LISTEN-IN REVIEWS

 

Here are some of my random thoughts and words about obscure and in-demand ’60s garage and psychedelic singles over the years. All of the original blog posts on my old website have since been deleted so no label scans or picture sleeves are available. Instead, I’ve used images of The Monkees scanned from 1967 music magazines.

CONDELLO – ’Crystal Clear’ / ’See What Tomorrow Brings’ (Scepter Records 45-12233) Nov 1968

Condello were a four piece psych band put together by Mike Condello. He had previously been a member of the joke band Hubb Kapp and the Wheels, then fronted the ambitious Commodore Condello’s Salt River Navy Band.

’Crystal Clear’ is soft sike genius written by bass player Ray Trainer. The flip, ’See What Tomorrow Brings’ is a Condello penned country psychedelic excursion with raga guitar leads. Both are memorable songs and part of the Phase 1 album released by the band in 1968.

(09/09/08)

THE CASTELS – ’Rocky Ridges’ / ’I’d Like To Know’ (Laurie LR 3444) 1967

This 45 had first been released on the small Solomon label but was given further exposure with the subsequent release on Laurie Records.

The Castels were from the Memphis, Tennessee area and had some earlier beat and folk rock records on local labels but ’Rocky Ridges’ was way ahead of those both musically and in originality.

’Rocky Ridges’ is a trippy psych ballad with studio effects, flute and lavish harmonies. It was probably the flip side. ’I’d Like To Know’ sounds dated for 1967 and could have been one of their beat ballads from a few years earlier.

(07/09/08)

THE BACKSEAT – ’Where Is Mary’ / ’Like You Do’ (Linda 125) April 1967

Obscure band or set of studio musicians from Los Angeles? That is the question.

’Where Is Mary’ is a cool pop psycher with cornball lyrics and was written, arranged and produced by Larry Tamblyn (best known for his keyboard skills with The Standells)…

The other side is a Max Uballez song titled ’Like You Do’ and he shared production credits on this one with Larry Tamblyn. Uballez was the rhythm guitarist and chief songwriter with an East Los Angeles band called The Romancers.

The liner notes for Fading Yellow Volume 2 suggest that The Backseat were a four piece combo from Utah who went to L.A. in search of gigs and a record deal.. Anyone know for sure?

The Backseat probably were not a band as such but a joint venture by Larry Tamblyn and Max Uballez releasing this lone 45 on the small Linda label run by Eddie Davis.

recent update from Debbie Hull:

My two oldest brothers recorded those songs.  They started that band in Ogden, Utah as The Tremblers.  Larry and Raymond Gallegos.  They met Larry Tamblyn and Max Uballez and Larry Tamblyn wrote Like You Do for them and Max wrote Where Is Mary. 

line-up:
Larry Gallegos
Raymond Gallegos
Danny Giron
Bobby Diarte

Tasha G:
THIS IS MY DAD (RAYMOND) AND MY UNCLE LARRY!!!! WHOEVER YOU ARE, YOU HAVE NO IDEA HOW MUCH THIS MEANS TO MY BROTHER AND I…..RAYMOND PASSED AWAY IN MARCH OF THIS YEAR AND THIS BROUGHT US BOTH TO TEARS!!!!!! THANK YOU, THANK YOU!!!!!!

According to Eddie Davis they came from Ogden Utah. Our Single ”Loves The Thing ”. Was number one on the local station they came to Los Angeles to find Linda Records. Eddie brought them to my house and asked me to write something for them. ”I composed ”Like You Do”. Thank you for recognizing them. Max Uballez makzrecords.com

They did not have a name for their band so I named them ”The Backseat’ using lyrics from the song. ”Back seats dark nights giving them kiss’s and telling them lies”. Larry had a song that we thought fit the group ”Where is Mary”. Max Uballez web site makzrecords.com or contact: chuydecabrabooks@gmail.com

(06/09/08)

THE HALLMARKS – ’Soul Shakin’ Psychedelic Sally’ / ’Girl Of My Dreams’ (Smash S-2115) Aug 1967

Here’s another 45 from the Bosshoss66 archives that I downloaded as a flac and saved the label shot about three years ago.

The Hallmarks, from Oceanport, New Jersey cut this tune as ’I Know Why’ in ’66 but it was never released, however, the acetate was compiled on Back From The Grave Volume 4.

The ’Grave’ version sounds the same to my ears except for the ’groovy shit, like backward sound effects and psychedelic voice phasing’ this is a quote taken from the liners.

According to the compiler he thought all that psych stuff destroyed the song.

In my opinion, all that ’groovy shit’ makes this bubblegum punker better. Just wish the lead guitarist wasn’t so inept. He tried his best Jeff Beck solo but failed after about three seconds.

Yes, very true, Oceanport is one word. I am second cousin to Russ Scalzo (lead vocals, rhythm guitar, author of ”I Know Why/SSPS”) and Joe Scalzo (drums).

(28/08/08)

THE MUSIC MACHINE – ’The People In Me’ / ’Masculine Intuition’ (Original Sound OS-67) Jan 1967

Killer Los Angeles band that scored big with the earlier 45 ’Talk Talk’.

This was the follow up release to that fuzztoned monster and it did reasonably well, reaching a peak of 66 on the U.S. National Chart.

With a great image and a sound way ahead of the competition The Music Machine surely must be considered as chief innovators of the ’garage’ sound ….Truly an amazing band.

(02/09/08)

T.C. ATLANTIC – ’Faces’ / ’Baby Please Don’t Go’ (Turtle T-1103) 1966

T.C. Atlantic were one of the most popular Minnesota club acts and judging by their Live album ’Live At The Bell Rae Ballroom’ were pretty much a standard 60s rock band with the usual source material of cover versions.

Quite where ’Faces’ came from then is a mystery as nothing in their repertoire even comes close to matching this awesome acid punker with it’s raga guitar breaks and introspective lyrics. The first line kills. Simple yet very effective.

Reader comments:
TC Atlantic was a great live band, the album Live at the Bel Rae Ballroom was poorly recorded and didn’t do them justice at all. Most of their singles were great though, and they did a great job on the single Mona, their cover of the Stones cover of Bo Diddley’s tune.

Their first single I Love You So Little Girl is another classic. They were one of the biggest bands playing in the Twin Cities of Minneapolis/St. Paul in the sixties.

(27/08/08)

TEDDY AND HIS PATCHES – ’Suzy Creamcheese’ / ’From Day To Day’ (Chance 668) 1967

Here’s a disc from Bosshoss66. He put together an amazing 3 CD set of songs that were originally part of the long outta print and badly mastered compilation ’Psychedelic Disaster Whirl’ as well as music that would have fit the same acid punk criteria had there been further volumes in the series.

’Suzy Creamcheese’ by San Jose band Teddy And His Patches is rightly regarded as an acid punk classic and really blows my mind every time I hear it. The flip ’From Day To Day’ is another primitive punker and can be heard on Sixties Rebellion Volume 6.

Teddy And His Patches originally formed in San Jose by Teddy Flores Jnr. in 1964 but came to nothing. The name was derived from Flores eye patch worn as he had lost an eye from cancer.

Teddy Flores formed a new band in 1966 with Bernard Pearson (lead guitar), David Conway (keyboards), Steve ”Herbie” Urbani (bass) and Steve Marley (drums). They enjoyed some local success and opened for bands such as The Doors and Moby Grape in San Jose.

In 1967 Conway and Jerry Ralston wrote a song called Suzy Creamcheese based on the opening dialogue from The Return Of The Son Of Monster Magnet which Ralston ”borrowed”. Conway later explained: ”We had no clue who Frank Zappa was at that time.”

The single ”Suzy Creamcheese”/”From Day To Day” (Chance 668) was recorded by Grady O’Neil for his Chance label in San Jose and was released in February 1967 enjoying some local success.

Although the group was a ”straight” band the song utilised all manner of psychedelic excess. Another single followed: ”Haight Ashbury”/”It Ain’t Nothin’”, (Chance 669) but the group had split up by the end of 1967. 

(25/08/08)

THE STARFIRES – ’The Hardest Way’ / ’Something You’ve Got’ (Yardbird 4006) 1967

This was the final single release by Los Angeles area band The Starfires who are perhaps best known for their 60s punk offering ’I Never Loved Her’.

As far as I know the plug side was the Chris Kenner cover ’Something You’ve Got’. It’s not my idea of a listening experience. I just don’t get this soul/R’n’B thing that’s goin’ down. Plus Chris Kenner was sent to prison in ’68 for statutory rape of a minor so his songs can get played some place else.

The flip ’The Hardest Way’ is much more in keeping with ’Renaissance Fair’. Check out the subtle fuzz guitar and general moodiness of the song. It’s a grower.

The producer was Richie Allen Podolor who helped create killers by The Standells, The Chocolate Watch Band, Iron Butterfly and Steppenwolf.

Guitarist Sonny Lathrup went on to form three piece band Sweet Water in the late sixties.

(19/08/08)

dRAKE – ’On The Road To Mexico’ / ’Glory Train’ (Parrot 315) Feb 1967

Essential double sided 45 by dRAKE. It appears that this record was down to one man, namely Drake Levinshefski. He became famous as the lead guitarist in Paul Revere and the Raiders during their peak years of 1964-66.

Drake left the Raiders in April 1966 when he was called up to join the National Guard Unit. After he served his obligation he joined a band called The Brotherhood in 1967 releasing a couple of long players on RCA Victor. He also played on a wacked out acid album by Friendsound (or was it Joyride?)

Anyway, this solo 45 on Parrot seems to have been largely forgotten. This is a great shame because it’s a psychedelic thrill ride. It’s very well produced with exquisite instrumentation.

There’s subtle fuzz throughout culminating in some trippy backwards guitar on ’On The Road To Mexico’….I’m amazed this song is still uncompiled.

The flip ’Glory Train’ is another laid back rock song that reminds me of early Spirit.

(14/08/08)

THE GRAINS OF SAND – ’She Needs Me’ / ’That’s When Happiness Began’ (Valiant Records 736) Feb 1966

Totally cool double sided 45 from Los Angeles band The Grains Of Sand. They were popular around the South Bay area of LA even getting as far as San Francisco for some gigs at the famous Whisky A Go-Go.

Both sides of this disc were recorded at Gold Star Studios in Hollywood. According to bass player Richard Brand session supremo Hal Blaine laid down the drum beat.

I’ve also read in Domenic Priore’s ’Riot On Sunset Strip’ book that Michael Lloyd and Kim Fowley were responsible for the production although no production credits are noted on the label.

’That’s When Happiness Began’ was covered by English band The Montanas and in Australia by Mike Furber and the Bowery Boys. The song itself was composed by Dick and Don Addrisi.

’She Needs Me’ is a primitive punker with harmonica outbursts.

(10/08/08)

NEAL FORD & The FANATICS – ’Gonna Be My Girl’ / ’Shame On You’ (Hickory 45-P-1433) Jan 1967

In their home City of Houston in Texas, Neal Ford & The Fanatics were a massive attraction. Indeed this 45 hit the number 1 spot in Houston at the end of January 1967.

At first the garage punker ’Shame On You’ was cited as the plug side and was played on various radio stations in and around Houston.

But the so called flip ’Gonna Be My Girl’ written by guitarist Jon Pereles started to get some plays as well and this song went down much better with the kids and so became the top side.

’Gonna Be My Girl’ was the lead off track on Neal Ford & The Fanatics album on Hickory but curiously remains uncompiled after all these years!

(10/08/08)

FRONT PAGE NEWS – ’Thoughts’ / ’You Better Behave’ (Dial 4052) Jan 1967

Front Page News hailed from Tulsa, Oklahoma and before this cool double sided 45 was released they were known as The New Imperials. As the latter they played standard soul fare but as Front Page News their sound was a whole lot fuzzier.

’Thoughts’ is a garage psycher with plenty of fuzz. The flip ’You Better Behave’ is a short burst of garage pop with clattering tambourine and a fast tempo. The producer on this disc is the respected Edwin Greines. He also worked with The Penthouse Five and Word D.

Dial Records released a few other garage kicks, notably The Daybreakers ’Psychedelic Siren’ and The What-Knots ’I Ain’t Dead Yet’, but the label was much more well known for it’s soul output.

(08/08/08)

THE UNRELATED SEGMENTS – ’Story Of My Life’ / ’It’s Unfair’ (HBR -514) Feb 1967

A group of teenagers (still in High School) from Michigan got together and formed a band. They named themselves The Unrelated Segments after guitarist John Torock heard the wording in his micro-economics class.

Within weeks they had cut several songs at United Sound Studios and a few months later in February 1967 this sought after 45 on HBR was released. 

’Story Of My Life’ was the top side and it became a hit in several American markets including Michigan and Ohio. In Toledo it reached number 3.
I’ve always thought ’Story Of My Life’ was a little dull and pedestrian so I’ve uploaded the flip ’It’s Unfair’ instead.

(07/08/08)

 THE BASEMENT WALL – ’Never Existed’ / ‘Taste Of A Kiss’ (Senate S-2109) June 1967

This talented band were from Baton Rouge, Louisiana although they laid down their sounds at Robin Hood Brians Studio in Tyler, Texas. Most of this recorded material was meant to be released on an album but the long player never saw the light of day.

Only this 45 on Senate was released in the 60s and it proved a massive success locally. ’Never Existed’ is a garage pop classic with cool guitar/bass interplay over a simple beat.

The liners of the Cicadelic 1985 Basement Wall collection state that Ronnie Weiss from Mouse and the Traps contributed guitar.

The flip ’Taste Of A Kiss’ is a melodic Association style pop song.

The producer for the session was Wes Farrell. He was a songwriter of some repute having co-written ’Hang On Sloopy’ recorded by The McCoys and ’Come On Down To My Boat’ recorded by Every Mothers Son. Perhaps he’s better known for writing songs for and producing many of The Partridge Family hits.

The Basement Wall:
Richard Lipscombe (guitar/vocals)
Terry Bourdier (bass) died 2012
George Ratzlaff (keyboards/vocals) died 2016
Barrie Edgar (drums)

Reader comments:
The Basement Wall reunited in the summer of 2005 to play at their induction into the Louisiana Music Hall of Fame. George Ratzlaff’s later band, Potliquor, was also inducted and performed as well.

(03/08/08)

THE ASSOCIATION – ’Blistered’ (London HA-T 8305) 1966

Los Angeles harmony pop band The Association won’t be the first band to name drop to a garage rock collector. But their harmony pop approach certainly is a sound that I dig.

The Association may not be freak rock but they’re essential listening just the same. A collection of their early 45s and obscure album tracks made a welcome addition to my collection a few years ago in the form of Rhino’s Anthology CD set. Seek and you shall find my friends.

Their first album ’And Along Comes Mary’ was released in July 1966. The material was produced by pop psych mastermind Curt Boettcher and engineered and recorded by Gary Paxton at his Homewood Studios in Hollywood. The vocals were laid down at Columbia Recording Studios.

Gary Paxton produced my all time favourite garage psych band The Avengers. Check out my interviews with Avengers band members in the links where they speak highly of Gary Paxton’s skill and enterprise in the studio.

All of the material on The Association album was laid down by premier L.A. session musicians, including Mike Deasy who released records in his own right as The Flower Pot and Friar Tuck and His Psychedelic Guitar. Other players happened to be Lee Mallory, Butch Parker, Jerry Scheff and Jim Troxel.
Association member Jules Alexander was on the basic tracks as well, but other group members were only used to contribute overdubs.

A song from the album ’Blistered’ is featured on my blog. It’s an up-tempo rocker with harmonica and was hidden on side 1 of the LP and is represented here because it never features on any Association collections.

It wasn’t written by any band member but credited to E.Wheeler. I’ve mastered the song direct from my mono copy of ’And Then – Along Comes’ on London (the UK release).

It was not included on the 1992 Rhino 2 CD set titled ’Just The Right Sound’ or the 80s set released by Edsel Records titled ’Golden Heebie Jeebies’….

(06/07/08)

RESEARCH – 1-6-12 – ’In Research’ (Flick City FC 5001) 1968

I first became aware of the strangely named Research 1-6-12 back in the 80s when I heard ’I Don’t Walk There No More’ on Highs In The Mid Sixties – Volume 3. This was a song I repeatedly played and when I started collecting original 60s vinyl, Research 1-6-12 were high on my list for investigation.

As it turned out ’I Don’t Walk There No More’ is probably their best song with an immediate impact (well it was for me)… The album released on Flick City, based in Sunset Blvd, Hollywood is a patchy affair with three throwaway songs.

Those are ’The Grass Is Greener’ a hippie lament about smoking pot, ’John’ an awful load of shite about playing a guitar or reading a newspaper on (funnily enough) the toilet and ’Lookin’ In The Toaster’…the least said the better.

However, the rest of the cuts on the album will sink in after a few plays. ’Omar’ is a trippy psych tune probably about a drug pusher called Omar, the single ’Can You Baby’ / ’Lip Smackin’ Good’ are excellent and I really dig the gentle & laid back hippie psych of ’The Feeling’ and ’Highway Song’….the latter in particular is a keen insight into the hippie dream ’gone wrong’ ….the singer tells the tale of a young kid travelling to San Francisco to the ’live the dream’ only to lose all of his money, having to sell the coat off his back for an upper, then hitch-hiking his way back home in the country..

Most of the songs were joint Morrie Yess/Dick Bozzi collaborations. Yess would drop out of the music industry when Research 1-6-12 flopped to become a Rabbi whilst Dick Bozzi went into Radio, eventually becoming an arranger for A&M Records.

Reader comments:
Glad I found this review…My late father, Morrie Yess was the lead singer on this song and It was good to finally hear this track for the first time

Morrie Yess was also involved with the two 45s credited to the Good Time Singers on the In Arts label.

(05/07/08)

 THE SPIKE DRIVERS – ’Baby Won’t You Let Me Tell You How I Lost My Mind’ / ’High Time’ (Reprise RA 0535) November 1966

Wow, call the Rozzers. There’s four bearded and be-tashed loner types possibly looking for trouble or at least thinking about pinning the homely looking hippie chick down and plying her with some acid tabs… OK, I may be mistaken.

The Spike Drivers released this brilliant psychedelic 45 in late ’66. Both sides are essential and the American issue should be easy enough to pick up but you could have a problem locating this German picture sleeve release. Gear! 13 will compile both tracks.

Richard Keelan and Ted Lucas would go on to form Misty Wizards after one more Spike Drivers single ’Strange Mysterious Sounds’ / ’Break Out The Wine’ on Reprise the following year.

(28/06/08)

THE COLLECTORS – ’Lydia Purple’ / ’She (Will-O’-The Wind)’ (Warner Bros 7194) 1968

It’s about time a label did the good thing and collected the works of The Collectors including their earlier incarnation as The Classics and put together a retrospective CD including all 45 sides and choice album cuts.

Perhaps the best Collectors compilation was put together by Edsel but that was in the 80s and it was vinyl only. OK if you’re a vinyl freak like me but these days most folks don’t have a turntable.

’Lydia Purple’ has always been my favourite Collectors song. It’s a very haunting tune, almost classical but with that West Coast psych vibe running throughout. It was produced by Dave Hassinger who had previously set the controls for The Electric Prunes.

The song was not a band original and they didn’t really want to record it but did so at the insistence of Hassinger who claimed it suited their style and they needed a hit.

At the band’s insistence, session musicians were used and big time Californian players Larry Knechtel and Jessie Erlich were recruited to play piano, harpsichord and cello.

The flip ’She (Will O’ The Wind)’ is also GREAT and is a band original.

related info: A promo video of The Collectors performing ’Lydia Purple’ is currently on YouTube and Giant Crab also recorded the song.

(26/06/08)

JERRY JEFF WALKER & LSD – ’Found Me A Brand New Woman’

I’m not sure if this song was released as a 45 or on an album? I’ve checked various resources and can’t find any mention of this folk rock tune anywhere. It was included on a CD called ’Trip To The Psychedelic World’ which was a low budget, mostly badly sounding CD compilation on Collectors Choice. Maybe it’s a demo and wasn’t released at the time.

Jerry Jeff Walker formed his own band Circus Maximus in the mid sixties after spending some time as a folkie in Greenwich Village. They released two psych albums on Vanguard but nothing on those discs are as good as ’Found Me A Brand New Woman’…

Hopefully, someone out there on netsville knows the story about this song. If you do, get in touch…thanks

(23/06/08)

THE MONKEES – ’Valleri’ (original fuzz version) 1967

This version of ’Valleri’ was never officially released in the sixties and only got an airing on the 1990 Rhino CD titled ’The Monkees – Missing Links Volume 2’..

The original fuzz guitar version was included in one of The Monkees TV Shows and was promptly taped by DJs in Chicago and Florida. The ’taped’ Valleri was then played on the radio creating a massive demand for the song to be released as a single.

By popular demand ’Valleri’ was released as a 45 in March 1968, but it was re-recorded in December 1967 and turned out to be a tamer version with trumpet, sax and trombone instead of the original fuzz laid down by Boyce and Hart.
The fuzz version is way cooler and the one to add to your collection.

(23/06/08)

SIMON & GARFUNKEL – Simple Desultory Philippic’ (Or How I Was McNamara’d Into Submission) (CBS LP 9363) Oct 1966

I’ve had a fondness for this folk rockin’ duo ever since I started getting into music. As a teenager I used to go around my friends’ houses and play records (when their parents were out of course).

We would organize two rooms for music. One room would be devoted to 70s punk rock, the other room was a bit more eclectic. I’d bring along my Byrds, Love and Doors albums and someone was real keen on S&G.

This clever song by Paul Simon is not in keeping with their usual approach of perfect acoustics and two part harmonies.

The tune has a punky fuzz bass guitar throughout that pounds away and doesn’t fail to impress.

It was hidden away on side 2 of the ’66 album ’Parsley, Sage, Rosemary and Thyme’ and never appears on any ’Best Of’s’ etc.

I also dig the lyrics. These lines in particular capture the time capsule of hot bands as well as America’s unhealthy anxiety towards communism.

’I been Rolling Stoned and Beatled till I’m blind
I been Ayn Randed, nearly branded
Communist, ’cause I’m left handed
That’s the hand I use, well never mind!

(22/06/08)

THE EASYBEATS – ’Easyfever’ EP (Parlophone GEPO-70032) 1966

This EP was found recently in the wyld as it were. What I mean by this is the fact that it was not bought on eBay, in a shop or mail order. Finding things in the wyld was common place in the 80s and some of the 90s, but not any more.

Anyway, a few months ago I paid a visit to a local market and a record dealer was there selling some of his wares.

Grabbed this brilliant EP by Australian mod rockers The Easybeats. Turned out to be in pristine condition, possibly unplayed.

Four fantastic songs with the stand-out being ’I’ll Make You Happy (Just Like Your Mama Wants)’….there were not many bands in the mid 60s better than The Easybeats.

(21/06/08)

THE ABSTRACT SOUND – ’Blacked Out Mind’ / ’I’m Trying’ (Gray Sounds GS-006) 1967

It has been confirmed that The Abstract Sound hailed from Springfield, New Jersey. Their sound is very similar to ? and the Mysterians. To me that is a GOOD thing although the reviewer in Fuzz Acid And Flowers described the 45 as ’pedestrian’.

’Blacked Out Mind’ is perhaps the stronger side but ’I’m Trying’ ain’t no slouch either. It’s a record I dig a lot. Both sides have been compiled before but never on CD.

(18/06/08)

ANTOINE – ’Where Did Everyone Go To’ / ’Football Game’ (Disques Vogue STU 42 335) 1969

Here’s a very hard to find 45 in picture sleeve. This is the rare cover of the Denmark release. Maybe you don’t know about Antoine?

His full name is Pierre-Antoine Muraccioli and in the mid 60s was the French answer to Donovan and Dylan. His style of protest song and loner lyrics will be of interest to the folk rock fan. He was backed on some later releases by French R’n’B punkers Les Problemes.

’Where Did Everyone Go To’ finds Antoine in a reflective pop psych mode. It’s an absolutely essential psycher and has the full Expo seal of approval. This cut would fit nicely on those Fading Yellow compilations.

The top side ’Football Game’ is awful.

(17/06/08)

HICKORY HOLLOW – ”Never Happen” / ”Home” (Musitron M-107) 1968

I really dig this record label, red on gold always looks smart and I especially have a liking for the wording Musitron – Imagination In Sound…

I don’t know anything about the band or where they hailed from. The label was based in Panorama City, California and Hickory Hollow definitely have that West Coast sound so I’m thinking they’re from here.

’Never Happen’ is the plug side and has got a neat guitar break and an uncluttered production by D. Roy Penna. It has been compiled only once on ’Shadows Falling’ a budget CD only comp put out by Past & Present. The uncompiled flip ’Home’ has a laid back hippie vibe and this sound reminds of early Moby Grape. All in all, a very competent double sided 45.

(08/06/08)

Here are some of my random thoughts and words about obscure and in-demand ’60s garage and psychedelic singles over the years. All of the original blog posts on my old website have since been deleted so no label scans or picture sleeves are available. Instead, I’ve used a photo of Donovan.

TENDERFOOT KIDS – ’Time Is Up’ / ’Intoxication’ (Movie Play SN 20.349) 1970

Here’s a very interesting 45 to add to your collections from Belgium band The Tenderfoot Kids.

’Time Is Up’ is late 60s balladry with a naggingly catchy chorus but the flip ’Intoxication’ is perhaps the one to get psych fans interested.

This song is laid back psychedelia with a West Coast feel. It’s got some neat guitar licks with subtle piano (would have sounded so much cooler with hammond organ).

’Intoxication’ comes off sounding like a mix of Spirit and Crosby Stills and Nash.

My copy is the Spanish release on Movie Play.

Reader comment:
There is also a very good SP with Paul Simul, which includes on the b-side a nice rework of ”hold on i’m commin” featuring some cool hammonds sounds

(19/12/08)

THE SEVENS ’Panam’ (Aug 1965)

I’m a sucker for a wild swingin’ go-go beatin’ instrumental and none come finer that ’Panam’ by The Sevens, an obscure mid 60s beat combo from Basel, Switzerland.

The track kicked off side two of their 1965 album, then was chosen as a B-Side for the single ’Don’t You Fret’ in March 1966. The latter being a lame cover of a boring Kinks tune. Should have released the fantastic mod beater ’Panam’ as the top side.

(03/10/08)

THE SPENCER DAVIS GROUP ’My Babe’ (Fontana TL 5242) 1965

Hidden away on their first album for Fontana is this classy bit of R’n’B. I dig the way Steve Winwood comes in with his soulful vocals mid way through the song.

(31/07/08)

The French always had a unique angle on 60s pop music. There was occasional flashes of brilliance especially from Antoine when his backing band was R’n’B group Les Problemes.

This is why I was very pleased to find this rare 1966 promo video of Antoine et Les Problemes on YouTube recently singing ’Les Elucubrations D’Antoine’.

(31/07/08)

THE ANIMALS – Are Back EP (Columbia SEG 8452) Oct 1965

By the time this EP was released The Animals had conquered the World. This four track EP is made up of songs that had previously been hits plus the odd B-Side.

The anthem under scrutiny is ’We’ve Gotta Get Out Of This Place’…I can’t tell you how many times I’ve sung this in my head when I’ve been bored shitless at work where the only conversation is probably coming from some fat bird yacking on about her diet. (I work in an Office by the way (ie) no escape)…

This killer song is notable for Eric Burdon’s ferocious vocal delivery.

(29/07/08)

JOHN SMITH and the NEW SOUND – ’Birthday’ / ’Just A Loser’ (Vogue DV 14819) 1968

This English band were unknowns in the UK and had none of their records released in old blighty. They did however, have a good following in Continental Europe, in particular Germany.

’Birthday’ was a sizeable hit in Germany and of course was a Beatles cover. As you can see from the cover, the label went to great lengths to point out that it was ’eine John Lennon-Paul McCartney composition’…..and to be fair this probably went a big way in making it a hit because The Beatles were always very popular in Germany following their ’Hamburg Era’…

The flip is where the mod action is. ’Just A Loser’ is a fab hammond organ led groover with just enough soul to make it a hit with the mod crowd.

(29/07/08)

THE HERD – ’Sunshine Cottage’ / ’Miss Jones’ (Fontana 267 892 TF) 1968

The Herd formed out of the ashes of R’n’B band The Preachers in 1965 and their first three singles on Parlophone flopped and were dropped from their contract with EMI.

Despite this, they were still pulling in the crowds and making money from gigs and it wasn’t long before Fontana took a chance with them.

Some big hits on Fontana followed but the pop psych ’Sunshine Cottage’ didn’t sell and leader Peter Frampton quit and formed Humble Pie with ex Small Faces frontman Steve Marriott.

Co-writer of ’Sunshine Cottage’ Andy Bown later joined Status Quo. The flip ’Miss Jones’ is a bit more ’freaky’ with some good guitar work.

The single cover pic shown here is the Spanish release.

(29/07/08)

THE FACTORY – ’Path Through The Forest’ (Heads Together)

Because I’ve got some spare time this week I’m managing to post a daily instalment of English psych (that’s the trip I’m on at the moment). Here’s a cool one from The Factory.

I’m sure most people into psych will be aware of this monstrous song from the umpteen compilation appearances but maybe not this version.

The Factory were three Surrey based teenagers (the drummer was 16 years old!!!) who got lucky when producer Brian Carroll happened upon them at one of their London gigs.

He got them a record deal and they cut several songs. One of the covers they attempted was ’So You Want To Be A Rock And Roll Star’ by The Byrds but this has been lost.

The original tape FX for ’Path Through The Forest’ did survive though. They were not used on the final single mix. Brian Carroll used those FX and mastered this classic with the psychedelic ’forest’ noises for this posthumous release on Heads Together. This was a vinyl release only and copies quickly vanished and it’s now impossible to find.

The original ’Path Through The Forest’ was released on MGM 1444 on 18/10/68.

(28/07/08)

JASON CREST – ’A Place In The Sun’ / ’Black Mass’ (Philips BF 1809) August 1969

Tonbridge band Jason Crest released five singles on Philips between 1967-69 and all are very rare. Check out their retrospective collection on the Wooden Hill CD that came out about 10 years ago.

According to the liners, Jason Crest were considered to be one of the most dynamic live acts operating in and around London during the late sixties mixing original material with reconstructions of other artists songs such as ’A Hazy Shade Of Winter’, ’Fresh Garbage’, ’California Dreaming’ and ’Paint It Black’….

These songs were all recorded during sessions with the BBC and can be heard on the LP of radio recordings released on Tenth Planet Records in the late 90s. Only 1000 were pressed and it’s now a hard item to score.

The mellotron and flute soaked psychedelia of ’A Place In The Sun’ was Jason Crest’s last throw of the dice for a hit but it bombed and singer Terry Clark quit shortly after.

The band continued with a new singer for a while eventually changing their name to High Broom for one last 45 on Island Records.

’I’ve been alone so long
Like time I just go on
Looking For A Place In The Sun’.

(25/07/08)

FLOWER – ’Heart Teaser’ (Dig The Fuzz Records) acetate 1968

While I’m on an English psych trip I’ll post this incredible mod psych mover from Flower. Their ’Heart Teaser’ was never issued in the 60s and only survived as an acetate until those cool chaps from Dig The Fuzz Records unearthed this gem and compiled it on the LP only ’Fuzz Pudding Factory’ in the early 90s.

According to the liners, ’Heart Teaser’ was recorded in November 1968. I’m assuming this information was written on the 8” white label acetate found in the vaults. No other details about Flower are known.

Reader comments:
A 60’s Quebec band published that same song as an instrumental in 1968-69. The band was Les Masking Sound and the song, retitled ”Une file comme ça” (A girl like that).

I don’t know which came first and I’m investigating as to this might actually be the same band… Probably not, but you never know. Sebastien Patrimoine PQ

The track is really by Flavor, from columbia single Heart Teaser/Yea, I’m Hip. US band i’m sure as the it’s a US 45, but it does sound a bit british. Not a very rare record but a great double sider!

(24/07/08)

THE KINKS – ’Don’t Ever Let Me Go’

This bootleg CD from Europe hit the Record Fairs in 2000. I don’t know how many were produced but the usual amount(s) are in the region of 500 or less. They were all quickly snapped up and now this is a difficult CD to locate so grab it if you ever see it.

Thankfully, for the most part the sound quality on the majority of tracks is excellent with most of them being in mono.

’Don’t Ever Let Me Go’ was The Kinks projected third single but for some reason it was shelved in favour of the all time classic ’You Really Got Me.’ Let’s just say that The Kinks made the right decision but maybe should have put ’Don’t Ever Let Me Go’ on the B-Side.

The song was recorded on the 8th September 1964 at Pye Studios in London.

You Really Got Me was released in August, before this was recorded, if your date is right. It must have been replaced by All Day And All Of The Night, their fourth single, recorded a fortnight later.

(23/07/08)

TIMEBOX – ’Gone Is The Sad Man’ (Deram DM219) Nov 1968

Timebox released several 45s during the the period 1967-69 but all (apart from the small hit ’Beggin’) flopped. They even recorded a collection of songs in 1968 for an album called ’Moose On The Loose’. Unfortunately, Deram did not release it at the time.

All of those unreleased songs, as well as the Deram 45s were compiled by Deram in the late 90s on ’Timebox – The Deram Anthology’ CD. This CD is now deleted and has become something of a collectors item.

The lazy and laid back psychedelic ’Gone Is The Sad Man’ was the B-Side of ’Girl, Don’t Make Me Wait’…..the follow up single to ’Beggin’ which had reached number 38 in the UK Charts. It flopped.

the line-up on the record was:

Mike Patto (vocals, guitar)
Ollie Halsall (vocals, guitar)
Clive Griffiths (bass)
Chris Holmes (keyboards)
John Halsey (drums)

Most of the Timebox line-up reformed in the early 70s as prog rockers Patto. Ollie Halsall would also add guitar parts for the Rutles album and of course John Halsey became Barry Wom (Ringo) in The Rutles.

Researching Timebox and in particular their amazing ’Walking Through The Streets Of My Mind’ I found a rather special blog called strangely ’Sir Henry@Ed Debba’….
Check it out for some ultra rare and obscure British psych 45s from the late 60s…

http://sirhenryrawlinson.blogspot.com/

Reader comments:
Hi Colin, been meaning to check out more of Timebox for ages. Is this deleted Timebox CD identical with the in-print title on RPM? Here’s the RPM tracklist:I Wish I Could Jerk Like My Uncle Cyril, I Will Always Love You, Soul Sauce, Waiting For The End, Save Your Love,Your Real Good Thing Is About To Come To An End, Come On Up, Woman That’s Waiting Beggin’ Walking Through The Streets Of My Mind Don’t M ake Promises Girl Don’t Make Me Wait Leave Me To Cry Gone Is The Sad Man Eddie McHenry Barnabus Swain Baked Jam Roll In Your Eye Poor Little Heartbreaker Stay There Country Dan And City Lil Love The Girl Tree House You’ve Got The Chance Black Dog Yellow Van Promises Timebox-b

The RPM release adds the Timebox first two 45s on Piccadilly.. ’I Will Always Love You’, ’Save Your Love’ and ’I Wish I Could Jerk Like My Uncle Cyril’, ’Soul Sauce’ but omits ’Misty’. The running order is also completely different. The Deram CD is official and from the master tapes. It has a nice booklet with some label pics and old music paper cuttings of 45 reviews. The information comes from former band members John Halsey and Chris Holmes. I’m assuming the RPM release is similar but can’t say for sure.

cool, many thanks; will keep reading & no doubt grab some of your cd’s as looks like you got some boss stuff there; and you’re right compressed music is pants – long live rich sounding crackly vinylmatt

(22/07/08)

THE FLOWERPOT MEN – Blow Away (unreleased 1969 recording)

’Blow Away’ was first issued on The Flowerpot Men retrospective LP ’Let’s Go To San Francisco’ which was released on C5 Records in 1988. It then appeared on the CD RPM put out in 2001 titled ’The Psychedelic World Of The Flowerpot Men’.

’Blow Away’ is a wonderful Byrdsian jangle. This version is the extended mix that was recorded for the unreleased ’Peace’ album in 1969. The album never happened because The Flowerpot Men’s contract with Decca expired after several flops following the hit single ’Let’s Go To San Francisco’ in September 1967.

Listen out for the drones, slide guitars and 12 string.

The main stays of The Flowerpot Men were John Carter and Ken Lewis. They also wrote ’Semi-Detached Suburban Mr James’ for Manfred Mann, ’Sunshine Girl’ for Herman’s Hermits and perhaps more famously ’My World Fell Down’ recorded by Sagittarius.

(20/07/08)

DONOVAN – Three Kingfishers (EPIC LN 24217) 1966

By mid 1965 Donovan was a household name in Britain but he didn’t become the world renowned psychedelic soothsayer until the release of the album ’Sunshine Superman’.

I’m not gonna go in for a track by track analysis of this breakthrough LP. If you’re into psychedelia you’ll know all about it anyway. The absolute killer psych interlude is ’Three Kingfishers’. Here, Donovan goes for the Indian raga sound with sitar, tablas and trippy lyrics.

It’s documented elsewhere that Shawn Phillips played sitar on ’Three Kingfishers’ but he’s not given credit on the album cover.

Twelve king fisher birds shall you have
Dive and swim in the ripples of your laugh.
Oh, I dreamed you were a Jewel
Sitting on golden crown on my head, my head, my head.
Look at the tiny oceans in-my hand
Waves of liquid colours touch the sand.
Oh, I dreamed you were a jewel
Sitting on golden crown on my head, my head, my head.

(18/07/08)

DOWNBEAT – 25 Independent Singles From The Netherlands CD

I was playing The Thanes CD ’Downbeat And Folked Up’ at the weekend (which is amazing by the way) and was really taken by their cover of The Sparklings ’Now It’s Your Turn To Cry’.

I don’t have the original 45 but it was compiled in great sound from the mono single on ’DownBeat’ some years ago. Folks into Dutch beat really need to get this CD. Not everything is GREAT, in fact some cuts would force Vincent van Gogh to cut his other ear off if he was still alive.

The 24 page booklet that comes with this collection is very impressive. Maybe one of the best I’ve seen coming as it does with excellent information, sleeve pics and band photos. Here’s what the liners said about The Sparklings.

’This band came from the prolific Amsterdam scene. ’Now It’s Your Turn To Cry’ was released twice on two different labels in 1966. Once on 7Up then again on CNR. It’s an organ powered tormentor and is simply stunning with it’s knife-sharp fuzz guitar and a very strong melody line’.

(15/07/08)

SIMON DUPREE & THE BIG SOUND – ’Kites’ / ’Like The Sun Like The Fire’ (Parlophone R 5646) Oct 1967 

When I was about 10 years old back in the mid 70s, my Uncle gave me a handful of singles because he no longer needed them.

Included in the pile were records by The Beatles, The Kinks, The Searchers, Slade and this one by Simon Dupree & The Big Sound. ’Kites’ always made me feel weird probably because the melody was playing on my mind.

I’d never heard anything so exotic sounding before and the strange background noise held me captive. It wasn’t until many years later that I discovered I’d been listening to psychedelia and the strange background noise was made by a mellotron.

Simon Dupree & The Big Sound were from Portsmouth, England. They consisted of three brothers. Ray Shulman, Derek Shulman and Phil Shulman. They had previously been in local bands called The Howling Wolves and The Road Runners.

They were joined by ex Classics Tony Ransley on drums and Pete O’Flaherty on bass. It won’t have escaped your attention that no one in the band was actually called Simon Dupree.

This was a name dreamed up by their Manager who also brought them the song ’Kites’ to record. By all accounts the band hated the song and didn’t want to record it but changed their minds when they had the opportunity to record and produce the disc at the famous Abbey Road studios in London.

The recordings took place sometime in September 1967, only months after The Beatles had completed the album Sgt Pepper. Fortunately for Simon Dupree & The Big Sound they were able to use the obscure instruments that The Beatles had utilized on Pepper such as the mellotron, finger symbols, woodblocks and they also added the strange wind effects.

So what had been something of an ordinary love ballad ’Kites’ blossomed into a flower power and completely ’turned on’ slice of psychedelia. The flip ’Like The Sun Like The Fire’ is also another cool psych track with plenty of mellotron. Simon Dupree & The Big Sound carried on with limited success until late 1969 before disbanding.

The three Shulman brothers then formed a new band called Gentle Giant in 1970 and moved into progressive rock territory.

(13/07/08)

THE SHOTGUN EXPRESS – ’I Could Feel The Whole World Turn Round’ EP (Columbia ESRF 1864) 1966

Short lived mod pop band from England probably best known for featuring Rod Stewart before he became famous with The Jeff Beck Group then The Faces.

’I Could Feel The Whole World Turn Round’ was released in England on 21/10/66 and is the only song where Stewart’s vocals are employed. The flip is an organ dominated mod swingin’ instrumental titled ’Curtains’ and is essentially a Peter Bardens solo effort.

The flip of their follow up 45 ’Funny, ’Cos Neither Could I’ is also a mod go-go instrumental titled ’Indian Thing’. This was compiled on Rubble Volume 2 back in the 80s.

The Shotgun Express certainly had some future stars in their ranks. Alongside Rod Stewart, The Shotgun Express also boasted the skills of the previously mentioned Peter Bardens who is best known for his work with 70s progressive rock band Camel. Bardens died in 2002.

Guitarist Peter Green and drummer Mick Fleetwood were briefly in John Mayall’s Bluesbreakers before forming Fleetwood Mac. Bass player Dave Ambrose would quit The Shotgun Express in early 1967 to join The Brian Auger Trinity.

Singer Beryl Marsden was also lead vocalist for all girl band The She Trinity.

(12/07/08)

ENGLISH 60s POPSCENE – Killer B’s CDR

I put this CDR together way back in August 2005 and more or less forgot about it until a contact requested a copy a few months ago. As far as I remember I compiled this way back to offer someone as a trade for an old forum comp that I missed out on. Somehow it got around to a few other people?

Anyway the concept of this collection was simple. To re-discover or perhaps have someone enjoy for the first time high quality B-sides from 45s that were hits in England during the glory years of 1964-1967. Hence the subtitle ’Killer B’s’….Plus at the time I thought my cover design (with the odd bit of tinkering in photoshop to make it look pop art) was cool as fuck…

(05/04/08)

EDDY MITCHELL – Rien Qu’un Seul Mot (Satisfaction) EP (Barclay 70 855 M) 1966

Don’t be put off by Eddy Mitchell’s ’thunderbird’ look because he sure delivers a cracking cover of The Rolling Stones hit ’Satisfaction’. It is probably my favourite cover of this classic. For those not familiar with this guy, he’s French and sings in French and looks like a French square.

’Rien Qu’un Seul Mot’ (Satisfaction) is full of scorching fuzz with constant clattering tambourine. There’s also time to add a powerful lead guitar break before the fuzz kicks in once more. Eddy’s vocals are a treat and I dig it when he throws in some Buddy Holly mannerisms.

His back up band on this EP are billed as The London All Stars. I don’t know who they would be. Most likely the best session musicians London had to offer at the time.

The rest of the disc is the more familiar Club/Soul sounds Eddy Mitchell is better known for and not to my particular taste. But I can’t argue with his version of ’Satisfaction’…..it’s a killer.

eddy did some rocking tunes, everyone in france consider him as a square but to my opinion he did some really good stuff including a fine original tune ”si tu n’étais pas mon frère”

(02/02/08)

LES JETS – La Cornemuse EP (Impact 200.007 M) 1967
LES JETS – La Rencontre EP (Impact 200.011 M) 1967

Decent French mod band I know nothing about. So if anyone reading this can fill me in on any details please feel free to do so.

These are the third and fourth EPs released by Les Jets on Impact, also home for The Smoke and Tages. The fourth EP ’La Rencontre’ features songs from the film soundtrack ’Mamaia’

(29/01/08)

BILL FAY – ’Some Good Advice’ / ’Scream In The Ears’ (Deram DM 143) 25/08/1967

This outstanding psychedelic 45 is part of the Decca Psych masters Box of singles put out by Acme Records. All six records chosen are from the Decca archives. The label Deram was set up by Decca for the more progressive outfits of the time.

I recommend this Box of singles to any more interested in English 60s psychedelia. All records are exact reproductions and far superior to those horrible bootleg repros that have been doing the rounds lately. Acme have used the analogue masters and the services of technicians at Abbey Road Studios, London to create these beautiful 45s.

I’ve chosen to focus on the Bill Fay 1967 release on Deram. ’Some Good Advice’ has been a firm favourite of mine ever since I heard it on 80s comp ’Deram Dayze’.

It’s a psych masterpiece underpinned by melancholic mellotron creating that perfect English psychedelic sound. The vocals are pretty damned great and to my ears sound exactly like Syd Barrett. In fact the sound on this record is pure Syd, even down to the childlike lyrics:

’If you want to build a shed
Go ahead and build a shed.
And if you want to ride a bike,
Ride your bike if you like’.

The flip ’Scream In The Ears’ is another winner with obscure lyrics. Bill Fay sounds really pissed off here as if someone has given him some bad acid or something.

(26/01/08)

MARK LEEMAN FIVE – ’Forbidden Fruit’ / ’Going To Bluesville’ (Columbia DB 7812) January 1966

The third Mark Leeman Five single was largely ignored by the record buying public in England. I suppose the record was fortunate to be released at all, having had their lead singer killed in a car crash the previous Summer.

’Forbidden Fruit’ was chosen as the top side and it’s awful. This kinda dirge just ain’t my bag. The Nashville Teens beat Mark Leeman Five to the punch and released their version first which became a minor UK hit. Some damsel called Nina Simone had a hit with this song in the very early 60s.

But trust me folks when I say it’s a square song for 60s squares. If you dig shite like Gerry & The Pacemakers it could be your ’sound’.

The flip ’Going To Bluesville’ is far superior in every way. Classy and intelligent R’n’B with a cool guitar break and organ.

This song may never have never been a hit if it was the A-side but who cares when it’s easily better than the song that was chosen (probably by their squaresville Manager)… according to the liners from the ’See For Miles’ retrospective collection ’Going To Bluesville’ was just a demo recorded before Mark Leeman’s death (obviously).

Both sides were produced by Denny Cordell who was the producer for better known bands like The Moody Blues, The Move, Procol Harum and Joe Cocker.

(19/01/08)

they called it quits a year later after subsequent 45s (already recorded with Leeman before his death) went no where.

’Blow My Blues Away’ is a big favourite of mine. The flip is a beat cover of ’On The Horizon’ previously done by The Drifters. The producer on this disc was Kenneth Pitt who mainly managed bands. Those under his guidance were Manfred Mann, David Bowie and Marc Bolan.

The comp was called The Memorial Album and contained both sides of all the demo and official singles recorded by the band, 1962-66, plus their unreleased demo album from 1963.

Issued by See For Miles on CD in 1991. Not reissued but copies crop up on Amazon from time to time. Strongly recommended if you’re into early British R’n’B.

(12/01/08)

TAGES – ’Fuzzy Patterns’ / ’I’m Going Out’ (Odeon SD 6005) April 1967

Tages were a popular 60s band from Gothenberg in Sweden but I’m not sure if that popularity extended beyond their home country. This 45 picture sleeve is the Danish release so maybe they enjoyed some success in Denmark. Who knows?

’I’m Going Out’ was the top side and it’s a typical 60s pop affair with Hollies style backing vocals.

Unfortunately no one could complete with The Hollies in the harmony stakes so this song sounds like a poor imitation to me.

The B-side ’Fuzzy Patterns’ is far more interesting. With a good song title like that you’ll be pleased to know that it IS a freakbeat mover with a curious trippy mid song break.

Reader comments:
I can tell you that Tages were hugely popular throughout Scandinavia, but not much beyond. Great choice of song from them.

I myself remember expecting great things on the basis of the song title alone when I first picked up their Contrast LP, which included both sides!It’s not ”The Tages”, by the way, it’s ”Tages”, meaning ”Tage’s” in English; in other words, the ”s” is not plural, it’s possessive. Tage was the middle name of rhythm guitarist Danne Larsson.

It was common for Swedish bands to have as their name that of a member (usually the leader) put in the genitive case: if it was Sture’s band, it was called ”Stures”, if Erik’s, it was called ”Eriks”.

This naming convention originated among the showbands catering to adults, but it was adopted tongue-in-cheek by many teenage bands besides Tages: Ragges, Fabians, Ackes, Gaggas, Jean Lundens, and so on (and here in Finland, Jormas, named after their manager).

(08/01/08)

MARK LEEMAN FIVE – ’Blow My Blues Away’ / ’On The Horizon’ (Columbia DB 7648) July 1965

The Mark Leeman Five were one of those sad tales of ’what could have been’. In 1964 their career was starting to take off with prime support slots for hot new band Manfred Mann at London’s Marquee Club.

They even secured gigs at hip mod hideout The Cromwellian Club. Not only this but their first single ’Portland Town’, released in January 1965 was critically acclaimed.

Sadly band leader and singer/songwriter Mark Leeman was killed in a car crash on 27/06/65. The rest of the band had planned to carry on with a new singer but never recorded again?

THE BOYS NEXT DOOR – ’One Face In The Crowd’ / ’Mandy’ (Atco 45-6443) 1966

60s pop fans will no doubt already know about this Beach Boys infatuated band from Indianapolis. They were a popular draw in their home region and released a handful of singles on various labels such as Soma, Cameo, Bad and Atco.

’One Face In The Crowd’ was their first 45 on Atco. It’s a surprisingly polished folk rocker with jangly guitar. The flip ’Mandy’ reverts to Beach Boys mode and is indeed a classy surf pop tune.

Sundazed released a CD compilation of Boys Next Door way back in 1999 and it’s now long out of print. The Sundazed site no longer lists it….shame cos I don’t have a copy!

(11/01/09)

CHAPTER V – ’The Sun Is Green’/’Dolly’s Magic’ (Verve Folkways KF5046) 1967

Quite how Canadian Brian Ahern got signed to Verve is unknown. They even allowed him to produce and arrange these records. So I’m almost certain that Chapter V were a studio creation consisting of Ahern plus an assortment of Verve sessionmen.

According to the Verve archives three songs were recorded by Chapter V at their studios in New York City on the 17th February 1967. This may explain how one of the songs ’Dolly’s Magic’ was used as a flip twice.

’The Sun Is Green’ is a classic slice of pop psych with a very strong Beatles influence with it’s Lennonesque song structure circa Revolver era.

’Dolly’s Magic’ has a bouncy bass rhythm with some sweet harmonies and would have made a commercial A-side in it’s own right.

CHAPTER V – ’Headshrinker’ / ’Dolly’s Magic’ (Verve Forecast KF5057) 1967

Another single was also released by Chapter V again backed with ’Dolly’s Magic’. This time around ’Headshrinker’ got it’s chance but it doesn’t appear to have done any better than ’The Sun Is Green’.

After these recordings with Verve, Brian Ahern relocated to Nashville and became a much rated producer of country records.

(03/01/09)

THE BELIEVERS – ’Soul Raga Cookin’ / ’Soul Raga Simmerin’ (Capitol P 2253) 1969

Both sides of this ’psych exploitation’ 45 were written and produced by Joe South. It’s more than likely that these raga instros were indeed solely the work of South but the record was released as by The Believers (maybe for contractual reasons).

’Soul Raga Cookin’ and ’Soul Raga Simmerin’ are virtually the same but the latter is a much slower version (hence the ’simmerin’ in the title).

It’s also evident if you listen to Joe South’s song ’Hole In Your Soul’ from his solo album ’Games People Play’ that ’Soul Raga Cookin’ evolved into that song. The tempo and ’sitar’ sounding guitar are the same.

(02/01/09)

THE PHOENIX TROLLEY – ’When Charlie’s Doin’ His Thing’ / ’Three Part Invention’ (Too Many Trees In The Forest) (Capitol P 2227) June 1968

This outfit were probably a studio creation or songwriters Stephen Schlaks and Charlie Weiss backed with Capitol session players. I’ve did some digging and Schlaks and Weiss wrote several songs together although very few seem to have been recorded by bands ’Flower Bomb Songs’ is interested in.

I can confirm that English band The Escorts recorded their song ’The One To Cry’ in 1964 and it was in fact released as their second single. Schlaks also co-wrote ’Your Maw Said You Cried’ recorded by The Turtles on their 1965 LP ’It Ain’t Me Babe’.

Anyway, back to The Phoenix Trolley. ’When Charlie’s Doin’ His Thing’ is classic harmony sunshine pop that reminds me an awful lot of Sagittarius. ’Three Part Invention’ (Too Many Trees In The Forest) is an intense and sophisticated acid trip with harmonies, studio effects and the constant refrain ’too many trees in  the forest’…..file under essential!

Another Schlaks/Weiss composition was recorded by the Sugarbeats on Polydor in 1966. The song is called I Just Stand There, and the Sugarbeats were none other than Tony Rivers et al. Great tune, great performance! Frans

(02/01/09)

THE GOOD FEELINS – ’Captured’ / ’End Of A Love’ (Liberty 55981) 1967

This record was previously released locally on Rock-It, a small label based in San Bernardino, California. It must have created some kind of buzz because Liberty Records released it nationally but to little response.

Nevertheless, The Good Feelins enjoyed a big reaction in their home base and opened for many acts including The Animals, The Grass Roots, The Rolling Stones and The Music Machine.

’I’m Captured’ is a catchy pop garage tune and the jangly pop flip ’End Of A Love’ is also worth a listen and is clearly influenced by the Brit Invasion.

The band broke up when members got drafted to Vietnam.

line-up:
Kenny Myers (vocals/guitar)
Jerry Dalpiaz (bass)
Ray Iodice (guitar)
Mike Kravitz (drums)
Paul Balletti (vocals)

(01/01/09)

ONE – ’Hey Taxi’ / ’Enter Into My World’ (Columbia 4-44256) 1967

This is a great double sider and relatively unknown. ’Hey Taxi’ was co-written by Jackie Lomax who was lead singer with an early 60s beat outfit from Liverpool called The Undertakers.

They made their way to America following the ’Brit Invasion’ but disbanded soon after the tour ended.

Band members Jackie Lomax and drummer Bugs Pemberton remained in New York and quickly formed another band with Tom Cacetta on bass and John Cannon on guitar. They called themselves The Lomax Alliance.

’Hey Taxi’ and ’Enter My World’ were recorded sometime in ’67. It has been reported that there are other songs from these Columbia sessions but they’ve never been released.

Before this 45 was released Jackie Lomax split but the others decided to carry on renaming themselves One.

The producer on this record John Simon also worked with The Guilloteens when they signed to Columbia.

(30/12/08)

THE TWEEDS – ’We Got Time’ / ’I Want Her To Know’ (Coral 62551) 1968

From the New York area, teenage band The Tweeds were fortunate to release two singles during their brief time together. Their debut 45 on Coral ’What’s Your Name’ / ’A Thing Of The Past’ sold well enough for the record company to chance their arm again with this second release in the Spring of 1968.

Both sides of this disc show a maturity and musicianship beyond their years. ’I Want Her To Know’ is a slow paced ballad with added strings whilst ’We Got Time’ is a typical 60s rocker.

Guitarist Dave Constantino from the band would form hard rock outfit Talas in 1971. A few years later he was joined by former drummer from The Tweeds Paul Vargo.

(29/12/08)

SUMPIN’ ELSE – ’I Can’t Get Through To You’ EP (Liberty LEP 2268F) 1966

Sumpin’ Else were a short lived band from Los Angeles who strangely had a four song EP in picture sleeve released in France. The band in this pic have square dude haircuts and that mid 1965 co-ordinated look popular with bands at the time before some of that Sunset Strip rebellion set in and bands began to dress a little more freaky.

Sumpin’ Else have that well produced L.A. sound coming across like The Standells. ’Baby You’re Wrong’ has got some prominent fuzz base lines and was compiled on Vile Vinyl back in the 80s. ’I Can’t Get Through To You’has also got fuzz action and some killer lead guitar.

’Toy Boy Girl’ is more poppy than the previous songs and ’Danger’ uses fuzz again. All of these four songs were written by John Merrill. I’ve done some digging through liner notes etc but can’t figure out if this is the same person who played guitar and wrote songs in The Peanut Butter Conspiracy??

Sumpin’ Else had another release on Liberty Records 55900 recording ’You’re Bad’ written by the Addrisi brothers and a Dallas Smith song ’Here Comes The Hurt’. Both tunes are great garage pop with the latter especially cool because of a couple of fuzz guitar rave-ups. 

’You’re Bad’ has a way too short raga guitar solo. Just out of interest Dallas Smith produced this record and he also worked with The Gants.

(26/12/08)

OS JOVENS – Apresentando EP (CBS 56226) 1965

This duo comprising Francisco Fraga and Joao Jose were from Brazil and sang in their native language of Portuguese. On this ’65 EP they are backed by a band called The Blue Caps.

All songs contained on this disc is good beat, they recorded much more dynamic and punky songs on their 1967 album….but if you dig the ’English Sound’ made by Brazilians you gotta get this record.

Two of the songs ’I’ll Never Know’ (Sofrendo Por Amor) and ’Hurting Inside’ (Louca Paixao) are Dave Clark Five covers. For me though the stand out beat is the original ’Sinto-Me Feliz’ written by Francisco Fraga.

(25/12/08)

HOPPI and the BEAU HEEMS – ’When I Get Home’ / ’So Hard’ (Disques Vogue INT.80134) 1968

Hoppi and the Beau Heems were are short lived band from Tampa, Florida. Their first single at the back end of 1967 was ’I Missed My Cloud’ backed with ’So Hard’ on Laurie 3411 or was ’So Hard’ the plug side? Who knows, because ’So Hard’ was released again as the B-Side of ’When I Get Home’ in 1968.

This record also got a release in France with a picture sleeve. Both songs are good pop garage but maybe their best song was ’I Missed My Cloud’ which is a cheeky re-write of ’96 Tears’.

Also of interest is a four song Mexican EP released on Gamma Records. This record contains cover versions of ’I’m Not Your Stepping Stone’ and ’Don’t Let The Sun Catch You Crying.’

(25/12/08)

GODFREY – ’The Trip’ / ’Come On, Come On’ (Cee-Jam Records 3) Sept 1965

Godfrey was a Los Angeles DJ in the mid 60s at around the time when the Sunset Strip was a happenin’ place and he obviously wanted to get some of that hip action in the form of his own record.

’The Trip’ is a cover of Kim Fowley’s psychedelic rap and it ain’t a bad effort sticking very close to the original version. Not sure if this was any kind of hit or anything. It probably didn’t sell much outside of L.A.

The flip ’Come On, Come On’ is credited to Godfrey’s Group presumably his backing band on ’The Trip’. It’s a neat instrumental with the inclusion of brass and has that mid 60s soul feel about it.

Cee-Jam Records were short lived and only released a handful of records including 45s by Art Wheeler and Dorsey Burnette.

(24/12/08)

YESTERDAY’S OBSESSION – ’The Phycle’ / ’Complicated Minds’ (Pacemaker Records PM-262) January 1968

Fuzztoned psychedelia by Yesterday’s Obsession, a band I’ve not read about that much despite ’The Phycle’ appearing on at least four different compilations. The person who sold me this 45 suggested that the band were a group of high school kids from Port Arthur, Texas.

Port Arthur is not too far away from Houston, Texas…where Pacemaker Records were based….so that may be true, but if anyone knows accurate details please get in touch.

’The Phycle’ is doomy psychedelia with eerie organ in the background, loud bass and fuzz. It’s a strange title and words ’the phycle’ is never mentioned in the song?!

Maybe the title should have been ’The Psycle’ but someone spelt in wrong when designing the label and the ’mistake’ was only spotted after the records had been pressed?

’Complicated Mind’is less popular with the compilers. Don’t know why because it’s a great tune, heavy on tambourine and maracas.

The songs were recorded at the famous Gold Star Studios and produced by Huey P. Meaux. I’ve checked my database and he also worked with Gaylan Ladd and The Sir Douglas Quintet as well as many soul acts I’m not bothered about. 

Reader comments:
Yes, they were a high school band from the Port Arthur, Texas area. I talked to the singer some years back. This was recorded in January, 1968.

I believe The Phycle is a creative spelling of the word ”fickle.” I’m from the area and it was is a popular phrase and concept at the time and mirrors the detached tone in delivery by the singer. Just a theory, of course, but I find it more probable than the theory of a misspelling.

(23/12/08)

THE GAUNGA DYNS – ”Rebecca Rodifer” / ”Stick With Her” (Busy-B Zap 2) June 1967

I recently made contact with Gaunga Dyns guitarist and main songwriter Steve Staples. I emailed a him a whole load of questions to get his Gaunga Dyns experience and I planned to share his thoughts with readers of my blog. Sadly he never replied…..

*** since I wrote this entry a wiki page has been created with loads of information here

The Gaunga Dyns were based in New Orleans and recorded for the same label that released collectable records by The Leather Pages, Peabody and The Plastic Blues Band.

’Rebecca Rodifer’ has been one of my favourite jangly garage sides ever since I heard it on a Highs In The Mid Sixties LP. As usual, the sound quality on those things is not ideal so when I started collecting 60s garage 45s this one was at the top of my list.

The subject of the song is about teenage abortion and not the usual thing to write about.

The other side of the record is the more punky tune ’Stick With Her’….This was a cover version, the original was by a band from Houston, Texas called The Glass Kans.

THE GAUNGA DYNS – ”Clouds Don’t Shine” / ”No One Cares” (Busy-B Zap 4) Dec 1967

The second and last 45 by The Gaunga Dyns is another winner. ’Clouds Don’t Shine’ is considered by many to be a ’moody’ classic. I must say it is a very mournful song that only picks up pace right at the end with some cool guitar.

The flip ’No One Cares’ has the typical 60s garage sound and is much less intricate.

This is Steve Staples. I apologize for not getting back to you. I had a lot of changes etc going on at the time. I should have communicated much better. Please get in touch with me again and I’ll get all your answers. You can email me steve@webcorral.com or at international vintage guitars of new orleans.

(21/12/08)

THE LYRICS – ’My Son’ / ’So Glad’ (GNP Crescendo 381) 1966

This 45 by The Lyrics (check out the Lyrics article elsewhere on this blog) was the follow up single to the killer 2 sider ’So What!!’/’They Can’t Hurt Me’. Don’t expect anything as brutal as the Era release because this record is a huge change of direction….destination soul.

Just out of interest Richard Delvy gets a supervision credit for ’My Son’.. He played in notable surf groups The Bel-Airs and The Challengers pre Beatlemania then in the late 60s produced psych soul outfit The Chambers Brothers.

This is a sought after 45 for collectors of ’Northern Soul’

Dan Garcia recently gave me his thoughts about ’My Son’…

I remember ’My Son’ was re-mixed in three different studios and the final mix was not very good I thought they lost the dynamics of the song and although we had a small orchestra behind us the final mix was very muddy but it was a very powerful tune. ’So Glad’ was a filler B side song.

We were going thru a lot of changes at that time ’Mr Man’ was doing pretty good on the charts in Southern California and ’My Son’ was released on the East Coast and was getting a good response, unfortunately it got pulled off the radio due to an arranger that worked with us for a very short time because he said he helped write ’My Son B.S.!!!!

Anyway that was the last we heard of ’My Son’ being played anywhere.

I think if we would have been able to continue recording, our style of music would have ended up more like ’Wake Up to My Voice’. We were all happy with that recording and the new material was just as good.

(29/11/08)

THE CLUE – ’Bad Times’ / ’She’s The Reason’ (Byron Records 101) 1967

The suggested location for this outfit is Midland in Texas, after all this is where the label Byron Records were situated. ’Bad Times’ is considered to be one of the classic garage punkers of the genre so it seems a big surprise to me that it’s only ever been compiled on Pebbles Volume 8 and Mayhem and Psychosis Volume 3 in less than stellar aural delight. Check out my Cavestones Volume 14 to hear it’s sheer power.

Steve Thomas wrote ’Bad Times’ and it’s the primitive nature of the beast that makes it a killer, from the persistent two note organ, jagged guitar solo and cave teen screams. Check out these lyrics:

’You say you don’t have any thought for me today,
I guess I better get my kicks another way,
Bad Times, Bad Times….’

The still uncompiled flip ’She’s The Reason’ is a Steve Thomas-Larry Grubb composition and sounds like a completely different band. It’s a slow paced affair with an overall moodiness and again has that cool organ sound combined with yearning vocals.

(16/11/08)

THE GUILD LIGHT GAUGE – ’Cloudy’ / ’14th Annual Fun & Pleasure Fair’ (Capitol P-1600) May 1968

Paul Simon’s song ’Cloudy’ got covered a few times in the 60s but this version may be the best. I was surprised to find out that his brother Eddie played guitar in The Guild Light Gauge.

The band were probably named after Guild guitar strings and this was more than likely a one shot deal for them.

The songs are very well recorded and produced by Artie Kornfeld and arranged by Jimmy Wisner (who had produced records for Bill Wendry and The Family Album). But despite the push from Capitol Records the record seems to have been largely forgotten about. Very little information exists in reference books or internet sites.

’14th Annual Fun & Pleasure Fair’ was written by Steve Duboff and Artie Kornfeld. They were both part of garage pop group The Changin’ Times. Artie Kornfeld is probably more famous for being part of the creative team behind the Woodstock Music and Art Fair held in mid August 1969.

(01/11/08)

VELVET SEED – ’Flim Flam Man’ / ’Sharon Patterson’ (M.A.I. 201) 1968

According to Fuzz, Acid And Flowers Velvet Seed hailed from Maine, USA. They even have, according to the writer, unreleased recordings including a take of Gene Clark’s ’Feel A Whole Lot Better.’ Hopefully this information is correct and one day these ’lost’ recordings are released.

’Flim Flam Man’ credited to Bourassa – Levesgue is a total winner. It’s got a fast pace that never slows from the start to finish with pumping bass runs, wild guitars and weird trippy sci-fi noises.

Sounds like bubblegum and psychedelia all at the same time…I’ve never heard anything quite so hip especially with the male/female vocals soaring over the lysergic layers of noise. Sadly, this was the B-Side and was probably never even heard/played in the 60s.

The other side is ’Sharon Patterson’, a sweet psych ballad with femme fatale vocals. Really great ringing guitar on this one, quite laid back and another sunshine pop tripper to add to those undiscovered gems.

(24/10/08)

PRICE AND WALSH – ’The House Of Ilene Castle’ / ’Love Is The Order Of The Day’ (Dot Records 45-17077) March 1968

Didn’t know anything about this record when I bought it. I only took a chance because the title of the A-Side ’The House Of Ilene Castle’ sounded like a promising pop psych title and thankfully it turned out to be the case.

I’ve since did a little research and Price and Walsh were two L.A songwriters named Mike Price and Dan Walsh who went onto some success writing songs for singers outside the scope of Renaissance Fair.

Both songs are from aborted sessions with songwriter/producer Gary Zekley. His name may be familiar with readers from his work with The Yellow Balloon, Jan and Dean, The Clique and Fun And Games.

The Dot 45 seems to be a very hard record to track down but thankfully UK re-issue label Rev-Ola have released a full CD retrospective of Price And Walsh including all of the recordings laid down with Gary Zekley in 1968.

(23/10/08)

GERRY POND – ’The Happiness Song’ / ’The Sometime Girl’ (Reprise 0489) 1966

So who was Gerry Pond? He appears to be one of those artists who released an obscure record in the mid 60s then vanished without trace. I doubt that this 45 had much publicity or column inches at the time.

’The Happiness Song’ is a long lost classic folk psych tune with pleasant acoustic guitar, flute and jazzy drums. It’s clearly influenced by psych era Donovan, even down to the child like lyrics and vocal delivery.

Flip it over for the less commercial but equally impressive ’The Sometime Girl’. This tune is a whole lot more loose and has a definite jazz feel. Dig that clattering tambourine chasing the free form bass line and more Donovan(esque) vocals…. It’s a shame Gerry Pond never released anything else.

Gerry Pond is still making music today, albeit under his new name. He is my neighbor in LA and a widely respected musician, teacher, author, and speaker. More info can be found at gurusingh.com. Be sure to check out his music!

(19/10/08)

THE ROGUES – ’Rink Bash’ (April 1966)

Continuing the theme of groovy instrumentals on my blog here’s a demo by a band called The Rogues. They entered Capitol studios, New York in April 1966 and cut several songs in one day.
Only two of the songs, ’Going All The Way’ and ’Go Ahead’ were released at the time when Atco signed The Rogues but made them change their name to The Squires.

According to the liners of the immense Squires retrospective on Crypt (issued in 1986 and on vinyl only!) they had to change their group name because they were told a band called The Rogues already existed in England. They also had to dress a little more smartly…..ha ha bunch of squares at Atco.

(05/10/08)

BRAM RIGG SET – ”Take The Time Be Yourself” / ”I Can Only Give You Everything” (Stateside FSS 501) February 1967

This group of teenagers released this sole offering in late ’66 and were gone. They started out as George’s Boys and laid down a couple of demos at Trod Nossel Studios in Wallingford, Connecticut. Previously unreleased versions of ’Help Me’ and ’Sticks And Stones’ have been recently compiled on Sundazed compilation titled ’Don’t Press Your Luck’…

On this 2 LP vinyl set you’ll also get to hear several unreleased recordings as the The Bram Rigg Set. Not all of them work, in particular ’I Can’t Explain’ sounds diluted and weak when compared with The Who original. They couldn’t hope to compete with this classic.

’Sleepless Nights’ is a winner and could have been a perfect follow up to ’I Can Only Give You Everything’.

I’ve never been a fan of the song ’I Can Only Give You Everything’ no matter who records it. It’s just a song that doesn’t do anything for me. That’s why you get a label shot of ’Take The Time Be Yourself’. This was the French release and is quite rare. Much harder to find than the release on Kayden.

(03/10/08)

THE SHADOWS OF KNIGHT – Potato Chip (Auravision) 1967

Back in the old days when a bag of crisps tasted better and would cost a couple of pence, some companies would cash in on the youth market with promotions. In USA, Fairmont Potato Chips gave away this 5 inch promo cardboard record with a groovy tune by The Shadows Of Knight called ’Potato Chip’…

It was the only way to hear this song in those days as it was not on any vinyl release. The band even tried some comical Beatles chit chat on the disc for the kids while the lucky teens busily fed their hungry faces with chips (or crisps as we say in Britain)…

I don’t suppose many of these survived the excesses of kidsville 1967. Many probably ended up in the bin with the empty crisp packet.

(30/09/08)

THE ZOO – ‘(Standing On) The Sunset Strip’ / ’One Night Man’ (Sunburst 775) Dec 1968

This band released an album titled ’Present Chocolate Moose’ on Ed Cobb’s Sunburst Record label in ’68 but both sides of this 45 were not part of it. Also when Big Beat re-issued the album on CD in the early 90s they failed to include the single sides. Not sure why?

‘(Standing On) The Sunset Strip’ was written and produced by Mars Bonfire and Morgan Cavett.

Mars Bonfire is perhaps best known for writing ’Born To Be Wild’ recorded by and a huge success for Steppenwolf. Indeed, Morgan Cavett also has links with Steppenwolf co-writing some songs with singer John Kay.

’One Night Man’ is a Morgan Cavett song.

Both songs are late 60s psych rock productions with searing guitar on both cuts.

Howard Leese was the guitarist on this track – he went to be with Heart for over 20 years and entered the RNR HOF of Fame with them in 2013. He’s currently playing with Paul Rodgers solo band, Bad Company and the #1 Las Vegas Show ”Raiding the Rock Vault”.

(13/09/08)

THE CARNIVAL – ’Dark Star’ / ’Doot Doot Doo Doo’ (Columbia C4-2782) 1968

Both sides of The Carnival’s first 45 are flower power pop psychers and both will be included on Gear! 13.

Tim Hallman and Michael T. Oberle were from Waterloo out of WCI while Don Pellow, Bob Brownscombe, and Bill Wells were from Woodstock. In 1968, out of the ashes of The Flying Dutchman Drum And Bugle Corp., the band settled in Kitchener-Waterloo as The Trendsetters.

Hallman, stayed in high school making the band a four-piece. That year they played on CTV’s ’After 4’ show in Toronto. They would do five of these appearances and from that show won the audition for ’It’s Happening’ starring Robbie Lane to replace his backing band The Disciples.

The producer of the TV show, Mike Steele, wanted five bodies on the stage, so Tim Hallman got the call and walked straight into a national TV contract. The production, a 26 week run, was standard for its day . The Carnival taped at CFTO Studios on 13 alternating Fridays (two shows per session).

By this time the band lived in Don Mills, Ontario and pre-recorded the backing music at Chelsea Sound on Mount Pleasant Ave. in Toronto – a four-track facility – where it was necessary to pre-record between 18-20 tracks every two weeks as backing tracks for feature artists as a means of keeping up with the pace of the show.

The performances on the show featured Robbie Lane singing live while the band, now calling themselves The Carnival, lip-synced – vocally and instrumentally. On occasion the band became a ’featured act’ on the show.

The young band got to meet, among others, Andy Kim, Eddie Floyd (”Knock On Wood”), and Grant Smith (minus his band The Power). They were working towards releasing an album (tentatively titled ’Keil Heil Kelly’) but split up before it could be completed.

Line-up:
Tim Hallman (piano)
Don Pellow (organ)
Bills Wells (bass)
Bob Brownscombe (guitar)
Mike Oberle (drums)

(13/09/08)

THE ORPHANS – ’Deserted’ / ’This Is The Time’ (Epic 5-10348) June 1968

The Orphans were from Boston, Massachusetts and only really ’made’ it when they dropped the ’S’ from their name to become simply Orphan in the late 60s.

They were led by Eric Lilljequist. He wrote the uncompiled top side ’This Is The Time’….a simple acoustic folk pop tune with strings and things. The better side is the Denny Randell and Sandy Linzer composed ’Deserted’, notable for it’s memorable guitar solo by Lilljequist.

Randell was an arranger, working with Bob Crewe on The Four Seasons early records before going into production, then working on his own songs with lyricist Sandy Linzer.

An earlier single ”There’s No Flowers In My Garden” / ”One Spoken Word” (Epic 5-10288) was released during February, 1968.

(13/09/08)

THE MESSENGERS – ’Window Shopping’ / California Soul’ (Tamla Motown GO 25.673) Oct 1967

The Messengers were the first white group to sign with soul label Tamla Motown. The flip ’California Soul’ is the well known Ashford and Simpson song covered many times and I’ve read that The Messengers version was the first to be recorded.

I much prefer the plug side ’Window Shopping’ which was written by producer R Dean Taylor. It’s a very catchy bubblegum pop song and reminds me of early Monkees.

The label scan is of the Dutch release and came housed in a smart picture cover showing The Messengers all wearing turtle neck sweaters.

(11/09/08)

CARNIVAL CONNECTION – ”Poster Man” / ”Alfred Appleby” (Capitol P 2244) Aug 1968 

Carnival Connection from Montreal, Canada released this delightful pop psych 45 in the Summer of 1968. It didn’t make any great waves and barely dented the charts. Indeed the band remain largely unknown outside of their Canadian base.

The band started life in the Merseybeat era of ’64 plying their trade as J.B and the Playboys but decided to change their name sometime in 1966 to The Jaybees. This was because people were confusing them for hit band Gary Lewis and the Playboys.

They then changed their name for a third time to Peter and the Pipers before settling for Carnival Connection in mid ’68. ’Poster Man’ is classic paisley pop and was written and produced by ex Changin’ Times member Artie Kornfield at Capitol’s New York City studios.

The flip ’Alfred Appleby’ is an English styled pop psych ditty and is not as immediate as ’Poster Man’ and is very much of the time.

Reader comment:
I think some of the members became the group The Freedom North.

(14/05/09)

SOUL SURVIVORS – ’Expressway To Your Heart’ / Hey Gyp’ (Stateside HSS 1226) Aug 1967

Philadelphia outfit Soul Survivors hit big with the soul of ’Expressway To Your Heart’ which is not really my bag.
So I was surprised to find a rather GREAT version of ’Hey Gyp’ on the flip.

This rendition, originally made famous by Donovan, is a hard core LS dee-lite groover with weird sound effects and turned on background organ. It all becomes a little bit trippy mid way through the song and is bound to please.

(11/05/09)

JOHNNY THUNDER – ’I’m Alive’ / ’Verbal Expressions Of T.V.’ (Disques Vogue Int. 80182) April 1969

’I’m Alive’ is an outrageous mod swinger with crunchin’ fuzz and awesome vocals by Johnny Thunder. He started out as a lead singer for The Drifters in the late 50s then went solo. Non of his music apart from this memorable two sider is ’Flower Bomb Song’ material.

‘I’m Alive’ is a Tommy James and the Shondells cover. The original is also great but lacks the vocal prowess of Mr Thunder. Unsurprisingly, the 45 is a sought after disc by European mods hip to the killer sound.

The flip ’Verbal Expressions Of T.V.’ is a weird funkadelic work-out.

This 45 was first released in USA on Calla Records in late ’68.

(10/05/09)

THE MOTHERS OF INVENTION – ’Trouble Comin’ Every Day’ / ’Who Are The Brain Police?’ (Verve VK-10458) 1966

I suppose The Mothers Of Invention are an acquired taste and I’ve never had my mind opened enough to let Frank Zappa into my little world except for the garage jewel ’Trouble Comin’ Every Day’.

It was produced by Tom Wilson who also worked with many bands in the mid 60s including The Velvet Underground, The Blues Project and Bob Dylan.

I’ve done some brief research about the song and Zappa once confirmed that it was his response to watching the 1965 Watts Riots in Los Angeles on television.

The Verve Records archives indicate that ’Trouble Comin’ Every Day’ was recorded at their New York studios in October 1966.

(10/05/09)

LONDON AND THE BRIDGES – ’It Just Ain’t Right’ / ’Leave Her Alone’ (Date 2-1502) March 1966

Teenage band London and the Bridges formed in Great Neck, New York. They got a contract with Columbia Records and had three singles released on their subsidiary label Date. But despite some promotion and even TV work on Upbeat, no hits followed.

’It Just Ain’t Right’ was their debut 45 and it perfectly captures the Brit Invasion sound that spread quickly throughout USA in the mid 60s and influenced so many bands.

It was perhaps no surprise either that the record company came up with the band name to cash in on all that English fervour.

(09/05/09)

THE ROGUES – ’Wanted: Dead Or Alive’ / ’One Day’ (Living Legend LL-723) 11/1965

This was an early Michael Lloyd and Shaun Harris outfit. Those two of course would eventually form The West Coast Pop Art Experimental Band. But it’s still 1965 on this record and they’re probably just messing about in the studio under the supervision of Living Legend Records owner Kim Fowley.

’Wanted: Dead Or Alive’ is the best ’Hey Joe’ re-write you’ll ever hear. It’s killer from start to finish and of course pure Hollywood, Sunset Strip. The flip ’One Day’ is another folk rock gem but this tune is moody and fragile.

Tom, a regular reader of my blog sent me the following information about The Rogues.

Hello Colin: I remembered seeing something about this tune… and had to search it out. Its in The Trash Box (box CD set) on Hit Records. Cd #1 / cut 18.In the booklet the set comes with … Wanted Dead Or Alive, there’s a story behind the tune…quote …

This amazing, slow re-write of ”Hey Joe” features some rather well known names behind its nondescript monicker.

Masterminded by Kim Fowley, it was recorded in a Hollywood bedroom in ’65, while the Byrds and The Leaves were on the air with the original ”Hey Joe” and a thousand garage bands across the land were trying to work out the song for themselves.

Kim’s inspiration was to keep the chords and the feel of the hit. Adding new lyrics and making it a sequel. Shaun Harris, soon to form the West Coast Pop Art Experimental Band, handed the vocals, while hotshot teen mogul Michael Lloyd (who’s still around as a hit producer) kept time drumming with his knuckles on the floor. One of them, or some other legendary L.A. character, played a marvellous raga-rock guitar solo …

Colin I liked this tune right off … the backing vocal reminded me of a Ennio Morricone spaghetti western sound track. Best Regards: TomK

(08/05/09)

KEITH KESSLER – ‘Don’t Crowd Me’ / ’Sunshine Morning’ (MTW 102) Aug 1968

According to an online source, Keith Kessler from Renton Washington, recorded pissed off punker ’Don’t Crowd Me’ in 1966 with his band The Impulses. With it’s snotty vocals and pounding organ it certainly could have been from ’66 although the 45 wasn’t released until late Aug 1968.

Some copies came with a picture sleeve.

(06/05/09)

THE PLAGUE – ’Money’ 1966

This band look like they would run over your pet cat on purpose and that teen rebellion was put to good use on their recording of ’Money’. It was never released on record in the 60s and only survived as an acetate.

The acetate was patched up and compiled on Hipsville Volume 2 in the mid 80s.

According to the liners The Plague were from Bismarck, New Delaware.

(04/05/09)

THE VIKINGS – ’Blue Feeling’ 1965

The Vikings from Taunton, Massachusetts were one of those many promising teen bands that recorded a few songs then disbanded when a couple of their members got the call to fight the ’yellow man’ on the other side of the world.

Judging from the band picture they were a suited and booted combo with long hair for ’65.

’Blue Feeling’ was never released in the 60s but fortunately it got exposure when The Vikings music was compiled way back in 1980 on the Star Rhythm LP ’Bay State Rock Volume 1’.

It’s a confident version and I’m sure The Vikings would have produced more good work if circumstance had not intervened.

(03/05/09)

S.J. & The CROSSROADS – ’Funny Woman’ 1966

Another band with six members were a set of school kids from Beaumont, Texas called S.J. and the Crossroads. They were locally famous for having a group member with the widest gait in pop music. That’s him pictured right out in front.

’Funny Woman’ was never released in the 60s and it remained unheard until Texas Punk Volume 10 (Cicadelic Records) compiled it in 1987. The song was recorded in drummer S.J. Serio’s garage.

Reader comment:
Heard these guys MANY times at various parties and dances around town when I was in high school. GREAT party band in their day. I ended up with the bass player, Philip Battaglia’s Fender Jazz bass and still gig with it today!

(03/05/09)

THE HEADSTONES – ’Bad Day Blues’ / ’My Kind Of Girl’ (Pharaoh 152) 1966

For some reason The Headstones had six band members but sadly only four songs during their recording history for Pharaoh Records out of McAllen, Texas.

’Bad Day Blues’ was the follow up 45 to the local hit ’Wish She Was Mine’…..According to the liners of Texas Punk Volume 5 (Cicadelic LP-991) ’Bad Day Blues’ did even better in McAllen, spending two weeks at number 1 giving The Headstones their short lived brush with fame.

(02/05/09)

THE WIG – ’Little By Little’ 1966 

One of the LPs that got played many times in the mid 80s was The Wig collection released by Texas Archive Recordings in 1983. The LP in question is titled ’The Wig Live At The Jade Room’.

I never owned a copy of this album until this week and it took me over 20 years to track a copy down! Everything on the album had never been heard before. Most of the record is taken up with blistering live recordings from 1966 of standard 60s fair such as ’Everybody Needs Somebody’, ’Gimme Some Lovin’, ’Gloria’ etc…you get the picture….but it does contain both sides of The Wig’s aborted first 45 ’Little By Little’ / ’Forever And A Day’

The Wig hailed from Austin and along with the 13th Floor Elevators were considered to be one of the most popular 60s groups in Central Texas.

(02/05/09)

THE LEATHER BOY – ’Shadows’ / ’I’m A Leather Boy’ (MGM K13724) April 1967

’Shadows’ is an outstanding slice of psychedelia with whispered vocals and a trippy melody line full of echo. I can remember being blown away by this as a teenager when I first heard it on Pebbles Vol 11.

It’s a killer B-Side and is far superior than the novelty top side ’I’m A Leather Boy’.

I’ve read online somewhere else that The Leather Boy appeared on TV Show ”Upbeat” performing ’I’m A Leather Boy’. The record wasn’t a hit however and is a hard 45 to locate, especially in the tasty picture sleeve.

Leather Boy was also known as Milan and lots of 45s have been released under various guises such as Milan, World Of Milan, The Leather Boy and The Licorice Schtik.

He also put together a band and released an album as The Head Shop in late 1969.

Milan’s work is surely ripe for a retrospective, although I’m sure a legit release will almost certainly never happen because so many different record labels would be involved.

Sadly Milan died of a brain tumour in 1971.

(31/03/09)

SOUND VENDOR – ’Mister Sun’ / ‘In Paradise’ (Liquid Stereo LS-25) 1967

Here’s a record that remains elusive to me. It was up for auction on eBay a couple of years ago but I got outbid by a couple of $$$; it went for about $170 in the end.

So this is a copy of the song ’Mister Sun’ taken from ’Voyages Into Psychedelia Vol 2. The label scan is taken from popsike.

One day I’ll own this amazing psychedelic 45!! Listen out for a minutes worth of freak out action as the song comes to an end. Certainly is Liquid Stereo Diethylamide.

Reader comments:
Didn’t Bobby Sherman have a hit records called ”Mister Sun” ca. 1969 or so?

I don’t know anything about Bobby Sherman. Sound Vendor were from Portland, Oregon and formed out of the ashes of Mr Lucky and The Gamblers. They used Producer Rick Keefer who also helped create both United Travel Service 45s.

Note: Sound Vendor comes from Portland Oregon. Jim Dunlap on Vocals, Allan Gunter on Bass and Backgroud vox, Jim Graziano on Drums Dave Maitland on Guitar and Gregg Perry on B3 organ. Thanks Ricky G

Saw them many times at the Crystal Ballroom while working in the light show. They were a favorite of Gary Ewing’s. When I saw them at the Civic Auditorium opening for Steppenwolf, they literally blew that big name band off the stage.

I was the drummer in the band, and I might have some copies of the record. Nice to hear comments about the music 40+ years later. 4 members are still alive, 3 of them still living in Portland.

P.J. ORION and the MAGNATES – Love Minus Zero (Eva 12023)

French re-issue label Eva Records put out this rare album by student garage band P.J. Orion and the Magnates in 1984.

It was one of Eva’s first releases and I probably bought this when it appeared on the scene from a mail order firm called Funhouse Records.

This prep school album is different from other preppy school one off’s because this band go for the folk rock sound in a big way. Even their covers of British Invasion tunes like ’As Tears Go By’, ’We Gotta Get Out Of This Place’ and EVEN ’Gloria’ have got electric folk rock jangle all over them instead of the English beat sound.

This is perhaps why I love this album so much. Every cut is a cover version but The Magnates add their own special ingredient into the mix.

The information about each band member on the album back cover is a piss-take but at least it provides their names and the instruments they struggled to play.

I’m not sure where the band came from but I’ve read online that they attended a college in Groton, Massachusetts and recorded this album and had it manufactured in 1966.

An original LP is scarce and will probably cost at least $350 and the release on Eva has more or less vanished as well.

Surprisingly, only ’We Gotta Get Out Of This Place’ has ever been compiled and that was in 1982 on Oil Stains Vol 1. No CD re-issue exists as far as I know.

(20/03/09)

I wrote this review of the debut 45 by Stone Country back in April 2007. Last year Rev-ola thankfully re-issued their 1968 album as well as some/all of their singles??? I don’t know for sure because I don’t have this CD re-issue.

STONE COUNTRY – ’Time Isn’t There (Anymore)’ / Life Stands Daring’ (RCA 47-9301) Sept 1967

Excellent late 60s group of country rockers from California. Not sure what part of California exactly but their recordings were made in Hollywood.

Stone Country consisted of Dann Barry (bass), Steve Young (lead guitar), Don Beck (12 string guitar and banjo), Dennis Conway (drums), Richard Lockmiller (rhythm guitar) and Doug Brooks (also rhythm guitar).

Steve Young would go on to become a country rock star when Stone Country disbanded and Don Beck would later work with Dillard and Clark.

This was their first 45 for RCA Victor. They would release three more, as well as an awesome album in 1968. Well I think it’s an amazing album, very hard to categorise but I’ll have a go and say it’s psychedelic country (whatever that means) but you can get the picture.

Basically if you dig late period Byrds and in particular their Notorious Byrd Brothers phaze, you’ll dig not only the album but you’ll want to own their 45s as well.

The plug side of this 45 was the Dann Barry and Doug Brooks song ’Time Isn’t There (Anymore)’. It’s a beautiful country tinged psych tune full of harmonies and a wall of guitar sound. Pretty damned cool bass runs as well.

This song was recently compiled on ’turned-on’ CD Soft Sounds For Gentle People Volume 2. The uncompiled ’Life Stands Daring Me’ again treads a country psych path and is just as good as the top side. Notable for the closing raga guitar sound. This song was written by Don Beck.

It’s also worth mentioning that Stone Country were slated to do recordings and possibly appear in some scenes in the late 60s LSD comedy caper Skidoo starring Mickey Rooney and Groucho Marx.

Unfortunately this never materialized and all of the songs for the film were Harry Nilsson’s.

I’ve did some diggin’ around for information about Stone Country and there isn’t a great deal on offer. Maybe the liners come up with some interesting details about the band.

I do know that they were led by Steve Young who formed Stone Country in 1967. They got signed to RCA and an album was released in March 1968.

It appears to have sank without trace, which is a shame because it contains many highlights including raga psych winner ’Mantra’ and the harmony pop psych of ’Everywhere I Turn’.

These two songs would have made a really strong 45 follow up to ’Life Stands Daring Me’ but for some strange reason the record company opted to release the rather ordinary ’Ballad Of Bonnie & Clyde’.

It’s also got to be said that the LP cover is appalling. Just what the art department were thinking of is anyone’s guess. Drawing the faces of the band on some stones because they are called Stone Country is rather lame indeed.

So, the cover would not have got the impulse buyers handing over their cash. Back in 1968 record buyers probably wanted something a little more garish and psychedelic looking.

It’s also worth noting that Rev-ola used the stereo mix for their re-issue release. My album copy is the mono issue and probably sounds a whole lot better.

The album was mentioned as a ’spotlight’ release on the KFXM Radio chart coming at you from San Bernardino, California in March ’68.

The Producer for all Stone Country recordings was Rick Jarrard. He was making a name for himself on the West Coast by also twiddling the knobs for The Family Tree, Loading Zone, Nilsson and more famously The Jefferson Airplane. He produced their ’Surrealistic Pillow’.

The band or perhaps RCA also utilized songwriters Diane Hilderbrand. She wrote some songs recorded by The Monkees such as ’Early Morning Blues And Greens’ and co-wrote ’Goin’ Down’ and ’Your Auntie Grizelda’.

The song writing team of Barry Mann and Cynthia Weil contributed ’Angelica’ which I don’t think works for a psychedelic country rock band like Stone Country.

After one album and four singles Stone Country split sometime in 1969 when Steve Young quit and signed for A&M Records as a solo artist.

Discography:
Time Isn’t There (Anymore) / Life Stands Daring (RCA Victor 47-9301)
Ballad Of Bonnie & Clyde / Ballad Of Bonnie & Clyde instrumental (RCA Victor 47-9397)
Love Psalm / Magnolias (RCA Victor 47-9472)
Wheels On Fire / Million Dollar Bash (RCA Victor 47-9534)
Stone Country LP (RCA-Victor LPM 3958)

THE GENTLEMEN – ’It’s A Cry’n Shame’/’You Can’t Be True’ (Vandan) 1967

I loaded this one on to my computer to use months ago but forgot about it. Then I decided to pay a visit to my 70s punk and new wave record boxes so The Gentlemen were forgotten about which come to think about it isn’t very gentlemanly of me is it?

So here goes. The MP3 comes from my burn from the IMO best ’pound for pound’ garage punk compilation LP ever (ie) ’I Was A Teenage Caveman’…..this disc kills every other contender including those overrated ’Back From The Graves’ and ’Teenage Shutdowns’…

(09/03/09)

JOURNEY TO A HIGHER KEY – ’The Best of Sitar Psychedelia: Volume 1 (Nava Rasa Records) 1998

Mention the word ’sitar’ to your local knuckle draggin’ garage inbreed and you’ll probably get laughed at then stabbed by one of his/her cuban heels.

I too, was one of those garage inbreeds in an earlier embodiment but I strangely always had a relaxed mynd to seek out psychedelia and in particular music containing a sitar.

This rare and obscure comp LP came out in the late 90s with a limited pressing of 350 copies. Try finding one now! They’re rarely offered for sale.

The track I’ve chosen to represent the album is ’Barshat’ by a Swedish mushroom munchin’ sage called Handgjort. It’s from his impossible to find 1970 LP on Silence Records.

So get out your bong and light up, for you’re about to be taken to a higher key.

Hi!The name is actually Handgjort in one word and means ”made by hand” or ”home made”

(14/02/09)

THE MUSIC EXPLOSION – ’Sunshine Games’ / ’Can’t Stop Now’ (Laurie LR 3400) Aug 1967

’Sunshine Games’ was a sizable hit for The Music Explosion and I can see why because it’s a catchy bubblegum tune. The song was compiled in the 80s on Mindrocker Volume 5.

The flip ’Can’t Stop Now’ credited to hitmakers Kasenetz-Katz & Chiprut has some fuzz, brass and organ (farfisa?) and remains uncomped. Hmmn, did The Music Explosion actually play on this record or was it studio musicians??

They were from Mansfield, Ohio by the way and when singer Jamie Lyons went out on his own ,the band eventually morphed into The Crazy Elephant.

(12/02/09)

THE BEAU BRUMMELS – ’Laugh Laugh’ / ’Still In Love With You Baby’ (Autumn 8) Dec 1964

Sometimes common 45s or popular bands are overlooked simply because they sold lots of records or were on a major label. I’ve never been able to understand this blinkered snobbery?

When I first got my 60s infatuation way back in the early 80s, it didn’t take me too long to discover The Beau Brummels from San Francisco and they promptly became one of my favourite bands of all time.

They had a wealth of memorable rhythm and beat songs heavily influenced by the new English sound sweeping the world. Ron Elliott’s ’Laugh Laugh’ is a perfect pop song laced with harmonica and tambourine.

Mixed with the wavery vocal style of Sal Valentino it would have been an injustice if this record wasn’t the big hit it became.

The flip ’Still In Love With You Baby’ another Ron Elliott original, is also rather good It could have easily been a hit in it’s own right.

related info: John Candy as Uncle Buck played his ’Laugh Laugh’ 45 and did the boogaloo with a neighbour in one of the films scenes. Now if that ain’t a recommendation for the godlike Beau Brummels, what is?

(11/02/09)

THE SLEEPLESS KNIGHTS – ’You’re Driving Me Crazy’ / ’Don’t Hide Your Love For Me’ (Jerroc JR-1000) 1967

According to ’Fuzz, Acid & Flowers’ The Sleepless Knights hailed from Philadelphia, PA. So far they have not had that much attention from garage collectors, although ’You’re Driving Me Crazy’ did crop up on Garage Zone Volume 2 some years back.

I can see why because it’s a bit of a mover with hammond organ and punchy bass runs. In other words if you had any inclination to do your best ’Dad dance’ you could probably cut some shapes on the dance floor with this song.

As far as I know the record has become sought after by collectors of Northern Soul and a few soul dealers are listing this one.

The flip ’Don’t Hide Your Love For Me’ is more of the same action but this time with some real primitive drumming.

(08/02/09)

PRESTON – ’This World Is Closing In On Me’ / ’Water Falls’ (Sound Patterns 110) 1966

Incredible two sides of demented psychedelia from Preston Carnes possibly backed by Lenny and the Thundertones.

The latter had several classy Ventures styled raunch/surf instrumentals in the very early pre Beatles era. Indeed Lenny Drake from the band wrote ’This World Is Closing In On Me’.

The Sound Patterns version of ’This World Is Closing In On Me’ is the more punkadelic fuzz take. Sounds like a Sean Bonniwell sound carnival. The song was re-recorded for a further release on United Artists under the name Chris Carpenter but most of the thrilling fuzztone was gone?

The flip ’Water Falls’ is a wacked out acid trip with rattlesnake tambourine, water effects, echoey vocals and other strange noises. Seems that Preston got his fair share of LSD-25 at this session.

I’d like to get the full story of this psych masterpiece one day.

Information from Lenny Drake:

Hi, I am Lenny Drake of Lenny and the Thundertones, Bill Carnes sang the song, middle name is PRESTON. The string section of 4 from The Det. Symphony played my arrangement.

Danny Dallas had the strings play it again in 3 different octaves made it sound like a Symphony. DANNY DALLAS Recording Engineer was a Genius! There were No Drugs or Pot on the session. Sidra Records remixed the 8 track tape change the Artist name to Chris Carpenter and sold it to UA .

(07/02/09)

TONY AND THE BANDITS – ’It’s A Bit Of Alright’ / ‘(Oh No) I Can’t Lose (Flo-Roe FR-500) Aug 1965

This is one of my favourite 45 discoveries in a long time. Both sides are cracking British invasion inspired beat with cool guitar runs and harmonica bursts on ’It’s A Bit Of Alright’.

Tony and the Bandits won a tri-state Battle Of The Bands in early ’65 which tempted Flo-Roe Records to sign them for this debut record that reached Top 10 in Cincinnati, Ohio in August 1965.

This success led them to secure an appearance on TV Show Shindig where they performed their hit ’It’s A Bit Of Alright’…check it out on YouTube.

The flip ‘(Oh No) I Can’t Lose’ is also a very decent number with a jangly edge.
This single was picked up for national release on Coral.

TONY AND THE BANDITS – ’I’m Goin’ Away’ / ’The Sun Don’t Shine Now That You’ve Gone’ (Coral 62477) 1966

A classic follow up 45 and no less impressive that their debut. ’I’m Goin’ Away’ is another fast paced Merseybeat copy with jangly guitar and way cool harmonica.

’The Sun Don’t Shine Now That You’ve Gone’ is a moody folk rocker.

I’m not sure why singer/songwriter Tony Brazis would want to leave such a great band but leave he did after the release of this record.

His replacement was Ivan Browne from a local band called Ivan and the Sabers. With leader Tony Brazis gone it was pointless going by the name of Tony and the Bandits so a name change was due and they became known as The Lemon Pipers.

Everyone knows they then hit the big time with ’Green Tambourine’.

(19/01/09)

44. THE FRED BISON FIVE – Beat Roots (Woronzow WOO 19) 1992

An obscure and hard to find Nick Saloman release, The Fred Bison Five album ‘Beat Roots’ was his garage psych album recorded over a weekend. All instruments were played by himself and produced with a back to basics approach after his acid guitar psych exploits under the name Bevis Frond.

Incidentally, the name Fred Bison Five is an anagram of Bevis Frond (Fred Bison V)…..Nick Saloman also gives himself three pseudonyms, Fred Bison, Ray Dean and Graham Mills-Wainwright and dresses up differently for each one for the photos used for the cover. Not sure who Candice Hostettler is, maybe she’s Fred Bison’s milk maid.

(30/07/090

45. THE BOGEYMEN – ’You’ve Got No Scruples’/’Let Me Give You My Love’/’Gimme A Little Sign’ (Detour Records DR 008) Nov 1993

I wrote about the very first Bogeymen 45 ’You Are My Friend’/’Candy’ on my blog ages ago and if you want to read about it and check out the cover just follow the labels below.

This three song single was their third 45 and it contains three excellent mod cuts with a reverential nod to The Small Faces. ’You’ve Got No Scruples’ being the stand out.

Detour Records had the good grace to release this sought after disc in a period style cover. Full marks to the designer because it suits the band’s style perfectly.

They pressed an initial 1000 copies with a second pressing of 500 shortly after.

(28/07/09)

46. JAMES TAYLOR QUARTET – The Moneyspyder (Re Elect The President Records) 1987

When The Prisoners disbanded in the mid 80s James Taylor (organ) and Alan Crockford (bass) formed instro au go go band The James Taylor Quartet with an emphasis on groovy 60s style spy music and hammond organ swingers.

After the initial two albums I lost track and I think the band moved more in a jazz funk direction which obviously filled me with horror. So I just stuck with the early stuff and ’The Moneyspyder’ is a good place to start. By the way, their version of ’Blow Up’ from the movie of the same name really smokes and is way better than the original.

(27/07/09)

47. THE THANES – ’World Of Stone’ (Screaming Apple SCACD 147) 2002

I’m a long time fan of The Thanes and just could not believe my ears when I first played their album ’Downbeat and Folked Up’ because it was simply the best jangle beat music since the mid 60s.

’World Of Stone’ is an Angus McPake original from said album and I think you’ll agree it’s stunning. In a perfect world The Thanes would be superstars but they sadly remain unknown outside the garage beat alumni.

(26/07/09)

48. THE RUTLES – ’I Must Be In Love’ / ’Cheese And Onions’/’A Girl Like You’ (Warner Bros. Records K 17125) March 1978

Debut single by the pre-fab four and when Dirk McQuickly, Ron Nasty, Stig O’Hara and Barry Wom get together they create that wonderful merseybeat music.

They had the Nehru jackets, they had the teeth and hair, they had the loveable cheeky grins and cuff-links in their shirt sleeves but still, they weren’t as big as The Beatles.

(26/07/09)

49. HURRAH! – ’The Sun Shines Here’ / ’I’ll Be Your Surprise’ (Kitchenware Records SK2) April 1982

In my mid teens I was quick off the blocks to get into the early indie guitar bands, mostly because almost everything else didn’t thrill me and this was before I’d discovered 60s garage.

Anyway, Hurrah! came from my local City of Newcastle so I was clearly interested especially after reading a review of the record in one of the music weeklies (could have been either Sounds, NME or Melody Maker).

Even after all of these years ’The Sun Shines Here’ still has a certain charm with it’s edgy jangling guitar and sparse production. This of course became the template for most of the English indie guitar bands that followed. This record was released in April 1982 so it’s one of the first of the genre.

I remember seeing them perform live at a local Night Club in Sunderland (probably 1983) and talked to singer/guitarist David Hughes about 60s stuff. At that time he sported a mental haircut with a fringe some two inches away from his eyebrows. It was one of those psychiatric hospital inmate cuts possibly fashioned by a blind and thumb free barber.

”Woke up to the smell of fresh cut grass,
The jangling guitars in my ears”….

(26/07/09)

50. PLASTICLAND – ’Color Appreciation’ / ’Mushroom Hill’ (Scadillac Records SC-1002) April 1982

This psychedelic band from Milwaukee were one of the few bands from the 80s to go with the English psych sound from ’67 and I’m talking about the Carnaby Street flipped out and new progressive style of music by The Pretty Things, Tomorrow and Pink Floyd.
Plasticland brought those coloured sights and sounds back in ’82

This 45 came out on their own label Scadillac Records, I’m not sure how many were pressed but it can’t have been that many. This was Plasticland’s third release.

line-up on this disc:
Glenn Rehse (vocals)
John Frankovic (bass)
Bob DuBlon (drums)
Brian Ritchie (guitar)

It was to become a short lived line-up as Brian Ritchie left in late 1982 to form The Violent Femmes.

(25/07/09)

THE ROADRUNNERS – ’Payback Time’ / ’Love Me As I Am’ (Beluga 005) 1999

I wrote about Örebro based Roadrunners in May 2008 when I reviewed their debut CD single. That release was a purist R&B approach and the band pulled it off in great style.

This record on a small label out of Sweden probably had a run of 1000 copies and they of course are now long gone. In years to come these underground neo garage/psych 45s will be as sought after as some of those original 60s garage singles.

This time around The Roadrunners have discovered fuzztoned guitars on ’Payback Time’ and have left the R&B sound in favour of stripped down garage moves. The production is excellent and thankfully no instruments are buried in the mix. The bass guitar runs from Kristofer Mossberg are a particular stand out. 

500 copies were pressed of the Roadrunners single. (I still have a few copies in my warehouse). Trevor (Beluga) (beluga@webhead.se)

(15/03/09)

THE OTHERS – ’Goin’ Around’ EP (Misty Lane Records 027) May 1995

The Others were legends in their own street in Rome but unlike their famous forefathers from 2000 years ago, these particular Romans failed to invade any other boundaries or crucify Jesus for that matter.

The Others seemed to be on a hot streak of records in the mid 90s and this four song EP could be one of their best. All songs were written by Massimo Del Pozzo except ’That’s All She Wrote’ originally released by The Love-Ins.

’Goin’ Around’ is a fine example of jangly garage with of course resplendent farfisa organ.

songs on EP:
Goin’ Around
Love And Care
That’s All She Wrote
Won’t Let Her Go

(14/03/09)

THE CHURCH – ’Tear It All Away’ (Carrere CAL 130) 1981

Aussie band The Church became an obsession of mine in the early 80s mainly because they had a glorious 12 string Rickenbacker jangle and wore paisley shirts.

Steve Kilbey also wrote some amazing songs and none were better than ’Tear It All Away’ which was part of their debut LP, simply called The Church (in England) or ’Of Skins And Heart’ (in Australia).

Listen to the sparkling Marty Willson-Piper jangle nirvana and Peter Koppes’ faultless lead guitar solo that elevates this song way up among the best post punk songs of the 80s.

The Church were simply ahead of their time.

Reader comment:
My favorite band of all time. don’t know if you have lost touch with them but they are still going strong. their latest, ”untitled 23” is getting rave reviews. i have been a follower of the band since 85 and this latest has had the best reviews, by far, of any of their releases.

Anyway, unlike most 30 year old bands, the church are still releasing relevant, awe inspiring material. check em out again. ‘Tear It All Away’ along with ‘too fast for you’ was a double a-side, their third single and first with new drummer, richard ploog (he has been out of the band since 90-91). Both of these tracks feature the chiming ricks and Kilbey’s obtuse, surreal lyrics.

The band can still churn these types of tunes out in their sleep but have moved onto a more psychedelic, dreamy sound. it’s really hard to tag. btw, if you are into reading rock bio’s, there is a kilbey biography titled ‘no certainty attached’ that’s a pretty good read. author is robert lurie.

Great blog, glad i stumbled across it. i have been on a rediscover or just discover obscure 60’s music kick lately (resulting in my buying about 200 vinyl lp’s in the past few months!) and your blog here is a great source. thankshd2d

(08/03/09)

ECHO AND THE BUNNYMEN – ’Rescue’ / ’Simple Stuff’ (Korova KOW1) May 1980

Formed in Liverpool in the late 70s (with a drum machine called Echo) they quickly established themselves as a band to watch. Thankfully, by the time of ’Rescue’ they had dropped the drum machine in favour of a real drummer called Pete De Freitas.

’Simple Stuff’ was a non LP B-Side and showed The Bunnymen’s darker, psychedelic guitar rock side.

(07/03/09)

THE JAM – ’In The Crowd’ (Polydor POLD 5008) Nov 1978

’In The Crowd’ was The Jam’s first foray into psychedelia, a genre they would visit now and again until their split in ’82.

This particular song was part of the successful ’All Mod Cons’ LP released in November 1978. It’s notable for it’s change in tempo midway through the song from a pop ballad to something much more manic with reverberation, a backwards guitar solo and eerie spoken words buried in the mix.

(07/03/09)

RADIO STARS – ’Stop It’ EP (Chiswick Records SW 17) 1977

Singer Andy Ellison had been the frontman in 60s mod band John’s Children. He then formed a glam rock band called Jet with songwriter Martin Ellison. After a couple of flop singles Jet reformed under the name of Radio Stars adding Ian Macleod on guitar and Paul Simon on drums.

Radio Stars got lumped in with the punk movement but they sounded more like a new wave band to me and I’m thinking along the lines of XTC. ’No Russians In Russia’ is one of those songs that seems to get in your head the more times you hear it.

The other cuts on the EP border on power pop/pub rock/new wave but definately not punk rock.

The record was engineered by Vic Maile who also went on to produce for The Inmates, Motorhead, Dr Feelgood and The Godfathers.

Looking at the pic of Radio Stars I get the impression that they weren’t over keen squeezing into the (too small) muscle vests for the promo shots. Ian Macleod still has his mullett(esque) glam rock haircut for fucksake.

(06/03/09)

THE RAMONES – ’Rock ’N’ Roll High School’ / Do You Wanna Dance?’ (Sire SRE 1051) Sept 1979

This was the last Ramones single of any relevance before the quality control dipped and irritating 80s production values reared it’s head along with Phil Spector who got a credit on this record for remixing the production by Ed Stassium.

’Rock ’N’ Roll High School’ mixes surf with punk in a great way (similar to early Barracudas). The flip is a loud live version of ’Do You Wanna Dance?’…..a worthy two sider.

(22/02/09)

CORNFLAKE ZOO – ’Hey Conductor’ / ’I See You’ (Tracks On Wax 004) 1985

Another interesting band from Sweden were Stockholm’s Cornflake Zoo probably named after the Andy Ellison song. I don’t know the names of the band members on this 45 so if anyone knows be sure to leave a comment.

’Hey Conductor’ is a cover of the Sonny Flaherty punk swinger, here Cornflake Zoo retain the farfisa buzz of the original.

The flip ’I See You’ is a band original and is notable for a pretty good guitar break.

Subsequent releases sounded a bit too modern for my tastes so stick with this 45 and stay in the garage.

(09/11/08)

THE WYLDE MAMMOTHS – ’I Can’t Go Without You’ (CH 002) 1987

As I continue my excavation of the underground garage scene in the 80s I’ve come across this flexi-disc single by The Wylde Mammoths from Sweden. This was given away free with German fanzine Splendid Issue 3. I very much doubt many would have survived.

I’m not sure if any of the two songs have appeared anywhere else. So they could be exclusive to this one off flexi disc. ’I Can’t Go Without You’ is the best song, sounding like a rough Euro garage beat outfit from twenty years earlier.

The Wylde Mammoths were:
Peter Maniette (guitar/vocals) ex Crimson Shadows
Pelle Wannerberg (rhythm guitar)
Patrick Emt (bass)
Per Wannerberg (drums) ex Highspeed 5

These guys hit the NYC garage scene in ’87 or ’88 just as ”garage” was turning into ”rock n’ roll” (when The Stooges and MC5 were replacing The Chocolate Watchband and The Byrds as influences) and turned everybody on. The chicks screamed and the guys tapped their feet.

(08/11/08)

THE BARRACUDAS – ’Summer Fun’ / ’Chevy Baby’ (Z5) 1980

’Summer Fun’ penned by Robin Wills is glorious surf punk with a contagious beat and harmonies. Nothing sounded like this before or since in England. There have been imitators but none came close to this slice of Summer fun. I’m still not quite sure how The Barracudas were not regulars in the charts. This one scraped in to the top 40 back in 1980.

They even got to appear on TOTPs and the action is on YouTube if you care to look. I still haven’t figured out what Jeremy Gluck was on during the performance. Too many purple hearts at once or was it just plain euphoria?

The Barracudas certainly got their fair share of column inches in the English music press probably down to the clout of EMI.

These two articles have been taken from my copy of Smash Hits, issue June 26-July 9, 1980. Smash Hits was a very popular teen magazine in those days and they covered plenty of punk and new wave bands in the late 70s to early 80s.

I wonder if anyone won the surf board? Or for that matter the 2nd and 3rd prize and had a night out in London with The Barracudas….

Robin Wills: Hi Colin Yes, there was a winner for the first prize in any case. I remember presenting a surfboard to the lucky winner at the EMI offices in Manchester Square…For the 2nd and 3rd prize…can’t remember!

Hello. I bought the surfboard back in 1993 off a workmate whose brother had won it in a competition. I learnt to surf on it. It’s been sitting in my mum garage for years.

I’m now going to turn it into a bench for my back garden. I was telling my wife about it and found this article about it. How strange.

(08/11/08)

THE GREEN TELESCOPE – Two By Two EP (Imaginary Records 001) 1985

The Wump Records single by The Green Telescope was neo primal American 60s garage mayhem but this four song EP released in 1985 catches the future Cawdor lairds wearing their Dutch beat influences on their sleeves.

The first side compiles two Lenny Helsing originals titled ’Two By Two’ and ’A Glimpse’. Both of course are laden with attitude or should I say beatitude. The opener on side two is the quite marvellous ’Make Me Stay’ written by Alan McLean. This is surely one of the very best neo garage beat tunes of the 80s revival.

’Got no love, make me stay’…

The other song on the EP is a cover of ’Thinkin’ About Today’ a 1966 wailer originally recorded by The Outsiders. A great song and thankfully The Green Telescope give a thrilling interpretation.

A while ago Lenny confirmed the line-up as follows:

Lenny Helsing (lead vocals, guitar, harmonica)
Bruce Lyall (organ)
Alan McLean (bass)
Gavin Henderson (drums, backing vocals)

(07/11/080

CHRIS SUCH and his SAVAGES – Leave My Kitten Alone (Chaos Records 3) 1989

Chris Such and his Savages were really The Headless Horsemen. I wrote about this talented band previously (check out the labels down the right hand side of my blog).

It turned out to be their final release and was a fitting end to their brief existence.

This four song EP recorded in glorious mono and released on Chaos Records in ’89 was very much a ’back to basics’ early 60s rock and roll beat approach delivered in the usual Horsemen style.

Back in June 2008 I was contacted by Peter Kohman (Stuart) who usually played bass guitar and sang in the band. I asked him about this four track EP and this is what Peter had to say.

Can you shed any light on the Chris Such and his Savages 12” EP…I’ve read that this is really The Headless Horsemen?

Yes, that’s us, plain and simple…just doing some stage favorites. We used to do a lot of that stuff in our extended sets (I’m a huge 50’s R+R and Merseybeat fan) and finally started doing whole shows!
As we wanted to keep the Headless Horsemen a primarily original band, at least on record, we created an alter ego band. ”Such”was a mutilation of ”Cush” he picked up somewhere.

Someone gave us a ridiculously small amount of $ and we cut the whole thing in a day or two at Coyote Studios. I think it was about the last thing we did. It was supposed to be a 7” and the mix got all screwed up, folded from stereo to mono.

Elan Portnoy played piano and I played some guitar on ”Hog”. There’s a lost 5th track, Arthur Alexander’s ”Girl That Radiates The Charm”, a great song but it didn’t quite fit with the others.

Overall, it’s one of my favorite things I’ve ever done…quick, dirty, ragged but right. I couldn’t get the vocal right on ”Stupidity” somehow, tho, that still bothers me.

Everything else, I like…especially the bass, it was a Burns Sonic thru an SVT.

Songs on EP:
Sick And Tired
Stupidity
Leave My Kitten Alone
I’m A Hog For You

Band Members:
Elan Portnoy
Chris Such
David Ari
Peter Stuart

Reader comments:
I could be wrong but I could swear seeing these guys in ’88 or so with Tom Ward (Gravedigger V/Nashville Ramblers/Blackmores/etc) playing or singing with them. NYC in the late 80’s was a dismal place musically. Most of the area garage bands made the next logical progression from “garage” to Stooges/MC5-land and the Headless Horsemen were the last ones to let go.

Yes, that’s correct…Tom did ONE show with us! He played bass and sang, so I could play my little Rickenbacker way up high and concentrate on singing. I was keen to get him into the band full time but he had already decided to go back to the left coast. That would have been 1989… And we never Stooged it on my watch… Cheers Peter Stuart

We finally recut ”girl that radiates that charm” this year 2013. i would love to get this ep re-released (Chris Such)

(02/11/08)

This track by The Tell Tale Hearts is only available on a flexi-disc given away free with Ron Rimsite’s 99th Floor fanzine. The fanzine in question was edition 7 and is now quite a hard one to track down.

The music on it sounds perfectly fine and is recorded in mono. I’ve remastered it in my usual way to bring out the best of this fine tune written by Joe Meek and released as a single by Heinz in 1963.’I Get Up In The Morning’ was recorded at the same 1985 sessions that resulted in the six song mini LP titled ’The Now Sound Of The Tell Tale Hearts’…

Hey, for your information this song also appears on a compilation LP, ”Oh God My Mom’s On Channel 10” released in Canada in the late 80’s or early 90’s. Greetings, Marc

(02/11/08)

RAINY DAY – John Riley (Rough Trade Records 70) 1984

This album by Rainy Day on Rough Trade is sought after and still has not been re-issued on CD. It was a studio project made up of musicians from various guitar groups namely The Rain Parade, The Dream Syndicate, The Bangles and The Three O’Clock.

All tracks are cover versions and as an album it still certainly pushes my buttons. The track I’ve chosen to highlight is one of my favourite folk rock tunes ’John Riley’.

This version is quite clearly influenced by The Byrds who covered the song on placed it on Fifth Dimension. Listen to the exquisite 12 string guitar jangles mixed with some mournful violin. How could anyone not be moved by this gem?

The musicians on ’John Riley’ were Matthew Piucci on acoustic 12 string, David Roback on electric 12 string, Will Glenn on violin (all from The Rain Parade), Dennis Duck played drums (from The Dream Syndicate, he also performed with The Rain Parade at some gigs) and the vocal duties were performed by Michael Quercio (from The Three O’Clock).

So it’s virtually a long lost Rain Parade song and it would have certainly dove-tailed nicely on the album ’Explosions In The Glass Palace.’

(07/11/08)

The Mystery Machine hailed from San Diego and as far as I know this is the only song they recorded. ’She’s Not Mine’ was written by Carl Rusk and compiled on Battle Of The Garages Volume 3 released on Voxx back in the glory days of the garage revival…we’re talking 1984.

When Carl Rusk split from the band the remaining members stayed together and became The Tell Tale Hearts with the addition of Mike Stax on bass.

The above Mystery Machine photograph was taken from the Che Underground, a rather cool site detailing San Diego’s underground music scene of the 80s and the two below were submitted by member Ray Brandes… http://cheunderground.com/blog

Reader comments:
Although I am a great fan of Mike Stax’s writing, I prefer this great track to anything that the Tell-Tale Hearts ever did. What ever happened to Carl Rusk?

Hey Keith-This is David K, drummer of the Mystery Machine & TTHs. You may be happy to learn that even though Carl lives in NY, The Mystery Machine is getting ready to re-emerge after a 30 some year hiatus, with all the original members (Carl,Ray, Mark & me) except Dave Fleminger replacing Bill Calhoun on keys.

We’ll be recording & performing some shows in the US & maybe Europe. here’s the MM story in all its glory: http://cheunderground.com/blog/?page_id=161

(02/11/08)

THE SOMELOVES – ’It’s My Time’ / ’Don’t Talk About Us’ (Citadel 018) 1986

This was the first single by The Some Loves. Note that at this point the band were called The Some Loves (two separate words) and not yet known as The Someloves. Small point I know but I like to be thorough. It was recorded in 1985 but not given a release until a year later.

The Some Loves were Dom Mariani and Gary Chambers (ex Stems), Darryl Mather (ex Lime Spiders) and Christian Houllemare (ex Bad Brains).

Here the song writing team of Mariani/Mather deliver two power pop nuggets with perhaps the B-Side ’Don’t Talk About Us’ taking the top prize. This song would easily be a single in it’s own right for most other bands.

Recently The Someloves got the re-issue treatment on a double CD rounding up all tracks recorded. I’ve posted a review of this release below

The Someloves – ”Don’t Talk About Us” dbl CD (Half A Cow) In the extensive liner notes for this album, the author states that the Someloves’ only album, ”Something Or Other”, is one of the ten best power pop records ever released; that’s a statement I can wholeheartedly agree with, and I would additionally include their single, ”Know You Now”, in the top ten power pop singles of all time.

It’s sound is classic and timeless, and pretty much every song is a perfect pop song. I have been anxiously awaiting this compilation (which includes the album, as well as a bonus disc of singles and b-sides – basically everything the band recorded during their brief career) ever since Half a Cow announced it a few years ago; and it was definitely worth the wait!

Composed of Dom Mariani (ex-Stems, pre-DM3) and Darryl Mather (ex-Lime Spiders, pre-Orange Humble Band), the duo released the ”It’s My Time” 7” in 1986, followed by another in 1988 and finally the album in 1990 (which spawned a pair of singles).

While the album was originally released to unanimously rave reviews, the band refused to play live, for which the label dropped them, essentially killing the band (and driving a wedge between the two friends in the process).

Old wounds have since healed, and we are now presented with a grand package of power pop, and possibly the best reissue of the year!

(02/11/08)

JAMES BAKER EXPERIENCE – ’I Can’t Control Myself’ / ’Born To Be Punched’ (Red Eye Records 1) 1985

I’ve decided that 60s garage rock and psychedelia sucks and for the rest of this month Renaissance Fair dips it’s cuban heels into the 80s underground garage scene. This was the soundtrack of my youth and it’s all still perfectly valid in my own little mixed up world 20 years and more later.

This is James Baker’s band or hired guns after leaving or as I’ve read ’fired’ from The Hoodoo Gurus. He also played in several Aussie punk bands before becoming the drummer for the Gurus.

On this 45, recorded in Feb/March 1985 James Baker ’sings’ his way through The Troggs all time great ’I Can’t Control Myself’.…He sounds utterly pissed, probably on Fosters lager. But at least he washed behind his ears and put on his best three button mod jacket and tie for the sleeve photo shoot.

(01/11/08)

08. THE GRUESOMES – ’Hey!’ (OG-20) 1988

Montreal, Canada is where The Gruesomes hail from. They’re still going but it was their mid 80s heyday that matters to ’Flower Bomb Songs’…

This is the funny promo video that went with the rockin’ garage tune where the only words snarled are ’Hey!’ …an all time classic.

By the way do not adjust the volume…there’s no sound until the song starts at 20 odd seconds!!!

(05/09/09)

09. THE PANDORAS – ’It’s About Time’ (Moxie MM1044) 1984

The Pandoras were the darlings of the garage revival underground in Los Angeles and on their early releases on Moxie and Voxx, had a more than decent 60s punk style sound.

Unfortunately after a good start, internal conflict within the band and a change in direction to a hard rock sound lost The Pandoras any credibility they had.

It couldn’t have helped signing to Elektra Records either….once a band leaves the underground that’s usually bad news as far as I’m concerned.

Leader, Paula Pierce died of an aneurysm in 1991, aged only 31.

’It’s About Time’ from this 4 track EP on Moxie Records is the best thing The Pandoras ever recorded and is a classic folk rock jangler.

(05/09/09)

10. LEE JOSEPH – ’Stay By My Side’ (Mystery Scene 004) 1987

The EP ’Four By One’ from Lee Joseph were home recordings from the Summer of 1984 then mixed at Westbeach, Los Angeles a couple of years later.

On the crude recordings Lee Joseph had input from ex Unclaimed member Rich Coffee and Zebra from The Zebra Stripes?? who provided handclaps on ’Stay By My Side’ the Music Explosion bubblegum punker.

All of the songs on this EP have a whole lot of fuzz and a sparse echoey production. The vocals are thin and weak but who cares about that cos the fuzz is where it’s at.

tracks on EP:
Stay By My Side
The Special Ones
Splash One
Sounds Of Color

Hey COLIN—Zebra iz Lee Jospeh’z ex-wife who had a long player of her own titled ”Zebra Stripes”! I think she waz also a member of girl punk/trash band Hot Damn! Best alwayz—”mad” louie

(05/09/09)

11. THE STOMACH MOUTHS – R & B No. 65 (Got To Hurry 101) 1986

The Stomach Mouths debut LP ’Something Weird’ really stands the test of time and it’s easily one of the best garage revival records recorded during the halcyon days of the mid 80s.

’R & B No. 65’ from this album is a furious garage punk rave up and coming in at just over two minutes is a necessary listening experience.

The 14 track long player contains 12 originals and cover versions of ’Born Loser’ and ’The Cat Came Back’….

The promo picture above came with my copy of the LP and was a real cool touch.

(05/09/09)

12. THE PROJECTILES – ’Some Things Never Change’/’I Need Somebody’ (Jargon Records 1285006) 1986

The Projectiles came from Rochester, New York and probably formed after hearing Rochester’s own garage royalty The Chesterfield Kings. Judging by the pic sleeve the band weren’t exactly purist in their dress code with the baggy jeans, Magnum P.I. sunshades and the guy wearing what looks like Doc Martin boots.

The cover graphics are also of a low standard as well. No doubt the combination of dodgy image and bad psych lettering would put some people off buying the 45. Fortunately, it didn’t stop me.

’Some Things Never Change’ is decent garage with snarled vocals and a constant high pitched farfisa organ in the mix.

The flip is an OK cover of ’I Need Somebody’ originally by ? and the Mysterians of course.

Both sides were recorded at Saxon Studios, Rochester in November 1985.

line-up:
Dan Frank (vocals/guitar/tambourine)
Tony Pilato (farfisa organ)
Brian Goodman (drums)
Terry Flanagan (guitar)
Kevin Keefer (bass)

Wow. It’s nice to see people still interested in our band. I started The Projectiles back in 1983 with Jerry Flanagan and Kevin Keefer, and the 45 was the result of us winning a battle of the bands at a very popular night club in Rochester.

We won some recording time at Saxon Studios and enough cash to barely cover the cost of the pressing, hence the ”low budget” look of the sleeve. You have a very nice blog by the way. Nice pics and great research too. Keep up the fine work. Sincerely, Dan Frank

(05/09/09)

13. THE STOMACH MOUTHS – ’Wild Trip’/’Don’t Put Me Down’ (Mansi Sunlight 196025-01) 1985

One of the very best bands to hail from Sweden are mid 80s garage punk band The Stomach Mouths . With their fuzz and farfisa trademark sound combined with Stefan Kery’s wild vocals the band built up a huge reputation and all of their records are hard to come by now.

This debut 45 appeared in ’85 and was quickly sold out. It was pressed three times and the one I’ve got is the very first pressing with the band pic on the front cover. The second pressing has a ’monster’ sleeve and the third has black and purple vinyl.

’Wild Trip’ as the title suggests is indeed a ’wild’ trip and is closer to the acid punk sound from ’66. ’Don’t Put Me Down’ is more of a ’back from the grave’ style garage winner with a break neck backbeat, fuzz and screaming vocals.

An undeniably GREAT 45 whatever era.

(04/09/09)

19. THE FLESHTONES – ’I’ve Gotta Change My Life’ (IRS SP70018) 1981

’Roman Gods’ is a hyped up album and I suppose many will really dig the whole work but there’s just too many souly things on it for me to totally enjoy, including a fair sprinkling of saxophone (an instrument that spoils records IMO) and some funky bass.

I much prefer TheFleshtones when they go for the garage sound and ’I’ve Gotta Change My Life’ ticks the boxes on that score.

(22/08/09)

20. THE FRANTIC V – ’Room 409’ (On Stage Records 005) 2004

The Frantic V are (along with The Sound Explosion) the garage kings of Greece and they’re still a performing band and have been since 1994.

They’ve released many records on various labels over the years and have become well respected men on the neo garage circuit.

’Room 409’ is a farfisa and fuzz surf instro that opened the long player released by On Stage Records back in 2004. It’s a recommended LP, side one in particular is fantastic including a fuzzed out version of The Wailers killer’ Hang Up’.

When I was doing some research on the band, I happened upon their myspace page and lo and behold in the pictures album there is a flyer where someone has blatantly plagiarized my deleted ’Timelapse Jangle’ compilation cover. It brought back memories of how I ripped off the sleeve of Pebbles Volume 11 for a Mourning After poster back in the 80s.

Guitarist Kostas Kapetanakis sent me a copy of ’A Long Play With…The Frantic V’ years ago…thanks again Kostas.

(21/08/09)

21. TINA PEEL – ’Fifi Goes Pop’/’Weekend Geek’ (Teen Appeal Records 69) 1979

The second single by Tina Peel was released on their own label and comes housed in a neat sleeve showing a young Rudi Protrudi, the lovely Deb O’Nair and a big poodle called Fifi.

Well, I think that’s Fifi pictured. ’Fifi Goes Pop’ is about an unfortunate dog that get’s baked in a microwave oven until it bursts. All I can say is that it must have been one of those large industrial microwaves to fit that bloody huge thing in.

’Fifi Goes Pop on setting number two’….

The back of the picture sleeve shows the band in more dodgy gear!

(21/08/09)

22. THE KLIEK – ’Me Right Now’/’Nothing’s Changed’ (Twist Records 6) 1993

Amsterdam was the home of this fine combo who mixed obscure Euro beat and American garage with their own compositions. They built up a massive reputation with their live performances and released many records on various indie labels in the late 80s and early 90s.

’Me Right Now’ is a faithful rendition of The Remains classic and The Kliek really do the song justice. Covering a song by the legendary Remains could have been a disaster but thankfully they pull it off with astute skill and a decent production.

The flip ’Nothing’s Changed’ is a moody beat song originally recorded by The Zombies and is another winner.

line-up:
Robert Muter (vocals)
Marcel Kruup (guitar)
Theo Brouwer (bass)
The Gub (drums)

When The Kliek disbanded in the mid 90s Robert Muter formed Kek’66.

(20/08/09)

23. THE UNCLAIMED – ’Ugh’ (Hysteria Records HLP 1300) 1983

I’ve written about The Unclaimed a couple of times on my blog and no doubt I’ll write about them in the future because I think they’re one of the most authentic sounding non ’66 punkers ever. Some would say a perfect example of a band operating in the wrong time zone.

’Ugh’ from the Hysteria Records six track mini LP titled ’Primordial Ooze Flavoured’ is a fuzzadelic wig out and I hope to give it some exposure on a ’Hung On You’ podcast in the future, but until then my moptop freaks you’ll have to make do with looking at this promo picture of The Unclaimed.

Long Ryders frontman Sid Griffin is pictured but by the time the band recorded ’Ugh’ he had departed.

(20/08/09)

25. THE BOMBORAS – ’Forbidden Planet’/’Moon Probe’/’Time Bomb’ (Dionysus ID074562) 1997

Way cool surf instrumentals from Los Angeles based band The Bomboras but sadly they’re no more. Ex Fuzztone, Jake Cavaliere provides the only original in ’Forbidden Planet’, ’Time Bomb’ is an Avengers VI cover but my pick from the 45 is the spooky ’Moon Probe’.

(17/08/09)

26. THE PLAYN JAYN – ’Juliette’/’Something Died’ (A and M Records 241) 1985

London band The Playn Jayn had a massive reputation for their memorable high powered live performances but most of their recordings in the studio (like so many 80s bands) didn’t compare.

’Juliette’ shines however as a very commercial 60s influenced pop song. I’m not sure if a major label like A and M knew what to do with a garage style band like The Playn Jayn when the forgettable 80s were infested with awful synth bands and perm haired metal puffs from America.

’Juliette’ of course sank without trace and the band were no more less than a year later.

(15/08/09)

27. TINA PEEL – ’More Than Just Good Looks EP’ (Dacoit/Limp Records) 1978

Now this is a funny old record by a band from Harrisburg, PA called Tina Peel. The music on offer could probably be described as bubblegum punk and judging by the image of the group it’s a very much post ’77 punk rock and pre New Wave look, so I don’t think they’re meant to be taken too seriously.

’Punk Rock Janitor’ from the EP is a live recording but the sleeve doesn’t indicate if it was from a gig. According to the sleeve though, all four songs were recorded in producer Jeff Meglio’s basement, so maybe this was a one take run through.

”I wanna run my fingers thru Sylvain’s hair
Sniff Debbie Harry’s underwear
Dish the dirt with Deb O’Nair
I wanna be a punk rock janitor”

Tina Peel included in their ranks Rudi Protrudi and Deb O’Nair. All songs were written by Protrudi including ’Fabian Lips’, a song he would demo with his next band The Fuzztones in 1983.

There were originally 450 EPs released with a picture sleeve. My copy is one of a handful with the title hand coloured in yellow. It’s also signed by Rudi.

(15/08/09)

28. BOYS FROM NOWHERE – ’Jungle Boy’/’1966’ (Young Lion LR020) 1986

Conflicting sources indicate either a Columbus or Youngstown location in Ohio for this garage punk band led by singer/songwriter Mick Divvens.

Boys From Nowhere released three powerful 45s in the mid 80s with an influential nod towards The Lyres/DMZ. Mick Divvens has an almost 70s punk rock vocal attack. ’Jungle Boy’ came out on their own label which apparently sold poorly at the time but is now a sought after collectors item. The song was compiled on ’Declaration Of Fuzz’…

Despite the negative comments made by Tim Gassen in his ’The Knights Of Fuzz’ book I can recommend the first three Boys From Nowhere singles and another one of their 45s will feature higher in my Top 50 at some point.

line-up:
Johnny Bernardo (drums)
Ted Nagel (bass)
Mick Divvens (vocals/vox organ)
Eric Martin (backing vocals on ’1966’)
Charlie McNeil (guitar)

Reader comments:

The Boys From Nowhere were amazing, I feel lucky to have been able to see them play live in NYC in 1985. ”1966” is still one of my fave U.S. 80’s garage records. Johnny Benardo was one of the best drummers I’ve ever seen.

And for the record I don’t think Tim Gassen knew what he was writing about half the time. Trust me, I was there, TBFN were rockin’.

Well, I used to correspond a bit with Mick D back in the late 80s. I sent him a tape of my wyld radio show broadcast weekly on FM, and in return, he sent me a limited to 200 copies pressing with pic sleeve of ”Indefinite Inhibition” with ”1966” on the flip.”Beg” is my fave tune on the old Goldmine Garage Sale tape. MopTopMike

Columbus, Ohio. Also, Matthew Specktor’s book That Summertime Sound (MTV Books) is a fictionalized version of his time with Mick in the 80’s Columbus music scene. This is from a local magazine reporting about Specktor’s reading in Columbus with Mick: http://614columbus.com/magazine/12-01-2009/rock-n-roll-reunion

Chris- wicked old post here but I just found it – searching for our version of Hang Up! this is Ted Nagel, I played bass for the original BFN line up. We were in Columbus at that time. Youngstown guys came later…

The songs you have on mp3 were recorded IIRC at the same time as Jungle Boy ’66. I loved the Need you version with Charlie playing with a metal pick! Charlie M. (guitar) may have put them out into the web-o-sphere without the blessing of Mick, who controlled that activity.

I’ve got them on cassette…going to dig that up later. I’m now F@(=Book friends with Tim Gasson… also a Columbus music scene prodigy. I had to crack up about his review of BFN!Cheers, Ted

(15/09/09)

29. THE CLIQUE – ’Reggie’/’She Doesn’t Need You Anymore’ (Detour Records DR 014) July 1994

There’s been plenty of bands calling themselves The Clique down the years and in the 90s there just happened to be another combo with this moniker. This particular Clique were a set of London mods armed with a swingin’ hammond organ and a nice range of shirts and circle lens sunglasses.

’Reggie’ is a decent attempt at mod psych I suppose but it could have done with a bone crunchin’ lead guitar solo or perhaps some fuzz.

The flip ’She Doesn’t Need You Anymore’ lasted about 10 seconds on my turntable before the record was swiftly dispatched back in it’s sleeve. Way too much brass on it for me to cope with. It sounds like friggin’ Dexy’s Midnight Runners and sent shivers down my spine.

The record sold well though and 4 pressings were made between July 1994 and June 1995 with a final count of 2,500 copies

(10/08/09)

30. STONE ROSES – ’Mersey Paradise’ (Silvertone ORE 6) July 1989

For some strange reason ’Mersey Paradise’ was left off the acclaimed album ’Fools Gold’… The song was written in their early days when they wore paisley shirts, sported bowl haircuts and were pretty much unknown outside of their home City of Manchester. It’s a shame all of that baggy shite spoilt them.

The only place to find the infectious jangle pop of ’Mersey Paradise’ was on the B-Side of the 12” release of ’She Bangs The Drums’. It wasn’t even available as a regular B-Side on the single format.

The first time I heard this tune was on the radio and I thought it was by some obscure Scottish jangle band and I got my pen ready to write down the groups name so I could go out and buy it. Imagine my surprise when it turned out to be The Stone Roses.

’Mersey Paradise’ is the best thing they ever did.

(09/08/09)

31. THE DUKES OF HAMBURG – ’Little Lover’/’It’s My Fault’ (Screaming Apple SCAP 051) 1998

A release worth checking out on the respected Screaming Apple Records label is this one by The Dukes Of Hamburg. If primitive 60s style beat is your bag well, you’re gonna dig this slice of vinyl.

’Little Lover’ is a lo-fi punk beat cover of The Hollies tune whilst the other side is a version of ’It’s My Fault’ originally recorded by German band The Rattles.

(09/08/09)

32. THE ROAMIN’ NUMERALS – ’Fruit Of The Day’/’Buckle Up!’ (Beluga 002) 1998

Beluga Records was a small indie label out of Stockholm, Sweden that is now defunct. But the label did release early 45s by The Roadrunners, The Maggots and this gem by The Roamin’ Numerals.

The Roamin’ Numerals included in their ranks ex Fuzztones, Twisted and Headless Horsemen lead guitarist Elan Portnoy. I don’t know the names of any other band members.

’Fruit Of The Day’ sounds similar to those garage rockers he wrote with The Headless Horsemen with spiky lead guitar licks high in the mix. ’Buckle Up!’ is perhaps the better side with bursts of wah wah but the words to the song are undecipherable.

Trevor Gallant from Beluga Records recently contacted me and kindly shared an image of the cancelled sleeve design. Trevor confirmed that 10 copies of the 45 in this sleeve were shipped to Australia before The Roamin’ Numerals requested that future copies were sold with the psychedelic negative sleeve.

Follow Flower Bomb Songs on my Facebook page. I add loads of things I just don’t have time to post on my website.

This record had another sleeve when it was released, but was stopped by the band and reprinted. (about 20 copies managed to leave the label headquarters). Beluga

(09/08/09)

33. SIOUXSIE AND THE BANSHEES – ’Dear Prudence’/’Tattoo’ (Wonderland SHE 04) Sept 1983

This 45 was an unexpected foray into psychedelia by a band more associated with the 70s punk rock scene in England, but by 1983 they had developed a more complex sound and had undergone a few personnel changes.

One such change was the introduction of Robert Smith from The Cure on lead guitar. He took over duties from John McGeoch and persuaded the band to record The Beatles classic ’Dear Prudence’.

The Siouxsie and the Banshees version is a much quicker assault with Robert Smith’s guitar to the fore.

During this period he was solely using a Vox Teardrop Mark VI. Producer Mike Hodges also uses the technique of phasing or ’skying’ as it’s sometimes known to create that otherworldly soundscape.

(07/08/09)

34. THE REACTIONS – ’I Want You’/’Frenzied’ (St. Valentine Records SVR-014) 1986

Power Pop bands weren’t exactly falling over themselves in the mid 80s but three piece group The Reactions used the Flamin’ Groovies template well adding their own touch of modernisms. Some pleasant Rickenbacker guitar leads and the drum patterns weaved are splendid as they say.

Both the rocker ’I Want You’ and the instro ’Frenzied’ are worth checking out.

The Reactions were from Cleveland, Ohio.

line-up:
Dave Swanson (guitars, drums)
Chuck Wagner (guitars, lead vocals)
Brian P. McCafferty (bass)

great 7”!! when the Reactions end Dave star with the Rainy Day Saints and Brian with the BEATNICK TERMITES. regards!!

(07/08/09)

35. THE TRIP – Stick Like Glue (Voxx Records 200.019) 1984

The second and last song by The Trip to be compiled was ’Stick Like Glue’ written by Tom Neale. This garage psych winner appeared on Greg Shaw’s ’Battle Of The Garages’ Vol 2.

I wonder if the Don Ciccone in The Trip is the same person who was a member of The Critters and wrote their famous song ’Mr Dieingly Sad’

Answers on a postcard as they say….

line-up:
Tom Neale (guitar, organ, vocals)
Don Ciccone (guitar, vocals)
Steve Balestra (bass)
Vic Gentile (drums)

Don Ciccone from The Trip recently got in touch and confirmed that he is NOT Don Ciccone from The Critters. He has provided the following information:

Funny you should mention the unreleased tape. it was supposed to come out in the 80s on a label called Sounds Interesting out of New Jersey but they folded.

The problem was always that we didn’t quite have enough tracks for an album. We had something like 8 songs.

Some label in Australia wants to put it out but again they want us to find extra tracks.

We did record a different version of ”Stick Like Glue” – with 12 string and organ. Right now we’re trying to go thru the tapes and see what’s there.

I don’t know how Tim Gassen got the tape. That was a surprise, seeing us in that book.

We got a LOT of fan mail when those two songs came out on those comps and a fair amount of press, considering.

Tom Neale and I still work together, writing songs and jamming. The other guys are on the East Coast but we’re all still in touch. I’d love to put the band together again.

No, I’m not the same don Ciccone as the critters guy (sorry don). and ”stick like glue” was our first release. ”Never Too Late For Linda” was second. – don

(06/08/09)

36. THE TRIP – ’Never Too Late For Linda’ (Goldmine tape A-135) March 1985

Goldmine Magazine sponsored the cassette only release of new bands with that 60s influence calling it ’Garage Sale!’ Most of the bands on it had previous releases on small labels such as The Gravedigger V, The Tell Tale Hearts, The Fuzztones and The Unclaimed.

I was more interested in the bands that didn’t have much or any exposure before and one of those bands that stood out were The Trip.

The liners of the tape state that they hailed from San Francisco. ’Never Too Late For Linda’ has got some choice fuzz and a spooky sounding organ. The band also had a song called ’Stick Like Glue’ compiled on Voxx LP ’Battle Of The Garages Volume 2’.

But apart from these two songs mentioned that was it from The Trip, although Tim Gassen mentions in his book ’The Knights Of Fuzz’ they have an unreleased tape of material that has never seen the light of day.

Don Ciccone: yes there is an unreleased tape of Trip material. you might be interested to know that ”Never Too late for Linda” was covered by San Francisco’s Angel Corpus Christi which came out on a CD called THE 80’s on the Gulcher label.

(04/08/09)

37. THE HOODOO GURUS – ’I Want You Back’/’Hoodoo You Love’ (Big Time BTS 1177) March 1984

One of the few Australian bands to make it outside their native land were Sydney based quartet The Hoodoo Gurus. ’I Want You Back’ is very anthemic and I’m not sure how you would describe the sound. Is it power pop or garage rock? Maybe it was this strange mix that got them to a higher level success wise.

members:
Brad Shepherd (guitar/vocals)
Dave Faulkner (guitar/lead vocals)
Clyde Bramley (bass/vocals)
James Baker (drums)

38. THE MYSTREATED – ’The Emperor Wears No Clothes’ (Shindig Records 002) 1997

’Lovely Sunday Dreaming’ was the final album offering by English band The Mystreated before they disbanded shortly after it’s release. When The Mystreated started making records one reviewer said they sounded like an inept Monkees but by 1997 they’d become very competent musicians and this album is loaded with such great melodies.

’The strangely named ’The Emperor Wears No Clothes’ is my pick from this long player. It’s a melancholic raga psych gem with killer organ and lead guitar breaks closing out the song.

(03/08/09)

39. THE SUNNYBOYS – ’Happy Man’/’Tomorrow Will Be Fine’ (Mushroom K8335) June 1981

The Sunnyboys hailed from the Sydney area and were named after an orange flavoured frozen ice treat. They got their break supporting The Lipstick Killers and a record deal with Mushroom Records soon followed.

’Happy Man’ was their first 45 for Mushroom but it’s the B-Side ’Tomorrow Will Be Fine’ that gets the nod and enters the recommended 50. This is a fine power pop record and was no doubt an influence on bands that followed in Australia a couple of years later.

(02/08/09)

40. THE LEARS – ’Her Magic Smile’/’Don’t You Know’ (Misty Lane Records 028) 1995

Wow! I was so surprised to see my old band’s single included on your great blog! I’m Dennis Dalcin (guitar/vocals) with The Lears.

Both of these songs are ones that I wrote & sang lead on. These were ever only very rough mixes and NOT the way we really wanted them to sound.

We were asked by Massimo of Misty Lane Records if we would allow him to release these as a single on his label. We were glad to finally have something recorded in a real recording studio get released.

Our our previous releases were from recordings done on a 4-track machine that Paul Mutchler had, and they were recorded in a garage!

They were true garage recordings! I too believe we never reached our peak musically before the band split after first Paul then I moved back to Clearwater/St Petersburg respectively. Thanks for your support of The Lears!!

(02/08/09)

41. FREDDY and the FOUR-GONE CONCLUSIONS – ’Stand Up’/’Today’ (Get Hip GH-228) 2002

’Stand Up’ is an obscure Del Shannon song that wasn’t released in his lifetime and here Michigan based Freddy Fortune and his band deliver the goods with respect. It also features Max Crook, Del Shannon’s original keyboard player providing a solo on his custom built Musitron keyboard.

The flip ’Today’ is a tasty folk rocker with lots of jangle and similar in style to the last recordings by Freddy’s previous band Fortune and Maltese and the Phabulous Pallbearers.

DEL SHANNON – ’Stand Up’ (Liberty Records) 1966

Del may be sporting his late 50s early 60s mutton chops and what must be the largest sunglasses in the world but that didn’t stop him writing and recording the GREAT ’Stand Up’ in December 1966.

It was never released in the 60s (the liners of the CD ’The Further Adventures Of Charles Westover’ don’t say why)…..it’s amazing that something sounding so ’radio friendly’ was never released at the time.

The song was recorded at SRS Studio in Hollywood and produced by Tommy Boyce and Bobby Hart.

Tommy Boyce and Del Shannon would sadly commit suicide in the 90s by shooting themselves in the head.

(01/08/09)

42. TEENAGE FANCLUB – I Need Direction (Columbia XPCD1303) 2000

Time for a pure pop overdose by Scottish band Teenage Fanclub. ’I Need Direction’ is a perfect mix of Byrdsian guitars and Beach Boys harmonies. I’ve never heard better ’bah bah bah’s since the mid 60s.

An utter delight in every way.

(31/07/09)

43. THE HYPNOMEN – ’Trip With Satan’ (Gearhead RPM 014) May 2000

Having a ’trip with satan’ is one of the things I’d never want to do in my life but it’s a good title and this mini album by The Hypnomen should have been highly recommended by myself but unfortunately the drum beats sound WAY too modern for my taste.

The production is also clean and tidy, it’s as if all of the life has been sucked out of the tunes for the modern mod set. ’Sunstroke Dreamer’ a more laid back instro is not as annoying.

If you don’t know about The Hypnomen, they’re from Helsinki (I think) and their early 45s are cool surf garage style instros. By 2000 though it sounds like they’re playing by numbers.

So this enters my list of 50 purely because I dig the cover, which rips off the poster for 60s flick ’Girl On A MotorCycle’….

(30/07/09)

THE CROME SYRCUS – ”Take It Like A Man” / ”Crystals” (Command 45-4111) 1968

This band of long hairs formed in Seattle but they later moved to San Francisco and did very well on the live circuit playing gigs with all the notable hippie bands. There is a live tape out there somewhere showcasing one of their gigs at The Avalon Ballroom in August 1968.

’Take It Like A Man’ is notable for it’s swirling keyboard opening before settling into a laid back groove. It was written by singer and bass player Lee Graham.

Graham also wrote the flip ’Crystals’ which is full of lysergic lyrics. It’s a strange song for sure with it’s jazzy backbeat and acid rock guitar.

Quite what their label Command thought of this type of music is unknown. They normally released records by Ray Charles and Enoch Light Orchestra. 

Wow, just check out the threads on these guys. I don’t think the long kaftan was an ’off the peg’ number.

line-up:

John Gaborit (guitar)
Lee Graham (vocals/bass)
Dick Powell (keyboards/harmonica)
Ted Shreffler (keyboards)
Rod Pilloud (drums)
Ted Shreffler later joined Seattle band Cannon Ball.

(28/09/09)

DANNY BURK & THE INVADERS – ’Ain’t Going Nowhere’/’Till I’m Sure’ (Ara 216) May 1966

Ignore the bad grammar on the song title on the label and concentrate on this blast of garage R&B from Danny Burk’s band. They hailed from Memphis, TN and I’m sure would have gone down a storm at gigs with this raunchy rock music.

The flip ’Till I’m Sure’ is much different but still has that British Invasion beat influence but at a much more gentle pace. It’s got some nice sounding guitar with a very basic drum beat. It may not be dangerous enough for garage heads but I dig it nonetheless.

Danny was the younger brother of Tommy Burk who had an established band of his own called Tommy Burk and the Counts.

line-up:
Danny Burk (vocals/guitar)
Jimmie Crawford (lead guitar)
Eddie Sheridan (drums)
Van Gray (bass)

(19/09/09)

CHARLIE BROWN’S GENERATION – ’Fast Retreatin’ Female’/’Trash’ (Atco 45-6438) Sept 1966

A relatively unknown band from New York put together by funnily enough a guy called Charlie Brown. He originated from Columbus, Georgia but headed off to the Big Apple with some guitars to get into the music biz.

He formed his band Charlie Brown’s Generation sometime in ’66 and signed a one off deal with Atco Records to release this rather cool twin spin.

Diggin’ around the internet months ago I found online, a copy of a magazine called Teenstar ’69 and in among all the famous faces was a very small pic of Charlie’s band revealing that they consisted of three longhairs and a square.

There ain’t nothin’ square about this music though!…it’s got a fast pace with fuzz and has become a firm favourite of mine.

Reader comments:
I def. share Westex’s enthusiasm for this one! Here are some add’l details I’m cutting ‘n pasting from research I did on this outfit several months ago:

Charlie actually got his start in Tokyo (yep, Japan!) with an outfit called The Teen-Tops. They were regulars on a live Far East Network Saturday morning radio show called Teenagers On Parade and even put out an album, Teen Tops On Parade, on Japan’s Universal label.

Back stateside in the mid-’60’s, Brown sat in with several combos in his hometown of Columbus, Georgia before making his way to the Big Apple, where he quickly landed a gig on staff at Atlantic Records doing session work on tracks by Solomon Burke, Barbara Lewis and The Drifters, among others.

In ’66 he put together Charlie Brown’s Generation and waxed the 45. He was quite a live attraction in NYC for a while–an early example of NYC’s odd hipster fixation with country twang, which was a pretty big facet of the early NYC punk scene (a fact that seems to grow more obscure with each passing year!)

Charlie formed a second aggregation called Players in early ’67, but exited to take a job as Musical Director for Van Morrison’s first post-Them tour, just as ”Brown Eyed Girl” was scaling the charts.

In the late ’60’s, Charlie landed a gig playing guitar in the Broadway production of Hair, and cut a couple of solo albums during that show’s spectacularly successful run on Broadway, ’68-’72. In ’73, he teamed up with multi-instrumentalist Eric Weissberg, who’d performed the music in the ”Dueling Banjos” scene in the film Deliverance.

That combo was called, yep, Deliverance, and they cut a moderately successful album titled Rural Free Delivery.

Since the mid-’70’s, Brown has stayed behind the scenes, doing advertising jingles, voice overs and the occasional studio gig.

He also sang ”Somebody To Love” on the movie soundtrack! That was how I first found out about him and his output seems very interesting the bits I’ve heard so far.

(14/09/09)

THE ALPHABETICAL ORDER – ’All Over The World (La La)’ /’Miss Blue Eyes’ (Rising Sons RS 45-710) July 1968

Here’s an interesting 45 for you all to track down by the mysterious Alphabetical Order, seemingly from Louisville, Kentucky.

’All Over The World (La La)’ is a pleasant pop song which reminds me of Rubber Soul era Beatles. It has a lovely harpsichord and guitar break mid way through the song with some cool ’La La’s and ’Yeah’s’. It could almost be Lennon.

This song was written by J. Corbitt and produced by Wayne Young.

The flip ’Miss Blue Eyes’ is a well produced Go-Go type instrumental sounding very similar in style to those excellent Manfred Mann work-outs. It has a hammond organ and guitar interplay with a steady backbeat and touches of flute. It also has spoken lyrics low in the mix that I can’t make out.

The swingin’ Go-Go type Party music reminds me of some of those 60s Cop/Spy TV shows. Picture the scene…there’s a blast going down at some hippie pad and the Heat burst through the door to unplug the amplifiers cos the squares just don’t get it maan.. ha ha ha.

This tune was written by P.Stuart and produced by Ray Allen and Stuart Payne. It has never been compiled before. I comped ’All Over The World (La La) on Fragments Volume 1 for the U-Spaces group a few years ago but I’ll probably have another go at mastering both sides for a future Gear!

THE ALPHABETICAL ORDER – ’All Over The World (La La)’ /’Gonna Fight The War’ (Soul Blvd 1002) May 1968

’All Over The World (La La)’ also got released on Soul Blvd but with a different flip. On the B-Side of this release was the Emitt Rhodes song ’Gonna Fight The War’. This is a worthy cover version. I’d even make it equal if not better than the original by The Merry Go Round.

Updates from Max Waller:
As promised, here’s additional info I have on Alphabetical Order.

The Lemco 45 is from September 1967, the Soul Blvd 45 is from May 1968.

The Rising Sons 45 is also listed as May 1968 but may be earlier.

’All Over The World (La La)’ is a Youngbloods song, from their 1966 debut LP, written by Jerry Corbitt. It was also covered by St.Louis, MO. band ”The Unknown?” (Cinema 6903, March 1968).

’All Over The World (La La)’ and ’Gonna Fight The War’ were produced by Wayne Young of Soul Inc..

Ray Allen, co-producer of ’Miss Blue Eyes’, also produced 45s by The Chateaus (originally the Shadows) who included Frank Bugbee, later of Soul Inc..

I believe the line-up I gave in Fuzz was pieced together with help from Louisville contacts, probably a couple of the guys who were in Soul Inc. (whom I put in touch with Roger Maglio at Gear Fab, resulting in their 3 CDs). Turns out this was the band’s second line-up, from 1967 onwards, which recorded their 45s.

Some time later, I got to hear about a book called Louisville’s Own – unsurprisingly it’s all about Louisville bands (1953-1983).

Eventually secured a copy; it’s a small 170-page softback by Brenda & Bill Woods, published in 1983 and long out-of-print.

The first band they feature is Alphabetical Order, with full details of line-ups, a brief history, and a couple of photos. Here’s the bones of it:-
The band was formed in 1965 and lasted until 1969.

1965 line-up was:
Steve Alford (rhythm guitar)
Fred Davidson (lead guitar)
Mike Heitz (bass)
Bobby McMillan (drums)
Will ”Buddy” Perryman (lead vocals)

In 1967 Alford, Heitz and McMillan were replaced by Bob McDaniel, Mike Crosby, and Bob Lamar respectively.

When they released their debut 45 they got a gig opening for the Beach Boys at the Freedom Hall, where they also played as backup band for the Boxtops.

thanks Max…..excellent information….EXPO67

Reader comments:
FYI: Richard ”Buddy” Perryman’s name is Will – not Richard. Will does however; have a brother named Richard Bobby McMillan

Ronnie Brooks (that would be me) had replaced Fred Davidson on guitar by the time ”All Over the World” was recorded.

I had recorded previously with another Louisville band, The Oxfords, and played with bassist Mike Crosby a few years before that in a neighborhood garage band.

The Alphabetical Order actually appeared with the Box Tops in Lexington at U of K—not Freedom Hall—as the opening act (rather than being the Box Tops’ ”backup band”).

(11/09/09)

KEITH ALLISON – ’Action, Action, Action’ (Columbia CL 2641) 1966

’In Action’ is a recommended album by Keith Allison to track down for those 60s freaks (like myself) into the more commercial sounds of the day.

Allison got his big break in the music business by simply looking like Paul McCartney. He moved to Los Angeles from Texas in ’65 to seek work and ended up going to hang out joint The Whiskey A Go Go in Hollywood on the day that the film crew of TV programme ’Where The Action Is’ were recording for the show.

He was spotted in the ’in-crowd’ sitting watching bands perform and because of his likeness to Macca was asked to return and be part of the ’Where The Action Is’ set week in and week out.

This break and popularity with the girls led him to record a one off album deal with Columbia Records who spared no expense in getting the top musicians of the L.A. scene and producer Gary Usher to nail the sound down on tape.

The result is a time capsule of sunset strip sounds similar to Paul Revere and the Raiders (he would later end up as a member of The Raiders) with the odd Donovan folk rock song thrown in to vary the sounds and pace of the album…

One song from the album is the fuzz mover ’Action, Action, Action’ written by Boyce and Hart. This garage rocker would have been perfect for The Monkees.

I don’t know if Boyce and Hart ever offered the song to them but it was their loss if they didn’t want it.

(21/06/09)

THE KNICKERBOCKERS – ’High On Love’ / ’Stick With Me’ (Challenge 59332) June 1966

The high class wailing Brit Invasion rockers continued with this next release by The Knickerbockers. ’High On Love’ is intense with a wild arrangement of pounding drums, gritty guitar and a wall of voices but sadly it failed to give the band the big hit it deserved.

The flip ’Stick With Me’ is also a fine tune and slightlydelic….

(20/06/09)

THE KNICKERBOCKERS – ’One Track Mind’ / ’I Must Be Doing Something Right’ (Challenge 59326) March 1966

’One Track Mind’ was the solid follow up to the big hit ’Lies’ and once again The Knickerbockers serve up a merseybeat gem with raunchy guitar and power.

The flip is a Beau Charles original titled ’I Must Be Doing Something Right’ and it’s a slower paced Beatles fest.
Certainly a strong release and a hit in most regions but fell short of the success of ’Lies’.

(18/06/09)

THE KNICKERBOCKERS – ’Lies’ / ’The Coming Generation’ (Challenge 59321) Nov 1965

If straight forward, high energy 60s rock played by musicians with slicked back hair is your bag, then look no further than The Knickerbockers.
The band were from the New Jersey area and cut their teeth playing other people’s music, especially material by The Beatles.

They relocated to Los Angeles in the Autumn of 1965 and signed a deal with Challenge Records and became the house band on TV Show ’Where The Action Is’

’Lies’ was eventually a sizeable hit after a slow start. I say eventually because Challenge Records began promoting the mediocre folk rocker ’The Coming Generation’ as the top side. Thankfully someone, somewhere saw sense and ’Lies’ was elevated as the tune to deliver the goods and it certainly does that.

Obvious comparisons are The Beatles when they rocked out on songs such as ’I’m Down’ or ’I Feel Fine’. BUT, The Knickerbockers are allowed to be more raw and aggressive or perhaps it just came out that way.

(14/06/09)

THE WYLDE HEARD – ’Take It On Home’ / ’Stop It Girl’ (Philips 40454) 1967

Based in Wisconsin, The Wylde Heard were one of those bands that had a brief brush with local fame then quickly disappeared leaving behind one 45.

They were originally called The Heard and released ’Take It On Home’ / ’Stop It Girl’ on the small label Feather Records. It must have sold reasonably well or at least the band provoked some major label interest due to gigs because Philips signed them and released the single.

For unknown reasons, the label added ”Wylde” to their name and the band became known as The Wylde Heard. Some copies of this release came in a picture sleeve.

’Stop It Girl’ is a fast paced organ garage pop nugget with some interesting sustain sounds coming from the lead guitar. ’Take It On Home’ on the other hand is an Anglophile ballad of sorts with Association style background harmonies and strings.

I first heard the ”the Heard”, in 1966. The 45 was just a repress of their original regional recording. Which means it was poor at best.

Live The Heard was a 100% better than their single. Too bad you didn’t hear them at their best, they were great. Dick

(06/06/09)

CREATION OF SUNLIGHT – ’David’ / ’The Fun Machine’ (Windi 1005) 1968

Until recently very little was known about Creation Of Sunlight. Their album on Windi Records was virtually unseen let alone heard. Fortunately a bootleg CD appeared sometime in the 90s and it was from this bootleg that they became known to me. The album has since been re-issued legally and several band members have been located.

It is now known that the band were from Long Beach, California and when they formed, they named themselves Sunlight Seven, then simply Sunlight. The band never recorded, performed or referred to themselves as Creation Of Sunlight. That was only supposed to be the title of the album!

At the time of their formation in the Summer of 1968 they were all still in High School.

’David’ and ’The Fun Machine’ were re-recordings for the small Windi label. ’David’ in particular is a perfect lite psych tune with touches of fuzz guitar, organ and that California love-vibe.

Comparisons with the more jazzy Strawberry Alarm Clock tunes are obvious. It was written by Gene Rigalski. He’s not listed as a band member? 

……..the sound of young ambition………

(29/05/09)

THE MYDDLE CLASS – ’Wind Chime Laughter’ / ’Don’t Look Back’ (Tomorrow T-912) 1967

The trilogy of Myddle Class 45s ended with a great cover of The Temptations song from ’65 ’Don’t Look Back’. This slightly countryfied and up-tempo version is way ahead of the slow and yawn inducing original. Too bad it wasn’t the hit that The Myddle Class deserved.

The flip was the sunshyne classic ’Wind Chime Laughter’ which sounds like a more introspective Association. A taste of the pure pop music The Myddle Class were capable of.

line-up:
Danny Mansolino (keyboards), Dave Palmer (vocals)
Rick Phillip (lead guitar) Charlie Larkey (base)
Mike Rosa (drums)

(27/05/09)

THE MYDDLE CLASS – ’Don’t Let Me Sleep Too Long’ / ’I Happen To Love You’ (Buddah Records BDA 150) 1966

The second Myddle Class 45 paired ’Don’t Let Me Sleep Too Long’ with ’I Happen To Love You’. The former song, even though credited to all five Myddle Class band members was actually a song made more famous by The Blues Project (Al Kooper is credited as the songwriter but the title of the song is ’Wake Me-Shake Me’)
It was originally released on Tomorrow 7503 but re-issued on Buddah Records a couple of years later.

It’s been written that The Myddle Class picked up on this song after gigging with The Blues Project. It should be noted that Al Kooper and The Blues Project are credited as arrangers on the label of the Buddah release………whatever the matter, this song is a killer and needs to be heard!

As a footnote ’Don’t Let Me Sleep Too Long’ charted in the top 20 in San Bernardino, California during November 1966.

The flip ’I Happen To Love You’ is a Goffin & King song. It’s more famous as being an Electric Prunes offering but The Myddle Class were the first band to record it.

Both songs were produced by Gerry Goffin….. file under essential double sider.

(27/05/09)

THE MYDDLE CLASS – ’Gates Of Eden’ / ’Free As The Wind’ (Tomorrow 45-7501) Nov 1965

 This very talented group of teenagers hailed from New Jersey and released three singles on Tomorrow, all of which sold in decent quantities locally but outside of their home territory bombed.

Even today The Myddle Class are something of a mystery. Hardly any of their songs have been compiled and several demos remain in the vaults, although these tapes or CDRs do surface in private trades.

’Gates Of Eden’ /’Free As The Wind’ was The Myddle Class debut and really should have done better than it ultimately did. When many bands were electrifying Bob Dylan songs and having huge hits The Myddle Class chose his sombre ’Gates Of Eden’ and made it into a folk rock gem but attracted little attention.

’Free As The Wind’ is high class 60s pop with these memorable lines:

’You never miss the water in the well
’Till the well runs dry.
And I never missed my baby
Until she said goodbye.
Now she’s free as the wind.

’Free As The Wind’ was the top side and charted at number 12 in Albany, New York during mid March 1966. Both sides were produced by the song writing team of Goffin & King.

(26/05/09)

AMERICAN ZOO – ’Back Street Thoughts’ / ’What Am I?’ (Reena Records 1030) 1967

This outfit were previously known as We The People and recorded earlier takes of both songs on this 45. Strangely ’What Am I?’ was titled ’Who Am I?’

’Back Street Thoughts’ is a sensitive mix of folk rock and psychedelia with harmonies and poignant guitar. The sound is as delicate as butterfly wings.

’What Am I?’ contains lots of prominent farfisa organ and is a real treat. BUT who were these boys?

A couple of years ago I wrote about American Zoo’s earlier 45 on Reena Records. Here it is again with better label scans.

AMERICAN ZOO – ’Magdalena’ / ’Mr. Brotherhood’ (Reena Records 1026) 1967

Another very cool double sided psych 45. American Zoo were a group of hip teenagers who recorded for Hollywood based label Reena. A picture of the band shows them looking extremely young and I suspect they never even went anywhere near an LSD tab so congrats on getting such a great sound on record.

That being said, they made an exciting couple of psychedelic 45s. ’Mr Brotherhood’ written by Bill Hawkins was probably the top side, although both songs are strong. Can’t decide which I prefer, so I won’t!

This version appeared on Psychedelic Unknowns Volume 11 however, a longer cut was compiled on High All The Time Volume 2 (never heard this version so I’ll have to try and locate that comp).
’Magdalena’ has four name credits on the label, J. Martz, B. Bottrell, B. Hawkins and D. Danieli. This song appears to be non comp which is strange because it really is a fast paced psycher with cool instrumentation. In fact, the band are very competent musicians for youngsters.

This band shot of American Zoo turned up on a yahoo psych forum and was unearthed by their drummer Jason Martz.

(24/05/09)

THE SUPERFINE DANDELION – ’Crazy Town’ (Move On Little Children) / ’Janies Tomb’ (Mainstream Records 673) 1967

The Superfine Dandelion came together after the demise of garage band The Mile Ends. The latter scoring huge points for their ’66 Stones type raver ’Bottle Up And Go’.

Main offenders, guitarist and chief songwriter Mike McFadden and bass player Ed Black then teamed up and changed their musical direction with The Superfine Dandelion.

’Janies Tomb’ has been compiled before and it’s a strange tale of deceit, murder and necrophilia all moving along innocently with acoustic guitar, gentle bass and neatly packaged like those Lovin’ Spoonful obscurities.

’Crazy Town’ (Move On Little Children) has got a west coast vibe throughout with use of some flute filling the sound. Both sides are on The Superfine Dandelion album released on Mainstream Records however, ’Crazy Town’ is an extended mix.

The shorter and punchier mono 45 version has not showed up anywhere before and was not part of The Superfine Dandelion re-issue (with bonus cuts) on Sundazed which is now sadly deleted and not even mentioned any more on the Sundazed web site.

(23/05/09)

SMART AND COLE INC – ’Nature Boy’ / ’Ashes Ashes’ (All Fall Down) (In Arts Records IA 109) 1967

So who were Smart And Cole Inc? Were they a group or a duo with the surnames of Smart and Cole? I don’t know, they’re a mystery to me but if any readers out there know the details be sure to leave a message.

This 45 was probably released some time in 1967 on the Hollywood label In Arts Records, they also released the rather great single by ESB (who previously recorded under the strangely named W.C. Fields Memorial Electric String Band)

’Nature Boy’ is a cover of a song written by Eden Abba. He was also known as George Aberle and played bass for a band from England called Accolade.

The latter also recorded ’Nature Boy’. The version by Smart And Cole Inc is a well produced pop song reminiscent of The Association.

The flip ’Ashes Ashes’ (All Fall Down) is another cool pop song and slightly psychedelic. It was written by songwriting team Tucker-Mantz.

They of course provided memorable material for The Electric Prunes (I Had Too Much To Dream Last Night), The Knickerbockers (The Coming Generation), The Brogues (I Ain’t No Miracle Worker) and The American Breed (Green Light).

(22/05/09)

THESE VIZITORS – ’Happy Man’ / ’For Mary’s Sake’ (Capitol P-2163) May 1968

Flower power folk rock outfit from Goshen, Indiana who enjoyed a strong local following. They signed to Capitol and travelled to New York City to record some songs at their studios.

The upbeat flower pop tune ’Happy Man’ recalls Mamas and the Papas or The Sunshine Company. It’s got that male/female vocals and folk rock backbeat that many bands had during the mid 60s, although by May 1968 this sound was probably last years news.

The flip ’For Mary’s Sake’ follows the same trip but the guitar sound is a little more experimental and the vocal arrangements are rather good. Both songs are credited to Richard Curtis and Michael Curtis.

Some unreleased These Vizitors recordings surfaced on u-spaces compilations Psychedelic Archaeology. ’Rippling Road’ can be found on Volume 6, whilst ’Reacher Teacher’ turned up on Volume 7.

(19/05/09)

SAPPHIRE THINKERS – ’Melancholy Baby’ / ’Blues On You’ (Hobbit Records HB 42002) 196?

It’s a surprising fact thatno Sapphire Thinkers recordings have ever appeared on any official or otherwise compilation. Their album ’From Within’ has been re-issued on CD before but I doubt whether it was a legal issue.

I’ve got a copy and it does sound OK to me and pleasingly the album has recently been re-issued legit (I think) on 180gm virgin vinyl, so if you can’t afford an original on Hobbit Records then grab yourself this before all copies sell out.

’Melancholy Baby’ bw ’Blues On You’ was lifted from the album but I don’t think it was a great seller and probably didn’t get passed the promo stage.

I’m also not sure where the Sapphire Thinkers originated from but I’d guess at California because their album was mastered at Pasadena’s Artisan Sound Recorders and released by Hobbit, a subsidiary of the Los Angeles based GRT Records.

It seems that the Sapphire Thinkers were heavily into lysergic drugs, probably magic mushrooms judging by their far out Mamas and the Papas type sound and of course the use of psilocybin images on the cover of their album.

There’s also plenty of organ, fuzz guitars, trippy phasing and excellent male/female vocalising. They’re certainly a band I’d like to know more about.

Reader comments:
Just discovered this post from Sapphire Thinkers flautist Peggy (Kinney) Richmond on the William Howard Taft High School (Woodland Hills, Calif.) Reunion website. The mastermind behind the group, Bill Richmond, was her husband.

I agree: this is a fabulous album. The haunting ”Please Understand” is my personal fave.

Peggy and Bill are my parents. They are from California. They are still here, writing music and having no idea how much this album lives on on the web.

My parents haven’t touched a penny from this album since 1970. They met at Taft high. Bill was the mastermind, that’s true. My mom’s talent was real, though suppressed. We need to start our own site…there’s so much more amazing music from that time period that they wrote and recorded.

I came upon this fabulous website while looking for another vintage album and found the SAPPHIRE THINKERS From Within LP… It was a great album from a very talented and experimental rock band.

I produced the album (at Sound City Studios – in SF Valley) and got them their record deal (…and had no clue that there were reissues on CD and/or the web?) All legalities aside, I hope this album finds the audience it deserves… Note: to Deborah, you were a tiny-tot when we did the LP – cute as a button. Regards, Richard D. Kaye – rdkRecords@hotmail.com

Interesting side note re: SAPPHIRE THINKERS (LP) – Bill Richmond’s father Bill, Sr. worked in television production and asked the band to do a tripped-out version of Melancholy Baby for a TV comedy skit so we recorded the track as part of the Sound City sessions. In retrospect, it was a mistake as the record company chose it for the first (and only) single.

Hobbit Records also placed it as the opening track which was a commercial sell out for the image of a progressive band… Recommendation for the next person who bootlegs the album; move Melancholy Baby to the end of the LP (as a bonus track) Richard D. Kaye producer – rdkRecords@hotmail.com

(17/05/09)

THE INNOCENCE – ’The Day Turns Me On (The Buffering Song)’ / ’It’s Not Gonna Take Too Long’ (Kama Sutra KA237) Oct 1967

Song writing team and staff producers at Kama Sutra, Vinnie Poncia and Peter Anders were the force behind The Innocence. They also wrote songs recorded by previous group The Videls and contributed ’Bad Misunderstanding’ for The Critters and ’Mind Excursion’ for The Tradewinds. They both may also have had links with The Vacels.

The non LP 45 side ’The Day Turns Me On’ is as the title suggests a ’good time’ song where all worries are gone and the sun is on your face. Cool harmonies and punchy bass are it’s strong point and clocking in at just over two minutes it’s a mystery how this summer of love type tune was not a hit record. Maybe the October release was just too much out of time.

The flip ’It’s Not Gonna Take Too Long’ is lite pop and was included on their album which is recommended for those into well produced 60s pop music.

(15/05/09)

BOBBY FULLER FOUR – ’The Magic Touch’/’My True Love’ (Mustang M 3018) June 1966

Los Angeles based band The Bobby Fuller Four are well documented elsewhere and have a somewhat tragic history.

Thankfully their GREAT music lives on and the strident mod soul attack of ’The Magic Touch’ may just be my favourite Bobby Fuller Four song. It’s quite a sought after disc now that the European mod DJs have been hipped to it’s dance floor appeal.

’The Magic Touch’ was written by Ted Daryll who was a member of The Town And Country Brothers….

”You got the Magic Touch
And I’m caught in your spell”

(07/02/10)

THE DOORS – ’People Are Strange’/’Unhappy Girl’ (Elektra EK-45621) Sept 1967

According to Doors drummer John Densmore, his band started out in a Venice garage and just over a year later were playing ’Light My Fire’ on The Ed Sullivan Show. Such are the breaks I suppose and Jim Morrison’s wild antics and tight leather jeans must have helped along the way.

The Doors managed to successfully attract a pop crowd and an intellectual one and ’People Are Strange’ is a song that would appeal to both crowds. It was quite a big hit both in USA and Europe with some copies coming in a trippy picture cover.

The song deals with being and outsider and was written by Robbie Krieger and the Lizard King after walking to Laurel Canyon and encountering strange freaks on the way.

A full page Billboard advert was taken out by Elektra to promote the release of the latest Doors record in September 1967. 

Reader comment:
I have this , too. Of course , saw them play live, 1967 with Jefferson Airplane at Birmingham High School , in the San Fernando Valley. !!!!!

(04/02/10)

FOUNTAIN OF YOUTH – ’Take A Giant Step’/’Don’t Blame Me (For Trying)’ Colgems 66-1024) June 1968

So who were Fountain Of Youth? I know nothing about them apart from the fact that they released four singles on Colgems. According to FA&F they hailed from Fredericksburg, Texas. Hopefully someone will get in touch with more information.

’Take A Giant Step’ written by the Goffin-King partnership is pop perfection and this version is more bubblegum than the recording made by The Monkees.

It was also recorded by The Rising Sons. The sublime arrangement is credited to Hollywood session guitarist and producer Richard Podolor who has been mentioned on my Blog before for his work with The Chocolate Watch Band and The Standells.

The 45 got a ’Special Merit Spotlight’ mention in a June 1968 edition of Billboard.

The flip ’Don’t Blame Me (For Trying)’ has a tougher edge and was compiled on Boulders Volume 8 back in the 80s. I had one of those vinyl only Boulders comps but the sound quality was worse than appalling and I quickly sold it on. No doubt it sounds awful on that series.

(24/01/10)

PAUL DOWELL and The DOLPHIN ’The Last Time I Saw You’/’It’s Better To Know You’ (Sire 45-4107) 1969

This was the final 45 by The Dolphin. This time around though the name of the band on the label were billed as Paul Dowell And The Dolphin but I’m not sure why, especially when both songs on the record were written by a teenage Nils Lofgren.

Maybe Nils Lofgren and The Dolphin would have been more appropriate!

This band of course featured ex members of The Hangmen (see my previous Hangmen feature) and this release was produced by Richard Gottehrer of The Strangeloves.

(09/12/09)

NOTES FROM THE UNDERGROUND – ’I Wish I Was A Punk’/’Down In The Basement’ (Vanguard VRS 35073) 1968

One of the most interesting ’second tier’ bands of the West Coast were this rather scruffy looking hippie group from Berkeley who become a fixture on the scene and eventually took over from Country Joe and the Fish as residency band at a local hang out called The Jabberwock.

The Notes even shared Fish producer Sam Charters.

The music on this 45 is an odd mix of jugband, blues and jazz and will be an acquired taste as they say in the trade. I dig both sides of this stereo record and also recommend tracking down a copy of the out of print 1995 Big Beat CD release ’The Berkeley EPs’ where you’ll find more Notes music (including several previously unreleased recordings as well as all songs from their rare ’Changes’ EP)

(05/12/09)

THE CLOUDWALKERS – ’Sunglasses’/’Never Told Me So’ (Capco Records 106) July 1965

The Cloudwalkers were from Brooklyn, NY and recorded this sole 45 for Capco Records.
’Sunglasses’ is an energetic R’n’B shaker with plenty of harmonica and tambourine. I suppose ’64 era Rolling Stones is a positive comparison.

’A groovy chick came up to me
Said what you’re doin’ bumpin’ into a tree
I turned to her and she said with a start
What you’re wearing after dark
Sunglasses, sunglasses…Yeah!’

The flip ’Never Told Me So’ is a much different affair, this time mixing a folk rock sound with a vocal delivery similar to Buddy Holly.

Both songs are credited to Chris Welch and Pete Polizzano.

The sound engineer was Joe Venneri who was an original member of The Tokens then worked for Mercury Records either producing or engineering music for the likes of The Blues Magoos, The Cowsills and Spanky And Our Gang.

Reader comment:

I hope someone in or around The Cloudwalkers chimes in here–I’ve wanted to know the story behind this record for a long time! ”Sunglasses” has an interesting comp history–first on The Midwest vs. The Rest in ’83, and then on the Pebbles, Vol. 8: Southern California 1 CD in the mid-’90s.

Locating groups based on producers (or ”sound engineers”) is always a dicey proposition, but you’d think Venneri would’ve zeroed people in on the NYC region sooner.

Probably an interesting story behind the group being sourced to The Midwest and SoCal too! Maybe they were transplants to Brooklyn?

(10/11/09)

THE TURTLES – ’You Showed Me’/’Buzzsaw’ (London HL 102451) Italian release 1969

Big favourites of mine The Turtles, looking washed and very clean cut for the late 60s, deliver a 45 of two sides if there ever was one. The promoted song ’You Showed Me’ is perfectly delivered soft rock with their trademark tight harmonies. The song of course was an unreleased Byrds original that was left in the vaults for a number of years.

The flip ’Buzzsaw’ didn’t even warrant a mention on the front of the sleeve. It may have come as a shock for all of the squares and housewives who bought the 45 for ’You Showed Me’ to hear such a turned on and seriously heavy instrumental on the B-Side.

Pounding fuzztone combined with a schizoid hammond B3 organ and the odd scary scream makes for some fine entertainment. The Turtles certainly flew their freak flag on this side.

(07/11/09)

THE CINDERMEN – ’Don’t Do It Some More (’Cause It Hurts So Good)’/’True Love’ (Moonglow M-5012) 1966

Here’s a band that I’d like to know more about but scant information exists. As far as I can gather The Cindermen were one of the top rock bands from the San Joaquin Valley, California. Their star rose even higher when they became the house band at one of Sunset Strip’s most popular clubs ’The Cinnamon Cinder’.

The promo photograph of the band came with another Cindermen 45 I bought earlier this year called ’Don’t Knock It’ which was the follow up 45 to ’Don’t Do It Some More’.

There are two versions of ’Don’t Do It Some More’…the more famous version from Pebbles Volume 8 is the fast paced groovy swinger with stingin’ guitar and girl screams.

A slower version was also released without the screams and most of the excitement. It still rules though! 

Reader comments:
The Cindermen played house band in Newport Beach on the Balboa Penn at the Rendouvou Ballroom for a couple of years in mid 60’s.

I know because I was almost the Lead guitar replacement for Kelly but he got wise and came back so I played one song with them. Sure would love to hear more of their songs been a long time.

I was the drummer in the Cindermen. I’m the guy sitting front in the picture. Actually the Cindermen didn’t play at the Cinnamon Cinder, The New Life which was an out growth of The Cindemen did.

The New Life was myself and Don Waley from The Cindermen and Steve Wood (eventually played with Kenny Loggins), Alan Shapazian, and Phil Reed (who was killed falling from a building while he was on tour with Flow and Eddie (former Turtles)).

Go to http://www.samsinopoli.com to see a current picture of me.

Talk about a blast from the past! The Cindermen were from Fresno, California, my home town. They were one of the top local rock bands (along with the Roadrunners) in the mid-1960s.

The original line-up as I knew them were Jim Kelly (lead guitar), Sam Sinopoli (drums), Fred Perry (lead vocals and rhythm guitar), Don Waley (keyboards), Bill Brant (bass guitar), and Steve somebody (sax) whose last name I don’t remember. (Sorry if I misspelled some names.)

I worked with Kelly at McDonald’s and knew Waley as the neighbor of my cousin. I picked Kelly’s brain at McD’s about music and developed an interest in playing myself.

His girlfriend at the time (Marty O’Neil) was a classmate at Bullard of my girlfriend (Barbara Neff). I went to many dances at which they played, doing mostly covers.

They got a record deal and moved to SoCal, playing as the house band at the Rendezvous Ballroom in Newport Beach. They wrote and recorded several original songs. I still have several of their 45s. Good Times.

(01/11/09)

THE STAINED GLASS – ’If I Needed Someone’/’How Do You Expect Me’ (RCA Victor 47-8889) June 1966

Having signed to a major label this San Jose band had the opportunity to work with professional record producers and engineers to get their Brit Invasion influenced rock out to the general public, not just the Bay Area.

I’ve read elsewhere that their live set at this stage in their career consisted of the hits of the day with a definite focus on Beatles material. So it was probably no surprise that they chose an obscure George Harrison song ’If I Needed Someone’ as their first 45 for RCA Victor.

There’s no getting away from the fact that the tune is very catchy with immediate appeal and was covered by many 60s bands including The Hollies, The Kingsmen and The Sting-Rays of Newburgh.

The flip ’How Do You Expect Me’ (as previously mentioned in my Trolls entry) was an old song re-used by RCA Victor. I’ve got no evidence that the 45 sold in any quantities but the band were retained for another outing.

THE STAINED GLASS – ’My Buddy Sin’/’Vanity Fair’ (RCA Victor 47-8952) Sept 1966

Two Jim McPherson originals were chosen as their major label follow up with wonderful ’My Buddy Sin’ as the top side. This is a folk rock gem with a strange medieval feel to it, some wailing harmonica (recalling ’Walkin’ Shoes’) and some excellent production by Danny Davis who became a member of a country rock band The Nashville Brass in the late 60s.

The flip ’Vanity Fair’ is a decent pop effort with a strong Lovin’ Spoonful influence. Some good harmonies and punchy bass work by Jim McPherson.

THE STAINED GLASS – ’We Got A Long Way To Go’/’Corduroy Joy’ (RCA Victor 47-9166) 1967

The third Stained Glass record ’We Got A Long Way To Go’ sold well in their locale but again failed to break nationally. It’s a puzzle how such fine melodic songs don’t make it to a bigger audience but then of course many factors can influence a single success or failure.

The song was written by famous song writing duo Barry Mann and Cynthia Weil known for writing classics like ’Kicks’ (Raiders), ’Love Is Only Sleeping’ (Monkees) and ’Shapes Of Things To Come’ (Max Frost) was certainly worthy of great success with it’s radio friendly folk pop and catchy chorus.

The production is full and vibrant. In many ways this was the most commercial offering yet by The Stained Glass.
’Corduroy Joy’ on the other hand is perhaps the band’s weakest moment on record.

THE STAINED GLASS – ’A Scene In Between’/’Mediocre Me’ (RCA Victor 47-9354) Oct 1967

The band were dropped by RCA Victor after the release of my favourite Stained Glass song of all time, namely the ultra cool psychedelic masterpiece ’A Scene In Between’. I recall hearing this song for the first time back in the 80s on a ’Psychedelic Unknowns’ comp and thought it was by an English band.

The very trippy production by RCA staff producer Rick Jarred, the ’turned on’ lyrics and soaring harmonies over the acid drenched guitar makes ’A Scene In Between’ one of the very best and somewhat unique psych records from America. Like I said earlier, very few American bands captured the English psych sound as well as The Stained Glass.

’Mediocre Me’ is another standout out but the acid drenched drone of ’Scene’ is replaced by their usual folk rock vibe whilst retaining a small dose of lysergia. Both songs are credited to Phil Stumpo (a pseudonym for Jim McPherson)..

Reader comments:
expo, thank you for most of the kind words and post.. thanks also to jingle jangle… but I thought you should know.. Phil Stumpo was a pseudonym used by jim mcpherson.

Hi Expo67, you´re doing such great job here! Just a little note: The name of the composer is Cynthia Weil (you spelled it ”Wells”). Mann and Weil were composers for the Brill Building, one of their greatest achievements of course being ”You´ve Lost That Loving Feeling”.

Barry Mann had a hit with ”Who Put the Bomp (In the Bomp, Bomp, Bomp)” in 1961. We know where that lead to…I wouldn´t want to leave this as a comment. But maybe you´d like to include the information. Best regards, Axel

(25/10/09)

STAINED GLASS – ’Lady In Lace’/’Soap And Turkey’ (Capitol P 2178) April 1968

Following the expiry of their RCA Victor contract Stained Glass signed to another major label, namely Capitol Records and went through a personnel change with rhythm guitarist Roger Hedge departing.

The group were now a three piece with Jim McPherson (vocals and bass), Dennis Carrasco (drums) and Bob Rominger (lead guitar).

The first Capitol 45 was the pop psycher ’Lady In Lace’, another Phil Stumpo (pseudonym for Jim McPherson) penned tune. The song had a blissful sweeping baroque arrangement with hit potential, very similar in style to those early lush Left Banke classics. Sadly, the record failed to dent the national chart.

The flip ’Soap And Turkey’ is an excursion into psychedelia with some tasty raga-esque lead guitar from Bob Rominger. This song appeared on their first album ’Crazy Horse Roads’ but ’Lady In Lace’ is non LP.

STAINED GLASS – ’Fahrenheit’/’Twiddle My Thumb’ (Capitol P 2372) 1969

Both of these songs appear on the album ’Crazy Horse Roads’, the single was probably released to promote this long player. ’Fahrenheit’ sees the band develop a more standard late 60s rock sound.

The flip ’Twiddle My Thumb’ is downer folk, stripped down to the bones apart from a yearning vocal from Jim McPherson and some pleasant orchestration.

STAINED GLASS – ’Gettin’ On’s Gettin’ Rough’/’The Necromancer’ (Capitol P 2521) 1969

Sometime in early 1969 Bob Rominger had been replaced by Tom Bryant on lead guitar and Jim McPherson became the sole songwriter of the band. Both of these songs were part of their second album ’Aurora’ released in June 1969.

’Gettin’ On’s Gettin’ Rough’ is laid back rock with a punchy production from Voyle Gilmore (fresh from his work with Frank Sinatra and The Kingston Trio)….

The biggest thing I have noticed with Stained Glass from 1969 is that Jim McPherson’s vocals had changed to a soft and wavery delivery and remind me of Jack Bruce or Barry Gibb.

’The Necromancer’ is a blues rocker and is obviously heavily influenced by Cream. The bass is loud and heavy and Tom Bryant’s lead guitar runs are inventive. It’s a real grower and it’s a shame the band didn’t continue on this kind of trip. Could have been interesting.

STAINED GLASS – ’Crazy Horse Roads’ LP (Capitol ST-154) 1969

I very much suspect the recordings that made up the first Stained Glass album were put together in 1968 (’Soap And Turkey’ dates from April ’68 for instance) but the record wasn’t released until early 1969.

The LP cover showed McPherson, Rominger and Carrasco hanging by the neck from a tree dressed in their rural hippie garb. I’m sure back in the day this would have been quite shocking and the image would hardly tempt the casual buyer into taking a gamble on it.

The album is a solid representation of the talent this three piece folk rock band possessed. All eleven songs are originals with leader Jim McPherson writing or co writing everything except ’Soap And Turkey’ which was penned by lead guitarist Bob Rominger.

The majority of the tracks continue their folk psych ideal but they indulge in country rock on ’Horse On Me’, childish playfulness on ’Piggy Back Ride And The Camel’ and the acoustic/fuzz rock of ’Doomsday’…

My copy of the album sleeve has some weird tracks over it that has left marks. It makes the lynching picture even more creepy and bizarre. One of the poor chaps even ’died’ without his boots on.

(27/10/09)

STAINED GLASS – ’Aurora’ LP (Capitol ST-242) June 1969

No more than six months after ’Crazy Horse Roads’ limped out of Capitol Records came the second and final LP by Stained Glass. Jim McPherson was again the main songwriter apart from a cover version of ’Jim Dandy’ written by Lincoln Chase.

Overall the album is enjoyable late 60s hippie rock with extended guitar meanderings on some of the songs but I didn’t get the connection like I did with the 45s and first album. The Cream/Beatles influence is forceful especially on ’Gettin’ On’s Gettin’ Rough’, ’The Necromancer’, ’The Kibitzer’ and ’A Common Thief’…..My favourite of the whole set is the floaty meloncholic psych of ’Inca Treasure’.

The cover is more than a little corny. Someone in Capitol’s art department must have been short of ideas because the ’stained glass’ window is just too obvious but at least they printed some band shots on the back cover. 

’Aurora’ is a tough one to score so a little diggin’ is required if you need a copy.

When the album came and went, the band were dropped by Capitol, then had a name change to Christian Rapid. They played several gigs, opening for touring bands but never released any records.

Leader and main songwriter Jim McPherson then teamed up with ex Quicksilver Messenger Service guitar slinger John Cippolina to form Copperhead in 1971. McPherson died in the mid 80s aged only 40.

(29/10/10)

THE TROLLS – ’Walkin’ Shoes’/’How Do You Expect Me To Trust You?’ (EU 898260) 1965

One of the most compelling and interesting bands of the Bay Area in the late 60s were The Stained Glass. Before they adopted this moniker they were called The Trolls and released this little treasure on a small indie label that probably sold in very small quantities.

’Walkin’ Shoes’ is a beat mover with pleasing harmonica, very much in vogue with the new wave of music from England like The Animals and The Stones.

The flip, the folky ’How Do You Expect Me To Trust You?’ would be the template sound the band would adopt when signing to RCA Victor and becoming The Stained Glass. Indeed, the song was re-used as the flip of ’If I Needed Someone’.

line-up:
Jim McPherson (bass/lead vocals)
Bob Rominger (lead guitar)
Roger Hedge (rhythm guitar)
Dennis Carrasco (drums)

(24/10/10)

THE ENEMYS – ’Glitter And Gold’/’Too Much Monkey Business’ (MGM K13485) April 1966

The Enemys from Los Angeles were very much a part of the mid 60s Sunset Strip scene and had a residency at The Whiskey A Go Go. They also appeared in the teen exploitation movie ’Riot On Sunset Strip’ performing ’Jolene’ but did not show up on the album soundtrack released by Tower Records (perhaps because they were an MGM recording group).

They also show up with slicked back hair and suited & booted playing a fabtastic instrumental in an episode of Burke’s Law.

The first Enemys single was credited as Cory Wells and The Enemys and it was released on (Valiant V-714). 

’Sinner Man’ was backed with ’Say Goodbye To Donna’, I’ve only ever heard a thirty second clip of ’Say Goodbye To Donna’ and for 1965 the ’teener pop’ I listened to sounds completely dated and was probably not what the kids on the Strip wanted.

The Enemys first MGM 45 was ’Glitter And Gold’/’Too Much Monkey Business’.

According to the date on the label the record had an April 1966 release. The music on offer is a soul/RnB Club sound that combined with the strident vocals from Cory Wells reminds me of a very early Tom Jones when he was backed by his beat group (pre his solo hits of course).

The record was produced by Tom Wilson who is remembered for producing Verve acts The Velvet Underground and The Blues Project. He’s probably more famous for his studio work with Bob Dylan though.

I’m presuming that at this point the band had a change of image and direction because the next singles were in the folk rock/garage vein.

THE ENEMYS – ’Hey Joe!’/’My Dues Have Been Paid’ (MGM K13525) 1966

Many bands in the 60s either recorded or played ’Hey Joe’ at gigs and The Enemys were no different. This version is a little more restraint than the more famous offering by The Leaves.

So far, ’Hey Joe’ is the only Enemys song to be compiled and that was years ago on Garagelands Volume 2.

The flip ’My Dues Have Been Paid’ is far superior and is perhaps The Enemys finest moment. There’s a really fantastic vocal part by Cory Wells, full of anguish and emotion. As far as I know the 45 sold well in some parts of America and was indeed a small hit.

THE ENEMYS – ’Mo-Jo Woman’/’ My Dues Have Been Paid’ (MGM K13573) 1966

The final Enemys record was the classy R’n’B rocker ’Mo-Jo Woman’. The band can be seen performing this song in an episode of The Beverley Hillbillies and they look the part in their Sunset Strip clothes and long hair.

They also perform ’Pretty Woman’ and a hot garage instrumental. I could do without the truly awful 60s dancing by the crowd and members of the Hillbillies though.

I’m not sure why ’My Dues Have Been Paid’ was chosen to back ’Mo-Jo Woman’ when it had already been used as a B-Side. Perhaps no other recordings were available and the release was somewhat rushed.

The Enemys soon split after this record with leader Cory Wells eventually joining forces with Producer and recording artist Danny Hutton to form Three Dog Night.

I’d never heard anything by the latter before researching this post so checked out YouTube for some Dog music. For the record I don’t want my ears to hear any of their music ever again nor do I need my eyes to again witness what I saw! Stick with The Enemys!!!

(18/10/09)

THE WHAT FOUR – ’Do You Believe’/’Whenever’ (Box Records BX 4000) 1965

Several bands in the 60s called themselves The What Four and most of them have been documented in various fanzines and online sources. Unfortunately, this band appear to have gone unnoticed and slipped under the radar.

I have checked the comp database and this outfit are given an Indianapolis location, however the dealer I bought my 45 from provided an Ohio base (maybe because Box is a label from Dayton, Ohio)??

Both sides are pleasant Brit Invasion influenced beat, nothing too dangerous, no fuzz or anything.

’Do You Believe’ is an R’n’B shuffle with a decent guitar break although by the end of the 10 second solo you feel that the teenage guitarist had used up all of his energy in keeping it together for the probable single take.

The flip ’Whevever’ has a strange drum tap and a more or less spoken vocal part. The lyrics verge on the corny side. The singer dig’s his girl and he ain’t ever gonna stray. Well, I suppose he was just a kid, just wait until she starts to nag him to do the washing up.

Recently The What Four have seen their songs compiled. ’Do You Believe’ can be found on the CD release of Psychedelic Unknowns Volume 9 and ’Whenever’ has turned up on the recent Destination Frantic Volume 2.

Reader comments:
A band called the ”What Four” played at my Junior-Senior Prom in 1968 (Victor Valley High School, Victorville, CA)…wondering if this is the same band?

The group you saw may have been The Whatt Four who were from San Bernadino, CA.They released two singles ”Our Love Should Last Forever”/”You Better Stop Your Messin’ Around” (ESP 109) and ”You’re Wishing I Was Someone Else”/”Dandelion Wine” (Mercury 72716)

(16/10/09)

THE PRECIOUS FEW – ’World Of Your Dreams’/’For A Lifetime’ (Velvet Tone VTR-113) April 1968

The Precious Few were a short lived teenage garage band from Huntsville, Alabama. They were signed to Producer Jimmy Velvet’s own label Velvet Tone Records and as far as I know this is their one and only 45. According to the handwritten note on the label, the record was released in April 1968.

During the early part of 1967 The Precious Few had an opening slot in Dick Clark’s ’Caravan of Stars’ when it rolled into Florence, Alabama. One of the other acts on the bill were L.A. band The Hard Times and according to the liners of Rev-Ola’s Hard Times CD collection singer/leader of the band, Rudy Romero was so impressed with Larry Byrom, the nineteen year old lead guitarist from The Precious Few that he asked Dick Clark to sign him up for The Hard Times.

According to a local newspaper report from May 1967, Dick Clark personally phoned the young Larry and asked him to move to Los Angeles with the prospect of recording and becoming a full time member of The Hard Times.

At first he played occasional bass and lead guitar before finally taking over lead guitar duties on a permanent basis.

Following the demise of The Hard Times, Larry formed T.I.M.E. with former bandmates Bill Richardson and Steve Rumph. He then joined a late 60s early 70s line-up of Steppenwolf.

So what do we deduce from this related information? Well if the date on the label is correct, Larry Byrom had already left The Precious Few and is probably not on this record under review.

Another interesting fact is that label owner and Producer Jimmy Velvet was one of Elvis Presley’s oldest and closest friends and as well as a couple of crooner 45s during the very early 60s released his own soft rock solo album in 1968 titled ’A Touch Of Velvet.’

The folk psychedelia of ’World Of Your Dreams’ is splendid and remains uncompiled. The club crooner flip ’For A Lifetime’ is a major disappointment and falls outside the sound of my blog Flower Bomb Songs.

Larry Mangum:
One of my band mates since 1972, Jack Mentzel, was a member of THE PRECIOUS FEW when the 45 was released and part of the Dick Clark tour. Based on his encouragement, I too became a songwriter and have had a lifetime of great music that continues today (www.myspace.com/larrymangum).

Jack is also still playing and writing and enjoying living at The Villages near Ocala, FL. He also attends frequent reunions of the band in Alabama and Larry Byrom also attends on occasion.

(15/10/09)

THE CHEVRONS – ’Dreams’/’Love, I Love You’ (MMC 45-016) 1968

One of the most popular groups in the Omaha area along with The Rumbles and The Coachmen were The Chevrons. Their sunshine lyte ’Dreams’ is a sweet tune and has only ever appeared on a cassette tape only collection called ’Monsters Of The Mid West’ and that was way back in the mid 80s. ’Love, I Love You’ is another lyte pop song with brass.

This 45 was originally released on the local label MMC (who also put out 45s by The Beach-Niks, The Coachmen and The XL’s). The record was then picked up by Independence Records for a further outing. 

(14/10/09)

THE TRIXONS – ’Just Another Song’/’Sunny Side Sam’ (Paramount PAA-0006) Oct 1968

Ireland was not exactly a hot bed of pop talent in the 60s but The Trixons (made up of Englishmen and Irishmen) released this pleasant two sider in October 1968.

’Just Another Song’ has distorted lead vocals with a soul backing and brass. It has an air of lyte psychedelia and sounds very accomplished. The flip ’Sunny Side Sam’ is another winner but with a touch of bubblegum in the mix.

The 45 sold well in Ireland but bombed everywhere else. The UK/Irish release came with a picture sleeve.

(12/10/09)

TERRY KNIGHT AND THE PACK – ’I (Who Have Nothing)’/’Numbers’ (Lucky Eleven LE-230) Oct 1966

An underrated garage rock band from Flint, Michigan who are in desperate need of a re-evaluation. I don’t think any Terry Knight and the Pack retrospective has ever been released on CD and their compilation appearances are few and far between.

’I (Who Have Nothing)’ is a version of the Leiber and Stoller tune probably better known as a hit by Ben E King. Ex Detroit DJ, Terry Knapp or (Knight) handles the soul searchin’ vocals and the addition of strings added to the mix makes for an interesting reading. So much so, that the 45 was a big regional hit for the band and made the lower 40s of Billboard.

The flip ’Numbers’ written by Knight is a crunchin’ garage rock mover that smokes, great fuzztone sound also.

Terry Knight was murdered in November 2004. He was stabbed multiple times in a fight with his daughters boyfriend.

PROFESSOR MORRISON’S LOLLIPOP – ’You Got The Love’/’Oo-Poo-Pah Susie’ (London HL 10254) 1968

I’ve been going through a bit of a bubblegum phaze recently and even offered a couple of free bubblegum comps via my blog a few months ago. All copies were taken. Anyway one of my favourites is a song by ex Coachmen musicians who signed with White Whale and had a name change to Professor Morrison’s Lollipop.

A crazy name then, and one that won’t win any prizes in a ’best group names of all time’ competition…but who cares? I certainly don’t. The picture sleeve highlighted is my obscure Italian release of the single coupled with another bouncy, repetitive smash called ’Oo-Poo-Pah Susie’.

Take a look at the ’way out’ image in particular the beefy guy on the end who looks like a long haired Uncle Fester. These cats rock.

Professor Morrison’s Lollipop appeared on Dick Clark’s ’It’s Happening’ show, first airing on 2nd October 1968. I hope this bubblegum action turns up on YouTube one day.

Professor Morrison’s Lollipop ’You Got The Love’ 45 on White Whale is always on eBay at a low price and is a good place to start your bubblegum collection.

(06/10/09)

GENESIS – ’Journey To The Moon Part I’/’Journey To The Moon Part II’ (Buddah Records BDA 132) 1969

The whole world seemed to go space crazy in the 60s, not only in music but TV, film, books, toys and even fashion. So it was no surprise that something was released to celebrate the Apollo 11 moon landing and none came more hip and trippy than ’Journey To The Moon’ by Genesis who were more than likely a studio outfit including John Madara, Len Barry and Tom Sellers.

The flip is non LP and is an instrumental of the top side.

I’m not certain if John Madara was the same person who formed a group called The Spokesmen with partner Dave White and local D.J. Ray Gilmore in the mid 60s and released ”The Dawn of Correction” an answer song to the enormous hit ”Eve of Destruction” by Barry McGuire.

This weird and wonderful space exotica is surely ripe for re-issue. One can only hope a small label sees fit to explore the possibilities.

The music is mostly instrumentals but with Victor Jay adding narration. Song titles on the album include ’A Walk On The Moon’, Lunar Walk’, ’Lift Off And Return’, ’Moon Plague’ and ’Mystery Of Space.’

(04/10/09)

THE BARRACUDAS – ’His Last Summer’/’Barracuda Waver’/’Surfers Are Back!’ (Z8) Sept 1980

It’s BARRACUDAS TIME!!!

They should have been huge but were sadly overlooked (it seems) by everyone but me and a couple of readers of Sounds back in the early 80s. The Barracudas did have a small hit with ’Summer Fun.’ 

The follow up single ’His Last Summer’ written by Jeremy Gluck and Robin Wills stuck with the formula of ’Summer Fun’ with it’s pleasant mix of punk and surf. The back of the sleeve dedicates the song to Jan Berry of Jan And Dean fame.

The flip has two more surf punkers, ’Barracuda Waver’ is a frantic instro with some neat scattergun drumming.

’Surfers Are Back!’ has the boys metaphorically surfin’ in London City…

Guitarist Robin Wills has his own blog called ’PUREPOP’ specialising in obscure 70s glam rock records. You’ll find a link to his site in my blog list.

(08/10/10)

THE RAIN PARADE – ’Look Both Ways’ (Zippo Zing 001) 1984

A group called The Sidewalks emerged from Los Angeles in early 1981. By the end of the year they had undergone a name change to The Rain Parade. There’s plenty of information out there on this super cool group so I won’t go into much detail.

Here’s a way cool song by The Rain Parade from their classic album ’Emergency Third Rail Power Trip’…I must have played this LP hundreds of times over the years but I usually play the last track on Side Two, ’Look Both Ways’ twice before putting the record back on the shelf.

’Look Both Ways’ is something of a departure from the rest of the material on ’Emergency’….this time around The Rain Parade offer up a garage psych swinger that keyboard player Will Glenn described as being ”in the mood of 2120 South Michigan Boulevard, that Rolling Stones instrumental”

The album was recorded at Contour Studios, Los Angeles during February-March 1983 and I was lucky enough to see them in concert at The Riverside Club, Newcastle on 2nd December, 1985.

(07/10/10)

THE JAM – ’The Bitterest Pill (I Ever Had To Swallow)’/’Pity Poor Alfie’/’Fever’ (Polydor POSP 505) Sept 1982

I watched the final episode of ’This Is England 86’ last night and this Jam tune played out as the end credits rolled. A nostalgic burst of memories came flooding back as soon as I heard the opening guitar riff and I dug out the 45 for the first time in decades. 

Back in ’82 I never cared much for the song because it sounded way too souly for me. But I bought it anyway as it was the new Jam single and I’d bought every new record on the day of release since ’Down In The Tube Station At Midnight’.…wow, those were the days.

Listening to the song today now that I’m older and wiser, I can appreciate the ’sound’ Weller was after. His vocals sound excellent and that guitar riff is maybe short but it sounds rather good don’t you think. It’s more or less the first Style Council single in truth. 

Around this time, bass player Bruce Foxton complained that The Jam had become The Paul Weller Show. ’The Bitterest Pill’ was recorded at Maison Rouge Studios in Fulham, London during the early part of 1982 and released this month 28 years ago. It’s notable for the ornate string accompaniment arranged by Paul Weller and producer Peter Wilson. 

Vaughn Toulouse from Department S posed on the single’s front cover. He was standing in what looks like a medieval prison cell possibly awaiting execution.  

(29/09/10)

THE NERVES – ’Hanging On The Telephone’ (Penniman Records) re-issue

While I was looking around in a box of records marked ’70s searching for The Knack 45 I grabbed this must have killer by The Nerves and gave it spin. The Penniman Records release is a 10 inch EP and came out on vinyl in 2001.

It has six studio cuts from 1976 including the all time classic power pop record ’Hanging On The Telephone’….

I’m sure you all know that Blondie covered this song and had a massive worldwide hit with it. Too bad The Nerves release didn’t sell millions and is still virtually unknown.

(18/02/10)

THE KNACK – ’My Sharona’/’Let Me Out’ (Capitol CL 16087) June 1979

Doug Fieger the lead singer of The Knack died of cancer today and as a tribute I’ll post the all time classic power pop 45 ’My Sharona’ which more or less defined the ’skinny tie’ new wave sound.

I used to hear this song every morning in June/July 1979 while getting ready for school and having some breakfast. Radio 1 DJ, Dave Lee Travis a.k.a. ’The Hairy Cornflake’ had it on heavy rotation. So much so that it was a big hit in England, reaching number 6 in the charts.

Fieger co-wrote ’My Sharona’ with guitarist Berton Averre. The song was about his then teenage girlfriend called Sharona (obviously) and that’s her pictured on the sleeve in a tight white vest showing off her raspberry ripples.

The producer for The Knack was Mike Chapman who served his time in the early 70s producing the Glam Rock hits for The Sweet, Suzi Quatro, Mud and others. He also provided instant commercial appeal for Blondie.

(15/02/10)

BRAD LONG – ’Tell Me’ (Voxx VXS 200.006) 1981

I recently made contact with Brad Long, who in 1977 cut one of the very first jangle pop 45s since the mid 60s. This was released on his own vanity label to good reviews despite being way ahead of the so called ’garage revival’ that would follow in the early to mid 80s….

The sound of the record was sadly marred by a mistake at the pressing plant (which Brad will explain) but despite being wholly unfashionable (at the time) and offering a somewhat lo-fi sound the 45 was a sell out and is now a sought after item.

The 45 came housed in a way cool picture sleeve showing a youthful Brad holding his beloved 12 string guitar and sporting a 60s mop top.

Brad also had the distinction of having one of his recordings on Greg Shaw’s seminal compilation LP ’Battle Of The Garages.’

The song he chose to record and offer Greg Shaw for the project was a cover version of ’Tell Me’ originally released as a USA single by The Rolling Stones in June 1964.

It was one of the very first Jagger/Richards sides chosen as an A-Side and is mostly unknown in England where it was never released as a single but hidden away on side 2 of their debut album.

Brad Long’s version is terrific and fully does the song justice. It’s a slightly faster take with a jangle pop approach and sound that reminds me very much of ’It’s Cold Outside’ by The Choir. It’s easily one of the best tracks on ’Battle Of The Garages’.

I asked Brad to fill me in on some of the important facts and details:

”First of all, about all my released recordings, I hate to make excuses but I’ve said for over 30 years that they weren’t mastered that well, especially the 45. All three songs were done at DeFord Sound Workshop here in Logansport, Indiana and when they sent in the master tape for the 45 the pressing plant was supposed to have EQed and compressed the tape, and mastered it loud…and they failed to do so, claiming the paperwork was improperly done and did not include these directions.

So…we were supposed to get a test pressing too, which also would have helped – instead we got 500 45’s with this lo-fi, tinny sound…grrrr…so after much haggling with the pressing plant, we just put out the records as they were and hoped for the best”.

”Most reviews were good, the only real complaint being the muddy, low sound. And strangely enough, a lot of people liked it, ha! Thought it had more of authentic garage sound to it that way – so there you go!

I’ve always preferred the mix the way it should sound, and if it comes out on Sing Sing Records on vinyl, or hopefully on CD later on, it will be the remastered version the way it’s supposed to sound. It’s not a different mix or anything like that, just a louder, punchier version of what’s already there.

’Tell Me’ had similar problems – it should have been mastered louder too, but being one song out of eight on one side of an LP, you’re going to lose some EQ, especially bass. So I understand that, but it still could have been better.

”My sound is more of a melodic garage sound, like The Flamin’ Groovies, etc., but that’s just regarding what’s been released – I’ve got other songs that lean more towards The Shadows Of Knight and Little Boy Blues sound, another genre that’s just as good.

I use an old Vox Tone Bender pedal and a great little Melody tube amp for that! I’ve also got several other Vox amps, and I still have most of the equipment used on my 45 – a Fender Stratocaster, Rickenbacker 360 guitar, the Vox Marx XII teardrop 12 string, the Vox Jaguar organ, Vox Panther bass, the Vox Royal Guarsdman amp I used in the studio, etc.”

”DeFord Sound Workshop started in 1977 as a small two-track studio in a basement on Market Street here in Logansport.

A couple of years later, they went to four-track, then eight-track, and then he closed the studio in 1986 and I bought the eight-track deck, the console, reverb unit, and some of the master tapes from Randy DeFord. The house the studio was in has since burned down”.

”But back to ’Tell Me’ – it was recorded on four tracks at DeFord Sound Workshop in 1980 with Jeff Hand on drums and tambourine, Mike Walker on backing vocals, and I played bass and guitars. I used a Rickenbacker 360 six string, a Les Paul copy (can’t remember the brand), and a Vox Mark XII teardrop. Then I used a Vox Panther bass. I gave Voxx/Bomp all this information when I submitted the tape, but for some reason it was omitted from the credits on the LP. I never found out why”.

The inspiration for ’Tell Me’ was in a fanzine I’d read with an interview with Greg Shaw where he said The Grass Roots’ version of ’Tell Me’ was one of his favorite songs. I always liked that one too, so I decided to record a version that was 1/3 The Grass Roots, 1/3 The Turtles, and 1/3 The Flamin’ Groovies, and I was pleased with the results!

I sent the tape in fairly quickly and received confirmation that my song had been chosen for Battle Of The Garages, and I was quite pleased with that good news! Later on I got my contract with the label and other paperwork, and about a year later the album came out, and stayed in print for years”.

”It’s done pretty well I think, and I admit I was a little disappointed when the CD finally came out, and I didn’t make the cut. A few months ago I sent Bomp a CD-R of a remastered version with more bass and presence, for them to use on a future reissue; in fact I suggested that they do a 30th Anniversary of Battle Of The Garages next year with all original 16 tracks – that’d be great. I’m not sure they will though, they seem to be somewhat dormant these days.

I sent them a couple of new tracks too that they liked, but they passed on them saying they aren’t going to issue anything new since Greg Shaw’s death”.

(22/01/10)

At a glance:

01 MOVIEES – COME ON
02 OPTIC NERVE – AIN’T THAT A MAN
03 BOYS FROM NOWHERE – GOIN’ TOO FAR
04 CELLAR DWELLERS – DWELLIN’
05 BARRACUDAS – I WANT MY WOODY BACK
06 PETER BERRY AND THE SHAKE SET – LET ME
07 PLASTICLAND – POP! OP DROPS
08 GRUESOMES – HEY!
09 PANDORAS – IT’S ABOUT TIME
10 LEE JOSEPH – STAY BY MY SIDE
11 STOMACH MOUTHS – R&B No 65
12 PROJECTILES – SOME THINGS NEVER CHANGE
13 STOMACH MOUTHS – DON’T PUT ME DOWN
14 VIPERS – AIN’T THAT A MAN
15 PAUL MESSIS – THE WORLD IS SQUARE
16 MERRY MELODIES – APPLE JAKE
17 TELL TALE HEARTS – TOO MANY LOVERS
18 TELL TALE HEARTS – TAKE A LOOK INSIDE
19 FLESHTONES – I’VE GOTTA CHANGE MY LIFE
20 FRANTIC V – ROOM 409
21 TINA PEEL – FIFI GOES POP
22 KLIEK – ME RIGHT NOW
23 UNCLAIMED – UGH
24 RIDE – BIRDMAN
25 BOMBORAS – MOON PROBE
26 PLAYN JAYN – JULIETTE
27 TINA PEEL – PUNK ROCK JANITOR
28 BOYS FROM NOWHERE – JUNGLE BOY
29 CLIQUE – REGGIE
30 STONE ROSES – MERSEY PARADISE
31 DUKES OF HAMBURG – LITTLE LOVER
32 ROAMIN’ NUMERALS – FRUIT OF THE DAY
33 SIOXSIE AND THE BANSHEES – DEAR PRUDENCE
34 REACTIONS – I WANT YOU
35 TRIP – STICK LIKE GLUE
36 TRIP – NEVER TOO LATE FOR LINDA
37 HOODOO GURUS – I WANT YOU BACK
38 MYSTREATED – THE EMPORER WEARS NO CLOTHES
39 SUNNYBOYS – TOMORROW WILL BE FINE
40 LEARS – HER MAGIC SMILE
41 FREDDY & THE FOUR-GONE CONCLUSIONS – STAND UP
42 TEENAGE FANCLUB – I NEED DIRECTION
43 HYPNOMEN – SUNSTROKE DREAMER
44 FRED BISON FIVE – GIRL GUITAR
45 BOGEYMEN – YOU’VE GOT NO SCRUPLES
46 JAMES TAYLOR QUARTET – THE MONEYSPYDER
47 THANES – WORLD OF STONE
48 RUTLES – I MUST BE IN LOVE
49 HURRAH! – THE SUN SHINES HERE
50 PLASTICLAND – COLOR APPRECIATION

(11/09/09)

01. THE MOVIEES – ’Come On’/’You Got What I Want’ (Living Eye Records LSD-4) 1998

Insanely cool 45 release on Living Eye Productions by a Rochester band called The Moviees. In the late 90s the band had it all….the mod threads, the tunes, the contacts and an album on Sundazed. Then it all went sour when Paul Morabito quit to join The Chesterfield Kings.

’Come On’, a band original is a killer mod garage crossover. 
The flip ’You Got What I Want’ is a cover of the raunchy freakbeat raver by The Sorrows/Boys Blue that matches the original.

Both songs produced by Greg Prevost and Andy Babiuk.

line-up:
Hank Borchers (vocals/lead guitar)
Paul Morabito (12 string guitar/organ)
James Hanson (bass)
Ryan Kemp (drums)

(10/09/09)

02. THE OPTIC NERVE – ’Ain’t That A Man’ (Cryptovision CR 800) 1986

If you dig fragile vocals/harmonies with jangly folk rock melodies look no further than this New York band of mop-tops. They formed in late 1985 and during the following year released their first single on Cryptovision.

They were also a good ’haircut band’ (as I used to call some bands) with a cool mid 60s Sunset Strip image (very important when you’re young and starting out)…and fortunately for them they had the songs to match their poses.

The band on this debut release contained Bobby Belfiore (lead vocals/guiar), Tony Matura (lead guitar), ex Outta Place member Orin Portnoy (bass) and Frank Manlin (drums).

The Optic Nerve managed to get three songs on this cheap and nasty release – this is by far the shittiest vinyl I’ve probably seen and must weigh no more than a handful of mouse droppings.

songs on 45:
’Ain’t That A Man’ (Belfiore), ’Happy Ever After’ (Belfiore) and ’Mayfair’ (Matura)

(09/09/09)

03. BOYS FROM NOWHERE – ’Goin’ Too Far’/’I Don’t Bother’ (Young Lion LR030) 1987

I’ve already reviewed the ’Jungle Boy’ single by Columbus band Boys From Nowhere last month so here’s another winner from them.

For their third 45 they decided to cover ’Goin’ Too Far’ by 60s Columbus heroes The Fifth Order. Not content to make a faithful version, Boys From Nowhere more or less inject some 70s punk crunch action in the mix, the guitars are sharp and snappy & Mick Divvens has that unique snarled warble, like he’s been swallowing razorblades…..check it out on ’Hung On You – Part 1’.

The flip ’I Don’t Bother’ again sounds more 70s punk than 60s garage with a neat guitar sound.

The line up on this disc is completely different apart from mainstay Divvens.

Mark Poole (guitar)
Mick Divvens (vocals/guitar)
Todd Burge (bass)
Wes Poole (drums)

(09/09/09)

04. THEE CELLAR DWELLERS – ’Wonderin’ Why?’/’Dwellin’ (Get Hip GH-105) 1987

One of the early releases on Get Hip Records was by this neo garage band from Carlisle, PA.

The sleeve is a beautiful thing but the music is a bit of a let down. ’Wonderin’ Why?’ written by Jim Baetz doesn’t quite lift off like it could have done with some 60s punk style snarls but worse to come is how the record just kinda fades out to a whimper. Blame the production on this?

The flip ’Dwellin’ is a fuzztoned & organ swingin’ instro with the odd ’Hey!’ thrown in for good measure. It’s obviously a much better side but again I don’t think the production is that great.

The fuzz guitar pans from one channel to another in an annoying stereo way. This would have been more powerful and purist in a mono mix.

I found some information online from a mod fanzine called Top Gear. This is from issue 4 circulated in 1988:

THEE CELLAR DWELLERS- WONDERIN’ WHY? / DWELLIN’
GET HIP RECORDS

I was a little disappointed with this single. I like the band a
lot, and their live shows are always a blast, but they didn’t
seem to capture their live excitement on this release. I don’t even feel that the choice of material is a good representation of their style. However, for some good news, read the next review.
DANIEL GEDDES
THEE CELLAR DWELLERS
6 SONG DEMO CASSETTE #2

If you remember last issue, I reviewed Thee Cellar Dwellers’
demo cassette. Well, this is their second demo cassette, which contains rough mixes of their forthcoming EP. This blows away both the single and the previous demo cassette. Much closer to Thee Dwellers live sound.

My favorites are the Beatlesque cuts ’Girl In My Dreams’ and ’I Know It’s True’. There are also some excellent instrumentals.

My copy of the tape includes an additional track, which is a cover of The Eyes’ ’Please Don’t Cry’. This will not be included on the EP, but released on a compilation tape put out by Sound Affects fanzine in San Diego. These tracks are more like Thee Cellar Dwellers I know.

Get this tape by sending either $2.00 and a blank cassette, or
$4.00 to:
THEE CELLAR DWELLERS
c/o JIM BAETZ
Sunset Drive
Carlisle, PA 17013
DANIEL GEDDES

I’ve not heard these demo tapes and didn’t know they existed. I don’t think any EP was released after this 45 for Get Hip as the reviewer suggested. If you know any better let me know.

(08/09/09)

05. THE BARRACUDAS – ’I Want My Woody Back’/’Subway Surfin’ (Cell-Out 1) 1979

Surf punk heroes of mine The Barracudas, recorded and mixed this two sider in one day during mid June 1979 at Freerange Studios. It was their first ever visit to a professional studio.

According to the liners of CD ’Through The Mysts Of Time: Barracudas Rarities 1978-81’, lead guitarist and songwriter of both songs on this 45 Robin Wills, claimed he was just making things up and perhaps got the concept of a Woody and a G.T.O. a little confused.

’Subway Surfin’ is a mix of punk rock and Jan & Dean with throw away lyrics.

Their surfin’ period was all too brief and after the small hit ’Summer Fun’ The Barracudas developed a Byrdsian folk rock jangle sound which I’m sure you’re all aware of anyway.

”London is a lonely town when you’re the only surfer boys around”

Robin Wills: ”I am wearing the leather jacket that Steve Jones nicked, passed onto Sid who then sold it to me for £25, before it got nicked backstage at a gig in Huddersfield a few weeks later…”

(07/09/09)

06. PETER BERRY & The SHAKE SET – ’Berry Express’ EP (Larsen Records LZ 090) 2008

There must be something in the water Norwegians drink that makes their musicians wanna pick up Rickenbacker and Fender guitars because it seems there’s a never ending supply of real cool talent that releases a couple of 45s then are gone.

Hopefully, the latest set of beat kings will stay with us a little longer. If authentic 60s sounding merseybeat shakers is your bag then check out these lads. The band only use vintage equipment and utilize the famous Toe Rag Studios in London to get their analogue beatitude on tape.

This whole EP is GREAT beat, all are originals apart from ’Donna’ (Ritchie Valens) but I’ll choose ’Let Me’ to sell the EP to you all. And look at the cover with the band larking about on a mini steam train.

Absolutely priceless and pure 1964 (before groups decided they were too cool to lark about at photo shoots and wanted to be mean and moody like Them or The Pretty Things)

Band members go under an alias (they’ve given themselves English names such as Barry Brumble, Perry Dear, Peter Berry and Magnus Merrington (well apart from Magnus)….Peder Bernhardt used to be in one of my favourite bands The Indikation (they’ve split up sadly)

(06/09/09)

07. PLASTICLAND – ’Pop! Op Drops’ (Scadillac SC-3003) 1982

One of the very few bands that successfully re-made ’67 era English psych during the 80s were Plasticland, especially on their early 45s. This 4 track EP released on Scadillac in 1982 was the second foray onto vinyl for this Milwaukee, Wisconsin group of acid heads.

’Pop! Op Drops’ is inspired by LSD influenced music such as Tomorrow and Electric Banana (Pretty Things) and describes a magic sweet with a million different flavours all at once. Can you possibly imagine that?

All four songs on this EP are band originals:

Pop! Op Drops
The Garden In Pain
Sections
Driving Accident Prone

Plasticland releases on Scadillac are virtually impossible to come by now and when they do turn up they command high prices. The first Plasticland 45 ’Mink Dress’ went for $103 on eBay last week!!!

(06/09/09)

14. THE VIPERS – ’Ain’t Nothin’ Like Her’ (PVC 8928) 1984

’Ain’t Nothin’ Like Her’ is an ’Outta The Nest!’ album cut buried on side two of the disc. This song in particular shows just how New York band The Vipers managed to combine their Beatle-esque pop with a tormented fuzz edge.

I remember putting ’Ain’t Nothin’ Like Her’ on a mix tape and playing it to some hair metal/gothy types back in ’85 in a tent in the Lake District and they all fuckin’ hated it. They didn’t know how quickly to rip the tape outta the machine for more Hanoi Rocks…..ha ha ha ..the folly of youth.

Below is a cutting I kept from a Sounds magazine from 1984 when The Vipers album was reviewed by Lindsay Hutton.

(04/09/09)

15. PAUL MESSIS – ’Stuck In Society’/’The World Is Square’ (State Records 002) 2009

There’s a thread over on G45 at the moment started by some muppet who more or less stated nothing worth hearing was recorded after 1966.

If I could be arsed to add a comment to this fool’s thread I’d mention this crackin’ 45 recorded in April 2009 at Shay Exotica Sandgate Sound Studios. That’s in Kent by the way.

Paul Messis, from Billingshurst in West Sussex, is obviously multi talented with a need to reproduce the sounds of American teenbeat bands.

These two songs are his originals and he’s been helped along the way by members of The Higher State.

State Records is their label if you hadn’t already figured it out.

There’s promise of further recordings in the near future and hopefully they will also get a vinyl release. Highly recommended 45 to track down. Only 500 pressed so act now!

(04/09/09)

16. THE MERRY MELODIES – ’Eye On’ EP (Animal Records 030) 1996

Animal Records operating out of Madrid in Spain released several good to great neo mod/psych 45s during the 90s and The Merry Melodies four track EP is one of those releases.

I’ve tried to find out some information about the band but have come up with nothing. According to the cover of this EP the band were a five piece unit from Vigo…. someone also gets a credit for being the ’tambourine man’….

The pick of the disc is the mod psycher ’Apple Jake’ with it’s swirling organ, fuzz leads and hand claps. It’s sung in English but I think it would have been better in their native Spanish.

tracklist:
Can’t See Her
Apple Jake
In Between The Armadillos
Rapid Eye Movement

(02/09/09)

17. THE TELL TALE HEARTS – ’Too Many Lovers’/’Promise’ (Kavern 7 Records K7-003) 1987

This 45 was the last official release by the original line-up of The Tell Tale Hearts.

Only Eric Bacher was missing, he was replaced on lead guitar by ex Crawdaddy Peter Meisner. The latter only ever recorded these two songs with the band which were taped at Swinging Studios, Dulzura in December 1986.

’Too Many Lovers’ is a wild rendition of a ’66 R’n’B stomper by English band The Scorpions although they were based in Holland. The flip is a Ray Brandes original titled ’Promise’ that harks back to the sonic prowess of ’The Now Sound of The Tell Tale Hearts’ EP released in 1985.

(01/09/09)

18. THE TELL TALE HEARTS – ”Take A Look Inside” / ”I’m Ready” (Nevermore Records) 1990

This was the last Tell Tale Hearts single to be released and it’s a fitting way to go out with two sides of purist endeavour. By now the line-up hardly resembled the original band with only Mike Stax and Bill Calhoun remaining. No one appears to have been able to fill lead guitar duties and the licks were provided by associate Carl Rusk.

My copy of the record is a ’test pressing’ and has the date 3rd March 1990 written on the label. It took me a fair few years to track down a copy so I don’t think that many were pressed.

line-up:
Paul Carsola (drums)
Mike Stax (bass)
Bill Calhoun (lead vocals/harp)
Jon McKinney (guitar)
Ron Swart (organ)

(31/08/09)

CUPIDS INSPIRATION – ’Yesterday Has Gone’/’Dream’ (CBS 3500) May 1968

This combo from Stamford, Lincolnshire were originally called The Loose Ends and spent several months learning their craft and playing endless gigs in Germany. Like so many UK bands they were unknown in dear old Blighty.

That changed in mid 1968 when the renamed group, now called the more trendy Cupids Inspiration had a massive top 5 hit record with ’Yesterday Is Gone’… It’s a highly polished affair with a big band sound so typical of other hit makers of ’68 like The Casuals or Amen Corner.

Far more interesting for me is the stupendous heavy psychedelia of ’Dream’ on the flip. This is a grungy pulsating powerhouse cruncher with dense and eerie production. I wonder how many pop pickers who bought this 45 understood or cared for ’Dream’.…

Shapes And Sounds Volume 3 compiles a BBC Radio recording of ’Dream’ from The David Symonds Show’. Cupids Inspiration taped this on 24th June 1968.   

My copy of the 45 is the picture cover Dutch release on CBS. In England the 45 was released on NEMS.

Reader comment:

Indeed, dream is a master piece. The front man has a strong voice with great range, and a special highlight are the drum breaks at the end of each verse, which puzzle the listener who never thought that the drummer puts the cymbal crash on the first beat !

Dream is so unique and independent, that nobody notices that the chords are very similar to the ”House of the rising sun”. It´s different stuff, different quality.ruffimusik@gmail.com

(24/11/10)

THE CREATION – Nightmares (Disques Vogue 76787) EP 1967

The Creation evolved out of Enfield group The Mark Four and are probably the ultimate cult 60s mod/freakbeat band from England.

For some reason The Creation never made it in England, now that certainly is one big puzzle. They were much more popular in France and Germany and the four track EP shown, was released in France and is a difficult one to score. All cuts were produced by the legendary Shel Talmy.

According to the liners of The Creation CD ’Our Music Is Red – With Purple Flashes’ on Diablo Records, former band leader and vocalist Kenny Pickett did not play on ’Nightmares’.

He had recently quit the group and was replaced by Kim Gardner. Bass player Bob Garner (ex Merseybeats) took over on lead vocals.

line-up:
Eddie Phillips (guitar)
Bob Garner (bass/vocals)
Jack Jones (drums)
Kim Gardner (guitar)

(03/05/10)

THE FAMILY – ’Scene Through The Eye Of A Lens’/’Gypsy Woman’ (Liberty LBF 15031) Oct 1967

October ’67 signalled on record, the arrival of cult Leicester group The Family whose debut single ’Scene Through The Eye Of A Lens’ not only had a trippy title but was also one of the very best psychedelic records from England (and there were many killers).

’Scene’ starts off real slow with Roger Chapman’s famous warble combined with a hypnotic slightly eastern sound. But mid way into this psychedelic classic the pulsating lysergic rhythms take the listener beyond the stars.

The flip ’Gypsy Woman’ is a straight blues song with no hint of acid.

Sadly, I don’t have an original 45 (expect to pay close to £200 for a mint copy) but both sides of this Liberty single were added to the late 90s re-issue of ’Music In A Doll’s House’ on See For Miles. I bought this album on CD again just for ’Scene’.

The song was compiled in the 80s on Electric Sugar Cube Flashbacks Volume 1 in poor sound.

(29/04/10)

THE ANIMALS – ’I’m Crying’/’Take It Easy’ (Columbia DB.7354) Sept 1964

This was the ultra cool follow up single that The Animals unleashed after their million selling number 1 worldwide hit ’House Of The Rising Sun’. It could be said that the latter record lit the touch paper for thousands of American kids to form their own rock group.

’I’m Crying’ written by Eric Burdon and Alan Price is a pulsating R’n’B gem with prominent organ, some wild guitar breaks and Burdon’s great vocal performance. He seems to get faster as the song progresses and is singing with lung bursting shouts by the end of the song.

’Take It Easy’ on the flip, another Burdon/Price song, is a restrained R’n’B tune that would have been wild with a faster tempo.

Mickie Most produced.

(26/04/10)

BARRY MASON – ’Over The Hills And Far Away’/’Collection Of Recollections’ (Deram DM 104) Oct 1966

Barry Mason is an English singer/songwriter who wrote and no doubt made millions on the back of his song ’Delilah’ recorded by Tom Jones. He also wrote songs for Rod Stewart, Elvis Presley and Barbara Streisand but don’t let that put you off.

Both trips on this disc are fine examples of sombre psych that didn’t have much hope of being a hit. Here, Barry Mason teamed up with Paul Samwell-Smith from The Yardbirds.

To my ears both sides have a similar sound to The Yardbirds song ’Still I’m Sad’ from the same period. The B-Side ’Collection Of Recollections’ is still uncompiled.

(20/04/10)

NICK DRAKE – Day Is Done (Island Records) Sept 1969

I discovered Nick Drake’s music 18 years ago after reading an article about him in Record Collector Issue 150.

He never released any singles but was fortunate to be contracted to Island Records and released three albums all of which got no publicity, little airplay and sold badly.

This situation was not helped with the fact that he refused to perform live after some unhappy appearances at a few folk club gigs or engage with anyone. His depression turned him into a virtual recluse.

Sadly Nick Drake committed suicide in 1974, overdosing on his prescribed drugs for his deep depression.

’Day Is Done’ is my all time favourite Nick Drake song and has been since I heard the 1969 album ’Five Leaves Left’ back in the early 90s.

It’s such a devastating piece of music dripping with melancholy and so well crafted with his completely unique finger picking acoustic guitar style making this one of the most exquisite folk songs I’ve ever heard…..

When the bird has flown
Got no-one to call your own
Got no place to call your home
When the bird has flown.

Reader comments:
Nick Drake did not commit suicide. There is no evidence to suggest anything other than the coroner’s decision of accidental death. It may make the story and the legend more easy to enlarge but the music certainly should be enough to do that.

No one close to Nick, personally or professionally consider suicide to have been an option that Nick would have chosen. I would appreciate you changing your text to reflect reality. But, otherwise… I love your site and I thank you.

(17/04/10)

TRAXTER – ’Glandular Fever’ (Immediate IMS 107) May 1976 (recorded 1966)

This is a very strange release but one worth seeking out, although I don’t suppose that many copies surfaced. It appears that during the early 70s when Immediate were having a financial crisis they re-released several singles as a bankruptcy clawback.

For some reason the backing track of The Truth’s 1966 purple pilled freakbeat swinger ’Hey Gyp’ was used by producer David Nicholson but renamed ’Glandular Fever’.

This was the B-Side of the record and unlikely to be heard. The A-Side was given over to Crispian St Peters with a cover version of ’You Were On My Mind’…

As a footnote I’ll add that I contracted the virus glandular fever when I was 18 years old and I can safely say that it ain’t no picnic but this particular glandular fever is mod nirvana.

(15/04/10)

TEN YEARS AFTER – ’Portable People’/’The Sounds’ (Deram DM 176) Feb 1968

This was the first Ten Years After single, released during English brass monkey weather in February 1968. It’s a good 45 to seek out because both sides are not on their October 1967 debut album, also on Deram. I might post a song from that disc in the near future.

’Portable People’ is a mellow country folk tune, maybe even ahead of it’s time. The lyrics deal with the growing movement of holiday makers from England to other parts of the world, especially Europe.

Prior to the mid 60s I don’t think us working class Brits moved too far away from where we were born never mind to another country.

See them at the airport with their cases in their hand
Got a ten day package in another land

They’re the jet age gypsies with a super-sonic sound
They’re the portable people, and they take themselves around
Portable people, flyin’ in the air
Portable people, goin’ everywhere.
 
The flip ’The Sounds’ another Alvin Lee original, is progressive blues with flashes of acid guitar leads.

(08/04/10)

THE PRETTY THINGS – ”Come See Me” /”£.s.d” (Fontana TF 688) April 1966

Where do I start with The Pretty Things? Well, I’ll begin here with their sixth single for Fontana.

After enjoying three small hits that got the band plenty of exposure, TV appearances and gigs in Europe they released this vicious two sided slice of mayhem that flopped, reaching only 43 in the charts and that would have been a big flop when sounds and scenes changed so quickly in mid 60s England.

’Come See Me’ is a powerful pill of fuzz, anguished vocals and killer lead guitar from Dick Taylor. The sound was probably a little too extreme for daytime Radio 1 at the time.

The song was a cover of an obscure JJ Barnes soul stomper but The Pretty Things totally transformed it into the punked out snarl it became.

The flip ’£.s.d’ got banned by the BBC for it’s LSD connotations. The pre-decimal coinage in Britain in the 60s was pounds, shillings and pence – hence the shortened and written down version of £.s.d  A very clever play on abbreviations by writers Phil May and Dick Taylor. The former would admit in later years that he did write the song about LSD.

(04/04/10)

THE ROULETTES – ’The Long Cigarette’ / ’Junk’ (Parlophone R 5382) Oct 1965

The Roulettes were formed as a backing group for Adam Faith but released singles in their own right between 1962-1967. The beat ballad ’The Long Cigarette’ was co written by Brian Parker who composed ’Concrete and Clay’ recorded by Unit 4+2. Brian Parker had briefly played guitar in The Roulettes.

Far more exciting is the super cool instrumental on the flip. ’Junk’ was most likely ’knocked’ out in the studio on the spot but works really well with the electric piano interplaying with the stinging guitar leads.

Like most English singles it was expertly produced (although there is no production credit on the label) The band also recorded at Abbey Road Studio 3, the one The Beatles used. 

(31/03/10)

ROBBI CURTICE – ’The Soul Of A Man’/’When Diana Paint’s The Picture’ (Sidewalk Records 942) Nov 1968

This outstanding 45 was the work of a group of English musicians who decided to make a record after drinking a few pints of beer in a London boozer (or so the story goes).

I don’t know if Robbi Curtice was the name of the studio group or if Robbi was actually a solo singer backed by a groovy Cockney mod outfit. Either way, ’The Soul Of A Man’ is powerful stuff that sadly never get’s mentioned anywhere.

It starts off with a menacing bass run which is loud and proud like those early bass bombs by John Entwistle, cue some perfect scattergun drum work and groovy brass and you’re left with an instant mod classic and sure fire floor filler for any 60s bash.

For reasons unknown to me the record never got released in England or Europe.

Somehow it was picked up by Mike Curb’s Sidewalk Records label and issued in USA. Pity then that the music on offer was way to hip for Americans in late 1968 to take any notice. Not that it would have been a hit in England had it got a release here.

Men folk in England were too busy growing mustaches and wearing loons to be cool mods any more.

Both sides were recorded at Regent Studios in London sometime in June 1968. ’The Soul Of A Man’ was written by Ralph Murphy and Vic Smith. The latter would become known as Vic Coppersmith-Heaven who in the late 70s produced most of The Jam records.

I wonder if he ever boasted to Paul Weller that he was partly responsible for an all out but sadly unknown classic 60s swinger.

A reply from Robbi Curtice:

..Just been reading your blog – glad you like Soul of a Man. You can find the whole story about the song and the session on my MySpace page – it was just me and a bunch of studio musicians, and a few swigs of whisky! Like your sites. Keep up your good work.
Robbi

Wild! Vic Smith also produced Tinkerbell’s Fairydust and I believe Peter Wyngarde’s way-out LP!

(24/03/10)

TREV GORDON – ’Floating’/’Everyone Knows’ (Mod M-1006) Dec 1966

Here’s a curious piece of ephemera that is a bit of a mystery. Trev Gordon released two singles on Pye Records in England during the mid 60s. ’Floating’ was the second, put out for consumption in September 1966. I don’t think it got past the demo stage though, probably just shipped out to local radio stations.

’Floating’ was comped on my series of Gear! comps and you’ll find it on Volume 3. The flip ’Everyone Knows’ appeared in the late 90s on Ripples Volume 2. I’ve read their liners and no information was known about Trev Gordon.

This two sided oddity was released in the USA on Mod Records during December 1966 and even got a spotlight pick in Billboard. I’m sure it’s the same Mod label that released ’I’m Gonna Change The World’ by Commons Ltd (Mod M-1005)

To add to the mystery a recording artist and Bee Gees associate called Trevor Gordon was in the line up of UK group The Marbles, then in 1970 released a solo LP called ’Alphabet’. 

I’m sure this is not the same person though because this particular Trevor Gordon (according to the book ’The Bee Gees – Tales Of The Brothers Gibb written by Hector Cook) only arrived in England from Australia in late ’67 to team up with his cousin Graham Bonnet to form The Marbles. The two PYE 45s had been and gone a good year earlier.

A reader has informed me that both Trev Gordon 45s were released in Australia on Astor Records. And after a little bit of research:

’Love Comes And Goes’/’You’re An E Type’ (Astor AP-1243) 1966
’Floating’/’Everyone Knows’ (Astor AP-1298) 1966

Reader comments:
Interesting that this 45 also had a US release. I had this up on PFF and like you say it’s a confusion story. I was contacted by somebody who knew Trev at the time and told me it IS the same Trevor Gordon of Marbles fame!

By all accounts he’s still alive and well and living in London. The 45 also came out in Australia on Astor (Astor released many Pye 45s).

All what is written on this page is the same Trevor Gordon. I interviewed Trevor in 1991. He did come over to join his cousin Graham Bonnet in The Graham Bonnet Set in 1967, which eventually became The Marbles. But in 1966, Trevor came back to England for a while, but then went back to Australia.

(06/02/10)

LOS BRINCOS – ’Brincosis’ EP (Novola NV-107) 1965

Los Brincos formed in Madrid, Spain during mid 1964 and by the end of the year signed to Novola Records.

During their early recordings Los Brincos followed the beat template set down by the English groups and ’Baila La Pulga’ from this four track EP shows them in tough beat mode.

(17/01/10)

I CAMALEONTI – ’Chiedi Chiedi’ /’I Ragazzi Del Grab’/’Dimme Ciao’ (Kansas DM 1011) 1966

I believe I Camaleonti were from Milan, Italy and were one of their major pop bands during the 60s.

They did strike out on some recordings with a tougher garage sound and the band original ’Chiedi Chiedi’ is a fine example of organ driven beat. The vocals are in Italian.

One look at the picture sleeve shows that I Camaleonti had powder puff coloured suits, some high heeled Beatle Boots, neat mop haircuts and were adept at hanging their guitars to iron railings.

(15/01/10)

JOHNNY HALLIDAY – ’N’Y Crois Pas’ EP (Philips 437.191 BE) 1966

60s French pop is very inconsistent and most of it sounds terrible to my ears, however, some of it is underrated especially when the sound rises above mediocrity. Some would say it usually doesn’t even reach that level.

I take chances on many EPs by lots of French artists hoping to find a jewel. Take this EP by Johnny Halliday for instance. It’s from 1966 and contains 3 pedestrian cover versions of the hits of the day – ’In The Midnight Hour’, ’Girl’ and ’If You Gotta Go, Go Now’ but the original fourth song ’N’Y Crois Pas’ (on Circles – Volume 2) written by Blackburds member Mickey Jones is a minor key moody winner with great Hallyday vocals.

The cover sleeve is also rather GREAT with Johnny still looking like a rocker.

Reader comments:

Last I heard, which was about a week to two weeks ago, Halliday had been removed from the medically induced coma his Los Angeles doctors had placed him in.

I’m still not clear on the reasons myself, only that he was in LA to begin with, to work with Quentin Tarantino. Doesn’t it feel like this song you’ve posted is about half the length it needed to be? Maybe on some full B side rather than just half of one? Silly 4-track EPs!

I’m not so sure this is an original – a British band recorded this same song as ”There She Goes” I believe. I wish I could remember which band and which compilation I have that on… great song though!

If I find it or recall I’ll repost here – I think it was one of the ”Hen’s Teeth” compilations but I could be wrong. Great blog, thanks!

Hats off to Quiz Master Chris….I’ve did a little diggin’ and have found ‘There She Goes’ on Fading Yellow – Volume 4.According to the liners of my CD the record was released by J & B on Polydor in 1966.J & B were no other than Micky Jones and Tommy Brown.

It was their first release. Later releases adopted the moniker The State of Micky and Tommy.

(24/12/09)

MONTY – ’Un Verre De Whisky’ EP (Barclay 70649) 1966

I’m staying in France with this EP by Monty. This fellow has a good voice but his songs are mostly not ’Flower Bomb Songs’ worthy. However, he does branch out from the twee souly French ballads and love songs with some decent material.

’Un Verre De Whisky’ is a cover of Dozier-Hollands ’Can I Get A Witness’ and it stays faithful to the original. If any of my French visitors know anything about Monty be sure to let me know.

(22/02/12)

THE BLACKBURDS – ’Absolument Hyde Park’ (Philips 437.260) 1966

This 1966 French EP was mainly a vehicle for superstar Johnny Hallyday’s mod take of ’Noir C’est Noir’ (Black Is Black) however, it contains a couple of hidden treasures by his backing band The Blackburds.

The Blackburds would eventually release some records of their own and of course the two Brits from the combo, guitarist Micky Jones and drummer Tommy Brown would strike out on their own with some crunching mod psych 45s as The State of Micky & Tommy.

’Absolument Hyde Park’ is a swingin’ London au go go instro with fuzz and cool organ interplay.

’Promenade’ is just as good.
tracks on EP:

Johnny Hallyday
’Noir C’est Noir’ (Circles – Volume 2)
’La Generation Perdue’

The Blackburds’Promenade Dans La Foret Du Brabant’ (Circles – Volume 2)
’Absolument Hyde Park’ (Circles – Volume 1)

(20/12/09)

MICHEL POLNAREFF – Love Me Please Love Me EP (AZ EP 1053) 1966

This was the second EP released by French singer songwriter Michel Polnareff with the plug side being the poppy ’Love Me Please Love Me’. It was a big hit in several European countries.

However, the more rockin’ B-Side ’Ne Me Marchez Pas Sur Les Pieds’ is the song that caught my ear and can be found on Circles Volume 1.
Polnareff’s ’66 songs were recorded in England with the aid of London’s top sessionmen (including Jimmy Page).

(17/12/09)

THE SOUL AGENTS – ’I Just Want To Make Love To You’/’Let’s Make It Pretty Baby’ (PYE 7N.15660) June 1964

This Southampton band delivered a tough R’n’B sound that was very much in vogue throughout England during 1964 although The Soul Agents failed to dent the charts with any of their releases.

They were all still teenagers when the mod flavoured cover of ’I Just Want To Make Love To You’ was released, even better was the slowed down blues take of ’Mean Woman Blues’ on the flip

A second 45 was released on (PYE 7N.15709) in October 1964 and once again the gritty, tuff R’n’B of ’Let’s Make It Pretty Baby’ bw ’The Seventh Son’ sank without trace which must have dampened the spirits of the band.

They were still an attractive draw on the local scene though and their gigs were always sell outs.

THE SOUL AGENTS – ’Don’t Break It Up’/’Gospel Train’ (PYE 7N.15768) Feb 1965

The third and final Soul Agents release was a gritty pop number called ’Don’t Break It Up’ written by the Howard & Blaikley team who wrote the hits for Dave Dee Dozy Beaky Mick & Tich.

It’s perhaps their finest slab of music recalling the Dave Clark Five sound but sadly the single sold in small numbers and chart action never materialised. The flip ’Gospel Train’ is a classy hammond organ mod dancin’ instrumental.

Sometime in ’65 the band relocated to London and Rod Stewart became The Soul Agents lead singer. This would have been around the time that he departed Long John Baldry’s Hoochie Coochie Men. The band got a residency at The Marquee Club in the Centre of Soho.

No records were released with this line up.

An early promo shot of the band:
From L to R Don Shinn (organ)
John Keeping (vocals) 
Jim Sachs (bass)
Tony Good (guitar), Roger Pope (drums)

Roger Pope would later play drums for The Loot then after their demise early 70s rock band Hookfoot.

The first two Soul Agents 45s were released as a four track EP but only in Spain. Expect to pay at least 400 Euros for a copy.

’The Seventh Son’/’Let’s Make It Pretty Baby’ got a picture sleeve for the Danish release.

I Just Want To make Love To You and B-Side Mean Woman Blues also released in Canada 1964 on Pye 748.

Interestingly both of the label centrepieces above show EXPO67 stamped on them. This was held in Montreal – 3 years after the release. Does this mean they were advertising in advance or what?

(13/12/09)

THE KLAN – ’Already Mine’ EP (Palette EPPB 7277) 1966

Over the next couple of months my blog entries will concentrate on European mod and psych records in anticipation of a few new Circles compilations I intend to put together.

The Klan were based in Belgium and contained some English musicians. The band appear to have done quite well in Belgium and France but are virtually unknown outside of these two countries.

(08/12/09)

PAUL GIOVANNI – ’Corn Rigs’ 1972

Edward Woodward the British actor who played the lead role in cult horror movie The Wicker Man died today. He played the unfortunate Scottish Bobby who was sacrificed in the ancient Pagan way (ie) bound and tossed into the belly of a giant Wicker Man which was then set on fire.

As a tribute to Edward Woodward here’s the song ’Corn Rigs’ from the movie soundtrack. A young hip American called Paul Giovanni wrote the film score including the beautiful ’Corn Rigs’. He was 21 years old at the time.

(16/11/09)

IPSISSIMUS – ’Hold On’/’Lazy Woman’ (Parlophone R 5774) April 1969

Ipsissimus were a four piece outfit from Barking, Essex and the 45 on Parlophone was sadly their only offering. Both sides of the disc were produced by former Beatles engineer Norman Smith and legendary English DJ John Peel also gets a production credit.

’Hold On’ is an updated heavy psychedelic rendition of the Rupert’s People mod mover and can be found on Rubble 3 ’Nightmares In Wonderland’.
Les Fluer De Lys also recorded the tune with female singer Sharon Tandy.

The Ipsissimus version is a fuzz & wah wah creation that no doubt would have sounded exciting as fuck listening to it on Peel’s ’Perfumed Garden’ radio show.

The flip ’Lazy Woman’ is a band original written by bass player and singer Steve Oliver. This time ’round the band display their obvious talent with a full on blues rocker and considering that the blues was making something of a comeback in England during this period Ipsissimus may have faired better with this song as the one to push.
John Peel gave the record plenty of exposure but the single sold poorly and Ipsissimus never set foot in a recording studio again.

band line-up:

Steve Oliver (bass/vocals)
Len Deathridge (lead guitar)
Tony Sales (guitar)
Reg King (drums)

Thanks to Pop Cycles” compiler and Shindig! contributor Paul Martin for the scans of The Ipsissimus single.

It’s also worth noting that the song ’Hold On’ has been recorded by several different outfits as well as the ones already mentioned in my posting.

Here’s a full list:
Sharon Tandy & Fleur de Lys – Hold On (Atlantic, 1967 and 1968)
Ipsissimus – Hold On (Parlophone, 1969)
Jason Crest – Hold On (on the 10th Planet radio sessions LP).
The Gun – Hold On (radio version on volume 2 of Shapes & Sounds).
Rupert’s People – Hold On (on Circle Recs LP)
Johnny Young – Hold On (1968 LP ”Surprises.”)

(29/06/09)

THE SONS OF FRED – ’Sweet Love’ / ’I’ll Be There’ (Columbia DB 7605) May 1965

Continuing my trawl through the Rubble comps (Pop Syke Pipe Dreams) here’s The Sons Of Fred with their no hit wonder ’Sweet Love’ on Columbia. It’s gritty R’n’B with that unmistakable 60s organ sound.

The band hailed from Great Yarmouth, a popular coastal Town in England and were indeed a popular attraction on the South Coast but failed to break through to the mainstream despite obvious talent.

Why the band have all got a woodbine in their mouth is unknown?

(24/06/09)

THE CALIFORNIANS – ’The Cooks Of Cake And Kindness’ / ’Mandy’ (Fontana TF 991) January 1969

This band of ’straights’ hailing from Wolverhampton released several singles on the main labels in 60s Britain (CBS, Decca and Fontana) and much of their music is not relevant to ’Flower Bomb Songs’ but there were a few exceptions and a strange B Side from their first Fontana record, ’The Cooks Of Cake And Kindness’ is one of those and it was compiled in the 80s on Rubble Volume 4 ’The 49 Minute Technicolour Dream’.

The Californians trademark sound was a lounge, MOR style similar to say The American Breed from USA band and ’The Cooks Of Cake And Kindness’ still retains the usual orchestrated sound but it’s far heavier and freaky with some great distorted pop syke guitar.

The song was co-written by John Carter from The Flower Pot Men who also recorded a version but this remained unreleased until the mid 90s when it turned up on a Flower Pot Men collection.

(28/06/09)

THE MIRROR – ’Gingerbread Man’ /’Faster Than Light’ (Philips BF 1666) May 1968

A very obscure psych band from Bath, England who boasted a decent local following but were ignored everywhere else apart from in Germany.

According to the liners of Bam Caruso release ’The Psychedelic Snarl’, The Mirror single scraped into the bottom reaches of the German charts and they even performed on TV Show ’Beat Club’….

Bill Williams:
There were several other songs penned by Bob Pierce and Mike Stewart which included ”magic Carpet”, I recorded the original demo tapes for the band at the Percy Boys club in New King Street Bath England.

Chris Warnett is a director of Rotork in USA ..Mike Stewart is a VAT officer in UK .. Nick Bigsby became a producer for London Weekend TV UK Bob pierce is owner of the Bunker Studio in Bristol if you want any records or copies of other songs by this group he is the guy to contact. I never kept any copies of the demos that I did.

(23/09/06)