The Far Cry ~ USA ~ Boston, Massachusetts

The Far Cry (1969)

There certainly were a few interesting bands coming out of the late 60s Boston scene: Listening, David Stoughton, Phluph, Banchee, The Tangerine Zoo, and many others. One of the more inventive acts of the day would have to be The Far Cry. Their music is somewhat indescribable. Based in jazz, heavily spiced with psychedelic rock, and featuring impassioned but odd vocals. Excellent sax work from Dick Martin and fine amped up dual guitars from Paul Lenart and David Perry. The album seemingly had no commercial potential whatsoever, something Vanguard didn't seem to care about back then. Not an easy listen, but one that grows on you each session. A deeper dive got me to thinking this may have been the prototype of yet another highly creative jazz psych album from the region: John Abercrombie's Friends, minus the vocals of course.

Ownership: 1968 Vanguard (LP). Promo.

2004 (first listen); 2009; 8/15/25 (acquired / review / new entry)

David Stoughton ~ USA ~ Boston, Massachusetts

Transformer (1968)

---7/29/09

Way ahead of its time experimental psychedelic album. As adventurous as they come for such an early date, I was reminded of other experimental American artists from the same era like The United States of America, Friendsound, Music Emporium, Tim Buckley, Fifty Foot Hose, and The Beat of the Earth. Female vocals, trumpet, guitar, sound collages, and much more. Pure genius.

---5/4/25

More data has emerged since I last visited and wrote about Transformer. Apparently he was a Harvard mathematician (not sure if he was a professor of some sort) and was part of a music group called Cambridge Electric Opera Company, which this album was supposed to be released under. It was a last minute decision by Elektra to only put Stoughton's name and photo on the cover. John Cage was a major influence on the record, Stoughton recalls.

In hearing the album again, the two shorter opening tracks on each side are either psychedelic folk, or an English type of Baroque pop that was popular in the era. A3 is very similar to the experimentalism of Friendsound. And B3, while also experimental, does mix in some coherent psychedelic music. 

It's interesting to see the willingness of major labels to capture a larger audience during the late 60s. Transformer is hopelessly non commercial, but such were the times. By 1970, major labels weren't sure what to do, which is why I often called it the "confused year". By 1971, Corporate America had controlled the market and focused heavily on financial returns. That would be the state of affairs until it all broke down in the 90s when technology allowed everyone to participate. Today albums like Transformer are released regularly, but to niche markets, which is the proper approach.

This same article goes on to state: "Transformer... remains unpopular outside of what the musician calls "a small but dogged core of [online] music lovers who are interested in the extreme music of the '60s". I would agree with Stoughton that the album has found its audience due to larger global exposure. But I disagree with the influencer that it remains "unpopular". Who would know really? Seems popular enough on the websites I visit. I would say "unknown" is appropriate here. It's a polarizing album though, as is Friendsound, so yea it's not for everyone that's for sure. I enjoy it quite a bit, though I wish some of the experimentalism had been dialed back and they included more songcraft instead. Stoughton was good at writing tunes, so nothing to cover up.

Ownership: 1968 Elektra (LP)

No reissues exist as of 5/5/25.

12/20/07 (first listen); 12//08; 7/29/09 (acquired / review); 5/4/25 (update / new entry)

Osmosis ~ USA ~ Boston, Massachusetts

Osmosis (1970)

One of countless American albums from 1970 that demonstrated an awkward progression from psych to something else. What that something else might be is where either the allure or frustration settles in. Osmosis features none other than jazz luminary Charlie Mariano, who would take this new sound with him to Germany and jam with some of the greats like Embryo. Mariano was already 47 when this album was released, double the age of your average psych performer. His experience plays a major role here, and why Osmosis sounds entirely unique. Where it fits in the collection is a tough answer. Is it jazz rock, prog, or psych? The answer is yes. The vocal segments point to a rock heritage and they definitely have that last stage psychedelic sound down. It's kind of trippy, poppy, and disorienting. But the jazz angle that Mariano brings recalls Wolfgang Dauner, probably his closest peer in terms of age and background. In reading other reviews, one can see the frustration people have with Osmosis. It doesn't fit a narrative. Which is probably why I appreciate it more on each listen.

Ownership: 1970 RCA (LP). Acquired in 2019. 

First copy: 2017 Esoteric (CD). Has copious liner notes but no bonus tracks. Acquired in 2018.

11/3/15; 1/13/18; 8/4/23 (review / new entry)

Cynara ~ USA ~ Boston, Massachusetts

Cynara (1970)

---7/9/14

One of the more interesting American groups from the late 1960's was a Boston based band called Listening, who released one superb album on the Vanguard label. Cynara is the band that formed from the ashes of Listening. Their sole album is an eclectic mix, just as Listening was, but not near as groundbreaking, rocking, or exciting. The first side is pretty much straight up organ rock, while the flip is filled by two long compositions with a jazz piano/organ lounge feel throughout. Yet another USA major label album from the confused year of 1970.

---3/6/23

I took a different approach last night and listened to this from a jazz perspective rather than rock. After two listens, I determined that's how Cynara works best. There's some similarities here to what Brian Auger was doing with Oblivion Express as but one example. Side 2 is the obvious jazz side, but side 1 does possess similar qualities, though on initial impact you could be forgiven for thinking it's straight up hard rock. It's a very odd release, and it has no commercial potential whatsoever. How cool is it, though, that Elvin Jones is the drummer on the last and longest track?

Ownership: 1970 Capitol (LP)

7/9/14 (review); 3/6/23 (update / new entry)

Bellvista ~ USA ~ Boston, Massachusetts

The Painter (1982)

---5/23/15

No doubt The Painter is "of the era", with its sunny disposition, and proto smooth jazz sounds. The opener 'Once Upon a Fantasy' displays there might be more to this than a tropical vacation, as guitarist Peter Calo turns up the fuzz a bit. From there it's a bit of cruise ship lounging, and perhaps even a little acoustic light world music via the Steve Tibbetts channel. All of that is well and good, but do we get that payoff track? Oh yes, we DO! And it's the finale title track that delivers it - a blistering 9 minute psychedelic guitar fronted fusion number that will have you digging through collection looking for your Love Devotion Surrender album. Well, no Larry Young on organ of course, and period synthesizers are in full force instead. But for 1982, that ain't bad right?

---1/12/22

Yep - I'll stand by that. I've been strangely in the mood for early 80s fusion of late. So this one scratches that itch in a big way and resulted in a +1 listen.

No reissues as of 3/29/25.

Ownership: 1982 En Route (LP)

5/23/15 (review); 1/12/22 (update / new entry)

Banchee ~ USA ~ Boston, Massachusetts

Thinkin' (1971)

As noted on the debut entry for Banchee, that album was part of the Bosstown psychedelic scene. For their sophomore effort, they dropped the psych like everyone else, signed with a new label, and decided for a straightforward hard rock approach. And they absolutely nailed it - Thinkin' is one of the heaviest major label albums one can hear from the States at this early stage. Hard rocking dual guitars drive these compositions, and they're not that boneheaded either. They put some real thought into these tunes. Way, way ahead of its time. As such, this album has been a serious collector's item for many years.

Ownership: 1971 Polydor (LP)

10/12/10 (first listen); 1/9/22 (review)

Banchee (1969)

Banchee were a band who formed in New York and moved up north to participate in the Bosstown scene. On their debut album, Banchee play a type of jangly West Coast psychedelic that’s as much Quicksilver as it is CSN&Y. The songwriting is excellent here, and it seems the band was mishandled, as some of these tracks should have been hits in their day. As for instrumental work, Banchee prove to be talented, though they never really let loose, choosing to stay close to the original theme and melody. One of the better hard rock / psych albums to have emerged out of Boston. Great cover art as well.



Ownership: 1969 Atlantic (LP) 

10/12/10 (review); 6/20/19 (update)

No legit reissues exist for either as I update this post (3/12/25)

6/20/19 (new entry)

Phluph ~ USA ~ Boston, Massachusetts

Phluph (1968)

---12/10/13 

Phluph were like many one-offs during the psych era - faceless, nameless, and a $1 cutout bin special. On the clueless Verve label, and lost in the shuffle with many of their Boston ("Bosstown Sound") contemporaries, Phluph went away with barely a murmur. Starts off more in typical psych rock territory. But then it takes an interesting turn towards the weird by A3 'In Her Way' (though perhaps not weird enough). One distinguishing characteristic of Phluph's sound is the prominent use of organ. Has that carnival sound, like The Doors, but the similarities end there. Some surprising fuzz guitar outbursts too. Even a rare progressive rock move here and there. A very good listen that grows on you over time.

---3/11/21

I'm not going to have much to add here, just to state that last night's listen confirmed my positive experience. The end of Side 1 to the beginning of Side 2 is the highlight for certain. It's definitely pop / sunshine focused psychedelia, with an edge. Recommended.

Ownership: 1968 Verve (LP). 

No legit reissues exist as of 3/28/25 (highly unlikely the Akarma release is legit). 

12/10/13 (review);  3/11/21 (update / new entry)

The Tangerine Zoo ~ USA ~ Boston, Massachusetts

Outside Looking In (1968)

Outside Looking In is The Tangerine Zoo's second and last album. In reflection, it's amazing just how many great psychedelic bands the United States housed in a relatively short time frame. From 1967 to 1969, you would find psych bands cropping up in every nook and cranny inside America. And the epicenters of the movement, along each coast, were primarily in San Francisco and Boston. It's the latter where The Tangerine Zoo hails from. Previously known as The Flower Pot, the censor boards (that were alive and well in those days) insisted on a name change. Anything with a fruit and the word Zoo was considered hippy enough, so The Tangerine Zoo was deemed safe (Twentieth Century Zoo was to come along shortly).

And then in 1970 it all basically just died. Not a single one made the transition over to the new progressive rock phenomena happening in England and the rest of Europe. Seems like a good dissertation topic for another day.

I bring this up in the review for this album, because The Tangerine Zoo were already heading in that direction, as were a few of their brethren. There's no mistaking this for a late 60s American psychedelic album, with the harmony vocals, old organ, dippy lyrics, and stinging bumble bee fuzz guitars. And the epic closer was de rigueur following the success of The Doors and Iron Butterfly. But as one listens closely to the album, there is an advanced songwriting. Meter, color, and dynamic changes are subtlety tossed in within each track. There's not a dud among the compositions here, almost all quite inventive, even within the short time duration afforded. 'Another Morning' is the only song here that is relatively straightforward (it's a cover of The Moody Blues song), though certainly worthy of hit single status.

If you're looking for a bit more gusto in your psychedelia, similar in that way to Neighb'rhood Childr'n or Strawberry Alarm Clock, then Outside Looking In will certainly delight.

Ownership: 1968 Mainstream (LP)

7/3/18 (review / new entry)

The Freeborne ~ USA ~ Boston, Massachusetts

Peak Impressions (1968)

---2004

Pretty forward sounding psych given the 1968 release date. Varied and deeper than most. Groups like Strawberry Alarm Clock were here but more immersed in pop. The Beatles of course dabbled with these sounds as did the Doors. Maybe closer to some of the Vanguard bands of the day, like Listening or The Far Cry (who were both also from Boston). Lots of instrumentation (trumpet, sax, organ, piano, fuzz guitar, cello, harpsichord, recorder amongst the usual), many meter and style changes (freak out psych, early prog, jazz, sunshine pop, folk, baroque), loads of vocal effects. A truly innovative album. I'm on the 3rd listen and can't decide where I'm going with it.

---12/27/17

Boston's The Freeborne represents some of the finest songwriting of the 60s psychedelic movement. There's echoes of the Doors, but in general, The Freeborne were one of the more innovative of the groups of the day - all operating with the context of relatively short songs (final track on each side sees the band stretching out a bit). Fine guitar, organ, vocals - everything you want in a psych album, but rarely get.

You will often times see this album listed as from 1967. However the CD corrects the record so to speak. There are multiple references and proof of a 1968 release. For example: "Notes on the master tape box imply that the mixing and editing of the album occurred on March 27, 1968". Another reference is a half-page advertisement in the July 1968 "New England Scene" magazine that blares out that Peak Impressions is "Just Released !!"

Ownership: 2014 Arf! Arf! (CD).  Booklet filled with historical liners, mono bonus cuts, as well as three reunion tracks. 

2004 (first acquired / review); 12/27/17 (update); 11/5/25