"Jacob's Creek" 1969 (Columbia cs-9829)  [360 label; lyric insert]

Mixed bag of early rural rock, dreamy harmony vocal flower moves and heavier tracks with acid leads and BS & T moves. Cool long eastern track with sitar too.


"Alone" 1975 (Yi Yi 257275)

Christian progressive rock with good guitar. This has recently been confirmed as a work of the same guy as on the classic Felt LP on Nasco. Jackson plays all instruments on this album, which he followed with the major label Neon Rose, credited to ‘Mychael’ (RCA/Free Flight, 1978).


"I Dig That West Coast Sound" 1966 (Modern Sound 561) 

Budget exploito surf and Mamas & Papas covers. [RM]


"Songs Of A Songwriter" 1975 (no label)  [200p]

Demo LP from melodic 1970s rock/prog multi-instrumentalist with full rock setting, some percussion and lots of keyboard.


"Good Times & Bad Times" 1976 (Tiger Lily 14053)

This is a rather bland Tiger Lily album, average 70s rock somewhere between rural rock and singer-songwriter music with just a touch of roots rock. James has a sincere deep voice that isn’t entirely suited to the music, which is well-played but unadventurous throughout. Unlike similarly mainstream Tiger Lily albums like, for example, the Steve Sherman LP, there’s no one real standout song to perk things up a bit. 'Jay James' owned the studio where hardrock legends Stonewall recorded their Tiger Lily album, and Stonewall's drummer appears on this musically disappointing LP. [AM]


"Jamul" 1971 (Lizard a-20101) 

Dirty, hairy rockers whose music is every bit as grungy as the album cover would lead you to believe. Gravel-voiced no-nonsense singing and dirty-sounding rhythm guitars add to the appeal. They do cover three well-known songs here, but change them around (different tempos, rhythms, etc.) The best songs are the upbeat originals, but all of it is good. This is in many ways what a hard rock album should be — honest, rough and slightly pissed off. [AM]


"First Time From Memphis" 1969 (Enterprise ens-1004) 
"First Time From Memphis" 199  (CD Akarma 030, Italy) 

This band is half-way between the Airplane-style psych wannabes and the Joplin-style hard rock wannabes. It’s hard to explain why, but it just doesn’t work. It’s got a powerfully-voiced female singer, loud guitars and a lot of energy, but the sound is irritating rather than powerful, with the vocals too loud and the guitars too trebly. None of the songs are especially bad, but none are especially good either. [AM]


"Foreign Soil" 1980 (Windlord V47375)

Homemade one-man-band album primarily in a Genesis type UK prog style, including the arch vocal style popular among proggers. There's guitar tapestries and lots of keyboard noodling including regular piano with classical flourishes, dramatic arrangements and ambitious songwriting, and some pretty good guitar leads. The LP suffers from sub-standard drumming and uneven vocals, but may appeal to people who like Seventh Temple and such.


“Dancin’ In The Autumn Breeze” 1978 (Accent ACS 5095)

Hip yet cheesy Danish immigrant sister trio with a versatile mix of styles and a 1960s throwback sound. “You lit the fire” is especially memorable. No relation to the current jazz combo. This is the same label that had the great 1960s psych 45s, as well as the F J McMahon album.

JESTER (Long Beach, CA)

"Jester" 1978 (no label)


JIM & JEAN ( )

"Changes" 1966 (Verve Folkways ft-3001)  [mono]
"Changes" 1966 (Verve Folkways fts-3001)  [stereo]

Solid folk-rock album from a talented duo who were closely connected to Phil Ochs and Davis Blue (and cover both of them multiple times on this album.)   There’s not a whole lot of personality here, as they weren’t songwriters and most of the songs are somewhat familiar, but it’s a nice period piece with strong singing and pleasant instrumentation. [AM]

"People World" 1967 (Verve Forecast ft-3015)  [mono]
"People World" 1967 (Verve Forecast fts-3015)  [stereo]

The change is obvious from the album cover—while on CHANGES they’re politely-dressed, nicely groomed coffee-house types, here they’re free-loving hippies! Musically, they retain the first album’s strong folk-rock sense, but add a few experiments, start writing their own songs and create a wholly enjoyable album. A few catchy poppy melodies help hook the listener in to the moodier pieces. A long, occasionally humorous, version of Phil Ochs’ “Rhythm Of Revolution” takes up too much space on the album, but everything else here is ace. [AM]


"Guts" 1971 (Decca)  [1]

British group only released in the US, which is why it's included here. Bluesy hard fuzz rock like the harder Led Zeppelin tracks.


"Daybreak" 1971 (private)

Early selfreleased album from the softrock duo, pressed up in 1500 copies and sold at live performances. Vocal harmony folk-pop, softrock, some tropicalia moves. An expensive title among genre specialists. It is actually a US pressing of an album released in Brazil by their Brazilian producer as "Best Of Friends".


"Debb Johnson" 197  (Monolith MMS 7025)

Basically an all white jazz/rock group with four members named Johnson. Has about three great cuts providing you're not hornophobic.


"The Gift Of" 1970 (Amaret ST-5003)

One of many ambitious ‘personality’ albums that record labels put out in the late 1960s, this hits some unusual spots that may catch your interest. Stylewise it’s LA-type studio pop and folkrock going into early singer-songwriter, with light orchestral arrangements over a solid session band backdrop. The weirdness comes mainly from Mr Johnson himself, who projects a cabaret influence unusual for the field. His nasal, theatrical vocals give the album identity and coherence, and at least some of the songs go into definite showtune domains. Others, like the excellent opener, are more typical late 60s product from the post-Blonde On Blonde, post-Buckley zone. All over it sounds a bit like an early private press LP, although Johnson is still kept on a fairly tight leash by his management, and his narrow-range drama queen singing may grate if you’re not in the mood. Except for one track, it’s not really a psych album (unlike Rex Holman & co), but it’s certainly different. Possible gay interest. [PL]


"Cold Winds" 1977 (Rag Doll)

Rural Allman Bros-style rock-hardrock.


"Jokers" 196 (no label) [no cover; 1-sided]

Demo LP of garage covers.


"No Imagination" 1980 (Vinyl) 

Primitive electronics duo with distorted guitar. [RM]


"Soul of a Boy and a Girl" 1967 (Abnak abm-2068)  [mono]
"Soul of a Boy and a Girl" 1967 (Abnak abst-2068)  [stereo]

"Elastic Event" 1968 (Abnak abst-2070) 

Pop rock with psychy moves. Members of the Five Americans help out on "Elastic Event". [RM]


"You Ain't Dead" 197  (no label)  

Bluesrock with sax and powerful female vocals.

( ) 

"Willie and the Hand Jive" 1975 (AVI) 

Boogie rock featuring Dick Dodd (Standells) and produced by Ed Cobb. overall very forgettable but the title track is a good version. AVI was Ed's label.

JUICY GROOVE (Los Angeles, CA)

"First Taste" 1978 (no label) [picture disc; insert; 550p]

Various LA 60s survivors assembled by Rainbow Michael Neal for a pro-sounding late 1970s melodic rock excursion that includes three Sky Saxon numbers, among other things. Nice picture disc design. Not a rare LP. Much of the same gang turned up on the Rainbow Red Oxidizer LP (Bomp/Quark, 1980) which is more modern in style. [PL]


"Hidden In A Way" 1974 (private folk)

Midwest loner folk with unusual vocals, occasionally hyped but not an expensive album.

KANE'S COUSINS (Fort Lauderdale, FL)

"Under Gum Bubble Ground" 1969 (Shove Love st-9827)

This novelty album is by a co-ed bunch of goofballs who are more in the tradition of vaudeville/showtunes than rock and roll. Some of this is mildly shocking for its time, and it is all good natured and silly, but it's not really all that funny. A few songs have a garage-y edge to them, and the closing instrumental is a surprising free form freakout, but otherwise this is musically unexciting. The sides open with "Take Your Love And Shove It" and "Why Don't You Go Love Yourself," and that should give you an idea where they're coming from. One song is about Jim Morrison, and is the only serious lyric here. The album cover is full of gags, and is actually funnier than the record. Though the album was pressed on thick vinyl, the sound is pretty bad. Even sealed copies make lots of noise. [AM]


"Kangaroo" 1968 (MGM se-4586) 

One of the weakest Bosstown albums, featuring some noisy lead guitar that sounds cool for one song but becomes really annoying over a whole album. “Frog Giggin’,” by the ubiquitous N.D. Smart, is as bad as any song you’ll ever hear. The album’s saving grace is that Barbara Keith is a member and sings lead on two very good songs. Since the album is still cheap and these songs aren’t on a 45, it’s worth getting the LP for them. [AM]
see -> Barbara Keith


"Barbara Keith" 1969 (Verve)

Barbara Keith’s first solo album is an enjoyable singer-songwriter effort that makes a nice showcase of her gorgeous, fragile voice, but lacks any really killer songs. She also has an excellent non-LP single from this era. [AM]

"Barbara Keith" 1972 (Reprise ms-2087)  [wlp; insert]
"Barbara Keith" 1972 (Reprise ms-2087)

Barbara’s second solo album shows a huge gain in confidence. Despite her amazing vocal talents, she would end up being more successful as a songwriter than a performer, mostly due to songs on this album.  “Free the People” and “Detroit Or Buffalo,” in particular, would be covered by many, many artists over the decade (who else can lay claim to having songs covered by both Australian teenybopper heroes Sherbet and Swedish all-female glam band NQB?) Barbara’s originals are the best versions, though, by miles and miles. “Detroit or Buffalo,” in particular, is chill-inducingly good, the very apex of the singer-songwriter genre. The rest of the album, mostly folk-rock with a mild country twinge, is very good but not nearly at the level of these two classics. The album also includes a wah-wah laden version of “All Along The Watchtower,” which is why psych dealers hype the LP, but it’s hardly the best moment here. Almost thirty years later, Barbara would team with her husband and son and for the heavy rock trio Stone Coyotes, an intriguing turn in the career of someone who should have been a household name. [AM]
see -> Kangaroo


"Path of the Wave" 1969 (Sire)  [1]

Kelley's first album is less bluesy, more just plain weird rock than his second. He's got one of those voices that isn't exactly musical (in fact, he doesn't really sing), but is compelling and memorably expressive. There are some downer folk-like songs here that should appeal to psych fans. Enjoyable and unique stuff. [AM]

"Dealin’ Blues" 1971 (Sire)

Kelly’s second album is basically acoustic blues with an outlaw vibe and some surprising and effective use of moog. It’s stark, minimalist and full of personality, though by the end it gets a little samey. [AM]


"Food For Thought" 1974 (Unknown Records)

Mid 1970s rural poppy folkrock LP from guys with Jake connection via one band member. More of a band effort than ‘loner’, with some nice electric leads.


"Kentaurus" 1981 (Wakefield no #)

Hard rock-AOR with freaky vocals that has been hyped as metal and prog, but is neither. Despite the genre confusion, it has raised some interest among collectors. As many local albums from the era, the record sports an amateur drawing of a dramatic fantasy scene that would not have passed the quality control of a major record label.


“Godfather” 197 (Mongoose JK1000)

Mid-1970s loner folk in its own way, with songs like “Jinx man” and the bizarre anti drug statement “Don’t blow your mind” that get way deep and psychedelic. Early use of drum machine on some tracks. Keyes had a second LP, “Saloon”.

KEYMEN (Las Cruces, NM)

"Live" 1968 (Goldust lps-153)
"Surf Party A Go-Go" 1996 (CD Collectables 0685)
[part of LP +bonus tracks]

Dancehall organ, fuzz, r’n’b stompers. Despite the late date, a pre-Invasion sound in the Kingsmen raucous club style.


"Khalsa String Band" 197  (no label)

Communal spiritual hippie folk and singer/songwriter from members of the 3HO Sikh ashram. "America" is a jazzy folkrock groover, while "Song of bliss" is higher key piano and female vocal (by Singh Kaur) contemplation. Ultimately more new age than psychedelic, but a nice little obscurity. 


"Kick" 1980 (KM 5716)

Local hardrock.


"Starbound Lady" 1978 (Class Rock 10205) [blue vinyl]

Regional AOR/prog-rock band in a Styx direction, led by the Fritz twins. The band gigged in Canada with some success. The album is a ‘limited edition’.


"Kid Cashmere" 1977 (Guinness GNS36081)

Bluesy fuzz and P-funk on tax-loss label. Possibly recorded several years earlier.


"Kinbotes" 1986 (Nix –342)

Maybe the ultimate DIY lo-fi LP in rock history, putting Royal Trux, Sebadoh and all their 90's/2000's clones to shame. The recording and playing is crude and inept, but the songs all have clever lyrics and catchy melodies. The band is named after a character from Nabokov’s ”Pale Fire” who commits suicide at the end, an irony as tragically, one of the members later did so in real life. The opener, ”I Love Rock N Roll”, sets the tone with its scathing sarcasm about the (then) current state of rock music (”Today there’s more talent in rock & roll’ today’s singers sing about uplifting things.” and ”Don’t you think that Prince is better than Little Richard; with that pompadour, he looks like LITTLE RICHARD.”) The feedback-laden string-shredding guitar solo (if you dare call it that) beats out any other 80's/90's VU/Lou Reed wannabes. ”Rock & roll is worse than (arbitrary or our material). It’s excessive and it ruins songs!” The next song, ”Hang Around”, is a jaunty Kinks-influenced ramble with Ray Davies inflected vocals, and is as sloppy as anything the Davies Bros ever concocted. These two songs pretty much dictate the intended musical direction of the whole album - VU lo-fi sleaze melded with Kinkdom melodic sensibilities on the slower and less frenetic songs, though they are as lo-fi as the rockers. There is one other song worth singling out. A clumsy epitaph for Ian Curtis veers into a music hall chorus about ”The King of Comedy”. It has one of the more memorable attempts at rhyming (”Ian Curtis was a true original. His Jim Morrison influence was so subliminal.”) as well as a genius fragmented attempt at a piano solo that literally runs out of gas after about 10 seconds. The cover is as lo-fi as the sounds it contains. A wraparound slick is pasted on so it covers the LP opening and must be slit open to remove the record. The primitive cartoon-like drawing of the band shown as a trio even though they were a duo - the third is a friend who is listed as a member - or is it really Charles Kinbote himself? [MA]



"American Avatar/Love Comes Rolling Down" 1970 (Reprise 6353)  [gatefold]  [1]
-- released as by 'the Lyman Family with Lisa Kindred'
"American Avatar/Love Comes Rolling Down" 200  (CD, Japan)

A sort of companion piece to the Jim Kweskin "America" LP. This unreleased 1965 Vanguard recording by noted folk/blues vocalist Kindred was hijacked by the Mel Lyman Family acid cult in Boston and presented as a 1970 Lyman vehicle, even though it's for all practical purposes Kindred's album. The LP is not a rural folk LP in the retro-rootsy style that Mel Lyman favored, but rather an atmospheric urban afterhours scene complete with Miss Kindred’s husky, bluesy vocals and a weary, introspective last-cigarette type mood. Side 1 is great, with top-notch playing from heavyweights that include Bruce Langhorne and Geoff Muldaur, a two-fisted punch of the swampy “James Alley Blues” and a flowing “Good Shepherd” being as good as anything within the contemporary folk-blues style. Side 2 drives the same mood even further down into empty bourbon glasses and desolate NYC back alleys, but doesn’t really add anything to the already established vision. Even without the Lyman angle this album has gained a reputation among admirers of femme-vocal folk/blues, and rightly so. In view of the early recording date it has an impressive modern feel, and its unrelenting darkness may appeal to fans of Laura Nyro and Nico. [PL]


"The In-Sound From Way-out" 1966 (Vanguard)
-- released as by Perrey-Kingsley; collaboration with French composer Jean-Jacques Perrey

"Kaleidoscopic Vibrations" 1967 (Vanguard)
-- released as by Perrey-Kingsley; collaboration with French composer Jean-Jacques Perrey

"Music to Moog By" 1969 (Audio Fidelty afsd-6226)  [nipples cover]
-- on original covers the flowers have prominent human nipples
"Music to Moog By" 197  (Audio Fidelty afsd-6226)  [non-nipples cover]

"First Moog Quartet" 1970 (Audio Fidelity afsd-6234)  [1]

Moog rock now sound fun and electronic effects. Nice flower power sound on "First Moog Quartet". A Pierre Henry for the semi-cultured. [RM]
Of course, this is just a small slice of Kingsley's massive and important output, which includes religious works, soundtracks, avantgarde, and many more moog-related titles (incl mega-hit "Popcorn") than the ones listed here. Kingsley was born in Germany 1923 and moved to the US in the 1940s; he has lived and worked all over the contintent.


"Simplicity" 197 (Radnor 2002)

Native American a k a Tony Wright, folkrock with bluesy moves, raw vocals and some orchestration. Same label as Lumbee.


"Russ Kirkpatrick" 1971 (Altogether)  [1]
-- custom pressed by Capitol

Folk and folkrock mix.


"Sing and Sync Along with..." 1965 (Challenge 12-6-64)  [lyrics insert]  [1-2]
-- features a double groove 'trick track' that plays either of two songs. This LP is sometimes listed as "Lloyd Thaxton Presents the Knickerbockers".

"Jerk and Twine Time" 1965 (Challenge ch-621)  [1-2]
"Jerk and Twine Time" 199  (CD Sundazed)  [+4 bonus tracks]

"Lies" 1966 (Challenge ch-622)  [mono]  [1]
"Lies" 1966 (Challenge chs-622)  [stereo]  [1]
-- this LP is sometimes listed as "The Fabulous Knickerbockers"
"Lies" 198  (Line, Germany)
"Lies - Golden Classics Edition" 1993 (CD Collectables col-0531)
"Lies" 199  (CD Sundazed sc-6011)
  [+4 bonus tracks]

There is also an LP compilation on See For Miles, UK (1987), a CD compilation on Big Beat, UK (1995) and two CD samplers of best and unreleased tracks on Sundazed.


"Down In The Village" 1970 (Paramount PAS 5023)

The oddball album in Knight’s extensive discography is this heavy effort, featuring plenty-of Hendrix-like lead guitar. The ten-minute “Give you plenty lovin” is a room-clearer, as his repetitive screaming and the endless guitar noise goes way beyond the bounds of good taste. Some of you will really love it, obviously. Elsewhere it’s a solid set of soul and rock, given an edge by the heavy guitar playing and Knight’s street vibe. A worthwhile album. [AM]


"Scarlet Lady" 1977 (Rocking Horse 55)

Mixed bag of upbeat singer/songwriter and melodic '70s rock styles with amateur vocals that go all over the place. Full band setting with piano and some cutting guitar leads. Same tax-scam label as Random Element.


"Terry Knight and the Pack" 1966 (Lucky Eleven le-8000)  [mono]  [1]
-- a Canadian pressing on the Barry label exists
"Terry Knight and the Pack" 1966 (Lucky Eleven led-8000)  [stereo]  [1]

"Reflections" 1967 (Lucky Eleven le-8001)  [mono]  [1]
"Reflections" 1967 (Lucky Eleven les-8001)  [stereo]  [1]
"Reflections" 1967 (Cameo-Parkway c-2007)  [mono]
"Reflections" 1967 (Cameo-Parkway cs-2007)  [stereo] 

Garage pop. "Reflections" adds fake hippie moves. 'Dimestore Debutante', on "Reflections", is a hilarious ripoff of Dylan's 'Like a Rolling Stone'. 'Love Goddess of the Sunset Strip', on the same album, is classic plastic psych worthy of Kim Fowley. Pre-Grand Funk Railroad.


"Knowbody Else" 1969 (Hip his-7003)  [mono promo]  [1]
"Knowbody Else" 1969 (Hip his-7003)  [stereo] 

Southern hippie rock. Pre-Black Oak Arkansas.


"K.O. Bossy" 1968 (Toya tstlp-2003) 

Stoned blues folkrock. 


"Passion Creek" 1981 (Rave Records) [500p]

Though from the early 1980s, it sounds like a mid-1970s pop album, with acoustic rhythm guitars, electric leads and a mild folk-rock feel. It’s not energetic enough to classify as ‘power pop’. The best songs are the two lengthy side-openers, one with a strong guitar hook, and the other with lots of noise from synthesizers and backwards guitars. There are some other nice pop songs scattered about, as well. The album is a bit spotty, and on the lesser songs, an experienced producer would have helped. Some backing vocals and harmonies would have improved the songs, for example. This is a one man band album, which works for and against the material. In particular, it would have behooved him to hire a drummer. Despite the minor faults, the album is of interest because the good stuff here is quite a bit better than most in the style. Recommended to those who prefer erratic moments of greatness to consistent OK-ness. [AM]


"Hello World" 1979 (Limp Records 1002)

This local album has been listed as "hard rock" elsewhere, but is in fact a 100% recognizable late 1970s punk LP in a Ramones style. Enjoyable if approached correctly, but listed here mainly for reference.


"Songs of the Soul" 197  (Joy 103)  [1]

Mid-1970s LP from wellknown guru and spiritual community doing dreamy, eastern drone folk. Mixed vocals, tabla, tamboura.
Another release from the Ananda community around this time was "O God beautiful". Both these have been reissued on CD for the new age market.


"Indeterminacy" 1978 (Five To One)

Described as flipped out basement folk.

KRYSTALS (Montreal, Canada)

"Krystals" 1971 (Fourmost 8943)

Late beat/pop with keyboard-led covers of Hollies, Simon & Garfunkel, Chicago, and some originals. The release date has been listed elsewhere as 1968, which is obviously incorrect from the track list.


"The 1st Reels" 1980 (Reel Records 1980) [lyric inner sleeve]

Recently unearthed private pressed album of plugged in folk and folk rock that includes some subtle rural influences. According to the liner notes, the recordings occurred at three different studios around Ohio from 1974 until 1980. When Alex wasn’t playing all of the instruments and recording the material alone, he was recording other songs with the addition of one, two or three multi-talented musicians. The musical styles include stripped down folk with soothing harmonies to guitar jamming folk rock with a full band sound, impressive vocals and guitars combining intricate patterns of tasty music together along with an occasional lead guitar solo break. After six years of various recordings at different venues, I’m impressed that the mixing succeeds at making all the songs sound completely compatible without losing the mild basement aura associated with a few tracks. I honestly feel this record’s a private pressed bargain and still selling around $30 to $40. I’m sure once the record becomes scarce, the price will rise substantially!


"Chitlin' Circuit" 1976 (De Vine)

Guitar-driven Southern rock with a ZZ Top influence. The guitar playing has a strong fuzz edge, but the mixing with loud piano holds the music back from the wanted driving underground feel. The use of synthesizers in places is unusual for the style. There’s a cover of "Back door man".

FRED KUHN & LIGHT (Long Island, NY)

"A Song Of Gods Gone Mad" 1980 (Daystar 0001)

Here’s a 1980 folk album that is more weird than good. It’s not exactly satanic, but definitely pagan and strange. It includes a bass-and-vocals-only version of David Crosby’s “Triad” which makes an already creepy song even creepier. Some songs have pretty wild moog and others have twisted lyrics, but overall the musical sound is actually quite tame. It’s interesting when someone with this kind of sensibility heads towards folk rather than heavy metal, and this album is definitely a curiosity. It’s not really that good, though, as little moments (a phrase here or there, some synthesizer noise) stick in my memory more than do any of the songs as a whole. Nicodemus fans might appreciate it. [AM]


"No Deposit, No Return" 1968 (ESP-Disk)  [gold vinyl]

Urban edge folk from wellknown Fugs freak.


"America" 1971 (Reprise 6464)
"America" 199  (CD Reprise, Japan)

Folk/jugband legend whose vast output should need no introduction; however this obscurity has some interesting Incredibly Strange aspects apart from being an excellent, somewhat spooky folk-roots LP with great playing & vocals. Kweskin had fallen under the spell of Boston acid guru Mel Lyman and this album is essentially a vehicle and tribute to Lyman and his strongly felt ideas about the spiritual rebirth of traditional American values. The astrology-laden liner notes are unbelievable. [PL]

( )

"Mayan Canals" 1981 (Flatdisk 1037)  [translucent red vinyl; insert]
-- issue in a plain cover with a stamped Mayan symbol

Basement fuzz weirdness from guy who also published several books and collaborated with Kim Fowley and R Stevie Moore. Ends with a long, windy monologue about the Mayan canal system! 


"A Double Shot of" 196  (Sidra) 


"A Legend in His Own Mind" 196  (Uni 73076) 

Late 1960s psychy rock with studio horns and a loungy vibe. Described as "terrible" by one connoisseur.
see -> Alexander's Timeless Bloozband


"Last Day" 1972 (New Creation)

Familiar-sounding Christian melodic rock with a radio-friendly '70s westcoast sound, and better male lead vocals than the genre usually offers. The mellow, folkier tracks are probably the best. There's an unusual crossing over into old skool cool jazz via a skillful sax player, although this means that there are sax breaks where most people would have wanted guitar breaks. Christian specialists and Oregonians should nevertheless find this pro-sounding and friendly album worth checking out. There's a version of "One In The Spirit" which makes for an instructive comparison with local colleagues Wilson McKinley as to what separates major league Jesus Rock with the more mundane offerings.


"Last Ritual" 196  (Capitol skao-206)  [gatefold; rainbow label]

Late 1960s weak horn rock with trippy lyrics. 


"George Law" 1977 (Bongwater)

Rural folkrock. 

TERREA LEA (Los Angeles, CA)

"Conversations With The Heart" 1966 (Matchbox MRSA-1)

Veteran female folk artist & songwriter (originally from Missouri) with a backup band including Van Dyke Parks and Steve Mann. Sound has been described as intimate mid-60s folk with piano and harpsichord. She ran a coffee-house in West Hollywood and had several more releases.


"Led Balloon Jug Band" 1967 (no label)

Preppies folk blues jug band goof LP from Mount Hermon school. [RM]
see -> Silent Cheer


“Chubby Lee & Wild Country” 197 (Wild Country LP-1001)

Scary looking lounge quartet from Texas, in and out of tuxedos. Side 1 is their rocking side, leading off with a very soulless version of “Shaft” which inexplicably tails off into the “Mission Impossible” theme. Following is “Honky Tonk Women”, which has pretty much the same rhythm and harmonies as “Shaft”. A couple of r& b misfires leads to the side’s finale, a totally unpsychedelic version of “Magic Carpet Ride” with a long inept guitar & organ jam. Side 2 finds them going back to their country roots & the less said here about it the better. The band had another LP that is reportedly not bad rural/country-rock. [MA]


"Life Goes On" 1979 (Globe Export)

AOR private press done on the cheap (I'm sure the three solo acoustic guitar/voice and piano/voice songs would have had a full band if they had more recording time.) The opening title track bodes well, as it has a cool little synth interlude and some great layered wah-wah guitar, but nothing else really matches it. A lot of the album is mellow and meandering, and the slower the songs the more the vocal weaknesses are exposed. It's no accident that the best songs are the four upbeat ones. A spastic proggy keyboard interlude on one song is a pleasant shock and a mild new wave influence on a couple of others is nice. And at least they had the good sense to go for clear, distinct cheap production rather than muddy cheap production. This would have made an enjoyable 4-song EP, but it's a mostly dull album. One song is ignorantly titled "Your A Part Of Me." It's hard to believe that nobody in the band, recording studio, or pressing plant knew their grammar. No, wait a minute...in the rock and roll world that's not hard to believe at all.[AM]


"Betsy Legg" 197  (no label)

Unexceptional, fairly straightforward acoustic female folk on this LP, with covers of Dylan, Leonard Cohen, Hardin, Lightfoot. She looks and sounds sullen. 


"Woman In The Sun" 1968 (Epic BN 26383) 
-- this was issued with two different covers

Weird bluesy folky album with Indian themes. It was released with two different album covers, one a cheap-looking drawing and the other a rather unattractive photo. It’s pretty bizarre for a major label album, but musically not especially interesting. [AM]


"Blend" 1972 (Trim tlp-1972)  [4pg insert]

Latenite mixed vocal trippy folk by real natives. Flowing guitar, harpsichord, hand drums, bells... includes Neil Young and Phil Ochs covers. Good one! [RM]


“Let's Spend The Night Together” 1968 (Arc 728)

Canadian exploitation with six Rolling Stones covers, plus some Yardbirds, Small Faces, Troggs etc.


"Leviathan" 1974 (Mach-London)  [lyric inner sleeve]

While the thought of a three keyboard-propelled progressive-oriented line up is likely to turn off lots of potential listeners, in this case the results are actually worth hearing. Leviathan" has a distinctive progressive sheen though material such as the opening rocker 'Arabesque', the pretty ballad 'Angela' and 'Angel of Death' give the album a surprisingly commercial sound. The keyboardists prove surprisingly light-of-touch throughout the proceedings allowing guitarist Trimble to turn in some nice solos. Curiously, while various reviews we've seen compare lead vocalist Richardson to Robert Plant - don't believe it. Richardson's certainly a capable and professional singer, but he's nothing spectacular. At least to my ears the band's at their least interesting when pursuing their progressive interests. Tracks like 'Seagull' and the droning 'Endless Dream' sound like early Kansas throwaways. Mach was a Hi label subsidiary. [SB]


"Levi Strauss Salesman LP 1967" 1967 (Levi Strauss)  [10"; paper sleeve]  [4]

Features radio ads by Jefferson Airplane, Pacific Gas & Electric, and Sopwith Camel.

MARK LEVY (Felton, CA)

"Leviathan: In the Heart of the Beast" 1980 (New Clear)  [insert]  [1]

Rural folk with blues/jazz moves and prominent environmental concerns. Deep or breezy depending on your affinity for his outlook. Levy has released many more albums including "Risin Wind" (New Clear, 1981); his later work falls into various non-pop styles.


"Lewis & Clarke Expedition" 1967 (Colgems com-105)  [mono]  [1]
"Lewis & Clarke Expedition" 1967 (Colgems cos-105)  [stereo]  [1]

Pop/rock on the same label as the Monkees, and while this never sounds as slick as the Monkees, it also lacks the personality and songwriting that made the Monkees enjoyable. I'm a big fan of 60s pop/rock, but find a lot of this too silly and good-timey for my tastes. There's a tad bit of fuzz guitar and a "memorial to the American Indian," but really this is very lightweight. A few meodies catch the ear, but overall it's nothing special. [AM]


"Lexia" 1972 (MGM mv-5086)  [gatefold]  [2]

Soft pop psych floater. [RM]

LIC (Houston, TX)

"Just a Taste" 1979 (Big Dog 1001) 

Moronic hardrock.


"Cross the Border" 1967 (Kama Sutra) 

Bubblepop cheese. [RM]


"Disciples" 1981 (private)

Generic-sounding, fairly competent Jesus folk and singer-songwriter with ballads, dull male vocal harmonies and a 'mature' mood. One track has a child singing. Completely unexceptional to my ears.

LIFER (Bloomington, IN)

"Lifer" 1980 (Ribbon Rail)

Local AOR/pomprock obscurity, highly rated by some genre fans. Comparisons have been made to Kansas and early Styx.

LIGHT (Indianapolis, IN)

"Keys" 1981 (Abintra AR 13731)

Lush keyboard dominated soft progressive in the French style, with some sax. Shawn Phillips guests. Nice Roger Dean type fantasy cover.


"Heya" 1969 (Liberty LST-7634, Germany)
-- no US pressing exists; also released in France, Italy and the UK

This one initially attracted our attention due to the fact that Jim Stallings (aka J.J. Light) played bass on several classic Sir Douglas Quintet albums. At some point in time Stallings became friendly with West Coast Pop Art Experimental Band front man/resident eccentric Bob Markley. The result was 1969's Markley-produced "Heya!". Credited to 'J.J. Light", the solo project's quite good. Light wrote all 14 (!) selections, showing a nice touch for balancing commercial moves with more experimental touches. Anyhow, before going on any further, here's what the back cover liner notes say: "From the mold of 'early Dylan' comes this young, Navajo Indian - J.J. Light. His songs are unique and although they are not "message" songs, they show deep concern for the plight of his people and our society." Luckily the liner notes aren't exactly accurate. There are a couple of nods to his Navajo heritage (the title track and " Indian Disneyland"), but in spite of the illusions to sappy singer/songwriter moves, exemplified by tracks such as the fuzz guitar propelled "Follow Me Girl", "It's Wednesday" and "On the Road Now", Light's main interest is in rocking out. The opening rocker "Na Ru Ka" bares an uncanny resemblance to something from Tjinder Singh and Cornershop (though it was penned some three decades earlier). Elsewhere, to our ears there's no Dylan comparison (good thing), rather Light occasionally recalls a young Arlo Guthrie, albeit with a rock-ish edge ("Silently Sleeping"). [SB]


"You've Got a Friend" 1968 (Jewel)

"Fantasy and Reality" 197  (Jewel lps-142)

"Carry On" 197  (Jewel lps-211) 

E-z folk psych trio with 12-string guitar. Soft folk rock on "Carry On". Bob Morley also had a breezy folk LP on the label. [RM]

LINKS (Las Vegas, NV)

"Presenting the Links" 1967 (Link 501)

"Once Again and Again" 1967 (Link 503)

Funny bad lounge rock cover band with lots of accordion that's been criminally hyped as ‘garage’ and ‘folkrock’ by deaf record dealers in the past. They had five album releases in total.


"Liquid Smoke" 1970 (Avco Embassy ave-33005) 

Good heavy guitar rockers with growling vocals and a funky edge. [RM]

KEN LITTLE (Chicago, IL)

"Solo" 1973 (Dharma d-801)
"Solo" 1986 (Breeder 566, Austria)

Somewhat puzzling reissue pick from the old Breeder label, as "Solo" is neither rare nor particularly good, has proggy bluesy guitar workouts some might enjoy but isn't what most 1960s-70s fans would be interested in. "Trusting fool" may be the best track and sounds like early Rush. Harvey Mandel's involvement may attract some. The follow-up "Leanin' On The Bar" (Dharma, 1976) is rural rock/bar-rock.


"In the Woodland of Weir" 1968 (Fontana mgf-27578)  [mono; light blue label]  [1]
"In the Woodland of Weir" 1968 (Fontana srf-67578)  [stereo; light blue label]  [1]

Moody bluesy rock with interesting halting rhythms and fuzz. [RM]
The LP is disappointing compared to the tremendous r'n'b/garage 45s the band cut earlier.


”Little Caesar & The Consuls” 1966 (Red Leaf 1001)

A teen-beat LP from long-running band with goofy Roman soldier image, on the same label as the British Modbeats. Covers of ”Hang On Sloopy”, ”Dancing in the street”, ”Shout”, ”Just Like Romeo & Juliet”, etc. Like many Canadian mid-‘60s albums it’s a frat/club band throwback, more than 1966 garage. They had a national #1 hit in 1965.


"Mr. Guitar" 196  (San/ Don)

Christian rock, part instrumental with wailing guitars. [RM]


"The Guardian" 1982 (Solidarity)
"The Cool Truth" 1985 (Solidarity)

Mainly late 1970s recordings of freaky fringe blues-rock-anything sounds from DIY Polish guy who played Chicago street corners and clubs; has garnered many fans over the years. The name isn't too far-fetched, he really does sound like a slightly smaller (even at 6 ft 9) variation on the old blues legend at times. Comparisons have been made to both Albert Ayler and Abner Jay, take your pick. The guy supposedly did more than 30 45s, from which the two albums were assembled. The Heresee label has released some retrospective CDs. This artist (James Pobiega) shouldn't be confused with another Little Howlin' Wolf, a black guy named Jesse Sanders.


LITTLE JOE (San Francisco, CA)

"Little Joe" 1982 (private)
"Little Joe" 199  (no label, Europe) 

S F hardrock with Led Zep cover, original was on red vinyl while the boot is on black.


"Little Village" 1977 (Quiet Cannon)

Dual guitar bluesy hardrock.


"Live At Club Zayante" 1973 (Red)

Mellow acoustic folk of note for a Jerry Miller (Moby Grape) track, "One hand clapping".


"The Amazing Adventures of the Liverpool Scene" 1969 (RCA lsp-4189)  [gatefold]

Poets doing bluesy folk and satire. [RM]


"San Franciscan Nights" 1968 (Camden) 

Studio hack exploito. Many LPs are credited to this 'group', this one is of particular interest for being a sitar psych cash in. Cool trashy covers of Jefferson Airplane, Rolling Stones, Beatles, Procol Harum... [RM]


"Locomotive" 1969 (MGM se-4653) 

Psych rock with good heavy guitar.

LODESTAR (Springfield, OH)

”Lodestar” 1979 (no label)

AC/DC-style hardrock with wild vocals, wailing leads and a very real-looking group photo on the front cover. Good one. No relation to the El Paso band on ”I Love You Gorgo”. A Rite pressing, for those who track that plant.


”Mainstreet” 1974 (LD 101)

Rural bar rock sound with harmony vocals.


”Lodestone” 1981 (Lodestone 7268)

Hardrock with metallic edge, highly rated by genre fans. Good guitar. Some melodic ballads also.


”Fightin’ Society” 1981 (Star Struck Records TDS 020559)

Local hardrock/heavy metal led by Dino Livingston. The band later became Icon. This expensive, highly rated album seems to have been adopted by metal fans, so it falls outside the Acid Archives perimeter.


"The Lotus Palace" 1969 (Verve Forecast v6-8711)  [gatefold]

Exploito e-z raga rock with sitar, tabla, tambura, and strings going nuts including two Beatles covers.


”Lord Sitar” 1968 (Capitol st-3916) [rainbow label]

Session musicians featuring Big Jim Sullivan on sitar. Fun lounge instro rock with lead sitar, organ, and some bumble¬bee fuzz. Covers of the hip songs of the day including three Beatles’ covers. This is actually an English album, and included here only for reference.

LORQ DAMON (Milwaukee, WI)

"Journey To The Land Of Forgotten Dreams" 1973 (no label)  [insert]

Private press instrumental electronic excursion especially designed for late-night listening. Eerie, slightly atonal synthesizer sounds hover and float by. It's quite atmospheric and eerie, and reminds me of some of the space-themed early electronics albums from the 1950s-60s -- not aggressive noise, but a futuristic sense of things slowly drifting out of control and taking on their own life. Cool stuff, and a must for genre fans. [PL]


"Paradise Lost" 1970 (Rare Earth rs-518) 

Swirling organ and fuzz with tribal drumming. Ex-Unrelated Segments.


"Presenting" 1968 (Capitol st-2997)  [rainbow label]  [1]
"Presenting" 197  (Capitol sm-2997)  [yellow label]
"Presenting" 1994 (CD One Way s21-17960)  [+6 tracks]

"Space Hymn" 1969 (Capitol st-247)  [green label]  [1]

"Spores" 198  (TAKRL 1937)  [bootleg; insert cover]
-- outtakes from their studio sessions

Cracked sci-fi electronics folkrock featuring Lothar, a theremin. Classic stuff as good as Silver Apples and fun.

LOVE BAND (Berkeley, CA)

"The Oneness Space" 1975 (Living Love llc-1)  [gatefold; insert]

This is one of the dullest hippie commune-type records, with bland new agey folk with pretty but unemotional vocals and uninteresting songwriting. It was rumored that the HOUSE OF TRAX Marcus was involved in this record, but he was not. They are, however, mostly the same band as The Reunion Band. The naked drawing on the cover has probably inspired lots of folk/psych fans to buy this album. You have to be really willing to scrape the bottom of the barrel of hippie peace and love stuff to enjoy this. It makes the New Troubadours seem like geniuses. [AM]
see -> Reunion Band and Friends


"Love Generation" 1967 (Imperial lp-9351)  [mono]
"Love Generation" 1967 (Imperial lp-12351)  [stereo]

"A Generation of Love" 1968 (Imperial lp-12364)
"A Generation of Love" 2005 (Imperial/Scorpio)

"Montage" 1968 (Imperial lp-12408) 

Psychy soft pop rock. [RM]


"Live at Santa Claus" 197  (no label)  [no cover]

Mid-1970s avant goof weirdness with Zappa, Fugs, and Jethro Tull moves. [RM]


"Black Mass" 1971 (Uni 73111)  [inner sleeve]
-- a 2nd press on MCA exists; the LP was also released in Germany

In spite of the goofy title which leaves one wondering whether the band's name was 'Black Mass' or 'Lucifer', 1971's "Black Mass/Lucifer" is actually a Mort Garson solo effort. An all original and instrumental set composed on then state-of-the-art Moog synthesizers, it's kind of hard to decide whether Garson was trying to make an artistic statement about the dark arts, or was simply having fun showing off the technology's potential. The set's attracted a significant cult following over the years but to be perfectly honest, it's hard to see what all the excitement's about since the early-1970s technology sounds rather quaint and dated today. That in turn diminishes the set's longstanding reputation as being sinister and forbidding. Being stoned probably helps the ominous side a little bit. Material such as the title track, 'Solomon's Ring' and 'Exorcism' is certainly interesting (in a time warp kind of fashion), but this stuff isn't atmospheric enough to make it on a video game soundtrack. Elsewhere the title track sounds like it served as an inspiration for Mike Oldfield's "Tubular Bells", while 'The Rider of Aida (Voodoo)' sounds like a Kraftwerk outtake. [SB]


"Mary Catherine Lunsford" 1969 (Polydor 244051)

Mary Catherine is clearly a Joni Mitchell wannabe, but nonetheless she put together a very nice folk-rock album. Her vocals are like Joni’s without the annoying high notes, and there’s a sparklingly clear acoustic guitar sound that suits them extremely well. M.C. is a pretty good songwriter too, and this is a pleasant surprise, a one-off singer/songwriter album that’s much better than most in the genre. [AM]


Country_Joe_lbl2.jpg (36901 bytes)

"Goodbye Blues" 1968 (Custom Fidelity cfs-2348)  [blank back; 200p]  [4]
-- this LP was recorded in 1964-65 and pressed in 1968 by Joe as a gift to his friends. A few copies were enclosed in crude art covers unbeknownst to Joe at the time.

"The Early Years" 1978 (Piccadilly)  [2]
-- reissue of the Custom Fidelity material

Country folk. These are Joe's pre-fame recordings in a more traditional style. [RM]


"Bruce MacKay" 1967 (ORO 1) 
-- matrix reads ESP 1069
"Midnight Minstrel" 1993 (CD ESP espcd-1069)
-- retitled reissue; no vinyl re exists

Singer-songwriter and documentary filmmaker gets some studio help including Richard Tyler (Holy Modal Rounders). His wife, Tanya, plays melodica and pitches on with background vocals. Six long tracks with smokey, operatic vocals and keyboards, flute, atmospheric folkrock/early s-sw sound with a Dylan influence. On ESP-Disk offshoot label.


"Bug Cloth" 1968 (Uni 73026) 

"Passing Through" 1969 (Uni 73064) 

"Passing Through" is odd folky rock with backporch hippie moves and cover of Dylan's "John Brown". [RM]

BOB MCCARTHY (Cambridge, MA)

”Advice & Company” 1974 (Wandra 1000)

Coffeehouse folk and singer-songwriter with occasional band backing, including second guitar, bongos, violin, dobro, bass and drums. Has sold for decent money on occasion.


"The Rise And Fall Of Honesty" 1968 (Capitol) 

This is a case of an album that is better than the Common People and in a much better sleeve, but one where "Subtle" and "delicate" are the words to sum it up and not the heavy freak out you'd expect from the insane cover art of the duo amidst armageddon and a haunted house. With nearly all the songs cover versions including two by Dylan, but most old country standards you are instantly surprised when you hear what is done to the songs. The music on this record is very soft and extremely ancient sounding folk-psych with slight country tinges and sound effects. The music gets better with age and has the same dreamy quality of the wonderful Gandalf although in a different setting altogether. "Just Like A Woman" and "Tom Thumb's Blues" are done brilliantly, and this is a solid album. The gentle, spooky vocal approach is very nice and so are the arrangements including some backwards tapes and ringing 12 string guitars. For fans of soft folk psych and also fans of early country rock this is a rare and a really good one. -- Ben Blake Mitchner


”Magic” 1966 (no label 147606)

No relation to the ”Enclosed” band, this is obscure teenbeat with organ.

MAGIK (Canada)

”Magik” 1981 (Rayne)

Progressive hardrock/metal in a primitive cover.


"In New York" 1974 (F.R. Dickinson frd-102) 

Femme lounge quintet taped live March, 1974 at Le Jockey Club at the Hotel Americana in New York City. Mostly typical standards but also has goofy, smooth covers of Doobie Brothers "Long Train Runnin'", John Lennon "Give Peace a Chance", and Yes "Roundabout"! [RM]


"Journey Through An Electric Tube" 1969 (Solid State 18049) 

Trippy electronics effects. The LP is usually categorized as "jazz". Manieri had many more releases.

MAL (San Francisco, CA)

"Compendium Maleficarum" 1981 (Physiocrat 100006A) 

Basement avant prog spacy trip from Michael A Lucas (Phantom Surfers), with electronics, noise, synth. Lucas followed this with "Preacher From The Black Lagoon" (Physiocrat, 1983). Parody?


"Attention" 1969 (Canusa 113)  [1]
-- also released in France on Disc Az (altered cover) and Fid Sound
"Attention" 200  (Dagored 120, Italy)  [gatefold;poster]
"Attention" 2000 (CD Mucho Gusto, Canada)

This is the L'Experience 9 "Freakout total" LP with English titles. The LP was recorded in Nice 1968, and released in Canada after the main artist behind it moved to Quebec. Since it was recorded in France by a French artist, it doesn't quite make it into the main Acid Archives. It's a mix of experimental electronics, easy listening, exotica pop, and anything you want.


”Maltshoppe Gang” 197 (Fleetwood fclp-5100) [red label]

Early 1970s group doing retro 50s rock and doo wop like a local Sha Na Na. Good, primitive guitar sound for crossover garage appeal.

MANDRAKE (Houston, TX)

"Mandrake" 1977 (Crazy Cajun cclp-1097) 

Heavy bluesy guitar rock recorded 1973. Features the Valerio Brothers, Vinny and Danny. Vinny is an incredible left-handed guitarist and his brother Danny is a very capable bassist. Produced Huey P Meaux. [RM]

STEVE MANN (San Fernando, CA)

"Straight Life" 1967 (Custom Fidelity CFS-1675)

Mann was a session guitarist of some repute (Jorma Kaukonen has cited him as an influence) when he recorded this acoustic blues album. Taj Mahal assists on harmonica and banjo. The LP is quite pro-sounding and may have been intended for a major label release, but came out on a custom imprint. It's mainly trad numbers including "Cocaine" and "Highway 61", plus some Mann originals in a rootsy style and with counterculture lyrics. In addition to the fine guitar-playing, Mann has a pretty good, mellow voice. Well worth investigating for genre fans. He's still an active musician. [PL]


"Derek Scott Markel" 197 (no label RH 074601)

Rural folkrock and singer-songwriter with full setting, piano, even accordion, the Band moves and some raw guitar. Highly rated by some.

MARK IV (Canada)

”Vol 1” 1965 (Rusticana CKL 1225)

Obscure teen-beat LP in neat sportscar cover.


”Mystery Of Love” 1979 (MSP 3001) [1000p]

Accurately described as ‘sparse cosmic female real people’ by the magus who invented this type of descriptions. Her voice is somewhat arch and lofty, but the refined, serious mood is effective. Acoustic guitar and autoharp, some songs, some spoken poetry with musical backing and occasional sounds of nature such as rain and thunder.


"Marshmallow Way" 1969 (United Artists)

Described as mediocre bubblegum/soft-rock. Pre-Sainte Anthony's Fyre!


“Desiderata” 196 (Ambassador S98104)

Weird late 1960s poetry-set-to-music album that peaks on the overblown “I Am Music”, where Charles actually sings with full blown acid rock backing.


"Dewey Martin and Medicine Ball" 1970 (Uni 73088) 

Mainstream countryrock of no particular merit. They also had another LP.

CARM MASCARENHAS (Winnipeg, Canada)

”Someday Soon” 1975 (Mascanta)

Folk and folkrock with acoustic and electric backing and powerful vocals.


”Today” 1969 (Venus MS 001)

Very obscure folk quintet looking like they’re about 5 years behind the times, and reportedly sounding that way too, except for some appealing female vocal harmonies. Mix of originals and covers.


"Maiden Voyage" 197 (WGE lps-1007) 

Early 1970s odd mix of MOR and rock with some fuzz breaks.


"Shape Of Things To Come" 1968 (Tower 4147)  

Ed Cobb cash-in venture with the title track a minor hit from the "Wild in the streets" teen exploitation movie, so an entire album was promptly created. This has been referred to as a Davie Allan & the Arrows side project, but according to recent info, it is in fact Michael Lloyd & the Harris brothers from WCPAEB, on yet another LA music biz moonlighting trip. In any event, the Standells and the Leaves are better exponents of the Sunset Strip teen-punk sound.


”For The People” 197 (Catalyst 1111)
”For The People” 2003 (Catalyst 1111)

Early 1970s black group. Soul rock with some fuzzy jamming similar to early Parliament, but less interesting. Matthews had several other releases.

LOS MAYANS (Los Angeles, CA)

"Los Mayans" 197  (Musicmex)  

Hispanic group mix of heavy rock and psych.


"The Man Who Ate The Plant" 1973 (Tumbleweed TWS 105)  [gatefold]

Obscure hippiefolk/singer-songwriter on the same label as Robb Kunkel; like most Tumbleweeds a rich, upscale production with heavy session names involved. Delightfully stoned vibe and excellent lyrics, with strong opening track and more winners scattered about. Underrated, or even unknown. McCabe also pops up with a track on "Colorado Folk, vol 2". [PL]


"Alien" 1973 (ESP 3008)  [quadrophonic]
"Alien" 199  (CD ESP 3008, Germany)
-- this reissue is mistakenly credited to the Godz

Solo album from Godz-member is a routine singer/songwriting effort given a bit more interest by McCarthy’s weird lyrical sensibilities. It sounds nothing like the Godz, but not really like any well-known singer either. Not as interesting as, say, Mayo Thompson’s solo album, and not particularly tuneful, but a few close listens offer enjoyable bits here and there. [AM]


"Bob McKenna & Stash" 197  (no label)

Midwest 1970s private, details invited.


”R P M” 1978 (Starfish 7801) [1000p; blue vinyl]

Rural rock and folkrock with guitar-keyboard demo recordings gathered over a period of time, with songwriting contributions from all members. A couple of tracks go in a prog-rock direction.


"David McNeil" 197  (Canada)

McNeil has turned out to be a fairly wellknown French artist, and should thus be removed. But here he still is! He cut two singles in English before focusing on French language material.


”Meat Phredd” 1986 (Phreddhead)

Instrumental avant guitar progressive trio similar to Viola Crayola, plus some classical guitar. Recorded at Columbus’ long-running Musicol studios, and housed in an odd cartoon cover. The release year is 1986, contrary to what you may read elsewhere.


”Like Trolls” 1978 (no label, no #)

Seldom seen local folky prog-rock with high-pitched male vocals and female harmonies, housed in nice pencil-drawn cover.


"Stranger In The Mystery" 1979 (Energy)

"Migration Of The Snails" 1980 (Energy)

Spacy electronics prog.


"Fire Burn, Cauldron Bubble" 1971 (Ampex A-10111) 

Phil Walden was apparently the money behind this group, helping to arrange for a contract with the small Ampex Records label. The album was also recorded at Walden's Capricorn Studios. That connection's mildly interesting in that this group's sound is about as far away from Southern rock as you can get. Produced by Johnny Sandlin, 1971's "Fire Burn, Cauldron Bubble" basically sounds like a bunch of Blood, Sweat and Tears clones who traded David Clayton Thomas for Joe Cocker. Okay, okay that's kind of a mean-spirited description and to be honest it isn't particularly accurate in that this short-lived outfit actually boasted three lead singers in the form of Dick Gentile, Kenny Tibbets and Bill Witherspoon. On tracks such as 'Why Be Lonely' Gentile recalled Chicago's Robert Lamm (I'll leave it up to you to decide if that's good or bad). Tibbets' frantic deliveries recalled Cocker - check out 'Tell the Truth' and his seemingly endless cover of Traffic's 'Feeling Alright'). That left Witherspoon with the most versatile and rock-oriented voice. His performance on 'As I Lay Dying' almost allowed you to overlook the horn irritating horn arrangement. Guess you can tell horn rock isn't high on my list of life's pleasures... [SB]

MERRY-GO-ROUND (Los Angeles, CA)

"Merry-Go-Round" 1967 (A&M LP-132)  [mono]
"Merry-Go-Round" 1967 (A&M LPS-132)  [stereo]

Excellent melodic Byrdsy pop folkrock with Emmitt Rhodes. There's also a "Best Of" sampler on Rhino, and "Live" appears on their Nuggets Box.

LES MERSEY’S (Montreal, Canada)

"Les Mersey’s" 1967 (DSP 417)

Well-produced French-Canadian pop & beat produced by Michael Pagliaro, sung in French. Several Beatles covers. The band also had many 45s.


"Messendger" 1982 (Jab 111)

This one is hyped as one of the best 80s rock albums, and usually described as sounding like a 70s band. That’s just dealer hype, as it sounds completely 1980s to me. The songs and playing are pretty good, but the guitar tone is annoyingly of its time and there’s nothing here good enough to make it really rise to the top of the heap. [AM]



"Matthew, Mark, Luke, and John" 1969 (Elektra eks-74052) 

Overlooked major label psych album has a lot of terrific guitar playing and some very strong songs. The concept is kind of silly, but this is listenable from start to finish. Not a masterpiece, but better than a lot of records that sell for ten times as much. [AM]


"Paper Tigers" 1984 (Raven RR-XO/1984)

Imagine if Dylan had never come to New York and signed with Columbia, but rather languished in Hibbing. However, he did come, so instead we have this incredibly off the wall Minnesota singer-songwriter writing possibly the most non-sequitur lyrics in his own attempt to travel down Highway 61 (”Tin foil teardrops ropes for the meter man; Pool hall police play mumbly peg; Horseshoe hopes on loan from the bleeding hand; Four scores later just like Lincoln said.”). There are songs about robots on death row, electric high heels, Metsa also rips off a couple of barely tonal guitar solos al a Bob (think ”Leopard Skin Pillbox Hat”). Throughout the entire LP, I can picture the backup band and singers giving each other weird looks and mouthing ”what the f***?”, and their after hours cheaper rate level of playing would seem to bear this out. Metsa is still active in the local music scene. [MA]


"One Voice Many" 1971 (Columbia c-30686)  [wlp exists]

Great folk-rock album, led by “Angel,” who plays the autoharp like one. Several instrumentals are given meat by some very hot guitar playing, and for once the male vocals are actually as appealing as (or more than) the female vocals. “Son,” which integrates drug abuse, Vietnam, parents who don’t understand their kids, and that same old three-chord structure you’ve heard a zillion times, is transcendent. Some mellower folky songs are very lovely. Overall, one of the very best major label folk-rock albums. A real sleeper. [AM]

MICKEY'S 7 ( )

"Rocket to Stardom" 197  (Home Cooking)

Early 1970s over-the-top gay porn rock group. Mix of ballads and heavy rock. The art cover depicts the group riding on a penis-shaped spaceship! [RM]


"Live! More Than Rock'n'Roll" 197  (private)

Cover band doing medleys of Led Zep, Stones, ZZ Top, and Bob Seger. The music mixes with moderately funny raps, and there's also some banjo interludes. If suitably drunk, it was probably considered passable Friday night entertainment in whatever hick town they were from. The band is tight and there's some strong guitarleads. The crowd noise is quite fake-sounding.


”Milkweed” 1978 (CCL 33-114)

Dark atmospheric prog that has been compared to Morse Code. One of the more obscure Canadian albums in the style.


”Another Sunday” 1979 (no label)

Folk with 12-string, flute and mixed male-female vocals.


”Millennium” 1973 (Shekinah 1512)

Christian quartet in a prog-rock direction with lots of keyboard.


"Casting Pearls" 1973 (Verve v6-8825)  [wlp also exists]  [1]
"Casting Pearls" 1996 (CD Magical) 

Various artists assembly including lots of Bay Area legends, coordinated by Mike Bloomfield and Nick Gravenites. Standout track is Richard Dey's psychy "Letting Go Ain't Easy" in the great early 70s SF style, while the rest is competent but unexceptional bluesrock & nightclub r'n'b. For completists mostly. This is the only release to feature female SF 1960s band the Ace Of Cups, although their earlier unreleased recordings are superior to the number present here. [PL]
This one of more of interest because of all of the big name people who jammed on it than because the music itself is all that good. Mostly it’s a bunch of average-to-dull blues jams. A few songs on side two branch out in some different directions and work quite well, but this is really not much more interesting than, say, George Harrison’s APPLE JAM. [AM]


"Milwaukee Iron" 1978 (private)

Femme biker country rock. 


"What's Happening" 1967 (Dot dlp-3773)  [mono]
"What's Happening" 1967 (Dot dlp-25773)  [stereo]

Groovy exploito-psych instrumentals, closer to Mesmerizing Eye than Animated Egg, though without the obvious comedy. It’s most notable for use of a really weird set of instruments, including Panther Combo Organ, Chinese Bell Tree and “two ashtrays.” Fun liner notes. Pretty awful, to be honest, but as always with this kind of thing, a reasonably good time. The mono is somewhat rarer.[AM] 


"Mind Garage" 1969 (RCA lsp-4218) 

"The Mind Garage Again! The Electric Liturgy" 1970 (RCA lsp-4319) 

Late 60s mainstream psych/rock with some brass. The non-LP track "Asphalt Mother" is the best thing they did.


"To All My Friends" 1976 (no label)

Strange folkrock-rock with wah-wah and organ by army veteran in a crude paste-on cover. He doesn’t look too hip. This LP may appeal to fringe fans. Today he performs burlesque club material with a Sesame Street type puppet called ‘Grovor’.


"Mint Tattoo" 1969 (Dot dlp-25918)  [die-cut gatefold cover]

Jazzy rock symphony excess on the a-side, pedestrian hard rock on the flip. The band split up after two members left to join Blue Cheer.


”Everything’s Just Fine... Or Is It?” 1967 (Catholic Relief Services)

Four Catholic priests with electric guitars! The LP was issued to raise money for the Catholic Relief Overseas Aid Fund Appeal. Notable for the atypical closing track “Reconciliation”, a garage psych beast. There is a second LP with folkrock and probing discussion of the lyrics, ”Disco-Teach” (Celebrities, 1969). [RM]


”It’s For You” 1977 (Ilmo)

This album looks like it’s going to be really sleazy, as it’s obviously the work of drunken rural dudes who are more in love with their shotguns and whiskey than their girlfriends, but unfortunately it’s rather bland and not very well played bar rock. It lacks the kind of heavy guitar that would have given the sleazy lyrics some bite. I wouldn’t say it to their face, but this music is disappointingly wimpy. Illinois label. [AM]


"Missouri Woodland" 1978 (Missouri Woodland S80-1553)  [2500p; inner]

Described as duo playing hippie folk with lots of string instruments and some good tracks.


”Hell’s Fire” 1981 (no label CPI 1280)

Hardrock/metal. The band also had a 45 on the well-known 700 West label.


”Mizzouri Foxx” 197 (no label)
”Trapped Live” 1979 (Brother Studio)

Hard guitar/organ bar-rock with a Deep Purple sound from band who moved to SoCal from small-town Missouri. The second LP is recorded live and was released on the same label as Chakra. The band has taken well care of their legacy and are selling retrospective CDs.

MO (Indianapolis, IN)

"Mo's Album" 1976 (700 West)  [200p]

Vanity project by Mo Whittemore, who ran '700 West Studios'. One side is publisher's demos with other artists on the label and the flip is annoying clarinet noise by Mo, in an Ornette Coleman style. The Zerfas brothers help out. [RM]


”Mobius Strip” 1982 (Nervous)

Basement AOR/ hardrock with high pitched vocals.


”Send A Message” 1979 (no label)

Obscurity from Hawaii with funky progressive rock, some hard guitar, flutes and female vocals.

MOJO ( )

"Mojo Magic" 196  (GRT 10003)  [wlp exists]

Co-produced by David Hassinger and Les Brown Jr., 1968's "Mojo Magic" is an interesting time piece. While lots of reviews compare them to the Mamas and the Papas, or Spanky and Our Gang, those comparisons aren't entirely accurate. Showcasing Alaimo and Errico as the band's primary creative source (they penned nine of the ten album tracks), the band's earlier R&B orientation is completely abandoned. In it's place there's a likable, but largely unoriginal mix of lite psych and sunshine pop. Propelled by Errico's crystal clear contralto voice, the group are at their most impressive on the most psych-oriented numbers, including the single ''Candle To Burn' and 'Free Ride'. That said, even their more commercial leanings are interesting. Tracks like 'Beside Me' and 'Evelyn Hope' sport Mamas and Papas-styled harmonies, but incorporate fuzz guitars, Baroque-ish arrangements and other trappings the former would never touch. Okay, okay I'll admit that 'Make You At Home' and 'New York City' are shamelessly commercial. Still, there are enough winners here to warrant a couple of spins. One final non-LP 45 (which I've never heard) and they were history. [SB]


"As Your Kingdom Falls" 1983 (private)

Described as hardrock with prog/psych moves in nice cover.

JEFF MONN (New York City, NY)

"Reality" 1969 (Vanguard 79291)  [wlp exists]
"Reality" 199  (CD J & G 444)

Solo LP from ex-lead singer of legendary acidpunks Third Bardo, described as mainstreamish rock with orchestrations and cool Jaggeresque vocals. The LP features a remake of one song from the Third Bardo days, "I can understand your problem".
see -> Chris Moon Group

MONSTERS (Montreal, Canada)

“Beat ‘N’ Hits” 1965 (Royal International 3507)

Seldom seen low-budget beat exploitation LP. There's 3 Beatles numbers, among other things.


"Chris Moon Group" 1970 (Kinetic)
"Chris Moon Group" 199  (CD J & G 444)

Obscure LP by ex-Third Bardo vocalist Jeff Monn (nee Jeff Neufeld) under yet another alias. Kinetic was a CBS subsidiary that also had an LP by Third Bardo's old mentor Rusty Evans/Marcus Uzilevsky.


”An Evening With” 1964 (Century 29132)

Alvin High School lounge prep rock instrumentals with trumpet from the Century vanity label.


“Enchanted Mesa” 1978 (Goldust lps-174)

Rural rock/country-rock with flowing guitar housed in a striking color fantasy cover. The cover says ‘Daince’ rather than ‘Dance’. The band had a second album Flower In The Sand in 1982 which again spells it ‘Daince’, so be it. A popular live act locally.


"Life is a Constant Journey Home" 1967 (ESP)


"Autumn's Coming" 1969 (Legend) 

Loner folk.


"More Psychedelic Guitars" 196  (Custom cs-1096) 

Solid exploito trash psych.


"#2 Son" 197  (no label)

Seldom seen folk/singer-songwriter LP.


"Morning" 1970 (Vault 138)

In the sweepstakes of laid-back rock and roll that straddles the country, folk and psychedelic fences, this is right up near the top of the heap. Top-notch harmony singing, clever songwriting, creative instrumentation, unexpected twists and turns, and bits stolen from the masters combine to make every song a winner. Morning’s just-plain-mellow side takes center stage with the the lovely piano work on “Angelena.” Their mellow-but-rocking side peaks with the Crosby, Stills, And Nash-style “doo doo doo” chorus on “Tell Me A Story” and the stunning build-up on “Early Morning.” The album’s finest moments, however, are when their really-wasted-mellow side arises on “Sleepy Eyes” and “And I’m Gone.” The former’s slow fuzzed-out rise-and-fall guitar and the latter’s overpowering organ flashes take the listener straight into dreamland. This album is so great that even the (mercifully short at about 40 seconds) drum solo can’t spoil it. The liner notes read “thank you to Jack and Greg for allowing us complete control in putting this album together.” Obviously this is a case where a band had a vision and we’re all rewarded because they were allowed to see it through. [AM]
Based in Los Angeles and originally known as The Morning and The Evening (wisely shortened to The Morning), this short-lived outfit featured the talents of guitarists Barry Brown and Terry Johnson, keyboardist Jim Hobson, drummer Jim Kehn, singer/guitarist Jay Lewis and bassist Bruce Wallace. Signed by Vault Records, the band's cleverly titled 1970 debut "Morning" was produced by Brown, Hobson and Lewis. With most of the band contributing material, the collection offered up a variety of genres including Poco-styled country-rockers ('Tell Me a Story' and 'Roll 'em Down') and slower-paced folk-rock numbers ('Early Morning' and 'Time'). Lewis had a nifty voice, the rest of the band capable of contributing some nice CSN&Y-styled harmonies ('Easy Keeper' and 'Dirt Road'). Sure, it may not have been the year's most original offering, but the set was never less than pleasant and tracks such as 'And I'm Gone' and the trippy 'Sleepy Eyes' were miles ahead of the competition. [SB]


”Growing” 1972 (Toya tstlp-2001)

Harmony-rich rural rock with some mild blues tendencies. Pleasant and well done but not especially exciting or memorable. Recommended to fans of the genre, but unlikely to appeal much to others. [AM]


“Sea Of Dreams” 1976 (SP 1110)

A self-released album from a jazz-rock band with flute and female vocals. The LP is sometimes listed as “folk” or “prog”, but the band themselves described it as fusion, and the members continued as jazz musicians. It sells for pretty decent money.


"Listen To A Sunrise" 1974 (Morning Song Records CSA7871)  [insert]

There’s a very strong Dead/CSNY influence on Side 1 of this LP with most tracks written by Frederick Curdts. There are some strong harmonies and clear vocals with little evidence of the Christian message you might expect from the cover and general vibe. ”Look at me” and “Ontario” are stand out tracks, with the latter featuring some good violin and soaring vocals. Side 2 is less interesting, although some floating guitar effects on “There’s a light” almost make it psychedelic. However, towards the end the track is sabotaged by a very nasty ‘Captain & Tenille’ style synthesizer ‘incident’. Cool soaring bird cover with woodcut image of mountain and bridge on the back. [RI]


"Philosophical Songs" 1969 (no label)

Odd home-made album of mostly topical '60s Village folk done in an amateurish manner. The LP opens with two strange songs where Morriale affects a operatic-yodelling vocal style that doesn't connect very well with the music, lyrics, or common sense. Worth hearing once, but maybe not more than once, unless you specialize in fringe novelty records.


"Mortimer" 1969 (Philips phs-600-267) 

Underrated pop/popsike album with strong Hollies-like harmonies and a nice jangly guitar sound. A real find for fans of the genre, and it has enough trippy moments to appeal to psych fans as well. [AM]

MOTHER EARTH (San Francisco, CA)

"Living with the Animals" 1968 (Mercury SR-61194)

Today Tracy Nelson's largely known as a solo artist. Her mid-1960s work with the San Francisco-based Mother Earth having been largely forgotten. That's unfortunate, since Nelson and Mother Earth turned in some excellent material. Co-produced by Dan Healy, Mark Naftalin and the band (Barry Goldberg was listed as the executive producer), 1968's "Living with the Animals" is a true band effort. Showcasing a mixture of originals and covers, the predominant sound is blues, though there are elements of soul and even rock scattered throughout. The focus is clearly on Nelson, whose deep bluesy voice literally tears apart material such as the 'Mother Earth', 'Down So Low' and 'Cry On'. Powell St John handles a couple of tracks ('Marvel Group', 'Living with the Animals' and 'Kingdom of Heaven (Is Within You)'), but his voice just can't hold up next to Nelson. This may sound heretical, but to my ears Nelson's actually at her best when she loosens up, abandoning the blues for a more soulful turn - check out 'I Did My Part' and 'It Won't Be Long'. Elsewhere Michael Bloomfield provided guitar on 'Mother Earth' (under the name Makal Blumfeld). [SB]
Needless to say, Powell St John is a legend for his involvement with the 13th Floor Elevators, who covered several of his songs, including "Kingdom Of Heaven" on their first LP.


"Angel Food" 1978 (Sonrise Mercantile 11)  [insert]

Jesus rock primarily in a country-rock/gospel rock direction, with bloodless, dorky male vocals that will have you cringe. The band gets into OK stuff on 2 tracks at the end of side 1 and "The Watchman" on side 2, with UK prog moves and nice guitar leads somewhat like Fantasy. However, even there the vocals suck, and all over this is 3rd tier Christian 1970s rock (a field where already the 2nd tier is dubious), and one really has to wonder why some people insist on pushing $5 titles like this.


"Direct From Nick Fink's" 197  (Universal Audio UAS 850-62153)

Strange mix of styles on this album, which presumably features a mid-1970s lounge/easy listening band getting creative and experimental. Tracks range from a meaningless "In The Mood" to a couple of OK funky rock tracks to an epic and quite bizarre exploration of the "2001" Theme (aka Also Sprach Zarathustra) that goes into freaky echoplex noise a la "Ruler Of The Universe" by the Strange! An electric piano instrumental seems to flirt with ambient/new age stylings. Unfortunately the loungey brass and keyboard dominate the soundscape, and the end result is a little too slick and mature and not enough rock and underground. Check it out if you find it cheap.

MOXIE (Reno, NV)

"Live At The Continental" 1974 (Greekiwop)

Self-released album from lounge-rock duo (w/ additional musicians) playing adept but unexceptional piano-rock versions of '50s oldies, ballads, "Upon Cripple Creek" and such. The vocals are kind of flat and average, and it's neither amateurish nor odd enough to win any incredibly strange points -- in fact their version of Elton John's "Daniel" gives an idea what Silk & Silver would have sounded like if they had been a normal cover band. The amusing label name is about as far out as Moxie went. However, this LP features a band original "Take It, Take It Easy" in a driving '70s rock style, which is good enough to be worth checking out.

MUD ( )

"Mud" 1971 (Uni 73110)

This obscure Uni album has really ugly album cover and a bizarre mix of music within. It begins with a soulful cover of part of the Beatles’ ABBEY ROAD melody, then goes to horn rock, soulful rock and hard rock. Most of it is only OK, but two songs are of particular interest. The highly disturbing “Smacking Cowboy” ends the album with 9 minutes of the “Hey Joe” riff taken to painful extremes, with some excellent guitar work, a powerful groove, and unpleasant lyrics about heroin. “Who Owns The Park” is a spoken word history of the American government (and others) stealing land from Indians and citizens, narrated by a Crispin Glover soundalike. As 70s hard rock band songs about the plight of the Indian go (and there are a lot of them), this is one of the most compelling. Not really a recommended album, but interesting. [AM]


"Multiplication Rock" 1973 (Capitol sja-11174)

Educational rock songs done for the children's television show, Sesame Street. There is a definite hippie vibe to the tunes! [RM]

MUSHROOM (New York City, NY)

"Freedom You’re A Woman" 1978 (Vulcan v-911)

Brooklyn hardrock recorded at The Record Plant, in nice toadstool cover.


”A Revolutionary Revelation” 1970 (Metromedia) [wlp exists]

Exploito concept with a narrator asking in a God-like voice how to make the world a better place. The ‘answers’ are these studio pop psych ditties with all sorts of gratuitous sound effects. The LP is seldom seen, but with limited appeal.


”Mustard Seed” 1971 (Spectrum lps-3501) [plain cover with sticker]

Here’s a weird one. I’ve listened to this multiple times and I’m still not sure what to make of it. I think I like it. Not quite sure how to describe it either. There are some simple acoustic ballads, melodic rock with low-key psychy organ, pop horns on a couple tunes, an unusual psychedelic moody piece with wah-wah electric, trumpet, and reverbed vocals. “Free people” has a nice Doors-ish organ solo (sort of a poor man’s “Light my fire”) and a brief token drum solo that all hip albums from this period were required to have. Has flashes of brilliance and edge that hearken to the ‘biggies’ that sell in the 3-digit figures, but overall it’s not quite up there with the rest. Well produced. [KS]


”Mystery Revealed” 1972 (Creative Sound 666/777)

Christian rock compilation with tracks by Mike Johnson, Harvest Flight and Paul Clark, the reported highlight being a number by unknown Jay Larremore.


"Mystic Astrologic Crystal Band" 1967 (Carole 8001)  [wlp exists]
-- also released in France

The band name, the song titles, the clothing, wow, talk about a period timepiece... The LP offers up an interesting mix of psych and what you'd call sunshine pop. Ive seen a couple of reviews that compare the LP to The Yellow Balloon and the comparison's not too far off, though the affection for the sitar and the production give this a far more distinctive psych edge. Musically the collection's pretty much divided between the two genres, though with interesting production touches to virtually every track - "Early Dawn" shifts from great harmony rich pop to a weird phasing segment and then back. At least to our ears the psychier tracks provide the highlights. Among the more interesting numbers are the sitar propelled "Factory Endeavor" (with an odd series of right to left and back fades), "Barnyard Philosophy" and "Publicly Inclined (To Blow Her Mind)". [SB]

"Clip Out, Put On The Book" 1968 (Carole 8003)  [gatefold; cutouts insert]  [1]
-- also released in France
"Clip Out, Put On The Book" 200  (Get Back, Italy) 

Rarer second LP is similar in style. There is a CD compilation with most or all of their recordings, "Flowers Never Cry" (Dropout, 1993).


"Performing Musical Interpretations of the Paintings of Paul Klee" 1968 (Philips phs-600-26)  [insert]

The insert includes reproductions of a number of Klee paintings, and each song attempts to match the mood of one of the artworks. Occasionally, it seems like they’re trying too hard, but the music is pretty good, with lots of cool fuzz guitar. There’s an air of real innocence about it, like they decided to make “psychedelic music” after listening to some, but they have no idea what “psychedelic” actually means. It’s kind of charming. Lightweight fun. Some of the tracks appear in jazzed-up versions on the Gap Mangione LP from the same year. [AM]


"Rootin'" 1972 (ABC ABCX-757)

We found this one at a flea market and initially picked it up for the striking cover (how many times do you see a close-up of a warthog?). The fact that it cost a dollar and featured Steely Dan's Walter Becker and Donald Fagen arranging much of the LP, playing on a couple of tracks, as well as contributed one selection ("Canyon Ladies") made for an offer we couldn't refuse. Recorded at Los Angeles' Village Recorders with Dennis Collin and Gary Kannon producing, most of 1972's "Rootin'" is best described as bluesy-rock. Powered by Ray Pawlik's growling vocals, group-penned tracks such as "Western Boots", "$2 Bill" and "That's How It Is (Playin' In a Rock & Roll Band)" are tight and fairly commercial, though they don't exhibit a great deal of originality. Far less impressive are the bands' stabs at country-rock. Complete with pedal steel and whistling solo, "Ballad of a Young Man" is outright embarrassing. As for the Fagen-Becker number, well it's okay though the lyrics are largely indecipherable. This one album appears to be Navasota's entire catalog. Baxter went on to a stint with The Doobie Brothers before continuing his collaboration with Becker and Fagen in Steely Dan. [SB]

AL NEIL TRIO (Vancouver, Canada)

”Retrospective 1965–1968” 1976 (Lodestone) [200#d; gatefold]

Very obscure collection of 1960s jazz-avant recordings from band who played the legendary 1966 Trips Festival in Vancouver. A variety of instruments used including a ‘vortexorola’. Although there were some ties to the underground 'rock' community, this is usually classified as jazz. A CD reissue exists.


"Sons Of The Morning" 1970 (World Library 1953)

Odd Christian folk with a couple of electronic experimental tracks mixed with sombre liturgical sounds.


”In The Following Half-Light” 1981 (R.E.M./ Silver rem-4441) [insert]

Pretentious prog that strives for something great and comes off sounding like a poor cousin of many better and more well-known bands. The songs are complex in an annoying way: they shift gears every time a hook or good melodic idea begins to take hold. The last song attempts to be horrific, and ends up being almost laughable. There are some decent synthesizer bits scattered about and some of the album is reasonably heavy, but this isn’t a pleasant listen by any stretch of the imagination. [AM]


"Hiway Child" 1973 (Astra)  [gatefold]
"Hiway Child" 1973 (Alshire)  [single sleeve]
-- US release

This is a folky singer songwriter album, the first of several by Neufeld in the 70s. One song is about various better known Canadian singer-songwriters, and he obviously wished to follow in their footsteps. His band is pretty talented; there’s a solid rhythm section and some nice acoustics and pedal steel. There’s also some effective orchestration. This is sincere and put together with care, but a bit too country for some, probably. It’s a good album if you like the style, but not nearly as impressive as, say, David Wiffen or Paul Seibel. [AM]

NEURON (Chicago, IL)

”For What We Are” 1980 (Erect 1000)

Mainstream AOR album with some proggy moments. It sports decent musicianship but lacks personality and charm and is ultimately forgettable. It is similar to the private press by Minnesota band Solenoid. The proggy cover is much more interesting than the album itself. The label had a few more releases.


"Half a Month of May Days" 1970 (Verve Forecast FTS-3087)  [wlp exists]

This album has drawn attention because he's backed by members of Kaleidoscope, but it's a pretty interesting folk-rock album in its own right. Newbury has a warbly voice that's an acquired taste, but musically he mines a variety of folk rock styles with relative success. Some people like this album very much. I have a hard time with his voice and the trebly production sound. If you can get past those two obstacles, you'll like it more than me. A set of 2 acetates from 1970 with three alternate mixes and one unreleased song, "Private Jackson regrets", also exists. [AM]


"Newbury Park" 1970 (Cream cr-9003)  [wlp exists]

Soft rock with cover of "Green Tambourine".


"New Legend" 1971 (Band’n Vocal 1269)

This is shown in one of the "Collector Dreams" books, but is probably a fake/joke item, which doesn't exist.


"Sings The Sidehackers" 1969 (Amaret st-5004) 

Soundtrack to a motorcycle racing b-movie. Low rent garagy rock with some fuzz. Same label (MGM sub) as Fresh Air.


"Broken Heart" 197  (private)

Live-recorded before an enthusiastic crowd, this obscure LP contains sincere and quite generic '70s Christian folk and singer-songwriter with some gospel overtones. Between the songs we get jokes, parables, and testimonies. Inoffensive and unmemorable, may work for true believers.


"New Mix" 1968 (United Artists uas-6678)
"New Mix" 2000 (Akarma ak-2018, Italy)  [10"]

This album is very well-regarded among popsike fans, and it does have a nice post-Beatles feel to it, kind of like the Smoke. The arrangements and vocals are very appealing, but the songs aren’t all that memorable. I’m an aficionado of the genre, and this one does a lot of the right things musically. However, unlike, say, Mortimer or J.K & Co, both of which have significant variety and ambitious songwriting, it doesn’t have enough personality for me to give it a wholehearted recommendation. [AM]


"New World Singers" 1966 (F.H.S.)  [handbill]
-- the plain cover has a handbill pasted on with the relevant info

Northeast basement moody folk, female vocals.



"First Lite: A New College Experience" 1982 (Nexusonics)

A strange LP with an eclectic mix of electronics, straight singer-songwriter, jazzy instros and one track with a psychedelic feeling. Titles include "The Wabe", "Galaxy", "The Beckoning". Odd, non-descript cover photo looks like someone cut a postcard in half and blew it up in size. An album for the bold and the bored. Sometimes listed with the band name as First Lite.


"Time Loop" 1972 (Kama Sutra 2057) 

This is an obscure major label album that collectors and dealers keep claiming is “about to be discovered”. What that means is that they’re desperately hoping its price will jump from $20 to $100. All but one song is just acoustic guitar and voice, and the album sounds like a bunch of demos. The one song with a full band shows that Nichols songwriting style has real rock strength. The rest of the songs range from pretty good to very good, and all of them sound like pale versions of what they should be. The same songs, recorded with full arrangements and rock energy, would have made an excellent album. Some of them have a really unique sensibility and a neat spacy feel to them. Frustrating. [AM]


”Introducing The Nightwalkers” 1968 (Inca, Puerto Rico)
”El Gordo” 1968 (Borinquen, Puerto Rico)

The first LP is laden with weak covers. ”El Gordo” is better, half English vocals melodic jangle beat and harmony folkrock with nice twelve string and fuzz shadings. A fun pop beat Byrdsian charmer. [RM]


"Earth Days and Astral Nights" 198  (Aiwass 313131) 

Odd, cosmic lounge dreamer mixed duo. Looks like a late 1980s release.


"Our Centennial Album" 1976 (2 LPs, Mayhams Collegiate 40904)

A rather unique double album from the song-poem dimension, featuring the underground music biz veteran Norridge B Mayham. As the many 45s he released, this album is all over the map, but at its freakiest it sounds like a parody of "Context '70", if you can imagine that. It's sort of tongue in cheek, but in so strange ways that it will undoubtedly find a fan-base.


"North Star" 198  (private)  [12" EP]

Early 1980s progressive hardrock with excellent vocals and blasting guitar. 


"Northern Star" 1975 (Harry Records 142)

An obscure title that looks like it could be rural rock, but actually contains an awkward mix of bad, sub-Barry Manilow MOR pop and jazzy instrumentals. The violin player is pretty good, as heard on the atypical instrumental prog epic that closes the album. Lord knows who they thought would buy this.


"Northwest By Request" 197  (Valane 131)

Subtitled "12 By 12", this is a various artists collection of local Seattle area bands, probably linked to the same booking agency or such. Sounds like circa 1973 recordings in various "rock" (and one soul) styles. It plays through nicely with only one dud, and a high point in the subtle femme-vocal westcoast mystique of Born Free's "Days And Weeks". Tracks by Academe, Captain Oh Wow and Pitch Blende are also good 70s rock/hard-rock with guitar-organ action. It won't change your life, but worth buying if found cheap.


"Notes From the Underground" 1968 (Vanguard vsd-6502)

Druggy, comic, mostly acoustic folkrock similar to early Country Joe and the Fish. The band had a local EP which is somewhat legendary but clearly the weakest of the 4 classic 'Berkeley EPs'.


"La Nouvelle Frontiere" 1970 (Gamma GS 137)
"La Nouvelle Frontiere" 2004 (CD Gamma/Unidisc UBK-4158)

Sometimes described as "dreamy folkrock" or such, this is in fact very French-flavored chanson pop with strong focus on the highpitched female vocals. Entirely commercial and completely MOR, there's likely to be an audience for this, but you'll probably find it in the easy listening/adult contemporary section next to Celine Dion. There’s a Leonard Cohen cover, but the bulk of the material was written by guitarist Robert Letendre. There is a less expensive second LP, L’Hymne Aux Quenuilles (Gamma, 1970). The Seguin twins would go on to various music projects during the 1970s.


"October Palace" 1979 (no label)  [paste-on cover; insert]

Basement edgy folk. Noyes is the female vocalist.


”Ljubimo” 1970 (Amato SLP 1)

Fringe fun in the ‘nun-folk’ category, female vocal harmony folk with offbeat vibe and vague psych moves. Appealing and gentle, worth hearing for femme fans. The title is Croatian for ‘let us love’.


"The Unpredictable Nu Sett" 196  (Inntimate 1001)

Lounge prep rock.