A DYNAMIC NEW SOUND...AN APPROACH SO UNIQUE...it's today's MOST WANTED rock'n roll group, THE LOST!!!
THEY'RE GREAT!...alive with individual creativeness that blends into a totally new concept musically...their material is almost exclsively original...and a fast-moving, exciting performance visually...more action and motion that you've ever seen before...FANTASTIC!
The personality of each member of the group shines brightly, and the group as a whole gives brilliant performances everywhere...in concert, at school and college functions...anywhere there are people to be entertained and excited. Four solo voices, a host of instrumental possibilites, musical creativity, all adding up to the GROUP TO WATCH,..."THE LOST"!
- H.T. Productions Promotional Flyer
The Lost formed at Goddard College in Plainfield, VT, its members -- Willie Alexander (vocals, keyboard, percussion), Ted Myers (guitar, vocals), Kyle Garrahan (lead guitar, vocals), Walter Powers III (bass, organ, vocals) and Lee Mason (drums, percussion) -- dropping out out to play professionally in Boston after their first semester playing together. They became one of the top local bands in Boston during 1965 and 1966, playing most of the clubs, like the Rathskeller, Where It's At and, as their final gig in Boston, inaugurating the Boston Tea Party in early 1967. They also opened for many major artists, including James Brown, Sonny & Cher, the Supremes, the Shirelles and Jr. Walker & The All Stars. They toured the East Coast with the Beach Boys in the spring of 1966. The Lost were signed by Capitol Records in late 1965 and released three singles: "Maybe More Than You"/"Backdoor Blues," which charted locally and received substantial airplay in New England and upstate New York, and two versions of "Violet Gown," with two different B-sides. The first release was backed with "Mean Motorcycle" and was recalled by Capitol. The band then re-recorded it with producer Jerry Keller and the second version was released, backed with an instrumental version of "No Reason Why," about a month later. By this time the momentum created by their first single and the Beach Boys tour had died, and "Violet Gown" received little-to-no airplay. Capitol dropped the band and they broke up in 1967. Myers and Alexander wrote the original songs and these were augmented at club gigs with covers of Rolling Stones songs and R&B staples. Alexander and Powers played in the short-lived post-Lou Reed version of the Velvet Underground fronted by Doug Yule (with whom they had played in the Boston-based band the Grass Menagerie), releasing 1973's Squeeze. Alexander went on to become a rock legend in Boston, fronting numerous bands, including the famous Willie Loco & the Boom Boom Band on MCA Records in the ‘70s. After Willie's Boom Boom days, he did a brief tour of France as Willie Alexander and the Confessions, with Walter back on bass. Myers went on to front Chamaeleon Church (with Garrahan and a young Chevy Chase on drums) and the third permutation of Ultimate Spinach (with Jeff "Skunk" Baxter on lead guitar), with both bands cutting late '60s albums for M-G-M.
Back Door Blues / Maybe More Than You (Capitol 5519 with Picture Sleeve)
Mean Motorcycle / Violet Gown (Capitol 5708)
No Reason Why / Violet Gown (Capitol 5725)
Who Do You Love / It Is I (Stanton Park SRE 004 with Picture Sleeve)
Bagatelle (Willie Alexander and Lee Mason)
What Can I Do / Such A Fuss About Sunday (ABC, 1968)
Chamaeleon Church (Kyle Garrahan and Ted Myers)
Camillia Is Changing / Your Golden Love (MGM 13929)
Listening (Walter Powers)
Cuando / I Can Teach You (Vanguard 35077)
Hello You / Life Stories (Vanguard 35094)
Bagatelle - (WANTED !!!! Help, please)
11 P.M. Saturday (ABCS-646)
Chamaeleon Church (MGM 4574)
Kyle Garrahan (as Kyle)
I Shall Be Released / Shame (Janus 1125)
Note: Walter Powers contributed bass. A third, unreleased song titled Bluegrass was also completed during the sessions.
Listening (Walter Powers)
Listening (Vanguard 6504)
Early Recordings: Demos, Acoustic And Live, 1965-1966 (Arf! Arf! Records, AA-059)
The Lost Tapes (1965-1966) (Arf! Arf! Records, AA-081)
The Lost - BlueBeat.com Play Free Music
Ted Myers Discography at Discogs
The Lost - Lost Tapes 1965-1966
by Richie Unterberger
Comprised of all the tracks from the band's three Capitol singles and a dozen previously unreleased tracks (most also cut at Capitol) from the mid-'60s, this is a better representation of the Lost than the material on their previous compilation, Early Recordings: Demos, Acoustic and Live. It's still not enough to convince those who weren't there that they were among the best unknown American bands of the time, or as good as their chief Boston competitors, the Remains. The Lost were somewhat eclectic, which is not always a strength; it sometimes sounds as if they couldn't decide whether to be folk-rockers, hard pop/rockers, or tough bluesy ones. Their debut single, "Maybe More Than You," along with its bluesier B-side, "Back Door Blues," is their peak, as it's something of a mix of Dylan's early electric sound, the Rolling Stones' snarl, and British Invasion harmonies. The Lost were also adept at exploring quite a few styles, something that marks them well off the usual garage-band path. "Here She Comes" is almost doo wop in construction; "Always I Know" is Beau Brummels-ish folk-rock; and "No Reason Why" is engaging garage rock with pop hooks and harmonies. It's fair-to-decent period rock, although the impression is one of a band yet to maximize its potential or coalesce its vision. (8)
Chamaeleon Church - Chamaeleon Church (1968)
Well, everyone knows that ...
Psychedelic pop band Chamaeleon Church is best remembered as the launching pad for a pre-Saturday Night Live Chevy Chase. The group formed in Boston in 1967 after singer/guitarist Ted Myers, an alumnus of the Lost, met multi-instrumentalist Tony Schueren through mutual friends in another Bosstown Sound band, the Ultimate Spinach. After recruiting another Lost alum, Kyle Garrahan, to play bass, Chamaeleon Church (so named -- and, presumably, misspelled -- in honor of the Myers/Schueren composition "Camillia Is Changing") completed its lineup with Chase, whom Myers met while recording in New York. At the time Myers was under contract as a songwriter to N.Y.C. producer Alan Lorber, who agreed to produce the fledgling band's debut LP -- Chamaeleon Church later renounced the end result, issued on MGM in 1968, claiming Lorber's soft psych production ethos compromised their original vision.
The band dissolved soon after a brief tour that included an appearance on the ABC television special What Gap? Myers and Schueren next reunited in the Ultimate Spinach, with the latter also collaborating with Chase on some sketch comedy pieces for The Groove Tube. Myers later worked at Rhino Records, while Schueren went on to join the staff of the National Lampoon, appearing regularly on their Radio Hour as well as on the Grammy-nominated albums The Missing White House Tapes and Goodbye Pop. Chase, of course, joined the original cast of the landmark NBC sketch comedy series Saturday Night Live, becoming the program's first breakout star -- he left after one season to pursue a film career, appearing in comedy classics like Caddyshack, National Lampoon's Vacation, and Fletch before his career nosedived thanks to a series of painfully unfunny features. He also hosted his own notoriously short-lived late-night talk show.
Listening - Listening 1968
by Joe Viglione
Michael Tschudin led the Boston-based band Listening, but it is the contributions by former Velvet Underground bassist Walter Powers and guitarist Peter Malick which make this album historic. Powers performed over the years with keyboardist Willie Alexander as members of Capitol Recording Artist the Lost, the aforementioned Velvets, and on Autre Chose, a live album from Alexander released on New Rose in Paris. Peter Malick is best known for being Otis Spann's guitarist and a member of the James Montgomery Band on Capricorn. Their legendary status in Boston rock & roll history brings positive notoriety to the fine music on this Vanguard release. "So Happy" is the poppiest tune, a cross between the Monkees and the Mojo Men, which is quite misleading. The album runs the gamut from pop to blues to jazz. "Baby Where Are You" is some strange fusion of Motown and the Spencer Davis Group which then veers off in a frenzy of effects and musical jam. Eight of the 11 tracks are written by keyboard/vocalist Michael Tschudin, with three titles attributed to the group. "See You Again," one of the group efforts, is another jam with riffs the Who would greatly appreciate. Phish's success validates how ahead of its time Listening truly was. There is certainly an identity here as Tschudin takes the boys through all sorts of styles inside the tune "Laugh at the Stars." Elements of Jimi Hendrix, the Band, and the Vanilla Fudge swirl around in the pretty decent production by Michael Chechik. Where peer group the Peanut Butter Conspiracy sound forced, Listening is right on target. There's just no hit single here that could launch these gentlemen from the trap known as "The Bosstown Sound." "9/8 Song" is definite jazz, kind of like latter-day Rascals, and we know how good that was, and how far it didn't go. "Stoned Is" sounds like the Velvet Underground performing "Chest Fever" by way of Lou Reed's "New York Stars" from Sally Can't Dance. It would fit perfectly on the '60s film soundtrack Psych-Out. Listening has punch and creativity which deserved a better fate.
Kyle Garrahan -Times That Try a Man's Soul
INFO - ???
Willie Alexander & The Boom Boom Band
Thanks Sons of Son of DoLLs...ddd
Early Recordings Demos, Acoustic And Live, 1965-1966
Flat Earth Society - Waleeco + The Lost ---(Wanted !!!)
Thanks WILLY , i think.... 8))