The Paper Garden ‎- Selftitled (1969)

The Paper Garden ‎- Selftitled

Album information:

01 Gypsy Wine
02 Sunshine People
03 Way Up High
04 Lady's Man
05 Mr. Mortimer
06 Man Do You
07 Raining
08 I Hide
09 Raven
10 A Day

Band information:

The Paper Garden was an American psychedelic rock band formed in New York City, New York in 1967. After gathering a sizable following in the Northwest, the group recorded their only album, The Paper Garden, in 1968, which promoted several styles ranging from complex orchestration to hard-edged psychedelia. Following its release, the recordings have since become considered one of the more accomplished artistic statements from the psychedelic era.

Formed in 1967, the Paper Garden consisted of members Joe Arduino (bass guitar, vocals), Sandy Napoli (rhythm guitar, keyboards, sitar, vocals), Paul LoGrande (lead guitar, vocals), Jimmy Tirella (drums), and John Reich (keyboards). With varying talents as multi-instrumentalists, three capable singers, and accomplished songwriters in Arduino, Napoli, and LoGrande, the band almost effortlessly was able to expand upon the complex instrumentals found in the Beatles' Revolver and Sgt. Pepper's Lonely Hearts Club Band. The Paper Garden toured all along the Northeast coast, establishing several pockets of followers in local college campuses. In 1968, the group garnered the interest of record producerGeoff Turner, who was working for Aaron Schroeder's New York-based Musicor Records. Under the assumption that the band would record matetial he heard onstage, Turner signed the Paper Garden to a recording contract, ambitious to produce a group he hoped was on the cutting-edge of psychedelia.

Rather than record the material from their live set, the Paper Garden decided to compose a whole new set of ambitious repertory. The album was much more elaborate and expensive to cut than Turner anticipated; however, he ultimately elected to recording it, complete with string orchestra arrangements, contributions by session trumpeteer, violinist, and trombonist, and intricate vocal harmonies. Music critic Beverly Patterson, writing for It's Psychedelic Baby! magazine voices that The Paper Garden album was "Clearly influenced by the psychedelic hoodoo practiced by the Beatles, trickles of the Idle Race, and the Bee Gees, and even the jolly jugband stylings of the Lovin’ Spoonful, further arise on 'The Paper Garden Presents,' resulting in a record that’s both playful and progressive". Upon release, The Paper Garden was met with positive reviews, but without a single or major record label to support it, the album was a commercial flop.

The Paper Harden disbanded in 1969, and for a while their album was left to lay in obscurity. However, in 2002, Gear-Fab Records released a remastered version of the album. It has since been followed by more reissues on Relics Records in 2012 and Sundazed Records in 2014. The renewed recognition of The Paper Garden has lead to many music critics to conclude the album is a well-executed piece from the psychedelic era.

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Homer - Grown In USA

Homer - Grown In USA

If Zeppelin is the only band left over from 70's that you listen to, well YOU NEED TONS MORE. Homer is a hard rock band with a psychedelic tone, so ahead of their time. This is a great album to have, every song is worth a listen. "Circles In The North" and "Dandelion Wine" are two GREAT songs. Oh, and I hate Zeppelin's fame, being the only band people know of.

Album information:

(01) Circles In The North

(02) Taking Me Home

(03) Dawson Creek

(04) Survivor

(05) In The Beginning

(06) Love's Coming

(07) Four Days And Nights 'Without You'

(08) Cyrano In The Park

(09) Lovely Woman

(10) Sunrise (Bonus)

(11) Dandelion Wine (Bonus)

Band information:

Although Homer's sole and rare album is full of ideas and busy late-psychedelic/early-progressive rock instrumentation, it's a bunch of notions in search of a road map, and ultimately doesn't say much. Sometimes there's similarity to early-'70s British progressive rock in the occasional Mellotron, the multi-sectioned song structures, and the dynamic instrumentation. There are country and folkier touches (including steel guitar), though, which were rare in such British music, sometimes leaving a slight odd feeling of hearing Neil Young (an influence especially audible on "Dawson Creek") intersect with Yesand the Moody Blues. The lyrics sometimes have a verge-on-the-better-world hippie outlook that, while laudable on paper, comes across as kind of sappy. The hard-to-get-a-handle-on eclecticism isn't the problem so much as far more common shortcomings in these kind of psychedelic-era obscurities: a lack of strong songs or gripping originality, despite the undoubted competence of the playing and vocals. The 2002 CD reissue on Akarma adds two tracks from a non-LP 1970 single that are actually the best things on the disc. They have more of an early psychedelic feel than the LP and a tighter focus to the songs, which sound a bit like the kind of guitar-heavy, phased psychedelic pop the Amboy Dukes did on "Journey to the Center of the Mind," or early Spirit.

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