Akashic Readings from The Eternal Now (part 1)
Now Playing: Paul Revere & The Raiders old mix-tape
Topic: Minor change or comment

As I mentioned earlier I used to run The Eternal Now, a webpage column (or blog) long before blogs existed, and over its 7-8 years in existence quite a bit of esoteric information appeared there. The page is still up and will remain so, as a kind of Akashic Library, but I intend to recycle some of the more interesting tidbits from there into this current blog. Not all of it will be immediately Acid Archives-related, but all of it will be immediately psychedelic.

from The Eternal Now, 2004:
...Moving upwards and then to the right we end up in Oakland, where a bunch of heads known as DIRTY FILTHY MUD held the population hostage with strange sci-fi music and even stranger behavior... their "Forest Of Black" 45 is one of the freakiest and most highly rated acid music 45s of all time, and thanks to info provided by Dave Baldwin I am able to reveal the following: 1) the blurry color design of their art sleeve is in fact a flashlight shining through a hippie shirt; 2) the band cut a whole bunch of unreleased tunes, incl an 11-minute version of "Forest Of Black" with acid guitar leads throughout... aargh... 3) the band were buddies with none other than the 13th FLOOR ELEVATORS during their Bay Area stay (Fall'66), and the amazing oscillator fx on "Forest" were in fact a tribute to TOMMY HALL's psychedelic jug... speaking of the Elevators, the wellknown "Avalon '66" tape that has been bootlegged by everyone and his attorney since 1978 derives from a broadcast of old ballroom live tapes on KSAN in the Bay Area; first mention of the Elevators tape I've seen comes from early 1978, suggesting the broadcast happened in late 1977; anyone know for sure?... the Elevators were just one of many vintage psych-era tapes broadcast by KSAN, and despite being traded for 25 years now most of these have never been properly released and they include killer stuff like '66 ragarock by the FINAL SOLUTION... [since then, the Avalon recording has of course been legitimately released on the British box-sets, via a tape provided by me to Elevators caretaker Paul Drummond]

Phantasia & Phiphth Pipe Dream
Now Playing: Kris Kylven & Syb-Sonic "Forgotten Souls" xlnt psybient
Topic: Minor change or comment

A couple of quick but vital points... one of the oft-mentioned but hardly ever seen stickers that was supposed to come with the classic Fifth Pipe Dream sampler finally popped up, not exactly a feast for the eyes but cool to finally see. 

I think there is another one in another color, and there are definitely promo stickers in the same 'series' for Tripsichord Music Box and other Katz sweatshop acidrockers. 
 

---

Regarding Phantasia, noted collector Juan in Spain points out that his copy of the rather severe Graal that is their first demo LP comes with a lyric sheet insert. This is not mentioned in the Acid Archives book, and I'm unsure whether all or just some of the copies found included this lyric sheet. The tracking story of Phantasia, if I remember correctly, is that the main Ton Um Ton guy in Austria found the band some time around 1990, and extracted a few remaining copies of the 2-sided and 1-sided demo albums, which were then sold to well-heeled European collectors. Very few copies have been seen since, and in view of the reported 25-copy pressing, won't be seen either. You know the music, of course... here's side 1 of the lyric insert so you can sing along to "Transparent Face".

The Name That Tune 2013 Contest has begun !
Now Playing: Juventus celebrating a new scudetto
Topic: Minor change or comment

*** NAME THAT TUNE UPDATE ***
 
Following last week's Lesser Mysteries, we have now unveiled the full trip of the Greater Mysteries. The Name That Tune website contains all the vital information and music you need to join the contest. $100s of dollars and some great records can be yours, if you can Name That Tune!

http://www.lysergia.com/NameThatTune/lamaNameThatTune.htm

Mystery Image Unmasked!
Now Playing: Eclipse (US 1983)
Topic: Minor change or comment

Charlie Bleak / Hoi Polloi 45
Now Playing: Charlie Bleak 45
Topic: Minor change or comment

For more than 10 years we at Lysergia have championed Ohio's Charlie Bleak as an undiscovered talent of national magnitude, and it's pleasing to see the persistent interest in both Bleak and the Hoi Polloi LP, which will see a vinyl reissue shortly.

For Charlie Bleak (pronounced like 'Blake') the Hoi Polloi project at Earlham College was just one stop in a long and varied musical career that began in the '60s garage era. Some day, maybe not too far in the future, I suspect that it will all be excavated and documented with the attention it deserves, preferrably by some young musicologist in the Ohio/Indiana area. While waiting for that I keep chipping away at my archivist contributions, from which now a useful addition can be reported. After reading some years back that Charlie Bleak had some session hours logged at the Owl studio where several Ohio artists recorded, I figured there might be a release somewhere between Hoi Polloi (1972) and Bleak's mainstream album Let Me In (1976). And indeed there was, more precisely a 45 which was recorded locally and self-released by Charlie, with a picture sleeve even. I was lucky to find a copy fast once I knew what to look for, and here it is.

The presumed A-side "Love Is On The Way" is melodic '70s pop with a breezy feel, very much in the McCartney mode where one often finds Bleak as well as other local '70s talents. It's a well-written, well-arranged song which is so succinct in its action that it only lasts 90 seconds! It still has all the elements of a 3-minute pop song, which tells you something about Bleak's modus operandi. Both verse and chorus are agreeably catchy without being silly, I just wish there was a bridge section so one could enjoy it a little longer. The B-side "Never You Mind" is a longer song that leans more towards a CSN type dreamy westcoast vocal harmony sound, and none the worse for that. Not as radio-friendly upbeat as the A-side but for a 2013 listener, about as good. In short, Bleak does not disappoint with this 45, but confirms his standing as a terrific songwriter and all-around music pro, seeing as how he both arranged and produced both tracks. Anyone smitten with his Earlham College work will want to add this 45 to the collection, at least until that groundbreaking Bleak retrospective album comes around some day.

A final note, unless I've mentioned this already--the story on how Bleak came to play bass (under an alias) on the One St Stephen LP is that they lived in the same building and Charlie got tired of hearing 'Stephen' rehearsing the same tracks over and over, so he brought him to Owl studios to get the songs out of his system and on to vinyl.

Preparation for the Mystery Rites -- have a guess!
Now Playing: Torino-Juventus
Topic: Minor change or comment

MYSTERY IMAGE COUNTDOWN, DAY 1
Taking a break from interviewing Merrell Fankhauser (aye) in order to present the blog readers with a little mystery that I've concocted. This mystery is in itself the prologue to a much bigger mystery which will be presented in time. For now, the game begins with the Lesser Mystery:

Every day in this coming week I will post 4 different parts of the same image. These parts are like pieces of a puzzle where the full image is unseen and unknown. As new parts of the image are added each day, the complete picture gradually becomes more clear. Once it is entirely clear, it will signal the beginning of the Greater Mystery.
 
If you can post a reasonably accurate guess as to what the picture contains, you will be awarded a bonus point which can be very valuable in the next and much heavier part of the Mystery.

 (note: if the 'post comment' option doesn't work, send me an e-mail at renaissancefair*gmail.com, replacing the * with @).

This countdown will continue for a week, beginning now. And remember, future events such as these will affect your life in the future.

Countdown Image part 1:

Morly Grey counterfeit deconstructed
Now Playing: Morly Grey
Topic: Minor change or comment

Inspired by a recent internet discussion I decided to try and put an end to the old wives tale about the Morly Grey counterfeit once and for all. This is addressed in the Acid Archives book, but pictures speak louder than words.

Riverson redux with no resolution
Now Playing: Ishq "Orchid"
Topic: Minor change or comment

As a final nail in the coffin for my neat theory regarding the manufacturing defect and the two different pressings of Canada's RIVERSON, my German connection now says that copies of the earlier '360 label' pressing do exist without the defect on S1T6; this was further verified by another European collector.

So basically we're back at square 1, but a good deal of confirmed data has nevertheless been produced. Riverson exists in two different pressings, but these both came from the same stamper, and the 'repeat skip' (or 'stick') error can be found with copies from both the first and the second pressing. Conversely, copies without this defect can also be found with both pressings, and this leaves the collector with the only option to actually play the disc in order to determine if the repeat skip is present (it is not visible to the eye).

Scroll down a few pages for more on this affair, but what you just read here represents the most recent word on the matter.

Easter Everywhere!
Now Playing: Easter Everywhere
Topic: Minor change or comment

Easter Everywhere is one of the more important events in the psychedelic calendar and should be observed with proper hedonism and joy. From the egg into the flower:

The Santa Cruz Connection (part 2)
Now Playing: Bob Dylan "Live At Albert Hall" (TAKRL boot)
Topic: Minor change or comment

This story keeps jumping forth in bits and pieces, and it is probably necessary for someone to take the time to sit down and create a coherent picture from what has emerged. I'm only at the receiving end here however, and must settle for forwarding the data as it surfaces.

As noted in an earlier post, there is some connection between the Music Of The Santa Cruz Mountains sampler LP and notorious music biz hustler Johnny Kitchen. This is based on the fact that the Kitchen-produced 2nd Victims Of Chance LP (the one with the generic mill wheel cover) contains music lifted directly from the Santa Cruz album. See my previous post for details.

My Northern associate Jens U now forwards me a bundle of new info related to the Santa Cruz nexus, some of which is quite startling. First of all, to the existing spider's web we can now add the illustrious name of Eddie Callahan. Callahan is an Acid Archives alumni with a much loved private press LP under his belt. That he was related to the Santa Cruz LP, just like Johnny Kitchen, was however news to pretty much everyone. The connection is made clear via the track "Santa Cruz Mountains", which can be found on the SC sampler LP credited to J J Johnson AND on Eddie Callahan's False Ego LP under the same title but with songwriting credited to Callahan! It is clearly the same song, but in different recordings.

OK--so Eddie Callahan is involved here somehow. But wait--it gets even better. The next piece of info adds Bob Berry, of the very rare and highly rated Heavy Berry album, to this same Santa Cruz net! Berry is another Acid Archives graduate, and his demo LP is one of the more expensive finds of the 2000s. His name appears on the Santa Cruz sampler LP credits, but it was unconfirmed whether it was the same Bob Berry, or some namesake. Now, the reissue of the Eddie Callahan LP contains a reference to 'Robert Berry', and from this link and the overlapping "Santa Cruz Mountains" track, a puzzle with several interconnected pieces emerged. One of our knowledgable sources says that:

Bob Berry & Eddie Callahan had been in bands together in the late 60s, well before the Santa Cruz sampler LP or 'False Ego' were recorded. Since Bob was very behind the scenes on these releases (not even credited with playing on 'False Ego' originally) I'm guessing he co-wrote 'Santa Cruz Mountains' with J J Johnson and then offered it to Eddie. In both cases, the singers took full credit... The two versions of the song are quite different, with J J's version adding a couple verses, and Eddie's changing some words... Eddie insists the 'False Ego' recordings were just the trio of himself, his wife, and Bob.

Before moving ahead, I should mention that Bob Berry had also been in '60s garage band the 4th Street Exits who cut a highly rated garage 45, and whose members may figure in this story somehow. Regarding connections between the main protagonists in this saga, our source speculates that:

The real key here must be the band Mahatma which was Eddie Callahan's 5-piece rock band in the early-mid 1970s. They toured & played a ton, but never recorded. I believe Bob Berry was in that band, and I'm guessing J J Johnson was too... and possibly other names that would overlap with Victims Of Chance -- in which case the overlapping 'Santa Cruz Mountain' song could have been a Mahatma song that both singers then claimed as they own and altered in their own ways.

Another source believes that the guitar-player on the first three tracks on the Santa Cruz Mountains sampler (and Victims Of Chance) is the same as heard on the Eddie Callahan LP. As revealed via the reissue, Bob Berry partook in Callahan's recording, a fact which Callahan did not credit on the original. So here is yet more evidence of Berry's involvement with both Callahan, the Santa Cruz sampler in general (where he's credited repeatedly) and the opening J J Johnson tracks on the sampler in particular. The simplest explanation is stated above--Bob Berry, Eddie Callahan and J J Johnson were long-time musical comrades, and the multi-talented Berry emerged as a connecting link between the various LPs discussed here (including his own).

But the album where our Detective Columbo script took its beginning, the second Victims Of Chance with its confirmed Johnny Kitchen involvement and presumed tax scam origins, is left somewhat out in the cold by these cozy Santa Cruz weedhead collaborations. How did the material from the obscure Santa Cruz sampler end up in Kitchen's hands? Via Berry, Callahan, Johnson... or someone else? If they were involved, was it because they had submitted the sampler as a demo to some LA label, or did they willingly agree to the Kitchen tax scam?

This may be revealed in our next chapter. Meanwhile, here is a recap of the records and artists involved so far in the Santa Cruz Connection:

MUSIC OF THE SANTA CRUZ MOUNTAINS 1974 (Santa Cruz Mountains)
-- various artist sampler including J J Johnson, with Bob Berry credits

BOB BERRY : Heavy Berry 197? (no label)

EDDIE CALLAHAN: False Ego 1976 (Ocean)  [reissue exists]

VICTIMS OF CHANCE: Goin' Home Blue 197? (no label 1014)
-- if one accepts the tax scam nature of this, the year is either '76 or '77

Possibly relevant 45 featuring Bob Berry, other members currently unknown:

4TH STREET EXIT (San Jose, CA)
Strange One / A Love Like This  1967  (Rowena 792) 

 

Talking of Michael Angelo
Now Playing: Michael Angelo on Guinn
Topic: Minor change or comment

 

One of last year's better scores was a strong copy of Michael Angelo on Guinn, a long-time want that more often than not seems to bring in four figures these days. Adding an original means that a reissue is sprung loose, and while packing the repro up for its next owner, I noticed that there really is very little that marks this repro as a reissue and not an original. I don't think it was intended as a counterfeit, but there is this spooky gray area where one can imagine a future where people remove the miniscule signs of the reissue status, and offer it as an "original". This has happened with the Maitreya Kali "Apache" bootleg, for instance.

In this case -- and I'm of course talking about the German, pre-Shadoks reissue of Michael Angelo, not the Void one -- the only tell of this being a reissue is a tiny numbering on the backcover, with '/450' printed, and the individual number added by hand. Placing a sticker on top of this, or creating a fake cover tear at the spoit in question, means that the printed contents of the German reissue looks exactly like the 1977 original down to the smallest detail.

However, there are significant differences that should make the identification easy. The reissue is board-printed on glossy, modern paper stock, while the original has cover slicks in the traditional old style. The spine of the reissue has printed text, while the original spine is blank. The labels are almost identical with a slight difference in color hue only, but the dead wax carvings are completely different. The reissue has 'Guinn 1050' in the deadwax, while the 1977 original contains no mention of Guinn, but instead a reference to the famous 'Rite' pressing plant (it's Rite # 338431) along with some other scribblings.

That should do it. This gave me the opportunity to listen to this extremely good LP once more, which was my hidden agenda all along.

Odd Hoi Polloi celebrity scoop
Now Playing: Bohemian Vendetta
Topic: Minor change or comment

A recent discussion of the Hoi Polloi LP and the related efforts by member Charlie Bleak brought forth a fun tidbit that is worth preserving for posterity. As mentioned in my old Hoi Polloi webpage article, band member Jeff D'Angelo was brother of noted Hollywood actress Beverly D'Angelo, once famous for "Hair" and Chevy Chase's suffering wife in the "Vacation" movies, and more recently in the spotlight again via the "Entourage" TV series. Well, it turns out pretty Beverly wasn't just a hangaround on the Earlham College scene, but does in fact appear on Charlie Bleak's solo LP on Pickwick 1976. I have this album but oddly missed the fact that she's credited with backing vocals, while I duly observed the presence of several ex-Hoi Polloi guys (including brother Jeff). So that was Bev in '76, and just a couple of years later Milos Forman cast her in the movie version of "Hair" and her star was made.

All this in much more will hopefully be covered in an upcoming vinyl reissue of Hoi Polloi with bonus tracks and thorough background research. It's amazing to think how much has evolved from this story, which began with me receiving a copy of the unknown, undocumented Hoi Polloi LP back in a trade back in 2004 or so.

Acid at your fingertips
Now Playing: Goddard High Stage Band "In A Gadda Da Vida"
Topic: Minor change or comment

Here's some news regarding the Acid Archives book itself, rather than the A-Z contents. We're entering the world of cyborgs and androids via a cutting edge man-machine interface known as a tablet PC (not tablet LSD), surf pad, Ipad, e-Reader, or whatever. It's that thing where you read books on a glowing digital screen rather than by turning paper pages. While I'm not overly interested in this particular technology, I can definitely see the advantages of being able to carry the Acid Archives A-Z with you as you're out record digging, at record fairs, or going through a deceased hippie uncle's old LP collection.

After a long and tricky conversion process due to our 3-column format and inline images, the Acid Archives 2nd Edition is now available as an e-book that can be read on any major digital platform. Download the complete Acid Archives A-Z and... carry it with you on your mobile phone, Ipad, Kindle reader, handheld PC, tablet PC, laptop, etc.

Should be easy to find, Amazon carry it for example.

Stonewall story (updated)
Now Playing: Them "In Reality"
Topic: Minor change or comment

My old non-blog The Eternal Now has recently been cryogenically frozen to forever rest in a state of unchanging limbo. While its many years of psychedelic rants can still be enjoyed here, some of the contents are valuable enough to be recycled elsewhere. This includes the saga of the mysterious STONEWALL, whose LP of blazing hardrock is the most coveted Tiger Lily LP of all. Courtesy of veteran tracker Miguel Rodriguez in Germany, the facts can now be unveiled, including a recording date for the album that is surprisingly early. This info reached us in time to make it into the Acid Archives Second Edition, but few people seem to have discovered it. Here goes, by way of Miguel:  

Stonewall was the house band of a recording studio owned by James (Jimmy) Goldstein, based in Long Island during the late '60s.

Goldstein was also a part-time member of the band, occasionally playing keyboards on their sessions. He was a performer of his own, using the stage name of "Jay James". Under that alias he recorded the album "Good Times And Bad Times" that was released on the Tiger Lily label (same as Stonewall).

Stonewall´s drummer Tony (Anthony) Assalti was the drummer on this rather weak country album by Goldstein. However, Assalti was never aware of the Stonewall album being released, and apparently became upset after learning about the Tiger Lily release in recent years. He still plays drums with drums, and is involved with the biker scene. He's not interested in the Stonewall recordings these days.

On the other hand, the guitar player Ray Dieneman was a good friend of Jimmy Goldstein. Dieneman was not aware of the Stonewall album until he saw a copy in Goldstein´s house in New York during a visit. Ray never owned a copy of the album, but was more amused than angry about the Tiger Lily release. It appears that Dienemann is the only band member to know about the Stonewall record being released at all.

According to Ray D, Stonewall broke up at the end of 1969, which would place the recordings heard on the album (which wasn't released until the mid-1970s) sometime in the late 1960s. The other two Stonewall band members -- vocalist Bruce Rapp and bass player Robert Demonte -- have not yet been tracked down.

ADDENDUM - Acid Archives reader James B generously forwarded some additional info on Stonewall that has recently surfaced from bass player Ray Dieneman:

Jimmy Goldstein who produced, engineered, and played keyboards on the Stonewall album passed away in 2009. The album was recorded at Jimmy Goldstein's Studio Tower Sound, in the Ed Sullivan building in NYC. According to Dieneman the band didn't record any other music on the album, so basically the entire LP on Tiger Lily is all of their music. 

PS the Stonewall band member names on the Akarma bootleg reissues are completely made up.

Two buried folkies
Now Playing: "Zodiac" movie
Topic: Minor change or comment

We are reluctant to add folk genre albums to the Acid Archives unless they pack both underground vibes and collector appeal. Most '60s-70s collectors are simply not interested in plain acoustic recordings, and it's also a style where there's a heck of a lot more quantity than quality on the private press scene. The occasional true find aside, you shouldn't expect to find much folk stuff in these update pages.

That said, I should mention a couple of odd birds in the field that should make it into the Attic if nothing else. On RPC Z 442061/2 comes a bunch of sailors from the US Naval Station in Rota, Spain with their Coffee House 1 album from 1976. Pressed up in order to finance a coffee house on the base, it opens rather promising with "Endless Trip", a slightly psych-tinged female folk track. Alas, this turns out to be the album's peak as the rest is simply average contemporary folk, mostly with male vocals. An atypical cool-jazz groover with sax closes the LP.

 

Somewhat similar is the Old Stone Singers, a k a Kathy & Joe Allison, who self-released their From The Hearth album in 1971 on DB Records #121271. Despite having sold for substantial money on occasion, I hear nothing to set this apart from dozens of other local Peter Paul & Mary combos who kept the folk-boom aesthetics way past its due date. There's a nice dual acoustic guitar interplay throughout and not too shabby vocal harmonies. "Early Morning Rain" highlights side 1, while side 2 has a version of "Get Together" and a charming original (?) titled "Close Your Eyes". There is none of the dark, gothic late-night moods that psych guys might fall for and could have warranted an Acid Archives inclusion. Hardcore folk genre fans might dig this for the reasonably adept (male lead) vocal and instrumental performances, somewhat like Colours from TX, but that band had electric instruments and much hipper record collections.

 

Sorting out the Seeds
Now Playing: Pentangle "Bramble Briar"
Topic: Minor change or comment

I finally got around to putting together a long-planned overview of original 60s mono pressings of the first SEEDS LP. As you may know, this is an album that sounds a heckuva lot better in mono than in stereo. The organ fuzz on "Evil Hoodoo" is pure apocalypse in mono!

The Normans at GNP have kept the inferior stereo pressing in print for like 40 years, making it very difficult to single out true stereo originals. With the mono it is easier - the monos are always 60s pressings (with one possible odd exception shown below).

Enough of this empty-headed banter, time to dive into the universe of 2 chords!

 

Jim Sarkissian revisited
Now Playing: John Villemonte
Topic: Minor change or comment

A copy of the highly obscure Jim Sarkissian Windmills LP popped up with accompanying sound clips, which allows me to extend the Acid Archives review with the observation that this definitely could work as a fringe title for some. It's not as flipped out as Tweddle or Grudzien, but it hits a strange spot that can only be described as "Gordon Lightfoot on Datura". There isn't much of melody or steady beat, yet Sarkissian gives it a shot anyway, using mostly piano, his own mannered, non-rock, vocal style, and on several tracks an odd percussive sound that seems to follow a beat of its own -- a bit like the kitchen sink xylophone on Jerry Solomon's first LP. And like Solomon's songs, this may drive you nuts at times, but way past midnight, when the last toke hit you really weird, this could be a useful record. Not for everyone, but clearly Acid Archives-worthy, much as the tentative review in the 2nd Edition indicated. Thanks Jim... the copy now sold lacked even the paste-on sleeve but still brought in a neat $300+.

 

Snow to the Third Power
Now Playing: Relics Vol 1 compilation
Topic: Minor change or comment

The Acid Archives entry fails to mention the early, non-LP 45 that Detroit hard-rockers THIRD POWER cut for a small local label. This is worth taking note of as the 45 is quite good, with a sound similar to the Vanguard LP but a little less 'metallic' and a little more underground-stoned. You are likely to dig it. "Snow" has been comp'd on the ancient Relics Vol 1 sampler, and fits in nicely with the fuzz and power chord aesthetics of that compilation. The original 45 is actually pretty rare. "Snow" / "We You I" (Baron 626, 1968). The always unreliable internet says the band formed in 1969 which is obviously not true, as this 45 bears a production date of 1968.

 

The Tiger Lily path to rock stardom (Scoggins & Airborne)
Now Playing: Ark "Voyages" LP
Topic: Minor change or comment

A hip soul forwarded two clippings from the old Rock Scene magazine which featured, somewhat surprisingly, actual promotion for two acts on the infamous Tiger Lily label. The label is usually considered a tax-scam enterprise with no ambition beyond creating (exaggerated) losses by releasing obscure rekkids, but apparently there was an element of actual promotion going on. Exactly what the deal was between the label and John Scoggins and Airborne, respectively, may never be revealed, but they got their hairy pictures in the rock press anyway!

 

Pre-Dragonfly, part 2
Now Playing: V.A "Summer Jam II" -- fake rock festival exploitation LP
Topic: Minor change or comment

After receiving some feedback on my modest scoop regarding the world's heaviest insect -- meaning Dragonfly on Megaphone -- here's an additional round of data on the early days of these tough long-hairs.

We head back to El Paso again, where the young rhythm section of Jack Duncan (bass) and Gary Davis (drums) learned their chops and paid their dues in surf-band the Pawns. The leader of this group was one David Hayes, who presumably took on vocal duties on the later 45s, at least he receives separate billing. The two would-be Dragonflies Duncan and Davis did not contribute any songwriting from what I can tell, but were definitely present for the Pawns' 1964 debut 45, produced by none other than Bobby "God" Fuller and released on Fuller's own Exeter label, which also had some early Bobby Fuller Four discs. This first 45 is a recognized surf rarity and appears in John Blair's surf discography book. The latter two 45s are non-surf and have left less of a mark, and the last one has no Bobby Fuller involvement.

THE PAWNS (El Paso, TX)

1. The Pawn / South Bay (Exeter 125) circa August 1964

2a. Meet Me Here / Lonely (Exeter 127), circa September 1964
-- credited to David Hayes & The Pawns
2b. Meet Me Here / Lonely (Coronado 127) 1965?
--re-release on another regional label 

3. Lonely Weekends / What Do the Voices Say (Coronado 132) 1965-66
-- credited to David Hayes and the Pawns; Produced by Calvin Bowls

The first 45 definitely features the future Dragonfly drummer and bass player. Releases #2 and #3 may well feature these guys too, but this is unconfirmed.

Duncan and Davis left the Pawns to join a more experienced musician friend in a band called Lords Of London, based in Durango, Colorado. After some time they recruited their old El Paso friend Randy Russ who left the Infants Of Soul to join them, and the band also changed its name to Legend around this time (1967).

From the Acid Archives perspective, Dragonfly are considered a Texas/Colorado/California band.

Thanks to George G and Andrew B for valuable input. See Flashback #2 for a detailed account of Legend and Dragonfly and their late '60s LPs.