The band were based in Greenwich Village, having relocated from Washington DC when they were known as The Button, (which was the final incarnation of The Hangmen). The Button line-up included drummer Bob Berberich who returned to DC, teamed up with two other ex-Hangmen and Nils Lofgren to form Paul Dowell and The Dolphin and later Grin. Graffiti's sole album was in some ways typical of numerous obscure psychedelic one-shots on fairly big labels in the late '60s: over-ambitious lyrics, a kaleidoscope of styles that butted heads as often as it blended, emulation of several passing psychedelic trends pioneered by bigger groups, and an absence of really good songs. All that said, as such albums go, it's better than average, though hardly noteworthy. That's kind of faint praise, but at least Graffiti were less ponderous than many such bands, with a sort of gossamer lightness to much of their material. As for what styles they mined, they're hard to pin down, though they're fairly influenced by West Coast psychedelia of the era, with some of the vocal harmonies so high that one can mistakenly think there was a woman in the group (there wasn't). Bits of jazz, classical guitar, blues-rock, psychedelic effects, and vocal harmonies both sunshine pop and Gregorian seep through from time to time as the band floats through ever-shifting melodies and styles. The songs and instrumental solos do tend to go on too long, however, and the songwriting isn't memorable. (AMG) 01 - Father Protector 02 - The Capture Of Me - Life Blood 03 - Interlude - 1 - Jingle Jangle Woman 04 - New Life - Girl On Fire - Cold Water - Love In Spite 05 - Ugly Mascara 06 - He's Got The Knack LINK
