The Drag Set – “Day And Night” (1967)

 

Band : The Drag Set ( formed in 1963 by four musicians from Putney, South West London. Initially named The Apaches formed by Tim du Feu, Mike Brancaccio and Philip Fox and their friend Ray Nye. Nye left in 1965 and another friend, Terry Schindler, joined instead. The band became The Drag Set)

Country Of Origin : U.K.

Track : “Day And Night” (7-inch Single), written by Schindler, Brancaccio

7-inch Single :  A’ Side Single “Day And Night” (B’ Side “Get Out Of My Way”)

Label : Go Records (AJ 11405)

Date/Year Of Release : May 1967

Category/Music Genres : Garage Rock,  U.K. 1960s (A’ Side Singles)

The Drag Set – “Day And Night”

Video on YouTube

The Drag Set – “Get Out Of My Way” 

Video on YouTube

“Day And Night” b/w “Get Out Of My Way” 7-inch Single (Go Records AJ 11405), May 1967

Single Photo (A’ Side)

THE DRAG SET SINGLE

Single Photo (B’ Side)

No photo description available.

The Drag Set 

Open Mind (a.k.a The Drag Set)

Image may contain: 2 people

Tim Dufeu Marquee Club, London

Image may contain: 1 person, playing a musical instrument and guitar

Tim Dufeu, Philips Studios

Image may contain: 1 person, sitting and guitar

Line-up

Mike Bran, a.k.a. Mike Brancaccio – lead guitar, vocals, piano (born 17 April 1946, Rome, Italy)

Timothy du Feu – bass guitar(born 31 May 1944, Malvern, Worcestershire, England)

Philip Fox – drums (born 26 August 1946, Westminster, South West London)

Terry Martin, a.k.a. Terry Schindler – guitar, vocals (born 26 August 1945, Holborn, West Central London)

Credits 

Lionel Segal – Producer

Information about the band

The band was formed in 1963 by four musicians from Putney, South West London. Initially named The Apaches formed by Tim du Feu, Mike Brancaccio and Philip Fox and their friend Ray Nye. Nye left in 1965 and another friend, Terry Schindler, joined instead. The band became The Drag Set, who released a little-known single in February 1967, “Day and Night” / “Get Out of My Way”. Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible. The band, however, is best known for its druggy August 1969 single, “Magic Potion”, which did not appear on the album.

The Open Mind disbanded in 1973; its members wanted to move into jazz-influenced music, but The Open Mind was too well known as a psychedelic band. The band members (minus Phil Fox) went on to form Armada, which lasted about three years but did not release any recorded material.

Despite their paucity of recorded material, The Open Mind have proven to be influential in the psychedelic rock genre, their single “Magic Potion” having been covered by bands such as The Seers, Sun Dial and The Damned (source : “Discogs”).

External Links 

Interview with Timothy Dufeu on It’s A Psychedelic Baby Magazine

The Drag Set (later known as Open Mind) on Time Machine Music

The Drag Set – “Day And Night” Audio File on Spotify

 

7-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s The Music Machine – “The People In Me”

The Music Machine – “The People In Me” Track’s Video on YouTube

Category/Music Genres :

7-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s

Band :

The Music Machine” (Los Angeles, California, U.S.A.)

The Music Machine was an American rock band formed in Los Angeles, California in 1966. Fronted by chief songwriter and lead vocalist Sean Bonniwell, the band cultivated a characteristically dark and rebellious image reflected in an untamed musical approach. Sometimes it made use of distorted guitar lines and hallucinogenic organ parts, punctuated by Bonniwell’s distinctively throaty vocals. Although they managed to attain national chart success only briefly with two singles, the Music Machine is today considered by many critics to be one of the groundbreaking acts of the 1960s. Their style is now recognized as a pioneering force in proto-punk; yet within a relatively short period of time, they began to employ more complex lyrical and instrumental arrangements that went beyond the typical garage band format.

In 1965, the band came together as a folk rock trio known as the Raggamuffins, before expanding to the quintet that was later rechristened the Music Machine. The group was known for their style of dress, clothing themselves in all-black attire. In 1966, the Music Machine was signed to Original Sound, and released its first single “Talk Talk” in the latter half of the year, with it reaching the Top 20 of the Billboard Hot 100. Their debut album (Turn On) The Music Machine and the moderate hit “The People in Me” followed. The band’s original lineup fragmented in late 1967 after managerial and financial disputes. Bonniwell reassembled the group under the name The Bonniwell Music Machine. In 1968, a second album, The Bonniwell Music Machine appeared, but the group disbanded in early 1969.

Track :

“The People In Me” A’ Side Single ((written by Sean Bonniwell), b’ side single “Masculine Intuition”) released on Original Sound Records (OS-67) in 1967

The track is also included on the band’s debut album “(Turn On) The Music Machine” released on Original Sound Records (OSR-LPM-5015)  on 31st December 1966, recorded at RCA Recording Studios, Los Angeles California in  August 1966

Line-up :

The Music Machine :

Sean Bonniwell – Vocals, Guitars
Ron Edgar –  Drums
Mark Landon – Guitar
Keith Olsen – Bass
Doug Rhodes – Organ

Credits :

Producer :  Brian Ross

Lyrics :

Hey, Halright
Sometimes dreamin’
I’m in here schemin’ on you
Collectin’ headers
With nothin’ better to do
Memory is everywhere
Love and you is in my hair
And eyes
Maybe with the time and place
A look will come upon your face
Of surprise.
When you see the people in me
Minus you what will you do
When you see the people in me
Minus you it’s overdue
While I’m cryin
I’m rectifyin’ the cause
Friends are cheerin’
And I’m hearin’ applause
The train is here you better run
Don’t call me I’ll never come
Unto you
They’re over now the games you play
Just what you’ll do, just what you’ll say
Uh oh you
Middle
Memory is everywhere
Love and you is in my hair
And eyes
Maybe with the time and place
A look will come upon your face
Of surprise.
When you see the people in me
Minus you what will you do
When you see the people in me
Minus you it’s overdue
Hut, Halright
Songwriters: Sean Bonniwell

Information related to the track :

“Wikipedia”

The People in Me” is a song by the American garage rock band, The Music Machine, written by Sean Bonniwell, and was first released as a track on their debut album (Turn On) The Music Machine in December 1966 on Original Sound Records. The song was also released as the A-side to the group’s second single, which was distributed on January 21, 1967. Like many of Bonniwell’s compositions, “The People in Me”‘s lyrical content featured a gloomy rebellious mood, with eerie lead vocals by Bonniwell, and it explored with a hard-edged variation of psychedelic rock. It also featured guitarist Mark Landon’s wiry distorted guitar melodies, joined by backing vocals near the conclusion of the song.

“The People in Me”, with the flip side “Masculine Intutition”, was the final Music Machine single to chart on the Billboard Hot 100, where it peaked at number 66. Though it was considered a strong follow-up to their debut release “Talk Talk”, the song suffered from inadequate airplay when the band’s management angered radio producers for exclusively airing the single on a rival station. Bonniwell would pen much more experimental compositions, but the dispute damaged The Music Machine’s prospects for another charting hit.

Information related to the band :

“Wikipedia”

The nucleus of the band was formed when Sean Bonniwell (lead vocals, rhythm guitar) took part in a jam session with Keith Olsen (bass guitar) and Ron Edgar (drums; born Ronald Edgar on June 25, 1946 in Minneapolis, Minnesota) – both of whom he met in the folk music circuit. Bonniwell, already a practiced “folky,” possessed prior experience as a vocalist with the Wayfarers. The traditional folk combo had already enjoyed some regional success: releasing three albums, and building on the experience of Bonniwell who insisted on the importance of rehearsal. As Bonniwell traveled and recorded with the group, he began penning some material that would later surface with the Music Machine. However, still influenced by acts now considered passé, the Wayfarers’ musical conservatism became stifling to Bonniwell who wanted to explore the type of harder, cutting-edge stylistic possibilities that he eventually would find in rock. Prior to meeting, Olsen had previously performed in Gale Garnett’s backing band, and Edgar was a member of a bohemian folk quintet called the GoldeBriars. With the GoldeBriars, Edgar contributed to their unreleased third album that was originally intended for distribution on Epic Records, but the group disbanded before it could be released.

In 1965, the three formed their own folk rock group, the Raggamuffins, and began performing in Los Angeles with a repertoire that saw the band embrace a more unorthodox style, and depart from their traditional roots. The group also recorded four songs that went unreleased until the 2000 album, Ignition, which represented the transitional phase before the band developed into the Music Machine. Bonniwell and Olsen were enthusiastically experimenting with musical textures while the band arranged strict rehearsal regimens in Bonniwell’s garage. The Raggamuffins purchased hardware for a homemade fuzz-tone switch. From the onset Bonniwell ensured the group resonated like no other by instructing his bandmates to lower their instruments from the standard E note to D-flat.  As a result of the adjustment, the Raggamuffins were given a bottom-heavy and ominous sound. In addition, the group began dressing noire, while sporting dyed-black hair, and the trademark single leather glove that presented an eye-catching and unified band image, which would later become influential with certain 1970s punk acts. 

Auditions were held in early 1966 to expand the group, resulting in the recruitment of Mark Landon (lead guitar) and Doug Rhodes (organ), previously a session musician for the Association. To reflect on the revamped line-up, Bonniwell changed the band’s name to the Music Machine. Another purpose for coining the name, Bonniwell explained, was “I seguewayed [sic] all the original material with musical segueways [sic]. So we would be on stage for like an hour and ten minutes, wall-to-wall music just nonstop, which is why I called us the Music Machine”.  The band built a name for itself with its performances in local clubs in Los Angeles. With Bonniwell as the de facto leader and creative force of the band, the Music Machine began to develop a blend of gritty 60s punk and psychedelia, and a repertoire encompassing Bonniwell’s self-penned material along with some cover songs. The band’s sound was highlighted by the authoritative and versatile vocals provided by Bonniwell, with an energized technique that juxtaposed the styles of Mick Jagger and Sky Saxon. Unlike these two contemporaries, Bonniwell possessed unusually good intonation in long-sustained passages, and the ability to breakdown phrases into a series of slow pulsations. The Music Machine’s artistic stance was also highlighted by Landon’s wiry guitar playing, Olsen’s reverberant bass, and Edgar’s cymbal-punctuated drumming, which gave the band a harder-edged sound than many of their contemporaries. 

Commercial success (1966–1967) 

Record producer Brian Ross just happened upon the Music Machine at Hollywood Legion Lanes, a bowling alley that was an early stomping ground for the group, and signed them to a recording contract with Original Sound. On July 30, 1966, the band entered RCA Studios in Los Angeles to record the Bonniwell originals “Talk Talk” and “Come on In”, which was initially going to be the A-side for the group’s debut single. Bonniwell had composed “Talk Talk” a year prior to forming the band, and the studio time was marked by the Music Machine’s collective input aimed toward tightening the structure of its arrangements, including the two-note fuzz guitar riffs and Edgar’s precise drumming technique. By virtue of the group’s dedication to rehearsal, recording sessions concluded with the Music Machine requiring only three takes to complete the two songs. Though the band was satisfied with the acetate to “Come on In”, the members were convinced “Talk Talk” would propel them into the national charts. 

“Talk Talk” was released on September 10, 1966, on Original Sound, and rose to number 15 on the Billboard Hot 100. It also peaked at number 21 on Cashbox and number 18 on Record WorldThe song’s relatively short time-length—a mere one minute and 56 seconds—made “Talk Talk” a favorable staple on Top 40 radio and its competing underground FM stations. The Music Machine’s hit was arguably the most radical single to appear on mainstream broadcasting in 1966, the phenomenon described by music historian Richie Unterberger as a “rally cry to social alienation with a mixture of sarcasm, rebellion, self-pity, and paranoia”. Indeed, Bonniwell’s progressive lyrics and arrangements have been credited with influencing the Doors and Iron Butterfly, as well as future punk bands. After the single’s release, the Music Machine embarked on a grueling three-month tour across the U.S., packaged with the Beach Boys, Question Mark and the Mysterians, and Clyde McPhatter. It concluded with the group receiving a poor response from the more conservative southern crowds, who criticized the band’s black outfits.  Nonetheless, for the most part, their unified image served well for the Music Machine’s national recognition, especially as the group made numerous appearances on the television programs Where the Action IsAmerican Bandstand, and Shindig!.

After their long national tour, the Music Machine returned to the studio to record their debut album, (Turn On) The Music Machine. Much to the disapproval of Bonniwell, his original material had to compete with dispensable cover versions of “Cherry, Cherry”, “Taxman”, “See See Rider”, and “96 Tears”, all chosen by their record label with an expectation that the well-known songs would increase record sales. One interpretation voluntarily selected by the band was a slow, moody, fuzz-laden arrangement of “Hey Joe” which bears a strong resemblance to Jimi Hendrix’s later version. Bonniwell first heard the folk standard in 1962 at a club in Hermosa Beach, and was convinced the tune’s tempo was too fast, as he unsuccessfully attempted to persuade the Wayfarers to record a slower version. He revisited the concept with altered lyrics after hearing Tim Rose’s regionally successful rendition in early 1966.  The throaty vocals, most evidently on “Hey Joe”, Bonniwell blames on recording “the Turn On album after a 30-day tour. Mark’s fingers were literally bleeding. I could hardly even speak, much less sing”. Despite the album’s shortcomings, (Turn On) The Music Machine managed to reach number 75 on the Billboard 200.  On January 21, 1967, a song taken from the album, “The People in Me”, was issued as the group’s second single but stalled at number 66 nationally after the band’s management angered radio executives for initially making the song exclusively available to a rival station. 

The Bonniwell Music Machine (1967–1969)

Immediately after (Turn On) The Music Machine was released, the band left for another U.S. tour, despite pleas by the group to arrange an appearance at the Monterey Pop Festival. In the small off-periods in their hard-pressed schedule, the Music Machine demoed a new batch of Bonniwell originals at RCA Studios in New York City and Cosimo Matassa’s facility in New Orleans, before polishing the tunes back in Los Angeles. From the sessions emerged the group’s third single “Double Yellow Line”, which was released in April 1967, and bubbled under the Billboard Hot 100 at number 111. The subsequent release, “Eagle Never Hunts the Fly” failed to chart, but is often described as Bonniwell’s tour de force—a tune Ross praised as “sonically compelling works and a lot to listen to, for the time. It was the kind of thing you just didn’t hear, you almost worried about getting those sounds onto a 45”. 

In May 1967, the original lineup recorded together for the final time, completing “Astrologically Incompatible”, “Talk Me Down”, and “The Day Today”. One problem that led to the band’s first breakup was the Music Machine name was actually owned by Ross, as a part of their production deal, awarding the group with little to no royalties. Leaving Bonniwell to carry on the project, Olsen, Edgar, and Rhodes went on to join the Millennium, a sunshine pop group conceived by singer-songwriter Curt Boettcher and Olsen. The Millennium recorded the album Begin in 1968 before disbanding. The three former members also took part in Boettcher’s next production, the studio group Sagittarius, releasing Present Tense, coupled with the moderately successful single “My World Fell Down”, before Edgar and Rhodes departed. Olsen stayed on board to record Sagittarius’ second album, The Blue Marble, and subsequently forged a successful career as a record producer in the 1970s. 

Undeterred, Bonniwell successfully negotiated his recording contract with Original Sound be transferred to Warner Bros. Records, in hopes of finding a greater degree of independence. The Music Machine’s spell with Original Sound was drawing to a conclusion, though the company did release “Hey Joe” as a single in 1968 in an attempt to cash in on Hendrix’s success with the song. There was also the Bonniwell solo project in association with producer Paul Buff that resulted in the rare “Nothing Is Too Good for My Car” single being put out under the name the Friendly Torpedoes. Writer Greg Russo, who composed the liner notes for the single’s remastered release, explains the side-project was initiated during a confusing transitional phase for Bonniwell that also generated the tune “Citizen Fear”, which did not receive distribution until the Ignition album in 2000. Free from company pressure, Bonniwell formed a new band, rechristened The Bonniwell Music Machine, with session musicians Ed Jones on bass guitar, Harry Garfield on organ, Alan Wisdom on lead guitar, and Jerry Harris on drums.

In March 1967, Bonniwell and Ross ushered in the new lineup at United Western Recorders to record the second album The Bonniwell Music MachineThe recording and mixing process was painstakingly masterminded almost solely by Bonniwell, who was appreciative of his new bandmates’ efforts to develop the album’s concept, but disillusioned by the project’s lack of cohesion.  He further explains that the “Warner Brothers album has such an eclectic approach; each track is (was) a singular, studio invention. Not only was my songwriting divergent, but my approach to recording was exploratory as well”. Six of the album’s tracks were holdovers from the first lineup’s sessions at Cosimo Matassa’s studio and RCA Studios. This resulted in a hodgepodge of musical styles, including exploratory approaches toward psychedelia and soft rock. On February 10, 1968, The Bonniwell Music Machine was released with little commercial success. Conseqently, the Bonniwell Music Machine was largely forgotten by the general public and the second lineup fragmented in July 1968.

Disbandment and aftermath

One final version of the Bonniwell Music Machine was assembled with a revolving door of musicians. Two more singles were released on the Warner Bros. label with little notice, before “Advice and Consent”, the group’s final single, was distributed on Bell Records in March 1969. Disenchanted by the music industry and having to tour against imitation Music Machine groups, Bonniwell gave up the rights to the band’s name and signed on to Capitol Records as a solo artist. Under the name T.S. Bonniwell, he recorded the album Close, which saw a poetically-inclined Bonniwell explore string and orchestral arrangements. Following the album’s release, Bonniwell departed on what he called his “westernized guru era”—studying eastern mysticism and practicing meditation and vegetarianism.

The band was all but forgotten after their dissolution, but the Music Machine and their music experienced a revival of interest in the late-1980s. It began with Rhino Records featuring tracks on the Nuggets compilation albums Nuggets Volume 1: The Hits and Nuggets, Volume 2: Punk, before releasing the album The Best of the Music Machine in 1984. Other compilations such as Beyond the GarageThe Very Best of the Music Machine, and Ignition have added to the Music Machine’s return to the public’s interest. In addition, “Talk Talk” and “Double Yellow Line” appear on the 1998 expanded box-set of Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968

In 2000, Bonniwell published his autobiography Beyond the Garage, which recalled his experiences with the Music Machine and his life after the group’s disbandment. Aside from a few live performances with the Larksmen and a guest appearance on their 2006 album, Bonniwell never returned to an active music career, though he claimed to have penned over 300 songs after his tenure with the Music Machine. On December 20, 2011, Bonniwell died of lung cancer at a medical center in Visalia, California; he was 71 years old. Drummer Ronald “Ron” Edgar died on February 23, 2015 at the age of 68.

Discography

Studio albums

  • (Turn On) The Music Machine (1966)
  • The Bonniwell Music Machine (1968)

Extended plays

  • Talk Talk (1967)

Compilation albums

  • The Best of the Music Machine (1984)
  • The Music Machine (1994)
  • Beyond the Garage (1995)
  • Rock ‘n’ Roll Hits (1997)
  • Turn On: The Best of the Music Machine (1999)
  • Ignition (2000)
  • The Ultimate Turn On (2006)
  • Rarities, Vol. 1: Last Singles & Demos (2014)
  • Rarities, Vol. 2: Early Mixes & Rehearsals (2014)
  • Re-Ignition (2015)

Singles

  • “Talk Talk” b/w “Come on In” (1966)
  • “The People in Me” b/w “Masculine Intuition” (1967)
  • “Double Yellow Line” b/w “Absolutely Positively” (1967)
  • “The Eagle Never Hunts the Fly” b/w “I’ve Loved You” (1967)
  • “Hey Joe” b/w “Taxman” (1967)
  • “Advise and Consent” b/w “Mother Nature, Father Earth” (1969)

As The Bonniwell Music Machine

  • “Bottom of the Soul” b/w “Astrologically Incompatible” (1967)
  • “Me, Myself and I” b/w “Soul Love” (1968)
  • “Tin Can Beach” b/w “Time Out for a Daydream” (1968)
  • “You’ll Love Me Again” b/w “To the Light” (1968)
  • “Point of No Return” b/w “King Mixer” (1997)

Other

  • “Nothing’s Too Good for My Car” b/w “So Long Ago” (1968, as the Friendly Torpedos)

Photos related to the track :

The Music Machine – “The People In Me” Single photo (A’ Side)

Image result for The Music Machine people in me original sound

The Music Machine – “(Turn On) The Music Machine” Album cover photo (front)

THE MUSIC MACHINE TURN ON 1 (2).jpg

Photos related to the band :

Image result for music machine

Links related to the track :

The Music Machine – “The People In Me” Track’s Video on “YouTube”

The Music Machine – “(Turn On) The Music Machine” Full Album Video on “YouTube”

The Music Machine – “(Turn On) The Music Machine” Full Album Audio Playlist on “Spotify”

Links related to the band :

The Music Machine Interview with Doug Rhodes on “Craig Morrison” Website

The Music Machine Band’s Page on “Discogs”

The Music Machine Band’s Page on “Mark Prindle” Website

The Music Machine Band’s Page on “Spotify”

The Music Machine Band’s Page on “Google Play”

The Music Machine Band’s Page on “Apple Music”

The Music Machine – “The Ultimate Turn On” Full Album Download Link on “Rockasteria” Blog

 

 

 

7-inch Singles/E.P.s Garage Rock U.S.A. 1960s The Journey Men – “She’s Sorry”

The  Journey Men – “She’s Sorry” Video on YouTube

Category/Music Genres :

7-inch Singles/E.P.s Garage Rock U.S.A.1960s

Band :

The Journey Men (Brunswick, Ohio, U.S.A.)

The Journey men were a five member band of Brunswick high school students. The band included Jim Kerns on lead guitar and vocals, Howard Cook on organ and vocals, Dale Seeds on bass and vocals, Ron MacMillan on guitar and vocals, and Bob Levandowski on drums. The band decided to take a trip down to Florida and while there, recorded an excellent teen garage 45 for the Tampa based Boss label.

Discography:

She’s Sorry / Short and Sweet – Boss 008, 1967

Track :

“She’s Sorry” (written by McMillan) A’ Side Single (B’ Side single Short And Sweet”) released on Boss Records ( BOS 008) in 1967

Line-up/Credits :

Line-up :

Jim Kerns on lead guitar and vocals

Howard Cook on organ and vocals

Dale Seeds on bass and vocals

Ron MacMillan on guitar and vocals

and Bob Levandowski on drums

Credits :

Producer – John Brumage

Published By – FULPROD Music Publishing Co.

Distributed By – Charles Fuller Productions

 

Photos related to the Track :

The Journey Men – “She’s Sorry” Single Photo (A’ Side)

Image result for JOURNEY MEN SHES SORRY

Links related to the track :

The Journey Men – “She’s Sorry” Track’s Video on “YouTube”

The Journey Men – “She’s Sorry” Track’s Video on “Dailymotion”

The Journey Men – “She’s Sorry” Audio file on “Shazam”

The Journey Men – “She’s Sorry” Audio file on “SoundHound”

Links related to the band :

The Journey Men Band’s Page on “Discogs”

The Journey Men Band’s Page on “45cat”

 

 

 

 

7-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s The Clouds (a.k.a. The Looking Glasses) – “Visions”

The Clouds – “Visions” Video  on YouTube

Category/Music Genres :

7-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s

Band :

The Clouds (Los Angeles, California, U.S.A.)

Also Known As :

The Looking Glasses, The Clouds [1967], Just Too Much, The Odyssey, The Sonoma, Shake

Track :

Image result for the clouds visions 1967

“Visions” ( J. Berke, L. Naktin) A’ Side single (B’ Side “Migada Bus”) released on Independence Records (IND-82)  in October 1967

“Visions” is a different take of “Kathy’s Dream” (The Looking Glasses – “Kathy’s Dream / Migada Bus”) with different lyrics and fuzz guitar added).

Photo of an excerpt that is included on the booklet of the c.d. compilation “30 Seconds Before The Calico Wall (released on Arf! Arf! Records AA-050 in 1995). The track “Visions” by the Looking Glasses is included on that compilation album (as track # 3)

THE LOOKING GLASSES VSIONS 1 (2)

“Kathy’s Dream” (A’ Side single, written by  Jerry Berke, Lou Natkin) is a different take of “Visions” (The Looking Glasses – “Visions / Migada Bus”) with different lyrics and without the fuzz. The producer of this single is Marv Bornstein. It was released on   Media Records (45-414) in April 1967 and published by Marbra Music.

Image result for the clouds visions 1967

Information about the band/track :

The backstory on this has been pieced together from comments in “Teenbeat Mayhem” by Mike Markesich. This version of their first single with “Kathy’s Dream” was the first issue of it. The A-side is a quite heavy and menacing sounding garage/psych number with guitar/fuzz backing and the same two dulcimer breaks found in the later version. “Migada Bus” on the flip is an interesting but comparatively light weight guitar and harpsichord instrumental. For reasons not yet known, the band decided to quickly re-record “Kathy’s Dream”, changing the lyrics completely and adding some very sinister sounding organ along with more pronounced fuzz guitar. Perhaps they just bought the new organ and couldn’t bear that the single did not make use of it. In any event, the new version was re-titled “Visions” and issued with the same catalog # and B-side later the same month, and credited to The Looking Glasses (plural). Of course, the single was picked up for national distribution by the Independence label, who opted to change the credited band name to The Clouds in order to avoid confusion with some of the many other bands using the rather common Looking Glass moniker. The group never performed as The Clouds. Their next 45 single was issued on the White Whale label, with the moniker of the Odyssey.

Photos about the band/track :

The Clouds – “Visions” Single photo (A’ Side)

The Clouds – “Visions” Single photo (B’ Side)

The Clouds – “Visions” Single photo (A’ Side)

Image result for the clouds visions 1967

The Looking Glasses – “Visions” Single photo (A’ Side)

The Looking Glasses – “Migada Bus” Single photo (B’ Side)

The Looking Glass – “Kathy’s Dream” Single photo (A’ Side)

Image result for the looking glasses cathy's dream 1967

Links about the band/track :

The Clouds – “Visions” Video file link on YouTube

The Looking Glass – “Kathy’s Dream” Video file link on YouTube

The Looking Glasses – “Visions” Video file link on YouTube

The Clouds – “Visions” on 45cat

The Clouds Band’s Page on Discogs

The Clouds Band’s Page on Rate Your Music

The Clouds – “Visions” Popsike Website

The Looking Glass Band’s Page on Rate Your Music

The Looking Glass Band’s Page on Discogs

The Looking Glass – “Kathy’s Dream” on 45cat

The Looking Glass – “Kathy’s Dream” on Popsike

The Looking Glass – “Kathy’s Dream” on eBay

The Looking Glasses Band’s Page on Discogs

The Looking Glasses Band’s Page on Rate Your Music

The Looking Glasses – “Visions” on 45cat

The Looking Glasses – “Visions” on eBay

The Looking Glasses – “Visions” on Popsike

 

 

 

 

 

Garage/Psychedelic Rock U.S.A. (Tracks) The West Coast Pop Art Experimental Band – “Shifting Sands”

Garage/Psychedelic Rock U.S.A. (Tracks)

The West Coast Pop Art Experimental Band (Los Angeles, California, U.S.A.)

Related Artists :
California Spectrum, Cotton, Lloyd & Christian, Friends, The Laughing Wind, The New Dimensions, October Country, The Rogues, The Smoke, The Snowmen, Super Band

“Shifting Sands” (written by Baker Knight) A1 (opening track) included on the album “Part One” 

Released on Reprise Records ( R 6247) in February 1967

Line-up/Credits :

Hal Blaine – Drums
Kenny Bobo – Vocals
Dan Harris – Guitar
Shaun Harris – Bass, Vocals
Michael Lloyd – Guitar, Vocals
Ron Morgan – Guitar
Bob Markley – Composer

Art Direction – Ed Thrasher

Design – Charles E. White III

Engineer – Lee Herschberg

Photography By – Carl Frith

Producer – Bob Markley, Jimmy Bowen

Lyrics :

You know the love I gave you
Is slipping from your hands
‘Cause I was born to wander
Like the shifting of the sands

They say that I did hurt you
But they don’t understand
That I was born to wander
Like the shifting of the sands

They say that I will follow
Beware my heart commands
For I was born to wander
Like the shifting of the sands

Track List :

1. “Shifting Sands” Baker Knight 3:54
2. “I Won’t Hurt You” LloydMarkley, D. Harris 2:21
3. “1906” Markley, Morgan 2:18
4. “Help, I’m a Rock” Frank Zappa 4:22
5. “Will You Walk With Me” Bonnie Dobson, D. Harris 2:57
6. “Transparent Day” Markley, D. Harris 2:15
7. “Leiyla” Markley, D. Harris 2:51
8. “Here’s Where You Belong” P.F. Sloan 2:47
9. “If You Want This Love” Knight 2:47
10. “‘Scuse Me, Miss Rose” Bob Johnston 3:01
11. “High Coin” Van Dyke Parks 1:52

One of the more offbeat acts to emerge during the psychedelic era, the West Coast Pop Art Experimental Band were certainly eclectic and ambitious enough to live up to their slightly clumsy moniker, capable of jumping from graceful folk-rock to wailing guitar freakouts to atonal, multilayered, avant-garde compositions at a moment’s notice, but they also reflected a strongly divided creative mindset, with Bob Markley, the lyricist and ostensive leader of the group, on one side and the rest of the band on the other.

Danny Harris and his brother Shaun grew up in a musical family — their father, Roy Harris, was a respected composer, and their mother, Joanna Harris, was a pianist who taught at Juilliard. In 1962, their family relocated to Los Angeles and the Harris Brothers joined a local rock band called the Snowmen, with Danny on guitar and Shaun on bass. Danny and Shaun attended the same high school as Michael Lloyd, who was playing guitar in another, more successful local group called the Rogues; Shaun was recruited to join the Rogues as bassist, and soon Michael, Shaun, and Danny began working together on music of their own. They installed a makeshift recording studio at Lloyd’s house, and cut a handful of fine singles under the name the Laughing Wind, with John Ware as their drummer. The Laughing Wind had become acquainted with noted L.A. producer and scenester Kim Fowley, and Fowley introduced the band to Bob Markley, the Oklahoma-born son of a wealthy oil tycoon who had studied law but had ambitions of making a name for himself in music, having released an unsuccessful single for Reprise Records. Markley owned a large mansion in Hollywood where he played host to the Yardbirds, who played a party at his home when they found they couldn’t book a public show due to problems with work permits. Markley was impressed by the attention the band received from the audience of music business insiders and teenage girls, and decided he wanted to form a band rather than work as a solo act. Markley liked the Laughing Wind well enough that he made them an offer: if he could join the group as vocalist and lyricist, he would bankroll touring expenses and new gear, including a full light show. The band agreed, and soon Markley had renamed the group the West Coast Pop Art Experimental Band; he also drew up contracts that saw to it that he owned the group’s name, as well as their publishing.

In 1966, Markley arranged for the West Coast Pop Art Experimental Band to release their first album, Part One, which appeared on a small local label, Fifo Records; it was largely devoted to covers (many recorded by the Laughing Wind before Markley’s involvement), though he did contribute some originals such as “Insanity” and “Don’t Break My Balloon.” While the album’s sales were modest, the band won a following in Los Angeles for their adventurous sound and elaborate light show, and they landed a deal with Reprise Records. The WCPAEB’s first major-label album, Part One, was the first full flowering of the group’s musically ambitious side, through Markley’s lyrics tended to draw a polarized reaction from listeners; the album also saw the group expand into a sextet with the addition of guitarist Ron Morgan, another former member of the Rogues who arrived as tensions grew between Markley and Lloyd, the latter of who thought little of Markley’s talents. Lloyd was gone from the lineup for their third LP, Vol. 2: Breaking Through, released later in 1967, with all but two songs credited to Markley and Shaun Harris. By the time the group began work on their third album, the WCPAEB were beginning to splinter — Danny Harris left the band due to health problems, with Morgan handling all the guitar chores, and John Ware was out as drummer, with session musician Jim Gordon taking his place. The finished product, A Child’s Guide to Good and Evil, is often cited as the band’s best and most adventurous work, but Markley’s convoluted lyrics became increasingly pretentious and bizarre, and when the album failed to sell, they were dropped by Reprise.

The Harris Brothers and Lloyd formed a short-lived group called California Spectrum, but when Jimmy Bowen, who had produced the group’s earlier work, launched his own label, Amos Records, the WCPAEB landed a new record deal. The group’s 1969 release Where’s Daddy? credited Markley and the Harris Brothers, though Michael Lloyd and Ron Morgan also played on the sessions; the album featured several songs that dealt with young women in a somewhat disturbing manner, and once again they failed to connect with a larger audience. Even by this band’s standards, the West Coast Pop Art Experimental Band’s swan song was curious: Markley opted to rename the group Markley, and recorded an album titled A Group, though the full WCPAEB lineup appeared on the LP. A Group received little notice, and soon the group was history under either name. Lloyd went on to a successful career as a producer and A&R man, Shaun Harris launched a brief solo career before going into film, Ron Morgan went on to play with Three Dog Night, Danny Harris divided his time between acting and folk music, and Bob Markley produced material for other artists before he died in 2003.

Robert Markley was a bizarre and eccentric musician of the 1960s who formed the West Coast Pop Art Experimental Band in Los Angeles in 1966 with guitarists Shaun Harris and Dan Harris, and help from Kim Fowley. Following a collection of covers titled Volume One (Fifo, 1966), the psychedelic music of their second album, Part One (Reprise, 1967 – Sundazed, 2001), fragile and dreamy, had little in common with the bands of their era (Shifting Sands). The third album would be released only 24 years later, as The Legendary Unreleased Album(Raspberry, 1980).

The following album Breaking Through Volume 2(Reprise, 1967) was less successful in recreating that surreal atmosphere, despite the lengthy Smell Of Incense and the Fugs-ian satire of Suppose They Give Us A War And Nobody Comes. The first two official album are summarized on Transparent Day (Edsel, 1986).

The band released A Child’s Guide To Good & Evil(Reprise, 1968), which increased the similarities with the Fugs, both in terms of agit-prop satire (Until The Poorest People Have Money To SpendA Child Of A Few Hours Is Burning To Death) and in terms of bizarre collage techniques (Anniversary Of World War 3, with proto-glitch music), Where’s My Daddy(Amos, 1969) and Markley A Group before disappearing.

A founding member of the West Coast Pop Art Experimental Band, producer Michael Lloyd, assembled the musicians who recorded October Country (1967) and the ones who recorded The Smoke (1968 – Kismet, 2012), both studio project that never had a follow-up. The latter album includes the Turtles-esque Self-Analysis, the Beach Boys-esque October Country Cowboys And Indians, clearly derivative of the Hollies and of the musichall of the Bonzo Dog Doo Dah BandOdyssey, a melodic collage that toys with the Beatles‘ Magical Mystery Tour and with horn-driven soul music, and especially the Frank Zappa-esque instrumental The Hobbit Symphony. Lloyd was one of the most creative producers of the age of “bubblegum”, of the one-hit wonders artificially constructed in the studio.

The West Coast Pop Art Experimental Band – “Part One” Album cover photo (front)

THE WEST COAST POP ART EXPERIMENTAL BAND PART ONE 1

The West Coast Pop Art Experimental Band

THE WEST COAST POP ART EXPERIMENTAL BAND PHOTO 2

The West Coast Pop Art Experimental Band – “Shifting Sands” Video file link on YouTube

The West Coast Pop Art Experimental Band – Topic on YouTube

The West Coast Pop Art Experimental Band Band’s Page on Discogs

The West Coast Pop Art Experimental Band Band’ s Page on Rate Your Music

The West Coast Pop Art Experimental Band Band’s Page on Spotify

The West Coast Pop Art Experimental Band Band’s Page on Apple Music

The West Coast Pop Art Experimental Band Band’s Page on Google Play

The West Coast Pop Art Experimental Band Band’s Page on Facebook

The West Coast Pop Art Experimental Band Band’s Page/Discography/Full Albums/Download Links on Muro Do Classic Rock Blog

The West Coast Pop Art Experimental Band – “Part One” Full Album Download Link on 60-70 Rock Blog

The West Coast Pop Art Experimental Band – “Part One” Full Album Donwload Link on Rockasteria Blog

The West Coast Pop Art Experimental Band Band’s Page on Sundazed Music

The West Coast Pop Art Experimental Band Band’s Singles Discography on 45 Cat

The West Coast Pop Art Experimental Band Band’s Page on Setlist Fm

The West Coast Pop Art Experimental Band Band’s Page on Wikipedia

 

 

Artists/Bands appearing on T.V. Shows Buffalo Springfield – “Mr Soul”

Artists/Bands appearing on T.V. Shows 

Buffalo Springfield, Multinational (Canada, U.S.A.)

“Mr Soul”

Buffalo Springfield – “Mr Soul” (A band’s appearance on T.V. in 1967)

The Hollywood Palace T.V. Show, Season 4, Episode 27
Hosts : Cyd Charisse, Tony Martin
Aired Saturday 9:30pm on ABC, on 8th April 1967
(Buffalo Springfield – “For What It’s Worth” (30-second excerpt) & “Mr. Soul”), Hollywood Palace Theater – 1735 N. Vine Street, Hollywood, Los Angeles, California, USA”.

Neil Young (vocal, guitar); Stephen Stills (guitar); Richie Furay (guitar); Dewey Martin (drums); and road manager Dickie Davis (pretending to play bass on this appearance with pre-recorded music).

The track is included on the album “Buffalo Springfield Again” (Atco Records, 33-226), released in June 1967. It’s the album’s opening track. Buffalo Springfield Again is the second album by Buffalo Springfield. It peaked at #44 on the Billboard 200. In 2003, the album was ranked number 188 on Rolling Stone magazine’s list of the 500 greatest albums of all time. The album was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die.

The track is also included on the B’ Side of the band’s single “Bluebird”, released on Atco Records (45-6499), released in August 1967 (Billboard Hot 100: entry – 15 Jul. 1967, peak – 58, stay – 7 weeks)

“Mr. Soul” was written and performed by Neil Young, the contested frontman for Buffalo Springfield, backed up by co-frontmen Richie Furay and Stephen Stills. It forms the first track of their second album Buffalo Springfield Again.
One hardly knows where to begin with this song’s lyrics. In just three short verses with no chorus, Young practically flaunts his lyrical prowess at this early stage in his career. He invokes both Beatles and early proto-punk, in verses that manage to be both angry and whimsical at the same time. Like the team of Lennon-McCartney, Young and Stills experienced friendly rivalry with their equally matched talents that also inspired each of them to top the other, bringing their work to an edginess that drove them to brilliance.
At the time of “Mr. Soul,” Young was wavering on leaving the band. His first departure was on the eve of Buffalo Springfield’s booking to appear on The Tonight Show with Johnny Carson, which he was vehemently opposed to. Young later told British music magazine Mojo, “I thought it was belittling what the Buffalo Springfield was doing. That audience wouldn’t have understood us. We’d have been just a f–kin’ curiosity to them.”
Along with missing The Tonight Show, Young’s sudden departure also cast a cold shadow over Buffalo Springfield’s appearance at the now-legendary 1967 Monterey International Pop Festival. Buffalo Springfield brought in Doug Hastings to substitute on guitar and had Stephen Stills’ friend David Crosby drop by to assist with the Festival appearance, but even so, the group’s performance suffered so much that they were dropped from the Pennebaker documentary.
The book Neil Young: Long May You Run: The Illustrated History says that this song “was likely more indicative of where his [Young’s] head truly was. Much like the songs from the Springfield’s debut, ‘Mr. Soul’ suggests that Young’s work was still razor-sharp, even when it was coming from a very unhappy place.”
While we’re book-hopping, there are some ties between Buffalo Springfield members and Al Kooper (of Blues Project / Blood Sweat & Tears fame). In Kooper’s memoir Backstage Passes and Backstabbing Bastards, Kooper consulted with David Crosby when the idea of Blood Sweat & Tears was forming in his mind, and also recruited Jim Fielder (Frank Zappa and the Mothers alumni), who also part of Buffalo Springfield when they were seeking a replacement for Bruce Palmer’s continuous absences. And then Stephen Stills himself popped by to fill in for Mike Bloomfield when Kooper, in a panic, called him to help complete the album Super Session. There, is that enough threads weaving everything together?
Robin Lane ran in Young’s circle in the late ’60s. She also lived with him for some time and sang on “Round and Round (It Won’t Be Long).” Lane told Songfacts that the song “Mr. Soul” was inspired in some way by the death of Lenny Bruce, who died less a year before the song was recorded. In Shakey, Jimmy McDonough writes that Young himself had no recollection of the Bruce connection.

Lyrics :

Oh, hello Mr. Soul, I dropped by to pick up a reason
For the thought that I caught that my head is the event of the season
Why in crowds just a trace of my face could seem so pleasin’
I’ll cop out to the change, but a stranger is putting the tease on
I was down on a frown when the messenger brought me a letter
I was raised by the praise of a fan who said I upset her
Any girl in the world could have easily known me better
She said, “You’re strange, but don’t change”, and I let her
In a while will the smile on my face turn to plaster?
Stick around while the clown who is sick does the trick of disaster
For the race of my head and my face is moving much faster
Is it strange I should change? I don’t know, why don’t you ask her?
Is it strange I should change? I don’t know, why don’t you ask her?
Is it strange I should change? I don’t know, why don’t you ask her?
Songwriters: Neil Young

Track List :

01. Mr Soul
02. A Child’s Claim To Fame
03. Everydays
04. Expecting To Fly
05. Bluebird
06. Hung Upside Down
07. Sad Memory
08. Good Time Boy
09. Rock & Roll Woman
10. Broken Arrow

Buffalo Springfield – “Buffalo Springfield Again” Album cover photo (front)

Image may contain: 3 people, outdoor

Buffalo Springfield – “Mr Soul” Single photo (B’ Side)

No photo description available.

Buffalo Springfield, 1967

Image may contain: one or more people, people sitting, people playing musical instruments, guitar and text

Buffalo Springfield Superstar group ‘Buffalo Springfield’ pose for a portrait in 1967. (L-R) Neil Young, Richie Furay, Stephen Stills, Dewey Martin, Bruce Palmer. (Photo by Michael Ochs/Getty Images)

Image may contain: 5 people, people standing

Buffalo Springfield

Image may contain: 4 people, people smiling, people standing

Buffalo Springfield

Image may contain: 5 people, people smiling, night

Buffalo Springfield 

BUFFALO SPRINGFIELD PHOTO 9

Neil Young

Image may contain: 1 person, closeup

Buffalo Springfield Poster 1967

Image may contain: 2 people

Bufffalo Springfield – “Mr Soul Video file link on YouTube

Buffalo Springfield – “Buffalo Springfield Again” Full Album Video file link on YouTube

Buffalo Springfield – “Buffalo Springfield Again” Full Album Audio file link on Spotify

Buffalo Springfield – “Buffalo Springfield” Full Album on Apple Music

Buffalo Springfield – “Buffalo Springfield Again” Full Album on Google Play

Buffalo Springfield Band’s Page on Discogs

Buffalo Springfield Band’s Page on Rate Your Music

Buffalo Springfield Band’s Page on Rock And Roll Hall Of Fame

Buffalo Springfield Band’s Page on Getty Images

Buffalo Springfield Band’s Page/Discography/Full Albums/Download Links on Muro Do Classic Rock Blog

Buffalo Springfield Band’s Page/Discography/Full Albums/Download Links on Lagrima Psicodelica4 Blog

Buffalo Springfield Band’s Page on Wikiwand

Buffalo Springfield Band’s Singles Discography on Rock And Roll Music History

Bufffalo Springfield Band’s Page on Facebook

Stephen Stills, Interview on Rolling Stone

Buffalo Springfield, band’s t.v. appearance, The Hollywood Palace T.V. Show, Season 4, Episode 27 Hosts : Cyd Charisse, Tony Martin Aired Saturday 9:30pm on ABC, on 8th April 1967 (Buffalo Springfield – “For What It’s Worth” (30-second excerpt) & “Mr. Soul”), Hollywood Palace Theater – 1735 N. Vine Street, Hollywood, Los Angeles, California, USA”.

Buffalo Springfield Band’s Page on Rhino Records

 

 

 

 

7-inch Singles/E.P.S Garage/Psychedelic Rock U.S.A. 1960s The Freeborne – “Images”

7-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s 

Bosstown Sound (Boston Sound)

The Freeborne (Boston, Massachusetts, U.S.A.)

“Images” (written by Nick Carstoiu, Mike Spiros) B’ Side single (A’ Side single “Land Of Diana”), released on Monitor Records (45-1806) in 1967

A1 track (opening track) included on the album “Peak Impressions”

Released on Monitor Records (MPS(C) 607) in 1968

Line-up/Credits :

Freeborne :

Lew Lipson – Drums, Percussion
Nick Carstoiu – Guitar, Recorder, Cello, Piano, Vocals
Bob Margolin – Lead Guitar
Mike Spiros – Organ, Piano, Chimes, Trumpet, Percussion
Dave Codd – Harpsichord, Percussion, Bass, Vocals

Artwork [Cover Art] – Richard Smith (18)

Drums, Percussion – Lew Lipson

Engineer – Don Puluse, Lou Waxman

Lead Guitar – Bob Margolin

Lead Vocals – Dave  (tracks: B3, B4), Nick (tracks: A1 to A3, B1, B2, B5)

Mixed By, Edited By – Tim Geelan

Organ, Piano, Chimes, Bells [Belltree], Trumpet, Percussion – Mike Spiros

Producer – Barry Richards

Vocals, Guitar, Recorder, Cello, Piano – Nick Carstoiu

Vocals, Recorder, Harpsichord, Percussion, Bass – Dave Codd

Written-By – B. Greenglass (tracks: A3), B. Margolin (tracks: B2), D. Codd (tracks: A5, B1, B3, B4), J. Babbitt (tracks: A4, B1), M. Spiros  (tracks: A1 to A4, B1, B5), N. Carstoiu (tracks: A1 to A3, A5, B1, B5)

Track-List :

1. Images (Nick Carstoiu, Mike Spiros) – 3:38
2. Land Of Diana (Mike Spiros, Nick Carstoiu) – 2:56
3. Visions Of My Own (M. Spiros, N. Carstoiu, B. Greenglass) – 4:10
4. Sadly Acknowledged (J.Babbitt, M. Spiros) – 1:27
5. Peak Impressions And Thoughts (Dave Codd, N. Carstoiu) – 6:56
6. Yellow Sky (J.Babbitt, M. Spiros, D. Codd, N. Carstoiu) – 2:23
7. Hurtin’ Kind Of Woman (Bob Margolin) – 4:24
8. Inside People (Dave Codd) – 2:50
9. A New Song For Orestes (Dave Codd) – 3:37
10.But I Must Return To Frenzy (N. Carstoiu, M. Spiros) – 9:06

The Freeborne’s sole album is, in common with the mildly better-known ’60s Boston psychedelic bands who comprised the Bosstown Sound, something of a goulash of then-trendy underground rock crosscurrents. It’s not quite a ghoulish goulash, but it’s not too tasty either, though they come up with some nice minor-key vocal harmonies. The record sounds like it was steeped in many listening sessions to the most popular psychedelic records of 1967, particularly the Doors’ first album, Jefferson Airplane’s Surrealistic Pillow, and the Beatles’ Sgt. Pepper. Also at work are some jazz, classical, and raga influences, albeit of the sort by young musicians just getting to grips with those forms. The flaws of the album are that there aren’t outstanding songs, and that the mood shifts seem more like an attempt to be as eclectic as possible than they do like genuinely well-thought-out compositional statements. The overall spacey, haunting feel of the record sometimes verges on self-conscious creepiness. It’s embroidered by novel use of recorder, cello, harpsichord, and trumpet from time to time, though electric organ in the mold of the Doors or Country Joe & the Fish is more prominent, as is California psychedelia-influenced guitar. The CD reissue on Distortions adds bonus tracks of marginal worth: the mono 45 version of “Images,” and a “stereo mix #2” of “Land of Diana.”

The Freeborne were a youthful Boston-based psych outfit whose five members, despite their tender years, all had considerable experience of playing a wide range of styles in earlier combos. Adapting their name from the movie Born Free and discovering the freewheeling creative delights of LSD, they signed to Monitor in early ’67 and concocted a set of highly psychedelic originals which were laid down at A&R Studios in NYC. Peak Impressions sold only modestly, probably because of a dilatory campaign of live appearances to support it.
After the lukewarm reception afforded it the original Freeborne folded, though later incarnations with fewer or no original members did tramp the second-division concert circuit for a few years afterwards. Inexplicably, given their obvious talent, only guitarist Bob Margolin seems to have had an appreciable later career, playing in Muddy Waters’s backing band through most of the 70s and subsequently with blues-based outfits under his own name. There’s precious little documentation on the band anywhere, but the excellent It’s Psychedelic Baby website features an informative career interview with Margolin which includes insights into the Freeborne.
I was expecting this one to be good, having read complimentary accounts of it in both Fuzz Acid And Flowers and The Acid Archives. I was even more impressed when it arrived and the CD remaster proved to have been archived by Smithsonian Folkways whose estimable moniker now adorns the Digipak. And this is indeed an impressive collection. It’s notable for the virtuosity of the musicians whose ages ranged from just 17 to 19 and yet three of whom were precociously-talented multi-instrumentalists: and we’re talking orchestral hardware here – pianos, harpsichords, cellos, trumpets, flutes and recorders – not just standard rock frontline.
It’s also remarkable for the variety and creativity of the material; one reviewer commented that there seemed to be too many ideas to fit into a single album, and I can see his point. Youthful enthusiasm ensured that nothing was left out and nothing left understated, and most tracks move through bewildering sequences of keys, metres, instrumentation and vocal stylings that give their definitively psych outlines a distinctly progressive edge. This is one to listen to right through several times to get the whole effect.
The lyrics are mostly generic trippy psych nonsense, but the music is invigoratingly original. Leading off with a soulful piano riff, the opening “Images” offers Byrdsy harmonies, pulsating bass and rippling guitar scales before switching into a baroque piano and trumpet waltz. “Land Of Diana” prefigures 70s prog, starting as a jazzy 5/4 and shifting into a bluesy shuffle after distinctly proggy organ and guitar episodes. “Visions Of My Own” sets a homely acoustic guitar and trilling flute against what sounds like a chorus of PDQ Bach’s infamous Dill Piccolos before mutating without warning into a military snare-drum march. “Peak Impressions And Thoughts” is all Piper-era Floyd with swirling Farfisa, spiky Syd-style guitar, fluid bass and crashing cymbals building to a furious final crescendo. “Yellow Sky” is definitive Britsike with wah-ed guitars, churchy keyboards and lots of tempo changes.
The most conventional track, “Hurtin’ Kind Of Woman”, is a soft blues shuffle with jazzy guitar and energetic Hammond work comparable with the best of Brian Auger. Despite the multifarious musical landscapes visited here, only on the last two tracks does the band outstretch itself, with the ridiculously sombre harpsichord and cello, sub-Beach Boys harmonies and cod-poetic spoken voice outro of “A New Song For Orestes” and the unnecessarily lengthy and self-indulgent cod-classical piano/trumpet cadenzas and duet of the closing “But I Must Return To Frenzy”.
The Freeborne – “Images” Single photo (B’ Side)
THE FREEBORNE IMAGES 1
The Freeborne – “Peak Impressions” Album cover photo (front)
THE FREEBORNE PEAK IMPRESSIONS 1 (2)
The Freeborne (along with The Velvet Underground), Boston Tea Party, Poster, 1967
THE FREEBORNE POSTER PHOTO 1