GoodThunder -

GoodThunder was an American post-psych hard rock band from Los Angeles that released a 1972 self-titled album on Elektra.

Members: James Cahoon Lindsay (lead vocals, percussion), John Desautels (drums), David Hanson (guitar, vocals), Bill Rhodes (bass), Wayne Cook (keyboards)

Background

GoodThunder took root in early 1972 when five Los Angeles musicians pooled their respective experiences into a focused unit. James Cahoon Lindsay, their chief lyricist and lead vocalist, teamed with guitarist David Hanson and bassist Bill Rhodes to develop new material with keyboardist Wayne Cook and drummer John Desautels.

The band attracted the attention of producer Paul A. Rothchild, who brought them into Elektra’s West Coast orbit. Rothchild, famed for his work with The Doors and Janis Joplin, guided the band’s studio process while engineer Fritz Richmond handled the tracking.

GoodThunder released one single ahead of their album: “Sentries” (b/w “Moonship”) in late 1971, distributed on Elektra and featured on the in-house samplers New Magic in a Dusty World and Elektra September Releases. “Sentries” opens with a tongue-in-cheek caliope motif that signals the band’s whimsical undercurrent.

GoodThunder (the album)

GoodThunder released their self-titled album in December 1972 on Elektra.

They album fuses progressive hard rock with folk-rock nuances, rhythmic vagaries, and psychedelic textures. Lindsay’s vocals cut between soulful belts and theatrical phrasing. Hanson’s guitar work ranges from bluesy runs to proto-metal riffing, while Cook’s keyboards—especially the Hammond—anchor the harmonic architecture. The lyrics often explore displacement, emotional dislocation, and surreal imagery. Several tracks incorporate rapid shifts between loud and soft passages, lending the album a dynamic unpredictability. Rothchild rendered their sound with analog warmth that enhanced their rhythmic precision and harmonic interplay.

A1. “I Can’t Get Thru to You” (3:18) – Features a syncopated groove, piano stabs, and a brief progressive bridge with unison lines by the full band.
Music by Wayne Cook, words by James Cahoon Lindsay

A2. “For a Breath” (5:35) – Opens with ambient effects and a winding guitar riff, then transitions to a brisk main theme. Includes a mellow midsection with a brief bass solo.
Music by John Desautels, Steven Forster; words by Steven Forster

A3. “Moonship” (2:46) – A haunting psych-pop piece driven by eerie vocals, ominous keyboard textures, and moody lyrical imagery.
Music by Wayne Cook; words by Greg Phifer, James Cahoon Lindsay, Wayne Cook

A4. “Home Again” (6:48) – Starts introspective with delicate interplay, then expands into a lengthy blues-inflected guitar solo before resolving on a nostalgic tone.
Music by David Hanson; words by David Hanson, James Cahoon Lindsay

B1. “Sentries” (2:36) – Leads with a carnivalesque calliope melody before launching into tight, riff-based hard rock. Originally released as a 1971 single.
Music by David Hanson; words by James Cahoon Lindsay, Terry Linvill

B2. “P.O.W.” (6:50) – Begins with a classical-style piano and acoustic passage, then evolves into a dramatic hard-rock centerpiece with Eastern-tinged motifs and a powerful vocal performance.
Music by David Hanson; words by John Desautels

B3. “Rollin Up My Mind” (4:11) – A muscular rocker with grinding guitar, sharp lyrics, and one of the album’s most anthemic choruses.
Music and words by Wayne Cook

B4. “Barking at the Ants” (6:39) – Driven by a dark, circular riff and some of the album’s most intricate instrumental passages. Features strong group harmonies and cryptic lyrical imagery.
Music and words by David Hanson

Sessions occurred at Elektra Sound Recorders, with mastering done at Columbia Records Pressing Plant (Santa Maria). The album was pressed at Columbia’s Terre Haute plant. Paul A. Rothchild produced the sessions with engineer Fritz Richmond. Rick Rodrigues supplied the abstract sleeve art, with photography by Lorrie Sullivan and art direction by Robert Heimall.

Aftermath

GoodThunder folded soon after the album’s release due to internal pressures and lack of label support. Desautels, Rhodes, and Terry Linvill joined L.A. Jets, which evolved into 1994, fronted by singer–songwriter Karen Lawrence.

Wayne Cook went on to play keyboards with Steppenwolf, co-writing “Lip Service” on their Skullduggery album. He also served as a road auxiliary for Player and briefly filled in with Alice Cooper’s band.

Discography: