Original Broadway Cast “Hair” (RCA Victor)

If a musical staged and recorded by so many different people can have a definitive version, this is very probably it, as close to the combined vision of Ragni, Rado and MacDermot as we can get today. Twenty two songs are performed by the Broadway cast (including Diane Keaton and Melba Moore) and band, and one of the first things you notice upon listening is just how short the tracks are. The brevity, in some cases, is criminal with many of the best tunes finishing just as you were getting into them. Blink and you'll miss 'em. The 'adult content' is also evident from the off, with drugs, explicit sex and racism addressed within the first few songs. There's none of the nudge-nudge-wink-wink euphemisms used to avoid Parental Advisory stickers these days so we can only wonder how it sounded four decades ago. But is it actually good? Well, yes. Besides the songs being far too short the vocals are too loud but neither can hide the quality of the music. At their worst the singers are merely competent and don't ruin the whole thing as on some less fortunate versions. All the 'hits' are here; 'Easy To Be Hard', 'Ain't Got No', 'I Got Life', 'Be-In', Walking In Space', the title track itself and the climax, in the form of 'The Flesh Failures (Let The Sunshine In)' and it's easy to sit through the whole thing. But not necessarily as easy to work out what it's all about.

Galt MacDermot “Disinhairited” (RCA Victor)

Recorded in 1969 by Galt McDermot and featuring members of the original cast, this album features 18 tracks that didn't quite make the final cut for the original cast recording. The opening "One Thousand Year Old Man" is a funky uptempo groover that, apart from a choral sections, remains focussed and driving throughout. Ditto on "Climax", that closes Side One. There's some great arrangements on this LP, for example the pacy "Mess O'Dirt" and the downtempo, mournful "Eyes Look Your Last" - but you need patience to wade through some of the slushy choral vocals that do rather swamp the mix on several tracks. This album works best when only the solo vocal performances are allowed into the mix, allowing us to enjoy some of Galt's tight funky rhythms.

Galt MacDermot "First Natural Hair Band" (United Artists)

With a line up of musicians that all played in the New York stage production since the musical was launched including Idris Muhammad on drums and ol' Galt himself on piano and organ this is, in many people's opinion, the Hair piece-de-résistance, as a direct consequence of the inclusion of "Ripped Open By Metal Explosions"; a composition that you'll not find featured on any other Hair albums and was only recently reissued by Stones Throw on a 45. Described on the liner notes as "a frightening interlude to hallucinations", "Ripped..." is a slow-tempo, tight and beaty dirge featuring of somber, wailing mournful horns and understated wah-wah guitar solos. Hailed as a masterpiece by lovers of the musical and beatheads alike, it forms the defining moment of what is, relatively speaking, a very faithful Hair album with the likes of "Coloured Spade" and "Sodomy" played with precision but without some of the carefree emotion that the philosophy of Hair intended to create.

Galt MacDermot “Hair Pieces” (Verve)

According to the sleevenotes, it was producer Rick Shorter's idea to record songs from the musical in a largely instrumental context. With a band including Hugh McCracken, Eric Gale, Jimmy Lewis, Bernard Purdie and Galt himself on keys this would seem to be a good idea. And it was. Although the sung choruses sometimes take the sound dangerously close to muzak, it mostly comes across as a down-market homage to Richard Stepney, with pleasing shuffling on the drums throughout. '3-5-0-0 (Three- Five- Zero-Zero)' is the only track that really doesn't work, suffering from too much oompah. But this is more than made up for by the title track from the musical and 'Dead End', heralded by screeching tires and sirens and climaxing with some excellent r'n'b sax and guitar.

Original Soundtrack Recording “Hair” (RCA Victor)

A bumper double-LP taken from the original soundtrack recording of the Hollywood film production of "Hair" recorded and released around the 10th anniversary of the musical. Across the two platters we get no-less than 25 of the arrangements composed for the original stage production, and with a Hollywood budget comes a Hollywood style band and production; including Bernard Purdie on drums, Cornell Dupree on bass and The Sylistics providing vocals. As you might expect for such a project, the music is both well polished and without surprises, so don't expect much more than the most convervative of arrangements and the instrumentation is more reflective of 1979 than 1969 - so those allergic to slap-bass should beware!

Original Off-Broadway Cast "Hair" (RCA)

Here are the real freaks! This is a 1967 recording of the first proper off-Broadway production in the Public Theatre, and while it's most definitely recorded on the cheap and maybe the company are not the best singers in the world, this album has an innocence and charm that you just won't find on more opulent and star-encrusted productions. A lot of that comes from the fact that they couldn't afford an orchestra or anything elaborate for accompaniment, so it's strictly drums, bass and guitar all the way - which is of course a very good thing. With such a stripped-down backing, the choppy funk of some of the cuts really comes into prominence, such as on the rarely covered 'The Climax'. Equally though, the company really miss the target with some of it - its hard to find a limper version of 'Aquarius'. Like the production, this album is as cheap as chips if you see one, so why not.

The Aquarian Age "Hair" (Itco)

While the sleevenotes clearly state the names of the producers and executives (one of whom even manages to crowbar a shout out onto the end of 'Ain't Got No') they aren't very illuminating as to who The Aquarian Age actually were, beyond claiming them to be 'ten talented people from Texas'. The singers sound like the graduate class of a stage school and the 'tribal love-rock' is largely reinterpreted as rock and roll, making this sound like a Cliff Richard movie in parts (although it probably isn't as intriguing a proposition as that may make it sound). Fourteen songs are listed, including 'Sodomy', and some are medleys, true to the original cast recording, so 'Colored Spade' gets a look in too. But bizarrely 'Let The Sunshine In' actually turns out to be 'Where Do I Go?'. There's nothing particularly bad about this effort but it really doesn't add anything to the 'Hair' legacy and ultimately smacks of bandwagon jumping by people with an eye for a quick buck but without much creativity.

The Ray Bloch Singers "Hair" (Ambassador)

Ray Bloch had a long career in TV and radio as an orchestra leader and composer (for the Ed Sullivan show amongst others). He also released a few low-budget covers LP’s on the Ambassador label. I'm not quite sure why Marble Arch needed to change the identity of this recording but I much prefer the UK sleeve art with 'Wigs By Beyond The Fringe' (a legend familiar from more than one of Marble Arch’s LP’s). Musically this is somewhere between sunshine pop and sixties beat. The instrumentation is great, with plenty of Hammond riffing throughout, and vibes, alongside the expected brass, and the Ray Bloch Singers sound not unlike Impulse's California Dreamers or Enoch Light's chorus. The choice of songs is safe, with 'all the hits from the smash Broadway musical' and none of the more controversial numbers. The LP gets under way in agreeable fashion with a swinging 'Aquarius' and this is followed by one of the best versions of 'Donna', introduced by some tight sax. The rest of side one is easy listening but proceedings stumble at the beginning of side two. For 'Hair', normally a no-brainer, the rhythm section should be had up before Trading Standards, for the way they stomp all the way through it. It takes the final song to redress this. 'Let The Sunshine In' is pretty hard to get wrong but this attempt more than does it justice, with more honking sax, jazzy guitar and loads of Hammond, and oddball quiet lead-ins to the chorus setting it apart from the normal run of the mill. The more observant of you may just recognise this from Kon and Amir's fourth volume of 'On Track'.

Bobby Bryant "The Jazz Excursion Into Hair" (World Pacific Jazz)

Yet another big band take on the musical, with trumpet player Bobby Bryant taking centre stage. He's more than ably abetted by an ensemble including Joe Sample on piano, Bud Shank on flute, Wilton Felder on bass and Paul Humphrey on drums. Yet this never feels too brassy, unlike the First Natural Hair Band. Shorty Rogers indulges in extended arrangements for each track and the result is one of my favourite 'Hair' LP's. Nowhere is this more evident than 'Let The Sunshine In'; which is introduced by a great 'Wiggle Waggle'-esque bassline and never looks back. Also worth a mention is his arrangement of 'Be-In (Hare Krishna)' with some great more flute lines from Bud Shank.

Stan Kenton “Hair” (Capitol)

Reading the slightly smaller print on the front cover tells you that this recording comes 'from the creative world of' Stan Kenton. Reading the not-exactly-understated sleevenotes on the back won't give you any better idea of the part he actually took in it's creation, but reading the long list of personnel yields that he played piano and led the band, which also included Victor Feldman and Emil Richards, and Bud Shank and Paul Humphrey from Bobby Bryant's 'Jazz Excursion...'. I suspect that not a little of the quality of this recording was down to the arranger, Ralph Carmichael, who'll be familiar from 'The Cross And The Switchblade' OST, amongst others. Despite the odd dash of fuzz guitar or exotic percussion, this sticks in supper club, big band territory for the most part. Although tracks like 'Sodomy' and 'Colored Spade' are tackled, some bright spark had the idea of recording the half the tunes as instrumentals, neatly avoiding any problematic lyrics. The chorus adds a pleasant, sunshine pop dimension, especially on 'Aquarius', but these two aforementioned tracks are probably the best cuts on the LP. 'Colored Spade', with Carmichael's trademark, b-boy friendly drums, is worth the price of admission alone.

Robert Byrne "Electric Hair - Switched On Hits" (Evolution)

As nauseating and teeth-gnashing as some 'all-Moog' originated releases can be this album has a quirky charm that cannot be ignored or dismissed. "Aquarius" and "Good Morning Starshine" are well interpreted, up-tempo numbers and are rocketed into another dimension with the addition of spooky space effects. The opening two minutes of "Three Five Zero Zero" is perhaps better known as "Ripped Open By Metal Explosions" and is, like its alter-ego, a triumphant down tempo dirge with plenty of head nodding beats. With the exception of "Be In (Hare Krishna)" and "Hair", the album steers clear of Perrey-esque Moog bleeps and electronically generated fart-noises and instead concentrates on quality electronic composition; check out "Let The Sunshine In" and "Walking In Space" for more examples of how it can be done properly.

Mort Garson "Electronic Hair Pieces" (A&M Mayfair)

Unlike Byrne, Garson opted for the ‘all electronic’ approach and so out went the drum kit and in came the world’s first (and possibly worst) drum machine. As a result, the arrangements are clinical, sparse and lacking the warmth that natural instrumentation brings to the compositions. Again, ‘Three-Five-Zero-Zero’ offers some consolation as it takes ‘Ripped…’ to a new dimension before dissolving into a free-jazz Moog breakdown that perhaps, unintentionally, evokes images of MacDermot’s ‘frightening interlude to hallucinations’ better than others. Eek! By the time we reach ‘Let The Sunshine In (The Flesh Failures)’ we have descended into full ‘Popcorn’-territory and all hope is lost.

Peter Nero "From Hair to Hollywood" (Columbia)

Only half an Hair album really, and you might equally see this titled 'Midnight Cowboy' as the record company obviously couldn't quite decide which particular smash to cash in on, so went for both. Peter Nero comes over all Moog, which can only be a good thing for all of us - side one contains a fantastic wibble-mongous version of 'Windmills of Your Mind', but let's focus on side two, which is completely devoted to Hair selections. Happily, the cream of the funky cuts are covered, with rousing versions of 'Aquarius', 'Let the Sunshine In' and 'Be-In' all holding the interest. Even the slowies - 'Where Do I Go' and 'Good Morning Starshine' have some marvelous touches, but save the biggest salute for possibly the fastest, most frantic rendition of the title track you ever heard. There must have been smoke coming from his old Joanna on that one - a real blur of fingers and ivories all mixed together in a riotous brew. Phew - this is just about as good as Peter Nero gets...

Don Kirshner "...Cuts Hair" (RCA Victor)

I've seen other pressings of this LP with a sleeve depicting many locks of hair. This one here is one of my favourite sleeves, full stop. What about the music? It's another LP divided between vocal and instrumental cuts but, irritatingly, some tracks are neither proper songs or full instrumentals, with just the sparest of vocals on the choruses. Piano and flute lead the band with good string arrangements and percussion adding up to a very soulful sound. The opener, 'Let The Sunshine In', is nicely doomy and 'Ain't Got No - I Got Life' is great, with loads of breakdowns, funky bass and organ chucked in for good measure. And on 'Good Morning Starshine' the repeated, piano bass line and high-hat breaks bring 'Shaft' to mind. Herb Bernstein put a fair amount of thought into the arrangements making this another effort well worth a listen.

Terminal Barbershop "Hair Styles" (Atco)

It is long been rumored that the Terminal Barbershop was none other than acid rockers Ars Nova, who released an acclaimed album in 1968 that took classical Baroque arrangements and fused them with the modern psychedelic sounds of the era - and vice versa. Alas, this fusion was short lived and but one year after this classical-psyche opus, ex band members found themselves on the Hair gravy train. A little of the spirit of Ars Nova lives on in the arrangement of this album with a classical string quartet, harpsichord, oboe, French horns and flute all added to the usual guitar, organs and drums combo. This synergy of musical styles is perhaps best illustrated with the album opener "Let The Sunshine In" that begins in a classical style before a beaty celebration fires up the track to an epic ending. "Air" is presented as a light summery breeze with happy horn interplay and harpsichord leading the way, whereas "Good Morning Starshine" and "Aquarius" are cut from a far more modern cloth and are pacy, brassy and beaty in equal measure. In summary, a Hair oddity that you should really try to get a listen to...

Dennis Coffey Trio "Hair & Thangs" (Maverick)

Another record that isn't entirely full of Hair covers, but uses the tagline to entice punters into its charms. The original number 'Hair and Grits' just about sums up where this album is coming from, as Detroit session player Coffey adds a slow and dirty guitar and organ groove to everything on show on this super-rare album that has famously been mined for breaks over recent years. Do yourself a favour and pick up the cheap reissue and enjoy fabulous takes on 'Let the Sunshine In' and 'Aquarius' and a brief little snatch of 'Sodomy', as it were...

Original London Cast “Hair” (Readers Digest) / Original London Cast “Hair” (Polydor)

After much success on Broadway, it wasn't long before "Hair" reached London with a cast including the likes of Marsha Hunt, Oliver Tobias and Paul Nicholas amongst 'the tribe'. It also wasn't long before a recording was pushed out for public consumption by Polydor, with a Reader's Digest issue to follow. Nicholas' interpretation of "Where Do I Go?" is worthy of a mention but apart from that there's not many other highlights on this quite pedestrian interpretation. They even conspire to make a mess out of fave "I Got Life", adding rock touches where they frankly, aren't needed.

Original Soundtrack Recording “Hair” (Tip)

We've not much by the way of background information to tell you about this album and I'm afraid there's no liner notes to use as reference - saying that, there is a passing reference to "The Twangy Gang And Their Friends", so answers on a postcard if you could shed some light on this... Let's cut straight to the music; you get a head-nodding "Coloured Spade" and a great interpretation of "Where Do I Go", plus a great stripped down version of "Walking In Space" that will entice you in and get you hooked.

Original German Cast "Haare" (Polydor)

Quick as a flash, within 12 months of the musical opening on Broadway, and Hair fever has spread across the Atlantic and European cast recordings began to appear. This version, sung exclusively in German, is quite a breath of fresh air - well arranged and produced, played by a more than half-decent (albeit un-named) band and very well recorded. "Manchester" is beaty and funky, "Black Boys, White Boys" is pure Euro-pop and finished with some catchy organ licks and "Finale" (aka Let The Sunshine In) has a relentless bass loop that powers the song to its, ahem, finale. All in all, a competant and polished series of arrangements - well work taking a listen to this if you get a chance...

Original French Cast "Hair" (Philips)

All Googling of the Tully +4, the band on this one, leads straight back to this LP. And none of the singers listed are familiar names, either. They do a reasonable job, nonetheless. According to the sleeve 'Hair' should be 'an eventful experience' so, accordingly, the songs have been rearranged in groups based around seven themes. 'Tune In, Turn On, Drop Out' starts proceedings well, with 'Aquarius', 'Hare Krishna' and 'Where Do I Go?' 'Trip-Out' is also good with 'Walking In Space' featuring the only use of vibes I can think of on any 'Hair' LP, some great echoed spoken word and a meaty 'Three-Five-Zero' (sic). Predictably, proceedings close with 'Flash Failures' and 'Let The Sunshine In'. It still sounds like a cast recording, especially with the numerous vocal links, not normally featured on other 'Hair' LP's, but it certainly sounds as if their's was a production worth catching.

Original Australian Cast 'Hair' (Spin)

Zut Alors! The French version of our beloved score does rather take some getting used to... There's a pop-stomping version of "Manchester, England" that gets the foot tapping and a punchy, albeit short take on "Dead End" that are both worth checking out. Over one Side Two, "Bonjour Toi La Lune", sung by Jeanie Bennett, is a perfect slice of Euro-pop.

Original Japanese Cast 'Hair' (RCA Victor)

Money was spent on the cover of the Japanese cast recording; not only is it gatefold it also features a folded insert of lyrics and cast photo. Unfortunately the notes are in Japanese so I can't decipher much, although I can read the name Bertrand Castelli, who produced the original Broadway show before moving on to this. But curiously, on the lyric sheet, some verses of a few songs are printed in English. And this is typical of the actual recording with English interrupting the Japanese often and unexpectedly (even if you have been looking at the lyrics!). The chorus don't sound like they have the foggiest about what they're singing (in English; I can't comment on the Japanese). But the female lead on 'Aquarius' sounds like English is her first language and does a pretty good job. The mix of languages and the uptempo treatments of many songs, plus the odd (in both senses of the word) nursery rhyme interludes, make this an entertaining listen. The sound quality is let down a little by cramming seventeen tracks onto flimsy vinyl. And Large Professor is supposed to have sampled one of the tunes for Nas' 'Illmatic' although I haven't spotted it yet. My favourite songs are 'Three-Five-Zero-Zero' and 'Let The Sunshine' which starts out in Japanese before finishing in English.

Jason Ryder Sound "Hair" (Music For Pleasure)

Sounds like they got Eddie Calvert to guest on 'Good Morning Starshine'... Parp, parp again, and a good old parp for luck! Nice groovy version of the seldom heard 'Coloured Spade' just about makes this worthwhile... Only just, mind...

Geoff Love "Music And Songs From Hair" (Ace Of Clubs)

Ace Of Clubs was a subsidiary label of Major Minor and this album was recorded within 2 months of Hair opening in London. Geoff Love was assisted by Alyn Ainsworth and Peter Bown in the production of this record but no mention of the musicians who played on the record is given.Shame, as there are some great interpretations on this album - "Donna" is transformed into a groovy British beat-pop track, "Coloured Spade" is delivered in equaly rawkus style, complete with crash-bang-whallop drums and the title track is delivered with similar aplomb. "Where Do I Go?" is brilliantly arranged but suffers from a less than convincing vocal performance. The album is rounded off with a barn-storming "The Flesh Failures (Let The Sunshine In)" that builds and builds to a massive finale. Phew!

Original London Cast "Fresh Hair" (Polydor)

The stinginess of Polydor only putting out a single LP of the London Cast version of course led them to get right in there again for more cashback with another album with the tatty bits they left off the first one, plus to make up the time, a few odds and sods that Galt and his chums had released on their subsequent LPs. Stand by for more thespo-styled caterwauling from Elaine Page and Paul Nicholas, squeezing the life out of the hippy dream as they merrily go about their business. There are expected re-visitations for the main theme and 'Be-In', but - where else could you find an excellent cover of 'One Thousand Year Old Man'? Not quite as out-there as the original, granted, but hey, it's our Mr. Nicholas after all, but the groove is a good one and a really good reason not to overlook this album as readily as the red one.

"Hair - Rave Up" (Pye)

Now then, here's a thing and quite a rare one too. According to the sleevenotes, at the end of performances at London's Shaftsbury Theatre, the audience would be invited on stage for a titular rave-up that would often progress into the wee small hours. This album mostly features the sort of thing that would be cranked out to keep the party going, and fine stuff it is too! Kicking off with a fantastic take on 'Hair', with Alex Harvey, in his unmistakable way, giving a far more powerful performance than those damned thesps. The only other Hair track here is a wild and feedback-laden freakout take on 'Harekrishna' that must have been the one to finally convince the punters to push off home. Aside from that there are a couple of beaty Harvey numbers that are pretty cheeky, a super take on the R&B mover 'El Pussy Cat' and a couple of Derek Wadsworth instrumentals, the best of which 'Keep Out' sounds like they may have taken a little more trouble over the recording of. All in all this LP makes for a right old time and is well worth your trouble tracking down.

"Hair - The American Tribal Love-Rock Musical" (Concert Hall)

The only accreditation on this record is that the arrangements and musical direction is undertaken by a certain L. Bailly. Well, whoever he was, he did a pretty decent job - very good in parts and featuring a band that sounds like it was drafted in from the nearest US Air Force base. The band is tight and scratchy, offering some fine funk on the regular winners like 'Donna', 'Coloured Spade' and the like. The track selection is quite adventurous too, and the second section of 'Black Boys, White Girls' has a super groove to it. Well worth finding.

Graham Walker Sound "Hair" (Saga)

When reviewing those released produced solely for the UK market, this album has to be one of the best and most consistent out there - and the added bonus is - it can usually be found for pence! Arranged by Graham Walker and performed by "The Graham Walker Sound" - a tight 5-piece comprising the cream of some the UK's finest sessioners namely Alan Hawkshaw pumping the Hammond Organ, Les Hurdle, Clive Hicks and Les Thatcher on guitars and Byron Davis on drums - this album is a must in our books for the inclusion of the oft-neglected "Coloured Spade" that features both thumping drums and some super funky organ work by Hawkshaw. This same drum and organ interplay is evident on "Where Do I Go" and on the version of "Donna" that is resplendent with added fuzz guitar and a great instrumental breakdown. Add into this list the beaty version of "Black Boys, White Boys" and you know you've struck Hair Gold without proper cash folding having exchanged hands. Great stuff.

Although released in the UK through the Saga(link) label, this album was given a reissue on the Boulevard label a decade after the original release. Again, nice and easy to find, just as we like it...

Sandy Brown & His Gentlemen! Friends "Hair at its Hairiest" (Fontana)

What a frightening cover - and thank heavens for that sporran! The first thing you need to know about this album is that Sandy Brown plays the clarinet in a trad-jazz kind of way. Coupled with the hair geezer on the sleeve, that's quite enough to put you right off isn't it? Add to that the fact that for some reason record dealers will demand massive sums for a copy in accordance with the RC guide - presumably due to an early appearance by 'Johnny' McLaughlin doing a rather restrained Kenny Burrell impression. Why bother with this one then? Amid fairly steady perambulations throughout, just the few brief minutes of the title track explode into life, with Bobby Orr giving it loads on the kit and the whole band kicking right off. 'Wee Johnny' even gives us a flavour of where his head was heading with a bit of a free jazz solo too - yikes all round on this LP, but if you spot it for cheap - go for it. Also look for an issue on the Wing label too!

Boston Light Operatic Society "Hair" (Muza)

Although released on the Polish Muza label this recording is licenced from Avenue Recordings, so some Vinyl Vulture-esque style detective work will be required if we are to discover the true origins of this recording. Listening to the album, the soloists and singers would undoubtedly point the finger at dear old Blighty as the origins. It's a shame the Boston Light Operatic Society are not named as we could then toast them on a decent stab at the Hair arrangements. "Aquarius", "Hair" and "Coloured Spade" are all well interpreted, especially the latter that features some Mohawks-style organ riffing. "Good Morning Sunshine" is as light as a summer breeze with some jazzy flute touches that are usually quoshed in the mix by choral voices. Good work, whoever you are...

James Last "Hair" (Polydor - Germany) / James Last "Hair" (Polydor - UK)

Around a decade ago, an average trawl of your local charity shops on a midweek lunch break would usually net you a copy of this Vinyl Vulture staple. Copies began to dry up as the eBay boom hit dizzy heights around 4 or 5 years ago, but now the hype is elsewhere and equilibrium has been re-established, so this top drawer easy instrumental version can once again be cherished for the outlay of a 50-pence piece. First released in Last's native Germany, the UK release offers a much more interesting sleeve and so is considered more desirable than its European counterpart. Opening with a subdued and quirkily-come- funky take on "Aquarius", Last's orchestra keep in tight and funky on "Coloured Spade", "Ain't Got No" and a fantastic "Walking In Space". As an arranger who is scoffed at and yet loved in equal measure, this is one James Last release that we guarantee is definitely worth your time.

The London Theatre Ensemble & Chorus "Hair" (Somerset)

Eeek! Les Humphries! Time to take a deep breath and hope for nothing too dreadful! The first thing to say about this affair is that the only way the assembled players got into a London Theatre is if they bought themselves a ticket. Those heavy German accents really give the game away, but given the Humphries connection and that this is a German release on Somerset, part of the mighty Leo Muller empire of course, the plot thickens even more. Against all judgment then, this album is rather excellent. A choppy little combo with added brass and organ rip through the quality numbers and even though that ever-present Humphries chorus crops up now and again, it doesn't always spoil things when it does. There is an awesome take on 'Walking in Space' with a burning slow organ groove, and the apple in the strudel, as it were, is a fantastic original number (credited to Ralph Bonda, which may or may not be a Humphries alias I suppose); 'Soulhouse' is totally fabby and wonderful and if it is our Les, it's the best damn thing he ever had anything to do with. Recommended.

The Boston "Hair Dance Selection" (Cornet)

This looks suspiciously like the all-too-common story of a British beat combo washing up in Germany and getting a chance to cut a record by being in the right place when the producer had the session booked. Recorded at EMI studios in Cologne, The Boston as their biographies relate on the rear sleeve, come from exotic places like Blackpool, Stanmore and Dublin, and indeed, they sound just about what you would expect an underachieving freakbeat combo to sound like in the late 1960s - a bit beaty and a bit psychey and all told, pretty decent. Check out great versions of 'Aquarius' and 'Walking in Space' which wouldn't be out of place if you heard them on a Rubble-type compilation. Excellent stuff, apart from 'Frank Mills' where it looks like they got one of their groupies to do the vocals; "Eva, a Svedish girl, 18 years from Norrköping" it says here…well, you would, wouldn't you...

Bruce Baxter 'Hair' (Hallmark)

No self respecting budget label left the long sixties without at least one crack at cashing in on the 'Hair' phenomenon. Hallmark's attempt wasn't too bad at all and is notable, apart from anything else, for pretty comprehensive sleeve notes and credits. Anyone would think that they actually had a budget for this one! Although it has to be said that the office typewriter must have been on the blink (that or the copy checker) - Gerome Ragne and 'Frank Mells' anyone? Wih the money they hired a decent band and a proper chorus to back the featured singers. There are a few am-dram vocals up front but also some pretty decent performances. Favourite tracks are 'Ain't Got No... ...I Got Life' and 'Good Morning Starshine', which squeezes in an open broken for your pennies, before finishing with a brief, unlisted chorus of 'Let The Sunshine In'.

Edmundo Ros 'Hair Goes Latin' (Phase 4)

This is all wrong. Who on Earth agreed that rearranging the American Tribal Love-Rock Musical as the soundtrack for Derby and Joan clubs across the counry to come dancing was a sensible idea? Er, Roland Shaw, apparently. And then they packaged it in a sleeve sporting three desperadoes clad in ponchos, dodgy facial hair (for the men) and not much else! This is mainly instrumental with Edmundo (I presume) only letting loose his not considerable vocal talents on 'Hare-Krishna (Be-In)' and 'Let The Sunshine In'. And, despite being an album of cha-chas and rhumbas, it's surprisingly fun. The aforementioned songs, plus 'Donna', are highlights but the all ten tracks take less than 25 minutes to speed by so it never outstays its welcome.

Barney Kessel 'Hair Is Beautiful' (Polydor)

Barney Kessel had already been around the block a few times by the time 'Hair' hit the stage, playing with Artie Shaw, Charlie Parker and Oscar Peterson, amongst others. He heard the musical in London whilst on the Jazz Expo 68 tour and, apparently, immediately booked a studio to record his interpretation, with a band consisting of Steve Gray, Tony Campo, Ike Isaacs, Kenny Salmon and Barry Morgan. This LP is, for the most part, pleasant enough, smooth and jazzy, but hardly electrifying. It's let down a little by the production quality, with Barney's guitar too far upfront, the organ stops set firmly at 'seaside'. It begs the question of why Gabor Szabo never had a crack at this. A wig-out this ain't. Still, the Wiseguys found enough here to warrant a sample, and the more upbeat numbers like 'Donna' and, of all things, 'Walking In Space' merit a listen.

'Hair' (Bellaphon) / The Broadway Matadors 'Hair' (Hit) / The Broadway Matadors 'Hair' (Polymax) / The Broadway Matadors (Metronome)

No band is listed on the Bellaphon LP but some simple detective work (i.e. listening) tells us that this LP is exactly the same as Hit records Broadway Matadors LP. And, curiously enough, while this, like the Bellaphon release credits both the female leads it omits to mention the male singer. Bellaphon name him as John Maclaren but he doesn't sound like someone with English as his first language. While rumour has it that the Broadway Matadors were none other than Czechoslovakia's crack beat combo, The Matadors (cunning), 'John' doesn't sound like The Matadors' Viktor Sodoma. Anyway, none of this idle speculation really matters. As far as the music goes, we've saved the best for last. If the band weren't actually a top Czech beat group, they do a damn good impression of one on the opener 'Hair'. 'What A Piece Of Work Is Man' starts off very wobbly but, just when you're about to skip on, some great echoed flute saves the day. And so side one continues, to close with a fine, bluesy rendition of 'Walking In Space'. But side two is where things really kick off big time. Four of the five tracks made up the two Broadway Matadors 45's, as reviewed in Short Hair, and all are among the best versions recorded of each song, with excellent arrangements and production, and tight playing. And the other song is a fine attempt at 'Dead End'. Smoking, indeed. Seeing as at least four different pressings of this were released it's got to be far easier to find the LP than the 45's, and with the added bonus of extra tracks. Hunt down a copy.