s-50s easy

listening on things like the opening "Golden earrings" and Eden Ahbez' "Nature boy". The Gandalf guys run these songs through their own sophisticated baroque organ/guitar machinery with compelling results, bringing out a rare reflective mood from this meeting. Still, the band original "Can you travel in the dark alone" is clearly the best cut, and the album is in a sense a victim of its own cleverness, since you can only squeeze so much head action from old crooner hits. Some unreleased tracks exist that have not yet been made available. [PL] ~~~ Clearly a case of sound/mood over material (there are only two originals here), this album has achieved true classic status over the years. It's not actually a rare LP, but every collector wants one, and as with Morgen or Linda Perhacs the quality and uniqueness has allowed the value to stay high despite a copy being offered on eBay virtually every week. There really isn't anything else that has a comparable feel. From the spooky vocals to the heavy reverb and phasing to the unusual use of strings, this is just plain otherworldly. Essential to any comprehensive psych collection and easy to obtain as it has been reissued several times. [AM] ~~~

see full-length review

GANDALF THE GREY (New York City, NY)

"The "The "The "The

Grey Grey Grey Grey

Wizard Wizard Wizard Wizard

Am Am Am Am

I" I" I" I"

1972 1986 2003 2003

(GWR 007) (Heyoka hey-207, UK) (Gear Fab 208) [+bonus tracks] (CD Gear Fab 202) [+bonus tracks]

Fashioning himself after a Tolkien figure (with a cape and hat no less), this NYC wizard cut a rare DIY folkrock trip that's been known for decades on the private press scene. I love the title track and a couple of other hobbit-oriented numbers, while some of his neighborhood observations sound less interesting and more typical Village product in my ears. Nice basement sound is a plus in this context. Opinions diverge a bit on this one, but the reissue is worth checking out. He made a rare pre-LP 45 under his real name (Chris Wilson) and even a comeback 45 in the 1990s. [PL] ~~~ Some people love this, but to these ears its an amateurish, monotonous, poorly played folk rock record. Knowledge of Tolkien will help the listener to enjoy the lyrics. Otherwise all of the songs sound the same. Recent reissues include some bonus tracks in the same vein, making it an even more tedious listen. This gets points for having been discovered really early in the collecting world: it was wellknown back in the early 80s. [AM]

GANDHARVA see Cosmic Sound Of Gandharva GANIMIAN & HIS ORIENTAL MUSIC ( )

"Come With Me To The Casbah" 1959 (Atco 33-107) Rather amazing late 1950s forerunner of the Orient Express and John Berberian east-west amalgamations. Very good LP with superb Middle-Eastern belly-dance vibe, not dry or academic but as real as a hazy party night of spicy food and liquor at the local kebab parlour. Personal fave falls out of most psychedelic timeframes yet belongs in here with flying colors. Guy also had some 45s under various names, and probably more album releases. One track pops up in a cover version on the great John Berberian LP on Verve 10 years later. [PL] JULIANA GARZA ( ) "Communion Muse" 1973 (NALR 31607) This one was recommended to me by some trustworthy parties but I was initially put off by Sister Juliana's vocals, which are lacking both in terms of hitting the right notes and staying with the beat. Repeated plays reduced this stigma and brought the album's qualities more into light, such as a charming basement folkrock sound with harmonica, flute, organ and even some light wah-wah guitar. Songwriting isn't bad at all and fittingly goes in a John Ylvisaker direction, with a definite leftover 1960s folk-boom vibe, and even some psychy minor chord moves. The lyrics seem to be a mix of trad psalms, prayers, and self-penned meditations. Sister J is joined by a male singer on the best track who sings a lot better than she does, which makes for an odd effect. All over worth checking out for fans of local 1970s sounds with some unusual aspects. Possibly recorded in Cincinnati. A few copies came with a booklet. Sister Juliana did a Catholic folk LP in 1967 on the Audio Recording label. [PL] GATES OF DAWN (Alberta, Canada) "Keep On Truckin'" 197 (Vocal) Rural rock barband with a healthy share of fuzzed rock covers from the late 1960s, like "Jumpin' Jack Flash" and "Magic Carpet Ride".

GATES OF FREEDOM ( ) "A Religious Rock Service" 196 (Covenant) Jewish x-ian rock service with garage teen backing group. Sitar on one track, haunting melodies, femme choir, and overblown vocals in the Ylvisaker tradition. Likely to appeal to 'real people' fans. [RM] V.A "GATHERING AT THE DEPOT" (Minneapolis, MN) "Gathering At The Depot" 1970 (Beta s80-47-1414s) Local bands recorded live, with unique tracks from the Litter, Thundertree, Danny's Reasons, and others. V.A "GATHERING!" (Madison, WI) "Gathering" 1969 (Coliseum lp-711-dm) Local bands including Wizzard, I D E C, Danny & the Aces, Parabolic Rush and Myrckwode. GATORS (Nashville, TN) "In Concert" 1965 (Bulletin 27981) Obscure teenbeat LP from band featuring Dan Folger on keyboards, who later became a successful songwriter. Line-up includes piano and sax and the sound is mainly non-Brit Invasion, with instros, frat, pop and soul covers; not terribly exciting. Front cover is a cool live shot of the band. GATSBY (Philadelphia, PA) "Life Goes On" 1977 (Maxfield) [insert] Basement hardrock and loungy progressive covers. Dedicated to the Moody Blues. ARTHUR GEE (Toronto, Canada / CA / Denver, CO) "The End Is The Beginning" 1969 (Two:Dot) [1-sided] "In Search Of Arthur" 2004 (RD Records 13, Switzerland) [+bonus tracks; insert] Ron describes this better than I can, see below. The last track is a killer deep guilt-trip on level with Perry Leopold, re-done in a less effective way on the Tumbleweed LP. Arthur Gee was originally from Canada but spent some time in Colorado and in California where this 1-sided demo LP was recorded for a small

label in Ojai. After this he returned to Colorado where he put together the Arthur Gee Band. The Canadian link is obvious from the Canada BMI registration on the label. This 1-sided demo contains a track with the exact same (unusual) title as a number on the Fraser & Debolt LP from Canada, but oddly it is a completely different tune. Bonus tracks on the reissue include unreleased material and a preLP 45 he made in Canada. [PL] ~~~ Dark, damaged acoustic strum folk in Perry Leopold style but a bit stronger vocally. Missed notes, stream of consciousness lyricism, and obsessions with mystic and biblical imagery. Saddened reports on the lost state of the planet. A great loner mini-LP, although you really can feel too much. The label was a contract service in Ojai, California. Unlike his later LPs, this (as well as the reissue) was credited only to "Arthur". The label has no title but the sleeve shows the album title "The End Is The Beginning". Some copies came with promo photos. [RM] "Dawn Of Time" 197 (Marcus 2502) [no cover] Recently discovered demo LP that seems to date from between the Two:Dot demo and Arthur getting signed with Tumbleweed. Several track titles overlap with both the preceding and subsequent LPs, but since the production credit (Marcus Demerst) differs from these, it may be alternate mixes or alternate versions altogether. This LP has 10 tracks. "Arthur Gee" 1971 (Tumbleweed TWS 101) [gatefold; booklet] Gee's real debut LP is also the first release on the Tumbleweed label, and a fine start for both. Upscale, intricate production typical of the label with Arthur's atmospheric voice given an appropriate context that involves a full folkrock setting plus bells, violin, even jew's harp. Opens on a strong psych vibe, then goes through various chameleon tricks including outlaw country, Tim Hardin folk, and some obvious Dylan "Blonde On Blonde" moves. It's all quite appealing and held together by the expensive, elaborate arrangements. The LP has obvious 60s remnants and is less singer/songwriter than most Tumbleweeds. Two tracks from the Two:Dot demo LP appear in more elaborate versions, although I prefer the sparser 1969 sound of "Meditations". Easy to find and well worth checking out. Gee's second LP for Tumbleweed ("City Cowboy", 1972) is inferior in a countryrock direction. [PL] GENERATIONS (NC) "Meet the Generations Combo" 1967 (Justice 158) "Meet the Generations Combo" 1994 (CD Collectables 0614) The last of the label's rock'n'roll/r'n'b releases does suggest a sort of development for the Justice/Southeast scene, but needless to say it's not in the right direction. Nope, this is a mission statement from 7 white Durham teenagers that Las Vegas lounge-soul is the way to go, with fake ID

crooner vocals and seducto assembly hall sax up the wazoo. The limited funds and lack of reality checks puts a Twilight Zone spin on things, like seeing expensive stock footage inserted into an Ed Wood Jr movie; there's glitzy female harmony vocals but the drummer can't keep time! Eerie psych version of "Don't let the sun catch you crying" is a high-point, and the organist likes to do Procol Harum "acid" runs on his keyboard, even on James Brown tunes. There's also an apathetic, pedestrian "Walk away Renee", and an uptempo track where the entire rhythm section falls apart. What a mess, like the Checkmates on cough syrup. Closest of all Justice releases to Incredibly Strange domains, this needs to be heard at least once. The Collectables CD reissue displays tape damage at a few spots, this may or may not derive from the original album. [PL] GENESIS (Los Angeles, CA) "In The Beginning" 1968 (Mercury sr-61175) [textured cover; red label; gold label promos exist] "In The Beginning" 197 (Mercury sr-61175) [2nd press; nontextured cover; skyline label] "In The Beginning" 2001 (CD Black Rose BR 137) Most of this album is pretty typical post Jefferson Airplane co-ed psych/folk-rock, better than most but not exactly stunning. But they really shine on the 16-minute blowout on side two, which follows up a few haunting verses with a long guitar solo that's exactly the opposite of what you'd expect: it's carefully constructed, like a set of short guitar solos and repeated hooks strung together rather than one long jam. Not a note of it appears to be improvised. It's not at all complicated, but that means that no time is wasted showing off, and it ends up being one of the best long solos you'll hear. The rest of the album pretty much pales in comparison, but for the one song alone it's worth owning. [AM] ~~~ see -> Do It Now Foundation GENTLE SOUL (CA) "Gentle Soul" 1969 (Epic bn-26374) "Gentle Soul" 2003 (CD Sundazed 11123) [+9 bonus tracks] "Gentle Soul" 2004 (Epic 26374) [legit reissue] Light drifting psych rock produced by Terry Melcher. With Ry Cooder, Van Dyke Parks, Bill Plummer, Mike Deasy, Larry Knechtel, and other session pros helping out. [RM] ~~~ Nice, pleasant folk duo featuring noted songwriter Pamela Polland. Some slide guitar from Ry Cooder on one track and some dreamy moments help make it a little more appealing to adventurous listeners than many others of its ilk. It probably would have benefited from drums, though, and its hardly in the league of, say, the two Kathy Smith albums with which Polland was closely connected. [AM]

GENTS (CT)

"We Gotta Get Outa This Place" 1966 (RPC 70481)[mono] "We Gotta Get Outa This Place" 1966 (RPC 70481)[stereo] "We Gotta Get Outa This Place / The Best" 199 (no label) [partial reissue] Connecticut Coast Guard Academy students who paid for this vanity LP and sold it at gigs. 12 tracks in total, mostly Brit Invasions covers with a few instros. Great version of "Don't let the sun catch you crying" is a highpoint, but mostly it's very familiar ground for Eastcoast teenbeat LPs. The partial reissue is on a split LP, with other side by the Best (see entry) and uses the Gents front cover. GEOFFREY (MD/NY)

"Geoffrey" 1972 (Concert Arts CA 7506) [gatefold; 500p] "Geoffrey" 1996 (Psychedelic Archives 1004, UK) [no gatefold; 295p; insert] I've done my best to get into this but it's still soso singer/songwriter stuff rather than the "mindblowing" "acid folk" dealers hype it for. Consistent and wellwritten but no real depth or freakiness. Has that UK troubador vocal style that ruins so many local 1970s LPs. Neat sleeve photo of the weird-looking guy. [PL] ~~~ Similar musically to Perry Leopold but not as dark. Sensitive guy acoustic folk psych with flowery lyrics. Different textures and changing tempos within songs. His vocals are quite beautiful and delicate but all-in-all this is a good record to sleep through. [RM] SIDNEY GEORGE ( ) "Sidney George" 1976 (no label) Lo-fi mid 1970s rock with a sleazy real-people feel, some flute and wah-wah guitar. WINSTON GEORGE (London, Canada) "Any Direction" 1970 (Ergo 7001-S)

"City Wilderness" 1976 (Ergo 7602-S) First LP is highly rated basement folkrock/singersongwriter with organ and a moody Dylanesque feel. The recording is pretty primitive. The second LP is more conventional with bluesy moves, a bit like Philip Lewin. Privately made reissues on CD-R exist. GEORGE EDWARDS ( ) "38:38" 1977 (no label) [blank cover] Seldom seen melancholic basement folkrock with 60s psych overtones, nice echoey fidelity, spooky mellotron. A track such as "Wintertime" is similar to Kath in sound and atmosphere, while the obvious hippie remnants and nice melodic feel on other tracks recalls a nocturnal Michaelangelo. This is the work of a band rather than a single guy, which is why it's listed under "G". From LA or Detroit, I'm told. GEORGIA PROPHETS (GA) "Fever" 1971 ('Custom 8') Local hippie bar-rock groove band, with an unusual mix of funk and soft westcoast moves. Half is covers including a memorable "Down by the River", while the originals aren't very exciting. The LP's mix of styles has seen it offered as both "garage", "psych" and "Northern Soul". You have been warned. Supposedly less than 200 copies pressed. JOHN GILBERT / MEADE RIVER (KY)

"John Gilbert/Meade River" 1972 (AV) Posthumous tribute LP to 17-year old Gilbert who died in a car crash; crude home recordings of basement guitar-rock with plenty of atmosphere and a couple of killer tracks. Side 1 is unaccompanied instro guitar workouts; side 2 is partly full band psych-rock, partly sparse basement folk. Not for everyone, but for purveyors of the most buried local sounds, this is one of the big ones, with an unusual context on top. [PL] ~~~ Moody psych and folkrock. The LP is a memorial to John Gilbert put out by his parents. Some tracks are John's solo recordings and some feature his group, Meade River. Great amateur live-in-living-room

ambiance, the tracks range from garage folk to fuzz blues with raging guitar heading into Alvin Lee territory at times. The second side has some wonderful acoustic tracks with basement vocals and downer lyrics. If you ever wondered what acoustic guitar shards sound like, check out the revelatory "Travelin' Free". No-fi beast that conjures up memories of lost hours clanging away in friends' garages before reality held her sway. [RM] ~~~

see full-length review

RICHIE GILBERT ENSEMBLE (CA)

"Richie Gilbert Ensemble" 1978 (Chestnut) Soft rural folkrock with mixed vocals and off-key Dylan moves on Gilbert's part. A couple of good tracks with femme vocals. The recordings seem to date from an earlier era than the release year. GINGER (Minneapolis, MN)

"Ginger With Bob Edwards" 1973 (Cheap Swank no #) [no cover; 2 inserts; 100p] Obscure Minneapolis album released as a posthumous tribute to vocalist Bob Edwards, who is featured on side 1 of the LP, which is live recorded 1970-71 barrock with westcoast moves and Hammond upfront, a bit like side 1 on Soup or a lo-fi Short Cross/Sweet Toothe. Side 2 is more interesting and features 197273 studio recordings of the band without Edwards and is a more esoteric rural rock/singer songwriter trip with a Band/Hickory Wind vibe. Main attraction is an unexpected acid sound collage straight out of 1967, apart from that this is an average local early 1970s artefact, although some people rate it highly. The record was not issued with a cover. Some covers were made up recently by a dealer, utilizing the inserts and a concert flyer for the design.[PL] ~~~ Except for tragedy, we would never have had this most essential human real people experience. Lead singer tragically dies in a car wreck and group reforms with his twin brother on vocals/lyrics. Side one is crude bar band rock recorded live, never intended for release. The magic is on side two with unbelievable emotion and tortured lyrics. "He'll Talk To You" says that if you don't think of him he will talk to you, and on "The Early Morning Rehash," he does! That song is a truly strange and eerie psych masterpiece. A glimpse into humanity [Mike Krafcik]

GLORY (Houston, TX) "Glory: A "Glory: A [bootleg] "Glory: A "Glory: A Meat Music Sampler" 1969 (Texas Revolution cfs-2531) Meat Music Sampler" 199 (Texas Revolution, Europe) Meat Music Sampler" 2000 (Akarma 114, Italy) Meat Music Sampler" 2000 (CD Akarma, Italy)

This has caught some attention of late but should be considered an aquired taste only. The basic feel is of late-night spontaneous blues-based studio jams revolving around main guy Linden Hudson who sings, plays percussion and also coordinated the session, which was partly recorded at Andrus Studios of "Easter Everywhere" fame. A rootsy Southern all-night bar feel evolves with a certain appeal, but the tracks are really hit and miss affairs, for example the vocal riffs on "Wish ta heck" are so annoying I can barely listen to it. Despite trying hard Hudson isn't good enough a vocalist to make it memorable, though jazzy wee hours keyboard improvs add the right touch. There isn't much songwriting to talk of, more like excursions from basic mood riffs. Any attempts to sell this as a "guitar killer" should be considered dishonest hype. With a strong female vocalist such as Lisa Kindred this would have worked better, but still remained a marginal item. Not sure why this was reissued, really. [PL] GLORY (San Diego, CA) "On the Air" 2002 (Rockadelic 40) Personal fave among the Rockadelics of the new millennium; a no-frills teenage hardrock blast cut live afterhours at a radio station in San Diego in June 1970. No traces of flower power whatsoever as the remarkably tight band blows through their Ya-Ya's era Stones/Led Zep club set of covers and great originals. Vocalist is right on, lead guitarist won't quit, but the real show is the stunning interplay between the rhythm guy and the drummer. Perfect loud soundscape with 100% presence, the whole thing recalls Oda and the rootsier side of the Estes Bros. Cover is disappointing - bring back the old skulls and needles! A future meat & potatoes hard rock classic... this is not psych. The band recorded several 45s and more material may be released. In the 1980s they resurfaced as popular combo the Beat Farmers. [PL] GLORY ROAD (AZ) "Exit" 1977 (Hand In Hand HHGR-1000) Christian proggy melodic rock. GOD UNLIMITED ( )

"Ride On" 1970 (GIA 123) Wellknown Jesus music vocal harmony folkrock group led by Tom Belt with several releases, this one usually rated as their best. Contains a long song with lots of lead guitar and some spooky folky songs as well. The self-titled debut from the late 1960s (Century 34122) supposedly also has its moments. None of these LPs are expensive. GOLD (San Francisco, CA)

"Gold" 1996 (Rockadelic RRLP-20) [600p] Yet another Rockadelic discovery, "Gold" is one of those projects that takes a little effort to get into. Apparently recorded and shelved in 1969, the set has a distinctive late 1960s West Coast feel to it. It's certainly not the most ground breaking LP you'll ever buy, but is kind of interesting for the decent male/female singers and it's mix of musical styles. bouncing between rather conventional hard rock (the crazed opener "No Parking" and "Summer Dresses"), Latin-rock influences (the instrumental "Conquistadore"), and an occasional soul touch thrown in.[SB] "Mission Rock" 2002 (CD World In Sound 1014, Germany) This 1971 live set has been described as disappointing, but does includetwo rare Country Joe tunes, as he was collaborating with the band at the time. "San Francisco Origins 1970" 2003 (World In Sound RFR 019, Germany) [+bonus 7"; poster] "San Francisco Origins 1970" 2003 (CD World In Sound 1018, Germany) [+bonus tracks] The LP has a 1970 live set from Fillmore West with raw version of their 45 track "No parking", plus the flipside from the 45. The CD adds the Rockadelic LP material (see above). Gold's unreleased material are good examples of the Bay Area sound of the early 70s, with Santana and horn-rock moves creeping in and psychedelia creeping out. There's even more live stuff in the vaults, including a pretty good tape from a live radio broadcast circa 1971. GOLDEN DAWN (Austin, TX) "Power Plant" 1968 (International Artists 4) [wlp exists]

"Power Plant" reissue] "Power Plant" "Power Plant" "Power Plant" "Power Plant"

1978 (International Artists 4) [IA box-set 198 1988 1992 199 (International Artists) [bootleg] (Charly lik-24, UK) (CD Eva b-26, France) (Get Back, Europe)

One of my (and many people's) personal top 20 1960s LPs. Killer garage-folkrock-psych sounds with Tommy Hall-inspired lyrics and great melancholic vocals. The emotional range is remarkable for such an early album, going from the snotty acidpunk of "Evolution" over the classic psych of "My time" into the brooding introspection of "Reaching out to you". "This Way Please" is one of the ultimate acid introspections of all time. Add to that a killer cannabis/shroom dayglo sleeve and you've got a major classic on your hands. Almost everyone loves this, essential to any decent psych collection. The LP was recorded July 1967 but not released until the turn of the year in order for IA to focus on the 13th Floor Elevators' "Easter Everywhere". Originals have cover slicks and "IAS 4 Side 1 IA" in the dead wax on side 1, while the boxset reissue is boardprinted and has a matrix # that begins "Ach...". The mid-1980s reissue is close but has less bright front cover colors than the original. There are probably more reissues & bootlegs. "George Kinney's post-Golden Dawn band Headstone saw a retrospective CD release of circa 1970 material in 2002 (Splash 2, UK). [PL] ~~~ Most people rate this as second best IA album after "Easter Everywhere", and I'd agree. The Elevators comparisons are warranted, especially in the vocals, but most of the album has a really garagy feel. They seem more youthful and energetic than the Elevators - "Fire Engine" and "Earthquake" are the Elevators songs that have a similar feel to Golden Dawn. Good variety of songs, with just enough effects and trippy moments to keep it interesting. Lots of hooks... if stuff like "Pushin Too Hard" and "Psychotic Reaction" could have been hits, these should have been too. The Get Back vinyl reissue has poor sound and even a couple of dropouts. None of the reissues including the legal 1978 one are from master tapes, as these were lost in the early 1970s. [AM] GOLDEN DRAGON (San Francisco, CA) "Golden Dragon" 1981 (no label) [handmade cover] Heavy fuzz psych rock with riffing Hendrix sound. There is also a 12" single from 1983 with paste-on covers in different designs, the song is "Too Late" in an entirely different version from the LP. There is also a 45 (again with varying sleeve designs) with "Highway Child" in the same version as the LP, but with a non-LP B-side. However, some copies of the 45 are 1-sided with only "Highway Child". GOLDENROD (Los Angeles, CA) "Goldenrod" 1970 (Chartmaker csg-1101)

"Goldenrod" 198 (Heyoka 205, UK) "Goldenrod" 199 (CD World In Sound, Germany) [+bonus tracks] "Goldenrod" 2000 (World In Sound 011, Germany) A one-off congregation of LA session heavyweights who also perform on Darius' classic LP, this is long heavy psych instrumentals in an acid context. Opinions differ on this, I think it's pretty interesting & trippy. Has a great sleeve too. [PL] GOLDEN THROAT (HI) "Golden Throat" 197 (Trim tlp-1981) Early 1970s jammy folk, organ, mixed vocals. GOLDTONES (Riverside, CA) "Live At The Teenbeat Club In Las Vegas" 1965 (La Brea 8011) [mono] "Live At The Teenbeat Club In Las Vegas" 1965 (La Brea 8011) [stereo] Club rock r & b pounders including "Gloria" and good moody original "I'll love her". With Randy Seol (preStrawberry Alarm Clock). An earlier incarnation of the band featured Glenn Ross Campbell (Misunderstood) and made a very good surf 45 in 1963. GOLGOTHA (NJ) "Old Seeds Bootleg" 1973 (no label) [paste-on cover; 200p] Westcoast sound rural guitar rock that has been compared to a mellow Little Feat. This is a remake of an unissued LP recorded for Jubilee. The small press size has been reported by the band. GOLIATH (IN) "Hot Rock & Thunder" 1972 (Bridges bg-2704) Progressive hardrock effort with standard rock setting plus moog. This album was quite plentiful and sold cheap for several years, but the price is finally rising again. Virtually all known copies have a minor edge warp. Same label as the much rarer album by Dawson. GOOD CHEER (IN) "Good Cheer" 1972 (ORS 1007) Basement rural rock with covers and some psych moves. Organ-led sound is somewhat similar to Hickory Wind.

GOOD DOG BANNED (CA) "Good Dog Banned" 197 (no label dm-1001) [paste-on cover; 500p] "Good Dog Banned" 2002 (CD Gear Fab 125) A rural rock obscurity that covers every Marin County clich in the book to the point of sounding almost like a parody of the genre. "Smokestacks" is a nice hippie folkrocker with ringing guitars, but the rest ranges from mediocre to outright infuriating in its weedsmoking easygoingness. The key to this genre is songwriting, vocal harmonies and guitar arrangements, and these guys underperform in all three. Featuring an ex-Sons Of Champlin member, some tracks sport Sons-style sax and could be seen as an anti-urban variation on that band. Obviously derived from 1970 Dead, but disappointing even to genre fans. Worst track features a dialogue between a band member and a tree (!). Not all rare albums are good. [PL] GOOD SOIL (IN) "Good Soil" 197 (Barn Recording Studio) Mainstream Christian folkrock with Marsha Rollings of Anonymous on vocals. GOODY TWO SHOES (Canada) "Come Together" 1969 (Allied/Paragon 237) Rural and rustic bayou rock with guitar moves, mix of originals and covers like "Come together". Two members were formerly with A Passing Fancy, and there is a version of "I'm losing tonight" on this LP.

JON GORDON ( ) Jon Gordon 1976 (Tiger Lily 14008) Theres quite a bit of variety here: folk rock with 12-string guitars, guitar-heavy blues rock, rural rock, mild prog, old-style rock and roll and even a violin hoedown. Gordon has a decent pop sense and there are several catchy songs here, as well as some nice guitar hooks and solos. At least two songs steal blatantly from the Beatles. Amusingly, the albums one ballad is a love song to his television. This certainly isnt an unusual or freaky record in any way, but as mainstream 70s rock goes its pretty enjoyable. In typical Tiger Lily fashion, the cover and label omit mention of one song, and there are a few obvious mastering glitches. Unlike a lot of tax scam records, though, it has a substantial running time. [AM]

GRACED LIGHTNING (IL) "Side" 1975 (no label GL-1) [1-sided album; paste-on cover; inserts] Three tracks of instrumental heavy guitar progressive with Gary Gand. Recorded at Golden Voice Studios. GRADUATES (Memphis, TN) "Graduates" 197 (Renegade 1003) Semi-competent early 70s lounge rockers. Mostly covers including "Let It Be", "Hey Jude", "Thank You For Letting Me Be Myself Again" (good one), and a lightning rendition of "Come and Get It". GRAFFITI (DC/NY) "Graffiti" 1969 (ABC s-663) [gatefold] This is a very good major label psych album thats hard to define. It has a few semi-heavy moments, some fuzz guitar, soulful vibe, lots of effects, and occasionally crazed singing. The songwriting and playing are solid all around, and the album opens and closes with very strong songs. Worthy of close listenstheres a lot going on inside this one. Some copies of this album are incorrectly mastered, with one song repeated and another missing. [AM] ~~~ Interesting and somewhat underrated late 1960s psych/artrock transition piece, one of several respectable ABC albums from the era. Each song is jampacked with ideas and sounds, a sizable amount of $$$ must have gone into this. The overall style is reminiscent of the more highbrow Bosstown trips (like Freeborne) with a bit of UK Moody Blues/Procol Harum/"Abbey Road" classical and jazz ambitions. The second track has all the pieces fall into place including lyrical fuzz leads, while the band elsewhere often fall victim to an inability to get their ideas sorted. Bringing in Association/Boettcher highpitched vocal harmonies doesn't work that well, while several instrumental passages are so elaborate that the songwriting goes AWOL. This is an album where each of the elements is appealing by itself but when put together the puzzle seems a bit contrived and due to its overly complex nature, impersonal. Still worth checking out at the current low price, just like label-mates Ill Wind and Bold. The band also had a non-LP 45. [PL] GRANDEURS (Los Angeles, CA) "The Grandeurs" 196 (JH-1001) [no sleeve?] Obscure teenbeat/club LP, possibly issued without sleeve. Covers of "Wooly Bully" plus various Brit Invasion, soul and frat numbers.

GRANDMA'S ROCKERS (IA)

"Homemade Apple Pie & Yankee Ingenuity" 1967 (Fredlo 6727) "Homemade Apple Pie & Yankee Ingenuity" 1993 (Del-Val 009) [350p] Some were disappointed with this addition to the DelVal reissue roster and while it ain't no DR Hooker, I think it's pretty enjoyable. A local garage LP on the famous Fredlo label with mostly '67 top 40 covers all done in a convincing manner plus one monster fuzz original, "Blue peppers". One of the better local teen-beat cover LPs but not much for those who want psych. Silly name & title, great sleeve. According to the band, about 300 copies were pressed. [PL] GRAND THEFT (Mercer Island, WA) "Grand Theft" 1972 (no label GT-1) [no cover] "It's Eating Me Alive" 198 (Hablabel, Italy) [new sleeve] "Hiking Into Eternity" 1996 (CD Epilogue ep-1004) [+6 bonus tracks] This LP sounds like a gang of crazed teenagers causing audio-induced subsidence in the neighbourhood. If you enjoy instruments being sledge hammered to within an inch of their lives to the sound of top quality high pitched screaming vocals (and lets face it, who doesnt), this might be the ticket. The sound is so extreme it will make you grin and finally fall around laughing. Any LP with a 1012 track about buying a burger, fries and a milkshake is well worth having, in my world anyway. Just marvel at the deepest lyric from Closer to Herfys: Went driving by the lake...lookin for a milkshake. Better than Stairway to Heaven, certainly more relevant. If ponderous, meaningless guitar based rock is your thing, then you may feel the finger of mother fun poking rather hard at your ribs. Scream/Its eating me alive introduces side 1 with patent super-screaming and wasted, reverberating, guitar riffs. Log Rhythms/Meat Midgets chugs along with a cool, almost punk vibe. Faux mystic chanting on Ohms with lyrics like they used to put strychnine in that stuff, we had a reeeaaal good time cannot fail to make you laugh out loud. As we all know (now) it was just a joke, and a very funny one it is too. The sheer commitment to making something so extreme ends up producing a genre classic. The folkrock group Bluebird made it to make fun of Grand Funk. The original plain sleeve is stamped "Made in Canada". Both reissues are retitled, for some reason. [RI] GRANICUS (Cleveland, OH)

"Granicus" 1973 (RCA apl-0321) "Granicus" 1997 (CD Free, Europe) Far out 1970s hard rock album by some American Indians who just hated Ohio, and maybe everything else as well. They're not very fond of their own record, feeling that the major label production stripped them of their energy. Though much of it is sloppy and chaotic, some is unexpectedly smooth as well. It's hard to imagine just how heavy they think it should have been, though, because it has some excruciating moments as it is. The singer is really crazed, screeching at a high level that could hurt the ears of Led Zeppelin and Leafhound fans. Hell, it could even go too far for Rush or Pavlov's Dog fans. The songs ramble to good and bad effect. The 11minute "Prayer" is incredibly powerful despite (because of?) being very repetitive, but the long songs on side two aren't nearly as interesting. A stupid song insulting their home city of Cleveland assured that they blew their only chance to sell any records anywhere. The album's "ballad" is an instrumental with lots of mellotron. Some think this is a lost classic, and during moments of the first side, maybe it is. But not much else here hits the mark the way "Prayer" does, and the band's own assessment of the album as promising and unique, but heavily flawed, is on the mark. [AM] GRANMAX (MO) "A Ninth Alive" 1976 (Pacific 1001) "A Ninth Alive" 1976 (Panama prs-1001) [white vinyl] "Kiss Heaven Goodbye" 1978 (Panama 1023) Fans say that the addition of Nick Christopher is what made this such a leap forward from their less interesting (and much easier to find) first album. The band sure gels here, but Christopher's warbly, nasal voice is an acquired taste. I defy anybody to listen to him screeching "I am the prince" without chuckling. Maybe that's the point, though, and there's no denying the musical power of this record. It's hooky, full of energy and speed, the songs are concise and the band is tight. The tone is varied by excellent use of acoustic and slide guitars and tasteful phasing. Once you get used to the voice you'll find plenty of melody too. Highly recommended to fans of 70s semi-metal hard rock. [AM] GRAPES OF RATHE (PA) "Glory" 1969 (Tarus) A mixed bag of sounds that mixes dreamy psych with bad top 40 and horns. Has a good reputation but is actually a fairly weak album with no real identity and some nonsense. Full review once I get around to playing it again.

GRAVITY ADJUSTERS EXPANSION BAND (Fairfax, CA) "One" 1973 (Nocturne nrs-302) Spacy experimental cosmic trance. Communal trip of homemade instruments, sound generators and percussion. GREAT AMERICAN DREAM ( ) "Home And Free" 1975 (Audifex) [blank, stamped cover] This is another one of those "Advance reviewer copy" releases that were sold via ads in Rolling Stone. This time the fake label is "Audifex." Side one is mostly soulful 70s rock, and is pretty good. The band is tight and there's some cool lead guitar (played through Leslie speakers.) The album's best song is the proggy "You Can Fly," which has excellent harpsichord/flute interplay. Side two, unfortunately, only continues the style for one song. The others are two blues tunes and a rock/soul ballad, none of which are very interesting. Like a lot of the records in this series, it's quite short: 9 songs, 26 minutes. The production is raw and demo-like. [AM] GREAT LOOSE BAND & OK CHORALE (CA) "Stone Crow" 1976 (Blue Bong no #) [150p] The "Stone Crow" album was a musical play recorded live around 1975 at he University of California in Irvine. The original recording has narrative between all of the tracks telling their story of seeking the ultimate THC induced high. The leader of the band, guitar player Brook Meggs, had a strong tie to Capitol Records through his dad, Brown Meggs, a high level excutive famous for signing the Beatles to Capitol for state side distribution. According to Brook, the album was a custom Capitol press of 150 copies. Unfortantly, the recording was too long for a single album so all of the spoken parts between all the tracks were edited. Without the narrative, the album is still very long- winded which is why all the songs run into each other without any dead space between the tracks. Musically, it's an enjoyable record and unlike most other albums that deal with the same subject matter, this one has a low "goof factor." Being that it's a live recording by musicians that obviously already found the ultimate high backstage before the show, they truly live up to their name and have a good time sharing their buzz on stage. [JSB] GREATRIX FREEDOM BAND (Canada) "Better Days Ahead" 1970 (Paragon 294) Rock trio doing Creedence, Janis Joplin covers plus originals, on the same label as Christmas.

GREEK FOUNTAINS (LA)

"Take Requests" 1967 (Montel Michelle 110) Popular local garage/teen-beat band with several good non-LP 45s. This LP, released as by the Greek Fountain River Front Band, was made when the band was essentially history already, and is a disappointingly stiff affair and not the frat garage blowout you might hope for. An all-covers lineup mixes jugband folkrock, blue-eyed soul and two Beatles covers for bad effect. The band sounds uninspired, the drummer sucks (strange for a club act), and the recording is flat and unexciting. I have to rate this one of the least interesting albums from the era that I've heard; comparable to the weakest Justice label titles and several notches below something like the first Spiffys LP. "For No One" is the highpoint, mainly because it's such a great song that not even these guys could screw it up. A 45 was released from the LP. [PL] GREEN (Dallas, TX) "Green" 1969 (Atco SD 33-282) "Green" 2003 (CD) Psych fans hate horns, which is the only possible reason that this ace album has been ignored for so long. The horns here aren't your typical soulful saxes, trumpets and trombones, but a large variety of instruments, used to add color and mood. There's no bombast at all. Strong songs have the ante upped by the unusual arrangements and a variety of cool production tricks. A few songs on side two cover the same ground as better ones on side one, but the majority of this record is terrific. Their 2nd LP ("To Help Somebody", 1971) is considered much inferior. [AM] ~~~ Obscure title receiving some interest of late, and deservedly so. An easily accessible late beat/psych LP that nevertheless has a lot of odd angles going for it that keep surprising you. The overall style is late 1960s McCartney/Odyssey & Oracle pop channeled through the high-IQ east coast psych sensibility that produced albums such as the second Fallen Angels and Elizabeth. Use of horns is remarkably good and an asset to the album, as are the moody teen vocals. You can tell the release date by some raw guitars and the inventive rhythm section playing, but a charming Anglo '67-68 vibe is retained throughout. It's too early to be retro and comes off more like a testament to the tight grip the Beatles maintained on many musicians across the US, even as they were falling

apart. "Sgt Pepper" is explicitly mentioned in the lyrics, which combined with four bars of Dick Dale at the end of the fuzz-laden title track indicates the fun and artistically conscious nature of this LP. Judging by the catalog number the LP was released in the Spring 1969. The band came out of the North Texas State University in Denton. [PL] ~~~

see full-length review

GREENWOOD, CURLEE & THOMPSON (St Paul, MN)

"One Time, One Place" 1972 (no label gc-72105) [insert] Local communal hippiefolk artefact with a couple of really good psychy tracks and the rest passable singer/songwriter sounds. In general the guitar-based songs are good, while I think the piano tracks drag the album down. On level with the similar-sounding Big Lost Rainbow, although most people seem to rate this LP higher than I do. My favorite track has the entire commune joining in on a mix of 1970s "aware" lyrics with raga acoustic and flute, like a politically correct Manson Family. [PL] ~~~ Cool counterculture artifact from well-meaning hippies who spent two years perfecting their craft. Most collectors lament that there's too much piano here but even the overlong ballads are good. This is a great album. The intelligent lyrics are foulmouthed in a wholly appealing way, and the mellow music is very well-played. Nice little guitar parts come when you least expect them, giving energy to the quieter songs, and the vocals are confident and laidback. [AM] GREER (NC)

"Between Two Worlds" 1973 (Sugarbush sbs-109) Obscure artefact out of a local scene that produced cult music for a 15-year period; this is a powerful trip in a song-oriented 1970s British rock/hardrock style, with psych moves on the two long epics. Plenty of raw guitar, some piano and synth, heartfelt vocals, all wrapped in a consistent package that

displays talent and self-confidence. May be too much of a 70s mainstream sound for some, and indeed it would have deserved to come out on a major label. Should appeal to fans of Felt on Nasco. According to an article in Kicks #1, some of the songs had been recorded for a 1971 LP by related band Arrogance that never came out. [PL] ~~~ This is one of those albums that gets hyped as "psych" or "prog" when in reality it's mainstream AMstyled 1970s rock, made more collectable by rarity and pedigree. As such, though, this is very good. It's heavy when necessary, melodic when necessary, and has a crude enough production sound to appeal to those who would never listen to, say, a BTO album. The opening song could pass for heavy power pop, which should please fans of new wave-era NC rock. This is not as good as Arrogance's outstanding "Prolepsis," but due to the longer songs and less professional sound, it may be preferred by readers of this book. [AM] SPARKY GRINSTEAD (Oakland, CA) "Won Out" 1978 (Sparlene Records) Heres a charming little pop album, 25 minutes of peppy melodies, acoustic guitars, simple arrangements, and lyrics about gurls. The best song by miles and miles is the opening Fall On Me, which has a lovely melody and some really cute-sounding fuzz guitar. Its a triumph of low-budget recording, and by comparison makes early Shoes or the Toms sound like they were recorded at Abbey Road. The rest of the album isnt as fantastic, but its fun straight through and Sparky has a really nice voice. The CD reissue doesnt list the memorable Big Ass (hes attracted to them), but includes it as a surprise bonus track. I wonder what his svelte girlfriend (pictured on the back cover) thought about that one. This is certainly not an album for psych or even folk collectors, but its recommended to pop fans and also fans of real people who can actually sing and write. [AM] GRODECK WHIPPERJENNY (OH)

"Grodeck Whipperjenny" -- a Canadian pressing "Grodeck Whipperjenny" "Grodeck Whipperjenny"

1970 (People ps-3000) exists 199 (People, Austria) [bootleg] 2003 (CD Radioactive 0017, UK)

I've returned to this LP for a second look as opinions differ so much on it. It certainly doesn't sound like the Airplane much, but I do find it a bit tough to swallow. The playing and arrangements are

mostly fine, but the vocals mess it up a bit, both in terms of sound and mixing. It's almost as if the LP had been recorded with another set of vocals in mind, or that the overdubs were made in a rather hurried manner. The opening track may in fact have been intended as an instrumental. In any event, the unusual, almost Eartha Kittish femme vox don't blend well with the adept psych-funk-rock fuzz/keyboard groove tunes, and on several occasions they fall out of step with the beat. Added reverb and echo effects make the awkward soundscape seem worse than it had to be. About half the LP is still very good, with a peak in the long track on side 2 where everything falls into place for a few minutes. The CD reissue has good sound and is worth checking out, due to the LP's esoteric nature and the individual responses it triggers. [PL] ~~~ Utterly unique album that has aged extremely well. It was released on James Brown's label, and is awfully funky, but it also has ideas from all different musical worlds. Great playing abounds, and the strange female singer, who isn't feminine in any way whatsoever, has an understated power. A long jam on side two suffers from a few blues/jazz/hard rock clichs, but otherwise this is wholly original and impossible to describe. I can't for the life of me understand why everyone lumps this one in with the Airplane-soundalike bands, as there's absolutely zero resemblance to West Coast rock. There is also a "second" LP credited to James Brown, with instrumental groove funk-rock ("Sho' is Funky Down Here", King 1971). [AM] THE GROOP (Los Angeles, CA / Vancouver, Canada) The Groop 1970 (Bell 6038) The Groop had a single release and also a song on the Midnight Cowboy soundtrack, but for some reason their albums release was cancelled. Though there was no actual release and cutouts never appeared, mysteriously a few sealed copies surfaced, all in the same spot, in a record store in the early 90s. Apparently no other copies have yet to be found, making this possibly the rarest of all major label releases. Its quite good too, a top rate harmony soft rock album, with a nimble rhythm section, co-ed vocals and horns. Its a bit funkier/more soulful than similar examples of the genre like Roger Nichols and the Free Design. Like a lot of west coast bands, the Mamas and Papas were an obvious influence. [AM] RICK GROSSMAN (Northbrook, IL) "Hot Romance" 1978 (Thunderbolt) This labor of love private press is as bad as the cover photo would lead you to imagine. It feels like the work of a horny 12-year-old, but Grossmans chest hair proves its the work of a horny adult (or overly mature teenager?) Hes a truly terrible singer, unable to hold any of the three notes in his range,

and projecting absolutely zero personality. When his vocals are backed by equally inept instrumentation (shooting for mellow jazz rock or music-hall styled pop), it is enjoyably comic. This is most true on the songs where the congos are way up in the mix for added faux-romantic effect. Sax and vibes give an indication that he got a few cues from porno movies. As bad as this record is, Grossman has a reasonably developed pop sense, and the upbeat songs have a contagious energy. Mellow Heaven Clout, in particular, is really catchy, especially the echoed handclaps. The ballads, however, are deadly. This isnt nearly at the level of prime real people artists like Kit Ream or Kenneth Higney, and in the long run two sides are a bit much. For a song or two, though, its a kick. Best lyric: Up all night, ya, we roll in the sack/just the kind of place shed like to do you at. [AM] GROUND ZERO (Wheaton, IL) "Ground Zero" 1979 (Retread) This gets hyped by dealers as a hard rock album, but dont go expecting anything heavy or fuzz-happy. Its actually hard power pop, decently played and sung, but not especially inspired or creative. Theres also an acoustic Latin-flavored song, a couple of weak funky rockers and, towards the end, a complete abandonment of harmonies and melody. Theres some cool lead guitar here and there, but this isnt anything special. The closest comparison in the private press world is the album by Roundhouse, though that is better than this. [AM] GROUNDSTAR (CA) "Forced Landing" 1980 (Stellar sr-2549) "Forced Landing" 1980 (Stellar) [2nd press; altered cover] By 1980 AOR was all over the airwaves, but within the genre this is a bit of an oddity and is rather special. Bits of hard rock, prog, space rock mix with a pure pop sensibility, and the powerful heliumvoiced woman and poppy-sounding man are much more appealing than the eunuch-like wailers who ruled the genre in the 80s. The songs are reasonably short and the rockers are fast. The kind of pomp and arrogance that gave the genre a bad name are nowhere to be found here. This doesnt resemble heavy metal at all, even on the power ballads. The album has been compared to Styx and Yes in their poppier moments, but this is much more (pardon the pun, given the album title and cover) down-to-earth. This ranks just a notch below Marianus for me as top of the heap early 80s AOR private press fun. The second pressing altered the cover art a bit, changed the song order, and re-named a few of the songs. [AM] GROWING CONCERN ( )

"Growing Concern" 1968 (Mainstream 56108) [mono; wlp exists] "Growing "Growing "Growing "Growing Concern" Concern" Concern" Concern" 1968 199 1996 2004 (Mainstream s-6108) [stereo] (Mainstream) [bootleg] (CD Golden Classics Rebirth) (CD Radioactive 069, UK)

One of many bands rooted in the melodic sides of early Airplane and Mamas & the Papas, this mystery group brings a crystal clear vocal sound and more reverb than Dick Dale ever dreamed of to create a cathedral type sound which has blown many minds. Several cover versions but mostly good ones, such as the outstanding opening Hollies interpretation, and their own tracks are enjoyable too. Not a total classic, but a winner on charm and impressive surface; one of my Mainstream label faves along with Bohemian Vendetta and Orient Express.[PL] ~~~ Most people consider this top of the Mainstream heap, and for the length of side one they're close. Beautiful, haunting instrumentation (great use of harpsichord) and an excellent set of songs makes for very pleasant listening. The male singer has a voice that gets cloyingly sweet though, moreso with each listen, and by the end of the album it gets downright irritating. Side two also suffers from the unnecessary inclusion of some very common cover tunes, and on the whole this is only half of a great album. [AM] PETER GRUDZIEN (New York City, NY)

"Album No.1 (in two sides): The Unicorn" 1974 (P.G 101) [500p] "The Unicorn" 1995 (CD Parallel World cd-2) [+6 bonus tracks] If you want to go as far out as it gets, this underground cult album from a gay hillbilly NYC visionary provides a map. One of the more remarkable LPs I've heard, or to quote its original advocate Paul Major's classic description: "Johnny Cash and Gandalf the Grey drop acid and meet under the altar to discuss religion while perfoming weird sex acts." One track is like stumbling into a Salvation Army meeting while tripping, another is a 9-minute lament with incredible lyrics. There's ripped off choral music, basement electronics, lots of bluegrass, and more. The primitive recording and occasionally unfinished arrangements should not obscure the fact

that "The Unicorn" is an artistically aware statement from a unique artist, inhabiting a unique world -the van Gogh of 1970s folk. Grudzien has plenty of more recordings waiting to be reissued, and has achieved a cult fame in recent years including TV features. [PL] ~~~ Eccentric country psych with bluegrass picking, religious imagery, and gay concerns. very special 'real person'. Home studio compilation with tons of claustrophobic sounds in the thick, Trimblesque mix. Some of the material dates back to 1956! A dreamy psych aura hovers over the essentially country playing which tends to stagger rhythmically. Amazing songs about hard-luck gay romance and hallucinatory religious visions with an upfront sincerity that's breathtaking. The vocals are something else too, spoken-sung in a nasal baritone. This is a very special work of art that's almost too complex and otherworldly to grace mere vinyl. [RM] ~~~ This one of a kind blatantly gay psychedelic country album deserves pretty much all of the praise it gets in collectors circles. Theres nothing even remotely like it, and it works not because of the real people appeal, but because Grudzien is a fantastic songwriter with a bunch of great ideas and a wholly distinct personality. Its insulting to speak of him in the same breath as the many talentless incredibly strange music folk hes usually lumped in with. Truly great stuff that stands the test of time. Even the 90s bonus tracks (with drum machines) on the CD reissue are great. Everyone needs to own this. [AM] GRYPHON (MI) "Gryphon" 1975 (no label nr-12487) Dual-lead hardrock and prog with melodic moves. GUILD (Seattle, WA) "Susurrus" 1978 (KM 2381) [500p] First LP by introspective folkrock duo, Renee and Daryl Redeker, with mixed vocals, rock setting, 12string guitar and some synth. Mostly originals but also a "cover" of John Cage's "Silence", which scores points in the humor department. "Musik" 1980 (no label) Second LP is similar in style with short songs, some fuzz breaks, and lyrics concerning mental illness. GUITAR ENSEMBLE (Las Vegas, NM)

"Have Faith" 1970 (no label) Charming Christian strum folk teens, harmony vocals. Seven acoustic guitarists, two bassists, two "rhythm"(!), and godsend Mary Kay Johnsen on organ and vocals. This first LP is more in the folkrock direction with less of Mary Kay's vocals and a somewhat more primitive feel. "The You-N-You" 1971 (no label lps-812) The followup is a special latenite beast that sneaks up on you with its aching sincerity and visionary lyrics, the creepy ones by Bob Rivas. This manages to be clean cut and way lost simultaneously... like an acoustic New Dawn with better vocals! Inspirational verse: "It is you seeing others as you would have them see you. It is you seeing you in others. It is others seeing you in them." [RM] ~~~ Despite that everyone who hears it seem to like it, this is still one of the most underrated local LPs around. Enjoyable all through in its introspective light-folkrock moodiness, with superb peaks in tracks like "The Answer" and "Lamb of God".Back cover photos of the band in very goofy school yearbook type photos adds to the appeal. [PL] ~~~ see -> Concern ~~~ see full-length review "GUITAR PICKS & ROACH CLIPS" ( ) "Guitar Picks and Roach Clips" 1973 (Stoneybrook) [2 LPs] Mostly instrumental jams in a psych/prog style. This is a various artists LP featuring Gordon Alexander, Bob Jameson, Road Apples among others, and also Alicia May who did "Skinnydipping In The Flowers". The album is a movie soundtrack for an obscure animated feature which briefly played theatres. SANDY GURLEY & THE SAN FRANCISCO BRIDGE (CA) "Sandy Gurley and the San Francisco Bridge" 1968 (Tower st5135) Gurley has a great voice and though most songs have horns, there are a couple with wild fuzz guitar too. Kind of a mixed bag, but enjoyable. Oddly, the version of "Can't Buy Me Love" is exactly the same backing track as that by Neighb'rhood Childr'n, just

with Gurley as lead singer. Produced by Larry Goldberg & Leo Kulka (Afterglow, Maze, Mesmerizing Eye...) [AM] MARGO GURYAN (MA) "Take A Picture" 1968 (Bell 6022) "Take A Picture" 2000 (Siesta, Spain) [altered sleeve] "Take A Picture" 2001 (CD Franklin Castle/Oglio) [+bonus tracks] Guryan is one of the few female songwriters to claim a heavy "Pet Sounds" influence, and while this doesn't touch, say, Billy Nicholls, it's a lot better than, say, Marc Eric. Psych fans dig it for the closing "Love," which has a freakout section, but pretty much all of the album is easy to like. The songwriting is complex and thoughtful, and while it lacks the inspiration of the classic that inspired it, it's one of the better soft rock albums of its time, and blows away stuff like Wendy & Bonnie or Lily & Maria. Unreleased material has appeared on CD in recent years, such as "25 Demos" (Franklin Castle). [AM] GWYDION (Oakland, CA)

"Songs For The Old Religion" 1975 (Nemeton 101) [insert] "Songs For The Old Religion" 1995 (Psychedelic Archives, UK) [insert] This is an LP that sounds pretty good under special circumstances, but the other 364 days of the year it sounds like what it is, namely a piece of mediocre, derivative Northern California pagan hippiefolk. The style is Brit-trad:ish with mostly selfpenned material and female vocals on a few tracks, which incidentally also are the best. The lack of originality and a dull, non-dynamic recording makes this hard to enjoy, except as an odd artefact from a poorly documented scene. The most appealing aspect is the cover, with Gwydion doing his best to convince us that he is a Glastonbury/Stonehendge druid - even has the costume act down, although a big spliff in his hand blurs the impression. Gwydion's story is still somewhat mysterious, and there is a strange tribute website done by his lady disciples which paints him as a man of Father Yod-like stature, unlike the Pig & Whistle talent contest reject this LP radiates. The second LP ("The Faerie Shaman", 1981) is inferior. Gwydion passed away shortly after, thus fulfilling a premonition of premature death that he had in England a few years earlier. [PL]

GYE WHIZ see Dave Lamb & Gye Whiz

Acid Archives Main Page

ROSEMARY HADDAD (Tabor, NJ) "Coming Hohm" 1975 (Hohm ll-136) Hohm commune cool psychy watercolor cover, the music is flowing female vocal eastern religion meets hippie socially concious commune folk with acoustic backing guitars, flute, percussion, sax. Nice latenite sounds. [RM] ~~~ One of the best hippie commune albums. Rosemary even includes a photo of her guru on the back cover. Rather than being new agey dullness like, say, The Oneness Space, this music is strong folk-rock with Rosemary's lovely voice to the forefront. She seems truly at peace with her lifestyle; the album has a comforting vibe to it. Some of the songs are only OK, but the album ends with a bang. The last two songs are the fantastic "Kitchen Floor Song," full of purposely funny pseudo-psychology and chaotic backing vocals, and the utterly gorgeous reprise of the title song. [AM] DAVE HALFORD ( ) "Tulesburg" 1973 (no label) [100p] "Second LP" 197 (no label) [100p] "Tulesburg" is amateurish DIY folkrock with an undercurrent of drug themes, as on "Ride on your horse". The actual title and contents of the second LP are unknown. From Oregon or California. HALF TRIBE (Reading, PA)

"Only Startin'" 1965 (Frank Webber Productions FW-1) [500p] "Only Startin'" 1985 (Resurrection CX 1386) [bootleg] One of the original North-East preprock artefacts, though more in an Astronauts-inspired surf/frat-bag than the usual Stones clones. The extremely

moody/low-key approach adds a mysterious dimension that I enjoy. Some psych fans rate this LP very highly. All covers but one, with a cool sleeve photo a bonus. Some guys went on to the somewhat punkier Other Half combo. [PL] ~~~ see -> Other Half BRUCE HAMANA (AZ)

"Hamana" 1974 (Canyon c-7111) [inner sleeve] "Hamana" 2006 (CD World In Sound 1029) [+2 bonus tracks; booklet] "Hamana" 2006 (World In Sound) Although it took a long time to get reissued, it's easy to see the debut "Hamana"'s appeal, but it also has a few problems. A couple of weak Nashville-style country numbers drag the middle third of the album down, and there's a few weaker moments on side 2 as well. Apart from these it is a very appealing and atmospheric rural rock/westcoast excursion, the usual Neil Young, CSNY and even Eagles influences on clear display. The band (actually Bruce Hamana himself) is good with an organic garage edge here and there, and Hamana adds a DIY feel when his soulful vocals fall out of synch with the backing; possibly the tunes were all written on acoustic guitar and the studio arrangements were done rather fast. The overall acoustic/electric mix is very tasty a la Relatively Clean Rivers, the songwriting is strong and full of hooks, and there's some snakey SF guitar excursions although it is essentially a song-oriented album. Too bad the playtime is pretty short, else this could have been transformed into a killer simply by removing two of the weaker tracks. In any event it is worth hearing for pretty much anyone into local early 70s melodic rock sounds. Bruce Hamana is a Hopi Indian, and reportedly later became chief of his tribe. [PL] ~~~ No album gets the feel of drunken reservation life down quite like this one. A few pure country songs are duds, but the rest of the album is good folk/rural/roots rock with hard-living, heartfelt vocals from Hamana. The rhythm section is a bit sloppy (and the bass is mixed too loud), which is either distracting or charming, depending on your point of view. The lyrics, which aim to proselytize, are a little awkward and obvious in some places, but since it's authentic (the album was originally intended to be sold on reservations), it's forgivable. Interestingly, he blames his "maker" for his personality faults. The first two songs are the strongest ones. A much later (and much less enjoyable) second album by Hamana goes further in the country direction, almost to the point of parody

("Indian Dream", Mother Earth 49-7). [AM] LYNN HANEY (Cleveland, OH) "Rebirth" 1972 (Tribute fr-2395-sm) Early 70s Christian folk beat flower vibes from ASFB vocalist, with Glenn Schwartz guesting on one track, also some use of harpischord and flute. ~~~ see -> All Saved Freak Band HANG MANN 5 (Norfolk, VA) "Sounds Of The Sixties" 1967 (Century fv-23815) Typical Mid-Atlantic seaboard teen club band of mostly soul covers and a couple of white-boy tunes, including Young Rascals, Dylan ("Like a rolling stone") and Animals. Tuxedo-clad 5-piece group with organ, released on celebrated custom label. The cover and the label actually credit the band as 'Hang 5 Mann'. HA'PENNYS (Andover, MA)

"Love Is Not The Same" 1966 (Fersch 1110) "Love Is Not The Same" 1985 (Resurrection CX 1331) The band that preceded the Rising Storm as school rock group at Phillips Andover. These guys took a more lowkey approach to their LP, which is mostly British Invasion covers fed through a basement folkrock sound with some rave-up aspirations. I like it, especially the whiney title cut original, but as usual with prep rock/local teen-beat LPs you should be aware that it sounds nothing like the Litter or Nightshadow. Great sleeve design. [PL] HAPPY DRAGON BAND (MI) "Happy Dragon Band" 1978 (Fiddlers Music Company 811015-1157) [200p] "Happy Dragon Band" 199 (Fiddlers Music Company) [bootleg] "Happy Dragon Band" 2004 (CD Radioactive, UK) Surprising about-face from the Phantom "Divine Comedy" guys, this avant-flavored basement late 1970s trip mixes synth-led proto-new wave songs with social

commentary lyrics and a sense of a lot of things being possible. Vocal effects are in an abundance while several moogs seem to play off against each other, yet the whole thing is tight and controlled enough never to degenerate into freeform chaos. Strange "Eraserhead"-like moods creep into your skull as eerie vocals serenade a fucked-up world much like sardonic space aliens might. The band achieves an impressive effect by playing big, moody chord sequences and harmonies on crude analog synths, which enhances the experience of alienation and telescopation. Some 70s glam-pop and raw guitar riffs can also be picked up among the electronics and drum machines. Very clearly a product of its era (including some tentative reggae backbeats), I find this an enjoyable LP and for all its weird, angular sounds, a lot less challenging than much of the lame "rock" stuff that was being released at the time. Psychedelic in its use of contradictory and unusual moods, but even more likely to appeal to fans of 1970s synth-punk/avant in the Ohio/Eastcoast style. [PL] ~~~ This bizarre freaky rock album is as different from the Phantom album as Relatively Clean Rivers is from Beat of the Earth. It mixes several 70s styles and buries them under sound effects, synthesizers and weird vocal arrangements. There are a few electronic instrumentals, some lyrics that are as obtuse as the arrangements, and some very faint nods to the disco/funk trends of the time. Despite an occasional "Dark Side Of The Moon" influence, they are more psych than prog or space rock, and at times they have the same feel as some early new wave synth bands (i.e. the Units, Assassin Of Silence.) It takes a number of listens to grasp the actual songs because they're so disjointed and because the melodies are somewhat hidden behind the walls of noise. Once the songs finally sink through, it's almost a surprise to discover that they're very good, and the electronics enhance them rather than mask their weaknesses. Like the U.S.A album, even the most insane synth noises here have been well integrated into the flow of the songs and don't sound random at all. This is my idea of a synth album! [AM] HARBINGER ( ) "Second Coming" 197 (AE 100) Excellent acoustic lost folk psych with 12-string that sounds like a sitar at times, harmony vocals. A strange little beast full of murky strum darkness, cosmic imagery, and rich vocals. Hard to know what this group was aiming for with an equal mix of cosmic and biblical references. Musically, this has more in common with Leopoldian despair than any Jesus Music counterparts. They even appropriate the melodies to Bowie's "Space Oddity" and the Beatles' "You Can't See Me"! File under: Tripping For Jesus. ...'the psychedelic sounds of the dirty circus grounds'. [RM] HARDIN & RUSSELL ( )

"Ring Of Bone" 1976 (no label) [insert] Male/female duo with countryrock/bluegrass setting including banjo and fiddle and weird, dark lyrics. HARD KNOX (East Haven, CT) "Roughcut" 1981 (RC 1001) Self-released hardrock/AOR mini-LP in primitive cover. There was also a pre-LP 7". JACK HARDY (New York City, NY) "The Mirror Of My Madness" 1976 (no label) [plain cover] Well-known 70's/80's Greenwich Village folk scene mainstay. The LP has a few great whacked out songs, the Dylanesque Murder being a crack-up fave ('you know he wasn't out there just to dig some clams"). Fellow scenesters The Roches are featured on some backing vocals. His 2nd LP, this was a homemade private press that came in a plain white cover with name and album title hand-written in pencil (the few known copies are all like that). [MA] RAY HARLOWE & GYP FOX (MN) "First Rays" 1978 (Waterwheel wr-711) Enjoyable local stoned hippie barrock Dead groover with peak in druggy epic "Getting Keyed". True psych vibes from "the bar at the end of the world" to quote one of the album's original advocates. Excellent musical value in relation to the low going rate. The weather always keep changing... [PL] ~~~ One of those albums thats known almost exlusively in collectors circles. Despite the 1978 recording date, this is wasted late 60s/early 70s-style guitar rock in a West Coast bag. The guitar playing is pretty good and the songs have hooks buried here and there. An album that makes you feel like youve wandered into a swamp by mistake, but the water is warm and comfortable. [AM] ~~~ see -> Ghostdance JEFF HARMON (CA) "To The Core" 1979 (Avocado) [plain stamped cover; insert] Very obscure LP recorded in Lakeside CA, described as "odd basement McCartney vibe, with some spacey keyboards and Christian/seeker overtones." ARTHUR LEE HARPER (Los Angeles, CA)

"Love Is The Revolution" 1969 (Nocturne 905) "Love Is The Revolution" 1998 (Synton 9806) "Dreams & Images / Love is the Revolution" 2002 (CD Papa's Choice) [2-on-1] I'm a bit puzzled by all the raves I've seen on this singer/songwriter artefact -- I've heard it many times but never found much. A couple of good psychy tracks with gypsy violin and odd production tricks in the background but also lots of wimpy James Taylor laments; I can think of about a hundred LPs that blow this away. Still, some reliable people rate it highly. As few as 250 copies were reportedly pressed. This is the same Arthur that had a Donovanish LP on the LHI label, which I prefer over this. There is also a retrospective album "Memories" (RD Records 11, Switzerland 2003) with modern, or at least updated recordings, according to the comments I've seen. Arthur Lee Harper passed away right around the time of the 2003 LP release. [PL] ~~~ Recorded with his backup band 'The Second Coming'. Bent flower power love tunes and war concerns. Much better than his earlier 'Arthur' LP with more of a beat (bass upfront) and gorgeous melodies throughout. Mix of acoustic and subdued electric guitar, violin. Superb delicate vocals worth of Donovan or Don Thompson. [RM] ~~~ see -> Arthur (LHI) SHAUN HARRIS (CA) "Shaun Harris" 1973 (Capitol st-11168) [red label] "Shaun Harris" 2005 (CD Revola/Cherry Red 127, UK) Ex-WCPAEB member Harris goes all out for 70s pop stardom here, failing miserably because no matter how smooth the melodies and vocals, hes just too freakin weird. At first youll think these are just dumb love songs, but soon youll notice that half of them are about suicide and self-loathing, and those stupid melodies will start to grow on you. A guilty pleasure, and proof that talent will defeat any attempt to sell out. Harris also released a number of non-LP 45s during this era. [AM] ~~~ Produced in association with Michael Lloyd, to be perfectly honest, the first time we played this one the pop orchestration had us double checking to ensure we hadn't put a Lobo album on by mistake. Luckily we were willing to give this one another spin and, as is so often the case, it turns out our initial impressions were largely off base. Admittedly, anyone expecting WCPAEB-styled psych is probably going to be disappointed by this set.Harris originals such as "Empty Without Her", "I'll Cry Out" and "Underachiever" were considerably more poporiented than his earlier catalog, but the top-40 sheen was punctuated by some of the year's darkest and self-abusive lyrics. Tracks such as

"Underachiever", "Color of Your Eyes", "Today's a Day" and the glistening ballad "Love Has Gone Away" showcased a young man with more than his share of personal demons. [SB] ~~~ see -> West Coast Pop Art Experimental Band BOB HARRISON ( ) "Yellow Moon" 1975 (Bobco) Sort of the garage reverb take on the lost Elvis impersonator angle. A couple of jumpsuit big ballads but mostly atomic age rockabilly throwback moves with deep thoughts. J.D. Brennan meets Stud Cole? Housed in a terrific cover. His nickname is "Li'L Elvis". [RM] HARVEST FLIGHT (CA) "One Way" photos on "One Way" back] "One Way" 1971 (Destiny D-3303) [inner sleeve; individual back] 1972 (Destiny D-3303) [inner sleeve; group photo on 200 (CD Dodo, Italy)

Very pro-sounding 1970s Christian hippie folkrock LP with a slicker sound than universally loved Jesus rock monsters like Kristyl et al. Impressive vocal harmonies manage to convey a wide range of emotions within the realm of an elaborate production. Other notable features include typical 70s keyboard wizardry, some good guitar, and intricate Third Estate-style arrangements that occasionally stray into the overambitious. Includes a cover of "One in spirit", rest is group originals. May be too much of a mainstream studio Steely Dan trip for some, but apart from one atypical country track I think it's pretty good. Release year seems to be 1971 but it actually sounds more like 1975-76 to me. Apart from the back cover difference, the original press has a different font on the front cover logo, and the label logo in the left corner instead of the right. [PL] HARVEST OF DREAMS see Bobb Trimble HAUNTED (Chateauguy, Canada)

"Haunted" 1967 (Transworld 6701) [mono] -- "Haunted" 1984 (Psycho 9, UK) [altered sleeve] "Haunted" 1995 (CD Beat, UK) [+6 bonus tracks] Inconsistent Canuck rarity with some good tracks,

some covers, and blatant ripoffs of "Season Of The Witch" and "Security". "1-2-5" is a different version from 45. The printersfailed to use the coloryellow, and as a result both yellow and green are missing on the cover printonall original Haunted albums. Apart from the LP the band cut several 45s, some under pseudonym, and have been fully covered via retrospective releases on Voxx (LP and CD). No stereo pressing exists. HAYMARKET RIOT (Berkeley, CA) "Live '67" 199 (RD Records 7, Switzerland) [gatefold] First ever release of live recording from this somewhat legendary Bay Area underground band, recorded at the F.U.C.K centre in late 1967. Crude teen garage jams with some extended numbers. Essential to any vintage S F aficionado. HAYMARKET SQUARE (Chicago, IL) "Magic "Magic "Magic "Magic "Magic "Magic Lantern" Lantern" Lantern" Lantern" Lantern" Lantern" 1968 1987 1996 1996 2001 2001 (Chaparral CRM-201) (Osmose, Europe) (Sacred Temple 2001, UK) [400p] (CD LSD 007) (Gear Fab/Comet GF-176) [gatefold] (CD Gear Fab GF-176)

More famous for its rarity than musical quality, this is yet another Airplane meets Cream hippierock workout. Unlike most similar groups these guys couldn't really play much, which gives their jams an odd garage edge, and may sound tedious. The reissue may be worth checking out, but don't expect another Wizards From Kansas. A ten minute track has been reissued on "Psychedelic Patchwork" if you want a sample. According to the band, as few as 80 copies were pressed. Great sleeve, so the reissues might be worthwhile. Beware though: the Osmose issue has a skip in the first track from the vinyl transfer. [PL] ~~~ Crude hard rock with decent female vocals and ridiculously overlong songs. Long jams are dull enough when played by Cream or Blind Faith, but when the band has no skills to speak of they're even worse. A few songs show promise, if only they'd been held to three minutes. Another high-priced rarity that leaves me scratching my head. Perhaps it appeals to jaded collectors who prefer a bargain basement rough production and performance style to anything that evidences any talent. [AM] BILL HAYMES ( ) "I Shall Be Released" 197 (Resist bh-101) Houston label. Early 1970s solo guitar folkie peace, love, and protest. Half covers. Haymes also had a second LP on Resist, titled "USA", and a recent CD

release as well. [RM] V.A "HAZLETON '68" (Hazleton, PA) "Hazleton '68" 1968 (Empire 868-577) Teen garage cover bands. About half pop with some nice primitive garage psych tracks. Highlights: the Lost Dimensions' worst ever "Purple Haze", the Pedestrians pedestrian fuzz-o-rama "Sunshine Of Your Love", and the Boston T's "Hold On I'm Coming". Also covers of Critters, Doors, Young Rascals. [RM] ROY HEAD & THE TRAITS (San Marcos, TX) "Roy Head & the Traits" 1965 (TNT 101) Local pre-Invasion sounds from wellknown r'n'r & pop performer, released to cash in on his rise to fame with the "Treat her right" 45; this track is not included, instead we are treated to Head's 1959-61 recordings, some of which have been "updated" with mid-1960s stylings such as tambourines. An oddball release of interest mostly to Texas completists. HEAD OVER HEELS (MI) "Head Over Heels" 1971 (Capitol ST-797) Another surprisingly rare Capitol release; this is first-rate power trio hard rock. The ballad "Right Away" will rip your guts out. Two songs recorded live succumb to annoying blues-rock clichs, but otherwise this album is hot, and has an appealing variety for an album of its type. The strident vocals work perfectly in this context. Better than just about any of the 70s hard rock bands who actually sold a few records. Too bad the song "In My Woman" didn't take advantage of the obvious opportunity for doubleentendre. Both green and red 'target' labels are considered originals as the LP was released right at the design switch. [AM] HEAD SHOP (New York City, NY) "Head "Head "Head "Head "Head Shop" Shop" Shop" Shop" Shop" 1969 199 1998 2004 200 (Epic BN 26476) [yellow label] (Epic) [bootleg; dark label] (CD Synton DR9856) (CD World In Sound 1024) [+7 bonus tracks] (Epic BN 26476) [legit re?]

Average late-60s psych album, full of sound effects, fuzz guitar and creative arrangements, but without the songs to elevate it to keeper status. A couple of Beatles covers are particularly ill-advised. The heavier songs are probably the highlights. Good but not great. The LP was apparently masterminded by Milan, a k a The Leather Boy. An original Dutch pressing exists. [AM]

HEADS OF OUR TIME (Toronto, Canada) "The Subtle Art of Self-Destruction" 1970 (Goodgroove GS-7001) [foil cover] This LP offered up a mix of original material and contemporary pop and soul hits done in an exploito fashion that you'll either love, or curse. Musically the album could serve as a primer for studio psych effects - it's all here including waves of fuzz guitar, sitar, backwards tapes, channel panning, tons of sound effects and hysterical over-the-top belly button gazing insight such as that found on "W.O.R.D.S" ("a burning desire for a woman with a blank look on her face, who will assist you in the subtle art of self destruction"). These guys just didn't waste a single trick in pulling the album together. Highlights included the blazing opening instrumental "Airhead" and the weirdest cover of "Wichita Lineman" you'll ever hear. Less impressive, but still worth hearing were a couple of the covers, including a lame 'Mercy, Mercy, Mercy', a heavied-up "With a Little Help from My Friends" and one of the stranger Hendrix covers I've ever heard "Crosstown Traffic". Sure it may not have been great art, but the LP was a load of fun! [SB] ~~~ Cool exploito-rock with stereo tricks, sound effects, fuzz guitar, groovy organ, phasing, cosmic spoken word bits, and backwards instruments. It mixes soul and rock covers with far out instrumentals. The cover versions have plenty of horns, and the oddest thing here is probably the soul take on Crosstown Traffic. Its hard to think that the jazzy/soulful stuff will appeal to the same people as the guitar freakouts, but sometimes the two styles mix on the same songs, creating a rather odd effect. If youre an exploito fan youre sure to get a kick out of this. As with most exploito, its well played and sung. Its cool, but there arent as many thrills here as on, say, the first Aorta album. The silver album cover is neat. A US pressing on Audio Fidelity exists, credited to Jay Jackson & Heads of Our Time. [AM] HEADSTONE (Columbus, OH) "Still Looking" 1974 (Starr slp-1056) "Still Looking" 1988 (Starr) [bootleg] -- this is a very close counterfeit. The color of the carton inside the cover is clear gray on the original and more brownish on the reissue. The label of the original is slightly clearer and has visible circular lines. "Still Looking" 1997 (CD Anthology, Italy) The opening seven minute title track is a killer journey through local underground guitar psych, and there's plenty more good stuff aboard including some more lyrical moves. Underrated LP, solid all through, better than many $1000 LPs. Great generic sleeve of eagle "still looking". The band also had three non-LP 45s which are pretty good. [PL] ~~~

Ohio was full of obscure hard rock bands in the 70s, and its surprising how many of their self-released albums have stood the test of time. Despite relatively simple songs, this album has real power. The long title track is the highlight, but the rest of the album comes close to the standard. The songs carry on a bit too long, but the solid guitar/organ sound is backed up by an energetic rhythm section and the overall feel of this album is strong, and gets better with repeated listens. They dont seem like they were particularly talented, but they made the most of what they had. [AM] HEADSTONE CIRCUS (DC) "Headstone Circus" 2004 (Shadoks 061, Germany) [350#d] Unreleased 1968-70 tapes from band featuring Glenn Faria, in a CSNY/Buffalo Springfield style. No relation to any other Headstone Circus. HEARD (Lawrence, KS) "Heard" 1967 (Audio House acetate) [1-sided 10" acetate] Drawing members from two local high-school bands, this 1-sided album offers four tracks and a total of 11 minutes to get into the Heard trip. The band is a lot more energetic than the Chosen Ones, with an obvious ambition to create a true soul groove rather than just sanitizing Memphis numbers for the wedding crowd. Vocalist -- none other than future Nashville music biz mogul Garth Fundis -- sounds like he would fit better in a snotty garage band but gives it an enthusiastic shot anyway. Apart from charming, energetic opener "I Dig Girls" the tracks are played unusually slow which combined with a confident drummer makes it sound almost late 60s in execution. Did I mention there's a full horn section? Sound is reminiscent of some of the more bizarre Justice label teen acts, with a strong recording and a nice live feel to their advantage. Not garage nor psych nor beat, this is a Midwest horn band doing Billboard r'n'b 100 covers. Vocalist and bass player later joined the Upside Dawne. [PL] GERALD HEARD (England / Los Angeles, CA)

"Explorations vol 2 - Survival, Growth & Rebirth" 1961 (World Pacific 1413) [3LP box set] Heard is one of the Founding Fathers of psychedelia

through his work on LSD during the 1950s/early 1960s, often in collaboration with his friend Aldous Huxley. He was also an eminent lecturer, philosopher and author, and his writings cover many fields apart from the psychedelic experience. From an acid perspective the 1961 box set is the most interesting as the third disc contains the world's first LSD trip guide, inspired by the Tibetan Book Of The Dead and later blatantly copied by Tim Leary for his "Psychedelic Experience" book and record. This disc contains some spooky organ music and classical vocalizing, while the rest of his recordings are all spoken word. As the trip is peaking towards the end Heard chants out cosmic wisdom in a way that is quite psychedelic. Recommended and likely to become as desirable as Aldous Huxley's recordings over time. There are two different versions of disc #3, which is the key "psychedelic" one. Presumably Heard was dissatisfied with the first version and went to the trouble of rerecording it (with some minor changes) and having a new run pressed of only disc #3, which was then inserted into the existing box sets. Therefore many copies found contain 4 discs, including both versions of disc #3. The re-recorded version can be identified with a "-2" extension to the matrix number. Heard's earlier, non-psychedelic album releases include "Explorations" (Pacifica, 1957), "Reflections" (World Pacific, 1959) and "Indications" 1959 (World Pacific, 1959). [PL] ~~~

see full presentation

HEARTS & FLOWERS (Los Angeles, CA) "Now is the Time" 1967 (Capitol t-2762) [mono] "Now is the Time" 1967 (Capitol st-2762) [stereo] "Now is the Time" 1986 (Bam Caruso, UK) Excellent early country-rock album with terrific harmonies. The album relies too heavily on covers, but is really a very solid record, being very well played and having a distinctive feel. [AM] "Of Horses, Kids, and Forgotten Women" 1968 (Capitol st-2868) "Of Horses, Kids, and Forgotten Women" 1986 (Bam Caruso, UK) "Now is the Time / Of Horses, Kids, and Forgotten Women" 199 (CD Edsel, UK) [2-on-1; bonus tracks] The second Hearts & Flowers is similar to the first, but more produced, and benefits from having one truly wonderful dreamy psych song that isn't "country" at all, but somehow still fits in well with the rest. Both albums are recommended to fans of country rock or rural folk rock. CD samplers of the band's output have also been released by Collector's Choice and Rev-Ola. [AM] HEATHER BLACK (TX) "Heather Black" 1970 (American Playboy 1001) [2LPs; promoonly; different cover] "Heather Black" 1970 (American Playboy 1001) [2LPs; gatefold; photo]

Live barband melodic rural guitar jams with organ. Roots covers of 1950s & 60s staples mostly, some weak ballads. Produced by Huey Meaux. The rare promo variant has a cover with a drawing of a fat man, while the regular version shows a cover design with lots of illegible scribblings. There is also an easy to find single LP on the Double Bayou label, also self-titled and possibly a condensed version of the 2LP set. The band included Gaylan Ladd who did some garage recordings in the 1960s. HEAVEN (NE) "Heaven" 1970 (W.W. 8701) [insert] Guitar and keyboard-led bluesy horn rock jammer. Very much in the garage, even some fuzz in spots. HEAVEN & EARTH (IL) "Refuge" 1973 (Ovation 1428) [wlp exists] Great female hippie folk-rock duo with some nice psych touches. Echoplexed flute on one song, a dreamy wavey vocal mix on another give the album some oomph. The two voices sound great together, and this album was put together with great care. A few songs in the middle of the album don't quite match up with the rest, but the LP begins and ends with very strong songs (side one ends strong as well). One of the best female psych albums, this is a quadrophonic release from the industry's brief flirtation with that format. Great album cover too. Most (all?) copies seem to be wlp:s. They also did a non-LP Christmas single that sounds much more country than folk. [AM] HEAVY BALLOON (New York City, NY) "32.000 Pound" 1969 (Elephant V Ltd evs-104) [wlp exists] Exploito heavy rock/blues with songs like "Lead Zeppalin" and "Owed to Sgt. Pepper". "Barnyard Blues" is a pretty good original with a stoned biker vibe. HEAVY CRUISER (CA) "Heavy Cruiser" 1972 (Family fps-2706) "Heavy Cruiser" 1976 (Tiger Lily) [remix; altered cover] This is the same situation as the Velvert Turner album -- the "real" Heavy Cruiser album was on the Family label, and Morris Levy somehow got acccess to the master tapes and released a variation on it on Tiger Lily. Heavy Cruiser is a Neil Merryweather project, basically Mama Lion without Lynn Carey's vocals (though she did co-write a few songs.) It's 70s hard rock that isn't especially good or bad but is weird enough to be worth a listen or two. As with all Merryweather projects it contains a couple of

terrible, pointless cover versions. Canadian and Spanish (on Philips) pressings exist. [AM] HEAVYFEATHER (TN) "Soft, Hard, and Heavy" 1972 (Ace of Hearts 0226) [wlp exists] Here's a review from a knowledgable source: "Truly awful harmony vocal loungy pop with cheesy lyrics and occasional string orchestra backing. Only winner here is the last track on Side 1 " Can You help" which is a short 2 minute fuzz rocker. There is also a 5 minute track on side 2 which is decent with plenty of swirling organ and dreamy vibes but ends in a bad drum and bass solo. Judging by their outfits (bright smiles, ties, leather jackets and matching sideburns) they appear to be a Nashville lounge outfit releasing this LP to showcase their many "talents" (soft, hard and heavy) in hope of securing as many gigs as possible at the local Holiday Inns. I'd stay clear of this LP". It's a noisy pressing. HEITKOTTER ( ) "Heitkotter" 1971 (Ego) Intense real people/fringe LP popular among psych mafiosos, a 3-man band with guitar, bass and drums led by Steven David Heitkotter, presumably recorded inside the mental institution where the guy has been for decades. Track titles include "Hangin' All Night", "Quaker, Dog Got Away" and the 14-minute "Fly Over The Moon". The vibe is intense and feverish like a nightmare, unique LP that lives up to its reputation. This may have been a test press only and comes in a blank cover, except for the handwritten title. He was also in a garage band in the 1960s that released a few 45s. [PL] ~~~ This is a truly disturbing record... so far out-there it goes beyond what could be classified as "genius". At times all three musicians sound like they are playing different songs and somehow you're able to groove along on three different levels. This is not for everyone, but if you've been down every "psych" road out there and enjoyed each and every one of them, Heitkotter might be for you. I can see 20-25 people thinking this is the greatest LP ever recorded and everyone else thinking it was a piece of trash. [RH] HELENE & MARC ( ) "The Beginning" 1971 (Veritable) Downer folk with mixed vocals and unsettling suicidal vibe on Helene's tracks. Cover artwork has amateur drawing of the couple with gigantic eyes and freaky long necks. More comments will follow. [PL]

HELGESON SCRANTON (OR) "Black Bootleg" 1971 (Rex RL 5071) [1-sided; plain cover] Obscure one-sided custom pressing of local hippie folk; a mono recording housed in awhite cover with handwritten title. HELLERS (Los Angeles, CA) "Creative Freakout" 1967 (no label) [10"] Extraordinary exercise in zany 60s cool of the kind that is almost forgotten today, projecting images of hip guys driving sports cars, reading Marshall McLuhan, and sipping dry martinis -- preferrably all at the same time. It's a showcase for the HellerFerguson ad firm, presenting a long string of their (often brilliant) radio ads tied together in a hilarious concept about a suave ad man strolling around among hippies and folkies on the westcoast. LSD parties, civil rights, square protesters & groovy Sunset Strip chicks all flash by while narrator "Johnny Spots" manages to turn it into inspired tongue-in-cheek jokes related to the tough advertising business. Incidentally one of the ad voices sounds exactly like John Rydgren. Various songs are parodied to great effect, "What have they done to the rain" becomes "What have they done to my line" (i e: his ad copy is distorted by manager and client), etc. The whole thing is very modern in its mindset and obviously done with a lot of work put into it. The sheer talent on display has an invigorating effect that may cause you to see ad people in a new light, and in any event is a reminder of just how cool the pre-hippie 1960s were. [PL] "City Songs" 1967 (no label) [10"] "Brief Bouncers" 1967 (no label) [10"] All three 10-inchers above were released as a 3-disc set in an elaborate foldout cover, but it appears that at least "Creative Freakout" also came out as a standalone item. The other two have been described as being similar in style. There's more releases under the Hellers name, including a 45 for a client in Vancouver, BC. "Singers, Talkers, Players, Swingers and Doers" 196 (ABC Command rs-934-sd) [gatefold] "Singers, Talkers, Players, Swingers and Doers" 2002 (no label) This more wellknown Hellers LP on a real record label is appealing too, but feels more dated than "Creative Freakout". Partly an early moog LP, partly a McLuhanesque collage of "now" sounds with softpsych songs, soundbites, gags and parodies. The vibe is a bit weird and subdued, and not everything hits home, with a few 3-minute jokes terminating in halfassed punchlines. There is a recurring space exploration theme typical for the era. Housed in an eye-popping

color cover it's a fun artefact from the era. [PL] HELP (CA) "Help" 1970 (Decca dl-75257) "Help / Second Coming" (CD Free Records, Europe) [2-on-1] Help's first album hasn't attracted as much attention as their collector-friendly second, but it's by far the superior record. It's a solid mix of rural rock, folk rock and pop, and rocks really hard despite there not being any distortion on the guitars. There appear to be no instrumental overdubs, just a trio of guitar, bass and drums, yet the excellent musicianship (especially the rock-solid rhythm section) makes the sound full and rich. Side one is full of energy, melodic songwriting, and excellent vocals, and is solid all the way through. Side two is somewhat less inspired, but still pretty good, and the album is definitely recommended. [AM] "Second Coming" 1971 (Decca dl-75304) "Help / Second Coming" (CD Free Records, Europe) [2-on-1] This much heavier second album is the one that most collectors know, due to lots of fuzz and wah wah on the guitars. The sparse trio format is the same as on the first album, except that the clean guitar is replaced by distortion and effects. Strangely enough, that makes the sound less full than on the debut. It admittedly sounds pretty cool, but after a few listens it becomes apparent that the songwriting is actually pretty weak, with only two or three songs at a high standard. Worth listening to for those songs, but overall a patchy record. [AM] HENDRICKSON ROAD HOUSE ( )

"Hendrickson Road House" 197 (Two:Dot hrh-81-670) Mega-rare light psych item is one of the few in the genre in which the creative force is a woman, Sue Akins. This isn't really much like all of the Airplane-wannabe bands, either; Hendrickson Road House has a distinctive sound with mildly jazzy arrangements, subtle lead guitar, a tad of autoharp, smooth vocals and a definite late-night feel. The guitar playing has a bit of a West Coast influence, though it's not the least bit heavy. The closest comparison would be the Serpent Power songs with Tina Meltzer on lead vocals. One jazzy instrumental with a lot of sax manages not to sound out of place. Otherwise Akins sings all of the songs, and the album has a coherence not often felt in the genre. Not a masterpiece, but quite good, and the lack of a

reissue is truly puzzling given its quality and rarity. [AM] ~~~ Remarkable femme-vox folkrock/psych that must rank as one of the best local LPs not yet reissued. Draws on 1960s Bay Area vibes but adds a jazzy nightclub sophistication that places it in a slightly later area. Femme vocals are superb whether solo or in tandem (possibly doubletracked), soaring in full control over a sparse backing with classical inspired acoustic guitar. The best tracks have a folkrock setting yet retains an intimate nocturnal feel. Apart from a superior variation on Serpent Power (as Aaron suggests above) I am reminded of These Trails, though this is less rural exotica and more of an urban afterhours scene. Tracks such as "Tomorrow your sorrow" and the opening "Forget about you" are likely to blow anyone's mind. An atypical saxophone medley towards the end breaks the mood on what is otherwise a very well-crafted and consistent album that would have fit better on Elektra or Vanguard than an obscure contracting service in rural CA. Two:Dot had a couple of other interesting releases, including the rare Arthur. [PL] MARK HENLEY (MN) "Riversong" 1976 (Sanskrit SR 0763) "Riversong" 2005 (CD Small Town, UK) Mellow acoustic hippie folk with a variety of stringed instruments, credit shared with one Michael Johnson. Henley and Johnson also collaborated on Johnson's "Aint Dis Da Life" (Sanskrit, 1977). HENRY TREE (Cleveland, OH) "Electric Holy Man" 1969 (Mainstream s-6129) [wlp exists] This is one of the lesser Mainstream psych albums, though its more interesting than you might expect. Its a pure power trio with no overdubs (not even backing vocals), but the song structures are complex enough to make up for the simple arrangements. They mix rural rock ,blues, jazz, acoustic ballads and some Xian lyrics, and its rather an odd result. At its best its quite challenging. Mr. Fear, in particular, has a lovely melody and is an evocative work. All of side one is pretty good, actually, though some fast noodly guitar leads are a bit bothersome. The long songs meander, recalling Nucleus (also on Mainstream), but its much better: the worst bits sound much more like failed experiments than stoned indifference. Side two is quite a bit less interesting than side one, though, and this ends up being half of a promising album. [AM] HENSKE & YESTER (Los Angeles, CA) "Farewell Aldebaran" 1969 (Straight sts-1052) [wlp exists] "Farewell Aldebaran" 2005 (CD Radioactive)

I am less impressed than most by the "Aldebaran" title track, but numbers such as "Lullaby" and "Three Ravens" have an appealing icy acid-folk edge. Hard to understand all the brouhaha around this album, though. Both Jerry Yester and Judy Henske had long careers with several noteworthy aspects, none of which fit into this archive. The LP is sometimes listed as by 'Yester & Henske'; a 2nd pressing on Reprise (RS 6388) has been listed but appears never to have come out. [PL] ~~~ Noted folksinger Judy Henske (originally from Wisconsin) and her husband, Jerry Yester. There's three great and radically different songs on "Farewell Aldebaran": the hard fuzz "Snowblind"; the medeival stomper "Raider"; and the keys and effects on the title track are riveting. The remainder is pretentious mixed duo folk with pretty playing, ludicrous hipster lyrics, orchestral backing, and a dreamy carnival organ sound. [RM] ~~~ This album's inclusion in Ritchie Unterberger's first book sent collectors scurrying everywhere, trying to dig up lost copies. Too bad he hadn't written about some of those lame psych albums that no dealer can get rid of instead; that would have caused a laugh or two. While this album's reputation has become a little overstated in the wake of the book, it still stands up as one of the better and most creative folk/psych albums of the period. Henske made the transition from her earlier career as a comedian/folk singer/torch singer to a rock singer with no problem at all. She has an amazing talent, and her throatripping vocal on the opening "Snowblind" is an eyeopener. That particular singing style is not revisited, but from bubblegummy pop to morbid dirge to psychedelic hoedown to wicked social commentary to electronic freakout this album really shows what can happen when willingness to experiment is high and talent is ripe. A few songs in the middle don't really live up to the rest, which is what keeps this from being an eternal masterpiece, but still it's close. Henske and Yester's next collaboration, as "Rosebud," sadly shows little of the inspiration of this album. [AM] HENTCHMEN ( ) "Hentchmen" 1966 (Sanders no #) [no sleeve] Teenbeat demo LP from NYC recording studio. HERE COMES EVERYBODY (OK) "Here Comes Everybody" 1974 (Cab 101) Westcoast sound stoner barband with side-long "L' Opera: Johnny Got His Raygun", in handmade cover. HERMON KNIGHTS see Knights

DANNY HERNANDEZ & THE ONES (MI) "Back Home at the Brewery" 1972 (Spirit 52003) Funky jams in Sly & the Family Stone style. The cover notes all proceeds will be donated to a marijuana legalization fund. No doubt that plan went up in smoke. JAMES HERSCH & TIM MILLER (MN) "Butterman's Ball" 1975(no label) [300p] Folk/folkrock with mellotron, recorded in 1974 in Jon Burrell's studio in Brooklyn Park and mastered at Sound 80 in Minneapolis. James Hersch released a solo LP in 1980, "Audition" (Whitewater). CAROLYN HESTER COALITION (TX/NY) "Carolyn Hester Coalition" 1969 (Metromedia md-1001) [wlp exists] First LP is fine westcoast style hippie fuzz folkrock/pop with Hester singing in a decidedly nonfolky acid bubblegum style, a few tracks such as the great "East Virginia" excepted. Solid all through, should appeal to any fan of Neighb'rhood Child'n, Birmingham Sunday, Daisy Chain and similar semi-light trips. For whatever reason, both CHC albums sport some of the ugliest covers of the era. Carolyn Hester recorded extensively as a pure folkie from the early 1960s on. [PL] ~~~ Traditional folkie moves confidently into folk-rock, complete with fuzz guitars and Buddha references. The opening Magic, Man is well-known due to its inclusion on the Hippie Goddesses compilation, but there are plenty of other treats in store here as well. The more standard folk songs are as good as the psychy ones, especially if Hesters clear, girly voice is your cup of tea. Housed in one of the absolute ugliest album covers ever, despite (or, in part, due to?) Carolyns brave display of cleavage. [AM]

"Magazine" 1970 (Metromedia md-1022) [wlp exists] Hesters second venture into folk-rock is equally as good as the first, if not better. How far you go with these albums depends on how you feel about her voice, but if you like her this is definitely recommended.

Nice folk rock sounds abound here, with just a little bit of fuzz guitar to keep things interesting. A cover of Dock of The Bay is pointless, but the two other covers, St. James Infirmary and Swing Low Sweet Chariot are made quite interesting by the addition of topical political lyrics. Another cool record and another terrible album cover! [AM] ~~~ "Magazine" is a bit harder to find than the CHC debut, and perhaps due to this usually written off blindly as "not as good". Actual hi-fi encounter with it suggests otherwise, as this is highly enjoyable in a style similar to the first; a small step or two towards moody folkier sounds all over and a little less Sunset Strip bubblegumish - some may consider this an improvement. Setting is unchanged with a stripped down teen guitar/organ sound supporting Hester's candy acid vocals. There are a handful of covers including the album's one dud, a useless take on "Dock Of The Bay", while the acid fuzz rework of "St James Infirmary" with modernized political lyrics is very good. Personal faves include opening psycher "Rise Like The Phoenix" and the superb introspective folkpsych of "Just Follow Me", while "Calico Sky" should appeal to fans of soft femme vocal pop. [PL] MARK HEYES (CA) "Words and Music of Mark Heyes" 197 (Good Sounds jat-101) Early 1970s teen organ blues rock produced by John Tartaglia. Hal Blaine, Joe Osborne, and Larry Knechtel help the 17-year old Heyes out, presumably out of the Heyes Sr pocket. Housed in spooky cover photo of Heyes staring blankly into space. PAUL HIBBETS (GA) "Childhood Dream" 1974 (Ascension) Good dreamy Christian psychrock with fuzz and keyboards backing from the band Ascension, has been compared to Azitis and Joe Peace. Nice double exposure color cover. HICKORY WIND (IN)

"Hickory Wind" 100p] "Hickory Wind" cover; 300p] "Hickory Wind" "Hickory Wind"

197 (Gigantic 1104) [black and white cover; 1996 (Gigantic/T.U.T, Austria) [bootleg; purple 1999 (Void 11) 200 (CD Beatball 06, Korea) [+4 bonus tracks]

Rural rocker with lots of rootsy Band-type numbers and country-influences; as you guess pretty far from the usual psych/guitarrock. Quite unusual LP that can sound vastly different depending on the listener's mood, although at the end of side 2 I usually conclude that it's an enjoyable and wellstructured piece. Vocals are a bit flat and the playing often unexciting, but somehow this contributes to the album's earthy, realistic feel, like strolling into an Indiana bar one afternoon and finding a band on stage rehearsing. One track has fuzzed rock aspirations and there are a couple of good slow numbers with organ as well. The closing ballad is a personal favorite. Moves in the same Americana roots and bar-rock regions as Riley and Traveler's Aid but is stronger all over, with an appealing smalltown charm and grower qualities. [PL] ~~~ The most well known song here is garagy fuzz screamer that's hopelessly out of place among a batch of country-influenced rock songs. About half of them are pretty cheesy and weak (the nadir being a song about begging a police officer not to give the singer a speeding ticket), but a few of them have an eerie out-of-place-and-time quality that's quite effective. "Father Come With Me" is the highlight, with spooky organ and heavily echoed vocals. The album-closer "Judy" is lovely folk-rock, as out of place on this record as the one fuzz rocker. I think this is only half good, even if you're intrigued by the thought of a basement recording of a stoned country crooner, but the good half is unique and memorable. The Void reissue has been described as inferior in sound. The Korean CD has bonus tracks by B F Trike. [AM] ~~~ see -> B.F. Trike; Lee Hyatt GARY HIGGINS (CT)

"Red Hash" 1973 (Nufusmoon 3673) [lyric insert; 2500p] "Red Hash" 199 (CD Flashback, UK) "Red Hash" 2005 (CD Drag City 295) Highly enjoyable smalltown hippie folk/folkrock with a professional sound, good vocals and songs full of hooks and strong melodies. A dreamy melancholy dominates, but the sharp arrangements and elaborate production keeps it from ever drifting off. Lyrics deal with dope and being in prison, which is a true story & probably what kept him off major labels. Higgins received a severe 2-year-9-month sentence for possession of weed, but had time to record this album shortly before going to jail. "Red Hash" is a nickname he aquired when being in custody. Underrated LP is a personal fave and better than almost all the overpriced items in this genre. To illustrate Higgins' qualities I'm picking two different fave tracks than Aaron does below; "Stable the Spuds" and the closing "Looking for June". Do not miss this. Some copies came with promo sheets with newspaper

clippings about Higgins' trial. [PL] ~~~ To these ears this is one of the best loner folk albums. Apparently recorded before Gary went to prison, which gives it an extra edge. Higgins is a great songwriter, and has an appealing soft-but-gruff vocal style. The lyrics reach into some pretty unusual places, and the melodies and hooks are full of unexpected left turns. He even uses moog to nice effect here and there. Pick hits are the beautiful It Didnt Take Too Long and the pissed off Down On The Farm. [AM] HIGH MOUNTAIN BAND ( ) "Music From Mountains, Rivers And Oceans" 197 (no label 45640) Eastern influenced trance folk. HIGH TREASON (Philadelphia, PA) "High Treason" 1971 (Abbott ABS 1209) [gatefold with plastic window and rolling papers] "High Treason" 2002 (CD Gear Fab gf-165) "High Treason" 2002 (Akarma, Italy) Somewhat bizarre concept of a loungy nightclub jazz band tackling the mid-era Airplane sound and coming off a lot different than they had intended, I would think. Lady vocalist makes up for her lack of Grace by yelling at the top of her lungs, while cocktail organist and supperclub guitarist "jam" on long tracks, including an unsuccessful Dylan cover. Didn't like this much though others may find some appealing angles on it. Several of the musicians also played with Perry Leopold. [PL] HIGHWAY (Mankato, MN) "Highway" 1975 (no label 854) [500p] "Highway" 1996 (no label) [bootleg; paste-on cvr; 300#d] "Highway" 200 (CD no label) [+4 tracks] One of the better finds of the 1990s to my ears, guitar-driven rural rock/west coast trio similar to the harder sides of Homer or the melodic sides of Morly Grey. Opens with two killer tracks and a good 2/3 of the LP is excellent, some instrumental passages veer too much towards jazzrock for me though. The LP was recorded in Iowa and remained unknown among psych fans until the 1990s. Some original copies included promotional handbills. The CD reissue is from master tapes. [PL] ~~~ Unusual power trio album that's one of the best of its kind. It's hard but not heavy; there's not a single distorted guitar to be heard. What you get instead are intricate, complex riffs and hooks aplenty in which speed and agility take precedence over pure noise. The drums and bass compensate by being loud and frantic. At times it appears that

they're overreaching their grasp, but the feeling of them teetering over the edge of a cliff is actually kind of exhilarating. The two instrumentals are especially hot. The production, on the other hand, is thin and trebly. It's arguable that a more professional job could have given them a richer and less chaotic sound, but it's equally likely that the individual performances would have had less impact. As it is, the rumbling drums on "Just To Be With You," for example, sound something like a landslide. That's mostly a good thing. As usual with this kind of band, lyrics are not their strong point, but the vocals are quite agreeable, not macho or obnoxious at all. It simply appears that these guys were doing their own thing without caring whether they fit into any genre or if they appealed to the kids. Great album. The folks who reissued the album pressed more LPs than covers, so occasionally it turns up in a plain white cover or with just a non-pasted-on front cover. [AM]

HIGHWAY ROBBERY (CA) "For Love and Money" 1972 (RCA lsp-4735) Great early 70s hard rock. Two soft pop songs sneak their way onto the album, and somehow sound fantastic next to the noisy guitars and in-your-face vocal style of the rest. Funny lyrics, out of control slide guitar and high speed put this miles ahead of your average hard rock album. A keeper. Michael Stevens was previously in Boston Tea Party. Atlee Yeager also played with Atlee and Damon. [AM] HIGHWIND (KY) "Highwind" 1980 (Forum FR 1001) Pomprock/AOR with keyboard/guitar. KENNETH HIGNEY (NJ)

"Attic Demonstration" 1976 (Kebrutney 516) "Attic Demonstration" 197 (Kebrutney 516) [2nd press] New Jersey open wounds real person basement psych damage strums with buzzfuzz bursts. Mix of Spencian floaters and warped rhythm ravers. At times sounds like 1/2 Japanese doing Cale-era Modern Lovers outtakes. Way lost no-fi monsterdom. The repress used left over covers and labels. There's a sticker on the cover and the label, over the address, listing a

Lyndhurst, New Jersey address. The first press shows a Bayonne, New Jersey address on cover and label. [RM] ~~~ Many years after this album had become a cult classic, Higney came clean and admitted that the sloppy performances and off-rhythm singing weren't his natural sensibility, but actual mistakes. Since he had recorded the songs to shop them to other artists, not to showcase himself as a performer, he wasn't too concerned with the quality. That said, there's still no question that something is bizarre and "off" with his world view. This is one "real people" album that really is enjoyable, because he has just enough songwriting talent to make the songs listenable, and there are enough quirks and goofy moments to push it one step further into its own unique realm. Occasionally this music seems like ahead-of-its-time proto-punk. There's definitely no shortage of energy here. Lots of people love this album, and for good reason. [AM] HI HOPES (Anaheim, CA) "Ability" 1970 (Band 'n' Vocal bvrs-1200) "Hi Hopes" 1971 (Activity ar-696) [booklet] The band is Hi Hopes (from Hope School) but some releases are credited to High Hopes. Basement rock from adult students at the school which cares for the 'trainable mentally retarded'. The first LP is a legend in Shaggs' territory with four CCR covers and "Wipeout" taken to their minimalist extremes. Their later LPs ("Play Along, Sing Along", 1975 and "To You With Joy", 1978) have less interesting songs. BILL HILL ( ) "Free Advice" 1983 (no label) [insert; 200p] Burnout paranoid hippie new wave psych with a couple of worthwhile tracks like "In Control". The small press size has been reported by Hill himself. Some unreleased stuff from 1985 appeared in 1996 on the Swiss RD label ("Maps & Signs"). ~~~ Inventive metallic guitar mystic rocker with quirky bouncing rhythm new wave keys. Great multi-textured leads and effects, industrial leanings. [RM] HILLARY BLAZE (AZ) "Exposure" 1977 (30th Century Fox) Distinctive and strange hard rock/space rock. Two cover variations exist. The first pressing is b & w and the second has the word "Exposure" in orange.

V.A "HILL COUNTRY FAITH FESTIVAL '74" (TX) "Hill Country Faith Festival '74" 1974 (ACR-KNO-BEL 33-7427) Moody x-ian folk with good pre-LP Redemption track. Also has Trinity, Cliff Lockear, Glory Bound, Children of Faith. Lo-fi recording and noisy press. HILLOW HAMMIT (DC)

"Hammer" 1969 (House of the Fox hof-lp-2) [mono wlp] "Hammer" 1969 (House of the Fox hof-lp-2) [stereo]

"Hammer" 1978 (L & BJ) Excellent hard guitar rock produced by Lelan Rogers of IA/Elevators fame. Recorded at Sounds of Memphis Studio in Memphis, Tennessee. Stock mono pressings may not exist; it also appears that many or all 'mono' promos actually play stereo. The band name incorrectly listed as 'Hillow Hammet' the House Of Fox version. The 1978 release corrects the spelling, while the cover is different and has incorrect song listings. One track has been replaced. The sound has been reported as inferior to the 1969 pressing. V.A "HILLSIDE '66" (Columbus, OH)

"Hillside '66" 1966 (Hillside 18036) [no cover] Not less than five tracks from this local teenbeat/garage sampler have found their way onto various comps, so maybe someone will reissue it in its entirety some dat. Cover versions all through I think, though with enough dumb teenage charm to make

for acceptable listening. Bands include the Possums, Grim Reapers, King's English, Eggs, Deadlys, and more. The LP has also been listed as 'Hillside Album' and 'Hillside Sampler'. There is a later "Hillside '67" EP with four bands doing one track each. HILLTONES see Universal Ignorants HILSS & LABLANC ( ) "A Time Lost" 1974 (AR 3939) Private press of melodic 1970s folkrock in the same generic sun-dial sleeve as Emmaus Road Band. Rock setting with organ plus piano and flute; the main duo has a couple of guys helping out. Originals all through. HITCH-HIKERS (Portage, IN)

"Thank You For Your Love" 196 (H-H Records HHMR 113) Obscure mid-60s teenbeat from goofy-looking guys with older vibe. One even has a moustache. Plenty of group originals with mix of rockers and ballads, plus cover of "Stormy Monday" and a track called "Five to one" (!). The band also had two 45s out. H M S BOUNTY see Merrell Fankhauser HOI' POLLOI (Richmond, IN) see interview

"Hoi' Polloi" 1972 (Custom Fidelity CFS 2899) [insert; blank back cover; 500p] Recently discovered melodic rock/s-sw/psych delight from students at Earlham College. Excellent songwriting, dreamy vocals and skillful arrangements combine to make for a trip with wide appeal, in contrast to the crude packaging. Somewhat similar to the Dialogue LP from PA, but really needs to be heard on its own merits. Side 1 is great from start to finish. Band member Charlie Bleak later had a minor hit and cut a solo LP for Pickwick in 1976. [PL] ~~~

Here's proof that great finds are still out there awaiting us. This is a truly excellent early 70s rock and roll album. Collectors may miss out on records like this because they lack any heaviness or fuzz guitar (though there are a few trippy sound effects here and there), but if you're looking for great songwriting, creative arrangements, reasonably complex chord progressions and solid performances this sure fits the bill. For a home production made by college students it sounds remarkably self-assured and rich. The keyboard-based soft-rock sound can be most closely compared to Dialogue, but this album is significantly better. Obvious (and admitted) influences are McCartney and LOW SPARK-era Traffic, with a bit of jazz and even flamenco thrown in unobtrusively. The occasional horn is used in a truly likeable way. The album starts very strong, and the best song, the moody "Old Bootstrap" comes early, but even the slightly lesser second side has plenty to offer. [AM] ~~~ see -> Crucible JON HOLBROOK EXPERIENCE ( ) "Miserable You" 1976 (Tiger Lily 14046) Bluesy guitar rock amateur moves. Covers of Young Rascals, Steven Stills, James Gang, and Dick Dale. RANDY HOLDEN (Los Angeles/San Francisco, CA) "Population "Population "Population "Population II" II" II" II" 1970 1982 198 2005 (Hobbit 5002) [green label] (Line 5211, Germany) (Hobbit, Europe) [counterfeit] (Hobbit/Scorpio) [signed & #d]

Holden could have/should have been a major guitar hero, but it was not to be. His decision to highlight his playing by creating the world's first power duo (the drummer played the bass part on pedals with his feet) doomed this album to deadly slow tempos, though his fans don't seem to mind. Power and volume are here in abundance; no one played louder than Holden, and no one made better use of a whammy bar. Still, these are not really songs, but vehicles for his soloing, which could have benefited from a few faster, more energetic moments. This is an enjoyable album, but it's not the step forward hoped for by fans of his two great songs on the third Blue Cheer album. A great case of "what could have been". Most or all originals seem to be cut-outs. Original A-side matrix # is '6-137-I-D Stereo / B 1'. The cover for the bootleg has a cutout hole visible in the photo reproduction. The retrospective CD sampler "Early Works" (Captain Trips, Japan 1997)contains surf & garage tracks from 1964-66 with Randy's previous bands "Fender IV" and "Sons of Adam" [AM] ~~~ "Population II" is simply a hard rock guitar lovers dream. The album's essentially a one man show with Holden producing, writing all of the material, handling lead vocals, as well playing most of the

instruments - former Kak percussionist Chris Lockheed handles drums. The emphasis is on guitar and anyone looking for musical subtlety need not bother. Exemplified by tracks such as the opener "Guitar Song" (perfect for this album), "Between Time" and "Blue My Mind" the predominant sound is heavy blues, albeit propelled by an almost endless stream of monster Holden guitar solos. Elsewhere the album includes a remake of "Fruit and Iceburgs" (sic) which was one of three Holden contributions to The Cheer's "New! Improved!" album. This molten version (divided into two distinct parts) kills the original. In the interest of being perfectly honest we'll also point out nothing here is particularly melodic. The rhythm section's kind of clunky. Holden's not exactly the greatest singer you'll ever hear and spread across the entire album the constant onslaught of mind melting wailing leads starts to blur together. That said, it's still a killer album and it's easy to see why there's such demand for it. [SB] ~~~ see -> Kak; Other Half HOLDING PATTERN (CT) "Holding Pattern" 1981 (Savy) [mini-LP] "Majestic" 1991 (CD Art Sublime) [album + bonus tracks] Mostly instrumental progressive mini-LP with 4 tracks inside a weird cover of a giant hand grabbing a 747. Similar to Yes with guitar, mellotron, moog, etc. HOLLIN'S FERRY (Baltimore, MD) "Hollin's Ferry" 1977 (Port City) 70s power pop album that isn't top of the heap, but perfectly enjoyable for fans of the genre, especially those who like Badfinger's softer side. Several songwriters all on the same wavelength give the album an appealing consistency, but it could have used a few rough edges and more uptempo songs. Released in 1977, but probably recorded a bit before that, as, unlike other 1977 power pop albums, it shows no influence whatsoever from the world of punk. [AM] HOLLINS & STARR ( ) "Sidewalks Talking" 1970 (Ovation ov-1407) [wlp exists] Unique blend of folk, jazz and soft rock with a lovely dreamy, drifting vibe. Lots of flute, too much for people who arent huge fans of the instrument, but still this is a really interesting and experimental album. A guest female vocalist adds lovely harmonies to the albums best song. Same label as Heaven & Earth. [AM] REX HOLMAN ( )

"Here In The Land Of Victory" 1970 (Pentagram 1001) [gatefold] "Here In The Land Of Victory" 2005 (CD Synton, Austria) Undiscovered gem for Eastern Donovan '67 folkpsych with acid-flavored cheese and dramatic vocals, like an whole album's worth of Bill Plummer's "Journey to the East", or Pat Kilroy and Mark Fry discussing the Rubaiyat while eating dawamesk on a magic carpet circling Las Vegas. Strong songs, trancey tabla flow, deep lyrics. The cover artwork has inspired some to interpret this as a recovering alchoholic acid project, which if nothing else adds another interesting dimension to the experience. Can still be found relatively cheap but destined to climb the price ladder eventually. Holman was a prolific TV actor and also had some movie parts, including "Star Trek, part V" in the 1980s. He must have been upwards 40 when he made this LP, making the LP an affordable -- and more listenable -- kid brother to Arcesia. Pentagram was a Jubilee subsidiary. A Canadian pressing also exists. [PL] ~~~ This is an utterly fantastic folk-psych oddity. You know you're in for something special as soon as you see the back cover photo of a cross-legged (meditating?) Holman in a park, ignoring a nearby passed out drunken bum. There isn't an ounce of humor on this record, but Holman's vibrato-heavy voice (think Gordon Lightfoot with a head full of mysticism) suits the depth and mystery of the songs. There are moments of blues (especially the despairing "Red Is The Apple"), but mostly it's Eastern-flavored folk. Instrumentation includes some nice sitar and tabla, trance-like flute, and sparing but demented lead electric guitars. The songs themselves aren't really that strange, but Rex's delivery, the intensity of the arrangements and a few oddball chord progressions make them unique and special. The lyrics create poems that a hack like Jim Morrison could only dream of. And there's not one dud song on the album. [AM] JAKE HOLMES (New York City, NY) "The Above "The Above "The Above "The Above "The Above tracks] Ground Ground Ground Ground Ground Sound Sound Sound Sound Sound Of" Of" Of" Of" Of" 1967 1967 2003 2003 2004 (Tower t-5079) [mono] (Tower st-5079) [stereo] (Radioactive 049, UK) (CD Radioactive 049, UK) (CD It's About Music) [+bonus

Currently in vogue typical 60s folk-freak transition LPs from guy famous for writing "Dazed & Confused". The first one (with "Dazed") is pretty good NYC folk/folkrock with fuzz and world-weary vocals, while the second LP fails to live up to its lofty pretensions in my opinion. It does however contain the acid killer "Leaves Never Break", which has been comp'd. His third LP on Polydor has been reported as

weak country-rock. [PL] ~~~ The first album as a whole, of course, is overshadowed by its inclusion of "Dazed And Confused," which truly is a brilliant psychotic folkpsych song. "Lonely" is even more frantic, and both will have you in disbelief that such intensity can be reached without drums. For 1967, it's pretty mindblowing stuff, and later folk/psych would sound nothing like it. The rest of the album ranges from jazzy to maudlin, none nearly as unusual as these two songs. All of it has something to offer in the way of a catchy melody or sharp lyric, though, and while it may be a disappointment that the intensity dies down after the first song on each side, there's plenty to like throughout. [AM] ~~~

see full-length review

"Letter "Letter "Letter "Letter [+bonus To Katherine To Katherine To Katherine To Katherine tracks]

December" December" December" December"

1968 2004 2004 2004

(Tower st-5127) [stereo] (Radioactive 104, UK) (CD Radioactive 104, UK) (CD It's About Music)

~~~ see full-length review

A lot of people don't like Holmes' second album, but as a whole, I find it even more interesting than the first. The addition of drums and a fuller overall production sound allows him to go in a lot of directions, and while they're not all successful, they're never less than fascinating. "High School Hero" is the song all of us who were picked on in 10th grade wish we could write, except that I'm not sure the rest of us would have the same kind of whacked out stream-of-consciousness Holmes shows here. His jazzy tendencies show up more than on the first album, and that may put a few people off, but his sensibility is so peculiar that every failed experiment on the album seems to somehow make sense. Side two begins with "Leaves Never Break," the most disturbed song in his repertoire, and one of the alltime great folk/psych songs. Flawed, but unique, and it grows on you. [AM]

HOLY GHOST RECEPTION COMMITTEE #9 (New York City, NY) "Songs For Liturgical Worship" 1968 (Paulist Press p-04425) [lyric inner] "Songs For Liturgical Worship" 200 (Void 26) [insert; 500p] "Collected Works" 2001 (CD Void/Hallucinations 03) [2-on-1] Some of the reviews we've seen label this as throwaway pop, while others describe it as a lost psych classic. Well, we'll try to set you straight by telling you it's neither. The album featured 12 original numbers, though roughly half of the tracks were apparently written by non-band member fellow class members. Though some listeners might be bothered by the set's overt religious orientation, to our ears one of the biggest surprises stems from how progressive selections such as "Day After Day" and "Pray" are. Sure, there's lots of mention of God, but for the most part the sentiments are subtle, rather

than in-your-face. Musically the collection's also surprisingly impressive. Given all four members were still in their teens, they play with considerable confidence - the addition of a "guest percussionist" certainly helped. On tracks such as "Hand On Your Shoulder", "Step Into the Wind" and "That Day", the band's affection for Byrds-styled folk rock is quite apparent. Among our favorites, the rocking "The Magic Ice Cube", "There's a Voice Inside" and "Pray" which sports a nice social commentary lyric and psych-ish feel to it. Sure the results aren't perfect (witness the out of tune vocals on "The Resurrection"), but the set's sense of innocence and raw sound are quite appealing. [SB] ~~~ This is one of the very few Xian bands to have a true early garage feel, and its a nice alternative to all of the zillion folky and heavy Xian albums. Its a little bit sloppy, and the songwriting is only OK, but it has a pure heartfelt vibe that works. Enjoyable but slight. The Void CD contains both LPs. [AM] "The Torchbearers" 1969 (Paulist Press p-04426) "The Torchbearers" 199 (Void 02) [lyric insert; 500#d] Regis High School x-ian folk psych trio with a charming lost sound. The first LP is soft folk but "The Torchbearers" is especially memorable with a great mix of sounds - rhythmic Byrdsy ringing guitar and delightfully nasal vocals out front. "Them's a Comin'" is a great soulful take on segregation, "Hey Lord" is a rhythm punker worthy of Out of Darkness, "Magnificat '70" dives into the tripped downer zone, and "Jesus H. Clown" is just plain wierd. The Void LP reissue has an inferior sleeve job. [RM] HOME AGAIN ( ) "Home Again" 1973 (Balloon BS-501) Seldom seen local LP, a mix of Hootch-style wah-wah jams with crude hippie folk and garage exploito vibes. HOMER (San Antonio, TX) "Grown "Grown "Grown "Grown "Grown In In In In In U.S.A" U.S.A" U.S.A" U.S.A" U.S.A" 1970 1986 199 200 200 (URA 101) (Breeder 568, Austria) (CD) [+2 bonus tracks] (Akarma 210, Italy) [+2 bonus tracks] (CD Akarma 210, Italy) [+2 bonus tracks]

Westcoasty Texas classic with some early rural rock leanings, as heard on a track like "Dawson's Creek". Despite the awesome dual guitar work on the best tracks, this isn't really a guitar-driven LP but more of a strongly played melodic hippierock delight in the vein of Kak or Mother Tuckers. Several excellent tracks, good vocals and no duds or misplaced ideas. The group also had some very good non-LP 45 cuts. [PL]

~~~ This Texas rarity comes from a bunch of places (mellotron-heavy prog, mainstream AM rock) that could have made it a piece of crap, but somehow it's great. Chalk one up for great songwriting, tastefully brief songs and the kind of eerie underground vibe that permeates private press records. It's AOR for psych heads! The first CD reissue has digital skips. [AM] ~~~ see -> Stardust; Ultra HOMESTEAD & WOLFE (Cupertino, CA) "Our Times" 1975 (Topo HB-100) "Our Times" 2004 (CD Anopheles 008) [+6 tracks] Despite being recorded at Gold Star in LA and featuring heavy session names such as Hal Blaine and Al Casey, this irresistable femme-vox melodic folkrock/psych delight has remained mysteriously unknown for 30 years. You'll be hard pressed to find faults with its mix of various late 1960s California styles, ranging from lyte Neighb'rhood Child'n top 40 psych over Carolyn Hester Coalition/Yankee Dollar folk moves into all-out westcoast acidrock a la Ill Wind. The songwriting and arrangements are excellent throughout and come courtesy mainly of the remarkably talented JoAnn Avery, although the entire group contributes most skillfully. The blend of the female vocalists works well in a manner similar to Mamas & the Papas, and indeed the album as a whole plays like something out of one of John Philips' more inspired daydreams. The release year of 1975 seems almost impossible, although traces of a more sombre 1970s mood can be found in the "Soldier Blue"-inspired Indian (and Vietnam) massacre lament of "See The Children Die", and the Nashville-flavored "Rhythm of the wind". I also have to throw in a word for the super-catchy "King Of The Mountain" which is the musical equivalent of a giant smiley face and will send you right back to 1974 and upbeat children TV shows of the era. In general the psychiest stuff such as the twofisted punch of "Your Freedom's In Question" and "I Am Cain" is the best, but the lightest and tradiest moves are agreeable too. "The beat of the drum" is perhaps the ultimate marriage of the band's all strengths into one superb piece of music, including hard raga leads straight out of 1968. Any psych fan not enjoying this album needs to come up with a creative explanation why. [PL] HONEYBEE RIDGE (IL) "Honeybee Ridge" 1979 (Beaver Creek Revolution) [2 inserts] Communal hippie folk and stoned country with full setting plus accordion and piano. "What's Gonna Happen To All Us Old Hippies" is a telling song title. HONEY, LTD. (Detroit, MI)

Honey, Ltd. 1968 (LHI 12002) Though the band remembers Lee Hazelwood at one point telling them the album was pressed, in boxes, and ready to be distributed, to this day less than a handful of copies have ever been located, and this album goes on the very shortest list of rarest major label releases, along with The Groop and The Tokens Intercourse. The album itself doesnt have the appearance of something intended for actual release, as it is in mono and has only 8 songs (totalling barely over 20 minutes.) Nonetheless, its excellent, as good a girl group record as Ive heard, one that has enough of a rock edge to appeal to fans of garage rock and light psych. They later changed their name to Eve, and released a less interesting but much easier to find album for the label. Hazelwood, notoriously silent and difficult, has never shed any light on the reason for this albums rarity. [AM] GENE HOOD (IL) "Out of the Clouds" 1980 (OSR) Ethereal progressive folk with synths. With two members of Farm (on Crusade). ~~~ see -> Farm D R HOOKER (CT) "The "The "The "The Truth" Truth" Truth" Truth" 1972 1993 1997 1997 (On/XPL 1029) [lyric insert] (Del Val) [lyric insert; 350p] (Xotic Mind, Sweden) [lyric insert] (CD Xotic Mind, Sweden) [+bonus tracks]

"Armageddon" 1979 (On) [insert; cover slicks; 500p] "Armageddon" 198 (Hadan, Europe) [bootleg; boardprinted] "The Truth" is one of the big private press classics, reissued enough times that most people should know it by now. Covers all the bases in an impressive manner, the songwriting, his awesome voice, the elaborate psych-rock soundscape, even the lyrics are excellent. The thematic range is truly mind-boggling, going from ambivalent drug songs into pastoral hymns and ending up in fullblown Jesus praise. A good LP to play for your non-collector friends, although it's not without detractors among mainstream psych heads, who probably can't handle the ego-mania and lounge moves that are part of what makes these 70s albums so great. Recorded in 1974 but not released until '79, "Armageddon" retains much of the greatness with some minor UK progrock moves added, but not enough so to damage the trip. There was also a cassette-only release ("Rain On The Moon") from the 1980s which again contains some good tracks. [PL] ~~~ Heavily hyped 70s private press album that mostly lives up to its lofty reputation. Hookers singing is a little to the lounge side of center, and here and

there it comes off as either overly sincere or not melodic enough (the ballads hardly qualify as rock at all). Still, he has an appealing warmth that works especially well on the heavier songs. The synthesizer effects on The Sea get the album off to a rollicking start, and much of the rest live up to that high standard. If the softer songs are your cup of tea, this album will be an all-time favorite. If not, its still a must-own for the rest. The Xotic Mind CD reissue contains all tracks except one from his proggier second album, which is also quite good. [AM] HOOTCH (WI)

"Hootch" 1974 (Pro-Gress 4844) [blank back cvr; 500p] "Hootch" 1994 (Rollocks, Belgium) [400p] Obscure high school-project westcoasty heroin vibe guitar jams, mostly instrumental with two good vocal cuts; the rest is laidback snakey Garcia-type workouts with a slightly eerie vibe. One of the better LPs in this bag, recommended to those into non-heavy early 70s psych. "Arabian Style" is a personal fave. Primitive purple silkscreened sleeve. [PL] HOOVER HIGH STAGE BAND (San Diego, CA) "Gets It On" 1970 (Century 38672) High school band doing stoned covers of Led Zep and more. HOPE (LaCrosse, WI) "Hope" 1972 (A&M sp-4329) [unipak; wlp exists] The most absurdly hyped 'psych' record in recent years. Dull rural Christian guitar rock with harmonies, violin, some fuzz. Too poppy and straight on the rockers and too rural for Jesus Music fans. Add on the glossy production and this should put most everyone to sleep. The LP was also released in Canada and Japan. [RM] ~~~ We bought this at a yard sale, slapped it on the turntable and thought it was one of the dullest LPs we'd heard in a long time. It ended up in a pile of stuff that was destined for Goodwill. Fast forward a couple of years and we start seeing the album pop up on several high priced sales lists. Produced by Jack

Richardson (of Guess Who fame), the quintet's selftitled debut is hard to get a handle on, but little of the material is remarkable. Clearly interested in making a grand statement, material such as "Where Do You Want To Go", "One Man" and "Find Him" boasts a Christian agenda. Unfortunately, for the most part the band just couldn't deliver the goods. Exemplified by material such as Croegart's "Deliverance", weak vocals, inane lyrics and hackneyed arrangements combined to make the album professional, but plodding. Hard to imagine saying this, but give us the Moody Blues any day.[SB] HOPI KLANSMEN (NM)

"Hopi Klansmen" 1965 (Indian Arts Of The Americas R3003) Native American teen band doing typical '65 preInvasion mix of instros and frat/50s. The sleeve shows an Albuquerque address. Apparently the band had at least one more album. HOPKINS & BRADLEY ( )

"Hopkins & Bradley" 1973 (H & B 7310) [plain sleeve] Folk psych duo downer action with echoed vocal and moody Beatlesque ballads. HOPNEY (FL) "Ends And Means" 197 (Illusion cm-1032) "Perils Of Love" 197 (Illusion cm-1033) "Cosmic Rockout" 1977 (Illusion cm-1034) "Cosmic Rockout" 2001 (CD Dodo 513, Italy) The first two LPs contain only cover versions, while "Cosmic Rockout" is a blues psych rocker with strong guitar and bent vocals. Produced by Mike Pinera (Blues Image), who released all three LPs on his mysterious Illusion label. Patrick Hopney was originally from New York.

HORIZON (FL) "Horizon" 1978 (Sweet Spirit SS1608) Christian mellow rock reported as unexciting, but housed in a great cover of a hooded figure on horse slaying a dragon.

HORSES (CA) "Horses" 1969 (White Whale WW 7121) "Horses" 2003 (CD Gear Fab 201) "Horses" 2004 (CD Revola 041, UK) [+bonus tracks] Westcoast psych-rock that features pre-Miami Vice actor Don Johnson in a Carter/Gilbert-mastered bid for teen-idol success. The other band members later turned up in Dead-related outfit Kingfish, and reportedly have no fond memories of their spell with Johnson. The LP has been compared to label-mates the Rockets, and is worth checking out. The LP also came out on 8-track, and an Australian vinyl pressing exists. HORTON ( ) "Dance Hall for Midgets" 1976 (Horton BH 1000) Messed up hard blues psych from obscure trio, with demented vocals similar to George Brigman or Circuit Rider. Cool cover of stoner guy in a giant eye. HOSANNA (Green Bay, WI) "Hosanna... In the Morning" 1974 (Diversified Media 740607) Mix of rural xian rock and dreamy introspection. Some heavy fuzz moves a la Rainbow Promise. HOT DOG (Memphis, TN) "Hot Dog" 1977 (Guinness) Hot Dog is the same band who released an LP and single on the Ardent label as the Hot Dogs. They have connections to Terry Manning and Big Star. The Ardent recordings were moody 70s rock with powerpop tendencies. This time around they're less poppy, rock quite a bit harder and use more straightforward arrangements. It's a solid but unexceptional rock/hard rock album, not especially heavy and with rather pedestrian lyrics. The singing and rhythm section are excellent throughout, which elevates some of the more mundane songs. The best song is "You Can't Live," which has a strong guitar hook and powerful, driving organ. This is one of the toughest

Guinness albums to find. [AM] HOT FLASH ( ) "First Attack!" 1977 (Rockwell RW876101) Progressive obscurity comparable to Lift, Fairchild or Zoldar & Clark. Long tracks with complex arrangements and keyboard, flute, heavy guitar interplay and some dreamy passages. Highly rated by some genre fans. HOT POOP (CA)

"Does Their Own Stuff" 1971 (Hot Poop hps-3072) [lyric insert; 500p] Like Cains "A Pound Of Flesh", this album is more famous for the cover than for the music within. The front shows the band in a barn, with three of them shooting up, one passed out (or dead), and another taking a dump. On the back cover theyre all nude, except that the woman has a dick and the guys dont. Unsurprisingly, the lyrics are equally ridiculous, mostly about sex and cars. Collectors should know that other than some noisy fuzz guitar, theres nothing psychedelic about this. The music is more like a combination of surf and roots rock played by people who just learned their instruments last month. A ridiculous falsetto vocal on a couple of songs sends it into novelty territory. As sloppy and inept as this is, its still pretty listenable, and definitely gets points for grossness. Its hard to imagine that in 1971 or 1972 this album could have been made at all. Sealed copies still show up today, but since the band themselves hoarded them and sold them to rare record dealers, the claim that there are only 500 copies could be true. [AM] JIMMY HOTZ (OK) "Beyond the Crystal Sea" 1980 (Vision vl-777) [gatefold] Hotz is a producer and electronics wiz, kind of the Christian version of Tom Scholz. The list of people he's worked with (or who have used his gadgetry) is pretty impressive. His own album is considered my many the pinnacle of Christian Prog, and unsurprisingly his techological knowhow is to the fore throughout. To be honest, I think it's a lot more impressive than listenable. The songwriting isn't the primary focus, but rather a vehicle for a slick production style that, unlike most of the late 70s and early 80s recordings reviewed here, sounds completely of its time. Also, his vocal style is really pretentious in a Brit-prog-wannabe way.

Amusing cosmic fantasy cover art typical of the genre. Jimmy also produced Arkangel. [AM] LES HOU-LOPS (Montreal, Canada) "Off" 1967 (Apex 1591) "Les Hou-Lops, vol 1" 1998 (Merite 22-918) A popular beat combo from Quebec comparable to the Easybeats, this is their only album with vocals in English. They released five albums in total 19641968, but are generally considered inferior to the top French-Canadian bands of the era. The Merite reissue combines "Off" with the preceding LP, "C'est Chip". H P LOVECRAFT (Chicago, IL) "H P Lovecraft" 1967 (Philips phm-200-252) [mono; wlp monos exist] "H P Lovecraft" 1967 (Philips phm-600-252) [stereo] "This Is H P Lovecraft" 1972 (Philips 6336, UK) [altered cover] "II" 1968 (Philips phs-600-279) [gatefold] "II" 2003 (Radioactive 018, UK) [gatefold] "At the Mountains of Madness" 1988 (Edsel, UK) [2-on-1; bonus tracks] "This is H.P. Lovecraft" 1997 (CD Britonic 00010, UK) [2-on-1] "H P Lovecraft I + II" 200 (CD Collectors Choice) [2-on-1] While quite wellknown among psych fans, HP Lovecraft's importance and qualities still remain misunderstood. To begin with, their truly great LP wasn't the debut, which is occasionally brilliant (as on the classic "White ship") but patchy and unfocused, but the eternally underrated "II"; a deep pot-psych trip of the highest order. The band's unique, dreamy European moods are superbly caught on "Moebius Trip" and "Spin Spin Spin", and David Michaels' classically trained vocals gives them a rare edge. A more celebrated psych LP such as Wizards From Kansas clearly owe a lot to HP Lovecraft, who along with the Baroques were the first Midwest band to adapt the new westcoast style. Respect. The debut LP was released in September 1967 (a UK pressing also exists), the follow-up 12 months later. There was also an inferior third LP in 1969 ("Valley Of The Moon", Reprise), and a reunion LP for Mercury in 1975. [PL] "Live - May 11, 1968" 1991 (Sundazed 5004) "Live - May 11, 1968" 1991 (CD Sundazed sc-11008) I've seen this retrospective live release praised in many places, but have to say that apart from the extremely good recording quality it's a mixed experience. One of the things that worked so well on their studio LPs, namely the blend between the two vastly different vocalists, here threatens to dissolve the music into schizophrenia. The voices

aren't well-synched and seem to be competing rather than harmonizing. Musically it's solid with an energetic and tight sound from musicians not afraid to challenge the Fillmore bands on their own hometurf; the rhythm section is terrific. Opening instrumental jam is adventurous and impressive, although the band tends to favor organ over guitar as lead instrument. The material is drawn mainly from their first LP, including several mid-60s folk covers that were beginning to sound dated at this point. "At The Mountains Of Madness" from the 2nd LP is a highpoint, and "White Ship" works surprisingly well live. All over it sounds like what it is, a second tier SF Ballroom act along the lines of Crome Syrcus or Initial Shock having a pretty good night. The infamous tension inside the band may be what keeps them from delivering the appealing, ahead-of-theirtimes vibes from their LPs in full. [PL] HUCKLE (Canada) "Upon A Once Time" 1974 (Homespun FO 2128) "Wild Blue Yonder" 1976 (no label) The second LP has been described as cosmic psych, with Sky Sulamyth on guitar. ~~~ see -> Sodbusters LOUISE HUEBNER (Los Angeles, CA) "Seduction Through Witchcraft" 1969 (Warner Bros ws-1819) [wlp exists] "Seduction Through Witchcraft" 1996 (CD Infinite Zero) Sexy witch incantations and rituals with background sounds, like Barbara the Grey Witch. Huebner is the officially appointed Witch of Los Angeles. HUMAN BEINZ (Youngstown, OH) "Nobody But Me" 1967 (Gateway glp-3012) "Nobody But Me" 199 (Get Back, Italy) Credited to 'Human Beinz/Mammals' with two thirds of the tracks by the Mammals, including the title track which of course was a big hit for the Human Beinz; unfortunately Capitol owned the rights to that version. Gateway owned the rights to some of the (cool) pre-hit Beinz material and put this scam together to cash in from unsuspecting buyers. The LP is sometimes hyped as rare, which it isn't. "Nobody But Me" 1968 (Capitol st-2906) "Nobody But Me" 199 (CD See For Miles, UK) "Nobody But Me" 1993 (CD Collectables col 0547) Produced by one "Lex De Azevedo" (who also contributed four songs), "Nobody But Me" found the

band finally making it to the big time via a contract with Capitol. Musically the set was diverse and pretty good. While their cover of "Foxy Lady" wasn't anything special, elsewhere "The Shaman", "Turn On Your Love Light" and "Dance On Through" were all strong garage rockers. Blessed with a suitably taunt and raw voice, Belley proved well suited for the material, while the rest of the members displayed more competence than expected from your average club band. Elsewhere "Flower Grave" and the bizarro "It's Fun To Be Clean" were interesting in that they found the band taking tentative steps towards a more psychedelic-oriented sound. With the aid of Capitol's substantial promotional department the parent album eventually hit #65. The LP was also released in Japan on red wax. [SB] "In "In "In "In Japan" Japan" Japan" Japan" 1968 199 199 199 (Capitol 8737, Japan) [gatefold; obi] (CD Cosmic Mind, Italy) [+bonus tracks] (CD) [+bonus tracks] (H.B.)

Rare Japan-only release from the famous "Nobody But Me" guys, this shows them to be a tight, impressive club act with a tough fuzz edge as shown by killer takes on "Foxy Lady" and their own "Gotta keep on pushing". Some remnants from a pre-psychedelic dancehall sound make for an odd mix with the hard '68 material. Well worth hearing - they were the real thing. Another Japan-only LP release from the band was "The Golden Album" on Capitol 8596 from circa 1968. [PL] "Evolutions" 1969 (Capitol st-2926) "Evolutions" 1987 (Decal, UK) Absolutely one of the best albums from a Nuggets-type band. People remember them for "Nobody But Me," but on this second album they wrote their own songs and showed all sorts of growth. Great pop, garage and proto-hard rock, including an absolute monster instrumental blowout at the end. If it wasn't for two utterly dull minutes where they destroy a piano with an axe, this one would be killer from start to finish. [AM] ~~~ Impressive late 1960s beat that shows the band further refining their characteristic mix of acoustic guitars, fuzz, subtle orchestrations and Beatlesstyle songs. Nothing here is quite as brilliant as "Flower Grave" on the debut, but all over it's clearly a stronger LP, delivering in all the key areas including some above average lyrics. Hendrixy hardrock aspirations creep into a few songs but the end result is closer to power-pop than anything else. The piano destruction is surprisingly effective because it's so graphic -- no cheapo sound fx library snips here, the Human Beinz smash a piano to pieces and you can hear it! Appealing title from a band who certainly deserve to be remembered for more than just a hit 45. [PL] HUMANIST ADVENT CONCEPT (Canada)

"Invasion" 1979 (Reveal rc-77-2) "Supra Surge" 1980 (Reveal rc-77-3) Heavy space freeform psych/prog from communal heads, with fuzz and atmospheric keyboard. Not for everyone, and not expensive. HUMAN ZOO (CA) "Human Zoo" 1971 (Accent 5055) Mixed bag of era sounds with the occasional fuzz, rare but disappointing LP on legendary label. K C HUMPHREY ( ) "For A Smile" 1975 (MSS-1106) Loner/troubador folk and folkrock LP with mandolin, keyboards and effects, housed in a typial period front cover DIY pencil drawing of a young man sitting under a tree playing guitar for his girlfriend. HUNGER! (Portland, OR) "Hunger!" 1969 (All American) [test pressing] "The Lost Album" 199 (Void 08) [500#d] "The Lost Album / Strictly From" 199 (Akarma ak-045, Italy) [2 LP box-set] "The Lost Album / Strictly From" 199 (CD Akarma, Italy) The "Lost Albums" is an earlier version of the "Strictly From" LP that was discovered in the 1990s. Although more guitar-oriented and possibly superior to the Public label release it's still not really a killer in my book as the basic problems (inability to jam, so-so songwriting) are the same, no matter what the tiresome hype tried to convince you. As far as I can tell, the takes are all the same but they are unedited, which means far lengthier instrumental excursions on several tracks. As an example there is a 2-minute section in the middle of "Workshop" that was cut out from the Public label release; however it is just mechanical riffing that couldn't be mistaken for true acid-rock jamming. Various stories exist on the origins of this variation, none of which seems entirely correct. My personal theory is that the band/label simply were dissatisfied with the original (acetate) mix, and edited the LP down into the official version, accidentally losing a few guitar leads in the process. The oft-mentioned appearance of Ed King on this LP is dubious, at least King himself had no recollection of it and did not recognize Hunger when hearing the music recently. The Akarma CD omits a few tracks from the test press due to playtime limitations; the vinyl box-set contains all the music. [PL] "Strictly From Hunger" 1969 (Public 1006)

"Strictly From Hunger" 1983 (Psycho 14, UK) [altered sleeve] "Strictly From Hunger" 1993 (CD Afterglow, UK) "Strictly From Hunger" 199 (CD Belgium) "The Lost Album / Strictly From Hunger" 199 (Akarma ak-045, Italy) [2 LP box-set] "The Lost Album / Strictly From Hunger" 199 (CD Akarma, Italy) A longtime legend of the scene though I have to say it's a bit too patchy to be a real biggie in my ears. Starts off like it could be the greatest LP ever but loses its vision somewhere during the third track and never regains it. Apart from the two opening psych classics songwriting is mediocre, and the rhythm section is lamentably unable (bassist) or unwilling (drummer) to follow the druggie jam paths gloriously laid out by organ & lead guitar, making the end product halfhearted. The reissues might be worth checking out so you can decide for yourself. The group had a couple of 45s as well. An interesting aspect is that the 8-track version of the Public label LP features yet another mix of the album. [PL] HUSTLERS (Columbus, OH) "Their Finest Album" 1965 (Caronet 850C-9455) Collegians doing loungey covers of the Beatles (several), r'n'b standards, and ballads. Standard rock setting with no horns. HUSTLERS ( ) "Hustlers" 196 (Voice 8965) [no sleeve] Teenbeat obscurity on Florida label. ALDOUS HUXLEY (UK / Los Angeles, CA) "Human Potentialities, vol 1" 1969 (Gifford Associates A101) The first volume in a projected series dealing with "the human situation", issued posthumously by Laura Huxley. In this 1962 live recording of a lecture Huxley considers man's potentialities for rationality and creativity, and makes some interesting observations and suggestions concerning education. Unlike vol 2 below, this contains no reference to psychedelic drugs and is mainly for Huxley fans, but then again, who isn't one? "Visionary Experience, vol 2" 1969 (Gifford Associates A-102) "Visionary Experience" 197 (All-Disc LHA 23768) Huxley is in great form on this 1962 lecture before a Los Alamos scientist crowd, speaking of the visionary experience and how it relates to the history of art and religion. Substantial time is spent on psychedelic drugs, covering something like half of side 1, and this is the best audio document of

Huxley's thoughts on LSD and mescaline around. The non-hallucinogen talk is equally interesting and thought-provoking, and the mood is upbeat and progressive in a typical early 60s manner. The recording isn't perfect, but who cares? Terrific. [PL] "Sum and Substance" 197 (Modern Learning Aids 5602) A "dialogue on contemporary values" from a TV show of the same title "Speaking Personally" 1973 (Caedmon 74-750212) [2LPs] "Speaking Personally" 2003 (CD Artifacts ARTSW001) [+bonus tracks] One of the founding fathers of psychedelia left a handful of LP recordings behind. The posthumous Caedmon 2LP set features a 1961 London interview including a great 6-minute section towards the end where Huxley praises LSD and mescaline, among other things -- a good place to score samples. The LP was released by Lansdowne in the UK. Contrary to what you may read, the interview was not conducted by Alan Watts. Huxley's other LPs and recordings (not listed here) deal with literature and philosophy. [PL] HYDE (Canada) "Hyde" 1969 (Quality sv-1832) This derivative folkrock LP is sometimes inaccurately described as the "second Rockadrome album". Hyde was a solo artist who recorded in the same studio as the Rockadrome album, using Rockadrome members as back-up band. There was no creative input from Rockadrome on the Hyde LP. HYE STARS (Chicago, IL) "'70-'74" 1974 (no label) Obscure primitive fuzzed bar-rock with Led Zep, Beatles and Chicago covers done by Armenian guys, also some band originals.

Acid Archives Main Page

FRANK IANNI (Cleveland, OH) "No Moon Night" 1977 (Night Wax) This album is a rare private press, but has the look of a major label LP, with the album and artist title on the spine, and some copies have a punch hole, implying some sort of nationwide distribution. Ianni is bascially a 70s pop songwriter with a decent songwriting sense but not a whole lot of inspiration. These songs are pleasant but not especially memorable. Even a power pop nut like myself finds this pretty bland. There's not much here for the psych or prog fan either; the arrangements are tasteful but completely conventional. For some reason this album has been mistakenly described in various catalogues as "soul," "new age," and "Beatlesque pop." It certainly isn't the first two, and it's too complimentary to describe it as the third. [AM] ICE (Chicago, IL)

"Melting Your Mind" 1972 (Bonny 20446) The title of this album is not even remotely accurate. There are no psychedelic sound effects, blazing hard rock, or any other kind of mind-melting madness here. It's merely lameass folky, bluesy and countrified rock, badly produced, performed and conceived. The occasional female vocals are kinda sultry at times, I suppose, but really this is the kind of thing that makes you understand why all of these private press artists had no choice but to release their records themselves. If this record is valuable, then start raiding the thrift shops now, because absolutely any rare record will sell for $200 some day. At least it has a fun generic album cover. [AM] ID (Los Angeles, CA) "The Inner Sounds "The Inner Sounds "The Inner Sounds "The Inner Sounds Germany) [+bonus "The Inner Sounds Of The Id" Of The Id" Of The Id" Of The Id" tracks] Of The Id" 1967 1967 199 2005 (RCA lpm-3805) [mono] (RCA lsp-3805) [stereo] (Fantazia, Italy) (CD World In Sound 1026,

2005 (World In Sound 1026,

Germany, 2LPs) [+bonus tracks] Mysteriously ignored album that would have been groundbreaking if anyone paid attention. The eastern influences and long experimental album closer were unlike just about anything else in 1967, and while theyre not wholly successful, this album is interesting at worst, compelling (the crazed Boil The Kettle Mother, one of the greatest garage rockers ever) at best. The Id project was recorded as early as mid-1966 and consisted of studio pro:s also connected to the infamous Custom label exploitation sweatshop; some of the Id backing tracks appear on the Projection Company's "Give Me Some Loving" (Custom CS-1113) as well as the wellknown Animated Egg and 101 Strings LPs. Appropriately, the bonus tracks on the WIS reissue are from the

Projection Company album. [AM]

ID (TX) "Where Are We Going?" 1976 (Aura 1000) "Where Are We Going?" 199 (Aura) "Where Are We Going?" 199 (CD Flash 53, Italy) Fronted by multi-instrumentalists David and Gary Oickle, this Id survived long enough to record one blazing slice of spacey, meltdown guitar. Recorded in New York, the LP is largely instrumental and clearly intended as a concept piece, with "Sunrise (A New Deal)" and "Solar Wind" both having a wild sci-fi flavor to them. While the plotline's wasted on us, the front cover mushroom cloud and back cover UFO probably have something to do with the story. Neither band member were much in the way of singing, probably helping to explain why the emphasis is clearly on Gary's roaring, feedback guitar. The latter part of "(Part One) Where Are We Going" briefly recalled the theme from "Dr. Who". It makes for one of those great "headphone" listening experiences. [SB] ~~~ If you want to make the case that the live Terry Brooks album is the wankiest guitar album ever, your only argument is that it's a double album and this one is just 44 minutes. "Where Are We Going" is 44 full minutes of a guitarist picking as fast as he possibly can with no attempt whatsoever at melody or finesse. Back the guitar with mellotron, play loud enough to create some feedback, put the guitar through a phase shifter, and voila, you have spacerock for those stoned enough not to notice that for three quarters of an hour basically nothing happens and nothing changes. Somewhere in here are a couple of minutes of singing, and there are three songs listed, but really you'd be just as well served by taking ten seconds of the Mariani album, backing it with a mellotron, phasing the guitar and making a tape loop of it (or putting it on an 8-track tape.) Recommended to fans of "Metal Machine Music". [AM] IGUANA (MD) Winds of Alamar 1975 (Quadratrack A101) [quad sound]

Professional sounding album released on the bands own label in quadraphonic (starts with a voice saying front left, front right, back left, back right.) Its a progressive version of the kind of west coastflavored laid back rock that was popular at the time, with lovely crisp acoustic guitars, CSN-styled harmonies and intricately arranged songs. Despite the use of backwards instruments, violins and pedal steel guitars, the arrangements are thoughtful but not challenging. The songs are pleasant, but only the last two have any bite to them, and only one song on the album even attempts to rock out. Youll come out of a listen feeling better about the album than you should, since the best songs are at the end. Its good but not great. It should appeal to the same people who like, say, Follys Pool. In 1977, they were signed to a major label (UA) and the album was released with an inferior cover, two additional songs, and minus the quadraphonic sound. The UA version of the album comes a lot cheaper than this one. [AM] I.H.S. BAND ( ) "The Answer" 1980 (Forrest Green fgs-102) Crude xian rural rock sound with some heavy guitar on a couple tracks. ILIAN (CA) "Love Me Crazy" 1977 (Kitty AW #14051) This is probably the best of all of the Album World releases. In usual tax scam fashion, the cover has an incorrect song listing that promises two songs more than there really are, there's a weird mix of styles that almost sounds like more than one band, and the album is quite brief. The basic sound is late 70s mainstream rock with some quirks and an occasional jazzy edge. It's mellow but not wimpy. Melodic stuff like "Hey Denise" and "Tell Me" are highlights, but the more experimental stuff is cool too. The spacy fuzz guitar on the title track, for example, is weird and exciting. An acoustic song and a couple of instrumentals sound like demos but are still pretty good. As is usual with this kind of thing it's erratic, but for the most part this album is very worthwhile. [AM]

ILLUSION (HI) "Illusion" 1974 (Sinergia 7654) [insert] Soft rock with a couple good anti-war tracks like "Not Yet" (with loud fuzz break) and a stunning reverse-negative cover. Same label as These Trails, but not at all on the same level.

ILL WIND (Boston, MA) "Flashes" "Flashes" "Flashes" "Flashes" "Flashes" "Flashes" 1968 1968 199 199 2001 2001 (ABC 641) [mono; wlp] (ABC s-641) [stereo] (Flash) (CD Afterglow aft-012) [+bonus tracks] (Akarma AK 162) [+bonus tracks] (CD Akarma AK 162) [+bonus tracks]

Westcoasty hippiepsycher that has to rank as one of the best Airplane epigons from anywhere. The group played the club circuit before making the LP, giving them a solid rocking backbone most of their comptetion lacks - great fluid guitar jams. The opening track is a wasted jugband tune, but after that they kick in with a 4-minute guitar solo. Mostly female vocals and an appealing live feel, a simple yet attractive sound with effective chord progressions. One track takes on a "heavy" Kantner feel, there's also some early rural rock moves and a Music Emporium style spinechiller. One of the best from Bosstown, with spaced out poetry typical of the area, while the musical style is essentially Californian. One of my favorite versions of "High Flying Bird" too. The rare promo-only mono mix has a notably clearer sound with better instrument isolation and rivals the stereo mix on the more folkrocky tracks, while the heavier numbers come off less well. The mono version of "Hung up chick" has a Mystic Siva-style mixing error where the wrong channel (rhythm instead of lead guitar) is raised for the duration of the solo! Furthermore, there are two different stereo pressings of this LP, one with a 'drop-out' moment of silence during "High Flying Bird" and one without. Visually, if the edge of the vinyl has ridges cut into it, the pressing does not have the drop-out. ABC didn't display much care in their handling of this fine band. The reissues have some worthwhile bonus cuts. [PL] ~~~ Here's yet another cool Bosstown album from an Airplane-wannabe band. The first song on the album is a terrible cheesy country-rocker, but it picks up from there, and pretty much everything else is worthwhile. Some freaky moments and creative songwriting make up for somewhat inept performances. The female singer is appealing (when by herself), and her dreamy ballad "Dark World" is the album's highlight. The warped "L.A.P.D." is also extremely cool in a screwed-up Ultimate Spinach vein. Side two begins with yet another version of "High Flying Bird," and while it would have been better to hear something that hadn't already been done by 100 similar bands, some manic vocals at the end give it a unique energy. The production of "Flashes" is weirdly stark, sounding almost like a CD-era mixing job. The lead vocals appear to be entirely without reverb; it feels like it was recorded in a small room without insulation. No other 60s album sounds like this one. Like the Linda Perhacs album, it's a notoriously poor press. Even "mint" copies play with surface noise, as do the boot reissues. [AM] ~~~ see -> Dirty John's Hot Dog Stand V.A "I LOVE YOU GORGO" (El Paso, TX)

"I Love You Gorgo" 196 (Suemi 1090) [100p; wlp exists] "I Love You Gorgo" 199 (no label, Austria) [300p] Atmospheric late 60s El Paso comp that's clearly better than the average local sampler. Three groups are featured with four tracks each; Intruders who are late beat, Lode Star who are west coasty garagepsych, and my personal faves Truth, who do bent folkpsych like the Patron Saints. Originals throughout and all three groups are obvious talents. Lodestar later evolved into Swift Rain who recorded for Hi. Classy reissue. [PL] ILTAR (PA) "Iltar" 1977 (Tiwa 777) Stoned progressive/jazz-rock a k a "new fusion". Fuzz, sitar, flute, sax. IMAGINE (Tampa, FL) "Images, Clear Skies, and Rainbows" 1980 (Light Horse) "Images, Clear Skies, and Rainbows" 2001 (Akarma 160, Italy) [+bonus tracks] "Images, Clear Skies, and Rainbows" 2001 (CD Akarma 160, Italy) [+bonus tracks] Melodic guitar prog, produced by David Peel, featuring ex-members of Peel's band. Same generic cover as Euphoria's "Lost in Trance". There is also a second LP, Playin Around 1981 (Light Horse) which is similar to the first album, and has a John Lennon tribute. IMMIGRANTS (NJ/NY/KS)

"Immigrants '66" 1966 (Starburst SRA 9837) "Immigrants '66" 199 (Starburst) [bootleg] "Immigrants '66" 200 (CD Starburst) One of the more obscure local garage LPs, recorded in Kansas by a group of NY/NJ college boys. Has a cool sleeve like most albums in the genre and some pretty decent sounds inside; two cool beat-garage originals and some unusual covers (like the Beatles' "Run for your life") all fed through a whiney New England type sound. The recording is lo-fi and not exactly dynamic. It ain't the Sonics but it sure beats the Rolling Stones! The band also had a 45. [PL]

IMPALA SYNDROME (Venezuela / Chicago, IL) "Impala Syndrome" 1969 (Parallax p-4002) They were an excellent garage beat group previously, Los Impalas. Fuzz beat flower psych infectious tripper with both heavy and flower moves. Great guitar throughout and amazing acid cover. The LP was also released in Spain, Venezuela and Brazil. [RM] ~~~ Musically diverse, the band managed to successfully dip their collective toes into a number of genres. "Love Grows a Flower" stood as a pretty Associationstyled flower power ballad. "New Love Time" demonstrated they could handle blue-eyed soul (with a nice Latin touch). The closing number "Run (Don't Look Behind)" sported a then-trendy Eastern-flavored aura. More impressive to our ears were fuzz guitar propelled rockers "Too Much Time" and "Let Them Try". Seriously, there isn't a bad track here, though it barely clocks in at 30 minutes. [SB] IMPECCABLE (TX) "Live on the Rox" 1979 (G.B.C. no #) Hardrock with strong Van Halen and Judas Priest influence. Cover is primitive with just the title and a small drawing of an Impeccable fan declaring that disco sucks. INDESCRIBABLY DELICIOUS (Los Angeles, CA) "Indescribably Delicious" pressing; no cover] "Indescribably Delicious" cover; 500p] "Indescribably Delicious" "Indescribably Delicious" 1969 (All American AA-5743) [test 1994 (Fanny, Belgium) [paste-on 1999 (Akarma 046, Italy) 1999 (CD Akarma 046, Italy)

Legendary but to my ears musically disappointing artefact from the infinitely complex All-American label web. Only three tracks on the album feature the real I.D band, the rest was some studio demos featuring one member of the band, plus some SACrelated guys. The whole story can be found on the internet. The music is a mixed late 60s bag with mellotron, but suffers from soulrock moves and unconvincing vocals, much like later-day SAC. [PL] INDEX (Detroit, MI)

"Index" 1967 (DC Records no #) [black sleeve w/ photo; black label; mono] "Index" 1983 (Voxx 200.023) [altered sleeve]

One of the major legends of the private press collector scene, known already in the early 1980s when Greg Shaw reissued it in "Paisley Underground" type re-packaging and kept it in print for many years. The lo-fi sound, amateur vocals and smokethick atmosphere have an instantaneous jaw-dropping effect, and it's a good one to play for "square" friends. Incredible primitive surf-garage-psych with off-key teenage vocals and an unreal soundscape; imagine Dick Dale jamming with 1966 Velvet Underground in an airplane hangar after a night of booze & quaaludes. Great band originals share the stage with unparalleled Byrds deconstructions, while some of the feedback and drone passages are bordering on avant noise. A true missing link item bridging the early and late 60s sounds. Beware of the "Index Anthology vol 1" CD as it omits most of the best tracks (the covers) from this. The band formed at the University of Detroit and recorded in Grosse Point, Michigan. [PL] "Index" [2nd LP] 1968 (DC Records no #) [black sleeve W/ drawing of heads; red label; stereo] "Index" [2nd LP] 1991 (Sears)[altered sleeve] "Index Anthology 1967-68" 1997 (CD Top Jimmy) Obscure isn't the word for this very rare 2nd LP (again self-titled) which few people knew existed before the reissue appeared. Only three or four original copies have been found. It contains basement surf-folkrock-psych sounds similar to their classic 1st LP, but also some uninspired blues and Bee Gees covers. The super-atmospheric basement sound of the debut is gone due to normal recording facilities now being used. All over not the mindblower the above is but a pretty insteresting artefact anyhow, with a couple of great tracks on side 2. Some copies came without sleeve, others have been found inside the sleeve for the first LP. Both their LPs are well into the four figure realm. The 'Sears' bootleg has a reverse negative of the original front cover. The CD contains the 2nd LP plus selection of tracks from 1st LP. [PL]

~~~ see -> Just Us

INFINITE COMPANIONS (OH) "Sanity Rests In The Ability To Fly" 1972 (no label 30102) [insert] Obscure spacey folk/prog led by Glenn Saiges, with keyboard and sax. INN CROWD (LA) "Live At The Belmont" 1968 (Continental 100 484) Local club act with Hammond organ and covers of Buffalo Springfield, Beatles, etc.

INNERVISIONS ( ) "Beginnings End" 1977 (private) Seedy femme-vox lounge-rock with appeal for genre fans, in a psychy cover. INNOVATION (Canada) "Innovation" 1970 (Birchmount 577) Dorky-looking guys & gals folk quartet. INSIDE OUT (IA)

"Bringing It All Back" 1968 (Fredlo 6834) This little known garage/club LP on the famous Midwest label has to be one of the very last local Top 40 cover band albums in the whole USA, at least 6 months after Granma's Rockers and the final Justice releases. Sound and vibe is all 1966 with teen vocals, nice Vox organ and jangling guitar, which makes for an interesting marriage with '68 covers such as Blue Cheer's take on "Summertime blues" and "Jumping Jack flash" (both have good fuzz). Band is solid and enthusiastic and still have several '65-66 numbers on their set list despite the late date. Version of "Pictures of matchstick men" is charming. No group originals.[PL] INSTINCTS (Wallingford, CT)

"The Loving Sandwich" 1967 (The Choate School tcs-3952) [split LP] A prep-rock LP from the Choate school with the Instincts on one side and the (forgettable) Maiyeros school chorus on the other. Two Instincts tracks have been comp'd, one of which amazingly is a Savages cover. Standard New England garage covers of "Hold on I'm comin'", "Gimme some lovin'", "Don't look back" etc, with jangly guitar and organ, in a great primitive psych sleeve.[PL]

INTERNATIONAL SUBMARINE BAND (NY/CA) "Safe "Safe "Safe "Safe At At At At Home" Home" Home" Home" 1968 198 1991 2000 (LHI s-12001) [multi-colored label] (LHI) [bootleg w/ fake wlp design] (CD Magnum CDSD 071) (Sundazed LP 5112) [+bonus track]

"Safe At Home" deserved immediate notice as one of the first true country-rock outings. Offering up a mixture of covers and original material (penned by Gram Parsons), tracks such as "I Must Be Somebody Else You've Known", "Folsom Prison Blues" and "I Still Miss Someone" left no doubts as to the the band's country roots and interests. That shouldn't scare anyone off, since the combination of Parsons' melancholy voice and a rhythm section with one foot firmly in the rock camp, made for a thoroughly entertaining effort. Parsons-penned originals such as "Blue Eyes" (first song we're aware of to make reference to getting stoned) and "Luxury Liner" were genre standards. While the album generated a buzz among critics and with musicians themselves, it was simply too odd for mainstream radio - too rock for country audiences and too country for rock audiences. Sales proved non-existent. The band also had a very good non-LP track, "Sum up broke". Watch out for the 1980s white label bootleg; legitimate promo

copies had stock labels and were stamped. [SB]

INTERSYSTEMS (Toronto, Canada) "Number One" 1967 (Allied 1) "Number One" 2001 (Cortical 25) [+bonus 45; gatefold; comic book; 500p] The debut LP from these noted avantgarde freaks is basically a spoken word album with sound effects. A narrator who sounds like a college student parodying JFK rants and rambles poetry and surreal short stories while primitive synth and oscillator noises pass through the soundscape. There is not much "music" per se, but it has a certain psychedelic feel. The connection between the words and the sound fx isn't consistent, and it seems that both elements were at least partly improvised. The last track gets into some interesting eerie "ambient" moods, while the mannered, one-note narration is a drawback over the full duration of the LP. A testament of the freaky arty 60s with happenings, music concrete and "why not?" aesthetics, but ultimately I guess you had to be there. Respectworthy, but for genre fanatics mainly, and a somewhat inauspicious start for the label that would later bring us Plastic Cloud and Reign Ghost. [PL] "Peachy" 1968 (Allied 2) "Peachy" 199 (CD Streamline 1010, Germany) More comments will come on this second LP, sometimes referred to as "#2". "Free Psychedelic Poster Inside" 1968 (private) [poster]

"Free Psychedelic Poster Inside" 1994 (CD Streamline 1007, Germany) This privately released LP is a clear improvement on the debut, both in terms of narration and overall artistic coherence. Originally created as a soundtrack for an art installation in Montreal 1968. More comments will follow. The band leader would later form Syrinx, who cut two LPs of progressive electronics on the True North label in the early 1970s. TOM INTONDI (New York City, NY) "City Dancer" 1976 (no label TI-1) Greenwich Village folk scene mainstay. Pleasant tenor voice; mixed folk bag, at times jazzy, often minor key downer vibe. The lyrics have a slightly nonsequiterous feeling to them. Credits are given to fellow Village scensters Jack Hardy (inspiration & song) and Terre Roche (drawing - I presume referring to the paste-on cover picture). I'm not sure if this is the actual LP release or a test pressing. There is no mention of the album title anywhere. The record has blank white labels. The cover has only the picture pasted on the front. There is an insert with credits and the lyrics of the title track. [MA] JACK INTVELD (Irondale, MN) "I'll Sing of Life" 1978 (Art 9048) [insert; 200p] Yes-influenced basement progressive from high school kid multi-instrumentalist. INVADERS ( ) "Golden Hits" 1965 (RPC 1272) Local teen-beat with sax on famous custom label. INVADERS (Richmond, VA)

"On The Right Track" 1967 (Justice 157) "On The Right Track" 1994 (CD Collectables 0608) Opens with OK beat original with tough fuzz break,

then immediately starts sucking with brassy soul and beach music covers. Vocals are really weak and the band isn't terribly tight either, in spite of ambitious arrangements. You need a strong stomach to sit through the off-key horn takes on various Memphis standards that make up the bulk of the album. Bizarre interpretation of "Summertime" with the melody wrong and a tortured harmonica solo is worth hearing for its oddness, but apart from the passable opener this LP's only redeeming factor is a neat Farfisa organ sound. Don't be fooled by the cool cover, this is a real stinker. [PL] ~~~ Pretty standard garage/frat party faire. Backed by horns, the focus was on popular pop and soul covers such as "Midnight Hour", "Double Shot" and "Shotgun". At least one reviewer's deemed the album unlistenable, but to our ears their ragged, haphazard performances are a big part of the charm. Check out their lumbering cover of "Summertime" and the moreenthusiasm-than-talent cover of "Knock On Wood". Personal favorite is Steve Pollock's what's-the-nextnote guitar solo on "Hold On". That said, the set's highlights came from the pair of band originals "Have You Ever" and "Just for Kicks". [SB] INVADERS (Bermuda) "Spacing Out" 1970 (Duane 1101) "Spacing Out" 1997 (no label, Europe) [500#d] Rare instrumental jazzy funky rock groove with brass, on the same NJ label as the Savages. Highly rated in some circles. INVICTAS (Andover, MA) "The Invictas" 1962 (no label MBOP 5817) Early prep-rock album, and the first known rock LP from the Phillips Academy in Andover (Rising Storm, Ha'Pennys, etc) and thus of some historical importance. The music is pre-Beatle, pre-surf instrumentals straight out of Ventures and Johnny & the Hurricanes-land, with a classic guitar-band covering "Wild weekend", "Sleepwalk", "Bullwhip rock" and so forth. Occasional use of sax and piano while one track has vocals, a version of "Hully Gully". Not bad at all for the era with a solid band who must have played quite a bit live judging by their confident interplay. Highpoints include a dynamic "Walk don't run" and a minimalist "Apache". One track may be a band original. Some fake crowd noise added here and there for live ambience. An RCA custom pressing. [PL] INVICTAS (Rochester, NY)

"A-Go-Go" 1965 (Sahara 101) "A-Go-Go" 1983 (Eva 12016, France) Local bigwigs from upstate N Y who enjoyed some chart success with "The Hump". More frat/dance than garage, enjoyable for those who dig the Dimensions and similar. Great snotty vocals and an energetic sound, with a number of fine originals. Along with the Tormentors one of Eva's rarer reissues. A rare case of bearded garage rock. [PL] ~~~ Standard mix of popular covers and originals performed with considerable enthusiasm, if with a decidedly low-tech sound, the collection's actually a blast to listen to. The lead singer wasn't anything to write home about in the way of range and occasionally recalled a dog yelping in pain ("The Hook"). Still, there was something attractive about the way these guys blew their way through popular covers such as "Hang On Sloopy", "Land of a 1000 Dances" and "Satisfaction". The five originals weren't particularly impressive (the closer "Do It" being the best), though "The Hump" was apparently a large regional hit (liner notes: "the biggest selling record in the New York state area, exceeding sales of those English Mop Tops, The Beatles"). It won't change your life, but makes for a great party LP. [SB] IOTA (El Paso, TX / Memphis, TN) "Iota" 2002 (Rockadelic 46) "Iota" 2003 (CD Shadoks 042, Germany) 1969-72 recordings from El Paso band who moved to Memphis mid-career. Their best track "Within these precincts" is also available on the "Growing Slowly Insane" comp. Rest is competent but to my ears mostly unexceptional fuzz/Hammond club hardrock with funk moves, highpoints being covers of two tracks off the earlier "I Love You Gorgo" sampler which was released by the same management team that handled Iota. All four 45 sides by Iota are included. Packaging is nice though the fantasy front sleeve gives off a very different vibe from the sounds inside. [PL] I.O.U (MI) "I.O.U." 1977 (no label) Hard guitar rock. V.A "IOWA EAR MUSIC" (IA) "Iowa Ear Music" 1976 (Corn Pride 28155) Compilation of Iowa State University 1967-76 avantgarde Cage/Tudor style aural experiments with members of Tree. A CD-R "reissue" exists.

IRON LUNG (IL) "High Bail" 1975 (KDR 1063) "High Bail" 1994 (Casket, Belgium) [400#d] Hilarious teenage suburban loser blues, like a 1970s equivalent of those whiney New England 60s groups. Great sleeve of them in jail and lyrics like "I've been thinking/About my drinking" lets you know this ain't no rocket scientists. Can't really recommend it, though it's fun to listen to once in a while. Warning: this is pretty lame basement stuff rather than the hard guitar blues some might hope for.[PL] ~~~ Rhythm fuzz rocker with warm bluesy and xian vibes. Some good world weary crying for help from above songs. The slower bluesy tracks are sabotaged by some hideous vocals but there's fine playing throughout this record. [RM] IT'S ALL MEAT (Toronto, Canada)

"It's "It's "It's "It's "It's

All All All All All

Meat" Meat" Meat" Meat" Meat"

1970 199 199 2001 2001

(Columbia 374) (no label, Italy) (CD Fingerprints) (Void) (CD Void) [+bonus tracks]

Stones-influenced hard rock with psych remnants, has a great immediacy to it thanks to a typical classy Columbia recording. Dynamic band with lots of ripping fuzz; only problem for me is a sometimes operatic singer a la British LPs like Open Mind and Ghost. If you have no problems with that this will rank as one of the best albums in the style. "Crying into the deep lake" is an epic Doorsy psych trip, "Sunday love" is somewhat similar with raga leads, while the rest of the album is more hard rocking. The early bootleg re's have cover wear residue from the originals that were used. The band also had a non-LP 45 track. [PL] ~~~ In that uniquely Canadian way (think Ugly Ducklings, Churls), these guys manage to seamlessly make the leap from 60s garage to a sort of Stones-influenced late 60s rock sound and do so in a truly exciting, powerful way. A couple of drawn out psych monsters are surrounded by cool hard rock, making this one of the best of many great albums from up north. [AM] V.A "IT'S A REVOLUTION MOTHER" ( ) "It's A Revolution Mother" 196 (KW Records 001)

Fake soundtrack for probably non-existing movie, contains hip "now" collage of biker and freak counterculture snips, plus Steppenwolf-type music by a band called Mandarin Gate. The Aliens biker gang is featured. Nice cover with the right AIP 1-sheet look. IVORY (Los Angeles, CA) "Ivory" 1968 (Tetragrammaton t-104) "Ivory" 2002 (CD Gear Fab 182) Another good co-ed Airplane-influenced band. Decent fuzz guitar on most songs, though a few ballads are highlights (Losin Hold is the best song here). This isnt as experimental or as varied as, say, Ill Wind, but the songwriting is quite good and the sound very appealing. If youre a fan of stuff like Yankee Dollar, Art of Lovin, Genesis, etc youre sure to like this. [AM] IXT ADUX (Los Angeles, CA) "Brainstorm" 1982 (Madame X) [insert] In some ways, this private press album is pretty impressive. The songs are quite complex and the guitar playing throughout is challenging and unpredictable. In typical amateur prog fashion, though, the instrumentation is often usurped by the lousy vocals and melodies (this is a case where the "singer" doesn't really even try to sing, hoping that weirdness will work.) There's enough of interest here to keep prog fans satisfied, most likely, but it sounds much more like some promising experimentation than an actual set of real songs. It's to prog what Zenith Effluveum is to psych. Unlike most prog, this is entirely guitar-based. It has the same kinds of odd song structures, time shifts and speed shifts as traditional prog, but without the keyboards. [AM]

Acid Archives Main Page

J A BLUEZY (Detroit, MI) "J.A. Bluezy at the Delta Lady" 1980 (ERK) Live heavy blues rock trio with earlier vibe and stinging metallic guitar sound. The recording was direct miked, so there's barely any audience sound. JACKAL (Canada) "Awake" "Awake" "Awake" "Awake" 1973 199 199 199 (Periwinkle 7309) (Periwinkle) [bootleg] (CD Lazer's Edge) (CD Labyrinth)

In my ears rather unexceptional 1970s mainstream AOR/progrock popular among collectors on that scene. Definite post-acid sounds and not garagey or freaky enough to arouse my interest, the teen Jaggeresque vocals being the strongest asset. [PL] JACKPINE SAVAGE (NY) "Together" 1971 (Dimension-5 151) Freaky kiddie psych LP with electronic effects, narration and treated vocals. Fuzz and swirling organ on some tracks. Actually Bruce Haack. MIKE JACKSON ( ) "Alive" 1975 (Yi Yi) X-ian progressive psych with good guitar. BOB JACOBS ( ) "Ray Bradbury's Dark Carnival" 1969 (Tower ST-5172) [insert] The spoken intro to this album gives you an idea what you're in for: the works of Ray Bradbury (specifically, the short stories from his collection "The October Country") turned into music, sort of in the same fashion as Paul Klee's art and the album by the National Gallery. Some of this is soft AM pop, but there are some baroque pop songs with occasional fuzz guitar and plenty of creepy moments. The most memorable song is "The Jar", in which Jacobs recites

the poem in a weird poetic speak/sing style over a series of eerie and intense sound effects. Jacobs' singing is a bit overwrought throughout, though it's not entirely out of place. Bradbury's work is intense and imaginative enough to make for a lot of interesting lyrics. This is an unusual album that won't appeal to everyone, but it's pretty cool and will really be enjoyed by the right listener. Bradbury wrote the liner notes for the album. [AM] JACOB'S REUNION (VT) "Jacob's Reunion" 1975 (Chelsea House chr-2001) [500p] Nice rural folk by Vermont hippies, very well conceived, performed and recorded. It's an intriguing mix of styles, from British-type folk to a variety of old American musical genres (not just folk but blues and vocal jazz.) The mix of all things Americana evoke the Insect Trust and the laid back vocal style and violin sound a bit like Fraser & Debolt, but Jacob's Reunion is nowhere near as strange as either of those artists (and, admittedly, not as exciting.) It probably won't appeal to strict psych fans, but it's a good album, with the highlights being the two long, dreamy, almost eerie side-closers. Mix of male and female vocals. No full drum set, but there are quite a few instruments and arrangement ideas. The album is about 48 minutes, yet is diverse enough not to feel overlong. [AM] JADE (Cincinnati, OH) "Faces Of Jade" 1970 (General American 11311) This came to me with an "underrated?" tag attached, and I'm inclined to agree. It's late 60s Britpsych/pop of the McCartney/Roy Wood variety transplanted to 1970s Cincinnati, serving up plenty of innovation, fun and a fair amount of label $$$ on hand. Opens with dreamy psych mini-epic that recalls the 2nd Fallen Angels album, the rest holds a middle ground between London'68 and the clever pop that Ohio would become famous for, leaving the listener to decide if this is a late 60s lytepsych LP or in fact an Anglo-retro 70s trip. Lots of piano, "Penny Lane" fanfares, high-pitched teen harmonies and unexpected studio tricks including a high-point which has vocals sung backwards then replayed forwards for an eerie "Twin Peaks"-style effect. A couple of tracks are too poppy for me, but a worthwhile experience all over; should appeal to fans of Lazy Smoke in addition to the pointers already suggested. [PL] ~~~ This starts out with a long dreamy ballad and includes a cool backwards experiment (the music played backwards while the singer uses stilted, strange phrasing in order to keep up, an idea that would be used more popularly by the Stone Roses twenty years later.) Otherwise, though, it's basically a Beatles-inspired pop album. It's not unusual at all, but it's very good, one of the best in the style. It's highly recommended to fans of

bands like Grapefruit, Ellie Pop, Sleepy Hollow, etc. Some pressings are missing the song "My Honey," which is the oddball song on the album anyway (and a complete steal of the Beatles "Honey Pie"). Strangely, even copies without the song have a sticker that says "includes the hit 'My Honey.'" [AM] JADE (OK) "Crossfire" 1980 (Gem Stone 102) Rural rock/hard rock with a 1970s sound, half harder sounds with searing dual leads, and half more mellow with light AOR moves. Good songwriting. "Sister Sawbuck" is usually cited as the best track. JADES (Dallas, TX) "So Tough" 1964 (Ching) Pre-invasion greaser rock from Dallas teens whose legacy has been poorly taken care of, despite leaving two albums behind. This isn't exceptional but enjoyable for what it is, and may in fact surpass the second LP. "Live At Disc A Go Go" 1965 (Jarrett 21517) Live recording of local club band, classic r'n'b & Brit Invasion covers like you'd expect. Excellent drummer, nice ringing undistorted rhythm guitar and an enthusiastic live feel, reminiscent of the TC Atlantic album, although a couple of non-rock selections like a nightmarish "Hello Dolly" lower the batting average. "House of the rising sun" is in an unusual arrangement and with different lyrics, sounds like they picked it up from outside the regular sources. Last track provides background music for the go-go girls to demonstrate the Monkey, the Swim etc for the crowd, and is thus wasted on vinyl, unless you have a strong visual imagination. A reasonably entertaining half-hour for teen-beat completists. [PL] JADE STONE & LUV (Austin, TX / Nashville, TN)

"Mosaics, Pieces Of Stone" 1977 (Jade 4351) [circa 1500p; some copies w/ poster] Interest in this is on the rise and rightly too, cause this is one cool ultra-1970s artefact by a couple decked out in full period regalia including a

handlebar moustache (Jade Stone), hot pants (Luv), and a psychedelic VW bus. The music is notoriously hard to describe, but projects scenes of all-night cruising through Edge City in a stolen Cadillac, downing reds with cheap sparkling wine that you refer to as "champagne", with the 8-track blasting "Mosaics" at full volume. Neon sign singles bars, pool halls and re-opened nightclubs flash by while Jade Stone sings like the rock star he hopes soon to be. Not metropolitan hip, but dreams of stardom and glamour from the American underbelly, two renegade souls zooming down the highway between Austin and Nashville. Well-produced, with some fantastic tracks like "Man", featuring great keyboard and fuzz interplay, and soulful-loungey vocals. "Trailer-park music" someone called it. Major personal fave, but hardly for everyone, and the cover shot alone will scare a lot of potential buyers off. The poster (which is great) has only been found in a handful of copies and is worth almost as much as the album itself. Most copies have a promo sticker on the front cover. They also had some non-LP 45 tracks. [PL] ~~~ Like Darius (to whom his voice has been compared), Jade Stone wanted to be a big star! It was obviously not to be, and the world is left with this unique album, which is a mixture of 60s hippie, 70s country and timeless lounge rock, jacked up by inspired songwriting, Jade's overwhelming personality and tremendous arrangements. The closing "Reality" is packed with killer wah-wah guitar, and that should hook most of you, but the rest of the album, while mellower, is terrific too. Jade really has a flair for the dramatic, and comes off sounding quite important indeed. Songs like "Waiting For The Rain" have an elegant power. Luv doesn't sing lead, but she adds to the album cover's goofball appeal. [AM] JAIM ( ) "Prophecy Fulfilled" 1969 (Ethereal 1001) Moody orchestrated pop duo with harpischord, may appeal to Gentle Soul fans. JAKE (WI)

"Dedication" 1973 (Banana 5179) [500p; insert] Melodic rural rock from locally popular Midwest band housed in goofy dog cover. Opens with a heartfelt Graham Nash type lament to a dead dog which seems to be seriously intended. The rest makes more sense, with a professional sound, competent songwriting and good harmony vocals. The band were apparently big Beatles fans but it sounds more 1970s westcoast than anything else. Recurring countryrock moves work OK but are occasionally too squishy, while the stronger tracks go in a harder guitar-oriented direction, with

Bay Area and progrock aspects on things such as the droning "Can tell" and the dramatic "May Day". The album has a mature, self-confident feel that compensates for the familiarity of the style. The LP was pressed privately and sold out immediately to fans at their shows. Previously they released two 45s as "SELTAEB" - (read it backwards). There was also a 45 released from the 1973 album. Banana was a subsidiary to the wellknown regional Cuca label. The band also had a lesser second LP in 1983. [PL] ~~~ If you think the picture of the dog on the front cover is odd, wait until you hear the opening and closing odes to him! Those lyrics are weird, but for the most part this is nothing a collector would normally care about. Some countrified rock and ordinary ballads share space with mildly heavy westcoast sounding excursions and mainstream 70s rock. Overall, it's competent but unexceptional with the usual imperfect vocals, the kind of LP that would be ignored if it were on a major label. The best songs (which are basically the heavier and longer ones) are more "promising" than they are "successful", with the exception of one great song, "Can Tell". This is one more in the trend of recent "discoveries" of mainstream albums that had been ignored by collectors for years because there's nothing unusual or exceptional about them. [AM] STEVE JAM ( ) "Songs Of A Songwriter" 1975 (no label) [200p] Demo LP from melodic 1970s rock/prog multiinstrumentalist with full rock setting, some percussion and lots of keyboard. GRAHAM JAMES (NE) "What is Me?" 197 (Rene 1141) 70s hippie folk with a couple of interesting tracks. JAY JAMES ( ) "Good Times & Bad Times" 1976 (Tiger Lily) Obscure one on Morris Levy's infamous tax-loss label, has been described as "rural loser roots honky tonk country rock with the usual quirky blandness the label seemed to pick up on". MICHAEL JAMES (MN)

"Runaway World" 1978 (no label het-1857) [1000p] Oddball pro-sounding local late 1970s artefact that is not easily described; recurring spoken Guatemala theme will have you puzzled, as may the mix of downer ballads, generic studio fill instrumentals and moody fuzz psychrock with an occasional D R Hooker or Marcus slant. Good vocals, the guitars may be too metal for some, but the echo-fx "Sleepers" psych trip and a closing atmospheric acid lullaby about death should appeal to anyone. Album opens poorly, then becomes increasingly appealing, worth checking out for open-minded heads. A lot of time and some $$$ obviously went into this one. Cool 50s flying saucer cover. James had a cassette-only release in 1985 and is still around playing and releasing music. [PL] JAMESON (Los Angeles, CA) "Color Him In" 1967 (Verve v-5015) [mono; ylp exists] "Color Him In" 1967 (Verve v6-5015) [stereo] The first real album by the guy who masqueraded as Chris Lucey. This album is way more commercial than the Lucey album, with female harmonies and poppy melodies, but its actually equally as good, and actually pretty weird when you get past the more mainstream sound. [AM] ~~~ see -> Chris Lucey JAMRA (CA) "The Second Coming" 1972 (Stygian) Satanic cult. Doomy organ, spooky effects, and creepy invocations by Jamra. Recorded live at Audio Genesis Studios. [RM] JAN & DEAN (Los Angeles, CA) "Save For A Rainy Day" 1967 (J&D 101) [mono] "Save For A Rainy Day" 199 (CD Sundazed) Private press obscurity from surf/hot rod kings, put together by Dean Torrence and session pros while Jan was in a coma after his car crash. All tracks deal with rain, making this one of the odder concept LPs around. Mostly covers. A solid LA '67 top forty pop LP a la the lighter sides of Strawberry Alarmclock. I like it. CD has lots of remixed bonus tracks which is good as the original has a pretty muddy sound.

Needless to say, Jan & Dean released tons of records that fall outside the scope of these archives. [PL] JAN & LORRAINE ( ) "Gypsy People" 1969 (ABC s-691) [gatefold] This is about as good a 60s femme psych album as you'll find. It's wholly original and unlike a lot of singer/songwriter types of the era, the women with their names on the album cover had considerable creative input. The duo wrote seven of the ten songs, and the other three were written for them. They play all of the guitars on the album, and also some keyboards, and are credited with "ensemble arrangements." It's a reasonable cross between British folk-rock and American psychedelia (with a strong Indian influence), and is the most interesting and successful album by a folk-psych duo, male or female. It also rocks with conviction, and while it does contain two off-the-wall experiments it doesn't lose its focus. More importantly, unlike virtually every late 60s/early 70s album by women, there's not a song here with a bland or simplified arrangement. In other words, there's no song or arrangement that seems to have been thrust upon them by a sales-happy label or producer. They never opt for the easy way out, erring on the side of daring rather than on the side of omission. Even the two orchestrated ballads avoid the traps of mainstream pop, as the strings create an eerie atmosphere not far off from the sitars and effects elsewhere. The women's voices are high and a little thin when apart, but rich and evocative together, even when one or the other hits an unlikely note here or there. They're full of substance. Throughout there's an exciting "anything goes" feel that makes the album more than the sum of its excellent parts. The band covers Spikedrivers and Perth County Conspiracy tunes and appears to have had a Michigan/Canadian connection to Richard Keelan who was a member of both those bands. [AM] ~~~

see full-length review

JANDEK / UNITS (TX)

"Ready For The House" 1978 (Corwood) "Ready For The House" 198 (Corwood) [insert] Notorius "cult" artist of the outsider/fringe type whose two dozen albums are popular topics for discussion. Most of it falls outside the scope of the Archives on ground of not being psychedelic in any way, so this rare debut LP will work as a proxy for

the rest. It's just the guy's voice and amateur picking on an electric guitar; a loner late-night mood persists, and the lyrics are unusual and fairly interesting. Supposedly 8 different tracks, but it's really like one and the same throughout, and more like a spoken word record with incidental music than actual songs. May be worthwhile for hardcore downer/loner folk enthusiasts, while others can settle for a few attentive needle drops to decide upon its merits. This LP was released as by the Units. The 2nd press has an insert that refers to later Jandek albums. [PL] ~~~ If this is the first artist you've looked up, you're reading the wrong book. Obviously opinions vary about the enjoyability (not to mention the purpose) of Jandek's music. While I've always believed that he's way more intersting to read about than to listen to, unquestionably his music makes more sense over his entire ouvre than on just one record. That said, of the many Jandek albums I've heard this is undoubtably the most boring, just the same bloody out of tune chord strummed the same way for forty minutes. Later albums would throw in a bit of variety, all of which sounds way more compelling in context than out of it (i.e. after half an hour of one chord, a song with four sounds like the most melodic thing you've ever heard). This album doesn't even have that, and you will never get this 40 minutes of your life back. [AM] J-ANN-C TRIO (MO) "At The Tantara" 196 (Burdland 3300) Square-looking mid-1960s trio with female bass-player doing r'n'b, surf and more, popular title among Incredibly Strange aficionados. JARVIS ST REVUE (Thunder Bay, Canada) "Mr "Mr "Mr "Mr "Mr Oil Oil Oil Oil Oil Man" Man" Man" Man" Man" 1970 198 199 2000 200 (Columbia ES 90020) [gatefold] (no label, Italy) [bootleg; 340p; insert] (CD) (Void 12) [gatefold; +bonus 7"] (CD Pacemaker 033) [+bonus tracks]

Pretty good psychrock sounds from a bunch of Thunder Bay pothead environmentalists. Ecological concerns mix with relaxed hippie reflections in a style similar to the Borealis LP, though the heavy acid guitar excursions and spooky whispered vocals on the 13-minute title track is what makes this trip worthwhile. The sleeve shows Christ holding up an earth globe covered in toxic slime - these guys weren't joking. The band had 2 non-LP 45s. [PL] ~~~ Give them points for ambition. The 13-minute title track is rife with wacky singing, strange arrangements, sound effects and wonderful fuzz bass, and the environmental lyrical theme rings loud and clear throughout the album. The mellower, moodier songs are as successful as the heavy, fuzzy ones. A

few blues/boogie rockers threaten to be kind of pedestrian, but rise above, mostly due to nice drifty fuzz guitar that buzzes in your ear. This is a distinctive and innovative album, of similar quality to other excellent Canadian major label rarities like It's All Meat and the Rabble. The CD reissue contains an early single (much poppier than the album), and six tracks that were intended to be part of their never-completed second album. This second album dispenses with the fuzz and finds them in an upbeat rural rock and singer-songwriter acoustic pop/rock mode. It's also pretty good, but due to the style would certainly have been a disappointment to fans of "Mr. Oil Man." [AM] JARVO RUNGA (Chatham, NJ) "Jarvo Runga" 1972 (no label) [100p; info sheet] Local basement rock with DIY vibe and Neil Young and Creedence influences in there somewhere, wrapped up in a stripped down urban Eastcoast sound. The unpolished vocals and no-frills directness are reminiscent of Odyssey, but this is not a hardrock LP but more like a bunch of auto mechanics playing bars in their spare time and ending up with an album. The drummer has an unusual homemade style where each song is given a particular drum arrangement to which he then sticks no matter what. Some non-heavy guitar jams but mostly song-oriented with originals all through, I think. May appeal to fans of Neutral Spirits and Fortune Teller, which means that I like it. Apparently recorded on LSD, though if true this must rank as one of the least acid-sounding acid LPs around. Short demo LP with some 22 minutes playtime.There is a handwritten band name on the front cover and an info sheet taped on the back. Other cover variations may exist. According to the band, most copies were given to labels in an attempt to get signed. Only a couple of copies are known outside the members. [PL] JASPER WRATH (CT) "Jasper Wrath" 1971 (Sunflower snf-5003) [insert; wlp exists] "Jasper Wrath" 2005 (Sunflower/Scorpio) "Anthology 1969-76" 1996 (CD Oxford Circus 001) [2CDs; book] The 1971 LP is an intriguing psych/prog crossover item should appeal to just about everyone. It has excellent songs, lots of fuzz guitar, soaring harmonies, hooks and loud drums, and for the prog fans a few flutes and a long pretentious fantasy epic to close things off. Cool album cover too. "Look To The Sunrise" was a near-hit, and in some places is listed as a bubblegum (!) song. It's not, but it is awfully catchy. Ten years later members of the band would front successful AOR bands, though the most intriguing chapter of their career (the Arden House and Zoldar & Clark albums) almost disappeared without trace in the mid-70s. The anthology finally gave a

legitimate release to some songs from both of those records, as well as many unreleased live and studio tracks. [AM] ~~~ Brit-influenced melodic artrock with psych remnants. Skillfully produced and arranged with a classy major label feel; lots of ideas going in different directions as is typical for the style and era. Songwriting is fine with hooks and memorable moments, vocals are OK (but not great) in the Moody Blues style, often sung ensemble, and there's atmospheric piano and good fuzz throughout. So what's the problem? Well, there is an abundance of flute that casts a dork spell on things (much like Westfauster), and the pompous UK artrock spectre means a lot of emphasis on the surface and too little on personal expression. A more tangible psych feel would have helped, and that is precisely what we get on the superb "Odyssey" with its dreamy Strawberry Alarmclock afternoon tripout textures. The album as a whole is impressive and enjoyable but unlikely to be anyone's desert island pick. [PL] ~~~ see -> Eyes; Arden House; Zoldar & Clark ABNER JAY (GA) "Abner Jay Sings & Plays Stephen Foster" 197 (Plantation Records 5628) "True Story of Dixie" 197 (Brandie 1002) "Swaunee Water and Cocaine Blues" 197 (Brandie 1001) "Swaunee Water" and "Terrible Comedy" are rated as Abner's best LPs by most aficionados. "Terrible Comedy Blues" 197 (Poison Apple 3420) The word terrible isnt a comment on the comedy or the music, but a word he uses over and over in all of his jokes, most of which seem to have been stolen from Redd Foxx. They take up maybe 20% of this album, the rest of which is his usual one-man-band electric blues. Even if some of the jokes are corny, this is very enjoyable, as are all of his albums. Jays voice is warm and real, and I find him way more entertaining than just about any of those heavy blues rockers with wanky lead guitar players and macho singers. My dream double bill would be Hasil Adkins and Abner Jay! Terrrrrrrrr-ible!!! [AM] "The Backbone of America is a Mule and Cotton" 1976 (Brandie 122161) [Abner with guitar cover] "The Backbone of America is a Mule and Cotton" 197 (Brandie 122161) [Abner lying down cover] If this one doesn't fit under the weird/real people category, then nothing in my collection does. That poses a number of problems, including trying to describe an album as plain strange as "The Backbone Of America Is A Mule And Cotton". This isn't rock, progressive, or psychedelic, rather a very strange

mixture of blues, country, Gospel minstrel and freakout. Starting to see how odd this album is? Next, making Leon Redbone sound like a young choir boy, Jay's voice is definitely an acquired taste. All hyperbole aside, this is one of those albums that can clear a party out in record time. Released on his own Memphis-based Brandie Records, the LP is a little different than most of his other releases in that it largely forgoes original material (the rambling title track being the lone exception). Call this Jay's covers album in that it finds him taking on a series of classic American songs like 'Way Down Upon the Swanee River and 'Amazing Grace'. Propelled by his deep growl and electrified banjo, the results are definitely strange in that Jay slows every one of these songs down to a funeral pace that will either drive you crazy, or make want to check the results out time after time. It's not clear which "Backbone" cover came first. The first variation is subtitled "This is Real Show Nough Bicentennial Music", so 1976 is an educated guess for the release year. [SB] "One Man Band" 2003 (CD Subliminal Sounds, Sweden) Abner Jay is a blues artist, regarded by some as the last in the line of original Southern minstrel performers. However, many of his most ardent fans seem to be of an esoteric mind-set, which is why he belongs in these Archives. I've only heard the recent "One Man Band" sampler CD, which is remarkable and recommended. You've never heard Georgia blues this way before, mixing hilarious spoken rants with high intensity one-man-band numbers and lyrics that deal with 'modern' topics (hippies, LSD, Vietnam) as seen through the eyes of an original Dixie bluesman. Jay is a strong vocalist and performer, and some numbers achieve a startling intensity, after which you're thrown into burlesque jokes like an X-rated WC Fields. As pure and invigorating as the Swaunee river water, an essential piece in the Americana puzzle. There is a brochure that came with some of the records with additional information. In addition, there are a couple of early 45s, probably from the 1960s. [PL] J B & THE PLAYBOYS (Montreal, Canada) "J B & the Playboys" 1966 (RCA 1086) Pre-Freedom North beat. The band also cut a 1-sided LP of Coca-Cola jingles for the Hallmark label. J C & THE B's (PA) "1st and 10" 1975 (Essay sa-325) [paste-on front; blank back; 200p]

Mixed bag of 1970s sounds ranging from pop to soulful rock.

J D BLACKFOOT see J D Blackfoot

JELLY BEAN BANDITS (Newburgh, NY) "Jelly "Jelly "Jelly "Jelly Bean Bean Bean Bean Bandits" Bandits" Bandits" Bandits" 1968 1968 199 2003 (Mainstream 56103) [mono] (Mainstream s-6103) [stereo] (CD) (CD Bandits)

Teen dorks' (just look at them on the cover) album is about half good fuzzpsych and half Young Rascals type Eastcoast teen-beat, all over one of the more enjoyable Mainstreams. Given another 6 months they probably could have made a really good LP, but such quality control was not part of the Mainstream agenda. The priceless "heavy" gluesniffer epic about a "Caterpillar's eye" must be heard to be believed, and there's good fuzz drive on "Generation". Fun and dumb, worth checking out. There is also a retrospective CD from a 1967 live show titled "Mirror Music", and a CD of newly recorded material titled "Time and Again" that contains 5 unreleased bonus tracks from the original era. [PL] ~~~ Upstate NY group with great garage punk sound. One of the best on the label. Fun bouncing church organ, wailing fuzz from the cavern Mystic Siva sounds, trippy dippy lyrics, and snotty vocals like a grittier Music Machine. The occasional studio cheese moves only add to the Nuggets punk psych sing-along style. Inspirational verse: "The bandits love your mind and what remains of society is manure.". The LP was also released in Canada, and in France (Vogue) with a slightly altered sleeve. [RM] JEREMIAH ( ) "Blowing Your Mind" 1977 (Wong 14068) This is Johnny Kitchen doing messed-up lounge-go-go fuzz 10 years too late. ~~~ see -> Tarots; Victims of Chance JEREMY DORMOUSE (Ontario, Canada)

"Toad" 1968 (no label t-13) "Toad" 2001 (CD Hallucinations/Void) "Toad" 2003 (Void 31) Obscure folk LP with a transition sound from 60s coffee house into 70s downer/loner moves. Lost in time atmosphere and idiosynchratic singing and playing makes for a trip with a clear identity, yet

the connection between the arrangements, vocal mannerisms and underlying tunes seems random and "for the hell of it", rather than conscious explorations. Some tracks work, others don't, and all over it's pretty inconsistent. Covers of Dylan, Cohen and Bo Diddley (!) come off more like insults than bold interpretations, while the Lynda Squires led take on "High Flying Bird" is pretty cool. Of the originals most is average contemporary folk, with a high-point in the only track not by "Dormouse" (Cris Cuddy) or Marcus Wattington, Don Tapscott's sublime "Just To Hear The Bells". The album is semi-acoustic with electric bass and occasional percussion. Oddly, the LP has a similar sound (minus the autoharp) and the precise same problems as the Folklords. The album was recorded in 1967, and precedes the Rejects LP sessions. The Hallucinations CD is titled 'The Toad Recordings' and shows traces of vinyl press noise and high-end distortion in a few spots. [PL] ~~~ see -> Reign Ghost; Rejects BILL JERPE (Utica, NY) "Bill Jerpe" 1970 (Shortwheel sw-100) [insert] Jerpes only album is an odd duck in the singer/songwriter world. Unlike most of the genre, it is clearly rock rather than folk. Nonetheless, despite electric arrangements, the production (heavily reverbed vocals mixed so high that the instruments sound almost muffled) keeps these songs from reaching their full rock potential. Jerpe is obviously influenced by Dylan (The voice is Dylan circa "Nashville Skyline"), but I could see this album appealing to Velvet Underground or Bowie fans (it doesnt sound like either of them, but has a certain underground vibe.) The songs arent exactly hooky, but have enough weird moments with pianos, slide guitars and falsetto vocals to make them memorable. Despite the low budget production, this music is quite colorful. Add all of this to the mildly eerie cover photos/art and this album is as distinctive as anything in the genre. The songwriting is decent to very good, and this neat record will appeal to a wide variety of quirky tastes. Jerpe had some earlier 45s with his last name spelled "Hjerpe". [AM] JESSE J & THE BANDITS (Minneapolis, MN) "'65 Top Teen Hits" 1965 (Re-Car 2001) Garage frat sound typical of the region. They also backed Wolfman Jack on his local LP. JESTERS (Kansas City, KS) "Jesters" 1966 (Audio House ah-466) [no cover] Garage/teen-beat covers on this demo LP with instros,

Kingsmen and Beau Brummels tunes. JESUS GENERATION (TX) "A Thief In The Night" 197 (Gospel World 467) Primitive oddball folkrock from young Jesus movement band doing originals and Beatles covers, including "Yesterday" with the title word changed to "Calvary". Not for everyone. WILL JIMA ( ) "The UFO Message" 1974 (Jima AE-1974)

"Revelation 666" 1975 (Jima AMD-1975) Very whacked spoken word; the guy was transformed into an evangelist by Aliens who told him the secret meaning of the Bible, but apparently Will didn't take notes and seems to have gotten a mite confused along the way. Lots of stuff about the importance of the number "3" and "11". The record sounds as if the engineer who mixed it had Will on 1 track and this weird dark spooky synth on the other, and as he did the mix he was reading a book or something and every once in a while he'd bump the synth WAY up high in the mix at totally random moments. [SD] J K & CO (Las Vegas, NV) "Suddenly exist] "Suddenly "Suddenly "Suddenly One Summer" 1969 (White Whale wws-7117) [promos One Summer" 2001 (CD Beat Rocket 126) One Summer" 2001 (Beat Rocket 126) One Summer" 2001 (Akarma 2015, Italy) [10"]

On first listen, this sounds like a masterpiece, but after you get used to it youll probably notice a few blah songs in the middle. Still, this is a cool moody pop/psych album that aims to be the Beatles at their most down and out. A consistent lyrical theme about addiction is kind of surprising considering that the album is said to be the work of a teenager. Backwards guitar, sound effects and bleak-sounding acoustic guitar are all used to good effect. The Akarma reissue is on a 10 LP, though this isnt an especially short album. The LP was recorded in Vancouver BC with members of Mother Tuckers helping out.[AM]

JO JA BAND (GA) "Cold Winds" 1977 (Rag Doll) Rural Allman Bros-style rock/hardrock. RENE JOHN (MI) "On The Road To My Cathedral" 1975 (no label M1001) There are less than five known copies of Rene John's "On the Road to My Cathedral," a 100-press holy grail for collectors of Michigan rarities. The record certainly looks promising, a classic home-made 70s loner folk vibe all over it, and one of the really great LP titles in the genre. Musically the quickest reference point is a mid-period Neil Young LP with Ed Sanders on vocals. And, while that may sound promising, go make a list of the first hundred things that makes Ed Sanders interesting and then check it to see if "vocalist" is on there. The Neil Young reference is also really stretched. John's writing has a few flashes along the way that grab your attention -- 3rd song on side one, the solo acoustic "Material Disease" has some promise -- but the back up band sure isn't Crazy Horse and Rene isn't Neil by any stretch of anyone's imagination. If it's possible to break free of the gravitational pull of the "ultra rare private press LP" radiation coming off the record in waves and listen as if it were just another record, "On the Road..." comes off like a C grade local LP, not at all horrible, but thoroughly undistinguished and one I doubt I'll pull out to listen to again. [SD] JOHN BUNYAN'S PROGRESSIVE PILGRIM'S (CA) "Apricot Brand and Albatross" 1969 (Alshire S-5154) Apparently aimed to cash in on British "rock" sounds of the era, the cover claims the set was recorded in London. A doubtful claim. In all likelihood 1969's "Apricot Brandy and Albatross" was recorded by anonymous, cash starved studio musicians - perhaps the same group responsible for the label's earlier rock exploitation releases. Like the earlier albums, the set offered up a mixture of popular hits and similarly-styled originals. An all instrumental collection, the covers weren't half bad, though the rote performances really didn't add much to tracks such as Fleetwood Mac's "Albatross" or The Who's "Summertime Blues". Originals such as the freak out "Mozart's Dilemma", "Spaced Out" and "Winter Draws On" were full of fuzz guitar solos and screaming organs, making them surprisingly good for what were clearly throwaway efforts. All told one of the better exploitation LPs out there... [SB] JOHNNY & THE HURRICANES (Toledo, OH) "Live At The Star Club" 1965 (Atila alp-1030)

Monster early garage sound as they move from their teen dance roots to ferocious guitar rockers. It is a studio LP with applause overdubbed. Their previous LPs are of an earlier dance rock style. All except one of the original members were gone at the time of this LP. One track can be found on the "Ho-Dad Hootenanny" compilation. [RM] DEBB JOHNSON (MN) "Debb Johnson" 197 (Monolith MMS 7025) Basically an all white jazz/rock group with four members named Johnson. Has about three great cuts providing you're not hornophobic. Not a rare LP. MIKE JOHNSON (IL) "Happy And Alive" 197 (Freedom Light ns-2036) Credited to "Mike & Karen", this is the rarest known LP from ex-Exkursions main guy Mike Johnson. Eclectic rock with folk, rural and jazz inflections, with both acoustic and electric guitars. The highlight is the psych track "City!" with its fast and furious rhythm and ripping fuzz guitar leads climaxing in a multitracked jam. There is also the rather strange ditty "I'm High", with slurred vocals that make it sound like he really was high, although it's actually Jesus praise. Johnson has recorded many albums over the years, including "Lord Doctor" (Freedom Light, 1972), "The Last Battle" (Creative Sound, 1972), "Gentle Spirit" (Newpax, 1974), "The Velvet Prince" (Freedom Light, 1973) and more. [MA] JOINT EFFORT (Canada) "Final Effort" 1974 (Little Records 101) [insert] "Final Effort" 2005 (CD Radioactive, UK) Obscure rural rock LP which opens with two trad bluegrass numbers, then goes into unexceptional westcoast country-rock with a mix of covers like "Tequila Sunrise" and band originals. "Winter" is the highpoint of the album, with a good riff, fine vocal harmonies and an SF Bay Area feel. The last third of the LP has them breaking out their "rock" gear and sounds almost like a different band, with crude rootsy fuzz-rock including a basement take on "Horse with no name". The LP is a lo-fi live recording done as a farewell present to whatever fans they had, housed in a nice Escher-style sleeve drawing. Despite enthusiastic dealer hype, a lack of creativity and the uninspired playing makes this one a concern for rural genre fans and Canadian completists only. [PL] JOINT EFFORT (MI) "Two-sided Country... Blues" 1971 (Home Made 11034)

"Two-sided Country... Blues" 2002 (CD World In Sound 1094, Germany) [+4 bonus tracks] Not to be confused with any other Joint Effort, this is a rare acoustic hippiefolk LP featuring two guys. Sympathetic and enjoyable, a Dylan spectre on some songs and vocals are a drawback, though others are dark and trancey; counterculture lyrics on drugs and more. Not bad. Some later recordings have been released on LP as by the Jones Family band (WIS 015), these have been reported as less impressive. [PL] JOINT EFFORT see Cannabis JOKERS ( ) "Jokers" 196 (no label) [no cover; 1-sided] Demo LP of garage covers. JOKER'S MEMORY (Canada) "Joker's Memory" 1976 (Marc Studios 11843) [paste-on; 1-sided; 100p] Genesis style melodic keyboard prog with basement sound and arch vocals. MICHAEL JON (Canada) "Michael Jon" 197 (Trend T1009) Obscure one on the same label as Bent Wind and Cargo; Tim Buckleyish folkrock with Hammond and piano and cover of "Season of the witch", plus originals. Reportedly only 200 copies pressed. JON & JODI (Dover, DE) "Two Sides Of Jon & Jodi" 1971 (Del-Ray Records) This lovely and unusual folk record is a small treasure. Jon & Jodi were two undeniably sweet kids from Delaware who charmed some local businessperson enough to finance this record. The best songs, like the opening "Ladybug," are haunting ballads, with a dreamy production sound and forlorn harmonies; they really have beautiful voices. A few songs have a bit of a country/bluegrass edge (with banjo, steel guitar and "dobrow"), but even on these the vocals have the loner folk feel to them. The upbeat songs don't quite match the moodier ones, but there really aren't any duds here. Most albums that sound like this are Christian, but this is not, despite their innocence (from the liner notes: "In this freaked out world, Jon & Jodi seem almost unreal. For example, neither smokes, drinks, uses drugs or marijuana. They do have

one minor vice, they chew gum!") All songs on this album are originals. [AM] JONATHAN & CHARLES (VA) "Another Week to Go" 1968 (InterVarsity lps-02498) "Another Week to Go" 2004 (CD Gear Fab 210) British-American duo on Simon & Garfunkel or Chad & Jeremy wave-length. Chiming guitar/organ fragile Christian folkrock with slight psych moves and beautiful vocals. On some copies, the song "Why" was replaced by "Colors and Shades". Also released in England by the Herald label. DEL JONES' POSITIVE VIBES (Philadelphia, PA) "Court is Closed" 1973 (Hikeka) [first 'psych' mix; group photo cover] "Court is Closed" 1973 (Hikeka) [second 'soul' mix; Africa map cover] "Court is Closed" 1999 (Loopden 2P-001) ['psych' mix; insert] The first version of this album (sans the overdubbed horns of the second pressing) is a great document of true inner city grit. While the anger is surprisingly subdued, these guys obviously know the down and dirty life of which they sing. Despite all of the lyrics about drugs and being put down by the man, theres an essentially positive message here. A few of the songs stretch out into long jams that build in intensity and really stand up well to multiple listens. Theres a lack of real singing here, with most of the stories being told in a kind of matter-of-fact singspeak, and the few times real melodies break out make you wish there were more. Nonetheless, this is a killer LP: powerful, memorable, uncompromising and full of life, and it doesnt sound like any soul/funk album youve heard. If "Maggot Brain" is "Superfly", this is "Sweet Sweetback's Badasssss Song". [AM] ~~~ Extraordinary eyewitness report from the Philly ghettoes surprisingly packaged in a non-aggressive funk/jam rock grooooooove that surpasses pretty much everything else in the genre, especially the opening title track with a westcoast jazzrock feel that just kills. Supported by the best housing project funk band anywhere Del Jones raps about the terrifying state of America '73, while the flipside deals directly with heroin use and how to get out of it. One of the top funkrock LPs ever, blows most of your starry-eyed white-boy psych LPs away. Del Jones is still active in the African-American cause as evident from the insert he penned for the honkie reissue. "You've got to liquidate your assets". [PL] GEORGE M JONES (Dallas, TX) "George M. Jones" 196 (OA no#) "Contrasts" 1972 (Gambit gam-12-001)

Noted songwriter. Dylanesque folk with studio psych fills on the debut, a cool record in the Del Shannon "Charles Westover" style. "Contrasts", released on a Nashville label, is reportedly good as well, in a singer/songwriter direction. [RM] JOSEFUS (Houston, TX) "Dead "Dead "Dead "Dead "Dead Man" Man" Man" Man" Man" 1970 1983 199 199 199 (Hookah 330) [3000p] (Eva 12010, France) (Texman tex-1001, Germany) (CD Sundazed) [+bonus] (Akarma, Italy)

Dead Man is a professional sounding outlaw hard rock album, a bit ahead of its time. The rhythm section is solid and the songs have lots of energy. The singer strains for all hes worth but it sounds pretty genuine. A cover of Gimme Shelter is a waste of 4 minutes, and the 18-minute title song has the expected boring spots. Otherwise, though, this is a good one. The vibe is similar to Jamul, though it sounds a bit more youthful. A brief rip from I Want You (Shes So Heavy) in one song is a cool surprise. The Sundazed CD contains the early version of the album, which is similar in quality. Its definitely of interest to fans because it includes four songs not on Dead Man". This early album version was also released as a stand-alone LP on the Epilogue label in the 1990s, title "Get Off My Case". The original Hookah LP is a classic rarity but actually sold several thousand copies locally. [AM] "Josefus" 1970 (Mainstream s-6127) [wlp exists] "Josefus" 198 (Mainstream) [bootleg; white label] "Josefus / Dead Man" 200 (CD Alcinous, Russia) [2-on-1; +2 tracks] Recorded in Miami's Criteria Studios, the follow-up teamed the band with Mainstream producer Bob Shad. Originally interested in re-recording their debut, Shad instead insisted on new material, sending the band into a frantic creative spasm. Exemplified by material such as "Bald Peach" and "America" musically the set wasn't much different from the debut. Once again Bailey remained a marginal singer who had consistent trouble staying in tune ("Feelin' Good"). Making up for that, Mitchell was a wonderful lead guitarist, turning in several exceptional performances (check out his leads on "I'm Gettin' On"). Unfortunately, the overall results were mixed; much of the set coming off as sonically flat and creatively uninspired; "Sefus Blues" was simply dreadful. The bootleg reissue of the promo has a thin cover and no spine printing. [SB] JOSEPH ( ) "Stoned Age Man" 1970 (Scepter sps-574) [wlp exists] The cover drawing of a cave man is completely apt. Joseph sings like hes about to hit you in the head

with a club. His gruff, gravely voice is completely perfect for songs with titles like I Aint Fattenin No More Frogs For Snakes and Cold Biscuits and Fish Heads. The backing is solid bluesy organ and guitar, with a few surprising moments here, like Mojo Gumbo speeding up at the end. While a bit of Howlin Wolf/Captain Beefheart shows through here and there, hes really one step behind those guys on the evolutionary chart. His lead guitar playing is equally as crude as his vocals. This is a short album, with 9 songs in 29 minutes, and not a second is wasted, except maybe for the cover of House of The Rising Sun. Really cool! [AM] ERNIE JOSEPH see Big Brother RON JOSEPH & LOJO MUSIC (New York City, NY) "Rainbow Rings" 1975 (R.P.C.) [insert] X-ian folk and singer/songwriter with piano, on noted custom label. The songs were recorded in churches. JOSHUA ( )

"God Spoke... And Said 'Lead My People'" 1973 (Impact r-3228) [black label] "God Spoke... And Said 'Lead My People'" 197 (Impact r-3228) [red label] Surprisingly good Christian psychrock with strong vocals and blistering guitar, consistent throughout and still unknown to most. Utilizes the "California" sound popular among x-ian bands across the US, with a bit of Brit hardrock influence as well, esp from the Who. Perfect CSN/America-style vocal harmonies may annoy some though I don't mind. Not deep like Search Party but enjoyable, a lot better than Earthen Vessel as an example. The band was from the Southwest, while the label was based in Tennessee. The LP was also released on the British Key label (self-titled), on Impact in New Zealand, and in Canada. [PL] JOSHUA (Sacramento, CA) "Opens Your Mind" 2004 (Rockadelic 50) [insert] An early 70s band of local longhairs who flirted with the SF ballroom scene and have some of those vibes entering their sound. The basic style is jammy rural

CA hardrock with a bit of an r'n'b groove and vibe. The LP opens strongly with a track that sounds like it could have gotten some airplay, succeeded by the excellent title track. A couple lesser tracks follow, before the side closes in strong fashion. Side 2 is similar and the band has a distinct sound and identity obviously born out of plenty of regional live gigs. While the songwriting isn't overwhelming there's still a fair sprinkling of hooks, and the playing is raw and enthusiastic throughout. Edgy vocalist and the gritty blue collar sound may recall Fresh Blueberry Pancake, although this is somewhat looser. Last track opens with an anti-war speech and has some ferocious guitar excursions. It should be noted that although the sound is good it's not a perfect hi-fi recording with lots of high-end and less bottom. For me the most memorable aspect of Joshua are the above-average lyrics which avoid the usual cars & chicks clichs and deal with reality issues such as the Vietnam draft and doing time for drug possession. This in combination with the honest, straightforward face the band presents makes for a genuine local 1970 feel that is appealing. The album fits in well with Rockadelic's earlier Northern CA/Pacific NW releases, slightly better than Sleepy John but not as good as Stone Garden. Nice gatefold cover with a spooky Rick Griffin type drawing on the front and info/photos inside. [PL] "JOSIE'S CASTLE" ( ) "Josies Castle" 1972 (Mascott) This is a soundtrack for a movie which was originally titled "The Grass Is Always Greener," and in fact the album cover has the new title pasted on a sticker over the old one on both the front and back covers. The original title makes plenty of sense, given the pot plant on the front cover and the drug themes in the movie. The music is basically soft rock with horns, very mainstream in a "groovy" way. About half of the songs are instrumentals and have some decent wah-wah guitar and a few sound effects. For fans of the softest soft psych. Not especially good but interesting, and a rare LP. [AM] "JOURNEY OF PERSEPHONE" (Newtown, PA) "Journey Of Persephone" 1973 (private) [insert] Obscure high school play LP from the George boarding school (Quaker), a concept album based on the Greek myth with off-key female vocals and amateur musicians playing folk and some crude hippie-rock jams with a high entertainment factor, should interest genre fans. JOVE (Los Angeles, CA) "Sweeter Song" 1974 (Pax Records J777)

"Into The Shrine" 1977 (Aleph Records No#) [1000#d; white vinyl] Poet turns singer/songwriter and covers a lot of stylistic ground. Jove dabbles in folk & folk rock, country, rock-n-roll, pop but most of all, it's middle of the road singer/songwriter fluff usually with just piano or acoustic guitar accompaniment. Jove does manage to create some material that's pleasantly appealing when he breaks from the singer/songwriter mode and gets the backing band more involved. A decent wordsmith, but I can't recall any lyrics that were truly memorable or even slightly stimulating. Of the two albums, "Sweeter Song" is the better one. "Into The Shrine" has a couple good tracks, but "Sweeter Song" has by far Jove's better and more unusual material. Songs like a nice grooving rural rocker ("Thief"), hard garage rock with restrained fuzz guitar ("What's So Special") and some honky-tonk country tracks ("Circus" and "The Judge"). With both albums having disturbing front cover art (Jove as a Centaur with bow and arrow on the first album, and as a haunting figurine that was pieced together from non-matching parts on the second album), rear cover slicks full of mystical symbols/cryptic notations and trumped up liner notes, you would anticipate music that's strange & intriguing folk psych but instead, you get mostly sobering material by a singer/songwriter. According to the liner notes and credits, Jove traveled a lot and some tracks on these albums were recorded outside of the States implying Jove might be a foreigner. However, a majority of the recordings took place in Los Angeles and both records were printed in the USA. [JSB] JOYFUL NOISE (IL) "Nativity" 1975 (no label LPS 20038) [insert] Christian 1970s melodic rock, not terribly interesting despite the hype you may see. Two cover variations exist. "No Room In The Middle" 1976 (Christ Is The Answer) The rare second LP is similar to the first, mainstream 1970s melodic rock with a gospel feel, full band setting including Hammond and guitar leads. Basically a poor man's All Saved Freak Band, suffering from weak male vocals and a distinct lack of edge. One track has operatic female vocals, while the title track and "Lay down your life" are agreeable hippie-rock excursions. Slightly better than the debut, but we're still miles away from the likes of Kristyl or "Spirit Of Elijah". Stunning full color cover depicts the difference between the Christian and the secular world. There is also a collection of 1977 recordings titled "Songs For Soldiers" in a mellow westcoast/MOR style and with better vocals. [PL] JOYFUL NOISE (FL)

"Electric Gospel" 197 (Noise tc-1155) [500p] Oddball mix of styles on this Christian obscurity, one of many in the genre that strives to show how the devil's music can be used for something good. Southern accent preacher man vocalizes over a musical landscape ranging from 50s popabilly through typical Jesus folkrock into tentative 70s funk moves. While unusual this didn't really strike me as weird as reputation has it, simply because the gospel root of the title makes a lot of musical tangents possible. Still, the use of incongruous wah-wah guitar throughout casts a strange shadow across the ten tracks. Lyrics are feel-good salvation stories and musings upon the Savior. Would make a good double bill with Juliana Garza. Earlier LPs from this particular Joyful Noise include "The Sounds Of" (Classic, 197?) and "The Greatest Day" (Noise, 197?), both of which are less out-there variations on the trip above. [PL] JOYRIDE see Friendsound JR & HIS SOULETTES (Oklahoma City, OK)

"Psychodelic Sounds" 1971 (no label) "Psychodelic Sounds" 199 (no label) "Psychodelic Sounds" 199 (CD no label) Black pre-teen group led by Harold Moore Jr, age 10, who is songwriter, vocalist, and guitarist for the group. His sisters Vinita Marie, age 9, plays bass and organ, Denise Marshall, age 7, plays drums, and Jacquelin Carol, age 6, plays Waw-Waw organ (!) and sings. Amazing real people funky psych with non-stop wah-wah guitar throughout and most tracks have rhythm (Waw-Waw) and lead organ. Approaches that cheesy Sunset Strip b-movie exploito psych sound but this is the real thing. When they sing, this beast approaches Shaggs' territory. Great tunes like "Momma, Love Tequila", "Waw-Waw Rock", and "Rock 'n Roll Santa". The incredible cover shows three shots of them in action including one with Jr in a failed split playing licks behind his head! Approximately 500 copies were pressed but most were destroyed from being shrink wrapped on a meat packing machine. [RM] J RIDER (Indianapolis, IN)

"No Longer Anonymous" 1996 (OR 016) "Anonymous / No Longer Anonymous" 2000 (CD Aether-OR 0009) [2on-1] "No Longer Anonymous" 2002 (Akarma 176, Italy) Great post-Anonymous 1977 tracks from Midwest genius Ron Matelic's vault, the best stuff is guitar-driven westcoast folkrock as good as the awesome Anonymous with a similar sound and male/female vocal mix as on "Inside The Shadow", main difference being a more professional recording. Much more interesting than the average unreleased LP. Matelic recorded a new round of (unreleased) demos in the 1990s, again of an outstanding quality. [PL] ~~~ This set of demos, intended to draw major label interest, is slightly slicker-sounding than the Anonymous album, but essentially more of the same, with continued excellent songwriting. It's not really a full album, lasting about 30 minutes and including a remake of an earlier song, but it's still a mustown. It's not in the same league as "Inside The Shadow," but what is? It's good enough not to be a let-down, which is saying a lot. [AM] ~~~ see -> Anonymous J TEAL BAND (SC) "Cooks" 1977 (Mother Cleo mcp-lp-7721) Hot Southern guitar-rock album that blows away everything else in the genre. Its not rural rock at all. Theres a tad of funk influence, but certainly no country. The vocals are snotty and nasal, which actually gives the music a dangerous edge more genuine than the usual throaty he-man voices that go with this kind of thing. Lots of great lead guitar and a real backwoods sleazy vibe. You get the impression these guys days are numbered, and they play with that kind of urgency. In the meantime, you wouldnt want them getting anywhere near your sister, but youd be honored to let them borrow your guitar. [AM] JUICY GROOVE (Los Angeles, CA) "First Taste" 1978 (no label) [picture disc; 550p] Various LA 60s drug survivors assembled by Rainbow Michael Neal for a pro-sounding 70s hippierock excursion that includes three Sky Saxon numbers, among other things. Nice picture disc design. Not a

rare LP. Much of the same gang turned up on the Rainbow Red Oxidizer LP (Bomp/Quark, 1980) which is more modern in style. [PL] JULIUS VICTOR ( ) "From the Nest" 1970 (AJP) [gatefold] "From the Nest" 2001 (CD Dodo 517) This organ-rich heavy rock album has the sound collectors like, but is pretty average without any one song standing out. The lyrics try hard to be deep and don't really pull it off. It's more "heavy" than "hard," and has a few powerful moments. Recommended only to genre fans. [AM] JUNGLE (Los Angeles, CA) "Jungle" 1969 (no label 3027) [no cover] "Jungle" 1997 (Little Indians 8, Germany) [760#d] "Jungle" 1998 (CD Little Indians 8, Germany) This and Victoria were reissued simultaneously, using some of the most overblown hype ever. The packaging is beautiful, but the music is mostly loungy (in the wrong sense) psychrock/AOR with offkey vocals and unimpressive songwriting. Two good tracks in a Bob Smith/DR Hooker direction close the sides but the rest of the LP is pretty weak in my ears. Others are more enthusiastic. Originals are ultrarare, possibly a demo press only. 400 copies of the reissue came in a blue velvet embossed cover, 260 in a black variation on the same design. Other cover variations exist. [PL] ~~~ Overly serious singing mixes with a slightly heavy guitar-and-organ base and some bizarre frantic drumming to make this a completely unique listen. Its certainly not the masterpiece some have claimed, but it grew on me. The weird-ass drumming style may be inept, but somehow it fits in this context, and a few hooks sneak up on you. The songs are very long and meander a bit, but theyre not exactly boring. A strange one thats gotten more attention than it deserves, but if you dont get your hopes up too high you might enjoy it. [AM] JUPITER (CA) "Multiple Choice" 1980 (Jupiter j-1005) Power trio with a garagy sound and some more mellow folkrock moments. JUST US (MN) "Just A Thought" 1978 (no label 80 1526) [insert] I was undecided at first on this one, but after

several plays I concluded that it sucks. Basically it's an example of the late 70s jazzy westcoast sound, when the last hippie psych remnants had been replaced with unfortunate funky Steely Dan studio moves and even more unfortunate caribbean rhythms and feel-good vibes. Castanets and steel drums are just around the corner, no doubt. The sound is professional with overlays of acoustic and electric guitar-picking, amateurish but passable vocals and some nice harmonies. That's the good news. The rest is all bad news, including a halting mock-Jamaican rhythm employed on almost every track, a dull whitebread "blues" excursion, and a painful disco flirtation with terrible lyrics. The LP was recorded in LA but pressed in Minnesota, and it really sounds like some Midwest nerds trying to get David Geffen's attention. The Windwords LP from Ohio is a much more successful exploration of this style. Don't let the nice cover fool you; unless you're a fan of bloodless LA '78 cocktail sounds this is the pits. [PL] ~~~ This folky band has jazz ambitions, instantly apparent by the acoustic guitar gymnastics on the first song. It's pretty well-played and sung throughout but is awfully precise... you know, no soul. They definitely have the feel of a college coffee-house band who think they're pushing the envelope by combining so many disparate styles. It works OK for a song or two (the title track is pretty enjoyable, and a catchy one with an "mmm" chorus near the end is pretty neat), but wears thin quickly, especially as they start trying on styles as if they were hats. Admittedly, they're much more talented than a lot of the other acoustic-heavy bands listed here in the Archives, but their album isn't really any more listenable. I'm not going to go out on a limb and say I'd rather listen to something as amateurish as, say, Virgin Insanity, but I suspect that most of you would go right out there on that limb. The disco and old-time rock/blues songs are the last straw for me. The lyrics are terrible, by the way. Sample: "anticipation eyes, you need a shot of visene." [AM] JUST US (MI) "The U.S.A. From the Air" 1969 (Valord 2630) "Index Anthology II" 1997 (CD Top Jimmy) [2 CDs] Melodic rock covers with garage execution. With Jim Valice and John Ford of Index. The CD reissue was credited to Index and has 28 tracks including 1969 sessions and the entire Just Us LP. JUVENILES (Norman, OK) "Bo Diddley" 1980 (Piccadilly 3371) Frat rock organ & garagy guitar 1960s tracks originally recorded for Jerden, recycled in the same series as Magic Fern, P H Factor etc, although less desirable than these. The title track is a classic,

super-raw version.

Acid Archives Main Page

STEVE KACZOROWSKI (NY)

"What Time Are You?" 1970 (UA Records 20842) Recently discovered obscurity on private Long Island label, pro-sounding guitar/organ psychy rock mixed with introspective moments. The story on this album and its possible connections to certain "name" musicians is very weird and currently being unfolded, but most of the tracks consist of Kaczorowski adding his own vocals to existing LP recordings by mainstream rock bands, such as Stackridge! While this gives a very high reading on the Incredibly Strange scale, the LP could also be enjoyed as an obscure piece of post-psychedelic rock. Kaczorowski would explore his "karaoke rock" scheme further on the two Steve Drake albums. [PL] ~~~ see -> Steve Drake KAK (Sacramento, CA) "Kak" 1969 (Epic 26429) "Kak" 1987 (Dino, Italy) "Kak" 199 (CD Israphon, Europe) [bootleg] "Kak" 199 (CD Epic) "Kak" 1998 (Epic, Europe) [bootleg] "Kak-Ola" 1999 (CD Big Beat 187, UK) [LP+bonus tracks] Much loved mountain air hippie psychrock classic, though I remember being disappointed when first hearing it due to the rootsy Moby Grape-type rockers on side 1. The album has major grower qualities however and tends to sound better with each passing year, plus the two extended psych killers on side 2 deliver instantly. Still not among the top westcoasters for me, though I'm sure a lot of people disagree. The Big Beat CD includes the Gary Yoder non-LP 45 and the rare pre-LP version of "Rain". [PL] ~~~ Wonderful heavy guitar bluesy psych rocker. warm vocals, chugging rhythms, and gritty, inventive leads throughout. The slower tracks have a murky darkness to them that's quite arresting. One of the classic westcoast guitar LPs. Gary Yoder also played with

Blue Cheer and Randy Holden. [RM] ~~~ A true classic, a great guitar rock album that mixes a lot of different styles successfully. My favorite track, Electric Sailor, has a chorus that could actually pass for 70s punk rock, but elsewhere the West Coast late 60s feel is strong. Supposedly its rarity is due to cutout copies being destroyed, rather than sent to stores. [AM] ~~~ I'll readily admit that "Kak" took a little while to warm up to. The first couple of times the set's musical diversity kind of put me off. That said, by the third spin I was converted. The musical diversity I originally found disconcerting is actually endearing. In fact this is one of those albums that's fun to play 'spot-the-influence' with. My ears hear lots of Moby Grape including the country-influenced 'I've Got the Time', a bit of The Seeds ('Electric Sailor') and even a little Donovan (the acoustic ballad 'Flowing By'). Yoder may not have been the most accomplished singer, but was never less than professional and had an almost chameleon ability to handle the band's different styles. Propelled by Patten and Yoder's dual guitars, tracks such as the blazing 'Hyco 97658', 'Everything's Changing' and 'Lemonade Kid' are simply first rate West Coast psych charms. Personal favorites are the extended 'Trieulogy' and 'Disbelievin'.[SB] MAITREYA KALI see Maitreya Kali

KALLABASH CORP (Greensboro, NC) "Kallabash Corp." 1970 (uncle Bill kb-3114) Drifting bluesy guitar rock with organ and a comic edge. Gorgeous psychy cover but the music is mediocre. Recorded at Mega Sound Studios in Bailey, North Carolina. [RM] KAMMERZELL (OK) "Hot For Your Love" 1979 (Artco-Alpha) Barband guitar rock with supposed Marble Phrogg connection. The band also cut a demo 8-track which precedes the album. KAN-DELS ( ) "Our Most Requested Songs" 1965 (Capatone 1001) Obscure teenbeat in the pre-Invasion style. Crewcut action on fratrock staples such as "Shout", "Ooh poo pah doo", "Green onions", etc. KANSAS CITY JAMMERS (Columbus, OH) see interview

"Got Good If You Get It" 1972 (no label, no#) Highly enjoyable CSNY/Dead-style westcoasty mix of uptempo folkrockers and more introspective numbers; a couple of bluesy rock moments with raw guitar leads point in another direction but all over definitely worth checking out and underrated at this point, with a classy late Beatle feel. The band cut a couple of non-LP 45s and also had connections to local colleagues Owen-B. [PL] ~~~ Accomplished folk-rock and blues-rock from Ohio college students. A few dreamy songs will appeal to collectors, but the strong vocals and songwriting throughout make this a solid, enjoyable listen for all. [AM] KAPLAN BROTHERS (IL)

"Universal Sounds" 1969 (Kap) The debut from the kings of lounge-rock predates the other two by several years and is from a completely different era, yet quite enjoyable and in fact "their best" according to one specialist within the field. Although only two (not three) brothers at this point, the whistling and congas are already in place. The very humorous back cover photos promise a wide range of sounds for Midwest Holiday Inn crowds, including "Continental" (posing with bowler hat and cane) and "Rock'n'Roll" (smoking a joint). A couple of swell Kaplan originals alongside typical lounge covers of Tom Jones, Bobby Hebb, etc. "A taste of honey" with "acid" guitar is an unexpected delight. Mandatory for genre fans, incomprehensible to others, and perhaps not their "best" to me. [PL] ~~~ Released on their own Kap Records, "The Universal Sounds of the Kaplan Brothers" is the first of their highly sought after albums. Musically it offers up a mix of originals, popular MOR hits and the truly bizarre (c'mon, can you imagine the crowd bopping along to 'Hava Nagilia'?). Backed by bassist Jeff Czech and guitarist Scott Klynas, the album starts out with a bang. The self-penned instrumental 'Running Scared' sounds like the brothers had been listening to a lot of Enrico Morricones spaghetti western soundtracks while stoned out of their minds (love the whistling segment). Their popular covers are equally fascinating. Bobby Hebb's 'Sunny' makes a congas propelled appearance that is as wrong spirited as you can get. Their dark and pained cover of 'A Taste of Honey' is equally wrong-headed though it sports some killer fuzz guitar (courtesy of Klynas). Elsewhere 'Malaguena Solorosa' offers up a bizarre mixture of Spanish and Balkan influences, while Jimmy Webb's 'Gentle On My Mind' is reworked to give it a lounge edge that has to be heard to be believed. These guys must have been a blast to hear live (particular after a couple of beers). [SB]

"Kaplan Brothers" 197 (Kap no #) The second LP from circa 1975 shows the three Bros in a regular lounge-band mood, yet being who they are this is still pretty damn entertaining. Unusual arrangements with the trademark spaghetti western whistling and LOTS of congas carry you through a mix of crooner standards such as "More Today Than Yesterday" and classic rock, including three Beatles covers in drastic rearrangements that are not to be taken lightly. What they do with "Because" cannot be explained in words. The family's Russian-Jewish heritage is on display here just as on "Nightbird", with an extensive interpretation of "Hava nagila" and odd slavic flourishes. Two originals, one of which is terrible and the other is an earlier version of "Happy" which is pretty close to the "Nightbird" version. Sleeve design and liner notes are excellent, and indicate that the LP was manufactured mainly to sell in conjunction with lounge performances. Mandatory for incredibly strange and 70s loungeband fans. Two different pressings exist, one with a yellow label, the other with a red label. There is also an obscure variation called "Electric Three Man Hebrew Band" in a plain white title sleeve, with 'Eleanor Rigby' misspelled as 'Rugby'. A 45 was released from the LP. "Fun is the only way to go when you're with the Brothers". [PL]

"Nightbird" 1978 (Quinton no #) The ultimate loungerock extravaganza sounds as good today as it did back in the late 1980s when word first got around on it. A self-proclaimed "Electric symphony" that mixes Ennio Morricone with King Crimson as recorded by a Holiday Inn/Bar Mitzvah band from outer space. Crooner vocals soar on top of overly elaborate keyboard arrangements as the music abruptly throws you from one intense mood into another in true psychedelic fashion. No ideas are discarded as the meaning of life unfolds in glitzy Zgrade fashion -- if there's a bad, cheesy move to be made, they'll go for it. These guys probably thought they'd made the greatest LP of all time and in a way I guess it is - even regular folks with no interest in this scene are blown away by the Kaplans' unsurpassed pretense and lack of reality checks. Must be heard to be believed, preferrably on acid. [PL] ~~~ "Nightbird" is a real people classic. Low rent genius schmaltz kings with proggy ballad supperclub Holiday Inn moves and Arcesiaesque vocal stylings. These guys

were the real thing for lounge lizard prog. This kitchen sink symphony with Grudzienesque cut-andpaste production is apparently a concept LP but you'll never figure it out sober. Tinkling piano, synth washes, flutes. Highlight: King Crimson's "Epitaph" segued into a rewrite of the Cascades' "Rhythm of the Rain"! Lots of sounds most of which have no business being there like the sound generators. [RM] ALAN KAPROW (NY) "How To Make A Happening" 1966 (Mass Art Inc.) [gimmick cover] Spoken word pre-hippie NYC art aesthetics and philosophy in the form of an 11-step instruction on how to stage a happening. Kaprow was the leader of the 'Paths of Action' movement and influential in the evolution of "happenings" in the early 1960s. Side 2 adds some poetry to the instructions. An important piece of 60s crossover culture, but today mainly for those with special interest in the era or modern art history. "A happening is a gang with a high". [PL] KASPER (St Louis, MO) "Hammered" 1976 (Lark Ellen) Bluesy rural rock with good slide guitar.

KATH (MD) "Kath" 1975 (no label) [60p; gatefold] "Kath" 2005 (Rockadelic 51) [+bonus tracks; no gatefold; 500p] Obscure and quite impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out, hits the Ampex two-track echo & tinny drum sound dead on. The sound is a bit "Canadian" to me, with a few French language snips and a typical Maple Leaf sound with lots of keyboard and reverbed vocals, not unlike the best tracks on Rockadrome. As it turns out the band was actually from Maryland, though leader Val Rogolino was part-French. In any event, it's mostly originals with a few covers including a fuzzed-out cough syrup take on "Norwegian Wood" that could be the best version ever. The selfpenned material is good, with a 60s teenbeat sensibility rather than heavy/hard rock. At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day. At the same time there are obvious hints that this dates from a later era, and it was in fact recorded over a period of several months in 1974. Good fuzz throughout, charming amateur vocals, and a late-night rehearsal space ambience. "It doesn't mean" is a highpoint for me. There are also brief snips of aural experiments for the right $15 avantgarde touch. "Kath" appears to be a reference to

the main guy's girlfriend. The band also had a non-LP EP from 1978 under the name Badge, with a more polished version of "It doesn't mean", and a 45 around the same time. The Rockadelic removes one track from the original, and adds a couple new ones. [PL] KEATNIKS (Labrador, Canada) "Keatniks" 1965 (Melbourne 4011) Obscure teen-beat from guys with really short hair, pre-Invasion cover versions mostly. TODD KELLEY ( ) "Todd Kelley" 1969 (ESP/ORO-6) This moody folk LP is one of the more obscure titles in the ESP catalog, highly rated by some. RICH KENDALL (WI) "Food For Thought" 1974 (Unknown Records) Mid 1970s rural folkrock LP from guys with Jake connection via one band member. More of a band effort than "loner", with some nice electric leads. DAVE KENNEDY & THE AMBASSADORS (LaCrosse, WI) "Breaking Up Is Hard To Do" 1965 (Coulee clp 1001) Farewell LP from popular local band going into army service, mostly pre-Invasion frat and instros, a couple of Beatles numbers. KENNELMUS (Phoenix, AZ)

"Kennelmus" 1971 (Phoenix Internat'l 42171) [promo] This previously undocumented promo variant on the LP came in a homemade, primitive sleeve. Some or all promo copies also came with a 45 and insert. Only 1 copy of this variant has been found, which provenance has been confirmed by a Kennelmus member. The disc is identical to the standard run. "Folkstone Prism" 1971 (Phoenix Internat'l 42171) [1000p] "Folkstone Prism" 1994 (Rockadelic 15) [300#d]

"Folkstone Prism" 1999 (CD Sundazed sc-6129) Weird desert group with mysterious guitar psych Ennio Morricone & middle eastern instrumentals on side 1, backed with equally odd vocal folkrock/garage stuff on the flip. Play this and something strange enters the room that you'll enjoy having around after a while. Hard to describe accurately, and certainly one of the more unusual albums to be reissued by Sundazed. The LP was pressed in two runs of 500 each with a minor label design difference, the "ring" imprint is close to the spindle hole on the first run, and close to the dead wax on the second run. Both runs are considered originals. [PL] ~~~ One of that handful of truly unique psych albums. On side one theyre an all-instrumental freaked out surf band, and a fantastic one. Side two adds vocals, which are perfunctory song/speak, and thus these songs arent as interesting. They were way ahead of their time, before the surf/skate punkers of the early 80s, and before the sing/speak avant garde 70s bands like MX-80 Sound and Debris. Cool stuff, absolutely worth owning. [AM] "Beyond Folkstone Prism" 1995 (RD Records 1, Switzerland) [insert; 400p] Unreleased material from 1969-74, I found this disappointing and a far cry from the 1971 LP, although others may enjoy it. It does contain the 45only version of "Black Sunshine" with vocals, and this is a psych killer that must be heard. More unreleased material exists that has yet to appear. [PL] KENNY & THE KAMMOTIONS (Texarkana, TX) "In Motion" 1970 (Candy 1023) "In Motion" 200 (Candy) [bootleg] Post-garage bar-rock covers, mostly, plus a couple of band originals. The band had several 45s including a couple of really good ones. KENNY & THE KASUALS (Dallas, TX)

"Impact - Live at the Studio Club" 1967 (Mark 5000) [500p] "Impact - Live at the Studio Club" 1977 (Mark 5000) [insert] "Impact - Live at the Studio Club" 199 (CD Flash 26, Italy) Legendary fake live LP famous among all sorts of collectors and pulling in $500 even back in the

1970s. Cover versions only, about British Invasion and US 1950s/frat. The performances are tight and rocking with no weaknesses and the sound is great and raw, though the cocktail crowd noise is as silly as the Elevators "Live". Very good period LP, up there with the Raiders' "Here they come", the Dimensions and the Hideout Fugitives. A couple of tracks also appeared on Kasuals 45s. Their non-LP 45s are excellent garage/teenbeat and have been collected on two 1980s comps by Eva Records in France. Oddly, no Kasuals comps have been made since then. Note: sealed copies of the 1977 repress are sometimes offered as originals; however the original run was never sealed. Early pressings of the reissue contain no 'Doug Hanners' credit; later pressings have this credit and an insert promoting "Teen Dreams".[PL]

"Teen Dreams" 1977 (Mark 6000) [200p; red vinyl; handbill] Supposedly from an "unreleased second LP" but in fact a sampler of scattered 1966-67 material. Very good beat, garage and proto-psych and to my ears even more interesting than the live LP. Originals all through, local hit "Journey to tyme" among them. Most or all copies are autographed by Kenny. The reformed Kasuals cut two LPs and an EP in the late 1970s/early 1980s. [PL] KENTAURUS (WI) "Kentaurus" 1981 (Wakefield) Hard rock/AOR with freaky vocals that has been hyped as metal and prog, but is neither. KEN KESEY & THE MERRY PRANKSTERS (La Honda, CA) see website "The Acid Test" "The Acid Test" "Acid Test, vol "The Acid Test" 1966 (Sound City Production 27690) 1982 (Psycho 4 UK) [300p] 1" 1999 (CD King Mob, UK) [+bonus tracks] 2005 (CD UK)

Legendary documentation of the 1965-66 Bay Area Acid Test scene "from 14 hours of the actual trip" (recorded in a studio). Shows the other side of acid culture which is fun, unpredictable and avantgarde as opposed to the Leary camp's solemn religious/ psychological approach. Lots of amazing mind games and word play with Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Released in March 1966, just as the Pranksters were splitting for Mexico. An essential piece, though even the vinyl reissue is hard to find nowadays. There was also a super-rare promo 45 pulled

from the 1966 LP, along with a promo poster. The King Mob CD contains an entire album's worth of killer material related to the hilarious Berkeley Vietnam rally prank from the Fall 1965. [PL] "The Electric Kool-Aid Acid Test" 1986 (Fan-Club) "Acid Test, vol 2" 1999 (CD-R, no label) [self-released CD-R] Both the LP and the CD-R contain edited highlights from the S F State Acid Test in October 1966. Excellent trip stuff with mostly Kesey monologues plus some cool music, both pre-recorded and improvised. Wavy Gravy and Jerry Garcia are also in there somewhere. The CD-R contains a significantly longer edit, while the LP has snips from a 1980 interview with Kesey and Garcia. [PL] ~~~ see -> "LSD" (Capitol) KEVIN & CLARE ( ) "All The Roads" 1975 (no label) Mid-1970s moody hippie folkrock duo with male/female vocals. KEYMEN (Las Cruces, NM)

"Live" 1968 (Goldust lps-153) "Surf Party A Go-Go" 1996 (CD Collectables 0685) [part of LP +bonus tracks] Dancehall organ, fuzz, r&b stompers. Despite the late date, a pre-Invasion sound in the Kingsmen raucous club style. KHAZAD DOOM (Morton Grove, IL)

"Level 6" 1969 (LPL 892) [two inserts; 180p] "Level 6" 198 (LPL) [bootleg; b & w cover] "Encore" 1995 (CD 95) [book; autographed; 600#d] Among the truly expensive albums few are as controversial as this. Hard to say why as it sounds no different to me than dozens of other LPs from the era, but maybe the ill-fitting "prog" label and Tolkien-inspired band name has attracted listeners unprepared for Khazad Doom's amateur artrock. They sound like a somewhat loungey, semi-professional teenage band who got inspired by certain late 60s British acts to create something out of their reach.

A song cycle with a vague theme related to "hunters" recurs, and the music is made more "complex" by unnecessary breaks and bridges. The band members' skill varies, which contributes to the basement/school project feel in both charming and annoying ways. The opening track contains pretty much all the elements of the LP, and could be used as a testing ground. There is a long suite on side 2 that isn't very successful and weighs down the album, while the following "Narcissus" is perhaps the best track, showcasing the band's number one strength, the vocal harmonies. Otherwise, there's lots of organ excursions, some fuzz interplay, and a clueless youthful feel. Had it been successful, it might have sounded like the Aggregation, but instead it's more akin to Day Blindness or the more boneheaded Bosstown bands. Serious prog fans should approach with caution, or not at all. The very small press size has been confirmed by the band. The "Encore" CD is a reissue of the LP plus 8 tracks; it appears that some parts of the original LP actually aren't included. [PL] KICKIN' (NE) "Starbound Lady" 1978 (Class Rock 10205) [blue vinyl] Regional AOR/prog-rock band in a Styx direction, led by the Fritz twins. The band gigged in Canada with some success. The album is a "limited edition". KICKLAND & JOHNSON (Omaha, NE) "Clay County" 1974 (Effenar 1000) [inner] Hippie folkrock/s-sw in a James Taylor bag with nasal vocals, rock setting plus harmonica and piano. J Clemetson is given credit on the sleeve, and wrote several of the songs. Not psychedelic in any way. Ed Johnson did a solo LP in 1977, "Homespun", with the same guys helping out. KID CASHMERE ( ) "Kid Cashmere" 1977 (Guiness GNS36081) Bluesy fuzz and P-funk on tax-loss label. Possibly recorded several years earlier. KID DYNAMITE ( ) "Kid Dynamite" 1976 (Flightstream 101) The same band that had a major label release on the Cream label. This is superior in a strong guitarcharged blues/boogie hardrock vein.

PAT KILROY (San Francisco, CA) "Light Of Day" 1966 (Elektra EKL 311) [mono; gold label] "Light Of Day" 1966 (Elektra EKS 7311) [stereo; gold label] Extraordinary and historically important bohemian folk/raga LP with a timeless freak quality. About half is swampy folk-blues that sounds like a coffeehouse version of early Captain Beefheart, the other half is stunning Eastern trance/drone folkpsychedelia years ahead of its time. Excellent use is made of various minor instruments that include jew's harp and bells, while Kilroy's voice goes from moody introspection into all-out howling, whether due to bad moonshine or potent peyote is hard to tell. A raw, improvised feeling typical of westcoast avantfolk is retained throughout, even as the lyrics and arrangements indicate that a lot of work went into it. Side 1 is somewhat more conventional, while side 2 zooms into hallucinatory acid folk domains on things like "Vibrations" and the title track. A couple of numbers sound remarkably like what Kilroy's Elektra colleagues Incredible String Band would become famous for in 1967-68, but this LP predates them by at least a year... challenging at times, with some tracks not quite successful, but still a must. Kilroy was member of early SF folk-avant group New Age (seen in the movie "The Love-Ins"), and sadly passed away as early as 1967. A UK pressing in a US sleeve exists. [PL] ~~~ On the front cover of "Light of Day", Kilroy looks a bit like a cowboy, but a look at the back will inform potential buyers that we're not in Hank Williams territory. The album begins with a song called "Magic Carpet," ends with one called "Star Dance" and also includes the titles "The Pipes Of Pan" and "Vibrations". The liner notes reference Hebrides' Islanders' chants, "Moods of Spanish gypsies," "the magnetic pulsations of African hypnotic drums," music of India, dances of the Middle East, the writings of Hesse, Huxley, George Gurdjieff, and, most importantly, the Sufi Message. In the year before the summer of love, he ends the notes with the single word "peace". It's no surprise, then, that the music tests previously uncharted waters, and as with an equally unique 1966 album, "Psychedelic Moods of the Deep", it goes places where no one would go again. The Deep's album invented psychedelic music without any noticeable influences, but went unnoticed when the genre exploded via well-known artists. Kilroy invented acid folk, though, unlike the Deep, he didn't do so intentionally. The difference is a significant one because there's no artifice or sense of exploitation in Kilroy's music. (This isn't a knock on the Deep's album, which I think is even better than this, even if it's not 100% "genuine"). Regardless, nobody heard this album either, and the wave of psychedelic folk-rock and singer-songwriter types who followed would come from completely different mindsets. Admittedly, "Light Of Day" is mostly more experimental than it is "good", with fragmented songwriting, rough singing and awkward rhythms, but it has moments of true inspiration and is a completely original work, something you all should hear. [AM] ~~~

see full-length review KING ( ) "King" 1980 (no label) Since the only people who ever describe this are dealers trying to sell it, we feel obligated to give you the truth about this turkey: The female singer, who is great, is only on one song, which is heads and tails the highlight of the album. Side two is entirely instrumental, and basically jazz-rock of a not particularly creative or accomplished variety. Side one sounds more new wave than "psych," which would be fine if it was particularly good, but it isn't. It isn't heavy, at all. It's not even especially weird other than that the various styles are an odd mix. The mysterious album cover, lack of credits or information, and the fact that every single copy seems to have ended up in the hands of psych dealers have added to its mystique over time, but don't shell out the $50-$100 it will cost you without listening to it first. [AM] DENNY KING ( ) "Evil Wind Is Blowing" 1972 (Specialty Records) "Evil Wind Is Blowing" 2005 (CD Synton, Austria) From Little Richard's label, here's a 1972 blues-rock album whose liner notes inform you that "you'll soon know why they call that place the high desert!" King's vocals are in a Beefheart-out-of-Howlin' Wolf mode, with Beefheart's high squeals and some very deep grunts and laughter. This is a very funny record, whether King is growling nonsensical gibberish on "Bottle Blues," proclaiming that he does "Lucille" better than Little Richard, or working the double meaning of "Boogie Man." Along with Beefheart, King makes me absolutely certain that this is the most apt vocal style for this type of music. Listen to King and realize that all those hard rock guys just don't have a clue. The album features cool harmonica and really hot slide guitar (courtesy of ex-Beefheart sideman Alex St. Claire.) The rhythm section is stellar too: check out the awesome bass line on "Sunday Driver". My pick hit is "Desert Sand," which starts with a lovely tapped-fretboard riff, has a wah-wah/slide guitar battle for a solo, and just plain feels like its title in a windstorm. You'll probably read about a hundred blues-rock albums here in the Archives. Most of them are full of fuzz guitar, freaky lyrics and psychedelic production tricks, but trust me, not a one of them is as good as this. [AM] KINGDOM (CA) "Kingdom" 1970 (Specialty lp-2135) "Kingdom" 1999 (Akarma 031, Italy) "Kingdom" 2000 (CD Akarma, Italy)

Obscure hard rock album with heavy guitar and organ. Its a cool item just because its on Little Richards label, but after several listens none of the songs have stuck with me. Its a well-played but essentially generic heavy rock album that wouldnt be such a hot collectors item if it wasnt so scarce. [AM] KINGYO ( ) "Simplicity" 197 (Radnor 2002) Native American a k a Tony Wright, folkrock with bluesy moves, raw vocals and some orchestration. Same label as Lumbee. KITCHEN CINQ (Amarillo, TX) "Everything But" 1967 (L.H.I. 12000) [mono] "Everything But" 1967 (L.H.I. 12000) [stereo] This album has a really nice teen-style garage-pop charm, with enthusiastic playing and good harmonies. The guitars are jangly, not fuzzy. They werent songwriters, unfortunately, so while the album is enjoyable from start to finish its also somewhat disposable. They get extra points for turning Codine into Needles And Pins. [AM] TAYLOR KITCHINGS (MS) "Clean Break" 1972 (Union) Mix of Dylanesque folkrock and classical inspired folk-prog, with a melancholic mood and good lyrics. KLANSMANN (KS) "Klansmann" 1968 (Audio House 269) [no cover] One of many obscure pressings from the Kansas-based Audio House custom plant, this is amateurish teenbeat with covers of Young Rascals, "Hey Joe", Gerry & the Pacemakers etc. Apparently the label photo shown in one of the Collector Dreams books is not of the original label, but a recent facsimile. CAROL KLEYN (CA) "Love Has Made Me Stronger" 1976 (Lyra no #) Bobby Brown's girlfriend is equally as musically bizarre as him. Side one of this album is just harp and voice, and her warbly melodies blend with the instrument to make for some truly unique voicings. Her high voice can occasionally grate, but it suits her odd sensibility and romantic vision (she's a true

dreamer.) Side two of the album is just piano (or electric piano) and voice. The songs are as good as those on side one, but after almost forty minutes you're left wishing she'd hired a rhythm section. Unique but not wholly successful. [AM] "Takin' The Time" 1980 (Turtledove no #) Most people have a strong preference of one Kleyn album over the other, and strangely enough they seem to be equally split about which one. To be honest, I think it's a wash. This second (and rarer) album benefits from more instrumentation, with drums, bass, and electric guitar on most songs. There's still plenty of harp, though, and when a few sparse songs show up on side two they feel really good in this context. The songs, on the other hand, aren't much different from those on the first album. Same horny hippie romanticism, same jarring vocal trills and bird imitations. She's unique, and this is pretty cool music if you're in the right frame of mind, but just a few songs by her would probably be enough to satisfy the average listener. What fails to excite in the context of her own album might be a standout on a compilation. [AM] CURTIS KNIGHT (KS/NY) "Down In The Village" 1970 (Paramount) The oddball album in Knights extensive discography is this heavy effort, featuring plenty-of Hendrixlike lead guitar. The ten-minute Give You Plenty Lovin is a room-clearer, as his repetitive screaming and the endless guitar noise goes way beyond the bounds of good taste. Some of you will really love it, obviously. Elsewhere its a solid set of soul and rock, given an edge by the heavy guitar playing and Knights street vibe. A worthwhile album. [AM] KNIGHTS a k a HERMON KNIGHTS (Northfield, MA)

"Off Campus" 1965 (CO 1269) "Across the Board" 1966 (Ace Recording Studio mg-200854) "Knights '67" 1967 (Ace Recording Studio mg-201302/3) "Hermon Knights" 1968 (Ace Recording Studio co-2323) Guitar, organ, horns prep cover band from the Mount Hermon school with mix of folk, pop, jazz, and the occasional raver. "Knights '67" is probably their strongest garage LP, though none are exceptional. Earlier LPs include "On The Road" (Ace, 1962) which is very weak with big band covers and instros,

"Expressions" (Ace, 1964) and "Cold Days - Hot Knights" (Ace, 1963). An annual album would be recorded each Spring, with the earliest known Knights LP dating back to 1958. The Cole brothers later turned up in Quill who had a pretty wellknown progrock LP on Cotillion. [RM] ~~~ see -> Silent Cheer; Together KNIGHTS 5 + 1 ( ) "On The Move" 1967 (Justice 156) "On The Move" 1996 (CD Collectables 0604) Racially integrated Eastcoast club band unique to the label and era, and also one of the more wideappealing titles on the Justice roster. Singer and sax man are black, rest are honkie kids, although the bass player is so good he sounds black. Vocalist is thankfully in the cool Cooke/Gaye school rather than a Pickett/Redding screamer, and the sax-man's loungy digressions sets a mellow nightclub tone to the affair, especially on a number of stylish instrumental originals. The vocal cover selections are a little too obvious but the wee hours approach makes a lot of the Memphis standards different and appealing. If I was throwing a wedding party this is the Justice band I'd book. [PL] KOALA (New York City, NY) "Koala" 1969 (Capitol skao-176) [unipak cover; rainbow label] In a weird marketing gimmick, these guys were given an Australian name and pretended to be Aussie immigrants. It didnt work, as the album bombed and now takes its place among those very rare Capitol albums we all drool over. A few songs here have some really out of control fuzz guitar, and the vocalist is strident in a Fred Cole kind of way. For the good songs, its as exciting as hell and its not surprising that this is a highly-sought-after album, but the sound is pretty headache-including over the long haul, especially when the songwriting inspiration begins to wear thin halfway through each side. Take the two side-openers, though, and youd have one whale of a killer garage/psych hard rock 45. [AM] KOPPERFIELD (MI)

"Tales "Tales "Tales "Tales

Untold" Untold" Untold" Untold"

1974 198 199 2001

(Kopperdisc 5014-n5) [lyrics insert] (Kopperdisc, Europe) [bootleg] (CD, Europe) (Gear Fab gf-164) [2 LPs; +9 tracks]

"Tales Untold" 2001 (CD Gear Fab gf-164) [+9 tracks] This heavy album with progressive moves is expertly played and reasonably well produced, though it suffers a bit from inconsistent vocals and too many organ solos. It occasionally veers into 70s mainstream AOR territory (vocals from the Uriah Heep school, though not worthy of a passing grade.) It rocks hard enough and the songs are fast enough to give it points for energy. "Nothing Left To Give," with a propulsive rhythm and a strong vocal line, is probably the best song, though some of the more ambitious arrangements (i.e. the slower, keyboardheavy title track) are also appealing. Side two is more experimental than side one. You can certainly do much worse in the genre, but don't buy this if you're looking for anything especially original or wellsung. The Gear Fab reissue contains a complete unreleased second album, which has stronger chops, heavier songs, and a more confident sound. It also experiments more with synthesizers and funky rhythms. For the most part, it's a bit better than the original album, but a terrible boogie song, titled "Gonna Get Stoned," really hurts. [AM] LOUIE KOTVA (Champaign, IL) "It Used To Be Not Everybody Was A Lighthouse" 1970 (Prism) [lyric inner sleeve] Loner folk private press that falls into the "count the number of known copies on one hand" level of rarity. Illinois loner folkie with a few songs with psych moves. Comes in a textured cover and includes a homemade "custom" inner sleeve with paste-on lyric sheets on front and back. [MA] ~~~ see -> Red Herring Fall Folk Festival KREED (Fairbault, MN)

"This Is Kreed!" 1971 (Vision Of Sound 71-56) Rare basement excursion from St James military school band in the lower teens, famous for how strange some of them look on the sleeve. Has piano rather than guitars upfront which is a pity as this otherwise has all the right moves; voice-change vocals, basic garage tunes and lyrics about girls and the environment (?!). All originals except an extended cover of "In a gadda da vida" which is a pretty faithful rendering with piano solos replacing the organ. All over an interesting local piece in a '66 bag despite the vintage. [PL] KRISTYL (Louisville, KY)

"Kristyl" 1975 (no label #4569) [200p] "Kristyl" 1986 (Hype 1, UK) "Kristyl" 199 (CD Titanic, Germany) Highly regarded local Christian 1970s melodic guitarrock with an open late-1960s westcoast vibe, dual guitars and great organic playing/vocals all around. They have a very distinct sound which makes the tracks seem similar at first, but it opens up after some plays and remains that way. The best tracks such as "Deceptions of the mind" and "Valley of life" are truly monumental. Personal fave, one of the big ones in the style. Great sleeve design - note the drummers t-shirt. Originals were pressed on very thin vinyl, so most copies have slight bowl warps. [PL] ~~~ Timeless pinnacle of teenage, rural, Christian psychedelia. The consensus seems to be that this is a 1975 recording, but dealers always (accurately) describe it as sounding much earlier. The psychedelic playing on Deceptions of the Mind often contrasts with the anti-drugs/sex lyrics: Alcohol and sex unclean, copping drugs all over the scene/What is it that we need, Lord its love and its for free. Kentucky cant have been an easy place to strike a deal to have this recorded, so maybe they felt they needed to put an anti-drugs message in here and there. The music is consistently wonderful, side 1 in particular, with side 2 ending with the beautiful Morning Glory. The dual guitars are laden with effects and full of interesting twists and turns. The singing is honest and clear. Not as crazed as Fraction, but in the same league of expressive, sincere musicianship. A beautiful, nave feeling pervades the whole LP, like they believed anything could happen, the world could change as a result of their sounds. For me, they were right. Why is the drummer wearing a shirt with a hash leaf on it, perhaps it says hash free zone underneath? The sleeve art is also top-ten, being a monochrome crudely drawn snake encircling the earth. [RI] KRYSTALS (Montreal, Canada) "Krystals" 1971 (Fourmost 8943) Late beat/pop with keyboard-led covers of Hollies, Simon & Garfunkel, Chicago, and some originals. The release date has been listed elsewhere as 1968, which is obviously incorrect from the track list. KUDZU BAND (GA) "Chitlin' Circuit" 1976 (De Vine)

Guitar-driven Southern rock with a ZZ Top influence, has a cover of "Back Door Man". FRED KUHN & LIGHT (Long Island, NY) "A Song Of Gods Gone Mad" 1980 (Daystar 0001) Heres a 1980 folk album that is more weird than good. Its not exactly satanic, but definitely pagan and strange. It includes a bass-and-vocals-only version of David Crosbys Triad which makes an already creepy song even creepier. Some songs have pretty wild moog and others have twisted lyrics, but overall the musical sound is actually quite tame. Its interesting when someone with this kind of sensibility heads towards folk rather than heavy metal, and this album is definitely a curiosity. Its not really that good, though, as little moments (a phrase here or there, some synthesizer noise) stick in my memory more than do any of the songs as a whole. Nicodemus fans might appreciate it. [AM] ROBB KUNKEL (Denver, CO) "Abyss" 1973 (Tumbleweed TWS 111) Obscure but surprisingly good LP on a Rocky Mountain independent that rode high on corporate money for a few years. It's one of the best, perhaps the best, on the label, and opens with two terrific dreamy westcoast psych tracks that alone makes this worth getting. The rest is an eclectic bag of melodic rock and singer/songwriter, with two weaker (but short) rootsy tracks, and the rest quite enjoyable. Heavy session names are all over this LP, which displays the typical Tumbleweed combination of a stoned, loose vibe and a classy production. When staff member Kunkel's album was released the label's money was running out, and it may have been pressed in as few as 500 copies. [PL] ~~~ Having listened to this album a dozen times it's still hard to slap it with a label. Much of it has a laidback acoustic feel to it, but the songs are often punctuated by Howard Robert's jazzy lead guitar and/or Kunkel's percussive keyboards. 'Whispermuse' is a perfect example. For the first couple of moments in flows along as a pretty acoustic ballad before Kunkel and Roberts kick in at the tale end. In contrast, the title track and 'Turn of the Century' (the latter being the standout effort) are fairly conventional (and enjoyable) rock numbers. Full of pretty melodies and some nice harmony vocals, I can see why it's becoming somewhat of a sought after collectable. The only real missteps are a couple of country-flavored throwaways including the forgettable "Country Blues". [SB]

see full-length review

KURT & NOAH (Canada)

"There Are Things" 1970 (Astra 1000) [inner] A quintet despite the name, doing gentle folk with acoustic and electric guitars and harmony vocals. Some tracks have female vocals. The group had a couple of 45s including a minor hit. KUSUDO & WORTH ( ) "Of Sun & Rain" 1969 (Custom Fidelity 1881/82) [200p] This is about as good as stark acoustic folk gets, with evocative songs, beautiful and versatile singing, unexpected acoustic raveups, and the addition of some eerie slide guitar on one song. The two voices work very well together and around each other. "I Would Like To Hear Your Story" is really intense, sort of like the side-openers of the first Jake Holmes album. Very highly recommended, and way overdue for a reissue. [AM]

Acid Archives Main Page

LACEWING (Kent, OH)

"Lacewing" 1970 (Mainstream s-6132) One of Mainstream's later-day releases, still mainly in the typical westcoast Airplane/Mamas & Papas/Big Brother bag but with hints of 70s things to come. Starts off strongly with femme-vox folkrock and psych and maintains a reasonably good level, with fuzz leads and minor prog ambitions on side 2, while side 1 has more of a CA'68 sound. Use of piano and heavy drum licks betray a "Volunteers" influence, while the atmospheric instrumental passage during "The Storm" may be the most original thing on board. It took me a long while to figure out why it sounded so familiar, but to my ears the overall sound is quite similar to the British Julian Jay Savarin album, although less coherent in its structure. About 2/3rds is excellent femme-vox hippie-rock, with impact lessened by a couple of uninspired tracks and a drum solo at the close. [PL] ~~~ In terms of collectability, this is a second-tier Mainstream album, but the opening Paradox is possibly the best song by any band on the label. Its just a gorgeous folk-rock creation with sparkling male/female harmonies and a bright, summery feel to it. The rest of the album cant possibly reach that standard, but other than a typically dull drum solo (at the very endyou can just turn off the record early), this is a nice album, and some surprisingly heavy bits enter into the mix. The female singer is very appealing. [AM] ~~~ In an earlier incarnation this band was known as the Measles and featured Joe Walsh on guitar. The band was briefly called Lacewing around the time of the Mainstream album, which (like other OH bands on Mainstream such as Freeport and December's Children) was recorded at Criteria Studios in Miami. Vocalist Mary Sterpka was later drafted by Walsh to sing backup vocals on the James Gang hit "Midnight Man". Info courtesy of George Gell. LADY CHASER ( ) "Lady Chaser" 1981 (private) Heres an otherwise interesting private press album thats completely done in by horrible vocals. Musically, its a mix of rural rock, jazzy soft rock,

and mellow bluesy rock, quite interesting and wellplayed. They tend to be lumped in with late-70s postDead artists like Walnut Band and Mad Fables, but this is really its own animal. If the singing were even remotely bearable, Id recommend it. The fantasy cover promises a prog album, which this most definitely is not. Sometimes this album is listed as being by Michael Barash. Its not entirely clear if Lady Chaser is the album name or the bands name. [AM] LAFAUCI (LA) "Lafauci" 1978 (Uncle Meat) This is a pretty solid southern rock/hard rock album. It's got that Molly Hatchet style of singing and the ubiquitous dual lead guitars, lots of hooks, some tasteful moog, concise, tight songs. A couple of ballads are weak, but otherwise if you like this style of music this is a good one. Short album, less than half an hour. [AM] LAKOTA ( ) "Lakota" 1979 (JSR Records 1506) Rural/southern rock sound by Native American band on New Jersey label, highly rated by some. DAVE LAMB & GYE WHIZ( ) "I'll Be Alright" 1971 (SYMA ad-1000) "I'll Be Alright" 2000 (Fanny, Belgium) Obscure basement hippie folkrock affair. Sound is somewhat reminiscent of quirky rural UK folkprog LPs like Gygafo or Candida Pax, especially the enthusiastic amateur vocals. Primitive 1970s folkrock setting with occasional keyboards, spirited atmosphere and coffeehouse folk remnants. I've heard some negative comments on it and while not too bad in my ears, it's hard to single out any particular appealing aspect to this LP. "Shine on me" is perhaps the most interesting track, with a fragmented, confused rural folk sound that may recall A-Austr. One of those private pressings where the rarity is more significant than the musical quality. [PL] PAUL LAMONT (San Francisco, CA) "Psychedelia" 1969 (Golden State) Improvisational avant hippie piano noodling, two side-long excursions that Lamont encourages you to play loud for best effect.

LANDSLIDE (NY) "Two-sided Fantasy" 1972 (Capitol 11006) [green label] "Two-sided Fantasy" 2002 (Akarma 238, Italy) "Two-sided Fantasy" 2002 (CD Akarma 238, Italy) Appealing mosaic of various early 70s styles, delivered with a confident smooth groove that had me believe this was a black band which appears not to be the case. Sounds more rural/west coast than NY to me. Traces of Dead, Santana, Airplane plus some harder/bluesier aspects, still with an original vibe and even some Christian lyrics.[PL] ~~~ Heres another Capitol rarity, and its a really good one. Its a dual guitar hard rock album with tons of great hooks and some unique arrangements (Creepy Feeling has a chord progression that lives up to the title, the final song has an intense set of buildups, and many songs appear to have two drummers.) Equally good songwriting on the ballads and heavy songs, and subtle and creative guitar playing make this one of the best 1970s albums in the genre. Weird creepy album cover too. [AM] ROBBIE LANE & THE DISCIPLES(Toronto, Canada) "It's Happening" 1966 (Capitol T 6182) Teen-beat from popular band with several 45 releases and a CBC TV slot. The sound is more pop than garage. ~~~ see -> "Meet The Lively Ones" TONY LANE & THE FABULOUS SPADES ( ) "Introducing" 1966 (Justice 133) "Introducing" 1996 (CD Collectables) Good opening Them cover sets the tone for a fatter and rockier club trip than most LPs on the label. Use of organ, sax and Tony's tambourine creates a contemporary mid-60s sound, and the big guy's vocals aren't bad at all, making even the token ballads acceptable, while a couple of energetic frat covers garner bonus points. "Long Tall Sally" with awesome bass runs is a highpoint, as is a fuzz-lead "See See Rider" which I'd rate as one of the best versions ever. Rated highly by Justice aficionado Jeff Jarema, this LP's main drawback is the lack of group originals. [PL] LANGLEY SCHOOLS PROJECT see Hans Fenger LARRY & MYRA (MA) "Alien Nation" 1970 (Eat the Day ls-101)

Male/female acoustic folk with pretty voices but forgettable songs. This is one of those albums that sounds really nice on first listen, but just fades away after that. Organ, flute, cello, guitars. Sometimes hyped as rare, but actually easy to find. [AM]

BOB LARSON (McCook, NE) "Speaks Out On Rock Music" 1969 (Cornerstone CRS 4014) Well-known Christian radio show host doing an early anti-rock music sermon, except the message is strangely deflated by Bob pulling out an electric guitar and playing wah-wah solos by Cream, Iron Butterfly, and more. Popular title among fringe collectors. It was originally sold to Christians on reel-to-reel tape. Larson had a number of other albums that would not be of interest to readers of this book. He also wrote the remarkably paranoid "Larson's Book of Rock." LAST CALL OF SHILOH (Sandpoint, ID)

"Last Call Of Shiloh" 1970 (Last Call src-5136) [500p] Christian westcoasty psych/folkrock with several tracks in the classic mold that fans of the genre love, similar to Wilson Mckinley, Steve Powell etc; ringing guitars, loose vocal harmonies and jammy Bay Area moods - just dig that bass player. Has 2-3 truly great tracks on level with Tripsichord with mix of male/female vocals, a few others are more spiritual in style. Only about half the original pressing came with covers; it appears that repro paste-on covers also exist. The original cover is flimsy and slightly oversized. Still no reissue, which is strange. [PL] ~~~ Deep Christian rock with inventive playing and a laid-back garage seeker vibe like the darker side of Jefferson Airplane or the third Velvet Underground LP. Soulful pretty vocals with female backup and searching westcoast leads. Highlights: "Marriage Supper of the Lamb" with soaring vocals and garagy guitar, the delicate melancholy of "New Jerusalem", and "Message of the Gospel" with its intriguing murky rhythm. [RM] ~~~ Here's an album that's desperately in need of a reissue. It's an early Christian rock record, which, like Wilson McKinley, is basically a record of its time with Christian lyrics rather than something that has true roots in any Christian musical tradition. Much of it is lovely folk-rock, and there are a few

very, very beautiful songs. The vocals are dreamy and, dare I say, heavenly. It's not as consistent as, say, Azitis or "Spirit of Elijah," but the best songs here are the pinnacle of this genre. [AM] ~~~ see -> Living Sacrifice Band LAST DAYS (on Rite) see Charisma LAST DAYS (TX) "Last Days" 1975 (Crusade Studios 487) [lyric insert] Heres a sleeper of a Christian folk record. The lyrics are often cringe-inducing (how many times do we need to hear the graphic details of the crucifixion?), but there are some terrific songs here and lovely male and female vocals. Best of all, at the very end of side one, after nothing but guitar and voice for four and a half songs, some searing, punky, fuzz guitar comes out of nowhere. It turns the song His Love Is Real into a surreal and very exciting masterpiece of the highest order. Some more heavy guitar pops up in a few places on side two, and the album ends with a really soulful song thats also surprising and wonderful. This album works mostly in bits and pieces, but at times its transcendent. [AM] ~~~ I was initially put off by the female vocals on this LP which seem detached and impersonal, mostly in a highpitched Joan Baez style. However, as the album progresses weird little twists begin creeping up to the surface. The male vocalist has a light androgynous tone which makes for a strange vibe on his tracks, as do some unexpected raw guitarleads that almost seem tacked on by someone else. The music is mainly straightforward Christian 70s folk with a humble, honest vibe that occasionally goes into true intimacy. Additional instrumentation includes piano, flute and light drumming here and there. On "Only His Few" they rock out in a delightfully fumbling way, and suddenly sound like Wilson McKinley for a minute or two before we're back in the awestruck Christian serenades. One track seems to rip off the 60s cheese garage classic "Shape of things to come". Hmm... odd one, with some definite surprises up the sleeve, like if the first Sons Of Thunder LP had been a 1970s album. [PL] V.A "LATITUDES 1973-74" (Blue Bell, PA) "Latitudes 1973-74" 1974 (private) Students from Montgomery Community County College of interest for some strong tracks by the prog group Puddleduck. Also features several more "bands" in various styles, guitar-rock from Tubular Chamber Ensemble, electric folk rock from an unnamed band, stoned hippy/Dead folkrock from a band called Y, trad folk from the Amber Ramblers, folk from Shack People, a brief jazz piece, and a closing electric/acoustic folk psych track.

LATTER RAIN(KY) "Latter Rain" 1976 (New Life 610203) [500p] Christian rock with churning organ, wah-wah, and powerful vocals. Half the LP is smoking hardrockers and the remaining mid-tempo tracks take on a more progressive turn with the organ out front. Good LP. [RM] ~~~ Most of this is pretty standard bluesy 70s Christian rock, with vocals that dont quite hit the harmonies and a drummer and organist who try to overreach their bounds. A few songs have some rather heavy guitar with wah wah, which is surely what attracted psych collectors to the album, but basically this is not a hard rock album. The singer desperately tries to show a little soul, but he just doesnt have it. This is the kind of album that may seem kind of daring within the Xian context, but once you give it a few close listens youll realize it doesnt do anything a ton of other bluesy rock albums do, and most of those do it better. [AM] ANTON LAVEY see "The Satanic Mass" LAZY DAY (Sioux City, IA) "Straight 'Atcha" 1973 (Magic) [insert] Midwest bluesy rural piano/guitar rustic jamming. Laid-back Allman Brothers moves. The band later became Bonesteel and kept going for many years. [RM] LAZY SMOKE (MA)

"A Corridor Of Faces" 100p] "A Corridor Of Faces" "A Corridor Of Faces" autographed; booklet; "A Corridor Of Faces" "A Corridor Of Faces"

1969 (Onyx 6903) [paste-on cover; 1986 (Heyoka 206, UK) [altered cover] 1993 (Onyx) [altered cover; 500#d; bonus 45] 1993 (CD Afterglow 003, UK) [bootleg] 1997 (CD Arf Arf 065) [+12 bonus tracks]

Have to confess I've never understood all the brouhaha around this LP, what with several reissues and heavy dealer hype whenever offered. The final word is yours, but to me it sounds like decent Britstyle beat-psych with a major Beatles fixation including Lennonesque vocals and low budget George Martin production tricks.The songwriting is OK but

see full-length review ~~~

see -> Euclid

not great, and it's hard to catch a glimpse of any true originality behind the anglo facade. While charming and appealing in a 2nd-tier way, I've given this album many chances to reveal itself in a bigger way since the late 1980s, and have to file it among items that I simply do not "get". [PL] ~~~ Drifting melodic Beatlesque psych. like if "Rubber Soul" had all the "Sgt. Pepper's..." studio tricks and Lennon handled all the vocals. Backwards guitar, floating vocals, churchy organ, and haunting lyrics about romance and regret. The original cover was a paste-on xerox of the intended cover photo and liner notes. The two surviving members released an album of newly recorded acidic folk in 1996 on the Pondicherry label, titled "Pictures In The Smoke". [RM] ~~~ World-renowned as the great Beatlesque psychedelic album, but definitely overrated to these ears. The singer is considered by some to be a dead ringer for Lennon, but he lacks Lennons edge. Theres something sweet, almost corny, about the vocal tone that may resemble the Lennon of "Double Fantasy", but certainly not Lennon from the 60s. The album is pleasant and a few songs are excellent, but overall its hardly worthy of the awe it seems to inspire in some people. Id certainly recommend Anonymous, or Kaleidoscope, or Los Walkers, or even Badfinger, first. [AM] ~~~

TIMOTHY LEARY (MA) see presentation "The Psychedelic Experience" 1966 (Broadside brx 601) [1st press; thick leathery sleeve; Broadside matrix #; booklet] "The Psychedelic Experience" 1966 (Broadside brx 601) [remastered 2nd press; thinner sleeve; Folkways matrix #; booklet] "The Psychedelic Experience" 1966 (Broadside/Folkways brx 601) [3rd press; Folkways label; Broadside sleeve; booklet] "The Psychedelic Experience / L.S.D (Pixie)" 2002 (CD Expansion, UK) [2-on-1] Leary's first LP was released around September 1966 but may have been recorded much earlier. It features him and co-author Ralph Metzner reading from the "Psychedelic Experience" book from 1964. Richard Alpert is credited on the sleeve but may not appear on the actual recording. The recording is a bit lo-fi and is a working albeit somewhat dull introduction to the phantasmagorical world of acid. The booklet is necessary for the trip. [PL]

"Turn On, Tune In, Drop Out" 1966 (ESP 1027) This has the same title as the more common Mercury LP but completely different contents. This is Leary's rarest LP and also one of his best; entertaining, confrontational and timeless despite its heavy zeitgeist facade. This was made just as Uncle Tim had coined his famous slogan and was preparing to leave the academic-scientific track and target the youth of Middle America with his lysergic spiel. An extraordinary piece of counterculture history. [PL] "LSD" 1966 (Pixie 1069) "The Psychedelic Experience / L.S.D (Pixie)" 2002 (CD Expansion, UK) [2-on-1] Leary's third LP to be released in a short timeframe, this has a dry and somewhat bitter press conference vibe, the great man's fatigue with square paranoia and law persecution is not hard to detect. Fabulous cover and still a good introduction.The title is sometimes listed as 'Timothy Leary, Ph.D'. An odd 8track bootleg of this album from the late 1960s exists, with only the legend "LSD" and a collage artwork with Jim Morrison etc. [PL] "Turn On, Tune wlp exists] "Turn On, Tune [stereo] "Turn On, Tune "Turn On, Tune In, Drop Out" 1967 (Mercury mg-21131) [mono; In, Drop Out" 1967 (Mercury sr-61131) In, Drop Out" 199 (Performance, Germany) In, Drop Out" 199 (CD Performance, Germany)

Same title but completely different contents from the rare ESP album above. Probably Leary's best LP, and one of the top spoken word albums ever made. An echoladen and highly inspired Leary guides Ralph Metzner through a rather eventful acid journey, with bad trip aspects and a spellbinding exploration of cellular memory the highpoints. There's also sound fx and lots of incidental music in a psychy drone East Indian style that's pretty cool. The movie for which this LP is a soundtrack opened for a few pre-screenings in mid-1967, but was never released theatrically and remains unseen. Also released in New Zealand. A 45 was released from the LP. [PL] "You Can Be Anyone This Time [gatefold; inner sleeve] "You Can Be Anyone This Time "You Can Be Anyone This Time "You Can Be Anyone This Time [gatefold] Around" 1970 (Douglas 1) Around" 199 (CD Rykodisc) Around" 199 (CD Ufo, UK) Around" 200 (Get Back, Italy)

After 3 years during which the mainstream psychedelic explosion he helped fuel exploded and fell apart, Leary returned with this fun and charming LP, a part of his gubernatorial campaign in California (Ronald Reagan won). Supposedly featuring Hendrix and Steven Stills, but the music is bland studio fill and of little interest compared to Leary's raps about legalization of marijuana, rebirth, and the central nervous system, the latter being a particularly inspired exegesis that points towards his 1970s-1980s work. Great Mouse packaging. A Canadian pressing

exists. Leary also recorded an amazing European psychrock LP, "Seven Up", with Ash Ra Temple while a fugitive after his prison escape.[PL]

"The Joyful Wisdom" 1977 (Joy) [7 volume set] This is a series of seven long playing record albums in white sleeves without jackets. Produced by George A. Koopman for WKGB, San Diego, each record features an interview with Leary as well as other segments (news, commercials, dramatizations) written or performed by him. Other participants include Grace Slick, Lindsay Wagner and Cheech & Chong. Approximately 100 copies of each record were distributed for promotional purposes to about 30 radio stations. No commercial release. ~~~ see -> "LSD" (Capitol) LEATHERCOATED MINDS (OK / CA) "Leathercoated Minds" 1967 (Viva v-6003) [mono] "Leathercoated Minds" 1967 (Viva v-36003) [stereo] "Leathercoated Minds" 2001 (CD Acid Symposium 001) Ah. Early Jean Jaques (aka J.J.) Cale and a classic slice of exploito rock. Released on Amos "Snuff" Garrett's newly formed Viva Records, 1967's "A Trip Down the Sunset Strip" was billed as a concept piece - "In this album, we are trying to paint sound pictures of the Strip - the voices you hear above each recording are the actual voices of the Strip's inhabitants. The traffic noises are real - recorded on location. The songs contained in the album are 'What's happening' - most of them got their start in the Hollywood area and later became national hits". While the covers were largely rote in nature, Cale and the Tillisons turned in some nice vocal performances. The one exception was Cale's rather ragged vocal performance on Dylan's "Mr. Tambourine Man". Cale also distinguished himself via his guitar work. Among the highlights, while clearly added to the LP as filler material, were Cale's four original instrumentals. Anyone hearing "Sunset and Clark", "Non-Stop" or "Pot Luck" will instantly know why Eric Clapton subsequently elected to record Cale's "After Midnight". Personal favorite; the rollicking "Eight Miles High" cover. Killer guitars throughout. The LP was released in the UK by Fontana. [SB] LEAVES (Los Angeles, CA)

"Hey Joe" 1966 (Surrey lps-3005) [mono; plain white cover with promo sticker] "Hey Joe" 1966 (Surrey/Mira lps-3005) [mono wlp; Surrey label; Mira cover] "Hey Joe" 1966 (Mira lp-3005) [mono] "Hey Joe" 1966 (Mira lps-3005) [stereo] "Hey Joe" 198 (Mira) [bootleg] The debut LP from the fathers of "Hey Joe" is OK but an obvious rush/filler job typical of the era. Apart from the classic title track hit there's 2-3 worthwhile tracks like "Dr Stone" and "Too many people"; the rest is 2nd tier beat & folkrock comparable to the weaker aspects of the Blue Things album. The band formed at San Fernando Valley State College in Northridge. Also released in France, and in Italy with an altered cover. [PL] "All The Good That's Happening" 1967 (Capitol t-2638) [mono] "All The Good That's Happening" 1967 (Capitol st-2638) [stereo] "All The Good That's Happening" 2005 (Capitol) The second LP is often referred to as being superior and more significant, and shows the band hinting at a Buffalo Springfield type development. In all fairness this isn't terribly impressive either but it does have a more mature sound and some interesting tracks like "Twilight Sanctuary". A combination of their two albums would have been pretty enjoyable. There is a green vinyl retrospective LP from 1982 titled "1966" on the Panda label, including unreleased and live tracks.Other retrospective releases and reissues exist but won't be listed as the band is a borderline inclusion. [PL] V.A "LEBANON COMMUNITY THEATER" (Lebanon, PA)

"Lebanon Community Theater" 1973 (no label 7300101) Local obscurity with covers of Doobie Bros, Crazy Horse, Chuck Berry, some originals too. Bands include Mourning Son and the Ashley Reflection. Some copies came without sleeve. LECTRIC MUSIC REVOLUTION (Guelph, Canada)

"Lectric Music Revolution" 1971 (Marathon ALS 331) [yellow label] "Lectric Music Revolution" 1971 (Marathon ALS 331) [red/white label] "Lectric Music Revolution" 1996 (Marathon) [bootleg] "Lectric Music Revolution / Sex: The End Of My Life" 1997 (CD Hipschaft) [2-on-1] Moody late beat and folkrock with an occasional dark psych/lounge feel, from older guys who look ridiculous in "hip" mod gear on the sleeve, and don't sound entirely comfortable with the music they're playing. The LP has a number of great, understated downer trips that are reminiscent of New Dawn and Mississippi, plus a few lighter pop/top 40 tracks that have been put down but don't sound that bad to me. "Tanya Canya" on side 2 is a spine-chilling classic, and the album as a complete package hits an unusual spot which makes it memorable; burnt-out c & w musicians trying to catch the 60s train 4 years too late? Some rate this very highly and the reissue's worth checking out.[PL] TERRY LEE (Pittsburgh, PA) "Magic Music" 1971 (Stone) Terry Lee was a Pennsylvania DJ who also produced the Fantastic Dee-Jays. Apparently a vanity project, "Magic Music" is surprisingly enjoyable. Produced by Richard Strang, musically the set's one major mess, offering up a hodgepodge of music, sound effects, spoken words segments and radio news snippets. The surprise is that the music part of the LP's surprisingly good. Propelled by Lee's nice voice, the set offers up a mix of garage rock originals ("It's

Not Easy" and the second half of "Kennedy Nitemare") with a couple of uncredited covers thrown in as filler ("Gimme Gimme Good Lovin'"). Elsewhere, you have to admire the completely tasteless cover - Lee apparently relieving himself in a junked toilet. [SB] TROY LEE (CA) "Life Goes On" 1979 (Globe Export) Local obscurity with appealing melodic psych/new wave sounds on the title track, otherwise of no special merit. LEGEND (CO/CA) "Legend" 1968 (Megaphone 101) [mono] "Legend" 1968 (Megaphone s-101) [stereo] Offering up a mixture of originals and popular covers (Bob Dylan, The Troggs, The Who), musically the set wasn't particularly original. With the band credited with half the material, tracks such as 'The Sky That Is Blue', 'Zepplin's Good Friday' and 'Yesterday's Child' showcased a tasty blend of tight, Beatlesque harmonies and surprisingly commercial melodies. It wasn't perfect with the band occasionally drifting too close to Mamas & Papas-styled MOR ('Gigi'). Far more impressive were the band's stabs at a harder rock sound, including the fuzz guitar and feedback propelled 'Where Oh Where Is Mother' and their voxpowered cover of Dylan's 'Baby Blue'; always liked the song's sitar fadeout. All told, the results weren't half bad; an album I pull out from time to time. [SB] ~~~ The non-LP 45 track "Portrait Of Youth" is an excellent track, other than that I'm not a great fan of this outfit. The LP has covers of the Who, Troggs, Dylan and more. The band had an earlier local 45 as the Obvious on the Cheetah label. The band is often linked to Dragonfly, but we've been unable to find any obvious connection except the "Portrait" track and the label. [PL] LEGEND (CT) "From The Fjords" 1979 (Empire 11186) [insert] "From The Fjords" 199 (no label) [paste-on cover; 500#d] Progressive hardrock medieval concept. Of interest primarily for its rarity, even though as many as 1000 copies reportedly were pressed. There was also a rare pre-LP 45 done as Judge, and a post-LP 45 with PS, done as Mercenary. LEGEND(OH) "In Their Own Time" 1979 (no label 1199)

Obscure hardrock LP in the same generic "eagle" cover as Headstone from Ohio. JANE LEICHHARDT ( ) "A Woman Like Me" 1968 (Metromedia 1011) [wlp exists] Quite scarce and rather good album on this alwaysinteresting label. Folk-rock that's not wimpy or mystical. She's definitely a hippie, but more along the lines of Elyse Weinberg than, say, Judy Collins. There's nothing really psychedelic or experimental here, and the generic-looking cover probably kept too many collectors from checking it out. Still, it's reasonably consistent and the singing and style are quite appealing. [AM] LELAND (San Francisco, CA) "Leland" 1976 (no label r-2954) [paste-on photo cover; inserts] "This Is My World" 1978 (Contempt r-2954) Leland is a freaky looking Asian dude who wears tights, a cape and black nail polish. This album was recorded in 1975, but it sure sounds like formative new wave to me. Thats a compliment, as Lelands music has the same wild spirit and anything goes attitude of the earliest DIY punk records. Id imagine White Boy fans liking it, for example. Most of these songs have some crazy lead guitar, and the album cover proclaims the music hard rock, so its not surprising that psych and garage collectors like it. Theres also a synth-heavy ballad with whispered vocals, and a song where the tempo shifts wildly and Leland starts unexpectedly singing falsetto. A few other songs have a cool low-fi garagy feel to them. Leland plays everything but the drums, though I think hiring a bass player might have been a good idea. When he sings it sounds like his throat is bleeding. All in all, very cool. This is more like an EP than an album, by the way, as the 6 songs clock in at 24 minutes. The first press is said to have an extra song from an early single, though I cant imagine why theyd make the (retitled) second pressing so short if another song was available. The LP was engineered by David Blossom (Fifty Foot Hose). [AM] "Live At Mabuhay Gardens, S.F." 1979 (Contempt r-2965) Here's one for people who thought the recording quality on "This Is My World" wasn't cheap-sounding enough. It's a mono live album with cavernous echo, barely intelligible vocals and "Sears special"sounding guitars that play spastically long after the songs should be over. Terry Brooks fans might like it. Since it's live with no overdubs, it lacks the extra texture of the first album's keyboards. I like "This Is My World" a lot, but this one is too antimelodic and sonically sludgy for me to take. My favorite "song" is the last one, where Leland plays random noise on his guitar, the drummer bangs

uncontrollably between guitar bits, and one of the producers asks Leland why he insists on turning his guitar up so loud. This is even shorter than "This Is My World," a mere 16 minutes, about a third of which is guitar noodling. [AM] D LEMIEUX & JEAN PETERS (IL) "Hey Jesus Christ, Welcome To This World" 1971 (Wright) [booklet] Unbelievable homemade variation on Jesus Christ Superstar (different songs, similar concept); "misguided" is only the beginning. Sounds like a recovering addict project, crude in every aspect. A must for incredibly strange fans -- don't miss the "Inn-keeper"'s forceful performance. [PL] LEND A HAND (FL) "Lend A Hand" 197 (Lenihan LR101) Lowkey Christian folk/softrock with female vocals, piano and flute, plus some contemporary secular covers. Housed in the same generic ocean sunset sleeve as Asylum and Quoth The Raven. GEORGIE 'PORGIE' LEONARD (RI) "One Man Band" 1971 (Cheep ch-001) "One Man Band" 1999 (American Sound 1006) [bonus 45; 500p] Also known as Georgie Porgie of local 1960s folk-punk 45 fame, this finds the guy five years and several jugs of Romilar later. Essentially a so-so singer/songwriter LP somewhere between Geoffrey and Arthur Lee Harper though possibly weaker than both. Starved on worthwhile finds some dealers hyped this in the 1990s, but apart from the great closing psych spooker "The lake" (which exists in a different preLP 45 version), it's pretty bad and embarrassing in my ears. A reissue on the Belgian Fanny label was advertised but hasn't been seen. Half the reissue pressing came with the 'girls' cover, and half in another cover design. [PL] LEOPARDS (Kansas City, KS) "Kansas City Slickers" 1977 (Moon mlp-300) The Leopards are to the "Village Green"-era Kinks what the Rutles are to the Beatles, except that they're pure tribute with no sense of mockery. This album is a blast for Kinks fans, but it's also very nice for fans of 60s pop, as there are great melodies and clever ideas sprinkled throughout. They also released a few excellent non-LP singles. They were around during the Kansas City power pop scene in the late 70s and one has to wonder if Michael Angelo was

connected to them or any of the other bands in the area. Promo copies include a printed folder with press clippings. [AM] PERRY LEOPOLD (Philadelphia, PA)

"Experiment In "Experiment In [275p; altered "Experiment In tracks]

Metaphysics" 1970 (WS 1) [300p] Metaphysics" 1995 (Psychedelic Archives, UK) cover; insert] Metaphysics" 1998 (CD Gear Fab gf-122) [+3

Legendary LP of twisted folkpsych/singer-songwriter crossover, like a Tim Hardin from hell. He has a great beatnik voice and plays acoustic guitar like noone before or since, the instrumental tracks are more psychedelic than ten layers of Sgt Pepper tape loops. The vocal stuff's even better, relating Perry's unique wisdom and outcast experiences. Some tracks go deep in a DR Hooker manner and all over this is an essential LP in my ears. Recorded in a basement studio beneath a Philly shoe store. The original came in a plain copper cover with small title sticker; not all copies have the sticker. The vinyl reissue has an insert with a photo of Perry with Bruce Springsteen! Good unreleased stuff from 1973 was issued in 2000 ("Christian Lucifer", Gear Fab/Comet). [PL] ~~~ Damaged solo coffeehouse folk. The "Metaphysics" LP is a dark folk classic. Aggressive, dark strumming with biblical, metaphysical concerns, and just plain lostness. Delicate high tenor vocals and torturous acoustic picking, even on the slower cuts. Depressing claustrophobic imagery and world weariness. The playing tends to wander, changing tempo and progressions but always retaining a sense of schizophrenic foreboding to match his vocals. "Cold in Philadelphia", a tale of living on the street, puts you right there with him. The last two songs, "When You're Gone" and "The U.S.S. Commercial", really puts it all together - good tunes to check out to. A thoroughly haunted recording. "Christian Lucifer", originally unreleased, continues his harrowing themes with an increasing concentration on religious imagery. He also recorded a less effective EP in the late 70s. [RM] ~~~ see -> High Treason CLAIRE LEPAGE & COMPAGNIE (Quebec, Canada) "Claire Lepage & Compagnie" 1970 (Trans-Canada) Bluesy guitar psych with female vocals and a Beatles cover. She has a whole bunch of albums, but this is the one of interest to readers of this book.

LESLIE BROTHERS (MI) "Wanted" 196 (Cupid) Two hillbilly hipster brothers from Kentucky end up in Michigan and recorded this record. Try to imagine if Stud Cole had two younger inbreeded cousins that were inspired by Chuck Berry instead of Elvis and you get a good idea what this album sounds like. By the way, it's rarer than all the other big ones (Index, Mystic Siva, etc) from Michigan. The only other known copy is trashed and without a cover. I suspect it's from the late sixties and it's great! [JSB] LET'S SPEND THE NIGHT TOGETHER (Canada) "Let's Spend The Night Together" 1967 (Arc 728) Canadian exploitation with six Rolling Stones covers, plus some Yardbirds, Small Faces, Troggs etc. "A LETTER HOME" see A Letter Home MARK LEVINE (Los Angeles, CA) "Pilgrim's Progress" 1968 (Hogfat hlp-1) This album has the look and feel of one of the Columbia albums of its time. Its long (50 minutes), has babbling liner notes from the artist, and Levine the singer-songwriter is backed by an absolutely ace group of musicians, including Ry Cooder and Mike Deasy. Dylan comparisons are inevitable: Levine doesnt have much of a voice but his singing projects plenty of personality and humor, and his lyrics are complex in both personal and abstract ways. The music is folk-rock with a bluesy edge (courtesy of Cooders guitars.) Half the time it sounds like Levine was trying to make the greatest album ever, and the other half it just sounds like hes having fun with his buddies, and the record is appealing on both levels. The lyrics are often obscene, and are frank and explicit about sex and drugs. This must have been quite shocking at the time and gives the album a real underground hippie feel. The opening and closing songs (two sides of the same coin, lyrically) are the most instantly likeable, but theres a lot of depth here. This isnt background music; youll want to pay attention to the lyrics. This is one of the most enjoyable and fascinating singer songwriter albums of the era. [AM] LE 25IEME REGIMENT see 25th Regiment PAUL LEVINSON (NY)

"Twice Upon A Rhyme" 1972 (Happysad 3000) Enjoyable but still fairly unknown LP of 1968-69 Buckley/Hardin-style folkrock with stoned psych vibe throughout, lots of warmth and personality and idiosynchratic vocals. Full rock setting with feedback guitars, organ and druggy sound effects, creating a flowing Blonde on blonde-like feel with many layers and unpredictable moves. Upbeat 1960s vibe, rather than the usual 1970s downers. Highpoints include weird, dreamy tracks such as "Forever Friday" and "The Lama Will Be Late This Year" (my personal anthem). [PL] PHILIP LEWIN (Toronto, Canada)

"Am I Really Here All Alone?" 1975 (Gargoyle no#) [paste-on cover; 300p] Appealing DIY hippie-folk LP with mostly acoustic guitar, electric lead picking on top, and Lewin's vocals. Relaxed and organic with an almost improvised feel; I can imagine him as the Tim Hardin of some local 70s coffeehouse scene. Not really a "downer" album, although a couple tracks (one with piano) reach into darker corners with a late-night blues feel. Lewin's voice isn't strong but he uses it well and creates an intimate presence that keeps your attention throughout. As on many Canadian LPs there is also a certain British feel which may recall Tony, Caro & John, Red Television and similar efforts. The album's main weakness may be the lack of a "signature" song to stand out among the 11 tracks. Packaging is great, a monochrome wraparound sheet with an excellent psychedelic drawing of Lewin, making this look like an old TMQ bootleg. Worth checking out for both genre fans and those interested in Canadian private press releases. Lewin's second LP ("Diamond Love & Other Realities", Gargoyle 1976) comes with professional packaging and a full folkrock sound with flowing keyboard, jazzy moves and some female vocals, but is less successful as a whole. JEFF LIBERMAN (Flossmoor, IL) "Jeffrey Liberman" 1975 (Librah 1545) "Jeffrey Liberman" 199 (Librah, Europe) [bootleg]

The debut LP which apart from being reissued also supplied one track to a comp you might wanna check out before diving into his stuff. Mixes heavy feedback blowouts with mellow loungy bits. An acquired taste as they say, though guitarheads probably can dig it.[PL] "Solitude Within" 1975 (Librah JL 6969) "Solitude Within" 199 (Librah, Europe) [bootleg] I wasn't real sure what to expect from this one since folks seem to love it, or hate it. With that in mind I'm happy to report that I fall into the pro-Jeff Liberman camp. While 1975's "Solitude Within" may not be the most original effort in my collection, Liberman showed himself to be an excellent and extremely versatile guitarist who was equally at home on hard rock ("Rock or Roll Me"), jazz-rock, blues ('The Same Old Blues') and even a little out-and-out experimentation (the instrumental "Myopic Euphoria"). While the focus was clearly on Liberman's guitar chops, exemplified by tracks like the leadoff rocker "I Can't Change" and "Life Is Just a Show" he had one of those gravely voices that was surprisingly well suited to a wide array of genres. Imagine Robin Trower (another reviewer used Alvin Lee as a comparison), but with a voice and less of a Hendrix fixation and you'd be in the right aural neighborhood. While psych and rock fans might not be enthused by Liberman's jazz-rock excursions, I actually found stuff like the instrumental Santanaesque title track and "'Springtime"' to be a nice change of pace. [SB] "Synergy" 1978 (Librah) [insert] "Synergy" 199 (Librah, Europe) [bootleg] "Then And Now" 199 (CD Second Battle sb-034, Germany) [2CD] -- collects the three Librah LPs on 2 CDs. LIFER (Bloomington, IN) "Lifer" 1980 (Ribbon Rail) Hardrock obscurity with a slight prog touch. LIFT (New Orleans, LA) "Caverns Of Your Brain" 1977 (Guiness gns-36021) "Caverns Of Your Brain" 199 (Guiness, Europe) [bootleg] "The Moment Of Hearing" 199 (CD Synphonic) [+bonus tracks] This is the most collectable rock (as opposed to funk) album on the Guinness label, and it's easy to see why, as it's one of the most accomplished American prog albums you'll hear. There's a definite Yes influence in the heavy bass playing, melodic vocals and use of keyboards, but also a youthful charm and refreshing lack of fantasy lyrical content. The last song gets awfully repetitive at the end (which makes me wonder if Guinness just used the master tape and didn't fade the song out soon

enough), but otherwise these four long songs are engaging and surprising throughout. Several years later the band found out that "Caverns" (recorded 1974) had been released behind their backs, and they decided to release the album on CD. This reissue includes a whole album's worth of songs they recorded a few years later with a female vocalist. This is one of the rarest albums on Guinness, reportedly a pressing of 500. [AM] LIGHTNIN' (MI) "Lightnin'" 1975 (Jojacq) [blank back cover] Hardrock with funk and prog moves. Same songs on both sides. There is also a John Sinclair-produced 1973 acetate with 5 tracks from a MI band called Lightnin' which is better than this, with typical Detroit rock sounds. It's unclear if it's the same band. [WHITE] LIGHTNING (Minneapolis, MN) "Lightning" 1970 (P.I.P. 6807) [wlp exists] "Lightning" 1996 (CD Anthology 38.11, Italy) Hard fuzz trio/quintet featuring the blazing leads of Zippy Caplan (ex-Litter). The band was less garagy and more pounding hardrock than the Litter. White Lightning was a slang term for LSD at the time (and bootleg whiskey prior to that). In this pre-LP power trio format the band cut a classic hard guitar-psych 45, "William", released as by White Light on the local Hexagon label and picked up by Atco for national distribution. The group then added two new members and shortened their name to Lightning. They continued in the hardrock mode but now with dual leads. "Lightning" is an excellent effort, just missing the certain magic they possessed as a power trio. Recorded at Sound 80 in Minneapolis. Early runs mention Jimi Hendrix on the label; later runs do not. Posthumous releases with enjoyable pre-LP material include "Under The Screaming Double Eagle" and "The Lost Studio Album/1969", both on the American Sound label, combined to one CD on Arf Arf. [RM] ~~~ see -> Litter LIGHT RAIN (Larkspur, CA) "Light Rain" 1977 (Magi 004) Douglas Adams' debut LP was released under his name, while the "Light Rain" title became his band name for subsequent albums. Rather appealing mid-1970s hippie folkrock/s-sw sounds with a rich instrumentation and lots of ethnic moves; especially into Mediterranean/Arabian domains. I detect an influence from "Desire"-era Dylan, which combines with a typical guitarbased period sound (incl some fuzz leads) a la David Sinclair on side 1, while side 2

gradually lays on an Eastern feel with flamenco guitars and arabian violin, making the last 10-12 minutes quite psychedelic in feel. Hardly outstanding but enjoyable all through for fans of 1970s folkrock. Light Rain's subsequent work is instrumental MiddleEastern bellydance excursions with a westernized feel, superb performances and high production value. These include "Dream Dancer" (1978), "Dream Suite" (1979) and "Valentine To Eden" (1983), all reissued on CD. Several years earlier, Adams and his brother were in El Paso band Wailing Wall (see entry). [PL] LILY & MARIA (New York City, NY) "Lily & Maria" 1968 (Columbia CS 9707) "Lily & Maria" 2005 (Columbia) I picked up a copy of the LP given I'd seen various references describing it as being "moody psych" and "acid folk". Chalk that description up to dealer hype. So if it ain't psych, what is it? Imagine a female Simon and Garfunkel. Now eliminate some of the songwriting talent; delete some of the vocal abilities; eradicate most of that pair's limited sense of humor and for good measure add on a mix of cloying lyrics and nauseating arrangements. Yup, that'll give you a pretty good picture of the results. Basically it's hard to decide what worse, the duo's lame stabs at making big and sensitive statements ('Subway Thoughts' and 'Ismene - Jasime'), or Neuman's little girl lost voice. To my ears the woman can't come within a mile of hitting a song's melody. Given the album vanished without a trace, most folks (or at least the few that heard this), apparently agreed. [SB] ~~~ This duo became of interest to collectors when a song from this album appeared on the "Hippie Goddesses" compilation. Housed behind a photo of the two, heads together, naked to the shoulders, marvellous blue eyes shining, the album is sensual and intimate, and the voices blend in an appealing way. Most of the songs are long; they drift. That's good and bad; at its best the songs are passionate and delicate, but at worst they're aimless and over-serious. It's unique; I think it's a more interesting record than, say, Wendy & Bonnie, but I also think it'll just float right by a listener who isn't inclined the right way. [AM] LINCOLN ST EXIT (Albuquerque, NM)

"Drive It" 1970 (Mainstream 6126) [rarer wlp exists] "Drive It" 198 (Mainstream, Europe) [bootleg; thin cover & vinyl, matrix# scratched out]

"Drive It" 199 (CD TRC, Germany) [+2 tracks] Along with Growing Concern and Bohemian Vendetta, this is at the top of the Mainstream totem pole (in terms of price), and it almost lives up to the hype. Excellent teen hard rock from Native Americans who are wise beyond their years, as good as almost any other bluesy hard rock album from its time. Maybe the best of the many excellent Mainstream album covers, too. The band had a killer pre-LP garage/psych 45, and also a retrospective EP on the Psychout label with a great unreleased psych epic track. A German pressing on London exists. [AM] ~~~ see -> Xit JAMES CALHOUN LINDSAY BAND ( ) "Kinky Mersey" 1976 (Tiger Lily tl-14043) Lord knows why this album was ever recorded. It's covers of mostly British Invasion songs (including four Beatles tunes), basically done with no effort to distinguish them from the originals. It sounds like a demo for a cover band trying to get gigs on the oldies circuit. In fact, this was most certainly demos rather than completed songs, as the songs end sloppily, there appear to be no overdubs, and in some places you can hear the singer giving cues to the band. Side two is even less "complete" than side one and sounds like it was recorded accidentally without the band's knowledge. The only song that tries for something different is a long, boring, obviously improvised hard rock take on "Why Don't We Do It In The Road." It's a song that could make for an interesting cover version some day, but this isn't it. Only the most fanatic Tiger Lily collector should dare touch this stinker. In true tax scam fashion, there are no musician credits, and some of the songwriting credits and song titles are incorrect. James Cahoon Lindsay was previously a member of Goodthunder, and later would be a member of L.A. Jets. Both bands also included members of another (and much better) Tiger Lily band, Daddy Warbucks. [AM] LINKS (Las Vegas, NV) "Presenting the Links" 1967 (Link lp-501) "Once Again and Again" 1967 (Link lp-503) Funny bad lounge rock cover band with lots of accordion that's been criminally hyped as "garage" and "folkrock" by deaf record dealers in the past. [RM] LIONHART (TX) "Lionhart" 1977 (Hutch) [1st press; plain cover] "Lionhart" 1977 (Hutch) [2nd press; printed red cover]

Crunching guitar hardrockers. There is a also a 45 release. LISTEN (Oklahoma City, OK) "Listen" 1973 (Treehouse S-12-432) Seldom seen Christian hippie folk trio which is above average, about half the tracks being strong. LISTENING(Boston, MA)

"Listening" 1968 (Vanguard vsd-6504) [wlp exists] "Listening" 2000 (Vanguard/Akarma 050, Italy) "Listening" 2000 (CD Vanguard/Akarma 050, Italy) Good but overrated Bosstown hard rock/psych album. They try to do a lot, integrating jazz and blues touches into the music. Some of the songs dont really make it, and they seem kind of self-conscious at times (i.e. the Dylan-esque moan of so stoned at the end of the otherwise great Stoned Is.) This one hasnt really aged all that well, probably because they were trying too hard, but there are still some hot moments and some excellent musicianship on display here. [AM] ~~~ Between 1966 & 1968 you could easily have divided the U.S. into five distinct geographic areas with each one having it's own stereotypical, localized style of rock music. The Midwest had horns, possibly as a result of it's rich history of High School Football and it's accompanying Marching Bands. The West Coast had laid back, flowing guitar sounds, the results of both the "Hippie"(drugs) and "Surf" lifestyles. The Southwest(primarily Texas) had a punky, bad-ass garage edge as a result of being... ummm... Texans. The Southeast was influenced by it's native R&B and the Justice label documents the results. And the Northeast had blue-eyed soul, street smarts and the legendary Hammond B-3 Organ. The Vanilla Fudge is the band that can get credit/blame for leading a whole barrage of organ dominated bands that played the clubs of the Tri-State Area (NY, NJ, Conn, Pa, Mass... yeah, I know there's five of `em). Most of these bands did simplistic cover versions of R&B and AM Rock hits, slowed down to barbiturate speed, with this giant, living, breathing, pulsating organ pulling the tune along like a tugboat. As stated above, these characterizations are stereotypes, with there being a considerable number of exceptions, exceptions that usually produced the more interesting music. Listening is one of these exceptions. Their one and only LP, released on the Vanguard label in 1968 is certainly rooted in the Northeast stereotype. Keyboardist Michael Tschudin uses what appears to be

classical and jazz influences to both expand and explore the genre, without ever sounding pretentious. (And continued to do so well into the 70's... more on that later) The LP opens with the awesome "You're Not There", a tune of matured teen angst that rather than beg "Baby, please come back!", realizes it's way to late and comes to terms with it. ("~You just stare, Baby, you're not there~"). Great ripping guitar and an organ that crescendos at all the right times. Amazingly, this tune was covered by the NY band Odyssey on their obscure private press as a result of the band's management having heard the Listening version and thinking it could "be a hit". "Laugh At The Stars" has a very psychedelic Left Banke vibe with once again, great guitar leads that are subtle and in all the right places. The third cut "9/8 Song" is where we might lose a few folks as the piano is rolled out and used generously. Imagine The Wizards From Kansas jamming with Dave Brubeck. It works for me, it won't for everyone. Next up is the highlight of the LP and one of my all-time personal faves "Stoned Is". This is the herb smokers answer to Lou Reed's "Heroin". It captures such a mellow, stoned vibe that a mere listen may produce a contact high. Features a sound that's described in the liner notes as "Organ Wash" (This song was covered by Tschudin's later band "Cynara" on Capitol in the early 70's) It closes with the exclamation point of vocalist/drummer Ernie Kamanis moaning "SoooooooooStoooooonnneeddd". The LP is worth the price of admission for this tune alone, and I don't say that about too many albums. "Forget It, Man" and "I Can Teach You" are more progressive in nature and upbeat which is not the band's forte, but certainly tolerable. "So Happy" sounds like a Boyce & Hart Monkees tune, catchy but shallow. "Cuando" is a throwaway instrumental with a Latin vibe. "Baby, Where Are You" is the highlight of Side Two. A blues based tune that again has a Lou Reed vocal vibe and a stoned Young Rascals meet Sam Gopal musical vibe. The closer is "See You Again" and it has a trashy Lincoln St. Exit guitar sound, the hardest rocker on the LP and the tune where 16 year old guitarist Peter Malick gets to show off his chops. In my opinion this LP is the best of the more obscure Vanguard efforts. If keyboards aren't your thing, you'll think a little less of it. If you dig the Odyssey LP or Stark Naked on RCA this is your Holy Grail. [RH] ~~~ see -> Cynara LITE STORM (Los Angeles, CA) "Warning" 1973 (Beverly Hills 1135) Hollywood breezy hippies with Kali Bahlu, one OK track has been comp'd. "God Is Love" 1973 (Beverly Hills 1136) "God Is Truth" 1974 (Sai Sound Sumitee) Obscure second and third LPs are more Eastern-mystic and spiritual as the band disappeared into the guru

mist (as represented by Sai Baba, pictured on both album sleeves). Mixed male/female vocals, indian instruments. Later albums were released as by One. ~~~ see -> One

LITTER (Minneapolis, MN) "Distortions" 1967 (Warick wm-671) [2000p] "Distortions" 1981 (no label, UK) [bootleg] "Distortions" 198 (Eva 12038, France) "Distortions / $100 Fine" 1990 (CD Eva b-04) [2-on-1] "Distortions" 1990 (K-Tel 835-1) [+2 tracks; 500p] "Distortions" 1990 (CD K-Tel 835-2) [+2 tracks] "Distortions" 1995 (CD Taxim tx-2003, Germany) "Distortions" 1999 (CD Arf! Arf! aa-077) [+9 tracks] "Distortions" 1999 (Get Hip ghas-5020) One of the major local LP legends which had people mortgaging their houses even back in the late 1970s. Zippy Caplan is one great fuzz guitarist and there are some brilliant originals here, but also several unnecessary UK '65-66 covers which sort of irritate me. Insane version of "I'm a man" is a classic, and the sheer perfection of "Action woman" even more so, but both these tracks were released on 45. So by today's standards this LP doesn't really deliver all the way in my ears, though I'm sure a lot of people out there disagree.[PL] "$100 Fine" 1968 (Hexagon 681) [1000p] "$100 Fine" 198 (Hexagon, Europe) [bootleg; fuzzy photo and fine printing] "Distortions / $100 Fine" 1990 (CD Eva b-04) [2-on-1] "$100 Fine" 1991 (K-Tel) [+1 track] "$100 Fine" 1991 (CD K-Tel) [+1 track] "$100 Fine" 1993 (CD Era 10002) "$100 Fine" 1995 (CD Taxim tx-2004, Germany) "$100 Fine" 1999 (CD Arf! Arf! aa-078) [+19 tracks] "$100 Fine" 1999 (Get Hip ghas-5017) Supposedly an acid fuzz kingpin LP from their "psych" phase, though several people I know agree it isn't really all that great. This may seem like sacrilege but you got to remember that this LP got its' reputation back in the early 80s when most of today's monsters hadn't been discovered and reissued yet. So compared to some LPs I could name (like Morgen) it is a slight disappointment. The band's major label third LP ("Emerge", Probe 1969) is in the heavy guitar rock camp and nowhere near the quality of the first two, but still better than most. Other Litter releases include "Rare Tracks" on the French Eva label from 1983, which was a sampler of related (and nonrelated) tracks by White Lightning, the Electras and the Litter. "Live At Mirage" (CD on Arf! Arf! 079, 1998) and "Re-Emerge" (CD on Arf! Arf! 080, 1998) both feature modern recordings. [PL] ~~~ see -> Lightning LITTLE CEASAR & THE CONSULS(Toronto, Canada)

"Little Ceasar & The Consuls" 1966 (Red Leaf 1001) Teen-beat LP from band with goofy Roman soldier image, on the same label as the British Modbeats. Covers of "Sloopy", "Dancing in the street", "Shout", "Just like Romeo & Juliet", etc. Frat/club band throwback, more than garage. They had a national #1 hit in 1965.

LITTLE HOWLIN' WOLF (IL) "The Guardian" 1982 (Solidarity) "The Cool Truth" 1985 (Solidarity) Mainly late 1970s recordings of freaky fringe blues/rock/anything sounds from DIY Polish guy who played Chicago street corners and clubs, has garnered many fans over the years. The name isn't too farfetched, he really does sound like a slightly smaller (even at 6 ft 9) variation on the old blues legend at times. Comparisons have been made to both Albert Ayler and Abner Jay, take your pick. The guy supposedly did more than 30 45s, from which the two albums were assembled. The Heresee label has released some retrospective CDs. This artist (James Pobiega) shouldn't be confused with another Little Howlin' Wolf, a black guy named Jesse Sanders. LITTLE PHIL & THE NIGHTSHADOWS see Nightshadow V.A "LIVE AT THE BLOOD & BONES" (CT) "Live At The Blood & Bones" 1972 (no label) [100p] Acoustic folk blues with basement charms. Record has a purple tint under light. V.A "LIVE AT THE FUNNY FARM" (HI)

"Live At The Funny Farm" 1966 (Scene 200) [gatefold] Local Hawaiian club sampler with lots of r'n'b and soul covers and a wild party mood, not bad. Bands include Spirits, Undertakers, Val Richards V, Casuals. "Rosalyn" by the Undertakers has been comp'd. V.A "LIVE FROM THE GROOVEYARD" (Vancouver, Canada)

"Live From The Grooveyard" 1967 (New Syndrome 1004) [2LPs] Local beat and soul ravers on this rare double set, with the Stages, Shockers, Shantelles, Epics, Stags, Soul Unlimited, Nocturnals, Night Train Revue. Much of the material is soul/r'n'b, but there's also covers of the Beatles and the Byrds. Hardly any (none?) band originals across the 28 tracks. It's a fake live recording. LIVING SACRIFICE BAND (ID/NJ) "Living Sacrifice" 197 (Living Sacrifice ls-770816) [approx 200p] "Beauty for Ashes" 1979 (Praise Jesus ears-36) [black & white cover] "Beauty for Ashes" 1979 (Praise Jesus ears-36) ['flower girl' cover] "A Call to Brokeness" 1981 (Shekinah shm-3019) Mix of acoustic Christian folk and rock with extended tracks and male/female vocals. The band moved to New Jersey and recorded as The Living Sacrifice Band on the latter two LPs. "A Call to Brokenness" is outstanding with heavy guitar and Jethro Tull sounding long tracks. Ex-Last Call of Shiloh. [RM] SAM LLOYD (Canada) "Sam Lloyd" 1972 (Chart On 2001) Basement downer folk with some fuzz. LOAD (Columbus, OH) "Praise the Load" 1976 (Owl Intermedia st-2557) "Praise the Load" 1996 (CD Lazer's Edge) I've seen some references that leave the impression these guys had psych leanings. Bullshit! Musically the album offered up a conventional mix of rockadapted classical pieces (Bach's "Brandenburg #3" and Rossini's "The William Tell Overture") and more conventional rock numbers ("Flyaway" and "Dave's 'A' Song"). Imagine something out of the early King Crimson or ELP catalogs and you'll be much closer to the mark, though material such as the Spanishinfluenced "Fandango" and "The Betrayal" were nowhere as pompous as the ELP. Having listened to the set a couple of dozen times, you'll be left with two standing impressions. First, Hessler and the Smiths may not have been the most talented writers but they were exceptionally talented musicians. Secondly, you're struck by the fact the album was clearly lovingly made -- you'll be hard pressed to find a private pressing with such good sonic qualities. An unreleased 1977 LP appeared in the 1990s ("Load Have

Mercy", Lazer's Edge). [SB] LOADING ZONE (San Francisco, CA) "One For All" 1970 (Umbrella us-101) Bluesy soul rock with horns and the vocals of Linda Tillery. The band had an earlier self-titled major label LP which is easy to find (RCA, 1968). Neither album is very good, the Umbrella LP is mainly collected as a rarity. LOADSTONE (Las Vegas, NV) "Loadstone" 1969 (Barnaby 21235004) "Loadstone" 2004 (Barnaby 35004) Features a side-long track, "Flower Pot", with wild effects and found sounds. This is actually Bobby Darin's backing group, and features a horn section. LOCKSLEY HALL (WA) "Locksley Hall" 1996 (OR 013) [500p] While a lot of co-ed groups of the era sound rather generic, Locksley Hall manages to escape identity in a slightly different way. This album plays almost like a sampler of West Coast music. On various songs they sound like Country Joe & The Fish, Jefferson Airplane, The Charlatans, Big Brother & The Holding Company, and the Association. Despite the crudeness of the recordings theres a definite sense of professionalism here. Theyre more appealing as a hard rock band than a soft rock band, but the only real dud here is the good timey song that ends side one. Both the male and female vocals are quite good, though as is often the case they sound much better apart than together. There is some excellent guitar playing here and a few very solid songs, most notably a long rocker on side one. The mix of styles is a bit disconcerting, but overall, this is much better than a lot of genre albums that did end up getting major label releases at the time. The LP was recorded in Seattle for Epic in the late 1960s but not released at the time. [AM] LODESTAR (Springfield, OH) "Lodestar" 1978 (no label) Hardrock with wailing leads. Good one. No relation to the El Paso band on "I Love You Gorgo". A Rite pressing, for those who track that plant. LODESTONE ( )

"Mainstreet" 1974 (LD 101) Rural bar rock sound with harmony vocals. LODESTONE (CA) "Lodestone" 1981 (Lodestone 7268) [textured cover] Hardrock with metallic edge. Good guitar. LOGOS (KS)

"Firesides And Guitars" 1974 (Audio House 113 L74) [300p] Midwest aching folkrock with Vietnam era social concerns. Beautiful vocals and sparse guitar backing, similar sound and quality to Shadrack. [RM] LOLLIPOP SHOPPE (Las Vegas, NV / Portland, OR) "Just Colour" 1968 (UNI 73019) "Just Colour" 199 (Edsel, UK) [+2 bonus tracks] Despite "You must be a witch" of Pebbles fame this LP is a bit overlooked. I think it's one of the craziest major label LPs around and along with SAC the best on the label. Fred Cole's vocals are so far out you wonder how they ever got a contract plus tracks like the awesome "Underground railroad" blows even private press stuff away. Perhaps more eccentric than truly good, but should be checked out. Lord Tim Hudson tried a Seeds-style hype with them but it never really clicked.[PL] ~~~ see -> "Angels From Hell" JACK LONDON & THE SPARROWS(Canada) "Jack London & the Sparrows" 1965 (Capitol t-6115) [mono] This debut LP from future Steppenwolf bigwigs is rare and goes in a typical mid-60s Brit Invasion/Merseybeat style. Unlike most Canadian albums from the era, this has several band originals. ~~~ see -> "Meet The Lively Ones" TOM LONERGAN (NY) "And Buddy Kelly, Donna Nylans & John Kroner" 197 (Paja's no

#) Rare rural folkrock and blues in the typical early 1970s private press style, with electric guitar leads, flute, some female vocals. LONG HOT SUMMER see Friday At The Cage A Go Go LONG TIME COMIN' (IN) "Long Time Comin'" 1974 (no label) Local rural rock with steel guitar and jammy feel. LOOSELY TIGHT (AZ) "Fightin' Society" 1981 (Star Struck Records TDS 020559) Local hardrock/metal led by Dino Livingston. The band later became Icon. LORD SITAR ( ) "Lord Sitar" 1968 (Capitol st-3916) [rainbow label] Session musicians featuring Big Jim Sullivan on sitar. Fun lounge instro rock with lead sitar, organ, and some bumblebee fuzz. Covers of the hip songs of the day including three Beatles' covers. [RM] LOS PERDIDOS (NJ)

"Los Perdidos" 1963 (LP 101) Obscure pre-garage LP of surf, frat and instros, included here as it's usually bought by garage LP collectors. One band original, "Race riot". Cool monochrome sleeve of the well-groomed band playing around in a doghouse. LOST & FOUND (Houston, TX) "Everybody's Here" 1967 slicks] "Everybody's Here" 1978 reissue; boardprinted] "Everybody's Here" 1979 slick] "Everybody's Here" 199 (International Artists 3) [cover (International Artists 3) [box-set (International Artists 3) [wraparound (Decal, UK)

"Everybody's Here" 1993 (CD Collectables col-0552) "Everybody's Here" 199 (CD Eva b-42, France) [+bonus tracks] One of the more famous I.A LPs but to me none of the best, has moves similar to the Elevators and Golden Dawn but no real artistic vision -- more like the local hipsters strutting their '66 fuzz discoteque act. A couple of good tracks but also some throwaway duds. Great sleeve though. The band was previously known as the Misfits but had to change their name after being involved in one of the earliest local TX drug busts of a rock'n'roll band. This, like some of the other lesser IA albums, sells for as much money today as it did back in the late 1970s! The band's finest moment was the non-LP IA 45; they also had some unreleased material on "Epitaph For A Legend". The 1978 reissue can be identified via the matrix number, which begins 'Ach...'. The 1979 bootleg has 're-1' in the dead wax. There are probably more reissues than those; all reissues are vinyl-sourced as the tapes are lost. [PL] V.A "THE LOUISVILLE SCENE" (Louisville, KY) "The Louisville Scene" 1967 (Rod'N Custom 3001) Rare local Battle Of The Bands LP including 12 showbands, soul and beat groups who were winners of the Rod and Custom Car Show Battle. Bands include the two solid garage tracks from the Rondells and Malibus, plus the Pas-Tels, Romers, J.C. and the Humans, Patriots, Sixpence, Centaurs, Vibratones and more. The cover shows local DJs driving cartoon hot rods. LOVE EXCHANGE (Los Angeles, CA) "Love Exchange" 1968 (Tower t-5115) [mono] "Love Exchange" 1968 (Tower st-5115) [stereo] "Love Exchange" 200 (CD Sundazed 6113) [+bonus tracks] Poppy folkrock with organ, acid leads, mixed vocals. A bit in the cheesy exploito bag.

LOVE IS A HEART-ON (New York City, NY) "Love Is A Heart-On" 1970 (Heavy hs-111) [lyric insert] Silly and not especially funny obscene rock nowhere near as amusing as the "Let My People Come" soundtrack, the Hot Poop album, or even Chinga Chavin's "Country Porn." Some of this is pretty heavy, and there's a bunch of fuzz guitar on display, but this barely has value as a curiosity. I've yet to meet anyone who played it more than once. The LP was sold by mail-order ads in the back of Rolling Stone magazine. Due to a large find, the value has dropped considerably on this LP. [AM]

LOVE MACHINE ( )

"Electronic Music To Blow Your Mind By" 1968 (Design SDLP282) "Electronic Music To Blow Your Mind By" 2001 (Design) Exploitation instro "psych" with lots of sound fx and fuzz, rated highly by some genre fans. A Canadian mono pressing exists. COLLEEN LOVETT (CA) "Birds With Broken Wings" 1974 (ERA) [gatefold] Somewhat legendary femme soft-rock with Ms Lovett baring her soul and heart in a way that becomes almost obscene in its naked honesty. She seems a little too adept at playing the "victim" for my tastes although it certainly makes for odd listening. Some disturbed male record collectors may listen to this in the wrong way, which is just as scary as Colleen's comparisons of herself to a sandpiper with broken wings. Featured on the notorious "Hippie Goddesses" comp. [PL] LOVING SANDWICH see Instincts GORDON LOWE & LAUREL WARD (Canada) "Prisms" 196 (Yorkville) Late 1960s downer folk featuring guitar and bass and female backing vocals, on the same label as Ugly Ducklings. L.R.Y. ( ) "The L R Y Record" 1968 (Congress of the Crow) Liberal Religious Youth was a nationwide youth group affiliated with the Unitarian Universalist Association. This is technically a compilation in the Christian teen folk style, recorded at the continental conference at St John's College. The label was in DeKalb, Illinois. [RM]

"L.S.D" ( ) see presentation

"LSD" 1966 (Capitol TAO-2574) [mono; gatefold] "LSD" 1966 (Capitol TAO-2574) [stereo; gatefold] Extraordinary documentary on the new drug craze sweeping the nation, one of the best and most entertaining spoken word LPs of the era. Narration (by an uncredited Dick Clark) is superbly eloquent and manages to portray the whole acid wave as a game for con-men and loonies, without ever saying so openly. Allen Ginsberg, Laura Huxley and Ken Kesey get to see only their most bizarre sides exposed, while Tim Leary fares better doing his usual ritual spiel. There's interviews with dozens of teenage heads, and an unforgettable peak is reached with an actual trip recording of "Brian", a hipster acid head who unfortunately happens to have his first bad LSD experience while being recorded (with concealed microphones). The "Brian" recording is authenticsounding and either very funny or pretty scary, depending on how hard-core you are.A highly sophisticated anti-drug LP, and the artwork and photos are equally outstanding.All material (including the Leary and Kesey/Prankster snips) is unique to this LP. Judging from promo ads, the LP was released as early as August 1966. [PL] "LSD - Exclusive Open End Interview" 1966 (Capitol PRO 4153) [promo only; single sleeve; b & w cover] This rare promo variant on the "LSD" documentary LP is of special interest as it has almost a whole side's worth of unique material. The "open-end interview" features the unnervingly warbling voice of wellknown anti-LSD spokesman Dr Sidney Cohen, with gaps of silence in between his responses so that any local radio DJ could pretend that Cohen was right there to answer his questions. Needless to say, listening to this in a lysergic state will produce an amazing, ghostly effect certain to drive inexperienced travellers up the wall. Side 2 features excerpts from the above-mentioned "LSD" LP and seems to contain only material found on the official release.There also exists a 3-side acetate set from the production of these LPs, but the exact contents of these are unknown; possibly they cover all the unique material from the two releases above. [PL] TED LUCAS (MI)

"Ted Lucas" 1976 (Om 5374) [insert] Burnout downer folk from ex-Spikedrivers guy who must have gone through a lot to end up with this world-

weary escapist testimony. High points include a very good raga-folk workout recorded live, while "It's So Nice To Be Stoned" manages to be both funny and scary. Should appeal to downer/loner folk fans, although a far cry from the spellbinding 1960s folkrockpsych of the Spikedrivers. Some copies come with a bonus 45. Housed in a beautiful Mouse Studios cover that features the abstract bird logo made famous by AOR band Journey shortly after this LP. Lucas passed away in the 1990s. He also appeared on a local MI sampler of folk artists from around the same time, titled "The Detroit Folk Scene vol 1" (CLS Archive Records). [PL] ~~~ One side of this album consists of solo voice-andguitar loner folk, some of which is very good. The other side is made up of Eastern-themed guitar improvisations which arent bad, but kind of overstay their welcome. Not really what a Spike-Drivers fan would hope for, but a reasonably interesting album if you dont set your hopes too high. The album cover would soon be stolen and used by Journey. Its pretty weird to think that a stoner folk album would start a major mainstream prog rock trend, but since you can trace Journey back to Frumious Bandersnatch, everything eventually integrates. [AM] TOM LUCAS (NY) "Red Letter Day" 1975 (New Fate lp-01-500) [lyric insert; 500p] "Red Letter Day" 2004 (CD Radioactive 075, UK) Great 1970s rock/folk-rock album. Lucas is vocally a Neil Young clone, which suits his low-key songs well. The songs are tight and well-crafted, and sparing but clever use of synthesizer and fuzz guitar adds interest. Most reviewers describe this album as weird, but it really isnt. Its more clever than strange. It definitely feels of its time, but also feels like he was just a little too smart or a little too indifferent to ever appeal to a mainstream audience. [AM] ~~~ Professional sounding, fully realized mid-1970s classic rock (in the good sense) with equal nods to early 70s Neil Young and the Rolling Stones from the same era, sporting Nick Hopkins-style piano, a rich, lively studio sound and even some female backing vocals. Lucas can't really decide if he wants to be Neil or Jagger on the vocals, which gives an odd tension to songs already charged with emotion. Heartfelt lyrics cover a wide range of topics, and on a track such as "They're coming" Lucas is not far from the level of his heroes, while the downer ballad "Days numbered" hits home well. Although derivative and ultimately 2nd tier, it's hard to find faults with this album, which would have fit much better on a major label with some promotional push behind it. The mainstream nature of this may be off-putting for psych and hardrock collectors, but anyone who grew up listening to the Big Guys of Rock is likely to be charmed and impressed by "Red Letter Day". [PL]

CHRIS LUCEY (Los Angeles, CA)

"Songs Of Protest And Anti-Protest" 1966 (Surrey ss-1027) [mono] "Songs Of Protest And Anti-Protest" 1966 (Surrey ss-1027) [stereo] I seem to be alone in thinking this an unexceptional pop/easy listening LP with folk moves, but apart from a couple of memorable tracks -- typically the dreamier ballads -- I don't find much of interest in it, and some of it strikes me as outright poor. In any event, whatever quality it has is overshadowed by the remarkable background story. LA artist Chris Ducey (of Chris & Craig with Craig Smith, aka Maitreya Kali) had recorded an album's worth for the Surrey label. Ducey being under contract elsewhere wasn't allowed to release it, leaving Surrey with album artwork and related material already completed. In an unprecedented move it was then decided that a new LP should be recorded, using the exact same songtitles as Ducey's, although the new tunes were completely different. This challenging task fell upon Bobby Jameson, who delivered what is now known as the "Chris Lucey" LP; the last name (and sleeve artwork) changed from Ducey to Lucey for the same contractual reasons. Interestingly a Canadian pressing exists with the "Ducey" name intact, but still with Jameson's music! In England a more accurate release credited Bobby Jameson, and retitled the LP "One Too Many Mornings" (Joy). Chris Ducey's original recordings remain unheard to this day. [PL] ~~~ Considering that Bobby Jameson was given ten titles and asked to fill in the songs, and that the whole thing was essentially a throwaway quickie, this is a really good early folk rock album. A stark production sound gives it some depth and has helped it to age well. The constant comparisons to early Love arent really on target other than that both were ahead of their time as far as the way they rocked up a basic folk sound. That is Brian Jones flipping the bird on the front cover, by the way. [AM] ~~~ see -> Jameson LUCIFER (Rochester, NY) "Lucifer" "Lucifer" "Lucifer" "Lucifer" 1970 2001 2001 2001 (Gallo 2869) (Void 25) (Akarma 044, Italy) (CD Akarma 044, Italy)

Heavy rock pounder with vocal harmonies. Sometimes compared to Grand Funk Railroad but actually more of

a typical Eastcoast post-Fudge outing.

LUMBEE (PA) "Overdose" 1970 (Radnor r-2003) [with drug game] "Overdose" 2001 (CD Gear Fab gf-166) Heavy drug rock with fuzz and some vocal. Pretty weak but the drug game is cool, and represents at least half the value. GARRETT LUND (San Bernardino, CA)

"Almost Grown" 1975 (no label 5113) [gatefold; insert; demo press w/ 'planet' label design] "Almost Grown" 1976 (Terra Fertilis) [2000p; gatefold; insert; white label] "Almost Grown" 2000 (World In Sound rfr-006, Germany) [gatefold; insert] "Almost Grown" 2003 (CD World In Sound wis-1006, Germany) [+5 bonus tracks] Rare westcoast guitar-rocker with a late psych vibe and some fantastic tracks on level with DR Hooker and Zerfas. "The only turnaround" and "Silver sails" are good yardsticks for epic 1970s psych-rock. There are a couple of (to me) weaker tracks as well, but above average on balance, and rated very highly by some. A couple of tracks feature ex-Misunderstood legend Glenn Ross Campbell on steel guitar. There was also a pre-LP 45 with an alternate version of 'Country Livin' on the Tralfamadore label. "Lund" was formerly in garage bands the Caretakers and Trane. [PL] ~~~ Progressive hardrock with tightly controlled playing and strong songs. Stunning, trembling high vocals, westcoast flowing leads and nice dynamics with a surging quality to much of the playing. Like a heavier Bobb Trimble. "Stop the World" is amazing, managing to be both an alienation anthem and a love song. The closer is likely the best cover of "(It's All Over Now) Baby Blue" you will ever hear. [RM] LES LUTINS (St Hyacinthe, Canada) "Les Lutins" 1966 (Carrousel crs 5401) The debut album from this popular Quebec band opens on a deceptively beat-oriented note, similar to Eurobeat bands such as the Mascots or Boots. Midtempo tunes led by heartfelt teen vocals (in French) and

somewhat crude acoustic/electric guitar arrangements paint them as yet another 2nd-tier "Rubber Soul" outfit. However, after this so-so opening the band begins to show both balls and chops with the dynamite maraccas & fuzz-led Stones-influenced rocker "Je Cherche", a dead ringer for the US garage punk sound, except for the French lyrics. The energy and snot factor remains high via "Pretty Girl" with powerful fuzz leads running through and soaring vocals, followed by the wild Diddley r'n'b of "Laissez-Nous Vivre", again lit up by raw guitar-work and ace teenpunk singing. After this impressive middle third, the last part of the album mixes the Stonesy '66 rock with the poppier styling of the first tracks, and while not bad the energy seems to fizzle out a bit. Overall an above average pre-psych LP from a talented band still searching for their identity, damaged slightly by a clumsy track sequencing. [PL] "En Orbite (vol 2)" 1968 (Carrousel crs 5402) "Laissez Nous Vivre" 1999 (CD Disques Merite) [2-on-1; bonus tracks] Lead off by the amusing but somewhat goofy "Monsieur Le Robot", the second Lutins LP successfully mixes a ballsy garage edge with a Swinging London, Whoinfluenced mod sound on many tracks. "Petit Joe" has a nice garage edge with atonal fuzz leads and is one of the best numbers on board; "Girl" (sung in French, despite the title) also provides an ace US 1966-style rocker, with loftier ambitions creeping in towards the end. As with most French-Canadian bands, the vocals are strong in a snotty teenage way, while the lead guitarist & rhythm section often go into Whotype rave-ups that highlight a track such as the dynamite "Les Yeux Fermes". This could have been one hell of a good album, but unfortunately the band inserts several lighter, half-jokey tunes into the pop art fuzz dynamics, which makes for an awkward mix, especially as whatever humor there is goes over the head on non-French listeners. Impressive musicianship and a strong band identity still manages to keep "En Orbite" together as a coherent, almostgreat work, with a first half that is truly impressive. The CD contains both albums with the running order completely messed-up, plus the band's debut 45. [PL] LYD (Los Angeles, CA) "LYD" "LYD" "LYD" "LYD" "LYD" 1970 1992 199 2000 2000 (Sunwest Recording acetate) [1-sided] (Fanny, Belgium) [400p] (CD Thorns, Europe) (Akarma 2013, Italy) [10"] (CD Akarma 913, Italy)

Originally recorded in 1970, unreleased one sided acetate. Some great garage guitar psych with intense basement atmosphere, long fuzz excursions, and wasted junkie lyrics, well worth checking out. [PL] LYONHILL (NE)

"Lyonhill" 1977 (no label) Excellent mainstream rock/folk-rock private press album that sounds SoCal, though theyre from Nebraska. The album starts with a great moody folkrocker with some hot violin, and goes on to show a surprising amount of diversity. There are shimmering acoustic guitars, and absolutely spot-on harmonies. This is the rare band where the male and female singers sound perfect together. Highlights include a bluegrass song with honkytonk piano that would make the Dillards proud and some tasteful and effective synthesizer. The songs are basically short and tight. One song where the female singer takes on the personality of a man is awkward, and a dumb cocaine joke is a glaring reminder that the album is from the mid-1970s, but otherwise this is a terrific record by a multifaceted band. [AM] JOHN LYONS & THE BLUE DIAMONDS (PA) "Light In The Lowlands" 1979 (TNT Records BD 5805) This is a unique blend of bluegrass and post Dylan singer/songwriter music and its great. The sparse instrumentation (banjo and guitar on some songs, two guitars and an occasional hint of bass on others) effectively frames a batch of intelligent, wellwritten story-songs. A few of the songs are long in the best Dylan tradition, without repetition, and with stories that sustain the songs length. Its all deceptively simple and pure. The songs are about mountains, freight yards and coal mines, about Mississippi and West Virginia, but theres nothing backwoods about this music at all. The lyrics about hobos and drifters feel less contrived than the similar tales on the Modlin & Scott album, and Lyons voice is world-weary and evocative. As you may guess, not your usual private press folk album, this is really something special. [AM]

Acid Archives Main Page

MACARTHUR (Saginaw, MI) "MacArthur" 197 (R.P.C. 58932) [200p; inserts] "The Black Forest" 198 (R.P.C., Germany) [bootleg] [300p] Adventurous sweeping synth prog with guitar bursts featuring Ben MacArthur, very spacy with long tracks and echoed vocals. The LP was issued in a plain cover with 'MacArthur' sticker pasted on, and was only sold at shows. The small press size has been confirmed by the band. The reissue is re-titled. "MacArthur II" 1982 (Bay Music) [1000p; lyric sheet] This progressive album (with material from 1977-82) is adventurous but ultimately too derivative and uninspired to win out. It opens with an instrumental that resembles the first song on the Third Estate album, then moves to space rock and classically based rock. It commences with an acoustic guitar/piano/synth instrumental that marks them as obsessive ELP wannabes. This is technically wellplayed, though the synth use is surprisingly unimaginative for a band who use the instrument so heavily. The production is smarmingly AOR; the lead guitar and drums are really annoying in a purely 80s way. As is often the case with do-it-all indie prog artists like this (the much superior Atlantis Philharmonic comes to mind), the singing completely lacks personality. Most of the rhythm guitars here are acoustic; there's a definite attempt to create textures through a variety of instruments, but it's undermined by the way Ben Macarthur thinks speedy playing (on both guitar and keyboards) is both impressive *and* compelling listening. It's the first, but not the second. Without ideas, technical prowess is worthless. [AM] DOUG MACARTHUR (Canada) "Letters From The Coast" 197 (no label) "Letters From The Coast" 1976 (Rut) [2nd press] Fragile folkpsych with sitar on one track. It seems the guy had another LP as well. MACHINGBYRD ( ) "The Road to Forbidden Ecstasy" 1980 (Arro Mountian Records 10001)

Folk and folkrock with psych moves, acoustic and electric guitars, some synth embellishments. MACKS CREEK BAND (MO) "Macks Creek Band" 1980 (MCB) Midwestern 1970s-style rock with a Southern feel. MAD DOG (Los Angeles, CA) "Mad Dog" 1969 (no label) [no sleeve; test press] "C1 C2" 2000 (Shadoks 031, Germany) "Dawn Of The Seventh Sun" 2003 (RD 12, Switzerland) [insert] Here's another fine mess from the private press zone. After releasing the "Chocolate Moose" LP members of the Zoo moved on to the Mad Dog project, which was recorded at a Hollywood Studio in 1969. A few test pressings were made, but nothing else came from this. Thirty years later one of the test pressings turns up, with no details available, and is reissued as "C1 C2" as this matrix # was the only info contained on the record. A few years on, RD decides to reissue the Mad Dog test press, and in the process discovers that this is identical to what had come out as "C1 C2" on Shadoks. The main difference is that the RD release is legit and master tape-sourced and has the original sides reversed. To add to the confusion, the band was also known as Joyful Noise at one point. The actual music is good late 60s Bay Area-style guitar psych/rock, like a Fillmore support band. Three of the songs were used in the low-budget biker flick "The Black Angels". [PL] ~~~ see -> Zoo MAD DOG (Bay City, MI) "617" 1977 (Fish Head fh-7701) This is a weird minimalist hard rock album. The cover is a b/w drawing of an outer space scene with a bunch of headless naked female bodies, and the record is just as stark and mysterious. Though the cover says the songs were recorded between 1974 and 1976 the music has an early punk rock feel with thick distortion on the rhythm guitars and no apparent instrumental overdubs. The drumming is frantic but the songs are of medium speed. This is a curiosity because it's completely bleak, it sounds like nothing else and appears to have no specific influences, with one unfortunate exception. The ghost of Michigan's past rears its ugly head with the annoying throaty vocal style, a dead ringer for the Frost's Don Hartman, who made his presence known on the horrible live side of Rock And Roll Music. In any case, if it wasn't for all of the singer's growling, this would be pretty interesting stuff. As it is, it's supremely annoying. [AM]

MAD FABLES (NJ/NY) "Get Off!" 1977 (Magic 520440) [blank back cover] Eastcoast loose stoner outlaw jams in Grateful Dead style, housed in weird cartoon cover. Most of the album was recorded in Bloomfield, NJ in a three day session.

MADHOUSE ( ) "Serve 'Em" 1972 (Today tlp-1010) Here's a cool soul/funk LP for people who are tired of their P-Funk albums. There's a strong Sly Stone influence here, but also a bit of Funkadelic-style lead guitar, a very heavy political message, and, on one song, rhythms that sound like Tago Mago/Ege Bamyasi-era Can. This isn't as heavy or "rock" as, say, Purple Image, but it will appeal to psych fans, especially on the two long jams, both of which are quite dark (one is about an overdose, the other about the apocalypse) and have a lot of free form instrumentation. Spacious arrangements highlight some excellent bass playing. A very good album, a sleeper in the genre. Today was a subsidiary of New York label Perception. The cartoon cover shows President Nixon serving the group tea. [AM] MADRIGAL (New York City, NY) "Madrigal" 197 (Spyder 136) If anything here in the Archives fits the term "underground," it's this. Supposedly only about 50 copies were made and when one of the band members was found he was rude and refused to talk about his album or disclose the whereabouts of his bandmate. The record itself is a basement-sounding recording by two guys with no help from anyone else, and only a tiny bit of overdubbing. One guy plays guitar, one plays theremin, both sing, one of them runs a drum machine. The vocals are heavily reverbed. About half of the songs are random improvisations (including a 12minute mess called "Stoned Freakout") with unhinged screaming, feedback-laden guitar and other various noises. The other half are pop songs, basically done with just voice, guitar and drum machine. Some of these songs are quite good, and as awful as fake drums can be, something about this primitive machine only adds to the lonely DIY feeling here, making these guys sort of a cross between Suicide, Moolah and Index. The vocals are very good. "Ballad," which is so quiet that you can barely hear the singing, is especially eerie. The closing instrumental is really lame, like the instrumentals on the North County Rock Association album. Obviously, much of this album is boring and/or annoying, but some of it is pretty memorable too. More importantly, it's one of those albums that sounds absolutely like nothing else, which always means that someone out there will fall

in love with it. Considering the rarity and $1000 price tag, hopefully it will be reissued so that one person won't go broke trying to find it. [AM] MAD RIVER (Yellow Springs, OH / Berkeley, CA) "Mad River" 1968 (Capitol st-2985) [rainbow label] "Mad River" 198 (Capitol) [bootleg] "Mad River" 198 (Capitol 038-85-882, Germany) [altered sleeve] "Mad River" 1985 (Edsel ed-140, UK) [inner sleeve] "Mad River" 199 (CD Edsel 651, UK) "Mad River / Paradise Bar & Grill" 2001 (CD Collector's Choice 1722) [2-on-1] "Paradise Bar and Grill" 1969 (Capitol st-185) [green label] "Paradise Bar and Grill" 198 (Capitol) [bootleg] "Paradise Bar and Grill" 1986 (Edsel ed-188, UK) "Mad River / Paradise Bar & Grill" 2001 (CD Collector's Choice 1722) [2-on-1] The debut is fine westcoast guitar psych, while "Paradise Bar and Grill" moves more into an acoustic rural hippie direction. The debut LP recordings were accidentally sped up during the original mastering phase, which means that most releases including the 1968 original actually play at inaccurate speed. The recent 2-on-1 CD reissue corrects this, but many people still prefer the "speed" version. They previously recorded a wonderful EP (1967, Wee) with the standout "Wind Chimes". The EP was bootlegged in the 1980s and comped on the CD "The Berkeley Eps..." (Big Beat, UK 1995). [RM] ~~~ Extraordinary band whose greatness has yet to be fully recognized. Unlike many I prefer the debut LP and its enticing mix of unique vocals, complex moods and angular sounds, as pure psychedelia as anything ever made in the Bay Area. "Paradise" is enjoyable and just as unusual but to me it seems somewhat disjointed in its mix of rural folkrock, bombastic psychrock, spoken poetry, and more. Of course, the 1967 EP may be even better than their LPs. The band formed at Antioch College in Ohio and recorded some demo tapes before leaving for the west coast; these are partly excellent and have not yet been released. [PL] MAG-AMPLITUDE (OK) "Mag-Amplitude" 1983 (no label MA-1983-01) Strange and primitive LP that has been described as "the Higney of Heavy Rock". MAGI (IN) see article/interview "Win "Win "Win "Win Or Or Or Or Lose" Lose" Lose" Lose" 1976 1987 199 2005 (no label 6102) [1000p] (Breeder 560, Austria) (CD Flash 51, Italy) (CD Radioactive, UK)

Tough hardrock from popular "Michiana" region band with good songs, an admirably tight rhythm section and pretty good vocals. Despite what you may read, there is nothing psychedelic about this; a typical mid-70s Midwestern sound with Aerosmith and Kiss influences. A few guitar jams, one ballad, else more of a concise urban sound with hints of AOR and glamrock, but don't let that scare you. In the right place and time these guys could have been major. One song is about running out of weed. Recorded at Uncle Dirty's in Michigan. Expensive but still slightly underrated LP, to which the unfortunate front cover photo may have contributed. There was also a non-LP 45 track in the same style, and some good unreleased material exists. The band moved to LA in 1978 in an attempt to make it big, but soon fell apart. Bass player Tom Stevens later turned up in 1980s legends the Long Ryders. [PL] MAGIC ( ) "Magic" 1966 (no label 147606) No relation to the "Enclosed" band, this is teenbeat with organ. MAGIC (MI) "Enclosed" "Enclosed" "Enclosed" "Enclosed" "Enclosed" 1969 1986 199 199 1998 (Armadillo 8031) (Hype 02, UK) (CD Flash 44, Italy) [digipak] (Gear Fab gf-204) (CD Gear Fab gf-116) [+8 tracks]

"Enclosed" is mainstreamish hippierock sounds with a westcoast groove and soul/funk moves, reminiscent of a mellow Hendrix and the later-day Bay Area bands -when it's good, it's on level with Kak, but personally I find the blue-eyed soul Sons Of Champlin-type material tough to swallow. The 12minute Kak/QMS guitarjammer "Play" has plenty of admirers and rightly so, but overall I'm not as impressed with this LP as others seem to be. Check it out and decide for yourself. Recorded in Florida, where the band was joined by a member of popular band the Birdwatchers. CD has plenty of bonus tracks for all you soulrock fans out there. Their second LP on Rare Earth is generally considered much inferior. [PL] ~~~ This seems to be a love-it-or-hate-it album, with one side of soulful rock songs and one thats simply an extended guitar solo with bits and pieces of songs appearing at odd moments. Side one is OK, but the long solo is what makes this album essential. The way its structured into what isnt exactly a song gives it a certain kind of intrigue and depth, and the playing is diverse and fascinating... certainly one of the best long guitar solos anywhere. The CD adds a bunch of more mainstream bonus tracks that arent very good, marring the listening experience to those who only know it by that reissue. [AM]

MAGIC BUBBLE(Canada)

"Magic Bubble" 1970 (Columbia 90038) This album's exceptionally diverse, including stabs at pop, hard rock, blues moves and even what sounds like an attempt at a calypso rhythm. That diversity is simultaneously a strength and a weakness. Rita Rondell has an okay, if less than overwhelming, voice. While she has a bluesy voice that occasionally recalls Maggie Bell, exemplified by tracks such as "I'm Alive" and the ballad "If I Should Ever Love Again" she's largely relegated to handling the group's more pop oriented material. Her best performance happens to be her toughest vocal - "Cry Cry". That leaves brother Frank to handle the more rock-oriented tracks such as "Whiskey Fire", "Changes" and "Circles (Lonely Wind)". Occasionally sounding like a more rock inclined David Clayton Thomas, his performances provide the set's highlights, including one bizarre bluesy cover of George Gershwin's "Summertime". Elsewhere, there's only one real duet between the siblings; the funny "Me & Mr. Hohner". Nice product, though you might think once or twice before shelling out the big bucks for an original copy. The album didn't see an American release. [SB] ~~~ This is yet another co-ed West-coast styled group with organ, some fuzz guitar and a bluesy feel. And yet again the half of the songs with the male singer are pretty awful. His gruff voice might have worked in some other context, but is horribly out of place here. The songs with the female singer are poppier and catchier, less hard-edged, somewhat soulful, and this really sounds like two different groups. There are two very strong songs, Im Alive and Cry Cry, both of which could have been hits. The album ends with yet another version of Summertime, which is another minus. Not a very satisfying listen straight through, but it has its moments. The organ player and the rhythm section are pretty solid. At their best Magic Bubble rock convincingly without being the least bit heavy. At their worst theyre forgettable and annoying. Lots of lyrics about drugs (and some paraphernalia on the album cover). Between that and the guys style of singing, they seem to be trying really hard to be hip. [AM] MAGIC FERN (Seattle, WA) "Magic Fern" 1980 (Picadilly 3386)

University of Washington band with circa 1966-67 tracks. Pop rock with some psych shadings. Like most Picadilly albums, this was released posthumously without the band's knowledge. MAGIK (Canada) "Magik" 1981 (Rayne) Progressive hardrock in a primitive cover. MAGIK DAYZE (OH) "Magik Dayze" 1978 (no label) [lyrics] Hard guitar prog with moog, mellotron and Rush and Mahogany Rush influences. The cover has a paste-on front and handwritten credits on the back. Keyboard wiz Charles Thaxton went on to various projects. MAGILL & YOUNG ( ) "Take 1" 1969 (Two:Dot) Little-known title on the same custom label as Arthur, Hendrickson Road House and the Mystic Zephyrs IV. Basically it's lost in time 60s folkboom sounds with female vocals all through, rudimentary folkrock setting with two guitars and organ. The Baez-inspired lady doth oversingeth quite a bit, which makes for a strange vibe here and there, but may annoy if you're not in the mood. Her theatrics work best on a spooky cover of "Black is the color" with a sparse, Japanese-style arrangement and a Sally Eaton:ish psych feel creeping upon you. There's also a a couple Dylan songs and a heartfelt version of "Wayfaring stranger". Despite the band name the few original songs were written by one Karen Gross. For female folk completists mostly. Cool, primitive "period cover" to both front and back. [PL] TOM MAHAIRAS (NY) "Seekers Of The Truth" 1972 (Janco 7256) [insert] Christian fringe-folk/incredibly strange artefact featuring amateur organ/guitar folkrock on one side, and priceless spoken word drug-head salvation stories on the other. Amazing front cover and funny liner notes. A must within the genre. [PL] ~~~ One side of beautiful haunting christian psychedelic folk from former drug user turned preacher. Mahairas' voice and guitar is backed by chamber orchestration similar to that used on the Arthur Lee Harper album. The second side of the LP is spoken word featuring Tom and his wife giving testimony on how they turned from drugs to religion; plenty of talk about drug use

and someone who "went insane" on LSD. Might have some appeal to the fans of incredibly strange music. [MA] ~~~

see full presentation

MAITREYA KALI (Los Angeles, CA) "Apache / Inca" 1972 (no label) [2LPs; gatefold; inserts; paraphernalia] "Apache / Inca" 1999 (Little Indians 2, Germany) [2LPs; 450p; 3 inserts] "Apache / Inca" 1999 (CD Normal/Shadoks 005, Germany) [2 CDs] A very small number were made as a double LP before the LPs were issued separately (reviewed below). This package also contained a booklet, poster, feather, josh stick, and inserts. The German reissue imitates the release, except for the more exotic paraphernalia. Background: in 1966-67 Craig Smith made a bundle of cash writing songs for the Monkees, Andy Williams and Glenn Campbell, which is what financed his vast travels and subsequent transformation into Maitreya Kali. The unissued Penny Arkade recordings including several tracks also found on the Maitreya LPs and were released by Sundazed in 2004. Check out the entry for Craig's old partner Chris Ducey for an unrelated story that is just as strange.

"Apache" 1972 (Akashic 2777) "Apache" 1989 (Akashic) [bootleg; book; >300#d] This was apparently released before "Inca" but the recordings have a later sound. Continuing his trek down Latin America, this is more lowkey and introvert, as if the drugs caught up with him. The strange poetry and scribblings on the Yahowa-style sleeve confirm such suspicions. The album has a couple of marvy acid folkpsych tracks such as "Color Fantasy" but doesn't really live up to the hype I've seen on it. Beach Boy Mike Love unexpectedly pops up singing on a Monkees track (actually he's just humming along from the mixing board) that Maitreya wrote when he was still known as Craig Smith. Originals can be identified via printing on the spine and "masterdub" etched in the dead wax. Several other differences exist but these should suffice. The bootleg pressing is believed to be larger than the 300 stated.[PL] "Inca" 1972 (United Kingdom of America cf-2964) "Inca" 199 (United Kingdom of America) [bootleg] Nominally Maitreya's 2nd album, but the material on it is definitely from an earlier era than "Apache".

To me superior to the more wellknown "Apache" with a fabulous folkrocky 1966-67 WCPAEB-sound for the most part, especially on side 1. There's also some pretty enjoyable mellow hippiefolk stuff, strange spoken bits and interviews with latino chicks making fun of this sensitive seeker-type guy. Worth checking out for both 1960s and 1970s heads. [PL] MAIYEROS see Instincts MAJIC SHIP (Long Island, NY)

"Majic Ship" 1970 "Majic Ship" 1985 "Majic Ship" 199 "Majic Ship" 1993 "Majic Ship" 2000 "Majic Ship" 2000 tracks; booklet]

(Bel Ami 711) [circa 1000p] (Heyoka 203, UK) (no label, Italy) (Afterglow 009, UK) (CD Gear Fab gf-107) [bonus tracks] (Gear Fab/Akarma 084, Italy) [2LPs; bonus

Extended "Down by the river"/"For what it's worth" medley highlights this famous Long Island LP, the rest is so-so Eastcoast post-psych FM rock sounds reminiscent of Bubble Puppy or an earlier version of Odyssey. Some good guitar and nothing overly offensive about it, but hard to understand all the fuss over this album. The Italian reissue is actually a bootleg of the UK bootleg, while the Gear Fab CD contains spoken interview bits between some tracks and a messed-up running order. [PL] MAJOR ARCANA (Milwaukee, WI)

"Major Arcana" 1976 (A Major Label 1000) [poster; lyric insert] The opening "Western wind" is a terrific folkpsych classic while the rest of the LP suffers a bit from the aggregated weight of all the different genres squeezed in. The vocals are strong but sometimes overstated in that typical 1970s troubador style, while the flute ornaments are a bit, uh, effeminate. Neat synth arrangements provide the same lounge multiinstrumentalist vibe as on Bermuda Triangle;

this also has the odd rock musical/art school stage project feel that's on a lot of these mid-70s hippie LPs. Closing acidhead arrangement of "Greensleeves" sounds like the Kaplan Bros could step in any minute. Great psychy cover art. [PL] ~~~ This is a more complex album than Jim Spencers solo work, with a lot of moods for what is essentially a hippie folk album. It starts with a truly gorgeous song, and has several highlights, including the voodoo inspired (and sexually nasty) Pappa Doc and the breezy Back In The Spirit. Not a wholly satisfying album, and it has way too much flute, but still an intriguing listen with some ace songs. One of the best album covers youll ever see, too. [AM] MALACHI (CA) "Malachi" 1966 (Verve v6-5024) [gatefold; blue label] Eastern and American-Indian influenced protopsych/ethnic folk. Recorded at Columbus Recording in San Francisco in August 1966. Steve Cunningham would later joined Red Krayola. Although neither rare nor that highly rated, the LP is early enough to be historically interesting, and also features an early occurrence of the word "psychedelic" in the liner notes. MALT SHOPPE GANG (MA) "Maltshoppe Gang" 197 (Fleetwood fclp-5100) [red label] Early 1970s group doing retro 50s rock and doo wop like a local Sha Na Na. Good, primitive guitar sound for crossover garage appeal. MAMMOTH ( ) "Mammoth" 1981 (RNA) DeLand, Florida label. Southern rock like Lynyrd Skynyrd. MANDRAKE MEMORIAL (Philadelphia, PA) "Mandrake Memorial" 1968 (Poppy py-40002) [mono promo; stereo cover with mono sticker] "Mandrake Memorial" 1968 (Poppy pys-40002) [stereo] "Mandrake Memorial" 1996 (CD Collectables col-0691) "Mandrake Memorial" 199 (Poppy, UK) [bootleg] "Mandrake Memorial" 2005 (Poppy/Scorpio) The first Mandrake Memorial album is one of those records where the sound of one instrument so dominates (like the jug with the 13th Floor Elevators or the autoharp on Michaelangelo's "One Voice Many") that your assessment of the album is based almost

completely on how you feel about that one sound. Here the instrument is an electric harpsichord, which gives the songs an almost synthetic feel. I like it, but I can't speak for anyone else. What I can say with conviction is that the songs on this album are outstanding, and the guitar playing and singing is very appealing throughout. The album is full of sly hooks and dreamy melodies. It's simpler than the two albums that would follow, but is unquestionably a highly accomplished work from a very talented band who should be better known today. [AM] "Medium" 1969 (Poppy pys-40003) [gatefold] "Medium" 1996 (CD Collectables col-0693) "Puzzle" 1970 (Poppy pys-40006) ['wheel' insert] "Puzzle" 1995 (CD MM, Europe) [bootleg] "Puzzle" 1996 (CD Collectables col-0693) [+bonus track] Great, great psych band and local Philly heroes, underrated elsewhere to this day. The first LP is drawn from their club live set and goes in a garage/teen-psych direction, not bad at all but the harpsichord makes for a somewhat awkward mix with the overall sound in my opinion. Nevertheless, it went on to sell a respectable 40 000 copies. "Medium" shows them developing their studio psych ambitions with carefully crafted introspective keyboard/guitar mind trips while still retaining a song-oriented structure. "Puzzle" is a masterpiece, one of the truly great concept acid psych LPs on a major label, drawing from modernist classical like Stravinsky and Bartok, yet retaining a psychy headtrip feel throughout. Side 1 in particular is devastating and the LP as a whole a major personal fave. The band also had a non-LP 45 around the time of "Puzzle". An unreleased acoustic album from the same timeframe exists on acetate, but nothing has been released so far. [PL] MANIACS see "Soundtracks 1966" MANN MADE (Montreal, Canada) "Mann Made" 1972 (Good Noise) UK-sounding progressive rock with folk moves, some horns and synths. TERRY MANNING (Memphis, TN) "Home Sweet Home" 1970 (Enterprise ENS-1008) Manning may have done this album as kind of a lark. He's not a songwriter, and there's nothing serious about this record. Maybe that's why this is so good, the kind of record that I can't imagine any rock fan not enjoying. He begins with the unthinkable, a truly minblowing cover of "Savoy Truffle," a ten minute tour de force of creative arrangements that is as

good a Beatles' cover as anyone has ever done. The fun doesn't end with just that one song. There are trashy rock originals, more wild cover versions, outrageous drum breaks, hilarious female backing vocals, irresistible fuzz guitar riffs, feedback and absurd lyrics. Side two is a notch lesser than side one, but this is an enjoyable romp not quite like any other. Manning shows equal parts reverence and disdain for a whole host of rock and roll traditions. Perhaps it's mostly a novelty, but psych fans will like it, roots rock fans will like it, punks will like it, garage fans will like it, and warped soul fetishists will like it. Beatles fans might even like it. Now let's all get down and do the trashy dog! [AM]

see full-length review

CHARLES MANSON (CA)

"Lie" "Lie" "Lie" "Lie" "Lie"

1970 1970 1987 199 199

(Awareness 2144) [poster; 2000p] (ESP 2003) (Awareness 1) (CD Grey Matter 05) [+bonus tracks] (Fierce 001, UK)

It seems Charlie is bigger than ever these days and the fringe underground is all too happy to keep his shot at the charts in print. "Lie" would be a big item even if it was by an unknown guy, with Man-Son's great 50s beatnik outlaw voice and campfire folkpsych like "Mechanical man", "Sick city", "Ego" etc. The latter's my fave with a scary intensity and the girls' seductive Spahn Ranch harmonies. A staple of any reasonably twisted record collection. There was also an odd gatefold Spanish release on the Movieplay label from 1971, "12 Canciones". The poster represents about half the value. The ESP version is a legit 2nd press for Eastcoast distribution. The somewhat noisy 1987 repro has 'Awareness' on the front cover in print letters, not handwritten. In recent years there's been a handful of subsequent releases of material recorded in prison, including "The way of the wolf" and "The white album". The "Unplugged" CD features outtakes from the original "Lie" sessions and is worth checking out. [PL] ~~~ see -> Manson Family MANSON FAMILY (CA) "Sings The Songs Of Charles Manson" 1991 (no label) [white vinyl] "Sings The Songs Of Charles Manson" 1991 (no label, Europe) [bootleg] "The Family Jams" 1998 (CD Transparency) [2CDs] Circa 1970 tapes of the Family singing the Master's songs in a communal desert campfire folkpsych setting

with mixed male/female vocals - the innocent songs and evil lyrics make for great and spooky listening, superior to Charlie's own LP in many's opinion. Recommended, superior to most similar LPs not made my hippie murder cults. The Transparency double CD contains all material on the LP plus additional material from the same sessions. [PL] MANTIS (Montreal, Canada) "Mantis" 1973 (Sweet Plum 952) Prog and melodic rock from Quebec with liberal use of guitar and keyboards, mixed male and female vocals. MANTRA (Toronto, Canada)

"Mantra" 1970 (MMC 301) Folk/folkrock featuring steel guitar and autoharp, with a mellow vibe and some instrumental tracks, highly rated by some. MARANATHA (NJ)

"Soon" 1971 (no label no #) X-ian hippie rock with equal mix of hard guitar and moody acoustic numbers. Several unrelated x-ian groups recorded LPs under this name. [RM] ~~~ Although they're from the opposite end of the country, New Jersey's Maranatha has that same longhaired homegrown west-coast guitar psych sound as Spokane's Wilson McKinley. In fact, I might go so far as to say that Soon is on equal footing with the classic "Spirit of Elijah" - it's that good.

Guitarist Charlie Rizzo would later emerge with the more Southern-edged Emmaus Road Band, but here the style seems much more garage angled and hippie jamming. ... An insanely rare private press and easily one of the top US Christian monsters. [KS] ~~~ see -> Emmaus Road Band MARAUDERS (PA)

"Check In" 1964 (PRC 64-303) [blank back cover] "Maraudin' 65" 1965 (no label) "Maraudin' 65" is a rare teenbeat LP with a mix of pre-Invasion instros and covers of Animals, Gerry & the Pacemakers typical of the era. Crude paste-on cover displays their hip VW Beetle convertible. The even obscurer first LP has been described as "hot guitar instro surf" and has covers of Ventures, Pyramids, Surfaris etc, plus one original. MARBLE PHROGG (Tulsa, OK) "Marble Phrogg" 1968 (Derrick 8868) "Marble Phrogg" 199 (CD Derrick, Europe) Covers only LP from local club band with Iron Butterfly, Cream, Hendrix, Steppenwolf, and even a belated Byrds number. More interesting than the typical late 60s fuzz cover bands, as they put a lot of effort in delivering and adapting the material, while retaining a cool teen vibe. The reissue is worth examining for those interested in the era, with obvious similarities to the Smack LP. MARCUS (NY/CA) "Marcus" 1970 (Kinetic 3027) "Marcus" 1993 (CD Collectables col-0571) [+2 tracks] As everyone knows, this is Deep legend Rusty Evans broadcasting from burnout island. Described by a noted record dealer as "one of the blandest records ever made" the 1970 LP still has a share of fans, though I'm not one of them. Wimpy sub-Donovan astrology hippie folkpsych, may appeal to Cat Stevens fans. "Million Grains Of Sand" in an orchestrated version is the best track. Kinetic was an Epic subsidiary. Rusty made an LP with the All Night Singers c1963 (Reprise R6117), and a Christian folk

solo LP in the late 1970s.There is a collection of demos/outtakes from this album on CD from Collectables (Col-0690). [PL] MARCUS (KY/IN)

"From The House Of Trax" 1979 (House Of Trax nr-10788) [500p; 'disco' cover with small blue paste-on] "From The House Of Trax" 199 (House Of Trax) [bootleg; boardprinted] "From The House Of Trax" 1995 (Fantasia, UK) [500p] "From The House Of Trax" 199 (CD House Of Trax) [bootleg] "From The House Of Trax" 2003 (World In Sound rfr-014, Germany) [+2 tracks; +bonus CD-ROM; 500p] "From The House Of Trax" 2003 (CD World In Sound wis-010, Germany) [+2 tracks; +bonus CD-ROM] A somewhat legendary late 1970s psych private from a guy still living in the cosmic acid seeker mindset, even as the sound is (for the time) modern, with an FM-rock/AOR feel that may put some off. Similar to DR Hooker as a "big ego" project with no resources spared; the songs, the performances and the production are flawless. Hearing this on acid is like walking around inside a psychedelic cathedral, with multilayered keyboards, dreamy female harmonies, and a panoramic 24-channel soundscape. The strongly psych-flavored A-side is awesome in my ears, although the Cecil B DeMille production has its number of detractors. I don't care - this is a longtime personal fave. The original press was 500 copies, but only about half of them came with the blue paste-ons with Marcus image and titles that cover the center hole front and back. In later years remaining copies from Marcus' original stash appeared on the market in the plain white disco sleeves only, without any blue paste-ons. Copies have also appeared with what are believed to be more recently manufactured paste-ons, although they're more or less identical to the 1979 ones. The early 1990s bootleg enlarged the paste-on images so that they fill the entire boardprinted 12" sleeve space. Despite being legal reissues, the WIS releases are vinyl-sourced and somewhat inferior in sound to the original. The CD-ROM features a video of a 1979 acoustic live performance by Marcus from local TV. Only one song from the LP is performed, and the material is less psychedelic and more singer/songwriter. Marcus made a comeback LP in the 1990s titled "The return". [PL] ~~~ This is the ultimate example of an album that divides psych fans. Some of you will hate it, though it's not one of those albums whose legend comes from misleading dealer hype, as there are people who absolutely love it too. Like the best latter day psych albums (Trimble, Zerfas, Anonymous, etc.) it sounds completely of its time. Unlike those albums it doesn't seem to have any connection to 60s music,

though, and if anything sounds a few years ahead of its time. The reverbed and way up-front vocals, the ultra-prominent cymbals (the rest of the drums are buried in the mix so far they might as well not even be there), the cheesy synthesizers and new agesounding female backing vocals are hallmarks of the 80s sound. Mixed with spacy sound effects and this album's most prominent feature, heavy phasing, it sounds like psychedelicized AOR (or, on the non-heavy songs, new age soft rock) sung by a mystic and recorded in an echo chamber. The sound is absolutely going to be a hard sell for most of you, and in my opinion the songs are only marginally more appealing. Some of it doesn't even sound like "rock" to me, and while about half of the songs are quite catchy, there's not a lot of musical depth here. I find this one more interesting for the way the confusing release and "re-release" were hyped by dealers than I do for the actual music within. This is a real oddball, to be sure, and doesn't sound like anything else. I recommend that you don't pay too much mind to either its fans or its detractors and check it out for yourself. [AM]

ROBERT MARCUS(Corpus Christi, TX) "Robert Marcus" 1974 (Ankh 1001) Soft rock with keyboards, orchestration, some fuzz and wah-wah, housed in a funny cover. MARIANI (Austin, TX)

"Perpetuum Mobile" cover; insert with "Perpetuum Mobile" "Perpetuum Mobile" "Perpetuum Mobile" "Perpetuum Mobile" "Perpetuum Mobile"

1970 (Sonobeat HEC 411/412) [plain stamped typewritten info; 100p] 198 (Hablabel, Italy) [150#d] 199 (CD Germany) [+1 track] 1994 (Fanny 300894, Belgium) [500p] 200 (Akarma, Italy) 200 (CD Akarma, Italy)

There are some really big rarities whose greatness escapes me and I'm afraid Mariani is one of those. Eric Johnson is probably a technically brilliant guitarist but after you've been through ten minutes of Hendrix/Alvin Lee imitations you sorta wish he'd do something else, like write decent songs rather than just excuses for guitar solos. A few promising hints of psych, especially on a track like "Rebirth day" and a powerful in-yer-face soundscape, but all over I find this LP disappointing. For Eddie van Halen fans, Texas completists and collectors of 4figure legends. The group had a non-LP 45 with psychedelic drum solos. [PL]

~~~ Heavy blues psych band with sixteen year-old Eric Johnson on stun guitar, Vince Mariani handling drums, Jimmy Bullock on bass. Lead vocals are handled by several singers including Bill Wilson, Darrel Peal, and Jay Podolnick. The playing gets anthemic at times but the lyrics are regrettable. The recording session was done outside in a wooded area. The German CD is made from a rough copy of the LP and is very noisy. The bonus track is a much later Eric Johnson version of "Little Wing". All reissues have new sleeve designs as the original was plain cover. [RM] ~~~ Eric Johnson the wunderkind is on display here, but the band was named after the drummer, and ultimately is as boring as, say, a Ginger Baker solo album. Johnson was talented but not especially original as a teenager, and there isnt a solo here that wouldnt have been better if it was half as long (the drum solo, of course, would have been better if it didnt exist at all). Even with the Johnson connection, its a mystery to me why this is such a sought-after album. I can think of hundreds of better late 60s/early 70s hard rock albums. [AM] ~~~ see -> American Peddlers; Electromagnets; Bill Wilson MARIANUS (Andover, MA) "Visions From Out of the Blue" 1981 (Jupiter) [lyric insert] This is hyped as a prog album (and occasionally as an AOR album), but defining it by that genre doesn't tell the whole story about this oddity. It takes cues from pretty much every rock style of the preceding 25 years, even glam and new wave (those two are especially apparent on the irresistible opening track.) There's a bit of mellotron on the album, a spacy instrumental, a bunch of catchy choruses, bizarre backing vocals and a singer who is the missing link between Steve Harley and Geddy Lee. The guitar riffs on the early verses of "Man From Another Planet" really hit the spot. The songwriting throughout is creative and intelligent. This is weird and distinctive! I'm not sure who the audience is for this one, but it's pretty great. [AM] DEREK SCOTT MARKEL (Canada) "Derek Scott Markel" 197 (no label RH 074601) Rural folkrock and singer/songwriter with full setting, piano, even accordion, the Band moves and some psychy guitar. Highly rated by some. MARK IV(Canada) "Vol 1" 1965 (Rusticana CKL 1225) Obscure teen-beat LP in neat sportscar cover.

MARKLEY (Los Angeles, CA) "Markley: A Group" 1969 (Forward st-f-1007) I may be in the minority here, but I enjoy this as much as any of the "proper" WCPAEB albums, as it's full of left turns, crazy arrangments, freaky lyrics, and catchy tunes. As with the first Reprise album, it sounds like a killer garage pop album filtered through the mind of a whacked out genius. Absolutely a must-hear for popsike fans. [AM] GARY MARKS (NY) "Gathering" 1974 (ULT 74008) [booklet] Little-known Tim Buckleyish singer/songwriter with jazz moves, rated highly by some. The LP was originally sold via mail-order. MARLBOROS & JOKERS SIX ( ) "Real Live Girl" 1966 (Justice 126) "Real Live Girl" 199 (CD Collectables 0610) Unusual LP with black vocal group and white club band joining forces to try and get a beach party going.Apparently the two bands toured together, the Jokers Six supporting the Marlboros who are an early 60s-style vocal 4-piece. The Marlboros don't sing bad and some tracks may appeal to local doo-wop collectors, although the recording is muddy and tinny. The title track is a fairly good original and there's another original on board, the rest is mostly r'n'b/soul standards. While the vocal strength of the Marlboros gives the album an edge over pretty much all other Justices I find little exceptional about it. There's an OK surf-style instro and an energetic "Good loving" on side 2 but apart from that the Jokers Six sound like any generic club band; competent but dull. Embarrassed, one of the Jokers Six guys comes right out in the liner notes and admits that the Marlboros are the "up and coming stars of this album". [PL] MARR'DEL (OH) "Mystery Of Love" 1979 (MSP 3001) [1000p] Accurately described as "sparse cosmic female real people" by the guy who invented this type of descriptions. Her voice is somewhat arch and lofty, but the refined, serious mood is effective. Acoustic guitar and autoharp, some songs, some spoken poetry with musical backing and occasional sounds of nature such as rain and thunder.

MARSADEES (SC) "Marsadees" 1967 (Justice 150) "Marsadees" 1996 (CD Collectables) Probably the rarest LP on the label, this wasn't even known to exist for many years. It's not bad either, clearly among the better in the Justice catalog, with a crude surf and frat approach similar to the nongarage stuff on the Tempos LP. Should appeal to anyone interested in local pre-Brit Invasion sounds, even though it dates from around 1967! Cool cover photo of the very young band. One group original, a sleepy surf instro. [PL] MARY BUTTERWORTH (South Gate, CA)

"Mary Butterworth" 1969 (Custom Fidelity 2092) [350p] "Mary Butterworth" 1988 (Breeder 562, Austria) "Mary Butterworth" 1998 (CD OCCS) Inside one of the greatest private press psych sleeves ever you'll find pretty enjoyable LA area (they were not from Idaho) highschool pothead sounds with Hammond organ upfront and great echoey drums. Mixes bluesy vibe with a westcoasty outdoors feel in the vocals. Mellow and stoned rather than lysergic, despite uninspired lyrics three out of six tracks are excellent - check out the Gathering vol 3 comp for a sample. The album was sold via gigs and to friends and had no formal distribution. The band also had a pre-LP 45 on Custom Fidelity. Surprisingly, one track from the LP is used in the highly acclaimed "Lost In Translation" movie. The CD is remastered and remixed. [PL] ~~~ Bluesy hard rock with long songs and some jazzy flute and sax. The lyrics are trite and uninteresting but the songwriting is decent and the overall sound is appealing: lots of reverb and echo, nice guitar sound, ringing cymbals and eerie organ, vocals that dont fall into the usual bluesy macho trap. Its A Hard Road is particularly good. There are moments where it seems pedestrian, but also moments that rise above. Not top of the heap, but good enough to recommend to genre fans. The guitar solos are pretty dull, though. [AM] CARM MASCARENHAS (Winnipeg, Canada) "Someday Soon" 1975 (Mascanta) Folk and folkrock with acoustic and electric backing

and powerful vocals. MASON (VA) "Harbour" 1971 (Eleventh Hour 1001) [paste-on yellow title sticker; booklet] "Harbour" 1971 (Eleventh Hour S-1001) [printed cover; booklet] "Harbour" 199 (Eleventh Hour) [bootleg] "Harbour" 199 (Gear Fab gf-137) [+2 tracks] "Harbour" 1999 (Akarma, Italy) [booklet] Released on the local Eleventh Hour label, the album offered up a surprisingly accomplished set of early'70s heavy metal. Acrese had a voice that was well suited for the genre; Hampton was a first-rate drummer and as a trio these guys generated considerable intensity. Largely written by Galyon, material such as the driving opener "Let It Burn" (imagine Deep Purple having borrowed Ian Anderson for a flute solo), "Tell Me" and the cool instrumental "Electric Sox and All" were all impressive. Great songs and great performances (geez, Grand Funk sold millions and these guys couldn't get arrested). Elsewhere, "Golden Sails" was a substantial change of pace, opting for a progressive song structure (it may be our favorite song).[SB] ~~~ This is an interesting and diverse hard rock album, well liked enough to have been reissued several times. If you can picture slow, organ-rich heavy prog side by side with blues-rock, acoustic folk-prog, jazzy sax instrumentals, and snappy riff rockers, youll have an idea of what youre in store for here. Its all done quite well, and theres an air of professionalism usually absent from this kind of self-made record. My favorite is the brief Goin Home, which sports an undeniable hook, but theres enough to like here than half a dozen listeners might pick half a dozen favorites. Tell Me has a fuzz guitar tone to die for. The singing is strong, but overly macho and humorless, unfortunately, the albums one major fault. First issues have paste-on covers. The second issue has a black and white cover drawing and an insert.It was remixed at Alpha Audio but it's unclear whether there is any real difference in sound. Eleventh Hour went on to release albums by Polyphony and Vandy. [AM] ~~~ see -> James Galyon MASS-TERS ( ) "Today" 1969 (Venus MS 001) Very obscure folk quintet looking like they're about 5 years behind the times, and reportedly sounding that way too, except for some appealing female vocal harmonies. Mix of originals and covers. MATILDA see Don Daly

MILT MATTHEWS, INC ( ) "For The People" 197 (Catalyst cas-1111) "For The People" 2003 (Catalyst 1111) [reissue] Early 1970s black group. Soul rock with some fuzzy jamming similar to early Parliament but less interesting. Matthews had several other releases. MAX AND I (Long Island, NY) "Max and I" 1976 (Western Hemisphere) Rural jams with female vocals, featuring Maxine and Ira Stone along with ex-Elephant's Memory members. A Morris Levy tax-loss release. MAX CREEK (CT) "Max Creek" 1977 (Quack Sound 100) Supposedly only 100 copies were pressed of this "American Beauty" style rural jam LP. The band has been going for decades and developed a Deadhead-type fan-base. Later LPs include "Rainbow" (Wranger, 1980) and "Drink The Stars" (Wrangers 2LPs, 1982). MAXIMILLIAN (NY) "Maximillian" 1969 (ABC 696) This is remarkably inept for a major label release. It's certainly wasted, and is full of fuzz guitar as well as some organ, but it's not exactly the funkpsych freakout people wish it were, as it doesn't really go into particularly far out places. Add that to the lack of chops and go-nowhere soloing, and ultimately it's pretty boring. [AM]

ALICIA MAY ( ) "Skinnydipping In The Flowers" 1976 (Golden Anchor 7777) [lyric inner] Femme vocal folk that has been compared to Linda Perhacs. California label. ~~~ see -> "Guitar Picks" MAYAN CANALS see Rich La Bonte MAYPOLE (Baltimore, MD)

"Maypole" 1971 (Colossus cs-1007) [ylp exists] "Maypole" 2005 (CD Radioactive 114, UK) Heavy psych rock thats got a lot of ideas, but also has a tinny metallic sound that grates on the ears quickly (and this is a long record). A definite favorite of some fans of hard rock, but its one of those albums that sounds much better when youre only hearing one song on a mixed tape or radio show. Some of the songs are put together in kind of a suite, showing some obvious prog ambitions. [AM] MAY STREET TOPS (NC)

"May Street Tops" 1974 (Death Valley no #) [300p] Rural hardrock with dual drums, occasionally hyped. Recorded at the same studio (Harry Deal's) as Dryewater. The title is sometimes listed as "Sold Out".

MAZANTI ( ) "Philosopher" 1979 (Mazanti Music) Southern hardrock with some folky tracks and Jethro Tull moves. MAZE (Fairfield, CA) "Armageddon" "Armageddon" "Armageddon" "Armageddon" 1968 1989 1995 2006 (MTA 5012) (no label, Europe) [bootleg] (CD Sundazed sc-6060) [+6 tracks] (Beat Rocket) [alternate mono mix]

The Maze seek a sense of drama, with long songs, prominent organ, eerie harmonies, heavy lyrics and a singer who becomes unhinged here and there. If you're in the right mood for it, it's pretty enjoyable, especially since there are some crazed fuzz guitar breaks. One truly terrible semi-novelty song, "Kissy Face", destroys the mood, which makes the rest a little harder to take seriously. The overall effect is similar to the album by The Phantom, though the best songs here, especially "I'm So Sad", are more worthy of semi-serious respect than anything on that album. The short songs take a poppier approach, and they're reasonably good, with the one above-mentioned exception. Pretty cool, though not distinctive enough to really stand out in the genre. The Beat Rocket release has a previously unreleased mono mix with some alternate takes, and is this not a true reissue. [AM]

MCALLEN (MI) "McAllen" 1971 (Spirit 964S-2002) [gatefold] Downer folk/folkrock with Woolies member helping out, acoustic and electric backing. Back cover shows McAllen next to a huge cannabis plant. BOB MCCARTHY (Cambridge, MA) "Advice & Company" 1974 (Wandra no #) Coffeehouse folk and singer-songwriter with occasional band backing, including second guitar, bongos, violin, dobro, bass and drums. JAMES MCCARTHY ( ) "Born a Loser" 1971 (Audio House ahs-3771) [blank back cover; translucent blue vinyl] Acoustic flower folk from noted Kansas studio and custom label.

KATHY MCCORD ( ) "Kathy McCord 1969 (CTI 1001) "Kathy McCord 1999 (CD Vivid, Japan) Female singer/songwriter album that is highly rated among genre fans. MCDONALD & SHERBY (MN)

"Catharsis" 1974 (Omniscient 80 1426) [500p] "Catharsis" 1992 (Rockadelic 7.5) [altered cover; altered song order; 300p] Here's an interesting obscurity that mixes two really long moody songs and some shorter hard-rockers. The long songs have definite anthemic quality, and there's some cool guitar, organ and synth soloing: plenty of wah-wah and freaky noises. Most of this is blues-based, most of it riff-oriented. Neither the short or long songs are structured in a particularly complex way. Both are vehicles for jamming. It's a pretty cool record, and more distinctive than the description would suggest, though it would have been

nice if a few of the songs had been developed a bit further. Strangely enough, the shorter, faster songs suffer from the repetition more than the long ones do, maybe because the soloing on the epics is more thoughtful. [AM]

MCGRAW BROS(NJ) "Scotch On The Rocks" 1966 (Tore 1) Scottish-American group doing club band frat & Brit invasion covers with honking sax, dressed up as Scotsmen on the sleeve. A couple of band originals also. LARRY MCHUGH (PA) "Son Of David" 1978 (BE 845) A fine example of the more subdued, reflective mood that emerged on Christian rock LPs towards the end of the 1970s. Post-acid westcoasty melodic studio rock with a highly professional, sophisticated sound create a backdrop for McHugh's relaxed, unassuming vocals. Lyrics are typical Jesus movement concerns and stay close to the known path, leaving the music to do the peregrinations in a quite appealing way. In fact this album has some of the best guitar-picking I've heard on a private from the era, sparse flowing jazzy scales that fit the mood perfectly. The band as a whole radiates a selfconfident late-night groove, occasionally getting into jammy bits that flow just right. Keyboards and moog fx are used in a way similar to the more relaxed tracks on One St Stephen, while the overall nocturnal feel is reminiscent of Christian colleagues Ark and Windwords. McHugh does get dangerously close to the "better safe than sorry" repetition spectre that can haunt this type of work, but emerges a winner on the strength of some terrific dreamy tracks such as "Come to me" and "Waters of life". This is not a local basement trip like Kristyl, but a very pro-sounding affair with mature, jazzy moods. I was rather impressed. [PL] ~~~ Folky Christian singer who cant really hit all of his notes, but has a pretty solid musical backing. The title track is pretty great, full of phase shifter happy guitar solos (lots of scales), a dreamy chorus, and ends with a great rock guitar solo and some surprising moog. Terrific song! There isnt anything else here that gets up as much of a rocking head of steam, but most of the album is decent acoustic folk and soft-rock with a rhythm section that stands out despite the quiet nature of the songs. The Christian lyrics are reasonably subdued. A few songs veer towards a jazzier direction, and arent quite as appealing. A lot of the electric lead guitar sounds like improvised noodling, and the weak singing grates after a while, but the more carefully constructed songs are quite good. Other than the title track, the oddly structured Hold Your Love High is probably the highlight, as it fits frantic bass runs, dreamy ah ah singing and a somewhat long

instrumental introduction into three surprising minutes. Not solid from start to finish, but a pretty interesting album. [AM] McKAY (Indianapolis, IN)

"Into You" 1977 (no label) [300p; plain back cover] "Into You" 1993 (OR 001) [insert; 300#d + signed] "Into You... Plus" 1996 (CD OR 007) [+bonus tracks] "Into You" takes some time to get into but it's worth the effort - a laidback, nocturnal rural rocker with sounds ranging from country-tinged, almost Eagleslike brooders to uptempo guitar movers with some ace Jerry Garcia-style instros inbetween. Neil Young's "Harvest" and "Tonight's the night" may also spring to mind, but this is a distinctive album that needs to be heard, rather than imagined via semi-accurate comparisons. Some copies have a sticker on the back with personnel info. The CD reissue features 16 unique bonus tracks, all from the same sessions as "Into You" and "Take Two". I was not quite as impressed with "Take Two", although others seem to like it. [PL] ~~~ "Into You" has excellent sound and high quality performances. It could easily have been mistaken for a major label album of the time. It mixes acoustic ballads, upbeat rockers with wah wah, and laid back rural rock. The obvious reference points are 70s Grateful Dead and, to a lesser extent, The Band. That works for better (musicianship) and worse (vocals.) It rarely rocks out, but on the few occasions it does, it is convincing. The songwriting is pretty strong, and occasionally (i.e. the propulsive This Road) transcendent. I find the vocals weak (not in the sense that they cant sing, but moreso that the singer sounds wussy), but otherwise this is one of the best albums of the style. The CD contains an albums worth of bonus tracks, many of which sound more like demos and jams that completed songs. If you listen to them separate from the album proper, theyre pretty fun, and there are a few solid songs mixed in too. [AM] "Into You, Take Two" 1995 (OR 007) [book; 375#d] McKay had a whole batch of unreleased recordings from around the time of "Into You", some of which were originally considered for the album. In 1995, the material from the vaults was dug out, remixed and released by OR records. The result is a collection just as slapdash as the bonus tracks on the "Into You" CD, including some jammy instrumentals and some brief effect-laden experiments to go along with a number of complete songs. Obviously this isnt a consistent listen, but the quality of the songs is strong and even the most incomplete fragments are pretty interesting. The album is also intelligently

structured to make the experimental bits and songs fit well together. Fans of the first album are sure to enjoy this, and, since unlike "Into You" this is quite psychedelic, it could attract some new fans as well. Also, it has a great album cover. [AM] ~~~ "Take Two" is the druggier and more interesting of the two fine McKay efforts, taken from mid-70s sessions at which time the group was going by the name, The Loos Band. The "Take Two" material does not overlap with the 1996 CD reissue at all. There is a CD release on OR of 1997 recordings, "Tomorrow's Tomorrow". [RM] ~~~ see -> Ray Pierle MCLEISH, PETRIE, ROBINSON & FRIENDS (Canada) "R P M" 1978 (Starfish 7801) [1000p; blue vinyl] Rural rock and folkrock with guitar/keyboard demo recordings gathered over a period of time, with songwriting contributions from all members. F J MCMAHON (Santa Barbara, CA) see Q & A here "Spirit Of The Golden Juice" 1969 (Accent 5049) "Spirit Of The Golden Juice" 2000 (Wild Places) Recently discovered obscurity on the Accent label, otherwise known for a number of great 45s. Late-stage beatnik/coffee house-folk which reminds me of Fred Neil; worldweary, introspective sound with an early Viet Vet vibe. He has a good voice somewhat similar to D R Hooker, and plays nice guitar figures throughout the LP, which has a light folkrock backing. Not bad, though the arrangements would have benefited from some variation. McMahon recorded this coming out of the air force, and "The Golden Juice" refers to a brand of bourbon popular among enlisted men. The album features Accent colleague Jon Uzonyi (Peace Pipe) on bass. [PL] MEADE RIVER see John Gilbert MEAT PHREDD (OH) "Meat Phredd" 1981 (Phreddhead) Instrumental avant guitar progressive trio similar to Viola Crayola. Recorded at Columbus' longrunning Musicol studios and housed in an odd cartoon cover. THE MEDIUM(Montreal, Canada) "The Medium" 1969 (Gamma 503)

Usually this band is listed as Medium, but the album cover clearly defines them as the Medium, which takes on a whole different meaning. This Canadian psych album is pretty interesting, starting with a trippy instrumental full of organ and fuzz guitar, and moving on to dreamy ballads and slightly heavier (but never fast) songs. The guitar playing throughout is somewhere between jazz and angular San Francisco-style noodling. There seems to be little or no attempt at melody, which actually makes the solos pretty distinctive and weird. An organ/guitar battle on Give Me A Peace is especially fun. The songs dont follow traditional verse/chorus structures at all. The singer has a deep voice but isnt exactly soulful or bluesy. This album is pretty freaky, what may have happened if bands like Aorta and Day Blindness didnt bother to tidy up their loose ends. The style wears a little thin by the end, as the songwriting on side two doesnt really offer anything new. Still, this is something most of you will enjoy. It has some similarities to the more satirical and pop-oriented Rabble, also from Montreal. [AM] ~~~ This one has a pretty good reputation, but I was somewhat disappointed with it. It opens strongly with some fairly complex and atmospheric UK artrock excursions with classical influences in the typical Procol Harum/Moody Blues school; skillful keyboard and piercing fuzz themes keep your attention. Unfortunately someone, probably the vocalist, decided that something more was needed, which means that bad sub-Justin Hayward crooner laments pop up where there should have been more instrumentals. The guy's voice isn't half as good as he thinks it is, constantly hitting the wrong notes and straining in true amateur night fashion. The songwriting for these numbers is kind of lame too, with a remarkable lowpoint hit in what sounds like someone's drunken halfspeed karaoke reworking of the Hollies' old "Yes I will". When Mr Wayward keeps quiet or slides into a more balanced approach the music regains its footing, with a playful inventiveness and semi-avantgardism which is reasonably cutting edge for 1969. All over though, an album such as Aggregation on LHI shows how to handle and overcome the traps that pour sugar in the Medium gas tank. Still worth checking out cheaply, and may appeal to fans of early prog, but I wouldn't set my expectations too high. [PL] V.A "MEET THE LIVELY ONES" (Canada)

"Meet The Lively Ones" 1965 (Capitol DJ 100) [thin paper cover] Obscure promo-only sampler of Canadian beat bands including early Sparrow(s), Wes Dakus Rebels, Big

Town Boys, Staccatos, Barry Allen, Diane Leigh, and Robbie Lane & the Disciples. MARK MELANSON (NY) "Haunted Hearse" 1970 (Color Esoterics) [insert] Real people/outsider folk with "Irish gravedigger vocals", echo effects and more. Highly rated by some. MELCHIOR ALIAS(Montreal, Canada) "Melchior Alias" 1969 (Capitol 70024) [gatefold; insert] Somewhat legendary French-Canadian LP with French vocals, electronic psych and freak-rock. MELISMA ( ) "Like Trolls" 1978 (no label) Seldom seen local folk/prog, housed in nice pencildrawn cover. MELOFIN (WV) "Ivan Tale" 1984 (Sky Spy Studio) The 1984 date belies the sound of this interesting and unique record. Influences come from UK folk, UK prog and US folk-rock. The singer sounds very British, like a mixture of Roy Harper, John Lennon and an oboe. A wide range of instruments including mandolin, tasteful synthesizer, and many percussion devices color the sound of the music, which is about half acoustic, half electric. The lack of lead guitar on most songs makes the few solos and guitar hooks more powerful than they might be in another context. A couple of the songs are overlong (everything here has a leisurely pace to it), but for the most part this is lovely and ethereal. I've seen comparisons to the Strawbs and Jethro Tull, and that's not too far off. How much you like it will depend on how you respond to the unusual singer, but this is a pretty neat album with a timeless feel. The back cover photo shows the four least likely looking rock and rollers you'll ever see. [AM] DAVID & TINA MELTZER (San Francisco, CA) "Poet Song" 1969 (Vanguard sd-6519) "Poet Song" 1999 (Akarma 054, Italy) "Serpent Power/Poet Song" 1999 (CD Akarma 053/054, Italy) [2on-1] Obscure follow-up to the Serpent Power LP by the main

duo, like that band still somewhat underrated. He reads some of his poetry which may turn some off though the poems are brief and enjoyable (he's a published poet with roots in the 1950s beat era), and do not detract from the excellent folkpsych songs that make up the bulk of the LP. Less poppy and more meditative than the earlier album, some tracks are truly great. Worth checking out. A Canadian pressing exists. There was also a children's LP titled "Faces" (Folkways, 1984) with Tina's vocals, guitar, and banjo playing. [PL] "Green Morning" 199 (RD Records 5, Switzerland) [500p] This is the Meltzers' unreleased 2nd LP, recorded in 1970 for Capitol but never released except for an acetate. MENDELBAUM (Madison, WI) "Mendelbaum" 2002 (Shadoks 034, Germany, 2LPs) [450p] "Mendelbaum" 2003 (CD Shadoks 034, Germany, 2CDs) Previously unreleased material, one disc studio, one disc live, from obscure Midwest band who moved to the Bay Area and cut some demos and played the ballrooms. Most of this falls into an unexceptional late 60s rock-club sound, like you may expect from a Fillmore support act. Proto-heavy transition sounds with typical guitar/Hammond B3 mix, bluesy vocals, some Santana and Dead moves. The guitar-playing is above average but that's really the only thing of note here. The live stuff is slightly superior in my ears. One of Shadoks' more dubious releases, though some people have reported liking it. There was a local 45 released in WI around 1968. Both guitarist Chris Michie (previously in the Grapes Of Wrath) and drummer Keith Knudsen went on to bigger things. [PL] MERCURY MAGIC ( ) "Mercury Magic" 1980 (Hughestone 557) Flowing hippie & prog-rock with Jaggeresque vocals, moog, sax and flute parts too. Spaced out black and white cover art is a plus. Some copies came with a bonus non-LP 7". MERKIN (Orem, UT)

"Music From Merkin Manor" 1973 (Windi 1005) "Music From Merkin Manor" 1994 (Merkin, UK) [bootleg; 350p] "Music From Merkin Manor" 1997 (CD Gear Fab gf-109) [+3

tracks] "Music From Merkin Manor" 1997 (Akarma, Italy) A real enigma, popular with many psych fans despite being easy-breezy sort of 1970s pop-psych rather than the typical heavy guitar blowouts. Some have compared this to the poppier, non-jammy side of early Santana. I have heard it many dozens of times but can't really put my finger on it - there's nothing quite like it. The LP they play at seaside resorts when all the summer visitors have left! "Take some time" is a personal favorite with a simple yet memorable guitar hook, while the sad ballad "Goodbye" has lots of admirers. A marvy negative purple/silver sleeve adds to the appeal. Recorded in LA 1972 but not released until 1973. [PL] ~~~ I recall feeling disappointed when I put this LP on the platter having eagerly purchased the first reissue. I had read descriptions of the two copies auctioned in lists that featured those four words heavy, psych, private and monster. This was not what Id expected. My initial disappointment gradually gave way to love and wonder. It was certainly three of these overused descriptors and with that thunderous and yet twangy bass it was genuinely heavy. The impression left when the stylus reaches the end is that of very, very happy musicians playing together and having the times of their lives. Like their label mates Creation Of Sunlight this oozes good vibes from every groove. Theres a lounge feel on some tracks like "Ruby" and "Sweet Country". The sound is very professional, but those tunes, boy, they had some great and sometimes brilliant ones up their sleeves. You will be humming them all day. Nothing else really sounds like this LP, it is as if innocent sixties youths had been lifted out of their dream and placed in bed with a well-meaning whore with a heart. It occupies that fruitful transition phase between psychedelic pop and more meaningful, heavy music of the early seventies. Has the reverse negative sleeve to end all reverse negative sleeves. Special as it comes. [RI] MERRY AIRBRAKES (MA)

"Merry Airbrakes" 1973 (St George International 06) [100p; insert; blank back cover] "Merry Airbrakes" 1999 (Shadoks 002, Germany) [450p; altered cover] "Merry Airbrakes" 2000 (CD Shadoks/NOrmal, Germany) Folk blues cooker with Vietnam concerns. Organ, slide guitar, harmonica. Some copies came without cover, others have handmade embellishments. [RM]

V.A "MERRY CHRISTMAS" (WA) "Merry Christmas" 1965 (Etiquette 025) "Merry Christmas" 1984 (Etiquette) Local Northwest X-Mas comp from label made famous by the Sonics. Gerry Roslie and the boys supply four unique tracks of which one has appeared on "Back From The Grave". All can also be found as bonus tracks on recent Sonics reissues. In addition there's some charming yuletide stuff from the Wailers and the Galaxies. One of the most expensive originals on Etiquette. LES MERSEY'S (Montreal, Canada) "Mersey's" 1967 (DSP 417) Well-produced French-Canadian pop/beat with Michael Pagliaro, sung in French. Several Beatles covers. The band also had many 45s. MESSAGE ( ) "It'll Be Awhile" 1981 (Black Gold) The production on this private press hard rocker is crude, which makes the obvious 80s touches (mostly the lead guitar sound) somewhat less slick. They obviously have some prog aspirations, and have some interesting synth breaks and thoughtful instrumentals. The bass player obviously had listened to a lot of Yes albums. The lead guitar playing is often on the level of Id (of "Where Are We Going"), though, fast and spastic without any attention to melody or hooks. Basically their ideas are well beyond their ability or songwriting sense, which is kind of charming but not compelling on multiple listens. One song is a long acoustic guitar solo, and only about half of this album is vocal (and those vocals aren't particularly good). A bit different from your average hard rock album, but like, for example, Ixt Adux, it's not especially successful. The label was based in New Mexico. [AM] MESSENDGER (GA) "Messendger" 1982 (Jab 111) This one is hyped as one of the best 80s rock albums, and usually described as sounding like a 70s band. That's just dealer hype, as it sounds completely 1980s to me. The songs and playing are pretty good, but the guitar tone is annoyingly of its time and there's nothing here good enough to make it really rise to the top of the heap. [AM] MESSENGERS & GOOD NEWS (VT)

Messengers.j (66853 bytes)

"Born Again" 1971 (House VV 6285) [insert] Split LP of two Christian bands, both enjoyable, Messengers in a British 60s style with some fuzz and standout track "The right way", Good News in a acoustic folk duo direction. The sleeve uses the same Jesus face image as the first Agape LP. METZ(TX) "Metz" 1974 (Chrome Star 1001) Very obscure Texas 70s bluesy rock with supposedly Johnny Winter guesting. There may be two cover variants for this title, one standard cover with large 'Metz' in script and a plain cover with stamped title. M.H.S ROCK (NJ) "On Record" 1981 (RPC 574292) Seven tracks by seven different bands from Manasquan High School in New Jersey. Bands include Armadillo, Pegasus, Dead-End, Voyager, Runaways, Alternate Route, Mersey. Almost the entire LP has an early to mid 70's sound with some heavy psych tracks. Only a handful of copies have turned up and being released on RPC it's probably a micro pressing. MICAH (NY) "I'm Only One Man" 1971 (Sterling Award 1001) Depressing organ/guitar progrock with sidelong tracks and some interesting passages. The sound is a bit Santana-influenced, but mainly one for local prog hardrock fans. They also had a 45 edited from the LP. MICHAEL ANGELO (Kansas City, MO) "Michael Angelo" 1977 (Guinn 1050) [1000p] "Michael Angelo" 1997 (Guinn, Germany) [bootleg; 450#d] "Michael Angelo" 2005 (Void 036) [+1 track] Fabulous dreamy psych-flavored folkrock and anglo-pop shrouded in the early hippie vibe despite the vintage. Light and melodic in an L.A '67 & Donovan direction, while the lyrics hint at darker dimensions beneath the seductive surface. Possible points of reference are Bobb Trimble and the 2nd side of Marcus-House Of Trax, and don't doubt for a minute

this is just as good. Use of piano on some tracks bring in a singer/songwriter sound, while retaining the 60s feel. Very solid and well-written LP that is loved by many, one of the classics of the local/private press field, and one that may also appeal to fans of the Shoes and similar melodic mid70s pop sounds. Sespite its deluxe profile the German reissue is somewhat inferior in sound. An album of previously unreleased material titled "Sorcerer's Dream" (Void, 1999) may be worth checking out for fans of the Guinn album. [PL] ~~~ Side one of this album is as good as anything, a truly lovely blend of pop, folk-rock and light psychedelia. Like the best music, it's of its time but evokes many great artists from before its time. He has a terrific voice too. Like Anonymous this is just plain great songwriting and performance, and whatever may or may not be psychedelic is secondary. Side two is pretty great too, but repeats a few of the ideas from the first side, and overall this maybe ends up being a notch below Zerfas or Anonymous, which still makes it in the top 10 or so for private press LPs. It's something everyone should hear. A CD reissue would be very welcome. [AM] MICHAELO (CA) "Michaelo" 1976 (Tomorrow tvi-140) Here's another cool album on a mysterious tax loss label (and by far the best album on Tomorrow). For the most part, it's singer-songwriter stuff with a strong Van Morrison influence, with a nice acoustic/electric mix and some tasty organ. The vocals are excellent and the songs, while simple in structure, hit some nice grooves and are quite hypnotic. What makes the album appeal to psych collectors is "Mystic Rider," which varies the style a bit with some great dreamy echo-laden lead guitar. It's the best song on a solid album. For those of you who can't find (or afford) the album, it was given a major label release on London Records #660, under the artist's real name, Michael O'Gara. It includes "Gunfighter" which is missing from this Tomorrow label release (despite being listed on the cover), but instead omits "Naked Circumstances," so you need both releases to get all tracks. [AM] LUCINE MICHAELS ( ) "Turning Point" 196 (Koinonia 142626) [gatefold] Heartfelt album dedicated to the assassinated leader of the Koinonia organization. At times the lyrics are almost too sincere to take, but theres real charm in the optimistic idealism here. I doubt youd hear anything like it today, especially the song about poor little Leroy, a discriminated-against black boy. Lucines vocals are similar to a lot of Xian singers pretty but without much soul. They dont work for me, but do seem to fit with her songs. More of an interesting artifact and timepiece than an especially

good album. [AM] MICHAELS & HACK (MD)

"Back To Back" 1978 (Mellow Magic 1) [insert] Trippy hippie duo doing spacy folk floaters with fuzz guitar, echoed vocals, and treated sounds. MICHELE (Los Angeles, CA) "Saturn Rings" 1969 (ABC s-684) "Saturn Rings" 199 (ABC, Japan) This hodgepodge of an album ranges from soft rock to heavy acid guitar freakouts. Three songs are taken straight from the first Sagittarius album, apparently the exact same takes but with additional instrumentation and Michele's lovely vocals. Some electric violin here and there is pretty cool, and a few songs have a really nice late-night dreamy vibe. It's not exactly consistent, but this is mostly terrific, to my ears as good as either Sagittarius album or the Millenium album, and much tougher. Some LA heavyweights help out. [AM] MIDNIGHT (IL)

"Into The Night" 1977 (no label KM 1787) [1000p] "Into The Night" 1996 (no label) [bootleg] Local Chicago garage hardrock with a Doorsy '69-70 sound despite the release year. Covers all the bases with lots of rocking stuff, some moody introspectives, boogie moves, a doomy Sabbathish attempt etc. Pretty decent for the genre and a cool mid-60s Vox organ sound all through is a plus.[PL] MIJ ( ) "Color By The Number" 1969 (ESP 1098) "Color By The Number" 199 (CD ZYX)

Jim Holberg doing mystic folk weirdness with spooky, echoed vocals that has dubbed him the "Yodeling Astrologer". Less art/avant and more genuinely strange than most ESP releases, worth checking out for fringe fans. Issued in a color by number cover. MILKWOOD see Under Milkwood MILKWOOD (CA) "Another Sunday" 1979 (no label) Folk with 12-string, flute and mixed male/female vocals. MILKWOOD TAPESTRY (NY) "Milkwood Tapestry" 1969 (Metromedia md-1007) [gatefold; wlp exists] Milkwood Tapestrys only album is a weird mix of baroque ballads and frantic fuzz-guitar screamers. The combination doesnt really work very well, especially since the ballads outnumber the noisier songs. The singer is a little too operatic to be appealing in either context, and overall this album is an interesting misfire. Still, a few songs, especially Beyond The Twelve Mile Zone, are pretty cool, and some of the arrangements are quite original. Close listens will be marginally rewarding, but also somewhat frustrating. Great song titles. [AM] MILLARD & DYCE(Baltimore, MD) "Millard & Dyce" 1973 (Century Kaymar Dyce 7-265) Mix of electric and acoustic folk blues, with three guitars and bass. A Century custom, sometimes listed as on Kaymar only. MILLENNIUM (Los Angeles, CA) "Begin" 1968 (Columbia cs-9663) [360 Sound label] "Begin" 1990 (CD Columbia) [+2 tracks] This is generally considered to be the Boettcher/Usher masterpiece, though like the Sagittarius albums it's pretty spotty. It does have a remarkable timeless production quality to it, and when it's good, as on the amazing "It's You," it's as thrilling as pop can get. Otherwise, though, there's a definite wimpiness to these albums, and the songwriting is inconsistent. My lingering feeling is that if the best songs from all of them were mixed together into one compliation it would be heavenly, good enough to make up for the lack of, um, rock. As

it is, this is definitely worthwhile and is recommended, but it's not a five star record. [AM] MILLENNIUM (TX) "Millennium" 1973 (Shekinah 1512) Christian quartet in a prog-rock direction with lots of keyboard. "MILLION DOLLAR MONKEY ON MY BACK" ( ) "Million Dollar Monkey On My Back" 1971 (no label) Spoken word anti-drug rap with ex-heroin addict, some musical background. MILL SUPPLY (Montreal, Canada) "Mill Supply" 1971 (Crescent Street 1860) "Satan wont you help me get in, Im coming on down". Satan opens Side 1 and left my jaw slack with amazement. It sounds like a lounge-crazed, heavier Dead making a pact with The Beast. The Christian lyrics on the track Memories make you wonder if they are coming from Above or from Below. Sleeve notes about an interest in Choir singing and the Occult clarify nothing. This is a very solid LP with some exceptional vocals and nice twangy bass lines (a bit like Merkin in places). Bedtime Stories is almost as unsettling as Satan. Side 2 is loungier and poppier, with Voyage to Bhagdad and the drugged Spider being especially interesting. The LP closes with an amazing, sneering, downer Henry was a Loser. Well worth tracking down. [RI] V.A "MILWAUKEE SENTINEL" (Milwaukee, WI)

"Milwaukee Sentinel" 1966 (Century 23214) Battle Of The Bands LP with 12 obscure bands and terrible sound quality. Bands include the Radicals, the Patriots, the Ethics, the Woodsmen, etc. Mostly r'n'b and soul covers. MINETTE (NY) "Come to me at Tea Time" 1968 (Collectors Choice CCR VOL 1) Rare LP of psychedelic cocktail lounge music by

female impersonator. MIKE MINGO(OH) "To All My Friends" 1976 (private) Strange folkrock/rock with wah-wah and organ by army veteran in a crude paste-on cover. MINSTREL STRING GUILD (WA) "The Nightbirds Are Screaming" 1976 (no label) [insert] Folkrock and singer-songwriter from sibling duo with fuzz and some captivating female vocals. There is a second LP from 1977, "Music Swims Back To Me". MIRTHRANDIR (NJ) "For You, The Old Women" 1976 (Mirthrandir 2276) [insert] "For You, The Old Women" 199 (CD Syn-Phonic) Symphonic progressive with good and heavy chaotic runs. Dual guitar, synth, flute. LES MISERABLES (Quebec, Canada) "Les Miserables" 1967 (Jupiter JDY-7011) "Les Miserables" 1999 (No Tyme, Italy) [+bonus tracks] Highly enjoyable garage & beat from moody FrenchCanadian punks, with dynamite 3-chord action on the best tracks, such as the two-fisted punch of "Chemises" and "Miserablement votre", both of which could have fit on any garage comp, with snotty vocals, a stripped-down garage sound, and a dynamite Bo Diddley mid-section on the latter. "Vivre avec toi" is another great track in the same fuzzed style, while the excellent "Ecoute-moi" brings in a driving Spencer Davis Group organ club groove. Although essentially a Brit-styled band, they are somewhat less Stones-inspired than Les Differents, with a bit of Yardbirds & Beatles influence reminiscent of upscale Euro-beat bands such as the Mascots or the Motions. Just to screw with this theory, there is a French-language version of "Tell me", and indeed the reissue CD contains a whole bunch of Frenchified versions of current hits like "The letter", "Western union" and (sadly) "When a man loves a woman". Some discrimination is needed when swinging with Les Miserables, but ultimately they were a respectworthy band that need to be checked out by any fan of prepsychedelic 60s sounds, provided you can handle the French-only vocals. They also had several 45s. [PL] MISSING LINKS (MA)

"At The 5 O'Clock Lounge" 1965 (Fleetwood 3012) Obscure LP from teen-beat top 40 cover band with a tight, rocking sound that suggests many months of playing at local clubs. Covers all through from what I can tell, with the usual mixed bag of r'n'b/soul, frat, crooner ballads and a few glances at the British Invasion. Band had enough selfconfidence to add small but significant personal touches to several numbers. Hippest selections are "Just a little" and "For your love" while "What I'd say" proclaiming that "the Missing Links are in town" packs plenty of charm. They also do the most credible whiteboy version of "Earth angel" around, although this may not wow hip garage fiends who bump into this album looking for "fuzz" and finding none. Comparable to the Justice and early prep-rock LPs and more professional than the genre average. [PL] MISSION SINGERS ( ) "Everything's Just Fine... Or Is It?" 1967 (Catholic Relief Services) Four Catholic priests with electric guitars! The LP was issued to raise money for the Catholic Relief Overseas Aid Fund Appeal. Notable for the atypical closing track Reconciliation, a garage psych beast. There is a second LP with folkrock and probing discussion of the lyrics, "Disco-Teach" (Celebrities, 1969). [RM] MISSISSIPPI (NY/CA) "Velvet Sandpaper" 1973(Taurus 169) "Velvet Sandpaper" 199 (Taurus, Austria) [bootleg; altered cover] "Velvet Sandpaper / White Light" 1998 (CD Two Of Us 001, Germany) [2-on-1] Obscure LP from ex-White Light vocalist with unusual worldweary "older guys" sound and titles such as "Mistrust-Separation-Divorce". Hard to describe accurately, but traces of late-period Doors and Tim Buckley can be found on things like the excellent "Blue Love". Comparable to the experience of sharing a drink with a stranger down on his luck at a desolate nightclub, then seeing him actually get up on stage and sing a few songs about his misfortunes as the closing hour approaches. Also a harder fuzz edge with creeping menace on a couple of tracks such as the terrific "Light", and some hints of the barrock groove aspirations of White Light, but these are exceptions to the overall scotch-laden introspection Mr Mississippi projects. Pro-sounding band and vocals that hit just the right spot. This strikes me as a lot better than the White Light LP, and it's strange that it hasn't become more well-

known. Originally from New York, Gary "Mississippi" Abrams recorded this album in California 1973 with two completely separate sets of musicians. In 1980 he released another LP titled "Breaking Out". He worked with the Perron Brothers (White Light) for several years under various band names. There are also 3 nonLP 45s. [PL] ~~~ Here we have two great albums in one. Side one, with one band, is a terrific singer songwriter album with mainstream tendencies and great songwriting (the Chris Isaak-like "Blue Love" and the funky "Heat Chills" are particularly good). Side two, with another band, rocks harder, has some freaky moments and is equally as well-written. Abrahms is a vocal chameleon, sounding like Johnny Cash one moment, Jim Morrison another, and also alternately sounding 50 and 20. There's a pretty wide range of styles here, but it coheres. It has top shelf production for a private press, and both bands are hot. Highly recommended. [AM] ~~~ see -> White Light MISSOURI DIRT( ) "It's For You" 1977 (Ilmo) This album looks like its going to be really sleazy, as its obviously the work of drunken rural dudes who are more in love with their shotguns and whiskey than their girlfriends, but unfortunately its rather bland and not very well played bar rock. It lacks the kind of heavy guitar that would have given the sleazy lyrics some bite. I wouldnt say it to their face, but this music is disappointingly wimpy. Illinois label. [AM] MISTREATER (OH) "Hell's Fire" 1981 (no label CPI 1280) Hardrock/metal. The band also had a 45 on the wellknown 700 West label. MISTRESS (CA) "New Ground" 2005 (RD Records 17, Switzerland) [insert] Post-Country Weather band with a shortlived career, captured here with unreleased 1973 material of 70s post-psychedelic Bay Area rock. There was also a 1996 release from Taxim ("Free Flyte", Germany) MIZZOURI FOXX (MO/CA) "Mizzouri Foxx" 197 (no label)

"Trapped Live" 1979 (Brother Studio) Hard guitar/organ bar-rock with a Deep Purple sound from band who moved to SoCal from small-town Missouri. The second LP is recorded live and was released on the same label as Chakra. MOBIUS STRIP ( ) "Mobius Strip" 1982 (Nervous) Basement AOR/ hardrock with high pitched vocals. MOCK DUCK (Vancouver, BC) "Test Record" "Test Record" "Test Record" "Test Record" tracks] 1969 2001 2001 2001 (no label, acetate) (Gear Fab 154, 2LPs) [+bonus tracks] (CD Gear Fab 154) [+bonus tracks] (Gear Fab/Comet 4072, Italy) [+bonus

One of several interesting bands from Vancouver's remarkable late 1960s freak scene. Unfortunately the 45 "Do-Re-Mi" is about the only really good thing they did, the acetate material is disappointing jazzrock and blues excursions, as is the other live stuff added for the reissue. Rarity and legend factor may dictate certain releases, but a double LP was hardly called for. MOD & THE ROCKERS (MD) "Now" 1967 (Justice 153) "Now" 1994 (CD Collectables 0618) With a name like that you'd expect at least some recognition of "the new sound from England", and indeed these guys are really hip by Southeast standards, covering the Zombies and the Beau Brummels in addition to an unusual and great arrangement on "Gloria" that's based on Them rather than the Shadows Of Knight. The LP opens with a '66-sounding garage fuzz winner and the band has a tight club sound with organ and a strained soul-punk vocalist. The recording is better than most Justices and this could have been a winner, except that they manage to spoil the party with several lame ballads from a bygone era. Too bad. [PL] MODALITY STEW (Vancouver, WA)

"Modality Stew" 1978 (UMP) [booklet; 1000p] Predominantly instrumental acoustic raga folk with an improvisational bent and quirky humor in the song titles. Versatile playing and rich instrumentation with sitars, bells, tablas, flute and more creates an appealing soundscape although it does seem a little late for this type of music. Vocals on first and last track makes you wish they'd sung more, still a cool item and mandatory for genre fans; clearly superior to something like Peter Stark. Features exSpikedrivers member Sid Brown. [PL] ~~~ Mostly intrumental, eastern-themed folk album that meanders quite a bit but has its moments. Ends with a really fantastic acid folk song. The singing is appealing; too bad there isn't more of it. This album is somewhat of frustrating because it's so off-hand, and some of it is pretty boring, but the good parts are better than most anything you'll hear in the style. [AM] ~~~ see -> Peace, Bread, and Land Band; Spikedrivers MODERN SOUNDS ( ) "Famous Songs of Hank Williams" 1969 (Alshire S-5136) This is probably the most ridiculous of all of the 60s exploito albums, and that's saying a lot. The album cover tells the whole story: "Famous Songs of Hank Williams; a return trip with Modern Sounds; with exciting vocals; in modern rock-acid sound." These words surround a photo of a hippie girl feeding red and blue sugar cubes to a horse. The liner notes appear to have been written by a marketing agent who's never actually heard rock and roll. The songs, which are very well played, transform Williams' compositions to organ-heavy rock-soul, kind of like what the Detroit Wheels would sound like if they replaced Mitch Ryder with a country singer and added a fuzz-happy guitar player. The fuzz on "Your Bucket's Got A Hole In It" and "Long Gone Lonesome Blues" is truly wonderful, and a few songs have effective raveups. Side two is better than side one, so stick with this and you're in for a heap of fun. The back cover notes say "the whole idea of this album is to bring Hank's great music to the modern young generation," but it's more intriguing to imagine this album bringing red and blue sugar cubes to the geriatric country music generation. See the Animated Egg entry for more LPs from this scene. [AM] DAN MODLIN & DAVE SCOTT (IN) "The Train Don't Stop Here Anymore" 1976 (700 West 760715) [500p] Interesting LP on the same label as Zerfas; ambitious, pro-sounding Americana/singer-songwriter in a westcoast style comparable to Dillard & Clark or Brewer & Shipley. Not psychedelic in any way, but not

quite countryrock either. Music has rich guitar and banjo tapestries, solid rhythm section, some stray keyboard flourishes and fine arrangements. Nevertheless this must rank as a bit of an aquired taste as the whole album is based on a romantic notion of a bygone hobo/drifter lifestyle which seems a bit clichd to me. The band was serious enough about this concept to have a real life old-timer reminisce briefly in spoken word about the "good ol' days" in a thick Okie accent that's hard to decipher. At one point he sounds just like the bizarre spoken bit at the end of the Kaplan Bros' "Nightbird", and this is not a good thing. The band's vocals are good but suffer slightly from similar boxcar/bourbon posturing, and while the harmonies work they're not up to the level of the big LA bands in the style. I like this LP but am somewhat annoyed by the presentation. [PL] ~~~ This highly regarded rural rock album really is one of the best in the genre. It's not country rock, but rather laid back 70s rock with strong vocals and a very mild nod in the country direction. The usual 700 West high-quality production makes it sound as professional as an Eagles album. Though it's a concept album about hobos and drifters, these guys sound way too practiced and educated to know anything about the subject, and two spoken bits by a real hobo are incoherent and distracting. Other than those bits, though, you could listen to the whole album without noticing the theme, as most of the lyrics are smart enough to allow for multiple interpretations. This album is melodically sharp and instrumentally sound. It's very, very good. However, when people say it's "better than Zerfas," that's because they don't particularly like Zerfas, not because it actually *is* better. [AM] MOFOYA (HI) "Send A Message" 1979 (no label) Obscurity from Hawaii with melodic progressive rock, some hard guitar, flutes and female vocals. MOGAN DAVID & HIS WINOS (Boston, MA) "Savage Young Winos" 1973 (Kosher 001) [inserts] This band was led by Harold Bronson, who would go on to run Rhino Records. The album was released in 1973, upon the band's demise, and is a mishmash of whatever material they could pull together. The packaging is really cool and funny and worth the price of the LP. It's chock full of notes and inserts, all of which are a kick. The music on the LP is erratic, since they had to dig the depths for enough material to fill 40 minutes. The first four songs are from their last singles, and are by far the best songs on the album, terrific garage pop with funny lyrics and a proto-punk feel. Side one is filled out by four earlier recordings (one dating back to 1969) that are extremely low-fidelity and sloppily performed

novelties. One is called "Nose Job," and two others are obviously inspired by the Bonzo Dog Band. Fun, but not as exciting as the songs that came before. Side two is mostly a live performance of energetic but unimaginative cover versions of well-known songs. The final song is a home recording (even cheaper sounding than the live recording) of a comic blues song, which is OK but overlong. Obviously, only some of this is worth hearing, but the single sides and the liner notes make it a cool artifact. By the way, there's a little bonus at the end of side two, so don't lift the needle before it's over. [AM] MOHS (NM) "The Unexamined Life is Not Worth Living" 1979 (no label) Little-known college project-type album that has some of the usual counterculture brainstorms of the genre but is dominated by excellent local hippiefolk sounds with obvious psych overtones. Male/female vocals are very good, as is the songwriting and the arrangements which include flute and violin. Mix of westcoasty folk and vintage Brit moves a la Shide & Acorn, plus a hispanic element that may derive from the New Mex locale. Two weaker tracks, rest is highly appealing. A worthwhile addition to the late 1970s folkpsych roster alongside Modality Stew, Yellow Autumn, etc. [PL] MOLES(FL) "Moles" 1971 (Bandwagon DRP-1566) [color portraits cover] "The Early Moles" 1973 (Sacrana NRS 5400) [altered cover] Guitar/Hammond-B3 bluesy and psychy rock with several good tracks and originals all through, some horns. The retitled second version is rare in its own right, although the press size has been reported as everywhere between 500 and 2000 copies.

MOLKIE COLE (Cleveland, OH) "Demo" 1975 (Owl) [plain cover] Demo LP with 4 tracks of progressive rock and AOR with an eclectic mid-70s bag of tricks, guitar, some synth. The band played for many years and opened for national acts, and also had a selftitled LP on Janus in 1977. Only one copy known to exist of this demo. MOLOCH (Memphis, TN) "Moloch" 1969 (Enterprise ens-1002) "Moloch" 200 (CD Lizard Records LR 0712-2) Hard bluesrock with a lot of fuzz guitar and the

original version of the much-covered Goin Down. Pretty good stuff for the most part, though there are a few duds thrown in. The most effective songs are the shorter, more effects-laden ones. Don Nix was involved in this one. There was also a local post-LP 45 in the same style. [AM] SCOTT MOMENTHY (Chicago, IL) "Way Past Time" 1977 (Pepperhead) [lyrics] Melancholy acoustic guitar loner folk with real people depth. Simple yet striking horror cover design. V.A "MONEY MUSIC" (Minneapolis, MN)

"Money Music" 1967 (August 100) This legendary local Minneapolis area comp is where many 1980s garage compilers (especially of the "Changes" LP) got their stuff rather than the 45s. In retrospect it is totally unreal with a line-up including C.A Quintet, Bedlam Four, Electras, T.C Atlantic and other legendary garage & acid punks from the area. Among the less familiar stuff is some quickie garbage but also a good "Hey Joe" by the Stillroven. There you go - an original 60s sampler that blows most 1980s-90s comps away. Very rare. [PL] MONSTERS (Montreal, Canada) "Beat 'n' Hits" 1965 (Royal 3507) Seldom seen LP in the typical Quebec mid-60s Merseybeat style, with French vocals. "Le Theme Du Cimetiere" is as spooky as they got. CHRISTOPHER MONTGOMERY (CT) "Connecticut Elegy" 1971 (Burning Deck) [booklet] Little-known but interesting loner/fringe urban folk trip full of quirky snapshots from the bleak early 1970s. Lyrics are offbeat with plenty of surprising Dylanesque twists but generally deal with garbage, city desolation, unhealthy relationships and religious apocalypse all radiating from the guy's bedroom. Stripped down demo sound with just

steelstringed guitar and a quite passable voice. Comparable to Perry Leopold's "Cold in Philly" track but not quite as heavy, yet clearly better than something like Geoffrey. Recurring sense of irony and overall artistic vision makes you sympathize with the guy's total obscurity. Sample lyric: "I saw eternity the other night/And I tell you, it scared me shitless". 50+ minutes of Connecticut agoraphobia. [PL] ~~~ This certainly is a weird one. Montgomery is openly gay, and his lyrics are introspective and disturbed. Musically, though, it's utterly endless, just the same chord strummed the same way for 50 minutes, over which he sings in a monotone. It's like early Jandek if the guitar were in tune. If you connect with his world view, you may get something from it (I'm sure having the booklet to read along with it helps), but I find it numbingly dull. [AM] MONTREAL (Montreal, Canada) "Montreal" 1970 (Stormy Forest sfs-6002) Most of this album is straight ahead vocal folk/jazz, quite good (the woman has a beautiful, if unemotional, voice, and the band is outstanding), but unlikely to appeal to psych or folk-rock fans. The long closing song, though, is an absolute acid folk masterpiece, with a haunting melody, gorgeous vocal, backwards sound effects and a dreamy vibe that is completely out of this world. It doesn't exactly "fit in" with the rest, but it's a stunning song. The rest of the album is very good for what it is as well. Richie Havens produced and plays sitar and koto, while Buzz Linhart sits in on vibes. A Canadian pressing also exists. [AM] MOODS(Luling, TX) "Live at Turner Hall" 1969 (ACR Kno Bel 1002) Full color cover obscurity with late teenbeat club sounds. Basement soul covers with a couple country tunes and frat throwbacks. Has a short fuzz break on "Hey Joe". MOOLAH (New York City, NY) "Woe Ye Demons Possessed" 1974 (Annuit Coeptus) I can't for the life of me explain why I like this album so much, but I do. It's made up of long instrumentals with no melodies, no structure, disarmingly out of rhythm drums, and no guitars or bass. It sounds like it could have been made up entirely on the spot with no rehearsal by people who don't know how to play their instruments. But it also sounds like it every note could have been planned carefully with an unknown purpose in mind. All of the

songs have white noise backgrounds, and waves of synthesizer and piano creep in like a bad dream. Echo effects create a sinister, creepy atmosphere. Ultimately, it's fascinating and compulsive. Maybe it puts a hex on the listener. Often compared to Krautrock, but it's really a thing of its own. "Mirror's" (sic) is unrelentingly intense. [AM]

TRAVIS MOON BAND ( ) "Big Train Rollin'" 1982 (Jammin' jlp-5001) Southern sound heavy guitar and organ jamming, some slide moves in the wake of the Allman Bros, some harder moves. MOONLIGHTERS (Nashua, NH) "An Evening With" 1964 (Century 29132) Alvin High School lounge prep rock instrumentals with trumpet from the Century vanity label. MOONLYTE (Philadelphia, PA) "Better Late Than Never" 197 (Astro 217) Early 70s Latino band doing half an album's worth of killer mysterioso groove late night funk/soul/rock, while the other half is latino material sung in Spanish. Very obscure album. [PL]

MOON PIE DANCE BAND ( ) "Enchanted Mesa" 1978 (Goldust lps-174) Rural rock with flowing guitar housed in a striking color fantasy cover. Possibly from New Mexico. The cover actually says "Daince" rather than "Dance". MOONSTONE (Canada) "Moonstone" 1973 (Kotai 3003) Dreamy folk album from up north, sounds as cold as its place of origin. The female vocals are operatic and annoying, but when everyone sings together this has moments that can be quite compelling. Some of the songs are lovely and unique. I find it to be a mixed bag, with side two considerably better than side one. If you can stand the singing style you might like it more than that. [AM]

MOONSTONE(PA) "Moonstone" 1977 (Baldwin CS 8200) Hardrock/AOR with keyboard and some prog moves, has been compared to early Kansas. JEFF MOORE & FRIENDS (Canada) "The Youngest Son" 1974 (no label 07-42031) "The Youngest Son" 2003 (Orange Doubledome) [300p] High school project. Acoustic and dreamy folkrock, mixed vocals. LES MOORE (New Orleans, LA) "Yesterday" 197 (Natural 2154) Loner folk local recorded in his home direct to two track. just a guy his guitar and dark thoughts. some Leopoldian moments and a scary jump into the abyss long version of "A Day in the Life". [RM] R STEVIE MOORE (Nashville, TN) "Phonography" 1976 (Vital 0001) [b & w collage cover; blank back; 3 inserts; 100p] "Phonography" 1978 (HP 30734) [2nd press; b & w portrait cover] "Phonography" 1998 (CD Flamingo) [+bonus tracks] "Delicate Tension" 1978 (HP 30735) "Delicate Tension" 2004 (CD Cordelia 036, UK) R Stevie Moore is the all-time king of do-it-yourself recordings, as for thirty years he produced home made cassettes and sold them to his cult audience. He produced literally hundreds of 60 minute albums. Obviously anyone who never throws away a single idea is unlikely to have particularly consistent albums, but his occasional LP releases are best-ofs from his tapes. The two LPs that will be most of interest to Archive readers are "Phonography" and "Delicate Tension", his earliest LPs on his own label. Moore's music is basically guitar pop with quirky lyrics, even quirkier arrangements, and all sorts of weirdness (i.e. spoken sections, sound effects) thrown in between. He's comparable to oddball bands like, for example, Oho, except that he has much more of a knack for a pop hook than any post-Zappa or semi-prog weirdos. It's conceivable that he could have had mainstream success if the breaks went his way, but he also tended to sabotage such possibilities (i.e. his catchiest pop song is called "I Wanna Hit You"). He's a long-time favorite of Trouser Press editor Ira Robbins. "Phonography" is a great introduction to his music, with a number of strong songs, all sorts of weird interludes, and a

killer guitar-heavy cover of the Andy Griffith Theme. "Delicate Tension" is even better, a wild mix of pop, prog, short experimental rock and even punk. It's chock full of bizarre songs with clever lyrics. Moore has a bunch of later releases that compile music from the late 70s, and also a few 80s and 90s albums of varying quality. A mid-80s album entitled "Teenage Spectacular" is also very good. If you like these early albums, there's a world of R. Stevie to discover via his tape club. A 12" 4-track EP was also released from "Phonography" in 1978. [AM] MOOSETRACKS (Canada) "Moosetracks" 1972 (Barge) [200p] Introspective downer folk with psych moves and an echoey basement production.Mostly acoustic, one track has some wah-wah outbursts. All originals except one. Primitive packaging with stamped plain front cover and paste-on back. MOREY STORE BAND (MI)

"Cry For The Dreamer" 1979 (Sound Machine 49007) Bluesy barband hardrock with ripping guitar and organ. MORGEN (New York City, NY) "Morgen" "Morgen" "Morgen" "Morgen" "Morgen" 1969 199 199 2003 2003 (Probe 4507) [gatefold; foldout insert] (Probe, France) [bootleg] (CD Eva, France) (Radioactive 008, UK) (CD Radioactive 008, UK)

We've been referring to this LP a lot here in the Archives and it is a definite yardstick for the late 60s guitar psych style. Despite its major label origins the sound is remarkably raw and garagey, with no compromises anywhere. Some rate it as the best major label LP all over and it sure blows a lot of mega-rarities away, as well as ALL the LA heavy psych competition from the same era, with an intense and genuinely psychedelic mood. Punky vocals, great and highly original material (especially on side 1), acid guitars that won't quit - I can't see anyone into psych not digging this. Incidentallly, none of the reissues are from mastertapes. [PL] ~~~ It's easy to explain why this is *the* best heavy

psych album: It's a hard rock album that comes from a garage tradition with no blues or heavy metal influence at all. This results in two vocal styles, both of which are superior to anything else you'll hear on a 1968 hard rock record. The first, as heard on the aptly named "Welcome To The Void," is a punky, youthful snarl that suits upbeat hard rock better than any macho swagger. The second, as heard on the also aptly named "Of Dreams," is a breathy whisper that is sexual and eerie. Steve Morgen is one horny guy, and it's hard to tell whether he's more interested in hallucinating or getting laid, but both obsessions really create a kind of urgency here that is powerful and exciting. Even the obvious Who rip at the end of side one and the long jazzy guitar solo at the end of side two work in this context. And, of course, the songwriting and fuzz guitar are absolutely top of the heap. [AM] MORLY GREY (Youngstown, OH) "The "The "The "The Only Only Only Only Truth" Truth" Truth" Truth" 1972 1986 199 199 (Starshine 69000) [1000p; poster] (Starshine) [counterfeit; poster] (CD Twilight Tone, Germany) (CD Flash 52, UK)

I've always liked this LP for its successful mix of folkrocky westcoast and heavy guitar that few groups manage to pull off. Might be too proggy for those who want 1960s garage/psych sounds but to me it's definitely worthwhile, with strong songwriting, in your face hardrock action, and atmospheric moves on the sidelong title track. One of the classic privates from Ohio, with no weaknesses. The vinyl bootleg includes the original poster and is exact enough to look like a ripoff bid, but not many were fooled; easiest tell is that the original has a wraparound front cover slick with a tan background that extends onto the back cover, while the bootleg wraparound slick's tan background color ends at the seams and turns into white on the back cover. The boot also has some crackles on side 2 from the copy that was counterfeited.There were two 45s released from the LP, and also a rare pre-LP 45, "Sleepy Softness". The band also put out a 45 of previously unreleased tracks around 1990, with an art sleeve. [PL] ~~~ Essential heavy psych rock with wonderful mix of heavy wailing and delicate wandering guitar leads. Fine vocals and drumming as well. highlighted by the anthemic title track, a 17 minute anti-war epic with watery sustain. The drummer Paul Cassidy was fired after the initial recordings. The group kept side one and re-recorded the title track with new drummer, Bob Lanave. [RM] ~~~ Strong hard rock album with some very subtle moments and excellent production for a privately pressed album. At times they sound like they could have been an effective folk-rock band if they'd chosen that route. Interesting and creative throughout. The 17minute song is surprisingly effective, and this album has hooks galore. One of the best of its kind, that rare hard rock album that mixes subtle and heavy without ever sounding uncomfortable. [AM]

MORNING DEW (Topeka, KS) "Morning Dew" 1970 (Roulette 42049) [wlp exists] "Morning Dew" 1989 (Roulette) [bootleg] "Morning Dew" 2002 (Akarma 195, Italy) "Morning Dew" 2002 (CD Akarma 195, Italy) "At Last" 2004 (Roulette/Scorpio) Midwest legends who cut a handful of great garage 45s before this swansong hippierock LP, which unfortunately was issued way too late to make any impact. Rated highly by many, it's a solid trip through Airplane/Cream /Butterfly dimensions mixing early heavy moves with strong folkrock/psych material. Lack of macho vocals is a plus, and opening "Crusader's smile" is a classic. Reminds me of the Mainstream label sound, though this is more consistent. A good LP all over, but perhaps not enough of a mindblower to warrant the big price tag. True originals have "Bell Sound" stamped in the trail-off. An original German pressing exists. There is also a sampler LP of their great 45s and unreleased tracks titled "Cut The Chatter" (Caped Crusader, 1988), and a couple of CD releases from Collectables with the album, 45s and unreleased. Caveat: despite utilizing the original album cover art, and listing the album tracks on the sleeve, the Scorpio vinyl LP contains completely different music; unreleased material plus three alternate takes of LP tracks! All this material had earlier been released by Collectables on CD. [PL] ~~~ Good but overrated album that sounds fantastic on first listen but comes down to earth once you get used to it. Mostly it's pretty mainstream, with solid vocals and performances and a few really great songs on side one. All of it is decent, but it lacks the kind of depth or originality that would give it classic status. [AM] MORNING GLORY (CA) "Two Suns Worth" 1969 (Fontana srf-67573) [promo exists] Typical westcoast Airplane/Mamas & Papas sound with male/female vocals and full-on hippie-psych vibes. A bit inconsistent, with 2-3 excellent tracks including the classic trance psych floater "Jelly Gas Flame" which must be heard, and a few duds. Not great, but better than some albums five times as expensive. Producer credit is "John Cale"! [PL] ~~~ This is a slight bit wilder than most of the Airplane-wannabe albums, with some truly ripping fuzz guitar. As with a lot of these albums it's pretty hit and miss, but the best moments on it are more genuinely psychedelic and experimental than on albums like Yankee Dollar, Ivory, Spirits & Worm, and so on. [AM] MORNINGLORY ( )

"Growing" 1972 (Toya tstlp-2001) Harmony-rich rural rock with some mild blues tendencies. Pleasant and well done but not especially exciting or memorable. Recommended to fans of the genre, but unlikely to have much appeal to others. [AM] MORNING SKY (NH) "Sea of Dreams" 1976 (SP 1110) Spacy progressive with eclectic instrumentation and female vocals. [RM] MORNING STAR (MN) "Message From the Throne" 197 ('Sound 80' s80-1071-4144s) Magnificent dreamy rural acoustic rock/psych gem from Minnesota trio. Even though there are no drums, or even electric guitar for that matter, these guys have a cutting-edge pastoral hippie/garage mood thats like an unplugged version of Wilson McKinley or Maranatha (Soon). This album is an acoustic guitar lovers dream, with long tracks that feature sharp 6-string leads backed by bass and hardy 12-string action. Mellotron adds a spacious Moody Blues/King Crimson-ish atmosphere to cuts like The First Day, His Will and The Ship Of Life. Also some great slide guitar and peppy harmonica stirring things up in a bluesy country folk-rock way on Steppin In & Steppin Out and The Conversation. The 12-string guitar gets a nice phased effect on the psychy opener Youre So Free, also with slide guitar. Shine On (With Jesus), Joy In G Major, every song a winner! Vocal harmony sounds real similar to Wilson McKinley, with straight-ahead Jesus-lovin lyrics to match. Totally homemade black-on-silver cover drawing of scroll in the sky floating above a cross on a hill, with the Biblical reference Revelation 22:16 written at the bottom. Back cover has a drawing of a van with Jesus Lives on the back, heading down The Straight and Narrow Pathway. Very rare custom record, mastered at Minnesotas Sound 80 studio. [KS] MORSE CODE TRANSMISSION(Quebec, Canada) "Morse Code Transmission" 1972 (RCA 4575) "II" 1972 (RCA 6092) [2LPs] The first album by this French-Canadian band (who would eventually change their name to Morse Code) mixes mainstream orchestrated pop with soulful hard rock. Theres great fuzz guitar on Its Never Easy To Do, but for the most part the hard rock songs are unimaginative and the vocals annoyingly macho. The pop songs are short, but pretty complex, and actually are more successful than the rockers. I even like the one that starts out as a country-styled hoe-down and

then becomes sugary AM pop. Interesting. The lyrics on this album are in English. The rarer second album is a 2LP set which moves in a progressive rock direction and may appeal to genre fans. [AM] MOSAIC (KS) "Sea Caravan" 1972 (TAL Enterprises d-12977) Dark instrumental piano and acoustic guitar folk with classical shadings. Minor chords and moody strumming latenite sound. [RM] J MOSER & THE HOTS (AZ) "For Life" 1975 (Moco Records FIT 003) This unusual private press item comes from a distinct area of American 70s rock that strangely is not all that well documented. It has soulful but white vocals (somewhat similar to Willy Deville or Willie Alexander), mildly funky rock arrangements with as many pianos as rhythm guitars, and ragged harmonies. You expect a sax solo to appear at any moment, though these guys actually use some surprising moog instead. There were tons of bands who played this kind of barband rock, but somehow it's a genre that isn't as well chronicled on record as prog, hard rock, or folk; private press albums with this sound are rare indeed. Lyrics range from horny pickup attempts to near-suicidal ruminations on the meaning of life. There are some surprising production tricks throughout, and the long title track gets way out there, with sound effects, space age electronics, freaky backing vocals, phased drums and unrestrained lead guitar. That terrific song is probably what attracted collectors to this record, but the rest of the album, while more conventional, is nearly as good. Every song is performed as if Moser's life depended on it. This is a pleasant surprise, and a record that sounds like nothing else here in the Acid Archives. The back cover photo of Moser looking like a lounge singer gives a clue that the soulful vocal style developed from the many cover versions they played on the hopeful way up. I have a soft spot for bands like this. With a few breaks they could have taken the long road to stardom like, say, Bob Seger or REO Speedwagon. [AM] MOSES (Lethbridge, Canada) "End Of The Line" 1978 (Paradise Records) Moses were a four piece band from Alberta who recorded enough material for a long album (13 songs) between 1974 and 1977, and this release was the only one by the group and contained those songs. Being somewhat wary of mid 70s private press outings I can say I wasn't too sure about this one, It was described as heavy psych and there was only a very small press, but what really is on offer here is a

sometimes below average and sometimes decent brew of westcoast guitar rock with both a left field and a commercial edge exemplified in tracks like the opener "Ballerina Dance" and the best track "Wastin' My Time" which features an outrageous long guitar solo. There are 3 to 4 or 5 at most really killer tracks here out of 13, the rest being lukewarm, but you've got to give these guys credit for trying. I didn't like this one enough to keep it after about 8 listens, and you are unlikely to ever find a copy of it. If you do, don't expect the usual boneheaded trash associated with private press rock LPs from this time, but don't expect a lost gem either. [Ben Blake Mitchner] MOTHER TUCKERS YELLOW DUCK (Vancouver, Canada) "Homegrown Stuff" 1969 (Capitol ST 6304) "Homegrown Stuff" 2000 (CD) "Starting A New Day" (1970) (Capitol ST 6352) The debut LP is excellent rural folkrock/psychrock that's still reasonably easy to score. Closest point of reference is probably Moby Grape and Kak, though this is less rocking and more mellow/stoned. Two duds, otherwise solid all through with a peak in two guitar-psych killers on side 2 that will blow your head clean off. Second LP is reported as being similar but not quite as good. They also had a great non LP 45. Some video material of the band performing five songs live on Canadian TV is in circulation and well worth tracking down. [PL] ~~~ Canadian answer to Wizards Of Kansas and other hard rocking almost-rural late 60s/early 70s bands. Side two on the debut opens with One Ring Jane an absolute classic of out of control fuzz guitar and heavy rock riffing, and not surprisingly nothing else on the album is anywhere near as good. None of it rocks nearly as hard either, so it takes a while to put it all in context. When you do, youll probably think that the spoken poem falls flat, but the rest of it is reasonably good. Not great, but not bad. [AM] MOUNTAIN BUS (Chicago, IL) "Sundance" "Sundance" "Sundance" "Sundance" 1971 198 1998 1999 (Good 101) (Good) [bootleg] (CD Gear Fab gf-115) [+5 tracks] (Akarma, Italy) [2LPs; +bonus tracks]

One of the most well-liked albums in the post-Dead rural rock bag. Jammy and loose but well-played. The vocals are in the Dead style but a little more palatable to these ears. Long cover of I Know You Rider is probably the highlight, but all of this is quite good. [AM] ~~~ see -> Sky Farmer

MOUZAKIS(Wilmington, DE) "Magic Tube" 1971 (British Main 90069) I have no idea where their name came from, but I suppose it wouldn't be easy to find an ideal moniker for this bargain basement mix of funk, soul, hard rock, 50's-style rock, jazzy prog and Christian rock. They're pretty ambitious, and the music has a contagious energy even though it isn't good. I can't figure out what the songs are actually about, but you have to appreciate a title like "Long Haired Bombardier." This album includes a spastic live recording of "Rock Around The Clock". Throughout, the cheesy-sounding organ is mixed way too loud, and the recording quality is awful. Most of the solos are really bad. The singer is better, but barely. Somehow this album isn't boring, but I wouldn't exactly recommend it. Demo copies were issued with a four page promo insert. [AM] MOVING SIDEWALKS (Houston, TX) "Flash" 1969 (Tantara 6919) [unipak] "Flash" 1980 (Tantara, Europe) [counterfeit; 300p] "99th Floor" 1982 (Eva 12002, France) [LP +bonus 45 tracks; altered cover] "Flash" 1993 (CD Afterglow 002, UK) "Flash" 1994 (CD TRC, Germany) "Flash" 199 (CD) [+bonus tracks] "Flash" 2000 (Akarma 117/2, Italy) [3-sided LP; +5 bonus tracks] "Flash" 2000 (CD Akarma 117, Italy) [+bonus tracks] If in the mood for guitar-driven late 60s blues-rock with psych moves, this is one of the best LPs in the style. For a debut album it's quite accomplished, showing a band with no weaknesses and a lot of heart in their music. The Hendrix factor becomes too heavy on tracks like "Pluto, Sept 31st", but after hearing endless generic "heavy psych" albums from the LA area it's a delight to encounter an album in the same style that sounds emotionally genuine, whether it'd be bourbon-soaked laments or acid-fried studio experiments. Though not a masterpiece, this LP has aged well. Their non-LP 45s are excellent. The 1980 counterfeit is close, but the graphics are blurry and lack the machine stamped 'MR' (enclosed in a circle) in the trail-off. True originals also have title stamped on spine inside the gatefold. [PL] ~~~ Well-known rarity outside of collector circles because of the ZZ top connection and because of the non-LP single on an early "Pebbles" comp. The album moves beyond the garage rock of that single to Hendrix-inspired heavy psych with lots of wild guitar. The last two songs are a complete freakout that surely baffled ZZ Top fans who dug this one up in the 70s and 80s. Most of this is very good, though it's marred the by one of those long blues jams typical of the genre. [AM]

MR FLOOD'S PARTY (NY) "Mr Flood's Party" 1969 (Cotillion sd-9003) [wlp exists] "Mr Flood's Party" 2005 (CD Synton, Austria) This is a tough one to describe, somewhere between dreamy downer psych and clever popsike. Its not a masterpiece, but its a more interesting and evocative album than many that sell for quite a bit more money. Hard to find in strong condition, for some reason. The band later released an LP as Corbett & Hirsh, while another member went on to the Frogs. [AM] MU (Los Angeles, CA / Maui, HI)

"Mu" 1971 "Mu" 1974 "Lemurian cover] "Mu" 1988 "Mu" 199 "Mu" 1997

(RTV 300) [lyric insert; wlp exists] (CAS 100) [1000p] Music" 1974 (United Artists uag-29709, UK) [altered (Reckless 4, UK) (CD, UK) (CD Sundazed sc-11037) [2CD box set; +bonus tracks]

The band and LP that propelled Merrell Fankhauser to international stardom, at least on the rare psych LP collector circuit. Rated highly for decades, and less hippie:ish than his later Mu work. This mix of bluesy urban LA exhaust fume vibes and tribal desert mystique is as archetypal an early 1970s SoCal trip as you can find. Strong songwriting, pro-sounding recording all around, given a clearcut identity from the excellent slide guitar, harmony vocals, and occasional sax. Too bad not more bands followed this musical path. "Eternal Thirst" with spooky percussion and chanting goes deep into the ancient regions of your cranium. From a mainstream/classic rock perspective, this is Merrell's most significant work, although even better things were to follow for us hallucinogenic purveyors. The retitled British 1974 version also came out in Brazil. [PL] "The Last Album" 1981 (Appaloosa 017, Italy) "Children of the Rainbow" 1985 (Blue Form 1) [#d] "End of an Era" 1988 (Reckless 7, UK) "The Band From the Lost Continent" 1995 (Xotic Mind xmcd-1, Sweden) [2CDs] Although not released until the 1980s, the 1974 Maui recordings may be even better than the debut LP. This is music as pure as you're ever going to hear, a seemingly effortless flow of tremendous melodic psych and folkrock most bands can only dream of attaining. This and the "Mu" LP are cornerstones in any decent psych collection. Hawaiian vegetarian UFO hallucinations! It should be mentioned that while this is seen mostly as a Merrell vehicle, many of Mu's best tracks were written or co-written by ex-

Beefheart Jeff Cotton. All releases above feature essentially the same material, the Xotic Mind CD being the most complete collection. [PL] ~~~ see -> Merrell Fankhauser MARC MUNDY ( ) "Marc Mundy" 1971 (Tomarc) "Marc Mundy" 2006 (CD Companion) Mundy expected this album to make him famous. His songwriting actually is rather mainstream singersongwriter fare, but his sensibility is pretty weird, and most importantly, he sings in an unidentifiable accent (Asian? Eastern European? Gypsy?) that makes this a true love or hate proposition. There's no in between here, as the voice overwhelms everything: the songs, the lyrics, the arrangements, even the backing vocals. The whole thing has a very exotic feel, and his guitar playing is vaguely Eastern. There is some orchestration and much of this is barely "rock," but it's hardly like any adult contemporary you've ever heard. There are some transcendent moments here, like the falsetto on "Give Up Your Pride." Truly unique. [AM] ALAN MUNSON (Santa Barbara, CA) "First Light" 1979 (Parallax) West coast 1970s laidback folkrock with mix of acoustic and electric tracks. Munson was earlier with Cooley-Munson, and also released the cassette-only "Good Morning World" (1975, Parallax Records). ~~~ "There are eleven original songs on the "First Light" album. The album doesn't easily fit into a music category box, since the songs range from Psych rock, to some fairly "laid back" folk-rock, and even a song with a country rock feel. Instruments played on the record include electric and acoustic guitars, electric bass guitar and drums. Lead solos are all played on electric guitar; there's a "clean" sound on the acoustic based songs and guitar effects were used on the Psych rock songs. Strong lead vocals and background harmony vocals. Lyrics are clear and meaningful." (Description supplied by Alan Munson) P J MURPHY QUINTET (Madison, WI) "P J Murphy Quintet" 1964 (Leaf 6475) University of Wisconsin, weak frat rock from preppylooking guys & a female member. This has been hyped as a rarity, so proceed with caution. Two cover variations exist. MUSHROOM (New York City, NY)

"Freedom You're A Woman" 1978 (Vulcan v-911) Brooklyn hardrock recorded at The Record Plant, in nice toadstool cover. MUSIC (MI) "The Book Of Music" 1972 (no label) [300p] "The Book Of Music" 2004 (Rockadelic 49) [300p] Although straightforward in style it required several plays for me to get a feel for this. "My side of the mountain" is the track people will talk about 10 years from now, and a good example of the typical 70s teenage hardrock Rockadelic sound. The "lighter" side was the one I had to ponder, but it came out on top as well; the right vibe, good songwriting with some nice hooks, and arrangements and playing are fine throughout the LP. The original PR line of it sounding like "Led Zeppelin and Neil Young" I think sums it pretty well; oddly some of it sounds like a British band trying to sound like an American band. Possible local US references might be Top Drawer, Dryewater, Magi and other 70s exponents of US/UK melodic hardrock influences. I wouldn't rate this as high as Wailing Wall, which was quite unique and weird in a way I admire, but Music was obviously worth reissuing and I'm guessing it will have a wider appeal than W.W. among the general populace. The LP was originally sold at the band's high school. [PL] ~~~ Side one of this album is solid CSN-inspired harmony folk/folk-rock, very early 70s in sound, though the crude production gives it a dark feel that mainstream music of this type lacks. Side two is a whole different story, opening with one of the best folkinto-heavy-rock anthems you're likely to hear. "My Side Of The Mountain" is a monster, and it alone makes this album essential. The rest is pretty strong too. A nice, surprising find. [AM] MUSICA ORBIS (PA) "To The Listeners" 1977 (Longdivity) [gatefold] This group of Swarthmore College graduates (they formed while still students, but recorded afterwards) is rather unique and somewhat ahead of their time. Theyre not really a rock band, though most of the songs take rock forms. They seem like a bunch of music majors who were cool enough to go beyond their jazz and classical roots, and were also too smart to play mainstream pop or rock. This type of background could lead to some really pretentious stuff, but not in the case of Musica Orbis, who are more interested in thoughtful experimentation than in showing off their chops. Kitty Brazleton (who is still active in the NYC music scene and has been leader of some interesting experimental jazz/rock/chamber music bands in the 90s and 00s) is the voice of the band, and what a voice she is: reaching insanely high notes here, and achieving an impressive calm there. The chorus to Its Hard To Say, where she really belts

it out, is stunning. Side one of the album is much more experimental than side two, and includes a jazzy instrumental as well as some progressive-style rock. The instrumentation is diverse and unusual throughout, and while this side is all over the map, its pretty fascinating. If side one is a slightly qualified success, side two, which comprises five relatively short and accessible songs, is an unqualified success. Its impressive how no matter what kind of experimentation theyve got up their sleeve, the melodies are memorable and the songs sound like they could have been radio hits. The lyrics are pretty great too. Home is a feminist tale of self-reliance that predates the Waitresses No Guilt by five years. While they dont go out of their way to remind you, youll continually notice how smart this band is. If only all progressive music could be this heartfelt and passionate. Highly recommended, even though the pressings are awfully noisy straight out of the shrinkwrap. [AM] MUSICAL THEATRE ( ) "A Revolutionary Revelation" 1969 (Metromedia) [wlp exists] Exploito concept with a narrator asking in a God-like voice how to make the world a better place. The "answers" are these studio pop psych ditties with all sorts of gratuitous sound effects. MUSIC EMPORIUM (Los Angeles, CA) "Music Emporium" 300p] "Music Emporium" "Music Emporium" "Music Emporium" "Music Emporium" "Music Emporium" "Music Emporium" "Music Emporium" 1969 (Sentinel 69001) [die-cut gatefold; 1983 199 199 1997 2001 2001 2001 (Psycho 11, UK) [altered sleeve] (Afterglow, UK) (CD Afterglow, UK) (CD Flash, Europe) (Action Records 304) (Sundazed) [+bonus tracks] (CD Sundazed) [+bonus tracks]

This should be a wellknown item by now in view of the legendary status attributed to it over the years. Classy, seductive LA studiopsych with Bay Area influences, terrific use of organ, some powerful guitar leads, and beautiful male/female harmonies, like a better produced Serpent Power or a better composed Growing Concern. The band (who sported a female drummer) was influenced by Iron Butterfly but unlike most of their contemporaries turned this influence into something useful and occasionally truly haunting, be it dreamy floaters like "Velvet Sunsets" or the powerful acid drone of "Day of wrath". There are other LPs I rate higher but all over one of the true classics among rare westcoast 60s psych LPs. The album used to be extremely rare, until a fortunate soul came across more than 100 unplayed copies in a warehouse in the 1990s. As most people know, the Psycho reissue suffers from a major mastering screw-up and has one channel missing. The Afterglow boots have good sound. The Sundazed remastering job is OK but loses a bit of the

original's presence, in my opinion. Only the Action bootleg and legit Sundazed reissue retain the original die-cut gimmick sleeve[. PL] MUSIC MACHINE (Los Angeles, CA) "Turn On" 1966 (Original Sound 5015) [mono] "Turn On" 1966 (Original Sound 8875) [stereo] "Turn On" 1966 (CD Repertoire, Germany) "Bonniwell's Music Machine" 1967 wlp] "Bonniwell's Music Machine" 1967 gold label] "Bonniwell's Music Machine" 1967 [stereo; gold label] "Beyond The Garage" (CD Sundazed (Warner Brothers w-1732) [mono; (Warner Brothers w-1732) [mono; (Warner Brothers ws-1732) sc-11030) [+bonus tracks]

Well-known cult band that needn't be explained here. Often referred to as "garage" although they were perhaps more of a cutting edge LA band like the Doors and Love, with music so unusual and ambitious that it sometimes sounds more like late 1970s post-punk than "60s". The first LP is a mixed bag and can be avoided if you get the 45s instead; the second LP is a more consistent affair allowing you a peek inside the unusual creativity of Sean Bonniwell. Still, I'm not a great fan of the band whose music often strikes me as overly intellectual and elaborate, but when they get it right the intensity is truly remarkable. Apart from the early 45s I think the tormented "I've loved you" on the second LP and the rare non-LP 45 "You'll love me again" are musts. The wlp mono contains a unique rough mix of "Eagle Never Hunts The Fly" not available anywhere else; probably included by mistake instead of "Double Yellow Line", which is listed but not included. The old Rhino "Best Of" sampler has some rare tracks, but these are unfortunately mastered slightly off-speed. There is a more recent Sundazed sampler titled "Ignition" which has much of the same rarities. [PL] ~~~ see -> T S Bonniwell MUSTARD SEED (CA) "Mustard Seed" 1971 (Spectrum lps-3501) [plain cover with sticker] Heres a weird one. Ive listened to this one multiple times and Im still not sure what to make of it. I think I like it. Not quite sure how to describe it either. There are some simple acoustic ballads, melodic rock with low-key psychy organ, pop horns on a couple tunes, an unusual psychedelic moody piece with wah-wah electric, trumpet, and reverbed vocals. Free People has a nice Doors-ish organ solo (sort of a poor mans Light My Fire) and a brief token drum solo that all hip albums from this period were required to have. Has flashes of brilliance and edge that hearken to the biggies that sell in the 3digit figures, but overall its not quite up there with the rest. Well produced. [KS]

MUTHA GOOSE (IN) "Mutha Goose I" 1975 (Alpha Omega 26401) Heavy underground rock with surging leads, organ, and a progressive edge. "Freak Hitch-hiker" is a strong track. MYSTERIANS (Winslow, AZ) "Mysterians" 1967 (Indian Arts of America p-3005) American-Hopi Indian group doing frat, soul and beat covers with guitar band setting plus sax, some female vocals. "A Thousand Stars", "Money", "Wooly Bully", a couple of possible originals. No relation to the "96 tears" guys, of course. MYSTERIOUS MINDS ( ) "Mind Over Matter" 1975 (no label) "Mind Over Matter" 2002 (Mystic) [300p] Great weirdo 1970s groove rock by Korea War veterans with unique vibe and using a custom-built pipe instrument, the "Brass Orchestra Cabinet", for added strangenss. Only a handful of copies known, good one for the fringe fans. MYSTERY MEAT (Carlinville, IL)

"Profiles" 1968 (Director 7303) "Profiles" 2003 (Shadoks 041, Germany) "Profiles" 2003 (CD Normal, Germany) Extremely rare garage/folkrock LP whose existence was long doubted, until a few copies were unearthed some years back. The band came out of Blackburn College in Carlinville and existed mainly to record this LP. Great originals all through reminiscent of the Bachs and UK group Complex, chock full of organ-led teen atmosphere, tremendous melancholy vocals, and tunes that grow with each play. My current faves include the Dovers-like "Put me down" and "Girl named Sue", but it's really a wide selection of great sounds, enhanced further by the basement ambience. One of the best garage-era albums you can find, to me better than All Of Thus, Summer Sounds, etc. Primitive sleeve design shows a piece of "mystery meat". According to the band, the pressing was very small, maybe 25-100 copies. Due to the lo-fi nature of the

original, substantial sound processing has been applied for the German reissues, with mixed results. [PL] V.A "MYSTERY REVEALED" ( )

"Mystery Revealed" 1972 (Creative Sound 666/777) Christian rock compilation with tracks by Mike Johnson, Harvest Flight and Paul Clark, the reported highlight being a number by unknown Jay Larremore. MYSTERY TREND see S F O Music Box MYSTIC SIVA (Detroit, MI) "Mystic Siva" "Mystic Siva" "Mystic Siva" "Mystic Siva" "Mystic Siva" "Mystic Siva" [gatefold] "Mystic Siva" 1971 198 198 199 199 199 (VO Recording 19713) [gatefold] (no label, Austria) [altered cover; 385p] (Hablabel, Italy) [altered cover] (CD Mystic) (CD Anthology, Italy) (World In Sound rfr-002, Germany)

199 (CD World In Sound wis-1002, Germany)

The way I see it, this legend has four strong basement guitar-psychers, while the rest is either lame slow cuts or potential winners screwed up in the mixing (these guys admit being so stoned in the studio they brought the wrong channel up for the solos). "Supernatural Mind" and "In a room" are worldclass stoner killers, but I really have a hard time sitting through some of the weaker stuff. As this has many and loud advocates I've probably stuck my head out too far. Some unreleased live recordings from before the LP were released in 2003 as "Under the Influence" (World in Sound 017, CD & LP), and has garnered some fans. [PL] ~~~ The mixing mistake (which, bafflingly, is never mentioned in reviews of the album) makes several songs on this album very distracting and annoying. The solo lead guitar is either so loud that it completely drowns out everything else or is so quiet that you can barely hear it. These solos, which are plentiful, aren't all that great, either, rambling endlessly with no apparent purpose. Otherwise, this is stoned teen hard rock with many of the hallmarks of the era: wah wahs, a few funky moves, prominent organ, and youthful but bland vocals. I find the slower songs, which have 12-string guitars and dreary drone-like paces, more interesting than the rockers. Even there, though, the weak vocals detract and keep the songs from being total keepers. Occasionally the

singer aims for a Jagger-like snotty tone that recalls 60s garage bands, and while he doesn't do it especially well, it's an improvement over the attempts at "melodic" singing. "Spinning A Spell" is my pick hit. Even its ear-busting solo is a step up from the rest on the album. A few other songs rise above, but there are a bunch of duds as well. It does have a mildly outrageous and spooky feel to it, and I think it would appeal more to 60s garage fans than to 70s hard rock fans. Still, there are plenty of albums as good or better, and it's hard to see why it is rated so high in collector circles. [AM] MYSTIC ZEPHYRS 4 (Ventura, CA) "Maybe" 1974 (Two:Dot HRH-6873) Incompetent teenage family band with sincere pop songs and an extremely dated "have a nice day" 1970s feel a la the Brady Bunch/Partridge Family. The vibe is understated and nervous, as opposed to the in-yerface crudeness of the Shaggs. Some of the tracks are truly memorable, and this is a recently discovered biggie on the Fringe/Incredibly Strange circuit. The drummer is only 12 and she sucks! An obvious cult item, on the same label as Arthur and Hendrickson Road House. The band were: Lynne (age 18) - guitar, vocal, flute, songwriter; Keith (age 16) - bass, vocals; Gayle (age 14) - organ, vocals; Joyce (age 12) - drums, vocals. There were also two 45s with non-LP tracks released on Two:Dot.

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DARRAGH NAGLE (Tempe, AZ) "Lapis" 1975 (Star Rider 1175) Nature folk, mostly acoustic with flutes, some synth. The guy came out of the same pagan folk scene as Gwydion and is still active, with several later album releases. NAOMI (UT) "Cottage Songs" 1975 (Cottage Records no #) Both Naomi albums are several cuts above your typical singer-songwriter private press. She has a lovely, clear voice, and the songs are intelligently arranged. The vocals are in a folk tradition, but the music covers a number of soft rock styles, with liberal use of woodwinds, keyboards, even occasional horn arrangements. Naomi's last name is Lewis. "Seagulls And Sunflowers" 1976 (Cottage Records) The second Naomi album is jazzier than the first, and has a bit more guitar (even fuzz on one song!) Otherwise its quite similar, and again there a few really choice songs: Tupa Tupa Tupa, with cool use of oboes (I think) and sly whispered backing vocals, the hippie-folk Love Song, the funky Rock Me, and the San Francisco-styled There Will Be Music. Her voice is really beautiful when double tracked. Overall, maybe a notch less enjoyable than the first album, but still pretty great. [AM] NAPOLEON XIV (Los Angeles, CA) "They're Brothers "They're Brothers "They're 816) Coming To Take Me Away, Ha-Haaa!" 1966 (Warner w-1661) [mono; wlp exists] Coming To Take Me Away, Ha-Haaa!" 1966 (Warner w-1661) [stereo] Coming To Take Me Away, Ha-Haaa!" 198 (Rhino RNLP-

The title track is one of the greatest novelty songs ever, disarming in its simplicity and complete lack of good taste. Samuels had one more great trick in his bag, as the B-side (also included on the album) was the entire song played backwards, possibly the first use of backwards recording in popular music. The rest of the album shows little imagination, unfortunately. It's basically just variations on the

one theme, without ever being anywhere near as clever as the original song. The stereo version may be preferrable to catch all the production tricks. A Rhino CD release entitled "The Second Coming" contains the album and some later Samuels comedy songs/bits that are more "adult" but not funny at all. [AM] LES NAPOLEONS (Quebec, Canada) "A Go Go" 1966 (Passe Temps PST-17) "A Go Go" 2001 (no label) [bootleg] Sporting a subtitle that says "music for dancing", Les Napoleons offer an engaging mix of snarling garage rockers and Mersybeat-inspired pop. While isolated ballads such as "Tu es Partie" and "La Vie Sans Toi" are okay, the band's at their best on uptempo rockers such as "Fou de Toi", "Reviens" and "Je M'en Fou". The set's low-fi production feel adds to the overall appeal. Translated covers of The Beatles' "I Feel Fine" and "We Can Work It Out" are great. Although all ten tracks are sung in French, the energetic performances more than compensate for the fact the lyrics are largely a mystery. Man, these guys were every bit as good as their Anglo competition. [SB] NAVIGATOR (Kansas City, MO) "Outlines" 1982 (Systems no #) [plain cover with handmade artwork; insert] Basement recording of late-stage 70s hardrock with a compressed, tinny sound, a tight band and lots of guitar leads. Early metal moves and even a punk feel here and there, while some tracks bring in out-ofcontrol synth runs for good effect. Unfortunately the vocals are weak and often inaudible, and the end result is mainly for local hardrock completists, although I must admit it had a certain wild DIY demo charm. A couple of tracks lay on proggy sci-fi drama moves typical for the era. Supposedly only 200 copies were pressed. Some copies have spray-painted logos, others are hand-drawn. [PL] NAZCA LINE(Lima, OH) "Outer Space Connection" 1979 (Nazca Productions RR1) [1000p] Another Ohio private press here, a hard rock album recorded in a barn. A lot of people like this, but I find it pretty pedestrian with lousy vocals and not very many hooks. The guitar has a nice metallic tone, similar to the album by Constellation. The nineminute Stranger, probably the best song on the album, steals the key guitar riff from Greg Kihns Breakup Song and Televisions Elevation. The lyrics throughout follow the outer space theme, but musically the only spacy moments are the sound effects on the first song, so space-rock fans

shouldnt get their hopes up. [AM] NEGATIVE SPACE (NJ) "Hard, Heavy, Mean & Evil" 1971 (Castle NS-101) [plain cover with stamped title; 200p] "Hard, Heavy, Mean & Evil" 198 (Castle) [bootleg; 'trippy pattern' cover; 100p] "Hard, Heavy, Mean & Evil" 199 (Castle, Austria) [bootleg] "The Living Dead Years" 2000 (CD Monster mcd-009) [LP +10 bonus tracks] Underground hardrock/guitarpsych from guys who probably lived in the same toxic waste sewers as St Anthony's Fyre. Opens with an extended killer fuzz track and has more in a Boa/Mystic Siva type bag, plus some "ballads" and odd covers. Hardly a classic, but worthwhile for those into the local '69-70 stoner longhair sound. The band leader Rob Russen also cut a solo 45 on the same label, with a different version of an LP track. [PL] TOM NEHLS(MN) "I Always Catch The Third Second Of A Yellow Light" 1973 (no label 7303) [paste-on; booklet] Spooky late-night urban 1970s fringe psych excursion that is surprisingly effective; covers a lot of bases but all of them moody and introspective, like eerie dreams rising to the surface. A Patron Saints-mood here and there, esp the guy's voice, but also phased fuzz-psych, Search Party downer trips with female vocals, weary 3 AM Las Vegas lounge-jazz, backwards effects, great use of vibes and moog; consistent and determined in its ambitions and atmospheres. Sounds a bit like 1990s guy St Mikael, actually. True psychedelia for experienced midnight-to-6 trippers.The LP was recorded in Minneapolis and released in June 1973. [PL] ~~~ Really nice 'production' LP with watery wah wah, phasing, and loads of effects. Delicate and trippy, not particularly arresting compositionally but lots of depth in the production -- good one to break out the headphones for. The echoed vocals and guitar parts have a submerged quality. A bit lightweight on the A-side but the flip gets hot and heavy. Two cover variations exist, a rarer one with a full-size pasteon, and one with a smaller paste-on. [RM] ~~~ Difficult and highly personal folky weirdness here. At some points, its reminisicent of R Stevie Moore, though without any or Moores catchy melodies or sense of humor. I find it difficult, but complex enough to be interesting. It definitely sets a creepy mood. Too accomplished to be a real people album but too idiosyncratic to appeal to most. [AM] NEIGHB'RHOOD CHILDR'N(Ashland, OR)

"Neighb'rhood Childr'n" 1967 (Acta a-38005) [mono] "Neighb'rhood Childr'n" 1967 (Acta) [stereo] "Neighb'rhood Childr'n" 198 (Acta, Europe) [bootleg; thin glossy cover] -- this exact bootleg is a slightly noisy press "Long Years in Space" 1997 (Sundazed 5023) [2LPs; LP +12 tracks] "Long Years in Space" 1997 (CD Sundazed sc-11041) [LP +12 tracks) An album that triggers a wide variety of responses among listeners, and needs to be approached the right way. Inaccurately described as some sort of deep psych classic elsewhere, what I hear is trashy sunshine lytepsych with a garage production value. There are some starry-eyed acid moves that sounds like a bunch of runaway kids groovin' on their first week in the Haight, but it's undeniably teenybopper top 40 at the core. I still think it's fun and charming, with fuzz and organ and mixed male/female vocals that all help create an appealing surface straight out of an old AIP movie soundtrack. The Sundazed re adds some unreleased and non-LP tracks of shifting quality, but is recommended mainly for diehard fans. In addition to the various official releases there was a 4-track promo EP courtesy of Vegas Productions, which was released in April 1967 and includes different versions of a few LP tracks. Two of these were included on the Sundazed set, but "Please please leave me alone" (1st vers) and "Maggie's Farm" remain unreissued. [PL] ~~~ Newbies to this likeable album will probably learn it from the Sundazed reissue, which scrambles the song order, relegates their weird cover of "Over The Rainbow," (which is the weakest song on the album anyway) to bonus track status, and adds a mishmash of bonus tracks of varying quality. Often, when you hear an album like this in a way other than it was first intended, it comes off as less than it really is (the Blue Things is a good example.) In this case, though, the revamped song order makes sense, and the separation of the novelty song also improves the situation, as long as you can separate the bonus tracks in your mind from the album tracks. What you end up with is a co-ed 60s pop album with organ and fuzz guitar and one really freaked out song (which is effectively short). As is usually the case, they'd probably have been better off with the woman singing all of the songs, not because anything's wrong with the guys, but because she's much less appealing as a backing singer than a lead singer. Though this is basically pop, it does rock pretty hard here and there, and it's a few cuts above the average album of this kind. Yankee Dollar and Sapphire Thinkers comparisons are apt, though both of those bands seem to have a more consistent sound, while Neighb'rhood Childr'n seem to have adjusted their mainstream

songwriting style to the trends of the time and are more experimental. "Please Leave Me Alone," which is the wimpiest and least psychedelic song here, actually comes off to these ears as the best, as it is pure pop with a lovely melody and fresh spirit, untouched by any kind of pretense. The brief minor key ballad "Hobbit's Dream" is also very nice. [AM] AL NEIL TRIO (Vancouver, Canada) "Retrospective 19651968" 1976(Lodestone) [200#d; gatefold] Very obscure collection of 1960s psych/jazz/avant recordings from band who played the legendary 1966 Trips Festival in Vancouver. A variety of instruments used including a "vortexorola". NETHERWORLD (CA) "In The Following Half-Light" 1981 (R.E.M./ Silver rem-4441) [insert] Pretentious prog that strives for something great and comes off sounding like a poor cousin of many better and more well-known bands. The songs are complex in an annoying way: they shift gears every time a hook or good melodic idea begins to take hold. The last song attempts to be horrific, and ends up being almost laughable. There are some decent synthesizer bits scattered about and some of the album is reasonably heavy, but this isnt a pleasant listen by any stretch of the imagination. [AM] NEURON (Chicago, IL) "For What We Are" 1980 (Erect 1000) Flowing jazzy progressive with acidic guitar work and a rural vibe. Some think it more pomp than prog, while the cover art is an all-out prog fest. The label had a few more releases around this time. NEUTRAL SPIRITS(GA)

"Neutral Spirits" 1973 (Regency 101) [500p] "Neutral Spirits" 2003 (CD Gear Fab GF 198) Lost in time garage band with a primitive sound and very basic songs; should appeal to fans of Cykle and New Dawn. Prominent use of fuzz bass gives an original edge, while the lead guitarist and drummer

work frantically within their limited capabilities. Charming teen vocals and some atypical lyrics about Vietnam and dope legislation. Pretty cool, though mainly for fans of local early 70s amateur sounds. Very short playtime. According to the band, 350 copies were destroyed in a house fire in 1981. The Neutral Spirits also appear on a gospel LP recorded the same day in 1972 as the Regency album; "Gospel Songs Old & New" by Dot Henry (Jayla Records 1020). [PL] NEW AGE (Atlanta, GA) "Neptuned" 1979 (Microdot no#) Excellent, dynamic progressive with doomy organ, violin and driving synth, housed in typical fullcolor prog fantasy cover. NEW BREED (Carlisle, PA)

"The Many Moods Of The New Breed" 1970 (New Breed 13634) This local album offers up a mixture of nifty original numbers and popular soul and pop hits. Opening with a cover of "Shotgun" probably wasn't the most original move in the book, but propelled by frantic drumming and enthusiastic blue-eyed soul vocals, the result may be the best cover of the Motown classic I've heard. As good as the group's covers are, the five originals are even better. The only original on the first side, the molten "Rockbustin Blues" served to show these guys were rockers at heart. Showcasing a great lead guitar, side two started out with another winner in the form of "Mississippi Delta", while the other three originals on side two were just as good. The only disappointment was the closer "Never Ending Song of Love" which sounded like it was being performed for an audience of polka fans. All told, a nice obscure find. The band had won a Pepsi Cola contest and their rendition of the Pepsi jingle was used in an ad campaign; in addition they were given a recording contract for one year. [SB] NEW COLONY SIX(Chicago, IL) "Breakthrough" 1966 (Sentar 101) "Breakthrough" 1984 (Eva 12008, France) "Colonization" 1967 (Sentar St-3001) [mono] "Colonization" 1967 (Sentar Sst-3001) [stereo] "Colonization" 199 (CD Sundazed sc-6026) [+2 tracks]

"Breakthrough" is a rare early Chicago legend with marvy teen-beat/folkrock moves along the lines of the Rising Storm LP, even has a terrific "Frozen laughter" counterpart, plus some swinging upmarket Raiders-style garage and more. Easily one of the best mid-60s LPs from the Midwest. The similar-sounding and just slightly less outstanding "Colonization" has its share of fans as well, while their later LPs are universally despised top 40 fodder. Sundazed has done a great NC6 CD comp that I recommend, "At The River's Edge". There are also samplers on Rhino and Mercury Japan. [PL] NEW CREATION (Vancouver, Canada) "Troubled" 1970 (Alpha Omega no #) [insert] "Troubled" 2003 (CD Companion CR 1) Mindbending "real people" Incredibly Strange obscurity, featuring an essentially untalented trio of square Christian folkies diving head-first into the hippie revolution and all the bad stuff that came with it. Like Peter Grudzien or Charlie Tweddle you could write a whole book about the strange cerebral buttons this album pushes, the aggregated effect of which is truly staggering. The female vocalist is unsure of things such as rhythm and accents and opts for a very unusual half-sung/half-spoken style that sounds like a 1950s housewife humming to herself at K-Mart. The male vocalist has a flat, geeky voice that lends little weight to the apocalyptic and often quite bizarre lyrics about degenerate hippies, drugs, Sodom & Gomorrah, immoral adults, sinners and more. The most normal tracks sound like an off-key Guitar Ensemble, while the rest is so out of whack that proper comparisons can't be drawn. The LP opens with a long, hip collage with snips of voices and sound effects intended to put you in the buzzing chaos of "now"; oddly it sounds like it was recorded live with the three band members inserting their soundbites and cheesy sound fx on cue from prepared notes. There is also a ripoff of "Sky Pilot" that takes the latent monotony of the verse melody and shoves it into your face until time seems to stop. Many more examples could be made. True psychedelia, and like Grudzien and Tweddle flipped out enough to be enjoyed by folks otherwise uninterested in fringe sounds. Excellent CD reissue has celebrity endorsements from Paul Major and Ron Moore, among others. There are also two nonLP 45s. [PL] NEW DAWN(Salem, OR)

"There's A New Dawn" 1970 (Hoot/Garland GR70 4569) [circa

1000p] "There's "There's "There's "There's

A A A A

New New New New

Dawn" Dawn" Dawn" Dawn"

1994 200 2001 2001

(no label, Germany) [altered sleeve] (CD Synton, Austria) (Akarma 152, Italy) (CD Akarma 152, Italy)

It's generally a good sign when a record opens with the sounds of nature and this is no exception. The central theme seems to concern suicide or a deep seated sadness about Man's seperation from God. Maybe even both! dreamy downer xian LP rhythm centered (monotonic? monotonous?) drums, organ, and chiming guitar. Moody heartfelt vocals and buzz fuzz breaks fill out the claustrophobic soundscape. Full of despairing lyrics about dissatisfaction with life and feelings of hopelessness without God. No 'Up With People' plastic smiles from these guys! "Dark Thoughts" is the ultimate in doomy bumblebee with a message guitar tracks and the gloomy closer, "Life Goes On" is surely in the top ten of songs to check out to. Inspirational verse: 'I sit all day... and watch my hands. And feel self pity... ooze from my glands'. Too deep and dark for some but could be the pinnacle for xian sorrow. [RM] ~~~ Some rate this as an all-time favorite, probably because it has such a consistently strong downer mood to it. The consistency works against it in some ways (all of the songs sound like they're in the same key), but the album is quite distinctive. Side one has stronger songs, closing with some great fuzzguitar on "Dark Thoughts." Side two moves in an almost rural direction, and isn't as compelling. Every time psychedelic music newsgroups have threads about "grower" albums this always seems to turn up, though I liked it reasonably well at first and haven't changed my mind about it. [AM] ~~~

see full-length review

NEW EXPRESSION (OH)

"Good Clean Rock'n'Roll" 1975 (Jewel 544) Fuzz/organ/harpsichord mix of dreamy ballads and 70s rock in striking swirl design cover. NEW HOBBITS (NY) "Back From Middle Earth" 1969 (Perception PLP-10) The "discovery" of this third Hobbits LP caused some excitement a few years back. Unlike the two preceding albums, this was released on Hobbit mastermind Jimmy Curtiss' own Perception label, and probably pressed

in few numbers. This could have made for an interesting story, but what the lyte-psych and softrock brigade neglected to mention is that "Back From Middle Earth" isn't a very good album. In fact, it sounds just like the $10 LP it would have been without the special circumstances. Jimmy Curtiss has penned most of the songs, and the "group" was probably just him plus some studio hacks. The opening track, the "top 40 pick", is a reasonably catchy pop number that might have worked even in 1969. The second track is a musically agreeable minor chord Association ballad, damaged by weak lyrics. It kind of continues downhill from there, with uninspired pop songwriting, throwaway arrangements, and a crude mix with the vocals too loud. A low-point is reached with a ridiculous Band ripoff that dissolves into 3rd rate saloon crooner sounds before your eyes. The quickie lameness of it all is hammered home by a 23-minute playtime. Most or all known copies are promo. The two preceding Hobbits LPs on Decca, "Down To Middle Earth" (1967) and "Men And Doors" (1968) have caught some interest in recent years. Curtiss was also involved with Velvet Night and The Bag, but his most memorable work might have been the fun "Psychedelic situation" 45. [PL] NEW LEGEND ( ) "New Legend" 1971 (Band'n Vocal 1269) Rare LP on the same label as Brigade, psychy early 70s rock. NEWS(CT) "Hot Off The Press" 1974 (XPL-1045) Heres a unique and outstanding 70s pop album. The lead instrument is a pedal steel guitar, played with more imagination than anywhere other than the Misunderstoods studio recordings, often with some nice fuzzy distortion. It rarely sounds country. The songs are strong pop/rock, with Beach Boys-style harmony vocals on the softer songs, and tougher (but still melodic) singing on the rockers. Other than the opening song (three minutes of a guy fiddling with a radio dial), everything here is memorable, and no two songs sound alike. My pick hits are the powerful Loser, with a stunning steel guitar solo, and the long album-closer New York City, but this is consistent enough that any given listener could feel equally strong about any two others. This is exactly the kind of band a daring major label executive would have struck gold with in the 60s, but nobody would dare to touch in the 70s. [AM] ~~~ Excellent and still fairly unknown LP on the same local CT label as D R Hooker. The bulk of it is terrific 1960s westcoast-flavored folkrock with a dreamy psych vibe and good vocal harmonies. I'm reminded of other 60s-in-the-70s trips such as Creme Soda or the good tracks on Spur more than anything else, with lyrics that show the retro feel to be

deliberate on the band's part, openly referring to old songs by the Byrds, the Beatles, etc. Not sure what they were aiming for with this, but it does produce an appealing sound. Another reference point is Merrel Fankhauser in his melodic '66-67 phase. Opening track of random radio chatter is unfortunate and may have turned some buyers off, and there is a so-so Creedence ripoff on side 2, but apart from that -- meaning 8 tracks out of 10 -- this is a delight. Recommended to any fan of melodic 60s sounds, and not terribly hard to find. [PL] NEW TROUBADORS(CA) "Winds Of Birth" 1974 (Lorian no #) New agey folky album tied in with the Lorian organization that has some lovely folk songs on it but a cheesy vocal style that really makes it unlistenable to these ears. Sounds a lot like The Trilogy "It Starts Again" album. Youll like it on first listen but once you really start to pay attention to the singing, youll come to your senses. Not as good as the similar Susan & Richard Thomas album, and a lot of people hate that one. Both white and blue cover designs exist. This is not an expensive LP. [AM] NEW TWEEDY BROTHERS(Portland, OR)

"New Tweedy Brothers!" 1968 (Ridon slp-234) [oversized hexagonal foil cover; maroon label; 1000p] "New Tweedy Brothers!" 1998 (Tweedy, France) [bootleg; altered cover] "New Tweedy Brothers!" 199 (CD Afterglow 004, UK) [hexagonal CD digipak] "New Tweedy Brothers!" 2001 (Shadoks 118, Germany) [inserts] "New Tweedy Brothers!" 2001 (CD Shadoks 118, Germany) [hexagonal CD digipak; bonus tracks] Often referred to as a "missing link" album, this band played the San Francisco ballroooms in 1966 before returning to Oregon, leaving only a weak 45 behind them, although they did make enough of an impression in S F for Jerry Garcia to mention them in a '66 interview. They continued to gig locally around Oregon in 1967-1968, when this LP was cut and released. In view of all the hype I've seen it's a bit patchy and disappointing, though the best tracks such as "Her Darkness In December" are awesome folkrock-psych transitions, and they hit an appealing rootsy Bay Area folkrock sound on a couple of others. But it seems to me the historical artefact value of the LP has led to its musical qualities being somewhat exaggerated. Judging by a local ad, the LP

was released in early 1968. The supposed rarity of copies with cover is cast in doubt by the number of originals sold in recent years, all of which came with the cover. The German vinyl reissue is not from master tapes, while the German CD reissue is. [PL] NEW WAVE ( ) "The Sound Of" 1967 (Canterbury 1501) [promos exist] Most of the album's 11 tracks are originals that showcase heavily orchestrated soft-pop moves. Lots of references list this as a "psych" effort but other than the cover art, be forewarned that it isn't. Tracks such as "Shadows of Good Bye", "The Evening Mist" and "In a Lonely Towne" aptly exhibit the duo's decent voices and nice harmony work. Most of the songs boast fairly attractive melodies, though the arrangements are occasionally overwhelming and their lyrics suffer from standard college student angst, which probably drove young female English majors crazy. Stuff like "Live for Today" and the dreadful "Autrefois" (the one non-original) are simply too MOR for my personal tastes, but anyone who likes late era Chad & Jeremy or Peter & Gordon (the phase where they started to get arty) might enjoy this lesser known act. [SB] NEW WINE (San Diego, CA) "Holy Spirit Express" 1972 (Anodyne) Unlike most records of this ilk, New Wine is mostly solid with only a couple of weak songs but nothing horrible. The band is basically two guitars, bass, drums and vocals. The band consists of four stoner looking long haired dudes that would look more fitting on a Mothers album than a religious one. Then there's the lead singer: A woman that looks like your stereotypical mom from next door that spends more time in the kitchen than your average Frenchman. Don't let this generation gap between the band and the lead singer fool you into thinking this is some goofy unreal Jesus people record with vocal overkill... Nope, it's quite the opposite! Good vocals similar to Search Party but less powerful, with a touch of maturity in her vocal style. Three of the four guys in the band sing too with an occasional lead part on a couple of songs. As for the music, lots of nice electric guitar including some mild buzzy fuzz leads. The songs have a strong westcoast flavor and somewhat similar to Wilson Mckinley but not as heavy. They do a good version of Spirit Of Elijah, and most people would find this version stands on it's own fairly well when compared to the original. The album's production has a nice garage feel to it too. [JSB] NEXT (Canada) "Dusty Shoes" 1973 (Warner Bros 9009)

This Canadian hard rock album has a sharp sound: a nice blend of electric and acoustic guitars. Unfortunately, though, it has undistinguished songwriting and singing, and ends up sounding like it should be a lot better than it is. One or two songs stand out enough for me to recommend it to genre fans, but this is nothing special. [AM] NEXT MORNING (New York City, NY) "Next Morning" 1972 (Calla 2002) [wlp exists] "Next Morning" 1999 (CD Sundazed SC 6150) I'll be the first to admit a fascination with black 1960s/1970s hard rock/psychedelic bands such as Black Merda, Hendrix, Ernie Joseph and Purple Image. With the exception of Hendrix, these outfits were caught in an impossible Catch 22 situation whereby their music was simply too white for black audiences and too black for white audiences. Next Morning is another example of this dilemma. Propelled by insane keyboards and wicked feedback drenched guitar, selfpenned material such as "Changes of the Mind", "Life Is Love" and "Back To the Stone Age" offered up impressive slices of Hendrix-styled heavy rock. The comparison was underscored by the fact that on numbers such as the growling title track Lou Phillips' vocals bore a modest resemblance to Hendrix. Admittedly there wasn't anything 100% original here, but the overall performances were quite attractive, making for a first-rate set that should appeal to all guitar rock lovers. Dock it half a star for the butt ugly cover art. A French pressing on Roulette exists. [SB] B P NICHOL (Vancouver, Canada) "Motherlove" 1968 (Allied 3) One of the most obscure LPs on this label is yet another avant trip with bizarre spoken word dadaist and concretist excursions. Nichol was an avantgarde poet with several works published from 1965 onwards. This goes way into experimental art and sound-poetry and is included mainly because of the label it's on (Plastic Cloud, etc), unless you're a cerebral fringe specialist. NICKLES & DIMES see Victoria NICODEMUS [& MATCHEZ] (Detroit, MI) "Spacechild Squall" 1977 (Zedikiah 1069) [b & w graveyard cover] "Spacechild Squall" 1977 (Zedikiah 1069) [tan art cover] "Spacechild Squall" 1995 (Zedikiah zed-1069) [500#d]

"Backstreet Orange" 1978 (Zedikiah 1070-b) [photo inner sleeve] "What For?" 1980 (Zedikiah) [textured b & w cover; 150p] "What For?" 1995 (CD Zedikiah zed-334) [+bonus tracks] What For is a good place to start with Nicodemus, a solid rock and roll album, not hard rock, but definitely tough. Hes got a solid voice, equally suited for rock and folk. Despite his creepy biker image he has an impressive range of moods and styles, many quite mellow, and these songs have a lot of emotional depth. The production is bargain basement, but theres still a pretty good variety of arrangements, and a few songs get a bit freaky (moreso the folky ones than the rock ones.) Not all of his albums are good straight through, and even the best have some failed experiments. A smaller discography might be a less daunting task, but he has an impressive body of work, and his music has a cool timeless feel to it. The CD re-release of What For has some good bonus tracks culled from his rather erratic 90s albums. [AM] "A Light In The Dark" 199 (CD Parallel World cd-3) Apocalyptic outlaw biker folk rock. "Spacechild Squall" and "Backstreet Orange" are in a moody acoustic folk style. On "What For?" he's into a damaged booze and drugs biker sound, like Circuit Rider with phased vocals. Fashion tip: He has rainbow tattoos on his forehead. The "Spacechild Squall" reissue is housed in leftover 'graveyard' covers from the original pressing. Among Nicodemus' later LPs are "The Strange Saga of Henryetta Flagetta" (1984), "Better Art Music" (1986), and "Antennae Moonlite" (1994), all on the Zedikiah label. The Parallel World CD is a retrospective sampler. [RM] NIGHTCRAWLERS(Daytona Beach, FL) "Little "Little "Little altered "Little Black Egg" Black Egg" Black Egg" sleeve] Black Egg" 1966 (Kapp kl-1520) [mono] 1966 (Kapp ks-3520) [stereo] 1984 (Eva 12042, France) [+6 bonus tracks; 199 (CD Big Beat 203, UK) [+bonus tracks]

Wellknown folkrock/garage LP from Chuck Conlon and pals who had a minor hit with the strange title track. The rest is pretty solid, all originals with a jangly local sound similar to the first Love LP. The Eva reissue has a new hippie collage sleeve which offended some moptops. Big Beat's CD comp is excellent and includes all their non-LP 45s. [PL]

NIGHTRIDERS(NC) "Introducing" 1967 (Justice jlp-157) "Introducing" 1994 (CD Collectables 0603) One of the last Justices is a straightforward mix of organ/guitar instrumentals way past their due date and classic frat sounds lifted from the Kingsmen catalog. The usual soul element has been reduced to a nervous cover of "Come see about me", while the band shows class in covering "Double Shot" and "Louie Louie". Only one lameass ballad makes this LP at least in theory an agreeable basement instro/frat excursion whose main fault is that it was made 3 years too late. Very basic soundscape from these 16year olds who probably were pleased that they managed to play all songs through without mistakes on their newly purchased gear. Drummer sounds like he's only handled the sticks for a few weeks which messes up a few tracks, but they get all the elements right for a closing "Journey to the stars", the album's obvious highpoint which has also been comp'd on Relics vol 2. [PL] NIGHTSHADOW a k a LITTLE PHIL & THE NIGHTSHADOWS(Atlanta, GA)

"Square Root Of Two" 1968 (Spectrum 2001) [bonus 45; poster; 1000p]

"Square Root Of Two" 1979 (Hottrax 1414) [remixed; altered sleeve; 200p] "Square Root Of Two" 199 (no label, Europe) [blue vinyl; +2 tracks] "Square Root Of Two" 199 (CD Cosmic Mind, Italy) [+2 tracks] "Vol 3: The Psychedelic Years 1967-69" 2003 (CD Hottrax 60012) [LP +9 bonus tracks] And here's another longtime legend, reissued as early as 1979. The band was usually known as Little Phil & the Nightshadows and had roots in the pre-Beatles era, but changed their name due to legal complications at the time. Unlike the Litter LPs I think this really is as great as people would have you believe, particularly side 1 which is like listening to a comp of killer fuzz acidpunk 45s. Beyond Phil's showmanship and the blatantly druggy lyrics and sound fx the fact remains that the superb songwriting puts most "Nuggets" classics to shame, and the band is completely at home in a sound that was unusual for the deep South. Some silly songs close the LP but all over this must rank among the top early garage psych LPs. Apart from the LP they had some killer 45s in 1966-1967. [PL] ~~~

The Nightshadows discography is very complex and includes multiple versions and remixes of the same recordings, as well as 45s released under aliases, withdrawn records, and more. Here's an attempt to sort "Square Root" out: 1) The 1968 original came with a bonus 45 that contained the band's risqu songs 'Hot Dog Man' and 'Hot Rod Song' on Banned records (both also on the LP); this with 900 copies of the LP. The poster was supposedly included with the remaining 100 copies that did not include the 45, although some subsequent finds of sealed copies have included both the 45 AND the poster. 2) The 1979 Hottrax release is a unique remix with "So Much" having an extra guitar lead, while "60 Second Swinger" has a loud fuzz riff added throughout. "Anything But Lies" has been shortened by 1 minute. Both front and back cover have been altered, as well as the running order. 3) Both the European 1990s bootlegs are sourced from the 1979 remix rather than a 1968 original. 4) The recent CD series is the easiest way to get a complete picture of the Nightshadows. Vol 3 has all tracks from the LP except "Hot Rod Song", which can be found on vol 2. "So Much" is the 1979 remix version, while "60 Second Swinger" and "Anything But Lies" are the 1968 LP versions. The running order from the LP has been completely broken up. Some of the unreleased bonus material is very good.

"Live At The Spot" 1969 (Spectrum 2002) [no sleeve; 100p] "Live At The Spot" 1981 (Hottrax 1430) Although it hasn't been properly documented, the live LP was pressed up in very limited quantities for demo purposes in 1969. As the band was falling apart at the time there wasn't anything left to demo, and it didn't come out properly until 1981 in a cartoon drawing sleeve. Three tracks are from a November 1967 show, while the rest comes from a March 1969 gig. Opening with yet another version of "60 second swinger" followed by an excellent version of the 45only "The way it used to be", the album mixes familiar band originals with a few covers typical for a late 60s club band, a 13-minute "Season of the witch" and two Cream numbers among them. The recording is pretty good, with a nice live atmosphere, and the band is as tight, intense and driving as you would expect. There's also some humorous and raunchy between-song banter, as often with the Nightshadows, including Little Phil introducing sidekick Electric Bob as "a real acidhead". Essential to fans of this great band. Hottrax is band leader Aleck Janoulis' own label. [PL] "Invasion Of The Acid Eaters" 1982 (Hottrax 1450) This was intended as a reunion LP, but for whatever reason only one side was cut (reportedly not too shabby), while the other side was used for remaining tracks from the 1967 "Spot" club performance

partially reissued on the live LP above. Here we get only cover versions of Hendrix and Cream etc, not bad but obviously lacking that special Nightshadow acid teen mania. There's also some stage raps from Little Phil, one of which popped up on the "Vol 3" anthology CD. There was also a 45 sampler titled "Patriarchs Of Garage Rock" on the Spanish Penniman label in 2004. [PL] NIGHTWALKERS (Puerto Rico) "Introducing The Nightwalkers" 1968 (Inca, Puerto Rico) "El Gordo" 1968 (Borinquen, Puerto Rico) The first LP is laden with weak covers. "El Gordo" is better, half English vocals melodic jangle beat and harmony folkrock with nice twelve string and fuzz shadings. A fun pop beat Byrdsian charmer. [RM] NIHILIST SPASM BAND (London, Canada) "Nihilist Spasm Band" 1968 (Allied 5) [200p] "No Record" 1996 (CD Alchemy arcd 082, Japan) "Vol 2" 1979 (Music Gallery 13) "Vol 2" 1996 (CD Alchemy arcd 083, Japan) Experimental avant rock, freeform freakout with a variety of homemade instruments. Prior to the Allied LP the band released a flexi 7", "The Sweetest Country This Side Of Heaven" which was included in the Aug/Sep-1967 Arts Canada Magazine. It has been described as a "proto-dada assault". NOAH (OH) "Brain Suck" 2003 (Head 001) Posthumous release of early 1970s recordings from obscure hardrock/prog band with long tracks and lots of Hammond/guitar interplay. Overall vibe ranges from Iron Butterfly drama to a more jammy Deep Purple/Captain Beyond style. Worthwhile for genre fans, provided you can find a copy. [PL] NOCTURNES(NJ) "Slightly Delightful" 1964 (Cook 977) Military Academy fratrock band leaving a crude and primitive testament to their skills, although just what these skills were remains hard to tell. Distorted lower-teen vocalist sounds like Sky Saxon's younger brother on top of an energetic sub-Kingsmen fraternity house band. Pre-Invasion covers all through naturally, epic opening "Twist and shout" has been comp'd while frantic takes on "Mashed Potatoes"

and "Money" give a high reading on the Stupid-OMeter. Most songs have crude fadeouts and the album as a whole displays a lo-fi $15 production value. Not bad at all for fans of local frat sounds a la "Ho-Dad Hootenanny" or Hipsville vol 2 & 3, although the total effect of a whole LP's worth is a bit mindnumbing. The cover has a color photo of the group (in matching red jackets) glued on. [PL] NOMADDS(Freeport, IL) "The Nomadds" 1965 (Radex 6521) Way above average local beat (read: Merseybeat) LP with five excellent originals and classy sound/performances; an appealing snapshot of the brief post-Invasion, pre-garage era. Songwriting is remarkably mature and ambitious, and the band is very tight after honing their craft on the local club scene. Superb Gerry Marsden-like vocals add further atmosphere, while a number of OK but more mundane covers can't help but damage the total impression somewhat. In another time and place, these guys could have hit the big time. [PL]

see full-length review

NOMADS(Edmonton, Canada)

"Hits of the Nomads" 1968 (Point 333) Later-day Canadian teenbeat LP with a variety of covers, including an average version of "Hey Joe" which was comp'd on Relics vol 2. There's also two Box Tops covers, a couple of originals, and odd for the time versions of "Stagger Lee" and "Dizzy Mizz Lizzie". NOONAN, LEVI & HOUSHMAND (CT) "East River" 1975 (Cavern Custom no #) Acoustic progressive folk trio with violin, good one.

The band were students at Yale but recorded in the legendary Midwest Caven Custom studio. There is a more jazz-oriented second LP "Laurasia", released as by the East River Consort in 1978. DAVE NORDIN (CA) "In My Mind" 1974 (Specification Records 27874) [blank back cover] Demo press of obscure all-acoustic loner folk/s-sw guy with titles like "All strung out again". Label shows a Kentfield, CA address. NORTH COUNTY ROCK ASSOCIATION(CA)

"Sampler" 197 (Nuthouse no#) Recently discovered obscurity with a couple of great tracks that hopefully will be reissued down the line. A commune/friends & family type deal with different guys providing a few number each, yet the total effect is reasonably consistent. Main attraction is two tracks on side 1; the first a marvy mixed vocal Marin County folkrocker like the moodier tracks on Anonymous, the other a fuzzed out female vocal psychrocker with acid lyrics that sounds like the Bow St Runners at their best. Rest of the LP is listenable OK with a rural rootsy rock sound like "Time Fades Away"-era Neil Young; originals all through. Last two tracks are bluesy instrumentals with a "filler" feel, although they do have strong guitarleads. As far as unknown finds go, not bad, although I wouldn't pay big $$$ for it. Crude artwork on the cover, back cover has credits but no photos. [PL] ~~~ I originally was kind in my assessment of this album, describing it thus: "amateurish but likeable mix of folk-rock and soft rock, with male and female vocals and a definite 70s West Coast (LA) feel." But a few more listens knocked some sense into me. This is absolute proof that *anything* can be an expensive collectable if hyped the right way. It's certainly rare, but most likely the reason it remained undiscovered for 25 years is that nobody in their right mind would think collectors would be interested in it. The band appears to have just learned to play their instruments last week, the songs sound like demos (many of them just end abruptly when the band decides to stop playing), and the album is padded out to almost full-length by two ridiculously dull instrumental jams at the end. One weird and strident anti-tax song is out of place on what otherwise feels like the work of idealistic hippies. Dealers can get away as describing this as "psychedelic" because they use a phase shifter here and there. So did every

other band in the 70s. [AM] NORTHERN FRONT (CA) "Presents Furniture Store" 1975 (Kader k-4321) [2 inserts] This humorous, proggy band falls somewhere between Broken Bow & Idabell and Oho, with the addition of a power pop edge. The style is reasonably appealing, the instrumentation diverse, the vocals pleasant, and the performances are nice, but the songs arent memorable, leading to a pretty bland album. It came with two inserts, and most copies are missing them, leaving the listener with no information at all other than song titles (listed on the labels). [AM] V.A "NORTHLAND SHOPPING CENTER" (Columbus, OH)

"Northland Shopping Center 3rd Annual Battle Of The Bands 1967" 1967 (Magna 71014) [gatefold] Battle of the Bands 2 LP set, featuring 1 side of raw garage/psych covers by 4 O Clock Balloon. Classy FOC packaging with band photos. NORTHWIND(MI) "Northwind Songs" 1974 (no label) [50p; plain sleeve; 2 inserts] "The Woods Of Zandor" 199 (no label, Europe) Bearing no relation to the UK group of the same name, this nevertheless is folky progrock with strong British influences, especially from Jethro Tull. If you're still interested I can add that there's lots of "complex" tempo shifts, long moog solos and troubadorish vocals. Melodic and not overly selfindulgent but in my ears not as appealing as Thunderpussy, as an example. Should still be worth checking out for prog fans, although even the retitled reissue is hard to find. The original label is plain white with handwriting/logo. Back cover reads 'not for sale, for demonstration purposes only'. The band recorded (but never released) a second LP in 1977, one track from which was included on a local Detroit sampler called "Home Grown".[PL] NOSY PARKER(NY)

"Nosy Parker" 1975 (no label) [insert] "Nosy Parker" 199 (Breeder, Austria) [bootleg] "Nosy Parker" 2004 (CD Gear Fab gf-189) Rare but to my ears dull NYC busker-style folkrock/singer-songwriter LP with keyboards, some fuzz and a claustrophobic basement sound, comparable to the (much cheaper) Osh Sebrow LP. Wimpy Cat Stevens sound for most part, not much psych and not much of a fave for me. Guy has cited Ralph McTell as an influence, which is audible in the grooves. Some people seem to like it though. [PL] CHARLIE NOTHING see Charlie Nothing LA NOUVELLE FRONTIERE (Quebec, Canada) "La Nouvelle Frontiere" 1970 (Gamma 137) "La Nouvelle Frontiere" 2004 (CD Unidisc) Dreamy French-Canadian folk rock featuring the Seguin couple, with crystal clear female vocals. There is also a less expensive second LP, "L'Hymne Aux Quenuilles" (Gamma, 1970). NOVA LOCAL(NC) "Nova "Nova "Nova "Nova 1" 1" 1" 1" 1968 1968 2004 2004 (Decca 4977) [mono; wlp exists] (Decca 74977) [stereo; wlp exists] (Radioactive 063, UK) (CD Radioactive 063, UK)

Underrated middle-of-the-road lytepsych '67 trip that's enjoyable with excellent vocal harmonies, fat Eastcoast organ, and lots of fuzz leads for those who demand such. Brit-influenced Hollies/Bee Gees '67 stylings mixed with the L A/Nuggets teen sound, bringing in some Vanilla Fudge flavor on top via a string of cover reworkings that display considerable talent and cojones. Comparable to LPs such as Orphan Egg, Phluph or Bold. The LP was also released in England (MCA) and Canada. The Radioactive reissues have some audible vinyl transfer noise. The band had a good non-LP 45 "Games" that appears on the Echoes In Time vol 2 compilation. [PL] NOVELLS(Los Angeles, CA)

"That Did It! A Happening" 1968 (Mothers Records 73) "That Did It! A Happening" 2004 (CD Radioactive 128, UK) Boyce & Hart-produced harmony pop mixed with heavier

aspiration, covers of Cream, Lee Michaels' "Love", Otis Redding. V.A "NSS CAVE BALLAD COMPETITION" ( ) "Where Rain Never Falls" 1973 (no label BH3-1016) [plain cover; insert] This is a compilation of ballads in traditional folk styles (blues, mountain, even a rag). NSS is the National Speleological Society, the big caver group. The label indicates this is a 1972 competition but the credits on the insert indicate one of the songs wasn't even finished until April 1973 and the others vary in age from 1961-72. Maybe this ballad thing was a regular part of their conventions and they just took the best ones over the years? No idea, but first through third place are mentioned along with honorable mentions. Musically this is pretty cool. Fifteen songs, ten or so are dark, damp claustrophobic folk with stalactite sharp arpeggios and mazes of twisty harmony all alike... he-he... really though its mostly moody guitar (lotsa 12 string minor chords) vocal numbers half with female vocals all about caving and several of 'em are tragic or cautionary tales. Guess these folks are pessimists. My fave is the nearly nine minute "Life is Like a Carbide Lantern/ Endless Cavern" sung to the hymn "Life's Railway to Heaven". Very stark and mysterious with the theme that the journey never ends because there's always more to map! "The Lonesome Death of Endless Cave" is sung to Dylan's "The Lonesome Death of Hattie Carroll" and is every bit as moving. "Histoplasmosis" is a terrifying cautionary tale about... histoplasmosis... let's just say there's better diseases to have. "Dedicated Caver" is a wonderfully nasal rewrite of "Long Tall Texan". The two 1961 tracks credit a Robert Novak as co-vocalist, including the beloved family chestnut, "I Smell Bat Shit". Could it be the conservative commentator he's about the right age? Anyways, all for some and not for all with absolutely no commercial potential but great fun for jaded ears. [RM] NUCLEAR DEBRIS (Adams, MA) "In Space No One Can Hear You Fart" 1981 (Rock House Records 013) This weird neo-garage private press sounds like the improvised work of pre-teens, with crazy distorted guitars, lyrical obscenities and completely outrageous synthesizer noises. Among its 20 songs are five versions of a terrific Dylan-soundalike called Poop From The Pope, a country tune called Al Haig Is A Pig, a crazed fuzz guitar/synth workout called Hydrogen Bombs Are Not Healthy For Your Health, and an irresistible riff rocker called Brown Spots On The Rim. The highlight, though, is the epic folkrocker that closes the album, a ridiculously catchy song called Wang In The Window. Liner notes indicate that the album was written as it was recorded, live at the Rock House. Band member names

include Joey Scrotum and Johnny Scum. Only one copy of this oddity is in the hands of a collector, and the mysterious owner says hes holding out for $13 million before he will OK a reissue. This obscure label also released albums by The Generators, Liquid Sky and Pink Dolphin. [AM] NUCLEUS (Toronto, Canada) "Nucleus" 1969 (Mainstream s-6120) Despite a promising album cover, this is one of the real duds on Mainstream. Its six long, dull proggy organ/guitar workouts with a bit of jazz, bit of blues, but not a whit of melody. If you can keep your attention on these songs from start to finish you might find one or two interesting moments in the mix. Thats not because this is any good, but because of a cool trick the human mind plays on you: when accustomed to bland boredom, minor pleasures take on major significance. Dont let two or three minutes of distraction among 40 minutes of ill-advised noodling fool you. Also released in Canada. Pre-A Foot In Coldwater. [AM] NUMBERS BAND see 15:60:75 NUN PLUS (OR) "Ljubimo" 1970 (Amato SLP 1) Fringe-strange fun in the "nun-folk" category, female vocal harmony folk with offbeat vibe and some spoken bits. For experienced purveyors only.The title is Croatian for "let us love".

Acid Archives Main Page

OASIS (Marin County, CA)

"Oasis" 1973 (Cranbus no #) "Oasis" 2005 (CD Radioactive, UK) Professionally produced hippie folkrock with great male/female harmonies, strong tracks and a general uplifting quality about it. Pressed in Canada but the group was from Marin County and had help from David Crosby, who even on coke knew good music when he heard it. There is also a double CD "Retrospective Dreams" (Black Bamboo, 1995), which was issued by the group themselves under their alternate name R.J Fox and has about half the LP plus dozens of unreleased cuts including personal fave "Parallel trains". The LP was pressed in Canada but distributed primarily in California. [PL] ~~~ see -> Cookin' Mama OBJECTS (VT) "Live At The Greatwood Cafe" 1980 (Gildersleeve) [insert] Vermont show from 1978. Garage punkish trio with Scott Gildersleeve (pre-Queers) and Marc Weinstein (pre-MX-80 Sound). The LP has been offered as "rare garage psych" by record dealers since the mid-1980s, but not many people seem to like it, and it's not a highly rated title today. JUSTEN O'BRIEN & JAKE (MN)

"Time Will Tell" 197 (no label S80-1556) "Time Will Tell" 2001 (Mystic, Europe) One of the more recent finds to be introduced to a wider audience, this is an atmospheric 1970s ssw/loungerock trip from the depths of Middle America. Somewhat reminiscent of the loungier side of D R Hooker, with idiosynchratic vocals and a glitzy mid70s production with keyboards upfront and fairly professional playing. The total effect is like driving around in late-night Minneapolis looking for some action, but instead ending up alone in an airport hotel lounge; a desolate 2 drink-minimum neon light trip of creeping originality. I like it, but it may not be the first LP you recommend to psych newbies.[PL] ~~~ This is a tough one to assess. I hated it on the first four or five listens, but a few months later played it again and found it surprisingly enjoyable. The vocals are very, very weak, and theres an amateurish feel that doesnt really work in its favor, but the songs are bizarre and occasionally surprising. Its singer/songwriter stuff from a very bent perspective, with an unfortunate influence from 70s top 40. A definite labor of love, and it took OBrien about two years to complete it. Theres some sort of overriding theme about aliens and abduction, but I cant figure it out. Not quite as far out as, say, Damin Eih, but certainly more unusual than, say, Richard Soutar. [AM] OCTOBER (MI) "October" 1979 (Charisma Sound) [insert] "After The Fall" 1979 (no label) [gatefold; 25p] Symphonic space progressive with acoustic guitars and lots of keyboard, including moog. "After The Fall" is excellent with spacy mellotron and hard guitar runs and comes in a handmade watercolor cover. OCTOBER COUNTRY (CA) "October Country" 1968 (Epic) [wlp; mono] "October Country" 1968 (Epic BN 26381) [stereo]

"October Country" 2003 (CD Rev-Ola 51, UK) [+6 tracks] "October Country" 2004 (Epic) [exact reissue] This band was in the hands of Michael Lloyd, and they did two songs that would later be redone for the Smoke album. In some ways, this is kind of a lesser variation on that album, but it does contain one atypical fuzz-guitar blaster, My Girlfriend Is A Witch, which is totally great. Its really a good album, but just a little redundant (i e: like the Michele "Saturn Rings" and first Sagittarius album). [AM] ~~~ Anyone who enjoys "sunshine pop", the orchestrated, harmony rich material that makes bands such as The Association, Millennium, Orange Colored Skies and Sagittarius such a delight, will certainly find "October Country" a pleasure. That said, in many respects this album is almost a Michael Lloyd solo effort. In addition to producing, arranging, writing all eleven tracks and providing much of the instrumentation, Lloyd's distinctive creative fingerprints are found all over the album. While neither of the vocalists is much of a singer, in the confines of this album they're individual vocal shortcomings don't really matter that much. Surrounded by breezy melodies, complete with imaginative (and occasionally quirky) arrangements, material such as 'Painted Sky', 'Little Boy Smiling' and 'She's Been Away' just exudes a sense of joy and innocence. [SB] OCTOPUS (CT) "Octopus" 1969 (ESP-Disk 2000) [color cover] "Octopus" 1969 (ESP-Disk 2000) [black & white cover] "Octopus" 199 (CD ESP, Germany) Bluesy melodic rock with organ, sax, fuzz. real amateur sound. A highlight is "U.S. Blues" with trippy dippy counterculture lyrics, basement vocals, and avant sax noise. ODA (San Francisco, CA) "The Black Album" 1973 (Loud 80011) [1000p] "The Black Album" 1998 (Void 10) "The Black Album" 2000 (CD Hallucinations 010) [+4 tracks] Strong local hardrock in the stripped down, riffhappy, non-bombastic style, comparable to the Estes Bros and Glory on Rockadelic. Guitar playing from Randy O is killer throughout, lyrical and fluent yet hard and no-nonsense. Randy also plays the organ in an unusual combination, while his brother Kevin plays drums. Art Pantoja's vocals are OK in the nonoperatic style common to these bands (though clearly not as good as on Dryewater and Top Drawer), and all over I have to rate this one of the better within the style. The CD bonus tracks show an impressive versatility with more melodic moves, as well as a very good take on Butterfield's "Mind to Give Up

Living". Randy Oda later had a taste of mainstream success as member of Tom Fogerty's band Ruby in the late 1970s, then reformed Oda for a 1984 LP. [PL] ~~~ This is above average 70s hard rock, with good guitar leads and memorable riffing. The vocals are uninteresting, though, and theres not much variety or originality here. A few pleasant exceptions: the surprising funk/horn interlude on Cheated, and the poppy melody and hot guitar solo on Give It Up. The best songs are in the middle of the album, so give it a chance if the first couple of songs underwhelm you. The CD adds four bonus tracks that span more styles than the original album. [AM] KEVIN ODEGARD (MN) "Kevin Odegard" 1974 (Wooff W4ST) Unexceptional album with a westcoasty folk/rock sound, one long Neil Young:ish track being the highlight. The cover shows a drawing of the guy. Odegard had at least one more LP, "Silver lining", but is more famous for playing on Dylan's classic "Blood on the tracks" LP, about which sessions he's also written a book. ALAN O'DAY (Los Angeles, CA) "Songs By" 1973 (Edwin WH Morris AO-100) Demo-only album from singer/songwriter who later would achieve fame & fortune both as an artist and composer. As few as 100 copies may have been pressed. ODYSSEY (Brentwood, NY) "Setting "Setting "Setting "Setting "Setting Forth" Forth" Forth" Forth" Forth" 1971 1990 1995 2000 2005 (Organic org-1) (Trip 1000) [new sleeve] (CD Timothy's Brain 103) (CD Odyssey) (Lion, Italy)

Rare demo LP with East Coast mainstream guitar/organ hardrock sound. ~~~ see -> Cathedral OFOEDIAN DEN (San Francisco, CA)

"The Birds" 1970 (Rock Bottom 2151) [4 inserts] Soundtrack of a collegiate tackling of the Aristophanes play. The play was connected to a College of Marin student protest of the Vietnam War. There is a bit of psychy guitar work on a couple tracks else the music is incidental and of little interest. [RM]

OGANOOKIE (Santa Cruz, CA) "Oganookie" 1973 (Oganookie dsw-4154) [lyric inner] Live recording of communal band playing modern bluegrass & rock with George Stavis, who had a solo LP on Vanguard and was in Federal Duck. Oganookie existed for years and its members collaborated with many name musicians, such as Jerry Miller of Moby Grape and Charlie Prichard of Conqueroo. OHO (Baltimore, MD) "Okinawa" 1974 (Sky nr-4579) [book] "Okinawa" 1994 (Little Wing lw-3044/47, Germany) [800#d; four 10" LPs in a metal film can; booklet; +bonus tracks] Cool artsy weirdness from a Baltimore band who actually are still around (and have several further albums.) They influenced a number of strange new wave bands and even appeared on the Bomp "Waves 2" compilation (one of the finest compilation LPs ever). Their first and most sought-after album is full of proggy experimentation, but the songs are short and often goofy. It's much more complex and creative than, say, Northern Front, and the lyrics reach some really far out (and often obscene) places. Zappa was probably an influence, but this is too unique and distinctive to make comparisons. Some of the songs are downright catchy, some completely impenetrable. Originally it was intended to be a 2-LP set, and the rest of the original recordings have since been reissued (the coolest reissue is a set of four 10inch records in a tin box). Not everything here works, but the songs are short enough for the failures to be harmless, and enough of it is wonderful so that if you're interested in music of this type, it's the first album I'd recommend. This breaks some of the same ground as the Residents, and may even predate them, which makes them pioneers of just plain bizarre rock and roll. There was also a 1980 LP released as by Dark Side, and a 1984 LP on Clean Cuts titled "Rocktronics". "Vitamin Oho" from 1991 (Little Wing, Germany) contains unreleased 197475 tracks. [AM] OJAS (Oklahoma City, OK) "Seven Levels Of Man" 1979 (Unity ur-703)

Densely layered cosmic synth progressive with sidelong tracks, on the same label as Iasos. Home studio one-man-band with lots of electronics and found sounds in the mix. Chakra-based concept somewhere in the burbling noises. Opinions differ on its merits. There may also be a slightly later pressing. Steve McLinn went on to release lots more music on tape and CD. OLD HICKORY & THE PIRATE (CA) "Old Hickory and the Pirate" 1977 (Hakim 1001) Laid-back cosmic cowboy countryrock and eastern moves with sitar and tablas. The LP was assembled from recordings spanning more than a decade, which explains its schizophrenic nature. The few folkpsychy tracks may be worth checking out, although this is not a highly rated LP at this point. OLD SALT (Rochester, NY) "Old Salt" 1976 (PTO 101) [1000p] Upstate New York rural rock album thats more country and less inspired than, say, Cambridge. Typical lyrics include women and whiskey, which one will be the death of me. Catchy but in an annoying way. Pretty weak, really. The long jammy last track is probably the best thing here. Not an expensive LP. [AM] OLIVER KLAUS (Waterloo, Canada)

"Oliver Klaus" 1970 (Captain Moze 8841/42) [poster; insert] "Oliver Klaus" 1996 (Captain Moze/No Exit) [booklet; insert] "1967-70" 200 (Captain Moze) [LP + 10 bonus tracks] The first side has six shorter westcoast/folkrock originals played with energy and an upbeat feel; side 2 is a live recording of harder club rock/r'n'b sounds with an extended and not bad version of "Season of the witch". Appealing organic feel on both sides with inbetween song chatter and a loose rural freak vibe doing what is mainly 1967-68 type material. The live recording was made before a crowd of 280 people in Waterloo (Quebec), where "you don't often have that many people assembled". The rarity and dealer hype has made this an overpriced album, but at a low rate (or as a reissue) it is worth

checking out. There are also several later 45s with 5 non-LP tracks between them. [PL] DENNIS OLIVIERI (CA) "Come to the Party" 1970 (VMC 130) Freeform folky psych rock with organ, rocksichord, sax, guitar, percussion. Weird, uncommercial LP produced by songwriter Tandyn Almer, this has been used for samples. Olivieri was primarily a TV actor, and this LP release parallels Rex Holman's in some ways. HANS OLSON (AZ) "Western Winds" 1973 (Joplin Records 3266) "Western Winds" 1980 (Marshall Records 10320) [reissue] "Blonde Sun Album" 1978 (Blond Sun Records 1002) Electric and acoustic blues on the debut, liverecorded loner folk/blues on the followup from this long-running performer, who has continued to record and release music and played with some success in both the US and Europe. OMEGA (IL)

"Omega" 1969 (Fellowship 100) [sprayed logo cover; insert] Mostly folk and blues covers on this debut LP, including Butterfield, "Violets Of Dawn" and even "Leaving on a jet plane", which indicates a 1969 release year. Folkrock setting plus banjo and even some sitar. Some copies came in plain cover. "Michigan Avenue" 1969 (Fellowship 110) [300p; band photo cover; insert] Equally obscure second LP from this band; this time they do all originals, in a folkrock style. The LP has "grower qualities". It seems some copies came in the first album sleeve. Both LPs were pressed in demo runs of a few hundred copies. OMEGA ( ) "The Timekeeper" 1979 (no label) Dual-lead hardrock obscurity from the Midwest in

primitive black & white cover. OMEGA SONSHIP (Austintown, OH) "Earth Ride" 1980 (Jeree) Dreamy Christian folkrock with mixed vocals, on local Northeast label with several releases. The band had two more albums out. OM SHANTI (Houston, TX) "We Are Home" 1977 (Solace 1001) Spiritual hippiefolk sextet with female vocals, tablas, mandolin. ONE ( ) "Live At Joe's Fishmarket and Saloon" 1975 (Back Door Sound) Open mike quality melodic rock with comic interludes. The kind of group that plays for beer and gets kicked off the stage before their set is over. Covers of Beatles, Beach Boys, Righteous Bros, and more. Highlight: a basement fuzzed "Mr. Soul".

ONE (CA) "Creation Earth" 1977 (Children's Village) [2LPs; gatefold; inner sleeves; poster] Communal concept folk-psych with apocalyptic religous concerns. Nice organ and fuzz in spots, mixed vocals. One of the few communal groups that (at least here) didn't float away into guru love chanting or hedonistic atonal dreck. The first LP contains a reference to Lite Storm, which was an earlier incarnation of this spiritual outfit, with the same key members. All of it was done under the spiritual aegis of the guru, Sai Baba. The title is a k a "Who Am I?"; promo variants have been found with bonus 45s. Later recordings exist, and shows the band moving into new age electronica while retaining a hippie folkpsych core. The commune still exists as of this writing, and offers CD and cassette reissues of most of their works from their Idaho base. No relation to the band and LP on Grunt. 100% UNKNOWN FIBERS (Laguna Beach, CA) "Odd Lots" 1971 (no label) [plain stamped cover] "Odd Lots" 2004 (Little Indians, Germany) [10p]

Live recording from an outdoor festival with abysmal sound. Incredibly damaged over the top and down the other side sludge guitar, bass, and drums on the key tracks. A couple of dull jazzy noodlings, stage announcements, nearly inaudible vocals on most tracks. 10 copies only were pressed of the reissue and included in a Little Indians commemorative boxset of all their reissues with this item as a bonus. A proper reissue was planned but cancelled. [RM] ~~~ The LP was recorded during the Laguna Beach Christmas Day "Happening" 1970, and probably released in early 1971. No bands of note appeared, but newspaper articles from the time refer briefly to participants such as Sea, East Utopian Mission, Sound Spectrum and Primal Scream. The event was severely over-crowded and seems to have been a rather haphazard affair, but apart from a few drug freakouts from LSD and PCP nothing bad went down. The LP bears witness to the general drugginess with stage announcements such as "...Hello, we got to have some Thorazine at the medical tent immediately, some guy drank a whole bottle of acid". The music has been described as an amateur version of Cosmic Travellers, with crude rock jams and some jazz moves. Thanks to Stephan Colloredo for info. [PL] 101 STRINGS (Los Angeles, CA) "Astro-Sounds From Beyond the Year 2000" 1968 (Alshire s5119) "Astro-Sounds From Beyond the Year 2000 / Miracles" 199 (CD Request) [+bonus tracks] "Astro-Sounds From Beyond the Year 2000" 2004 (Licorice Soul LSD006) [+2 tracks] Classic exploito muzak sci-fi instro freakout psych, one of the true exploitation "musts". The best tracks combine spooky fuzz instros with swirling string arrangements for a unique experience, projecting a future in outer space as it was envisioned in the 1960s, and is closer to "Barbarella" than "2001". This LP (masterminded by David Miller and Alan Sherman) comes out of the same stock recordings that were used for Animated Egg LP, without strings and under different titles, and the basic tracks appear on other exploitation albums as well. The countless other orchestral hack LPs released under the "101 Strings" franchise are excluded here, naturally. ~~~ see -> Animated Egg ONENESS SPACE see Love Band ONES (Unionville, CT / Boston, MA)

"Vol 1" 1966 (Ashwood House 1105) Covers mostly on this rare LP, including "Diddy wah diddy", "Mr you're a better man", "Can't explain" etc. There was also a little-known 45 released around this time with two LP tracks ; Don't Make Me Over/Maybe it's Both Of Us (Contrapoint 9010). The Bside is an original. The band photo looks almost like a 1970s new wave band, but band member Jeff Costello has confirmed the release date as mid-1966. The Ones formed as early as 1964 and should perhaps be considered a club band rather than a garage act. An eBay copy of the LP sold for almost $3500 in 2006. [PL] ~~~ Prep rock covers half ravers half slow dance doo wop. A fuller, more mature sound than most garage bands of the period with some great early psych playing on "Mr. You're a Better Man Than I" and a fine version of "I Can't Explain". Only one original but a great early garage effort. [RM] ONE ST STEPHEN (OH) "One St Stephen" 1975 (Owl 553) [1000p; inner sleeve] "One St Stephen" 1987 (no label, Austria) [385#d; inferior sleeve job; +bonus tracks] "One St Stephen" 199 (CD no label, Austria) [+bonus tracks] Side 1 on this private press 1970s classic opens and closes with two extended moody psych tracks which are quite impressive. The LP has a couple of more strong tracks, plus 3-4 less exciting bluesy/rocking numbers. Edgar Allen Poe, heroin, and Jim Morrison all help shape Stephen's outlook, which results in one of the more distinctive late Autumnal moods manifest on vinyl. Good vocals, some howling fuzz and occasional use of moog in typical 1970s acidhead fashion. Above average, the reissue should be worthwhile. Both the Austrian bootlegs have bonus tracks by the totally unrelated St Steven from Boston (Front Page Review). [PL] ONSTAGE MAJORITY (Aurora, IL) "Solo Flight" 1971 (no label om-896) Way cool lounge rocker with insane bouncy moog, vibes, gravelly vocals, and kitchen sink efx ala the Kaplan Brothers. One third lame-o balladry, two thirds lounge psych monster! [RM] ONYX (CT) "Onyx also Featuring Wildwood" 1981 (Weathersfield) [insert] School project teen basement hardrock covers, some female vocals.

MICHAEL OOSTEN (WI)

"Michael Oosten" 1974 (Hub-City 5191) [500p] "Michael Oosten" 2000 (Gear Fab Comet 411, Italy) "Michael Oosten" 2000 (CD Gear Fab gf-132) Local weirdo 1970s folkie with long intense acoustic tracks and extended instrumental passages, like a second-tier Perry Leopold. His voice is OK and he's certainly not holding anything back. Mood and atmosphere dominates over songwriting, with lots of two-chord drone and half-spoken lyrics. Apart from Oosten's fine guitar-playing there is bass and occasional electric guitar, but no percussion. "Wavefaring boy" is a highpoint with a dramatic mood and an amazing section where the guy does a vocal imitation of the sound of the sea surf, and not a bad one either. After having heard many dozens of mediocre LPs in the style I would have to rate this above average, but can still only recommend it to genre fans. Silkscreened cover. [PL] ORACLE (WV) "Nataraja Da Nada" 1989 (Paradise Lost) Freaky basement acid guitar excursions with flipped out biker redneck vocals. Side 1 is a bit disappointing, while side 2 is intensely psychedelic in a Yahowha 13/Strange-"Ruler of the universe" direction. This has been listed as a reissue, but is a 1985 re-recording of material originally laid down in 1976, which has led to some confusion. Later recordings in a similar style have been released on CD as by Skuldedog. A must for fans of fried basement cosmic drug guitar sounds, but not exactly for everyone. [PL] ~~~

see full-length review

ORANGE COLORED SKY (Los Angeles, CA) "Orange Colored Sky" 1969 (Uni 73031) Pop psych floater, good one. The band was originally from PA and were called the Fabulous Epics, then moved to LA in 1968. One of several bands to claim being the model for the Tom Hanks 60s retro movie "That Thing You Do". ~~~ see -> Cosmic Travellers ORANGE PEELS (NJ)

"Orange Peels" 1963 (Wight Audio Studios WAS 62075) "Orange Peels" 2000 (Mystic, Europe) Primitive surf/instro trip with a garage vibe, sometimes seen as a "prep-rock" artefact due to a Princeton connection. Covers of "Apache", "Runaway", "Honky Tonk", one band original. Superbly crude packaging. Cool one for pre-Beatle heads. ORANGE WEDGE (Baltimore, MD) "Wedge" 1972 (Wedge 3597/Contraband) [insert] "Orange Wedge" 1998 (Little Wing 3051-52, Germany) [2LPs; yellow vinyl; obi; insert; poster; 500#d] Local hardrock with an appealing directness and above average guitar-playing, even in a genre full of good guitarists. The vocals are somewhat strained, and the reverbed and sometimes doubletracked production enhances rather then reduces this factor. This is not a major problem, however. Songwriting isn't bad at all, while the lyrics go in a bonehead macho direction typical for the genre, which admittedly adds to the authentic teenage vibe. Good, understated use of piano and acoustic guitars make for a varied sound, with a brief throwaway boogierocker the only wasted track. The overall feel of a local club band reaching for an upmarket Aerosmith-type sound makes it reminiscent of the Magi LP, and none the worse for it. A so-so song such as "One night lover" still has a truly great solo, while the closing track has an impressive epic feel. Two release variations exist; one with a Contraband label designation and a stamped title cover, the other with a Wedge label and an unstamped cover. [PL] ~~~ Noisy 70s hard rock that has its moments. Mix of long and short songs and lots of loud guitar. It sounds like it was recorded live in the studio. There's nothing here to really distinguish it, style-wise, from a million other local hard rock albums, but the songs and hooks aren't bad, and the sound is appealingly low-budget. Not good enough for a blanket recommendation, but good enough to recommend to fans of the style. [AM] "No One Left But Me" 1974 (no label 1434) [textured cover; insert] "Orange Wedge" 1998 (Little Wing 3051-52, Germany) [2LPs; yellow vinyl; obi; insert; poster; 500#d] Second album is slicker and has superior sound. In a few places that means it veers towards prog, but it also means the guitars sound sharp and powerful. I find it kind of dull, though, especially on the long

songs. The vocals are very 70s AM radio friendly, which isn't really a good thing. Which of their two albums you prefer definitely depends on your personal taste, but I prefer the first. [AM] ~~~ The second LP (release as by Wedge) has a slightly more produced sound and more ambitious arrangements. Some keyboard has been added, and the vocal mixing is more successful. Other than that it's in a similar style to the debut, with agreeable songwriting and excellent guitarwork throughout. The epic last track has a melodic psych/prog feel unusual for the band. I rate this about equal with the debut: it seems to squeeze more out from the band's abilities and is a more varied experience, but is missing some of the raw directness. But the two are so close in quality and style that they're both best checked out as a package deal (as on the Little Wing reissue). [PL] ORFEUS (KY) "Lying To The Wall" 1973 (Lemco 721) [1200p] Fairly mediocre local rock LP in various early 1970s styles, promising start with a Tripsichordish title track but rest is derivative and/or dull barrock/prog rock/hard rock with a Brit slant, covers of Free, James Gang and a bizarre "We can work it out", plus some feeble attempts at Santana/Allman Bros jamming. Except for a slight whiff of basement charm you're not missing much. [PL] ORGANIZATION (Dartmouth, Canada) "Organization" 1970 (Music Stop 100) Obscure soft-rock and lyte psych private press in primitive cover. ORIENT EXPRESS (NY)

"Orient Express" 1968 "Orient Express" 199 boardprinted cover] "Orient Express" 199 "Orient Express" 2005

(Mainstream 6117) (Mainstream, Germany) [bootleg; (CD Head) (Tripkick, Spain)

Real cool trip out Middle East by three beatnik immigrants who brought some European savoir faire along with their strange instruments. Not the usual sitar exploitation but a real ethnic vibe, like standing on acid at the Istanbul Grand Central with too much stuff going on to ever fully comprehend. Up there with Ganimian & the Orientals and the good tracks on "Side trips" for dawamesk/belly dancer

vectors. French vocals on one track add a strange colonial twist. Despite occasional claims to the contrary, this band had nothing to with Liz Damon's Orient Express. One of my 3-4 favorites on the label. [PL] ORION EXPRESS (Sacramento, CA) "Orion Express" 1975 (Round Mound Of Sound 1001) If you listened to the prevailing hype on this LP you'd see nonsense like "Killer rural hard rock/psych rocker with acid guitar jamming!" or "Backwoods guitar rock with wailing leads." The fact of the matter is that the only thing psychedelic here must be the stuff people were ingesting when they listened to the album, or wrote such nonsense.So let's get down to the facts. "The Orion Express" offers up a decent set of original material and covers. While there's some nice guitar on tracks like 'Gotta Get the First Plane Home' and a cover of Steve Miller's 'Mercury Blues' there's absolutely nothing psychedelic to be found here. Instead the general feeling is of competent (and occasionally quite talented) bar band who have a penchant for bluesy material such as "Down the Rail" and "Hard Goin' Down". The vocalist has a decent voice and he injects more enthusiasm into the material than most similar acts. The same is true for the rest of the band they were probably a pretty good live act. Still, don't be fooled by the marketing hype! [SB] P J ORION & THE MAGNATES see P J Orion & the Magnates (under 'P') ORKUSTRA (San Francisco, CA) "Light Shows For The Blind" 2005 (RD Records 16, Switzerland) [insert] First ever release for this legendary 1966-67 Bay Area band, whose members would go on to various sorts of fame. Mainly instrumental music of a highly eclectic nature, mixing modal Eastern sounds with impressionist classical and plain old SF acid rock. Embryonic versions of two It's A Beautiful Day numbers can be heard. Somewhat challenging and with below average sound quality, but well worth hearing for purveyors of mid-60s freak sounds and of obvious historical value. The overlap with the Bobby Beausoleil CD is restricted to two short numbers. [PL] ORPHAN EGG (San Jos, CA) "Orphan Egg" 1968 (Carole 8004) [wlp exists] -- also released in Germany by Vogue "Orphan Egg" 2005 (CD Radioactive 146, UK) Typical '68 lyte-psych with an eclectic (or rag-tag)

assortment of "hip" sounds; at best an edgy melodic fuzz-psych presence a la Food, at worst a wimpy early Brit Invasion vibe. Strong UK beat-psych influences throughout (think early Status Quo), with some sideglances at the commercial psych sound out of LA. Obvious signs of talent, given another 6 months or so they probably could have made a really good LP. Neat, zit-faced freshman vocals and 3-4 tracks that hit the vintage teen-psych moves right on means the LP needs to be heard, while some poorly chosen covers and an unsuccessful "heavy blues" excursion seals its ultimate fate in a manner similar to the Rainy Daze LP. This seems to have been the last album released by this shortlived GNP Crescendo subsidiary. Also released in Germany by Vogue. The band appears on the "Cycle Savages" movie soundtrack (AIP, 1970). [PL] ORPHANN (Kansas City, KS) "Up For Adoption" 1977 (OMI 70021) Dual lead hardrock. There is also a second LP on OMI, "Don't Say No" (1980). OTHER HALF (Pottstown, PA)

"The Other Half" 1966 (7/2 Records HS 1-2) [500p] "The Other Half" 1984 (Resurrection cx-1266) Post-Half Tribe garage wizards from Hill School with a solid Northeastern sound and a little more punk edge than their regional competition. Two cool originals and the rest top 40/British Invasion covers including "Gloria", Sam The Sham, "Time won't let me", and a whole bunch of Stones tunes. Some variation is offered as they run "Like a rolling stone" into the ground with fun consequences. It appears that most or all originals have the sleeve opening on the left. There was also a 45 released on the same label. [PL] OTHER HALF (Los Angeles, CA) "The Other Half" 1968 (Acta 38004) [stereo] "The Other Half" 1968 (Acta a-8004) [mono] "Mr Pharmacist" 1982 (Eva 12003, France) [LP + bonus tracks] "Mr Pharmacist" 1992 (CD Eva b-13, France) [LP + bonus tracks] "The Other Half" 2004 (CD Radioactive 025, UK) "The Other Half" 2004 (Radioactive 025, UK)

Well-known Randy Holden vehicle in the typical (and to me unappealing) LA psych/hard rock transition style, those growling vocals are always a drawback. Starts out very weak with a bad version of "Feathered Fish" and more, some better tracks on side 2. Blistering guitar (of course) and some unusual r'n'b/club influences, occasionally rocks but just as often slow and lead-footed. Holden fans will still want to get it, of course. Also released in Germany with a different sleeve. The non-LP 45 is the best thing they did in my opinion. [PL] OTHER HALF (Canada)

"The Other Half" 1971 (DDTB 001) Mostly bland covers with organ upfront, "Summertime", Santana. OTTER CREEK (Long Island, NY) "Otter Creek" 1977 (Bolt b-3234) [500p] Long Island band with a New Riders type rural/country-rock sound, they played live frequently in the late 1970s with a local following. OUBA (Quebec, Canada) "Ouba" 1968 (A1 33-213) Westcoast and jazzrock jamming freakout with organ/fuzz, supposedly the Sinners or perhaps some other famous Quebecians in disguise. One long track stretched over two sides, with a 5-minute drum solo on side 2, some scat singing of mostly nonsense lyrics, and a general sense of abandon. Although nominally a private press, the label shows the TransCanada "t-c" logo.

OUR GENERATION (Nyack, NY) "Dawning Of The Day" 197 (Generation LPM/S 500) What do you get when you combine the heavy fuzz guitar of Earthen Vessel, the swirling organ of Azitis and the joyous male/female harmonies of The Bridge? You get a humongous garage/psych monster by the name of Our Generation. This outfits debut is easily one of the top Jesus psych privates. Opens

with the hard-driving rocker "11th Hour", followed by the chilling downer minor-key "Near The End" with heavy droning distorted fuzz, eerie vocals and lyrics dealing with death and despair. Love provides some animated 60s garage-rockin fun with a bratty abrasive fuzz riff that sounds like it came straight out of the Rhino Nuggets boxed set. Lots of dynamic organ throughout, as on the high-energy "Look Out" (which again hits us with another venomous explosion of fuzz), "Jesus In Your Life" (coupled with nice wah-wah electric guitar) and "Can You Make It?" with its dissonant spoken-word psychedelic intro. Even the quieter melodic tracks like "Beyond Yourself" and "I Can See Forever" definitely have that sought-after tripped-out edge. The title track closes out the LP with a slow dreamy mysterious psych mood. All original songs and every single one is a winner, with creative vocal arrangements and sincere Jesus-centered lyrics. Faint yellow-on-white cover art with hills, sunflower and chain of figures holding hands. Raise your hands and worship at high volume. Awesome! [KS] "Praise And Prayer" 197 (Generation OG1072) Holy cow, they did it again! The gang delivers another first-rate psych juggernaut here, with some of their loudest moments on record. "Hello Friends" begins the album with drums and a pulsating bass line, soon joined by fierce fuzz, psychy organ and odd spacey choral harmonies. Likewise Praise bursts forth with a vicious guitar riff worthy of Jefferson Airplane or Big Brother & the Holding Company. More high-powered fuzz on "Jesus Paid It All". Quieter moods are expressed on organ-backed ballads "Only A Man" and "Have You Tried This One Called Jesus", as well as covers of Paul Stookeys "Hymn" and The Youngbloods "Get Together". The latter has a female lead vocal for a change, as does side twos opener "Sacrifice". Also includes Blind Faiths "Presence Of The Lord" where they super-size the guitar break into extended total fuzz mayhem. Closes with an acoustic ballad entitled "A Prayer". Both of these records are intensely rare small-press items. [KS] OVERSEAS HIGHWAY (Key West, FL) "Miles Away" 1979 (Alpha) [500p] This is essentially a bunch of short jams, in the San Francisco style, but with the addition of lots of reverb effects. The end result is a cool spacey sounding record, which benefits from the minimalist arrangements. It's simple, but appealing music. A little bit of synthesizer is a definite plus; a drum solo is a definite minus. There are vocals on only a few songs and those vocals are very weak. It's an enjoyable album, but nothing groundbreaking. A number of Overseas Highway songs are on the "Key West Psychedelic Daze" compilation, which has a photo of them as aging hippies on the front cover. Fun! There is also a retrospective sampler, "Prism Of Soul 2" (no label, 1998). [AM]

OWEN-B (OH)

"Owen-B" 1970 (Mus-i-col 101209) "Owen-B" 1988 (Mus-i-col, Europe) [bootleg] This falls somewhere between post-Beatles power pop and 70s hard rock. Occasionally it's described as "prog," maybe because of the long song on side one, but that's not accurate. The tinny production is a little unfortunate, but the lovely acoustic guitar sound on the folky songs and the great harmonies shine through nonetheless. Solid throughout-great songwriting and inspired guitar playing. Nothing "psych" about this, but it's a heavier album than stuff like "Faces of Jade," and points the way toward more experimental post-Beatles bands. Like Zerfas or Anonymous (or maybe a more well-known band like Crack The Sky), it feels equal parts 60s and 70s, and while it's not as good as those masterpieces it's still an excellent record. There are also two 45s with rocking non-LP tracks, and a less interesting second LP (Old Happy Places, "A Good Example") in the late 1970s. [AM] CHUCK "SNAKE" OWSTON see Snake

OXEN OF THE SUN (WY) "Stations Of The Cross" 1969 (Calvary 666) [blank back; insert] 50-copy demo press of intense X-ian Dead/Quicksilver dual guitar jammer, one of the earliest in the style made famous by Kristyl, "Spirit Of Elijah", etc. Side 1 has four tracks in a Tripsichord bag, while the whole of side 2 is "Stations Of The Cross" a desperate messianic fuzz/wah wah desert guilt trip reminiscent of "Eye Of The Hurricane" by Fraction, except twice as long. Less than 10 copies known to exist. [PL] OXFORDS (Louisville, KY) "Flying Up Through the Sky" 1970 (Union Jac LH6498) [500p] "Flying Up Through the Sky" 2001 (Gear Fab gf-168) [+bonus tracks] This is one of the best soft rock albums of the era, akin to bands like the Free Design but not quite as lightweight. Nice male and female vocals and intricate songs. The Gear Fab reissue has a whole bunch of bonus tracks from various parts of their career, including some bluesy, funky and humorous

numbers. Lots of interesting songs, and the female vocalist is really excellent on the later stuff when she gets a chance to belt it out. [AM] OZ KNOZZ (TX) "Ruff Mix" 1975 (Ozone 1000) "Ruff Mix" 1985 (Ozone, Italy) [bootleg] You have to like a band that names three consecutive songs Doodley Squat. On the other hand, this weird mix of prog, hard rock, and jazz is full of clichs: there are synths and mellotrons, long guitar solos, jazzy instrumental breaks, high-pitched male singing, a long blues song, a soulful song with a horn section. Despite that (or partially because of it), theres an appealing kind of energy and kitchen sink experimentalism. It works best when its most surprising (i.e. the loud, jarring way the guitar solo begins in Peanut Butter Yoni, some occasional stereo tricks), worst when it settles into long soloing or focuses on the weak melodies. Most of the vocals are pretty tuneless (or annoying in that hard rock high-pitched way), but occasionally they get kind of unhinged, which is great fun. The musicianship is pretty strong, and they probably came across very well on stage, where the vocal and melodic limitations are less obvious. If youre in the right mood, much of this album provides dumb fun and excitement. Originals are on notoriously thin vinyl, similar to RCA's Dynaflex. [AM] KAREN H OZNICK ( ) "Karen H Oznick" 197 (no label) [plain cover] Demo LP of female folk/s-sw with mostly originals and covers of Judy Collins, Leonard Cohen.

Acid Archives Main Page

PACERS (AR) "Go Wild" 1965 (Razorback) Local obscurity tied in with the University of Arkansas' football team, The Razorbacks. The LP has been described as more country/rockabilly than beat/garage, and features topical songs such as "Quarterbackin' man" and the regional hit "Short squashed Texan". The Pacers were 1950s legend Sonny Burgess' backing band. There were also some 45s released during the post-Burgess era. Several pressings exist of this album. PAISLEYS (Minneapolis, MN)

"Cosmic "Cosmic "Cosmic "Cosmic

Mind Mind Mind Mind

At At At At

Play" Play" Play" Play"

1970 1984 199 2004

(Audio City-Peace 944S-2809) (Psycho 7, UK) (CD Afterglow, UK) (CD Sundazed) [+bonus tracks]

Late (1970) stab at 60s-style popsike with side two being an extended suite. There are a couple of songs on side one that use sound effects nicely, and there are a bunch of good melodies within the suite. There's a breezy, almost innocent feel that is appealing. Overall, though, it feels like they were trying too hard, and they didn't give up on a single idea, good or bad. The CD bonus tracks are of 80s vintage and are very weak. [AM] JOHN PALMER(Canada) "Shorelines" 1971 (Celebration 1868) [gatefold] Downer psych a la Skip Spence, with an echo-laden production, use of keyboard, some fuzz, and tormented lyrics. LUCIA PAMELA (Fresno, CA)

"Into Outer Space With" 1969 (Gulfstream) "Into Outer Space With" 198 (L'Peg) "Into Outer Space With" 1992 (CD Arf Arf 0037) Legendary incredibly strange album of kooky woman with an elaborate delusional fantasy about people on the moon and how she visits them with her Cadillac. A must within the genre, although it's not "rock" music by a long shot. The L'Peg pressing is a reissue from Pamela herself. Gulfstream was a Florida label, but Lucia was based in California. She passed away in 2002, 98 years old. PANDORA (NY) "Pandora" 1975 (Evatone) [10" flexi; no cover] "Pandora" 200 (CD Captain Trips, Japan) Live glammy promotional Japanese CD the tracks, flexi. hardrock produced by Granicus' drummer, a green flexi for a prospective LP. The reportedly contains longer versions of which had been edited for the promo

PAPA BEAR'S MEDICINE SHOW (Canada) "Papa Bear's Medicine Show" 1971 (One Shot 1001) [100#d; handmade cover] "Papa Bear's Medicine Show" 1998 (Little Indians 5, Germany) [+1 track; 4 inserts; 400p] Reissued along with Butterfingers and sort of similar but decidedly better to my ears; laidback later-day loungey Doors moods with decent songwriting and a consistent sound. Has that typical early 1970s moody organ-led Canuck vibe. Side 2 is live with an extended nightclub jazzrock cover of "Soul Kitchen". Video material exists of the band doing 100% jug band material, unfortunately. [PL] PAPER GARDEN (NY) "Presents" 1969 (Musicor 3175) "Presents" 1986 (Antar 3, UK) [altered sleeve] "Presents" 2004 (CD Gear Fab 194) This is one of the better Beatles-inspired US pop/psych albums. Its a short album (ten brief songs), but still has a bunch of variety and melodic ideas to spare. Lots of sitar, some great fuzz guitar, even gypsy violins and calypso beats. A few good-timey songs at the end of side one may annoy some, but theyre good for what they are, and the

rest is even better. Great cover, too. Also released by Columbia in Canada. [AM] PARISH HALL (CA) "Parish Hall" 1970 (Fantasy 8398) [wlp exists] "Parish Hall" 1999 (Akarma 037, Italy) "Parish Hall" 1999 (CD Akarma 037, Italy) Fantastic power trio hard rock that just about everyone likes. This is no-nonsense stuff, brief songs, killer riffs, strong but unpretentious singing, sparse arrangements. Theres a mild bit of bluesiness to it, but the songs are fast and the album isnt full of long guitar solos. Theres a terrific ballad too. A really good one. Original French, British and Australian pressings exist. [AM] PATRON SAINTS (NY)

"Fohhoh Bohob" "Fohhoh Bohob" altered cover; "Fohhoh Bohob" 45; 500#d] "Fohhoh Bohob"

1969 (no label JT-1001) [100p; booklet] 1994 (no label, Austria) [bootleg; 300p; booklet] 1997 (American Sound 106202/3) [booklet; bonus 1997 (CD Patron Saint PSCD-101) [+bonus tracks]

A truly unique trip and hard to describe, but it's atmospheric "real people" folk-singer/songwriter with an array of influences ranging from ragtime to 40s schlager sentimentality to hippie confusion, like tuning into a radio station from another world. Wellwritten, amazing and deep, you need to hear it. Member Eric Bergman has confirmed the original pressing as 100 copies. Note hidden message along the borders of the back sleeve. There are also two releases of unreleased material, "Proto-Fohob" and "The Latimer Sessions". [PL] ~~~ This album was way ahead of its time, kind of like Virgin Insanity. Nothing else sounded like it then, but now there have been a bunch of 90s indie bands that cover the same DIY-type territory. The sloppy, somewhat inept performances will either appeal to you or they won't. The mix of old-fashioned musical styles is definitely interesting, though. This has the hallmark of a songwriter who had a million ideas but nowhere near enough musical talent to project them correctly, and the result is actually more original and fascinating than what they had hoped...or just boring, depending on your perspective. Not for everyone. [AM] ~~~ see -> Eric Bergman

PAT'S PEOPLE (MI)

"Silver Rains Afar" 197 (no label) UK style folk Recorded at Adell Studios in Novi, MI. BOB PATTERSON (PA) "Instrumentalist" 1971 (RDP) Obscure album from guy who presents himself as "singer/songwriter" on the James Taylor-inspired front cover, so no need to worry about the categorization. Tracks include "Trippin' to Boston", "I am abandoned". BOB PATTERSON( ) "Land Of The 12 String Song Man" 1977 (Conch Island) Countryrock from the South with pedal steel, flute, banjo. Possibly the same guy as above. PATTERSON & PULTS(TX) "Grand Tetons" 1977 (PPP 1178) Introspective acoustic folk duo. Nice dark playing and stark, heartfelt songs about loneliness and the wonders of nature. There is also a second LP from 1984, "Second Time Around" with 1979-80 recordings. [RM]

JOE PEACE (Cincinnati, OH) "Finding Peace Of Mind" 1972 (Rite 29917) [2000p; gatefold] "Finding Peace Of Mind" 2001 (CD World In Sound 1005, Germany) Light good-natured hippie folkrock LP comparable in sound to Brazda Brothers though less consistent. Obvious Neil Young influence typical for the bag, while crude guitar leads add some needed tension. Opens strongly but the last third of the LP is weak with strained vocals and a flower-embellished VW bus mood that becomes one-note. Warm and friendly in a 1960s vibe, but apart from 2-3 excellent tracks mostly for completists. [PL] PEACE BREAD & LAND BAND(WA) "Liberation Music" 1970 (Red Yogis no #) [10"; 1000p; cover is a 10x13" envelope; insert] Communal left-wing hippie folkrock with female vocals and a strong political orientation, including a poem by Ho Chi Minh set to music and women's rights concerns. A mono recording.

"Bright New Dawn" 1978 (Olequa 7801) [1000p] Second and inferior LP of Northwest communal, political folkrock, led by ex-Spikedrivers member Sid Brown. There is also a 7" EP from 1973, "Mill Town Blues". ~~~ see -> Modality Stew PEACE PIPE (CA) "Featuring The Human Equation" 1995 (Rockadelic 18) [600p] "Featuring The Human Equation" 2002 (CD Normal, Germany) [+bonus tracks] This unreleased late 1960s heavy guitarpsych classic is probably (along with Cold Sun) the Rockadelic LP with widest appeal among mainstream psych fans. Despite being just 3 guys with no bass player, a dense wall of hard psychedelia is erected with moments as intense as Fraction. The opening "Sea of nightmares" is one of the best heavy psych tracks ever laid down, while cool remnants of teen garage and lounge/schmaltz add to the LP's underground appeal. Powerful, non-macho vocals and Jon Uzonyi's triple-tracked feedback guitars makes this blow away 20th Century Zoo, Savage Resurrection, Dragonfly, etc. Stunning in parts, solid as a whole. The band had a rare 45 back then; this is not included (as often with Rockadelics) on the LP, but added as bonus tracks on the excellent German CD version, which also benefits from the hi-fi nature of the original tapes. [PL] STEPHEN PEGUES(TX) "Mellow Understanding" 197 (Harvest 06781) A nice cover photo of a dove with a cool blue background and shiny silver writing gives hope of a lovely folk/psych record within. Pegues isn't a wimpy folkie, though. Not only does he look like someone you wouldn't want to pick a fight with, he has a deep powerful voice that overwhelms the acoustic backing. The playing on his album is often crude, but the music is quite confident. The first few songs have a stark outlaw loner folk to them, though they also sport some noodly electric lead guitar. Side one also sports a song with a southern hippie feel (flute, female backing vocals, and a lyric line sung in Spanish) and two quiet ballads, one piano-and-voice, one guitar-and-voice. Side two starts with the album's best song, "Take The Devil," which has some great 12-string acoustic guitar and some dramatic mellotron-like string synth. Unfortunately the rest of side two isn't even by Pegues. It's a short guitar instrumental and two guitar-and-voice ballads by his friend Kevin Kine, and they're uninteresting and not especially well sung. Too bad that Pegues didn't do a full album on his own. As it is fans of the style should enjoy about half of this record. [AM]

JEFF PEKAREK (San Diego, CA) "To Each Their Own" 1982 (no label) Cosmic folkrock from classically trained bass player. Pekarek has continued to record extensively after this debut album. PENDULUM & CO (Boston, MA) "Pendulum & Co" 1971 (Perception 25) Here's another rare album on Jimmy Curtiss' obscure Perception label. It's an odd bird of a pop/soft psych album, sounding like several different bands (and, according to the band members, three songs were indeed by a later and very different incarnation of the band.) It's got a bit of orchestration, some horns, a country tune, and on a few songs, soulstyled singing. Some of this is too smooth for its own good, and the album is way too long. It does, however, contain a few strong, classy, downer melodic psych songs. The opener, the closer, and "Chrome Street Blues" are definite winners, and some good songs are scattered about elsewhere. Sounds like the recording budget was significant, which further makes the small press a mystery. Most of the sealed copies that have surfaced are somewhat damaged, with pops and tics on several songs. The album recording spanned a period of two years, beginning in 1969, and saw lots of personnel changes within the band during that time. [AM] PENETRATIONS( ) "The Fantastic Penetrations / Octet" 1965 (no label) Mid-60s surf/teenbeat LP split with the Octet; possibly the same Octet choir who screwed up the Rasputin & Monks LP, which would place this LP at St Mark's School in NH. This is unconfirmed. PAUL PENFIELD ( ) "Inward Eye" 1975 (no label) Acoustic folk/blues LP with about half instrumentals and some post-Vietnam concerns. Recorded in New York. PENNY BLUE(Canada) "Upon Cripple Creek" 1969 (Paragon 240) Late 60s organ/guitar rural rock with about half originals. Two Creedence covers, "Suspicious minds" and the Band title track. Seldom seen title on this wellknown label, housed in a beautiful pasture and

creek cover. RICK PENTA (OH) "Hit The Road" 1977 (Jewel 737) Melancholic basement rock with a druggy downer atmosphere shifting from acoustic to electric with guitar leads weaving in. Titles include "Suzi Mesciline", "Who Is The Wise Man?". Nice color artwork. There was also non-LP 45 with PS. PENTWATER(Chicago, IL) "Pentwater" 1978 (Beef no #) [insert] "Pentwater" 2003 (CD Beef) [remix; +4 tracks] "Out Of The Abyss" 1990 (CD Syn-Phonic) This album starts with the completely insane "Frustration Mass," where the singer goes totally off the deep end. It gives hope that this will be the kind of highly creative weirdness that gives prog a good name, but the rest of the album is a bit more typical of the genre, with complex song structures, lots of time signatures, and some spacy instrumentals. There are plenty of good and highly creative moments here, from the mesmerizing guitar riffs on "Memo" to the innovative dual vocal lines of "Orphan Girl," and there are a number of highly melodic songs as well. Initially, it's a disappointment that the rest of the album doesn't live up to the weirdo potential of the opener, but multiple listens reveal all sorts of pleasures here. It's a bit long at 50 minutes, but this is a good one, and not something that you need to be a prog fan to enjoy. The "Abyss" CD contains unreleased 1970s material that some consider superior to the 1978 LP. [AM] PEOPLE "Rock Sounds" see Rasberry Jam PEOPLE'S VICTORY ORCHESTRA & CHORUS (NY) "The School" 1972 (People's Music Works) [insert] "Weltschmerzen" 1973 (People's Music Works 270) Communal eclectic bag of tricks of mostly hippie boogie and blues-rock from Long Island, also some eccentric folk, with one side femmes & one side males on "The School". Some promo copies of this came with a flexi 45 and 6 promo sheets. V.A "PEORIA FOLK ANTHOLOGY" (Peoria, IL) "Peoria Folk Anthology" 1970 (Webster's Last Word 3825)

Local hippie folk sampler on Chuck Perrin's label; Perrin and his sister Mary also contribute two good tracks. Other acts include Dan Young, Jennie Pearl, Lou Jendras, Bruce Brown. VICTOR PERAINO'S KINGDOM COME (Los Angeles, CA) "No "No "No "No Man's Man's Man's Man's Land" Land" Land" Land" 1975 199 199 2000 (no (no (CD (CD label) label) [bootleg] Digital, Japan) [+4 tracks] St Thomas 112) [+4 tracks]

Heavy synth and mellotron-laden progressive rock. Guitar, flute, efx. The band arose out of the ashes of Arthur Brown's backup combo, with US native Peraino retaining the band name. Reportedly only 100 copies were pressed of the original, which has sold for four figures on occasion. The CD reissues add bonus tracks from a 1981 EP. LOS PERDIDOS see Los Perdidos LINDA PERHACS (HI)

"Parallelograms" "Parallelograms" "Parallelograms" "Parallelograms" +2 tracks] "Parallelograms" "Parallelograms" tracks] "Parallelograms"

1970 1970 199 2001

(Kapp ks-3636) [black label] (Kapp) [multicolor label] (CD Wild Places) (Beatball, Korea) [600p; insert; poster;

2001 (CD Merry Go Round, Korea) [+2 tracks] 2003 (CD Wild Places 005) [remaster; +6 2006 (Guerssen, Spain)

"Parallelograms" is the unquestioned queen of the hill of female psychedelic albums. Fans of the genre are as unanimous in their praise of this album as mainstream critics are for Joni Mitchell's "Blue," almost to the point where it's unthinkable that anything else can be better. There are many reasons for this. To begin with, no other female folk/folkrock album is so genuinely psychedelic without also being unmusical (i.e. freakouts like Erica Pomerance, Amanda Trees). More importantly, though, this is a just plain solid piece of singer-songwriter music, mixing lovely and versatile vocals with evocative lyrics, creative and melodic songwriting, and an accessibility that makes it the kind of album that can draw mainstream fans into the world of odd collectables. Linda's arrangement ideas are ace, too. The black Kapp label variation is somewhat rarer and may be a superior pressing. The most recent Wild

Places CD is the best version of the album, with sound that is superior to the lousy Kapp presses, and some bonus material that shows she might have made the leap to a more commercial sound without sacrificing the originality and quality of her work. An essential album. [AM] ~~~

see full-length review

CHUCK & MARY PERRIN (IL/IN)

"Brother & Sister" 1969 (Webster's Last Word 2101) [500p; gatefold] "The Next Of Kin" 1969 (Webster's Last Word 2319) [500p] "Brother & Sister / The Next Of Kin" 2003 (CD Rev-Ola, UK) [2on-1] "Life Is A Stream" 1971 (Sunlight) Life Is A Stream 2004 (CD Rev-Ola, UK) Mellow 60s-style folk/folk-pop LPs from ex-Notre Dame/ex-Shaggs member and his sister. The debut is highly rated within the genre and has mostly originals plus a couple of covers. The second LP continues in the same style; these albums differ from the typical hippie folk sounds as they lean more towards vocal soft-pop. Perrin formed the Webster's Last Word record label which had a couple more releases, including First Friday and the "Peoria Folk Anthology" on which he and Mary appear. The LPs were recorded at Golden Voice in Illinois. [PL] ~~~ The first two Chuck and Mary Perrin albums are very similar, pure acoustic guitar and voice duets with crystal clear vocals and sharp phrasing. The vocals are lovely, evoking the greatest joys and wonders of childhood. Some rate these albums at the very top of the solo acoustic genre, though I think they lack variety and the kind of challenging songwriting that would make them more than just vehicles for nice voices. "Next Of Kin" is slightly more complicated than the debut, though both are pretty much of equal quality. "Life Is A Stream" is a much more elaborate production, with a full soft rock band, and includes fleshed out remakes of a few songs from "Next Of Kin." The arrangements work well and give the album depth without sacrificing the innocent feel. About half of the songs are very good, and despite a few spots that are a bit bland or overly precious this could have been a big hit if the cards had fallen correctly. [AM] ~~~ see -> Shaggs; Peoria Folk Anthology PEP PERRINE (Detroit, MI) "Live And In Person" 1969 (Hideout 1003) Comic psych rock LP from drummer for Bob Seger's Last Heard on noted local Motor City label.

PERSEPHONE BILLY see Billy PERSPECTIVE(RI) "Syllabub" 1970 (Gerry WCL-101) [insert] "2" 1971 (no label) College project LPs from longrunning RIU music workshop that would produce a whole bunch of private press albums over the years, such as Follies Bazaar. "Syllabub" is basement folk and rock with westcoast and prog moves, some jazz leanings, and so on in a typical mix. Some tracks have female vocals. Supposedly only 200 copies pressed. The second LP is even more obscure but reportedly similar in style. ~~~ see -> Follies Bazaar PERTH COUNTY CONSPIRACY (Stratford, Canada) "Does Not Exist" 1970 (Columbia ELS 375) [gatefold; booklet] Terrific progressive folkpsych LP with a lot of brains and $$$ put into it, still underrated but really one of the best of its kind. Pretentious and theatrical but successful simply on strength of the talent and production value that went into it. A personal fave with several strong tracks and a peak in the deep acid introspection of "Crucifixation Cartoon". Richard Keelan had previously been in US 1960s folkrock band the Spikedrivers. [PL] ~~~

see full-length review

"Alive" 1972 (Columbia 90037) [2LPs] The live double is recommended to PCC fans, though not as good as the debut. Includes a Dylan cover, rest is originals in their typical hippie folk style. Like the first LP there are interludes of spoken word in a theatrical manner, which is less effective here. "Cabin Fever" 1973 (Rumour no #) [inserts] After leaving CBS there was a line-up shift with new arrival Bob Burchill becoming a key member, prior to his solo career. The discography becomes somewhat confused, but we've done our to best to get it sorted out. The two Rumour LPs are private releases and considerably rarer. "Cabin Fever" was released credited to "Bob Burchill of Perth County Conspiracy", and has one side of live recordings from Calgary. The sound isn't hippie psych, but rustic, realistic folk.

PerthCoRumo (43412 bytes)

"Perth County Conspiracy" 1973 (Rumour 2) [inserts] Rumour #2 is also known as "Mushroom Music" and "What School Bus Tour", and is a live recording from various Canadian cities. Both copies with printed sleeves (showing a drawing of a school bus) or with only an inner sleeve with the same image have been found. Despite their joy of going independent, the music from their more commercially oriented CBS phase may be considered superior, or at least more creative. Around this time there was also a non-LP 45 with picture sleeve on the Rumour label under the PCC name, which looks like a Richard Keelan solo release. The band was known as "Perth County Conspiracy Does Not Exist" for these later releases. Other PCCDNE releases include "Breakout To Berlin" (Rumour 5, 1975), recorded in East Berlin for the Fifth International Festival of Political Song, and "Ten Lost Years" (Rumour, 1977), credited to Cedric Smith and Terry Jones. Bob Burchill would go on to release more LPs as well. JOHN PETERSON ( ) "Where Does It Go From Here" 1976 (TJ Phoenix 11776) [1000p] "Where Does It Go From Here" 1998 (no label, UK) [altered sleeve; flyer; 300p] Tim Buckley-inspired mid-1970s busker/hippie folk. A couple of good psychy tracks and the rest singer/songwriter mediocrity. About average for this endlessly over-hyped genre. I'd settle for taping the best tracks, which include the melancholic "Summer magic is gone". The songs were written 1970-75 when Peterson was living in Europe. The reissue has an altered sleeve designed to resemble the Perry Leopold reissue cover. Nice try. [PL] CAROLINE PEYTON (IN) "Mock Up" 1971 (BRBQ 1) The first Peyton album is a drumless mix of Joni Mitchell-inspired singer songwriter tunes and free form freakouts. It's odd, to be sure, and the one song where she starts out singing opera is especially jarring. It's mostly awful, though, and the dead-on aping of Mitchell's singing quirks on a few songs is even more annoying than Mitchell herself at her most unstable. The lack of a full band hurts a lot too; the songs sound like demos. The unimaginative piano playing on many of the songs doesn't help. Psych, or oddball folk, fans will appreciate this album for "Lor el iii," which is seven minutes of jazzy guitar

weirdness and off-kilter singing from Screaming Gypsy Bandits bandmate Mark Bingham (who wrote all of the songs on the album.) Yoko Ono and otherwise noiserock fans will appreciate it for the two minute closer "Bill Monroe," on which Peyton imitates a saxophone and makes animal noises. But don't be fooled; those songs suck too. Even hearing Peyton sing about creaming in her jeans doesn't save this mess. She is a very talented singer, when presented with the right material and when encouraged to sing from her heart rather than to desperately ape others in hope of commercial success. There's little evidence here that her talent can be roped in, though. This album is unlistenable, almost to the point of being fascinating. [AM] ~~~ see -> Screaming Gypsy Bandits "Intuition" 1977 (BRBQ 8) "Intuition" 2003(CD Japan) Peyton's second album is a vast improvement, with a full band, a remake of an excellent Screaming Gypsy Bandits song, some dreamy folk-pop and cover photos that show her to be the cutest hippie in history. A few songs veer towards funk and disco, in a reasonably convincing way. It's clear that her heart is in some sort of sell-out attempt (she'd succeed many years later, becoming a voice in many Disney films, and releasing a Celtic Christmas album), but still this is a decent record with likeable moments for both folk and funk fans. [AM] P F FLYER( ) "Play Gianchetta Jazz" 1970 (AVG 101) Instrumental psych jams with remarkable background story, intended as a dancing instruction soundtrack but the students turned in this drugged out fuzz/organ trip instead, to everyone else's dismay.

PHAFNER (Marshalltown, IA)

"Overdrive" "Overdrive" cover] "Overdrive" "Overdrive"

1972 (Dragon no #) 1989 (Animus Oculus 101) [300#d; inserts; altered 1999 (Akarma 009, Italy) [altered cover] 1999 (CD Akarma 009, Italy)

Enjoyably crude hard rock unburdened by any notion of good taste. The dual lead guitars are gloriously sloppy. One wasted-sounding blues song is kind of dull, the songwriting isn't exactly subtle (i e: melodies mimic hooks and chord progressions, a la Black Sabbath), and the drummer can barely keep time,

but this is tons of fun. Apparently all available reissues have excised a couple of songs that "don't fit in" with the rest; the Rockadelic inserts two unreleased tracks instead. This explains why the album runs only 26 minutes. [AM] ~~~ Whiskeyed and smacked-out bluesy garage snarl. Heavy fuzz, pounding drums, basement warbling. Loaded with that Index and Mystic Siva cavern sound. Deep and damaged cruel world gimme-a-fix originals from the pit. The previously unreleased "Black Cat Claw" is unearthly... dissolving into raging white noise. Even beats Raven (OH) for checking out to. The first reissue is on an early Rockadelic subsidiary. Supposedly only 50 copies were pressed of the original. They also had a 45. [RM] PHANTASIA (Kansas City, MO) "Phantasia" 1971 (Damon 12918) [no sleeve] "A Psychedelic" 1994 (T.U.T 641, Austria) [partial reissue; 300#d; gatefold] "A Psychedelic" 1997 (CD TUT/Syn-Ton, Austria) "Phantasia" 2003 (World In Sound rfr-18, Germany) [+1-sided 10" disc; gatefold; poster insert] "Phantasia" 2003 (CD World In Sound 1015, Germany) Demo press LP that very few had heard of before the first reissue appeared. Powerful UK-influenced psych/prog-rock with strong, heartfelt vocals, some long fuzz excursions and recurring folk influences. The band obviously put a lot of work into this totally pro-sounding affair, and it's strange that no label picked them up. The Austrian reissue is a bit screwed up as it features only about half the original LP, adding several inferior tracks from the Trizo 50 LP, which was a later incarnation of this band. This is unfortunate as the original demo LP plays through like a fully realized and very impressive album, which is lost in that rag tag reissue. The more recent WIS releases correct this. [PL] ~~~ Here's a comment from member Bob Walkenhorst from a web forum: "My first highschool band was Phantasia, 1970-71. We played high school dances and a bi-weekly gig at the VFW Hall in Carrollton MO. We played covers, but also started right in doing originals that were heavily influenced by early King Crimson and Moody Blues. Considering how ignorant we were, we did some pretty good stuff. We recorded several tracks at Damon Studios in KC in 1971." "Walkenhorst & De Pugh" 1972 (Damon 12969) [1-sided; no sleeve] "I Talk To The Moon" 1996 (T.U.T 1096, Austria) [+bonus tracks; 300p; gatefold] "Phantasia" 2003 (World In Sound rfr-18, Germany) [+1-sided 10" disc; gatefold; poster insert] "Phantasia" 2003 (CD World In Sound 1015, Germany) This 1-sided demo album has re-recordings of some tracks from the earlier LP, adds a couple new ones, and generally expands the folk/singer-songwriter moves from the first one on expense of the fuzz-rock,

which is unfortunate. Still a pretty impressive effort. The Austrian vinyl reissue of this one is less confused than the first one, including this LP in its entirety and adds most of the first demo LP as well. Two tracks are repeated from the earlier reissue. You need both T.U.T vinyl reissues to recreate the original demo LPs, but it seems the recent World In Sound CD contains all the Phantasia material on one disc, making the earlier recycling redundant. [PL] ~~~ see -> Trizo-50; Walkenhorst Brothers PHANTOM (Rochester, MI) "Phantom's "Phantom's "Phantom's "Phantom's "Phantom's Divine Divine Divine Divine Divine Comedy" Comedy" Comedy" Comedy" Comedy" 1974 1989 199 2003 2003 (Capitol 11313) [red label] (Capitol, Italy) [bootleg] (CD One Way) (Radioactive 002, UK) (CD Radioactive 002, UK)

Bordering on novelty sounds with overblown Lizard King vocals and a goofy fairytale concept, but is somehow well-done enough to be enjoyable. Lots of fuzz and dramatic mood changes plus almost inaudible spoken parts between the songs that few people have discovered (the vinyl re possibly omits these). Their manager claimed it to feature Jim Morrison on vocals which ensured a rapid journey down the cutout trail. In addition to this LP there is a "Lost Album" with recordings that may predate the Capitol album. The tapes have been bootlegged in Italy on vinyl (Ghost, 1989) and CD (Flash, 1997) and display an unexceptional Brit-inspired prog/folk sound. [PL] ~~~ Without the Jim Morrison rumors, it's likely nobody would have ever taken notice of this overly dramatic semi-hard rock album at all, though it is pretty outrageous. If you look at it with an open mind, it's got its appealing moments, especially when the lyrics are absurd (Spiders Will Dance On Your Face While You Sleep" is one song title) or when it veers into heavy metal territory. Not exactly good, but fun if you're in the right mood. [AM] ~~~ see -> Happy Dragon Band PHANTOM RAIDERS (Concord, NC) "New Sound '67" 1967 (Justice 146) "New Sound '67" 1996 (CD Collectables) 13 year old kids deliver a crude set of hit covers of the day, although one must wonder in what parallel universe "Walk don't run" represents the "New sound '67". Cool LP above the label average that should appeal to any fan of true garage sounds, meaning healthy doses of incompetence, enthusiasm and local charm. They weren't immune to the backwoods time lag of the area which makes for 3-4 instros that cut into the excitement but basement versions of "Stepping stone", "Day Tripper" and Mitch Ryder more than make up for this. An amazing highpoint is reached with

"Gloria" who's serenaded as being "4-foot-4" rather than the standard "5-foot-4", because these small kids reduced her height to their Junior High standards - genius! The recording is unusually good for the label, and if you think the lead guitarist is hot for a low-teenager, you should realize that he's only 11 years old. As reported in Kicks #5, the band sold the LP door-to-door after winning a talent contest with a Justice "contract" being the first prize. One band original, an instro.[PL] P H FACTOR (Portland, OR) "Merryjuana" 1980 (Piccadilly 3343) Obscure retrospective release on Jerry Dennon's mysterious label of a semi-legendary Portland/S F band's late 60s recordings, most of it previously unreleased. Historically relevant and musically fairly agreeable mix of jugband sounds and eclectic Bay Area moves recalling the US Kaleidoscope, should appeal to fans of that band; also hints of the New Tweedy Bros and Sons Of Champlin. Closing acid-rock raga/sax instro excursion is particularly good. Worth checking out, hopefully a more up-to-date release will appear some day. The band later went for a pure jugband sound, unfortunately. [PL] PHILOSOPHERS (Los Angeles, CA) "After Sundown" 1970 (Philo Spectrum 1001) "Getting Down" 199 (no label, France) [300p; altered cover; bonus tracks] Cool party LP with Hammond, fuzz and a swank r'n'b club groove due to a mixed lineup of brothers and honkies. Not psych or hardrock in any sense, more like what you'd hear if you strolled into a seedy L A discoteque in the late 60s. Enjoyable, but perhaps a bit misplaced in our Archive context. Although the band chose their own label name and design, it is a Century label custom pressing, and has the same generic sleeve as the White Light LP. There was a pre-LP 45 on Century/Philo Spectrum. [PL] PHOENIX SONSHINE (CA) "Shinin' In The Light" 1971 (Destiny) Christian vocal harmony folkrock with male/female vocals and CSN hippie sounds. "Broken Wing" is a standout track with terrific harmonies and a secular westcoast feel not unlike Oasis on Cranbus. PI CORPORATION (cleveland, OH) "Lost In The Cosmic Void" 2001 (Rockadelic 41) [500p] Unreleased 1973-76 experimental/avantgarde synth

dopehead recordings, enjoyable even if you're new to the style. Two structured "songs" on side 1 are really good, plus they retain a basement vibe throughout with a real live drummer and acid lead guitarist. Side 2 is mostly electronic noise, though not without a lot of thought put into it and various moods creeping in and out. The freakiest aspects of Stone Harbour might be one point of reference, though these guys had a somewhat bigger budget. Worth checking out, with grower qualities. The vocalist was formerly with Granicus. [PL] RAY PIERLE (Indianapolis, IN) "Time And Money" 1980 (no label) [300p] "Rhythm Of The Highway" 1981 (no label 1634) [300p; insert/paste-on] Among the three records (including McKay) with Ray Pierle involvement, "Time & Money" is the heaviest guitar LP. Both "Time & Money" and "Rhythm of the Highway" are one-man-band albums with Ray Pierle playing everything. One reason the McKay LP is rated, in general, the far better of these three is that it has the more organic feel of a record made by a real band, and one that had been playing together for a while. Pierle's solo LPs are more overtly singer/songwriter LPs and, musically, both records sound more like the early 1980s records they are, than McKay which is from 1977 but sounds as early as 1972. Both above albums are rock records (descriptions like "psychedelic folk" are way off base) dominated by electric guitars, bass and drums. Both employ occasional flanging effects on the vocals, but the early-70s post-psychedelic charm of the McKay LP is, for the most part, missing. Among rare record collectors you cannot underestimate the appeal of an interesting record cover and "Rhythm of the Highway" has the sort of cover that just screams Private Press from across the room; the kind of cover that holds out enormous promise when stumbled upon in a thrift shop record bin. A blank white jacket, the LP originally came sealed with an 8 x 8 inch cover art sheet (white with a fairly psychedelic blue drawing) loose inside the shrink. The sheet was printed on "crack and peel" paper so the buyer could remove the backing and glue it to the sleeve. "Time & Money" has a printed cover with a color painting (also by Ray Pierle) of an hour glass. In addition to these 3 records by Ray, his late-brother Donnie Pierle was on a marginally interesting self-titled LP from Michigan by the band Bike. [SD] MIKE PINERA BAND (FL) "1 For All" 1978 (Illusion) Hard guitar rock from ex-Iron Butterfly and Blues Image member on (his own) mysterious Florida tax-loss label with dozens of releases around this time. Pinera would record and release more albums.

PIPER( ) "Next Superstar" 1969 (Century) [insert] Obscure title on notorious custom label, light pop/folkrock with artrock keyboard and harpsichord moves judging by the descriptions seen. PIRANHAS (San Marino, CA)

"Somethin' Fishy" 1965 (Custom Fidelity 1452) "Somethin' Fishy" was a little bit different than your standard surf band offering. First off, few of their contemporaries included a three piece horn section. Although the debut offered up a fairly standard mixture of popular covers and isolated originals, musically these guys were difficult to peg; falling somewhere in the cracks between surf outfit and garage genres. Horn-propelled instrumentals such as 'Peter Gunn Theme' and 'James Bond Theme' were enthusiastic, if not particularly innovative. Far more impressive were the band's vocal performances. Snotty and suitably raw, material such as 'Hitchhike', 'My Babe' (be sure to check out the hysterical spoken word segment) and a great cover of 'Louie, Louie' were all worth hearing. Sure, it wasn't going to have a major impact on your lifestyle, but it's somehow uplifting to hear these guys struggle through the ten tracks - any group of 11 year olds could probably handle 'Bubbles' with the same degree of professionalism. [SB] FRANK PISANI ( ) "Sky" 1977 (Dellwood) Another fun tax scam label item. Pisani's music is hard rock with both prog and AOR tendencies, equal parts keyboards and guitar. Some of the arrangements are quite creative and the songs are pretty strong. The manly but high vocals would have been very radio friendly in the late 70s-the sound is not too far from Foreigner, Montrose (with Sammy Hagar) or Bad Company. Pisani, though, is less refined and more unpredictable than those artists. Along with the heavy songs, the album includes a funky instrumental with great keyboard playing, a surprisingly good guitar-free ballad, and a song timed at "7:60." Pretty good stuff. [AM] P J ORION & THE MAGNATES (Groton, MA)

"P J Orion & The Magnates" 1967 (Magnate 122459) "P J Orion & The Magnates" 1984 (Eva 12023, France) "P J Orion & The Magnates" 1984 (Resurrection) [b & w cover] Local prep-garage LP with a folkrock sound a la Ha'Pennys but slightly more pro-sounding, adds some early 60s and UK R'n'B covers for good measure. Consistent in its $15 jangly Searchers/early Byrds sound, even on Stones and Animals numbers, with a folkrocked "Love Minus Zero" perhaps the most original thing on board. Nice live feel with appealingly loose drummer and amateur vocals. No selfpenned material and kind of short with only nine tracks, even as most of them cross the 3-minute mark. Recorded in New York. The band members belonged to wealthy Greek shipping families (hence "Magnates") and were students at the Groton prep school, which makes their tough greaseball stance on the supercool cover seem a wishful Spring break fantasy. [PL] PLAGUE(MI) "Plague" 1972 (no label 26907) [no sleeve] Basement-sounding folkrock cover LP with organ/guitar and horns, a few originals. PLANET OF THE APES (CT) "A Musical Trip" 1974 (TPI) Oddball concept LP from artist inspired by the classic movie, with crude prog and goofy spoken bits. Not without appeal due to its weirdness. Strange cover of monkey heads floating in space. The work of one Terry Phillips.

PLASTIC CLOUD (Bay Ridge, Canada)

"Plastic "Plastic insert] "Plastic "Plastic

Cloud" 1968 (Allied 10) [insert] Cloud" 1987 (BSF/Toadstool 2104, Italy) [bootleg; no Cloud" 1990 (CD Lazer's Edge 1002) Cloud" 1999 (Void) [insert]

"Plastic Cloud" 2005 (CD Akarma 316, Italy) "Plastic Cloud" 2005 (CD Pacemaker/Lion 046, Canada) "Plastic Cloud" 2005 (Lion) [700p; gatefold] The Canadian scene produced several terrific LPs and here's one of the ultimates, with an appeal to both garage fuzz-heads and album psych collectors. The mix of dreamy WCPAEB-style vocals with ripping fuzz and sub-Dylanesque lyrics works better than one might imagine possible, and the LP gains appeal from its youthful basement edge. One of the big, mandatory pieces of the field, and a desirable item for decades, which has helped make it rare despite a sizable pressing run. Great sleeve too. Unfortunately this classic LP has been poorly served by the recyclers (much like the Bachs). Of the older reissues, the BSF is generally considered to have the best sound. The Lazer's Edge CD is noisy, while the Void reissue lacks punch. The recent Pacemaker/Lion job has been reported to sound good. A close counterfeit appears to exist; originals show "Record #10-A" in the dead wax on side 1, crossed out with 4 lines. Next to this it is etched "Rec.No.10-S-1". Some originals came with additional promo inserts. [PL] ~~~ Amazing album that combines wonderful melodic soft pop with utterly relentless fuzz guitar. The guitar truly doesnt stop, blazing on behind and around the singing, and somehow it all seems to be with a purpose. The songs are terrific, and this would have been a great pop album even without all the fuzz (or the lyrics about smoking cow and sniffing glue). As it is, its a one-of-a-kind wonder that can warm the heart of even the most jaded popsike fan. One of the all-time greats. [AM]

PLEASE FEED THE ANIMALS (Canada)

"Please Feed The Animals" 1968 (Paragon PGS 572) "Please Feed The Animals" 1968 (Arc 755)

One track from this late Brit Invasion exploitation LP has been reissued on the "Nightmares From The Underworld vol 2" comp. The album contains covers of various UK bands, the Animals in particular, as the title implies. Also one track each from the Yardbirds, Cream, and Small Faces. The unexpected appearance of Sir Douglas Quintet's "The tracker" suggests this band was still believed to be English at the time! Pretty cool if you take it for what it is. The two original releases have different sleeves. PLUM NELLY(NY) "Deceptive Lines" 1971 (Capitol 692) I have to admit that it took awhile for this album to reveal its charms to me. Featuring a series of extended tracks (only one out of six clocks in under four minutes), selections such as 'Deception' and 'Carry On' were rather conventional rock, sporting occasional progressive and jazzy touches (the latter courtesy of Jeremy Steig's flute, of Jeremy and the Satyrs fame). The lead singer had a decent voice, though his performances were frequently a little on the shrill side for my tastes. More to my liking were the chunky lead guitar moves. Personal favorite; the intense 'Demon'. In terms of talent, these guys were clearly above most of their competition, but I still find the set lacking. [SB] ~~~ Another hard to find Capitol release, and another solid one. It's progressive hard rock with a British feel. There are lots of guitars, powerful male vocals, and even a little bit of flute. The long songs develop some nice grooves, and the album rocks convincingly. Equally as rare as Head Over Heels and Landslide, and almost as good. [AM] P.O.A (IL) "Home" 197 (Applause LPS-277-02) Christian 70s guitar-led rock/hardrock with long cuts, wah-wah, even some funky moves. Rated highly by some. PODIPTO (Bemidji, MN) "Homemade" 1973 (Minnesota Green 7304) Rural/country-rock LP from a locally popular band who also had a less obscure, selftitled LP on the GRT label. This one has been described as unexceptional within the genre, with short pop-format songs. A vinyl-sourced CD reissue of both LPs has been made for regional distribution. POLESTAR 1 (Baltimore, MD)

"Flying Through The Universe" 1980 (Rascal) Heavy guitar and keyboard space rock and prog with Christian concerns, housed in an appropriate fantasy cover.

POLYPHONY (VA) "Without "Without "Without "Without Introduction" Introduction" Introduction" Introduction" 197 199 2004 2004 (Eleventh Hour 1003) (Eleventh Hour) [bootleg] (CD Acid Symposium 008, Italy) (CD Radioactive 117, UK)

Here's another fascinating album on the Eleventh Hour label (like Mason), and with a gorgeous cover. This is an early experimental prog band with definite scifi/fantasy tendencies. Some of the lyrics are pretty pretentious and aspire to a level of intellect they can't pull off, and even words with a more musical flow wouldn't have saved the blah melodies on side two (which comprises two long songs.) Side one, however, is great. It's mostly one 14-minute song with all sorts of surprises, including some really appealing and unique jagged guitar. About a minute of wild electronic noise follows, making for a really cool album side. Half of a killer album. [AM] ERICA POMERANCE see Erica POOBAH (Youngstown, OH) "Let Me In" 1972 (Peppermint 1015) "Let Me In" 199 (Peppermint, Europe) [bootleg] "Let Me In" 199 (CD Third Thunder, Germany) First and best LP by prolific outfit celebrated on the hard rock circuit. This is their most psych/underground effort and opens with some really good tracks firmly rooted in the late 60s sound. Unfortunately side 2 is more rootsy boogie and has a long dull power trio showoff including a drum solo, so I can't really recommend it unless you're a genre fan. Also has one of the worst covers of all time with a cheap b&w drawing of an old hippie throwing up - very nice.There was a 45 with a non-LP track around the same time. [PL] ~~~ The first two songs are greata hot loud hard rocker and a great moody psych tune. The rest of the album hints at the direction theyd later take, which is a more commercialized and less interesting hard rock sound. The last song has a typically dull drum solo. [AM] "US Rock" 1976 (Anchor 1) [poster] "Steamroller" 1979 (Peppermint 1180) [insert] Poobah's later albums are sought after by guitar hero collectors but may sound like loud, bland FM hard

rock to others, and are recommended only to genre fans. In 1980 there was a test press LP, "Live At Snug Harbor" (Cleveland Rec Co; no cover) with 20 minutes of 'Poobah's Boogie' and nothing else. Poobah main guy Jim Gustafson has continued to perform and occasionally record. POORRICHARD (MI) "Place Of The Sun" 1978 (Kazoo 4105) This unique and cool acid folk item is something you know is special as soon as you see the beautiful album cover. All of the songs are centered around heavy acoustic guitar, but some really rock out (three songs have drums and are all fab), while others set a stark mellow late-night or outdoors mood. Side one is solid from start to finish. Side two is more complex, starting with a song appropriately named Funky Honky, and then going into a twelve-minute suite which has lots of lovely acoustic 12-string and some neat moments, but doesnt sustain interest like the short songs on side one. Richards vocals are strong and serious, well suited to this music. Youll be surprised by the groove a few songs find. When the rhythm section enters half way through the otherwise sleepy Ax of Good-Bye, the effect is startling and magical. I wish the long song had a bit more strength, but this album is very good. [AM]

POPCORN BLIZZARD( ) "Explode" 1968 (De-Lite 2004) A seldom seen soft pop/lyte-psych LP that has some admirers. It appears that Meatloaf's first group of the same name was an unrelated combo, despite the unusual monicker. The De-Lite band also had two 45s out, and may have been from New Jersey. DAVE PORTER (WA) "Dave Porter" 197 (no label, no #) Loungey singer/songwriter guy looking like a happy outsider on the excellent front cover. Inside is a mixed bag of sounds, mostly unexceptional, but with solid entertainment in "I'm The Boss" with strange lyrics and inappropriate scat-singing, and the driving "Why I can't love you", while the memorable panoramic Vegas lounge-rock of "Where do clouds go" is just one notch from turning into full-blown psychedelia in the Bob Smith/D R Hooker school; outstanding. The album was recorded in Seattle with NW scenemaker Rick Keefer engineering, and pressed in Canada.

JERRY PORTER ( ) "Don't Bother Me" 1966 (Mirror 123) Acidy downer urban blues folk with guitar and harmonica, including lengthy track "LSD fixation" which is an early description of an acid trip. Worth looking up for early loner/freak folk fans. He also wrote books about the hobo lifestyle. Produced by NY upstate legend Armand Schaubroeck for his Mirror label, this was a "Capitol Custom" job with actual distribution.

POUND (Chicago, IL) "Odd Man Out" 1974 (Audio Mixers 74840) Homemade 70s blend of basement folk and rock, not terribly impressive. The title track is worth checking out for a sample. Ex-Down From Nothing. STEVE POWELL (TX) "Revelation (The Party's Over)" 1974 (Wine Skin 259-02) Rainbow Promise main guy using his former band as back-up, a bit mellowed out bit still showing some basement jammy psych tendencies. see -> Rainbow Promise

~~~

POWER OF ZEUS (MI) "The Gospel According To" 1970 (Rare Earth 516) [promos exist] "The Gospel According To" 2005 (Rare Earth) [bootleg; slightly diff back cover] "The Gospel According To" 2005 (CD Akarma 318, Italy) This is actually an early Christian hard rock album, though you might not know if you dont listen too closely. It sounds great one song at a time, as the songs are powerful and have nice guitar/organ interplay. Yet over the whole 40 minutes it doesnt seem as good, which is probably a case of the songs sounding too much alike and the ideas not being especially original. Recommended to junkies of the style. The powerful recording and instrumental breaks has made this a popular LP for DJ samples. The LP was also released in Germany. [AM] PRATT (Grand Rapids, MI) "Pratt" 1978 (Stentorian 38022) Midwestern guitar-driven hardrock in crude reverse

negative cover showing the drummer behind his kit.

PRENTICE & TUTTLE(Boston, MA) "Prentice & Tuttle" 1970 (RPC AZ-59501) The first Prentice & Tuttle album is nowhere near as well known as the slightly more produced "Every Loving Day", but it will appeal to the same people, and just may well be a better album. Its a distinctive and well-written collection of 14 short songs, starkly arranged in the best tradition of 1962 Greenwich Village (they even cover a Fred Neil song) and with an old-timer kind of world-weary feel. Some pianos and acoustic 12-string guitars give the album some variety despite the simple arrangements. This is not pretty folk, but it is melodic nonetheless. It doesnt get much more real than this album. Highly recommended to any fan of folk/loner folk. [AM] "Every Loving Day" 1972 (RPC Z-50172) [paste-on] Lost country folk duo with that fragile delicacy and despair that really hits home for this sort of lowkey local. Strong rural element in the lyrics with troubled tales, and a deep love of nature is evident. Good dark fingerpicking and strum folk with occasional piano. The deep vibrato vocals can be a bit tough on the ears, but all in all a nice glimpse of rural Americana. [RM] PRESSED DOWN, SHAKEN TOGETHER AND RUNNING OVER (OH) "Pressed Down, Shaken Together And Running Over" 1973 (Almond Tree 20423) The debut LP is melodic x-ian rock and psych, restrained acoustic guitar, keys, beautiful lead vocals and harmonies. Charming with a sedate CSN melodicism mixed with some uptempo numbers. Highlight: the moody "Bright and Morning Star" with its trippy organ and shuffling rhythm. The follow-up from 1979 ("Star Of The Show", WOW) is a bit of a letdown. [RM] PRIMEVIL(Indianapolis, IN) "Smokin' Bats At Camptons" 1974 (700 West 740105) [1000p] "Smokin' Bats At Camptons" 199 (no label, Europe) [altered cover] "Smokin' Bats At Camptons" 2006 (CD Radioactive 164, UK) It's funny to hear the acoustic guitars that begin and end some of these songs (and the 6-minute instrumental "composition"). It's almost as if they want us to take them seriously. Sorry, but they're just a rough-edged hard rock band with an angry vocalist and an ambitious rhythm section (i.e. some funky bits). Unfortunately the drummer's other

tendency is towards Ginger Baker-styled tom-tom overuse. This has its moments, and sounds good due to the excellent 700 West engineering, but strives for virtuosity while barely reaching competency. In a way, that's kind of charming, and the instrumental parts are more fun to listen to than the growling vocals (except on the absurd "Hey Lover," with the inexplicable call and response vocals "Hey lover... hey tuna!") A lot of people like this one, but I think it's only a step away from Spinal Tap. Hmmm, maybe that means I do like it. [AM] ~~~ see -> Buccaneer SUZANNE PRINCE (IN) "Rusty Nails & Promises" 1978 (L'VY Records) Here's a completely unknown private press that should thrill fans of blues and/or powerful female singers. Prince has a sultry, resonant voice and is a strong songwriter. Most of the songs are steamy blues-rock, though a few are calm, almost folky. Some surprising and terrific fuzz guitar shows up on a few songs, and it's played by Suzanne herself. She's also assembled a pretty solid bar band for this album. A very nice find, much better than a lot of more well-known albums in the genre. [AM] PRINCESS FLOWER & THE MOON RAYS ( ) "Dreaming the Magic of Your Maya" 1968 (Akashic #22) website version: A group of American freaks hanging out in Paris who joined up with an exiled Daevid Allen post-Soft Machine to form what has been referred to as ProtoGong (aka Banana Moon #1), existing from late 1967 through 1968. They recorded this one LP in Paris in Spring 1968 before D.A. and Gilli Smyth did their Gong thing. The LP contains 6 tracks dominated by Standlees meandering flute and occasional vocals spewing out what appears to be free associative poetry. Daevid Allen is credited as being on only one track on Side 2; another guitarist, with the rather suspicious name of Fej Mornin, is credited with the guitar playing on Side 1, most of which does sound somewhat suspiciously like Allens style. The album opens with a short spurt of flute and laughter (male & female - could that be Daevid & Gilli?). It leads into the first song, Lovin Spaceship, a sort of Proto-Gong bluesy guitar strummer with Dylanesque stream of consciousness lyrics and a Booby D harmonica finale. Following is Women of Moon, another free association Dylanesque blues strum. Side 1 winds up with a long track listed as two songs on the label. First is Vanishing Rama, a long krishna jam led by Standlees flute, echoed guitar sounding very much like Allens glissando guitar playing and crude tin pot drumming. Midway, a Spoonfull rhythm intrudes, leading into proto-Gong space avant wanking. This flows directly into Guharam Rock, more free association/guitar strumming, though this

time with a more rocking rhythm set by shoe box drumming. Standlees flute at its most meandering joins in toward the end. Side 2 opens with the one track that officially credits Daevid Allen, Between Spirits. This track is pure Gong; atonal flute over glissando guitar with nonsense vocals flitting in and out. The LP ends on the lengthy Ancient Faces. This is a raga-fueled flute and percussion instrumental with a female chanter Ziska Baum, described as Gilli Smyths soul-sisterand sounds very much like her. The music is trancey, yet floating and a jews harp briefly floats into the mix about midway. As the harp fades away, the percussion intensifies, a male chanter is added and the now double-tracked flute engages in atonal sputtering until the LP ends as it began with a few seconds of laughter. Princess Flower and the Moon Rays dissolved in the spring of 1968 when Paris was enveloped by student riots. Loren Standlee and Ziska Baum returned to the U.S. after she was busted for marijuana possession. Standlee, Ziska and percussionist Raja Samyana were members through the late 60s of The Universal Mutant Repertory Company, which also included original Velvet Underground drummer Angus MacLise and his wife Hetty. Samyana is listed as guitarist, though. This LP is believed to have been released in New York City, where Standlee was very active as the 3 or 4 known copies have all been found there. This Akashic label does not appear to be related to any other by that name (Maitreya Kali, etc). [MA] book version: A group of American freaks hanging out in Paris who in late 1967 joined up with an exiled Daevid Allen post-Soft Machine to form what has been referred to as Proto-Gong (aka Banana Moon #1). They recorded this LP in Paris in Spring 1968. The LP contains 6 tracks dominated by Standlees meandering flute and occasional vocals spewing out what appears to be free associative poetry. Daevid Allen is credited only one track; another guitarist, with the rather suspicious name of Fej Mornin, is credited with most guitar playing, much of which does sound somewhat suspiciously like Allens style. The album opens with a short spurt of flute and laughter which leads into Lovin Spaceship, a sort of Proto-Gong bluesy guitar strummer with Dylanesque stream of consciousness lyrics and a harmonica finale. Following is Women of Moon, another free association Dylanesque blues strum. Side 1 winds up with Vanishing Rama, a long krishna jam led by Standlees flute, echoed guitar sounding very much like Allens glissando guitar playing and crude tin pot drumming. Midway, a Spoonful rhythm intrudes, leading into proto-Gong space avant wanking. This flows directly into Guharam Rock, more free association/guitar strumming, though this time with a more rocking rhythm set by shoe box drumming. Standlees flute at its most meandering joins in toward the end. Side 2 opens with the one track that officially credits Daevid Allen, Between Spirits. This track is pure Gong; atonal flute over glissando guitar with nonsense vocals flitting in and out. The LP ends on the lengthy Ancient Faces. This is a raga-fueled flute and percussion instrumental with a female chanter Ziska Baum, described as Gilli Smyths soul-sisterand sounds very much like her. The music is trancey, yet floating and a jews harp briefly

floats into the mix about midway. As the harp fades away, the percussion intensifies, a male chanter is added and the now double-tracked flute engages in atonal sputtering until the LP ends as it began with a few seconds of laughter. Princess Flower & The Moon Rays dissolved in the spring of 1968 when Paris was enveloped by student riots. This LP is believed to have been released in New York City, where Standlee was very active as the 3 or 4 known copies have all been found there. This Akashic label does not appear to be related to any other by that name (Maitreya Kali, etc). [MA] JOE PRITCHARD & GIBRALTAR (MO) "Kendall" 1974 (Kendall-Lee 74201) "Kendall" 1996 (no label, Austria) [300#d; altered cover] "Kendall" 2004 (CD Radioactive 0062, UK) Pro-sounding 1970s rarity with ballsy rock sound and songs ranging from ambitious prog moves over bluesy bar-rock and into macho FM rock postures. Solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and ambitious arrangements provide a prog/AOR vibe that may turn some off, although there's enough groove to keep one's attention throughout the four long tracks. At its best it approaches the powerful sound of fellow Missourians Phantasia, and is also somewhat reminiscent of the 2nd Wedge LP. For 70s fans only, and ultimately a little too much mainstream rock for me, but still an agreeable testament to the remarkable production value of many local US albums of the time. [PL] ~~~ Interesting and unusual private press hard rock album. Four long songs and a short experiment. The unusual arrangements augment riff rock and blues rock with saxes, synthesizers, and some poetic ideas. All of it is quite good and though the songs are long they have enough going on to keep them from dragging. A refreshing change from the usual bonehead 70s hard rock. Bizarre album cover is a bunch of writing -political ranting by Pritchard. [AM] PROBE (IL)

"Direction" 1971 (Eborp 21396) [200p] "Direction" 199 (no label) [bootleg; orange vinyl; inferior sleeve job] "Direction" 2004 (CD Mind's Eye, UK) This is pretty amateurish stuff, and falls into a category somewhere between Bachs/Mystery Meat garage and post-Iron Butterfly hard rock. There's lots of organ and wah-wah, phased drums, an energetic Steve Miller cover, a definite soul influence, and harmonies that don't quite cut it. The best thing about the album is the interplay between the lead

guitar and the eerie-sounding organ. None of it is played particularly well, but the spirit is cool in a youthful way and the songs aren't bad. Best song: "Two Roads In The Night," which has a memorable guitar hook, varying speeds and a tricky chord progression. The songs are surprisingly complex; they have ambitions beyond their chops. "Direction" has its faults, but overall it's one of the more enjoyable albums of its style. A long bluesy cover of "Rock Me" is regrettable, though. Recommended to people who like prep rock but wish it was heavier. [AM] ~~~ Bread'n'butter local basement longhairs who probably played high schools and clubs in their home-town without aspiring to a high level of artistry. The vibe is post-psychedelic, rootsy bluesy in parts, proggy hardrock in parts. Setting is typical guitar/organ interplay, with some surprisingly sophisticated jazzy guitarwork that doesn't quite gel with the bonehead feel of other parts of the LP; good old local LP idiosynchracy in other words. The vocals tend to fall in the unfortunate soulful macho style of the era which keeps this from attaining the full teenage realness of albums like Top Drawer or the Rockadelic roster. All over a difficult album to knock, but equally difficult to find reasons for people to pick up, unless they have some personal memories attached to the scene. Probe released this to get gigs and delight friends and family, and apart from the excellent "Two Roads", the "Direction" trip doesn't really extend beyond those humble ambitions. The small press size has been reported by the band. [PL] PROBE 10( ) "There Is A Universe" 1975 (Blue Universe 92673) Progressive rarity of an eclectic, challenging nature, venturing into fusion with jazzy guitar runs and trumpet and flute interplay. Mostly instrumental. As with others of the era, there is a clear debt to Chick Corea's Return To Forever. PROFESSOR FUDDLE'S FANTASTIC FAIRYTALE MACHINE (Toronto, Canada) "Professor Fuddle's" 1974 (Periwinkle 7314) [textured cover] "Professor Fuddle's / Borealis" 2005 (CD Beatball, South Korea) [2-on-1] Lots of synthesizers can't disguise the fact that this album is bascially bubblegum, and in fact, the catchiest song on it is one that's definitely aimed at kids. Not that bad, really, but unlikely to appeal to psych fans or to prog fans who hear it described as a moog-heavy rock album. Very short album, under 25 minutes. Vocalist Paul Bradbury was formerly with Borealis. [AM] PROJECTION COMPANY ( )

"Give Me Some Lovin'" 1967 (Custom cs-1113) Extra cheesy exploito garage fuzz and organ fun. Half instro ravers with the trademark Jerry Cole guitar style and misleading titles like "Our man Hendrix". The offhand "soulful" vocals are a gas. Some of the tracks are backing tracks from the ID-"Inner Sounds" album sessions. One of the less common titles on the label. [RM] PROMISE (CO) "Promise" 1980 (Cumulus) Seldom seen private press ranging from strong power pop to Beatles influenced pop-psych with an occasional heavier edge. PROOF (Anchorage, Alaska) "Proof" 1971 (no label) [500p; insert] "Proof" 200 (Akarma 236, Italy) "Proof" 200 (CD Akarma, Italy) Early bar-rock/roots/1960s revival band from Anchorage recorded live at two different 1970 concerts opening for big US artists. Crude bluesy garage sound with good harmonica, fluid guitar work and some unusual arrangements of r'n'r standards makes this above average for the genre, though the genre admittedly sucks. A few group originals too. The press size has been reported as 300 copies. [PL] "5th Anniversary Phonograph Record" 1972 (no label) [125p] "5th Anniversary Phonograph Record" 200 (CD Akarma, Italy) Comp of '66-71 live material, a couple of tracks have strong westcoasty guitar jamming. PROPINQUITY(CO) "Propinquity" 1972 (Owl 23) 1970s folkrock with its share of fans, female vocals on one track. PROSPECTUS (NJ/PA) "With Friends" 1971 (Bristol ee-1001) [2LPs; gatefold] Double LP of live funk and hippie rock covers. Barband basement jamming on James Gang, Janis Joplin, Blood Sweat & Tears and a bunch of tracks from the Joe Cocker repertoire. V.A "PSYCHEDELIC SIX-PACK SOUND" (IL)

"Psychedelic Six-pack Of Sound" 1968 (Summit 410) "Psychedelic Six-pack Of Sound" 199 (Lustbutt) [500p; blue marble vinyl] Obscure comp from local rural teenage bands, "psychedelic" only in name. Six groups do two cuts each, of which all on side one are pretty awful. On side two the Mavericks do decent Farfisa beat, Sound Of Fury do good beat/folkrock and finally there's great primitive garage/psych by Eighth Day. All over one of the lamer local comps though. Incidentally, many (or all) reissue copies have the cover slicks glued on the wrong way. [PL]

PTARMIGAN (Vancouver, Canada) "Ptarmigan" 1974 (Columbia 90257) "Ptarmigan" 1991 (no label, Italy) [bootleg] Progressive folk with introspective psych moves, has a fabulous A-side with dark, almost hypnotic tracks travelling from mellow Eastern moods to intense hippiefolk and back. B-side is similar but less successful, though a great psych sleeve makes it a neat item all over. Not rated that highly, but I like it. The LP was recorded with session musicians (incl Papa Bear's guys) in 1972, but not released until '74. [PL] PUBLIC NUISANCE (Sacramento, CA) "Gotta Survive" 2002 (CD Frantic Records 1313) [2CDs] "Gotta Survive" 2002 (Shadoks 040, Germany) [2LPs; bonus EP; 750p; gatefold] Public Nuisance never released a record during their time, but somehow made enough studio recordings to fill up this archival 2-CD collection. The recordings sound surprisingly modern, and the production quality is very strong. The songs are in a post-garage slightly psychedelic rock/pop mode, equal parts energy and melody. There are a number of standouts, and as a whole Public Nusiance is more impressive than many long-term major label bands of the era. Despite a reasonable amount of variety, 2 CDs is a lot. Particularly deadening is the inclusion of multiple versions of two tedious songs by an early version of the band. If the CDs had been arranged a little differently, perhaps to make the first disc a solid album of their best dozen or so songs, and the second to be like a set of bonus tracks, the "album" would have been a killer. As it is, this is a somewhat erratic and overlong compilation that's full of great songs, but the need to provide us with everything dulls the listening experience. I suspect most listeners will feel the urge to make their own CD-R of the best songs from both of these discs. [AM]

PUGSLEY MUNION (Fitchburg, MA) "Just Like Me" 1970 (J & S slp-1001) [photo insert]

"Just Like Me" 2000 (CD Gear Fab GF-143) [+3 tracks] Excellent local power-trio sound with a ballsy vibe, psych residuals, good guitar-playing. If hadn't been 900 copies found in a warehouse in early 1990s, this would be rated a lot higher. member was formerly with Brother Fox & the Tar PULSE (New Haven, CT) "Pulse" 197 (Poison Ring 2237) "Pulse" 1996 (Poison Ring, Europe) [bootleg] "Pulse" 199 (CD Black Rose 144) This hard rock album has a crisp, clear production style that isn't really matched by the music. There's some decent guitar playing and a few catchy bits, and unlike a lot of the era's hard rock the songs are focused and well-constructed. Nonetheless, the histrionic bluesy wailing is pretty annoying, and despite the attention given to the songwriting there's not a whole lot that sticks. A significant amount of harmonica confirms the band's blues base. Recommended to hard rock fans who don't mind undistinguished macho singing. Sizeable quantities of this album were stashed in its Connecticut recording studio, and sealed copies still show up for sale reasonably often. Many of them have slight warps that don't seem to affect play. The album was also released in England by Major Minor. The band had a 45 on Atco with a freaky non-LP track. There is another, unrelated Pulse who had an LP on Thimble, an Italian band based in New York. [AM] PURPLE IMAGE (Cleveland, OH) Cream there the One Baby.

"Purple Image" 1970 (Map City 3015) "Purple Image" 2003 (CD Radioactive 041, UK) Sign-of-the-times hard drugged out funky guitar-rock from black 7-piece band with titles like "Living in the ghetto" and "We got to pull together". Typical mix of late-period Hendrix and Sly Stone, with wailing acid fuzz, wah-wah and feedback, loose male/female ensemble singing and revolutionary lyrics up the wazoo. Also some late 60s Marvin Gaye soul moves with sax. Definite psychedelic feel with stoned sound fx and a certain cheese flavor to it, as though they could have played the local Panther section in an AIP movie. "Lady" is the weakest track, while the opener and the 15-minute "Marching to a different drummer" sounds like the Chamber Bros on PCP. The 50/50 mix of ghetto attitude and mind expansion is pretty successful in my ears, and while some people have expressed fatigue with hyped-up Hendrix/Sly derivations this one stands pretty well on its own bell-bottom clad legs. Great back cover photo from the grim streets of 1970 Cleveland. [PL]

PURPLE SMOKE( ) "Vol 1" 1969 (Mark 1446) Seldom seen light psych/loungy fare with some appeal and a cool cheesy purple smoke drawing cover. JOSEPH PUSEY (Los Angeles, CA)see interview "In My Lady's Chamber" 1977 (Cerebella 1001) UK-influenced progressive folk with superb playing and some moody psych residuals. Not trad folk in the rural sense, more in a direction towards renaissance court music. Acoustic guitars, bells, gong, some flute; a cerebral, refined atmosphere. Vocals aren't impressive but OK while the instrumental passages will leave any guitar student with his mouth hanging open. Consistent LP with a strong identity and grower qualities. Epic "Red planet descends" is a highpoint. Pusey passed away in 2004. [PL]

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QUANTUM (Hartford, CT) "New World" 1976 (no label) Trippy progressive with electronics, stacked synths, electric guitar, and efx. Long tracks broken up into movements. The band has also been listed as coming from NY. QUASAR LIGHT ( ) "Experience This" 1981 (no label) Eastcoast band doing heavy space rock with mixed vocals, guitar leads, sound effects, and more. QUILL (CA) "Sursum Corda" 1977 (RTI) [testpress in homemade cover] "Sursum Corda" 2000 (CD Syn-phonic 10, Europe) Prog in ELP style. They define the title as "A complete and separate world which you can enter in and travel, but can return anytime you wish". It's a good sign when an album opens with the sounds of nature and this is no exception. A quite beautiful and at times eerie prog composition broken into two movements. Mostly featuring synth and drums with some piano and organ fills. Good dynamics as it shifts from delicate runs and organ washes to cascading synth blitzes. The vocals are a mite distracting but the music is quite complex and should appeal to fans of the mid-70s Italian driving synth groups. Original copies also exist with no cover. [RM] QUOTH THE RAVEN ( ) "Nevermore" 1972 (Triple G Records TGS 1-2) Little-known LP from Christian folkie/singersongwriter trio with mixed male/female vocals, in nice generic ocean sleeve. Rated highly by some, others are less impressed.

Acid Archives Main Page

RABBLE (Montreal, Canada) "The Rabble cover] "The Rabble cover] "The Rabble "The Rabble Album" 1967 (Trans-World 6800) [mono; brown wall Album" 1967 (Trans-World 6800) [stereo; band photo Album" 1968 (Roulette sr-42010, US) [stereo] Album" 1995 (no label) [bootleg]

This Canadian band truly sounds like nobody else. They have a matter-of-fact, almost comic vocal style and goofy lyrics, and music with a strong pop sense but plenty of quirks. Theyre too professional to be called garage, the vocals not melodic enough to be pop, and too musically creative to be novelty. Comparisons to Zappa are way off the mark (though he would be just gross enough to write a song about lancing a boil). Theyre closer to 70s prog and pop weirdos like Oho or R. Stevie Moore, or even 90s indie-pop bands like Pavement. Both of their albums contain some unexpectedly interesting guitar work and a few psychedelic songs. I like them a lot; theyre unique, the songs are memorable and theyre never dull. The pressing history is a bit complex: the mono includes 'Golden Girl', while the stereo mix includes 'I can still hear them laughing' instead of 'Golden girl' and also has edits and voices not on the mono. The US press includes both these tracks. [AM] "Give Us Back Elaine" 1969 (Trans-World 6707) "Give Us Back Elaine" 1995 (no label) [bootleg] The second Rabble album picks up where the first left off, but is maybe a tad bit less goofy. Its equally good, if not better, and both of their albums are recommended. [AM] RADIANT SET (CA) "Live" 197 (Five Star fsrs-1409) Early 1970s weird mix of Free Design pop, early Tex Mex, and horns. Fun incompetent jams to "La Bamba" and "Come Together", plus some originals. RAIN ( ) "Rain" 1972 (Project 3 PR 5072 SD) [wlp exists] This is the kind of record that has collectors tearing their hair out. It has that most horrible

combination of traits: 1) its scarce and has not been reissued, 2) its very, very good and 3) every known copy of the album is mispressed, which means that even if you find a copy of the damn thing, you wont get to listen to it the way it was actually recorded. Two distinct problems exist: copies where side two is pressed on both sides of the album, and more commonly, copies where side one is pressed so badly off-center that the entire side sounds like it has a huge warp. As to the music within, its a fascinating blend of soft pop, folky psych and early prog. Some of the song structures and keyboard arrangements are certainly progressive, but this is one prog album that will appeal just as much to psych and pop fans, as the songs are brief and highly melodic. Theres experimentation here, but no excess. In fact, the proggiest songs give the album a nice lift, and the two best, To A Dreamer and He Could Have Known, really rock out. A few songs have clear Zombies and Beatles influences, while others remind the listener that Project 3 is the label of the Free Design. All are memorable and creatively composed. This is a great record. They evoke bands like Zerfas, who sound 70s but in a way that brings the best 60s music into the era. Now, please, somebody do a master tapes reissue! Some members were formerly with Rock Island, who also had an LP on Project 3. [AM] RAIN (NY) "Live, Christmas Night" 1974 (Whazoo usr-3049) "Live, Christmas Night" 199 (Whazoo) [300p; altered cover] Power trio with a Stones vibe and lots of hard guitar leads. RAINBEAUX (FL) "Reflections" 196 (Century - UMYC 11969) Late 1960s harmony folk trio look like frat brothers. Very moody, slow tempo tracks with delicate acoustic guitar, organ. A couple of stinkers but most of it is deep latenite folk and oddly rendered melodic rock "I Dig Rock and Roll Music", "Get Together", "She Loves You". Like the Four Freshmen going for a Mamas and Papas sound, without the gals. Beautiful Victorian psych cover. [RM] RAINBOW PRESS (New York City, NY) "There's "There's "There's 1] "There's "There's [2-on-1] A War On" 1968 (Mr G 9003) A War On" 199 (Mr G, Europe) [bootleg] A War On / Sunday Funnies" 1997 (CD Hipshaft) [2-onA War On" 2004 (CD Radioactive, UK) A War On / Sunday Funnies" 2005 (CD Estrella, Spain)

Under-the-radar melodic psych LP which turns out to be surprisingly enjoyable, with wellwritten, often

moody tunes, OK vocals in the teen crooner style, and extensive use of acid fuzz leads. Nice organ-led minor chord progressions create a mock-serious feel a la Moody Blues, which is balanced by a snappy top 40 enthusiasm that suggests the band still has one foot left in the "Nuggets" garage. Lyrics partly deal with "now" topics appropriate to the band's monicker, but apart for some bittersweet irony they go by pretty unnoticed. The slower tracks reveal that they weren't quite ready for Aggregation type pocket symphonies, but the midtempo lytepsych comes off well in a sound similar to Rainy Daze, and somewhere between those two bands is where I would place the Rainbow Press debut LP. The band was basically a studio-only outfit and reportedly sold several thousand copies of this debut album. [PL] "Sunday Funnies" 1969 (MR G 9004) "Sunday Funnies" 199 (MR G, Europe) [bootleg] "There's A War On / Sunday Funnies" 1997 (CD Hipshaft) [2-on1] "There's A War On / Sunday Funnies" 2005 (CD Estrella, Spain) [2-on-1] Less successful but more pro-sounding second LP, released in the Spring 1969 although the band no longer existed. Beatles and Dylan covers alongside the originals. Canadian pressings of both LPs exist. RAINBOW PROMISE (TX)

"Rainbow Promise" 197 (New Wine 259-01) [candelabras cover; inner] "Rainbow Promise" 1975 (New Wine 259-01) [marquee cover; inner] Christian melodic rock with a loose westcoasty vibe and sound a la Wilson McKinley, has three killers in a row at the beginning of side 1 up there with the best in the genre, another 3-4 numbers that are OK, and a couple of rather painful duds. Clearly above average for the style, and a popular item since many years. There is some confusion around the pressings of this LP, but the second version is credited to Steve Powell & Rainbow Promise and has a completely different cover (showing a pink old-style theatre marquee inside a black border). It also appears that at least some copies came with the 2nd pressing discs in the 1st press sleeve. Both runs are pretty rare. [PL] --Excellent laid-back West Coast style Christian rock. Similar to Wilson McKinley, though not as good (what is?). The lyrical message is a tad awkward at times, but the vocals are strong and heartfelt, and the abundance of echo-heavy guitar is beautiful and often transcendent. The first song on side two is especially dreamy. A couple of good-timey duds dull the overall impact of this album, but the good stuff here is right at the top of this genre. [AM] ---

see -> Steve Powell RAINWATER TOURING COMPANY( ) "The Theater Project Concerts" 1974 (Grinn 1003) Very obscure hippie folkrock jammer with a stoned westcoast vibe. Loose and organic with lots of atmosphere due to it being a live recording in front of an attentive audience. Mixed male/female vocals over an appealing soundscape ranging from quirky downer folk into all-out flowing psych folkrock. Hard to find any immediate comparisons, although the offbeat, piercing male vocals and late-night campfire feel had me thinking of Neil Young's "Tonight's the night" a bit. Also some instrumental guitar jamming. About half is a full rock setting with drums and snakey guitar leads and includes a couple of truly great tracks with an oceanic psych vibe, sort of like the first two tracks on the Robb Kunkel LP, or Sub Zero Band minus the violin. Closing "Gypsy lover" epic stretches out into vintage S F Ballroom jamming over a communal 1970s intensity. Good LP (provided you can handle some idiosynchratic vocals), killer in parts, and likely to blow a few minds when word gets around more. [PL] RAM (NY) "Where In Conclusion" 1972 (Polydor PD-5013) "Where In Conclusion" 199 (CD Lizard Records LR 0710-2) At least to my ears this five track set featured one of the era's more engaging attempts to blend hard rock and progressive moves. So given the band's progressive leanings, including a penchant for long compositions (there's even a side long suite - "Aza") and an over-abundance of mellotrons and woodwinds, what makes lift this set above the norm? Tracks such as "The Want In You" and "Stoned Silence" showed that the band could actually rock out. It also helped that they had a pretty good singer, who occasionally reminded us of early Randy Bachman. The guitar playing is first rate, with a couple of blazing solos on material such as "The Want In You" and the bluesy "The Mothers Day Song". An added bonus; even at their most self-engrossed , the band never forgot to keep the melodies engaging. For whatever reason, this appears to be the band's only release, with original copies having become quite rare and sought after. [SB] RAM DASS (MA)

"Here We All Are" 1969 (Inner Sound, Canada, 3 LPs) [box-set; hindu artwork sleeve; insert] "Here We All Are" 1970 (Inner Sound, Canada, 3 LPs) [regular sleeve; blue title cover; insert] "Evolution Of Consciousness" 1973 (no label, 3 LPs) [boxset] "Love Serve Remember" 1973 (ZDA, 6 LPs) [box-set; booklet] In the 1960s Richard Alpert was known as a Harvard professor and Timothy Leary LSD research associate. After a spiritual transformation into Baba Ram Dass, he went on to become one of the most wellknown East/West gurus during the 1970s, and a very popular lecturer. His natural gifts as a performer are on display on all these releases, with an off-beat and often selfdepreciating humor that works very well in conjunction with the loftier and more cosmic excursions. "Here We All Are" is unfortunately speeded up, perhaps not deliberately (although each side still clocks in at 35 minutes), giving Ram Dass' voice a rare Donald Duck edge. "Evolution Of Consciousness" is essentially the spoken word version of Dass' popular "Be Here Now" spiritual autobiography book. "Love Serve Remember" is notable on account of having several songs in a rather appealing spiritual hippie-folk style, with psych moves on things like "Floating Mind". It's the easiest to find of the three and features hindu fairytales, radio broadcast phone-ins, chanting, and more. Important documents of the fallout from the psychedelic era, and agreeable, non-phony introductions to Eastern spirituality as well. [PL] RANDOM ELEMENT(NY) "Random Element" 1977 (Rocking Horse 5521) Heavy 70s progressive rock trio with some fuzz.

RANDY & THE GOATS (Albany, NY) "On the Lam" 1981 (Broken) Randy Would is a singer/songwriter with the feel of punk era street poets like Jim Carroll and Richard Hell. Hes not much of a singer, but he uses a talky style and a soft, whispery style that both work well enough, and give his music a bit of a sleazy vibe. The music has a basement garage rock quality to it, and here and there is some quality fuzz guitar. This is pretty strong stuff. Song titles like Nausea #2, Screwed, N.Y. Survivor and Murder By Programming should give you the idea. This is a refreshing album; Randy has that bohemian indifferent cool personality but hes not trying too hard to be trendy, as evidenced by one nice pop song thrown in the mix. "On The Lam" is recommended to those of you who miss the days when singer/songwriters had no interest in romance or self-pity. Note: Most copies

of this album have small dish warps, but the warp doesnt affect play. [AM]

RAPID RICHARD GROUP (CA) "Did I See What I Thought I Saw" 1977 (Home Spun RG 1000) [500p] You could call this the third Agape album and you wouldnt be far off. Essentially a custom solo project from Richard Greenburg, bassist for "Victims Of Tradition", joined by fellow Agape drummer Mike Jungkman. Add to that token appearances by Jim Hess and Fred Caban and the line-ups complete. One could speculate that while Caban was responsible for Agapes blues and psych direction, Greenburg provided the more progressive elements. As youd expect "Did I See..." is heavy duty hard rock. With lots of guitar and artsy keyboards its a sound not too distant from Victims, yet even more in the progressive rock direction and with more of a homemade feel. Greenburgs rapid-fire guitar leads dominate this monster, catching our attention right from the start with a wah-wah and feedbacked exploration of a Beethoven string quartet opus! That track is Ears, the first of nine tales on this thematic project subtitled an album of parables. The pace doesnt let up for the boogie-boppin "The Prodigal Ducks" spotlighting Hesss jazzy keyboard licks. "The Hobo" sounds like a pure Caban track while "The Tempest" rocks slowly, halting midway for a detonating barrage of frenzied guitar explosives. Next is the ballad "The Obstinate Toy Soldier", followed by the 7-minute art rock masterpiece "Religions Pigeon". "Groundhog" has kick-butt Clapton-esque hard rock crunch while "The Sparrow" coasts with a Victims-like jazzinfluenced groove. "The Parables" sums up all the prior tales, explaining the spiritual angle of each. Apparently a lot of these songs were being performed by Agape at the time of their demise. For those thirsting for more of this groundbreaking Jesus rock band youre in for quite a treat. [KS]

RASBERRY JAM (NJ) "Rock Sounds Of People / Folk Sounds Of Rasberry Jam"196 (no label) [split LP] The Rasberry Jam side on this split LP has been described as dull, while the People side has its moments, including a cover of "White Rabbit". The album is subtitled 'If Only We Have Love'. Supposedly an even earlier Rasberry Jam LP exists, but has not yet been found. "Here's" 197 (House Of Guitars) Octet with mixed male/female vocal harmonies doing mellow folk, rated highly by some. The band also appears on the Summer Of Service 2 LP set (see entry).

RASPUTIN & THE MONKS (St Mark's School, NH) "Sun Of My Soul / Octet" 1966 (Trans-Radio 200836) "Sun Of My Soul" 1984 (no label) [1-sided; altered cover] This is possibly the most inept of all local New England garage LPs with moronic 1-2 beat drumming, offkey harmonies and general mayhem all around. A teenage enthusiasm permeates all tracks to make for great listening - Back From The Grave fans will love it. Covers all through naturally, mostly from the UK R'n'B scene. The reissue contains the Rasputin side only. [PL] RATIONALS (Ann Arbor, MI) "Fan-Club LP" 1966 (no label) [no sleeve] Unknown to exist for many years, this rarity works as a fine document of the band's early years, before they took a dubious turn musically. Three cool preinvasion instros from 1964, alternate takes on a number of vintage 45 tracks, and a wild 6-minute garagepsych rave-up add up to a solid pre-junkie Michigan 60s album. Too bad this wasn't released properly back then as it would have affected our perception of the band, more along the lines of the Remains or Paul Revere & the Raiders. Only two copies have been found of the LP, which has "Rationals" etched into the dead wax, and was put together by their manager in late 1966. Of course, the Rationals cut a more wellknown LP later on. [PL] RAVEN (OH)

"Back To Ohio Blues" 1975 (Owl 66X111) "Back To Ohio Blues" 199 (Rockadelic 15) [altered cover; 1000p] Messed up bluesy hard rock biker statement which I'm told comes straight from this guy's reality, no posing but the real thing. Great punky vocals relate stories on smack, sex, Ohio, Harleys and everything else that makes life worth living. Sample lyrics: "gotta get high/gotta get fucked/nail me to your cross". An impressive intensity especially on side 1 and one of the few local white bluesrock LPs that truly works. A classic of mid-70s local hard stoner dementia; would make a good double bill with the Merry Airbrakes. [PL]

RAW HONEY( ) "Ragweed" 1974 (RH 1057)

Live recording of hippie folk and Dead-inspired rural rock, with some female vocals. One of the listenable ones in the genre. RAY BRADBURY'S DARK CARNIVAL see Bob Jacobs

JERRY RAYE & FENWYCK (Los Angeles, CA) "Many Sides Of" 1966 (DeVille 101) [split LP; red vinyl] "Many Sides Of" 199 (no label, Europe) Too bad Fenwyck didn't get a full album's worth instead of just one side, because all their tracks are good swinging Sunset Strip folkrock with psychy flashes. The well-known "Mindrocker" track gives you a taste of their sound. Jerry Raye's side (with Fenwyck as support) is mostly lame crooner stuff but has one great fuzz-garage tune. A decent item all over. [PL]

RAYNE (New Orleans, LA) "Rayne" 1979 (no label R-358) "Rayne" 1994 (OR) [insert; 500#d] After being discovered in the late 1980s this deep outlaw basement blowout has gained a reputation among all sorts of music fans. A mix of rural hardrock and mellow folkrock that's hard to pinpoint since it's so original, though Neil Young (especially the electric side on "Rust Never Sleeps") and angry cajun-mood Creedence are possible references. Great lyrics about booze, mass murder and underdog Americana attitudes with a solid consistency all through - side 2 is pretty devastating. A must. [PL] --Like all of the great 70s bands that psych fans fawn over, Rayne successfully sound of their time and before their time. The rock with a punky attitude thats pure 1979, and have a moody, not-quite-heavy style that is more like the direction some great 60s bands could have headed than like a direction any of them actually went. The songs are deep and grow on you, and theres a depraved southern vibe here that can only be compared to the musically dissimilar Stonewall. A band that can be equally appreciated by those who long for the past and those who think rock started in 1977, neither knowing that their archenemies in musical taste would love the same album. Truly great. [AM] JERRY RAYSON (NY) "The Weird Ming In Town" 196 (Psychedelic Records 523) Obscure and severely spaced out fringe folk with unusual inner-city vibe and Puerto Rican tangents.Subtitled "Let's go man rocbuafro".

V.A "READING '68" (Reading, PA) "Reading '68" 1968 (Empire 868-585) One of at least three local late 60s PA compilations on the Empire label. These are of great interest for local musicologists, but do not necessarily contain that much good music. One track from this volume has been comp'd on "Crude PA vol 2". There's also several soul covers as usual, a Doors cover, and possibly a couple of originals. REAL EYES (Flemington, NJ) "Real Eyes" 1981 (Wizard no #) [booklet] This early 80s LP seems to have been discovered about twenty years after its release, and was given some major hype by rare record dealers hoping to be the one to discover the next big thing. It came with a huge book of poetry and art, making it a real labor of love by the folks who released it. The music is pretty much mainstream rock, both acoustic and electric, with hard rock moves and quirky arrangements. It sounds like they were shooting for an AOR sound but didnt have the budget to pull it off, and instead this ends up with a crude garage edge, especially when it gets heavy. The songwriting is pretty interesting and thoughtful, and as 80s private press LPs go, this is distinctive and memorable enough to explain why psych dealers jumped on its bandwagon. The singing is pretty weak, though, and the poetic lyrics are humorless and shoot way higher than this bands actual reach. A lot of the lyrics are pretty stoned, which doesnt exactly add brainpower to the poetry. That said, there is a lot going on here, with enough weird hooks and surprising moments to give any listener a fair amount of kicks. I like side two, especially the closing Visions of Obscurity V, better than side one. In the long run, whether this will be a keeper for any individual listener will probably be determined by the 12-minute Madmans Game, an elaborate epic that encapsulates everything good and bad about this record. Im not sure how strongly to recommend this album (I sure wouldnt suggest paying the $100+ most dealers are selling it for), but its not boring or predictable. The booklet is 90 pages with drawings and lyrics. [AM] KIT REAM (OH) "All That I Am" 1978 (Creative) This one is pretty well-known by incredibly strange fans and has been raved over by Jello Biafra. To make the story short, Ream was a wealthy 1960s acid casualty and then mental patient whose album was actually released by the "Institute For Creative Living, a conservative spiritual growth center. The spacy, jazzy music on the album is strikingly

similar to the equally bizarre Gary Wilson. Ream rants and raves in a completely confident and loungeinspired way, entreating us not to be so holy poly over his souly, among other things. As real people albums go, this is one of the most endearing, as his life philosophy is even more compelling than, say, Father Yods, and the music is never dull. One song has some unexpected female vocals, and a few others have cool and weird vocal arrangements. He grunts and groans and moves from sing-speak to crooning at the drop of a hat. This is absolutely wonderful. Go down to the beach, baby, get naked at twelve oclock! [AM]

REBECCA & THE SUNNYBROOK FARMERS(Pittsburgh, PA) "Rebirth" 1969 (Musicor MS 3176) This is an old-school cult LP out of Pittsburgh that in spite of all the recent interest in hippie freak music still remains pretty much buried in the "cult" section. It probably deserves more attention, not to mention a reissue, as it is appealing late 1960s head sounds with obvious signs of dropping out of straight society. The male vocalist goes for a sometimes unwanted Dylan/Zappa sarcasm while the female singers range from turned-on purrs into amazing primal therapy, not unlike the weird shit pulled by Buffy Ste Marie on her "Illuminations" LP. The band has a clubby, almost garagey sound which adds to the crashpad feel, and there's unexpected and quite good use of violin throughout. Except for the vocalists it sounds a bit like the non-orch folkrock tracks on the Common People LP. Wellwritten songs with eclectic folk and jazz moves, plus a couple of acid freakouts. Not to be confused with the zillions of late 60s femme-vox hippie bandwagon jumpers, "Rebirth" deserves a place among True Freaks such as Fear Itself and United States Of America; in fact it's almost like a satire over weekend hippies at times. Well worth checking out. [PL] --Can you think of any other band in rock history with two members named Ilene?? This is an odd bird to be sure. It probably noses out the Fort Mudge Memorial Dump album as the co-ed record with the most annoying and pretentious male singer, so about half of the album is pretty unlistenable. But the songs with the women range from great to classic, and range stylistically from wonderful guitar pop to freaked out sex-blues to full-on psych, with some cool counterculture lyrics. Great odd album cover too. [AM] REBIRTH(Harrisonburg, VA) "Into The Light" 1970 (RCR) "Rebirth" 1970 (LeFevre Sound MLSP-3100) "Rebirth" 1972 (Avant Garde 135)

"Rebirth" on Avant Garde is a compilation, pulling together material from the group's two vanity pressings; four from the debut and eight from the LeFevre LP. It also sounds like a couple of the tracks were either re-recorded or had some postproduction work done to improve the overall sound. The liner notes claim that "many people have repeatedly asked us for a record which they can give to their teenagers to play along with regular pop artist albums. We feel that what is needed is music with a good rock sound, that stimulates thought, and has a Christian message." Since this is one of the better Christian rock albums we've heard, that's actually a pretty good description. With largely original songs, most of it features a rather conventional folk-rock sound. Material such as "Everybody's Talking" (one of two covers), "Laughin' On the Corner" and "The Way That I Feel" sported some nice group harmonies and pretty if lightweight melodies. The results were occasionally a little too Up with People-ish for our tastes ("Lancaster County"), but for the most part the group's religious beliefs were understated, making for a set that mostly managed to avoid the usual in-your-face-sinner bombast one associates with so much of Christian rock. Highlights include the unexpected and totally atypical rocker "Into the Light" and an interesting contemporary update of the traditional hymn "They'll Know We Are Christians". Clearly not for everyone, but for the right crowd this will be a wonderful find. The artwork for the RCR debut is reused for the Avant Garde version. [SB] REBS (IA)

"Breakthrough 1968 A.D" 1968 (Fredlo 6830) [200p] Endearingly bad organ and three chord raveup covers. Amazingly bad vocals, the falsetto on "Gimme some lovin'" is guaranteed to leave you in stitches. [RM]

RED BUD THUNDER (WI) "American Rock'N'Roll" 1979 (Feldergarb 41178) [lyric sleeve] Hardrock with good guitar, twin leads. RED CHEEK (FL) "Red Cheek" 197 (Armadillo 8032) Rootsy rural/countryrock with acoustic guitars, on same label as Magic-Enclosed. Has been hyped but according to a knowledgable source, it "sucks in a gentle way".

RED CRAYOLA (Houston, TX) "Parable Of [mono] "Parable Of [stereo] "Parable Of "Parable Of Arable Land" 1967 (International Artists 2) Arable Land" 1967 (International Artists 2) Arable Land" 1978 (International Artists 2) Arable Land" 1978 (Radar rad-12, UK) Red Krayola And All Who Sail With It" 1968 Artists 7) Red Krayola And All Who Sail With It" 1978 Artists 7) Red Krayola And All Who Sail With It" 1978 UK)

"God Bless The (International "God Bless The (International "God Bless The (Radar rad-16,

Experimental art-school psych and avant featuring Mayo Thompson. The first LP is more listenable, a fun over-the-top freakout typical of the era, with some good songs buried in the chaos. It's not for everyone, but did help to cement IA: standing as a mythical weirdo label back in the 1970s. The box set reissues can be identified via a matrix # that begins "Ach...".. They changed spelling to Red Krayola by the time of their 2nd LP, which contains 19 minimalist song fragments. Mayo moved to New York after his solo LP and took up the Red Crayola moniker again. In the late 1970s and early 80s the group recorded several interesting art rock albums, including collaborations with the group Art & Language, and Mayo has continued to put out challenging avant rock releases. The band has a few unreleased 1960s era tracks on "Epitaph For A Legend", and there's also a CD's worth of such material titled "Coconut Hotel" on the Drag City label (1996). Vinyl and CD reissues include Spalax, Collectables, Decal, and probably a few more. All reissues are vinyl-sourced as the mixdown masters were lost in the early 1970s. [RM] --see -> Mayo Thompson; Epitaph For A Legend REDEMPTION(San Antonio, TX) "Look Up" 1974 (Evan Comm 553547) [1000p] Dreamy Christian rural 12-string folkrock, some fuzz and organ. Featuring Kemper and Bekah Crabb doing a mix of standards and originals. The band was also represented with two tracks on the comp "Gospel Ship 2" (Destiny 2012, 1975). --see -> Arkangel; Hill Country Faith Festival V.A "RED HERRING FALL FOLK FESTIVAL" (IL) "The Red Herring Fall Folk Festival" 1970 (Century 36387) Various artists local folk assembly including Louie Kotva (see entry), Dan Fogelberg, Peter Berkow, Nancy Fetters. Red Herring was a coffee house in Urbana,

IL. RED PONY (OK) "Red Pony" 1975 (Artco 1123) Local band doing hardrock and prog with female vocals and a Janis Joplin cover. RED SHADOW (Cambridge, MA) "Live At The Panacea Hilton" 1975 (Physical 21-005) [insert] Underground radical folkrock with mixed vocals and counterculture politics. Track titles include "Stagflation" and "Understanding Marx", a Ray Charles take-off with a spoken segment with a hip female explaining how she got turned on to Karl Marx. This bizarre LP still sounds like satire, but hardly in the way it was intended. There is a second LP, "Better red". REFINED BY FIRE (CA) "Refined By Fire" 1980 (no label) This is 70s sounding mellow Xian rock with some quite good (often jazzy) guitars and the genres usual pretty but soulless vocals (there are several female singers and one male singer.) Much of this is average bland AM-style pop, but a couple of songs have a dreamy beauty to them and the closing song has a cool heavy guitar solo that flows underneath a catchy repeated end chorus. Not a great album, but here and there it hits the spot. [AM] REFLECTIONS (Sidell, LA) "The Unique Sounds Of" 1970 (RSVP MC 1371) Atmospheric instrumental home recordings of trumpet/organ-led lounge duo, with a 13-year old kid on drums joining forces with a significantly older lady who manages to play bass, organ and trumpet at the same time! This low-rent circus act handles a mix of cocktail jazz and surf music standards, all of which must have seem totally dated in 1970. The most modern track is "Eleanor Rigby". There's two originals in a 50s light-jazz/exotica style. While at least half of this isn't "rock" by a long shot, the end result isn't that far removed from some of the more backwoods Justice label acts, right down to the somnabulent, strangely hypnotic melancholy moods. Unless made clear already, this is deep into Incredibly Strange, and needs the proper approach to work. A CD-R "reissue" exists. [PL]

REIGN GHOST (Toronto, Canada) "Reign "Reign "Reign 1004) "Reign "Reign Ghost" 1969 (Allied 12) Ghost" 198 (no label, France) Ghost / Featuring Lynda Squires" 1990 (CD Lazer's Edge [2-on-1] Ghost" 2004 (CD Akarma 277, Italy) Ghost" 2004 (Akarma 277, Italy)

Fuzzed basement mid-period Airplane hippierock sound with many great tracks like the opening raga ripper, "Travels of blue paradox". Lynda Squires' slightly operatic voice might put some off though there are many other elements here to make at least the reissue worthwhile. The band also shows some folk moves. One of the better LPs in a genre littered with local mediocrities. [PL] "Featuring Lynda Squires" 1970 "Featuring Lynda Squires" 198 "Reign Ghost / Featuring Lynda 1004) [2-on-1] "Featuring Lynda Squires" 2005 "Featuring Lynda Squires" 2005 (Paragon 19) (no label, France) Squires" 1990 (CD Lazer's Edge (CD Akarma 325, Italy) (Akarma 325, Italy)

Only Squires and Bob Bryden remain for this followup, which is similar but slightly less garage and more mellow. Bryden wrote only three tracks which is a pity as the other guys couldn't really compete with him. Some swear by the long closing fuzzrocker "Enola gay" but all over this is weaker than their debut in my ears. It is even rarer than the Allied album. [PL] --see -> Christmas REJECTS(Ontario, Canada) "Rejects" 1969 (Toad no #) Coffehouse folk home-recordings from 1967, featuring roughly the same crowd as on the Jeremy Dormouse LP, with a similar primitive basement folk sound. After the Dormouse sessions and prior to the Rejects sessions there was also a rare EP with non-LP tracks, titled "The Entire Castle Illusion". RELATIVELY CLEAN RIVERS (CA)

"Relatively Clean Rivers" 1976 (Pacific 17601) [gatefold; photo insert] "Relatively Clean Rivers" 2003 (Radioactive 020, UK) [gatefold] "Relatively Clean Rivers" 2003 (CD Radioactive 020, UK) Post-Beat Of The Earth classic in a melodic 70s westcoast style with an impressive crystal clear

sound. Has some killer tracks with acoustic/electric guitar tapestries and is of a high standard throughout, although a couple of tracks sound more like outlines than finished creations to me. Reminiscent of Neil Young at his most melodic, with a rare reflective desert mood. "Journey thru the valley of O" is sheer perfection. Much-loved LP with grower qualities. [PL] --At its best, this album is worthy of the legend; a super-clean (the band is perfectly named) acousticflavored pop/folk-rock feel, in the 70s California vein but with a more innocent feel. A couple of songs here are surprisingly sloppy, which is a jarring switch from the crisp arrangements and lovely singing on the majority of the songs, but the experiments are interesting ones, whether they mesh perfectly or not. If you dont come into this one believing the most outrageous hype, you should be very pleased indeed. [AM] RELAYER (Houston, TX) "Relayer Album" 1979 (HSR) [inner] Symphonic keys prog in Yes style. ERIC RELPH(CA) "Pretty Darlin'" 1978 (Evy Pollen 1-2-49) An odd album thats hard to pinpoint. Theres a definite lounge feel to it (mostly due to the reverbheavy vocals), but after a few listens you start to notice that it rocks out too. Theres some excellent creepy slide guitar on some songs and a high standard of songwriting. The overall style is a tough one to get around, as its too hard for soft rock fans but too floofy for hard rock fans, but its strange enough to be the ticket for someone who can appreciate both. [AM] REMAINS (Boston, MA)

"Remains" 1966 (Epic ln-24214) [mono] "Remains" 1966 (Epic bn-24214) [stereo] "Remains" 1978 (Spoonfed 3305) [+bonus tracks; red vinyl; altered cover]

"Remains" 2002 (Beat Rocket) [+bonus tracks] These boys should need no introduction -- along with Paul Revere & the Raiders probably the finest exponents of the upmarket mid-60s US teen-rock that has aged as well or even better than the more famous UK groups they competed with. Great stuff, they should have been millionaires. Stereo originals are somewhat rarer than mono. The original LP was also released in South Africa by CBS. Of the reissues and repackagings, the Spoonfed release is considered to have very good sound. The Beat Rocket LP is at this point the only exact reissue around. There is a Transco acetate from 1966 with material that has been released by Eva Records in France as "Live In Boston" (1984) with fake applause added, and by Sundazed as "A Session With" (1996) in their original format plus some bonus tracks. [PL] RESEARCH 1-6-12 (Los Angeles, CA) "In Research" 1968 (Flick City fc-5001) Cool fun garage/psych album with an amusing Adults only disclaimer: this album has been called dirty. This album has been called great. The drug and sexrelated lyrics actually are quite daring for the time, but the musically edgy vibe is even more appealing. A little bit of good-timey goofiness annoys, but most of the album comprises punky garage rockers with cool fuzz guitar and folky psych tunes with echo effects, trippy lyrics, etc. Really a very solid album with just the one or two duds. The liner notes make these guys out to be, like Phluph, intellectuals who chose the low road. [AM] REUNION BAND & FRIENDS (KY) "Ocean of Love" 1977 (Living Love Productions) [gatefold] The songs were written by Marcus Allen and Summer Raven and performed by The Reunion Band and Friends. Features many of the same folks on The Love Band's "The Oneness Space" LP, but is considered superior by some. Gentle folk with pretty femme vocals and cosmic, cultish lyric concerns.

REVERBS (CT) "Chalk Up" 1965 (RV Connection) [blank back cover] Obscure local teenbeat LP from Westport, featuring typical mix of frat, surf and British Invasion, with covers of Beatles and Stones numbers. PAUL REVERE & THE RAIDERS (Boise, ID) "Like Long Hair" 1961 (Gardena LP-G1000) [mono]

"Like Long Hair" 196 (Gardena LP-G1000) [mono; later press; green & red lettering on label] "Rock & Roll With" 198 (Gardena LP-G1000) [mono; bonus tracks; altered sleeve] Beginning in 1959, Paul Revere & the Raiders were one of the truly great bands of the 1960s, and a crucial influence for the "garage" bands of 1966-67. Their music has aged exceptionally well and radiates class and style from the very beginning. This debut LP is all instrumentals including five originals, the rest covers including two Wailers numbers. Originals have red and black lettering on the label. "Paul Revere & The Raiders" 1963 (Sande S-1001) [mono] "In The Beginning" 1966 (Jerden JRL-7004) [mono; new sleeve] "In The Beginning" 1966 (Jerden JRL-7004) [rechanneled stereo; new sleeve] "In The Beginning" 1969 (PickWick SPC 3176) [rechanneled stereo; tracks removed; new sleeve] "Paul Revere & The Raiders" 197 (Sande S-1001/Etiquette) [mono; thin cover] Only one original song on this one. The rest are covers of r'n'b/1950s classics. The Jerden jobs are repackaged reissues. The Pickwick budget release is missing two cuts and came in a psychedelic cover. It was also released as Sears SPS-493. The 1970s "Northwest Collection" box-set reissue has Etiquette' in the dead wax. With "Here They Come" on CBS in 1965 the Raiders became a matter of national concern, which is well covered elsewhere. REVIVAL (Denver, CO) "Music By Al Basim" 1979 (American Sound Recording) [300p] "Music By Al Basim" 1995 (CD AB 02) Al plays electric guitar and is joined by a trio on most of the tracks. Instro guitar flute prog with Middle Eastern themes and tonalities. Dense and chaotic trance. Al was a Bulgarian student working towards his master's degree in music at the University Of Colorado. Stories of him being Iranian and getting executed are not true. [RM] R.F.D( )

"Lead Me Home" 1971 (no label) Obscure Christian folkrock LP with an appealing, understated feel. Close male/female harmonies and

ringing guitars create a secular, late 60s California sound, with strong songwriting that reaches back to a Byrds/Simon & Garfunkel hook sensibility. The intimate, low-key vocals and summery mystique also remind me a bit of These Trails. Enjoyable album with an unusual timeless quality, and as non-preaching a Christian artefact as you're likely to find. Weird, eerie cover design. [PL] --On first listen I thought this album (which now fetches ridiculous prices) had a nice gentle feel to it with pleasant vocals. Subsequent listens made me come to my senses. It's wimpy soft folk with no vocal identity and not a wisp of energy or passion of any kind. It has a nice cover, yeah, but why spend $700 on this when you can get the same thing for $15 by the New Troubadours or Oneness Space or Susan And Richard Thomas? Really, really weak. [AM] KEN RHOTEN (IN) "Flying Saucer Man" 1979 (Neptune) [300p] A mix of sci-fi pop and folk in great cover art. RHUBARB'S REVENGE(NJ) "Confessions Of A Big Lanky Dope" 1973 (Pink Grass no #) [plain sleeve] "Rhubarb's Revenge" 2001 (Gear Fab/Comet 416, Italy) [new cover; +4 tracks] "Rhubarb's Revenge" 2001 (CD Gear Fab gf-128) [+4 tracks] Charming stoned college dorm hippie folkrock obscurity in the typical quirky Eastcoast style. Opens with excellent original in a Patron Saints direction, rest is mainly covers of classic tracks from the UK 1967-68 scene, giving the album an odd retro/tribute flavor. The Zombies, Kinks, and Move all get the Rhubarb treatment in a rather irresistable way with unpretentious vocals and the loose weedhead drumming in particular a treat. There's also a funny Star Trekked version of "Mr Spaceman" with ad libbed lyrics such as "you're a motherfucking good-for-nothing Spaceman". Band uses a full rock setting plus piano but create an intimate, spontaneous sound. I've seen this described as a "novelty" LP and while it's pretty entertaining I think it has as much worth as any other document of the early 70s Eastcoast, like the Georgie Leonard album or "Tool Shed". Not a great LP, but worth hearing. The CD bonus tracks introduce a more serious tone with an excellent anti-'Nam war track and a cover of Neil Young's "Ohio". [PL]

RHYTHM AND BLISS (CA) "The Magic Is Back" 1978 (Rainbow Island)

Communal cosmic folk. Dreamy acoustic tracks with Eastern percussion. RHYTHM OF THE HIGHWAY see Ray Pierle RANDY RICE( ) "To Anyone Who's Ever Laughed At Someone Else" 1974 (RR no #) [2LPs; 2 inserts; 550#d] Very obscure double LP from talented but troubled hippie-folk/singer-songwriter guy with a lot of interesting aspects. You needn't look hard to see the demons in the guy's skull, as pleasant Lennonesque songs open doors into hateful lyrics knocking rednecks, feminists, vicious mothers, America, religion, his phony friends, and pretty much everything else until the meaning of "loner" folk shines bright and clear like an aura around his head. Some songs bring in a full rock band with howling feedback guitars a la One St Stephen, and there are also spoken bits with bad coffeehouse jokes, interviews with people on the street, and diary confessions probably from his mom's basement. References to Watergate and Vietnam send you right back to 1974. As far as loner/downer 2LP sets go, this is surprisingly strong and varied, with a good soaring voice, atmospheric recording and inventive arrangements and playing, mostly guitar, some with piano. References to babies and parenthood provide an unusual documentary feel. As a peek into an unknown guy's reality this is rather successful and clearly above average for the genre. [PL]

LINDA RICH ( ) "There's More To Living Than I Know So Far" 1969 (InterVarsity 03498) "Patterns" 1970 (InterVarsity 8091-4498) "Apple Tree" 1975 (InterVarsity 279-598) Delicate acoustic Christian folk on the same label as Jonathan & Charles. Her poetic lyrics and stunning alto vocals have a dreamy quality that will certainly appeal to folk psych collectors. "Patterns" even features a trippy cover. [RM] RICHARD, CAM & BERT (NY) "Richard, Cam & Bert" 197 (Trilogy TS-91701) Late 60s or early 70s New York street musician folk blues. The three switch around on guitars and bass and sing mostly in harmony. They are occasionally accompanied by a drummer. Some nice soloing on what I believe are amplified acoustic guitars, rather than

electric. Overall rather pleasant, but hardly earthshattering. Produced by Warren Schatz (Yesterdays Children, etc). [MA] REX RICHARDSON( ) "Crescent Phase" 1980 (Sage 37360) [100#d] One side of guitar instros and one side with ISBstyle progressive folk with flute and hand percussion. The guy has a passionate troubador vocal style (typical for the genre) that may annoy, which mixes with showoffy guitar runs. Songwriting doesn't account for much, but the overall package may appeal to Joseph Pusey fans. [PL] ~~~ Very rare outsider folk private press. The first side consists of Faheyesque acoustic guitar instrumentals, which are quite competent. The 2nd side is comprised of weird loner folkie ramblings. In addition to guitar, Richardson also plays flute on several tracks. The LP is housed in a homemade cover with a large paste-on front and a smaller paste-on back cover. [MA] KARL RICHEY (San Francisco, CA) "Karl Richey" 1969 (Studio 10 DBX 102) This album is on the same label as Day Blindess, but is quite a bit different. Richey is a stoned folk troubadour type, with a bit of a Dylan fixation, but with more of a youthful late 60s counterculture edge. Also without the songwriting talent. Richey might have been a bit more convincing as a rocker, but since this album is basically just guitar and voice, he'd need to have something more original and exciting to say to make these songs more memorable. [AM] RIGHT OF LITTLE REST(RI)

"The Right Of Little Rest" 1975 (TN 1100) [blank back] Communal folk with one good psychy track with female vocals, "Am I not the one". Neat cartoon cover with sea dragon threatening a village at the edge of the world. ~~~ see -> Follie's Bazaar RILEY ( )

"Grandma's Roadhouse" 1970 (Mo-Funk) That, to my knowledge, there's only been one copy of this LP ever found certainly speaks to its obscurity. The immediate reference here is to The Band in terms of arrangements, instrumentation and vocals. The comparison is a loose one however, and the little odd, almost experimental, flourishes that pop up here and there, give the whole thing a certain noncommercial character that works to its advantage. In terms of musicianship, production and creativity the album sounds like it could have been a successful major label LP from the early 70s. "You Been Cheating On Me Honey" features a pretty heavy & ferocious fuzz-wah guitar solo that leads back into more Robbie Robertson territory with "East People." A New Dawnish fuzz returns for "Field of Green" though the vocals would never be mistaken for the vocals on that LP. When you spend your days rooting through junk shops and flea markets looking for something you haven't heard yet, it is just a record like this that provides that 1 in 10,000 jolt that keeps you going back. [SD] RIN ERIC see Eric, Rin RISING HOPE (Cincinnati, OH) "Farewell To The Shadowlands" 1975 (no label lp-s-726) Besides coming up with one of the coolest album titles of all time (taken from the final chapter in C. S. Lewis The Chronicles Of Narnia), this trio have managed to create a brilliant homemade release of contemplative acoustic/folk music. All three have nice soothing voices that harmonize well together (Susan Goldberg sounds a lot like Debby Kerner, especially on the briskly strummed "Psalm 27"). Quiet and acoustic-oriented for the most part, with some flute, piano and folky percussion, plus banjo and jews-harp for The Lord Will Be My Snowtires, a novelty bluegrass side-trip. Mostly originals plus a couple Martin Bell songs. Includes a lovely minor-key track "Help O Lord" thats accompanied by flute and what sounds like a hammer dulcimer. Closes with the Narnia-inspired Further Up. Best cover art seen in years. Essential Jesus music classic. [KS] "Where The Songs Come From" 1978 (no label 8064N2) [insert] Top-rate second custom LP of gentle folkrock tunes, mostly originals. Pretty simple sound, but its the catchy melodies, creativity, beautiful arrangements (including some nice flute, mandolin, violin) and the overall atmosphere of charm and radiant joy that makes this one of my all-time favorites. The acoustic flute-backed folk rock opener "Heres My Family" and the closing "A Wind In The Door" (which builds to a lively electric conclusion) are some of the most exuberant moving pieces of Jesus music to my remembrance. "Listen To The Singer" is an equally touching acoustic ballad, as are "Morning Song" and the delicate violin-backed "Friends & Lovers". "I

Want To Be" supplies a folksy fiddle/banjo number, while "Try To Run" boogies along with piano and electric guitar. "Run To California" introduces some steel guitar for its peaceful-easy-feeling country mood. Also includes covers of Suzanne Toolan and Noel Stookeys. Its albums like this that make this whole record collecting thing worthwhile. Attractive cover art by member Susan Goldberg. [KS] RISING STORM (Andover, MA) "Calm Before" 1967 (Remnant 3571) [500p] "Calm Before" 1984 (Eva 12012, France) [bootleg; altered cover] "Calm Before" 1992 (Stanton Park 001) "Calm Before / Alive Again" 1992 (CD Arf Arf 034) [2-on-1] Very good beat/garage LP of course, although its hallowed standing (due to it being an early collector discovery) may puzzle recent arrivals to the scene. One might have wished for even more originals and fewer cover versions, especially as the covers are OK but unexceptional, while the five originals range from good to killer. "Frozen Laughter" is an all-time spooky psych-flavored fave with lines stolen from T S Eliot, while "She loved me" is terrific rich kid garage. Local MA heroes the Rockin' Ramrods are paid tribute to with two obscure covers. The Storm's 1983 LP "Alive Again At Andover" is above average for reunions, with a nice cheesy garage vibe intact, in addition to the overall oddity of the concept. The Arf Arf CD contains all of the reunion except for one track. There's also been some related releases in recent years. [PL] RISING SUN (Toronto, Canada) "Born To Be Wild" 1969 (Birchmount 515) "Born To Be Wild" 2004 (CD Radioactive 092, UK) Exploito fuzz and pop rock covers mixed with several originals, which is the main reason for this album's relative desirability. Side one is more garage, while side 2 brings in some horns for that special Blood Sweat & Tears touch. RIST ROCKET (CA) "Rist Rocket" 1978 (Sun West 2506) Guitar rock and AOR from goofy-looking Southern California club band. Not an expensive LP. RITTENHOUSE SQUARE (NC)

"Rittenhouse Square" 1972 (R2 no #) [paper sleeve with photo] "Rittenhouse Square" 1972 (R2 no #) [plain sleeve] This album is the holy grail to some power pop collectors, as the band contained Mitch Easter, Chris Stamey and Peter Holsapple, all of whom because major cult artists in the genre in the 80s. They'll be horribly disappointed by what they find, though, as there's no evidence of the kind of melodicism these guys would eventually show, or even the weird pop sensibility of the terrific 1976 EP by the Stamey/Easter band Sneakers. It's plain old rock and roll, with a slightly hard edge and a lot of lead guitar. The singing not only isn't full of harmonies, but it's not especially good. If fans of Stamey and Easter would hear this album they'd never in a million years guess who's singing. The album is unlikely to ever be reissued, as Easter is embarrassed by it. Frankly, I can see why, not so much for the music, which is crude but inoffensive, but for the ridiculous childish lyrics. These guys were in their late teens when they made this, but the intellectual level of these songs is far younger than that. You just won't believe "The Hots," which is the kind of "we're in the music business for the sex" song that makes David Lee Roth look intelligent and compassionate. Fans of low-fi post-garage rock will enjoy this a lot more than fans of Let's Active or the dB's. Still, it's pretty lame, no matter how you classify it. All copies are rare, the ones with the photo sleeve most of all. [AM] RITUAL ALL see Alan Sondheim RIVERSON(Canada) "Riverson" 1973 (Columbia CS 90136) Of all the zillions of CSNY-inspired westcoast hippie rock LPs from the early 1970s, this is one of the very best. Another feather in the cap for the great Columbia Canada office, with an excellent production bringing out the max from these talented longhairs. Clearly out of a "Deja Vu" corner (minus the sugary Nash crap, naturally), the songwriting here is very good, grabbing your attention without being overly commercial, while the band lays down a groove that is both relaxed and tight. You can hear early AOR moves creeping into the hippie stylings, and much like on Homer this is not a disadvantage but helps broaden the album's impact. Female vocalist Franki Hart of Freedom North handles a few tracks, but is given solid competition by the male vocalists who sing just

as well. Soaring, lyrical guitar leads recur throughout the LP, and there are some vague prog moves with flute on one track. Clocking in at 42 minutes, this could have omitted 1-2 tracks, and it's a testament to Riverson's strength that the playtime seems warranted. Recommended to anyone with an ear for top-level, upscale 70s westcoast sounds. [PL] ROAD OF LIFE (Chicago, IL) "Newborn" 1974 (no label) Christian folk quintet with female vocal harmonies, acoustic guitars and standup bass. ROBBIE THE WEREWOLF (Los Angeles, CA)

"Live At The Waleback" 1964 (no label) Live jawdropper bohemian folk comic "real person" with monster concept. Strummed guitar lunatic tunes about Frankenstein, the joys of werewolfdom, and Count Dracula. A cover to die for with serial photos of lycanthropic transformation. [RM] --Remarkable early private press LP that manages to be a folk LP and a parody of a folk LP at the same time. Half of it is monster-fan piss-takes on standards such as "Tom Dooley", "Tip toe through the tulips", other half is Robbie originals of varying quality, hitting an unforgettable apex with the echo-laden Count Dracula track, which warns us to "...watch out for those vampires, some of them are QUEER". Also daring for the time marijuana and sex jokes, and a general bohemian counterculture feel to it all. Some of his in-between song jokes aren't all that funny, but the Santa Monica crowd had had enough red wine & weed to cheer and laugh at pretty much everything, creating a nice vibe. Unique artefact, made even more compelling by the fact that this guy later turned up in big time band Clear Light. [PL]

ROBERT E LEE BRIGADE(Canada) "Robert E Lee Brigade" 1970 (Columbia ELS 370) Organ/guitar folkrock and blues from up north, one of the lesser known titles on the renowned Columbia Canada label. V.A "ROBERT LOUIS STEVENSON 1978-79" (New York City, NY) "Record Of The Year" 1979 (no label) Heavy rock covers and femme folk from NYC prep school for "underachievers". DON ROBERTSON ( ) "Dawn" 1969 (Limelight 86067) [wlp exists] "Dawn" 2003 (Akarma 240, Italy) "Dawn" 2003 (CD Akarma 240, Italy ) Eclectic, improvised Eastern trip from classically trained pianist. Harp, celeste and ethnic instruments, spoken segments, released on the same Mercury subsidiary as 50 Foot Hose. Beautiful psychedelic cover. CHRIS ROBISON (NY) "And His Many Hand Band" 1973 (Gypsy Frog) This early openly gay rocker put out this truly solo LP, playing all of the instruments and doing all of the vocals himself. The result is unique and wonderful. His tales of down and dirty NYC street life (characters include hustlers and runaways) are alternately sad and funny, always emotionally powerful. The music ranges from straight rock to folk to funky hippie weirdness, only going astray with the silly good-timey Looking For A Boy Tonight. Doctor Doctor (about psychoanalysis that attempts to cure homosexuality) and the heartbreaking Italian Boy are masterpieces. At times, Robison bites off a bit more than he can chew musically, and this long album could maybe have been trimmed a bit, but its still very, very good, and he has a marvelous range of vocal styles. Its surprising that Robison remains so unknown. [AM] "Manchild" 1974 (Gypsy Frog 61974) This album is every bit as diverse as MANY HAND BAND but is arranged differently. Side one is a mishmash of Stonesy rockers, novelty numbers and funk, while side two is a much more consistent and coherent batch of folk and folk-rock songs. The novelty songs here range from amusing and clever to overlong and dull, the rockers are ace, and the folky songs are even

better. The lengthy Only The Night is a true marvel of 70s psychedelic folk, and a few of the shorter songs on side two are almost as good. The lyrics dont have as many blatant references to homosexuality as those on MANY HAND BAND, but if you pay attention, the subject is there. Soap Opera Day would later be redone by Robisons late-70s power pop band Stumblebunny. Overall, this isnt quite as solid as the first album but it has enough greatness, including one entirely solid side, that its still highly recommended. [AM] ROCKADROME (Canada)

"Royal American 20th Century Blues" 1968 (Sound Canada sc7701) [color cover] "Royal American 20th Century Blues" 199 (no label) [b & w cover; 430p] "Royal American 20th Century Blues" 2002 (Shadoks, Germany) [+bonus 45] UK-influenced beat/folkrock/psych with some good guitar and an odd, goofy "magic banjo" concept running through. Not really a worthwhile LP to my ears, songwriting is a bit lame and the band has no real edge. To my ears it sounds like one of those budget psych LP on the UK Saga label. One extended track with good guitar leads is worth checking out for a sample.[PL] --see -> Hyde PALMER ROCKEY (Dallas, TX) "Scarlet Love" 1979 (AB-Rock Music PR-1-LP) "Scarlet Love" 1980 (AB-Rock Music PR-2-LP) "Rockey's Style" 1981 (AB-Rock Music PRR-2-LP) Unbelievable lounge lizard "real people" con-man LP that defies description and has an amazing background story that needs to be known for full appreciation. The music varies from stale loungabilly to shakeyvoiced croonerisms into generic session musician "rock". I personally prefer the 1979 version on strength of the two unique and excellent C-grade Elvis-impersonator tracks. Fortunately the classic occult Holiday Inn "Scarlet Warning" track can be found on all three pressings. Let Palmer bring the smell of hair tonic and the sound of low-rent dishonesty into the privacy of your own hi-fi room. You will not regret it. [PL] ~~~ Pressing details are as follows. The first version comes in a "1980" copyright PR-2-LP sleeve. The label has different fonts. Includes two tracks that are not on the other two pressings: "Lonesome Tonight" and "Sunday Love". These are replaced with "Love, Love Rock" and "Love Is Deep Inside", as indicated on the PR-2 cover. Most other tracks features alternate

mixes. Presumably Rock never got around to printing covers for the 1979 pressing, and later put them in 1980 covers. The second version has the same tracks and mixes as the 1981 pressing, except the first song is titled "Scarlet Love". Sleeve has different prints of the photos. They are smaller but clearer than on the others. Same font used on the titles on the labels as on the first version, but different font used on the songs. The re-titled third version has the same tracks and mixes as the 1980 pressing, except the first song is titled "Rockey's Style". Different album title and fonts used on the labels than for the previous versions. The sleeve looks like the 1980 version, except it doesn't say "Scarlet Love" on the back cover in the upper right corner. He apparently decided to change the name of the movie/soundtrack.

see full-length review

ROCK ISLAND ( ) "Rock Island" 1970 (Project 3 pr-4005) [wlp exists] It's surprising to find a hard rock band on Project 3, but here they are. The record is a mix of psychedelic rockers, pure hard rock, heavy harmonyrich rural rock and hard blues. They're not smart (their attempt at a meaningful lyric:" "life is hard and never easy"), and at times they seem a little too studied for their own good, but this album is pretty good from start to finish. Even the obligatory 10 minute blues workout isn't bad. It's kind of a less heavy variation on the Euclid album. [AM] ~~~ see -> Rain ROCK SHOP(Los Angeles, CA)

"Mr Lee's Swing'n Affair" 1969 (Lee-Mo 1) "Rock Shop" (CD Radioactive 080, UK) Oddball release from moderately successful LA hairdresser/beauty parlor manager, giving the term "vanity project" a new dimension. Actually, the remarkable Mr Lee doesn't perform on the LP, relegating that task to a group of teen-club stalwarts he'd found somewhere. The LP could be viewed as a "1-killer-track" type deal, this being the opening fuzz-psycher "Soap suds & creme" (!) which is a quite successful take on the Butterfly/Steppenwolf bag, with a long killer guitar break. The rest of the LP (all originals) is more teenbeat-sounding and what you might expect from a 3rd tier Sunset Strip band. Although light fare I must admit a couple of them have good, memorable hooks, and excellent fuzz leads keep recurring. For some reason I'm reminded a bit of Brain Police, although this is a more modest outing. Apart from the opener this is ultimately a completist artefact a la the Tormentors, albeit with some unusual angles. Sleeve notes have an enthusiastic endorsement from Mr Lee's wife, Monique. [PL] --The band played mainly at Mr Lee's Covina nightclub, where the bulk of the LP pressing was sold. There were also some lounge gigs in Santa Cruz. The band existed roughly a year. Ex-member Alan Clark has a website with more info and images, such as the ad above. RODAN (CA)

"Rodan" 1974 (Pandora no #) [200p] Pretty good LP ranging from prog with ripping guitar to horn-laden ballsy funk. The vocals are pretty out there. It appears that this band had roots with the Elastik Band of "Spazz" infamy! ROGER RODIER (Canada) "Upon Velveatur" 1972 (Columbia 90095) [booklet] "Upon Velveatur" 2005 (CD Sunbeam, UK) [+bonus tracks] This French-Canadian singer/songwriter (who sings in English) has often been compared to Nick Drake, and the folky style with creepy orchestration does somewhat resemble Drake, though theres nowhere near the same level of loneliness and despair here. A few songs have some effective fuzz guitar, though mostly its fragile folk-rock of the highest order. Its got

the same kind of wonderful dreamy feel of the wellknown orchestrated 60s Capitol psych monsters, though through the mouth and mind of a gentle, wistful soul. This is really an excellent album, one of the finest acid folk items, and certainly a record that deserves more attention. Original copies came with an 18-page lyric booklet. [AM] --Major label soft folk/pop with a very appealing surface, well-written and skillfully arranged. The moody folk tracks are excellent but only make up a minority of the album, which also goes into more ambitious domains with a European cabaret vibe a la Bowie, and some truly gentle musings that are too close to sugary 1970s soft rock for my tastes. The Nick Drake comparisons are indeed inaccurate, and I would expect this to appeal mainly to fans of soft femme vocal folkpop a la Margo Guryan. There is a certain kinship to the "Chris Lucey" LP as well. "My spirit's calling" is the standout track to me. [PL] RODS (NY) "Rock Hard" 1980 (Primal p-1001) [1000p] Rare hardrock/metal trio housed in a funny period cover; highly rated among genre fans. ROGER & WENDY( ) "Roger & Wendy" 1972 (Horny 71RW1) [handmade covers] Pre-Bermuda Triangle Christian folkrock rated highly by some, with Dylan and Beatles covers and a few group originals. It appears to have been a very small pressing aimed at friends and family, which is further indicated by the hand-drawn covers with personalized greetings from the couple. --see -> Bermuda Triangle ROHRBACKER, HENDREN & KINGEN (OR) "Rohrbacker, Hendren & Kingen" 1975 (RA 2176 LPS) Exceptionally talented Oregon trio that blends the jangly energetic folkrock guitars and gentle closeknit harmonies of The Byrds with FM country rock, bluesy classic rock jamming and flowing summery CSNish soft rock sounds. Instrumental lineup is the same throughout with the dual electric guitars of Bob Rohrbacker and Bob Hendren vibrantly resounding on every track, including some superb lead work from Mr. Hendren. Mark Kingen handles bass while a couple friends alternate at drums. The opening salvo of "Look Towards Tomorrow", "Youre In My Life" and "Near To Me Now" is especially strong. An obvious professionalism and true rockers mentality at work here making this outing a quantum leap above most homegrown Christian projects. A virtually unheard of 500-press mega-rarity. Phenomenal! [KS]

RON & SHIRLEY (NJ) "Rock And Scroll" (C & C 101277) [lyric insert; promo flier] This is an excellent 70s Christian rock album that really doesnt sound like any other Christian record. Its mainstream 70s rock, but with diverse songwriting and arrangements, and just a few prog moves. Sax and synthesizer are very well integrated into the sound, and little bits of heavy guitar add some exciting moments. Unlike a lot of other Christian records, the message is relatively subtle and unobtrusive, and the vocals, while unexceptional, have rock strength rather than gospel prettiness. Pure psych fans are often disappointed by this album, but thats because the psych hype is misleading. The low budget production adds a garage-like strength to the loud guitar parts, but otherwise this is just plain old rock and roll. (There are a few cool spacy moments, especially on the great album closer Bad Love Is A Demon.) Occasionally their chops arent up to their ambitions, but this is a solid listen, with maybe one or two weak songs, and with the longest songs being the best. I love the cheap paste-on cover (which always ends up bubbling) and the cheesy drawn insert than makes then look more like a Tony Orlando cover band than a rock band. [AM] --How can you avoid buying an album with liner notes that read "The time has come to probe into the soul & spirit of human kind & caress a new experience in sound. A sound that is as ageless as the universe!" ? Ah, human bliss is at hand. First off, I can't say I know much about this duo. Apparently from New Jersey (their album was recorded at C&C Studios in Glassboro NJ and released by the small Jersey-based C&C label), Ron and Shirley are singers/guitarists Ron Russo and Shirley Bristle. Co-produced by Russo and Ed Candelora, their sole release, 1977's "Rock and Scroll" offered up an interesting blend of Christian themes and rock instrumentation. Certainly a turnoff to many rock fans, the duo's religious agenda was out front and center on material such as 'Sealer Healer', 'Christian Man' and 'Troubled Sea'. That said, with backing from the trio Universe (drummer Jay Baccile, guitarist Tom Boyer and bassist Jack Deluca), Russo and Bristle packaged all nine original tracks in surprisingly mainstream and attractive rock arrangements. The proceedings were certainly helped by the presence of guitarist Boyer's first-rate playing and the fact Russo had an attractive voice (Shirley's obtrusive and occasionally shrill supporting vocals took a little getting use to check out her performances on 'Jude' and 'Comforter'). Interestingly, we've seen the LP turn up on a number of big dollar psych sales lists. While the closing number 'Bad Love Is a Demon' boasted a distinctive psych edge (complete with weird time signature and oddball sound effects), it's an exception. The majority of the set, including selections such as 'Soul Winner' and 'Love Is Real' sport a more mainstream rock sound. Certainly not for everyone, but if you can live with the religious overtones, the LP's a pleasant surprise and something we play with surprising regularity. [SB]

RONNIE & THE POMONA CASUALS (Pomona, CA) "Everybody Jerk" 1965 (Donna do-2112) Excellent East LA interracial teen group doing uptempo soul rock proto garage ravers. Fine vocals similar to the best Justice label LPs. Features three 'jerk' songs. It appears that Arthur Lee was involved with some tracks, and even sings. V.A "ROOF GARDEN JAMBOREE" (MN/IA) "Roof Garden Jamboree" 1967 (IGL 103) One of many local Midwest albums from the pre-hippie period. This various artist sampler contains a non-LP track by the Trashmen, Steve Ellis & the Starfires, Chateaux, Mad Hatters, South 40, Underbeats, and others. Iowa and Minnesota groups are featured. A couple of the tracks appear on the "IGL Rock Story vol 2" CD, but most have never been reissued. ROOTS OF MADNESS (San Jos, CA) "Girl In The Chair" 1971 (Dogmouth 1001) "Girl In The Chair" 2005 (DeStijl 045) Experimental weirdness that has been compared to the early Residents, but is perhaps more avant/collage and less "rock". JOE ROSANOVA & THE VINEYARD (TN) "In Dedication To The Ones We Love" 1968 (Astro Sonic Productions 4000) Given that it was distributed by Starday Records (known as a pay and press label), this appears to have been a vanity project. The opener leaves you with the impression this is going to be a Christian rock outing. Thankfully that's a red herring with most of the album bouncing between accomplished pop ("Vicki" and "Now That I've Lost You"), more rockoriented numbers ("Mother's Brother's") and an odd nod at psych with the killer "Dreams of You", which is alone worth the admission price). As lead singer Fiori was quite good, particularly when he toughened up his delivery ("In Every Way"), where his growl recalled Rare Earth's singer. To be honest, had the set been a little more focused with a couple more psych and rock numbers, this'd be a major and highpriced item. Band originals all through. [SB] --Dreams Of You is a bonafide psych classic, mixing overwhelming, spooky organ, dreamy vocals, hot fuzz guitar, a haunting melody and powerful sound effects. General consensus among collectors is that this album is worth owning only for that one song, but I think theres plenty more to like here, from the bouncy

organ on the soulful Lord, Whats Your Plan to the catchy upbeat In Every Way to the slightly heavy Since Youve Been Away. It is a spotty mix of styles, with about half of the songs being innocuous soft pop, but even the wimpiest songs here are pretty tuneful and have interesting arrangements. In Dave Clark Five fashion, the band is named after the drummer. Oh, and just the kind of thing to infuriate collectors: pretty much every copy of this album, even ones that look mint, play a bit noisy on just one track. Guess which song it is... [AM] --While looking for an image of the LP, we stumbled on this little item from a former Vineyard bass player (I'll leave the person's name off of the quote):"Joe Rosanova - that dirtbag - still owes me one year's withholding tax which he withheld - PERMANENTLY. He was a real trip. He had polio as a child and it left him somewhat crippled although you really couldn't tell. He was the band leader and also the drummer. When he would have a bad day and his legs hurt he would yell furiously at the bass player. And then there was his gun..." ROSEWOOD ( ) "Rosewood" 197 (Martin Recordings PRP-29312) Early 1970s folkrock private in a Tim Hardin direction.

JOHN ROSPLOCK ( ) "John Rosplock" 1974 (Johnny Dollar JD 101) Melodic folkrock/singer-songwriter LP, rated highly by some. ROUNDHOUSE (Wisconsin Dells, WI) "Handle With Care" 1976 (Claremont Records) This transitional hard rock album has AOR and prog (some mellotron) tendencies, but veers toward power pop too, and most of the songs are unfashionably fast. The riffs are somewhat pedestrian and the guitar playing pretty conventional, but the vocals are good and their heart was definitely in it. The album has 10 songs, unusual for a post-1968, pre-punk hard rock record. An obvious Beatles influence is a plus. This is a refreshing change from all of the dumb heavy albums of its era, but its not inspired or well-written enough to actually break new ground. More of a case of potential than actual quality, but not bad. [AM] ROUSERS (IA) "In Concert" 1965 (Fredlo 6520)

Local pre-Invasion teen-beat on famous Midwest label in primitive cover. ROXX (MN) "Get Your Rocks Off" 1976 (Sit On It And Spin) Crude boozy barband hardrock with keyboard/guitar prog moves.

ROYALAIRES ( ) "Live vol 1" 1966 (RPC 76532) Rare teenbeat LP on famed custom label. R P M (NY) "R P M" 1972 (Freeflow) Seldom seen private press of keyboard/guitar flowing progressive rock. It seems the band included Chris Robison, who had two solo LPs out (see entry).

R P S ( ) "R P S" 1976 (Mars) Midwest hardrock trio with a James Gang barband sound.

RUBBER MEMORY (LA)

"Welcome" 1970 (RPC 69402) [300p] "Welcome" 2000 (Loopden 002) [inserts] Post-Iron Butterfly organ-lead basement psychrock with a teenage vibe, pretty cool for what it is with mostly originals and one doomy killer track on side 1. Side 2 is a bit on the weak side and has an inept drum solo. An insert with the classy reissue reveals that they still held Battle Of The Bands in Louisiana at this late stage. [PL]

ROGER RUBIN & ROTFREE ANDERSON(Atlanta, GA) "Atlanta Underground - Freek Music" 1971 (Purple Haze 1-71) Georgia acid strum damage realness. Like the British icon Ron Warren Ganderton. Tracks include "Redneck woman" and "Masters of society, while side 2 is dominated by a folk-freakout titled "Hallucinate". BECKIE RYAN (San Francisco, CA) "Beckie Ryan" 1977 (Blossom 101) This latter day hippie folk album is a hot ticket item in Japan. Like a lot of albums championed there, its gentle with beautiful vocals and clear songwriting. Its quite good for its type and is recommended to fans of singer songwriter folk, but its too straightforward and lacking in excitement to turn the heads of loner folk or acid folk fans. Producer David Blossom is likely the guy from 50 Foot Hose. On the back cover photo Becky rivals Caroline Peyton, from her "Intuition" cover photos, for cutest 70s hippie. [AM] COLLIE RYAN (Santa Barbara, CA) "The Giving Tree" 1973 (Rainbow CRGMC-1) [500p] "Indian Summer" 1973 (Rainbow CRGMC-2) [500p]

"Takin Your Turn Round the Corner of Day 1973 (Rainbow CRGMC-3) [500p] Ryan's three LPs contain acoustic folk with female vocals and an appealing moody, mysterious (Theosophian) edge that scares off the trad spectre and invites the psychedelic spirits, although they do not quite enter the room. Ms Ryan has a good voice, a bit like Alisha of Magic Carpet, and writes songs with memorable melodies and minor chord progressions. The more upbeat and sing-songy tracks are slightly less successful. The albums were only sold locally at the "New Age Farms" fresh squeezed juice store. All three have full color covers painted by Ryan herself and make for an appealing trinity in the popular Judy Collins style, even while they're not the "mindblowing femme acid folkpsych" you may see them listed as. The third one may be the strongest overall, and is a good one to start with, although they're all quite similar. CRGMC stands for the

Colorado River Gold Mining Company. [PL] DENNIS RYDER ( ) "Let Me Take You To The Kingdom" 1973 (Hosanna 72873) Top of the heap for Christian folk. Ryder is a marvelous songwriter, and his enthusiasm for his faith is utterly infectious without being at all annoying. He simply shares, doesnt proselytize. His vocals and melodies are brilliant, and the mild folkrock arrangements show them off beautifully. By the time of the gorgeous Beatlesque Make It Right even Im ready to convert. Just a fantastic record. Two cover variants exist; one a landscape drawing, the other a portrait. [AM] --Obviously inspired by the crystal clear folk sound of "Scarborough Fair", "Sounds Of Silence" etc, Dennis Ryder brings the liturgical Simon & Garfunkel vocal harmony trip full circle as he charges it with religious themes in the typical born-again Jesus movement style. The tracks with a full folkrock sound show an obvious CSN influence, and it's a testament to this album's strength and self-confidence that Ryder comes out with a consistent, personal statement despite these two commanding presences. Occasionally he strays into the bland, frictionless feel-good 1970s praise heard on albums such as Chenaniah and Harvest Flight, but the spellbinding nature of the best tracks is what leaves a lasting impression. The recording is impressive with attractive guitar figures and multilayered vocals forming the base for overdubs of flute, organ and in some cases, drums and bass. Psychedelia creeps in via unexpected Eastern chord progressions and gliding, dreamy vocals, and on a track such as "Sound The Alarm" the otherworldly psych feel completely overtakes the religious feel in a way similar to Search Party and Trees-Christ Tree. Would make a good double bill with R.F.D, with this being the stronger and more distinctive of the two. [PL] JOHN RYDGREN (CO) "Cantata Of A New Life" 1967 (Sirl) [gatefold] Created for the 450th anniversary of the Lutheran Church, side 1 of this LP is an extraordinary psychedelic Christian cantata which is possibly Rydgren's crowning achievement. In cooperation with composer Robert Way, a 25 minute eclectic musical mass mixes superbly with Rydgren's raps on the existential confusion of youth in modern society, and how Christianity possibly holds the key. As with all his recordings, the questions are asked in such a mindbendingly cool way that the answers sort of get lost in the haze, which is part of the strongly psychedelic nature of this material. The music ranges from modernist classical over exotica to contemporary "rock", and is as impressive as Rydgren's dramatic narration. As good it gets within the Christian Incredibly Strange field. Side 2 contains variations

on his "Silhouette" radio spots. An oversize poster of the acid collage gatefold cover was created to promote the LP. [PL] "Worlds Of Youth" 1968 (Concordia 79-9066) One of Rydgren's rarest albums, this contains a series of two-person dialogues, pairing Rydgren & associate Herbert Brokering with a hip teen girl and a goofy teen boy. Typical period surf a-go-go and fuzz psych plays in the background, as the turned-on Christian brainwashing plays out. There's also a unique track of Rydgren singing. This is a lockedgroove disc, which means that you have to move the needle forward to get to each new track. "Silhouette" 196 (Lutheran) This is a single-disc radio program that should not be confused with the 2-LP "Silhouette Segments". Each side of the record is a single track, each approximately one half hour in length. This appears to be an actual broadcast of the Silhouette program, described as a sound in the middle of sounds and a chance to think. The record strings together songs from popular artists of the day (The Supremes, Lou Rawls, Buffalo Springfield, The Hollies, Simon & Garfunkel), but many of the selections are from obscure unknown artists (such as Japans The Peanuts). Rydgren speaks between the songs, interviewing Seattle co-eds, London teens, hit songwriters and authors on topics such as the church, Christianity, witnessing, petting, guilt, God and whether the Christian approach to sex makes any sense in todays go-go world. There are a few brief sketches of the Silhouette Segments variety, including one killer tripped-out dramatic spoken prayer that melds into a psych track by The Animals called "When I Was Young". Worth it just to hear that ultra-groovy Silhouette jingle that pops up here and there. Front cover has the same picture of the miniskirted girl thats on the back of Segments, plus theres a different b&w shot of her inside. Dont know if this is the only album in the series or if there might be others? A marvelous snapshot of late60s hip radio. [KS] "Silhouette Segments" 1969 (American Lutheran Church 8-8531) [2LPs; gatefold] "Silhouette Segments" 199 (Mystic) [no gatefold] The most famous album from Christian radio DJ with an atmospheric, gravelly voice a la Ken Nordine rapping and doing spoken word designed to pull kids away from hippie drugs and into the even hipper Jesus trip. In line with Rydgren's radio show (first aired on WABC, then syndicated around the US), this 2LP set contains musical snips from various sources, some of it famous psych tracks, and also interviews with kids and celebrities explaining the dilemma of late 60s "now" lifestyles. "My head's torn up in the world of the plastic mushroom". Rydgren's superb turned-on monologues is what really carries this into the upmost echelon of Weird America, though. Drugs are frequently mentioned and needless to say this is a

smorgasbord for samples. Most people are hopefully familiar with this wonderama by now. The reissue is a single-LP condensation of highpoints from the double LP. [PL]

Acid Archives Main Page

SABRAS see Bezalel & the Sabras SACRED MUSHROOM (Cincinnati, OH)

"Sacred "Sacred vinyl] "Sacred "Sacred

Mushroom" 1969 (Parallax 4001) Mushroom" 198 (Parallax, Europe) [bootleg; yellow Mushroom" 1993 (CD Eva b-30, France) Mushroom" 2001 (CD)

I occasionally see this on high priced psych lists, coupled with the usual dealer BS descriptions of "radical, mind numbing psych", etc. You probably won't be shocked to hear that most of the album isn't particularly psychedelic. In spite of the trippy name and great psychedelic cover art, the majority of the album found the band pursuing a fairly pedestrian blues attack. Unfortunately, overlooking a nifty cover of The Kinks' "I'm Not Like Everybody Else" (which stood as the album's highlight), none of the set's white-boys-singing-the-blues efforts were particularly original. Competent and professional, the isolated bits of excitement were largely a result of excellent guitar work. There was also a pre-LP 45, and an original Mexican pressing of the LP on Audio Fidelity. The 2001 CD is a reissue from the band themselves. [SB] ~~~ This one's collectable more for the album cover and band name than for the music within. They're definitely hippies, but this is mostly straight blues, and not a particularly interesting example of it. Cool communal photo on the back cover, though. [AM]

SADDHU BRAND (San Francisco, CA) "Whole Earth Rhythm" 1970 (Anna Chakraborty's Musical Sewing Machine 101) Cosmic communal sitar folk and psych, with female vocals, chanting in English and Hindu, lots of ethnic

instruments. An early example of a genre that would become common during the 1970s, not overwhelmingly interesting to my ears and curiously lacking the spiritual charge that can make these albums memorable. With Peter Van Gelder (ex-Great Society) after a long trip to India. The LP was picked up by UNI (73116) and re-released in 1971 with a new and less blatantly druggy cover. The UNI press is a good way to check out the LP cheap. SAGE(FL) "By Sage" 1977 (Illusion CM2004) "By Sage" 2004 (CD Radioactive 081, UK) Typical local mid-1970s Allman Bros/Dead rural groover, with a laidback mood and snakey guitar leads. Hard to find anything that makes it stand out within this rather common style, although the overall consistency of mood and playing makes it a good proxy for the genre. Vocals are OK, with some westcoast harmonies here and there, while the smooth flow of the playing is a bit like Kristyl (esp on "Morning Dove"), except a bit more swampy and not as spellbinding. Recording has an agreeable basement live feel, and it could be argued that these guys have everything in place to make a killer LP, except the songwriting, which relies too much on lines repeated like mantras and a lack of hooks and memorable chord progressions. Instead it becomes a working snapshot of the sound going round among 1000s of local club & bar bands in the American heartland at the time. Slightly stoned but not very psychedelic, except for the front cover acid drawing of a weird old sage with gigantic sheep eyes. [PL] ~~~ This is average Southern-style rock with innocuous love-song lyrics. Some of the guitar playing is pretty cool, and the performances are fine, but until the very last song, the lovely "Morning Dove" (sic), this is unexceptional in every way. The LP sounds like a third-generation recording, the most fadedsounding album you'll ever hear. I know tax scam labels are low-budget, but this must have been mastered from the band's cassette recording of their studio sessions. The first song on side two starts part-way through the actual recording. The vinyl is pretty noisy too, and the album is only 28 and a half minutes long. Cool album cover considering the circumstances. [AM] "Rock It Out" 1978 (Illusion) "Shadows Of The Night" 1978 (lllusion 1050) "Freeport" 1978 (Illusion) "Rockin'" 1978 (Illusion) "Skyscraper" 1978 (Illusion)

As you can see, something weird was going on with this band and label. In his "release anything I can get my hands on" frenzy, Mike Pinera put out not less than six albums by Sage on his Illusion label, probably as a tax-scam. Too bad he couldn't find some lost recordings of his ex-bandmate April Lawson. These other five Sage LPs have been described as similar in style to "By Sage", although they tend to be seldom seen. "Rock It Out" has a photo of the band. SAGE (OK) "Sage" 197 (McCullar Sound no #) Good, laidback 1970s rock with some psychy guitarwork. The band recorded an LP under the name Lyra in 1979, also reputedly of interest.

SAGE & SEER(CO) "Sage & Seer" 1969 (Stylist SA-600) [insert] Unusual item for a private press as it's an ambitious and elaborate lyte-psych effort that would have fit well on Epic or ABC. Influences are mainly British with obvious nods to 1967 Donovan and the Beatles. Arrangements bring in chamber music orchestrations and a baroque feel that has made for Left Banke comparisons, although I was more reminded of a second-tier Fredric. Unfortunately the slight weakness of the vocals is enhanced by an upfront and strongly channel-separated mix, something that would have been better handled with the major label treatment originally intended for the guys. Songwriting is good, and the lyrics typically poignant. One track has unsuccessful soul moves like Colorado colleagues Rainy Daze, rest is true to the clever pop genre credo. The experience of hearing a typical $10.000 LA album done as a local release is interesting enough to make this worth checking out, in addition to 3 or 4 memorable tracks. [PL] ~~~ Cool album cover and lots of dealer hype make this one easy to mistake for a lost pop/psych masterpiece. In reality, though, it's a mainstream 60s pop album with lots of strings and horns (where'd these guys ever get such a big recording budget?). It starts and ends well: "Pictures Through A Sunday Afternoon" is a gorgeous baroque pop song that ends in a wash of psychedelic effects, and the closing "Farewell St. John" is a slightly lesser variation on the same musical theme. The rest is kind of a mixed bag, with a few nice soft rock songs and a few that are more forgettable. The album came with a lovely lyric poster. [AM] SAGITTARIUS (Los Angeles, CA) "Present Tense" 1968 (Columbia cs-9644)

"Present Tense" 1985 (Back-Trac) "Present Tense" 1997 (CD Sundazed 10053) [+9 tracks] "Present Tense" 2004 (CD Sony, Japan) This is one of the most beloved soft psych albums of the 60s, and it certainly has moments that show Curt Boettcher to have an extraordinary gift for a catchy melody. The album is kind of hit and miss, though, and commits the unpardonable sin of including an edited version of the masterpiece My World Fell Down. Unsuspecting 70s collectors who bought the album after hearing the song on the "Nuggets" compilation were understandably disappointed. Certainly this is worth owning, as there are about half a dozen wonderful pop tunes on it, but it feels more like an exploitation album than a coherent whole. [AM] The Blue Marble 1969 (Together 1002) The second Sagittarius seems like a more coherent attempt at an album than the first, with a more consistent melodic feel and some quite surprising use of moog (an instrument still in its infant stages in rock and roll.) Its completely lightweight, always pretty but rarely a whole lot more than that. Youll either love or hate the synths, though I cant imagine even the most jaded hard rock junkie not appreciating the beauty of the voices. The high points arent as high as those on "Present Tense", but this is an enjoyable album for those moments when you want to wimp out for a while. [AM]

SAHARAS(MI) "Saharas" 1966 (United) [10"] Teenbeat rarity with female vocalist Lu. Supposedly a live recording from a Michigan college, in a fratrock style. This may be the same Saharas that had 45s on United and the well-known Fenton label.

SAILOR( ) "Sailor" 1976 (700 West) [1000p; inner] Obscure light westcoasty sounds on the same Indiana label as Zerfas, receiving some hype of late. SAINTE ANTHONY'S FYRE (NJ) "Sainte "Sainte "Sainte "Sainte Anthony's Anthony's Anthony's Anthony's Fyre" Fyre" Fyre" Fyre" 1971 1987 1996 199 (Zonk 001) (Breeder 563, Austria) (Void 03) [poster; 400#d] (CD, Europe)

Rated by many as one of the ultimate local basement hardrock blowouts. An intense, compressed live feel

has the band going through a set of raw originals with a near-punk attack. Also shows obvious urban soul/funk inspiration a la Grand Funk, although this becomes an advantage in this context. A great echoey rehearsal space sound adds to the appeal. According to Jersey folklore the drummer OD'd after his brother had shot himself in the head. The Void reissue is inferior in sound compared to the original, or the earlier bootleg. [PL] ~~~ Intense damaged power trio. Sludge fuzz behemoth in Bent Wind/Blue Cheer zone. No subtlety or restraint in evidence as Greg Ohm delivers powerful vocals and distorted leads from the other side. The side openers "Love over you" and "Lone soul road" are all time riff fests. [RM] ST ELMO'S FIRE (OH) "Live At The Cleveland Agora" 1980 (Corposant) [inner sleeve; #d] Hard progressive guitar keys. Garagy King Crimson sound and Tolkien influence. Not an expensive LP. ROD ST JAMES ( ) "Has Anybody Seen A Superstar" 1972 (Paula lps-2218) Nice one. Trippy organ, wailing fuzz, and wah-wah over a funky psych backing with 'laid-back cool' phased hippie vocals. Donovan meets Marcus (McDonald)! [RM] ~~~ Interesting combination of funky guitar rock and some folk. The cover is mysterious and its impossible to tell from his singing if hes white or black. Theres some hot guitar here and some pretty catchy songs. Its a darn good mainstream 70s rock album, though I suppose some would say hes trying too hard on the few folky songs on side two. Theres nothing psychedelic about this album, and other than the lead guitar, its not hard rock either, so the hype is sometimes misleading. Nonetheless its a very good album and is quite scarce, and I recommend it. [AM] SAINT JOHN GREEN (Los Angeles, CA) "Saint John Green" 1968 (Flick-Disc fls 45001) Trashy sci-fi bubblegum fuzz punk with Kim Fowley involvement, cheesy organ fun. Goofball concept about the end of the world. [RM] ~~~ It's pretty cool to think that stuff this bizarre was getting released and distributed in the late 60s. Goofy comedy bits and fake Satanism mix with garagy pop to make for a fun album. There are a couple of excellent songs here too, and not a boring moment to be found. A nice companion piece for Kim Fowley's "Outrageous". [AM]

ST LOUIS HOUNDS (St Louis, MO) "St Louis Hounds" 1977 (Hounds 101) Rock with big band sound and violin. This is actually the third Pavlov's Dog LP, which had been rejected by Columbia. ST PIUS X SEMINARY CHOIR (CA) "Each One Heard In His Own Way" 1968 (Century 30441) Heres one choir you definitely wont want to miss. Notice that theyre directed by the Rev. Nicholas T. Freund, the same guy responsible for The Search Partys "Montgomery Chapel", one of Christian musics absolute top psych rarities. Although this male/female choir doesnt really sound like The Search Party, they sure dont recall any choir Ive ever heard before. The rock, folk, psych and electronic influences heard here once again confirm that Freund was very much a part of the experimental late 60s. The choir itself comes across big and loud, and at more than one point it even sounds like theyre yelling at the top of their lungs. The instruments are loud, too: the electric bass, the organ, the acoustic guitars, the electric guitar, and especially the drums and percussion. "Meditation Acts 2:1-12 Pentecost Sunday" opens the album on a highly avant garde note, with liturgical readings, chanting and dissonant singing backed by a variety of harsh heavy grating electronic sounds. Covers of Ray Repps "I Am The Resurrection" and "Come Children Hear Me" follow, sounding like straightforward 60s Catholic folk as typically heard on the World Library or FEL labels. Bluesy harmonica joins with some cool electric guitar riffing on Sister Germaines "Who Is This Man". Next is an intense psychedelic version of "Get Together" with big drums, swirls of spacey organ and tripped-out Sgt. Pepper flutes, and a short modal/raga electric guitar solo. Side two is entirely taken up with a rocking performance of John Ylvisakers "Mass For The Secular City" (from Praise The Lord In Many Voices Part I), highlighted by psychy organ and electric guitar interaction. Very primitive looking yellow cover with red dove/fire design, along with newspaper clippings about the group on the back. [KS] ST RAPHAEL FOLK GROUP ( ) "Sabbath Prayer" 196 (no label) Late 1960s typical Christian folk and folkrock with male/female vocals, in a nice color sleeve. Described as unexciting by some. SAINTROCK (NY)

"Conceptual Orchestra" 1978 (CER) "Conceptual Orchestra" 2005 (CD) Westcoast/rural-flavored religious folkrock with flute and fuzz from duo, highly rated by some. There is a second LP from 1984, "Second Coming", and further recordings from recent times. SAINT STEVEN (MA) "Saint rim] "Saint "Saint "Saint Steven" 1969 (Probe CPLP 4506) [gatefold; red label Steven" 1969 (Probe) [bootleg; gatefold] Steven" 199 (CD TRC, Europe) Steven" 199 (CD BOD 102, Germany)

Ambitious and eclectic Boss-Town sound that's received some hype recently though I can't say I'm blown away by it. Fuzzed hippierock mixed with folkie bits and interesting lyrics but nowhere as freaky and arresting as the top psych LPs from the time and place, in my opinion. May appeal more to fans of early UK/Euro artrock and prog. Earlier recordings as the Frontpage Review have been made available (CD "Mystic Soldiers", Big Beat). Cataldo was later in the Nervous Eaters. The LP title is sometimes listed as "Over The Hills". A Canadian original pressing exists without gatefold; the album was also released in Peru for some reason. See also comment for One St Stephen. [PL] ~~~ After Morgen, this is the key collectable on the label. Opinions are divided on it, but I think it's a good one. There's a mild theme to it, with background noise on several songs (political commentary, animal noises), and two distinct album sides: "Over The Hills" and "Bastich." I'm not really sure what it's about, but it has an appealing strange energy. The music is a mix of melodic pop/psych and heavy psych. The songs vary in quality but all have nice fuzz guitar and a few, notably "Bastich 1" and "Voyage To Cleveland," are quite memorable. Not a masterpiece, but an interesting album. Oddly enough, "Bastich 1" was covered by Whalefeathers. How in the world did they ever discover this song? [AM] SALEM MASS (ID) "Witchburning" "Witchburning" "Witchburning" "Witchburning" 1971 199 1998 1999 (Salem Mass slp-101) (Salem Mass, Europe) [bootleg] (CD Gear Fab gf-117) (Akarma 092, Italy)

Cheap-sounding hard rock with lots of moog. For the first song, which is quite long, it's pretty cool, but overall this isn't anything special and doesn't cover any new ground after that one song. It's nowhere near as dark as the band and album title would imply, though the synth does get pretty creepy now and then. [AM]

SANDS OF TIME ( ) "Sands Of Time" 197 (Sands Of Time 2000) Not to be confused with any other Sands Of Time, this is unexceptional hippie folk with male/female vocals. The cover shows the main couple in a field. SANDSTONE(PA) "Can You Mend A Silver Thread?" 1971 (SA 2911) Little-known local folkpsych trip with a total UK sound, reminiscent of the Shide & Acorn album in particular. Male/female vocal harmonies, acoustic guitar tapestries, flute, piano and occasional violin all create a dreamy, wistful mood typical of the style. While not terribly original it is skillfully done and hits all the right spots, and is likely to delight genre fans in a big way. I might have opted for even more of the female vocals but it's a minor objection. Some trad moves here and there for an "authentic" feel, but really a trip off the lysergic Camelot magic first invoked by Donovan back in 1967. [PL] V.A"SAN FRANCISCO POP FESTIVAL" (CA)

"San Francisco Pop Festival" 1968 (Colstar 5001) [poster] Obscure comp done to cash in on the San Francisco craze of '67-68. The marvy packaging (including a poster) is probably of more interest than the sounds, which apart from three or four OK garage/psych numbers is wholly superflous. S.F experts suggest that several of the groups listed actually represent various one-off studio amalgamations involving the highly active ex-New Zealander Ray Columbus. The track attributed to the Haight-Ashbury Blues Band was actually pre-Horses/Kingfish group New Delhi River Band. "Friendly indians" by Charolette Wood is the high point to me. [PL]

SANSONE & McDONALD ( ) "Country Life & My Wife" 1976 (Acredited) Local folkrock obscurity with a 60s throwback sound. SANTA FE ( )

"The Good Earth" 1972 (RTV 301) [wlp exists] This is a collectable because of the label, but it's not something many collectors will want to listen to more than once or twice. It's non-psychedelic rural rock, with a few good-timey rock songs and some horns. They try awfully hard but really don't develop an identity. Despite the variety of arrangements it's pretty bland. The band's earlier, self-titled LP on Ampex is highly rated by some. [AM] DAVID SANTO (NY) "Silver Currents" 1968 (Phoenix phs-101) "Silver Currents" 1969 (Sire ses-97004) [altered cover] Obscure Village folk-hippie guy with tremendous 45 "Rising Of Scorpio", included on this LP in an alternate mix. Rest of the album is disappointing third-tier Donovan sounds with offkey vocals. File under "avoid" next to Marcus on Kinetic. [PL] ~~~ Santos best known for Rising Of Scorpio, a cool tune that appeared on many psychedelic compilations, despite musically being pretty straight folk rock. The rest of his album is pretty similar, though no other song is quite as memorable. Santo has a warm, guy-next-door voice thats more likeable than good. His songwriting is good but not great and the album is a fun but minor entry into the 60s singer/songwriter sweepstakes. This LP came out twice, once on a small label with a colorful cover photo with Santos face in a bunch of clouds, and a second time on Sire with a black and white photo of Santo in a cold-weather parka. Both versions are scarce, though the original generally goes for twice as much as the second issue. [AM] SAPPHIRE THINKERS ( )

"From Within" 1969 (Hobbit 503) [wlp exists] "From Within" 199 (Hobbit) "From Within" 2000 (CD Summer Of Love 2000-2) Surprisingly good CA-sounding melodic/harmony psych trip, instantly likable and strong enough to hold your attention for repeat plays. Elements from disparate sources are brought in -- Curt Boettcher sunshine pop, Bay Area teen top 40 psych like Neighb'rhood Childr'n, Sunset Strip organ/fuzz/flute a la Strawberry Alarmclock -- yet the end result is consistent and convincing, with plenty of strength in the songwriting and arrangements, and no major weaknesses. A few tracks point towards the relaxed

early 1970s psych sound of Kak and Bob Smith. Impressive, not unlike a junior Music Emporium. ExMerry Prankster Sandy "Dismount" Lehmann-Haupt was involved and may have contributed to the non-fake vibe of this LP. [PL] ~~~ All the elements are here: cool organ, solid male and female vocals, catchy melodies, plenty of fuzz guitar, but somehow this album never really worked for me. I'm not sure if it's overlys formulaic, or if the songwriting is a little bland, or I find the flute annoying, or what, but I keep trying to discover what others see in this record with no luck. The album definitely lacks the kind of wildness found in, say, Neighb'rhood Childr'n, or the kind of songwriting excellence and diversity that makes Creation of Sunlight and the Strawberry Alarm Clock rise above their similar saccharine tendencies. [AM] JOHN W SARGENT ( ) "John W Sargent" 196 (no label) [no cover] Druggy lounge rock with guitar, organ, flute. Some of the vocals are unintelligible which may well be for the best. The label reads 'demonstration copy'. [RM] JOHN SASE see Aessence SATAN & THE DECIPLES (LA) "Underground" 1969 (Goldband grlp 7750) Mock-satanic swamprock with classic "theme" song that features unconvincing devilish laughter and a swank Sam The Sham occult party groove that needs to be heard. Made by stupid people for stupid people! [PL] ~~~ This album is a riot. That doesn't mean it's good; it's not. It is, however, one of the most absurd and misguided attempts at exploitation you'll ever hear. The long opening "Satan's First Theme" is ridiculous beyond belief. The singer laughs and growls in a goofy way that wouldn't scare a two-year old, and the lyrics are equally tame. I mean, if you're trying to be Satan, wouldn't you be evil, or scary, or offensive? He doesn't go much further than suggesting he should have sued the writers of the bible for libel. This goes on for about eight minutes, as he sing-speaks and while the backup singers call him "the bugger man." Unforgettable! Another long (7 minute) song ends the album, with the same singer/narrator teaching us about "The Book Of Alpha." It's more of the same and less entertaining only because it's the second time he's pulled the same schtick. The lousy garage pop songs and country ballads that come between these two "masterpieces" are mundane by comparison, even though they're pretty goofy too. Most of you will think this is a colossal waste of time, but some of you will treasure it for life. [AM]

"THE SATANIC MASS" (San Francisco, CA) "Recorded Live At The Church Of Satan" 1968 (Murgensturm MM 6660) Satanic service with sinister organ and preaching. Conducted by church leader Anton Szandor Lavey. One side features a recording of his "Satanic Mass" recorded live, the other features LaVey's reading from "The Satanic Bible" over selected classical music. Reissued on CD several times by labels such as Amarillo, Mephisto, and Rare Recordings. SATANS (Andover, MA) "Raisin' Hell" 1962 (no label 3262) Instrumentals from the East-Coast prep rock scene, the renowned Phillips Academy (Rising Storm, etc) to be precise. Very crude sleeve artwork. RICK SAUCEDO (IL)

"Heaven Was Blue" 1978 (Reality 55) "Heaven Was Blue" 2003 (Orange Double Dome) [300p] Elvis impersonator moonlighting as a psych genius in a nice blue haunted house sleeve. This is melodic 1970s psych like Michael Angelo and Bobb Trimble with a great sidelong epic and two rootsy r'n'r numbers that stick out like a sore thumb. The good stuff is killer though, rich guitar textures supporting dreamy vocals carrying wellwritten songs through plenty of changes yet always with an eye on the ball; likely to appeal to any and all psych fans out there. All reissue copies came with loose, unglued cover slicks. [PL] ~~~ This is the kind of album that makes collecting so much fun. Who in a million years would have guessed that this Elvis impersonator also was a tortured soul who real voice would be so pretty in a pop sense? The two regular length popsike songs on side one are as good as music gets, every bit as emotionally deep and chill-inducing as Michael Angelo or Bobb Trimble, packed with melody, hooks and dreamy guitars. The sidelong suite is almost as good, but suffers from sloppy rhythms. It sounds as if the drums were overdubbed, and several times the drummer struggles to keep up. The two good time rock & roll songs that close side one are nothing particularly exciting even for fans of the style, and couldnt be more out of place. Still three quarters of a very special album is something to treasure, and everyone reading this needs to hear it. [AM] ~~~

see full-length review

SAVAGE RESURRECTION (CA) "Savage Resurrection" "Savage Resurrection" mono] "Savage Resurrection" stereo] "Savage Resurrection" 1968 (Mercury mg-21156) [wlp; mono] 1968 (Mercury mg-21156) [red label; 1968 (Mercury sr-61156) [red label; 1988 (Mercury) [bootleg]

One of the classic heavy psych albums, this is one that every fan of the genre seems to like. What makes the album so cool is that they have not one but two wild guitarists, and the dual lead guitars spew fuzz and feedback brilliantly throughout. As much as I enjoy this album, though, I must say that after about twenty listens I still can't remember more than one or two of the actual songs without hearing them again. If the songwriting had been up to the level of the guitar playing this would have been as good as Morgen. The one common criticism is that it's yet another one of these records with a long blues jam on it, but the guitar playing at least makes the jam more enjoyable than most others in the style. As is sometimes the case, the mono promo has been reported as having the best sound of the pressings. [AM] SAVAGES (Bermuda)

"Live 'N Wild" 1967 (Duane 1047) "Live 'N Wild" 1984 (Resurrection CX 1330) "Live 'N Wild" 2002 (CD no label) To me one of the best local garage LPs, an authentic live recording from a Bermuda rich kid hangout. Lots of Animals/Stones moves but also several great originals like "The world ain't round" and the sublime "Quiet town", three of which have appeared on comps. Tough garage sounds successfully mixed with atmospheric ballads in a stylish manner, my only gripe being the wasted "On Broadway" cover and the "manly" sub-Burdonesque vocals on a few tracks. "No no no" is a studio recording from a post-LP session and was inserted into the album with some fake crowd noise added. Original copies of this LP are hardly ever offered but by all means try to score the old vinyl reissue. The label was from New Jersey, but the band was mainly based in Bermuda.There is also a good non-LP 45 track. The vinyl-sourced CD reissue comes from the band themselves. [PL] SAVANNAH ( ) "Crank It Up" 1977 (Chrome Thigh)

Hard guitar jamming dedicated to Tommy Bolin. SKY SUNLIGHT SAXON (Los Angeles, CA) see article "Lovers Cosmic Voyage" 1976 (Emerald Light GF 571231) [no cover] "Heavenly Earth - Live at the Orpheum" 1977 (Sunbow 001) [2 inserts] "Masters Of Psychedelia" 1984 (New Rose, French) Still going strong (?) into his fifth decade of flipped out sounds, the great man's discography could fill a book of its own. We've narrowed it down to things immediately relevant to the Archives. Credited only to Sunlight, "Lovers Cosmic Voyage" is a new agey harp & piano meditation on space travel with dogs, quite surreal for the whole 15 minutes it lasts. "Heavenly Earth" is credited to Sunlight Rainbow Stars New Seeds and is a droning basement 70s psych trip that would fetch a lot more $$$ if made by unknown guys, the only drawback being the lack of guitar-leads. Although the sleeve bears no such credits, it appears that side 2 of "Masters Of Psychedelia" features Fire Water Air, circa 1975, from the same recording session that yielded the Yahowha-related "Golden Sunrise" LP. [PL] ~~~ see -> Alright Family Band; Yahowha 13 SAXONS (New York City, NY) "Love Minus Zero/No Limit" 1966 (Mirrosonic AM 1017) [mono] "Love Minus Zero/No Limit" 1966 (Mirrosonic AS 1017) [stereo] Baroque vocals and harpsichord folkrockers from duo doing three Dylan covers among others. SCHROEDER & FOREST(Canada) "Another Brand New Day" 1975 (no label) Hippie folk with flute and male/female vocals. May be a demo pressing only.

JIM & CHERIE SCHWALL (Chicago, IL) "A Wedding Present From" 1971 (no label) Early 1970s, laidback mostly acoustic blues jamming. Made as a gift for friends. Jim was in the SiegelSchwall Band. There was a later private press also, "Spring Vacation" (1978).

JOHN SCOGGINS ( ) "Pressed For Time" 1976 (Tiger Lily 14059) [promos exist] Charming dreamy 1970s pop with an early new wave sensibility mixed with a warm, 1960s-style folkrock sound. Light, upbeat vocals fit the music perfectly, and the playing is fine with lots of ringing guitars. Several songs are superb 3-minute creations in the classic McCartney/McGuinn school, and the LP sticks close to this credo throughout, with only a jokey hillbilly tune wasted. While not a far out psych monster or hardrock blowout, most people who hear this like it, simply on ground of its talent and sunny feel. Too bad it came out on the tax-loss Tiger Lily label; on the appropriate label it could have been a Shoes-type cult classic. [PL] ~~~ Along with Stonewall, this is the cream of the crop on this fascinating label. Pressed For Time is a very solid 70s pop album-hooky, highly melodic songs, jangly guitars, lovely high male vocals and joyous harmonies, and a significant Beach Boys influence. A bit of fuzz guitar, especially on "Somebody's Sad," adds a nice touch of energy. The format is varied by a goofy country tune on side one and a soulful Easybeats cover on side two, but otherwise it's just one memorable, hummable song after another, evoking the best summer feelings. Power pop fans will go insane when they discover this one. Oddly, there exist a number of copies of this album with stickers on the cover, some of which list the actual band members, implying that unlike other Tiger Lily albums at some point there was an effort on someone's part to actually sell the thing. [AM] SCORPION ( ) "Scorpion" 1970 (Tower st-5171) [striped label] Black guys doing raw underground bar funk sounds, sometimes hyped by dealers but hardly the most highly rated LP in the style.

SCOTTI (CO) "For Friends" 1973 (Strawberry) Folkrock obscurity in nice color cover. SCREAMING GYPSY BANDITS (Bloomington, IN) "In The Eye" 1973 (BRBQ) "In The Eye" 1996 (OR 014) [paste-on; insert; 375#d] Nice flowing rural rock with lots of little exotic world music touches, female vocals. Saddhu Brand meets Hickory Wind! Member Bob Lucas had a solo LP, "The Dancer Inside You" (BRBQ, 1974). [RM] ~~~

This album sports a mix of styles and a communal feel. Not all of it is memorable but there are two or three excellent, resonant songs here. Horns are used to powerful purpose. Its hard to classify this one. Its not folk, not soul, not progressive. A nice find for jaded listeners. One of the highlights would be re-recorded for Caroline Peytons "Intuition" album. [AM] SEARCH PARTY (Sacramento, CA)

"Montgomery "Montgomery "Montgomery "Montgomery "Montgomery

Chapel" Chapel" Chapel" Chapel" Chapel"

1969 1994 1998 200 2004

(Century 32013) [600p] (Rapturedelic) [paste-on] (CD Flash, Italy) (Void 22) [insert] (CD Beatball 05, South Korea)

One of the more notable discoveries of the 1990s, a primitive Christian folkrock LP which isn't great all through but hits some truly unique moods and sounds on about 2/3rds of the tracks. Obviously inspired by the westcoast "psychedelic" sounds of the era, the Search Party take compositions by their spiritual mentor, a Catholic middle-aged priest, and turn them into primitive California garage folkrock and psych with fuzz leads and raw vocals! Most Christian "folkrock" LPs suffer from still having one foot left in Sunday School, but these young seminarians have definitely broken through to the other side. Side 1 ends with an unparalleled 9-minute downer folkrock excursion with heavy soulsearching lyrics that alone makes "Montgomery Chapel" worth checking out, but beware -- it's crude, even the female vocalist has a strange edge. Unrehearsed confessions from a basement Music Emporium. [PL] SEBASTIAN (Canada) "Rays Of The Sun" 1969 (MCA 7001) Most of this album is horn- and string-heavy AM pop, though two songs here, both self-produced, are from a completely different world. They are long folky ballads, dreamy and intense with powerful vocals. They're kind of humorless, but they're great anyway, precursors of 70s psych classics like the best songs on the Garrett Lund album. Elsewhere, one song opens with some terrific phasing, though everything else is much more conventional. The mainstream stuff here is quite good if you pay attention, but you'll probably be more likely to wonder what Sebastian could have come up with if he'd had full creative control. The self-produced songs are long and take up a third of the album's running time. [AM]

SEBASTIAN (Canada) "Head Roach" 1972 (Vintage) [booklet] "Head Roach" 2005 (Void 037) [500p; inner] A different Sebastian, with an LP of stoned folk and Zappaesque touches, supposedly banned upon release due to drug references. OSH SEBROW (NJ) "Angels Are Falling" 1982 (Osty) [insert] Interesting early 80s pop album with folky leanings. Sebrow did the whole thing himself, which unfortunately means it has a drum machine. The songs are quite good in a post-Beatles pop mode, and Sebrow has a haunting voice. One song is a tribute to John Lennon, but unfortunately quotes from some McCartney songs that Lennon always hated. Lennon would be spinning in his grave! Otherwise, though, if you can get past the drum machine (which I can not), this is a nice album. Osh was an Eye Surgeon and gave out the "Angels Are Falling" LP to his patients. Due to a quantity find it's not a pricey album at all. He also did a much earlier LP, "I Can See Tomorrow" (Ame, 1974). [AM] SEEDS ( ) "Hymns For A New Age" 1978 (Whatever WA 101) Unrelated Seeds doing hippie folk. V.A "SEE/HEAR RECORD MAGAZINES" (Canada) "See/Hear Record Magazine #1" 1968 (See/Hear ST 55852) [folder with info sheets] "See/Hear Record Magazine #2" 1968 (See/Hear ST 56410) [inserts] Avantgarde publications including a 12" record and various inserts/magazines. Mixes avant music with poetry and electronic freakouts typical of the era. Issue #2 has some members from Mock Duck. Bill Bissett is also featured, and got to release his own LP as "See/Hear #3". ~~~ see -> Bill Bissett

SEICHE(Chicago, IL) "Dose After Dose" 1981(no label) [plain cover; 100p] "Dose After Dose" 1999 (Hexamon 001) [500p; 2 inserts]

Highly regarded progressive hardrock trio with hard fuzz leads, mystical vocals, burnout vibes. SENSATION (Milwaukee, WI) "Sensation" 1976 (no label) Mid-70s Beatle throwback sound. SEOMPI (TX) "Summer's Comin' On Heavy" 1998 (Rockadelic 33) "AWOL" 2000 (CD Gear Fab gf-136) "Seompi" 2000 (Akarma 089, Italy) [2 LPs] A tasty selection of previously unreleased circa 1971 material from an Austin-based band often referred to as the "Black Sabbath of Texas", a rather inaccurate handle as the bulk of the material is progressive hardrock with jazz leanings. It's still heavy and powerful stuff though, especially the awesome "AWOL/Elijah" blowout that closes side 1. Their two famous 45 tracks are included in alternate versions, along with a bunch of originals and a "Voodoo Child" take that's good but can't match Hendrix. Have to admit some of the avantgarde stuff goes over my head, but should be mandatory to Texas and/or hardrock aficionados. Odd packaging on the Rockadelic includes an outer rubber sleeve and plenty of pics. The Gear Fab and Akarma releases add some 45 tracks and even more unreleased material (on the Akarma only) to the Rockadelic album. An early, previously unknown 45 has recently been found with at least one track not reissued on any of these. [PL] SEQUOIAH( ) "Sequoiah" 1975 (700 West) [2000p] Another little known title on the prolific Indiana label, stoned moody rural rock with violin. SEQUOIAH STREAM (Richmond, IN) "Sequoiah Stream" 1971 (no label) [no cover; insert] Half listenable live-in-auditorium college comp with a couple strong downer folk tracks and a smoking fuzz workout. The cover was not finished in time so a mimeographed insert contained all the info. [RM] ~~~ Here's some background on this LP and the Earlham College scene courtesy of Todd Cerney: "The name Sequoia Stream was the title of a piano instrumental on the album from the year before or maybe 2 years before that I produced out of a series of live performances. It ended up as the album title. These albums were an extension of the yearly poetry book

that the school would produce. In fact the one made in 1971 was one of the reasons I decided to go to the school in the first place... There was a guy named Charlie Bleak who was incredible (sang like Paul Macartney) and wrote amazing songs. He and several students there did an album called Hoi Polloi. Charlie went on to get a record deal but never got on the radio for some reason. I didn't know him and he wasn't a student anymore when I got to Earlham myself...". ~~~ see -> Attention Span; Hoi Polloi SERPENT POWER (San Francisco, CA) "Serpent "Serpent "Serpent "Serpent on-1] Power" 1968 (Vanguard 9252) [mono] Power" 1968 (Vanguard vsd-79252) [stereo] Power" 199 (Vanguard, Italy) Power/Poet Song" 1999 (CD Akarma 053/054, Italy) [2-

While all kinds of mediocre rarities are treated to pages of lip-service, this fine little LP still remains underappreciaed. It's a good early SF LP; stripped down folkrock a la the first Airplane with a slightly bohemian vibe and some David Meltzer poetry on the back cover. Not freaky or avantgarde, more like folky Bay Area pop. A couple of excellent tracks with female vocals on side 1, while the 13-minute "Endless tunnel" on sided 2 fails to reveal any metaphysical insights yet is still kinda cool, with noted banjo-master Jean-Paul Pickens guesting. Enjoyable and historically significant LP in a nice cover, and as the original's still fairly cheap, go get one. The LP was released in February 1968. An original Australian pressing exists. [PL] ~~~ This is one of the best co-ed albums in the San Francisco style. The feel of the guitar and organ arrangements is just right, and Tina Meltzer's vocals are strong without being uncontrolled. Generally rock albums by poets can be pretty annoying, but this keeps its pretentions in balance and the songwriting is sharp and clever. The 13-minute closing track is a powerful vision of a personal apocalypse, and foreshadows "Hotel California" by almost ten years. [AM] ~~~ see -> David & Tina Meltzer SCOTT SESKIND (Boulder, CO) "Scott Seskind" 1985 (no label 11785) Late phase downer/loner folk and singer/songwriter trip, mostly acoustic, some tracks with a small band. SEVENTH DAWN (MD)

"Sunrise" 1976 (Fantasy Worlds Unlimited) [200p] "Sunrise" 1994 (Project Aquarius) [275#d; insert] Local hippie folkrock and melodic prog few had heard of until the reissue appeared. Some people hate it and it is probably the only hallowed $1000 rarity to feature a Barbra Streisand tribute song. Nevertheless I dig this LP, it has a wonderful naive seriousness that makes me think of high school project records, with three brothers and a sister doing male/female vocals and an even mix of folky ballads and fuzzed prog hippierock. "Free" has a great late 60s Beatles feel and is a personal fave. The album was recorded in the electronic music lab at Virginia Commonwealth University. The small press size has been confirmed by the band. 25 copies of the reissue run came with leftover slicks and inserts from the original pressing. Some unreleased recordings from 1979 exist. [PL] SEVENTH SEAL (VA) "Reflections" 1999 (Justice 0) [insert] 30+ year belated addition to the Justice label catalog, via an album that was recorded but never released by the label back in 1967. Weighing it against the stablemates, this is clearly above average, with a number of band originals and a more genuinely contemporary (as in 1966) moody garage and folkrock feel than the usual Justices. The release is nicely done in a way that looks and feels like a 60s pressing, and anyone with an interest in local teenbeat albums may want to check it out, apart from the obvious completist angle. SEVENTH SONS ( ) "4:00 AM at Frank's" 1968 (ESP 1078) "Raga" 199 (CD ESP 1078) "4:00 AM at Frank's" 1999 (Get Back GET 1038, Italy) Garagy trance raga jams with Buzzy Linhart on guitar and vocals. Basement Eastern stuff with percussion and flute, has been compared to Handgjort. SEVENTH TEMPLE(Canada) "Under The Burning Sun" 1978 (no label 7T) "Under The Burning Sun" 2004 (CD Radioactive, UK)

This LP was heavily hyped and priced when discovered a few years back, although the excitement cooled off once people found out that rather than some lost acid concept killer, it was 18 minutes of Canadian late 70s basement prog, nothing more, nothing less. The short playtime suggests it may have been intended as a demo LP; in any event it's a symphonic-oriented trip with mid-tempo tracks, lots of mellotron and moog and the typical arch-pompous UK prog mood. You can still spot traces of decent melodies in there, and the amusement value of a Canuck teenager trying to sound like Jon Anderson shouldn't be understated. The opening title number is the best of the three tracks, with feedback leads and an occasional sci-fi cheese drama feel not unlike Eyes-New Gods. May appeal to fans of Autumn People, although more theatrical and less warm. Crude cover which along with the band name and album title makes this item look a lot cooler than it actually is. [PL] ~~~ see -> Drama BECKY SEVERSON (St Cloud, MN) "A Special Path" 197 (no label) Christian teenage femme acoustic folk with short songs, inspired by the book of Jeremiah. One track appears on the "Ladies Of The Canyon" compilation. SEX(Montreal, Canada) "Sex" 1970 (Transcanada 775) "Sex" 199 (no label) [bootleg] "The End Of "The End Of "The End Of Hipschaft) My Life" 1971 (Transcanada 785) My Life" 199 (no label) [bootleg] My Life / Lectric Music Revolution" 1997 (CD [2-on-1]

Unexceptional post-psych prog hardrock LPs from obscure French-Canadian band. Some jazzy moves on the second LP. V.A "S F O MUSIC BOX SET" (San Francisco, CA) "S F O Music Box Set" 1967 (no label CRS-1162) [4LPs; box-set; insert] Quite rare 4 LP box set of SF area songwriter demos connected to the Trident operation, released around X-mas 1967. Contains rare tracks by Blackburn & Snow, Mystery Trend, Sons Of Champlin, Randy Steirling, Ron Davies, John Stewart, and others. Only the songwriters are credited, not the performers, which makes figuring the actual credits out somewhat difficult, but folkrockers We Five play a number of tunes. Mostly folky stuff; Ron Davies' contributions are interesting in a 1965 Paul McCartney direction and remain completely unreleased from what I can tell. John Stewart is the ex-Kingston Trio guy and

gets 3 full sides worth of uneven material. The Mystery Trend material (5 tracks) sounds better in this raw, non-cleaned up mix than on their Big Beat CD. For the Blackburn & Snow tracks (10 in total) the difference is less pronounced, but many 1960s fans are again likely to prefer the more living and less channel-isolated stereo mix of the box-set vs the Big Beat CD. [PL] SHADE TREE (KS) "Shade Tree" 1979 (Buffarilla) Mediocre Southern/rural rock with a couple of good tracks. SHADRACK CHAMELEON (IA) see interview "Shadrack "Shadrack "Shadrack "Shadrack Chameleon" Chameleon" Chameleon" Chameleon" 1973 1987 2000 2000 (IGL 4051-5) (no label, Europe) [250p] (CD Gear Fab 110) [+bonus tracks] (Gear Fab 202) [+bonus tracks]

Wellknown Midwest rural rocker with a wideopen honest sound I find hard to resist. Long tracks with organ/guitar and warm basement vocals, sounds like Neil Young circa '69-70 or a less nihilistic Rayne. A true relic of the era with deep college dorm lyrics not easily penetrated, and strong songwriting from the very young band. Personal fave that sounds better with each passing year. Nice minimalist sleeve job a la St Anthonys Fyre. The CD has their good pre-LP 45 as bonus. [PL] ~~~ This album has an amateurish, laid-back feel that is very appealing, especially on the two or three songs with really strong melodies. Some of the lyrics are heavily counter-culture, but the band never comes off as having an attitude or a chip on their shoulder. Its pretty intelligent, or at least pretty genuine. The feel of the sparse arrangements is one of great warmth. Its the kind of album that at first sounds like it has nothing to it, but after a few listens really starts to sneak up on you. Fans of low-budget 90s pop might like it too. [AM]

SHAGGS (South Bend, IN)

"Wink" 1967 (MMC 6311) "Wink" 1984 (Resurrection CX 1295) "Wink" 2004 (CD Radioactive 079, UK)

Local prep-rock LP on a folkrock/Beatles '65 bender; ambitious multipart vocal harmonies and fake 12string jangle make for a charming experience, though it's not "fuzz garage" by any means. These Notre Dame boys had enough cojones to tackle two Beatles tunes with reasonable success, but the highpoint of the LP is an atmospheric "If I were a carpenter". One group original (I think), other covers include Stones, Who, Beau Brummels, Byrds, Them, and a bizarre "Hey Joe". Disappointing sleeve well below the genre average. The album was financed by a local business college student who thought he was going to make big $$$ but ended up selling copies door-to-door! In addition to the LP, the band recorded an acetate 45 of two non-LP tracks which received some local airplay. Chuck Perrin (see entry) appears on this acetate, but was not in the band when the "Wink" LP was made.The 1980s Resurrection reissue is mastered at an annoyingly low volume (as all Resurrection LPs seem to be) and displays cover wear on the front cover repro. [PL] SHAGGS (Fremont, NH) "Philosophy Of The World" 1971 (Third World 3001) "Philosophy Of The World" 1980 (Rounder 3032) "Philosophy Of The World" 199 (Red Rooster) Magically incompetent teen sister garage band who play and sing like ten year olds. Unreal plodding drums, out of tune guitars, and amazing off-key vocals. Jawdropper slice of life lyrics loaded with girl diary philosophies, Foot Foots, and parents who are always there. They were coerced into recording this by their father and their discomfort is clearly evident. This record is known to end parties in record time. The second LP "The Shaggs' Own Thing" (Rounder 3056, 1990s) is more monstrosities from the vault. Promo copies of "Philosophy" include an 8x10 photo, 2 wallet photos, and a business card. [RM] ~~~ This is one of the most misunderstood albums of all time. It's one of the very, very few "real people" albums that appeals to people who don't appreciate those records in a condescending, or amused, way. Musicians tend to like it, which is also unusual for a record of this type. What makes these three sisters different from every other "inept" band is that they redfine the meaning of that word. This is not just another album by people who just learned to play their instruments last week. It's more like they taught themselves to play without having any instruction, and without having any knowledge of music theory. Once they figured out a way to play, which is unlike any "accepted" method, they worked on it and perfected it. Evidence of this is that a number of bands who wanted to cover Shaggs songs couldn't figure out how to play them. From the sounds of it, they even made up their own way of tuning the guitars, and rather than playing chords, they played patterns that follow along with the vocals. It's unique and impossible to duplicate. It also is one of the greatest ever expressions of pure love of music, and the joy and warmth of this album is irresistible. [AM]

DEL SHANNON (MI) "The Further Adventures Of Charles Westover" 1968 (Liberty lst7539) There aren't a whole lot of 50s or early 60s stars who gracefully made their way through the 60s, but this well-loved album is proof that it was possible. This isn't really a "psychedelic" record (way more strings than sound effects), but rather a case where a great talent (man, what a voice!) realized that the 60s brought about a great step forward in the use of recording techniques and arrangements. Shannon warmly embraced the possibilities. At the same time, he wrote a fantastic batch of pop songs, and the mix of the great songs, the stunning voice and the ambitious sound makes for a truly wonderful record. Also released in England with a completely different cover. The rest of Shannon's vast output fall outside the scope of the Archives. [AM] SHANNONDOAH (WA) "Ideas & Rhymes" 1977 (Blue Heron) Private press-looking LP from country rock/folk quartet with some female vocals and an a capella cover of "Come up the years". The Minstrel String Guild duo help out on one track. SHANTI DAS (OR) "Servant Of Peace" 1973 (no label) [insert] Communal hippie folk with male/female Harmony vocals and chanting, Eastern instruments. SHARKEY(San Jos, CA) "Signposts" 1975 (no label) Obscure post-Syndicate Of Sound LP, breezy westcoast rock with some guitar jamming. Issued with a songtitles sticker on the shrink. SHATTERS(Austin, MN) "Shatters" 1966 (Welhaven 63) Sleeve-less demo LP (or acetate) from garage band with a few 45s. The LP is mainly frat and r'n'b covers. SHAW, ALLEN & SHAW (MN)

"This Side That Side" 197 (Sound 80 s80s-40-1425) Trio with acoustic guitar, electric bass, and drums. Mostly mellow acoustic folk covers with psychy shadings. SHEKINAH(MI) "Shekina" 1982 (Eden 104) [insert] This is a mystical Christian folk album with beautiful vocals and an ethereal feel. Most of the songs aren't really structured, but just kind of flow. It's very mellow, but there are drums and nice, drifting electric guitar on some of the songs. The canon vocals on "Blessed Be" and "Jesus Eyes" are hypnotic and the use of bells, chimes, woodwinds and mandolins give this album a distinctive sound. The memorable melodies make this more accessible than similarly complex X-ian albums like The Christ Tree. Not for "rock" fans, but a lovely, special record. [AM] SHEKINA GLORY(Ilford, IA) "Have You Considered" 1976 (IGL 6045N1) Very impressive custom obscurity from male/female outfit scoring high with their mix of dreamy mysterious folk/psych and west-coast rural rock. Some really breathtaking moments here. One listen to songs like "If I Dont Let People Know", "Jesus", "Ask" and "Good Samaritan" and youll see these folks definitely knew how to weave in mood and texture alongside the heavier elements. One minute theres a gentle eerie atmospheric melody with spacey flute accompaniment; next thing you know theyve built up to a climax of blaring hard rock guitar. Some of the in-between moods reminded me of songs like The Ways "Have you ever Heard" from the Maranatha Four LP. Closes with some joyous upbeat fuzz jamming a la Earthen Vessel on "Glory Glory". [KS] SHILOH (TX) "Shiloh" 1971 (Amos aas-7015) Early countryrock with steel and harmony vocals in Flying Burrito Bros style with Don Henley on vocals and guitar, pre-Eagles. SHILOH MORNING ( ) "Shiloh Morning" 1974 (TRC 51053) Midwest male and femalevocal harmony folk rock and pop with acoustic and electric guitar, bass, percussion, some mellotron. Includes versions of

"Nights in White Satin"and "White Bird"among others. SHIVA'S HEADBAND (Austin, TX) "Take Me To The Mountains" 1970 (Capitol st-538) [green label] "Take Me To The Mountains" 2005 (Capitol/Scorpio) This was one of the earliest countryrock LPs but never made the splash it should have, yet remains an enjoyable experience with a nicely balanced countryhippie mix and Spencer's terrific violin. Both tracks from their outstanding debut 45 are re-cut here in slightly less drugged versions. Anyone who likes Sub Zero Band ought to recognize Shiva's as the original masters of the style. An original Canadian pressing exists. [PL] "Coming To A Head" handmade labels] "Coming To A Head" labels] "Coming To A Head" "Coming To A Head" 1971 (Armadillo no #) [1000p; paste-on; 1981 (Armadillo no #) [200p; printed 2003 (Akarma 250, Italy) [+1 track] 2003 (CD Akarma 250, Italy) [+1 track]

Contrary to what you may read elsewhere, this was not their debut album but a privately released sequel after Capitol dropped them. Basically the same style as the debut, a little less druggy and a bit more western swing. The 1981 pressing is reportedly a better pressing than the first. Later LPs include "Psychedelic Yesterday" (Ape, 1981) and "In The Primo Of Life" (Moontower, 1984) as well as a number of cassette and CDs in more recent years. Spencer Perskin is alive and well and gigging locally. SHIVER (CA) "Shiver" 2000 (Rockadelic 39) [600p] "Shiver" 2001 (CD Shadoks 023, Germany) As far as packaging goes one of my fave Rockadelics, superb color gatefold with cool liner notes detailing the adventures of this "tough as nails" early 1970s power trio. Music consists of long and mostly instrumental STP jams that are ferocious but not without subtlety, taking a cue from early Blue Cheer but stretching out into 100 MPH Hawkwind/Ash Ra Temple/Terry Brooks spacerock excursions. Not terribly varied and songwriting doesn't account for much, but should be of interest to fans of hard early 70s guitar trips. The band had roots in Texas but played the Bay Area biker circuit. [PL] SHOES(Zion, IL) "One In Versailles" 1975 (Black Vinyl Records) [2 inserts] "As Is" 1996 (CD) [2CDs; bonus tracks; autographed] The first Shoes album was released by the band in a

limited number, some of which were ruined in a flood. Supposedly only between 200 and 300 survived. The homemade album is one of the rarest and most soughtafter power pop collectables, since the band would eventually become one of the most well-loved bands in the genre. As you might expect, this early offering by the band is quite crude. All of the elements of their sound are there, including sharp harmonies, quick-witted songs of love and seduction, and fuzz guitars (though these would get much louder and more frequent on their later albums.) They're clearly finding themselves as songwriters and as a band with an identity. Much of the album has a nice understated charm, and a few of the ballads are very good ("Do I Get So Shy," in particular, is irresistible.) What's yet to develop is their knack for the killer hook, and their ability to construct songs tightly and concisely. A few songs drag, and I have to think that a few years later Shoes would have shortened them, sped them up, piled on layers of guitar, and improved them dramatically. "Un Dans Versailles", thus, while a very enjoyable and melodic record, is a few notches below the band's best work (which is on the next three officially released albums.) The album's title refers to the fact that band member Gary Klebe was away in Versailles while the rest of the band recorded without him. In the 90s, Shoes put together a limited edition 2-CD set that included one CD of unreleased songs from throughout the band's career and a second CD comprising "Un Dans Versailles" and their unreleased second album "Bazooka". "Bazooka" is rather weak, unfortunately. [AM] "Black Vinyl Shoes" 1977 (Black Vinyl) "Black Vinyl Shoes" 1977 (PVC) The second Shoes album was a much larger private press than the first, and in fact was so successful that it soon was re-released on the larger PVC label. Shoes are one of the most well-loved and influential of all power pop bands, and it all starts here. It wasn't their first album, but it was the first to be heard my more than a handful of people. While the next few major label albums would be just as good, this holds a special place among their fans, as the self-production, despite elaborate attention to harmonies and guitar overdubs, gives it a fresh doit-yourself feel that they'd never again duplicate. The guitars are fuzzy, fuzzy, fuzzy and full of hooks, and while the lyrics are about love and romance, they have a certain kind of maturity and intelligence often missing from the genre. I don't expect most visitors to this site to love Shoes, but I'd think many garage-rock fans would get a kick out of the masses of fuzz guitars. [AM] SHORT CROSS(Richmond, VA) "Arising" "Arising" "Arising" "Arising" 1972 1988 1998 2000 (Grizzly 16013) [gatefold] (Breeder, Austria) [no gatefold] (CD Gear Fab 119) [+3 tracks] (Akarma 079, Italy) [2LPs; gatefold; +3 tracks]

Ballsy, pro-sounding early 1970s rural barrock/hard rock in an Allman Bros direction with great

organ/guitar interplay, OK vocals and a versatile keyboardist. Not for garage or psych fans but should appeal to those into the local early 70s style; "Till we reach the sun" is a particularly good track. Band had a pre-LP 45 as follows: "On My Own"/"Marching Off To War" (Colpar, 1970). The A-side is an alternate version of the LP track, B-side is non-LP. [PL] SIDETRACK (New York City, NY)

"Baby" 1968 (no label SMIS-1) [no cover; 100p] "Baby" 2005 (CD Radioactive, UK) Demo press for a planned Elektra release that never happened. Baroque-pop/folkrock with lots of harpsichord and energetic vocals. Some copies came in plain covers with LP labels glued to the front containing the relevant info. SIDEWALK (New York City, NY) "Sidewalk" 1975 (C.D.) Cosmic jazz lounge duo, some wailing guitar parts. SILENT CHEER(Northfield, MA) "Learning Insipid Seal" 1969 (no label 202115) [blank back; insert] Late 60s garage rock covers with horns and some fuzz leads, from Mount Hermon school alumni. Mostly band originals. The same scene also produced the Knights band and the Led Balloon Jug Band LP. ~~~ see -> Together SILENT PARTNER (Athens, GA) "Hung By A Thread" 1975 (Lucky Boy 32779) [insert] "Hung By A Thread" 1988 (Lucky Boy, Europe) [bootleg] I'd be shocked to discover than the guys in REM didn't grow up idolizing this band. This is the original blueprint for the much-heralded 80s Athens scene. It's not a psych or prog (long instrumental notwithstanding) album as dealers hype it, but an ahead-of-its-time guitar pop album with outstanding playing, clever songwriting, and a touch of mystery.

The title track is a killer-two overlapping melodies of equal beauty and an elaborate acoustic/electric/synth arrangement that gives way to a transcendent guitar solo. Nothing else on the album can match this amazing first song, but there's plenty to like, from the flange-heavy guitar on "Just Sail Around" to the surprising and weird metal-inspired bits in "From The Diary of H.R.H. 1975." Smart songwriting, thoughtful arrangements and excellent singing abound. They had so many great melodies that three songs actually double them up (one sung over, behind, or between the other.) A 10-minute mildly jazzy instrumental at the end manages not to ruin everything. This is a great album. Along with Arrogance's "Prolepsis", it's the 70s pinnacle of the new Southern Rock (i.e: made by guys you would actually let your daughter date) that would explode almost a decade later. [AM] SILENT STRANGERS(CT) "It's All Over Now" 1965 (no label BRS 390) Obscure local teen-beat LP in cool cover. Prep school album from Washington, CT with 12 songs, 5 of which are instrumentals. Despite some unexciting covers, this is a fairly rocking disc that stands up with the best of the genre, not unlike the Weekenders or an improved Davey & the Badmen. JUDEE SILL (CA) "Judee Sill" 1971 (Asylum sd-5050) [unipak; wlp mono exists] "Judee Sill" 2004 (Four MWB 120) "Judee Sill" 2005 (CD Water 158) Sills story is fascinating and sad. She was a heroin addict, even a part-time prostitute, her career fell apart just as it was getting interesting, and she disappeared so completely that for years after her death nobody could even figure out exactly when she died. Youd never know she was such a wild one from the music or the album cover photos, but close listens show this to be something much more intense and deep than your average singer-songwriter album. Jesus Was A Crossmaker is as good as any 70s song in the genre, and should have been a huge hit. Nothing else on the album reaches those same heights, but its very good stuff. Sill has gotten a lot of publicity lately, as the 90s and 00s really were a renaissance for troubled and dead 70s singers. Too bad nobody noticed her when she needed the attention. [AM] "Heart Food" 1973 (Asylum sd-5063) [booklet] "Heart Food" 2004 (Four MWB 121) [booklet] "Heart Food" 2005 (CD Water 159) Sills second album is more ambitious than the first, with complex string arrangements and a major gospel influence. The struggle between her strong religious beliefs and her pagan lifestyle are apparent here

and its pretty fascinating. Musically this isnt as consistent as the debut and it occasionally feels like the ambitious ideas took precedence over the songwriting, but this is still a really interesting record. Both Sill albums were also released in England. [AM] SILMARIL (Milwaukee, WI)

"Given Time... Or The Several Roads" 1973 (Ettinmoore) This is an American band, but they sure sound British, from the melodies to the lonesome feel of the songs to the male and female vocal styles to the upbeat song about pub life. Its a pretty impressive recreation of across-the-pond folk. Its a long album, and at times I wish it had some rock elements to it, but there are pleasures to be found throughout, and a few songs are downright creepy. [AM] SILOAM (St Louis, MO) "Siloam" 197 (Timbrel 47-248) Siloam is to American folkrock what groups like Presence, Aslan and Sanctus are to the British scene. Melodic textures of 12-string guitar, piano, percussion and male/female harmonies combine with compassionate songwriting and skilled musicianship to create a wonderful work of fragile beauty and homegrown charm. Gently strummed mid-tempo numbers like "Mystery", the minor-key "We Beseech You" and the breezy "For This Reason" all are sheer perfection for the genre. Tracks like "The Shepherd" and "Day Of The Lord" even have a dreamy psych edge to them. Others reveal a delicate VU "Femme Fatale" kind of quality. Very nice acoustic lead guitar work throughout. A seven person outfit from Dayspring Community in St. Louis. Not an expensive LP. [KS] SILVER(Milwaukee, WI) "Children Of The Lord" 1975 (Grammi Fonics) [plain stamped cover] This is one of the albums released in the "advance reviewer copy - confidential" album covers. It's the one in the series most likely to appeal to collectors, and it has a somewhat hard rocking organ and guitar sound, some Christian lyrics and a spacy, sparse feel to it. The production sound is pretty cheap, with seemingly no attention paid to which

instruments or vocals should be louder than the others. It sounds suspiciously like demos. Still, pretty cool. [AM]

SILVER APPLES (New York City, NY) "Silver Apples" 1968 (Kapp KL-1562) [mono wlp exists] "Silver Apples" 1968 (Kapp KS-3562) [poster] Silver Apples will always hold a special place in the world of electronica, because there never was anything else remotely like them (except maybe Suicide.) The electronics werent from synths, but from the Simeon, their self-made instrument that made all sorts of wild noises. It was very limited in tonal scope, which means the songwriting is as sparse as the arrangements, and most of the variety here comes from the drumming and vocal rhythms, not from chord progressions. Its the kind of thing that really isnt likely to hold up for 40 minutes, so its quite impressive that this album is so enjoyable. Its still fresher and more powerful than the years of synth music that followed. Some promos came with additional promo material; there are no mono sleeves. Numerous reissues exist and will be omitted here. [AM] "Contact" 1969 (Kapp KS-3584) "Silver Apples / Contact" 199 (CD TRC) [2-on-1] "Silver Apples / Contact" 199 (CD MCA 11680) [2-on-1] The second Silver Apples album sports longer songs and darker themes. It tends to be liked better by critics and fans, though I would suggest that if you like one you should like the other equally as much. "You And I" is probably their best song, the kind of thing that shows electronics to be every bit as sinister as the most distorted guitar. Along with United States of America and Fifty Foot Hose, this is essential listening for anyone who wishes to know how creative electronic music could be before a "traditional" use of synthesizers was established in the 70s. "The Garden" is a release of late 1960s outtakes (CD Whirlybird). [AM] SILVER LAUGHTER (IA) "Handle With Care" 1976 (Fanfare Records) This Iowa band put out two very obscure albums on their own label in the mid 70s. The first of the two is a mixture of Beatles-inspired 70s pop and backwoods rural rock. The power pop stuff here is very good, bringing to mind bands like the Hudson Brothers and Hollins Ferry. Their songcraft is strong, the singing excellent, and unlike most bands in the genre, theres a reasonable amount of variety in their songwriting. Unfortunately, the more countrified and boogie rock songs are pretty bad, hitting a nadir with the album closer Whiskey Heaven. The result is that about two-thirds of this is very good. They should have stuck with their best

instincts. Look at the album cover photos - these guys are geeky wanna-be pop stars with 70s hair, not redneck drunks. [AM] "Sailing On Fantasties" 1978 (Fanfare) Silver Laughters second album drops all of the backwoods aspirations of the first. As a whole it doesnt rock as hard, but the harder rocking songs were the duds on the first album anyway. Here theyre simply a confident, inspired pop band and the album is solid straight through. The harmonies and hooks may be a little derivative for some, but these songs are really catchy and have a nice breezy summer feel to them. While the songs are very carefully constructed, the private press production keeps it from sounding too slick, something that really marred a lot of the better 70s power pop. The post-punk 70s freshness also makes this obscurity better than just about any of the 90s power pop revival albums Ive heard. My only complaint is that as with most bands in this genre, the lyrics are inconsequential. [AM] JEFF SIMMONS (CA) "Lucille Messed My Mind Up" 1969 (Straight sts-1057) [wlp exists] This is one mess of a record, and it's hard to recommend it, but I think it's got a lot of fun moments on it. There's wacked-out guitar throughout, the great Zappa-penned doo-wop-ballad title track, and a couple of weird ambitious classical-influenced songs. Fans of the down and dirty will probably prefer something like 'Wonderful Wino" to "Aqueous Humore" or "Tigres." My favorite, though, is "I'm In The Music Business," the ultimate tale of the struggling rock wannabe. In the song Jeff refuses to get a haircut and lose his chance at rock stardom, and ends up so hungry and poor that he takes a part in a skin flick. Grungy and hairy. Simmons also contributed to the biker movie "Naked Angels", and was formerly with Easy Chair. [AM] ~~~ see -> Easy Chair DAVID SINCLAIR(Vancouver, Canada)

"Take My Hand" 1973 (SGM Records no#) Typical '73 fence-straddler between westcoast and singer/songwriter, with convincing moves in both directions and added credibility via strong vocals

and a quite professional sound. Sinclair sings and plays guitar but has a full rock band plus piano, which is skillfully employed for both introspective s/s-w and upbeat New Riders/Cambridge honkytonk digressions. Has been compared to Jackson Browne but to me it's really more of a Nor-Cal/Pacific NW trip with a fresh outdoors feel. The highpoint is an atypical but terrific Nick Drake-like folk brooder, "A tale of raven" which opens side 2. Not outstanding but enjoyable and recommended to genre fans. This LP would have deserved to come out on a real record label, such as Tumbleweed. [PL] ~~~ Sinclair is Canadian, but he sounds like an early 70s California singer songwriter. The album has crisp production and pleasant vocals and some pretty strong songwriting. The dreamy A Tale Of Raven is the definite standout, but this is pretty consistent. Its a pretty mainstream record, though, so beware of psych dealer hype. [AM] TONY TAM SING (HI) "Tony" 1975 (Shampton) Littleknown Hawaiian LP in a folk/folkrock style, with violin. Sing is a Christian minister. LES SINNERS(Montreal, Canada) "Sinerisme" 1967 (Rusticana 1243) "Sinerisme" 1989 (Hablabel, Italy) Wellknown French-Canadian band with several LPs, this one has half French and half English vocals in a garage beat style and is rated highly by many. "Sinnerismes" 1967 (Jupiter 7009) Different LP from above, despite the title "Vox Populi" 1968 (Jupiter 7015) [French vocals] "Les Sinners, vol 1" 1991 (CD Disques Merit 22908) [French vocals; +bonus tracks] "25 Succs En Anglais" 1991 (CD Disques Mrite 22922) [English vocals; +bonus tracks] "Vox Populi" is an ambitious but un-pretentious "concept" LP in the wake of Sgt Pepper, built around a theme of the "voices of the people", and a recurring musical signature that introduces different snapshots of everyday life and attitudes, such as a taxi driver's story. These snapshots are conventional 3-minute pop songs, most of which are pretty terrific 1967 UK-style beat-psych, well-written with hooks and vocal harmonies a la the Beatles/Bee Gees/Hollies. There's also some strong fuzz leads and interesting studio effects that give the trip a clear identity, and a stoned sense of humor which works well. Consistent and skillfully balanced between songwriting and concept, not unlike the Forever Amber album, and a lot better than Rockadrome, as an

example. The LP is strong enough to be enjoyable even with the French language barrier, but obviously those who don't speak French need the English vocal version, which wasn't released until the 1990s. One of the best psych LPs from Quebec, with a strong "1967" feel. The band later cut two unexceptional hardrock LPs in the 1970s, with a new line-up. [PL] SINNERS (Canada) "Sinners" 1970 (Transworld 6801) Artrock and prog with fuzz leads and flute. This is a different band from above, although they're often confused. SIVEL SOUND EXPERIENCE(NE) "Sivelization 1" 1968 (Rene 1107) Oddball local LP of teenbeat/blue eyed soul with horns. SIXTH STATION( ) "Deep Night" 1982 (LPS 1588) Stunning soft rock set of dreamy celestial moods carried by a steady beat and rife with phased electric rhythm guitar for a wonderful unfiltered slightly out-of-tune quality. Lead vocalist sounds a lot like Neil Young with his fragile shaky delivery. Deep creative lyrics to match, with all original songwriting and plenty of solo leads on top of the rhythm guitar, sometimes two in tandem, sometimes with light fuzz or other effects, reaching some hardhitting moments on tracks like "Scar Of Love" or the powerful "Before The Snowfall". The only other instruments are bass and drums (no keyboards or even acoustic guitars from what I can tell). Some of the most beautiful selections are the ballads, like "Make A Way For Me" or the delicate title track. Catholic Im guessing the back cover has references to nihil obstat and imprimatur, plus a thanks to the Bishop of Peoria. Simple sunset cover photo. One of the most impressive post-1980 custom recordings Ive heard. [KS] SKIP & THE CREATION (VA)

"Mobam" 1967 (Justice 152) "Mobam" 1995 (CD Collectables 0602)

Organ-led combo with hip (relatively speaking) Myrtle Beach teen club vibe, band does unusual covers of Hank Williams and "Harlem Shuffle" plus one cool original. Bonus points for excellent organ sound but the muddy recording, weak vocals and abundance of soul covers places this among the less interesting on the label. The selfwritten tune, a semi-ripoff of "Time won't let me" (comp'd on "Good Roots") is worth hearing. "Mobam" supposedly means Makers Of Bad Ass Music, but the sounds on the record belie such an interpretation. [PL] SKOGIE (MN) "There's A String Attached" 1974 (General) This weird mix of funk, glam and straightforward rock is completely unique. They take Parliament's experimentation with synthesizers a step further (or, they may actually have used them first), with bubbly bass snyths galore. The album begins with its funkiest and most synth-heavy tune, giving a strong but not 100% accurate first impression. Apparently they were a rather comical live band, but other than a disgusting sound effect that accompanies a lyric about masturbation there's no blatant humor here. The songs flow together with no space between, creating the illusion of a concept, though there's no lyrical unity. Overall, this record is pretty neat. It's creative and energetic and there are a bunch of good songs. It probably won't appeal to psych fans, but if you're looking for an unusual 70s rock album, I recommend it. [AM] SKUNKS (WI) "Gettin' Started" 1967 (Teentown 101) Here's one of the few local garage era LP that's never been expensive, partly due to copies being available, partly because it's lukewarm and difficult to hype. The band has an amateur folkrock sound with nothing that grabs your attention. Mostly originals, a couple of Beatles covers. The band had several 45s which again have failed to raise much excitement. SKY DANCER ( ) "Alive" 1977 (All In One) Live hardrock with hard guitar and churning organ. SKY DOG ( ) "Just Want To Make You Happy" 1974 (Paw Records 5336) [1000p] Local Allman Bros-type combo with a pleasant rural

vibe, ranging from rootsy mellow rock to spacier jamming, just like their mentors. Sometimes too easygoing for its own good, though it's difficult to knock as background music for summer day cruising. Strongest appeal may be the Hammond organ which has one of the best sounds ever and is put to good use, while a couple of tracks (such as the title number) are too poppy for my tastes. An odd Middle-Eastern theme recurs through the LP for reasons unknown to me. Recorded in Sandy Springs, Georgia. Has the same generic rainbow cover as Euphoria-Lost in trance. [PL] SKYEROS(MO) "Skyeros" 1975 (no label 8637) Dual lead guitar, melodic psychy progressive. A bit spacy and comparable to Brimstone. SKY FARMER (Chicago, IL) Amazing Grace 2004 (Gear Fab 191) 1970s recordings of commune-vibration organic, borderline psychedelic, jazz-rock that hits some good spots. Very distinctive and beautiful vocals from Annie Hat. The strong prevalence of piano and saxophone could put rock heads (like me) off, but it has a happy-go-luck feel that makes it worth listening to. A pioneering, rocknroll, camp fire feel prevails on the better tracks. Overall, it may appeal more to those with a taste for jazz. They came out of the ashes of Mountain Bus and retained their capacity for free-form live jamming. Nothing here equals the heights attained by the Mountain Bus version of "I know you rider", but the first track "Okooch Farewell" is a joy to hear. [RI]

SKY-SAILS (Canada) "Sky-Sails" 1973 (no label MH-93) [insert] Obscure Canadian electronics, effects & poetry freak LP in the Bill Bissett/Intersystems tradition. SKYWALKER(Long Beach, CA) "Made In Flight" 1982 (Phax pr-2001) Hardrock trio with spacy Floydian moves. SLEEPY HOLLOW ( ) "Sleepy Hollow" 1972 (Family FPS 2708)

The first two songs here are the most uncanny Beatles soundalikes you'll ever hear. The first is the perfect blend of "Abbey Road" and "Plastic Ono Band" and the second mixes pure 1965-style harmonies with 1969-style production. So this album gets big points for nostalgia value; like Blue Ash, Badfinger, Zerfas, Anonymous, We All Together, Jade and so on, it gives comfort to people who wish the Beatles never broke up. The vocals throughout are pure Lennon, very similar to Lazy Smoke but a bit more studied. The rest of the album is hit and miss, with the upbeat songs better than the ballads. Even the weak songs have that magical feel to them, though in some ways this feels like a McCartney solo album: everything sounds great, but there's something a bit (sorry about the pun) hollow to it. The long song that closes the album, unfortunately, is not especially compelling. If it had been up to the level of the best songs here, this would have been something truly special. As it is, "Sleepy Hollow" is definitely recommended for the three or four winners and, of course, the dj vu factor. [AM]

SLEEPY JOHN (ID) "Sleepy John" 1999 (Rockadelic 38) [600p] Haven't heard much buzz on this but clearly a worthwhile addition to the Rockadelic roster; crude early 1970s local NW basement hardrock with intense Hammond and fuzz excursions and a truly frantic drummer. Somewhat similar (though inferior) to neighbors Stone Garden but less Bay Area-influenced, delivering a dense wall of lo-fi blowouts plus some melodic/proggy ambitions on a track like "Seasons". Consistent, with agreeable songwriting, lots of riff hooks and clever breaks and an idiosynchratic vocalist a bonus. Should appeal to fans of Brigade. Gatefold cover with band story and pics.[PL] SLIGHTEST IDEA (IA) "Bring Your Own" 1973 (Pit 1019) Raw bar-rock with unusual basement vibe, covers of things like "Smoke on the water", plus one band original. SLOOPY & THE GUYS(Detroit, MI) "Somethin' Wild" 1966 (Mark 107449/50) Local teen-beat band with loads of reverb and cool amateur mid-tempo moves. SLY BOOTS ( ) "Notes On A Journey" 196 (Faithful Virtue fvs-2002)

[gatefold] Late 60s hippie folky rock group led by Michael Wendroff and David Greenberg. Deep thought lyrics and wistful acoustic jammy playing. Solid latenite charmer. Not an expensive LP. SMACK (KS) "Smack" 1968 (Audio House 14468) [blank back] "Smack" 1991 (Smack TS 9104) [altered cover; insert; 300p] Surprisingly enjoyable guitar-psych top 40 cover LP with tunnelvision galore as these highschool kids blow through 4 Hendrix and 3 Cream numbers, making the additional Kinks and Buffalo Springfield tunes seem downright exotic. Somewhat mysteriously the guitarplayer achieves some of the best fuzz-tone I have ever heard, and isn't afraid to use it. The full band has the right power-trio directness, and are given an additional hand by an excellent in-yer-face recording. Vocalists do credible Jimi & Jack Bruce imitations and as a whole any sarcastic jokes aimed at this LP come flying back like a cream pie in the face of the listener. Only moment of stupidity is some funny incorrect lyrics in "For What It's Worth"; other than that this is the Rolls Royce of "Purple Haze" copy band LPs. The band met at a summer camp in Kansas but the four members came from all over the US and only rehearsed for a few weeks before releasing this LP on request of the other camp kids, even though their "acid rock" performance had been aborted by camp management! [PL] ~~~ see -> Young Prophecies '68 BOB SMITH (CA) "The Visit" 1970 (Kent 551) [2LPs; poster] "The Visit" 1996 (CD Virgo 1518) "Stop For A Visit Down Electric Avenue" 2000 (RD 6, Switzerland) [3 LP box set; poster; +1 bonus disc] Very good Bay Area forerunner of the epic 70s psych sound of Zerfas, Garret Lund, DR Hooker etc. A 2 LP set and except for one or two unnecessary "experiments" solid all through. Wellcrafted psychrock with strong, heartfelt vocals and marvy sound tapestries of fuzz, flute, mellotron and more. All psych collectors need this. The original came with a great poster that's often missing. The retited Swiss 3LP box-set features an LP of unreleased material featuring Bob's post-"Visit" band Stop, 1971-72. This bonus material is remarkably good in a style close to the double LP, and should be checked out. [PL] ~~~ Its pretty ambitious to debut with a double album, but Ill give Smith credit as he had enough ideas to fill four sides. His voice is a little serious/loungy but he does at least try to sing like a rock guy when hes not trying to sound like a prophet. If you like D.R. Hookers singing, youll like Smiths. The music

is in a wide range of late 60s/70s psych genres, from hard rock to upbeat folk-rock to jazzy experimentation. The arrangements are always interesting. Backing vocals, a range of keyboards and clever sound effects are used well. Smiths band is excellent, and theres plenty of hot guitar/keyboard interplay. A few songs have some pretty heavy mellotron. The 8-minute India Slumber might be a bit much for some listeners, but otherwise this album is surprisingly accessible. By the end of four sides, I wish Smith would have lightened up a bit, but this album is chock full of great songs and great moments. Even the requisite blues song is pretty good. As is the case with 99% of double LPs, side three is the weird one. Darryl Dragon began his Captain persona here; hes listed as Captain Keyboard. It would have been cool to have heard Toni Tennille singing something like Mobeda Dadelions. [AM] GRANT SMITH & THE POWER (Toronto, Canada) "Grant Smith & the Power" 1968 (Boo 6802) Blue-eyed soul and r'n'b club sound with Hammond and sax, on the same label as A Passing Fancy. Includes a long instro version of "Ode to Billie Joe", lots of soul numbers, and a Beatles cover. KATHY SMITH (CA) "Some Songs Ive Saved" 1970 (Stormy Forest 6003) Stormy Forest is Richie Havens label, and he presented the world a number of very interesting folk and folk-rock artists, of which Smith is probably the best and most evocative. Her debut album has some unusual orchestration, some of the most effective Ive ever heard in the genre, and powerful singing in the Judy Collins style (I suspect Kathy listened to Who Knows Where The Time Goes a hundred times before recording this.) It also benefits from terrific acoustic guitar playing and subtly powerful drumming on a number of songs. A few other songs are just guitar and voice, and theyre pretty deep. The intelligent and moody lyrics about the not-so-sunny California of the time foreshadow Jackson Browne's career, which is apt because Browne was friend of Smith's. The album includes, along with Smiths own songs, excellent compositions by her friends Pamela Polland and Jimmy Spheeris. The album improves with multiple listens, and has a number of chilling moments (the loud strings at the end of Same Old Lady, the circular vocal bit at the end of If I Could Touch You.) Both of Smith's albums are among the very best female singer songwriter albums of the 70s, and should appeal to loner folk fans as well. By the way, despite the claims of several record dealers and reference books, she is most certainly not the same person as the Cathy Smith who was with John Belushi on the night of his death. It's appalling that so many people would make such a slanderous claim without first researching the matter. [AM]

"2" 1971 (Stormy Forest 6009) Kathy Smith's second album is in the same style as the first, and is every bit as good, if not better. The singing is equally strong, but here she's developed more personality and is less of a Judy Collins clone. The songs are uniformly strong: by combining her own songs with those of her like-minded friends, Pamela Polland, Jimmy Sphreeris, and Jackson Browne, she maintained a high standard while having the flow and continuity that is missing from albums where performers mix their own material with that of outside songwriters whom they do not personally know. The excellent orchestration from the first album has been replaced by a hot jazzy backing band that rocks out and occasionally jams in a highly appealing and appropriate way. The lyrics are, once again, deep. If Browne, James Taylor, Joni Mitchell, and so on were able to make million-selling albums in the early 70s, it's a mystery why Smith didn't as well. This certainly blows away anything by Janis Ian or Joan Baez. By the way, both of Smith's albums were engineered by Val Valentin of Velvet Underground fame. [AM] SMOKE (Los Angeles, CA) "Smoke" 1968 (Sidewalk t-5912) [mono] "Smoke" 1968 (Sidewalk st- 5912) [stereo] "Smoke" 2004 (CD Acid Ray 5504, South Korea) This is certainly one of the best US popsike albums, straddling the edge of soft-rock popsike like Sagittarius, but rocking quite a bit more convincingly. Theres a definite Beach Boys influence, but the soaring vocal arrangements and guitar-based song structures move in a direction those Boys never dared tread. That said, its nowhere near as weird as the WCPAEB, and could easily have had mainstream success if the cards were right. Great songs like Gold Is The Color of Thought encapsulate the era perfectly. The stereo pressing exists with both Sidewalk and Tower labels. [AM] ~~~

see full-length review

SMOKIN' WILLIE (IL)

"Smokin' Willie" 1972 (Ulrich Studio 3999) [1000p] "Smokin' Willie" 1994 (OR 006) [375#d] "Smokin' Willie" 2004 (CD Radioactive 077, UK) An LP to match St Anthony's Fyre for outlaw booze & pills attitude and an even more echoey gymnasium fidelity. Five out of six tracks are covers but they're so off-the-wall it doesn't matter much. Dig "Whiter shade of pale" with half the notes missing from the familiar organ line. Loud fuzz and Hammond upfront, howling biker vocals and a thundering rhythm section. Not for everyone's tastes for sure, but entertaining to these ears. [PL] ~~~ Heavy distorto fuzz biker cover band. Savage power

chord no-fi onslaughts that just pulverize the material. When they ease up on "Whiter Shade Of Pale" with the shimmering church organ and strained vocals you can see why their motto was Louder, Harder, Fuzzier. Most copies were destroyed at the local dump in 1988. Promo copies were made on 8-track tape. [RM] SNAKE (Pittsburgh, PA) "Mysterious Ladies And Midnight Queens" 1977 (Nite Owl) Chuck Owston has a long career in a variety of musical genres, though he rarely recorded. This selfreleased album contains country-rock, energetic roots-rock, folk, ballads, and an absolute spot-on Tom Waits impersonation/tribute. All of it is pretty good, but none of it is transcendent. If you like this style of music, its recommended. He has an appealing road-weary personality, kind of like someone whose whole life is music but doesnt care if he ever hits the big time or not. Most songs are sparsely arranged, but the production is very crisp and his band is quite good. Nice mix of instruments including dobro and slide guitar. [AM] SNAKEGRINDER (DE) "And The Shredded Fieldmice" 1977 (Alligator Shoes 40-004) "And The Shredded Fieldmice" 2005 (CD Radioactive 102, UK) "And The Shredded Fieldmice" 2005 (CD) One of the more pleasant reissue surprises of 2005, this obscure Delaware (not many known LPs from there) private goes into a lot of unusual places and retains a friendly, upbeat vibe while doing so. I hear traces of mid-70s Dead, Santana, The Band and Zappa, but the end result is all Snakegrinder. The vibe I pick up is a bunch of local stoners who have been jamming for years, written some tunes, and finally gotten together for an album to delight their buddies. The sound is rich and n-dimensional with an impressive group-mind synchronization going, creating a vintage Bay Area vibe pretty much any time they zoom off into jams. At times it sounds a lot like Ray Harlowe & Gyp Fox, and anyone who likes the best tracks on that LP is going to flip out over this one. This is not a 70s hard guitar jammer, but real deal acidrock with a multichannel flow to rank among the best of them. Terrific musicians, floating THC vibe, and long snakey tracks -- what more could one ask for? The second CD is a master tape reissue from the band. [PL] ~~~ This is a completely distinctive album that seems to wow everyone who hears it. Its compared by most to the Grateful Dead, but some songs actually have a very professional jazzy 70s sheen and funky rhythmic sense that reminds me of Steely Dan. Unlike that band, though, the careful songwriting soon gives way to long jams, which veer from acid rock to jazz and back seamlessly. These sound like they have developed carefully over many live performances and rehearsals, and not like random improv. The playing is top-notch,

and the songs are full of surprising twists and turns. The vocals arent up to the level of the guitars, but theyre serviceable (and there arent very many of them.) Not at all what youd expect from hippie jammers; this is the kind of unique mix of styles that takes a while to get used to but is ultimately more rewarding than the cruder and less complex laid-back jammy music more frequently found on private press albums. [AM] SNICKELFRITZ (Provo, UT) "Snickelfritz Wants You!" 1969 (Mormoney mm-666) [insert; 50p] Amazing dark folk rock excursion with creepy pipe organ interludes that would have been right at home in the film, "Carnival of Souls". The songs cover the downer bases of unrequited love and societal rejection with aching sincerity teen vocals. Meandering minor chord 12-string solos give the record a real lost-in-time feel like a moody New England prep rocker without the backbeat. Thick gatefold with demonic trivia insert. [RM] SIGMUND SNOPEK III (Milwaukee, WI) "Who's Afraid Of Virginia Woolf" 1973 (Waterstreet) [insert] "Trinity Seas" 1974 (Akashic) [insert] "Nobody To Dream" 1975 (Couth Youth 1001) [insert] Doorsy vocals prog psych with mellotron, synth, and whatever else was handy. There was also an instro artrock LP from 1982, "Roy Rogers Meets Albert Einstein". [RM] ~~~ see -> Bloomsbury People; Jim Spencer; Major Arcana SNOW(Cleveland, OH) "Snow" 1968 (Epic BN 26435) "Snow" 2003 (CD Radioactive 056, UK) "Snow" 2003 (Radioactive 056, UK) Little-known item on the label with a sound placed right smack in the 1968 moustache sunshine Los Angeles & London pop-psych intersection of Mamas & Papas, Bee Gees, Hollies, etc. Not bad for the style, with nothing particularly objectionable and vintage zeitgeist charm. Male/female munchkin vocals, fuzz and harpischord flourishes, and an upbeat mood throughout. The production and vocals are LA while the songwriting style and whimsical fairytale lyrics are typical British. "Old Uncle Timothy's Flying Balloon" is the perfect lost track for the Rubble series. The closing psych-phased "Caterpillar" track has been hyped and is probably the best track here, but for fans of things such as the Smoke on Sidewalk or the Move/Idle Race the whole album could be worth

searching out. Not heavy or deep in any way, in case the description hasn't made that clear, although they do try and pull an Iron Butterfly on "Song of the Sirens". [PL] SNOW GEESE (Manfield, TX) "Feathers In The Wind" 1977 (Old Hat) [inner; insert] Rural hippie folk and country-rock with some Christian moves. SODBUSTERS (Vancouver, Canada) "Sodbusters" 1974 (Georgia Stock 71-01) Rural hippie folk LP with Huckle helping out. "SO IT GOES"(Atlanta, GA) "So It Goes" 1973 (no label 1701) [insert] Also known as "Emory Almanac", this various artists project from Emory College is an above average mix of folk and psychy rock. SOJOURNER (LA) "Wings Like An Eagle" 1979 (no label 017901) Christian proggy folk and rock mix, recorded at Magic City Studios in Bogalusa. Keyboard-heavy sound including synth, organ, clavinet, electric guitars and various percussion instruments. V.A "SOMETHIN' ELSE" (Canada) "Somethin' Else" 1966 (Roman drl-103) Canadian teen-beat sampler including the Paupers, David Clayton-Thomas, the Shays.The latter's track ("This hour has seven days") is good moody beat and has been comp'd. SOMETHING NEW ( ) "Are You Looking" 1970 (Century 40499) Electric folkrock with female vocals on well-known custom label. ALAN SONDHEIM (Providence, RI)

"The Songs" 1967 (Riverboat rb-3) "Ritual All 7-70" 1968 (ESP 1048) [2nd press; altered cover] "Ritual All 7-70" 199 (CD ESP 1048, Germany) Pre-psych beatnik style freakout with exotic string and woodwind instruments and voice fragments. A classic of the early avant underground. The Riverboat version was credited to Ritual All 7-70, which became the LP title for the ESP pressing. Sondheim made a second LP for ESP with synth added, "Th 'Other Little Tune" (ESP 1082, 1969) which also is of some interest. SONICS (Tacoma, WA) "Here Are" 1965 (Etiquette etalb-024) [mono; red label] "Here Are" 1965 (Etiquette etalb-024) [stereo; red label] "Here Are" 1965 (Etiquette etalb-024) [stereo; purple label; 2nd press] "Boom" 1966 (Etiquette etalb-027) [mono; purple label] "Boom" 1966 (Etiquette etalb-027) [stereo; purple label] Often inaccurately described as a "garage" era band, the Sonics emerged from the pre-Beatle Pacific Northwest scene as the final and perfected incarnation of the first 10 years of rock'n'roll. The debut LP is one of the best regional albums of the 1960s, and while "Boom" has a few unexceptional cover versions, the originals are again utterly stunning. No need for lengthy discursions on these guys, you either own this or you're clueless. Cover variations of first LP originals exist as follows: 1) cat# top right; 2) cat# lower right; 3) 1/4" white border round the cover. Reissues of both albums are too numerous to list, but there were official, exact runs from Etiquette in the 1980s sporting a purple label. Poorly done bootlegs exist without spine printing and a botched b & w sleeve job on "Here Are". The reissues on New Rose are reported as having poor sound. The 1970s six-LP "Northwest Box" on Etiquette include both (stereo mix) albums in thin, flimsy b & w sleeves. There is also an original 1960s Canadian pressing of "Boom", distributed by London. [PL] "Introducing" 1967 (Jerden jrl-7007) [mono; wlp exists] "Introducing" 1967 (Jerden jrls-7007) [stereo] Repackaged early "hits" plus some later-day numbers, missing the nitroglycerin charge of the Etiquettes but still way above average. The original band was falling apart at this time. "Explosives" 1973 (Buckshot 001) Legit sampler of Etiquette material put together in the dark ages, available via mail-order ads in Bomp Magazine. Compiled by Mark Shipper, this features 12 classic rippers in mono mixes. "Original Northwest Punk" 1977 (First American fa-7715) A couple early hits plus the later 1966-67 material,

in fact an exact retread of the 1967 "Introducing" LP repackaged in a new cover. First American was run by NW scenemaker Jerry Dennon, also behind the Piccadilly label from the same timeframe. "Unreleased" 1980 (First American fa- 7719) Jerry Dennon's second raid on the Sonics vault yielded a selection of later 45s and unreleased tracks, some from the post-Gerry Roslie era. The material pops up on recent CDs as well. For diehard fans only. "Fire And Ice" 1981 (First American fa-7779) Scraping the bottom of the barrel on "Fire & Ice" with really lame vault material. A later CD version also exists. There is also a reunion LP of sorts from 1980, "Sinderella" (Bomp), which has a hideous cover and reportedly not very appealing contents. "Live Fanz Only" is a 1986 Etiquette release with a 1966 Oregon show on one side and a 1972 show on the other. From the mid-1980s and onwards the Sonics became a matter of international concern, with a number of reissues and retrospective releases. Best of CD samplers from Etiquette and Big Beat are good, just make sure you get the early non-LP 45 tracks ("The Hustler"; "Keep-A Knocking") and the X-mas sampler tracks. Mono mixes are always preferrable. In the 2000s there has again been a slew of releases, including early, pre-Etiquette recordings from Norton ("The Savage Young Sonics"), and more. -see -> "Merry X-Mas" SONS(San Francisco, CA) "Minus Seeds and Stems" 1971 (private 2126) [100p] "Minus Seeds and Stems" 1993 (CFS 2126) [2 inserts] Westcoast rarity featuring privately released live recordings by the Sons Of Champlin. This was made as the band had been dropped by Capitol, although they would reform for a couple more major label LPs later on. The sleeve has no song titles or credits, which were added via the 1990s reissue. SONS OF THUNDER (MD)

"Till The Whole World Knows" 196 (Zondervan 754) Obscure late 1960s Christian album with surprisingly

hip sounds of mostly light femme-vocal folkrock like an upbeat Guitar Ensemble or John Ylvisaker's younger cousins; a couple of tracks with male vocals are less exciting but it still plays solidly through with folkboom leftover charm and marginal school-play moves. Side 2 is strong with 3 excellent tracks, one of which even features raga guitar and psych effects. A few covers, but mostly origs I think. A marginal item really, but worth checking out for fans of Holy Ghost RC#9. Band looks really eerie on the cover... straight out of "Stepford Wives". The album is not expensive. Later Sons albums include "Days Follows Night" (Bronte 1001, 1972) and the heavier "Live At Virginia Beach" (Bronte 1002, 1973). [PL] SORCERY (Chicago, IL) "Sinister Soldiers" 1978 (Century 45484) [2LPs; gatefold] "Sinister Soldiers - First Chapter" 199 (no label, Europe) [bootleg] "Sinister Soldiers - Second Chapter" 199 (no label, Europe) [bootleg] "Sinister Soliders" 199 (CD Monster) "Sinister Soldiers" 200 (Century) [2LPs; gatefold; counterfeit] Often described as an early metal/NWOBHM album, but in my ears closer in sound and mood to local early 1970s hardrock bands like Top Drawer. Inane teen lyrics and thankfully non-screaming vocals, with plenty of guitarwork that occasionally goes into Terry Brooks territory, plus some mellotron and a proto-1980s drummer. Despite some negative feedback I think it's listenable all through, with a highpoint in moody long "Last goodbye" track. 2LP set in gatefold cover, although the total playtime barely exceeds 50 minutes. Apart from the reissues, there's a counterfeit in circulation which can be recognized by a white rectangle obviously inserted into the original cover artwork. [PL] "Til Death Do We Part" 1980 (Sentry) The second LP is not so good. Is this the same group who did "Stunt Rock", the soundtrack to the film "Stunt" (Groovy, 1978, Holland)? [RM] S O S FEVER( ) "Live At The Outrigger Hotel" 1969 (Makaha 5001) Obscure beat LP in nice color cover, supposedly recorded live. SOUL INC(NC) "At The Cellar" 1967 (Emblem) A common band name, this particular branch cut a live

album in Charlotte NC with mainly blue-eyed soul numbers, as indicated by their monicker. Some originals, and covers of "Knock on wood", "You don't know like I know", etc. This is not the same Soul Inc as the prolific 45 outfit from Louisville, KY. SOULS OF INSPYRATION (Quebec, Canada) "The Souls of Inspyration" 1970 (Columbia ES 90061) "The Souls of Inspyration" 199 (Columbia) [bootleg] "The Souls of Inspyration" 2005 (CD Pacemaker 037) Like labelmates Jarvis St Revue and It's All Meat a very rare LP despite being on Columbia. Keyboarddriven artrock with a late 60s feel in the vocals and organ but also baroque and classical influences.Not overwhelmingly interesting to me. SOUND OF THE REIGN ( ) "Reigned Out" 1965 (Wilber) Teenbeat/garage. SOUNDSATIONS(MI)

"Shout" 1966 (Phalanx 001) [1000p] If intended to capture the band's in-concert excitement, then this was totally missed. In spite of some lame audience sound effects, nothing here sounded live, nor particularly exciting. Featuring a mix of then-popular pop and soul hits the album deserved a 'D' for creativity, though the inclusion of one original ("Moody Love") saved it from an 'F'; this bluesy organ-propelled original was also the album's highpoint. Perhaps because they were so bad, the band's haphazard readings of "When a Man Loves a Woman" (I could read Dr. Seuss' "Green Eggs and Ham" with more feeling), an equally inept "Midnight Hour" and a seemingly endless "Shout" (with a particularly disturbing drum solo) were fascinating in the same way a bad traffic accident captures one's attention. By no stretch of the imagination was this great music, but the band's misplaced enthusiasm helped compensate for the absence of originality and the rather flat production. The other saving grace came in the form of guest vocalist Patsy Stevens. While she wasn't even shown on the album cover, Steven's handled lead vocals on several tracks and her performances on "What Now My Love" and "Just You"

provided two of the LP highlights. [SB] V.A "SOUNDS OF CENTRAL HIGH" ( ) "Sounds Of Central High '67" 1967 (no label)

"Sounds Of Central High '68" 1968 (no label) High-school project LPs of which the first is of no particular merit, while the 1968 instalment has some cool tracks and an extraordinary psychedelic cover. V.A "SOUNDTRACKS 1966"(Northfield, IL) "Soundtracks 1966" 1966 (no label 28573) Very obscure school project LP from New Trier High School, features some brief teenbeat from the Maniacs doing "Little Latin Lupe Lu" as the main attraction; also has some students singing a mock "protest" tune to the melody of "Louie Louie". SOUP (Appleton, WI) "Soup" 1970 insert] "Soup" 199 "Soup" 2000 "Soup" 2000 (Arf Arm 1) [plain cover; blank labels; yellow (Arf Arm) [counterfeit; insert] (Gear Fab 144) [+bonus tracks] (CD Gear Fab 144) [+bonus tracks]

Crude local rural rock/hard-rock affair with melodic Marin County eclecticism on side 1 including jazz and country moves; ambitious guitarwork, unpretentious vocals and some nice hooks that may appeal in an Owen B direction. Side 2 is a live-recorded hard-rock blowout called "I'm so sorry" with the desperate teen vocals again an asset, as well as some of the more frantic guitar riffing you're likely to hear. Nice playing all around and a trip worth examining for those into the really local early 70s sounds, while the average psych fan can pass on it. The easiest way

to identify an original is that the vinyl has a flatter, rounded edge while the fakes are sharply beveled. The fake insert was a lime green with thinner paper stock and 'new' looking. The group was previously known as garage-era band Private Property Of Digil, whose 45s are included on the reissue. The band had a second LP on a real record label, "The Album Soup" (Big Tree bts-2007, 1971) which has some excellent guitar and a couple of good songs opening side 1 but is otherwise unexceptional. [PL] RICHARD SOUTAR(CT) "Episodes" 197 (Artsong) Pleasant surprise in store here as Soutar's more obscure debut LP turns out to be clearly better than "Lavender Daydreams", in fact I think it's on a whole other level. Songwriting is similar but superior, with a 1960s folkrock feel and lots of hooks and strong melodies. Recurring use of fuzz leads and enthusiastic live feel reminds me of the Joe Peace album but this is clearly better in my ears. Also has frequent use of flute and female harmonies supporting Soutar's own excellent vocals, wrapped in a full folkrock basement setting a la Gandalf the Grey. A couple of tracks hint at the generic 1970s singer/songwriter blandness that weighed down his later LP, but all over this is a fine trip comparable to a less moody Gary Higgins, or what you hoped the Arthur Lee Harper album would sound like. Too bad this didn't get reissued instead of "Lavender", but hopefully it will come round down the line. [PL] "Lavender Daydreams" 1976 (no label SD-72176) [lyric insert; 200p] "Lavender Daydreams" 199 (Void 9) [insert] Pro-sounding melodic singer/songwriter & hippie folkrock LP in the popular post-CSNY 1970s bag, too lightweight and easygoing to challenge the status quo of anything, including the listener's mood. Songwriting and performances are flawless, but a bit more heart and soul wouldn't hurt next time. The title track is a terrific dreamy folkrockpsycher in the Michael Angelo realm, but to get there you have to sit through 35 minutes of pleasantly forgettable s/sw material. Gary Higgins is a much better and more personal trip for this style. [PL] JOHN SOUTHERN (OK) "Equinox" 1975 (Boyd 0001) [insert] Little-known mid-70s title in great color sleeve showing the man inside a giant sewer pipe. The LP features Southern's homemade string instruments and has one excellent long cut and a couple other decent ones.

SOUTHERN STEEL (Miami, FL) "Get On Through" 1974 (Earth Records 0003/04) Seldom seen Southern rock/hardrock with strong guitarwork and some outstanding tracks such as "Don't deny it". There was also a 45 released. Produced by Craig Leon, who went on to fame as a producer with Ramones, Suicide, and others. SOWER(NM) "Sower" 1977 (Grand Trine) [500p; inner] 1970s style laidback rural folkrock with guitars, drums, flute and violin, reported as "lame" by one renowned critic. STEPHEN SPANO (MD) "Eye To Eye" 1974 (Adelphi ad-4103) [insert] Heres a terrific private press rarity thats completely fallen under the radar. Its way better than multi-hundred-dollar singer-songwriter/folkrock/soft pop rarities like Richard Soutar or Mick Stevens and the entire brigade of albums inaccurately compared to Michael Angelo. Like all of those records, theres scant amount of fuzz guitar or trippiness here. But theres some excellent lead guitar, occasional use of hippie instruments like conga and flute, a bit of moog, unusual chord progressions and thoughtful, intelligent songwriting to go along with the requisite vocal harmonies and acoustic guitars. Its also much less wimpy than your average CSN-influenced private press album. The highlights are ...and dream, which has some great lead guitar, and Eye to eye, which rocks out (and, admittedly, veers a tad toward prog). The rest of the album is quite good too. Neat album cover; youd think that alone would have attracted attention to it. Snap it up quick before it gets discovered and the price balloons. About 1500 copies were pressed. [AM] SPARE CHANGE BAND (MA) "Spare Change Band" 1977 (Tribute) Westcoasty folkrock jams and loungey blues, post-Tea Company. To my ears a dull, overrated LP with one good track in "Take me to your garden". ~~~ see -> Frankie Carr

SPARKS (Canada)

"Travelling With" 1965 (Fontaine) Obscure teenbeat. SPARROWS (Los Angeles, CA) "That Mersey Sound" 1964 (Elkay 3009) Exploito Beatles covers with monster garage guitar sound and hick vocals (like From Britain With Beat)! One of the best in the style. Rick Griffin did the cover art. [RM] SPEAK EASY (Kansas City, MO) "Speak Easy" 197 (no label) Late 1970s hardrockers. SPECKULATIONS ( ) "Walking The Dog In The Midnight Hour" 1966 (Justice 132) "Walking The Dog In The Midnight Hour" 1996 (CD Collectables) Crude frat/garage that differs from most Justice albums in being sloppily played, the rhythm section in particular. In fact, they're all over the place. Further garage ambience is provided by Index-like teen vocals and a selection of covers that are somewhat less soul/lounge and more standard '65-66 fare than many of their local competitors. There may also be an original or two. A solid dose of vintage teen incompetence that makes for passable entertainment and is about the closest any Justice band came to the equally maligned North-East preprock sound. One of the rarer Justices. [PL] SPECTRE (WY) "Spectre" 1982 (Vedauwoo) Hardrock/AOR with lots of guitar, housed in an odd b & w cover. One of the few ones from Wyoming, this has been compared to Unison. SPEED LIMIT 35 (NC) "Speed Limit 35" 2004 (RD Records 14, Switzerland) [insert] Post-Ladies WC band with unreleased studio and live recordings from circa 1970 in a rural guitar-jam style.

ALEXANDER 'SKIP' SPENCE (San Francisco, CA) "Oar" "Oar" "Oar" "Oar" 1969 199 199 199 (Columbia cs-9831) [360 label] (CD Sundazed 11075) [+10 tracks] (Sundazed 11075) (CD Sony Legacy 75031) [+5 tracks]

As most probably know already this is the solo album Alexander 'Skip' Spence recorded after getting sacked from Moby Grape and spending six months in the Bellevue hospital. The songs were written while he was committed there and it kinda shows - it's fragmented and demo-like but at the same time filled with emotion and raw beauty. The album is often described as being very downer and depressive, which I think is extremely unjust. It's full of beautiful songs like "Little Hands", "Diana" and others, that easily would've fitted with the Grape. But the spectrum is much wider. There's the countryish "Broken Down", a tale of revenge, cheating and death which predates Johnny Cash's raw acoustic recordings by three decades. The influence of American folk music, or cosmic Americana maybe, runs through the whole album and keeps it together. There's off-beat humor in tracks like "Dixie Peach Promenade" and "Lawrence Of Euphoria". Great lyrics over all and possibly one of the best real psychedelic acid compositions/performances ever pressed into vinyl: "War In Peace" which is worth the price of admission alone. Alexander plays all of the instruments himself and the result is fantastic, if you like some offbeat playing and misses in synching, but also a total presence of this person who turns himself inside out to express his inner feelings. It's quite simply an awesome album, for me it has desert island status. He's been compared to Syd Barrett a lot, but I don't think that gives away what this LP sounds like. This is, first of all, more American. It's also less whimsy and to my ears more "real". There's nothing quite like it. "Oar" is one of the worst selling albums in Columbia's history; around 600 copies total of the 2000 pressed. The old Sony CD has lots of extra material, but I must warn about the sound on that issue. It's way too "cleaned up" and sounds dead compared to an original or a better reissue. [MM] JIM SPENCER (Milwaukee, WI) "Landscapes" 1973 (Thoth) Singer/songwriter and folkrock with an ambitious mainstream feel and Susan & Richard Thomas helping out. "2nd Look" 1974 (Akashic Records ast-1001) [poster] Before the Major Arcana album, Jim Spencer released two equally rare solo albums. The second has contributions from Susan and Richard Thomas, Sigmund Snopek III and Anonymous Ron Matelic (who wrote one song and co-wrote another.) The music is a more singer/songwriter variation on the Major Arcana album. Some songs are dead ringers for the Major Arcana sound. Others are in a more straight folk

and/or country direction. The more elaborate songs feature mildly jazzy arrangements including sax, flute, mellotron and synthesizers. The songwriting is reasonably strong, peaking on the somewhat sinister The Devil Is A Fat Man. Matelics contributions are almost baroque, sounding nothing like Anonymous (and nowhere near as good). This album isnt quite up to the level of Major Arcana, but will certainly appeal to fans of that album and folk/psych fans in general. [AM] SPIDER & THE CRABS (KS) "Spider & the Crabs" 1967 (Audio House AH12267) Previously unknown to exist custom press on renowned Lawrence, KS label. Eight tracks, six of which are horn-laden crooneresque soul ballads of no identifiable merit. However, "Think" is a fuzzed out 100 mph band original well worth investigating, and the LP closes with an agreeable "Stepping Stone". Press size has been estimated to 25-100 copies by Audio House management. The band, who were a popular live attraction in the Kansas showband style, also had a local non-LP 45. [PL] SPIFFYS (Annapolis, MD) "The Spiffys" 1967 (no label 242) [1500p] The weaker of the two LPs from Naval Academy recruits whose band kept going for decades, with members changing as new classes were enlisted. This one is on level with the average Justice LP and thus not very interesting beach club garage/soul sounds, all covers except one OK beat original. Nice sleeve.

~~~ see full-length review

"Spiffys '68" 1968 (no label 12597) [2500p] Their better LP, two bad "soul" tracks while the rest is highly listenable, including fun covers of Procol Harum and the Doors. The great group folkrock/psych original "Dreams" is a must-hear and has been comp'd on Oil Stains vol 2.

~~~ see full-length review

SPIKEDRIVERS (Detroit, MI)

"Spikedrivers" 2002 (RD Records 10, Switzerland) "Spikedrivers" 200 (CD RD Records CD-3, Switzerland) Subtitled "Folk-rocking psychedelic innovation from the Motor City in the mid 60's", this is a rather terrific and much-loved retrospective sampler of official and unreleased recordings from this aheadof-their time band that blended westcoast folkrock with middle eastern psych sounds long before it was

trendy. The opening "Often I Wonder" raga psycher (a 45 B-side from mid-1966) blows minds wherever it is heard, and the rest of the LP ranges from good to great. Two different line-ups of the band are represented. Along with Bob Smith my favorite release from the label so far, and simply essential to any 60s psych fan. [PL] ~~~ see -> Ted Lucas; Perth County Conspiracy; Peace Bread & Land Band; Modality Stew SPIRITS & WORM(NY)

"Spirits "Spirits "Spirits "Spirits "Spirits

& & & & &

Worm" Worm" Worm" Worm" Worm"

1969 1995 1995 2000 2000

(A&M 4229) [brown label box logo] (Water Servant, UK) [paste-on; 375#d] (Sweet Herb, Europe) (CD Akarma 141, Italy) (Akarma 141, Italy)

Well, you can't get much rarer for a major label LP, although the reason for the rarity and the number of copies pressed differ depending on who you talk to. Unfortunately, and despite some excited ramblings I've read, this doesn't really deserve its legend. The music is your standard westcoast hippiepop/rock, pretty fun and enjoyable but by no means superior to many a $20 LP, with horns on two tracks.Despite what you might read, this sounds closer to the Fifth Dimension than Jefferson Airplane to my ears. A 45 was released from the LP, and it appears the LP was also released in England, despite its utter obscurity. The band was from Long Island, except the female vocalist who was from NJ. Prior to the A & M signing they won a Battle Of The Bands sponsored by a shoe store which supposedly led to them recording a local 45, which has not yet been found. The Water Servant boot cover is a poorly done repro of the back cover with a different front, while the Sweet Herb job is an exact repro with some minor crackle. [PL] SPLIT DECISION( ) "Flight Of The Triad" 1981 (no label SD-1) Rather quirky hard rocking AOR private press I believe hails from New Jersey. There are occasional arena prog moves thrown in, mainly through the sporadic use of a synethesizer. There's some psych vibes as well, particularly in the first two songs on Side 2. The first is a heavy late psych sound with liberal use of fuzz on the guitar. It flows into the next track, a spacy guitar dominated instrumental with a bit of a rural Dead influence. Plenty of guitar leads permeate the LP, and a lot with effects (phased, synthesized, etc). Good musicianship throughout, though there is an endearing bonehead quality to the lyrics and vocals. Extremely rare; I know of only three copies, including the two I have.

[MA] SPOILS OF WAR (IL) "Spoils of War" 1999 (Shadoks 001, Germany) [+bonus 45] "Spoils Of War" 2000 (CD Shadoks 001, Germany) Late 1960s recordings, originally released on two local EPs at the time, from arty college outfit who later metamorphosed into prog-folkers Mormos. Really two bands in one, one being an introspective garage/folkrock band like the Rising Storm, the other a quirky electronics psych act in a Lothar & the Hand People/50 Foot Hose direction. Oscillator and sound fx become annoying at times but add an interesting intellectual finish for the most part. Well worth a release, and combined with the great cover design makes for one of Shadoks' better offerings. Includes a bonus 45, even though the playtime of the regular LP isn't particularly long.Shadoks followed this with a 2LP set (also titled "Spoils Of War", Shadoks 55) of similar, slightly earlier material in lesser sound, which is recommended only to hardcore fans of this first one. [PL] SPONTANES( ) "Play Solid Soul" 1965 (Hit Attractions 109) Obscure teen-beat/blue-eyed soul LP in crude cover.

SPOONFED (AR) "Rock 'n Roll Rowdies" 1983 (Zanbeck ZSP 1001) Good Southern guitar-rock despite the late release date.

SPRING FEVER(Canada) "Woodstock" 1970 (Paragon 302) Obscure power trio doing blues-rock with all covers except one instrumental, on the same label as Reign Ghost and Christmas. SPUR (IL) "Spur Of The Moment" 1969 (Cinema 1500) "Spur Of The Moment" 199 (Cinema, Europe) [bootleg] Pretty strange LP from rural Illinois band which is partly novelty-tinged garbage with rock'n'roll medleys, "funny" spoken bits etc, but also has some very good folkrock psychers on side 2 - too bad the

whole LP isn't that way. Can't really recommend it despite being pretty cheap, but try to tape those good ones. Spur also backed Father Pat Berkeley on a late 60s LP in the "Incredibly Strange" bag. The LP was distributed mainly around St Louis, which is why the band was believed to be from there. [PL] SQUARE ROOT OF NINE (MI) "Three" 196 (Pac Three) -- there is some confusion around the name of this band, as some believe them to have been called Three, 'Square Root Of Nine' being the album title. Little known folk with 2 guys & 1 gal looking square indeed. Mostly covers in a moody folk-boom style.

STACCATOS (Ottawa, Canada) "Initially" 1965 (Capitol t-6158) [mono] "Initially" 1965 (Capitol st-6158) [stereo] Jangly pop and teen-beat from popular group, mostly originals. The band also released a split Coca Colabacked promo LP, "A Wild Pair" (1969, Nimbus 9), with Guess Who on the other side. Pre-Five Man Electrical Band.

STACK (Los Angeles, CA) "Above "Above "Above 500p] "Above "Above "Above All" 1969 (Charisma 303) All" 199 (Charisma, Europe) [bootleg] All" 1997 (Void 06) [die-cut cover; insert; +1 track; All" 1998 (CD Gear Fab 111) All" 199 (Akarma 057, Italy) All" 199 (CD Akarma 057, Italy)

Early LA hardrock blowout with a British sound and Who and Led Zep influences; not everything works but the best tracks go into ferocious guitar excursions that are among the best anywhere. Teenage punk vocals work well and it's a LOUD upfront mother from start to finish. Almost glamrocky in its selfassured yet convincing "rock" postures, and indeed ahead of its time. Mandatory to any hardrock fan, although originals are genuinely rare. One member was in garage legends the Fabs before this. The band appeared in a Pepsi Cola commercial, supplied background music for the classic teen flick "Wild In The Streets", and had a major label contract within reach, but it didn't happen. The Void reissue has some crackles. [PL] ~~~ Superb bluesy hard fuzz rocker with a Rush feel at times. Powerhouse vocals, tight playing, distinctive songs, and muscular guitar work with plenty of fuzz. This group had the whole package, it's really a crime they never hit the big time. The drums are up front and this record really pounds. One of the few early

hardrock locals with memorable songs and a first class vocalist with range. The anthemic "Only forever" and "Everyday" will blow heavy guitar fans away. Amazing LP at least five years ahead of its time. [RM] ~~~ As the band say, Laugh and point and stare at the boys with girls hair. You can laugh and point and stare as much as you like, because Stack demolish most of their contemporary hard rockers and either predate or demolish most of what came after in the genre. The drumming on this LP stands out a mile but the whole band are great. No macho drivel or posy metal solos on this one - this is the meat with no vegetables or potatoes in the mix. The shortest songs are the best (theyre all quite short apart from "Da Blues"). "Everyday", "Valleys" and "Cars" are wonderful songs delivered with such raw energy that you are left wondering how success eluded them. The LP does sound like it should have had significant mainstream appeal in all the right ways and yet amazingly it flopped. [RI] STAGE FRIGHT(MO) "D-Day" 1980 (Aardvark) Rural hardrock/barrock with a late 1960s vibe. Has been hyped, but not everyone is impressed with it. STAINED GLASS (CA) "Crazy Horse Roads" 1969 (Capitol ST 154) This album has a cool cover, with the band being hung from (obviously airbrushed) trees. The music doesnt really have the outlaw vibe as advertised, though, being a pretty upbeat mix of pop/psych styles. A few songs are pretty strong, and overall its a pleasant listen, slightly above average for the genre. [AM] "Aurora" 1969 (Capitol ST 242) The second LP is rarer and considered superior by most. STAINED GLASS WINDOW(IL) "Stained Glass Window" 1975 (Sycamore 248) Downer folk with an Incredible String Band vibe, not terribly impressive.

STALK-FORREST GROUP (Long Island, NY) "Stalk-Forrest Group" 1999 (no label, Germany) "Stalk-Forrest Group" 2002 (CD Rhino Handmade) [+bonus tracks]

"Stalk-Forrest Group" 2004 (CD Radioactive 019, UK) "Stalk-Forrest Group" 2004 (Radioactive 019, UK) Also known as "St Cecilia" and "The California Album", these are legendary pre-Blue yster Cult recordings made for a 1969-70 Elektra LP that was shelved for reasons that remain obscure. Tapes of this material were going round already in the 1970s, but it wasn't until recently that it became commercially available. It's a tremendous westcoastsounding LP with a superb blend of songwriting, guitar excursions and above-average lyrics. Strong all through with outstanding peaks in "Gil Blanco County" and "St Cecilia". The album has a bit of a Love influence and could be considered an alternative (superior) development to "Four Sails". Essential to any westcoast fan, also reminiscent of "China cat sunflower"-era Dead and Truth/Them from Chicago. The German vinyl bootleg has unimpressive sound (about 7/10) which admittedly brings a nice basement edge to the tracks, but ultimately isn't recommended. The Rhino Handmade on the other hand is almost too good in sound, with an unprocessed, widestretched soundscape that will appeal to sound engineers but is somewhat lacking in warmth and presence. The remastered Radioactive CD delivers a more alive, organic feel and also has a superior running order and should be considered the first choice for Stalkhunters, even though it is completely lacking the superb packaging of the Rhino CD. A promo 45 was released by Elektra, this 45 has been bootlegged. [PL] ~~~

see full-length review

STANLEY (TX)

"Enemy Ave" 1981 (Rectangle) Obscure bonehead hardrock in primitive cover. RICK STANLEY ( ) "Song Of Life" 1970 (Jai Guru Dev) Spiritual meditation folk sounds from guy on the Maharishi trail, opens with a lecture on the virtues of transcendental meditation, followed with music in the expected style. Stanley later popped up with the Natural Tendency "Something Good Is Happening" LP (Ganesh, 1972) which has a full folkrock sound with keyboard mixed with Indian instruments. STARBLIND (CA) "Rock Is Our Business" 197 (LRS) One-sided LP on same custom label as Frolk Haven, typical 70s hardrock with mostly covers in an elaborate gatefold sleeve.

STARCHILD (Canada) "Children Of The Stars" 1978 (Axe 521) Metallic hardrock like German band the Scorpions. With Greg Hinz of Helix. The label had several more releases out. STARFIRE(CA) "Starfire" 1974 (Crimson 4476) "Starfire" 2004 (Void 033) "Starfire" 2005 (CD Radioactive 137, UK) Unexceptional local basement hardrock with guitar, organ and some prog ambitions. STARFIRES (Orlando, FL) "Play" 1965 (Ohio Recording Service 34) Typical mid-60s teenbeat from Florida band who recorded in Ohio due to a family connection. One member later went on to garage legends Little Willie & the Adolescents. STARFIRES (Los Angeles, CA) "Teenbeat A Go Go" 1965 (LaBrea LS 8018) Frat r&b covers, mostly in a pre-Invasion mood with "Money", "Peter Gunn", "Apache" and so on. The band later cut an all-time classic garage 45 in "I never loved her". Many years later, band member Sonny Lathrop popped up in Sweet Marie. PETER STARK(MI) "Mushroom Country" 1976 (Montagne no #) "Mushroom Country" 2005 (CD Radioactive 098) Second-tier private press hippie folk LP is a somewhat surprising pick for a reissue, although the great mushroom/flying saucer cover may have contributed. Stylistically pretty similar to the Ted Lucas LP with a mix of loner folk, bluesy folk, and acoustic ragas, the latter aspect being perhaps the most appealing as the guy gets a nice flow going. The vocal stuff isn't too shabby but a little bloodless, due in some part to a flat, lo-fi recording. Some unexpected cover versions take up space that could have been put to better use. Last track has full folkrock setting with guitar leads. A listenable 30 minutes, but recommended mainly for genre fans and completists, and ultimately one of Radioactive's more questionable reissues. [PL]

STARLIGHTS ( ) "Triste-Payaso" 196 (Teardrop lpm-2015) Tex-Mex sound with some garagy r&b ravers. "Mustang Sally", "Stagger Lee". STARLINERS (MN) "Live At Papa Joe's" 1967 (Le Jac 1001) This little known garage/club LP is above average for the genre, due to a crazy Gerry Roslie-type screamer on vocals and some genuinely rocking takes on the standards; "Bo Diddley" in particular blows away any UK r'n'b act, while their "Satisfaction" is one of the best ever (better than the Stones). Six-minute take on "Caravan" has terrific Gene Krupa-style drum solo and the band is very tight. Not great all through, but if they'd let the wildman sing all songs and lost a couple of soul poopers this would have been a mindblower for any garage LP fan. Comparable to the Tony Lane LP on Justice. Seems to be an authentic live recording, though crowd noise is faint. "Broken engagement" is a band original, while "I feel good" is listed as "I got you".The press size has been reported as only 275 copies, due to a pressing plant problem. [PL] STARLITERS (NC)

"Journey With" 1966 (Justice 124) "Journey With" 1995 (CD Collectables 0611) Obscure one on the label, with four high school kids displaying their lack of "chops". They try burying the drummer's incompetence with an echo-laden production to no avail. Pretty fun and charming LP, closer to being real "garage" than most of their Justice colleagues, with three Animals covers including a memorable "Rising Sun"; the band also had enough chutzpah to try out "Ticket to ride". Three unexciting instros and a couple of half-assed r'n'b/beach music covers break the spell, but this is in no way inferior to the prep rock and local garage LPs from the Northeast.[PL] STARR (CO) "Memories Never Die" 197 (no label) Late 1970s proggy hardrock a la Legend "From the fjords", with some AOR moves and synth. The LP is sometimes shown as self-titled as there is no title

on the front cover. GENE STEIKER & LARRY CHENGGES ( ) "Straywinds" 1973 (Shanyn-Alexus) Most of us have a record or two that we believe in our hearts we are the only person to ever "get". For me, this record is utter magic and sits in a stack of well under ten records I won't put up on the block because I just can't be without them. The Grudzien is in that pile, so is the UK mono White Album. "Straywinds" is a whole lot closer to Grudzien than The Beatles. Two guys in a cavernous and empty auditorium (the natural echo here is phenomenal). One plays acoustic piano, the main instrument, the other some percussion and some clean electric guitar, very quietly. This is, in fact, a seriously quiet record. There are a few vocal parts that are sung, but the majority of this is spoken poetry with piano accompaniment. There is a naivet and innocence here that I think is a common thread in my private stash of keeper records. This is as fragile a record as may have ever managed to get itself pressed and issued into the world. While the first side is heavily echoed vocals over sparse instrumentation (on tracks like "In Green Pastures" "Some Old Town" My Dreams, My Love"), the second side opens with "Beyond Forgetting." Under the right circumstances someone could play this track and, at the end, ask for $1,500 and get it. A distorted and electronically effected vocal shouts over an electric piano and acoustic guitar bed. Still subdued but otherworldly and impossibly strange; I have never played this for someone and not had to scrape their jaw off the carpet. Like most of our secret records, this comes with the added knowledge that this will be reissued only after everything else is and so it will remain that little treasure just for us. Back in the time of mail order record lists this would show up occasionally for $35 to $75. Certainly not for everyone, and perhaps more a relic from the psychedelic age than psychedelic itself; I can't recommend this without reservation. In fact, I'm not really sure I want you listening to it at all. Forget I mentioned it. Move along. [SD] ALEX STELZNER ( ) "Listen To The Changes" 197 (Century 32413) Moody melodic folk and folkrock with baroque feel. Originals all through. STENCIL FOREST (IN) "Opening Act" 1983 (Realtime RTA 1000) Styx-inspired melodic hard rock-AOR with professional sound and some progressive rock leanings, with keyboard and ace guitar leads.

JOE STEP ( ) "Sacrifice" 1982 (CCS) Guitar-dominated band somewhere between hardrock and metal. The cover shows stills from a slasher movie the band made. STEPHEN & THE FARM BAND see Farm Band STEPSON ( ) "Stepson" 1974 (ABC 826) This band actually descends from Touch and Blue Mountain Eagle, though this time theyve gone towards moronic hard rock, including a song about their Rude Attitude and a hilariously crude power ballad. Its not exactly hard rock at its most precise or thoughtful, but it really works for dumb fun. Pretty great, really. Marred slightly by an unnecessary and uninteresting Animals cover. [AM] JERRY & NANCY STEVENS (Austin, TX) "A Little Resolution" 1976 (Troll tr-12372) [insert] Gently baked hippie folk delicate peace and love tunes. Lots of backing instruments and nice vocals, right look but ultimately borderline crappy in a sleepytime way. [RM] LORA LEE & JANA LYN STEWART (Canada) "Have You Heard The News?" 1972 (Wonderland QCS 1033) Two wholesome hand-holding teen sisters who somehow ended up with a trippy psychedelic sound on a good third of their ultra-homemade LP. The songs to pay special attention to are "It Seemed So Easy", "Why Do You Keep Running?", "So Far To Go" and the sevenminute ballad "Fellowship", each of which features a sparsely-arranged late-60s combination of psychy organ, piano, electric guitar (including some fuzz), drums and bass. Not just the arrangements the melodies themselves have a moody psychedelic nature with gloomy minor-key downer structures (the organ on a couple of these reminded me of Azitis). Even some subtle echo effects on the vocals in a couple spots. A few other songs like the title track, "Cant You See?" and a cover of "Day By Day" also manage a pleasant underground light-rock vibe, albeit without the psych edge. Everything has a simple stark hypnotic loner tone overlaid with the gals delicate soprano/alto harmonies. Unfortunately the rest of the album consists of traditional piano hymns, but the good stuff (all of which was written by the girls) more than makes up for it. [KS]

A STILL SMALL VOICE ( ) "The Still Small Voice" 197 (Herald AM1596) Great underground psych-edged custom rock from male/female group of eight. Garagy electric riffs with wah-wah loudly roughing things up on "Mark Of The Beast" and the eight-minute opener "A Still Small Voice/A Future Time". The latter track also has some nice psychy organ, as does the trippy mysterious "The Night Has Come". Several songs target middle-ground plugged-in guitar/piano folkrock realms a la Wild Olive Branch Band, namely "Lord Im Smiling In Your Love", "All The Days Of Your Life", "Rainbow" and "Same Old Feeling", all with good electric guitar presence. A couple pleasant acoustic ballads: "I Must Tell Jesus" and "Wherever He Leads Ill Go", the latter with a spoken personal challenge to accept Christ. Crude b&w pen/ink cover drawing of a pair of hands reaching out toward three crosses on a hill. Creepy contorted photo of two faces on the back. Doesnt say where theyre from, but mentions the album was recorded in Phoenix, Arizona. No relation to the better known Herald label out of South Carolina. [KS] TED STILLES ( ) "Bhang" 1980 (Telewbar TS-100) Six-track mini-LP debut in a hard fuzz Hendrix style fuzz, more primitive than heavy. Stilles second LP is less interesting. STING RAYS (Rochester, NY) "Take Off With" 1964 (Century 17867) [10"] Garage surf and r&b stompers, 11 tracks in total. RAY STINNET ( ) "Ray Stinnet" 1971 (A & M demo) [2LPs; no sleeve] Sleeveless double set demo album recorded with LA session pro:s, according to a reliable source it "sounds like the tail end of the Steve Young/Dillard and Clark impulse, clearly influenced by Neil Young but with a few druggier moments. If you took the best 1/3 of it, you'd have a truly great 2/3's of an album." This appears to be the same Ray Stinnet that was in Sam The Sham's Pharaohs. BILLY AND SANDRA STINSON ( ) The Merchants Ship 197 (NRP NR 2924)

Scarce and unknown private press folk LP with some mellotron, mixed vocals, dark lyrics. STONE CIRCUS (NY) "The Stone Circus" 1969 (Mainstream 6119) "The Stone Circus" 199 (Mainstream, Europe) [bootleg] Westcoastish psych/hippie-rock, less elephantine than most later Mainstreams, with an unusual Strawberry Alarmclock influence a plus. Melodic and competent, fairly agreeable LP. Described as "strange" elsewhere but in actuality pretty straightforward, some odd spoken passages excepted. Most of the members were originally from Montreal, and were based in NY where they were known as the Funny Farm; the new band name was Mainstream's invention. In 1971 band member Larry Cohen aka Jonathan Caine recorded an orchestrated pop-psych album which included a version of a Stone Circus track. He hired one Yank Barry to handle the vocals, and Barry actually released this in the mid70s, possibly without Cohen's knowledge. The whole thing was then reissued as a box-set in 2001, now credited to Stone Circus ("Diary Of Mr Gray", McConnell, Canada). The Yank Barry story is pretty amazing, see separate entry. [PL] ~~~ see -> Yank Barry STONE CROWsee Great Loose Band STONED CIRCUS (MO) "Stoned Circus" 1994 (Rockadelic 12) [insert; 500p] "Stoned Circus" 200 (CD World In Sound, Germany) [+bonus tracks] Unreleased 1970 tapes from band with rare 45, somewhat atypical for Rockadelic in its generic westcoasty Big Brother/Airplane style. Agreeable Hammond/guitar mix and a tough femme wailer, songwriting isn't terribly impressive however and the band sounds best on two jammy numbers on side 2 that suggest they may have been good live. Bluesy feel like the St Louis Touch, some stray folk and soulrock moves; all over like if the first Big Brother LP had been recorded in 1969. May appeal to fans of the Mainstream label sound. Worth releasing but not among the best Rockadelics in my opinion. Yet another find from the depths of Cavern Sound studios in KC. [PL]

STONE GARDEN (ID) "Stone Garden" 1998(Rockadelic 29) [insert; 500p] "Stone Garden" 2001 (CD Gear Fab 188) Popular title on the Rockadelic label and clearly above average transition document from late 60s S F Bay Area eclectisism into crude Northwest hardrock.

The band was once thought to be an early version of Fraction which is not true, although their 45 (on Fraction's label) packs a similar intensity and is present here in two versions, both excellent. The LP is enjoyable all through with highpoint in a couple of hard guitarpsych excursions on side 2, and the band shows more talent and variation than the standard basement outfits from the era. Extra points for obvious teen psych remains, and even the goodtimey track about being busted for pot in S F is agreeable. One of the best of the label's more recent releases. Very nice gatefold packaging although the Stonehendge image may remind some of "Spinal Tap". [PL] STONE HARBOUR (Youngstown, OH)

"Emerges" "Emerges" "Emerges" "Emerges"

1974 199 199 2004

(Stone Harbour 610) [500p] (no label, Europe) [bootleg; b & w cover] (CD Flashback, UK) (Void 32) [500p]

Extraordinary basement psych with two multiinstrumentalists creating a melancholic dreamlike state with songs fading in and out of the speakers, cavemen drums, primitive electronics and murky fuzz lurking in the background. The best tracks go into places no other albums reach. Actually closer to the heart of psychedelia than most other records listed here. The two hard rocking tracks that have been comp'd are not representative of the album as a whole, and add an unwanted "roots" feeling that disturb the trip somewhat. Still, one of the Ohio classics, with unparalleled artwork on the sleeve. Beware of an earlier "reissue" on Void (#20) titled "Re-emerges", which is new recordings of the 1974 material. [PL] STONE MOSES (IL) "Stone Moses" 1974 (Red Rock) Stoned rural rock. STONEWALL (NY) "Stonewall" 1974 (Tiger Lily 14013) "Stonewall" 1992 (no label) [bootleg] "Stoner" 199 (Akarma, Italy) [new sleeve] "Stoner" 199 (CD Akarma, Italy) "Stonewall" 2004 (Scorpio/Tiger Lily)

Very good teenage hard rock rated highly by many. Worth it for any fan of the genre, with energetic teen vocals and frantic guitarwork. Originals all through, with "Outer spaced" particularly intense. Only a handful of originals have been found, all of which have been DJ copies. Both Akarmas are retitled reissues with completely altered artwork and inferior sound. The Scorpio reissue is a nice job and recommended. [PL] ~~~ This impossibly rare album (only a handful of known copies) ranks among the top few hard rock albums of all. Punky, snotty vocals, loud guitars, powerful riffs, relentless organ and drums, tight short songs without any wank factor... this has it all, along with an amazing amount of energy that keeps it from dragging the way the heaviest rock tends to. It really doesn't sound like anything else, and I imagine it would appeal just as much to punk fans as it would to blues-rock or heavy metal fans. The album is brief, with only eight short songs, and it goes by in such a breathless rush that you'll be begging for more. The key moment of this album to me is when they appear to be heading towards that album's first cliched misstep-a drum solo. Yet after a few seconds the rest of the instruments come crashing back in unexpectedly, so much so that you can hear if fifty times and still not anticipate exactly when they'll return. There's genius here, and the funny thing is that I suspect it's entirely unintentional. Who were these guys and why didn't they record again? The thought that this album could have been lost to the world if those scant few copies hadn't ended up in the hands of knowledgeable collectors/dealers is tantalizing. If what may be the greatest hard rock album almost had such a fate, is it possible that the greatest album in some other genre is still lost somewhere in a warehouse, its creators unaware (as all Tiger Lily artists were) that their music had even been put on plastic at all? [AM] STOWAWAYS ( ) "In Our Time" 1967 (Justice 148) "In Our Time" 1996 (CD Collectables) Apparently one of the rarest LPs on the label and to my ears also one of the more enjoyable. Cover photo shows the band in lengthy Peter Tork hairdos and indeed they seem to be more with the times than their colleagues. While they deliver obligatories like "I've been hurt" and "Sunny" there's also some unusual Stones and Beatles numbers as well as a daring, atmospheric stab at the Byrds and a spooky original called "Just a toy", which crowns them Justice's token folkrock act. Also has an excellent fake 12-string take on "Summertime" that rivals the Half Tribe. The r'n'b stuff that weighs down side 2 is less convincing, but passable. Band isn't terribly tight and the recording has the label's usual early 60s murkiness, but clearly an above average Justice outing. [PL] STRANGE see Terry Brooks

STRANGE (CA) "Strange" 1979 (Yantis) Legendary obscurity, the first copy of which was found in a garbage can. The LP has been described as a "journey through someone's personal hell" with bizarre lyrics, sparse piano interrupted by Baumstaum-like heavy guitar and backwards effects. The sound quality fluctuates wildly. Has been deemed "too disturbing to reissue", but we'll see about that. THE STREET AND THE SEA (PA) "The Street And The Sea" 1975 (no label) Folk/singer songwriter with female vocals on some tracks. V.A "STRICTLY CANADIAN" (Canada) "Strictly Canadian" 1969 (Birchmount bm-523) Compilation LP with a mixed bag, notable for including "High Flying Bird" by the Plague, one of the best versions ever (has been comp'd). STROKE BAND (GA) "Green and Yellow" 1978 (Abacus 78-095) Bruce Joyner led group. Proto new wave basement realness with moog, fuzz, effects, and "big thought" lyrics. A funny bad aural disaster. [RM] STUD (TX) "Stud" 1975 (Baron 002) Highly rated hardrock LP on local Rosenberg label. Only a handful of copies have been found, out of the 300 supposedly pressed. DANE STURGEON (CA) "Wild'n Tender" 1967 (Stur-Geon TS 100) No other album had this particular sound, mid 60s folk rock instrumental backing with 50s/early 60s style vocals and lyrics (notably the horror tale "Ghost of Bardsley Road.") It's a throwback to people like Roy Orbison and Del Shannon, back when pop stars could really sing. Like Shannon's mid-60s work, it's terrific, and is proof that this era of rock and roller could easily have made the transition to the

60s and beyond without compromising themselves. There's some lovely 12-string guitar on a few songs, terrific falsetto vocals on "What's Comin' Z' Comin'," and even a little fuzz guitar on a couple of songs. Side one is listed as the "wild" side, and side two the "tender" side, but they aren't really all that different except that Sturgeon sings on side one and his soundalike David Cosby sings on side two. The song "Whip Of Love" somehow ended up on the "tender" side. A couple of the ballads are less exciting than the upbeat songs, but for the most part this is great. The cover calls this music "righteous folk-rock" and "folk-rock in a stone groove." Two sleeve variations exist, one with a statue design, one with a photo of Sturgeon. [AM] MICHAEL STYERS(NC) "Bearing A Gentle Message" 1980 (Myrddin 8007) [lyric insert; 800p] Interesting LP that has received some attention of late. As the album title and a nice naked chick art sleeve suggest, the dominating sound is melodic, slightly rural folkrock/singer-songwriter not unlike Gary Higgins, or the less acidy tracks on Michael Angelo. Styers' voice is somewhat weak, but the arrangements and playing is fine, with rich, crystalline guitar tapestries that recall Relatively Clean Rivers on the best tracks. Female backing vocals and light string arrangements are put to good use. The countryrock moves convince, while the caribbean jungle excursion seems a bit superflouos given the 45 minute playtime, although it has a certain charm. Side 1 is uneven while side 2 is very good, peaking in the superb "Summer Evening Chant" with a Donovan vibe and excellent psychedelic guitar leads. A friendly, wistful mood persists, while the obvious talent and work that went into it holds your attention. While not a classic this, along with the first Bobb Trimble, T-Kail and Blackburn & Lauren show that the psychedelic era was alive and well around 1980. [PL] SUB ZERO BAND (Sacramento, CA) "Sub Zero Band" 1972 (no label) "Sub Zero Band" 1999 (Void 15) Good rural hippiefolk/countryrock with atmospheric violin and downer psych moves, similar to the first Shivas Headband LP but with female vocals. Couple of great moody psych tracks and the rural stuff is enjoyable too, my main objection being that some tracks are too long. Press size reports vary between 500 and 1000 copies. A non-LP 45 exists.[PL] ~~~ This is basically a crude, amateurish country/old fashioned rock and roll album. It has some charm, but beware any dealer who tries to tell you this sounds like a West Coast psych album. The frequent Shivas Headband comparisons are more appropriate. Neither band is exactly rock. Theres some violin on a few

songs, and lots of noodly lead guitar. The singing is decent, and theres a pleasant hippie vibe. There are some duds on the album, but a few of the songs are strong (the long closer is the best, and would be a standout on any album) and this will appeal to the right listener. [AM] SUDDEN DEATH (NY) "Sudden Death" 1995 (Rockadelic 19) [600p] Previously unreleased 1971 tapes of Long Island band on Led Zep bender, local hardrock with some pretty good tracks like "The zoo", operatic vocals and one of the best Rockadelic sleeves ever. [PL] SUGAR BEAR(FL) "Sugar Bear" 197 (Gaff NR5392) [500p] "Sugar Bear" 2004 (CD Radioactive 59, UK) Yet another Grateful Dead-inspired 70s rural rock obscurity with a professional sound and an unusually clear and well-engineered recording. Most distinctive feature are probably the expressive vocals which aren't necessarily great but have a nice showmanship to them. Music is song-oriented in a folk/country/swamprock mix rather than jammy, with a typically tight band and nice guitar figures throughout. One or two tracks are a little too close to Dr Hook for my tastes, but there are also some obvious psych moves with late 1960s remnants, especially on the stronger side 2. "Seasons For Love" has a MU/Fankhauser feel, while the SF psych Croz/Airplane-style "The Garden" is easily the best track. And the chorus to "Moccasin Mona" will eat into your brain in no time! Not a classic, but above the genre average to my ears. [PL]

SUGAR CREEK (OH)

"Please "Please "Please "Please

Tell Tell Tell Tell

A A A A

Friend" Friend" Friend" Friend"

1969 1999 2001 2001

(Metromedia 1020) [wlp exists] (CD Lyrical SD 5004) (Akarma 151, Italy) (CD Akarma 151, Italy)

Overlooked but appealing mix of late 60s westcoast and early 70s-style rock. Two outstanding psych tracks, the good news being that the rest delivers too, even the Butterfield-inspired blues aspects work on strength of the excellent vocals and an exemplary production. A couple of ballads are OK too. Almost as good as Christopher, if approached mainly as a postpsychedelic "rock" LP. As with some other Metromedia releases, promo copies seem to be more common than

stock. Apart from Jonathan Edwards' solo career, member Joe Dolce would go on to have a huge novelty hit with "Shaddap you face" in the 1980s. [PL] ~~~ This professional-sounding hard rock/country blues band was led by "John Edwards", who would find fame and fortune as Jonathan Edwards with the hit "Sunshine". Fans of his folk and country career will be surprised to hear the copious fuzz guitar here. Some of the guitar has an Eastern style to it; the opening "A Million Years" adds to the exotic feel with chanting that ends the song. "Memory Tree" is a terrific slow psych tune with an equally otherworldly sound, and "Night Flash" is a terrific ballad. It's too bad that more songs don't try these approaches, as the acoustic-based blues songs are somewhat hit and miss, with the better ones sounding more folk than blues. One boogie styled rocker is goofy but is somewhat redeemed by loud fuzz guitar. The harmonica playing isn't bad, but hardly as attention-grabbing as the guitar. A mixed experience, but an interesting album with a bunch of fine moments. [AM] SUGAR CUBE BLUES BAND (MS) "Sugar Cube Blues Band" 1997 (Rockadelic 21) [500p] Folkrock/psych transition duo showcase their unreleased 1967-68 recordings. At best reminiscent of mid-period Beau Brummels or the Blue Things LP, though many tracks have desperate, strained vocals instead of the cool Sal Valentino moves I would have preferred. Others have reported enjoying the vocals in a Sky Saxon way - decide for yourself. I counted 4 good tracks including an alternate version of their sole 45 release "My last impression", the flipside of which unfortunately is not included at all. [PL] SKY SULAMYTH(Canada) "Full Moon Light" 1979 (7th Ray 03721) Obscure 1970s hippie folk with titles like "Medicine Fire" and "Angels In Embryo". Sulamyth also worked with Huckle. JIM SULLIVAN (Los Angeles, CA) "U.F.O" 1970 (Monnie MR 0003) "Jim Sullivan" 197 (Century City CCR 5000) [remix; gatefold] Early singer/songwriter sounds with lots of personality and atmosphere. Setting is light folkrock with excellent vocals that seem almost too good for such an obscure title. This guy has lived, man, and seen a few things in life, which gives the album a certain country music vibe without actually sounding country at all. The presence of Earl Palmer and some

pretty advanced studio arrangements suggests that someone poured a sack of coins into this project. "Jerome", "Highway" and "Rosey" are standout tracks to me, but this is a surprisingly good westcoast s/sw LP all through.In an enlightened world Jim Sullivan would be in Bel Air while James Taylor would play $15 tourist traps. The Monnie version is probably the earlier and has a somewhat awkward mix with drums upfront, while the self-titled Century City mix has a soundscape more typical for the genre. This is the LA session guy who did the "Sitar Beat" LP. [PL] SUMMERHILL ( ) "Summerhill" 1969 (Tetragrammaton t-114) This album goes for the kitchen sink approach, kind of like the Sundowners and Condello albums. It mixes over-orchestrated popsike with semi-heavy rock and sparkling guitar rock. The combination of styles is a bit off-putting, and by the time you get used to it you'll realize that only two or three songs really rise above, though those (especially the killer guitar pop tune "It's Gonna Rain") are very good indeed. I don't expect anyone to like the whole thing, but if you prefer a spotty album with a few great songs to a consistent one with no standouts, this is worth picking up. [AM] V.A"SUMMER OF SERVICE" (NJ) "Summer Of Service" 1968 (RPC 11461-11464) [2 LPs] 2LP set local sampler of religious folk and folkrock from Elizabeth, NJ. Acts include The Nu Sounds of Chatham, Rasberry Jam, The Heartbeats, The Teacher and the Preacher, Whole Ensemble and more. SUMMER SOUNDS (Cambridge, MA)

"Up-down" 1968 (Laurel 331098) "Up-down" 1996 (Laurel) [bootleg; 400p; insert] "Up-down" 2004 (CD Radioactive 78, UK) Good local concept beat-garage LP (a very obscure genre) relating a summer vacation love story with the moody/whiney Zombies-inspired New England sound explored to the max. Appealing basic songs, basement teenage vocals and only 2 covers - one of the better pre-psych LPs from the Northeast, though they don't show much "punk" cojones for sure. Cool sleeve. A couple of tracks have been comp'd. [PL]

SUM PEAR ( ) "Sum Pear" 1971 (Euphoria 1) Sum Pair 1977 (Guinness 36044) "Sum Pear" 2004 (CD Radioactive 67, UK) Eclectic, ambitious Eastcoast bag of tricks delivered from a UK-influenced post-psych melodic rock and singer/songwriter angle. Reminiscent of Westfauster in parts, other tracks are more fuzzed and rocking a la Whalefeathers. Serious lyrics deal with Vietnam concerns, drugs and more. Some minor horns. Harmless and skillful but not terribly interesting. Euphoria was one of several Jubilee subsidiaries. The Guinness release is the same album, but credited to 'Sonny & Doug' and with a new album title and the songs in a different order. More tax scam fun, and one of the rarest albums on that label. [PL] SUNDANCE(Chico, CA) "Sundance" 1971 (Kapp 3659) Early 70s hard rock album with a rural feel. Slightly above average for the genre, but not a stand-out. Theyre from Chico, which may be California but isnt the usual stomping ground of rock bands. Chico Women is a terrific song. Recommended to fans of the style. [AM]

SUNDOG SUMMIT (IL) "On Sundog Hill" 1976 (Audio Mixers) This bizarre artifact is the missing link between rural rock and punk (I bet you didn't think such a thing existed!). It starts out in mundane fashion, as the second song is a dumb backwoods barefoot ode to dope-smoking, but after that they rip loose with some hot rootsy minimalist rockers. These songs have a cool counterculture edge that can appeal to freaks of all varieties. There's no distortion to the guitars, but certainly the music has the energy of punk (which was a year away from being noticed) while still retaining a hippie vibene'er again would the twain meet. Surely they're the only band who could put a Johnny Cash song and a Velvet Underground song side by side and make them sound like two of a kind. This is a good start, but the real secret weapon here is Lee Groban, the self-appointed "high commissioner of Cyprus." His rantings and ravings are scattered throughout the album (and in the great liner notes), and take full fruition at the end, where we're treated to seven and a half minutes of jaw dropping "recitations" and "incantations" of a completely insane nature, backed by a driving rhythm. This is a wonderfully unique, fun album. They also released a 4-track EP. [AM]

V.A"SUNNY SPRING FEVER" (CT) "Sunny Spring Fever" 1971 (Mark) Connecticut teen folk with live Burnt Suite track. The full title is "Canton High School presents Sunny Spring Fever".

SUNPOWER BAND (Seattle, WA) "Sunpower Band" 1977 (Right Now 11277) Jammy rock with a mild funk feel. Poorly recorded and echoey. Theres some good guitar playing here but this album bored me. Not an expensive LP. [AM] SUNSHINE (TX) "Here's Sunshine" 197 (Backbeat Records BLP #69) Downer/real people folk with lots of reverb, featuring Larry 'Sunshine' Rice. SUPERFINE DANDELION(Phoenix, AZ) "Superfine Dandelion" 1968 (Mainstream 56102) [mono] "Superfine Dandelion" 1968 (Mainstream 6102) [stereo] This is generally seen as one of the lesser Mainstreams, and while it's not especially original or unusual, it's better than its reputation. Mostly this band comes from a 1965-era Beatles vantage point with a little folk-rock mixed in. The rhythm guitars are acoustic and the lead guitars electric. Lyrics range from mild social commentary to silly love songs to folk-style murder ballads. The songs are as blatantly derivative as, say, Blue Things, with one completely ripping off the Beatles' "I'm A Loser," and another stealing the flute solo from the Moody Blues' "Nights In White Satin". These thefts aside, all songs are originals, unusual for this type of album. Side two is stronger than side one, ending with the album's three best songs. "Don't Try To Call Me" is a terrific pop song, "The Other Sidewalk" is the album's one psychedelic tune, and "What's The Hurry" is a pretty folk-rocker. Overall, this album is quite enjoyable. Kazoo haters beware of "It's Raining," however. The LP was also released in France on Vogue with an altered cover, and the band had a pre-LP 45 on a local label. [AM]

SURPRISE (St Louis, MO) "Assault On Merryland" 1977 (Carousel 77) [booklet] "Assault On Merryland" 199 (CD Zarathustra) Prog fantasy concept, with heavy guitar, organ, moog,

flute. Deep Purple & ELP influences. SURPRISE PACKAGE ( ) "Free Up" 196 (LHI s-12005) Pretty standard late-60s heavy psych: soulful vocals, lots of organ, loud fuzz guitars. As with most of these bands, it has its moments, and the guitar sound is very nice. Still, it doesnt really offer much you cant get from dozens of other albums. The long title track, which would have easily been the albums best song, is extended beyond the bound of reason with a batch of dull solos. It has some nice feedback, though. [AM] SURPRIZE (NJ/PA) "Keep On Trucking" 1971 (East Coast ec-104-s) [b & w cover] "Keep On Trucking" 1973 (East Coast ec-104-s) [2nd press; color cover; yellow label] From the Crumb ripoff album cover to the cheesy echo effects on See The Light, this album is unoriginal fun. It starts with some far out psych, moves into some impressive white boy funk, bluesy hard rock and ballads, all of which work well enough to make this an enjoyable listen. The playing is pretty tight, the guitar has a nice fuzz tone, and the organ is loud. There are only six songs, and maybe they try a little too hard to stretch a few of them out, but all six have something to offer. The album cover leads a lot of people to assume this is Dead-style jamming, but its not rural sounding at all. This LP supplied the unlisted heavy psych mystery track found on the old "Changes" compilation, titled "Earth Odyssey". [AM] SURVIVOR(Shreveport, LA) "All Your Pretty Moves" 1979 (no label) [insert] Good Thin Lizzy-like hardrock, recorded in Dallas. SWAMPGAS (Long Island, NY) "Swampgas" 1972 (Buddah BDS 5102) Overlooking the bland cover, the album's quite diverse and impressive. This comparison probably won't trigger everyone's imagination or interest, but on material such as the molten opener "Patato Strut" and "Trapped In The City" the combination of the vocalist's grizzly drawl and Hersey's guitar recalls 38 Special, or Skynyrd had they been interested in pursuing a tougher, mildly psychedelic and progressive sound. Hersey's licks also make it an album that should appeal to folks who like Hendrixinfluenced guitar (check out the blazing "Eulogy").

The handful of ballads are equally impressive - 'The Waiting, E Train Blue'. Weirdest and coolest track here: the raga-influenced "Egg Shells".[SB] ~~~ With Baird Hersey' permission (thanks Mr. Hersey), here are some comments on the LP: "We started out near the end of Long Island NY. About the time we were making the record two records came out with southern roots : Johnny Winter and The James Gang that had certain similarities. I think it's the heavy blues influences: Ray Charles in the vocals, early B.B. King and Muddy waters in the guitar, that pull us in that direction. We were plucked from obscurity by Artie Kornfeld who was one of the three producers of Woodstock. His wife saw us at a concert where we opened for the Gratetful Dead. We made the record, but Artie's record label had financial troubles. The record looked like it wasn't going to come out which tore the band apart. About a year after we broke up Buddah Records which was the parent company of Artie's label put the record out without even notifying anyone in the band. With no support budget and no band to play the music the album floundered and we all slid back into obscurity..." [SB -- excerpt] ~~~ Baird Heresy has continued to play and release records in various styles. SWEET MAGNOLIA BAND (Little Rock, AR) "Sweet Magnolia Band" 1973 (Lardbucket 0001) Rural rocker with Band and Neil Young influences. Not rated that highly, although "10 days over 23 years" is an excellent track for genre fans. SWEET MARIE (HI) "One" 1970 (Yard Bird 770) "One" 199 (Yard Bird) [bootleg] "Stuck In Paradise" 1971 (Yard Bird 771) "Stuck In Paradise" 199 (Yard Bird) [bootleg] Hawaii trio. First LP is in westcoast blues rock style, second is more relaxed with funk and soul moves added. There were also several 45s released. SWEET PANTS(PA) "Fat Peter Presents" 1970 (Barclay 1141) [circa 1000p] Seedy organ fuzz with an underground rural vibe like Mary Butterworth, some pretty obnoxious vocals. Disappointing LP. SWEET SOMETHINGS (Montreal, Canada)

"Sweet Somethings" 1968 (Melbourne SMLP-4014) All-girl quartet done up in mid-60s style, with guitar/organ line-up playing pop. Obscure one for genre fans. SWEET TOOTHE (Bluefield, WV) "Testing" 1975 (Dominion 7360) [1000p; inner] "Testing" 199 (Dominion) [bootleg] "Testing" 1995 (Void 01) [lyric insert; photo; 400#d] Pro-sound rural rock/hardrock similar to Short Cross and Wedge, with strong songwriting and guitar/vocals. Three or four very good tracks with psychy westcoast hints, a few others are too rootsy barrock for me. Fans might also seek out Emerson (Conley) "The power of love" (CD 1992, LGM 2222), which is hampered by a drum machine but does have some good wailing guitar blues licks. [PL] ~~~ Superb flowing dual fuzz hardrock with first rate vocals, including harmonies, and dynamic ensemble playing. The opening two tracks "Karen" and "Music's gotta stay" are especially fine melodic hardrockers. Bit of a backwoods barband edge with several songs about the music biz and life on the road. Nice bluesy restraint and the lyrics. [RM] ~~~ On those rare occasions it shows up on sales lists, the LP is frequently billed as psychedelic. It isn't. Sure, there are occasional psych touches, the most notable being the lyric to "All the Way Home", but the majority of the album offers up more conventional hard rock structures. Propelled by attractive vocals and nifty fuzz guitar, tracks such as "Karen", "Music's Gotta Stay", "You Know How To Love Me" and "E.R." sport great melodies and a sense of enthusiasm that must have made these guys a great live act. Even their isolated stabs at country bar band material ("Wind and Water" and "Swamp Fox") are likeable. Even more impressive, for a small private pressing the album has a wonderful, deep and full sound. Played loud on a quality stereo system, this LP rocks! One of my all time favorite rarities. [SB] SWIFT RAIN (El Paso, TX / Memphis, TN) "Coming Down" 1969 (Hi 32064) These guys were Southerners, but the album has the feel of a laid-back West Coast album, and a very good one at that. It's hooky, full of memorable songs, energetic guitar playing and breezy melodies. The songs are short and tight, kind of what a post-Dead band like Mountain Bus or the Walnut Band would have sounded like if they wrote pop songs instead of long jams. This end up being quite a bit better than those bands, and there's enough cool lead guitar here so that it may appeal to fans of harder music too. There's a great mix of guitar sounds here: acoustic, electric, wah-wah, dual harmony guitars, etc. Two songs are sung partially in Spanish and have a mild

Latin feel to them. [AM] SYN (PA) "Cast The First Stone" 1980 (Cheap Plastic) [inner] Mixed vocals proggy psych with dramatic keys and some garagy guitar. SYNOD(IL) "Nobody's Jukebox" 1971 (no label) [gatefold] This would be a decent 70s pop/rock album if it weren't for the overly cloying and out of tune vocals, which are not only lousy but are also mixed way too loud. The songwriting is pretty good, and the gatefold cover makes for a nice package for a selfreleased record, but the singing is really awful, and is worse because they try so hard to highlight their harmonies. The first song starts out in "harmony" a capella, so from moment one you know what's in store for you here. A few songs have Christian lyrics. [AM]

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JON TABAKIN (CA) "Jon Tabakin" 1975 (Larrow 100) The not-so-promising liner notes say that his first album of love songs covers the total musical experience from ballads to bossa nova to rock. Between that and the bland cover photo I can imagine collectors letting this album slip by, but if youre not counting on something far out this is a very pleasant surprise. Tabakin is a creative, thoughtful and complex songwriter and has crafted a set of memorable and enjoyable pop songs. The obvious influences are the Beach Boys and his lookalike John Sebastian (interestingly, theres no Beatles influence at all), though a few songs rock out in a way those artists rarely did. Its a bit dorky at times, but unlike most albums of the type is consistently good on both sides. The vocals are just a bit imperfect (the highlight is the crazed section at the end of Lets Do It Again) and the production low-budget, giving these otherwise accomplished songs a mild, likeable real people feel. Its not really for everyone, but recommended to collectors with a soft spot for 70s pop. I think fans of the Shaun Harris solo album will like it. [AM] TAILGUNNER ( ) "Tailgunner" 1983 (Rapid no #) Despite the 1983 date, this album is well-loved by 70s hard rock fans. Large quantities were bought by dealers and the album never shows up cheap, but if youre a fan of noisy, aggressive hard rock, its a pretty great album. The guitar sound is really grungy, and the opening and closing songs are killers. I wouldnt exactly say it sounds like it was recorded before 1983, but it doesnt have the usual annoying 80s production tendencies. The lyrics are typically stoopid. [AM] TANGERINE (Pittsburgh, PA) "The "The "The "The Peeling Peeling Peeling Peeling Of" Of" Of" Of" 1971 199 1999 1999 (Stephen Productions 001) (no label, Europe) [bootleg] (Akarma 137, Italy) (CD Gear Fab 131)

Jammy hard rock with lots of rhythm section: drums way up in the mix, a prominent conga player, bass solos, and finally a 5+ minute conga-then-drumkit solo at the end of the album. Some reviews describe this as sounding like Latin rock, but I don't hear

it. Surprisingly for a heavy band, there's fuzz guitar on only a few of the songs. On others the guitars aren't distorted at all. Side two is just one epic song, but if you ask me, side one might as well be also, because all four songs sound the same. What little vocals there are on this album are competent but pretty typical of the genre. At times they get a solid groove going, but for the most part this album is dull. [AM] TANGERINE ZOO (Swansea, MA)

"Tangerine Zoo" 1968 (Mainstream 56109) [mono] "Tangerine Zoo" 1968 (Mainstream s-6107) [stereo] "Tangerine Zoo" 199 (Mainstream, Europe) [bootleg; thin cover] One of the lesser albums on Mainstream. Its soughtafter by collectors, but its got nothing that a hundred cheaper guitar/organ/semi-hard rock albums dont do better. And who needs yet another long, drawn-out version of Gloria? A green label Canadian pressing also exists. [AM] "Outside Looking In" 1968 (Mainstream 6116) "Outside Looking In" 199 (no label) "Tangerine Zoo / Outside Looking In" 199 (CD) [2-on-1] Their rarer 2nd LP, superior to the debut but still unexceptional. The sound is typical New England postButterfly/Fudge heavy psych rock with organ, fuzz and slow elephantine songs. The supposed drama they're reaching for simply doesn't enter, and after more than a dozen plays I'm having trouble recalling one single hook or line from the album. Listenable all over but nothing that grabs you. For New England/Mainstream label completists only. Great sleeve design like most LPs on the label. [PL]

TARBABY(FL) "February" 1974 (New South nr-4500) Garagy folkrock with some light fuzz in spots and a subtle, understated feel such as on the atmospheric instrumental "New song". Also some boogie tracks, as you'd expect from the time and place. JEM TARGAL (MI) "Luckey Guy" 1977 (S'Heavy) [gatefold; insert]

You know from the coloring book album cover and misspelled album title that Targal is one of a kind, and his album does not disappoint. Its full of weird songs with freaky echo-heavy production, pained romantic lyrics, unrestrained high-pitched vocals and stark guitar or piano arrangements. Theres no clue here that he was once in the Third Power. Not only is this music not heavy, its almost not even rock. The songs are pretty repetitive and groove heavy, but pretty catchy. Its more like 80s and 90s DIY albums than 60s or 70s acid casualty music (the Skip Spence comparisons are off the mark.) A few songs are completely incomprehensible. The piano ballads drag some, and Targals style wears a listener down by the end of the album, and theres a drum machine here and there, but this is a unique record with some very cool songs. Recommended to those seeking adventure. [AM] BANASTRE TARLETON ( ) "Electric Women" 1979 (no label) Weird mix of synth prog and hard guitar rock. There was also a 1985 LP, "No destination". TAROTS ( ) "Knight In Blue" 197 (Arnold aw 14070) "It's In The Cards" 197 (Richard) Johnny Kitchen (Victims of Chance, Crazy People, Blues Train, etc) gets the songwriting credit for three tracks with the remainder by L Priessman. Indiscriminate mix of funk, rock, and e-z lounge moves. TAYLES (Madison, WI) "Who Are These Guys" 1972 (Cinevista 1001) [lyric insert] "Who Are These Guys" 2001 (Akarma 122, Italy) [2LPs; gatefold; +4 tracks] "Who Are These Guys" 2001 (CD Gear Fab 121, Italy) [+4 tracks] A live effort recorded at Madison's Nitty Gritty Club. Heavily hyped by fans and reviewers, these guys were little more than your standard bar band. Among their shortcomings, even though all five members were credited with vocals, they lacked a strong singer. Musically they were certainly competent, though the flute bugged the hell out of me. With the band responsible for all of the material, the collection steered the middle ground between cutesy nostalgia numbers ("Did It"), standard blues-rock ("Baby DoughDough") and longer jam-oriented material ("Bizzaro Ben"). Unfortunately, little on the ten track set was of repeated interest. At least "Angry with My Friend" had a little bit of meltdown guitar. A major disappointment, guess you had to be there.

[SB] ADAM TAYLOR ( ) "Adam Taylor" 197 (Tiger Lily TL 14024) Obscure one on this infamous tax-scam label, impressive 1970s rural folkrock sound with a rootsy, mature vibe. Longer review will follow. EMMETT TAYLOR (Kirkwood, MO) "Emmett Taylor" 197 (Kerygma 101) Early 1970s Christian folkrock with 60s-sounding garage and psych moves, including "Men of delusion" with long fuzz guitar break. Highly rated by some. The LP is credited to Emmett Taylor with Stephan Eyre. T C (Phoenix, AZ) "Lamanite" 1976 (Desert City 3002) Native American doing 1970s melodic rock and folk with mellotron and unusual vocals, also two heavy rock tracks. Has been hyped but not likely to blow you away. T C ATLANTIC (St Paul, MN) "Live At The Bel-Rae Ballroom" 1967 (Dove 4459) "T C Atlantic" 1983 (Eva 12014, France) [+bonus tracks] Charming live recording of legendary Twin Cities band that had several good non-LP 45s. This is not the thrilling acid psych of "Faces" but more of a typical club set from a top local act; bunch of r'n'b/soul standards plus a couple Brit Invasion tunes and two band originals. Good vocals, the right organ sound, excellent recording with plenty of presence, and solid performances all around -- sort of like what all those Justice LPs should have been like. Only weak spot is an endless rave-up on "Love light" that doesn't really work. File under "party" next to the Dimensions, the Kasuals and the Raiders' "Here they come" LP.[PL] T C B (Ottawa, Canada) "Open For Business" 1970 (Traffic) Jazzy horn rock with psych/prog touches and female vocals.

T C T BAND ( ) "Last Time Around Folks" 197 (no label) [2 LPs] A live performance by your typical southernhard rock band from the earlyseventies.Long jams with guitar and organ, mostly cover songs of the day and not one but two songs with thepresumed drum solo (one sucks, the other is tolerable). It's a double album that comes intwo glued together brown paper bags with red print. A period piece that works for people in my age group (mid-forties to early fifties) that remembers those free outdoorshows at a local parkcomplete with jug wine, dirt weed and loose hippy chicks on Quaaludes. [JSB] TEA COMPANY (MA) "Come And Have Some Tea" 1968 (Smash srs-67105) [wlp exists] "Come And Have Some Tea" 2000 (CD, Europe) Pretty freaky stuff for a major label album. Its got every bit as much reverb as The Bachs or Index or the Scorpio Tube. One song is just water sounds. There are lots of sound effects and spastic guitar parts on this album, and maybe the most bizarre cover of You Keep Me Hanging On yet. Not a very good record, but gets points for pure wildness. The bands name is very clearly defined in the liner notes. [AM] ~~~ Fronted by Frankie Carr, the album featured a rather over-indulgent set of self-penned era-psychedelia (be sure to check out the hysterical "As I Have Seen You Upon the Wall"). The lone non-original was a Vanilla Fudge-styled cover of The Supremes' "You Keep Me Hangin' On". Unfortunately, as lead singer Carr wasn't any great shakes. Moreover, burdened by dopey lyrics ("Make Love, Not War") and bland melodies ("Love Could Make the World Go Round"), none of the eight originals proved particularly memorable. On the other hand, exemplified by tracks such as the 10 minute plus "Flowers" and "Don't Make Waves (Water Sound Effects)" the band displayed an awesome affection for sound effects. Having missed the '60s, we can only report that "tea" was supposedly a reference to dope. Contrary to rumor, we can tell you the plant shown on the cover is not marijuana. [SB] ~~~ see -> Frankie Carr; Spare Change Band TEAKWOOD (NY) "Teakwood" 196 (Century 34005) Bob Tupper and Greg Rita of Hamilton College doing late 1960s acoustic folk. TEMPEST (Houston, TX) "Tempest" 1979 (Earth Records 0378)

This privately pressed hard rock record starts weakly, with a mediocre AOR song and a mediocre blues song, but gets much better. There are a few really hot hard rockers and quite a bit of variety in its almost 50-minute length. The only problem is that the male singer is terrible, and hes given the albums very best songs. The female singer, Barbara Pennington (not to be confused with the soul singer of the same name), has real blues strength to her voice but not much in the way of subtlety or nuance. This is a frustrating album, as a lot of talent shows through here but they obviously didnt know what to do with it. The best songs (especially the two sideclosers, which have really great hooks) could have been killers. What this band needed was a good producer or manager who would have made better decisions about who was singing and how. Strangely enough, this album was also released in Germany. The US release has a white cover; the German release has a silver cover. Pennington released an LP in 1982 with Tempest as the backing band. [AM] TEMPESTS(Canada) "That's Right - Walk On By" 1965 (Arkon ACS 4) Teenbeat obscurity with moody cover shot of the six band members' heads arranged to form a human pyramid! TEMPOS (Sylacuga, AL)

"Speaking Of The Tempos" 1966 (Justice 104) "The Tempos" 1987 (Crypt 010) [partial reissue+bonus tracks; altered sleeve] "Speaking Of The Tempos" 1996 (CD Collectables 0601) Considered by many the best LP on the label, even rated by some as the best local garage album all over. Has a true garage edge throughout and an impressive number of great Stonesy originals such as the opening "Two timer" and "You're gonna miss me" (not the Elevators tune) along with 3-4 of the usual surf and R'n'B covers. One of the few, or the only, Justice band not to hail from the Atlantic seaboard states, this also sticks out due to an atypical recording with plenty of punch that reflects a Brit Invasion mindset among these Sylacuga High School punks. Either reissue is worth getting for any 1966 garage fan. [PL] TEMPOS( ) "Tempos" 1966 (no label WFC 595) [10"]

No relation to the famous Alabama band, this is a very obscure 10-inch teenbeat LP from the same era. TEMPTERS (MI) "Live" 1969 (AmCue) Primitive local release of late-period 60s club band doing Beatles and soul covers, along with a few originals. TENNESSEE FARM BAND see Farm Band JOHN TERLAZZO (York, PA) "Honor Among Thieves" 1983 (Beggar Recordings no #) Incredibly dark loner poet folk/rock. Very heavy Leonard Cohen influence, but makes LC seem cheerful by comparison. Even the one song that is upbeat, almost good-timey, has a dark undertone. Terlazzo is accompanied on many tracks by a beautiful haunting female backing vocal which is often wordless. Several tracks have fine electric guitar leads and solos. The poetic nature of his writing rather stark and often esoteric lyric images, brought out well by his rather limited baritone voice. I rate this at the top of the loner folkie heap. [MA] ~~~ Enjoyable modern-sounding dark folk and singer/songwriter with a vibe similar to Bruce Janaway or Bob Theil. There is indeed a notable Leonard Cohen influence but Terlazzo needn't be embarrassed, as this is simply the genre he belongs too, and he does it well, with a personal voice and inventive arrangements including spooky female harmonies and sparse folkrock arrangements. I counted three excellent tracks with "Seven stars over Sicily" a favorite, several more good ones, and only one dud. Terlazzo would continue to record after this debut and is still active as a performer and poet. [PL] TERRAPLANE ( ) "Arrives" 1981 (Stress) [12" EP] Weak hardrock on a 5-track, 45 RPM 12-incher, some prog moves with keyboard. PETER TESSIER(Canada) "By Turning A Knob" 1973 (Columbia ES 90202) Its a mystery as to why this major label release has become so rare, but its a very tough one to find. Its an interesting 70s singer/songwriter record with occasional Christian lyrics strung together in a

thematic way (bits of two songs are repeated throughout the album.) Most of it is pretty straightforward acoustic guitar-based rock thats pretty commercial (and some of it is kind of goofy), but theres a stark feel to some songs and a bit of cool fuzz guitar, so it will appeal to some folk/psych fans. Excellent bass playing throughout, and nice crisp production. The quality of the songwriting is pretty hit and miss. I expect most listeners to like about half of it. Side two really mixes up the genres, some of which arent exactly rock or folk, and the last song on the album is sung in French. [AM] THEE MIDNITERS (Los Angeles, CA) "Thee Midniters" 1965 (Chattahoochee c-1001) [mono] "Thee Midniters" 1966 (Chattahoochee cs-1001) [stereo] "Bring You Love Special Delivery" 1966 (Whittier w-5000) [mono] "Bring You Love Special Delivery" 1966 (Whittier ws-5000) [stereo] "Unlimited" 1966 (Whittier w-5001) Mexican-American group doing an early mix of r&b and Stones-styled movers with horns and garagy guitars. One of the earliest and greatest of the latino soul/ rock groups, led by the outstanding soulful vocalist, Willie Garcia. The debut features their "Whittier Boulevard" hit original, alongside a mix of club frat, soul and British covers. The first Whittier LP has a similar mix plus cool band original "I found a peanut" and a version of "Love Special Delivery", one of the earliest songs with a possible LSD message. "Unlimited" is more geared towards their soul/dance side, and perhaps of less interest, despite several originals and a cool cover. The band's last LP on Whittier was "Giants" (1967), and features material from the earlier albums. There is a vinyl sampler on Rhino from 1983, and a later CD sampler. THEE MUFFINS (Lake George, NY) "Thee Muffins" 1967 (Fan-Club no #) So-so local club/R'n'B act from upstate NY, has one track comp'd on "Oil Stains" but otherwise little to distinguish it. Bonus points for a hilarious sleeve of the group popping out of a toaster. [PL] ~~~ Garage pop covers. Mix of lounge soul ballads and rhythmic garage covers. Fun tinny chiming rhythm playing. Of interest mostly for the fact that it got made at all. [RM] THEM (UK / TX / CA) "Now And Them" 1967 (Tower t-5104) [mono] "Now And Them" 1967 (Tower st-5104) [stereo]

"Now And Them" 200 (CD Revola 29, UK) [+bonus tracks] The first post-Van Morrison Them album takes their gritty R&B sound a step into the future by adding fuzz guitar and some Eastern musical themes. A number of the songs are in a more straight R&B bag, and while theyre pretty good, this is certainly of more interest for the punky Witch Doctor and Walking in The Queens Garden, or the freaky sitar-heavy Square Room, than for horn-laden soul like Whats The Matter Baby. Youre Just What I Was is a nice, if slightly out of character, pop song. Theres a lot to like here. I could have done without their uninteresting version of Nobody Loves You When Youre Down And Out, though. [AM] "Time Out! Time In" 1968 (Tower t-5116) [mono] "Time Out! Time In" 1968 (Tower st-5116) [stereo] "Time Out! Time In" 200 (CD Revola 52, UK) [+bonus tracks] This time, they get even further out, with more sitar, more fuzz guitar, less R&B, stranger lyrics. My favorite line: Buzz, buzz, its a wonderful feeling/to be upside down now and waltz on the ceiling. A lot of this is pretty great. The overall songwriting isnt as strong as on "Now And Them", but the consistency of style compensates. [AM] "Them" 1970 (Happy Tiger 1004) This is usually rated as the weakest of the band's 4 post-Van albums. For a much more enjoyable, in fact quite outstanding Them-related outfit, check out "Of Them And Other Tales" by Truth, a retrospective CD release of westcoast-flavored circa 1969 recordings from Epilogue records 1995.

"In Reality" 1971 (Happy Tiger 1012) By 1971 Them had been reduced to bassist Alan Henderson, lead guitarist Jim Parker and drummer John Stark (both formerly with the Kitchen Cinq and Armageddon). Anyone expecting a continuation of the psychedelic moves that marked the band's previous releases for Happy Tiger was in for a major shock. Musically the set started out with a blast; in this case an extended, fuzz guitar powered cover of Them's own "Gloria". While the remake may not have threatened Van Morrison's original, it boasted some killer lead guitar courtesy of Parker. While some folks will certainly disagree to our ears the band actually benefited from their new found direction. Stripped of the elaborate production that characterized their last couple of releases, material such as "Laugh" and "Lessons of the Sea" found the

trio turning in some roaring hard-rock sides. Kudos to Parker who was simply amazing on material such as "Baby Please Don't Go" and "California Man". [SB] THESE TRAILS (HI) "These "These "These "These "These Trails" Trails" Trails" Trails" Trails" 1973 1998 1999 1999 1999 (Sinergia 4059) (Pele 1, Germany) (Gates Of Dawn) (CD Gates Of Dawn) (CD Sinergia)

Marvellous folkpsych and the best Hawaiian LP ever along with Mu. Like tripping out in a botanical garden and having the acid turn your casual stroll into a deep jungle exploration, surrounded by exotic birds and mystic noises, with old volcanos in the distance while ocean waves lap the back of your mind. Dreamy female vocals, surprising twists, and talent all through, courtesy mainly of Margaret Morgan, who sadly passed away recently. The song structures and arrangements are very unusual, and combine with the ethereal vocals to send you into uncharted mind spaces. "Share your water" is a personal fave. Psychedelic exotica doesn't come better than this. The Sinergia CD is from the band themselves. [PL] ~~~ This is a wonderful and unique album that really defines Hawaiian psych rock. The music is folky/poppy, with clever arrangements that include surprising stop/start sections, little bits of synthesizer noises that feel like rain coming down, and exotic-sounding female vocals. The singing has a nave charm that can't be beat, and the excellent songwriting is breezy and airy. Highly recommended. [AM] THINGS TO COME (Los Angeles, CA)

"Things To Come" 1978 (W.P.I 1) "Things To Come" 1995 (Sundazed 5008) [altered sleeve; bonus tracks] "Things To Come" 1995 (CD Sundazed sc-11017) [bonus tracks] Here's one with a real story to it. For years known only for their outstanding first 45, this ultrarare (50 copies?) late 70s tax-loss LP featuring both 45 tracks plus several more '66-67 recordings was discovered in LA in the early 1990s. Sundazed moved in with a classy reissue making this a household word soon after being found. Things like "Darkness" is true missing link garage-psych stuff everyone needs to hear, although the strongly derivative (esp from Them) nature of some tracks is a drawback. The monster acid tune "Speak Of The Devil" is in a different mix from the 45 version. After a line-up change the band released two good non-LP 45s not included on the reissues. [PL]

THIRD EDITION(LA) "Take 1" 1973 (Rapture 1236) Sometimes described as "garage" or "psych", but actually a lo-fi amateur lounge-rock trio with cheesy organ, some buzzing fuzz guitar and off-key vocals. Three Creedence covers tells you where they're coming from. THIRD ESTATE (Baton Rouge, LA) "Years Before insert] "Years Before "Years Before "Years Before The Wine" 1976 (Third Estate 1000) [500p; The Wine" 199 (no label, Austria) [150p] The Wine" 199 (CD Mellow, Italy) The Wine" 1997 (Void 07) [insert; 500p]

One of my personal faves in the seemingly bottomless well of great local 70s LPs, this intricate folkrock prog-psycher blends a warm Southern summer sound with baroque-like song structures and graduate school lyrics inspired by the French Revolution! Not your average local barrocker and despite multitudes of spins I haven't grasped it all yet. Serious in mood, but rescued from the prog traps thanks to the strong songwriting and a light, flowing musical style. Excellent female vocals on one track. A must to check out, and loved by many. The Italian CD is the best introduction, while the old Austrian bootleg has poor sound. The band came together at LSU in Baton Rouge but the members hailed from elsewhere. [PL] ~~~ A concept album about the French Revolution. Fetch my sawn off from the pick up Bubba, its time to teach these pretentious hippies a danged good lesson. But how wrong I would be to shoot first without listening. Often cited are the female vocals (from Fae Ficklin), brought in for the title track. Her singing is stunning, but even without it the LP would still richly deserve its legendary status. Plenty of fuzz, backwards soundscapes and beautiful acoustic guitar tunes from band leader Robert Everett make this into a total classic. Rewards repeat listening, multi-textured, the sound of exploration is apparent as the band spreads its wings and glorious harmonies flow forth. The sound and overall impression is highly reminiscent of another UK classic, Ithaca. The sound quality on the Mellow CD is superb and it comes with a highly informative booklet with band photos and lyrics. [RI] ~~~ This is a complicated album that opens new doors with every listen. The production style is weirdly stark, with acoustic guitars that sound like theyre in the room with you. The low-budget recording creates a real sense of immediacy. Backwards bits and treated guitars are used to nice effect, and the leisurely pace of the songs works very well. This is unlike anything else Ive heard, and is hard to characterize. It blows most people away, but even if you dont love it, I suspect youll have a weird fascination with it and keep listening. A lot of

reviews mention the female vocalist, but it should be noted that she sings only one song. [AM] THIRD GENERATION (HI) "Third Generation" 1967 (no label) Lounge rock covers. [RM]

THIRD POWER (Detroit, MI) "Believe" "Believe" "Believe" "Believe" 1970 199 1998 1998 (Vanguard 6554) (Mr G no #) (Akarma 033, Italy) (CD Akarma 033, Italy)

This is certainly one of the very best heavy psych albums, and also one of the best albums on Vanguard. Its wild, frantic, surprising, diverse and uncompromised. The guitar playing is restrained and subtle in places, but blasts out with a fury when it needs to. On the slower songs the singing is downright eerie. As with all great albums, it isnt just the sound and energy that kill, but the songwriting, which is great throughout. Feel So Lonely, which starts out slow and drifty, but adds intensity as it goes along, is my favorite, but the rest arent far behind. As with the Highway Robbery album, the ballads are as good as the rockers. A Canadian pressing also exists. [AM] ~~~ see -> Jem Targal 13th FLOOR ELEVATORS (Austin/Kerrville, TX) "Psychedelic Sounds" 1966 label] "Psychedelic Sounds" 1966 label] "Psychedelic Sounds" 1966 label] "Psychedelic Sounds" 1977 in dead wax] "Psychedelic Sounds" 1978 "Psychedelic Sounds" 1978 "Psychedelic Sounds" 197 cover without credits] (IA LP 1) [promo; mono; blue/white (IA LP 1) [mono; yellow/green (IA LP 1) [stereo; coral blue (IA) [stereo bootleg; 'Masterfonics' (IA LP 1) [official stereo reissue] (Radar 13, UK) [stereo reissue] (IA) [stereo bootleg; altered back

Recorded over a 9-month period during 1966, the LP was assembled with some haste as "You're Gonna Miss Me" became an unexpected national hit in the early Fall. The mono mix is clearly superior, as is particularly evident on "Roller Coaster" and "Monkey Island", where the stereo mixes sound unfinished and should be avoided. The mono LP was released in late November 1966, thus competing with the Deep and Blues Magoos as the very first "psychedelic"-titled album. The music, in case anyone needs to know, is a firebreathing blend of garage, folkrock and embryonic psychedelia, the latter represented by the two

groundbreaking numbers "Roller Coaster" and "Kingdom Of Heaven". The LP was an underground hit and went on to sell some 40.000 copies. All promos and early runs of the mono stock have a slightly different back cover with a street address for IA and no credit to Gordon Bynum. Due to stamper degeneration this variation may be preferrable to later runs. Although 1966 is the nominal release year for the stereo version, it probably wasn't mixed and released until a few months into 1967. No stereo promos exist. The IA box set reissue (also available as a standalone item) is identifiable via a matrix number that begins 'Ach...'. Post-1980 reissues are too numerous to list; the crucial fact is that none of the re:s, including those above, are from master tapes. The mixdown masters were lost in the early 1970s and have never been found. The preferrable mono mix has been bootlegged twice in the late 1990s, all other reissues are the inferior stereo mix. [PL] "Easter Everywhere" inner] "Easter Everywhere" "Easter Everywhere" wax] "Easter Everywhere" "Easter Everywhere" "Easter Everywhere" cover] 1967 (IA LP 5) [mono; wlp exists; lyric 1967 (IA LP 5) [stereo; lyric inner] 1977 (IA) [bootleg; 'Masterfonics' in dead 1978 (IA LP 5) [official reissue] 1978 (Radar 15, UK) [reissue] 197 (IA) [bootleg; orange-tone front

International Artists put substantial amounts into "Easter", which was supposed to establish the Elevators as a major force in rock music, after the unexpected underground success of "Psychedelic Sounds". Unfortunately it came out about 6 months too late (released in November), and lacked a strong hit 45 to carry it. Nevertheless most Elevators fans rates it the best thing by the band (or indeed by anyone). The LP sold out its original pressing but was not reprinted, suggesting somewhat disappointing sales, perhaps around 10.000 copies. For some reason IA mastered it an unusually low volume, which contributes to the slightly muddy sound. The earliest run has a printing error on the back sleeve that lists "Posturos" instead of "Postures". The mono mix is an interesting experience, but clearly inferior to the hypnotic, elaborate soundscape of the stereo. The stock mono version is extremely rare and usually sells for four figures.The IA box set reissue ( also available as a standalone item) is identifiable via a matrix number that begins 'Ach...'. Again, post-1980 reissues and bootlegs too numerous to list; the crucial fact is that none of these, including those above, are from master tapes. The mixdown masters were lost in the early 1970s and have never been found. The mono mix was bootlegged in the late 1990s, all other reissues are the superior stereo mix. [PL] "Live" 1968 (IA LP 8) [stereo; wlp exists] "Live" 1978 (IA LP 8) [IA box-set reissue] As the Elevators were falling apart, IA put this infamous pseudo-live LP together from old studio outtakes and added some very phony-sounding applause. The release date is somewhere around August 1968. The LP was not a success, and unsold copies were still

floating around 20 years later. For an Elevators fan this is still mandatory, and due to the strength of the material and performances, a lot better than its reputation suggests. No mono mix exists. Reissues and bootlegs are too numerous to list; the crucial fact is that none of these, including the IA box set reissue from 1978 are from master tapes. The mixdown masters were lost in the early 1970s and have never been found. The 1978 IA box-set reissue can be identified via a matrix number that begins "Ach...". All other reissues or boots are easy to identify as such. [PL] "Bull Of The Woods" 1969 (IA LP 9) [stereo; wlp exists] "Bull Of The Woods" 1969 (IA LP 9) [IA box-set reissue] This posthumous swansong was underrated for many years, but has been revaluated from the 1990s and onwards, and in fact rates as the band's best LP among some Elevators fans. Dominated by lead guitarist Stacy Sutherland, the band here has a dark, brooding intensity that has aged well. Roky appears on less than half the tracks, and there is no jug. The material was recorded during a chaotic 6-month period in 1968, with some horn arrangements added by IA and drummer Danny Thomas as the LP was put together in late 1968. As the original band was long gone, the LP didn't sell well, and unsold copies crowded Texas warehouses for decades. No mono mix exists. Reissues and bootlegs are too numerous to list; the crucial fact is that none of these, including the IA box set reissue from 1978 are from master tapes. The mixdown masters were lost in the early 1970s and have never been found. The 1978 IA box-set reissue can be identified via a matrix number that begins "Ach...". All other reissues and boots are easy to identify as such. All four Elevators LPs were also released on 8-track, the first two LPs both by IA and ITCC, the last two LPs only by ITCC. [PL] "Fire In My Bones" 1985 (Texas Archive Recordings 4) "Elevator Tracks" 1987 (Texas Archive Recordings 7) There is a wealth of bootlegs and obscure archival releases of unreleased Elevators material, but the two TAR albums should be considered mandatory. Both contain one side of unreleased studio material, and one side of live recordings. "Elevator Tracks" is somewhat difficult to find, and includes the devastating "I don't ever want to come down". Of the other vinyl retrospectives, by all means avoid the common "SF '66" boot on Lysergic, which has terrible sound quality. Other releases of the outstanding Avalon tape have better sound, but none come close to the source tapes, originally broadcast on KSAN in 1977. "Original Sounds" (13th Hour, 1989) is a worthwhile boot, containing rough mixes from the first LP in excellent sound on one side, and a highenergy early live recording on the other. "Demos Everywhere" is a UK variant with this same material in an inferior pressing. Beyond these, dozens of CD releases exists, often recycling the same material in various combinations. ~~~ see -> "Epitaph For A Legend"

31st OF FEBRUARY (Jacksonville, FL) "31st Of February" 1969 (Vanguard 6503) "31st Of February" 200 (Vanguard 6503) "31st Of February" 200 (CD Vanguard 6503) The buzz about this album is partially due to having a future member of the Allman Brothers in the band. The record, though, is actually quite good, with a nice dreamy folk-rock/popsike sound and consistent songwriting. Theres yet another version of Codine, but its an appealingly eerie one, and this record really hits all the right spots for fans of the style. All three band members would go on to bigger things in the 1970s. [AM] THIRTYONE FLAVORS ( ) "Hair" 1969 (Crown 492) One of the best psychploitation LPs with more fuzzzz than a dozen 1971 private press hardrockers. Opens with amazingly lame title track from "Hair", then a funny inept "Age of aquarius" with femme vocals, then a crude basement psych original with far out vocals. The rest of the LP is 100% fuzzploitation instros with studio hacks obviously delighted to run stone free like a stage jam by the Jimi Hendrix Experience. Great raw live feel, wild playing and excellent fuzz riffs. A good one to use as a proxy for the whole genre. The LP contains a couple of tracks listed but not present on the Firebirds album, which probably was recorded during the same 2-hour session. A couple of the best tracks have been reissued on the "Heavy Psych" CD compilation. [PL] ~~~ If you wondered what happened to the two missing songs that were listed on the Firebirds album, heres your answer. In wonderful exploito fashion, this is the same band from the same sessions, and despite something called Free Drum, its an equally great record. Its got tons of grungy fuzz guitar and lots of spastic drumming; its a true hard rock wonder! A cover of the song Hair that doesnt bother to follow the normal melody is just plain weird. You have to love the idea that these people were just fucking around and still managed to put together two albums that blow away most hard rock albums by real bands. [AM] SUSAN & RICHARD THOMAS (WI) "A Burst Of Life" 1973 (Blue Hour B.H 3-1017) Pro-sounding, dorky "up-with-people" 1970s hippie couple folkrock/ singer-songwriter trip. She has a nice voice and their enthusiasm and undeniably skillful compositions and arrangements make for passable listening, with a few showtune/musical moves adding a nostalgic charm. However I have a hard time seeing anyone but the most hardcore hippie folk

collectors really enjoying this obscurity. [PL] ~~~ This is a bit of a joke in the collectors world, a record that, when found, sold for $100 to unsuspecting folk-psych fans, and has since become one of the hardest records for rare record dealers to unload. In actuality, as over-sincere hippie communetype folk goes its pretty good, and Susan has a nice voice. It has moments that are way too sweet, and certainly theres nothing even remotely psych about it, but the songwriting is decent and its a heck of a lot more listenable than New Troubadours or Oneness Space. [AM] DON THOMPSON( ) "Jupiter" 1975 (Sunday 5101) [gatefold; booklet; insert] "Jupiter" 1976 (Korona 5101) [gatefold] Delicate emphatic dark folk, sweet high trembling Marcus/Trimblesque vocal, orchestral backing. Sparse sound with spacey mellotron in the background. Flowing "seer with answers" damage. When he sings he's "going to the edge of the world" you gotta believe it's not the first time. Excellent LP. George Faber (Finchley Boys) helps out. Supposedly only 100 copies were pressed of the first version, but the substantial number of copies traded in recent years makes this seem dubious. Some copies of the first press came with promo material and a bonus 7". [RM] ~~~ One side is pretentious guitar-and-voice folk (with mild synthesized orchestral arrangements.) His singing style is way too sincere, and all of the songs sound pretty much the same. Though there are some neat little arrangement tricks (mostly with backing vocals), and creative lyrical ideas, the greatest impression he leaves is of someone whos trying way too hard but doesnt have the ideas to back up the ambition. Side two is more folk-rock, with bass, drums and electric lead guitars, sounding a bit like Cat Stevens. It suits him a little better, mostly because the singing isnt so front-and-center, but this really isnt a fun record. [AM] MAYO THOMPSON (Houston, TX) "Corky's [600p] "Corky's "Corky's "Corky's Debt To His Father" 1970 (Texas Revolution 2270) Debt To His Father" 198 (Texas Revolution) [reissue] Debt To His Father" 1986 (Glass 015, UK) Debt To His Father" 1996 (Drag City 49)

Thompsons singer/songwriter album is in many ways a lot more interesting than anything he did with the Red Crayola. He has a matter of fact singing style and a really unusual sensibility that rewards multiple listens. Some surprisingly blunt sexual lyrics are pretty funny. As with the Crayola, this isnt exactly the most adeptly performed record, but unlike with the Crayola, it never sounds like Thompson doesnt care deeply about his songs. Fascinating and memorable. Mayo relocated to England

in the 1970s, then returned to play with Pere Ubu in the early 1980s as well as continuing to record, with a variety of musicians, under the Red Krayola banner. His other releases fall outside the Archives. [AM] JEFF THORNLEY (DE) "Locked Inside" 1983 (Unique Records no #) Latter day album hyped by psych dealers, despite there not being anything psych about it. Some of it is heavy, some in a more refined pop style. One song is country/rockabilly. Its pretty impressive that Thornley spans a bunch of styles without the album sounding disjointed. The reverb-heavy production does shout out 80s, but not in as offensive a way as most albums from 1983. There are a few Xian lyrics here, lots of lead guitar, and some good hooks. One song has a guest female lead singer and shes better than Jeff, though neither are especially distinctive. Frankly, Im not sure how this got a $100+ price tag when there were hundreds of 80s private press albums of similar quality and originality, but it is a pretty good record. [AM] THREEsee Square Root Of Nine THROWER SPILLANE MCFARLAND (MI) "Blue John" 197 (Ranger Records RLPS 412) "Boots & Bottles" 1975 (Black River Tunes 544N3) Obscure rural rock/singer-songwriter albums from the same crowd that did the Drendall, Thrower & Friends album. Similar in style with some outstanding tracks, though not as solid as "Papa". The second LP, released as by Blue John, features John Drendall, who is not on the Ranger LP. McFarland is not on the Black River LP. THUGH (OH) "Phase Tapes" 1981 (Earters) [insert; 200p] Inept, homemade primitive underground folk/avant tracks recorded '74-80 with an occasional psych vibe. Lots of phasing, synth, tape effects, some acoustic and electric guitar. THUNDERBIRDS (Albuquerque, NM)

"Meet The Fabulous Thunderbirds" 1965 (Red Feather TH1) Mostly pre-invasion frat and instros from teenage Native Americans dressed in goofy dance band gear. Notable Chuck Berry and Tex-Mex influences across the LP, which has been known for decades but is pretty hard to find. One track has been comp'd on "Oil Stains". THUNDERDUK (OH) "Thunderduk" 1996 (Rockadelic 23) [750p; insert] Band photos and raw opening track may tempt one to file this among the typical Rockadelic teenage basement hardrock blowouts, but in actuality this is a local prog/jazzrock affair that's a bit left field both for the label and my hi-fi. The uptempo, energetic excursions suffer from so-so songwriting and a dry, clinical soundscape that cries out for keyboards, fuzz and feedback, and jars with the distorted vocals. Liner notes claim they were a big draw live but it doesn't really sound like it, and there's an odd atonal and out of synch feel to the recording as a whole -- but maybe that's right for the genre. Couple of OK tracks, but too little guitar, and neither psych, folk nor hardrock; may appeal to fans of the UK hard prog scene.1972-1974 recordings. [PL] THUNDERPUSSY (Quincy, IL) "Documents Of Captivity" 1973 (MRT rl-31748) [insert] "Documents Of Captivity" 1987 (Breeder 561, Austria) [b & w sleeve] "Documents Of Captivity" 199 (CD Wild Places 002) Ah, Quincy's contribution to mid-1970s' progressive rock. Printed in minute quantities, this one's attracted a cult following and some glistening reviews. Curiously, most of the reviews we've seen have painted the album as being a hard rock with psych touches outing. Wrong. Written as a concept piece divided into a series of "six Documents" (which plotlines are largely lost on me), the result is conventional (if very good) progressive rock. I'll also be honest and admit that it took a couple of spins to warm up to the LP's charms. It's worth the effort since Morris has a nice voice and, in spite of the elaborate plotline, tracks such as the leadoff "Document of Enigma / Scream Inside", "Document of Security / Moonlite Ladies" and "Document of Latent Summation / In the Forest" offer up strong and surprisingly conventional melodies. The original was pressed on very thin vinyl, most copies have slight bowl warps. There is also a posthumous EP with unreleased tracks. [SB] ~~~ This is the kind of 'prog' album that seems to go over pretty well with psych or hard rock fans. As I'm listening I always enjoy it, as it's full of weird ideas and cool guitar playing. It doesn't stick with

me once it's off, though, which probably means their ambitions are miles beyond their pop sense. This is the kind of thing that I can recommend to people looking for something a bit beyond their usual tastes, but I'm not sure I'd call it wholly successful. Where they got their name is beyond me, because this isn't especially thunderous or tasteless. [AM]

THUNDERTREE (Minneapolis, MN) "Thundertree" 1970 (Roulette sr-42038) [wlp exists] "Thundertree" 2004 (CD Radioactive 096, UK) It's hard to say why this particular major label release is now worth double the price of a lot of its equally good peers, but there's no predicting collectors. Side one are individual songs while side two is a side-long suite. It's somewhat soulful rock with a mild psych edge. It mixes carefully constructed songwriting with a nice variety of sounds, ranging from quiet and mellow to moderately heavy. It's not exactly poppy, but not exactly heavy either. The singing is a bit pretentious, but the interesting production tricks compensate. Depending on how you look at it, it's either creatively arranged or gimmicky. Hardly the best of its type, but perfectly enjoyable for fans of major label psych. Starts with the great song title "Head Embers". [AM] ~~~ This Roulette obscurity has a fair share of fans, although I was a bit put off by the weak, unconvincing vocals and too-busy drumming. Both the overall sound and mood shifts strangely over the LP, ranging from demo-like Steppenwolf macho rock to fullblown, sophisticated westcoast psychedelia. Songwriting is pretty good but the crude, unfinished feel of several recordings suggests that a significantly better LP from the same material could have been delivered by a different band. The dominating sound is a bit like the non-orchestrated tracks on the Common People LP, but less successful. On the plus side is good use of fuzz leads and some interesting studio tricks, once they were given time to fool around. The long suite on side 2 shows typical UK "Abbey Road" artrock ambitions a la Graffiti or Jasper Wrath, and is rather appealing within the genre. Worth hearing, but I'm not really prepared to join the cheering for this album. The LP was also released in Germany on Vogue. [PL] ~~~ see -> Billy; "Gathering At The Depot" STEVE TIBBETS (St Paul, MN) "Steve Tibbets" 1977 (Frammis bzz-77) "Steve Tibbets" 199 (Cuneiform 55009) Guitar/home studio wizard. Eastern instro prog psych, tablas. The Frammis LPs were recorded in his house on an 8-track machine. Later pressings have 're' scribed in the trail-off. None of his releases are

particularly expensive, which is good news. "Yr" 1979 (Frammis 1522-25) "Yr" 198 (ECM) [altered sleeve] Instrumental album thats just chock full of amazing guitar playing. The use of tabla gives it a unique feel and a kind of intimate charm missing from the works of better-known guitar heroes. This is the kind of album that could appeal to everyone from psych fans to folk fans to prog fans to hard rock fans. Very tasteful, very clever, often quite surprising. Highly recommended. Two sleeve versions exist, with "daytime" or "nighttime" scene. [AM] FREDDIE TIEKEN & THE ROCKERS (Quincy, IL) "Live!" 1964 (IT 2304) Early teenbeat and soul covers recorded live at TNT in West Quincy, Missouri. The band kept going for many years and was popular throughout the Midwest. In the late 60s, the Tieken brothers went on to Ilmo Smokehouse. TIFFANY SHADE (Cleveland, OH) "Tiffany Shade" 1967 (Mainstream 56105) [mono] "Tiffany Shade" 1967 (Mainstream s-6105) [stereo] "Tiffany Shade" 200 (Mainstream, Europe) [bootleg; thin cover] This used to be one of the less championed Mainstreams, but the persistent hype on the label has sent the rep of it soaring. Mainstream seldom spent much time on A & R once the artists had been signed, but Tiffany Shade must have been pushed through quick even by their standards. Hence a rather charming teen garage presentation of what is economy fare westcoast folkrock-psych sounds, plus a bunch of tracks that make no sense at all. LP opens strongly with several raw trips on the early Airplane style; cutting fuzz leads and excellent "Nuggets" vocals should appeal to anyone. Side 2 is less garagey & more goofy top 40, but listenable with class points reaped for a Love cover. All over a bit better than I expected, with some prime slices of 60s cheese-psych. Superb cover artwork, as always with the label. The album was also released in the UK by Fontana. [PL] ~~~ Considered one of the second-tier Mainstream albums, but I cant see any reason that Growing Concern is more well-liked than this. Tiffany Shade doesnt have a female vocalist, but has the same general feel as Growing Concern, but with better songwriting and fewer covers. Most importantly, they have a youthful punky vocal style thats ten times more appealing than the annoyingly syrupy male singer from Growing Concern. Would You Take My Mind Out For A Walk is a highlight. As with the Growing Concern album, side two is a bit weaker than side one, but this is a good album, recommended to fans of pop-oriented garage

rock. [AM] TIGHT LITTLE UNIT (TN) "Sings 'Just Send Her To Me'" 1966 (Orchid 6200) A (presumed) live recording from Liberty Lanes bowling alley in Millington, plain cover with stickers. Cover versions in an r'n'b/soul direction.The album title is sometimes listed as "Live at Liberty Lanes".

TIMBERCREEK (Boulder Creek, CA) "Hellbound Highway" 1975 (Renegade jah-95014) [insert; 2000p] The album cover gives hope that this rural rocker is going to be really wild, but the most I can say for it in that regard is that theyre pretty wasted (too much Tequila). Theres nothing heavy or angry here. It is good but not great rural rock in a Dead-meetsEagles mode. The first song is a killer, with a psych-y lead guitar hook, a clever twist in the chorus and a great melody. The two side closers are very strong too. The rest of the songs are a bit too mellow, have too much steel guitar, and are too derivative to make this a great album. The laid back vocals are highly appropriate and surprisingly tuneful, by the way. The cover is cheaply made and extremely prone to seam splits. [AM] TIME (Toronto, Canada) "Before There Was Time" 2004 (Shadoks 054, Germany) [350p] "Before There Was Time" 2005 (CD Shadoks, Germany) Impressive late 60s art-rock with a strong British slant, holding a middle ground between the psychedelic '67 Pepper field and the cerebral excursions of the early prog era. Completely realized arrangements and recordings stand head and shoulders above most unreleased 1968 stuff you run across these days; if released at the time it would have been a classic. Atmospheric, understated vocals, wideranging use of keyboard, and excellent jazzy percussion all create a delightful trip for purveyors of sophisticated late 60s sounds. Not that far removed from classic high IQ American albums such as the second Fallen Angels or Freeborne, with a bit of Lothar & the Hand People college student avantgardism sprinkled on top. The second half of side 1 is particularly good, with a couple of psychedelic tracks that are truly outstanding. The refined atmosphere may be offputting for those in search of garage or hardrock type experiences, but a playful 60s mood and strong songwriting keeps the dread UK prog-rock unicorns at bay. My only real objection is the somewhat short playtime. Released alongside Fingletoad, so Shadoks were definitely on a roll at this point. [PL]

CY TIMMONS (Atlanta, GA) "Cy Timmons" 197 (Erewhon no #) This isnt any kind of loner folk record. Its pure lounge/night club non-rock. This is the kind of guy who would be perfectly at home singing Feelings. Cy has one of those smooth voices that shows practice and polish but not soul or even natural skill. This isnt something like Rick Saucedos venture into rock. Its not music I could imagine appealing to fans of folk, rock, or even the softest soft rock. Its collectable because its a private press, period. Whats next, hype for high school marching band records? Given what it is, by the way, its not awful, but hes certainly no Tom Jones. Some copies of this debut came without sleeve. [AM] "The World's Greatest Unknown" 1976 (Erewhon 1001) Little-known singer/songwriter guy in the jazzy Neil Diamond nightclub direction. First LP is with band and smooth brass; second LP is acoustic solo and has been put down, despite the high going rate. TIMMOTHY (Bay City, MI) "Strange But True" 1972 (Pear LX 502/503) [300p] "Strange But True" 2001(Rockadelic rfr 001) [300p; +1 track] Post-Blues Company rural hippie folkrock LP with a bluesy undercurrent. Notable Neil Young influence on an album that's not at all as strange or eccentric as made out to be, could have been a major label item. Excellent opening track is a rather clever marriage of "Down By The River" and "Wooden Ships". The rest shows Timmothy trying out various loner folk and swampy folkblues moves, although the songwriting tends to be somewhat lacking and the personality isn't arresting enough to compensate. If you're in the right late-night mood this may sound quite atmospheric, at other times the two-chord drone and lack of hooks may annoy. Not a great album to my ears but should appeal to genre fans, and clearly better than LPs such as Geoffrey and Georgie Leonard. [PL] ~~~ Stark-sounding singer/songwriter album with a very obvious Neil Young fixation. I think it's best when it's at its most electric, but even the mellow stuff is better than most in the genre. The album has a deep, personal feel to it and it will connect with the right listener. [AM] TIN PENNY (NY) "Cycles" 1971 (Silver Crest Custom 112771) Upstate collegians, basement prog moves with horns and deep thoughts. On the same custom label as Collective Tools.

TINO & THE REVLONS(Detroit, MI) "By Request At The Swayzee" 1966 (Dearborn 1004) Popular Detroit area band does fratrock & teenbeat on this rarely seen LP, in color cover with band pic and cartoon go-go girls. BRENT TITCOMB (Vancouver, Canada) "Brent Titcomb" 1977 (Manohar mr-100) Long time Canadian folkie (he was in 3s A Crowd) finally got around to making a solo album after the genre practically disappeared. The result is an interesting piece somewhat lost in time, with some eastern influence and an almost evil post-hippie feel to it. Strong songwriting and Titcombs deep voice make for a distinctive album. Only one song has a particularly psychedelic feel to it, but the album should appeal to fans of loner folk or moodier folkrock. Titcomb went on to release three more LPs. [AM] TITUS & ROSS (Marion, IN) "Titus And Ross" 1970 (no label) Melodic folk duo with acoustic/electric guitar, bass, recorder and percussion and some fuzz guitar on "Cycle Thing". TITUS OATES(TX) "Jungle Lady" 1974 (Lips 003) [1st version; blue gatefold cover] [circa 1400p] "Jungle Lady" 1975 (Lips no #) [2nd remixed version; red label and plain cover] [300p] "Jungle Lady" 198 (Hablabel, Italy) "Jungle Lady" 2004 (CD Radioactive 0026, UK) [defective mastering] Pro-sounding melodic 1970s rock with AOR and funky/proggy nightclub moves. Double (sometimes triple) crystalline guitar leads and snappy performances all around make for an attractive sound, with female vocals on one track. Keyboard and sax here and there are appropriate to the mid-70s style, while the upscale production gives all members a chance to shine. At best a fully-realized vintage westcoast trip, as heard on "Blanket", but ultimately there is too little that stands out and it's unfortunate the lady didn't get more songs to sing. Initial response to this was mixed due to its slick, non-basement nature but over time it has gained a fair share of fans, although it's not for everyone. Would make a good double bill with Corpus, although personally I think T-Kail is a better LP in a similar style. The 1975 remix was previously believed to be a test/demo press, but is in fact a later version,

remixed in Nashville. On this later version "Dream on a train" features a solo female vocal rather than a duet. The band also had a 45 (Lips 001). The Radioactive CD has a digital skip on track #6. [PL] ~~~ A lot of this album is very mainstream 70s AOR, but more so on the initial listen than after you get used to it and start to pay attention. There are 70s clichs throughout, especially when they flirt with jazz and funk, and the string synthesizers and phase shifters scream out that it's a cheap production trying to sound like big budget AM radio fare. The two ballads are really schlocky, and the singing is bland in a way that characterizes bands who desperately wanted to be signed by major labels but just didn't have what it took. Female vocals on one song help a bit. She doesn't have much personality either, but at least her voice is pretty. Too bad the song is one of the ballads. Some cool angular guitar parts can be found on a bunch of songs here, though the riffs all pretty much sound the same. Almost all of the songs are more interesting during the solos than during the verses and choruses. At its best this has slight similarities to bands like Snakegrinder, who mixed the styles of the 60s west coast and the mainstream 70s more convincingly than this. Best songs: "Blanket," which has not only more lead guitar than anything else here but also some cool congas, and "Friend of Life," which overcomes out of tune harmonies with some nice riffing and an intense buildup. Half of me (the half that houses my brain) says this is the kind of thing collectors desperately try to convince themselves is unique and different so they can justify their purchase, but the other half says it's an enjoyable AOR record with enough quirks to make it kinda fun. It grew on me. [AM] T-KAIL(MN)

"Somewhere Sometime" 1980 (Jade no #) Remarkable trip in time back to the late 1960s femmevox hippierock sound from this mystery band. Opening track in particular is a dead ringer for the fuzzed teen chick Yankee Dollar-Fear Itself style, while subsequent tracks show 1970s influences creeping in, both in terms of ambitious playing and arrangements, as well as an overall nightclub/singles bar atmosphere that I like. Sounds like it might be a pro loungerock band who wisely filled their sole chance at vinyl with originals rather than "Macarthur Park" and "Hair" medleys. Playing is very tight and both the gal and guys sing well. Unfortunately a completely misplaced disco track in the middle of side 2 breaks the spell a bit, but this is still one of the top 10 local psych-influenced LPs from the

1980s that I've heard. Recommended especially to fans of Titus Oates and the rocking stuff on Galaxy. Sleeve artwork utilizes the same Escher "stairs" design as Mandrake Memorial's "Puzzle", which is obviously a good sign. [PL] ~~~ After Bobb Trimble's work, this is the best 80s psych album. In fact, at least for side one I'd go out on a limb and rank it the very best co-ed San Franciscostyle psych album, regardless of era. In the tradition of the best latter day psych, it clearly is influenced by the golden age of West Coast music, but sounds completely of its time as well. This is no simple throwback or derivative work; it's a wholly unique and distinctive album that combines a very wide and unlikely set of influences in creative and wonderful ways. The album's biggest criticism has come from the inclusion of a straight disco song on side two. The song is unlikely to appeal to the same audience as the garage-styled opener "Peace of Mind," but in the context of the album, which flows from song to song, showing subtle shifts in style, it actually makes perfect sense. Similarly, neither the new wave-styled synthesizer on the title track or the long jazz-funk instrumental opening on the final song sound out of place. There seems to be no attempt at attracting any particular type of audience here: no artifice, no pandering. It's a wonderful album. Highest among the many pleasures is the absolutely stunning title track, which benefits from a chillinducing vocal from Kathy Bass. The long guitar solo on "Bye Bye" is also a winner, in the best tradition of Quicksilver Messenger Service or Tripsichord Music Box. This is also one of the very few albums of this style where the male and female vocals coexist without stepping on each other's toes. If you can live with the disco tune, this is very highly recommended. The band is quite mysterious (no photos on the album cover) and sadly appear to have made no further recordings. Great Escher cover art. [AM] TOADS (Lawrenceville, NJ)

"Toads" 1964 (K R Wight & Associates 64-021) Lawrenceville prep school instros and surf with a couple of members formerly in Davy & the Badmen, reportedly with some good tracks for genre fans. Typical period covers of "Baja", "You can't sit down", "Sleepwalk", "Penetration" etc, and one or two originals. TOGETHER(East Orange, NJ)

"Together" 1969 (Ransom Recording no#) [plain cover with stamped title] Folk blues, homemade sound. Ex-Hermon Knights. V.A "TOGETHER SOUND OF LEHIGH VALLEY" (PA)

"Together Sound Of Lehigh Valley" 1971 (Red Barn 83071) Well-regarded local PA sampler which has supplied one primitive fuzz-psych track by Bitter End to a comp and has 3-4 more good moody basement tracks worth hearing. A bit later in the game than most LPs in the genre, with 1970s rural rock/AOR elements creeping in. About half is covers, including Neil Young, Three Dog Night and (yep) Ringo Starr. [PL]

V.A "TOGETHER SOUND OF READING" (Reading, PA) "Together Sound Of Reading" 1970 (Airport 70870) Mixed bag of post-garage and soul moves, with covers of Creedence, Chicago, "People get ready", "96 tears" (!). For regional completists mainly, with only 9 cuts. TONGUE(WI) "Keep On Truckin'" 1972 (Hemisphere 101) "Keep On Truckin'" 2004 (Comet GFC 418, Italy) "Keep On Truckin'" 2004 (CD Gear Fab 151) This odd mix of hard rock and rural folk-rock is on the same label as Clicker and Yancy Derringer. It has a few hot hard rocking moments to it, and uncompromising stuff like "Get Your Shit Together." Their cover of "Morning Dew" is based on Bonnie Dobson's mellow version, not the common and more rocking Tim Rose version. The album is uneven and rather sloppy, but it's interesting straight through. [AM] TOOL SHED (New York City, NY)

"Skyscape Music" 1971 (RPC 19291) [500p] "Skyscape Music" 199 (no label, Austria) [300p; altered cover] Desoriented urban college dorm hippie-folk album with

some good and strange tracks like "Angels in her walk" that go deep, and a pretty interesting LP all over. Actually a various artists college project LP from NYC but usually referred to only as "Tool Shed". [PL] TOO SMOOTH ( ) "Too Smooth" 1976 (Tiger Lily) Southern rock with heavy guitar, one of the rarest on this notorious tax-scam label. TOP DRAWER(Mansfield, OH) "Solid "Solid "Solid "Solid "Solid Oak" Oak" Oak" Oak" Oak" 1972 1984 199 2002 2004 (Wishbon 721207) (Wishbon/Resurrection) (CD Austria) (CD Psychosound) (CD Red Lounge)

Long time legend which opens with a tremendous introspective moody psycher, rest of the LP is more typical rural hard rock with 1960s remnants. Appealing, non-operatic teenage vocals, tough stripped down sound with organ and strong guitar leads not unlike Headstone (OH), plus some cool lyrics. The LP is very unassuming in its nature, which means that some songs and/or takes seem unfinished, which adds to the overall realness of the Top Drawer trip but may offend those looking for Led Zeppelin type professionalism. One of my personal favorites in the style, simply because it avoids being slick, macho, bone-head, phony or commercialized; a snapshot of a local stoner band without any posturing. Mandatory for 70s basement hard rock fans, with a wider appeal in that long first track. The band was long believed to be from Kentucky, but came from Ohio. The 1984 "second press" is unmarked but can be identified as a Resurrection label job by the 'CX' prefix in the dead wax. [PL] ~~~ This starts out well, with the long Song of A Sinner, which mixes moody keyboards with equally moody lead guitar blasts. The rest of the album is more upbeat, more standard rock (not hard rock, as its usually described), and less interesting. The guitar solos are uninspired (except for the fun spazz attack solo on Lies) and many of the songs drag on about twice as long as they should. The vocals range from competent to awful. A lot of the melodies are of the lets just follow the chord progression type, which makes for some really tedious listening. Much of this album is pretty bad (the ballad Sweet Memories is painfully so), but every once in a while something unexpectedly hits the spot. For example, Bakers Boogie is standard boogie rock, with mediocre guitar playing and lousy singing, but has a wacky recurring organ pattern thats just wonderful, and lyrics about panties of lace that are delightfully dumb. Its not a good song by any means, but that organ part just drills its way into my head... The horns on Messed Up are surprisingly

effective. Other than the first song, this is closer to a real people album than a real rock album. Some of you will like it a lot. You know who you are. [AM]

TOPPER( ) "At Last" 1977 (Scot t-9548) This one may annoy a lot of people, but I love it. Its synth-heavy 70s prog with a mild heavy tone, much more about hooks, melodies and creative use of Moog than about virtuoso instrumentation. The synths are inventive and intense, and the instrumental bits are carefully composed. Theres nothing offhand or boring about this album. The vocalist falls somewhere between 60s hard rock and 60s soul, and somehow fits this mix perfectly. All of these elements could add up to real dreck, especially on the song with a strong disco/funk feel, but somehow it works. The last few songs flirt with heavy metal-style devilishness, including electronically altered vocals, but theres a surprising mildness to this music. The guitars are relatively sparse and tastefully low-key (no distortion on the rhythm guitars.) One song rips off Stairway To Heaven, something Led Zeppelin deserves for all of their own thievery, and adds mellotron to wonderful dramatic effect. This really doesnt sound like anything else I know, and maybe there arent a whole lot of people out there who will react to it as positively as I do, but I sure cant stop playing it. [AM] V.A "TOP TEEN BANDS" (MN) "Top Teen Bands, vol 1" 1966 (Budjet 311) "Top Teen Bands, vol 2" 1966 (Budjet 312) "Top Teen Bands, vol 3" 1966 (Budjet 313) Quickie series of local Minnesota acts with some neat frat and garage tracks. Vol 1 has lots of local Minn legends like the Muleskinners, the Avanties, the Underbeats, the Kan-Dells and the Deacons. Vol 2 has some of the same acts, adding the Novas and some girl group and blues outfits. Vol 3 again features familar names, with more focus on teen-beat/garage. As collections of local mid-60s sounds, these aren't bad at all, especially for those who enjoy the classic beer-soaked sounds of pre-acid Twin Cities. Most, or all, of the tracks also came out on 45s.All three LPs were reissued on vinyl some years back. TOR-KAYS( ) "Tor-Kays" 1967 (Wild Enterprises WE 1003) Sleeveless LP of local unknowns doing mostly blueeyed soul covers, indicating an Eastcoast origin.

TORMENTORS (CA)

"Hanging 'Round" 1967 (Royal 111) [mono] "Hanging 'Round" 1967 (Royal s-111) [stereo] "Hanging 'Round" 1984 (Eva 12055, France) Rare but disappointing LP in various mid-1960s styles, ranging from pre-Invasion crooner pop to moody folkrock. Sounds like they came out of a square lounge/club circuit a la Jack Bedient & the Chessmen, with the sound only partially updated. The Roy Orbison/Neil Sedaka stuff makes up at least 1/3rd of the album and some of it is awful, with weak songwriting and mumbling vocals. There's a Beau Brummels cover, but otherwise originals from what I can tell. I counted two good tracks on each side, with the moody folk introspection of "Childhood memories" and the swell teenbeat of "Cause you don't love me" the best; the latter also came out on 45 as by the Odds & Ends. There's some fuzz where you least expect it, a muzak instro, and the LP as a whole has a strangely disjointed feel with a lot of seldom touched bases covered, while all the usual stuff such as the Stones and blue-eyed soul is missing. Could be hyped and probably has been, especially in light of the excellent cover artwork, but in actuality nothing to write home about. The band had a couple of 45s as well.[PL] TORO ( ) "Toro" 1975 (Coco clp-106) Hispanic group with cool Santana sound heavy guitar rock (great leads) and latin groove on the melodic cuts. TORQUES (Phillips Academy, Andover, MA) "Zoom" 1964 (Wright & Associates 64-01) Obscure one from the famous Andover prep school. The LP which utilizes a vast number of "clappers" has one original ballad plus covers including "Surfin' Bird". Possible George W Bush involvement, at least he was there at the time! TORQUES (KY)

"Live" 1967 (Lemco 604) Different group from soul, half with good mixed with covers of Brown, etc. Recorded TOTENTANZ(Canada) "Totentanz" 1972 (no label) Obscure LP of minimalist electronic experimental with a spooky vibe. TOTTY (Tulsa, OK) "Totty" 1977 (no label bt-205) [demo press; 50p; plain cover with sticker; lyric sheet; promo photos] "Totty" 1977 (Our First 205) [color cover; insert] "Totty" 2004 (CD Radioactive, UK) Christian powertrio hardrock out of Tulsa with some psych and prog flashes not unlike Truth & Janey. Incessant guitar riffing and soloing throughout, superb bass playing, only weak spot are the vocals which almost drown in the music. A few weaker barrockers, but 3-4 extended killer blowouts make this an essential item for local 70s hardrock fans. The closing 8-minute "Somebody help me" is about as good as it gets for me. The band also had a lesser LP "Too" in 1981 (Our First ofr-02). [PL] ~~~ Interesting Xian hard rock album with mild jazzy touches to it. Its not as in-your-face heavy and riffy as the best albums in the genre, but the songs are well-written and it does have its share of hooks. The lyrics are pretty interesting and sophisticated, not your usual Christian blandness. The guitar playing is pretty strong throughout. [AM] TOUCH (St Louis, MO) the prep-rockers. Garage, frat & fuzz. Several band originals the Rascals, Raiders, James on New Year's Eve 1966.

"Street 100p] "Street "Street "Street "Street

Suite" 1969 (Mainline 2001) [gatefold; bonus 45s; Suite" Suite" Suite" Suite" 199 199 1997 1997 (Mainline) [bootleg] (CD Renaissance) (Gear Fab 105) (CD Gear Fab 105) [+9 tracks]

Local LP in a late hippierock mode, caught in the transition from flower power to counterculture "Volunteers"/"Kick out the jams" revolutionary attitudes. Cool female vocals, a bit bluesy in parts but also some no-nonsense westcoast rockers. Hardly a mindblower, but with a pretty high "artefact" value. Great lyrics like "You gotta get it on/With a gun in your pocket/And a capsule in your hand" - it must have been tough being the only hippies in St Louis back then. No relation to any other Touch. [PL] ~~~ Bluesy psych-rock with an underutilized female singer and plenty of clichs. Lyrically, it definitely skates on the violent revolutionary edge of hippiedom, but in a rather awkward way. The bleak production is pretty powerful, but this isnt a very good album. A couple of country-style songs dont help. The CD includes some odd bonus tracks, including some 80s synth-rock by band member Ray Schulte and a 70s song with a pre-Pavlovs Dog David Surkamp on vocals. [AM] TOUCH (Portland, OR) "20/20 Sound" 1969 (Coliseum ds-51004) [gatefold; poster] "20/20 Sound" 1993 (CD Renaissance rcd-1001) [+2 tracks] Unique experimental album that anticipates prog. Long songs that rarely stick to any one theme or a verse/chorus structure are highly creative and somwehat erratic. Two are total killers, though. "Down At Circe's Place" starts with a killer piano hook and overlays all kinds of noise on it... irresistibly catchy! The epic closing "Seventy-Five" is a masterpiece, building slowly to an amazing peak, and featuring high male vocals that rival Tim Buckley at his most exciting. This is better on LP where the song runs into the groove at the end of the album side. Also, the CD is compressed and takes away from the ear-piercing peaks of sound on both of these great songs. Sometimes it's better not to follow the rules, and they understood that concept completely. Not a great album all the way through, but the good parts are unlike anything else I know. There is a UK pressing on Deram that sells for bigger $$ than the easy to find US pressing. [AM] ~~~ see -> Stepson TOUCH (OH) "Touch" 1980 (Jewel) Local hardrock, includes cover of "Wizard" by Charlee. TOUCHSTONE (VA) "Runes"1978 (Jericho 1260) Folk with a dreamy feel, female vocals on one song.

Pleasant but not a real standout of the style. They released a second album as Eric and Kathryn Cowan, entitled "Long Through Time", in 1983 on cassette tape only. It's mostly in a jazzy soft rock/ballad mode with unappealing 80s-sounding production, but the closing "Mystical Journey" has a nice acid folk feel to it that makes it much more interesting than the rest of the album. This time around, the vocals have a pretty even male/female split. [AM]

TOWER (New York City, NY) "The Tower" 1973 (Other World 1001) Post-nuclear holocaust story with audio collage of electronics, musique concrete, synthesized speech, and all sorts of sound effects. Sounds like the Dreamies doing the music for a Stephen King audio book! TOY FACTORY (Canada) "Toy Factory" 1969 (Avco ave-33013) Poppy studio lounge psych mixed group that's beginning to attract some attention. The male lead has a very feminine sounding voice. Mostly originals, and a far out "Summertime" cover. TRACKS (New England) "Tracks 69/74" 1974 (Tracks SBT 1) [3 LP box-set; booklet] Three LP box-set rounding up a stack of recordings from band in a progrock direction with a jammy live feel, guitar-leads, organ. Band leader Russell Pinkston later became a noted researcher on computer/music interfaces. TRANCE-FORM ( ) "Stranger In The Same Land" 197 (Hyde & Zeke) [insert] Genesis-style progressives. TRAVELER'S AID (San Bernardino, CA) "Corduroy Roads" 1970 (Rock 9001) [blank back; 100p] "Corduroy Roads" 2000 (World In Sound rfr-05, Germany) [insert] Rural rocking sounds with growling vocals and a rootsy sort of Creedence vibe - neither psych nor hardrock, more like an ambitious bar band. A title like "Rock'n'roll is spoken here" says it all. Real Americana sounds on a consistent level with a couple

of standout tracks and an appealing unpretentiousness, but not really my bag; songwriting doesn't impress (the "Hair" musical cover even less so) and the sub-Fogerty vocals seem one-note after a while. The droney "Making tracks" is the only cut I really like. Others rate this highly, and it's a pricey one when offered. The group is actually San Bernardino punksters the Torquays in a later incarnation and includes a version of "Harmonica man" appropriately replacing the London reference with Nashville. The miniscule press size has been reported by the band. They came back again with an oldies LP under another name in 1976, including alternate versions of two tracks from this LP. [PL] TRAVIS (MI) "To Be As Free As You" 1975 (Unity 001) Harmony vocal rural rock trio with jammy westcoast sound in a mellow Deadish vein. TREE(Kalona, IA) "Tree" 1972 (Goat Farm) The opening track here is: "Dedley Medley (including: Separate Ways, Oh Well, Captain Bobby Stout, Cranny Crow, Rattlesnake Jam, Mellowdown Easy, All Join In)", it is the first of three songs on side one and, given its title, surprisingly short at about four minutes. It involves what sounds like about eight to a dozen people pounding on various percussion and singing hard-to-decipher lines until "Mellow down easy...." gets repeated a few times and you find that you're farther along than you imagined you'd be. "Directly From My Heart" gets more coherent and sounds more like a standard band with a good bassist and drummer and an organ player/vocalist who tries to be Al Kooper with mixed results on both fronts. The first side ends with "Down the Rabbit Hole" and a return to more free jazz moves as a trumpet player and organist trade licks while the bassist plays walking bass runs behind them. As psychedelic rock, it just isn't, and as free (or modestly priced) jazz, it falls pretty far from the interesting bush. Put this in a historical context and it probably would have seemed incredibly cool for a bunch of hippies on a farm in Iowa to jam like Miles Davis' way less talented 3rd cousin. Not totally horrible, just horribly unnecessary. Side two also has three tracks: "Blue Cheese Gospel" is a stoned cross between a crazed evangelist and James Brown. If you can imagine a bunch of stoned hippies sitting around trying to improvise to that idea you can also imagine why you don't need to hear this. "Mind Spirit-Body Train" is a percussion/organ jam with female vocals that most closely resemble Yoko Ono's vocals on "Don't Worry Kyoko". And I don't mean that in a good way. The LP closes with the strongest cut, "Moonlight Couples Only" which gets closer to a "Jack Johnson" era Miles Davis sound than anything else. A repetitive bass pattern anchors the track, as a guitar and trumpet

play off each other and the drummer colors in the empty spaces. It never plays with dynamics like Miles and John McLaughlin did, but it makes me wish they'd recorded the entire performance (it's a live track). [SD] ~~~ see -> Iowa Ear Music TREE PEOPLE( ) "Tree People" 1979 (no label) Flowing guitar & flute hippie folk with a rural British downer vibe, some instrumental tracks a la Modality Stew. TREES(NY) "The Christ Tree" 1975 (Pomegranate 001) [lyrics insert] Quite extraordinary religious progressive folk album that moves across time and space in a C.O.B-like manner yet never misses the beat. Dominated by three extended mindblowers that bring in deep Search Party brooding, Indian and Japanese instruments, advanced choral experiments, bells, gongs, hippie commune vibes, you name it; the shorter tracks are less eclectic and more traditionally catholic-liturgical. The constant motion from a good idea to an even better idea reminds me of the first Perth County Conspiracy album, if you imagine that one being about Christ instead of Shakespeare. A deeply spiritual feel emerges, yet the massive influx of ideas spells pure psychedelia for acidhead seekers. On the IQ scale this one's way up there. Personal fave, recommended to fans of Search Party, Extradition, Book Of Am and similar monastery head trips.The band was based in NYC but travelled a lot and had a second base in New Mexico. [PL] RYAN TREVOR ( ) "Introducing" 1977 (Ryan Songs rf-1) Acoustic-based psychy folkrock with electric leads and some synth. VIC TRIGGER BAND( ) "Electronic Wizard" 1977 (Sanctuary 12103) Hard prog-rock with long wah-wah and fuzz excursions. There was also a self-titled mini-LP in 1983 on Sanctuary. TRILOGY (FL)

"Two Sides" 197 (Strange Productions 101) Early 1970s lounge band with female vocals and bossa nova moves, includes an Emerson Lake & Palmer cover. Highly rated among genre fans, others may be less impressed. BOBB TRIMBLE (Worcester, MA)

"Iron Curtain Innocence" 1980 (Vengeance no #) Locked in a timeless world of bittersweet folkpsychedelia, Bobb recorded this first ultraobscure LP at a time when absolutely noone made psych LPs. Hits roughly the same spot as his more wellknown 2nd LP with three awesome tracks at the outset and other winners scattered about; a couple of weaker moments but all over a brilliant LP - blows almost all 60s psych LPs away. Side 1 is Bobb in 1980 with studio band the Violent Reactions, side 2 features a somewhat sparser sound, recorded in 1978. A rare 45 was pulled from this LP. Most of it is reissued on the 1995 CD below, unfortunately two very good tracks on side 2 were omitted. [PL] ~~~ Most people's introduction to the world of Bobb Trimble is via the CD, which starts with the amazing first three songs from this album. Those three songs are as good as anything; Trimble's music is an utterly unique blend of melodic songwriting, gorgeous high vocals, overwhelmingly echoey and warbly production, synthesized guitar and fuzz guitar, and it's mesmerizing and life-changing. Side two was recorded a few years earlier and is simpler in terms of production, but the songwriting is equally good. Over the years it has become apparent that this album has aged very well and is every bit as good as the more heralded second album. Trimble's music is utterly timeless, utterly distinctive, and utterly beautiful. [AM] "Harvest Of Dreams" 1982 (Bobb no #) "Jupiter Transmission" 1995 (CD Parallel World) Rated by most as the best psych LP of the 1980s. One of those obscurities (like Golden Dawn) that blows even non-psych fans away. Rooted in a '67-68 "Strawberry Fields"-type deep acid psych sound with tapestries of acoustic guitars, multilayered vocals and halfburied sound effects, the total impact is like walking around in one of Bobb's dreams. Melancholic, moving but also hopeful - an essential experience. As with the debut, a very rare 45 was released. The CD reissue includes the entire LP, except for an atypical number sung by "the kids". There is also an LP "Life Beyond The Doghouse" with later recordings from Bobb (Orpheus, 2002) [PL] ~~~ "Harvest" is equally as good as the debut, but has the edge for many because it packs such a powerful

and mysterious emotional punch. Those who know the majority of the album's songs from the CD will be surprised to find a brief punk song and two and a half minutes of silence on the album, but once you're used to them they make perfect sense and add immeasurably to the depth of the record. It's notable that amidst all of the despair here, both sides open with the most joyous songs you'll ever hear. Everyone reading this needs to hear both Trimble albums. [AM] ~~~

see full-length review

TRIPSICHORD MUSIC BOX (Los Angeles, CA)

"Tripsichord Music Box" 1970 (San Francisco Sound T4A-12700) [1st version; red label; plain cover with stickers] "Tripsichord Music Box" 1971 (Janus 3016) [2nd version; altered cover; brown label] "Tripsichord Music Box" 198 (no label) [white label bootleg] "Tripsichord Music Box" 199 (no label, Italy) [green vinyl] "Tripsichord Music Box" 199 (CD Eva, France) "Tripsichord Music Box" 199 (CD San Francisco Sound) "Tripsichord Music Box" 2000 (Akarma 077, Italy) [2LPs; gatefold; bonus tracks] "Tripsichord Music Box" 2000 (CD Akarma 077, Italy) [+bonus] To me one of the best LPs ever out of the westcoast, hits that awesome Fillmore live feel rarely found on studio LPs. Except for the unsuccessful boogie of "Short order steward" this kills from start to finish. Rather than describing this major classic I urge any newcomers to get it with no further delay. The band was originally from LA and known as Now (who did a 45), then moved to SF when Matthew Katz' eyes fell upon them. An early 1970s Christian LP "Sons of Mosiah" features one ex-member playing acoustic versions of a couple of Tripsichord tracks. The earliest version of the LP was possibly pressed only as a demo, and only a couple of copies have been found. It comes in a completely different cover than the familiar Janus "fairytale" design. It's been suggested that the somewhat lo-fi Janus pressing was mastered from this earlier vinyl demo, rather than from actual tapes. Two label variations exist of the Janus pressing, one with a "San Francisco Sound" logo, the other with only Janus logo. The 1980s bootleg is sometimes sold as an original, but there were no white label originals. The beautiful Akarma reissue has all their recordings including the "Fifth Pipe Dream" tracks and non-LP 45; very nice job. [PL] ~~~ Other than the terrible blues-rock song "Short Order Steward," this is a completely solid SF album, with well-written, concise songs, evocative lyrics, creative guitar playing and appealing vocals. It rocks reasonably hard in spots, but has a folky moody feel to it as well. For some reason, people either seem to think of this album as generic or as the best of the genre. Usually the truth is somewhere in between, but in my opinion this really is one of the

best, and I have a hard time understanding why it isn't apparent to everyone who hears it. Maybe the best moments here aren't as exciting as those by the better known bands from the scene, but the songs are great, and this album is free of the excesses, ego trips, and recording studio discomfort of The Dead, Quicksilver and the Airplane. The singing is better than any of those bands, too. Highly recommended. [AM] ~~~ see -> "Fifth Pipe Dream"

TRIZO-50 (Kansas City, MO) "Trizo-50" 1974 (Cavern Custom 740142) [100p] "Trizo-50" 2003 (World In Sound 21, Germany) [+bonus tracks] "Trizo-50" 2003 (CD World In Sound 1021, Germany) [+bonus tracks] Demo LP recorded in KC, this was a later incarnation of Phantasia with a different and more glamrockinfluenced sound. Some tracks appear on the "A Psychedelic" Phantasia sampler from the early 90s. There's a large number of unreleased recordings, although the WIS reissue takes care of many of these. Some people seem to like this but to my ears it's a let-down after the awe-inspiring, dynamic creativity of Phantasia. The recording quality is also a lot less impressive here. [PL] ~~~ see -> Walkenhorst Brothers TROLL (Chicago, IL) "Animated "Animated "Animated "Animated Music" Music" Music" Music" 1968 1997 2005 2005 (Smash srs-67114) [insert; ylp exists] (CD Flashback 010) (Radioactive 064, UK) (CD Radioactive 064, UK)

Interesting Sgt Pepperish bag of tricks from Chicago band who had some non-LP 45s as well. Opens with somewhat atypical raw fuzzrocker with growling vocals, while "Mr Abernathy" zooms you right into the expected Brit-style pop quirkiness, wellwritten and charming a la the Snow LP on Epic. This segues into the rather unfortunate "Fritz und Sweeny" which proves that applying the Ray Davies short-story idiom on the Third Reich is not a good idea, even as the music is pretty good. The LP continues in the same hit and miss fashion, but the entertainment factor remains pretty high. The token "Winchester Cathedral"-type music hall piece of shit is present, although the lyrics are unusually off-color. At best the band reaches the upscale post-Pepper cleverness of Mandrake Memorial and the 2nd Fallen Angels, especially on the great "Winter song". As is typical for the genre, the album closes with a "heavy freakout" track with Hendrixy feedback. "Animated Music" used to be overlooked and while not a masterpiece by any means it's a passable piece of late 60s UK-style studio art-pop with a few moves into grade A psychedelia. Incidentally, the Radioactive CD offers no track list except on the

cover reproduction, which is almost impossible to read. [PL] ~~~ This is a highly ambitious psych album that has some killer freakouts (Werewolf and Witchbreath), some awful novelty tracks, and some attempts at social commentary. Obviously, its only semi-successful and is occasionally frustrating, but it has its moments, and gets downright creepy near the end. They were a band in need of an identity, and I think that if stuck with their wild instincts this would have been a really good album. As it is, its still worth a listen as long as you can deal with the mix of styles. [AM] TROYKA (Canada) "Troyka" 1970 (Cotillion) [red label] "Troyka" 2004 (Eroe Progressivo 005) Wonderful, distinctive album that follows none of the rules and is better for it. About half of the songs are instrumentals, built around catchy hypnotic patterns. Despite being a "power trio," they have surprising musical grace and dexterity. The songs with vocals are much heavier, as the "singer" mostly grunts and growls, making for some pretty wild stuff. It really feels like a big goof (there's not a single serious lyric on the album), but somehow it works as a mix of psychotic pre-punk zaniness and anti-prog instrumental creativity. A lot of albums have one or two "throwaway" songs that have an engaging looseness and somehow are more enjoyable than the "real" songs. Here's an entire album of those songs. [AM] TRUTH & JANEY (IA) "No Rest For The Wicked" 1976 (Montrose 376) "No Rest For The Wicked" 1988 (Montrose) [plain cover autographed by Janey] "No Rest For The Wicked" 199 (CD Recession) [+4 tracks] "Just A Little Bit Of Magic" 1979 (Bee Bee) "Live April 8, 1976" 1988 (Rock'n Bach) [2LPs; gatefold] "No Rest For The Wicked" is surely one of the greatest hard rock albums of all time. It's tightly constructed and tightly played, with more memorable riffs and solos than the entire careers of a dozen other similar bands. The bass playing is monstrous and the drumming solid but, believe it or not, tasteful. The singing is only average, and the band tends to compensate with multi-tracked, highly reverbed lead vocals, not really the worst way to deal with the issue. An song that illustrates the best features of the band is "The Light," which opens with a combination of low and high guitar riffs, a melodic bass line and precise rhythm guitar. Not too many bands could resist the urge to go crazy with extra solos or spastic drumming, but this just works its way through a cleverly composed pattern, creating

the right kind of tension and intensity. It's perfect. The best song is probably the nine-minute "Remember," a complete smorgasboard of melodic and dissonant riffs and hooks. This album doesn't have a lot of overdubs, but the production is quite professional, and it's heavy from start to finish-not a wussy moment on it. Guaranteed to blow the mind of any mainstream hard rock fan, and, of course, it sounds equally good to those of us who enjoy Tin House and Sir Lord Baltimore as much as Blue Oyster Cult and Black Sabbath. This is one of those albums where you keep thinking "the next song can't possibly be as good as what's come before," but it always is. The 2nd LP isn't highly rated, but the live double has some killer tracks, four of which appear as bonus tracks on the Recession CD reissue. [AM] TRYAD( ) "If Only You Believe In Lovin'" 1972 (Storm King SKS 101) [insert] Rare 1970s folker by 2-guys-1-girl trio, described by some as mediocre, despite the high going rate. T S TRUCK(IL) "T S Truck" 1973 (Smokey Soul 062973) This LP offers up a mix of conventional rock, pop and light progressive touches. At least a couple of tracks like "Chance To Prance" and "Doc LaVay" melded all of those genres into one song. Merideth had a nice voice and the rest of the band displayed musical dexterity far beyond what you'd find in your typical bar band. Additionally several of the songs (which are probably all originals - no credits on the album), benefited from a distinctive Allman Brothersstyle twin lead guitar attack. Highlights include the nifty leadoff track "Khengis Gange" (the lyric was sung as 'ganja people'), the Allman Bros-styled "Let the Gunslinger Win" and the pretty ballad "Country Lady". To be honest, while none of the eight songs were particularly original they all benefited from enthusiastic performances and some surprisingly good production work (for a small studio). A pleasant discovery with more than its share of winners. [SB] MARK TUCKER(IL / CA) "Batstew" 1975 (Tetrapod Spools 64001) [200p; lyrics] "Batstew" 1996 (CD Tetrapod Spools) "Batstew" 2006 (De Stijl 037) [500p] Damaged, somewhat legendary acid folk/real people with lots of car noises, piano ballads, tape manipulation and general madness, housed in a handmade cover. The album was released in two runs of 100 copies each, including one personalised edition for his former girlfriend Eva, where the title read

"Bataszew" (her last name). It should be pointed out that some people consider "In the sack" superior. Tucker also made a non-LP 45 in 1979. "In The Sack" 1982 (Tetrapod Spools 64009) Apparently Tucker's second release, 1982's "In the Sack" was recorded after he'd suffered at least a couple of mental breakdowns, pulled himself back together and relocated to Encinitas, California. Self-produced under the pseudonym "T. Storm Hunter", it's largely a one man show with Tucker/Hunter responsible for penning all eleven tracks, as well as handling all of the vocals and most of the instrumentation. With that background you probably won't be shocked to learn that musically this is one mixed up and messed up album. Supposedly a concept piece having to do with karma and the postal system (I have no idea what the plotline is), the album offered up an indescribable mix of spoken word segments, experimentation, instrumentals, and surprisingly commercial numbers. Finding a comparative baseline for this one is pretty tough perhaps Jonathon Richman had you put him on mood altering drugs for a year. "Everywhere with Sally (Ride)" is a great slice of pop, except for the fact it was recorded backwards. Cool, but typically strange. The snippet "Down the Pipeline" sounds like it was lifted from a video game. A mix of avant garde, tape manipulations and experimental ramblings, "The Importance of Making Molehills One of Specks" could have been mistaken for a slice of musique concrete. The pretty, pseudo-jazzy instrumentals "Shelly" and "Can't Make Love" sound like they were lifted from a Peanuts cartoon. Clearly not for everyone, but there are enough of you out there who are either brave enough, or sufficiently damaged to give this one a shot. [SB] TUMBLING DICE (KS) "Tumbling Dice" 1973 (Century 42301) Guitar/organ band doing cover versions of Neil Young, Procol Harum, Grand Funk, on the well-known custom label. VELVERT TURNER GROUP (New York City, NY / Los Angeles, CA) "Velvert matrix # "Velvert matrix # "Velvert Turner Group" 1972 (Family FPS 2704) ['rock' mix; 16741] Turner Group" 1972 (Family FPS 2704) ['soul' mix; 16951] Turner Group" 2004 (CD Radioactive 040, UK)

"Velvert Turner" 197 (Tiger Lily 14030) [remix; different cover; 1 new track] Generally cool hard guitar funkpsychrock from "close friend" of Jimi Hendrix, who if nothing else shows an impressive grasp of Jimi's best moves on this album. Although 100% derivative it still works, as the

songwriting, vocals and guitar leads are fine and the sharp groove of Turner's power trio (plus assorted guests on keyboard) stands up to any comparison. Fine recording with a tight in yer face sound is another bonus. The Experience influence means unusual traces of 1967 Swinging London such as highpitched mod harmonies on this 1972 NYC trip. One weird, silly track with singalong kiddy vocals sort of sticks out, though it too has soaring acid leads. Apart from the originals the LP includes a cover of Jimi's "Freedom", and should appeal to fans of Next Morning. Just like Del Jones there are two different mixes of this LP, a Rock Mix with lots of guitar and a Soul Mix with less guitar. A German pressing of the rock mix on Philips exists. The Radioactive reissues are of the rock mix. There is also a rare third version on the infamous Tiger Lily label, with (again) a different mix and a good track not on the Family label releases at all. [PL] ~~~ Apparently, the soul version of this album was distributed to the East and Midwest, while the heavy version was distributed in the West. Hendrixisms abound on this record, but in my opinion its the best album in the style, to Hendrix what Badfinger were to the Beatles. The songwriting and playing are excellent, and this is not merely a copy (and is both funkier and poppier than prime Hendrix.) Its arguable, by the way, that the soul version (which has plenty of lead guitar and rocks just as hard) is as enjoyable a listen as the heavy version. The bass playing on it is emphasized in an exciting way. Oddly enough, the other two members of Turners trio would become fixtures in the late 70s LA power pop scene, with drummer Tim McGovern joining the Pop and bass player Prescott Niles joining the Knack. [AM] V.A "TWAIN MUSIC SAMPLER" (NJ) "Twain Music Sampler" 1972 (Twain) [no cover] Obscure sampler of local Jersey rock bands. CHARLIE TWEDDLE(CA)

"Fantastic Greatest Hits" 1974 (KM 1500) [500p; gatefold] "Fantastic Greatest Hits" 2004 (CD Companion CR2) [+bonus tracks] Incredibly strange (true, for once) real people artefact from a Bay Area guy who claims to be "king of the flying saucer people". Moves in a Grudzien/Skip Spence direction but without their big city vibes, more like if one of those inbred hillbilly degenerates in "Deliverance" made an LP, complete with pig oinks. First side is twisted backporch acid folkblues with amazing lyrics, side 2 is mostly the sound of crickets, water and nightbirds

with fragments of music here and there, like if the tripper wandered off into the woods. It's hard to determine the angle Tweddle is coming from as the music is obviously retro yet has an undeniable authenticity to it, not unlike Bob Dylan's early 1960s bootleg recordings. The "Alien Invaders" track rivals Grudzien for surreal mountain music, and the "sounds of nature" side sucks you into a forgotten movie inside your mind. One of the major pieces in the Fringe Of Everything genre, and a great foldout sleeve too. Apparently Charlie is a famous designer of $1000 cowboy hats! [PL] 20TH CENTURY ZOO (AZ) "Thunder "Thunder "Thunder "Thunder "Thunder tracks] "Thunder "Thunder On On On On On A A A A A Clear Clear Clear Clear Clear Day" Day" Day" Day" Day" 1968 198 199 199 199 (Vault 122) (Line 5320, Germany) (CD Afterglow 016, UK) (Sundazed) (CD Sundazed 11063) [+8 bonus

On A Clear Day" 2003 (Radioactive 05, UK) On A Clear Day" 2003 (CD Radioactive 05, UK)

Fairly wellknown stoner fuzz bonanza with a couple of really good psych rippers like "Quiet before the storm" and two extended cuts in a "bluesy" style, though both stupid and cheesy enough to make for passable listening. A dumb teenage drugginess throughout puts this somewhere between Ultimate Spinach and Iron Butterfly, though with more guitars than either. Enjoyable OK for 2nd tier mainstream guitar-psych, they also had some excellent non-LP 45s. For some reason, Sundazed and Radioactive also released picture disc versions of their respective reissues. [PL] 21ST CENTURY SOUND MOVEMENT ( ) "21st Century Sound Movement" 1968 (no label 12877) [blank back] Recorded at Cavern Sound in Kansas City, very obscure garage-era LP that has been described as an above average item of heavy cover versions of the Beatles, Hendrix, Doors, etc. Cool sleeve. Some copies come with promo photos. 25TH REGIMENT(Montreal, Canada) "25th Regiment" 1969 (Lero LS 767) A mixed bag, where tracks such as "Un Petit Bonhomme Avec Le Nez Pointu", "Roulez-Roulez" and "Mammy" are probably a little too MOR pop for true rock fans. On the other hand, "Lucie Sons in Ciel de Diamantes" (aka "Lucy In the Sky with Diamonds"), finds the band turning in one of the odder Beatles covers we've heard. Their "Hey Jude" cover is a little more mainstream, but just as odd with the French lyrics. Listenable, but certainly not what the

dealer hype would have you believe. [SB] "Ecology" 1970 (Trans-Canada 779) The rarer second LP abandons the pop for a more contemporary outlook; breezy folk/psych with fuzz breaks, organ, flute. The band was a k a Le 25eme Regiment. $27 SNAP ON THE FACE (Sebastopol, CA)

"Heterodyne State Hospital" 1977 (Heterodyne 0001) [1000p; gatefold; blue vinyl; lyric insert] Despite what you will read, this album is not psychedelic or progressive or hard rock, and has no fuzz guitar. It does not sound like Frank Zappa. It is, however, an interesting and reasonably worthwhile album that will appeal to a wide range of DIY and weird rock fans, as long as they listen to it with the proper expectations. This is one of many new wave-era private press records that got some attention from punk and new wave fans (and magazines) even though musically its basically mainstream rock and roll with no particular punk edge (Armand Schaubroeck, Dorian and Just Water are other similarly non-punk artists who gained a right place at the right time punk audience.) The LP has a kooky, somewhat warped lyrical bent, and the lo-fi production gives the music a crude garagy feel that is appealing, especially since the songs rock convincingly despite the lack of loud, distorted guitars. The singer isnt exactly tuneful, but hes expressive in a way that works in the context of this music. The songs are pretty long and meandering (most of the overlong guitar solos sound pretty much the same and the drummer knows only two rolls), but the longest one, the 9-minute closer Sleeping in a Technical Bed, is the best, a two-section song with a solid hook and the best guitar solo on the album. Despite the bargain basement production, they go for a bunch of tricks, instruments going from speaker to speaker, weird percussion instruments, echoed laughter, and freaky echoed vocals on a couple of songs. In addition to Sleeping In a Technical Bed,

my pick hits are Tie Your Boots Tight, which sounds anthemic even though I dont have a clue what its about, and Kicking Around, by far the catchiest, tightest song on the album. Its a long album and could have used some editing, but its full of energy and spirit and doesnt sounding like anyone else. The LP came with a sticker that says the first 1000 copies are pressed on blue vinyl. All known copies are blue. [AM] TWILIGHTERS( ) "Power & Peace" 1967 (Fleetwood 5069) Goofy-looking club band with sax and organ on wellknown New England label, packaged in great full color cover like most Fleetwood releases. DAVID TYSON (TX) "The Accepted Way" 197 (no label) Obscurity from the mid/late 1970's, recorded in mono. Distorted folkrock with some heavier moves and harmonica and synth here and there.

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UGLY DUCKLINGS (Toronto, Canada)

"Somewhere "Somewhere label] "Somewhere "Somewhere

Outside" 1966 (Yorktown 50001) [white label] Outside" 1966 (Yorktown 50001) [multicolored Outside" 198 (BSF, Italy) Outside" 199 (CD Unidisc, Europe) [+bonus tracks]

Very good upmarket teen-punk and r'n'b LP, essential to any garage collection. Has one of the best versions ever of "I wish you would", plus all their famous 45 tracks, and some unusual, ambitious tracks like "Windy City". The white label variant is pressed from a different stamper (i e: remastered), and is a slightly less "hot" pressing. There is some disagreement as to which pressing is the earliest, but the most credible theory suggests the white (which is not a promo) to be the earliest, after which there was a re-master with a newly designed multi-colored Yorktown label. It seems that some of the white label pressings were defective. [PL] --One of the best Stones-inspired 60s garage rock albums, with a really professional feel, great snotty vocals, and powerful songs. It even has an experimental instrumental thats ahead of its time and works well here. Nothin is their most wellknown song, but many others here equal it. There is also a reunion LP "Off The Wall" (1980) and a selftitled sampler from 1983 notable for a freaky cover drawing of stoned ducklings. [AM] UHF (FL) "Timeless Voyager" 1981 (Rofer Music) [insert] Spacy hardrock. Good hard guitar runs, amateur synth moves. ULTRA (TX) "Ultra" 1976 (no label) [1-sided acetate] "Ultra" 2000 (CD Monster) [+11 tracks] Impressive metallic hard rock with ex-Homer guitarist, no psych in sight. The guitar overload

reminds me of a less jamming, heavier Highway. On first listen I felt it lacked variety, but thats not entirely true, they just do the thing they do very well, and do a lot of it. Lamp Black, White Fight (waking up feeling paranoid) and Android (chick made of metal messing with your mind) are stand out tracks, although its all thoroughly listenable. Progressive in places, Ten Years Since features very flashy guitar, at their best when theres plenty of axe-duelling and paying their dues to ZZ Top. This review is of the reissue CD; the original acetate contains only 5 tracks. [RI] UNBEATABLES(Canada / NY) "Live At Palisades Park" 1964 (Fawn 5050) "Live At Palisades Park" 2003 (CD DFP, Europe) Obscure pre-garage teenbeat LP with a pre-Young Rascals Gene Cornish. The band was originally from Canada and spent some time in NYC following their early Beatle novelty 45 "I wanna be a Beatle". UNCLE (TX) "Up Against The Wall" 1979 (SSS) Heavy rural Southern blues rock. UNDERGROUND RAILROAD (New York City, NY) "Discovery Club #1" 197 (Discovery Club) [split LP] Little-known album that was part of a project supposed to help inner city black kids get in on the music scene. Side 1 is Underground Railroad, who have been described as a garage version of early Funkadelic and among other things do a gritty funk/rock number called "A song" with a superb, sample-friendly groove and raw guitar licks. This is a split LP with the less interesting Tree Of Life on the other side. UNDER MILKWOOD (San Francisco, CA) "Under "Under "Under "Under Milkwood" Milkwood" Milkwood" Milkwood" 1970 1993 200 200 (A & M 4226) [test press; plain cover] (Fanny, Belgium) [500#d] (Akarma 095, Italy) (CD Akarma 095, Italy)

This test press item opens with an enjoyable Tripsichordish number but the rest of the album ranges from weak to awful, with some uninspired sax excursions that makes you wonder how A & M ever saw anything in them. In any event they were right not to release it, and it should never have been reissued. The album came in a plain cover with title and catalog number. The Fanny reissue credits the band as Milkwood only. [PL]

UNFOLDING (NY)

"How To Blow Your Mind And Have A Freakout Fidelity aflp-2184) [mono; insert] "How To Blow Your Mind And Have A Freakout Fidelity afsd-6184) [stereo; insert] "How To Blow Your Mind And Have A Freakout label) "How To Blow Your Mind And Have A Freakout 3197, Europe)

Party" 1968 (Audio Party" 1968 (Audio Party" 198 (no Party" 1997 (CD Head

Crazed and hilarious acid exploitation album that goes far out enough to become genuinely psychy, like a second tier Deep. One side is cheesy garage psych including the classic "Play your game", the other is 'meditation' featuring strange fairytales, Hare Krishna chanting, and more. The short spoken segment on Pebbles vol 3 that's puzzled many comes from this LP. A Canadian mono release exists. [PL] UNGAVA (Quebec, Canada) "Ungava" 1976 (Trente-six fh-36004) Mostly instrumental heavy prog. Excellent guitar, some flute, vocals in French. UNION (WI) "10 Jewels" 1976 (no label) Midwest dual guitar progressive with melodic powerpop angles. No keyboard on this one, progsters. UNISON (NY) "Unison" 1984 (no label) "Unison" 2002 (CD Synton 1780821, Austria) Dryewater run into Truth & Janey after a really nasty relationship breakdown. Essentially a concept LP about a relationship gone wrong, each song being a different aspect of how his chick done him wrong. Sounds terrible doesnt it? But it is pretty good, with tracks like "Borderline" delivering that seventies chunk fuzz with insane lyrics and "Cookin for you" having so much phasing it could be Marcus. Dealers give the date on the LP as 1984, but the CD indicates 1976 and that fits the sound better. The CD sounds like its from mint vinyl, namely very good. [RI]

UNIVERSAL IGNORANTS(PA) "Transitions" 1968 (WFB Productions) [split LP] Split prep school LP with the Hilltones glee club unfortunately taking up 2/3rds of the space. The psychy Universal Ignorants were actually members of the Hilltones. They do 4 songs and a short instrumental, total time about 12 minutes. The sound is westcoast psychedelia. I hear a very heavy Quicksilver influence. I definitely felt the guitarist was trying to emulate Cipollina's staccato style. The Hilltones had a later LP "Rebirth" that is strictly a glee club sound. [MA] V.A "UNIVERSITY OF NEVADA STAGE BAND" (Las Vegas, NV) "Stage Band Festival" 1967 (no label) Very obscure Battle Of The Bands souvenir LP, of note for a track called "LSD '67" which has been described as a strange, chaotic instrumental aiming to simulate an acid trip. UPSIDE DAWNE(Lawrence, KS) "Upside Dawne" 1967 (Audio House 12367) [no sleeve] Surprisingly strong LP of local teen-club/top 40 band that stands head & shoulders above the pack, with a dynamite professional sound, strong vocals, fat roller rink organ and a local Hendrix epigon on guitar. Opens intensely with "7 & 7 is", after which a good "Heatwave" segues into an absolutely ripping cover of "Gloria" that's simply one of the best takes ever (and of course there's zillions). Rest of the LP is typical 50/50 late 1967 bag of Memphis/Motown on the one hand and emerging westcoast underground on the other, plus one good band original. "Somebody to love" sports a 70-second raga solo you won't believe and there's also a charming "Light my fire". Last few tracks lose a bit of energy but I would still rate this as one of the best in the style, and an excellent remedy for those bored with lukewarm Justice label & MA prep-rock artefacts. The Kansas kids must have loved this band -- better than Grandma's Rockers to my ears. The album may have been a demo press only. There was also a rare EP which highlighted the showband/soul side of the band. Terrific lead guitarist Jim Stringer and ace drummer Steve Hall left to form Tide (album on Mouth in 1971) in 1968. [PL] URSULA CREEK ( ) "Ursula Creek" 1976 (Richard Luft Music) Mid-70s hardrock, rated as above average by most.

US ( ) "It's Just Us" 1979 (no label) Guitar-driven rural stoner rock. UTOPIA(CA) "Utopia" 1971 (Kent kst-566) [gatefold] Bluesy heavy rock with Led Zeppelin influence and roots moves on things like "I just want to make love to you" and "Hound dog". Dual guitar line-up with harmonica, on the same label as Bob Smith and apparently recorded around the same time. This album was re-released on a major label (Discreet) under the band's new name Growl, a name that fits the singing style quite well. [AM]

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ROBERT VALENTE ( ) "No Hype" 197 (no label) Obscure loner/downer folk LP, rated highly by some.

DINO VALENTI (San Francisco, CA) "Dino Valente" 1969 (Epic bn-26335) [bag; wlp mono] "Dino Valente" 1969 (Epic bn-26335) [bag; stereo] "Dino Valente" 1998 (CD Koch) [+2 bonus tracks] Theres a lot more wrong here than just the fact that the label spelled his name wrong on the cover. Valenti has one of the most annoying, self-centered singing styles on earth, and here these melody-less, formless songs drag on for 7 and 8 minutes at a time without going anywhere. The lack of actual arrangements (its all basically guitar and voice) adds to the monotony. A lot of people try to claim that this is some deranged scream from the soul like the Alexander Spence album or a deeply personal confessional like the Mayo Thompson album, but I think its just a bunch of self-indulgence. Robert Christgau once reviewed a Quicksilver album by saying that one of the reasons people hate hippies is that Dino Valenti is a hippie. He had a point. The LP was issued with an outer clear plastic bag with 'Dino Valente' printed in block letters, since there is no mention of the artist on the original front cover. Later Epic pressings add this in big letters, while the original British, Canadian and Japanese pressings added the name on the cover from the start. [AM]

VALHALLA ( ) "Valhalla" 1969 (United Artists 6730) [gatefold] "Valhalla" 199 (CD Free 2006) Pretentious hard rock with a lot of by the Doors and Iron Butterfly and not as good as) the album by Julius kind of thing that can hit the spot exact right mood, but to be honest, average. Pompous sleeve of a viking the right bonehead vibe. [AM] organ. Influenced similar to (but Victor. Its the if youre in the its pretty ship on fire for

BRUCE VANDERPOOL( )

"Bittersweet" 197 (Raydar 115) Loner folk/folkrock in primitive paste-on cover. VARCELS (Thomasville, NC)

"Hang Loose" 1967 (Justice 147) "Hang Loose" 199 (CD Collectables 0622) One of the more obscure on the label, with a reasonable mid-60s teenbeat sound and less anemic than some of their colleagues. Hell, there's even a Standells cover! Opening title track original is a derivative sax instro, after which we go through typical top 40/club sounds from the era, with organ upfront and an OK recording. Beach music, ballads, instros, frat and 1950s all rolled into a big exciting parcel for Justice completists and local nostalgia collectors. Lacking the balls to go up against Eric Burdon, we get "House of the rising sun" in an instrumental arrangement, while band original #2, "I'm tired" is a nice 3-chord Motown/garage crossover and about the best thing on board, alongside the sloppy "Dirty water". The band is reasonably tight, amateur vocals have energy and atmosphere, and there's a nicely reverbed drum sound, if you want to single out high points. The worthwhile stuff is all on side 1. [PL] VARIATIONS (NC) "Dig 'Em Up!" 1966 (Justice 112) "Dig 'Em Up!" 199 (CD Collectables 0615) Blue-eyed soul and pre-soul r'n'b covers all thru, not a whiff of 'the new sound from England' on this one. Atmospheric and charming for those interested in local non-garage mid-60s sounds, guttural teen vocals imitating Ben E King and the Righteous Bros are fun. Organ-led "Shake a tail feather" is a probably the most rocking track. Sax but no brass. Cool cover (the only Justice in full color) has them in Count Five vampire gear in front of their customized band hearse. [PL]

VARIOUS ARTISTS LPs are listed alphabetically under their titles. In other words, "Fifth Pipe Dream" is listed under "F", etc.
VELVET NIGHT (NY)

"Velvet Night" 1970 (Metromedia 1026)

"Velvet Night" 1993 (no label) "Art Of Lovin' / Velvet Night" 200 (CD Hipschaft) [2-on-1] Disappointing hippie-rock LP with sloppy playing and no original ideas whatsoever. Forget the hype, this one sucks, with mostly turgid covers of Cream, the Band and so forth. The LP was reissued as "Would" on Perception in 1971, with 1 track replaced and track order rearranged. Lord knows why. An original Italian pressing of the Velvet Night LP exists. [PL] ~~~ Most of the songs on this album are uninteresting covers of well-known 60s songs. A few of the originals (written by Jimmy Curtiss, the guy behind the Hobbits and a number of other bands) are decent and make an effort to be creepy and far-out. Theyre not enough to make the rest worth listening to, though. [AM] ~~~ see -> Would JACK VERONESI & FRIENDS (MA) "Farewell Album" 1971 (Japanezi) Wasted rockers and stoned hippiefolk. KEVIN VICALVI (Worcester, MA) "Songs From Down The Hall" 1974 (Starizon Studios 2065) [1000p; plain jacket with wraparound sheet] "Songs From Down The Hall" 200 (CD Left) [+7 bonus tracks] This varied singer/songwriter album runs the gamut from folk to pop to blues to flamenco to piano ballads, hitting the mark on pretty much all of them. Letter to Michael Henchard, a dirge with a dissonant chord progression and some stunning mellotron, is so good that anyone who hears it will probably run right out and buy the album. Nothing else matches it or sounds like it, but its still hard to imagine too many people being disappointed by the rest of the record. Other nice moments include the synth on Another Day, Another Time and the poppy guitar hook on You Just Dont Know". The LP also features one Dennis de la Gorgendiere. [AM] VICTIMS OF CHANCE (CA) "Victims Of Chance" 1969 (Crestview crs-3052) "Goin' Home Blue" 197 (no label 1014) Lounge psych freakout with brass featuring Johnny Kitchen. The followup (assuming it to be the same band) is more into westcoast rural rock sounds with some female vocals, and comes in the same generic mill wheel cover as Fifth Flight. ~~~ see -> Crazy People; Jeremiah; Tarots

VICTORIA (NJ) "Kings, Queens And Jokers" 1971 (Dirty Martha 61471) [no sleeve] "Kings, Queens And Jokers" 1971 (no label) [different mix; plain cover with stamped title; photos; press clipping; 100p] "Victoria" 1996 (Little Indians 7, Germany) [400#d] "Victoria" 1998 (CD Little Indians, Germany) [+7 tracks] Reissued alongside Jungle in similarly great packaging and is to me less disappointing musically. An organ-based conceptual song cycle with mostly female vocals and a Khazad Doom/school-play vibe, has lots of good guitar but is too cheesy and uneven to live up to the hysterical hype, at least in my ears. Some horns, nice amateur vocals, and a confused mix of westcoast, eastcoast and teen drama. The outstanding closing track sounds like Strawberry Alarmclock's "World's on fire" with female vocals. Worth hearing, and despite reservations a must for fans of female psychrock bands. [PL] ~~~ Band leader Greg Ruban found himself three capable young ladies to back him on his homemade musical fantasy. Greg himself is a pretty unusual guy... a professional volleyball player who at 6'6" was still playing into his 50's. Warning: Honky Hornaphobics Beware... this LP does make use of the dreaded horn section on 2-3 cuts and not necessarily always in a good way. Side 1 starts off with "Peace" a nice garagey ballad with echoey female vocals, spooky organ and those dang horns which will be hard to overcome for the average horn hater. "Cumberland" is even more low key with those cool echoey female vox and a Wendy & Bonnie feel but more amateurish. Cut #3 is fantastic... "Gevaro" starts off like a Santana style jammer but actually gets a little Middle East vibe going... killer fuzz guitar and the dreaded horns but they're buried on this track and a very bizarre drum solo (I like the "style" of this female drummer). This is for the most part, an instrumental. "Ride A Rainbow" starts off like a lost Hendrix cut but quickly gets into a female vocal track about Wizards & Dragons & Incense & Stuff. Nice guitar break and bass line. I have to admit that I can't think of another female psych band that are as tight as this one (no pun intended all you perverts) and Greg Ruban's guitar really cuts through the smoke with a classic psych sound. "Never Knew The Blues" slows the pace again with a great organ sound and cool low key wah-wah pedal guitar... this is probably my favorite cut on the LP and is what I always hoped the Jade Stone & Luv LP sounded like. Last cut on side 1 is a throwaway... a lame attempt at AM Top 40 drivel with horns from hell. Side Two is a totally different trip. Two long cuts starting with the 12 minute+ "Village Of Etaf". Imagine an East Coast version of CA Quintet's "Trip Thru Hell" done by three chicks influenced by Joan Baez and a second rate Herb Alpert & The Marijuana Brass. The only redeeming thing about this track is the effects used in the last 4 minutes that do indeed remind me of a "Trip Thru Hell". The final cut is probably the highlight for most owners of this LP. "Core Of The Apple" is an upbeat, fuzz guitar 8 minute killer with that same Middle East feel that we caught a glimpse

of on side one. Overview: The good cuts are GREAT but the lesser cuts really bring this LP down a notch or two. In the world of female psych bands this may still be one of the best. Greg recorded a bunch of material in the late 60's and early 70's and one day maybe another one of his LP's, the demo-only pressing "Nickels & Dimes", will see the light of day. [RH] VILLAGERS ( ) "Homemade" 1971 (no label 584 N10) A folk quartet with mixed vocals, playing covers of CSN and "High flying bird", among others. Partly a live recording, housed in an elegant silhouette cover. JOHN VILLEMONTE(Madison, WI) "People Like You" 1976 (no label) [200p] Everytime someone describes David Crosby's "If I Could Only Remember My Name" LP to me, it is the best moments of this record I hear in my imagination. Lovely vocal harmonies, odd chords and phrasing, mix of quiet acoustic and electric jams, some perfectly placed flute ("Rain On Me") and piano ("Hours of Days") passages, decent writing (though, to be honest, I have no idea what they're saying most of the time). This reminds me of what music made on a perfect evening on the edge of the Hawaiian rain forest, stoked on primo weed and some nice Pinot Noir, might sound like. All the women look like Peggy Lipton, all the men like Merrell Fankhauser (or Kato Kaelin, or Jeff Spicoli... same thing). The first, rarest and best of three LPs this Wisconsin singer/songwriter made in the 1970s and early 80s. The songs here vary enough to hold your interest, but everything is sort of mid-tempo mellow and variations on tried & true 70s singer/songwriter romantic themes which does drop the grade a notch. The LP's second side opens with the very brief and very pretty "Why Do You Cry" which works as a lead in to "24 With Clancy," a floating and dreamy electric and acoustic instrumental jam that seems to take forever. It isn't that the playing is particularly good (though it's fine), it's more a matter of the gentle buzz it creates by stirring the collective memory of everyone who has ever sat up late with good friends quietly jamming until it starts to get light outside. Ultimately, there is nothing here that lifts the album into the A level of the private-press heavens, but it sits just below the standards set by better known LPs like These Trails. [SD] ~~~ Here's a comment from John Villemonte himself: "When one considers how my first album was recorded, with a 4-track TEAC tape deck with no signal processing and no mixing board, all instruments recorded with an $18 Radio Shack mic - it certainly has seemed to weather the test of time. Though I went on to record 8 more albums, this first one still remains my favorite."

"This" 1979 (Some 905053-3520) [1] Villemonte's second LP is similar in style and has been attracting much of the same clientele. There were several more albums from the man later on. VINCENT (MA) "Wild Strawberries" 1976 (Audem AU 1004) Rarely offered private rural singer-songwriter folk rocker from Massachusetts. A number of the tracks have a country Grateful Dead influence a la Workingman's Dead, and Vincent's voice often sounds like he's trying to emulate Jerry Garcia's vocal style, though in a lower range. The LP is mostly acoustic, but some songs feature electric guitar (no fuzz though) and synthesizer (no fuzz on that either). [MA] VINDICATION(IN) "Vindication" 1973 (Custom Fidelity cfs-3570) [200p] If Fraction is the Holy Grail of psychedelic privates then the corresponding honors in the world of progressive rarities would hands down go to Indianas Vindication. This is bona fide five-star progressive rock from start to finish, quite unlike any other album in Christian music. Lengthy tracks are the norm here and every one of them is solid. The instrumental "Sonnet To Seagulls" starts things off in driving allegro fashion - and the energy level doesnt let up for a moment throughout the whole LP. "Atop Of The Mountains" follows in classic art rock tradition with the trios trademark ELP-ish compositional complexity of constantly shifting mood and tempo changes. "Money Window" and "Satans Song" share a similar focus, as does the 11-minute epic "Master Law" that opens side two. Here Brad Garton takes on the Keith Emerson role of the group with skillful piano and synthesizer that reveals strong classical training. Patrick Kennedy also gets several opportunities to shine on guitar, showing agility in not only the fast-paced jamming stretches, but also the more graceful acoustic passages (in particular the beautiful closer "You And Me And God"). Geoff Pacheco keeps the ever-changing beat going and gets a nice little solo in Master Law. Intelligent lyrics and good sound for a custom. [KS] ~~~ X-ian keys complex prog in ELP style. Dull and overblown to these ears, though this appears to be a minority opinion at present. [RM] VIOLA CRAYOLA( ) "Music: Breathing Of Statues" 1974 (Fautna) [500p] "Music: Breathing Of Statues" 2004 (CD Radioactive 0093, UK)

Instrumental guitar excursions with a hard edge and a playful vibe despite the album's lofty pretensions. Progressive towards the fusion camp but most of the traps of the style are avoided, thanks in no small part to the jammy feel provided by the rhythm section, while lead guitarist and main guy Anthony Viola soars on top, playing with a raw metal edge and plenty of fx boxes to help him. The music is carefully structured and composed, as evident from the back cover which provides sheet music for the basic themes of all eight songs! Some tracks such as "The bus to New York" go all the way into avant jazzrock but even at that remains reasonably open to the listener. "The last one on earth" has a nice doomy intensity, like Black Sabbath with a Juilliard degree. All over I found this LP surprisingly appealing, especially in small doses, and if you want to check the genre out this should be a good entry point. The memorable LP title comes from a poem by Rilke, printed on the front cover. Recorded in New York. [PL] ~~~ This isnt the usual psych collectors fare, but never underestimate an albums rarity as a factor in opening peoples minds to new genres of music. Its instrumental progressive rock with some jazz leanings. Anthony Viola is a talented and creative guitarist, and at some points the soloing gets pretty wild. The songs are complex, full of odd time signatures and unusual riffs. Im not especially knowledgeable about instrumental rock of this type, so I cant compare the album to anything, but theres no question that this is good stuff, instantly enjoyable. A couple of songs are really disjointed, while others flow smoothly despite the tricky time changes. The rhythm section keeps up nicely. The final song is a big goof, with the only vocal on the album, sped up Chipmunks-style and singing about sandwiches. Some of you will hate it, but after the rather serious music that preceded it, its kind of fun to end the album in a lighthearted way. Short album: 8 songs in about 25 minutes. [AM] VIRGIN INSANITY (Dallas, TX) "Illusions Of The Maintenance Man" 1971 (Funky 72411) [plain stamped cover; blank back; 200p] "Illusions Of The Maintenance Man" 2005 (DeStijl IND-046) [500p] "Illusions Of The Maintenance Man" 2005 (CD P-Vine, Japan) [+7 tracks] Currently in vogue basement folk and folkrock with short songs and mixed male-female vocals. Hard to describe accurately (always a good sign), though comparisons drawn to the third Velvet U LP are not without merit, especially as the lady vocalist sounds as unschooled and earthy as Moe Tucker. The sound is disarmingly honest and stripped down, and indeed the concentrated minimalist vibe of the LP seems wholly deliberate. The album has strong grower qualities and eats its way into your brain, due in no small part to the excellent, understated songwriting and arrangements. Unlike the typical depression and claustrophobia of the genre, a rare warmth and closeness is projected here, and it's also a most

atypical record to come out of Texas. One of the flagship pieces for the private press 70s folk sound. Perhaps not for everyone, but I was impressed and keep returning to it. The band has recently been found and confirmed the press size as 200 copies. Following the "Illusions" LP the band recorded a second, unreleased album called "Toad Frog", which is less structurally coherent and has a more varied sound but otherwise is clearly similar in style, and contains excellent songs such as "Clifton T". There is also a third unreleased LP by band leader Bob Long called "The Odometer Suite". Some of this unreleased material appear on the Japanese CD reissue, and there is also a standalone CD release of the complete material (P-Vine, 2006, Japan). [PL] ~~~ This album is years ahead of its time, sounding much more like an 80s/90s record on the K label or one of those cassette-only low-fi recordings that made the rounds before CDs started to dominate the market. They really want to be a pop band, but cant quite figure out how, and some really sloppy drumming, loud acoustic guitars, untrained singing and tons of enthusiasm combine for a record thats hard to dislike, but not really easy to listen to either. Unfortunately a number of songs are noticeably out of rhythm. A few attempts at clever vocal arrangements are charming. Some of you will like this a lot. You know who you are. [AM] VISITOR (Albany, NY) "Visitor" 1980 (Blue Elf/Arabellum AR 1033) Hard guitar prog/AOR, highly rated by genre fans. There was also a 12-inch EP "4 by 5" in 1982 and LP "Take It" in 1983, both on the Visitor label. These later releases sell for at least as much as the 1980 album among AOR collectors. VIVA( ) "Automobile Downstairs" 1977 (Mark Holly) Weird tax scam label LP that has connections with the movie "Gone In 60 Seconds" (original version). Its a mix of 70s styles, none of them the kind collectors care about (except maybe a little funk.) The production is murky, there are huge gaps of time between songs, the song titles on side two are mislabeled, and the album is only 24 minutes long. Its a typical tax scam obscurity (the Album World company, who released each of their albums under a different fake label name, have pulled all kinds of tricks, such as throwing together songs by more than one band under the name of one non-existent artist), a record that makes no sense at all and seems to be aimed at no actual audience. So, wouldnt you know, despite all of the above, some of this is quite good unclassifiable 70s rock, with nice slide guitar, some haunting melodies, and a weird underground feel. Not a great album, but an interesting obscurity for jaded collectors. [AM]

VIZION (Dallas, TX)

"Rock For Your Life" 1980 (Future) [lyric sleeve] Texas hard rock with an AOR vibe and a gruff female singer. Its a little mainstream for my tastes, but as this kind of thing goes its quite good, and the singer has an appealing lack of femininity to her. A few songs have memorable hooks. They have some pop aspirations and overall its not too heavy, but rocks with enough energy to overcome their most FM-radiofriendly tendencies. [AM] VULCAN (Spencer, IA)

"Meet Your [200p] "Meet Your "Meet Your "Meet Your

Ghost" 1982 (North Star Productions ST 38456) Ghost" 1994 (13th Record) [bootleg; 300p] Ghost" 199 (CD Steece 13) Ghost" 199 (Steece 13)

Basement hard fuzz, Hendrix-style riffs. Somewhat cult-ish, but not everyone is impressed with it. There are numerous label and cover variants among the homemade originals. All covers state "reissue", even the originals. Most or all of the originals have hand-made labels, while later pressings have real printed ones. Recorded in 1978. We've also seen references to a second LP "Hard As Rock, Vol 1", credited to main Vulcan guy Lyle Steece.

VYTO B (Chicago, IL) "Tricentennial 2076" 1976 (Clay Pidgeon cps-3012) This is Vyto Baleska, the force behind First Chips, doing an oddball one-man band spacy psych LP with some electronics. The cover design is priceless, and this may be one for the "outsider" crowd, in addition to the First Chips pedigree.

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WABASH RESURRECTION ( ) "Get it Off! 1975 (Pepperhead 76294) [1000p] [2] Get it Off! 2005 (CD Radioactive 068, UK) Apparently they sound like Led Zeppelin, but I just cant hear that. Its probably been repeated once someone had written it, and it became "true. At their best Wabash Resurrection sound like a garage Lynyrd Skynyrd after a heavy night with Crazy Horse. The best tracks are definitive shit-kicking-ruralmullet-toting pick-up-truck-drivin rawk. Naturally they look the part on the cover. Launches with Pigsty Blues which seems to be about keeping yer sheeet good and your feet flat on the ground, essential for ones health and well being dont you know. The second track, A Soldiers Lament is perhaps the best, and could be straight off the Rayne LP, thudding drumming and really groovy Crazy Horse style guitar with perfectly subdued, downer vocals. On the amazing In Heat they really nail it on the head with the lines: I dig those Rhythm and Blues/Dont try to tell me bout no astral projections/I got horse shit on my shoes". You can just picture the lead singer in his cowboy hat peering skeptically at the hippie chick as she warbles on about the Age of Aquarius. Very worthwhile reissue, and even if youre not a fan of the genre itll make you laugh. [RI] TOM WACHUNAS(OH) "Spare Changes" 1975 (Owl 63701) [1] The back cover says that this album is a graduation project. I assume that means college graduation, as he looks too old to be a high school student. In any case, this is a mix of guitar-and-voice folk and more elaborately arranged rock songs. A few of the songs are quite good, and the long closer has a terrific guitar solo. Both sides drag a bit in the middle but start and end well. He has a quirky enough personality to appeal to loner folk fans, though this is well-played enough not to be a real people album. Final verdict: not a great album, but an interesting one with a few memorable songs. Same label as Raven, about 1000 copies pressed. [AM] ALLEN WACHS (WA) "Mountain Roads & City Streets" 1979 (True Vine) [1] Country-rock/folkrock with lots of string

instruments, pedal steel, some fuzz and female backing vocals. WAILING WALL (El Paso, TX) "Wailing Wall" 2002 (Rockadelic 47) [600p] Unusual and appealing circa 1970 recordings from a forgotten El Paso band that played military bases and clubs in the area; a worthwhile addition to the Rockadelic stable and clearly better than the preceding Iota LP to my ears. Needs to be heard rather than described, but reminiscent of Neil Young at his weirdest, Captain Beefheart, Circuit Rider and even Savage Sons of Yahowa. Long unpredictable tracks with earthy vocals and an eerie high desert El Paso vibe in the guitar excursions. Atmospheric, with a strong band presence. Response to this has been mixed, I think it a keeper. Packaging is a step up from the label's preceding releases. [PL] ~~~ see -> Light Rain WALKENHORST BROTHERS(MO) "The Last Adventure" 1977 (Chapie 7113) [4] Obscure post-Phantasia LP in a song-oriented direction, retaining the more commercial ambitions of Trizo 50 mixed up with "angst", to quote one of the Walkenhorsts. "Autumn Song" is a possible high-point. ~~~ Here's a comment from Bob Walkenhorst from a web forum: "Phantasia morphed into Trizo 50 when I had been in college a couple years. Our interest had shifted to T-Rex and David Bowie and the whole glamrock thing. We wore brightly colored satin tuxedos and makeup, and did a lot of home recording. I left my hometown buds and my songwriting partners in 1974 and went back to college. And that's when I really got serious about songwriting. My brother Rex and I, appropriately called The Walkenhorst Brothers, performed around Maryville MO, St. Joseph, and KC. We recorded a homemade album "The Last Adventure". It was a bit angst-filled, but had some good ideas in it, and included "Autumn Song", which I still play now and then." MIKE WALKER (WA) "Mike Walker" 197 (no label) Obscure country-rock with a strange vibe on tracks such as "Mr Pruitt's Apple Farm". MARTIN WALL(Canada) "Metaphysical Facelift" 1977 (no label MW 1) [1]

Keyboard-driven progressive rock in crude packaging. Moog & synthesizers, mellotron, string ensemble, drums.

WALNUT BAND (Boston, MA) "Go Nuts" 1976 (Appaloosa Records csl 452) [1] "Go Nuts" is one of the best Grateful Dead-style rural jammers. The Walnut Band had to be the only band of the type in Boston, especially in 1976 when punk had already taken hold there. Maybe being so out of place made them work all that much harder, but even so they're as relaxed and comfortable as you would expect from a top band in the genre. And the New England influence allows for one major benefit: there's no pedal steel or other overt nods to country music here. The sharp guitar playing is matched by some tasty organ, and there even a few creative bursts of synthesizer. The only problem is the vocals, which aren't lazy like the Dead, but just plain tuneless. Even so, this is a few notches above bands like, say, Timbercreek. The long jam on "Seat Belt" is especially good. The cool album cover implies Residents-style weirdness. Imagine the surprise of the unsuspecting early new wave fans who bought this [AM] WANDERERS (CT)

"Sing To The Lord... A New Song!" 1968 (Allen 108) [3] This Christian teenbeat band has a few things going for it, including an opening program declaration spoken in a weak, nerdy voice similar to Mr van Driessen of Beavis & Butthead. The title track that follows is a blatant "Twist & Shout" ripoff despite its lofty theme. In order to get the kids to dance there's also "Knock on wood", "Testify", "Midnight hour" and so forth, all done in a limp, heavyhanded sub-Young Rascals style similar to the more mediocre Justice label acts. A highpoint is a revamped version of John Ylvisaker's classic "Who cares for the city" with the lyrics altered in a more explicitly Christian direction, while Jimi Hendrix' "Fire" with fuzz leads is a surprising choice. The album's legend rests mainly upon the closing "BSRS", a remarkable, spooky 9-minute acidrock excursion which sounds like "Spare Chaynge" as done by a group of depressed 14 year-olds. If they'd skipped the Memphis soul covers and done more folkrock/psych numbers this would have been a cult LP, but there are still about 3 tracks on it worth checking out. [PL] WANKA (Canada)

"The Orange Album" 1977 (Axe 520) [1] Progressive hardrock with guitar/organ interplay and strong vocals. Neat cartoon cover. WARD 6 (Canada) "Ward 6" 1971 (Cynda 1007) Obscure male vocal harmony folk with covers of Tim Hardin, Beatles, James Taylor, Woody Guthrie and a few originals. Cool cover. WARLOCK ( ) "Warlock" 1972 (Music Merchant mm-102) [promos exist] [1] Proggy funky blues rock, possibly from Michigan. WARPIG(Woodstock, Canada) "Warpig" 1970 (Fonthill 103) [unipak] [2-3] "Warpig" 198 (Fonthill) [bootleg] "Warpig" 2000 (CD Mason, Europe) Heavy metallic album with some Deep Purple influence. It sounds pretty good one song at a time but has a tinny production style that tends to grate. Prog aspirations make a few songs drag on longer than is necessary. A favorite of some, but this one didnt do much for me. Also released by London Records (#13582) in the US 1971. [AM] JOHN WARREN (Winston-Salem, NC) "Land Of New Hope" 1973 (Icthus) Mix of rural rock and christian folk. WASHINGTON APPLES (WA)

"Fresh Country Apples" 1970 (Delicious s-2430) [1] After starting their careers cutting a series of

radio commercials in support of Washington apples, the band got a chance to record some more conventional material and saw the release of a 1970 album on the Seattle-based Delicious Records label."Fresh Country Apples" is definitely different. The first side offers up a series of expanded versions of their earlier commercial jingles. Powered by excellent vocals, material such as the title track isn't half bad, the only major mis-step being the hokey "Applecore - Baltimore" (the title says it all). The flip side features the band in a more contemporary setting and is actually quite good. Highlights include a bluesy cover of "Summertime", "Blues for J" and Hadlock's pseudojazzy "Another Day". While some dealers have hyped the album as being a psych classic, most of the set sports a far more commercial orientation. The one exception is the extended closer "Ode To Cory". Complete with thunderstorm effects, squealing guitar and a dirge like tempo, this one sounds like it was torn out of some acid-tripping San Francisco band's catalog. Quite impressive. [SB] WASTED RANGERS (Portland, OR) "Wasted Rangers" 1978 (no label) [2LPs; insert; bonus 7"] [1] Rural rock jams in a Dead/Little Feat direction, issued in plain cover with song info pasted on. Press size report vary between 500 and 1000 copies. WATERFALL( ) "Comin' Down" 1974 (USR 9533) [2] 1970s folk, highly rated by some. DICK WATSON 5 see Dick Watson 5 ALAN WATTS (UK / CA)

"This Is IT" 1962 (MEA 1007) [3-4] "This Is IT" 2004 (CD Locust) "This Is IT" 2004 (Locust 048) Legendary underground counterculture artefact from the famous author, lecturer and LSD philosopher. Often referred to as "the first psychedelic LP", this is an extraordinary session of improvised free-form music, chanting and a few bizarre Watts monologues.

Recorded at a time when Watts' interest in hallucinogens was at its peak (documented in his "Joyous Cosmology" book), the mood is tribal and the energy level very high. Timeless testament from a wayout era, connecting the 50s beatnik and 60s freak eras. Watts had several other LPs that fall outside the scope of our Archives, mainly concerned with Eastern spirituality. [PL] WAX WIZARDS (Philadelphia, PA) "From Rock Mountain" 1982 (Buffalo Wings) [mini-LP] This mini-album (6 songs in about 23 minutes) wins the prize for most inaccurately described album by rare record dealers. It has a cool fantasy drawing on the front cover, so everyone hypes it as a prog album, which it is not. The album was put together by songwriter E.D. Ward to showcase his songs, though unlike a lot of albums of this type, he assembled an excellent band and the songs are very well played. However, since his songwriting style is all over the map, there are a few semi-hard rock songs, a reggae song, and some ballads, a mix that isnt going to make the kind of people who buy it for the cover too happy. One song has some really nice dual lead guitars, but overall this is a pretty mild AOR album. [AM] KENNY WAYNE & THE KAMOTIONS (Texarkana, TX) "Kenny Wayne & the Kamotions" 1970 (Candy 1023) [2] "Kenny Wayne & the Kamotions" 200 (Candy) Rootsy bar-rock covers of Free, Ides Of March, "Stormy Monday", alongside a handful of originals in various styles, not rated very highly. The group had lots of 45s too and may be best enjoyed in that format. W D FISHER (Montreal, Canada) "W D Fisher" 1970 (Trans-Canada 1447) [1] Melodic rock and progressive moves with one extended track and extensive use of keyboards, as on many Canadian LPs from the era. WEDGE see Orange Wedge WEEKENDERS (Needham, MA)

"Spring Weekend '65" 1965 (Vogt 2015) [2-3] Obscure pre-garage item from the preprock circuit, Lawrence Academy to be specific. The title track has been reissued on a couple of comps and is a cool fratty original with one of the most deadpan vocal deliveries ever. The rest of the LP is mostly covers and more conventional in style, mixing pre-Invasion frat, surf and ballads, with a solid entertainment value. Closing original invokes the Spring break party mood once more, sure sounds like these rich WASP kids were on top of the world. Great cover. [PL] WEIGALTOWN ELEMENTAL BAND(Erie, PA) "Don't Hurt Yourself" 1976 (Old Ridge 761) [300p; insert; mailing coupon] [1] Underrated local charmer in the "East Coast Dead" 1970s style, with a blue collar vibe that makes for an interesting marriage with the laidback westcoast rural rock. Opens with excellent 1960s-style folkrocker and maintains an appealing quality and directness despite the bold mix of styles. The tongue-in-cheek material is unusually strong and there's a dark, folky track with violin closing side 2 in an excellent manner. A couple more tunes like that and the opener and this would have been a great mid-70s LP, but it's still strong enough to be worth hearing for genre fans, my main objection being the short playtime. Pressed in 300 copies, even though the handwritten numbering may indicate a bigger run. To cap things off, these guys were in wellknown teenbeat band Arkay IV a whole decade earlier. [PL] ~~~ This plays like a "battle of the bands" with just about every song a new genre. It opens with a really nice jangly folk-rocker, and most listeners will wish similar songs would follow. Instead, it moves to country-rock, slow blues, old-style rock n' roll, and acoustic balladry. The closing moody ballad with drony viola is probably the highlight; this album is bookmarked by two songs you'll all like. The rest may not be exactly up your alley style-wise, but much of it is quite cool. All is in good spirits and good humor; this is a fun record. The recording is very crude, but the mix is smartly done: the vocals and guitars are loud. This is the epitome of a versatile but quirky local band making their own album for their small but devoted group of fans. Collectors tend to forget that most bands are this "normal." [AM] WEIGHT (Walnut Creek, CA)

"Music Is The Message" 1970 (Bertram International 104) Live garage lounge-rock from Rick's Lounge, half ludicrous Beatles covers. For genre fans only.

DAVID WELSH (OH) "Blue Lightning Accent" 1980 (Blue Ash) [2-3] Half downer folk with idiosynchratic amateur vocals, half electric rocking sounds with a biker vibe. Overall a bit like a primitive DIY variant on the Michael James LP. WENDY & BONNIE (San Francisco, CA) "Genesis" 1969 (Skye 1006) [1] "Genesis" 199 (CD Sundazed 11089) [+5 bonus tracks] Much admired femme vocal harmony hippie pop LP from young San Francisco sisters. While obviously a pleasant and atmospheric experience I've never quite fallen for it -- the lack of personal expression creates a blanding effect, no matter how pretty the surface. Songwriting is fine as is the vocal blend, but I think this required a rich and elaborate Boettcher/Brian Wilson studio production on top. Instead it's bordering on generic top 40 material in my ears, but this seems to be the minority opinion out there. [PL] ~~~ This is one of those albums I really expected to like but found quite dull, with the songwriting not taking any risks and with singing starting to grate after a few songs. It's no better than a lot of less expensive albums (for instance, Laurie Styvers' "Spilt Milk" or Mary Catherine Lunsford's album). The CD has bonus tracks and interesting liner notes. This album definitely has its fans, but you wont' find me among them. [AM] WEST COAST POP ART EXPERIMENTAL BAND (Los Angeles, CA)

"West Coast Pop Art Experimental Band" 1966 (Fifo M101) "Legendary Unreleased Album" 1980 (Raspberry Sawfly) [altered cover; partial reissue] "West Coast Pop Art Experimental Band" 199 (no label) "West Coast Pop Art Experimental Band" 199 (Sundazed, 2LPs) [altered cover; +bonus tracks] "West Coast Pop Art Experimental Band" 199 (CD Sundazed) [+bonus tracks]

This is the score collectors dream of -- a previously unknown early LP by a major 60s group. Only a dozen or so originals have been found, and even a sleeveless copy goes for $1500, while a copy with sleeve sold for not less than $11.000. First hints of its' existence came via the odd "Legendary unreleased album" issue (from the band themselves) which unfortunately excludes some of the best tracks, although it does include some obscure 45-only tracks. There was also a magazine article around 1981 where the discovery was announced, but it wasn't until the 1990s that people really became aware of the Fifo album. The music is dominated by crude Sunset Strip folk-garage cover versions, with some psychy moves added via early versions of two tracks from their fabulous Reprise debut. One of my all-time favorite groups, this is mandatory for WCPAEB fans, though admittedly not as outstanding and mature as their later albums. There was a Fifo 45 released with a non-LP B-side ("Sassafras"). After being taken under the bizarre wings of Bob Markley, the young band followed this debut with an outstanding run at Reprise including a couple of all-time classic psych LPs, but anyone reading this is likely to know those already. [PL] WESTFAUSTER (Cincinnati, OH) "In A King's Dream" 1971 (Nasco 9008) [1-2] "In A King's Dream" 199 (no label) [bootleg] Dreamy UK-influenced eclectic psych-artrock with classical and jazz ambitions and a Moody Blues/Beatles vibe. Woodwinds and keyboards upfront. Not bad, with light almost feminine vocals and good production value. A bit dorky when the flutes get going but I prefer this over their Nasco buddies the Whalefeathers. [PL] DANA WESTOVER (CA) "Memorial To Fear" 1972 (Wolf Music) [2] Acoustic loner folk LP. Supposedly he was a draft dodger and released this LP in Canada. WE THE PEOPLE ( ) "We The People" 1972 (United Sound) [1] Christian folk, no relation to the great 60s Florida band. WHAIL (Fostoria, OH) "Fresh Air" 1974 (Luv 701) Lounge rock with a wide range of styles from Gordon Lighfoot covers to a couple more psych tracks.

Occasional use of synth. The band, with roots in the 60s garage era, was known as Fresh Air but changed to Whail to avoid confusion with another group, instead this became the album title. Pricing of this tends to be all over the map, but it's really a marginal item. A number of 45s and unreleased recordings exist. WHALEFEATHERS (Cincinnati, OH) "Declare" 1969 (Nasco 9003) [2] "Declare" 199 (no label) [bootleg] Ambitious (or pretentious) psychrock in a UKinfluenced Moody Blues/Procol Harum school with a bit of Vanilla Fudge thrown in. Some strong guitar leads, dramatic (or bombastic) keyboard changes, making the vocals sound a bit weak in context. Good production and mixing like on all Nasco albums. Has a bad halfspeed take on Moby Grape's "Omaha". The best track has been comp'd if you want a sample. The band had the same management as Westfauster. [PL] "Whalefeathers" 1970 (Nasco 9005) [1-2] Second LP has been described as "bluesier", including a cover of St Steven's "Bastich". Also released in England on Blue Horizon and in Germany by Vogue. WHEATSTONE BRIDGE (Kankakee, IL) "Bad Connection" 1976 (Sanron 200) [1] This impressive hard rock album was recorded in just 17 hours and had a fresh, inspired feel to it. They obviously perfected these songs through many live performances, so this album is tightly played and professional sounding despite the quick recording. The sound is sharp: metallic rhythm guitar, upbeat rhythms, spastic leads, no keyboards, unpretentious vocals. The album has six rockers and two ballads. The only annoyance is that the lead guitarist overdoes it with the speed; some subtlety and variety would have been welcome. Otherwise, this is good stuff. The songs aren't especially complex, but they have hooks, are structured in occasionally surprising ways, and are short and to the point. It's not especially heavy, but it avoids most of the pitfalls of 70s hard rock and is quite a bit better than most of the albums I've heard in the genre. Weird album cover, by the way. [AM] TIM WHEELER (Dallas, TX) "Blues-Rock Fusion" 1980 (Duke 809-123) [1] Bluesy guitar-driven hardrock from young guy who credits Hendrix and Johnny Winter among his influences.

WHISTLER, CHAUCER, DETROIT & GREENHILL (Fort Worth, TX) "The Unwritten Works Of Geoffrey, Etc" 1969 (UNI 73034) This is one of the best albums on the Uni label, and its surprising that it has yet to get its due. Its the pinnacle of the post-Buffalo Springfield/Moby Grape style (i e: somewhere between folk-rock and west coast rock), with completely solid songwriting, nice guitar playing and interesting arrangements. A bunch of songs sound like they could have been hits. There are some nice popsike moments too. The stereo production style is several years behind its time (vocals are to one speaker like on old Beatles records), which lessens the impact a little bit, but still this is a big winner. Every collection should have a copy. This album also gets major points for being the most obscure choice in The Mojo Collection and subsequently being mentioned on the US TV show Gilmore Girls. The band names are pseudonyms, but T-Bone Burnett is one member, and a few others went on to form Space Opera, who released a unique and occasionally wonderful album in the early 70s. [AM] ~~~ This is one of those LPs (like the first Perth Co Conspiracy) that pretty much everyone who hears is impressed by, and yet remains overlooked in the big picture. From 1969 it's actually pretty advanced for its time, with a sound that would become more popular in the early 1970s, a mix of westcoast, folk and singer-songwriter. It opens with two killer tracks, the Fred Neil-ish folkblues of "The Viper" and the psychy "Day Of Childhood", which sounds like a lost track from the Bob Smith LP ("House Of Collection" has a similar sound). The rootsy folkrock sound dominates the album, with strong, world-weary vocals, appropriate use of violin and harmonica, and good songwriting. A couple of tracks that look back to the "Sgt Pepper"-era are hardly the highpoints but the album is strong enough to handle this diversity. For an unknown band the maturity and selfconfidence on display is remarkable. Essential... and not rare! [PL] RUTH WHITE (CA) "Seven Trumps Of The Tarot Card: Pinions" 1968 (Limelight 86058) [promos exist; unipak] [1] "Flowers Of Evil" 1969 (Limelight 86066) [1] Avant garde electronics from unacknowledged, selftaught synth pioneer. The first LP is an occultelectronic impression of the Tarot deck. "Flowers Of Evil" contains readings from the poetry of Charles Baudelaire with electronically treated vocals, tapecollages, spooky synth drones, and dissonant electronic backdrops. There is also an LP "Short Circuits" on Angel where Ms White interprets various classical music themes. WHITE BOY & THE AVERAGE RAT BAND (Baltimore, MD)

"White Boy & the Average Rat Band" 198 (Tradewind) [3] This is stretching the limits of the Archives here -it's an 80s album and sounds much closer to the kind of post-punk hard rock that got college airplay in the late 80s than it does like anything else reviewed on this website. That said, it's speedy not-quitemetal hard rock with a pulverizing distortion sound (to call it "fuzz guitar" is to understate it by a mile). One song is acoustic, but mostly this is just an in-your-face blitzkrieg, and it's really great. [AM] WHITE HARVEST (OH) "White Harvest" 1976 (Rite 36528) [insert] [3] Almost passed this one up at a flea market when I saw it contained the hymn "When The Roll Is Called Up Yonder". With no band pics on the cover it could just as easily have been some old-time gospel thing. Fortunately I risked my two bucks anyway, unaware of the way cool hard rock gem that lurked within. With female vocals, organ/synth backing and an overall exultant tone, White Harvest is similar in some respects to Servant or The Sheep, yet with a rougher quality. Not quite Earthen Vessel but darn close on slow boogie jammers like "I Cant Understand" and "Let Him In", both of which display a fair amount of distortion and fuzz soloing. Other songs have more the direction of west-coast rock, sometimes managing a light psych edge. One ballad - other than that the electric angle is present throughout (no folk or acoustic stuff in here). All original material save their heavy rendering of the aforementioned hymn (which Im sure ruffled a few feathers in their Cuyahoga Falls, Ohio community). Very attractive sleeve art of a 16th century black-on-white woodcut print. [KS] WHITE LIGHT(Los Angeles, CA) "White Light" 1970 (Century 39955) [2-3] [1st version] "White Light" 1971 (Century 40136) [2-3] [2nd version] "White Light" 198 (Vanita) "White Light / Mississippi" 2000 (CD Two Of Us 001, Germany) [two-on-1] Crude local barrock/hardrock that reminds me somewhat of Butterfingers, which is not a good thing. Reissued many years ago and thus a fairly wellknown title (apparently many people incorrectly thought they were related to the "William" 45 band), although it strikes me as rather marginal. Primitive recording with lots of fuzz, heavy Hendrixy riffs and growling vocals. Mainly cover versions including some odd choices such as Velvet Underground and the Fugs, along with soul, blues, crooner moves and even "Heartbreak Hotel". As a testament from a local scene this has its moments but if the main priority is good music, I would look elsewhere. Two different versions of this LP exist, the first with 11 songs including "Heartbreak hotel", the second with 9 tracks,

omitting "Heartbreak" and replacing some others. The LP has the same generic Century sleeve as the Philosophers LP. Most of the White Light album songs were recorded in 1970-1971 in the Perron brothers' (Joel & Kurt) basement. "But I Don't Know Why" and "Always Always," however, were recorded in New York in 1968 with vocalist Gary "Mississippi" Abram's earlier band members. [PL] WHITE LIGHTNING see Lightning WHITE NOISE (AZ) "Different" 1981 (WN 1001) [inner sleeve] [1] This mixed gender hard rock band (the woman not only does half the singing, but plays half of the lead guitar) is the only band I know that are both skateboarders and bikers. Most of this album has cheap production, tuneless vocals, a lack of hooks, aimless lead guitar, pedestrian lyrics and a lack of melodic inventiveness, and after the first song you'll want to shut it off for good. Don't give up on it completely, though, because the songs written and sung by Susan Vickers not only rock harder than the guys' songs, but have a mildly sinister edge that makes up for a lot of the above-mentioned deficiencies. The 9 minute suite that ends side one blows away everything here: it has hooks, hot solos and part two of it has a cool dramatic intensity. Too bad she can't sing any better than the guys, though. This is typical of private press hard rock; you have to overlook a lot of inadequacies to find the good in it. If you're willing to make the effort, about half of this is pretty enjoyable, but if you're expecting anything a millionth as good as, say, Bitch's Damnation Alley, you'll be disappointed. [AM] WHITE SUMMER (MI)

"White "White "White "White

Summer" Summer" Summer" Summer"

1976 199 199 2004

(no label 60343 N7) [3-4] (no label) (no label) [marble vinyl] (Void 026] [500p]

Local hardrock not without ambitions, similar to Sorcery as a transition piece from the early 70s hippie/dope era into the metal sounds of the early 80s. Opens with a psychy westcoast track, rest is pure guitar hardrock with minor prog moves; good vocals is a plus, while the drumming is a bit wrong both in terms of sound and playing. Closing epic is full of Led Zep drama and inane teen fantasy/SF lyrics. For 1970s fans only. Recorded at Uncle Dirty's. [PL]

WHITE WING (SD) "White Wing" 1976 (ASI 212) [insert] [1] Layered guitar, keyboard and mellotron progressive and hardrock, from band who later evolved into the "other" Asia. ~~~ see -> Asia

WHITEWOOD ( ) "Whitewood" 197 (Exotic EXS-1-91172) [plain white sleeve] "Whitewood" 1999 (Rockadelic 36) [600p; +1 track] [4] One of the more obscure Rockadelics is a crude, unpolished gem that deserves time to manifest itself. A reissue of one of those "we'll put music to your lyrics" song-poem artefacts, but this one breathes with an eerie dementia unlike the usual laugh riots; imagine a suicidal Boa or Ant Trip Ceremony with some fire up their ass. Title track is an instant classic, and 2/3rds is local late 60s garage psych the way you want it. The instrumental fillers include a roomclearing polka-rock fusion that could have been left off, though it does add to the spooky desolate Viet Vet vibe, as does the new front cover design. The bonus track comes from an inferior second LP from this same unsuccesful songwriter. [PL] DAN WHITLEY (Los Angeles, CA) "In Search Of Justus" 1969 (no label) [1] Pop/orch psych with mostly originals, a sitar cover of "Nature Boy" and some fuzz. Most of the originals are songwriting collaborations with one Bobby Morphis. Housed in a crude cover design, possibly a demo LP only.

BILL WHYTE (MA) "Cold Sunshine" 1973 (Hub) [insert] Hippie folk with psychedelic cover.

WIDSITH(NJ) "Maker Of Song" 1972 (Aleithia) [lyric insert] [1] Rural rock with some westcoast psych wandering. Great songs and vocals with mainstream appeal. Like if the Band had Van Morrison on vocals. "Singer in the market place" is a cool ripoff of the Moody Blues' "Nights in white satin"! [RM] ~~~

This two man band produced a unique item here, a folk/folk-rock record with influences from every possible genre, finally sounding something like an American Van Morrison, or Graham Parker if he'd been reared on folk instead of soul. A couple of songs have some really effective spacy fuzz guitar, some others have a good-timey feel, and some a busker feel. About half have drums, and some have a mild jazzy influence as well. All are well-played and sung and this is a good LP that grows on you. Not hard to find for a private press; it must have sold pretty well. [AM] DAVID WIFFEN (Vancouver, Canada) "Live At The Bunkhouse" 1965 (International Records) [4] "David Wiffen" 1971 (Fantasy 8411) [1] Wiffen was in 3s A Crowd with Brent Titcomb and other Canadian folkies in the 60s. His rare coffehouse folk live album preceded that band. The 1971 effort was the first from his incarnation as a 70s singer/songwriter, and its terrific. Unlike his later albums, this is quite hard to find, as purportedly only promo copies were distributed. Word has it that some of the albums backing tracks and the final mix were done without Wiffens involvement, which is surprising because this album has such a personal, intimate feel to it. Wiffen has a powerful, deep voice somewhere between Tim Hardin and Lee Hazlewood, and hes equally comfortable singing folkrock, mellow blues and straight old-fashioned ballads. His songwriting is intelligent and direct, again recalling Hardin. Among the highlights on this excellent record: Never Make A Dollar That Way, which has some eerie moog from Bernie Krause, and Driving Wheel, an instantly unforgettable song with a killer arrangement, including light fuzz guitar and perfect, tasteful use of horns. Wiffen (or whoever finished the mix) has an odd habit of fading songs out in the middle of verses, giving the illusion that his stories are unfinished. His most well-known song, More Often Than Not, especially benefits from this effect, due to its subject, alcoholism. This album is worth hunting down. Wiffen had one more LP on Fantasy in 1973. [AM] JACK WILCOX( ) "A Marriage Of Clocks And Highways" 1977 (no label) [1] Melancholic introspective downerfolkrockwith angry guitar picking, desperate vocals and dark lyrics,recorded in an empty bar. WILCOX, SULLIVAN, WILCOX (NM) "An Album Of Original Music" 1973 (Golddust) [2] Hippie folkpsych/singer songwriter with Eastern

moves, housed in tremendous acid cover. There is a second LP, "Tomales Bay" (Goldust, 1975) which is not as good. Apparently some players here also appeared on the "I Love You Gorgo" LP from El Paso several years earlier. WILDFIRE(Laguna Beach, CA) "Smokin'" 1970 (Primo) [plain sleeve with sticker; 1000p] [4] "Smokin'" 1996 (OR 011) [500p; new sleeve; sides reversed] Guitar-driven early hardrock rarity. WILD OLIVE BRANCH BAND (KY) "Through A Glass Darkly" 1977 (Lifesongs LSR-001) [1] Christian folkrock with some fuzz leads. WILD & UNTAMED BLUES BAND( )

"Wild & Untamed Blues Band" 197 (no label) Described by one fan as: "...ultimate kingpin White trash real people biker rock with male/female vocals, guitar, bass and drums. One of the crudest covers ever with a black and white photo collage of the greasy fat band members and the unattractive female singer wearing a "Spoiled Rotten" T-Shirt. "Motorcycle Rider" "Hey, Good Lookin Mama", "Baby", "Don't Ya Throw It Away" "Sunday morning Blues". This is the real deal and one of the scariest private pressings I have ever come across." WILKINSON TRICYCLE (Long Island, NY) "Wilkinson Tricycle" 1969 (Date tes 40016) [insert] [1] "Wilkinson Tricycle" 2005 (CD Synton, Austria) This album has a stark production style -- its basically the bands live sound without overdubs, kind of like the albums by Help. In a way it doesnt do the band justice, because they have definite leanings in an ambitious Beatlesque direction, as well as some hard rock moves. The songwriting is good, though not really top-notch. The best song is What Of I, which was effectively covered by Yesterdays Children on an album even more obscure than this. [AM]

V.A "WILLIAMSPORT, PENNSYLVANIA" (PA) "Williamsport, Pennsylvania" 1968 (Empire 513/14) [1-2] Typical sound for these local late 60s PA samplers (there's at least a half-dozen such) with covers of Hendrix, Steppenwolf, Beatles, a couple of originals such as Something Else's "Caldwell Purple Wren". There's also a version of "Girl from Ipanema" to screw things up. WILLIE & THE BUMBLEBEES (Minneapolis, MN) "Honey From The Bee" 1976 (SJL 4107) [1] Raw bluesy & funky barband rock with horn section and a cover to match, and titles like "After my hard-on is gone". Willie Murphy went on to start the Atomic Throy label and is producing other artists, and also recorded a couple solo projects. WILSON McKINLEY (Spokane, WA)

"On Stage: Live At Pender Audiotorium" 1970 (no label 27057) [1] Recorded live in Vancouver BC, "On Stage" sounds like its about one notch above an audience recording. The vibrant energy of the Jesus movement still shines through each song, making the album a cherished classic, even if it does check in well behind "Spirit Of Elijah" and "Heavens Gonna Be A Blast". The groups brand of west coast guitar psych seems rooted in the San Francisco Haight-Ashbury culture. Theyve been likened to Quicksilver but also have some of the country direction of The Byrds and The Grateful Dead. One of their favorite tricks was to take songs from secular artists and subtly alter the lyrics to a Christian perspective. Examples from "On Stage" include un-credited re-workings of "He Was A Friend Of Mine" and "You Aint Going Nowhere". Groovin bongo action on the latter, as well as on "The Love Of My Savior", "I Know The Lord" and "Hes Coming To Take His Children". The primitive electric guitar riffs, the loose spirited harmonies, the impromptu acclamations of thank you Jesus and hallelujah Jesus! - all of it contributes to that enthusiastic garage-rocking hippie Jesus freak vibe. The packaging is definitely unusual: the album originally came housed in white pie boxes hand-stenciled with a color

band logo and a one way Jesus sign. There are a number of variations of this version which is sometimes referred to as Jesus People Army. Later the album was released in an oversized regular cover with orange and brown illustrations of the four band members longhaired heads. [KS]

"Spirit Of Elijah" 1971 (Voice Of Elijah 27977) [2-3] Their really good one, west coasty Christian rock reminiscent of the best tracks on the Rainbow Promise LP and solid all through. Well-written songs combine perfectly with the jammy S F ballroom sound popular among the Jesus Music bands, recalling the mellow aspects of Moby Grape in particular. The epic, spinechilling title track is especially good. A loose, understated live in the basement recording adds to the appeal. I personally rate something like Kristyl even higher, but this album is undoubtedly one of the classics from the era. The band sells a CD compilation of their 3 albums, with the "Elijah" tracks reportedly losing some of their magic in their cleaned-up state. [PL] ~~~ This isn't just the best Christian album I've heard. It may possibly be the best album in the laid-back West Coast late 60s/early 70s style I've heard, period. The crude recording style works in its favor, making it sound fresh and vital, like a great live recording (which it basically is.) While the fidelity isn't great, the instruments and vocals are completely clear, proof that expensive recording technology isn't necessary as long as something is recorded with common sense. The occasional bum note from the singers isn't enough to detract from the heartfelt and warm singing style, and the band really gets a groove going on every single song. The songs aren't heavy at all, but they rock with an energy and confidence that's completely arresting. A few songs are stolen (how un-Christian of them!) from wellknown sources (Moby Grape, Moody Blues) but are given new, Christian lyrics. It's an interesting and successful gimmick, and these songs fit nicely in with a batch of killer originals. There's a mixture of slow and fast songs, but my personal favorite moment is the rave up in "Tree of Life." My favorite overall song, though, is the ballad "I Need A Savior," with its harmonies and lead guitar playing a perfect ringer for Let It Be-era Beatles. Unfortunately no direct reissue exists. A self-made best of CD contains much of this album, but it's definitely best heard as one coherent piece. [AM] "Heaven's Gonna Be A Blast" 1972 (Voice Of Elijah 29005/6) [oversized day-glo cover] [1] Although nearly killed by a production snafu that sets the bass way out in front, this album happens to contain some of the groups best songs. "Standin At The Crossroads", "He Made Us Free" and "Then I Fell In Love" all show the group in top form with lots of

rock & roll energy and enthusiasm for Jesus, along with touches of CSN vocals and Grateful Dead boogie. Same spunky attitude on the lively title track which features an electric bass solo followed by a drum solo. "Im Only Smilin" includes some jamming piano, while the heavy percussive angle of "On Stage" returns for "I Wish I Had The Words To Tell You". The electric piano introduced on "Spirit Of Elijah" returns for several songs including a couple of ballads. "Almighty God" closes the album with a hypnotic 6/8 jazzy psych groove. As for the cruddy production, Ive gotten to love this record so much I dont even notice it anymore. Besides, the sound is still better than on their first LP. The oversized Day-Glo cover with the colorful exploding graphics is certainly an eye-popper. Both red and yellow label copies have been found. The group had two later cassette-only releases: "Country in the sky" and "Yesterday/Forever", and also backed up Frank Starr on his LP "You Can't Disguise Religion" (1971). Earlier some members appeared on an exploito California Poppy Pickers LP. [KS]

BILL WILSON (Austin, TX) "Songs From the Catalog of Sonosong Music Company" 196 (Sonobeat WEJ 285M / WEJ 286M) [about 100 pressed] [3] Texas folk songwriter's demo. The music is just Bill and acoustic guitar. Cindy Reynolds sings harmony vocals on one track. The sound is similar to Bob Dylan's "Another Side of" LP - imagist deep thoughts lyrics including a couple songs about the Vietnam War. Good LP with a behind the times sound. No label would have been interested at the time but it would have been a good release for Elektra or Verve Folkways in late 1966 or so! The front cover is plain with a small title stamp. The back cover is blank and came with a photo or info sheet taped on. [RM] ~~~ see -> Mariani GARY WILSON (Endicott, NY) "You Think You Really Know Me" [b & w cover; inserts] [2] "You Think You Really Know Me" cover] "You Think You Really Know Me" color cover] "You Think You Really Know Me" 1977 (Gary Wilson/MCM Records) 1990 (Cry Baby bh 03) [color 2002 (Motel Records) [remix; 2002 (CD Motel Records) [remix]

Gary Wilson is one of the most oddly endearing of all 70s oddballs. This album is a stark mix of funk, pop and prog, a mix that could be a disatser but works very well here as Wilson is obviously doing what comes naturally to him. It's cool, but what really makes him so memorable are his lyrics. He's young here, and horny beyond belief, but afraid of girls at the same time, and his obsessions are unbearably real and often scary. Unique, unforgettable album and an absolute landmark in 1970s weirdness. When Gary was found 25 years later, sure enough, he was working in

a porn shop. Wilson had an earlier LP, "Another Galaxy" (GTW Records, 1974), which is in a DIY freejazz direction, including music taped from Coltrane & Miles records with Wilson's own piano overdubs! The 1978 "Wedding Gown" EP is rated highly among fans. There's also a 2003 CD called "Forgotten Lovers" (Motel), a compilation of unreleased 70s stuff, and Wilson recorded a new album in 2004. [AM]

WINDFLOWER(Alaska) "Windflower" 1974 (no label 2827) [insert] [1] This is somewhere between genuine acid folk and cringeworthy up-with-people commune folk. Over the full album the sweet, passionless, vocal style (some female) really starts to grate. A song or two at a time, though, this can be pretty appealing, and there are a few haunting tunes here. Not really recommended, but if you can get past the singing style you will probably like it. The group was connected to the Baha'i church and included Eskimo members. [AM] WINDFLOWER (PA) "Dreams" 1976 (McKee 36442) [500p] [1-2] "Dreams" 199 (Ton Um Ton, Austria) [new sleeve; 300p] Listenable but not more typical local mid-70s rock LP with some moog, AOR guitar and moody vocals. A couple of enjoyable songs but a far cry from the "heavy guitar monster" this has been described as. The loud, dishonest hype on this bland album caused a substantial backlash in which it came to signify the general overheated bullshit nature of the mid-late 1990s rare record scene, when it was first "discovered". The reissue has a new cover design as the original was just a title sleeve. Not to be confused with the Alaska band of the same name. [PL]

WINDOW (Dallas, TX)

"Window" 1974 (New Life 0001) [booklet] [2] "Window" 2005 (CD Radioactive 144, UK) Mainstream femme vocal hippie-folk/singer songwriter with 2-3 excellent tracks with psych moves; some minor Christian concerns. WINDWORDS (Cleveland, OH)

"Shootin' The Breeze" 1979 (WW 1001) [1000p] [1-2] This Cleveland private isn't easy to figure out, which is usually a good sign. The basic trip is a bit like if the McKay "Into You" LP had been recorded by two angry Christians. Well-played and skillfully arranged in the typical 70s Dead/CSNY bag, but the usual breezy westcoast mood is charged with an atypical late-night intensity, as if the guys are getting impatient. This emotional input spills over into the lyrics which occasionally (as on "Fire") go into Fraction fire & brimstone domains, even as the music remains smooth and in control. As part of the commitment the guys tend to oversing a bit, especially David Arberman, although I suspect this to be a subjective call for each listener. Opening track "Wisdom" is a high-point with strong songwriting and hooks, and all over side 1 is superior, although the whole album displays an unusually finalized and clearcut style for a local LP. Guitarplaying is superb throughout, with obvious Garcia aspirations. Should appeal to fans of Ark, although that band never were this pissed off. The sound of Christian insomnia! The band also had a local non-LP 45. [PL] ~~~ This is supposedly a Christian record, but it sure doesnt sound like one. Its got a pretty typical laid-back west-coast feel (despite the Midwest origins.) Most of it is acoustic, though the best couple of songs have significant amounts of electric lead guitar. A few surprisingly vicious lyrical moments add some appeal. This isnt as good as the best stuff in this bag (i.e. its certainly no Wilson McKinley), but it is pretty distinctive. I think it would have been better if the songs were more concise and rocked a little harder, but this is still a worthwhile record. For years this went undiscovered by collectors, maybe in part because of the genericlooking cover. [AM] V.A "WINNIPEG" (Winnipeg, Canada) "Winnipeg" 1969 (Franklin 1000) [1-2] Bluesy fuzz psych with local Manitoba hippie bands, including The Fifth, the Mongrels, Good Fortune, Triad, and others. Covers and originals, some tracks have female vocals. MARK WINOKUR (VT) "God Fearin' Man" 1971 (no label) [2] Seldom seen debut LP from fringe outsider guy, here on a freaky DIY acoustic folk bender a la ESP label sounds. Liner notes declare: "Idiots of the world unite, you have nothing to lose but your illusions". A mono recording. "Jesus Christ Super Stoned" 1973 (Revolution) [1] Druggy guitar folk with crazed lyrics, hardly a

Christian outlook despite the title. Songs like "I'm addicted" and "The trip". WINTERHAWK(San Francisco, CA) "Electric Warriors" 1979 (Mother Earth 4) [3] "Electric Warriors / Dog Soldier" 2003 (CD Mother Earth) [2on-1] High-priced but unexceptional hard rock from Native Americans. Tom Bee of Lincoln St Exit/XIT produced. The band had a second LP in 1980, "Dog Soldier" (Mother Earth). WINTERHAWK (Chicago, IL) "Revival" 1982 (Lamda) [1-2] Power trio jamming bordering on metal, with no relation to the band above. WIT'S END (Garland, TX) "Rock And By God Roll" 1979 (Snowdrop) [1] This rare hard rock album fits squarely into 1979 with the high vocals, phased guitars and manic punky intensity of the time period. Its too stark to be classified as AOR, but with a little more polish this certainly could have appealed to mainstream audiences of the early 80s. My first thought upon hearing it was that these guys cant actually be Christian rockers, as it rocked way too hard and had too much speed. They are... but you have to pay pretty close attention to tell, and a most of the lyrics cover standard rock themes. The rhythm guitarists nickname is Bitch, for what thats worth. The songs are as fast as any punk of the era, which really makes this stand out among all the sludgy hard rock of the 70s and 80s. This isnt earth shattering, but its fun stuff. [AM] WIZARD(Tampa, FL) "The "The "The "The Original" Original" Original" Original" 1971 199 1999 2000 (Peon 1069) [3] (Peon) [bootleg] (Akarma 070, Italy) (CD Gear Fab 124) [+bonus tracks]

Low-fi 70s hard rock with a rather generic sound. OK if youre a huge fan of the style, but this isnt especially original, nor is it wild enough to be very memorable. There is also a 45 with a non-LP track. [AM] ~~~ Clearly a reflection of the trio's roots as a working band. Sporting a live sounding mix (there's minimal post-production work), tracks such as the opener

"Freedom" offered up standard hard rock moves with then trendy lyrics -- anti-war, anti-mainstream society, religious philosophy, drugs (the non-toosubtle "What Do You Know About Mary?"). That said, the album's surprisingly diverse and enjoyable. The band had decent singers and effectively avoided the plodding white-boy blues that plague so many early1970s' power trios. So what are the highlights? "Come and See the Bride" with its nod to The Who's "Pictures of Lily", the martial "Killing Time" and the country flavored "Going Away" are all great tunes. [SB] WIZARD (FL) "The Spell Is Cast" 1977 (Illusion) [1-2] An unknown LP on the Mike Pinera tax scam label. Nice wizard cover and musically in the hardrock/progressive vein with mostly (or only) versions of tunes by AC/DC, Sabbath, JUdas Priest, etc. They also had a second, similar LP on the Illusion label. The band was actually called Critical Mass, but were dubbed "Wizard" by Pinera for the album releases. No relation to the earlier Tampa band. WIZARD (CA) "Wizard" 1979 (Future Track) [1] Hardrock/early metal trio. There was also a 45 on the same label. WIZARDS FROM KANSAS (KS) "Wizards "Wizards "Wizards "Wizards "Wizards From From From From From Kansas" Kansas" Kansas" Kansas" Kansas" 1970 199 1993 2003 2003 (Mercury 61309) [wlp exists] [2] (Mercury) [bootleg] (CD Afterglow 006, UK) (Radioactive 009, UK) (CD Radioactive 009, UK)

Recently receiving a lot of interest and rightly so, cause these Midwest boys blow most Bay Area groups away on their own turf. Took me a while to get into it, now I rate it among the best late 60s psych-rock LPs. Powerful hippierock with prototype heavy moves, strong songwriting and brilliant performances - the rhythm section is awesome.There are many good albums in the epic psych genre but this one is charged with a special spirit that creeps upon you over time. And "Country Dawn" has to be one of the best rural rockers ever. [PL] "Still in Kansas" 2003 (Rockadelic) [insert] Previously unreleased 1968 pre-Mercury tapes from when they were still called Pig Newton. Contains several tunes also on the subsequent album but these earlier versions are clearly from another era, with a

lighter and airier sound that's very appealing. Vocals and some arrangements would later be improved, but a couple of tracks such as the opening "Flyaway daze" are superior in this embryonic stage, with a marvy Midwest/westcoast '68 blend comparable to the best aspects of HP Lovecraft. Also has a good take on "All along the watchtower" and a great closing original that's not on the Mercury LP at all. Essential to fans of Wizards and/or the late 60s CA sound. Packaging is pretty good, 3-D computer graphics may turn some off but I don't mind. [PL] WOLFMAN JACK & THE WOLFPACK(New York City, NY / Minneapolis, MN) "Wolfman Jack & the Wolfpack" 1966 (Bread 1070) "Wolfman Jack & the Wolfpack" 2004 (Bread) [bootleg] Border DJ and cultural icon supported by local Minneapolis band Jesse J & the Bandits, recorded at a time when the Wolfman was DJ:ing at KUXL in Minneapolis. Raw garage-frat in great cartoon cover. JOHN WONDERLING (NY) "Daybreaks" 1973 (Paramount 6063) [2-3] [inner] This is ridiculously rare for a major label LP, and as luck would have it is maybe the most interesting album on an interesting label. Psych fans know Wonderling because of the oft-comped single "Man Of Straw" (which, 5 years later, is here on this LP), and will be glad to find that the album is more of the same: singer/songwriter music with a druggy feel (lyrically and musically), acoustic rhythm guitars with electric lead guitars, and Wonderling's strong voice up front. The opening "Long Way Home" is an intriguing blend of hippie psychedelia and mainstream 70s rock (for example, a female backing vocal chorus appears when you'd least expect it). Elsewhere spacy strings and drony sitars hold hands with poppy horn arrangements. As a whole it is the kind of elaborate production you would think the label wouldn't waste on an album if they were only going to distribute 10 copies. This is one weird sucker, and overall very good, a singer songwriter album as distinctive as those by, say, John Braheny, Marc Jonson and Rex Holman. Wonderling earlier wrote "Midway Down", covered by Brit mod legends the Creation. [AM] V.A "WONE - THE DAYTON SCENE" (Dayton, OH)

"WONE - The Dayton Scene" 1966 (Prism 1966) [2]

As with "Hillside '66" this teenbeat and garage sampler has received wide attention from compilers, the top number on it being Jerry & the Others frantic "Don't you lie to me". Other high-points include tracks by the Xcellents and the Gillian Row. Issued by the local WONE record station as part of a Battle Of The Band contest. WOODBINE(WI) "Roots" 1971 (Blue Hour 1-1010) [booklet] "Roots" 1978 (Tool Room 104) [reissue] Obscure live recording from Milwaukee, semi-electric folk with long tracks from quartet with standard rock setting. Band member Bill Camplin was involved with lots of other local music projects, and had several solo releases in a Dylan-inspired singer/songwriter style. WOODEN ELEPHANT ( ) "Wooden Elephant" 1978 (Jeree 771237) [insert] [1] CSN/America style folk and rural rock from trio with drums and keyboard added for the album. The label indicates a North-east origin. ROBIN WOODLAND (CA) "One Golden Moment" 1978 (no label, no #) [2 inserts] [1] Fund raiser project LP of 70s rural melodic folkrock and singer/songwriter with electric leads and a happy hippie mountain air vibe. Some use of banjo, flute, violin. Opinions differ on it, and it may be one for genre fans mainly. WOOLY BEAR ( ) "Wouldya" 1974 (Stereolab Sound) [1] Laidback hippie rural rock like Grateful Dead, with mandolin, flute, autoharp, and piano. THE WORKS BROS (AZ) "Meditation Works" 197 (no label) Spiritual hippie folk oddity in primitive green cover design. WORKSHOP ( ) "Workshop" 1972 (no label xpl-1030)

Sixteen member collective with mix of jazzy rock and deep folk. Mixed vocals, amateur moves worthy of the "Tool Shed" LP. At least half should appeal to fans of homemade, introspective folk LPs. WOULD(NY) "Would" 1971 (Perception 24) [2] Mysterious second release on Jimmy Curtiss' label of the Velvet Night LP in a new cover and title and with one new number replacing the "Velvet Night" track. See Velvet Night review for details on this disappointing album.

DAVID WRIGHT'S ORIGINAL HOME BAND (AR) "David Wright's Original Home Band" 1975 (Own Spun) [1] Local electric folkrock with some psych moves. Labels state "yin" and "yang".

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XEBEC ( ) "Calm Before The Storm" 1981 (Desire) Oklahoma label. Southern hardrock with excellent dual and slide guitar work, housed in an atypical cover drawing of a schooner at sea. XENOGENESIS (Miami Beach, FL) "#1 - I Am That I Am" 1973 (no label) [gatefold] Philosophical psych spoken word realness, sampling, sound effects. One of the freakiest in this style. The artist name is sometimes listed as Sexxenogenesis. XIT(NM) "Entrance" 1974 (Canyon 7114) "Entrance" 2005 (Sound Of America 145) Retrospective release of 1967-68 recordings by wellknown Native American band Lincoln St Exit, who had a couple of albums out in their later incarnation as Xit. This is good early melodic psych in a Love "Da Capo"/Strawberry Alarmclock direction, rated highly by many. Highpoints include "Orange benevolence" and their 45 psych classic "Sunny Sunday dream" Contemporary releases in the 1970s include "Plight Of The Red Man" and "Relocation". --see -> Lincoln St Exit XXX ( ) "Live - The First Legal Bootleg" 1973 (no label 73-101) Mix of rural and heavy drug rock, primitive and trashy. Later became the Elmer City Rambling Dogs.

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YA HO WHA 13 (Los Angeles, CA) "Kohoutek" 1973 (Higher Key 3301) [insert; 500p] "Kohoutek" 1994 (Higher Key, UK) [bootleg] "Kohoutek" 1999 (CD Captain Trips, Japan) [CD box-set] This is their very first LP and not a bad one to start with if you want to get into their drugged out L.A runaway kids acid cult basement guitar jams. Inspired by the appearance of the comet "Kohoutek", the family's bearded, middle-aged guru/leader Father Yod digs deep into his bag of tricks: "It's a thought projection from God". Father raps and howls in his unrestrained manner as the music goes through its typical raw acid-rock chameleon moves, building towards a nice climax with a doomy fuzz riff as the truth is laid down from above. Although mandatory to Yahowans, this is hardly their best album, and not one of their rarest either. The LP was issued as by Father Yod & the Spirit Of 76; original copies have '3301' on the insert and '18574' in the matrix. [PL] ~~~ The first album by Father Yod & co is an appropriate introduction to their music. Ill be completely honest here - I find his off-key, hysterical singing to be really annoying, and how much you enjoy this music (and which of the albums youll prefer) depends to a very large extent on your tolerance for him. A lot of times hes not singing, but ranting and raving (almost preaching), but even in that context his voice is hard to take. The early albums were apparently recorded in the time it takes to listen to them. They all feel improvised, obviously, but the better ones sound as if a lot of thought and rehearsal was put into them before the recording session. The band really could play, and got better with time. Theres a neat combination of tight and loose in the music, and cool moments, whether they be female backing singers, hot guitar licks, or unexpected bursts of keyboards, abound. "Kohoutek" has lots of Yod and not really as much musical inventiveness as the next few albums, so its not high on the list, quality wise. It ends with a rather jarring emergency alert-type tone that should wake up anyone who hadnt been paying attention. [AM] "Contraction" "Contraction" "Contraction" "Contraction" 1973 198 1999 2006 (Higher Key (Swordfish, (CD Captain (Swordfish, 3302) [color cover; 500p] UK) [b&w cover; 500p] Trips, Japan) [CD box-set] UK) [color cover]

Of all the freaky Yahowha LPs nothing can match the dual mindfuck of "Contraction" and "Expansion". A really evil feel dominates as Yod pushes you through the stages of a Messianic acid trip, summing it up with "doesn't a lightbulb burn the brightest just

before it goes out?". This must have destroyed a few young psyches and caution is definitely recommended. The music is aggressive, ominous and creative, constantly evolving and occasionally intense like nothing else I've heard. Incredible stuff. Issued as by Father Yod & the Spirit Of '76, and like all the early LPs sold only at "The Source", the family's health food restaurant on Sunset Boulevard. [PL] ~~~ Again, lots of Yod here, but the music behind him shows a huge leap in creativity and inspiration. I love the female backing chorus. Sometimes this is funky, sometimes just plain freaky. The band gets a terrific groove going here, and while Yods squeaks and squeals knock it off kilter, they somehow seem to have a feel for where hes going. This feels to me like Im watching a really interesting movie and some annoying guy in front of me is wearing a large hat, wont take it off, and spends half of the movie talking on a cell phone. Not surprisingly, the hottest moment of the album is the instrumental section that closes side one and opens side two, with some really great guitar noise that hits all of the right spots. When Yod starts singing again, in the middle of this mania, hes thankfully at his most restrained and it takes a few minutes for him to kill the mood. The music is so intense that he doesnt completely destroy it even when he starts calling some kid a scaredy cat and says nyah nyah nyah nyah nyah nyah. It ends with a gospel-influenced section of peacefulness. [AM]

"Expansion" 1973 (Higher Key 3303) [color cover; 500p] "Expansion" 198 (Swordfish, UK) [b&w cover; 500p] "Expansion" 1999 (CD Captain Trips, Japan) [CD box-set] The companion piece to "Contraction" is equally scary though less of a throat-attack, more like Yod trying to assemble what's left of his and your mind. Lots of the trademark raw acidrock but also some Grudzienstyle piano and ghostly female voices lurking in the background as Father continues his sexual/religious exploration into places you don't really want to go. Issued as by Father Yod & the Spirit Of '76. The 1980s reissue is sourced from a noisy original. [PL] ~~~ The ante is upped a little here as its the first of their albums to surpass half an hour (at 34 and a half minutes its almost ten minutes longer than the previous two albums.) Whereas "Contraction" is the guitar freakout album, this is the keyboard, backing vocal and feedback freakout album (though eventually theres plenty of guitar too). There are at least as many great moments here as on the predecessor, and again they hit a really hot groove and push it for all its worth. The use of piano is surprisingly intense. The good news is that theres not as much Yod this time, but the bad news is that his vocals are even worse, if that could be possible. The destroy to build again chant is pretty wild and hypnotic, but the whole point of Yods existence is stated early on with in and out and in and out and in and out... is what its all about and stuff about

ultimate climax and ultimate orgasms. Skeptics out there who think charismatic commune leaders like Yod are in it only for the sex are vindicated, to be sure (not that the obviousness of it scared away any of his free-loving disciples.) On the Yod-meter, this is a little less intense and a little more rambling than its predecessor, but is pretty comparable, qualitywise. [AM] "All Or Nothing At All" 1973 (Higher Key 3304) [500p] "All Or Nothing At All" 1999 (CD Captain Trips, Japan) [CD box-set] Heres a change of pace: a folky singer/songwriter album by Yods disciples, who revel in the Yod experience. The female singing (only on a couple of songs) is pretty nice and the songs are reasonably tuneful (some are very catchy, actually.) However, the sparse acoustic (guitar on some songs, piano on others) accompaniment doesnt really make for a fully exciting listening experience, and the six and a half minute Renaissance is particularly tedious. At least Yod doesnt sing. The goofy, upbeat Party Song is kind of cute. I think its nice to see that these folks actually have a sense of humor, but that song is certain to annoy some less tolerant listeners (this is not to suggest that intolerant listeners would even attempt to check out Yod albums!) Nice back cover photo of the whole clan. The CD from the box set includes four quite good bonus tracks in a pop/soul vein, and with a full band. One entitled Do Me is sung by Yods women. Does anyone know how and when these songs were first released? [AM]

"2" 1974 (Higher Key no #) [inner bag; 5000p] "2" 1999 (CD Captain Trips, Japan) [CD box-set] A k a "Ya Ho Wa 13" or (inaccurately) "Savage Sons of Yahowa" - this shows a big pic of Father wearing a robe and medallion on the cover, staring into the camera. He's on vocals and the LP is pretty freaky in a song-oriented style with a gritty 70s Stones-sound, crude and uncompromising. Not one of their finest hours, but certainly an unusual experience. According to band member Djin, this may have been pressed in 5000 copies, unlike the others. [PL] ~~~ This album, like "All Or Nothing At All", consists of actual songs. This time they're rock songs, with an obvious debt to the Rolling Stones. Some of them are kind of cool ("Because," with its minimalist rip on "Honky Tonk Woman," the hypnotic "Magical Lady," and the choppy, almost proto-punk, "Little Doggie" are the best), but the songs get less interesting as they go along. Most importantly Yod's singing is even more annoying in the context of attempted melodies than it is in the land of free form. Here I find him utterly unlistenable. [AM] "Penetration" 1974 (Higher Key 3307) [500p] "Penetration" 198 (Higher Key) "Penetration" 199 (CD)

"Penetration" 1999 (CD Captain Trips, Japan) [CD box-set] "Penetration" 2003 (Swordfish, UK) This tribal acid fuzz monster trip seems to be many's favorite YHWH item (including some of the band members themselves). Intense, evil ritual scenes are projected as Yod pounds out the beat of the time on his kettle drum while Djin, Octavius and Sunflower elaborate brilliantly on top. In terms of sheer "music" this is probably the best and most ambitious of all theirs, and can be lined up against any German spacerock or S F acid jam with flying colors. I challenge anyone to come up with a more tortured, mindpiercing guitar tone than Djin delivers on both sides. Excellent recording with stereo effects and spooky vocal overlays, unlike their usual garage improvisations. What came across as "silence" on the old vinyl boot was in fact low-volume feedback ambience that contributes to the controlled, eerie mood. A deep and challenging artistic statement worthy of great respect. Has a superb sleeve of Father in full action as well. The 1980s bootleg is pretty close, but the label writing on the boot is in slightly less black ink than the (black) original writing. On the bootleg the names of Octavius and Djin have been cut off by the sleeve opening. [PL] ~~~ This is the easiest Yod album to recommend, partly because Yod is barely on it at all, but mostly because it really is a great, powerful piece of music. There are four long songs, mostly instrumental, with a dark feel, heavy atmosphere and absolutely killer guitar playing. The opening song builds for several minutes; the sense of control they have as a band is second only to the lack of control Yod has as a singer. A few moans and mumbles and even some whistling from Yod are relatively inoffensive, thankfully. This album may not have the same kind of freak value as "Contraction" and "Expansion", but it has every bit as much musical strength. The monotonous pounding drum does grate a bit, though. [AM] "I'm Gonna Take gatefold] "I'm Gonna Take gatefold] "I'm Gonna Take "I'm Gonna Take box-set] "I'm Gonna Take gatefold] You Home" 1974 (Higher Key 3309, 2LPs) [500p; You Home" 1987 (vinyl) [bootleg; single LP; no You Home" 199 (CD) You Home" 1999 (CD Captain Trips, Japan) [CD You Home" 2002 (Swordfish, UK) [single LP;

Perhaps the most wellknown Ya Ho Wa-LP and one of the first to be reissued, you need only look at the unparalleled sleeve to know you got your money's worth! Some rate this very highly but musically I think it's only about mid-region for their LPs, it has the usual ripping basement Frisco-style jams and Yod howling, humming and whistling but can't really sustain the grip for a full 60 minutes. The total package is so freaky that the artefact value is high enough to make it essential anyway. Despite of being a double album, the playtime is short enough that the first bootleg compressed the music onto a single disc, and (unfortunately) removed the gatefold. The recent Swordfish release is a nice job. [PL]

~~~ This album starts with lots of Yod, and with a 50 minute length, it appears that it could become an endurance test, but he mellows out quickly and most of this is instrumental. Its not as good as "Penetration", but it certainly has its moments. At one point, some wacked out guitar backs Yod making buzzing noises, which is really intense, even when the buzzing morphs into some out of key screaming. The second song, in particular, has an almost mainstream heavy sound to it, kind of a 70s update of the best work of Quicksilver Messenger Service. It may be their best song of all, and its an easy one to play for newcomers because it doesnt have a moment of Yod on it! [AM] "To The Principles, For The Children" 1974 (Higher Key 19393) [500p] "To The Principles, For The Children" 1994 (Higher Key, UK) [bootleg] "To The Principles, For The Children" 1999 (CD Captain Trips, Japan) [CD box-set] Last Yahowha outing with Father Yod in charge, not absolute top level for me but still essential for purveyors of the scene. Yod spells it all out for you on three long cuts with crude acidrock mixed with some quiter moments, and even the Ya Ho Wa family children get to pay tribute to Father on the closing track. Another great sleeve with Yod in full millionaire gear heading for his Rolls on the front and dressed up as Santa Claus on the flip. The family believed that the only thing that attracts people in LA is money, which explains the show-offy nature of these mid-period releases. [PL] ~~~ This one begins with a spoken word Yod bit that cracks up his disciples, and goes on to have not only lots of Yod singing but also a whole bunch more of the pounding drums that were "Penetration"s one main fault. Musically a bit mellower than past albums, and while the guitar work is still pretty cool, theres not much of an edge here. The cutting, menacing guitar tone is here replaced by a phase shifter. Best lyrical moment: Yod singing about how you should never abuse a woman. Best musical moment: a gaggle of kids singing oh ya ho wa we love you. But basically this one is much more irritating than entertaining. [AM] "Savage Sons Of Yahowa" 1974 (Higher Key 010) [500p; inner sleeve] "Savage Sons Of Yahowa" 198 (Higher Key 010) [legit 2nd press?] "Savage Sons Of Yahowa" 1999 (CD Captain Trips, Japan) [CD box-set] The most "commercial" or "normal" of their LPs though these terms are used in a strictly relative manner. Yod isn't here at all, instead we get vaguely Neil Young-influenced ramblings on 70s "aware" topics like environmental concerns and Red Indians. This has less freaky jams and is more song-oriented than their others with some really good tracks, plus the broken lament "I thought I was Jesus" over and over lets you know hanging out with Father Yod wasn't all fun and

games. At least two cover variants exist. [PL] ~~~ More actual songs! This time Yod doesnt sing, and the results are much more listenable. This is straightforward 70s rock, somewhere between Neil Young, Dr. John and the Stones. Basically, its decent but not great music with some excellent guitar playing in spots and an appealing sleazy vibe in others. Most of them get a nice groove going, even if the (probably one-take) feel of the thing is a little slipshod. Not their most interesting album, but probably their most listenable. [AM] "Golden "Golden "Golden "Golden Sunrise" Sunrise" Sunrise" Sunrise" 1975 1982 199 1999 (Higher Key) [8-track format only] (Psycho 2, UK) [marble vinyl; 300p] (CD) (CD Captain Trips, Japan) [CD box-set]

Originally issued only on 8-track as by Fire Water & Air, Psycho picked this up for their first non-comp release. Probably recorded after Father left his body via a hang-gliding accident in Hawaii mid-1975, leaving Arelich/Sky Saxon, Djin and the guys free to elaborate on Red Indians, pollution, Atlantis and more in a great basement hippie psychjam context. On the Ya Ho Wa scale this lands somewhere between "Savage Sons" and "Take you home", in other words it's song-oriented yet pretty freaky. Those familiar with Sky Saxon's 70s work will recognize the moods and style, although the tracks here are longer and more acidrock-influenced. Some outtakes from this session appear as bonus tracks on the Yahowha CD box set. See also "Masters Of Psychedelia" under the Sky Saxon entry. Some copies of the Psycho release came with the original 8-track sticker attached. [PL] ~~~ Due to the original release being on an 8-track tape only, this is the longest of all of the Yahowarelated albums, at 60 minutes. Since theres no Yod on it, there arent any really awkward and earshattering moments, but whoever sings on this one isnt exactly tuneful either, and its still a lot to stomach at once. The basic sound is pretty heavy, in the same manner as the tougher songs on "I'm Gonna Take You Home". Djinn truly is a guitar wizard, and the dark tone of this album really shows him off at his best. The nine-minute opener, Time Travel, is almost as good as the killer second song on "Take You Home", at least until it morphs into Food For the Hungry and the singing comes in. It even sounds (dare I say it) like they rehearsed it! Elsewhere the great moments are more thinly dispersed, but theyre there. Patient listeners will find a lot to like here, though its not consistent enough to match their very top works and gets less interesting as it goes along. Some songs here are surprisingly poppy. Theyre not exactly mainstream, but could probably have gotten some radio play without freaking anyone out. [AM] "Yod Ship Suite" 1976 (Father) [no sleeve] "Yod Ship Suite" 199 (no label, UK) [new sleeve] "Yod Ship Suite" 1999 (CD Captain Trips, Japan) [CD box-set] Their last one, this includes Sky Saxon on vocals. Sounds like a lament/tribute to the (deceased) Father

in a burnt out hippie folk-psych setting with flutes and acoustic guitars and the usual trancey flow, another nicely freaky LP although decidedly low-key in mood, and perhaps mainly for the already initiated. This is the rarest of all Yahowha LPs, only a couple of copies are known to exist. [PL] ~~~ The inclusion of Sky Saxon on this one obviously makes it (theoretically) of interest to a wider audience. Unfortunately, though, the music is in a flute-heavy folky mystical mode, rather than the guitar-heavy stuff they do best. Even more unfortunately, most of the vocals are pretty awful. Saxon doing a Yod impression? Most of this is rambling and chant-heavy, and while the lyrics may have been partially written ahead of time, the melodies were obviously improvised in a stream-ofconsciousness way. Music to try to meditate to except that much of it is so strident that youd keep losing your focus. At one point a female backing chorus moans over a guitarist practicing his scales. It sounds to me like a rehearsal, not a performance. In case I havent yet made my point, this one is dreadfully dull. [AM]

"Yod Ship Suite, pt 3" 1976 (Father) [1-sided LP] This obscure one-sided LP was left off the Japanese box-set, probably because noone remembered it. I was surprised to find a considerably more aggressive sound than the preceding LP. "Part 3" consists of 14 minutes of music, the first half which is a successful variation on Yod sounds such as "Contraction", with a full-on psychedelic rock sound, evil guitars and Sky Saxon rambling like Fathers' lost son. The second half (crudely spliced on) is somewhat more introspective, like the mellower tracks on "Golden Sunrise". Djin Aquarian recently revealed that the "Part 3" recordings, although not released until 1977-78, were actually laid down in 1973 with the original Spirit Of '76 band, which explains their vintage sound. All over a very appealing piece despite its short play-time, hopefully to be reissued some day. The few copies found come in a crude psychy sleeve. [PL] "The Operetta" 2004 (Swordfish UK) [2 LPs] Spread over four sides of album this singular occurrence (recorded 1974) features some of the most crazed output from Father Yod and The Family. I was wary of this issue as I suspected the sound quality might be poor and that the barrel was being scraped. The sound quality is very good and the music definitely in the same league as their other releases. The gatefold LP comes with a pseudotranscript of the events in the San Francisco

warehouse where this was recorded early in the morning, documenting some of the spontaneous lyrics. So it is possible, although perhaps not desirable, to attempt to make sense of it all. As the LP progresses the sound becomes increasingly liquid, pounding and intense. The sensation when listening is of becoming completely lost in the sound, utter dissolution occurs. There is always form in the chaos. However, all form is regularly lost, only to be pulled back from the edge by Father Yod mustering the might of His Sons from the Good Ship Yod. These fellows sail some dangerous high seas. The wild drumming really makes this recording stand out as it is right at the forefront. Hallmark feedback and demonic guitar solos vie with Father Yod on superb, raving, form. I would rate this somewhere between Penetration and Golden Sunrise. The demented trumpet of Golden Sunrise is deployed to devastating effect here, just where you least expect it. Occasionally, it sounds like a more live version of Im gonna take you home. And so, it only remains to be said: It is time for a mating. Get it on with the tree. [RI]

YAMA & THE KARMA DUSTERS (Chicago, IL) "Up From The Sewers" 1970 (Euphoria Blimpworks/Manhole 1) [1000p] Pro-level mix of urban Dylan & Zappa-inspired counterculture and rootsy Dead '70 rural moves. Appealing sound with a fully electric folkrock setting, strong vocals, fine arrangements and ambitious lyrics. A bit left-field for fans of basement garage/psych, but should appeal to anyone with an ear for major label-style early 70s singer/songwriter sounds. Clearly superior to LPs such as Drnwyn or Nosy Parker. There are a few variants of this LP; a 'first version' with handmade covers in circa 150 copies; a version with a printed fist cover (350p); and a slightly later press with a rose image cover (500p). [PL] ~~~ This is a pretty appealing folk-rock/rock album. The lyrics are smart and often funny, and the singers straightforward approach suits the song-stories within. Theres some nice restrained lead guitar and a laid-back hippie feel throughout. My favorite moment: the singer introducing a violin solo with blow your harmonica, son. This has a similar feel to the Greenwood, Curlee & Clyde album, but some of it rocks quite a bit harder and these guys seem more likely to actually join the revolution rather than to merely sing about it. No truly great songs here, but overall its pretty solid. [AM] YANCY DERRINGER (Madison, WI) "Openers" 1975 (Hemisphere 104) "Openers" 1999 (CD Gear Fab GF-129) "Openers" 2001 (Gear Fab Comet GFC 410) This ridiculous stoner hard rock album on the same

label as Clicker and Tongue has attracted attention because of the 7-minute Weedburner. It really is a great song (albeit with dodgy lyrics), with an eerie chord progression, some hot slide guitar and a terrific long spacy ending. The rest of the album is less heavy, more in a bar-band mode, with occasional boogie beats and pianos, and lots of lyrics about partying. They definitely have the feel of a massively popular local band. Though the guitar and keyboard solos are mostly pedestrian, the overall arrangements are clever and unpredictable, and the album spans a wide range of hard rock styles which fit together nicely. Most of the album rocks quite convincingly. The most peculiar song is Rocket Roll. It has a poppy melody and high vocals reminiscent of Rick Derringers Teenage Love Affair, but breaks the mood for a bizarre spacy interlude in the middle, probably just to make sure that theres something druggy on every song. This may not be smart (though they claim pot gives them insight), but its rock and roll instincts are excellent, and overall this is a surprisingly solid album, without a dud in the bunch. [AM] YANKEE DOG(CA)

"Yankee Dog/Aphazia" 1978 (no label) [insert] Obscure jammy westcoaster with guitar and organ. Formally a split LP, but the bands are basically the same except for a keyboard player. Crude cover with paste-on sheets front and back. The labels are blank. YANKEE DOLLAR (San Luis Obispo, CA) "Yankee "Yankee "Yankee "Yankee "Yankee Dollar" Dollar" Dollar" Dollar" Dollar" 1969 1969 2000 2002 2002 (Dot 25874) [mono promo] (Dot 25874) [stereo] (Action Records 305, UK) (Akarma 233, Italy) (CD Akarma 233, Italy)

Yet another early Airplane-Mamas & Papas tribute, though this one's better than most with a classy, powerful soundscape, fuzz and tough chick vocals on some (too few) tracks and a nice cheesy Vox organ used throughout. Folk influences and rich harmonies summon a Growing Concern spectre. Not a classic, but several good tracks, and the album is given additional boost by the strong sonic qualities of the Dot mastering/pressing.Only promo monos exist. A mysterious later release/bootleg from Peru exists, using Dot labels with track titles in Spanish. The non-LP 45 is pretty good too. [PL] CHRIS YATES (NJ)

"New Born" 1977 (I.L.S.M) Basement dreamy organ melodic folk rock. Copies have been around for years, not an expensive LP. YAYS & NAYS ( ) "Yays & Nays" 1968 (Neo) Extraordinary exercise in turned-on 60s cool from odd band with 3 guys and 3 gals performing a tongue-incheek Men vs Women thematic duel on most of the 12 tracks. Takes obvious inspiration from the Lee & Nancy duets but with a tough garage folkrock edge added and bends the gents vs ladies concept at precisely the right places to create a unique, clever and funny experience. The women come out on top, at least the way I heard it. The gals sing ensemble, while the guys (or the main guy) is typically solo and often moves into a "manly" Elvis/Lee H crooning that's just right for the trip. Great, varied songwriting. Hard to describe accurately, needs to be heard by everyone. Cool cover shows the band clad in vintage gear in a swamp, probably some sort of subliminal message. [PL] ~~~

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YEAR ONE ( )

"Year One" 1976 (no label yo-52347/8) [2 LPs; gatefold] Apparently this is Fantasy without the female singer. Why that band would jettison its best asset is beyond me, but she would have given some nice energy to this sprawling prog/jazz/rock concept piece. Theres a lot going on here and a lot of energy was put into this album, and it gets points for being an uncompromising mix of styles. Some of it works and some doesnt; surprisingly a few jazzy instrumental pieces are highlights while the few bits of space rock dont fare as well. Not a great album, but not a dull one either. [AM] YELLOW AUTUMN (Los Angeles, CA)

"Children Of The Mist" 1977 (Vala vc 4599) [insert] Impressive late hippie folk album with male/female vocals, acoustic guitar, flute, violin - all the right ingredients. Raga-influence on several tracks including a spellbinding meditation on suicide that alone makes the LP, which also brings in some UK trad-folk. Comparable to Modality Stew but better, with obvious psych remnants. Band leader Gary

Creighton passed away from a heart condition only a few years after making this. [PL] ~~~ As American approximations of UK folk go, this is one of the best. Theres an appealing hippie/gypsy vibe to it, and the long song about suicide is truly horrifying. Excellent acoustic guitar playing adds to the appeal. [AM]

YESTERDAY's CHILDREN(CT) "Yesterday's Children" 1969 (Map City 3012) "Yesterday's Children" 2001 (Akarma 179, Italy) "Yesterday's Children" 2001 (CD Akarma 179, Italy) This is a good one for fans of really hairy, greasy hard rockers. The guitars are grungy as hell and the production style is appealingly loud. Two of the highlights are covers, Wilkinsons Tricycles What Of I and a short version of Spooky Tooths Evil Woman, but the originals are strong too. A good one. Highly recommended to fans of the first two Blue Cheer albums. The band had a good 45 in their earlier "garage" phase. An original Italian pressing of the LP exists. [AM] YETTI-MEN (Minneapolis, MN)

"Yetti-Men / Uppa Trio" 1965 (KAL 4348) [split LP] Somewhat legendary 1-sided spooky Midwestern surf/garage album, the other LP side wasted on folk group the Uppa Trio. Three of the six Yetti tracks have been reissued on Hipsville Vol 3, giving you a taste of their unique understated vision - "High Himalayas" is too much, and there's some prototype garage moves on "My baby left me". Sounds like early Index on a freezing Winter night gig in Minneapolis. [PL] YEZDA URFA (Portage, IN) "Boris" 1975 (Universal Studios) "Boris" 200 (CD Syn-Phonic) Legendary local rarity with an interesting mix of styles. Opens like a late 60s westcoast folkrock LP, then moves into Yes-style symph/prog sounds with tempo shifts, moog leads and frantic playing. Basement recording with a live feel and plenty of enthusiasm saves this from the usual prog-rock traps,

and the tongue-in-cheek, showtune feel that runs through it is an advantage in this context. Excellent, high-pitched vocals is another plus. Side 1 is impressive throughout, while some of the unique dementia is missing on the too-proggish side 2. While no great fan of the style this is an LP I'll probably return to in the future. Their second LP "Sacred Baboon" unfortunately is prog at its worst and loses all the positive aspects of "Boris". Some unreleased tapes in the "Boris" style are in circulation. CD reissue is from master tapes. [PL] ~~~ This private press prog album has a really professional sound, with ultra-high male vocals in a Yes mode (actually, they most resemble the singer from the obscure prog band Facedancers). A really cool, powerful synth sound is highly effective early on but gets used a bit too much without variation, and over the whole album the constant tempo and rhythm shifts fall into the usual prog trap: theyre trying too hard and sucking the life out of their (mostly instrumental) melodies. Thats not to say that this album doesnt have merit, though. Despite its faults its one of the most interesting albums in the genre, and the first five minutes or so should blow away even the most jaded listener. Too bad they didnt write a couple of actual songs to give the listener some breathing room between the epics. [AM]

JOHN YLVISAKER(MN) "Cool Livin'" 1967 (Avant Garde av-107) One of the first LPs by this celebrated Christian crooner, whose rich tenor voice makes for a remarkable experience when delivering well-written Lutheran messages over Grassroots type folkrock. This finds him in a more rocking context than "A Love Song", with excellent garage/psych tracks such as "Do You Know What I Have Done" plus lots of penetrating wisdom. Might be too far out for some, though everyone I know thinks it great. He was sort of ridiculed in one of the Re/Search books but I don't regard him as a joke at all -- in my ears his LPs are more clever and enjoyable than the average "real" psych LP. There is a sampler reissue on the Mystic label (circa 1997) with about this LP and "A Love Song", which is pretty well selected. [PL] ~~~

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"A Love Song" 1968 (Avant Garde av-112) The rarer second Avant Garde LP has fewer standout tracks but is more consistent so I'll call it a draw. The Christian lounge-folkrock-psych eclectics are brought to their conclusion with mindboggling results - sorta like if Elvis had returned as a TV reverend. Ylvisaker is a sharp guy with a clearer view than most, which combined with the pro-level music and powerful vocals create an impressive experience. "Noise Of Solemn Assemblies" and "Palm Sunday" (omitted on the Mystic sampler) are flowing studio psych-folkrock of the highest order, recalling the organ-led Northeast '68 sound in particular.

see full-length review

American culture at its finest.There is also a British release on Liberty. [PL] ~~~

"Don't Cut The Baby In Half" 196 (no label S6-6687) One of Ylvisaker's rarest, "assorted biblical narratives" according to the sleeve. The LP was recorded live at a seminary gathering, and includes versions of some tracks also on his Avant Garde LPs. This may actually pre-date the Avant Garde run. Other Ylvisaker LPs include "Contemporary Sounds" with the Carillion Singers (early 1970s); "Praise The Lord" (Avant Garde 102, 1967); "Follow Me" (Avant Garde 111, 1968). He also appears with several acoustic tracks on the 3 LP set "Happening At The Gathering" (1968) and other LPs, going back to the early 1960s. He's still active today.

"Recorded At A Housewarming For Fritzie" 1972 (Soular Module sm-251) Live-in-living room jamming with guitarist Blakeley and their friends pitching in for a homemade hootenanny. An intriguing mix of folk blues and spirituals. [RM] MICHAEL YONKERS (MN) "Microminiature Love" 2002 (De Stijl 028) [500p] "Microminiature Love" 2003 (CD Sub Pop sp 508) The discovery and phoenix-like ascension into cult status of Michael Yonkers is one of the more remarkable stories in the music underground of recent years, and one that few people could have missed. Yonkers appeared with two old tracks on the "Free Flight" sampler (1997), which is what put DeStijl on his trail. The 1968 recordings found on "Microminiature Love" are mandatory in outsider circles. Yonkers' 1970s releases are as follows: "Grimwood" (1974), "Michael Lee Yonkers" (1974), "Goodbye Sunball" (1974), "Borders Of My Mind" (1974), "Thy Will Be Done" (1976); all on his

own self-titled label. Much of the material was recorded earlier than the release year. There is also a recent recording, "It's Only Yonkers". YOUNG BROTHERS (IL) "High Energy Rock" 1978 (GDS 781136) [yellow vinyl] Midwest Christian fuzz hardrock with three brothers on guitars and Kenny Mooney on drums.

YUKON RAILROAD CO (CA) "Yukon Railroad Co." 197 (Big Hole 75-001) Rural hippie rock and country-rock in a New Riders70s Dead-Nitty Gritty Dirt Band direction. Possibly from Tustin. "YOUNG PROPHECIES '68" (KS) "Young Prophecies 68" 1968 (Audio House ah-9068) The 'official' record from the same teen music camp that Smack came out of. Directed by Bill Cline who also co-wrote several tracks. Mostly moody folk and light rock with a couple tracks touching on the Vietnam War experience. The highlight from an underground perspective is Phil Brown's "Super Sam", a druggy hipster cool, from a teenage prism, rewrite of Donovan's "Season of the Witch". Phil was a member of Smack. [RM]

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ZAHARAS(Hickory, NC) "Livin' Ain't Easy" 1977 (Vegas 9739) This hard rock album dates to the mid-70s but sounds more modern, almost 80s. On the first few songs, two of which are slower and more deliberate than your typical hard rock/southern rock fare, the songwriting and guitar playing are surprisingly subtle for this style of music. The hooks aren't exactly original, but they're effective. When they veer towards more common boogie stylings, though, they're less interesting, and the quality of songs disspates pretty quickly after the first three. Most of the lyrics are love song drivel, unfortunately. For an album that starts so well, the end result is kind of disappointing. [AM] "Blackbird" 1978 (Vegas) [plain cover] The seldom seen second LP is purportedly similar but with more personal and interesting lyrics, and according to a band member deals with death and occult themes on several songs. V.A "ZEBRA SELECTION" (IL)

"Zebra Selection" 1967 (Drocer no #) [b&w paste-on] Mix of garage pop and soul. Produced for the local Junior Achievement chapter. The title refers to the fact that there are two white and three black groups represented. Bands are the Nightriders, the Junior Jive Kings, Johnny & the Impalas, the Cavaliers and the Knights Of Soul. [RM] ZENITH EFFLUVEUM (Rochester, NY) "Almost Made It In The USA" 1978 (Separate) This new wave era psych album has the feel of unrestrained teenagers getting stoned and recording everything they've ever written in one day. It's six songs that take up 48 minutes, and the messy arrangements include clarinets, synthesizers and unidentified noise. The songs ramble (the closing 13minute song is a suite of sorts, but doesn't exactly feel carefully structured.) The vocals are unmelodic

in the mode of 70s bands like MX-80 Sound or Debris, or 90s bands like Pavement and Built To Spill. The long guitar solo on "Opie" is a definte highlight, and the wild feel of this will appeal to some. I think a producer might have helped, though, and a 35minute album minus the entire closing song/suite would have been a more listenable record. [AM] ZERFAS (Indianapolis, IN)

"Zerfas" "Zerfas" "Zerfas" "Zerfas" "Zerfas"

1973 1994 199 2004 2004

(700 West LH 730710) [500p] (700 west) [several inserts; 500p] (Atlas, Europe) [bootleg] (CD Radioactive 050, UK) (Radioactive 050, UK)

One of the top local jobs in the 1970s epic psychrock bag with an awesome westcoasty panorama soundscape, strong vocals and brilliant late-Beatle style songwriting. The first side is as good as the A-side on Marcus and the vaguely progressive moves on the flip talented and focused as well, with a peak in the tremendous "Piper" closing track. The album sides open with what are arguably the two weakest tracks, which may turn some listeners off, but patience will pay off most gloriously. A Midwest masterpiece with wide appeal, firmly on my personal 70s top ten. I recommend the first, legal reissue from tapes for the best trip on this outstanding "Abbey Road" out of Indy. Unfortunately 125 copies of this reissue were defective so only 375 went into circulation. The Radioactive reissues have a poor mastering job and are not recommended.[PL] ~~~ Stunning psych album can only be described as what might have happened if the Beatles had pushed the psychedelic experiments of Revolver into late 60s/early 70s territory and re-discovered their youth at the same time. An album that is so chock full of ideas, great songwriting, and clever production tricks that I discover something new on every single listen. This is an example of ambitious kids setting out to make the world's greatest record, and pretty much succeeding. Among the many things to love about this album is the lead guitar sound, the most perfect I've ever heard. An album that pretty much blows away everyone, and that rare proof that with enough time and attention a private press can match any major label recording. [AM] ~~~

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ZETA RETICULI see Elliot, Walter & Bennet

LORRI ZIMMERMAN (Canada) "Lorri Zimmerman" 1969 (Crescent City) Zimmerman was a member of Life, but left before they recorded their album, opting instead for this solo LP. The result has been lost in space and time, missing from reference books and rare record dealers catalogues, and rarely mentioned by collectors or Canadian rock aficionados. Why its so unknown is a mystery, since its a completely terrific album, one of the very best 60s rock albums by a female singer. Think about all of those post-Airplane bands who jumped on the bandwagon by hiring a female singer and buying a fuzzbox. Then imagine that all of them pooled their best songs, had the good sense to let the woman sing all of them, and left out the acoustic ballads and wanky blues jams. Then they hired a producer who didnt go overboard trying to be trendy and trippy. This is pretty much what youd have. Zimmerman has a voice thats alternately powerful and affecting; shes as suited to folk-rockers like Paint Me A Picture as she is to tougher rock like Bidin My Time. The latter is an appropriate metaphor for her singing style, as she hits the high notes and brings on the power exactly when its needed most. The arrangement of these songs, and her timing as a singer, is ace. Shes not a songwriter, but the majority of these excellent songs were written by her collaborators, so theres a feeling of consistency and comfort. Some of the guitar playing will hit the right spots for psych heads, but mostly this is just great unpretentious rock and roll without much experimentation. Needless to say, highly recommended. In the 70s, Zimmerman would join the bilingual group Toulouse. [AM] ZINI (MO) "Better Than A Kick In The Teeth" 197 (Cabin 38074) [500p] "Better Than A Kick In The Teeth" 2000 (Synoptik, Europe) "Better Than A Kick In The Teeth" 2005 (Breeder Backtrack 266, Austria) Obscure and somewhat underrated rural mullet-rock westcoasty AOR LP with good harmony vocals and a professional sound all around. Strong songwriting a la early Eagles and Poco with a Neil Young vibe on the best tracks; 2-3 wimpy tracks suck but all over a pretty good trip into 1970s Camaro cruising sounds. The excellent opening track gives a good idea about this album's strengths. Release year has been listed as both 1974, 1977 and 1980; could well be the latter. [PL]

ZIPPER (Portland, OR) "Zipper" 1975 (Whizeagle 0001) [poster] "Zipper" 199 (Way Back, Germany) [+2 bonus tracks] Fred Coles mid-70s album is as uncompromising as anything hes done. His vocal style is especially

strident on these hard rock songs, which dont have the garage-style feel of Dead Moon or the occasional subtleties of Lollipop Shoppe. The first song is a bunch of raunchy double-entendres. Pretty twisted. Theres a kind of saminess as this album moves along, probably due to uninspired songwriting. Still, this is worth hearing. Its unique and wild. The cover is handmade to the extreme. [AM]

ZIPPYR BAND ( ) "Early Sunday Mornin'" 1977 (Castle TZB 10177) Midwest Allman Bros-style guitar rock with heavy moves.

ZODIACS( ) "Breaking Out" 1965 (Space 12-1965) [no cover] Seldom seen sleeveless teen-beat LP with guitars & piano. ZOLDAR & CLARK( ) "Zoldar & Clark" 1977 (Dellwood 56013) I'm not a fanatical progressive collector so it's kind of a surprise that this rather obscure album has managed to worm its way into my heart.Propelled by a sea of synthesizers, musically the set's firmly entrenched in the progressive camp (check out the extended instrumental "Luner Progressions"), though tracks such as "Touch the Sky" and "The Ghost of Way" are surprisingly accessible. The group certainly had a knack for crafting catchy hooks and whoever handled the lead vocals had a nice and quite commercial voice. In fact with a little bit of editing, several songs would have given bands like Ambrosia, Kansas, Styx and even Yes a run for their FM radio play. Sure, it wasn't the year's most original offering, but give me these guys over Starcastle any day! Man, side two of this album seems to go by in a flash. [SB] ~~~ The second of the two Jasper Wrath albums secretly released by Guinness/Dellwood is the better and more experimental of the two. It has a similar prog/AOR sound with a very obvious Yes influence (including a few blatant thefts). It has more synth, more mellotron, and more special effects than the Arden House album, and unlike Arden House, all seven songs here sound like they were recorded in the same sessions. The album may not appeal to fans of the Jasper Wrath album, or to psych fans, but as 70s US progressive rock goes, this is one of the best albums out there. Highlights include the truly awesome Ghost of Way, an epic with killer mellotron and an amazing host of instruments and structural surprises. Its the kind of creative experimentation that I

think of when I call music progressive in a positive way. Elsewhere are unusual uses of time signatures, terrific guitar playing and complex ideas done so smoothly as to sound simple. This is a really great record. As with the Arden House album, the songs are arranged haphazardly, with side one 21 minutes and side two 12 minutes. Jasper Wrath released a non-LP single, You/General Gunther, in 1976 and it has the same production sound as these albums. Seeing as these albums were released without Jasper Wraths knowledge (and the fake names assured that Jasper Wrath wouldnt have an easy time discovering them), its interesting to speculate why they had 80 minutes (including both albums and the single) of professionally produced material just sitting around gathering dust. Did they plan two albums? A double LP? [AM] ~~~ see -> Arden House; Jasper Wrath ZOO (Los Angeles, CA) "Presents "Presents "Presents "Presents Chocolate Chocolate Chocolate Chocolate Moose" Moose" Moose" Moose" 1968 198 1993 2002 (Sunburst 7500) (no label) (CD Big Beat wik-123, UK) (CD Radioactive 010, UK)

Sunset Strip club rock with soul and r'n'b moves, solid guitarwork and some psychy tracks on side 2. ~~~ see -> Mad Dog

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The Attic
JOHN HOWARD ABDNOR INVOLVEMENT (Fort Worth, TX) "Intro To Change" 1969 (Abnak ABST-2072) [ylp exists] Without trying to sound snooty about it, John Howard Abdnor probably owes his brief musical career to the auspices and generosity of his father. John Howard Abdnor Sr. was a well to do Fort Worth-based business who had made a killing in the insurance business. By the early 1960s Abdnor Sr. had turned his attention to music, where as the founder and owner of AbnakRecords, he enjoyed quite a bit of local success with acts such as soulster Bobby Patterson (who attended college with Abdnor Sr.'s son) and The Five Americans. Like a good dad, Abdnor Sr. also financed son John Howard Abdnor's own musical aspirations, which included a myriad of mid-1960s releases credited to a slew of alias including Jon and Robin (Robin being his wife), Jon Abnor, Jon and the In Crowd, Jon Howard, H. Rabon and The John Howard Abdnor Involvement. Much to my surprise, 1969's self-produced LP is a fairly interesting affair. Backed by what are apparently sessions players and friends, Abdnor had a decent voice that combined with the album's sporadic horn arrangements, occasionally recalled Blood, Sweat and Tears David Clayton Thomas. If you doubt the comparison, check out the opening song 'How Do You Teach a Turtle To Fly' or 'Maintain'. Musically the set was all over the spectrum, including stabs at R&B ('I'll Come Running To You'), singer/songwriter ('J.D.') and country-rock ('Sandy, I'm Your Man'). Easily the weirdest (and longest) track was the psych-influenced 'Relaxation'. Love the bizarre nuclear explosion ending. Barely clocking in over 20 minutes, in length the album sported a likeable low tech sound and feel. Abnak also released a single off of the album - 'I'll Come Running To You' b/w 'Sandy I'm Your Man' (Abnak AB-147). [SB]

ABRAHAM'S CHILDREN (Toronto, Canada) "Time" 1973 (Gas 2001) [gatefold] "Time" 2004 (CD) Having listened to this one a half dozen times, I've got to tell you these guys barely qualify as a rock band, let alone a psych act. Quality pop outfit yeah, but psych? Definitively not... Guitarist Ron Bartley, bassist Jimi Bertucci , drummer Brian Cotterill and keyboard player Bob McPherson got their start in the late 1960s with the Toronto-based Just Us. That outfit subsequently morphed into Captain Midnight's Dirty Feet (great name), but ran into a problem with Captain Midnight's publishers. The threat of legal action was enough to see the quartet opt for another name switch - this time around Abraham's Children. Signed to the small Toronto-based G.A.S. Records, the band enjoyed a Canadian top-40 hit

with their debut 45 'Goodbye-Farewell'. Their 1973 follow-up 'Gypsy' went top-10, leading G.A.S. to finance an LP. Unfortunately, by the time the group started recording the album, musical tensions had begun to flare. G.A.S. executes demanded the band continue to work in a commercial pop vein, while the band members were interested in a harder-rock sound. Guess which side won the fight? Produced by Paul Gross (who contributed a couple of tracks to the LP), 1973's "Time" offered up a mix of the earlier singles and new studio material. Boasting three lead singers in Bartley, Bertucci and Contterbill, the entire set was enjoyable, with tracks such as 'Children's Song' and 'How To Be A Lady' showcasing the group's knack for writing and performing commercial pop. Imagine a Canadian version of Pilot, or The Raspberries and you'll get a feel for most of the album. The group also enjoyed a third Canadian hit with the bouncy 'Thank You'. It's interesting that the two best songs are also the least commercial. Both 'Woman 'O Woman' and the group-penned 'Workin' for the Man' are thumping rockers, albeit with harmony vocals that make radio stations so happy.Following the album's release the band underwent an ongoing series of personnel changes that saw Bertucci, Cotterili and McPherson all quit. With replacements the band struggled on for three more years, during which time they shortened their name to 'The Children''. They also released one final non-LP single - 1974's 'Goddess of Nature' on Rampage. The group finally called it quits in 1976. Bartley, Dinardo and O'Shea subsequently formed Bang. Bertucci continued to record under the name 'Jimi B'. The band has reformed and continues to tour to this day, along with a retrospective double CD titled "30". [SB]

ABSTRACTS (Los Angeles, CA) "Abstracts" 1968 (Pompeii SD 6002) One of the first (and last) acts signed to Atlantic's short-lived Pompeii subsidiary, the band's LP offered up a weird hybrid sounding like Association-styled MOR crossed with ARS Nova styled Baroque-psych. Yeah, we know it sounds odd. Exemplified by Peluso-penned material such as "Rich Young Heir", "O.D.D. Clown" and "Matter of Life and Death", the deep, thoughtful (aka pompous) lyrics were certain to have appealed to closet intellectuals. The album was also notable for including the year's oddest Gershwin cover ("Summertime"). In spite of those comments, the set wasn't acomplete waste. Peluso tended to over sing, but he had a decent voice and on songs with strong melodies, notably "See the Birds" and "Smell of Incense" the band proved quite listenable. [SB]

THE AFFECTION COLLECTION (ID)

"The Affection Collection" 196 (Evolution) Here's one gaining attention of late that was always ignored and always rare to begin with, kind of like the now highly prized Afterglow album on MTA. The cover and liner notes suggest something very square, and not hip. Perhaps the music reflects that but transcends it, or sounds like an enjoyable albeit not outstanding period piece. The farfisa organ and garage pop vibe of both The Strawberry Alarm Clock and The New Colony Six are to the fore on most tracks, and while unlike the Alarm Clock they don't leave me wishing I'd never heard it unlike The New Colony Six or British North American Act they don't quite fulfill the promise shown here. There is some heavy fuzz, and some light psych touches, but for the most part this sounds more like an album that would appeal to fans of "sunshine" pop with a slightly creepier vibe. This is a good album don't get me wrong. The songs are good and the organ sound is very pleasant. However, like the sleeve this feels more like a rough draft of something interesting than a fully realized album. Worth investigation, but not a lost treasure. -- Ben Blake Mitchner

SHAMIM AHMED (India) "A Web of Sound" 1969 (Monitor) Eastern sounds trio tanpura, tabla, and sitar. Three long tracks. [RM]

LEE AKERS & ELECTRIC GENERATION ( ) "Heavy, Heavy, Heavy" 1969 (Crown cst-608) Exploito bluesy rock fun with cheesy organ and basement guitar. [RM]

ALBERT ( ) "The Albert" 197 (Perception 4) [gatefold] [1] "The Albert" 197 (Perception 9) -- different LP from above Jazzy proggy funky rock with horns, conga. These LPs have appeal to both odd hippie jam fans and funky jazz collectors. The second LP (perhaps both?) recorded at Electric Ladyland Studios. [RM]

DICK & ANNE ALBIN (KY) "Mahathma Gandhi Spat Here" 1973 (Phonygraph ADA-1) "Que Asco!" 197 (Phonygraph ADA-2) "Red Roses, Green Briars and Milk-White Steeds" 1974 (Phonygraph ADA-3) [gatefold] "No Commercial Appeal" 1976 (Phonygraph ADA-5) [insert] Mid-1970s hippie folk with trad and bluegrass moves and various acoustic instruments used. There were several more LPs released, all on their own label.

ALEXANDER RABBIT ( ) "Hunchback of Notre Dame" 1969 (Mercury 61291) [wlp also exists] Ostensibly a band, but the album cover appears to be four very different photos of the same guy. This guy had a vision, and this psych-prog mix is appealing on many levels. Lots of ideas here (some stolen), good mix of experimental, poppy, folky, and heavy sounds. The Otis Redding cover is way out of place, but the other styles mesh surprisingly well. Occasional mystical lyrics hint at some sort of concept that the album doesnt explore in depth. [AM] ~~~ Recorded in New York's Associated Recording Studios, the LP was co-produced by Irving Spice and Max Ellen, the eccentric Jerry Samuels (aka Napoleon XIV) engineering. In spite of the goofy title, the collection of original material (a rote cover of Otis Redding's "I've Been Loving You Too Long" being the one exception), was diverse and surprisingly engaging. While the extended title track bogged down in Procol Harum-meets-Tolken art-rock mysticism is not a pretty combination, elsewhere the band displayed considerable versatility, capably polishing off nifty rockers (the scorching "Goin' Down"), Association-styled ballads ("My Woman") and decent pop-rock ("Faraway Man"). While it wasn't the year's most consistent release, the fact it was so diverse was part of its charm. Well worth looking for and you can still find the LP at a decent price... [SB]

ALIVE 'N KICKIN' (NY) "Alive 'N Kickin'" 1970 (Roulette 42052) [wlp also exists]

"Alive 'N Kickin'" 199 (CD Collectables) The Tommy James-penned Tighter Tighter was a hit (and still gets some play on oldies radio), but the rest of the album is much tougher and more substantial than that. A nice surprise in the same way as the self-titled Ohio Express album or the Lemon Pipers GREEN TAMBOURINE. The guitarist is hot, and his style ranges from funk to blues to rock, with lots of wah-wah. The songs arent quite up to his level, but theyre not bad. Mississippi Mud is probably the best of an above-average lot. A great, powerful female singer is sadly underused, not singing a solo lead on any of the songs. [AM] ~~~ Anyone hearing "Tighter and Tighter" (let along looking at the fun-in-the-sun album cover), would have justifiably concluded these guys were little more than a top-40 pop band. Wrong conclusion. Powered by Todler's tough voice (her bluesy delivery occasionally bore a startling resemblance to Joplin - check out "Kentucky Fire"), the set of largely original material rocked with impressive energy. While it may not have made for the year's most original set, tracks such as "Junction Creek" and "Mississippi Mud" saw the group displaying a penchant for above average blues-rock. [SB]

AMERICAN REVOLUTION ( ) "American Revolution" 1967 (Flick Disc fls-45002) Signed by the MGM-affiliated Flick Disc label, the quartet's 1968 debut "The American Revolution" found the quartet working with four separate producers (Harley Hatcher, the team of Mike Lloyd and Mike Curb, and Larry Brown). Musically the collection was all over the spectrum, including haphazard stabs at Rascals-styled blue-eyed soul ("Come On and Get It"), Beatles-styled psychedelia (the hysterically inept "In the Late Afternoon" and "Opus #1") and Buckinghams-styled horns ("Love Has Got Me Down). Unfortunately, while all four principles sang, none could really hold a tune (be sure to check-out their attempt at close-knit harmonies on "Crying Eyes and an Empty Heart"). Combined with the fact they couldn't write worth a damn and their choices of outside material sucked, and you were left with an album that was largely unlistenable. Give them an extra star for the hopelessly dated album cover. Of course today the project's earnestness is hysterical. Richard Barcelona turned up in one of the later (post GNP Crescendo) line-ups of the Seeds. [SB] ~~~ see -> Edge

ANCIENT FUTURE (CA) "Visions of a Peaceful Planet" 1980 (Beauty af-79) Eastern spiritual hippie folk with acoustic guitars, tablas, sarod, flute, and even sitar on two tracks. The band has several more releases and are still active. [RM]

ANTHEM ( ) "Anthem" 1970 (BuddaH BDS 5071) Signed by Buddah this trio's self-titled 1970 album teamed them with producer Stan Vincent. Musically "Anthem" offered up a fairly entertaining mix of commercial pop (the title track) and slightly more experimental numbers (the extended "Misty Morns"). While it wasn't one of the year's most original offerings, all three members -- guitarist Bartholomew guess he didn't have a last name), bassist Gregg Hollister and drummer Bobby Howe -- were gifted with decent voices and on tracks such as "Florida" and "Queen" they displayed a knack for crafting some pretty harmonies. Not sure who it was, but one of the three had a voice that sounded uncannily like The Monkees' Michael Nesmith ("Anthem" and "New Day"). Needless to say, the album sold roughly ten copies, instantly ending up in cutout bins. [SB]

AORTA (Chicago, IL) "Aorta" 1969 (Columbia cs-9785) [360 Sound label; gatefold] "Aorta" 197 (Columbia cs-9785) [later red label; gatefold] "Aorta" 199 (CD Buy or Die) The first LP showcased one of the better slices of late-1960s major label psychedelia. Almost a concept piece, the individual numbers were strung together by a series of segues ("Main Vein" sections I through IV). Featuring largely original material (three of the four members contributing songs), the collection offered up a nice mlange of poppier numbers (The Buckinghamsstyled "Magic Bed" and "Sleep Tight") and harder edged, more experimental efforts ( the psych-flavored "What's in My Mind's Eye" and "Catalyptic"). Columbia also chose to included a rerecorded version of "Strange" which b/w "Ode to Missy Mxyzosptik" was subsequently released as a single (Columbia catalog number 4-44870). Sure, it wasn't a major creative statement or something that would drastically change your life, but full of nice fuzz guitar, interesting melodies, and weird studio effects, it made for a solid player; every

track worth hearing. Besides, when's the last time you heard such a glowing review? A minor chart success, the album peaked at # 167. [SB] "Aorta 2" 1970 (Happy Tiger ht-1010) -- a Canadian pressing exists The second album also saw the band undergoing a major change in musical direction. All but abandoning their earlier psych leanings, track such as "Willie Jean", "Little Bonnie" and "Sandcastles" offered up a mix of lighter pop and country-rock sounds. Curiously, several of the compositions including "Beg For His Forgiveness", "His Faith In Man" and "Devil, Maggot & Son" featured rather blatant Christian-oriented lyrics. Taken on their own those efforts weren't half bad, full of of nice harmony vocals and engaging melodies, but when compared to the debut the results just didn't come close. This time around it was the atypical numbers that provided the highlights. The furious rocker "Beg for His Forgiveness" probably came the closest to recapturing the debut's meltdown sound, while "Pickin' Blues" was an okay boogie/blues number. [SB]

ARCHITECT ( ) "Architect" 1978 (private) [2-3] Obscure 1970s progressive rock.

ARNOLD (Seattle, WA) "Arnold Cut The Crap" 1980 (First American) This obscure hard rock/AOR album has quite a sense of humor. Arnold looks absolutely demented on the album cover and his vocals (I wouldnt exactly call what he does singing) are a mix of shouts, growls and interjections. He rants and raves to the left and the right of the melodies, which are all carried by a chorus of backing vocals. The style does eventually wear thin, but its a short album (25 minutes), so for the most part, it works. The music isnt especially heavy (and some of it is old-style 50s-ish rock and roll) but its full of energy. Its fast and raucous, has plenty of lead guitar and some funky bass here and there. Theres backwards guitar on one song. Kind of a novelty, but fun. [AM]

ARNOLD BEAN (GA)

"Cosmic Bean" 1970 (SSS International 21) [promos also exist] [1] Here's one that almost makes it. It's got a perfectly nice folk-rock/pop feel, lovely arrangements with lots of well-placed organ and jangly 12- string guitars, and a fabulous psychedelic album cover. The vocals are a little weak, though, and rarely improved with harmonies. And while the songs are all pretty good, they lack that extra step that would take them toward greatness. A little more creativity might have helped: a wild guitar solo, unexpected tempo change, vocal histrionics, anything other than the albums's one attempt at a rave-up, the unfunny "Daddy's Got The Clap." So, while Arnold Bean show plenty of promise, this album is missing spark and intrigue. Just when you're ready to give up on it, though, the last three songs, "I've Got The Key," "Captain Marvel," and "Nature Boy," are the three best, so you put the album away thinking maybe it was pretty great. COSMIC BEAN is destined to disappoint those who get their hopes up and to be a pleasant surprise for those who don't. [AM]

ARS NOVA (New York City, NY) "Ars Nova" 1968 (Elektra EKS-5002) [gatefold] "Ars Nova" 2004 (CD Sundazed) Classically training musicians living and working in New York City, in 1967 drummer Maury Baker, guitarist Wyatt Day, bass Bill Folwell, guitarist Giovanni Papalia, vocalist/horn player John Pierson and bassist John Raskin decided their future (and their fortunes) lay in rock and roll. Several months of intense rehearsals and a series of well received concerts led to a deal with Elektra Records. Teamed with Doors producer Paul Rothchild, the band's 1968 self-titled aptly debut displayed the sextet's virtuosity. Musically diverse, "ARS Nova" found the band equally at home with classical inspired ballads (the Baroque-influenced single "Pavan for My Love"), precursor Blood, Sweat and Tears horn arrangements ("General Clover Ends a War") and prototype heavy rock ("And How Am I To Know"). With Day providing the majority of material (much of it cowritten with either Pierson or non-band member Gregory Copeland), the group's efforts to blend classical and rock elements was interesting, if occasionally a tad pretentious. Imagine a less bubble gummy version of The Left Banke and you'll get a feel for the set. Personal favorite, the popish single "Fields of People." In spite of decent reviews, including an extensive write-up in the June 1968 edition of Life, the set failed to sell. [SB] "Sunshine and Shadows" 1969 (Atlantic SD-8221) "Sunshine and Shadows" 1994 (CD Repertoire) In the wake of the album's release the band was torn apart by musical and personal disagreements. When things finally settled down, Day and Pierson

stood as the only survivors. Supported by a brand new lineup consisting of keyboardist Warren Bernhardt, guitarist Sam Brown, drummer Joe Hunt, Art Koenig and horn player Jimmy Owens the revamped band signed with Atlantic. Released in mid-1969, "Sunshine and Shadows" found the band working with producer Arthur Gorson. With Day providing the majority of material (trumpet player Owens contributed the instrumental "You Had Better Listen"), numbers such as the title track, "I was Once" and "She Promises Everything" retained the band's "arty" leanings, though with less impressive results. Pastorial melodies, folkish harmonies and thoughtful lyrics made for a decent album, though stretched over most of the first side, it began to sound alike. "Well, Well, Well" was far better, if only due to the atypical rock tempo and Brown's screaming fuzz guitar solo. Another commercial nonentity, the collection vanished without a trace. (In case anyone cared, Jon Borgzinner, who had authored the earlier piece in Life, contributed the liner notes.) Shortly after it's release the group called it quits. [SB]

ASSEMBLAGE (Detroit, MI) "Assemblage" 1971 (Westbound wb-2004) Cool hippie jamming on renowned soul label with fuzz, funky moves, femme backing vocals, and crashing organ. [RM]

ATOMES (Canada) "Va T'En Maintenant" 1967 (Capitol 70016, Canada) French-Canadian garage pop. [RM]

AUM (San Francisco, CA) "Bluesvibes" 1969 (Sire 97007) Led by singer/multi-instrumentalist Wayne Ceballos, the little know Aum stand as also-rans in the lexicon of '60s San Francisco bands. With drummer Larry Martin and bassist Ken Newell rounding out the trio, the group's initial reputation stemmed from their jam-oriented concerts. Initially signed by the Londonaffiliated Sire label, as one would expect from the title, the group's 1969's "Bluesvibes" found them working in a distinctively blues-vein. Reflecting the band's live act, the Richard Gotthrer produced debut featured a series of seven

extended jams, (the shortest song clocking in at 4 minutes). With Ceballos writing the majority of the material, in spite of period excesses (e.g. aimless soloing), originals such as "Mississippi Mud" and "Chilli Woman" weren't half bad. Moreover, Ceballos proved a decent singer, injecting considerable energy into his performances. Among the few missteps, the band's ponderous cover of John Loudermilk's "Tobacco Road" would've been suitable for Vanilla Fudge. Commercially the set proved a non-entity; quickly vanishing into cutout bins. [SB] "Resurrection" 1970 (Fillmore F-30002) One of the first acts signed to Bill Graham's Fillmore label, 1969's "Resurrection" teamed the band with producer David Rubinson. As one might have guessed from the album title (let alone the back cover which showed three crosses), their sophomore effort found the band pursuing a pseudo-religious agenda. In spite of occasionally clunky lyrics and an irritating degree of echo, Ceballos-penned material such as "God Is Back In Town," the ballad "Only I Know" and " Today and Tomorrow" wasn't half bad. Boasting a nifty Ceballos guitar solo, the stately title track was our nomination for standout track. Elsewhere, the driving "Bye Bye Baby" and "Little Brown Hen" recalled Quicksilver Messenger Service. Certainly not likely to get top-40 airplay, but San Francisco certainly turned out worse sounding bands. Commercially the set did nothing; the trio calling it quits shortly thereafter. [SB]

-------------------------------------------------------------------------------BABY (TX) "Baby" 1974 (Lone Starr 8670) Described as average southern rock, sometimes hyped.

BAG ( ) "Real" 1968 (Decca dl-75057) [white label promo] [1] "Real" 1968 (Decca dl-75057) We've always wondered about this quartet (keyboardist Joe Di Marzo, singer Danny Mahony, guitarist Jay Saving and drummer Al Esposito). A number of reviewers have categorized the band's sound as psychedelic, but to us they sound like Young Rascal clones. Released by Decca, 1968's "Real" teamed the quartet with producer Jim Curtiss. Showcasing a mixture of originals (Di Marzo, Mahony and Savino all contributing material) and two covers, the collection

offered up an enjoyable set of blue-eyed soul. Propelled by Mahony's crusty voice (baring an uncanny resemblance to Felix Cavaliere), tracks such as "I Want You By My Side", "Got Away" and "I'm Sitting By the Wayside of My Life" were melodic and highly commercial Okay, back to the psych label for a moment: admittedly "Red, Purple and Blue" had a nifty freak-out fade, while "It's All Over" benfitted from a tasty lead fuzz guitar. A commercial non-entity, the set vanished without trace. Within a matter of months the band followed suit. [SB]

BALDWIN AND LEPS ( ) "Baldwin and Leps" 1971 (Vanguard vsd-6567) [gatefold] [1] "Baldwin and Leps" 2001 (Akarma-Vanguard, Italy) [gatefold] "Baldwin and Leps" 2001 (CD Akarma-Vanguard, Italy) These two "buskers" recorded their album pretty much as they played in the street (or subway): just violin, guitar and vocals. Side one is a semi-rock-opera about some drug dealing drifters. Interesting once, but not musically compelling enough to make it stand up with time. Unfortunately the best two songs on the album are the two where they augment their routine: one with a rhythm section and one with a bunch of sound effects. You gotta give credit to Vanguard for signing such an obviously uncommercial band, but the album is nothing special. [AM]

BAMBOO ( ) "Bamboo" 1969 (Elektra EKS-74048) Music is a tough business and if you want to make a living in it, you have to be willing to adapt to the public's ever-changing taste. That said, Bamboo stands as one of the more dramatic changes I'm aware. Singer/guitarist Dave Ray had previously been a member of the folk and blues outfit Koerner, Ray and Glover. In the wake of that trio's collapse he built a recording studio in Minnesota and (judging by the album cover photo), decided to become a hippy. He also decided to get back into recording via a collaboration with singer/guitarist Will Donicht. While the cover of 1969's "Bamboo" only shows Ray and Donicht, this was apparently a full scale band with bassist Daniel Lee Hall contributing several songs to the collection. Produced by Allan Emig, the album finds Ray and company opting for a much more rock oriented sound that his earlier catalog. Tracks such as 'Girl Of The Seasons' (which sounds like something David Crosby might have written and recorded), 'Treehouse' and the rocker 'Blak Beri Cheri Blooz' offer up a competent, if pedestrian mix of rock, country-rock, lite jazz and even psych touches. There's nothing really wrong here, but by the same

token, there's nothing really right. I was going to give it three stars, but decided to dock it one for Donicht and Ray's horribly dated wardrobes. [SB]

BANTAMS ( ) "Beware" 1966 (Warner Brothers w-1625) [mono] "Beware" 1966 (Warner Brothers w-1625) [stereo] Preteen kiddie garage covers. Fun basement raveups. [RM]

STEVE BARON QUARTET (NY) "The Mother Of Us All" 1969 (Tetragrammaton T-123) This is one of many interesting releases on the Tetragrammaton label. Its a distinctive mix of folk, rock and jazz and sounds like nothing else I know. In an obvious attempt to challenge the listener, the album starts with the albums sparsest, moodiest track. About half of the songs are drumless acoustic numbers. Theyre good, but the full band songs are even better, some with surprisingly poppy hooks. The 6-minute Dont You Hate The Feeling and 11minute Shadow Man break out into excellent extended jazz guitar solos that work amazingly well in the folk-rock context. These songs blow away any of the bluesy guitar jams on the heavy psych albums of the era. Intriguing work that could have heralded a new, successful blend of genres had anyone heard it. Produced by jazz musician Mike Berniker, who would also work folk-rock wonders on the great album by Susan Pillsbury. [AM] "Sessions With Jef Lowell" 1971 (Otherway Records 101) [1] Here are some details from bass player Jef Lowell, who plays with Steve Baron on this little-known, privately released sequel: "... Steve and I had just come off the road from a four month tour as the opening act for a production of Jesus Christ Superstar. We thought it would be fun to invite a bunch of our Superstar friends, and do what would be basically a live album in the studio. They were all very talented musicians, and they joined in for chorus vocals on a couple of the songs, as well as contributing ambience. Their sax player played on a song called "Magic Magician". It was mostly sold by mail order, and never had any serious promotion. We sometimes sold copies at concerts, but never made a big thing of it. I suppose Steve had hopes that some record company might pick it up and release it, but that never happened. Musicly, it's a pretty straightforward presentation of what we sounded like as a live duo. But, in it, the jazz flavor is unfortunately gone. That element was largely the influence of Bill Davidson, the

lead guitarist, and Tom Weiner, the keyboardist. What remained was the two 'folkies', so the album is strongly bent toward progressive folk."

LYNDON BARTELL (MN) "I Feel A Strange Excitement In The Air" 197 (Eagle no #) Late 1970s Christian obscurity, details invited.

BEAR (NY) "Greetings Children of Paradise" 1968 (Verve Forecast) Produced by Appletree Theatre's John Boylan, Bear featured the talents of keyboardist Eric Kaz, singer Steve Soles and guitarist Artie Traum (backed on their album by Autosalvage bassist Skip Boone and drummer Darius Davenport). In spite of the cheesy cover and title (thank Mr. John's Palace of Fashion for the cover photo), 1968's "Greetings Children of Paradise" was actually pretty good. With all three prime members writing (Soles penning most of his material with brother Michael), the ten tracks were varied, including competent stabs at country-rock ("The Hungry Dogs of New Mexico"), fairly conventional pop ("Don't You Ever Want To Think About Them?"), rock, psych and even jazz ("What Difference?"). Soles had a nice voice (occasionally recalling Squeeze's Chris Difford - we're not kidding, check out "It's Getting Very Cold Outside"). (Actually, on reflection, the set's quirky charms actually compare nicely with Squeeze.) Sure, it won't change your life, but it's an album we keep in the occasional play pile. A commercial non-entity, the band quickly called it quits, with Kaz reappearing in a series of bands, including The Blues Magoos, American Flyer, Mud Acres (with Traum) and with a solo career (see separate entries). All three members also became in-demand sessions players. [SB]

BEAST (Denver, CO) "Beast" 1970 (Evolution 2017) Beast featured the talents of drummer Larry Ferris, keyboardist Gerry Fike, woodwind player Mike Kearnes, bassist Kenny Passarelli. singer David Raines, trumpet player Dominick Todero and former Super Band guitarist Robert Yeazel. Following the loss of horn player Todero and bassist Passarelli (replaced by Roger Byrant), 1970's cleverly-titled "Beast" was released on the Evolution label.

Continuing their partnership with producer Norman Petty the album was again recorded at Petty's Clovis, New Mexico studios. Musically the collection wasn't too different from the debut. Anyone familiar with Lighthouse or Sugarloaf styled horn rock will be pretty comfortable with most of the material. Slightly more varied than the debut, the flute propelled "Communication" and "Don't You Think It's Time?" reflected a quasi-jazzy feel, while the harmony rich "Inlook" sounded like an Association-styled slice of pop and "Move Mountain (You Got It)" found the band taking a stab at conventional hard rock. The overall effect was professional, if a little short on originality and inspiration ... Packaged in one of the year's uglier covers (credit to Charles E. Murphy), the set vanished without a trace, followed in short order by the band. Following the band's break up Ferris and Yeazel joined Sugarloaf, while Pasarelli hooked up with Joe Walsh in Barnstorm, followed by an extended career as an in-demand sessions player (see separate entry). [SB]

DENNY BELLINE & THE RICH KIDS (Long Island, NY) "Denny Belline and the Rich Kids" 1966 (RCA lpm-3655) [mono] "Denny Belline and the Rich Kids" 1966 (RCA lsp-3655) [stereo] Garage and frat rock mostly covers. Good LP mostly uptempo ravers 'recorded in front of a dancing teen crowd at the Shore Club in Sayville, Long Island'. Denny is Perry Como's nephew. [RM]

BELSHANNY MEN ( ) "Take It All In" 196 (Orco) Folkrock mix of acoustic and electric. [RM]

BEETHOVEN SOUL (Los Angeles, CA) "Beethoven Soul" 1967 (Dot dlp-3821) [mono] [1] "Beethoven Soul" 1967 (Dot dlp-25821) [stereo] [1] Most reviews mistakenly list this forgettable soft-rock album as having female vocals. The woman pictured on the cover actually plays strings, which are the most interesting sounds on the album. Not quite bubblegum, not quite soft rock, but not really distinctive either. [AM]

BENGALI BAULS (India) "At Big Pink" 1969 (Buddah bds-5050) Purna and Luxman Das, the guys on the cover of Bob Dylan's "John Wesley Harding", play Indian soul music that should appeal to eastern psych fans. Produced by Garth Hudson and recorded at the Band's house in Woodstock. [RM]

VINCENT BELL ( ) "Pop Goes the Electric Sitar" 1968 (Decca 74938) -- an Australian pressing on Festival exists Exploito sitar rock covers from noted session musician. He plays a Coral Electric Sitar which produces fuzztone; the design was named after him. [RM]

JOHN BERBERIAN (NY) "Expressions East" 1967 (Mainstream 56023) [mono] "Expressions East" 1967 (Mainstream S-6023) [stereo] -- a Canadian pressing exists "Oud Artistry" 1967 (Mainstream 56047) [mono] "Oud Artistry" 1967 (Mainstream s-6047) [stereo] "Ode To An Oud" 1974 (Mainstream 802) [2LPs; gatefold] "Ode To An Oud" 2000 (MS 6023/6047, Europe) [2LP box-set; insert] -- these reissues combine the Mainstream LPs "Expressions East" and "Oud Artistry" "Music of the Middle East" 1968 (Roulette sr-25306) "Music of the Middle East" 2001 (Universe, Italy) "Music of the Middle East" 200 (Akarma, Italy) These early LPs go mainly in an ethnic Middle Eastern direction. The later LPs are listed in the main Acid Archives.

BERETMUSIC (CT)

"Beretmusic" 1970 (Aries XPL-1011) From the liner notes I know their names were John Alvarez, Chip Navarro and Joe Salazar. Their sole album, 1970's "Beretmusic" was apparently recorded in New Haven, Connecticut with production by Martin Kugell and Samot Arikios. Largely written by Alvarez, this one's a challenge to adequately describe. Material such as 'On the Road', 'Back Roads of My Mind' and 'Yes I Love Her' is pretty poppy, but the album has a strange vibe to it, complete with occasional effects laden vocals and some of the most irritating backing vocals you'll ever hear (I was wondering if they were pulling people's fingernails out). Apparently a live track (it sounds like they were playing for about three people), the ballad 'My Woman' seems to confirm that these guys were really a lounge act at hearts. They also get a nod for turning in the lamest cover of 'Woodstock' I've ever heard. Hard to believe, but these guys manage to make it sound like a salad dressing commercial. Mind you, it's real person potential I would have earned it three stars, but there are horns on a couple of the tracks and 'Yes I Love Her' sports one of those irritating country twangs that sounds like a Commander Cody rip-off (guess they actually pre-date the Commander.). [SB]

BERMUDA JAM ( ) "The Bermuda Jam" 1969 (DynoVoice DY 31907) If you go by the liner notes, this late-'60s quartet was a multi-national affair, the four members coming from Australia (James O'Connor), England (Paul Muggleton), Portugal (Glen Mello) and the States (Andy Newmark). In spite of the accents, one got the feeling this was little more than a goofball studio project, probably masterminded by Bob Crewe, whose DynoVoice label released their sole LP. Produced by Andy Denno, 1969's "The Bermuda Jam" was one weird affair. Complete with sound effects and spoken word snippets, musically the set found the quartet all over the spectrum. "Hold Me" and "Who Put the Sun In Your Eyes (Who Put the Fly In Your Soup)" offered up harmony rich top-40 pop; "Up Down, Turn Around" found the band turning in a decent blue-eyed soul effort, while "Forever Young" had a C&W feel. Nothing here was terribly wrong, nor with the exception of the meltdown "Good Trip Lollipop" was there anything particularly right. Back to "Lollipop" - complete with meltdown keyboards, LSD drenched vocals (the hysterical laughter and nursery rhyme fragments were a sweet touch) and crunching guitar, it was easily the most psych-oriented effort and the standout track, it's too bad the rest of the LP wasn't as memorable. As you'd expect, the set vanished without a trace, followed in short order by the band. (Nice pajamas guys ...). Within a couple of years Newmark reappeared as a member of Sly and the Family Stone. [SB]

KAREN BETH ( ) "The Joys Of Life" 1968 (Decca DL 75148) First album by new age singer-songwriter who is still active today is unlike anything shed do again. The opener, with an annoying horn arrangement, is an obvious attempt at a hit, but the rest of the album is grade-A downer folk. Her odd voice is an acquired taste, but suits the material, some of which has the loose feel of Tim Buckleys experimental phase or Van Morrisons ASTRAL WEEKS. The longest songs are the best on the album; the title track and Nothing Lasts are both up there with the best in the genre by anyone. This album has subtle, dark, unexpected power. Possibly from New York state. [AM]

BIG 3 (New York City, NY) "Big 3" 1964 (FM lp-307) [1] Rather good bluesy harmony folk with Cass Elliot (Mamas and Papas). Denny Doherty does not appear on this LP. [RM]

BISCUIT DAVIS ( ) "Playing on the Moon" 1973 (Amsterdam/Flying Dutchman am-12014) Bob Thiele Jr.'s band. Rural hippie rock Deadish sound. Bob's dad ran the Impulse and Flying Dutchman labels. [RM]

BITTER BLOOD STREET THEATRE (Cincinnati, OH) "Vol. 1" 1978 (Vetco lp-701) [1] Both Bitter Blood Street Theatre albums show up for sale often (as do those of their less rock offshoot band Blacklight Braille), so they must have had a pretty big local fan base. The bands name implies some kind of cult ritual or performance art, but the theatre is limited to a couple of brief monologues and one song thats recited rather than sung. This is straightforward rock with a few quirks (wild singing, some sax, a band member who plays a saw, which sounds a lot like a theremin.) Some of the guitar is pretty heavy; the rhythm guitars have a great punchy distortion sound that reminds me of the Stones Monkey Man.

There are three vocalists, two men and a woman. All of them are reasonably distinctive, and the woman sounds pretty eerie when she sings backup. All of the elements are there for this to be a cool band. With maybe two exceptions, though, the songwriting is uninteresting. In the end, this is one of those albums that seems like its going to be really great but just isnt. [AM] "Vol. 2" 1978 (Vetco lp-703) Heavy rock. [RM]

BIZ (Canada) "A Matter Of Time" 1981 (Bent WRC1-1749) [gatefold] Melodic hardrock/AOR with guitar and keyboard.

ANNA BLACK ( ) "Meet Anna Black" 196 (Epic) [wlp also exists] Femme folk psych. [RM]

BLACKWOOD APOLOGY ( ) "House of Leather" 1969 (Fontana) Odd rock concept album about the Civil War. Pretty good considering. [RM]

BLADES OF GRASS ( ) "Are Not For Smoking" 1968 (Jubilee jgs-8007) Airy pop lite folk psych. [RM]

CHARLIE BLEAK (IN)

"Let Me In" 1976 (Pickwick PIP) Solo LP from post-Hoi Polloi guy with minor hit title track, about 1/3rd is solid rural rock/singer-songwriter with pro sound and excellent arrangements, while most other tracks have unsuccessful soulrock moves with a Stevie Wonder influence. Worth checking out at the current (low) going rate. [PL] ~~~ see -> Hoi Polloi

DAVID BLUE ( ) "David Blue" 1966 (Elektra EKL-4003) "David Blue" 2002 (CD Collector's Choice) Produced by Arthur Gorson, 1966's "David Blue" is fascinating, if only for the fact it shows someone laboring with an overwhelming Dylan fixation (geez even Blue's haircut looks like mid-'60s Dylan). There's no doubt Blue was a talented performer. Unfortunately, those talents included being blessed (or cursed) with a gruff voice and a half-sung/half spoken delivery that bore more than a passing comparison to Dylan. As a writer Blue wasn't bad, but in the shadow of Dylan's best work, originals such as "So Easy She Goes By" and "Midnight Through Morning" simply couldn't compete. On the other hand, his debut is better than 99.9% of material released by Dylan-wannabes. So what makes it so good? Give Blue credit for hiring a first rate backing band (including bassist Harvey Brooks, guitarist Monte Dunn and keyboardist Paul Harris - all had previously played with Dylan), and having the smarts to rock out. Up tempo numbers such as "The Gasman Won't Buy Your Love", "If Your Monkey Can't Get It", The Byrds-doDylan-styled "It Ain't the Rain That Sweeps the Highway Clean" and "It Tastes Like Candy" are great and literally save the album from the typical annoying angst of Dylan-inspired singer/songwriters. Anyone into Dylan circa "Blonde On Blonde" or "Highway 61" will be impressed (and have to wonder if these aren't simply Dylan outtakes). [SB]

BLUEBEARD (CA) "Bad Dream" 1979 (Parliament 3661) Dual-lead hardrock with colorful fantasy death cover. [RM]

BLUE BEATS ( )

"Beatle Beat" 1964 (A.A. 133) Exploito Merseybeat sound. [RM]

BLUE SHOES (AZ) "Put on Blue Shoes" 1980 (Living Room) [12" EP] [1] Local powerpop. The band also had some 45s and an unreleased album.

BODINE (Seattle, WA) "Bodine" 1969 (MGM se-4652) [gatefold] Great westcoast sound wide-open guitar rocker. mix of heavy riffs and dreamy rural tracks. Post-Daily Flash and post-Fantastic Zoo. [RM]

JAY BOLOTIN (KY) "Jay Bolotin" 1970 (Commonwealth United 6002) [wlp only?] Loner folk. Bolotin is today a visual artist of some repute. [RM]

BONNEVILLES (Milwaukee, WI) "In Action" 1963 (Drum Boy) [1-2] "Meet the Bonnevilles" 1964 (Drum Boy 1001) [1] -- same LP, repackaged and retitled Pre-Beatle sounds, mostly instrumental with a 12-year old lady guesting on vocals on two tracks.

BORBETOMAGUS (NY) "Borbetomagus" 1980 (Agaric)

"Work On What Has Been Spoiled" 1981 (Agaric) "III" 1982 (Agaric) Experimental progressive avant jazz. The band had several LPs.

BOSTON TEA PARTY ( ) "Boston Tea Party" 1968 (Flick Disc 45000) Cheese teen lyte-psych with good track "We have already died". --see -> Highway Robbery

TERRY BOYLAN (CA) "Alias Boona" 1969 (Verve Forecast fts-3070) [wlp exists] -- a UK pressing exists Boylan was half of Appletree Theatre and is doing fragile folk rock introspection here. [RM]

BOYLES BROTHERS (Stevens Points, Wisconsin) "Introducing the Boyles Brothers" 1968 (International Artists iasc-6801) Hideous supper club lounge vocals only listed here because of the label (a vanity/custom job). The only International Artists LP not reissued with the box set. [RM]

J D BRENNAN & GOLD FEVER (Boston, MA) "A Christmas Present" 1984 (Scyne VPA-LP-3012) [as Gold Fever only; 200p] Weaker but still haunting effort by J.D. Brennan and his gang. [SK] "Pot of Gold" 198 (Scyne) [200p]

By the mid 1980s Brennan was already in his mid 50s when he decided that his calling was to become a rock star. Gathering up a collection of similarly selfdelusional musical misfits, as J.D. Brennan and Gold Fever, they began playing the local Boston club circuit. 1984's self-produced "Pot of Gold" (the LP was reportedly recorded in Brennan's basement), is an odd collection of mostly 1950s covers, rounded out by four period sounding originals and a cover of Bruce Springsteen's 'Pink Cadillac'. Rather than try to describe the album, here's what the back cover liner notes say: "...'Pot of Gold' is a collection of some of our favorites tunes that we have played and liked over the years. Early artists like Elvis Presley, Jimmy Reed, [...] and Rochelle and the Candles influenced our style as well as that of perhaps Bruce Springsteen, whose "Pink Cadillac" has a definite fifties ring to it. We hope to flash to the past and our own tunes, "Ninety Pound Weakling", "See Me Tonight" and "Gold Fever Rock" will let you know without a doubt: "Chantilly Lace" is here to stay." Gawd only knows how the collaboration came to pass, but Grammy winning guitarist Luther Johnson provides a nifty solo on 'Be Bop a Lula'. Having listened to this set a dozen times, I can't decide whether Brennan's simply goofin' around (especially on tracks such as 'Is It So Strange' and 'It's Only Make Believe' when he kicked into his pseudoElvis vocal mode), or if he was deadly serious ... Definitely different and should appeal to real people aficionados even if it's a little outside of the typical timeframe! [SB] "Stratosphere" 1987 (Scyne VPAG-LP-4196) [200p] "The Unknown Soldiers of Vietnam" 198 (Scyne) [200p] "Thru The Years" 198 (Scyne) [200p] "Guitar Slinger" 1990 (Scyne VPAG-LP-5283) [200p] Amazing 50 year old "real people" rocker who manage to sneak in a powerful psychedelic edge to his echoed rockabilly twist that only adds to the overall haunted lysergic feel. Mr. Brennan plays a mean guitar and sings and is backed by a full band called Goldfever. This is real emotional, the guy really puts himself on the line and sings and plays as if every note would be his last. The LPs were done in pressings of 200 copies only. [SK]

BRETHREN (NY) "Brethren" 1970 (TFS-0013) 1970's "Brethren" teamed the band with producer Jay Senter. With three of the four members contributing material (Cosgrove was the mainstay composer), the

album featured a mix of what a friend has labeled "white boy blues" ("Hitchin' To Memphis" and "Everybody In the Congregation") and country-rock numbers (a nice cover of James Taylor's "Don't Talk To Me Now" and "Mississippi Freighter"). Cosgrove had a nice raspy voice, well suited to the up tempo material. He was also a capable guitarist (check out his sterling performance on the funky "Outside Love" and the meltdown instrumental "Success Brand of Oil"). While much of the set recalled something out of the early-'70s Bobby Whitlock, or Delaney and Bonnie catalogs, nothing here was particularly original or commercial. To our ears, the Gospel-influenced rocker "I've Been Provided For" provided the album's highlight. The album's also interesting for it's bizarre mix of guests - The Blossoms (providing backing vocals), Dr. John and Poco's Rusty Young. [SB] --This debut has attracted some attention as the track "Outside Love" has been heavily sampled in recent years. The band had a 2nd LP, "Moment Of Truth".

BRITISH CASUALS (UK) "Hour World" 1968 (Mainstream 6124) -- the British release was on Decca as by the Casuals Weak pop psych, one of the least desirable rock LPs on the label. Listed here as they're often assumed to be from the US. They also recorded singles on Mainstream as "The Casuals". [RM]

JEANNIE BRITTAN ( ) "Gentle Explosion" 1969 (Decca dl-75054) [also exists as mono wlp] Described as orchestrated AM pop.

B BROCK & THE SULTANS ( ) "Do the Beetle" 1964 (Crown 399) Exploito beat by a really good group. [RM]

TERRY BROOKS & STRANGE (Orlando, FL)

-- for Brooks' earlier work, see Acid Archives "B" section "No Exit" 1980 (Rock City rcr-88001, Germany) "Blastin' Through" 1980 (Rock City rcr-88003, Germany) "Star People" 1980? (Star People spr-0005) [yellow vinyl] "High Flyer" 1981 (Criteria) [test pressing; gold vinyl; 75#d] [2] -- autographed demo with the 'Space' side of the LP on both sides. Issued in an orange cover with gold 'Criteria' logo. "High Flyer" 1981 (Criteria) [test pressing; orange vinyl; 100#d) [2] -- this demo has the full lp. issued in an orange cover with gold 'Criteria' logo. "High Flyer" 1981 (Star People spr-0013) [colored vinyl] "Criteria Demo Album" 198 pressed] [2?] (Criteria) [red vinyl; autographed by Terry; 100

BROTHER FOX & THE TAR BABY (Boston, MA) "Brother Fox and the Tar Baby" 1969 (Oracle ors-703) [gatefold; wlp exists] "Brother Fox and the Tar Baby" 1969 (Capitol st-544) We've seen this item show up on a number of high priced psych lists, but if you're expecting oodles of Fender feedback and drug scorched personas, this one's going to be too pop oriented to appeal to you. One of the era's isolated bi-racial bands, the group were signed by the small Oracle label, the result an odd hodgepodge of musical styles. Quite diverse, the set includes stabs at conventional hard rock ("We All Love Him"), Tom Jones-styled MOR ballads ("I Start To Cry") and the plain bizarre ("Maxie the Meanie"). The first time I listened to it, I was a little underwhelmed, but repeated playing reward the listener. Clearly not the year's most innovative album, there are still numerous tracks worth hearing. To my ears the highlights included "Metal Soldier", "Three Tots and a Man" and their most psych-oriented track "Mr. Sleepy". The band has ties to a couple of other wellknown Boston area outfits. [SB] ~~~ see -> Pugsley Munion

BOB BROWN ( ) "The Wall I Built Myself" 1970 (Stormy Forest sfs-6007) [promos exist]

"Willoughby's Lament" 1971 (Stormy Forest sfs-6008) Dreamy guitar and cosmic keys folk. [RM]

SCOTT BROWN & THE TEMPESTS (Portland, OR) "Tenspeed" 1975 (Fish Creek 4002) Rural guitar rock from band that had been going since the early 1960s. [RM] "Rattlesnake Joe" 1975 (Fish Creek 4003) -- released as by Scott Brown only

BROWNSTONE (TX) "Brownstone" 1973 (Playboy) Heavy blues rock with acid leads and fine vocals from Barbara Lopez. [RM] --Barbara Lopez has a powerful voice but doesnt know how to do much with it, and thats the best that can be said about this album. Its essentially hard rock, with Barbara belting it out for all shes worth, but it comes off as awfully wimpy anyway, and there isnt a memorable tune here. The FM-friendly sound doesnt help any. Weak. [AM]

BUBBLE GUM MACHINE ( ) "Bubble Gum Machine" 1967 (Senate) [1] This seems to have been a studio project for producer/writer Wes Farrell. Released by the ABC affiliated Senate label, their self-titled 1967 album featured a decent mix of Farrell-penned originals ("Wha'Cha Gonna Do For Me Now" and "I Wonder") and popular covers (Beatles, Buffalo Springfield, The Bee Gees, whose "To Love Somebody" was mis-credited to Robert Gibb). To be honest, "The Bubble Gum Machine" isn't going to drastically change your life. The uncredited male vocalist had a decent enough voice, while their attractive female singer ('Vicki' - no last name) had a voice that bore a passing resemblance to Cass Elliott. Unfortunately, as far as mid-1960s music goes, nothing here is particularly original or inspiring. 'Bout the best you can say is that "The Love of a

Woman" has a certain top-40 charm and they would have made a great bar cover band. [SB]

BURTON & CUNICO ( ) "Strive, Seek, Find" 1971 (Family Productions pas-6013) [promos exist] -- a Dutch pressing on Philips exists Rural rock with Sneaky Pete guesting, has been compared to Brewer & Shipley.

JOE BYRD [& THE FIELD HIPPIES] (Tucson, AZ / Los Angeles, CA) "The American Metaphysical Circus" 1969 (Columbia Masterworks ms-7317) [1] "The American Metaphysical Circus" 1996 (One Way 26792) "The American Metaphysical Circus" 199 (Columbia) [bootleg] "A Christmas Yet to Come" 1975 (Takoma c-1046) "Yankee Transcendoodle" 1976 (Takoma c-1051) Experimental acid psych, electronics pastiche with female vocals on the debut; one of the few "rock" LPs released on Columbia's classical/art music imprint. The Takoma LPs are less acidic but still into proggy, experimental stacked synth explorations. [RM] ~~~ This is harder to find that the United States of America album, and while it's got a bunch of interesting experimentation on it, it's mostly disappointing. Dorothy Moskowitz' vocals are sorely missed, and the songwriting is pretty bland. The lyrics are reasonably evocative, but the tunes just aren't memorable. The addition of guitar to the mix actually works against the electronics, making this sound a lot more ordinary than United States of America. [AM] ~~~ see -> United States of America

-------------------------------------------------------------------------------CALDERA ( ) "Moog Mass" 1970 (Kama Sutra ksbs-2020)

The appeal of this one is obvious and it is somewhat hard to find. Their later LPs had some commercial success and are not nearly as interesting from an underground perspective. [RM] --This is avant/synth, more than underground pop/rock.

CALIFORNIA POPPY PICKERS (WA) "Honky Tonk Women" 1969 (Alshire) [1] "Honky Tonk Women" is known to feature members of the group Wilson McKinley and is quite good exploito hippie underground rock. 'Sabre Dance' uses envelope follower to great effect and 'Brick Walls' is an outstanding anti-war anthem. The CPP also released a "Hair"-sploitation LP on Alshire with Beatles and Desmond Dekker covers! [RM]

"THE CAMBRIDGE CONCEPT OF TIMOTHY CLOVER" ( ) "The Cambridge Concept of Timothy Clover - A Harvard Square Affair" 1968, Tower st-5114) [tan label] And what a concept it is, Boston as a hippie haven! Studio psych laugh-along fun for whimsical flower popsikers. [RM]

CANNIBAL & THE HEADHUNTERS (Los Angeles, CA) "Land of 1000 Dances" 1965 (Rampart rm-3302) [mono] "Land of 1000 Dances" 1965 (Rampart rs-3302) [stereo] "Land of 1000 Dances" 1965 (Date tem-3001) [mono] "Land of 1000 Dances" 1965 (Date tes-4001) [stereo] Frat soul rockers who hit with "Land of 1000 Dances". The album is rather weak overall. [RM]

CAPTAIN MATCHBOX WHOOPEE BAND ( ) "Captain Matchbox Whoopee Band" 1973 (ESP Disk esp-3009) [gatefold; quad]

Backporch hippies cosmic bluesy jamming. [RM]

CARGOE ( ) "Cargoe" 1972 (Ardent ads-2802) [laminated cover] Heres another power pop treasure on the same label as Big Star and the Hot Dogs. Cargoe feels much more Southern and laid back than either of those groups, but have much more melodic vocals than most rural rock bands. The arrangements are creative and thoughtful, including some mild psychedelic touches and some tasty backwards guitar. Overall, it feels like they were reaching for greatness and only falling a rung or two short. The laminated album cover is annoying and usually peels the second you touch it. [AM]

ALVIN CASH & THE REGISTERS (St Louis, MO) "Twine Time" 1965 (Mar V Lus 1827) [1] Alvin Cash's big break came in late 1964 when producer Andre Williams asked him to provide some nonsense vocals for a track he was working on. Hoping to capitalize on the public's current interest in various dances, including the Twine, Williams had Cash record "Twine Time" with support from his own backup band The Nitelighters. Released by One-der-ful's Mar-V-lus subsidiary, and credited to Alvin Cash and the Registers, the single became a national hit, eventually selling close to a million copies. More than anxious to capitalize on the unexpected hit, the label rushed Cash into the studio to cut a supporting album. Released as the cleverly titled "Twine Time" the set offered up a hastily recorded set of sound alikes ("Twine Awhile" and "Bump"), supported by isolated covers (Sam Cooke's "Shake" - the credits listing 'Sam Cook' as the writer) and a couple of throwaway instrumentals ("Do It One More Time" and "Burn Just a Hair", the latter sporting a hysterically inept attempt to edit in after-the-fact audience sounds). As a singer Cash wasn't a major presence; most of his performances limited to groans and screeches, brief spoken word segments and call and response sections with a female backing chorus - check out "You Shot Me Thru the Grease" for a perfect example. The whole affair had a loose, throwaway feel sounding something akin to a hybrid of Archie Bells and the Drells meet Junior Walker. Released as a single, 1965's "The Barracuda" b/w "Do It One More Time" saw Cash repeat his earlier success, though on a much smaller basis. All told, it wasn't something that would drastically change your life, but made for an interesting addition to the mid'60s Chicago music catalog. It's also increasingly hard to find... [SB]

MICHAEL CASSIDY [& JOHNSTON] ( ) "Nature's Secret" 1977 (Golden Lotus gl-1) -- there are two different covers. One features a large crystal ball and the other shows Michael holding a rabbit. "Take Me Back" 1979 (Golden Lotus) Eastern folk psych floaters with some heavy rock tracks too. "Nature's Secret" is a good one for the guru love rock bag. [RM]

CATCH (CA) "Catch" 1969 (Dot DLP-25956) Here's another unknown late 1960s outfit... Apparently a California-based quintet, their self-titled 1969 album doesn't even provide performance credits. Produced by J.R. Shankin, "Catch" has it's moments. With the 11 tracks credited to M. Collings and R. White, most of the set sports a modest country-rock feel. In this case that's meant as a compliment since tracks such as 'Amber' and 'Come Near Me' emphasize the genres' best characteristics - tight harmonies and some catchy melodies. 'Storm' and 'The Dandelion and the Butterfly' offer up more orchestrated pop, but are just as good. Unlike anything else on the album, 'Crash and Burn' is a take no-prisoners slice of fuzz guitar rock. It's easily the stand out track. Also worth hearing is the moody eight minute 'Nine Roses'. Too bad they didn't have more of these in their catalog. Two 45s were also released from the album. [SB]

PETER CHALMERS (Canada) "From There To Just About Here" 1975 (Old Road 375) "The Lady And The Stranger" 1976 (Old Road 33976) "Sooner Than Today" 1978 (Moonshine MS 101) Obscure folk guitarist with mix of originals and covers.

CHAMELEON CHURCH (MA)

"Chameleon Church" 1968 (MGM se-4574) "Chameleon Church" 2000 (Akarma 130, Italy) "Chameleon Church" 2000 (CD Akarma 130, Italy) [digipak; +2 tracks] Soft-rock Bosstown album that hasnt attracted much attention from collectors, despite the Chevy Chase involvement. Generally its pleasant but uninspired, listenable but safe. The albums few trippy moments seem like an afterthought. A few good melodies on side two tend to float away beneath the overall blandness. Orpheus fans might like it. Not horrible, but not memorable. Members of this band were in the Lost and the later version of Ultimate Spinach (on their third album). [AM]

LES CHANCELIERS (Quebec, Canada) "Les Chanceliers" 1967 (Citation cn-16010) [1] Garage pop featuring Michel Pagliaro who went to a successful career as a pop vocalist. Mostly French vocals. One band original. The band released several 45s and a 1968 EP.

CHARITY ( ) "Now" 1969 (Uni 73061) [gatefold] Mix of rock, psych, and even funky moves.

CHARLATANS (San Francisco, CA) "Charlatans" 1969 (Philips phs-600-309) [wlp also exists] [1] "Charlatans" 198 (Eva, France) "Charlatans" 199 (CD Beggars Banquet) "Charlatans" 199 (CD One Way) [+2 non-LP 45 tracks] "Charlatans (unrel LP)" 1979 (Groucho, Italy) -- also pressed as picture disc "Alabama Bound" 198 (Eva, France) "Charlatans/Alabama Bound" 199 (Eva, France) [2-on-1] -- the Groucho and Eva releases both contain the band's unreleased 1966 Kama Sutra tracks; the Groucho also has two live tracks from 1969

"The Amazing Charlatans" 1996 (CD Big Beat 138, UK) -- the Kama Sutra tracks + lots of other material Rootsy folkrock and jugband. Terribly overrated though they did record a few trippy cuts. The group was far more important historically than musically, for planting the seeds of the psychedelic revolution. [RM]

BOBBY CHARLES (MI) "Bobby Charles Invades The Wells Fargo Lounge" 196 (Fenton fs-321) [2] Live recording of local lounge act, with Danny Gatton. Ethnic jazz guitar versions of "Malaguena", "Zorba The Greek" etc, incl brass section. Of interest because of the label.

LOS CHIJUAS (Mexico) "Los Chijuas" 1968 (Musart) [300p] [2] -- the Musart pressings are US pressings with English vocals. There was also a Mexican and Guatemalan pressing of the first album with vocals in Spanish. "Los Chijuas, Vol 2" 1970 (Musart) [2] -- actually their third LP; there was a second one only released in Mexico on Trebol Melodic teen garage like a lesser Summer Sounds. Organ, jangle guitar, harmonies. Two excellent teen-garage tracks from the first LP appear on the "Psychedelic Moods pt 2" compilation. [RM]

CHIMPS ( ) "Monkee Business" 1967 (Wyncote SW 9199) [1] "Monkeys A-Go-Go" 1967 (Wyncote SW 9203) [1] Exploito Monkees covers and pop fuzz originals. One track from the 2nd LP was reissued on the "Lyte Psych" compilation on Arf Arf, which lists the band as being from PA.

RON CHRISLOCK ( ) "Ode to A Warrior" 1977 (Silent Thunder c-1007) Moody folk rock singer-songwriter. Acoustic and electric guitars, piano, drums, cello, congas. [RM]

CHROME (San Francisco, CA) "The Visitation" 1976 (Siren demo) [two inserts] [2] -- demo version issued in a plain cover with titles spray painted on. One insert has lyrics and the other just reads "Chrome?". "The Visitation" 1976 (Siren) [1] "The Visitation" 199 (Dossier, Germany) [clear vinyl] Garage psych throwback. On later LPs, they became more of a noise outfit. This LP was not included in their box set. [RM]

C K STRONG ( ) "C.K. Strong" 1969 (Epic bn-26473) Lynn Careys first group, pre-Carrie Nations. Pretty standard blues rock, which at first seems better than it is because her vocals are so hot. Three songs sung by one of the guys fall into the what were they thinking category. Includes some entertaining lyrics and a mildly ambitious suite about John The Baptist. Neil Merryweather haters should pick up this album because its Lynns only one without him. [AM] ~~~ see -> Mama Lion; Ivar Avenue Reunion

CLIQUE (Houston, TX) "Sugar On Sunday" 1968 (White Whale wws-7126) One of the few 60s bands to cover the 13th Floor Elevators, Clique later had some chart success with their light UK-style pop-psych sound. Only the first two

singles feature the original band, the White Whale material is just Randy Shaw singing over L.A. session musicians.

CLOCKWORK ( ) "Clockwork" 1973 (Greene Bottle) [gatefold] Clockwork is an album that will undoubtedly remain obscure and rise and rise in value when more people hear what is in these grooves. The band, probably from the American westcoast, number 7 members, but there is no horn rock or soft commercial trite pop here. This album may be the record that is the last rural heavy psych into rural melodic intense rock/prog crossover to come out before the 60s were more than just a memory. The sound is killer throughout, with lots of heavy wah-wah/fuzz guitar blasts, strong melodramatic harmonies and a lead voice that are very similar to Wizards From Kansas, and 3 clever rearrangements of cover tunes including a storming heavy psych version of "Hazy Shade Of Winter." The few tracks that head off into a mellow acid CSNY vibe are done tastefully and when the harpsichord comes to the fore reminiscent of The Mandrake Memorial. With every track at least really good and a bit over half of this totally killer this album lives up to the amazing creepy die cut sleeve. I recently saw this for 125 on an online list, I also saw it gone when I wanted to check about it again, so this will be one that climbs up fast ala the also excellent and slightly similar LP by Fresh Air. For progressive fans who also want hooks and melody, and for psych heads who want a late flash of the westcoast vibe this is essential. -- Ben Blake Mitchner

BILL COMEAU ( ) "Gentle Revolution" 1969 (Avant Garde avs-122) [gatefold] "Fragments From an Unknown Gospel" 1970 (Avant Garde avs-123) [gatefold] Christian flowery dreamy folk pop on "Gentle Revolution" including Beatles, Byrds, and Joni Mitchell covers. On "Fragments From an Unknown Gospel" Bill recites his poetry with odd piano backing by Carmel Signa. One of those Christians that is kind of 'out there' with hippie crossover appeal. [RM]

COMFORTABLE CHAIR ( ) "Comfortable Chair" 1969 (Ode z12-44005)

What little attention 1969's "The Comfortable Chair" has gotten seems to stem from the fact The Doors' Jim Morrison discovered them, while John Densmore and Robbie Kreiger served as producers for their sole 1969 album. That's unfortunate since this set is actually quite impressive in its own right. Featuring all-original songs (virtually every band member contributing to he writing chores), the album bounces all over the musical spectrum. Lead singers Bernie Schwartz and Barbara Wallace are both quite good, navigating through the different genres without any trouble. Highlights include the opening rocker 'Ain't No Good No More', the sweet ballad 'I'll See You' and ''Let Me Through. Exemplified by 'Some Soon, Some Day' and 'Stars In Heaven' much of the set features a lazy, dreamy aura that's quite captivating. Had it been a little more original and the band churned out a couple more rock numbers, and the album could have been a classic. As is, the album makes for a fascinating game of 'spot theinfluence'. My ears hear bits of David LaFlamme and It's a Beautiful Day (luckily without the violins) and even The Jefferson Airplane ('Be Me'). Ode also tapped the album for a pair of instantly obscure singles. [SB]

COPPERHEAD (CA) "Copperhead" 1973 (Columbia KC-32250) Wow! I guess I wasn't expecting all that much from Quicksilver Messenger Service's lead guitarist John Cipollina. I was wrong... By the late 1960s Cipollina had grown increasingly dissatisfied with his role in Quicksilver Messenger Service (QMS). Friction with Dino Valenti and a desire to stretch out beyond the constraints imposed within the band (specifically a lucrative sideline playing sessions) saw Cippolina finally strike out on his own in 1970. Copperhead started out as a fairly unstructured enterprise; essentially Cipollina and friends jamming on the local club circuit but by 1972 the line-up consisted of Cipollina, ex-Stained Glass bassist Jim McPherson, former Freedom Highway guitarist Gary Philippet and drummer David Weber. Word of mouth support led Michael Lang to sign the group to his newly formed Just Sunshine Records. The band actually began recording material for an album tentatively entitled "Sealed For Your Protection". Unfortunately, the label's lack of financial resources doomed the project and by late 1972 they'd been picked up by Clive Davis and Columbia Records (for what was then a reportedly staggering five year, $1.5 million contract). Released in 1973 (with the line up expanded to include bassist Hutch Hutchinson), the selfproduced "Copperhead" offered up an excellent set of west coast rock. With material such as 'Roller Derby Star' and 'They're Making a Monster' spotlighting Cipollina's instantly recognizable sinewy fret work, the set was quite a bit more focused and commercial than QMS's latter stage releases. With Cipollina, McPherson and Philippet responsible for the majority of the album, the collection had a fairly varied sound, including straightforward rockers ('Pawnshop Man'),

country-rock (the wonderful 'A Little Hand') and even a touch of Steely-Danesque jazz-rock ('Kamikaze'). Elsewhere, Columbia tapped 'Roller Derby Star' b/w 'Roller Derby Star' as a single (Columbia 4-45810). Unfortunately, the band lost their prime mentor when Davis was unexpectedly fired from Columbia. The group had already recorded a follow-on set, but Columbia executives promptly shelved it, dropping the band from the company's recording roster. The band subsequently called it quits. [SB]

CORBETT & HIRSH ( ) "Mike Corbett & Jay Hirsh with Hugh McCrackin" 1971 (ATCO SD 33-361) Here's another example of the old adage about judging a book by its cover ... I found this one at a yard sale, but was so put off by the Hirsh-drawn cover (is it a turkey?) that I put it back. I eventually went back to get it. Thank goodness it was still there. Mike Corbett and Jay Hirsh had previously recorded an album as part of Mr. Flood's Party and while some references describe this as Mr. Flood Part 2, it's anything but. Co-produced by the pair, 1971's cleverly-titled "Mike Corbett & Jay Hirsh with Hugh McCrackin" abandoned the formers' mild psych moves in favor of a first-rate collection of CSN&Y-styled folk rock. Largely penned by Hirsh (Corbitt's credited with co-authoring two tracks), tracks such as 'Gypsy Child', 'Uncut Diamonds' and 'The Mighty Emerald' were full of great melodies and wonderful vocal harmonies that withstood a comparison to such stalworths as CSN&Y. Hirsh had a voice that was quite attractive and even the trio's occasional forays into country-rock such as 'Seashore' and 'Goodnight My Lady' were enjoyable. The secret ingredient may well have been guitarist McCrackin whose tasty guitar ensured that the other two never got overly goopy (okay 'Swan Song' was kind of lame) - check out his slide work on 'Sweet Virginia' and the blazing rocker 'Agatha's Raven'. One of my favorite recent discoveries and (at least to my ears) better than their Mr. Flood work. [SB]

CORNBREAD ( ) "Cornbread" 196 (Mega 31-003) [wlp exists] Heavy guitar bluesy rural rock. [RM]

CORPORATE BODY ( ) "Prospectus '69" 1969 (MGM SE-4624)

Well, one look at the cover on this obscurity is all you need to figure out that these guys weren't a mob of drug dependent draft dodgers... Featuring a line up consisting of keyboardist Bob Jacobs, singer Peter James, drummer Rob Mathebey, bassist Rick Riccobono and guitarist Walt Meskell, the band debuted with the 1968 single 'Soul Owner's Song' b/w 'Nickels and Dimes' (Music Factory MU-416). While the single did nothing commercially, it attracted the attention of MGM Records, which subsequently signed them to a contract. Produced by Mike Post, 1969's "Prospectus '69" isn't a half bad set of blue-eyed soul and commercial pop. Largely written by guitarist Meskell and propelled by James' likeable raspy voice, material such as 'Sunshine Grove', 'World Full of Changes' and the fuzz guitar drenched 'Wait and See' is quite catchy. Elsewhere, the album includes the earlier 45 'A" side 'Soul Owner's Song'. Written by Meskell the song features some nifty acoustic slide guitar (also courtesy of Meskell) and is probably the album's standout song. The LP's also notable for some exquisite harmony vocals. Their performances on tracks like 'Every Thursday Evening' and 'What You Need' are simply great. MGM also tapped 'Annabelle' b/w 'Wait and See' as a single. Had the band been able to avoid Post's occasionally suffocating production touches and lost a couple of the more pedestrian and MOR songs (the previously mentioned 'Annabelle') and this could have been a real treasure. As it is, to my ears it's better than most of the material recorded by such contemporaries as mid-career Association, The Marshmallow Way, or Orange Coloured Skies. Can't say I know much about their follow-on efforts other than Meskell went on to enjoy some mid-1970s success as a producer and songwriter, placing material with the likes of The DeFranco Family, C.W. McCall, and The Outlaws. Riccobono spent almost twenty years working for BMI including a stint as a vice president for the organization, and now works for an outfit called Supertracks. [SB]

LARRY CORYELL (WA) "Coryell" 1969 (Vanguard Apostolic VSD 6547) I'll be the first to tell you that my knowledge of Larry Coryell is pretty limited. I've heard some of his later career jazz-rock offerings and while quite accomplished, most of it doesn't do much for me. What I didn't realize is that Coryell also had some rock roots in his past. As a teenager growing up in Washington State, he played in a number of rock bands and by the late 1960s he'd become an admirer of Cream and Jimi Hendrix. All hyperbole aside, his second solo endeavor, 1969's "Coryell" is a guitar players dream. Produced by Danny Weiss, tracks such as "Sex" and the blazing instrumental "The Jam with Albert" serve as a wonderful showcase for Coryell's instantly recognizable playing. It's hard to describe, but he's incredibly versatile, able to effortlessly handle all types of genres. He also plays with what may be rock's most biting tones. Full of razor

sharp, machine guy bursts, even at this early stage of his career, material such as "Beautiful Woman" and the pretty "Elementary Guitar Solo #5" displays a jazzy-orientation, but it's never overwhelming and never without attractive rhythms and melodies. The album also sports a couple of Coryell vocal performances. As a singer he won't shake your world, but on selections such as "No One Really Knows" he's much better than most reference works would have you believe. Besides, backed by an impressive catalog of jazz buddies, including Bernard Purdie and Chuck Rainey, this is easily the most rock-oriented effort in his catalog. Certainly not a typical Coryell offering and not meant to tell anyone to go out and buy his whole catalog, but an interesting, early career side trip. [SB] "At The Village Gate" 1971 (Vanguard VSD 6573) I am a long-time fan of Larry Coryell and have a good solid crate of LPs by him or LPs with his involvement. While the bulk of that catalog falls outside the interest of this site, there are some early recordings from the 1968-71 period that fans of Jimi Hendrix and Robin Trower psychedelic guitar excess will find of enormous pleasure. The other two reviewed here are quite good from that perspective, but if there's only one you're going to pick from the dollar box (which is where you'll find most of these, other than the Free Spirits there aren't any real Coryell "rarities") I want to strongly recommend you make it this one. Recorded January 21 and 22, 1971, four months after Jimi Hendrix's death, this New York club date recorded live before an enthusiastic audience is more a psychedelic rock power trio outing than anything else. The rhythm section of Harry Wikinson on drums and Mervin Bronson on bass are totally reminiscent of Mitch Mitchell and Billy Cox-era Experience. Side one is just about a perfect non-stop display of this across the three tracks, Coryell's "The Opening" (6:10), "After Later" (5:45) and Chick Corea's "Entardecendo En Saudade." Coryell's guitar, warmly distorted and with regular forays into wah-wah territory, drives the proceedings really well and at no point do you find yourself thinking, "Hey! Wait a minute... this is jazz!". Side two begins with Coryell at the mike, "Now we'd like to do a tune by the Scottish composer, Jack Bruce." "Can You Follow?" starts with Harry Wilkinson playing solo and channeling Ginger Baker for about 40 seconds before the bass and guitar enter. This is Coryell at his "jazziest" on this LP, but that translates to lightening quick single note lines always anchored by the rock solid rhythm section. As Coryell adds distortion and a wah-wah pedal the track sounds like what the live disc of "Wheels of Fire" might have sounded like if it had been recorded at a club gig. Larry backs off a bit and the track becomes introspective for a moment again, but these shifts in dynamics work in its favor and help hold your attention throughout the 9:20 length. The LP closes with "Beyond These Chilling Winds" composed and sung here by Larry and his wife (and sometimes writing partner), Julie Coryell. The lyrics have a nice cosmic bent to them and the vocals are fine, but the bulk of the 7:50 length is spent in a pretty furious work out in power trio mode. Fans of "heavy psych" guitar rejoice. This is the real deal. [SD]

Barefoot Boy 1971 (Flying Dutchman FD-10139) In addition to the 1969 Coryell LP, Larry at his most Hendrixy can be found on the 1971 LP Barefoot Boy. Produced by Bob Thiele (who also produced the 1967 Free Spirits LP), engineered and mixed by Eddie Kramer (who engineered every Jimi Hendrix Experience LP), and recorded at Electric Lady Studios. The album has 2 tracks on side one and one on side two (rarely a bad sign when searching for psychedelic guitar excess). Side one opens with Larrys 11:50 reading of Gabor Szabos Gypsy Queen and Coryells solo that enters about a third of the way in is an explosion of distortion and phenomenal speed. Rocksteady soul bassist, Mervin Bronson (also bassist on the 1969 Coryell LP) is added to the rhythm section of Roy Haynes (drums), Lawrence Killian (conga) and Harry Wilkinson (percussion) for The Great Escape (8:39) that features Larry working with a wah-wah pedal for his extended solo. The real gem here is the 20 minute Call to the Higher Consciousness that takes up all of side two. The guitar soars and dives while remaining connected to the other players throughout, never falling into the fusion trap of technique-for-technique's-sake. The interplay between Coryell, Haynes and Bronson keeps the track from ever getting bogged down regardless of its length. [SD] ~~~ see -> Free Spirits

DEBBY CRISS ( ) "Plant Bones" 1980 (Shadrack Studios lp-1280) [1?] Bisexual hippie femme deep amateur folk get back to nature sound with several excellent, moody introspective tunes. [RM]

CROWE BROS BAND ( ) "Crowe Bros. Band" 197 (TCB) Hillbilly southern rockers with covers of "Cocaine Blues" and "The Breeze", housed in cool cover of spooky crow.

CRUSADERS (CA) "Make A Joyful Noise With Drums And Guitars" 1966 (Tower t-5048) [mono] "Make A Joyful Noise With Drums And Guitars" 1966 (Tower st-5048) [stereo]

Southern California Christian beat, twang and punky riffs. Underrated funfest, this is Love Exchange sans the female vocalist. [RM]

V.A "THE CYCLE SAVAGES" (CA) "The Cycle Savages" 1970 (American International st-a 1033) -- original movie soundtrack B-movie soundtrack with Orphan Egg and Boston Tea Party.

CYMARRON ( ) "Rings" 1971 (Entrance 30962) Rural psych rock. [RM]

CYNARA ( ) "Cynara" 1970 (Capitol st-547) [green label] Santana sound heavy percussion, keys, soulful rock. Ex-Listening. [RM]

-------------------------------------------------------------------------------DAMNATION OF ADAM BLESSING (Cleveland, OH) "Damnation of Adam Blessing" 1970 (United Artists 6738) "Damnation of Adam Blessing" 2000 (Akarma, Italy) This first album is more of an introduction than a fully formed album. Adam Blessings vocals are among the best in the hard rock genre, versatile, powerful, and full of true passion. The original songs here are only OK, and a cover of Morning Dew attracted most of the attention. The production style suits them very well; its hard but doesnt resemble heavy metal at all. [AM] "The Second Damnation" 1970 (United Artists 6773) "The Second Damnation" 2000 (Akarma, Italy)

Damnation reached their peak on this second album, one of the great hard rock albums of all time. The bands performance and the songwriting match the quality of Blessings vocals, and the production is 100% suited to their strengths. The guitar hooks, the cymbals and the vocals all shimmer and shine. Side one is aces all the way, closing with the masterpiece Back To The River, a song with perfect hooks, a perfect guitar solo, and, of course, perfect vocals. Side two isnt quite up to the same level, ending with two long songs that are only OK, one merely a guitar workout and one merely a bluesy vocal workout. But for what came before, this is on par with anything you can name in the hard psych field. [AM] "Which is the Justice, Which is the Thief" 1971 (United Artists 5533) "Which is the Justice, Which is the Thief" 2000 (Akarma, Italy) Perpetually in name confusion, they shortened their moniker to Damnation for this third album, which finds them experimenting with ambitious songwriting, strings and a less heavy sound. Some of it is excellent, but overall it doesnt really work, muting the obvious strength of their sound and Blessings vocals. Had it not followed such a masterpiece this album would seem pretty good. As it is, it feels like a disappointment. [AM] "Glory" 1973 (Avalanche AV-LA148-F) [released as by GLORY] Akarma reissued this album as a Damnation album, but by this time they had changed their name completely to Glory, and the original LP obviously tries to present them as a new band. The material, however, isnt new at all. Its trite, lyrically dumbed down, and without a spark of any kind. Even Blessing (here using his real name, Bill Constable) lacks energy. Despite the return to hard rock instrumentation, this album sounds soft in all of the wrong ways. Hot Momma is probably the nadir. Its hard to tell if this was an attempt at commercial acceptabilty because its a failure even on that level. [AM]

DAMNATION ARMY BAND (Beloit College, WI) "Damnation Army Band" 1969 (no label) Comic folkrock.

DAN AND DALE (CA) "Sensational Guitars" 1966 (Tifton 8002) [mono; inner sleeve] [1]

"Sensational Guitars" 1966 (Tifton 78002) [stereo; inner sleeve] [1] -- The inner sleeve has the same graphics as the front cover. "Sensational Guitars" 2001 (Universe) "Sensational Guitars" 2001 (CD Universe) Actually Sun Ra on keys backed by Blues Project guys. Instro rock exploito themed around the hit Batman TV show. There are a few other Dan and Dale LPs on Diplomat, it is unclear if Sun Ra and crew were involved with those releases. [RM]

BARBARA DANE ( ) "FTA! Songs Of The GI Resistance" 1970 (Paredon p-1003) Noted leftwing folk blues singer. This LP was recorded at military bases with active duty GI's protesting the military effort in Vietnam. Dane had several LPs, of which this one is the rarest.

DAVE & THE SHADOWS (Grand Rapids, MI) "Two Sides Of Christmas" 1963 (Fenton 961) [2] Weak early instro rock sound and Christmas tunes. Not garage at all, only listed here because of the label.

DAUGHTERS OF ALBION ( ) "Daughters Of Albion" 1969 (Fontana 67586) [3 inserts] Possibly a lost pop masterpiece, and at the very least an irresistable twig on the McCartney/"Pet Sounds"/Move tree, with 12 songs as clever, elaborate and wellwritten as any of the big guys. Like all classic pop its nature is essentially timeless, and the abundance of psychedelic studio tricks are there as a signpost of the times, not the album's raison d'etre. If you imagine an LP that takes the snappy 45 picks from the Millennium and Sagittarius albums and grow those into a full-blown LP, skipping the sleepy interludes and fillers, and then charges the music with unusual and occasionally razorsharp lyrics, this could be it. Excellent female vocalist keeps the songs from collapsing under the influx of ideas, and the arrangements manage to both make sense and surprise. Vaudeville, easy

listening, Spector girlsounds, the Beatles, Brian Wilson, JFK conspiracy theories, Mamas & Papas, parodies of Dylan & Lennon -- it's all in there, tightly wrapped and neatly packed. A splendid time is guaranteed for all. [PL] ~~~ see full-length review

DEADLY NIGHTSHADE ( ) "Deadly Nightshade" 1975 (Phantom blp 1-0955) [gatefold] Femme trio rural folkrock with nice vocals. Produced by Felix Cavaliere.

DECAYES (New Zeeland / Long Beach, CA) "Ich Bin Eine Spigelei" 1978 (Imgrat 2400-001) [100#d; sprayed cover; 4 inserts; fake obi] [2-3] -- each sleeve was individually decorated "Accidental Musik" 1979 (Imgrat 2400-002) 300p] [2] -- each sleeve was individually decorated [sprayed/stamped cover; inserts;

"Not Yet" 1980 (Imgrat 2400-003) [insert] [2] -- the covers were decorated individually with stamps and stencil "horNetZ" 1981 (Imgrat 2400-004) [300p; no cover; 2 inserts] [2] -- inserts sometimes pasted on the plain cover as artwork Avant garde electronics freakout, given additional boost by their inclusion on the Nurse With Wound list of inspirators. Imgrat stood for 'immediate gratification'.

DEEP SIX ( ) "Deep Six" 1966 (Liberty lrp-3475) [mono] "Deep Six" 1966 (Liberty lst-7475) [stereo] "Deep Six" 2003 (CD Rev-Ola, UK) [+bonus tracks] Melodic rock covers with female vocal. Nice version of "Paint it Black". [RM] ~~~ see -> Dunn & McCashen

DEEP WATER [aka DEEP WATER REUNION] (St. Paul, MN) "DWR" 1969 (Jerral 1009) Mellow pop folkrock covers, male and female vocals. Several Dylan songs. As Deep Water Reunion. The album cover is the info sheet from the master tape box. [RM] "Deep Water" 197 (Deepwater 161) More folkrock covers, from a slightly later vintage. This album was recorded live and apparently has two different cover variations. [RM]

CLAUDE DENJEAN ( ) "Moog" 1970 (Phase-4) Cheesy moog rock with some psychy electric guitar parts. [RM]

DEL-COUNTS (Minneapolis, MN) "Del-Counts" 196 (Dove Recording Studio acetate) [4] -- no vinyl pressing exists Mid-1960s acetate of album from band with several 45s, reported to be excellent.

PRAHBA DEVI (Seattle, WA) "Sitar Goes International" 1968 (Kaybee kxls-110) [1?] Female sitarist of Indian (?) descent. Mix of ragas and 60s pop hits including Dylan, Rolling Stones, and kiddie songs! [RM]

DEVILED HAM ( )

"I Had Too Much to Dream Last Night" 1968 (Super K 6003) Exploito-feeling psych/garage album. Side one is full of unnecessary cover versions, while all of side two is devoted to a medley of the title tune, the theme from Rosemarys Baby, and Poe's "The Raven." This bizarre suite is pretty fun stuff, and is as far a departure from the Super K labels spirit of bubblegum as is the Queens Nectarine Machines album. A full sides worth of it eventually gets pretty dull, but before it does its a kick. [AM]

CHERYL DILCHER ( ) "Butterfly" 1973 (A & M A&M FLY-003) [unipak; die-cut cover] With two tremendous late 60s style femme-psychrock tracks this is Dilcher's most interesting LP, and while the rest of the album goes in an eclectic singer/songwriter direction the entire LP is enjoyable with excellent lyrics and a cool attitude. Packaging is apex for 70s fans too. Dilcher made several LPs that fall outside the scope of the Archives although it should be noted that her debut "Special Songs" from 1971 marks the first known appearance of Bette Midler! [PL] ~~~ This is by far Dilcher's best album, and due to the inclusion of the two hot funkrock songs "All Woman" and "High" on the "Hippie Goddesses" compilation, the one that has received the most attention. Those two songs are musically unlike the rest of the album, but still fit as part of a cohesive thematic whole. The overall musical style retains a few remnants of her folk rock debut SPECIAL SONGS, but is more electric and melodic. At times it would almost resemble bubblegum if not for Dilcher's tough, gravely voice. That's not necessarily a bad thing, though, because this is a wholly well-written and extremely catchy record, one that grew on me and stayed in regular playing rotation for a long time in my home. The blend of styles (pop and singer/songwriter) probably puzzled listeners who took themselves too seriously, which is the only logical explanation for the album's commercial failure. It's hard to imagine fans of, say, Janis Ian's BETWEEN THE LINES, loosening up and enjoying a song like "Chocolate Candy," even though a close look at the lyrics reveals intelligence and depth beyond Ian's more calculated album. Besides, Ian hadn't written a hook like that in "Good Morning World" since she was 15. Finally, the harder rocking appeal of "All Woman" and "High" give this album an edge that other singer/songwriters sorely lacked. In a way, the closest comparison is early Melanie, as she also combines a gravely voice with a sweet demeanor, and her first few albums occasionally rocked out ("Uptown And Down," "Lovin Baby Girl,") Dilcher is a little bit wilder and more dangerous, though, as BUTTERFLY came after the flower child dream has been destroyed, not while it was still within reach. BUTTERFLY is one of the finest singer-songwriter albums of all, an explosion of talent where least expected.

Dilcher's other albums, most of which compromised her style in hope of achieving commercial success, are spotty and nowhere near as good as this, but all of them have an interesting moment or two. [AM]

TOM DISSEVELT / KID BALTAN (Netherlands) "Song of the Second Moon" 196 (Limelight 86050) [gatefold] [1] "Song of the Second Moon" 198 (Limelight 86050) [counterfeit; gatefold] - The fine print is somewhat fuzzy on the bootleg. Melodic spacy electronics now sound action. Dissevelt cut lots more records.

FRED DIXON & THE FRIDAY AFTERNOON (Canada) "Fred Dixon & the Friday Afternoon" 197 (Banff SBS 5408) Obscure local LP by countryrock band with originals all through and a couple of tracks described as having a vintage Byrds sound.

TOD DOCKSTADER ( ) "Organized Sound" 1966 (Owl 6) [1] "Eight Electronic Pieces" 196 (Folkways fm-3434) [1] Owl is a Boulder, Colorado label. Experimental electronic tape montages. The Owl LP was recorded in 1964. [RM]

DICK DODD (Los Angeles, CA) "First Evolution of Dick Dodd" 1968 (Tower st-5142) [wlp exists] [1] Standells' drummer doing blue-eyed soul rock similar to the Boxtops.

DOG OF NAZARETH ( )

"It's Not the Heat... It's the Humidity" 1975 (Unigon) [insert] Nostalgic 1930s pop moves and a few weird garagy tracks.

DOGWOOD (CA) "After The Flood, Before The Fire" 1975 (private) Described as folkrock with religious moves. Not a rare LP. The band had a second LP in 1977.

BRENDAN DOYLE ( ) "Musical Mystical Bear" 1978 (Alba House) [insert] According to the liner notes, "a moving blend of jazz, folk-rock, Mozart and meaningful lyrics". DREAMS AND ILLUSIONS ( ) "Dreams and Illusions" 1968 (Verve Forecast) Orchestrated soft psych, effects. [RM]

DRED SCOTT (CA) "An Instrumental Accident" 1981 (Red Spot) [1?] Side-long tracks from CA punk band; out of place here.

FRANK DUMIN ( ) "Another Dawn" 1970 (Avant Garde 124) Folkrock by an ex-seminarian. [RM]

DUNN & MCCASHEN ( ) "Mobius" 1968 (Capitol st-285) "Dunn and McCashen" 1970 (Capitol st-565) This duo mixes popsike and singer-songwriter folk and have put together a pretty solid album here. Its most well known for Lydia Purple, which would be covered by the Collectors and the Giant Crab, but there are a number of equally good songs beside it. My favorites are Hitchcock Railway, (also known via a cover version, by Joe Cocker), which has a killer bass part and cool trippy percussion effects, and Rindy, which has lovely harmonies. A few of the songs have iffy horn and woodwind arrangements that contribute to a music hall feel that doesnt really work. Otherwise, though, this is a strong genre piece that would be worth hundreds if it was a private press. The lyrics are a cut above the norm too. ExDeep Six. [AM] DUST BOWL CLEMENTINE (NY) "Dust Bowl Clementine" 1969 (Roulette sr-42058) [wlp exists] -- stock copies may be rarer Rootsy outdoors sound with counterculture concerns. With Chuck Laskowski (= Faine Jade) and Nick Manzi of Bohemian Vendetta. [RM]