Jerusalem s/t 1972

Jerusalem, a five piece from Britain only released one album. It came in 1972 on Derham records and  was produced by Ian Gillian of Deep Purple. Their only other release that decade was a 45 single of a tune not featured on the L.P. titled "Kamikazi Moth" and featured a song from the album "Frustration" as the B-side. After the band split up, three members formed the band Pussy, and released a single on Derham called "Feline Woman."

Ian Gillians thoughts about the band as well as working on the album: 

"This is the first album by Jerusalem. A band that excites me very much; they are rough, raw, and doomy, with their own strong identity. As they are young and a bit green, they don't follow many rules, so their material is almost crude - but still immensely powerful in content.

I believe that, whenever possible, the work of writers and players in their formative stages should be recorded; before inhibition and self consciousness set in, before fire and aggression die down and while they are still absorbing influences and doing thing that others might consider "uncool." Most important though before they develop that self imposed rigidity which effects so many. I hope none of these things happen to Jerusalem, we'll have to wait and see. This album is just in case. 

I hope you like it as much as I do. 

The album was remastered and re-released in 2009 with bonus tracks liner notes etc. and by 2012 the Pussy album was released as well. Both on Rockodrome records. After reforming,

they released an album of new material in 2009, and are still together to this day

Red Dirt - s/t 1970

Red Dirt was formed in East Yorkshire, England in 1968. In 1970, they released an album on Fontana records and the record sold very poorly (I think only around 100 copies). Suffice to say, they never did another after this one. I've seen it described as a "hard folk", which I think is fairly accurate. And although it does have a lot of quieter moments, it does have a lot of heavier blues moments and there are a few real killer heavy numbers on it as well. "Death Letter" is one, as well as "Brain Worker" which has great slow paced, heavy riff work. The vocals fit well with it. Raspy, powerful, gusto!

Too Much - s/t 1971

Japanese blues/hard rock every bit as awesome as any other Japanese band of the time. Japan really had it goin' on! Often labeled the 'Japanese Black Sabbath' which, depending on your opinion can either be good or bad, I don't really hear it. What I do hear is quality awesomeness. The Japanese made thei psych/blues/hard rock much like the make their guitars, better quality than any other by far. Speaking of guitars, there's a lot of killer guitar work on this platter.

Too Much originated in the port city of Kobe, where they sucked up all kinds of wester music arriving on boats from the States and the U.K.The band derived their name from a rock festival of the same name that took place in Kyoto near the end of 1970 featuring the awesome Blues Creation as one of the performing acts. Yet another group that released one album and then disintegrated. It's too bad, this album captures you right from the gate with a sonic wall the does start out a bit like Sabbath minus the vocals, and ends on a 12 minute psychedelic type jam.
If you're into Japrock, then this one is a must have.

Boomerang - s/t 1971

Boomerang's self titled first album also turned out to be their last, like so many others of the time. A second album was recorded, but as of yet hasn't seen the light of day. Features Vanilla Fudge's Mark Stein on vocals and organ, Boomerang is clearly inspired by the white knuckled intensity of Led Zeppelin's first two albums. Like every other guitar player of the day, Ricky Ramirez was thrust into the role of guitar hero whether he liked it or not. (press clippings suggest he was but 15 years old at the time), and, despite falling short of headline status, he handled himself convincingly enough throughout, even contributing a nifty backwards guitar solo. As for the bands frontman and centerpiece, Mark Stein's bluesy tunes reveal just how much Deep Purples David Coverdale borrowed from his bluesy style. Also like Depp Purple's Coverdale-fronted Mark III lineup, Boomerang offered frequent sparring matches between Stein and bassist Joe Casmir. The two trade vocal licks with particularly successful results. The group showed their ability to mesh with stringed instruments ala Allman Brothers on 'Brothers coming home'. All of the above make this album an obscure delight for 70's rock enthusiasts. (Allmusic)

Sammy - s/t 1972

Co-produced by Louie Austin and Deep Purple's Jon Lord, 1972's Sammy offered up a competent, if slightly worn set of 1970's rock. Sammy were a short lived supergroup, featuring members of Audience, Quartermass, The Herd, Silverhead, Episode Six, and Ginhouse. Sporting a brass driven hard rock sound, the band released their sole album in 1972 to an apathetic record buying public. Though the band toured relentlessly for two years, their efforts were not met with success and the band folded by the end of 1974. In retrospect, this was a stellar effort despite the two prog interludes that are featured. At times the band sounded a bit like Audience, and there were elements of Deep Purple scattered throughout. This isn't a suprise considering the album was produced by Ian Gillan. In fact, drummer Mick Underwood would later join Gillan's solo project for a number of years. He ould also form Strapps, and a re-vamped Quartermass in the 90's. (60's & 70's Rock)

Born Again - "Pagan" 1972

A band from Marin County that once went by the name Red Mountain, moved down to L.A. after the guitar player met an agent who promises a contract and a place to live. Being a bit green, they pictured mansions & the lot. Instead they ended up living 10 to a small one bedroom that was so crowded the guitar player & his "old lady" moved in with his local grandmother, who, makes the two get married before they can live together. The agent gets them a deal with Christen, Pat Boone's production company who gets them graveyard shift at a recording studio. Only instead of recording they decide to ingest copious amounts of "party favors." They end up putting a demo together and shopping around to major labels who show absolutely no interest. They did however, land a slot on the soundtrack of "The Velvet Vampire" (the fourth best lesbian vampire flick ever made)

Oh yeah, the music, the album is incredibly diverse. It was all recorded between 1969 and '72. Blending blues rock into a few psychedelic jams. It starts off kinda slow due to inferior production, but soon gains momentum. Some of the best stoner jams I've heard. All in all, it's a pretty rockin' release that would fit in any 70's hard rock collection. Re-released on CD with a shit load of bonus material.

Crowd - "Another Concert Somewhere" 1968-69

An attic gem released for the first time on media. Crowd is a four piece band from Denmark's little island of Bornholm, where the guitarist heard Hendrix, and bought himself a wah wah pedal in '68. This disc compiles a live concert from '68, along with their single. It's chock full of covers including Cream's "Sunshine of Your Love", and Robert Johnson's "Crossroads" done in the style that Cream does it. It's all heavy guitar driven rock ala Hendrix & Cream with lots of wah-wah fuzz and English vocals. Pretty good and truly a "lost artifact." Released in 2007.

R.I.P. Phil "Philthy Animal" Taylor -- September 21, 1954 - November 10, 2015

Houston Feerless - s/t 1969

Little is known about this Texas garage band. It is known that they are from Houston, and released this, their only album in 1969. Mostly hard rock and heavy psych in a kind of Vanilla Fudge/Steppenwolf style, at times with some really awesome fuzzed out guitar and organ, making for a wonderful noise. The opening track is an aggressive trade off with fuzzed out guitar and a loud ass Hammond and as an opening track, really grabs you and commands attention. Once they have it, trhe songwriting style comes in at a bit mellower tone. Contains an ass kicking version of "Race with the Devil" which was later re-written by Judas Priest, and a cover of Buffalo Springfield's "Mr. Soul" in an all out jam atmosphere. I'd really like to hear more from this group.

The Illinois Speed Press - s/t 1969 - "Get in the Wind" 45 1969 - "Duet" L.P. 1970

Originally formed in 1965 as The Rovin' Kind in Chicago, later relocating to California. The band was formed by Paul Cotton, later of Poco, and Kal David. According to Allmusic, they "combined elements of R&B and country music in a powerful twin guitar attack." Cotton and David have reunited on occasion to perform under the same name.
Back in Chicago, The Rovin' Kind became the house band at the Whiskey -A-Go Go, where they were seen by producer James William Guercio, who signed them to Columbia records subsidiary Epic records, and persuaded them to change their name to Illinois Speed Press in 1968. Norm Cotton changed his name to Paul Cotton at the same time, and the band left for Los Angeles.

With it's twin guitar sound, the band played a mixture of rock and roll, soul, and country music. In '68, they were performing regularly at the Whiskey in Hollywood, and at the first Newport Pop Festival in Costa Mesa California,m they also recorded their first single "Right on Time." The band released their first full length, self titled L.P. in 1969. Columbia simultaniously released Chicago Transit Authority, The Flock, and Aorta and marketed them all together as "the Chicago sound." All four albums entered the Billboard Top 200, with Illinois Speed Press at #144.

Before the album's release, the band's producer fired nearly all of the members and Cotton and David recorded their second album "Duet" as a duet with session musicians. The album was released in 1970, but shortly afterwards Kal David left to form The Fabulous Rhinestones" Cotton was then approached to join Poco, which he then did. Lynyrd Skynyrd has credited the band as an inspiration, and you can hear it within.

Universe - s/t 1971

The oft told story of this band goes as follows: Universe were a band from the U.K., and while in route to Norway, ran into van problems causing them to break down. As luck would have it, they happened to break down in front of a "music freak's" house and he took the band in, fed them, and gave them a place to stay for the nigh. This led to the band doing a recording session for the guy in an independent studio. Sometime later, Colors (the Label) found the tapes and the rest, well that's as they say history.
It makes for a good story, however how much truth is in there is for speculation. Either way, they indeed were a band from the U.K., who recorded an album in Norway, and released it only in Norway. Blues driven hard prog rock sounds a fitting description. It's a fairly good record, good writing and all, with both hard blues rock moments mixed with some prog structuring at times and minimal keys. One this is very true, it's rare as hell.

Prou Matic - "I is My Own World" b/w "Para Pa Pa" 45 1972

Psychotic, heavy, crude, psych. from Spain. Their description from the "More Andergraun Variations - Spanish Psychotronic Brain Damadge 1967-75" compilation CD, where they are featured with other garage, fuzz, psych bands of the period, says the song is from a nearly impossible to find flexi-disc. If the flexi does in fact exist, so does a vinyl press of it as well (as seen in pictures) As with almost all of the bands on this 'Spanish Nuggets' disc, all bands were on small, private labels and are among the rarest of the rare. Really not a lot of info on this long lost, highly obscure band.

Joshua - "Opens your Mind" 1969

When you think of 60's California music, Sacramento doesn't immediately come to mind. But the state capitol had a fertile music scene giving birth to mind-melters Blue Cheer who paved the way for Joshua. Fronted by singer Mick Martin, Joshua were at the center of a scene that, for the most part, ignored the 'flower power' shenanigans going on up north and worshiped at the altar of heavy Rock n Roll.

Along with other locals like Slo Lois, and Jericho (not to be confused with the Isreali/London band of the same name), Joshua created guitar lead, blues based rock music that sang about current events of the day. Drugs & war. While the band never released an album back in the day, they did record an albums worth of material, along with some live material recorded at some legendary live shows that took place at University of California at Davis. Anti-War lyrics that still ring true today can be heard on cuts like "The Fist", "G.I. Peace", and "No Country", while expanding your mind with drugs is exposed in the title track, "Opens your Mind."

With heavier guitar crunches like another release of the day, Stone Garden, and the band were good friends and gig-mates of Blue Cheer, which you can most definitely hear examples of within.
It was finally released on Rockadelic with a thick gatefold cover with liner notes by Mick Martin with lots of photos that compliment the full color cover.
This is a totally unknown band that should not be confused for other bands of the same name that may have released albums in the past.

Creepy John Thomas - "Brother Bat Bone" 1968 / s/t 1969

A guitarist named John Thomas seems to have as much chance of being recognized as an individual as a fire hydrant in an urban setting. . An attached nickname can sometimes be helpful when faced with such a challenge, and this Australian performer came up with a good one when he dubbed himself "Creepy" John Thomas after moving to London. Still, not everyone who hired him wanted to call him a creep in the liner notes so, for example, he is sometimes mistaken for the British guitar player John "J.T." Thomas, who joined Budgie in '78. Neither one of these commonwealth blokes have anything to do with the John Thomas who plays guitar on hip sides with Joe Henderson and Jimmy McGriff.

Creepy John Thomas also made use of the stage name Johnny Driver. His first professional success took place as a songwriting member of The Flies, a combo based out of Melbourne that had Australian chart hits. The Flies were known to land support gigs for some of the biggest 60's attractions touring down under. Such as The Rolling Stones and Roy Orbison. British RCA put out his self titled Creepy John Thomas in 1969, a follow up enchantingly titled Brother Bat Bone ensuing on Teldec. A firm entitled fingerprint has apparently reissued both of thees masterworks, yet Thomas himself warns fans that there are bootleg

productions.

Thomas spent a year in San Francisco following the original release of these solo albums, but by the early 70's, had returned to London and a position in the Edgar Broughton Band. Two albums with this outfit feature Thomas, a particularly practically titled "Bandages", seeing it's the album that has cuts on it, that is -- combining him with studio mastermind Mike Oldfield. The artist also collaborated with Dave Stuart and Annie Lennox prior to their Eurythmics success. During the late 70's, the artist took up another location shift, heading to Berlin and starting up his own Johnny & the Drivers band. Thomas enjoyed Berlin, Where creeps are popular, for a decade. Again, the project netted him two more albums on as many labels, in this case Polydor, and Phonogram. He relocated again to London, where he became a producer.
Artist Bio: Eugene Chadbourne for Allmusic.

Svanfridur - "What's Hidden There?" 1972

Icelandic prog rockers Svanfridur formed from the ashes of various rock bands in the early 70's and released only one album, 1972's "What's Hidden There?" Strikingly, the band doesn't sound especially Icelandic. These guys could have been from San Francisco or London given the careful lyric phrasing or slavish devotion to the musical conventions of the era. (right down to the "to be played loud" injunction in the liner notes).  After playing gigs abroad, the band ended up at London's Majestic Studios, yet after failing to gain any label support resorted to releasing the album on their own. Only a few hundred copies were pressed and although recorded in London, and sung in English, it was made available in Iceland only in late '72. (the band's entire lifespan was over the coarse of one year!) Heavily influenced by English psych bands, the band sounds more of a late 60's ensemble rather than heavy prog on parts. Other moments are consistent with great heavy prog of the era. The band sound best when playing more of the straight forward rock type material in the album. Although there are hippy/mellow portions, but yet being essential and done quite well, makes for a well rounded release. This band would have done well on Decca at the time.
After selling but a few hundred copies, having not achieved much from the effort, the band split in early/mid '73. Very good psychedelic rock with discrete signs of proggy texture. Full of well-played, secure arrangements.