LACEWING (Kent, OH)
"Lacewing" 1970 (Mainstream s-6132)
One of Mainstream's later-day releases, still mainly in the typical westcoast Airplane/Mamas & Papas/Big Brother bag but with hints of 70s things to come. Starts off strongly with femme-vox folkrock and psych and maintains a reasonably good level, with fuzz leads and minor prog ambitions on side 2, while side 1 has more of a CA'68 sound. Use of piano and heavy drum licks betray a "Volunteers" influence, while the atmospheric instrumental passage during "The Storm" may be the most original thing on board. It took me a long while to figure out why it sounded so familiar, but to my ears the overall sound is quite similar to the British Julian Jay Savarin album, although less coherent in its structure. About 2/3rds is excellent femme-vox hippie-rock, with impact lessened by a couple of uninspired tracks and a drum solo at the close. [PL]
~~~
In terms of collectability, this is a second-tier Mainstream album, but the opening “Paradox” is possibly the best song by any band on the label. It’s just a gorgeous folk-rock creation with sparkling male/female harmonies and a bright, summery feel to it. The rest of the album can’t possibly reach that standard, but other than a typically dull drum solo (at the very end—you can just turn off the record early), this is a nice album, and some surprisingly heavy bits enter into the mix. The female singer is very appealing. [AM]
~~~
In an earlier incarnation this band was known as the Measles and featured Joe Walsh on guitar. The band was briefly called Lacewing around the time of the Mainstream album, which (like other OH bands on Mainstream such as Freeport and December's Children) was recorded at Criteria Studios in Miami. Vocalist Mary Sterpka was later drafted by Walsh to sing back-up vocals on the James Gang hit "Midnight Man". Info courtesy of George Gell.
LADY CHASER ( )
"Lady Chaser" 1981 (private)
Here’s an otherwise interesting private press album that’s completely done in by horrible vocals. Musically, it’s a mix of rural rock, jazzy soft rock, and mellow bluesy rock, quite interesting and well-played. They tend to be lumped in with late-70s post-Dead artists like Walnut Band and Mad Fables, but this is really its own animal. If the singing were even remotely bearable, I’d recommend it. The fantasy cover promises a prog album, which this most definitely is not. Sometimes this album is listed as being by “Michael Barash.” It’s not entirely clear if Lady Chaser is the album name or the band’s name. [AM]
LAFAUCI (LA)
"Lafauci" 1978 (Uncle Meat)
This is a pretty solid southern rock/hard rock album. It's got that Molly Hatchet style of singing and the ubiquitous dual lead guitars, lots of hooks, some tasteful moog, concise, tight songs. A couple of ballads are weak, but otherwise if you like this style of music this is a good one. Short album, less than half an hour. [AM]
LAKOTA ( )
"Lakota" 1979 (JSR Records 1506)
Rural/southern rock sound by Native American band on New Jersey label, highly rated by some.
"I'll Be Alright" 1971 (SYMA ad-1000)
"I'll Be Alright" 2000 (Fanny, Belgium)Obscure basement hippie folkrock affair. Sound is somewhat reminiscent of quirky rural UK folkprog LPs like Gygafo or Candida Pax, especially the enthusiastic amateur vocals. Primitive 1970s folkrock setting with occasional keyboards, spirited atmosphere and coffeehouse folk remnants. I've heard some negative comments on it and while not too bad in my ears, it's hard to single out any particular appealing aspect to this LP. "Shine on me" is perhaps the most interesting track, with a fragmented, confused rural folk sound that may recall A-Austr. One of those private pressings where the rarity is more significant than the musical quality. [PL]
PAUL
LAMONT (San Francisco, CA)
"Psychedelia" 1969 (Golden State)
Improvisational avant hippie piano noodling, two side-long excursions that Lamont encourages you to play loud for best effect.
LANDSLIDE (NY)
"Two-sided Fantasy" 1972 (Capitol 11006) [green label]
"Two-sided Fantasy" 2002 (Akarma 238, Italy)
"Two-sided Fantasy" 2002 (CD Akarma 238, Italy)Appealing mosaic of various early 70s styles, delivered with a confident smooth groove that had me believe this was a black band which appears not to be the case. Sounds more rural/west coast than NY to me. Traces of Dead, Santana, Airplane plus some harder/bluesier aspects, still with an original vibe and even some Christian lyrics. [PL]
~~~
Here’s another Capitol rarity, and it’s a really good one. It’s a dual guitar hard rock album with tons of great hooks and some unique arrangements (“Creepy Feeling” has a chord progression that lives up to the title, the final song has an intense set of buildups, and many songs appear to have two drummers.) Equally good songwriting on the ballads and heavy songs, and subtle and creative guitar playing make this one of the best 1970s albums in the genre. Weird creepy album cover too. [AM]
ROBBIE LANE & THE DISCIPLES (Toronto, Canada)
"It's Happening" 1966 (Capitol T 6182)
Teen-beat from popular band with several 45 releases and a CBC TV slot. The sound is more pop than garage.
~~~
see -> "Meet The Lively Ones"
TONY LANE & THE FABULOUS SPADES ( )
"Introducing" 1966 (Justice 133)
"Introducing" 1996 (CD Collectables)Good opening Them cover sets the tone for a fatter and rockier club trip than most LPs on the label. Use of organ, sax and Tony's tambourine creates a contemporary mid-60s sound, and the big guy's vocals aren't bad at all, making even the token ballads acceptable, while a couple of energetic frat covers garner bonus points. "Long Tall Sally" with awesome bass runs is a highpoint, as is a fuzz-lead "See See Rider" which I'd rate as one of the best versions ever. Rated highly by Justice aficionado Jeff Jarema, this LP's main drawback is the lack of group originals. [PL]
LANGLEY SCHOOLS PROJECT see Hans
Fenger
LARRY & MYRA (MA)
"Alien Nation" 1970 (Eat the Day ls-101)
Male/female acoustic folk with pretty voices but forgettable songs. This is one of those albums that sounds really nice on first listen, but just fades away after that. Organ, flute, cello, guitars. Sometimes hyped as rare, but actually easy to find. [AM]
BOB LARSON (McCook, NE)
"Speaks Out On Rock Music" 1969 (Cornerstone CRS 4014)
Well-known Christian radio show host doing an early anti-rock music sermon, except the message is strangely deflated by Bob pulling out an electric guitar and playing wah-wah solos by Cream, Iron Butterfly, and more. Popular title among fringe collectors. It was originally sold to Christians on reel-to-reel tape. Larson had a number of other albums that would not be of interest to readers of this book. He also wrote the remarkably paranoid "Larson's Book of Rock."
LAST CALL OF SHILOH (Sandpoint, ID)
"Last Call Of Shiloh" 1970 (Last Call src-5136) [500p]
Christian westcoasty psych/folkrock with several tracks in the classic mold that fans of the genre love, similar to Wilson Mckinley, Steve Powell etc; ringing guitars, loose vocal harmonies and jammy Bay Area moods - just dig that bass player. Has 2-3 truly great tracks on level with Tripsichord with mix of male/female vocals, a few others are more spiritual in style. Only about half the original pressing came with covers; it appears that repro paste-on covers also exist. The original cover is flimsy and slightly oversized. Still no reissue, which is strange. [PL]
~~~
Deep Christian rock with inventive playing and a laid-back garage seeker vibe like the darker side of Jefferson Airplane or the third Velvet Underground LP. Soulful pretty vocals with female backup and searching westcoast leads. Highlights: "Marriage Supper of the Lamb" with soaring vocals and garagy guitar, the delicate melancholy of "New Jerusalem", and "Message of the Gospel" with its intriguing murky rhythm. [RM]
~~~
Here's an album that's desperately in need of a reissue. It's an early Christian rock record, which, like Wilson McKinley, is basically a record of its time with Christian lyrics rather than something that has true roots in any Christian musical tradition. Much of it is lovely folk-rock, and there are a few very, very beautiful songs. The vocals are dreamy and, dare I say, heavenly. It's not as consistent as, say, Azitis or "Spirit of Elijah," but the best songs here are the pinnacle of this genre. [AM]
~~~
see -> Living Sacrifice Band
LAST DAYS (on
Rite) see Charisma
LAST DAYS (TX)
"Last Days" 1975 (Crusade Studios 487) [lyric insert]
Here’s a sleeper of a Christian folk record. The lyrics are often cringe-inducing (how many times do we need to hear the graphic details of the crucifixion?), but there are some terrific songs here and lovely male and female vocals. Best of all, at the very end of side one, after nothing but guitar and voice for four and a half songs, some searing, punky, fuzz guitar comes out of nowhere. It turns the song “His Love Is Real” into a surreal and very exciting masterpiece of the highest order. Some more heavy guitar pops up in a few places on side two, and the album ends with a really soulful song that’s also surprising and wonderful. This album works mostly in bits and pieces, but at times it’s transcendent. [AM]
~~~
I was initially put off by the female vocals on this LP which seem detached and impersonal, mostly in a highpitched Joan Baez style. However, as the album progresses weird little twists begin creeping up to the surface. The male vocalist has a light androgynous tone which makes for a strange vibe on his tracks, as do some unexpected raw guitarleads that almost seem tacked on by someone else. The music is mainly straightforward Christian 70s folk with a humble, honest vibe that occasionally goes into true intimacy. Additional instrumentation includes piano, flute and light drumming here and there. On "Only His Few" they rock out in a delightfully fumbling way, and suddenly sound like Wilson McKinley for a minute or two before we're back in the awestruck Christian serenades. One track seems to rip off the 60s cheese garage classic "Shape of things to come". Hmm... odd one, with some definite surprises up the sleeve, like if the first Sons Of Thunder LP had been a 1970s album. [PL]
V.A
"LATITUDES 1973-74" (Blue Bell, PA)
"Latitudes 1973-74" 1974 (private)
Students from Montgomery Community County College of interest for some strong tracks by the prog group Puddleduck. Also features several more "bands" in various styles, guitar-rock from Tubular Chamber Ensemble, electric folk rock from an unnamed band, stoned hippy/Dead folkrock from a band called “Y”, trad folk from the Amber Ramblers, folk from Shack People, a brief jazz piece, and a closing electric/acoustic folk psych track.
LATTER RAIN (KY)
"Latter Rain" 1976 (New Life 610203) [500p]
Christian rock with churning organ, wah-wah, and powerful vocals. Half the LP is smoking hardrockers and the remaining mid-tempo tracks take on a more progressive turn with the organ out front. Good LP. [RM]
~~~
Most of this is pretty standard bluesy 70s Christian rock, with vocals that don’t quite hit the harmonies and a drummer and organist who try to overreach their bounds. A few songs have some rather heavy guitar with wah wah, which is surely what attracted psych collectors to the album, but basically this is not a hard rock album. The singer desperately tries to show a little soul, but he just doesn’t have it. This is the kind of album that may seem kind of daring within the Xian context, but once you give it a few close listens you’ll realize it doesn’t do anything a ton of other bluesy rock albums do, and most of those do it better. [AM]
ANTON LAVEY see "The
Satanic Mass"
LAZY DAY (Sioux City, IA)
"Straight 'Atcha" 1973 (Magic) [insert]
Midwest bluesy rural piano/guitar rustic jamming. Laid-back Allman Brothers moves. The band later became Bonesteel and kept going for many years. [RM]
LAZY SMOKE (MA)
"A Corridor Of Faces" 1969 (Onyx 6903) [paste-on cover; 100p]
"A Corridor Of Faces" 1986 (Heyoka 206, UK) [altered cover]
"A Corridor Of Faces" 1993 (Onyx) [altered cover; 500#d; autographed; booklet; bonus 45]
"A Corridor Of Faces" 1993 (CD Afterglow 003, UK) [bootleg]
"A Corridor Of Faces" 1997 (CD Arf Arf 065) [+12 bonus tracks]Have to confess I've never understood all the brouhaha around this LP, what with several reissues and heavy dealer hype whenever offered. The final word is yours, but to me it sounds like decent Brit-style beat-psych with a major Beatles fixation including Lennonesque vocals and low budget George Martin production tricks. The songwriting is OK but not great, and it's hard to catch a glimpse of any true originality behind the anglo facade. While charming and appealing in a 2nd-tier way, I've given this album many chances to reveal itself in a bigger way since the late 1980s, and have to file it among items that I simply do not "get". [PL]
~~~
Drifting melodic Beatlesque psych. like if "Rubber Soul" had all the "Sgt. Pepper's..." studio tricks and Lennon handled all the vocals. Backwards guitar, floating vocals, churchy organ, and haunting lyrics about romance and regret. The original cover was a paste-on xerox of the intended cover photo and liner notes. The two surviving members released an album of newly recorded acidic folk in 1996 on the Pondicherry label, titled "Pictures In The Smoke". [RM]
~~~
World-renowned as the great Beatlesque psychedelic album, but definitely overrated to these ears. The singer is considered by some to be a dead ringer for Lennon, but he lacks Lennon’s edge. There’s something sweet, almost corny, about the vocal tone that may resemble the Lennon of "Double Fantasy", but certainly not Lennon from the 60s. The album is pleasant and a few songs are excellent, but overall it’s hardly worthy of the awe it seems to inspire in some people. I’d certainly recommend Anonymous, or Kaleidoscope, or Los Walkers, or even Badfinger, first. [AM]
~~~
see full-length review
~~~
see -> Euclid
TIMOTHY LEARY (MA) see presentation
"The Psychedelic Experience" 1966 (Broadside brx 601) [1st press; thick leathery sleeve; Broadside matrix #; booklet]
"The Psychedelic Experience" 1966 (Broadside brx 601) [remastered 2nd press; thinner sleeve; Folkways matrix #; booklet]
"The Psychedelic Experience" 1966 (Broadside/Folkways brx 601) [3rd press; Folkways label; Broadside sleeve; booklet]
"The Psychedelic Experience / L.S.D (Pixie)" 2002 (CD Expansion, UK) [2-on-1]Leary's first LP was released around September 1966 but may have been recorded much earlier. It features him and co-author Ralph Metzner reading from the "Psychedelic Experience" book from 1964. Richard Alpert is credited on the sleeve but may not appear on the actual recording. The recording is a bit lo-fi and is a working albeit somewhat dull introduction to the phantasmagorical world of acid. The booklet is necessary for the trip. [PL]
"Turn On, Tune In, Drop Out" 1966 (ESP 1027)
This has the same title as the more common Mercury LP but completely different contents. This is Leary's rarest LP and also one of his best; entertaining, confrontational and timeless despite its heavy zeitgeist facade. This was made just as Uncle Tim had coined his famous slogan and was preparing to leave the academic-scientific track and target the youth of Middle America with his lysergic spiel. An extraordinary piece of counterculture history. [PL]
"LSD" 1966 (Pixie 1069)
"The Psychedelic Experience / L.S.D (Pixie)" 2002 (CD Expansion, UK) [2-on-1]Leary's third LP to be released in a short timeframe, this has a dry and somewhat bitter press conference vibe, the great man's fatigue with square paranoia and law persecution is not hard to detect. Fabulous cover and still a good introduction. The title is sometimes listed as 'Timothy Leary, Ph.D'. An odd 8-track bootleg of this album from the late 1960s exists, with only the legend "LSD" and a collage artwork with Jim Morrison etc. [PL]
"Turn On, Tune In, Drop Out" 1967 (Mercury mg-21131) [mono; wlp exists]
"Turn On, Tune In, Drop Out" 1967 (Mercury sr-61131) [stereo]
"Turn On, Tune In, Drop Out" 199 (Performance, Germany)
"Turn On, Tune In, Drop Out" 199 (CD Performance, Germany)Same title but completely different contents from the rare ESP album above. Probably Leary's best LP, and one of the top spoken word albums ever made. An echo-laden and highly inspired Leary guides Ralph Metzner through a rather eventful acid journey, with bad trip aspects and a spellbinding exploration of cellular memory the highpoints. There's also sound fx and lots of incidental music in a psychy drone East Indian style that's pretty cool. The movie for which this LP is a soundtrack opened for a few pre-screenings in mid-1967, but was never released theatrically and remains unseen. Also released in New Zealand. A 45 was released from the LP. [PL]
"You Can Be Anyone This Time Around" 1970 (Douglas 1) [gatefold; inner sleeve]
"You Can Be Anyone This Time Around" 199 (CD Rykodisc)
"You Can Be Anyone This Time Around" 199 (CD Ufo, UK)
"You Can Be Anyone This Time Around" 200 (Get Back, Italy) [gatefold]After 3 years during which the mainstream psychedelic explosion he helped fuel exploded and fell apart, Leary returned with this fun and charming LP, a part of his gubernatorial campaign in California (Ronald Reagan won). Supposedly featuring Hendrix and Steven Stills, but the music is bland studio fill and of little interest compared to Leary's raps about legalization of marijuana, rebirth, and the central nervous system, the latter being a particularly inspired exegesis that points towards his 1970s-1980s work. Great Mouse packaging. A Canadian pressing exists. Leary also recorded an amazing European psychrock LP, "Seven Up", with Ash Ra Temple while a fugitive after his prison escape. [PL]
"The Joyful Wisdom" 1977 (Joy) [7 volume set]
This is a series of seven long playing record albums in white sleeves without jackets. Produced by George A. Koopman for WKGB, San Diego, each record features an interview with Leary as well as other segments (news, commercials, dramatizations) written or performed by him. Other participants include Grace Slick, Lindsay Wagner and Cheech & Chong. Approximately 100 copies of each record were distributed for promotional purposes to about 30 radio stations. No commercial release.
~~~
see -> "LSD" (Capitol)
LEATHERCOATED MINDS (OK / CA)
"Leathercoated Minds" 1967 (Viva v-6003) [mono]
"Leathercoated Minds" 1967 (Viva v-36003) [stereo]
"Leathercoated Minds" 2001 (CD Acid Symposium 001)Ah. Early Jean Jaques (aka J.J.) Cale and a classic slice of exploito rock. Released on Amos "Snuff" Garrett's newly formed Viva Records, 1967's "A Trip Down the Sunset Strip" was billed as a concept piece - "In this album, we are trying to paint sound pictures of the Strip - the voices you hear above each recording are the actual voices of the Strip's inhabitants. The traffic noises are real - recorded on location. The songs contained in the album are 'What's happening' - most of them got their start in the Hollywood area and later became national hits". While the covers were largely rote in nature, Cale and the Tillisons turned in some nice vocal performances. The one exception was Cale's rather ragged vocal performance on Dylan's "Mr. Tambourine Man". Cale also distinguished himself via his guitar work. Among the highlights, while clearly added to the LP as filler material, were Cale's four original instrumentals. Anyone hearing "Sunset and Clark", "Non-Stop" or "Pot Luck" will instantly know why Eric Clapton subsequently elected to record Cale's "After Midnight". Personal favorite; the rollicking "Eight Miles High" cover. Killer guitars throughout. The LP was released in the UK by Fontana. [SB]
LEAVES (Los Angeles, CA)
"Hey Joe" 1966 (Surrey lps-3005) [mono; plain white cover with promo sticker]
"Hey Joe" 1966 (Surrey/Mira lps-3005) [mono wlp; Surrey label; Mira cover]
"Hey Joe" 1966 (Mira lp-3005) [mono]
"Hey Joe" 1966 (Mira lps-3005) [stereo]
"Hey Joe" 198 (Mira) [bootleg]The debut LP from the fathers of "Hey Joe" is OK but an obvious rush/filler job typical of the era. Apart from the classic title track hit there's 2-3 worthwhile tracks like "Dr Stone" and "Too many people"; the rest is 2nd tier beat & folkrock comparable to the weaker aspects of the Blue Things album. The band formed at San Fernando Valley State College in Northridge. Also released in France, and in Italy with an altered cover. [PL]
"All The Good That's Happening" 1967 (Capitol t-2638) [mono]
"All The Good That's Happening" 1967 (Capitol st-2638) [stereo]
"All The Good That's Happening" 2005 (Capitol)The second LP is often referred to as being superior and more significant, and shows the band hinting at a Buffalo Springfield type development. In all fairness this isn't terribly impressive either but it does have a more mature sound and some interesting tracks like "Twilight Sanctuary". A combination of their two albums would have been pretty enjoyable. There is a green vinyl retrospective LP from 1982 titled "1966" on the Panda label, including unreleased and live tracks. Other retrospective releases and reissues exist but won't be listed as the band is a borderline inclusion. [PL]
V.A "LEBANON
COMMUNITY THEATER" (Lebanon, PA)
"Lebanon Community Theater" 1973 (no label 7300101)
Local obscurity with covers of Doobie Bros, Crazy Horse, Chuck Berry, some originals too. Bands include Mourning Son and the Ashley Reflection. Some copies came without sleeve.
LECTRIC MUSIC REVOLUTION (Guelph, Canada)
"Lectric Music Revolution" 1971 (Marathon ALS 331) [yellow label]
"Lectric Music Revolution" 1971 (Marathon ALS 331) [red/white label]
"Lectric Music Revolution" 1996 (Marathon) [bootleg]
"Lectric Music Revolution / Sex: The End Of My Life" 1997 (CD Hipschaft) [2-on-1]Moody late beat and folkrock with an occasional dark psych/lounge feel, from older guys who look ridiculous in "hip" mod gear on the sleeve, and don't sound entirely comfortable with the music they're playing. The LP has a number of great, understated downer trips that are reminiscent of New Dawn and Mississippi, plus a few lighter pop/top 40 tracks that have been put down but don't sound that bad to me. "Tanya Canya" on side 2 is a spine-chilling classic, and the album as a complete package hits an unusual spot which makes it memorable; burnt-out c & w musicians trying to catch the 60s train 4 years too late? Some rate this very highly and the reissue's worth checking out. [PL]
TERRY LEE (Pittsburgh, PA)
"Magic Music" 1971 (Stone)
Terry Lee was a Pennsylvania DJ who also produced the Fantastic Dee-Jays. Apparently a vanity project, "Magic Music" is surprisingly enjoyable. Produced by Richard Strang, musically the set's one major mess, offering up a hodgepodge of music, sound effects, spoken words segments and radio news snippets. The surprise is that the music part of the LP's surprisingly good. Propelled by Lee's nice voice, the set offers up a mix of garage rock originals ("It's Not Easy" and the second half of "Kennedy Nitemare") with a couple of uncredited covers thrown in as filler ("Gimme Gimme Good Lovin'"). Elsewhere, you have to admire the completely tasteless cover - Lee apparently relieving himself in a junked toilet. [SB]
TROY LEE (CA)
"Life Goes On" 1979 (Globe Export)
Local obscurity with appealing melodic psych/new wave sounds on the title track, otherwise of no special merit.
LEGEND (CO/CA)
"Legend" 1968 (Megaphone 101) [mono]
"Legend" 1968 (Megaphone s-101) [stereo]Offering up a mixture of originals and popular covers (Bob Dylan, The Troggs, The Who), musically the set wasn't particularly original. With the band credited with half the material, tracks such as 'The Sky That Is Blue', 'Zepplin's Good Friday' and 'Yesterday's Child' showcased a tasty blend of tight, Beatlesque harmonies and surprisingly commercial melodies. It wasn't perfect with the band occasionally drifting too close to Mamas & Papas-styled MOR ('Gigi'). Far more impressive were the band's stabs at a harder rock sound, including the fuzz guitar and feedback propelled 'Where Oh Where Is Mother' and their vox-powered cover of Dylan's 'Baby Blue'; always liked the song's sitar fadeout. All told, the results weren't half bad; an album I pull out from time to time. [SB]
~~~
The non-LP 45 track "Portrait Of Youth" is an excellent track, other than that I'm not a great fan of this outfit. The LP has covers of the Who, Troggs, Dylan and more. The band had an earlier local 45 as the Obvious on the Cheetah label. The band is often linked to Dragonfly, but we've been unable to find any obvious connection except the "Portrait" track and the label. [PL]
LEGEND (CT)
"From The Fjords" 1979 (Empire 11186) [insert]
"From The Fjords" 199 (no label) [paste-on cover; 500#d]Progressive hardrock medieval concept. Of interest primarily for its rarity, even though as many as 1000 copies reportedly were pressed. There was also a rare pre-LP 45 done as Judge, and a post-LP 45 with PS, done as Mercenary.
LEGEND (OH)
"In Their Own Time" 1979 (no label 1199)
Obscure hardrock LP in the same generic "eagle" cover as Headstone from Ohio.
JANE LEICHHARDT ( )
"A Woman Like Me" 1968 (Metromedia 1011) [wlp exists]
Quite scarce and rather good album on this always-interesting label. Folk-rock that's not wimpy or mystical. She's definitely a hippie, but more along the lines of Elyse Weinberg than, say, Judy Collins. There's nothing really psychedelic or experimental here, and the generic-looking cover probably kept too many collectors from checking it out. Still, it's reasonably consistent and the singing and style are quite appealing. [AM]
LELAND (San Francisco, CA)
"Leland" 1976 (no label r-2954) [paste-on photo cover; inserts]
"This Is My World" 1978 (Contempt r-2954)Leland is a freaky looking Asian dude who wears tights, a cape and black nail polish. This album was recorded in 1975, but it sure sounds like formative “new wave” to me. That’s a compliment, as Leland’s music has the same wild spirit and anything goes attitude of the earliest DIY punk records. I’d imagine White Boy fans liking it, for example. Most of these songs have some crazy lead guitar, and the album cover proclaims the music “hard rock,” so it’s not surprising that psych and garage collectors like it. There’s also a synth-heavy ballad with whispered vocals, and a song where the tempo shifts wildly and Leland starts unexpectedly singing falsetto. A few other songs have a cool low-fi garagy feel to them. Leland plays everything but the drums, though I think hiring a bass player might have been a good idea. When he sings it sounds like his throat is bleeding. All in all, very cool. This is more like an EP than an album, by the way, as the 6 songs clock in at 24 minutes. The first press is said to have an extra song from an early single, though I can’t imagine why they’d make the (retitled) second pressing so short if another song was available. The LP was engineered by David Blossom (Fifty Foot Hose). [AM]
"Live At Mabuhay Gardens, S.F." 1979 (Contempt r-2965)
Here's one for people who thought the recording quality on "This Is My World" wasn't cheap-sounding enough. It's a mono live album with cavernous echo, barely intelligible vocals and "Sears special"-sounding guitars that play spastically long after the songs should be over. Terry Brooks fans might like it. Since it's live with no overdubs, it lacks the extra texture of the first album's keyboards. I like "This Is My World" a lot, but this one is too anti-melodic and sonically sludgy for me to take. My favorite "song" is the last one, where Leland plays random noise on his guitar, the drummer bangs uncontrollably between guitar bits, and one of the producers asks Leland why he insists on turning his guitar up so loud. This is even shorter than "This Is My World," a mere 16 minutes, about a third of which is guitar noodling. [AM]
D LEMIEUX & JEAN PETERS (IL)
"Hey Jesus Christ, Welcome To This World" 1971 (Wright) [booklet]
Unbelievable homemade variation on Jesus Christ Superstar (different songs, similar concept); "misguided" is only the beginning. Sounds like a recovering addict project, crude in every aspect. A must for incredibly strange fans -- don't miss the "Inn-keeper"'s forceful performance. [PL]
LEND A HAND (FL)
"Lend A Hand" 197 (Lenihan LR101)
Lowkey Christian folk/softrock with female vocals, piano and flute, plus some contemporary secular covers. Housed in the same generic ocean sunset sleeve as Asylum and Quoth The Raven.
GEORGIE 'PORGIE' LEONARD (RI)
"One Man Band" 1971 (Cheep ch-001)
"One Man Band" 1999 (American Sound 1006) [bonus 45; 500p]Also known as Georgie Porgie of local 1960s folk-punk 45 fame, this finds the guy five years and several jugs of Romilar later. Essentially a so-so singer/songwriter LP somewhere between Geoffrey and Arthur Lee Harper though possibly weaker than both. Starved on worthwhile finds some dealers hyped this in the 1990s, but apart from the great closing psych spooker "The lake" (which exists in a different pre-LP 45 version), it's pretty bad and embarrassing in my ears. A reissue on the Belgian Fanny label was advertised but hasn't been seen. Half the reissue pressing came with the 'girls' cover, and half in another cover design. [PL]
LEOPARDS (Kansas City, KS)
"Kansas City Slickers" 1977 (Moon mlp-300)
The Leopards are to the "Village Green"-era Kinks what the Rutles are to the Beatles, except that they're pure tribute with no sense of mockery. This album is a blast for Kinks fans, but it's also very nice for fans of 60s pop, as there are great melodies and clever ideas sprinkled throughout. They also released a few excellent non-LP singles. They were around during the Kansas City power pop scene in the late 70s and one has to wonder if Michael Angelo was connected to them or any of the other bands in the area. Promo copies include a printed folder with press clippings. [AM]
PERRY LEOPOLD (Philadelphia, PA)
"Experiment In Metaphysics" 1970 (WS 1) [300p]
"Experiment In Metaphysics" 1995 (Psychedelic Archives, UK) [275p; altered cover; insert]
"Experiment In Metaphysics" 1998 (CD Gear Fab gf-122) [+3 tracks]Legendary LP of twisted folkpsych/singer-songwriter crossover, like a Tim Hardin from hell. He has a great beatnik voice and plays acoustic guitar like noone before or since, the instrumental tracks are more psychedelic than ten layers of Sgt Pepper tape loops. The vocal stuff's even better, relating Perry's unique wisdom and outcast experiences. Some tracks go deep in a DR Hooker manner and all over this is an essential LP in my ears. Recorded in a basement studio beneath a Philly shoe store. The original came in a plain copper cover with small title sticker; not all copies have the sticker. The vinyl reissue has an insert with a photo of Perry with Bruce Springsteen! Good unreleased stuff from 1973 was issued in 2000 ("Christian Lucifer", Gear Fab/Comet). [PL]
~~~
Damaged solo coffeehouse folk. The "Metaphysics" LP is a dark folk classic. Aggressive, dark strumming with biblical, metaphysical concerns, and just plain lostness. Delicate high tenor vocals and torturous acoustic picking, even on the slower cuts. Depressing claustrophobic imagery and world weariness. The playing tends to wander, changing tempo and progressions but always retaining a sense of schizophrenic foreboding to match his vocals. "Cold in Philadelphia", a tale of living on the street, puts you right there with him. The last two songs, "When You're Gone" and "The U.S.S. Commercial", really puts it all together - good tunes to check out to. A thoroughly haunted recording. "Christian Lucifer", originally unreleased, continues his harrowing themes with an increasing concentration on religious imagery. He also recorded a less effective EP in the late 70s. [RM]
~~~
see -> High Treason
CLAIRE LEPAGE & COMPAGNIE (Quebec, Canada)
"Claire Lepage & Compagnie" 1970 (Trans-Canada)
Bluesy guitar psych with female vocals and a Beatles cover. She has a whole bunch of albums, but this is the one of interest to readers of this book.
LESLIE BROTHERS (MI)
"Wanted" 196 (Cupid)
Two hillbilly hipster brothers from Kentucky end up in Michigan and recorded this record. Try to imagine if Stud Cole had two younger inbreeded cousins that were inspired by Chuck Berry instead of Elvis and you get a good idea what this album sounds like. By the way, it's rarer than all the other big ones (Index, Mystic Siva, etc) from Michigan. The only other known copy is trashed and without a cover. I suspect it's from the late sixties and it's great! [JSB]
LET'S SPEND THE NIGHT TOGETHER (Canada)
"Let's Spend The Night Together" 1967 (Arc 728)
Canadian exploitation with six Rolling Stones covers, plus some Yardbirds, Small Faces, Troggs etc.
"A LETTER HOME" see
A Letter Home
MARK LEVINE (Los Angeles, CA)
"Pilgrim's Progress" 1968 (Hogfat hlp-1)
This album has the look and feel of one of the Columbia albums of its time. It’s long (50 minutes), has babbling liner notes from the artist, and Levine the singer-songwriter is backed by an absolutely ace group of musicians, including Ry Cooder and Mike Deasy. Dylan comparisons are inevitable: Levine doesn’t have much of a voice but his singing projects plenty of personality and humor, and his lyrics are complex in both personal and abstract ways. The music is folk-rock with a bluesy edge (courtesy of Cooder’s guitars.) Half the time it sounds like Levine was trying to make the greatest album ever, and the other half it just sounds like he’s having fun with his buddies, and the record is appealing on both levels. The lyrics are often obscene, and are frank and explicit about sex and drugs. This must have been quite shocking at the time and gives the album a real underground hippie feel. The opening and closing songs (two sides of the same coin, lyrically) are the most instantly likeable, but there’s a lot of depth here. This isn’t background music; you’ll want to pay attention to the lyrics. This is one of the most enjoyable and fascinating singer songwriter albums of the era. [AM]
LE 25IEME REGIMENT see 25th
Regiment
PAUL LEVINSON (NY)
"Twice Upon A Rhyme" 1972 (Happysad 3000)
Enjoyable but still fairly unknown LP of 1968-69 Buckley/Hardin-style folkrock with stoned psych vibe throughout, lots of warmth and personality and idiosynchratic vocals. Full rock setting with feedback guitars, organ and druggy sound effects, creating a flowing “Blonde on blonde”-like feel with many layers and unpredictable moves. Upbeat 1960s vibe, rather than the usual 1970s downers. Highpoints include weird, dreamy tracks such as "Forever Friday" and "The Lama Will Be Late This Year" (my personal anthem). [PL]
PHILIP LEWIN (Toronto, Canada)
"Am I Really Here All Alone?" 1975 (Gargoyle no#) [paste-on cover; 300p]
Appealing DIY hippie-folk LP with mostly acoustic guitar, electric lead picking on top, and Lewin's vocals. Relaxed and organic with an almost improvised feel; I can imagine him as the Tim Hardin of some local 70s coffeehouse scene. Not really a "downer" album, although a couple tracks (one with piano) reach into darker corners with a late-night blues feel. Lewin's voice isn't strong but he uses it well and creates an intimate presence that keeps your attention throughout. As on many Canadian LPs there is also a certain British feel which may recall Tony, Caro & John, Red Television and similar efforts. The album's main weakness may be the lack of a "signature" song to stand out among the 11 tracks. Packaging is great, a monochrome wraparound sheet with an excellent psychedelic drawing of Lewin, making this look like an old TMQ bootleg. Worth checking out for both genre fans and those interested in Canadian private press releases. Lewin's second LP ("Diamond Love & Other Realities", Gargoyle 1976) comes with professional packaging and a full folkrock sound with flowing keyboard, jazzy moves and some female vocals, but is less successful as a whole.
JEFF LIBERMAN (Flossmoor,
IL)
"Jeffrey Liberman" 1975 (Librah 1545)
"Jeffrey Liberman" 199 (Librah, Europe) [bootleg]The debut LP which apart from being reissued also supplied one track to a comp you might wanna check out before diving into his stuff. Mixes heavy feedback blowouts with mellow loungy bits. An acquired taste as they say, though guitarheads probably can dig it. [PL]
"Solitude Within" 1975 (Librah JL 6969)
"Solitude Within" 199 (Librah, Europe) [bootleg]I wasn't real sure what to expect from this one since folks seem to love it, or hate it. With that in mind I'm happy to report that I fall into the pro-Jeff Liberman camp. While 1975's "Solitude Within" may not be the most original effort in my collection, Liberman showed himself to be an excellent and extremely versatile guitarist who was equally at home on hard rock ("Rock or Roll Me"), jazz-rock, blues ('The Same Old Blues') and even a little out-and-out experimentation (the instrumental "Myopic Euphoria"). While the focus was clearly on Liberman's guitar chops, exemplified by tracks like the leadoff rocker "I Can't Change" and "Life Is Just a Show" he had one of those gravely voices that was surprisingly well suited to a wide array of genres. Imagine Robin Trower (another reviewer used Alvin Lee as a comparison), but with a voice and less of a Hendrix fixation and you'd be in the right aural neighborhood. While psych and rock fans might not be enthused by Liberman's jazz-rock excursions, I actually found stuff like the instrumental Santana-esque title track and "'Springtime"' to be a nice change of pace. [SB]
"Synergy"
1978 (Librah) [insert]
"Synergy" 199 (Librah, Europe) [bootleg]
"Then
And Now" 199 (CD
Second Battle sb-034, Germany) [2CD]
-- collects the three
Librah LPs on 2 CDs.
LIFER (Bloomington, IN)
"Lifer" 1980 (Ribbon Rail)
Hardrock obscurity with a slight prog touch.
LIFT (New Orleans, LA)
"Caverns Of Your Brain" 1977 (Guiness gns-36021)
"Caverns Of Your Brain" 199 (Guiness, Europe) [bootleg]
"The Moment Of Hearing" 199 (CD Synphonic) [+bonus tracks]This is the most collectable rock (as opposed to funk) album on the Guinness label, and it's easy to see why, as it's one of the most accomplished American prog albums you'll hear. There's a definite Yes influence in the heavy bass playing, melodic vocals and use of keyboards, but also a youthful charm and refreshing lack of fantasy lyrical content. The last song gets awfully repetitive at the end (which makes me wonder if Guinness just used the master tape and didn't fade the song out soon enough), but otherwise these four long songs are engaging and surprising throughout. Several years later the band found out that "Caverns" (recorded 1974) had been released behind their backs, and they decided to release the album on CD. This reissue includes a whole album's worth of songs they recorded a few years later with a female vocalist. This is one of the rarest albums on Guinness, reportedly a pressing of 500. [AM]
LIGHTNIN'
(MI)
"Lightnin'" 1975 (Jojacq) [blank back cover]
Hardrock with funk and prog moves. Same songs on both sides. There is also a John Sinclair-produced 1973 acetate with 5 tracks from a MI band called Lightnin' which is better than this, with typical Detroit rock sounds. It's unclear if it's the same band.
[WHITE] LIGHTNING
(Minneapolis, MN)
"Lightning" 1970 (P.I.P. 6807) [wlp exists]
"Lightning" 1996 (CD Anthology 38.11, Italy)Hard fuzz trio/quintet featuring the blazing leads of Zippy Caplan (ex-Litter). The band was less garagy and more pounding hardrock than the Litter. White Lightning was a slang term for LSD at the time (and bootleg whiskey prior to that). In this pre-LP power trio format the band cut a classic hard guitar-psych 45, "William", released as by White Light on the local Hexagon label and picked up by Atco for national distribution. The group then added two new members and shortened their name to Lightning. They continued in the hardrock mode but now with dual leads. "Lightning" is an excellent effort, just missing the certain magic they possessed as a power trio. Recorded at Sound 80 in Minneapolis. Early runs mention Jimi Hendrix on the label; later runs do not. Posthumous releases with enjoyable pre-LP material include "Under The Screaming Double Eagle" and "The Lost Studio Album/1969", both on the American Sound label, combined to one CD on Arf Arf. [RM]
~~~
see -> Litter
LIGHT RAIN (Larkspur,
CA)
"Light Rain" 1977 (Magi 004)
Douglas Adams' debut LP was released under his name, while the "Light Rain" title became his band name for subsequent albums. Rather appealing mid-1970s hippie folkrock/s-sw sounds with a rich instrumentation and lots of ethnic moves; especially into Mediterranean/Arabian domains. I detect an influence from "Desire"-era Dylan, which combines with a typical guitarbased period sound (incl some fuzz leads) a la David Sinclair on side 1, while side 2 gradually lays on an Eastern feel with flamenco guitars and arabian violin, making the last 10-12 minutes quite psychedelic in feel. Hardly outstanding but enjoyable all through for fans of 1970s folkrock. Light Rain's subsequent work is instrumental Middle-Eastern bellydance excursions with a westernized feel, superb performances and high production value. These include "Dream Dancer" (1978), "Dream Suite" (1979) and "Valentine To Eden" (1983), all reissued on CD. Several years earlier, Adams and his brother were in El Paso band Wailing Wall (see entry). [PL]
LILY & MARIA (New York City, NY)
"Lily & Maria" 1968 (Columbia CS 9707)
"Lily & Maria" 2005 (Columbia)I picked up a copy of the LP given I'd seen various references describing it as being "moody psych" and "acid folk". Chalk that description up to dealer hype. So if it ain't psych, what is it? Imagine a female Simon and Garfunkel. Now eliminate some of the songwriting talent; delete some of the vocal abilities; eradicate most of that pair's limited sense of humor and for good measure add on a mix of cloying lyrics and nauseating arrangements. Yup, that'll give you a pretty good picture of the results. Basically it's hard to decide what worse, the duo's lame stabs at making big and sensitive statements ('Subway Thoughts' and 'Ismene - Jasime'), or Neuman's little girl lost voice. To my ears the woman can't come within a mile of hitting a song's melody. Given the album vanished without a trace, most folks (or at least the few that heard this), apparently agreed. [SB]
~~~
This duo became of interest to collectors when a song from this album appeared on the "Hippie Goddesses" compilation. Housed behind a photo of the two, heads together, naked to the shoulders, marvellous blue eyes shining, the album is sensual and intimate, and the voices blend in an appealing way. Most of the songs are long; they drift. That's good and bad; at its best the songs are passionate and delicate, but at worst they're aimless and over-serious. It's unique; I think it's a more interesting record than, say, Wendy & Bonnie, but I also think it'll just float right by a listener who isn't inclined the right way. [AM]
LINCOLN ST EXIT (Albuquerque, NM)
"Drive It" 1970 (Mainstream 6126) [rarer wlp exists]
"Drive It" 198 (Mainstream, Europe) [bootleg; thin cover & vinyl, matrix# scratched out]
"Drive It" 199 (CD TRC, Germany) [+2 tracks]Along with Growing Concern and Bohemian Vendetta, this is at the top of the Mainstream totem pole (in terms of price), and it almost lives up to the hype. Excellent teen hard rock from Native Americans who are wise beyond their years, as good as almost any other bluesy hard rock album from its time. Maybe the best of the many excellent Mainstream album covers, too. The band had a killer pre-LP garage/psych 45, and also a retrospective EP on the Psychout label with a great unreleased psych epic track. A German pressing on London exists. [AM]
~~~
see -> Xit
JAMES CALHOUN LINDSAY BAND ( )
"Kinky Mersey" 1976 (Tiger Lily tl-14043)
Lord knows why this album was ever recorded. It's covers of mostly British Invasion songs (including four Beatles tunes), basically done with no effort to distinguish them from the originals. It sounds like a demo for a cover band trying to get gigs on the oldies circuit. In fact, this was most certainly demos rather than completed songs, as the songs end sloppily, there appear to be no overdubs, and in some places you can hear the singer giving cues to the band. Side two is even less "complete" than side one and sounds like it was recorded accidentally without the band's knowledge. The only song that tries for something different is a long, boring, obviously improvised hard rock take on "Why Don't We Do It In The Road." It's a song that could make for an interesting cover version some day, but this isn't it. Only the most fanatic Tiger Lily collector should dare touch this stinker. In true tax scam fashion, there are no musician credits, and some of the songwriting credits and song titles are incorrect. James Cahoon Lindsay was previously a member of Goodthunder, and later would be a member of L.A. Jets. Both bands also included members of another (and much better) Tiger Lily band, Daddy Warbucks. [AM]
LINKS (Las Vegas, NV)
"Presenting the Links" 1967 (Link lp-501)
"Once Again and Again" 1967 (Link lp-503)
Funny bad lounge rock cover band with lots of accordion that's been criminally hyped as "garage" and "folkrock" by deaf record dealers in the past. [RM]
LIONHART (TX)
"Lionhart" 1977 (Hutch) [1st press; plain cover]
"Lionhart" 1977 (Hutch) [2nd press; printed red cover]Crunching guitar hardrockers. There is a also a 45 release.
LISTEN (Oklahoma City, OK)
"Listen" 1973 (Treehouse S-12-432)
Seldom seen Christian hippie folk trio which is above average, about half the tracks being strong.
LISTENING (Boston, MA)
"Listening" 1968 (Vanguard vsd-6504) [wlp exists]
"Listening" 2000 (Vanguard/Akarma 050, Italy)
"Listening" 2000 (CD Vanguard/Akarma 050, Italy)Good but overrated Bosstown hard rock/psych album. They try to do a lot, integrating jazz and blues touches into the music. Some of the songs don’t really make it, and they seem kind of self-conscious at times (i.e. the Dylan-esque moan of “so stoned” at the end of the otherwise great “Stoned Is”.) This one hasn’t really aged all that well, probably because they were trying too hard, but there are still some hot moments and some excellent musicianship on display here. [AM]
~~~
Between 1966 & 1968 you could easily have divided the U.S. into five distinct geographic areas with each one having it's own stereotypical, localized style of rock music. The Midwest had horns, possibly as a result of it's rich history of High School Football and it's accompanying Marching Bands. The West Coast had laid back, flowing guitar sounds, the results of both the "Hippie"(drugs) and "Surf" lifestyles. The Southwest(primarily Texas) had a punky, bad-ass garage edge as a result of being... ummm... Texans. The Southeast was influenced by it's native R&B and the Justice label documents the results. And the Northeast had blue-eyed soul, street smarts and the legendary Hammond B-3 Organ. The Vanilla Fudge is the band that can get credit/blame for leading a whole barrage of organ dominated bands that played the clubs of the Tri-State Area (NY, NJ, Conn, Pa, Mass... yeah, I know there's five of `em). Most of these bands did simplistic cover versions of R&B and AM Rock hits, slowed down to barbiturate speed, with this giant, living, breathing, pulsating organ pulling the tune along like a tugboat. As stated above, these characterizations are stereotypes, with there being a considerable number of exceptions, exceptions that usually produced the more interesting music. Listening is one of these exceptions. Their one and only LP, released on the Vanguard label in 1968 is certainly rooted in the Northeast stereotype. Keyboardist Michael Tschudin uses what appears to be classical and jazz influences to both expand and explore the genre, without ever sounding pretentious. (And continued to do so well into the 70's... more on that later) The LP opens with the awesome "You're Not There", a tune of matured teen angst that rather than beg "Baby, please come back!", realizes it's way to late and comes to terms with it. ("~You just stare, Baby, you're not there~"). Great ripping guitar and an organ that crescendos at all the right times. Amazingly, this tune was covered by the NY band Odyssey on their obscure private press as a result of the band's management having heard the Listening version and thinking it could "be a hit". "Laugh At The Stars" has a very psychedelic Left Banke vibe with once again, great guitar leads that are subtle and in all the right places. The third cut "9/8 Song" is where we might lose a few folks as the piano is rolled out and used generously. Imagine The Wizards From Kansas jamming with Dave Brubeck. It works for me, it won't for everyone. Next up is the highlight of the LP and one of my all-time personal faves "Stoned Is". This is the herb smokers answer to Lou Reed's "Heroin". It captures such a mellow, stoned vibe that a mere listen may produce a contact high. Features a sound that's described in the liner notes as "Organ Wash" (This song was covered by Tschudin's later band "Cynara" on Capitol in the early 70's) It closes with the exclamation point of vocalist/drummer Ernie Kamanis moaning "SoooooooooStoooooonnneeddd". The LP is worth the price of admission for this tune alone, and I don't say that about too many albums. "Forget It, Man" and "I Can Teach You" are more progressive in nature and upbeat which is not the band's forte, but certainly tolerable. "So Happy" sounds like a Boyce & Hart Monkees tune, catchy but shallow. "Cuando" is a throwaway instrumental with a Latin vibe. "Baby, Where Are You" is the highlight of Side Two. A blues based tune that again has a Lou Reed vocal vibe and a stoned Young Rascals meet Sam Gopal musical vibe. The closer is "See You Again" and it has a trashy Lincoln St. Exit guitar sound, the hardest rocker on the LP and the tune where 16 year old guitarist Peter Malick gets to show off his chops. In my opinion this LP is the best of the more obscure Vanguard efforts. If keyboards aren't your thing, you'll think a little less of it. If you dig the Odyssey LP or Stark Naked on RCA this is your Holy Grail. [RH]
~~~
see -> Cynara
LITE STORM (Los Angeles, CA)
"Warning" 1973 (Beverly Hills 1135)
Hollywood breezy hippies with Kali Bahlu, one OK track has been comp'd.
"God Is Love" 1973 (Beverly Hills 1136)
"God Is Truth" 1974 (Sai Sound Sumitee)
Obscure second and third LPs are more Eastern-mystic and spiritual as the band disappeared into the guru mist (as represented by Sai Baba, pictured on both album sleeves). Mixed male/female vocals, indian instruments. Later albums were released as by One.
~~~
see -> One
LITTER (Minneapolis, MN)
"Distortions" 1967 (Warick wm-671) [2000p]
"Distortions" 1981 (no label, UK) [bootleg]
"Distortions" 198 (Eva 12038, France)
"Distortions / $100 Fine" 1990 (CD Eva b-04) [2-on-1]
"Distortions" 1990 (K-Tel 835-1) [+2 tracks; 500p]
"Distortions" 1990 (CD K-Tel 835-2) [+2 tracks]
"Distortions" 1995 (CD Taxim tx-2003, Germany)
"Distortions" 1999 (CD Arf! Arf! aa-077) [+9 tracks]
"Distortions" 1999 (Get Hip ghas-5020)One of the major local LP legends which had people mortgaging their houses even back in the late 1970s. Zippy Caplan is one great fuzz guitarist and there are some brilliant originals here, but also several unnecessary UK '65-66 covers which sort of irritate me. Insane version of "I'm a man" is a classic, and the sheer perfection of "Action woman" even more so, but both these tracks were released on 45. So by today's standards this LP doesn't really deliver all the way in my ears, though I'm sure a lot of people out there disagree. [PL]
"$100 Fine" 1968 (Hexagon 681) [1000p]
"$100 Fine" 198 (Hexagon, Europe) [bootleg; fuzzy photo and fine printing]
"Distortions / $100 Fine" 1990 (CD Eva b-04) [2-on-1]
"$100 Fine" 1991 (K-Tel) [+1 track]
"$100 Fine" 1991 (CD K-Tel) [+1 track]
"$100 Fine" 1993 (CD Era 10002)
"$100 Fine" 1995 (CD Taxim tx-2004, Germany)
"$100 Fine" 1999 (CD Arf! Arf! aa-078) [+19 tracks]
"$100 Fine" 1999 (Get Hip ghas-5017)Supposedly an acid fuzz kingpin LP from their "psych" phase, though several people I know agree it isn't really all that great. This may seem like sacrilege but you got to remember that this LP got its' reputation back in the early 80s when most of today's monsters hadn't been discovered and reissued yet. So compared to some LPs I could name (like Morgen) it is a slight disappointment. The band's major label third LP ("Emerge", Probe 1969) is in the heavy guitar rock camp and nowhere near the quality of the first two, but still better than most. Other Litter releases include "Rare Tracks" on the French Eva label from 1983, which was a sampler of related (and non-related) tracks by White Lightning, the Electras and the Litter. "Live At Mirage" (CD on Arf! Arf! 079, 1998) and "Re-Emerge" (CD on Arf! Arf! 080, 1998) both feature modern recordings. [PL]
~~~
see -> Lightning
LITTLE CEASAR & THE CONSULS (Toronto, Canada)
"Little Ceasar & The Consuls" 1966 (Red Leaf 1001)
Teen-beat LP from band with goofy Roman soldier image, on the same label as the British Modbeats. Covers of "Sloopy", "Dancing in the street", "Shout", "Just like Romeo & Juliet", etc. Frat/club band throwback, more than garage. They had a national #1 hit in 1965.
LITTLE HOWLIN' WOLF (IL)
"The Guardian" 1982 (Solidarity)
"The Cool Truth" 1985 (Solidarity)
Mainly late 1970s recordings of freaky fringe blues/rock/anything sounds from DIY Polish guy who played Chicago street corners and clubs, has garnered many fans over the years. The name isn't too far-fetched, he really does sound like a slightly smaller (even at 6 ft 9) variation on the old blues legend at times. Comparisons have been made to both Albert Ayler and Abner Jay, take your pick. The guy supposedly did more than 30 45s, from which the two albums were assembled. The Heresee label has released some retrospective CDs. This artist (James Pobiega) shouldn't be confused with another Little Howlin' Wolf, a black guy named Jesse Sanders.
LITTLE PHIL &
THE NIGHTSHADOWS see Nightshadow
V.A "LIVE AT
THE BLOOD & BONES" (CT)
"Live At The Blood & Bones" 1972 (no label) [100p]
Acoustic folk blues with basement charms. Record has a purple tint under light.
V.A "LIVE AT THE FUNNY FARM" (HI)
"Live At The Funny Farm" 1966 (Scene 200) [gatefold]
Local Hawaiian club sampler with lots of r'n'b and soul covers and a wild party mood, not bad. Bands include Spirits, Undertakers, Val Richards V, Casuals. "Rosalyn" by the Undertakers has been comp'd.
V.A "LIVE FROM THE GROOVEYARD" (Vancouver,
Canada)
"Live From The Grooveyard" 1967 (New Syndrome 1004) [2LPs]
Local beat and soul ravers on this rare double set, with the Stages, Shockers, Shantelles, Epics, Stags, Soul Unlimited, Nocturnals, Night Train Revue. Much of the material is soul/r'n'b, but there's also covers of the Beatles and the Byrds. Hardly any (none?) band originals across the 28 tracks. It's a fake live recording.
LIVING SACRIFICE
BAND (ID/NJ)
"Living Sacrifice" 197 (Living Sacrifice ls-770816) [approx 200p]
"Beauty for Ashes" 1979 (Praise Jesus ears-36) [black & white cover]
"Beauty for Ashes" 1979 (Praise Jesus ears-36) ['flower girl' cover]"A Call to Brokeness" 1981 (Shekinah shm-3019)
Mix of acoustic Christian folk and rock with extended tracks and male/female vocals. The band moved to New Jersey and recorded as The Living Sacrifice Band on the latter two LPs. "A Call to Brokenness" is outstanding with heavy guitar and Jethro Tull sounding long tracks. Ex-Last Call of Shiloh. [RM]
SAM LLOYD (Canada)
"Sam Lloyd" 1972 (Chart On 2001)
Basement downer folk with some fuzz.
LOAD (Columbus, OH)
"Praise the Load" 1976 (Owl Intermedia st-2557)
"Praise the Load" 1996 (CD Lazer's Edge)I've seen some references that leave the impression these guys had psych leanings. Bullshit! Musically the album offered up a conventional mix of rock-adapted classical pieces (Bach's "Brandenburg #3" and Rossini's "The William Tell Overture") and more conventional rock numbers ("Flyaway" and "Dave's 'A' Song"). Imagine something out of the early King Crimson or ELP catalogs and you'll be much closer to the mark, though material such as the Spanish-influenced "Fandango" and "The Betrayal" were nowhere as pompous as the ELP. Having listened to the set a couple of dozen times, you'll be left with two standing impressions. First, Hessler and the Smiths may not have been the most talented writers but they were exceptionally talented musicians. Secondly, you're struck by the fact the album was clearly lovingly made -- you'll be hard pressed to find a private pressing with such good sonic qualities. An unreleased 1977 LP appeared in the 1990s ("Load Have Mercy", Lazer's Edge). [SB]
LOADING ZONE (San Francisco, CA)
"One For All" 1970 (Umbrella us-101)
Bluesy soul rock with horns and the vocals of Linda Tillery. The band had an earlier self-titled major label LP which is easy to find (RCA, 1968). Neither album is very good, the Umbrella LP is mainly collected as a rarity.
LOADSTONE (Las Vegas, NV)
"Loadstone" 1969 (Barnaby 21235004)
"Loadstone" 2004 (Barnaby 35004)Features a side-long track, "Flower Pot", with wild effects and found sounds. This is actually Bobby Darin's backing group, and features a horn section.
LOCKSLEY HALL (WA)
"Locksley Hall" 1996 (OR 013) [500p]
While a lot of co-ed groups of the era sound rather generic, Locksley Hall manages to escape identity in a slightly different way. This album plays almost like a sampler of West Coast music. On various songs they sound like Country Joe & The Fish, Jefferson Airplane, The Charlatans, Big Brother & The Holding Company, and the Association. Despite the crudeness of the recordings there’s a definite sense of professionalism here. They’re more appealing as a hard rock band than a soft rock band, but the only real dud here is the good timey song that ends side one. Both the male and female vocals are quite good, though as is often the case they sound much better apart than together. There is some excellent guitar playing here and a few very solid songs, most notably a long rocker on side one. The mix of styles is a bit disconcerting, but overall, this is much better than a lot of genre albums that did end up getting major label releases at the time. The LP was recorded in Seattle for Epic in the late 1960s but not released at the time. [AM]
LODESTAR (Springfield, OH)
"Lodestar" 1978 (no label)
Hardrock with wailing leads. Good one. No relation to the El Paso band on "I Love You Gorgo". A Rite pressing, for those who track that plant.
LODESTONE ( )
"Mainstreet" 1974 (LD 101)
Rural bar rock sound with harmony vocals.
LODESTONE (CA)
"Lodestone" 1981 (Lodestone 7268) [textured cover]
Hardrock with metallic edge. Good guitar.
LOGOS (KS)
"Firesides And Guitars" 1974 (Audio House 113 L74) [300p]
Midwest aching folkrock with Vietnam era social concerns. Beautiful vocals and sparse guitar backing, similar sound and quality to Shadrack. [RM]
LOLLIPOP SHOPPE (Las Vegas, NV / Portland, OR)
"Just Colour" 1968 (UNI 73019)
"Just Colour" 199 (Edsel, UK) [+2 bonus tracks]Despite "You must be a witch" of Pebbles fame this LP is a bit overlooked. I think it's one of the craziest major label LPs around and along with SAC the best on the label. Fred Cole's vocals are so far out you wonder how they ever got a contract plus tracks like the awesome "Underground railroad" blows even private press stuff away. Perhaps more eccentric than truly good, but should be checked out. Lord Tim Hudson tried a Seeds-style hype with them but it never really clicked. [PL]
~~~
see -> "Angels From Hell"
JACK LONDON & THE SPARROWS (Canada)
"Jack London & the Sparrows" 1965 (Capitol t-6115) [mono]
This debut LP from future Steppenwolf bigwigs is rare and goes in a typical mid-60s Brit Invasion/Merseybeat style. Unlike most Canadian albums from the era, this has several band originals.
~~~
see -> "Meet The Lively Ones"
TOM LONERGAN (NY)
"And Buddy Kelly, Donna Nylans & John Kroner" 197 (Paja's no #)
Rare rural folkrock and blues in the typical early 1970s private press style, with electric guitar leads, flute, some female vocals.
LONG HOT SUMMER see Friday
At The Cage A Go Go
LONG TIME COMIN' (IN)
"Long Time Comin'" 1974 (no label)
Local rural rock with steel guitar and jammy feel.
LOOSELY TIGHT (AZ)
"Fightin' Society" 1981 (Star Struck Records TDS 020559)
Local hardrock/metal led by Dino Livingston. The band later became Icon.
LORD SITAR ( )
"Lord Sitar" 1968 (Capitol st-3916) [rainbow label]
Session musicians featuring Big Jim Sullivan on sitar. Fun lounge instro rock with lead sitar, organ, and some bumblebee fuzz. Covers of the hip songs of the day including three Beatles' covers. [RM]
LOS PERDIDOS (NJ)
"Los Perdidos" 1963 (LP 101)
Obscure pre-garage LP of surf, frat and instros, included here as it's usually bought by garage LP collectors. One band original, "Race riot". Cool monochrome sleeve of the well-groomed band playing around in a doghouse.
LOST & FOUND (Houston, TX)
"Everybody's Here" 1967 (International Artists 3) [cover slicks]
"Everybody's Here" 1978 (International Artists 3) [box-set reissue; boardprinted]
"Everybody's Here" 1979 (International Artists 3) [wraparound slick]
"Everybody's Here" 199 (Decal, UK)
"Everybody's Here" 1993 (CD Collectables col-0552)
"Everybody's Here" 199 (CD Eva b-42, France) [+bonus tracks]One of the more famous I.A LPs but to me none of the best, has moves similar to the Elevators and Golden Dawn but no real artistic vision -- more like the local hipsters strutting their '66 fuzz discoteque act. A couple of good tracks but also some throwaway duds. Great sleeve though. The band was previously known as the Misfits but had to change their name after being involved in one of the earliest local TX drug busts of a rock'n'roll band. This, like some of the other lesser IA albums, sells for as much money today as it did back in the late 1970s! The band's finest moment was the non-LP IA 45; they also had some unreleased material on "Epitaph For A Legend". The 1978 reissue can be identified via the matrix number, which begins 'Ach...'. The 1979 bootleg has 're-1' in the dead wax. There are probably more reissues than those; all reissues are vinyl-sourced as the tapes are lost. [PL]
V.A "THE
LOUISVILLE SCENE" (Louisville, KY)
"The Louisville Scene" 1967 (Rod'N Custom 3001)
Rare local Battle Of The Bands LP including 12 showbands, soul and beat groups who were winners of the Rod and Custom Car Show Battle. Bands include the two solid garage tracks from the Rondells and Malibus, plus the Pas-Tels, Romers, J.C. and the Humans, Patriots, Sixpence, Centaurs, Vibratones and more. The cover shows local DJs driving cartoon hot rods.
LOVE EXCHANGE (Los Angeles, CA)
"Love Exchange" 1968 (Tower t-5115) [mono]
"Love Exchange" 1968 (Tower st-5115) [stereo]
"Love Exchange" 200 (CD Sundazed 6113) [+bonus tracks]Poppy folkrock with organ, acid leads, mixed vocals. A bit in the cheesy exploito bag.
LOVE IS A HEART-ON (New York City, NY)
"Love Is A Heart-On" 1970 (Heavy hs-111) [lyric insert]
Silly and not especially funny obscene rock nowhere near as amusing as the "Let My People Come" soundtrack, the Hot Poop album, or even Chinga Chavin's "Country Porn." Some of this is pretty heavy, and there's a bunch of fuzz guitar on display, but this barely has value as a curiosity. I've yet to meet anyone who played it more than once. The LP was sold by mail-order ads in the back of Rolling Stone magazine. Due to a large find, the value has dropped considerably on this LP. [AM]
LOVE MACHINE ( )
"Electronic Music To Blow Your Mind By" 1968 (Design SDLP-282)
"Electronic Music To Blow Your Mind By" 2001 (Design)Exploitation instro "psych" with lots of sound fx and fuzz, rated highly by some genre fans. A Canadian mono pressing exists.
COLLEEN LOVETT (CA)
"Birds With Broken Wings" 1974 (ERA) [gatefold]
Somewhat legendary femme soft-rock with Ms Lovett baring her soul and heart in a way that becomes almost obscene in its naked honesty. She seems a little too adept at playing the "victim" for my tastes although it certainly makes for odd listening. Some disturbed male record collectors may listen to this in the wrong way, which is just as scary as Colleen's comparisons of herself to a sandpiper with broken wings. Featured on the notorious "Hippie Goddesses" comp. [PL]
LOVING SANDWICH see Instincts
GORDON LOWE & LAUREL WARD (Canada)
"Prisms" 196 (Yorkville)
Late 1960s downer folk featuring guitar and bass and female backing vocals, on the same label as Ugly Ducklings.
L.R.Y. ( )
"The L R Y Record" 1968 (Congress of the Crow)
Liberal Religious Youth was a nationwide youth group affiliated with the Unitarian Universalist Association. This is technically a compilation in the Christian teen folk style, recorded at the continental conference at St John's College. The label was in DeKalb, Illinois. [RM]
"LSD" 1966 (Capitol TAO-2574) [mono; gatefold]
"LSD" 1966 (Capitol TAO-2574) [stereo; gatefold]Extraordinary documentary on the new drug craze sweeping the nation, one of the best and most entertaining spoken word LPs of the era. Narration (by an uncredited Dick Clark) is superbly eloquent and manages to portray the whole acid wave as a game for con-men and loonies, without ever saying so openly. Allen Ginsberg, Laura Huxley and Ken Kesey get to see only their most bizarre sides exposed, while Tim Leary fares better doing his usual ritual spiel. There's interviews with dozens of teenage heads, and an unforgettable peak is reached with an actual trip recording of "Brian", a hipster acid head who unfortunately happens to have his first bad LSD experience while being recorded (with concealed microphones). The "Brian" recording is authentic-sounding and either very funny or pretty scary, depending on how hard-core you are. A highly sophisticated anti-drug LP, and the artwork and photos are equally outstanding. All material (including the Leary and Kesey/Prankster snips) is unique to this LP. Judging from promo ads, the LP was released as early as August 1966. [PL]
"LSD - Exclusive Open End Interview" 1966 (Capitol PRO 4153)&
