BABY see Sidetrack

BABYLON (St Petersburg, FL)

"Babylon" 1977 (Mehum 4641)  
"Babylon" 199  (CD Synphonic)

Genesis-style progressive rock with lots of keyboard and long tracks, rated highly by genre fans. Oddly housed in a cover that looks like a punk/skinhead LP; this design was transformed into a space alien on the CD reissue.

BACHS (Chicago, IL)

"Out Of The Bachs" 1968 (Roto no #)  [500p]  
"Out Of The Bachs" 1992 (Del Val 007)  [350p]
"Out Of The Bachs" 199  (Flash 43, Italy)
"Out Of The Bachs" 1997 (CD Flash 43, Italy)
"Out Of The Bachs" 2004 (CD Gear Fab)  [+bonus track] 

One of the most legendary US garage-era LPs. Strong all through, in a crude garage folkrock style with some psychy edges and no covers, which is unusual. The band emits a rather unique, timeless vibe, with a middle third that is particularly impressive. Takes time to get into, but ultimately one of the truly big pieces among 1960s private pressings. Unfortunately, none of the reissues reflect the presence and punch of the original. The Del-Val reissue and the subsequent bootlegs of it are all mastered 1.5%-2.0% too slow. The legit Gear Fab reissue is the correct speed but has clearly inferior sound and digital skips. You need to hear an original (or a CD-R thereof) to understand the full magnitude of the Bachs experience. According to a band member, 500 copies were pressed. [PL]
~~~
Chicago jangle guitar downer garage psych with gorgeous aching vocals. Masterful guitar work covering the spectrum from Beau Brummels chiming to anarchic Litter runs. Haunting poetic originals full of lost love and broken dreams - even moving into stream of consciousness territory on 'Minister to a Mind Diseased' and 'Tables of Grass Fields'. The closer, 'I'm a Little Boy', is an otherworldly dark feedback monster. Literally every track is a winner! Recorded in a butcher's shop by this high school group late 1967 and released January 1968. This group had a maturity and presence way beyond their years. For me, it comes down to this and the Litter's "Distortions" for best US garage LP. [RM]
~~~
In the world of private press, original song, garage psych The Bachs is one of the 2 or 3 best. Along with "All Of Thus", this LP is a great example of the transition from garage rock to psych that happened all across suburban America in `66-'67. The LP was recorded in a Butcher Shop on a cheap tape machine so the sound isn't quite up to major label quality, but the LP has a charm that truly captures the teen angst and emotion that so many of these type of LP's lack. In the scheme of things, if any LP is worth four figures, it's this one. [RH]

BACK POCKET (CA)

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

Los Angeles-area obscurity with a Dead-like rural sound.

BACKSTREET BOOGIE BAND (AZ)

"Southbound Freight" 1981 (Platt & Klum)  

Dual guitar hard rock with a Southern vibe, has been compared to Wabash Resurrection.

BAD AXE (Riverside, CA)

"Bad Axe" 1976 (Earth Breeze)  
"Bad Axe" 2004 (Hexamon 002)  [500p; poster; insert]

Teenage hardrock pointing towards metal with little or no residues of the stoner era to be found. Solid guitar-work as you would expect, with doubletracked axe-men battling it out Ritchie Blackmore-style. The band works the best during the instrumental tempo-shifts when the ace drummer kicks in the overdrive and they really take off into headbanger heaven. Unfortunately the songwriting is unexceptional, and the vocalist seems lacking in selfconfidence. Lyrics are mostly of the bonehead variety, and putting this all together you come up with an LP that early metal-guitar fans will love, while those looking for a bit more needn't bother. Some nice use of phasing and some prog moves here and there. It appears the LP was pressed for demo purposes only in a tiny run. There is also a 45 from 1977 with a PS on the Progrezzive label. [PL]

BADGE & CO (KS)

"Badge and Company" 1977 (Wilmarco lps-1)  [1000p]  
"Badge and Company" 2000 (no label, Europe)  [bootleg]

Bluesy power trio with ZZ Top sound. The counterfeit has a whitish label, while the original label is more beige; otherwise they're very close.

V.A "BADGER A-GO-GO" (WI)

"Badger A-go-go" 196  (Night Owl KTV-3)  

15 teen-beat tracks from local WI bands housed inside a silly sleeve. Bands include Dave Kennedy & Ambassadors, the Mule Skinners, Jerry & Continentals, Grapes Of Wrath, and others. The psych-flavored "Salem Witch Trial" by Kiriae Crucible is probably the highpoint.
~~~
see -> Mendelbaum

KALI BAHLU (CA)

"Cosmic Rememberance" 1967 (World Pacific wps-21875)  [gatefold]  

Eastern meditation exploito with sitar and jarring female narration.
~~~
see -> Lite Storm

ISABEL BAKER ( )

"I Like God's Style" 196  (Romco HF-101)

Side One starts out with the title track and is far out there, Christian Garage Rock-A-Billy with vocals straight from the depths of Hell. Imagine the illegitimate daughter of Hasil Adkins and Mrs. Miller and you have an idea of what this sounds like. The second cut "The Gaderian" is PSYCHO-delic with Isabel's rockin' guitar ever present. All of Side One is Real People Heaven that will appeal to everyone from Billy Miller to Jimmy Swaggart. Side two kinda sucks. [RH]

GARY BALDWIN & MASS MURDER ( )

"If I Only Could Play Piano" 1979 (Airhole 00001)  [100p]  

Described as primitive DIY freakouts with one side being garage rock and the other hippie folk trance, plus 10 minutes of silence! The band is listed as Wombat Suicide on the label.

V.A "BALTIMORE'S TEEN-BEAT A GO GO" (MD)

"Baltimore's Teen-Beat A Go Go" 1966 (Dome sr-4007)  [2000p]  
"Baltimore's Teen-Beat A Go Go" 1997 (Get Hip)  [500p]
"Baltimore's Teen-Beat A Go Go" 1997 (CD Get Hip 5009)

Only recently discovered comp of local Battle Of The Bands winners and runners-up that's an eye-opener for those blase with 60s samplers. A generous 16 tracks from unknown groups with great names. It's a consistent '65-66 ride through frat, dumb sax instros, beat, punk ballads, Stonesy garage and some all-out primitive '66 garage, such as the championed Bobby J & the Generations track. All originals with a New England-type sound, and for a Maryland comp it's surprisingly (and thankfully) light on soul-oriented material. As is often the case with these samplers many bands have a similar sound. Side two is solid from start to finish. Despite its scarcity, the press size has been reported as not less than 2000 copies, with two sleeve variants; the earlier version has no label info at the bottom of the back cover. [PL]

BANCHEE (Eastcoast)

"Banchee" 1969 (Atlantic sd-8240)  [lyric insert; wlp exists]  
"Banchee / Thinkin'" 199  (CD Lizard, Europe)  [2-on-1]

Solid late 60s hard rock album with a definite pop influence (as many great melodies as there are long guitar solos). Vintage 1969 sound with lots of different effects on the guitars. There are three songwriters, but they’re all equally good, and the mix of writers lends variety. Ends with a terrific 9-minute blow out. Side two is completely solid. [AM]
~~~
Like much late-'60s product the debut displays some psych influences (the leadoff, mid tempo number "The Night Is Calling" has a distinctively trippy feel), but the predominant sound is heavy, guitar-powered rock. With all four members contributing material, original numbers such as "Beautifully Day" (sic), the fuzz guitar-propelled "Evolmia", "I Just Don't Know" and the extended "Tom's Island" offered up a series of high energy guitar powered rockers that were both tuneful and structurally interesting. That said, the album was surprisingly diverse. "Train of Life" sounding like Mike Nesmith after a week of speed, "Hands of a Clock" had a pseudo-jazzy feel, while the Latin-tinged "As Me Thinks" recalled early Santana. Overlooking the pompous back cover liner notes, it's a great if hard to find debut. [SB]

"Thinkin'" 1971 (Polydor 244066)  
"Banchee / Thinkin'" 199  (CD Lizard, Europe)  [2-on-1]

Released two years after their debut, "Thinkin'" found the band aiming for an even tougher rock sound. Unlike the debut which was a largely democratic project, this time around singer/rhythm DeJesus was responsible for the majority of the material. Kicked along by squealing lead guitar, Latin percussion and their "group" lead vocals, songs such as the blazing opener "John Doe", "Willya" and the title track made for hard rock that was still tuneful and commercial. At least to our ears the results recall Santana at their most rocking. [SB]
~~~
Second album has a fantastic psychedelic sleeve. The sound is much less poppy this time around, in favor of Latin rhythms and relentless screaming lead guitars. The solos are overlong, unfocused, and all sound the same, making this weaker than the debut, but the new style is pretty powerful until the songs start blending together. Quite a bit rarer than the first album. [AM]

BANDOLERO (Puerto Rico)

"Bandolero" 1970 (Eclipse erc-5-m37925)   
"Bandolero" 199  (Eclipse)  [bootleg]
"Bandolero" 199  (CD Que Diablos)

The record was pressed in Florida for export to Puerto Rico. A mix of basement fuzzed hardrock and jazzy funk Santana moves. Moody church organ and driving fuzz. Disjointed rhythms on many tracks with weird tempo changes within songs. The vocals, mostly in English, are obnoxiously bad. The closer, 'Truth and Understanding', gets a nice anthemic tension going only to dissolve into a formless funk jam. A pretty weak effort, really. [RM]

BARBARA [aka Barbie] (NJ)

"Journey to Jesus" 1971 (Bond 101)  

The first album by Barbie Sipple (credited simply to 'Barbie') is pure folk, unlike the more varied folk-rock of the second. It's pretty good, as her songwriting is catchy and heartfelt. Her singing has a little too much of the Joan Baez-style vibrato, though, and isn't as appealing as on SINGS FOR LIFE. A backing chorus of children on a few songs is probably intended to be joyous, but comes off as creepy. Neat album cover could be mistaken for something Satanic if you didn't know better. The album came with a lyric/chord booklet. [AM]

"Sings For Life" 1973 (Lazarus Records)  

This obscure Christian folk-rock record is dedicated to the “National Youth Pro-Life Coalition.” Barbara has a beautiful and commanding voice and there are a bunch of really good songs here. She’s comparable to, but more mature than, Marj Snyder and Linda Rich. The highlight is “Hold On,” with an eerie loner folk vibe helped along by a great bassline and snaky acoustic lead guitar. Unfortunately this album includes two songs sung to and with a chorus of children. They’re not as hard to take, however, as “Song Of The Unborn,” which comes complete with a heartbeat and narration from the point of view of a fetus. It’s sincere beyond belief, and she plays the dirty trick of surrounding the propaganda with a truly haunting melody and arrangement. It hardly gets more surreal than turning to side two after this song and immediately finding Barbara joking with a gaggle of brainwashed young Christians-in-training. Did I mention that she can really sing? Her version of “He Ain’t Heavy” would be better than the Hollies’ if it weren’t for her inept drummer. I dig the picture of her with a Bert (from Sesame Street) puppet on the back cover. It can be framed and put on your mantle next to the famous picture of Osama Bin Laden and Bert. Oh, and isn’t it wrong for a “pro-lifer” to sing “I’m so happy I could die?” [AM]

BARBARA & ERNIE ( )

"Prelude To" 1971 (Cotillion sd-9044) 

This is a really odd album, beginning with the cover photo, which shows a tall, sexy black woman and a short fat stoned-looking hippie (somewhat reminiscient of Bunky & Jake if Jake went off the deep end.) The music is a mix of soul, rock and dreamy folk. Some of it is truly excellent, and the styles mix surprisingly well. "Listen To Your Heart" is a classic, the kind of thing that blows away most "Hippie Goddess" type psych/folk. This is an album that's too weird for soul fans, too R&B for folk fans and too 70s for psych fans. In short, it's unique. And it's wonderful. [AM]

BARBARA THE GREY WITCH (CA)

"Barbara the Grey Witch" 196 (DEA 1d-1001)  [gatefold]  

Classic with chants, rituals, and sexpot Barb giving you the straight dope on 60s grrrl power! "A fascinating trip through the world of modern witchcraft".

BARBARIANS (MA)

"Are You a Boy or a Girl?" 1966 (Laurie 2033)  [mono]  
"Are You a Boy or a Girl?" 1966 (Laurie 2033)  [stereo]  
"Barbarians" 1979 (Rhino 1008)  [LP + "Moulty"]
"Barbarians" 1981 (Line 6.24351, Germany)
"Are You a Boy or a Girl?" 199  (CD One Way)
"Are You a Boy or a Girl?" 199  (CD Sundazed)

Perhaps due to the majority of the LP being popular covers, to our ears the album was a mild disappointment. Understanding that mid-'60s marketing demanded a band include covers in their repetoire, there wasn't anything terribly wrong with their work (save a really lame "House of the Rising Sun and a rote remake of "Mr. Tambourine Man"). Elsewhere, largely written by producer Morris, tracks such as "What the New Breed Say" and "Take It, or Leave It" were stronger, benefiting from Moulty's raw vocals and the band's considerable energy. Curiously, in spite of all of the resulting publicity, including numerous appearances on ABC's "Shindig" television program, the parent set failed to chart. The band's pre-LP 45 is often considered the best thing they did. [SB]

BARDS (Moses Lake, WA) 

"Bards" 1980 (Piccadilly 3419)   

"The Moses Lake Recordings" 2002 (Gear Fab 183)
"The Moses Lake Recordings" 2002 (CD Gear Fab 183)

The Piccadilly LP is garagy pop containing singles and unreleased tracks recorded through 1969. The  album was released without the band's knowledge. The Gear Fab title reissues an unreleased 1968 LP, produced by Curt Boettcher and Keith Olsen and is more adventurous with some experimental psych leanings. [RM]

BARONS (San Antonio, TX) 

"Barons" 1970 (Solar 101)  

"By Request" 1972 (Solar)  

Melodic lounge rock and pop soul. "By Request" has a decent cover of Buffalo Springfield's 'Mr. Soul', otherwise this band is pretty forgettable. [RM]

BAROQUES (Milwaukee, WI) 

"The Baroques" 1967 (Chess 1516)  [mono]  
"The Baroques" 1967 (Chess 1516)  [stereo]  
"The Baroques" 198  (Chess, Greece)  [bootleg; +2 tracks]

Milwaukee's finest 1960s band had a taste of the big-time with this good early (recorded March 1967) psych LP but never really made it. A unique dark intellectual vibe and odd moody vocals give them a distinct identity coupled with some monster fuzz tracks I hope everyone's familiar with by now. The LP admittedly has some weaker spots but is all over essential and still easier to find than many lesser trips. As far as I can tell, this is the very first psych LP from the entire Midwest. The stereo mix is considered to be superior. Their privately released non-LP 45 is superb. [PL]
~~~
Good early US psych album with one foot still firmly planted in the garage. Nice mix of serious introspective moodiness and druggy fun. The psychedelic air-raid fuzz rave-up in "Iowa, A Girl's Name" never fails to deliver. The mono mix is somewhat muddy and lacks the dynamics and clarity of the stereo mix. The 80's boot  sounds OK and includes their rare non-LP 45 as a bonus. [MM]

"The Baroques Are In" 1989 (Baroque 9005)
"Purple Day" 1996 (CD Distortions)

The Baroque release is unreleased material of varying quality. Most or all of this is also on the CD release, which includes most of the Chess LP as well and is recommended.

BARRACUDAS (Highland Springs, VA)

"A Plane View Of" 1967 (Justice 143)  
"A Plane View Of" 1995 (CD Collectables 0606)

Opens on excellent beat/garage note with strong original followed by tough Stones cover, rest of the LP is similar with mainly Brit Invasion numbers done in an agreeable manner, even has Beatles and Byrds covers plus a fuzz rave-up take on "I'm a man" that has been comped. Only the awful closing "Shotgun" drags the LP down, rest is fine by local US mid-60s LP standards with cool teen vocals, nice undistorted rhythm guitar and occasional sax. I've seen this cut down in more than one place but it sounds pretty good to me, along with the Tempos the most "normal" (as in 1965-66) sounding of all Justice albums. Released in early 1967, the album went on to sell more than 700 copies locally. The band cut a good psych 45 in 1969. [PL]

YANK BARRY (Montreal, Canada)

"Diary Of Mr Gray" 197  (McConnell Records Ltd. 2-001)  [2 LP box-set; inserts; bonus 7"]  

An odd release by a somewhat infamous charlatan whose story may remind one of an upscale Palmer Rockey. A "Yank Barry" search produces stories about Federal scams and imprisonment, friendship with Muhammad Ali, claims to writing "Louie, Louie," of Vietnam activism, of being a CEO and creator of a large corporation, etc. The opening track here, "Mr Gray", is the same song as on the Stone Circus album (on Mainstream) but this very similar version is credited to... you guessed it, Yank Barry. The packaging of this release is stunning: a faux brown leather box that opens like a book with gold leaf printing with black & white photos on the inside. The contents consist of various inserts (pictures, sheet music, notes, cards, lyrics), a one-sided 7-inch 78 labeled as "Introduction To The Diary Of Mr. Gray" and two full length albums -- one is in stereo with lyrics (Acts 1 & 2), the other the instrumental version (Acts 3 & 4) in quadraphonic. Musically, it's pop psych with heavy orchestration. I find it interesting with two or three memorable tracks. Sort of a glitzy, poor man's version of the Sidetrack album. Yank Barry was only the vocalist on this work, which was masterminded by ex-Stone Circus member Larry Cohen aka Jonathan Caine, and the material was released again, now credited to Stone Circus, in 2001 ("Diary Of Mr Gray", Mcconnell, Canada). [JSB]

AL BASIM see Revival

BASKERVILLE HOUNDS (Cleveland, OH) 

"Featuring Space Rock Part 2" 1967 (Dot dlp-3823)  [mono]  
"Featuring Space Rock Part 2" 1967 (Dot dlp-25823) [stereo]  

Recorded to capitalize on a minor 45 hit, this collection offered up a then-typical mix of popular covers and originals. While all five member were credited as singers, the absence of a distinctive vocalist was a major distraction. Similarly, covers such as The Beatles "Penny Lane" and Neil Diamond's' "I'm a Believer" weren't particularly impressive. On the other hand, original numbers such as the fuzz guitar-propelled "Sad Eyed Lady", "Please Say" and the title track instrumental were all worth hearing. Hardly one of rock's "pretty boy" combos (the liner notes described Rossi as having a "comic appearance"), the doubled breasted brown suits sure didn't help their appearance - they looked like an exhausted burial party. [SB]

JOHN BASSETTE [with DAYBREAK] (OH)

"John Who" 1978 (private)

Messed-up real people folk. Bassette, a black folkie, guy had several more local LPs, all of which are reasonably interesting, but this is the strangest and most enjoyable.

JON BATSON (DC)

"Just Can't Lose" 1970 (Rising)  [plain stamped cover]

East coast loner protest deep folk from Scientologist, still active today.

"BATTLE FOR THE MIND" see Willard Cantelon

V.A "BATTLE OF THE BANDS" (HI)

"Battle Of The Bands" 1964 (Star SRM-101)

Hawaiian rarity which is more frat/surf than garage punk, as the release year may suggest. One track by the Duplex has been reissued on Pebbles.

V.A "BATTLE OF THE BANDS" (Westchester, NY)

"Battle Of The Bands, Vol 1" 1967 (Ren-vell 317)  

Obscure New York City BOTB artefact with an unusually professional sound for the genre and a gritty urban vibe. Fairly unique as it does not contain one single Brit Invasion cover, but an equal mix of Byrds/Raiders/Spoonful and r'n'b/soul. The most famous track is the brilliant "High on a cloud" by the Traits which has appeared on a couple of comps, but the Henchmen are just as good with the fuzz-driven garage ace "Say", and the LP as a whole is above average. The Mystics had a non-LP 45 on Ren-Vell. [PL]

V.A "BATTLE OF THE BANDS" (Lawrence, MA) (1)

"Battle Of The Bands Recorded Almost Live" 1967 (Onyx 80689)
"1966 Battle Of The Bands Recorded Almost Live" 198  (Star Rhythm)

BOTB testimony on the same label as Lazy Smoke. Kind of short with only nine tracks and a couple of odd choices alongside the usual covers. No originals, lowkey and sorta samey in sound, not all that exciting. Re-recorded after the actual contest with applause dubbed in. This was reissued in its entirety in the 1980s, this reissue is sometimes peddled as an "original". Some people have questioned the existence of an original 1967 release altogether, but it did come out and differs slightly from the repro, which has '1966' added to the front cover design and a different label color. [PL]

V.A "BATTLE OF THE BANDS" (MA) (2)

"Battle Of The Bands" 1967 (Normandy 30867)  [2 LPs]

Sub-title is "Live at the 1967 National Finals, in Ridge Arena, Braintree, Mass". Over 11,000 bands all over the country competed in this contest!  There is supposedly also a loose third LP that was only given to band members.
~~~
see -> Tony's Tigers

PAUL WAYNE BEACH ( )

"On Down the Road" 1977 (Aesthetic Artist)  [100p]

One-man band moody rural acoustic loner.

BEAD GAME (Cambridge, MA)

"Welcome" 1970 (Avco Embassy ave-33009)  

"Baptism" 1996 (American Sound as-1004)  [1000#d]

Featuring all original material, tracks such as 'Punchin Judy' and the fuzz guitar propelled 'Wax Circus' showcase an engaging mix of hard rock with occasional jazz touches. That may not sound particularly original or appealing, but their performances were actually quite attractive. Jim Hodder had a voice that was well suited to the group's attack (anyone into early Steely Dan will instantly recognize him). Highlights include the rocking 'Amos & Andy' and 'Mora'. For fanatics, there's a non-LP single 'Sweet Medusa'. [SB]
~~~
Lots of excellent guitar here, and the jazz influence separates it from the rest of the Bosstown scene. Collectable value has risen greatly in recent years, usually a sign that a major label album has stood the test of time well. There's a professional sheen that makes the Steely Dan connection unsurprising, but that's not to say that this sounds like something you'd hear on 70s AM radio. Distinctive and strong. The "Baptism" material was recorded in 1970 and predates the Avco LP. The band also had two excellent tracks on the soundtrack "People Next Door" (1970, Avco Embassy 11002). [AM]

BEAR MOUNTAIN BAND (Wickenburg, AZ) 

"One More Day" 1975 (Predator)  [1000p]  

Local mountain air rocker with psychy westcoast flashes on the excellent title track and elsewhere. Shifts between wellwritten, more melodic numbers and a rootsier rural rock vibe, with a couple of extended jams showing good playing and a nice atmosphere all around. One of the better in the hippie/barrock crossover zone - superior to Travelers Aid to these ears. Not everyone is impressed with this album, though. [PL]
~~~
Trashy 70s not-quite-hard-rock private press with an appealingly stupid sleazy vibe (one song is called "Crotch Crickets," another "tihsllub"). Excellent opening song has a nice flowing dreamy feel to it, but the promise of the album ends there abruptly, as the rest is pedestrian and dull. One can picture these guys going over pretty well at a biker rally or in a truckers' bar, but there's a difference between sleaze and real menace, and this lacks the dangerous edge of, say, the Burnt River Band. [AM]

BEAT OF THE EARTH (Los Angeles, CA) 

"Beat Of The Earth" 1967 (Radish as-0001)   [500p]  
"Beat Of The Earth" 199  (Radish, Europe)   [60p; bootleg; plain white labels]
"Beat Of The Earth" 2004 (CD Radioactive, UK)

The sleeve says "If you're looking for psychedelic music, do not buy this album unless you're looking for psychedelic music", a fair summing up of this demented cerebral acid-vibe journey. One of the big discoveries of the late 1980s  and it certainly is one trancey organ/guitar tribal surfpsych jam trip stretched over two full sides. Warning: this is too far out for many, though I certainly dig it - close to the heart of the LSD experience, even while the main creative force behind it was opposed to drugs. Essential. Phil Pearlman was the main creative force behind the band, and went on to several related projects. [PL]

"Electronic Hole" 1970 (Radish as-0002)  
"Electronic Hole" 2004 (CD Radish) 

The most recent discovery in the amazing Phil Pearlman back catalog is this late 1960s drone psych extravaganza. Shorter tracks with clear song structures yet threatening to dissolve into atonal chaos at any moment. Hard to compare to anything else, but Velvet Underground and Zappa influences can be detected, alongside typical westcoast psychedelia with sitars and backwards tapes. Vibe is a bit like Mad River or 50 Foot Hose, true freak sounds from a freaky era, except more garagey. Some melodic moves clearly point towards Relatively Clean Rivers, although six years and another complete metamorphosis lie inbetween. [PL]
~~~
see -> Relatively Clean Rivers; Joyride

"Our Standard Three-minute Tune" 1994 (Radish 0001½)  [500p; gatefold]  

The main Beat guy Phil Pearlman issued this previously unreleased recording in a 60s style FOC. Many avoided it due to the exceedingly high price but it was actually worth it for anyone with an ear for true 60s underground psych sounds. A variation on the same basic track as the first LP, maybe not as coherent but with clearer vocals and some devastating Mystic Tide-style acid guitar. So on balance almost as awesome as the first one. The liner notes refer to a 1967 live gig but the actual recording is studio, from the first LP sessions. [PL]

BEAUREGARD AJAX (Oxnard, CA)

"Deaf Priscilla" 2005 (Shadoks no #, Germany)  [350p]
"Deaf Priscilla" 2006 (CD Shadoks, Germany)  [+bonus tracks]

Terrific unreleased album recorded for Del-Fi in 1968 by unknown quintet; melodic Beatle-psych with advanced songwriting, some tough fuzz edges and an impressive range of moods and moves. Like Fredric with heavier guitars, or what the HMS Bounty LP would have sounded like if it had been a true killer. A must for any fan of classic 60s-style psychedelia. [PL]
~~~
Showcasing drugged vocals, lots of fuzz guitar, great melodies and some interesting lyrics, material such as "Loneliness Is a Sometime Thing", "Is Tomorrow Thursday" and "Blue Violins" features all of the ingredients that should make this a sought after set among psych collectors. Elsewhere while I'm always reluctant to compare something to The Beatles (since most of the time such comparison fall flat), tracks such as 'I Will Be Looking Away' and the title track actually recall something out of the Fab Fours' "Revolver" catalog. Mind you the set's certainly not perfect. The poppish "Happy Brontosaurus" and the ballad "Take You Faraway" are both pretty lame and forgettable. Gawd only knows what condition the source tapes were in but be aware that sonically this release isn't exactly state-of-the-art. [SB]

BEAUREGARDE (Portland, OR) 

"Beauregarde" 1971 (F-Empire no #)  
"Beauregarde" 198  (F-Empire)  [bootleg]
"Beauregarde" 200  (CD Zeno)  [actually a CD-R]
"Beauregarde" 2004 (Jackpot)

The interest in this LP seems to build on the appearance of guitarist Greg Sage (later of the Wipers) rather than its musical merits, which aren't too impressive in my ears. Has a laidback, bluesbased sound with melodramatic vocals, organ and some good guitar licks. Beauregarde was a local wrestler and looks real neanderthal on the sleeve. There was also a pre-LP 45 with two album tracks on the NWI label. The label for the original is sometimes incorrectly listed as "Sound Productions". The Jackpot CD is a legit re from masters. [PL]

BOBBY BEAUSOLEIL & THE FREEDOM ORCHESTRA (CA)

"Lucifer Rising" 1980  (Lethal 8031, Canada)  [1000p]  
"Lucifer Rising" 2004 (CD Arcanum/White Dog 0001)  [2CDs]

Soundtrack to legendary magick Kenneth Anger film, originally pressed in Canada only. Beausoleil had been linked to the 1969 Manson murders and recorded this while in a federal prison in the 1970s. The music is atmospheric instrumental space-rock with guitars and electronics and a strong ritual and visual quality, impressive in a way that recalls the better German 1970s cosmic psych albums. The 2 CD set has some terrific bonus material and is recommended. There are earlier vinyl reissues of "Lucifer Rising" not listed here.
~~~
see -> Orkustra

JOE BECK (PA/NY)

"Nature Boy" 1971 (Verve Forecast 3081)
"Nature Boy" 2002 (Breeder Backtrack, Europe)

Jazz guy goes rock here with impressive results. The album starts with a wonderful heavy version of the title tune, with tons of wah-wah soaked guitar. The rest of the album offers plenty more wild lead guitar, though none quite as sublime as on this initial song. Fans of this kind of Hendrix-inspired playing could do much worse; I think this is more interesting and satisfying than better-known genre artists like The Road, Peter Kaukonen and John Ussery. If you’re not a fan of the style, you may still find it a worthwhile album, as the arrangements vary, with a few solid ballads (one heavily acoustic) and some tasteful horns on a couple of tracks. 45 minutes is probably a bit too much, and the songwriting is only average, but this works because Beck is such a great guitarist and because his music isn’t beholden to any particular hard rock style. [AM]
~~~
see -> John Berberian

JACK BEDIENT & THE CHESSMEN (Wenatchee, WA)

"Where Did She Go" 1967 (Satori 1001)   

Obscure local album by Northwest frat/lounge/pop band of the tuxedo dancehall variety. Seemingly patterned on the Raiders' "Here they come" with half crooner ballads & half teen rockers. The charming Orbison-style smoothies are a bit cheesier than the Raiders' but the garage fuzz tracks (I counted 3½) are good with a fat rocking NW sound and neato teen vocals. Bizarre closing Dylan cover. One track has been comp'd. [PL]

"In Concert At Harold's" 1969 (Chessmen)  

Their LPs are typically a mix of supper club pop with dramatic arrangements and the occasional garagy guitar raver. "In Concert" has grade-Z covers of Creedence, "Light My Fire", "Purple Haze" and more, as the band moved into the FM rock era. Earlier LPs include "Two Sides Of" (Trophy 101, 1964); "Songs You Requested" (Chessmen no #, 1965); "Live At Harvey's" (Fantasy mono & stereo, 1965); "Jack Bedient" (Executive, 1966?). [RM]

V.A "BEE-JAY SAMPLERS" (Winter Park, FL)

"12 Groovy Hits, 12 Florida Bands" 1966 (Tener 154)  

First LP in this series of demo LPs, all of which featured local bands available for live bookings. Includes the Starfires, Swinging Temptations, Wrong Numbers, Nation Rocking Shadows, and others. The label was based in Winter Park, but the bands came from a bigger area.

"Bee Jay Demo vol 2" 1967 (Tener 1014)  

This second LP from the the BJ Booking Agency contains a generous 21 tracks. High points include originals by Willie & the Adolescents, New Generation and Hard To Believe, while Bad Pages, Consolidation and State Of Mind deliver excellent covers. The sound is pre-psychedelic with an equal mix of Brit Inv, r'n'b & contemporary US groups - classic garage in other words. Teenage vocals and sloppy drummers across the board. Hard to beat as a local garage testament, though it'll hardly change anyone's life. The tracks by Beau Jests and Hard To Believe have been comp'd. [PL]

"Bee Jay Video Soundtrack" 1968 (Tener 1014)  [1-sided textured color cover]  
-- same catalog # but different contents from above

Includes Rovin' Flames, Wrong Numbers, Ron & the Starfires, the Enticers, and others. More soul moves on this sampler.

"Bee Jay Sampler" 1970 (Tener 1055)  

The 1970 LP includes We The People (two weak tracks in their blue-eyed soul style), the Barons, Soultenders, Missing Links, and others. Covers of Neil Young, Chicago TA, soul, and more. This should not be confused with the two very rare Bee-Jay EPs from the late 60s with the same title; Tener 1038 and 1039, or Tener 1070 below. See Jeff Lemlich's FLA discography "Savage Lost" for details. There is also a recently discovered third EP, Tener 1040.

"Do It Up Right! 1971 (Tener 1067)   

The Brewed, East Coast Supply, Oxford Blue and 12 other bands. These later Bee Jay samplers are less attractive and feature horn-rock, soul and covers of Simon & Garfunkel, Creedence, etc typical of the era.

"Bee Jay Sampler" 197  (Tener 1070)  

As several others in the series, this album has no actual title. East Coast Supply do reasonable basement hardrock with "Love machine". Other bands include Raintree County, Wooden Spoon, Brewed, plus something listed as "Moog Synthesizer Show". 

"Bee Jay Does It Again" 197  (Tener 1081)  

The Brewed, In The Beginning, East Coast Supply, and 15 other tracks.

"Gettin' It On Again" 1973 (Tener)  

Features Wysper, Skydancing, The Brewed, Ricky & Tightrope, East Coast Supply, and others.

WILLIAM C BEELEY (TX)

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

Lost folk very Dylanesque sounding. Warm and lyrical.

IRIS BELL ADVENTURE ( )

"Iris Bell Adventure" 1969 (Rubaiyat)  

Live jazzy hippie blues trio recorded in Ann Arbor.

RICH BELL (HI)

"Rising Son" 1980 (Money Maker s-7780)  [orange vinyl]

Guitar rock with a gorgeous fantasy cover. 

BENT WIND (Toronto, Canada)

"Sussex" 1970 (Trend t-1015)  [300p]  
"Sussex" 1984  (Heyoka 201, UK)
"Sussex" 1992  (Del Val 007)  [+2 tracks; 350p]
"Sussex" 199  (Acme, UK)  [altered b/w paste-on sleeve; +1 track; lyric insert]
"Sussex" 199  (CD Kissing Spell, UK)  [+2 tracks; altered sleeve]
"Sussex" 199  (CD Green Tree)  [+5 tracks]
"The Lost Ryerson Tapes" 2005 (CD Psychedome)  [+6 tracks]

"Sussex" is one of the original Holy Grails of the LP collector scene and a wellknown artefact due to a number of reissues. The most expensive of all Canadian rarities with a $5000+ price tag. The music is heavy underground psychrock with a killer basement sound and some awesome tracks like "Riverside", "Hate" and "The lions". Not the greatest LP ever to me, but definitely essential. According to the band, only 300 copies were pressed, while the non-LP 45 was pressed in 500. Modern recordings include "The Fourth Line Is" (1989) and "Shadows On The Wall" (1996). The Psychedome CD is a complete reissue of the original LP in strong sound, plus 4 excellent live tracks from 1970, and the two 45 tracks. There is also a bonus CD with modern recordings featuring main guy Marty Roth. [PL]
~~~
A little overhyped, but still a worthwhile album. The overall sound is a neat cross between garage rock and heavy psych. It has a real basement (as in “that’s where they buried the bodies”) vibe, with tons of fuzz guitar and reverb, desperate vocals, and often disturbing lyrics. The highlights are the album’s two grisliest songs, “Riverside” and “Hate.” While the other songs aren’t quite at that level, there aren’t any real duds either. It sounds like it was recorded far earlier than the usually accepted 1969 or 1970 release date. The CD reissue contains a strong B-side and also some surprisingly good 90s recordings. [AM]

BEO WULF ( )

"Too Late To Turn Back Now" 1972 (Crown CST-632)  

Unlike most exploitation Crown releases this is a real band, with some excellent tracks such as "The movement".

JOHN BERBERIAN [& ROCK EAST ENSEMBLE] (New York City, NY) 

"Middle Eastern Rock" 1969 (Verve Forecast fts-3073)  [wlp exists]  
"Middle Eastern Rock" 1999 (Verve Forecast)  [bootleg; textured sleeve]
"Middle Eastern Rock" 2003 (CD Acid Symposium 006, Italy)

This is Berberian's key album for 1960s psych fans, a tremendous East-West amalgamation with both the oud and Joe Beck's fuzz given plenty of space. It's hard to imagine this trip being done better; strongly recommended to fans of Orient Express and the US Kaleidoscope. Berberian is an oud master of Armenian descent. Prior to this cross-over LP he did several LPs that are more traditional ethnic-folky, as follows: "Expressions East" (Mainstream 6023, 1967), "Oud Artistry" (Mainstream 6047, 1967), and "Music Of The Middle East" (Roulette, 1968). "Ode To An Oud" is a 2LP repackage of the two Mainstream LPs from 1974. Some of these albums have been reissued in recent years. Another Verve LP features Berberian's playing as a backdrop to poetry readings by DJ Rosko ("Music and Gibran", 1968). [PL]
~~~
see -> Joe Beck

"Mid Eastern Odyssey" 1971 (Olympia olp-1001)  
"Mid Eastern Odyssey" 200  (CD Olympia)

"Echoes of Armenia" 1972  (Olympia olp-1002)  

Berberian continued to record and release albums through the 1970s, via his own private Olympia label. These albums are harder to find than his 60s works, and while they are not "rock" genre-wise they attract some collectors. Another LP on Olympia is "The Dance Album".

ERIC BERGMAN (NY)  

"Modern Phonography" 1978 (Patron Saint ps-1)  [gatefold; insert; 100p]  

Lost basement folk and folkrock sound from leader of Patron Saints, with slide guitar and some acoustic solo tracks. There is also a second LP from 1982, "Sending Out Signals".

FATHER PATRICK BERKEREY ( )

"Prayers For a Noonday Church" 1969 (Glasgow 1500)  

Intense xian recitations with rock backing by Spur. Even the priests were flipped out way back when!
~~~
see -> Rite of Exorcism

BERMUDA TRIANGLE (Long Island, NY) 

"Bermuda Triangle" 1977 (Winter Solstice 3338)  

Ambitious late hippie folkpsych LP with lounge aspects, transcendental female vocals and elaborate keyboard arrangements/production, not bad at all for those into eclectic 1970s sounds. Unexpected covers of Aerosmith and Circus Maximus are a plus while the Moody Blues track could have been left off. Fine originals. Would make a neat double bill with Jade Stone & Luv. The second LP has been described as a less effective dreamy keyboard rock effort. Ex-Roger & Wendy. [PL]
~~~
Truly bizarre folk-psych album that's more enjoyable than a lot of "better" records. Two of the first three songs are weird loungy covers of "Nights In White Satin" and Aerosmith's "Dream On," neither of which sound like anything else on the album. For surprise value alone, "Dream On" works the better of the two, since the Moody Blues tune was dangerously close to lounge to begin with. Most of the other songs are full of fiddle-style violin and autoharp, the latter of which is often treated with phasing, flanging and other effects. It feels like the songs are at a normal speed but the backing tracks are sped up. Some of the melodies are pretty speedy too. Spastic, cymbal-heavy drumming adds another layer of intrigue. One song sounds like a twisted take on funk, another like a hoedown. Both the male and female vocals are agreeable and work well in the context of these strange songs. The closing "Wind" (the Circus Maximus song) is another total departure, again not resembling anything else on the album, and sounding uncannily like a Linda Perhacs outtake. This album is kind of a shock on first listen, because at least to these jaded ears it's not often I discover something so original and bizarre. [AM]

"Bermuda Triangle" 1983 (Sterling Sound)  [two 12" acetates]  [?]

"Bermudas II" 1984 (Tribecket tr-0999)  

This may be the same material as on the Sterling Sound acetates. [RM]

BOB BERRY (San José, CA)

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

Demo album with good westcoasty guitar/organ psych rock. Berry was formerly with San José band 4th St Exit, released an AOR solo LP in 1976, and rose to prominence (as Robert Berry) in the 1980s when working with various big name prog/AOR bands. The covers were individually hand silk screened and sealed with a gold sticker.

JOHN BERRY (GA) 

"In the Night Time" 1981 (Clear Sky)  

Rural loner folk.

BEST (NJ)

"More Of The Best" 1967 (RPC n-69852)  [no sleeve]  
"The Gents/The Best" 1996 (no label)  [split LP; partial reissue]

Very obscure sleeveless garage era LP on the infamous RPC custom label; music is typical local '66 teen-beat with a bit more "punk" edge than usual. Several strong originals in the classic moptop style, fake British accents and a boomy lo-fi gymnasium sound adds to the overall charm. Nothing for pursuers of "acid fuzz" like the Litter or Nightshadow, but among local Northeast '66-67 LPs this isn't bad at all; like what Rasputin & the Monks would have sounded like if they hadn't been such losers. Three Stones and a funny misinterpreted Kinks number round out the set. Half this LP was reissued along with the Gents, but the reissue actually excludes some of the best tracks from the original. One track is included on the Oil Stains vol 2 comp. [PL]

V.A "THE BEST OF FRANK'S BANDSTAND" (Canada)

"Do You Wanna Dance - The Best Of Frank's Bandstand" 1965 (Arc 669)

Compilation related to CBC TV show aired from different Canadian cities. Bands on this comp include the Offbeats, the Raindrops and the Brunswick Playboys. Contents are teen-beat/pop.

V.A "THE BEST OF THE GREATEST" (Canada)

"The Best of the Greatest" 1969 (Birchmount bm-535)  

Features the 49th Parallel (excellent tracks), Guess Who, Beaumarks. The same label also released "Strictly Canadian".

V.A "THE BEST OF THE HIDEOUTS" (Detroit, MI) 

"Best of the Hideouts" 1966 (Hideout hlp-1002)  [1000p]  
"Best of the Hideouts" 199  (Hideout)  [bootleg] 

A rare sort of companion piece to the "Friday At The Cage-A-go-go" LP with several enjoyable tracks by local folkrock/garage wizards like the 4 Of Us, Suzi Quatro's Pleasure Seekers and the Underdogs, most of which also came out on 45s. A couple of numbers have been comp'd as well. An equal mix of folkrock, moody garage and soul covers. The Underdogs are perhaps the stars of the show with some classy tunes. All over not quite as good as "Friday At The Cage" but an appealing snapshot of a legendary scene nevertheless. Nice sleeve with band photos. The 1990s bootleg may have been a counterfeit attempt; it's an old-style cardboard sleeve with paste-on slicks and exact label repros. The sleeve photo repros have some wear residue from the original copy used, and there is no title on the spine. The true original has 'XCTV121245-1A' in the dead wax. [PL]

V.A "THE BEST OF TWIST-A-RAMA USA" (NY)

"The Best Of Twist-A-Rama USA" 1965 (TAR 1000)  
"The Best Of Twist-A-Rama USA" 2003 (Norton 275)  [altered cover; +2 tracks]
"The Best Of Twist-A-Rama USA" 2003 (CD Norton 275)  [+2 tracks]

Local sampler of 14 Mohawk Valley teen bands put out by the "Twist-a-rama" TV show. Crude mix of instros, frat and "the new sound from England". Unlike most similar albums, this one seems to be group originals all through, even though some of them are quite derivative. Bands include Andy & the Classics, the Originals, the brilliantly named Merseyside 5, while the King Beats provide a moment of brooding folk reflection. The original cover shows a bunch of famous artists, none of which are to be found on the actual record, naturally. The pressing is notoriously poor.

BETTY (CA) 

"Handful" 1971 (Thin Man afp-703)  [200p]  
"Handful" 2001 (Shadoks 019, Germany)

Unpretentious get down-boogie barrock/rural rock with strong guitar leads throughout that lifts it above the usual trucker tattoo six-pack rockers. Not bad, though for hardcore 1970s fans mostly. Terrible, clichéd sleeve unfortunately. [PL]
~~~
This is a grungy bar band with some sleaze appeal, but it’s hardly a monster hard rock album. The rhythms are boogie and the spirit is beer-belly. Some of the lead guitars are suitably fuzzy, and a few songs have a heavy edge to them, but this is pretty mainstream and pretty weak. Lots of roundhouse piano underneath the drunken singing. Pick hit: “Just For Fun,” a “Foxy Lady” ripoff that’s the raunchiest thing here. The lead guitar is simple, but plentiful throughout. The title track is as sexist as the album cover. No surprise. [AM]

BEYOND (TX)

"Music And... Beyond" 1979 (Tuhlotte Sound)  

Cosmic hard rock with lots of spacy guitar effects. This is pretty cool stuff for the most part, with energetic hard rockers and adventurous guitar playing. A few songs are perhaps a bit too proggy for some, but they’re full of ideas. “Dirge Overature” is an 11 and a half-minute instrumental with jazzy moments, an unusual time signature, classical-influenced interludes, nimble bass playing, long guitar solos and closing two-minute vibe solo! “It’s Over” is packed with wacky stops and starts. Throughout, the experimentation level is creatively high. The lyrics leave something to be desired, and the singing isn’t much better (something they must have known, as more than half of the album is instrumental) but for overall feel and mood it works well. More enjoyable and unpretentious than, say, Jimmy Hotz. [AM]

V.A "BEYOND THE VALLEY OF THE DOLLS" (CA)

"Beyond The Valley Of The Dolls" 1970 (20th Century Fox 10311)  
"Beyond The Valley Of The Dolls" 199  (CD)  [bootleg; unrelated bonus tracks]
"Beyond The Valley Of The Dolls" 2002 (CD Soundtrack Classics)  [+bonus tracks]

One of many excellent soundtracks from 1967-70, even more enjoyable if you've seen Russ Meyer's totally great film. This has some non-LP (and so-so) Strawberry Alarmclock tracks, some studio instro fillers, and six brilliant hippie chick AM blowouts by the Carrie Nations which is what makes the LP. Powerful girl vocals (although not by Lynn Carey, who is heard in the movie), great material and lots of fun all through, the perfect remedy after someone's forced you to listen to Janis Joplin. Beautiful sleeve too. Apparently the recent CD re also includes the real soundtrack versions with Lynn Carey. [PL]

BEZALEL & THE SABRAS (New York City, NY) 

"Folk Rock Israeli Style" 1966 (Tikva t-128)  

"Bezalel and the Sabras" 1966 (Tikva t-134)  

"Jerusalem Of Gold" 1967 (Tikva t-122)  

Jewish garage band featuring melodic guitar folk instros and reverb rockers, some fuzz. One track from the "Jerusalem" LP (released as by the Sabras only) appears on the "Riot City" compilation.

B F TRIKE (Evansville, IN)

"B F Trike" 1988 (Rockadelic 1.5)  
"B F Trike" 1995 (CD Rockadelic no #)  

Post-Hickory Wind demo LP recorded in 1971 for RCA. Rated highly by some, though not really top-level in my opinion, with a commercialized FM rock sound and dull fuzz riffs. I find this less original and atmospheric than Hickory Wind. First LP on the Rockadelic label, this caused quite a stir upon release. [PL]
~~~
The more mainstream hard rock sound may make this less interesting than Hickory Wind to some, and it certainly lacks the variety and just plain weird vibe of that album. Nonetheless, this is a more accomplished set of songs, straightforward fuzzy hard rock that hits far more than it misses. To my ears, this is an excellent example of the genre as it transitioned from the 60s to the 70s. [AM]
~~~
see -> Hickory Wind

BHAGAVAN DAS (Laguna Beach, CA)

"Ah" 1972 (Bhagavan Das rd-1)  [2LPs; gatefold; book]
"Ah" 2002 (CD Dharmaware)  [+bonus CD-Rom]

Neither psych nor folk but spiritual Indian trance chanting; recommended mainly to those with a special interest in this 70s cosmic community scene, which also involved Ram Dass/Richard Alpert (who wrote the liner notes). Bhagavan Das, then a young ex-surfer guy from Laguna Beach, is today known as "the Jimi Hendrix of kirtan". In addition to this release, there is a 1978 single-LP pressing which appears to be disc 2 & 3 from the double set. [PL]

"Swaha" 1974 (no label)  [2LPs; gatefold; book]  
"Swaha" 200  (CD Dharmaware)

The rarer second LP is credited to Bhagavan Das and Amazing Grace and more Western-oriented with some communal hippie folk and blues vibes, not bad at all. About 2/3rds is traditional Indian chanting while two moody, trancey Blind Willie Johnson covers should appeal to anyone, and there's also a downer singer/songwriter tune. Partly recorded live at Winterland. [PL]
~~~
see full-length review

BIG BROTHER [feat Ernie Joseph] (Santa Barbara, CA) 

"Confusion" 1970 (All American 5718)  
"Confusion" 1989 (All American)  [bootleg]
"Confusion" 1998 (Akarma 013, Italy)

"Confusion" came as a major change in direction to anyone familiar with Ernie Orosco/Joseph's earlier pop/lite-psych moves with Giant Crab et al. Material such as "Heart Full of Rain", "L.L.A. (Lubricated Love Affair)" and the bluesy "Heavy Load" offered up a set of Hendrix-styled guitar pyrotechnics. Elsewhere, the heavily phased "E.S.P." (a strange reworking of The Pretty Thing's "L.S.D.") was actually a rehash of Giant Crab's final single. Given the abundance of guitar rockers, at least to our ears, the standout track was the atypical ballad "Wake Up In the Morning". Sweet and sincere, its a beautiful effort. Sure, it ain't the most original LP you'll hear this year and parts of the percussion heavy closing suite "Gravus Delictum" drag, but the performances were enthusiastic, and it's an album we play on a regular basis. [SB]
~~~
Mostly first rate hardrocker with a mix of blistering fuzz raveups and bluesy melodic tracks. Ernie Joseph's lead guitar and soaring vocals are exemplary throughout. The lengthy closer is a bohemian embarrassment however, unless you live for drum solos. [RM]
~~~
see -> Indescribably Delicious

"South East Tour" 1998 (Akarma 036, Italy)

Supposedly "South East Tour" was originally released in 1971 under All American catalog number AA-5773-LPD. The title and packaging give you the impression this is a live set, but that's not really the story. Half of the ten tracks are pulled from Joseph's earlier band - A Giant Crab Comes Forth. The other five selections are billed as previously unreleased efforts, but tracks such as "Keeping the Faith" and "How Many Times" don't sound like concert recordings to our ears. In terms of quality, the new stuff varies from ponderous boogie ("Satisfied Woman") to mildly entertaining ("Truthfulness"). Giant Crab tracks such as the fuzz guitar propelled "Hotline Conversation" and the blue-eyed soul-ish "Save Me (Save Me)" provide the highlights. [SB]

"An All American Emperor" 1999 (Akarma 042, Italy)

To be honest "An All American Emperor" came as somewhat of a surprise to me. Judging by the cover I was expecting to hear a set of guitar powered rockers similar to Joseph's Big Brother catalog. Instead material such as 'You Let Me Live', 'I Guess I Never Knew You' and 'I Can't Help Being Yours' features a much lighter and top-40 oriented commercial sound. Offering fair warning to all potential buyers, heavily orchestrated tracks such as 'Cleo' and 'Welcome To the World' have more in common with Mark Lindsay (perhaps even Gary Lewis) than a rock band. That's not meant as a criticism since stuff like 'Mary Jane' and 'What Became of Yesterday's Hero' stands as first rate pop. If I'd bought this knowing it was a pop album I probably would have given it an added star. Just don't buy this expecting to hear hard rock or something psychedelic. The material comes from a circa 1968 pre-Big Brother acetate. [SB]

V.A "BIG HITS OF MID-AMERICA" (MN)

"Big Hits Of Mid-America, vol 1" 1965 (Soma mg-1245 / Garrett 201)  

"Big Hits Of Mid-America, vol 2" 1966 (Soma mg-1246)  

Samplers of Minnesota bands with local hits and flops emanating from the wellknown Amos label nexus. Contains healthy doses of the swinging frat and teen-beat for which the region has become famous. Vol 1 has Gregory Dee & the Avanties, Underbeats, Accents. Vol 2 has Castaways, Gestures, High Spirits, CHancellors. Canadian pressings on the Apex label exist. See also the "Top Teen Bands" series.

BIG LOST RAINBOW (CT)

"Big Lost Rainbow" 1973 (no label 6364)  [white/black label; two inserts]  
"Big Lost Rainbow" 1973 (no label 6364)  [blue/silver label; two inserts]  
"Big Lost Rainbow" 1998 (CD Gear Fab gf-118)   [+4 tracks; black cover]
"Big Lost Rainbow" 1998 (Gear Fab gf-118)   [black cover]
"Big Lost Rainbow" 2000 (Akarma, Italy)  [insert; black cover]

Pastoral singer/songwriter LP with an archetypal sound for the style. Many people seem to hate this, but revisiting it now I can't really see what all the fuss is about. There's nothing "psychedelic" or "acid folk" about it for sure, but taken for what it is I find it reasonably enjoyable. Drawing on CSN roots (without the "Y") with some James Taylor and maybe Cat Stevens on top, the main Big Lost Rainbow guy Ridley Pearson delivers a string of well-written and skillfully arranged songs with unassuming, somewhat weak vocals, light rock backing and frequent use of piano. Lyrics deal with hippie concerns, but the music is mainly in a sophisticated s/sw direction. The extended "Sail" goes all the way out into jazzy violin/flute/piano improv, which isn't bad but still one of the weaker aspects to the LP. Side 2 lays on a sombre, reflective mood with a typical post-60s feel, which combined with good use of flute makes for an agreeable period sound. Well worth checking out for fans of things like Wilcox-Sullivan-Wilcox and Greenwood, Curlee & Thompson, never mind the bullshit "psych" hype you may see on it. The original pressing is somewhat noisy and comes in two variants, both have a silkscreened front cover and paste-on back. One cover is black and one is white. The total press size is probably upwards 1500. Pearson went on to fame as a novelist. [PL]

BIG TOWN BOYS (Toronto, Canada)

"Big Town Boys" 1966 (Capitol t-6168)  [mono; gatefold]  
"Big Town Boys" 1966 (Capitol st-6168)  [stereo; gatefold]  

Teenbeat & pop from popular band in the famous Capitol 6000 series.

BIKE (IN)

"Bike" 1978 (no label 34160)  

Hardrock with Don Pierle. Don is Ray Pierle's brother (McKay, Rhythm of the Highway) but did not play in the Pierle Brothers Band. 

DON BIKOFF ( )

"Celestial Explosion" 1968 (Keyboard k711-s)  

New York City label. Instrumental guitar tracks with a cosmic edge.

BILL HOLT'S DREAMIES see Dreamies

BILLY (Minneapolis, MN)

"Persephone" 1972 (Orion s80-462-2823s)  [promo exists]  

Laid-back druggy folk from Billy Hallquist. This LP is typically listed as Persephone Billy. "Persephone" is one of the songs and promo copies make it clear the artist is "Billy". About 2000 copies were pressed, according to the man himself. There's also a second LP, "Travelling". Ex-Thundertree.

EDWIN BIRDSONG (Philadelphia, PA)

"Supernatural" 1973 (Polydor 5057) 
"Supernatural" 200  (Polydor) 
"Supernatural" 200  (CD Polydor) 

Guitar/keyboard driven soul/funk/rock hybrid LP with some great moments. The playing becomes a bit too accomplished and almost jazz-rocky at times though and it's the groove that suffers from it. Also the guitarist can't seem to calm down and go with the groove, he plays about twice as much and half as soulful and funky as Eddie Hazel or Hendrix. It's a pretty good album, but the "rock" element takes over too much and it's not near as good as the '75 one. [MM]

"Dance Of Survival" 1975 (Bam-boo GR 004)  [gold foil gatefold]  
"Dance Of Survival" 1975 (Bam-boo GR 004)  [silver foil gatefold]  
"Dance Of Survival" 200  (Bam-boo)

Spacy keyboard driven psychedelic funk, housed in a great looking sleeve. The guitars on this album are strictly clean sounding rhythm ones, the leads are handled by Edwin himself on freaky sounding moog etc fed through analog filters that gives those wonderful "whooshy" sounds. I'm usually no big fan of keyboard driven songs, let alone albums, but here it works surprisingly well. Good songs, great grooves, weird lyrics and a warm'n'spacy sounds makes this into one of the best and most original afro american funk/psych albums of the 1970's. [MM]

BIRDWATCHERS (Tampa, FL)

"The Birdwatchers" 1980 (Florida Rock 4001)  [1000p]

This popular, long-running Florida band didn't have any albums released in the 1960s, but a whole bunch of 45s under their own name and in various related outfits. The retrospective 1980 LP collects many of their recordings, although there's more out there. "Mary Mary" is an alternate, previously unreleased version, while "Turn Around Girl" is listed on the cover but missing from the vinyl. The LP is seldom seen today, and oddly no other samplers of the band exist. A band member joined Magic of "Enclosed" fame in the late 1960s.

BIRMINGHAM SUNDAY (NV) 

"A Message From" 1968 (All American 5718)  
"A Message From" 1999 (Akarma, Italy) 

Super-rare LP on this infamous label, has been hyped as a "psych monster" but is more of a typical LA vocal harmony lytepsych artefact. Past this initial let-down the album still has things going for it that makes it worth checking out. There's 3-4 tracks in a Growing Concern-alike style that fits the band perfectly; mid-tempo minor chord folk-tinged tunes such as the great "Wondering What To Feel". The rich vocal harmonies work both ways, on the strong tracks they provide a powerful feel, while the weaker tracks sound bland and exploitative. There's some fuzz leads, unexpected use of saxophone, delightfully silly "drug" lyrics, and an overall feel of a vocal harmony group who tried injecting a "freak" factor into their music as the times were a-changing. On the westcoast scale it lands somewhere between Mamas & the Papas and Yankee Dollar. [PL]

RANDY BISHOP (OR)

"Sing A Soft Song" 197  (Liquid Stereo 1)  [100p]

Most of this is singer-songwriter folk-rock, but the opening title track has more of a psych edge, and is a spacy highlight, with heavily echoed drums and very effective lead acoustic and electric guitars. Elsewhere his vocals are a bit too “classical” for their own good, though the arrangements, which use keyboards of various types, a variety of acoustic stringed instruments, and layered vocals, are quite interesting. Most of side two is taken up by an ambitious suite that has more rock strength than side one. It starts very well, but eventually succumbs to its pretentions. His voice makes this an acquired taste, but as private press singer-songwriter albums goes it’s much more interesting than most. [AM]

BILL BISSETT & THE MANDAN MASSACRE (Vancouver, Canada) 

"Awake in the Red Desert" 1968 (See/Hear #3 ST 55580)  [500p; insert]  
"Awake in the Red Desert" 2001 (CD Gear Fab gf-169) 

Wild avant garde ensemble with electronics, caveman percussion, ranting vocals and a freaky psychedelic stew over what is essentially an audio book recording.  The LP was issued in conjunction with a book of the same title published by Talon Books. Bissett went on to enduring fame as a poet and painter. [RM]
~~~
see -> "See/Hear"

BIT A SWEET (Long Island, NY)

"Hypnotic 1" 1968 (ABC s-640)  

This popsike album gets points for early willingness to experiment, and it includes some very primitive electronics. The opening track starts out sounding like mediocre orchestrated AM pop, but then moves into an unexpected and cool sitar interlude. The rest of the album follows suit, with most songs being both bad and good. For example, the second song, “2066,” mixes a pop melody that would make Herman’s Hermits proud with some somewhat random synthesizer or theremin and sci-fi lyrics. If they’d never heard "Sgt Pepper", they would have been a second-rate Association wannabe. As it is they’re a second-rate Head Shop or Aggregation wannabe. Fans of Beatles covers might get a kick out of their version of “If I Needed Someone,” which dispenses with the song’s best asset, the jangly guitars. This may seem like a negative review, but this album is actually pretty fun and has some catchy songs. That said, as this kind of thing goes, there are dozens of better albums. The mix of guitar pop, soft rock, trendy psychedelia and occasional soul brings to mind the Sundowners. A long orchestrated instrumental has the feeling of not being done by the band at all, a la the Chocolate Watchband. Pick hit: the dreamy “With You”. [AM]

DAVE BIXBY ( )

"Ode To Quetzalcoatl" 197  (D-24 700320)  

Highly rated by the few who have heard it, this tormented religious loner/downer folk LP has to rank as one of the ultimate incarnations of the genre. The opening "Drug Song" sets the tone perfectly as a supremely world-weary, echo-laden guy laments on how he screwed himself up with dope; "I'm no longer a person, I can't even feel". The resolution is (of course) Christ, who is serenaded in the following tracks, although the despairing, suicidal mood is strangely unchanged. Salvation or none, it seems most things are still a mess for Bixby. Numbers such as "Mother" and the Grudzien-level "666" confirm such suspicions. Musically it's a wellwritten lo-fi recording of steelstringed acoustic and a single voice, much like Christopher Montgomery, but undoubtedly more tortured and intense. Frantic guitar strumming is used to tighten up the tension in an effective way a la Perry Leopold, while more lyrical moods are supported by swift fingerpicking. The vocals are amateurish and somewhat uneven, and in fact work best when most charged with emotion. The organic correspondence between lyrics, playing and arrangements is impressive and makes the LP seem more alive and artistically aware than most in this often disappointing genre. Must be heard by any fringe fan. [PL]

BLAC DOG (LA)

"Backwoods Boogie" 1978 (Crazy Horse 2001)  

Swamp fuzz rock, harmonica. Heavy southern rock boogie sound.

TERRY BLACK (Vancouver, Canada)

"The Black Plague" 1966 (Arc 5001)
"The Black Plague" 2005 (CD Unidisc 2313)

Canadian teenybopper who moved to LA to collaborate with Sloan-Barri. The LP is often referred to as a collectable, but is mainly teenbeat with some tentative garage moves. This is the same guy who would make the Terence: "An Eye For An Ear" album.

BLACKBIRD ( ) 

"Blackbird" 1974 (Vinnick Studios var-122)

Moody acoustic folkrock with hippie vibe.

JOHNNY BLACKBURN & MARY LAUREN (TN)

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

Despite the 80s recording and release date, this album has a wonderful mid-70s acid folk vibe. The two voices blend together beautifully, and the occasional fuzz guitars give the music an appealing floating quality. It's dreamy and occasionally meandering, kind of like a lazy day at the park. The only obvious 80s nod is the use of string synthesizers. Unlike 80s rarities like Alshia or Child's Art this one just plain sounds good. The neat arrangements include oboe, a unlikely but wholly effective instrument for this type of music. There's not a lot of melodic variety; it's a long album that maybe could have been trimmed a bit, but that's a minor complaint. This is a good one. Most copies are missing the large booklet, which may have been sold separately from the album (it was not included inside sealed copies). [AM]
~~~
Most would probably agree that this is one of the very best psych-style LPs from the 1980s. Not retro at all but (like Bobb Trimble) a piece of the late 1960s preserved from time's rust. Male/female vocals lament and serenade "the quest for knowledge of love and beauty" in an appealing soundscape, with lyrical guitar leads throughout, good use of mellotron, occasional tablas, flute and bells. The recording has a definite 1981 sound but (again like Bobb) this somehow becomes an advantage. The vocal blend is superb and may recall Anonymous and Bermuda Triangle, while the wistful mood and beautiful melodies is a bit like British band Ithaca or the melodic sides of Seventh Dawn. Moments such as "Beautiful Dreamer" go truly deep and there's not a questionable song on it. Obviously superior to "collectable" 1970s hippie couple albums like Susan & Richard Thomas, this is recommended to anyone open for a folkpsych trip inside the melancholy and bliss of romance; starry-eyed as a Valentine Day card written on LSD. [PL]

BLACKBURN & SNOW see S F O Music Box

BLACK DIAMONDS ( )

"A Tribute To Jimi Hendrix" 1971 (Alshire s-5220)  

This is a repackaging of the Animated Egg album. It's exactly the same songs, but in a different order and with new titles that evoke Hendrix songs (i.e. "Hazy Color," "Experienced You"). B-movie trash psych with fuzz, reverb, and cheesy go-go organ. Related/overlapping LPs also include Purple Fox and Jeff Cooper & Stoned Wings, none of which seem to have had US pressings. A Spanish pressing exists.

J D BLACKFOOT (Columbus, OH)

"The Ultimate Prophecy" 1971 (Mercury sr-61288)  [wlp; photo; insert]  
"The Ultimate Prophecy" 1971 (Mercury sr-61288)  [insert]  
"The Ultimate Prophecy" 199  (Mercury)
"The Ultimate Prophecy" 199  (CD Tokala)

Remember those "hip" clothes you wore when you were a young teen, that now, years later in retrospect, made you look like a complete dork? And how you used to try to acheive some sort of "oneupmanship" over your buddies by "discovering" that great unknown or obscure LP or artist that was really cool??. I bet that J.D. Blackfoot's "Ultimate Prophesy" was one of those "cool" LP's for alot of people back in the day. It was given FM radio play in isolated markets across the midwest, including heavy play in St. Louis. Unfortunately, some 30 years later, it's exposed as a shallow attempt at rural prog rock. Now I must admit that 15-20 years ago I thought this album was the shit, one of the best. So I may have entered this with high expectations... maybe too high. "One Time Woman" is a mediocre mid-west bar rocker with a dumb, tiresome chorus. The next cut "Angel" was/is still my fave on the LP. Sounds like a stoned Pure Prairie League/Ozark Mtn. Daredevils meets Arthur Lee & Love... brilliant!! By the third and fourth cuts I began to realize just how one dimensional the guitar playing was, not bad, just boring. "Good Day Extending Company" features more than a few of J.D.'s patented shouts of "Ugh!!" or somesuch... decent use of echoed vocals and effects... one of the better cuts on the LP. "I've Never Seen You" has a countrified/Byrdsy flavor and sounds like what I always hoped the "Spur" LP sounded like. "The Ultimate Prohesy" begins a 5 cut "song cycle" that describes the process of birth and death as if narrated by an American Indian with a profound olde english accent... HUH!!!??? (plenty of hath's, doth's and thou's). Lots of time changes, acoustic and electric dispersed pretty evenly, and I am a sucker for J.D.'s vocals when run through various effects. But overall it's GOOFY!!! Almost a parody of itself. I can certainly understand why I was once a fan of this LP, and why many folks, upon first listens will dig it as well. But like those red, white and blue bellbottoms and the t-shirt with Nixon/Agnew tap dancing across the front of it that I wore in the 7th grade, this LP just doesn't hold up in 2002. And by the time I got through side two I swore that if I heard him yell "Ugh" just one more time I was gonna send Mr. Blackfoot some Ex-Lax. [RH]
~~~
This album was once a collectors' darling, now a collectors' joke. As is usually the case, the truth is somewhere in the middle, and while the rantings and ravings on side two are laughable, they're never dull, and the songs rock with a manic intensity (the drumming is truly insane) that makes it easy to see how this became an underground classic on St Louis radio. One side of the craziness is enough, and in the long run it's the solid rural rock on side one that will stick with you. "Angel," in particular, is gorgeous, but their melodic sense is strong throughout. No, this isn't a masterpiece, but it's an album I enjoy every time I listen to it. J D Blackfoot would release two more LPs on Fantasy, and a local 2LP live set in 1982. The band continued on as Osiris after he left the group. A UK pressing exists with a different cover. [AM]
~~~
see another full-length review

BLACKHORSE (TX) 

"Blackhorse" 1979 (DSDA 1)  
"Blackhorse" 1993 (Limited Edition, Italy) 

Southern style hardrock trio on Dallas label.

BLACK MERDA aka MER-DA (MS; Detroit, MI). 

"Black Merda" 1970 (Chess lps-1551)
"Black Merda" 199  (reissue)  [altered cover]

Early psych/funk mix that has a great sound and lots of cool (acoustic and electric) guitar. Songwriting isn’t as strong as the overall vibe, though, and the vocals are lousy. A few instrumentals would seem to remedy that problem, but they’re among the least interesting songs on the album. Interesting but frustrating. This album achieved notoriety when the song "Cnythy-Ruth" was included on the outstanding funk/psych compilation Chains And Black Exhaust. [AM]

"Long Burn The Fire" 1972 (Janus)  [as Mer-Da]

This second album is, for some reason, credited to “Mer-Da.” The overall vibe is similar to the debut but the production is smoother, which unfortunately dulls the effect of the guitars. The songwriting is better this time around, but the harmonies are the most out-of-tune you’ll ever hear, so flat that you’ll think they’ve invented a new style of singing. If you can get past the singing the lyrics are quite interesting, with a post-"There's A Riot Goin' On" depressive feel. [AM]

BLACK ORCHIDS (Charleston, WV) 

"AWOL" 1972 (Black Orchid)  [no cover; 200p]  

Hard psych two-sided instrumental jam.

BLACK VELVET (Las Vegas, NV) 

"Black Spirit" 1973 (Krio 01052)

Lounge rock funky realness.

BLACK VOY ALLEY (El Paso, TX)

"Black Voy Alley" 1972 (Black Voy Alley Records BVA 82172)  

Obscure 70s cover band doing several Three Dog Night numbers, mixed with Deep Purple, Traffic, Blue Oyster Cult. 

BLACKWELL (TX)

"Blackwell" 1970 (Astro 9010)  

Psychy bluesy rock.

HAL BLAINE (Los Angeles, CA)

"Psychedelic Percussion" 1967 (Dunhill d-50019)  [mono]  
"Psychedelic Percussion" 1967 (Dunhill ds-50019)  [stereo]  

Famous L.A. session drummer dons the studio psych hat and gets real. Spaced-out drum rock with Paul Beaver (Beaver & Krause) contributing electronics!

BLAZERS (GA)

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

Obscure Southern teen-band club LP.

BLESSED END (Philadelphia, PA)

"Movin' On" 1971 (TNS J248)  [1000p]  
"Movin' On" 1992 (TNS, Austria)  [bootleg]
"Movin' On" 1998 (CD Gear Fab 112)  [+1 track]
"Movin' On" 2000  (Akarma 118, Italy)  [+1 track]

Have to state right away that I don't like this LP, I've heard it many times but always found it mediocre. It's biker psych-rock with Doorsy vocals and "heavy" outlaw moods, but the songs are simplistic and boring and the sound unfulfilled and claustrophobic. A depressing LP to my ears, some people love it though. The original pressing is apparently noisy. [PL]
~~~
Among the few folks who've actually heard this, the album comes off as either a wonderful slice of Doors-styled rock, or utter and complete derivative crap. For some reason, moderation doesn't seem to exist with regard to this set. So where do we stand? Well, we'll cast our lot with the former group. While the Doors influence is unarguable, most of the ten originals are actually pretty good. While the vocalist occasionally overdoes the Jim Morrison vibe, overall he's a pretty impressive performer, kicking considerable energy into tracks such as the lead off rocker "Nighttime Rider", "Someplace To Hide" and the title track. At the other end of the spectrum, the set occasionally bogs down amidst the band's penchant for doom and gloom lyrics, and the band simply can't match Ray Manzarek and Robbie Krieger in terms of compositional skills or instrumental prowess. [SB]

ARTHUR BLESSIT (Hollywood, CA)

"Soul Session at 'His Place'" 1970 (Creative Sound css-1530)  

Self-proclaimed 'Minister to Sunset Strip'. 'His Place' was an all-night nightclub where Blessit preached his psychedelic take on the gospels. Hippie street preacher wierdness. On "Soul Session", one side is Blessit's goofball sermon and the other features a bizarre play and garagy jamming by ex-addicts, The Eternal Rush! [RM]

FREDDY BLIFFERT (WI)

"You'll Like Bliffert" 197  (no label 1)  [insert]  

Stoner folk blues and singer/songwriter. Bliffert was in 1960s band Freddy & the Freeloaders.

BLIND OWL (Canada)

"Blind Owl" 1973 (KC 1010)

1970s folk from little-known act.

BLIND RAVAGE (Montreal, Canada)

"Blind Ravage" 1972 (Crescent Street cs-1874)  

Rhythmic guitar and organ hardrock with growling vocals.

BLISS (AZ)

"Bliss" 1969 (Canyon 7707)  
"Bliss" 2002 (Void 023)

One of our favorite recent discoveries, "Bliss" was released by the L.A.-based Canyon Records. Musically the LP offered up a mix of originals (all three members contributing material), and blues covers. Based on the cover which shows a chalice and a young, angry looking priest, our initial expectations were that this might be a Christian-rock LP. Those thoughts were reinforced by the opener "Ride the Ship of Fool" which blended a nice melody with sweet harmonies and a pseudo-religious lyric and "Cry for Love". While those characteristics are enough to send a large segment of the population running for cover, in this case the results aren't half bad. The religious sentiments are kept in check throughout and are wrapped in a series of tasty rockers. With powerhouse drumming and strong fuzz guitar (check out "Visions" and their cover of Joe Tex's "I Want To be Free"), this is simply a great LP! [SB]

BLITZ (Cleveland, OH)

"Oga Erutuf" 1975 (no label)  

This hard rock band performed in makeup that was similar to, but more tribal than, Kiss, making them a real product of their time. There is one truly putrid song here, “Don’t Wanna Be Bussed,” which couples an annoying speak-sing vocal with a horrid attempt at social commentary. Bands this dumb shouldn’t make attempts to be meaningful; they dare to insult some girl’s intelligence in one lyric, while elsewhere they think that the song title “Holden Me Down” is spelled correctly. An obvious explanation for their lack of brainpower can be found in the massive amounts of references to a stoner lifestyle. That said, considering the gimmick and the low IQ, other than that one song, the music on this album is very good, a pleasant surprise. It’s melodic, hooky, even tasteful hard rock. A few songs verge on good power pop and none of them are bogged down by slow paces or tedious soloing. The dreamy, spacy “Mr. Natural” is fantastic. So, as long as you skip track two on side one and don’t pay too much attention to the words, this is recommended. [AM]

BLOODY MARY ( )

"Bloody Mary" 1974 (Family Productions fps-2707)  

Oddly, this LP has almost no credits, and the listing of "John Bradley" as an engineer has many speculating that the ex-Sir Lord Baltimore drummer/ singer is in this band. If so, he's certainly lost that je ne sais quoi that made him so amazing, because the vocals here are strident without being exciting. The band plays guitar/organ heavy rock that's relatively undistinguished, though the closing song on side one is pretty great. This album has an odd not-quite-funky hard rock sound that's hard to describe, but it's likely that a listener will either immediately like it or immediately hate it. Yet another bizarre album on the Family label. [AM]

BILL BLUE ( )

"Indian Summer Blues" 1975 (Feather)  

"Street Preacher" 1975 (Feather 7001)  

Acoustic folk blues with slide guitar and occasional piano, second LP has full rock setting.

BLUEBIRD (Seattle, WA)

"Country Boy Blues" 1980 (Piccadilly 3382)  

Early 1970s recordings rural folkrock sound with harmony vocals. The band recorded a still unreleased LP in 1972, including a live version of "Cantaloupe Island", also famously covered by Seattle colleagues Daily Flash.
~~~
see -> Grand Theft

BLUEBYRD (Bernidji, MN)

"Bluebyrd" 1975 (no label)

Introspective folk trio with psych leanings. Acoustic guitar, flute, hand drums.

BLUE JOHN see Thrower Spillane & McFarland

BLUE LIGHT (HI)

"Reflections Of The Inner" 197  (BLPC)  

Obscure progessive folk from Hawaii.

BLUE MAX (Amherst, Canada)

"Limited Edition" 1976 (Solar 2011)  [1000p]  
"Limited Edition" 2003 (CD Gear Fab 203)

Local Nova Scotia teenage hard-rock with band originals all through.

BLUE MONEY BAND ( )

"No Money Down" 1977 (Money Master)  

"Do Your Duty!" 1979 (Money Master 1273-2)  [blue vinyl]  

Mix of blues, hardrock, and psych with stinging leads. Ex-Woolies guys.

BLUE MOUNTAIN EAGLE (Los Angeles, CA)

"Blue Mountain Eagle" 1970 (Atco 33324)

As far as music per $ value goes this is one of the best scores out there. A 2nd-tier supergroup of sorts, these guys put together an LP of ballsy psych-hard rock transition tunes that ranks with any private press. Fat production with dual guitar leads, awesome bass runs (by Randy Fuller!) and tight ensemble singing. Occasional X-ian concerns in the lyrics and it does have an Agape/All Saved Freak Band feel. The sound is a consistently balanced mix of westcoast rock, British hard rock and early Southern rock; it would have fit well on the Nasco label. To nitpick some, the male ensemble singing creates a somewhat detached feel and the production is too slick in places, but if on a private label and with a female vocalist this would have been a $500 LP. Great opening track gives a good idea of the album's sound. Judging by the catalog number the LP was released in the Spring 1970. A French pressing exists, and there is also a non-LP 45 track.

BLUE RIDGE (Long Island, NY) 

"Blue Ridge" 1974 (no label r-2025)  [100p]  

Rural x-ian rock sound with a loose amateur feel. Several of the tracks have heavy guitar breaks worthy of Joshua. The vocals are charmingly bad and some of the lyrics are downright strange like on the trippy "My Love's Alright" and the amazing anti-abortion ditty "Unborn Baby". Not a great LP but an interesting obscurity. The drummer, John Hauser, went on to play on the Danny & Lynda LP. According to the band, as few as 100 copies were pressed. [RM]

BLUES CLIMAX see Alan Franklin (Explosion)

BLUES IMAGE (Tampa, FL)

"Something to Say" 1977 (Illusion cm-2006)  

"Leavin' My Troubles Behind" 1977 (Illusion cm-2007)  

"Ride Captain Ride" 1977 (Illusion cm-2008)  

"Can't You Believe in Forever" 1978 (Illusion)  

"Clean Love" 1978 (Illusion)  

Bluesy guitar rock featuring Mike Pinera (Iron Butterfly, Thee Image) on his own tax-scam label. The band had an earlier hit on Atco with "Ride Captain Ride". The Illusion LPs are rather difficult to find, although musically they are a bit too much in the mainstream roadhouse bag to attract significant collectors attention. Hopney and Charmer members provide the backing. The band's earlier wellknown LPs on Atco are not listed here. [RM]

BLUES SPECTRUM (PA)

"We Were the Blues Spectrum" 1969 (no label db-8970)  

High school group. Rough, garagy blues jams with horns and fuzz. One of the border pieces from garage into stoner rock.

BLUES TRAIN ( )

"Blues/Train" 1969 (Condor 2465)  
"Blues/Train" 200  (CD Gear Fab 158)
"Blues/Train" 200  (Gear Fab/Comet 406, Italy)

Jammy blues-rock with possible Johnny Kitchen (Crazy People, Victims Of Chance, etc) involvement.

BLUES UNION (Houston, TX)

"Blues Union" 1980 (Lunar 2)

Blues rock and Texas shuffle with wailing guitar courtesy Michael Heyman, early 1970s sound. A 45 was also released. 

BLUE THINGS  (Hays, KS)

"Blue Things" 1966 (RCA LPM 3603)  [mono]  
"Blue Things" 1966 (RCA LSP 3603)  [stereo]  
"Blue Things" 2002 (RCA)  [bootleg]

If you know them from the good psych 45s, beware as this is for the most part unexceptional Beau Brummels style folkrock. Admittedly has some good tracks but is a far cry from their best efforts to my ears. Nice sleeve design though. An exact vinyl repro now exists, and all tracks are also available on the Cicadelic 3-LP set, also issued on CD by Collectables. The third volume in the series features their excellent psych-oriented material from 1967. [PL]
~~~
Due to inclusion in Ritchie Unterberger’s "Unknown Legends" book, they’ve gotten quite a bit of attention. A series of CD reissues have mixed up the album, single and unreleased tracks in a rather haphazard manner, which in my opinion detracts from all of them. The actual album is a very enjoyable folk-rock record with great vocals and a bit of a rocking garage edge here and there. Most of the melodies are stolen from somewhere (a “You’ve Got To Hide Your Love Away” rip is the most blatant), which keeps this from being completely top shelf, but the album isn’t packed with filler like most relics of its time. It has aged surprisingly well. The post-LP psychedelic singles, which are completely different from the album, similarly have a great sound to them but are a tad short on ideas. The same backwards guitar sound runs through all of them and one of them steals the Monkees’ “Last Train To Clarksville” melody. [AM]

BOA (MI)

"Wrong Road" 1971 (Snakefield 001)   [circa 500p]  
"Wrong Road" 199  (Snakefield)  [bootleg]
"Wrong Road" 1998 (CD Gear Fab 113)  [+2 tracks]
"Wrong Road" 1998 (Gear Fab 113)  [+2 tracks]

This cool early hardrock item has every bit as much garage attitude as the best '66 LPs. An enjoyable energizer with wild stories about murder and infidelity in a raunchy basement guitar/organ setting. Crappy press and one of the least professional band photos ever on the sleeve. A minor classic within the field. A 10" acetate recorded as Anvil in 1970 has also been found. [PL]
~~~
This late garage album has a rough sound, cheesy organ, simple hooks, and lyrics about the singer murdering his girlfriend. I like the cymbal-happy drummer and the fact that the bass is way too high in the mix. I can’t say the same about over-loud backing vocals, though. Overall, this is a decent garage-bordering-on-hard-rock album where the cheap production works both for it and against it. The songs and playing are decent; the energy level is high, the singer is appealing. The closing song rocks particularly hard. The only problem is that the “oh oh” vocals in the last couple of minutes are horribly out of tune, ending things on a sour note. That issue aside, most of you will enjoy this quite a bit. [AM]
~~~
Here's some more Boa details, from ex-band member Ted Burris: "The first time we went to the recording studio (and made the acetate) was in 1970. It was Anvil's first attempt at recording. The guy that recorded us was a cerebral palsey victim and worked the controls with the back of his knuckles. The next time we got together we did it ourself in a Tupperware warehouse owned by Brian the keyboardists' dad. It was all done live, so if we made a mistake we had to start over."

BOA CONSTRICTOR & A NATURAL VINE (Baltimore, MD)

"Boa Constrictor and a Natural Vine" 1968 (Vanguard Apostolic vsd-6511)  [promo exists]  

Dark bluesy underground folk. Primitive strummed guitar sound with moody sax and downer lyrical concerns. Like down and out country blues 78s filtered through a hippie seeker's prism. The LP was also released in Canada & UK. [RM]

BOAZ (WI)

"Three of a Kind" 1978 (Blue Moon)  

Heavy guitar trio bluesy swamp rock mixed with rural Deadish sound.

BOBBY'S BLUES BAND ( )

"Gold Dust" 1978 (Royal Rose)  

Inept real people guitar rock and keys with backwards parts and long wayward jams that sound like its the first time they've ever played together. "My love is like an island in the sun" brings in weird caribbean atmospheres for a memorable experience, approaching some of the sleepier Grateful Dead clone bands from a novel angle. [RM]

BOHEMIAN VENDETTA (Long Island, NY)

"Bohemian Vendetta" 1968 (Mainstream 56106)  [mono]  
"Bohemian Vendetta" 1968 (Mainstream S-6106)  [stereo]  
"Bohemian Vendetta" 1997 (Mainstream)  [bootleg]
"Bohemian Vendetta" 199  (CD Mainstream)  [bootleg]
"Bohemian Vendetta" 1998 (Distortions)  [+bonus tracks]
"Bohemian Vendetta" 199  (CD Distortions)  [+bonus tracks]

Interest in this has surged recently and quite rightly too, as this is one of the best acid-punk LPs ever. Clearly inspired by "Electric Comicbook"-era Blues Magoos, these Long Island kids definitely had a problem with both drugs and their attitude! Their originals are excellent Vox organ/fuzz teen garage psych and the covers pretty demented as well. The cough syrup highschool play vibe of "Deaf, Dumb & Blind" must be heard to be believed. Not a perfect album, but the highs are higher than on almost any other LP of this kind. Possibly the best on the label, at least if you prefer the 60s teen-garage approach over hippie longhairs. A Canadian pressing exists. [PL]
~~~
Easily one of the best on the label with lots of classy psychpunk originals and a truly unique vibe all through it. These guys must've been left pretty much on their own in the studio, probably accompanied by large amounts of weed and cheap beer! You can almost hear the degeneration taking place, from the almost straight punky performance of "Riddles & Fairytales" to the utterly demented "Satisfaction". They even manage to re-write "Gloria" into "(She Always Gives Me) Pleasure" and give it way dirtyer lyrics. The whole album must be heard to be believed - a truly unique LP, especially for a major label! One of the few genuine US garage/acid punk LP's from the 60's no doubt. The pre-LP 45 ("Enough" / "Half The Time" on United Artists) is also an essential killer. [MM]
~~~
see -> Dust Bowl Clementine; Faine Jade

BOLD (MA)

"The Bold" 1969 (ABC s-705)  
"Lullaby Opus 4" 2003 (CD Misty Lane 067, Italy)  [album +6 tracks]

Overlooked psych-era album from band with famous garage 45s; the LP is an appealing mix of floating dreamy Northeast organ psych a la Freeborne and early rural rock, has some really good psych tracks and is worth checking out. Three wellknown covers lessen the impact but not enough so to ruin the LP. Vinyl-sourced CD reissue has the band's garage-era 45s as bonus. [PL]
~~~
This Bosstown album probably failed to attract attention because it came a few years after the hype. Looking at the cover and seeing three familiar cover versions, you’d expect something unremarkable, but this is a real find, an original, highly creative album that stands with the best from the city. Lots of cool organ, interesting experiments (including a shimmering guitar instrumental that anticipates ambient music), jazzworthy chops, hooks that sneak up on you. Should appeal equally to psych and prog fans. Even the cover versions are great. Despite being on a major label, this rarely shows up for sale. [AM]

BOLDER DAMN (Fort Lauderdale, FL)

"Mourning" 1971 (Hit 5061)  [500p]  
"Mourning" 1991 (Rockadelic)  [altered cvr; insert; 300p]  
"Mourning" 1997 (CD Rockadelic)
"Mourning" 2001 (Void 21)

Underground teenage hardrock LP in the typical early 70s bag with realistic lyrics about Vietnam. Strained pseudo-macho vocals may be seen as drawback, though probably appear charming to others. Often compared to Black Sabbath which is a fair analogy, though this has a more rural sound. Also shows some other ambitions on the long track on side 2. A classic among local hardrockers. As often, ridiculously low estimates of the pressing size have been in circulation, while the band has reported a more normal run of 500 copies. The vinyl reissue has altered track order. [PL]
~~~
This band's popularity was almost entirely due to their Alice Cooper-inspired stage show, something that obviously is missing from the LP. The result is that whatever excitement they generated just isn't apparent to the listener, and the result is an enthusiastic but not particularly distinguished hard rock album. [AM]

BONDSMEN ( )

"Bondsmen" 1966 (Austin)

Quite obscure teenbeat LP.

BONNEVILLES (NC)

"Bringing It Home" 1967 (Justice 146)  
"Bringing It Home" 1967 (CD Collectables 0623)

Perhaps the archetypal Justice LP, even has a ballsy statement declaring the death of the "Liverpool Sound" and the "Tottenham Sound", and the coming victory of the blue-eyed frat-soul Justice sound. The lame-ass Billboard R'n'B 100 covers and uninspired playing found on the actual record stand in stark contrast to this bravado. Usual fare for the label, the hippest things being an incorrectly interpreted "96 tears" and a closing instro. Organ upfront, sloppy drummer, harmony vocals with lyric mistakes left intact; everything you can ask for. Band are 6 shorthaired dorks, 2 with glasses. [PL]

BONNIWELL MUSIC MACHINE see Music Machine

T S BONNIWELL (Los Angeles, CA)

"Close" 1969 (Capitol st-277)  [green label]  

Dark crooner LP from Music Machine main guy. Held in low regard by MM fans but in fact well worth checking out for fringe/downer lounge LP fans. Bleak and introspective interiors from the acid hangover era: "Candles at noon, still shining/Poetry cold, unrhyming." [PL]
~~~
see -> Music Machine

BOOT (FL) 

"Boot" 1972 (Agape lp-2601)  

This hard rock album by some down home Southern guys has an amusing album cover and some excellent music. Side one has four winners : they’re hooky, the guitar playing is hot, the rhythm section is tight and the singing is very good. There are no keyboards on this album, but the guitars provide plenty of variety, with slide guitar, lots of wah-wah, acoustic to add color, and two nice side-ending washes of feedback. The sound is hard without being heavy; the tempos are upbeat, the vibe is bar band rock and roll. Side two adds a hint of a rural edge (after all, these guys are Southerners), and while it’s not quite as consistent as side one, it’s strong enough to make this album a definite keeper. It’s comparable to, as professional sounding, and better than, major label bands like Jukin’ Bone and Stray Dog, etc… The label is “Agape,” but there are no Christian lyrics, as far as I can tell. [AM]

"Turn the Other Cheek" 1977 (Guiness gns-36002)  

This shows typical second album “growth,” moving from the first album’s straight hard rock into melodic guitar rock, bluesy southern rock and a side-long suite with prog leanings. Mostly it’s quite good and the guitar playing continues to be effective and varied. The great opening song “It’s All Comin’ Down” beats the best songs from the first album. Too bad about the five minute drum solo near the end of side one. It’s full of trippy sound effects, but it’s still a drum solo. Otherwise, this is recommended just a tad less strongly than their self-titled album. As is usually the case with tax scam label releases, it has not been determined when this music was recorded, but it’s unlikely that the distance between the two albums really is five years. [AM]

BOOTH, DAVIS & LOWE (AZ) 

"Prototype" 1978 (Titicaca)   

Heavy progressive guitar rock with synth and glockenspiel(!). Excepting the chunky, finger-flying fusion guitar, not terribly memorable. [RM]

BOREALIS (Canada)

"Sons Of The Sea" 1972 (Audat 477-9025/6)  
"Sons Of The Sea" 199  (Audat, Germany)  [bootleg]
"Sons Of The Sea" 200  (Void 23)  [500p]
"Sons Of The Sea / Professor Fuddle's" 2005 (CD Beatball, South Korea)  [2-on-1]

Obscure and not that exciting bluesy organ-led psychrock from Canada, similar to side 2 on Jarvis St Revue. Two or three standout tracks like "Tomorrow morning" while the rest is sort of average. The reissue might be worth checking out. [PL]
~~~
This is heavier than most Canadian keyboard-led rock of its time, but not a whole lot more memorable. It sounds pretty good on first listen but once you get used to the songs you realize there's not much there. [AM]
~~~
see -> Professor Fuddle's

BORN AGAIN (CA)

"Born Again Pagan" 2002 (Rockadelic 42)  [600p]
"Born Again Pagan" 2005 (CD Shadoks 073, Germany)

Previously unreleased 1970-71 tapes from Marin County band who flirted with success in L A. Cool, convincing early Southern rock exposé with inspiration coming from the Faces and heroin-era Stones rather than Memphis, I would think. Strong songwriting and solid grooves with standard rock setting plus piano and appropriate bourbon-soaked vocals. It's All Meat at their rootsiest is one point of reference. Nice gatefold cover with a big pic of Pat Boone (don't ask), my only gripe being the compressed and tinny soundscape on some tracks. A neat trip for those who dare think outside the garage/psych box. [PL]

BORUK ( )

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

Beat poetry and sampling (Beatles, Stones, etc) collage. Has a strong sexual component. 25 tracks!

V.A "BOSS DANCE HITS" (HI)

"Boss Dance Hits" 1966 (Teen 1001)  

Hawaii sampler of local surf and frat. Side 1 is Telstars, side 2 is Mopptops, Casuals Of Waikiki, and more.

BOULDER BROTHERS ( )

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

Obscure rural/countryrock with nice double exposure front cover.

BOUNTY (CA)

"Bounty" 1981 (Harts 755)  

Synth-led progressive. Including ARP Odyssey, Solana string ensemble, Steinway piano, guitar, bass, drums.

BOW STREET RUNNERS (Fayetteville, NC)

"Bow Street Runners" 1970 (BT Puppy 1026)   
"Bow Street Runners" 1995 (T.U.T, Austria)  [300#d; bootleg; altered sleeve]
"Bow Street Runners" 1996 (Sundazed 5029)  [green vinyl]
"Bow Street Runners" 1996 (CD Sundazed 6112)

A legendary LP, for long rated as the rarest psych LP on a "real" record label. Unfortunately some tracks are in a blues/jugband style I doubt anyone will enjoy. Side 1 is good with a youthful 1967-68 classic psych sound, while side 2 is clearly weaker. "Electric star" is sheer perfection with its female vocals, spaced-out lyrics and wild fuzz breaks, while "Another face" is drowsy pot-psych with an amusing one-note "solo". These two are the standout tracks, with the opening "Watch" a strong organ/guitar garage-psycher also worth hearing. That's about where the good stuff ends to my ears, and like the New Tweedy Bros it's a case of the legend overshadowing the actual music, once you sit down and actually listen to the album. Beware of the Austrian bootleg, which has a lame new sleeve. An original 1971 Mexican pressing on Panamusic/Sol exists, with altered cover design. [PL]

KENT HARRISON BOYLES (MD)

"Kent Harrison Boyles" 1973 (no label)   

Local obscurity described as 1970s basement folkrock/singer-songwriter with UK pop angles.

J LELAND BRADDOCK (MS)

"Evil Is On My Mind" 1975 (Live Bears no #)  

This occasionally shows up on dealer lists as a rare psych effort. The rare part is probably true since less than 500 copies were reportedly pressed. In contrast, the psych label is pretty far off target as his format is fairly straightforward blues. Backing himself on acoustic guitar and harmonica, nothing here is particularly original, though to my ears he occasionally bares a resemblance to a bluesy (if bizarre) cross between Joe South, Leon Redbone and some 80 year old blues guy ('The New Willie Brown' and 'Diamond Ring'). Another big drawback is the fact that much of the material has the same kind of sound. A guy strumming an acoustic guitar and playing harmonica has certain aural limitations and those are clear on Braddock's set of acoustic, mid-tempo numbers. It's simply hard to tell where something like 'Hometown Blues' ends and 'Lucy's Debut' starts. Bottom line is this one didn't do much for me, but might find some interest in 'real people' devotees. Sides 1 and 2 are reversed between the liner notes and the actual playing sequence. [SB]

"That Second Mile" 1976 (Live Bears)  
 

DON BRADY & THE LAST EARTHBOUND BAND ( )

"Mostly Live" 1977 (Lizard)  

Wasted rural jams.

VICTOR BRADY (NY)

"Brown Rain" 1970 (Polydor)  [wlp exists]  
"Brown Rain" 2005 (CD Syn-Ton, Austria)

You'll never hear another album like this one -- seriously heavy rock with the lead instrument being steel drums. Brady's band is really hot, and for a song or two this unlikely combination of sounds is exhilarating. A full listen to the LP, though, shows that it doesn't really work; it clashes and seems more like a novelty than a truly good idea, especially on a few long jams. Recommended to the brave among you. [AM]

JOHN BRAHENY ( )

"Some Kind of Change" 1968 (Pete s-104)  [gatefold]  

Braheny is remembered mostly as the writer of the Stone Poneys’ “December Dream,” but his talent ran much deeper than that, and this is a great album worthy of rediscovery. About half of the songs are excellent laid-back rural folk-rockers, including “December Dream” and the sublime “Grey Day.” The rest of the album is experimental, highlighted by the electronics on the title track and the long free-form instrumental that closes side two. Though marred by a six-minute track mixed below a monologue from an LA tour bus driver (mildly interesting on first listen, highly irritating thereafter), this album is near the top of the psychedelic singer-songwriter heap. [AM]

BRAIN POLICE (San Diego, CA)

"Brain Police" 1968 (K.B. Artists wr-4767)  [no sleeve; insert]  
"Brain Police" 1997 (Rockadelic 26)  [diecut sleeve; insert; 600p]  
"Brain Police" 2000 (Akarma 174, Italy)  [altered gatefold sleeve]
"Brain Police" 2000 (CD Akarma 174, Italy)
"Brain Police" 2000 (CD Shadoks 8, Germany)  [+bonus tracks]

Nicely done reissue of little-known (at the time) demo LP. Energetic organ/guitar psych-rock with a Brit/top 40 influence, pretty solid but slightly overrated to my ears; songwriting is good but not exceptional and loud simplistic drumming is a minus. Basically the vibe of a solid club band having rounded up enough originals to get with the new and more creative times. 50 copies of the Rockadelic release came on green vinyl. Reissued again to meet popular demand, this 2nd press is less ambitious in the packaging. [PL]
~~~
Demo LP from San Diego '68, with lotsa variation from folkpsych/pop and west coast/Moby Grape influences, to full-on fuzz blasters. It might sound a bit dull at first, but grows with repeated listening. One of the better Rockadelic reissues in my opinion. [MM]

BRAMANTE & CROSS ( )

"When The Music's On" 1972 (private)  

Male & female duo doing hippie folkrock with basic band setting in homemade sleeve.

BRAT ( )

"Brat" 1973 (no label r-2826)  [1-sided; no cover; 150p]

Guitar rock, includes covers of "The Nazz are Blue" and "The Kids are Alright".

BRAZDA BROTHERS (Canada)

"Brazda Brothers" 1972 (Dominion 93077)  [5000p]  
"Brazda Brothers" 2001 (Void 29)
"Brazda Brothers" 2002 (CD Hallucinations)

Appealing rural hippie folkrock with short, succinct tunes and a Neil Young vibe. Songwriting is good, and the vocals relaxed and soulful. The setting is acoustic guitars, drums and occasional keyboard, while one atypical rocker has raw fuzz-leads. Good LP with atmosphere, though they don't look too hip on the cover. Well worth examining for genre fans, while others may think it unexceptional. One of the better in the style from Canada, a lot stronger than the the Folklords or Jeremy Dormouse. Despite its relative rarity, a band member reports the press size as no less than 5000 copies. There was also a non-LP 45. [PL]

J D BRENNAN & GOLD FEVER (Boston, MA)

Brennan's work falls outside the Archives timeframe but should appeal to some readers, at least those of an Incredibly Strange persuasion. Six LPs from 1984-1990 have been logged, done in pressings of 200 copies on his own Scyne label. The music has been described as "amazing 50 year-old 'real people' rocker who manages to sneak in a powerful psychedelic edge to his echoed rockabilly twist."
~~~
see -> J D Brennan (in the Attic)

BREW ( )

"A Very Strange Brew" 1969 (ABC 672)  

This is a pretty solid garage rock effort. Though no one song really stands out and it's not especially original, it's enjoyable straight through. Pre-Impala Syndrome. [AM]

BRIDGE (Canada)

"Bridge" 1971 (Vintage Records)

Bridge answer the question, for anyone who wishes to know, what happened to the Canadian band David after their lone record on Sound Canada in the late 60s. Guitarist Francis Webster, bassist John Webster, and drummer Tony Lecallion from David make up Bridge who recorded this ultra obscure and rare record at the same Sound Canada studios in 1971. Next to each song is a brief description of the musical genre of each ranging from "Ego Trip" to "Country" to "jazz shuffle." What this album is differs drastically from what you'd expect from David. The best way to describe Bridge's album would be "Sweetheart Of The Rodeo" on tons of acid! There is no fuzz guitar, but a clean westcoast shimmering tone on all tracks, bizarre vocal effects on the tripped out "It's My Life" and plenty of weirdness present for the whole album. The tracks that are labeled "Country" all have a strange bent to them despite being early back-to-the-roots country rock influenced by Graham Parsons and "real" country artists like Hank Williams. The long "Ego Trip" version of Little Richard's "You're My Girl" is great fun and the only good version I've heard of one of his songs. There is something here very enjoyable for anyone looking for a bizarre twisted record of fun music, especially "Brand New Day" with echoes of Spirit and a bit of Freeborne. Very rare and a good one. - Ben Blake Mitchner

THE BRIDGE (Greensboro, NC)

"Just For You" 1971 (Crescent City Studios 1226)

"Hallelujah" 1972 (Crescent City Studios 1241)  

"Unto The Lord" 1973 (Custom PRP 44552)

"Best of the Bridge" 2001 (CD Hidden Vision)

Christian melodic folkrockers rated highly by some. The CD is a selection of tracks from all three LPs.

BRIDGES ( )

"Tradewinds" 1978 (no label)

Communal hippie folk.

BRIGADE (Portland, OR)

"Last Laugh" 1970 (Band 'n' Vocal 1066)  [inner sleeve; 100p]  
"Last Laugh" 1991 (Del-Val 003)  [insert; 350p]
"Last Laugh" 2000 (Shadoks 11, Germany)  [insert]
"Last Laugh" 200  (CD Shadoks 11, Germany)

The charm of the amateur comes rolling off this record in waves. The recording quality is marginal, but the playing fits that like a glove. The vocals have a strident character that floors me whenever I hear this and the way the organ dominates the sound, the way the bass and drums struggle to hold things together, the harmonies on "Desert Song (You're Not Alone)", the almost jazzy quality the guitar takes on the killer opener track "Change In Me", the monster that opens the second side ("Self-Made God"), the way the band just shoots for moves they have no chance of pulling off... These guys must have fallen into a glacier in 1966 and were defrosted moments before the LP was recorded. Where most European, Latin American and Asian rarities are professional-grade rock records that never found the market to sell in numbers so we'd all be familiar with them thirty years down the line, the best of the lost & obscure American records are those that, like this one, are performed by young people more earnest than capable. It's that enthusiasm the pours from the speakers when I play this and that "charm of the amateur" collects in puddles on the music room floor. Highly recommended. [SD]
~~~
Moody organ-led garage by high school seniors with proggy tendencies in the compositions and lyrics. Really annoying warbling vocals and meandering songs. Of interest mainly for the organ textures and "Self Made God", which has some bite and the trippy reverse-negative cover. A good example of a band reaching way beyond their grasp and crashing to the earth in a disfigured heap. Some sealed originals actually contained the wrong record, a bonus I'd say! The atypically small press size has been reported by the band. [RM]
~~~
This album has the same low-budget reverby charm as Mystery Meat or the Bachs, though the music is somewhat more complex than those garage bands. The songs are longer, the solos more extended, the organ jazzier and much more prominent than the guitar. Despite the more ambitious music, there’s a definite ragged feel here, from the straining vocals to the occasionally sloppy rhythms to the guitars, which don’t always sound in tune. There are some really good songs here, and the overall feel of a garage band that’s desperately trying to be something more has its charm. Other reviews of this album appear to be either really positive or really negative. I think the true value of this album falls somewhere in between. It’s likeable, has its moments, and grows on you, but isn’t the very best in the genre. My favorites on the album: the dirge-like “Desert Song,” which has lots of eerie organ, the subtly powerful “Self-Made God” and the catchy title track. [AM]

BRIGG (Danville, PA)

"Brigg" 1973 (Susquehanna 301)  [1000p]  
"Brigg" 1988 (Hablabel 1002)
"Brigg" 199  (CD Mind's Eye)

Been I while since I heard this though it didn't make much impact on me, sorta standard rural hippie folkprog that's OK listenable but not much more. Never heard anyone being too excited about it either. "Hey Mister" is a catchy track. [PL]
~~~
Dreamy stoned psych recorded for a high school winter term project. Brigg was conceived by Rob Morse and Jeff Willoughby. Rusty Foulke was added on and Hybrid Ice Company (including Willoughby and Foulke) played on three tracks to fill out the album. The back cover photos of Rob Morse and Rusty Foulke were inadvertently switched. Hybrid Ice reappeared with a local indie hit AOR LP in the early 1980s. [RM]

GEORGE BRIGMAN [& SPLIT] (Baltimore, MD)

"Jungle Rot" 1975 (Solid 001)  [1000p]  
"Jungle Rot" 199  (Solid)  [bootleg]
"Jungle Rot" 200  (CD Synton, Austria) 
"Jungle Rot" 2005 (CD Radioactive, UK) 
"Jungle Rot" 2005 (Anopheles 009) 
"Jungle Rot" 2005 (CD Bona Fide)  [+3 tracks]

"I Can Hear The Ants Dancin'" 1994 (OR 004)  [paste-on; white label; 225#d]
"I Can Hear The Ants Dancin'" 1994 (OR 004)  [printed cover; stock label; 1000p]
"I Can Hear The Ants Dancin'" 2005 (CD Bona Fide)  [+10 tracks]

Local Maryland legend that's been popular almost since day one with collectors due to his uncompromising underground attack. He has an amazing voice full of snarl and venom plus layers of murky fuzz and phasing in the background. The overall feel of "Jungle Rot" is like looking out at a 70s ghetto street full of garbage and car wrecks from the window of a basement crash pad. Stylistically interesting as it contains elements of both psych, hardrock and 1970s punk/DIY, and has garnered fans in all three fields. The recording has a crude demo sound which isn't entirely to its advantage, and it could be argued that the music would have been even more effective with a more stringent drummer. Nevertheless this is an important document of 1970s inner city despair. Lyrics hit the same renegade vibes as the music, even on the softer songs. Among Brigman's other releases are a 45 from 1977 and a 5-track EP for Bona Fide in 1985. The "Ants" material was recorded in 1976 and originally released on cassette-only in 1982 (300 copies). [PL]

BRIMSTONE (Youngstown, OH)

"Paper Winged Dreams" 1973 (Peppermint Productions PP-1022)  [color cover]  
"Paper Winged Dreams" 198  (Peppermint Productions, Europe)  [bootleg; b&w cover]
"Paper Winged Dreams" 199  (CD no label)
"Paper Winged Dreams" 199  (CD Camellia)

Rather irresistable melodic prog/artrock LP with a light, airy feel throughout. The band belongs at the dreamy Moody Blues/Camel end of the prog spectrum, with flawless vocal harmonies, long classical-inspired keyboard excursions and plenty of non-aggressive guitar interplay. Side one is shorter structured song with a highpoint in the opening "Dead sleep at night" which is almost Beatleish in its directness and appeal. Side 2 is a sidelong suite in five movements and mainly instrumental, and fairly successful at that. The album's emotional range isn't terribly wide and the band skirts daringly along the edge of blandness, but the end result is superbly realized and charming in its harmonious mood. This is one of the least pretentious local prog LPs, and also one of the least preaching Christian albums around, and what might have been a dog turns out to be something of a surprise winner. There is also a non-LP 45. [PL]

BRITISH MODBEATS (Saint Catherine, Canada)

"Mod Is... the British Modbeats" 1967 (Red Leaf 1002)  
"Mod Is... the British Modbeats" 1998 (CD Flash, Italy)

The album compiles the band's four earlier singles, along with three previously unreleased tracks. Other reviewers have said the same thing, but in light of the stunning cover photo (those are some pretty friggin' amazing bell bottoms), the band's set of popular covers is somewhat disappointing. There's nothing particularly wrong with any of the material, but tracks such as 'Whatcha Gonna Do About It', ' The Price of Love' and 'No More Love' sound surprisingly tame and even bland, seldom rising above the level of competent bar band fodder. Best of the lot are the up tempo 'Somebody Help Me' and The Pretty Things cover 'L.S.D.'. Interestingly, Loveman's vocals sound like he suffered from a lisp. [SB]

BRITISH NORTH AMERICAN ACT (Montreal, Canada)

"In The Beginning" 1969 (Now rss-6700)  
"In The Beginning" 1987 (Antar 7, UK)
"In The Beginning" 199  (CD Afterglow UK)
"In The Beginning" 2004 (Akarma, Italy)

One of many pop-psych LPs from Canada, most of which are only so-so. I kinda like this, there are flashes of real talent and a solid consistency throughout, with the typical London/LA '67 mix, good vocals and excellent use of organ. "Don't run away" is perhaps the best track and has been reissued on Echoes In Time. Neat sleeve design. The LP is surprisingly expensive. [PL]
~~~
This album sounds earlier than it is; it's closer to British Invasion pop, or at least mid-60s Paul Revere & The Raiders-type garage rock, than to late-60s rock. The band's name is quite appropriate. It's a nice little pop album, unpretentious but confident, with consistently good songwriting and singing. Some of it is in a fine dreamy folk-rock mode with lots of reverb and echo and a strong backdrop of organ and choral backing vocals. Very nice. [AM]

JAIME BROCKETT (Boston, MA) 

"Remember the Wind and the Rain" 1968 (Oracle ors-701)  
"Remember the Wind and the Rain" 1969 (Capitol ST 678)
"Remember the Wind and the Rain" 2005 (CD Collector's Choice)

Rural folk drifter with a notable, long story-song "Legend of the USS Titanic". The Capitol pressing is easy to find. Brockett had a second LP "2" on Capitol and a third LP in 1977.

BROKEN BOW (WI)

"Arrival" 1980 (Couderay) 

Good drifting folkrock. [RM]

BROKEN BOW & IDABELL (Shreveport, LA)

"This Album Is Different" 1976 (Broken Bow & Idabell no#)  [gatefold; lyric sheet; sticker]  

Psych fans and dealers seem to hate this album, partially because when discovered it was immediately given an outrageous multi-hundred dollar price tag and inaccurate descriptions by several dealers. I may be in the minority, but I completely enjoy it. The back cover describes it as “one garage, one album, two fools, three years,” and it clearly is a labor of love. These two guys lovingly put together sixteen elaborately arranged songs on a 16-track machine. They pulled out all of the stops—some songs have horns, chorales, pedal steel, synth, etc, giving variety to a number of 70s melodic (not hard rocking) pop/rock styles. A strong sense of comedy is apparent throughout, which may be what put some people off (the album is most easily compared to Northern Front, though this is much better, or R. Stevie Moore, though this is nowhere near as good). Despite the oddness, the music itself is straightforward and of its time, with only a few dreamy ballads and one backwards bit to attract psych fans, and a tad bit of snyth to attract prog fans (i.e. it’s no surprise that both types of collectors reacted negatively to it.) The songs are well-written and tightly performed, though, and you have to give credit to a band that can pull off a calypso song with a country middle section. If the above descriptions haven’t yet sent you fleeing, I recommend it despite the naysayers. For a private press, this has very professional packaging. [AM]

BRONIN HOGMAN BAND (Manchester, NH)

"Bronin Hogman Band" 1976 (Gamut)  [insert]  

Mainstream 70s prog with mild heavy moves. Very professional and competent for what it is, but I can't see it appealing to psych fans the way, say, Homer or Chirco sometimes do. Heartfelt lyrics, complex songs, and a large number of band members (with liner notes that detail exactly how and why this band was constructed) show that a lot of thought and effort went into this record. Of course, that was probably also the case with Styx and Kansas, who had equally annoying singers but a lot more hooks. Still, there's enough going on here to open new doors with multiple listens and I recommend it to serious fans of the style. [AM]

TERRY BROOKS & STRANGE (Orlando, FL)

"Translucent World" 1973 (Outer Galaxie 1000)  [poster]  
"Translucent World" 1984 (Psycho 34, UK)

First LP by legendary (in some quarters) Ohio/Florida drug prophet determined to conquer the world with endless space rock guitar attacks. The 11-minute "Ruler of the universe" is as notorious as "Dead man" and I have to admit I enjoy it quite a bit, the echoplex solo is unbelievable. The rest of the LP is a mix of hard fuzz Hendrix workouts and dreamier psych stuff. Operatic hardrock vocals and a crude recording may be off-putting for some, but to fans of local 1970s guitarpsych this is mandatory. [PL]
~~~
Brooks' first album (actually credited to "Strange") is one of a kind, a completely insane space rock guitarfest that will leave you dumbfounded. Brooks has one of the most annoying guitar styles on earth, playing endless solos that have no melody or direction at all, just a ton of ridiculously fast picking. On this album, though, he comes up with a truly memorable side one, with "Jimi" (a tribute to you know who), on which his singing style is as unhinged as his playing, and "Ruler Of the Universe," which trades the speed for echoplex, which has never been used with such abandon and lack of taste. It sure makes me wish more people would dispense with any common notion of "songs" and milk the noise factor for all it's worth as Brooks does. Brooks comes off like a guy who just discovered a synthesizer and wants to show all of his friends the very weirdest sounds he can make. Side two pales in comparison, but this album is a must own for fans of extreme rock insanity. [AM]

"Raw Power" 1976 (Outer Galaxie 1001)  
"Raw Power" 1976 (Psycho 21 UK)

They don't make them like this any more. If you want to contort your face into a penile-fixated frenzy of fret picking at the speed of light then step this way. The phasing on "Are you my friend" is so extreme and raw it sounds right out of the basement. This is the best moment to me, but "To the far side of time" and "Raw Power" are equally extreme in their own ridiculously fast space rock way. I've not played the backwards passages forwards, so mark me down. "Life Jam" is a bit of an endurance test, but has some moments, probably needs a huge GM reefer to fully appreciate its meaning. The thesis that 'they' were putting something in the water in mid-70s Florida just gets stronger and stronger. Intriguingly, Terry thanks a very long list of people on the cover. [RI]

"To Earth With Love" 1980 (Star People spr-0005)

This is the easiest Brooks album to find, and probably his most mainstream effort. What that means is that it isn't full of echoplex and sound effects, not that it would ever sound anything but bizarre on the radio. Though the songs are reasonably brief, they're full of Brooks' trademark fast-picking lead guitar style. The album's most memorable song, "It's A Beautiful Day," starts out a gentle ballad with wimpy lyrics and deteriorates into endless soloing. It's funny, and compelling in its own weird way. Brooks may be more convincing when he's not trying to write "normal" songs (which have derivative chord progressions and mindless lyrics) but this album has an odd charm, and his squeaky high voice subverts any AOR aspirations he may have had. Most people actually rate this as Brooks' best album, which is arguable. I'd suggest that straight hard rock fans start here, while people with more adventurous taste start with "Translucent World". The LP was pressed on various colors of translucent vinyl as well as on black vinyl. [AM]
~~~
Brooks' later work is listed in -> The Attic

BROTHERHOOD (OH)

"Stavia" 1972 (Rite BH 501)  
"Stavia" 1995 (no label, France)  [300p; +2 tracks]

Obscure mellow hippie rock with organ and flute, similar to Borealis soundwise, plus some Santana moves. Listenable OK but hardly the stuff private press heads crave. The original was issued through the Rite recording plant, famous for dozens of great 60s punk 45s. Oddly, two tracks on the reissue actually are lifted from the UK "Psychedelic Salvage Co" comp and have nothing to do with the Brotherhood. Can anyone explain this? [PL]

BROTHERHOOD OF PEACE (NC)

"Cuttin' Loose" 1975 (Avanti 12003)  

Brotherhood Of Peace, despite the hippie name, are a straightforward mainstream 70s rock band. The album has a couple of hard rockers that will appeal to fans of bands like Magi or Sweet Toothe, but for the most part it's straightforward rock without distorted guitars. It does have a crude production style that might appeal to fans of garage rock. For the genre, it's not bad, but not great. Don Dixon produced. It's one of his earliest and most primitive productions. Greer fans won't find nearly as much songwriting talent or creativity on display here, but it's still a reasonably enjoyable album. [AM]

BROTHERS & ONE (New Waterford, Canada)

"Brothers & One" 1970 (Audat 477 9038)

Little-known item on same label as Borealis, longhaired sextet with sax playing funky basement psych/rock.

BOBBY BROWN (CA)

"Enlightening Beam of Axonda" 1972 (Destiny 4002)  [booklet]  
"Enlightening Beam of Axonda" 197  (Destiny 4002)  [re-press]
"Enlightening Beam of Axonda" 2004 (CD Akarma, Italy) 

As you probably guessed from the title, "The Enlightening Beam of Axonda" is pretty spacey, but in a surprisingly laidback and agreeable fashion. Brown had a nice voice (technically I think he'd be called a basso-profundo), that lent itself well to atmospheric tracks such as "I Must Be Born", "My Hawaiian Home" and "Mama Knows Boys a Rambler". Brown's liner notes claimed he had a six octave range. Lyrically Brown's hippy-dippy lyrics were pretty hysterical. Complete with between-the-songs narratives, the album almost qualifies as a concept piece with a plotline apparently having to do with Brown's search for fulfillment, though I'm not quite sure how the space aliens and space travel fit into the storyline. That said, be warned that nothing here exactly rocks. Most of the ten tracks are quite melodic, tough in a new age kind of way. In fact, stuff such as "Tiny Wind of Shanol" and "Axonda" would be right at home playing as background music in something like the Nature Store. There are a couple of exceptions. "Mamba Che Chay" was pretty experimental and did little for our ears, while "Preparation Dimension of Heaven" sounded like a bad lounge act effort. Still, the set's goofy enough to be intriguing. Later pressings lack the booklet and have ordering info on back cover; the price differs between the re-pressings. Brown's later LPs "Live" (Destiny, 1978) and "Prayers Of A One Man Band" (Destiny, 1982) are less interesting than "Axonda". [SB]

BROWN COUNTY BAND (IN)

"Brown County Band" 1980 (Programme Audio Gold)  [1000p]  

An extremely obscure private LP that's been adopted by the Swiss collector mafia who favor music that straddles the fence between Americana and psychedelia. A traditional bluegrass band that moved into more progressive directions for their first album, adding drums and electric bass to standard bluegrass instrumentation and vocal harmonies. The best moments veer into Modlin-Scott territory ("Far, Far Away" "Brown Paper Bag Rag") but the banjo dominates almost all tracks and all feet are squarely in the zone of contemporary bluegrass. What a handful of collectors hear here will likely evade most listeners. The band returned to traditional bluegrass and changed their name to Pine Mountain (after a song on this record) after this album, eventually disbanding in 1989. [SD]

CHARLES BROWNING (DC)

"A Choirboy's Lament" 1976 (SRI)  

1970s folk with percussion, bass and female vocal harmonies and a surprise appearance by Emmylou Harris. Cover versions of Joan Baez and "Codine", rest is originals.

BRUNSWICK PLAYBOYS (New Brunswick, Canada)

"Looking In" 1965 (Excellent esp-109)  

Pop beat with covers and originals. Cover shows the band sitting on a gigantic 45 floating in space.
~~~
see -> Best Of Frank's Bandstand

BRUTE FORCE (Los Angeles, CA)

"Extemperaneous" 1971 (B.T. Puppy btps-1015)   
"Extemperaneous" 2004 (Rev-Ola, UK)  [+bonus tracks]

He's most well known for his "I Brute Force" album on Columbia, a novelty item that still has some fans. A few years later he was slated to put out a single on Apple, but it never happened and the resulting album ended up in that neverland of limited edition (tax scam?) B.T. Puppy rarities. It's a messed-up live in studio recording with the notorious 'Fuh King,' dollops of unwanted political commentary and x-rated lyrics. Pretty terrible record from any perspective but virtually impossible to find, hence the value. What were the Tokens thinking? [RM/AM]

DAVE BRYAN (Columbus, OH)

"Synthesis" 1978 (private)  [insert; poster]  

Eclectic bag of tricks including psych moves, doomy rock, some synth, a few tracks with female vocals. Great psychy sleeve with a landscape tinted crimson.

BUBBLE PUPPY (Houston, TX)

"Gathering Of Promises" 1969 (IA 10)  [wlp exists]  
"Gathering Of Promises" 1978 (IA 10)  [reissue; board-printed]
"Gathering Of Promises" 1993 (CD Collectables 0558)
"Gathering Of Promises" 199  (CD Eva b-41, France)
"Gathering Of Promises" 199  (Get Back 537)

I.A:s second big act along with the Elevators, the Puppy enjoyed respectworthy chart success with their distinct high-energy AM hippierock sound and also had some good non-LP 45s. The LP is far from the deep acid psych of "Easter Everywhere" or Golden Dawn but still enjoyable; this type of freshfaced guitar sound was uncommon to the era. The original had cover slicks with a gold sticker on the shrink promoting "Hot Smoke and Sassafrass". As for all IA albums, the reissues are vinyl-sourced as the mixdown masters are lost. The IA box set reissue is close to the orig but has a matrix # that begins with 'Ach 7P V45...'. [PL]
~~~
see -> Demian; Ring of Power; Sirius

BUCCANEER (IN)

"Buccaneer" 1980 (Blunderbuss)  [demo; brown cover; gatefold; sticker; lyrics inner]  
-- inferior demo mix with one less song than the final commercially distributed black cover version
"Buccaneer" 1980 (Blunderbuss)  [black cover; gatefold; treasure map, lyrics inner, 2 bonus 45s]  

Indiana progressive hardrock pirate concept. Apparently the whole thing was performed on stage in Indy. Ex-Primevil.

BUCCANEERS ( )

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

Early fratrock sound, very weak.

ROY BUCHANAN & THE SNAKESTRETCHERS (AR / DC)

"Buch and the Snakestretchers: One of Three" 1971 (Bioya Sound mm-519)  
"Roy Buchanan" 1972 (Polydor)  [remix]
"Buch and the Snakestretchers" 1992 (Adelphi 75192) 
"Buch and the Snakestretchers" 200  (CD Genes) 

Garagy blues rock on the Bioya Sound LP, which was issued in a plain cover enclosed in a brown burlap bag. The Polydor release is a retitled 2nd press with different mix and song order. Prior to this he recorded with David Denver with whom he did two obscure country-oriented LPs in 1969 and 1970. Roy went on to record extensively for major labels. 

DEL BUCKINGHAM (West Alexandria, OH)

"No Gimmicks" 1974 (no label)

Odd melodic rock with occasional acid guitar.

BUCKINGHAMS (Chicago, IL)

"Kind of a Drag" 1967 (USA 107)  [1st version with 'I'm a man']  
-- the rare "I'm a Man" version must be played to verify as the song is not listed. It extends across two bands in the vinyl! Only mono copies of this variation are known to exist.
"Kind of a Drag" 1967 (USA 107)  [mono; 2nd version without 'I'm a man']
"Kind of a Drag" 1967 (USA 107)  [stereo; 2nd version without 'I'm a man']
"Kind of a Drag" 200  (CD Sundazed 6126)  [+2 tracks]

First rare version of the LP includes extended "I'm a man" raveup. The LP is actually pretty good garage pop even without "I'm a Man". The band's other (unexciting) releases fall outside the scope of our archives.

RUSTY BUDDE BAND (TX) 

"Main Man Stan" 1980 (FX 1000)  [1000p]  

Jacksonville, Florida label. Heavy bluesy rock with fuzz. Proceeds from sales of the record were devoted to the 'care and therapy' of Rusty's friend, Stan Smith, in a Florida rehabilitation center.

BULBOUS CREATION ( ) 

"You Won't Remember Dying" 1994 (Rockadelic 13)  [300p]

1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL]

BULL (Richmond, VA)

"It's A Rock'n'Roll World" 1979 (Wheels Records)   

Southern rock and hardrock with macho vocals and guitar action. The band leader later made an LP as the Ray Pittman Band ("Getcha Some", 1981) which has been raising some interest.

BUMP (MI) 

"Bump" 1970 (Pioneer prsd-2150)  [5000p]  
"Bump" 199  (Pioneer)  [bootleg]
"Bump" 2000 (CD Gear Fab gf-142)  [+2 tracks]
"Bump" 2000 (Akarma, Italy)
"Bump" 200  (CD Mind's Eye)

Surprisingly good LP in the post-Fudge guitar/Hammond psychrock style. Vocals are appealing with a slightly quirky folk edge unlike the usual macho bombast, and there is a good sense of melody throughout. Apart from the shorter UK-influenced tunes there are two extended trip-outs, the doomy "Spider's Eyes" with excellent use of swirling organ and fuzz, and the closing epic "Lifelines" which goes through many moods and changes, including art-rock classical as well as cerebral soundscapes a la Mandrake Memorial. Reminsiscent of certain "heavy" Mainstream albums such as Tangerine Zoo, but clearly better, and predating the less successful Whalefeathers LP as well. For fans of this style Bump must rank as one of the top scores, and its skillful avoidance of the usual traps makes it enjoyable for others as well. There was also a good non-LP 45. Both the Gear Fab and Akarma reissues suffer from inferior sound processing. [PL]
~~~
Melodic swirling organ fuzz psych with a bit of a Swinging London sound at times. Beautiful vocals like New Tweedy Brothers. Meat mix of delicate melodicism on "State of Affairs", ringing guitar and shimmering church organ on "From My Slot", and the mysterious trippiness of "Spider's Eyes". There's even some heavy cavern fuzz moments. [RM]

WILBURN BURCHETTE (IA)

"Occult Concert" 1971 (Amos 7014)   

"Opens The Seven Gates Of Transcendental Consciousness" 1972 (Ebos 6d-0001)  [with booklet]

"Guitar Grimoire" 1973 (Burchette Brothers bb-001)   

Laid-back Middle Eastern-flavored guitar trance instrumentals with occult concerns. New agey sound but he uses homemade instruments and gets some really exotic sounds going. The "Seven Gates" LP has a cool cover and booklet, while "Guitar Grimoire" is musically interesting with an orchestra of synthesized instruments blended on together on side-long tracks 'Yin' and 'Yang'. Burchette would continue to record and release records on his own Burchette Brothers label, such as "Psychic Meditation Music" (1974), "Music Of The Godhead" (1975), "Transcendental Music" (1976), and "Mind Storm" (1977). [RM]

BUREMAN & O'ROURKE (Independence, MO)

"Strawberry Pickins" 1974 (Pearce 42550)   

Country-rock and folk, one side rocking and the other folk/bluegrass.

ABNER BURNETT & THE BURNOUTS (Odessa, TX)

"Crash and Burn" 1975 (Worpt)  [500p]

"Old McDonald" 1979 (Worpt)

First LP is freaky DIY basement rock, second is more folky acoustic with some cover versions. A CD sampler exists with these early recordings from Abner ("1975-79", Worpt, 1997), although it's apparently a poor mastering job.

BURNT RIVER BAND (Cleveland, OH)

"Live at the Carlton - Harley Davidson Annual Swap Meet 1981" (Wild Turkey 1000)  

Ultimate sleaze biker artifact, complete with naked pictures of biker groupies on the back cover, a "fuck you" song and completely offensive racial and homophobic epithets in the song lyrics and liner notes. Musically it's average boogie rock (predictable cover versions include "Going Down"), not very heavy but with plenty of jammy lead guitar. I wouldn't want to mistakenly knock down one of these guys' bikes in the parking lot. More "interesting" than "good," but far more disturbing than Coven's "Witchcraft" or Manson's album if you ask me. [AM]

BURNT SUITE (East Hartford, CT)

"Burnt Suite" 1972 (BJW css-9)  
"Burnt Suite" 199  (no label)  [bootleg; 300#d]

This is pretty bland, and suffers from the usual weak vocals. The cheap production buries the rhythm section and puts the mostly jangly lead guitars way up front. A few songs are in a lame country style, though a few have a mild hard rock sound. Some of the songs are pretty good (“Lightning” has a tough sound and some nice backwards guitar, and “Got Time” has a sly, memorable overlapped melody), but even those fall a bit flat in the execution and suffer badly from the vocals. There’s a weird sluggishness to this album. Oddly, many of the songs fade out when they don’t appear to be finished. [AM]
~~~
Strangely subdued and understated LP that will go right past you unless you pay close attention. It's a genreless early 1970s sound which could be called rustic folkrock for want of a better term, with some heavy/hard aspirations on a few tracks. Everything about this album is withdrawn like a turtle under its shell, with low-key, humble vocals, an unusual lack of strong instrumental leads, and a very basic guitar-band setting, like a 60s garage group. At times a Creme Soda-like 60s throwback sound will emerge, or some bars of frantic rhythm guitar (mixed very high), and then it's back to the mumbled, almost embarrassed style. A couple of tracks show melodic promise, and there are some unexpected lounge moves. A weird experience, if nothing else. [PL]
~~~ 
see -> "Sunny Spring Fever"

JERRY BUSCH (Cleveland, OH)

"The Demo Tapes" 1976 (Midwife)  [inner]
"The Demo Tapes" 200  (CD Midwife)

Local prog-rock/AOR with dual guitars and light soulful vocals a la Rush, recorded and released for demo purposes only, although some tracks got regional airplay. About 2/3rds guitar rockers, mixed with some ballads. Very much a local refraction of what was going on nationally at the time. Busch followed this with "City Boy" (1980), appeared on the "Pride Of Cleveland" sampler (1981) and is still active. [PL]

BUSHES (IL)

"Assorted Shrubbery" 1968 (Growth 200-08)  

Disappointing soul-rock/early FM rock LP with a Vanilla Fudge influence; despite occasional dealer hype no traces of psychedelia can be detected. I have a hard time seeing anyone enjoying this and put it on the same tape as Age Of Reason, for burial in the "never-play" drawer. With Ron Stokert (Three Dog Night). [PL]

BUSTIN' LOOSE (Spirit Lake, ID)

"Bustin' Loose" 1981 (Cisco)   

Rural rock, very countrified but has good heavy lead guitar.

BUTCH (CA)

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

Eastcoast hardrock with a primitive vibe.

BUTTERFINGERS ( )

"Butterfingers" 1970 (Pot 457)  [plain cover; inner]  
"Butterfingers" 1998 (Little Indians, Germany)  [400#d]
"Butterfingers" 2001 (CD Shadoks, Germany)

Hilarious hard rock nonsense with soul-heavy vocals (no one knows for sure if these guys are black or white) and some over-the-top psych effects. They definitely spent more time screwing around with sound effects than they did writing these songs. Bad, in fact very bad, but not boring. The best moment is when he sings about feeling like an elephant trying to stand on top of a football. They'd get high points in any stoopid metaphor contest. The original came in a plain white cover and had an innersleeve with handwritten lyrics; the label was beautiful gold/yellow very different from the Shadoks release. All songs are BMI and there is no mention of 'demo' or 'test press' anywhere. [AM]
~~~
Cartoonish hard rock comes to mind with Butterfingers. Whoever he was, the lead singer had a decent voice, though he also exhibited an irritating habit of trying to sound overly soulful and continually injected needless 'whoops', 'screeches' and other sound effects into the mix. We've seen at least one review that says he sounds like a female Janis Joplin. To us a more apt comparison is a cross between Randy Bachman and Tony Joe White. Musically the set bounces around between conventional hard rock ("Has the Buggerman Got You" and "5 O'clock Trip"), more commercial pop sounds ("Key" and the oddball MOR ballad "In the Shade of the Night") and some pseudo-blue eyed soul moves ("Look Out Now"). There's quite a bit of fuzz guitar throughout (the instrumental "High Walkin'" is actually quite nice) and the set (particularly the second side which sports three longer titles), boasts a certain stoned vibe that will probably appeal to some folks. "I Feel Like An Elephant" is worth hearing for the dumb lyrics, while the closing number "Bootleg" boasts some super cheesy studio production effects. Nothing great, but we've heard far worse. [SB]

Acid Archives Main Page