Arkivet

We haven’t focused much on pop oriented songs lately so we thought we needed a psychedelic pop episode in this season. This sub-genre of psychedelic music is to our minds strongly linked to major label and with that also a bigger production and more commercial appeal compared to many private press releases. We don’t consider this to be anything negative and there was a lot of creativity at work here as well and some great use of studio sound effects. The majority of the songs in today’s episode is major label artists but we also play a few budget-label releases as well as some local and private presses.   Georgie Porgie and the Cry Babies (Jubilee, 1968) -The Lake World of Oz (Deram, 1969) -Like A Tear NGC-4594 (Smash, 1967) -Skipping Through the Night Chris Lucey-Songs of Protest and Anti-Protest (Surrey 1965) -Girl From Vernon Mountain Spring Fever (Splitsound, 1968) -Sand New Mix-s/t (United Artists, 1968) -The Man Badge (Orinj, 1978) -It Doesn’t Mean Suzanne-s/t (Birchmount 1969) -Shendah

In this episode we focus on the very end of the first psychedelic period, namely the early 1980s. This period still links to the mindset of the late 60s but without becoming retro. Today’s selection is a mixed bag of DIY and later-phase hippie music. Genres in this episode includes folk-rock, singer-songwriters, AOR, real people music and rural rock but each of the artist brings their personal artistic vision into the mix that expand beyond genres to create something truly unique. We have tried to avoid the more classic titles of the 80s psych scene to instead concentrate on some of the less discussed albums. Jody Koenig-Passion Creek (Rave 1981) -If I Walked For Miles Expanding Circle – Conscious (No label, 1980) -I Didn’t Believe Michael Styers-Bearing a Gentle Message (Myrrdin 1980) -Summer Evening Chant Anne T McBride-Sands of Gold (Honey Bee 1982) -Gypsy Rings Shades of Rayne (New Orleans Trinity 1981) -High Again Patrick Bowler-Bits of Wit (No label 1980) -Makem Shakem Lazer (First Time Records, 1980) -

Here we continue to explore some more obscure heavy psych and hard rock singles. Except for the US artists in the episode, we also included two rare Swedish singles by Alexander Lucas and Zane as well as the UK band, Wolfrilla. There are a lot of new favorites for us in this episode and we hope you'll find some too.  Zane (MM, 1976) -Step Aside Stone Axe (Rampart Street, 1971) -Slave of Fear Raw Meat (Blue Hour, 1969) -Stand-By Girl Seeds (Productions Unlimited, 1972) -Shuckin’ and Jiving Wolfrilla (Concord, 1970) -Come Tomorrow Alexander Lucas (Efel, 1973) -Svarta Skogen

This is the first part in our short exposé of heavy psychedelia and hard rock in the late 60s and early 70s. This is a subject we haven’t discussed previously so therefore we’re going to dedicate two episodes on this.  The focus of today’s episode is on private pressed singles from the US while the second part will include some UK and Swedish bands as well. The set list is quite eclectic, ranging from acid rock to full-blown hard rock and early metal, where heavy is the common denominator. We wish to thank Lance Barresi, co-owner of Permanent Records and curator of the Brown Acid compliation series, as well as Stefan Kéry from Subliminal Sounds who helped us with info and music for the two episodes.   Masalla (Climax, 1970) -Burnin’ Feeling Gold (Golden State, 1969) -No Parking Macabre (Intermedia 1972) -Be Forewarned Punch (Raftis, 1970) -Deathhead SRC (Big Casino, 1971) -The Badazz Shuffle The Journey Back (Nottingham Disc, 1968) -Synthetic People Village STOP (Ruby, 1969) -Vibration

In this episode we continue to explore the seemingly endless singer-songwriter genre, trying to separate the wheat from the chaff. Here the main focus is on private press albums from the 1970s and the episode includes several classics of the genre, such as Alicia May and John Wonderling as well as less obvious choices, e.g. Tom Rosplock, Mick Softley and Kevin Vicalvi. Furthermore, we also included the mountain hiking Texas duo Patterson & Pults as well as a recent favorite of ours, the mysterious Bob McAllen.  Alicia May-Skinnydipping In the Flowers (Golden Anchor, 1976) -Borderline Bob McAllen-McAllen (Spirit 1971) -It Depends John Wonderling-Day breaks (Paramount 1973) -Shadows Mick Softley-Sunrise (CBS 1970) -Ship Kevin Vicalvi-Songs From Down the Hall (Starizon 1974) -Lover Now Alone Tom Rosplock-Tom Rosplock (Johnny Dollar, 1974) -Wherever You Are Patterson and Pults-Grand Tetons (1977) -Loneliness is Only In Your Own Mind

In this episode we discuss some truly rare albums, which were originally released in 100 copies or less, making some of them highly sought-after and very pricey (if you ever get a chance to see a copy). Besides the rarity they also contain some quality psychedelic music that spans most of its subgenres, from acid-folk, psych-pop to garage and heavy psych. We touch upon many subjects, such as the elusive and murky tax-scam business and discuss one of its top records, Stonewall. We also pay a visit to the UK underground scene and listen to the great homemade recordings of Complex and Tony, Caro and John. Also included in the episode are music from the two (singer-) songwriters John Michael Roch and Gary Osborne as well as the lo-fi Northwest garage band Brigade. Complex-s/t (1970) -Norwegian Butterfly Brigade-Last Laugh (Band n´ Vocal 1970) -Self-made God Stonewall-s/t (Tiger Lily 1976) -Outer Spaced Gary Osborne (Kinney Music 1971) -Grass Tony, Caro and John-All on the First Day (1972) -Sargasso Sea John Micha

In this first episode of season four there isn’t a clear theme. We have just put together a show with some nice psychedelic music from 1966 to 1969, the short period of time when psychedelia went mainstream in our western society. We have also reduced our talking in this episode to make room for more music.   The Picture – Evolution (Nasco, 1969) Injun Joe-Indian Priest (Reward, 1969) Geebros-Let Me Find the Sun (Orange, 1968) Adrian Pride-Her Name Is Melody (Warner Bros, 1966) Travel Agency-Time (Tanqueray, 1966) Mother Tuckers Yellow Dusk-I (Duck, 1968) Joe Rosanova and the Vineyard-In Dedication To the Ones We Love (Astro Sonic, 1968) -Dreams of You Twentieth Century Zoo-Stallion of Fate (Vault, 1969) Darius-I Don’t Mind (Chartmaker, 1969) Jean Le Fennec-Phantastic (Barclay, 1969) -L´abandon Epitome-I Need You (Mona-Lee, 1967)

In the last episode of the season we discuss religious and spiritual psychedelia. As you know, we have already talked about the Christian psychedelic scene in an earlier episode but here we take a broader perspective and tough upon some other religious and spiritual beliefs as well, including Hinduism, Buddhism and Eckankar. There is plenty of good records with religiously and spiritually themed psychedelia and in this episode we’re listening to some Jesus Rock by Wilson McKinley and Last Call of Shiloh and the more meditative mindset of the Christian community Trees. We also have a listen to the Eckist Michael Dobbins singing about Tarot cards, ESP and UFOs, as well as the Siddhartha of South Bronx - Bobby Callender and the floating mind of the Amazing Grace. Last Call of Shiloh – s/t (Last Call, 1972) -Great Day of the Lord Bobby Callender-The Way (First Book of Experiences) (Mithra, 1971) -Lord, Am I Dreaming Trees – The Christ Tree (Pomegranate, 1975) -Psalm 42 Amazing Grace (Baba Ram Dass) – Love Serve R

Jai Ram Ransom or Jim Ransom as he was known back in the ‘60s and ‘70s started his musical career at the Gaslight Café in Greenwich Village, playing alongside artists like Tom Paxton and Phil Ochs. However, in the early ‘70s Jai Ram decided that he had have enough of the east coast scene, took his guitar in hand and headed for Denver, Colorado. Once at place with the local folk scene he and a fellow New Yorker Laura Benson started the folk and bluegrass label Biscuit City, which over the coming six years recorded over twenty records worth of folk, singer-songwriter, bluegrass and dulcimer music. In 1979 Jai Ram sold the label and continued on his own. Soon after he moved to the Neem Karoli Baba Ashram in Taos, New Mexico, to continue the spiritual path he already started back in the ‘60s, It was from there on he dedicated to devote the rest of his life to the guru Neem Karoli Baba. Nowadays he lives in India for most of the time and has just published a book about the maharajji. In the interview we don't only

Biscuit City was a folk and bluegrass label based on the 17th avenue in Denver, Colorado. The label was founded by the two New Yorkers Jim Ransom (now Jai Ram Ransom) and Laura Benson and became a pivotal part of the local Colorado folk scene. During the years 1973 to 1979 they released twenty-five albums in many different genres, including recordings by dulcimer and bluegrass bands, folk artists and singer-songwriters. In today’s episode we take a look at this seldom discussed label and dig out some of its treasures.  Thanks to Dan McCrimmon and Jai Ram Ransom for helping us with information for this episode. Frummox-Here To There (Probe 1969)-There You GoDan McCrimmon – Colorado Folk, vol. I (1973)-Legend of the WasheenJim Ransom (Just Came Along For The Ride, 1974)-Ballad of the Fisherman’s SonPete McCabe-Colorado Folk, vol II (1974)-Sweet Jesus GoodbyeRandy Handley-Keepsake (1975)Papa Always SaidFingers Akimbo-Cowtowns & Other Planets (1978)-Abu Dhabi Man

The topic of today, rural aspects of psychedelic and singer-songwriter music, is very broad and here we loosely define rural as music that mediate a “countryside” feeling by drawing inspiration from roots genres like country and bluegrass or takes a nostalgic perspective, which is not always self-experienced, with topics of freight train drifting and the old west. The rural style is mainly related to the 1970s and usually has a laidback atmosphere, like a countryside retreat in the aftermath of the psychedelic heydays in the late ‘60s. Many favorites are included in the episode, from the Midwestern singer-songwriter duo Modlin & Scott and the reflective mood of the collage friends Thrower, Spillane and McFarland to the psychedelic cowboy Bill Madison, whose interpretation of “Buffalo Skinners” takes this traditional folk song into the third eye dimension, and the country-rock of McKay’s “This Road”, where Ray Pierle dreams of the freedom on the highway. Special for this episode is that Bill Madison joined

In this episode we’re going to focus on the downer/loner folk and singer-songwriter music of the late ‘60s to early ‘70s with an emphasis on the downer aspects. Therefore, we've tried to pick the most haunting songs, which reflects the artists most dark and tortured feeling. Human suffering has always been an inspiration for great art and many of the artists in this episode made music for therapeutic reasons as a way to cure their troubled souls or as in the case with Bob Desper, to help others in their despair. With the selection of this episode we also wanted to highlight both the reflective side, which deals with mankind’s miseries at large but also the more common introspective and self-centered side, which leans more towards the self-abusive and suicidal feelings. As always we have included some of the true classics of the downer style but also some less discussed artists and one odd choice with Shaun Harris, who is usually not associated with this style of music.   Dave Bixby – Ode to Quetzalcoatl (No l

It’s time again to return to Midwestern United States with a second episode of local/private press psychedelia from this region. We have already dedicated one episode in season 1 to Midwest, in which we included some of the finest artists of the psychedelic era, e.g. Zerfas and Wizards From Kansas. This time we have chosen to focus on the late ‘70s psych and it’s going to be a lot of melodic guitars, rural vibes and stoned grooves in this episode. To us the Midwest is one of the greatest regions in the US for '70s local/private press psychedelia and is perhaps only matched by the West Pacific (including the hippie states of California and Hawaii). It’s astonishing how so many of the top private press records that came out from the Midwest, like Anonymous and Rick Saucedo, if just mentioning the ones included in this episode. The reason to this is unknown to us but could it be the regions geographical displacement to the major labels in New York and Los Angeles with little chance of being discovered as a small

It's fascinating how the psychedelic ‘60s lingered on in the private/local recordings and how some artists continued on the psychedelic path long after mainstream popular culture had lost its interest. In this episode we highlight some of the fine psychedelic artists of the early 1980s, which is when many scholars consider the first psychedelic era to end. These artists are still part of the same psychedelic culture with a shared musical vision and aesthetics as earlier psychedelic artists but without any of the intentional revival and neo-psych moves that started to appear in the middle of the decade. The originality of the early ‘80s psychedelic artists comes from the merging of the late ‘60s songwriting with the instrumentations and expressions of the ‘80s to create something very unique and genuine.  No matter when it was recorded we think that the open-minded listener (which we know that you are) will enjoy the timeless psychedelic quality of the music in this episode.    Doc Holiday-Lady Free (no label,

In this second and last part of our interview with Rich Haupt we continue to listen to some of the mind expanding releases of Rockadelic Records, and just as in the first part the music here include contemporary acts, reissues of truly rare records and unreleased archival material from 70s psych bands. Rich also tells us the legendary digging story of how he and Mark Migliore found the Jr. and His Soulettes album in a record warehouse in Oklahoma City, which led to the bizarre meeting with Harold Moore Sr, who was the father to the children that recorded the album, and everything about this story is just unbelievable. Rockadelic Records was a unique label in the early days of reissuing obscure music as they also put out unreleased recordings, which today are standard procedure among reissue labels but was largely unheard of in the late 80's. True is also that much of the unreleased material matches the quality of many of the classic titles of the era and has now become classics themselves among underground ps

This is the first part of an interview with Rich Haupt from Rockadelic Records, one of the earliest and most important labels for reissuing and releasing unreleased material of '60s and '70s psychedelia and heavy rock. Rockadelic was founded by Mark Migliore in 1988 to release records by contemporary Dallas bands and after a few 7” releases Mark invited Rich to join him. Both of them were heavy collectors and during that time they got the idea of releasing older material. This development seemed to have happened by coincident as Rich tracked down members of the band Hickory Wind and found out that they had unreleased recordings of their previous band, BF Trike. This became Rockadelic’s first LP release and was the first of many classic and today desirable titles from the label. The most notably of their records is the legendary Cold Sun album, which was previously unreleased but is now seen as one of the most important artifacts of the Texas psych scene. Mark Migliore tragically passed away in 1996 and Rich c

Eastern philosophy and religion became highly interlinked with the psychedelic culture in the '60s as comparisons between the psychedelic experience and religious concepts of higher mental states were made. Eastern practices, such as meditation were approached as alternative to psychedelics because the method can lead to similar mental awareness and for reaching higher mind stages. However, as noted by Patrick Lundborg that “the religious model is an interpretation, whereas the psychedelic experience, if registered according to proper phenomenology, is simply a description”* and these organized religions with their explanatory belief systems and traditions is not always the ideal model for the psychedelicists exploring their personal inner cosmos. One of the most famous examples of the merging of Eastern religion and psychedelia is Timothy Leary et al.´s guide-book The Psychedelic Experience where they linked the psychedelic trip to the Tibetan Book of the Dead and similarities were drawn between the effects

Finally it’s time for an episode devoted only to Canadian artists. However, to narrow it down a little bit we’ve chosen to focus on some of the excellent major label folk-rock albums recorded in the country during the 70s and for the most part we’re going to bury ourselves deep into the CSN and Neil Young influenced folk-rock but also have a listen to a few stunning acid-folk tunes. It’s striking how many quality artists that were signed by the Canadian offices of Columbia and Polydor, which expect for the artist in the episode, also released Fraser & Debolt, Roger Rodier and Life among others. So hats off to the A&R departments that provided us collectors with so many obscure records that both have that underground feel and at the same time the recording quality of a major label. The songs in this episode are all good examples of the fine Canadian folk-rock and acid-folk sound and while most of them are renowned and appreciated today we also think that some artists, like D’Arcy Draper should be more

In this episode we're exploring some of the music that came out of the hippie communes in the early 70's. The communal living was nothing new but the 1970's saw an increase of new communes spread out in the countryside across the US and marks the start of the hippie rural movement, where the intense kaleidoscope colors of Height-Ashbury was replaced by a reconnection to nature and the more laid-back lifestyle of the 1970’s. The rural movement was partly a response to the decay of the hippie neighborhoods and the loss of spiritual clearness of the cities. Most of the communes came to existence through a shared spiritual awareness among people seeking a way of continuing their psychedelic lifestyle or the will to follow certain religious and political beliefs. All of this could be seen as social experiments which gave people a chance to distance them self from the rest of society and create their own way of living with rules only applying within the constraints of the collective. The need of detachment from the

In this second part of the interview we talk to Stefan Kéry about Subliminal Sounds as a reissue label. In the mid 80’s a “psychedelic community” started to take form in Stockholm around Stefan and other musicians, writers and friends interested in psychedelic culture. Many of the musicians would also release their music on Subliminal Sounds (see part one of this interview). This “commune” was named the “Lumber Island Acid Crew” (coined as somewhat of a joke by Patrick Lundborg), and where a gathering of friends to explore the realms of psychedelia while listen to rare and at that time unknown records, many of which later found their way into the well-known Acid Archives book. Stefan, being one of the most hard-core collector among them, introduced many new rare records to the group, which he had acquired through dealers around the world. He also located many of these artists and in some cases this contact lead to a reissue of the LP on his label. This did not only spread the music to a much wider audience bu