"SWIFT RAIN - COMING DOWN" (PSYCHEDELIC FOLK-ROCK US 1969)

"Swift Rain" were from El Paso, Texas and were formed by "Mike Ciccarelli" (Vocals, Lead Guitar, Slide Guitar), "Andre Bonaguidi" (Vocals, Drums,Percussion), "Frankie Sotelo" (Vocals, Rhythm Guitar, Keyboards) and "Paul E. West" (Vocals,Bass Guitar).
"Andre Bonaguidi", "Frankie Sotelo" and "Paul E. West" were previously "Swift Rain" in a number of Garage groups in El Paso including "The Intruders" ("Paul E. West") and "Lode Star" ("Andre Bonaguidi" and "Frankie Sotelo").
Separately "The Intruders" and "Lode Star" managed to record a couple of tracks include on a compilation album released by the small El Paso "Suemi Records".

With the album vanishing into thin air and their respective bands collapsing, three three principles decided to form "Swift Rain" ("Andre Bonaguidi" came up with the name "Swift Rain").
Some early demos recorded at "Sound Of Memphis" in Memphis with "Stan Kessler" as the engineer.


As "Kenny Smith" from "Suemi Records" recalls: "The session was incredible and they were on their way until the backer backed out.
Anyway, with their recordings held hostage for failure to pay the studio bill, the trio headed home to El Paso".
Swift Rain mk1: Paul E. West, Andre Bonaguidi and Frankie Sotelo

These songs were enough for "Suemi Records" owners "Kenny Smith" and "Bill Taylor" to start recording material, but without adequate financial backing the project fell apart.
The trio continued to rehearse, eventually adding lead guitarist "Mike Ciccarelli" to their line-up.
As "Kenny Smith" recalls: "Back in El Paso and because of Frankie Sotelo's incredible overdubbing of harmony guitar to his terrific lead licks, the group added lead guitarist, vocalist, songwriter, Mike Ciccarelli".

Mike Ciccarelli.

In the meantime "Suemi Records" owners "Kenny Smith" and "Bill Taylor" had signed a deal with "Hi Records" to track down, sign and produce Rock acts for the label.
One of their first acts was to sign "Swift Rain".

Paul E. West

"Coming Down" (Hi Records SHL 32064, 1969) album was recorded in Memphis at "Royal Studio" (of "Al Green" and "Willie Mitchell" fame) (reportedly the project was completed in less than a week) about four-five months later in 1969 produced by the band and "Bill Taylor".
"Coming Down" generating favorable critical buzz and "Swift Rain" was subsequently hired to serve as the opening act for Mountain on an upcoming American tour.

Frankie Sotelo

As "Frank Sotelo" recalls: "After the album was released on Hi Records, Swift Rain would only last another two-three months.
The band did not re-sign with Hi Records and moved to Los Angeles where we played out our last days at the "Sewers Of Paris" nightclub right off Hollywood Boulevard.
We all continued to play in other bands after Swift Rain".

Andre Bonaguidi

Propelled by "Frank Sotelo"'s guitar, "Swift Rain" were at their best on straight-ahead rockers such as "Everybird" and "Everywhere (In My Town)".
"Paul E. West"'s "Broken Love" sported a wonderful Country-Rock melody, while "Yo Soi Tuyo" would have fit well on something by "Stephen Stills".
"Swift Rain" was not a band as much as it was, in the words of guitarist "Frank Sotelo", a 'musical experience'.

"THE WIZARDS FROM KANSAS - THE WIZARDS FROM KANSAS" (PSYCHEDELIC ROCK US 1970)

"The Wizards From Kansas" are, according to the back of the album jacket credits, "Robert Joseph Menadier" (Monster Bass and Vocal Grace), "Marc Evan Caplan" (Snakey Snakes and Footler Breaks), "John Paul Coffin" (Guitar Lead and Strings That Bleed), "Robert Manson Crain" (Twelve String Roll and Songs of Soul), "Harold Earl Pierce" (Rhythm Machines and 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.
The album (Mercury Records SR 61 309, 1970) was issued in October (their biggest influences seem to have been Northern California-based groups like "Jefferson Airplane", "Quicksilver Messenger Service", and "The Grateful Dead", and it shouldn't really come as a shock to discover that "The Wizards From Kansas" was recorded in San Francisco, between July and August of 1970), but a week before its release, drummer "Marc Caplan" and bassist "Bob Menadier" decided that they'd rather play Jazz instead of Rock and left the band to pursue those interests. With no band to promote the record, "Mercury Records" lost interest and the album sank without a trace.


"The Wizards From Kansas" is a killer laid back Rural Rock/Psychedelic album full of brilliant songs with complex melodic vocal harmonies, spaced out guitars and good original dreamy and melodic songs.
The musicianship is top-notch, and the songs are pleasant.
The band's guitarist, "Robert Manson Crain", wrote six of the nine originals, including the warbling, Country-ish "Hey Mister", "Misty Mountainside", "Country Dawn", and "She Rides With Witches".
They also cover "Billy Edd Wheeler"'s "High Flying Bird", radically reworked into a Psychedelic tour de force, full of hard distorted guitar, a song that was previously waxed by "Jefferson Airplane" during one of their first recording sessions in late 1965 (it wasn't released until their 1965-1970 compendium of unreleased tracks, "Early Flight").

This classic was also covered by celebrated Folk artists, including "Judy Henske" and "Richie Havens", among others, but here it gets a visceral Psychedelic-Rock workout, highlighted by "Robert Manson Crain"'s guitar.
Their lengthy cover of "Buffy Sainte-Marie"'s "Codine" is excellent as well, and obviously inspired by "Quicksilver Messenger Service"'s jam version, which approximated the one popularized by "The Charlatans".

EPIPHONE 1966 WILSHIRE GUITAR
In 1957 Gibson purchased New York City's "Epiphone Guitar Company" and moved production to Kalamazoo, Michigan.
With plans to expand retail distribution by differentiating Epiphone dealers from Gibson dealers, Gibson began production of a new line of 'Kalamazoo-made and designed' Epiphones in 1959.
For over a decade, Epiphone solid body guitars and basses were produced right alongside Gibsons.
These Epiphone guitars represented some of the highest quality and best sounding instruments of their generation.


They provided unique shapes, pickup arrangements, and tonal signatures not seen on comparable Gibson models of the day.
Under appreciated at the time of their release, numerous artists through the years have recognized the unique appeal of these guitars.
"Jimi Hendrix", "Johnny Winter", "Wayne Kramer" and "Steve Marriot" are but a few of the artists that have embraced the tone and build quality of these Kalamazoo built Epiphones.
One such Epiphone instrument was the "Epiphone 1966 Wilshire" electric guitar.



Like an "Gibson SG" guitar, the Wilshire's double cutaway Mahogany body with a glued-in Mahogany neck that joins the body at the 22nd fret gives you ultimate upper fret access.
Lightweight and comfortable, the "Epiphone Worn 1866 Wilshire" electric guitar has excellent resonance and natural acoustic tone - even unplugged! Featuring Epiphone's LockTone tune-o-matic/stopbar combination, the transfer of string vibration is improved even more giving this guitar excellent sustain and clarity.
But here's what separates the "Epiphone Worn 1866 Wilshire" electric guitar from the "Gibson SG".

Wayne Kramer with his Epiphone Wilshire from MC5 at Beat Club in 1972

Most early Epiphone guitars including the "Epiphone Worn 1966 Wilshire" with 'Tremotone' electric guitar were equipped with mini-humbucking pickups and Epiphone carries on this tradition.
With its smaller size, narrow magnetic field and unique design combination, the mini-humbucker produces bright and focused output while retaining famous humbucker 'hum-free' performance.

They feature adjustable pole pieces, enamel wire, bar ceramic magnets and rounded nickel plated covers set in black mounting ring with height adjustment screws.

Body Material
Mahogany
Neck Material
Mahogany
Neck Shape
Neck Joint
Glued-In
Truss Rod
Adjustable
Scale Length
24.75"
Fingerboard
Rosewood with mother-of-pearl Dot inlays
Neck Pickup
NY Mini-Humbucker
Bridge Pickup
NY Mini-Humbucker
Controls
Bridge Volume, Neck Volume, Bridge Tone, Neck Tone, 3-way pickup selector (toggle)
Binding
None
Fingerboard Radius
14"
Frets
22; medium-jumbo
Bridge
LockTone tune-o-matic/stopbar
Nut Width
1-11/16"
Hardware
Nickel
Machine Heads
Premium Die-Cast, 14:1 ratio
Colors
Aged Cherry (AC), Worn Cherry (WC), Worn Black (WK)

MC5: Dennis Thompson, Wayne Kramer with his Epiphone Wilshire, Fred 'Sonic' Smith and Rob Tyner at Beat Club in 1972

THE GOOD
"Epiphone Worn 1966 Wilshire" is wonderfully light, about half the weight of "Fender Telecaster Electric Guitar".
The nut looks like bone and is well cut and finished with no signs of string binding.
The frets are well fitted and crowned, with no sharp ends and there is no fret buzz with a reasonably low action.
The switches and pots all feel positive and are well fitted with no crackles.
The jack socket is a very firm fit.
The sound is good, like a clearer version of an "Gibson SG" or "Gibson Les Paul", with quite a bite if you hit the strings hard.


THE BAD
The body is obviously made of three pieces of wood and little attempt has been made to find three reasonably matched pieces.
There is a slight cosmetic flaw in the wood just by the bridge pickup which really should have been picked up before manufacture.
The pickup pole pieces don't quite line up with the holes in the pickup covers meaning that the poles are not quite central.
The piece of wood grafted onto the headstock to make up the length is obviously a different grain (or wood type) and colour and the finish accentuates it.

To sum up, I think the "Epiphone Worn 1966 Wilshire" is an excellent guitar for a very low price which is slightly let down by a few minor cosmetic problems. It's a keeper for me though, I just love that shape.

"CREME SODA - TRICKY ZINGERS" (PSYCHEDELIC FOLK-ROCK US 1975)

"Creme Soda" were a Milwaukee, Wisconsin Psychedelic band consisted in "Art Hicks" (drums, bongos, dahka - de - bello drums, and vocals), "Ron Juntunen" (electric acoustic and slide guitar), "Bill Tanon" (guitar, mandolin, bass, harp, bowed guitar, percussion and vocals) and "Jim Wilson" (bass guitar, piano, percussion and vocals) hailing from Milwaukee, Wisconsin, where they first started playing together in 1972.

Creme Soda: (I'm) Chewin' Gum / Roses All Around, CST-112 , 1974

In 1974 "Creme Soda" recorded two singles for little "Trinity Records", "(I'm) Chewin' Gum" / "Roses All Around" (CST-112, 1974) and "Keep It Heavy" / "And That Is That" (CST-113, 1974).
"Creme Soda" are not an easy band to categorize as they were able to play virtually any musical genre with consummate ease.
In 1975 "Creme Soda" released an album titled "Tricky Zingers" (Trinity Records CST 11, 1975) with some very pleasant Psychedelia and laconic Folk-Rock throughout, with good choruses and a laid back guitar hero ringing away in the background.


Without knowing when the record was from, you'd have pegged it as a late 60s thing rather than pre-dating Punk by a year.

Melodic Folk-Rock predominates as evidenced by "Give It Up", "Tonight", "Deep In A Dream", "Keep It Heavy" and "Daydreamin'" with heavily acoustic guitar playing and gentle vocals; but there's also a couple of weirder more Psychedelic tracks in Beatles' - "Tomorrow Never Knowns" - style "Numero Uno" and "The Beat Song".
There are also some Rockabilly / Punk in "(I'm) Chewin' Gum" and in "When The Sun Shines" and a bit of Blues on "That Is That".
It's the epitome of what Psychedelic Rock should be: experimental, trippy and distinctive.

Creme Soda left to right: Art Hicks, Ron Juntunen, Billy Tanon and Jim Wilson

"Creme Soda" did get some notice amongst Underground Rock cognoscenti - Power-Pop and 60s Garage-Rock champion and Bomp! Magazine (and record label) founder "Greg Shaw" wrote the album's liner notes - but their low fidelity and general obsolescence only increase their charm.
It's truly an excellent album, stylistically everywhere.
Everywhere but the year 1975, the year when, against all probability, it was actually recorded.

Creme Soda clockwise from upper left: Ron Juntunen, Jim Wilson, Billy Tanon and Art Hicks

"Tricky Zingers" is an impressive and relatively overlooked recording, which, despite being recorded in 1975, has a decidedly mid-'60s feel about it.
Too unfashionable, perhaps - "Creme Soda" were no more not long thereafter.

"STONE HARBOUR - EMERGES" (ULTRA RAW PSYCHEDELIA US 1974)

Based in Youngstown, Ohio, multi-instrumentalist "Ric Ballas" (electric guitar, acoustic guitar, slide guitar, organ, piano, synthesizer, bass guitar, percussion, Vocals, engineer, producer) and "Dave McCarty" (lead vocals, drums, percussion, engineer, producer) comprised the "Stone Harbour" line-up.


Released on their own "Stone Harbor" label (Stone Harbour Records 398, 1974), the album was apparently a vanity project with "Ric Ballas" and "Dave McCarty" producing, engineering, arranging, writing all ten tracks and handling all of the vocals and instrumentation.
If your looking for the rawest basement Psychedelic album you can find, well you might just have found it.


Musically material like "Grains Of Sand", "Summer Magic Is Gone" and the instrumental "Thanitos" offered up a pure, unadulterated set of low-fi mid-1970s Psychedelia.
Thoroughly toasted, tracks like "You'll Be A Star", "Rock and Roll Puzzle" and "Still Like That Rock and Roll" offered up heavy doses of acid soaked lyrics, sprinkled with barely in-tune vocals, oddball time signatures, screeching guitar, some of the lamest synthesizers you've ever heard and a weird array of sound and production effects.


Some of the tracks go into like dreamlike atmosphere with songs fading in and out.
That probably didn't sound like the makings of a classic album, but the duo's sense of enthusiasm and commitment somehow pulled it all together overcoming the host of technical and performance limitations that should have killed this beast.