EXPERIENCE ROCK HISTORY!

The DEATH of ROCK:
“the BOSS” Guilty or Not Guilty?
and
The RISE of EURO ROCK!

It was 1973 and Rock was dead.

To prove this point, Bruce Springsteen was “the Boss” – this was the best Rock the U.S. had to offer.

Bruce undeniably earned his iconic place in Rock; but 00individual wasn’t feelin’ it, he wasn’t under the spell.

00individual was also among “the working class”, so if it were something as easy as a East Coast/West Coast cultural misread, that would suffice, but it was more than that – BS was to Rock in the ’70s as Steven Spielberg was to film in the ’70s – death to the Spirit of the Art.  Both used the common denominator of the masses to actually bring down the diversity and quality of Rock and Film – there have been University classes that dealt with the impact “blockbusters” had on the art of film – interesting but obvious outcomes.

Were there better bands?  Absolutely, so 00individual and many like-minded Rockers immersed themselves in the exciting world of creative, innovative European Rock.

Many of the new sealed and promotional albums that 00individual came by from his days as a Rack Jobber and Record Store Manager would be used as trade-ins for store credit at the Sunset Strip Tower Record Store for “unknown imports”; as Tower had the best selection.  Most imported foreign albums were English or U.K. pressings, a decent amount were from Germany, and then France and Italy.

IMPORTS
Import records had an allure; their loose cellophane plastic covers (no heat shrink-wrap that could cause vinyl warp), usually looser cardboard covers but with better quality printing, in most cases a vellum type of inner sleeve up to actual high-grade plastic sleeves, and virgin vinyl, not recycled vinyl.
Many artists had world-wide distribution, but in some cases imports were unavailable as domestic releases, which made them rare right from the start. And even if released domestically, there was always the possibility of different tracks, or different versions of the same tracks.  Fun stuff!

00individual would gather as much info possible about the band, then based on the cover art and the country of origin, musicians and instruments used (when the info was available) he would then make a selection.  Sometimes he would just hold it in his hand to discern a vibe.  Quickly he realized that just about everything outside of the U.S. was Happening!  He really couldn’t lose; Progressive Rock, Hard Rock, Jam Bands, Space Rock, Instrumentalists, Synth Rock, and soundtrack-like music – great stuff, and right there ready to enjoy!

00individual was in Rock Heaven and was given a route to rise above the current mediocre American market dominated by the ’70’s Singer/Songwriter and Disco takeover that certainly contributed to the marginalized state of Rock, and the Boss’ rise.  It would take the Punk and then Grunge movements to revitalize Rock once again.

The RISE of EURO ROCK
Through his record connection dealings and fiendish vinyl collecting habit (one of his drugs of choice) 00individual was able to amass an impressive import album collection that consisted of albums by; Can, Neu, Tangerine Dream (Phaedra, ahhhh, music that melts), Sensations Fix, Faust, Hawkwind, Man, Popul Vuh, Kraftwerk, Amon Duul II, Nektar, Fotheringay, Bo Hanson, Terje Rypdal, Cosmic Jokers, Eloy, Golden Earring, Tomita, Ash Ra Tempel, Focus, Prematia Fornieria Marconi, Gong, Aphrodite’s Child, and the master Vangelis O. Papathanassiou, plus rare imports by Pink Floyd and Hendrix, virgin vinyl pressings of specific favorite Rock albums, and numerous other import obscurities, discoveries and treasures – and soundtracks – ye Gawdz! Soundtracks!

Check 1970s PROGRESSIVE ROCK BANDS for year-by-year decade list.

Retrospective history proves the widespread inspiration acquired by Rock and Pop Icons of the ‘80s, ‘90s, ’00s, ’10s, and on, was, and is attributed to the ‘70’s Euro Rock Bands.

The VERDICT
Not Guilty!  Actually, 00individual must thank the Boss – his mere existence acted as the catalyst for discovery of wondrous and excellent bands and their musical creativity and sound.

00individual don’t walk backwards, but will give credit when due, and the Boss’ writing talents are classic, especially when covered by others, and in that vein he falls in with Dylan.  “Blinded By The Light” and “Spirit In The Night” both covered by Manfred Mann’s Earth Band in the ’70s, and especially “Born To Run” in one huge Bad Ass cover by ’80s Rock powerhouse, “Frankie Goes To Hollywood” (Holly Johnson sings it like he means it, like his life depends on it, as does the band’s driven punch and energy performance) are prime examples of world-class Springsteen covers.

“I’ll love you with all the madness in my soul,
Someday girl I don’t know when, We’re gonna get to that place Where we really wanna go,
And we’ll walk in the sun, But till then, tramps like us, Baby we were born to run.” 

Bruce Springsteen speaks Tribal Truth.

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“Manson: the Spiritual Voice of Reason at Altamont” copyright 2016 00individual  TLL

Experience Rock and Counter-Culture History!
SETTING HISTORY STRAIGHT:
Manson and Altamont WERE NOT the End of the ’60’s Love Generation!

The Easy Excuse
The highly erroneous “fact” that is generally felt is that Manson and Altamont were the historic causes of the end of the ‘60s, the end of Peace, Love and the Counter-Culture’s reign, the end of a dream.  While this may be symbolically true, it is just a lazy connect the dots for superficial news and inaccurate and slanted ulterior-motive mainstream-lined reporting of history.

Charles Manson “the Love and Terror Cult Leader” (sheesh) was, from his troubled youth, a prison-indoctrinated socio- pathic criminal, and the Hells Angels were a Biker gang – neither represented, nor had anything to do with the Counter-Culture’s Vibe.  Yet it is so easy to write-off the end of an era based on two sensationalized incidents than to delve into the real reasons for the end of the ’60s.   Those two incidents were easy wish-fulfillment for the masses by the media’s exploitation of the “we knew it all along, Rock ‘n’ Roll concerts were evil, and underneath, all Hippies were drug-crazed blood-thirsty sex-fiend savages”.

Freedom, Peace, Love, Equality, Individuality, Power to the People, Sex, Drugs, and Rock ‘n’ Roll was what the Counter-Culture was about – not a violent drunken biker gang, nor a twisted mind.  The truth was far from those sensationalized incidents, yet they were used as weapons by the media and controlling powers against the Counter-Culture.

Every peace-loving, Marijuana-smoking, acid-tripping, anti-war, independent-thinking Hippie and Counter-Culture individual felt the end coming, and unfortunately it began long before Manson and Altamont ever happened.

The Painful Truth
Back in the ’60s hitch-hiking was not only an acceptable form of transportation, but mostly a pleasurable way to meet, talk, and get high with Brothers and Sisters.  Likewise, the Counter-Culture opened their homes to others as a place to crash for the night.  This was a reciprocal unspoken Brotherly gesture of friendliness and trust.  Usually, the next day your new friend would roll a joint, share a smoke, and bid you adieu and continue on – in some cases that new friend may have been you.

However, on the day that a Brother opened his home to another Brother to crash for the night only to find out the next morning that he’d been ripped off began the domino effect of distrust – THAT was the moment and cause of the Fall and eventual End of the ’60s.

Sad, but in retrospect it was inevitable that some soulless bad apples would eventually break the universal bond of trust and take advantage and ruin a beautiful thing.  Manson, the “poster boy” for Hippies was 180 degrees from the truth, yet it seemed like America was relieved to have this single “bad apple” represent a whole culture – and there was absolutely nothing that could be done about it – a negative and ugly tide had turned.

The combined escalated negativity toward the Counter-Culture and the Counter-Culture’s growing distrust of their own unfortunately created a new justified paranoia that extended from the establishment to the guy on your couch.  And along with the Vietnam War and assassinations, it was signaling the overall beginning of the end of free-form fun as was known, and gave way to a far more serious atmosphere.

But 00individual didn’t let two incidents, a war, further persecution by society, injustice, propaganda, justified paranoia, and being prime meat for the Draft keep from stopping him, oh no, there was still a ton o’ fun to be had, and the Pinnacle of Rock to experience!

And yes, it was all about fun, it was unavoidable, this was the ’60s.  Heads knew how to rise above the fray, as from here on into the ’70s it would be a hard-core, fun, psychedelic, drug-fueled, white-knuckle ride.  Groovy!

. . . and then there’s the open-minded Rabbit Hole . . . JUMP IN!

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Actually the ’60s and ’70s Counter-Culture ended on February 20, 2005,
that’s the day that Hunter S. Thompson,
the last of the Wild Bunch, ended it.

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).

EXPERIENCE ROCK HISTORY!

 PETER GREEN – THE END OF THE GAME – December 1970 – Reprise RS 6436
Album Track Gem – “OH WELL” –  Then Play On – September 1969

In late 1969 Fleetwood Mac were coming off of one of the seriously best albums of the 1960’s;
“Then Play On“, and were also at the height of their bands’ career when Mac founder and guitarist Peter Green left the group.  His disdain for money (green Manalishi) and LSD-fueled unbalanced chemistry issues resulted in a schizophrenia diagnosis and psychiatric hospital electro-convulsive therapy during the mid-1970s.

But just after The Green Manalishi with the Two-Prong Crown (originally only available on a Warner Reprise Sampler) and after smoldering lead guitar contributions to his friend Peter Barden’s phantasmagoric Historic and Classic 1970 album The Answer, he cut this total studio jam session solo album End Of The Game.  

As this album clearly shows, Peter Green was a genius and a Master Blues Guitarist on a rare emotional level with Jimi Hendrix, Eddie Hazel, Carlos Santana, Duane Allman, John McLaughlin, and Jeff Beck.  This album is why he had to quit Mac, he was literally bursting with creative electric guitar Psychedelic Blues Jazz Prog improvisation and needed to cut loose.

Peter Green is recognized by many top guitar masters, guitar aficionados, and guitar freaks as one of the most gifted guitarists ever.  An interesting observation on the tangents of genius, LSD, and madness as Green was suffering in the same way that Syd Barrett had after LSD flipped a switch in their psyche that opened a predisposed doorway to schizophrenia.

He clearly stated his position with the title of this album, he was done, for a while, and no longer wanted to participate in “The Game” and for him this album was the End of that Game.

A decade later Green released his “In The Skies” album; a singular hypnotic group of tracks that communicated a unique groove and peaceful vibe.

 The End Of The Game needed to be approached like the Leopard on the cover –
with a keen sense of appreciation – as these tracks could eat you up!

WICKED WAH-WAH WARNING!
THE END OF THE GAME
“Bottoms Up” – 9:05, “Timeless Time” – 2:37, “Descending Scale” – 8:17
“Burnt Foot” – 5:16, “Hidden Depth” – 4:54, “The End of the Game” – 5:08

Peter Green – guitar
Zoot Money – piano
Nick Buck – keyboards
Alex Dmochowski – bass guitar
Godfrey Maclean – drums, percussion

………………………

Album Track Gem – “Oh Well”–  Then Play On – September 1969

Fleetwood Mac got a magnificent farewell through Peter Green’s untethered genius with the double-decker Rock Opera of “Oh Well” Pt 1 (Rock) and Pt 2 (Opera).
The original September release of Then Play On was re-released in November swapping-out Danny Kirwan’s “When You Say” and “My Dream” to make way for the epic “Oh Well” single parts 1 & 2.

Part 2 has become one of the most revered guitar solos of all time.  With an occasional perfectly-accented flute, piano, percussion, or string accompaniment, Green leads a primal journey through heavy operatic drama that touches the soul with solid Ennio Morricone influence and celebration.

A nine minute soundtrack to the movie in your mind.

Album Track Gem – Fleetwood Mac / Peter Green:  “Oh Well” part 1 & part 2.

“But don’t ask me what I think of you,
I might not give the answers that you want me to.”

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EXPERIENCE ROCK HISTORY!

PINK FLOYD – Wish You Were Here – 9/12/75 – Columbia CS 1178

If the Dark Side of the Moon was the Peak of the Pinnacle of Rock, then Wish You Were Here was the transcendent end result of the the entire Classic Rock Culture History.

When one of the top main veteran ’60’s and ’70’s bands – meaning either The Rolling Stones, The Who, Pink Floyd or Led Zeppelin (see: The “Pinnacle of Classic Rock Equation: 4 + 4 = 7”) bestow upon mere mortals the supreme gift of perfection, it is nothing less than a Historic Rock Culture-Defining Moment.  One of those moments was Wish You Were Here by Pink Floyd in late 1975.

With the release of WYWH that was it; Rock had peaked at its highest point. The sonic tidal wave of the late ’50’s and entire ’60s decade that kept surging forward into the ’70s to seemingly never break, finally crested with WYWH and when that Tsunami broke it washed away the landscape of any rivals for decades to come.  Rock will never get past this level of accumulated perfection – Pink Floyd never got past this level either. For with this album there was a shared feeling that joined the four band members from when there were five.  Egos aside, with the soul goal of a quasi tribute to Syd Barrett, Pink Floyd founder and the band’s inspiration, they succeeded in every respect – but in doing so reached a level of rarefied air that also served as the death knell for the Waters, Gilmour, Wright, Mason band. Things would never be the same.

When dissatisfaction sets in for anyone it may signal the time for a change, and 00individual will confess that by 1975 the fun thrill-rides at Drug World Theme Park were curiously no longer fun, just weird, weird fun, but in a dreamworld state.  00individual’s personal life paralleled the Counter-Culture’s evolution and both needed a change. The Vibe was no longer the same.  In its place was an acquired extrasensory ability; an animal sense that could detect an approaching enemy, an oncoming storm, or the ending of an era.

00individual was a good Psychonaut and handled his drugs well, basically high at whatever job or career, and was always discreet and professional.  But even under altered states the strange Vibe was evident, there was a weird feeling of moving into a new realm of reality.  Strangely weird.
It was as if a layer of life had been removed and everything; family, friends, thoughts and ideas, the world, and the future, were seen in a steely coldness, but with a higher sense of understanding. This transition could be seen as the cumulative effect of years of experiencing altered states, but the truth was that in ’75 things changed.  Life changed; not just for 00individual but for the entire Counter-Culture.

And in a cosmic way WYWH was a perfect fit; it felt as beautifully rockin’ strange as life was in ’75; exciting yet ominous, enlightening yet sinister, mysterious yet known, sincere yet cynical, heart-rending yet soul uplifting – WYWH was a meld of these accumulated emotions of the previous ten years expressed perfectly in the best Rock ever.

The signpost up ahead on the upper eschalons of the Rock History Landscape reads:
“Wish You Were Here”.
Side one
1. “Shine On You Crazy Diamond (Parts I–V)” Gilmour, Wright, Waters vocals:Waters 13:32
2. “Welcome to the Machine” Waters Gilmour vocals: Gilmour 7:32
Side two
1. “Have a Cigar” Waters vocals: Roy Harper 5:24
2. “Wish You Were Here” Gilmour, Waters vocals: Gilmour 5:40
3. “Shine On You Crazy Diamond (Parts VI–IX)” Waters, Wright, Gilmour (Parts 6–8) Wright (Part 9)

And to anyone who wasn’t there back in’75; 00individual shouts out across the decades from front row center to Wish You Were Here!
L.A. Sports Arena 1975!  FRONT ROW CENTER!  THREE NIGHTS!
Last tour performance of DSOTM in its entirety, and Echoes as the encore, with Roger Waters!
Set 1: Raving and Drooling (Sheep), You Gotta Be Crazy (Dogs), Shine On (part 1), Have A Cigar, Shine On (part 2).
Set 2: Dark Side of the Moon (with a continuous synchronized video on a huge round screen behind the band.)
Encore: Echoes

00individual had “studied up” with the ’74 Screaming Abdab bootleg (see below) prior to the ’75 L.A. concert, so he was hip to the Shine and Animals tunes.  Those, added to DSOTM and Echoes was the most perfect Pink Floyd concert that ever was – especially Front Row Center.

00individual – 1976 – sporting his WYWH “uniform” while getting back to Nature.

Click on the “Pink Floyd Zone” logo to unlock the cosmic vault of Rare PF Bootleg Vinyl!

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EXPERIENCE ROCK HISTORY!
The WHO – “TOMMY” – May 23, 1969 – Decca DXSW 7205

“GOOD MORNING, CAMPERS!”  Wake up!  It’s May 1969; the brink of the very last summer of the entire ’60s decade!

1969 was a strange exciting transitional time for 00individual; in February he turned eighteen and graduated high school, in May he got a production artist job, moved out to a beach pad around the time of the release of TOMMY, and all the while he was dodging the draft, getting high, and experiencing the fast approaching Pinnacle of Rock.

To commemorate the Last Summer of the Decade, Pete Townshend, Roger Daltrey, John Entwistle and Keith Moon released the historical double album; TOMMY.  For Who fans this was a treasure trove of exciting new tracks in a newly-minted, masterfully-composed and performed Rock Opera genre.  For others it was their introduction to the heights that Rock could achieve.

The positive impact of TOMMY exploded across the Rock ‘n’ Roll Universe, as well as with music enthusiasts in general.  TOMMY was the seminal creative force that signaled and encouraged the advancing Progressive, Jazz, and Classical Fusions of Rock genres that would flourish in the early-to-mid-’70s.

TOMMY became the dominant soundtrack for that historic summer; the cassette, 8-track, and album were ubiquitous.  On a Tribal camp-out in Yosemite National Park, “Tommy’s Holiday Camp” was cued-up to blast as the morning alarm clock by the first awake camper to rouse the rest of the stoney sleepyheads.

A year after TOMMY’s release 00individual was blessed to be on third base with The Who performing on home plate at the historic Tommy/Live At Leeds concert: The Who – Anaheim Stadium June 14, 1970  (scroll down past Hendrix) –  at that concert 00individual and friends were as high as Pete Townshend!

“The Who as seen through 00individual’s psychedelic eye” copyright 2012  TLL

TOMMY
Side one: 1. “Overture” Townshend 3:50,  2. “It’s a Boy” Townshend 2:07, 3. “1921” (aka “You Didn’t Hear It”) Townshend, Daltrey on chorus 3:14, 4. “Amazing Journey” Daltrey 3:25,  5. “Sparks” Instrumental 3:45, 6. “The Hawker” (words by Sonny Boy Williamson, music by Townshend) Daltrey 2:15

Side two: 1. “Christmas” Daltrey, Townshend 5:30,  2. “Cousin Kevin” (Entwistle), Entwistle and Townshend 4:03, 3. “The Acid Queen” Townshend 3:31, 4. “Underture” Instrumental 9:55

Side three: 1. “Do You Think It’s Alright?” Daltrey and Townshend 0:24,  2. “Fiddle About” (Entwistle) Entwistle 1:26,  3. “Pinball Wizard” Daltrey, Townshend 3:50,  4. “There’s a Doctor” Townshend, with Daltrey and Entwistle 0:25,  5. “Go to the Mirror!” Daltrey and Townshend 3:50,  6. “Tommy Can You Hear Me?” Daltrey, Townshend, Entwistle 1:35,
7. “Smash the Mirror” Daltrey 1:20,  8. “Sensation” Townshend 2:32

Side four: 1. “Miracle Cure” Daltrey, Townshend and Entwistle 0:10,  2. “Sally Simpson” Daltrey 4:10,  3. “I’m Free” Daltrey 2:40,  4. “Welcome” Daltrey, Townshend (“more at the door”) and Entwistle (spoken part) 4:30,  5. “Tommy’s Holiday Camp” (Keith Moon) Townshend 0:57,  6. “We’re Not Gonna Take It” Daltrey, Townshend and Entwistle 6:45.  Though later released as a single, “See Me, Feel Me” was the latter half of “We’re not Gonna Take It”.

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The Who produced/released four incredible Top Tier Historic and Classic albums in a row (two of them being double albums!) starting with TOMMY ’69, then the all-time best live concert album ever, Live At Leeds ’70, the classic innovative Rock gem Who’s next ’71, and a harder-edged and Hard-er Rock Opera with Quadrophenia ’73.  With this historic, prolific, and highly creative output The Who became one-fourth of the Pinnacle of Rock Equation: 4 + 4 = 7 along with The Rolling Stones, Pink Floyd, and Led Zeppelin.

TOMMY went on in different interpretations musically, and thrilled the film world with Ken Russell’s all-star cast in the 1975 movie version with Daltry as TOMMY.

TOMMY – one of Rock’s upper eschalon Historic Landmarks of Achievement by one of Rock’s Historic Bands!

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EXPERIENCE ROCK HISTORY!

PAUL REVERE & the RAIDERS – Greatest Hits – Columbia KCS 9462 – May 1967

1965 and 1966 – back when music was fun.  Sigh.

Here’s a band that were destined to represent the best of PopRock when innocence was ripening. Paul Revere and the Raiders were a highly entertaining energetic and solid rockin’ band with members Paul Revere (real name) – keyboards, Mark Lindsey – vocals, Phil “Fang” Volk – bass, Mike “Smitty” Smith – drums, Drake “Kid” Levin – guitar, and Jim “Harpo” Valley – guitar (replacing Levin while in the Nat’l. Guard); that delivered a steady punch of U.S./Brit Pop Punk Rock.

Like their time-stamp ’66 hit Kicks that warned of drug abuse, the following year 1967 would begin an exciting but sobering clarity of childhood’s end, not just for 00individual but for society, and eventually civilization.  With the 1968 assassinations of Martin Luther King and Robert Francis Kennedy, everyone grew up to face the realizations around them – it was LSD for the masses.

But for a very special time, from ’62 and ’63 with the Surf ‘n’ Car Culture; ’64, ’65 and ’66 with the British Invasion; then up through the beginnings of Psychedelic Rock in ’67 music was FUN, that’s right, with a capital F-U-N!

Columbia Record’s producer Terry Melcher, the son of iconic singer/actress Doris Day (Que Sera, Sera), produced many top bands like The Byrds and The Mamas and the Papas with highly successful results, especially with The Raiders during their peak.

Stream of Consciousness Trip #1:  Dennis Wilson of The Beach Boys, a friend of Melcher, met and was impressed with Charles Manson’s music through two female Manson Family members he picked up hitch-hiking.  Wilson introduced Manson to Melcher, and The Beach Boys recorded a couple Manson songs produced by Melcher.  On the verge of signing Manson and filming a documentary about the Family, both Wilson and Melcher came to their senses after witnessing an intense encounter Manson had with another on the Ranch.  Melcher and Wilson immediately distanced themselves from Manson.  Melcher declined to sign him – Manson got angry.

Melcher and his girlfriend, the epitome of the hot ’60s/’70’s girl-next-door actress Candice Bergen (Murphy Brown), and Raider vocalist Mark Lindsey had just moved out of the 10050 Cielo Drive Beverly Hills house that they shared and where all of the Raiders would often gather to discuss new songs with Melcher.  Roman Polanski moved in, and some surmised that Manson did not know this and that Sharon Tate and the rest were murdered for being in the wrong place at the wrong time. This theory has later been disputed, but not disproved – as anyone who has even casually investigated this case will know that there were machinations going on far beyond what the media even knew, let alone the public.  In any case, it’s safe to say that Melcher, Bergen, Lindsey, as well as possibly the other members of the band lived to tell the tale by a karmic throw of the dice.

Stream of Consciousness Trip #2:  While co-managing the DisConnection (Grammy and Granny’s) Record Store in Westwood Village in the mid ’70s, and after negotiating a box of trade-in LPs, 00individual pulled out the ultimate vinyl bootleg entitled “LIE” (spoof cover of LIFE magazine) – it was an album of songs by Charles Manson – a couple thousand were pressed and distributed on the West Coast by Trademark of Quality.  He listened to it once, wasn’t impressed by the Folksy blandness, and put it on display in the collectors rack behind the counter – and sold it almost immediately for $50.00!  That was an outrageous price for any album back then and was priced as more of a novelty never thinking anyone would actually buy it!

Steppin’ Out was 00individual’s first introduction to Paul Revere and the Raiders – he really liked that song and it stuck with him throughout his life as an iconic cocky rocker with Lindsey’s snarling laughs and a proto-punk attitude – and with a Hell of a lot of Fun – these guys were great!
Check the Steppin’ Out video for rockin’ infectious innocent ’66 fun.

Paul Revere and the Raiders Rock History Landmarks:
The Raiders’ first major national hit, “Just Like Me” was one of the first rock records to feature a distinctive, double-tracked guitar solo, performed by guitarist Drake Levin.
They were reported to be the first major band in history to tour with all members amplified, including sidemen.
They appeared regularly in the U.S. on national television on Dick Clark’s Where the Action Is; a trippy after-school show filmed live and usually on location in various Southern California locations with major groups performing/lip-syncing their hits.
Revere and Lindsay co-hosted later incarnations of Action with Happening ’68, and It’s Happening.
In mid-1967, with three gold albums to their credit, the Raiders were Columbia’s top-selling rock group; their Greatest Hits was one of two releases selected by President of Columbia Records Clive Davis to test a higher list price for albums expected to be particularly popular (along with Bob Dylan’s Greatest Hits).

And while the Raiders are seen lip-syncing many of their live performances, it was the preferred “standard operating procedure” for filming convenience of bands and singers for TV shows.  In reality the Raiders were one of the hardest-working bands of talented musicians that rocked live with the best!  See them perform live over a decade later:
Paul Revere and the Raiders – Dick Clark Reunion 1979 – Medley of Hits!

00individual really dug PR and the Raiders – the songs in bold were 45 RPM singles he purchased separately before the release of their greatest hits album.

PAUL REVERE & the RAIDERS Greatest Hits
1. Louie, Louie – Richard Berry – 2:47
2. Louie, Go Home – 3:00 Mark Lindsay / Paul Revere & the Raiders – 2:39
3. Steppin’ Out – Mark Lindsay / Paul Revere & the Raiders – 2:12 Jan. 3, 1966
4. Just Like Me – Rick Dey / Roger Hart – 2:23 Jan.3, 1966 (Billboard Pop Chart No. 11, 1965)
5 . Melody for an Unknown Girl – Mark Lindsay / Paul Revere & the Raiders – 2:04
6. Kicks – Barry Mann / Cynthia Weil – 2:26 May 6, 1966 (Billboard Pop Chart No. 4)
7. Hungry – Barry Mann / Cynthia Weil – 2:57 November 28, 1966 (Billboard Pop Chart No. 6)
8. Great Airplane Strike – Mark Lindsay / Terry Melcher / Paul Revere & the Raiders – 2:53
9. Good Thing – Mark Lindsay / Terry Melcher Paul Revere & the Raiders 3:01 November 28, 1966 (Billboard Pop Chart No. 4)
10. Ups and Downs – Mark Lindsay / Terry Melcher Paul Revere & the Raiders 2:51 (Fun video from the Smothers Brothers Show)
11. Legend of Paul Revere – Mark Lindsay / Terry Melcher Paul Revere & the Raiders 3:06

While the American Revolutionary uniform theme, name and costumes worked very well for them, serious socially-conscious rock bands were replacing the fun gimmick bands like Sam the Sham and the Pharaohs in turbans; Gary Puckett and the Union Gap in Union Army uniforms of the American Civil War, and even The Association pulled off a coup with a name that played on the synonymous term for Organized Crime, Mafioso, and other ‘Businessmen” by just wearing suits, which in the Counter-Culture’s eye was a uniform.

Valley, Volk, and Smith left the band at the height of the Raiders’ popularity and formed what they considered a more relevant rock band, Brotherhood.

Paul Revere and the Raiders accumulated 24 hit singles,
and over 750 television performances within the decade of the 1960’s.

Unlike the forced clowning around of The Monkees and The Beatles, The Raiders were clever improvisers inspired by their own sense of humor – and it was contagious  – and it connected with the fans.
Example: Core Raider Phil “Fang” Volk had a quirky concept of flashing the back of his his trademark electric-tape(d) “FANG” bass guitar while performing live.  He had so much fun doing it that it became a “looked-forward-to” moment by fans as a nonsensical exhibition of free speech and self-promotion – that worked.

GROOVY!

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“00individual’s Psychedelic Toy Chest” copyright 2016  TLL

EXPERIENCE PSYCHEDELIC TOYS!

The fun, colorful, inventive and creative influence of Psychedelia during the ’60s and the ’70s spread throughout many aspects of society.  It’s designs and decorative use could be seen in nearly everything: art, music, clothing, jewelry, home decor, architecture, advertisements, fashion, furniture, and TOYS!

00individual’s Psychedelic Toy Chest is full of authentic goodies from the ’60s and ’70s – and the more Psychedelic the better.  Once in a while 00individual will dig deep and pull out a special item or items to feature, and here’s a perfect example from 1968; “Blippy in the music box”!

The Mattel Toy Company, home of Barbie – and just a town away from 00individual’s hometown – jumped on board the Psychedelic Train and turned their previously-released “Casper the Friendly Ghost” Jack in the Box, into the spacey purple Psychedelic Alien Flower Child, Blippy!

Blippy’s psychedelic eyes mimicked the pattern of orange and fuchsia of his clothes and he resided in his very own Pop Art decorated box.  The scenes on the sides of the box show him gathering flowers with his girlfriend, playing ball with friends while levitating, riding his pet Alien Dragon, and flying around in his Space Scooter – things all good Counter-Culture Psychonauts did on a regular basis.

With the knowledge of a ten year career in the ’90s and early ’00s as an action figure and toy designer, 00individual has to professionally hand it to the inventive product designers at Mattel – they were trippin’.
They created a viable and timely product with the re-use of already-to-go molds for Casper (in the music box) that with only new artwork for the box panels, purple ABS and PVC plastic, new face paint options, and a couple antennae they had a trippy cost-effective product with Blippy.
With no TV tie-in or commercial appeal; that was the only way that this cute, yet extremely psychedelic drug-induced product got the go-ahead to become a reality; for surely without Casper there would be no Blippy!

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00individual is stoked to present the interior designs of Gene O’Brien for all of you Rockers and Hippie Psychonaut Counter-Culturists to enjoy.  There’s a universe of culture and history on display as well as the cool vibe that vicariously oozes from the photos.  Sit back, groove, and soak up the psychedelic goodness as Gene tells it like it is, once was, and for him, still is:

The passage of time, the influences of conservative society and alas, the frailty of remembrance, all conspire to arrest the value of our memories.  For those of us who lived through and embraced the 1960’s counterculture, memories are most of what we have left.  Sometimes the smallest thing, a color, a scent, the sound of laughter, can spark a connection to what once was a magical time. This is true of any past experience but the 60’s were so unique that some things can never be repeated.  Music will never be the same, art, fashion, the creative spirit, even personalities, were born of a collective consciousness that was unique.  We have to intentionally find ways to tag our memories and document our experiences or they will be stripped of their authenticity if our history falls into the hands of revisionist dilettantes.

Over the years I strived to create a place that not only tributes the music, art and lifestyle of the counterculture, but is genuine.  I wanted to create a place that was more than nostalgic, a room that provides an experience which will transmogrify in a definite and tangible way.  It’s taken me more than 20 years to collect, arrange and mount the ephemera, relics, and art that can be found in my garage.  Each piece serves as a fragment of time which celebrates the counterculture, triggers flashbacks, and collectively, has an effect that only a time machine could surpass.

Walk through the room and hours can be lost in the cascade of memories that each piece of art, photo, and album cover restarts.  As the memories return a feeling of joy wells up and for the time spent there the room becomes a place where youth is rejuvenated.  Memories of getting stoned and looking at the inside cover of a favorite album while listening to the record play?  No part of the album’s artwork was left unviewed and the experience could be repeated with the next album. Multiply that experience by a thousand and you’ll have some idea what it’s like to spend time in this room.
Most pieces were selected because they could be found in nearly every place where freaks would congregate.  Every album on my wall could be found among the albums collected by people who lived through the music.  Posters hang on the walls from the Fillmore concert halls which were created by artists who had the unique ability to translate the psychedelic experience and share it in glorious color.  Photos can be viewed of people who had personalities that were so unique to the time period, they could not exist during any other era.  Even the blue color of the door was selected because it is reminiscent of the back and stage doors in Greenwich Village coffee houses.
 

BOOKS:
Let It Bleed – Russell, Stone Alone – Wyman, Old Gods Almost Dead – Davis, Exile On
Main Street – Greenfield, You Can’t Always Get What You Want – Cutler, Wild Tales – Nash, Crosby, Stills & Nash – Diltz, Long Time Gone – Crosby, 4 Way Street – Zimmer, Hendrix – McDermott/Kramer, Roomful of Mirrors – Cross, Jimi Hendrix – Black, Riders On The Storm – Densmore, No One Here Gets Out alive – Hopkins/Sugerman, Donovan – Leitch, They Can’t Hide Us Anymore – Havens, Chronicles 1 – Dylan, Hotel California – Hoskins (not a book about the Eagles), Eight Miles High – Unterberger, The Haight Asbury: A History – Perry, Interviews With Icons – Law, Psychedelic Trips for The Mind – Krassner, Rock Encyclopedia – Roxon, With The Beatles – Lapham, Revolution: The Making Of The Beatles White Album – Quantick, The Lost Interviews – Giuliano, Magical Mystery Tour – Bramwell, 1959 The Year Everything Changed – Kaplan, 1968 The Year That Rocked The World – Kurlansky, 1968 In America – Kaiser, 1968 A Student Generation In Revolt – Brasser, The Movement And The Sixties – Anderson, The Sixties: Years Of Hope/Days Of Rage – Gitlin, the Sixties Papers – Albert, Tripping – Hayes, The Psychedelic Reader – Metzner/Weil, Flashbacks – Leary, Timothy Leary: A biography – Greenfield, The Harvard Psychedelic Club – Latin, Acid Dreams – Lee/Shalin, The Varieties Of Psychadelic Experiences – Houston, Summer Of Love – Selvin, Laurel Canyon – Walker, Guitar Army – Sinclair,  Fire And Rain – Browne

RECORDS:
All Things Must Pass, Here We Go Again – Country Joe & The Fish, Between The Buttons, Magical Mystery Tour, Blows Against The Empire, Axis Bold As Love, Layla & Other Love Songs, Stand Up – Jethro Tull, Revolver, Super Session – Bloomfield, Kooper, Stills, Happy Trails – Quicksilver, It’s a Beautiful Day, The Great American Eagle Tragedy – Earth Opera, Time Has Come Today – The Chambers Bros, Blind Faith, Sunshine Superman – Donovan, Rubber Soul, Sgt. Pepper, Their Satanic Majesties…, Disraeli Gears, Traffic 2, Days Of Future Past, Electric Ladyland, Working Man’s Dead, CSN&Y Deja vu, Abraxas, Wheels Of Fire, Crosby, Stills & Nash, Mr. Fantasy – Traffic, What About Me – Quicksilver, Alone Together – Dave Mason, Led Zeppelin III, John Barleycorn, In The Court Of The Crimson King, In Search Of The Lost Chord, Are You Experienced, Beggars Banquet, The Doors, Retrospective – Buffalo Springfield, Turning Point – John Mayall, Moby Grape ‘69, Cheap Thrills – Big Brother & The Holding Company, Santana, The Twain Shall Meet – Eric Burdon & The Animals, Yellow Submarine, Abby Road, Parsley, Sage Rosemary & Thyme, If I Could Only Remember My Name – David Crosby, To Our Children’s Children’s Children, On The Threshold Of A Dream, Mixed Bag – Richie Havens, Led Zep 1

I stayed away from tacky, modern day collectibles and adhered to a vow that everything in the room be as genuine as reasonably possible.  One modern convenience can be found in the room – there are over 3,000 songs on my iPod, almost all of them from the 1960’s.  The convenience was too great to ignore, but at least the iPod is played through a tube amp!

For me, this room is food for my soul.  It’s more than a garage filled with evocative memorabilia – nostalgia would be like a flashback – this room offers a full blown acid trip!

FAR OUT!

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).

“Strange Days Indeed” copyright 2016 00individual  TLL

CHEAP THRILLS!   GOTCH’YER CHEAP THRILLS RIGHT HERE!   STEP RIGHT UP!
Experience Counter-Culture Psychedelic Visuals Via The DEEP DREAM GENERATOR!

With sincere dedication, 00individual attempts to provide peeks into the Psychedelic Realm through alternate ways.  For a past example see: Experience Psychedelic Fun!  And now here’s another:

The Deep Dream Generator is a computer vision program created by Google that debuted in June 2015.  It enhances patterns in images via algorithmic pareidolia (the imagined perception of a pattern or meaning where it does not actually exist), thus creating a dreamlike hallucinogenic appearance in the deliberately over-processed images.  A form of pareidolia results by which psychedelic and surreal images are generated algorithmicly and create the resemblance of the imagery to LSD and psilocybin-induced hallucinations.

Grab a tab of acid, er, a, decent monitor/screen to create and view your own personal Psychedelic Hallucinations!!

Access the Deep Dream Generator, open a free account, upload an image, and choose one of two options to generate an image; Deep Style are sophisticated art filters, and Deep Dream is Artificial Intelligence and will trip out on its own.

Each Level has at least 5 iterations, adding another one or two to each Level; Level 1 has 5, Level 2 has 7 and so on.  The Deeper, the weirder, as each iteration incurs further delineation and interpretation.  Sometimes only one or two iterations are needed for something truly psychedelic.

All of the following examples (including the header image) were un-retouched images created by the Deep Dream Generator.

Trippy Tip: The “Default” seems to see birds, small furry animals, and snakes everywhere; so mixing the “Go Deeper” choices can temper that influence.
Also the “Use Your Own” influence is a great alternative to the Neural, Spirit, Default, and Valerian choices.

Deep Dream Level 0
Taking an already psychedelic image of TYA’s Ssssh album cover added a strange jumping-off point that actually went from trippy to creepy

Deep Dream Level 4
The Deep Dream Generator goes up to Level 6 – with Let It Bleed 00individual stopped at 4 as it was starting to blow his mind.

Deep Dream Level 0
Ah, yes, the pareidolia wonders of clouds in the sky and Cannabis smoke in the air.  Play that celestial LP while on LSD and mellowing on a pipe-load of weed.

Deep Dream Level 1
Viewing oneself in a mirror while high on psychedelics can be harrowing, enlightening, or funny experience.
Dig the exasperated look on the light purple reptile monkey frog at the center.  Beauty is in the eye of the beholder.

Deep Style – Fairyland – Level 2
Here’s 00individual’s Psychedelic Shack done in the Deep Style filter “Fairyland”.

Deep Dream Level 0
Here’s an image that should be a common sight for Psychonauts, not the skull per se, but the iridescent quality of color where there usually is none.
While in the throes of psychedelics such as LSD, Mescaline, and Psilocybin, this image’s insane details and patterns are spot-on reproductions that upon casual or concentrated viewing would be seen among trails of movement and the edges of the universe of average everyday items.
Trippy fun!

Deep Dream Level 1
What was behind the Tommy web pattern?  Just studio scaffolding?  What a disappointment – unless it is a  . . .

Deep Dream Level 1
After smoking a combo of psychedelic red and green bongwater-filtered nectar, Ginger goes full bird, while Jack goes Rorschach, and Eric hugs a dog.

Deep Dream Level 0
Ginger, Jack, and Eric go all rainbow-head while their psychedelic circular musical instruments are ready to jam.  Check the dog bear peeking at you behind the instrument on Eric’s lap.
This image was Generated with a lower resolution, which gave a different “inception” image, then raised, otherwise the interpretation would have been the same as the first one.

Deep Dream Level 4
00individual experimented and used his own influence with the “Go Deeper” then “Use Your Own” influence – repeated use of the Mickey Mouse Club logo gave Hendrix Mouse ears!

Deep Style – Indian House – Level 2
Brain Salad Surgery album cover gets an abstract graffiti bombed paint job giving it the feeling of a distopian building facade in a future city.

Deep Dream Level 0
Facilitating the “Use Your Own” influence The Doors pass through the Doors of Perception into inception.  Incredibly, it seems that Morrison just can’t resist flashing his privates no matter what Level he’s on!

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Experiment with the Deep Dream Generator like 00individual experimented with psychedelics –
to explore the unknown!

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).

EXPERIENCE ROCK HISTORY!

The 1960 Decade contained the core of the historic Pop Culture explosion that spread to all corners of society.  Within that core was the music; a direct-connect to the expression of what it was like to live during that time.  When each of these 13 albums were released the sonic waves that they created throughout the year, throughout the decade, throughout history, was inescapable – a cosmic Rock Renaissance was evolving and 00individual was smack in the middle of it and can testify to the thrill.

These albums are not based on best sellers, chart ratings, or desert island choices, these are based on the prevailing Vibe and are specific representations of massive explosions of innovative excellence in creativity and relevance in Music and Rock History.  Every album is an important and influential time-stamp of a once-in-a-lifetime experience when music was downright intoxicating.

Please bear with the omissions of The Beatles’ Sgt. Pepper’s, The Beach Boys, and Dylan albums; their justified accolades and places in Rock History are extremely well-known and documented elsewhere, and are considerately sacrificed to allow other albums their due

The highly prolific nature of bands’ album releases back then was amazing and a Top 500 would be a much more satisfying post – however, 00individual does offer a mutually-satisfying
Top 69 Historic & Classic 1960s Rock Albums for your pleasure, or for an extended quickie try the Top 23 Historic & Classic 1960’s Rock Albums.  If it’s a “Wham, Bam, Thank You, Ma’am” you’re lookin’ for, you’re in luck, 00individual is all about the excruciating SadoMasochistic madness of reducing subjects to their Top 13 essence.  Here ’tis:

DICK DALE and his DEL-TONES – SURFERS’ CHOICE – 1962 

Here is the earliest entry of the Top 13 Albums of the 1960 Decade from way back in 1962 when 00individual was 11 years old; from the Man, The King of the Surf Guitar, Dick Dale!
Before Hendrix, Clapton, Beck, Page and all of the rest, Dick Dale was the innovative leader of electric guitar and speaker exploration.

By now everyone is familiar with Pulp Fiction’s initial blast of Miserlou in 1994 – but imagine hearing that for the first time three decades earlier in 1962!  That is why every serious Rock guitarist emulated him back then, and why every guitarist since aspires for DD’s level of style, creativeness, virtuosity and enthusiasm.
DD wanted his guitar to sound like the ocean, and while doing so, he created a genre; Surf Rock.

The BEATLES – MEET THE BEATLES – 1964
   

Posing as musicians and singers, these four Liverpudlian scientists developed an aural formula that struck a Pavlovian reaction of irresistible pleasure that linked with all sentient DNA.  Plants, animals, even insects react positively to The Beatles’ music and songs as the Fab Four’s formula surpassed every attempt before and influenced everything after.  Mad Scientists, indeed!

See: 30 Seconds that transformed a generation – The Beatles – I Want To Hold Your Hand.

(The) VENTURES IN SPACE – 1964

The origin of Space Rock!  The Ventures highly-successful career of instrumental albums featuring covers of top hits were world-wide top sellers.   Fortunately, they were all so inspired by the current interest in space exploration, science fiction, and the supernatural, that they chose to make an entire album about those themes.  Arguably one of the very first “concept albums”, it was as important to Space Rock as The Beatles’ Sgt. Pepper’s was to Psychedelic Pop Rock.  They not only started a genre but excelled in its presentation – these tracks were spellbinding – and they rocked!  And even more impressive, The Ventures album cover states that “. . . all the unique, unworldly sounds featured in the album’s tracks were made with musical instruments, rather than with electronic devices.”  Their talents and prescient understanding of what was musically possible created a historic album and a gift to all Space Rock Fiends – – – and surely inspired Pink Floyd.

THEM – (Here Comes the Night) – July 1965

This is one of the most bad-ass albums ever!
It is a major groove throughout and every cut is hip, strong, otherworldly, soulful, melancholy, mystical, empowering, and rocks harder and deeper than anyone at the time or in many cases, since.  With Van Morrison’s unique killer voice up front, there’s a definite mystical earthy quality that the band exudes that is the absolute definition of cool.
Here Comes The Night  2:45, Mystic Eyes 2:41, Don’t Look Back 3:23, Little Girl 2:21, One Two Brown Eyes 2:39, Gloria 2:38, One More Time 2:47, If You And I Could Be As Two 2:35, I Like It Like That 3:35, I’m Gonna Dress In Black 3:34, Route 66 2:22, Go On Home Baby 2:39.
This is perfection; the most honest, down and dirty Blues Rock that is almost primal in its delivery, but can rend the heart at any moment; that is THEM.

The YARDBIRDS – HAVING A RAVE UP – Nov. ‘65

Although many of the groups were covering Blues classics, The Yardbirds were interpreting the Blues not just as cover versions – but as new forms of Rock ‘n’ Roll; the first evidence of Psychedelic Rock, Hard Rock, and the bright embryonic flash of Heavy Metal.

While The Yardbirds had two of the best Blues Rock guitarists with Jeff Beck on lead guitar on side one of this album and Eric Clapton on lead guitar on side two – it was the perfect combination of the rest of the band, the heart of The Yardbirds; Chris Dreja – rhythm and bass, Jim McCarty – drums , Paul Samwell-Smith – bass, and Keith Relf’s unique vocals, that allowed for three (Jimmy Page joined when Clapton left) of the greatest guitarists the Rock World has known to elevate The Yardbirds far and above the rest.

DONOVAN –SUNSHINE SUPERMAN – Sept. 1966

Early on as a British folksinger Donovan began his distinct sound, and like Dylan (whom he was initially compared to) went electric and transformed the Folk singer into a Rocker.  The Sunshine Superman single is recognized as one of the earliest examples, if not the first, of Psychedelic Pop Rock.  “Season of the Witch” and “The Trip”  are obvious standout classic tracks, but it is the mystical entrancement of the whole album that provides a true alternate consciousness trip to the ethereal side of Rock.

The DOORS – The DOORS – January 4, 1967

To hear The Doors debut album for the first time is an exhilarating experience for anyone – to hear The Doors’ debut album for the first time in 1967 was a life-changing experience.

The Doors’ cerebral music triggered awareness, and for those who pushed limits every day and embraced the mysterious psychedelic unknown The Doors were welcomed as a Rock band from that realm.  Their inimitable quality set them apart from every other band and established not only a high-water mark, but an exalted place in Rock History.  This was some amazing music in 1967.
And then there is . . .

The JIMI HENDRIX EXPEREINCE – ARE YOU EXPERIENCED – May 12, 1967

Here is the first album that truly humbles 00individual to review or even speak of.
Up until 1966 Rock ‘n’ Roll even in its most outlandish state had unspoken parameters.  With this 1967 album there were none  – Hendrix created an art form.  He was a force of nature, a master guitarist, a Voodoo Child, a Rock God, who inspired, amazed, deeply affected, and immeasurably impressed generations of music lovers, guitarists and Rockers world-wide and continues to do so.  One listen to this album and even today 50 years later it is as explosive and meaningful as the shock-wave it created back in’67.

LOVE – FOREVER CHANGES – November 1967

Coming off of the Summer of Love 1967, with Sgt. Pepper’s dominating the atmosphere, a little band in L.A. touched a far deeper and meaningful psychedelic groove.  The true essence of 1967 wasn’t about carnival characters, it was about the Hippies, the Counter-Culture, and Individuals – this album spoke to them, not at them.  Filled with emotionally-moving imagery and introspective thoughts and ideas, Arthur Lee and Love rocked an extremely creative blend of genres and compositions perfectly.  Forever Changes; a true Classic Rock Masterpiece of Excellence.

JEFF BECK – TRUTH – August 1968

TRUTH – Best Psych Hard Rock Blues Album, Ever.

Jeff Beck, straight from another Top 13 band, The Yardbirds, stepped-up and electrified-in-stone his hierarchy in Rock with the album, “Truth”; with a Rock ‘n’ Roll Rebel-Rouser (I Ain’t Superstitious) with ethereal guitar (Greensleeves) and righteous soul (Ol’ Man River) – all done with a flashy Rock panache that was the embodiment of the youthful attitude of immortality and emblematic of a period that seemed suspended in time.

Jeff Beck has had a highly successful life-long career as a True Guitar God and a proven innovator and genre-fusing solo artist.  With Rod Stewart, who gets to showcase his vocals extraordinaire, Ron Wood on bass (who would later again join up with Rod on his solo ventures and with the Faces before becoming a Stone) and Micky Waller on drums (who performed and recorded with all the heavies) and with guest drummers Keith Moon and Aynsley Dunbar and accented with Nicky Hopkins tickling the ivories and John Paul Jones on Hammond organ – and Jimmy Page’s signature touch here and there made for a historic band.  Major influential Heavy Metal, Hard Rock Blues album!

The JIMI HENDRIX EXPERIENCE – ELECTRIC LADYLAND – October 25, 1968

In late ’68 Rockers were chosen to connect to a higher level of Psychedelic Sounds.  Shit got primal with deep emotion as Hendrix carved arcane history with his supernatural axe.  Rockers were awestruck as they witnessed the sound sensation and manifestation of Electric Ladyland.

Not-so-strangely, Electric Ladyland served as an actual place, a safe harbor, a place where Rockers, Hippies, and the Counter-Culture could call home.  The sounds struck spiritually-soothing chords within; 00individual was experiencing the first true excursions into Psychedelic Soul.

00individual has to testify that being 17 in ’68 was a very weird and wonderful time in history in a very strange atmosphere where MLK, Jr. and RFK were assassinated, the Vietnam War raged, and Hendrix released his double album of sonic empowerment with transcendent tracks that possessed the ability to achieve higher mental states – Burning of the Midnight Lamp, in particular, does that for 00individual.

FLEETWOOD MAC – THEN PLAY ON – September 9, 1969

The original all-male Mac!  Peter Green’s genius with guitar and compositions, and the other-worldly-class talent in Fleetwood Mac; John McVie, Jeremy Spencer, Danny Kirwan and Mick Fleetwood, were all supernatural.  This is the blues album that the Rock ‘n’ Roll Fates brought “The Mac” together for.  Drop the needle anywhere on any track on this album and you will experience a super-reality of the Blues, of Rock, of Music.  This album is truly a gem; the pure essence of the best British Blues of the ’60s and an opiate for the ears, mind and soul.

The ROLLING STONES – LET IT BLEED – December 5, 1969

Allright.  Allright.  Allright.
Let’s give it up for the World’s Greatest Rock ‘n’ Roll Band, The Rolling Stones!

Let It Bleed, the Stones transitional masterpiece album between Beggar’s Banquet and Sticky Fingers appropriately ends the decade with a glimpse of the excellence of Rock to come.

Counter-Culture Rockers were captivated with The Rolling Stones’ Let It Bleed album; the Stones met the Rock Evolution challenge with a relevant, high-powered onslaught of Rock perfection.  Gimme Shelter, Live With Me, Midnight Rambler, You Can’t Always Get What You Want, and Monkey Man!;  these tracks were bold and clearly defined an era, an era that was reaching its zenith, but had yet to see its full glory.

Let It Bleed is an epic historic time-stamp of music, history, zeitgeist, and exploration, and the Best Rock Ever!
In 1969, this was Mighty Powerful Shit – still is.

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While this Top 13 is influenced by 00individual’s personal experience, it also represents the Legion of Individuals who passed through the decade-long Halls of the ‘60s during their youth, teens, and early twenties.  With these albums as their soundtrack, they emerged empowered and ready for the ultimate Sex, Drugs and Pinnacle of Rock ‘n’ Roll of the early-to-mid ‘70s.   Groovy!

Memory/Vibe triggered: 00individual just had a sensory recollection of the excitement and anticipation of the unknown ’70s in 1969 – it was much like the excitement and anticipation of the unknown ’00s in 1999 – only the ’70s delivered – more than could have been imagined.

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– Please disregard any advertisements that may appear on this site –
00individual does not endorse nor receive any payment of any kind from any advertiser(s).

EXPERIENCE ROCK HISTORY!

The 1970 Decade came on like gangbusters!  Always wanted to use that phrase, anyway it was true, the sixties’ unloaded nothing less than a tommy-gun spray of individual thought. This freedom of thought triggered the upheaval of unquestioned traditional life that allowed people to break out and enjoy free-form individualistic lifestyles, enriched with open-mindedness and the inner-drive to better oneself.

Although the Love Generation and the Summer of Love were rich history, it was the new decade that served as the exciting natural progression of the excessive “height of the ’60s”, but at the same time the ’70s exposed signs of the end of the dream, a seriously fully-realized corporeal dream.

As one can see, the Rock of the ’70s Decade, unlike Rock’s rise of the ’60s, became marginalized by the dominant Singer/Songwriters of the “Love Songs of the ’70s”, as well as the equally dominant Disco uprising.  But Rock wasn’t entirely devoid of blame – the Rock Spirit had thinned – it was still there, but in sparks, not explosions.

By the end of the ’70s the Counter-Culture had seen, heard and experienced the Historic and Classic days and years when music was in the air, magick was in the blood, adventure was a Trip away, and positive accomplishments had been made.  This era had slipped away and dissipated; the Tribes became a diaspora from a world they created.

But for a blinding light moment in history the ’70s reigned.  The cultivated knowledge and experience of the ’60s created a much wider and deeper Counter-Culture in the ’70s where every faction of life pushed the limits of possibilities.  The Triad of Sex, Drugs and Rock ‘n’ Roll were front and center, with music providing prime assistance to push those limits to unexplainable and unimaginable heights.

If there was even the slightest doubt whether the ’70s could match or surpass the ’60s, it was quickly gone – check out the historic albums all released in just the first year of 1970!
A distillation of 13 albums from just the year 1970 would be tough, so please bear with the omissions of certain well-known historic albums from the entire decade that are well-documented elsewhere, as they are considerately sacrificed to allow other equally important but lesser known albums their due.

The Top 13 albums are not based on best sellers, chart ratings, or desert island choices, these are based on the prevailing Vibe and are specific representations of massive explosions of innovative excellence in creativity and relevance in Music and Rock History.  Rock was a direct-connect to the expression of what it was like to live during that time and these albums represent important and influential time-stamps of once-in-a-lifetime experiences when music was downright intoxicating.

The highly prolific nature of bands’ album releases in the ’70s was amazing and a Top 500 would be a much more satisfying post – however, 00individual does offer  a sensual and satisfying Top 79 Historic & Classic 1970s Rock Albums for your pleasure, or for an extended quickie try the Top 23 Historic & Classic 1970’s Rock Albums.  If it’s a “Wham, Bam, Thank You, Ma’am” you’re lookin’ for, you’re in luck, 00individual is all about the excruciating SadoMasochistic madness of reducing subjects to their Top 13 essence.  Here ’tis:

TOP 13 ALBUMS of the 1970 DECADE

The WHO
LIVE AT LEEDS – May 16, 1970

A Rolling Stone readers’ poll in 2012 ranked “Live at Leeds” as the best live album of all time.  That’s something that any Rocker instinctively knows.  It is so far out in front of any other that the WHO own that title for all time.  There will never ever be a period in any future history where the absolute thrill of this album by Iconic Rock Gods could be matched – it’s an impossibility – Historic Rock ‘n’ Roll lightning only strikes once – especially during the era of Historic Cultural Revolution that altered society forever!

Just listening to the opening track, “Young Man Blues”, from the original “Leeds” album, gives 00individual shivers all over!  The “Young Men” were in supernatural top form!

Thrill to the Best WHO Concert Ever – The WHO – June 14, 1970 – Anaheim Stadium  (scroll down past Hendrix).

QUATERMASS
QUATERMASS – May 1970

QUATERMASS were easily one of the underlying seminal forces of Metal / Prog  / Blues / Rock and are by far the Best Unknown Band EVER (along with Rumplestiltskin) that somehow slipped through the entire Rock History canon.  00individual is still mystified that this album by a superb power trio did not become as popular as any Led Zeppelin or Deep Purple album of its time. Each song on the album is 100% strong, no filler, solid super Hard Rock with an incredible use of a real string orchestra.  This is the definitive synthesis of Rock and Classical Orchestration; violins, cellos, violas; that counter-point and blend seamlessly into a beyond-belief sonic orgasmic SuperRockFest.

This is/was as about as close as you can get to a perfect album on all counts, the song-writing and lyrics are deep and meaningful, Johnny Gustafson’s soulful Blues vocals match the mood of every lyric and emotion and his bass-lines are some of the strongest memorable riffs in Rock, Mick Underwood’s drums are perfect and seamlessly connect each transition, and Pete Robinson’s Hammond organ use as a lead guitar and the ability to achieve that effect is beyond belief and near magical.  The engineering and string arrangements (Paul Buckmaster) are gorgeous and deftly, yet dramatically woven into the songs, and the songs – all of them – are the kind that you can listen to over and over again and still get the pleasure and chills that come with those rare moments when a band of musicians come together for a Perfect Storm of Rock.  And in this case leave this one indelible, historic, classic, iconic album that will forever stand as one of the Pinnacles of Rock.

Legend has it that Deep Purple’s break-up and Ritchie Blackmore’s departure is due to his insistence and Deep Purple’s resistance to record: QUATERMASS – ENTROPY / BLACK SHEEP OF THE FAMILY  – eventually he did with his band, Blackmore’s Rainbow.

SANTANA
ABRAXAS – September 1970

This was one of the first albums that 00individual remembers being aware of some major sophistication in the whole sound and presentation; it was a defining moment of excellence that set the bar for all album releases that followed.

From the opening of “Singing Winds, Crying Beasts” Santana had tapped into a higher realm, and then by conjuring up an iconic version of Peter Green’s “Black Magic Woman” / Gabor Szabo’s “Gypsy Queen”.  With this track,  Santana created possibly the #1 guitar build and break in all of Rock History honored as such with Holy silence by true Rockers everywhere beginning at 3:18 and really, on out to the end.  Santana created a Rock Monument of the Highest Level of Musical Achievement with an album that indelibly repped the ’70s era.

PERFORMANCE
ORIGINAL SOUNDTRACK
September 19, 1970

Listening to this album – really listening, from beginning to end may give those who’ve never experienced psychedelics a peek at what all the fun is about – this album is a mind-bending acid trip!

This isn’t easy access Incense and Peppermints Acid, this psychedelic music is sophisticated and closer to the real feelings and sounds one may encounter.  There have been very few albums and movies that truly reflect aspects of a psychedelic trip; Terry Gilliam, Johnny Depp and Hunter S. Thompson’s “Fear and Loathing in Las Vegas” is one of the all-around best movies – as Performance is for albums.  And just like with LSD; this album lets you experience different levels of reality that can take you to different places (visionary, hallucinogenic) but are part of the whole trip.  And the album’s blend of styles and overall excellent quality of the music only heightens the visceral and highly appropriate drug-induced surreality of the whole film’s trip.

Most of the music was written by Jack Nitzsche, a visionary in Rock History from waaaay back with his cool, cool hit “The Lonely Surfer”, plus Randy Newman, Mick Jagger, Merry Clayton, Buffy Sainte-Marie, Bernard Krause, Ry Cooder, Lowell George, and many other adepts in their field.

To feel honesty in music is rarer than one would think, the like minds within Performance succeeded, as did Elton John and Bernie Taupin . . .

ELTON JOHN
TUMBLEWEED CONNECTION – October 30, 1970

Like Dylan’s “John Wesley Harding” in ’67 and the Band’s “Music from Big Pink” in ’68, Elton took an Old West / Civil War Roots Rock concept and developed one of the most interesting and amazing albums of his career.

How Elton and his Brit lyricist counter-part Bernie Taupin could tap into and evoke the authentic feelings about and from those early American times through infectious rockin’ tunes is truly amazing – AND there’s not a weak track on the album.
Within all of the acclaim and awards for his albums and music; for 00individual and Hippies of the early ’70s it’s all about this little album that proved Elton’s real genius.

RUMPLESTILTSKIN
RUMPLESTILTSKIN – 1970

Rumplestiltskin is the classic example of a band that very few even knew existed.  Another band whose record company’s handling of them was apparently tragic.

Shel Talmy, the producer of The Who and The Kinks (during their early successful years) whose heavy influence with The Who created a historic recording, “My Generation,” has this to say: “I produced a band called “Rumpelstiltskin”, which was a put-together band of very good session guys, and we almost made it with that one.  We had a whole concept.  We were going to do a comic strip and all kinds of stuff.  It was really a fun thing. And good songs, great music, ’cause these guys really could play. That went on Bell Records, [who] just totally screwed the whole thing up.  It was really unfortunate.

Remember that Led Zeppelin were quality session players that made it big – Rumplestiltskin were on the right path with the wrong record company.

Every cut is really, really great – big chunks of guitar with monster hooks, bass-lines that shake the ground and slabs of hot, hot Hammond organ with a commanding soulful voice soaring through it all unscathed.  Really solid unique heavy meaty tracks!  This album is seriously great and showed the potential of the new decade.

Take the first track; “Make Me Make You” – classic hooks, transitions and totally hip and cool passages – at a little past six minutes it sounds as though Keith Emerson dropped-in for a bit.  This track alone demands repeat listenings – plus – this is the “Gateway Drug” song for the rest of the album, if you like it you’ll love the rest.

Due to a rise in current interest there are a few vinyl albums available through online auctions and even a limited run CD on the Repertoire label.

DAVID CROSBY
IF I COULD ONLY REMEMBER MY NAME
February 22, 1971

David Crosby, a true Rock ‘n’ Roll  icon, created one of the most beautiful, richly rewarding and infectious Rock albums of all time with his first solo effort.
“Crosby, Stills and Nash” debut album and “Deja Vu” are both great historic albums, no argument, but this album is a clear example of the dominate influence Crosby had with CSN (& Y’s) “sound”; as well as with the seminal psychedelic folk-rock group The Byrds.

This is truly an album that never got the appreciation it should have and like Van Morrison’s “Astral Weeks” it has its own distinct and unique “feel” to it that begs repeated listenings.  A superior recording that continually sounds appropriate anytime, and like Dave Mason’s “Alone Together” album, it epitomizes the height of the Hippie-era.

One last thought; the totally cool and hip track; “Cowboy Movie” should have been made into a cowboy movie – and still should, with David Crosby composing the soundtrack and appearing in a cameo.  And like a Tarantino film; bring back all the classic “western-type” iconic dudes like Peckinpah did with the classic, “Pat Garret and Billy the Kid”, mixed in with some cool young dudes of today – then plumb the depths of the story – it would be an absolute trip!
00individual offers his services to adapt and write a killer screenplay!
Hey, don’t look at him like that, he’s written a WGA registered screenplay – he’s serious!
No, really!  Gotta talk “Cowboy Movie” – Head to Head.
00individual@gmail.com

The ROLLING STONES
STICKY FINGERS – April 23, 1971

Here’s the album that ignited the first half of the decade that would forever stand as the Pinnacle of Rock ‘n’ Roll.  These tracks were were as gritty, pure, beautiful and rousingly refreshing as the era in which they impacted!

The Stones were one-fourth of the top groups whose historic album releases just got better and better; this applies to The Who, Led Zeppelin, and Pink Floyd.

To end the ’60’s decade with the masterful “Let It Bleed” was a blessed gift with perfect timing to celebrate the decade.  To open the decade with “Sticky Fingers” was all of the certified proof needed that the ’70s were gonna Rock Hard!  Leave it to the World’s Greatest Rock ”n’ Roll Band: The Rolling Stones to lead the way!

PINK FLOYD
MEDDLE  – October 30, 1971

It was the night before Hallowe’en, over four decades ago that an inter-dimensional cross-rip of truly transcendent Rock was released to the world – Pink Floyd’s “Meddle”.
If ever there was a record that had the power to transcend space and time, it was this album.  Meddle was the doorway to other dimensions and “ECHOES” was the key.
The beauty of this album is its balance – “Echoes” takes you on a wondrous trip that seems to start up again once the record is flipped-over with “One of These Days” which really extends and Rocks the “Echoes” ride with space age sophistication in a compact sonic package laced with a hyper-nitroglycerin bolero that after a righteously well-placed God-like vocal finally shoots its load and soars out into the vastness of space – then builds the bolero up again, soaring and swooping to eventually and literally end in a “Pillow of Winds” , a spacey slide guitar lullaby.  “Fearless” expands on the “Obscured By Clouds”-era Floyd with typical Floydian insight and then listeners get to take a very refreshing walk on the beach at “San Tropez” – what a classy, spacey,  ’40’s upbeat piece!  Even 00individual’s dogs, Bosco, Beau and Shyloe, would join in on “Seamus” (dogs dig the Blues!) and then after all has calmed down, flip Meddle over and start the whole Pleasurable, Cerebral, Space Rockin’ Ride all over again, and again, and again.

DAVID BOWIE
The RISE and FALL of ZIGGY STARDUST
and the SPIDERS FROM MARS – June 6, 1972

Back in 1972 a “Starman” from Mars made himself known to a generation of Rockers yearning for a new sound who were on the verge of “Rock ‘n’ Roll Suicide“.
His message of “Soul Love” was an inspiration and though “It Ain’t Easy” to do in this “Suffragette City” he told us to “Hang Onto Yourself” for just “Five Years” and we too would be a “Star“.  His name was “Ziggy Stardust” and along with “Lady Stardust” he led us into a “Moonage Daydream“of Rock ‘n’ Roll bliss!

Strangely enough, the above “story” is fairly true.  The thrilling climax of the British Invasion bands, the Psychedelic S.F./L.A. bands and the “Supergroups” had run their course and by 1972 Rockers were getting a little edgy, jonesin’ for the next “big thing”.

And then it happened; an androgynous alien arrived on the scene, a powerful Rock ‘n’ Roll mutant with his band, the Spiders from Mars!  That’s right, the Spiders from Mars! How cool was that?  And to top it off his name was Ziggy Stardust!

And the best part, the absolute best part was that Ziggy and his band were just the dynamic explosion of Rock ‘n’ Roll that was desperately needed.  Just like the superhero in any great comic book or movie, Ziggy arrived just in time to save the day!

PINK FLOYD
DARK SIDE OF THE MOON – March 1, 1973

There were a few bands who could claim the ’70s as theirs with consistent historic album releases, but with Pink Floyd it encompasses the entire Historic and Classic Rock Era.

Pink Floyd are on this Top 13 three times; but as hard as 00individual tried, it was next to impossible to not include them as their individual impact and importance in Rock History was undeniable.  In a seriously cut-throat mood “Meddle” and “Wish You Were Here” could be dropped as even though their individual impact on so many levels are important, the phenomena of Dark Side Of The Moon surpasses any Rock album.

This album remained on the Billboard charts for 741 weeks from 1973 to 1988 – that’s fifteen years with over fifty million copies sold.  Beyond rankings and sales is the talent and creativity of Waters, Gimour, Wright, and Mason with Alan Parsons engineering, that took a decade’s worth of prolific musical experimentation and dedication to produce a truly spellbinding Rock album that topped every genre in one album.

Dark Side of the Moon was the Peak of the Pinnacle of Rock.

PINK FLOYD
WISH YOU WERE HERE – September 12, 1975

And if the Dark Side of the Moon was the Peak of the Pinnacle of Rock, then Wish You Were Here was the transcendent end result of the the entire Classic Rock Culture History.

With the release of WYWH that was it; Rock had peaked at its highest point. The sonic tidal wave of the late ’50’s and entire ’60s decade that kept surging forward into the ’70s to seemingly never break, finally crested with WYWH and when that Floyd Tsunami broke it washed away the landscape of any rivals for decades to come.  Rock will never get past this level of accumulated perfection – Pink Floyd never got past this level either.  For with this album there was a shared feeling that joined the four band members from when there were five.  Egos aside, with the soul goal of a quasi tribute to Syd Barrett, Pink Floyd founder and the band’s inspiration, and swipes at the music industry, they succeeded in every respect – but in doing so reached a level of rarefied air that also served as the beginning of the end for the Waters, Gilmour, Wright, Mason band.  Things would never be the same.

The somber tone of their “Animals” album was expressed in the lyrics, ‘. . .  dragged down by the stone.”; “The Wall” was a ponderous Waters-dominated magnum opus, and even “The Division Bell” had a dark death knell feel about it.  This is an honest mini-critique by a solid Floyd fan.  If you know Pink Floyd, then you know what 00individual is saying – after WYWH the historic music continued, but the spirit had dwindled and The Wall separated the band.

However, WYWH became Rock Music’s “The Wild Bunch”, the last of the best in a land whose landscape had changed and had exhausted its Classic Rock domination.  After ’75 an incredible era lost i’s magickal power and begrudgingly came to an end, and a new era began – the ’80s, the last fun decade.

The PRETENDERS
December 27, 1979

But wait, there’s a brilliant light of Rock ‘n’ Roll hope at the end of the ’70s decade tunnel.
Coming in just under the wire and ending the decade with a dynamic hard-rockin’ soulful and totally classic debut album release; The Pretenders redeemed a decade that had nearly lost its Rock ‘n’ Roll Spirit.
Ranked respectfully high on all pertinent “Best of Rock ” lists; this album is jam-packed with classic gems that are both infectious and righteous – this due to Chrissie Hynde’s classic voice and writing talent.  It’s the fun of the British Invasion and the hard-edged precision of serious Rock.  The Pretenders were the essence of things to come as the leaders of New Wave, Punk, and ’80’s Rock.

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While this Top 13 is influenced by 00individual’s personal experience, it also represents the Legion of Individuals who passed through the decade-long Halls of the ‘70s during their youth, teens, and early-to-mid to late twenties.  With these albums as their soundtrack, they emerged empowered and ready to say goodbye to the Classic Days of Sex, Drugs and Rock ‘n’ Roll for an unknown, yet potentially exciting sonic future of infinite possibilities.

Guess it’s true; all good things must come to an end.

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EXPERIENCE ROCK HISTORY!

THE MOTHERS OF INVENTION – FREAK OUT – Verve V6-5005-2 – June 27, 1966

1966 – 00individual was fifteen, and while still hangin’ with his peer age group had older friends who had licenses and access to their parents’ cars, or in some cases they had their own. Those who did would cruise Sunset Strip and Hollywood Boulevard and then make a stop at Wallichs Music City.  Wallichs had record listening booths, so 00individual and friends would grab the Mothers’ Freak Out double album and play it over and over having a great time ‘til they could eventually sing along and about then they would be asked to leave.

The satirical epic of Help! I’m A Rock was at once a trippy extravaganza at over eight minutes with a Jackson Pollack technique of a deliberately inspired level of music that 00individual and legions welcomed.  Help I’m A Rock had way too many memorable quotes and tasty tidbits, infinitely fun jabs at tradition middle-class mores, and the rhythm of onomatopoeiacal words that became the tribal beat that built into episodes of manic Freak Out-bursts.

At this juncture the Freak Out album was like a rockin’ anarchistic celebration; the biting sardonic and rebellious wit and general satiric attitude fit perfectly with sixties Counter-Culture Heads – little did they know that while enjoying this whacked and excellent music that it would become legendary in Rock History.

Freak Out is known to be the first double album debut release.
And second only by a week of Dylan’s Blonde On Blonde as the first Rock double album.
Seen as an American Pop Culture satire through the eyes of Zappa; Freak Out precedes everyone as the first Concept album.
Progressive Rock saw its birth with Freak Out; essentially forming a classical approach of intricate compositions drenched in satire and irony, as well as, good ol’ ’50s Rock and Roll.
Arguably the first ever Rap song, ‘Trouble Everyday”, tells it like it is, and was, about the L.A. Watts Riots ignited by police brutality of August ’65.  A Truly Great Seminal Rap Rock track!

FREAK OUT – All songs written and composed by Frank Zappa except where noted.
Side one – 1. “Hungry Freaks, Daddy” 3:32, 2. “I Ain’t Got No Heart” 2:34, 3. “Who Are the Brain Police?” 3:25, 4. “Go Cry on Somebody Else’s Shoulder” Frank Zappa and Ray Collins 3:43, 5. “Motherly Love” 2:50, 6. “How Could I Be Such a Fool” 2:16
Side two – 7. “Wowie Zowie” 2:55, 8. “You Didn’t Try to Call Me” 3:21, 9. “Any Way the Wind Blows” 2:55, 10. “I’m Not Satisfied” 2:41, 11. “You’re Probably Wondering Why I’m Here” 3:41.  Side three – 12. “Trouble Every Day” 5:53, 13. “Help, I’m a Rock (Suite in Three Movements), I. Okay to Tap Dance, II. In Memoriam, Edgard Varèse, III. It Can’t Happen Here” 8:37. Side four – 14. “The Return of the Son of Monster Magnet (Unfinished Ballet in Two Tableaux), I. Ritual Dance of the Child-Killer, II. Nullis Pretii (No Commercial Potential)” 12:22

The Mothers of Invention: Frank Zappa – guitar, conductor, vocals, JimmyCarl Black – percussion, drums, vocals, Ray Collins – vocals, harmonica, cymbals, sound effects, tambourine, finger cymbals, bobby pin & tweezers, Roy Estrada – bass & guitarron, boy soprano, Elliot Ingber – alternate lead & rhythm guitar with clear white light

The Mothers’ Auxiliary: Gene Estes – percussion, Eugene Di Novi – piano, Neil Le Vang– guitar, John Rotella – clarinet, sax, Carol Kaye – 12-string guitar, Kurt Reher – cello, Raymond Kelley – cello, Paul Bergstrom – cello, Emmet Sargeant – cello, Joseph Saxon – cello, Edwin V. Beach – cello, Arthur Maebe – French horn, tuba, Motorhead Sherwood – noises, Kim Fowley – hypophone, Mac Rebennack (Dr. John) – piano, Paul Butterfield – vocals, Les McCann – piano, Jeannie Vassoir – (the voice of Cheese)

Production: Producer: Tom Wilson, Engineering director: Val Valentin, Engineers: Ami, Tom, Val Valentin, Assistant: Eugene Dinovi, Neil Levang, Vito, Ken Watson
Musical director: Frank Zappa, Orchestration: Frank Zappa, Arranger: Frank Zappa, Cover design: Jack Anesh, Hair stylist: Ray Collins

1967 – 00individual based a high school art project / board game on the term Freak Out, which by then permeated the Counter-Culture to mean anything from a wild LSD experience, to a rambunctious party, to just having a fun time, or to experience doing anything, stoned or not, uninhibited and with a Wild Freaky Spirit.

WHO CAN IMAGINE?

IT CAN’T HAPPEN HERE.

FREAK OUT!

“The Evils of Weed!” copyright 2016 00individual  TLL

The EVILS of MARIJUANA!

This could be a sardonic post on the Ways that Marijuana can kill you:
– a crate of Marijuana falls on you!
– you slip on a baggie of Marijuana and fall and crack your head open!
– you get run over by a truck full of Marijuana!
– by a serial killer named Marijuana!
or on the Ways that Marijuana can’t kill you:
– smoking Marijuana.

Or a thoughtful juxtaposition piece on Marijuana’s ability to open the mind’s esoteric levels of awareness, and the soul’s empathy for all living things – versus – the Marijuana Menace!

Or an expose on the Tragic Truth of the Marijuana Menace!  The truth is; there was no Menace. Booga Booga!

Or a righteous rebuttal rant on how Marijuana is actually a life-form that serves as Nature’s catalyst to open minds with those sentient beings who like to commune and communicate in alternate realities while expanding their consciousness and awareness, and experiencing joy.

Or it could be a post about The EVILS of MARIJUANA! – an evil that can be unleashed at any time!
Here’s a perfect example circa late ’60s / early ’70s as told by Tribal Chieftain, Monster Mike:
“Rick and I were at my parents house smoking some Mexican bud.  Back then, as you know, we didn’t always clean all the seed pods out of the joints.  Rick was leaning on his back on the floor taking a hit when a seed pod popped.  This pod of about 3 or 4 seeds, red hot, shot straight up his left nostril – Bingo!  Hot seed pod in the nose!
He jumped up grabbing his nose and snorting out over and over trying to get it out, dropping the joint in the process.  Finally, out it came.  I was laughing so much I thought I would die.
Don’t think he was ever the same.  Know his nose wasn’t.  Lesson learned.  Never lay on your back and smoke a joint whether or not you clean the seeds.”

Psychedelic Jiminy Cricket must point out another Way that Marijuana can kill you:
– laughing so much that you think you would die!

“Psychedelic Jiminy Cricket with Reefer Umbrella”
copyright 2014 00individual  TLL

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“00individual Celebrates 1967’s 50th Anniversary!” copyright 2016 00individual  TLL
“Malibutique Mermaid” TM copyright 2014 Malibutique TM

“MAKE THE SIXTIES GREAT AGAIN”
See Into The Future! Experience The Past!
1967 – THE HEIGHT OF POP and ROCK and PSYCHEDELIC CULTURE!

Starting January 2017, 00individual will be celebrating the 50th Anniversary of 1967 with at least one post per month dedicated to the Historic Height of  Pop, Rock, and Psychedelic Culture.

Each month’s post(s) will be about that particular month’s happenings in 1967 – but not just as mere facts translated to the post – but by 00individual’s personal experience, who at 16 years old in February 1967 (and introduced to Marijuana in January), was thrilled to be swept up into the whole Psychedelic Counter-Culture scene.

1967 became the first year of an entirely revelatory new life for 00individual;
with a license and a car and sex in the back seat,
with mind-expanding Marijuana and fun Uppers and Downers,
and with the most seriously amazing Rock ‘n’ Roll album releases,
the iconic quota of Sex, Drugs, and Rock ‘n’ Roll was met.

00individual’s site in 2017 will feature the monthly groundswell build-up to June’s Monterey International Pop Music Festival, an event that was the catalyst for a Culture that was historically primed to explode full blown in ’68 and ’69 and into the ’70s based on the magick that was The Summer of Love!

The biggest Summer of Love live celebration in 2017 culminates during October when more than 150,000 people are expected to attend the 50th anniversary of the Summer of Love concert in Golden Gate Park in San Francisco.  If you’re goin’, be sure to wear a flower in your hair.

It would be nice if the Love Vibe that initially prevailed back in 1967 manifested in 2017 – as it will be needed.  No matter who wins the U.S. Presidential election, it won’t go down easy, as there will assuredly be a massive backlash of impassioned protest, demonstrations, rebellions, chaos, rioting, controversy, and clowns – and a New American Civil War – since one half of the Nation will be seething.

In the meantime . . .
Peace. Love.

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                        “Had the Hippies Been Successful” copyright 2014 00individual  TLL
On October 21, 1967 between 100 – 150,000 demonstrators gathered around the Reflecting Pool in Washington D.C. to protest the U.S involvement in the war in Vietnam.

Organized by Jerry Rubin, the Fugs’ Ed Sanders and Abbie Hoffman, 50,000 of the protesters would march to the Pentagon in an attempt to levitate the building and exorcise the evil within and to demand the end to the war that less than half of all Americans now supported.

The Movement was gaining momentum due to a surge in the media coverage of the war – but despite tremendous outpouring of public sentiment and protest, President Johnson continued to escalate the war effort by strengthening the American Troop presence to a half-million
… even as young men were returning in body bags at a rate of five hundred a month.

One of the most iconic photographs of the “Flower Power” movement was taken by Bernie Boston of protester George Harris inserting flowers into the rifle of a National Guardsman.

Jan Rose Kasmir, a high-school student, was 17 when this picture was taken by French photojournalist Marc Riboud.

October 21, 1967 – the Human Be-In Anti-War Protest around the Reflecting Pool.

The Vietnam War began November 1, 1955 – the Vietnam War ended April 30, 1975.
20 years of senseless death.While the Hippie/Protesters’ attempt at levitation was unfortunately not successful, one night five years later in 1972 00individual was involved with one that was.

At 10 PM one night while closing up the Crane’s record store that 00individual managed on Pacific Coast Highway in Palos Verdes, California, a couple of co-workers’ friends showed up to set the stage for a supernatural evening.

After letting them in and locking the front door, someone suggested that the group of five, three females and two males, should attempt to levitate – which 00individual had heard of but hadn’t
experienced, yet.

The solitude of the record store at night and of all the massive amounts of talent and creativity emanating from the bins and racks of records created just the right ambiance and everyone was totally and seriously into the vibe, which was crucial for success.

Here was their Occult procedure: there had to be at least five willing and dedicated individuals, essentially, true believers.  One sits on an average non-folding chair, preferably wood (organic), the other four, after a brief ritual, place a predetermined single finger under and at the edge of the four-cornered (or equidistant) chair’s seat and levitate the chair and the fifth individual nearly above their heads with no effort!

The ritual is a simple one, the first part of the ritual can be done with both hands or with just the hand with the finger that the individual will use (all four individuals must obviously be in agreement), in counter-clockwise order, (to unite and initiate the group’s counter gravity mindset force) each individual places their open hands palms down out at arms’ length with each palm centered over/above the others, the very bottom hand is palm up (this traps the energy), each hand hovers above and below the next individual’s hand without touching with hands stacked at least four high – eight if using both hands but not necessary.

Silence and seriousness is golden, minds are focused, and soon each individual will feel rising heat in their palm and top of their hand that increases in intensity, this can happen relatively quickly. When all agree that the heat/time/vibe is right, all four individuals place their predetermined single finger in position just under the corners of the chair and effortlessly levitate the fifth individual and chair nearly above their heads.

They were so successful at levitating the first person with only four single fingers that they each took turns being levitated!  Male or female, size or weight, it didn’t matter all were successful and equally amazing feats!

After much giddy fun, 00individual set the alarm and locked the back door of the store and they all “levitated” into the night.

This is a perfect example of mind over matter and shows that the apparently impossible is in fact possible.  All those stories where a mother literally lifts a car to free her trapped child are examples of the supernatural strength everyone has within them that is available during times of extreme stress – and during times of the joining of like minds.

There are scenes with glimpses of people doing this in the 1987 movie “The Gate” and in the 2013 movie “This Is The End”.

00individual considered trying this with a group of very talented but jaded young co-worker dudes in an R&D sector back in 2009 but was aware of their youthful too-hip cynicism and knew it would never happen.

Which once again says a lot for the state of mind that the Counter-Culture was in back then – they truly believed that anything was possible – and it was – through their efforts they helped end a war.

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“Happy Little Xenomorph On Jello” copyright 2016 00individual  TLL

May 25, 1979 in the U.S. and September in the U.K., Ridley Scott’s movie “ALIEN” closed out the ’70s decade with a horrifying, yet seductively thrilling adventure – not since “The Exorcist” had 00individual experienced a movie as a drug.

Both were actually film-making at its absolute finest wherein physiological and psychological altered-states are experienced – that for their time, and now, were mind-blowing experiences.

A week or two prior to the ALIEN’s U.S. release, 00individual was able to acquire a VIP showing of the 20th Century Fox movie at a small screening theater in the main M.G.M. Culver City studios lot for families of employees – 00individual’s Dad was a Cine-Technician.

ALIEN’s opening scene’s Point Of View walk down a short corridor to the sleep pods immediately draws one into the ship’s close quarters, making one seem to be part of the crew – 00individual knew there was no escape, he was in for a heart-pounding adrenaline-rush ride.

Aware of H.R. Giger’s art, 00individual shunned any advance knowledge of the ALIEN creature’s design so as not to spoil the shared sight of the beast.  Back in ’79 it was much easier to keep secrets as there was no internet, only radio, TV, newspapers, and magazines.  One could self-censor one’s data intake as media was generally sought out – not like current force-fed overkill – whether self-censored or not.

Today Giger’s style is everywhere and influenced an entire generation of artists, 00individual included – see above and below.

That said, Happy Little Xenomorph On Jello presents these
TOP 13 HALLOWE’EN ALBUM TRACK GEMS!

CRANK ‘EM UP!

The Kingsmen
Haunted Castle – 1963 – 2:48
Righteous B side to “Louie, Louie”

The Ventures
He Never Came Back – 1964 – 2:04
“AAAAaaaa!”

Jumpin’ Gene Simmons
Haunted House – 1964 – 2:32
“Bells started ringin’ and chains rattled loud, I knew I’d moved in a haunted house.”

Them
Mystic Eyes – 1965 – 2:44
“One Sunday mornin’, we been walkin’, down by the ol’ graveyard, …”

The Crazy World of Arthur Brown
I Put A Spell On You – 1968 – 3:43
“I put a spell on you, because you’re mine.  You know I love you, I love you, I love you,
I love you anyhow, And I don’t care if you don’t want me, I’m yours anyhow.
I put a spell on you, because you’re mine.”

Dr. John, the Night Tripper
I Walk On Guilded Splinters – 1969 – 7:39
“… roll outta my coffin, drink poison in my chalice, pride begins to fade an y’all feel my malice.”

Fleetwood Mac
the Green Manalishi (w/the Two-Prong Crown) – 1969 – 4:37
“Don’t you come creepin’ ’round makin’ me do things I don’t wanta do.”

Bloodrock
D.O.A. – 1970 – 8:28
“The face beside me stopped bleeding, the girl I knew has such a distant stare.”

Peter Bardens
Don’t Goof with A Spook – 1970 – 7:30
“… when your flesh begin to creep and crawl and your back up against the wall …”

Lucifer (Mort Garson)
Black Mass – 1971
(Title track was unavailable, so here’s the full album with the title track!)

Kathy Dalton
Cannibal Forest – 1973 – 4:19
” … ‘cuz we got nothing to eat but each other now – lost in the Cannibal Forest.”

Premiata Forneria Marconi
Photos of Ghosts – 1973 – 5:24
“Beside a dried up fountain lie five dusty tomes with faded pasted pictures of love’s reverie.
Across each cover is written, “Herein are Photos of Ghosts.”

Bauhaus
Bela Lugosi’s Dead – 1979 – 9:36
“Bela Lugosi’s dead, the bats have left the bell tower, the victims have been bled, red velvet lines the black box, Bela Lugosi’s dead.”

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A VERY SCARY TRUE SOCIAL MEDIA TALE!

Heads Up to all Bloggers, Writers, Journalists, and Anyone who uses the internet to
exercise their right to Freedom of Speech!

BEWARE YOU MAY BE NEXT!

WordPress has a “Publicize” feature that whenever any new entry is posted it automatically posts in any other of your social media portals that you want.  00individual was never into Facebook but since it was free and easy additional “internet presence” he established a FB account and never looked back knowing that whatever was posted on his main wordpress site would post there also.

Ever so often he would check out the FB “clone”, to see what images were chosen for each post and then log out.

A few days ago 00individual checked up and saw that there was a post/entry missing – this was strange as it had never happened before, maybe it had, as weeks could go by before checking in, but this time it was missing for sure.

The October 9th post, “Make the Sixties Great Again!” did not “publicize” in “00individual’s History of Sex, Drugs, and Rock ‘n’ Roll” Facebook account.  However unlikely, 00individual gave an initial benefit-of-doubt to a glitch – until attempts to manually re-post directly into FB completely failed!

In a past post, Face Book chose to feature the only real nude photo out of 00individual’s “Top 23 Sexy Album Covers“, – so it couldn’t be because of the Malibutique Mermaid.

“Xenomorph/Human Hybrid Crucifixion” copyright 2007/2016 00individual  TLL
(Sculpt 2007 – Digital/Analogue Art 2016)

HAPPY HALLOWE’EN!
2016

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).

EXPERIENCE REALITY!
George Carlin – The Illusion of Choice – 5:47

Text transcribed from above “The Illusion of Choice” video:

Carlin: Well, we like war. We like war. We are a war like people. We like war because we are good at it. You know, why we are good at it, because we get a lot of practice. This country is only 200 years old and already we’ve had 10 (ten) major wars. The average a major war every 20 years in this country, so we are good at it and it’s a good thing we are, we are not very good at anything else anymore. Can’t build a decent car, can’t make a TV set or a VCR worth a fuck. Got no steel industry left, can’t educate our young people, can’t get healthcare to our old people, but we can bomb this shit out of your country all right.

Especially, if your country is a full of brown people, that’s our new job in the world bombing brown people. Iraq, Panama, Grenada, Libya you’ve got some brown people in your country, tell them to watch the fuck out or we’ll God damn bomb them. Well when is the last white people you can remember that we bombed, can you remember the last white, can you remember any white people, we’ve ever bombed. The Germans, those were the only ones and that’s only because they were trying to cut in on our actions, they wanted to dominate the world, bullshit, that’s our fucking job.

And you probably noticed, I don’t feel about that war the way we were told, we were supposed to feel about that war, the way we were ordered and instructed by the United States government to feel about that war. My mind doesn’t work that way, I got this real moron thing I do, it’s called thinking. And I’m not a very good American because I like to form my own opinions. I don’t just roll over when I’m told to. It’s sad to say most Americans just roll over on command, not me. I have certain rules I’ll abide. My first rule, I don’t believe anything that government tells me, nothing, zero, no. And I don’t take very seriously the media or the press in this country who in the case of the Persian Gulf war we’re nothing more than unpaid employees of the Department of Defense and who most of the time, most of the time functions as kind of an unofficial Public Relations Agency for the United States government. So I don’t listen to them, I don’t really believe in my country, and I got to tell you folks I don’t get all choked up about yellow ribbons and the American flags. I consider them, I consider them to be symbols and I leave symbols to the symbol minded.

Text transcribed from “Real Time Bill Maher” segment from above “The Illusion of Choice” video:

Carlin: And I’m talking about the fact that a war is of a rich old man protecting a property by sending middle class and lower class, young man off to die. Forget these foolish elections, the owners of this county don’t care about the poor in general.

Uninformed: The owners of this country?  And they don’t care about…  What are we going…  Is this Karl Marx talking to me?  The owners of this country are the voters of this country.

Carlin: No, you are wrong about that my friend…

Uninformed: Aren’t the owners of this country the voters in this country?

Carlin: No, no.

Uninformed: Who elect…

Carlin: No, you’re not, listen, for politics these elections are a charade; it’s a charade.

Uninformed: Oh, okay.

Carlin: It is, it is, they’re meant to, I’ll tell you, listen, just listen for a minute, learn a little something. Elections and politicians are in place in order to give Americans the illusion that they have freedom of choice. You don’t really have choice in this country.

All the things that are important reduced in choice; newspapers in a city how many, used to be three, four; now it’s one or two; is it owned by the same people and they also own radio station.

Give these people a voting day every year, so that they’ll have the illusion of meaningless choice, meaningless choice that we go like slaves and say, Joe, I voted. The limits of debate in this country are, are, are established before the debate even begins. And everyone else is marginalized, and made to seem they’re to be communist or some sort of disloyal person. A kook, there is a word and now it’s conspiracy, say, they made that something that’s, that is, that is should not be even entertained for a minute that powerful people might get together and have a plan, it doesn’t happen you are a kook, you are a conspiracy buff, a conspiracy buff.

Uninformed: Not as a result of a conspiracy but…

Carlin: You don’t need a formal conspiracy.

Uninformed: Right.

Carlin: When interests converge, these people went to the same universities and fraternities, they’re in the same boards as directors, they were on the same country clubs, they have like interests.

Uninformed: Oh, please.

Carlin: They don’t need to call a meeting, they know what’s good for them and they are getting it, and there used to be seven oil companies, there are now three, it will soon be two. The things that matter in this country have been reduced in choice to a two political parties. There are a handful of insurance companies, there are about six or seven information like; what if you want a bagel, or 23 flavors because you have the illusion, you have the illusion of choice.

Uninformed: Right.

Carlin: You don’t take (inaudible) because there’s no freedom of choice.

Maher: That’s a great point.

NO CHOICE! – 2:47

Text transcribed from above HBO special video:

“It’s never going to get any better, don’t look for it. Be happy with what you’ve got. Because the owners, the owners of this country, don’t want that. I’m talking about the real owners now, the BIG owners! The Wealthy… the REAL owners! The big wealthy business interests that control things and make all the important decisions.

Forget the politicians. They are irrelevant. The politicians are put there to give you the idea that you have freedom of choice. You don’t. You have no choice! You have OWNERS! They OWN YOU. They own everything. They own all the important land. They own and control the corporations. They’ve long since bought—and paid for—the Senate, the Congress, the state houses, the city halls, they got the judges in their back pockets and they own all the big media companies, so they control just about all of the news and information you get to hear. They got you by the balls.

They spend billions of dollars every year lobbying, lobbying, to get what they want. Well, we know what they want. They want more for themselves and less for everybody else, but I’ll tell you what they don’t want:

They don’t want a population of citizens capable of critical thinking. They don’t want well-informed, well-educated people capable of critical thinking. They’re not interested in that. That doesn’t help them. That’s against their interests.

That’s right. They don’t want people who are smart enough to sit around a kitchen table and think about how badly they’re getting fucked by a system that threw them overboard 30 fucking years ago. They don’t want that!

You know what they want? They want obedient workers. Obedient workers, people who are just smart enough to run the machines and do the paperwork. And just dumb enough to passively accept all these increasingly shitty jobs with the lower pay, the longer hours, the reduced benefits, the end of overtime and vanishing pension that disappears the minute you go to collect it, and now they’re coming for your Social Security money. They want your retirement money. They want it back so they can give it to their criminal friends on Wall Street—and you know something? They’ll get it. They’ll get it all from you sooner or later ‘cause they own this fucking place! It’s a big club, and you ain’t in it! You, and I, are not in the big club.

By the way, it’s the same big club they use to beat you over the head with all day long when they tell you what to believe. All day long beating you over the head with their media telling you what to believe, what to think and what to buy. The table has tilted, folks. The game is rigged and nobody seems to notice. Nobody seems to care! Good honest hard-working people; white collar, blue collar it doesn’t matter what color shirt you have on. Good honest hard-working people continue—these are people of modest means—continue to elect these rich cock suckers who don’t give a fuck about you….they don’t give a fuck about you… they don’t give a FUCK about you.

They don’t care about you at all… at all… AT ALL. And nobody seems to notice. Nobody seems to care. That’s what the owners count on. The fact that Americans will probably remain willfully ignorant of the big red, white and blue dick that’s being jammed up their assholes everyday, because the owners of this country know the truth.
It’s called the American Dream—because you have to be asleep to believe it.”

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All 00individual Ever Needed To Know He Learned From GEORGE CARLIN.

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In addition to George Carlin’s legendary freedom of speech comedy, his acting, writing and recording, he continued to perform about 150 dates a year on the road.
In 2004, he placed second behind Richard Pryor on Comedy Central’s list of “Top 100 Comics of All Time.”
On June 17, 2008, just five days before his death, it was announced that he was being awarded the 11th annual Mark Twain Prize for American Humor.

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– Please disregard any advertisements that may appear on this site –
00individual does not endorse nor receive any payment of any kind from any advertiser(s).

“1960s & 1970s collage 1” copyright 00individual  TLL

00INDIVIDUAL’S
TOP 50 ALL TIME POSTS AND PAGES!
Over 200,000 in attendance   2012 – 2016!
Current total of 357 meaty, beaty, big, and bouncy posts and 10 juicy pages!

Home page / Archives (Infinite Scroll)
Top 13 Historic & Classic 1970s Psychedelic Songs
1970′s Historic & Classic Rock Albums  RUMPLESTILTSKIN – 1970
MOM’S APPLE PIE – CENSORED LP COVER ART – 1972
DEEP PURPLE – MACHINE HEAD WORLD TOUR – 1973
1960′s Historic & Classic Rock Albums the BEACH BOYS . SURFIN’ SAFARI  October 1, 1962
TRUE PSYCHEDELIC TRIPS 1960s -1970s
HIPPIE PENTAGON LEVITATION  October 21, 1967  45 years ago today!
Top Ten Historic Classic Rock Concerts 1972-1975 . # 6 FACES! ROD STEWART! and #5 YES!
Top Ten Historic Classic Rock Concerts 1968-1972  #4 Ten Years After! Grand Funk Railroad!
#3 Savoy Brown! Humble Pie!
1960s / 1970s Psychedelic Short Stories
Top Ten Historic Classic Rock Concerts 1968-1972 . # 6 HENDRIX! #5 the WHO!
The WHO – early 1970’s
1968 Psychedelic Rock ‘n’ Roll Doodle Art
1970′s Historic & Classic Rock Albums CROSBY, STILLS, NASH & YOUNG DEJA VU 3/11/70
1970′s Historic & Classic Rock Albums DEEP PURPLE  IN ROCK  June 3, 1970
1969 Psychedelic Collage
Top 13 Historic & Classic 1960s Psychedelic Songs
Top Ten Historic Classic Rock Concerts 1972-1975 . #2 ALICE COOPER! #1 PINK FLOYD!
1960′s Historic & Classic Rock Albums  JANIS JOPLIN BIG BROTHER CHEAP THRILLS 1968
Top Ten Historic Classic Rock Concerts 1972-1975 #10 DAVID BOWIE! and #9 ZIGGY STARDUST!
PSYCH ART 1
1970′s Historic & Classic Rock Albums GOLDEN EARRING MOONTAN  July 1973
PINK FLOYD – HOLLYWOOD BOWL – 9/22/72  40 YEARS AGO TODAY – DSOTM DEBUT
Top Ten Historic Classic Rock Concerts 1972-1975  #4 GOLDEN EARRING! NEKTAR! & #3 ELO!
Top 13 Historic & Classic 1960s Psychedelic Songs  WHOLE LOTTA LOVE LED ZEPPELIN
Top 13 Historic & Classic 1970s Psychedelic Songs PART TWO
1970′s Historic & Classic Rock Albums  ZZ TOP  ZZ TOP’S FIRST ALBUM  January 1971
Top Ten Historic Classic Rock Concerts 1968-1972  # 10 CREAM! and #9 the DOORS!
1960′s Historic & Classic Rock Albums  the BEATLES – MEET THE BEATLES – 1964
Top 79 Historic & Classic 1970s Rock Albums
Top Ten Historic Classic Rock Concerts 1968-1972  # 8 TULL! LED ZEPPELIN! #7 BLIND FAITH!
RED PILL
1960s – 1970s Culture Archives  SUNSET STRIP RIOTS  November 12, 1966
1960′s Historic & Classic Rock Albums  BUFFALO SPRINGFIELD  December 5, 1966
1960′s Historic & Classic Rock Albums  JEFF BECK – TRUTH August 1968
Top Ten Historic Classic Rock Concerts 1968-1972  #2 ROLLING STONES! and #1 PINK FLOYD!
The GOD of ROCK ‘n’ ROLL!
LEE MICHAELS – MARIJUANA’S TRUTH – 1970
SANTA MONICA CIVIC AUDITORIUM, CA HISTORIC ROCK CONCERT VENUE CLOSES!
About
SAN SOUCI ARDMORE PSYCHEDELIC “the TRIP” MANSION – EVICTION PARTY – 2/7/70
1960’s Historic & Classic Rock Albums DICK DALE . . . SURFERS’ CHOICE . . .1962
1970′s Historic & Classic Rock Albums  the ROLLING STONES  STICKY FINGERS  April 23, 1971
1970′s Historic & Classic Rock Albums #1 BEST YEAR for ROCK ALBUM RELEASES – 1970!
1960’s Rock Concert and Culture Chronicles JOPLIN/BIG BROTHER – IRON BUTTERFLY – 1968
1960s – 1970s Culture Archives  HUNTER S. THOMPSON’S “WAVE” SPEECH   1971
1970′s Historic & Classic Rock Albums  QUATERMASS  MAY 1970
Front Row Center Photos of PINK FLOYD 1975 L.A. Sports Arena!
BLUE PILL
Top Ten Historic Classic Rock Concerts 1972-1975 . #8 HAWKWIND! and #7 ROBIN TROWER!

Sincere thanks to all of you Rockers and Individuals for your support and interest!

Here’s what’s coming in 2017!

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).