Volume 6 here
And please go to the original post to find volume 9 which now includes JA Caesar. (Vol 6 also there as well of course with new link!)
Wednesday, 24 November 2010
Volume 6 here
Posted by psychelatte at 11:36
The New Wave -The Sound of the New Wave -US 1967- Fading Yellow artist -really nice breezy Soft Psych
The line-up consisted of singers/guitarists Tommy Andre and Reid King (the latter looking like a young Paul Williams). Judging by the brief liner notes on their album, the pair apparently met while attending college where they seemingly discovered a common interest in music.
Signed by Ken Handler's small L.A.-based Canterbury Records, the pair debuted with 1967's somewhat pretentiously titled "The Sound of the New Wave". Produced by Handler, most of the album's 11 tracks are originals that showcase the pair's heavily orchestrated soft-pop moves. Lots of references carry this as a psych effort. but other than the cover art, be forewarned that it isn't. Tracks such as 'Shadows of Good Bye', 'The Evening Mist - A Mounring Dew' and 'In a Lonely Towne' aptly exhibit the duo's decent voices and nice harmony work. Most of the songs boast fairly attractive melodies, though the arrangements are occasionally overwhelming and their lyrics suffer from standard college student angst which probably drove young female English majors crazy. Stuff like 'Live for Today' and the dreadful 'Autrefois (J'ai AIme Une Femme)' (the one non-original) maybe simply too MOR for some personal tastes, but anyone who likes late era Chad and Jeremy or Peter and Gordon (the phase where they started to get arty) might enjoy this lesser known act. Elsewhere, two 45s were lifted from the album::
- 1967's 'Where Do We Go from Here' b/w 'Not from You' (Canterbury catalog C-503
- 1967's 'Little Dreams' b/w Autrefois' (Canterbury catalog C-512)
1.) Little Dreams
2.) Shadows of Good Bye
3.) The Evening Mist - A Mounring Dew
4.) Autrefois (J'ai AIme Une Femme)
5.) In a Lonely Towne
6.) The Shade of the Sun
7.) Walkin' On Down the Street
9.) Live for Today
10.) Not From Here
11.) Where Do We Go From Here
The interplay between the amplified harpsichord and electric guitar in this gem of a psychedelic group is worth the price of admission alone.
There is no air between the tracks so a seamless dance spins hypnotically for 38 minutes through a variety of moods and tempos.
Chord progressions and musical structure sound a wee bit simplistic and dated on this first outing, but nothing grates and the vocals are silky and soothing.
The musicianship is excellent though slightly constrained in the studio, compared to their live concerts.
Mandrake Memorial seemed to play constantly in the Philadelphia area when I was groping my way through adolescence.
I saw them three times without really trying, they just showed up where I happened to be, from Beach Haven, NJ to my high school auditorium at Conestoga in Berwyn PA.
On stage they didn't jump around, they weren't flashy like Nazz, or obtuse and humorous like Lothar and the Hand People, (two other regional groups Mandrake were friends with) -they just played really fine rock.
Music that moved but was also poetic, ethereal and dreamlike--their sound defined a very rich, turbulent and painfully short era (1968 through 1970) for those who came of age in that time.
Today Mandrake's music is still refreshingly cheerful, introspective, warm and innovative. They are also overlooked and unknown on a national scale.
Mandrake Memorial was a cherished group by those who grew up with them. They were the tangible and accessible underground alternative to commercial top 40 radio.
I know friends who kept their Mandrake albums into the 1980's and were delighted when they finally reappeared on cd. After 9/11/01 I sought the selective comfort of nostalgia and the smiling sounds of forgotten friends. Mandrake Memorial's first album fit the bill perfectly.
I started listening to these guys in the late 60's and to me this album is timeless.
I actually heard them for the first time in 68 when they played on the same card as The Doors! They stole the show that night. A sold out arena and they got a standing ovation! I immediately became a fan!
If there is a question in your mind don't hesitate to GET THIS CD!!!! (by Das Organic Impressionist).
01. Bird Journey
02. Here I Am
03. Rainy May
04. This Can't Be Real
05. Dark Lady Listen
06. House Of Mirrors
07. To A Lonely
09. Next Number
10. Sunday Noon
*Craig Anderton (guitar, modulator)
*Randy Monaco (bass, vocals)
*Kevin Lally (drums)
*Michael Kac (keyboards, vocals)
Price at Amazon:
3 new from $199.00, 5 used from $127.50 (!!!!!!)
Here i am
***Purple Overdose -Painting the Air (Greece 2004)-FANTASTIC recent Psych band -Rarities and unreleased tracks -SUPERB, SUPERB!!***
Purple Overdose - "Painting The Air"
(On Stage Records 2004, OSR005, LP)
Rarities and Unreleased
From Aural Innovations #29 (October 2004)
Based in Greece , Purple Overdose were one of the great Psychedelic bands of the past several years . Though disbanded for a couple years now , their manager , Stefanos Panagiotakis , enthusiastically pursued making available this vinyl only collection of rarities and unreleased tracks . The songs on " Painting The Air " were originally recorded in 1989 with the intention of comprising their second album , slated to be titled " Magic Forest " . Five of the songs later ended up , in different forms , on what ultimately became their second album , " Indigo " .
Long time Purple Overdose fans will be pleased to know that two of the tracks are unreleased . "Painting The Air" is classic Purple Overdose 60's inspired psychedelia , a heady mixture of trippy song and acidic instrumental . And " Still Ill " is a special treat , being one of the first ever recorded Purple Overdose songs , and featuring a guitar/bass/drums trio version of the band . It has the trademark Purple Overdose sound , but has more of a down ‘n dirty garage-psych feel , and includes an ultra trippy jam section . Excellent!undefined
" Sail On Your Wings " originally appeared on the volume 3 CD of the fanzine " The Thing " in 1996 , and was later included on the CD version of The Salmon's Trip Live . This track is a real highlight , featuring Purple Overdose at their most cosmic , with swirling guitars , a luscious 60's organ sound and a mind expanding atmospheric vibe . " 2008 Old View " is the B side of the bands only 7" single , and is an intense song with more classic 60's organ melody and cool shimmering trip guitars .
Those who own the album " Indigo " will of course recognize the 5 songs that appeared on that album - " Moonlight Sunshine " , " Cosmic Ladder " , " Rain Without Storm " , " Golden Eyes " and " Magic Forest " . Diehard fans with a taste for historical perspective will enjoy hearing these earlier versions of the songs . Most have a rawer sound and feel than the Indigo versions , which in some cases has a special charm of its own , having a cool trippy flower power vibe .
01.Painting The Air
03.Sail On Your Wings
06.2008 Old View
07.Rain Without Storm
Too little-known in their time to qualify as forgotten, the Misunderstood were, in all but riches and renown, the American Yardbirds: a panzer-garage quintet from Riverside, California, combining electric-blues lust with rave-up dementia and tight, flammable songwriting. After an early-’66 line-up change, the band boasted, in the country-raga invention and greased lightning of steel guitar prodigy Glenn Ross Campbell, its own Jeff Beck and Jimmy Page rolled into one.
Something of an anachronism, in that they originated in California but recorded in London, The Misunderstood have two claims to fame: they were managed for a while by John Peel and recorded two of the best singles of the psychedelic era:- I Can Take You To The Sun and Children Of The Sun. Both contain some excellent guitar riffs and are sought-after by collectors. Both were recorded at the same time but the second was issued belatedly. The group started out in Riverside, California, when Treadway, Moe and Phelps (lead gtr) formed their own surfing group, The Blue Notes, changing their name to The Misunderstood in 1965 by which time Brown and Whiting had been added to their line-up. Then, having recruited Campbell from another surfing band, The Goldstones, as a replacement for Phelps, who left the band, they had cut two blues tracks, Jimmy Reed's You Don't Have To Go and Howlin' Wolf's Who's Been Talkin' as a single. These can now be heard on Before The Dream Faded, Cherry Red's 1982 release of the group's earlier material. After seeing them play a gig at the opening of a shopping centre in Riverside, John Peel (then known as Ravenscroft) realised their potential and acted as their manager. The band soon developed a mind-blowing stage act. Treadway was soon called home to be drafted and was replaced by Tony Hill, but when Moe, too, was drafted the band began to fall apart.
However, the six songs they recorded here in England (now contained on side one of Before The Dream Faded) captured the band at their creative zenith. Musically they predated Pink Floyd by several months and had the whole band not been eventually deported back to the States, they could well have attained similar status.
Campbell reformed the band in 1969 with an entirely different line-up which recorded two Rhythm and Blues influenced singles, You're Tuff Enough and Never Had A Girl (Like You Before). These were not as good as the first two singles although they do now fetch similar prices. When they collapsed, Campbell formed Juicy Lucy, with other members of this group, who reached No 14 in the UK Charts in March 1970 with Bo Diddley's Who Do You Love?. Tony Hill later joined High Tide.
However, the indications of a psychedelic revival in 1981 saw Cherry Red records reissue an EP of the band's finest songs and Rick Brown and Glenn Campbell form an Eastern-influenced hard rock outfit called The Influence. In 1982 they recorded a one-sided flexidisc, You're My Girl (Bucketfull Of Brains BOB 2), which appeared with the excellent 'Bucketfull Of Brains' magazine.
The Golden Glass EP contains material by the second line-up on the 'A' side. By then the band had veered towards blues-based progressive music. On the flip are two tracks by the earlier 1966 line-up:- Shake Your Money Maker and I'm Not Talkin', recorded at the legendary Gold Star studios. Other material recorded at these sessions was thought to have been lost, however in 1998, The Legendary Goldstar Album appeared, which combined the later Golden Glass album with these earlier 1966 cuts. Of these, I'm Not Talkin remains the highlight, with a splendid feedback freakout section.
The Golden Glass album contains material by line-up (B), including both sides of their two singles, You're Tuff Enough and Never Had A Girl Like You Before. The remaining four tracks were a cover of the Spencer Davis Group hit Keep On Running, Freedom, I'm Cruising and the Little Richard Okeh track I Don't Want To Discuss It, which is ladened with feedback. This isn't for psych heads but many appeal to progressive fans who are into long, bluesy guitar solos.
We've also recently heard that Cherry Red have released a CD of post-Misunderstood recordings, from the 1980s, which includes the re-working of many of their classic tracks.
Compilation coverage has included:- Children Of The Sun on Chocolate Soup For Diabetics, Vol. 1 (LP); Golden Glass on Rubble Vol. 4: 49 Minute Technicolour Dream; Never Had A Girl Like You Before (45 version) on Rubble Vol. 1: The Psychedelic Snarl (LP) and Rubble Vol. 1 (CD). In addition a live track recorded by Line-up 'B' Bad Hat, has also resurfaced on Turds On A Bum Ride, Vol. 4 (CD).
1 Children of the Sun Hill 2:51
2 My Mind 2:34
3 Who Do You Love? 2:26
4 I Unseen Hill 2:01
5 Find a Hidden Door 2:16
6 I Can Take You to the Sun Brown 3:38
1 I'm Not Talking 2:25
2 Who's Been Talking? Burnett 2:57
3 I Need Your Love 3:20
4 You Don't Have to Go Out Reed 4:43
5 I Cried My Eyes Out 2:39
6 Like I Do 2:51
7 You've Got Me Crying Over Love 2:22
Saturday, 20 November 2010
An obscure psychedelic band based in Oregon, Afterglow released only one album in 1968 before vanishing. Afterglow's lone, eponymous release was sort of like a sampler of American psychedelic styles, featuring songs that recalled not only the Doors and Jefferson Airplane, but also the Byrds, Donovan and trippy garage-psychedelic bands like the Strawberry Alarm Clock.
Led by guitarist/vocalist Tony Tecumseh, the group formed in August of 1965 when Tecumseh was convinced by a friend to contact drummer Larry Alexander and a bassist named Mike. The trio, dubbed the Madallions, soon added vocalist Gene Resler and the band played several shows, usually at a local pizza parlor, before they went their separate ways to attend college. They re-formed in 1966, adding new bassist Ron George and keyboardist Roger Swanson. That fall, they began recording with producer Leo Lukla at his Golden State Recorders studio, but due to their studies, they were unable to complete an album until late 1967; the resulting eponymous record appeared early the following year on MTA Records. Afterglow was ignored at the time and the group broke up shortly afterward, but the record became a favorite of psychedelic collectors and was reissued by Sundazed Records in 1995.
Afterglow starts with "Morning," a gentle folk-rock song that finds the middle ground between the Byrds and Jefferson Airplane. Although there are a couple of tracks similar to "Morning" on the album, it is no more an indication of what's to follow as any other song on the record. Each song on Afterglow sounds as if it could have been written by different bands -- sure, there is the sighing "Mend This Heart of Mine," but it follows the downright bizarre "Susie's Gone," which, with its dissonant Farfisa organs and slide guitars, sounds like a space voyage gone bad. It's not particularly coherent but its nature as a sampler makes Afterglow a charming psychedelic relic.
AMG Review by Stephen Thomas Erlewine
04.Mend This Heart of Mine
07.By My Side
08.It's a Wonder
10.Riding Home Again
11.Meadowland of Love
12.Susie's Gone (altered version)
13.Chasing Rainbows (unissued alternate backing track)
14.Afternoon (unissued altered backing track)
susie's gone, lol
Neon Pearl was a 1960s British psychedlic band consisting of Peter Dunton (vocals/guitar/keyboards/drums), Bernard Jinks (bass guitar/backing vocals) and Nick Spenser (guitar/harmonium/keyboards).
In 1967, Neon Pearl released the album 1967 Recordings, which is a fine example of experimental British psychedelia with its hazy riffs, mild guitar distortions and vocal harmonies. Dunton was also in the marginally less obscure British psychedelic bands the Flies and Please, while Jinks later played in Bulldog Breed and T2, the latter also including Dunton.
Popular songs included "Forever", "Going With The Flow", "Just Another Day", "Out Of Sight" and "What Do You See".
1. What You See
2. Dream Scream
3. Out Of Sight
4. Just Another Day
6. Going With The Flow
7. Urban Ways
8. Going Back
9. Dream (Bonus)
10. Nothing To Say (Bonus)
Peter Dunton vocals again
A collection of demos taken from original master tapes and restored acetates from 1968-1969.
Featuring members of The Flies, Bulldog Breed, Gun and pre T2.
60`s archives recordings.
01. We Aim To Please (2:51)
02. No More White Horses (3:21)
03. Paper Anne (3:15)
04. Seaweed (5:10)
05. Break The Spell (3:17)
06. Strange Ways (3:21)
07. Man With No Name (3:27)
08. Watching (2:11)
09. You're Still Waiting (2:05)
10. Breakthrough (3:23)
11. The Story (2:24)
12. Folder Man (2:24)
Please: *Peter Dunton (drums, vocals except tracks 3,4,7,12) *Bernard Jinks (bass) *Nick Spenser (guitars) *Jurgen Ermish (organ) *Robin Hunt (flute, vocals tracks 3,4,7,12) *Rod Harrison (guitar on tracks 2, 4,
PLEASE DON'T MISS!!
Line-up A * PETER DUNTON: vocals, drums * JURGEN ERMISCH: organ * ADRIAN GURVITZ: guitar * BERNIE JINKS: bass Line-up B * PETER DUNTON: vocals, drums * ROD HARRISON: guitar * NICK SPENSER: guitar * ROB HUNT: flute, vocals * BERNIE JINKS: bass
01. Seeing stars [3:18]
02. Words to say [3:21]
03. Before [3:20]
04. Time goes by [4:32]
05. The road [5:30]
06. Rise & shine [3:56]
07. Still dreaming [3:27]
08. Secrets [3:13]
09. Who you know [3:34]
10. But [2:57]
11. Steal your dreams [3:01]
All tracks composed by Peter Dunton. Please were formed by Peter Dunton and Bernie Jinks in late 1967. They had just returned to Britain from Germany where they had played with Neon Pearl, which also included their third member Jurgen Ermisch. The fourth original member Adrian Gurvitz later co-founded Gun. Unfortunately this line-up left no vinyl legacy or unreleased recordings that have been located behind it. They disbanded in May 1968 when Peter Dunton joined The Flies for whom he wrote both sides of their Magic Train 45. When The Flies split up at the end of 1968, Dunton reformed the band (line-up 'B'). Rob Hunt had also been in The Flies. They recorded all the cuts compiled on this album. Please split again in April 1969 when Peter Dunton joined Gun. The remaining members recruited a new drummer and renamed themselves Bulldog Breed. They later cut the Made In England album. In the Autumn of 1969, Peter Dunton quit Gun to reform Please with Bernie Jinks and Nick Spenser (ex-Neon Pearl). This incarnation was relatively short-lived as they had difficulty recruiting a suitable keyboard player. In early 1970 Dunton, Jinks and a later Bulldog Breed member Keith Cross joined forces to form T2, who were responsible for the excellent It'll All Work Out In Boomland album. One of T2's tracks, No More White Horses also crops up in a radically different form on Please's 1968/69 retrospective. ~ (Taken from: "Tapestry Of Delights")
The keyboards are a bit too much in front at times on this album full of dreamy psychedelic music where "Before" is the track that catches the ear. This is their second release of unreleased material on Acme (Acme Deluxe ADLP 1028 / 2000).
Tuesday, 16 November 2010
ALBUM: 1(A) ARMAGEDDON (MTA MTS 5012) 1969 NB: (1) counterfeited on vinyl in 1989 and reissued legitimately on CD(Sundazed SC 6060) 1995 with six previously unreleased tracks - a combination of outtakes from the album and earlier folk-rock offerings from 1967. From Fairfield, California, this band were previously known as Stone Henge, who in turn had evolved out of The Donnybrookes. Their album was produced by Larry Goldberg and Leo (De Gar) Kulka who operated out of Golden State Recorders in San Francisco. The album starts out with the melodramatic Armageddon which comprises most of Side One, the rest is taken up with the more melodic and laid back I'm So Sad.
The second side begins with the rather lightweight goodtime Happiness, but Whispering Shadows opens with some great discordant guitar work which gives away to some good group harmonies and Kissy Face also features some great vocals, Dejected Soul, with its sleepy vocals and fine fuzz guitar work, is among the album's finer moments. The final track, As For Now, seems to return to the more melodic, laid back style of I'm So Sad An album well worth tracking down. The Sundazed CD bonus cuts nclude two unreleased efforts from 1967 as by Stone Henge Compilation appearances have included: Whispering Shadows on Psychedelic Crown Jewels, Vol. 1 (CD); As For Now on Sundazed Sampler, Vol. 2 (CD); Kissy Face and Dejected Soul on Crystalize Your Mind (CD).(Vernon Joynson / Max Waller)
1. Armageddon 7:13
2. I'm So Sad 7:03
3. Happiness 2:08
4. Whispering Shadows 4:22
5. Kissy Face 3:05
6. Dejected Soul 2:32
7. As For Now 2:40
****The Spoils Of War -The Spoils of War II -US 67-68- Outakes and live material WELL WORTH HEARING!!****
REVIEW FROM AMAZON.CO.UK:
"This is a truly superb album that was way, way ahead of it's time. The recordings herein date from '67 - '68, yet there are samples, scratching and all sorts of computer-generated weirdness. The emphasis is on psychedelic (how could it not be?) but there's much more besides: folk, country, pop, a dash of blues, and of course, plenty of jazz. The lyrics are unusual, thought-provoking, sometimes cheeky, competently written (no "oh baby"s here) and fit very well with the experimental ethos of the whole Spoils of War project. With such an eclectic mix it would be easy for the album to descend into a collection of interesting but unconnected clips. II runs this risk doubly because it is, despite its title, not really Spoils of War's second album but is rather a compilation of outtakes and live material. However, the sheer level of musical competence and sensitivity of arrangement and compilation keep the whole thing together. There are a number of wonderfully catchy tunes, some pleasantly odd Beefheart/early Beck moments, great eastern-style guitar work and some beautiful singing from Annie Hat. There're less computer-generated squeaks, wobbles and booms than on the previous, self-titled album; that is until you get to the live material at the end, wherein they threaten to (but never do) overwhelm the music. These final five tracks give a good feel of the atmosphere of a late 60s freak out, or "happening". Great stuff! And it's surprising to hear how different yet recognisable songs from the first album are when played live. But for home listening the studio recordings are more apt and therein lies the strength of II. Overall, the album is surprisingly well-rounded and addictively listenable. It makes a worthy successor to Spoils of War's classic, ground-breaking first album. If you're a fan of psychedelic and/or experimental music, or are interested in the roots of electronic music, and haven't got Spoils of War's first album, get it now... then get this one.""
1. Big Sugar Plantations
2. Dear Belgium Boy
3. In Again Out Again
4. Frosted Windows
5. Lightning Snakes
6. Poughkeepsie Blues
7. Missed Opportunity
8. Bomb Song
9. Morning Be Merciful
12. Rubab To Bed
13. Big City Frank's Drum Solo
15. You'll Never Know
16. Our Secret Place
Monday, 15 November 2010
Beat Of The Earth was assembled by Phil Pearlman, who had earlier released a surf/hot rod 45 Chrome Reversed Rails (shown as by Phil and The Flakes, on the Fink label).
One of the earliest known electric experimental bands, The Beat Of The Earth sound very similar to their East-coast counterparts The Velvet Underground...
These two records were recorded live in the studio during the Summer of 1967 and consist of long, unstructured jams using a myriad of acoustic and electric instruments.
This early incarnation of the band is the one most familiar to collectors and copies of the first album have been changing hands for hundred of dollars since the mid-eighties.
The music the band produced during this period is not for everybody (compare to the long tracks on the first two Velvet Underground albums), but their debut remains an unusual and rare item of significance from the California rock scene.
During 1968-9 the line-up of the band was in constant flux and Beat Of The Earth made no known "proper" recordings, but Pearlman continued to add to his own collection of demos using local studios in off-hours via his friendship with the engineer Joe Sidore.
At the end of 1969, Pearlman assembled The Electronic Hole strictly for personal use - specifically, to draft musicians for his new band.
Several names are listed on the sleeve but I believe this is actually very close to being a Phil Pearlman solo project. The album is entirely different stylistically from the earlier one in that it abandons the freeform improvisational approach in favour of 'compositions' including a wild cover of Zappa's Trouble Comin' Every Day.
None of the tracks are given titles on the album which complicates singling any out for commentary, but there are real highlights and the raw, unpolished feel only serves to make it utterly magical.
Pearlman plays sitar on one track to great effect, and another has the thickest wall of fuzz guitars imaginable - an effect he created by running his Fender amplifier into the amp circuit of a child's chord organ ("sounded great for about two weeks, then it blew up!").
There are few albums I known of that have such an eclectic yet appealing sound. Had the story ended here it would have been a real tragedy, as Pearlman's finest hour was yet to come.
Six years later (with who knows what in between), recording commenced on the majestic Relatively Clean Rivers album with an entirely new band and musical vision (by D.Glazer).
1. The Beat of the Earth (This Is An Artistic Statement), Pt. 1 20:59
2. The Beat of the Earth (This Is An Artistic Statement), Pt. 2 20:54
The Beat of the Earth:
Sunday, 14 November 2010
George Edwards, an ex-folk troubadour who had cut a solo 45 for Dunwich, Norwegian Wood/Never Mind, I'm Freezing, and a raw cover of Bob Dylan's Quit Your Low Down Ways, that remained unreleased until its inclusion on Happy Tiger's Early Chicago compilation in 1971, was working as in-house session vocalist with Dunwich when this Chicago-based outfit was first assembled. Aside from David Michaels, the other three members of the band were borrowed from another Chicago ouffit, The Rovin' Kind. The name H.P. Lovecraft was appropriated from the deceased fantasy horror wrighter. This initial line-up (February 1967) was responsible for the first 45, although the flip side was a George Edwards solo outtake from the previous year. The group came together as a stable entity in the Spring of 1967 (line-up B), although Tom Skidmore soon made way for Jerry McGeorge, who'd previously played with The Shadows Of Knight and Dalek/Engham: The Blackstones. (Joe Kelly, also of The Shadows Of Knight, was briefly in the band when Tony Cavallari, was absent for a while in late 1967).
The vocal combination of the folkie Edwards and Michaels, a classically-trained singer, gave the band a unique and distinctive vocal sound effectively supplemented by Michael's powerful keyboard-playing. Their debut album is one of great variety. The stand-out track was The White Ship and this is the song with which the group are most usually associated. Making use of a 1811 ship's bell, sombre harmonies, reeds, feedback and some baroque harpsichord pieces it conjured up a hallucinogenic atmosphere ideally suited to the times. Also of note were an excellent upbeat version of Dino Valente's hippie anthem Let's Get Together, which preceded The Youngblood's hit by over a year; That's The Bag l'm In, which had its roots in the garage; Wayfaring Stranger, a folk-based number and the dopey, sleepy number, I've Been Wrong Before, which gave a clear indication of the direction they would follow on their second album.
In the Spring of 1968 they relocated to Marin Country in Northern California, having already briefly toured the West Coast. They became a frequent attraction at the nearby San Francisco ballrooms playing alongside most of the top Bay Area bands. Jerry McGeorge wanted to stay in Chicago and was replaced by Jeff Boyan, previously with Hezekiah and before that Saturday's Children. Not only was Boyan a talented guitarist, he possessed a distinctive lead voice, too.
Later that year the group moved on again to Los Angeles where they recorded a second album which contained many fine moments. The sleepiness of the tracks like Spin, Spin, Spin, Electrallentando and Mobius Trip was reminiscent of the second side of the first It's A Beautiful Day album. There was a fine version of High Flying Bird, a song recorded by many West Coast groups; At The Mountains Of Madness, which captured the group's vocal harmonies at their tinest, and Blue Jack Of Diamonds, which had an unusual chiming intro. This is reputedly the first major label album where all those involved in the recording were high on acid!
H.P. Lovecraft effectively dissolved in 1969. Their first 45 got a further airing on the Early Chicago compilation a couple of years later. A new line-up of Edwards, Tegza, Marty Grebb (ex-Buckinghams and Exceptions), Michael Been (ex-Troys) and Jim Dolinger (ex-Aorta and Exceptions) signed with Reprise in 1970 calling themselves Lovecraft. Edwards departed before they recorded a rockier album and 45 the following year and soon Lovecraft were no more. Tegza later joined Bangor Flying Circus, but he reformed Lovecraft with an entirely new line-up in 1975 and a disappointing further album and two 45s were released which attracted little attention.
"Spin, Spin, Spin" (Terry Callier) – 3:21
"It's About Time" (Terry Callier) – 5:17
"Blue Jack of Diamonds" (Jeff Boyan) – 3:08
"Electrollentando" (George Edwards) – 6:34
"At the Mountains of Madness" (George Edwards, Dave Michaels, Tony Cavallari) – 4:57
"Mobius Trip" (George Edwards) – 2:44
"High Flying Bird" (Billy Ed Wheeler) – 3:21
"Nothing's Boy" (Ken Nordine) – 0:39
"Keeper of the Keys" (Mike Brewer, Tom Shipley) – 3:05
George Edwards – vocals, acoustic guitar, electric guitar, bass
Dave Michaels – vocals, keyboards
Tony Cavallari – lead guitar, vocals
Jeff Boyan – bass, vocals
Michael Tegza – drums, percussion, vocals
if you like this, you will probably love Tripsichord as well!
**Psychelatte says: -i have added a bonus track which is a re-working of "Let's Get Together." I have altered the balance so that the joyous sound of the organ can be clearly heard through speakers, without muffling the sound of the recorder. hope you like it!!
Often considered as folk rock this Chicago-origined group is most surely one of the prime examples of intelligent and adventurous psychedelic rock (as opposed to the more conventional Garage rock groups discussed in the Nuggets box-sets compilations) and shows that late 60’s in new world were also a fertile ground for progressive psych rock. Comparable groups of the era would be JEFFERSON AIRPLANE, SPIRIT and LOVE.
Folkie guitarist-singer George Edwards had recorded a few folk tracks, before playing with jazzman Will Mercier, where Edwards met KB man Dave Michaels, before heading back to his next solo single which will become the first HP LOVECRAFT recording - they took the name from their collective love of the writer’s oeuvre to which they asked his estate for permission to use the name. Guitarist Cavalleri, bassist McGeorge and drummer Tegsa completed the line-up. Their first album is a mostly-covers (albeit completely rearranged) album that can be compared to a much more subtle VANILLA FUDGE album.
They relocated to the San Francisco region following a few high-profile shows at the Fillmore West opening for PROCOL HARUM, DONOVAN, PINK FLOYD, TRAFFIC as well as all the local San Fran Flower Power groups and were on the brink of wide success. Around this time HP Lovecraft was at its peak touring almost constantly and a stupendous show was recoded on May 11, 1968, (but not released before 91), showing just how great and progressive they were.
Their second album had everything to achieve that goal (including a change of bassist) but they seemed to lack confidence in their own songwriting skills (it is formidably underrated) and again concentrated on covers. The album is incredibly strong and still nowadays quite impressive. However, just after its release, KB man Michaels will leave (exhaustion and loos of musical direction) prompting the group to implode soon after, causing the label to pull its promotional effort.
They tried to reform early 70, but failed (even as they had found anew record deal), but this effort prompted a group with no link to the original line-up (except for drummer Tegza) to record an album as LOVECRAFT (but bearing no resemblance to the first album) and a second album in 75, this time a funky affair. Most of the original members still dabble in music nowadays, around the Chicago area with Edwards and Michaels still playing together in folk
- Jerry McGeorge / bass, vocals
- Dave Michaels / organ, piano, clarinet, harpsichord, recorder, vocals
- Michael Tegza / percussion, drums, tympani (timpani), vocals
- Paul Tervelt / French horn
- Bill Traub / reeds
- Bill Traut / bells
- Herb Weiss / trombone
- Clyde Bachand / tuba
- Ralph Craig / trombone
- George Edwards / guitar (acoustic), guitarron, vocals, guitar (12 string acoustic), bass, guitar
- Jack Henningbaum / French horn
- Eddie Higgins / vibraphone, horn arrangements
1. Wayfaring Stranger (2:35)
2. Let's Get Together (4:35)
3. I've Been Wrong Before (2:46)
4. Drifter (4:11)
5. That's the bag I'm In (1:46)
6. White Ship (6:37)
7. Country Boy and Bleeker Street (2:35)
8. Time Machine (2:05)
9. That's How Much I Love You, Baby... (3:55)
10. Gloria patria (Trad.) (0:26)
11 BONUS Let's Get Together re-worked (by psychelatte)
Saturday, 13 November 2010
Ultimate Spinach's second album is a slightly more subdued continuation of the derivative psychedelia in their debut. Again, it's like a hack take on West Coast groups. There's Country Joe & the Fish in Ian Bruce-Douglas' electric keyboards (which don't play anything as good as his solos on "Sacrifice of the Moon" from the first album); Jefferson Airplane-like female vocals (by guest singer Carol Lee Britt) and songwriting on "Where You're At"; some Quicksilver Messenger Service-type guitar arrangements on "Mind Flowers"; a melody and vocal reminiscent of Kaleidoscope's "Keep Your Mind Open" on "Fragmentary March of Green"; and more. Songwriter Bruce-Douglas' lyrics are unintentional hippie parodies without any irony or humor, whether solemnly aspiring to a beatnik state ("take a trip to the center of your mind") or indicting the straight world ("he has an ulcer in his brain, from thinking of how to divorce his wife"). When the album turns to social critiques, it's uncertain whether the band is trying to mimic the Mothers of Invention without the wit, or whether they're unwittingly embodying the very kinds of groups whom the Mothers took the piss out of on "We're Only in It for the Money". [Richie Unterberger/AMG]
1. Gilded Lamp Of The Cosmos
2. Visions Of Your Reality
3. Jazz Thing
4. Mind Flowers
5. Where You'Re At
6. Suite:Genisis Of Beauty
7. Fifth Horseman Of The Apocalypse
8. Fragmentary March Of Green
If you like this, you may like this Bosstown band too!! (see ITEM #2 on page)
The Ultimate Spinach was a psychedelic band originally from Boston, composed of keyboardist/guitarist Ian Bruce-Douglas and singer Barbara Hudson.
"Ultimate Spinach" is the 1967 self-titled debut album by Ultimate Spinach and was released on the MGM Records label.The phenomenon of a "Boston Sound", (whose other top acts included The Beacon Street Union, also on MGM), was more a publicity stunt than a legitimate artistic movement, and the Bruce-Douglas version of the band tends to be remembered for its name.
On "Ultimate Spinach" the standout cuts are "(Ballad of) The Hip Death Goddess", with an instrumental interval for theremin (an early electronic instrument), feedback and reverberation, and the psychoanalytic folk-blues "Ego Trip" , the 4-part suite "Sacrifice of the Moon" as well as "Your Head Is Reeling" and the Frank Zappa-esque "Plastic Raincoats".
Their first album was reviled by the critics as phoney, now 40 years later it's getting some respect as an acid classic. In 2008 the English glossy magazine Classic Rock listed the 42 Greatest Psychedelic Albums. This album was Number 36, in there with Sgt Peppers, Axis Bold as Love, Disraeli Gears, etc.
Ian Bruce-Douglas: vocals, electric piano,organ,theremin,sitar
Barbara Hudson: vocals,electric guitar,kazoo
Keith Lahteinen: vocals,drums,tabla
Richard Nese: bass
Geoffrey Withrop: vocals,lead guitar,electric sitar
2.Sacrifice of the Moon [In Four Parts]
3.Plastic Raincoating/Hung Up Minds
4.(Ballad of) The Hip Death Goddess
5.Your Head Is Reeling
6.Dove In Hawk's Clothing
8.Funny Freak Parade
funny freak parade
Friday, 12 November 2010
This group, part of the 'Bosstown Sound', were energetically promoted in 1968. Their debut album, though often pretentious, was a mini-psychedelic masterpiece. The material, a mixture of acid rock, blues, and ballads, was usually original and often interesting. The album is recommended it you are able to obtain a copy.
Their second effort "The Clown Died In Marvin Gardens" continued in a similar vein, but contained the orchestrated "Clown's Overture" and "Angus Of Aberdeen".
Either or both albums are well worth checking out and both met with some commercial success.
1. Recitation/My Love Is 4:07
2. Beautiful Delilah 2:09
3. Sportin' Life 3:09
4. Four Hundred and Five 2:09
5. Mystic Mourning 5:58
6. Sadie Said No 2:46
7. Speed Kills 1:55
8. Blue Avenue 2:50
9. South End Incident 3:53
10. Green Destroys the Gold 4:00
11. The Prophet 4:33