The “Golden Hits Of The 60s” 

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BLUE CHEER

SUMMERTIME BLUES

(Eddie Cochran, Jerry Capehart)

Philips 40516

No. 14 May 4, 1968

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The first truly American heavy-metal band, Blue Cheer was excessive in every way-with their hair length, the

volume of their music, and their guitar solos. Their name came from a particular strain of LSD then in

vogue. From behind their towering wall of Marshall amps, Blue Cheer, in the words of their manager, could

“play so hard and heavy they [made] cottage cheese out of the air.”

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The Sturm und Drang started in Boston in 1967. Bassist Dick Peterson (b. 1948, Grand Forks, ND) was

dissatisfied with the off-the-wall psychedelic music that his band, Group B, was playing. He wanted to do

more stripped-down and heavier material, so he quit Group B. Dick located lead guitarist Bruce “Leigh”

Stephens through a newspaper ad; several drummers came and went before Paul Whaley, a friend of Dick’s

and a mem­ ber of a group called Oxford Circle, completed the thunderous trio.

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After moving to San Francisco, the band was spot­ ted by Abe “Voco” Kesh. “Voco was a DJ at KMPX, the

first real FM underground station;’ Peterson told Gold­ mine’s Geoff O’Keefe. “Most blues people at the time

were saying, ‘Oh, man, this [Blue Cheer] is trash. These guys are so loud. Look at the dwarfs:But Voco liked

it. So we went into the studio and we did a tape of’Sum­ mertime Blues;’Doctor Please; and ‘Out of Focus:We

gave it to Voco and asked him to play it on his station. He did, and people went nuts! We were getting play

every hour. We didn’t even have a contract or an album or anything.”

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That state of affairs changed, and quickly Philips Records signed Blue Cheer to a contract and issued their

debut cut-the trio’s take on Eddie Cochran’s “Summertime Blues.” Their debut album, Vincebus Eruptum

(1968), hit number 11 on the top pop albums chart; their next three LPs- Outsideinside ( 1968), New!

Improved! Blue Cheer (1969), and The Original Human Being (1970)-did not sell quite as well. The group’s

career momentum stalled when a follow-up suitable for AM radio was not forthcoming.

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Meanwhile, personnel problems began to develop. Peterson and Whaley fired their lead guitarist, briefly

replacing him with Randy Holden, member of the Other Half. Holden soon departed, so guitarist Bruce

Stephens and keyboardist Ralph Burns Kellogg, both formerly of Dot Records’ Mint Tattoo, stepped in. That

crucial follow-up, “Just a Little Bit” (#92, 1968), was finally pulled from Blue Cheer’s second LP-but for

many radio programmers, it was a case of too little, too admitted. “[By 1970] I was the only original member

left…. I was just fulfilling contracts. I was so frustrat­ed with Blue Cheer and everything that was happening

around it … I wanted to get away.”

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After the release of one more album (Oh! Pleasant Hope, 1971), minus still more members, Peterson shut

down the band to become a baker. Paul Whaley was spotted in the mid-’80s making pizza in San Francisco.

Bruce Stephens, who is now married to Peterson’s ex­ wife and works as an electrician, recorded one solo LP

(Watch That First Step) in 1982. Ralph Kellogg is a producer  and owner of the Radio Tokyo Studios. Leigh

Stephens, who currently runs a thoroughbred horse ranch in California, issued two solo albums, one LP as

part of Silver Metre, and two albums (with the accom­ paniment of Bruce Stephens) as part of Pilot (not

PILOT, of”Magic” fame).

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In 1979, and again in 1984, Peterson formed a new Blue Cheer band. Megaforce Records released an album,

The Beast Is Back … , in 1985, but soon the group was extinct again. Dick joined Motown’s Foxtrot. In 1990,

a package called Blitzkrieg Over Nuremberg brought the Blue Cheer name back to some lips­ notably

appreciators of the Seattle grunge guitar sound.