ROSEMARY HADDAD (Tabor, NJ)
"Coming Hohm" 1975 (Hohm ll-136)
Hohm commune cool psychy watercolor cover, the music is flowing female vocal eastern religion meets hippie socially concious commune folk with acoustic backing guitars, flute, percussion, sax. Nice latenite sounds. [RM]
~~~
One of the best hippie commune albums. Rosemary even includes a photo of her guru on the back cover. Rather than being new agey dullness like, say, The Oneness Space, this music is strong folk-rock with Rosemary's lovely voice to the forefront. She seems truly at peace with her lifestyle; the album has a comforting vibe to it. Some of the songs are only OK, but the album ends with a bang. The last two songs are the fantastic "Kitchen Floor Song," full of purposely funny pseudo-psychology and chaotic backing vocals, and the utterly gorgeous reprise of the title song. [AM]
DAVE HALFORD ( )
"Tulesburg" 1973 (no label) [100p]
"Second LP" 197 (no label) [100p]
"Tulesburg" is amateurish DIY folkrock with an undercurrent of drug themes, as on "Ride on your horse". The actual title and contents of the second LP are unknown. From Oregon or California.
HALF TRIBE
(Reading, PA)
"Only Startin'" 1965 (Frank Webber Productions FW-1) [500p]
"Only Startin'" 1985 (Resurrection CX 1386) [bootleg]One of the original North-East preprock artefacts, though more in an Astronauts-inspired surf/frat-bag than the usual Stones clones. The extremely moody/low-key approach adds a mysterious dimension that I enjoy. Some psych fans rate this LP very highly. All covers but one, with a cool sleeve photo a bonus. Some guys went on to the somewhat punkier Other Half combo. [PL]
~~~
see -> Other Half
BRUCE HAMANA (AZ)
"Hamana" 1974 (Canyon c-7111) [inner sleeve]
"Hamana" 2006 (CD World In Sound 1029) [+2 bonus tracks; booklet]
"Hamana" 2006 (World In Sound)Although it took a long time to get reissued, it's easy to see the debut "Hamana"'s appeal, but it also has a few problems. A couple of weak Nashville-style country numbers drag the middle third of the album down, and there's a few weaker moments on side 2 as well. Apart from these it is a very appealing and atmospheric rural rock/westcoast excursion, the usual Neil Young, CSNY and even Eagles influences on clear display. The band (actually Bruce Hamana himself) is good with an organic garage edge here and there, and Hamana adds a DIY feel when his soulful vocals fall out of synch with the backing; possibly the tunes were all written on acoustic guitar and the studio arrangements were done rather fast. The overall acoustic/electric mix is very tasty a la Relatively Clean Rivers, the songwriting is strong and full of hooks, and there's some snakey SF guitar excursions although it is essentially a song-oriented album. Too bad the playtime is pretty short, else this could have been transformed into a killer simply by removing two of the weaker tracks. In any event it is worth hearing for pretty much anyone into local early 70s melodic rock sounds. Bruce Hamana is a Hopi Indian, and reportedly later became chief of his tribe. [PL]
~~~
No album gets the feel of drunken reservation life down quite like this one. A few pure country songs are duds, but the rest of the album is good folk/rural/roots rock with hard-living, heartfelt vocals from Hamana. The rhythm section is a bit sloppy (and the bass is mixed too loud), which is either distracting or charming, depending on your point of view. The lyrics, which aim to proselytize, are a little awkward and obvious in some places, but since it's authentic (the album was originally intended to be sold on reservations), it's forgivable. Interestingly, he blames his "maker" for his personality faults. The first two songs are the strongest ones. A much later (and much less enjoyable) second album by Hamana goes further in the country direction, almost to the point of parody ("Indian Dream", Mother Earth 49-7). [AM]
LYNN HANEY (Cleveland, OH)
"Rebirth" 1972 (Tribute fr-2395-sm)
Early 70s Christian folk beat flower vibes from ASFB vocalist, with Glenn Schwartz guesting on one track, also some use of harpischord and flute.
~~~
see -> All Saved Freak Band
HANG MANN 5 (Norfolk, VA)
"Sounds Of The Sixties" 1967 (Century fv-23815)
Typical Mid-Atlantic seaboard teen club band of mostly soul covers and a couple of white-boy tunes, including Young Rascals, Dylan ("Like a rolling stone") and Animals. Tuxedo-clad 5-piece group with organ, released on celebrated custom label. The cover and the label actually credit the band as 'Hang 5 Mann'.
HA'PENNYS (Andover, MA)
"Love Is Not The Same" 1966 (Fersch 1110)
"Love Is Not The Same" 1985 (Resurrection CX 1331)The band that preceded the Rising Storm as school rock group at Phillips Andover. These guys took a more lowkey approach to their LP, which is mostly British Invasion covers fed through a basement folkrock sound with some rave-up aspirations. I like it, especially the whiney title cut original, but as usual with prep rock/local teen-beat LPs you should be aware that it sounds nothing like the Litter or Nightshadow. Great sleeve design. [PL]
HAPPY
DRAGON BAND (MI)
"Happy Dragon Band" 1978 (Fiddlers Music Company 811015-1157) [200p]
"Happy Dragon Band" 199 (Fiddlers Music Company) [bootleg]
"Happy Dragon Band" 2004 (CD Radioactive, UK)Surprising about-face from the Phantom "Divine Comedy" guys, this avant-flavored basement late 1970s trip mixes synth-led proto-new wave songs with social commentary lyrics and a sense of a lot of things being possible. Vocal effects are in an abundance while several moogs seem to play off against each other, yet the whole thing is tight and controlled enough never to degenerate into freeform chaos. Strange "Eraserhead"-like moods creep into your skull as eerie vocals serenade a fucked-up world much like sardonic space aliens might. The band achieves an impressive effect by playing big, moody chord sequences and harmonies on crude analog synths, which enhances the experience of alienation and telescopation. Some 70s glam-pop and raw guitar riffs can also be picked up among the electronics and drum machines. Very clearly a product of its era (including some tentative reggae backbeats), I find this an enjoyable LP and for all its weird, angular sounds, a lot less challenging than much of the lame "rock" stuff that was being released at the time. Psychedelic in its use of contradictory and unusual moods, but even more likely to appeal to fans of 1970s synth-punk/avant in the Ohio/Eastcoast style. [PL]
~~~
This bizarre freaky rock album is as different from the Phantom album as Relatively Clean Rivers is from Beat of the Earth. It mixes several 70s styles and buries them under sound effects, synthesizers and weird vocal arrangements. There are a few electronic instrumentals, some lyrics that are as obtuse as the arrangements, and some very faint nods to the disco/funk trends of the time. Despite an occasional "Dark Side Of The Moon" influence, they are more psych than prog or space rock, and at times they have the same feel as some early new wave synth bands (i.e. the Units, Assassin Of Silence.) It takes a number of listens to grasp the actual songs because they're so disjointed and because the melodies are somewhat hidden behind the walls of noise. Once the songs finally sink through, it's almost a surprise to discover that they're very good, and the electronics enhance them rather than mask their weaknesses. Like the U.S.A album, even the most insane synth noises here have been well integrated into the flow of the songs and don't sound random at all. This is my idea of a synth album! [AM]
HARBINGER ( )
"Second Coming" 197 (AE 100)
Excellent acoustic lost folk psych with 12-string that sounds like a sitar at times, harmony vocals. A strange little beast full of murky strum darkness, cosmic imagery, and rich vocals. Hard to know what this group was aiming for with an equal mix of cosmic and biblical references. Musically, this has more in common with Leopoldian despair than any Jesus Music counterparts. They even appropriate the melodies to Bowie's "Space Oddity" and the Beatles' "You Can't See Me"! File under: Tripping For Jesus. ...'the psychedelic sounds of the dirty circus grounds'. [RM]
HARDIN & RUSSELL
( )
"Ring Of Bone" 1976 (no label) [insert]
Male/female duo with countryrock/bluegrass setting including banjo and fiddle and weird, dark lyrics.
HARD KNOX (East Haven, CT)
"Roughcut" 1981 (RC 1001)
Self-released hardrock/AOR mini-LP in primitive cover. There was also a pre-LP 7".
JACK HARDY (New York City, NY)
"The Mirror Of My Madness" 1976 (no label) [plain cover]
Well-known 70's/80's Greenwich Village folk scene mainstay. The LP has a few great whacked out songs, the Dylanesque “Murder” being a crack-up fave ('you know he wasn't out there just to dig some clams"). Fellow scenesters The Roches are featured on some backing vocals. His 2nd LP, this was a homemade private press that came in a plain white cover with name and album title hand-written in pencil (the few known copies are all like that). [MA]
"First Rays" 1978 (Waterwheel wr-711)
Enjoyable local stoned hippie barrock Dead groover with peak in druggy epic "Getting Keyed". True psych vibes from "the bar at the end of the world" to quote one of the album's original advocates. Excellent musical value in relation to the low going rate. The weather always keep changing... [PL]
~~~
One of those albums that’s known almost exlusively in collector’s circles. Despite the 1978 recording date, this is wasted late 60s/early 70s-style guitar rock in a West Coast bag. The guitar playing is pretty good and the songs have hooks buried here and there. An album that makes you feel like you’ve wandered into a swamp by mistake, but the water is warm and comfortable. [AM]
~~~
see -> Ghostdance
JEFF HARMON (CA)
"To The Core" 1979 (Avocado) [plain stamped cover; insert]
Very obscure LP recorded in Lakeside CA, described as "odd basement McCartney vibe, with some spacey keyboards and Christian/seeker overtones."
ARTHUR
LEE HARPER (Los Angeles, CA)
"Love Is The Revolution" 1969 (Nocturne 905)
"Love Is The Revolution" 1998 (Synton 9806)
"Dreams & Images / Love is the Revolution" 2002 (CD Papa's Choice) [2-on-1]I'm a bit puzzled by all the raves I've seen on this singer/songwriter artefact -- I've heard it many times but never found much. A couple of good psychy tracks with gypsy violin and odd production tricks in the background but also lots of wimpy James Taylor laments; I can think of about a hundred LPs that blow this away. Still, some reliable people rate it highly. As few as 250 copies were reportedly pressed. This is the same Arthur that had a Donovanish LP on the LHI label, which I prefer over this. There is also a retrospective album "Memories" (RD Records 11, Switzerland 2003) with modern, or at least updated recordings, according to the comments I've seen. Arthur Lee Harper passed away right around the time of the 2003 LP release. [PL]
~~~
Recorded with his backup band 'The Second Coming'. Bent flower power love tunes and war concerns. Much better than his earlier 'Arthur' LP with more of a beat (bass upfront) and gorgeous melodies throughout. Mix of acoustic and subdued electric guitar, violin. Superb delicate vocals worth of Donovan or Don Thompson. [RM]
~~~
see -> Arthur (LHI)
SHAUN HARRIS (CA)
"Shaun Harris" 1973 (Capitol st-11168) [red label]
"Shaun Harris" 2005 (CD Revola/Cherry Red 127, UK)Ex-WCPAEB member Harris goes all out for 70s pop stardom here, failing miserably because no matter how smooth the melodies and vocals, he’s just too freakin’ weird. At first you’ll think these are just dumb love songs, but soon you’ll notice that half of them are about suicide and self-loathing, and those stupid melodies will start to grow on you. A guilty pleasure, and proof that talent will defeat any attempt to sell out. Harris also released a number of non-LP 45s during this era. [AM]
~~~
Produced in association with Michael Lloyd, to be perfectly honest, the first time we played this one the pop orchestration had us double checking to ensure we hadn't put a Lobo album on by mistake. Luckily we were willing to give this one another spin and, as is so often the case, it turns out our initial impressions were largely off base. Admittedly, anyone expecting WCPAEB-styled psych is probably going to be disappointed by this set. Harris originals such as "Empty Without Her", "I'll Cry Out" and "Underachiever" were considerably more pop-oriented than his earlier catalog, but the top-40 sheen was punctuated by some of the year's darkest and self-abusive lyrics. Tracks such as "Underachiever", "Color of Your Eyes", "Today's a Day" and the glistening ballad "Love Has Gone Away" showcased a young man with more than his share of personal demons. [SB]
~~~
see -> West Coast Pop Art Experimental Band
BOB HARRISON ( )
"Yellow Moon" 1975 (Bobco)
Sort of the garage reverb take on the lost Elvis impersonator angle. A couple of jumpsuit big ballads but mostly atomic age rockabilly throwback moves with deep thoughts. J.D. Brennan meets Stud Cole? Housed in a terrific cover. His nickname is "Li'L Elvis". [RM]
HARVEST FLIGHT (CA)
"One Way" 1971 (Destiny D-3303) [inner sleeve; individual photos on back]
"One Way" 1972 (Destiny D-3303) [inner sleeve; group photo on back]
"One Way" 200 (CD Dodo, Italy)Very pro-sounding 1970s Christian hippie folkrock LP with a slicker sound than universally loved Jesus rock monsters like Kristyl et al. Impressive vocal harmonies manage to convey a wide range of emotions within the realm of an elaborate production. Other notable features include typical 70s keyboard wizardry, some good guitar, and intricate Third Estate-style arrangements that occasionally stray into the overambitious. Includes a cover of "One in spirit", rest is group originals. May be too much of a mainstream studio Steely Dan trip for some, but apart from one atypical country track I think it's pretty good. Release year seems to be 1971 but it actually sounds more like 1975-76 to me. Apart from the back cover difference, the original press has a different font on the front cover logo, and the label logo in the left corner instead of the right. [PL]
HARVEST OF DREAMS see Bobb Trimble
HAUNTED (Chateauguy, Canada)
"Haunted" 1967 (Transworld 6701) [mono]
--
"Haunted" 1984 (Psycho 9, UK) [altered sleeve]
"Haunted" 1995 (CD Beat, UK) [+6 bonus tracks]Inconsistent Canuck rarity with some good tracks, some covers, and blatant ripoffs of "Season Of The Witch" and "Security". "1-2-5" is a different version from 45. The printers failed to use the color yellow, and as a result both yellow and green are missing on the cover print on all original Haunted albums. Apart from the LP the band cut several 45s, some under pseudonym, and have been fully covered via retrospective releases on Voxx (LP and CD). No stereo pressing exists.
HAYMARKET RIOT (Berkeley, CA)
"Live '67" 199 (RD Records 7, Switzerland) [gatefold]
First ever release of live recording from this somewhat legendary Bay Area underground band, recorded at the F.U.C.K centre in late 1967. Crude teen garage jams with some extended numbers. Essential to any vintage S F aficionado.
HAYMARKET SQUARE
(Chicago, IL)
"Magic Lantern" 1968 (Chaparral CRM-201)
"Magic Lantern" 1987 (Osmose, Europe)
"Magic Lantern" 1996 (Sacred Temple 2001, UK) [400p]
"Magic Lantern" 1996 (CD LSD 007)
"Magic Lantern" 2001 (Gear Fab/Comet GF-176) [gatefold]
"Magic Lantern" 2001 (CD Gear Fab GF-176)More famous for its rarity than musical quality, this is yet another Airplane meets Cream hippierock workout. Unlike most similar groups these guys couldn't really play much, which gives their jams an odd garage edge, and may sound tedious. The reissue may be worth checking out, but don't expect another Wizards From Kansas. A ten minute track has been reissued on "Psychedelic Patchwork" if you want a sample. According to the band, as few as 80 copies were pressed. Great sleeve, so the reissues might be worthwhile. Beware though: the Osmose issue has a skip in the first track from the vinyl transfer. [PL]
~~~
Crude hard rock with decent female vocals and ridiculously overlong songs. Long jams are dull enough when played by Cream or Blind Faith, but when the band has no skills to speak of they're even worse. A few songs show promise, if only they'd been held to three minutes. Another high-priced rarity that leaves me scratching my head. Perhaps it appeals to jaded collectors who prefer a bargain basement rough production and performance style to anything that evidences any talent. [AM]
BILL HAYMES ( )
"I Shall Be Released" 197 (Resist bh-101)
Houston label. Early 1970s solo guitar folkie peace, love, and protest. Half covers. Haymes also had a second LP on Resist, titled "USA", and a recent CD release as well. [RM]
V.A "HAZLETON '68" (Hazleton, PA)
"Hazleton '68" 1968 (Empire 868-577)
Teen garage cover bands. About half pop with some nice primitive garage psych tracks. Highlights: the Lost Dimensions' worst ever "Purple Haze", the Pedestrians pedestrian fuzz-o-rama "Sunshine Of Your Love", and the Boston T's "Hold On I'm Coming". Also covers of Critters, Doors, Young Rascals. [RM]
ROY HEAD & THE TRAITS (San Marcos, TX)
"Roy Head & the Traits" 1965 (TNT 101)
Local pre-Invasion sounds from wellknown r'n'r & pop performer, released to cash in on his rise to fame with the "Treat her right" 45; this track is not included, instead we are treated to Head's 1959-61 recordings, some of which have been "updated" with mid-1960s stylings such as tambourines. An oddball release of interest mostly to Texas completists.
HEAD OVER HEELS (MI)
"Head Over Heels" 1971 (Capitol ST-797)
Another surprisingly rare Capitol release; this is first-rate power trio hard rock. The ballad "Right Away" will rip your guts out. Two songs recorded live succumb to annoying blues-rock clichés, but otherwise this album is hot, and has an appealing variety for an album of its type. The strident vocals work perfectly in this context. Better than just about any of the 70s hard rock bands who actually sold a few records. Too bad the song "In My Woman" didn't take advantage of the obvious opportunity for double-entendre. Both green and red 'target' labels are considered originals as the LP was released right at the design switch. [AM]
HEAD SHOP (New York City, NY)
"Head Shop" 1969 (Epic BN 26476) [yellow label]
"Head Shop" 199 (Epic) [bootleg; dark label]
"Head Shop" 1998 (CD Synton DR9856)
"Head Shop" 2004 (CD World In Sound 1024) [+7 bonus tracks]
"Head Shop" 200 (Epic BN 26476) [legit re?]Average late-60s psych album, full of sound effects, fuzz guitar and creative arrangements, but without the songs to elevate it to keeper status. A couple of Beatles covers are particularly ill-advised. The heavier songs are probably the highlights. Good but not great. The LP was apparently masterminded by Milan, a k a The Leather Boy. An original Dutch pressing exists. [AM]
HEADS OF OUR TIME (Toronto, Canada)
"The Subtle Art of Self-Destruction" 1970 (Goodgroove GS-7001) [foil cover]
This LP offered up a mix of original material and contemporary pop and soul hits done in an exploito fashion that you'll either love, or curse. Musically the album could serve as a primer for studio psych effects - it's all here including waves of fuzz guitar, sitar, backwards tapes, channel panning, tons of sound effects and hysterical over-the-top belly button gazing insight such as that found on "W.O.R.D.S" ("a burning desire for a woman with a blank look on her face, who will assist you in the subtle art of self destruction"). These guys just didn't waste a single trick in pulling the album together. Highlights included the blazing opening instrumental "Airhead" and the weirdest cover of "Wichita Lineman" you'll ever hear. Less impressive, but still worth hearing were a couple of the covers, including a lame 'Mercy, Mercy, Mercy', a heavied-up "With a Little Help from My Friends" and one of the stranger Hendrix covers I've ever heard "Crosstown Traffic". Sure it may not have been great art, but the LP was a load of fun! [SB]
~~~
Cool exploito-rock with stereo tricks, sound effects, fuzz guitar, groovy organ, phasing, cosmic spoken word bits, and backwards instruments. It mixes soul and rock covers with far out instrumentals. The cover versions have plenty of horns, and the oddest thing here is probably the soul take on “Crosstown Traffic”. It’s hard to think that the jazzy/soulful stuff will appeal to the same people as the guitar freakouts, but sometimes the two styles mix on the same songs, creating a rather odd effect. If you’re an exploito fan you’re sure to get a kick out of this. As with most exploito, it’s well played and sung. It’s cool, but there aren’t as many thrills here as on, say, the first Aorta album. The silver album cover is neat. A US pressing on Audio Fidelity exists, credited to Jay Jackson & Heads of Our Time. [AM]
HEADSTONE
(Columbus, OH)
"Still Looking" 1974 (Starr slp-1056)
"Still Looking" 1988 (Starr) [bootleg]
-- this is a very close counterfeit. The color of the carton inside the cover is clear gray on the original and more brownish on the reissue. The label of the original is slightly clearer and has visible circular lines.
"Still Looking" 1997 (CD Anthology, Italy)The opening seven minute title track is a killer journey through local underground guitar psych, and there's plenty more good stuff aboard including some more lyrical moves. Underrated LP, solid all through, better than many $1000 LPs. Great generic sleeve of eagle "still looking". The band also had three non-LP 45s which are pretty good. [PL]
~~~
Ohio was full of obscure hard rock bands in the 70s, and it’s surprising how many of their self-released albums have stood the test of time. Despite relatively simple songs, this album has real power. The long title track is the highlight, but the rest of the album comes close to the standard. The songs carry on a bit too long, but the solid guitar/organ sound is backed up by an energetic rhythm section and the overall feel of this album is strong, and gets better with repeated listens. They don’t seem like they were particularly talented, but they made the most of what they had. [AM]
HEADSTONE CIRCUS
(DC)
"Headstone Circus" 2004 (Shadoks 061, Germany) [350#d]
Unreleased 1968-70 tapes from band featuring Glenn Faria, in a CSNY/Buffalo Springfield style. No relation to any other Headstone Circus.
HEARD
(Lawrence, KS)
"Heard" 1967 (Audio House acetate) [1-sided 10" acetate]
Drawing members from two local high-school bands, this 1-sided album offers four tracks and a total of 11 minutes to get into the Heard trip. The band is a lot more energetic than the Chosen Ones, with an obvious ambition to create a true soul groove rather than just sanitizing Memphis numbers for the wedding crowd. Vocalist -- none other than future Nashville music biz mogul Garth Fundis -- sounds like he would fit better in a snotty garage band but gives it an enthusiastic shot anyway. Apart from charming, energetic opener "I Dig Girls" the tracks are played unusually slow which combined with a confident drummer makes it sound almost late 60s in execution. Did I mention there's a full horn section? Sound is reminiscent of some of the more bizarre Justice label teen acts, with a strong recording and a nice live feel to their advantage. Not garage nor psych nor beat, this is a Midwest horn band doing Billboard r'n'b 100 covers. Vocalist and bass player later joined the Upside Dawne. [PL]
GERALD HEARD (England / Los Angeles, CA)
"Explorations vol 2 - Survival, Growth & Rebirth" 1961 (World Pacific 1413) [3LP box set]
Heard is one of the Founding Fathers of psychedelia through his work on LSD during the 1950s/early 1960s, often in collaboration with his friend Aldous Huxley. He was also an eminent lecturer, philosopher and author, and his writings cover many fields apart from the psychedelic experience. From an acid perspective the 1961 box set is the most interesting as the third disc contains the world's first LSD trip guide, inspired by the Tibetan Book Of The Dead and later blatantly copied by Tim Leary for his "Psychedelic Experience" book and record. This disc contains some spooky organ music and classical vocalizing, while the rest of his recordings are all spoken word. As the trip is peaking towards the end Heard chants out cosmic wisdom in a way that is quite psychedelic. Recommended and likely to become as desirable as Aldous Huxley's recordings over time. There are two different versions of disc #3, which is the key "psychedelic" one. Presumably Heard was dissatisfied with the first version and went to the trouble of re-recording it (with some minor changes) and having a new run pressed of only disc #3, which was then inserted into the existing box sets. Therefore many copies found contain 4 discs, including both versions of disc #3. The re-recorded version can be identified with a "-2" extension to the matrix number. Heard's earlier, non-psychedelic album releases include "Explorations" (Pacifica, 1957), "Reflections" (World Pacific, 1959) and "Indications" 1959 (World Pacific, 1959). [PL]
~~~
see full presentation
HEARTS & FLOWERS (Los Angeles, CA)
"Now is the Time" 1967 (Capitol t-2762) [mono]
"Now is the Time" 1967 (Capitol st-2762) [stereo]
"Now is the Time" 1986 (Bam Caruso, UK)Excellent early country-rock album with terrific harmonies. The album relies too heavily on covers, but is really a very solid record, being very well played and having a distinctive feel. [AM]
"Of Horses, Kids, and Forgotten Women" 1968 (Capitol st-2868)
"Of Horses, Kids, and Forgotten Women" 1986 (Bam Caruso, UK)
"Now is the Time / Of Horses, Kids, and Forgotten Women" 199 (CD Edsel, UK) [2-on-1; bonus tracks]The second Hearts & Flowers is similar to the first, but more produced, and benefits from having one truly wonderful dreamy psych song that isn't "country" at all, but somehow still fits in well with the rest. Both albums are recommended to fans of country rock or rural folk rock. CD samplers of the band's output have also been released by Collector's Choice and Rev-Ola. [AM]
HEATHER BLACK (TX)
"Heather Black" 1970 (American Playboy 1001) [2LPs; promo-only; different cover]
"Heather Black" 1970 (American Playboy 1001) [2LPs; gatefold; photo]Live barband melodic rural guitar jams with organ. Roots covers of 1950s & 60s staples mostly, some weak ballads. Produced by Huey Meaux. The rare promo variant has a cover with a drawing of a fat man, while the regular version shows a cover design with lots of illegible scribblings. There is also an easy to find single LP on the Double Bayou label, also self-titled and possibly a condensed version of the 2LP set. The band included Gaylan Ladd who did some garage recordings in the 1960s.
HEAVEN (NE)
"Heaven" 1970 (W.W. 8701) [insert]
Guitar and keyboard-led bluesy horn rock jammer. Very much in the garage, even some fuzz in spots.
HEAVEN & EARTH (IL)
"Refuge" 1973 (Ovation 1428) [wlp exists]
Great female hippie folk-rock duo with some nice psych touches. Echoplexed flute on one song, a dreamy wavey vocal mix on another give the album some oomph. The two voices sound great together, and this album was put together with great care. A few songs in the middle of the album don't quite match up with the rest, but the LP begins and ends with very strong songs (side one ends strong as well). One of the best female psych albums, this is a quadrophonic release from the industry's brief flirtation with that format. Great album cover too. Most (all?) copies seem to be wlp:s. They also did a non-LP Christmas single that sounds much more country than folk. [AM]
HEAVY BALLOON (New York City, NY)
"32.000 Pound" 1969 (Elephant V Ltd evs-104) [wlp exists]
Exploito heavy rock/blues with songs like "Lead Zeppalin" and "Owed to Sgt. Pepper". "Barnyard Blues" is a pretty good original with a stoned biker vibe.
HEAVY CRUISER (CA)
"Heavy Cruiser" 1972 (Family fps-2706)
"Heavy Cruiser" 1976 (Tiger Lily) [remix; altered cover]This is the same situation as the Velvert Turner album -- the "real" Heavy Cruiser album was on the Family label, and Morris Levy somehow got acccess to the master tapes and released a variation on it on Tiger Lily. Heavy Cruiser is a Neil Merryweather project, basically Mama Lion without Lynn Carey's vocals (though she did co-write a few songs.) It's 70s hard rock that isn't especially good or bad but is weird enough to be worth a listen or two. As with all Merryweather projects it contains a couple of terrible, pointless cover versions. Canadian and Spanish (on Philips) pressings exist. [AM]
HEAVYFEATHER (TN)
"Soft, Hard, and Heavy" 1972 (Ace of Hearts 0226) [wlp exists]
Here's a review from a knowledgable source: "Truly awful harmony vocal loungy pop with cheesy lyrics and occasional string orchestra backing. Only winner here is the last track on Side 1 " Can You help" which is a short 2 minute fuzz rocker. There is also a 5 minute track on side 2 which is decent with plenty of swirling organ and dreamy vibes but ends in a bad drum and bass solo. Judging by their outfits (bright smiles, ties, leather jackets and matching sideburns) they appear to be a Nashville lounge outfit releasing this LP to showcase their many "talents" (soft, hard and heavy) in hope of securing as many gigs as possible at the local Holiday Inns. I'd stay clear of this LP". It's a noisy pressing.
HEITKOTTER ( )
"Heitkotter" 1971 (Ego)
Intense real people/fringe LP popular among psych mafiosos, a 3-man band with guitar, bass and drums led by Steven David Heitkotter, presumably recorded inside the mental institution where the guy has been for decades. Track titles include "Hangin' All Night", "Quaker, Dog Got Away" and the 14-minute "Fly Over The Moon". The vibe is intense and feverish like a nightmare, unique LP that lives up to its reputation. This may have been a test press only and comes in a blank cover, except for the handwritten title. He was also in a garage band in the 1960s that released a few 45s. [PL]
~~~
This is a truly disturbing record... so far out-there it goes beyond what could be classified as "genius". At times all three musicians sound like they are playing different songs and somehow you're able to groove along on three different levels. This is not for everyone, but if you've been down every "psych" road out there and enjoyed each and every one of them, Heitkotter might be for you. I can see 20-25 people thinking this is the greatest LP ever recorded and everyone else thinking it was a piece of trash. [RH]
HELENE & MARC ( )
"The Beginning" 1971 (Veritable)
Downer folk with mixed vocals and unsettling suicidal vibe on Helene's tracks. Cover artwork has amateur drawing of the couple with gigantic eyes and freaky long necks. More comments will follow. [PL]
HELGESON SCRANTON (OR)
"Black Bootleg" 1971 (Rex RL 5071) [1-sided; plain cover]
Obscure one-sided custom pressing of local hippie folk; a mono recording housed in a white cover with handwritten title.
HELLERS
(Los Angeles, CA)
"Creative Freakout" 1967 (no label) [10"]
Extraordinary exercise in zany 60s cool of the kind that is almost forgotten today, projecting images of hip guys driving sports cars, reading Marshall McLuhan, and sipping dry martinis -- preferrably all at the same time. It's a showcase for the Heller-Ferguson ad firm, presenting a long string of their (often brilliant) radio ads tied together in a hilarious concept about a suave ad man strolling around among hippies and folkies on the westcoast. LSD parties, civil rights, square protesters & groovy Sunset Strip chicks all flash by while narrator "Johnny Spots" manages to turn it into inspired tongue-in-cheek jokes related to the tough advertising business. Incidentally one of the ad voices sounds exactly like John Rydgren. Various songs are parodied to great effect, "What have they done to the rain" becomes "What have they done to my line" (i e: his ad copy is distorted by manager and client), etc. The whole thing is very modern in its mindset and obviously done with a lot of work put into it. The sheer talent on display has an invigorating effect that may cause you to see ad people in a new light, and in any event is a reminder of just how cool the pre-hippie 1960s were. [PL]
"City Songs" 1967 (no label) [10"]
"Brief Bouncers" 1967 (no label) [10"]
All three 10-inchers above were released as a 3-disc set in an elaborate foldout cover, but it appears that at least "Creative Freakout" also came out as a standalone item. The other two have been described as being similar in style. There's more releases under the Hellers name, including a 45 for a client in Vancouver, BC.
"Singers, Talkers, Players, Swingers and Doers" 196 (ABC Command rs-934-sd) [gatefold]
"Singers, Talkers, Players, Swingers and Doers" 2002 (no label)This more wellknown Hellers LP on a real record label is appealing too, but feels more dated than "Creative Freakout". Partly an early moog LP, partly a McLuhanesque collage of "now" sounds with softpsych songs, soundbites, gags and parodies. The vibe is a bit weird and subdued, and not everything hits home, with a few 3-minute jokes terminating in halfassed punchlines. There is a recurring space exploration theme typical for the era. Housed in an eye-popping color cover it's a fun artefact from the era. [PL]
HELP (CA)
"Help" 1970 (Decca dl-75257)
"Help / Second Coming" (CD Free Records, Europe) [2-on-1]Help's first album hasn't attracted as much attention as their collector-friendly second, but it's by far the superior record. It's a solid mix of rural rock, folk rock and pop, and rocks really hard despite there not being any distortion on the guitars. There appear to be no instrumental overdubs, just a trio of guitar, bass and drums, yet the excellent musicianship (especially the rock-solid rhythm section) makes the sound full and rich. Side one is full of energy, melodic songwriting, and excellent vocals, and is solid all the way through. Side two is somewhat less inspired, but still pretty good, and the album is definitely recommended. [AM]
"Second Coming" 1971 (Decca dl-75304)
"Help / Second Coming" (CD Free Records, Europe) [2-on-1]This much heavier second album is the one that most collectors know, due to lots of fuzz and wah wah on the guitars. The sparse trio format is the same as on the first album, except that the clean guitar is replaced by distortion and effects. Strangely enough, that makes the sound less full than on the debut. It admittedly sounds pretty cool, but after a few listens it becomes apparent that the songwriting is actually pretty weak, with only two or three songs at a high standard. Worth listening to for those songs, but overall a patchy record. [AM]
HENDRICKSON ROAD HOUSE ( )
"Hendrickson Road House" 197 (Two:Dot hrh-81-670)
Mega-rare light psych item is one of the few in the genre in which the creative force is a woman, Sue Akins. This isn't really much like all of the Airplane-wannabe bands, either; Hendrickson Road House has a distinctive sound with mildly jazzy arrangements, subtle lead guitar, a tad of autoharp, smooth vocals and a definite late-night feel. The guitar playing has a bit of a West Coast influence, though it's not the least bit heavy. The closest comparison would be the Serpent Power songs with Tina Meltzer on lead vocals. One jazzy instrumental with a lot of sax manages not to sound out of place. Otherwise Akins sings all of the songs, and the album has a coherence not often felt in the genre. Not a masterpiece, but quite good, and the lack of a reissue is truly puzzling given its quality and rarity. [AM]
~~~
Remarkable femme-vox folkrock/psych that must rank as one of the best local LPs not yet reissued. Draws on 1960s Bay Area vibes but adds a jazzy nightclub sophistication that places it in a slightly later area. Femme vocals are superb whether solo or in tandem (possibly doubletracked), soaring in full control over a sparse backing with classical inspired acoustic guitar. The best tracks have a folkrock setting yet retains an intimate nocturnal feel. Apart from a superior variation on Serpent Power (as Aaron suggests above) I am reminded of These Trails, though this is less rural exotica and more of an urban afterhours scene. Tracks such as "Tomorrow your sorrow" and the opening "Forget about you" are likely to blow anyone's mind. An atypical saxophone medley towards the end breaks the mood on what is otherwise a very well-crafted and consistent album that would have fit better on Elektra or Vanguard than an obscure contracting service in rural CA. Two:Dot had a couple of other interesting releases, including the rare Arthur. [PL]
MARK
HENLEY (MN)
"Riversong" 1976 (Sanskrit SR 0763)
"Riversong" 2005 (CD Small Town, UK)Mellow acoustic hippie folk with a variety of stringed instruments, credit shared with one Michael Johnson. Henley and Johnson also collaborated on Johnson's "Aint Dis Da Life" (Sanskrit, 1977).
HENRY TREE (Cleveland, OH)
"Electric Holy Man" 1969 (Mainstream s-6129) [wlp exists]
This is one of the “lesser” Mainstream psych albums, though it’s more interesting than you might expect. It’s a pure power trio with no overdubs (not even backing vocals), but the song structures are complex enough to make up for the simple arrangements. They mix rural rock ,blues, jazz, acoustic ballads and some Xian lyrics, and it’s rather an odd result. At its best it’s quite challenging. “Mr. Fear,” in particular, has a lovely melody and is an evocative work. All of side one is pretty good, actually, though some fast noodly guitar leads are a bit bothersome. The long songs meander, recalling Nucleus (also on Mainstream), but it’s much better: the worst bits sound much more like failed experiments than stoned indifference. Side two is quite a bit less interesting than side one, though, and this ends up being half of a promising album. [AM]
HENSKE & YESTER
(Los Angeles, CA)
"Farewell Aldebaran" 1969 (Straight sts-1052) [wlp exists]
"Farewell Aldebaran" 2005 (CD Radioactive)I am less impressed than most by the "Aldebaran" title track, but numbers such as "Lullaby" and "Three Ravens" have an appealing icy acid-folk edge. Hard to understand all the brouhaha around this album, though. Both Jerry Yester and Judy Henske had long careers with several noteworthy aspects, none of which fit into this archive. The LP is sometimes listed as by 'Yester & Henske'; a 2nd pressing on Reprise (RS 6388) has been listed but appears never to have come out. [PL]
~~~
Noted folksinger Judy Henske (originally from Wisconsin) and her husband, Jerry Yester. There's three great and radically different songs on "Farewell Aldebaran": the hard fuzz "Snowblind"; the medeival stomper "Raider"; and the keys and effects on the title track are riveting. The remainder is pretentious mixed duo folk with pretty playing, ludicrous hipster lyrics, orchestral backing, and a dreamy carnival organ sound. [RM]
~~~
This album's inclusion in Ritchie Unterberger's first book sent collectors scurrying everywhere, trying to dig up lost copies. Too bad he hadn't written about some of those lame psych albums that no dealer can get rid of instead; that would have caused a laugh or two. While this album's reputation has become a little overstated in the wake of the book, it still stands up as one of the better and most creative folk/psych albums of the period. Henske made the transition from her earlier career as a comedian/folk singer/torch singer to a rock singer with no problem at all. She has an amazing talent, and her throat-ripping vocal on the opening "Snowblind" is an eye-opener. That particular singing style is not revisited, but from bubblegummy pop to morbid dirge to psychedelic hoedown to wicked social commentary to electronic freakout this album really shows what can happen when willingness to experiment is high and talent is ripe. A few songs in the middle don't really live up to the rest, which is what keeps this from being an eternal masterpiece, but still it's close. Henske and Yester's next collaboration, as "Rosebud," sadly shows little of the inspiration of this album. [AM]
HENTCHMEN ( )
"Hentchmen" 1966 (Sanders no #) [no sleeve]
Teenbeat demo LP from NYC recording studio.
HERE COMES EVERYBODY (OK)
"Here Comes Everybody" 1974 (Cab 101)
Westcoast sound stoner barband with side-long "L' Opera: Johnny Got His Raygun", in handmade cover.
HERMON
KNIGHTS see Knights
DANNY HERNANDEZ & THE ONES (MI)
"Back Home at the Brewery" 1972 (Spirit 52003)
Funky jams in Sly & the Family Stone style. The cover notes all proceeds will be donated to a marijuana legalization fund. No doubt that plan went up in smoke.
JAMES HERSCH & TIM MILLER (MN)
"Butterman's Ball" 1975 (no label) [300p]
Folk/folkrock with mellotron, recorded in 1974 in Jon Burrell's studio in Brooklyn Park and mastered at Sound 80 in Minneapolis. James Hersch released a solo LP in 1980, "Audition" (Whitewater).
CAROLYN HESTER COALITION (TX/NY)
"Carolyn Hester Coalition" 1969 (Metromedia md-1001) [wlp exists]
First LP is fine westcoast style hippie fuzz folkrock/pop with Hester singing in a decidedly non-folky acid bubblegum style, a few tracks such as the great "East Virginia" excepted. Solid all through, should appeal to any fan of Neighb'rhood Child'n, Birmingham Sunday, Daisy Chain and similar semi-light trips. For whatever reason, both CHC albums sport some of the ugliest covers of the era. Carolyn Hester recorded extensively as a pure folkie from the early 1960s on. [PL]
~~~
Traditional folkie moves confidently into folk-rock, complete with fuzz guitars and Buddha references. The opening “Magic, Man” is well-known due to its inclusion on the Hippie Goddesses compilation, but there are plenty of other treats in store here as well. The more standard folk songs are as good as the psychy ones, especially if Hester’s clear, girly voice is your cup of tea. Housed in one of the absolute ugliest album covers ever, despite (or, in part, due to?) Carolyn’s brave display of cleavage. [AM]
"Magazine" 1970 (Metromedia md-1022) [wlp exists]
Hester’s second venture into folk-rock is equally as good as the first, if not better. How far you go with these albums depends on how you feel about her voice, but if you like her this is definitely recommended. Nice folk rock sounds abound here, with just a little bit of fuzz guitar to keep things interesting. A cover of “Dock of The Bay” is pointless, but the two other covers, “St. James Infirmary” and “Swing Low Sweet Chariot” are made quite interesting by the addition of topical political lyrics. Another cool record and another terrible album cover! [AM]
~~~
"Magazine" is a bit harder to find than the CHC debut, and perhaps due to this usually written off blindly as "not as good". Actual hi-fi encounter with it suggests otherwise, as this is highly enjoyable in a style similar to the first; a small step or two towards moody folkier sounds all over and a little less Sunset Strip bubblegumish - some may consider this an improvement. Setting is unchanged with a stripped down teen guitar/organ sound supporting Hester's candy acid vocals. There are a handful of covers including the album's one dud, a useless take on "Dock Of The Bay", while the acid fuzz rework of "St James Infirmary" with modernized political lyrics is very good. Personal faves include opening psycher "Rise Like The Phoenix" and the superb introspective folkpsych of "Just Follow Me", while "Calico Sky" should appeal to fans of soft femme vocal pop. [PL]
MARK HEYES (CA)
"Words and Music of Mark Heyes" 197 (Good Sounds jat-101)
Early 1970s teen organ blues rock produced by John Tartaglia. Hal Blaine, Joe Osborne, and Larry Knechtel help the 17-year old Heyes out, presumably out of the Heyes Sr pocket. Housed in spooky cover photo of Heyes staring blankly into space.
PAUL HIBBETS (GA)
"Childhood Dream" 1974 (Ascension)
Good dreamy Christian psychrock with fuzz and keyboards backing from the band Ascension, has been compared to Azitis and Joe Peace. Nice double exposure color cover.
HICKORY WIND (IN)
"Hickory Wind" 197 (Gigantic 1104) [black and white cover; 100p]
"Hickory Wind" 1996 (Gigantic/T.U.T, Austria) [bootleg; purple cover; 300p]
"Hickory Wind" 1999 (Void 11)
"Hickory Wind" 200 (CD Beatball 06, Korea) [+4 bonus tracks]Rural rocker with lots of rootsy Band-type numbers and country-influences; as you guess pretty far from the usual psych/guitarrock. Quite unusual LP that can sound vastly different depending on the listener's mood, although at the end of side 2 I usually conclude that it's an enjoyable and wellstructured piece. Vocals are a bit flat and the playing often unexciting, but somehow this contributes to the album's earthy, realistic feel, like strolling into an Indiana bar one afternoon and finding a band on stage rehearsing. One track has fuzzed rock aspirations and there are a couple of good slow numbers with organ as well. The closing ballad is a personal favorite. Moves in the same Americana roots and bar-rock regions as Riley and Traveler's Aid but is stronger all over, with an appealing smalltown charm and grower qualities. [PL]
~~~
The most well known song here is garagy fuzz screamer that's hopelessly out of place among a batch of country-influenced rock songs. About half of them are pretty cheesy and weak (the nadir being a song about begging a police officer not to give the singer a speeding ticket), but a few of them have an eerie out-of-place-and-time quality that's quite effective. "Father Come With Me" is the highlight, with spooky organ and heavily echoed vocals. The album-closer "Judy" is lovely folk-rock, as out of place on this record as the one fuzz rocker. I think this is only half good, even if you're intrigued by the thought of a basement recording of a stoned country crooner, but the good half is unique and memorable. The Void reissue has been described as inferior in sound. The Korean CD has bonus tracks by B F Trike. [AM]
~~~
see -> B.F. Trike; Lee Hyatt
GARY HIGGINS (CT)
"Red Hash" 1973 (Nufusmoon 3673) [lyric insert; 2500p]
"Red Hash" 199 (CD Flashback, UK)
"Red Hash" 2005 (CD Drag City 295)Highly enjoyable smalltown hippie folk/folkrock with a professional sound, good vocals and songs full of hooks and strong melodies. A dreamy melancholy dominates, but the sharp arrangements and elaborate production keeps it from ever drifting off. Lyrics deal with dope and being in prison, which is a true story & probably what kept him off major labels. Higgins received a severe 2-year-9-month sentence for possession of weed, but had time to record this album shortly before going to jail. "Red Hash" is a nickname he aquired when being in custody. Underrated LP is a personal fave and better than almost all the overpriced items in this genre. To illustrate Higgins' qualities I'm picking two different fave tracks than Aaron does below; "Stable the Spuds" and the closing "Looking for June". Do not miss this. Some copies came with promo sheets with newspaper clippings about Higgins' trial. [PL]
~~~
To these ears this is one of the best loner folk albums. Apparently recorded before Gary went to prison, which gives it an extra edge. Higgins is a great songwriter, and has an appealing soft-but-gruff vocal style. The lyrics reach into some pretty unusual places, and the melodies and hooks are full of unexpected left turns. He even uses moog to nice effect here and there. Pick hits are the beautiful “It Didn’t Take Too Long” and the pissed off “Down On The Farm.” [AM]
HIGH MOUNTAIN BAND (
)
"Music From Mountains, Rivers And Oceans" 197 (no label 45640)
Eastern influenced trance folk.
HIGH TREASON (Philadelphia, PA)
"High Treason" 1971 (Abbott ABS 1209) [gatefold with plastic window and rolling papers]
"High Treason" 2002 (CD Gear Fab gf-165)
"High Treason" 2002 (Akarma, Italy)Somewhat bizarre concept of a loungy nightclub jazz band tackling the mid-era Airplane sound and coming off a lot different than they had intended, I would think. Lady vocalist makes up for her lack of Grace by yelling at the top of her lungs, while cocktail organist and supperclub guitarist "jam" on long tracks, including an unsuccessful Dylan cover. Didn't like this much though others may find some appealing angles on it. Several of the musicians also played with Perry Leopold. [PL]
HIGHWAY (Mankato, MN)
"Highway" 1975 (no label 854) [500p]
"Highway" 1996 (no label) [bootleg; paste-on cvr; 300#d]
"Highway" 200 (CD no label) [+4 tracks]One of the better finds of the 1990s to my ears, guitar-driven rural rock/west coast trio similar to the harder sides of Homer or the melodic sides of Morly Grey. Opens with two killer tracks and a good 2/3 of the LP is excellent, some instrumental passages veer too much towards jazzrock for me though. The LP was recorded in Iowa and remained unknown among psych fans until the 1990s. Some original copies included promotional handbills. The CD reissue is from master tapes. [PL]
~~~
Unusual power trio album that's one of the best of its kind. It's hard but not heavy; there's not a single distorted guitar to be heard. What you get instead are intricate, complex riffs and hooks a-plenty in which speed and agility take precedence over pure noise. The drums and bass compensate by being loud and frantic. At times it appears that they're overreaching their grasp, but the feeling of them teetering over the edge of a cliff is actually kind of exhilarating. The two instrumentals are especially hot. The production, on the other hand, is thin and trebly. It's arguable that a more professional job could have given them a richer and less chaotic sound, but it's equally likely that the individual performances would have had less impact. As it is, the rumbling drums on "Just To Be With You," for example, sound something like a landslide. That's mostly a good thing. As usual with this kind of band, lyrics are not their strong point, but the vocals are quite agreeable, not macho or obnoxious at all. It simply appears that these guys were doing their own thing without caring whether they fit into any genre or if they appealed to the kids. Great album. The folks who reissued the album pressed more LPs than covers, so occasionally it turns up in a plain white cover or with just a non-pasted-on front cover. [AM]
HIGHWAY ROBBERY (CA)
"For Love and Money" 1972 (RCA lsp-4735)
Great early 70s hard rock. Two soft pop songs sneak their way onto the album, and somehow sound fantastic next to the noisy guitars and in-your-face vocal style of the rest. Funny lyrics, out of control slide guitar and high speed put this miles ahead of your average hard rock album. A keeper. Michael Stevens was previously in Boston Tea Party. Atlee Yeager also played with Atlee and Damon. [AM]
HIGHWIND (KY)
"Highwind" 1980 (Forum FR 1001)
Pomprock/AOR with keyboard/guitar.
KENNETH HIGNEY (NJ)
"Attic Demonstration" 1976 (Kebrutney 516)
"Attic Demonstration" 197 (Kebrutney 516) [2nd press]New Jersey open wounds real person basement psych damage strums with buzzfuzz bursts. Mix of Spencian floaters and warped rhythm ravers. At times sounds like 1/2 Japanese doing Cale-era Modern Lovers outtakes. Way lost no-fi monsterdom. The repress used left over covers and labels. There's a sticker on the cover and the label, over the address, listing a Lyndhurst, New Jersey address. The first press shows a Bayonne, New Jersey address on cover and label. [RM]
~~~
Many years after this album had become a cult classic, Higney came clean and admitted that the sloppy performances and off-rhythm singing weren't his natural sensibility, but actual mistakes. Since he had recorded the songs to shop them to other artists, not to showcase himself as a performer, he wasn't too concerned with the quality. That said, there's still no question that something is bizarre and "off" with his world view. This is one "real people" album that really is enjoyable, because he has just enough songwriting talent to make the songs listenable, and there are enough quirks and goofy moments to push it one step further into its own unique realm. Occasionally this music seems like ahead-of-its-time proto-punk. There's definitely no shortage of energy here. Lots of people love this album, and for good reason. [AM]
HI HOPES (Anaheim, CA)
"Ability" 1970 (Band 'n' Vocal bvrs-1200)
"Hi Hopes" 1971 (Activity ar-696) [booklet]
The band is Hi Hopes (from Hope School) but some releases are credited to High Hopes. Basement rock from adult students at the school which cares for the 'trainable mentally retarded'. The first LP is a legend in Shaggs' territory with four CCR covers and "Wipeout" taken to their minimalist extremes. Their later LPs ("Play Along, Sing Along", 1975 and "To You With Joy", 1978) have less interesting songs.
BILL HILL ( )
"Free Advice" 1983 (no label) [insert; 200p]
Burnout paranoid hippie new wave psych with a couple of worthwhile tracks like "In Control". The small press size has been reported by Hill himself. Some unreleased stuff from 1985 appeared in 1996 on the Swiss RD label ("Maps & Signs").
~~~
Inventive metallic guitar mystic rocker with quirky bouncing rhythm new wave keys. Great multi-textured leads and effects, industrial leanings. [RM]
HILLARY BLAZE (AZ)
"Exposure" 1977 (30th Century Fox)
Distinctive and strange hard rock/space rock. Two cover variations exist. The first pressing is b & w and the second has the word "Exposure" in orange.
V.A "HILL COUNTRY FAITH FESTIVAL '74" (TX)
"Hill Country Faith Festival '74" 1974 (ACR-KNO-BEL 33-7427)
Moody x-ian folk with good pre-LP Redemption track. Also has Trinity, Cliff Lockear, Glory Bound, Children of Faith. Lo-fi recording and noisy press.
HILLOW HAMMIT (DC)
"Hammer" 1969 (House of the Fox hof-lp-2) [mono wlp]
"Hammer" 1969 (House of the Fox hof-lp-2) [stereo]
"Hammer" 1978 (L & BJ)
Excellent hard guitar rock produced by Lelan Rogers of IA/Elevators fame. Recorded at Sounds of Memphis Studio in Memphis, Tennessee. Stock mono pressings may not exist; it also appears that many or all 'mono' promos actually play stereo. The band name incorrectly listed as 'Hillow Hammet' the House Of Fox version. The 1978 release corrects the spelling, while the cover is different and has incorrect song listings. One track has been replaced. The sound has been reported as inferior to the 1969 pressing.
V.A "HILLSIDE '66" (Columbus, OH)
"Hillside '66" 1966 (Hillside 18036) [no cover]
Not less than five tracks from this local teenbeat/garage sampler have found their way onto various comps, so maybe someone will reissue it in its entirety some dat. Cover versions all through I think, though with enough dumb teenage charm to make for acceptable listening. Bands include the Possums, Grim Reapers, King's English, Eggs, Deadlys, and more. The LP has also been listed as 'Hillside Album' and 'Hillside Sampler'. There is a later "Hillside '67" EP with four bands doing one track each.
HILLTONES see Universal
Ignorants
HILSS & LABLANC ( )
"A Time Lost" 1974 (AR 3939)
Private press of melodic 1970s folkrock in the same generic sun-dial sleeve as Emmaus Road Band. Rock setting with organ plus piano and flute; the main duo has a couple of guys helping out. Originals all through.
HITCH-HIKERS (Portage, IN)
"Thank You For Your Love" 196 (H-H Records HHMR 113)
Obscure mid-60s teenbeat from goofy-looking guys with older vibe. One even has a moustache. Plenty of group originals with mix of rockers and ballads, plus cover of "Stormy Monday" and a track called "Five to one" (!). The band also had two 45s out.
H
M S BOUNTY see
Merrell Fankhauser
HOI' POLLOI (Richmond, IN) see
interview
"Hoi' Polloi" 1972 (Custom Fidelity CFS 2899) [insert; blank back cover; 500p]
Recently discovered melodic rock/s-sw/psych delight from students at Earlham College. Excellent songwriting, dreamy vocals and skillful arrangements combine to make for a trip with wide appeal, in contrast to the crude packaging. Somewhat similar to the Dialogue LP from PA, but really needs to be heard on its own merits. Side 1 is great from start to finish. Band member Charlie Bleak later had a minor hit and cut a solo LP for Pickwick in 1976. [PL]
~~~
Here's proof that great finds are still out there awaiting us. This is a truly excellent early 70s rock and roll album. Collectors may miss out on records like this because they lack any heaviness or fuzz guitar (though there are a few trippy sound effects here and there), but if you're looking for great songwriting, creative arrangements, reasonably complex chord progressions and solid performances this sure fits the bill. For a home production made by college students it sounds remarkably self-assured and rich. The keyboard-based soft-rock sound can be most closely compared to Dialogue, but this album is significantly better. Obvious (and admitted) influences are McCartney and LOW SPARK-era Traffic, with a bit of jazz and even flamenco thrown in unobtrusively. The occasional horn is used in a truly likeable way. The album starts very strong, and the best song, the moody "Old Bootstrap" comes early, but even the slightly lesser second side has plenty to offer. [AM]
~~~
see -> Crucible
JON HOLBROOK EXPERIENCE ( )
"Miserable You" 1976 (Tiger Lily 14046)
Bluesy guitar rock amateur moves. Covers of Young Rascals, Steven Stills, James Gang, and Dick Dale.
RANDY HOLDEN (Los Angeles/San
Francisco, CA)
"Population II" 1970 (Hobbit 5002) [green label]
"Population II" 1982 (Line 5211, Germany)
"Population II" 198 (Hobbit, Europe) [counterfeit]
"Population II" 2005 (Hobbit/Scorpio) [signed & #d]Holden could have/should have been a major guitar hero, but it was not to be. His decision to highlight his playing by creating the world's first power duo (the drummer played the bass part on pedals with his feet) doomed this album to deadly slow tempos, though his fans don't seem to mind. Power and volume are here in abundance; no one played louder than Holden, and no one made better use of a whammy bar. Still, these are not really songs, but vehicles for his soloing, which could have benefited from a few faster, more energetic moments. This is an enjoyable album, but it's not the step forward hoped for by fans of his two great songs on the third Blue Cheer album. A great case of "what could have been". Most or all originals seem to be cut-outs. Original A-side matrix # is '6-137-I-D Stereo / B 1'. The cover for the bootleg has a cutout hole visible in the photo reproduction. The retrospective CD sampler "Early Works" (Captain Trips, Japan 1997) contains surf & garage tracks from 1964-66 with Randy's previous bands "Fender IV" and "Sons of Adam" [AM]
~~~
"Population II" is simply a hard rock guitar lovers dream. The album's essentially a one man show with Holden producing, writing all of the material, handling lead vocals, as well playing most of the instruments - former Kak percussionist Chris Lockheed handles drums. The emphasis is on guitar and anyone looking for musical subtlety need not bother. Exemplified by tracks such as the opener "Guitar Song" (perfect for this album), "Between Time" and "Blue My Mind" the predominant sound is heavy blues, albeit propelled by an almost endless stream of monster Holden guitar solos. Elsewhere the album includes a remake of "Fruit and Iceburgs" (sic) which was one of three Holden contributions to The Cheer's "New! Improved!" album. This molten version (divided into two distinct parts) kills the original. In the interest of being perfectly honest we'll also point out nothing here is particularly melodic. The rhythm section's kind of clunky. Holden's not exactly the greatest singer you'll ever hear and spread across the entire album the constant onslaught of mind melting wailing leads starts to blur together. That said, it's still a killer album and it's easy to see why there's such demand for it. [SB]
~~~
see -> Kak; Other Half
HOLDING PATTERN (CT)
"Holding Pattern" 1981 (Savy) [mini-LP]
"Majestic" 1991 (CD Art Sublime) [album + bonus tracks]Mostly instrumental progressive mini-LP with 4 tracks inside a weird cover of a giant hand grabbing a 747. Similar to Yes with guitar, mellotron, moog, etc.
HOLLIN'S FERRY (Baltimore, MD)
"Hollin's Ferry" 1977 (Port City)
70s power pop album that isn't top of the heap, but perfectly enjoyable for fans of the genre, especially those who like Badfinger's softer side. Several songwriters all on the same wavelength give the album an appealing consistency, but it could have used a few rough edges and more uptempo songs. Released in 1977, but probably recorded a bit before that, as, unlike other 1977 power pop albums, it shows no influence whatsoever from the world of punk. [AM]
HOLLINS & STARR ( )
"Sidewalks Talking" 1970 (Ovation ov-1407) [wlp exists]
Unique blend of folk, jazz and soft rock with a lovely dreamy, drifting vibe. Lots of flute, too much for people who aren’t huge fans of the instrument, but still this is a really interesting and experimental album. A guest female vocalist adds lovely harmonies to the album’s best song. Same label as Heaven & Earth. [AM]
REX HOLMAN ( )
"Here In The Land Of Victory" 1970 (Pentagram 1001) [gatefold]
"Here In The Land Of Victory" 2005 (CD Synton, Austria)Undiscovered gem for Eastern Donovan '67 folkpsych with acid-flavored cheese and dramatic vocals, like an whole album's worth of Bill Plummer's "Journey to the East", or Pat Kilroy and Mark Fry discussing the Rubaiyat while eating dawamesk on a magic carpet circling Las Vegas. Strong songs, trancey tabla flow, deep lyrics. The cover artwork has inspired some to interpret this as a recovering alchoholic acid project, which if nothing else adds another interesting dimension to the experience. Can still be found relatively cheap but destined to climb the price ladder eventually. Holman was a prolific TV actor and also had some movie parts, including "Star Trek, part V" in the 1980s. He must have been upwards 40 when he made this LP, making the LP an affordable -- and more listenable -- kid brother to Arcesia. Pentagram was a Jubilee subsidiary. A Canadian pressing also exists. [PL]
~~~
This is an utterly fantastic folk-psych oddity. You know you're in for something special as soon as you see the back cover photo of a cross-legged (meditating?) Holman in a park, ignoring a nearby passed out drunken bum. There isn't an ounce of humor on this record, but Holman's vibrato-heavy voice (think Gordon Lightfoot with a head full of mysticism) suits the depth and mystery of the songs. There are moments of blues (especially the despairing "Red Is The Apple"), but mostly it's Eastern-flavored folk. Instrumentation includes some nice sitar and tabla, trance-like flute, and sparing but demented lead electric guitars. The songs themselves aren't really that strange, but Rex's delivery, the intensity of the arrangements and a few oddball chord progressions make them unique and special. The lyrics create poems that a hack like Jim Morrison could only dream of. And there's not one dud song on the album. [AM]
JAKE HOLMES (New York City, NY)
"The Above Ground Sound Of" 1967 (Tower t-5079) [mono]
"The Above Ground Sound Of" 1967 (Tower st-5079) [stereo]
"The Above Ground Sound Of" 2003 (Radioactive 049, UK)
"The Above Ground Sound Of" 2003 (CD Radioactive 049, UK)
"The Above Ground Sound Of" 2004 (CD It's About Music) [+bonus tracks]Currently in vogue typical 60s folk-freak transition LPs from guy famous for writing "Dazed & Confused". The first one (with "Dazed") is pretty good NYC folk/folkrock with fuzz and world-weary vocals, while the second LP fails to live up to its lofty pretensions in my opinion. It does however contain the acid killer "Leaves Never Break", which has been comp'd. His third LP on Polydor has been reported as weak country-rock. [PL]
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The first album as a whole, of course, is overshadowed by its inclusion of "Dazed And Confused," which truly is a brilliant psychotic folkpsych song. "Lonely" is even more frantic, and both will have you in disbelief that such intensity can be reached without drums. For 1967, it's pretty mindblowing stuff, and later folk/psych would sound nothing like it. The rest of the album ranges from jazzy to maudlin, none nearly as unusual as these two songs. All of it has something to offer in the way of a catchy melody or sharp lyric, though, and while it may be a disappointment that the intensity dies down after the first song on each side, there's plenty to like throughout. [AM]
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see full-length review
"Letter To Katherine December" 1968 (Tower st-5127) [stereo]
"Letter To Katherine December" 2004 (Radioactive 104, UK)
"Letter To Katherine December" 2004 (CD Radioactive 104, UK)
"Letter To Katherine December" 2004 (CD It's About Music) [+bonus tracks]A lot of people don't like Holmes' second album, but as a whole, I find it even more interesting than the first. The addition of drums and a fuller overall production sound allows him to go in a lot of directions, and while they're not all successful, they're never less than fascinating. "High School Hero" is the song all of us who were picked on in 10th grade wish we could write, except that I'm not sure the rest of us would have the same kind of whacked out stream-of-consciousness Holmes shows here. His jazzy tendencies show up more than on the first album, and that may put a few people off, but his sensibility is so peculiar that every failed experiment on the album seems to somehow make sense. Side two begins with "Leaves Never Break," the most disturbed song in his repertoire, and one of the all-time great folk/psych songs. Flawed, but unique, and it grows on you. [AM]
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see full-length review
HOLY GHOST RECEPTION COMMITTEE #9 (New York City, NY)
"Songs For Liturgical Worship" 1968 (Paulist Press p-04425) [lyric inner]
"Songs For Liturgical Worship" 200 (Void 26) [insert; 500p]
"Collected Works" 2001 (CD Void/Hallucinations 03) [2-on-1]Some of the reviews we've seen label this as throwaway pop, while others describe it as a lost psych classic. Well, we'll try to set you straight by telling you it's neither. The album featured 12 original numbers, though roughly half of the tracks were apparently written by non-band member fellow class members. Though some listeners might be bothered by the set's overt religious orientation, to our ears one of the biggest surprises stems from how progressive selections such as "Day After Day" and "Pray" are. Sure, there's lots of mention of God, but for the most part the sentiments are subtle, rather than in-your-face. Musically the collection's also surprisingly impressive. Given all four members were still in their teens, they play with considerable confidence - the addition of a "guest percussionist" certainly helped. On tracks such as "Hand On Your Shoulder", "Step Into the Wind" and "That Day", the band's affection for Byrds-styled folk rock is quite apparent. Among our favorites, the rocking "The Magic Ice Cube", "There's a Voice Inside" and "Pray" which sports a nice social commentary lyric and psych-ish feel to it. Sure the results aren't perfect (witness the out of tune vocals on "The Resurrection"), but the set's sense of innocence and raw sound are quite appealing. [SB]
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This is one of the very few “Xian” bands to have a true early garage feel, and it’s a nice alternative to all of the zillion folky and heavy Xian albums. It’s a little bit sloppy, and the songwriting is only OK, but it has a pure heartfelt vibe that works. Enjoyable but slight. The Void CD contains both LPs. [AM]"The Torchbearers" 1969 (Paulist Press p-04426)
"The Torchbearers" 199 (Void 02) [lyric insert; 500#d]Regis High School x-ian folk psych trio with a charming lost sound. The first LP is soft folk but "The Torchbearers" is especially memorable with a great mix of sounds - rhythmic Byrdsy ringing guitar and delightfully nasal vocals out front. "Them's a Comin'" is a great soulful take on segregation, "Hey Lord" is a rhythm punker worthy of Out of Darkness, "Magnificat '70" dives into the tripped downer zone, and "Jesus H. Clown" is just plain wierd. The Void LP reissue has an inferior sleeve job. [RM]
HOME AGAIN ( )
"Home Again" 1973 (Balloon BS-501)