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.

Posted by Patrick at Lysergia at 21:39 CET

Updated: 9 December 2012 22:12 CET

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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!

Posted by Patrick at Lysergia at 17:14 CET

Updated: 2 December 2012 17:20 CET

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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.

Posted by Patrick at Lysergia at 22:02 CET

Updated: 22 November 2012 22:25 CET

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After decades as a 'mystery group', the enigmatic hardrock/heavy psych outfit Dragonfly (aka Legend) received detailed biographical scrutiny via Aaron Milenski's illuminating article in Flashback magazine #2. Basically they were on a ping-pong trip between Colorado and Los Angeles, like several other bands at the time. What caught my eye in particular was a reference to the band's earliest days, when they recruited guitarist Randy Russ from a local Texas band called 'Infants Of Soul'. I figured this had to be the same group as the Infants Of Soul who backed Mike Renolds (aka Mike Rosen) on the garage fuzz 45 "When Will I Find Her" on the mighty Frogdeath label. Sure enough, the details all checked out, including an El Paso locale for both Russ and Renolds' 45. It was interesting to read about Russ being impressed with Jeff Beck, as the Mike Renolds 45 is highlighted by some very good fuzz guitar work, which I've always viewed as Yardbirds/Beck-styled.

So, in short, the rather well-liked garage 45 "When Will I Find Her" by Mike Renolds & The Infants Of Soul (Frogdeath 66-3, 1966) turns out to be a pre-Dragonfly outing. As far as I know, this connection has never been revealed before (it's not mentioned in the Flashback article either). The track can be found on several garage comps, including the classic Flashback (no relation) series from c1980.

I looked around some more in the hope of finding links to other Southwestern music nexi such as the Suemi or Goldust labels, but nothing more registered. Prior to the Infants Of Soul, whose only output was as backing band for Mike Renolds on this Frogdeath 45, Randy Russ was in a band called the Instigators, while two of his future Dragonfly buddies played in another local Texas band called the Pawns, whose recordings are detailed above. Having relocated to Colorado, the ex-Pawns guys invited Russ to leave El Paso and join them, after which they became Legend and ultimately Dragonfly... but all this is better covered in Flashback magazine.

For Texas musicologists, some details on the two mid-60s combos:

Infants of Soul (El Paso, TX, 1966)
Doug Neal, Howard Wilcox, Jimmy Wagnon, Kenny Johnson, Randy Russ.
 
Instigators (El Paso, TX, 1965)
Randy Russ - guitar, Skip Baca - guitar, Doug Neal - bass, Corky Lamb - drums. 

Incidentally, the Frogdeath 45 was Mike Renolds (Rosen) second attempt at "When Will I Find Her", he had released a different, teen-pop style version on the Gum label the year before to no avail. The Frogdeath label is a story unto itself, needless to say, and more can be found here:

http://www.garagehangover.com/?q=Frogdeath

Posted by Patrick at Lysergia at 00:14 CET

Updated: 22 November 2012 22:09 CET

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This remains unheard and could suck, but collector-wise it's still of interest.

SNAKE EYES ( )
Not A Minute Too Soon 1977 (C.C. Records CC-BB-2034)
A previously undocumented title on the obscure tax scam label CC Records, who put out a bunch of weird LPs in generic-looking covers in 1977. Of these, Frigate is the most noteworthy. See Acid Archives Second Edition for more on this cluster, which is buried even by tax shelter standards. The musical contents are unknown at this point, but unlikely to feature any real band called Snake Eyes, if history teaches us anything.

Posted by Patrick at Lysergia at 23:09 CET

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Here's another vinyl imprint resulting from Ginsberg's visits to Britain in the mid-'60s. I believe it's missing from the standard Gins bibliography, just like the album written about here earlier.

ALLEN GINSBERG & Co
Dialectics Of Liberation, Vol 1-23 1967 (no label, UK)  [vol 13, 14, 16]
A massive 23-volume set that seems unfathomable as a product today, yet we should rejoice in its existence. A bunch of learned men gathered in London to discuss the possibilities, nature and need for 'liberation', which seems to be a code word for revolution. Lectures, dialogues and roundtable debates are spread out across the 23 volumes, including luminairies such as Stokely Carmichael, R D Laing, Julian Beck, Simon Vinkenoog and several more. Ginsberg appears on volumes 13, 14 and 16, of which the last is all Allen and nothing else. Vol 13 has an amusing passage in which a British professor of religion challenges Ginsberg to explain what his sanskrit chanting means, and could he please describe the differences between hinduism and buddhism. Ginsberg is also taken to task for his hedonistic lifestyle, in light of his religious appearance. Sort of like what you always wanted to hear, but never thought would happen. Allen is rather defensive and simply says "point taken" before things move on. Stokely C has some interesting things to say on the same volume. Supposedly Digger Emmet Grogan appears on one of the volumes, but I haven't figured out which one yet. Doubt they pressed many of this.

UPDATE: Here is a clip of the amusing Ginsberg passage mentioned above.

Posted by Patrick at Lysergia at 22:52 CET

Updated: 19 January 2013 20:46 CET

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No major revelations in store, but a few things worth mentioning:

The obscure Eternity whose c1981 LP is given a favorable review in the Acid Archives 2nd Ed recently turned out to have an obscure, pre-LP 45 on the same label (Band Of Gold). I picked this up and it's not bad at all, with a grungy basement rock/hardrock sound similar to the album; arguably even grungier, at least one side of it. Copies float around for $50, any fan of the album will want it. There is in fact an even earlier Eternity 45 on the same label, will try and get a copy of this shortly.

While there was probably no doubt about it, the 45 pulled from the first Mad River album is definitely a MONO mix. Not only that, but both sides ("High All The Time"/"A Gazelle") sound weird as hell, possibly the result of a staid record label trying desperately to extract something commercially viable from this radically uncommercial material. Can't say that I prefer either of the 45 mixes over the stereo LP, but it's certainly different...

While they're not actually in the Acid Archives -- due to them being too damn successful! -- the great Strawberry Alarmclock belong 100% in these pages. Despite being a SAC-fan for almost 30 years, I only recently learned that the band's second biggest hit "Tomorrow" is in fact a completely different version on the 45 visavi the LP. Not just a different mono mix, but a completely different recording, due to the band being dissatisfied. The arrangement is quite similar, but the 45 has a little more teen/garage/Sunset Strip vibe, while the album is more of studio-psych. Both versions are terrific. To make amends for my sloth in this matter, I picked up an ultra-cool Italian PS with a unique (I think) band photo.

The flipside is "Birds In My Tree" in what seems to be the same version as on the first LP, except being in radio-friendly mono. Check out recent issues of Shindig magazine for a detailed account of this terrific, long underrated band.

Posted by Patrick at Lysergia at 22:28 CET

Updated: 8 November 2012 23:06 CET

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A couple of years back an expanded reissue of the obscure Cool Aid Benefit album from Vancouver BC arrived on the scene. I finally got around to checking this out, mainly on the idea that there might be some previously unheard Mother Tuckers Yellow Duck material on board. Indeed there was, but that was just one aspect to this attractive repro job, which is available as a 2-CD set on Regenerator Records or as a double vinyl LP on Lightning Tree.

First off, the MTYD deal is that you get yet another version of their signature track "I". This one is slower and a little heavier than the familiar 45 version, and it may be identical to the 'alternate' 45 version mentioned in an earlier post below. In any event, clearly different from what is known, and quite good. This was part of the original Cool Aid Benefit album, which was trimmed down to a single disc release for reasons of cost and also because Capitol wouldn't let MTYD partake with more than just that "I" track. So an entire 2nd disc of Cool Aid Benefit material was cancelled, but is gloriously reinstated with this reissue, and as far as I can tell, it's just as good as the first, original disc.

Mother Tuckers pop up with another song on the second disc, and it seems to be unique and previously unreleased, titled "Mountain Joy" and in the style of their 2nd and more mellow Capitol LP. In addition we get more material from Mock Duck (3 tracks), Hydro Electric Street Car, Spring, Nancy and Black Snake, all of whom were on the original 1969 album. Some of this stuff is quite good, and it holds together very well with that special Vancouver mix of westcoast and UK artrock vibes. Even the spoken word poem is quite enjoyable.

The first disc has Mock Duck's "Do Re Mi" and the attractive "Golden Girl" by Papa Bear's, who do not appear on the withdrawn bonus disc but nevertheless had an entire 'demo' album out at the time, as you probably know. The other stuff is all solid 1969 longhair music. All over, the 4 sides make up for a very enjoyable snapshot of an above average local scene, which someone ought to do a more indepth presentation of some day... how about a retrospective book on the Seattle & Vancouver '60s scenes, jam-packed with rare paraphernalia, band photos and discographies? I'd buy that for a dollar, even a Canadian dollar.

But wait, there's more. As a bonus to the 2-CD set you get a DVD disc with CBC TV material including a short docu on the Cool Aid Benefit house (a sort of shelter/crash pad/youth center for wayward teens) plus live video recordings of Spring (adept jazz-prog-westcoast like early Santana), Papa Bears (two dull tracks in their vaudeville style), Mother Tuckers ("I" and "Times Theyre Changing") and Mock Duck (the great "Do Re Mi" and "Hurt On Me"). All of this has been in circulation before except the Spring material (and maybe that too). The quality is good or very good, and my only complaint is that they didn't include all 5 tracks by Mother Tuckers.

All in all, one of the most interesting reissues I've picked up this year. I hope those dumbass LP collectors can lose their weird prejudice against 'various artist' records and understand the delightful trip that a snapshot of a time and place brings. Man, I love various artist records, if they're done around a theme.

Posted by Patrick at Lysergia at 22:17 MEST

Updated: 16 October 2012 01:14 MEST

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After nearly getting fooled myself, I realized that the time has come to warn of the possible mix-up of an original copy of D R HOOKER's mighty '72 behemoth The Truth, and the fairly recent repro distributed by Scorpio. Unlike the Subliminal Sounds reissue, the Scorpio repro contains no markings whatsoever that identify it as a reissue once the shrinkwrap is off, and it reproduces the original labels too. Experienced record hounds will probably still identify it as a modern pressing from various clues, but then there are those that are either gullible or overly eager.

An original 1972 pressing of The Truth has the following dead wax markings:
- Side One: XPL-1029A-2NSP with PR etched on the opposite side
- Side Two: XPL-1029B-2NSP with PR etched on the opposite side

In addition, there was no lyric insert with the repro (unlike the Subliminal reissue), but of course that is easily fixed by an enterprising scoundrel. Be forewarned!

There may be ways to tell the no-label (Scorpio) repro from an orig just by looking at the cover, and if so we're interested in hearing them. Bear in mind that once a reissue is a few years old, copies will start to look used and people forget that the reissue existed, so things like "shiny sleeve" or "sharp seams" don't really cut it.

 Expanding your consciousness is fine.

Posted by Patrick at Lysergia at 21:27 MEST

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The outstanding Mad River demos that have been floating around on tape in closed circles finally see an official release via the Jersey Sloo mini-album from England's Shagrat label. There's an early version of "Wind Chimes" plus three unreleased tunes including the superb "Timothy". The other side is taken up by the title track, an atypical frantic rocker from the later, Paradise Bar & Grill era which has never been in circulation, although personally I get a bigger buzz from the '67 demos. In addition to the 5 tracks there's a massive booklet detailing the band's story by David Biasotti, and lots of rare and unseen pics. A very attractive and historically significant release, although I wouldn't have minded if they had added the San José '67 live tape and turned it into a full-length album. As it is, the San José tape (some 20 minutes in admittedly mediocre sound) remains available only on the ancient V.A California Easter bootleg (Penguin, Italy). A somewhat shorter version of the Mad River biography can be found in Flashback magazine #1, 2012.

MAD RIVER
Jersey Sloo 2011 (Shagrat MAD-1)  [12-inch mini-LP; booklet]
Five unreleased tracks from 1967-68.

Posted by Patrick at Lysergia at 18:00 MEST

Updated: 15 August 2012 18:41 MEST

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Here's a new discovery I believe, sounds pretty good by the sound clips I've heard. Went for $500+ on the Bay.

KATHY HEIDEMAN (San José, CA)
Move With Love 197  (Country Flavour 1001)
Early 1970s femme singer-songwriter private press with an agreeable, laidback sound which leans more to the rural than the urban side of the s-sw demographics. A country music undertone has made for comparisons to Mistress Mary, and like that LP Ms Heideman gains much by having a real electric band backing her. Sixties psych remnants linger here and there. Solid songwriting, nice, heartfelt vocals, local DIY charm... not bad at all.

Posted by Patrick at Lysergia at 17:26 MEST

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It's been something of a mystery what the origins were for the generally excellent and convincingly jam-oriented members of The Farm Band, as heard on their terrific debut double album in particular. As it turns out, these guys were indeed experienced Bay Area players, who simply hadn't been involved in any recording group before. Known as Phoenix, they played numerous SF gigs while members came and went, and there was also a connection to Mt Rushmore who had a couple of LPs. Their last incarnation was as Potter's Wheel, from which a live tape exists if I recall correctly. Following this band, three members moved to Gaskin's Farm in Tennessee.

Thanks to Terry P, some data has surfaced regarding the Farm Band's 'mystery' guitarist Walter Rabindeau, the mystery part being limited to the fact that he came into the Farm collective via another route than the other band members: '...Walter did not arrive with the others on their 1971 bus caravan from San Francisco, but did arrive shortly thereafter in 1971. A band had already formed, before they settled on The Farm Band moniker. Stephen Gaskin, the commune's spiritual leader, had a firm grip on things at first, and Walter was another "alpha personality", like Stephen. This was perceived as "a threat to Stephen's authority". Phil Schweitzer, who was already in the band, told Stephen how talented Walter was and that he should be part of the band. Stephen was reluctant to accept this, but eventually the other band members sort-of worked him into the group. He was a member of the band when they officially took on the name The Farm Band, playing lead guitar on their first album in 1972, the "Mantra album" double LP.

Thanks! As to whether Rabindeau recorded anything prior to the Farm Band album, this is still unclear. 

Posted by Patrick at Lysergia at 16:36 MEST

Updated: 15 August 2012 17:18 MEST

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Steve Zahradnik of SEICHE dropped by to say that of the original LP, only 50 copies had the color cover; the rest came in plain white sleeves. The Seiche update below has been amended with this data.

Garage guru G.G informs me that the WAILERS' swansong LP Walk Thru The People exists in Mono, but only as a promo. Stock copies are all stereo.


In case there was any doubt, I can now verify 100% that the 45s from DAMON's classic private press trance beast Song Of A Gypsy are MONO mixes and thus unique versions different from the LP. As the old adage says, the rockinger a track is, the better it will sound in mono, and the 45 only mix of "Poor Poor Genie" is quite possibly better than the LP version. On the other hand, the flipside's downtempo "Don't You Feel Me" gained nothing from the 45 mono mix. The other 45 from the LP (with a non-LP composition even) is of course likely to be mono too, though I don't have it on hand. Seems a bit late do to mono mixes in 1969-70, but some people did.

Via Klemen B's interview with Grand Theft/Bluebird I have now received confirmation of the Acid Archives theory that Bluebird picked up "Cantaloupe Island" from the live set of local Pac NW heroes Daily Flash. Word on the supposed unreleased Bluebird album from the early '70s remains unclear, however.

I finally located the complete (I think) promo package for Capitol's amazing and classic documentary LP "L.S.D" from 1966. The kit consists of a printed outer folder, a letter about the LP, a few pages about Larry Schiller and the project, and three photo prints, two of which appear on the LP sleeve, but the third one is unique and shows Allen Ginsberg and a Capitol big wig listening to the recordings while cracking up; perhaps the bad trip of poor 'Brian' was on.

Posted by Patrick at Lysergia at 21:19 MEST

Updated: 4 July 2012 00:06 MEST

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The more or less exact reissues made of Fraction during the 1990s are now so old that they run the risk of being offered as 'originals', sometimes with no deliberate ripoff involved. I put together a simple guide how to tell at least one of these variants from an original. There may be other counterfeit variants, not sure.

Posted by Patrick at Lysergia at 17:10 MEST

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And here's one of the top scoops of the year...

BILL RINEHART (Los Angeles, CA)
Dynamite 1976 (Tiger Lily 14020)
In what must rank as one of the most remarkable discoveries so far on the notorious tax-scam Tiger Lily label, there surfaced a previously unknown solo LP from Bill Rinehart, in all likelihood the ex-Leaves guitarist. Sound clips from the album give evidence of a very good album indeed, seemingly from the inflection point where late '60s folkrock turned into '70s singer-songwriter. Comparisons to Steven Stills' early solo LPs (with the typical female backing vocals) or Ron Elliott's Candlestickmaker could be made, and Rinehart seems to have his shit completely together, with rich guitar-keyboard arrangements, rock steady (wrecking crew?) playing, melodic, slightly dreamy lead vocals, and soaring fuzz leads. Presumably recorded in 1972-73, Rinehart's mix of nicely finalized talent and laidback approach would have fit well on the Tumbleweed label. There is a drastically rearranged cover of Del Shannon's "Runaway" which was released on 45 in '73 (on the Mums label, with CBS distribution) coupled with the last track "Cut My Line", while the rest of Rinehart's album lingered in the vaults until the Tiger Lily mafiosos 'released' it in 50 copies or so. [PL]

PS the complete tracklist: Cherokee / Circle Circle / Dragon Fly / Dynamite / Loving Words / Revenge / Tender Loving Care / Runaway / Cut My Love  [should probably be Cut My Line]

PPS astute reader Griff points out that Bill Rinehart was also lead guitarist for the Gene Clark Group and Merry-Go-Round, and produced the Fields LP with a proto-Yahowan Sunflower Aquarian on bass. Someone should perhaps contact Rinehart for a pow-wow and a peace pipe, as there are likely stories to be told. 

Posted by Patrick at Lysergia at 23:36 MEST

Updated: 4 July 2012 00:03 MEST

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See further down for release data and brief background, here's Aaron's review:

Chris Ducey: I Am A Rock (Krios, c1977)
This tax scam release is by the real Chris Ducey, the guy who was supposed to record what ended up being the Chris Lucey album.  It's a well-produced set of 70s pop (including orchestration), sounding like it was intended to be a major label record.  It's a far cry from his soulful DUCE OF HEARTS album (from 1975), and his voice here is a whole register higher than it is there.  Tax scam labels have been known to pull all kinds of tricks, but I do think it's him, as his work with Penny Arkade sounds reasonably similar to this, if quite a bit less sappy.  This evidences definite songcraft and has several catchy songs, but even when there's a lot of lead guitar (some with wah wah and fuzz) and some hip Latin rhythms, it's awfully sweet sounding, not miles away from fluffy bands like The Partridge Family.  How much you'll like this will depend on your sweet tooth.  I'm a big fan of power pop and even quality soft rock, but this stretches it a bit too far for my tastes.  Based on the production and Ducey's singing (assuming it really is him), I'm guessing it was recorded around 1973 or so, if not earlier.  There's no date on the record, but the tax scam time period is 1976-1977, so this probably sat in the vaults for a while. [AM]

Posted by Patrick at Lysergia at 23:49 MEST

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Our Northern-most correspondent Jens U recently forwarded the rather remarkable discovery that the contents of the Victims Of Chance Goin' Home Blue LP are lifted wholesale from the obscure Music Of The Santa Cruz Mountains LP. Mastermind behind the Victims Of Chance LP was the notorious music biz hustler Johnny Kitchen, and this case marks the first instance of him appropriating someone else's music in toto, rather than just using old studio reels and backing tracks. There may be other cases like this in the Kitchen catalog.

Both LPs are listed in the Acid Archives Second Edition, but the connection between them was unknown until now. Kitchen renamed some of the tracks and omitted two, and needless to say removed all credits from the Santa Cruz LP. This puts a release date of 1974 at the earliest on the Victims Of Chance LP; most likely it dates from the 1976-77 tax scam window.

Posted by Patrick at Lysergia at 15:42 MEST

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Had to break this out into a post of its own, as various pieces of info flew in regarding Drywater.

This lengthy piece from a local newspaper details the mysterious scoop of Drywater, with all your favorite psych mafia guys name-checked. Mike A managed to namedrop the Acid Archives also, much appreciated!
http://meadvilletribune.com/x1358973881/Drywater-makes-it-big-three-decades-later

Follow up article:
http://meadvilletribune.com/local/x1704536727/Former-rockers-Drywater-enjoying-glow-from-albums-rebirth

The Backbone Of The Nation LP was originally pressed up in only 25 copies, making this a severe rarity even by Acid Archives standards. Apparently 25 copies was RPC's minimum order!

The band were from Ohio (aren't they all?). A 500-press vinyl reissue is now out from Time-Lag with 2 bonus tracks.

DRYWATER (OH)
Backbone Of The Nation  1973 (R.P.C. Z-70581)  [25p; lyric sheet]

Posted by Patrick at Lysergia at 16:59 MEST

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There recently surfaced what looks like a 1970s tax-scam release credited to 'Chris Ducey'. Housed in a generic cover bearing the title I Am A Rock (Krios 01042) and a minimum of credits, the disc contains pure Top 40 pop with what to me sounds like a late '60s sound. As such it's not bad, and may have been recorded as a songwriter's demo primarily. The way the tax loss trip worked, these recordings then later fell into the hands of someone else (or Ducey himself) and were put to fiscal use, when nothing else came from them. The background and music is somewhat like the third Hobbits LP but with a little more consistency.

The obvious fantasy is that this LP would finally bring to light the recordings that Ducey did in 1966 which were later famously replaced by Bobby Jameson's tracks (see the Acid Archives book for details), but it's evident from the song titles alone that we are not so lucky. However, this odd little bird, which may appeal to soft-rock and vocal pop collectors, does mark yet another curious angle on the Chris Ducey saga, in addition to the existing Jameson & Maitreya Kali tangents.

Thanks to Mike M in Seattle for bringing this buried artifact to our attention.

Posted by Patrick at Lysergia at 17:37 MEST

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Some minor Acid Archives updates have flown in from around the world, viz:

~ The Horses' album om White Whale (with Don Johnson) is self-titled, rather than being called 'Album No 1'.

~ The speculative relation between T R Crooks and the Farm Band seems to be non-existent, it was a mere coincidence of a similar studio name being invented. Also, an earlier version of the LP than the one shown in the Acid Archives 2nd Edition has been found, crediting the band as 'Tennessee River Crooks' but presumably with the same contents as T R Crooks' To A Brother. A self-released CD reissue of the album now exists.

~ Rebecca & The Sunny Brook Farmers' LP is titled Birth, not 'Rebirth'.

~ The proper release year for the Damien EIH album is likely to be 1974 rather than '73.

Posted by Patrick at Lysergia at 17:00 MEST

Updated: 16 October 2012 01:22 MEST

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