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H. P. Lovecraft (album)

H. P. Lovecraft
HP Lovecraft album.jpg
Studio album by H. P. Lovecraft
Released October 1967
Recorded Mid-1967, Universal Recording Studios, Chicago, IL
Genre Psychedelic rock, folk rock
Length 32:10
Label Philips
Producer George Badonsky
H. P. Lovecraft chronology
H. P. Lovecraft
(1967)
H. P. Lovecraft II
(1968)
Singles from H. P. Lovecraft
  1. "Wayfaring Stranger"
    Released: September 1967
  2. "The White Ship"
    Released: November 1967

H. P. Lovecraft is the debut album by the American psychedelic rock band H. P. Lovecraft and was released in October 1967 by Philips Records. It blended psychedelic and folk rock influences and was marked by the haunting, eerie ambiance of the band's music, which itself was often inspired by the literary works of horror writer H. P. Lovecraft, after whom the band had named themselves. Although most of the album comprises interpretations of traditional and contemporary folk songs, it also features the self-penned compositions "That's How Much I Love You, Baby (More or Less)", "The Time Machine", and arguably the band's best known song, "The White Ship". The traditional song "Wayfaring Stranger" was released as a single just ahead of the album in September 1967 and "The White Ship" was issued shortly after the album appeared, although neither single reached the charts. Like its attendant singles, H. P. Lovecraft was also somewhat commercially unsuccessful and failed to reach the Billboard Top LPs chart or the UK Albums Chart, although it did sell reasonably well over time.

Recording sessions for the album took place in mid-1967 at Universal Recording Studios in Chicago, with the band's manager George Badonsky producing and Jerry DeClerk engineering. Progress on the album was very rapid, with the band recording many of the songs virtually live in the studio, although horns, woodwind instruments, and a nine-piece orchestra were overdubbed onto the tracks after completion of the initial sessions. The album is highlighted by the vaguely sinister ambiance of the band's music and by the oddly striking harmonies that resulted from the juxtoposition of guitarist and ex-folk singer George Edwards' folk-influenced singing and keyboardist Dave Michaels' classically trained, operatic phrasing.


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