RARE TEXAS GARAGE PSYCH Lemon Fog Echoes Of Time 45 mp3

$

307

 

ARTIST:LEMON FOG

ECHOES OF TIME/LEMON FOG

ORBIT 1117

HOUSTON,TEXAS

THE LEMON FOG were a Houston-based quintet that had the distinction of being the first rock act signed to Ray McGinnis' Orbit Records label. They started out in the spring of 1963 as The Bar Eights, formed by Fillmore High School classmates Danny Ogg and Terry Horde, with Timmy Thorpe on bass, and Dale VanDeloo on saxophone and vocals. They were a Rip Chords-type surf band, with a few pop-soul numbers mixed into their sets. The group got a few coffee bar gigs and a sock hop to two to play before they broke up when VanDeloo supposedly attacked Ogg with a mike stand during an argument. Enter Chris Lyons, who was recruiting musicians at Clem's Music in Houston for a new band he was forming. Danny Ogg showed up at the store, and Lyons asked him to join--Ogg agreed on condition that Timmy Thorpe, who had just gotten laid off from work, play bass. Lyons agreed, and by that weekend, The Pla-Boys, as they were known, were playing their first gig, at St. Regis College for the Arts. It was there that they were seen and heard by Ted Eubanks, an avant garde composer on Houston's mod scene, caught The Pla-Boys' act, which consisted mostly of covers of such garage greats as Sam the Sham and the Pharaohs and ? and the Mysterians. Eubanks liked the way they played more than what they played, and immediately approached them after the show. The band liked his suggestions, and he began putting original numbers into the group's sets. He also changed their image from clean-cut, matching suits to psychedelic, including beads. In a matter of weeks in 1965, they went from being The Pla-Boys to The Lemon Fog, who quickly became recognized as one of the more formidable bands in Houston. The group's line-up soon shifted as Timmy Thorpe was dropped and Danny Ogg moved to bass, with Terry Horde taking over the lead guitar spot. They won a local battle of the bands, and, with help from producer-songrwriter Jimmy Duncan, were approached by Orbit Records with the offer of a recording contract. Only three singles were ever issued on the group by Orbit, although they recorded many hours' worth of demos under Eubanks' direction--he handled most of the songwriting, alternating with Duncan. The best of these was "The Living Eye Theme," also known as "The Lemon Fog," which reached No. 8 on the regional and local charts in the Houston area. The group was a major draw there and in the Houston area, and made many television appearances promoting their singles. Their sound, initially typical garage band dance material, had advanced by leaps and bounds. Some of their songs resembled the folk-rock of the Byrds or the Beau Brummels, while their playing was closer in spirit to the complexity of Moby Grape, with lots of unexpected twists in the guitar and organ parts, and interesting harmonies. Personality conflicts eventually doomed the band, despite some extraordinary music to their credit. Egos clashed, and the use of drugs hampered the talents of one member, and in 1970 Eubanks was cutting records as a solo artist, which heralded the group's disintegration. (by Bruce Eder, All Music Guide)

 

 

 

 

 

 

 

VINYL CONDITION:VG some scuffs and light scratches,plays with some background sound

LABEL CONDITION:VG+ shows wear on both sides

 

hear both sides below:

 

 

 

 

PLEASE EMAIL ME WITH QUESTIONS,CHEERS!


 

 

 

 

 

 

 

 

 

 

YOUR RECORD WILL BE PACKED WITH CARE IN A RECORD MAILER. I WILL SHIP OVERSEAS. 7 dollars to ship overseas for one record.

 

 

Mint (M) Perfect Condition, which basically means that it is as good as new, literally. The vinyl has to look new and sound as though it was never played, and the cover has to look untouched. Some argue that the only mint records are brand new unopened ones still in their original packing.

Near Mint (NM) Vinyl is near perfect. At most, a light scuff appears on the record, but it should play without any noise or skips. The record sleeve should also be near perfect with only minor signs of wear. There should be no" outline sleeve.)

Excellent (EX or VG++) Vinyl should still play with no skips of any kind. There can be some very minor surface scuffs, but they should not affect the sound quality. The record sleeve can have some minor ring wear but it should be mostly in good shape. Also, there can be some minor creases in the corners but no splits in the seams.

Very Good+
(VG+) This is the grading category where the quality of the sound is affected -- there will be some surface noise -- and the vinyl will show wear, including surface scuffs and some light scratches. However, the record is still very listenable as there are no deep scratches that cause skips. On the cover, the corners may be slightly bent, but not broken. There may be wear to the seams but not tears or holes.

Very Good
(VG) Vinyl doesn't necessarily look good, but still plays well enough. Surface noise will probably be present, including pops and clicks. At higher volume levels, the music should overpower any pops and clicks present. There may be seam splitting, but not complete separation of the sleeve panels from each other. There will be noticeable ring wear on the cover, but the cover should for the most part still be in good condition.

Good (VG-) Vinyl is well played and looks it. However, the record should still play without skipping. It will have substantial surface noise, pops and clicks. Loss of various parts of the dynamic range will occur due to worn grooves. This grade depends a lot on the owner and the type of records he or she collects. A rock record may still sound ok at a high volume, but quieter styles of music will be practically unlistenable. The record cover may have many problems including seam splits, tears, and writing on it.

Fair/Poor (F/P)

Using the word fair for this quality of record is, in the opinion of JRS, too generous and not recommended since it may be misleading. Records described as fair (F) or Poor (P) in the Goldmine grading system are ones that are basically unlistenable. Surface noise, skips and pops make hearing what's on the record nearly impossible, if not completely impossible. The cover is falling apart, torn, and has writing all over it. The only reason to keep it would be if the record is extremely rare or you want to eventually melt the vinyl and shape it into an ashtray.