Hailing from the same fertile mid-60's Boston rock n roll scene that birthed Barry & The Remains, the equally talented Lost released two amazing singles before breaking up in 1967.
The Lost was fronted by Boston rock/ punk legend Willie Alexander, aka Lou reed's "replacement" in the Velvet Underground. Bassist Walter Powers also ended up as another Velveteen Underground member. While Alexander is a FINE singer (as heard on these sides), history probably would treat the post-Lou velvets more fairly a) if the Doug Yule led band changed their name and b) wasn't forced by their manager to only allow Doug Yule to play on their final LP.
But back to The Lost- like so many baby boomer teens, the members of the lost (Willie Alexander, vocals; Ted Myers, vocals & guitar; Hugh Magbie, vocals & guitar; Walter Powers,bass & vocals, and Tony Pfeiffer, drums) were highly influenced by the British Invasion, and formed a group around that sound and mod style (see the promo postcard below, borrowed from Alexander's website). The group, originally from Vermont, moved to Boston shortly after forming. The group's star rose quickly, and was scouted by Capitol Records who signed them in 1965.
"Back Door Blues" (written by Ted Meyers) was the single b-side, but I posted it first as its primal energy is a fantastic introduction to the band's energy, and has a nice little nod to Them's "Mystic Eyes". The actual "a" side, "Maybe More Than You" (written by Meyers and Alexander) was undoubtedly influenced by the folk rock movement (dig the 'Highway 61" style whistle effect), the song shows a strong sophistication in the writing and lyrical content, with a strong delivery by Willie Alexander, and superb musicianship from the group. The group toured the east coast, and opened for the likes of The Beach Boys (, Sonny & Cher & The Supremes, but neither single gave the group more than a local hit. For their final release, the group once again kicked out a serious garage jam as the 'b" side, the strongly caffeinated "No Reason Why", featuring some insane pounding piano that would not be out of place on the Velvet Underground's White Light/ White Heat LP, and some seriously KINK-y guitar riffing. The "a" side, "Violet Gown", carried on in the folk rock vein, but with an incredible droning chorus/ bridge section, that, once again, recalls the VU. Boston *was* the home of The Velvet Underground's biggest following, so it's probably no coincidence.
until next time, Derek See
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