Q65 - Afganistan 1970

Formed in 1965 in The Hague (The Netherlands), they made their recording debut with 'You're
the Victor' a wild rhythmic track inspired by The Pretty Things. It was succeeded  by the equally compulsive 'The Life I Live', a searing slice of R&B. Q65 traveled to London to promote this release but, having been denied work permits, opted to turn the tour into a promotional tour. They returned to the Netherlands on a rubber life boat, taking almost 12 hours to cross the channel. Upon landing at the Sheveningen Pier, the group was greeted by almost 30,000 cheering fans who were rewarded with an open-air concert. The menacing 'I Despise You' followed by 'Revolution", their 1966 debut album, which blended R&B standards with original material., notably a 13 minute long version of Sonny Boy Williamson's 'Bring it on Home'. In 1967 they released the 'Kjoe Blues EP.' In 1968, Wim was drafted into the army, which marked the end of the first Q65 era. They regrouped in 1970 with the release of a new album 'Afganistan.' In 1971, 'The Q' releases their third and final album, 'We Are Gonna Make It.' The sound was different from their earlier period, more psychedelic.

Black Cat Bones - Barbed Wire Sandwich 1969

Totally killer psychedelic blues rock album released in November 1969. The original viny version of the album is now highly sough after by collectors of heavy blues of the late 60's-early 70's. Out of London, Black Cat Bones was one of those bands that served as an incubator for it's various members later rock incarnations. In this case bands like Free, Foghat, and Bad Company drew members of Black Cat Bones. They released an eponymous single in 1969, and the one album Barbed Wire Sandwich before they split and went on their separate ways.  Straight forward raw and gritty blues which sounds full, rich, and immediate. With a new drummer, Black Cat Bones metamorphosed in to Leaf Hound. Zeppelin-esque heavy rockers who, like their predecessors, released one excellent album before disbanding.

Demian - s/t 1971

Demian's first (and only) L.P. is, in all reality, Bubble Puppy's 2nd. But it wasn't just their name that changed. where as Bubble Puppy was pure heavy psych, Demian was hard, riff driven rock. Finding new management with Nick St. Nichols (Steppenwolf) and moving to Los Angeles, Bubble Puppy changed their name due to contractual dealings with their former label. Maybe that's why it sounds a bit harder and "pissed off." They also switched to twin Gibson's and recorded 33 minutes of music - a very tight 8 song platter on ABC/Dunhill. They had a strong flavor of Atomic Rooster, Savoy Brown and early Deep Purple. Recorded "Live" in the studio at the famous Record Plant in just one night, gives it a lot of "soul" and even those wrong notes that were left in the mix make it sound genuine. With a little label support, there's no doubt that Demian could have been a huge band, a la Grand Funk. Sadly, this album is all that remains of a band that was "just that good."

Mount Rushmore - Toe Jam / High on Mount Rushmore 1969

Mount Rushmore was from San Francisco in the late 60's that played a heavy blues rock style mixed with some psych. The band formed in early 1967 at 1915 Oak Street, a large Victorian boarding house in the Haigh-Ashbury district. The original members were Ed Levin (ex-Vipers), Warren Phillips (ex-Blue House Basement), Thomas Doxler, Mike Bolan, and Danny Wei. Wei was soon replaced by Terry Kimbal on bass guitar. In June and July 1967 they were featured on posters for shows at the Avalon Ballroom with other bands like Quicksilver Messenger Service, and Big Brother and the Holding Co. In March '68, Doxler left to join the local band Phoenix, and were soon followed by Levine & Phillips. Bolan and Kimbal Added Glen Smith and Travis Fullerton to the lineup, and the band made two albums.

Playlist - Full Album

Dogfeet - s/t 1970

From Rockasteria: Bassist Dave Nichols, singer Alan Pearse, drummer Derick Perry, and guitarist Trevor Povey first came together as Chicago Max, followed by brief stints as Sopwith Camel (not to be confused with the San Francisco outfit), Malibu, and Armageddon. Working in a blues rock vein (wasn't every early 70's band dipping their creative toes in the genre), they were signed by the small Reflection Records, though the label imediatly demanded  a new name - hence the change to the deplorable Dogfeet. Produced by Andrew Cameron Milla, 1970's cleverly titled "Dogfeet" is surprisingly good. With Povey writing all of the material, the album is varied and pleasingly understated. Pearse exhibited an attractive voice, while Povey's slashing guitar (check out some of the effects he used on 'Evil Women')
Musically 'On the Road' harkened back to the bands blues rock roots, but extended track like 'Now I Know', the attractive atmospheric ballad 'Reprise', and the western inspired 'Since I Went Away' set them apart from most of their contemporaries. Not that it mattered, the album vanished without a trace, followed in short order by the band.

The Sons of Adam - 1965/1967

The band, originally a surf rock band from Baltimore, Maryland called The Iridescents, and later the The Fender 1V, was founded by guitar player Randy Holden who had previously played in other local rock bands, and bassist Mike Port. By 1963 they enlisted Sonny Lombardo on drums, then later Joe Kooken on guitar, to complete the original lineup. Holden, who was then a fan of Duane Eddy stated: "I wanted to do surf music, because -- well, back then it wasn't called surf music yet. I liked the instrumental vein." By 1963, the bands repertoire had become completely dominated by surf influences, so they made arrangements to relocate to Southern California in hopes of riding the crest of the surf music craze and finding success in it's center Los Angeles, which was becoming a mecca in the recording industry.
By 1965 the bands musical direction shifted dramatically with the British Invasion and Beatlemania to a beat group orientation. The popularity of surf music waned and they switched to vocal-based R&B rock songs. The group recorded their first single in 1965, but the song failed to gain any traction on the charts. In 1966 they returned to the studio with producer Gary Usher to record "Saturday's Son" and anthem of alienation with Randy Holden on lead guitar and vocals, which appeared on a single along wit their version of "Mr. You're a Better Man Than I" previously recorded by the Yardbirds. The band felt with this one, the had a solid record, but the single failed to catch on. As the year progressed, Holden's behavior became more erratic, prompting the band to push him out. A decision they later regretted.
The Sons of Adam recorded another single featuring "Feathered Fish", a song penned by Arthur Lee of Love. On the flip side "Baby Show Me the World." However, without Randy Holden the band lost much of it's former chemistry. By June 1967, the Sons of Adam were no more. Randy Holden went on to join Blue Cheer, and later his solo effort "Population II." In all honesty, this stuff is crazy heavy for 1065/66. Highly recomended. But you don't have to listen to me, I'm just a guy.

Paladin - "Charge!" 1972

Formed in 1970 by drummer Keith Webb and keyboard player Pete Soley. Having toured with the Rolling Stones as backing musicians, they decided the time was right to unleash their own creativity. Ex "World of Oz" bassist Peter Beckett, Glass Menagerie/Grisby Dyke keyboard player Lou Stonebridge, and Grisby Dyke guitarist Derek Foley were brought in to complete the lineup.
Initially the bands influences were jazz, latin, soul, blues, afro-Cuban. The dual keyboards creating a unique sound. They list their early fans including John Anderson (of Yes). After building a credible live reputation, the band sighned to Gerry Bron's Bronze Records, and recorded their first album "Live" in the studio.The The album includes early examples of World and Rap (!) but failed to make much of an impression. Consequently, it is now rare and collectable in vinyl format.
The follow up album, "Charge!" was released a year later. It had an excellent Roger Dean sleeve, and represented a drastic improvement on the rather lackluster debut album. "Charge!" explored interesting progressive rock areas, combining folk influences ("Watching The World Pass
by") with rock and roll ("Well We Might"), and psychedelic rock ("Mix Your Mind with the Moonbeams"). The diverse style of the album made it difficult to pinpoint influences, but there is a touch of GENISES, BJH, URIAH HEEP, and possibly JETHRO TULL.
The band only released the two albums before their lack of success led to frustration, and they disbanded in 1972. (Bob McBeath, for Prog Archives)

The Gods - "Genesis" 1968

The Gods were an English group founded in 1965. The original band members were Mick Taylor (later with John Mayall's Bluesbreakers), Brian Glascock and his brother John (later with Jethro Tull), future Uriah Heep keyboardist Ken Hensley, and Joe Konas. In 1966, The Gods opened for Cream at the Starlight Ballroom at Wimbley, London. A single (Come on down to my boat b/w Garbage man) was recorded in early 1966 for Polydor Records. In May, 1967, Taylor got a call from John Mayall who was looking for a guitar player to replace Peter Green. The band sought to revive their fortunes on the club/college circuit. They relocated to London and secured a residency at the Marquee. Greg Lake left in 1968 to join King Crimson. With Glascock backin the fold they released a couple of progressive albums and a few singles. The '68 album Genesis, is full of  heavy ploughing Hammond organ and distorted guitar riffs, and Ken Hensley's unique and rather dramatic vocals. After recording two albums Genesis, (1968) and  To Samuel a Son (1969) they signed with a new record company, and with the singer of Rebel Rousers and formed Toe Fat. Who also lasted for only two albums.

September 1968

Bloodrock - s/t 1970

Formed in Fort Worth, Texas in 1963 under the name The Naturals, they released their first single in 1965, "Hey Girl" b/w "I want you" (Rebel). Shortly thereafter they changed their name to Crowd + 1 and released three more singles.
In 1967, guitarist Dean Parks left the band to become the musical director of The Sonny & Cher Show (the beginning of a long career as a session musician). In 1969, they changed their name to Bloodrock at the suggestion of Grand Funk's manager/producer Terry Knight. Knight produced Bloodrock (Capitol). The album was released in 1970 and peaked at 160 on the Top 200 Chart. An extensive career followed, with 6 additional albums released before 1974 (we'll have to get to them later...) Bloodrock dissolved in 1977. Not too much of a critique hear, as they were fairly popular. Form your own, I've always loved this bands work.

Dirty Tricks - s/t 1975

"Meat n' Potatos" hard rockers Dirty Tricks was formed in 1974 and delivered three unpretentious albums for the Polydor label. The band debuted live at London's Marquee Club as openers for Dux Deluxe during Jan. of 1975. Dirty Tricks debuted with an eponymous Roger Bain produced set and promoted it with support tours in the U.K. for both Argent and Budgie.
Tony Visconti would be on hand to produce the second album "Night Man." Touring to support this release would include touring the U.K. opening for The Streetwalkers, and in the U.S. as support for Cheap Trick, Blue Oyster Cult, and Bob Segar. The band folded after the release of their third album "Hit and Run" (another Visconti production). They also had 3 singles in '75, '76, and '77 respectively. After their split, they formed the back up band for Ozzy Osbourne who had recently quit Black Sabbath, however, Osbourne duly rejoined Black Sabbath.
In a surprise move, the band reformed with an album of new material in 2009.
(Copyright Musicdetector Websights 2009)