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

 

 

 

 

 

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

 

Garage/Psychedelic Rock U.S.A. 1960s (Tracks) Clear Light – “Night Sounds Loud”

Garage/Psychedelic Rock U.S.A. 1960s (Tracks)

Clear Light ( Los Angeles, California, U.S.A.)

“Night Sounds Loud” (written by Lubahn) B5 track (closing track) included on the album “Clear Light” 

Released on Electra Records (EKL-4011), on a gold/tan Elektra label, with a special inner sleeve showing a picture of the band in black and white. This Mono version of the release was housed in the Stereo version sleeve (sometimes with a sticker indicating mono). Therefore the back cover still shows the stereo cat.nr.: ”EKS-74011”.  

Year of Release : 1967

It was also an A Side single (B’ Side single “How Many Days Have Passed?”), released on Elektra Records (EKSN 45027) in 1968

The Doors had just released their debut album, to no immediate acclaim, in January 1967 when their label, Elektra, signed another Los Angeles band, the Brain Train, with a mounting local buzz and a unique strength in the engine room: two drummers. It was, ironically, the beginning of the end. The group, soon renamed Clear Light, became an obsession for the Doors’ producer, Paul Rothchild; he became the new group’s producer and its fiercely controlling manager as well, to the point of bringing in a new singer for Clear Light’s Elektra debut and alienating pretty much everyone else. By September 1968, what was left of Clear Light went dark; a second LP was never finished.

But Clear Light, issued in October 1967, is an Elektra golden-era classic. It was nearly a hit, too. The band’s thoroughly gothic extension of folk singer Tom Paxton’s jaunty take on government surveillance, “Mr. Blue,” went into high rotation on free-form-FM radio, driven by the parallel, rolling doom of drummers Michael Ney and Dallas Taylor (also of Crosby, Stills & Nash). Clear Light also excelled at tighter dramas like “Black Roses” and “With All in Mind,” combining the demented-circus flair of L.A. psychedelia with the dirty-blues force of garage rock. This reissue of Clear Light is an expanded celebration with the single the band recorded as the Brain Train – the tracks that landed them the Elektra deal – and strong outtakes including the bracing fuzz-and-reverb B side “She’s Ready to Be Free,” featured in the 1967 film The President’s Analyst (an absurdist romp starring James Coburn as an acid-fried White House shrink that is worth seeing – and not just for Clear Light’s cameo performance).

Rothchild all but admitted on the back cover of Clear Light that he never truly captured what I imagine was the massive, live force of those two drummers: “To fully appreciate the spectacular sound of double drumming on Clear Light, play this record at high volume.” Turning it up helps a lot. You also hear everything else that made Clear Light special – for too short a time.

Clear Light was a folk-rock/psych-rock group from LA that released one LP off Elektra in 1967, famously known for including two drummers, one of them being Dallas Taylor of CSNY and Manassas fame. Paul Rothchild produced the LP, which explains why the recording sessions were fraught with tension and negativity. The group was masterminded by guitarist/vocalist Bob Seal, bass player Doug Lubahn, and lead vocalist Cliff De Young. Prior to Clear Light the band had been known as the Brain Train. Seal felt a name change was appropriate to coincide with the release of a newly recorded debut single, “Black Roses.” Seal decided on Clear Light, a concept he had come across in his readings of Eastern philosophy, a name also shared by a potent brand of LSD.

“Black Roses,” written by Wolfgang Dios, was released in September of 1967. It was a great hard charging folk-rock single with an acid tinged guitar solo that deserved to sell much better than it did. Black Roses appeared on the group’s only full length platter, released in late 1967. Many psych fans are divided when it comes to the Clear Light LP but I think it’s a good one. Maybe not a true classic on par with Love’s Forever Changes or Moby Grape’s debut but still a very good LP without any weak tracks. The band tries nearly everything within a 2 to 3 minute pop song context, loading the songs with good quirky ideas and great guitar solos (check out “Think Again”). Some tracks like “They Who Have Nothing” and the baroque “Ballad of Freddie & Larry” bear a strong Doors and Love influence, but this makes sense considering these were all Elektra groups. Other songs like the outstanding fuzz guitar psychedelia of “Sand” and the trippy “Night Sounds Loud” are more original and hinted at a strong future for the group. The former track features some great organ and spiraling acid guitar interplay. The album’s most famous track, a cover of Tom Paxton‘s “Mr. Blue,” sounds dated today with its spoken word dialogue, although, even this song is oddly appealing in its own way and definitely still considered a highlight.

Rothchild’s iron fist policy coupled with the lack of commercial success led to Clear Light’s demise, shortly after the release of this solid album. Not everyone will like this record because of its eccentric nature but it really is a crime that Clear Light was unable to release a followup to this debut. A very worthy release from a talented, accomplished California group.

 1966, The Brain Train formed and was managed by Sunset Strip hipster Bud Mathis. They recorded one single – “Black Roses”, written by Wolfe Dios – before changing their name to Clear Light and signing to Elektra Records. Guitarist Bob Seal felt the name should be changed to coincide with the single. Clear Light shared its name with a potent form of LSD, although Seal states the name came from his studies of Eastern philosophy. The Doors’ producer Paul A. Rothchild took over management of the band.

The core members of Clear Light were Bob Seal, lead guitarist and vocals, Robbie “The Werewolf” Robison, rhythm guitar and vocals, Doug Lubahn bass and vocals, Dallas Taylor drums, and Michael Ney on an atypical second set of drums. The original line-up was featured in the 1967 motion picture The President’s Analyst, with Barry McGuire cast as their leader and vocalist. They soon added Cliff De Young on lead vocals and this is the version of the band seen on their only album cover. However, sometime during the recording process, often described as “brutal”, Paul Rothchild was not happy with Robison’s guitar playing skills and pressured the group to remove him – he was replaced by keyboard player Ralph Schuckett.

In what has been called the band’s finest hour, drunken customers in a Park Avenue club heckled them so brutally that Ralph Schuckett, the usually gentle organist, hurled a few choice words back at them. The band walked off the stage, retired to the Albert Hotel, and woke up in the morning to find that they had become underground heroes …

Paul Rothchild then pressured the other members of the band to fire Bob Seal”. Seal was replaced by ex-Fug Danny “Kootch” Kortchmar; Cliff De Young was soon to follow, and after having started work on a second album the group disbanded in 1968.

Side One

  • Black Roses – (Clear Light, Wolfgang Dios) – this has most of the psychedelic motifs: urgent vocals, trippy guitars, change of pace interludes and it is very catchy.
  • Sand – (Douglas Lubahn) – this is in the style i associate with English pschedelica. A thumping back beat , dark obscure lyrics, jazzy organ, a strident vocal, and an overall sense of doom. Bob Seal does lead vocal here.
  • A Child’s Smile – (Clear Light, Michael Ney) –  a gentle psych lullaby.
  • Street Singer – (Greg Copeland, Steve Noonan) – released by singer songwriter Greg Noonan on his self-titled album for Elektra (1968). “Street Singer” here it sounds like proto slow grind metal ( a little like early Black Sabbath). Certainly it is a heavy psych track. The doom is heavy (and obvious): “The old organ grinder has just gone insane and his monkey lies dead, choked to death on its chain”)
  • The Ballad of Freddie and Larry – (Cliff De Young, Ralph Schuckett) – another heavy one.
  • With All in Mind – (Bob Seal) – a bit more optimistic in tone and quite catchy though still heavy handed, musically and lyrically. Bob Seal does lead vocal here.

Side Two

  • Mr. Blue – (Tom Paxton) – Originally (?) released by folk singer songwriter Tom Paxton on his fourth album “Morning Again”  from 1968. A theatrical piece which isn’t great but is certainly memorable.
  • Think Again – (Clear Light, Douglas Lubahn) – light sunshine psych (though still quite dark by those standards)
  • They Who Have Nothing – (Bob Seal) – more gentle psych with guitar breaks, harmonised vocals and many asides. A little like contemporaries the Nazz.
  • How Many Days Have Passed – (Bob Seal) – folkie psych. The questioning (and accusatory) lyrics are perfect for the time.
  • Night Sounds Loud – (Douglas Lubahn) – another great example of a psych number with typically obscure lyrics and oxymoronic words … “night sounds loud”.
  • Personnel: Bass Guitar – Douglas Lubahn / Drums – Dallas Taylor  / Drums, Percussion – Michael Ney / Guitar – Bob Seal / Lead Vocals – Cliff De Young / Organ, Piano, Celesta – Ralph Schuckett / Producer – Paul A. Rothchild
  • Cliff de Young left the band to do acting. He was in the Broadway productions of “Hair” (1972) and (starred in) “Sticks and Bones”. He starred in the made for television movies, “The Night That Panicked America”(1975), “The Lindbergh Kidnapping Case”(1976),”The 3,000 Mile Chase “(1977) and the unsuccessful TV series “Sunshine” (1975) as well as doing leads, “Shock Treatment” (1981) and supports in feature films including “Blue Collar”(1978), “The Hunger”(1983), “Reckless” (1984), “Protocol” (1984),  “Flight of the Navigator”(1986), “F/X” (1986), “Glory”(1989), “The Craft” (1996) and “Road to Nowhere” (2010). He released a self-titled solo album on MCA in 1973.

Tracks :

1. Black Roses (Clear Light, Dios) – 2:09
2. Sand (Douglas Lubahn) – 2:38
3. A Child’s Smile (Clear Light, Michael Ney) – 1:37
4. Street Singer (Greg Copeland, Steve Noonan) – 3:17
5. The Ballad Of Freddie And Larry (Cliff De Young, Ralph Schuckett) – 1:56
6. She’s Ready To Be Free (Clear Light) – 1:58
7. With All In Mind (Bob Seal) – 2:58
8. Mr. Blue (Tom Paxton) – 6:25
9. Think Again (Clear Light, Douglas Lubahn) – 1:37
10.They Who Have Nothing (Bob Seal) – 2:34
11.How Many Days Have Passed (Bob Seal) – 2:24
12.Night Sounds Loud (Douglas Lubahn) – 2:26

Clear Light :

Cliff De Young – Vocals
Bob Seal – Guitar, Vocals
Douglas Lubahn – Bass
Ralph Schuckett – Keyboards
Dallas Taylor – Drums
Michael Ney – Drums

Lyrics :

As I stand here in this wonderland
I see you flying
Fleeing from the burning rain

From a silver cloud shimmering… the echoing world of unreality
Creeps into my racing mind… and the cloud fluctuates
Evenly

My voice explodes into distant rumbling thunder… splashed in among the colors of thought
The illusive light of knowledge ever closer
And the cloud fluctuates evenly

Now slowly fading my cities in the sky
Until once again that cloud… floats by… by

Clear Light – “Clear Light” Album cover photo (front)

CLEAR LIGHT 1 (2)

Clear Light – “Night Sounds Loud” Single photo (A’ Side)

CLEAR LIGHT NIGHT SOUNDS LOUD SINGLE 1

Clear Light – “Night Sounds Loud” Video file link on YouTube

Clear Light Band’s Page on Spotify

Clear Light – Band’s Page on Apple Music

Clear Light – “Clear Light” Full Album Playlist on YouTube

Clear Light Band’s Page on Discogs

Clear Light Band’s Page on Rate Your Music

Clear Light Band’s Page/Full Album Download Link on Rockasteria Blog

Clear Light Band’s Interview on It’s A Psychedelic Baby Magazine Blog

Clear Light – “Clear Light” Full Album Download Link on Old Rock News Blog

 

 

 

 

7-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s Bohemian Vendetta – “Enough”

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

Bohemian Vendetta (Long Island, New York, U.S.A.)

“Enough” A’ Side single released on United Artists Records (UA 50174) in July 1967

Line-up/Credits :

Arthur Muglia (also known as Brian Cooke) (lead vocals and organ)

Victor Muglia (rhythm guitar)

Nick Manzi (lead guitar)

Randy Pollock (bass)

Chuck Monica (drums)

Lyrics :

Standing here beside myself
wondering what to do
I’m tired of staring at empty walls
thinking only of you
but what do you care now baby
what happens to me
you live in your old world baby
as fine as can be
enough
I’ve had it up to here
enough
can true love disappear
enough
I’m sick of all your lies
enough
has love died in your eyes

Lonely days and lonely nights
draw me closer to frustration
I can’t except a state of mind
you wreck my imagination
I trusted you so much baby
what good did it do
the secret is out now baby
everything is on you
enough
I’ve had it up to here
enough
can true love disappear
enough
I’m sick of all your lies
enough
has love died in your eyes

Bohemian Vendetta was an American garage rock and psychedelic band from Long Island, New York, who were active from 1966-1968. In addition to recording two officially released singles and several previously unissued demos, they cut a self-titled album, Bohemian Vendetta, released by Mainstream Records in 1968.

The Bohemian Vendetta were from Long Island, New York and released their debut single on the United Artists label in July 1967. ‘Enough’ is a cool and moody number with Farfisa organ to the fore. A nagging guitar figure gets proceedings underway before a snaking bass line takes over and drives things along in the verse. The song builds to its punchy chorus with the backing vocalist plaintively shouting out “Enough” ahead of each line from the singer, and we are treated to a guitar break that is understated but very neat.

‘Half the Time’ is an uptempo and exuberant groover with dueling Farfisa and guitar on the instrumental break.

By the time of their album and follow-up single, the band had signed to New York’s Mainstream Records. Their self-titled long player is something of a Curate’s Egg, including an interesting if rather overlong slowed-down version of The Stones’ ‘Satisfaction’, several acid punk gems such as ‘All Kind of Highs’, ‘Riddles and Fairytales’, and ‘Paradox City’, and a long, torturous reading of ‘House of the Running Sun’. Worth a spin but a reissue is the best option as Mainstream is a very collectable label with prices to match. Neither side of the debut 45 were included on the album.

Members of the band later went on to back Faine Jade (aka Chuck Laskowski) on his 1968 Introspection – A Faine Jade Recital album (which contains a couple of bona fide psychedelic wonders in ‘People Games Play’ and ‘Cold Winter Sun Symphony in D Major’).

Reissues: both sides are on Distortions’ retrospective Enough!, which also includes all of the album; ‘Enough’ is also on the CD version of Pebbles Volume 1 and Essential Pebbles Volume 1.

Discography :

Singles

Enough / Half the Time (United Artists, 1967)

Riddles and Fairytales / I Wanna Touch Your Heart (Mainstream, 1968)

Album

Bohemian Vendetta (Mainstream, 1968)

Bohemian Vendetta – “Enough” Single photo (A’ Side)

bohemianvendettaenough

Bohemian Vendetta – “Enough” Video file link on YouTube

Bohemian Vendetta Band’s Page on Discogs

Bohemian Vendetta Band’s Page/Download Links on Rockasteria Blog

Bohemian Vendetta Band’s Page on Rate Your Music

Bohemian Vendetta Band’s Page on Spotify

Bohemian Vendetta Band’s Page on Facebook

Bohemian Vendetta – “Bohemian Vendetta” Full Album Video file link on YouTube

Bohemian Vendetta Band’s Page on Google Music Store

Bohemian Vendetta Band’s Page on Apple Music Store

Bohemian Vendetta An article regarding Under Appreciated Rock Bands/Artists

 

7-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s The Painted Faces – ” I Lost You In My Mind”

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

The Painted Faces (Fort Myers, Florida, U.S.A.)

” I Lost You In My Mind” (written by Schule, Turano) B’ Side single released on Manhattan Records (811) in September 1967

The Painted Faces were from Fort Myers, Florida and had previously been known as The Fifth Dimension. When they found out there was another group with that name they took inpiration from William Golding’s novel Lord of the Flies and its chapter titled ‘Painted Faces and Long Hair’.

‘Anxious Color’ appeared in June 1967. It was the band’s second single (and their first for Manhattan Records) and the title of the a-side alone was enough to suggest that The Painted Faces were moving into acid punk territory. The music does not disappoint.

Plaintive guitar chords introduce the song but are quickly replaced by an urgent, fast moving bass-line and Eastern-influenced lead guitar that provide the perfect accompaniment to the trippy lyrics. There is is no instrumental break and the repeated verses and choruses seem to build in tension until the release of the call and response outro.

‘Things We See’ had already appeared as the a-side of the group’s debut single from April 1967 on the Qualicon label. It is an understated affair with jangling guitar arpeggios on the verse and a breezy, catchy chorus.

he 45 was a big local hit in Florida. The band frequently travelled to New York and were popular in Greenwich Village at venues such as Café Wha?. They even ventured as far afield as residencies at The Jet Set club in Puerto Rico and a bar called A Place in the Sun on St. Thomas in the Virgin Islands.

While in the Big Apple they recorded an album for Sidewalk of cover versions of hits of the day like ‘Incense and Peppermints’, ‘Brown-Eyed Girl’, and ‘The Letter’. This was never released.

The band continued until summer 1968 when drummer Harry Bragg was drafted to Vietnam.

Reissues: Distortions gathered together the group’s singles and unreleased material on their Anxious Color retrospective. The a-side is also on Acid Dreams Testament and Garagelands Volume 2; ‘Things We See’ on the CD A Journey to Tyme Volumes 1 and 2.

 

Discography

Things We See / I Want You (Qualicon, 1967)

Anxious Color / Things We See (Manhattan, 1967)

I Think I’m Going Mad / I Lost You in My Mind (Manhattan, 1967)

Don’t Say She’s Gone / In the Heat of the Night (Manhattan, 1967)

 

Line-up/Credits :

Jack O’Neill (vocals)

Jerry Turano (lead guitar)

Harry Bragg (drums)

John McKinney (rhythm guitar)

Craig Guild (bass)

George Schule (bass)

Producer –  Walter Fredrickson

The Painted Faces – “I Lost You In My Mind” B’ Side single photo

the painted faces i lost you in my mind 1

The Painted Faces – I Lost You In My Mind” Video file link on YouTube

The Painted Faces – “I Lost You In My Mind” Video file link on Dailymotion

The Painted Faces – “Anxious Color” Full album Video file link on YouTube

The Painted Faces Band’s Page on Discogs

The Painted Faces – “Anxious Color” Full album Download file link on Rockasteria Blog

The Painted Faces – “I Lost You In My Mind” Various Artists “Sixties Archives Volume 8 Acid Trip And Heavy Sounds For The Psychic Minds” on Spotify

The Painted Faces – “I Lost You In My Mind” Audio file link/Download Link on Zoop

The Painted Faces Band’s Page on RateYourMusic