Produced by John Fahey on his label, the only output of this rural community is well worth obtaining if you can find a copy. Lead by Peter Aceves, it's an excellent example of folk-blues with good vocals and strong instrumental parts. The songs are all original and some are really outstanding, notably Bumblebee, Bulldozer Blues and Maine. The liner notes mention that two other (unknown) groups used to play with Homegas: Greazy Green and Stoney Lonesome before their house was destroyed by fire. (Stephane Rebeschini)
NB: (1) reissued on Breeder (RPR 008-3C-568) 1986 also counterfeited on CD.
This band recorded in Houston although they originated from San Antonio in Texas. Musically they ranged from psychedelia to more progressive rock. Their first 45 was a strange rework of Willie Nelson's I Never Cared For You on the 'A' side. The third, particularly Sunrise, marked the pinnacle of their achievements in the arena of psychedelic rock. Their album is more progressive than psychedelic but it features some fine guitar work and is recommended. Christopher Cross, who achieved considerable success as a solo artist in the early eighties, had some involvement with their LP and rumour has it that Van Wilkes played on their 45s. Galen Niles was earlier a member of The Outcasts and played on their final scorching 45, 1523 Blair. He also played as session musician on Still In Love With You Baby (The Argyles) and Help I'm Lost (The Mind's Eye. Compilation coverage has included: Dandelion Wine and Sunrise on Acid Visions - The Complete Collection Vol. 1 (3-CD), Acid Visions Vol. 2 (LP) and Filling The Gap (4-LP). (Vernon Joynson / Max Waller)
This was initially a studio-only project in Memphis, comprising Ron Jordan (ex-Ronnie and The Devilles), the ubiquitous Jim Dickinson, plus three former members of Lawson and Four More (Lee, Gaston and Donati). Warm City Baby, a Lovin' Spoonful cover, is pleasantly laid-back mid-tempo pop with a trumpet solo, backed by folkie-pop. As it started to garner airplay and sales, a group was hastily assembled to perform live (line-up 'B'). They lasted long enough only to do a few gigs and record the follow-up. Psychedelic Patchwork (LP) includes their cover of The Yardbirds' For Your Love. For their full story seek out a copy of Ron Hall's book on the Memphis scene (from 1960 to 1975) 'Playing For A Piece Of The Door', published in 2001 by Shangri-La Projects (ISBN 0-9668575-1-8). (Max Waller)
NB: (2) also released by Vogue in France. A San Francisco blues band formed by Glenn Walters after the demise of the Mystic Number National Bank. Their first album is quite good and contains Black Cadillac, Black Widow, Snake Doctor and Hoodoo Beat. On the second, they were reinforced by Martin Fierro (from Sir Douglas Quintet and Mother Earth) and Chester Crill (aka Max Buda, from Kaleidoscope). They released several other albums during the '70s but went increasingly mellow and country pop oriented. (Stephane Rebeschini)
A Los Angeles band formed by Bobby Arlin after he quit The Leaves. The first album is hard rock with psychedelic undertones, the second is the more structured of the two - both are worth investigating, and now minor collectors' items. Previsor had earlier been a solo artist and later went on to play with The Grassroots. Lee "Buddy" Sklar became a very renowned session man and played with Jackson Browne, James Taylor and almost every Californian artist. Bobby Arlin later reappeared in 1973 with Wonderlick. Compilation appearances include: In The Beginning on Psychedelic Perceptions (CD). (Vernon Joynson / Max Waller / Stephane Rebeschini)
NB: (1) originally issued with fold-open lyric insert. Reissued (Del-Val DV 008) 1993 and again (Subliminal Sounds SUBLP 14). (1) reissued on CD (Subliminal Sounds SUBCD 15). (2) was recorded early in 1974. Original pressing has thick sleeve, later counterfeited in Europe circa 1990. (3) was a cassette only, private release. For some, D.R. Hooker's debut album is one of the real 'treasures' of the early '70s private press scene. Pretty much devoid of commercial aspirations, it's particularly notable for its heavier cuts like I'm Leaving You and the druggy The Bible. The album closes with a message played backwards: "Life is a mystery of course it's true. Look for the answer, recorded clues". Armageddon, which did not appear until 1979, was recorded with an entirely different line-up in 1974. There are great moments on this album, although it lacks the intimacy of their debut. Hooker's voice has an unpolished quality that seems somewhat awkward when his band moves into progressive rock territory on this second album. The debut is a more convincing work. D.R. Hooker was based in Connecticut. Compilation appearances include: Forge Your Own Chains on Son Of The Gathering Of The Tribe (LP). (Clark Faville)
NB: (1) some copies had a handmade silkscreen cover, the others a plain white one. Reissued in 1994 on Rollocks (Rollock 1001) - limited to 400 copies. From Wisconsin, this band's sole album is a very rare and mostly instrumental piece. Competent and at times quite experimental but nothing to get really excited about. (Vernon Joynson/Stephane Rebeschini)
From Albuquerque, New Mexico, both their 45s were recorded in Clovis, N.M. in the same studio as used by Buddy Holly. No Silver Bird is a great trippy song with its swirling sound effects and great lyrics:- 'Go and get ready to fly The 45 lists an address in Mississippi, which has led to speculation about the bands true location. The 45 was produced by Tom Bee who was responsible for nuggets like I Wanna Come Back (From The World Of LSD) by another New Mexico outfit Fe Fi Four Plus 2 and who later played/produced Xit. Tom Bee was based in Laguna-Acoma Pueblo, N.M. at the time. The same track also appeared on the Magic Sand's LP on Uni under a different title Get Ready To Fly. The band formed at junior high school circa 1962-63. Don Kinney:- "Martin had a Silvertone guitar and I had a Fender duo-sonic. We found a drummer in our junior high school, Doug Borthwick who was truly exceptional. A guy down the street, Charlie Pineda, was a on his way to being a classical pianist and we snagged him to play electric piano, but he had a strong family and was persuaded not to get to involved. I started to play bass because we needed one and I thought Martin could do a better job on guitar, particularly with the lead parts." "In the early years we called ourselves The Court Jesters and played at a lot of teen clubs, street dances etc., practicing in my garage and Doug's cellar. The first song we worked on was Dream by The Everly Bros, but we progressed onto G.T.O. by Ronny and The Daytonas, Hang On Sloopy, Louie-Louie... I'm sure you know the progression..." "The name change to Hooterville Trolley came about as a round-about word play with Tunerville Trolley, by The Electric Prunes. At the time we were doing covers of The Yardbirds, Cream, Hendrix, CCR and Buffalo Springfield. We would improvise on tracks like Season Of The Witch "Super Session" style, Toad "Cream" style and Summertime Blues "Blue Cheer" style, and we got to open for Buffalo Springfield, Eric Burdon and The Animals, Youngbloods, Three Dog Night plus a couple more. The band also toured the Southwest into Colorado and Oklahoma." "We met Tommy Bee aka. Tom Benevidez through our first manager Chris Arlith. Tommy was working with the Lincoln St. Exit and pushing the Native American aspect to sell them. He also managed another good band led by Mike Flemming but I can't remember their name... (*)" "The song No Silver Bird (written by Ernie Phillips - a teacher at the time) was not really our style. It was recorded at Norman Petty Studios, Clovis N.M. early one morning. Martin sang and used a fuzz-tone on his telecaster. Bill played his Farfisa keyboard, Doug played a studio set of drums and I played the only bass line I could make fit, a slowed down Kinks' You Really Got Me. Norman Petty had just bought a string machine and was itchin' to try it out. With that quality of production work, just imagine if we had a tune with substance." "Over a four year span, we also had two vocalists, Mike Melloy and Larry Leyba. Bill Chriest took over keyboards in 1967 and we also added a rhythm guitarist, Wayne Gallio, who played a Gretch 'Country Gentleman' guitar." "Doug, Martin and I continued to perform as a three piece for a few years as 'Trolley', having dropped the corny 'Hooterville' because the 'Green Acres' T.V. show was set in Hooterville. As the three-piece we started doing acid rock stuff, complete with light show." "Wayne Gallio, died in a car wreck in a snowstorm on Route '66. He was a truly wonderful person. Doug Borthwick too died in a motorcycle wreck and Larry Leyba is also no longer with us. Bill Chriest, (pronounced 'crist') nowadays builds homes in and around New Mexico. Charlie Pineda, our early pianist is living in Santa Fe, N.M. working in a computer consulting business. Martin Nassif, sadly developed M.S. about 10 years ago and is physically incapacitated. Mike Melloy I think moved away and I have cheerfully survived. Life today is Good - I still play guitar 2-3 times weekly. Compilation appearances include: No Silver Bird on Lycergic Soap (LP), Magic Carpet Ride (LP), Sixties Rebellion, Vol. 15 (LP & CD) and Beyond The Calico Wall (LP). The track was also covered by The Creation (not the UK bunch) on a 45 released on the Centurion label, which later resurfaced on the Brainshadows Vol. 1 compilation. NB: (*) Could be Rabbit Mackay and The Somis Rhythm Band. (Max Waller/Clark Faville w/thanks to Don Kinney)
A good loner folk singer. (Stephane Rebeschini)
This 45 was the work of a hippie-style quintet from Minneapolis and now interests some collectors. The flip can be found on the Changes compilation of Minnesota bands, along with a track called One Man. This latter track turns out to be by a different Hope, from Wisconsin. Both sides of the 45 also appear on Arf Arf's essential CD The Scotty Story. Of Times.. is particularly poignant and dramatic - not one for the depressed. (Max Waller)
A different group from Lacrosse Wisconsin, they evolved out of the Jesters III. One Man was written by organist Boyd Sibley, and the track appears on their 1972 album, which was recorded in Toronto, Canada under the supervision of Jack Richardson (best known for his productions (Nimbus 9) with The Guess Who). Many other musicians, including bassist Russ Savakus assisted on the album. You can also hear One Man on the Changes compilation of Minnesota bands, miscredited as an unreleased track by the Minneapolis Hope. (Vernon Joynson / Max Waller)
NB: (3) reissued on CD (Dodo DDR 513) 2001. Recorded in Florida, Patrick Hopney was the stage name for Patrick Hearns of Newburgh, NY's Sapians. After Hopney relocated to Florida, he recorded these three albums, which are characterised by excellent guitar work and are now rare and sought after. The third album was produced by Mike Pinera (ex-Fanz/Blues Image/Iron Butterfly/Ramatam). Not really psychedelic, but Side One is excellent (especially Long Ago And Far Away"), whilst Side Two is rather lame. Pat also released a 45, Acapulco Gold as a duo under the name Hopney & Phinious (spelling in question). (Stephane Rebeschini/Ken Masten/Ed Moulin)
A short-lived Tampa, Florida act. Catchy no-frills pop-punk is their style with strong, sometimes raucous, vocals. The non-comp So Hard is light keyboard-driven pop-beat. Compilation appearances have included: I Missed My Cloud on Mindrocker Vol. 12 (LP), Glimpses, Vol. 2 (LP) Glimpses, Vol's 1 & 2 (CD); and When I Get Home on Psychedelic Unknowns Vol. 8 (LP & CD). (Max Waller)
Born in New York in 1930, Paul Horn is primarily a jazz flutist and sax player. After graduating from the Manhattan School Of Music, he moved to California in the late fifties where he worked with Chico Hamilton and did a lot of studio sessions. In the mid-sixties, like several other californian jazz musicians (Charles Lloyd, Gabor Szabo, Bill Plummer), he discovered Indian music and civilization and began recording albums with sitars, tambouras and tablas. His albums should interest fans of groups like The Cosmic Brotherhood or Oregon, mixing sitar sounds with jazz and meditative music. Paul Horn also played with Gentle Soul and Lynn Blessing (he produced his only album) and recorded with Ravi Shankar. (Stephane Rebeschini)
An album full of slow and spooky tunes like Girl On My Mind, For Judith, My Precious and Theme Too. The standout track is the sitar tinged Many Times Jimbo. (Stephane Rebeschini)
The Carter-Gilbert team, John and Tim, who were also responsible for the Rainy Daze, and later as songwriters covered by the likes of Strawberry Alarm Clock, Hardwater and Yankee Dollar, produced and wrote ten of the eleven tracks on this fine west-coast album. Class Of '69 is a raucous rocker, Asia Minor and Wind have good guitar parts, some other tracks are more country-rock oriented. The 45s were taken from the album, which is very rare now. Matt Kelly, who was a talented harmonica and guitar player, later joined Gospel Oak in 1970 and then guested on several Grateful Dead albums after 1973. In 1975, back with Herold and Torbert, they formed Kingfish with Bob Weir (Grateful Dead), who included some Horses songs (Asia Minor, Overnight Bag) on their first albums. Kelly also released a solo album A Wing And A Prayer (Relix ) 1985 and another in 2000. Dave Torbert sadly died in 1982. (Max Waller/Stephane Rebeschini/Timothy M. Smith )
A rare bluesy hard psych ourfit, with demented vocals influenced by Captain Beeheart. (Stephane Rebeschini)
Produced by David Butler, Horwitz was a political folksinger inspired by Dylan, with songs about hippies and similar topics. (Stephane Rebeschini) |
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