PACERS (AR)

"Go Wild" 1965 (Razorback)  

Local obscurity tied in with the University of Arkansas' football team, The Razorbacks. The LP has been described as more country/rockabilly than beat/garage, and features topical songs such as "Quarterbackin' man" and the regional hit "Short squashed Texan". The Pacers were 1950s legend Sonny Burgess' backing band. There were also some 45s released during the post-Burgess era. Several pressings exist of this album.

PAISLEYS (Minneapolis, MN) 

"Cosmic Mind At Play" 1970 (Audio City-Peace 944S-2809)  
"Cosmic Mind At Play" 1984 (Psycho 7, UK)
"Cosmic Mind At Play" 199  (CD Afterglow, UK)
"Cosmic Mind At Play" 2004 (CD Sundazed)  [+bonus tracks]

Late (1970) stab at 60s-style popsike with side two being an extended suite. There are a couple of songs on side one that use sound effects nicely, and there are a bunch of good melodies within the suite. There's a breezy, almost innocent feel that is appealing. Overall, though, it feels like they were trying too hard, and they didn't give up on a single idea, good or bad. The CD bonus tracks are of 80s vintage and are very weak. [AM]

JOHN PALMER (Canada)

"Shorelines" 1971 (Celebration 1868)  [gatefold]  

Downer psych a la Skip Spence, with an echo-laden production, use of keyboard, some fuzz, and tormented lyrics.

LUCIA PAMELA (Fresno, CA)

"Into Outer Space With" 1969 (Gulfstream)  
"Into Outer Space With" 198  (L'Peg)  
"Into Outer Space With" 1992 (CD Arf Arf 0037)

Legendary incredibly strange album of kooky woman with an elaborate delusional fantasy about people on the moon and how she visits them with her Cadillac. A must within the genre, although it's not "rock" music by a long shot. The L'Peg pressing is a reissue from Pamela herself. Gulfstream was a Florida label, but Lucia was based in California. She passed away in 2002, 98 years old.

PANDORA (NY)

"Pandora" 1975 (Evatone)  [10" flexi; no cover]  
"Pandora" 200  (CD Captain Trips, Japan)

Live glammy hardrock produced by Granicus' drummer, a promotional green flexi for a prospective LP. The Japanese CD reportedly contains longer versions of the tracks, which had been edited for the promo flexi.

PAPA BEAR'S MEDICINE SHOW (Canada)

"Papa Bear's Medicine Show" 1971 (One Shot 1001)  [100#d; handmade cover]  
"Papa Bear's Medicine Show" 1998 (Little Indians 5, Germany)  [+1 track; 4 inserts; 400p]

Reissued along with Butterfingers and sort of similar but decidedly better to my ears; laidback later-day loungey Doors moods with decent songwriting and a consistent sound. Has that typical early 1970s moody organ-led Canuck vibe. Side 2 is live with an extended nightclub jazzrock cover of "Soul Kitchen". Video material exists of the band doing 100% jug band material, unfortunately. [PL]

PAPER GARDEN (NY)

"Presents" 1969 (Musicor 3175)  
"Presents" 1986 (Antar 3, UK)  [altered sleeve]
"Presents" 2004 (CD Gear Fab 194)

This is one of the better Beatles-inspired US pop/psych albums. It’s a short album (ten brief songs), but still has a bunch of variety and melodic ideas to spare. Lots of sitar, some great fuzz guitar, even gypsy violins and calypso beats. A few good-timey songs at the end of side one may annoy some, but they’re good for what they are, and the rest is even better. Great cover, too. Also released by Columbia in Canada. [AM]

PARISH HALL (CA)

"Parish Hall" 1970 (Fantasy 8398)  [wlp exists]  
"Parish Hall" 1999 (Akarma 037, Italy)
"Parish Hall" 1999 (CD Akarma 037, Italy)

Fantastic power trio hard rock that just about everyone likes. This is no-nonsense stuff, brief songs, killer riffs, strong but unpretentious singing, sparse arrangements. There’s a mild bit of bluesiness to it, but the songs are fast and the album isn’t full of long guitar solos. There’s a terrific ballad too. A really good one. Original French, British and Australian pressings exist. [AM]

PATRON SAINTS (NY)

"Fohhoh Bohob" 1969 (no label JT-1001)  [100p; booklet]  
"Fohhoh Bohob" 1994 (no label, Austria)  [bootleg; 300p; altered cover; booklet]
"Fohhoh Bohob" 1997 (American Sound 106202/3)  [booklet; bonus 45; 500#d]
"Fohhoh Bohob" 1997 (CD Patron Saint PSCD-101)  [+bonus tracks]

A truly unique trip and hard to describe, but it's atmospheric "real people" folk-singer/songwriter with an array of influences ranging from ragtime to 40s schlager sentimentality to hippie confusion, like tuning into a radio station from another world. Well-written, amazing and deep, you need to hear it. Member Eric Bergman has confirmed the original pressing as 100 copies. Note hidden message along the borders of the back sleeve. There are also two releases of unreleased material, "Proto-Fohob" and "The Latimer Sessions". [PL]
~~~
This album was way ahead of its time, kind of like Virgin Insanity. Nothing else sounded like it then, but now there have been a bunch of 90s indie bands that cover the same DIY-type territory. The sloppy, somewhat inept performances will either appeal to you or they won't. The mix of old-fashioned musical styles is definitely interesting, though. This has the hallmark of a songwriter who had a million ideas but nowhere near enough musical talent to project them correctly, and the result is actually more original and fascinating than what they had hoped...or just boring, depending on your perspective. Not for everyone. [AM]
~~~
see -> Eric Bergman

PAT'S PEOPLE (MI)

"Silver Rains Afar" 197  (no label)  

UK style folk Recorded at Adell Studios in Novi, MI.

BOB PATTERSON (PA)

"Instrumentalist" 1971 (RDP)  

Obscure album from guy who presents himself as "singer/songwriter" on the James Taylor-inspired front cover, so no need to worry about the categorization. Tracks include "Trippin' to Boston", "I am abandoned".

BOB PATTERSON ( )

"Land Of The 12 String Song Man" 1977 (Conch Island)   

Countryrock from the South with pedal steel, flute, banjo. Possibly the same guy as above.

PATTERSON & PULTS (TX)

"Grand Tetons" 1977 (PPP 1178)  

Introspective acoustic folk duo. Nice dark playing and stark, heartfelt songs about loneliness and the wonders of nature. There is also a second LP from 1984, "Second Time Around" with 1979-80 recordings. [RM]

JOE PEACE (Cincinnati, OH) 

"Finding Peace Of Mind" 1972 (Rite 29917)  [2000p; gatefold]  
"Finding Peace Of Mind" 2001 (CD World In Sound 1005, Germany)

Light good-natured hippie folkrock LP comparable in sound to Brazda Brothers though less consistent. Obvious Neil Young influence typical for the bag, while crude guitar leads add some needed tension. Opens strongly but the last third of the LP is weak with strained vocals and a flower-embellished VW bus mood that becomes one-note. Warm and friendly in a 1960s vibe, but apart from 2-3 excellent tracks mostly for completists. [PL]

PEACE BREAD & LAND BAND (WA)

"Liberation Music" 1970 (Red Yogis no #)  [10"; 1000p; cover is a 10x13" envelope; insert]  

Communal left-wing hippie folkrock with female vocals and a strong political orientation, including a poem by Ho Chi Minh set to music and women's rights concerns. A mono recording. 

"Bright New Dawn" 1978 (Olequa 7801)  [1000p]

Second and inferior LP of Northwest communal, political folkrock, led by ex-Spikedrivers member Sid Brown. There is also a 7" EP from 1973, "Mill Town Blues".
~~~
see -> Modality Stew

PEACE PIPE (CA)

"Featuring The Human Equation" 1995 (Rockadelic 18)  [600p]
"Featuring The Human Equation" 2002 (CD Normal, Germany)  [+bonus tracks]

This unreleased late 1960s heavy guitarpsych classic is probably (along with Cold Sun) the Rockadelic LP with widest appeal among mainstream psych fans. Despite being just 3 guys with no bass player, a dense wall of hard psychedelia is erected with moments as intense as Fraction. The opening "Sea of nightmares" is one of the best heavy psych tracks ever laid down, while cool remnants of teen garage and lounge/schmaltz add to the LP's underground appeal. Powerful, non-macho vocals and Jon Uzonyi's triple-tracked feedback guitars makes this blow away 20th Century Zoo, Savage Resurrection, Dragonfly, etc. Stunning in parts, solid as a whole. The band had a rare 45 back then; this is not included (as often with Rockadelics) on the LP, but added as bonus tracks on the excellent German CD version, which also benefits from the hi-fi nature of the original tapes. [PL]

STEPHEN PEGUES (TX)

"Mellow Understanding" 197  (Harvest 06781)  

A nice cover photo of a dove with a cool blue background and shiny silver writing gives hope of a lovely folk/psych record within. Pegues isn't a wimpy folkie, though. Not only does he look like someone you wouldn't want to pick a fight with, he has a deep powerful voice that overwhelms the acoustic backing. The playing on his album is often crude, but the music is quite confident. The first few songs have a stark outlaw loner folk to them, though they also sport some noodly electric lead guitar. Side one also sports a song with a southern hippie feel (flute, female backing vocals, and a lyric line sung in Spanish) and two quiet ballads, one piano-and-voice, one guitar-and-voice. Side two starts with the album's best song, "Take The Devil," which has some great 12-string acoustic guitar and some dramatic mellotron-like string synth. Unfortunately the rest of side two isn't even by Pegues. It's a short guitar instrumental and two guitar-and-voice ballads by his friend Kevin Kine, and they're uninteresting and not especially well sung. Too bad that Pegues didn't do a full album on his own. As it is fans of the style should enjoy about half of this record. [AM]

JEFF PEKAREK (San Diego, CA)

"To Each Their Own" 1982 (no label)  

Cosmic folkrock from classically trained bass player. Pekarek has continued to record extensively after this debut album.

PENDULUM & CO (Boston, MA) 

"Pendulum & Co" 1971 (Perception 25)  

Here's another rare album on Jimmy Curtiss' obscure Perception label. It's an odd bird of a pop/soft psych album, sounding like several different bands (and, according to the band members, three songs were indeed by a later and very different incarnation of the band.) It's got a bit of orchestration, some horns, a country tune, and on a few songs, soul-styled singing. Some of this is too smooth for its own good, and the album is way too long. It does, however, contain a few strong, classy, downer melodic psych songs. The opener, the closer, and "Chrome Street Blues" are definite winners, and some good songs are scattered about elsewhere. Sounds like the recording budget was significant, which further makes the small press a mystery. Most of the sealed copies that have surfaced are somewhat damaged, with pops and tics on several songs. The album recording spanned a period of two years, beginning in 1969, and saw lots of personnel changes within the band during that time. [AM]

PENETRATIONS ( )

"The Fantastic Penetrations / Octet" 1965 (no label)

Mid-60s surf/teenbeat LP split with the Octet; possibly the same Octet choir who screwed up the Rasputin & Monks LP, which would place this LP at St Mark's School in NH. This is unconfirmed.

PAUL PENFIELD ( )

"Inward Eye" 1975 (no label)

Acoustic folk/blues LP with about half instrumentals and some post-Vietnam concerns. Recorded in New York.

PENNY BLUE (Canada)

"Upon Cripple Creek" 1969 (Paragon 240)  

Late 60s organ/guitar rural rock with about half originals. Two Creedence covers, "Suspicious minds" and the Band title track. Seldom seen title on this wellknown label, housed in a beautiful pasture and creek cover.

RICK PENTA (OH)

"Hit The Road" 1977 (Jewel 737)  

Melancholic basement rock with a druggy downer atmosphere shifting from acoustic to electric with guitar leads weaving in. Titles include "Suzi Mesciline", "Who Is The Wise Man?". Nice color artwork. There was also non-LP 45 with PS.

PENTWATER (Chicago, IL)

"Pentwater" 1978 (Beef no #)  [insert]   
"Pentwater" 2003 (CD Beef)  [remix; +4 tracks]

"Out Of The Abyss" 1990 (CD Syn-Phonic)

This album starts with the completely insane "Frustration Mass," where the singer goes totally off the deep end. It gives hope that this will be the kind of highly creative weirdness that gives prog a good name, but the rest of the album is a bit more typical of the genre, with complex song structures, lots of time signatures, and some spacy instrumentals. There are plenty of good and highly creative moments here, from the mesmerizing guitar riffs on "Memo" to the innovative dual vocal lines of "Orphan Girl," and there are a number of highly melodic songs as well. Initially, it's a disappointment that the rest of the album doesn't live up to the weirdo potential of the opener, but multiple listens reveal all sorts of pleasures here. It's a bit long at 50 minutes, but this is a good one, and not something that you need to be a prog fan to enjoy. The "Abyss" CD contains unreleased 1970s material that some consider superior to the 1978 LP. [AM]

PEOPLE "Rock Sounds" see Rasberry Jam

PEOPLE'S VICTORY ORCHESTRA & CHORUS (NY)

"The School" 1972 (People's Music Works)  [insert]

"Weltschmerzen" 1973 (People's Music Works 270)

Communal eclectic bag of tricks of mostly hippie boogie and blues-rock from Long Island, also some eccentric folk, with one side femmes & one side males on "The School". Some promo copies of this came with a flexi 45 and 6 promo sheets.

V.A "PEORIA FOLK ANTHOLOGY" (Peoria, IL)

"Peoria Folk Anthology" 1970 (Webster's Last Word 3825)  

Local hippie folk sampler on Chuck Perrin's label; Perrin and his sister Mary also contribute two good tracks. Other acts include Dan Young, Jennie Pearl, Lou Jendras, Bruce Brown.

VICTOR PERAINO'S KINGDOM COME (Los Angeles, CA)

"No Man's Land" 1975 (no label)  
"No Man's Land" 199  (no label)  [bootleg]  
"No Man's Land" 199  (CD Digital, Japan)  [+4 tracks]
"No Man's Land" 2000 (CD St Thomas 112)  [+4 tracks]

Heavy synth and mellotron-laden progressive rock. Guitar, flute, efx. The band arose out of the ashes of Arthur Brown's backup combo, with US native Peraino retaining the band name. Reportedly only 100 copies were pressed of the original, which has sold for four figures on occasion. The CD reissues add bonus tracks from a 1981 EP.

LOS PERDIDOS see Los Perdidos

LINDA PERHACS (HI)

"Parallelograms" 1970 (Kapp ks-3636)  [black label]  
"Parallelograms" 1970 (Kapp)  [multicolor label]  
"Parallelograms" 199  (CD Wild Places)
"Parallelograms" 2001 (Beatball, Korea)  [600p; insert; poster; +2 tracks]
"Parallelograms" 2001 (CD Merry Go Round, Korea)  [+2 tracks]
"Parallelograms" 2003 (CD Wild Places 005)  [remaster; +6 tracks]
"Parallelograms" 2006 (Guerssen, Spain)

"Parallelograms" is the unquestioned queen of the hill of female psychedelic albums. Fans of the genre are as unanimous in their praise of this album as mainstream critics are for Joni Mitchell's "Blue," almost to the point where it's unthinkable that anything else can be better. There are many reasons for this. To begin with, no other female folk/folk-rock album is so genuinely psychedelic without also being unmusical (i.e. freakouts like Erica Pomerance, Amanda Trees). More importantly, though, this is a just plain solid piece of singer-songwriter music, mixing lovely and versatile vocals with evocative lyrics, creative and melodic songwriting, and an accessibility that makes it the kind of album that can draw mainstream fans into the world of odd collectables. Linda's arrangement ideas are ace, too. The black Kapp label variation is somewhat rarer and may be a superior pressing. The most recent Wild Places CD is the best version of the album, with sound that is superior to the lousy Kapp presses, and some bonus material that shows she might have made the leap to a more commercial sound without sacrificing the originality and quality of her work. An essential album. [AM]
~~~
see full-length review

CHUCK & MARY PERRIN (IL/IN)

"Brother & Sister" 1969 (Webster's Last Word 2101)  [500p; gatefold]  

"The Next Of Kin" 1969 (Webster's Last Word 2319)  [500p]  
"Brother & Sister / The Next Of Kin" 2003 (CD Rev-Ola, UK)  [2-on-1]

"Life Is A Stream" 1971 (Sunlight)  
“Life Is A Stream” 2004 (CD Rev-Ola, UK) 

Mellow 60s-style folk/folk-pop LPs from ex-Notre Dame/ex-Shaggs member and his sister. The debut is highly rated within the genre and has mostly originals plus a couple of covers. The second LP continues in the same style; these albums differ from the typical hippie folk sounds as they lean more towards vocal soft-pop. Perrin formed the Webster's Last Word record label which had a couple more releases, including First Friday and the "Peoria Folk Anthology" on which he and Mary appear. The LPs were recorded at Golden Voice in Illinois. [PL]
~~~
The first two Chuck and Mary Perrin albums are very similar, pure acoustic guitar and voice duets with crystal clear vocals and sharp phrasing. The vocals are lovely, evoking the greatest joys and wonders of childhood. Some rate these albums at the very top of the solo acoustic genre, though I think they lack variety and the kind of challenging songwriting that would make them more than just vehicles for nice voices. "Next Of Kin" is slightly more complicated than the debut, though both are pretty much of equal quality. "Life Is A Stream" is a much more elaborate production, with a full soft rock band, and includes fleshed out remakes of a few songs from "Next Of Kin." The arrangements work well and give the album depth without sacrificing the innocent feel. About half of the songs are very good, and despite a few spots that are a bit bland or overly precious this could have been a big hit if the cards had fallen correctly. [AM]
~~~
see -> Shaggs; Peoria Folk Anthology

PEP PERRINE (Detroit, MI)

"Live And In Person" 1969 (Hideout 1003)  

Comic psych rock LP from drummer for Bob Seger's Last Heard on noted local Motor City label.

PERSEPHONE BILLY see Billy

PERSPECTIVE (RI) 

"Syllabub" 1970 (Gerry WCL-101)  [insert]  

"2" 1971 (no label)   

College project LPs from longrunning RIU music workshop that would produce a whole bunch of private press albums over the years, such as Follies Bazaar. "Syllabub" is basement folk and rock with westcoast and prog moves, some jazz leanings, and so on in a typical mix. Some tracks have female vocals. Supposedly only 200 copies pressed. The second LP is even more obscure but reportedly similar in style.
~~~
see -> Follies Bazaar

PERTH COUNTY CONSPIRACY (Stratford, Canada)

"Does Not Exist" 1970 (Columbia ELS 375)  [gatefold; booklet]  

Terrific progressive folkpsych LP with a lot of brains and $$$ put into it, still underrated but really one of the best of its kind. Pretentious and theatrical but successful simply on strength of the talent and production value that went into it. A personal fave with several strong tracks and a peak in the deep acid introspection of "Crucifixation Cartoon". Richard Keelan had previously been in US 1960s folkrock band the Spikedrivers. [PL]
~~~
see full-length review

"Alive" 1972 (Columbia 90037)  [2LPs]  

The live double is recommended to PCC fans, though not as good as the debut. Includes a Dylan cover, rest is originals in their typical hippie folk style. Like the first LP there are interludes of spoken word in a theatrical manner, which is less effective here.

"Cabin Fever" 1973 (Rumour no #)  [inserts]  

After leaving CBS there was a line-up shift with new arrival Bob Burchill becoming a key member, prior to his solo career. The discography becomes somewhat confused, but we've done our to best to get it sorted out. The two Rumour LPs are private releases and considerably rarer. "Cabin Fever" was released credited to "Bob Burchill of Perth County Conspiracy", and has one side of live recordings from Calgary. The sound isn't hippie psych, but rustic, realistic folk.

"Perth County Conspiracy" 1973  (Rumour 2)  [inserts]  

Rumour #2 is also known as "Mushroom Music" and "What School Bus Tour", and is a live recording from various Canadian cities. Both copies with printed sleeves (showing a drawing of a school bus) or with only an inner sleeve with the same image have been found. Despite their joy of going independent, the music from their more commercially oriented CBS phase may be considered superior, or at least more creative. Around this time there was also a non-LP 45 with picture sleeve on the Rumour label under the PCC name, which looks like a Richard Keelan solo release. The band was known as "Perth County Conspiracy Does Not Exist" for these later releases. Other PCCDNE releases include "Breakout To Berlin" (Rumour 5, 1975), recorded in East Berlin for the Fifth International Festival of Political Song, and "Ten Lost Years" (Rumour, 1977), credited to Cedric Smith and Terry Jones. Bob Burchill would go on to release more LPs as well.

JOHN PETERSON ( )

"Where Does It Go From Here" 1976 (TJ Phoenix 11776)  [1000p]  
"Where Does It Go From Here" 1998 (no label, UK)  [altered sleeve; flyer; 300p]

Tim Buckley-inspired mid-1970s busker/hippie folk. A couple of good psychy tracks and the rest singer/songwriter mediocrity. About average for this endlessly over-hyped genre. I'd settle for taping the best tracks, which include the melancholic "Summer magic is gone". The songs were written 1970-75 when Peterson was living in Europe. The reissue  has an altered sleeve designed to resemble the Perry Leopold reissue cover. Nice try. [PL]

CAROLINE PEYTON (IN)

"Mock Up" 1971 (BRBQ 1)  

The first Peyton album is a drumless mix of Joni Mitchell-inspired singer songwriter tunes and free form freakouts. It's odd, to be sure, and the one song where she starts out singing opera is especially jarring. It's mostly awful, though, and the dead-on aping of Mitchell's singing quirks on a few songs is even more annoying than Mitchell herself at her most unstable. The lack of a full band hurts a lot too; the songs sound like demos. The unimaginative piano playing on many of the songs doesn't help. Psych, or oddball folk, fans will appreciate this album for "Lor el iii," which is seven minutes of jazzy guitar weirdness and off-kilter singing from Screaming Gypsy Bandits bandmate Mark Bingham (who wrote all of the songs on the album.) Yoko Ono and otherwise noise-rock fans will appreciate it for the two minute closer "Bill Monroe," on which Peyton imitates a saxophone and makes animal noises. But don't be fooled; those songs suck too. Even hearing Peyton sing about creaming in her jeans doesn't save this mess. She is a very talented singer, when presented with the right material and when encouraged to sing from her heart rather than to desperately ape others in hope of commercial success. There's little evidence here that her talent can be roped in, though. This album is unlistenable, almost to the point of being fascinating. [AM]
~~~
see -> Screaming Gypsy Bandits

"Intuition" 1977 (BRBQ 8)  
"Intuition" 2003 (CD Japan)

Peyton's second album is a vast improvement, with a full band, a remake of an excellent Screaming Gypsy Bandits song, some dreamy folk-pop and cover photos that show her to be the cutest hippie in history. A few songs veer towards funk and disco, in a reasonably convincing way. It's clear that her heart is in some sort of sell-out attempt (she'd succeed many years later, becoming a voice in many Disney films, and releasing a Celtic Christmas album), but still this is a decent record with likeable moments for both folk and funk fans. [AM]

P F FLYER ( )

"Play Gianchetta Jazz" 1970 (AVG 101)

Instrumental psych jams with remarkable background story, intended as a dancing instruction soundtrack but the students turned in this drugged out fuzz/organ trip instead, to everyone else's dismay.

PHAFNER (Marshalltown, IA) 

"Overdrive" 1972 (Dragon no #)  
"Overdrive" 1989 (Animus Oculus 101)  [300#d; inserts; altered cover]  
"Overdrive" 1999  (Akarma 009, Italy)  [altered cover]
"Overdrive" 1999 (CD Akarma 009, Italy)  

Enjoyably crude hard rock unburdened by any notion of good taste. The dual lead guitars are gloriously sloppy. One wasted-sounding blues song is kind of dull, the songwriting isn't exactly subtle (i e: melodies mimic hooks and chord progressions, a la Black Sabbath), and the drummer can barely keep time, but this is tons of fun. Apparently all available reissues have excised a couple of songs that "don't fit in" with the rest; the Rockadelic inserts two unreleased tracks instead. This explains why the album runs only 26 minutes. [AM]
~~~
Whiskeyed and smacked-out bluesy garage snarl. Heavy fuzz, pounding drums, basement warbling. Loaded with that Index and Mystic Siva cavern sound. Deep and damaged cruel world gimme-a-fix originals from the pit. The previously unreleased "Black Cat Claw" is unearthly... dissolving into raging white noise. Even beats Raven (OH) for checking out to. The first reissue is on an early Rockadelic subsidiary. Supposedly only 50 copies were pressed of the original. They also had a 45. [RM]

PHANTASIA (Kansas City, MO)

"Phantasia" 1971  (Damon 12918)  [no sleeve]  
"A Psychedelic" 1994 (T.U.T 641, Austria)  [partial reissue; 300#d; gatefold]
"A Psychedelic" 1997 (CD TUT/Syn-Ton, Austria)
"Phantasia" 2003 (World In Sound rfr-18, Germany)  [+1-sided 10" disc; gatefold; poster insert]
"Phantasia" 2003 (CD World In Sound 1015, Germany)

Demo press LP that very few had heard of before the first reissue appeared. Powerful UK-influenced psych/prog-rock with strong, heartfelt vocals, some long fuzz excursions and recurring folk influences. The band obviously put a lot of work into this totally pro-sounding affair, and it's strange that no label picked them up. The Austrian reissue is a bit screwed up as it features only about half the original LP, adding several inferior tracks from the Trizo 50 LP, which was a later incarnation of this band. This is unfortunate as the original demo LP plays through like a fully realized and very impressive album, which is lost in that rag tag reissue. The more recent WIS releases correct this. [PL]
~~~
Here's a comment from member Bob Walkenhorst from a web forum: "My first highschool band was Phantasia, 1970-71. We played high school dances and a bi-weekly gig at the VFW Hall in Carrollton MO. We played covers, but also started right in doing originals that were heavily influenced by early King Crimson and Moody Blues. Considering how ignorant we were, we did some pretty good stuff. We recorded several tracks at Damon Studios in KC in 1971."

"Walkenhorst & De Pugh" 1972  (Damon 12969)  [1-sided; no sleeve]  
"I Talk To The Moon" 1996 (T.U.T 1096, Austria)  [+bonus tracks; 300p; gatefold]
"Phantasia" 2003 (World In Sound rfr-18, Germany)  [+1-sided 10" disc; gatefold; poster insert]
"Phantasia" 2003 (CD World In Sound 1015, Germany)

This 1-sided demo album has re-recordings of some tracks from the earlier LP, adds a couple new ones, and generally expands the folk/singer-songwriter moves from the first one on expense of the fuzz-rock, which is unfortunate. Still a pretty impressive effort. The Austrian vinyl reissue of this one is less confused than the first one, including this LP in its entirety and adds most of the first demo LP as well. Two tracks are repeated from the earlier reissue. You need both T.U.T vinyl reissues to recreate the original demo LPs, but it seems the recent World In Sound CD contains all the Phantasia material on one disc, making the earlier recycling redundant. [PL]
~~~
see -> Trizo-50; Walkenhorst Brothers

PHANTOM (Rochester, MI)

"Phantom's Divine Comedy" 1974 (Capitol 11313)  [red label]  
"Phantom's Divine Comedy" 1989 (Capitol, Italy)  [bootleg]
"Phantom's Divine Comedy" 199  (CD One Way)
"Phantom's Divine Comedy" 2003 (Radioactive 002, UK)
"Phantom's Divine Comedy" 2003 (CD Radioactive 002, UK)

Bordering on novelty sounds with overblown Lizard King vocals and a goofy fairytale concept, but is somehow well-done enough to be enjoyable. Lots of fuzz and dramatic mood changes plus almost inaudible spoken parts between the songs that few people have discovered (the vinyl re possibly omits these). Their manager claimed it to feature Jim Morrison on vocals which ensured a rapid journey down the cutout trail. In addition to this LP there is a "Lost Album" with recordings that may predate the Capitol album. The tapes have been bootlegged in Italy on vinyl (Ghost, 1989) and CD (Flash, 1997) and display an unexceptional Brit-inspired prog/folk sound. [PL]
~~~
Without the Jim Morrison rumors, it's likely nobody would have ever taken notice of this overly dramatic semi-hard rock album at all, though it is pretty outrageous. If you look at it with an open mind, it's got its appealing moments, especially when the lyrics are absurd (Spiders Will Dance On Your Face While You Sleep" is one song title) or when it veers into heavy metal territory. Not exactly good, but fun if you're in the right mood. [AM]
~~~
see -> Happy Dragon Band 

PHANTOM RAIDERS (Concord, NC)

"New Sound '67" 1967 (Justice 146)  
"New Sound '67" 1996 (CD Collectables)

13 year old kids deliver a crude set of hit covers of the day, although one must wonder in what parallel universe "Walk don't run" represents the "New sound '67". Cool LP above the label average that should appeal to any fan of true garage sounds, meaning healthy doses of incompetence, enthusiasm and local charm. They weren't immune to the backwoods time lag of the area which makes for 3-4 instros that cut into the excitement but basement versions of "Stepping stone", "Day Tripper" and Mitch Ryder more than make up for this. An amazing highpoint is reached with "Gloria" who's serenaded as being "4-foot-4" rather than the standard "5-foot-4", because these small kids reduced her height to their Junior High standards - genius! The recording is unusually good for the label, and if you think the lead guitarist is hot for a low-teenager, you should realize that he's only 11 years old. As reported in Kicks #5, the band sold the LP door-to-door after winning a talent contest with a Justice "contract" being the first prize. One band original, an instro. [PL]

P H FACTOR (Portland, OR)

"Merryjuana" 1980 (Piccadilly 3343)  

Obscure retrospective release on Jerry Dennon's mysterious label of a semi-legendary Portland/S F band's late 60s recordings, most of it previously unreleased. Historically relevant and musically fairly agreeable mix of jugband sounds and eclectic Bay Area moves recalling the US Kaleidoscope, should appeal to fans of that band; also hints of the New Tweedy Bros and Sons Of Champlin. Closing acid-rock raga/sax instro excursion is particularly good. Worth checking out, hopefully a more up-to-date release will appear some day. The band later went for a pure jugband sound, unfortunately. [PL]

PHILOSOPHERS (Los Angeles, CA) 

"After Sundown" 1970 (Philo Spectrum 1001)  
"Getting Down" 199  (no label, France)  [300p; altered cover; bonus tracks]

Cool party LP with Hammond, fuzz and a swank r'n'b club groove due to a mixed lineup of brothers and honkies. Not psych or hardrock in any sense, more like what you'd hear if you strolled into a seedy L A discoteque in the late 60s. Enjoyable, but perhaps a bit misplaced in our Archive context. Although the band chose their own label name and design, it is a Century label custom pressing, and has the same generic sleeve as the White Light LP. There was a pre-LP 45 on Century/Philo Spectrum. [PL]

PHOENIX SONSHINE (CA)

"Shinin' In The Light" 1971 (Destiny)

Christian vocal harmony folkrock with male/female vocals and CSN hippie sounds. "Broken Wing" is a standout track with terrific harmonies and a secular westcoast feel not unlike Oasis on Cranbus.

PI CORPORATION (cleveland, OH)

"Lost In The Cosmic Void" 2001 (Rockadelic 41)  [500p]

Unreleased 1973-76 experimental/avantgarde synth dopehead recordings, enjoyable even if you're new to the style. Two structured "songs" on side 1 are really good, plus they retain a basement vibe throughout with a real live drummer and acid lead guitarist. Side 2 is mostly electronic noise, though not without a lot of thought put into it and various moods creeping in and out. The freakiest aspects of Stone Harbour might be one point of reference, though these guys had a somewhat bigger budget. Worth checking out, with grower qualities. The vocalist was formerly with Granicus. [PL]

RAY PIERLE (Indianapolis, IN)

"Time And Money" 1980 (no label)  [300p]  

"Rhythm Of The Highway" 1981 (no label 1634)  [300p; insert/paste-on]  

Among the three records (including McKay) with Ray Pierle involvement, "Time & Money" is the heaviest guitar LP. Both "Time & Money" and "Rhythm of the Highway" are one-man-band albums with Ray Pierle playing everything. One reason the McKay LP is rated, in general, the far better of these three is that it has the more organic feel of a record made by a real band, and one that had been playing together for a while. Pierle's solo LPs are more overtly singer/songwriter LPs and, musically, both records sound more like the early 1980s records they are, than McKay which is from 1977 but sounds as early as 1972. Both above albums are rock records (descriptions like "psychedelic folk" are way off base) dominated by electric guitars, bass and drums. Both employ occasional flanging effects on the vocals, but the early-70s post-psychedelic charm of the McKay LP is, for the most part, missing. Among rare record collectors you cannot underestimate the appeal of an interesting record cover and "Rhythm of the Highway" has the sort of cover that just screams Private Press from across the room; the kind of cover that holds out enormous promise when stumbled upon in a thrift shop record bin. A blank white jacket, the LP originally came sealed with an 8 x 8 inch cover art sheet (white with a fairly psychedelic blue drawing) loose inside the shrink. The sheet was printed on "crack and peel" paper so the buyer could remove the backing and glue it to the sleeve. "Time & Money" has a printed cover with a color painting (also by Ray Pierle) of an hour glass. In addition to these 3 records by Ray, his late-brother Donnie Pierle was on a marginally interesting self-titled LP from Michigan by the band Bike. [SD]

MIKE PINERA BAND (FL)

"1 For All" 1978 (Illusion)  

Hard guitar rock from ex-Iron Butterfly and Blues Image member on (his own) mysterious Florida tax-loss label with dozens of releases around this time. Pinera would record and release more albums.

PIPER ( )

"Next Superstar" 1969 (Century)  [insert]  

Obscure title on notorious custom label, light pop/folkrock with artrock keyboard and harpsichord moves judging by the descriptions seen.

PIRANHAS (San Marino, CA)

"Somethin' Fishy" 1965 (Custom Fidelity 1452)  

"Somethin' Fishy" was a little bit different than your standard surf band offering. First off, few of their contemporaries included a three piece horn section. Although the debut offered up a fairly standard mixture of popular covers and isolated originals, musically these guys were difficult to peg; falling somewhere in the cracks between surf outfit and garage genres. Horn-propelled instrumentals such as 'Peter Gunn Theme' and 'James Bond Theme' were enthusiastic, if not particularly innovative. Far more impressive were the band's vocal performances. Snotty and suitably raw, material such as 'Hitchhike', 'My Babe' (be sure to check out the hysterical spoken word segment) and a great cover of 'Louie, Louie' were all worth hearing. Sure, it wasn't going to have a major impact on your lifestyle, but it's somehow uplifting to hear these guys struggle through the ten tracks - any group of 11 year olds could probably handle 'Bubbles' with the same degree of professionalism. [SB]

FRANK PISANI ( )

"Sky" 1977 (Dellwood)  

Another fun tax scam label item. Pisani's music is hard rock with both prog and AOR tendencies, equal parts keyboards and guitar. Some of the arrangements are quite creative and the songs are pretty strong. The manly but high vocals would have been very radio friendly in the late 70s-the sound is not too far from Foreigner, Montrose (with Sammy Hagar) or Bad Company. Pisani, though, is less refined and more unpredictable than those artists. Along with the heavy songs, the album includes a funky instrumental with great keyboard playing, a surprisingly good guitar-free ballad, and a song timed at "7:60." Pretty good stuff. [AM]

P J ORION & THE MAGNATES (Groton, MA) 

"P J Orion & The Magnates" 1967 (Magnate 122459)  
"P J Orion & The Magnates" 1984 (Eva 12023, France)
"P J Orion & The Magnates" 1984 (Resurrection)  [b & w cover]

Local prep-garage LP with a folkrock sound a la Ha'Pennys but slightly more pro-sounding, adds some early 60s and UK R'n'B covers for good measure. Consistent in its $15 jangly Searchers/early Byrds sound, even on Stones and Animals numbers, with a folkrocked "Love Minus Zero" perhaps the most original thing on board. Nice live feel with appealingly loose drummer and amateur vocals. No selfpenned material and kind of short with only nine tracks, even as most of them cross the 3-minute mark. Recorded in New York. The band members belonged to wealthy Greek shipping families (hence "Magnates") and were students at the Groton prep school, which makes their tough greaseball stance on the supercool cover seem a wishful Spring break fantasy. [PL]

PLAGUE (MI)

"Plague" 1972 (no label 26907)  [no sleeve]  

Basement-sounding folkrock cover LP with organ/guitar and horns, a few originals.

PLANET OF THE APES (CT)

"A Musical Trip" 1974 (TPI)  

Oddball concept LP from artist inspired by the classic movie, with crude prog and goofy spoken bits. Not without appeal due to its weirdness. Strange cover of monkey heads floating in space. The work of one Terry Phillips.

PLASTIC CLOUD (Bay Ridge, Canada)

"Plastic Cloud" 1968 (Allied 10)  [insert]  
"Plastic Cloud" 1987 (BSF/Toadstool 2104, Italy)  [bootleg; no insert]
"Plastic Cloud" 1990 (CD Lazer's Edge 1002)
"Plastic Cloud" 1999 (Void)  [insert]
"Plastic Cloud" 2005 (CD Akarma 316, Italy)
"Plastic Cloud" 2005 (CD Pacemaker/Lion 046, Canada)
"Plastic Cloud" 2005 (Lion)  [700p; gatefold]

The Canadian scene produced several terrific LPs and here's one of the ultimates, with an appeal to both garage fuzz-heads and album psych collectors. The mix of dreamy WCPAEB-style vocals with ripping fuzz and sub-Dylanesque lyrics works better than one might imagine possible, and the LP gains appeal from its youthful basement edge. One of the big, mandatory pieces of the field, and a desirable item for decades, which has helped make it rare despite a sizable pressing run. Great sleeve too. Unfortunately this classic LP has been poorly served by the recyclers (much like the Bachs). Of the older reissues, the BSF is generally considered to have the best sound. The Lazer's Edge CD is noisy, while the Void reissue lacks punch. The recent Pacemaker/Lion job has been reported to sound good. A close counterfeit appears to exist; originals show "Record #10-A" in the dead wax on side 1, crossed out with 4 lines. Next to this it is etched "Rec.No.10-S-1". Some originals came with additional promo inserts. [PL]
~~~
Amazing album that combines wonderful melodic soft pop with utterly relentless fuzz guitar. The guitar truly doesn’t stop, blazing on behind and around the singing, and somehow it all seems to be with a purpose. The songs are terrific, and this would have been a great pop album even without all the fuzz (or the lyrics about “smoking cow” and “sniffing glue”). As it is, it’s a one-of-a-kind wonder that can warm the heart of even the most jaded popsike fan. One of the all-time greats. [AM]

PLEASE FEED THE ANIMALS (Canada)

"Please Feed The Animals" 1968 (Paragon PGS 572)  
"Please Feed The Animals" 1968 (Arc 755)  

One track from this late Brit Invasion exploitation LP has been reissued on the "Nightmares From The Underworld vol 2" comp. The album contains covers of various UK bands, the Animals in particular, as the title implies. Also one track each from the Yardbirds, Cream, and Small Faces. The unexpected appearance of Sir Douglas Quintet's "The tracker" suggests this band was still believed to be English at the time! Pretty cool if you take it for what it is. The two original releases have different sleeves.

PLUM NELLY (NY)

"Deceptive Lines" 1971 (Capitol 692)

I have to admit that it took awhile for this album to reveal its charms to me. Featuring a series of extended tracks (only one out of six clocks in under four minutes), selections such as 'Deception' and 'Carry On' were rather conventional rock, sporting occasional progressive and jazzy touches (the latter courtesy of Jeremy Steig's flute, of Jeremy and the Satyrs fame). The lead singer had a decent voice, though his performances were frequently a little on the shrill side for my tastes. More to my liking were the chunky lead guitar moves. Personal favorite; the intense 'Demon'. In terms of talent, these guys were clearly above most of their competition, but I still find the set lacking. [SB] 
~~~ 
Another hard to find Capitol release, and another solid one. It's progressive hard rock with a British feel. There are lots of guitars, powerful male vocals, and even a little bit of flute. The long songs develop some nice grooves, and the album rocks convincingly. Equally as rare as Head Over Heels and Landslide, and almost as good. [AM]

P.O.A (IL)

"Home" 197  (Applause LPS-277-02)  

Christian 70s guitar-led rock/hardrock with long cuts, wah-wah, even some funky moves. Rated highly by some.

PODIPTO (Bemidji, MN)

"Homemade" 1973 (Minnesota Green 7304)

Rural/country-rock LP from a locally popular band who also had a less obscure, selftitled LP on the GRT label. This one has been described as unexceptional within the genre, with short pop-format songs. A vinyl-sourced CD reissue of both LPs has been made for regional distribution.

POLESTAR 1 (Baltimore, MD)

"Flying Through The Universe" 1980 (Rascal)  

Heavy guitar and keyboard space rock and prog with Christian concerns, housed in an appropriate fantasy cover.

POLYPHONY (VA)

"Without Introduction" 197  (Eleventh Hour 1003)  
"Without Introduction" 199  (Eleventh Hour)  [bootleg]
"Without Introduction" 2004 (CD Acid Symposium 008, Italy)
"Without Introduction" 2004 (CD Radioactive 117, UK)

Here's another fascinating album on the Eleventh Hour label (like Mason), and with a gorgeous cover. This is an early experimental prog band with definite sci-fi/fantasy tendencies. Some of the lyrics are pretty pretentious and aspire to a level of intellect they can't pull off, and even words with a more musical flow wouldn't have saved the blah melodies on side two (which comprises two long songs.) Side one, however, is great. It's mostly one 14-minute song with all sorts of surprises, including some really appealing and unique jagged guitar. About a minute of wild electronic noise follows, making for a really cool album side. Half of a killer album. [AM]

ERICA POMERANCE see Erica

POOBAH (Youngstown, OH)

"Let Me In" 1972 (Peppermint 1015)  
"Let Me In" 199  (Peppermint, Europe)  [bootleg] 
"Let Me In" 199  (CD Third Thunder, Germany)

First and best LP by prolific outfit celebrated on the hard rock circuit. This is their most psych/underground effort and opens with some really good tracks firmly rooted in the late 60s sound. Unfortunately side 2 is more rootsy boogie and has a long dull power trio showoff including a drum solo, so I can't really recommend it unless you're a genre fan. Also has one of the worst covers of all time with a cheap b&w drawing of an old hippie throwing up - very nice. There was a 45 with a non-LP track around the same time. [PL]
~~~
The first two songs are great—a hot loud hard rocker and a great moody psych tune. The rest of the album hints at the direction they’d later take, which is a more commercialized and less interesting hard rock sound. The last song has a typically dull drum solo. [AM]

"US Rock" 1976 (Anchor 1)  [poster]  

"Steamroller" 1979 (Peppermint 1180)  [insert]  

Poobah's later albums are sought after by guitar hero collectors but may sound like loud, bland FM hard rock to others, and are recommended only to genre fans. In 1980 there was a test press LP, "Live At Snug Harbor" (Cleveland Rec Co; no cover) with 20 minutes of 'Poobah's Boogie' and nothing else. Poobah main guy Jim Gustafson has continued to perform and occasionally record.

POOR RICHARD (MI)

"Place Of The Sun" 1978 (Kazoo 4105)  

This unique and cool acid folk item is something you know is special as soon as you see the beautiful album cover. All of the songs are centered around heavy acoustic guitar, but some really rock out (three songs have drums and are all fab), while others set a stark mellow late-night or outdoors mood. Side one is solid from start to finish. Side two is more complex, starting with a song appropriately named “Funky Honky,” and then going into a twelve-minute suite which has lots of lovely acoustic 12-string and some neat moments, but doesn’t sustain interest like the short songs on side one. Richard’s vocals are strong and serious, well suited to this music. You’ll be surprised by the groove a few songs find. When the rhythm section enters half way through the otherwise sleepy “Ax of Good-Bye,” the effect is startling and magical. I wish the long song had a bit more strength, but this album is very good. [AM]

POPCORN BLIZZARD ( )

"Explode" 1968 (De-Lite 2004)  

A seldom seen soft pop/lyte-psych LP that has some admirers. It appears that Meatloaf's first group of the same name was an unrelated combo, despite the unusual monicker. The De-Lite band also had two 45s out, and may have been from New Jersey.

DAVE PORTER (WA)

"Dave Porter" 197  (no label, no #)  

Loungey singer/songwriter guy looking like a happy outsider on the excellent front cover. Inside is a mixed bag of sounds, mostly unexceptional, but with solid entertainment in "I'm The Boss" with strange lyrics and inappropriate scat-singing, and the driving "Why I can't love you", while the memorable panoramic Vegas lounge-rock of "Where do clouds go" is just one notch from turning into full-blown psychedelia in the Bob Smith/D R Hooker school; outstanding. The album was recorded in Seattle with NW scenemaker Rick Keefer engineering, and pressed in Canada.

JERRY PORTER ( )

"Don't Bother Me" 1966 (Mirror 123)

Acidy downer urban blues folk with guitar and harmonica, including lengthy track "LSD fixation" which is an early description of an acid trip. Worth looking up for early loner/freak folk fans. He also wrote books about the hobo lifestyle. Produced by NY upstate legend Armand Schaubroeck for his Mirror label, this was a "Capitol Custom" job with actual distribution.

POUND (Chicago, IL)

"Odd Man Out" 1974 (Audio Mixers 74840)  

Homemade 70s blend of basement folk and rock, not terribly impressive. The title track is worth checking out for a sample. Ex-Down From Nothing.

STEVE POWELL (TX)

"Revelation (The Party's Over)" 1974 (Wine Skin 259-02)  

Rainbow Promise main guy using his former band as back-up, a bit mellowed out bit still showing some basement jammy psych tendencies.
~~~
see -> Rainbow Promise

POWER OF ZEUS (MI)

"The Gospel According To" 1970 (Rare Earth 516)  [promos exist]   
"The Gospel According To" 2005 (Rare Earth)  [bootleg; slightly diff back cover]
"The Gospel According To" 2005 (CD Akarma 318, Italy)

This is actually an early Christian hard rock album, though you might not know if you don’t listen too closely. It sounds great one song at a time, as the songs are powerful and have nice guitar/organ interplay. Yet over the whole 40 minutes it doesn’t seem as good, which is probably a case of the songs sounding too much alike and the ideas not being especially original. Recommended to junkies of the style. The powerful recording and instrumental breaks has made this a popular LP for DJ samples. The LP was also released in Germany. [AM]

PRATT (Grand Rapids, MI)

"Pratt" 1978 (Stentorian 38022)

Midwestern guitar-driven hardrock in crude reverse negative cover showing the drummer behind his kit.

PRENTICE & TUTTLE (Boston, MA)

"Prentice & Tuttle" 1970 (RPC AZ-59501)  

The first Prentice & Tuttle album is nowhere near as well known as the slightly more produced "Every Loving Day", but it will appeal to the same people, and just may well be a better album. It’s a distinctive and well-written collection of 14 short songs, starkly arranged in the best tradition of 1962 Greenwich Village (they even cover a Fred Neil song) and with an old-timer kind of world-weary feel. Some pianos and acoustic 12-string guitars give the album some variety despite the simple arrangements. This is not “pretty” folk, but it is melodic nonetheless. It doesn’t get much more “real” than this album. Highly recommended to any fan of folk/loner folk. [AM]

"Every Loving Day" 1972 (RPC Z-50172)  [paste-on]  

Lost country folk duo with that fragile delicacy and despair that really hits home for this sort of low-key local. Strong rural element in the lyrics with troubled tales, and a deep love of nature is evident. Good dark fingerpicking and strum folk with occasional piano. The deep vibrato vocals can be a bit tough on the ears, but all in all a nice glimpse of rural Americana. [RM]

PRESSED DOWN, SHAKEN TOGETHER AND RUNNING OVER (OH)

"Pressed Down, Shaken Together And Running Over" 1973 (Almond Tree 20423)  

The debut LP is melodic x-ian rock and psych, restrained acoustic guitar, keys, beautiful lead vocals and harmonies. Charming with a sedate CSN melodicism mixed with some uptempo numbers. Highlight: the moody "Bright and Morning Star" with its trippy organ and shuffling rhythm. The follow-up from 1979 ("Star Of The Show", WOW) is a bit of a letdown. [RM]

PRIMEVIL (Indianapolis, IN)

"Smokin' Bats At Camptons" 1974 (700 West 740105)  [1000p]  
"Smokin' Bats At Camptons" 199  (no label, Europe)  [altered cover]
"Smokin' Bats At Camptons" 2006 (CD Radioactive 164, UK)

It's funny to hear the acoustic guitars that begin and end some of these songs (and the 6-minute instrumental "composition"). It's almost as if they want us to take them seriously. Sorry, but they're just a rough-edged hard rock band with an angry vocalist and an ambitious rhythm section (i.e. some funky bits). Unfortunately the drummer's other tendency is towards Ginger Baker-styled tom-tom overuse. This has its moments, and sounds good due to the excellent 700 West engineering, but strives for virtuosity while barely reaching competency. In a way, that's kind of charming, and the instrumental parts are more fun to listen to than the growling vocals (except on the absurd "Hey Lover," with the inexplicable call and response vocals "Hey lover... hey tuna!") A lot of people like this one, but I think it's only a step away from Spinal Tap. Hmmm, maybe that means I do like it. [AM]
~~~
see -> Buccaneer

SUZANNE PRINCE (IN)

"Rusty Nails & Promises" 1978 (L'VY Records)  

Here's a completely unknown private press that should thrill fans of blues and/or powerful female singers. Prince has a sultry, resonant voice and is a strong songwriter. Most of the songs are steamy blues-rock, though a few are calm, almost folky. Some surprising and terrific fuzz guitar shows up on a few songs, and it's played by Suzanne herself. She's also assembled a pretty solid bar band for this album. A very nice find, much better than a lot of more well-known albums in the genre. [AM]

PRINCESS FLOWER & THE MOON RAYS ( )

"Dreaming The Magic Of Your Maya" 1968 (Akashic #22)  

A group of American freaks hanging out in Paris who joined up with an exiled Daevid Allen post-Soft Machine to form what has been referred to as Proto-Gong (aka Banana Moon #1), existing from late 1967 through 1968. They recorded this one LP in Paris in Spring 1968 before D.A. and Gilli Smyth did their Gong thing. The LP contains 6 tracks dominated by Standlee’s meandering flute and occasional vocals spewing out what appears to be free associative poetry. Daevid Allen is credited as being on only one track on Side 2; another guitarist, with the rather suspicious name of Fej Mornin, is credited with the guitar playing on Side 1, most of which does sound somewhat suspiciously like Allen’s style. The album opens with a short spurt of flute and laughter (male & female - could that be Daevid & Gilli?). It leads into the first song, “Lovin Spaceship”, a sort of Proto-Gong bluesy guitar strummer with Dylanesque stream of consciousness lyrics and a Booby D harmonica finale. Following is “Women of Moon”, another free association Dylanesque blues strum. Side 1 winds up with a long track listed as two songs on the label. First is “Vanishing Rama”, a long krishna jam led by Standlee’s flute, echoed guitar sounding very much like Allen’s glissando guitar playing and crude “tin pot” drumming. Midway, a Spoonfull rhythm intrudes, leading into proto-Gong space avant wanking. This flows directly into “Guharam Rock”, more free association/guitar strumming, though this time with a more rocking rhythm set by “shoe box” drumming. Standlee’s flute at its most meandering joins in toward the end. Side 2 opens with the one track that officially credits Daevid Allen, “Between Spirits”. This track is pure Gong; atonal flute over glissando guitar with nonsense vocals flitting in and out. The LP ends on the lengthy “Ancient Faces”. This is a raga-fueled flute and percussion instrumental with a female “chanter” Ziska Baum, described as Gilli Smyth’s “soul-sister”and sounds very much like her. The music is trancey, yet floating and a jew’s harp briefly floats into the mix about midway. As the harp fades away, the percussion intensifies, a male chanter is added and the now double-tracked flute engages in atonal sputtering until the LP ends as it began with a few seconds of laughter. Princess Flower and the Moon Rays dissolved in the spring of 1968 when Paris was enveloped by student riots. Loren Standlee and Ziska Baum returned to the U.S. after she was busted for marijuana possession. Standlee, Ziska and percussionist Raja Samyana were members through the late 60s of The Universal Mutant Repertory Company, which also included original Velvet Underground drummer Angus MacLise and his wife Hetty. Samyana is listed as guitarist, though. This LP is believed to have been released in New York City, where Standlee was very active as the 3 or 4 known copies have all been found there. This Akashic label does not appear to be related to any other by that name (Maitreya Kali, etc). [MA]

JOE PRITCHARD & GIBRALTAR (MO)

"Kendall" 1974 (Kendall-Lee 74201)  
"Kendall" 1996 (no label, Austria)  [300#d; altered cover]
"Kendall" 2004 (CD Radioactive 0062, UK)

Pro-sounding 1970s rarity with ballsy rock sound and songs ranging from ambitious prog moves over bluesy bar-rock and into macho FM rock postures. Solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and ambitious arrangements provide a prog/AOR vibe that may turn some off, although there's enough groove to keep one's attention throughout the four long tracks. At its best it approaches the powerful sound of fellow Missourians Phantasia, and is also somewhat reminiscent of the 2nd Wedge LP. For 70s fans only, and ultimately a little too much mainstream rock for me, but still an agreeable testament to the remarkable production value of many local US albums of the time. [PL]
~~~
Interesting and unusual private press hard rock album. Four long songs and a short experiment. The unusual arrangements augment riff rock and blues rock with saxes, synthesizers, and some poetic ideas. All of it is quite good and though the songs are long they have enough going on to keep them from dragging. A refreshing change from the usual bonehead 70s hard rock. Bizarre album cover is a bunch of writing -- political ranting by Pritchard. [AM]

PROBE (IL)

"Direction" 1971 (Eborp 21396)  [200p]  
"Direction" 199  (no label)  [bootleg; orange vinyl; inferior sleeve job]
"Direction" 2004 (CD Mind's Eye, UK)

This is pretty amateurish stuff, and falls into a category somewhere between Bachs/Mystery Meat garage and post-Iron Butterfly hard rock. There's lots of organ and wah-wah, phased drums, an energetic Steve Miller cover, a definite soul influence, and harmonies that don't quite cut it. The best thing about the album is the interplay between the lead guitar and the eerie-sounding organ. None of it is played particularly well, but the spirit is cool in a youthful way and the songs aren't bad. Best song: "Two Roads In The Night," which has a memorable guitar hook, varying speeds and a tricky chord progression. The songs are surprisingly complex; they have ambitions beyond their chops. "Direction" has its faults, but overall it's one of the more enjoyable albums of its style. A long bluesy cover of "Rock Me" is regrettable, though. Recommended to people who like prep rock but wish it was heavier. [AM]
~~~
Bread'n'butter local basement longhairs who probably played high schools and clubs in their home-town without aspiring to a high level of artistry. The vibe is post-psychedelic, rootsy bluesy in parts, proggy hardrock in parts. Setting is typical guitar/organ interplay, with some surprisingly sophisticated jazzy guitarwork that doesn't quite gel with the bonehead feel of other parts of the LP; good old local LP idiosynchracy in other words. The vocals tend to fall in the unfortunate soulful macho style of the era which keeps this from attaining the full teenage realness of albums like Top Drawer or the Rockadelic roster. All over a difficult album to knock, but equally difficult to find reasons for people to pick up, unless they have some personal memories attached to the scene. Probe released this to get gigs and delight friends and family, and apart from the excellent "Two Roads", the "Direction" trip doesn't really extend beyond those humble ambitions. The small press size has been reported by the band. [PL]

PROBE 10 ( )

"There Is A Universe" 1975 (Blue Universe 92673)  

Progressive rarity of an eclectic, challenging nature, venturing into fusion with jazzy guitar runs and trumpet and flute interplay. Mostly instrumental. As with others of the era, there is a clear debt to Chick Corea's Return To Forever.

PROFESSOR FUDDLE'S FANTASTIC FAIRYTALE MACHINE (Toronto, Canada)

"Professor Fuddle's" 1974 (Periwinkle 7314)  [textured cover]  
"Professor Fuddle's / Borealis" 2005 (CD Beatball, South Korea)  [2-on-1]

Lots of synthesizers can't disguise the fact that this album is bascially bubblegum, and in fact, the catchiest song on it is one that's definitely aimed at kids. Not that bad, really, but unlikely to appeal to psych fans or to prog fans who hear it described as a moog-heavy rock album. Very short album, under 25 minutes. Vocalist Paul Bradbury was formerly with Borealis. [AM]

PROJECTION COMPANY ( )

"Give Me Some Lovin'" 1967 (Custom cs-1113)

Extra cheesy exploito garage fuzz and organ fun. Half instro ravers with the trademark Jerry Cole guitar style and misleading titles like "Our man Hendrix". The offhand "soulful" vocals are a gas. Some of the tracks are backing tracks from the ID-"Inner Sounds" album sessions. One of the less common titles on the label. [RM]

PROMISE (CO)

"Promise" 1980 (Cumulus)  

Seldom seen private press ranging from strong power pop to Beatles influenced pop-psych with an occasional heavier edge.

PROOF (Anchorage, Alaska)

"Proof" 1971 (no label)  [500p; insert]  
"Proof" 200  (Akarma 236, Italy)
"Proof" 200  (CD Akarma, Italy)

Early bar-rock/roots/1960s revival band from Anchorage recorded live at two different 1970 concerts opening for big US artists. Crude bluesy garage sound with good harmonica, fluid guitar work and some unusual arrangements of r'n'r standards makes this above average for the genre, though the genre admittedly sucks. A few group originals too. The press size has been reported as 300 copies. [PL]

"5th Anniversary Phonograph Record" 1972 (no label)  [125p]  
"5th Anniversary Phonograph Record" 200  (CD Akarma, Italy)  

Comp of '66-71 live material, a couple of tracks have strong westcoasty guitar jamming.

PROPINQUITY (CO)

"Propinquity" 1972 (Owl 23)  

1970s folkrock with its share of fans, female vocals on one track.

PROSPECTUS (NJ/PA)

"With Friends" 1971 (Bristol ee-1001)  [2LPs; gatefold]  

Double LP of live funk and hippie rock covers. Barband basement jamming on James Gang, Janis Joplin, Blood Sweat & Tears and a bunch of tracks from the Joe Cocker repertoire.

V.A "PSYCHEDELIC SIX-PACK SOUND" (IL)

"Psychedelic Six-pack Of Sound" 1968 (Summit 410)   
"Psychedelic Six-pack Of Sound" 199  (Lustbutt)  [500p; blue marble vinyl]

Obscure comp from local rural teenage bands, "psychedelic" only in name. Six groups do two cuts each, of which all on side one are pretty awful. On side two the Mavericks do decent Farfisa beat, Sound Of Fury do good beat/folkrock and finally there's great primitive garage/psych by Eighth Day. All over one of the lamer local comps though. Incidentally, many (or all) reissue copies have the cover slicks glued on the wrong way. [PL]

PTARMIGAN (Vancouver, Canada)

"Ptarmigan" 1974 (Columbia 90257)  
"Ptarmigan" 1991 (no label, Italy)  [bootleg]

Progressive folk with introspective psych moves, has a fabulous A-side with dark, almost hypnotic tracks travelling from mellow Eastern moods to intense hippiefolk and back. B-side is similar but less successful, though a great psych sleeve makes it a neat item all over. Not rated that highly, but I like it. The LP was recorded with session musicians (incl Papa Bear's guys) in 1972, but not released until '74. [PL]

PUBLIC NUISANCE (Sacramento, CA)

"Gotta Survive" 2002 (CD Frantic Records 1313)  [2CDs]
"Gotta Survive" 2002 (Shadoks 040, Germany)  [2LPs; bonus EP; 750p; gatefold] 

Public Nuisance never released a record during their time, but somehow made enough studio recordings to fill up this archival 2-CD collection. The recordings sound surprisingly modern, and the production quality is very strong. The songs are in a post-garage slightly psychedelic rock/pop mode, equal parts energy and melody. There are a number of standouts, and as a whole Public Nusiance is more impressive than many long-term major label bands of the era. Despite a reasonable amount of variety, 2 CDs is a lot. Particularly deadening is the inclusion of multiple versions of two tedious songs by an early version of the band. If the CDs had been arranged a little differently, perhaps to make the first disc a solid album of their best dozen or so songs, and the second to be like a set of bonus tracks, the "album" would have been a killer. As it is, this is a somewhat erratic and overlong compilation that's full of great songs, but the need to provide us with everything dulls the listening experience. I suspect most listeners will feel the urge to make their own CD-R of the best songs from both of these discs. [AM]

PUGSLEY MUNION (Fitchburg, MA)

"Just Like Me" 1970 (J & S slp-1001)  [photo insert]  
"Just Like Me" 2000 (CD Gear Fab GF-143)  [+3 tracks]

Excellent local power-trio sound with a ballsy Cream vibe, psych residuals, good guitar-playing. If there hadn't been 900 copies found in a warehouse in the early 1990s, this would be rated a lot higher. One member was formerly with Brother Fox & the Tar Baby.

PULSE (New Haven, CT) 

"Pulse" 197  (Poison Ring 2237)  
"Pulse" 1996 (Poison Ring, Europe)  [bootleg]
"Pulse" 199  (CD Black Rose 144)

This hard rock album has a crisp, clear production style that isn't really matched by the music. There's some decent guitar playing and a few catchy bits, and unlike a lot of the era's hard rock the songs are focused and well-constructed. Nonetheless, the histrionic bluesy wailing is pretty annoying, and despite the attention given to the songwriting there's not a whole lot that sticks. A significant amount of harmonica confirms the band's blues base. Recommended to hard rock fans who don't mind undistinguished macho singing. Sizeable quantities of this album were stashed in its Connecticut recording studio, and sealed copies still show up for sale reasonably often. Many of them have slight warps that don't seem to affect play. The album was also released in England by Major Minor. The band had a 45 on Atco with a freaky non-LP track. There is another, unrelated Pulse who had an LP on Thimble, an Italian band based in New York. [AM]

PURPLE IMAGE (Cleveland, OH)

"Purple Image" 1970 (Map City 3015)  
"Purple Image" 2003 (CD Radioactive 041, UK)

Sign-of-the-times hard drugged out funky guitar-rock from black 7-piece band with titles like "Living in the ghetto" and "We got to pull together". Typical mix of late-period Hendrix and Sly Stone, with wailing acid fuzz, wah-wah and feedback, loose male/female ensemble singing and revolutionary lyrics up the wazoo. Also some late 60s Marvin Gaye soul moves with sax. Definite psychedelic feel with stoned sound fx and a certain cheese flavor to it, as though they could have played the local Panther section in an AIP movie. "Lady" is the weakest track, while the opener and the 15-minute "Marching to a different drummer" sounds like the Chamber Bros on PCP. The 50/50 mix of ghetto attitude and mind expansion is pretty successful in my ears, and while some people have expressed fatigue with hyped-up Hendrix/Sly derivations this one stands pretty well on its own bell-bottom clad legs. Great back cover photo from the grim streets of 1970 Cleveland. [PL]

PURPLE SMOKE ( )

"Vol 1" 1973 (Mark 1446)   

Local lounge-rock band with amateurish female vocals and unexceptional cover versions of 5ht Dimension, Blood Sweat & Tears etc. Sometimes listed as "garage" or "psych" which it is not. Lord knows why this has become a "collectable", unless it's the cool cheesy purple smoke drawing on the cover. There are much better lounge LPs out there.

JOSEPH PUSEY (Los Angeles, CA)  see interview

"In My Lady's Chamber" 1977 (Cerebella 1001)  

UK-influenced progressive folk with superb playing and some moody psych residuals. Not trad folk in the rural sense, more in a direction towards renaissance court music. Acoustic guitars, bells, gong, some flute; a cerebral, refined atmosphere. Vocals aren't impressive but OK while the instrumental passages will leave any guitar student with his mouth hanging open. Consistent LP with a strong identity and grower qualities. Epic "Red planet descends" is a highpoint. Pusey passed away in 2004. [PL]

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