Six Feet Under – “What Would You Do?” (1969/1970)

 

Band : Six Feet Under (Formed in 1966 out of the ashes of the Marc 5 and Sonix, in Colonia, New Jersey, U.S.A.)

Country Of Origin : U.S.A.

Track : “What Would You Do?” (A3 track, studio recording)

Album : “In Retrospect 1969-’70″ (Compilation album, including studio/home recordings and bonus tracks)

Label : Arf! Arf! Records (AA-074)

Date/Year Of Recording/Release : Recorded in 1969-1970, released in 1998

Category/Music Genres : Garage/Psychedelic Rock, U.S.A., 1960s/1970s

Six Feet Under – “What Would You Do?” 

Video on YouTube

The song is included on the album “In Retrospect 1969-’70” (A3 track,  studio recording)

“In Retrospect 1969-’70” album (released in 1998)

Album cover photo (front and back)

Image result for six feet under in retrospect

Six Feet Under – “In Retrospect 1969-’70” Full Album Video on YouTube

Tracks

1 Inspiration in My Head – 2:28
2 Freedom – 4:07
3 What Would You Do? – 3:43
4 Baby I Want to Love You – 8:08
5 In Retrospect – 4:04
6 Fields – 3:04
7 Running Around in the Sun – 3:28
8 Black Movies – 3:20
9 Six Feet Under Theme – 2:46
10 Suzy Q – 6:18
11 City Blues – 5:12
12 In-A-Gadda-Da-Vida (D. Ingle) – 11:52
13 Basement Jam – 0:47
14 Sonix Commercial – 0:58
15 Inspiration in My Head – 2:51
16 Freedom – 4:30
17 What Would You Do? – 5:53
18 Fields – 3:05
19 Boogie Man Bash – 0:44

Six Feet Under

Line-up 

Jay Crystal –  Drums
Nanette DeLaune – Vocals
Jerry Dobb – Keyboards, Vocals
Scott Julian – Guitar
Hector Torres – Drums
Duane Ulgherait  – Bass
Richie – Drums (only on track #9)

Information about the album/band

“This Colonia, NJ ensemble captured the changing times and sociological upheaval of the pre-Woodstock Nation. Like the Jefferson Airplane, Neighb’rhood Childr’n and The United States Of America, Six Feet Under was blessed with a dynamic diva who soared amidst searing fuzz leads, swirling organ chords, and gifted songwriting with prophetic lyrics”. (from their CD-release “In Retrospect 1969-’70”).

“As Bar Mitzvah presents, Jerry Dobb receives an Acetone electronic organ with Kalamazoo Amplifier and Scott Julian receives an Epiphone electric guitar and amp. The friends decide to form a band in the archetypal New York City suburb of Colonia, New Jersey. First band is named the Marc 5 (for no reason that I can now remember – no one named Marc in the band). The band consists of Jerry and Scott, Bob Briendel on bass (he had no idea how to play. Scott showed him where to put his fingers), Phil Mazuski on drums and the only real musician, Joe “Musky” Muscolino on saxophone.
The band had a repertoire of about 10 songs, including “Summertime,” “Tequila” and “The Batman Theme.” Playing a private pool party and someone requested “Moon River.” Musky knew it, so we faked it behind him. It was pretty awful, but the guests were too drunk to care and actually gave us an extra tip for playing it! The thirteen year olds in the band hook up with a seemingly much older, 17 year old singer named Pete (don’t remember his last name) and change the name of the band to the Sonix. Pete is an R&B enthusiast and the song list changes to include “I Got You,” “Mustang Sally” and other soul songs. Pete performs James Brown style with spins, splits and yelps.
The hand uniform is pointy-toed black shoes, black pants, pink Italian high-roll collar shirts and burgundy button front sweaters. The band decides that they’d like to follow a more hip and hippy style of music. Pete departs and the group reforms as Six Feet Under. Phil is replaced by Ritchie on drums. Bob, who never really took to music, is replaced by Duanc Ulghcrait on bass. Joe leaves for an established soul band. A girl singer (name unknown) briefly comes and goes. Ritchie, while an excellent drummer, proves to be volatile and is replaced by Hector “Tico” Torres from Sayerville N.J. Where did the name Six Feet Under come from? Well after the Sonix, the hand wanted a new hipper name.
The first thing decided was that the name shouldn’t begin with “The.” After some brainstorming, someone mentioned that the British band Ten Years After didn’t start with “The” and was kind of cool. So we started coming up with phrases that fit that pattern; a number, a noun, and an adverb. We also wanted a name that was kind of dark and slightly threatening, like the Grateful Dead. Ultimately someone came up with Six Feet Under, and we immediately realized that it was the perfect moniker. Later, when Nannette joined the band the sound softened a bit, but the name stuck until the end.
When the dust settles it’s Jerry on organ and vocals, Scott on guitar, Duane on bass and Tico on drums. Tico plays a drum set that belonged to his dad, circa the mid-1940s. The bass drum was oversized and the tom-toms were nailed onto the bass. A friend of Tico’s paints a beautiful oil painting of a woman’s head floating above a grave with ghostly hands reaching up, trying to retrieve it. This is cut out and inserted into the front of the bass drum. A simplified line drawing of the painting is used as a promotional hand-out.
The band plays at least one night most weekends and improves. Gigs include dances, Rutger’s University fraternity parties, battle of the band competitions and local festivals in and around Northern New Jersey. The songs now include a lot of Doors material, Cream, Hendrix, and the signature song, a relatively faithful rendition of the complete “In-A-Gadda-Da-Vida.” The First original songs appear, including “The Six Feet Under Theme” and “Karen.” Around this time the opportunity to record appears.
Fifteen year old Nanette DeLaune joins the band as “chick singer” a la Grace Slick. Jay Crystal begins as drummer. While preparing to record the band continues to play gigs, many times two a weekend. The material now includes songs by the Jefferson Airplane, Rolling Stones, Santana, Ten Years After and Blind Faith. Show stoppers include a rousing version of “Soul Sacrifice” and a 15 minute set of songs from the Who’s “Tommy.” Original material is written by Jerry and practised.
The band records at the Scepter Studios. Jerry uses a Hammond B-3 with Leslie tone cabinet for the first time. “Inspiration In My Head” is “released.” The band is angry because the extended instrumental break at the end of the song is edited out. Friends and relatives convince a local record shop to order the single and buy a few dozen copies. A local radio station plays it once on the air. The band listens in a car and can’t believe that they’re on the radio. Nothing else happens. The band goes back to the studio to record more songs.
By late fall of 1970 the band decides to split up. Jerry, Scott and Duane head to college. Jerry assembles an ad-hoc band and records some solo songs. These are never released. Nanette does some further recording also, but nothing comes of it. Jerry studies film-making at college and ultimately becomes a corporate video manager. Scott ends up as a chef in a prestigious hotel. Duane becomes a candy salesman. Musky lands in Utah where he plays and books local bands. Don’t know what became of Nanette, Jay, Bob, Phil, Ritchie, or Pete. But Hector “Tico” Torres, the guy who wasn’t good enough to record, hooked up with a younger boy from Sayerville named Jon Bon Jovi and the rest, as they say”…by Jerry Dobb, (source : “Rockasteria” Blog).
External Links

Garage/Psychedelic Rock U.S.A. 1960s (Tracks) Ill Wind – “High Flying Bird”

Ill Wind – “High Flying Bird” Video on YouTube

Ill Wind – “Flashes” Full Album Playlist on Spotify

Category/Music Genres :

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

Band :

Ill Wind (Cambridge, Massachusetts, U.S.A.)

Members :

Ken Frankel (lead guitar, banjo, 1966-68), Richard Griggs (rhythm guitar, vocals, 1966-71), Carey Mann (bass, guitar, organ, vocals, 1966-70), David Kinsman (drums), Connie Devanney (vocals, 1967-73), Judy Bradbury (vocals, 1966), Michael Walsh (bass, vocals, 1968-73), Larry Carsman (guitar, 1970), Walter Bjorkman (guitar, 1971-73), Bryant Thayer (piano, 1971-72)
Related Artists :
Dirty John’s Hot Dog Stand
Ill Wind Band’s Photo

Related image

Track :

Cover Version 

“High Flying Bird”.

High Flying Bird” (sometimes “High Flyin’ Bird“) is a song written by American folk and country singer-songwriter Billy Edd Wheeler, and first recorded by Judy Henske in 1963. It was performed and recorded by many musicians and groups in the mid and late 1960s, and was influential on the folk rock genre.

It is included on the album “Flashes” as B1 track.

Album :

“Flashes”, released on ABC Records ( ABCS-641) in 1968

ILL WIND FLASHES 3

Line-up/Credits :

Bass, Vocals – Carey Mann

Coordinator – Mark D. Joseph

Design [Cover], Photography By – Bongiorno/Tervinski

Drums – David Kinsman

Engineer [Recording] – Harry Yarmark

Engineer [Remix] – Gary Kellgren

Lead Guitar, Banjo – Ken Frankel

Producer – Tom Wilson (2)

Rhythm Guitar, Vocals – Richard Griggs

Vocals – Connie Devanney

Written-By – Bill Edd Wheeler (tracks: B1), Ken Frankel (tracks: A1 to A4, B2 to B4), Richard Griggs (tracks: A5), Tom Frankel (tracks: A1 to A4, B2 to B4)

Record Company – ABC Records, Inc.

Recorded At – Mayfair Recording Studios

Produced For – Rasputin Production

Mastered At – Longwear Plating

Mastered At – Bell Sound Studios

Published By – Maudlin Melodies, Inc.

Published By – Sleepy Hollow Music

Published By – Robert Lissauer Music Co.

Published By – Bexhill Music

Tracks A2 and B3 are interchanged on the cover. The label lists them correctly.
Version with different ABC label (narrower font among other things) here: Ill Wind – Flashes.
Reissue Edition :
Double- c.d expanded edition on Sunbeam Records (SBR2CD5065), released in 2009
Tracks :
Disc One :
1. Walkin’ And Singin’ (Tom Frankel) – 3:11
2. People Of The Night (Ken, Tom Frankel) – 7:44
3. Little Man (Ken, Tom Frankel) – 4:31
4. Dark World (Ken, Tom Frankel) – 3:45
5. L.A.P.D. (Richard Criggs) – 5:05
6. High Flying Bird (Billy Ed Wheeler) – 4:58
7. Hung Up Chick (Ken, Tom Frankel) – 5:52
8. Sleep (Ken Frankel) – 2:38
9. Full Cycle (Ken, Tom Frankel) – 6:10
All Tracks Recorded In New York, 1968 Produced By Tom WilsonDisc Two :
1. Ill Wind (Ken Frankel) – 2:56
2. All Over Love Is One (Ken Frankel) – 2:26
3. I Can See You (Carey Mann) – 2:55
4. I Tell You I Know (Ken Franke) – 2:51
5. Tomorrow You’ll Come Back (Ken Frankel) – 2:39
6. You’re All I See Now (Carey Mann,  Sandy Darlington) – 2:19
7. Are You Right? (Ken Frankel) – 2:25
8. People Of The Night (Ken, Tom Frankel) – 2:25
9. It’s Your Life (Ken, Tom Frankel) – 2:20
10. Flashes (Richard Griggs) – 3:28
11. The Water Is Wide (Traditional) – 3:35
12. Mauti (Ken, Tom Frankel) – 5:30
13. Waking In The Water (Ken, Tom Frankel) – 3:11
14. 1 And 100 (Ken, Tom Frankel) – 4:31
15. Frosted Summer Drink (Ken, Tom Frankel) – 3:21
Tracks 1-4 are demos made in Terry Hanley’s Studio, Boston, in 1966
Tracks 5-9 are demos made at Capitol Records, NY, in 1967, produced by Dick Weissman
Track 10 is a live recording made at Westborough High School, MA, in 1967
Tracks 11-15 are basement recordings made in Wellesley, Massachusetts in 1968
Ill Wind :
Conny Devanney – Vocals
Ken Frankel – Guitar, Banjo, Harmonica
Richard (Zvonar) Criggs – Guitar, Vocals
Carey Mann – Bass, Vocals
David Kinsman – Drums
With :
Michael Walsh – Bass, Vocal (Disc 2, Tracks 11-15)
Notes :
2-1 to 2-4 are demos made in Terry Hanley’s Studio, Boston, in 1966 
2-5 to 2-9 are demos made at Capitol Records, NY, in 1967
2-10 is a live recording made at Westborough High School, MA, in 1967
2-11 to 2-15 are basement recordings made in Wellesley, MA, in 1968
Lyrics :
There’s a high flyin’ bird, flying way up in the sky
And I wonder if she looks down, as she goes on by?
Well, she’s flying so freely in the sky
Lord, look at me here
I’m rooted like a tree here
Got those sit down
Can’t cry oh Lord, gonna die blues
Now the sun it comes up and lights up the day
And when he gets tired, Lord, he goes on down his way
To the east and to the west He meets God every day
Lord, look at me here
I’m rooted like a tree here
Got those sit down, can’t cry
Oh Lord, gonna die blues
Now I had a woman
Lord, she lived down by the mine
She ain’t never seen the sun
Oh Lord, never stopped crying
Then one day my woman up and died
Lord, she up and died now
Oh Lord, she up and died now, she wanted to die
And the only way to fly is die, die, die
There’s a high flyin’ bird, flying way up in the sky
And I wonder if she looks down as she goes on by?
Well, she’s flying so freely in the sky
Lord, look at me here
I’m rooted like a tree here
Got those sit down, can’t cry
Oh, Lord, gonna die blues
Songwriters: Billy Edd Wheeler
Information about the album/band/track :
“Rockasteria”
In the 1960s a new era of creativity began. The post-WWII values of the 1940s and 50s had begun to show cracks and a new generation, dissatisfied with rigid social boundaries, the Vietnam war and what they perceived as shallow materialism, created a new counter-culture. This change was ripe with opportunities for young musicians, allowing them the freedom to explore new, creative possibilities.
Ill Wind was a result of that perfect storm. The seeds of III Wind took root in 1965 at MIT in Cambridge, Massachusetts, when Ken Frankel, a biophysics graduate student, met Carey Mann, a math graduate student, and they decided to start a rock band. Multiinstrumentalist Ken, although only 23 at the time, had been playing professionally for 7 years, first in high school in L.A. (as lead guitarist in a successful rock band), and then at U.C. Berkeley on banjo, mandolin, and guitar.
Ken had played in bluegrass and oldtime bands in the San Francisco Bay Area with people such as Jerry Garcia, Robert Hunter, Richard Greene, Sandy Rothman and Rick Shubb, as well as lead guitar in a college rock band that played bars and fraternity parties. Carey Mann was also a young but experienced musician. In high school in Pennsylvania he’d played piano in a Dixieland band, and at MIT he won awards as the guitarist in the school’s highly respected jazz band.
After wonderful experience  with Dick Weissman as a very hands-  on producer, the band  was shocked at Wilson’s unexplained lack of focus in the studio. They were  inexperienced and wanted  a strong producer, but he  spent most of the time reading  the newspaper or talking on the  telephone. Following the hasty atmosphere of the recording, he excluded them from the mixing sessions, which were not done to the band’s taste or satisfaction.
The band had a wonderful cover proposal by a local artist, but ABC insisted that they needed a cover photo in one week, because they wanted to release the album right away. ABC arranged for an uninspired studio photo, and then didn’t release the album for six months. When the first run of 10,000 discs appeared in August 1968, there was a mistake in the pressing process, meaning that ‘High Flying Bird’ had a skip where an ending phrase repeated three times (this was corrected on a subsequent pressing of 2000 copies).
The photos on the back cover were accidentally printed so dark that you couldn’t tell what they were, and ABC didn’t print enough albums to meet demand, so many stores couldn’t obtain them, despite putting in multiple orders.  Nonetheless, despite a lack of promotional activity or reviews, and the backlash caused by the ‘Bosstown hype’, ‘Flashes’  was fairly well-received. Three singles were taken (‘Walking and Singing’ b/w ‘High Flying Bird’, ‘Dark World’ / b/w ‘Walking and Singing  and / finally ‘Dark World’ b/w ‘High “lying Bird’), though most copies were promos.
The album was played often on the radio, especially in New England, the band was paid well for performances, albeit in amounts that (in today’s dollars) would shock contemporary musicians. Ill Wind performed with many well-known acts, including The Who, Fleetwood Mac, The Byrds, Moby Grape, Van Morrison, The Rascals, The Buckingnams and Mitch Ryder. They continued to gig regularly at The Boston Tea Party and started a free music-in the-park series in Cambridge.
They became important leaders of the New England rock scene, and were even recognized on the street. In mid-1968, III Wind was poised to take the next step (whatever that might have been), when Carey announced he was leaving. This was quite a blow, since he was one of the band’s founders. They replaced him with bass player / vocalist Michael Walsh. At the same time, Ken put together a 4-track recording studio in the basement of one of the dormitories where the band was living, consisting of two cheap Sony 2-track reel-to-reel recorders with heads switched around, and some $10 Radio Shack stereo mixers.
The purpose was to make demos of new songs without having to pay for studio time, and perhaps regain control of the band’s destiny from ABC records and Tom Wilson. In 1968, with Michael on bass and vocals, III Wind recorded 5 songs on this makeshift equipment (‘the Wel Tesley Basement Recordings’), but no further record contract resulted. The band broke up following year, when Ken Frankel (who’d married the band’s original singer, Judy Bradbury) moved to Marin County in Northern California, which his friend Jerry Garcia had convinced him was ‘the place to be’ for musicians.
In 1970 the band reformed with all original members except Ken, with Carey rejoining on lead guitar and organ in place of Ken, Conny on vocals, Richard on rhythm guitar, Dave on drums, Michael on bass, and Berred acting as road manager for larger venues. After a few months, Carey quit again and was eventually replaced by Walter Bjorkman. In this form the band carried on doing mostly covers for nearly a year. Richard left in 1971, to be replaced eventually with Bryant Thayer on piano.
In this configuration, with Conny and Dave as the only remaining members from the ABC album, and with Michael still on bass, the band probably played more performances than ever before, but finally dissolved for good in 1973. The surviving members of III Wind remain in touch with each other, and all but Ken still live in New England. He became a successful real estate entrepreneur in Northern California, and owned and ran a major music venue, The Cotati Cabaret, in the 1980s, when he also formed the classical group The Electric Guitar Quartet. Ken received his Ph.D in Psychology, and is currently undertaking psychology research. He continues to perform professionally in Marin County, California.
Carey Mann recorded an album with Dirty Johns Hot Dog Stand in 1970, and played in a variety of bands on the club circuit through 1975. He had always modified his instruments, but is most proud of completely rebuilding his Hammond organ into a different configuration, even adding semi synthesizer stops. After he quit playing music full-time, he developed a successful career in computer technology and still lives in Massachusetts, where ne continues to play rock professionally.
Conny Devanney owned and ran the well known booking agency CoCo (for ‘Conny Company’) for many years. She has never stopped singing professionally, and has been the lead singer with a Dixieland band and  in various bands doing jazz standards, including an 18-piece big band, and her own 7-piece band, with whom she still performs.
After the final version of III Wind broke up, David Kinsman played with John Lincoln Wright & The Sourmash Boys in 1974, but left the music business in 1975 and moved to Maine. There he raised a family and started the successful bicycle parts company Downeast Bicycle, which he ran for 20 years, before selling the company and retiring^ Richard (Zvonar) Griggs received his Ph.D. in composition and music technology in 1982, and worked extensively both as a musician and intermedia artist, before his death in 2005.
He created the III Wind website, http://www.lll-Wind.com, and was the driving force behind the creation of this CD. Michael Walsh continued to be involved in music for over 30 years, working mostly out of Boston, but also Nashville and California. He played with many notable performers, including Jonathan Edwards, Tom Rush, Livingston Taylor, Vassar Clements, James Montgomery, John Pousette-Dart, Andy Pratt, Robin Lane, Mark Spoelstra, Bill Stains and David Mallet. He currently lives in Vermont.
Judy (Bradbury) Frankel embarked on  a successful solo singing career after an amicable divorce from Ken in 1989. She was internationally known as a singer and collector of Jewish Sephardic music. Judy lived in San Francisco for 30 years prior to her death in 2008. To learn more, visit http://www.JudyFrankel.org.
Berred Ouellette became a successful recording engineer. He has worked on productions in England, France, Venezuela, and 49 of the 50 United States. He has toured with and / or recorded many famous performers, including Livingston Taylor, Tony Williams, Rahsaan Roland Kirk, Aerosmith, Buddy Guy & Junior Wells, The J. Geils Sana, JethroTull, The Beach Bovs, Linda Ronstadt, America and dozens of national jazz acts, and continues to do so. He currently lives in Massachusetts.
“AllMusic”
The psychedelic group Ill Wind released just one album, and even though it was for a fairly big label (ABC), it was indeed ill-distributed and heard by few at the time. Like a number of late-’60s bands from Boston, Ill Wind suffered from the lack of a consistent musical direction and uneven material and production that didn’t make the most of the bandmembers’ assets, though there was some instrumental and vocal talent in the group. Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn’t quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn’t do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970.
“Psychedelicized”

The band was started in 1965 in Cambridge, MA, by two graduates – Ken Frankel (biophysics) and Carey Mann (math), who were joined by folk duo of Judy Bradbury and Norm Gan. Around 1965/66 the music scene drifted from the pure entertainment of R&R and beat towards rock and psychedelia, and “Ill Wind” perfectly fit in it with their unique mixture of psychedelia and acid-folk. By that time the original singer Judy Bradbury (who helped to shape the sound of the band) quit to be replaced by another ex-folky – Conny Devanney – a singer p a r e x c e l l e n c e with crystal clear voice.

The band went through hard times (they couldn’t get jobs because they played their own songs and refused to play covers, and they looked and dressed too “hippie” to be generally accepted). However, “Ill Wind” was gigging non-stop in the college circuit and built a solid following, finally becoming a resident act at the “Boston Tea Party” (which was New England’s response to the rock shrine of “Fillmore” in San Francisco). “Ill Wind” recorded a few demos for Capitol (before being dropped by the label) and ended up signed by ABC. In 1968 “Ill Wind” had played with the wide range of top musicians from Chuck Berry to The Who, thus there were many fans waiting for their debut album – which was properly delayed by label, misproduced, artwork ruined, and the label didn’t manufacture enough copies to satisfy the demands.

The original recordings of “Ill Wind” have been heavily counterfeited on both vinyl and CDs by Flash, Afterglow and Akarma. There is however an oustanding legitimate re-issue by “Sunbeam” on 2 CDs, featuring 9 original songs recorded in 1968 starting with bluegrass ballad “Walkin’ and Singin’” and erupting into psychedelic mini-symphony “People of the Night”. The second CD has 15 tracks recorded in 1966 and 1967, plus 5 songs recorded in 1968. The set comes with an excellent well-researched booklet and rare photos.

“Music Museum of New England”

Boston-based Ill Wind was a familiar band on the college and teen dance circuit in New England and New York during the sixties and early seventies.  The first incarnation featured Ken Frankel on lead guitar, Richard Griggs on guitar, Carey Mann on bass, local folksinger, Judy Bradbury, on lead vocals and Dave Kinsman on drums. The band originally mixed folk/rock and bluegrass. As the band evolved into psychedelia and blues, Judy left the band and was replaced by Conny Devanney who had been singing in New York City and Jersey Shore clubs. The band had three lead singers, three songwriters and their songs started to feature complex three part harmonies and long instrumental jams.

The first gigs were at college mixers and frat parties in the Boston/Cambridge area. After recording a demo tape at Hanley Studios in Medford, the band got their first gig out of the Boston area at a CYO dance in Stoneham. The young kids were so enthusiastic about the new sound that Ill Wind began playing at other CYO and teen dances around New England.

Soon the band attracted the attention of booking agencies and started playing colleges around   New England and New York at the time when colleges had large entertainment budgets. They also started playing at the Boston Tea Party, where they made regular appearances, plus many of the big ballrooms where the big bands of the 30s and 40s played. The band was working full time now and brought in Ken’s brother, Tom, to help manage the band and do sound levels at performances. Soon after that Richard “Berred” Ouellette joined the band as road manager. Over the years, Ill Wind performed with many well known bands including The Who, Fleetwood Mac, The Byrds, Moby Grape, Van Morrison, The Rascals, The Buckinghams, Jethro Tull, The Youngbloods, Mitch Ryder, Vanilla Fudge and also backed Chuck Berry.

In 1967, the band recorded five songs for Capitol Records at their studios in New York, produced by Dick Weisman, formally of the Journeymen. Although months of negotiations ensued, no record contract was signed and the songs were never released. The band started working with the William Morris Agency and was booked on a West Coast tour.

Upon returning from California, the band spent two weeks playing on Long Island and New York City where they met Tom Wilson. Tom had just formed his own production company after producing albums for Bob Dylan, Simon and Garfunkel and The Mothers of Invention. The band signed with ABC Records and in 1968 the album, Flashes, produced by Wilson, was released as well as a single, “In My Dark World” b/w “High Flyiing Bird”. The respected British music magazine Mojo noted that the album included “some of the finest psychedelia conceivable”

Unfortunately, ABC did not press enough albums to meet demand, and many stores couldn’t stock them. Nonetheless, Flashes was fairly well received and was played often on the radio across the country including WBCN and was “pick of the week” in several markets.

The original band broke up in 1969 and reformed in 1970 with Conny Devanney, Dave Kinsman, Michael Walsh on bass, Walter Bjorkman (formerly of Cloud and Swallow) on lead guitar and Bryant Thayer on piano. Featuring Conny’s strong vocals and Walter’s blues guitar, Ill Wind was a big draw at colleges and concert clubs until disbanding in 1973.

Ironically, more has been written about Ill Wind since they broke up. Richard, Walter, Judy and Tom have died. The other members reside in New England and California.

In 2009, the British label, Sunbeam Records, re-released Flashes as a double CD and double vinyl album that included the five previously unreleased cuts from Capitol as well as other earlier recordings.

Photos about the album/band/track :

Ill Wind – “Flashes” Album cover photo (front)

ILL WIND FLASHES 1 (2)

Ill Wind Band’s Photos

Conny Devanney (Singer)

Image result for ill wind band

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ILL WIND BAND 1 (2)

Image may contain: 6 people, people sitting

Ill Wind2

Image may contain: one or more people, people standing, tree, plant, outdoor and nature

Ill Wind4

Links about the album/band/track :

Ill Wind – “High Flying Bird” Video file link on YouTube

Ill Wind – “Flashes” Full Album Video file link on YouTube

Ill Wind Band’s Page on Spotify

Ill Wind Band’s Page on Discogs

Ill Wind Band’s Page on Rate Your Music

Ill Wind Band’s Page on Facebook

Ill Wind – “Flashes” Full Album Download Link on Rockasteria Blog

Ill Wind – “Flashes” Full Album Download Link on The Free Spiritual Be-In Blog

Ill Wind – “Flashes” Full Album Download Link on Rock Archeologia 60-70 Blog

Ill Wind – “Flashes” List on eBay

Ill Wind Band’s Page on Apple Music

 

 

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

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

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

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

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

Released on Reprise Records ( R 6247) in February 1967

Line-up/Credits :

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

Art Direction – Ed Thrasher

Design – Charles E. White III

Engineer – Lee Herschberg

Photography By – Carl Frith

Producer – Bob Markley, Jimmy Bowen

Lyrics :

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

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

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

Track List :

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

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

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

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

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

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

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

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

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

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

THE WEST COAST POP ART EXPERIMENTAL BAND PART ONE 1

The West Coast Pop Art Experimental Band

THE WEST COAST POP ART EXPERIMENTAL BAND PHOTO 2

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

The West Coast Pop Art Experimental Band – Topic on YouTube

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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

 

 

 

 

Garage/Psychedelic Rock U.S.A. 1960s (Tracks) Hunger – “Workshop”

hunger 2

hunger 1

hunger 5

hunger 4

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

Hunger  (Portland, Oregon, U.S.A.)

“Workshop” A2 track included on the album “Strictly From Hunger” 

Released on Public! Records (P-1006) in January 1969

Line-up/Credits :

Mike Lane – Vocals
Bill Daffern – Drums, Vocals
Steve Hansen – Rhythm Guitar
Tom Tanory – Bass
John Morton – Lead Guitar
Mike Parkinson – Vocals, Keyboards
Ed King – Lead Guitar, Bass

Liner Notes – Phil Flamm

Mastered By – Marty Cerf

Performer – John Morton, Mike Lane, Mike Parkison, Steve Hansen, Tom Tanory, Bill Daffern

Photography By [Cover Photos], Design – Nik Shrode

Producer – Jim Pettinotti, Joe Koistra

Hunger! (the name sometimes given as just Hunger) was a band in the psychedelic rock music scene that flourished on the Sunset Strip in Los Angeles in the 1960s.

The band formed in Portland, Oregon, and later moved to Los Angeles, where they gained a following after opening for groups such as the Doors. They released one album, Strictly from Hunger!, in 1968 (reworked and reissued in 1969) and broke up soon after.

Hunger!, originally from Portland, Oregon and known as the Outcasts, toured regionally and had acquired a following. Their local success culminated with the group winning a local battle of the bands contest.

The band decided to try to make it in the Los Angeles music scene. Thy found a manager, changed their name to Hunger! and were soon playing in various Los Angeles venues including the Whisky a Go Go, the Cheetah, and Kaleidoscope, as well as lesser known venues such as the Blue Law, playing with and meeting other up and coming bands such as Hour Glass (which soon become the Allman Brothers Band), Steppenwolf, Procol Harum, all the while developing their sound and writing original material. As in Portland, Hunger! developed a following and were being favorably compared to bands such as the Doors in the Los Angeles music press.

They recorded their album Strictly From Hunger!, which was released in Europe in 1968 and gained radio play and sales. But the band, which had already been on the verge of breaking up, dissolved under the added pressures. A reworked version of the album, featuring Strawberry Alarm Clock and Lynyrd Skynyrd guitarist Ed King, was released in 1969.

Today Hunger! and the album Strictly From Hunger maintain a cult status in psychedelic circles having been covered by bands such as the Treblemakers and the Glass Keys.

Discography 

Albums
  • Strictly From Hunger (Public! Records P-1006) 1969
  • Hunger (No label) 1969

Both albums were reissued as The Lost Album, a 2-LP package (Akarma 045/2) in 1999

Singles
  • She Let Him Continue/Mind Machine (Public! Records PR 101/2) 1968
  • No Shame/Not So Fine (Public! Records PR 103/4) 1968
  • Colors/Mind Machine (Public! Records PR 1001) 1969

Hunger – “Strictly From Hunger” Album cover photo (front)

hunger strictly from hunger 1

Hunger – “Workshop” Video file link on YouTube

Hunger – “Strictly From Hunger” Full Album Video file link on YouTube

Hunger Band’s Page on Spotify

Hunger Band’s Page on Apple Music

Hunger – “Strictly From Hunger” Full Album Download Links on Rockasteria Blog

Hunger – “Strictly From Hunger” Full Album Download Links on Tyme Machine Blog

Hunger – “Strictly From Hunger” Full Album Download Links on 60-70 Blog

Hunger – “Strictly From Hunger” Full Album Download Links on Psych Spaniolos Blog

Hunger – “Strictly From Hunger” Review of the album on It’s A Psychedelic Baby Magazine Blog

Hunger Band’s Page on Discogs

Hunger – “Strictly From Hunger” Information on the reissue edition of the album on Portland Mercury Page

Hunger – “Strictly From Hunger” Information on the reissue edition of the album on Time Machine Productions Page

 

 

 

 

 

 

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