Nosferatu – “Found My Home” 1970

Band : Nosferatu

(formed in 1968,  in Frankfurt am Main, Hessen, Germany. Disbanded in 1971).

Obscure German Krautrock band, notable for its English progressive rock influences. One self-titled album was released in 1970. In their early days they were fronted by guitarist/vocalist Michael Winzkowski (who went on to Orange Peel and Epsilon), and winds player Christian Felke also guested later with Epsilon.

Related Artists/Bands : Epsilon, Orange Peel, Papa Zoot Band

Country Of Origin : Germany

Track ” “Found My Home” (A3 track, written by Michael Thierfelder, Nosferatu)

Album ” “Nosferatu” (The band’s debut and sole studio album)

Label : Vogue Schallplatten (LDVS 17178)

Date/Year Of Release : 1970

Category/Music Genres : Krautrock, Progressive Rock, Germany 1970s (Tracks)

Nosferatu – “Found My Home”

Video on YouTube

The track is included on the album “Nosferatu”, 1970 (A3 track)

“Nosferatu” album (released in a laminated gatefold cover).

Nosferatu – “Nosferatu” Full Album Video on YouTube

Nosferatu – “Nosferatu” Full Album Audio Playlist on Spotify

Album cover photo (front)


1. Highway (4:16)
2. Willie The Fox (10:48)
3. Found My Home (8:39)
4. No. 4 (8:47)
5. Work Day (6:59)
6. Vanity Fair (6:44)

Total Time: 46:32


Bass Guitar – Michael “Mike” Kessler

Drums – Byally Braumann

Lead Guitar – Michael “Xner” Meixner

Organ – Reinhard “Tammy” Grohé

Saxophone, Flute – Christian Felke

Vocals – Michael “Mick” Thierfelder


Design [Cover] – J. Kipp

Engineer – Conny Plank

Photography By – G. Bockemühl, Horst-D. Barkow, K.-H. Hoffmann

Producer, Liner Notes – Tony Hendrik

Written-By – M. Thierfelder, Nosferatu (3)

Information about the album/band/track

Contrary to other bands produced by the famous Conny Plank (KRAFTWERK, GURU GURU and many others), NOSFERATU’s musical career was very short and suffered of a lack of recognition by a larger public. Almost nothing is said about their history and the only thing we have from them is a fresh, enthousiastic, atypical jazzy rock album dominated by raw, aggressive guitars and progressive “folk” arrangements. NOSFERATU belongs to this kind of German bands who success to create a deep and trippy atmosphere thanks to fine moments of long instrumental solos, crossing with an original touch guitars to sax, flute and electric organs. The lyrics are sung in English and stay very strong. An enjoyable effort which can be compared with others “cult” German fusion items. Similar bands: DZYAN, XHOL, SAMETI, OUT OF FOCUS (source : “Progarchives”).

Named after the vampire from the early expressionist film, Nosferatu were one of the earliest groups from Germany to explore beyond the conventional beat music and blues into the far more progressive realms of Krautrock in the late 1960s. The group is also one of the most obscure Krautrock bands, with only one record to their name.

The 1968 students riots in Paris were the spark for several groups of musicians, in both France and Germany, and that event marks the starting point of the earliest Krautrock bands, among them Can, Xhol Caravan, and others, including Nosferatu. One early member was guitarist Michael Winzkowski, who later went on to the better-known prog-rock band Epsilon in 1970. The group’s music still owed some debt to more conventional British rock and earlier beat bands, but also saw the group adventuring out on longer compositions and some fusion elements, and their music was imbued with that dark Teutonic angst that often distinguishes Krautrock from other rock music of that era.

In 1970 Nosferatu recorded their one and only self-titled album, which was released by the French label Vogue in both France and Germany. At this time the band consisted of vocalist Michael Thierfelder, sax and flute player Christian Felke, bassist Michael Kessler, organist Reinhard Grohe, guitarist Michael Meixner, and drummer Byally Braumann. Since Vogue wasn’t a label normally associated with Krautrock, record sales languished and the group disbanded the next year when Felke joined Winzkowski in Epsilon. The rare LP has since become one of the more pricey items on the collector’s circuit, with mint copies fetching the equivalent of $500 or more. In 1993 the album was released on CD by Ohrwaschl (source : “All Music”).

External links

Nosferatu – “Nosferatu” Full Album Video on YouTube

Nosferatu – “Nosferatu” Full Album Audio Playlist on Spotify

Nosferatu – “Nosferatu” Full Album Audio/Video Playlist on Last Fm

Nosferatu – “Nosferatu” Full Album Download Link on Rock Archeologia 60-70 Blog

Nosferatu – “Nosferatu” Full Album Download Link on Back In Purple Blog


7-inch Singles/E.P.s Acid, Garage, Psychedelic Rock U.K. 1960s The Open Mind – “Magic Potion”

The Open Mind – “Magic Potion” Track’s Video on “YouTube”

Category/Music Genres :

7-inch Singles/E.P.s Acid/Garage/Psychedelic Rock U.K. 1960s

Band :

The Open Mind (London, Greater London, U.K.)

British rock band from London, late 1960s, originally called The Apaches, later renamed to The Drag Set before the were called The Open Mind.
Mike Brancaccio (guitar, vocals) Timothy du Feu (bass) Phil Fox (drums) Terry Schindler aka Terry Martin (guitar, vocals)

The Open Mind Band’s photo 

Open Mind_band

Related Artists :


Also known as :

The Apaches, The Drag Set

Track :

“Magic Potion” (written by  Mike “Bran” Brancaccio), (A’ Side single) released on Philips Records (BF 1805) in 1969

Open Mind_label

The track is also included on the reissue edition of the album “Open Mind” (originally released on Philips Records SBL 7893, in 1969), released on Antar Records (ANTAR 2), released in 1986

The Open Mind _ “The Open Mind” Original edition on Philips Records (sbl 7893), album’s cover photo (front)

The Open Mind _ “The Open Mind” Reissue edition on Antar Records,  album’s cover photo (front)


The Open Mind _ “The Open Mind” Full Album Audio Playlist on “Spotify”

B’ Side single “Cast A Spell”

The Open Mind – “Cast A Spell” (B’ Side Single) Track’s Video on YouTube

Line-up :

Mike Brancaccio – Guitar, Vocals
Timothy De Feu – Bass
Phil Fox – Drums
Terry Martin – Guitar, Vocals
Jon Anderson briefly sang in the band but left before the recordings to form Yes.

Lyrics :

Take a drink from my magic potion
Do you wanna really feel fine?
What’s if?
And you will see things you never saw before
How do you feel?
I feel fine
How do you feel?
I feel fine
Gone by my soul, I feel fine
Hold on my son, there’s a different world
Appearing in front of my eye
If you don’t wanna try this potion
Leave it all for me
How do you feel?
I feel fine
How do you feel?
I feel fine
Gone by my soul, I feel fine
Take a drink from my magic potion
Tell me, do you still feel fine?
What’s if?
And you will see things you never saw before
How do you feel?
I feel fine
How do you feel?
Oh, I feel fine
Gone by my soul, I feel fine
Songwriters: Michael Brancaccio
Information related to the track :
“Pop Matters”
“Magic Potion” is psychedelia purged of all whimsy and wonder and utopian overtones; instead is a feeling of churning menace — underscored by apocalyptic hoof-beat drumming, quasi-raga licks, and droning open-string riffs played through thick distortion and a truly toxic wah-wah — that makes it hard to believe when singer Terry Martin bellows, “Upon my soul, I feel fine”. You get a sense of the incipient danger in “seeing things you never saw before”: you get the feeling these would not be cellophane flowers and marmalade skies, but something chthonic and unspeakable. On the whole, the song is unbelievably heavy without being ponderous, and seems like a prescient blueprint for late 1990s stoner rock.
Information related to the band :

The Open Mind was an English psychedelic rock band formed in London, and active in the 1960s and 1970s.


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.

Band members

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



  • “Horses and Chariots” b/w “Before My Time” (Philips BF 1790) May, 1969
  • “Magic Potion” b/w “Cast a Spell” (Philips BF 1805) August, 1969
The Drag Set
  • “Day and Night” b/w “Get Out of My Way” 7″ single (Go AJ 11405) May, 1967


  • The Open Mind LP (Philips 7893) (July 1969)

The Open Mind was reissued on CD on the Acme Records and Second Battle labels. The two non-LP songs from the single are included as bonus tracks.

he band was formed in the mid 1960s by four musicians from Putney, South London.Initially named The Drag Set, they 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 Open Mind produced one of the finest UK psychedelic albums, which is excellent throughout and hardly contains a bad track. The music is characterised by some particularly strong psychedelic guitar work and good vocals. It’s impossible really to pull-out particular tracks as highlights – they’re almost all equally good.
Fortunately this album was re-released and this has made this classic piece of 60’s Freakbeat much more accessible to collectors of 60’s psychedelia. The reissue includes their second rare 45 release, which unlike the first wasn’t taken from the album and is superb. A blistering 45 with tasty psychedelic fuzz guitar work. The band, however, is best known for its druggy August 1969 single, “Magic Potion”, which did not appear on the album.
“Cosmic Mind At Play”

This outfit from Putney in South London had previously been known as The Drag Set, rubbing shoulders with The Soft Machine and a newly-arrived-in-the-UK Jimi Hendrix, and coming to the attention of producer Joe Meek and recording a couple of songs with him just days before he took his own life. They released a fine mod/freakbeat single on the CBS subsidiary Go in March 1967, ‘Day and Night / Get Out Of My Way’.

Changing name to The Open Mind at the end of 1967, the group played hip London venues such as The Electric Garden, UFO and Happening 44, and gained a residency at The Marquee where they were sometimes fronted by future Yes man Jon Anderson, who at the time went by the name Hans Christian.

Boxing impresario Benny Huntsman landed the band a deal with Philips on the condition that his son Roger became their manager (though in effect it was Benny who ran the show), and their excellent self-titled album on that label was recorded in 1968, though not released until July 1969. It included both sides of their debut single ‘Horses and Chariots / Before My Time’ from May of that year, as well as a revamped version of the a-side of The Drag Set 45 with the new title ‘Girl I’m So Alone’. The group appeared in Philip’s New Faces of 1969 promotional film alongside the likes of The Barrier, Ambrose Slade and Procession, miming ‘Horses and Chariots’.

The Open Mind’s second single, released in August 1969, consisted of two new tracks and is perhaps the pinnacle of their recorded output. The a-side ‘Magic Potion’ is a sublime example of heavy psychedelia with its fuzzy rhythm guitar, snaking lead guitar lines, and druggy lyrics. The arrival of the wah-wah in the break is perfectly judged, and there is some truly thunderous drumming throughout, especially in the outro.

Flip side ‘Cast a Spell’ is a little less high voltage but retains the fuzzy guitars and perhaps is even more catchy with its “It’s all in the mind” refrain. This is a fearsome double sider. A jewel in the crown of Brit-psych you might say!

When Benny Huntsman died of a heart attack the band ended up being financed by the Richardson family, part of London’s criminal underworld. Promoters were loathe to book them when they learned of this and with gigs petering out and psychedelia on the wane The Open Mind broke up.

Reissues: Both sides of the 45 are on the essential Rubble Volume 1 (what an eye opener that was for me into the delightful world of British psychedelia and freakbeat), and also on the vinyl British Psychedelic Trip Volume 3 (part of another great compilation series, though with a fair amount of overlap with the Rubbles).

Photos related to the album/track :

The Open Mind – “Magic Potion” Single photo (A’ Side)


Photos related to the band :

Tim Dufeu

The Drag Set

Related image

Image result for open mind band

Links related to the album/track :

The Open Mind – “Magic Potion”Track’s Video on “YouTube”

The Open Mind – “The Open Mind” Full Album Audio Playlist on “Spotify”

The Open Mind – “The Open Mind” Full Album Download Link on “Rockasteria” Blog

The Open Mind – “The Open Mind” Full Album Download Link on “Back In Purple” Blog

The Open Mind – “The Open Mind” Full Album Download Link on “Willie Said” blog

The Open Mind – “The Open Mind” Full Album Download Link on Rock Archeologia” blog

The Open Mind – “The Open Mind” Full Album’s Review on “Pop Matters”

The Open Mind – “Magic Potion” Information related to the track on “Magic Potion Net”

The Open Mind – “Magic Potion” on “45cat”

Links related to the band :

The Open Mind Band’s Page on “Discogs”

The Open Mind Band’s Page on “Rate Your Music”

The Open Mind Interview with Timothy Dufeu n “It’s A Psychedelic Baby Magazine”

The Open Mind Band’s Page on “Spotify”

The Open Mind Band’s Page on “Apple Music”

The Open Mind Band’s Page on “Time Machine Music” Website

The Open Mind Information related to the band on “Eric Brightwell” Blog

Hard Rock/Heavy Progressive Rock/Heavy Psychedelic Rock/Krautrock Germany 1970s (Tracks) Armaggedon – “Round”

Armaggedon – “Round” Track’s Video on YouTube

Category/Music Genres :

Hard Rock/Heavy Progressive Rock/Heavy Psychedelic Rock/Krautrock Germany 1970s (Tracks)

Band :

Armaggedon (Berlin, Germany)

Track :

“Round” (written by Manfred Galatik) A1 track (opening track) included on the album “Armaggedon”, recorded on 25th to 29th July and 4th to 5th August 1970

Album :

“Armaggedon” released on Kuckuck Records ( 2375 003) in 1970

Armaggedon – “Armaggedon” Album cover photo (front)

Armageddon - Armageddon (1970) - Krautrock - Album - Kuckuck Records

This German release from 1970 is an absolute belter of an album. Prog rock with psychedelic edges, Anglo-American inspired bluesrock with complex structures, the guitar of Frank Diez drives this one all the way.

Armaggedon / Armaggedon (1970) is the third album of record label ‘Kuckuck Schallplatten’ (Catalogue: LP (Kuckuck 1970) – No, 2375 003/1103-2).
It’s been reissued in 1990 by Ohrwaschl Munich, based on the original master tapes (Catalogue: CD (Ohrwaschl 1990) – No. OWoo3).
It’s been reissued in March 2011 by Esoteric recordings, they say it’s based on the original master tapes and that it was mastered in London (Catalogue: CD (Esoteric Reactive 2009) – No. ereacd 1016).
There is also a vinyl reprint from 2009 by Missing Vinyl, Athens/Greece. (LP (Missing Vinyl 2009) – No MV009).

Kuckuck Schallplatten is a German record label founded in Munich in August 1969 by Eckart Rahn, Mal Sondock and the advertising agency ConceptData in Munich, growing out of Eckart Rahn’s music publishing company E.R.P. Musikverlag (which was founded on April 1, 1968). It was distributed by Deutsche Grammophon (Polydor). It’s the first German progressive rock-label. It is now the longest-surviving independent label in Germany, possibly the world. Most of its recordings have been reissued on CD, and all are now available as downloads via iTunes/Apple.

Line-up :

Frank Diez – Lead Guitar, Vocals
Manfred Galatik – Keyboards, Bass, Vocals
Michael Nürmberg – Bass, Rhythm Guitar
Jürgen Lorenzen – Drums
Peter Seeger – Vocals, left the band because of health problems before they recorded their one and only LP

Credits :

Arranged By – Armaggedon

Cover – Concept Dat

Engineer – Thomas ”Django” Klemt

Photography By – Atelier Hudalla

Producer – Eckart Rahn

Companies :

Recorded At – Union Studios, Munich

Printed By – Gerhard Kaiser GmbH

Manufactured By – Deutsche Grammophon GmbH

Track-list :

01 – Round (4:12), written by Manfred Galatik
02 – Open (7:31), written by Frank Diez
03 – Oh Man (6:01), written by Frank Diez/Jonas Porst
04 – Rice Pudding (9:40), written by Jeff Beck/Ron Wood/Nick Hopkins/Tony Newman
05 – People Talking (5:02), written by Frank Diez/Manfred Galatik
06 – Better By You, Better Than Me (4:36), written by Gary Wright

Armaggedon – “Armaggedon” Album cover photo (back)/Tracklist photo

Armageddon - Armageddon (1970) - Krautrock - Album - Kuckuck Records

Information related to the band :
The band of the excellent guitar player Frank Diez played British inspired bluesrock with complex structures. They recorded only one single album “Armageddon”, which was published in 1970 on the Kuckuck label and is one of the best hardrock albums of the early seventies. Unfortunately, it remained unnoticed.
Information related to the album/track :
Asbjørnsen, Dag Erik: Cosmic Dreams at Play – A guide to German Progressive and Electronic Rock (Borderline Productions, ISBN 1-899855-01-7)”
Armaggedon’s self-titled album is a heavy progressive masterpiece with excellent, Hendrix-influenced guitar work and vocals by Frank Diez. Armaggedon was the start of Diez long and impressive career. Their album has six tracks, and two of them are cover versions. Most impressive is the 10-minute version of Jeff Beck Group’s “Rice Pudding”. This track has some of the greatest heavy guitar riffing to appear on a German record. Their version of Spooky Tooth’s “Better By You, Better Than Me” is also competent enough. In addition, both Frank Diez and Manfred Galatik wrote great songs, as typified by the tracks “People Talking” and “Open”. Michael Nürnberg and Jürgen Lorenzen provide a strong backing. Demand for the group was poor way back in 1970, and Armaggedon soon broke up. Diez later plays with Randy Pie, Karthago, Ihre Kinder (singer: Klaus Kinski), Emergency, Atlantis, Eric Burdon’s Fire Departement, Peter Maffay Band, Konstantin Wecker, Electric Blues Duo. Luckily the Armaggedon album is released on CD in 1991 with a sharp and clean digitally remastered sound (in a limited edition of 1,000 numbered copies).
Photos related to the album/track :
Armaggedon – “Armaggedon Album cover photo (front)
Armageddon - Armageddon (1970) - Krautrock - Album - Kuckuck Records
Armaggedon – “Armaggedon Album photo (A’ Side)
Image result for armageddon 1970
Photos related to the band :
From left to right: Jürgen Lorenzen, Frank Diez, Michael Nürnberg and Manfred Galatik
Armageddon - Armageddon (1970) - Krautrock - Album - Kuckuck Records
Armageddon - Armageddon (1970) - Krautrock - Album - Kuckuck Records
Armaggedon Kuckuck’s flyer
Armageddon - Armageddon (1970) - Krautrock - Album - Kuckuck Records
Links related to the album/track :
Links related to the band :

Psychedelic Pop/Rock U.S.A. 1960s (Tracks) Birmingham Sunday – “Egocentric Solitude”

Birmingham Sunday – “Egocentric Solitude” Video on YouTube

Category/Music Genres :

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

Band :

“Birmingham Sunday” (Carson City, Nevada, U.S.A.)

Track :

“Egocentric Solitude” A1 (written by Birmingham Sunday), (opening track) included on the album “A Message From Birmingham Sunday”

Album :

A Message From Birmingham Sunday” (debut album) released on All American Records ( AA-5718) in 1968

Original pressing on red, white and blue label.

Birmingham Sunday – “A Message From Birmingham Sunday” Album cover photo (front)

Birmingham Sunday – “A Message From Birmingham Sunday” Full Album Video on YouTube

Birmingham Sunday – “A Message From Birmingham Sunday” Full Album Audio Playlist on Spotify

Line-up/Credits :

Debbie Parke – vocals
Joe LaChew – guitar, drums, the vocals
Ward Johns – guitar
John Kvam – bass
Jean Heim – rhythm guitar, the vocals
Phil Gustafson – keyboards, Saxophones
Monty the Johns – drums

Bill Holmes – producer

Track-list :

01. Egocentrick Solitude — 3:15
02. Wondering What To Feel — 2:33
03. Prevalent Visionaries — 2:47
04. You’re Out Of Line — 2:52
05. Medieval Journey — 2:34
06. Mr. Waters (The Judge) — 2:48
07. Fate And The Magician — 1:55
08. Peter Pan Revisited — 2:12
09. Time To Land — 2:59
10. Don’t Turn Around — 2:37

Birmingham Sunday – “A Message From Birmingham Sunday” Album’s Track-list photo


Information related to the album/band/track :


US American Psychedelic Rock band from Carson City (Nevada) formed late 1960s.
Four of the musicians went to the same school, where he formed a band that played at local clubs all over northern Nevada and in the Carolinas. In 1968, they were able to conclude a contract with Bill Holmes, the producer of “Strawberry Alarm Clock” and the label “All American Record”. Vinyl has been published as a trial, a limited edition of 100 copies. Although the band played in different styles, the album is a good example of pop psychedelia. Alternating male and female vocals, using wind, keyboard and string instruments.


Birmingham Sunday was formed in September 1966, and they were named after the Sunday concerts that took place in Birmingham, England. The original lineup of Birmingham Sunday featured bassist John Kvam, drummer Monty Johns, guitarist (and Monty’s brother) Ward Johns, organ/sax player Phil Gustafson and guitarist Joe LaChew.

Monty and Ward Johns had been in The Contrasts, who covered popular Beatles and Beach Boys tunes. John Kvam was a guitarist in the folk rock group The Scroachers, and learned bass after joining Birmingham Sunday. Phil Gustafson was the keyboardist and sax player for the rock band The Kensingtons. Gustafson was trained as a pianist and sang in the church choir, and he played sax in his high school band. Even though Phil’s voice could easily handle the demands of opera, he preferred to sing background harmony with Birmingham Sunday. Joe LaChew was the guitarist and vocalist for the group The Freedom Five, who covered the blues-based output of British bands like The Rolling Stones, The Kinks and The Animals. At the age of 15, LaChew earned his stripes as a songwriter when he wrote a campaign song for the Nevada governor at the time, Grant Sawyer. The Freedom Five recorded a single of Joe’s song and sold it at various campaign sites throughout the state.

Birmingham Sunday started to play teen dances throughout northern Nevada. Their biggest crowds were at the Civic Auditorium in Carson City and at Genoa Town Hall. The group put on dances and rented halls in Carson City, Genoa, Minden and Reno to cover their increasing fan base.

In 1967, Birmingham Sunday was poised for their breakthrough. Joe LaChew and Monty Johns were attending the University of Nevada in Reno, and their band had a much greater following – especially since the university dorms and fraternities now had their own party band!

That summer season, Birmingham Sunday landed a house band gig at American Legion Hall in South Lake Tahoe, California. This involved playing five days a week at the hall, plus performing as the opening act for each weekend’s entertainment. The venue was filled every summer night with Californians from the Sacramento and the San Francisco Bay area. Weekend shows were extravaganzas, as well-known San Franciscan acts like The Grateful Dead and Sly And The Family Stone were frequently brought in with local favorites The Family Tree and Jim Burgett.

The American Legion Hall’s weekend festival on July 28-29, 1967 was headlined by The Grateful Dead and Jim Burgett, with Birmingham Sunday, The Justice Five and Velvet Chain on the bill. This festival is where Birmingham Sunday first heard Debbie Parke sing. Debbie was performing a guest spot with The Justice Five at the shows.

A few months later, Debbie Parks joined Birmingham Sunday, adding her strong voice to the mix. She was only 15 and a sophomore in high school. Even though Debbie’s voice was overpowering, she did not try to dominate the band. Instead, her voice blended well with the rest of the singers in the band. Birmingham Sunday was now playing more originals as part of their sets. They began attracting interest from numerous managers and record company scouts.

Phil Gustafson left for the summer to attend National Guard camp, and he was replaced by his younger brother Dave. Dave Gustafson was a child prodigy that could play any style from Beethoven and Bach to Jimmy Smith. In addition, Dave could read and copy nearly everything he heard. His great playing impressed crowds with a note-for-note rendition of The Doors’ “Light My Fire.”

Birmingham Sunday’s success carried them into 1968. Everyone’s favorite hipster, Pat Boone (!), co-sponsored a “Teen Scene” local battle of the bands with promoter Bruce Blaylock. This two-day event was held at Reno’s Centennial Coliseum, where groups like The Kinks, Buffalo Springfield, The Zombies, The Beach Boys and many others had played. The judges were the members of The Sunshine Company, who had recently enjoyed some success. The Sunshine Company had a similar approach and appreciated Birmingham Sunday’s vocal tapestry.

Birmingham Sunday was chosen with the top bands to travel to Las Vegas for the finals. The Las Vegas judges were Strawberry Alarm Clock and their manager/producer Bill Holmes. The Las Vegas band London Fogg won the battle, but Bill Holmes greatly preferred Birmingham Sunday’s original songs and he was very impressed by their vocals.

Birmingham Sunday was invited by promoter Bruce Blaylock to do some recordings in Hollywood. Blaylock was shopping the band to Nitty Gritty Dirt Band manager Bill McEuen as well as a representative of that group’s label, Liberty Records. Birmingham Sunday did an audition and received a record deal from Liberty. The record label had a song that they wanted Birmingham Sunday to record – the “Love Theme From Romeo & Juliet,” also known as “A Time For Us.” It was later recorded by Henry Mancini, Andy Williams and Johnny Mathis.

After hearing the demos, Bill Holmes took on Birmingham Sunday as their producer and manager. Holmes turned down the Liberty deal, which proved to be a big mistake when Henry Mancini’s recording became a big pop hit. Instead, Birmingham Sunday was signed to Bill Holmes’ All-American label.

Meanwhile, the band had changed. Monty Wards left after the “Teen Scene” contest for a rigorous, pre-med schedule at the University of Nevada. Birmingham Sunday auditioned singing drummers, but no one materialized. With concert bookings to be fulfilled and not much time to prepare, Joe LaChew took over as the drummer. Monty had been teaching Joe all the drum parts for their original songs, so LaChew had no problem in this transition period. Since Joe gave up his guitar to play drums, the group had to find another guitarist who could sing well. They found Jean Heim, who played rhythm guitar and a little lead guitar. Heim could also sing lead with his pure, light tenor tone.

The group perfected ten original songs and recorded them in December 1968 with Bill Holmes producing at Original Sound Recording Studios. The studio was located on Sunset Boulevard in Hollywood, and it was owned by multiple award winning DJ and promoter Art Laboe. The legendary Paul Buff, who previously ran Pal Recording Studio before selling it to his recording partner Frank Zappa, was Original Sound’s engineer. The album “A Message From Birmingham Sunday” was recorded in five days using Buff’s own ten-track studio equipment. Paul Buff also played a Chamberlin keyboard, the American precursor to the mellotron, on the entire album. Buff’s string arrangements on the Chamberlin were essential parts of each song.

All-American selected “Prevalent Visionaries” and “Egocentric Solitude” as the respective A- and B-sides of a single released in early September 1969. The album was released the same month. Before the album was released, Bill Holmes sent a tape of the single to radio stations in Nevada.

“Egocentric Solitude” was first tracked for the week ending August 16, 1969 by Reno, Nevada radio station KIST. It reached the Top 10 in Reno that September 10, and it was #5 on KCBN. Although the single did not receive wide distribution, it did well in Sacramento, Chicago, Seattle, and especially Santa Barbara, where it made #1! The lack of distribution made the album extremely rare, even at the time. About 10 to 20 copies of the original LP are known to exist today.

Many of Bill Holmes’ All-American acts played concerts on July 18-19, 1969 at Kings Beach on the North Shore of Lake Tahoe. On the first day, Birmingham Sunday was the opening act. However, the popularity of the band enabled Birmingham Sunday to close the second night’s show. Holmes had lost control of Strawberry Alarm Clock, so he had the replacement group Strawberry SAC play instead. Gary Solomon, the lyric writer of “Egocentric Solitude,” was in that band. Birmingham Sunday ruled the weekend event!

Birmingham Sunday played concerts throughout 1969, but they split up in 1970 due to a number of forces pulling band members in different directions. Joe LaChew and Monty Johns stayed in college to continue their education. Both Joe and Monty formed the college rock band Brother Rock with Ward Johns. This nine-piece horn band opened for concerts at the college, including shows by Cold Blood, Tower Of Power, The Sons Of Champlin, and most notably, Derek And The Dominoes.

Brother Rock did a recording for the Mercury label in San Francisco, but the tracks have been lost. While influenced by Chicago and The Sons Of Champlin, Brother Rock played original songs by Monty Johns and Joe LaChew.

Debbie Parke, Jean Heim, John Kvam and the Gustafson brothers joined well-known Nevada casino lounge singer Frankie Fanelli. They recorded an album with Fanelli before splitting with him in August 1970. The band members went into different directions:

Joe LaChew continued playing guitar with The Drifters, The Coasters, Billy Preston, The Righteous Brothers, Rose and Joe Maphis, Merle Travis, Dorsey Burnett, Jimmy Dickens, Zella Lehr (an RCA artist), Kathy O’Shea (for MCA) and comedian Rich Little. Joe is now a music teacher in Nevada and still plays shows in the Reno and Lake Tahoe areas. He still enjoys writing music and has done commercials, film music and solo albums. Joe still writes songs for the more recent Birmingham Sunday reunions. Two of those tracks, “Raw Rhythm” and “C’Est La Vie Blues,” are included here for the first time. The famous Birmingham Sunday parties continue to this day!

Debbie Parke became an elementary school teacher and counselor in Lewiston, Idaho. She is now retired. Phil Gustafson retired from the Nevada National Guard. John Kvam was a bartender and journeyman cabinet maker before his retirement. Jean Heim became a country musician and has also retired. Monty Johns is a doctor in West Virginia. Ward Johns was the Vice President of Missile Records. He passed away from compilations due to a stroke in December 2009. Dave Gustafson became a successful musician and very wealthy real estate agent. He passed in January 2010.
by Joe LaChew (Birmingham Sunday)

Photos related to the album/track :

Birmingham Sunday – “A Message From Birmingham Sunday” Album cover photo (front)


Birmingham Sunday – “A Message From Birmingham Sunday” Album photo (A’ Side)

Birmingham Sunday – “A Message From Birmingham Sunday” Album photo (B’ Side)

Photos related to the band :


Links related to the album/track :

Birmingham Sunday – “Egocentric Solitude” Track’s Video on “YouTube”

Birmingham Sunday – “A Message From Birmingham Sunday” Full Album Video on “YouTube”

Birmingham Sunday – “A Message From Birmingham Sunday” Full Album Download Link on “Rockasteria” Blog

Birmingham Sunday – “A Message From Birmingham Sunday” Full Album Download Link on “60-70 Rock” Blog

Birmingham Sunday – “A Message From Birmingham Sunday” Full Album Audio Playlist on “Spotify”

Birmingham Sunday – “A Message From Birmingham Sunday” Full Album on “Napster”

Links related to the band :

Birmingham Sunday Band’s Page on “Discogs”

Birmingham Sunday Band’s Page on “Spotify”

Birmingham Sunday Band’s Page on “Napster”


Folk/Progressive Rock U.K. 1970S (Tracks) Fresh Maggots – “Spring”

Folk/Progressive Rock U.K. 1970S (Tracks)


Fresh Maggots (Nuneaton, Warwickshire, U.K.)

“Spring” (written by Mick Burgoyne and Leigh Dolphin) A6 track included on  the album “Fresh Maggots”

Released on RCA (Neon) Victor ( SF8205 ) in 1971

Line-up/Credits :

Acoustic Guitar – Leigh Dolphin

Arranged By, Conductor [Strings] – Brian Rogers (tracks: A2, A6, B3, B5)

Composed By – Dolphin, Burgoyne

Design, Photography By – Keef (4)

Electric Guitar, Glockenspiel, Tambourine, Violin, Tin Whistle – Mick Burgoyne

Engineer – Pete Hoskins

Producer – Mike Berry (13)

Released on an orange RCA Victor label with a cover laminated on front only.

Track List : 

01 Dole Song (0:00 – 3:27)
02 Rosemary Hill (3:28 – 7:02)
03 Quickie (7:03 – 8:24)
04 Everyone’s Gone To War (8:25 – 12:19)
05 And When She Laughs (12:20 – 15:08)
06 Spring (15:09 – 18:32)
07 Balloon Song (18:33 – 22:28)
08 Guzz Up (22:29 – 24:06)
09 Who’s To Die (24:07 – 28:02)
10 Elisabeth R (28:03 – 30:56)
11 Frustration (30:57 – 36:57)

Tracks : Fresh Maggots – “Hatched” (remastered edition including tracks previously unreleased)

1. Dole Song – 3:27
2. Rosemary Hill – 3:34
3. Quickie – 1:21
4. Everyone’s Gone To War – 3:55
5. And When She Laughs – 2:49
6. Spring – 3:22
7. Balloon Song – 3:56
8. Guzz Up – 1:37
9. Who’s To Die? – 3:55
10. Elizabeth R – 2:53
11. Frustration – 5:59
12. Car Song (non-album A-side) – 4:05
13. What Would You Do? (non-album B-side) – 2:47
14. Frustration (live) – 5:54
15. Rosemary Hill (live) – 3:49
16. Quickie (live) – 1:29
17. And When She Laughs (live) – 3:06
18. Spring (live) – 3:06

All songs by Mick Burgoyne and Leigh Dolphin
Tracks 12-18 previously unreleased.

Fresh Maggots were a short-lived folk duo from Nuneaton, Warwickshire in England, consisting of Mick Burgoyne and Leigh Dolphin, who played a variety of instruments including guitars, glockenspiel, tin whistles and strings. They released one album in 1970 before splitting up, but sustained interest saw it re-released in 2006.

This duo from Warwickshire that had a meteoric career, but their sole album is ultra-sought after especially so that both vinyl pressings had major fabrication flaws. They developed an acid-folk-prog that was particularly personal but their style was wide-ranging including fuzz guitars. Even before their debut album, this multi-instrumental duo was hyped by the music press, but there was an unusual delay (including an artwork change) between the recording and the release of the album, and when it did finally arrive on the market, all interest had waned. Which is a real shame, because the duo had much talent and they were switching from guitars to violin to glockenspiel to guitars again. Sadly they became one of the many casualty from the era’s overcrowded scene.

Their sole album finally got a Cd reissue with the non-album single tracks as a bonus. Apparently still unreleased are the BBC session recordings and there are the demo tracks for their projected second album.

The British folk-rock duo of Mick Burgoyne and Leigh Dolphin were just 19 years of age when their sole, self-titled album came out in 1971. Comprised entirely of original material, the LP has an admirable array of textures, adding some heavily distorted electric guitar and orchestration around an acoustic guitar base.” —Richie Unterberger, All Music

There are no weak links on this consistent album, which is thoroughly recommended.” –The Tapestry Of Delights.

The sole album by Fresh Maggots came and went very quickly at the tail-end of 1971, but in another sense it has never really gone away. Collectors have nudged the price of originals ever upwards, it has been bootlegged repeatedly and is now established as an ‘acid folk’ classic – facts that amaze its co-creators, Mick Burgoyne and Leigh Dolphin. They’d known each other  “since we were babies in pushchairs on the same housing estate in Nuneaton,”  as Leigh puts it today, but only really became friends when they met again as teenagers on the town’s small live circuit in the late 60s. By then Mick was playing electric guitar, glockenspiel, violin and tin whistle, while Leigh had become a superb acoustic guitarist.

They promptly teamed up and started to write songs that combined their love of both rock and folk. “We were into Led Zeppelin, Deep Purple and Taste as well as Pentangle and so on,”  Leigh explains, and as a result they decided to beef up their sound with heavy doses of fuzz guitar. “A fuller sound was important in clubs, and the fuzz gave us sustain. Without a band behind us, we needed that boost.”

Their unusual and not entirely serious name was gleaned from an ad on the front of the local paper, for ‘Riley’s Sports Shop -fresh maggots always available’. “We never thought we’d get anywhere, so it didn’t matter what we were called,” Mick says. “Maybe Always Available should have been the album title!” But an unexpected break came their way in September 1970, when Mike Berry -a music publishing hotshot who’d handled the Beatles’ catalogue at Apple -came to watch another act playing in a local Church Hall.

Mick and Leigh were the support, and though it was only their second gig, it was them that Berry promptly signed to a management contract. “After that, things started to happen very quickly,” continues Mick. “He got us straight down to London to make a live studio demo, which he hawked around various record companies.  We then did a gig in his office in Oxford Street for anyone who was interested and, on the strength of that, RCA sent some people to a gig in Coventry. Halfway through there was a powercut, but we just carried on. They were so impressed that they signed us on the spot.”

In their original press release, Mick described the extent of their ambitions as being “just to walk on stage with our gear, say hello and try to make as many people as possible a little more cheerful,” so the swiftness with which they found themselves in Radio Luxembourg’s studio at the end of 1970 was a little overwhelming. “We had no autonomy or real input into the album,” Leigh reflects. “We were still teenagers – just a pair of naive kids, really.” Despite that, the record they made was varied and powerful – and certainly belies their youth.

Dole Song, for example, is one of the most intense songs of the entire period.  A sardonic celebration of unemployment, its blend of violent acoustic and fiery fuzz guitars makes for a stunning opening gambit. Leigh describes it as “a bit of a piss-take, really. I was signing on at the time and had to explain to the officials that just because I was making an album didn’t mean I had a penny to my name.” Rosemary Hill, by contrast, is delicate and melodic. “We used to take Mick’s old van down to Devon to visit friends and write songs. We’d drive past this hill in Kenilworth, and agreed it would make a lovely name for a song, though the song’s not actually about the hill.” Quickie is a brief romantic tune, followed by Everyone’s Gone To War, a fuzz-laden anti-war polemic. “That subject was close to a lot of hearts at the time,” he says.

By contrast And When She Laughs is a cheery pastoral, led by Mick’s tin whistle and showcasing the duo’s more carefree side. Spring, a complex, carefully-structured number featuring powerful Eastern-style strings, precedes Balloon Song, a spirited piece of whimsy that is perhaps the most redolent of its era, albeit propelled by fuzz guitar.

The gentle Guzz Up owes its odd title to “a parody of the Nuneaton accent, as in ‘what goes up must come down’,” explains Leigh, while Who’s To Die? is a meditation on mortality, inspired by an unsettling accident the duo witnessed. “We were on our way to a Magna Carta gig in Coventry,” he says, “and we saw a little boy run out in front of a car and get knocked over. We never knew whether or not he was killed, but it was shocking and got us thinking.” The instrumental Elizabeth R is light relief by comparison – “we meant it to sound Elizabethan, but I’m not sure we succeeded. Its name was taken from a TV series on at the time.” An immediate contrast is provided by Frustration, which closes proceedings in epic style, alternating mellow passages with further storms of guitar.

It was an unquestionably unusual collection, but – despite their initial enthusiasm – RCA had grown sluggish. “Throughout 1971, things moved pretty slowly,” Mick says. “Everything was being done in London, but we were from the Midlands and had day jobs, so it all had to be recorded at weekends. Then there were delays with the string arrangements, and even the cover – they rejected the original artwork, which featured an old water mill.” Fresh Maggots was originally scheduled for release on RCA’s Neon subsidiary (with the working title Hatched), but finally emerged on the parent label in September 1971, fully a year after the sessions had commenced. It received extravagant praise in the music press (‘an extraordinary duo, their range is incredible and their sound is incredibly full,’ said Disc), but the label undertook no promotion and the launch party had to be cancelled due to lack of response.

This embarrassment prompted an enterprising RCA press officer to fabricate a tissue of lies about a poolside orgy involving the band, but it did no good. The LP resoundingly failed to sell, and – adding injury to insult – a pressing fault meant many copies had blisters on the playing surface. The duo remained optimistic, however, and played gigs alongside Van Der Graaf Generator, Medicine Head, Wild Turkey and others. They also undertook various radio sessions, and a surviving tape of one (made for Kid Jensen’s show on Radio Luxembourg, and included as bonus tracks here) shows what a formidable act they were.

RCA was fast losing interest, though. “They got a strop on, basically,” states Mick. “Mike Berry was the sort of bloke who changed with the wind, and he’d soon switched his attention onto the next big thing. We were out playing the college circuit and it all just faded away.” Before splitting, however, they released a single (also included here), the sing-along Car Song, backed with the laid-back What Would You Do?, which appeared in December 1971. “RCA didn’t really want it out, so they didn’t support it either,” he says. “And when it didn’t sell, that was the end of the road for us, as far as they were concerned.”

They returned to Nuneaton and, though they continued to play locally, no more material ever appeared. “We were the young innocents in the big bad music business, and became disillusioned, really,” he concludes. Certainly neither anticipated the following they’ve developed since. “As far as we were concerned, the album was deleted, dead and gone forever,” says Leigh. “So we were surprised and delighted when we found out about all the interest around the world.” Even more astonishing are the sums collectors are willing to pay for original copies. “I can’t believe it,” laughs Mick. “I can remember seeing it in Woolworth’s bargain bins!” Leigh is also surprised that they are now categorised as ‘acid folk’. “To us the album was just a collection of songs,” he says. “We only heard of ‘acid folk’ very recently.”

In summary, he remarks that “not a lot of local bands like us ever get to make records on major labels, so it was a great opportunity. But deep down I think we both knew it was never going to be a huge seller.” More than thirty years on, Mick has mixed feelings about the album. “Some of it makes me proud, some of it makes me cringe,” he says. “I tend to hear all the bits we should have done better, and some of the words are a bit naive. But lots of people tell me they like it just the way it is.

Taking their name from a newspaper advert for a sports shop that proclaimed “fresh maggots always available”, the pair were spotted by Mike Berry of the Sparta Florida Music Company in September 1970 while playing only their second concert at Wolvey village hall, and signed a publishing deal with the company. They were signed by RCA Records, who released their only album in 1971 – when they were nineteen years of age. Fresh Maggots was recorded at the Radio Luxembourg studios in London over several months at a cost of 1,500 pounds, and produced by Berry. Although its release was preceded by some degree of anticipation, delays in publishing gradually saw interest wane. Upon its release, it was met with favourable reviews, however record sales did not reflect this, and pressing was decommissioned soon after. The duo went on to play two live shows broadcast by BBC Radio 1. They released one single, “Car Song”, before splitting up.

The resurgent popularity of folk music over the last decade reawakened interest in the band and the album became a collector’s item fetching hundreds of pounds; The duo started to receive airplay in the US, prompting a reissue in 2006 as Fresh Maggots…Hatched on the Sunbeam label in the UK and Amber Soundroom in Germany, with the tracks from the “Car Song” single added. The reissued album received a three and a half stars review from Allmusic, and an 8 out of 10 score from PopMatters, with Whitney Strub describing it as “a remarkably assured debut—and finale”. Kevin Hainey, reviewing it for Exclaim!, stated the group’s “concise and fast-paced songwriting tendencies certainly make this stuff transcend its own age in a strange and wonderful way”. John M. James, in the River Cities’ Reader described it as a “five-star masterpiece of hypnotic vocals, electric fuzz guitar, trippy tin whistle, and shimmering six- and 12-string guitars”.

Discography :

Albums :

Fresh Maggots (1971), RCA Victor – reissued in 2006 on Sunbeam as Fresh Maggots…Hatched

Singles :

“Car Song” (1971), RCA Victor

Compilation appearances :

“Rosemary Hill” on Gather In The Mushrooms (The British Acid Folk Underground 1968-1974) (2004), Castle

“Dole Song” on Shifting Sands (20 Treasures From The Heyday Of Underground Folk) (2009), Sunbeam

“Rosemary Hill” on Dust On The Nettles (A Journey Through The British Underground Folk Scene 1967-1972) (2015), Grapefruit

Fresh Maggots – “Fresh Maggots” Album cover photo (front)

Image result for fresh maggots 1971

Fresh Maggots – “Fresh Maggots” C.D. artwork  photo (back)

Related image

Fresh Maggots – “Spring” Video link on YouTube

Fresh Maggots – “Fresh Maggots” Full Album Video link on YouTube

Fresh Maggots Band’s Page on Spotify

Fresh Maggots Band’s Page on Discogs

Fresh Maggots Band’s Page on Rate Your Music

Fresh Maggots – “Hatched” Remastered Edition of their eponymous album with unreleased tracks Full Album Download Link on Rockasteria Blog

How Rosemary Hill was immortalised by Nuneaton duo Fresh Maggots Pete Clemons on how an insignificant piece of road in Kenilworth became iconic. Article on Coventry Telegraph Website

Fresh Maggots Band’s Page on Facebook

Backbeat: Folk duo Fresh Maggots’ album now sells for hundreds FORTY years ago a Nuneaton prog-folk duo released a single in Europe that effectively signalled the end of their career. Article on Coventry Telegraph Website

Fresh Maggots Article about the band on Coventry Folk Club and Acoustic Scene 1960’s to Present BlogFresh

Maggots Band’s Page on eBay

Fresh Maggots Band’s Page on Google Play

Fresh Maggots Get a Welcome Re-Issue Article on River Cities Website

Fresh Maggots – “Hatched” Full Album Review on Dusted Magazine

Fresh Maggots Band’s Page on Apple Music

Fresh Maggots -“Fresh Maggots” Full Album Download Link on Contramao Prog Rock Blog