"Short Affairs" 1978 (no label 32736)

Straight-forward pastoral singer-songwriter and country-rock, with fairly well-written songs hampered by Eagles´ amateurish vocals and one-man-band arrangements. Sounds like a demo album done while waiting for another, superior version. A couple of good tracks in the middle, including the fuzz-rocker "Vanilla Man". Worth checking out if found cheap. [PL]

EARDANCE (Chicago, IL)

"Seek Opposites" 1982 (Touch)  [lyric inner, inserts] 

Zappaesque proggy weirdness.


"Eargasm" 1981 (Earresistible ear-1101) 

Mix of AOR and prog recorded at the Playboy Resort in Lake Geneva, Wisconsin!

EARTH (Baton Rouge, LA)

"Featuring Billy Pendleton" 1975 (no label 101)

A cover band for hire doing FM favorites of the day, classic soul, early rock-and-roll and one original monster funk song called Louisiana Funk.


"Getaway Train" 1969 (Solid State 18064)  [promos exist] 

Black group instrumental funky psych.


"'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.



"We Must Survive" 1969 (Philips phs 600-340)  [gatefold]

Environmental concept produced by Kim Fowley.


"World Citizen" 1978 (private)

Not to be confused with the high ticket prog LP, this is spineless late '70s Mr Van Driessen singer-songwriter with ridiculous hippie-dippy lyrics. Includes caribbean moves, mellow jazz moves (including a guesting female vocalist) and occasional vocals in Spanish and Hindu. Reminiscent of the worst tracks on Rhythm & Bliss.

EAST (Japan)

"East" 1972 (Capitol 11083[inner]

Japanese exile band playing ethnic psych rooted in their home country and instruments.


"The Tiger and the Lamb" 1968 (Uni 73032) 

Heavy psych rock.



"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 as hard to find as the privately pressed second album. He continues to perform and has several subsequent releases. 


"Echoes And A Dream" 1973 (no label)

Seldom seen 1970s folk-psych.


"Eclipse" 1983 (Third Avenue)  [1000p] 

Heavy guitar rock.


"Environment/ Evolution" 1970 (Happy Tiger ht-1008)

Goofy environmental rural sound, studio production psych concept with Val Stoecklein and Jerry Cole involvement.
see -> Blue Things


"Eden's Children" 1968 (ABC 624)  [mono; gatefold; wlp also exists]  [1-2]
" Eden's Children" 1968 (ABC s-624)  [stereo; gatefold]  [1]

"Sure Looks Real" 1969 (ABC s-652)  [gatefold]  [1]
"Eden's Children/ Sure Looks Real" 1997 (Head 3797, Germany)  [2-on-1] 

Bluesy psych power trio in Cream style with echoed vocals.

(Hollywood, CA)

"Edge" 1970 (Nose nrs-48003)  [gatefold]  [1]

Bluesy fuzz psych with organ. Nice balance of trippy and wasted sounds.
see -> American Revolution; Boston Tea Party.


"It Aint Easy To Be An Eezy Rider" 197  (Trash)

Described as strange but not overly impressive mix of rock, pop and country. The cover is worth admiring, though.


"Looking For The Answer" 1971 (Audio Fidelity AFSD 6247)

Christian flower psych, soul and bluesy moves. Also released in Italy and Israel. Formerly garage band Jerry & The Others who appear on the WONE compilation LP from 1966.


"Electric Eels" 1980 (Geffenburg)  [1]

Wild dual lead hardrock like Full Moon. Not to be confused with the early Cleveland punk band. [RM]


"Switched-On Hits from America's First Tribal Love Rock Musical" 1969 (Evolution 2013) 

Songs from the musical "Hair" get the exploito moog treatment. Fun cheese with a great hippie dippy cover. [RM]


"Electric Junkyard" 1969 (RCA 4158) 

Exploito psych.


"Psychedelic Seeds" 1967 (Bell 6007)

Shelby Singleton sham Nashville studio psych. Great instro rock covers with kitchen sink effects, treated piano, bumblebee fuzz, wyld phasing! [RM]


"Working the Electric Screwdriver" 1968 (Spar)

Studio group exploito mess with a couple interesting moody folkrock tracks.


"Guitar Explosion" 1967 (Premier p-9060)  [mono]
"Guitar Explosion" 1967 (Premier ps-9060)  [stereo]

Exploito. Tripped out cover and song titles but the music is jazzy rock lameouts.


"Moog Groove" 1969 (Limelight ls-86070)

"Electric Love" 1969 (Limelight ls-86072)

Moog rock exploito. There were more LPs.


"Elephant" 1973 (Capitol ST 11154)  [gatefold]

Obscure one on the label, with a melodic '70s westcoast sound, some singer/songwriter ambitions, and the main attraction two strong psych-flavored tracks. Worth checking out. There was an Elephant on Moontower/Big Tree, possibly an unrelated outfit.

TIM ELIA (Toronto, Canada)

"The Toronto Mass" 197  (Mass CSCP566)

Surprisingly cool jazz-flavored Catholic rock mass, notable for outstanding bass guitar grooves placed high in the mix & sample-worthy, and a high production value. Not crude but pro-sounding and enjoyable, with elegant brass arrangements, experimental percussion, and solo (some female) and choral vocals doing English-language liturgy lyrics. [PL]


"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.



"Thank You All Very Much" 1970 (International Artists IA-LP-12)
-- original pressings have cover slicks
"Thank You All Very Much" 1978 (International Artists IA-LP-12)  [box-set reissue]
-- the box-set pressing is identified with the boardprinted sleeve and the matrix #, which begins 'Ach 7P V 45...'
"Thank You All Very Much" 199  (Decal LIK 34, UK) 

Lame psych, worst on the label next to Boyles Brothers. The highpoint is re-recordings of two tracks from a non-LP 45 by Lost & Found, but these were better in their original versions. The band went on to record an even more innocuous effort as Potter St Cloud (1971, Mediarts 41-7). Formerly with garage heroes the Iguanas, Alan "Endle" Melinger later became a shrink in Colorado and put together an LP of mental patient recordings in the mid-1980s, "Art Of The Gifted", which has become a bit of a cult item. [PL]



"The Answer" 1968 (Sound Associates) 

Grand Rapids, Michigan label. Mixed gender Christian folkrock teens. Nice psychedelic collage cover.


"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.


"A Euphonious Wail" 1973 (Kapp KS-3668) 

Heavily influenced by San Francisco bands, the Santa Rosa, California-based A Euphonious Wail was roughly five years behind creative and popular tastes. While "A Euphonious Wail" had a couple of nice moments, for the most part the LP was surprisingly lame and uninspired. As lead vocalists Rey and Tracy had decent, if unexceptional voices (though Rey tended to screech in the higher registers). The same type of limitations were true of the band as songwriters (all but Hoffman contributing material). Taken individually guitar and keyboard propelled rockers such as 'Pony', 'We've Got the Chance', 'When I Start To Live' and 'F#' weren't bad, but stretched over an entire album, there simply wasn't much that really stood out. The band were even less successful when they tried slowing things down - check out the lame ballads 'Did You Ever' and 'I Want To Be a Star'. The Michael Hawes cover drawing was interesting. Depending on how you looked at it you saw something completely abstract, or possibly obscene. [SB]


"The Ballad Of" 1969 (Amos)

"The Ballad of Evergreen Blueshoes" offered up an odd hodge-podge of musical genres. Skip Battin (here spelled 'Battyn') and Al Rosenberg were responsible for the majority of the 12 songs, which bounced all over the musical spectrum. Jug, country and western, pop, psych, etc. were frequently dumped together on tracks such as "Life's Railway To Heaven" and "Amsterdam In 1968". Connected by a series of spoken word segments, the results were frequently maddening, though these guys simply had too much talent to turn in a complete dud. "The Hedge Hog's Song" and their cover of Dylan's "Walking Down the Line") were all quite good. Amos also saw fit to release a truly bizarre cover of "Johnny B. Goode" b/w "Walking Down the Line" as a single (Amos #115). Unfortunately, as a small label, Amos lacked much promotional clout, effectively guaranteeing the set would enjoy limited sales. The back and inner sleeve photos are pretty funny. [SB]

V.A. THE EXIT (New Haven, CT)

"The Exit" 1969 (XPL)

A sampler from this New Haven club with folk and blues locals, on the same label as D R Hooker. It’s notable mainly for two garage psych tracks by Better Daze, whose lead guitarist earlier had been a member of Nova Local. A sticker on the front cover promotes Tony Mason who made a semi-interesting bluesy folk LP a few years later.

EXPEDITION (Montreal, Canada)

"Live" 1972 (Cegep 1652)

Seedy hard fuzz bluesrock with English vocals. Sells for good money at times, but for bluesrock genre fans primarily.

EX-TA-C’S ( )

"Ex-Ta-C’s" 1966 (no label)

Primitive teenbeat/garage.

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.



"Fairchild" 1978 (Flight FR 1706)

Midwestern pomprock in the common Styx style. They had two more LPs.


"Fallen Angels" 1968 (Roulette r-25358)  [mono; wlp exists]
-- two different mono versions exist; the first one is mono throughout, while the 2nd has some tracks that are actually in stereo.
"Fallen Angels" 1968 (Roulette sr-25358) 
"Roulette Masters, part 1" 1995 (CD Collectables vol-5445)
-- reissue of the debut LP

This first album shows promise but barely hints at what was to come. Overall it’s a slightly above average poppy psych/garage mix with “Room At The top” being the standout. Some of this is kind of goofy, but in an appealing way. [AM]
With managers Seidel and Traynor producing, the Fallen Angels turned in an overlooked psychedelic classic on their debut LP. Largely written by Jack Bryant and Howard Danchik, material such as "Room At the Top", "Introspective Looking Glass" and "Your Friends Here In Dundeville" is full of hazy lyrics, weird timings, fuzz guitar and sound effects - simply too progressive for mainstream consumption. Mind you, the set wasn't perfect. Bryant's voice was best described as anonymous. Also of concern, at this point in time the trippy lyrics weren't likely to do much for radio airplay. Add to that the fact Seidel's horn arrangements were dull, needless and distracting. Still, the overall results were well worth hearing. [SB]
The band's legendary second LP is listed in the Acid Archives.


"Family Times Band" 1976 (Casey Records)  [500p]
"Family Times Band" 2009 (CD Erebus, UK)

Local band of two brothers and two sisters doing amateur CSN/America '70s folkrock with a humble vibe. Some people seem to rate this highly but I found it disappointing, with a insipid, spineless feel. "She's Gone" and "Sitting By The Ocean" are usually rated as the best tracks, but even those didn't strike me as terribly interesting. My personal reservations aside, this is a rare album that has sold for good $$$ and should have been in the Acid Archives 2nd Edition book, but was omitted due to a printing error. It's housed in the same generic cover as the Asylum LP. [PL]


"Miss Butters" 1968 (RCA Victor LSP-3955)

Long time fans of singer/guitarist Bob Segarini, we only stumbled across this portion of his early career by accident. This is also one of the few LPs we've heard that is truly deserving of the description Beatlesque. The early-1960s found Segarini living in San Francisco. Along with bassist Bill Whittington, Segarini had been a member of The Brogues who managed to record a couple of obscure 45s before calling it quits in 1965. Having recruited  rummer Newman Davis and keyboard player Mike Olsen (aka Lee Michaels), the quartet attracted the attention of Mira Records (best known for The Leaves). Signed to a contract, the band debuted with 1967's "Prince Of Dreams" b/w "Live Your Own Life" (Mira  228). The single attracted considerable local attention, leading Mira to finance further recording sessions for a planned LP. Unfortunately, Mira lost interest in the LP, subsequently shelving all of the recorded material. Expanded to a five piece, by the time the group signed with RCA Victor, the line up consisted of Segarini, keyboardist Jim DeCocq, guitarist Michael Dure, drummer Vann Slatter and bassist Bill Troachim. Following the release of the 1967 single "Do You Have The Time?" b/w "Keepin' A Secret", the band returned to RCA's Hollywood Music Center to record an LP. Built on a series of Segarini-penned songs written and recorded during the earlier Mira sessions, 1968's Rick Jarrard produced "Miss Butters" was an interesting concept piece. While the plotline's not particularly obvious to us, tracks such as "Mrs. McPheeny", "Simple Life" are full of wonderful melodies, gorgeous vocal harmonies and Beatles-inspired production tricks - check out the "Penny Lane" styled horns on "Butter's Lament". Sure, it may not be the year's most original offering, but most band's would have killed to release something half as good. RCA pulled "Slippin' Thru My Fingers" b/w "Miss Butters" (RCA Victor catalog number 9565) as a single, but it failed to attract much attention. Similarly, the parent LP did little commercially. RCA financed one non-LP follow-up single "He Spins Around" b/w "She Had To Fly", before dropping the band from it's recording roster. The band also managed to record a one shot 1970 45 for the small Paula label "Terry Tommy" b/w "Electric Kangaroo". DeCocq and Segarini subsequently reappeared as members of Roxy. Segarini and Troachim also reunited in The Wackers. Segarini also recorded a number of solo LPs. Credited to Lee Michaels, original keyboardist Olsen also recorded a string of solo albums. [SB]


"Fantasy" 1970 (Liberty lst-7643)  [gatefold; lyric sleeve]  [1]

Experimental hard rock album by Florida band with a 16-year-old female singer who can really let it rip (and sounds at least 30). The songs go in a lot of directions, not all of them successful, but most of them interesting. They actually had a minor hit with the good instrumental “Stoned Cowboy.” The best song, though, is the hard rocking “Understand.” Definitely a mixed bag of an album with a few cringe-worthy moments, but it is original. The band minus the female singer would become Year One and release an interesting 2-LP concept album that’s quite rare. [AM]
see -> Year One


"An Open Heart" 1978 (Akashic)

Eastern mystical swami sounds with sitar, flute, female backing vocals and percussion.


"Fat City Jug Band" 1968 (Custom Fidelity 2015)

Retro jug band music (unsurprisingly) on this LP, which is obscure even by Custom Fidelity standards. Few people are interested in this style today, although it's not bad for what it is. They occasionally drop out of the good-timey mood for a slightly moodier approach, but still remain firmly in the trad/roots corner. Imagine 40 minutes of the US Kaleidoscope in a basement rehearsing only their jug band material and you get the idea. [PL]


"Fat Water" 1970 (MGM se-4660)  [ylp exists]
"Fat Water" 2005 (CD Radioactive 140, UK)

Heavy organ guitar blues rocker with female vocal, typical Big Brother & Janis-sound, some minor folk and psych moves. Not bad for the genre with strong vocals, some cutting leads, and not overly dull with the blues moves. Worth checking out if you find it cheap.


"The Night's a Song" 1979 (Wolf)

Garagy folkrock with deep thought singer songwriter moves. [RM]


"Faxx" 1977 (Faxx no#)  [500p]

Hard rock.



"Fifth Avenue Band" 1969 (Reprise rs-6369)  [wlp exists] 

Previously known as the Strangers, the Fifth Avenue Band were signed by Reprise in the late 1960s. The band's self-titled 1969 debut was interesting for a number of reasons, including the fact it teamed them with Lovin Spoonful alumni Jerry Yester and Zal Yanvosky (Lovin' Spoonful producer Erik Jacobsen handling five tracks). Certainly a result of the Lovin' Spoonful connection, numerous reviews and references have compared "The Fifth Avenue Band" to the Lovin' Spoonful catalog. To our ears, with the exception of 'Nice Folks', the comparison isn't really there. With Altman and Gallway responsible for the majority of material, the set was actually quite diverse. The opener 'Fast Freight' recalled The Band-styled of rural rock; 'One Way or The Other' 'could haven been mistaken for The Fifth Dimension (not kidding) and 'Good Lady of Toronto' sported a pretty country-rock melody. Elsewhere, 'Eden Rock' sounded like something you would have heard at a Sade concert. Sure, this LP won't change your life in any form or fashion, but it's surprisingly engaging. [SB]


"Ding Dong the Witch is Dead" 1967 (Jubilee jgm-8005)  [mono]
"Ding Dong the Witch is Dead" 1967 (Jubilee jgs-8005)  [stereo]

As was standard marketing practice, Jubilee rushed the group back into the studio to record a supporting album for their unexpected hit 45 (the title track). Co-produced by Steve and Bill Jerome, the LP proved surprisingly accomplished with offered up an entertaining mix of styles. Clearly aimed at a top-40 audience, the collection found the band taking more than capable stabs at Lovin Spoonful styled folk-rock ('It's Waiting There for You' and 'No. 1 Hippie On the Village Scene'), early country rock (a nifty cover of Neil Diamond's 'I'm a Believer' - anyone know if their cover pre-dates The Monkees version?) and an okay slice of blue-eyed soul ('Midnight Hour'). Interestingly, to our ears the band was at their best on harder, more experimental numbers including the fuzz bass powered psych-influenced 'Tomorrow Is My Turn', early social commentary ('Lost Generation') and the Byrds-styled jangle rocker 'That's Love'. Not exactly the year's most exciting release, it's still an interesting set that we routinely pull out for a listen. [SB]


"Final Solution" 1967 (Dynarange 01)
"Final Solution" 2006 (Shadoks 077, Germany ) [400p]

Rare teenbeat & garage from Puerto Rican college band in a cool cover. Not an over¬whelming musical experience, but a neat moody ‘60s amateur guitar & organ trip that has been compared to August and Flat Earth Society. It’s band originals all through. The LP was pressed in the US.


"Emmett Finley" 1971 (Poison Ring PRR 2241)

This LP offers up a decent mix of acoustic singer/songwriter material ("So Easy", "Where He Cried Last Night" and the pretty ballad "Paula's Song") with an occasional nod to more rock oriented numbers ("Gospel"). While Finley turned in a couple of nice guitar licks (check out "Monster"), the set's most interesting feature is probably Finley's voice. It took a couple of spins before we could place the resemblance, but then it struck us. Finley has a kind of nasally/echo clad delivery that sounds like "Walls and Bridges" era John Lennon. Nothing monumental, but certainly worth a couple of spins and better than a lot of the higher priced rarities being hyped by so many dealers. Noted CT area producer Doc Cavalier handled this one, as with several Poison Ring releases. [SB]


Psychotic Reaction 1967 (GNP Crescendo 2034) [mono]
Psychotic Reaction 1967 (GNP Crescendo 2034) [stereo; wlp exists]
Psychotic Reaction 1983 (Music Box 138, Greece) [stereo; reissue]
Psychotic Reaction / Raw & Alive 1991 (CD Demon, UK) [2-on-1]
Psychotic Reaction 2007 (Fallout 2020, UK)
Psychotic Reaction 2007 (CD Fallout 2020, UK)

Some great snotty fuzz exploitation here. The cover says the group is from the San Francisco area, but this is actually a Hollywood studio project, with arrangements credited to Michael Lloyd. It’s half cover tunes including two Seeds tracks, one Music Machine and one Count V. Interestingly, the stereo mix includes an instrumental version of Thee Midniters’ “Love Special Delivery”, while the mono mix has vocals. A Canadian pressing exists. As with most GNP Crescendos, the album was reissued several times in runs very similar to the original. However, mono versions are always original 60s pressings. [RM]


"Performance One" 197  (Sugar)

Decent loner vibe, but a bit monotonous after a while. Nice spare use of steel guitar. [MA]

JOHN FISCHER (West Covina, CA)

"The Cold Cathedral" 1969 (F.E.L. Records 362)

60s era Christian folkrock LP with a fairly modern/secular sound, a Simon & Garfunkel influence undermined by the somewhat froggy vocals, and some mild psychy vibes on a good track like "Born to die". Lowkey folkrock setting with electric piano.


"An Evening with Wildman Fischer" 1968 (Bizarre 2xs-6332)  [2LPs; gatefold]  [1]

Raving lunatic psych. He recorded a handful of LPs for Rhino in the late 1970s; "Wildmania", "Pronounced Normal" and "Nothing Scary". [RM]


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

Rootsy busker folk. Fishel relocated to the Mediterranean Islands in the late 1970s. He has several more albums after this.


"Heartbreak" 1975 (JSR)

Singer-songwriter divorce rock obscurity that is beginning to raise some interest among genre fans.

FIVE BY FIVE (Magnolia, AR)

"Next Exit" 1968 (Paula lps-2202)

"Next Exit" offered up a mix of the band's earlier singles and new studio material; mainly cover versions. The wonderful 'Too Much Tomorrow' was the one exception and also provided the stand out track making you wonder how good the album would have been if they'd been given a little more creative freedom. Clearly determined to maximize commercial potential, the set covered virtually every musical niche imaginable including competent stabs at blue-eyed soul ('Soul Man'), conventional top-40 pop, and frat rock (their earlier 'Shake a Tail Feather' rave-up). Best of all were the band's stabs at psych oriented material. Their raw cover of Joe South's 'Hush' easily put Deep Purple's better known cover to shame. Similarly 'Nothing You Do', their wild take on Love's '7 and 7 Is' (be sure to check out the re-channeled stereo with a good pair of headphones), and the sitar propelled cover of The Sir Douglas Quintet's 'She Digs My Love' were all worth hearing. [SB]

FLAMIN' GROOVIES (San Francisco, CA)

"Sneakers" 1968 (Snazz r-2371)  [10"]  [2]
"Sneakers" 1975 (Skydog mlpfgg-003, France)  [10"]
"Sneakers" 199  (Munster, Spain)  [10"; poster; 3 handbills]
"Supersneakers" 199  (CD Sundazed sc-6077)
- reissue of "Sneakers" plus ten live tracks from 1968 at the Matrix in San Francisco

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 nice songs. [AM]

"Supersnazz" 1969 (Epic bn-26487)  [1]
"Supersnazz" 198  (Edsel, UK)
"Supersnazz" 1995 (CD Columbia Special Products 75054)
"Supersnazz" 200  (CD Sundazed) 
[+4 tracks]

The first major label Flamin Groovies album is a mish mosh of ideas, from retro 50s-style rockers to twisted pop to acoustic folk-shuffle songs. Most of it works, though as would be the case throughout their career, the excess of cover versions is a turnoff. Among the early classics here are “Laurie Did It” and “Around the Corner”. [AM]

"Flamingo" 1970 (Kama Sutra ksbs-2021)  [gatefold; pink label]  [1]
"Flamingo" 1972 (Kama Sutra ksbs-2021)  [blue label]

The album that established the Groovies as a no-nonsense rock band who didn’t give a crap about the scene around them, FLAMINGO is long on energy though somewhat short on songwriting. The high energy sound of Roy Loney’s band here gives no clue of the pop band they’d become in the 70s. The rough edges are appealing and it's a nice ride if you don't pay too much attention, but there aren’t any really killer songs on this album. [AM]

"Teenage Head" 1971 (Kama Sutra ksbs-2031)  [pink label]  [1]
"Teenage Head" 1972 (Kama Sutra ksbs-2031)  [blue label]
"Teenage Head" 199  (CD One Way)
"Teenage Head" 1995 (CD Big Beat wik-926, UK)

Easily the best album from either incarnation of the Groovies, they here perfected their mix of roots rock, high energy R&B and witty youth anthems. What made all of the difference was not just improved songwriting, but an expression of rage and angst previously missing from their music. Often compared (favorably) to the Rolling Stones, but they sound more like what would have become of 50s rockers if the Stones had never happened. Stolen ideas abound, but that’s the point. The title track is the perfect distillation of the teenage anger that came in the wake of the 60s: “peace and love” turned into random violence. The “head” of the title probably has nothing to do with sex *or* drugs, but rather the barrage of disturbing thoughts in the singer’s cranium. There’s humor here, but lots of depth and darkness as well. Both sides of the album end with emotions flaring. More than the sum of its considerable parts. [AM]


"Bite the Baby!" 1975 (Votsmouski)

Avant garde anything goes freakout reminiscent of early Mothers of Invention. [RM]


"Floating Opera" 1971 (Embryo sd-730)  [die-cut gatefold; wlp exists]  [1]

The first two songs here are absolutely killer, making the rest of the album pretty disappointing by comparison. “Song of The Suicides” is a pained masterpiece with a stunning guitar solo and a melodic sound that feels like Zerfas. “The Vision” is a hot powerful rocker with some relentless organ playing by Carol Lees (many reviews of this album mistakenly claim that she’s a singer. Apparently some people review the album by just looking at the cover and not by listening to it, as all of the album’s vocalists are male.) The other songs are lesser variations on these two styles, without all that much inspiration, though the playing is strong throughout. Contains a song called “Age of Onan,” for those of you who collect odes to masturbation. [AM]


"Flow" 1970 (CTI 1003)  [wlp exists]
-- also released in Japan in the early 1970s on the King label
"Flow" 1999 (CD King/Vivid 729, Japan)

Jazzrock with Don Felder (Eagles) on guitar. Recorded in New Jersey in late 1969. CTI released mainly jazz.



"Picked Green" 197  (Atteiram api-l 1501)

Obscure release from local club band with soul and rock covers and a few possible originals. Some dealers have tried to hype it with little success. The label is Georgia-based, but the band seems to have been from North Carolina.



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

Hardrock/AOR/pomp-rock that has raised some interest with genre specialists.

FOREIGN WORLD (Montreal, Canada)

"Trying To Escape" 1984 (no label 001)  [5 inserts; poster]

Avant garde/industrial soundscapes, pre-Catharsis.


"For Friends" 1969 (Austin Records AHS 33-6902)

Yet another behind the times folk-boom combo from Texas, performing mid '60s-sounding romantic folk material with some brief glances towards the westcoast (a Buffalo Springfield cover). Mostly originals, in a light folkrock setting plus an unspecified instrument that sounds almost like an accordion. The quartet is Bob Webb, George Crosby, Gary Parker and Hawkins Menefee.


"Cumulo Nimbus" 1975 (Fable F-101)  [2-3]

Hippie jazz/funk rock guitar-led jamming. 


“Illusions Of Hope” 1972 (RPC AZ 66401)

Live recording of vocal harmony folk-group, in the same generic sleeve as the second Fenner, Leland & O’Brien.

KIM FOWLEY (Los Angeles, CA)

"Love is Alive and Well" 1967 (Tower t-5080)  [mono]  [1]
"Love is Alive and Well" 1967 (Tower st-5080)  [stereo]  [1]
-- this LP features members of The West Coast Pop-Art Experimental Band

"Born to Be Wild" 1968 (Imperial lp-12413)  [1]
"Born to Be Wild" 199  (CD)  [+2 tracks]

"Outrageous" 1969 (Imperial lp-12423)  [1]
"Born to Be Wild / Outrageous" 1995 (CD Rev-ola)  [2-on-1]

"Good Clean Fun" 1969 (Imperial lp-12443)  [1]

"I'm Bad" 1972 (Capitol st-11075) 

"International Heroes" 1973 (Capitol st-11159) 

"Automatic" 1974 (Capitol st-11248) 

"Animal God of the Street" 1974 (Skydog sgkf-001, France) 
-- this LP is a partial reissue of "The Day the Earth Stood Still" (1970, MNW 7, Sweden)

Far more important as a producer, scenemaker, and talent scout than as a performer. His 60s lps on Imperial are fine examples of the Sunset Strip exploito psych sound with trippy organ and guitar effects. By the 70s, his own music had lost much of his edge as he struggled vainly to latch on to the latest trend. As a producer, often with considerable help from Michael Lloyd, Fowley was an always interesting, if heavy-handed, exploiter of garage, psychedelic, and heavy rock music during the 60s and 70s. [RM]
Fowley had a few more releases in his own name post 1975. There is also a compilation of his 45s 1966-71 ("Strangers From the Sky", Germany 1988), and a recent CD on Rev-Ola that selects his best productions and discoveries up until the early 1970s.
see -> Underground All-Stars

FRANTIC (Billings, MT / Los Angeles, CA)

"Conception" 1970 (Lizard a-20103)  [gatefold; wlp exists]
"Conception" 199  (CD)

Like their Lizard labelmates Jamul, these guys play a relentless form of hard rock that works in spades. There’s a strong garagey/punky feel, though the guitar distortion is definitely of its time. There are covers of three very recognizeable songs, and while those are powerful and done in a distinctive way, the original songs are so good that it’s disappointing the album couldn’t have been filled with them. Strong, solid, tough vocals and loud guitars dominate. A good one. [AM]
Produced by Stan Farber, "Conception" offered up a rather conventional set of guitar rock. A standard mix of originals and cover material, Max Byfuglin proved a competent, if under whelming lead singer (his penchant for mush mouth deliveries was an acquired taste). Similarly, the band's rock moves were professional, if seldom awe striking. Among the highlights were their molasses speed cover of 'Hey Joe', 'More of a Man' (reflecting a touch of psychedelic guitar) and the guitar-propelled 'Her and Her Mountain'. Elsewhere the dayglo gatefold sleeve was certainly cool and a reflection of the times. [SB]

"Relax Your Mind" 1994 (CD Collectables COL-CD-0570)
-- unreleased 1968 recordings; released as by the Frantics

"Where am I? / Up in the sky / Should I be this high? / If my brain should sever, / I’d be here forever...". Sounds like a sixties punk band making a move into a more progressive sound stoked out of their minds on strong acid. This is an unsung masterpiece, dating from 1968, with a crazed under current to the whole experience. The tragically poor sound quality barely detracts from its brilliance, the CD is sourced from a cassette tape. If a better source exists, the Department of Psychedelic Archaeology needs to find it. Effects abound, every track exists in the blissful netherworld between snot-punk and prog/hard rock. They know they can’t just sing about girls and cars anymore, so they heavy up the sound and wax philosophical. Empirical evidence for my ‘theory’ that the only progressive bands worth hearing possess virtually no “technical” expertise and definitely no degrees in Astrophysics or Fine Art. [RI]


"Permanently Stated" 1969 (Paula lps-2201) 

His pop psychy one. Quite good for the faded pop act trying to trip out for the new generation ala The Five Americans' "Progression". [RM]


"Kites Are Fun" 1967 ('Project 3' pr-5019-sd)  [gatefold; also exists as wlp]  [1]
"Kites Are Fun" 199  (CD Teichiku tecw-20796, Japan)  [+1 track]
"Kites Are Fun" 199  (CD Trattoria menu-51, Japan)
"Kites Are Fun" 2004 (CD Light In The Attic) 
[+bonus tracks]

"You Could Be Born Again" 1968 ('Project 3' pr-5031-sd)  [gatefold]  [1]
"You Could Be Born Again" 199  (CD Teichiku tecw-20797, Japan)
"You Could Be Born Again" 199  (CD Trattoria menu-52, Japan)
"You Could Be Born Again" 2004 (CD Light In The Attic) 
[+bonus tracks]

"Heaven / Earth" 1969 ('Project 3' pr-5037-sd)  [gatefold; also exists as wlp]  [1]
"Heaven / Earth" 199 (CD Teichiku tecw-20745, Japan)
"Heaven / Earth" 2004 (CD Light In The Attic) 
[+bonus tracks]

"Stars/ Time/ Bubbles/ Love" 1970 ('Project 3' pr-5045-sd)  [gatefold]  [1]
"Stars/ Time/ Bubbles/ Love" 1970 (CD Teichiku tecw-20798, Japan) 
"Stars/ Time/ Bubbles/ Love" 199  (CD Trattoria menu-53, Japan)
"Stars/ Time/ Bubbles/ Love" 2004 (CD Light In The Attic) 
[+bonus tracks]

"Sing For Very Important People" 1970 ('Project 3' pr-4006-sd)  [gatefold]  [1]
"Sing For Very Important People" 199  (CD Teichiku tecw-20746, Japan)

"One by One" 1971 ('Project 3' pr-5061-sd)  [gatefold]  [1]
"One by One" 199  (CD Teichiku tecw-20799, Japan)
"One by One" 199  (CD Trattoria menu-54, Japan)

"There is a Song" 1972 (Ambrotype 1016)  [1-2?]
-- released on a tiny Rochester, New York label. This LP is quite rare.

A group of brothers and sisters perform saccharine bubblepop love trips that drift into the ozone. The first lp is the trippiest, but they all are so airy and innocent they are perfect to dream by. Chris Dedrick also recorded an unreleased 1972 solo album. 'Project 3' records in general are becoming popular among audiophiles for Enoch Light's innovative use of stereo seperation. There is also a number of recent CD compilations on the Spanish Siesta label. [RM]
All Project 3 LPs have been recently reissued on vinyl by Scorpio.


"The Game of Rock and Roll" 1975 (Hideout h-1007)  [game insert]

Bizarre mix of grade-Z Elvis imitations and x-rated comedy bits! Hideout was a famed garage band label. [RM]


"Freeze Band" 1978 (Vista 32802)

Eclectic dual guitar progressive jammers running the gamut from rural, to Southern, to jazz and funk. The band also had a track on the local "Arizona Dream" compilation.



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

Basement folk on vanity label.


FUGS (New York City, NY)

"Village Fugs Sing Ballads of Contemporary Protest" 1966 (Broadside 304)  [lyrics insert]  [2]

"First Album" 1966 (ESP Disk 1018)  [1-2]
-- reprint of the Broadside LP. Press variations: 1) blue textured cover, 2) b & w cover with ads on back, 3) 'psychedelic wizard' cover. All three exist as both mono and stereo, making six variations in total. Variant (1) is the rarest of these. The ESP pressings have alternate takes of "Supergirl", "Swineburne Stomp", and "Boobs a Lot" vs the Broadside release.
"First Album" 198  (ESP Base, Italy)

"First Album" 199  (CD Big Beat wikd-119, UK)  [+bonus tracks]
"First Album" 199  (CD Fugs, UK)  [+bonus tracks]
"First Album" 200  (Akarma, Italy)  [2LP; gatefold; +bonus tracks]
"First Album" 200  (CD Akarma, Italy)  [digipak; +bonus tracks]

"Fugs" 1966 (ESP Disk 1028)  [1]
-- exists with b & w cover as well as badge cover; both variations come in mono and stereo
"Fugs" 198  (ESP Base, Italy)
"Fugs" 199  (CD Big Beat wikd-121, UK)
  [+bonus tracks]
"Fugs" 199  (CD Fugs, UK)  [+2 tracks]

"Virgin Fugs" 1967 (ESP Disk 1038)  [2]
-- with 'For Adults Minds Only' sticker on front cover, poster, booklet, and stickers (loose). The inserts and cover sticker make up at least half the value.
"Virgin Fugs" 198  ( ESP Base, Italy)

"Fugs 4, Rounders Score" 1967 (ESP Disk 2018)  [1]
-- with the Holy Modal Rounders

This entry covers their early Broadside/ESP era only. Freak folkrock lunatics. Engaging mix of parody and countercultural philosophy. Ed Sanders was a beatnik poet and operated the Peace Eye Bookstore in the East Village (New York City). He joined up with like-minded Tuli Kupferberg and some friends to form the Fugs. Peter Stampfel and Peter Weber (both of Holy Modal Rounders) also played with the group. The Fugs broke up around 1971 and reformed in 1984 with several reunion LPs. There's also an archival Big Beat CD release "Live from the 60s". [RM]

FYFTH (Geneva, IL)

"Here Comes" 1968 (RPC 47872)

Amateur teenage male & female vocal harmony folk. Fun covers of "Light My Fire" and "The Times They Are a Changin'" and a very odd version of "Sinner Man", possibly some originals. Not terribly good, but may interest genre collectors and RPC specialists. Poor, distant-sounding recording. Same generic red/white frame cover as the Gents. The group featured one 'Rex Richardson', which may or may not be the same guy who had the rare loner folk LP 10 years later. [PL]


"Pyromancy" 1977 (Stone Post 12)

Pro-sounding AOR from Kansas City area band, partly recorded at Leon Russell's Tulsa studio. Sometimes listed as "hardrock", but it's more of a melodic FM rock sound, with some good guitar leads, occasional keyboards, tight playing and average, non-macho vocals. May appeal to REO Speedwagon fans. Rural rock aspirations on a couple of tunes.



"Pulpit In The Shadows" 197  (Rainbow 1044)

"Drugs & Youth" 197  (Rainbow 2007)
-- an alternate cover exists with the title altered to "The Drug Epidemic"

FreddieG_Friends.jpg (34409 bytes)

"All My Friends Are Dead" 197  (Rainbow)

Infamous tough-guy "turned-on preacher" with a dubious reputation, involved in the TX teen scene during the late 1960s-early 1970s. I've only heard "Drugs & Youth" which is a reasonably entertaining sermon, while "All My Friends Are Dead" has a fabulous cover. Spoken word bible belt dementia that fits well into any serious collection of Americana. A related LP is Sammy Tippit "Lonely Faces" (Rainbow 2031), which comes out of Gage's organisation and rips off the same government anti-drug brochure as "Drugs & Youth" for the cover art.
see full presentation


"An Audience with the King of Wands" 1968 (Columbia cl-2825)  [mono; white label promo]  [1]
"An Audience with the King of Wands" 1968 (Columbia cs-9625)

Garnett’s first “rock” record spotlights her lovely deep voice but doesn’t have much kick to it. One eastern flavored song stands out amongst a pleasant but ultimately dull set. Includes an unnecessary version of Fred Neil’s “Dolphins” sung by one of the guys. These albums aren’t as likely to appeal to psych fans as the similar, but further out, excursions by Carolyn Hester. [AM]

"Sausalito Heliport" 1969 (Columbia cs-9760)  [360 sound label] 

The second Gentle Reign album is an improvement over the first. The Digger-like philosophy espoused in the liner notes comes through in the music, which ranges from weird family comedy-drama (“Freddy Mahoney,” with Gale as the frustrated mom) to lovely ballads (“My Mind’s Own Morning”) to all-out psychedelia (“Water Your Mind.”) The album’s too long and is somewhat unfocused, but there are some really good songs on this one. [AM]


"The Wozard of Iz, An Electronic Odyssey" 196  (A&M sp-4156)  [tan label]  [1]
-- credited to Mort Garson and Jacques Wilson. This is a moog-led 'interpretation' of The Wizard of Oz.

Late 1960s electronics effects psych and moog rock. Well-played exploito. Garson also released a number of astrology-related records on A & M circa 1970. [RM]
see -> Lucifer; Zodiac-Cosmic Sounds

GATES OF DAWN (Alberta, Canada)

"Keep On Truckin’" 1974 (Vocal EKLP 102)

Rural rock bar-band with a healthy share of fuzzed rock covers from the late 1960s, like ”Jumpin’ Jack Flash” and ”Magic Carpet Ride”.


"A Religious Rock Service" 197  (Covenant 6312)

Jewish x-ian rock service with garage teen backing group. Sitar on one track (this has been comp'd), haunting melodies, femme choir, and overblown vocals in the Ylvisaker tradition. Likely to appeal to 'real people' fans. [RM]


"Excerpts From An Evening With" 1964 (Melody MS-101)

High school project LP behind which lofty title one can find mostly square folk and classical music. The Simon Gates band provide an OK garage cover of "Around And Around" (retitled) and a guitar/organ instro, both highlighted by ambitious drumming.


"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. There’s a cover of former Minnesotan Bob Dylan’s “Dear Landlord”. The Depot was a rock club in Minneapolis.


"It's Not About Notes Anymore" 1979 (no label)

This is occasionally pitched to psych heads, but is usually rated as an art/punk era artifact with free jazz moves, and listed here only for reference. The Bay Area band were going for many years and had a couple of 7-inch release.


"I Want To Hold Your Hand" 1965 (Globe 6006)

Beatles covers throughout.


"Sidney George" 1976 (no label)

Lo-fi mid 1970s rock with a sleazy real-people feel, some flute and wah-wah guitar.

GIANT CRAB (Santa Barbara, CA)

"Comes Forth" 1968 (Uni 73037)
-- parts of this LP have been released on a retrospective Big Brother LP
"Comes Forth" 2005 (CD Estrella, Spain)  [+bonus track]

This easy to find debut has caught some interest lately, and is nice psych rock with all the moves; pop rock harmonies, plastic exploito, seedy fuzz bursts, trippy hippie lyrics. The followup ("Cool It Helios", 1969) heads a bit more into a soul rock direction. This was yet another venture from the productive Ernie Joseph.
see -> Big Brother

GIFT (Canada)

"Gift" 1974 (no label)  [gatefold]

Obscure folkrock with Christian vibe.


"Glass Family Electric Band" 1968 (Warner Brothers ws-1776)  [green label; wlp exists]

The album cover shows the band as part of a huge extended family/commune. The music within, though, is clearly from the brain of one talented and self-directed songwriter. It veers from almost heavy psych to guitar pop to rural rock, all of it well-written and cleverly produced. The three heavy songs with lots of fuzz guitar will grab your attention immediately, but it won’t take long for the rest of the album to grow on you too. Great record, and still easy to find for a low price. [AM]

GLASS HARP (Youngstown, OH)

"Glass Harp" 196  (United Audio acetate)
-- these are different recordings from the Decca debut

The acetate material remains unreleased but is an enjoyable late 60s beat-fuzz effort including a couple of Beatles covers.

"Glass Harp" 1971 (Decca dl-75261)  [1]
"Glass Harp" 199  (CD Line, Germany)

Excellent psych rock with wailing leads by Phil Keaggy, orchestration, floating vocals. John Cale pitches on electric viola. The band had two more LPs for Decca. [RM]


"Poe through the Glass Prism" 1969 (RCA lsp-4201)

"On Joy and Sorrow" 1970 (RCA) 

The debut is guilty pleasure organ rock versions of poetry by Edgar Allan Poe. Engineered by Les Paul. [RM]


"Ride On" 1970 (GIA 123)

Well-known 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.

(New York City, NY)

"Contact High with the Godz" 1966 (ESP Disk 1037)  [mono; poster]  [1]
"Contact High with the Godz" 1966 (ESP Disk 1037)  [stereo; poster]  [1]
"Contact High with the Godz" 199  (ESP 1037, Germany)

"Godz 2" 1967 (ESP Disk 1047)  [1]
"Godz 2" 199  (ESP 1047, Germany)

"Third Testament" 1968 (ESP Disk 1077)  [1]
"Third Testament" 199  (ESP 1077, Germany)

"Godzundeit" 1973 (ESP 2017)
"Godzundeit" 199  (ESP 2017, Germany)

"Alien" 199  (ESP 3008, Germany)
- this is actually Jim McCarthy's solo lp though the reissue is credited to the Godz

These pioneer goofballs are true, um, godz, to “real people” musicians of the 70s and no-talent indie-rockers of the 80s and 90s. They claim that the first album was recorded and written in the time it takes to listen to it and the liner notes proclaim that they “don’t give a good goddamn” if we like it or not. The crazy thing is that though they don’t know how to play and don’t even try to sing in tune this stuff is reasonably engaging, and at only 25 minutes it doesn’t have time to wear out its welcome. The second and third album don’t seem as naturally spontaneous, and are a lot longer, but if you’re a fan of this kind of thing you’ll probably pass the endurance test. GODZUNDHEIT came much later, and is a “real” album, full of rather mundane singer-songwriter stuff. It does, however, include an earlier single, “The Whiffenpoof Song,” which is easily the coolest thing they ever did. Jim McCarthy also released a credible solo album on ESP, entitled ALIEN. It’s similar to GODZUNDHEIT, but better. Still, I suspect most of you will prefer CONTACT HIGH WITH THE GODZ. [AM]
Jim McCarthy and Paul Thornton were previously in New Jersey garage/teen-beat band the Dick Watson 5, who released a rare LP.
see -> Dick Watson 5; Jim McCarthy


"We Need A Little Christmas" 196  (Metromedia 1012)

Ten woman group from, Dean Martin show doing soft harmony pop psych.


"The World of Good & Plenty Company" 1967 (Senate 21001)

I'll readily admit that I bought this one at a yard sale for the eye catching period piece flower power cover. Can't say that I have a clue as to whom Douglas Good and Ginny Plenty were, though my best guess is that this was a studio entity put together by producers/writers Wes Farrell and Tony Romeo. Produced by Farrell and Romeo (they also wrote, or co-wrote all eleven tracks), 1967's "The World of Good & Plenty" was certainly a period piece. Neither Good nor Plenty (love the names), were much in the way of singers, but it almost didn't matter given the quality psych-lite material they were given. Of the two Plenty's voice was the most noticeable, if only due to the fact on tracks like 'Beautiful People' and 'Livin' In a World of Make Believe' she displayed a rather shrill, pseudo-operatic delivery. Good was far more anonymous, although that was particularly well suited for the album's most commercial numbers - 'She Is the We of Me'. Similarly, musically the album wasn't particularly original, falling in the same general category as material by the likes of The Gentle Soul, or perhaps early period The Mamas and the Papas. That said, Farrell and Romeo were both accomplished writers with a knack for penning stuff that threatened to worm itself into your head. The only real loser here was the hideous vaudevillian-styled 'The Guy Who Did Me In' (which sounded like a Mama Cass solo effort). [SB]


"Good Soil" 197  (Barn Recording Studio)

Mainstream Christian folkrock with Marsha Rollings of Anonymous/J Rider on vocals.


"Tones" 1968 (Verve 5062)  [ylp exists]

Mellow pop with one great soft psych song, “Year Of The Sun.” They tend to get compared to the Association, but they lack the melodic charm of that band. Mostly this is pretty bland. “Year Of The Sun” is on one of the Fading Yellow comps, and is better heard in that context. [AM]
Produced by Clark Burroughs, "The Gordian Knot" was a complete disappointment. Given Burroughs' earlier work with The Association, it shouldn't have come as a surprise that the group trafficked in lame, MOR pop. Largely written by Jim Weatherly, tracks such as "We Must be Doing Somethin' Right", "One Way Street" and "Carnival Lights, Again" were at best forgettable; at worst outright nauseating - imagine 30 minutes of television commercial music ... Okay, okay, " If Only I Could Fly", the pseudo-psych "The Year of the Sun" and the single "Broken Down Old Merry-Go-Round" were at least listenable. Weatherly achieved some mid-'70s recognition as a songwriter and released a couple of quickly forgotten solo sides.  [SB]


"Heavy Cowboy" 1970 (TRX LPS1002)

Gove Scrivenor, folkrock/singer songwriter with extended version of "Morning Dew", on Hickory subsidiary.


"Graceful Head" 199  (Excelsior)

This is a "fake original" made in the 90s and passed off as a rarity by an unscrupulous record dealer. The material is from 1976 tapes.


"Graduates" 197  (Renegade 1003)  [1]

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".

A GRAIN OF SAND (Brooklyn, NY) 

"Music For The Struggle By Asians In America "1973 (Paredon P-1020)  [2 inserts]

Asian American folk music lamenting about the inhuman obstacles that prevent them form having their slice of the American dream. The music is pretty much your standard coffee house style: a couple acoustic guitars with up-front vocals (male & female). Some songs pick up the pace with congas and bass, maracas and even flute on one song. Not bad but no reason to break your piggy bank. Lyric wise, inconsistent but a few songs are powerful testaments about the human spirit and fight to survive. The Paredon label specializes in music, poetry, interviews and speeches that mainly focus on socialist and communist movements around the world. [JSB]

GRANDEURS (Los Angeles, CA)

“The Grandeurs” 196 (JH-1001) [no sleeve?]

An obscure teenbeat-club LP, possibly issued without sleeve. The album includes covers of ”Wooly Bully” and a typical club band selection of British beat, soul and frat numbers.


"Better Days Ahead" 1970 (Paragon 294)

Rock trio doing Creedence, Janis Joplin covers plus originals, on the same label as Christmas.



"Green Lyte Sunday" 1970 (RCA Victor LSP-4327) 

This one gets mixed reviews across the spectrum with a lot of reviews leaving the impression these guys were pretty wimpy. For what it's worth, they're not that wimpy and I come down as a fan... Singer/keyboard player Michael Losekamp had been a late-inning member of The Cyrkle (replacing Earl Pickens). Following that group's break-up he apparently returned to his native Dayton, Ohio where the late-1960s found him working with Green Lyte Sunday. Showcasing the talents of Losekamp, woodwind player Fly Barlow, singer Susan Darby, guitarist Jason Hollinger, drummer Rick Kalb and bassist James Wyatt, the band attracted the attention of King Records which signed them to a contract resulting in the 1969 single 'She's My Lover' b/w 'Lenore' (King catalog number 6178). While the single did nothing commercially, it attracted the attention of RCA Victor, which promptly picked up the band. Recorded in Hollywood with Peter Shelton producing, 1970's "Green Lyte Sunday" featured an interesting mix of originals (largely penned by Losekamp) rounded out by a series of three covers - a Joni Mitchell effort and two Laura Nyro compositions. Musically the album offered up a pleasant mixture of breezy pop with some nice jazzy touches ('Glen Helen' and 'What Makes Him Happy') and tougher rock moves ('Happy Happy' and 'Woman's Blues'). Darby and Losekamp were both impressive singers (Darby was particularly good), and while their silky smooth group harmonies drew apt comparisons to the likes of The Free Design, or The Gentle Soul numbers such as 'Lenore' and 'High Up in the Sky' benefited from fuzz guitar and other rock touches. (One or two more rock songs and this would be a four star collectable.) [SB]


"Common Time" 1978 (Euphonic)

Local LP whose most remarkable aspect is the sleeve, made out like a 10-page spiral-bound book. Despite occasional seller hype, the music has been described as "corny love songs".


"You Just Can't Buy It" 197  (private)


"The World's Filled With Love" 1968 (ABC s-634) 


"Grootna" 1971 (Columbia C 31033) 

This one caught my eye due to the colorful cover and the fact the producer was none other than Jefferson Airplane/Starship's Marty Balin. That said, here's another one I can't say I know much about. The line-up consisted of bassist Kelly Bryan, rhythm guitarist Slim Chance (aka Austin De Leon), former Country Joe and the Fish/Mad River drummer Greg Dewey (aka Dewey DeGrease), singer Anna Rizzo, lead guitarist Vic Smith and keyboard player Richard Sussman (who had previously played with Elephant's Memory). The group came together in 1971, cutting their chops on Berkeley, California's thriving music scene. With help from supporter Balin, the group caught the attention of Columbia Records, which signed them to a recording contract in 1971. Produced by Balin, 1971's cleverly titled "Grootna" featured a surprisingly impressive set of West Coast-styled rock. The band sported three capable lead singers in DeGrease, Rizzo and Smith. Rizzo's bluesy voice was probably the best of the lot, though on material such as 'Going To Canada' and 'Waitin' for My Ship' she bore a passing resemblance to Janis Joplin. Exemplified by tracks such as the lead off rocker 'I'm Funky' the set was full of enthusiastic performances. Special notice to Smith who turned in a couple of nice leads on 'That's What You Get' and 'Customs (In It All Over)'. Sure, the set wasn't perfect. 'Young Woman's Blues' and 'Road Fever' were pedestrian blues and boogie numbers, but the overall package was quite impressive. Columbia also pulled a pair of instantly obscure singles from the LP. With the album and both singles tanking Columbia rapidly lost interest in the band and by mid-1972 they were history. [SB]


"A Mouth In The Clouds" 1968 (Community a-101) 

Solid co-ed psych album that’s a lot wilder than, say, the Yankee Dollar/Ivory/Growing Concern type of post-Airplane band. Highlight is “Hiya”, on which the singer goes completely off the deep end. They’re pretty goofy, but not at the expense of their songwriting. Lots of far out guitar playing too. Entertaining album. An alternate 45 version of "Hiya" has been comp'd on Pebbles. [AM]


“The White Barn Series” 1981 (Tetrasonics 11382) [inner]

Some people have reported liking this album, which is yet another obscure contribution to the vast field of Midwestern rural rock. The combined westcoast and swamprock elements typical for these albums are present, and as such it’s reminiscent of Boaz or Sugar Bear. However, the Grubers display a predilection for country-pop aesthetics (with bland, predictable moods and simplistic refrains) which is hardly to their advantage. In the right time and place, with a few Millers under your belt, they probably sounded just right, but on vinyl 30 years later, you have to ask yourself just how close to Dr Hook you want to stretch the ‘rural rock’ genre? The playing is very tight, as are the vocal harmonies, and combined with the pro-sounding recording this sounds like a second-tier major label release more than anything else. It’ll work as background music at a barbecue, but is not even in the same universe as Modlin & Scott or Cambridge. [PL]

G.T.O's (Girls Together Outrageously) ( )

"Permanently Damaged" 1969 (Straight sts-1059)  [book]  [1-2]
"Permanently Damaged" 1970 (Reprise rs-6390)  [book]  [1]

Frank Zappa project featuring a female group doing crazed novelty rock about groupie life. The Mothers of Invention and friends provide the backing. [RM]


"Guillotine" 1971 (Ampex)  [gatefold]

Bluesy fuzz rock with screaming vocal and organ. [RM]

GYPSY (Minneapolis, MN)

"Gypsy" 1970 (Metromedia 1031)  [2LP set]

"In The Garden" 1971 (Metromedia 1044)

This LP features the killer track "Another Way" which has been comp'd.

"Antithesis" 1972 (RCA LPS-4775)
-- their later LPs are not listed here

Anyone hearing this band's progressive moves would find it hard to believe they started out as the Minneapolis-based garage rockers The Underbeats. With the first two albums having vanished with little recognition, new label RCA apparently insisted on some musical changes. Accordingly, the third all original set found the band tinkering with their patented UK-progressive influenced sound. As before, the album's underpinnings remained firmly planted in a progressive mode, but this time around the band turned in a series of compositions with shorter and more focused song structures. While tracks such as 'Crusader' and 'Facing Time' weren't quite pop, they were surprisingly commercial and would have sounded quite good on FM radio - in fact two of the more commercial numbers 'Day After Day' b/w 'Lean On Me' were released as a single. Exemplified by tracks such as 'Young Gypsy' and 'Don't Bother Me' the set was full of strong melodies and some interesting arrangements. Not meant as an insult, but on tracks such as 'Travelin' Minnesota Blues (Go Gophers)' and 'So Many Promises' the album reminds us of early David Pack and Ambrosia. Needless to say, longstanding progressive fans were appalled by the change in direction, while the album simply wasn't commercial enough for top-40 radio. [SB]


"Unpredictable!" 196  (Sidewalk dt-5904)

55 year-old nature boy disciple of Eden Ahbez does his own Hollywood weirdness. [RM]


"Dance, Sing, and Listen Again & Again" 1965 ('Dimension 5')  [2]
-- prior to this, Haack had two LPs with similar titles for Dimension 5 in 1963 and 1964

"Way-Out Record For Children" 1968 ('Dimension 5' d-131)  [2]

"Electronic Record For Children" 1969 ('Dimension 5' d-141)  [?]

"Electric Lucifer" 1970 (Columbia cs-9991)  [lyric insert]  [1]
"Electric Lucifer" 199  (Columbia)  [bootleg] 

Haack went from children’s music to full-blown rock opera weirdness here. As an early rock-oriented moog album, it has its ups and downs. Some of it aims for heavy but comes off silly, but at other times the noises and effects are truly inspiring. Not in the same league as United States off America or Fifty Foot Hose, but an enjoyable listen. [AM]

"Hush Little Robot" 199 (QDK, Germany)  [gatefold]
"Hush Little Robot" 1998 (CD QDK/Normal, Germany)
-- compilation, plus radio interviews

Moog and psychy electronics weirdness. His 'Dimension 5' recordings are fascinating electronic kiddie music featuring 'Miss Nelson and Bruce'. Miss Nelson is his partner, Esther Nelson. Ted Pandel also contributes on the 'Dimension 5' LPs. [RM]


"One Kiss Leads To Another" 1970 (Kama Sutra 2025)

Great odd album that answers the question “what would the Velvet Underground sound like if they had come from a folk background?” They can’t decide if they’re hippies or artsy weirdos, and this record makes one think they could have pulled off either if they really wanted to. It ranges from stark slow ballads that recall the third VU album to upbeat folk-rock to moody psych numbers with some great unhinged organ and guitar playing. Some of the lyrics are introspective. Others are ditties about bananas, the joys of radio, and drag races in which the driver’s girlfriend falls out of the car window. Something here to appeal to every variation of freak out there. Given that so many 70s and 80s music hipsters cite it as an influence, why hasn’t this been reissued? [AM]


"Buyer Beware" 197  (no label)

Mid-70s rural rock with mixed vocals.

HALL & REASONS (Portland, OR)

"Spaceship" 197  (no label)

Confused local outing that covers several styles but has new wave/power pop/AOR moves with crazy and oddly effective synth bursts throughout, as well as some good guitar leads. At times it sounds quite a bit like Marcus-House Of Trax, which may say a few things about Marcus too. The title track is fun, but the amateur vocals are a bit of a problem. Sounds like a late 70s/early 80s release.


"Cosmic Key" 197  (SRS International)

Local early 70s lounge pop from quartet with pretty female vocalist. The sound is stripped down and somewhat amateurish, which is not a disadvantage. Lady Jean sings OK, and shines on the album's obvious high-point, the title track original (she wrote it), which would have fit well on the Jade Stone & Luv album. There is one more OK original and the rest is typical lounge combo covers, including a long "Hair" medley, Beatles, CSNY, "Mr Bojangles" etc. Above average for genre fans, house in a generic sun-dial sleeve (Emmaus Road Band variety). [PL]


"Kabbalat Shabbat" 1968 (TJU)

Mix of folk, rock, and traditional Jewish songs. The band's performances are part of a live 'Electric Rock Worship Service for a Sabbath's Eve'. The record also includes excerpts from a Jewish religious service and was issued by the temple at which it was performed. The group went on to moderate success, recording jazzy progressive LPs on the Philips and Bell labels. [RM]

HAMMER (San Francisco, CA) 

"Hammer" 1970 (San Francisco SD 203)

Anyone expecting to hear a standard set of early-1970s San Francisco psych is liable to be a little disappointed by the David Rubinson produced "Hammer", however if you give the album a chance, it turns out to be quite enjoyable. Musically the album's all over the roadmap, including stabs at pop, rock, classical (the instrumental 'Pain and Tears') and even some jazzy interludes ('Sweet Sunday Morning'). Let me warn you that as lead singer DeRoberts is somewhat of an acquired taste. On tracks such as 'Something Easy' and 'Charity Taylor' he occasionally reminds me of Journey's Steve Perry. He also has a habit of reaching for those high notes that leaves me shuddering. Obviously, that may pose a problem for some folks. On the other hand, DeRoberts is surrounded by a first rate band that churn out some first-rate performances . Among them, 'Hangover Horns' is a great rocker, the scat instrumental 'Tuane' is kind of cool and guitarist O'Brien and keyboardist Landsberg show off some nifty chops on the instrumental 'Death To a King'. Not essential listening, but certainly an interesting addition to the catalog of San Francisco-based groups. [SB]

"Hammer" 1970 (Press Well Records)  [test pressing]
-- the song titles are handwritten on the plain cover

Hardrock with organ. This test press may be the unreleased second album by the wellknown Westcoast band who had a 1970 LP on Bill Graham's San Francisco label.

(Atlanta, GA)

"Music to Eat" 1971 (Columbia g-30555)  [2LPs; gatefold; 360 Sound label]
"Music to Eat" 197  (Columbia g-30555)  [later pressing]
"Music to Eat" 1996 (CD Sony)  [2CD]

Heavy tripped guitar jams like Numbers Band. Featuring Glenn Phillips, who would later release two LPs on the Snow Star label of hard guitar prog instros ("Lost At Sea", 1975 and "Dark Light", 1980) and continues to record and perform.


"One Ruined Life (Of a Bronzed Tourist)" 1978 (Pine Tree Records)

After 15 years of playing in regional bands, beginning with the Hampton Grease Band that released a 1969 album on Columbia Records, Bruce Hampton releases his first solo album. By this time, Hampton is on a total different trip than his days with his first band. The freak element remains but instead of long guitar excursions, the listener gets experiments of multifarious music that is strategically stitched together to constitute a finished song. Material made-up of skewed styles like eclectic freak folk with dissonant jazz jams, awkward blues grooves, gospel r&b with an angry preacher sermon , clarinet lead New Orleans style jazz breaks, a track of tribal hippie chants with energetic rhythms and a few demented spoken word stories with imaginative music and loads of crazy effects. Besides the whacked arrangements, the band occasionally plays obscure or homemade instruments like a chazoid (small guitar), potarth, deralator, creel and a blator. Occasionally, the music may mildly hint at having a similarity to Captain Beefheart and Frank Zappa recordings, but the comparison would be more accurate if they both swallowed as much acid as all members of the 13th Floor Elevators. Unforeseeably, with the support of Generation X’s large number of Nuevo-Hippies, Hampton finally achieved success in the early 90’s as Col. Bruce Hampton & the Aquarium Rescue Unit. He continues touring as Col. Bruce Hampton or with his various bands, and performs from private parties to mega outdoor shows like Bonnaroo. Hampton has also been successful as an actor in movies like Sling Blade and the cult classic Outside Out. [SLB]


"Bitter Sweet" 1967 (Monument mlp-8077)  [mono]
"Bitter Sweet" 1967 (Monument slp-18077) 
-- also released in France

Teenbeat including some pre-Beatle pop covers, an extended "Gloria" and inferior re-recordings of the band's local hits "What A Girl Can't Do" and "Faces". Despite the band's long-running popularity the album isn't very highly rated, unlike those excellent 45s.


"Piece of Mind" 1969 (Jubilee JGS-8028)  [gatefold; gimmick cover]

1969's self-produced "Piece of Mind" is unlike anything else in the Happenings' catalog. Like many of their contemporaries (The Four Seasons and The Tokens readily come to mind), this album was apparently a last ditch effort to modernize the group's sound in the hopes of expanding their rapidly dwindling audience. The results aren't perfect, but anyone who knows these guys for hits such as 'See You In September' and 'Go Away Little Girl' will be amazed to hear original material such as 'Heartbeat', 'Living In Darkness' and 'Be My Brother'. With bassist Dave Libert and guitarist Bob Miranda responsible for the majority of the twelve tracks, the band turned in surprisingly impressive slices of lite-psych and rock. An impressive blend of their patented harmony vocals and some interesting studio effects, the set's high points are probably the rocking 'Don't You Think It's Time' and the six minute plus 'Imagine'. In addition to an interesting song structure the latter even sports a cool Eastern-flavored Bernie LaPorta guitar solo. One more song like that and the LP would've warranted four stars. Besides, ever imagine you'd hear these guys singing a song entitled 'Where Do I Go / Be In (Hare Krishna)'? Mind you, old habits die hard and it was probably too much to expect the group to totally abandon their old ways. 'Cold Water', 'New Day Comin'' and the country-flavored 'Piece of Mind' were sufficiently schmaltzy to appeal to their older fans. The bizarre cover art is almost worth an additional half star. [SB]


"Happenings At The Gathering" 1968 (KFUO 68-4585, 3LPs)

Three-LP set from Lutheran shindig of note mostly for containing several tracks of John Ylvisaker doing acoustic versions of some of his Avantgarde LP favorites. The rest is a mixed bag of Christian sounds.

HARD KNOX (East Haven, CT)

"Roughcut" 1982 (RC 1001)

Self-released hardrock/AOR mini-LP in primitive cover. There was a pre-LP 7".

HARD TIMES (San Diego, CA)

"Blew Mind" 1968 (World Pacific wp-1867)  [mono]  [1]
"Blew Mind" 1968 (World Pacific wps-21867)  [stereo]  [1]
"Blew Mind" 2004 (CD Rev-Ola, UK)  [+bonus tracks]

Cool jangle guitar pop rockers with harmonies and a dreamy psych title track. With Larry Byrom (Steppenwolf, T.I.M.E.). Band member Rudy Romero later had a solo LP on the Tumbleweed label.


"Hardwater" 1968 (Capitol st-2954)  [1]

The Astronauts trade in their surf licks for fuzz guitars, and the world is for the better. Nice, if slight, jangly guitar popsike. Three songs here are also on the Yankee Dollar album, though overall I think this is actually a better record. It’s not the most original album, but if you’re a junkie for the sound you’ll enjoy it. [AM]


"Harlequin Mass" 1978 (Mass Productions mas-333) 
"Harlequin Mass" 1994 (CD Mellow, Italy) 
[+bonus tracks]

Indie label prog album that sounds pretty much like the major label prog bands of the era. Slick production, competent instrumentation and ambitious ideas don’t make up for a lack of songwriting inspiration. There’s some cool synth and some decent guitar, but other than the very catchy “Loss Of A Friend” the songs tend to drag. The female lead vocalist (on about half of the songs) has a nice voice but not a whole lot of charm. Some regard this one highly, but then again some people like Kayak and Camel. The CD also contains their post-LP 1982 EP (done as Stubborn Puppet). Despite being a local release, copies seem to be plentiful at this point. [AM]


"Harper and Rowe" 1968 (World Pacific wps-21882)  [gatefold]

Flower pop studio psych that came out a lot better than it should have. Fun loungy cheese vocals and lyrics, nice trippy cover.


"Harumi" 1968 (Verve Forecast ft-3030-2)  [2LPs; gatefold; mono; wlp]   [1]
-- printed promos also exist
"Harumi" 1968 (Verve Forecast ft-3030-2)  [2LPs; gatefold; mono]  [1]
"Harumi" 1968 (Verve Forecast fts-3030-2x)  [2LPs; gatefold; stereo]
-- a German pressing exists

Japanese psych featuring many native instruments, has attracted some minor cult appeal over the years. Vocals in both English and Japanese.


"Havenstock River Band" 1972 (Impress imps-1615)  [gatefold]

Rural guitar piano rock, barband sound with Christian concerns. Led by Glenn Yarbrough.


"Genuine Electric Latin Love Machine" 196  (Command)  [gatefold]

Credited to Hayman it's actually Walter Sear providing the electronics and Vinnie Bell plays sitar (gotta love those Latin sitarists!).  Classic moogertronics.


"I Shall Be Released" 197 (Resist bh-101)

Houston label release from local college student, originally from Missouri. It’s early 1970s solo guitar folkie peace, love, and protest, with half cover versions (such as the Dylan title track). Haymes had a second album on Resist in the mid-‘70s, titled USA, and a more recent CD release as well.


"The Guide, Part 1" 1982 (KVH)

Guitar keyboards space progressive from ex-Aliotta Haynes Jeremiah guy.

HEARD (Lawrence, KS)

"Heard" 1967 (Audio House acetate) [1-sided 10” acetate]

Drawing members from two local high-school bands, this 1-sided album offers four tracks and a total of 11 minutes to get into the Heard trip. The band is a lot more energetic than the Chosen Ones, with an obvious ambition to create a true soul groove rather than just sanitizing Memphis numbers for the wedding crowd. Vocalist -- none other than future Nashville music biz mogul Garth Fundis -- sounds like he would fit better in a snotty garage band but gives it an enthusiastic shot anyway. Apart from a charming, energetic opener ”I Dig Girls” the tracks are played unusually slow which combined with a confident drummer makes it sound almost late ‘60s in execution. Did I mention that there’s a full horn section? The sound is remini¬scent of some of the more bizarre Justice label teen acts, with a strong recording and a nice live feel to their advantage. Not garage nor psych nor beat, this is a Midwest horn band doing Billboard r’n’b 100 covers. The vocalist and bass player later joined the Upside Dawne. [PL]


"At Last" 1978 (Armadillo arlp-78-1) 

Hard guitar blues rock.


"Hentchmen" 1966 (Sanders no #) [no sleeve]

Teenbeat demo LP from NYC recording studio.


"Here Comes Everybody" 1974 (Cab 101)

Westcoast sound stoner bar-band with side-long "L' Opera: Johnny Got His Raygun", in handmade cover.


"Dope on Dope" 1970 (Cold Shot Enterprises)  [2LPs; gatefold]  [1]

"Dope on Dope" 1971 (Enterprise ens-1022) 
-- credited to Hevy Gunz. This is an edited down version of the double LP.

Goofy comic radio show about the joys of dope! Mix of spoken word and heavy guitar tracks.


"Music From Mountains, Rivers And Oceans" 197  (no label 45640)

Eastern influenced trance folk.


"Highwind" 1980 (Forum FR 1001)

Pomprock-AOR with keyboard & guitar. The band worked on this LP for more than a year, and had some heavy music business names involved.


"Hill Country Faith Festival '74" 1974 (ACR-KNO-BEL 33-7427)

Moody Christian folk with a good pre-LP Redemption track. Also has Trinity, Cliff Lockear, Glory Bound, Children of Faith. Lo-fi recording and noisy press.



"Hillmen" 1970 (Together 1012)  [1]

Bluegrass folk with Chris Hillman (Byrds).


"It Takes So Long But It's Worth Waiting For" 1976 (Tiger Lily 14021)  [2]

One of the most obscure titles on the infamously obscure Tiger Lily tax-scam label, 1970s soul-rock that may have been recorded earlier than the release year. Interestingly, a "Steven Hines" wrote most of the tracks on another Tiger Lily album, a soul-oriented title by Clydie King (TL 14037), and also plays keyboards on it. Hines collaborated with female soul singer C M Lord, who wrote several tracks on this LP.


"Danny Holien" 1972 (Tumbleweed TWS 102)  [gatefold; booklet]

Steven Stills-style singer/songwriter on an indepent Denver label that had several interesting releases around this time. This one actually made a brief entry into the album charts. Holien also appears on the Robb Kunkel LP.


"Holding Pattern" 1981 (Savy) [mini-LP]
"Majestic" 1991 (CD Art Sublime) [reissue of album + bonus tracks]

Mostly instrumental progressive mini-LP with four tracks inside a weird cover of a giant hand grabbing a 747. Similar to Yes with guitar, mellotron, moog, etc.


"Holy Modal Rounders" 1964 (Prestige Folklore 14031)  [1-2]
"Holy Modal Rounders" 1966 (Prestige 7451)
-- renumbered reissue of the debut
"Holy Modal Rounders" 2003 (CD)

This groundbreaking debut LP contains the first known use of the word "psychedelic" on a rock/folk album, in the band's interpretation of "Hesitation Blues".

"2" 1966 (Prestige 7410)  [1]
"Holy Modal Rounders / 2" 1972 (Fantasy 24711)  [2LPs; gatefold]
-- reissue of both Prestige LPs

"Indian War Whoop" 1967 (ESP 1068)  [mono]
"Indian War Whoop" 1967 ( ESP 1068)  [stereo]
"Indian War Whoop" 199  (Get Back, Italy)  
"Indian War Whoop" 199  (ESP-Base 1068, Italy) 
"Indian War Whoop" 199  (CD ESP 1068, Germany)   

"The Moray Eels Eat the Holy Modal Rounders" 1967 (Elektra eks-74026)  [gold label; wlp exists]
"The Moray Eels Eat the Holy Modal Rounders" 200  (Sundazed)

"Good Taste is Timeless" 1971 (Metromedia 1039) 

Acid folk comic rock. The Prestige LPs are acoustic folk. The ESP and Elektra LPs are electric and catch the band in acid rambling mode, peaking on the essential "Moray Eels..." which sounds like the Fugs crossed with Firesign Theatre. [RM]


"Holy Moses!!" 1971 (RCA LSP 4523)

This is a rocking bar band with a sense of humor and a crazy, unrestrained vocalist who’s as much of a storyteller as a singer. The guitar playing is often pretty hot, and most of these songs are really catchy. I don’t expect fans of straight hard rock to necessarily take an immediate liking to this (except for the 8 ½ minute “Bazaraza Bound,” which has some really grungy fuzz guitar), but I get a kick out of it. Rock and roll is supposed to be fun, right? Band members have connections to Kangaroo and Lothar & The Hand People. Also, they’re really hairy. [AM]


"Home Folk" 1979 (no label)

Young west coast hipsters wear their back-porch, country/folk influences on their sleeve. Six of the ten listed songs are mostly average s/sw ballads with piano and backing band or traditional fiddle-fueled instrumental barnyard dance music. One of the three s/sw tracks, “Where I Want To Be”, stands above the others with a warm rural folk sound of female vocals, acoustic guitar and generous servings of pedal steel guitar hooks. Another friendly track featuring pedal steel is a happy country song with dreamy female vocals and a grooving beat titled, “Together Again”. For me, the best song that makes this record a keeper is the impulsive west coast folk rocker, “It’s So Easy”. It’s the album’s longest song that starts off mellow with just strong female vocals and acoustic guitar, then it slowly builds into a climax consisting of a driving rhythm section along with the electric guitar and fiddle jamming together as they meld their individual lead parts effectively. Include two more agreeable folk rock tracks and a unique version of “Orange Blossom Special”, which opens with a haunting and mind-bending introduction that is different from any other version of this classic song. Most of Home Folk’s material is lacking but they do have some good tracks making their album a curiosity worth investigating, providing the listener finds this style of music appealing and not reasonably priced. [SLB]


"Shindig" 1966 (Palacio 6162, Venezuela)

A US band with a Venezuela released record of mainly Stones covers and a couple of originals; whether a US pressing exists is unknown at this point. They later became the great Ladies WC.

HOMESTEAD (Toronto, Canada)

"Every Living Thing Has a Place In God's Heart..." 1969 (Nimbus 9 NNS-104)

Can't tell you anything about this short lived Canadian duo other than Bill King wrote all eight tracks and played keyboards. John Finley handled the vocals and Jack Richardson produced their sole album, 1969's cleverly titled "Homestead". So what's it sound like? Well, the first time I played the set it simply didn't make much of an impression on me. Conventional folk-ish duo yawn... Well the good news is that it really isn't a folk set and I don't know why I thought it was. While Finely and King are the only two folks credited, most of the eight tracks sport conventional rock backings and there's little in the way of typical folkie acoustic moves. Whoever he was, Finley had a nice voice and King was quite a diverse writer, capable of handling all kinds of genres including catchy rock (the blazing 'Woman'), and even fusion-meets-Santana jazz (the instrumental 'St. Mark's Place'). Best of the lot were the lead off track 'Anthem' (sporting a church choir that actually works) and the pretty instrumental suite aptly titled 'Suite'. Mind you, the activist lyrics haven't aged too well and the chorus on the ecology-message 'Every Living Thing' sucks. There's no way this album will change your life (or even your afternoon), but then I've heard lots of heavily hyped stuff that's far worse. [SB]


"Out of the Clouds" 1980 (OSR)

Ethereal progressive folk with synths. With two members of Farm (on Crusade).


"Gets It On" 1970 (Century 38672)

High school band doing stoned covers of Led Zep and more. One of the more popular titles in this 'genre', but hard to find.


"The Horde" 1967 (JCP C 201)

A previously undocumented garage/teenbeat era album that turned up in 2010 and was promptly sold for $1700. A fairly hip line-up of covers that includes Love, Yardbirds, Stones, Blues Project (with cool fuzz/organ break) and more, and two excellent band originals, with a ballsy Animals/Them sound on one and an early psych, Electric Prunes influence on the other. The record came without a sleeve which combined with its previously unknown status suggests that it may be unreleased, beyond a few test pressings. In any event, a quite interesting addition to the already very fertile mid-60s album scene of the Carolinas. The band were students at Duke University and had a 45 out on the same label. [PL]

HORIZON (Sarasota, FL)

"Horizon" 1978 (Sweet Spirit SS1608)

Mellow Christian '70s rock with a generic, friendly sound typical of period bands. Nothing sticks out in the AOR mix of melodic guitar figures, overly meek lead vocals and westcoasty harmonies, and the songwriting offers no hooks or strong choruses to grab you. Unless you're a believer, this is mostly of interest due to a great cover of a hooded figure on horse slaying a dragon.


"Popcorn" 1972 (Musicor ms-3243)  [gimmick cover]  [1]
-- rarer issue with die-cut fold-out popcorn box cover
"Popcorn" 1972 ( Musicor ms-3243)  [standard cover]

Moog rock including surf covers! 


"Openers" 1970 (Rama Rama rr-78)  [gatefold; wlp also exists]  [1]

HOUR (New York City, NY)

"Hold Back the Reins" 1989 (Sunnyata)  [lyrics; 300p]

Modern folk psych with electric guitar. Dealers like to neglect to mention the release year when offering this.


"Been Gone Too Long" 1975 (Mark WD-1238)

A somewhat endearing one man jesus folk record with heaps of wah wah guitar and it's principally the wah wah & the mild mannered vocal delivery that will win some folks over. Howell's singing style recalls acts like Fenner, Leland & O'brien or Down From Nothing - meek & mild mannered but, lord knows, i wouldn't put him in charge of my flock were i trying to build a congregation and yet that's probably what makes it more endearing than the overdetermined group sing of so many jesus records. Nevertheless, the lyrics and the lightly strummed guitar quickly become pretty derivative because they're so utterly rudimentary & undynamic. Exceptions might be the great album closer "Judgment" where Howell almost gets swallowed by the WAH and even ventures into an overdubbed lead solo. Overall, a few keepers for kicks but not the sort of thing to file away. Same custom label as Agape. [Dawson Prater]


"Hubbels" 1969 (Audio Fidelity 6221) 

Trippy folk pop originals with some fuzz and sitar. [RM]


"Memories" 197  (Peon lsp-1313)

Early 70s southern rural rock with Travis Wammack on guitar.


"Invasion" 1979 (Reveal RC-77-2)
"Supra Surge" 1980 (Reveal RC-77-3)

Heavy space freeform psych/prog from a group of communal heads, with fuzz and atmospheric keyboard. Not for everyone, and not very expensive. There is also a cassette release titled "Long Awaited".

BOB HURD (Los Angeles, CA)

"Bless The Lord" 1976 (no label)

Early release from Christian student and composer, who would continue to record and perform extensively. This is a low-key singer-songwriter LP with good vocals, acoustic guitar and flute; the music is quite secular while the lyrics are humble Jesus praise.


"Sandy's Album is Here at Last" 1968 (Verve/Bizarre v6-5064)  [blue label]

Produced by Ian Underwood (Mothers of Invention). The cover has a photo of Frank Zappa on television. She later changed her name to Essra Mohawk.


"Hustlers" 196 (Voice 8965) [no sleeve]

Teenbeat obscurity on Florida label.



"What If We Gave a War?" 1969 (Gigantic)  [1]

Midwest female country rock. She wrote "Judy" on the Hickory Wind LP and was connected to the label owner.


"Moog - The Electric Eclectics of Dick Hyman" 1969 (ABC Command 938-S)  [gatefold]
"Moog - The Electric Eclectics of Dick Hyman" 199  (CD)  [+bonus tracks]

Dick Hyman's been recording since the 1940s, but most of his catalog is jazz oriented, which is an area that I don't have a great deal of interest in - guess I'm simply too dense to understand the genre's complexities. As you've probably guessed, this 1969 album is way different from Hyman's normal repertoire. Regardless, this is one I picked up for the wild cover art. It wasn't till I played it that I even knew I'd heard the track 'The Minotaur' before. Hyman's one of the first well known musicians to embrace synthesizer technology and 1969's "The Electric Eclectics of Dick Hyman" is basically a 'look at what you can do' showcase for those experiments with the new fangled technology - particularly the Moog synthesizer. Self-produced, the album showcased a series of nine Hyman originals, including the unexpected hit 'The Minotaur' (which ELP basically ripped off for their own 'Lucky Man'). All instrumental, the set bounces all over the musical spectrum from conventional pop ('The Legend of Johnny Pot'), to outright experimentation (''Four Duets In Odd Meters'). The sound's certainly somewhat dated, occasionally recalling an early Atari video game (remember this album's now some 35 years old), but the LP has a bizarre charm that's simply hard to adequately describe. Call it a personal favorite in the bizarre category ... Hyman provided great liner notes that described what he was trying to do with each composition. (By the way, I wasn't kidding. Released as a single 'Minotaur' b/w 'Topless Dancers of Corfu' actually went top-20 in the States.)  The album's been rediscovered by a younger audience thanks in part to Beck having sampled it for his 1996 "Odelay" LP. I think De La Soul borrowed part of 'Improvisations In Fourths' for one of their album. Anyhow, the album's even seen a CD reissue, with a couple of bonus tracks.  [SB]

"The Age of Electronicus" 196  (Command)  [gatefold]  [1]

Instrumental moog pop and rock covers. The Command LPs have 'action stereo' sound. [RM]


"Bootleg Music" 1971 (SSS International 22) 

"H.Y. Sledge was a Florida band, and some of the members had backgrounds in 60s garage bands -- Jan Pulver, for example, was in Those Five, who had recorded for the Paris Tower label. A couple members of the Outlaws were in H.Y. Sledge, so Outlaws fans have an interest in the album." - Jeff Lemlich

FRANK IANNI (Cleveland, OH)

"No Moon Night" 1977 (Night Wax)

This album is an obscure private press, but has the look of a major label LP, with the album and artist title on the spine, and some copies have a punch hole, implying some sort of nationwide distribution. Ianni is basically a 1970s pop songwriter with a decent songwriting sense but not a whole lot of inspiration. These songs are pleasant but not especially memorable. Even a power pop nut like myself finds this pretty bland. There's not much here for the psych or prog fan either; the arrangements are tasteful but completely conventional. For some reason this album has been mistakenly described in various catalogues as ‘soul’, ‘new age’, and ‘Beatlesque pop’. It certainly isn't the first two, and it's too complimentary to describe it as the third. [AM]


"Inter-Dimensional Music Through Iasos" 1978 (Unity ur-700) 

Meditation sounds with electronics alongside guitar, drums, flute, bells, etc.

I.H.S. BAND ( )

"The Answer" 1980 (Forrest Green fgs-102)

Crude x-ian rural rock sound with some heavy guitar on a couple tracks.


"Distances" 1976 (Northern Lights)

"Sapphire House" 1978 (Northern Lights)

Described as being more new age than pop/rock.


"Iltar" 1977 (Tiwa 777)

Stoned progressive/jazz-rock a k a "new fusion". Fuzz, sitar, flute, sax.

IMPROMPTWOS (Fort Hays College, KS)

"On Campus" 1964 (no label)

Really horrible folk with Val Stoecklein (Blue Things). [RM]


"The Great Grizzly Bear Hunt" 1969 (Poison Ring 2240) 

Live hippie folk jugband. Not especially meaty, but harmless backporch fun.


”Inklings” 1971 (Century 39704)

Studio recordings out of Eastern Baptist College, in St. Davids, PA. Consists mostly of poetry readings but is notable for Dave Bollinger’s long version of Neil Young’s ”Last Trip to Tulsa” and his pleasant-enough take on Graham Nash’s ”Lady of the Island,” along with some nice, improvisational acoustic guitar interludes by Lance Elko. [RP]

INN CROWD (Baton Rouge, LA)

"Live At The Bellemont" 197 (Continental 100 484)

Based on their album cover photos, the Inn Crowd appears to be your typical seventies hard rock band that play kick ass music! However, upon closer inspection, the rear cover reveals they favor mostly overplayed cover songs better suited for slow dancing at a high school prom or wedding reception. For instance, such standards as the theme song from Love Story, With a Little Help From My Friends and He Ain’t Heavy, He’s My Brother. Even though they are a five piece band ( bass, guitar, organ, drums & lead vocalist), they have a sound that’s dominated by the singer and organ player, making them sound more like a lounge act than a desirable hard rock band. The only true rocker track with unharnessed energy and overdue guitar leads is the bands’ version of Evil Woman. The album opens with the Buffalo Springfield song, Nowadays Clancy Can’t Even Sing, and sounds nothing like the original recording. Instead of lead guitars, you get a version that replaces most of the guitar parts with Hammond B3 organ. Not bad, but not great either. Some hardcore Neil Young loyalists might see it as an insulting abomination designed to incite angry fans to react by posting bitchy, child-like messages all over the internet. They then follow with an eight-minute version of Feelin’ Alright (Traffic) with heavy organ, loud drumming and ranting vocals. It is an interesting interpretation but, after about five minutes into the song, it becomes monotonous and dull. The last song on the album, Insight, is the only original track that is nothing more than a boring drum solo and less than two minutes long. Overall, some lounge fans may like this album but most hard rock fans will hate it. There was another Louisiana band with the same moniker but played garage music, recorded three singles during the sixties and no relation to the band mentioned here. [SLB]


"Inner Dialogue" 1970 (Ranwood r-8050) 

"Friend" 197  (Ranwood r-8074) 

Soft pop floater with female vocals. Fans of Free Design might enjoy. [RM]


"Inner Pilgrimage" 197  (Atma) 

Eastern drone psychy sounds trio with Roop Verma (sitar), Narendra Verma (tabla), and Tracy Andrews (tamboura). [RM]


"Beginnings End" 1977 (no label)

Seedy femme-vox lounge-rock with appeal for genre fans, in a psychy cover.


"Innovation" 1970 (Birchmount 577)

Dorky-looking guys & gals folk quartet. Of interest mainly to completists, but surprisingly hard to find.


"Insect Trust" 1968 (Capitol skao-109)  [gatefold]

The Insect Trust in many ways are the only American folk-rock band to be a legitimate US equivalent to the most successful UK folk-rock bands. They came from a truly American musical tradition, blending every old American musical style (folk, jazz, blues) and many different instrumental approaches into a sound that fit their own time. The first album should appeal to any folk-rock fan, with a great batch of songs and nice female and male vocals. It often gets quite wild, with a few long freaky songs that are easily worthy of the psychedelic cover design. [AM]
The debut offered up an impossible to describe aural grab bag of influences, incorporating influences ranging from 1920s-era anti-war tracts ('World War I Song'), bluegrass ('Foggy River Bridge Fly'), C&W, jazz, discordant avant garde (the second half of 'The Skin Game'), blues (the blazing 'Special Rider Blues') and what would even pass as a precursor to today's world music genre ('Going Home'). Propelled by Jeffries' crystalline voice and the band's penchant for unusual instrumentation and bizarre arrangements (often within the same song), to my ears the results were simply fascinating. Personal favorites; the mesmerizing 'Miss Fun City' and the sweet ballad 'Been Here and Gone So Soon'. [SB]

"Hoboken Saturday Night" 1970 (Atco sd 33-313)  [gatefold]  [1]

The second album is even better than the first, albeit likely to alienate those looking for another variation on a San Francisco-style folk-psych album. They reach back to the 20s, musically and lyrically, throw in a long mostly instrumental jazz piece, make time for a rocking feminist ode, and take the lyrics into childish, historical and political realms. A huge mishmash, but clearly of a holistic vision, and exceptionally well done. This is a totally great album. [AM]
Still unique among performers, this found the band continuing their earlier experiments in merging diverse musical styles. Stylistically all over the map the album found the band taking stabs at everything imaginable including bizarro folk-rock ('Trip To Me'), Stax-styled instrumentals ('Ducks'), bouncy country-rock ('Reciprocity') and free form jazz-rock fusion. While she wasn't the world's greatest singer, Nancy Jeffries again displayed a light and surprisingly attractive voice, while the rest of the band displayed a consistent sense of taste and style; wish BS&T and Chicago had as much imagination and restraint when it came to horn charts ('Ragtime Millionaire'). All over, the set exhibited a hard to describe charm that makes it a lost classic. "The Eyes of a New York Woman" featured lyrics written by legendary novelist Thomas Pynchon. Pynchon threatened a lawsuit, demanding the album be withdrawn, but settled with the band. [SB]


"Passing With Out Notice" 1982 (Intrusion) 

Symphonic keys progressive with basement playing. ELP-style bombasticism with three percussionsists. Great sci-fi cover, too bad they had to put a record in it. [RM]

PETER ISAACSON (Huntington Beach, CA)

"Sings the Songs of" 1971 (Altair akc-s107) 
"Sings the Songs of" 1971 (RCA LSP-4383) 
-- major label reissue with one track replaced

Late 1960s open mike quality Huntington Beach, CA folkie doing dark folk covers of Dylan, Donovan, Lightfoot, Hardin, Joni Mitchell. The LP was also released as by "Greg Lee" with different cover art.

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"Ivar Avenue Reunion" 1970 (RCA lsp-4442) 

This impromptu jam session is actually quite listenable, more so than, say, the Mill Valley Bunch album. Barry Goldberg, the ubiquitous Neil Merryweather, Charlie Musselwhite, and Lynn Carey are the nucleus of this batch of friends who sound very comfortable together here. A couple of excellent songs that obviously had been planned for other purposes make nice appearances here and Carey’s vocals are a pleasure as always. Slight but fun. [AM]