Tongue and Groove were something of the offshoot from the legendary but little-recorded, early SAN FRANCISCO BAY AREA hippie group the Charlatans. Vocalist Lynne Hughes acquired occasionally sung using the Charlatans on-stage in the middle-’60s (although she was hardly ever the official member), as well as shows up on vocals and electric guitar on the few slashes they documented for Kama Sutra in 1966 (ultimately seeing release over the Compact disc compilation The Amazing Charlatans). Pianist Mike Ferguson, who sometimes sang business lead with Tongue and Groove aswell, was a real primary Charlatan, although he still left by enough time their one correct ’60s record was released. Richard Olsen, another Charlatan, performed bass on Tongue and Groove’s one LP; Hughes and Ferguson composed a lot of the materials, yet another ex-Charlatan, Dan Hicks, added one composition aswell. Tongue and Groove’s self-titled record, released in the past due ’60s on Fontana, was made by Abe “Voco” Kesh, who also caused other second-tier ’60s Bay Region acts, such as for example Blue Cheer and Harvey Mandel; best session musicians Adam Burton (on dobro) and Earl Palmer (on drums) also added to the documenting. As could possibly be anticipated provided their ancestry, the record acquired much in keeping using the Charlatans’ fusion of old-timey saloon music, vaudevillian blues, and rock and roll. The key distinctions were a girl (Hughes) took a lot of the business lead vocals, which the lysergic tinge of a lot of the Charlatans’ materials was practically absent. The quantities offering Hughes’ saucy vibrato vocals, which mine the territory between Janis Joplin and Mae Western world, are certainly the features of the record, a fitfully participating footnote to past due-’60s SAN FRANCISCO BAY AREA rock and roll.