One thing I didn’t expect to happen when writing posts about 50s music discovered by me in the mid 80s: to hear from any of the bands/artists’ family members. But not only has that happened, more so I’ve heard from a band member!
Incredibly, I’ve now had the immense pleasure of being in contact with ‘Wild’ Bill Lee Balsbaugh, piano player in The Jiants, having initially been contacted by Aaron Hedges, son of Jerry Hedges, the guitarist.
Not only can I set some of my own speculations—made in absence of any info—about the band straight, I can also correct a big inaccuracy found in the scant information that could be found online.
Ian Arkley’s second solo album two is compellingly converse. Frequently touching on fiercely hunting, it equally remains subtle throughout. two picks up where one left of with bells on thanks to the addition of a dulcimer, lyre and pitched down acoustic guitar for bass. Mastering and layout are by Michael Shaffer of label Opa Loka Records, on which two is released; beyond that, Ian is responsible for all aspects including photographs and artwork. 
Rich Brown wanted to draw a line under what was intended as a lockdown project, and having had enquiries about them, decided a CD—his first physical release—would do exactly that.
Clue One. The three bands covered: The Paragons/The Nerves/Randy and the Rainbows.
Whirring into life like a comet lowrider being fired up, Usurper of the Universe is an ever expanding cloud of trippy space dust gritty with derision. Who, or perhaps what, is SÖNUS is a question the answer to can change with every listen; the six track album as much space rock opera—a beer and bong infused version of Queen’s Flash Gordon score with SÖNUS playing both band and Ming—as a frustration-driven social commentary not only on the world we currently live in but always have.
N. P. Ryan 