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"Psychedelic Moods" 1966 (Cameo Parkway p-7051) [mono]
"Psychedelic Moods" 1966 (Cameo Parkway sp-7051) [stereo]
"Psychedelic Moods" 1989 (Cicadelic) [remix]
"Psychedelic Moods" 1993 (CD Collectables 0521) [remix]
"Psychedelic Moods" 199 (Thorns, Europe) [remix]
"Psychedelic Moods" 2004 (CD Radioactive 074, UK)
"Psychedelic Moods" 2004 (Radioactive 071, UK)

Something of a psych head's dream, this LP dates from August 1966 when conceptual acid albums was still uncharted territory. Consequently Rusty Evans and his NYC ex-folkie pals managed to create an LP that sounds fresh and unique even 40 years on. The 12 tracks are essentially a series of musical trip reports covering the whole emotional spectrum from chaos and euphoria to introspection and melancholy with an intense, challenging atmosphere. The three tracks that have been comp'd give you an idea of the LP's full lysergic madness. Due to the bad remix originals used to be mandatory for this one, but finally the original trip became available via the exact Radioactive bootleg. Stereo copies are preferrable in my opinion, although the mono is enjoyable too, with a garage edge. An original Canadian pressing with Quality labels exists. Collectables' "Psychedelic Moods" series (vol 2-5) has some session outtakes and an interview with Rusty; vol 2 is an excellent garage psych sampler featuring Hydro Pyro which was a Deep-related project. [PL]
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This groundbreaking album is widely misunderstood. It may have originally been intended as an exploitation record, but all these years later it sounds like the best NUGGETS-era garage album ever. Rusty Evans' songs are great, spanning snotty garage, melodic pop and thoughtful experimentation. Regardless of the reason, he sure was inspired when making this album, and while maybe the purposely awkward phrasing on "Psychedelic Moon" comes off as a gag, it's a fascinating one. Beyond that, it's hard to find any fault with killer songs like "Turned On," "Trip #76," "It's All A Part Of Me" and "On Off Off On." While the Shadows of Knight and Blues Magoos and everyone else were packing their albums with filler, here's a 1966 record full of creative, diverse originals. This is the kind of great record that could only have happened before the genre had any established "rules." Evans' creativity shines bright. [AM]
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Killer LP from '66 ranging from punk psych, folk psych to true madness, it sounds like a missing link between the beatnik/prankster era and full on psychedelia. Just one year later this album would probably have been impossible to release on a major label - I don't think the A&R's at Cameo had a clue to what this was about at all! Titles like "Trip #76", "Turned On", "Color Dreams" and "Crystal Nite" should give a hint. It may look like an exploitation album, but it's much more than that. The songwriting is inspired and the recording/instrumentation is full of spontaniety and variation. It sounds like they had a blast recording this album. Lots of it actually sounds like it was recorded in early mornings, after nights of tripping, and it's full of all sortsa sound fx in the mix! The stereo mix is widely panned and reveals some mad soundscapes - one of the more successful examples of early stereo. The mono mix on the other hand has more punch in the bottom end, and sounds more "garagey" over all. Some songs are totally different in mono and stereo. [MM]
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see -> Freak Scene; "Fifth Pipe Dream"; Marcus

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The Deep (band)
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The Deep was a short-lived American rock and roll band formed in Philadelphia, Pennsylvania, during the mid-1960s. Their style of rock and roll can be characterized as protopunk at times, while at others, their music delves into more psychedelic sounds. In fact, their biggest claim to fame is probably that the title of their sole album, The Psychedelic Moods of The Deep, is most likely the first time the word "psychedelic" was used in an album title.

Information on the band is sparse at best, and the identity of only one member is known for sure: that of lead guitarist, singer, and songwriter Rusty Evans. Evans had performed as a Greenwich Village folk musician in the late 1950s and early 1960s, recording three albums under his own name, and was later a member of the folk group The New Christy Minstrels. Musician David Bromberg is also known to have played on The Deep's one and only album, although it is unknown on which tracks he played.

The Psychedelic Moods album was recorded in August 1966 for the Cameo-Parkway label, which was also home to fellow protopunkers Question Mark and the Mysterians. While the exact release date of the album has yet to be definitively established, the record most likely had been shipped to stores by late October 1966, based on the known release dates and catalogue numbers of other Cameo-Parkway albums. This would make it the first album to include the word "psychedelic" in its title, beating out the Blues Magoos' "Psychedelic Lollipop", released as early as November 1, 1966, and the 13th Floor Elevators' "The Psychedelic Sounds of the 13th Floor Elevators", released around the last week of November 1966.

The Deep's Psychedelic Moods did not sell well, and the group did not tour to support it. They seem to have existed as a studio-only band, and, aside from sessions for their album, produced no other recordings under that name. Whatever the case, Rusty Evans left Cameo-Parkway to record a new album for the Columbia Records label in 1967. Ditching the name The Deep, this second album was credited to the band Freak Scene and entitled Psychedelic Psoul. The sound of this album is very similar to that of The Deep's album, and should be considered a follow-up in all but name. As its title suggests, Psychedelic Psoul is comprised of psychedelic rock songs, and is very much a product of its times. Unfortunately, Freak Scene was doomed to the same fate as The Deep. They did not tour, and their album did not chart. The album has been rereleased by Sony BMG through Columbia Records on vinyl.

After this venture, Rusty Evans gave up psychedelic rock and roll for good, returning to his folk roots. He recorded under his birthname Marcus for a self-titled album in 1969, which is often lauded as an early example of psych-folk music. He did not record another album until 1979, when he released "Life's Railway Heaven", another folk effort. Evans has recorded sporadically since then, usually in the style of folk or rockabilly music.

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