DADDY WARBUCKS ( )
"Daddy Warbucks I" 1976 (Tiger Lily)
This typically obscure Tiger Lily LP has something most do not: accurate credits. Members of this band were previously in Goodthunder and would later form the melodic hard rock/AOR bands L.A. Jets and 1994. Daddy Warbucks are cut from the same cloth, but with some added prog moves (despite short songs.) This album is chock full of wonderfully used synthesizer and has its share of tricky rhythms/time signatures. It also has a bunch of catchy tunes. Check out the frantic bass playing on "Blue Eyes" or the atonal synth on "There's a time" and you can see that these guys had serious pop smarts. In fact, if it wasn't for the typically early 70s bluesy male vocals, this would be a grade-A power pop album. As it is, it's a grade-A mainstream rock album. In a similar fashion to the first two Cars albums, it shows that synthesizers need not be used only to make "synthesizer music," but can be beautifully integrated into a rock band as lead and rhythm instruments. It's a bit mainstream for psych fans, but if Crack and Steve Drake can be highly sought after by collectors, it stands to reason that this equally (maybe more?) rare album should be too. Note: A song from the Goodthunder album is remade here with a new title and new lyrics. In usual hilarious tax scam fashion, the back cover lists a song that's not on the album and the total time is a scant 21 minutes and 53 seconds, not a second of which is wasted. [AM]
DAILY FLASH (Seattle, WA)"I Flash Daily" 1984 (Psycho 32, UK)
"I Flash Daily" 199 (CD Flash 60, Italy) [bootleg; +2 tracks]The only album release from a historically significant and occasionally brilliant folkrock/psych outfit that travelled up and down the west coast in 1966-67. Contains their 45 tracks, a couple of unreleased studio tracks, and two stunning live numbers on side 2 including the ahead-of-its-time acidrock magnum opus "Cantaloupe Island". A must for any fan of early psych. A recent CD boot titled "SF Odds & Ends" contains more tracks from this Seattle concert. [PL]
DAISY CHAIN (CA)
"Straight Or Lame" 1967 (United International lpm-13001) [mono cover, mono record]
"Straight Or Lame" 1967 (United International lpm-13001) [mono cover, stereo record]
"Straight Or Lame" 200 (CD Sundazed 6200) [mono mix]Somewhat legendary all-girl lyte-psych/top 40 album; its status perhaps due more to its unique nature than the perceived quality. The sound is typical So Cal sunshine product with harmony vocals, cheesy organ and occasional brass, reminiscent of Birmingham Sunday in parts. At best it approaches vintage Strawberry Alarmclock in its mix of easy listening and dreamy psych; the track "Zzotto" is an excellent example of this. The LP has some weaker moments of fake soul and bouncy pop but enough winners (I counted four) to be worth checking out for pretty much anyone. Reportedly 500 covers were made. All covers say "mono", but mono discs are considerably rarer. The stereo discs are binaural 'fake stereo' and rather badly done. [PL]
~~~
This is one of the holy grails of femme psych, terribly rare and with a fantastic sleeve design. About half of the album is quite trippy, with great use of swirling organ and just a bit of garagy sloppiness. The other half is commercial pop, with occasional horns. The mainstream songs are pretty good, though clearly this album would have been more fun if all of it was in the style of "Zzotto" and "Love Them All." Not the masterpiece insane collectors of female psych would hope for, but a worthwhile album with a few killer songs. [AM]
DA KINGFISH BAND ( )"Tennessee Feelin'" 1975 (JJ Sound Records)
A four piece band (keyboards, guitar, bass & drums) unleash a strange concoction of countrified rock.
RAY DALAN (Canada)"For Mature People" 1974 (Sky)
Acoustic, introspective folk.
DALLAS (TX)"Casualty of Love" 1979 (Shimmer Bros. 97-15)
Nice acidic folk with originals and Byrds and Neil Young covers.
KAREN DALTON (NY)"It's So Hard to Tell" 1969 (Capitol ST-271)
Unique, magical downer folk album that stands stranded in time (sounds like it could have been recorded in 1948, or 1998.) On these starkly recorded folk songs, Dalton sounds just like Billie Holiday, with the same power and resonance. She wasn't a writer, which is probably why she's a cult figure and not a household name. Even so, her singing style and obvious conviction makes this a completely coherent listening experience. Two of the songs are by her pal, Fred Neil, and his sad lyric about watching hotel lights blinking on and off is a perfect encapsulation of the feel of this album. The CD contains extended liner notes about her mostly unhappy life; all of it makes perfect sense when you hear the music. This is quickly approaching labelmates like Gandalf and Euphoria in collectability value, and in many ways is a better album. [AM]
"In My Own Time" 1972 (Just Sunshine/Paramount pas-6008)
Dalton's second album was a disappointment to fans of the first. It lacks the same coherence and conviction of the Capitol LP, and the more rock-oriented arrangements don't suit her particularly well. Even so, she still has a voice like nobody else in the genre and this is intermittently fascinating. [AM]
DON DALY (TX)"Matilda" 1971 (Matilda's Child 710 820)
Busker folk with 2-chord songs and loud vocals. Acoustic guitar, bongos. "Sodomy With a Carrot" is a memorable title.
DAMASCUS ROAD ( )"Damascus Road" 1973 (Icthus)
Acoustic rural rock with some heavy garagy moments.
DAMASCUS ROAD (GA)"I Am The Light" 1982 (Damascus grp-1105) [500p]
No sugar on this cool custom Skynyrd-type hard rock ripper from Georgia trio. If you like zippy loud slide guitar you’ll not be disappointed as they pound through titles like ‘Outer Darkness’ and ‘Hell’. Good production, no keyboards, an occasional flash of Byrdsy guitar. Southern rock saw a handful of releases on Christian labels; unfortunately most just weren’t quite there or blew it by tossing in token fluffola ballads - but these guys are the real McCoy. [KS]
DAMIN EIH, A.L.K & BROTHER CLARK (Minneapolis, MN)"Never Mind" 1973 (Demelot 7310) [orange/white back cover; lyric insert; 500p]
"Never Mind" 199 (Demelot) [bootleg; thin cover with b&W back]
"Never Mind" 2003 (Orange Double Dome) [300#d]One of those elaborate Midwestern headtrips that will send you into an aural space you didn't even know existed, like CA Quintet or side 1 of Yezda Urfa. The longer suites are particularly impressive, while the shorter tunes less so. A unique mix of multilayered acoustic guitars, treated vocals and extensive use of cymbals creates a piercing yet enjoyable high frequency soundscape that demands your attention, while some moog and fuzz bass round out the bottom. Someone spent a lot of money on this one and I would deem it largely successful, with parts that are truly spellbinding, even though the "message" remains obscure. Pretentious and rather Euro-proggish in its sensibility, yet playful and exotic enough to appeal to more adventurous psych fans. The band's ridiculously unwieldy moniker and the lack of a high profile reissue keeps this one buried. [PL]
~~~
One of a kind album from a truly warped, unique sensibility. It's a tough to describe mix of acoustic guitars, pop melodies, folk, prog, and just plain weirdness. Often brilliant (i.e. the truly classic "Thundermice") but just as often impenetrable. Those who "get it" seem to instantly place this in their personal all-time top tens. I can't say I'm one of those privileged ones, but on every listen I do discover something new and enjoy bits and pieces of it. The album is constructed to feel like one continuous whole rather than a collection of songs, which actually makes it harder to enjoy-other than "Thundermice" the individual songs don't really distinguish themselves. It reminds me of the better Gong albums, where you wade through a couple of minutes of forgettable jamming, and hit a great 20 seconds or so, thinking "wow... if they just developed that into a complete song rather than noodling around so much this would be an amazing record." The problem, though, is that they really don't have enough focus or fully-formed ideas to do so even if they wanted to, and my instinct is that Eih (whoever he really is) has the same problem. The good moments make you want to forgive the dull spots, thinking they're over your head, but I suspect they're just Eih rambling rather than Eih in the midst of inspiration. Of course, those chosen few who "get it" would certainly say I'm wrong about this. [AM]
DAMON (CA)
"Song Of A Gypsy" 1969 (Ankh 968) [textured gatefold, blank back]
"Song Of A Gypsy" 1969 (Ankh 968) [single sleeve]
"Song Of A Gypsy" 1993 (Fanny, Belgium) [single sleeve; 400#d]
"Song Of A Gypsy" 1994 (CD no label)
"Song Of A Gypsy" 1994 (CD Afterglow 13, UK)
"Song Of A Gypsy" 1998 (CD Daily Bread)
"Song Of A Gypsy" 2000 (3 Little Indians, Germany) [gatefold; bonus EP; insert]
"Song Of A Gypsy" 2004 (Guerssen, Spain) [gatefold; bonus EP]One of the classics of the field, not without detractors but a great and special experience in my ears. Sometimes described as folk or folkpsych it is in fact tranced out gypsy Arabian acid fuzz crooner psych with deep mysterious vocals, an amazing soundscape and excellent songwriting. The tracks may at first seem too similar, and several plays are suggested before making your call. Unique, though Darius is a distant relative. The inner gatefold design was used for the single sleeve front and back. Of the reissues, most are vinyl-sourced bootlegs; the Daily Bread CD was done by Damon himself from taoes, and the Guerssen album is legit. He had several 45s including one great non-LP 45 track, and a surprisingly good comeback album in 1999 with sound and vibe close to 1969 LP, recommended to any Damon fan ("Gypsy Eyes", CD Daily Bread). [PL]
~~~
Mystic eastern sound fuzz psych with prominent rhythms and haunting vocals. You can dance to the beast! Hipster crooning vocals in Darius territory put to mystical lyrics which, for the most part, are about sex. Surgical fuzz leads and trippy effects throughout. One of the few eastern trippers with a backbeat. Similar to the British monster, Sam Gopal. The single sleeve version is somewhat more common. The front and back cover match the insides of the gatefold design.[RM]
~~~
Eastern/gypsy inspired psych with lots of finger cymbals, fuzz guitar and sincere crooner vocals. All the songs are in the same key though, and almost the same pace as well. Individually almost every song sounds like a winner, but it doesn't really work as an album for me as it quite frankly gets downright boring with the lack of variety. [MM]
~~~
see -> Atlee, Highway Robbery
~~~
see full-length review
DAMON (ND)"Feeling Alone" 197 (Witherspoon 30522)
This Damon was a DJ in North Dakota who was kind enough to record his deep thoughts for posterity in the early 70s. The record is a strange mix of hip spoken word and loner folk. The music is mostly acoustic and deeply personal with lost soul lyrics. A couple of tracks have fuzz guitar as well. [RM]
DANIEL (IN)"Phoenix" 1978 (no label)
"Phoenix" 2002 (CD World In Sound, Germany) [+2 tracks]Obscure 1970s singles bar macho rock LP by pompous classically trained cellist who recorded this en route to Hollywood, where he proceeded to make softcore movies. Much of this borders on unlistenable, the soulful "Debra" and a nightmarish calypso track in particular. Interest in this is based on two extraordinary psychish tracks where all his confused ambitions unexpectedy fall into place - these must be heard. He's a good cello player, too bad he wanted to be a rock star. Recorded in AZ and NY. [PL]
DANNY & LYNDA see First Revelation
D'ARCY (Canada)"Back At The Beginning" 1972 (Polydor/Absolu 33001)
Canadian obscurity in a nice color sleeve, poppy soft rock and CSN-type folkrock.
DARIUS (Cleveland, OH / Los Angeles, CA)"Darius" 1968 (Chartmaker 1102)
"Darius" 1986 (Breeder 565, Austria)
"Darius" 199 (CD Flashback 009, UK)
"Darius" 2000 (World In Sound 010, Germany) [500p; +3 tracks]
"Darius" 2000 (CD World In Sound 1001, Germany) [+3 tracks]A desert island LP for some guys I know and a splendid time for just about everyone else, this emotional LA folkrock/psych/r'n'b blowout rips throughout with ten strong tracks. Heavy macho postures mix with transcendental folk-psych and you can tell by the sleeve photo this guy already was a star in his own head. Unfortunately few agreed back then. Uncredited backing by session pros also in label-mates Goldenrod. The unreleased material that appeared in 2002 ("Darius II", World In Sound 11) was more in a soul/nightclub direction, with a few good tracks. Some copies of the LP came with a bio insert. There was also a non-LP 45. [PL]
~~~
Darius sounds something like Tommy James with a messiah complex. These are basically pop songs, but they're great ones, and more importantly are chock full of drama and elaborate arrangements. He easily could have crossed the line to parody, but he holds it all together, and the results are powerful and compelling. A great one. [AM]
DARK SHADOWS see Cold Sun
DARKSTAR (Toronto, Canada)"Into The Heartland" 1978 (Ariel)
This hardrock/AOR trio had a series of subsequent LPs, but this debut LP is the one collectors seek and reportedly has a less mainstream sound with some psych and prog moves. There is another unrelated Darkstar from Canada, who cut a selftitled AOR LP in the early 1980s.
DAVID (Los Angeles, CA)"Another Day, Another Lifetime" 1968 (VMC v-124) [mono; also exists as mono promo]
"Another Day, Another Lifetime" 1968 (VMC vs-124) [stereo]
"Another Day, Another Lifetime" 1993 (CD Eva b-34, France)
"Another Day, Another Lifetime" 1995 (CD Flashback, UK)
"Another Day, Another Lifetime" 2001 (CD Jamie/Guyden)
"Another Day, Another Lifetime" 2005 (VMC/Scorpio)If you can handle some lavish L A easy listening type horn and string arrangements then this LP is well worth checking out. Uplifting flowerpsych sounds with great production value and strong songwriting that's often compared to Strawberry Alarmclock. They had some good 45s as well. [PL]
~~~
Even with the horrible remix of the 2001 CD reissue (it was mixed by someone who'd never even heard the original LP), the brilliance of this album shines through. It's gotten plenty of praise elsewhere, all of which is deserved. To put it simply, these guys had not only a genuis ear for melody, but were able to perfectly match the right experiment to the right song. There are more ideas here than on ten other albums. Even all of the horns and strings work. Practially a how-to of American popsike. [AM]
DAVID (Canada)"David" 1969 (Sound Canada)
"David" 2000 (CD Gear Fab 163)
"David" 2000 (Gear Fab/Comet, Italy)Obscure Canadian late 60s top 40/psych LP with female vocals and a fairly professional sound. An even mix of UK & US influences, the worst part being a "Hey Jude" cover while a couple of Neighb'rhood Childr'n/Birmingham Sunday-style gems can be found on side 2. Listenable. [PL]
~~~
see -> Bridge
MOSSY DAVIDSON (Alaska)"North Wind Calling" 1977 (Northwoods MD 101) [2 LPs]
Mellow rural femme hippie folk LP with Alaskan themes, samey in sound but highly rated by some genre fans. Acoustic guitar, flute, piano, steel guitar.
JEFF DAVIS (TX)"Dear Jeff" 1977 (Tap 0030)
Mostly acoustic Christian folk on Houston label, originals all through, some use of female harmonies and environmental sounds.
DAVY & THE BADMEN (Lawrenceville, NJ)
"Wanted!" 1963 (Gothic wa-63054)
Primitive instro rock covers leaning into garage r&b, one of the earliest eastcoast LPs in this direction, from prep kids at Lawrenceville School.
~~~
see -> Toads
TIM DAWE (San Diego, CA)"Penrod" 1969 (Straight STS-1058) [wlp exists]
"Penrod" 2004 (CD Radioactive 0095, UK)I had a great time listening to this album, even though it's not necessarily an outstanding piece in my ears. It's a bit of a paradox, with a terrific, lively sound thanks in no small part to arranger/producer Jerry Yester, and no matter where it goes it grabs your attention. However, it does go in two or three directions too many, and while almost every track sounds either good or great on its own, there is a weakening at the centre which begs the question exactly what Tim Dawe (who is not the same person as Jerry Penrod) was trying to do. There are moves into goofy Kingston Trio folkpop, raga psychedelia (the great "Sometimes alone"), UK-influenced artrock and, on more than one occasion, schlocky showbiz balladry with Neil Diamond overtones. This LP may have been intended as an eclectic, egocentric Tim Buckley type showpiece for Straight, but to me sounds more like Rex Holman on a $20.000 budget. Of course, Rex Holman is great and "Penrod" is undeniably entertaining, but I'd say that at least half its greatness lies in the excellent studio embellishments it was awarded, which holds together an album that threatens to dissipate into directionless zeitgeist. Special mention must be made of Chris Kebeck's brilliant guitar leads; possibly a more famous player under pseudonym. The LP was assigned a Warner Bros catalog # (WS 1841), but this appears never to have come out. Dawe released two obscure LPs in 1976 and 1978. [PL]
~~~
This is a rarity: a singer/songwriter album that's "rock" and not "folk." Often Dawe strives for a dark, grungy feel, most successfully on the album's centerpiece "Junkie John". Elsewhere some clever organ and guitar arrangements give the songs solid rock strength. Side one is great straight through, in my opinion as good as any obscurity in the genre. Side two isn't bad, but not quite at the same level. Highly recommended, especially to fans of weird singer-songwriter characters (i.e. the Rex Holmans, Bill Jerpes and John Brahenys of the world.) [AM]
DAWSON (KY)"Can You Feel It" 1975 (Bridges)
Side one is mainstream 70s AOR-style rock at its best: great tunes, nicely constructed arrangements that build in intensity, solid harmonies, melodic lead guitar. The title track would have been a huge hit if on a major label. A bit of silly talkbox guitar goes by harmlessly at the end of the side, and there's a brief backwards bit on side two that confirms their willingness to experiment a bit. The lyrics on side two, though, cover every lame 70s cliche. Respectively: horny rocker, hardworking (and horny) roadie, hardworking rocker whose life was saved by rock and roll, and prog geek mythological fantasy. The music on this side is reasonably good, especially the Sweet-like chorus of the roadie song and most of the prog song, but overall it's nowhere near the level of side one. Still, half of a great album. Cool album cover with shiny metallic silver (similar to the gold on the Cambridge album cover, and like the Cambridge album this is extremely prone to ring wear). [AM]
JOHN DAY (NC)"John Day" 197 (no label 4123N12)
Pastoral folkrock with full band including congas, mellotron, steel guitar, harmonica, housed in nice appropriate artwork.
DAY BLINDNESS (San Francisco, CA)"Day Blindness" 1969 (Studio 10 101) [promo; plain cover; insert]
-- promotional copies were issued in a plain white cover with business card attached and an insert promoting the label's acts
"Day Blindness" 1969 (Studio 10 101)
"Day Blindness" 198 (Studio 10) [bootleg]
"Day Blindness" 1997 (CD Flash, UK)
"Day Blindness" 2005 (Studio 10/Scorpio)Unexciting teen psych-rock with an obvious Doors influence similar to those many 1969-70 Canadian LPs. Parts are so lame that it sounds almost like a Doors parody album, the deadpan sub-Lizard King vocals in particular. Lead guitarist has a nice garage fuzz sound but doesn't show much creativity, despite plenty of "jams" with equally cool-sounding and equally clueless Vox organ guy. "Heavy" lyrics about "squares" add entertainment / embarrassment factor. Songwriting doesn't account for much, and while they do achieve a nice cheese epic doom vibe on the last track, Ultimate Spinach did these dumb teen dope sounds much better. [PL]
DAYBREAK (Pearl River, NY)"Daybreak" 1971 (RPC az-97731) [400p]
Obscure LP with two raw basement psych winners, also a "Down By The River" cover, a Steppenwolf medley, and more. Haven't heard the whole LP, but those two originals seem to be the highpoints.
DAYBREAK (Richmond Hill, NY)"A Celebration Of The Individual" 1974 (Dome 51374) [two posters; lyric insert]
This high school project album is typically amateurish rock, folk, soul and even jazz, with the drummer and lead guitarist both being way overenthusiastic and the many lead singers (both male and female) ranging from terrible to adequate to charming. Give them credit for trying awfully hard. The gospel-styled chorus that backs the guy on “Proclamation 1” steals the show from him. “Loneliness” moves from stark folk into a pseudo jazz/flamenco guitar solo that must be heard to be believed. “Black Child Speaks To God” has a flute-sax duel that’s equally entertaining. There are so many styles here that if weren’t for the consistent sloppiness, out of tune guitars and piano, and absurd fast guitar runs, it would sound like a various artists’ album. Some of the lyrics are funny, but I can’t tell if it’s intentional or not. One of the singers sounds awfully old for a high school kid; I wonder if the music teacher is responsible for the terrible piano-and-voice ballad “I Strive To Make You Happy.” These high school records have a certain perverse charm, and since this is one of the very few not to have any cover versions, it’s probably a good one with which to satisfy your curiosity. [AM]
D-DRIFTERS 5 (Canada)"Sing And Play Beatles Songs" 1965 (V-Records 3025)
Beatles songs plus a couple of other Invasion numbers sung in Ukranian by a Canadian band. Lord knows why. Label is the same that had Neil Young's legendary 45 with the Squires.
MICHAEL DEACON (Omaha, NE)"Runnin' In The Meadow" 1975 (Mustard Seed S80-1008)
"When You Know It's Home" 1977 (Mustard Seed S80-1512)
Folky singer/songwriter obscurities.
HARRY DEAL & THE GALAXIES (Charlotte, NC)"I Feel Good All Over" 1966 (Lotus 6-7116)
Mostly frat circuit soul rock, covers "My Girl", "Midnight Hour". Similar sound to Jack Bedient and the Chessmen but with a beach beat influence. Two cover variations exist, one red and one black. [RM]
"United" 1968 (Eclipse)
All originals this time straddling the frat and garage beat sounds. Harry Deal later ran his own studio, which recorded the May Street Tops among others.
DEAN BROTHERS (NY)"As They Are" 1976 (Pilgrim DB1002)
This is a private press, but has a professional sound and easily could be mistaken for a major label singer songwriter album. The obvious influence is Elton John, though there Are a few country-influenced songs that give away their rural roots. About half of the album is quite good, with some nice acoustic ballads and a terrific long song about wanting to live on Mars. Not a killer album by any means, but enjoyable for genre fans and a nice semi-rarity you can still pick up cheap. [AM]
DEBRIS (Chickasha, OK)"Static Disposal" 1976 (Pig 0000)
"Static Disposal" 1999 (CD Anopheles 004) [+10 tracks]
"Static Disposal" 1999 (Anopheles 006) [1000p; +1 track]Freaky yet accessible mid-70s psych/avant-punk crossover album from a most unlikely spot on the map; talent, originality and good clean fun present throughout. I'm not too hip on this era & style but enjoyed it just the same. The band has no relation to fellow Okies Cosmic Debris. [PL]
~~~
Great '76 proto-punk private press, kinda similar to Cleveland scene of the same time. Basement trippy and freaky with obvious Beefhart and Stooges influences, it also includes a more unexpected Hawkwind vibe due to the quite massive use of electronic sound fx, echos, tape loops and such, to a great druggy effect. Not really your typical psych LP but definitely rewarding after a few spins, especially if you're into early Pere Ubu, Electric Eels and such. Maybe experimental, but never arty, this is a great LP. When you wake up in your living room at 04.00 in the morning, totally confused because someone obviously spiked your cough syrup with acid, this might be the perfect soundtrack. [MM]
DECADENCE (Chicago, IL)"Savagery and Grace" 1980 (Daystar dslp-8001) [1000p; bonus 45; booklet]
Basement hard guitar progressive with female vocal. Only 500 of the 1000 copies came with the bonus 45 and booklet. The band had a couple of 45s also, one under the earlier name Doublecross, and released a second LP "Je Ne Sais Quoi" in 1982. CD reissues supposedly exist, but we have no details.
DECEMBER'S CHILDREN (Cleveland, OH)"December's Children" 1969 (Mainstream s-6128) [wlp exists]
Another interesting Mainstream release. Like many of the albums on the label, this has both male and female vocals, and a mix of Airplane-light psychedelia and heavier bluesy rock. The guitar playing throughout is creative. The album starts slowly but improves as it goes along, closing with what are probably the two strongest songs. Nothing phenomenal, but worthy of investigation. [AM]
THE DEEP (New York City, NY)
"Psychedelic Moods" 1966 (Cameo Parkway p-7051) [mono]
"Psychedelic Moods" 1966 (Cameo Parkway sp-7051) [stereo]
"Psychedelic Moods" 1989 (Cicadelic) [remix]
"Psychedelic Moods" 1993 (CD Collectables 0521) [remix]
"Psychedelic Moods" 199 (Thorns, Europe) [remix]
"Psychedelic Moods" 2004 (CD Radioactive 074, UK)
"Psychedelic Moods" 2004 (Radioactive 071, UK)Something of a psych head's dream, this LP dates from August 1966 when conceptual acid albums was still uncharted territory. Consequently Rusty Evans and his NYC ex-folkie pals managed to create an LP that sounds fresh and unique even 40 years on. The 12 tracks are essentially a series of musical trip reports covering the whole emotional spectrum from chaos and euphoria to introspection and melancholy with an intense, challenging atmosphere. The three tracks that have been comp'd give you an idea of the LP's full lysergic madness. Due to the bad remix originals used to be mandatory for this one, but finally the original trip became available via the exact Radioactive bootleg. Stereo copies are preferrable in my opinion, although the mono is enjoyable too, with a garage edge. An original Canadian pressing with Quality labels exists. Collectables' "Psychedelic Moods" series (vol 2-5) has some session outtakes and an interview with Rusty; vol 2 is an excellent garage psych sampler featuring Hydro Pyro which was a Deep-related project. [PL]
~~~
This groundbreaking album is widely misunderstood. It may have originally been intended as an exploitation record, but all these years later it sounds like the best NUGGETS-era garage album ever. Rusty Evans' songs are great, spanning snotty garage, melodic pop and thoughtful experimentation. Regardless of the reason, he sure was inspired when making this album, and while maybe the purposely awkward phrasing on "Psychedelic Moon" comes off as a gag, it's a fascinating one. Beyond that, it's hard to find any fault with killer songs like "Turned On," "Trip #76," "It's All A Part Of Me" and "On Off Off On." While the Shadows of Knight and Blues Magoos and everyone else were packing their albums with filler, here's a 1966 record full of creative, diverse originals. This is the kind of great record that could only have happened before the genre had any established "rules." Evans' creativity shines bright. [AM]
~~~
Killer LP from '66 ranging from punk psych, folk psych to true madness, it sounds like a missing link between the beatnik/prankster era and full on psychedelia. Just one year later this album would probably have been impossible to release on a major label - I don't think the A&R's at Cameo had a clue to what this was about at all! Titles like "Trip #76", "Turned On", "Color Dreams" and "Crystal Nite" should give a hint. It may look like an exploitation album, but it's much more than that. The songwriting is inspired and the recording/instrumentation is full of spontaniety and variation. It sounds like they had a blast recording this album. Lots of it actually sounds like it was recorded in early mornings, after nights of tripping, and it's full of all sortsa sound fx in the mix! The stereo mix is widely panned and reveals some mad soundscapes - one of the more successful examples of early stereo. The mono mix on the other hand has more punch in the bottom end, and sounds more "garagey" over all. Some songs are totally different in mono and stereo. [MM]
~~~
see -> Freak Scene; "Fifth Pipe Dream"; Marcus
DEERFIELD (Houston, TX)
"Nil Desperandum" 1971 (Flat Rock frs-1) [envelope; letter]
"Nil Desperandum" 199 (Flat Rock) [bootleg]
"Nil Desperandum" 2000 (CD Gear Fab 148)This is a solid LP. It's somewhere between acoustic west coast rock and late-period Beatles (esp George Harrison). The songwriting is strong and reasonably ambitious, including a well-realized Kak-like suite on part of side two. The album has a fresh, summery feel to it. Originals (pressed on thick vinyl, in thick covers) come with a clever insert, an envelope that has some of the song lyrics written into letter form. The bass player of this band was in 1960s Austin band Bryan's Blokes, whose members would occasionally fill in for absent 13th Floor Elevators members on live gigs. [AM]
"Live" 199 (Flat Rock) [#d]
1972 live recordings in Houston with four songs not on the LP.
JAMIE DEFRATES (Jacksonville, FL)"Pegasus in Flight" 1976 (Sweet Appaloosa jd-123) [3000p]
The first Defrates’ album is just guitar and voice, but quite accomplished singer-songwriter fare, with the opening “Illinois Central“ being the highlight. The tone is serious throughout and the songs are relatively long, so after a while fuller arrangements would have been welcome, but this is a solid album in the style. Just don’t expect “acid folk". Defrates’ acoustic guitar playing is excellent throughout. One song has a repeated lyric about “Fruit of the mother and semen spray” that paints a pretty vivid picture, for better or worse. Defrates has been active in the Florida music scene for many years and has won numerous awards for composition (he has done scores and soundtracks, in addition to his own career as a singer/songwriter. He also has a number of impressive credits as a producer. He has several further recordings that fall outside of the scope of this book, but will be of interest to fans of these two albums. [AM]
"Son of Dust" 1978 (Sweet Appaloosa jd-333) [3000p; gatefold]
The second Defrates’ album is a much more elaborate production, something that could be characterized as progressive folk. There are synthesizers, a solid rhythm section, flutes, and the guitars are laced with effects. The opening “Ride” is a stunner, with soaring falsetto vocals and a powerful arrangement. There are a couple of short instrumental interludes, and overall this has the feel of a loose concept album. As with the previous album, the lyrics are personal and evocative (and occasionally religious.) As the album moves along there are some songs with sparser arrangements, and while it continues at the same level of quality as the first album, it doesn’t again match the same level of musical passion and complexity of “Ride.” Nonetheless, this is quite worthwhile. [AM]
DEL-PHONICS ( )"Del-Phonics" 196 (Edgewood Recordings Studio no #) [1-sided]
Recently discovered circa 1966 one-sided demo LP from Edgewood Studios in Washington DC, featuring an unknown teenbeat/garage band with organ. Five tracks including an excellent Zombies-style original and an inspired frat/medley called "Farmer Louie". Cover is plain except for the band name.
DEMIAN (TX/CA)"Demian" 1971 (ABC 718) [gatefold; wlp exists]
-- a Japanese pressing exists with a different cover
"Demian" 199 (CD TRC, Germany)This album ranks up there with Jericho; it's a wholly successful transformation from psychedelia to hard rock. The obvious hard rock tendencies they showed as Bubble Puppy are tightened and sharpened, and the group harmony vocals are dropped. There's an unnecessary remake of a Bubble Puppy song, but there's not much else to quibble about. There are enough tempo and rhythm variations to keep the formula from getting dull. [AM]
DEMIAN (East Moline, IL)"Rock Star Farm" 1974 (Starburst arc-33-01) [insert]
A non-Texas group that recorded their LP in Austin, also into heavy guitar rock. [RM]
DENNIS THE FOX (WA)"Mother Trucker" 1975 (Musart 801)
Priceless loungerock extravaganza like if Jade Stone & Luv had John Ylvisaker on vocals. Lengthy review is being prepared.
DESERT ESKIMO ( )"Desert Eskimo" 1982 (North Star)
California label. Aggressive 70s sound power trio, good LP.
BOB DESPER (Portland, OR)
"New Sounds" 1974 (Rose City Sound)
The Pacific Northwest is a dark, dank place, with a suicide rate higher than Keith Richards on a four day binge. Even their most articulate native son, Kurt Cobain, drowned in the sea of despair and offed himself. And what's the cause of this environmental depression??? It may be the constant grey skies and rain, it may be the extremely high runaway and homeless rate or it just may very well be the music of Bob Desper. Bob recorded his "New Sounds" LP in one take at the local Rose City Sound studios. Just him, his acoustic guitar and an amazing insight to the dark side of the human psyche. So dark in fact, that only a blind man can see it. Bob is that man, and on this LP he taps into a place that very few people have visited. His voice is quiet with an edge sharper than a Ginzu knife. His lyrics reflect a lonely man who recognizes the shortcomings of human kind. This LP gives me goosebumps each and every time I play it. Side one starts off with "Darkness Is Like A Shadow". A spooky, echoey tune where Bob introduces a topic that becomes a re-occurring theme throughout the entire LP, the fact that people with eyesight are blind to the things that are truly important in life. "It's Too Late" and "Lonely Man" follow and continue the introspective soul search, all accompanied by Bob's extraordinary guitar playing. The fourth and last cut on side one is "To A Friend Of Mine". This is where I usually start thinking about going into the bathroom and slitting my wrist with a razor blade just to prove to Bob that I could begin to understand what true suffering is. This 15+ minute journey is, in my opinion, the most flawless chunk of downer/loner folk music ever recorded. Side two is good, but pales in comparison to it's flip side. Songs are "Let It Shine For You", "Don't You Cry For Me", "Liberty" and "Time Is Almost Over". [RH]
DETROIT (Detroit, MI)"Detroit" 1979 (no label)
This youthful hard rock album isn't great but has its charms. Among them are high energy songs (all but the ballads are fast), amusing use of talkbox and electronics, and spastic bass and lead guitar playing. Certainly there's more enthusiasm than talent here, but it's fun nonetheless. The snotty vocals are clearly inspired by another Motown hard rocker, Alice Cooper, but lack his sense of theater and irony. Eventually they become annoying, especially on the otherwise enjoyable ballads. Side one has five medium length songs, side two three long songs, including the two ballads, which respectively have nice reverbed lead guitar and crazy dual leads. Often this album is reported as having a lot of synthesizer, but actually it's only a small amount on two songs. [AM]
EDDY DETROIT (Phoenix, AZ)"Immortal God's" 1982 (Pan)
"Immortal God's" 2005 (CD Majora)Real-people two-chord voodoo folk craziness of some notoriety, with nasal vocals, percussion, fiddle and more. The songs deal with Vampires, Beelzebub, the god Pazuzo, and Mephisto Cigars. The cover shows a horseback Eddy holding his own head in his hand. He released more albums during the 1980s, such as "Philosopher's Journey" (1987).
DEVIL'S ANVIL (New York City, NY)"Hard Rock From The Middle East" 1967 (Columbia cl-2664) [mono]
"Hard Rock From The Middle East" 1967 (Columbia cl-9464) [stereo]
"Hard Rock From The Middle East" 199 (Fantazia, Europe)
"Hard Rock From The Middle East / Psychedelic Psoul" 199 (CD Collectables) [2-on-1]Early Middle-Eastern trip from Columbia's NYC office (just like Freak Scene, from around the same time). This mixes reasonably authentic ethnic sounds with "rock" moves, and is less exploitative and more genuine than one might expect. A couple of mid-tempo Arabian excursions get truly trancey, while the ballads suffer from over-length and foreign language vocals. The mix of prominent bass and piercing string instruments is familiar from the Freak Scene album, and like that LP this is a partly successful exploration that should have been given more thought and time. Worth checking out, though clearly inferior to John Berberian on Verve. [PL]
see full-length review
DIALOGUE (Philadelphia, PA)"Dialogue" 1972 (no label dm-68425) [orange cover; lyric insert]
"Dialogue" 1974 (Cold Studio) [white cover; lyric insert; no address on back cover]
"Dialogue" 1974 (Cold Studio) [white cover; lyric insert; address on back cover]Obscure, pretty impressive local studio-pop LP in the early 1970s post-Beatles style; songwriting as good as any major act, solid vocal harmonies, charming California Sunshine pop arrangements with extensive use of keyboards. One really bad track, rest of the LP is enjoyable to anyone with an ear for a clever McCartney/Boettcher/Emitt Rhodes excursion; comparisons to Left Banke have also been made. Although the original "no label" pressing is supposedly rarer, most copies sold seem to be that version. Recorded in Alabama. There was also a non-LP 45. [PL]
~~~
Peculiar 1970s pop album that is a product of its time but really doesn’t sound like anything else. In other hands these songs would have a quasi-McCartney feel but there’s a dreamy, dark aura that would never have made it on 70s radio. Takes a while to sink in; the songs are thoughtful and moody but not especially catchy. Wall of sound may have more to do with low budget production than intent. One goofy song with fake children’s vocals spoils the mood, but this is an interesting record nevertheless. [AM]
DICK WATSON 5 (NJ)
"Baker Street" 1966 (United Int'l 1001)
Haven't heard the entire LP which is very rare, however a pretty interesting folk-garage track has appeared on a comp where the group was mistakenly placed in Kentucky. They also had a 45 and were supposedly regulars at a local Jersey TV show. The LP is based on a Sherlock Holmes theme. The LP title has also been listed as "The World Of Dick Watson". After seeing the Fugs play live in NYC, two members left this band and started ESP legends the Godz. [PL]
LES DIFFERENTS (Chambly, Canada)"Differents" 1967 (Disque Monde 65001)
"Soyons Differents" 2005 (CD Disques Mérite 22.962)The seldom seen Les Differents LP is usually rated as one of the best French-Canadian 60s LPs, and it's easy to see why. The band shows a Stones-inspired "punk" edge on most tracks, with several uptempo garage/r'n'b originals using fuzz riffs and a snotty attitude. The opening 3-chord snot-fest of "Je ne veux plus" sets the tone perfectly. The mid-tempo tracks work well too, although the language barrier may be more noticable for non-French speakers here, at least on the 6-minute "Je partirai". Good, soulful vocals and effective, minimalist guitar band arrangements give the music a timeless quality which impresses. The super-cool sleeve provides the final clue -- these guys were the Chocolate Watchband of Quebec. The CD reissue contains the whole LP with the running order changed. [PL]
DIMENSIONS (Chicago, IL)
"From All Dimensions" 1966 (no label 1666)
"From All Dimensions" 1983 (Eva 12018, France) [altered cover]
"From All Dimensions" 1999 (CD Collectables)Celebrated Chicago frat-garage LP that's also one of the real rarities of the local mid-1960s LP scene. For those who find the North-East preprock LPs too lowkey this is the remedy - a solid party mood similar to the Raider's best albums with some Stones thrown in. The tape splice in "Mary Lou" derives from the original LP, apparently. A solid dose of mid-60s fun, all covers naturally. [PL]
DIMITROFF, BURGESS & FRIENDS (Canada)"Dimitroff, Burgess & Friends" 1970 (no label)
Basement covers and a freakout track.
V.A "DIRECT FROM THE RAINBOW BALLROOM" (Edmonton, Canada)
"Direct From The Rainbow Ballroom" 196 (Pace Records RS-101)
Obscure teenbeat LP featuring local Edmonton groups circa 1967, produced by one Ray Schwartz. Bands include the Lords, It's Us Inc, Southbound Freeway.
DIRT ROAD (AZ)"A Sunny Days Dream" 1977 (Compassion Records)
Local obscurity on Phoenix label, described as good 70s psych-rock with only one weak track.
V.A "DIRTY FEET" (CA)"Dirty Feet" 1965 (Fink 1007) [booklet]
Soundtrack to an underground surf film. The music is primarily folk, however, with singers Tim Morgon, Vicki Arthur, and some eastern style instro wanderings as well. Phil Pearlman of Beat Of The Earth was involved with the crew behind this, but does not appear on the actual LP, which was released on the same label as his first 45.
DIRTY JOHN'S HOT DOG STAND (MA)"Return From The Dead" 1970 (Flying Dutchman/Amsterdam AMS 12004) [gatefold]
Heavy fuzz rock, some horns. "Growing old" is the psychiest track. Due to a pressing flaw many copies are virtually unplayable on side 2. Ex-Ill Wind.
DISCIPLE ( )"Come and See Us As We Are!" 1971 (Avco Embassy ave-33015)
Fun co-ed rock band who for once don’t sound west coast at all. The cover versions on the album are the first clue that they’re more into the Beatles and Motown than the Airplane, and the power-pop styled shouts of “hey” and punky guitar riffs confirm that these are not necessarily hippies. The dreamy, catchy title song shows up in a few incarnations (once backwards) and frames the album nicely. A few duds are scattered about, and the soul cover doesn’t work really well, but an upbeat energetic take on “Got To Get You Into My Life” will grow on you and two or three of their own tunes will stick in your head for days. An underrated album, probably ignored by collectors because of the lame drawing on the album cover and the lack of freak appeal. [AM]
DIXIE DREGS (GA)"The Great Spectacular Dixie Dregs" 1975 (no label) [500p]
This one is more of a wild, garagy raveup than their later, more commercial releases.
DIXIE PEACH (Dayton, OH)"Dixie Peach" 1975 (Raintree SP-827)
Allman Brothers influenced rockers with searing dual leads. Despite the name the band came from Ohio and had roots in 1960s garage band the Pictorian Skiffuls.
V.A "D M A FANTASTIC FIVE" (Detroit, MI)"D M A Fantastic Five" 1976 (DMA)
Booking sampler of five heavy rock groups, including Badge. [RM]
MICHAEL DOBBINS (ID)
"Music For The Seeker" 197 (no label)
Amazingly pompous acoustic folk with overblown Ceasar's Palace-style vocals. The guy presents his Eastern (Eckankar) philosohopy in the most uncompromising manner, with several references to the "Sugmad" whatever that is. Not really a "seeker" hippie LP, more like Charlton Heston narrating the Rig-Veda. I like this, though it's certainly not for everyone. Custom press in generic sleeve. [PL]
~~~
Lost monotonic religous seeker folk with sincere crooning in Dino Valenti / Arcesia territory. Unfortunately, the music is uniformly boring aside from the mystic trip "Two Keys". [RM]
DOC ROCKIT (Spokane, WA)"Doc Rockit" 1979 (P.S. ps-0002) [750p; two covers exist]
Raging hardrock with superb metallic guitar. The band had another LP in the late 1980s, titled "Azugi" which is more mainstream hardrock. 450 copies had the silver cover, while 300 copies had the white cover.
DOCTOR FEELGOOD (MA)"Something to Take up Time" 1971 (Number One)
"Something to Take up Time" 2005 (CD Synton, Austria)Jazzy rock. Heavy saxophone, guitar, flute. No relation to Piano Red's group. Three members came from Teddy & the Pandas. [RM]
DOHTERS (NY)"Dohters" 197 (no label MSTRS-1) [no cover]
Female choral group from upstate New York female prep school. “Sing around the campfire” real people quality duets of Byrds, Cat Stevens, Neil Young and more. They are accompanied by either piano or acoustic guitar. The highlight is their haunting cover of "Wooden Ships" with a very spooky organ. This would fit well on a future Hippie Goddesses compilation (and will). I would call this the most garage sounding female high school/college folk group LP I’ve heard. Two known copies; neither with a cover. [MA]
"Dohters '70" 1970 (RPC AZ 60871) [no cover] 1]
This one features more contemporary covers ("Coming Into L.A", "Morning Dew", "Helplessly Hoping", "White Bird"). Straighter choral versions with acoustic guitar accompaniment. Still charming, but lacks the real people edge of the other LP. Again no cover. This only known copy came in a blank textured gold cover with “Dohters ‘70" hand written on it; not sure if this was done by whoever did the pressing or the owner of the copy (there is a girl’s name in the upper corner - could be one of the group - the lettering is much different than on the title). [MA]
DO IT NOW FOUNDATION (Los Angeles, CA / Tempe, AZ)"First Vibration" 1969 (Do It Now)
Amphetamine-themed antidrug LP with songs donated to the organization. Includes "The Dancer" by Things To Come, the non-LP "Long Road" by (the LA) Genesis, and famous bands up to and including the Beatles. This is all music, no spoken word. Two cover variations exist; one with a big "Speed Kills" logo. The organization went on to release more LPs, tons of pamphlets, and is still around today.
"Do It Now - A Realistic Drug Education Album" 1972 (Do It Now) [2 LPs; blank gatefold w/ sticker; insert]
Educational production in radio show format partly based on the mass market release above, including several of the same songs such as the excellent non-LP Genesis track. The commentary is pretty cool too. It's not one of those fire & brimstone anti-drug records, but rather an attempt to relate on a cool level to their intended school-age audience. The insert contains all the vital info. There is also a single LP mass market release called "Do It Now" from the same era featuring again some of the same songs, plus Neil Diamond and others. This should not be confused with the rare 2LP set. [MA]
JEREMEY DORMOUSE see Jeremy Dormouse (under "J")
DOUG & DONNA ( )"Abide In Me" 197 (DD-1001)
Mid-1970s Christian folk obscurity.
DOUGLAS FIR ( )"Hard Heartsingin'" 1970 (Quad qus-5002) [wlp exists]
"Hard Heartsingin'" 2000 (CD Gear Fab 149)
"Hard Heartsingin'" 2000 (Akarma, Italy)Recorded in Portland, Oregon. Mystic folkrock and bluesy, roots sounds. A bit Doorsy at times with the moody vocal and organ backing.
"DOWN A DIFFERENT ROAD" (Long Beach, CA)"Down A Different Road" 197 (Living Sound)
Early 1970s project LP with one side choral work from the Long Beach State A Capella Choir, the other freaky vocal and electronic experiments with an eerie vibe. Rated as one of the more worthwhile school project LPs by some.
DOWN FROM NOTHING (Chicago, IL)"Down From Nothing" 1971 (no label 23309-01)
Jazzy prog/psych with sax.
~~~
see -> Pound
DRAGONFLY (CO/CA)"Dragonfly" 1970 (Megaphone 1202) [gatefold]
-- a gold title sticker was attached to the shrink wrap
"Dragonfly" 1992 (CD Eva b-27, France)
"Dragonfly" 2004 (CD Gear Fab 208)Well-loved heavy psych album is worthy of the hype, for the most part. No one song stands out and blows you away, but it’s solid throughout, and the occasional trippy effect adds to the fun. It includes a Who ripoff even more obvious than that on the Morgen album, but stealing from the classics is what hard rock is all about, right? [AM]
~~~
"Dragonfly" offered up an excellent set of fuzz guitar-propelled psych/hard rock. Strong melodies and searing vocals made original material such as 'Blue Monday', 'Enjoy Yourself' and 'I Feel It' well worth hearing. Personal favorites were the fuzz and backward guitar drenched 'Crazy Woman' and the extended closing number 'Miles Away'. The set wasn't perfect; several numbers on the flip side found the band occasionally incorporating C&W elements into the mix, but overall the collection was nothing short than great. [SB]
DRAGONWYCK (Cleveland, OH)"Dragonwyck" (1st LP) 1970 (Pama no #) [85p: no cover]
"Dragonwyck" (1st LP) 1990 (Rockadelic 4) [400 #d; sides reversed]
"Dragonwyck" (1st LP) 1996 (CD Rockadelic)
"Dragonwyck" 2004 (World In Sound RFR 023, Germany) [+10" w/ 5 tracks; poster]
"Dragonwyck" 2004 (CD World In Sound 023, Germany) [+5 tracks]Demo only LP of intense Doorsy hard psych/rock that's become somewhat legendary over the years. The LP retains some of the appealing cheesiness of the style, yet is charged with enough presence and fire to transform itself into a winner before your eyes, with recurring feedback leads its strongest asset. One of the best of all the countless "Morrison Hotel" excursions around. The wide appeal and small press has made it one of Rockadelic's more famous releases, although their CD version has poor sound and is not recommended. The tape-sourced WIS reissue reinstates the original running order and adds 5 tracks from a 1968 studio session which yielded the band's pre-LP 45 (released as by Sunrise), but the 1970 material seems to lose a bit of the trebly garage intensity of the Rockadelic LP. The band was also known as Speed, Flying Turns and Fun at various stages in their career. There was another 45, "The music" on the Peckar label, and a later one "Lovin' The Boys" as part of the "Fun" project. [PL]
"Dragonwyck" (2nd LP) 1973 (Cleveland Recording Company no #) [acetate]
"Dragonwyck" (2nd LP) 1995 (Fantasia, Europe)
"Chapter II" 2006 (CD World In Sound, Germany)
"Chapter II" 2006 (World In Sound, Germany) [+ 7"]Pretentious proggy album that works surprisingly well. Professional recording job and relatively mainstream arrangements makes it sound like they could have easily gotten a major label contract. Grows on you and has plenty of cool moog action. Their songwriting and performance instincts are good. Albums like this usually have lots of highs and lots of lows; there are very few dull spots here. [AM]
"Fun" 1976 (acetate)
Contrary to popular belief, the band name was still Dragonwyck at the time of this acetate, while "Fun" was the project name and album working title. The band did adopt the name Fun later on. After the impressive prog-rock of their 2nd album, this shows the band retaining some of the prog aspects while bringing in AOR and glam elements, as well as a humorous Zappa-inspired twist, which undermines the impact of the music. The end result is confused and confusing, and it seems this ambitious band were unsure of their direction at this point. The recording quality is clearly inferior to the pro-level sound of the 1973 acetate. Even at this late stage, the late 60s "Music" track was still part of their repertoire. The band eventually became Moonlight Drive, a Doors cover band with at least one release. The "Fun" acetate copy I've heard had some skips. [PL]
STEVE DRAKE BAND (Long Island, NY)"Cold Sweat" 1976 (Odyssey)
"Nature Intended" 1976 (Tiger Lily tl-14054)
Unbelievable "karaoke rock" with Long Island wizard dubbing his own vocals onto existing, official recordings by various obscure and famous rock/hardrock bands, mostly from UK import albums. The story behind this is unbelievable, and since "Drake" had good taste when selecting his karaoke targets, the records are quite enjoyable too. "Cold Sweat" has the excellent "Earthworm" (Stackridge) as well as Bebop Deluxe and Orpheus numbers, to name a few. Apart from the "karaoke" concept, several tracks have been fiddled with in terms of speed, edits, fadeouts, etc. The Tiger Lily album has some Babe Ruth tracks along with more Bebop Deluxe, and it appears that Drake (or whoever put it out) here didn't even bother to dub on new vocals, but simply taped the tracks from the original sources. Pretty enjoyable collections of 1970s rock even without the bizarre background, but bear in mind what you're listening to before getting too impressed with Drake's "talent".
~~~
see -> Steve Kaczorowski
DRAMA (Canada)"Loneliness" 1979 (Psycho)
This synth record straddles the line between 70s Kraftwerk-styled experimentation and 80s new wave synth pop. Side two is entirely instrumental. Both sides are pretty good, with some compelling moods and catchy riffs. Mysterious album cover gives no information of any consequence at all. Ex-VIIth Temple. [AM]
DREAM (MI)"Living in a Dream" 1979 (Dreamusic Ltd. 5354) [lyrics insert; 300p]
Light mystic proggy folk floater. Delicate 12-string, piano, flute, baroque shadings.
DREAMIES (DE)
"Auralgraphic Entertainment" 1974 (Stone Theatre 68481) [insert]
"Auralgraphic Entertainment" 199 (Stone Theatre, Europe) [bootleg; blue vinyl]
"Auralgraphic Entertainment" 2000 (Gear Fab gf-206)
"Auralgraphic Entertainment" 2000 (CD Gear Fab gf-146)Headphone tripout concept LP with two extended Lennonesque folk tracks upon which has been imposed all kinds of electronics, tape loops of old radio broadcasts (JFK, Ali, and more), moogs and stereo effects. Elaborate sorta stoned college artefact, interesting for its freak value and pretty clever; could be seen as an analog precursor to the ambient artists of the 1990s. [PL]
~~~
This experiment was intended to redefine people's notions of "pop music." Bill Holt, just past the age of 30, quit his job and devoted an entire year of his life to this ambitious musical collage, which at more than 50 minutes is alternately fascinating and tedious. There's no question that even the most random-sounding bits and pieces here were planned very carefully and put together painstakingly. There are only three real "songs," which are surrounded by and interrupted by spoken news clips and sound effects. The lack of drums dulls the impact of these songs, which are otherwise excellent Beatles-inspired soft-rock. Headphones help; this is not background music and for full effect each album side needs to be listened to without interruption. The long series of Moog bleeps and blips on side two can be really hypnotic if you're in the right frame of mind. Like Kraftwerk, Holt had an understanding of how repetition can be used to alter your concept of what music is. Fans of the Church of the Subgenius should love it. This is one of those albums that you won't listen to often but will really experience in a new way every time you do. Its success is arguable, but its uniqueness is unquestionable. [AM]
JOHN DRENDALL, B A THROWER & FRIENDS (MI)
"Papa Never Let Me Sing The Blues" 1972 (Deacon no #) [500p]
This is an extremely accomplished private press album. They play acoustic and electric blues-rock, psych/funk jams, snappy acoustic folk, honky-tonk, and moody near space-rock, all with great success. The guitar playing is excellent, the vocals world-weary and evocative, and the arrangements clever (listen to the way the organ swoops in and out of “Old Man Gibbs,” for instance). A solid album, very worthy of reissue. [AM]
~~~
see -> Thrower Spillane McFarland
DRNWYN (Salem, OH)"Gypsies In The Mist" 1978 (Wilderland 31778) [insert; 800p]
Ambitious but rather disappointing hippie folkrock LP, has an appealing garage sound like Gandalf The Grey, but vocals suck in the bad 1970s street troubador melodrama style, and the basic vibe is that of overreaching without the necessary real people charm. Some neat arrangements and guitar leads, fairly consistent but unlikely to be anyone's favorite LP. Sounds more NYC/Village than Ohio. [PL]
D R S & FRIENDS (WI)
"From Me to You" 1977 (Safari sa-77001)
Eastern sounds hippie folk with sitar, tabla, dounbek, woodwinds. Long flowing tracks. D.R.S. was led by Dennis R. Schultz.
"DRUGS: INSIGHTS & ILLUSIONS" ( )"Drugs: Insights & Illusions" 1971 (Scholastic Records FS 12010)
One of the more entertaining spoken word drug education LPs, with several hilarious segments such as "Reaching Out To A Glue Sniffer". Heads, doctors and judges speak out on the terrible drug menace sweeping across the nation. A corresponding book exists.
DRUIDS OF STONEHENDGE (NY/LA)"Creation" 1968 (UNI 3004) [mono]
"Creation" 1968 (UNI 73004) [stereo] [promo labels exist]
"Creation" 199 (UNI) [bootleg]
"Creation" 199 (CD Synton, Europe)The originals on this album are terrific, mixing garage-punk, folk-rock and some raga rock with punky Jagger-influenced vocals in a powerful Ugly Ducklings, Shadows Of Knight, Chocolate Watchband, etc, fashion. “Earthless” is an especially effective blend of the above-mentioned styles. Unfortunately the album contains four familiar cover versions that, while they allow the singer to really belt it out, interrupt the flow of the album. Even so, this is one of the best albums in the late garage style, and highly recommended to fans of the bands mentioned above, and also bands like the Jellybean Bandits and Lollipop Shoppe. Also released in Canada, both mono and stereo. [AM]
DRYEWATER (CA)"Southpaw" 1974 (JTB 122) [1000p]
"Southpaw" 1974 (JTB 122) [no cover]
"Southpaw" 1996 (Void 04) [lyrics insert; photo; 350#d]There are many evocations of cold, bleak landscapes in this 1974 rural rock LP that is a cut above the rest and reveals something new with every listen. The playing is frantic and wonderfully emotive, in parts it is utterly brilliant. The band mash together drums and guitars in a dense soundscape with alternately delicate and strident vocals flowing over the surface. ‘Winterground’ starts a strong downer theme that runs through the whole LP. They sound like Hickory Wind grown up, grown wiser, after having taken some hard knocks. They have transformed a back porch sound into something much bleaker and darker. The first side is full of powerful hard rock riffs with subtle country influences. The second is slower and more reflective. They have a unique sound that I would guess is borne out of rural small town ambitions to ‘make it big’. It’s a formula for success because they avoid the clichés of ‘normal’ rock and tell us something about their own lives worth hearing. [RI]
~~~
Appealing local hardrock in the melodic style, mixing CA roots/rural influences a la Zini with a tight British mainstream hardrock sound like Fuzzy Duck and vintage Deep Purple. Very skillful band with fluent fuzz and good use of keyboard, but Dryewater's strongest asset lie in the vocals which are way above average, full of soulful teenage smalltown dreams not unlike similar LPs like Felt and Top Drawer in particular. Good songwriting with hooks and riffs; borders on UK prog bombast at a few turns but comes out unscathed. Recommended to pretty much anyone into local early 70s rock sounds. Fewer covers than records were pressed, and many copies were destroyed by the band when they failed to sell out. [PL]
~~~
"Southpaw" is a highly professional sounding hard rock album: tight rhythm section, solid heavy guitar playing, excellent backing vocals, strong lead vocals. There are echoes of well-known bands, including Cream and Led Zeppelin, but the pieces come together in a way that makes it more than just a genre piece. The songwriting is varied and clever. The trebly guitar patterns, poppy choruses, brief song lengths and speedy tempos show that they’re not beholden to any idea of what hard rock should or shouldn’t be. Keyboards are used sparingly, but to nice effect, and there’s a refreshing limit to the soloing here. Satisfying throughout, with the possible exception of “Thunder,” which has pretentious vocals, and constant and annoying phased lead guitar runs. Like great albums should, it ends with its most powerful song. A great one. [AM]
DRY ICE (MA)"Mary’s Meth Dream" 2005 (American Sound) [300p]
This archival release collects everything this lost Boston-area band ever did. There wasn’t really enough to fill a whole LP, so there are three versions of one song, two versions of two others, and a few uninteresting cover versions. Scrap the filler, though, and this would make a very nice side of an LP. The overall sound is very British, akin to some of the better popsike bands of the era. Fans of Kaliedoscope, July, etc... should like this quite a bit. Lots of sound effects, wah wah, fuzz, spacy vocals, and phasing here. The thrice-included “Mary Is Alone” is a real killer, and the other originals aren’t too far behind. Some of the best tracks appeared earlier on the New England Teen Scene Unreleased CD from Arf Arf. [AM]
DRYWATER ( )"Backbone of the Nation" 1973 (R.P.C.) [lyric sheet]
Primitive crude inept garage rock with a solid 70s sound. Highlights are "Airplane Rider" and the title track. Though not everyone rates this highly, it is exactly the sound a lot of private press fans crave, and is a personal favorite. Somewhat reminiscient of the excellent JC & The B's LP. [Mike Krafcik]
DU-CATS (Port-Aux-Basques, Canada)"Du-Cats" 1965 (RCA pc-1018) [mono]
Teenbeat with instros and several Stones covers from band looking square in crewcuts and plaid jackets.
DUCK (NY)"Duck #1" 1968 (no label) [500p]
Three tracks, two are spoken word beatnik poetry with jazzy background music, one is a good blues jam. One of those "Why does this exist? What were they thinking?" specimens. Credited to "Jerry & Mike". [RM]
THE DUO ( )"The Duo" 1967 (Saxon) [10-inch]
Primitive electric folk rock guitar and organ, mixed vocals. They are actually a trio!
RICHIE DUVALL & DOG TRUCK (CA)"Richie Duvall and Dog Truck" 197 (United Sound usr-5825)
Early 1970s (?) hippie jazz and rock underground oddness.
DYNAMICS ( )"Dynamics" 1966 (Quintet 2004)
Obscure beat/blue-eyed soul on North Carolina label.
