[1968] The Lemon Fog - Summer

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The spacey psychedelic sound of The Lemon Fog never sounded better with all their singles, previously unreleased outtakes, and complete version of 'Summer, ' all from the original master tapes. Hailing from Houston, Texas, The Lemon Fog blew many minds during 1967- 68, quickly becoming a popular draw at the local Houston hot spot, The Living Eye. Their first single 'Theme For The Living Eye' (changed to 'Lemon Fog' upon release) was a psych- pop flower power masterpiece released in the winter of 1967. The B- side 'Echoes of Time' was nothing short of brilliant, reminiscent of the British psych scene. In June, 1968, the second Lemon Fog single, 'Summer, ' was released and remains the signature track of the band with its moody and introspective sound, unusual for a summer themed song. 'Summer' should have been a number one hit. The Lemon Fog's third and final single, 'The Prisoner' and 'Day By Day' was released in November 1968, but also failed to chart. The surreal lyrics and tight playing of The Lemon Fog obfuscate the fact that the members were in high school when these sophisticated psychedelic masterpieces were recorded. (~Cicadelic Records)

[1969] Pentangle - Once I Had a Sweetheart

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Alongside Fairport Convention, Steeleye Span, Anne Briggs, Wizz Jones and other acts, the Pentangle formed the so-called "British Folk" sound, that started with traditional songs in the beginning and later went further to folk-rock arrangements. With Bert Jansch and John Renbourn, the Pentangle already had two songwriters of major importance in their lineup. In the move of the late sixties consciousness, they also added a sitar to some of their tracks. The band's psychedelic leanings might emerge the most on their '69 album "Basket of Light", where this track is sourced from.
 

 

[1968] July - Dandelion Seeds

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July are an excellent example of UK Psychedelia. on their '68 debut album a fine blend of weird reverb and trippy stereo shenanigans drives their songs. most of them consist of a strong pop-vein that might be typical for records from the late 60's UK psych scene. on some tracks a sitar and eastern melodies emerge and build a kind of highlight for the whole album in my opinion. Dandelion Seeds appears to be a bit stoned and reaches it's peak with the dreamy passage somewhere in the middle of the playtime.

[1971] Deuter - Krishna Eating Fish And Chips

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Georg Deuter established himself in the early 70's and is known to most of you for his involvment in the Krautrock genré. His early recordings are mostly built up of Acid Folk elements, eastern influences and experimental music. Today he is living in the staates and earns his money with recording meditation CD's that are related to practice and points of view teached by Osho. sadly those are the albums I can't get into. they consist of this "all-is-peaceful-and-happy-if-you-clean-this-ashram-and-visit-your-familiar-esoteric-shop-regularely-to-buy-new-age-stuff"-vibe. that doesn't mean necessarily that I think he is not authentic, but there is too much commerce about angels, tarot, gurus, ... these days it's maybe harder than ever to deal with this contents as there are too much dodgers and moneymakers out there. another issue of this new age scene is, that it's hard to dive deeper into the material by consuming all those goods that are praised to give you the "ultimate-enlightment-trip" ...  you see, I'm very careful about stuff thats directly associated with this commerce. and it's probably the easiest to move out into the forest, climb a tree, prais mother earth, and be flashed by spirituality gleaming through the cosmos.

gladly this track is not as flat as the other ones he later did.... the album "D" where this song is taken from can be tagged as a real psychedelic record I think. a weird mix of Acid Folk, Psychedelic Rock and Experimental Jams will await you on it. so just forget about everything and let you take away by this swirl of mind expansion...

 

[1970] The Sun Also Rises - Death

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The beginning of this terrific track could be like the soundtrack of a surreal and strange movie in the vein of Holy Mountain or El Topo. But for you all, who are familiar with psychedelic folk music, this will be tagged as freaky acid folk ;-). All in all you can compare this one to a mix of Hanna Tuuliki's Nalle and Susan Duncan-Smith's masterpiece for the soundtrack of Keoma. If you wondered, what this duo called "The Sun Also Rises" did on the rest of their debut, I think it's the best to quote my friend Mad Hatter's words: "The husband and wife duo from Cardiff have captured moods by patterns of sound and words. Totally influenced by the Incredible String Band, the album offers whimsical, acoustic acid folk, with weird, disjointed hippie lyrics about a fantasy world of mythological beings such as fairies, elves and dragons. It’s a charming period piece."

[2012] Dean Allen Foyd - The Sounds Can Be So Cruel

Dean Allen Foyd is a brand new band from Sweden, who will release their debut album at the end of march on Chrusher Records (CD & LP). Their sound is oscillating between contemporary famous bands like Baby Woodrose and Vibravoid. There's a lot of garage-psychedelia to discover in their songs as well as heavy psych and classic rock vibrations that remind on Jimi Hendrix, Cream and more... 

Together with a load full of other bands they will perform at the Freak Valley Festival 2012 in Germany very soon (18./19. May). So, if you have the possibility, be shure to get some tickets! more info here: www.freakvalley.de

[1967] The Hollies - Maker

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I was really surprised, when I read for the first time of the Hollies doing psychedelic music. I was checking their '67 album "Evolution" due to the trippy coverart, but I was rather disappointed when it turned out to be another standard pop record. Shortly afterwards I gave a try to the "Psychedelia at Abbey Road" compilation and found a pretty song by the Hollies called "Maker". It's maybe nothing special and as normal as their other works, but the sitar in there gives it a completely new character. So it turned out to be a really cool psych-pop track.

[1968] The Pretty Things - Bracelets Of Fingers

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It's been a while again since the last post. at the moment I'm quite busy with my shop and label. however, here's another great track for you to enjoy! "Bracelets Of Fingers" is taken from the Pretty Things best album, the "S.F. Sorrow". a huge load of british psychedelic pop in a mixed vein of the early Pink Floyd, the Beatles in Pepperland and UK popsike... oh and maybe a bit of the Who's musical "Tommy" feeling. groovy effects, swirling vocals, sitar and everything you need.

[1968] The Bojax - Don't Look Back

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Greenville, SC, freakbeat combo Bojax formed in 1964. Originally dubbed "the Knights," the group was founded by singer/guitarist Bobby Holliday, guitarists Roy Woods and Edwin Bayne, bassist Mack Sanders, and drummer Lyn Cook. Changing their name to the Bojax -- a moniker inspired by the box artwork of a Big Daddy Roth model kit, according to an interview with Holliday at the website www.60sgaragebands.com -- the band regularly played local school functions, but with a median age of just 14 years old, most venues were off-limits. After Holliday assumed lead vocals on "Know a Lot About Love," a single by fellow Greenville band the Wyld, Bojax began making plans to cut their own record -- signing to the local Panther label, in late 1967, they issued their debut single, "Hippie Times," a local hit now better known for its B-side, "Go Ahead and Cry," a "Like a Rolling Stone"-influenced rocker that resurfaced decades later on the popular Back to the Grave reissue series. Bassist Jim Summey replaced Sanders for the follow-up, a cover of the Remains' "Don't Look Back" that proved a local smash in the spring of 1968. The third Bojax single, "So Glad," was written by Jim Stafford of "Spiders and Snakes" fame, who also overdubbed lead guitar on the session. College and military duties soon forced the group to disband, although in 1969 Holliday and Cook formed a new Bojax lineup with guitarist Philip Maynard and bassist Van Stout. After he was wounded in Vietnam, Bayne returned to Greenville in 1970 and recruited Holliday, Sanders, and Cook to form a new group, a heavy rock band dubbed William Goat. This iteration of the band called it quits in 1971. Holliday later recorded a pair of solo albums, Home Grown and Another Stage, in addition to serving as a staff songwriter with the Nashville-based Milsap/Galbrath Publishing. ~ Jason Ankeny, Rovi

[1967] The Superfine Dandelion - Ferris Wheel

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Other songs by The Superfine Dandelion at the Psychedelic Jukebox: [1967] The Other Sidewalk

This outfit was based in Phoenix, Arizona between 1966-68 and were earlier known as The Mile Ends. Their first 45 contains the fine garage-psychedelic of The Other Sidewalk, and the flip features sitars and has a mellow trippy feel, with the vocalist wishing that he'd never come down... After such an interesting start, they went on to chart regionally with their People In The Street 45, but their album had a strong country influence and is largely dispensable. Most of the band later went on to greater things - Black and McFadden joined Goose Creek Symphony and later worked for Linda Ronstadt. Anderson later joined Beans who evolved into The Tubes. (~by mza-garage.blogspot.com)

[1971] Wizz Jones - One Grain Of Sand

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 Other songs by Wizz Jones at the Psychedelic Jukebox: [1970] Wizz Jones - America

The English folk scene with its many leaves and branches is traceable to a few gnarly yet enduring taproots. Along with the Watersons and Davy Graham, guitarist Wizz Jones is one of them. While virtually unknown in America in this sorry age, Jones was paramount in influencing virtually every acoustic guitarist and folk scenester who came after him in the U.K.

Jones began to play guitar seriously in the mid- to late '50s after being inspired by the literature of the Beat Generation, and American blues and folk recordings such as those of Son House, Blind Blake, Woody Guthrie, Cisco Houston, Robert Johnson, Lonnie Johnson, Tampa Red, Big Bill Broonzy, and others. Jones bore a strange figure in British coffeehouses with his uncharacteristically long hair and hobo-ish demeanor, including a guitar that was literally held together with leather straps. He knew his stuff, however, and his playing was rooted deep in the Mississippi Delta and in early Chicago blues styles and he established a reputation early among younger players who soaked up both his image and the licks he fired off from a rapid right-handed picking style that was clearly his own. Jones was interviewed early on by the BBC who was trying to figure out what the ruckus was on the new British folk music scene, and came off as a bearded shaggy-haired smart ass. To the BBC's credit, they left his segment in and Jones became a folk hero to the second generation of Brit folk musicians, many of whom were about to make their own mark. Among those who saw the broadcast and claim to have been directly influenced by it are John Martyn, Ralph McTell, Bert Jansch, John Renbourn, and Richard Thompson.

Embracing the beat life, he and Clive Palmer took to busking in the streets of France for a while -- even encountering a young British bluesman in Paris named Rod Stewart. Back in England, Jones met banjo king Pete Stanley in 1962 and formed a bluegrass duo that released a now legendary -- and highly collectible -- Columbia recording called Music for Moonshiners in early 1963. The duo issued one more recording for the label called 10 Tons of Bluegrass before disbanding in 1966. read more at: www.allmusic.com

[1967] The Id - The Inner Sound Of The Id

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"The Inner Sounds of the Id" is an ablum compareable to "How To Blow Your Mind & Have A Freak Out Party" by the Unfolding. The album features Westcoast Hippie Psychedelic Rock as well as hindu/eastern influenced Acid Folk. Both records are milestones, even if they are quite unknown to a lot of people that are into that kind of music. So if you never listened to one of them, it's time now to do so!