Sunday, October 20, 2019


Whatever It Is Festival
 San Francisco State University, San Francisco, CA
 Stereo Control Room Master (rec. 4:00AM - 6:00AM)
     October 2, 1966
 4.  The Head Has Become Fat Rap
 5.  A Mexican Story: 25 Bennies
 6.  A Tarnished Galahad
 7.  Get It Off The Ground Rap >
 8.  It's Good To Be God Rap >
 9.  Nirvana Army Rap >
 10. The Butcher Is Back
 11. Acid Test Graduation Announcement
 12. Send Me To The Moon >Closing Rap

 Credits on 10/2/66:
 Voices: Ken Kesey and Hugh Romney
 Guitar: Ken Kesey
 Violin: Dale Kesey
 Organ: Jerry Garcia
 Engineering: Steve Newman, Ken Kesey, Mountain Girl

 1.  Ken Kesey's dialogue (isolated remix)

 Merry Prankster Sound Collage Sequences
     October 2, 1966
 2.  Prankster Music/Sound Collage #1(sequence 1)
 3.  Kesey Rap > Prankster Music/Sound Collage #2 (sequence 2)
 4.  Prankster Sound Collage #3 > Prankster Raga(sequence 3)
 Prankster Recordings broadcast over the P.A.

 End of Whatever It Is Festival
     October 2, 1966
 5.  Closing Jam
 6.  Prankster Electronics

In case you noticed tracks 1-3 were removed as they were supposedly Grateful Dead  material 
   Don't know why?

Friday, October 18, 2019


I do hope you all are having a great fall season and enjoying some of the weird stuff . There is some more on the way. I tried to interject Halloween material in with the weirder offerings to keep it interesting. It is always good to be weird on Halloween if not all the time  I have made a few more friends with this stuff  I guess you would say that is okay. Maybe?  Anyway starting with the posts on Oct 28 they will all be on a Mediafire link   I linked to them both for a couple of weeks and found that M outdrew Z by two to one//// so being that I am always in the market for easier work and since Z shuts some places out I will use M for a while

A word to rhe wise  commentary is wetcome


01 the undertakers entrance theme - world wrestling
02 the creature from the black lagoon - dave edmunds
03 dr jekyll and mr hyde - who
04 hebbie jeebies = quicksilver messenger service
05 the addams family theme - vic minzy
06 choke. thirst, die - coven
07 the purple people eater - sheb wooly
08 they're making amonster - copperhead
09 werewolves of london - david lindley
10 the black angel's death song - velvet underground
11 dinner with drac - john zacherle
12 honor the hearse - blue things
13 horsell common and the death ray - jeff wayne
14 attack of the 50ft woman - tubes
15 season of the witch - al kooper
16 my name is death - incredible string band
17 casper the friendly ghost - tv theme
18 hellbound train - savoy brown
19 season of the witch - suck
20 this is halloween - soul eater
21 who are the brain police - mothers of invention
22 feed my frankenstein - alice cooper
23 taste of snakes - jimmy carl black
24 gene and willie conjure the cave demon - gary duncan's quicksilver

Wednesday, October 16, 2019


The Ouroboros is a Greek word meaning "tail devourer," and is one of the oldest mystical symbols in the world. It can be perceived as enveloping itself, where the past (the tail) appears to disappear but really moves into an inner domain or reality, vanishing from view but still existing.

The ouroboros has several meanings interwoven into it. Foremost is the symbolism of the serpent biting, devouring, or eating its own tail. This symbolizes the cyclic Nature of the Universe: creation out of destruction, Life out of Death. The ouroboros eats its own tail to sustain its life, in an eternal cycle of renewal. It is sometimes depicted in a lemniscate shape (figure eight) as well.

The Serpent biting its own tail is first seen as early as 1600 years BC in Egypt as a symbol of the sun, and represented the travels of the sun disk. From there it moved to the Phonecians and then to the Greeks, who gave it its name, Ouroboros, which means devouring its tail.

In mythology, the Oroborus is a symbol representing the Milky Way galaxy. Myth refers to a serpent of light residing in the heavens. The Milky Way is this serpent, and viewed at galactic central point near Sagittarius, this serpent eats its own tail. Many ancients used the galaxy to calculate cosmic and earth cycles.

It is found in Gnosticism and alchemy representing cyclical natural life and the fusion of opposites. It also symbolizes the transcendence of duality and was related to the solar God Abraxas, and signified eternity and the soul of the world.

In alchemy, it represents the spirit of Mercury (the substance that permeates all matter), and symbolizes continuous renewal (a snake is often a symbol of resurrection, as it appears to be continually reborn as it sheds its skin.), the cycle of life and death, and harmony of opposites. As a symbol of the eternal unity of all things, the cycle of birth and death from which the alchemist sought release and liberation. It unites opposites: the conscious and unconscious mind. Alchemically, the ouroboros is also used as a purifying glyph.

Serpent Power's Ouroboros  original LP cover    

n 1966, San Francisco-based poet David Meltzer and his wife Tina, who was a singer, recruited local musicians Clark Coolidge (drummer, also composer), Denny Ellis (lead guitarist), John Payne (keyboardist), Jean-Paul Pickens (banjo player) and David Stenson (bassist), and started playing gigs at clubs and events in the Bay area, such as the North Beach's Coffee Gallery, Gino & Carlo's, and others. Ellis and Stenson were already experienced musicians, having previously played on tracks of the Lovin' Spoonful. Ed Denton, the manager of Country Joe and the Fish, caught one of their shows and brought them to Joe's label, Vanguard Records, where they were signed as The Serpent Power, releasing their debut, eponymous album in 1967.

The LP was considered by Forced Exposure magazine to be a "true representation of the San Francisco area sound in the psychedelic era, with "great male/female vocal harmonies, interesting but unusual lyrics and excellent guitar work." It was one of the first rock albums to introduce the influence of Middle-Eastern music, establishing the genre of raga-rock.
Rolling Stone magazine included The Serpent Power in its list of the 50 best albums of 1967. [3] Robert Christgau suggested the group was "the Bay Area's version of the Velvet Underground.[4] Their music was described as "minimalist folk-rock with noise," while "all but a few" songs were said to be graced by excellent tunes.
Shortly after the album was recorded and while the band was rehearsing in the studio for their next one, Ellis, Stenson, and Payne left and were replaced by Bob Cuff from the group The Mystery Trend on lead guitar along with Jim Moscoso on bass. But their first album failed to chart or generate decent sales and the band broke up soon after, in 1968.
In 2007, an album with previously unreleased tracks, which had been recorded while preparing the group's second LP, was issued, titled Ourobouros, containing extended improvisations.
Discography The tracks on this Lp were aides a and  b  with titles This Side and The Other Side

Monday, October 14, 2019


WARNING !!  This post is loaded with offensive language 

By the late 1960s, the Troggs' commercial success had waned. The production company Dick James Music offered them studio time in the hope of recording a hit single and revitalizing their career. The band – lead singer Reg Presley, guitarist Chris Britton, bassist Tony Murray and drummer Ronnie Bond – together with producer Dennis Berger were booked into DJM's studios in London, which suffered from having the control room and recording room in separate locations, linked only by a Tannoy system and closed-circuit television. The band intended to record a song called "Tranquility", but had not rehearsed before entering the studio. The session quickly descended into acrimony, with Presley verbally assaulting drummer Bond's ideas and competence. Bond was unable to copy Presley's idea of a drum pattern, which culminated in Presley exclaiming "Fuckin' drummer. Oi shit 'em!"

Larry Page, the band's original producer, said that he usually recorded the band quickly and without fuss, as he expected arguments would otherwise arise. He was not invited to the session that produced The Troggs Tapes and claimed the lack of his usual working methods were a key source of the arguments and tension that resulted.

Despite the verbal assaults between Presley and Bond, the pair remained friends until Bond's departure from the band in 1984. Presley later said, "When you know somebody that well, you can say almost anything."

The argument was captured on tape by engineer Clive Franks with help of tape op Barry Sherlock, and made its way onto bootlegs in the early 1970s. The release gave the Troggs an infamous reputation, though it also raised their public profile. Though the band's career collapsed shortly after the session, it was revitalised by the bootleg's notoriety and led to the band reforming and becoming popular with punk rock audiences towards the end of the 1970s.]

Presley was originally unhappy with the release, but later gave a positive opinion of it, saying that bands could listen to it as an example of why they should relax in the studio and not take things seriously.

Among musicians, the infamous Troggs Tapes is the tabula rasa of rock and roll memes. As band members Reg, Dennis, Tony and Ronnie desperately try to nail a take of a song, they progressively meltdown, bickering, ranting, and collectively uttering more “fucks” than Tony Montana in Scarface. The tapes are claimed to have been a source of inspiration for Spinal Tap.

Here’s a groovy unattributed anecdote which, whether true or not, illustrates the mythology connected to this iconic tape;

Ron Wood was doing some studio work with Bob Dylan and over the course of the gig played Dylan the “Troggs Tapes”. Not unnaturally, Dylan thought they were very funny.

It turned out that Troggs singer Reg Presley was working in an adjacent studio making a demo for a commercial.

When Wood discovered this, he approached Dylan all excited, saying “Remember that guy on the tape I played you? Well, he’s next door right now!”

Dylan says, “Really?! Wow, I gotta meet him. You gotta introduce me!”

So Ron Wood takes Bob Dylan next door to find Reg disconsolately fumbling with a bass guitar.

Dylan, by way of introduction, says “Hey, I didn’t know you played bass, man. How long you been playing bass?”

Reg looks up and with a deep sigh says, “All fuckin’ afternoon, mate, all fuckin’ afternoon”.

Saturday, October 12, 2019


01 the walking dead - tv theme
02 dry bones - delta rhythm boys
03 the headless horseman - bing crosby
04 black widow spider - big brother & the holding company 
05 the little blue man - betty johnson
06 cobwebs and strange - who
07 the alfred hitchcock hour - tv theme
08 monster mash - bonzo dog band
09 dracula - jimmy castor bunch
10 i ain't superstitious - jeff beck group
11 i'm gonna dress in black - them
12 grim reaper of love - turtles
13 little demon - screamin' jay hawkins
14 strange brew - cream
15 season of the witch - vanilla fudge
16 creature with the atom brain - rocky erikson
17 alligator wine - deviled ham
18 the mirror - spooky tooth
19 spooky - classics IV
20 spiders and snakes - jim stafford
21 i put a spell on you - fever tree
22 hauted house - sam the sham & the pharoahs
23 elvirs's theme - tv theme
24 the munsters theme - tv theme



Thursday, October 10, 2019

THEM ???

A radio play, with Mickey Hart, Steve Parish, Barry Melton, Bill Graham, and others, recorded some time after 1978. The moral of the story is to preserve the environment and to not kill insects with pesticides. This was not released.
The soundtrack includes a short segment from the Palace of Fine Arts performance of November 28, 1973 of “Experiments in Quadrophonic Sound”.

Line-up : Mickey Hart, Bill Graham, Barry Melton, Steve Parish and others (on “The Bugs”), Jerry Garcia, Phil Lesh, Mickey Hart, Bill Kreutzmann, David Freiberg, Barry Melton, Kathy MacDonald (on “Fire on the mountain”), Mickey Hart, Bob Weir, Phil Lesh, David Freiberg (on “The pump song”)

In a manner similar to Orson Wells and “war of the worlds”; Mickey Hart and the Grateful Dead do a take on Insects gaining intelligence and delivering an ultimatum upon the HUMAN RACE demanding the BANNING OF ALL PESTICIDES AND THEIR USE or they are declaring war upon us for ENDANGERING THE WORLD and reminding us that they FAR OUTNUMBER US.

1 Introduction - 00:36
2 Joe Gets An Assignment - 00:59
3 Joe Meets The Insects - 02:56
4 Insect Message Song - 03:38
5 Joe's Boss is Skeptical - 00:33
6 Joe Speaks On The Radio - 00:50
7 Pollution Song - 04:25
8 Joe Calls Lois - 00:54
9 Joe and Lois Are Reconciled - 00:40
10 Validation Song - 03:36
11 Joe Goes To Washington - 01:31
12 Senator Harrison Declares War - 02:50
13 To War! - 00:34
14 Off To War Song - 02:16
15 War - 06:43
16 The War Lament - 01:51
17 Talmala The Myna Bird Speaks - 02:39
18 Joe Gets The Message - 00:28
19 The Bells, The Bells - 00:45
20 Joe Reports From the UN - 00:41
21 The Bells, The Bells (reprise) - 00:30
22 So It Came To Pass - 00:37
23 Bill Graham Presents... - 00:53
24 ... Bugs On Broadway - 00:59

Tuesday, October 8, 2019


Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now.

What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating theremin, siren, audio generators, and other various electronic effects as Cork Marcheschi, the band's original bass player had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy”, “Red the Sign Post” and “God Bless the Child”, a Billie Holiday cover. An intriguing mix of jazzy psychedelic rock tunes with fierce and advanced electronic sound effects. These sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them. 

So fans of flowery, psychedelic 60's music must beware of this odd gem, Fifty Foot Hose’s music leans more towards White Noise, Silver Apples and specially United States of America than to the whole flower power movement. After only one album, the proto-cyber psych outfit passed as quickly as they came. Their only mention would be a name-check in Ralph J. Gleason’s 1969 book, “The Jefferson Airplane And The San Francisco Sound” published over a year after their demise. Ralph J. Gleason wrote: “I don’t know if they’re immature or premature.” History has proven them to be the latter. Today the original album is very collectable and considered a touchstone of avant garde rock music.

"The concept was to expand what contemporary popular music was. I thought the avant-garde could have had a home with this new group of listeners but they turned out to be pretty conservative - intellectually . Drugs were fine - sex was fine - stop the wars was good but when challenged with abstract art., they reacted like conservative people look at a Jackson Pollock painting." (Cork Marcheschi).

A1       And After        
A2       If Not This Time         
A3       Opus 777       
A4       The Things That Concern You          
A5       Opus 11         
A6       Red The Sign Post    
A7       For Paula       
A8       Rose  
B1       Fantasy          
B2       God Bless The Child 
B3       Cauldron 

Sunday, October 6, 2019


Decades after their brief yet influential career ground to a sudden halt due to being sued for exorbitant amounts by Pan Am Airlines, the Silver Apples remain one of pop music's true enigmas: a surreal, almost unprecedented duo, their music explored interstellar drones and hums, pulsing rhythms and electronically-generated melodies years before similar ideas were adopted in the work of acolytes ranging from Suicide to Spacemen 3 to Laika. The Silver Apples formed in New York in 1967 and comprised percussionist Danny Taylor and lead vocalist Simeon, a bizarre figure who played an instrument also dubbed the Simeon, which (according to notes on the duo's self-titled 1968 debut LP) consisted of "nine audio oscillators and eighty-six manual controls...The lead and rhythm oscillators are played with the hands, elbows and knees and the bass oscillators are played with the feet." Although the utterly uncommercial record — an ingenious cacophony of beeps, buzzes and beats — sold poorly, the Silver Apples resurfaced a year later with their sophomore effort, Contact, another far-flung outing which fared no better than its predecessor. It was this record's cover, depicting the duo in the cockpit of a Pan Am airplane, that resulted in a legal battle that left the band unable to continue recording and releasing music. Suddenly it seemed they had disappeared into thin air. However, in 1996 the Silver Apples resurfaced, as Simeon and new partner Xian Hawkins released the single "Fractal Flow." American and European tours followed, and a year later a new LP, Beacon, was released to wide acclaim. The follow-up Decatur appeared in 1998, and was soon joined by A Lake of Teardrops (a collaboration with avowed fans Spectrum) as well as The Garden, the long-unreleased third and final effort from the original Simeon/Taylor partnership. However, on November 1, 1998, the Silver Apples' van crashed while returning from a New York gig; the accident left Simeon with a broken neck and spinal injuries, casting his continued musical career in grave doubt. Thankfully, Simeon recovered and has been playing shows once again 

A1 Oscillations 2:47
A2 Seagreen Serenades 2:53
A3 Lovefingers 4:10
A4 Program 4:05
A5 Velvet Cave 3:28
B1 Whirly-Bird 2:39
B2 Dust 3:42
B3 Dancing Gods
Written-by [Navajo Indian Ceremonial] – Traditional 5:55
B4 Misty Mountain                                                                                                

Dancing Gods, a Navajo Indian ceremonial handed down through the generations. Originally each thought of the dance was repeated four times for the "psychic effect of these hundreds of people who gathered to bring health to their friends."
INSTRUCTIONS: Play Twice Before Listening.

Friday, October 4, 2019


In the Spirit of Halloween and the tradition of the Instra-Mentals

01 theme from 12 monkeys - paul buckmaster
02 gort-the visor - bernard hermann
03 chainsaw - edgar winter group
04 transylvanian orbit - space cossacks
05 frankenstomp - satan's pilgrims
06 dragula - trashwomen
07 evil tiki - los plantronics
08 theme from young frankenstein - the madiera
09 mortian's stomp - undertakers
10 surf dracula - apemen
11 strange - johnny & the hurricanes
12 nosfratu - 3d invisibles
13 evil walks in - fifty foot combo
14 200 lb werewolf - neanderthals
15 theme from the night-walker - sammy kaye orchestra 
16 monstrous footsteps - bert shefter
17 tarantula - tarantulas
18 the trembler - duane eddy
19 rockula - los straightjackets
20 experiment in terror - champs
21 missing - invictas
22 blood beat - fire escape
23 suite from nightcrawlers - grateful dead
24 deja voodoo - gary duncan & quicksilver 

Thursday, October 3, 2019


"Lovers Cosmic Voyage"

[Golden Flash, GF-571231, US, 1976]

Probably the rarest item in Sky's discography. 
"Sky's obscure 1976 LP "Lovers Cosmic Voyage" is one of several one-off projects he had going in the late 1970s. It leans towards the cosmic Ya Ho Wa side of his output, as opposed to the Seeds "rock" heritage. The album -- all 15 minutes of it -- is quite an experience, although more in an "Incredibly Strange" manner than the deep meditational soundtrack it may have been intended as. The label is usually listed as Golden Flash but there's also a reference to Emerald Light publishing, which was the imprint used for Sky's first World Peace Band 45.The press size is unknown, but the LP is hard to find today. It was pressed on colored vinyl, and came without any cover". Patrick Lundborg (

Sky Saxon’s “lyrics”, improvised and not falling into any rhythmic or even rhetorical structure, have been transcribed here. You can see how certain phrases were used for song titles on the record’s labels.  The song titles are factious as each side is presented as one song Let the lyrics themselvres try to explain the music.

Side A
I look at you
See the light in your eyes
Oh I look at you
See your adorable face
And I’m in love with you
Yes I’m in love with you
Well I think I love you
More and more every day
More and more every day
Oh, just like my dog
I hope you never ever go away
Cause I need both of you so bad babe
Oh yes I do
Yes I do
So sweetheart take my hand
I have the power to take you
Ah, to Venus
Where we’ll play and play
Love our lifes away [sic]
Come on children of the sun
Come on children of the sun
Light up the world with love
Good morning everyone
Good morning
Good morning sun
And good morning lady
How is our little baby?
Sailing on
On a cosmic voyage
We are sailing on a cosmic voyage
Ah, come along

Side Z
Splashing colors of magic
Oh sweetheart, come on, sweetheart
We’re gonna follow the dream
We’re gonna follow the dream
God’s sweet dream
Don’t worry if I have any money
It’s an illusion you know
Oh come on
Heading out to the country
Heading out to the mountains
And the desert where the eagle flies
Follow your dream with your dog
Follow your dream and play with your dog
woof woof woof!
Oh Lassie, Lassie, Lassie
And when I look in your eyes, sweetheart
When I look into your eyes, sweetheart
Reminds me of my dog
Reminds me of my dog
It’s your soft brown eyes
Your soft brown eyes
Come away, just you and I and our dog
And we will sail the universe
Climb the mountains and play in the valleys
Running and skipping through the flowers
Singing like little children do
It’s all for you
Here we come, children of the sun
Here we come, children of the sun
Ya Ho Wha
Oh it’s magic
It’s God’s sweet magic
And if you only knew
So grind the bread for me baby
Grind the grain and we’ll make our bread
And eat the fruit
And put our feet
Walk through the water
And sail in a golden chariot
woof woof!
So get yourself a dog
Save one today and the holy angels will bless you

Dancing, yes I’m dancing with my love
Dancing, yes I’m dancing with my love
And in my arms I hold a loved one
You know she’s a little girl dog
She just like a baby
And my sweetheart smiles and we understand
And our children are playing under the sun
Come along, we’ve been waiting for you
Come along, we’ve been waiting for you
La la la la la la…
Over there, there’s a field
And it’s filled with dogs and they’re all playing
Over there is a field of dogs and they’re all playing
Come on baby, let’s join them
And we can play all day
It’s magic you know
Here comes the sun
Here comes the sun