HUMAN EXPRESSION - LOVE AT A PSYCHEDELIC VELOCITY

The Human Expression were a group of teenagers from the Los Angeles suburbs who (along with countless others) formed a garage band sometime in early 1966.  They recorded a few demo cuts and after a few negotiations got a deal with local label Accent Records.  Before disbanding post-1967 they released three singles, that of which are edgy, reverberated, garage psych nuggets of the highest order and highly regarded by collectors and 60's enthusiasts alike.  In fact, original copies of their 45's fetch for prices well over the thousand dollar range.  I'm not sure who is paying these prices (and what they are doing with them), but knowing this I am even more happy to have all of these tunes on a nice new slab of wax for a meager $12.

Local record store/label Mississippi Records co-released this collection a year or so ago with Swiss label Moi J'Connais and they did an absolutely fantastic job.  All of the material has been previously released on various cd compilations, but this is the first 12" vinyl release of Human Expression material and it's an absolute gem.  The heavy duty flipback sleeve is killer, only adding to the contents inside.  I had (foolishly) passed this record up several times before deciding to give it a go, and I couldn't be more pleased with my decision to give in and cop it.

Aside from the aforementioned singles this release includes alternate versions, unused demos and a few haunting lofi gems from lead singer Jim Quarles' tape reel recorded prior to joining the band.  Also included is a bonus 45 RPM with two great tracks 'Following Me' b/w 'Who Is Burning',  recorded by Jim Quarles post Human Expression. 

SOUTHWEST F.O.B. - SMELL OF INCENSE / GREEN SKIES, 1968

Dallas, Texas group Southwest F.O.B. recorded a version of The West Coast Pop Art Experimental Band's 'Smell Of Incense' which was released in September of 1968 and achieved moderate success on the charts.  This was a particularly nice move on their part as the WCPAEB hadn't released the track as a single (they did shortly after the Southwest F.O.B. release, a much edited version of the near six minute album cut).  It doesn't achieve the explosiveness and atmosphere of the original, but it is a noteworthy recording made interesting by a prominent organ sound throughout.

The flipside 'Green Skies' is another groovy tune relying heavily on the organ and also bringing in some horns.  It's a bit of a mishmash with an interesting structure, shifting moods a few times over it's brief two minutes.  There's a specific moment in the tune where one can't help but recall 'We Can Work It Out', a more than likely influence of the recording.

THE BEAU BRUMMELS - JUST A LITTLE / THEY'LL MAKE YOU CRY, APRIL 1965

Ultra-cool pair of early British Invasion inspired folk rock tunes by San Francisco's Beau Brummels.  'Just A Little' was the groups highest charting single peaking at #8 on Billboard in June 1965.  Sal Valentino provides a cool-as-ice vocal delivery in each of these tunes, and I particularly dig the electric guitar break in 'Just A Little'.  Simple garage technique is just as compelling for me as anything else, and this is a prime example.  Better fifty years late than never!

THE CAPES OF GOOD HOPE - SHADES / LADY MARGARET, 1966

Chicago group The Capes Of Good Hope released a pair of 45's on the small Round Records label in late 1966, this one being the first (and most common).  The top side 'Shades' is a light sunshine pop tune with a nice piano intro and string flourishes.  The acoustic guitar is high in the mix along with the vocals which most definitely fall somewhere in the Association's category of harmony pop delights.

The flip side 'Lady Margaret' is a different story all together and is the one made familiar by it's inclusion in A Heavy Dose of Lyte Psych (it also appears on a 'Soft Sounds For Gentle People' compilation).  It seems every instrument from 'Shades' was dropped in favor of some late '66 Eastern flare.  In come the electric guitars accompanied with the prominent percussion of cymbals, tambourines and tablas.  Throw in some bits of compact organ and mystical lyrics and you have two minutes and thirty seconds of prime evidence supporting a theory that music of this era was, in fact, THE coolest ever made.

The unique label design also deserves mention as it seems out of place for it's time.  It's more in line with the indie label designs that would appear several decades later...

JOHN RANDOLPH MARR "RAGGEDY ANN"

I randomly stumbled upon this LP today and was left with one of those pleasantly surprised looks that any vinyl collector knows and loves.  I had known about this record after hearing one of it's tracks on Fading Yellow Vol. 7.  From what I can gather this is John Randolph Marr's lone LP and was released sometime in 1970.  For the intents and purposes of this blog I will assume most of the material was recorded in 1969.  Apparently Harry Nilsson was originally set up to produce this album but passed the baton to Gary Osborne to finish the job after being impressed with some of his results.  Other than that the only thing about this record I can gather is that there was a promo single released ('Hallelujah b/w 'I Wonder Who's Kissing Her Now') at an undisclosed date.

The album itself is a bit of a mixed bag with an array of styles most often accompanied by orchestral arrangements with occasional electric guitar and gospel backing vocals.  Although nicely produced it's not typically something that fits my bill.  At times Marr's voice recalls John Sebastian in certain Lovin' Spoonful tunes, and I also hear a bit of Tim Hardin here and there.  By far the standout track (the one from the Fading Yellow Comp..) is the hauntingly sublime 'Raggedy Ann' which is enough of a force to include this LP on my blog.  It really is one of those songs that wraps itself around your senses and removes you from your surroundings if you have the ear for this type of thing.  Lush strings, distinct acoustic fingerpicking and prominent harpsichord provide a perfect backdrop to Marr's haunting and mysterious lyrics. 

'Raggedy Ann has a pocket of goodies for you and for her and for me /

she is the mother of all of the children who blindly found hell just to see'

SIDEWALK SKIPPER BAND - STRAWBERRY TUESDAY / CYNTHIA AT THE GARDEN, MARCH 1968

Here are two slices of top shelf pop-psych that I'm very happy to have in my record stash.  As previously mentioned the Sidewalk Skipper Band hailed from Milwaukee, Wisconsin and cut two 45's for capitol in early 1968, this being the first released in March of that year.  The hard driving 'Strawberry Tuesday' is absolutely killer and has been featured in a few compilations over the years.  I have to mention the explosive drumming in the song as being standout for me among the rest of the extremely well crafted arrangement.  'Cynthia At The Garden' is another terrific piece of pop song craft with more fantastic drumming, great vocals and a nice touch of harpsichord.  The image below was taken from the liner notes of the Now Sounds Book A Trip CD, a resumé of sorts for the SSB.  Pure gold!

SWEETWATER - WHAT'S WRONG / MY CRYSTAL SPIDER, 1968

My latest record excursion brings me this debut single by Sweetwater released on the Reprise label in November 1968.  Info on Sweetwater is not quite in surplus, but they are fairly common among 60's enthusiasts and are most known for being the first 'band' to play at the Woodstock festival in 1969.  That is by no means a selling point for me, but I dig the sounds found here.  'What's Wrong' features a cool arpeggiated groove with male/female harmony vocals and lyrics heavy in social/political commentary.  The original band had 8 members which leads to a nice break in the song featuring flute, cello and bongos among other things.  'My Crystal Spider' takes a more experimental psychedelic approach and it's pretty obvious that female lead vocalist Nancy Nevins was going for a Grace Slick delivery.  They're no Jefferson Airplane, but this is a nice pair of tunes nonetheless.

BLUES MAGOOS - ELECTRIC COMIC BOOK, APRIL 1967

(Like always) I'm finding myself immersed in a select handful of killer records, one of them being The Blues Magoos second LP 'Electric Comic Book'.  'Electric Comic Book' was released in April 1967, just five months after their successful debut album 'Psychedelic Lollipop' (quite the testament to how incredible the music market was in this era).  It largely fell in the shadow of 'Lollipop' which was in the charts well into '67, but I find it every bit as engaging and fun.  The highlight for me is album opener 'Pipe Dream', a two and a half minute blast featuring guitar and organ breaks that are cooler than just about anything.  'Pipe Dream' was originally released as the b-side of 'There's A Chance We Can Make It', but in one of those strange cases ended up charting higher.  The freak flag flies high throughout the rest of the album, and they even throw in the nice baroque tinged 'Summer Is The Man' for good measure.  Covers on this record are limited to a great take on 'Gloria' and a more traditional blues arrangement, 'Let's Get Together'.  This is a record that will drive your square neighbor crazy when played repeatedly at volumes.  Too bad for them!

THE PEANUT BUTTER CONSPIRACY - THE PEANUT BUTTER CONSPIRACY IS SPREADING, APRIL 1967

'LOVE IS THE GROOVIEST THING UP 'TILL NOW IN THE WORLD'

Instead of chiming in with my own unorganized thoughts about this fabulous record I have transcribed the 'custom' liner notes handwritten on the inner sleeve of my unique copy by a previous unknown owner.  The Peanut Butter Conspiracy's debut album was released in March of 1967, produced by the great Gary Usher and is most definitely A HAPPENING THING.

YA WANT FLOWER POWER?  HERE IT IS, FROM 1967!!!

What I’m surprised by is that all the stuff, even the big hit single is ORIGINAL material.  While I cringe at the word “GROOVY” (the word long went the way of ‘Daddy-O’) this group can rock out and then sing it pretty too… one nice trademark of flower power bands was that they had a soft lyrical side too.  So while “It’s Happening” blasts off, “Then Came Love” is reminiscent of softer Mama’s and The Papa’s type material.  Songs like “Twice Is Life” sort of echo the Byrds… So really, this band fits right in with the Byrds, We Five, Jefferson Airplane, and perhaps even Sweetwater (before Sweetwater’s lead singers accident, that is)…  Well, OK, “Second Hand Man” was written by someone not in the band… It’s a friendly little folkie toe-tapper.  Back when this LP came out, record companies were signing up everyone… and from what I can tell, a lot of bands had a ‘folk’ influence before things got really heavy…  Good album coordination too… Lots of variety.  “You Can’t Be Found” rips out, sorta like the Seeds “Pushin Too Hard”… really, this album is a real period piece.  Sure this was a LESSER band but this record is nothing to be ashamed of, and is probably how a LOT of bands in that area sounded like way back when.  Folk, British invasion, and even some country were all interwoven by bands of that time.  “Why Did I Get So High” is very British in approach, with a cute little Jane… and she is “high” on Love by the way… Maybe this album tries a bit hard to be ‘hip’ but this WAS the climate way back when.  “Dark On You Now” is a smooth fast-paced number, while “Market Place” is weird in vocal and lyrical approach (hey, the hippies gathered in the market place didn’t they?)  So this song must be a direct reflection of the times?  “You Should Know” almost sounds like the Seekers turned up a notch… and it then shifts tempo for a bit of Jazzy guitar – so this is a fairly talented band!  Also the chick doesn’t sing ‘lead’ on every song.  “The Most Up Till Now” for instance, so the group can change and weave their sound.  This album is much more real than I thought it would be – I’m pleasantly surprised… and “You Took Too Much” closes the album harmoniously.  Not bad, not bad. And ‘tasty’ too.  They don’t ‘spread’ it on ‘too thick’ (groan!)
6/09/01

BLUES MAGOOS - ONE BY ONE / DANTE'S INFERNO, JUNE 1967

'One By One' was featured on the Blues Magoos debut LP released in late 1966 and reappeared as a single in the summer of '67 with a different, slightly uptempo mix.  It was backed with the insane noise piece 'Dante's Inferno' which I can imagine had a few stuffy DJ's scratching their heads...