H. P. Lovecraft (gruppo musicale)

H. P. Lovecraft era un gruppo statunitense di psychedelic rock, formatosi a Chicago, Illinois nel 1967 il cui nome faceva riferimento allo scrittore horror Howard Phillips Lovecraft. Gran parte della musica del gruppo era pervasa da atmosfere inquietanti e si ispirava ai macabri scritti di quell'autore, parlando di ambienti chiusi e velati di tristezza. Combinando elementi di psichedelia e di folk rock, il sound del gruppo era caratterizzato dalle armonie vocali dell'ex-cantante folk George Edwards e dallo stile classico di Dave Michaels. In aggiunta, le abilità multistrumentali di Michaels su organo elettronico, piano, clavicembalo, clarinetto e recorder fornivano alla band una tavolozza sonora più ricca di quella di molti altri loro contemporanei.
Il gruppo firmò per la Philips Records nel 1967 e pubblicò il singolo di debutto "Anyway That You Want Me" nella prima parte dell'anno. Il loro primo album H. P. Lovecraft uscì a fine 1967 e conteneva quello che è probabilmente il loro brano più noto, "The White Ship". La band poi si trasferì a San Francisco, California, dove divenne un'attrazione frequente in vari locali della Baia di San Francisco, incluso The Fillmore e il Winterland Ballroom. Nel 1968 uscì il secondo album intitolato semplicemente H. P. Lovecraft II, di cui va ricordato almeno At the Mountains of Madness, ma il gruppo si sciolse all'inizio del 1969. Edwards e Michael Tegza riformarono quindi il gruppo con nuovi componenti e accorciarono il nome in Lovecraft.
Mauro Radice li paragona ai Jefferson Airplane e al Lou Reed di Metal Machine Music (1975).

Storia del gruppo

Formazione e primo album

La prima formazione degli H. P. Lovecraft si formò quando l'ex-folk singer George Edwards, che a quel tempo stava lavorando come cantante turnista per la Dunwich Records, entrò in studio per registrare una cover del brano "Anyway That You Want Me" di Chip Taylor (una canzone che era stata poco prima un successo inglese dei Troggs). Edwards era stato in precedenza un cantante folk a Chicago, in California e in Florida, ed aveva pubblicato nel 1966, senza successo commerciale, una reinterpretazione del brano dei Beatles "Norwegian Wood" per la Dunwich. Aveva anche registrato una versione cover di "Quit Your Low Down Ways" di Bob Dylan per la stessa etichetta, ma questa verrà pubblicata solo agli inizi degli anni settanta. Per le registrazioni in studio di "Anyway That You Want Me", Edwards era stato supportato dai membri di The Rovin' Kind, una band di Chicago, e da Dave Michaels, un cantante classico e polistrumentista con una voce dall'estensione di quattro ottave, che Edwards aveva incontrato mentre suonava in un trio di lounge jazz in un Holiday Inn della zona. La canzone venne accoppiata a "It's All Over for You", un pezzo solista di George Edwards dell'anno prima, e pubblicato all'inizio del 1967 come singolo con il soprannome di H. P. Lovecraft dalla Mercury Records, etichetta della Philips. La decisione di pubblicare il singolo come H. P. Lovecraft, piuttosto che come disco del solo George Edwards, era stata presa da Bill Traut e George Badonsky, fondatori della Dunwich, che erano tutti e due fan delle opere letterarie di horror dello scrittore Howard Phillips Lovecraft ed avevano, di fatto, chiamato la Dunwich Records ispirandosi al racconto di Lovecraft The Dunwich Horror. Edwards e Michaels furono ambedue entusiasti del nome del gruppo e, dopo aver ottenuto il permesso dalla proprietà Lovecraft, il duo si mise a cercare altri musicisti per creare una formazione permanente della band.
Le audizioni si svolsero nel marzo 1967 e il risultato fu il reclutamento di Tony Cavallari (chitarra), Mike Tegza (batteria) e Tom Skidmore (basso). Skidmore lasciò però presto il gruppo e venne rimpiazzato da Jerry McGeorge, che era stato in precedenza chitarrista per gli Shadows of Knight, una band di Chicago. McGeorge aveva visto diverse volte gli H. P. Lovecraft in azione in un dance club di Chicago chiamato The Cellar e, sebbene egli considerasse se stesso soprattutto un chitarrista, accettò l'offerta di Edwards di unirsi al gruppo come bassista. Con Michaels ed Edwards come menti creative del gruppo, H. P. Lovecraft iniziò a sviluppare una miscela di folk rock e psichedelia, con un repertorio che comprendeva brani folk contemporanei e tradizionali ed un po' di loro composizioni. Il sound del gruppo era caratterizzato da una strana sorprendente armonia che risultava dalla giustapposizione della voce di Edwards, con influenze folk, con quella di Michaels, con fraseggi vocali lirici, una mistura che era influenzata dal folk singer Fred Neil che lavorava con Vince Martin. La musica del gruppo veniva resa ancora più particolare dal virtuosismo di Michaels con organo, piano, clavicembalo, clarinetto e recorder, che dava agli H. P. Lovecraft un range di suoni e timbri molto più ampio di molti dei loro contemporanei.
Alla fine del 1967, la band registrò e pubblicò il primo album per la Philips, H. P. Lovecraft. Una reinterpretazione del brano tradizionale "Wayfaring Stranger" venne pubblicata poco prima dell'album come singolo nel settembre 1967, ma non entrò in classifica. L'album stesso fu pubblicato alcune settimane dopo e sebbene non entrasse nelle classifiche USA, nel tempo ha venduto bene. Contenendo brani strumentali e canzoni che proponevano una varietà di stili diversi, l'album possedeva un'atmosfera inquietante e ossessiva che faceva ben capire come la band volesse ispirarsi ai "racconti e poemi macabri della Terra popolata da un'altra razza" di H. P. Lovecraft (come scritto sul retro della copertina dell'LP). Mentre l'album includeva del materiale originale, compreso il brano jazzato "That's How Much I Love You, Baby (More or Less)" e la psichedelia vaudeville di "The Time Machine", la maggior parte di H. P. Lovecraft consisteva di versioni cover. Tra queste covers c'erano l'inno hippie "Get Together" di Dino Valente, "I've Been Wrong Before" di Randy Newman, "The Drifter" di Travis Edmonson e le composizioni "That's The Bag I'm In" e "Country Boy & Bleeker Street" di Fred Neil. Il pezzo principale dell'album, comunque, era "The White Ship" di Edwards-Michaels-Cavallari, che era basato sul racconto "The White Ship" dello scrittore H. P. Lovecraft. Il pezzo, della durata di sei minuti e mezzo, con dei passaggi barocchi al clavicembalo, un feedback confuso, armonie cupe e il rintocco di una vera campana di un vascellao del 1811, è stato descritto dallo storico musicale Richie Unterberger come avente una "ondeggiante, indistinta bellezza, con alcune lugubri tastiere di Michaels." Il brano divenne un favorito delle radio FM underground e fu anche pubblicato come singolo, sebbene non riuscisse a raggiungere la Hot 100 di Billboard.

Trasferimento e secondo album

H. P. Lovecraft intrapresero il loro primo tour della West Coast alla fine del 1967, affermandosi come uno degli eventi live preferiti dagli hippies di San Francisco e Los Angeles.. Nel novembre 1967, la rivista Billboard riportò che l'album degli H. P. Lovecraft era diventato un successo underground a San Francisco ed aveva già venduto 1.100 copie solo in quella località. Ritornati brevemente a Chicago per alcuni obblighi di concerti, il gruppo decise di trasferirsi permanentemente sulla West Coast nel tentativo di progredire nella loro carriera e così, nei primi mesi del 1968, essi si spostarono nella Contea di Marin. Il bassista Jerry McGeorge decise però di non lasciare Chicago e venne rimpiazzato da Jeffrey Boyan, che era stato in precedenza un membro dei Saturday's Children di Chicago. Boyan era un bassista completo con una potente voce e il suo inserimento aumentò considerevolmente la loro potenzialità nei concerti dal vivo.
Durante questo periodo la band tenne molti concerti in varie località della West Coast, apparendo a fianco di gruppi come Grateful Dead, Jefferson Airplane. Moby Grape, Pink Floyd, Traffic e Who. A San Francisco il gruppo venne appoggiato dall'organizzatore di concerti Bill Graham e questo portò alla loro apparizione in locali famosi come il Fillmore e il Winterland Ballroom. Registrazioni di un concerto di questo periodo possono essere ascoltate nell'album Live May 11, 1968, dove già appare Boyan al posto di McGeorge. Questo album dal vivo, che offre una qualità sonora molto buona per quei tempi, è stato pubblicato nel 1991 dalla Edsel Records e ristampato nel 2000 dalla Sundazed Records.
Nel giugno del 1968, troviamo gli H. P. Lovecraft agli I.D. Sound Studios di Los Angeles, con l'ingegnere acustico Chris Huston, impegnati nella registrazione del loro secondo album. A causa dell'intensa attività concertistica durante la prima metà del 1968, c'era una mancanza di nuovo materiale già arrangiato e di conseguenza gran parte dell'album è stato improvvisato in studio. Huston è stato fondamentale nel consentire alla band impreparata di completare le sessioni di registrazione ed è stato anche responsabile della creazione di molti degli effetti sonori psichedelici dei brani. L'album venne pubblicato come H. P. Lovecraft II nel settembre 1968 e sebbene fosse meno centrato del suo predecessore, riuscì ad ampliare con successo la proposta musicale del primo album della band. Tra i suoi nove brani troviamo "At the Mountains of Madness", un altro pezzo basato sulle opere dello scrittore H. P. Lovecraft (questa volta il suo racconto del 1931 At the Mountains of Madness). L'album include anche la reinterpretazione di "Keeper of the Keys" di Brewer & Shipley, i brani di Edwards "Electrollentando" e "Mobius Trip", un contributo dalla voce di Ken Nordine nel brano "Nothing's Boy", e due brani scritti da Terry Callier, amico di Edwards: "Spin, Spin, Spin" e "It's About Time" Similmente al primo album, anche H. P. Lovecraft II non vendette in quantità sufficiente per entrare nelle classifiche americane.
Alla fine del 1968 Michaels decise di lasciare la band per tornare all'università e, come risultato, gli H. P. Lovecraft si sciolsero agli inizi del 1969, e Tegza passò al gruppo dei Bangor Flying Circus. Nel 1969 Edwards e Tegza formarono un nuovo gruppo, chiamato Lovecraft, ma Edwards ne uscì quasi subito. Edwards ha poi intrapreso un lavoro di produzione ed ha suonato nei folk club con il suo vero nome Ethan Kenning, talvolta riunendosi con Michaels, che registra e si esibisce sotto il suo vero nome di David Miotke.

Formazione

George Edwards – voce, chitarra acustica, chitarra elettrica, guitarrón, basso (1967–1969)
Dave Michaels – voce, organo, piano, Clavicembalo, clarinetto, recorder (1967–1968)
Tom Skidmore – basso (1967)
Jerry McGeorge – basso, voce (1967–1968)
Tony Cavallari – chitarra solista, vocals (1967–1969)
Michael Tegza – batteria, percussioni, timpani, voce (1967–1969)
Jeff Boyan – basso, voce (1968–1969)

Discografia

Album

1967 - H. P. Lovecraft
1968 - H. P. Lovecraft II
1991 - Live May 11, 1968 [live]

Singoli

1967 - "Anyway That You Want Me"/"It's All Over for You" (Philips 40464)
1967 - "Wayfaring Stranger"/"The Time Machine" (Philips 40491)
1967 - "The White Ship" (Part 1)/"The White Ship" (Part 2) (Philips 40506)
1968 - "The White Ship"/"I've Been Wrong Before" (Philips BF 1639) [UK release]
1968 - "Keeper of the Keys"/"Blue Jack of Diamonds" (Philips 40578)

Raccolte

1988 - At the Mountains of Madness (1988)
1997 - H. P. Lovecraft/H. P. Lovecraft II (1997)
2000 - Two Classic Albums from H. P. Lovecraft: H. P. Lovecraft/H. P. Lovecraft II (2000)
2005 - Dreams in the Witch House: The Complete Philips Recordings (2005)

H. P. Lovecraft was an American psychedelic rock band, formed in Chicago, Illinois, in 1967 and named after the horror writer H. P. Lovecraft. Much of the band's music was possessed of a haunting, eerie ambience, and consisted of material that was inspired by the macabre writings of the author whose name they had adopted. Combining elements of psychedelia and folk rock, the band's sound was marked by the striking vocal harmonies of ex-folk singer George Edwards and the classically trained Dave Michaels. In addition, Michaels' multi-instrumentalist abilities on organ, piano, harpsichord, clarinet and recorder provided the band with a richer sonic palette than many of their contemporaries.
The band was signed to Philips Records in 1967 and released its first single, "Anyway That You Want Me", in the early part of that year. Their first album, H. P. Lovecraft, followed in late 1967 and included what is arguably the band's best-known song, "The White Ship". The band then relocated to San Francisco, California, where they became a frequent attraction at various San Francisco Bay Area venues, including The Fillmore and the Winterland Ballroom. In 1968, a second album, H. P. Lovecraft II, appeared, but the group disbanded in early 1969.
Edwards and fellow original member Michael Tegza subsequently formed a new line-up of the band with the shortened name of Lovecraft, although Edwards left this new group before the first album was recorded. This second incarnation of the band released the Valley of the Moon album in 1970 and, after a further name change to Love Craft, the We Love You Whoever You Are album in 1975.

History

Formation and first album

The first line-up of H. P. Lovecraft was formed when the ex-folk singer George Edwards, who was working as an in-house session vocalist for Dunwich Records at the time, entered the studio to record a cover version of Chip Taylor's "Anyway That You Want Me" (a song that had recently been a UK hit for The Troggs). Edwards had previously been a folk troubadour in Chicago, California, and Florida, and had released a commercially unsuccessful cover of The Beatles' "Norwegian Wood" on Dunwich in 1966. He had also recorded a cover version of Bob Dylan's "Quit Your Low Down Ways" for the label, but this remained unreleased until the early 1970s. For the "Anyway That You Want Me" session, Edwards was backed by members of the Chicago band The Rovin' Kind and was also joined by Dave Michaels, a classically trained singer and multi-instrumentalist with a four-octave voice, who Edwards had met while playing in a lounge jazz trio at a local Holiday Inn. The song was coupled with "It's All Over for You", a George Edwards solo outtake from the previous year, and released as a single under the moniker of H. P. Lovecraft in early 1967 by the Mercury Records' subsidiary Philips. The decision to release the single as H. P. Lovecraft, rather than as a George Edwards solo release, was made by Dunwich founders Bill Traut and George Badonsky, who were both fans of the literary works of horror writer H. P. Lovecraft and had, in fact, named Dunwich Records after Lovecraft's short story "The Dunwich Horror". Edwards and Michaels were both enthusiastic about the band name and after permission from Lovecraft's estate was secured, the duo set about recruiting other musicians to form a permanent line-up of the band.
Auditions were held in March 1967, which resulted in the recruitment of Tony Cavallari (lead guitar), Mike Tegza (drums), and Tom Skidmore (bass). Skidmore soon departed the band, however, and was replaced by Jerry McGeorge, who had previously been a guitarist for Chicago band the Shadows of Knight. McGeorge had seen H. P. Lovecraft perform a number of times at a Chicago dance club called The Cellar and although he considered himself primarily a guitarist, he accepted Edwards' offer to join the group as their new bassist. With Michaels and Edwards as the creative driving forces behind the group, H. P. Lovecraft began to develop a blend of folk rock and psychedelia, with a repertoire that encompassed contemporary and traditional folk songs and some self-penned material. The band's sound was highlighted by the oddly striking harmony work that resulted from the juxtaposition of Edwards' folk-influenced singing and Michaels' operatic vocal phrasing, a blend that was influenced by folk singer Fred Neil's work with Vince Martin. The band's music was made all the more unique by Michaels' virtuosity on organ, piano, harpsichord, clarinet, and recorder, which gave H. P. Lovecraft a much wider range of sounds and timbres than many of their contemporaries.

In late 1967, the band recorded and released their debut album for Philips, H. P. Lovecraft. A cover of the traditional song "Wayfaring Stranger" was issued just ahead of the album as a single in September 1967, but it failed to chart. The album itself was released some weeks later and although it also failed to reach the U.S. charts, it sold reasonably well over time. Featuring a nine-piece orchestra and songs that exhibited a wide-ranging stylistic variety, the album was possessed of a haunting, eerie ambiance that lived up to the band's intention of making music inspired by H. P. Lovecraft's "macabre tales and poems of Earth populated by another race" (to quote the LP's back cover). While the album did include a smattering of self-penned material, including the jazzy "That's How Much I Love You, Baby (More or Less)" and the vaudeville psychedelia of "The Time Machine", the majority of H. P. Lovecraft consisted of cover versions. Among these covers were Dino Valente's hippie anthem "Get Together", Randy Newman's "I've Been Wrong Before", Travis Edmonson's "The Drifter", and the Fred Neil compositions "That's The Bag I'm In" and "Country Boy & Bleeker Street". The centerpiece of the album, however, was the Edwards—Michaels—Cavallari composition "The White Ship", which was based on author H. P. Lovecraft's short story "The White Ship". The six-and-a-half-minute opus, which featured baroque harpsichord passages, droning feedback, somber harmonies, and the chiming of a genuine 1811 ship's bell, has been described by music historian Richie Unterberger as having a "wavering, foggy beauty, with some of Michaels' eeriest keyboards." The song became something of an underground FM radio favorite and was also issued in an edited form as a single, although it failed to reach the Billboard Hot 100.

Relocation and second album

H. P. Lovecraft embarked on their first tour of the West Coast in late 1967, establishing themselves as a live favorite with the hippies of San Francisco and Los Angeles. In November 1967, Billboard magazine reported that the H. P. Lovecraft album had become something of an underground hit in San Francisco and had already sold 1,100 copies there. In San Francisco the band were championed by concert promoter Bill Graham and this led to appearances at such high-profile venues as The Fillmore and the Winterland Ballroom. After returning to Chicago briefly, the group embarked on an early 1968 East Coast tour, appearing at the Boston Tea Party, Philadelphia's Electric Factory, and concluding with an aborted engagement at New York's Cafe Au Go Go alongside Al Kooper's Blood, Sweat & Tears. These obligations fulfilled, the group relocated to Marin County, California permanently in mid-February 1968 in an attempt to advance their careers. Notable post-relocation performances were at the Fillmore and Winterland with Traffic, Salt Lake City's Utah State Fairgrounds Coliseum with Buffalo Springfield and The Youngbloods, Los Angeles' Whisky-A-Go-Go with Colors, and in Palm Springs, appearing with the James Cotton Blues Band.
Eight weeks after the group's relocation bassist Jerry McGeorge made his final appearance with H. P. Lovecraft at the Los Angeles Kaleidoscope on April 12–14. He was replaced by Jeffrey Boyan, who had previously been a member of the Chicago band Saturday's Children. Critic Jeff Jarema has noted that Boyan was an accomplished bass player with a strong singing voice and that his addition to the band improved their abilities as a live act considerably. The band subsequently played West Coast concerts with the Grateful Dead, Jefferson Airplane, and Moby Grape, as well as with touring British bands such as Pink Floyd and The Who. The band's prowess and imagination as a live act during this period can be heard on the Live May 11, 1968 album. The live album, which boasts very good sound quality for the period, was released in 1991 by Sundazed Records (Edsel Records in the UK) and was reissued in 2000.
In June 1968, H. P. Lovecraft decamped to I.D. Sound Studios in Los Angeles with engineer Chris Huston to record their second album. Due to the intensive touring that the band had undertaken during the first half of 1968, there was a lack of properly arranged new material and consequently much of the album was improvised in the studio. Huston was pivotal in enabling the underprepared band to complete the recording sessions and was also responsible for creating many of the album's psychedelic sound effects. The album was released as H. P. Lovecraft II in September 1968 and although it was less focused than its predecessor, it managed to successfully expand on the musical approach of the band's first album. Among its nine tracks, the album included "At the Mountains of Madness", another song based on the works of the author H. P. Lovecraft (this time his 1931 novella At the Mountains of Madness). The album also included a cover of Brewer & Shipley's "Keeper of the Keys", the Edwards-penned tracks "Electrollentando" and "Mobius Trip", a contribution from voice artist Ken Nordine, on the track "Nothing's Boy", and two songs written by Edwards' friend Terry Callier: "Spin, Spin, Spin" and "It's About Time". Like the band's first album, H. P. Lovecraft II failed to sell in sufficient quantities to reach the U.S. charts.
Michaels decided to leave the band in late 1968, to return to university, and as a result, H. P. Lovecraft effectively collapsed in early 1969, with Tegza joining the band Bangor Flying Circus. A successor group, Lovecraft, was formed in 1969 and included Edwards and Tegza from the original line-up, although Edwards departed from the group soon after its formation. Edwards has subsequently undertaken production work and played in folk clubs under his real name Ethan Kenning, occasionally reuniting with Michaels, who records and performs under his real name David Miotke.

Lovecraft and Love Craft

After the breakup of H. P. Lovecraft, a spin-off band with the shortened name of Lovecraft was formed in late 1969 by George Edwards and Michael Tegza. The new band's line-up included two recruits from the Chicago band Aorta: guitarist Jim Donlinger and bassist Michael Been. Initially, it was hoped that Dave Michaels would also join the new incarnation of the band, but he withdrew and the group instead recruited keyboard player and singer Marty Grebb, previously of The Buckinghams. After securing a recording contract with Reprise Records, Edwards pulled out of the project and returned to performing as a solo folk singer.
The remaining band members successfully completed recording sessions for an album titled Valley of the Moon, and promptly headed out on tour, supporting the Boz Scaggs Band and later Leon Russell. The Valley of the Moon album saw the group abandoning the eerie psychedelic ambiance that had characterized H. P. Lovecraft's music and instead featured a more laid-back, mainstream rock sound, somewhat reminiscent of Crosby, Stills & Nash or Uriah Heep. By the time that Valley of the Moon was released, Lovecraft had split up and the album, along with its attendant single "We Can Have It Altogether", failed commercially and did not chart.
Following the demise of the band, Tegza rejoined Edwards in the band Elixir, playing a handful of shows in 1971 but never releasing any recordings. Of the other ex-members of Lovecraft, Grebb went on to form The Fabulous Rhinestones and eventually developed a career as a solo artist and session musician; Been joined Jerry Miller and Bob Mosley (both ex-members of Moby Grape) in Fine Wine and recorded the self-titled Fine Wine album in 1976, before going on to front the new wave band The Call during the 1980s and 1990s; and Donlinger recorded a number of solo albums and published an autobiography titled Space Traveller: A Musician's Odyssey.
In 1975, Tegza put together yet another variation of the group, this time a funk band with the name Love Craft, featuring vocalist Lalomie Washburn. Love Craft released the We Love You Whoever You Are album on Mercury Records in 1975 but it sold poorly and as a result, the band were dropped by their label and disbanded shortly thereafter. In 1980, Tegza and Love Craft guitarist Frankie Capek reunited to form a second version of the band, recruiting vocalist Marc Scherer and bassist Mark Gardner to complete the line-up. With a repertoire consisting of contemporary pop music and older psychedelic material, the band garnered some label interest but broke up before they had secured a recording contract, due to Scherer leaving the band. Since then, Tegza has become a Pastor currently living in Eureka Springs, Arkansas. Scherer is currently signed to Frontiers, Italy and records with Grammy winner Jim Peterik of 'Eye of the Tiger' fame. Their upcoming Peterik/Scherer (PS) album 'Risk Everything' is set for release Spring of 2015. Despite the involvement of Tegza and Edwards in Lovecraft and Love Craft, neither band is regarded as being fundamentally connected to H. P. Lovecraft or its history, beyond the obvious similarities in names and crossover member association.

Members

H. P. Lovecraft:

George Edwards – vocals, acoustic guitar, electric guitar, guitarrón, bass (1967–1969)
Dave Michaels – vocals, organ, piano, harpsichord, clarinet, recorder (1967–1968)
Tony Cavallari – lead guitar, vocals (1967–1969)
Michael Tegza – drums, percussion, timpani, vocals (1967–1969)
Tom Skidmore – bass (1967)
Jerry McGeorge – bass, vocals (1967–1968)
Jeff Boyan – bass, vocals (1968–1969)

Lovecraft:

Michael Tegza – drums (1969–1971)
Jim Donlinger – guitar (1969–1971)
Michael Been – bass (1969–1971)
Marty Grebb – keyboards, vocals (1969–1971)
George Edwards – vocals, guitar (1969–1970)

Love Craft:

Michael Tegza – drums (1975–1976)^{[citation needed]}
Lalomie Washburn – vocals, percussion (1975)
George Agosto – percussion (1975)
Craig Gigstad – bass (1975)
Mark Justin – synthesizer, keyboards (1975)
Jorge Juan Rodriguez – guitar (1975)
Frank Capek – guitar (1975–1976)^{[citation needed]}
Shawn Christopher – vocals (1976)^{[citation needed]}
Jeff Steele – bass (1976)^{[citation needed]}
Theodis Rodgers – keyboards (1976)^{[citation needed]}

Discography

Albums

H. P. Lovecraft (1967)
H. P. Lovecraft II (1968)
Valley of the Moon [as Lovecraft] (1970)
We Love You Whoever You Are [as Love Craft] (1975)
Live May 11, 1968 [live recordings] (1991)

Compilations

At the Mountains of Madness (1988)
H. P. Lovecraft/H. P. Lovecraft II (1997)
Two Classic Albums from H. P. Lovecraft: H. P. Lovecraft/H. P. Lovecraft II (2000)
Dreams in the Witch House: The Complete Philips Recordings (2005)

Singles

"Anyway That You Want Me"/"It's All Over for You" (Philips 40464) (1967)
"Wayfaring Stranger"/"The Time Machine" (Philips 40491) (1967)
"The White Ship" (Part 1)/"The White Ship" (Part 2) (Philips 40506) (1967)
"The White Ship"/"I've Been Wrong Before" (Philips BF 1639) [UK release] (1968)
"Keeper of the Keys"/"Blue Jack of Diamonds" (Philips 40578) (1968)
"We Can Have It Altogether"/"Will I Know When My Time Comes?" (Reprise 0996) [as Lovecraft] (1971)
"I Feel Better"/"Flight" (Mercury 73698) [as Love Craft] (1975)
"Ain't Gettin' None"/"We Love You" (Mercury 73707) [as Love Craft] (1975)