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"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]


"Rivers Of The Heart" 1981 (Arcana)  [insert]

Soft cosmic psych with oboe, flute, cello, etc. The

label is from Santa Monica. [RM]


"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]

"Solo" 1975 (Avanti)

Mix of cosmic loner folk and some tracks with

electric rock setting.


"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.
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" 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.


"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.


"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]


"In Due Time" 1969 (Cadet Concept 323)  [wlp & printed promo

Falling somewhere in the musical spectrum between The

Young Rascals and Blood, Sweat and Tears, the short-
lived 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" 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]


"First Day of Summer" 1975 (Lark 2288)   

Rural stoner guitar rock.

AGAPE (Azusa, CA)

"Gospel Hard Rock" 1971 (Mark 2170)  [live band pic on back
"Gospel Hard Rock" 1971 (Mark 2170)  [four individual photos on
back cover]  
"Gospel Hard Rock" 198  (Hablabel Italy)
"Gospel Hard Rock" 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" 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.


"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's Island" 1960 (Del-Fi DFLP 1211)  [mono]  

"Eden's Island" 1960 (Del-Fi DFST 1211)  [stereo]  
"Eden's Island" 1998 (CD Del-Fi)  [stereo; +2 tracks]
"Eden's Island" 2003 (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 starry-
eyed 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]


"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 it´s 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]


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.


"Rockin' the Sky" 1975 (Dominion 1023)  

Southern hardrock with beautiful fantasy landscape



"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" 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


"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" 1967 (Smack 1001)  

The Smack album is pretty crude. It’s recorded live

(though there’s no audience sounds) and has a sleazy
blues vibe that’s 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.” There’s one great rock
song, “Sloppy Drunk,” that has a Pretty Things-like
vocal and some terrific, wild, loud lead guitar.
Otherwise it’s of value mostly because of the sound,
not the actual music. Their 2nd LP on UNI (1968) is a
lot less interesting. [AM]


"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 that’s 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]


"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" 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


"Recorded Live at the Barn" 1966 (Erie 001)  

Garage beat dancehall sound with saxophone. Recorded

live in Sandusky, Ohio.


"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 punked-
up 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]


"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.

ALL SAVED FREAK BAND (Kent State University, OH)

"My Poor Generation" 1973 (Rock the World nr-7825)  [bible and
table are clearly visible on front cover]  
"My Poor Generation" 1976 (Rock the World nr-7825)  [cropped photo
on front cover]  
"My Poor Generation" 2000 (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 afsb-
"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 1973-
1980 (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


"Side 1" 1968 (ESP-Disk/ Oro 4) [lyric insert; bumper


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" 1977 (Salt 003)  

Hard prog-rock dedicated to Tommy Bolin, described as

"lame" by one critic.


"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-of-
life 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 were Jerry 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 was a kind of
Dead/Floyd/Airplane fusion. The album doesn't quite
capture that, though it does have its moments. On our
best nights, we were a pretty good jam band."


"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" 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.


"Songs by" 1971 (Signet)

Relaxed electric folkrock. [RM]


"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]


"Is Here" 1968 (Karma 1001)   

"Is Here" 198  (Karma)  [bootleg, says 'repro' on back cover]
"Is Here" 198  (Microdot AB-1)
"Is Here"/"Do their thing" 199  (CD Afterglow UK)  [2-in-1]
"Is Here" 2000 (10" Akarma, Italy)
"Is 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]


"Blueprints" 1969 (Tayl 1)  [1000p]  

"Blueprints" 1985 (Heyoka 204, UK)
"Blueprints" 199  (CD Flash 55, Italy)
"Blueprints" 1998 (CD Gear Fab 120)  [+3 bonus tracks]
"Blueprints" 1999 (Void 16)  [blue vinyl; insert; 500p]
"Blueprints" 2000 (Akarma 136/2, Italy)  [3-sided set w/ bonus
tracks; gatefold]
"Blueprints" 200  (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]


"Once Upon a Rock" 1977 (AmPed ap-1003)   

Southern rock. Eric Johnson (Mariani, Electromagnets)

guests on one track. [RM]


"American Standard" 1970 (no label)  [2 LPs; gatefold]  

College project. Inept psych and spoken word. [RM]


"Stepping Stones" 1977 (Vee-Jay International)  

Here’s 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 band’s Latin
rock past (as detailed in the liner notes), you’d
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 there’s 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 isn’t always up to the
level of performance, but there’s plenty to like on
this cool record. [AM]


"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" 1980 (Shadow 00084)  

"Amulet" 199  (Off the Beaten Path)  [300p]
"Amulet" 1995 (Shadow)  [paste-on cover; blank back]) Amulet
"Amulet" 2000 (CD Monster mcd-003)
Indiana hardrock with outstanding rhythm guitar. 


"The Original Rock'N Popsenanny" 1970 (Band 'n Vocal)  [2 LPs] 

Mostly horrible vocal numbers but the last side

features a psychy rock group.


"Beyond The Black Crack" 1976 (Cavern Custom 6104 12)  [200p;
"Beyond The Black Crack" 1998 (CD Paradigm, UK)  [+bonus

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" 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.


"Angels From Hell" 1968 (Tower 5128)  

-- original soundtrack

Includes rare tracks by Peanut Butter Conspiracy and

Lollipop Shoppe, among others.


"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 Shadow" 1976 (A Major Label 1002)  [blue/white cvr,

black/white label; booklet; 500p]  
"Inside the Shadow" 1981 (A Major Label 1002)  [2nd press w/
altered cvr in black/white, red/white label; no booklet]  
"Inside the Shadow" 1996 (OR 015)  [insert; 375 #d]
"Inside the Shadow / J Rider" 2000 (CD Aether/OR 0009)  [2-on-
"Inside the Shadow" 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 post-
Sir 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 Beatles-
influenced 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.
see full-length review
see -> J Rider; Good Soil


"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" 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;
"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 Dead-
type instros, but mostly early spooky hippie
folkrock. Not a real fave of mine but still an
interesting LP, and sleeve too - note the hookahs.

ANVIL see Boa


"A Passing Fancy" 1968 (Boo 6801)  

"A Passing Fancy" 1988 (Breeder, Austria)
"A Passing Fancy" 199  (CD Afterglow, UK)
"A Passing Fancy" 2002 (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.


"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 psych-
styled 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]


"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.


"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!

"Reachin'" 1968 (Alpha 103)  [blank back]  
"Reachin'" 1997 (Little Indians 9, Germany)  [altered sleeve;

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]


"Launching No 1" 1973 (HNP)  [paste-on cover]  

Bluesy club rock and Santana groove guitar organ

jamming. [RM]


"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

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?]


"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. Ex-
Redemption, after a relocation from San Antonio.
Kemper Crabb later went on to a solo career with more

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 pro-
sounding 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


"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


"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" 1974 (Horizons hs-01)  

Electronic prog with synth, dulcimer, flute,

echoplex. Sometimes listed credited to Tom Behrens. 


"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 Grace-
clone occasionally operatic. Some good guitar and a
strange ethnic folk art sleeve I dig. There was also
a non-LP 45 on Mainstream. [PL]


"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]


"Best of Dave Arvedon" 1971 (Wrecked 81474)  [200p]  

"In Search of the Most Unforgettable..." 1996 (CD Arf Arf aa-
053/54) [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.

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

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


"Endless Skies" 1983 (private)   

Hardrock ripper with a progressive edge. Issued with

a gorgeous fantasy cover. [RM]


"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 it’s
closer to 70s soft rock than 60s folk rock. As such,
it’s very nice, though. Taylor’s 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


"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" 1978 (no label, no #)  

"Armed To The Teeth" 1980 (no label)  

Early 70s-influenced progressive guitar and

mellotron rock in a Purple/Captain Beyond-
school from band formerly known as White
Wing; no relation to the more famous band,


"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 isn’t a whole lot different
from guitar-and-voice, but it’s 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 listener’s 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 there’s 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 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]


"First and Last" 1973 (no label nr-3217)  

"First and Last" 2005 (World In Sound rfr-20, Germany) 

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]


"Live at the Nite-Lite" 1971 (Hashish)  

Lounge wah-wah rock with female vocals.


"Atlantis" 1972 (Tektra)  

Lounge blues rock with horns and fuzz. Good version

of 'Down by the River'.


"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 duo-
one 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 ½
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]


"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" 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" 1968 (RCA LSP 3940)  [stereo]  

"Autosalvage" 1968 (RCA LPM 3940)  [mono]  
"Autosalvage" 1988 (Edsel 286, UK)
"Autosalvage" 199  (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. It’s
“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" 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.
This is hyped as prog, but it’s not complex or adept
enough to earn that tag. It’s 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]


"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


"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" 1971 (Elco 5555)  [500p]  

"Help" 1996 (no label, Austria)  [bootleg; 300#d; altered
"Help" 199  (CD Synton, Europe)
"Help" 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.


"Live At The Ad-Lib Club In London" 1964 (World Artists wam-


Beat covers, not terribly good but plenty of

adrenaline! Cover has a shameless Beatles tie-in
showing them promoting the club. [RM]


"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 Of The Bachs" 1968 (Roto no #)  [500p]  

"Out Of The Bachs" 1992 (Del Val 007)  [350p]
"Out Of The Bachs" 199  (Flash 43, Italy)
"Out Of The Bachs" 1997 (CD Flash 43, Italy)
"Out Of The Bachs" 2004 (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]


"Have A Nice Day" 1971 (Allied Records AL-1971)  [sticker]

Los Angeles-area obscurity with a Dead-like rural



"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 tempo-
shifts 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 metal-
guitar 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 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.


"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


"Cosmic Rememberance" 1967 (World Pacific wps-21875) 


Eastern meditation exploito with sitar and jarring female

see -> Lite Storm


"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]


"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.


"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 they’re all equally good, and the
mix of writers lends variety. Ends with a terrific 9-
minute 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 folk-
rock 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. She’s 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. They’re
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. It’s
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
Ain’t Heavy” would be better than the Hollies’ if it
weren’t 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 isn’t it wrong for a “pro-lifer” to
sing “I’m so happy I could die?” [AM]


"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" 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


"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 big-

time 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.

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 charlatan whose

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
box that 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-sided 7-inch 78 labeled
as "Introduction To The 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) in quadraphonic. Musically, it's pop
psych with heavy orchestration. I find it interesting
with two or three memorable 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


"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 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.


"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


"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 fuzz-
driven garage ace "Say", and the LP as a whole is
above average. The Mystics had a non-LP 45 on Ren-
Vell. [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

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]


"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


"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]


"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 Of The Earth" 1967 (Radish as-0001)   [500p]  

"Beat Of The Earth" 199  (Radish, Europe)   [60p; bootleg;
plain white labels]
"Beat 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 0001½)  [500p;


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 acid guitar. So on
balance almost as awesome as the first one. The liner
notes refer to a 1967 live gig but the actual recording
is studio, from the first LP sessions. [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.
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" 1971 (F-Empire no #)  

"Beauregarde" 198  (F-Empire)  [bootleg]
"Beauregarde" 200  (CD Zeno)  [actually a CD-R]
"Beauregarde" 2004 (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]


"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


"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 you’re 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
isn’t beholden to any particular hard rock style.
see -> John Berberian


"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 Orbison-
style smoothies are a bit cheesier than the Raiders'
but the garage fuzz tracks (I counted 3½) 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.


"Gallivantin'" 1972 (North Park 101)  [1000p]  

Lost folk very Dylanesque sounding. Warm and lyrical.


"Iris Bell Adventure" 1969 (Rubaiyat)  

Live jazzy hippie blues trio recorded in Ann Arbor.


"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
"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.
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 “that’s
where they buried the bodies”) vibe, with tons of
fuzz guitar and reverb, desperate vocals, and often
disturbing lyrics. The highlights are the album’s two
grisliest songs, “Riverside” and “Hate.” While the
other songs aren’t quite at that level, there aren’t
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]


"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


"Middle Eastern Rock" 1969 (Verve Forecast fts-3073)  [wlp

"Middle Eastern Rock" 1999 (Verve Forecast)  [bootleg; textured
"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


"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".


"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" 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.

"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 José, CA)

"Heavy Berry" 197  (no label)  [100p]  

Demo album with good westcoasty guitar/organ psych

rock. Berry was formerly with San José 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.


"In the Night Time" 1981 (Clear Sky)  

Rural loner folk.


"More Of The Best" 1967 (RPC n-69852)  [no sleeve]  

"The Gents/The Best" 1996 (no label)  [split LP; partial

Very obscure sleeveless garage era LP on the infamous

RPC custom label; music is typical local '66 teen-
beat 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]


"Do You Wanna Dance - The Best Of Frank's Bandstand" 1965 (Arc

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.


"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".


"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]


"The Best Of Twist-A-Rama USA" 1965 (TAR 1000)  

"The Best Of Twist-A-Rama USA" 2003 (Norton 275)  [altered
cover; +2 tracks]
"The Best 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


"Handful" 1971 (Thin Man afp-703)  [200p]  

"Handful" 2001 (Shadoks 019, Germany)

Unpretentious get down-boogie barrock/rural rock with

strong guitar leads throughout that lifts it above
the usual trucker tattoo six-pack rockers. Not bad,
though for hardcore 1970s fans mostly. Terrible,
clichéd sleeve unfortunately. [PL]
This is a grungy bar band with some sleaze appeal,
but it’s 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 that’s 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]


"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 they’re full of ideas. “Dirge Overature” is
an 11 and a half-minute instrumental with jazzy
moments, an unusual time signature, classical-
influenced interludes, nimble bass playing, long
guitar solos and closing two-minute vibe solo! “It’s
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 isn’t 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]


"Beyond The Valley Of The Dolls" 1970 (20th Century Fox

"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]


"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-5773-
LPD. 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]


"Big Hits Of Mid-America, vol 1" 1965 (Soma mg-1245 / Garrett


"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 teen-
beat 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" 1973 (no label 6364)  [white/black label;

two inserts]  
"Big Lost Rainbow" 1973 (no label 6364)  [blue/silver label;
two inserts]  
"Big Lost Rainbow" 1998 (CD Gear Fab gf-118)   [+4 tracks;
black cover]
"Big Lost Rainbow" 1998 (Gear Fab gf-118)   [black cover]
"Big Lost Rainbow" 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" 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. 


"Celestial Explosion" 1968 (Keyboard k711-s)  

New York City label. Instrumental guitar tracks with

a cosmic edge.


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.

"Dance Of Survival" 1975 (Bam-boo GR 004)  [gold foil

"Dance Of Survival" 1975 (Bam-boo GR 004)  [silver foil
"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]


"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.


"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]


"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.


"Awake in the Red Desert" 1968 (See/Hear #3 ST 55580)  [500p;

"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 Herman’s Hermits proud with some
somewhat random synthesizer or theremin and sci-fi
lyrics. If they’d never heard "Sgt Pepper", they would
have been a second-rate Association wannabe. As it is
they’re 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 song’s 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]

"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.


"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" 1974 (Vinnick Studios var-122)

Moody acoustic folkrock with hippie vibe.


"Echoes of Love's Reality" 1981 (Wind's Eye Music jb-5463) 


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).
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; starry-
eyed as a Valentine Day card written on LSD. [PL]

BLACKBURN & SNOW see S F O Music Box


"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 Prophecy" 1971 (Mercury sr-61288)  [wlp; photo;
"The Ultimate Prophecy" 1971 (Mercury sr-61288)  [insert]  
"The Ultimate Prophecy" 199  (Mercury)
"The Ultimate 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
as Osiris after he left the group. A UK pressing
exists with a different cover. [AM]
see another full-length review


"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
isn’t as strong as the overall vibe, though, and the
vocals are lousy. A few instrumentals would seem to
remedy that problem, but they’re 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 you’ll ever hear, so flat that
you’ll think they’ve 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 Spirit" 1973 (Krio 01052)

Lounge rock funky realness.


"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


"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!


"On Fire" 1967 (Perfection Sound Studios 5022/23)  

Obscure Southern teen-band club LP.

BLESSED END (Philadelphia, PA)

"Movin' On" 1971 (TNS J248)  [1000p]  

"Movin' On" 1992 (TNS, Austria)  [bootleg]
"Movin' On" 1998 (CD Gear Fab 112)  [+1 track]
"Movin' On" 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 Doors-
styled 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]


"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 ex-
addicts, The Eternal Rush! [RM]


"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



"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, “Don’t Wanna Be Bussed,” which couples an
annoying speak-sing vocal with a horrid attempt at
social commentary. Bands this dumb shouldn’t make
attempts to be meaningful; they dare to insult some
girl’s 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. It’s 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 don’t pay too much attention to the words,
this is recommended. [AM]


"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-quite-
funky 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]


"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


"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.


"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" 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)


"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]


"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" 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" 1980 (Lunar 2)

Blues rock and Texas shuffle with wailing guitar

courtesy Michael Heyman, early 1970s sound. A 45 was
also released. 


"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.
Due to inclusion in Ritchie Unterberger’s "Unknown
Legends" book, they’ve 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 “You’ve Got To
Hide Your Love Away” rip is the most blatant), which
keeps this from being completely top shelf, but the
album isn’t 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]

"Wrong Road" 1971 (Snakefield 001)   [circa 500p]  

"Wrong Road" 199  (Snakefield)  [bootleg]
"Wrong Road" 1998 (CD Gear Fab 113)  [+2 tracks]
"Wrong Road" 1998 (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 can’t say the same about over-loud backing
vocals, though. Overall, this is a decent garage-
bordering-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 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]

"Three of a Kind" 1978 (Blue Moon)  

Heavy guitar trio bluesy swamp rock mixed with rural

Deadish sound.


"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" 1968 (Mainstream 56106)  [mono]  

"Bohemian Vendetta" 1968 (Mainstream S-6106)  [stereo]  
"Bohemian Vendetta" 1997 (Mainstream)  [bootleg]
"Bohemian Vendetta" 199  (CD Mainstream)  [bootleg]
"Bohemian Vendetta" 1998 (Distortions)  [+bonus tracks]
"Bohemian Vendetta" 199  (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


"The Bold" 1969 (ABC s-705)  

"Lullaby Opus 4" 2003 (CD Misty Lane 067, Italy)  [album +6

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. Vinyl-
sourced 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, you’d 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" 1971 (Hit 5061)  [500p]  

"Mourning" 1991 (Rockadelic)  [altered cvr; insert; 300p]  
"Mourning" 1997 (CD Rockadelic)
"Mourning" 2001 (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" 1966 (Austin)

Quite obscure teenbeat LP.


"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]


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" 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 : they’re 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 it’s not quite as
consistent as side one, it’s strong enough to make
this album a definite keeper. It’s 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 album’s straight hard rock into melodic
guitar rock, bluesy southern rock and a side-long
suite with prog leanings. Mostly it’s quite good and
the guitar playing continues to be effective and
varied. The great opening song “It’s 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. It’s full of trippy sound effects, but it’s
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 it’s unlikely that the distance
between the two albums really is five years. [AM]


"Prototype" 1978 (Titicaca)   

Heavy progressive guitar rock with synth and

glockenspiel(!). Excepting the chunky, finger-flying
fusion guitar, not terribly memorable. [RM]


"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.
see -> Professor Fuddle's

"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 exposé 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]


"Blackhole Boogie" 196  (no label bg-0606)  

Beat poetry and sampling (Beatles, Stones, etc)

collage. Has a strong sexual component. 25 tracks!


"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


"A Period Of Time" 1975 (Sheepeater 000-1)

Obscure rural/countryrock with nice double exposure

front cover.


"Bounty" 1981 (Harts 755)  

Synth-led progressive. Including ARP Odyssey, Solana

string ensemble, Steinway piano, guitar, bass, drums.


"Bow Street Runners" 1970 (BT Puppy 1026)   
"Bow Street Runners" 1995 (T.U.T, Austria)  [300#d; bootleg;
altered sleeve]
"Bow Street Runners" 1996 (Sundazed 5029)  [green vinyl]
"Bow Street Runners" 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" 1973 (no label)   

Local obscurity described as 1970s basement

folkrock/singer-songwriter with UK pop angles.


"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)  



"Mostly Live" 1977 (Lizard)  

Wasted rural jams.


"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]


"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" 1968 (K.B. Artists wr-4767)  [no sleeve;

"Brain Police" 1997 (Rockadelic 26)  [diecut sleeve; insert;
"Brain Police" 2000 (Akarma 174, Italy)  [altered gatefold
"Brain Police" 2000 (CD Akarma 174, Italy)
"Brain Police" 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]


"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" 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.


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 1984-
1990 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-to-
the-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.


"Tradewinds" 1978 (no label)

Communal hippie folk.

BRIGADE (Portland, OR)

"Last Laugh" 1970 (Band 'n' Vocal 1066)  [inner sleeve; 100p]  
"Last Laugh" 1991 (Del-Val 003)  [insert; 350p]
"Last Laugh" 2000 (Shadoks 11, Germany)  [insert]
"Last Laugh" 200  (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, there’s a definite
ragged feel here, from the straining vocals to the
occasionally sloppy rhythms to the guitars, which
don’t always sound in tune. There are some really
good songs here, and the overall feel of a garage
band that’s 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. It’s likeable, has its moments, and grows on
you, but isn’t 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]


"Jungle Rot" 1975 (Solid 001)  [1000p]  

"Jungle Rot" 199  (Solid)  [bootleg]
"Jungle Rot" 200  (CD Synton, Austria) 
"Jungle Rot" 2005 (CD Radioactive, UK) 
"Jungle Rot" 2005 (Anopheles 009) 
"Jungle Rot" 2005 (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 cassette-
only in 1982 (300 copies). [PL]

BRIMSTONE (Youngstown, OH)

"Paper Winged Dreams" 1973 (Peppermint Productions PP-1022) 

[color cover]  
"Paper Winged Dreams" 198  (Peppermint Productions, Europe) 
[bootleg; b&w cover]
"Paper Winged Dreams" 199  (CD no label)
"Paper Winged Dreams" 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 classical-
inspired keyboard excursions and plenty of non-
aggressive 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 non-
LP 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]


"In The Beginning" 1969 (Now rss-6700)  

"In The Beginning" 1987 (Antar 7, UK)
"In The Beginning" 199  (CD Afterglow UK)
"In The Beginning" 2004 (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]


"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.


"Arrival" 1980 (Couderay) 

Good drifting folkrock. [RM]


"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 stops—some 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. it’s 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 haven’t yet
sent you fleeing, I recommend it despite the
naysayers. For a private press, this has very
professional packaging. [AM]


"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]


"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

"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]


"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


"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" 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]


"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.


"Gathering Of Promises" 1969 (IA 10)  [wlp exists]  

"Gathering Of Promises" 1978 (IA 10)  [reissue; board-printed]
"Gathering Of Promises" 1993 (CD Collectables 0558)
"Gathering Of Promises" 199  (CD Eva b-41, France)
"Gathering Of Promises" 199  (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" 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.

"In Duane's Pirate Cavern" 1965 (Custom Recorded lp-101)

Early fratrock sound, very weak.


"Buch and the Snakestretchers: One of Three" 1971 (Bioya Sound

"Roy Buchanan" 1972 (Polydor)  [remix]
"Buch and the Snakestretchers" 1992 (Adelphi 75192) 
"Buch and the Snakestretchers" 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.


"Kind of a Drag" 1967 (USA 107)  [1st version with 'I'm a

-- 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


"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.

"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" 1970 (Pioneer prsd-2150)  [5000p]  

"Bump" 199  (Pioneer)  [bootleg]
"Bump" 2000 (CD Gear Fab gf-142)  [+2 tracks]
"Bump" 2000 (Akarma, Italy)
"Bump" 200  (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]

"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 side-
long 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



"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 ("1975-
79", Worpt, 1997), although it's apparently a poor
mastering job.


"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. There’s a weird sluggishness to this
album. Oddly, many of the songs fade out when they
don’t 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]


"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



"The Bitch of Rock and Roll" 1977 (Sundial) 

Eastcoast hardrock with a primitive vibe.


"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 pseudo-
blue 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

"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 that’s 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 it’s 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]


"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" 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]


"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, don’t 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 life’s 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 you’ll ever hear.
The songs ends in waves of sound effects and at this
point you’ll 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 (“Don’t 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. It’s not exactly
“psych” or “power pop,” and genre fans might not be sure
what to make of it, but it’s 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. He’s 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 they’re merely good. If
they had been as good as the rest for the album, it would
be an eternal masterpiece. As it is, it’s still one of
the finest and most distinctive private press albums I’ve
ever heard. Great album cover, too (despite being a cheap
paste-on), and an even better label design. [AM]


"Bobby Callender" 196  (Music Factory mfrs-20)  [2LPs; no


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

"Le Musée De L'Impressionnisme" 1975 (Philips 6318 043,


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

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


"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 3-
minute 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 &


"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 isn’t 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. I’ll assume that
the Joe Cocker-like singing on one of the first
album’s long slow songs was by him. Just to further
the illusion that he never existed, the song is re-
done 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. It’s an up and down album with some
low spots, but at least one song that makes me glad
the record exists. Hilarious album cover; you’ve got
to hand it to any band who seems to be having so much
fun. [AM]


"Sings Where It's At" 1965 (Mercury)  [mono; black label]  

"Sings Where It's At" 1965 (Mercury sr-61060) [stereo; gold

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. There’s 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
Campbell’s just literate enough to pull off his “I
know everything, I’m smarter than you, I have a way
with words and you don’t” routine. The Butterfield
Blues Band provides the backing, predating their
debut LP and perhaps their first appearance on vinyl.


"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"


"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. 


"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.


"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]


"LSD - Battle for the Mind" 1966 (Supreme m-113)   

"LSD - Battle for the Mind / Instant Insanity Drugs" 2002 (CD) 

Spoken word ties LSD in with spirituality in old-

school 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.

see full presentation


"Rain & Shine" 1968 (B T Puppy 1018)  

"Rain & Shine" 2002 (CD Air Mail Recordings, Japan)
"Rain & Shine" 2003 (CD Rev-Ola, UK)
"Rain & Shine" 2004 (CD Beatball 005, Korea)
"Rain & Shine" 2004 (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 Syd’s 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.

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 vinyl-
sourced) 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]

see full-length review

"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]


"Sea of Change" 1969 (Cardboard Village Records CVST 4) 

[lyrics insert]  

Trio with acoustic cosmic folk concept LP about the

ocean. Guitars, congas, flutes.


"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. There’s also a bizarre song about how happy
they are for their friend who fell out of a window to
his death. [AM]


"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.

"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.


"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

"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.


"My Family" 197  (Eskay WA 1054)  

Little-known folk/folkrock with a vibrant 60s feel,

mixes acoustic and electric tracks.


"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.


"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'), country-
rock (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."  


"Absolutely 100% Live" 1981 (private)  [#d; insert]  

Jammy blues-rock with fuzz leads, recorded in San



"Live from the Chi Chi Club" 1970 (Avalon)

Bluesy sleazy club rockers, cover versions all



"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.


"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" 1971 (no label)  

Melodic folk/rock with violin and occasional



"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.


"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.


"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]


"Tanyet" 1968 (Vault 117)  [mono]  

"Tanyet" 1968 (Vault 117)  [stereo]  
"Tanyet" 199  (Vault)  [bootleg]
"Tanyet" 1993 (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.
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 


"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.


"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.


"Primeval Road" 1976 (Same Old Label 64109)  [gatefold]  

"Primeval Road" 1976 (River srr-1000)  [some tracks replaced;

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 that’s 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, dead-
serious 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]


"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 mid-
60s', 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 Music!" 1966 (Rock-Land rr-66)  [mono; gatefold]  

"Chapin Music!" 1966 (Rock-Land rr-66)  [stereo; gatefold]  

Charming basement folkrock in a definite non-

psychedelic 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" 1970 (M.O.D Sounds 8069)  [plain sleeve;

"Chaplin Harness" 2004 (Void 34)  [new sleeve; bonus track;

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" 1969 (National General 2003)  [promos exist]  

Heavy psych-rock typical of the era, with Cream


"Charisma Is Raptured" 197  (Rite 29556)  

Charisma’s two LPs are probably the most low-budget

rock recordings I’ve 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 don’t know if there’s anything on
here I’d 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 group’s 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 10-
minute 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!


"Charlebois/Forestier" 1969 (Gamma 120)  

This is considered to be the most significant French-

Canadian 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 doesn’t 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, it’s 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 isn’t 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 won’t shock a
modern listener, it’s sure to entertain. [AM]

CHARLEE (Montreal, Canada)

"Charlee" 1972 (RCA Victor 4809)  [orange label; textured

"Charlee" 1972 (RCA Victor 4809)  [brown label]
"Charlee" 1976 (Mind Dust mdm-1001, US)  [altered 'cartoon'

Killer hard rock dominated by guitar wizard Walter

Rossi. The vocals are only OK, but this album rocks
with a vengeance. It’s 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 Hendrix’s 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.


"The Psychedelic Saxophone of Charlie Nothing" 1967 (Takoma c-


"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]


"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;


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.


"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]


"The Cheetah - Where It's At" 1967 (Audio Fidelity AFLP 2168) 
"The Cheetah - Where It's At" 1967 (Audio Fidelity AFSD 6168) 

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" 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
song’s 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 it’s 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 music’s
advantage. This is a spotty album, but it’s weird and
distinctive and has its moments. [AM]


"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 hippie-
dippy 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]

"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" 1968 (Cinema 1)  [gatefold; gold title sticker on

"Rebirth" 1968 (Atco sd-33-271)  [remix; mono wlp]
"Rebirth" 1968 (Atco sd-33-271)  [remix; stereo]
"Rebirth" 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 it’s
going to be great, but falls a bit short. Even on the
songs that “rock,” it’s 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 non-
LP 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" 1969 (Real r-101)  

Eastern acoustic trance psych eastern sounds with

femme vocals.


"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 over-
ambitious 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.
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 short-
lived 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" 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]


"No Way Out" 1967 (Tower t-5096) [mono; tan label]  

"No Way Out" 1967 (Tower st-5096) [stereo; tan label]  
"No Way Out" 1994 (CD Sundazed) [inserts; +3 tracks]
"No Way Out" 199  (Big Beat wik-118) [+8 tracks]

"The Inner Mystique" 1968 (Tower t-5105)  [mono; tan label]  

"The Inner Mystique" 1968 (Tower st-5105)  [stereo; tan
"The Inner Mystique" 198  (Tower)  [bootleg]
"The Inner Mystique" 1981 (Raven 1001, Australia)
"The Inner Mystique" 198  (Eva, France)  [+2 tracks]
"The Inner Mystique" 1994 (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 wikd-
111)  [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, st-
5065 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" 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, 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


"Songs And Friends" 1977 (Christbearer CR-1001)  

Like Majesty and Uncle John’s 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 I’ve 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]


"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 off-
key vocals. One for the incredibly strange fringe,
needless to say. Some copies come with a promo photo.


"Turn On!! Music for the Hip at Heart" 1967 (Memorare es-

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
"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" 1974 (Daffodil 10047)  [gatefold; insert]  

-- released as by Spirit Of Christmas
"Lies To Live By" 198  (Daffodil, Europe)  [bootleg]
"Lies To Live By" 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" 1970 (Metromedia 1024)  [wlp]  

"Christopher" 1970 (Metromedia 1024)  [black stock label]  
"Christopher" 1989 (Amos, Italy)  [bootleg] 
"Christopher" 199  (CD Buy Or Die)
"Christopher" 1998 (CD Gear Fab 108)
"Christopher" 199  (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 it’s “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 don’t seem like they could have done it.
Besides, Christopher are more successful when they’re
just sitting back and feeling it than when they’re
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 doesn’t
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 you’re amenable to this vocal style you
probably will too. [AM]


"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)

I’ll have to admit that I can’t figure out what

people see in this one. The first song has a
beautiful fuzz guitar sound, but that’s 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 I’ve
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 band’s LP
are great. They’re 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, it’s 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, it’s good enough not to mar the whole
experience. The original LP usually sells for way
into four figures. [RI]


"Definition" 1968 (MGM e-4547)  [mono; ylp]  

"Definition" 1968 (MGM e-4547)  [mono]  
"Definition" 1968 (MGM e-4547)  [stereo]
"Definition" 1993 (MGM)
"Definition" 2005 (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. Root’s 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 they’re part of
Barbour’s 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. Barbour’s 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 it’s not overused. Some other songs
are stunningly beautiful and tragic. One of the all-
time 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 doesn’t go anywhere, but there’s
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.)


"Cincinnati Joe & Mad Lydia" 197  (River Witch 001) 


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 self-
appointed 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" 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

"Cirkus" 197 (private)

Early 70s garagy sound soul rock high energy covers

with mixed vocals. "Get Ready", "Spill the Wine",
"River Deep Mountain High".


"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".


"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 Stones-
inspired 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]


"We're Not Safe" 1979 (World Theatre TC-102)  [300p]  

"Nova Psychedelia" 2005 (CD Anopheles 010)  [2CDs; bonus

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-yer-
face 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


"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


"Claude & Sherry" 1976 (Tiger Lily 14057)  

Here’s 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]


"Diggin' In" 1978 (GDS 2051)  

Crude hardrock boogie. Back cover notes "Play this

Ass Kicker Loud!", in case you were in doubt. Ex-
Eighth Day, who had two songs on the much earlier
"Psychedelic Six Pack of Sound" comp.


"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 teen-
beat/r'n'b rarities.
The first LP was "reissued" with overdubbed horns by
Decca in the 1970s, beware!


"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.


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.


"Jesus Is A Soul Man" 196  (CLS 001)  

Christian teen quartet playing amateurish DIY Jesus

pop, somewhat legendary among incredibly strange


"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" 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


"Another Carnegie Mellon University First!" 1969 (AIP)  

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


"No Need to Worry" 1983 (no label)  [plain black cover w/ info
sheet; 100p]  

Hardrock cruncher like Truth and Janey, demo-only



"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]


"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" 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 ½ 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-time-
synch 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 singer-
songwriter. "Bands" include North Star, To Be
Continued, Eric Marcusson, Maryann Sabanskas,
Watchful Waiting, and more.


"Music Of The Mantric Wave, vol 2" 1974 (Unanimous

Anonimous UNAN 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.

"Garuda" 1975 (Unanimous Anonimous UNAN 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" 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 can’t
beat drugs so she’ll 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. I’m 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 aren’t (i.e: “Get Together”) have a weird
urgency that’s compelling. Every song here sounds
like a last gasp. Very interesting stuff. [AM]


"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 Maggie’s 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]


"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]

"On Saint John's Eve" 1976 (Pharoah)  

Collegians doing avant-garde jazzy progressive

weirdness with a side-long track.


"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,

COMMON PEOPLE (Baldwin Park, CA)

"Of, By, For The Common People" 1969 (Capitol st-266)  [green
"Of, By, For The Common People" 198  (Mr G, Canada)  [bootleg]
"Of, By, For The Common People" 2000 (CD Ascension 022,
"Of, By, For 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" 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".


"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. It’s 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. It’s 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 you’ll never know it unless you
pay very close attention. [AM]


"On The Line" 1977 (Sleepy Eye)  

Rural 1970s rock from Bay Area band; presumbaly no

relation to the guys below.


"Mr Head Live" 1980 (Akashic)  

"Mr Head Live" 2005 (CD Syn-Ton, Austria)

Dead/Allman Bros-style guitar jammers.


"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-but-
still-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 can’t sing too well, and they aren’t 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. There’s a surprisingly faithful cover of
“Open My Eyes” and two showoffy instrumentals that
are short enough to work. I like it, but don’t 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]


"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.


"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 isn’t 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. I’d recommend this more to real people fans
than to psych or xian fans, though it’s 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: 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 it’s 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.

C1 C2 see Mad Dog


"Jackdaw" 1980 (no label 11233)  

Little-known local album of haunting UK-style folk

with 12-string and violin.


"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" 1981 (no label)  [gatefold]

Basement folkrock. 


"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-no-
prisoners 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]


"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]


"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]

"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 didn’t 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
see -> Alan Munson


"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.


"Self Portrait" 1969 (Invictus)  

"Gimme Shelter: Invictus Sessions" 200  (CD Castle, UK)  [2-on-

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 spoken-
word 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 children’s 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 Copeland’s 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 Parliament’s.
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-on-

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 belly-
button photo of any rock album, ever) seem to have
disguised the fact that she was a true pioneer as a
female producer. [AM]


"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 1950s-
1970s, incl "Knocking On Heaven's Door" and "Memphis
Train". Cover pics are priceless. For freak
collectors mainly.


"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" 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" 1972 (Acorn 1001)    [banded tracks]

"Creation A Child" 197  (Acorn 1001)    [2nd press; green/pink
label; unbanded]
"Creation A Child" 1986 (Breeder RPR 007-3C-567, Austria) 
"Creation A Child" 199  (CD Flash 45, Italy)  [digipak]
"Creation A Child" 2000 (Akarma 113, Italy)
"Creation A Child" 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 clichés. 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


"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.


"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, semi-
improvised jammy songs with some crude sound
experiments; imagine the Acid Symphony guys 10 years
down the line. Brief spoken bit featuring a phony-
sounding 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;

"Live At The Spring Crater" 2002 (Dodo, Italy)  [poster]
-- the poster is 18"x24" and features 24 black and white live
"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" 1969 (no label, no #)  [no cover; 1-sided;

"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.
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.


"Introducing!" 1965 (Reliable 12048)

Teen-beat and blue-eyed soul in generic-looking



"Bongo Sensational Soul" 1977 (private)  

There’s nothing else like this one, a mixture of

bongos, vibes and Billy’s incoherent ranting, all
bathed in deep reverb. It’s not really soul, or jazz,
or anything recognizable (or even classifiable as
“music”). It is, however, a blast. You’d 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 he’s talking to himself.
If you make it through the first six songs you’re
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]


"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 From Sam Miller's Exchange Cafe" 1972 (Trace)  [black

label with orange picture of Phil Coxon]  
"Live From Sam Miller's Exchange Cafe" 1972 (Trace)  [purple
label with 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" 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 he’s a turd.” This would all be
well and good if the novelty songs were funnier, or
if they rocked, but they’re 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. It’s 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 style’s a bit
prog/AOR, though, and the album ends with a terrible
attempt at a soul ballad. You’ve been warned. The
album cover is pretty twisted, by the way. [AM]


"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.

"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 guitar-
leads 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 it’s
presumable that this really was at one point intended
for a regular release. It’s 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. It’s nothing especially
unusual or innovative, but it’s 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 usual…there’s a definite sense of urgency here
that works in Crack’s favor. A couple of songs border
on cheesy (“Earth” is somewhere between MOR and jazz-
rock), 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]


"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.


"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" 1974 (Mus-I-Col cc-69)    [plain cover w/ label


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]


"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" 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



"Cromagnon" 1969 (ESP Disk 2001)  [color cover]  

"Cromagnon" 1969 (ESP Disk 2001)  [b&w cover]  
"Cromagnon" 199  (Get Back)
"Cromagnon" 199  (CD ZYZ)
"Cromagnon" 199  (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]


"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]


"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. Don’t let
the word “community” scare you off – this isn’t 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 they’re
usually playing second billing to the organ and
electric guitar. Psychedelic guitar noodling
intermingles with spacey washes of organ on the
album’s 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]


"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" 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".


"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" 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 band’s

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
doesn’t always fit in that well. I can’t 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 doesn’t
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.
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



"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 that’s
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, it’s not a great album but if you just listen to
the first and last songs and sleep through the middle
you’ll 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


CYKLE (Lumberton, NC)

"Cykle" 1969 (Label 59-261)  [500p]  

"Cykle" 1988 (Label, Austria)  [bootleg; 385p]  
"Cykle" 1994 (CD Flashback, Austria)
"Cykle" 1997 (CD Gear Fab 106)  [+7 tracks]
"Cykle" 199  (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 garage-
psych 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 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]


"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]


"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]


"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.


"Casualty of Love" 1979 (Shimmer Bros. 97-15)  

Nice acidic folk with originals and Byrds and Neil

Young covers.


"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]


"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" 1973 (Icthus)  

Acoustic rural rock with some heavy garagy moments.


"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 you’ll 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
weren’t quite there or blew it by tossing in token
fluffola ballads - but these guys are the real McCoy.


"Never Mind" 1973 (Demelot 7310)  [orange/white back cover;

lyric insert; 500p]  
"Never Mind" 199  (Demelot)  [bootleg; thin cover with b&W
"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.

"Song Of A Gypsy" 1969 (Ankh 968)  [textured gatefold, blank

"Song Of A Gypsy" 1969 (Ankh 968)  [single sleeve]  
"Song Of A Gypsy" 1993 (Fanny, Belgium)  [single sleeve; 400#d]
"Song Of A Gypsy" 1994 (CD no label)
"Song Of A Gypsy" 1994 (CD Afterglow 13, UK)
"Song Of A Gypsy" 1998 (CD Daily Bread)
"Song Of A Gypsy" 2000 (3 Little Indians, Germany)  [gatefold;
bonus EP; insert]
"Song Of A Gypsy" 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

"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]


"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" 1968 (Chartmaker 1102)  

"Darius" 1986 (Breeder 565, Austria)
"Darius" 199  (CD Flashback 009, UK)
"Darius" 2000 (World In Sound 010, Germany)  [500p; +3 tracks]
"Darius" 2000 (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]


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" 1968 (VMC v-124)  [mono; also

exists as mono promo]  
"Another Day, Another Lifetime" 1968 (VMC vs-124)  [stereo]  
"Another Day, Another Lifetime" 1993 (CD Eva b-34, France)
"Another Day, Another Lifetime" 1995 (CD Flashback, UK)
"Another Day, Another Lifetime" 2001 (CD Jamie/Guyden)
"Another Day, Another Lifetime" 2005 (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


"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.


"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"), UK-
influenced 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]


"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" 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;

-- 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 that’s equally entertaining. There are so many
styles here that if weren’t 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
can’t tell if it’s 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, it’s 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.


"Runnin' In The Meadow" 1975 (Mustard Seed S80-1008)  

"When You Know It's Home" 1977 (Mustard Seed S80-1512)  

Folky singer/songwriter obscurities.


"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


"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]


"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" 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 Moods" 1966 (Cameo Parkway p-7051)  [mono]  

"Psychedelic Moods" 1966 (Cameo Parkway sp-7051)  [stereo]  
"Psychedelic Moods" 1989 (Cicadelic)  [remix]
"Psychedelic Moods" 1993 (CD Collectables 0521)  [remix]
"Psychedelic Moods" 199  (Thorns, Europe)  [remix]
"Psychedelic Moods" 2004 (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

"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 don’t 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;

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 doesn’t
again match the same level of musical passion and
complexity of “Ride.” Nonetheless, this is quite
worthwhile. [AM]


"Del-Phonics" 196  (Edgewood Recordings Studio no #)  [1-


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" 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]


"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" 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]


"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 East" 1967 (Columbia cl-2664) 

"Hard Rock From The Middle East" 1967 (Columbia cl-9464) 
"Hard Rock From The Middle East" 199  (Fantazia, Europe)
"Hard Rock From The Middle East / Psychedelic Psoul" 199  (CD
Collectables)  [2-on-1]

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

"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 doesn’t sound like anything else. In
other hands these songs would have a quasi-McCartney
feel but there’s 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 children’s vocals spoils the mood, but this is
an interesting record nevertheless. [AM]


"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 Mérite 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]


"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" 1970 (no label)

Basement covers and a freakout track.


"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.


"A Sunny Days Dream" 1977 (Compassion Records)  

Local obscurity on Phoenix label, described as good

70s psych-rock with only one weak track.


"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.


"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.

"Come and See Us As We Are!" 1971 (Avco Embassy ave-33015)  

Fun co-ed rock band who for once don’t sound west
coast at all. The cover versions on the album are the
first clue that they’re 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 doesn’t 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]


"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" 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


"D M A Fantastic Five" 1976 (DMA)  

Booking sampler of five heavy rock groups, including

Badge. [RM]


"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.


"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" 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 I’ve 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 girl’s 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 non-
LP 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")


"Abide In Me" 197  (DD-1001)  

Mid-1970s Christian folk obscurity.


"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" 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" 1971 (no label 23309-01)  

Jazzy prog/psych with sax.

see -> Pound


"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 it’s 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 LP) 1970 (Pama no #)  [85p: no cover]  

"Dragonwyck" (1st LP) 1990 (Rockadelic 4)  [400 #d; sides
"Dragonwyck" (1st LP) 1996 (CD Rockadelic)
"Dragonwyck" 2004 (World In Sound RFR 023, Germany)  [+10" w/ 5
tracks; poster]
"Dragonwyck" 2004 (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" (2nd LP) 1973 (Cleveland Recording Company no #) 

"Dragonwyck" (2nd LP) 1995 (Fantasia, Europe)   
"Chapter II" 2006 (CD World In Sound, Germany)
"Chapter II" 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 pro-
level 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]


"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]


"Living in a Dream" 1979 (Dreamusic Ltd. 5354)  [lyrics insert;


Light mystic proggy folk floater. Delicate 12-string,

piano, flute, baroque shadings.


"Auralgraphic Entertainment" 1974 (Stone Theatre 68481) 

"Auralgraphic Entertainment" 199  (Stone Theatre, Europe) 
[bootleg; blue vinyl]
"Auralgraphic Entertainment" 2000 (Gear Fab gf-206)
"Auralgraphic Entertainment" 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]


"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 world-
weary 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]


"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" 1971 (Scholastic Records FS


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


"Creation" 1968 (UNI 3004)  [mono]  

"Creation" 1968 (UNI 73004)  [stereo]  [promo labels exist]  
"Creation" 199  (UNI)  [bootleg]
"Creation" 199  (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]


"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’. It’s a formula for
success because they avoid the clichés 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 they’re not
beholden to any idea of what hard rock should or
shouldn’t be. Keyboards are used sparingly, but to
nice effect, and there’s 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]


"Mary’s Meth Dream" 2005 (American Sound)  [300p]

This archival release collects everything this lost

Boston-area band ever did. There wasn’t 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
aren’t too far behind. Some of the best tracks
appeared earlier on the New England Teen Scene
Unreleased CD from Arf Arf. [AM]


"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 #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".


"The Duo" 1967 (Saxon)  [10-inch]

Primitive electric folk rock guitar and organ, mixed

vocals. They are actually a trio!


"Richie Duvall and Dog Truck" 197  (United Sound usr-5825)  

Early 1970s (?) hippie jazz and rock underground



"Dynamics" 1966 (Quintet 2004)  

Obscure beat/blue-eyed soul on North Carolina label.

Acid Archives Main Page

"The Long Journey Home" 1977 (Award)   

Rural rock guitar jams.


"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]

It’s hard to figure why this album is so sought after

by collectors. It’s inept Christian rock with
unappealing, soulless vocals and a rhythm section
that can’t 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
can’t 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


"'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.


"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 west-
coast 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 band’s
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" 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" 1968 (VMC 133)  

The predominant sound is harmony-rich country-rock a-

la 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;


"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.


"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.


"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


"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.


"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 album’s 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.


"Echoes and a Dream" 1973 (no label)  

1970s folk/psych.


"Eclipse" 1983 (Sweetwood 1010)   

Biker power trio.


"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]


"At Last" 1965 (no label co-1761)   


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.


"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 area’s 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, organ-
heavy 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 it’s 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 band’s name wrong (“Eldeberry Jak”),
presumably so that the band wouldn’t instantly find
out about it? [AM]


"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

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!


"In The Hands Of Karma" 1968 (Nasco 9004)   

"In The Hands Of Karma" 1983 (Psycho 8, UK)
"In The Hands Of Karma" 1996 (CD Golden Classics)
"In The Hands Of Karma" 200  (Akarma, Italy)  
"In The Hands Of Karma" 200  (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" 1975 (E.C.M. sd-1001)  [green front cover;

"Electromagnets" 1975 (E.C.M. sd-1001)  [red front cover;
"Electromagnets" 199  (CD, Italy)  [bootleg]
"Electromagnets" 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



"Elephant Patch" 1979 (JTO)   

Unusual-sounding LP with female vocals.

ELIZABETH (Philadelphia, PA)

"Elizabeth" 1968 (Vanguard 6501)  [gold label]  

"Elizabeth" 199  (no label, Holland)  [bootleg]
"Elizabeth" 2001 (CD Akarma/Vanguard 6501, Italy)
"Elizabeth" 2001 (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 folk-
psych 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]


"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 then-
current 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 7-
minute "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 clichés, 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.
This album doesn’t get as much attention as most of
the Mainstream releases because it’s a straight post-
Beatles pop album lacking the heavy, psychedelic, and
folk-rock aspects of the better-known albums on the
label. That’s too bad, because it’s actually one of
the label’s best: a solid, unpretentious effort with
excellent singing and catchy songs. The only problem
is that there’s 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.


"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 they’d 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
won’t be surprised by anything. When they remember to
rock (basically the first song on each side), this is
pretty interesting, but by the end it’s so cheesy and
humorless that it’s almost unlistenable. Comparisons
are hard to make, but it sounds to me like low-rent
backwoods Alan Parsons, if he’d hired cowboys instead
of the Hollies to sing for him. A real head-
scratcher. [AM]


"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".

"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.


"Dragon Wings And Wizard Tales" 1979 (Stargate 4230)  [lyric


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.


"Alias Red Garrett" 1979 (Ros Sound 130)  [1000p]  

Hardrock power trio guitar showcase. Half heavy and

Hendrixy, half bluesy and rural outlaw.


"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.


"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. Pro-
sounding female nightclub vocalist is a bit misplaced
but adds to the classy vibe. Long title track is
great. [PL]
It’s 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 it’s lame the closing guitar solo goes into
territory (and volume levels) that you aren’t
expecting. The rest of the album follows suit,
sneaking up on you only when you really pay
attention. This isn’t 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. They’re 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



"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]


"The Answer" 1968 (Sound Associates) 

Grand Rapids, Michigan label. Mixed gender Christian

folkrock teens. Nice psychedelic collage cover.


"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.


"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]


"Epitaph For A Legend" 1980 (International Artists 13)  [2LPs;

"Epitaph For A Legend" 198  (Decal UK)  [2 LPs]
"Epitaph For A Legend" 199  (CD Collectables)  [2CD]
"Epitaph 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]


"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]


"Erdman" 1970 (Audio Fidelity)  

This surprisingly scarce album is oddly appealing.

Erdman has a warbly, classical-styled voice that’s
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, she’s 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" 1970 (CEI 11047)  

Mostly soft folk psych with a couple of songs that

get a bit on the heavy side with fuzzed out passages.


"A Midsummer's Day Dream" 196  (Revue 7210)  

"A Midsummer's Day Dream" 200  (CD Revola 18, UK)  [+bonus

Inaccurately hyped as psych, this is basically a

Beach Boys imitation, which still makes it appealing
to collectors. It’s 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) 


Mighty obscure fringe/loner folk LP. According to Rin

Eric himself, only 50 copies were pressed.

ERICA [Pomerance] (Canada) 

"You Used to Think" 1968 (ESP Disk 1099)  

"You Used to Think" 199  (ESP Disk)
"You Used to Think" 199  (CD ESP 1099, Germany)
"You Used to Think" 199  (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]


"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" 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.


"Transitions" 1971 (Edcom 7101)  

"Transitions" 1995 (Rockadelic 17)  [300p; altered sleeve;
bonus track]
"Transitions" 2002 (CD World In Sound 1013, Germany)  [+bonus

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 no-
counts 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).


"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


"Wind and Spirit" 1972 (Amphion Modern)  

Christian folk with mixed vocals, using electric

instruments and flute, percussion, harmonica.


"Eternity" 1981 (Band of Gold 004)   

Dual lead hardrock with early 1970s sound.


"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 Eternity’s Children

album is orchestrated pop that’s 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 Eternity’s 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 that’s 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, it’s
become one of the rarest and most sought-after major
label records of the era. It’s 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 it’s not
particularly unusual; it’s folky in feel with about
half of the songs being just voice and guitars (which
are electric as often as they’re 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
you’ll 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 you’re a fan of mellow dreamy folk and
folk-rock you’ll certainly like at least half of this
album. It’s a shame, though, that there aren’t more
hooks here and that the arrangements aren’t all as
effective as on “Kamikazi Pilot.” [AM]


"Heavy Equipment" 1970 (Flying Dutchman ams-12005)  [wlp


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 modern-
sounding 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


"A Gift From Euphoria" 1969 (Capitol 363)  [green label]  

"A Gift From Euphoria" 1996 (CD See For Miles, UK)
"A Gift From Euphoria" 2004 (CD Rev-Ola, UK)
"A Gift From Euphoria" 2005 (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

"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, it’s 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. What’s
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 I’ve 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" 1970 (White Whale ww-7132)  [promos

"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 radio-
friendly 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.
see -> The Moon; Rocket Science; Thorinshield


"Born Too Soon" 1976 (United Music World)  

Mixed bag of sounds including one killer track,

"Stepping out of the darkness" with acid leads and
messed up vocals. There were at least two other
unrelated 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 semi-
interesting bluesy folk LP a few years later.


"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 weren’t paying attention, you wouldn’t 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 doesn’t match the performances, and there
are a few bluesy/hard rock clichés, 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


"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?
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 TC-
1/2)  [photo insert; 200p]  
"Nova Psychedelia" 2005 (CD Anopheles 010)  [2CDs; bonus

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 better LP.
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.


"Inspired At The Cross" 1977 (Cross 75-101)  [plain white

cover; insert]  

Christian 1970s rock and hard rock.

Acid Archives Main Page

"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 it’s 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" 1970 (Sevens International 1038)  

Mostly garage and AOR covers with great original "All

Strung Out". The front cover is a black and purple
negative image of a Drive In Theater. The album is
exceedingly rare and hard to put an accurate value

FAINE JADE (Long Island, NY)

"Introspection" 1968 (RSVP 8002)  

"Introspection" 1983 (Psycho 13, UK)
"Introspection" 198  (RSVP)  [bootleg; b & w labels]
"Introspection" 1996 (CD Sandiland)
"Introspection" 1996  (CD Big Beat wikd-141, UK) 

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 UK-
influenced 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 well-
produced LP could easily pass for a UK major label
popsike album of the era. It’s 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 what’s 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, there’s a scarcity of backing
vocals. The few there are noticeably improve their
songs. In the album’s favor, there are no dud songs
(though some may not be so thrilled about the freaky
instrumental at the end), so it’s a continually
enjoyable listen. Better than most in the genre, but
not top of the heap. [AM]


"Fairchild" 1978 (Flight FR 1706)  

Flashy progressive rock in Yes style.


"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 high-
brow 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 (it’s 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".


"Down Deep" 1975 (Audiofex ax-7081)  [plain cover; red label]  

"Down Deep" 1976 (Audiofex ax-7081)  [plain cover; yellow
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]


"Things" 1968 (Shamley 701)   

"Things" 1985 (Time Stood Still 2, UK)
"Things" 1997 (CD Afterglow 015, UK)
"Things" 1997 (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" 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]


"An Open Heart" 1978 (Akashic)   

Eastern mystical swami sounds with sitar, flute,

female backing vocals and percussion.


"Fapardokly" 1967 (UIP 2250)  [1000p]  

"Fapardokly" 1983 (Psycho 05, UK)  [300#d; altered cover]
"Fapardokly" 198  (5 Hours Back, UK)
"Fapardokly" 1995 (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 it’s 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 self-
titled 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" 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]
Faria’s 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. Faria’s 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 doesn’t 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 Seger’s well-known
“Turn The Page,” but the CD claims it was recorded in
1969, which is before the Seger song was released.
see -> Headstone Circus


"Farm" 1970 (Crusade Enterprises 465)  [500p]  

"Farm" 1995 (Crusade Enterprises, Austria)  [bootleg; gatefold;
"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 guitar-
propelled 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

"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 "on-
board" and his surf philosophy. He financed the
making of "Pure Fun" entirely from the proceeds of
his fishing business, and resides in Australia
see -> Corky Carroll and Friends; A Sea For Yourself


"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 I’m In,” but all of it is
worthwhile. The last song has a painfully out of key
or out of tune harmonica (I can’t 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" 1969 (no label, no #)  [test pressing]  

"Sgt Death" 1999 (Rockadelic 37)  [insert; booklet; marble pink
"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]


FAUN (San Francisco, CA)

"Faun" 1969 (Gregar gg-70000)  [wlp exists]  

Odd mix of pop psych and swing band sounds. Ex-

Frumious Bandersnatch.


"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


"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.


"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.


"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" 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]


"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" 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 ten-
minute 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-year-
old 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 anti-
drug lyric 'Now She's Gone' starts out with a pseudo-
jazzy 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]


"Livin' Love" 1969 (Athena 6001)   

"Livin' Love" 2000 (Teenbeat TB-196)
"Livin' Love" 2001 (CD Gear Fab)  [+bonus tracks]
"Livin' Love" 2001 (Gear Fab)
"Livin' Love" 2004 (CD Rev-Ola, UK)  [+bonus tracks]
"Livin' Love" 2004 (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, self-
contained 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 & Glenwood Region Group" 1976 (no label)  

"Hans Fenger & Wix-Brown Elementary School" 1977 (no label EPN

"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 it’s really cool for a couple of
songs but doesn’t really need to be a whole album.
Klaatu’s “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]


"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

"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" 1969 (Uni 73050)  [unipak] 

"Fields" is kind of an oddity; especially for a
record label that's best known for a more pop-
oriented 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]


"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 street-
poet 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 cassette-
only 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]


"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

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

"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.
Fantastic electronic album that really pulls out all
the stops. It’s 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. They’re still fun and
exciting, but don’t have the same power as the more
carefully thought out U.S.A. arrangements. The result
is that the best songs here don’t match the best of
U.S.A. On the other hand, unlike that album’s three
or four weak songs, there aren’t any duds here. Nancy
Blossom isn’t 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. It’s not exactly “good,” and is
more enjoyable when heard separately from the album
as a whole, but it shows this ahead-of-their-time
band’s willingness to try just about anything without
letting “good taste” get in the way. [AM]
see -> Leland


"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]

"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 it’s 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, you’ll really underestimate the
quality of the original LP.  [AM]
see -> Don Thompson


"On a Day of Crystalline Thought" 1974 (no label 4374)  [100p;

"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
you’re in the right mood it sounds like a
masterpiece, but really it’s 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 it’s too personal and quirky
for more than a few bits and pieces to work unless
you’re on Fine’s wavelength. A couple of songs from
the Flow’s 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" 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

"Mazzola" 2004 (Shadoks 055, Germany)  [2LPs; 350#d; lyric

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.
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.


"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]


"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


"Psychotic Reaction" 1967 (GNP Crescendo 2034)  [mono]

"Psychotic Reaction" 1967 (GNP Crescendo 2034)  [stereo; wlp
"Psychotic Reaction" 198  (GNP Crescendo 2034)  [reissue;
orange label]
"Psychotic Reaction / Raw & 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.


"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.


"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

"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


"This Side of Eternity" 1973 (Revelation d-5051)  [second

version; different recordings]  

What’s 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. He’s just
fantastic, and he’s equally adept at the banjo. Lynda
has one of the stronger voices in the genre—capable
of real power. Unfortunately, like a lot of Christian
singers she’s very precise and not very passionate.
The few times she almost busts loose it’s 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 world’s 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 that’s part of its charm. It’s worth it for the
good parts, and there’s 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



"Food For Thought" 1976 (Kats Eye CS 8106)  

Eccentric lost folk.


"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 horn-
propelled "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]


"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]

"Light Years Away" 1978 (no label)

"Lunar Blues" 1983 (no label) 

"Lunar Blues" is loner folkrock with flute and 12-

string. 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 self-
titled 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
"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]


"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 self-

released album, this 10-incher is also the Groovies
album most likely to appeal to psych fans, with
plenty of fuzz guitar. They’d 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]


"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 non-
original 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. It’s 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" 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, Hendrix-
inspired 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]


"The Rise Of Flood" 1972 (Maple m-6005)   

"The Rise Of Flood" 1995 (no label, UK)  [altered sleeve;

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]


"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.


"Greatest Hits" 1972 (no label)  [1-sided version]  

"Greatest Hits" 1972 (no label)  [2-sided version]  
"Greatest Hits" 199  (no label, Europe)  [bootleg; 1-sided
"Greatest Hits" 199  (Shadoks, Germany)  [2-sided; poster;
bonus 45; 450#d]
"Greatest 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
Fine’s solo album and telling them it’s the same
artist... they’ll 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 Fine’s solo album, it’s been a bit
overhyped by collectors, but it’s 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


"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.


"Zoo Road" 1980 (Maniac)  [lyrics insert]  



"American Dream" 1975 (Jovian jr-1213-sd)  

Grateful Dead sound rural rock.


"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]

"Ways to Get Through" 1973 (Merlin mk-37-167)  [2LPs;


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 the Sunshine" 1969 (Allied 11)  

"Release the Sunshine" 2000 (Void 14)
"Release the Sunshine" 2003 (CD Folklords)  [+2 tracks]
"Release the Sunshine" 2005 (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
clichéd 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]


"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 Eastern-
sounding melodies in their original versions, so the
choice of songs is pretty logical. This isn’t 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, you’ll
find it a fun record. The "band" had more LPs. [AM]

"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" 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. It’s highly ambitious despite
obvious recording limitations. It’s 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 doesn’t 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 doesn’t
turn you off, with deep listens you’ll 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 I’ve heard.
Also noteable: the last song is based around the
interesting lyric “we’re 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" 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.


"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 is a Dream" 1969 (Capitol st-304)  [green label]  

"Forever is a Dream" 2000 (CD Ascension, Australia)
"Forever is a Dream" 2003 (Breeder, Austria)
"Forever is a Dream" 2005 (Capitol/Scorpio)

Overlooked and fairly impressive major label studio-

psych 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.
Mysterious, wondrous masterpiece that most collectors
dismiss as the little brother to the other Capitol
monsters (Gandalf and Common People) when it’s
actually the best of the three. Intensely emotional
and dramatic; these guys had a vision and multiple
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. It’s hard to know if they even intended this
to be a “concept album,” but it’s definitely a case
of the whole being more then the sum of the pieces,
good as the pieces are. [AM]
see full-length review


"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]


"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 can’t
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
doesn’t quite have the same creativity  or
consistency as that superior work. Forestier’s
tendency to get  overdramatic makes it seem that no
matter how much she wants to  experiment she’ll never
be 100% suited to a rock setting. Still, it’s 
recommended, and doesn’t sound like any other US or
Canadian  psych-era album. [AM]
see -> Robert Charlebois

"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" 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.
So-so Bosstown album that suffers from a lot of
clichés of the genre, including a drum solo, boring
bluesy numbers and the world’s 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 aren’t 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 can’t hold a
candle to it” theory. [AM]


"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. It’s 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 it’s teen-sounding angst,
just as cool as their punk peers. [AM]

49TH PARALLEL (Calgary, Canada)

"49th Parallel" 1969 (Venture 7001)  

"49th Parallel" 1969 (Maverick MAS 7001, US)  
"49th Parallel" 199  (no label, Italy)
"49th Parallel" 1997 (CD Flashback, UK)  [album + bonus tracks]
"49th Parallel" 2005 (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 I’m 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 it’s 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]


"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

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]

"Illusions Of Hope" 1972 (RPC AZ 66401)  

Live recording of vocal harmony folk-group, in the

same generic sleeve as the second Fenner, Leland &


"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.


"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.


"Live" 1980 (Lightworks 0002)  [10"]  

Heavy Christian bluesy rock featuring dual leads and


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.


"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) 

"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]


"Loaded To Fire" 1981 (no label)  

"Loaded To Fire" 2005 (CD Synton, Austria)

1970s style heavy guitar LP.


"Climax" 197  (Horne)  

"Blues Climax" 1970 (Horne 888)  

"Blues Climax" 1983 (Psycho 18, UK)

The wellknown Horne 888 LP is a bluesy garage club-

sound 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]


"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 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


"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. It’s 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. He’s
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" 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 & Faces" 1968 (Forte 80461)  

"Phases & Faces" 1993 (Medium)  [bootleg; 1 track omitted]
"Phases & Faces" 1996 (CD Arf Arf 061)  [+5 tracks]
"Phases & Faces" 200  (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]

"Peak Impressions" 1969 (Monitor 607)  [wlp exists]  

"Peak Impressions" 199  (CD Aftermath 014, UK)
"Peak Impressions" 199  (CD Arf Arf)  [+bonus tracks]
"Peak Impressions" 199  (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 free-
form 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 didn’t seem to know how to cram them
all in. Side one is fantastic from start to finish.
Side two’s experiments aren’t quite as interesting,
but still this is a great and unique album
recommended to all. [AM]
see full-length review


"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 self-
penned material than their other, less obscure
albums, which fall outside the scope of our archives.


"The Occult Explosion" 1973 (United Artists)  [2LPs; gatefold;


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]


"Brings Fresh Air" 1975 (Fresh Start RD 1)  

Deadish loose bluesy jams, mix of acoustic and fuzz,

even some biker snarls.

"Made In '68" 2000 (RD Records 9, Switzerland)

"Made In '68" 2000 (CD RD Records 9, Switzerland)  [+3 bonus

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" 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 non-
LP 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]


"The Eye Of The Beholder" 197  (no label)  

Very obscure downer folkrock duo with introspective

vibes, housed in primitive homemade cover.


"Night Hawk" 1976 (Pepperhead)   

A bit seedy rural Deadish guitar rock.


"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" 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.


"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]


"Last Roundup" 1965 (private)

Prep rock with horns.


"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" 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"

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]


"Glider" 1976 (Fric Frac)  [blank back; insert]  

"Glider" is a smorgasbord of 70s prog and AOR

clichés, 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 you’re inclined to like this kind of album
it’s recommended. I don’t 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.

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 wasn’t so rare, no one would notice it.
It’s not bad for what it is, but not particularly
distinctive either. The LP was also released in
Australia. [AM]


"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 and his Psychedelic Guitar" 1967 (Mercury mg-

21111)  [mono]    
"Friar Tuck and his Psychedelic Guitar" 1967 (Mercury mg-
61111)  [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]


"Friday At The Cage-A-Go-Go" 1965 (Westchester 1005)  

"Friday At The Cage-A-Go-Go" 1988 (Hide The Sausage)  [new

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]


"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]


"Time For a Crossing" 1977 (R.P.C.)  [insert]  

Basement folk on vanity label.


"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 free-
for-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 acid-
influenced 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


"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]


"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
isn’t 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 it’s farther from Yes and ELP than it is
from, say, a less experimental version of Spirit.

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.
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" 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


"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.


"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 someone’s 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
RPC’s production in the late 70s & early 80s. [MA]


"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 post-
Invasion, 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 top-
40 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" 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 dual-
guitar 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" 1978 (FMP)  [500p]  

Hardrock with dual leads.

Acid Archives Main Page


"Snake Dance" 1966 (Fleetwood gab-1)  

Garage beat teens.


"Garden Song" 1973 (Flying Guitar no #, Canada)  [color art

"Garden Song" 1981 (Flying Guitar no #)  [reissue; b & w photo

Mostly acoustic flowing cosmic folk. The album was

recorded at Haveaniceday Studios in Seattle and
received some local airplay.


"Day Without Sun" 1976 (Sky Queen 1677)  

"Day Without Sun" 1989 (Sky Queen, Europe)  [bootleg]
"Day Without Sun" 1997 (CD Flash, Italy)
"Day Without Sun" 1999 (Akarma 008, Italy)  [+2 tracks]
"Day Without Sun" 1999 (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.
1970s spacerock rarity by a heavily female band (the
keyboardist is named “Space Mama Geiger"!) It’s the
only album I know to have a drum solo by a woman...
but it’s still a drum solo. The songs are long and
somewhat tedious, but there are some neat ideas here
and overall it’s 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" 197  (no label)  [test pressing; no song titles;


Loungy singer-songwriter with cheesy synths. Ex-



"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" 1968 (Capitol st-121)  [rainbow label]  

"Gandalf" 198  (Amos, Europe)
"Gandalf" 1991 (CD See For Miles see-326, UK)
"Gandalf" 199  (Fantazia am-121, Europe)
"Gandalf" 200  (Capitol/Scorpio)
"Gandalf" 2002 (CD Sundazed 6152)
"Gandalf" 2003 (EMI-Capitol 121)  [blue vinyl]
"Gandalf" 2003 (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


"The Grey Wizard Am I" 1972 (GWR 007)   

"The Grey Wizard Am I" 1986 (Heyoka hey-207, UK) 
"The Grey Wizard Am I" 2003 (Gear Fab 208)  [+bonus tracks] 
"The Grey Wizard Am I" 2003 (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 it’s 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 well-
known back in the early 80s. [AM]
GANDHARVA see Cosmic Sound Of Gandharva


"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]


"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".

"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.


"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 pre-
LP 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]


"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; non-
textured 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" 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 it’s hardly in the
league of, say, the two Kathy Smith albums with which
Polland was closely connected. [AM]

"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" 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 so-
so 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" 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/singer-

songwriter 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.


"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.


"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" 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" 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 1972-
73 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 Meat Music Sampler" 1969 (Texas Revolution cfs-2531) 

"Glory: A Meat Music Sampler" 199  (Texas Revolution, Europe) 
"Glory: A Meat Music Sampler" 2000 (Akarma 114, Italy)
"Glory: A 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 ½ covers and ½ 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]


"Exit" 1977 (Hand In Hand HHGR-1000)  

Christian proggy melodic rock.

"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 include two rare Country Joe
tunes, as he was collaborating with the band at the

"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.


"Power Plant" 1968 (International Artists 4)  [wlp exists]  

"Power Plant" 1978 (International Artists 4)  [IA box-set
"Power Plant" 198  (International Artists)  [bootleg]
"Power Plant" 1988 (Charly lik-24, UK)
"Power Plant" 1992 (CD Eva b-26, France)
"Power Plant" 199  (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 box-
set 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" 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) 
"Live At The Teenbeat Club In Las Vegas" 1965 (La Brea 8011) 

Club rock r & b pounders including "Gloria" and good

moody original "I'll love her". With Randy Seol (pre-
Strawberry Alarm Clock). An earlier incarnation of
the band featured Glenn Ross Campbell (Misunderstood)
and made a very good surf 45 in 1963.


"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.


"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" 1972 (ORS 1007)  

Basement rural rock with covers and some psych moves.

Organ-led sound is somewhat similar to Hickory Wind.

"Good Dog Banned" 197  (no label dm-1001)  [paste-on cover;

"Good Dog Banned" 2002 (CD Gear Fab 125)

A rural rock obscurity that covers every Marin County

cliché 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" 197  (Barn Recording Studio)   

Mainstream Christian folkrock with Marsha Rollings of

Anonymous on vocals.


"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” 1976 (Tiger Lily 14008) 

There’s 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 album’s
one ballad is a love song to his television. This
certainly isn’t an unusual or freaky record in any
way, but as mainstream 70s rock goes it’s 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]

"Side" 1975 (no label GL-1)  [1-sided album; paste-on cover;


Three tracks of instrumental heavy guitar progressive

with Gary Gand. Recorded at Golden Voice Studios.


"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" 1969 (ABC s-663)  [gatefold]  

This is a very good major label psych album that’s

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
listens—there’s 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.

"Homemade Apple Pie & Yankee Ingenuity" 1967 (Fredlo 6727)  

"Homemade Apple Pie & Yankee Ingenuity" 1993 (Del-Val 009) 

Some were disappointed with this addition to the Del-

Val 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

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 let’s face it, who doesn’t), this might be the
ticket. The sound is so extreme it will make you grin
and finally fall around laughing. Any LP with a
10’12” 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
Herfy’s”: “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/It’s 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 11-
minute "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]


"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]


"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.

"One" 1973 (Nocturne nrs-302)  

Spacy experimental cosmic trance. Communal trip of

homemade instruments, sound generators and


"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]


"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]


"Better Days Ahead" 1970 (Paragon 294)  

Rock trio doing Creedence, Janis Joplin covers plus

originals, on the same label as Christmas.

"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


"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 foul-
mouthed 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 laid-
back. [AM]


"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 AM-
styled 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]


"Won Out" 1978 (Sparlene Records)

Here’s 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. It’s 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 isn’t as fantastic, but it’s fun straight
through and Sparky has a really nice voice. The CD
reissue doesn’t list the memorable “Big Ass” (he’s
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 it’s recommended to pop fans and also
fans of “real people” who can actually sing and
write. [AM]


"Grodeck Whipperjenny" 1970 (People ps-3000)  

-- a Canadian pressing exists
"Grodeck Whipperjenny" 199  (People, Austria)  [bootleg]
"Grodeck Whipperjenny" 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
clichés, 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 reaso