*** 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

Posted by Patrick at Lysergia at 16:57 MEST

Updated: 5 May 2013 16:58 MEST

Share This Post

Post Comment | Permalink

This obscure late '70s release on the haunted RPC custom label appears in the Acid Archives 2nd Edition with what is basically a place-holder entry, as we were unable to find a copy or dub thereof. At long last a helpful collector forwarded me a rip, so here goes:

TOURNIQUET (NJ)
You never know what you're going to get on RPC, and if anything the diversity among the releases seemed to get ever greater as the years passed. From the final days you have things like fringe boner Tone The Bone and the seriously timewarped MHS Rock, and you also have the oddly named Tourniquet. It took several plays for me to wrap my head around this album, not because it is particularly strange, but because it doesn't sound like a custom label disc at all. To begin with, it sounds fairly professional; not quite major label-worthy, but with more time in the studio these guys could probably have worked out the wrinkles (some weak vocals and less than ideal mixing). For the most part Tourniquet sounds like one of those new wave-era bands who could pull almost anything out of the hat and sneak it past the trend jury, as it was modern and genreless enough to seem "OK". So, depending on your politics and mood, Tourniquet sound either like a  melodic AOR band or ambitious power-poppers. There's plenty of guitar in the mix, some of it pretty edgy, and also strongly late '70s/early '80s-flavored keyboard (and synth) used mainly for embellishments to the succinct, guitar-driven tracks. The vocals, some solo and some ensemble, are generally pretty good and adequate to the musical style. The lyrics have enough quirky personality to grab your attention after a few plays (I particularly enjoy the second track and it's sugary "You're boring, boring" chorus), and give a certain identity to a disc which runs the risk of sounding like an imitation of a trendy major label band, c1979. My mind wanders towards things like Sniff'n The Tears or the Motors, but it's more a generic period style than anything else. What confused me most were a couple of tracks that sounded quite different from the rest, such as a '60s-flavored number with fine female vocals that pops up out of nowhere (Blondie-inspired?), and two heartfelt ballads with keyboards upfront. The diversity briefly had me thinking of a various artist album like North County Rock Association, but ultimately I think it's clear that Tourniquet is the product of 2-3 guys in New Jersey, who may have recorded this primarily as a demo album; at least that's what it sounds like. One of the main guys apparently received some encouraging feedback from hip UK record label Stiff, which seems reasonable given the modern (for the time) sound and respectable songwriting heard on the album. Some interest in the power-pop/new wave axis is required; despite its utter obscurity there is nothing psychedelic or underground about this. [PL]

---

Together with a local NYC collector I've attempted to contact the Tourniquet guys, and while they all seem to live in the New Jersey area, no response came to our inquiries.

Posted by Patrick at Lysergia at 21:21 MEST

Updated: 7 May 2013 23:28 MEST

Share This Post

Post Comment | View Comments (2) | Permalink

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.

Posted by Patrick at Lysergia at 00:54 MEST

Share This Post

Post Comment | View Comments (3) | Permalink

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.

Posted by Patrick at Lysergia at 23:18 MEST

Updated: 17 April 2013 23:37 MEST

Share This Post

Post Comment | Permalink

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.

Posted by Patrick at Lysergia at 22:47 MEST

Share This Post

Post Comment | Permalink

This one is not in the AA at all but clearly belongs, even without the recently observed $300+ going rate.

BLUEBYRD (White Bear Lake, MN)
Sweet Thoughts 197  (no label MT 1501)
An obscure private press with an unusual and attractive sound for local early '70s trips, the all-male Bluebyrd quartet delight the listener with a moody folk-pop sound seemingly rooted in the mid-'60s stylings of Peter & Gordon and Simon & Garfunkel. Recorded mainly as a demo for a studio project, the emphasis is on the songwriting and the vocal harmonies, both of which are quite attractive. While a rare style to pursue in later years, it is not completely unique, and the hallowed Schibbinz offer a good reference point for the best aspects of Bluebyrd. Comparisons could also be made to Lazy Smoke and Fredric, as long as one bears in mind that this is neither psychedelic nor underground, and does not offer much room for the secondary instrumentation beyond the distinct guitar-picking, and any 'trippy' production tricks are completely absent. The timewarp magic is disturbed by a couple of lesser tracks in a peppy '70s pop bag, one of which copies the melody to "Moondance". If these guys were bent they might have sounded like Dyckman-James, but they are straight as an arrow without sounding clinical. One of the more interesting Acid Archives type things I've run across in the last year or so. [PL]

Posted by Patrick at Lysergia at 00:09 MEST

Updated: 19 December 2013 20:27 CET

Share This Post

Post Comment | Permalink

One of the more expensive tax-scammers gets a real review, replacing the brief entry in the AA 2nd Ed.

SPANKY LEE & JOHNNY LEE ( )
Spanky & Johnny c1977 (Tiger Lily)
There really are a lot of very good albums on Tiger Lily, but listening to something like this makes me wonder how collectors would have responded to it if it had been the major label release the band probably intended. (A good example is Michaelo/Michael O’Gara, or the Steve Drake albums, where collectors ignored the cheap and easy-to-find major label copies of the very same music.) This is an odd and highly professional mix of soft rock and funky rock, with jazz flute (occasionally echoplexed) on some songs. There were some mainstream bands that sounded like this in the mid-'70s, and I can think of one collectable that resembles it at least a little bit (the album by Hollins & Starr), but this is still pretty distinctive. So, maybe collectors would have picked up on it even if it wasn’t on a collectable label. “Superstar” and “Winter’s Mourning,” in particular, have a cool dreamy soft-rock vibe that is in the same realm as some 70s psych bands, and there’s a pretty stunning little bass break in “Morning Song.” Two songs rock reasonably hard. There’s also some nice understated synth work in a few places. Overall, this is a strong album for sure, if you can swing with the cheesy bits. Lyrics range from the ethereal to the horny to one Christian song. I think they were just a step away from going disco, but I don’t mean that in a bad way. I don’t believe this is the same Spanky Lee who made a terrible AOR/metal album in the 1989. [AM]

Posted by Patrick at Lysergia at 01:07 MEST

Share This Post

Post Comment | Permalink

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:

Posted by Patrick at Lysergia at 21:36 MEST

Updated: 30 March 2013 22:35 MEST

Share This Post

Post Comment | Permalink

Here's a real review of Cellutron, replacing the incomplete one in the Acid Archives book.

CELLUTRON & THE INVISIBLE (Northfield, VT)
Reflecting On The First Watch, We Uncover Treasure Buried For The Blind 1978 (Green Mountain Records)
This weird synth experiment can be most closely compared to the work of Nic Raicevic. It has the same basically random sound to it, and while it is more varied than Raicevic's work, it's also less hypnotic. The record is comprised of four "songs," which don't sound any more planned out than George Harrison's Electronic Sound album, but do have enough odd noises, and enough of a psychedelic atmosphere (lots of fading in and out) to make it pretty fun to listen to. Yeah, probably any of us could have done it, but it's still cool enough. The best moment is a bit near the middle of side two when the synths unexpectedly speed up. A bit of guitar varies the mood some, but this is still about as pure as synth music can get. Only one song has any vocals, and those are spoken. Though this dates 1978 , it definitely sounds more like a psychedelic record than anything else. There's absolutely no new wave influence here. It doesn't really hold up for 35 minutes, especially since there's no musicianship or melody to speak of, but a bit at a time, or as something that you let drift in and out of your consciousness, rather than listening to intently, it's more entertaining than a lot of equally inept albums by singer-songwriters or bands. [AM]

Posted by Patrick at Lysergia at 21:55 MEST

Share This Post

Post Comment | Permalink

This obscure album was recommended for inclusion as a recent discovery, and why not.

DAVID HABECK (Bowler, WI)
The Circle Meets Itself Each Time Around 1981 (Makin' Jam 1001)
Little known acoustic rural folk/singer-songwriter LP from the tail end of the hippie era. Habeck sings in a high register yet manages to sound gentle and inviting, given ample support by acoustic guitar tapestries. It sounds like his voice is double-tracked, or else he's harmonizing with someone else, but the vocal richness helps steer the impression away from the dull solo loser folk, and towards more of a CSN vibe--something like "Helplessly Hoping" is not too far from Habeck's style. The overall vibe is a little like Michael Styers or John Villemonte, laidback and reflective, but the lack of amplification is a drawback. Still, a pleasant encounter.

Posted by Patrick at Lysergia at 23:06 MEST

Share This Post

Post Comment | Permalink

One of several excellent obscurities on Canadian CBS, the increasingly popular Riverson may be headed towards the $500+ zones where label-mates like It's All Meat reside. However, few collectors outside Canada seem to be aware that there are in fact two different pressings of this LP, despite its rarity. The pressings are easy to tell apart, as the earliest one comes with the old CBS '360' label, while the second variant has the red label with circular yellow lettering that CBS used in the '70s (not sure how this label design is usually referenced).

Both discs were pressed at the same plant and reportedly display no aural differences, but the issue is still significant as most known copies have a pressing defect; a 'stick' or repeat skip on the track "Take Me" which closes side 1. The defect has been described as 'fixable', for those with steady hands and the needed cojones.

When I first posted about this I assumed that the second pressing, does not have this defect, since a few known copies of this run (yellow/red label), including my own, play with no notable problems at all. It seemed a reasonable theory that the repeat skip defect only affected the first pressing and was corrected for the second pressing, during which time CBS also switched label designs.

A neat theory--a little too neat, in fact, for the ever enigmatic domain of vinyl records. A German collector got in touch and pointed out that he knew of a second pressing with the repeat skip defect, which sort of ruins my theory. Things got increasingly confusing when we compared matrix numbers and found that the first and second pressing were manufactured from the same stamper; the dead wax notations are identical. I checked with a couple of other proud Riverson owners, and they confirmed that the dead wax data was the same (side A): 'ES-90136A-1A', and on opposite side 'C2-G' and some tiny squiggles.

In a nutshell, both pressings (with completely different label designs) were manufactured from the same stamper, yet some copies have the pressing flaw on S1T6, and some do not. It appears that all copies with the 360 label have the flaw, while some (but definitely not all) copies with the yellow/red label have the flaw. I see no reasonably simple explanation for this, theories are invited. It's not quite as mysterious as the Madrigal madness (see old post), but close. 

Regardless of the stamper mystery, the collector faces an interesting dilemma--the first pressing has the usual cachet of being the 'original' run, but has a rather troubling defect, which some copies of the less attractive second run lacks. So which one do you want? To complicate things further, it seems that the playability of the defective track differs between turntables, probably due to tonearm weight. As mentioned above, the Riverson pressings are otherwise identical, both are Unipak gatefolds.

On a related note, both Perth County Conspiracy's CBS debut and the Roger Rodier LP exist in two different versions, like Riverson, but PCC is the only one of the three where the basic pressings differ. The earliest PCC run from 1970 comes in a regular gatefold (later replaced by Unipak), is pressed on better vinyl than the 2nd press and includes a booklet which the c1972 reprint lacks (I think). In the case of Rodier it is simply a case of two different pressings, with neither defects or booklets to complicate matters. I hope.

Posted by Patrick at Lysergia at 21:46 MEST

Updated: 27 March 2013 22:28 MEST

Share This Post

Post Comment | View Comments (1) | Permalink

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:

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) 

Posted by Patrick at Lysergia at 00:00 MEST

Updated: 14 March 2013 00:39 MEST

Share This Post

Post Comment | Permalink

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.

Posted by Patrick at Lysergia at 21:59 MEST

Updated: 11 March 2013 00:19 MEST

Share This Post

Post Comment | View Comments (3) | Permalink

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.

Posted by Patrick at Lysergia at 23:17 CET

Share This Post

Post Comment | View Comments (2) | Permalink

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.

Posted by Patrick at Lysergia at 00:43 CET

Share This Post

Post Comment | View Comments (1) | Permalink

The long-running mystery around the various pressings of the TX private press classic Creation A Child by Corpus turns out to be not so mysterious after all. There exists at least two, probably three different bootleg reissues, of which one may date back to the 1970s (it may in fact even be a legit 2nd press). One of these, on the notorious bootleg Breeder label from Austria c1987, is easy to tell from an original as it openly credits 'Breeder', and comes with a yellow label.

The earlier bootleg/counterfeit/2nd press is a little trickier since it has no markings to indicate it not being an original BUT they-that-know verify that this riddle is easy to solve: the true Corpus original has a purple label, whereas the later pressing has a red-orange label. Once you've seen these side by side there's no problem in telling them apart -- the purple label really is purple, and it's the only one that is the real thing.

Also, the red label counterfeit/2nd press comes in a thick cover like those used for certain 1980s boots like Morly Grey, while the true original is a slightly thinner sleeve typical of the early 1970s.

The Acid Archives entry needs to be updated thus:

CORPUS (Corpus Christi, TX)
Creation A Child  1972 (Acorn 1001) [purple label; true original]
Creation A Child  197  (Acorn)  [red-orange label; counterfeit or 2nd press]
Creation A Child  197 (Acorn)  [green/pink label; unbanded tracks; 2nd press]
-- existence of this press variant unconfirmed
Creation A Child  1986 (Breeder 567, Austria)
...
(Akarma reissues omitted here, see AA book for details)

I was also told that true Corpus originals are exceedingly rare, more so than Homer or Josefus or such, and this may have contributed to the confusion around the pressings -- very few people have seen an actual original. Checking the internet you can spot several red label reissues/counterfeits being sold as originals, sometimes up to $700-800.

Like Dr Leary says, Just Say Know when buying rare rekkids.

Posted by Patrick at Lysergia at 17:56 CET

Updated: 10 February 2013 22:13 CET

Share This Post

Post Comment | View Comments (5) | Permalink

A couple of very obscure titles that are added since reliable people speak in favor of them... I have yet to hear them.
 

RICHARD KNEELAND ( )
Present Your Errors 1976 (Gothic)
New England private press described as 'loner introspective folk psych' with flute, synth, nocturnal moves.

ELEANOR WALLACE (CA)
Songs of the middle way 1966 (no label)
Female acoustic folk with crystalline vocals and mostly originals, has been compared to Vasthi Bunyan. Housed in the same colorful generic sleeve as one of the Hellers LPs ('Johnny Spots').

Posted by Patrick at Lysergia at 23:59 CET

Share This Post

Post Comment | Permalink

This is a recent discovery that remains unheard by me for the present time. It has commanded good money on repeat occasions and may be one for the '70s folk/s-sw crowd.

MAGENTA (OH)
Featuring Graham & Wesley 1972 (Virgin Enterprises 208319)  [no sleeve]
Pressed at QCA in Cincinnati.

Posted by Patrick at Lysergia at 16:38 CET

Updated: 25 January 2013 00:13 CET

Share This Post

Post Comment | Permalink