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History of Blue Cheer:
 
The Round Table of Metal Knights was in an old San Francisco building. To prop the walls up tosurvive the mountain of decibels they were expected to, some blasphemous rockers had brought heavy iron railings in, and that residence recalled some little Fort Suram close to the likes of monsieur Eiffelās structures.
 
The powerful frame of Blue Cheer sound originated in 1966 by six elements. As time went by, the sonic storm which ruled reharsals and early gigs, spotted on just three instruments - guitar, bass and drums, overshadowing all the rest. By 1967, Blue Cheer decided to become a trio, classic and powerful, able to armonize sounds and smash the atmosphere: Leigh Stephens on guitar, master of distortions and fuzz-box secrets; Dick Peterson on bass and vocals, supposed to have formely been with Group B (an obscure Frisco band led by drummer Danny Mihn - later with the Flaming Grovies - who recorded a couple of singles and performed at the Fillmore East. This ensemble was also known as Andrew Staples before evolving into Whisling Shrimp); Paul Whaley on drums (former Oxford Circle, a mithic band from Sacramento, under the aegis of producer Gary Yoder - later with Kak and Blue Cheer themselves. Oxford Circle were residents at the Avalon Club supporting groups like Grateful Dead and recording the single "Mind Destruction/Foolish Woman" for World United in 1966, a great psyche-rock ponderous number. Both tracks have been resurfaced by Psycho on the "Endless Journey" compilation).
 
The trio transferred into vinyl the heavy wave of fighting electric blues handled down by Cream and Experience, amplified by an unlikely volume. Act one was titled "Vincebus Eruptum": a controlled load of noisy roar and metal led to press by Philips in 1968 and, probably, one of the highest examples of powerful and perverse rock which ever made it on record. The record also gave the Groupās first and greatest hit, "Summertime Blues". The flexible shape of Eddie Cochraneās Classic (also covered by the Who) worked in by the blacksmith craftmanship of the trio, turned into a sort of memorable 3ā43" of mighty metallic explosive rock noise which straight entered in the "Most Celebrated Covers" club. For the flip side of the single (one of the highlights in the LP) was chosen "Out of Focus", another aggressive attack of vocals, guitars and percussions brought, high to the cerebral concerns of the body, by instruments used in the likes of detonators. The song was penned by Dick Peterson while hospitalized for just a mild hepatitis. "Out of Focus","Doctor Please" and "Second Time Around", all originals by Dick Peterson had anger and violence enough to sustain the metallic revolt of sound and were conceived to compete with the british wave of other terrific "Trios", Cream and Experience, obviously, which were prime inspirations too (expecially Hendrix for Stephens) and favourite Cheers groups, bright laminated lump of siderurgic chords and clanging vocals drilling the armonic being of the main theme by ruthless electric attacks. The album also featured a cover of Mose Allisonās "Parchment Farm" translated into such a rebellious and storming way to shock purists and tories.
 
"Vincebus Eruptum" climbed up to 11th position in U.S. charts (Billboard) ant such remained the highest peak reached by a Blue Cheer album. As a live act, Blue Cheer are still remembered as an upsetting and scandalous matter by moralist, red-necked U.S. silent majority, at that time totally involved in supporting the criminal Viet-Nam War. Jeff Dalbhy, intrepid fan and editor of the liner notes to "Louder than God" (the 1986 Rhino compilation) writes - I was turning deaf, maybe for the rest of my life. Their concert had been the loudest thing I ever had audienced to and, in terms of volume, nothing could never compare with it since. Just three tiny long-haired boys and an imposing wall of amplifiers. Amps were piled up so tight that litterally filled the whole stage. I had never seen something like that and my ears were out of touch. At moments, I wished I had to get away for good ...-.
 
Blue Cheer were illegittimate sons of the San Francico scene. Certainly pacifists, left out by the "System", they never would submit to the "Peace and love" dream of Flower Power Movement, synonym, not merely musical of the Bay Area in the late Sixties. Jeff Dalbhy again - The noisiest group in the planet, the band that played so loud to turn the air around into buttermilk. Punks before the Punk Movement, Hellās Angels equipped with musical instruments in spite of chopper- bikes ...- .
 
Blue Cheer was never loved by criticists of its times. better inclined to flatter, with good reason for sure, the likes of Jefferson Airplane, Quicksilver and Grateful Dead. In Europe its records, except "Vincebus Eruptum", had no review at all and only few had the chance to keep in touch with its further steps. Boss Bill Graham once cancelled a concert of the group scheduled to be performed at the Fillmore East and even Jimi Hendrix, the musician who more than any other had poured his magic influence in Blue Cheerās sound, never expressed a positive opinion on its style.
 
Blue Cheer invented the american way to Heavy Metal, that Heavy Metal of the end of the Sixties, born from the deep structures of the electric blues and driven up to bewildering and exeeding volumes, slowed down, fastened, grooved by healthy sections of solo guitar ready to cross the course of the melodic centre of songs. A Hevy Metal which was far from the vulgar valence we find today under this term; free from those ridiculous "Hairy chested/muscular" characters of a weight-lifter swelled by anabolyzers, that nowadays so pathetically hang on the public H.M. image. Petersonās voice went off the sound rails of the songs breaking the armonic tissue, and lyrics, on live performances, were seldom inteligible. His raw vocals certainly predated trash-rock.
 
The second album "Outside Inside" (Philips 1968) was divided in two different sections; the outer part (Outside) having been recorded close to some warehouses in New York and Sacramento harbours, while the inner part (Inside) saw the light of day in a regular recording studio with the same excellent production than in "Vincebus Eruptum" (Abe"Voco"Kesh). Even with a small drop, sound pressure held the same wild, crude and primeval resolution not missing that peculiar Īhammer kick on the foreheadā that graced the hardest moments of the first LP as well as those perfect rock gimmickries so brightly blended by sleecky athmospheres supplied, for example, by the keyboards of Ralph "Burns" Kellogg, a skill musician who came in from Mint Tattoo, a San Francisco band addicted to a rather mundane way of making the blues. The opener of "Inside Outside" was "Fathers From Your Trees", a shining gem of psychedelia influenced by the classic british style of the time (Traffic, Tomorrow, Wimple Winch ...) rich of popedelic athmospheres and lsd-keyboards, but promptly worn out by the distorted guitar of Leigh Stephens and trailed on by the deep drumming of Paul Whaley. "Sun Cycle", "Just Little Beat" and "Gypsy Ball" proceeded towards penetrating amphetaminic electric structures displaying a blues basis, with lots of homages to Hendrix. The songs breathed the taste of the electric ballad warped by the weight of distorsors and wah-wah pedals while the closing track "Come and Get In", possibly was one of the first examples of ĪSpeed Metalā in rock history; a sort of "Pre Motorhead" sound, fast and appealing without being too much excessive. The opening of side two was entrusted to "Satisfaction" of the Rolling Stones, another seminal band that certainly had deeply influenced The minds of the Cheers. This version, handled up by bass, doesnāt offer any levitation. Temperature returns high with the next fabulous black-dressed Īsoul metalā "The Hunter" (captured from Booker T.Jonesās repertoire) followed up by originals "Magnolia Cabhoose Babyfinger" and "Babylon", tracks which are lapped up by astonishing and energetic vocals molded into music by powerful instrumental jokes which give way to some of the absolutely best moments even performed by the band. A true deed of cleverness undeed!
 
The dangerous shows which promoted the album are still legendary and ill-omened at one time. Guitarist Leigh Stepehs recalls: We started a violent and frightening trip. Every single concert ended up with the total destruction of the instruments that was enthusiastically greeted by the audience. This was the most dangerous moment too. One time my guitar hit the head of a person, another time a spectator was injured by one of the cymbals. People were involved with the same violence... I often stopped playing and tought "Christ, whatās goināon?". Unfortunately the aggressive surge was also transferred in the reharsals and sessions the group had in recording studios. Such a perverse escalation to insanity ended up with hardly trying Leigh Stephenās health.
 
He later confessed: I was turning mad. All in all, nobody was able to stop that "Chain reaction". Everything was totally out of our control. After "Inside Outside" Leigh Stephens decided to quit Blue Cheer. At first he formed Aspen, a mega electric band that, unfortunately, didnāt make anything into vinyl. Then he recorded two LPs in Britain with Kevin Westlake of Blossom Toes and other musicians from the british scene. Later he will be present in the line up of two bands: Silver Metre and Pilot, of which weāll talk about later on.
 
Early in 1969, Leigh Stephens place was taken by formidable Randy Holden, formerly the leader of mythic Other Half. The training time displayed the several aspects living together in the character of such a musician: on one hand he was the maker of splendoured Īinnerā horizons that his style put under a enphasized Īacidā light; on the other, his lonely and unstable temperament was evident. For such a reason Randy Holden only features on just one half of third Blue Cheerās album, its Īintellectualā masterpiece by the title of "New! Improved!". The entire second side of the record bears the relevant imprinting of Randy Holden as a musician able to mould neverending rainbows of sounds and as the composer of all those three truly fascinating titles. His graft, alonside with Peterson and Whaley, offers one more among the most irresistable moments in the whole life of the group. "Piece of Mind" and "Fruit & Iceberg" liberate colourful Īpsycheā molecules interpolated by the deep cut of the electric Īsix stringsā winnig life to an introspective and cerebral sound supported by solo passages of translucent electric nature; lofty and fantastic attitudes that knock the remaining violent valences out. Beautiful modernist ballads that will leave their sign in the genre (only Cream may boast of something like that). Randy Holden will find his more hard core fans in Britain. To be able to find athmospheres similar to "Peace of Mind" we must wait for Wishbone Ash masterpieces - its first three LPs - and Bronco in their first album "Country Home". More stories to tell ...
 
Side One of "New! Improved!" finds the resigning Randy Holden replaced by Bruce Stephens (no relationship with Leigh) as well as keyboard-player Ralph ĪBurnsā Kellog being back for good; both of them from Mint Tattoo. The consistence of the record takes a transversal way bound to classic West Coast. In facts, with no iperboles, the group re-joins a rather usual sound which blends rock ballads , accents of "Phisical" rock treated with a flexible voice and, in "Aces in Fight", "As Long As I Live" and "I Want My Baby Back" thereās an open gleam to "Country Rock" we will find again in further episodes, always deliberated and supported by unusual guitar solos (Bruce Staphens reveals an enormous talent without, however, even getting close to futuristic Īgeniusesā like L. Stephens and R.Holden). Somewhere else, like in "When It All Gets Old" and "West Coast Child of Sunshine" (penned by Kellog and Stephens - to definite a different target ), the group elevates the mere rock song inserting exemplary passages of sturdy armonic solo guitar, but the only cover present within the record, Dylanās "It Takes a Lot to Laugh, It Takes a Train to Cry", seems to foretell different sceneries.
 
Soon after the release of "New! Improved!", also founder drummer Paul Whaley quits the group and, presumably music biz at all being replaced by Norman Mayell, a perfect percussionist who had previously spent a long time with Frisco band Sopwith Camel. With the defection of Leigh Stephens and later that of Randy Holden, the use of scratching distorsor and that "hendixous" wah-wah was forever lost. Dick Peterson, voice and bass, the last surviving original member, had smoothed his raw noisy style down to meet more "disposable" soundings. The eretic 1,000,000 watts group had been beaten. At any rate, it will not be a radical steering in the direction of an implosive style, and Cheerās sound will stand at a good level without too many conservative nor "Amerikan" compromises. The real test of facts comes with the fourth omonymous album released by Philips by the end of 1969 and led to success by trailer "Hello L.A., Bye Bye Birmingham" (a cover of a classic by soul group Delaney & Bonnie). Now "Blue Cheer" presents a line up eventually settled round Dick Peterson (bass and vocals), Bruce Stephens (guitar), Ralph Kellog (keyboards) and Norman Meyell (drums). Here and there, in composerās guise, appear the traces of Gary Yoder, formerly guitarist in Kak.
 
Packed up to Heaven the heavy electric equipment, including related decibels, the group changes the old sonic nirvana of primeval obsessive and metallic Īpsycheā blues into some harsh and bright hard-rock that, in those times certainly couldnāt be identified as Īmain streamā. Dick Petersonās voice displays a mature tonal development and the wild rough fury evoked in early albums seems to be so pretty far in time. The actual sound in the record, opened up by a tasty "Fool". flows liquid and appealing rich with armonic and convex shapes which can even win the attention of several West Coast purists. Plenty of the blues appeal comes from "Saturday Freedom" as well as from the above mentioned "Hello L.A. ..." both pervaded with lightning guitar zigzags and peculiar armonics that confirm Bruce Stephens being a real eclectic musician, but "Aināt That the Way", also on side one, brings into a magic hard-rock with fluorescent keyboards ready to spray the listening with colourful sonic lightshows. The B side of "Blue Cheer" (an album which comprises 9 original compositions within a total of 10 tracks, duly credited in turn to each group member) is a real guitars-keyboards festival devoted to supply the nerve to the vocal parts, leaving on the field some excellent rocksongs like "Rock & Roll Queens" and "Lovinā Youās Easy", sometimes a bit conformist, and the beautiful progressive surprise titled "Better When We Try" in which Ralph Kellogās organ snatches chords from the students of Canterbury School.
 
1970 marked a massive return to concerts. Bruce Stephens had quit the group to form Pilot and was replaced by Gary Yoder, whoāve been waiting on the threshold since months; an experienced musician and composer with a true leader aptitude. From this moment on, all hopes and future success will mainly depend on him.
 
Alternating Live shows (often Cheers performed together with Californian most acclaimed groups) and work in the studio, the new line up carried on the recording of the fifth album: "The Original Human Beings" which many criticists consider as Blue Cheerās best effort, devoted to that contaminated "Psychedelia" which was receiveng utmost praises in Europe (In Britain the three main branches - psychedelia, progressive and acid blues - were often melted by groups in the same sonic pot). Others, on the contrary, for the same reasons found the record being too much a blended affair and devoid of a single speciality. In "The Original Human Beings" (Philips 1970) we first meet the splendid "Good Times Are So Hard To Find", an irresistible song, among Blue Cheerās masterpieces. Itās electric, liquid and very Īpsycheā with special connections to late Yardbyrds. Dick Petersonās voice is increasingly mature, Gary Yoder is superb and creative on guitar, Ralph Kellogās keyboards explode with liquefied imagery and percussions (but also the sitar in "Babaji") provided by Norman Mayell are able to offer the exact glares. "Make Me Laugh", "Pilot" and the beautiful "Black Sun" paint the air with fantastic multicoloured shapes in a crossword puzzle of psyche-progressive sounds merged with a corrosive blues which makes the album reach the highest positions in my personal favours, together with the whole "Vincebus Eruptum" and the Randy Holden side in "New! Improved!". Told that "Babaji" is a mystic raga theme for LSD trips, the record proposes some unuseful numbers too, fond of a certain Īcentral rockā, as "Love of a Woman" and "Tears By My Bed" but the last feelings to be left to the listener are intended to be for the suggestive "Rest At Ease" penned by Greg Yoder, a slow metropolitan night ballad which maybe could still make happy fans of the "Born to Run" Bruce Springsteen. One curiosity: "The Original Human Beings" is the first Blue Cheerās album that does not include any cover of other musicians.
 
Last chapter, the sixth album entitled "Oh! Pleasant Hope" released by Philips at the end of 1970, probably is the most romantic. A record which avoids any reflux of a revolutionary era without truly understanding the new underground ferments and just preferring the Īacusticā aspect, unmindful of past sonic assaults. All in all, "Oh! Pleasant Hope" reprises the most classical aspects of the previous LP developing a perfect american hippy-sound half way between Grateful Dead and The Band, in which unforgettable numbers are not lacking. "Oh! Pleasant Hope" (title track) is a splendid melancoly ballad in the likes of "The Weight" (The Band) containing evocative armonic vocals, "Iām the Light", "Highway Man", "Believer" are fantastic Īhippyā themes to be listened beneath a starry summer sky, likewise some songs of ĪCrosby, Stills, Nash & Youngā. "Ecological Blues" is remarkable too, sung in those Īalchoolicā and hoarse keys which will have make Tom Waitās fortune.
 
The musicians involved, augmented by the second guitar of Richard Peddicord, are the same as in "The Original Human Beings", but solo parts stand rather within limits. Once again the Charts horizons remain a missed target and the Cheers decide to split and try different ways. Yoder and Kellog will set themselves as session-men, Norman Mayell will join the Sopwith Camel Īreunionā while Dick Peterson will form Peterbilt (together with his brother) and Natural Life in mid seventies; both these bands were Hellās Angels favourites but, unfortunally, did not leave any trace on record. Dick Peterson reformed Blue Cheer at several times. In 1985, with original drummer Paul Whaley and Tony Rainier on guitar, even managed to release the album "The Beast is Back" on Megaphore, a record proposing some revisited classics (Summertime Blues, Out of Focus, Parchmnet Farm, Babylon) alongside with brand new titles as "Nightmares", "Ride With Me" and "Girl Next Door". "The Beast is Back" is a typical voyage through creative hard-rock culture travelling the paths of that voracious and compressed blues sprung from "Vincebus Eruptum", in which modern Seventies structures, catching guitar solos ("Ride With me" and "Babylon" are great Īsyderurgicā appointments) as well as thick metal webs scratched, burned down by a eversive fire still able to arise earthquakes and dissipate the wind, live together. Listen to Prong and Mudhoney to believe.
 
The last noticeable Blue Cheerās Īreunionā dates in 1990. The group exptempore reformed by Peterson and Rainier with a certain McDonald just for a european tour, stayed for a long while in Wales, put up by friend Dave Anderson (former bassist with Hawkwind and owner of underground label Demi-Monde). Here, strenghtened by the relaxing climax provided by the green local nature, Blue Cheer recorded its very last effort, the "Highlights and Lowlivwes" album, produced by grunge master Jack Endino and released by Nurnberg indie Nibelung Records in a limited edition vynyl LP.
 
Seven original Īcoursesā mostly penned Peterson/MacDonald and just one cover-version, R&B classic "Hoochie Coochie Man", offer more delights to hard-core fans of Blue Cheer Club, from the hard rock of "Urban Soldiers", "Flight of Enola Gay" and "Hunter of Love" (laminated by a terrific guitar solo fugue ...) to heavy blues of "Blue Steel Dine", through the dark proto-stoner of "Down and Dirty" and the melodious romantic ballad "Girl from London" ...
 
THE SATELLITES MINT TATTO - Rather mainstream blues-rock power trio, devoid of any progressive formulas, featuring Bruce Stephens (voice, guitar), Ralph "Burnsā Kellog (bass, keyboards) and Greg Thomas (drums). Mint Tattoo recorded the omonymous album for DOT in 1968, from which the single "Iām Talking About You/Mark of the Beast" was also released in 1969. Stephens and Kellog will be togethr again in Blue Cheer on "Blue Cheer" (1969). Greg Thomas will join Fabulous Rhinestones and later will play with Jim McGuinn.
 
KAK - Excellent psych and blues-rock band, caressed by some light lysergic varnish, formed in Sacramento in 1967. Kak, a quartet consisting of Dehner Patten (guitar, voice), Gary Yoder (guitar, vocals), Joseph Damrell (bass, sitar, percusions) and Chris Lockheed (drums, keyboards), surely was among one of the best and most underrated californian bands of its era. Their sole album "Kak" (Epic 1969) is nowadays one of the most sought-after by collectors. A fascinating record, rich with Īpsichyā visions and mesmerizing electric ballads led by the shining guitar of Gary Yoder. From the LP was taken the single "Iāve Got the Time/Disbelievin". The second track, in particular, is an oniric electric pearl which outstands by its eccentricity in a lake of acoustic themes. To be remarked are also the long Īsuiteā "Golgotha/Mirage/Rain", a splendid mind trip close to some galactic temperatures we can find in Crosby and Kantner, grooved by a sharp and distorted guitar, "BryteānāClear Day", penetrating like a sword blade and the catching "Lemonade Kid" which, if graced by appropriate exposure, could have been able to push the whole album straight up into the U.S. Charts. Gary Yoder will be with Blue Cheer in "The Original Human Beings" and "Oh! pleasant Hope" while drummer Chris Lokheed will be with Randy Holden on live performances also contributing to his solo effort "Population ii".
 
OTHER HALF - A blues and psychedelia group from San Francisco arisen from the ashes of the Sons of Adam (a cult garage outfit who recorded three singles for Alamo and Decca Records, one of which "Feathered Fish" was penned by Arthur Lee of Love and another being a cover of Yardbirds "Youāre a Better Man Than I". The band, a quintet led by imaginative guitarist Randy Holden, recorded four singles between Ī67 and Ī68:"Wonderful Day/Flight of the Dragon lady", "No Doubt About It/I Need You", "Oz Lee Eaves Drops/Morning Fire" all for ACTA and the best known garage-psychepunk "Mr.Pharmacist" (later covered by Fall) coupled with "Iāve Come So far" for GNP Crescendo. Its album "Other Half" (Atca, 1969) is still regarded as one of the masterpieces of U.S. psychedelia of the Sixties. After the group has disbanded, Randy Holden was involved with Blue Cheer performing on one side of "New! Improved!" then recording the most acclaimed solo "Population ii" for Hobbit (later reissued by Line): over thirty minutes of solo guitar dressed with original passages and homages to Hendrix. An extreem metallic trip into the mind - superb are "Blue My Mind" and "Keeper of My Flame" - in which some moments of exhaustion are not absent too. Craig Tarwater, another guitarist from Other Half, will end up in Daily Flash, the postumous album of which, including the two original singles together with live stuff, has been released in Britain by Psycho in early Eighties.
 
SILVER METRE - Another group from the Bay Area formed by Leigh Stephens in 1969 soon after the "Blue Cheer/stress live", with Jack Reynolds (vocals), Pete Sears (bass, keyboards) and English Mick Waller (drums; ex Trinity, Steampacket and Jeff Beck Group among others ...). Silver Metre released an interesting album recorded in London: "Silver Metre" (National General, 1969), belonging on different styles, from traditional rock ballad to american country blues all treated by very slicky guitars, keyboards and vocals. A quiet and Īathmosphericā record characterized by not the less than three covers of Elton Johnās songs ("Ballad of a Well Known Gun", "Country Comfort" and the beautiful "Sixty Years On") together with original numbers among which outstand the fascinating blues theme of "Dog End" and "Nightflight" featuring keyboards and guitars on the fore. Having been exhausted the Silver Metre experiment, Stephens and waller both joined the Pilot project.
 
PILOT - Pilot was an outfit which gathered too many elements. Formed by two Americans, guitarists - ex Blue Cheer - Bruce Stephens and Leigh Stephens, and three Englishmen, blues guitarist Martin Quittenton (formerly in Steamhammer), drummer Mick Waller (from Silver Metre) and rock-jazz bassist Neville Whitehead (just coming from the sessions of ĪThe End of an Earā with Robert Wyatt, later joined Isotope and Suntreader), such a bunch could never find an original direction, tottering between easy and ragged blues themes and conformist rock-songs. Pilot recorded two forgettable albums: "Pilot" (RCA) in 1972 and "Point of View" (RCA) in 1973. To be mentioned just for most affected fans, the two solo works by Bruce Stephens: the neglectable "Bruce Stephens" (Word, 1978) and the Īinvisibleā album "Watch That First Step" only released in Denmark and Norway, for the Strawberry label 1981. He also made an appearance with Original Haze (the name used by Moby Grape in the first half of the Seventies).
 
LEIGH STEPHENS - The last notes are saved for Blue Cheerās primeval guitarist. Leigh Stephens, after the Cheers and Silver Metre, had been living in England for many years being in friendly terms with freaks and musicians from the London Īundergroundā scene. He kept working with drummer Kevin Westlake (former Blossom Toes) and Nicky Hopkins, in addition to other sessionmen with the help of whom he recorded his first solo work, the excellent "Red Weather" (Philips, 1969), an intimately intrinsical album of melodic psychedelia rich with "hippy" ballads and moments of electric extasy. Less interesting results his second effort "Cast of Thousands" (Charisma, 1971), too much in a redundant Īprogressiveā mood a vynyl, overhelmed by a massive use of too many instrument. The last appearance of Leigh Stephens will be with Pilot.
 
DISCOGRAPHY:
BLUE CHEER
"Vinceus Eruptum" (Philips, 1968)
"Outside Inside" (Philips, 1968)
"New! Improved!" (Philips, 1969)
"Blue Cheer" (Philips, 1969)
"The Original Human Beings" (Philips, 1970)
"Oh! Pleasant Hope" (Philips, 1970)
"The Beast is Back" (Megaforce, 1985)
"Louder Than God" (Rhino, 1986 - anthology)
"Blitzkrieg Over Nurnberg" (Nibelung, 1988)
"Highlights And Lowives" (Nibelung, 1990)
KAK
"kak" (Epic, 1969)
OTHER HALF
"Other Half" (Atca, 1968) - reissued as "Mr.Pharmacist" with 5 additional tracks from the singles, by EVA in 1992 -
PILOT
"Pilot" (RCA, 1972)
"Point of View" (RCA, 1973) - this record is officially unreleased -
MINT TATTOO
"Mint Tattoo" (Dot, 1968)
SILVER METRE
"Silver Metre" (National General, 1969)
RANDY HOLDEN
"Population II" (Hobbit, 1969) - reissued in Germany by Line in 1982 -
LEIGH STEPHENS
"Red Weather" (Philips, 1969)
"Cast of Thousands" (Charisma, 1971)
BRUCE STEPHENS
"Bruce Stephens2 (World, 1978)
"Watch That First Step" (Strawbwrry, 1981)

 

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