Other musicians used folk-rock to feed the counterculture. The Fugs (3) were the quintessential satirical/political group of the Sixties, the foremost parodists of the Establishment and defenders of the counterculture. Their obscene, agit-prop vignettes updated a tradition that dated from Chuck Berry's early hits and predated Frank Zappa's operettas. Their use and abuse of cacophony and collage was way ahead of their time. In 1966, the year they recorded Virgin Forest on their second album, nobody else was even thinking of using the studio to create what was pure sonic folly. They would later transform into a surprisingly musical outfit, finding enough inspiration to sustain at least It Crawled Into My Hand, Honest (? 1968 - ? 1968) and Tenderness Junction (jul/dec 1967 - ? 1968).
Their fellow conspirators the Holy Modal Rounders (11) would come into their own during the psychedelic season, coining a unique, drunk form of acid-folk on their two masterworks, Indian War Whoop (? 1967 - ? 1967) and Moray Eels Eat (? 1968 - ? 1968).
The only band that could compete with that tribe were the Godz (1), whose masterpiece is the spastic, cacophonous Contact High (sep 1966 - ? 1966).
An even more unconventional stance was adopted by the Nihilist Spasm Band (1), formed in 1965 in Ontario (Canada), which used to perform blues-jazz numbers on home-made instruments (kazoo, gut-bucket bass, found percussions, slide clarinet, etc). No Record (? 1967 - ? 1967) is their classic album, displaying influences that range from New Orleans' spasm bands to Albert Ayler and Sun Ra.