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]
~~~
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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 a