A bit of History:

Randy Holden - Guitarist, known for passionate virtuoso guitar styles held several bands including
"Fender IV", "Sons of Adam", "Other Half", "Blue Cheer", (its third LP New Improved! (1969), "Randy
Holden - Population II", "Randy Holden - Guitar God", and "Randy Holden - Guitar God 2001", and latest
release 2008 "Randy Holden - Raptor" (the first of the next generation of new releases to come).
 
Arriving Earth July 2 1945 in Pennsylvania, Randy grew up on the move. He was set on playing
guitar from a young age, and says his childhood had a profound effect on the music he was to
create in the future. His first band was "the Iridescents", who played R&B rock covers typical
of the time 1957-60. He played out of the Baltimore area during those years and eventually
founded the "Fender IV" Instrumentally based, with Surf Music they released a transitional single
with the Fender IV sound, "Mar Gaya" with "Sons of Adam" B side "You Better Tell Me Now" (1964-65)
and previous to that "Malibu Run" and "Everybody Up" in (1964).
 
Being absorbed in surf guitar in 1963-64, saturating his sound with reverb reminiscent of Dick Dale
his sound transitioned in his next band, the "Sons of Adam, who were virtually the same band with a
change of drummers. Being the commanding band of the area at the time, they attained second bill to
the Rolling Stones first Los Angeles show at the Long Beach Sports Arena. Holden took instant note
of the dry reverb-less overdriven sound of Keith Richard's Les Paul guitar driven through the same
amp Holden used at the time a Fender Dual Showman amp set up. This show changed his own attitude
towards sound. Holden's experimentation with feedback and pre-amps set a new course that would
eventually wind into psychedelia.
 
Eventually Holden became frustrated with being compelled to play cover songs to earn a living playing
music, instead of writing new material led to the breakup of the famed Sons of Adam who did not have
the fortune to have the proverbial hit record that may have led to a whole other story. Holden left
the band for more creative exploration interests than to stay to play music merely for the sake of
making a living.
 
Fans of Holden who were also fans and friends of the Yardbirds had word Beck was leaving, they arrang-
ed a meeting between Randy and lead singer Keith Relf, ending in agreeing to get together next time
they came to the states. Time and distance seemed to have had a role disparaging materialization from
coming to pass.
 
Holden was introduced to The Other Half, from Los Angeles, and he took an interest in their focus on
writing their own material. He saw them playing at a club, and was invited to sit in, and provided a
roaring guitar that changed both their courses. They recorded one album, but Holden was so dissatis-
fied with the result he thought that the producers as well as the band. including himself didn't know
what they were doing in the studio. It was evident the band never grew past its initial stage change.
In the gap between The Other Half'ssets at concerts, Holden would plug in all the bands amps to his
guitar and do a solo. Even though it was experimental, The audience response exceeded expectations.
Some present at those shows and seeing this part of the show made it known to Holden the new band on
the block Blue Cheer were the only ones close to doing what he was doing, saying that was really his
band. Unbeknownst to Holden, BC was looking for someone to replace Leigh Stevens. The inevitable happen-
ed, and though touring with the band for almost a year in the US and Europe, Holden decided to part
company halfway through the Blue Cheer album he was recording. As it turned out, after all the tour-
ing he was not going to be paid, nor was he ever presented recording contracts, which brought him to
what seemed an abrupt close of the door with the band, as far as the public knew, but it was a persist-
ent problem for a considerable time that reached a last straw, leaving what would be a curiosity of what
could have been had New! Improved! Been completed with Holden (1969
 
Holden was frustrated once again beyond measure when the management of Blue Cheer told him he could not
have the amps he wanted to use, to create something never done before. with his bands not going the direct-
ion he wanted, he set off with the goal of creating the music he wanted to play.
 
Shortly after departing Blue Cheer, Randy was approached by drummer (and keyboardist) Chris Lockheed.
Lockheed told Holden he played both drums and keyboard. For no apparent reason, Holden asked Lockheed
if he could do both at the same time, Lockheed responded "he could"! Holden was sponsored with Sunn amp-
lifiers. He received his legendary sixteen 200 Watt amplifiers. From then on, he had real volume. This
new group was christened "Randy Holden - Population II" a reference to the fact there were only two
members in the band, a name Holden saw in an astronomy book that defined a type of heavy metal star
groups in the universe (alluding to the style of music they were playing), as well as the allegory to
the origins of creation.
 
Intense rehearsing and creating followed, and subsequently they recorded a self-titled album. (a little
known trivia attached to the band was the change to the name "Lucifer" after Chris noted the word in a dict-
ionary he was holding and suggested it as a name, that was nixed, until a second occasion months later
Chris was again leafing a dictionary and noted the word again appearing, and again suggested it as a
name. Holden asked Chris if he remembered he did this very same thing some months before, but Chris had
no memory of that event. On that fuse of innocence Holden determined there was something magical that
needed discovery, and they elected to change the band name to ""Lucifer". Holden checked with a church
to learn what biblical references alluded to the well known figure, which everyone seemed to know, at the
same time none seemed to know much of anything. It became a curious interest, but Alas, as with the
same allegory to the angelic creation fallen from heaven, it was not to be. A new album cover had been
designed, and the name formalized, then came the fall.
 
The Record company failed to release the new album, remaining secretive about it, while Holden reviewed
his contract, found there was no guaranteed release clause, to his amazement, having left the legal details
to the (sic) professionals. Nor would the record label release Holden from the contract. A meeting was
arranged with his CPA and Robert Stigwood to negotiate a release, but the label remained stoic and silent.
the big guns got up and walked out commenting the chair was a pompous idiot. As with all things that come
to an unexpected sudden end, with the album not being released, Holden went bankrupt. The situation was
worsened when his equipment manager sold all his gear. Holden was left with nothing, ending what some
believed should have been something to behold, but became as sand in the sea, and so it was there the
eyes of his mind wandered. the call of the muse that had always been central to his soul would seek
another window to release the energy that had been kept contained .
 
Nearly a quarter of a century later, he was sought out, and coerced into playing again by a loyal fan.
The realization of the love affair, the cycle of creation ignited once more.
 
After the extended hiatus, he recorded Guitar God in 1994 with his old band mate Paul Whaley on drums,
and a friend of Paul's on Bass, Robert Bauer. Advancing from the side lines, Captain Trip Records requested
and was granted a limited release of 2000 copies to distribute in 1996.
 
Recorded in 1997 "Guitar God 2001" followed released on his own label Guitar God Records.
 
Randy Holden has been called Rock music's long lost guitar great of the 60's and 70's era, but the path
to fame never quite materialized in the form of the proverbial hit record, the medium to launch international
acclaim in those times.
 
He spent years as a painter and found a passion in the seas game fishing, but in the end returned to music.
His aim was, and is "Comprehension of the depth of our souls emotives, communication surpassing words". His
epic music is a testament to his dedication and skill. And as one fan wrote -
that moment in "Fruit and Icebergs (Conclusion)" will last forever.
 
"The primal element of formative rock is rebellion against oppression of the soul". - RH.
 
By: Arthur Richards