H.P. LOVECRAFT II

A major leap in quality from the debut release, H.P. LOVECRAFT evolved more as a band unit on its 1968 sophomore release simply titled II and eschewed the series of sessions musicians and focused more on tightening up its unique mix of folk rock with 60s psychedelic rock. The increase on the psychedelic features (including the eye-catching album cover) has been accompanied by the legendary claim that H.P. LOVECRAFT II was the very first major label release to have been recorded by musicians who were completely under the influence of LSD. And that's not so hard to believe really, because in June 1968 when the band finally had a chance to go to the studio to begin recording it's second album the members were lacking enough finished material to bring to the worktable which means that a great chunk of of H.P. LOVECRAFT II was totally improvised in the studio and the results were that the album is clearly much more psychedelic than its predecessor as was it more based on the more pacifying sounds of folk music.

The band also lost Jerry McGeorge and was replaced by former Saturday's Children bassist Jeffrey Boyan. The album sounded a lot more in line with the subject matter of its moniker this time around with a trippy lysergic delivery system and lyrics in some tracks such as "At The Mountains of Madness" which thematically narrated the works LOVECRAFT, this particular track focusing on the 1931 novella of the same name. H.P. LOVECRAFT II is also chock filled with psychedelic sound effects and odd drifting into trance-like states. The track "Electrallentando" for example displays a very drugged out display of psychedelic folk that culminates into a hypnotizing period of total escapism and freaky sound effects with only a tribal drum operating as a life to any sort of musical "normalcy." It's moments like this why it's clear H.P. LOVECRAFT were deemed the perfect opening act for Pink Floyd of that era. Even the opening track "Spin Spin Spin" displays a more detached and less commercial sound in relation to the mainstream psych rock that was dominating the charts of the era. Don't get me wrong, the track features an instantly lovable hook however the atmospheres are more on the dark side and the serious tones offer more of an introspective melancholy than any other act of the day.

"It's About Time" is probably the closest thing to what could be called straight forward psychedelic rock on the album starting in a bluesy rock sort of way but then doesn't take too long to melt down into a strangely timed slice of psychedelia with oscillating keyboard effects in the backdrop and a weird time signature that slowly resurrects with a piano and bass groove accompanied by a military march drumbeat until the track finds its footing back to where it becomes a hi-brow classically orchestrated chamber pop number! It then returns back to the blues rock number that soar due to the harmonic excellence team of George Edwards and Dave Michaels. A wild ride for a mere 5 minutes and 20 seconds and it's only the second song! The band's reputation of delivering a spooky and mysterious vibe was probably too much for anyone having a bad trip in the day! This was obviously music for the big boys and girls who could keep their crap together and enjoy the wild and uninhibited explorative nature of H.P. LOVECRAFT's brilliance.

The album only gets trippier as it progresses with the thematically on target "At The Mountains Of Madness" showcasing the band's propensity of delivering strong rock beats while saturating the guitar, bass and drums in extremely eerie atmospheres and this point even the vocal harmonies have gotten stranger. With strange pitch bends and keyboard tricks, H.P. LOVECRAFT simply mastered the art of making a musical representation of its author namesake. The use of studio techniques such as back masking echoed reverse tape effects, swirling keyboard techniques and chaotic acrobatic vocal interplay conspired to make some of the freakiest music the entire 60s could conjure up. The short "Mobius Trip" exists more on in the world of simple folk music but fortified with psychedelic echoes, vocal production reverb and abstruse contemplative lyrics. "High Flying Bird" is perhaps the most uplifting track on board and although heavily dipped in LSD and provides a lyrical optimism of anything is possible if you set your mind to it. It was an early folk rock classic recorded by Judy Henske and Jefferson Airplane. "Naughty Boy" offers a 40 second spoken word narrative with nothing but processed vocals as a backdrop repeating "zero, zero, zero, zero?" The closing "Keeper Of The Keys' offered one last mind melting experience with a stentorian pseudo-operatic vocal performance and a cover of Brewer & Shipley's song.

H.P. LOVECRAFT was as equally revered as a live act as it was for its amazing studio albums. With a repertoire that included aspects of pop, rock, jazz, folk, classical all dipped into the largest cauldron of psychedelia the late 60s had to offer, H.P. LOVECRAFT saw the band peak in its creative prowess making this album one of the absolute unabashed masterpieces of the entire psychedelic era. Light years beyond the mere psychedelic pop of many of its contemporaries unfortunately the band was a bit too far ahead of its time and soon found the band collapsing due to diminishing returns and members pursuing other academic endeavors. Although George Edwards and Michael Tegza tried to resurrect the band under the name Lovecraft, this version would have zero resemblance to these wild and unrestricted psychedelic days and primarily focused on watered down country rock and little interest for true fans of the brilliant early albums. I'm always surprised in how i've heard about a band all my life and think yeah that's interesting and never get to them but when i finally do i'm blown away by the artistic ingenuity around every corner. H.P. LOVECRAFT was one of those band's that really delivered on all front's and this second album H.P. LOVECRAFT II was as good as it got leaving it as the band's legacy.