Saturday, 22 July 2017

Terry Manning "Home Sweet Home" 1970 US Psych Rock

Terry Manning "Home Sweet Home" 1970 US Psych Rock


Featuring the recording debut of Big Star's Chris Bell, this outrageously enjoyable blend of psychedelic rock, Memphis soul and dirty R&B kicks off with one of the most audacious and successful Beatles covers ever. Terry Manning was a key figure in '60s Memphis music-making -- from his experience at Stax (learning from the likes of Isaac Hayes, Ike & Tina Turner, Willie Mitchell, Booker T. Jones, Eddie Floyd, Al Green, Otis Redding, The Boxtops, Percy Sledge, The Staple Singers, Mississippi John Hurt, etc.) he became the Ardent Studios engineer/producer, and co-owner of the Ardent Records label that released the Big Star albums. Originally released on Stax's Enterprise label, this record is Manning's only solo work (he engineered, produced, and played almost all of the instruments) and features a feast of fuzz guitar, sweet vocals and funky rhythms that makes its long overdue CD debut here (complete with full liner notes and three bonus tracks), Home Sweet Home is a tongue-in-cheek blast from start to finish, and guaranteed to thrill fans..............

Terry Manning's 1970 solo album Home Sweet Home started off as something of a joke when he recorded a deliberately over-the-top psychedelic version of the Box Tops' "Choo Choo Train." When Stax Records asked for a whole album of such material, Home Sweet Home was the result. Like "Choo Choo Train" (included on the final LP), the album as a whole was over-the-top psychedelia, and indeed over-the-top mimicking of several manners of late-'60s trendy excess in hard rock, blues-rock, and soul music. There's a tongue firmly planted in its cheek, however, which keeps it from being as tough an exercise to sit through as the records it was poking fun at -- though only just. Whether it's a ten-minute version of the Beatles' "Savoy Truffle" (with early Moog effects), loving Manning-penned homages/satires of Jerry Lee Lewis ("Wild Wild Rocker") and late-'60s dance-soul ("Trashy Dog"), or knowingly slightly hysterical covers of old blues tunes ("I Ain't Got You") and, again, the Beatles ("I Wanna Be Your Man"), he plows his way through the tracks with the fervid energy of a man who can't decide whether he's pulling off an inside joke or a work of genius. As is so often the case with these kind of projects, however, it's much more an inside joke than it is a work of genius. That's not to say it isn't amusing, and it does hold some interest for serious Big Star fans for marking the first proper studio appearances by guitarist Chris Bell. Like many somewhat silly, somewhat inspired jokes, though, listeners will most likely find the humorous novelty wearing off after one or two Richie Unterberger......

If you recognize Terry Manning's name, its likely a result of his work as an engineer and producer, including numerous projects for the Memphis-based Ardent Records were he worked with the likes of Alex Chilton and Big Star. With the exception of true hard core collector's, most folks probably don't know that Manning actually recorded an early-1970s solo LP.

By the early 1970s Manning was a fixture at Stax having engineered many of their recording sessions. While he wasn't known for his performing talents, a one off demo of a song intended for The Box Tops caught Stax VP Al Bell's attention and served to get Manning signed to the Stax affiliated Enterprise label. Manning subsequently made his solo debut with 1970's "Home Sweet Home".

A true solo effort, Manning produced, engineered and save drums, handled most of the instrumentation (Big Star's Chris Bell provided lead guitar on a couple of tracks). In terms of the music, anyone into the Big Star/Alex Chilton scene will find this album irresistible. Besides, how can you not like an album that starts out with an extended, fuzz-filled cover of George Harrison's 'Savoy Truffle'.

Manning's voice certainly didn't have Chilton's depth and breadth, but he used his limited talents well, turning in a uniformly impressive set that effortlessly blended blue eyed soul, R&B and garage rock moves. Simply a blast from start to finish, it was hard to pick out favorites, though 'Trashy Dog' (The B-52s could've had a hit with it), 'I Ain't Got You' and a fuzz guitar and harmonica propelled cover of The Beatles' 'I Wanna Be Your Man' were all worthy highlights. (Okay, I'll admit the Elvis-wannabe 'Wild Wild Rocker' was forgettable.) Sadly, the LP vanished without a trace, making it a sought after collectable. .....Bad Cat.........

Terry Manning was an engineer and producer who worked with a lot of Stax artists: Issac Hayes, the Staple Singers and much later, Lenny Kravitz.

This is a solo album he put out on Enterprise, a Stax sub label, in 1970.
Home Sweet Home is not soul or funk, but contains a lot of great, radically altered Beatles covers and other rock pieces. Check how Manning turns Beatle-Georges "Savoy Truffle" from a rock quick chestnut into a long psych jam essay. Manning knows what he is doing: at no point to the Fab covers become the pretentious art stabs so many other bands careened to when going to the holy grail.

The non-Beatle tracks here also work as psych jams, phase shifted and flanged as you may expect on an album like this in '70, but the playing is always in the pocket, and what could be an indulgent disaster turns into charming covers; for all the effects, Manning never forgets the songs.

This is not a classic, but collectors of the forgotten from this era will want to impress their friends with Home Sweet Home..............

When Terry Manning sings about his "dear old mother" in "Choo Choo Train", he doesn't give a damn about her. Written by Donnie Fritts and Eddie Hinton, "Choo Choo Train" is only marginally straighter in the Box Tops' version, which Manning engineered. Home Sweet Home is a record of magnificently conceived and beautifully recorded parodies, and it's not without overtones of something approaching real feeling. Originally released in 1970 on the Stax imprint Enterprise, Home Sweet Home gives George Harrison's "Savoy Truffle" and Jack Clement's "Guess Things Happen That Way" the Memphis anglophile treatment, with Richard Rosebrough's drums locked into a stiff post-soul-music groove. It illustrates how Manning, Chris Bell (who plays guitar on four tracks) and other Ardent Studios denizens created Memphis power-pop by letting local traditions collide with cosmopolitan abstraction. These heartfelt jokes point the way toward Big Star's #1 Record and Radio City..................

Terry Manning is mostly known as a producer and engineer, having worked behind the glass for everybody from Led Zeppelin and ZZ Top to Al Green and the Staples Singers. Home Sweet Home is the only album he ever made on his own account, and that was almost completely by accident. The story goes that Manning was engineering a 1968 recording session for Alex Chilton’s Box Tops, when one night he decided to stay overtime and play a joke on songwriter Eddie Hinton. Hinton had brought in a song for the Box Tops called “Choo Choo Train”, a hard chugging, Southern boogie song that he thought would be perfect for Chilton. Manning felt that Hinton was taking himself a little too seriously. So late one night, he recorded his own version of “Choo Choo Train”, purposely accenting the cut’s hard psychedelia. The next day he played his way-over-the-top version of the song for producer Dan Penn, Chilton and Hinton, and everyone had a good laugh. But later, when Manning brought the cut to Al Bell at Stax, the joke was on him. Bell asked him how long it would take to record an entire album of similar material, and the seeds of Home Sweet Home were sown.

Not that Manning ever took the record too seriously. He decided to make every song represent a different style, each, like “Choo Choo Train” pursued a little harder than normal. As a result, nearly every track will remind you of other artists…artists taking the piss at their own worst excesses. For instance, there’s a long, freaked out, solo-laced version of George Harrison’s “Savoy Truffle” to kick things off, an Elvis-strutting Johnny Cash cover called “Guess Thing Happen that Way”, and a slinky, organ-pulsing Booker T and the MGs tribute titled “Sour Mash.” Somewhere between pastiche and parody and genuine rock achievement, Home Sweet Home is a fascinating inside joke that nonetheless works as music. 
Part of the reason it works is, obviously, the musicians Manning was able to rally. You can hear a very young Chris Bell (soon to be of Big Star) trying out his Memphis soul leads in cuts like “Trashy Dog” and “Guess Things Happen That Way”. Robert Moog, inventor of his eponymous synthesizer, sits in on the sublimely excessive “Savoy Truffle”. And the Hi Hat Rhythm section, a band of southern soul vets who had backed Al Green and the Staples Singers, puts an irresistible groove under the live-recorded Ann Peebles cover “I Can’t Stand the Rain”. This last cut is one of three bonus cuts, not included on the original vinyl. Manning recorded it at Memphis State University, substituting at the last minute for George Thoroughgood’s opening act. 
The other two bonus tracks have similarly interesting back stories. A Beatles cover—“One After 909”—was one of Manning’s earliest efforts. He did it after receiving a demo of the Beatles version, before they had even recorded their more famous rendition. The demo was so raw, though, that it didn’t have all the words or guitar parts on it, and Manning filled in the best he could. It wasn’t until 2003 that he edited the cut, adding a guitar bridge that was originally missing, and finally finishing it. And “Talk Talk” by the Music Machine and Sean Boniwell was originally intended as the first cut on a follow-up album which was, sadly, never made.

Home Sweet Home‘s first side (“Savoy Truffle”, “Guess Things Happen That Way”, “Trashy Dog” and “Wild Wild Rocker”) is stronger than its second, where the goofiness begins to overwhelm the music. Still, the bonus tracks indicate that Manning might have had more in him, given time and resources. He was successful for the rest of his life, but he never made another record, and this one, given Stax’s difficulties in promoting pop, never reached a wide audience. Now, 40 years later, Home Sweet Home is a time capsule, with its aggressive psychedelic riffs and hard-edged soul rhythms. It’s also an oddity, an artifact, a sly joke ... but that doesn’t make the music any less Jennifer Kelly.......

"Terry Manning is best known as an engineer and producer who spent the '60s and '70s in Memphis working for Ardent and Stax Studios on some of that city's most important records, from Isaac Hayes to Big Star. In 1970 he cut the album Home Sweet Home and it was released on the Stax subsidiary, Enterprise. Originally intended as a joke project, Home Sweet Home is now a highly regarded and collectible LP, praised for its innovative studio trickery and Manning's offbeat arrangements, especially the epic opening 10-minute version of George Harrison's 'Savoy Truffle.'"...............................

*Chris Bell - Guitar
*Terry Manning - Vocals, Guitar, Bass, Keyboards, Percussion
*Steve Rhea - Drums
*Richard Rosebrough - Drums

A1 Savoy Truffle 10:05
A2 Guess Things Happen That Way 3:23
A3 Trashy Dog 3:00
A4 Wild Wild Rocker 2:27
B1 Choo Choo Train 4:38
B2 I Ain't Got You 3:12
B3 Sour Mash 5:04
B4 I Wanna Be Your Man 5:02

Atlantide “Francesco Ti Ricordi” 1976 Italy Prog Hard Rock

Atlantide “Francesco Ti Ricordi” 1976 Italy Prog Hard Rock


The Atlantide  were a group of progressive Italian rock that had formed in Cirigliano, Basilicata. The group was made up of the Sanseverino brothers, all of them from the same country. In 1973, the Atlantis moved to Germany, more precisely in the town of Rottweil, where three years later they recorded their only album in 1976, entitled "Francesco ricordi", completely self-produced. In fact, their record company is called "S", like the initials of the Sanseverino brothers. The LP features a completely hard rock style, where Mimmo Sanseverino's distorted guitar is evident. One feature of this record is that of the dialect inflection of the singer. It starts with the track "The Man and the Dog", where you already notice the hard rock style of the disc. After the first verse, there is a very fast and drawn part. The song concludes with a slow part, much like the first verse. "Dirty of blood" also has a rhythm pulled, even in this song is evident the distorted guitar. The singer's voice is perfect with the rhythm. The track "When the Moon" is 11 minutes long, and is a kind of slow, very engaging in my opinion, and you hear a long part of Hammond organ, alternating with the electric guitar. Another long distorted guitar is present after the first verse. There are numerous rhythm changes in the track. "If I lost my life this way" instead it has a slightly more moderate pace, but there is always the usual hard style. The next song can remember the style of the 70's foreign hard rock groups with that rhythm. "Clown" is instead a trace that begins with a battery roll. The rhythm closely can remind you of the opening track, because the rhythmic structures are very similar. This song also has a fairly moderate pace. Here too there is a lot of distorted guitar. The song takes almost 7 minutes. The track that gives the album the name, "Francesco ricordi", has a very slow pace, like the third track, and it feels clearly a body and electric guitar plot, in my opinion very well executed. Musically, the album contains light progressive influences, as it is more oriented toward hard rock. One of the Sanseverino brothers, Leonardo, died in 2006. The remaining brothers are still in Germany, where they live. The album copies sold were few, some directly from the group. This was the reason that led the group to dissolve. Recently, from some German stores, many vinyl recordings of the album have been found and sold at very high prices. This fact dates back to the nineties. The Atlantis also did a popular shoulder-work by opening concerts of foreign hard rock groups such as Message, Atlantis and Scorpions. With this concerts work, the group in Germany had good reviews. To conclude, in my opinion this album I consider him the best hard rock Italian album ever. Word of a lover of rock progressive Italian MICHELE SGAMBELLURI .........

A1 L'uomo Ed Il Cane 5:08
A2 Sporcandosi Di Sangue 5:05
A3 Quando La Luna 11:15
B1 Se Perdessi La Vita Cosi' 5:40
B2 Il Pagliaccio 6:53
B3 Francesco Ti Ricordi 7:18 

Line-up / Musicians

Mimmo Sanseverino - guitar, vocals
Leonardo Sanseverino - organ, synth
Mario Sanseverino - bass
Matteo Sanseverino - drums 

The John Street Rockets "Rock And Roll the Hard Way" 1979 US Private Southern Hard Rock

The John Street Rockets "Rock And Roll the Hard Way" 1979 US Private Southern Hard Rock


Recorded LIVE in Albuquerque New Mexico in 1979. Great biker vibe with killer guitar!!!!!

The Permanent Records master diggers have unearthed yet another drool worthy private press gem. In this round we have original sealed 1979 stock of Albuquerque, NM's John Street Rockets "Rock And Roll The Hard Way". It's 6 tracks of killer 70's hard rock played by some really talented musicians. If you dig the Bone Head Crunchers comps, the Warfaring Strangers comp or the Chicago Triangle record we reissued, then snag one of these bad boys pronto! There is a very good chance that these are the last available copies, so act fast!....

A1 Southern Eyes
A2 Jamaica Shaker
A3 Road To Rock 'N Roll
B1 Soldier Of Fortune
B2 I Can't Stay Mad At You
B3 New Mexico Weighs

Cacme​mira "Jungla" 2017 Spain Heavy Psych

Cacme​mira "Jungla" 2017  Spain Heavy Psych


More than most records, let alone most debuts, Cachemira‘s first offering, Jungla, gives the front-to-back impression of a live set. With “Ouverture” — French for “opening” — the Barcelona three-piece gradually bring the Heavy Psych Sounds release to life over the course of its first four minutes, and from there, it’s all about the naturalist chemistry that emerges as one song feeds into the next over the course of four pieces on two vinyl sides. When taken together, those two sides, “Ouverture” included, comprise a tight 30-minute set that showcases the band’s personality in what is apparently their formative stage. That is, while Cachemira may not sound like it as they round the hairpin turns of eight-minute tracklist centerpiece and side A closer “Goddess,” which follows “Sail Away” after “Ouverture,” they’re are a pretty new group.

The lineup has some measure of pedigree, as guitarist/vocalist Gaston Lainé has played in Brain Pyramid, bassist Pol Ventura in 1886 and drummer Alejandro Carmona in Prisma Circus, but Jungla is their debut outing together following a recorded early version of the album’s instrumental title-track and a posted leak of “Goddess,” which when taken together here comprise the whole of side B. I suppose one could call it boogie rock with all the scorching guitar-led shuffle in “Goddess” or “Jungla” itself, but the classic-rocking sensibility Cachemira elicit owes more to the likes of Radio Moscow than to Graveyard, and among the most appealing aspects of Jungla is its unpretentious, organic vibe.

Most especially for the heavy rock converted, it’s an easy listen that asks little of its audience other than they tag along for a slew of guitar solos and jam-based songcraft. Anyone who’s heard Prisma Circus can tell you Carmona is a monster shuffle-drummer, and he showcases some of that here, finding complement in the warm low tone of Ventura‘s bass as the band works in classic power trio construction — Carmona and Ventura the powerhouse rhythms section to Lainé‘s frontman presence. As recorded by Lainé‘s Brain Pyramid bandmate, Baptiste Gautier-Lorenzo, the spirit in “Ouverture” is immediately warm with a subtle underscoring of organ for the sweet guitar tone, and as they build toward “Sail Away,” transitioning via that same organ line, the groove that takes hold remains informed by the relatively patient start they give the album.
In terms of the basic elements at play, Jungla works in familiar terrain — guitar, bass, drums, vocals, some flourish of keys — but it’s really about what these players bring to it and how well they work together that lets Jungla impress in the way it does. The band has said outright that this is the product of their beginnings, some of their earliest work from about a year ago, and that may well be the case, but that also shows clearly that what they have most going for them at this point is the fluidity of the instrumental conversation between Lainé, Carmona and Ventura, as the smoothness of their delivery throughout becomes enough to even out the purposeful choppiness and bounce of their writing style such that even the more raucous back half of “Goddess” — drum solo and all — holds firm to its overarching languid mood. Even when they’re in a rush, they don’t sound like they’re in any rush whatsoever.

That’s not to say they don’t build some significant momentum throughout Jungla, because they most certainly do. Even as “Goddess” breaks before the side flip brings on the closing duo of “Jungla” and “Overpopulation,” the sense of motion to the songs is clear, and whether they’re running in circles as “Jungla” builds to a head in its second half, underscored by persistent, insistent crash from Carmona on drums and a steady throb from Ventura on bass, almost jazzy by the finish after a wah-soaked, forward-driven start, or squealing through the starts and stops and winding progression of the finale, that motion is as varied and multidirectional as it ultimately is maintained. If Jungla is to represent Cachemira‘s beginnings, then their beginnings find them not at all afraid of flying off the handle as they twist around complex rhythm structures, and proven that they’re right not to be.

Whether it’s from their collective experience in other outfits or just happenstance that they work so well together — or, I suppose, some combination of the two — the basic fact of the matter is Cachemira‘s debut offers explosive moments amid a liquid, welcoming, almost understated presentation for what they’re actually doing, and in addition to its own accomplishments, it sets them up to move forward and develop along the course they’re setting here. Primarily, though, it speaks to what would seem to be their force as a stage act, and though it’s a short set, there’s no question they leave their audience wanting more. One suspects it won’t be all that long until we get it, but until then, Jungla‘s balance between the head-spinning and the molten makes their first album a significant preach well worth engaging. It would be a hell of a live show........................

Believe me when I tell you that this record I have heard more than 20 times and every time it closes its closing "Overpopulation", a mysterious force pushes me to re-play, as if the musical spirit of these Kashmir, will take over your Soul and govern it at will.

Although this is not much to say, it is true that this new band from Barcelona get to fall in love in just over 30 minutes through the 5 songs that contain their great debut, "Jungla", the fruit of their long improvisations of direct from Italy , Various European cities, to their participation in prestigious festivals such as Sonic Blast Moledo, Crumble Fest or Cheapstock.

All the love for the music of the 70s, flows through the veins of these 3 musicians unfolding that heavy psych recognized in their previous lives, and is that we speak of an explosive combo that go back their studies to other projects like Brain Pyramid, 1886 or Prisma Circus. With these premises, obviously from here you can only get something incendiary, recharged in that instrumental technique full of pedal, redoubled, Hammond organs and all the musical wisdom of the time, that make the music of Kashmir as another timeless band more than the Time does not affect them.
"Jungla" picks up a central where they find their longest songs. Only 5 pieces have this debut album where songs like "Sail Away" become one of their most complete versions, like enjoying the enthusiasm of these musicians in different jam's of their essays and putting them into a single song. Practically instrumental, the different twists that contain this piece, make enjoy that psychedelic frenzy that discharge Kashmir with the greatest of virtues. However, beyond that characterized frenzy in the so-called heavy psych, musicians have moments to keep in the memory of this project and songs like "Goddess", collect those warm moments of lucidity with a Gaston Laine at the Strings well cared for and a musical spirit within the bosom of the band that grows louder with the mark of Alex Carmona in the patches and Pol Ventura in the four strings. Their are the many moments, where they demonstrate that in this type of bands the rhythm section is vital and in which they even have moments for their particular solos. The third piece in question of this intermediate section of the disc, is a soul mate to "Sail Away", with a somewhat blues background, notable high for Pol in the bass and the best of the improvisations that stands as main actor in the good To make Kashmir.
Nor have we talked about the songs that open and close the album. In the case of "Overpopulation" is a mix that brings the best of the first Brain Pyramid in that unforgettable "Magic Carpet" (review here) and the "Reminiscences" of Prisma Circus (review here). As a mark of the house within the tasks of these musicians, the fifth piece serves as the most original theme to get in touch with its atmosphere. Its initial opening, never better expressed as "Ouverture", are the tenuous moments that serve as welcome committee for all the arsenal that has to offer us this jungle in little more than half an hour. 

If they already knew the misdeeds of these 3 components in their previous groups, then they will know what they are going to find with Kashmir. A work that from my point of view, the only glitch I may have is its short duration as it is passed in a sigh, but it is a most hopeful start for the future of the state genre in this country. The best showcase to see how the Spanish psychedelic bands concentrate their best litter in the core of the city and put a band like Kashmir at the top of the throne. "Jungla" is pure nostalgia, skill that goes from his progressive compositions, his high creativity index and the love for this style cemented decades ago that these young people, without having lived in that time, would pass perfectly by the hoop and in the day of Today would serve as a source of inspiration for many. The musical growth in the last years of Gaston, Pol and Alex that with this debut, reaches its state of Herrera..........

Barcelona, Spain’s Cachemira explode with a stoner-friendly debut straight out of the Summer of Love. 

Ένα πολύ σφιχτοδεμένο late 60s/early 70s hard rock album κυκλοφορεί το Ισπανικό power rock trio των Cachemira. Το «Jungla» βγάζει έναν ωμό rock ήχο που οφείλει πολλά στους πρώιμους Deep Purple και στον Rory Gallagher. Ψυχεδελικά κιθαριστικά leads, βαριές παραμορφώσεις στη λογική που τις χρησιμοποιούν οι Radio Moscow, μπόλικοι αυτοσχεδιασμοί και τζαμαρίσματα και μια παραγωγή κατευθείαν από το χρονοντούλαπο της ιστορίας, σου χαρίζει μισής ώρα ποιοτικής ακρόασης. Η τριάδα των «Sail Away», «Goddess» και «Overpopulation» βάζει φωτιά στο player σου και δείχνει πως τα παλικάρια από την Βαρκελώνη έχουν μπροστά τους μέλλον. Μοναδική μου ένσταση η μικρή διάρκεια του δίσκου, κάτι που ελπίζω πως έχει να κάνει με την διάθεση της μπάντας να προσφέρει ένα κλασικό «βινυλιακό» album παλιάς κοπής..............

Jungla embraces psychedelia with the acid-tinged exuberance of late-‘60s Bay Area subculture. Gaston Lainé’s guitar recalls John Cipollina’s work with Quicksilver Messenger Service, as well as Big Brother and the Holding Company’s Sam Andrew and James Gurley, spurred on by the rhythm section of bassist Pol Ventura and drummer Alejandro Carmona, whose primal beats conjure Blue Cheer’s ferocity. Over five songs, the trio ranges from Jefferson Airplane weirdness to Kak intensity, allowing, of course, for the European tradition to fade in with nods to Roland Kovac and Sam Gopal. Put it together and what have you got? Bibbidi-Bobbidi-BOOM!!! 

The era of Cachemira has just begun, so light a match and blow the smoke from whatever that is dangling in your mouth out into the cosmos where the Akashic records will make them available to all, man..............

Artwork By – Smoke Signals Studio 
Bass Guitar – Pol Ventura 
Drums – Alejandro Carmona 
Guitar, Vocals – Gaston Laine

A1 Ouverture
A2 Sail Away
A3 Ancient Goddess
B1 Jungla
B2 Overpopulation

The Contents Are:”Four Each Other"1969 Iowa unreleased Psychedelic Rock gem first time in vinyl.

The Contents Are:”Four Each Other"1969  Iowa unreleased Psychedelic Rock gem  first time in vinyl.


Classic midwestern American psychedelic rock from Iowa legends The Contents Are. Recorded in 1969 at Golden Voice Recording Co. South Pekin, IL and unreleased until 2017. A lost late ’60’s psych gem produced by studio legend Jerry Milam.

“Had this album been released in 1969/70, it would be worth thousands of dollars today. Without the persistence of Chris Gilbert and Alona Records this may have never seen the light of day. The mastering is impeccable and musically it sounds exactly like what it is – the real thing. It is a must-have for any serious psych/garage collection.”

Craig Moore, GONN/Younger Than Yesterday

The Contents Are was a psychedelic rock unit from Iowa that cut the now legendary LP 'Through You' in 1967. Recorded at Golden Voice Recording Co. South Pekin, Illinois, in 1969, now here is the band's lost album, available to the world for the very first time! This recently dicovered gem was produced by studio legend Jerry Milam! Edition on BLACK VINYL!.............

A1 Head Collect
Written-By – Hute*
A2 Recurring Changes
Written-By – Hute*
A3 Everyone's Friend
Written-By – Neumann*
A4 No Chance To Choose
Written-By – Hute*
A5 If You Follow Me
Written-By – Hute*
Look Around (6:24)
B1a Part 1 - Genesis
Written-By – Neumann*
B1b Part 2 - The Advent
Written-By – Hute*
B1c Gardez La Foi
Written-By – Hute*
B2 Out Of The Cold
Written-By – Hute*
B3 All Around
Written-By – Orton*
Written-By – Neumann*

Poobah "Let Me In" 1972 US mega rare Private Acid Psych Hard Rock Promo metal

 Poobah "Let Me In" 1972 US mega rare  Private Acid Psych Hard Rock Promo metal

full with bonus…

official web site…

Keep on Rollin’ – An Interview with Poobah’s Jim Gustafson

thanks Poobah web site for this rare photos...

Jim Poobah Gustafson facebook..

Poobah - Let Me In LP. Sacred 1972 hard rock private press collector record out of Ohio. The perfect U.S. underground hard rock album with crazy art, back cover collage, great hard guitar rock sounds and some classic original tracks like Bowleen and Mr. Destroyer. It's been said that Live To Work very well could have been the inspiration for Joe Walsh's Rocky Mountain Way. Walsh had a copy of the album put in his hands back in '72 by Jim Gustafson himself, so the legend goes. A fine piece of Ohio hard rock history here. I'd ask more than twice this for a mint copy....I'm an old Poobah fanatic. (vg+/ex-, vinyl has many marks and some scuffs, but plays better than it looks, cover not bad it's a bit dirty, dinged corner, a crease, small beginning of a split on the spine - has the insert but someone wrote on the back of it and it has a tear with a small piece missing at the bottom).....Rockadrome...........

Youngstown,Ohio’s very own Poobah has worked hand in hand with Ripple Music to “Re-Unleash” the classic 1972 album,Let Me In. This brand new award-winning edition is available in CD and digital formats,both with exclusive bonus tracks that have previously never seen the light of day! Also,the legendary guitar antics of Jim Gustafson will be on full display in a collector’s edition gatefold vinyl 12 format,complete with never before heard bonus tracks and photos from the legendary recording sessions!.................

Poobah 1973

Of all of the latter day reissues of seventies Psych Rock rarities, the Ripple Music version of the 1972 POOHAB album LET ME IN may well be the most important yet. The fuzz rock of the opening track MR DESTROYER reminded me a lot of BUDGIE and features some moster riffing and Psyched out lead breaks. Other gems include BOWLEEN and LET ME IN, with a true taste of proto-metal genius and some jam band influenced heavy blues craziness. If you are a follower of proto-metal or any sort of seventies psychedelic rock its not a matter of whether to buy this or not, the simple answer to that is YES. -- My Global Mind................

Poobah Live in Maryland 1976

"A mixture of early spine-rattling metal, groove-heavy boogie rock and healthy doses of fuzz splattered psych-rock. It took me about 30 seconds into "Mr. Destroyer" to realize I was in for one of the best re-issues of 2010." -- Heavy Metal Time Machine .......

Poobah on the roof of Packard Music Hall 1979

"Album of the year debates are one thing...album of the decade lists are another, but believe me people, when you start getting into that kind of rarefied air, Youngstown Ohio's POOBAH has gotta be in that list with their 1972 debut, "Let Me In." 6 songs of pure, gut-level bluesy psych rock jamming that deliver the goods as well as anyone from Budgie to Captain Beyond to Priest's initial "Rocka Rolla". This is sheer Godly stuff. The re-issue on Ripple Music that'll be hitting the streets this October is a vast, pillaging, panoramic version of this mutha. Fleshed out by 12 bonus tracks (CD) (10 on the vinyl version), it's a release that celebrates an album that, were the world a fair and just place, would be spoken of in hushed tones reserved for names like "Volume 4," "Squawk" and "Vagabonds Of The Western World." Massive." -- Ray's Realam ...

"If, like me, you're keen to unearth the origins of this thing we all love called metal then by all means keep dusting off your Sabbath, Zeppelin and Purple albums but please find a little space in your collections for Poobah. As with Leafhound and Sir Lord Baltimore, with whom Poobah share many of the common traits of early 70's heavy rock, on first listen I was immediately hit with the "how the fuck did I miss theses guys? For 1972 this would have been the musical equivalent of being hit with a tazer (did tazers even exist in 1972?). Jim Gustafson's thick, biting guitar is set to stun as the band blast through a tune that somehow bridges the proto punk of The Stooges, the psychedelic tones of Hawkwind and the drug addled minimalism of The Pink Fairies." -- Sleeping Shaman ......

 "Let Me In is an album deserving of any status this reissue can give it, be it "classic" or otherwise. I'd recommend it to any fan of the heavy `70s and note especially how well it goes with a boozy evening amongst friends with good taste. We may never find another Master of Reality, but Poobah's Let Me In shows there's plenty of killer material out there to be discovered in the search. Hail the obscure. This is stoner rock at the very beginning stages of its existence." -- The Obelisk ...........

"When I first heard this album I was floored by it's heaviness and raw fury. This is seriously heavy music - big, fuzzed-out, wild, sometimes also unexpectedly strange. Today, after almost 30 years, 'Let Me In' (inclusive of all bonus tracks) is still a very distinctive album that is exhilarating and refreshing. It is good fun to watch the rare photos in the booklet, while listening to the powerful jamming in 'Upside Down Highway'. This album is very highly recommended to all 1970's heavy rock fans, and I hope that Ripple Music unearth more nearly forgotten treasures from the past." -- Cosmic Lava.............

In 1972, guitarist/vocalist Jim Gustafson, like so many young rockers, put together a band. With the help of high school chum and bass player Phil Jones, they searched for and added drummer Glenn Wiseman. The band came to be known as Poobah. Within a few months, Poobah entered the recording studio to lay down the groundwork for what would become one of the quintessential albums in the bands catalog. Let Me In started the mad and crazy rock `n' roll frenzy that would see its continuation to present day. Fusing psychedelic elements of early day Cream with the fuzzed-out guitar heaviness of Black Sabbath, the Poobah debut album soon became legendary, as did Jim Gustafson's guitar heroics, and the band began its steady ascent to cult status. Let Me In's strength and the band's incendiary live shows led to Poobah landing gigs in support of Canned Heat, Judas Priest, Alice Cooper, ZZ Top, Foghat, and many, many others. Despite the line-up change of Wiseman leaving and being replaced by Nick Gligor shortly after the recording of Let Me In, Poobah soldiered on and toured for nearly two straight years. 

With a completely new line-up, Gustafson led Poobah into the studio in 1976 to record the bands second LP, U.S. Rock. With the record selling exceptionally well, the bands cult status continued to strengthen, but poor management and the typical industry pitfalls hampered the band from finding the wider success that they so richly deserved. By 1979, Gustafson left the out of town band he was in, and retreated to the friendly confines of his hometown of Youngstown, Ohio, where he reconnected with original bassist Phil Jones. After diligently hunting down a new drummer, Poobah made their way to the recording studio for album number three, Steamroller. Steamroller, over time has become one of the most revered albums from the bands catalog and has seen a resurgence of interest and has been repressed numerous times, most recently in 2008. 

Ten guitar powered studio albums and thirty years later, Poobah is still at it, playing his distinctive brand of heavy rock to clubs filled with fans, old and new. Over the course of three decades, Gustafson has the distinction of playing the Rock N' Roll Hall of Fame more than any other musician, and has recently been seen hobnobbing with fellow Youngstown, Ohio native Ray "Boom Boom" Mancini at the movie premier of "Youngstown: Still Standing", with 5 Poobah songs in the movie(featuring Ed O'Neal from Modern Family). As of 2010, Jim Gustafson has signed on with indie record label, Ripple Music to re-release Poobah's debut album, Let Me In. This deluxe 2LP and CD re-issue was remastered by current underground cult hero Tony Reed (Stone Axe/Mos Generator) and contains a complete albums worth of bonus tracks (and photos) culled from recordings made in '72 and '73, some of which have never seen the light of day. Produced by Jim Gustafson...............

3 piece heavy power trio.Rolling and crashing drums,heavy bass,great guitar sound,stoned vocals with a touch of humor. A little bit of psych,but mostly strait ahead hard rock,with a bit of a garage feel.18 songs 75 plus minutes,sound quality on disc A-1.Informative CD booklet with lyrics.Songs like Mr. Destroyer,Live To Work,Rock-n-Roll,and Let Me In absolutely crank to 10 ! Bonus trax like Make A Man Outta You,Walk Of The Bug,Going To Rock City,and I'm Crazy,You're Crazy put this disc over the top. Comparisons are always tricky and subjective,it might be easier to say who they don't sound like.If you dig on Buffalo,Frijid Pink,Sir Lord Baltimore,Dust and other similar stuff from this era,you will want this in your collection too.Rock On!....By eastrich2020.....

Promo Photo for POOBAH Steamroller Album Late 70's

This band is referred to over and again as a Psychedelic band, and having listened to all their 70's material, I had yet to understand why. LET ME IN is their 1972 debut and finally exhibits some elements that can be considered just that. However, I must say that the fuzzed out and wah wahed guitars present all over the opening cut, are hardly any more Psychedelic than Black Sabbath's first two albums. Okay, there's Gustafson's great guitar on every album, but this one has a sound that's actually dated to the late 60s - early 70s enough that it can be considered Psych. Why? The other elements in the songs. There's also just as many effects on the vocals, and some patches of distant voices rambling all manner of things. The second song is a lush, pastoral, hippie thing that's much more in the Psych department than anything near the straight-ahead arena Rock all the other Poobah albums display. "Live To Work" blazes forward like Deep Purple; yet another band who's early work you can hear Psychedelic influences in, but wasn't labeled a Psych band for their entire career. "Bowleen" opens with a voice that appears to be Elmo's grandpa before the family moved to Sesame Street, and then drops into a tranced out Spanish bullfighting hard Rock groove with disembodied vocals. This includes a momentary Speed Metal tempo shift that finally brings one of the other key Psychedelic elements into Poobah's mix; the surprise song part (and the tune even ends with a toilet flush). There's no other Poobah album which exhibits so many trippy guitar effects, vocal effects, rambling non-sequiter lyrics or anything close to an unexpected song piece. This band never loses themself in a moment of instruments drifting away from each other at different tempos, like so much of the best Psych does. In fact, it seems to be one of Poobah's great strengths that they Rock in the pocket no matter what the situation. The final two songs "Rockn' Roll" and "Let Me In", bring forth the style that Poobah would be linked to for the rest of their career; guitar crunching, caterwauling falsetto vocals, lyrics like "I'm just singing a song", and drum fills galore. That is to say; balls-out Rock. It practically seems like they were just itching to do an entire album of this even in 1972, but the tastes of the day dictated they have some tripped out material. Another reason for the permanent shift to straight Rock might be that, this is where Poobah excells. The Psychedelic material here is perfectly good, but not approaching the mind-melting bizarreness that most hardcore fans crave. So, in my humble opinion Poobah is (and always was), just a straightforward Rock band who are fantasically good at what they do, especially considering how well their songs are written and how professional their material sounds at any given time. I feel LET ME IN is truly a Psych album, though it's plain Rock & Roll barely masquerading as such; because at least a handful of the major elements of Psych are present...but this is where I take my stance. No other Poobah album should be labeled Psych and they are in no way a Psych band. As I pointed out earlier, four songs in a career of hundreds, doesn't make you a Psych band any more than Black Sabbath or Deep Purple should be labeled as such. So, LET ME IN is a great start to a wonderful career you should follow...if Rockin' out is what you're after. By the way, everyone talks about what high prices this album commands... uh, The Churchill's 1968 album Cherchillim, has been gone for $4000 for a shiny unplayed copy. And there's about 75 bands who've been re-issued on the (German) Shadoks label who are far more obscure and command higher prices than $600. On the one hand I hate bringing all this up, because it seems as though I have something against Poobah, which really isn't true; I just get annoyed when people garner a reputation for something that's untrue. They are NOT a Psych band, and they don't command the highest collector prices in the world. Get into Poobah for the right reasons; this band is rather obscure and can Rock your face off!.....By Sambson.............

Long relegated to giving the occasional discerning collector a very expensive boner, Poobah’s 1972 lost wonder Let Me In sees new life in a reissue by Ripple Music and a remastering job by none other than Stone Axe’s T. Dallas Reed. Boasting the original six-track, 31-minute LP and an additional 12 bonus cuts (just to point out the math: there’s literally twice as much bonus material as album tracks), Ripple’s version of Let Me In is a 75-minute monster, and while it’s true some of the bonus cuts are just the band screwing around — I’m looking at you, “Aww, Not Now” — there’s also a slew of killer non-album songs, live rehearsals and alternate versions, so if you’ve ever wanted to hear Poobah, this is probably the best way out there to go about it. Certainly the most bang for your buck.
The material the Youngstown, Ohio, trio of guitarist/vocalist Jim Gustafson, bassist/vocalist Phil Jones and drummer Glenn Wiseman (Nick Gligor and Steve Schwelling also show up for drums on the bonus tracks) brought to the Let Me In album itself is top notch American ‘70s heavy rock. Distinguished by Gustafson’s blazing leads and the occasional psychedelic freakout, tracks like “Bowleen” and opener “Mr. Destroyer” may sound completely of their day, but if you’re hunting down a band like Poobah, that’s exactly what you want. Special mention should be made of the obvious attention to detail and love Reed put into his remastering job, bringing Jones’ bass up for the playful runs on the closing title track (closing out the original album, not the full disc here) makes that song even more of a highlight, and it seems that each song on the record has something special that stands it out, among its tracklist compatriots, yes, but also among the early ‘70s heavy scene, which lacked neither quantity of bands or quality of output. Even the softer, more progressive “Enjoy What You Have” and the ultra-bluesy “Live to Work” — the latter especially — hold their ground against any band to whom you’d have them compared, and the more you hear Let Me In, the more that will ring true.

And then there’s the 12 bonus tracks. Ranging in the method in which they were recorded across a professional studio and two separate living rooms, cuts like “Blooey Gooey” and disc-highlight “Going to Rock City” might sound awkward going one to the next, but the way Ripple’s Let Me In is arranged, you’re not really expecting an album flow. More than that, I’d suggest approaching the bonus material with the understanding that you’re tracing the band’s history, fulfilling the curiosity that the six album tracks may have raised and answering the question, “Gee, I wonder what else these guys have got?” My personal favorite is the live rehearsal tape of “Mr. Destroyer” that shows up as track 14. The vocals are a bit farther back than on the official studio release and the song has a more psychedelic air that separates it from some of Poobah’s other material. The subtle differences between Wiseman and Steve Schwelling’s drums as well, which adds intrigue on another level.

Their atmospheres ran from ominous to the raucous, and Poobah definitely played it fast and loose in the grand tradition of its decade’s recklessness, but the outcome is that Let Me In is an album deserving of any status this reissue can give it, be it “classic” or otherwise. I’d recommend it to any fan of the heavy ‘70s and note especially how well it goes with a boozy evening amongst friends with good taste. We may never find another Master of Reality, but Poobah’s Let Me In shows there’s plenty of killer material out there to be discovered in the search. Hail the obscure. This is stoner rock at the very beginning stages of its existence...............

Sharon, Pennsylvania 1976 Poobah Rocks

Re-issue of Poobah's classic 1972 proto-metal epic. CD release includes 12 unreleased bonus cuts and an 8 page booklet with tons of never before seen photos! ......

"A Goldmine Pick! The reissue of “Let Me In” is one of my picks of the year!" -- Goldmine Magazine ......

"Poobah displays imagination and freewheeling spirit. Revel in the prehistoric metal of "Mr. Destroyer" and "Walk the Bug", the psychedelic madness of "Bowleen" and "I’m Crazy, You’re Crazy", the gorgeous folk rock of "Enjoy What You Have," the blazing riff-rock of "Smoke" and the proto-punk of" Live to Work". Leader Jim Gustafson has both an acid twinkle in his eye and a bomb in his hip pocket, and he’s just as apt to come on like a mischievous, electrified fairy as he is a grunged-out grizzly bear. On the basis of Let Me In, Poobah is more than just a shaggy curiosity from the Me Decade – it’s a band worth discovering for fans not satisfied with endless Grand Funk retreads on classic rock radio." -- Sleazegrinder .........

live in Erie Stadium ,Pennsylvania

We record collectors are sometimes guilty of basing the value of a platter solely on its scarcity. Rarities will always have buyers, but just because an LP was pressed in limited quantities or exposed to a regional market only doesn’t make it valuable (at least to me) unless what’s within the grooves has something to say. Youngstown, Ohio, power trio Poobah‘s 1972 debut release, Let Me In, has long remained a prized platter among collectors of early hard rock. If you weren’t able to shell out a few C-Notes for an original pressing, Ripple Music is bringing the ‘bah straight to you again – and then some. Vinyl lovers can dig into a now twin-LP package with 10 bonus tracks; the remastered CD comes stacked with a dozen bonus cuts. But it wouldn’t mean diddly (Bo or otherwise) if Poobah didn’t have something to say, and they do it loud and proud! Flanked by bassist Phil Jones and drummer Glenn Wiseman, Gustafson unloads riffs that rage with Black Sabbath-like fury and then glide with the bucolic joy of Phil Keaggy‘s Glass Harp. This isn’t mere testosterone-fueled heavy rock, it’s the work of an overlooked six-string guitar tyrant and chums who never found the big time yet played as if they did. I won’t spoil the opener of “Mr. Destroyer,” but be ready to have your head taken off when the band kicks in. It’s long overdue....Classic Rock review............

Jimi Hendrix bassist Billy Cox (Hendrix) and Poobah

Early 67  Future Poobah guitarist Jim Poobah Gustafson and bassist Phil Jones (rip). We rocked Grandma's basement, and her neighbor called the cops!

Future Poobah guitarist Jim Poobah Gustafson age 14

Of all of the latter day reissues of seventies Psych Rock rarities, the Ripple Music version of the 1972 POOHAB album LET ME IN may well be the most important yet, and certainly one the best value wise. 

For starters they have taken what was once a six track album, fully remastered it, and added a whopping twelve bonus tracks that takes the new total to eighteen rare and very hard to find heavy Psych Rock tunes that are essential listening for fans of older bands like HAWKWIND, early BLACK SABBATH, LEAF HOUND and related artists. 

The original album itself has been known to be very highly collectible, fetching some ridiculous process from Ebay auctions and the likes over the years, so it’s good that finally everybody can hear one of the best lost gems of yesteryear for an affordable entry price. 

The fuzz rock of the opening track MR DESTROYER reminded me a lot of BUDGIE and features some moster riffing and Psyched out lead breaks. Other gems include BOWLEEN and LET ME IN, with a true taste of proto-metal genius and some jam band influenced heavy blues craziness. 

The twelve bonus tracks vary in worth and quality, with MAKE A MAN OUTTA YOU, SMOKE and PASSION FOR FREEDOM being among the better ones. For the casual listener wading through the entire eighteen tracks serves as a daunting experience, but for die-hard fans of this type of music, each track is essential listening and worthy of your attention. 

If you are more of a traditionalist, and love your vinyl, LET ME IN has also been reissued as a double gatefold LP, that also features multi-color vinyl and ten of the bonus tracks found on the CD version. 

If you are a follower of proto-metal or any sort of seventies psychedelic rock it’s not a matter of whether to buy this or not, the simple answer to that is YES. The only question you need to ask yourself is if you want the eighteen track CD version or the superior sixteen track double vinyl version.............

 The year, 1972, that gave us The Stones' Exile on Main Street, Deep Purple's Machine Head, Bowie's Ziggy Stardust, and Jethro Tull's Thick as a Brick also saw the debut of America's Poobah featuring guitarist Jim Gustafson. But unless your a serious rock historian or vinyl collector, this would mean little to you. Blending the era's mixture of heavy rock with blues and acid rock, Poobah unleashed an underground classic called Let Me In. Ripple Music reissues this work of that can only be considered as proto-metal or proto-stoner rock. In addition to the original vinyl recordings, Ripple includes 12 bonus tracks of outtakes, unreleased, and radio versions. 
With this early heavy rock, in the original songs, Poobah adds a bit of peace-mongering and working class blues into their songs as on Mr. Destroyer, Live to Work, and Rock n Roll. Then the title track is a serious jam session with some fine drum work from Glenn Wiseman. And you can hear the currents of the late 60's and early 70's psychedelic rock throughout, but most notably on Make a Man Outta You, Enjoy What You Have, or the seriously crazed Upside Down Highway. 
Along with JPT Scarce's Acid Blues is the White Man's Burden, Poobah's Let Me In is a significant collection of retro rock derived from early 70's heavy, acid, and blues rock, important to every student of rock history.............

While still in his teens, guitarist Jim Gustafson was bitten by the recording bug, when he made his first pro recording 45 RPM record at age 15, with a band called Daze Endz.This was Jim's first song he had written, called "What Can I Do?"He also sang lead vocal on this record. Soon after this band broke up, Jim started Biggy Rat with Scott Hunter on bass, Gary Dipasquale on drums, and bluesy singer Shirliann Shank .This lineup recorded a 45 RPM record, also called "Look Inside Yourself", another Jim Gustafson original, with an old blues song on the back. Soon after,drummer Gary lost interest, and was replaced by Steve Rohrbaugh, and they added keyboard player Frank Amedia. They spent the next few years traveling around doing shows, and recorded an album in Memphis, Tenn., with Jimi Hendrix bassist Billy Cox producing. They had signed a contract with Kenny Rogers' brother Lelan, but the label went under, and the LP was not released. The band played at the Who's private party at the Cleveland Agora, and did shows with Cheech and Chong, Ted Nugent, Sugarloaf, and many more. When the label folded the band broke up soon after. Not too long after this, Jim hooked up with high school buddy Phil Jones, an excellent bassist and vocalist, who had played with one of the area's top jazz bands. They put an ad in the local papers for a drummer. After auditioning several people, they chose Glenn Wiseman, who was a very powerful skin basher. They decided to rock as a trio, and took the name Poobah, as it was a name Jim and Phil had teased each other with in high school. Not long after this ,Jim received a gift from his grandmother, of money, and he took the band into Peppermint studio in Youngstown, Ohio, and recorded "Let Me In". Some of the songs were actually written while Jim was still in Biggy Rat, along with some choice new material. Next thing you know, the top FM radio stations in the region, WPIC and WHOT started playing Poobah. DJ's Vince Radilovic, Ralph Caldwell, Jimmy Green, Jerry Starr, and Thomas John, all dug Poobah, and with all this airplay, National Record Mart sold 500 copies in one day! Suddenly, all of Poobah's live shows were packed with fans, and everyone in the region knew their name. The LP was submitted to Columbia Records, but with no management, and no real business sense, the band was turned down. After 8 or 9 months, the relationship between Glenn and Jim was marred by differences in opinion, and Glenn was replaced briefly by Steve Schwelling from Sharon, Pa. who was just 16 at the time. They played some shows, and then Jim and Glenn tried to bury the hatchet, and Glenn rejoined for a short time. Not able to agree on new material, Glenn was again replaced, this time by drum phenom, Nick Gligor, who was a schooled musician, and vocalist. This lineup went to Cincinnati, and recorded songs for a second LP. Most of these 1973 sessions ended up on the CD "Rock Collection". The band hooked up with Pittsburgh promoter Rich Engler. He had them go back in the studio and record the 45 RPM single "Rock City/Bowleen". Poobah was soon playing tours with Canned Heat, Spirit, Glass Harp, Alice Cooper, ZZ Top, James Gang, Judas Priest, Foghat, Godz, Uriah Heep, Mitch Ryder, Brownsville Station, and many others. In 1974, after 2 years of nonstop touring, drummer Nick announced he was leaving with recently added rhythm guitarist Pat O'horo, to start a new band. At this time auditions were held in Maryland and West Virginia, while on tour. Two new members were added,keyboardist Ken Smetzer, and drummer Gene Procopio. Ken had been lead singer for the band that became Kix, and Gene had been in a top jazz group from Harrisburg ,Pa., and was an excellent drummer. This lineup toured nonstop in the US and Canada for 2 years, taking only enough time off to record US Rock, in 1976, a batch of new Jim Gustafson originals, for the new label A.E.I. Records. Peppermint Studios had upgraded from 12 track to 16 track by this time of this record. With lots of airplay in Akron, Ohio and in Maryland, the LP had orders for 5000 copies from Camelot Music Distribution, who had already sold every copy of Poobah they had. A.E.I. had just had the plug pulled by it's investors, over a riff with their house producer. They never knew how much money they lost at this time. The band should have looked for another label, fast, but by this time they were locked into constant touring, with no manager, and booking agents keeping them on the road constantly. After 2 years, the band split. Jim and Gene formed another band, but no recordings were made, and they folded quickly. Jim played with some other bands at this time, but no records were made. By 1979, Jim was back in Youngstown, and Phil Jones showed interest in reforming. The hunt was on for a good drummer for this new Poobah. After some false starts, drummer Judd Gaylord joined. His powerhouse drum style was featured on "Steamroller". Because Judd and Phil did not see eye to eye, this lineup only lasted for 7 or 8 months, but did produce a fine LP. Jim and Phil searched for another drummer in 1980, and found Ralph Haring, who played on "Rock Collection". In addition they hired 2nd guitarist/keyboardist Gus Theofilos, who also plays on 2 live songs on "Rock Collection" About a year later, this lineup split. Jim formed another short lived band, who recorded 2 songs that were never released, as Jim was unhappy with the results. He formed another band, and started playing live shows with Dan Tharp on bass, Jeff Hickman on 2nd guitar, and Ken Dicks on drums.This lineup played some festivals, and clubs, and was starting to really shape up, but Jim inherited property 4 hours away, in Marietta, Ohio, and moved away, ending this version. A year after moving, Jim formed a band lineup with multi instrumentalists Woody Hupp( drums,bass, guitar, vocals), and Joe Mowery (bass, guitar, keys). This band recorded the album "Switch On" and played a ton of live shows, staying together for an amazing 7 1/2 years. Joe left the band, and as talks were in place to reform 7months later, was killed in an auto accident. During this time drummer Terry McGee, and guitar/keyboard player Tim Querry joined, and recorded 2 songs on the "Furious Love "CD. They also appear in the Poobah video of "All you Do is Bitch". Seven months later this line up split. Jim and Woody have stayed together as a recording team, and played close to a thousand live shows. They have recorded tons of songs in pro studios, and continue to make new Poobah CDs( check the Poobah store link) , all guitar rocking blasters. They added Steve Richards as live drummer in late 2005, who also sings. They continue to tour everywhere they can, making that Poobah noise. You can expect another new Poobah CD soon , and maybe they will come to your part of the world to rock out live, in the near future...............

Bass Guitar, Vocals – Phil (Owl) Jones* 
Drums, Percussion, Vocals, Other [Screams] – Glenn (Blue Bongos) Wiseman* 
Lead Guitar, Twelve-String Guitar [Acoustic], Organ, Vocals – Jim (Gus) Gustafson*

A1 Mr. Destroyer 5:25 
A2 Enjoy What Your Have 6:15 
A3 Live To Work 2:53 
B1 Bowleen 6:00 
B2 Rock N' Roll 3:50 
B3 Let Me In 6:42 

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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958