From the fertile California (San Diego), Night Soil Man was the child of extraordinary singer/multi-instrumentalist Rosebud. I should mention that the rhythm section was held by Mike Kennedy (bs) and Mark Trombino (drms), later responsible for the famous Drive Like Jehu heavy sound. I should also warn you that this record has nothing to do with psychedelia or the so called "west coast" sound. Garden of Delight is a hard and desperate record, with no exits. The band is VERY tight, there is not a single note where it shouldn't be and although the music is hard and heavy, they never cross the line to the metal side. Rosebud does her vocal acrobatics over a non-stop pounding of the drums, thumbing of the bass and screaming of the guitar, singing about countless horrors and sickness and all these in a voice that she definitely knows how to use - she sounds like a trained vocalist-, a voice of tremendous power and expression.
Trained or non-trained Rosebud leads with he
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Dane Sturgeon, in California, in the year 1967, made a record of
totally american dementia, proudly ignoring almost everything that was
made after 1962 - one of the bizarre artifacts that this era seems to
have produced more often than we imagine (but we are slowly
discovering).
A hybrid of Roy Orbison, Elvis Presley after the army and Byrds if
they were from Texas, "Wild'n'Tender" is an absolutely unique album, in
the private press bizarre records that have been discovered lately,
like Y. Bhekhirst, Jerry Rayson or Mark Melanson - although not so
extreme musically as those. Nothing is unheard here, in fact several
of the melodies are reminding something familiar.
Take a good look of the cover - this well-shaved man with the private investigator's coat and the cowboy hat and this look in his eyes and you'll know a lot about this record: Dane Sturgeon is trying to give us the impression of the title (and the reco
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The Loading Zone was one of the first Bay Area bands to incorporate a horn section into the emerging psychedelic sound emanating out of San Francisco. Formed in Oakland in 1967 by keyboard player and vocalist, Paul Fauerso, the Loading Zone opened many a show at the Fillmore, supporting acts like Cream, Big Brother & The Holding Company, the Grateful Dead, and many others. From the Berkeley psychedelic-rock band, the Marbles, Fauerso recruited both guitarists, Pete Shapiro and Steve Dowler. The rhythm section of Bob Kridle and George Newcom held down the bottom end, forming the core group. Though rooted in R&B, the group also veered off into psychedelia, rock, jazz, and electric blues initially. Adding horns to the mix, they paved the way for bands like Tower Of Power. In early 1968, Fauerso placed an ad in the San Francisco Chronicle seeking a new lead vocalist, resulting in Linda Tillery joining the band just prior to them signing with RCA Records. Tillery was the key ingredient; a charismatic singer who became the focal point on stage and her powerful voice
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With titles like "Watermelon Soup", "Immediate Ratification" "Coconut Lifesaver" and "Teenage Lima Bean" you know what to expect. If you've enjoyed Chocolate Soup series or the more psyched tunes of Pebbles, look no further for another chapter of multi-colored reverberation, full of every psychedelic essence known to these children' fried minds. Garage rhythms, lysergic guitar riffs, cheap studio effects, two-finger played farfisa and some of the most vibrating, underwater-recorded, Sonics-inspired and Syd-Barrett-treated songs you could possibly hear in this or any other life.
Watch Children were Marc Saxton on guitar and vocals, Martin Splichal on guitar, Elena Papavero on bass and John Kleiman on drums and their base was in New Jersey. Marc Saxton and Elena Papavero (the group's core - although Martin Splichal has written most of the songs in this cassette
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The sole LP of a Caifornian artist, released in Holland, has an impressive opening with the totally Barrett-with-strings "A Real Fine Time". A rather rich production - the basic rock instruments with something like a strings ensemble - often creating an amazing wall-of-sound, contrasting with the unusual melodic lines that Tingley uses in several tracks. This is rather different from the use of strings in other psychedelic records, like in "Forever Changes" and closer to Phil Spector's way. Sometimes flutes, layered vocals, tablas and acoustic guitars are used to give the desired psychedelic (or folky in a few cases) sound. I wouldn't know if the producer (Tony Vos - also jazz saxophonist, DJ in famous Radio Veronica) or Mike Tingley himself had studied the Beatles' arrangements in Rubber Soul or Sgt.Pepper that was released a little earlier, but this album is standing between the psychedelic era of the Byrds, Syd Barrett and Sgt. Pepper. There are a few songs that sound too mellow today and they could never be called psychedelic but rather teenage pop, like "Beg
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Heavy guitars in a low flying, a mix of Stranglers and Black Sabbath in an acidic trip, buried, distorted vocals that you can only guess on what are growling about, and also dirty punk rock in the NY Dolls tradition, that's what you gonna hear in this mini (about 20 min.) album, that Mary Shelley Overdrive from Columbia. SC, sent us.
Guitars rule in Hideous Sexy but they're based in an extremely solid rhythm section. This band must caused permanent damages in many kid's ears that show them playing.
As the above were not enough, you get a voodoo version (?) of "Who Do You Love" and a 57" version of "Wasted" the way that Hawkwind would play it.
Mary Shelley Overdrive, besides their sense of humor, have a few releases out. Check them here and on myspace.
Jeremy & The Satyrs (US) - 1968 - Jeremy & The Satyrs
Tracks: 1 - In the World of Glass Teardrops 2 - Superbaby 3 - She Didn't Even Say Goodbye 4 - The Do It 5 - The First Time I Saw You Baby 6 - Lovely Child of Tears 7 - (Let's Go To The) Movieshow 8 - Mean Black Snake 9 - Conzonetta 10 - Foreign Release/Satyrized
Fronted by Jeremy Steig, who'd earlier played with Peter Walker, this
band's psychedelic rock LP has now become a very minor collectors'
item. It was produced by John Court who also worked with Electric Flag
and the Butterfield Blues Band. Jeremy was a cartoon artist like
his father William Steig (New Yorker Magazine etc.), whilst Adrian
Guillery was studying art in New Paltz / Manhattan.
The band backed Tim Hardin live, and some membe
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Psychedelically-inspired, trippy musicable to straddle the line between dreamy, hazy texture and a more earthbound, rhythmic, jarring aggression . "All The Colors" combines a shimmering, sitar-tinged melody line with straight-ahead power drumming, similar to early Psych Furs (without the sax). "Slippery Slide" uses eerie strings, more sitar and a loping riff to create a hypnotic texture. Drumming On Glass offer a potent mesh of guitar, bass and drums, painting sonic tapestries that flow with the heavens and also appeal to primal instincts. (Suburban Voice #31)
Starting with the joyful, sitar-based "All The Colors", Asparagus Tea is Drumming on Glass' debut and on of the most well hidden secrets of Bostonian psychedelic rock of the 80s. Released rather late to be a part of the revival thing, 'Asparagus Tea' survives and it's totally listenable until today, because it's not another imitation of the 60s. The sixties are present of course, as well as the psychedelic, eastern scales, dreamy/trippy melodies and arrangements and all the usual elements that we'd expect to find in a record labeled as "
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Baroquen Hearts is the third release of the Green Pajamas. It was a cassette, recorded at home and came out around 1985 on Tom Dyer's Green Monkey label. It contains what we could call 'embryonic versions' of the music that made GP the greatest psychedelic Northwest group of the last 25 years.
I'm saying 'embryonic versions' because these songs seem to be some of the hundreds that Jeff Kelly wrote and recorded in his reel-to-reel recorder. I don't know when these were actually recorded but - for the most part of it- there was definitely no Green Pajamas (at least at the recording). In fact this sounds more solo than "Coffee in Nepal", that came out under Jeff's name, a couple years later. [Note for the scholars: although it is generally listed as a Green Pajamas release, here is mentioned as Jeff Kelly solo project - and I think rightly so].
From the 14 tracks, only five songs that were played by a full band (A World Without You and I Want You Back (Ooh, Ahh), which are very close to "Summer of
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An obscure rocking funk combo from the early 70s -- one of a few, like Sweet Apple or High Voltage, who seemed to crop up on Columbia after the success of Sly & The Family Stone. Like those groups, and Sly, Mother Night's got a guitar-driven groove that was probably easy funk for the crossover crowd -- but like Sweet Apple, they're a bit hard-driven, with a heavy sound that really takes them over the top with a wild energy that probably kept them off of radio, and stuck in the underground. Lots of nice jamming, though, and these guys really know how to lay some jazzy chords into the mix to keep things fresh! Titles include "Julie Nixon", "Utopia", "Scuffle", "Warm Spot", "Groupie", "Guitar Man", and "Fools Are You" (from Dusty Groove America)
You can read the liner notes for more (click on the image to view it full size)
Six vinyls on Pokora's Record Collector Dreams, no entry in Fuzz, Acid & Flowers, this is surely pretty rare (even the Shadoks reissue was in just 450 copies and long OOP).
August was a trio (maybe from NJ), that poses with a giant sunflower on the cover and their sole record contains some of the best flower pop (with nice touches of psyche), you've never heard. Not unlike Soapwith Camel's LP or Dovers mLP, August created a teenage garage-pop sound, based strongly on the British beat, but there's also some Buddy Holy hidden beneath the beats and the boyish vocals.
It was released rather late for this style, and it may lacks the song that would stick into our ears, like "Hello, hello", "Frantic Desolation" or "She's Gone", but as a whole, it's approaching the two records mentioned above. Listen to it from start to end and you'll be in 1966, without getting off your chair.
Outstanding tracks: "You Say Love Dear", a mix of Kinks and garage, the speedy, pulsating "In Time You Know" and the great cover of "Eleanor Rigby" (although it was treated like a beat track, it retains its mel
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This 40-years old record
seems to have passed the test of time: not that it sounds "modern"
today, but it has this 'classic' touch that we see in music made with
honesty, love and joy.
"House of Glass" is the impressive
opening track, full of tension and convincing vocals over a 13 Floor
Elevators style music, "Born In the USA" is an almost straight R'n'B
track, complete with harmonica (but it sounds a little phony and out of
place), "Once Again" and "Sometimes You Wander" are nice soft-pop tunes
(California style), "The Means" is an excellent hallucinogenic flying
into the Beatles territory, "Do You Remember" is not far from Pearls
Before Swine. "I Want To See My Baby" is a much more successful attempt
on the psyche/blues style than "Born in the USA", with a nice fuzz
guitar, reminding "Death Sound Blues" of Country Joe & The
Fish, "Lady Blue" is basically a straight rock song, besides the
psychedelic arrangement. Then we have the organ-based "Passage #17",
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Locomotive were a somewhat legendary band that came out of Birmingham
in the late sixties. As an aside an early line up of the band featured
Traffic's Chris Wood and Black Sabbaths first manager Jim Simpson. Sax
player Dick Heckstall Smith also guests on this the bands only album.
The album opens up with the track Overture which leads into the single
Mr Armageddon. Despite being of its time this album still has something
special about it and perhaps it is the mixture of jazz, psychedelia and
progressive rock that lends it an air of something special. Certainly
there was nothing like this blend around at the time with most bands
tending to go with one of the aforementioned genres rather than the
eclectic mix Locomotive employed.
Other tracks of note are
There's Got To Be A Way and A Day In Shining Armour. The record company
have also decided to include a number of bonus tracks such as the
original mono mix of the single Mr. Armageddon and You Must Be Joking
neither of which have ever been released on CD before nor obvio
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Fourth volume of the Maidens series and the concept has slightly changed: I've expanded the time range from the 60s until today, because the more I'm listening to these songs the more amazed I become from the fact that there are literally no great differences between the classic voices of the past and the promising voices of today, and the feeling of the music remains the same, in the 60s, 70s, 80s, 90s or 00s.
01 Penelope Houston - Harry Dean (Birdboys, 1989) The best possible
opening track, "Harry Dean" is from Birdboys, a record that should be
considered among the classics, along with Balaklava, Goodbye &
Hello or Sunshine Superman. Unfortunately it is not, but if you decide
to search for an album out of this series (including past or future
volumes) try this. I thought that it was out of print, but Penelope is selliing
it. Absolute, perfect beauty. ... Read more »
Note : We are slowly rebuilding our posts. We decided to use the original dates for the entries initially posted on the old Lost-In-Tyme, so, if you have our RSS enabled, you will not see everything appearing in the blog's main page. In this case you can search for it (at the right column) or you can visit our archives pages (the reposted entries have active links)
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