The Human Expression

The Human Expression have almost become a footnote in the annals of rock and roll history as the group that originally turned down Mars Bonfire’s soon to become anthem, “Born To Be Wild.” But, honestly, considering that the group had such classic self-composed tunes as “Love At Psychedelic Velocity,” “Optical Sound,” and “Readin’ Your Will”…who could blame them? To hear ‘60’s garage rock at its finest, pick up the now very highly sought after Cicadelic CD reissue Love At Psychedelic Velocity.

Tom Hamilton Recalls The Human Expression
July 2007

Jim Foster, Martin Eshleman, Armand Poulan and me (Tom Hamilton) all went to Westminster High School together. Armand and I had a band together with my brother, Paul Hamilton, my sister, Suzie, and my cousin, Stella. We were called Moby Dick & The Wailers (before the other band started using the name). We played "starter" gigs (school dances, etc.) and we jammed with a lot of the people we hung out with, including Larry Hanson, who went on to work with Alabama for 18 years and who is still a friend today). Others we jammed with included Bob Deal (before White Horse and before he before he became Mick Mars), Greg Manson, Herman Henshaw, Roy Young, and Bob Dourumple...to name a few.

Jim Foster and I used to sit next to each other in class and talk a lot of music. Well...I guess he was talking to Armand, too, because he quit his band and joined The Human Expression. I was then asked to join. When I tried out it was the first time I had ever picked up a bass guitar and what I hear coming out of that audition was mind blowing! After we played the songs that they had written, Jim Foster told me, "Tom, I think you've found your instrument!"

Most of the group was outsiders at school but we found a peer group with the other musicians (oh yeah; we quickly found out that the girls really liked rock musicians!). Much of professionalism came from the guidance of Mr. Foster, Jim’s dad.

We worked plenty hard on our music and recorded everything we practiced. We were brutally honest with each other, and debated each other over every little thing (i.e., "would it sound better like this?" or "would it sound better like that?"). We would try it umpteen different ways until we got what we wanted. Each instrument part in each song was completely original and written by each musician respectively. We really spent most of our time practicing (and fighting school officials over our hair length).

Recording sessions were all done live (mostly on one or two takes). I remember Don Doughty talking to us and telling each of us the character we wanted to project. We tried but in the end we could only be who we were. We decided it best to be what you is and not what you is not (for folks who think this is the happiest lot). When it came to the “Born To Be Wild" thing, as I remember, Jim Quarles didn’t understand the lyrics (we never could corrupt the boy into becoming a biker). Being a third generation biker myself, I really wanted to do the song; I thought it was great from the word “Get”! We did learn it, and play it, but never recorded it. I never heard it played by Steppenwolf until I returned from my first tour of Viet Nam. That was the last time I saw Jim Foster, too.

I liked all the people we met and worked with at Accent Records. I played bass on all recordings by The Human Expression. I played the bass through a reverb and did the reverb crash in "Love At Psychedelic Velocity." I accidentally kicked it too hard and sent it rolling end over end! The song was recorded in a garage converted to a recording studio.

We played one band battle. I think it was a waste of gas and time (it was our worst gig). The USO Shows were the most gratifying. They were the most fun and had the best audiences. We all loved doing those types of shows.

One time my brother, Paul Hamilton, and I jammed for about 1/2 hour in a music store with this guy and didn't find out until we were all leaving that he played bass for Carlos Santana. Gazzarri’s was a fun gig. There were nights when Cory Wells would be joking about playing at Gazzarri’s furniture store, and they were having a special sale on tables and chairs - and others nights it was packed! It’d be a real zoo! Redd Fox came in and watched us almost every night of the gig. The Sunset Strip was fun but we were limited as we were mostly minors at the time and were not allowed into clubs unless we were working there. We were fascinated by it all, though! We met and worked with bands we really liked listening to.

The band was like a plane taking off and then it crashed on the end of the runway. One day we had been practicing several hours and finally took a break. It was a really hot day, and someone started a water fight. We were in the front yard and someone grabbed a hose. I ran for the front door and didn't realize Martin was right behind me. I slammed the door, heard a crash and then saw Martin's hand busted through the glass. When he jerked his hand out it sliced his wrist and severed tendons and an artery. Martin was a musical genius and though we had a friend who tried to help us, Mike Verlingery, the band was never the same.

Mike is the sixth person in the cover picture on the Cicadelic CDs. In that picture Jim Foster is on the left, I'm climbing on the gate. Martin Eshleman is behind the gate to the right, Mike Verlingery is on the right behind the gate, Armand Poulan is in front of the gate kneeling, and Jim Quarles is standing to the right of him.

I was in a weakened and fragile state when I returned from Viet Nam. I stayed with Armand for about two weeks. I wasn’t able to land a day job...and Dick Dale was only offering part time so I moved on because I refused to live off a friend. We were real friends in The Human Expression. I have good memories about each and every one of the people that were a part of it – large or small.

Armand went on to play two years with Dick Dale & The Deltones. Martin regained his ability to play and is also a great artist. Jim Quarles walked out of the door and out of our lives (although I still consider him a friend). Paul and I formed the Hamilton Transfer with brothers Joel and Bobby, Dian Lippolt (DJ Lee) and drummer Charlie Lufton...and I'm still trying to find Jim Foster. I have located Armand Poulan and we are working on forming a new band with Paul and Joel and a bright new lead singer named Mary Newton.

I would not rule out a reunion with The Human Expression!


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