When the Brain Train went in to the Elektro Vox recording studio in late 1966 they put down two tracks, "Me" and their arrangement of Wolf Dios' "Black Roses." Click to hear this version of Black Roses complete with studio chatter: "Black Roses."

In early 1967 Clear Light were featured in the film The President's Analyst. They appeared in two sequences where they performed "She's Ready To Be Free." The first had the group playing a semi instrumental version in a sylvan glade, (if you listen closely you can just make out Robbie Robison's mixed down vocal.) The second scene featured them playing in a club setting with Barry McGuire fronting the band. Click to hear the instrumental take of "She's Ready To Be Free." Click here to listen to the studio recording of "She's Ready To Be Free" taken from an acetate.

August 1967 saw Clear Light enter Sunset Sound Recorders to start work on what was to be their first and only album release. Here are the rare mono mixes of´┐Żthree of the album tracks that were written by Douglas Lubahn: "Sand,""Night Sounds Loud" and "Think Again."

In the wake of the release of the Clear Light album, a Mexican group called Los Laud Jets recorded a version of Sand, changing the lyrics and retitling the song "Mira." Click here to hear their version: "Mira."

In 1968 work had started on the sessions for Clear Light's second album for Elektra. It is not known exactly how many tracks the band put down but, part way through these recording sessions, Bob Seal was replaced by ex-Fug Danny "Kootch" Kortchmar and the Clear Light sound was significantly changed. For nearly 40 years these recordings seemed to have been completely lost until, in 2007, Ralph Schuckett found a cassette that had two tracks taken from acetates. Unfortunately the tape had become degraded after spending nearly 4 decades in varying temperatures in the attic of Ralph's home but the recordings reveal how the band were progressing and give an indication of how the second album would have turned out. "Darkness of Day" is a continuation of the themes of the first album, almost being a counterpoint to "Night Sounds Loud." On the other hand, "What A Difference Love Makes" shows the influence that Danny Kortchmar was bringing to their sound. One can only wonder at how the finished product would have sounded.

Finally we take a trip back to 1964, where we find Robbie "the Werewolf" Robison performing live at the Waleback club in Santa Monica. Robbie had started off playing the bohemian coffee house scene of the late 50s and it was in this environment that he perfected his unique act, a combination of horror and comedy in a musical setting. Listening to the risque humour of his repertoire it is apparent that it was quite 'risque' for the times. Here we present two of his songs from the Live at the Waleback album. With nary a wolf howl in earshot, Robbie gives his best Bela Lugosi impersonation on both "Vampire Man" and "Count Dracula," although on other tracks he introduces the Rockin' Werewolf and invites us to Tip Toe Through the Wolfbane. Undoubtedly an incredibly weird record of the highest calibre. The sleeve notes contain a knowing quote from Robbie: "I'm a lousy guitarist but I have a hell of a lot of fun."

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