There are more regional psyche series than you would think,
and too often the definition of psyche is just any 45 or demo from the
60s by a teen, cover, or party band that hasn’t been comped yet.
And while 10,000 Norton-unearthed acetates may indicate otherwise, most
of these suck Which is why this CD is a triple treat. First of all,
nothing sucks, all of these American Legion Hall-rocking unknowns had
something special. Second – these tracks are more than 50% psyche
adjacent, which is a high percentage for this kinda thing – even
the covers are of Love and Hendrix They even get kinda psyche when they
ain’t getting psyche, thanks to gear acquisitions. Notably there’s
one super faithful, twang-heavy version of “White Lightning”
that could be (and certainly was) played for a honky-tonk full of good
old boys…but then the guitar solo is played through a fuzz box
from Venus It’s followed by a fairly traditional rockabilly-ish
take on “Bony Maronie” that at one point has the guitarist
hit a pedal that turns his instrument into a functional Star Trek weapon
But the third thing that makes this comp great is that the regional
is legitimately regional. Jamie Holmes’ version of “Gloria”
breaks down into a spoken rap where they are just trading jokes and
boasts with natural drawls, making it sound like teenage Homer &
Jethro’s garage band. The highlight on here is actually about
a regional incident, and even if it’s far from the best track,
the Fouke Monsters win this battle of the bands. There song (called
“Fouke Monster”) is a weird, spooky romp, with Zappa freakouts
meets Shel Silverstien goofs…but the key is that even though Fouke,
AR (where a bigfoot was sighted) is not pronounced “Fuck,”
they knew what a “Fouke” record label looked like The fact
that the reproduced label (on “Monster” records) has a scribble
drawing of hippy bigfoot, and is printed on the CD face, puts this over
the top. Plus, now we know how Bill Clinton got that nickname…Roctober
Magazine
In my research for 45RPM, I came across an amazing wealth
of Arkansas-specific information on the Pysch Of The South website and
a killer compilation of early garage rock, which I talked about here.
Harold Ott, Arkansas’s own homegrown authority on garage rock,
has released another fantastic compilation
Lost Souls Volume 3 I have been listening to this collection since late
summer. I definitely have my favorites, like ”I Can See Your Ways”
by Richard Vanover & Bob Ralph and “Hush Puppy” by The
Spyders. The version of ” Little Latin Lupe Lu” by Don Norviel
& the Visions I dig way more than the Mitch Ryder & The Detroit
Wheels cover. And you have to love “Fouke Monster” by Billy
Cole & the Fouke Monster created to promote the cult classic film
Legend Of Boggy Creek. The entire collection is worth owning the hard
copy: 29 tracks, a fat insert with super detailed liner notes and pictures
– This is what all albums should be Many of the songs compiled
in these collections have been gathered from original acetates, 45s,
and reel to reel tapes not found anywhere else. Not only is it an exciting
and obscure part of Arkansas’s music history, but many of the
songs are infectious and will make their way into your playlists. Lost
Souls Volume 3 is availble to preview & purchase at CDBaby and Amazon
ALSO: check out the complete Lost Souls documentary to see the story
of the garage rock band out of Jacksonville who are the namesake of
these labor-of-love compilations. Thanks Harold for all the hard work
-Juli Jackson, film director, 45RPM
It amazes me that so much music still remains to be unearthed
in the period when pop music got attitude, fuzz guitars and snarl became
the norm, yet the music retained a melodic innocence. I am, of course
referring to '63-71, the years that this overview of obscure Arkansas
music covers, although I guess the innocence had gone by end of that
period. The fact that this is volume 3 and it still manages to find
some real gems just proves what a fertile period it was, not just in
Arkansas, but all over the globe.Recorded in 1968, the disc starts in
fine style with “I Can See Your Ways”, a definite Pebbles
contender, with suitably snotty vocals and guitar provided by Richard
Vanover and Bob Ralph. After the more mainstream, but enjoyable Les
Soules, we get into beat mode for Robin and the Hoods, a catchy little
number that moves along at a cracking pace. Much more gnarly, The Villigers
get all moody on “Empty Heart”, whilst two lo-fi covers
of “Susie Q and “Gloria” by The Culls and Jamie Holmes
respectively, let us know where we are in time, the latter being a garage
standard that has a fine groove to it, including some wonderful spelling
mistakes and a sense of the absurd. More covers induced fun can be found
as The Red Light Funnies turn “My Little Red Book into a basic
garage stomp. With 29 tracks, it is inevitable that quality will vary
on this comp, although one man's horror is another man's favourite track,
and as they are all short and generally sweet, nothing lasts too long,
with another cracker just around the corner. A case in point is the
rockabilly garage of Jimmy Ford, whose “Mr Flying Saucer Man”
is a gem, great guitar and some fine vocals, just perfect. Elsewhere,
the brewing of “White Lightning” provides some rock and
roll inspiration for Harold Morgan, whilst a solid bass-line runs through
“I Wouldn't be Seen alive with Her” a atmospheric rockabilly
tune from Jimmy Payne and the Jokers. Having a British (The Hollies?)
influence, “I'll Fly High” is a great beat tune with added
saxophone courtesy of The Sabers, after which The Music Shoppe, return
us to the moody garage with “Are You Really My Girl”, the
track containing some excellent organ work that lifts the song from
the mundane, sounding not unlike Creedence Clearwater Revival. With
a definite soul influence Newcastle Blues press all the right buttons
on their horn-infested “Cotton's Mama”, getting the groove
going right from the start, before The Tuesday Blues turn everything
for a powerful rendition of “Till the End of the Day”, the
tune bristling with energy and attitude. Wringing every drop of emotion
out of the tune, Lemon Meat, drink heavily in a darkened room, or so
it would seem from their rendition of “Signed DC”, a lonesome
Harmonica merely adding to the torment. To maintain the strangeness,
the last three songs are, in order, based on a sighting of bigfoot,
a war protest with religious overtones and a weird organ led version
of “Hey Joe”, possibly the epitome of sixties cover songs
and a fitting way to end a most entertaining compilation, turn it up,
grab yourself a beer and smile. (Simon Lewis) Terrascope
Online
Psych of the South Records recently released Lost Souls
Vol. 3 Arkansas Garage Psychedelic Rock 1963-1971, its latest installment
mining the Natural State's psychedelic nuggets. OK, so it's actually
been out for a good minute or so, but we just got our grubby mitts on
a copy here at the underground Arkansas Times mega-compound, and it's
pretty good stuff. And at 29 tracks and 78 minutes, it's one cot-dang
full CD, too.
As with previous volumes, this edition was culled from 45s that were
released on regional labels such as Clark, Silver-Dollar, Zay-Dee and
others, as well as acetates and reel-to-reel tapes of rehearsals and
shows. Much of this stuff had been gathering dust in somebody's box
of forgotten dreams for the last 40-plus years, until Psych of the South
owner Harold Ott came along to help this music see light of day once
more. Most of the bands on this disc will only be familiar to two sets
of folks: 1) those who were there, and 2) the sort of obsessive record
collectors who still live in their mom's basements and have intense
online arguments about whether Love's Forever Changes is better in stereo
or mono.
Speaking of Love, there are three tracks from the L.A. folk-rock act's
first album included on Lost Souls Vol. 3, and all three were cut by
Jonesboro bands. Red Light Funnies' take on the Bacharach/David number
Little Red Book is similar to the punked up version Love had a hit with;
Lemon Meat cut a brooding, Animals-esque interpretation of Arthur Lee's
anti-drug dirge Signed D.C. ; and Scorpio offer up a mellow, Hammond-laced
Hey Joe, which was also on the first Love album.
If you're a serious garage rock head or if you have an interest in Arkansas
music history, this latest Lost Souls collection is definitely one to
pick up. Why, I bet you could find a copy at Arkansas Record & CD
Exchange. - Arkansas Times - Robert Bell - Dec 13, 2011
Raise your glasses, if you would, to the regional archivists of the
'60s garage world, who toil untold hours sfting through dusty boxes,
scouring local newspaper archives and cold-calling complete strangers
in the hope of turning up another long lost track to bring to the world.
Guys like Harold Ott, who just came up for air after completing the
third voume of his fine Lost Souls series, documenting the gorgotten
'60s sounds of his native Arkansas.
The first song out of the chute is a stone-cold, unknown-until-now killer:
"I Can See Your Ways" by Richard Vanover & Bob Ralph.
It rumbles along endlessly on one shord, the rowdy lead vocal fighting
to be heard over a nagging single-string lead, before tumbling clumsily
into a quick turn-around that passes for the chorus; then back to that
one chord again. Musical perfection, in other words.
Other rough'n'ready standouts include "Village of Love" by
Les Soules, the Barons' harmony-doused "Come With Me" (from
an unreleased reel), the ebullient Mersey sound of the Sabers' "I'll
Fly High," and a heartfelt anti-racism number by the Paragons.
Meanwhile, the Bar Boys pull off a credible blue-eyed Motown sound wiht
"That's the Sound of My Heart," while the Spyders lay down
a lazy Slim Harpo swamp groove on "Hush Puppy." There's also
tough covers of "Slow Down" (Robin & the Hoods), "Suzy
Q" (the Culls), "My Little Red Book" (the Red Light Funnies)
and "Till the End of the Day" (a heavied-up, Hammond pumped
arrangement by the Tuesday Blues).
This volume also branches out a bit with some rootsy rockabilly material,
including Jimmy Ford & the Luzers' previously unreleased "Flying
Saucer Man," the Five Rogues "Wait and See," and Danny
Johnson's "Tired of Working for the Other Man," which sounds
way earlier than its 1970 release date.
On the weirder side of the tracks is "Fouke Monster" by Billy
Cole & the Fouke Monsters, a bizarre rocker with a proto-rap vocal
and searing guitar work, cut in 1971 to promote interest in an upcoming
Bigfoot-themed horror flick The Legend of Boggy Creek.
With a generous 29 tracks on tap there are inevitably a few misfires,
but the batting average is higher than most comps of this kind. The
12-page booklet includes label shots, band pics, and track-by-track
liners with the back story on all of Ott's latest discoveries. -Mike
Stax - Ugly Things issue #32
Well it seems that Harold Ott (mastermind and driving
wheel behind POTS Records) will never stop digging in the past, digging
deep under the ground till he derives ALL these gems that are patiently
waiting to be discovered. Don’t know if there’s going to
be a Volume 4, but this CD fills the ‘puzzle’ of the numerous
unknown bands that performed in the Arkansas area from ‘63 to
‘71. There are 29 tracks (originals as well as inspired cover-versions
too), coming from acetates, 45s, or reel-to-reel tapes, most of them
previously unreleased. The music here differs from garage and psychedelic
to soul, country and rockabilly, though there are some obscure uncategorized
gems accompained by a detailed booklet with lots of info and pictures.
Most of the bands were just kidding around and playing music just to
be attracted by girls, non professional recordings, no big studios,
no producers, small ‘tiny’ labels, but when it comes to
music none of the above seems to matter. Youngsters full of energy,
visions, inspiration and fun Songs that could easily fill more noted
comps such as Nuggets or Pebbles. Do yourself a favor and go get all
3 numbers, if you haven’t already done so (TLM) - Timemazine #7
Autumn 2012
Artist: Various Compilation: Lost Souls Vol. 3
Label: Psych Of The South Records
Psych Of The South unleashes volume 3 of their Lost Souls series, bringing
us more garage/psych rock obscurities from Arkansas from the 60's and
some early 70's. Harold Ott has once again done a great job in digging
around, lifting up rocks, seeing through the dust and bringing some
great rock and roll to light that might have otherwise been lost in
the vast webs of rock music that was being recorded during that great
era. Starts off with a great tune by Richard Vanover & Bob Ralph
called I Can See Your Ways, from 1968, just a couple notes, minimalistic,
but it sure works and it's got that attitude.... Lots of garage rock
with attitude and some that would even be worthy of such comps as the
worshipped Back From The Grave, just listed to the Villiger's cover
of Empty Heart, great cover with lots of attitude and pure rock n' roll
snarl I really dig the rockabilly Mr. Flying Saucer Man from Jimmy Ford
& the Luzers (love the misspelling on losers by the way ), simple
song, great guitar and way cool lyrics, yes Mr. Flying Saucer Man remove
me from this planet so I can leave these brain dead Kardashian watchers
a memory of the past, another planet I love the fuzzed out version of
the Kink's Till The End of The Day by The Tuesday Blues 29 songs jam
pack this disc, so you surely get your money's worth with the purchase.
Psych Trail Mix #7