Randy Holden - "Population II" 1970

Born in Pennsylvania in 1945, Randy Holden has had quite the career. Playing in band like The Iridescents, and Fender IV, whom he relocated from Baltimore to Southern California where they became the Sons of Adam, a name which was provided by record producer and impresario Kim Fowley, and they secured a record contract with Decca. They made a brief appearance playing a nightclub scene in the 1965 movie The Slender Thread, starring Ann Bancroft. Sons of Adam, with Holden opened for the Rolling Stones at their first show at the Long Beach Arena, and Holden was heavily influenced by Keith Richards guitar and amp rig, which helped change his own attitude towards gear and tone. The Sons of Adam began

experimenting with distortion, fuzz, and feedback bordering on the verge of psychedelic rock. Holden eventually quit the band due to lack of original material. (My question to you is, how do you get a gig opening for the Stones playing only covers? Times were certainly a lot different then!)

After being offered a chance to replace Jeff Beck in The Yardbirds (which he didn't accept), Holden joined up with a psychedelic garage band from L.A. called The Other Half with whom he recorded one album with before leaving. (being disappointed by the recording and dissatisfied with the type of guitar he was playing for the band, later stating: "I was trying to accomodate everyone else at the expense of my own soul and happiness.")

He then went on to replace Leigh Stevens in Blue Cheer, and played on one half of their third album "New! Improved!" (1969) and then toured with them for one year before moving on.
Frustrated with the lack of control over bands, Randy formed his next new band with drummer Chris Lockheed. Lockheed, also a keyboard played, uniquely played drums and keys simultaneously on live performances. During this time, Holden obtained a sponsorship deal with Sunn amplifiers. Through this, he obtained his trademark sixteen - 200 watt amplifier rig. His new band was dubbed "Randy Holden-Population II" which was a reference to the fact there were only two members in the band, as well as being an astronomical term, "Population II" that defines a special kind of Star Group cluster type, having Heavy Metal in it's composition. An appropriate description for the original style of music attributed to Holden's new band. The band recorded it's only album:  Population II in 1969. Trouble with the release of the album led to Holden going bankrupt, losing all his equipment and causing his departure from music for over two decades. Population II was eventually released in many bootleg forms over the years, with no official re-release until a limited issue in 2005, and finally a remastered CD in 2008. The album has been a much sought after collectors item over the years.

After more than two decades, Holden returned to his guitar and began creating music again, reportedly by the continual urgings of a loyal fan. He recorded Guitar God in 1994, and released Guitar God 2001 in '01, followed by Raptor in 2008.
In 2008, American author and journalist Ritchie Unterberger said: "he's a great candidate for selection of the great unknown 1960's rock guitar hero. No other guitarist was as skilled at creating the kind of sustain heavy, snakey guitar lines pioneered by Jeff Beck in the Yardbirds. His recordings with Fender IV, Sons of Adam, Ugly Things, The Other Half, Blue Cheer, and as a solo artist don't only contain some ferverishly innovative playing, they also chart the overall rainbow of changes undergone by California 1960's rock guitar as a whole. From surf to pseudo-merseybeat to psychedelia, hard rock, and heavy metal.

Discography:

The Fender IV

• "Mar Gaya" b/w "You Better Tell Me Now" (1964 Imperial Records)
• "Malibu Run" b/w "Everybody Up" (1965 Imperial Records)

Sons of Adam

• "Take My Hand" b/w "Tomorrow's Gonna Be Another Day" (1965 Decca)
• "Saturday's Son" b/w "You're a Better Man Than I" (1966 Decca)

Th Other Half

• "The Other Half" (1968)

Blue Cheer

•   "New! Improved" (1969)

Randy Holden

• "Population II" (1969 Hobbit Records)

Lucifer

• Unreleased Album (1969-1970)

Solo

• Guitar God (1996 Captain Trip Records)
• Guitar God 2001 (2001)
• Surf Guitar God 1963-2001 (2007)
• Raptor (2008)

Cactus 1970 - 1974

Cactus was originally conceived in 1969 by Vanilla Fudge members bassist Tim Bogert, and drummer Carmine Appice after plans to team up with guitarist Jeff Beck fell through when Beck had an automobile accident and was out of the music business for over a year.
In early 1970, Bogert and Appice brought in blues guitarist Jim McCarty from Mitch Ryder's Detroit Wheels and the Buddy Miles Express, and singer Rusty Day from The Amboy Dukes.

The lineup produced three albums: Cactus (1970), One Way... or Another (1971), and Restrictions (1971), before intraband troubles led to McCarty quitting at the end of 1971. Shortly afterwards, Day was fired from the group. The fourth and final Cactus album Ot 'N' Sweaty (1972) featured original rhythm section Bogert and Appice joined by Werner Fritzschings on guitar, Duane Hitchings on keyboards and Peter French (ex-Leaf Hound and Atomic Rooster) on vocals.

After Cactus' dissolution in 1972, Bogert and Appice joined with Jeff Beck to form Beck, Bogert, & Appice. After one studio album: Beck, Bogert, & Appice (1973), and one live album: Beck, Bogert, & Appice Live in Japan (1973, released only in Japan) the band dissolved. Their second album remains unreleased to this day, along with recordings of the band's last concert at the Rainbow Theater in London on January 24, 1974.

Lucifer Was - "Underground and Beyond" 1970

Lucifer Was was formed in Oslo, Norway sometime between 1969 and 1970, as "Empty Coffin/Autumn Serenade." The band then consisted of Kai Frilseth, Tor Langbraten, and Arid Larsen. Later, Thore Engan, and Einar Bruu joined up and the band changed it's name to "Ezra West." In 1972, Aird and Tor left the band, and Anders Svaldson, Day Stenseng, and Jan Odegaard entered and their current name was put in place.
The band played out a lot  until 1974, but never managed to record an album until 1995, when they released all their material from the 70's. It was released in 1997 as: "Underground and Beyond." The band's material is reminiscent of Black Sabbath, Uriah Heep, early Scorpions, and Jethro Tull, albeit a very manic Tull as the flutes battle it out savagely with pounding guitars. The band was active in the Oslo scene, playing out very frequently until their demise in 1976. The band reformed with their second title in 1999, although their third offering was conceived around 1984.
The band is on their fifth album since their reformation, and is still active today.

Salam Mass ' "Witch Burning" 1971

From Prog Archives: "Salem Mass was a short lived American progressive rock band who played a mix of heavy prog a la Deep Purple or Uriah Heep, with space rock/psychedelic influences in plenty of Moog solos and leads (one of the first bands to apply the use of this fantastic instrument), However, the most similar band to Salem Mass is most definitely Black Widow. (as well as lyrically)."
The band played mostly in the Northwest and Canada, and on three occasions, Salem Mass, (occasionally a five piece) lived in Portland. The band was comprised of Jim Klahr (keyboards), Mike Snead (guitar/vocals), Steve Towery (drums/vocals), and Matt Wilson (bass/vocals).

The band "paid their dues" in Southwest Idaho, where they wrote, played. partied, and evolved. The album was recorded in a bar, (!!!) in Caldwell, Idaho called The Red Barn under the watchful eye of it's owner Steve Moore, and was engineered by Lance Parker, a High School buddy of Steve, Mike and Jim.

Te occult vibe disappears after the first two tracks, while they deal wit witch hunting and Devil worshiping, the rest is straightforward rock n roll. This is an album to take drugs to. Or to find yourself on drugs to. (I'm not entirely sure the band would agree to that statement, but when I read it in a review, I just had to include it. At least just for shits and kicks.) This is the only album produced by the band, and it wasn't released officially back then. Some might find this album occult/psychedelic, but that's not really the theme for the entire album. Keyboard driven, and clear progressive elements.

ODA - s/t - a.k.a. "the Black Album" 1973

Formed in San Francisco in 1970, ODA is named after the brothers Oda, namely Randy and Kevin (guitar and drums, accordingly) who, along with Art Pantoja (lead vocals/rhythm guitar), and Kyle Schnieder (bass) released this self titled album (also known as "The Black Album") in 1973.
The album was released on "Loud Phonograph Records" (Loud LD 80011), a small, independent/private label with a limited edition pressing of 1000 copies. Needless to say, the album has become somewhat pricey and sought after to collectors.

The band's biggest claim to fame was to win the local "Battle of the Bands", and later, a video contest for Billboard Magazine.
The degree to which this band has been long overlooked is, to me, surprising. The music is solid hard rock with some truly amazing guitar work and superior song structures. Th opening tune "Mable", sets the tone and there are plenty of high points. "Gabriel", "Give it Up", and "Chance" are just the first to pop into mind. This "first wave" of the band packed it up in 1975.

Randy Oda plays keys as well as guitar, and got a taste of mainstream success as part of Tom Fogerty's band in the late 70's. Oda released a second album: "Power of Love", also released on Loud Records ten years later in 1983 with a notable lineup change. The band folded for good in 1985.

Barnabus - "Beginning to Unwind" 1971

Rock band Barnabus formed in 1970, in Leamington Spa, Warwickshire, England when the pop-cover band The Jay Bee Kay Pee's split up. Lead guitarist John Storer and bass guitarist Kieth Hannock, enrolled drummer Tony Cox from the also recently defunct Rocking Chair Blues Band.

Barnabus started out playing covers from such bands as Black Sabbath, Trapese, and Deep Purple to name a few. But before long they progressed to writing their own material with help from a young lyricist/poet called Les Bates. They played all throughout London, and were the support for several bigger bands of the time: Man, Edgar Broughton, Trapese, they even supported Hawkwind at the Coventry Locarno, and in 1971, recorded an album at Monty Bird's studio in Snitterfield in Stratton upon Avon. Barnabus won the Midlands Heat of the Melody Maker Rock and Folk contest where the judges were Ozzy Osbourne and Toni Iommi.

The band eventually split up a year later, but reformed for a few charity gigs in 2009. All members now play in other bands, but Barnabus still occasionally play the odd gig here and there.
You can read an interview and brief history of the band with band member Tony Cox, as well as check out footage from their reunion gig HERE

Samuel Prody - s/t 1971

Samuel Prody was a hard psyche/heavy blues band formed by Tony Savva (voice), Derek Smallcombe (guitar), John Boswell (drums), and Stephen Day (bass) in London, England in 1969.
In 1970 they released their one and only album, and album being characterized by heavy psychedellia, being compared to Ancient Grease and Sir Lord Baltimore.

One of the outstanding characteristics is are the blues solos, changing from a dirty/fuzzed noise to a clean sound to keep with the native structure of blues.
"Excellent Blues-Rock/psychedelic in the being on The Masters Apprentices, Morely Grey, Ancient Grease, and Sir Lord Baltimore. Samuel Prody is VERY much underrated miracle album, which any addict of proto-metal (or classic Hard-n-Heavy and psychedelia) will enjoy. It will definitely please and surprise any fans of Led Zeppelin and Deep Purple.

The mastermind behind the band was Tony Savva, London based bassist and vocalist who played in a number of minor bands throughout the 60's.  At one point, Tony auditioned for The Jimi Hendrix Experience. But it was decided thatr the group should remain a three piece. However Mitch Mitchell kept in touch with Tony, and he did the percussion on the "Wild Uncertainty" single. After more than 30 years of unofficial CD releases of the album, Tony has decided to offer a limited CD himself, and he has signed each one of the first 100 of them personally"

Fuzzy Duck - s/t 1971

Fuzzy Duck was an English prog rock group from London, formed in 1970 (a cool name and a cool album cover, when you concider it was released 40+ years ago!). Their eponymous debut was released in 1971, and was only issued in a scarce run of 500 copies. The album reached legendary status by affiliation as it featured Mick Harnsworth of Five Day Week Straw People, Killing Floor, and Andromeda, as well as Crazy World of Arthur Brown keyboardist Roy Sharland, and drummer Paul Francis of Tucky Buzzard (and later, Tranquility). The album is classic keyboard drivin English prog rock in the vein of Soft Machine and Caravan.

The group disbanded soon after the release of the album, but enduring interest of the band led to a shit-load of re-issues on a host of labels, including: Akarma, Repertoire, Esoteric, Psychgressive, Aftermath, Medium, Reflection, Air Mail Archive, as well as unofficial releases without a label. The Akarma re-issue features four bonus tracks previously unreleased (featured here) and excellent repackaging which surpasses the original for quality.

In 1971, vocalist Garth Watt-Roy was asked by the band Steamhammer to provide vocals for their final album Speech (released in 1972 and produced by Yardbirds vocalist Kieth Relf). He also played guitar and sang with East of Eden and, in the 1980's, he played guitar on the Goodbye to the Island album by Bonnie Tyler, as well as with Paul Young and the Q-Tips.
In addition to the L.P., the band released two singles: "Double Time Woman" b/w "Just Look Around You" (1971), and "Big Brass Band" b/w "One More Hour."
A truly exceptional release from a band that sadly only lasted 18 months.

Toad - s/t 1970, "Tomorrow Blue" 1972

In 1970, European psychedelic band Brainticket, out of Basel, Switzerland, was about to release their first album, featuring Werner Frohlich on bass and Cosimo Lampis on drums. They departed the group and formed Toad, with Vittorio 'Vic' Vergeat who was briefly in the space rock band Hawkwind, on guitar. They began writing and recording material for their first album in 1970, and in 1971, Toad released their self titled album and the single "Stay" which did fairly well and made some headway on the Swiss charts, a feat no other hard rock band had ever accomplished in that country.
The album was mixed by legendary British producer Martin Birch (who also produced for Deep Purple, Iron Maiden, and Black Sabbath). The album also features Benjamin 'Beni" Jaeger on vocals, who would leave once the album was recorded.
As their first album was being released in 1971, Toad preformed at the Montreux Jazz Festival that was recorded live by Swiss television, but the footage was lost and to date no other copy has been found.

In 1972 the band released Tomorrow Blue which was more in a blues direction and without a lead vocalist (with Vergeat and Frohlich taking over vocal duties). Like their first album it was produced by Martin Birch. The album also featured Helmut Lipski on violin, who played prominently on the tracks "Blind Chapmans Tales", "Change In Time" and the single "Green Ham." Later that same year the band recorded Open Fire: Live In Basel 1972, which included covers of Hendrix's "Red House" and Band of Gypsies' "Who Knows."

They waited until 1974 to release their third album, Dreams, which featured the popular hit "Purple Haze." After that, their history is largely undocumented except for a live album recorded in Geneva in 1978 and a studio album released in the 90's with different versions of the band. The rest of the 70's & 80's were spent appearing on a few compilations, releasing live albums and fading into relative obscurity. In about 1995, Toad broke up and have not reformed.

Ancient Grease - "Women and Children First" 1970

From Allmusic: "Ancient Grease is a cleaver moniker for a band, although Strawberry Dust were rather baffled to find themselves so named on their 1970 debut album: "Women and Children First." "Dust's" reputation as a rousing live act was already cemented by several years of playing cover songs around the South Wales club circuit, which is where drummer John Weathers came across them. Impressed, he oversaw their demo, which landed the band a deal at Mercury, then co-wrote, arranged, and co-produced their full length. And thus begins the 'Racing Cars' story, for 'Dust/Grease' featured both the band's future front men, Gareth "Morty" Mortimer, and guitarist Grahm Williams. However, this album is very much a child of it's time, only hinting at what's to come.

 It's a heady mixture of pub rock, hard rocking R&B, blues, psychedelia, San Francisco prog rock, with nods to the British hard rock scene along the way, 'Dust/Grease' hit just about every musical touchstone of their day. Incidentally, Weathers' "Eyes of Blue" bandmate, Phil Ryan, provides fabulous keyboard work on the gorgeous "Where the Snow Lies Forever", the genre-bending "Odd Song", and presumably the rest of the album, although no keyboardist is credited. The album's title track captures the excitement they engendered on stage, "Freedom Train", their propensity to roan around genres, "Mother Grease the Cat", their proggy best, "Prelude to a Blind Man", their pubby predilections and bluesy fair, "Time to Die", their emotive power, and "Mystic Mountain", their pop sensibilities.

Even though "Women and Children First" is a strong set, there are flaws, from the so-so production of the set's cohesion, a reflection of too many song writers stirring the musical pot. 'Dust/Grease' were ferociously talented musicians, but they were still a cover band trying to find their own sound. 

They never got the chance. Mercury failed to properly promote "Women.." and it sank without a trace. The band followed it into oblivion, as the members departed swiftly for new projects." 

- Jo-Ann Greene

American press

The Love Depression - s/t 1968

The Love Depression was a teenage trio from Venezuela that signed a three album deal but only put out the one in 1968. The album was pretty much the band's standard set, and as such, reveals that they were essentially a cover band with a passion for soul.

The lone original, "Gonna Ride" kicks the album off. It's a ferocious blasting tune once it hits the chorus, and the whole album is woth the price of admission just for that number. Guitarist Alvaro Falcon going certifiably crazy via overdubs (in interesting contrast, the band is also good at simply cutting out fully for dramatic pauses). Bassist/singer Jesus Toro's slight accent tinges an otherwise standard -enough rock/blues delivery of the time, while the whole song ends on a wonderfully 'let the tape slow down all the way' note.
The band shows their Hendrix influence tackling "Highway Child", 51st. Anniversary", and "Stone Free". Similarly, trying out Cream's notorious example of proto-arena wank, "Toad", is clearly flat out inspired or flat out nuts, right down to drummer Richard Rumaitire's over-the-top Ginger Baker impersonation.

Coeur Magique - "Waken Tanka" 1971

Founded by guitar virtuoso Claude Olmos in Paris, France in 1970, Coeur Magique released only one L.P. in 1971. Typical psychedelic rock of the era, with passages of harder rock. Very guitar driven, with some interesting drums/percussion of an almost Santana kinda vibe. French lyrics. Not too much out there by means of band history, or any story for that matter. A bit of investigation turned up a list of members, but that's really about it. If you've any additional info, don't hesitate to drop a line and I'll update this entry accordingly.  Claude Olmos - Guitar/percussao/marimba, Harry Suer - vocals, Didier Lessage - bass, Laurent Marino - drums/percussion.