MACARTHUR (Saginaw, MI)

"MacArthur" 197  (R.P.C. 58932)  [200p; inserts]  
"The Black Forest" 198  (R.P.C., Germany)  [bootleg]  [300p] 

Adventurous sweeping synth prog with guitar bursts featuring Ben MacArthur, very spacy with long tracks and echoed vocals. The LP was issued in a plain cover with 'MacArthur' sticker pasted on, and was only sold at shows. The small press size has been confirmed by the band. The reissue is re-titled.

"MacArthur II" 1982 (Bay Music)  [1000p; lyric sheet]  

This progressive album (with material from 1977-82) is adventurous but ultimately too derivative and uninspired to win out. It opens with an instrumental that resembles the first song on the Third Estate album, then moves to space rock and classically based rock. It commences with an acoustic guitar/piano/synth instrumental that marks them as obsessive ELP wannabes. This is technically well-played, though the synth use is surprisingly unimaginative for a band who use the instrument so heavily. The production is smarmingly AOR; the lead guitar and drums are really annoying in a purely 80s way. As is often the case with do-it-all indie prog artists like this (the much superior Atlantis Philharmonic comes to mind), the singing completely lacks personality. Most of the rhythm guitars here are acoustic; there's a definite attempt to create textures through a variety of instruments, but it's undermined by the way Ben Macarthur thinks speedy playing (on both guitar and keyboards) is both impressive *and* compelling listening. It's the first, but not the second. Without ideas, technical prowess is worthless. [AM]

DOUG MACARTHUR (Canada)

"Letters From The Coast" 197  (no label)
"Letters From The Coast" 1976  (Rut)  [2nd press]

Fragile folkpsych with sitar on one track. It seems the guy had another LP as well.

MACHINGBYRD ( )

"The Road to Forbidden Ecstasy" 1980 (Arro Mountian Records 10001)   

Folk and folkrock with psych moves, acoustic and electric guitars, some synth embellishments.

MACKS CREEK BAND (MO)

"Macks Creek Band" 1980 (MCB)   

Midwestern 1970s-style rock with a Southern feel.

MAD DOG (Los Angeles, CA)

"Mad Dog" 1969 (no label)  [no sleeve; test press]  
"C1 C2" 2000 (Shadoks 031, Germany)
"Dawn Of The Seventh Sun" 2003 (RD 12, Switzerland)  [insert]

Here's another fine mess from the private press zone. After releasing the "Chocolate Moose" LP members of the Zoo moved on to the Mad Dog project, which was recorded at a Hollywood Studio in 1969. A few test pressings were made, but nothing else came from this. Thirty years later one of the test pressings turns up, with no details available, and is reissued as "C1 C2" as this matrix # was the only info contained on the record. A few years on, RD decides to reissue the Mad Dog test press, and in the process discovers that this is identical to what had come out as "C1 C2" on Shadoks. The main difference is that the RD release is legit and master tape-sourced and has the original sides reversed. To add to the confusion, the band was also known as Joyful Noise at one point. The actual music is good late 60s Bay Area-style guitar psych/rock, like a Fillmore support band. Three of the songs were used in the low-budget biker flick "The Black Angels". [PL]
~~~
see -> Zoo

MAD DOG (Bay City, MI)

"617" 1977 (Fish Head fh-7701)  

This is a weird minimalist hard rock album. The cover is a b/w drawing of an outer space scene with a bunch of headless naked female bodies, and the record is just as stark and mysterious. Though the cover says the songs were recorded between 1974 and 1976 the music has an early punk rock feel with thick distortion on the rhythm guitars and no apparent instrumental overdubs. The drumming is frantic but the songs are of medium speed. This is a curiosity because it's completely bleak, it sounds like nothing else and appears to have no specific influences, with one unfortunate exception. The ghost of Michigan's past rears its ugly head with the annoying throaty vocal style, a dead ringer for the Frost's Don Hartman, who made his presence known on the horrible live side of Rock And Roll Music. In any case, if it wasn't for all of the singer's growling, this would be pretty interesting stuff. As it is, it's supremely annoying. [AM]

MAD FABLES (NJ/NY)

"Get Off!" 1977 (Magic 520440)  [blank back cover]  

Eastcoast loose stoner outlaw jams in Grateful Dead style, housed in weird cartoon cover. Most of the album was recorded in Bloomfield, NJ in a three day session.

MADHOUSE ( )

"Serve 'Em" 1972 (Today tlp-1010)  

Here's a cool soul/funk LP for people who are tired of their P-Funk albums. There's a strong Sly Stone influence here, but also a bit of Funkadelic-style lead guitar, a very heavy political message, and, on one song, rhythms that sound like Tago Mago/Ege Bamyasi-era Can. This isn't as heavy or "rock" as, say, Purple Image, but it will appeal to psych fans, especially on the two long jams, both of which are quite dark (one is about an overdose, the other about the apocalypse) and have a lot of free form instrumentation. Spacious arrangements highlight some excellent bass playing. A very good album, a sleeper in the genre. Today was a subsidiary of New York label Perception. The cartoon cover shows President Nixon serving the group tea. [AM]

MADRIGAL (New York City, NY)

"Madrigal" 197  (Spyder 136)   

If anything here in the Archives fits the term "underground," it's this. Supposedly only about 50 copies were made and when one of the band members was found he was rude and refused to talk about his album or disclose the whereabouts of his bandmate. The record itself is a basement-sounding recording by two guys with no help from anyone else, and only a tiny bit of overdubbing. One guy plays guitar, one plays theremin, both sing, one of them runs a drum machine. The vocals are heavily reverbed. About half of the songs are random improvisations (including a 12-minute mess called "Stoned Freakout") with unhinged screaming, feedback-laden guitar and other various noises. The other half are pop songs, basically done with just voice, guitar and drum machine. Some of these songs are quite good, and as awful as fake drums can be, something about this primitive machine only adds to the lonely DIY feeling here, making these guys sort of a cross between Suicide, Moolah and Index. The vocals are very good. "Ballad," which is so quiet that you can barely hear the singing, is especially eerie. The closing instrumental is really lame, like the instrumentals on the North County Rock Association album. Obviously, much of this album is boring and/or annoying, but some of it is pretty memorable too. More importantly, it's one of those albums that sounds absolutely like nothing else, which always means that someone out there will fall in love with it. Considering the rarity and $1000 price tag, hopefully it will be reissued so that one person won't go broke trying to find it. [AM]

MAD RIVER (Yellow Springs, OH / Berkeley, CA)

"Mad River" 1968 (Capitol st-2985)  [rainbow label]  
"Mad River" 198  (Capitol)  [bootleg]
"Mad River" 198  (Capitol 038-85-882, Germany)  [altered sleeve]
"Mad River" 1985 (Edsel ed-140, UK)  [inner sleeve]
"Mad River" 199  (CD Edsel 651, UK)
"Mad River / Paradise Bar & Grill" 2001 (CD Collector's Choice 1722)  [2-on-1]

"Paradise Bar and Grill" 1969 (Capitol st-185)  [green label]  
"Paradise Bar and Grill" 198  (Capitol)  [bootleg]
"Paradise Bar and Grill" 1986 (Edsel ed-188, UK)
"Mad River / Paradise Bar & Grill" 2001 (CD Collector's Choice 1722)  [2-on-1]

The debut is fine westcoast guitar psych, while "Paradise Bar and Grill" moves more into an acoustic rural hippie direction. The debut LP recordings were accidentally sped up during the original mastering phase, which means that most releases including the 1968 original actually play at inaccurate speed. The recent 2-on-1 CD reissue corrects this, but many people still prefer the "speed" version. They previously recorded a wonderful EP (1967, Wee) with the standout "Wind Chimes". The EP was bootlegged in the 1980s and comped on the CD "The Berkeley Eps..." (Big Beat, UK 1995). [RM]
~~~
Extraordinary band whose greatness has yet to be fully recognized. Unlike many I prefer the debut LP and its enticing mix of unique vocals, complex moods and angular sounds, as pure psychedelia as anything ever made in the Bay Area. "Paradise" is enjoyable and just as unusual but to me it seems somewhat disjointed in its mix of rural folkrock, bombastic psychrock, spoken poetry, and more. Of course, the 1967 EP may be even better than their LPs. The band formed at Antioch College in Ohio and recorded some demo tapes before leaving for the west coast; these are partly excellent and have not yet been released. [PL]

MAG-AMPLITUDE (OK)

"Mag-Amplitude" 1983 (no label MA-1983-01)  

Strange and primitive LP that has been described as "the Higney of Heavy Rock".

MAGI (IN)   see article/interview

"Win Or Lose" 1976 (no label 6102)  [1000p]   
"Win Or Lose" 1987 (Breeder 560, Austria) 
"Win Or Lose" 199  (CD Flash 51, Italy)
"Win Or Lose" 2005 (CD Radioactive, UK)

Tough hardrock from popular "Michiana" region band with good songs, an admirably tight rhythm section and pretty good vocals. Despite what you may read, there is nothing psychedelic about this; a typical mid-70s Midwestern sound with Aerosmith and Kiss influences. A few guitar jams, one ballad, else more of a concise urban sound with hints of AOR and glamrock, but don't let that scare you. In the right place and time these guys could have been major. One song is about running out of weed. Recorded at Uncle Dirty's in Michigan. Expensive but still slightly underrated LP, to which the unfortunate front cover photo may have contributed. There was also a non-LP 45 track in the same style, and some good unreleased material exists. The band moved to LA in 1978 in an attempt to make it big, but soon fell apart. Bass player Tom Stevens later turned up in 1980s legends the Long Ryders. [PL]

MAGIC ( )

"Magic" 1966 (no label 147606)

No relation to the "Enclosed" band, this is teenbeat with organ.

MAGIC (MI)

"Enclosed" 1969 (Armadillo 8031)  
"Enclosed" 1986 (Hype 02, UK)
"Enclosed" 199  (CD Flash 44, Italy)  [digipak]
"Enclosed" 199  (Gear Fab gf-204)
"Enclosed" 1998 (CD Gear Fab gf-116)  [+8 tracks]

"Enclosed" is mainstreamish hippierock sounds with a westcoast groove and soul/funk moves, reminiscent of a mellow Hendrix and the later-day Bay Area bands -- when it's good, it's on level with Kak, but personally I find the blue-eyed soul Sons Of Champlin-type material tough to swallow. The 12-minute Kak/QMS guitarjammer "Play" has plenty of admirers and rightly so, but overall I'm not as impressed with this LP as others seem to be. Check it out and decide for yourself. Recorded in Florida, where the band was joined by a member of popular band the Birdwatchers. CD has plenty of bonus tracks for all you soulrock fans out there. Their second LP on Rare Earth is generally considered much inferior. [PL]
~~~
This seems to be a love-it-or-hate-it album, with one side of soulful rock songs and one that’s simply an extended guitar solo with bits and pieces of songs appearing at odd moments. Side one is OK, but the long solo is what makes this album essential. The way it’s structured into what isn’t exactly a song gives it a certain kind of intrigue and depth, and the playing is diverse and fascinating... certainly one of the best long guitar solos anywhere. The CD adds a bunch of more mainstream bonus tracks that aren’t very good, marring the listening experience to those who only know it by that reissue. [AM]

MAGIC BUBBLE (Canada)

"Magic Bubble" 1970 (Columbia 90038)  

This album's exceptionally diverse, including stabs at pop, hard rock, blues moves and even what sounds like an attempt at a calypso rhythm. That diversity is simultaneously a strength and a weakness. Rita Rondell has an okay, if less than overwhelming, voice. While she has a bluesy voice that occasionally recalls Maggie Bell, exemplified by tracks such as "I'm Alive" and the ballad "If I Should Ever Love Again" she's largely relegated to handling the group's more pop oriented material. Her best performance happens to be her toughest vocal - "Cry Cry". That leaves brother Frank to handle the more rock-oriented tracks such as "Whiskey Fire", "Changes" and "Circles (Lonely Wind)". Occasionally sounding like a more rock inclined David Clayton Thomas, his performances provide the set's highlights, including one bizarre bluesy cover of George Gershwin's "Summertime". Elsewhere, there's only one real duet between the siblings; the funny "Me & Mr. Hohner". Nice product, though you might think once or twice before shelling out the big bucks for an original copy. The album didn't see an American release.  [SB]
~~~
This is yet another co-ed West-coast styled group with organ, some fuzz guitar and a bluesy feel. And yet again the half of the songs with the male singer are pretty awful. His gruff voice might have worked in some other context, but is horribly out of place here. The songs with the female singer are poppier and catchier, less hard-edged, somewhat soulful, and this really sounds like two different groups. There are two very strong songs, “I’m Alive” and “Cry Cry,” both of which could have been hits. The album ends with yet another version of “Summertime,” which is another minus. Not a very satisfying listen straight through, but it has its moments. The organ player and the rhythm section are pretty solid. At their best Magic Bubble rock convincingly without being the least bit heavy. At their worst they’re forgettable and annoying. Lots of lyrics about drugs (and some paraphernalia on the album cover). Between that and the guy’s style of singing, they seem to be trying really hard to be hip. [AM]

MAGIC FERN (Seattle, WA)

"Magic Fern" 1980 (Picadilly 3386)  

University of Washington band with circa 1966-67 tracks. Pop rock with some psych shadings. Like most Picadilly albums, this was released posthumously without the band's knowledge.

MAGIK (Canada)

"Magik" 1981 (Rayne)   

Progressive hardrock in a primitive cover.

MAGIK DAYZE (OH)

"Magik Dayze" 1978 (no label)  [lyrics]

Hard guitar prog with moog, mellotron and Rush and Mahogany Rush influences. The cover has a paste-on front and handwritten credits on the back. Keyboard wiz Charles Thaxton went on to various projects.

MAGILL & YOUNG ( )

"Take 1" 1969 (Two:Dot)  

Little-known title on the same custom label as Arthur, Hendrickson Road House and the Mystic Zephyrs IV. Basically it's lost in time 60s folkboom sounds with female vocals all through, rudimentary folkrock setting with two guitars and organ. The Baez-inspired lady doth oversingeth quite a bit, which makes for a strange vibe here and there, but may annoy if you're not in the mood. Her theatrics work best on a spooky cover of "Black is the color" with a sparse, Japanese-style arrangement and a Sally Eaton:ish psych feel creeping upon you. There's also a a couple Dylan songs and a heartfelt version of "Wayfaring stranger". Despite the band name the few original songs were written by one Karen Gross. For female folk completists mostly. Cool, primitive "period cover" to both front and back. [PL]

TOM MAHAIRAS (NY)

"Seekers Of The Truth" 1972 (Janco 7256)  [insert]  

Christian fringe-folk/incredibly strange artefact featuring amateur organ/guitar folkrock on one side, and priceless spoken word drug-head salvation stories on the other. Amazing front cover and funny liner notes. A must within the genre. [PL]
~~~
One side of beautiful haunting christian psychedelic folk from former drug user turned preacher. Mahairas' voice and guitar is backed by chamber orchestration similar to that used on the Arthur Lee Harper album. The second side of the LP is spoken word featuring Tom and his wife giving testimony on how they turned from drugs to religion; plenty of talk about drug use and someone who "went insane" on LSD. Might have some appeal to the fans of incredibly strange music. [MA]
~~~
see full presentation

MAITREYA KALI (Los Angeles, CA)

"Apache / Inca" 1972 (no label)  [2LPs; gatefold; inserts; paraphernalia]  
"Apache / Inca" 1999 (Little Indians 2, Germany)  [2LPs; 450p; 3 inserts]  
"Apache / Inca" 1999 (CD Normal/Shadoks 005, Germany)  [2 CDs]

A very small number were made as a double LP before the LPs were issued separately (reviewed below). This package also contained a booklet, poster, feather, josh stick, and inserts. The German reissue imitates the release, except for the more exotic paraphernalia. Background: in 1966-67 Craig Smith made a bundle of cash writing songs for the Monkees, Andy Williams and Glenn Campbell, which is what financed his vast travels and subsequent transformation into Maitreya Kali. The unissued Penny Arkade recordings including several tracks also found on the Maitreya LPs and were released by Sundazed in 2004. Check out the entry for Craig's old partner Chris Ducey for an unrelated story that is just as strange.

"Apache" 1972 (Akashic 2777)
"Apache" 1989 (Akashic)  [bootleg; book; >300#d]

This was apparently released before "Inca" but the recordings have a later sound. Continuing his trek down Latin America, this is more lowkey and introvert, as if the drugs caught up with him. The strange poetry and scribblings on the Yahowa-style sleeve confirm such suspicions. The album has a couple of marvy acid folkpsych tracks such as "Color Fantasy" but doesn't really live up to the hype I've seen on it. Beach Boy Mike Love unexpectedly pops up singing on a Monkees track (actually he's just humming along from the mixing board) that Maitreya wrote when he was still known as Craig Smith. Originals can be identified via printing on the spine and "masterdub" etched in the dead wax. Several other differences exist but these should suffice. The bootleg pressing is believed to be larger than the 300 stated.[PL]

"Inca" 1972 (United Kingdom of America cf-2964)  
"Inca" 199  (United Kingdom of America)  [bootleg]

Nominally Maitreya's 2nd album, but the material on it is definitely from an earlier era than "Apache". To me superior to the more wellknown "Apache" with a fabulous folkrocky 1966-67 WCPAEB-sound for the most part, especially on side 1. There's also some pretty enjoyable mellow hippiefolk stuff, strange spoken bits and interviews with latino chicks making fun of this sensitive seeker-type guy. Worth checking out for both 1960s and 1970s heads. [PL]

MAIYEROS see Instincts

MAJIC SHIP (Long Island, NY)

"Majic Ship" 1970 (Bel Ami 711)  [circa 1000p]  
"Majic Ship" 1985 (Heyoka 203, UK)
"Majic Ship" 199  (no label, Italy)
"Majic Ship" 1993 (Afterglow 009, UK)
"Majic Ship" 2000 (CD Gear Fab gf-107)  [bonus tracks]
"Majic Ship" 2000 (Gear Fab/Akarma 084, Italy)  [2LPs; bonus tracks; booklet]

Extended "Down by the river"/"For what it's worth" medley highlights this famous Long Island LP, the rest is so-so Eastcoast post-psych FM rock sounds reminiscent of Bubble Puppy or an earlier version of Odyssey. Some good guitar and nothing overly offensive about it, but hard to understand all the fuss over this album. The Italian reissue is actually a bootleg of the UK bootleg, while the Gear Fab CD contains spoken interview bits between some tracks and a messed-up running order. [PL]

MAJOR ARCANA (Milwaukee, WI)

"Major Arcana" 1976 (A Major Label 1000)  [poster; lyric insert]  

The opening "Western wind" is a terrific folkpsych classic while the rest of the LP suffers a bit from the aggregated weight of all the different genres squeezed in. The vocals are strong but sometimes overstated in that typical 1970s troubador style, while the flute ornaments are a bit, uh, effeminate. Neat synth arrangements provide the same lounge multiinstrumentalist vibe as on Bermuda Triangle; this also has the odd rock musical/art school stage project feel that's on a lot of these mid-70s hippie LPs. Closing acidhead arrangement of "Greensleeves" sounds like the Kaplan Bros could step in any minute. Great psychy cover art. [PL]
~~~
This is a more complex album than Jim Spencer’s solo work, with a lot of moods for what is essentially a hippie folk album. It starts with a truly gorgeous song, and has several highlights, including the voodoo inspired (and sexually nasty) “Pappa Doc” and the breezy “Back In The Spirit.” Not a wholly satisfying album, and it has way too much flute, but still an intriguing listen with some ace songs. One of the best album covers you’ll ever see, too. [AM]

MALACHI (CA)

"Malachi" 1966 (Verve v6-5024)  [gatefold; blue label]

Eastern and American-Indian influenced proto-psych/ethnic folk. Recorded at Columbus Recording in San Francisco in August 1966. Steve Cunningham would later joined Red Krayola. Although neither rare nor that highly rated, the LP is early enough to be historically interesting, and also features an early occurrence of the word "psychedelic" in the liner notes.

MALT SHOPPE GANG (MA) 

"Maltshoppe Gang" 197  (Fleetwood fclp-5100)  [red label]

Early 1970s group doing retro 50s rock and doo wop like a local Sha Na Na. Good, primitive guitar sound for crossover garage appeal.

MAMMOTH ( )

"Mammoth" 1981 (RNA)  

DeLand, Florida label. Southern rock like Lynyrd Skynyrd.

MANDRAKE MEMORIAL (Philadelphia, PA)

"Mandrake Memorial" 1968 (Poppy py-40002)  [mono promo; stereo cover with mono sticker]  
"Mandrake Memorial" 1968 (Poppy pys-40002)  [stereo]  
"Mandrake Memorial" 1996 (CD Collectables col-0691)
"Mandrake Memorial" 199  (Poppy, UK)  [bootleg]
"Mandrake Memorial" 2005 (Poppy/Scorpio)

The first Mandrake Memorial album is one of those records where the sound of one instrument so dominates (like the jug with the 13th Floor Elevators or the autoharp on Michaelangelo's "One Voice Many") that your assessment of the album is based almost completely on how you feel about that one sound. Here the instrument is an electric harpsichord, which gives the songs an almost synthetic feel. I like it, but I can't speak for anyone else. What I can say with conviction is that the songs on this album are outstanding, and the guitar playing and singing is very appealing throughout. The album is full of sly hooks and dreamy melodies. It's simpler than the two albums that would follow, but is unquestionably a highly accomplished work from a very talented band who should be better known today. [AM]

"Medium" 1969 (Poppy pys-40003)  [gatefold]  
"Medium" 1996 (CD Collectables col-0693)

"Puzzle" 1970 (Poppy pys-40006)  ['wheel' insert]  
"Puzzle" 1995 (CD MM, Europe)  [bootleg]
"Puzzle" 1996 (CD Collectables col-0693)  [+bonus track]

Great, great psych band and local Philly heroes, underrated elsewhere to this day. The first LP is drawn from their club live set and goes in a garage/teen-psych direction, not bad at all but the harpsichord makes for a somewhat awkward mix with the overall sound in my opinion. Nevertheless, it went on to sell a respectable 40 000 copies. "Medium" shows them developing their studio psych ambitions with carefully crafted introspective keyboard/guitar mind trips while still retaining a song-oriented structure. "Puzzle" is a masterpiece, one of the truly great concept acid psych LPs on a major label, drawing from modernist classical like Stravinsky and Bartok, yet retaining a psychy headtrip feel throughout. Side 1 in particular is devastating and the LP as a whole a major personal fave. The band also had a non-LP 45 around the time of "Puzzle". An unreleased acoustic album from the same timeframe exists on acetate, but nothing has been released so far. [PL]

MANIACS see "Soundtracks 1966"

MANN MADE (Montreal, Canada)

"Mann Made" 1972 (Good Noise)  

UK-sounding progressive rock with folk moves, some horns and synths.

TERRY MANNING (Memphis, TN)

"Home Sweet Home" 1970 (Enterprise ENS-1008)  

Manning may have done this album as kind of a lark. He's not a songwriter, and there's nothing serious about this record. Maybe that's why this is so good, the kind of record that I can't imagine any rock fan not enjoying. He begins with the unthinkable, a truly minblowing cover of "Savoy Truffle," a ten minute tour de force of creative arrangements that is as good a Beatles' cover as anyone has ever done. The fun doesn't end with just that one song. There are trashy rock originals, more wild cover versions, outrageous drum breaks, hilarious female backing vocals, irresistible fuzz guitar riffs, feedback and absurd lyrics. Side two is a notch lesser than side one, but this is an enjoyable romp not quite like any other. Manning shows equal parts reverence and disdain for a whole host of rock and roll traditions. Perhaps it's mostly a novelty, but psych fans will like it, roots rock fans will like it, punks will like it, garage fans will like it, and warped soul fetishists will like it. Beatles fans might even like it. Now let's all get down and do the trashy dog! [AM]

see full-length review

CHARLES MANSON (CA)

"Lie" 1970 (Awareness 2144)  [poster; 2000p]  
"Lie" 1970 (ESP 2003)  
"Lie" 1987 (Awareness 1)
"Lie" 199  (CD Grey Matter 05)  [+bonus tracks]
"Lie" 199  (Fierce 001, UK)

It seems Charlie is bigger than ever these days and the fringe underground is all too happy to keep his shot at the charts in print. "Lie" would be a big item even if it was by an unknown guy, with Man-Son's great 50s beatnik outlaw voice and campfire folkpsych like "Mechanical man", "Sick city", "Ego" etc. The latter's my fave with a scary intensity and the girls' seductive Spahn Ranch harmonies. A staple of any reasonably twisted record collection. There was also an odd gatefold Spanish release on the Movieplay label from 1971, "12 Canciones". The poster represents about half the value. The ESP version is a legit 2nd press for Eastcoast distribution. The somewhat noisy 1987 repro has 'Awareness' on the front cover in print letters, not handwritten. In recent years there's been a handful of subsequent releases of material recorded in prison, including "The way of the wolf" and "The white album". The "Unplugged" CD features outtakes from the original "Lie" sessions and is worth checking out. [PL]
~~~
see -> Manson Family

MANSON FAMILY (CA)

"Sings The Songs Of Charles Manson" 1991 (no label)  [white vinyl]  
"Sings The Songs Of Charles Manson" 1991 (no label, Europe)  [bootleg]
"The Family Jams" 1998 (CD Transparency)  [2CDs]

Circa 1970 tapes of the Family singing the Master's songs in a communal desert campfire folkpsych setting with mixed male/female vocals - the innocent songs and evil lyrics make for great and spooky listening, superior to Charlie's own LP in many's opinion. Recommended, superior to most similar LPs not made my hippie murder cults. The Transparency double CD contains all material on the LP plus additional material from the same sessions. [PL]

MANTIS (Montreal, Canada)

"Mantis" 1973 (Sweet Plum 952)  

Prog and melodic rock from Quebec with liberal use of guitar and keyboards, mixed male and female vocals.

MANTRA (Toronto, Canada)

"Mantra" 1970 (MMC 301)  

Folk/folkrock featuring steel guitar and autoharp, with a mellow vibe and some instrumental tracks, highly rated by some.

MARANATHA (NJ)

"Soon" 1971 (no label no #)  

X-ian hippie rock with equal mix of hard guitar and moody acoustic numbers. Several unrelated x-ian groups recorded LPs under this name. [RM]
~~~
Although they're from the opposite end of the country, New Jersey's Maranatha has that same longhaired homegrown west-coast guitar psych sound as Spokane's Wilson McKinley. In fact, I might go so far as to say that Soon is on equal footing with the classic "Spirit of Elijah" - it's that good. Guitarist Charlie Rizzo would later emerge with the more Southern-edged Emmaus Road Band, but here the style seems much more garage angled and hippie jamming. ... An insanely rare private press and easily one of the top US Christian monsters. [KS]
~~~
see -> Emmaus Road Band

MARAUDERS (PA)

"Check In" 1964 (PRC 64-303)  [blank back cover]  

"Maraudin' 65" 1965 (no label)  

"Maraudin' 65" is a rare teenbeat LP with a mix of pre-Invasion instros and covers of Animals, Gerry & the Pacemakers typical of the era. Crude paste-on cover displays their hip VW Beetle convertible. The even obscurer first LP has been described as "hot guitar instro surf" and has covers of Ventures, Pyramids, Surfaris etc, plus one original.

MARBLE PHROGG (Tulsa, OK)

"Marble Phrogg" 1968 (Derrick 8868)  
"Marble Phrogg" 199  (CD Derrick, Europe)

Covers only LP from local club band with Iron Butterfly, Cream, Hendrix, Steppenwolf, and even a belated Byrds number. More interesting than the typical late 60s fuzz cover bands, as they put a lot of effort in delivering and adapting the material, while retaining a cool teen vibe. The reissue is worth examining for those interested in the era, with obvious similarities to the Smack LP.

MARCUS (NY/CA)

"Marcus" 1970 (Kinetic 3027)
"Marcus" 1993 (CD Collectables col-0571)  [+2 tracks]

As everyone knows, this is Deep legend Rusty Evans broadcasting from burnout island. Described by a noted record dealer as "one of the blandest records ever made" the 1970 LP still has a share of fans, though I'm not one of them. Wimpy sub-Donovan astrology hippie folkpsych, may appeal to Cat Stevens fans. "Million Grains Of Sand" in an orchestrated version is the best track. Kinetic was an Epic subsidiary. Rusty made an LP with the All Night Singers c1963 (Reprise R6117), and a Christian folk solo LP in the late 1970s. There is a collection of demos/outtakes from this album on CD from Collectables (Col-0690). [PL]

MARCUS (KY/IN)

"From The House Of Trax" 1979 (House Of Trax nr-10788)  [500p; 'disco' cover with small blue paste-on]  
"From The House Of Trax" 199  (House Of Trax)  [bootleg; boardprinted]
"From The House Of Trax" 1995 (Fantasia, UK)  [500p]
"From The House Of Trax" 199  (CD House Of Trax)  [bootleg]
"From The House Of Trax" 2003 (World In Sound rfr-014, Germany)  [+2 tracks; +bonus CD-ROM; 500p]
"From The House Of Trax" 2003 (CD World In Sound wis-010, Germany)  [+2 tracks; +bonus CD-ROM]

A somewhat legendary late 1970s psych private from a guy still living in the cosmic acid seeker mindset, even as the sound is (for the time) modern, with an FM-rock/AOR feel that may put some off. Similar to DR Hooker as a "big ego" project with no resources spared; the songs, the performances and the production are flawless. Hearing this on acid is like walking around inside a psychedelic cathedral, with multilayered keyboards, dreamy female harmonies, and a panoramic 24-channel soundscape. The strongly psych-flavored A-side is awesome in my ears, although the Cecil B DeMille production has its number of detractors. I don't care - this is a longtime personal fave. The original press was 500 copies, but only about half of them came with the blue paste-ons with Marcus image and titles that cover the center hole front and back. In later years remaining copies from Marcus' original stash appeared on the market in the plain white disco sleeves only, without any blue paste-ons. Copies have also appeared with what are believed to be more recently manufactured paste-ons, although they're more or less identical to the 1979 ones. The early 1990s bootleg enlarged the paste-on images so that they fill the entire boardprinted 12" sleeve space. Despite being legal reissues, the WIS releases are vinyl-sourced and somewhat inferior in sound to the original. The CD-ROM features a video of a 1979 acoustic live performance by Marcus from local TV. Only one song from the LP is performed, and the material is less psychedelic and more singer/songwriter. Marcus made a comeback LP in the 1990s titled "The return". [PL]
~~~
This is the ultimate example of an album that divides psych fans. Some of you will hate it, though it's not one of those albums whose legend comes from misleading dealer hype, as there are people who absolutely love it too. Like the best latter day psych albums (Trimble, Zerfas, Anonymous, etc.) it sounds completely of its time. Unlike those albums it doesn't seem to have any connection to 60s music, though, and if anything sounds a few years ahead of its time. The reverbed and way up-front vocals, the ultra-prominent cymbals (the rest of the drums are buried in the mix so far they might as well not even be there), the cheesy synthesizers and new age-sounding female backing vocals are hallmarks of the 80s sound. Mixed with spacy sound effects and this album's most prominent feature, heavy phasing, it sounds like psychedelicized AOR (or, on the non-heavy songs, new age soft rock) sung by a mystic and recorded in an echo chamber. The sound is absolutely going to be a hard sell for most of you, and in my opinion the songs are only marginally more appealing. Some of it doesn't even sound like "rock" to me, and while about half of the songs are quite catchy, there's not a lot of musical depth here. I find this one more interesting for the way the confusing release and "re-release" were hyped by dealers than I do for the actual music within. This is a real oddball, to be sure, and doesn't sound like anything else. I recommend that you don't pay too much mind to either its fans or its detractors and check it out for yourself. [AM]

ROBERT MARCUS (Corpus Christi, TX)

"Robert Marcus" 1974 (Ankh 1001)   

Soft rock with keyboards, orchestration, some fuzz and wah-wah, housed in a funny cover.

MARIANI (Austin, TX)

"Perpetuum Mobile" 1970 (Sonobeat HEC 411/412)  [plain stamped cover; insert with typewritten info; 100p]  
"Perpetuum Mobile" 198  (Hablabel, Italy)  [150#d]
"Perpetuum Mobile" 199  (CD Germany)  [+1 track]
"Perpetuum Mobile" 1994 (Fanny 300894, Belgium)  [500p]
"Perpetuum Mobile" 200  (Akarma, Italy)  
"Perpetuum Mobile" 200  (CD Akarma, Italy)

There are some really big rarities whose greatness escapes me and I'm afraid Mariani is one of those. Eric Johnson is probably a technically brilliant guitarist but after you've been through ten minutes of Hendrix/Alvin Lee imitations you sorta wish he'd do something else, like write decent songs rather than just excuses for guitar solos. A few promising hints of psych, especially on a track like "Rebirth day" and a powerful in-yer-face soundscape, but all over I find this LP disappointing. For Eddie van Halen fans, Texas completists and collectors of 4-figure legends. The group had a non-LP 45 with psychedelic drum solos. [PL]
~~~
Heavy blues psych band with sixteen year-old Eric Johnson on stun guitar, Vince Mariani handling drums, Jimmy Bullock on bass. Lead vocals are handled by several singers including Bill Wilson, Darrel Peal, and Jay Podolnick. The playing gets anthemic at times but the lyrics are regrettable. The recording session was done outside in a wooded area. The German CD is made from a rough copy of the LP and is very noisy. The bonus track is a much later Eric Johnson version of "Little Wing". All reissues have new sleeve designs as the original was plain cover. [RM]
~~~
Eric Johnson the wunderkind is on display here, but the band was named after the drummer, and ultimately is as boring as, say, a Ginger Baker solo album. Johnson was talented but not especially original as a teenager, and there isn’t a solo here that wouldn’t have been better if it was half as long (the drum solo, of course, would have been better if it didn’t exist at all). Even with the Johnson connection, it’s a mystery to me why this is such a sought-after album. I can think of hundreds of better late 60s/early 70s hard rock albums. [AM]
~~~
see -> American Peddlers; Electromagnets; Bill Wilson

MARIANUS (Andover, MA)

"Visions From Out of the Blue" 1981 (Jupiter)  [lyric insert]  

This is hyped as a prog album (and occasionally as an AOR album), but defining it by that genre doesn't tell the whole story about this oddity. It takes cues from pretty much every rock style of the preceding 25 years, even glam and new wave (those two are especially apparent on the irresistible opening track.) There's a bit of mellotron on the album, a spacy instrumental, a bunch of catchy choruses, bizarre backing vocals and a singer who is the missing link between Steve Harley and Geddy Lee. The guitar riffs on the early verses of "Man From Another Planet" really hit the spot. The songwriting throughout is creative and intelligent. This is weird and distinctive! I'm not sure who the audience is for this one, but it's pretty great. [AM]

DEREK SCOTT MARKEL (Canada)

"Derek Scott Markel" 197  (no label RH 074601)   

Rural folkrock and singer/songwriter with full setting, piano, even accordion, the Band moves and some psychy guitar. Highly rated by some.

MARK IV (Canada)

"Vol 1" 1965 (Rusticana CKL 1225)  

Obscure teen-beat LP in neat sportscar cover.

MARKLEY (Los Angeles, CA)

"Markley: A Group" 1969 (Forward st-f-1007)  

I may be in the minority here, but I enjoy this as much as any of the "proper" WCPAEB albums, as it's full of left turns, crazy arrangments, freaky lyrics, and catchy tunes. As with the first Reprise album, it sounds like a killer garage pop album filtered through the mind of a whacked out genius. Absolutely a must-hear for popsike fans. [AM]

GARY MARKS (NY)

"Gathering" 1974 (ULT 74008)  [booklet]  

Little-known Tim Buckleyish singer/songwriter with jazz moves, rated highly by some. The LP was originally sold via mail-order.

MARLBOROS & JOKERS SIX ( )

"Real Live Girl" 1966 (Justice 126)   
"Real Live Girl" 199  (CD Collectables 0610)

Unusual LP with black vocal group and white club band joining forces to try and get a beach party going. Apparently the two bands toured together, the Jokers Six supporting the Marlboros who are an early 60s-style vocal 4-piece. The Marlboros don't sing bad and some tracks may appeal to local doo-wop collectors, although the recording is muddy and tinny. The title track is a fairly good original and there's another original on board, the rest is mostly r'n'b/soul standards. While the vocal strength of the Marlboros gives the album an edge over pretty much all other Justices I find little exceptional about it. There's an OK surf-style instro and an energetic "Good loving" on side 2 but apart from that the Jokers Six sound like any generic club band; competent but dull. Embarrassed, one of the Jokers Six guys comes right out in the liner notes and admits that the Marlboros are the "up and coming stars of this album". [PL]

MARR'DEL (OH)

"Mystery Of Love" 1979 (MSP 3001)  [1000p]

Accurately described as "sparse cosmic female real people" by the guy who invented this type of descriptions. Her voice is somewhat arch and lofty, but the refined, serious mood is effective. Acoustic guitar and autoharp, some songs, some spoken poetry with musical backing and occasional sounds of nature such as rain and thunder.

MARSADEES (SC)

"Marsadees" 1967  (Justice 150)   
"Marsadees" 1996 (CD Collectables)

Probably the rarest LP on the label, this wasn't even known to exist for many years. It's not bad either, clearly among the better in the Justice catalog, with a crude surf and frat approach similar to the non-garage stuff on the Tempos LP. Should appeal to anyone interested in local pre-Brit Invasion sounds, even though it dates from around 1967! Cool cover photo of the very young band. One group original, a sleepy surf instro. [PL]

MARY BUTTERWORTH (South Gate, CA)

"Mary Butterworth" 1969 (Custom Fidelity 2092)  [350p]  
"Mary Butterworth" 1988 (Breeder 562, Austria)
"Mary Butterworth" 1998 (CD OCCS)

Inside one of the greatest private press psych sleeves ever you'll find pretty enjoyable LA area (they were not from Idaho) highschool pothead sounds with Hammond organ upfront and great echoey drums. Mixes bluesy vibe with a westcoasty outdoors feel in the vocals. Mellow and stoned rather than lysergic, despite uninspired lyrics three out of six tracks are excellent - check out the Gathering vol 3 comp for a sample. The album was sold via gigs and to friends and had no formal distribution. The band also had a pre-LP 45 on Custom Fidelity. Surprisingly, one track from the LP is used in the highly acclaimed "Lost In Translation" movie. The CD is remastered and remixed. [PL]
~~~
Bluesy hard rock with long songs and some jazzy flute and sax. The lyrics are trite and uninteresting but the songwriting is decent and the overall sound is appealing: lots of reverb and echo, nice guitar sound, ringing cymbals and eerie organ, vocals that don’t fall into the usual bluesy macho trap. “It’s A Hard Road” is particularly good. There are moments where it seems pedestrian, but also moments that rise above. Not top of the heap, but good enough to recommend to genre fans. The guitar solos are pretty dull, though. [AM]

CARM MASCARENHAS (Winnipeg, Canada)

"Someday Soon" 1975 (Mascanta)  

Folk and folkrock with acoustic and electric backing and powerful vocals.

MASON (VA) 

"Harbour" 1971 (Eleventh Hour 1001)  [paste-on yellow title sticker;  booklet]  
"Harbour" 1971 (Eleventh Hour S-1001)  [printed cover; booklet]  
"Harbour" 199  (Eleventh Hour)  [bootleg]
"Harbour" 199  (Gear Fab gf-137)  [+2 tracks]
"Harbour" 1999 (Akarma, Italy)  [booklet]

Released on the local Eleventh Hour label, the album offered up a surprisingly accomplished set of early-'70s heavy metal. Acrese had a voice that was well suited for the genre; Hampton was a first-rate drummer and as a trio these guys generated considerable intensity. Largely written by Galyon, material such as the driving opener "Let It Burn" (imagine Deep Purple having borrowed Ian Anderson for a flute solo), "Tell Me" and the cool instrumental "Electric Sox and All" were all impressive. Great songs and great performances (geez, Grand Funk sold millions and these guys couldn't get arrested). Elsewhere, "Golden Sails" was a substantial change of pace, opting for a progressive song structure (it may be our favorite song). [SB]
~~~
This is an interesting and diverse hard rock album, well liked enough to have been reissued several times. If you can picture slow, organ-rich heavy prog side by side with blues-rock, acoustic folk-prog, jazzy sax instrumentals, and snappy riff rockers, you’ll have an idea of what you’re in store for here. It’s all done quite well, and there’s an air of professionalism usually absent from this kind of self-made record. My favorite is the brief “Goin’ Home,” which sports an undeniable hook, but there’s enough to like here than half a dozen listeners might pick half a dozen favorites. “Tell Me” has a fuzz guitar tone to die for. The singing is strong, but overly macho and humorless, unfortunately, the album’s one major fault. First issues have paste-on covers. The second issue has a black and white cover drawing and an insert.It was remixed at Alpha Audio but it's unclear whether there is any real difference in sound. Eleventh Hour went on to release albums by Polyphony and Vandy. [AM]
~~~
see -> James Galyon

MASS-TERS ( )

"Today" 1969 (Venus MS 001)  

Very obscure folk quintet looking like they're about 5 years behind the times, and reportedly sounding that way too, except for some appealing female vocal harmonies. Mix of originals and covers.

MATILDA see Don Daly

MILT MATTHEWS, INC ( )

"For The People" 197  (Catalyst cas-1111)  
"For The People" 2003  (Catalyst 1111)  [reissue]

Early 1970s black group. Soul rock with some fuzzy jamming similar to early Parliament but less interesting. Matthews had several other releases.

MAX AND I (Long Island, NY)

"Max And I" 1976 (Western Hemisphere)   

Rural jams with female vocals, featuring Maxine and Ira Stone along with ex-Elephant's Memory members. A Morris Levy tax-loss release.

MAX CREEK (CT) 

"Max Creek" 1977 (Quack Sound 100)  

Supposedly only 100 copies were pressed of this "American Beauty" style rural jam LP. The band has been going for decades and developed a Deadhead-type fan-base. Later LPs include "Rainbow" (Wranger, 1980) and "Drink The Stars" (Wrangers 2LPs, 1982).

MAXIMILLIAN (NY)

"Maximillian" 1969 (ABC 696)  

This is remarkably inept for a major label release. It's certainly wasted, and is full of fuzz guitar as well as some organ, but it's not exactly the funk-psych freakout people wish it were, as it doesn't really go into particularly far out places. Add that to the lack of chops and go-nowhere soloing, and ultimately it's pretty boring. [AM]

ALICIA MAY (Los Angeles, CA)

"Skinnydipping In The Flowers" 1976 (Golden Anchor 7777)  [lyric inner]  

This is a solid singer-songwriter album that should appeal very much to fans of strong female singers and uniquely arranged songs. Though the instrumentation is sparse (only one song has bass and drums), it is extremely varied, with dulcimer, concertina, autoharp, calimba, cello, Irish harp, saz, accordion, flute, clarinet, sax and steel guitar among the instruments. Each song has a distinctive feel. Alicia's voice is crystal clear, and the occasional harmony creates a dreamy effect. The full band "Carry Me Home" is the most instantly appealing song, but different listeners will find different favorites on this diverse and creative album. The first few songs on side one have an ethereal feel, with "Summer Days" reminding me a bit of These Trails. Most of this is pretty serious in tone, but there's some lyrical whimsy and good timey music as well. The album was recorded at A&M studios and has a professional sound that is unusual for a privately released album. Carol Kleyn makes an appearance on one song. [AM]
~~~
The title and front cover may look like yet another rural hippie lady album, but the vinyl grooves carry a somewhat different experience. To begin with, substantial resources went into the making of "Skinnydipping", giving it a finalized, well-rounded sound that could have come out on any major westcoast label at the time. The arrangements are remarkable, in fact I can't think of any comparable album where such a rich palette of instruments is used. Genre-wise I would call this a sophisticated singer-songwriter LP with a certain debt owed to Joni Mitchell (who is mentioned on the sleeve), and an LA Canyon feel... pastoral and urban at the same time. For those hoping for psychedelic sounds, the first two tracks point clearly in such a direction, with a mystical and unorthodox folk feel not unlike These Trails. As the album evolves we move towards a mid-70s s/sw style which is not afraid to experiment. As often with the era there is a Broadway musical touch here and there, and there's also playful stabs at traditional folk, country-rock and even nursery rhymes a la Vasthi Bunyan. At times I'm reminded of Jan & Lorraine, if you imagine where that 60s duo might have ended up in the 1970s. Despite the diversity, "Skinnydipping" holds together well, thanks to Alicia May's flawless vocals, which again are more professional (in a technical sense) than what you usually find on privately released albums. And though it may sound like a paradox, the wide array of instruments and extremely varied arrangements also give coherence to the trip. The album is a must for genre fans, and strong enough that anyone with an ear for pro-level talent and production values needs to check it out. [PL]
~~~
see -> "Guitar Picks"

MAYAN CANALS see Rich La Bonte

MAYPOLE (Baltimore, MD)

"Maypole" 1971 (Colossus cs-1007)  [ylp exists]  
"Maypole" 2005 (CD Radioactive 114, UK)

Heavy psych rock that’s got a lot of ideas, but also has a tinny metallic sound that grates on the ears quickly (and this is a long record). A definite favorite of some fans of hard rock, but it’s one of those albums that sounds much better when you’re only hearing one song on a mixed tape or radio show. Some of the songs are put together in kind of a suite, showing some obvious prog ambitions. [AM]

MAY STREET TOPS (NC)

"May Street Tops" 1974 (Death Valley no #)  [300p]  

Rural hardrock with dual drums, occasionally hyped. Recorded at the same studio (Harry Deal's) as Dryewater. The title is sometimes listed as "Sold Out".

MAZANTI ( )

"Philosopher" 1979 (Mazanti Music)  

Southern hardrock with some folky tracks and Jethro Tull moves.

MAZE (Fairfield, CA)

"Armageddon" 1968 (MTA 5012)  
"Armageddon" 1989 (no label, Europe)  [bootleg]
"Armageddon" 1995 (CD Sundazed sc-6060)  [+6 tracks]
"Armageddon" 2006 (Beat Rocket)  [alternate mono mix]

The Maze seek a sense of drama, with long songs, prominent organ, eerie harmonies, heavy lyrics and a singer who becomes unhinged here and there. If you're in the right mood for it, it's pretty enjoyable, especially since there are some crazed fuzz guitar breaks. One truly terrible semi-novelty song, "Kissy Face", destroys the mood, which makes the rest a little harder to take seriously. The overall effect is similar to the album by The Phantom, though the best songs here, especially "I'm So Sad", are more worthy of semi-serious respect than anything on that album. The short songs take a poppier approach, and they're reasonably good, with the one above-mentioned exception. Pretty cool, though not distinctive enough to really stand out in the genre. The Beat Rocket release has a previously unreleased mono mix with some alternate takes, and is this not a true reissue. [AM]

MCALLEN (MI)

"McAllen" 1971 (Spirit 964S-2002)   [gatefold]

Downer folk/folkrock with Woolies member helping out, acoustic and electric backing. Back cover shows McAllen next to a huge cannabis plant.

BOB MCCARTHY (Cambridge, MA)

"Advice & Company" 1974 (Wandra no #)  

Coffeehouse folk and singer-songwriter with occasional band backing, including second guitar, bongos, violin, dobro, bass and drums.

JAMES MCCARTHY ( )

"Born a Loser" 1971 (Audio House ahs-3771)  [blank back cover; translucent blue vinyl]  

Acoustic flower folk from noted Kansas studio and custom label.

KATHY MCCORD ( )

"Kathy McCord” 1969 (CTI 1001)  
"Kathy McCord” 1999 (CD Vivid, Japan)

Female singer/songwriter album that is highly rated among genre fans.

MCDONALD & SHERBY (MN)

"Catharsis" 1974 (Omniscient 80 1426)  [500p]  
"Catharsis" 1992 (Rockadelic 7.5)  [altered cover; altered song order; 300p]  

Here's an interesting obscurity that mixes two really long moody songs and some shorter hard-rockers. The long songs have definite anthemic quality, and there's some cool guitar, organ and synth soloing: plenty of wah-wah and freaky noises. Most of this is blues-based, most of it riff-oriented. Neither the short or long songs are structured in a particularly complex way. Both are vehicles for jamming. It's a pretty cool record, and more distinctive than the description would suggest, though it would have been nice if a few of the songs had been developed a bit further. Strangely enough, the shorter, faster songs suffer from the repetition more than the long ones do, maybe because the soloing on the epics is more thoughtful. [AM]

MCGRAW BROS (NJ)

"Scotch On The Rocks" 1966 (Tore 1)  

Scottish-American group doing club band frat & Brit invasion covers with honking sax, dressed up as Scotsmen on the sleeve. A couple of band originals also.

LARRY MCHUGH (PA)

"Son Of David" 1978 (BE 845)  

A fine example of the more subdued, reflective mood that emerged on Christian rock LPs towards the end of the 1970s. Post-acid westcoasty melodic studio rock with a highly professional, sophisticated sound create a backdrop for McHugh's relaxed, unassuming vocals. Lyrics are typical Jesus movement concerns and stay close to the known path, leaving the music to do the peregrinations in a quite appealing way. In fact this album has some of the best guitar-picking I've heard on a private from the era, sparse flowing jazzy scales that fit the mood perfectly. The band as a whole radiates a selfconfident late-night groove, occasionally getting into jammy bits that flow just right. Keyboards and moog fx are used in a way similar to the more relaxed tracks on One St Stephen, while the overall nocturnal feel is reminiscent of Christian colleagues Ark and Windwords. McHugh does get dangerously close to the "better safe than sorry" repetition spectre that can haunt this type of work, but emerges a winner on the strength of some terrific dreamy tracks such as "Come to me" and "Waters of life". This is not a local basement trip like Kristyl, but a very pro-sounding affair with mature, jazzy moods. I was rather impressed. [PL]
~~~
Folky Christian singer who can’t really hit all of his notes, but has a pretty solid musical backing. The title track is pretty great, full of phase shifter happy guitar solos (lots of scales), a dreamy chorus, and ends with a great rock guitar solo and some surprising moog. Terrific song! There isn’t anything else here that gets up as much of a rocking head of steam, but most of the album is decent acoustic folk and soft-rock with a rhythm section that stands out despite the quiet nature of the songs. The Christian lyrics are reasonably subdued. A few songs veer towards a jazzier direction, and aren’t quite as appealing. A lot of the electric lead guitar sounds like improvised noodling, and the weak singing grates after a while, but the more carefully constructed songs are quite good. Other than the title track, the oddly structured “Hold Your Love High” is probably the highlight, as it fits frantic bass runs, dreamy “ah ah” singing and a somewhat long instrumental introduction into three surprising minutes. Not solid from start to finish, but a pretty interesting album. [AM]

McKAY (Indianapolis, IN)

"Into You" 1977 (no label)  [300p; plain back cover]  
"Into You" 1993 (OR 001)  [insert; 300#d + signed]
"Into You... Plus" 1996 (CD OR 007)  [+bonus tracks]

"Into You" takes some time to get into but it's worth the effort - a laidback, nocturnal rural rocker with sounds ranging from country-tinged, almost Eagles-like brooders to uptempo guitar movers with some ace Jerry Garcia-style instros inbetween. Neil Young's "Harvest" and "Tonight's the night" may also spring to mind, but this is a distinctive album that needs to be heard, rather than imagined via semi-accurate comparisons. Some copies have a sticker on the back with personnel info. The CD reissue features 16 unique bonus tracks, all from the same sessions as "Into You" and "Take Two". I was not quite as impressed with "Take Two", although others seem to like it. [PL]
~~~
"Into You" has excellent sound and high quality performances. It could easily have been mistaken for a major label album of the time. It mixes acoustic ballads, upbeat rockers with wah wah, and laid back rural rock. The obvious reference points are 70s Grateful Dead and, to a lesser extent, The Band. That works for better (musicianship) and worse (vocals.) It rarely rocks out, but on the few occasions it does, it is convincing. The songwriting is pretty strong, and occasionally (i.e. the propulsive “This Road”) transcendent. I find the vocals weak (not in the sense that they can’t sing, but moreso that the singer sounds wussy), but otherwise this is one of the best albums of the style. The CD contains an albums’ worth of bonus tracks, many of which sound more like demos and jams that completed songs. If you listen to them separate from the album proper, they’re pretty fun, and there are a few solid songs mixed in too. [AM]

"Into You, Take Two" 1995 (OR 007)  [book; 375#d]

McKay had a whole batch of unreleased recordings from around the time of "Into You", some of which were originally considered for the album. In 1995, the material from the vaults was dug out, remixed and released by OR records. The result is a collection just as slapdash as the bonus tracks on the "Into You" CD, including some jammy instrumentals and some brief effect-laden experiments to go along with a number of complete songs. Obviously this isn’t a consistent listen, but the quality of the songs is strong and even the most incomplete fragments are pretty interesting. The album is also intelligently structured to make the experimental bits and songs fit well together. Fans of the first album are sure to enjoy this, and, since unlike "Into You" this is quite psychedelic, it could attract some new fans as well. Also, it has a great album cover. [AM]
~~~
"Take Two" is the druggier and more interesting of the two fine McKay efforts, taken from mid-70s sessions at which time the group was going by the name, The Loos Band. The "Take Two" material does not overlap with the 1996 CD reissue at all. There is a CD release on OR of 1997 recordings, "Tomorrow's Tomorrow". [RM]
~~~
see -> Ray Pierle

MCLEISH, PETRIE, ROBINSON & FRIENDS (Canada)

"R P M" 1978 (Starfish 7801)  [1000p; blue vinyl]  

Rural rock and folkrock with guitar/keyboard demo recordings gathered over a period of time, with songwriting contributions from all members.

F J MCMAHON (Santa Barbara, CA)    see Q & A here

"Spirit Of The Golden Juice" 1969 (Accent 5049)  
"Spirit Of The Golden Juice" 2000 (Wild Places)

Recently discovered obscurity on the Accent label, otherwise known for a number of great 45s. Late-stage beatnik/coffee house-folk which reminds me of Fred Neil; worldweary, introspective sound with an early Viet Vet vibe. He has a good voice somewhat similar to D R Hooker, and plays nice guitar figures throughout the LP, which has a light folkrock backing. Not bad, though the arrangements would have benefited from some variation. McMahon recorded this coming out of the air force, and "The Golden Juice" refers to a brand of bourbon popular among enlisted men. The album features Accent colleague Jon Uzonyi (Peace Pipe) on bass. [PL]

MEADE RIVER see John Gilbert

MEAT PHREDD (OH)

"Meat Phredd" 1981 (Phreddhead)  

Instrumental avant guitar progressive trio similar to Viola Crayola. Recorded at Columbus' longrunning Musicol studios and housed in an odd cartoon cover.

THE MEDIUM (Montreal, Canada)

"The Medium" 1969 (Gamma 503)  

Usually this band is listed as “Medium,” but the album cover clearly defines them as “the Medium,” which takes on a whole different meaning. This Canadian psych album is pretty interesting, starting with a trippy instrumental full of organ and fuzz guitar, and moving on to dreamy ballads and slightly heavier (but never fast) songs. The guitar playing throughout is somewhere between jazz and angular San Francisco-style noodling. There seems to be little or no attempt at melody, which actually makes the solos pretty distinctive and weird. An organ/guitar battle on “Give Me A Peace” is especially fun. The songs don’t follow traditional verse/chorus structures at all. The singer has a deep voice but isn’t exactly soulful or bluesy. This album is pretty freaky, what may have happened if bands like Aorta and Day Blindness didn’t bother to tidy up their loose ends. The style wears a little thin by the end, as the songwriting on side two doesn’t really offer anything new. Still, this is something most of you will enjoy. It has some similarities to the more satirical and pop-oriented Rabble, also from Montreal. [AM]
~~~
This one has a pretty good reputation, but I was somewhat disappointed with it. It opens strongly with some fairly complex and atmospheric UK artrock excursions with classical influences in the typical Procol Harum/Moody Blues school; skillful keyboard and piercing fuzz themes keep your attention. Unfortunately someone, probably the vocalist, decided that something more was needed, which means that bad sub-Justin Hayward crooner laments pop up where there should have been more instrumentals. The guy's voice isn't half as good as he thinks it is, constantly hitting the wrong notes and straining in true amateur night fashion. The songwriting for these numbers is kind of lame too, with a remarkable lowpoint hit in what sounds like someone's drunken halfspeed karaoke reworking of the Hollies' old "Yes I will". When Mr Wayward keeps quiet or slides into a more balanced approach the music regains its footing, with a playful inventiveness and semi-avantgardism which is reasonably cutting edge for 1969. All over though, an album such as Aggregation on LHI shows how to handle and overcome the traps that pour sugar in the Medium gas tank. Still worth checking out cheaply, and may appeal to fans of early prog, but I wouldn't set my expectations too high. [PL]

V.A "MEET THE LIVELY ONES" (Canada)

"Meet The Lively Ones" 1965 (Capitol DJ 100)  [thin paper cover]  

Obscure promo-only sampler of Canadian beat bands including early Sparrow(s), Wes Dakus Rebels, Big Town Boys, Staccatos, Barry Allen, Diane Leigh, and Robbie Lane & the Disciples.

MARK MELANSON (NY)

"Haunted Hearse" 1970 (Color Esoterics)  [insert]  

Real people/outsider folk with "Irish gravedigger vocals", echo effects and more. Highly rated by some.

MELCHIOR ALIAS (Montreal, Canada)

"Melchior Alias" 1969 (Capitol 70024)  [gatefold; insert]  

Somewhat legendary French-Canadian LP with French vocals, electronic psych and freak-rock.

MELISMA ( )

"Like Trolls" 1978 (no label)  

Seldom seen local folk/prog, housed in nice pencil-drawn cover.

MELOFIN (WV)

"Ivan Tale" 1984 (Sky Spy Studio)  

The 1984 date belies the sound of this interesting and unique record. Influences come from UK folk, UK prog and US folk-rock. The singer sounds very British, like a mixture of Roy Harper, John Lennon and an oboe. A wide range of instruments including mandolin, tasteful synthesizer, and many percussion devices color the sound of the music, which is about half acoustic, half electric. The lack of lead guitar on most songs makes the few solos and guitar hooks more powerful than they might be in another context. A couple of the songs are overlong (everything here has a leisurely pace to it), but for the most part this is lovely and ethereal. I've seen comparisons to the Strawbs and Jethro Tull, and that's not too far off. How much you like it will depend on how you respond to the unusual singer, but this is a pretty neat album with a timeless feel. The back cover photo shows the four least likely looking rock and rollers you'll ever see. [AM]

DAVID & TINA MELTZER (San Francisco, CA)

"Poet Song" 1969 (Vanguard sd-6519)   
"Poet Song" 1999 (Akarma 054, Italy)
"Serpent Power/Poet Song" 1999 (CD Akarma 053/054, Italy)  [2-on-1]

Obscure follow-up to the Serpent Power LP by the main duo, like that band still somewhat underrated. He reads some of his poetry which may turn some off though the poems are brief and enjoyable (he's a published poet with roots in the 1950s beat era), and do not detract from the excellent folkpsych songs that make up the bulk of the LP. Less poppy and more meditative than the earlier album, some tracks are truly great. Worth checking out. A Canadian pressing exists. There was also a children's LP titled "Faces" (Folkways, 1984) with Tina's vocals, guitar, and banjo playing. [PL]

"Green Morning" 199  (RD Records 5, Switzerland)  [500p]

This is the Meltzers' unreleased 2nd LP, recorded in 1970 for Capitol but never released except for an acetate.

MENDELBAUM (Madison, WI)

"Mendelbaum" 2002 (Shadoks 034, Germany, 2LPs)  [450p]
"Mendelbaum" 2003 (CD Shadoks 034, Germany, 2CDs)

Previously unreleased material, one disc studio, one disc live, from obscure Midwest band who moved to the Bay Area and cut some demos and played the ballrooms. Most of this falls into an unexceptional late 60s rock-club sound, like you may expect from a Fillmore support act. Proto-heavy transition sounds with typical guitar/Hammond B3 mix, bluesy vocals, some Santana and Dead moves. The guitar-playing is above average but that's really the only thing of note here. The live stuff is slightly superior in my ears. One of Shadoks' more dubious releases, though some people have reported liking it. There was a local 45 released in WI around 1968. Both guitarist Chris Michie (previously in the Grapes Of Wrath) and drummer Keith Knudsen went on to bigger things. [PL]

MERCURY MAGIC ( )

"Mercury Magic" 1980 (Hughestone 557)  

Flowing hippie & prog-rock with Jaggeresque vocals, moog, sax and flute parts too. Spaced out black and white cover art is a plus. Some copies came with a bonus non-LP 7".

MERKIN (Orem, UT)

"Music From Merkin Manor" 1973 (Windi 1005)   
"Music From Merkin Manor" 1994 (Merkin, UK)  [bootleg; 350p]
"Music From Merkin Manor" 1997 (CD Gear Fab gf-109)  [+3 tracks]
"Music From Merkin Manor" 1997 (Akarma, Italy)

A real enigma, popular with many psych fans despite being easy-breezy sort of 1970s pop-psych rather than the typical heavy guitar blowouts. Some have compared this to the poppier, non-jammy side of early Santana. I have heard it many dozens of times but can't really put my finger on it - there's nothing quite like it. The LP they play at seaside resorts when all the summer visitors have left! "Take some time" is a personal favorite with a simple yet memorable guitar hook, while the sad ballad "Goodbye" has lots of admirers. A marvy negative purple/silver sleeve adds to the appeal. Recorded in LA 1972 but not released until 1973. [PL]
~~~
I recall feeling disappointed when I put this LP on the platter having eagerly purchased the first reissue. I had read descriptions of the two copies auctioned in lists that featured those four words heavy, psych, private and monster. This was not what I’d expected. My initial disappointment gradually gave way to love and wonder. It was certainly three of these overused descriptors and with that thunderous and yet twangy bass it was genuinely heavy. The impression left when the stylus reaches the end is that of very, very happy musicians playing together and having the times of their lives. Like their label mates Creation Of Sunlight this oozes good vibes from every groove. There’s a lounge feel on some tracks like "Ruby" and "Sweet Country". The sound is very professional, but those tunes, boy, they had some great and sometimes brilliant ones up their sleeves. You will be humming them all day. Nothing else really sounds like this LP, it is as if innocent sixties youths had been lifted out of their dream and placed in bed with a well-meaning whore with a heart. It occupies that fruitful transition phase between psychedelic pop and more ‘meaningful’, ‘heavy’ music of the early seventies. Has the reverse negative sleeve to end all reverse negative sleeves. Special as it comes. [RI]

MERRY AIRBRAKES (MA)

"Merry Airbrakes" 1973 (St George International 06)  [100p; insert; blank back cover]  
"Merry Airbrakes" 1999 (Shadoks 002, Germany)  [450p; altered cover]
"Merry Airbrakes" 2000 (CD Shadoks/NOrmal, Germany)

Folk blues cooker with Vietnam concerns. Organ, slide guitar, harmonica. Some copies came without cover, others have handmade embellishments. [RM]

V.A "MERRY CHRISTMAS" (WA)

"Merry Christmas" 1965 (Etiquette 025)  
"Merry Christmas" 1984 (Etiquette)

Local Northwest X-Mas comp from label made famous by the Sonics. Gerry Roslie and the boys supply four unique tracks of which one has appeared on "Back From The Grave". All can also be found as bonus tracks on recent Sonics reissues. In addition there's some charming yuletide stuff from the Wailers and the Galaxies. One of the most expensive originals on Etiquette.

LES MERSEY'S (Montreal, Canada)

"Mersey's" 1967 (DSP 417)  

Well-produced French-Canadian pop/beat with Michael Pagliaro, sung in French. Several Beatles covers. The band also had many 45s.

MESSAGE ( )

"It'll Be Awhile" 1981 (Black Gold)  

The production on this private press hard rocker is crude, which makes the obvious 80s touches (mostly the lead guitar sound) somewhat less slick. They obviously have some prog aspirations, and have some interesting synth breaks and thoughtful instrumentals. T