First vinyl reissue of legendary rare 1970 Californian psychedelic folk private pressing. Fully re-mastered sound, with lavishly illustrated/annotated insert, original front and back album sleeves, and pressed on heavyweight 180gm audiophile vinyl. Only 500 copies pressed, and sure to sell out very quickly. First release on the highly collectable Tenth Planet label for five years. Recorded to showcase the prodigious talents of teenage singer/songwriter Sue Eakins, the Hendrickson Road House album was issued in 1970 as a limited edition pressing by the Ojai-based Two:Dot studio/label. Widely regarded these days as one of the rarest vinyl artefacts to emerge from the late 60s Californian counterculture, the LP now sells for in excess of $1000 on the rare occasions that copies surface. Now available on vinyl for the first time in more than forty years, this official reissue is limited to just 500 copies, pressed on audiophile 180gm vinyl. With a glossy insert featuring rare photos, interview quotes and the full Hendrickson Road House story, this is the definitive vinyl edition of a lost classic of the West Coast psychedelic folk genre. ……..
The only album by American folk rock band, released in 1970. Rare light psychedelia. One of the few bands in the genre, in which the main creative force was a woman, Sue Akins. The group had its own sound - soft jazz arrangements, exquisite solo guitar, a little avtoharpa, gentle vocals - certainly, they should listen to at night. In the manner of playing the guitar felt some influence «west coast», although heavy music is not in sight. The only jazz instrumentals with a predominance of the saxophone does not seem out of place. The rest of the song sings Akins, and the album has a rare genre of integrity. Not a masterpiece, but very good. Surprisingly, the album of this quality and rarity are not republished………….
So good is this slice of acidic West Coast folk that it’s difficult not to go overboard. Lost for 40 years and coveted by a handful of acolytes willing to exchange $1,000 for a copy, this is a rediscovered gem so pure it makes all previous claims to that title look like uneducated sycophancy.
The sophisticated jazzy undertow (in places not unlike contemporaries Seatrain) and sparse, intelligent arrangements are bound together by a female vocal so delicious, it could be picked and eaten. Opener Forget About You could be a template – pure, sparkly guitar and wispy, shuffling drums underpin that voice – but the coherence of the material belies its variety. Intense harmonising on Helping Hand, prog-like time changes on Tomorrow Your Sorrow and free-roaming jazz on Yesircantoo – the album is littered with unique and varied touches of class in all departments.
Wooden Hill have rightly lavished time and effort on the package and we get no less than six bonus racks. Whoever you are – or think you are – you need this record. by Jan Zarebski………..
During the summer of 1970, I was floating through a purple haze in and around Ojai, California, camouflaged as a long-haired, pot-smokin, Ripple-drinkin, acid-droppin, skinny, goateed hippie. A bunch of us lived together in a big old house with our mentor, “John With The Beard,” who provided the required sustenance. Some of us worked at John’s company, Gladstone Electronics, as a form of payment, and had formed the Gladstone Blues Band.
The band played irregularly around town, usually gratis, although we did actually get paid for playing a couple of times at The Ojai Club. We often played at parties, usually receiving payment in the form of various mind-altering chemicals. During one of our many nonworking spells, our lead guitar player, Norm Lowe, came to me with a proposal. He had been commissioned by a young (19) local girl to help with a fascinating project.
Sue Eakins had enlisted some friends (Phil Wilson on bass, Dick Muldoon on congas, and Norm) to help her record an album. She was working with Dean Thompson, who had a pretty sophisticated multi-track recording studio set up in his garage. He lived out of town in a big house on Hendrickson Road, hence the name of this album. But Norm felt that congas as rhythm were limiting the capabilities of the band, and that an official drummer (me) should be involved. Sue was convinced, and therefore Mr. Muldoon’s contribution to the album was limited to one song, “That’s All There Ever Was.”
And so began one of the most exciting and enjoyable experiences of my life. Sue (who spelled her name “Akins” on the album to indicate the correct pronunciation) had written a number of songs, and wanted a backup band on some of them – and that band became Phil, Norm and I.
The experience was doubly fascinating for me, being the techno-geek that I am. I had always been interested in stereo / hi-fi / recording. Dean Thompson was agreeable to allowing my assistance in mixing some of the cuts. You can hear me putting in my two cents worth on Dick Muldoon’s conga as it floats from left to right on Track 9. We all had a lot of fun and satisfaction in assembling the various songs, each of us suggesting and developing new ideas. Norm came up with some interesting arrangements, such as the 4/4 – ¾ time changes on Track 7, “Tomorrow Your Sorrow”. Sue performs solo on five of the songs using multi-tracking to generate harmonies and several guitars, including an autoharp on Track 10. Listen closely to my favorite, her sweet and haunting “Helping Hand” – the harmonies are breathtaking. The band joins her on six cuts, and I even got to play piano on “Sunny Day Rain.”
Using various forms of whining, Norm and I convinced Sue to allow us to record one number of our own. She relented, and Track 11, “Yesircantoo” was hatched. Phil Wilson was replaced by Norm’s brother Curt on bass, and we added Ken Rose on sax. It’s a complex and interesting song that was great fun to record. There’s a story behind the “HEY” heard at the beginning of the song. I was renting a room at the time from a woman in Ojai, and we had all set up our equipment in her house to create / rehearse our song. We had decided to open with a drum shot, then begin the song. The lady was in the room at the time (undoubtedly worried about her possessions), and when I hit the snare, she leapt three feet and shouted “Hey!” She beat a hasty retreat; her comment remained.
That’s my story, and I’m stickin’ to it…by….domeno ……….
Recorded to showcase the prodigious talents of teenage singer/songwriter Sue Eakins, the s/t Hendrickson Road House album was issued in 1970 as a limited edition pressing by the Two:Dot studio/label. Widely regarded these days as one of the rarest vinyl artefacts to emerge from the late ‘60s Californian counterculture, the LP now sells for around $1000 on the rare occasions that copies surface. Now available for the first time in more than forty years, this authorised reissue adds half-a-dozen fascinating bonus tracks, including alternative mixes of two of the albums finest songs, only briefly available at the time as a 7” that was credited to group alias Nibbus. With a lavish booklet featuring rare photos, interview quotes and the full Hendrickson Road House story, this is the definitive edition of a lost classic of the West Coast psychedelic folk genre……………
Tracklist A1 Forget About You 3:11 A2 Theatre King 2:12 A3 Things I Never Had 3:41 A4 Everybody’s Told You 2:52 A5 Sunny Day Rain 3:05 A6 Classical Misconceptions Part I & II 2:23 B1 Tomorrow Your Sorrow 3:40 B2 Helping Hand 2:39 B3 That’s All There Ever Was 2:09 B4 I Wondered If You Knew 1:48 B5 Yesircantoo 3:39 B6 The Seed That Grows 2:07