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
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)
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 – “Peak Impressions” Album cover photo (front)
The Freeborne (along with The Velvet Underground), Boston Tea Party, Poster, 1967