H.P. LOVECRAFT

One of the more interesting psychedelic rock band of the 1960s, H.P. LOVECRAFT initially formed in Chicago before heading to San Francisco and releasing two albums before going through a series of lineup changes and band name shifts. Somewhat inspired musically by Jefferson Airplane and Spirit, H.P. LOVECRAFT was unlike many bands of the time by naming itself after the horror writer and crafted a music that as eerie, haunting and macabre all within the confines of the world of psychedelic rock. The band's sound was rather unique by combining elements of psychedelia with folk rock, jazz and made all the more dynamic by classically trained pianist Dave Michaels.

By using lead ex-folk singer George Edwards' unique vocal style as the focal point along with multi-octave singer Dave Michaels as a harmonic counterpoint, H.P. LOVECRAFT showcased a more intelligent approach to lyrical delivery as well as a more competent display of instrumental mastery especially heard on the organ playing of keyboardist Dave Michaeis who also offered piano, harpsichord, clarinet and recorder. Early on the band had a larger instrumentation than most so called psych bands of the day as well with George Edwards not only providing lead vocals but also guitars and bass, Jerry McGeorge on bass, Tony Cavallari on lead guitar and Michael Tegza on drums and timpani. The band was signed to Philips Records in 1967 and released it's first single "Anyway That You want Me" before this first album was released (and it wasn't included). Once relocated to San Francisco, H.P. LOVECRAFT became a regular at various venues including The Fillmore and the Hinterland Ballroom.

The band released its debut self-release in 1967 and featured even more sounds from guest musicians that included bells, piccolo flute, English horn, saxophone, reeds, trombone, tuba, vibraphone and horn arrangement which is why H.P. LOVECRAFT has been deemed one of the early proto-progressive bands for its ambitious songwriting and intricate instrumentation. The self-titled debut was a bit different having emerged in October 1967 in the fact that was typical of many 60s releases in featuring a fair number of covers rather than originally penned material. In the case of H.P. LOVECRAFT's debut many were interpretations of traditional or contemporary folk songs with some being a bit more obscure and the most obvious being the Chet Powers song "Let's Get Together" which would become a top 5 hit for The Youngbloods in 1969. The album was preceded by the opening "Wayfaring Stranger" which provided the first single which displays perfectly the band's unique energy and stylistic potpourri under the guise of 60s psychedelic rock.

Despite the covers, the debut album actually flows quite well with H.P. LOVECRAFT making it all its own. The band delivered a tight competent 60s rock sound with an extra kudos going to the excellent keyboard playing sometimes taking on a Baroque classical scope of virtuosity. The album's most famous cut was also its longer, the 6 1/2 minute "The White Ship" and although not hitting any pop charts set the tone of the band's mysterious demeanor and musical competency. The harmonies between George Edwards and Dave Michaels are outstanding as well as the brooding rhythmic flow. "The Time Machine" is a strange oddity as it starts off as a ragtime Vaudville style foot tapper but then drifts into a strange psychedelic haze before heading back to Vaudville. "That's How Much I Love, Baby (More Or Less)" showcases the band's easy in adding jazzy elements to its repertoire. The album surprisingly ends with a short 33 second liturgical chant "Gloria Patria."

Despite quite a few covers of traditionals and contemporary songs on the debut album, this band was clearly unlike any other and proved to remain a little outside the accessibility for the drugged out hippies who weren't looking for intellectual stimulation but rather the next form of escapism. A unique intelligent band that expressed itself within the psychedelic scene, H.P. LOVECRAFT's debut may not be as great as its follower but it's utterly amazing how well these guys pulled off an album's worth of originals mixed with covers. Personally i like this one a lot. Had i been around back then i certainly would've gravitated to these guys over Jefferson Airplane anyway!