Rock & Indie Vinyl 306 Items

Los Syn were born in 1966 in Chile, formed by four young lads from the US whose parents were working in Santiago at the time, and they released this sole 45 before all going back to the US next year. The record is practically nowhere to be found, and such an amazing example of teen garage folk-punk the way we all lose our head for.

Limited reissue of 500 copies, with an insert with liners by Gary Pilgram (bass player), and two postcards with unseen photos!

If you’re as obsessed with unfairly unheralded bands as we are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot Records proudly announce GANDALF’s 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of THE Left Banke, Kaleidoscope, THE Millennium, and THE Zombies, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond’s “Sweet Caroline” and Van Morrison’s “Brown Eyed Girl”), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band’s PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you’ve got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: “Put the needle in the groove, sit back, and take the trip with GANDALF.” Enough said.

180 gram pressing!

Touted as the “new Doors,” Ars Nova’s second release shows the band genre-bending jazz and heavy psychedelia in a style that’s their own. Shifting from a largely classical centric sound, this was the group’s last album before going their separate ways. Pressed on pink vinyl!

Sunshine & Shadows takes the baroque-meets-psych sound of the debut and turns a bit more to the psych side. The stately brass interludes are gone, but horns still figure prominently in the mix. There’s some jazzy New Orleans flavor to a couple of the tunes, albeit twisted into a 7/4 vamp on “You Had Better Listen.”

The instrumentalists in the band, featuring trumpet and trombone, really give the music a unique flavor, setting them apart from the multitudes of other American psych bands. Ars Nova might be likened to Ultimate Spinach (but without the overly serious, pretentious lyrics) or later Zombies (though with less emphasis on the keyboards).

It’s all very well written and nicely played, and when they do a tender ballad like “Temporary Serenade,” the acoustic guitar is very lute-like, much more along the lines of classical than folk (like the later work of Jan Akkerman with Focus), and the trumpet descant adds a lovely spice.

“Well, Well, Well” is the heaviest rock tune in their repertoire, with a great electric guitar riff and hot organ playing, again set apart by trombone and trumpet. This one is definitely worth seeking out for baroque pop fans.

Another lost gem from the non-jazz Verve catalogue, Color Him In is a daydream experience from loner singer/songwriter Bobby Jameson. Released in 1967 the album is an orchestrated psychedelic trip, no surprise then Jameson had a part in the cult film Mondo Hollywood. Produced by Curt Boettcher the album had several psych-pop numbers with rare female vocals harmonization.

Limited to 100 copies on green vinyl. Only available at hhv.de

Enchanting and sunny 1969 psych folk by San Francisco teenage sisters Wendy & Bonnie Flower. A cult album that would later inspire bands like Stereolab, with dreamy vocal harmonies as the main attraction, laced with Brazilian splashes and soft-rock strains. Pure timeless psychedelic pop perfection, awash in serenity and haunting reverie floating in the ether above airy soundscapes that convey a sophistication that belies the artists' tender age: 15 and 18. Alongside them are top-notch musicians such as guitarist Larry Carlton, drummer Jim Keltner, bassist Randy Sterling and organists/pianists Mike Melvoin and Mike Lang. Originally produced by Gary McFarland, Gábor Szabó and Cal Tjader.

Enchanting and sunny 1969 psych folk by San Francisco teenage sisters Wendy & Bonnie Flower. A cult album that would later inspire bands like Stereolab, with dreamy vocal harmonies as the main attraction, laced with Brazilian splashes and soft-rock strains. Pure timeless psychedelic pop perfection, awash in serenity and haunting reverie floating in the ether above airy soundscapes that convey a sophistication that belies the artists' tender age: 15 and 18. Alongside them are top-notch musicians such as guitarist Larry Carlton, drummer Jim Keltner, bassist Randy Sterling and organists/pianists Mike Melvoin and Mike Lang. Originally produced by Gary McFarland, Gábor Szabó and Cal Tjader.

Cykle produced one album's worth of solid garage rock, and it certainly proves that the band was an enthusiastic bunch of musicians. Much closer to late 60’s garage (proto) punk than psychedelia, the album was released in 1969.

They were best known for their 1966 song "Red Rubber Ball" (written by Paul Simon) which went to #2 on the Billboard Hot 100 chart. The band was discovered and managed by Brian Epstein and given the unique spelling of their name by John Lennon. The group was formed by guitarists and lead singers Don Dannemann and Tom Dawes (bass guitar), who met while studying at Lafayette College in Easton, Pennsylvania. The other members were Earl Pickens on keyboards and Marty Fried on drums.

Obscure psychedelic gospel act Methuselah had its roots in Scunthorpe ‘Beat’ group the Dimples, which became Gospel Garden, whose only 45 infused Northern Soul with psycheleanings. Regrouping as Methuselah, the group signed to Elektra for this sole religious rock concept LP, their sound deceptively American, with vocal harmonies evidencing bluegrass influences; guitarist Les Nicol is never short of excellent. Certain members would later form Amazing Blondel, but Matthew, Mark, Luke And John has a unique flavour, and our edition includes two rare bonus tracks. This slice of obscure psyche must be heard to be believed!

Touted as the “new Doors,” Ars Nova’s second release shows the band genre-bending jazz and heavy psychedelia in a style that’s their own. Shifting from a largely classical centric sound, this was the group’s last album before going their separate ways. Pressed on pink vinyl!

Sunshine & Shadows takes the baroque-meets-psych sound of the debut and turns a bit more to the psych side. The stately brass interludes are gone, but horns still figure prominently in the mix. There’s some jazzy New Orleans flavor to a couple of the tunes, albeit twisted into a 7/4 vamp on “You Had Better Listen.”

The instrumentalists in the band, featuring trumpet and trombone, really give the music a unique flavor, setting them apart from the multitudes of other American psych bands. Ars Nova might be likened to Ultimate Spinach (but without the overly serious, pretentious lyrics) or later Zombies (though with less emphasis on the keyboards).

It’s all very well written and nicely played, and when they do a tender ballad like “Temporary Serenade,” the acoustic guitar is very lute-like, much more along the lines of classical than folk (like the later work of Jan Akkerman with Focus), and the trumpet descant adds a lovely spice.

“Well, Well, Well” is the heaviest rock tune in their repertoire, with a great electric guitar riff and hot organ playing, again set apart by trombone and trumpet. This one is definitely worth seeking out for baroque pop fans.

A Twangy Touch On 1960s Hits!

As one of America’s most influential guitarists, Duane Eddy’s famed twangy, reverb-drenched guitar shines on a wide variety of pop-rock hits, standards, and more!

Backed by two drummers, four more guitars, organ, piano, bass, saxes, and that's just the beginning, Duane goes unafraid at the kind of tunes that normally are "one person songs" Like "Ballad of the Green Berets" which becomes a twang-bang march under Duane's banner. Like "Monday, Monday" which was "The Mamas and Papas" and now has the wild newness of Duane Eddy.

After rising to fame in the late ‘50s with “Rebel Rouser,” Eddy’s influence on radio inspired musicians like George Harrison and Bruce Springsteen. Rockabilly and country music were both major factors in Eddy’s trademark sound; heavy, catchy guitar riffs over a ska-type beat. His hits included “Peter Gunn,” “Because They’re Young,” and “Twistin’ ‘n’ Twangin’.”

As music morphed into melodic sunshine pop, Eddy adapted his sound to fit chart hits of the ‘60s in his own twangy style.

Blisterin’ bleach blonde garage punk from Long Beach’s Emperors!

Previously limited to a handful of singles, this full length LP includes all of their material, including 4 unissued tracks! From the maniacal laughter on “Laughin’ Linda” to their foot-tappin’ cover of the Zombies’ “You Make Me Feel So Good” it’s easy to see why this group of teens were hailed as Long Beach’s favorite group.

Susan Gilmore, an Emperor fan, recollects, “The highlight of the dances were when they played. While attendance was pretty good for other bands, the Emperors packed the place every time. The buzz would start during the week at school. ‘The Emperors are playing this weekend. Are you going to go?’”

The wild teenage sound of the original Emperors is still the greatest. “It's just a lifetime experience,” concluded Randall. “In a way, I felt that we were ahead of our time. The way we played and the way we presented everything on stage, nobody was shy. It was a wonderful experience.”

A new version of the band rebranded as simply Emperor, led by Steve Watts and Randy Budihas, would record for RCA, then Private Stock during the ‘70s. After a 20-year break, The Emperors reformed in 2002 and are still performing and entertaining fans today.

Surfers’ Choice is a true landmark of surf rock, being the album that established the genre more than any other release. First issued in 1962 and mostly recorded at the Rendezvous Ballroom in Balboa Beach, midway between Los Angeles and San Diego, it has rollicking surf anthems like ‘Surf Beat,’ ‘Shake ‘N Stomp,’ ‘Surfing Drums’ and ‘Take It Off,’ as well as Dale’s adaptations of ‘Night Owl,’ ‘Fanny Mae’ and a strangely orchestrated take of ‘Sloop John B.’ With a soaring guitar that’s drenched in reverb at centre stage and Dale’s gritty vocals varying the action, this is the enduring start of surf rock and a blistering start at that!

Mega rare UK private album (99 copies originally pressed in 1969) by singer/songwriter Jeremy Harmer, featuring David Costa of psych-folk band Trees on guitar.

Melancholic, introspective psych-folk with chamber/ baroque feel. Guitar, flute, viola, bass, drums…

Jeremy Harmer started singing and playing at school and university, where his circle of friends included aspiring folk musicians like Nick Drake and pre-Trees David Costa. Jeremy has a long history as a singer/songwriter and performer, along with his work in the field of English language teaching.

“Idiosyncratics and Swallows’ Wings” was recorded one night in 1968 at the studios of Anglia Television, Norwich, while Jeremy was at the University of East Anglia. Along with Jeremy singing and playing guitar, the album features a mini-chamber ensemble of flute, viola, bass and drums with orchestral arrangements written by John Trevitt from the School of Fine Arts. Jeremy’s friend David Costa (prior to forming the psych-folk band Trees) played guitar on several tracks and co-wrote “Tuesday P.M.”

Only 99 copies were pressed at the time and all were sold to people at the University, making it impossible to find now.

*Original artwork in hard cardboard sleeve *First ever vinyl reissue *Insert with liner notes and photos *Download card

Riyl: Nick Drake, John Cale, Bert Jansch, Incredible String Band, Will Malone…

Mega rare UK private album (99 copies originally pressed in 1969) by singer/songwriter Jeremy Harmer, featuring David Costa of psych-folk band Trees on guitar.

Melancholic, introspective psych-folk with chamber/ baroque feel. Guitar, flute, viola, bass, drums…

Jeremy Harmer started singing and playing at school and university, where his circle of friends included aspiring folk musicians like Nick Drake and pre-Trees David Costa. Jeremy has a long history as a singer/songwriter and performer, along with his work in the field of English language teaching.

“Idiosyncratics and Swallows’ Wings” was recorded one night in 1968 at the studios of Anglia Television, Norwich, while Jeremy was at the University of East Anglia. Along with Jeremy singing and playing guitar, the album features a mini-chamber ensemble of flute, viola, bass and drums with orchestral arrangements written by John Trevitt from the School of Fine Arts. Jeremy’s friend David Costa (prior to forming the psych-folk band Trees) played guitar on several tracks and co-wrote “Tuesday P.M.”

Only 99 copies were pressed at the time and all were sold to people at the University, making it impossible to find now.

*Original artwork in hard cardboard sleeve *First ever vinyl reissue *Insert with liner notes and photos *Download card

Riyl: Nick Drake, John Cale, Bert Jansch, Incredible String Band, Will Malone…

Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere. Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage.

Ultra-rare 1966 solo album by singer/songwriter Trevor Lucas of Fairport Convention, Fotheringay, and Election. This Australian born folk legend recorded his own songs and a handful of covers – mostly solo acoustic, occasionally accompanied by bass, concertina, and fiddle. First ever authorized reissue (by his estate) of this gem.

Les Marquis were an Austrian band active in the 1967-1971 period. Their debut single - Fire Horses - released in 1969, is one of the best Garage/Folk-Rock European gems of the late sixties. Limited edition of 400 copies.

Dark Horse Records and Record Store Day are excited to announce a multi-year partnership to release limited Zoetrope picture disc pressings of George Harrison’s entire studio album catalog. The first two titles in the RSD exclusive series — Wonderwall Music and Electronic Sound — will be available on Record Store Day in April 2024. Limited to 8,000 units globally and exclusive to Record Store Day, each unit is individually numbered in silver foil and includes an insert reproducing theoriginal artwork. As a direct result of The Beatles’ keen curiosity about experimental music and other avant-garde artistic expression, Apple Records launched its short-lived Zapple subsidiary in February 1969 as a forum for unfettered sonic exploration, or, as announced at the time, “more freaky sounds.” George’s Electronic Sound and John Lennon and Yoko Ono’s Unfinished Music No. 2: Life with the Lions, both released in May 1969, were Zapple’s only releases before it was closed down. Electronic Sound’s cover art, painted by George, depicts his Moog IIIp synthesizer (which was later used on four tracks by The Beatles on their album Abbey Road) with the four modules from which the sound was synthesized. Each side of the Electronic Sound LP featured one exploratory long-form work.

Five Live Yardbirds – 1964, their first live album contains some of Eric Clapton's earliest recordings. It was recorded at the legendary Marquee club in London. This lineup features Eric Clapton/lead guitar, Keith Relf/ lead vocals & harmonica, Chris Dreja/ rhythm guitar, Paul Samwell-Smith/bass and Jim McCarty/drums. This deluxe package includes color vinyl, an OBI side spine and printed inner sleeve.

To celebrate 60 years since its original release, The Rolling Stones, ‘uk’ edition, is being released in a special bespoke package for RSD 2024.The band’s debut studio album, was released in the UK on 16 April 1964. The American edition of the LP, with a slightly different track list, came out on London Records on 30 May 1964, subtitled England’s Newest Hit Makers, which later became its official title. The remarkable, ground-breaking album arrives like a jet-fueled rush of white hot R&B. Pressed on stunning 180gm blue + black swirl vinyl / includes lithograph print with images by renowned photographer Terry O’Neill / limited edition stamp-numbering on outer sleeves

Sir Tom Jones UK No.1 single It’s Not Unusual, first released in 1965, is an international megahit. Written by Les Reed and Gordon Mills, the song also made waves in the US reaching No. 10 in the charts paving the way for Sir Tom’s global success. Released for the first time on 7” vinyl since 1965, this limited edition amber record is key to any fans collection.

‘Faithfull Forever…’ is a 1966 studio album by Marianne that was only issued in the United States. This RSD pressing marks its first U.K release and it has not been re-issued on vinyl in the U.S. In 2024 Marianne celebrates her 60th anniversary in music, and for fans of her Decca catalogue ‘Faithfull Forever…’ is a must. All tracks have been remastered from the original tapes by Andrew Batt, and this special RSD release comes with detailed sleeve notes featuring exclusive commentary by Marianne herself and new artwork based on the original sleeve shot by the master French photographer Jean-Marie Perier.

The Seeds’ second album released in 1966 is a pop-art garage rock classic. ‘Mr Farmer’ was to become a Billboard Hot 100 single in 1967 and the second side of the album features the 14-minute epic ‘Up In Her Room’. This deluxe gatefold edition features the original stereo mix along with an 8-page insert. “Web Of Sound” deluxe comes with a second LP stuffed with mono versions, outtakes and more.

Heavy prog-psych with tons of organ and fuzz guitar courtesy of THE Shiver from Switzerland. This is their sole album from 1969, housed in a sinister cover designed by surrealist painter H.R. Giger (his first album cover work). Originally formed in the mid-60s in St. Gallen (Switzerland) as a beat, R&B band in the vein of Spencer Davis Group or The Yardbirds (and featuring an English vocalist), The Shivers dropped soon the “s” from their name at the same time as they adopted the early progressive sounds of British bands like Procol Harum or Moody Blues. After winning the first prize at a couple of major music festivals and even sharing stage with Pink Floyd, they started recording their first album. Combining interesting cover versions (the LP opens with a monster heavy cover of Procol Harum’s “Repent Walpurgis") and original songs, the album is a perfect example of the transition from beat and blues-rock to psychedelia and heavy prog.

The lost tapes have surfaced, bringing with them a walloping new stereo mix! A sonic cocktail of acid garage, blues & psych rock from one of Detroit’s finest – featuring Ted Nugent! Dominated by gritty head-swirlers and heavy, fuzz guitar licks, their debut is considered to be an early innovator of heavy metal. Their five and a half minute version of “Baby Please Don’t Go” is an absolute acid garage classic with some fantastic feedback and great guitar sustain. Nugent creates some serious guitar noise on this number and shows off his brilliant chops. The album closes with another garage classic, “Gimme Love.” This song has some laser fuzz guitar riffs and angry Mike Drake vocals. In between these two garage monsters are many other great compositions. There are a few covers, two work really well (the splendidly bluesy “Let’s Go Get Stoned” and the gritty Who cover “It’s Not True”). They also hit real hard with “Colors,” a furious acid rock song with some sinister soloing. “Phillip’s Escalator” is very Syd Barrett era Pink Floyd with brit vocals, clanging chords and first class guitar scrape. It’s a true classic on this exceptional outing. The guitar freakouts, Who-like energy and great songs make this debut a prime slice of early Detroit rock. – The Rising Storm

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

A Twangy Touch On 1960s Hits!

As one of America’s most influential guitarists, Duane Eddy’s famed twangy, reverb-drenched guitar shines on a wide variety of pop-rock hits, standards, and more!

Backed by two drummers, four more guitars, organ, piano, bass, saxes, and that's just the beginning, Duane goes unafraid at the kind of tunes that normally are "one person songs" Like "Ballad of the Green Berets" which becomes a twang-bang march under Duane's banner. Like "Monday, Monday" which was "The Mamas and Papas" and now has the wild newness of Duane Eddy.

After rising to fame in the late ‘50s with “Rebel Rouser,” Eddy’s influence on radio inspired musicians like George Harrison and Bruce Springsteen. Rockabilly and country music were both major factors in Eddy’s trademark sound; heavy, catchy guitar riffs over a ska-type beat. His hits included “Peter Gunn,” “Because They’re Young,” and “Twistin’ ‘n’ Twangin’.”

As music morphed into melodic sunshine pop, Eddy adapted his sound to fit chart hits of the ‘60s in his own twangy style.

Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere. Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage.

Sitar-laden raga rock-xotica! Light the incense, turn on and tune out to this acid folk blend of electric oud, minitar and melodica - its genuine organic blend of both Eastern and Western sounds make this band truly sound like no other. Pressed on seaglass blue vinyl!

Features new all-analog mastering by Kevin Gray at Cohearent Audio, direct from the original analog tapes - Pressed at RTI - Includes liner notes by Brian Barr - Featuring unseen photos by legendary photographer Joel Brodsky - LP housed in an expanded gatefold jacket

Description: “My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday’s and played the guitar like Jimmy Reed.” – Bob Dylan

Karen Dalton's 1969 Capitol debut is finally back in print! Light in the Attic is thrilled to present a brand new edition of this heart-wrenching & bluesy introduction to the intoxicating world of Dalton and her deep well of musical secrets.

World-weary and filled with the blues, Dalton’s unsurpassed interpretive depth and emotional range were like no other. Recorded for Capitol in 1969, It’s So Hard To Tell Who's Going To Love You The Best spans generations of classic American songwriting–covering classics by Lead Belly, Fred Neil, and Tim Hardin. While no longer with us in the physical, Karen’s growing musical presence is stronger than ever and worthy of re-examination by both the converted and the uninitiated alike. This new re-release serves as the definitive, all-analog version of Dalton’s stunning debut, featuring remastered audio from the original Capitol masters, the original 1969 artwork in an expanded gatefold jacket, unseen photos by album photographer Joel Brodsky, and an essay interviewing Karen’s friends and music collaborators, from album producer and bassist Harvey Brooks to musician Peter Stampfel of the Holy Modal Rounders.

More than a single cult, the sole album by Swedish combo Harvester was released as a sort of private press on the small Decibel Records. A magical blend of folk and psychedelic rock, Hemåt was published in 1969. With some extra-rock elements like cello, fiddle and even spare horns, the record is a beautiful and magical ritual. The band eventually morphed into Träd, Gräs Och Stenar.

Legendary and rare folk-psych private press record from 1967 that holds up well. Furthermore, the LP is legendary in a literal sense: until recently, few collectors really even knew it truly existed. And Roger Salloom? imagine Jack Kerouac, John Belushi, Lord Buckley, and Lenny Bruce, then throw in Leadbelly, Jimmy Reed, Lonnie Johnson, and Geoff Muldaur… all rolled into one person, and you have a glimpse of poet, singer-songwriter Roger Salloom. Salloom was in the center of the 1960s San Francisco psychedelic scene, playing the Fillmore with Santana, Van Morrison, BB King and Procul Harum. In the 1970s he moved to Nashville to pursue songwriting, then disappeared for two decades to raise a family as a single parent and draw a syndicated cartoon. There is a story here. A story so intriguing that it enticed an award-winning filmmaker to make a film about the subject. So Glad I Made It, the Saga of Roger Salloom, America’s Best Unknown Songwriter, won six awards, was on the 2006 Grammy ballot, and received rave reviews across the U.S.