The Outsiders - You're Everything on Earth

The Outsiders

"The Outsiders" were a Dutch band from Amsterdam that were a part of the "Nederbeat" scene and sang entirely in English.
OUTSIDERS's lineup consisted of "Wally Tax" on vocals, "Ronnie Splinter" on lead guitar, "Appie Rammers" on bass guitar, "Tom Krabbendam" on guitar and "Leendert 'Buzz'Busch" on drums.
"Frank Beek" would later replace "Appie Rammers" on bass guitar from 1968-1969.

 CQ (Polydor special 236803) is their third and final record, which sold poorly upon release but has since become regarded as a cornerstone of Psychedelic Garage Rock.

"THE OUTSIDERS"'"CQ" (an expression used by amateur radio enthusiasts) featured the new line-up, with "Frank Beek" contributing organ and piano as well as bass and all group members doubling on percussion and backing vocals.
The resultant LP, "CQ" stands up as a staggering achievement.
Recorded on an eight-track and produced by "The OUTSIDERS", the stylistic range of the material, the rich variety and maturity of the lyrics and the sheer POWER and vitality of the music makes this one of the finest LP's of its era.
"The OUTSIDERS"' "CQ" touches on a number of different styles of rock music.
There is a combination of Fast paced R&B with a Punk edge similar to early "Pretty Things", eerie experimental material (check out the title track "CQ"), space rock that recalls "Syd Barret"-era "Pink Floyd", and Folk-Rock.

"The OUTSIDERS' CQ" is a very Psychedelic album, in fact it is one of the Best Psychedelic albums ever made.

in: http://psychedelic-rocknroll.blogspot.com/2009/02/outsiders-cq-nederbiet-wally-tax-ronnie.html

The Wizards From Kansas - She Rides With Witches

The Wizards From Kansas

"The Wizards From Kansas" are, according to the back of the album jacket credits, "Robert Joseph Menadier" (Monster Bass & Vocal Grace), "Marc Evan Caplan" (Snakey Snakes & Footler Breaks), "John Paul Coffin" (Guitar Lead & Strings That Bleed), "Robert Manson Crain" (Twelve String Roll & Songs of Soul), "Harold Earl Pierce" (Rhythm Machines & Vocalized Dreams).
"The Wizards From Kansas" were an obscure Country-Psychedelic Rock group from Kansas.
In 1968, four of the five original members (from the Kansas City area) formed a band called "New West", and began playing in the Lawrence, Kansas area, at clubs and parties, near Kansas University. Guitarist "Robert Manson Crain", from California, joined the group soon thereafter, expanding to a quintet.
At that time, the guys were calling themselves "Pig Newton", then "Pig Newton and the Wizards from Kansas".
The name "Pig Newton" was apparently one of their inside jokes, however, as there was no one named 'Pig' in the group. 

The band would often make up stories about "Pig Newton" to confuse people, according to "Robert Manson Crain" (whose songs, incidentally, are credited to either "C. Manson Roberts" or "Mance Roberts"). The five-man group played shows in the local area, and in the summer of 1969, toured the East Coast.
They were invited to play the "Fillmore East" by "Bill Graham" in the fall of that year, a gig that led to them being offered a number of record deals, which they initially turned down.
Finally, towards the end of the year, "Mercury Records" persuaded the band to sign a contract. The label reps did not like the 'Pig' part of their name, however, and made the group drop it.
Six months later, in July and August of 1970, "The Wizards From Kansas" recorded their eponymous debut album, "The Wizards From Kansas", in San Francisco.  

in: http://psychedelic-rocknroll.blogspot.com/2010/02/wizards-from-kanssas-1970-pig-newton.html

Norman Greenbaum - Spirit In The Sky

Norman Greenbaum

Norman Greenbaum (born November 20, 1942, Malden, Massachusetts, United States) is an American singer-songwriter. He was raised in a traditional Jewish household and went to Hebrew school. His initial interest in music was sparked by Southern blues music and the folk music that was hugely popular in the late 1950s and early 1960s. He performed with various bands in high school, and attended Boston University for two years, performing at local coffeehouses during that time, but eventually dropped out and moved to Los Angeles in 1965. He studied music at Boston University. He is best known for his song "Spirit in the Sky".

Cold Sun - South Texas

Cold Sun

Never seeing an actual release until 1989, Cold Sun is a devastating slab of Texas psych and the sickest of lost gems. I can’t say I’ve ever been so moved by feedback and noise in my life. The long awaited reissue from World In Sound sheds some long due light on this beauty and is one of the best we’ve seen in 2008.

The record is sometimes referred to as just Cold Sun; years later the band was unofficially renamed Dark Shadows which was printed on the sleeve as a pseudo album title. Interestingly, both names are derived from the same mythology that inspired the band Mu. Many of the details to the Cold Sun story have been lost in the cracks but Patrick the Lama’s (Acid Archives) essay is a noble piece of research and comes highly recommended for those interested in the history of this band.

I never thought hard psych could sound gorgeous. The magic of the record, for me, is in Billy Miller’s (who wrote most of the material and spearheaded the band) electrified autoharp. This instrument sounds like no other, but I initially mistook it for a distorted Fender Rhodes. The instrument is rarely strummed in the traditional autoharp style but finger-picked like a real harp, the sound full of sustain and grit. Add Tom McGarrigle’s stabbing guitar leads, Mike Waugh’s deep, dark, progressive bass lines, and Hugh Patton’s energy behind the kit and you’re hearing everything the third Elevators album needed to be. It’s clamorous and peyote-drenched and hard but also tender and beautiful.

The World In Sound reissue has great sound, excellent liners (in which Jello Biafra calls Dark Shadows “the best psychedelic album I know of”) and two badass live cuts from 1972. I found the CD available at Heyday Mail Order, but for the LP version you’ll have to wait til the end of the month (and fight for it).

in: http://therisingstorm.net/cold-sun-dark-shadows/

The Plastic Cloud - You Don't Care

The Plastic Cloud

The Plastic Cloud were an Ontario-based folk-rock quartet, consisting of Brian Madill (bass), Don Brewer (lead vocals, 12-string guitar), Mike Cadieux (guitar), and Randy Umphrey (drums). Formed in 1967, they managed to encompass the commercial side of the music in pleasant, Byrds-like original numbers, but also showed a much harder sound dominated by fuzztone guitar and other effects, for a much more spaced-out sound on about half of their recorded material. Madill and Umphrey were the initial partners, with Cadieux and Brewer -- who not only sang lead but wrote all of their original songs -- coming aboard next.

They were signed to Allied Records in Ontario and got one self-titled LP out which, sadly enough, never found an audience, despite beautiful production and some bold, ambitious use of psychedelic effects. Their vocals were pretty and they played better than that, and the results, with a sympathetic producer in charge, were mighty impressive -- their one album is worth hearing a lot more than once, and you get the feeling that if these guys had been working out of, say, L.A. or the Bay Area and been signed to a label with some real marketing power, they'd be a lot more than a footnote today with exactly the music they did leave behind. In 2005, Pacemaker Entertainment reissued their album on CD, and based on the results, Steven Van Zandt or CaveStomp! should be digging these guys up, if they're still around, for a gig as soon as possible. ~ Bruce Eder, Rovi

Sapphire Thinkers - I Got To You

Sapphire Thinkers

"The Sapphire Thinkers" was an American Psychedelic band who recording only one album,"From Within", (Hobbit Records 503) in 1968.
"From Within" contains pleasant vocal arrangements/harmonies and nice touches of Acid and Fuzz guitar and is recommended.
If it's light and breezy West-Coast Psychedelic inflected Pop you're looking for, then this band make all the right moves.

credits: http://psychedelic-rocknroll.blogspot.com/2009/03/sapphire-thinkers-from-within-sunset.html

Montage - I Shall Call Her Mary

Montage

If there's a spiritual heir to both "Johann Sebastian Bach" and "Brian Wilson", surely it's Michael Brown, master of the rock and roll harpsichord and a perfectionist beyond all reasonable understanding, the combination of which brings him adulation and reverence from fans of Baroque late-Sixties pop and blank looks from almost everyone else — though the 1966 "Left Banke" single "Walk Away Renee", a staple of present-day oldies radio, will almost always draw understanding nods. 

But no, that wasn't the voice of "Michael Brown": it's his piano, and his arrangement, and his fixation on the ever-unreachable "Walk Away Renee" (who also motivated the follow-up "Pretty Ballerina"), but the "Left Banke", with three excellent vocalists fronted by "Steve Martin", was clearly more than merely "Michael Brown"'s band, a fact which led to friction, breakup and reunion, and breakup once more.

Cover art and so it was that in 1968, with the rest of the "Left Banke" going on without him, "Michael Brown" disappeared into New Jersey and eventually resurfaced with, but not actually in, Montage; he co-wrote all but one song — his writing partners were "Bert Sommer", with whom he had cut some tracks during the "Left Banke" days, and "Tom Feher", who was actually part of the post-Brown-Banke — played all the keyboards, and arranged all the voices, but somehow he was not a member of the band.
If this seems like an East Coast version of "Brian Wilson", well, certainly "Michael Brown"'s aspirations were no less lofty. Montage was signed to Laurie Records in New York, and two singles, credited to Montage, were issued during 1968: "I Shall Call Her Mary", a charming paean to erstwhile Shangri-La Mary Weiss, and "Wake Up Jimmy", an unexpectedly-bouncy tune about the end of the world.
Neither charted, "Laurie Records" perhaps being preoccupied at the time with squeezing more Snoopy songs out of "The Royal Guardsmen", but "Michael Brown" had an Lp's worth of toons to deliver, and he did, in the process recycling two "Left Banke"-era songs: "Desiree", the fifth "Left Banke" single and the last one to scrape into the Top 100, and "Men Are Building Sand", which he had recorded previously with Sommer but which had been left in the vault.

in _ http://psychedelic-rocknroll.blogspot.com/2009/01/montage-montage-us-lefte-banke-baroque.html