The Happy Dragon-Band - The Happy Dragon Band FLAC

fucking bizarre US private press rock record from '77-'78...apparently the songwriter on this record had a Doors-ish LP on Capitol in '74 that flopped, so he came back with this slab of nonsense. the record is heavy fuzz guitar, alternating between the type of hard rock you'd expect from a '78 private, and some really bad stabs at AOR that are of the "retarded in a good way" variety. there's bits of a later Funkadelic type vibe in here too. the kicker here is that the whole record has heavy usage of synth and "electronics", although it just sounds like synth to me. someone mentioned CHROME to me when talking about this record, and although it doesn't sound like CHROME, you could imagine CHROME trying to do the aforementioned styles and you might have a vague picture of this record. all in all an interesting clusterfuck, this one should be investigated equally by '70s rock private nerds and synth geeks, i guess.

Complete rubbish! Happy Dragon Band was a project of Tommy Court a sound engineer more interested in production techniques than music as such and he never pretended that it was another Phantom album. The late Ted Pearson was the founder of Phantom's Divine Comedy and had previously played with Walpurgis whom you can now buy a recording of and which has earlier versions of some PDC. I have absolutely no idea where you got this story from. Your comments regarding the music are completely wide of the mark there is no AOR or Funkadelic styling here. If you have any interest in out there psychedelic electronica such as Michael Bundt Just Landed Cosmic Kid you need to check this out. Last word from Tommy Court himself in an email to me "I wrote, performed, engineered and packaged the LP as an exercise of engineering.almost every track had 1 guest-player however 95% of all vocals, kits, guitars and 100% synths, effects were just me. Bowling pin intro was actually my final project while studying electronic music at University of Michigan. Fiddlers Music was My first ‘real’ studio in a 3rd floor loft above the music store Fiddlers. Fiddlers owners let have my way, outfitting this area with new products they were representing.So at the time Tascam was newly formed, their Model-10 became the console along with the series-80 1/2” eight track. Even before Fiddlers and through today I create music while engineering. It’s the discovery of how it all works that talks to me and fills the tracks with arrangement.(My first recording (age of 9) was a microphone hung over an Ampeg amp recorded to a Roberts 8track recorder) I remain active and prolific in recording and composing today. England is my conclusion of where all the rumors began. I sent a HDB LP to Black & White record in hopes of publishing. They passed. I had listed in my credits all my guests on various tracks. Johnny Bee Badanjek was the most notable of the bunch. Bee (Detroit Wheels) was working with Bob Ezrin in Toronto on some Alice Cooper tracks (Maybe some others as well). These two event are the only logical links to the misguided fame of mystery. It was many years later when I was contacted by a record collector from Washington state US that I heard of said rumor.