LISTEN-IN REVIEWS

 

THE KINGSMEN – ’Louie Louie’ / ’Haunted Castle’ (Pye International 7N.25231) December 1963

Here’s a pic of my UK copy of The Kingsmen 45 ’Louie Louie’, such an iconic record and one that influenced the young Ray Davies. In USA it was released on Jerden Records a few months earlier.

’Louie Louie’ is primitive with echoed guitar and organ bursts….when frat turned into what we now know as the ’garage sound’ The flip is also good if you dig crude instros.

The single reached #26 in the British charts.

(20/05/14)

THE RIGHTEOUS BROTHERS – ’The White Cliffs Of Dover’ / ’Baby She’s Mine’ (London HL 10086) October 1966

This duo are not my scene and I only own one record by them and this is it. Forget about the top side and go immediately to the crackin’ flip ’Baby She’s Mine’ written by Bobby Hatfield.

Really happenin’ rhythm & blues with outstanding hammond organ bursts. This one is a winner. In USA the title was ’She’s Mine, All Mine’, don’t know why there was a need for a re-title.

Recorded in Hollywood in 1966. It seems that The Righteous Brothers were as influenced with the ’now sound’ just as much as anyone.

(20/05/14)

THE GREEK FOUNTAINS – ’I’m A Boy’ / ’She Does It’ (Pacemaker Records PM-250) January 1967

This is the second time on ’Flower Bomb Songs for The Greek Fountains.

’I’m A Boy’ is their straight ahead cover of The Who classic with a fade-out ending. The flip ’She Does It’ has a soul pop sound and is the direction the group would further explore when they changed their name to The Greek Fountain River Front Band later in 1967.

Both sides on this disc have yet to be compiled.

Pacemaker Records from Pasadena, Texas also released noteworthy singles by Gaylon Ladd, Johnny Winter, The Triumphs and Yesterday’s Obsession. 

(18/05/14)

THE BEACH BOYS – ’Party!’ (Capitol T-2398) November 1965

This was the third Beach Boys album of 1965 and very much a ’cash-in’ long player for Christmas. Back in the 60s records were big sellers during the festive period and this ’live’ album in the studio broke into the top ten in both USA and Britain and as such was considered a success.

There isn’t much on this to please the casual Beach Boys listener. Fans no doubt lapped it up but if I was a teenager back then I’d be a bit pissed off with the material on ’Party!’ as it just sounds like they’re busking, the background noises from girls ’partying’ is annoying.

The most interesting cut for me is ’Barbara Ann’ which was a cover of a song written by The Regents. The opener ’Hully Gully’ is decent enough.

(18/04/14)

THE BEACH BOYS – ’Summer Days (And Summer Nights)’ July 1965

This was The Beach Boys ninth studio album. Can you believe that? It’s only mid 1965 and they’re onto their ninth studio album. No wonder writer, arranger and producer Brian Wilson was starting to have mental health issues. That’s a lot of weight and responsibility on a young guy.

This album is regarded as something of a Beach Boys benchmark but I find songs like ’Amusement Parks U.S.A’, ’I’m Bugged At My Ol’ Man’ and ’And You Dreams Come True’ annoying. They’re just not my scene.

My personal favourite song on the album is ’Girl Don’t Tell Me’, which has a lead vocal by Carl Wilson. They should have stayed with this kind of sound a little more.

The re-recorded ’Help Me Rhonda’ and ’California Girls’ are also highlights. Both have complex vocal arrangements and a progressive production for 1965. No one sounded quite like The Beach Boys when they were firing from both barrels. The ’sound’ on ’California Girls’ was a signal for things to come on the 1966 album ’Pet Sounds.’

This album was another success reaching #2 in USA behind The Rolling Stones ’Out Of Our Heads’…in Great Britain it reached Top 5.

A message from Brian Wilson:

As I’m writing this, Carl, Ron Swallow (our travelin’ buddy and wardrobe man) and three girls along with Earl Leaf are sitting around the coffee table singing Beatles songs.
But my mind is somewhere else right now. I’m still working on ideas for this album.

We had an unbelievable hassle trying to finish up the songs, especially after a three week tour.

You should have seen Mike diggin’ his own voice when we played back ’The Girl From New York City’ in the studio last week. He was movin’ and groovin’ like he used to in the locker room at Dorsey High, I’m glad I finally wrote a song Carl dug singin’.

I thought Al pulled off ’Then I Kissed Her’ purty good too. And then there’s Denny who fell asleep in his camper truck parked outside the studio he was supposed to sing a lead. Hope you like our efforts this time. Thanks. ….

(18/04/14)

THE BEACH BOYS – ’Today!’ (Capitol T-2269) March 1965

About a year ago I bought three Beach Boys albums dating from 1965 but it’s only now that I’ve taken them off the shelves for a spin. They’re all in great shape, they’re all my preferred mono recordings and better still I bought all three for about £10. Win!, win!, win!!!

The material recorded for ’Today!’ was put to tape during October and December 1964. Some songs were recorded in January 1965. There’s not a hint of any British Invasion sound, The Beach Boys stuck to their own pop style with layered harmonies.

Most of side one showcases their more up-tempo tunes, especially the catchy ’Do You Wanna Dance?’ while on ’Help Me Ronda’ the complex wall of sound production is quite evident. The latter was re-recorded as ’Help Me Rhonda’ and reached #1 in May 1965.

Side two is ballads and love songs with the filler ’Bull Session With The Big Daddy’ which is a snippet of an interview.

a message from Dick Clark:

When fame came to The Beach Boys, it came in a big way and almost overnight. They began with talent, a lot of it, and some avid interests that they turned into hit songs. And soon their first recordings were helping to shape the big trend in surfing music.

A little later they did the same thing again with their big hot rod hits. And now they are themselves a trend – important leaders in today’s music industry. Their records and personal appearances have been consistent triumphs, and many of Brian Wilson’s compositions have become teen ”classics.”

Today they still care about the same things their audiences care about. Fame is important to them, but not as important as their music and their teen fans, toward whom they feel a true allegiance.

It is a pleasure for me to have this opportunity to pay tribute to these great young guys, for we in the entertainment industry are proud of their success…proud because they and their music deserve it.

(18/04/14)

Bubble Puppy didn’t last very long as a group in the 60s, despite having a big hit single with ’Hot Smoke & Sasafrass’ during the early months of 1969 but they did leave behind four brilliant singles.

’Hot Smoke & Sasafrass’ / ’Lonely’ (IA-128) November 1968

’If I Had A Reason’ / ’Beginning’ (IA-133) May 1969

’Days Of Our Time’ / ’Thinkin’ About Thinkin’ (IA-136) October 1969

’What Do You See’ / ’Hurry Sundown’ (ia-138) May 1970

Their debut 45 was a surprise hit after DJs in Houston flipped the record over and started playing ’Hot Smoke & Sasafrass.’ Apparently, ’Lonely’ was initially thought of as the top side by The Bubble Puppy. Both sides were also included on their album ’A Gathering Of Promises.’

’Hot Smoke’ has a hard rockin’ intro laced with feedback. The time changes give the song a mesmerizing feel to it, quite hypnotic. Dig those psych leads and layered vocal harmonies. Very much a West Coast sound. It proved to be International Artists biggest selling record.

Bubble Puppy were in such demand at this point that they appeared on American Bandstand lip-synching their hit.

IA didn’t hear any more potential hit singles on the albums worth of material they had recorded so were asked to come up with another song. They returned to the studio and recorded the countryish ’If I Had A Reason’, this was backed with a longer version of ’Beginning’, which incidentally, is my favourite Bubble Puppy song…

Their third single brought together two non-album cuts ’Days Of Our Time’ / ’Thinkin’ About Thinkin’…both were cool psych rockers with some amazing psych leads and those Moby Grape type layered harmonies.

Their final single was the non-album ’What Do You See’ which was a snarling fuzz fest backed with the West Coast psych rock ’Hurry Sundown.’ This cut featured on the studio album from a year earlier but this mono 45 is a different / shorter mix. My copy is green vinyl.

(18/04/14)

BUBBLE PUPPY – ’A Gathering Of Promises’ (International Artists) 1969

Bubble Puppy were IA’s last commercial fling, and indeed they scraped a fleeting hit with ’Hot Smoke & Sasafrass’ in early 1969. Although based in Houston, the roots of the group were in Corpus Christi, where Rod Prince led The Bad Seeds. They cut three singles for the local label J-Beck outlet.

’Taste Of The Same’ / ’I’m A King Bee’
’Zilch Part One’ / ’Zilch Part Two’
’All Night Long’ / ’Sick And Tired’

Punkers all, the last ’A’ side was, in fact, a cover of The Elevators ’Tried To Hide’ but with an earlier lyric. Roy Cox joined the group, and it was he and Prince, along with Todd Potter, who put Bubble Puppy together. Several other musicians including Tommy Smith and Clayton Pulley were also in the group, and later David Fore.

’A Gathering Of Promises’ reflected the more measured changes which affected Texas music. Despite their suitably paisley garb, Bubble Puppy were closer to mainstream rock than most of their label mates. Professional rather than inspirational, they somehow crossed the hard rock of Jimi Hendrix with the massed harmonies of Moby Grape or early Doobie Brothers. It’s fresh, it’s undoubtedly well played, but it lacks the perverse mystery of The Golden Dawn or even Lost And Found.

That album aside, Bubble Puppy also cut several other tracks. ’If I Had A Reason’ appeared on the flip of ’Beginning’, while both sides of their third 45, ’Days Of Our Life’ and ’Thinkin’ About Thinkin’ were non-album, as was ’What Do You See’, the top side of their final IA release.

Having toured with Steppenwolf, and with their own label flagging, Bubble Puppy moved to ABC/Dunhill and mutated into Demian. From there on in there’s been a succession of changes, with versions of the band resurfacing on various occasions, as well as in off-shoot groups such as Sirius. 
(Strange Things magazine August 1988)

(17/04/14)

THE HUMAN ZOO – ’The Human Zoo’ (Accent ACS 5055) 1970

The Human Zoo hailed from the Los Angeles suburb, Westminster and were discovered playing local gigs by Jim Foster, who was a member of acid punkers The Human Expression. Don’t expect The Human Zoo to be any where near as good as the latter though.

First time I played this album I was disappointed, it didn’t really tick that many boxes in my mynd. However a couple of plays later I started digging some of the songs. The album opener ’It’s Got To Be’ is a good psych rocker with some cool organ. My favourite cut is ’Na-Na’ which is essentially an instrumental with plenty of na-na’s thrown in for good measure.

The rest of side one is decent late 60s rock ’n’ roll, with some really tasty psych leads, powerful drum action and mostly macho style vocals. Not really my bag but I’m sure others will dig it. ’Funny’ for instance, starts off all psych rock then goes a bit too funky for me…

Most of side two has that late 60s funk psych sound with brass, there’s also cringe-worthy county & western with ’When Papa Started Drinkin’…..the album picks up once more with the freaky ’The Human Zoo’, which has some immense fuzz and pounding drums but the over macho vocals spoils the song somewhat.

What the sales sticker on the front of the album says:

For the first time since it’s original release in 1970, an exact re-issue of The Human Zoo album, taken from the master tapes, with all artwork faithfully replicated!

A quirky and unexpected blend of psychedelic, garage and funky music. The musical diversity, once the cause of the band’s failure is the records greatest asset in this age of one song downloadable wonderment. The band had chops, and could put together a damn good song.

Limited edition of 500 copies.

(16/04/14)

HAMILTON CAMP – ’Here’s To You’ (Warner Bros WS 1737) 1968

This weeks trip through my LP collection continues with this 1968 obscurity by Hamilton Camp.  He was an early 60s folkie who played the coffee houses in Greenwich Village and was in his thirties by the time he recorded the songs on this album ’Here’s To You.’ He must have looked ancient back then to all of the teens and twenties hipsters.

Hamilton’s single ’Here’s to You’ / ’Anyhow’ (Warner Bros 7165) was released during May 1968 and was a hit, reaching #78 on the Billboard Chart. This song is quite lyte sunshine folk and perhaps just right for the times. There are better songs on the album though, including a version of ’Travelin’ In The Dark’ which was also recorded by Bo Grumpus and Mountain.

The song was written by Mountain bass player Felix Pappalardi, who also produced the music on ’Here’s To You.’ ’Lonely Place’ is the most trippy cut here, a really superb song with a haunting vibe.

Another single was released in the Summer of 1968, ’This Wheels On Fire’ is a non album cut and was probably recorded at the same time but omitted for unknown reasons backed with ’A Lot Can Happen In A Day’ (Warner Bros 7203) which can be found on the album.

’Here’s To You’ featured the cream of the crop L.A. session players including Earl Palmer (drums), Van Dyke Parks (piano, organ), Jerry Scheff (bass), Hal Blaine (drums) and Larry Knetchtel (piano). It was recorded at H.R. Recording Studios, Hollywood.

Perhaps his most famous song is ’Pride Of Man’ which was also recorded West Coast hippies Quicksilver Messenger Service. Hamilton Camp died of a heart attack on 02/10/05.

(16/04/14)

THE NATIONAL GALLERY – ’The National Gallery’ (Philips PHS 600-266) 1968

This is one of those weird and wonderful albums from the sixties that somehow got a release on a major label. I’m not even sure if The National Gallery were a group as such, they were probably Roger Karshner and Charles Mangione with assorted session players. On the back of the album is a small picture of The National Gallery, but this was most likely taken for a publicity purposes.

The song under my spotlight, ’Long Hair Soulful’ was released as a 45 on Philips in October 1967 billed as The Bhagavad Gita. The flip of this disc is an instrumental of ’Long Hair Soulful’…I dig that name and in my opinion they should have kept it for the album.

Maybe the moniker The Bhagavad Gita didn’t fit with their idea of the musical concept they had of conceiving songs around the abstract expressionist paintings of Switzerland / German artist Paul Klee. Roger Karshner described his songs as ’electronic paintings’, hence the name for this experiment The National Gallery, to house his sonic delights.

Description from back of album cover:

This unique recording is the result of the successful melding of three separate art forms. First is fine art – the paintings of Paul Klee. Inspired by Klee’s imagination, power and subtlety, producer director Roger Karshner and his collaborator, Charles Mangione, have created superb musical compositions to fit the moods of ten Klee paintings.

And, under Karshner’s direction, The National Gallery have, by their amazing vocal talent, transformed the music into, what Karshner calls ”rock-art.” You may have your own name for it, but you’ll admit that it’s a haunting and unforgettable sound.

An added touch with the album is that it came with a colour brochure showing the paintings of Paul Klee and song lyrics.

(15/04/14)

ANDY ROBINSON – ’Patterns Of Reality’ (Philips SBL-7887) 1968

I bought this album last year but it’s only today that I’ve found some time to enjoy it and remaster the vinyl to the digital format. I’ve checked around various sites and it seems that ’Patterns Of Reality’ is one of the few late 60s albums still waiting for a re-issue.

There is not a lot of information on-line about Andy Robinson, some sources claim that he hailed from Philadelphia but I’ve not found any hard evidence to confirm that this is correct.

Others claim that he played gigs with John Denver.

The album was recorded during October 1968 at T.T.G. Studios in Hollywood, Los Angeles. Some noteworthy session players helped create the sounds including Artie Butler (piano / organ), Jimmy Gordon (drums), David Cohen (guitars) and Carol Kaye (bass).

All songs were written by Andy Robinson. His songs are rather typical of the singer/songwriter hippie types of the late 60s but unlike most of his contemporaries this outsider folk hipster appears to have got lost or ignored in the shuffle.

All of his songs are quite listenable and laid back loner type soft rock with touches of orchestration here and there. I dig it and hope one day that the album gets wider recognition, although judging by auction sales online over the past couple of years it appears that collectors are willing to dig deep into their pockets for a copy.

A follow up album ’Break Out Of The City’ was released in 1970 on Janus Records JLS-3013.

(14/04/14)

JACKS WILD – ”What Do You Expect” / ”So Fine” (Lyn-Tone 101) November 1965

This is such a brilliant compilation of lo-fi teen janglers in pretty good sound quality throughout. It was released on Worst Records in the late 90s and sounds like all of the cuts were ’needle-drops’ from original 45s with no modern day remastering.

The records that were used are very obscure, most have hardly ever hit the radar, but most are worth listening to. Out of all the selections used I’ve only got ’Done It Again’ by The Advantes.

One of the records I’ve been after for a few years is ’What Do You Expect’ by Jacks Wild. This record was offered for sale on eBay early in 2013 but sadly I missed out on it!

I’ll just have to make do with hearing the song on ’I Can Hear Raindrops’ for now. According to ’Teenbeat Mayhem’, Jacks Wild hailed from Cookeville, Tennessee. I don’t know whether Jacks Wild was a solo performer or if it was the unusual name for a combo.

The record was released on a local label, Lyn-Tone Records, during November 1965. ’What Do You Expect’ is a terrific moody folk-jangler with mournful vocals and killer drum action. I just love the patterns the drummer weaves throughout… 

***** update *****

since I wrote my review back in March 2014 I have obtained a mint condition copy of the record and it sounds fabulous. I have added a label scan. The other side is a version of ”So Fine” which is also very good. More beat and less jangle on this one.

That bass player on the front is Tom ”Goober” Vaughn from the Aquinos, western Illinois seminarians that cut two records for IT label. Photo flipped so he’s now a lefty. Bob

(22/03/14)

EMERGENCY EXIT – ’Maybe Too Late’ / ’Why Girl’ (Dunhill D-4060) February 1967

I’ve had this 45 for years and have been meaning to write about it for just as long but somehow it never made it’s way out of my record box until now. The Emergency Exit hailed from Seattle, WA and were active during most of 1966 and until mid/late 1967.

Two previously unreleased songs ”Happy Song” and ”Why Girl” can be found on a couple of volumes of the Big Beat CD comps ”North West Battle Of The Bands”. The version of ’Why Girl’ is an earlier take from March 1966 and sounds more like a demo than a fully fledged studio cut.

’Happy Girl’ has a rough British Invasion style and probably dates from around the same time.

Their first 45 ’Maybe Too Late’ / ’Why Girl’ was released on the local label Ru-Ro Records during December 1966, and must have impressed someone at Dunhill Records as they were signed to the label. A couple of months later the Dunhill pressing was released and is arguably the labels toughest ever release.

’Maybe Too Late’ is a wonderful jangle beat pounder with reverb and blended harmonies. I really dig this side, although it scores lower than ’Why Girl’ in ”Teenbeat Mayhem”.

’Why Girl’ has a throbbing beat with weird echo FX making it a ’way-out’ teen punk record. It was compiled back in the 80s on a Boulders comp but since then has been missing in action.

A second Dunhill record followed in June 1967, ’It’s Too Late Baby’ / ’You’ve Been Changing Your Mind’ but it’s a record that I’ve not heard before.

line-up:
Jim Walters (guitar)
Paul Goldsmith (guitar) * briefly a member of The Wailers
Luther Rabb (bass)
Bill Leyritz (drums)

(17/02/14)

MYSTIC SIVA – ’Same’ (World In Sound RFR-002) 1970

This album by a group of teenagers is rare, try to find an original copy. If you do, you’re likely to have to delve deeper into your pockets than ever before to purchase some black gold.

If you dig laid back rockin’ with tripped out lead guitar, wah-wah and Hammond B3 organ, this record is for you. Not only that, but obscure re-issue label ”World In Sound” have located the master tapes and have really gone to some extremes to bring the psych head a mind bending package, the very thick card sleeve is heavy, nearly as heavy as some of the guitar riffs by Al Tozzi….

Each and every song on the album has an eerie psych quality but ”Supernatural Mind” is a dark burst of psych that will leave you mesmerized…hard to believe that the kids that made up Mystic Siva were all in their mid-teens….that’s enough to blow your mind alone!

(02/02/14)

FIFTH PIPE DREAM (Relics 3027) 2013

CURRENTLY PLAYING THIS RECENT PURCHASE ON A CD RELEASED ON RELICS LATE LAST YEAR. DON’T KNOW WHY IT’S TAKEN ME SO LONG TO ADD THIS TO MY COLLECTION…..

FEATURING IT’S A BEAUTIFUL DAY, TRIPSICHORD MUSIC BOX, INDIAN PUDDIN & PIPE* AND BLACK SWAN, THIS HIGHLY COLLECTABLE COMPILATION IS A PERFECT DISTILLATION OF THE ACID DRENCHED SF SOUND OF THE LATE 1960S.

*THEY’RE LISTED ON THE ALBUM AS INDIAN PUDDIN’ & PIPE BUT I’VE READ THAT THEY WERE CALLED ”WEST COAST NATURAL GAS”

GREAT SOUNDS, A TOTAL TRIP WINNER…PERHAPS MY FAVE RAVE IS ”HASHISH” BY INDIAN PUDDIN’ & PIPE…..TURN ON YOUR MYND TO OUTSIDER POSSIBILITIES…..OH YEAH, ”FAMILY SONG” BY TRIPSICHORD MUSIC BOX IS AN EPIC MINDBLOWER.

(01/02/14)

HILTON VALENTINE – ’All In Your Head’ (Grapefruit CD) LP released 1970

Ex Animals guitarist, Hilton Valentine, relocated to Los Angeles in late 1969 and recorded an album of self-penned psych folk gems, some with pop arrangements that sweeten those songs.

As Hilton was heavily into LSD and Donovan at the time (the influences are quite clear) his album is possibly a great lost acid casualty treasure and comes highly recommended by me.

The music is full of gentle psychedelic folk interludes that could have been contenders if only they had been promoted by Capitol Records in 1970….after all it was the era of singer/songwriters, but they didn’t even release a promo 45 from it and the LP bombed…….NOT on ’Flower Bomb Songs’ though!

(29/01/14)

HAL & THE PROPHETS – ’Shame Shame Shame’/’She’s Doing Fine’ (Scepter Records 1287) November 1964

Here’s an outfit who have remained elusive for decades, as far as I know, no information about them has ever surfaced. Their location was even left blank in ’Teenbeat Mayhem’, so hopefully someone reading this entry will contact me with any relevant information or facts regarding the obscure beat group called Hal & the Prophets.

’Shame Shame Shame’ is an R&B mover with some rockin’ guitar and tuff vocals. The Jimmy Reed original was released on the Stateside label in Great Britain during 1963. The song was obviously still fresh in the memory as according to reference guides, this cover on Scepter Records came out in November 1964.

’She’s Doing Fine’ is a slow ballad that’s just too tame for my tastes.

Hal & the Prophets were produced by Joe Venneri who worked with The Blues Magoos and many other Mercury acts.

*** heavyweight collectors Jeff Lemilich and Max Myndblown have confirmed that Hal was a misprint. It’s Pal Rakes & The Prophets, the same guy who later recorded for Verve and Columbia.

P.S. Now that Jeff’s pointed out that they should have been billed as Pal & The Prophets, more becomes clear. First off, Pal and his pals WERE from Philly after all (and were originally known as Little Pal & His Pals). Secondly there are other releases, albeit appealing to the Northern Soul crowd …
(as Pal Rakes & The Prophets) Can’t Deny The Hurt / Old Shep (Verve VK-10576) Apr 1968.

Can’t Deny The Hurt is regarded as a Northern classic

(27/01/14)

EASTFIELD MEADOWS – ’Travelin’ Salesman’/’Helpless Is A Feeling’ (VMC V-736) 1968

The Eastfield Meadows are believed to have come from California and I’d guess they were likely a Los Angeles group. I’m not sure if they had any success with any of their releases which was a studio album and three singles, all on the collectable VMC label.

The 45 under my spotlight was their second single, both songs can be found on their album which covered the musical spectrum of psych rock, country and pop with great vocal harmonies. None better than ’Helpless Is A Feeling’ which is laid back Association style harmony rock with a Buffalo Springfield edge.

The other side ’Travelin’ Salesman’ is decent enough country, if that’s your bag, which reminds me of those Mike Nesmith tunes he recorded post Monkees.

Just out of interest other groups who released records on the VMC label that are ’Flower Bomb Songs’ worthy were The David, Paper Fortress, Pacific Ocean, Magnum Opus and The Morning Sun.

line-up of Eastfield Meadows

John Bierber
David Carpenter
Wayne Grajeda
Tony Harris
Dwight Payne
James Whittemore

(26/01/14)

BOOK A TRIP – VOLUME 2 (Now Sounds CRNOW 46) 2013

Once more, Now Sounds raids the Capitol Records vaults in Hollywood for late 60s psychedelic pop/sunshine pop obscurities and unearths even more first time on CD gems. All sourced from original masters, these original Capitol singles are circa 1965 – 1970.

Productions by the likes of Michael Lloyd collide with arrangements by Mort Garson and Gene Page and compositions by Harry Nillson, Donovan and Kim Fowley and performances by many legendary Wrecking Crew members, proving why Capitol Records was the undisputed leader of pop during this pivotal era.

The full colour booklet also includes rare, unpublished photos and extensive track-by-track liner notes that feature the participation of many original band members, songwriters and producers.

(from the CD liners)

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 scanned from ’60s music magazines.

THE LANCASTRIANS – ’We’ll Sing In The Sunshine’ / ’Was She Tall’ (Pye 7N. 15732) November 1964

Here’s a merseybeat rockin’ 45 by the LANCASTRIANS who are believed to have been from the Cheshire area, according to ”The Tapestry Of Delights” The record was released November 1964.

”Was She Tall” was the flip and features lead guitar by Jimmy Page. The top side ”We’ll Sing In The Sunshine” is decent pop that struggled to #44 in the Charts. Both sides were produced by Shel Talmy.

(21/10/14)

SIMON SCOTT with the LEROYS – ’Move It Baby’ / ’What Kind Of Woman’ (Parlophone R 5164) July 1964

This hard driving beat disc is a recent purchase, I had never even heard it until last month when someone recommended it to me. I have spent some time diggin’ on the internet and found an informative page about Simon Scott here.

Simon Scott was Managed by future Bee Gees boss Robert Stigwood and it seems that the latter had big hopes for his star find. Simon had the looks, voice and a forceful beat backing group in The LeRoys to succeed and their first single ”Move It Baby” was a terrific debut. It reached the Top #40 in the British Charts but deserved to go so much higher.

Their next 45 ”My Baby’s Got Soul” flopped badly and Simon Scott drifted back into obscurity.

(13/10/14)

ADAM FAITH WITH THE ROULETTES – ’It’s Alright’ / ’I Just Don’t Know’ (Amy 913) October 1964

”It’s Alright” was released in Britain during May 1964 as the B-Side to ”I Love Being In Love With You” which went Top 40. However, the song was given A-Side status in USA when it was released in October ’64 with ”I Just Don’t Know” on Amy Records.

”It’s Alright” is a powerful beat rocker with an up-tempo beat, harmonica and a killer lead guitar break. Adam Faith was not known for this kind of sound so this jewel was a complete departure from his usual pop songs and ballads, most definitely a 45 for beat fans to seek out.

(12/10/14)

THE FOUR PENNIES – ’No Sad Songs For Me’ / ’Cats’ (Philips BF 1519) October 1966

The Four Pennies were a popular beat group from Blackburn, Lancashire who had a #01 single in Britain with ”Juliet” during 1964. Most of their material was ballads so they’re not gonna appear that often on ’Flower Bomb Songs’ unless they really have a driving beat number or a psych tinged pop nugget to offer.

Look no further than ”Cats” on the flip of ”No Sad Songs For Me” from October 1966. This rather eerie and strange tune was hidden away on the wrong side of the disc so probably never got heard much back then as the single flopped and the Four Pennies called it quits.

Curiously ”Cats” has never featured on any Four Pennies retrospective CD collection.

(12/10/14)

THE SHADOWS – ’Maroc 7’ / ’Bombay Duck’ (Columbia DB 8170) April 1967

’Maroc 7’ is an instrumental recorded by The Shadows for the British film of the same name. Flip it over for some ’Bombay Duck’

The mono single mix is superior with a longer fade out than the stereo version, which is the one usually heard via albums and CD retrospectives.
Also, check out the large font used on the label which is a bit weird on a UK Columbia 45.

(29/06/14)

THE EASYBEATS – ’St. Louis’ / ’Can’t Find Love’ (Polydor 56335) June 1969

Killer late period Easybeats psychedelic rock double sider from 1969. ’St Louis’ was deemed the A-Side and is a memorable rocker with brass flourishes.

Flip it over for the riff-tastic ’Can’t Find Love’ written by the awesome Vanda / Young song writing partnership… Both songs were part of their ’69 album ’Friends’.

(28/06/14)

DINO, DESI & BILLY – ’She’s So Far Out She’s In’ / ’Look Out Girls (Here We Come)’ (Reprise 0496) July 1966

Very young teenbeat threesome Dino, Desi & Billy recorded two Baker Knight songs used on one of their mid 1966 singles. The often recorded ’She’s So Far Out She’s In’ makes one of it’s earliest appearances on record and it’s a neat effort with a raunchy beat and fuzz.

They actually fashion quite the garage sound on both sides and use plenty of fuzztone especially on the flip ’Look Out Girls (Here We Come)’ which is a personal favourite. Check it out on ’Flower Bomb Songs’ Podcast #02.

The record was produced by Lee Hazlewood and arranged by Billy Strange.

(19/06/14)

THE NORTH STARS – ’She’s So Far Out She’s In’ / ’Eenie Meenie Minee Mo’ (Fontana TF 726) July 1966

Continuing my look at the more beatsville and psychedelic songs of Baker Knight during his song writing phaze of 1966 – 67 has led me to this beat cruncher by The North Stars. The latter are believed to have been from Manchester and hung around long enough to release two singles on Fontana.

Their version of Baker Knight’s ’She’s So Far Out She’s In’ was one of the earliest recorded and was released during July 1966, the same month as versions by Dino, Desi & Billy and Billy Fury.

The North Stars add a bit of Kinks toughness to their take and I rate the production superior. I wish I knew who it was but the information on the record label does not provide details. The flip ’Eenie Meenie Minee Mo’ is even better.

Certainly a 45 to add to your collection but it may take some time to locate.

(14/06/14)

THE POWER PLANT – ’It Can’t Happen Without You’ / ’She’s So Far Out She’s In’ (Diamond D-229) September 1967

This 45 is a mystery, little has been written about it in guides etc. It was even omitted from ’Fuzz, Acid & Flowers’ and ’Teenbeat Mayhem’.

Both sides were written and produced by Baker Knight leading me to suspect that The Power Plant could have been recordings by Baker Knight with his backing band The Knightmares but under a different guise. 

I have since found some in depth information on soundcloud which more or less discounts my theory. It appears that Baker Knight was simply the songwriter and producer for a soul group calling themselves The Power Plant! 

’She’s So Far Out She’s In’ has got a faster tempo than any of the other versions recorded by other groups. I’d make this version the definitive one..

With a Sept 1967 release date, it came out later than any of the others. But would have been more or less unheard back then because it was the B-Side of a soul pop tune ’I Can’t Happen Without You’

I asked fellow psych collector and ”Fuzz, Acid & Flowers” contributor Max Myndblown about The Power Plant and here’s what he had to say: 

Hi Colin, I have two by them – the one on Diamond 229, both sides written & produced by Baker Knight. The second ”Victim Of Love” / ”Heavy With Me” (Diamond D-245) June 1968 is credited to Freddie May & The Power Plant and is soul.

(09/06/14)

BAKER KNIGHT and the KNIGHTMARES – ’Hallucinations’ / ’I Feel Sick About The Whole Thing’ (Reprise 0554) February 1967

I first became aware of this mammoth psychedelic tune via Rhino’s 2004 CD compilation titled ”Hallucinations: Psychedelic Pop Psych Nuggets From The WEA Vaults.” They liked it so much that the set was named after Baker Knight’s song and it was placed as the CD opener to superbly get the listener in ’hot psych action’ mode.

Over the years I’ve been tempted to buy an original copy of the 45 to add to my psych archive and earlier this week that’s just what I did, and as you know, I’m now trying to find out as much about Baker’s ’psych’ period of song-writing as possible.

’Hallucinations’ is a thrill trip of lysergic pop moves where much of the credit must go to producer Jimmy Bowen. The following information has been taken from the liner notes of the previously mentioned Rhino CD comp.

Believe it or not, Thomas Baker Knight was 34 years old when he wrote and recorded this psychedelic workout. Even more unbelievable is the fact that his very aptly named backing band, The Knightmares, was actually formed way back in 1956.

No doubt that this 1967 Reprise single was a long way from Knight’s rockabilly past, when he opened for the likes of Carl Perkins and wrote songs for Ricky Nelson (’Lonesome Town’). By the mid 60s, Knight had fallen in with industry mover and shaker Jimmy Bowen and was writing songs for teen trio Dino, Desi & Billy.

Baker Knight:
”Hallucinations was recorded in a small studio on Melrose Avenue. I played some of the less prominent guitar parts and Gerry McGee (Monkees sessioner and later a member of The Ventures) played the lead guitar. Jimmy Bowen, the producer, got a neat idea for recording the background vocals. He mic’d me with a stage type mic connected to the input of a very large guitar amp.

The amp had a tremolo, which was turned on at a high depth level. They mic’d the speakers on the amp and fed that signal into the studio board.

I thought it was a pretty good record, so did Bowen. I tried to make it sound a little Beatle-ish.”   

The flip ’I Feel Sick About The Whole Thing’ is by no means a throwaway cut. Baker Knight is obviously going for a Lovin’ Spoonful vibe here and in my opinion is successful in doing so. This song has yet to make a compilation appearance.

(08/06/14)

BILLY FURY – ’Give Me Your Word’ / ’She’s So Far Out She’s In’ (Decca F.12459) July 1966

England’s answer to Elvis Presley was probably Billy Fury and he enjoyed lots of rock ’n’ roll hits pre Beatlemania. None of these songs are ’Flower Bomb Songs’ material.

However, hidden away on the B-Side of a mid 1966 single is a Baker Knight penned mod dancer with some classy guitar and organ bursts.

”She’s So Far Out She’s In” was also recorded by Manchester beat group The North Stars, Dino, Desi & Billy, The Power Plant and The Monkees, although their version was unfinished and only a backing track survives.

(08/06/14)

WEST COAST POP ART EXPERIMENTAL BAND – ’1906’ / ’Shifting Sands’ (Reprise 0552) February 1967

I’m currently researching Baker Knight. He is mostly known as being a rockabilly recording artist in the late 50s and early 60s with his backing band The Knightmares. Big names including Elvis Presley, Frank Sinatra and Jerry Lee Lewis recorded his songs.

Baker’s song ”The Wonder Of You” was a big hit for Elvis.

However, in his early 30s, during the years 1966/67 he was writing some happenin’ songs. Don’t know if readers are aware of this but The West Coast Pop Art Experimental Band recorded two Baker Knight songs for their album ”Part One”

These were the ultra great ”Shifting Sands”, also released as a single and an old song from around 1964 called ”If You Want This Love”… this song was released as a 45 by Sonny Knight.

(07/06/14)

THE GRAVEYARD FIVE – ’The Marble Orchard’ / ’The Graveyard Theme’ (Stanco Records SR-102) September 1968

I’VE JUST BOUGHT A RE-ISSUE OF THIS MONSTROUS 1968 FUZZ TORMENTOR MADE AVAILABLE BY LYSERGIC SOUND DIST. ORIGINAL COPIES ARE VIRTUALLY NONE EXISTENT, MAYBE A HANDFUL SURVIVE AND COPIES SELL FOR SEVERAL THOUSAND DOLLARS SO THIS IS A REQUIRED ITEM THAT LOOKS AND SOUNDS AMAZING.

IT IS BELIEVED THAT THE GRAVEYARD FIVE HAILED FROM THE KELSEYVILLE – LAKEPORT AREA OF CALIFORNIA (TEENBEAT MAYHEM) AND DESPITE THE APPARENT LATE 1968 RELEASE, THIS SOUNDS LIKE IT BELONGS TWO YEARS IN THE PAST.

HAVE A LISTEN TO THIS CRANIUM SMASHER, CRANK UP THE VOLUME AND FEED YOUR MIND WITH SOME REVERBED GUITARS AND FUZZ……. REMEMBER, THAT THE LATE 60S WEREN’T ALL ABOUT LOVE AND WHITE DOVES, DIG A LITTLE DEEPER AND YOU’LL FIND THE GOOD STUFF THAT NO ONE KNOWS ABOUT…. 

CONFIRMED GROUP LINE-UP AS FOLLOWS:

GARY PRATHER (RHYTHM GUITAR)
LOUIS SHRINER (LEAD GUITAR)
STEVE KUPPINGER (BASS)
DAVID TEMPLETON (DRUMS) 

I got in touch with The Graveyard Five rhythm guitarist Gary Prather via YouTube and he answered my questions.

EXPO67: 

Gary, if you want to elaborate more on the killer Graveyard Five record please get in touch. I’ve just wrote about the disc on my blog but would like to know who played what instruments, the recordings, did the group play any gigs, were you in any groups prior to the Graveyard Five and did anyone go onto other groups etc etc….just nerdy stuff that I kinda dig and need to know!

GARY PRATHER: 

Hi Colin, Dave played drums, Louie played lead guitar, Steve was on bass guitar, and I played rhythm guitar.  We played a lot of local gigs before winning a battle of the bands contest in Lakeport, California that got us the recording contract to cut the record with Stanco.  

We were all in high school at the time, and I had to quit the band shortly after making the record (my parents kinda forced me to for personal reasons).  I don’t know if the others went on to play with other bands after that, but I played for a short time with my brothers in a band before going on to college.  

My brothers still play to this day, and have cut a couple of albums of their own music. 

They are the Prather Brothers Band and are playing at the Cobb Stock festival in Lake County this weekend.  Nowadays all I play is the radio LOL!

(04/06/14)

PHIL and the FRANTICS – ’I Must Run’ / ’Pain’ (Rabbit 45-1219) February 1966

The best place to hear the recordings of Phoenix, AZ group Phil and the Frantics is via the mid 80s retrospective on Voxx Records, strange then, that I can’t find my copy. Maybe I didn’t even buy it back in the day but thought I had!

’I Must Run’ is almost 100% based on The Zombies song ’I Must Move’ but nevertheless, it’s still an awesome moody beat number with a great organ dominated sound. The flip ’Pain’ is also a British Invasion styled tune.

According to ’Fuzz Acid & Flowers’, ’I Must Run’ was a sizeable local hit which brought the group some notice, eventually gaining a touring slot with Peter & Gordon.

(01/06/14)

STERLING DAMON – ’Rejected’ / ’My Last Letter’ (International Artists IA-108) mid 1966

’Rejected’ is a bass heavy scorcher with some jangling guitar and moody vocals from Sterling Damon. Prior to this one-off single for International Artists he went under the name of Mel Douglas and released several rockabilly records with his backing band The Nu-Notes.

The flip ’My Last Letter’ is a teener ballad.

Both songs on this disc were written by Mel Douglas a.k.a. Sterling Damon. It’s all a bit confusing as sometimes you’ll see his songs with the credit Melvin D. Gilmore! The single was released in different mixes and on different coloured labels. Patrick L from lysergia.com has some great information about these variants and the discography of International Artists.

108 STERLING DAMON (aka MEL DOUGLAS)  [Houston]
LH-2447 Rejected (M.D. Gilmore)
LH-2448 My Last Letter (M.D. Gilmore)
Produced by Ken Skinner; blue label
May, 196

NOTE: There are two pressings of IA 108, with different mixes of both sides. The first pressing is shown above. Second pressings are on yellow and green labels, have credit line ”Arranged by Walt Andrus,” and the LH matrixes are replaced by IA matrixes (IA-108-A/B).

(information in blue taken from Lysergia.com)

(31/05/14)

THE HYSTERICAL SOCIETY –  ’Come With Me’ / ’I Know’ (United Artists UA-50147) March 1967

This short lived combo were from Amarillo, TX.
Both sides of this 45 are essential with perhaps the ’Taxman’ riffed ’Come With Me’ the pick. United Artists deemed this side as the ’plug side’.

The flip ’I Know’ is much more aggressive with the bass guitar high in the mix and some thumping drum action. Check it out on ’Psychedelic Unknowns Volume 9’. Incidentally, ’Come With Me’ has only ever been compiled on Misty Lane’s ’Basementville USA!’ and never on compact disc.

Hysterical Society bass player Ken Hutchinson confirmed the following to Garage Hangover:
 
”We did indeed cut six sides while there however the promo copy of the two that you acquired was all that was released. We received copies of the other four, but I have lost track of mine after being passed around to family members for 45 years. There were five rock and roll songs written by Mark and one ballad written by me recorded. Eddie picked the two for release.

“Come With Me” was very current for the time – it must have been as the Beatles used the same riff for “Taxman” a short time later with a lot better result. The flip side, “I Know”, was, I think, a little ahead of it’s time but what is my opinion worth.”

(31/05/14)

DON & JERRY – ’Better Run And Hide’ / ’Too Much Confusion’ (N-Joy 1018) September 1967

Their most well known song amongst garage fans is the Fabor Records release ’In The Cover Of Night’ that has surfaced on a couple of compilations over the years. Much more obscure is their other offering on N-Joy Records from the back end of 1967.

Don Griffin and Jerry Strickland may have been based in Louisiana but I’ve got no substantial evidence to back that up. It was a West Monroe, La label that released ’Better Run And Hide’ / ’Too Much Confusion’ so maybe I’m not too far off the mark.

’Better Run And Hide’ is a fast paced strummin’ beat tune than is still clinging onto folk-rock. Folk-beat is probably the best phrase to describe the music. The flip is also decent enough and sounds like they’d been listening to The Rolling Stones hit ’Mother’s Little Helper’ quite a bit.

Both sides as far as I know have never caught the compilers notice.

(31/05/14)

THE ECHOES OF CARNABY STREET – ’Baby Doesn’t Know’ / ’No Place Or Time’ (Thames 105) August 1966

This is a 45 I’ve had for years but have never written about it despite doing some research at the time of purchase. I’ve even pencilled notes on the plain white sleeve but for some reason it got filed away in the box until May 2014 when I remastered both sides for ’Trash Can Radio.’

Checking the internet, collector Jeff Lemlich of ’Savage Lost’ has got the scoop on the band. He confirms that they were all pre 15 year old teenagers from Miami Beach, Florida. They got talent spotted by Steve Palmer who owned Thames Records and he offered them the chance to record some songs with producer Jim Sessody.

Palmer brought The Echoes Of Carnaby Street a couple of Travis Fairchild songs to record which they did with some success. Both ’Baby Doesn’t Know’ and ’No Place Or Time’ are guitar/organ beaters. Travis Fairchild was the leader of The Cleffs Of Lavender Hill.

Producer Jim Sessody had some success in the late 70s engineering records by Aerosmith, The Records and The Romantics among others.

Sessody was also involved with The Legends, who were based in Milwaukee WI and then later Florida.

(31/05/14)

THE ESCAPADES – ’Mad Mad Mad’ / ’I Try So Hard’ (Verve VK-10415) May 1966

The Escapades were from Memphis and are quite well documented online. There is also information about the group within the booklet of The Jesters CD titled ’Cadillac Men – The Sun Masters’ released by Big Beat in 2008.

Their first single ’I Tell No Lies’ / ’She’s The Kind’ was released on Arbet and is acknowledged as one of the great Memphis 60s garage records. It was a local success and the group got signed to Verve Records soon after.

’Mad Mad Mad’ / ’I Try So Hard’ soon followed in May ’66 and it’s swingin’ fuzz laden beat, somewhat frantic but with commercial appeal. Being on a major meant more contacts and better paying gigs with support slots on tours with Sam The Sham and Mitch Ryder & The Detroit Wheels.

Sadly, like many teenage groups in USA back then several group members received their draft papers and The Escapades broke up.

(26/05/14)

THE PENTHOUSE FIVE – ’In His Shadow’ /’Bad Girl’ (Solar Records 7665) June 1966

This combo were short lived, maybe less than two years but fortunately they released a couple of singles and recorded more studio material, unreleased during the 60s but fortunately released back in the mid 80s on Cicadelic Records.

They were formed in the wake of the British Invasion sometime in 1965 and common with a large majority of US groups during this time, they were all still teenagers. According to Bill Looney
The Penthouse Five were a popular group in their home City of Dallas and enjoyed regular gigs and radio playtime.

Their first single was the jangle folk-rocker ’In His Shadow’ which has been one of my many fave rave janglers since I heard it via that Cicadelic Records LP ’Texas Punk Volume 4’ all those years ago. By contrast, the other side ’Bad Girl’ is a Kinks style beat rocker, also great.

By the start of 1967 the group dropped the ’five’ and were simply known as Penthouse. A second single followed in February 1967 on Hawk, ’You’re Gonna Make Me’ / ’Don’t Mess Around With My Dream’.

line-up:
Rob Graham (lead vocals/keyboards)
Steve Wood (vocals/rhythm guitar)
Justin Brown (lead guitar)
Mark Porter (drums)
Bill Looney (bass)

(26/05/14)

CRYSTAL CHANDELIER – ’Suicidal Flowers’ / ’Your Land Of Love’ (Cobblestone CB 730) 1968

I’ve been meaning to research and write about the obscure psychedelic outfit Crystal Chandelier for quite some time, I even YouTubed the B-Sides for both of their singles back in 2011 but got side tracked.

It has been confirmed that Crystal Chandelier hailed from North Providence, Rhode Island and were probably made up with five friends. I did some internet digging and located various YouTube comments from family members of the group suggesting that four of the musicians were:

Arnold Micarelli (vocals)
Frank Giammarco (lead guitar)
Vincent Vento (rhythm guitar)
Anthony Jackvony (drums)

The fifth member could possibly have been someone called Keith Beck who wrote ”It’s Only You”, the flip of their United Artists 45 ’The Setting Of Despair’. There is also a lad named Keith Beck noted on the online site ”North Providence High School 1968” in the same class as Frank Giammarco. Strong evidence or co-incidence?

’Suicidal Flowers’ is a fuzzadelic doom laden psych ballad patterned with eastern vibes that add to the song’s intensity. It’s one of my all time favourite psychedelic fuzz tunes and has been compiled several times, maybe the first time on Pebbles #3.

’Your Land Of Love’ is also great, this time the music is much more dreamy, fuzz free and with beautiful acid vibes and orchestration. Incredibly, this song has never turned up on any compilation as far as I know. Check out my YouTube upload.

CRYSTAL CHANDELIER -The Setting Of Despair’ / ’It’s Only You’ (United Artists UA-50284) March 1968

The other Crystal Chandelier 45 was released on United Artists and produced by Henry Jerome who was the A&R director for UA during the late 60s and would have been in his fifties when the Crystal Chandelier entered the studio. I wonder what he made of these young hipsters with their psychedelic sound.

’The Setting Of Despair’ is mesmerizing orchestrated psychedelia with a slowish pace that adds to it’s intensity. The lyrics appear to be about unrequited love. It has turned up on several comps including ’Sixties Punk Ballads Sampler’ on Eva back in the late 80s.

The flip ’It’s Only You’ is the least psychedelic song Crystal Chandelier recorded, this time they go for a pleasant pop beat style and as far as know is un-compiled.

During my research I found an article from Billboard, issue dated 29th July 1972. Someone called Arnie Micarelli from North Providence, who is employed by Interstella Electronic Research & Development Corp, is talking about a studio design of a new 24-track computerized tape recording complex. I wonder if it’s the same Arnie Micarelli from Crystal Chandelier?

If anyone has any information about this group and/or photos please get in touch.

(21/05/14)

THE REGENTS – ’Words’ / ’Worryin’ Kind’ (Penthouse 502) July 1966

From Bakersfield, CA. This group had four singles during their lifetime all on different labels. This was their third release, ’Worryin’ Kind’ is a catchy garage rocker with a hot guitar break. 

The flip, ’Words’ was the first known release of the Boyce & Hart song made famous by The Monkees in 1967. Norm Ratner produced this disc and his name crops up on many noteworthy folk-rock and garage releases including singles by The Bees, The Hook, The Inrhodes, The Leaves, W.C. Fields Memorial Electric String Band and The Yellow Payges. I’m sure that there will be more.

Over the years ’Words’ has been compiled on Killer Cuts and Quagmire #6 whilst ’Worryin’ Kind’ can be found on Acid Dreams #3 and Quagmire #5.  

(21/05/14)

COUNT FIVE – ’Peace Of Mind’ / ’The Morning After’ (Double Shot 106) November 1966

I’ve been busy putting together some hour long mixes for Mike Spenser’s ’Trash Can Radio’ which is due to start broadcasting in early June…. all I’m doing is dipping into my boxes and randomly picking 60s garage, beat or psych 45s that I’ve got in my collection.

I’ve already highlighted some of those discs recently including The Painted Ship, The Kingsmen, and The Seeds.

I’ll post the records selected for ’Trash Can Radio’ here continuing with Count Five’s follow up to their big hit ’Psychotic Reaction’

It’s a Kinks style thumper with trippy moments but it subsequently failed to catch on.

(20/05/14)

THE SEEDS – ’Mr Farmer’ / ’No Escape’ (GNP CRESCENDO 383) February 1967

I’ve started working on my Seeds 45 collection which to be honest is a bit pathetic. I’ve just made do with Seeds compilations in the past. Here’s one I bought last week.

’Mr Farmer’ is a great garage mover with the Sky master in control of his cohorts. The mono 45 has the best ending of the song, the usual version you hear on comps and Seeds Collections tend to use the fade-out album version.  

’No Escape’ is basically a re-write of ’Pushin’ Too Hard’, at least that’s what I think!

(20/05/14)

COUNT FIVE – ’You Must Believe Me’ / ’Teeny Bopper, Teeny Bopper’ (Double Shot 110) March 1967

This was Count Five’s third single and is collectable because both sides are not on their ’Psychotic Reaction’ album.

’You Must Believe Me’ is a decent cover of The Impressions hit from 1964 done in a garage beat style.
My personal favourite is the crunchin’ fuzz punker and self-penned ’Teeny Bopper, Teeny Bopper’ which was recorded in the late 80s by Attila & The Huns.

There are plenty of reasons to rave about San Jose teenbeat group Count Five and ’Teeny Bopper, Teeny Bopper’ is just one of them.

(20/05/14)

THE RAVES – ’Everything’s Fire’ / ’Sing Children Sing’ (Smash S-2162) April 1968

This was the third and last single by The Raves after which they disappeared. Hopefully someone who knows the details about this combo will get in touch with information as they really were a hot band and unjustly ignored by probably everyone outside New York.

I\ve read elsewhere that they were regulars at the famous Cafe Wha? and Keith’s backing group. He had a big hit with ”98.6”. David Jimenez from The Raves was definitely involved and played guitar and co-wrote several songs on the album ”The Adventures Of Keith”

Getting back to this disc then! ”Everything’s Fire” is a terrific blast of heavy mod beat and has a very English sound. It’s perhaps the rarest Raves 45 to find and may prove difficult to locate.

The white label promo had ’Everything’s Fire’ on both sides (mono / stereo) but my stock copy has the soulish ’Sing Children Sing’ on the flip.

(17/02/14)

THE RAVES – ’Don’t Chop Down My Tree’ / ’Think Of Your Love’ (Smash S-2105) July 1967

By their second release The Raves were if anything even more commercial sounding. Can’t believe these two records were not big hits. I’d call this punk bubblegum. Way better than that watered down poppy stuff that followed in 1968/69.
’Think Of Your Love’ is genius.

(16/02/14)

THE RAVES – ’Mother Nature’ / ’Mister Man’ (Smash S-2088) April 1967

The Raves hailed from Brooklyn, New York and released three 45s on Smash. All are great garage pop classics with a slight bubblegum sound. Their debut 45 ’Mother Nature’ is a pounding fast paced fuzzy popper with eastern promise. The flip ’Mister Man’ treads similar ground. Both sides are insanely catchy and would have obviously sounded cool coming out of those small 60s radios because they are very well produced and mastered loud.

The producer for The Raves was Ron Haffkine. He was also producer for another New York band The Gurus. He also produced and managed Dr Hook & the Medicine Show. They of course became simply Dr Hook by the start of the 70s.

The Raves photos downloaded from ”Cafe Wha” Facebook page

(14/02/14)

THE F.B.I. – ’Day-Time Nite-Time’ / ’What Am I To Do’ (Gemini G-500 / G-501) May 1967

I enjoy trying to solve the mysteries behind obscure mid sixties groups and the records they left behind, after all, this is what my site ”Flower Bomb Songs” is all about. Under my scrutiny at this moment in time is a combo called The F.B.I. a.k.a. Four Boys Inc.

Just who were they? and where did they come from? This is my quest, my aim is to find out the accurate details because a complete lack of information exists online and the few scraps of data in a couple of music guides I have, give a conflicting picture.

It seems that The F.B.I. released ”Day-Time Night-Time” / ”What Am I To Do” on Gemini during May 1967 (according to Teenbeat Mayhem). Both songs were written by Dennis Tracy and both songs are simply wonderful examples of folk jangle, a genre of music that is my absolute favourite.

”Day-Time Nite-Time” owes a lot to The Byrds ”Eight Miles High” but this pastiche is no mere imitation. The beautiful jangle is frantic and earnestly flows throughout, the backbeat is simple and rhythmic with organ bursts, all culminating in a genius recording.

The other side ”What Am I To Do” is one of the most delicate jangle ballads I’ve ever heard, the guitar rings out it’s gorgeous chime and the spoken mid section is sublime and elevates the song to pure pop perfection.

The record label indicates a Universal City, California address and raises yet another question. Was that the location of The Four Boys Inc or the address of the Gemini record label?

For whatever reason, the single was repressed with exact label details apart from the name of the group which was given as The Band Of Wynand. According to an online source the re-release occurred during October 1967.

”Day-Time Nite-Time” has been compiled on ”Fuzz, Flaykes & Shakes – Volume 1”, their liner notes suggest that the Band Of Wynand hailed from Los Angeles. More recently both songs from this 45 appeared on a CD only release ”The Cicadelic 60s – Volume 3” – I don’t have this so can’t compare the music but they may be demo versions according to ”Fuzz, Acid & Flowers”

I have a 45 by His Majesty’s Coachmen and I’ve always wondered if they were they same group as the Band Of Wynand. Both songs on this disc ”I Don’t Want To See You” / ”Where Are You Bound” are written by Dennis Tracy and are both folk janglers. The record was even released on the Gemini label and both ’groups’ share the same Producer, Dick Shepp.

According to ’Teenbeat Mayhem’ His Majesty’s Coachmen hailed from Santa Barbara, CA.

ARSA has this song charting for one week in Santa Barbara (KIST) in August 1966. Teenbeat Mayhem lists the release as August 1967? meaning that the F.B.I. record is perhaps May 1966.

I did some research on Dick Shepp and he was given production status on a record released by Joey Martin on Imperial Records. ”Joey’s Prayer” / ”Joey’s Letter” was released December 1967.

(02/11/14)

THE MUSIC COMBINATION – ’Mechanical People’ / ’Bambi’ (American Music Makers AMM-0012) 196?

The Music Combination were an obscure pop rock group from Pennsylvania, perhaps the outfit may be pin-pointed to Pittsburgh. I don’t know for sure. What I do know, however, is that they released three singles on American Music Makers, with ”Mechanical People” / ”Bambi” being their debut disc.

Both sides are pop fare with brass with just a hint of psych, the latter being the strange studio FX added by Producer Lou Guarino. 

In late 1962 Lou Guarino formed World Artist Records, anticipating  the British invasion, he conducted a talent search trip which yielded and launched the careers of “Chad & Jeremy” and “Christine Quate” among others.

Their hits included “A Summer Song”, “Willow Weep For Me”, “Yesterdays Gone”, “Tell Me Mama” and “In The Middle Of The Floor” on the World Artist label.  

Unfortunately the brilliant career of Christine Quate was cut short due to an automobile accident.  Although intended for Chad & Jeremy, Lou Guarino withheld the release of “A Very Good Year” due to production interference by the duo and he offered it to Frank Sinatra, which he accepted graciously.

World Artist continued its success with “Joe Sherman, his Orchestra & Chorus”, “Reparata & The Delrons”, “Phillis Hyman”, “Shavells” and a host of artists from around the world. Reparata’s charted hits included “Tommy”, “Whenever a Teenager Cries”, “Captain Of My Ship” and “Shoes”. 

The Joe Sherman Orchestra & Chorus releases included motion picture theme songs, such as: “Mad Mad World”, “The Seventh Dawn” and the American Canadian hit “Toys In The Attic” from the Dean Martin motion picture of the same name.

Among many of the hits on Lou Guarino’s three nationally acclaimed labels “A Mumbling Word” by The Stereos became a highly sought international collector item.

Hi, I am Larry Patterson, and this was my band. We recorded for AMM/Lou Guarino under various names. The Upsets, The UP-SET, Joey Dallas, Joey Conti and The Music Combination:

Joey Guerino (lead vocals) Larry Patterson (sax/vocals) Bill Sparks (bass/vocals)
Tom Somich (drums/vocals) Denny Gill (trumpet/vocals) Frank Donahue (guitar/vocals)

Our first release was Moulin Rouge as The UP-SET we also backed up other artist in the studio and on stage. contact:patterson.larry@gmail.com I went on to manage the 10 piece horn/rock band, MOM’S APPLE PIE

(01/11/14)

THE ROONEY BROTHERS – ’Geordie’ / ’Just A Friend’ (Columbia 4-44393) December 1967

The Rooney Brothers were fronted by Mickey Rooney JR, the eldest son of actor Mickey Rooney and fair dues to him as he was involved with this excellent single, both sides featuring an interesting jangle sound.

”Geordie” is a little known psych tinged folk rocker clearly with a huge Byrds influence which is  evident on this olde English traditional folk song. The flip ”Just A Friend” is also worthy and features a wonderful jangling guitar break.

Updates:
Teddy Rooney died 02/07/16 – aged 66
Tim Rooney died 23/09/06 – aged 59

Mickey Rooney Jr. was later in the group Song that cut a s/t LP on MGM, produced by Curt Boettcher and Keith Olsen.

It’s an Italian old song by Fabrizio de Andrè.

(27/10/14)

RONNIE DANTE – ’Janie Janie’ / ’I’ll Give You Things’ (Columbia 4-43862) November 1966

Well how about that! I’ve been after this 45 for years and have had it in my eBay searches to get an email when a copy is put up for sale, but NOTHING in all that time.

Then, yesterday I looked on a UK dealers auction list because he was selling something else I was interested in and he had a copy of ”Janie Janie” with a starting price of 99 pence!

He listed it as ”Ron Dante” – I was searching for ”Ronnie Dante” all that time. It appears that a few letters make all the difference on eBay…

Anyway, I charmed the record to EXPO67 Headquarters for a measly 99 pence….”Janie Janie” is a quite brilliant bubblegum psych tune with an eastern vibration. The song was co-written by song writing team Gene Allan & Ron Dante and Produced by Neil Levenson.

Despite having a catchy and commercial sound the record got nowhere fast and as such is a difficult disc to locate.

Perhaps the timing wasn’t right for the record because I think this would have been a SMASH had it been released in mid ’68 when bubblegum was at it’s height of popularity.

After the demise of the release Ron Dante would write almost an albums worth of songs for The Eighth Day and even further down the line would become singer / songwriter for cartoon band The Archies. 

(25/10/14)

THE NEW SOUND SPECTRUM – ’Summer Girl’ / ’Love’s No Crime’ (Take 6 Inc 1003) September 1967

This 45 is a recent purchase and despite spending an hour researching the record I have come up with absolutely nothing.

Who were The New Sound Spectrum? and where did they come from in USA?

I did find out that the record was probably released sometime in September or perhaps even October 1967 as it is listed as a ”Kacy Contender” on a Sept ’67 radio sheet from KACY 1520 Oxnard, California.

Given that the release is on Take 6 records and with a mention on the Oxnard radio survey leads me to believe that The New Sound Spectrum hailed from somewhere in California.

Both sides are lovely sunshine pop with perhaps the strongest being the A-Side ”Summer Girl”. This has a gorgeous melody and harmonies. The white label promo was titled ”Summer Girl (Now That Summer’s Over)” with the group name The ”New” Sound Spectrum.

Both sides have never been compiled.

(25/10/14)

THE RENAISSANCE – ’Mary Jane (Get Off The Devil’s Merry-Go-Round)’ / ’Daytime Lovers’ (Cameo Parkway P-146) April 1967

Here’s a kool 45 by The Renaissance from April 1967. ”Mary Jane (Get Off The Devil’s Merry-Go-Round)” has obvious drug connotations as ”Mary Jane” was a slang word for Marijuana.

The song was co-written by Mark Barkan who wrote many of the songs used in the Banana Splits TV Show.

Production by Claus Ogerman who also worked with The Marshmellow Highway and The Gates Of Eden.

(23/10/14)

A look at The Magicians and the songs of Garry Bonner and Alan Gordon.

This weekend I had a MAGICIANS freak-out …. not only the fabulous sounds of this NYC combo but the songs written by members Garry Bonner and Alan Gordon. This is an all too brief update of my findings.

The MAGICIANS first single was ”An Invitation To Cry” / ”Rain Don’t Fall On Me No More” on Columbia November 1965. Some copies came housed in a picture sleeve.

They came from the folk-rock scene in Greenwich Village and were regulars at ”The Night Owl”. According to the liners of the Sundazed CD, the Magicians took their name from the Lovin’ Spoonful song ”Do You Believe In Magic”

Both sides are GREATNESS but as with most of the worthy 45s released in the 60s it got no where fast and failed to chart, although they remained a popular group in New York….

”An Invitation To Cry” was comped on the Nuggets box but the folk rockin’ ”Rain Don’t Fall On Me No More” has not been compiled and is not on YT either.

THE MAGICIANS – ’Lady Fingers’/’Double Good Feeling’ (Columbia 4-44061) 1967

One of THEE very best psych tinged folk rock records was ’Lady Fingers’ recorded in January 1967 and released as their final single on Columbia (after it flopped The Magicians were dropped by the label).

Written by Magicians Alan Gordon and Garry Bonner ’Lady Fingers’ is an absolute jewel complete with complex and sublime harmonies.

BOBBY DARIN cut a version of the Magicians ”Lady Fingers” on his ”Inside Out” album from 1967….. complete with a baroque psych feel and sitar…. kool one!

THE GOSPEL – ’Redeemer’ / ’I Won’t Be Sad Again’ (Vanguard Apostolic VRS 35084) 1968

This 45 is a product of the late 60s religious vibe that seemed to be rubbing off on a whole load of rock musicians and hippies to varying degrees.

The music on both sides of the disc is way-out. ’Redeemer’ is a hippie psych gem kind of loosely based on The Yardbirds tune ’Tune Into Earth’ with that strange Gregorian(esque) vocal delivery.

The flip ’I Won’t Be Sad’ sounds much more in the traditional folk format with banjo and fiddle but the hippie laid back approach gives it a late 60s feel.

Both songs were written and produced by ex Magicians bass guitarist John Townley.
To my knowledge The Gospel have not been compiled before. Curiously both songs were included on an album by The Family Of Apostolic and is perhaps the same outfit.

Both sides of this Gospel 45 are on the Family Of Apostolic self-titled double LP (Vanguard VSD 79301/2). Another 45 from their LP was ’Saigon Girls’ / ’Water Music’ (Vanguard Apostolic VRS 35081) – it was credited to The Family on the labels …

Another version of ”Lady Fingers” was recorded by a group called Barracuda.. This 45 on RCA was released November 1968.

The plug side ”The Dance At St. Francis” was also written by ex Magicians Gordon & Bonner and was actually a small hit in some regions of USA.

This 45 was actually post-Gandalf. The album was recorded for Capitol at least a year prior to the release. Barracuda was their next project.

A teenbeat group called The E Types recorded a Gordon – Bonner song called ”Put The Clock Back On The Wall”… They hailed from Salinas, CA. This 45 was released March 1967.

This trippy pop swinger was compiled on Nuggets #04 then chosen for the Nuggets box set that came out in the late 90s on Rhino.

It’s such a shame that The MAGICIANS didn’t hang around long enough to release an album or for that matter record their own songs in ’67 with the group.

Here’s another Gordon – Bonner song ”She’d Rather Be With Me”

The Turtles had a huge hit with this one in 1967.
This is a pic of the British release on London Records, released in June

Another TURTLES hit penned by Bonner – Gordon was ”Happy Together” from Feb 1967….one of the greatest 60s pop songs ever written… terrific.

”You Know What I Mean” from July 1967 is yet another Gordon – Bonner composition recorded perfectly by the classy TURTLES.

Another obscure song was recorded by Gene Pitney.… check out ”Animal Crackers (In Cellophane Boxes)” Gene was hitchin’ a ryde with some psych here.

(20/10/14)

$300 Fine

This compilation from July 2006 is probably the most enjoyable set I’ve ever pieced together. On a now defunct ’Garage Forum’ someone came up with the great idea of making a garage comp from their 45s bought between April – June 2006.

Those who entered the task had three months to come up with a decent set of records to compile but no one could spend more than $300. This was quite a stiff budget but it meant looking around and finding good deals and cheap 45s.

From memory I think I was just within budget, spending about $290 on the records on this comp. I chose to call my set $300 Fine which is obviously a nod to The Litter LP titled $100 Fine. Just my way of sticking with the garage theme. I also used a rather cool picture of The Wailers from 1966 to adorn my sleeve.

MOONRAKERS – I’M ALL RIGHT
BRAVE NEW WORLD – CRIED
FUGITIVES – MEAN WOMAN
MIDNITERS – NEVER KNEW I HAD IT SO BAD
CHOIR – I’M GOING HOME
BLUE BEATS – BORN IN CHICAGO
GREEN BEANS – WHO NEEDS YOU
GAYLAN LADD – HER LOVING WAY
ANGLO-SAXON – YOU BETTER LEAVE ME ALONE
BAD SEEDS – KING OF THE SOAP BOX
EXOTICS – FIRE ENGINE RED
MAGICIANS – LADY FINGERS
EMERGENCY EXIT – MAYBE TOO LATE
POWER PLANT – SHE’S SO FAR OUT SHE’S IN
FLOWER CHILDREN – MINI-SKIRT BLUES
ESCAPADES – MAD MAD MAD
PAT FARRELL & THE GREAT BELIEVERS – GOTTA FIND HER
LORD AUGUST AND THE VISIONS OF LIGHT – LET ME BE ME
COUNTDOWN 5 – ELEVATOR
WAILERS – YOU WON’T LEAD ME ON

(27/09/14)

EMIL RICHARDS AND THE FACTORY – ’No Place I’d Rather Be’ / ’Do Biddely’ (UNI 55027) August 1967

Another addition to my far-out psychedelic 45 record collection is this one by Emil Richards & The Factory on UNI. For some reason this single was not compiled on the Lowell George & the Factory collection released by Edsel in the early 90s.

The acid tinged Eastern sounding folk of ”No Place I’d Rather Be” is pure L.A. Sunset Strip ’67 style. I’ve always loved this kinda sound so was chuffed to find a copy of this rare single.

Check it out on ”Soft Sounds For Gentle People #04’

Shame that the flip ”Do Biddley” is a waste of time and effort, being a dreadful instrumental. Instead, UNI should have just gone for a stereo version of ”No Place I’d Rather Be” on the other side.

Gray Newell: The flip side is mainly a showcase for Emil Richards’ xylophone virtuosity – he’d release two albums for UNI in 67, a collection of covers, plus the more interesting ”Stones” LP, twelve bizarre instrumentals based on the theme of birth stones. I expect UNI were just getting their money’s worth. 

The xylophone on ’No Place I’d Rather Be” gives it somewhat of a unique sound. ’Do Biddley’ and ’When I was a Apple’, the flip of the other Factory 45 for UNI, both got left off the Factory CD as neither were credited to Lowell George.

(21/09/14)

THE WHETHER BUREAU – ’Why Can’t You And I’ / ’White And Frosty’ (Laurie LR 3431) February 1968

I bought this 45 a couple of months ago and it’s only now that I’ve had some spare time to research The Whether Bureau and upload ”Why Can’t You And I” to my YouTube Channel.

Not a great deal has been written about the group, although both sides of this disc have been compiled. ”Why Can’t You And I” can be found on ’Fading Yellow #06’ whilst ”White And Frosty” surfaced on ’Mindrocker #10’ back in the 80s.

It is believed that The Whether Bureau came from New York, this was their only 45. Perhaps they were a studio group put together by successful Producer Bobby Susser, who was also a member of his own group Think.

”Why Can’t You And I” is a fabulous psychedelic nugget with a complex arrangement, prodding organ bursts and guitars that sound like sitars. It’s all perfectly hypnotic. The other side ”White And Frosty” offers a more Doorsian sound and this one reminds me of the kinda bag Beacon Street Union and The Ultimate Spinach were creating.

(21/09/14)

THE ROMAN REBELLION – ’Every Groovy Day’ / ’The Weather’s Getting Bold’ (RCA Victor 47-9443) February 1968

Here’s a fairly obscure combo that I know nothing about apart from what has been written in ”Fuzz, Acid & Flowers” where the suggested location of The Roman Rebellion is Rochester, New York. Two names have also been confirmed as Thomas Alessandro and Rosario Rizzo who are credited as songwriters on both cuts of this single.

”Every Groovy Day” is a summery flower pop tune with some pleasant bah bah bah background vocals. It’s a lyte psycher that begs for repeated plays. The flip ”The Weather’s Getting Bold” is similar in structure.

Find ”Every Groovy Day” on Misty Lane’s compilation of the same name!

(20/09/14)

THE COUNTDOWN 5 – ’Elevator’ / ’Time To Spare’ (Toucan Records TC-1) September 1967

Obscure release by The Countdown 5, an outfit from Galveston, TX on a rather charming lookin’ label. ’Elevator’ is fuzztoned garage pop, reminds me of some of those Five American records.

There next 45 ’Uncle Kirby (From Brazil)’ is perhaps their most well known song appearing on several compilations. The latter single came housed in a smart picture sleeve.

(14/07/14)

THE BEST THINGS – ’Chicks Are For Kids’ / ’You May See Me Cry’ (United Artists UA 50027) May 1966

This combo were from Mankato, MN and recorded under the name of The Madhatters releasing a couple of 45s on the local label Cardinal. For some reason this United Artists record is a re-release of a Madhatters single that came out months previously during February 1966 but with a name change to The Best Things.

’Chicks Are For Kids’ is perhaps their best known song but make an effort to hear the sombre teenage testament of ’You May See Me Cry’ on the flip with it’s beautiful snaking guitar runs by former Gestures member Dale Menten. Indeed, the latter wrote and played guitar on both sides of this disc.

Dale Menten left The Gestures in 1965 and proceeded to play with several local groups over the next few years including The Only Ones, The Madhatters / Best Things, The Escapades, The Serophic Street Sounds and Blackwood Apology. He also did a lot of arranging and A&R work for numerous bands including T.C. Atlantic, The Boys Next Door, Danny’s Reasons, The Puddle, The Shambles, The Soul Seakers, The Nickel Revolution and C.A. Quintet.  

(06/07/14)

THE BLACK AND BLUES – ’Come To Me’ / ’Bye Bye Baby’ (United Artists UA 50245) November 1967

Here’s a new addition to my collection rec’d last week, the first single by Anderson, IL group The Black and Blues. I’ve seen this for years on dealer lists but never got around to securing a copy.

They started life as The Chalets but decided on a name change to The Black and Blues sometime in ’67. A one-off record deal with United Artists followed with their music produced by the in demand Paul Leka who worked on the The Lemon Pipers hits.

Both songs are group originals with perhaps ’Come To Me’ the best, at least I dig it the most. It’s hard and fuzzy with a perfect ’67 trippy raga guitar sound. Pure ’Flower Bomb Songs’ material, that’s why I played it on my latest podcast. On the other side is ’Bye Bye Baby’, a Bo Diddley inspired shaker.

Both sides were compiled in the mid 80s on the Eva released ’Finest Hours Of U.S. Punk’ and further Black and Blues reading material, including a picture of the band can be found on the highly recommended blog ’60s Indiana Band Szene’

Great Find! I’ve heard and really like ‘Come To Me’, it was comped on Pebbles Trash Box on CD 5.

(05/07/14)

BIG BROTHER – ’E.S.P.’ / ’Brother, Where Are You’ (All-American 5718) July 1970

When Santa Barbara, CA combo Giant Crab’s contract with UNI expired Ernie Orosco changed some members of his band and renamed the new outfit Big Brother and signed to All-American Records. Ernie Joseph’s name was added to the label…..as Big Brother featuring Ernie Joseph.

Their first single featured ’E.S.P.’, which was a song also recorded by The Giant Crab and released as their final single during September 1969.

This record was backed with ’Hot Line Conversation’. 
Big Brother’s version was remixed with additional phasing, the original intro and cold ending were not used for this new and heavier version. The backing vocals are also lower in the mix.

Shindig #28 has a feature on Ernie Joseph and is well worth the read.   

(04/07/14)

THE BEACH BOYS – ’Barbara Ann’ / ’Girl Don’t Tell Me’ (Capitol CL 15432) December 1965

One of my fave rave Beach Boys cuts is ’Girl Don’t Tell Me’ released first on their album ’Summer Days’ in June 1965, then selected as the B-Side of ’Barbara Ann’ during December 1965.

The song was recorded way back in April 1965 at Western Studios in Hollywood so it took eight months for it to be released on a single. It deserved to be the lead tune but it was hidden away on a flip.

’Girl Don’t Tell Me’ has a folk-rock guitar throughout but is a little buried in the mix that is until the all too brief solo. Carl Wilson performed lead vocal duties.

It’s believed that Brian Wilson wrote it heavily based on The Beatles ’Ticket To Ride.’ The label credit gave Brian the song writing accolade but during the 90s Mike Love was successful with a lawsuit and has now been given co-song writing status for this particular song.  

I’m not interested in the ’who’ or ’who didn’t’ write the song, all I know is that it’s GREAT! and so did the record buying public as the 45 stormed up the charts, peaking at number 3.

British harmony pop group Tony Rivers & the Castaways released their version of ’Girl Don’t Tell Me’ on Immediate during February 1966. Check it out on the 1990 Sequel CD ’The Immediate Alternative.’

Readers comments:
Dino, Desi and Billy do a great version of this. Carl Wilson probably wasn’t much older than them at the time but it seems to suit D,D and B’s younger voices better in its wistfulness.

I take that back. I just listened to the DD&B version and it’s really draggy. YouTube led me to another version I’d never heard by Keith Green, teenage Decca act produced by Gary Usher who later became big in the Christian music biz.

(27/06/14)

SIMON & GARFUNKEL – ”Sounds Of Silence” (CBS BPG 62690) January 1966

Quite possibly my most played album since discovering it in my mid teens. Recently I set about securing MONO releases of this and their next album ”Parsley, Sage Rosemary & Thyme”

The songs were mostly recorded during April – June 1965 but the album took an age (by sixties standards) to get a release, eventually coming out at the start of January ’66.

Check out ”Blessed” also recorded and released as a single by The Tremeloes.

”Blessed are the meek, for they shall inherit…
Blessed is the lamb, whose blood flows…
Blessed are the sat upon, spat upon, ratted on…
Oh Lord, why have you forsaken me?”

(14/02/15)

SIMON & GARFUNKEL – ”Parsley, Sage, Rosemary and Thyme” (CBS 62860) October 1966

Almost before the public knew whether Simon and Garfunkel was a comedy act, a law firm, or a partnership in the garment industry, the two young musicians bearing those names were becoming the fastest rising popular vocal duo in the land.

The last year has seen two of their LPs and four of their singles sell an amazing total of five million copies. Even more unusual is that these records are saying something, in lyrics and in music, and that the start of their popular acceptance came through the use of an electronic gimmick.

Paul Simon: ”Pop music has become the most exciting area of all music today. Pop music is catching up with film as the leading medium in which to make some comment about the world for a large audience, just as film caught up with literature.”

(back cover album liners)

(09/02/15)

SIMON & GARFUNKEL – ”Wednesday Morning, 3AM” (CBS 63370) October 1964

”The Sounds Of Silence” is a major work. We were looking for a song on a larger scale, but this was more than either of us expected. Paul had the theme and the melody set in November, but three months of frustrating attempts were necessary before the song ”burst forth”. On February 19, 1964, the song practically wrote itself.

It’s theme is man’s inability to communicate with man. The author sees the extent of communication as it is on only it’s most superficial and ’commercial’ level (of which the ”neon sign” is representative).

There is no serious understanding because there is no serious communication – ”people talking without speaking – hearing without listening”

No one dares take the risk of reaching out (”take my arms that I might reach you”) to disturb the sound of silence. The poet’s attempts are equally futile (”but my words like silent raindrops fell within the wells of silence”)

The ending is an enigma. I find my own meaning in it, but like most good works, it is best interpreted by each person individually. The words tell us that when meaningful communication fails, the only sound is silence.

(Art Garfunkel – words taken from the back cover of the album)

”The words of the prophets are written on the subway walls and tenement halls”: I’ve always referred this to the words written by a mysterious hand on the wall of Belshazzar’s palace ”Mene, mene, tekel, upharsin” meaning that God had weighted King Belshazzar finding weight wanting so his kingdom was divided and given to the Medes and Persians. In the modern world it’s the neon lights flashing the doomful warning… Michaelvee

(08/02/15)

RON DANTE – ’Let Me Bring You Up’ /’How Do You Know’ (RCA Victor 49.683) July 1970

This is a recent purchase of a two sided bubblegum blast by The Archies singer Ron Dante. I wrote about one of his earlier 45s a few months back, check out the archives.

These songs were part of his long player ”Ron Dante Brings You Up” and they’re here on a stereo single to promote his solo album. ”Let Me Bring You Up” is a commercial pop song with the necessary bubblegum trimmings but the flip ”How Do You Know” is something of a long lost delight.

Listen out for the organ bursts and hand-claps in combination with a bouncy rhythmic beat. It could almost be late 1967 again but it’s not. Sadly, it’s now 1970 and bubblegum is starting to sound like yesterday’s news as the heavy rock style and progressive blues start to hold sway.

Both songs were written by the Jeff Barry and Andy Kim song writing partnership. They wrote the hits for The Archies including ”Sugar Sugar” but couldn’t repeat the magic with Ron Dante, at least chart wise.

I love everything Ron Dante! He’s next to Dion DiMucci on all time versatile vocalists, and he wrote some decent pop songs as well. He was also ‘in’ The Detergents and The Cuff Links.

(26/01/15)

FRANK KINSEL – ’At Home’ (Epic BN 26492) 1969

Here’s an interesting album of folk blues with a tinge of country all played superbly by Frank Kinsel and various other famed musicians including Bill Wolfe (6 string guitar) Kevin Kelley (drums) Red Rhodes (steel guitar) and Wolfgang Melz (bass guitar).

My taster for the album is the loner vibration blues of ”Gamer.” This long player rarely turns up and not a great deal of information about it has ever surfaced. An obscure release on Epic.

”There I was in the middle of the grey on beige fifties and my older brother was diggin’ Etta James singing ’Roll With Me Henry’ (Dance With Me Henry was the successful mass media cop out).

There was some kind of a beginning for me in music as an expression, feeling, or movement at that time. It was the only way out…. or in. It was either tan shoes and a clean smile or a beer and a ’50 Merc.

Rhythm and Blues groups were a way of life and every party had a basement group composed of four or five guys who could carry on the most.

Detroit, I remember you. Expressways turned to freeways and time went by. Michigan, you looked very pretty when it snowed or when the sun set on your lakes. I sang songs for a while there: some were about you and some were about me, then I moved west.

California and San Francisco were like a new energy force that I hadn’t felt before, so I stayed and wrote and sang and experienced and experienced some more and came up with ideas to record. So I moved to the south into a somewhat populated city (plug for my new album) named Los Angeles.

This is a rather short summary of where I have been for awhile. If it seems incomplete, fill it in with your own life. Have a good day.”
(Frank Kinsel) 

(19/01/15)

THE SERPENT POWER – ’Serpent Power’ (Vanguard 79252) July 1967

Here’s an interesting West Coast album to track down, it won’t be that difficult if you’re not fussy about only owning originals as it’s been repressed many times over the years. The Serpent Power hailed from the San Francisco hippie scene and centred around Tina & David Meltzer.

All the songs are originals written by David Meltzer and display a confident band who’s music reminds me of a cross between The Jefferson Airplane and Country Joe & the Fish. Check out ”Open House” which is a quite lovely laid back hippie gem with some really excellent acid guitar play.

(01/01/15)

MARSHMALLOW WAY – ’Marshmallow Way’ (United Artists UAS 6708) 1969

Here’s an album I’ve had for years and it’s been filed away all that time just waiting until I get my act together to burn it to digital, make a YouTube upload and do some research. First off, the album is a bubblegum joy from start to finish, each and every song is a worthwhile sweet toothed bouncer with most of them having ’bubblegum hit’ written all over them.

Only, Marshmallow Way had no hits and after this album and a single they released vanished without trace, never to be seen, spoken or heard of ever again.

It appears that Billy Carl and Reid Whitelaw were behind the outfit, they wrote, arranged and produced every song and the ’band’ in the picture on the album cover were just ’cogs in the wheel’.

The sound of the material is quite sophisticated for bubblegum with exotic instrumentation and percussion with heavy use of vibraphone, marimbas, congas and 12 string guitar.

Checking the credits on the back of the album sleeve reveals that Jim Calvert, Norman Marzano, Paul Naumann and Ken Laguna were musical coordinators. They all have a bubblegum history and worked with The Music Explosion, 1910 Fruitgum Company, The Lemon Pipers, Ohio Express, The Beeds plus many others.

(30/12/14)

THORINSHIELD – ”Thorinshield” (Philips PHS 600-251) September 1967

Thorinshield were from Los Angeles with a line-up of James Smith (guitar), Bobby Ray (bass) and Terry Hand (drums). I don’t know if Thorinshield ever ventured out of the studio to perform gigs and I’ve never seen their name mentioned on the numerous gig posters and adverts that I’ve seen over the years.

What I do know is that Bob Ray worked on Donovan’s recordings from 1966 and released a 45 as Bob & Kit on HBR Records. Then in 1969 came a solo album on Soul City titled ”Initiation Of A Mystic”. 

Terry Hand was a member of The Everpresent Fullness.

Back to the Thorinshield album on Philips. If you dig sunshine pop with a heavy Beatles influence and orchestration then you’re gonna dig the album a whole lot. It’s all quite mellow with a late night drift away vibe throughout.

The songs are not particularly commercial or pop chart friendly with instant hooks and such like. They’re all slow burners and not unlike the work being carried out at the same time by Curt Boettcher on albums by Sagittarius and the Millennium.

A couple of singles were released from the long-player. I’ll probably get around to reviewing those at some point in time. I’ll end this write-up with my favourite ”One Girl” which sounds Byrds like with stinging guitar and backwards tapes.

Reader comments:
Like you Colin I am a big fan of the Thorinshield album, two early demoes ”Brave New World” and ”Wrong My Friend” (they sound great but very different from the album) are on the double comp ”Sing Me A Rainbow” which is loaded with excellent folk rock.

They had a non album 45 ”Lonely Mountain Again” which is pretty good too, a very early line up appears in the ”San Francisco Band ID Book” at which time Billy Mundi was their drummer.

Colin, Nice post. I have two 45s that I believe are from this LP, both pretty good. Also, thanks for connecting the dots to that Bob & Kit 45 on HBR. I have that one as well and is one of my favorites! Dan

Thorinshield did indeed play live gigs, the ones I can find evidence for are:1967: July 15 & 16 – Fantasy Fayre and Magic Music Festival, Devonshire Meadows Raceway, Cal State Northridge, Northridge, CA 1967: Oct 23 – The New Committee Theater, 836 Montgomery Street, San Francisco, CA

(30/12/14)

THE CYCLE SAVAGES – Original Soundtrack (AIR ST-A-1033) 1970

They’re the ungrateful, the uninhibited, the undisciplined and the never-challenged! Their power – the grinding roar of their cycles and the stench of burning rubber in their wake as this breed of savages journeys from area to area searching for trouble.

Their cry is ”Rev up and ride” – in short, it’s their warning to beware! This wild group of the 70s is known around the country as the CYCLE SAVAGES. They steal women, initiate them into their pack, and then sell them on the black market of crime.

What does ”the chopper”, as it is often referred to, represent to this segment of today’s youth? Is it merely an inexpensive mode of transportation, or is it a means to some sort of common identity?

The motorcycle is a symbol of individuality, independence and freedom. Jerry Styner’s original musical score, composed specially for ”Cycle Savages”, genuinely expresses the feeling behind the story – the uncertainty of today’s youth in their search for identity, power and an unknown future. (album liners)

(30/12/14)

THE FAMILY – ’San Francisco Waits’ / ’Without You’ (U.S.A. Records 894) January 1968

It’s believed that The Family were from Chicago and if this is accurate they have certainly got the West Coast flower psych sound down to perfection with ”San Francisco Waits”. This was actually their second and last single release, an earlier 45 on U.S.A. Records came out during September 1967, ”Face The Autumn” / ”So Much To Remember”.

”San Francisco Waits” was written, produced and arranged by Bobby Whiteside. I’ve research him but have drawn a complete blank. Hopefully, someone knows more information that can be shared here.

”San Francisco Waits” has been compiled a couple of times over the years, first on Mindrocker #02 then again on Soft Sounds #02.

Reader comment:
you say you’ve drawn a complete blank re. Bobby Whiteside? well you’ve looked in all the wrong places, because he co-wrote Barbra Streisand’s 1981 hit ”Coming In And Out Of Your Life”

(26/12/14)

THE CRYSTAL BALL – ’Trans-Love Airways (Fat Angel)’ / ’You’re A Big Girl Now’ (Smash S-2092) May 1967

I’ve had this single by The Crystal Ball for many years and I’ve noticed that the sales price has nudged up to the $30 – $50 bracket recently. Maybe it’s become one of those trendy European mod spins or something?

I somehow doubt very much that The Crystal Ball were an active group. They were probably a studio creation of producers Roger Karshner, Richard Troops and Joel Cory. Whatever they were I’m pleased that they recorded a wonderful version of ”Fat Angel” by Donovan. It’s such a tripped out take, well produced with a pounding sound. I love the drums on this and the deep throbbing bass.

The other side ”You’re A Big Girl Now” (credited to Troops & Cory) is a bouncy pop song and perhaps a little more commercial than ”Fat Angel” that no doubt sank without trace.

Roger Karshner also produced the weird and wonderful psychedelic album by The National Gallery.

(22/12/14)

DAVE & THE CUSTOMS – ’I Ask You Why’ / ’He Was A Friend Of Mine’ (DAC Records 503) 1966

According to ’Teenbeat Mayhem’, Dave & the Customs hailed from Pomona, CA. The group were surf based initially and their earlier single on DAC Records ”Shortnin’ Bread” / ”Ali Baba” is considered an underground surf classic. As far as I know, this earlier 45 was released sometime during 1964. It’s quite rare and has sold a couple of times recently for over $250.

Step forward a couple of years and Dave & the Customs have resurfaced as a folk-rock group with longer hair, 12 string guitars and Jim McGuinn style glasses. The Byrds were obviously a huge influence on them and a version on ”He Was A Friend Of Mine” was recorded and can be found on the flip of this record.

A local TV Show performance from 1966 has survived and can be found on YouTube showing Dave & the Customs performing ”He Was A Friend Of Mine”, an amazing find and well worth watching.

”I Ask You Why” is a loner folk-rock jangler written by the Zdunich brothers. This song surfaced on the early 90s compilation ”From The New World”. As you can see the label of my copy has been defaced with ”Marko + David” which I’ve worked out is Mark & David Zdunich, so perhaps one of them did this to the label. More importantly is the scribble ”recorded June 1966” which accurately dates the disc. Several websites have this single recorded as a 1965 release.  

(21/12/14)

THE DAYBREAKERS – ’Psychedelic Siren’ / ’Afterthoughts’ (Dial 45-4066) December 1967

Over the years ”Psychedelic Siren” has become something of a cult classic and has appeared on numerous compilations but sadly this single on Dial is the only record The Daybreakers released during their short existence.

I have an album’s worth of Daybreakers recordings including demo cuts from 1967/68 but none of the match the pounding punkadelic attack of ”Psychedelic Siren” or the majestic 12 string folk punk of the flip ”Afterthoughts”

Here’s what was written about both songs within the liners of the ”History Of Eastern Iowa Rock – Volume One” released on Unlimited Productions back in 1985.

”Psychedelic Siren” was released by Atlantic on their subsidiary label Dial and was produced by Buddy Killen. In the Summer of ’67, The Daybreakers from Muscatine, Iowa managed to arrange a recording session at Columbia Studios in Nashville, Tennessee. Country Western singer Jack Barlow, a Muscatine native, asked his producer Buddy Killen to produce our session as a favour.

”Afterthoughts” received more play than the A-Side from KSTT Radio, Devonport, where the two sided hit clung to the Top 40 chart for over three months. Denny Maxwell and Mike Bridges are playing twelve string electric guitars which at times gives the illusion of an orchestra. The instrumental breaks are highlighted by Buddy Busch’s characteristically forceful yet precise drumming. 

At the close of the session Killen signed them to recording and songwriting contracts and picked up the tab.   

(20/12/14)

CHRISTOPHER & THE CHAPS – ’They Just Don’t Care’ / ’It’s Alright Ma, I’m Only Bleeding’ (Fontana F-1530) November 1965

Here’s a collectable 45 for folk-rock lovers and Left Banke fans. Christopher & the Chaps hailed from Long Island, NY and included in their ranks Michael Lookofsky a.k.a. Michael Brown who later became a member of The Left Banke.

”They Just Don’t Care” is a gritty protest song in the folk-rock tradition of ’65. It was compiled on ”From The New World” on the short lived ’Strange Things’ label. I wrote about this compilation some time ago as it’s one of my favourites.

The other side has a vibrant rendition of the Bob Dylan tune ”It’s Alright Ma, I’m Only Bleeding” 

(19/12/14)

DICK DODD – ”First Evolution Of” (Sparton Records ST 5142) October 1968

I bought this album by Dick Dodd back in March 2002 for $40 played it a couple of times then more or less ignored it as it wasn’t the kind of sound I wanted to hear. Things change of course and I’ve now got a less blinkered view of most things, especially music.

So, I decided to get the album off the shelf and digitize it to CDR. As far as I know Dick Dodd’s solo work has never been released on CD. There is scope for such a retrospective as the ex Standells lead singer and drummer released three singles as well as this studio album.

Most of the material is late 60s rock tinged with soul. It has a polished commercial sound and would have been chart friendly but it seems that no one was listening as none of the singles or this album sold in any quantity.

The songs were co-written by Buddy Bowie (Buie)  & Ed Cobb but there are covers of ”Lonely Weekends” by Charlie Rich and ”Tell The Truth” by Ray Charles. My pick from the album is the driving soul rock of ”Twenty Four Hours Of Loneliness.”

Special mention too for the bizarre album illustration showing Dick Dodd standing between what looks like two fetuses, with the Earth far off in background space – perhaps showing his ”First Evolution”

singles:
”Fanny” / ”Don’t Be Ashamed To Call My Name”
”Little Sister” / ”Lonely Weekends”
”Guilty” / Requiem 820”

(14/12/14)

THE SUNSHINE TROLLEY – ’Cover Me Babe’ / ’It’s Gotta Be Real’ (Trump 2890) August 1970

Here’s a recent addition to my collection and it’s a record that I’ve needed for some time after hearing ”Cover Me Babe” on one of those ’Fading Yellow’ compilations. I’m not sure who The Sunshine Trolley were, they may have been a studio creation, if they were a proper group I’d guess at California State location but the Trump label indicates that the music was recorded in Memphis, so who knows!

”Cover Me Babe” was written by Fred Karlin & Randy Newman and performed by Bread.

Their version can be found on the ”Cover Me Babe” film soundtrack released October 1970.

The Sunshine Trolley version got a ’special merit spotlight’ in Billboard during August 1970 and why not…. because it’s simply superb sunshine pop with mind melting harmonies and a melody that suggests late 60s but had a release of mid 1970.

(30/12/14)

VAL STOECKLEIN – ’Grey Life’ (Dot DLP 25904) December 1968

Gene Clark has been mentioned several times on my Facebook wall recently and it got me thinking about the album ”Grey Life” by Val Stoecklein from 1968.

Val was the ’leader’ and singer, songwriter and guitarist in the brilliant Kansas folk-rock group, The Blue Things. When they broke up in 1967 Val signed a solo deal with Dot Records and ”Grey Life” was the fruits of his labour.

It’s full of loner type introspection, with eleven sorrowful acoustic songs accompanied by orchestral arrangements, and very much like Gene’s solo music. ”Possibility I Was Wrong” is a stand out and a huge fave of mine….

*** Produced by Ray Ruff and recorded at Gold Star studios in Hollywood. ***

”Look around your room where it’s so dark and cold, you won’t find me…” The grey mists were beginning to clear away from Val Stoecklein’s life again as the new year came in. He phoned from Kansas to his Texas friend who was now putting together records in Los Angeles.

He was ready to write songs again. Just like he had in 1964 when he left Kansas State University to record and travel with his group, The Blue Things. The group broke up then there was a love that broke up very badly so Val drifted out of Kansas to work the Oklahoma oil fields and ride cowboy in Wyoming.

”Passing through the Oklahoma, Summertime, harvest crew, Dollar hotel rooms and smokin’ roll-your owns…”

Too much time had been lost in the greyness for Val to wait out his tapes in the mail. He came west of Utah for the first time, hitch hiking with his 12 string guitar.

The Texas friend was jammed up in the recording studio for four days and Val’s songs sat there in a tape on his desk while Val examined the walls of his motel room and very slowly watched his money go down to forty cents.

”No hard words were said the time we parted friends. We should have thought a little more about the baby then. I’d like to see him now….before the train pulls out of town.”

This record was made less than two weeks later. Do yourself a favour and find a quiet room the first time that you listen to the beauty of this music Val Stoecklein  made from real pieces of his life before it went grey – till these songs brought back his rainbow.

(back cover sleeve notes – Nat Freedland)

Reader comment:

In the 80’s when I started hitting the thrift stores here in the midwest this record was EVERYWHERE. I never bought one and they’ve all dried up.

(22/11/14)

THE BLOX – ’Say Those Magic Words’ / ‘The Way I’m Gonna Be’ (Solar Records 235) June 1967

This 45 has been overlooked since the sixties and as far as I know ”Say Those Magic Words” has never been compiled. So who were The Blox? Very little has ever been written about them and it’s doubtful that any members have ever been located. All I know is that they hailed from Houston, Texas and released two singles on Solar Records.

”Say Those Magic Words” is a fast paced jangle beat number, the tempo on the version by The Blox is sharper than the first version by English R&B group The Birds, from September 1966 and by The McCoys released August 1967. In my opinion The Blox version is the superior take.

The flip ”The Way I’m Gonna Be” is surf pop with a very catchy and commercial beat. This turned up on the CD comp ”Wyld Sydes #1”

Solar Records also released The Blox second single ”Hangin’ Out” during September 1966. This is much more famous and has been on numerous compilations, the first of which was probably ”Texas Flashbacks #3” The label also released notable 45s by The Penthouse Five and Sounds Unlimited.

(22/11/14)

MARK IV – ’Hollow Woman’ / ’Better Than That’ (Columbia 4-43911) November 1966

Columbia Records seemingly released hundreds of beautiful one off 45s by teen garage groups who had their shot at fame only to find that no one cared and their brief moment in the sun had burned away to embers.

Mark IV are one such group. According to ”Teenbeat Mayhem” they hailed from New Canaan, Connecticut and this was their only release.

”Hollow Woman” is one of my favourite garage rockers and let’s be honest here, it’s basically a clever rewrite of The Zombies 1964 single ”Woman” I’m not sure how J. Johannessen got away with it but then again who would have heard the record anyway?

”Hollow Woman” can be found on ’Mindrocker Volume 7’

The other side ”Better Than That” is a charming British Invasion influenced beat number with jangle and as far as I know remains uncompiled.

(13/11/14)

GENE PITNEY – ’Animal Crackers’ / ’Don’t Mean To Be A Preacher’ (Musicor MU-1235) February 1967

A few weeks ago I posted an entry on my blog focusing on the songs of Garry Bonner and Alan Gordon. They were both in NYC group The Magicians, then when their teenage group disbanded found themselves hot property by writing hit records for The Turtles.

A record I mentioned, but didn’t have at the time was ”Animal Crackers” by Gene Pitney. I’ve since obtained a copy of the record and I’m giving it some publicity today. I don’t have any other Gene Pitney record in my collection but I am aware of his hit records, none of which sounded as far-out as this one under my spotlight.

I’d say this was ’psych-tinged’ and most definitely not a commercial sound. Gene perhaps took a risk with this recording to release it as a single. It didn’t feature on any studio album at the time and wasn’t released in Britain.

It didn’t fare very well at all and did not break into the Billboard top 100 in America. What a shame, as this tune is wonderful.

(12/11/14)

JERRY & JEFF – ’Voodoo Medicine Man’ / ’Sweet Charity’ (Super K SK-7) 1969

This garage bubblegum pounder by Jerry & Jeff a.k.a. Jerry Kasenetz and Jeffrey Katz has become a very sought after disc and regularly sells in the $150 – $200 range and is perhaps the best 45 on the short lived Super K label.

”Voodoo Medicine Man” has got a wonderful Seeds like sound throughout and I’d imagine Sky Saxon would have enjoyed singing this one if he’d had ever heard it, which is doubtful. The compact organ dominates, add into the mix macabre vocals, some primitive drum action and a raunchy guitar…. what a sound they create…. this is an ALL action, hard driving bubblegum assault.

The other side ”Sweet Charity” is a calming pop psych nugget which has never troubled the compilers.

(11/11/14)

THE EASYBEATS – ”She’s So Fine” / ”The Old Oak Tree” (Parlophone A-8157) May 1965

Fifty years ago, this dynamic single by The Easybeats was released and it’s surely one of their best rockers. ”She’s So Fine”, written by the Vanda – Young partnership and recorded at Armstrong Studios in Melbourne was a big hit in Australia reaching #03 propelling this fabulous beat combo to national acclaim, particularly amongst their fans.

The hit has been deemed more or less the start of Easybeats fan hysteria, similar to ”Beatlemania” and was dubbed by the Australian press as ”Easyfever.”

Reader comment:
She’s So Fine was written by Wright and Young. The lead singer, known as Little Stevie, wrote with George Young and together they came with all of the A-sides and almost all the songs during the Easyfever period including three albums and an exclusive EP.

Lead guitarist Harry Vanda starting writing exclusively with George after the band arrived in England in 1966.

(25/04/15)

THE NATURALS – ”Blue Roses” / ”Shame On You” (Parlophone R 5267) March 1965

The Naturals hailed from Harlow, Essex and released four singles on Parlophone before being dropped by the label. This was their fourth and final single with ”Blue Roses” deemed as the side with the hit potential. It’s a beat ballad with harmonies done in The Searchers style but it failed to generate much interest.

Far superior, in my opinion, is ”Shame On You” on the B-Side. This is a fast paced beat number with harmonica and organ. Probably could have been even better with one of those Jimmy Page type lead guitar solo’s that he seemed to place on beat and R&B tunes when he was a hired hand in the studio.

Guitarist Curt Cresswell and drummer Roy Hoather would team up again a year or so later in The Living Daylights who released a version of ”Let’s Live For Today” on Philips.

line-up:
Curt Cresswell (guitar)
Roy Hoather (drums)
Doug Ellis (guitar)
Rikki Potter (vocals)
Bob O’Neal (vocals)
Mike Wakelin (guitar)

(19/04/15)

THE THYRDS – ”Hide ’N’ Seek” / ”No Time Like The Present” (Decca F.12010) October 1964

So many beat and R&B singles were released during October 1964 in Britain and here’s another one to add to the list. The boys from The Thyrds were all still attending Emanuel School, Battersea Rise in London when they formed the band and entered a ”Ready Steady Go” Beat Group competition.

They didn’t win the Beat Group contest, the victors were The Bo Street Runners. This disappointment didn’t stop them from recording a couple of songs for Oak Records who released a Thyrds single ”Hide & Seek” b/w ”I’ve Got My Mojo Working” sometime in 1964.

The single was then picked up for release by Decca Records who changed the B-Side to another group original ”No Time Like The Present.” Sadly, like so many singles released back then it failed to gain much notice and remains quite an elusive 45 to find.

”Hide ’N’ Seek” is a Bo Diddley inspired R&B mover with a fast tempo. It’s appeared on several compilations over the years. I’m pleased to own an original copy. 

line-up:
Paul Ellis (vocals / lead guitar)
John Malcolb (bass)
Mick Teasdale (drums)
Michael Hughes (rhythm guitar)

I don’t think any of the members went onto other combos when The Thyrds called it quits. Probably when they left school!

(19/04/15)

GOLDIE & the GINGERBREADS – ”That’s Why I Love You” / ”The Skip” (Decca F.12126) April 1965

This all girl group were American but lived, worked, recorded and released several records in Britain during 1964 – 1967 so were very much part of the UK music scene.

They appeared in all of the British music papers and magazines and toured Britain extensively with The Rolling Stones, The Hollies, The Animals, The Yardbirds and The Kinks etc etc – in other words, the English rock royalty.

One of their tunes that most definitely fits in here is the killer mod instrumental ”The Skip” which was hidden away on the flip side of ”That’s Why I Love You” – a group original too, no faceless studio hacks here piecing together a B-Side for an obscure girl group. Produced by Shel Talmy.

(19/04/15)

THE MOCKINGBIRDS – ’You Stole My Love’ / ’Skit Skat’ (Immediate IM 015) October 1965

The Graham Gouldman penned ”You Stole My Love” is a fabulous record but like so many classy 45s released in Britain back in the mid 60s it failed to sell and flopped, which seriously beggars believe.

The song has a haunting quality with mod style backing vocals. The production is by Paul Samwell-Smith which gives it a Yardbirds edge, the guitar hook is wondrous and the melody is happenin’, totally stunning in every way.

The nucleus of The Mockinbirds formed 10cc. but ”You Stole My Love” is where it’s really at!

(19/04/15)

THE PLEBS – ”Babe I’m Gonna Leave You” / ”Bad Blood” (MGM K13320) October 1964

The Plebs were briefly discussed the other day in another thread and I got curious to find out more about them especially since I’ve had their single on MGM for several years. MGM was their USA label and it got a release February 1965.

The single came out in Britain during October 1964 on Decca records. Probably easier to find the MGM release! By the way, producer Mark Wildey who produced The Plebs also worked with The Attack and The Fairytale.
 
As far as I know the Plebs were:

Derek Sirmon (drums)
Terry Crowe (vocals) *
Mick Dunford (guitar) * (went onto Renaissance)
Danny McCulloch (bass) * (went onto Eric Burdon & the Animals)
Chris Dennis (keyboards)

* now deceased

The Association recorded ”Babe I’m Gonna Leave You” for their debut single – more of a moody folk-rock take and nothing like their usual vocal harmony pop tunes, and of course Led Zeppelin in 1969 – on their first album.

Quicksilver Messenger Service also recorded a version for the Revolution soundtrack.

Bass guitarist for The Plebs was Danny McCulloch who was previously a member of Screaming Lord Sutch & The Savages. Afterwards he teamed up with Eric Burdon and became his bassist in the new Animals. Sadly, Danny died a few months ago (January 29th 2015). 

(19/04/15)

THE NATURALS – ”I Should Have Known Better” / ”Didn’ I?” (Parlophone R 5165) July 1964

This beat combo were short-lived but managed to release a handful of singles on Parlophone. Their version of The Beatles ”I Should Have Known Better” has a commercial beat sound and was a Chart hit, reaching #24.

”There were a few chords that I didn’t know were on it” – George Harrison on jukebox jury.

(19/04/15)

THE NITESHADES – ”Be My Guest” / ”I Must Reveal” (CBS 201763) May 1965

Here’s an obscure single by an equally obscure combo from Stevenage in Hertfordshire. As far as I can ascertain this was their first single of two they released on CBS.

”Be My Guest” has an up-tempo surf-beat sound with harmonies and a short but flashy guitar break and was produced by the legendary Shel Talmy. It’s never been compiled which is unbelievable considering the many thousands of comps in circulation.

Both the song and The Niteshades featured in the teen movie ”Be My Guest” which also had parts for a young, pre Small Faces Steve Marriott and David Hemmings.

Reader comment:
I used to work with Howard ‘Ginger’ Roberts who was the Niteshades organist at the time they were filming Be my guest. The band were very popular in the sixties and performed regularly at The Cali, Dunstable.

(19/04/15)

PINKERTON’S ASSORT’ COLOURS –”Don’t Stop Loving Me Baby” / ”Will Ya?” (Decca F.12377) April 1966

This early 1966 is a hard driving beat number that was curiously overlooked when Sequel released a 2CD collection called ”Flight Recorder” in the late 90s.

”Will Ya?” is my fave Pinkerton’s side and should have been the A-Side that’s for sure. It would have been great to follow their hit ”Mirror Mirror” with this swinger.

”Will Ya?” was written by their manager Reg Calvert who was shot and killed a couple of months after this single was released. He was also the owner of an offshore pirate radio station called ”Radio City.” Pinkerton’s drummer Dave Holland left the band in 1968 and formed Trapeze then became the drummer for Judas Priest!

(16/04/15)

THE SHAME – ”Too Old To Go ’Way Little Girl” / ”Dreams Don’t Bother Me” (Poppy POP 501) November 1967

The Shame hailed from Bournemouth on the South Coast of England and released this one and only single. It was released in Britain on MGM during September 1967 then in USA on Poppy Records a few months later.

”Too Old To Go ’Way Little Girl” is a song written and recorded by a teenage girl called Janis Ian and was a track on her debut album from February 1967. This album got it’s first European reissue on CD from the mono masters on Now Sounds back in 2009.

The Shame’s take of ”Too Old To Go ’Way Little Girl” adds snaking psychedelic guitar leads, sitar,  mod-like drum action with turned-on vocals by Greg Lake. The other side ”Dreams Don’t Bother Me” was written by keyboardist John Dickenson and is pleasing psych pop with a lush organ sound throughout.

After this disc flopped Greg Lake and John Dickenson formed The Shy Limbs with Andrew McCulloch on drums. They then released the classic psychedelic 45 ”Reputation” / ”Love” on CBS. Guitarist Greg Lake would later form progressive  rock band Emerson, Lake & Palmer after a stint with King Crimson.

(07/04/15)

THE TRUTH – ”I Go To Sleep” (BBC Transcription Service) May 1966

Here’s the BBC Transcription Service recording of ”I Go To Sleep” by The Truth. The song was written by Ray Davies and exists as his demo but was never recorded by The Kinks.

”I Go To Sleep” was released by The Truth as an A-Side during April 1966 but this live version from 23rd May 1966 is perhaps even better…. I don’t have the recent Truth retrospective CD… ”Mod Bedlam” – but I’ve just checked the track-list and this BBC recording is not present, although the studio single is.

miscellaneous information: other versions of ”I Go To Sleep”

Peggy Lee (Capitol) August 1965
The Applejacks (Decca) August 1965
Cher (Liberty LP) October 1965
The Truth (Pye) April 1966
The Fingers (Polydor) June 1966

(06/04/15)

SCREAMING LORD SUTCH & the SAVAGES – ”The Cheat” (BBC Transcription Service) May 1966

I’ve acquired some ”Top Of The Pops” BBC Transcription Service CD-Rs of the Brian Matthew’s radio show. They are mostly full broadcasts in excellent sound quality. I’ll pick out my faves over time, upload them to YouTube and post them here.

First one is ”The Cheat” by legendary English rock ’n’ roll group Screaming Lord Sutch & The Savages. The song was released on CBS during May ’66 as the B-Side to ”Black and Hairy”

The released studio version is excellent but in my opinion in trails behind the looser ’live’ BBC take. The drumming moves are classy, Lord Sutch sounds his sinister best and the fluid droney raga guitar leads hint at psychedelia.

”The Cheat” was written by Lee Hazelwood and was originally recorded by rockabilly singer Sandford Clark in 1958 on Dot Records titled ”A Cheat”.

Simply wonderful.

from an eBay seller:
”The Cheat”, Sutch’s stab at psychedelia, was a Lee Hazelwood song, on which he was backed by session musicians including The Des Champ’s Quartet playing violin and flute, Nicky Hopkins on piano, Ian Buisel on rhythm guitar, Paul Francis on drums (both from The Tony Jackson Group), Jim Lawless on Percussion, and two future Led Zeppelin members, John Paul Jones on bass and Jimmy Page on lead guitar.    

The musical arranger on this release, sax player Des Champ is better heard on The B-side ”All Black And Hairy” which was written by Dave Sutch and remained a hilarious staple of his live act for many years.

(27/03/15)

THE ZOMBIES -”Whenever You’re Ready” / ”I Love You” (Decca F.12225) September 1965

It’s about time The Zombies had another hit, and ”Whenever You’re Ready” could give them a touch. Piano and cymbals support the soloist at the outset then it breaks into a unison-vocal mid shaker.

What I like about these boys is their inherent R&B feel plus the leaders honest approach, without resorting to nasal drawls or the unnecessary shouting. Another pleasing feature of the disc is the exciting thumping piano break.

The flipside is a mid-shaker tempo for the un-originally titled ”I Love You”.

More forthright approach here with organ and harmony support. A most competent B-Side.
(NME review, September 1965)

(19/03/15)

THE ZOMBIES – ”She’s Coming Home” / ”I Must Move” (Decca F.12125) April 1965

A powerful medium beat number from The Zombies, with a build and build approach. A strident sound but not as potent as their last.
(Record Mirror review, April 1965)

The Zombies follow up to ”Tell Her No” was ”She’s Coming Home” which was issued in April 1965. This one was quite an eye-opener as Rod Argent wrote it with his days as a choirboy in mind. ”When I sang the ’Nunc Dimittis” in church”, he said, ”it used to bowl me over because I thought it sounded like a blues!”

Accordingly, the song was written with a very churchy feel to it, while White’s flipside ”I Must Move” had a vocal that sounded in places like the chant of an oriental Buddhist monk! Although the single failed in Britain, it did make #58 in America.
(Record Collector magazine)

Phil & the Frantics ’borrowed’ the tune, applied a faster tempo, wrote different words and slightly renamed the song to ”I Must Run” Their version is majestic moody beat too.

(18/03/15)

THE ZOMBIES – ”Begin Here” (Decca) April 1965

Whether you have picked up this LP at random while half-consciously glancing through hundreds, or whether you are reading the sleeve after purchasing the record, the chances are that you are expecting about 700 words or sugared praise telling you how brilliant both the group and the record are.

Since all of us are convinced that the main part of any LP consists of the music reproduced inside the sleeve, we concluded that the public are more interested to read about it than have to wade through a mass of boring and superficial praise. And that, folks, is how I came to writing these notes!

Of the seven tracks not written by Chris or myself, all but two are ’soul’ numbers, and consist of some of our favourite material. The other two, ”Road Runner” and ”I Got My Mojo Working” are tried and tested blues constructions.

The only instrumental on the album ”Work ’N’ Play” was written by our recording manager, Ken, who took over the piano stool while I played harmonica in unison with Paul’s 12 string guitar. The fact that it is essentially an instrumental work song didn’t prevent him from beaming happily as he always does when we ’let him join in’!

Rod Argent (edited sleeve notes)

(16/03/15)

THE ZOMBIES – ’Tell Her No’ / ’What More Can I Do’ (Decca F.12072) January 1965

A good one here from a group doing so well in the States now. This one starts gently enough then builds into a succession of dramatic-sold ”no’s”. Nicely balanced backing aids the commercial appeal.
Lead voice bends tunefully and soulfully around the mid-way mark. Yes, it should click in the ”50”

Organ booms into the flipper, an up-tempo item with a fair bluesy content. Not quite as strong as ”Tell Her No” on sales appeal.

Record Mirror review, January 1965. 
Chart Position: #42

(15/03/15)

THE ZOMBIES – ’Leave Me Be’ / ’Woman’ (Decca F.12004) October 1964

A beaty ballad with a gently rocking rhythm, ”Leave Me Be” features a huskily whispered harmonic duet, backed by a delicate guitar figure. The Zombies are much more subdued than on ”She’s Not There” but I like it just as much. The tune is both ear catching and absorbing, and it suddenly explodes in the middle eight, with the organ adding substance.

A welcome combination of pleasant melody and beat, which should appeal to both armchair listeners and dancers.

A heavier and more strident beat, and a more forceful vocal approach for ”Woman” a mid-tempo shaker in the R&B idiom with screams and shouts.

(NME review, October 1964)

(12/03/15)

THE ZOMBIES – ’She’s Not There’ / ’You Make Me Feel Good’ (Decca F.11940) July 1964

Pounding medium pacer ”She’s Not There” introduces new Decca group The Zombies. The boys have a distinctive sound, with intriguing phrases by the lead singer, and attractive vocal blends in the unison passages. The drummer and bassist are pretty solid, too.

I’d have tipped it for a hit if the material was stronger – even so, it must still stand a chance.

More in the familiar Mersey-inspired mould is ”You Make Me Feel Good.” No change in the tempo, but this one is largely unison vocal.

(NME review, July 1964)
Chart Position: #12   

(08/03/15)

BERT JANSCH – ”It Don’t Bother Me” (Transatlantic Records 132) December 1965

”Tinker’s Blues” – Tinker is a pussy cat, who strides through our flat and amuses himself by being rescued by firemen from the topmost chimney of the house.

Recorded at Pye Studios, London (April 1965)

(10/02/15)

RETURN OF THE AMPHETAMINE GENERATION – Various (Dig The Fuzz DIG 032LP) 1998

I’ve spent the last couple of days spinning this vinyl compilation album from the late 90s on Dig The Fuzz.

”Return Of The Amphetamine Generation” is a mid 1960s collection of the odd obscure B-Side but mostly previously unreleased recordings from one of a kind acetates and private pressings….. including unknown groups called The Uprooted, Themselves, James King & the Farinas, The Falcons, The Nomads, Those Fadin’ Colours, The In-Sect (plus more)

Well worth getting a hold of. Quality release with plenty of informative notes and a few group pix.

The group I’ll focus on from this disc are The Falcons. Sadly little is known about the group behind the unreleased ”Phone Me.” The Ilford Sound label, based in Essex was in operation between 1964 – 1965 and recorded acetates by several other beat groups including Dave Anthony & the Classics and The Integrals.  

(31/01/15)

THE KINGPINS – ’For Sale’ (Tenth Planet TP016)

Tenth Planet seemed to come up with the undiscovered goods on a regular basis during the 90s and it was one of those labels that gained respect from vinyl collectors with their handsome releases in gatefold sleeves with choice unseen photos and rare music (mostly from acetates) in sparkling sound quality.

The Kingpins ”For Sale” was one of their earliest releases from 1995 and was limited to 600 copies. They’re long gone now but the collection may show up on eBay now and again, but with a premium price of course.

I want to concentrate on The Kingpins 1965 recordings. There were two. The ravin’ ”Diamond Girl” and a potent version of ”For Your Love.” But the album also covers their unreleased songs from 1966 through to 1969 when they experienced line-up changes and group names to Those Fadin’ Colours and The Orange Seaweed.

The Kingpins formed in 1964 in the small town of Adlington, part of the borough of Croydon. The ages of the members ranged from 14 to 17 years old. In other words they were a schoolboy combo.

The line-up consisted of:

Ray Neale (rhythm guitar / vocals)
Keith Neale (bass)
Tony Martin (lead vocals)
Glyn Stephens (lead guitar)
Jimmy Barnard (drums)

By mid 1965, The Kingpins had progressed enough to enter a local beat group competition. One of the contest’s adjudicators was Ronald Jones, owner of R.G. Jones recording studio and Oak custom label in Morden. He agreed free recording time for the top three acts. The Kingpins finished third.

The entered R.G. Studio on 31/05/65 to cut ”Diamond Girl” and ”For Your Love” which were pressed up as an acetate. ”Diamond Girl” was written by Tony Martin and is a hard driving beat number turning positively freak. In my opinion an absolute classic beat punk raver ’65 style.

”You’re My Girl” is one of the great lost tracks of the 60s. Only ever released on an acetate, it features the vocals of a 17 year old Ray Neale. It’s quite amazing, and when you think he’s playing lead guitar and wrote it as well, it kinda blows you away.

The flip side features Tony Martin on vocals and is also a great bit of song crafting. Ray’s brother Keith was also in the band and played bass.

I knew Ray as a friend since 1977 when I happened upon his band ’Ramrod’ one Sunday dinner time in a Croydon pub. A great guy who I spent many happy hours drinking and smoking to an almost Olympic standard.

Alas the fags got him in the end, and he died in 2012. They say you’re never dead as long as someone alive remembers you. I’m not being sentimental, but the stuff the Kingpins recorded on Oak will still be talked about when we’re all dust. They’re magnificent. (rollinrecords-shop)

Reader comments:
Hi, thank you, this was lovely to read. I am Ray Neale’s daughter Mel. I miss him every day but like you say, his music will live on! I am trying to find as many stories/any information/photographs from the good old days. I always loved him telling me his random and funny stories.

My mum (Janet Neale) and I would like to piece together some kind of, well I’m not entirely sure yet….let’s say some kind of something for him. I know he was always told he should write a book but he never got around to it.

I am putting a Facebook page together to begin with and I shall see where it goes from there. My email address is melanieneale82@gmail.com

Hi Melanie, my name is Laura I am Tony Martins daughter. He was so upset to only find out recently about your dad. Would love to see any pictures or video footage from their early days. Thanks Laura

(18/01/15)

JET HARRIS – ’My Lady’ / ’You Don’t Live Twice’ (Fontana 267 735 TF) July 1967

This is a purchase from earlier this month, a rare and hard to find 45 by Jet Harris. This is the Dutch release in pic sleeve. I like how the art department have used a vintage record review as their design for the cover.

’My Lady’ was written by Reg Presley of The Troggs and it’s 100% based on their killer sound. Jet Harris was the original bass player in The Shadows but formed a duo with fellow ex Shadows drummer Tony Meehan in the early 60s.

The flip ’You Don’t Live Twice’ is decent pop music and uncompiled as far as I know.

Jet Harris & Tony Meehan had a few hits in Britain during the beat era but disbanded when their popularity waned. This record was Jet’s solo comeback single but it went to ’nowheresville’….

Should have been monstrous but it’s still virtually unknown….

(15/07/14)

THE ROULETTES – ’Bad Time’ / ’Can You Go’ (Parlophone R 5110) March 1964

Second time out for The Roulettes on my site. I wrote about ’Junk’ a few years ago, check the archives. So now it’s time to continue with ”Bad Time” from March ’64… Yeah it’s a 50 year old beat record….. cool.

It’s been covered a few times. I heard the song first on an ”Ugly Things” comp by The D-Coys.
 
The Roulettes are better known as being Adam Faith’s backing band but recorded and released records in their own right during the mid 60s. Despite having a great beat sound with ringing guitars and pounding drums…..sadly NO hits followed so they’ve been lost in obscurity.

(08/07/14)

SOMEBODY’S CHYLDREN – ”I’m Going Back To New York City” / ”Shadows” (Uptown 727) April 1966

I covered ”I’m Going Back To New York City” back in 2010 when I selected this David Allen’s garage pop scorcher in my list of Los Angeles nuggets. But what about the flip?

”Shadows” was also written by David Allen, who was in his mid teens at the time of recording. As a matter of fact the Somebody’s Chyldren were still quite literally children. ”Shadows” is my perfect noise, all moody 12 string Rickenbacker jangle and nerve tingling harmonies.

No one has ever deemed it worthy enough to compile and it remains more or less unknown. BUT not in my world, it’s simply BOSS!

MAE WEST with SOMEBODY’S CHYLDREN – ”Way Out West” (Capitol T-6190) June 1966

Don’t say I never bring you some weird and wonderful records to my blog, take this one for instance by Hollywood actress Mae West called ”Way Out West” where she teams up with a teenbeat group called Somebody’s Children and together they come up with the goods.

By 1966 Mae West was in her early seventies so it must have been such a surprise in Los Angeles to hear her singing/talking/purring her way through an albums worth of rock ’n roll hits of the day including a cover of The Beatles ”Day Tripper”, John Lee Hooker’s ”Boom Boom” and this one under my spotlight ”Shakin’ All Over” by Johnny Kidd & the Pirates.

”Shakin’ All Over” really moves courtesy of a terrific and vibrant backbeat by The Somebody’s Children. They’ve featured on my site several times before with their monstrous ”I’m Going Back To New York City” from May 1966, released on Uptown Records.

In this album, Mae rocks and rolls to an especially selected repertoire of the latest rock ’n’ roll hits, backed by the dynamic young group Somebody’s Chyldren. Her voice is torrid. Her beat is sensational. Her rhythm is like no other rhythm in the business. When she sings these emotional lyrics, they take on a deep and feeling-full meaning. It’s as though Mae was made for rock ’n’ roll, and rock ’n’ roll was made for Mae. (liners)

BUMP – ”Winston Built The Bridge” / ”Sing Into The Wind” (Pioneer PRSD-2147) 1969

Here’s a record I first heard way back in the mid 80s on a compilation called ”Colour Dreams” and it’s held my curiosity ever since. ”Winston Built The Bridge” also turned up on ”Rubble #20” and ”Mindblowers.” Strangely, the flip ”Sing Into The Wind” written by drummer Jerome Greenberg remains uncompiled but I believe it’s on their 1970 album ”Bump” which I don’t have and haven’t even heard!

”Winston Built The Bridge” has a UK psych sound circa 1967 with an ever-present farfisa organ giving the song an early Pink Floyd vibe and the throwaway child-like lyrics recall something Syd would have on his mind. The tune is bouncy and memorable ending in a frenzy of noise and phlange effects.

I have done a little research and found an online obituary confirming the death of Paul Lupien, the keyboard player and songwriter of ”Winston.” He died in 2009, aged 62.

line-up:
Paul Lupien (keyboards)
Jerome Greenberg (drums)
Alan Goldman (guitar)
George Runyan (bass / vocals)

THE YANKEE DOLLAR – ”Sanctuary” / ”City Sidewalks” (Dot 45-17123) July 1968

The first Yankee Dollar 45 coupled two John Carter – Tim Gilbert songs from the album. ”Sanctuary” is a farfisa organ led Sunset Strip swinger with immediate appeal.

The flip ”City Sidewalks” has a slower pace with trippy guitar and is typical of the psychedelic folk-rock sound from Los Angeles based groups during this era.

The Yankee Dollar made waves on the East Coast with this record and according to ARSA (the radio survey archive) the record hit the top 10 in some areas. It was particularly strong in Buffalo, NY and hit number 1 in Canton, New Jersey.

Both songs were recorded by Hardwater.

THE YANKEE DOLLAR – ”Reflections Of A Shattered Mind” / ”Mucky Truckee River” (Dot 45-17213) March 1969

By the time Dot Records released this impressive 45 by The Yankee Dollar the group had probably already disbanded. As Greg Likins pointed out in our interview, these two songs were the only fruits of their aborted second album sessions.

’Reflections Of A Shattered Mind’ hints at what could have been. This cut still retains the psychedelic folk element with the male/female harmonizing but is a much tougher sound overall. There is no evidence of the swirling farfisa organ that dominated much of the music from their earlier recordings. The piece ends with some trippy studio trickery harking back to ’67.

The flip ’Mucky Truckee River’ is a mournful hippie folk tune with orchestration. Both songs were again produced by Frank Slay.

THE AVENGERS – ”Strange Faces” / ”Softly (I Say To You)” (American Records 101) January 1967

The fifth and final Avengers single was the super cool ’Strange Faces’. This 45 rarely shows up anywhere (eBay and dealer lists) and is perhaps the most difficult Avengers record to find. I bought my copy from Greg Likins in 2010.

The tough up-tempo garage sound from previous releases like ’Be A Cave Man’ and ’Shipwrecked’ had been replaced on this release by a more sophisticated psychedelic sound. ’Strange Faces’ is indeed a forgotten gem with it’s mesmerizing sitar-esque tinged Byrdsian guitar sound. The background vocal harmonies are a delight.

The flip ’Softly (I Say To You)’ is a Brit Invasion influenced ballad with ringing guitar work.

Both songs credited to Gerry Blake – Henry Gonzales.

The Avengers were undoubtedly a highly talented combo who wrote and performed their own material. They’re certainly a group in need of a collective retrospection re-issue release. All five singles would make a wonderful set.

This unpublished promo picture of The Avengers is from the archives of member Kenneth Zigoures. It was taken at Beale Park Amphitheater, Bakersfield. 

THE AVENGERS 1966: Clockwise: Kenneth Zigoures, Gerry Blake, John Paisley, Greg Likins, Gary Bernard

THE AVENGERS – ”It’s Hard To Hide” / ”Open Your Eyes” (Current Records C-1001) July 1966

’Open Your Eyes” was written by rhythm guitarist Henry Gonzales although the song writing credit on the record label is Gerry Blake. He confirmed to me via email that it was a label error.

The song is a great fuzzy jangle tripper with an unusual organ sound. I asked Gerry how he achieved this on his Farfisa organ.

”Yes, I did use a Farfisa organ during the recording of this song. The leg push bar on the bottom of the keyboard was how I got the sound on ’Open Your Eyes’ (The song I didn’t write ) and a couple of others. You can really hear it on the lead in that song. I did have a Vox Continental for a short time but I never used it.”

’It’s Hard To Hide’ was written by lead guitarist Greg Likins and has that distinctive Los Angeles  shimmering jangle sound. Bakersfield was the home of The Avengers but they did all of their recording in L.A.

The production credit for both sides of this disc are John Fisher. He owned Current Records and produced most if not all of the songs released on his label during the mid 60s.

The song is well produced and has a very unusual organ sound, kind of reverb. What ever it is I dig it. This track has been compiled a few times on Highs In The Mid Sixties Volume 20 and Pebbles CD Volume 8.

THE AVENGERS – ”I Told You So” / ”Shipwrecked” (Star-burst Records 128) March 1966

One of the many delights of having a music blog, mostly dedicated to 60s garage and psychedelic groups, is that sometimes one of the members of a 45 I review gets in touch with me. Over the years I’ve been fortunate to have made contact with Greg Likins, Gerry Blake and Gary Bernard from the mighty Avengers.

The Avengers were from Bakersfield but recorded most of their music at Gary S. Paxton’s home studio in Los Angeles. I’ve highlighted the other side ”I Told You So” previously so I’ll concentrate on ”Shipwrecked” during this post.

”Shipwrecked” is a tough punker dominated by a farfisa organ sound by Gerry Blake. To my ears it sounds heavily influenced by Northern Ireland band Them, the vocal delivery is pure Van Morrison.

The song was written by the mysterious William Powell. He co-wrote the previous single ”Be A Cave Man” with Gary S. Paxton. If anyone knows who the songwriter William Powell is please let me know.

According to ”Teenbeat Mayhem” the ”Shipwrecked” is indicated a a cover version of a song originally recorded by Cookie & His Cupcakes. However, my research has led nowhere and I’ve found no evidence to confirm this.

THE AVENGERS – ”Be A Cave Man” / ”Broken Hearts Ahead” (Star-burst Records 125) November 1965

At the tail end of 1965 The Avengers released their second single on the hip Star-burst label that operated out of Hollywood, Los Angeles. I’ve wrote many times on my site about this ultra fab Bakersfield combo and interviewed key members who have supplied excellent information and previously unpublished photographs.

’Be A Cave Man’ is a winner all the way with it’s up-tempo teen beat groove and ’put down’ lyrics….”Be a cave man – keep her in line”…the boys would have the woman’s liberation after them these days of course….But who cares? this was 1965, when men were men.

Here’s what Gerry Blake said about ’Be A Cave Man’

”I’m not sure we even thought about how politically incorrect Caveman was. We just liked the song. It would get people dancing for sure. I don’t think the girls thought much about it either.

It was a different time back then. It was just music. We weren’t dragging any girls behind the stage by the hair. Although some of them might have gone for it!

By the way, the ”monkey” sounds was one of us trying to make monkey sounds. Didn’t cut it. So Gary S Paxton just looped it and sped the recording up. I was the Tarzan yell.”

The flip ’Broken Hearts Ahead’ is a pleasant tune that reminds me of the country influenced folk rockers Mike Nesmith wrote for The Monkees.

Footnote: I bought my copy of ’Be A Cave Man’  from Avengers guitarist Greg Likins in 2010…

THE AVENGERS – ”When It’s Over” / ”You Can’t Hurt Me Anymore” (F-G Records 104) May 1965

Fifty years ago this month The Avengers released their first teenbeat single inspired by The Beatles. Prior to this they played surf music but with the British Invasion in full swing and the boys all digging the merseybeat sound it was only natural to start playing it themselves albeit in Bakersfield, California of course.

I’ve previously written about the top side ”When It’s Over” so here’s some information about ”You Can’t Hurt Me Anymore” on the flip. The song was written by Kenny Johnson who wrote two other Avengers tunes namely ”Broken Hearts Ahead and ”I Told You So”. He then released a very obscure single as The Chocolate Tunnel, a record I’ve covered on my website previously.

”You Can’t Hurt Me Anymore” is a forceful mersey pop tune with a keen guitar break sounding perfect for the time.

”When It’s Over” written by Henry Gonzales and Gerry Blake is an up-tempo merseybeat mover with some tasty guitar and Beatlesesque vocal delivery.

Gerry Blake: ”We played a club in Los Angeles (It was an afternoon gig). On the bill with us was a group called Sky Saxon and the Celtics (They went on to have a big hit with ’Pushin’ Too Hard’ under the moniker of The Seeds of course) who were a little older than us and thought we were great (we thought they were outstanding).

They had long hair of which we were highly jealous of. Anyway, although at the time we didn’t understand it (remember, we were a bunch of 16-17 yr old kids). Looking back it was a ”showcase” for some people who were there.

One of which was Bob Hudson a DJ with KRLA radio in Los Angeles. KRLA was the biggest station in LA. After our set, we went over to meet Hudson and he told us he really liked our sound and was going to play our single ”When It’s Over” on the Station and help push it and we would probably really make it! We were flabbergasted. On our way out of LA we actually heard ’When It’s Over’ being played on the air. We thought we had arrived!”

THE CHILDREN – ”Rebirth” (Atco SD 33-271) December 1968

The Children left Los Angeles sometime in early 1968 and travelled to Houston, TX, signing a deal with Cinema Records. They quickly began recording songs, these cuts would become ”Rebirth.”
The album was recorded at Andrus Studios and produced by Lelan Rogers of International Artists fame and is full of orchestrated psychedelic pop songs with commercial appeal.

The release on Cinema Records during the Summer of 1968 sold quite well throughout Houston and San Antonio leading to a release on the major label Atco Records at the end of the year.

”Maypole” b/w ”I’ll Be Your Sunshine” were chosen as an Atco single to promote the album. 

My pick from the album is ”Beautiful” a heavily orchestrated piece of psychedelia with a wonderfully psychotic mid section that will make your mind go all weird. The song was written by Louis Cabaza – Stephen Perron.

line-up:
Stephen Perron (rhythm guitar / vocals)
Louis Cabaza (organ / bass)
Bill Ash (lead guitar)
Andy Zsuch (drums)
Cassell Webb (vocals)

THE CHILDREN – ”Picture Me” / ”Enough Of What I Need” (Laramie L-666) July 1967

As mentioned in my post yesterday The Children were previously called The Mind’s Eye. They got a deal from Davy Jones to record some songs at Gold Star Studios, Hollywood and they subsequently cut the Bill Ash – Mike Marechal penned ”Picture Me” ”I’ll Be Your Sunshine” and a remake of ”Enough Of What I Need” recorded by the duo’s teenage group The Stoics. 

The Children’s version of ”Enough Of What I Need” is a psychedelic fuzz ripper with tough guitars, swirling organ and complete with a caveman Roky Erickson styled scream. Sadly, the deal with Davy Jones to release records never materialized because his Manager embezzled funds while he was on Tour with The Monkees.

A single from the Gold Star Studio recordings did come out though on the Hollywood label Laramie but in a small quantity of 300 – 600 discs according to band member Chris Holzhaus.

I’ve had this single by The Children for a couple of years and it’s only now that I’ve decided to research the group, their origins and history which I’ll write over the next few blog entries.

An excellent source of information is within the booklet of The Children ”Rebirth” CD re-issue on Gear Fab.

The Children hailed from San Antonio, Texas, releasing several singles and the aforementioned ”Rebirth” album on the local label Cinema in a classy gatefold sleeve. The album was then released throughout USA on Dot Records. They had undergone a couple of name changes from The Argyles then to The Mind’s Eye before settling on The Children.

Before becoming a member of these groups Bill Ash and Mike Marechal were the rhythm section of The Stoics. 

The Mind’s Eye had earlier released the psychedelic ”Help, I’m Lost” on Jox Records. The latter was recorded at Abe Epstein Studios in San Antonio during February 1967. More about The Mind’s Eye another time.

I found an interesting message from Chris Holzhaus on TheTexas60sMusicRefuge from 2002. Chris was lead guitarist with The Argyles, eventually being replaced by Bill Ash. I’ll post it here for future reference.

”After reading the not fade away articles on The Stoics / Children, I can tell Bill Ash was involved in the interview. Too bad, most of it had been tweaked to fit Bill as always. Bill Ash and Roy Quinlen were kicked out of The Stoics because Bill’s mother gave the rest of the band shit on a regular basis.

Bill’s Mom (Mrs. Col Ash) was scared that if Bill played any longer with The Stoics, he would be corrupted.

She really wanted Sam Allen, Mike Marechal and Al Acosta to cut their hair. If you notice in the pics, Roy and Bill simply combed their hair down over their eyes when mom wasn’t around (Roy’s dad was a district judge, Bill’s dad an air force col.).

The other three grew their hair out and wore it that way. The band was pissed off at them because their parents were getting too involved (it got nasty, poor against the rich).

I was in The Argyles and went to Jefferson High where Mike, Al and Sam went to school. When Max Range (The Laughing Kind) called Mike Marechal looking for a drummer, lead guitar and bass, Mike called Sam and I, we tried out and got the job at the dunes.

After the Summer was over and the max gig, I returned to San Antonio. Steve Perron called me up very pissed off at Bill. He asked me to come back to the group now called The Mind’s Eye and record with them. Seems Bill was put on restriction by Col Mom for getting caught smoking a doobie. So, I was resurrected with Galen Niles for the Jox recording sessions.

Later when Steve couldn’t talk Galen into joining the band, Bill came back as the rhythm guitar to my dismay (more Col Mom shit).

The story about Ben Treiber knowing Davy Jones is horseshit too. My girlfriend (and later my wife of 23 years) at the time went to John Marshall High with Mike Nesmith’s cousin Adria Adair. Mike Nesmith came into San Antonio to visit the Adair family and Adria called my girlfriend.

I went with her over to the Adair’s with the 45 we cut of  ”Picture Me”/ “Help I’m Lost” for Jox in hand. Mike called Davy on the spot and told him I have a new act for your label. He invited me to his place in Hollywood and I took Ben Treiber with me (his grandfather loaned us two credit cards to make the trip since I was broke).

We got a deal with Davy, went back to Texas, packed the band and returned. When we started to record, Ben couldn’t cut it and Davy told us to fire him.

That’s when I called Mike Marechal in to replace Ben. Bill wouldn’t call Mike because he knew Mike had a problem with him from The Stoics days (they hardly spoke during this time).

After the sessions at Gold Star Studios, Hollywood, Davy was patting us on the back stating, you people are going to be stars! He left on tour (with Jimi Hendrix opening) and we sat around for two months waiting for our record to come out.

The story about Laramie Records is close to what happened. Davy’s Manager screwed him/us out of a future. Embezzled all the running capital while Davy was on tour. It seems like most of the stuff written about these two bands was taken from Bill Ash’s memory… I wish it would have been somebody else for history’s sake.

Maybe someday the true story will be told, I’ve been chasing Bill’s shitty interviews for years. We didn’t see eye to eye (left me out of everything) and since he wasn’t an original from The Argyles days I don’t think he was qualified to divulge information to start with.

He was pissed at me for years, I told his mom to fuck off one time and he never got over it. When we practiced, she would show up unannounced and sniff around like some dam drug dog.” 

misc notes:
Steve Perron (died from a drug overdose 1973)
Bill Ash (died from a heart attack 2001)
Chris Holzhaus (died from colon cancer July 2008)  

”TOBACCO A GO-GO” – Various Artists (Blue Mold Records 101) 1984

Here’s a long gone compilation from the early 80s called ”Tobacco A-Go-Go” which has it’s focus on North Carolina’s garage rock and psychedelic releases from 1965-69.

Groups include The Bondsmen ravin’ through a version of The Five Americans hit ”I See The Light”, The Barracudas ”Not Fade Away” taken from their sought after album ”A Plane View”, The Si-Dells ”Watch Out Mother” and a teenage James Taylor features in a group called The Corsayers. They perform a version of ”Money” – several more of course, but for me, none better than The Young Ones ”Too Much Lovin” from late 1966.

”Too Much Lovin” is where’s it’s at, with it’s infectious jangle beat and high pitched organ, they sound like a ramshackle teenaged version of The Monkees…. and I mean that as a huge compliment. This one smokes in my world.

So who were The Young Ones?

They were a teenage combo hailing from Lumberton, North Carolina. They won a ”Battle of the Bands” competition for North & South Carolina bringing them to the attention of thousands of teens.

Soon afterward The Young Ones released their first single ”Too Much Lovin” / ”Harbor Melon” during December 1966 which was a local success climbing to the top ten in several Cities in Carolina.

This was the bands first recording. Twenty-Sixth Street refers to Dicky Britt’s house. At the beginning, the sound is Dicky shaking the reverb on the farfisa organ while Carlton Warwick slides his pick down the guitar strings.

The Young Ones broke up soon after their second single was released. Jimmy Sossamon would then form a new group called The Cykle. 

line-up:
Carlton Warwick (lead guitar, lead vocals)
Johnny Hayes (bass, vocals)
Ronnie Baxley (rhythm guitar, vocals)
Jimmy Sossamon (drums)
Dicky Britt (organ)

MORTIMER – ”Mortimer” (Philips PHS 600-267) April 1968

This group from New York are most definitely ’Opulent Conceptions’ favourites. I’ve highlighted their work several times on my site, including their earlier recordings when they were called The Teddy Boys and their mindblowing psychedelic single as Pinnochio & the Puppets. Check out my archives.

Mortimer’s only album comes highly recommended. It’s quite a brilliant laid back affair, largely acoustic based and full of pure pop harmonies. The songs have depth and interest. It was recently re-issued on CD from the master tapes (I don’t have this by the way).

My pick from the album is ”Where The Dragons Guard The Doors” which is three minutes of delightful pop psych and reminds me of post ’Syd’ Pink Floyd’s more dreamy mind trips. Hang onto your coloured dreamscapes and prepare for lift-off.

FORD THEATRE – ”Time Changes” (Stateside SSL 10288) June 1969

There are several sites on the internet with information about Ford Theatre, a psychedelic rock group from Boston, USA, so I’ll be brief and just concentrate on ”I Feel Uncertain” which was an album track and never released as a single.

The Album ”Time Changes” by the way is the story of a young man named Clifford Smothergill and his search for meaning and significance in life. It’s a musical tale based on the very life of a very real person, whose true identity is a matter for very careful consideration, significant as it is.

”I Feel Uncertain”

Who can survive too long a journey such as this? Clifford Smothergill can only take it so long, and eventually he decides to return to Mary Jane and to resume the love affair. Mary Jane receives him gladly (after having gone through some pretty heavy changes herself), and now Clifford is left once again with haunting feelings of insecurity.

line-up:
John Mazzarelli (organ, pianos, vocals)
Harry Palmer (guitars, percussion)
Joey Scott (bass, vocals)
Robert Tamagni (drums, percussion, vocals)
Arthur ’Butch’ Webster (guitars)

DANNY WARNER – ”Go ’Way Little Girl” / ”Bright Colors” (Smash S-2110) September 1967

I’ve drawn a complete blank here. Who was Danny Warner? What I do know is that he released two previous 45s on Reprise during 1966 aided and produced by Lee Hazelwood. Those songs are in the soul or crooner style and not ’flower bomb song’ worthy.

His first single for Smash Records and presumably his last was ”Go ’Way Little Girl” a fuzztoned groovin’ version of the Janis Ian classic, also recorded in England by mod psych group The Shame. Check out my earlier posting for their classy take.

The flip ”Bright Colors” is bouncy pop, tinged with some psych moves and a big helping of brass to ’colour’ the song.

discography:
”(You Got) The Power Of Love” / ”Love Is You” (Reprise 0459) 04/66
”It Hurts” / ”Not The Lovin’ Kind” (Reprise 0505) 08/66
”Go ’Way Little Girl” / ”Bright Colors” (Smash S-2110) 09/67

THE REGENTS – ”Russian Spy And I” / ”Bald Headed Woman” (Dot 45-16970) October 1966

According to ’Teenbeat Mayhem’ TheRegents originated from Bakersfield, CA but perhaps they relocated to Los Angeles to be where the action is. I don’t know for sure, it’s just my hunch. Anyway, great information and comments from some group members can be found on Garagehangover.

”Russian Spy And I” was first recorded by Dutch group The Hunters. It’s a moody jangler with some fuzz and a fabulous rave-up ending. Hearing a surf styled guitar on record in 1966 must have been something of a flashback in time.

The other side is a version of ”Bald Headed Woman” which is a song I’ve never really liked much no matter who has recorded it. Many acts have issued the song as a single, either A or B side. Perhaps the most famous being The Who version.

(21/07/15)

THE SHERLOCKS – ”Too Good To Be True” / ”Shades Of Blue” (Dot 45-16953) September 1966

It is believed that The Sherlocks hailed from Sylvester, Georgia. Nothing has ever been written about them online or in fanzines and they’re one of those mid 60s combo’s that are way under the radar.

Their first single for Dot Records was the super cool fuzz rocker ”Skin Of My Teeth” backed with a spellbinding folk-janger ”Turn Her Down.” I don’t have a copy and it’s very sought after. Expect to pay in the region of $400 if you ever see one for sale.

”Turn Her Down” was first recorded by Barry Allen and released in Canada. His version is more pop than folk-rock. ”Skin Of My Teeth” was compiled back in the late 80s on ”Sixties Rebellion #5”

The Sherlocks second and last Dot 45 was ”Too Good To Be True” written by Ramona Wingate. It’s a moody beat affair and sounds very much influenced by The Zombies, at least to my ears. The other side ”Shades Of Blue” as the title suggests, is a bluesy outing with organ.

Both sides remain uncompiled.

(20/07/15)

NEIGHB’RHOOD CHILDR’N – ”Woman Think” / ”On Our Way” (Dot 45-17238) May 1969

Continuing with my exploration of the Dot catalogue with San Francisco based Neighb’rhood Childr’n. They have been well documented of late in Shindig magazine and of course the Sundazed collection ”Long Years In Space.”

”Woman Think” was their one and only single for Dot Records. It’s a typically laid back, mellow, late 60s rock affair with a slightly psychedelic edge, particularly the guitar sound. It may even have been recorded in 1968. The other side ”On Our Way” rock with horns and not really my scene.

(19/07/15)

GENE GRAY & the STINGRAYS – ”Surfer’’s Mood” / ”Surf Bunny” (Dot 45-16470) 1963

If someone ever compiles a primitive surf compilation album I’d be more than a little surprised if ”Surfer’s Mood” was not allocated a slot. On the latter recording, Gene Gray & the Stingrays sound like a surf garage band that would be at home on a ”Back From The Grave” comp. Yeah, it’s that primal.

The other side ”Surf Bunny” is my pick though. My cat ”Biba Ringo” digs it a whole lot. As I’m cranking out this 45 on my turntable at volume ”11” she’s banging away on a couple of coconuts and showing her teeth.

The single first appeared on Linda Records then it was picked up by Dot for a wider distribution.

(17/07/15)

LALO SCHIFRIN – ”Mission Impossible” / ”Jim On The Move” (Dot ZK-2169) December 1967

I recently bought a small collection of ”Mission Impossible” items including a couple of albums and three different releases of this Lalo Schifrin single. The US release on Dot Records came out during December 1967, the likelihood is that this New Zealand pressing was released a couple of months later.

Everyone must know the classic ”Mission Impossible” theme tune. I heard this so many times as a kid in the 70s when the show was on constant repeats. It’s seemingly never broadcast nowadays so perhaps youngsters may be hearing this for the first time. Take it in cos they just don’t make killer cuts like this any more.

(13/07/15)

THE SPLIT LEVEL – ”Love To Love You” / ”Can’t Complain” (Dot 45-17142) September 1968

The third and final Split Level single was released during September 1968. The non album cut ”Love To Love You” is decent flower pop but my pick is the Lenny Roberts penned ”Can’t Complain” on the other side.

line-up:
Michael Lobel (guitar, flute, piano)
Lenny Roberts (6 & 12 string guitars / vocals)
Al Dana (bass, sitar, vocals)
Liz Seneff (vocals, tambourine) – died 1993

(12/07/15)

THE SPLIT LEVEL – ”I Don’t Know Where You Are” / ”Looking At The Rose Through World Colored Glasses” (Dot 45-17036) August 1967

I recently wrote about The Split Level album but what about their singles? The first 45 released was the Dave Frishberg composed ”I Don’t Know Where You Live.” This is a required purchase for two reasons. The first being that it’s a classy flower pop mover and non album cut, the second of course for the overtly psychedelic flip ”Looking At The Rose Through World Colored Glasses.”

(11/07/15)

COLOURS – ”God Please Take My Life” / ”Angie” (Dot 45-17280) July 1969

This single was the second and last from the Colours studio album ”Atmosphere” with both sides being unedited and direct stereo mixes used on the long player.

Both songs display the laid back, late 60s rock style typical of 1969. In other words radio friendly tunes especially ”God Please Take My Life” which should have faired better but I’ll be surprised if the release got any further than this white label promo.

(09/07/15)

COLOURS – ”Atmosphere” (Dot DLP-25935) May 1969

By the time Colours reconvened to record their second (and last) album for Dot Records they were down to a duo, Jack Dalton and Gary Montgomery. Bassist Carl Radle and drummer Chuck Blackwell joined Delaney & Bonnie, Rob Edwards also quit the band.

New members on board to help with the recording of ”Atmosphere” were Richard Crooks (drums), ex Moon member, David Jackson (bass) one time Beach Boy and David Marks (guitar). Former bassist Carl Radle also helped out on some cuts.

”Atmosphere” is less heavy on The Beatles influence and more late 60s rock with jazzy moves. There are some pleasing songs especially my pick ”It’s Time To Tell You” which sounds very much like Dalton and Montgomery were listening to a lot of Cream before recording this one.

Sessions for the album took place at the back end of 1968 at Columbia Studios and Sound Recorders. Also interesting is the albums artwork which was created by legendary Fillmore poster designer Victor Moscoso.

(08/07/15)

COLOURS – ”Love Heals” / ”Bad Day At Black Rock, Baby” (Dot 45-17132) August 1968

This was the second single released from the Colours superb Beatles-esque album. August 1968 was the release but of course the music on both sides of the disc were recorded during late 1967.

I can only presume that the ”Sgt Pepper” influenced ”Love Heals” was the choice of A-Side simply because I found a music sheet online. I didn’t buy it but downloaded the image for this post. I don’t expect many of these to have been produced or survived the ravages of time for that matter.

My pick though is the superlative ”Bad Day At Black Rock, Baby” with it’s stunning orchestration, time changes, eerie harmonies and of course the subject matter. Some freak going out to rob a liquor store with a wooden gun, polished and painted black to look real. This situation is gonna end in carnage.

(07/07/15)

COLOURS – ”Brother Lou’s Love Colony” (Dot 45-17060) December 1967

The first single to be released from the Colours album was ”Brother Lou’s Love Colony”

My copy is a green label promo disc with two versions of the song. An edited take at a radio friendly 2:30 minutes and the album version at just under four minutes in length. Other copies came with ”Lovin” on the B-Side.

”Brother Lou’s Love Colony” perfectly encapsulates the ’67 hippie movement of California in both music and lyrical content. The sound is very Beatles-esque, which was a Colours speciality. It comes complete with orchestration, mellow fuzz guitar, sitar, trippy keyboards, effects, bagpipes and harmonizing vocals.

It’s a shame that this lysergically enhanced single appeared to be completely over-looked.

(06/07/15)

COLOURS – ”Colours” (Dot DLP-25854) May 1968

They spell it the English way, and for jolly good reason. Colours have the crystalline sharpness of The Beatles before they turned acid.

Colours have a rainbow sound, but you can distinguish one hue from another rather than fight through a haze of fuzzy static, funky confusion, and screeching feedback.

They also write love songs. ”Helping You Out” has a kind of walk up honesty that cuts through the dreamy creamy gush lyrics.

”Washing your clothes when you’re gone for the day and then hanging them out, helping you out.”

The spectrum of Colours features Jack Dalton and Gary Montgomery, neither more than a quarter century old, both of whom are professional musicians. They write the songs that lead guitarist Rob Edwards, drummer Chuck Blackwell, and bass guitarist Carl Radle help spread on a palette of sound.

They will tackle a mess of changing time signatures, such as their ”Bad Day At Black Rock, Baby ” where they move through six sharps from 6/8 to 4/8 to 3/8 then 5/4 and even 5/8, changing rhythms with the quick ease of the most wigged-out electronic classic composer.

Yet underneath is a straight, raw narrative about a tragic hero who, unlike the dramatic victims of a folk song, knows what is in store for him from the futile start.

They have clarity, a gently dissonant sound full of the blues, the beat of a street band, the horns of a jazz connection, even the words of folk nostalgia. ”Brother Lou’s Love Colony” is a free form cantata about the hippie colony in California. It ends with a classy coda underscored with, of all sounds, bagpipes.

In ”Rather Be Me” a number about identity, the drone vocal and music suggests music from Morocco or the whine of a sitar weaving an Indian raga. All that in the rarely used key of Eb minor lends a greater weirdness to the song.

Colours takes a trip in ”Cataleptic”, richly harmonizing over eerie organ music, or rips off a bold, bouncy ”Lovin” and ”Don’t You Realize” in a style that smacks of music hall and vaudeville energy.

So Colours does have that broad spectrum of electric sounds so prized in today’s rock, but they pull it off without indulging in jarring cliches. And, with a youthful joyfulness, they don’t paint it black. (Jon Borgzinner – back cover liners) 

(05/07/15)

THE PEPPERMINT TROLLEY COMPANY – ”Trust” EP (Dot EP-44-3) 1968

I’ve loved the music of The Peppermint Trolley Company since the late 80s after buying their Acta label album based on the description offered by the seller, it was something like ’Californian sunshine pop with a bubblegum edge’ – well that sounded right up my street and I never looked back.

They’ve appeared on my blog before. Today I’ll promote their rare Portuguese EP released on Dot Records. As you probably know The Peppermint Trolley Company were an Acta label group (Acta was a subsidiary label of Dot set up primarily to release psychedelic rock music). So quite how the Portuguese four song EP came about on Dot is unknown.

All four songs can be found on their studio album but only ”Sunrise” written by Pat McClure was never released at 45 r.p.m. This is why, for vinyl nerds like me, this EP is essential.

(01/07/15)

THE LICORICE SCHTIK – ”The Kissin’ Game” / ”Flowers Flowers” (Dot 45-17131) August 1968

This obscure single was the work of Milan a.k.a. The Leather Boy and a few other guises. He was undoubtedly a genius who didn’t achieve the success he deserved. ”The Kissin’ Game” is something of a novelty bubblegum dancer and with bubblegum at it’s peak in the Summer of 1968 I can’t understand how it never took off and became a hit.

The other side is the magnificent psychedelic rocker ”Flowers Flowers” It saddens me somewhat that this was the B-Side and probably unheard back in the day. This is perhaps my favourite ever Milan song. The whispered ’flowers flowers’ line is so far-out it’s untrue. Play this loud and rejoice and make believe it’s 1968 all over again.

”Flowers flowers wear them in your hair,
Flowers flowers show me that you care
Flowers flowers wear them everywhere.” 

(30/06/15)

THE LIME – ”Beautiful Day” / ”Satisfied” (Dot 45-17298) September 1969

I have the earlier Lime single from 1967 on the Westwood label where they offer a groovy ”Love A-Go-Go” with a spirited version of ”Soul Kitchen.” I don’t know why I’ve never highlighted that single here before but the seed has started to germinate in my mind so I’ll bring it soon.

First though is their one and only single on Dot Records. Both sides were released earlier in 1969 on their own Interpolation label. Here’s an extract of a Steve Sanders interview on 60sgaragebands.com
Steve was The Lime’s guitarist.

”Our second recording session was done at Cleveland Recording with Kenny Hammond as the engineer. The single ”Beautiful Day” came out of that. Richie Greenbaum (aka Dick Whittington) helped produce that one.  

We had a string ensemble from the Cleveland Orchestra.  It was released on our own label, Interpolation, and later picked up by Paramount’s Dot Records (Dot 17298). 

”Beautiful Day” had a four-star pick in Cashbox/Record World magazine in ’68 predicting our band ”was going to go far with this little ditty”. (Note: the flipside was a cover of The Dantes ”Satisfied.” 

The unreleased ’Love Seeds,’ ’Questions,’ ’Pretty Girl Why’ and ’Something On My Mind’ were also also recorded during this session)  

(29/06/15)

ZACK HILTON – ”Next Train To Toledo” / ”Usually On Tuesday” (Dot 45-17191) January 1969

Here’s another Dot Records mystery performer. Who was Zack Hilton? I’ve spent some time looking around the internet and combing through my reference guides for any relevant information but have drawn a blank.

The top side aimed at the record buying public was the folk-country pop of ”Next Train To Toledo” but it’s not something I need to hear. Much better is the baroque pop of ”Usually On Tuesday” hidden away on the other side. Surely a song just waiting to be discovered on one of those ”Soft Sounds For Gentle People” CD compilations.

Both sides written and performed by the mysterious Zack Hilton with strings and things arranged by Bergen White, famous for his orchestration work with Elvis, Tony Joe White and Dolly Parton. Produced by in house Dot Records knob twiddler Henry Hurt.

(28/06/15)

HAMILTON STREETCAR – ”Honey And Wine” / ”Now I Taste The Tears” (Dot 45-17306) September 1969

The third and final Hamilton Streetcar single released on Dot Records showcased another Goffin – King song, probably not one of their strongest tunes but several acts also recorded it including The Hollies, Fran Jeffries, and Back Porch Majority.

It’s the usual late 60s Hamilton Streetcar, quite bombastic and over-produced with macho lead vocals akin to Jim Morrison’s. Their LHI material is far superior, but we all know that anyway.

(27/06/150

HAMILTON STREETCAR – ”Wasn’t It You” / ”Brother Speed” (Dot 45-17279) July 1969

Six songs from the Hamilton Streetcar album were released on three singles during 1969, ”Wasn’t It You” was the second. It was backed with ”Brother Speed” written by John Boylan who recorded as The Appletree Theatre with his brother Terry.

”Wasn’t It You” was written by the Goffin – King song writing partnership and recorded by many artists including The Action, 3’s A Crowd, Petula Clark and Spanky & Our Gang.

(27/06/15)

THE CHANTAYS – ”Pipeline” / ”Move It” (London HLD-9696) March 1963

Here’s one of the all time great surf instrumentals, who doesn’t know ”Pipeline” I’m guessing not many, so much so that I’m not even gonna bother uploading the tune for inspection. Head off to YouTube and watch The Chantays mime this greatness on The Lawrence Welk Show in May 1963.

The record was released on the London label in Britain during March 1963 and got as high as #16 on the Chart. The vital Dot logo is present and correct.

”Pipeline” was released in America on Dot Records at the start of 1963, but before Dot picked it up for national release it came out on the small Downey label some months earlier.

When surf music became last years news The Chantays changed their name to The Leaping Ferns before adopting the moniker The Ill Winds for a couple of 45s on Reprise and started recording in the in-vogue 1965 folk-rock style. Those records will be covered here later.

(26/06/15)

HAMILTON STREETCAR – ”Hamilton Streetcar” (Dot DLP-25939) 1969

A trolley token. Or fifteen cents. A small price. A wondrous journey on a trans-cranial streetcar. Ahhh, the scenery laid before me. All the joy and pain and love and lust and beauty…. and pain…. the depths of the heights…. and the pain….and the love.

Flight on silver wings of trolley track….above it all….and all a part of me…. and you….And all.

The Hamilton Streetcar of your head. 

”Pleasant Street” is an album track demonstrating that they had a very strong Doors influence. It could be argued that ”Pleasant Street”, written by Tim Buckley has become their very own ”Love Street” The vocals are quite bombastic, it could almost be Jim Morrison.

(25/06/15)

FEAR ITSELF – ”The Letter” / ”Born Under A Bad Sign” (Dot Records 45-17278) July 1969

I bought this record several years ago and remember the seller billed it as ’psychedelic blues rock’ but there is no way I’d describe the music as such. To me, it’s simply late 60s hippie rock. There is nothing psychedelic about Fear Itself. They were hippies.

”The Letter” is the much covered song written by Wayne Carson. Perhaps the best known version is by The Box Tops. This version by Fear Itself doesn’t really do much for me but I’ve decided to post it here during my Dot Records expose. Both songs on this 45 were part of their album, something I’ve never heard (apart from these two songs) but they’re just not my scene to be honest.

(24/06/15)

THE CLOCKWATCHERS – ”Hey It’s Summertime” / ”Make Me Not Love You” (Dot Records 45-17026) June 1967

Here’s another mystery group from the Dot label. I have no idea who The Clockwatchers were, maybe they were not actually a band but a studio creation by songwriter and producer Dick Torst?

Both songs on this disc were written by him with ”Hey It’s Summertime” my pick. Don’t expect anything more than lyte harmony pop with harpsichord, corny lyrics and typical ’Summer of Love” Association style bah, bah, bah’s.

”Feelin’ good and groovy,
Summer’s gettin’ to me.”

Dick Torst also wrote and produced both songs on each of the two singles released by The Chosen Few. Check out ”Last Man Alive” and ”Asian Chrome” for some wacked-out and strange psychedelia.

His 2D Production Company with Dick Parker crop up again on ”Knock Knock” by The Humane Society and the late 60s recordings of Rabbit Mackay, including his wonderful ”Tendency To Be Free” Another one of his songs is ”Childhood Friends” recorded by The Yellow Payges, The Foremost Authority and Teddy & the Pandas. He obviously had some form and was a significant songwriter from the L.A. music scene.

Even more interesting is the 2D production of the beautifully hip psychedelic single by The Children Of The Mushroom, Dick Torst is also believed to have added his backing vocals to their ”August Mademoiselle” and ”You Can’t Erase A Mirror.”

Anyway, back to The Clockwatchers. If anyone knows any information about them please get in touch.

(23/06/15)

THE BEETHOVEN SOUL – ”The Beethoven Soul” (Dot Records DLP-3821) September 1967

This album by Los Angeles group The Beethoven Soul is not mind bending psychedelia but if you dig sunshine pop with some flower-power hippie elements from the ’67 pop era then this album is probably gonna be your bag.

I wrote about the single taken from the album a few days ago ”The Walls Are High” / ”Good Time Gal” which gives a good indication of the type of well produced harmony pop on offer.

Another highlight is their version of ”Walkin’ Through The Streets Of My Mind” also recorded by English group Timebox and released as a single B-Side during October 1967.

Not a great deal of information exists online about The Beethoven Soul and I’m curious if they played gigs on the Sunset Strip. Members Otis Hale, John Lambert and Richard Lewis became members of Pollution who released records on Capitol and then Prophecy.

line-up:
Andrea Kouratou (strings)
Bill Powell (guitar)
John Lambart (bass)
Dick Lewis (brass – keyboards)
Otis Hale (woodwinds)
Terry Nu (percussion)

(21/06/15)

THE BEETHOVEN SOUL – ”The Walls Are High” / ”Good Time Gal” (Dot Records 45-17031) July 1967

I’ll continue my look at some of the ’opulent conceptions’ friendly Dot Records releases with this single by The Beethoven Soul, who were from Los Angeles. I have their Dot album too, so I’ll take a look at that sometime soon.

They certainly look the part, with their way-out flower-power gear, bowl haircuts and even feature a female musician who adds strings but no vocal parts.

”The Walls Are High” is a commercial pop song with orchestration, a steady memorable beat and at just over two minutes long is a radio friendly nugget.

According to ARSA, the online radio survey site, the single went Top 30 in Orlando, Florida.

The other side featured ”Good Time Gal” written by Roger Tillison who was a member of The Gypsy Trips and The Leathercoated Minds.

(19/06/15)

BOBBY ALLEN – ”House Of The Rising Sun” / ”Orphan Of Love” (Dot Records 45-17079) July 1968

Bobby Allen is a complete mystery to me, I’ve spent some time researching this disc and have come up with next to nothing. So if anyone can fill me in with some relevant details please get in touch.

”House Of The Rising Sun” seems a strange song to release in mid 1968 as I would have thought that The Animals huge hit with it in 1964 was the only version for your sensory requirements. How wrong was I? Bobby Allen’s version is terrific, his vocals are moody and slightly menacing in an outsider kind of way, there is no lengthy organ solo, in fact the organ is a bit too quiet and hidden in the mix. I wish it was louder.

The flip ”Orphan Of Love” is a soul tinged mod mover, strangely credited to Alan Price. I just think that Dot Records got the label information the wrong way round as ”House Of The Rising Sun” is credited to Bobby Allen – Orlie Trujillo, who released many singles in the early 60s on Band Box.

Monument Records songwriter Bob Tubert produced this disc so perhaps Bobby Allen was a performer from the Nashville area.  

This is apparently the same Bob Allen that recorded for Diamond records (it sounds like him, anyway). He wrote Orphan Of Love and is credited on BMI under the name Bob Kornegay for that song. Perhaps that is the real identity of Bobby Allen.

(19/06/15)

THE SPLIT LEVEL – ”The Split Level” (Dot Records DLP 25836) February 1968

This is a very interesting album full of strangeness and experimentation combining two distinct styles, lyte flower pop psychedelia with medieval hymn madrigals. It’s well worth tracking down but you’ll need to find an original copy as there has been no re-issue on vinyl or CD.

A very good review of the album can be found here but I’ll make some brief comments. The Split Level were formed sometime in 1967 from the ashes of a couple of folk outfits, Liz Seneff was the vocalist in The Whiskeyhill Singers while Michael Lobel and Al Dana were a folk duo.

”You Can’t Go” is Peanut Butter Conspiracy-like and has a turned-on folk-rock sound with jangle and comes over like a Sunset Strip mover from ’66, the flower psych vocals and harmonies add to the coolness, then comes a short burst of flute before The Split Level drive their ”in sound” back to NYC where they were based.

Three singles were also released on Dot Records in 1968. Some of these have non-album cuts and of course I hope to add those to my collection and review them here at some point in time.

line-up:
Michael Lobel (guitar, flute, piano)
Lenny Roberts (6 & 12 string guitars / vocals)
Al Dana (bass, sitar, vocals)
Liz Seneff (vocals, tambourine) – died 1993

(04/06/15)

THE BASKERVILLE HOUNDS – ”Featuring Space Rock – Part 2” (Dot Records DLP 25823) September 1967

You’ve heard and read about their records on my site, so let me bring you the boys themselves, The Baskerville Hounds.

Dante Rossi: Age 23 – Guitar and singer

Dante has the drawing power of a huge magnet. On stage his comic appearance, combined with a bubbling personality, constitutes leadership. He is always himself, he doesn’t believe there is a time and place for everything, but instead is spontaneous. A natural wit, he usually speaks before he thinks.

This is normally disastrous, but in Dante’s case, it becomes a tool of his trade. Dante loves girls, in any size, shape or form (with great ”success”), pizza and spaghetti, in that order.

William Emery: Age 21 – Bass guitar

A child prodigy, Bill plays concert violin. As a gag he tried the bass guitar and found that he enjoyed it. He has a sleepy look on his face which seems to attract the girls.

Many gags have been tried on Bill, when he is performing, to try to make him crack a smile. It has not yet been accomplished. Whoever does this will have great esteem among his friends. Bill loves sports cars, tall brunettes and sleep, sleep and more sleep.

Lawrence Meese: Age 20 – Lead guitar, harmonica, singer

Larry is an accomplished jazz guitarist with speed, technique and soul. When Larry sings his R&B sound is completely authentic. He writes, arranges, produces and is truly in love with his guitar. Larry’s sexy voice is featured on three numbers in this album. Larry is as homespun and gingham and apple pie.

He is not a gambler, doesn’t drink, smoke and is deeply religious. Larry loves music, girls named Pam and dogs.

Jack Topper: Age 19 – Organ, Piano, Vibes, Accordion, singer

A child prodigy who performed on the piano at Carnegie Hall at the age of 10. Jack is a very warm person, who’s magnetic personality is reflected in his music.

Jack eats, sleeps, walks and talks music. Jack is one of our finest critics. Jack’s cosmopolitan background has had a great influence on his natural ability to make friends.

He was born in Italy, lived for a time in Israel and finally settled in America. Listen to him on ”Jackie’s Theme” which he penned himself. Jack digs girls, food, girls, food, more girls and more food.

Michael Macron: Age 19 – Drums, singer

A real tough drummer who had big shoes to fill and has done a wonderful job of filling them. The Hounds demand a tremendous punch, true cadence and tight brakes.

Mike supplies the pulse of the big sound of The Baskerville Hounds. He has a natural acting ability and the remarkable talent of portraying a store window mannequin, which has convulsed audiences. Mike loves Lebanese food, slender blondes (girls) and Danny Thomas.

write to The ”Hounds” in care of Tema Enterprises, 13310 Caine Avenue, Cleveland, Ohio, 44105.

(19/06/15)

THE BASKERVILLE HOUNDS – “Jackie’s Theme” / ”Debbie” (Dot Records 45-17017) April 1967

Both of these songs feature on their album ”Space Rock”
”Debbie” is a beat ballad while the instrumental ”Jackie’s Theme” recalls early 60s English rock ’n roll to my ears such as those weird and wonderful Joe Meek sounding productions.

It is primarily an organ instro, written by their organist Jack Topper. Hence the song title ”Jackie’s Theme” and was no doubt part of the live act.

(19/06/15)

THE BASKERVILLE HOUNDS – ”Christmas Is Here” / ”Make Me Your Man” (Tema 131) December 1965

This record appears to have been released with Christmas in mind during December 1965. ”Christmas Is Here” is a beat carol but not something I’d want to listen to much, even at Christmas. At least the boys donned their favourite Beatles gear for the picture sleeve and shaped their hair like they were a gaggle of Paul McCartney’s.

”Make Me Your Man” is the vinyl treat here. It’s a Sir Douglas Quintet “She’s About A Mover” inspired rocker with harmonica, Jagger influenced vocal delivery and farfisa organ frills. For some reason the song was used almost two years later as part of their Dot album from mid 1967.

(19/06/15)

THE BASKERVILLE HOUNDS – ”Baby Am I Losing” / ”Never On Sunday” (Dot Records 45-17037) August 1967

”Baby Am I Losing” sounds like it could have been recorded at least a year earlier as it has all of the trademark signs such as the mid period Beatlesesque jangle pop sound and harmonies. A steady farfisa organ riff gives it a forceful drive. This song is perhaps my favourite cut of theirs under The Baskerville Hounds moniker.

Obviously it will be hard to top ”Hurtin’ Kind” which they released on Tema Records as The Tula Babies during April 1965. I dug around and found a fabulous photo of The Baskerville Hounds with Mick Jagger taken when they supported The Rolling Stones at a gig in Cleveland. Thanks to their Facebook page uploader.

(19/06/15)

THE BRIKS – ’Foolish Baby’ / ’Can You See Me’ (Dot 16878) April 1966

Here’s one of thee classic 45s of the mid 60s. It was originally released on the smaller label Bismark but was picked up by Dot for national distribution. Inexplicably, the record went nowhere other than healthy sales in and around Dallas.

Both sides are GREAT! ’Foolish Baby’ is a powerful garage rocker built around a Kinks like beat. The other side ’Can You See Me’ is a beautiful folk rock jangler.
Lead guitar player Richard Borgens later teamed up with The Truth

(19/06/15)

THE CITY ZU – ”Quick Like A Bunny (On The Way To Your Heart)” / ”Stop Running Away” (Dot Records 45-17266) June 1969

To complete my focus on the records left behind by The City Zu, here’s their final single released on Dot Records during the Summer of 1969. Both sides are pleasant bubblegum rockers with a hard edge.

My pick is the flip ”Stop Running Away” co-written by Dick Monda a.k.a. Daddy Dewdrop, the former Moonglow recording artist and producer of The Cindermen. As with the other Dot release Ray Ruff produced. I’ve not found any evidence that this disc ever dented the charts or even got passed the white label promo stage.

After this flop The City Zu probably disbanded. I wonder if members continued in the music business with other groups?

(15/06/15)

THE CITY ZU – ”Give A Little Bit” / ”I’ll Find Another” (Columbia 4-44342) November 1967

This is the second time The City Zu have been featured on my blog. Check out my updated entry from 2011 when I featured their psychedelic rocker ”Too Much, Too Soon, Too Fast” here.

The A-Side ”Give A Little Bit” was a regional hit in the North West and possibly went Top 20 in Seattle. I’ve located a radio sheet from ARSA showing the disc just outside the twenty.

Either way it was a success and got The City Zu attention. Surprisingly they never released anything else on Columbia, moving to Dot Records for a couple of singles. I’ve read elsewhere that the band recorded more material that was never released at the time. Maybe one day, if it’s true, a re-issue label could dig a little deeper and release them.

By the way ”Give A Little Bit” was recorded by The Knickerbockers in February 1966 but their version was never released. The song was written by Glen Campbell.

”I’ll Find Another” is a tuff garage pop mover with a bouncy rhythm, organ and sax. it was written by Jerry ”Zu” Matheson

(15/06/15)

My latest project is to identify and focus on rock ’n roll, psych and quirky 45s and albums released on the Dot Records label circa 1964 – 1969. I’ll concentrate on the discs that are ”Opulent Conceptions” friendly. This will obviously take some time to achieve so I’ll update this list on a regular basis.

First of all, here are the discs in my record collection. A & B sides with compilation appearance noted.

singles:

BASKERVILLE HOUNDS – BABY AM I LOSING
BASKERVILLE HOUNDS – DEBBIE
BASKERVILLE HOUNDS – JACKIE’S THEME
BASKERVILLE HOUNDS – NEVER ON SUNDAY
BEETHOVEN SOUL – GOOD TIME GAL
BEETHOVEN SOUL – THE WALLS ARE HIGH
BOBBY ALLEN – HOUSE OF THE RISING SUN
BOBBY ALLEN – ORPHAN OF LOVE
BRIKS – CAN YOU SEE ME (”Texas Punk #7”)
BRIKS – FOOLISH BABY (”Texas Punk #7”) (”HITMS #13”)
CATCH – AMBER
CATCH – CITY DITTY
CATCH – I’M ON THE ROAD TO MEMPHIS
CATCH – STORM
CHANTAYS – PIPELINE
CHANTAYS – MOVE IT
CITY ZU – EENY MEENY
CITY ZU – QUICK LIKE A BUNNY
CITY ZU – STOP RUNNING AWAY
CITY ZU – TOO MUCH, TOO SOON, TOO FAST (”HITMS #16”)
CLOCKWATCHERS – HEY IT’S SUMMERTIME
CLOCKWATCHERS – MAKE ME NOT LOVE YOU
COLOURS – ANGIE
COLOURS – BAD DAY AT BLACK ROCK, BABY
COLOURS – GOD PLEASE TAKE MY LIFE
COLOURS – LOVE HEALS
COLOURS – BROTHER LOU’S LOVE COLONY (short version)
COLOURS – BROTHER LOU’S LOVE COLONY (album version)
FEAR ITSELF – BORN UNDER A BAD SIGN (”World In Sound Tracks #1”)
FEAR ITSELF – THE LETTER
GENE GRAY & THE STINGRAYS – SURF BUNNY
GENE GRAY & THE STINGRAYS – SURFER’S MOOD 
HAMILTON STREETCAR – BROTHER SPEED (”Neurotic Reactions”)
HAMILTON STREETCAR – HONEY AND WINE
HAMILTON STREETCAR – NOW I TASTE THE TEARS
HAMILTON STREETCAR – WASN’T IT YOU
LALO SCHIFRIN – MISSION IMPOSSIBLE
LALO SCHIFRIN – JIM ON THE MOVE
LICORICE SCHTIK – FLOWERS FLOWERS
LICORICE SCHTIK – THE KISSIN’ GAME
LIME – BEAUTIFUL DAY
LIME – SATISFIED
MOD SQUAD – BEAUTIFUL WOMAN
MOD SQUAD – THIS IS MY WOMAN
NEIGHB’RHOOD CHILDR’N – ON OUR WAY
NEIGHB’RHOOD CHILDR’N – WOMAN THINK
PEPPERMINT TROLLEY COMPANY – TRUST EP
PRICE AND WALSH – LOVE IS THE ORDER OF THE DAY
PRICE AND WALSH – THE HOUSE OF ILENE CASTLE
REGENTS – BALD HEADED WOMAN
REGENTS – RUSSIAN SPY AND I (”Psychedelic Unknowns #9”)
SHERLOCKS – SHADES OF BLUE
SHERLOCKS – TOO GOOD TO BE TRUE
SOUNDS OF DAWN – STEPHANIE SAYS
SOUNDS OF DAWN – WALKIN’ OUT ON YOU
SPLIT LEVEL – CAN’T COMPLAIN
SPLIT LEVEL – LOVE TO LOVE YOU
SPLIT LEVEL – I DON’T KNOW WHERE YOU ARE
SPLIT LEVEL – LOOKING AT THE ROSE THROUGH WORLD COLORED GLASSES
SURFARIS – WIPE OUT
SURFARIS – SURFER JOE
SURFARIS – CHICAGO GREEN
SURFARIS – SEARCH
SURFARIS – SHAKE
SURFARIS – SHOW BIZ
SYNDICATE – THE EGYPTIAN THING (”Back From The Grave #7”)
SYNDICATE – SHE HAUNTS YOU (”No No No”)
TRIPPERS – DANCE WITH ME
TRIPPERS – KEEP A KNOCKIN’
UN-FOUR-GIVEN – CRY, CRY (Cry little Girl)
UN-FOUR-GIVEN – LOVE ME TO PIECES
YANKEE DOLLAR – CITY SIDEWALKS (”Who Needs Tomorrow”)
YANKEE DOLLAR – MUCKY TRUCKEE RIVER
YANKEE DOLLAR – REFLECTIONS OF A SHATTERED MIND (”The Electric Coffee Shop”)
YANKEE DOLLAR – SANCTUARY
ZACK HILTON – NEXT TRAIN BACK TO TOLEDO
ZACK HILTON – USUALLY ON TUESDAY

albums:

BEETHOVEN SOUL – BEETHOVEN SOUL (DLP-3821)
BASKERVILLE HOUNDS – BASKERVILLE HOUNDS (DLP-3823)
SPLIT LEVEL – SPLIT LEVEL (DLP-3836)
COLOURS – COLOURS (DLP-3854)
YANKEE DOLLAR – YANKEE DOLLAR (DLP-25875)
VAL STOECKLEIN – VAL STOECKLEIN (DLP-25904)
COLOURS – ATMOSPHERE (DLP-25934)
HAMILTON STREETCAR – HAMILTON STREETCAR (DLP-25939)
CATCH – CATCH (DLP-25956)

other listings:

MIND EXPANDERS – WHAT’S HAPPENING (DLP-3773)
BUBBLE – CHO CHO
CHANCES – CAMELBACK
CHUCK BARRIS SYNDICATE – DONNIE
CORONADOS – THE NOMAD
ESQUIRES – SHE’S MY WOMAN
LINCOLNS – POP KAT
OPPOSITE SIX – ALL NIGHT LONG (soul with sax break – not ”Opulent Conceptions” worthy)

LARRY & the BLUE NOTES – IT’S YOU ALONE (The Major Bill Tapes – Volume 1)

I used to see this Larry & the Blue Notes compilation all the time in record shops and for sale via mail order lists during the 80s and some of the 90s. Then copies seemed to vanish just at the point when I decided that I needed it! The fact that I didn’t have the album used to play on my mind for years until I managed to find a copy via Discogs last week for £30.

I’m very pleased that I’ve added this piece of vinyl to my collection as it sounds great and the liners are very informative too. It’s a very early Big Beat offering and was released way back in 1985. I consider the mid to late 80s as the ’Glory Years’ for 60s garage vinyl releases, that short window of opportunity before CDs infiltrated the market and record shops started closing.

Anyway, you all will know about Larry & the Blue Notes killer garage punkers ”In And Out” and ”Night Of The Sadist.” This vinyl only comp also boasts an alternate version of the latter, both sides of their single as The Bad as well as several unreleased cuts including ”It’s You Alone” which is their take of The Wailers folk rock nugget.

All hail the mighty Fort Worth, TX teenage band Larry & the Blue Notes.

(28/09/15)

THE MALTEES FOUR – ”You” (The Cicadelic 60s – 1966 Revisited)

I’ve had the only single by The Maltees Four in my eBay search engine for several years and it’s never appeared on the radar apart from listings of the 80s compilation album in my photograph. As such, I’m thinking that the record is very scarce.

According to ”Teenbeat Mayhem” The Maltees Four hailed from La Puente, CA and their single was released on (Pacific Challenger 112 – March 1966). ”You” b/w ”All Of The Time” are beautiful teen folk janglers with harmonies. As you probably know by now, this type of perfection is my domain. One day I will track this record down but until then and with a heavy heart I’m gonna have to make do with their compilation appearance on ”The Cicadelic 60s”

Someone has uploaded a label scan of ”You” to the Discogs site and from that I can garner that the songwriting credits go to four members. Only surnames are provided, those being Egan, Greenberg, Johnson and Saylor. Production credit goes to Angela Egan.

Reader comment: Colin, excellent 45 and one of my favourites. I did manage to score a copy on eBay back in 2012 for the ridiculously low price of $13. In fact, the scan that appears on Discogs is my copy that someone lifted off my blog. Keep your eyes open, I’m sure a copy will turn up.

(27/09/15)

M.F.Q. – ”Don’t You Wonder” / ”I Had A Dream Last Night” (Dunhill D-4137) April 1968

By the time this third and final Dunhill single was released M.F.Q. had already broken up, so perhaps this was a contractual release by Dunhill Records as they had no band to promote it. Chip Douglas was now a member of The Turtles and was working as a Producer for The Monkess.

Drummer Eddie Hoh was now a session drummer, Jerry Yester had joined The Lovin’ Spoonful, Tad Diltz was now working as a photographer and Cyrus Faryar had signed with Elektra Records.

So what of the music on this disc? ”Don’t You Wonder” is a pleasant enough pop song aided with flourishes of what sounds like an early synthesizer. This one reminds me of Sagittarius. The flip, and perhaps more commercial song, is the dreamy harmony pop of ”I Had A Dream Last Night”, also written by Chip Douglas who produced both sides.

(12/09/15)

THE PEPPERMINT TROLLEY COMPANY – ”Peppermint Trolley Company” (ACTA A-38007) 1968

I’m still on my ACTA trip which brings me to this sadly overlooked album by The Peppermint Trolley Company. This one has been a regular on my turntable since I bought the album back in the late 80s from Funhouse Records in Kent.

Basically, if you dig The Left Banke or The Association you need to hear this. Perfect soft psychedelia with harmonies. I’ve mentioned them before of course and I will do so again, I’m sure. Check out the album cut ”Reflections (On A Universal Theme)”for a spoonful of sweet mind medicine.

The music for the album was recorded at C.P. MacGregor Studios & H & R Recording Studios. Produced by Dan Dalton with arrangements by Dan and The Peppermint Trolley Company. Chad Stuart helped out on two cuts ”Trust” and ”Pat’s Song.” 

Line-up: 
Danny FaragherVocals / Clavinet / Organ / Trombone / Piano / Percussion 
Jimmy FaragherVocals / Bass / Percussion 
Greg Tornquist Guitar / Vocals / Percussion 
Casey CunninghamDrums / Percussion

Yesterday I made contact with Danny Faragher via Facebook.

”Hi Colin, this is Danny Faragher (Pictured in red band jacket above. Played keyboards.) Thanks for posting this song. I’m really proud of this recording. I think it is a timeless gem.

We started off with a great song written by my brother Jimmy (Yellow jacket – bass), and Patrick McClure, whom, sadly, we lost last year. With Greg Tornquist, (2nd from right – guitar) the three of us worked up the vocal arrangement in the kitchen of our Silver Lake pad in a 4 hour session as the sun disappeared from the sky, oblivious to the light fading out. Casey Cunningham (on right), was our superb drummer. I played a clavinet on this track. Really going for that baroque sound. So glad you dig it.”

(10/09/15)

THE OTHER HALF – ”Bad Day” / ”What Can I Do For You” (Acta 45-819) February 1968

The first Other Half single release in 1968 was the fast paced fuzztoned rocker ”Bad Day” written by rhythm guitarist Jeff Weston. Quite what the West Coast love and peace hippies thought of this would be good to know. This is a powerful, back to basics assault lasting just over two minutes. Blink and it’s gone but the fuzz will remain in your mind for days.

The other side is a bluesy number and perhaps more in keeping with the ’68 music scene in San Francisco.

(07/09/15)

THE OTHER HALF – ”I Need You” / ”No Doubt About It” (Acta 806X) July 1967

The first ever release on the newly formed Acta label was by The Other Half, a group based in Sherman Oaks, San Francisco. That particular record was ”Wonderful Day / ”Flight Of The Dragon Lady” (Acta 801). I don’t have a copy of that disc but I do have their Yardbirds inspired twin spin under my spotlight today, and it’s the Canadian pressing.

Now on board with The Other Half was lead guitarist Randy Holden who had recently departed The Sons Of Adam. Randy brought with him an abrasive guitar sound and proto-type heavy rock riffage. Check out ”I Need You” for some killer psychedelic rock thrills. The other side ”No Doubt About It” is pure Yardbirds style energy with fuzz.

(06/09/15)

THE BROTHERS CAIN – ”Better Times” / ”Pupil Alexander” (Acta 45-810) September 1967

The Brothers Cain were more than likely a studio based outfit from Los Angeles with strong links to Curt Boettcher. The latter co-wrote ”Better Times” with Lee Mallory, it’s a sunshine pop nugget with brass, in other words a typical Boettcher effort.

”Better Times” was also recorded by The Association in 1967 but never released at the time. Their version has since surfaced on The Association 2 CD set ”Just The Right Sound” released by Warner Bros/Rhino back in 2002. I’ve posted this below.

The other side ”Pupil Alexander” is much different with an almost toy-town psych vibration going on. It’s quite an addictive song and will burrow it’s way inside your mind after repeated plays. This song was written by the Marmelzat – Proffer songwriting team who achieved some success in the 70s working with Tina Turner.

In 1968 another Brothers Cain single was released on Acta 820, ”It Sure Is Groovy” / ”Anyway You Like It” but both songs have a soul sound and fall outside my ”Opulent Conceptions” radar. 

(31/08/15)

THE DOMESTIC HELP – ”A Woman Owns The Biggest Part Of Man” / ”The Bad Seed” (Acta 45-805) June 1967

Continuing my trip through the vaults of Acta Records, a division of Dot Records set up to release records by new and up-coming psychedelic rock bands. Acta didn’t last very long, perhaps three years at the most. They released records from early 1967 to mid 1969.

I don’t know much about The Domestic Help. I do know that they released two singles on Acta in 1967, this one under my spotlight was their first from June 1967. I’ve seen a press release (45cat) showing that they were a four piece, smartly dressed in mod threads with moptop haircuts.

”A Woman Owns The Biggest Part Of Man” is a folk-rock tune, written by Paul Nicodemus. The latter was a staff writer with Acuff Rose & Four Station Music based in Los Angeles. The song would have been perfect for 1965 but it’s way outta time in mid ’67. The flip ”The Bad Seed” is another folk-rock sounding composition. As you know by now I dig folk rock janglers and this record is a jigsaw piece in anyone’s collection.

The Domestic Help released a second and last single at the end of 1967, ”You’re The Potter (I’m The Clay)” b/w ”Try To Forgive Them” (Acta 45-814). I’ve not heard this one. All sides remain uncompiled and virtually unknown.

(30/08/15)

THE AMERICAN BREED – ”I Don’t Think You Know Me” / ”Give Two Young Lovers A Chance” (Acta 45-802) March 1967

Hugely successful MOR pop group from Chicago. Most of their songs are way too brassy for my taste but this folk-rock gem written by the Goffin-King partnership is well worth repeated listens.

This was their debut 45 as The American Breed, they had been previously known as Gary and the Night Lights then simply The Lite Nights before signing to Acta.

’I Don’t Think You Know Me’ was also recorded twice by The Monkees during 1966 but never released. Their first version was recorded on the 25th June 1966 with Micky Dolenz and Mike Nesmith handling lead vocal duties. This version was meant to be aired during Season 1 of their TV Show but for whatever reason this did not happen.

Their second recording of the song took place on 13th October 1966 with Peter Tork providing lead vocal. Both versions have since been released as extras on those Rhino re-issues from the 90s.

(29/08/15)

THE NEW ORDER – ”You’ve Got Me High” / ”Meet Your Match” (Warner Bros 5816) May 1966

I’ve had all three singles released by The New Order during 1966 in my collection for a number of years but only this morning I decided to remaster them all and conduct some research.

New Order were based in NYC and were the brainchild of successful songwriters Billy Barberis and Bobby Weinstein. Another important member was probably Roger Joyce who has a songwriting credit for all six songs they released on record.

The Barberis – Weinstein partnership had been around for several years before the creation of their group The New Order. They wrote songs for many artists including ”Let The Sunshine In” for Teddy Randazzo, also recorded by Dee Dee Sharp and Georgie Fame. They also wrote ”I’m Lost Without You” recorded by Billy Fury in 1964.

None of The New Order singles appear to have had much acclaim and I can’t find any evidence that any of them charted in America. The first single ”You’ve Got Me High” is a terrific up-tempo fuzztoned rocker with some smooth harmonies. It’s therefore no surprise to learn that the group was comprised of six members. The song comes over like a garage version of The Association.

The flip ”Meet Your Match” is an edgy Dylanesque folk-rocker. Both sides are worthy openers but only ”You’ve Got Me High” has troubled the compilers. I first heard it on ”Psychotic Reactions” in the early 90s. Curiously, Swedish band The Science Poption also recorded the song in 1966 and Bam Caruso picked it up for their Rubble compilation ”Magic Rocking Horse” in the late 80s.

The second New Order single was the equally superb ”Why Can’t I?” which is another vibrant rocker with a happenin’ guitar break. On the other side is a jangly pop song titled ”Pucci Girl.”

The New Order wore Emilio Pucci (fashion designer) clothes so probably wrote the song for him to get free clobber.

The third and final single was in a totally different direction. No longer garage rockin’ but smooth soul pop music. Not my kinda bag but I’m sure many people will dig it. On the label they’re called New Order featuring Roger Joyce. I don’t know the reasoning behind this.

discography:
”You’ve Got Me High” / ”Meet Your Match” (Warner Bros 5816) May 1966
”Why Can’t I?” / ”Pucci Gir” (Warner Bros 5836) July 1966
”Had I Loved Her Less” / ”Sailing Ship” (Warner Bros 5870) November 1966

(27/08/15)

THE ILL WINDS – ”A Letter” / ”I Idolize You” (Reprise 0492) July 1966

The second and final Ill Winds single was the country pop tune ”A Letter” which doesn’t do much at all for me and it appears neither for the kids of ’66 because the single bombed and the group disappeared.

Far superior is the rockin’ ”I Idolize You” on the other side. The song was written and recorded by Ike & Tina Turner. It’s also been done by several other groups in the 60s but perhaps not as groovy as The Ill Winds. They should have used this as their A-Side, perhaps things may have worked out differently for them.

(27/08/15)

THE ILL WINDS – ”(I Won’t Cry) So Be On Your Way” / ”Fear Of The Rain” (Reprise 0423) November 1965

The other day I wrote about The Leaping Ferns disc on X-Panded and confirmed that they were previously called The Chantays. Months after that release the group signed to Reprise and once again decided on a different moniker, this time The Ill Winds.

I feel this was their way of getting away from the surf sound and embracing the more in vogue folk-rock sound as well as encouraging the young hipsters and record buying public to buy their new releases.  

”(I Won’t Cry) So Be On Your Way” is a terrific 12 string jangler, written by guitarist Brian Carman. Sadly Brian died earlier this year from Crohn’s Disease, so he’ll never read this and know that someone is bothering to highlight his unknown songs.
The other side ”Fear Of The Rain” is another folk-rock lament. Both sides were produced by the legendary Lee Hazlewood. It’s certainly an outstanding single to add to your ’folk-rock’ box of records.

(26/08/15)

THE LEAPING FERNS – ”It Never Works Out For Me” / Maybe Baby” (Xpanded Sound X-103) February 1965

This is a very obscure single by a group from Santa Ana, California. Further investigation led me to the famous American surf group The Chantays who had a hit with ”Pipeline.” Yes, they’re the same band but with a more up to date moniker for the fast changing times on the music scene.

”It Never Works Out For Me” could be described as a very early folk-rock jangler, it’s also filled with reverb guitar moves and menacing background vocal harmonies. The sound on this is arguably ahead of it’s time.

The flip is a version of the Buddy Holly tune ”Maybe Baby” and again there is reverb in the guitar. Both sides have yet to trouble the compilers which is probably the reason why The Leaping Ferns are an undiscovered joy.

This was their only single release under this name. Shortly afterwards they signed to Reprise Records and released two singles as The Ill Winds. I’ll focus on those 45s next time.

(22/08/15)

THE RAMRODS – ”Flowers In My Mind” / ”Mary Mary” (Plymouth 2965) 1967

The Rocking Ramrods hailed from Newton, MA and are probably best known for their hot garage rocker ”She Lied” on Bon Bon Records. I first heard this from a recording by Naz Nomad & the Nightmares (The Damned in disguise). Some months later I heard the original on an early volume of Pebbles. I’m thinking that this would be around 1984.

For whatever reason the band decided to drop the ”Rockin” and were simply known as The Ramrods. This single under my spotlight was their final release and is an obscure psychedelic gem. ”Flowers In My Mind” written by Ronn Campisi starts of slow and pedestrian. At first

I thought what is all this about? Then the beat starts movin’ a little quicker and studio effects pour outta the grooves.

It’s as if the band started playing straight then dropped some fast working acid and bingo, we have lift off.

”Mary Mary” reminds me a little of The Lovin’ Spoonful and is also decent.

(06/08/15)

THE STRAWBERRY ALARM CLOCK – ”Incense And Peppermints” (Pye International NPL 28106) 1967

A couple of weeks ago I paid a visit to a local vinyl record dealer’s market stall in Chester-le-Street, County Durham. He’s had a stall there for many years and every time I rummage through his record boxes I always find something of interest.

Imagine my delight when I found this MONO copy of ”Incense And Peppermints.” Not only is this pressing much rarer than the stereo, it also sounds so much better in my opinion. I’ve made do with a stereo re-issue that I bought in the late eighties. I think that was a Greek bootleg. Anyway, I didn’t mind as it meant that I could listen to a long-player by one of my favourite American bands.

Over the years I’ve bought all of their American singles on UNI. Some fellow collectors always mention that the Pye International mono singles sound way superior than the UNI counterparts. I’ve never had any to compare so maybe I’ll look out for the British releases too.

But getting back to this album. What a beauty! It comes housed in a supremely great laminated Garrod & Lofthouse flipback sleeve. The vibrant colours are really far-out which really blows my ’unauthorized’ re-issue away. It cost me £60 by the way which is a steal, flick through the latest Record Collector Price Guide and you’re looking at £200 for a mint copy. This is EX+ and plays like a dream. Anyway, I’ve never been bothered about the price I pay for records. If I can afford a disc I’ll buy it.

(05/08/15)

THE DELRAYS – ”Lollipop Lady” / ”(There’s) Always Something There To Remind Me” (Arch Records ARA-1301) 1968

There is quite a substantial amount of information about The Delrays on various websites so I’ll just recap what is known about them with my entry. They hailed from Mascoutah, Illinois and released two singles. This one under the spotlight on Arch Records and another one on Stax. I’ve not heard ”Don’t Let Her Be your Baby” / ”I Want To Do It (Marry You)”

”Lollipop Lady” written by guitarist Tom Bowles was the debut disc on the newly formed Arch Records. It was released sometime in 1968. It’s a brisk affair with elements of bubblegum merging with a heavier sound, just check out that wah-wah. The other side is the famous Bert Bacharach – Hal David tune but it falls flat on my ears and is just not my scene.

line-up:
Tom Bowles (guitar)
Denny Ambry (bass)
Don Biever (drums)
Russ Bono (lead guitar / vocals)
Michael McDonald

(03/08/15)

THE UN-FOUR-GIVEN – ”Cry Cry (Cry, Little Girl)” / ”Love Me To Pieces” (Dot 45-16963) October 1966

This record leaves me with more questions than I can answer. Just who were The Un-Four-Given? Both sides of this disc have never troubled the compilers and the group are not even mentioned in 60s garage book ’Teenbeat Mayhem.’

Both songs were written by Mike Appel. Now I can only assume that this is the same person who was a member of The Balloon Farm who had a 1967 hit with ”A Question Of Temperature.” He then went into Management and Production eventually having success with Bruce Springsteen. Mike Appel produced his first three albums.

So, perhaps The Un-Four-Given were Mike Appel’s teenage garage band before he was a member of The Balloon Farm? Anyway, ”Cry Cry (Cry, Little Girl)” is a fabulous piece of psych tinged pop with a trippy guitar sound. The other side ”Love Me To Pieces” is pleasant sixties pop.

(24/07/15)

THE TRIPPERS – ”Dance With Me” / ”Keep A Knockin” (Dot 45-16947) August 1966

Onwards with my Dot Records reviews brings me to The Trippers who are believed to come from the State of California, probably based in Los Angeles. A few sites indicate Hollywood. Wherever they were based ”Dance With Me” / ”Keep A Knockin” was first released on the small Ruby-Do label then picked up by Dot Records for a wider distribution.

”Keep A Knockin” is a happenin’ version of the Little Richard rocker. The Trippers add a raunchy guitar sound and a chugging beat. The vocals are determined, almost a shout. The song has been recorded by many outfits including Johnny Rivers, Everly Brothers, Dave Clark Five, The Outlaws and The Rivieras.

”Dance With Me” does not have the same excitement for me, the pace is quite slow with a boogaloo beat. Both sides remain uncompiled. By the way, it appears that the single has recently been bootlegged in Greece with a limited run of 200.

The Trippers released a second and final single months later, again on Ruby-Do. ”Taking Care Of Business” / ”Charlena.” It was then picked up by GNP Crescendo for a wider distribution. I have a copy.  

I have found a couple of European picture sleeves uploaded to the internet on eBay and I’ve decided to post them here. I don’t normally do this but have done so in this instance because nothing much is known about the combo and they  indicate that The Trippers were a trio. I have yet to determine their full names.

(24/07/15)

THE SYNDICATE – ”The Egyptian Thing” / ”She Haunts You” (Dot 45-16807) December 1965

If you dig harp wailin’ wild and savage R&B then this 45 by The Syndicate should be on your wants list. I don’t have an original, expect to pay several hundred dollars if you’re ever lucky enough to be offered one. What I do have though, is a beautifully done reproduction which plays and sounds superb.

The Syndicate hailed from Long Beach, CA and released two singles before disappearing into the ether. That was until recently when Break-A-Way Records in Germany located and released an album’s worth of unreleased Syndicate ACTion (including all four single sides).

I don’t have this but I’m sure it sounds outasite. ”The Egyptian Thing” deals with the typical angst of male teens. His girl says she loves him and will always be true only to find that she’s been playing with another.

So, the top side is an absolute garage classic and obtained a score of ”10” in ’Teenbeat Mayhem’ which is no mean feat. The other side ”She Haunts You” brings the pace right down. It’s a moody nugget with tremolo guitar and worth repeated blasts on the turntable.

”The Egyptian Thing” was compiled on ’Chosen Few’ and ’Back From The Grave #7”

(24/07/15)

THE SURFARIS – ”Search” / ”Shake” (Dot 45-17008) March 1967

This is perhaps the most difficult Surfaris single to find but I did just that a couple of years ago when a fellow record collector tipped me off –  thanks Mans P. Mansson – check out his new psychedelic group The Flight Reaction.

Anyway, back to this rather splendid Surfaris record. ”Search” was their final fling at success after their smash ”Wipe Out” but sadly no one was listening. ”Search” is a terrific fuzzy psych thriller with a rockin’ beat and harmonica. In a perfect world this would have made the Charts and would consequently be a lot easier to find.

The other side is a up-tempo fuzztoned version of Sam Cooke’s ”Shake”

(23/07/15)

THE SURFARIS – ”Chicago Green” / ”Show Biz” (Dot 45-16966) October 1966

By the time The Surfaris quit playing surf music and got with the ”IN” sound of folk-rock and R&B no one seems to have been listening as they encountered flop after flop. It’s a shame that ”Chicago Green” appears to have been ignored because it’s a raunchy harmonica driven R&B mover with fuzz guitar.

”Chicago Green” was composed by short time bass guitarist Jack Oldham who spent 1966/67 with The Surfaris before disappearing from trace. I’ve conducted some research but can find nothing else of note.

The other side ”Show Biz” sounds rather corny and dated in comparison to the greatness of ”Chicago Green”

(23/07/15)

THE SURFARIS – ”Wipe Out” / ”Surfer Joe” (Dot 45-144) July 1970

The Surfaris have been highlighted before here and anyway ”Wipe Out” needs no introduction as everyone will know this one. According to an online source ”Wipe Out” was released three times on Dot Records so it was obviously a decent seller for them.

The first release on Dot was during April 1965 on the better known black label, the second reissue or repress was during June 1966, then five years later a third and final repress on this colourful label. Some copies are on the white label.

So, the record has had some mileage and it’s still well known today. Perhaps one of the most played surf tunes of all time.

(23/07/15)

THE SOUNDS OF DAWN – ”Walkin’ Out On You” / ”Stephanie Says” (Dot 45-17025) July 1967

According to FA&F The Sounds Of Dawn were based in Chicago and apart from this solitary single on Dot released three more on Twin Stacks. I’ve heard the odd clip of some of these songs and they have a soul pop sound, confirmed in the aforementioned book.

”Walkin’ Out On You” is a decent jangly pop song with a catchy beat. The song was written by Joey Stec who around about the time of release moved to Los Angeles and joined harmony psych outfit The Millennium. He also had some involvement with Sagittarius.

”Stephanie Says” on the other side is light pop.

(22/07/15)

WILD SILK – ”(Vision In A) Plaster Sky” / ”Toymaker” (Columbia DB 8534) January 1969

Here’s a throwback to those flower pop singles from mid 1967 with dual male/female vocal harmonies. ”(Vision In A) Plaster Sky” sounds like a UK Mamas & the Papas, surprisingly delicate production from Shel Talmy, best known for his work with English freakbeat groups.

For some reason the record was released in America under the group name of Basil.

Compiled on ”Rubble 3” – Nightmares In Wonderland.

I’ve read several online sources and even within ”Fuzz, Acid & Flowers” that the flip ”Toymaker” with songwriting credit going to (Davies) is indeed a long lost and forgotten about song written by Ray Davies. This is however, incorrect.  

(23/02/16)

BLONDE ON BLONDE – ”Castles In The Sky” / ”Circles” (Ember EMBS-279) 1970

The release for this fabulous single is sometime during the early months of 1970 but the music sounds like it’s a long lost child from late 1967. ”Castles In The Sky” is a wonderful Moody Blues styled psychedelic ballad, the other side ”Circles” is also fabulous but has been edited compared to the album version.

”Castles In The Sky” was also recorded by Simon Dupree & the Big Sound but was not released.

”Come with me to my castle in the sky, in the sky
Please say you’ll come to my castle in the sky
and we’ll stay there and we’ll play there
way up high.”

(21/02/16)

GREAT UNCLE FRED – ”I’m In Love With An Ex Beauty Queen” (Strike JH-324) January 1967

The oddly named and obscure group Great Uncle Fred are believed to have their origins in Great Yarmouth and the small East Anglian beat scene. At that particular period they were calling themselves The Millionaires.

Sometime in 1966 a decision was made to turn professional and relocate to London for a shot at the big time. Sadly, all that came from their endeavours was this lone single on Strike. It’s gotta be said that the Strike label design is one of mod beauty.

In London they changed their name to Great Uncle Fred and recorded a Harvey Freed pop art number ”I’m In Love With An Ex Beauty Queen” which by all accounts almost made the Top 40 in the Disc & Music Echo Chart during February 1967.

”I’m In Love With An Ex Beauty Queen” is an odd little number combining a mod beat with a Russian style sound. Very Cossack au go go. It sounded different and unique enough to be a hit. Shame then that this one shot at stardom was Great Uncle Fred’s last.

The single was compiled in the 90s on the vinyl only compilation ”Incredible Sound Show Stories – Volume 14” also known as ”Candy Coloured Dreams.”

The B-Side is an instrumental of the same song but with a slightly different mix, some echo and a louder guitar part.

line-up:
Terry Mansi (vocals)
Dennis Ward (vocals)
Brian Roberts (guitar)
Tony Collier (bass)
Terry Rouse (drums)

(25/01/16)

DAVIE JONES & THE KING BEES – ”Liza Jane” / ”Louie, Louie Go Home” (Decca F13807) June 1964

Last week I as as shocked as anyone to hear the news that David Bowie had died. I’ve never bought any Bowie records post 1965 so he’s not had much impact on my life but I can appreciate the fact that he’s influenced thousands of musicians and vocalists over the years.

My way of tribute is this tremendous R&B pounder from Davie Jones & the King Bees released June 1964. My copy is a 70s limited reissue and still very collectable.

It was originally released on Vocalion and if you’re lucky enough to have a copy of that one you’ve got a record valued at around £1,250 according to the Record Collector Price Guide.

If you’re only familiar with the famous Bowie records check this one out for something completely different but GREAT.

(19/01/16)

THE SHAKESPEARES – ”Burning My Fingers” / ”Something To Believe In” (RCA Victor 1695) May 1968

I’ve been wanting to add this disc to my collection for many years and I finally scored a copy last week, quite cheap too at £30 for something that looked virtually unplayed. There’s hardly a mark on the labels either.

According to an in depth Shakespeares online article they hailed from Rhodesia and started off as a beat group called The Dynamics but made their way to Europe during 1965 for gigs, settling in Belgium.

It was in Belgium that they signed to the Ronnex label and changed their name to The Shakespeares, perhaps for a more British sounding moniker.

”Burning My Fingers” was released in Belgium in June 1967 housed in a psychedelically charged cartoon picture sleeve. The music contained within certainly does it justice. ”Burning My Fingers” is a stunning fuzztoned ’mod goes psych’ sounding nugget and is simply superb.

It took some time for the single to make it’s way to Britain eventually finding a release on RCA Victor almost a year later. The UK version is much more difficult to find than the European counterpart.

(07/12/15)

THE RIOT SQUAD – ”Freaking Out” (Record Collector LP006) 2013

Long time British magazine ’Record Collector’ started releasing rare and obscure recordings on their own label a few years back using heavyweight vinyl pressings, lavish covers and as you would expect from such a professional and well established magazine each release comes with plenty of accurate information.

This Riot Squad release was rescued from a well worn acetate. The group had laid down some recordings at Advision Studios, London on two occasions during October 1967. Those recordings had some post production work done on them but nothing was ever released.

I highly recommend this album if you ever find a copy, it had a limited run of 750 copies only. My pick is their version of ”Steppin’ Out” which was first recorded by Memphis Slim but most record collectors will no doubt be more familiar with the John Mayall & the Bluesbreakers version that appeared on their ”Beano” album with Eric Clapton. Indeed the latter took it with him to Cream where they’d play it at gigs.

The Riot Squad’s version was titled ”Freaking Out” on the acetate for some reason. It’s a really strong take showcasing the guitar skills of Rod Davis.

line-up:
’Croak’ Prebble (vocals)
Bob Evans (sax/flute)
Del Roll (drums)
Butch Davis (organ)
Rod Davis (guitar) 
Pete Allen (bass)

(25/10/15)

THE SLAVES – ”Never Free” (Philips 339415 PF) 1966

Fans of European rhythm ’n beat have longed for an official Slaves document for decades and ”Ralph Apple” was very close to securing the rights to release a Slaves retrospective including all sides of the rare Charles Ryders Corporation tracks (including the ones from the movie) but this bootleg of German origin appeared recently. So it’s now very doubtful if there will ever be an official Slaves collection.

Although ”Shut Up!” is a bootleg it actually sounds great, the packaging is also very good and the back cover liners are decent and informative. So, I’m very happy to have this in my collection which comprises all six sides of their three singles released on Philips during 1966.

My taster from the set is the Don Everly penned ”Never Free” the B-Side of ”Shut Up” I researched this Everly Brothers song and drew a blank that was until Mike Stax informed me via Facebook that The Everly’s original version was titled ”Nancy’s Minuet” released as a single February 1963. The other side was “So It Always Will Be”

(23/10/15)

THOR’S HAMMER – ”If You Knew” (Ugly Pop UPO46) 2013

This is an enjoyable compilation album to spin for top Thor’s Hammer tunes from 1965 – 1967.

For those who don’t know they were Iceland’s premier and maybe only beat group. I don’t know for sure if they were the only one but I doubt if Iceland had any beat scene going on in the mid 60s.

Thor’s Hammer made their way to England and signed a deal with Parlophone and released a few records that were brimming with quality but went nowhere fast.

Their aggressive fuzz crunchers ”I Don’t Care” and ”My Life” get a lot of attention and quite rightly so, but my pick is The Searchers influenced jangle beat gem ”If You Knew” from 1966. Absolutely their best song in my opinion.

(21/10/15)

DENNY LAINE – ”Too Much In Love” / ”Catherine’s Wheel\” (Deram DM 171) January 1968

Post Moody Blues and pre Wings solo baroque psych 45 by Denny Laine released on the 12th January 1968. It’s taken me decades to find a copy of this, not that I’ve been particularly looking for it but for some weird reason I searched for it on eBay two weeks ago. It was late 80s when I discovered the song via the compilation ”Deram Dayze”

Denny’s unique vocals are a highlight on ”Catherine’s Wheel” as is the memorable production work of Moody Blues, Procol Harum and Move Producer Denny Cordell. He just adds that certain element that makes songs charged.

Denny Laine could have been a contender back in 1967/68 but released just two singles on Deram despite the promise of an album. The latter never materialized but other songs were recorded for BBC radio sessions.

misc notes: I found out last Friday that my first proper girlfriend, she was called Catherine, had died suddenly aged 47. We were together during our teenage years of 17/18/19 and drifted in and out of the relationship until we eventually stopped seeing each other.

Last time I saw her was sometime in 1985 but we did speak on the phone in 1994. And after that chat on the phone there was no further contact.

She died 23rd September, I bought this record four days later on the 27th September and found out about her death on my birthday 2nd October….. so was she sending out subliminal messages? Why would I buy ”Catherine’s Wheel” a few days after she had died? Why did I find out the news of her death nine days later on my birthday?   

Anyway, enough of the strangeness. Catherine was cremated this afternoon. I dedicate this record in your memory. R.I.P.

(07/10/15)

TINTERN ABBEY – ”Do What You Must” EP (private release by Tintern Abbey)

Tintern Abbey were a 60s English psychedelic group that need no introduction, their fame was written in tablets of lysergic stone with their fabulous 1967 twin spin ”Vacuum Cleaner” b/w ”Beeside”.

Tintern Abbey drummer John Dalton and lead guitarist Paul Brett recently found a couple of acetates of songs that they recorded back in the day for a proposed album that never materialized.  They were recorded at Tony Pike’s Studio in Putney. Those four songs make up this self released EP which comes housed in an attractive sleeve.

The Paul Brett penned ”Do What You Must” is the stand out song. It had potential single written all over it, maybe not commercial enough for the top side but it was easily B-Side worthy.

(04/10/15)

THE SPECTRES – ”The Facts Of Life” (taken from ’Purple Heart Surgery #1’)

Still on my ”Purple Heart Surgery” trip. This time Volume 1 released in the mid/late 90s. Check out The Spectres ravin’ R&B number ”The Facts Of Life” from a surviving acetate. It was never released back in the mid 60s.

According to the liners they think the group were from Ulster, probably based on the acetate label which was Ulster Electronic Development.

(03/10/15)

***UNKNOWN GROUP*** – ”Leave Me Alone” (taken from ’Purple Heart Surgery #3’)

Today I’m still checkin’ out my ”Purple Heart Surgery” albums of rare 60s beat and psychedelic acetates. Last track on side 2 marked ”Unknown” is a wild hard driving beat number. ”Leave Me Alone” is a fab ’fuck off’ statement too…. Outsider beat!

According to the liners, the compilers had in their possession many acetates with just a song title. Some didn’t even have a title, they were completely blank on an Emidisc or Regent Sound white label.

Hi Friend: This track is perfomed by ”Unforgettable Amnesiacs”, included in ”Diggin For Gold Vol. 2”.Great song.Grettings from Spain. Jose.

Thanks Jose… I have ”Diggin’ For Gold #2” and have just read the liners for this song. To be honest I reckon the compilers have made up the name and story.

(03/10/15)

SONIC INVASION – ”Go Out And Get Her” (taken from ’Purple Heart Surgery #2)

Checking out my ”Purple Heart Surgery” compilations featuring beat and psychedelic acetates 1965 – 1968 including this incredible ravin’ beat number by Sonic Invasion.

Pilled-up on black bombers but nowhere to go except on a one of a kind acetate and left to languish unheard for 30 odd years until it was compiled on this mid 90s album.

”Go Out And Get Her” b/w ”Tribute To Theodorakis” (Emidisc acetate) probably dating from mid 1966. According to the liners of the compilation the flip is a sprightly organ-based instrumental.

(03/10/15)

RICK MINAS – ”Toys” (taken from Rave With The Amphetamine Generation on Dig The Fuzz)

”Rave With The Amphetamine Generation” is a must have compilation for anyone interested in unknown and very obscure 60s beat from Britain. Most of the tracks here are culled from one of a kind acetates.

My focus will be on Rick Minas, who remains a little known artist, recording a handful of acetate demos in 1966 of which ”Another Time” and ”Think About Me” were published by Filmusic and released on Polydor. Rick Minas also released a 1967 single on Decca a.k.a. Sasha Caro ”Little Maid’s Song” b/w ”Grade 3 Section 2”

”Toys” is a superb hard driving beat number reminding me of The Truth’s freakbeat version of ”Hey Gyp (Dig The Slowness).”Any 45 collector will tell you that ”Toys” would have destroyed on a mono single.

Rick Minas wrote several other songs with Mike Banwell which were recorded by groups including The Graham Bond Organisation, Hamilton & the Hamilton Movement, The Transatlantics and The Chantelles.

(02/10/15)

THE CLASSMATES – ”Go Away” / ”Pay Day” (Decca F.12047) December 1964

If hard driving beat music is your bag then look no further than an obscure B-Side by The Classmates with their killer ”Pay Day” Decca missed out big style by not having it as the single side and the disc sank to no-where’s-ville.

Too bad, as ”Pay Day” is a winner with a ravin’ guitar break… Listen and let your heart and head BEAT with ACTion…

(02/10/15)

THE KYTES – ”Frosted Panes” / I’ll Give You Better Love” (Pye 7N 17179) September 1966

I couldn’t resist recently buying this white label promo by The Kytes even though the label is badly damaged by ink or water, quite possibly at the record plant in the 60s.
Someone has even scribbled the release date of 9/66 under the big bold ”A”

The label may have some damage but the vinyl itself looks pristine and the sound is superb so I’m very happy indeed.

The Eddie King composed ”Frosted Panes” was compiled on Rubble #10 ”Professor Jordan Magic Sound Show” and is a baroque tinged psych pop tune with harmonies and sounds like folk-rockers turning their minds towards a much more experimental style which would continue up to their 1968 release ”Running In The Water.”

As far as I know The Kytes hailed from Bristol and consisted of: 

Eddie King (guitar) 
Freddie Allen (guitar) 
Dave Gillis (organ)
Julian Bailey (drums)

It is also thought that some members acted as the backing band for pop duo Peter & Gordon.

(31/05/15)

THE CRYIN’ SHAMES – ”Please Stay” / ”What’s News Pussycat” (Decca F 12340) February 1966

Liverpool group The Cryin’ Shames have appeared on many compilations over the years. Their harmonica driven R&B wailer can be found on the other side of ”Please Stay” which incidentally is a love ballad with a Tornados style backbeat.

I much prefer ”What’s News Pussycat” a 64/65 throwback, produced by Joe Meek. Check out the grainy vintage video of The Cryin’ Shames lip-synching ”Pussycat” presumably for a TV Show which can be found on YouTube.

It’s rumoured that an albums worth of unreleased Cryin’ Shames recordings exist. Maybe one day those will be located and released.

(17/05/15)

THE FOURMOST – ”Baby I Need Your Loving” / ”That’s Only What They Say” (Parlophone R 5194) November 1964

Beat group The Fourmost followed their small hit ”How Can I Tell Her” with a version of ”Baby I Need Your Loving”, the soul hit from earlier in 1964 by The Four Tops.

Over the years this Motown song has been recorded by many groups and singers including The Supremes, Sandie Shaw and Johnny Rivers.

The Fourmost version reached #24 in the British Charts and an appearance of them performing the tune on ”Ready Steady Go” is available to view on YouTube.

(03/05/15)

THE FOURMOST – ”A Little Loving” / ”Waitin’ For You” (Parlophone R 5128) April 1964

I created and am sole administrator of a 60s ”British Beat” group on Facebook, setting it up to explore the British beat movement circa 1960 – 1965.

It’s quite refreshing to listen to, buy and spend some time with a genre that hasn’t had much of a look in with me since the eighties.

Now for the 45 under my spotlight because it’s not very often I post merseybeat style ballads but here’s one called ”Waitin’ For You” by The Fourmost. This was the B-Side of their huge hit single ”A Little Loving”, a vintage colour video exists on YouTube showing The Fourmost performing the latter song which incidentally reached #6 in the UK Charts.

”Waitin’ For You” is slow paced acoustic beat with harmonies, similar in style to those love songs Paul McCartney would compose during this period. It was written by The Fourmost’s lead guitarist Brian O’Hara.

(27/04/15)

THE FOURMOST – ”Hello Little Girl” / ”Just In Case” (Parlophone R 5056) August 1963

”Hello Little Girl” is a jolly little beat number performed by Liverpool group The Fourmost and written by John Lennon when he was a teenager in the late 1950s. 

The Beatles also recorded ”Hello Little Girl” but it remained a demo and was never released by them at the time but it has since surfaced on the ”Anthology” set of CDs from the 90s. This single went Top 10 in the charts by the way and was also recorded by Gerry & the Pacemakers.

The B-Side is also good, this time their merseybeat is tinged with latin rhythms. Quite a unique sound going on for 1963. The Fourmost more than likely heard The Everly Brothers performing the song. They cut a version in 1962, check it out on their EP ”It’s Everly Time”

(26/04/15)

THE TWILIGHTS – ”9:50” / ”What’s Wrong With The Way I Live” (Columbia DO-4764) February 1967

The Twilights have featured on my blog once before when I highlighted their psychedelic single ”Time and Motion Study Man” so I thought it about time to write about them again.

They hailed from a small Town in Australia called Elizabeth, which is not too far away from Adelaide and they had a very talented songwriter in Terry Britten.

In 1966 The Twilights won a music competition ”The Hoadley’s Battle Of The Sounds”, the first prize being a trip to England. They set off in September 1966, checked out Carnaby Street for mod clobber and the sights and sounds of London. Also working a residency for a week at The Cavern in Liverpool.

The highlight of their visit to England however, was recording some songs at Abbey Road Studios with Beatles engineer Norman Smith, and if you didn’t already know he also produced Pink Floyd’s ”Piper At The Gates Of Dawn” and The Pretty Things ”S.F. Sorrow” among many other psych classics.

”9:50” is a sensational psychedelic rocker with a pounding riff, harmonies and a gritty guitar sound. It’s been said that Vanda and Young used the song as an inspiration for their big hit ”Friday On My Mind” with The Easybeats.

The other side is a wonderful cover version of The Hollies tune ”What’s Wrong With The Way I Live.”

During the mid 80s Terry Britten co-wrote ”What’s Love Got To Do With It” and ”We Don’t Need Another Hero” for Tina Turner. But the only songs of his I want to hear are those he wrote for The Twilights.

(23/04/15)

BILLY J KRAMER with the DAKOTAS – ”We’re Doing Fine” / ”Forgive Me” (Parlophone R 5408) February 1966

Great two sided gem from mid sixties period Billy J Kramer, recorded late 1965 and released a few months later. ”Forgive Me” has a tough vocal attack backed up by an edgy driving beat from The Dakotas.

The Dakotas now have guitarist Mick Green in their ranks. He joined from Johnny Kidd & the Pirates in 1965. ”Forgive Me” is one of his compositions co-written with bass guitarist Robin MacDonald. File under one of those B-Side killers that hardly anyone knows about.

(23/04/15)

BILLY J KRAMER with the DAKOTAS – ”Neon City” / ”I’ll Be Doggone” (Parlophone R 5362) November 1965

Choice cover version by Billy J Kramer & the Dakotas of the Marvin Gaye hit. His recording went Top 10 in USA after it’s release during February 1965. Paul Revere & the Raiders also recorded a version, check it out on their January 1966 album ”Just Like Us”

I doubt few people would have been aware of it’s coolness though as it was the B-Side of ”Neon City” which failed to sell in any quantity to get the record chart bound.

(20/04/15)

THE LEGEND – ”The Sky That Is Blue” (KLIMT re-issue) 1968

The Legend album was released sometime during 1968 and contains several pop psych delights especially the Monkees sounding ”The Sky That Is Blue.” This one goes straight into my pool of ’psychedelic sky’ songs.

After this album The Legend changed their name and musical style calling themselves Dragonfly and moved onto heavy rock material with fuzz and wah wah.

The Legend recorded at American Recording Co, Studio City in California.

line-up:
Jack Duncan (bass)
Barry Davis (drums, backing vocals)
Gerry Jimmerfield (lead vocals, guitar)
Randy Russ (guitar, backing vocals)
Ernie McElwaine (keyboards)

The Legend issued a single after the album, Enjoy Yourself / Portrait Of Youth. I especially dig Enjoy Yourself. Both songs were completely reworked and rerecorded for the Dragonfly album. Enjoy Yourself (first version) gets my vote as their finest moment.

(29/02/16)

THE MAGIC MUSHROOM – ”I’m Gone” / ”Cry Baby” (Warner Bros 5846) August 1966

This is a fabulous two sided gem from San Diego group The Magic Mushroom which incidentally was the name given to them by Warner Bros. This 45 had an earlier release on a smaller label called Coast where they were named The Sons.

”I’m Gone” is perhaps their most famous cut in 60s garage circles having been compiled on the recommended 80s compilation ”What A Way To Die”. It’s a harmonica driven ’66 punk tormentor. It’s believed that the harp was played by someone connected with The Seeds. Sky Saxon’s name has been mentioned on other sites.

My focus is on the much neglected B-Side ”Cry Baby” which is just as good in my opinion. It’s a classic ’put down’ song with a beaty rhythm and a terrific guitar break. Find it on ”Psychedelic Unknowns #6”

”Cry baby cry baby don’t come cryin’ to me.”

What is known for sure, and it’s something that the late Ray Clearwater confirmed with me via email years ago, is that he joined The Magic Mushroom after he was fired from The Lyrics for his bad attitude. Ray did not play on this record though.

Here’s the information he provided about his time with The Magic Mushroom.   

”As for the Magic Mushroom, I can’t tell you much. They asked me to join and we immediately flew off to New York. We stayed with their manager Mike Friedman and he stayed with his girlfriend.

I came up with the name, Love Special Delivery but I don’t remember why. I think they were looking for a new name due to some contractual obligations or something but again, the name was changed shortly after I got to New York. Of course the name was a take on LSD.
 
We only played three or four jobs in New York and we really weren’t very good. We just sort of played some easy stuff and jammed a lot as I remember. I really didn’t know their songs, being the new guy, so we did what we could.

After a couple of months, we met a woman named Susan McCusker (spelling) and she was hooked up with a guy that said if we cut a record he could get it played in lots of stations in different cities. We smelled the big money and left Mike Friedman to do this thing with Susan.

She set up a recording session with Les Paul at his home in Mahwah, New Jersey. His son Rusty came out to the train station in his big Caddy and picked us up.

We recorded three of my songs that night and honest to God, there were people there with suits and ties and harps and violins. It was insane – I mean, I was just a kid from nowhere at Les Paul’s house recording music.

The songs we recorded were – ’If You Care’, a very slow love song, ’Plastic Man’, and ’Night Time’ – all my songs and sung by me.

I remember being so moved by the strings on ’If You Care’, I went outside and started to cry. No one could figure out what was wrong with me. Anyway, as I understand it, Susan never paid Les Paul for the tapes so they were never released.

It was close to Christmas and John Buell, Carl Conte and Mike Allen went home to California. for the Christmas holidays. Mike Lowther and I remained in New York. We were broke but fortunately, Sis Cunningham and Gordon Friesen, the folks that put out Broadside Magazine, allowed us to stay with them for a while until we were able to rent a very small apartment in Greenwich Village.

Carl never came back, John and Mike Allen did but at that point, the four of us in a small apartment with no money just didn’t work and Susan and basically dumped us on our own.

I finally bailed and flew back to California. I was extremely lonely and broke in New York City and totally disappointed with all that had happened. The only up side to this was that while Mike Lowther and I were staying with Sis and Gordon, they published three of my songs and later on, one of the songs that I had recorded on a small recorder at their apartment turned up on the Best Of Broadside compilation. Many years later, they wrote a book and said something very nice about me, comparing me to Dylan – well just a bit.”

(21/11/15)

THE MAGIC MUSHROOMS – ”Municipal Water Maintenance Man” / ”Let The Rain Be Me” (East Coast EC-1001) 1968

This was the third and final single by The Magic Mushrooms and perhaps their most obscure and difficult to locate. The top side was a rather unworthy pop novelty. I’m not quite sure who this song was aimed at.

Far superior is the jangle and tambourine folk-rock fest of ”Let The Rain Be Me.” The label indicates a ’B’ side so sadly this song would have been lost in action if the record received any sort of promotion or radio plays.

(17/11/15)

THE MAGIC MUSHROOMS – ”Look In My Face” / ”Never Let Go” (Philips 40483) August 1967

The Magic Mushrooms were dropped by A&M Records because the squares at the label were horrified that magic mushrooms had drug connotations. This was despite the fact that their single ”It’s-A-Happening” had been a decent sized hit.

They moved to Philips for one single with the slightlydelic soul pop cruncher ”Look In My Face” a song I’ve never taken much notice of but I really dig it now. The other side, the guitar and tambourine stomper ”Never Let Go” is more in keeping with their first disc.

(16/11/15)

THE MAGIC MUSHROOMS – ”It’s-A-Happening” / ”Never More” (A&M 815) September 1966

I can still remember the first time I heard ”It’s-A-Happening” via the double Nuggets album back in the 80s. Wow, it really knocked me out. What a wild and far-out sound, a psychedelic noise of the which I’d never heard before.

It has now been established that The Magic Mushrooms formed their band whilst students at the University of Pennsylvania, PA. They somehow got a deal with A&M Records and released this amazing 45 that shifts from Yardbirds style rave-ups to fuzztoned acid recitations.

”Spray the weed
A zephyr breeze
A mushroom hangs above the ground.”

The scoop on the mysterious The Magic Mushrooms was divulged on ”Garage Hangover” some years back.

It seems that they recorded enough material for an album but were sadly dropped from the label when Herb Alpert of A&M Records decided that magic mushrooms was not a good image for the label who, at the time, were releasing records by clean-cut pop groups and performers.

(14/11/15)

THE RUINS – ”She Doesn’t Understand” (Particles LP4020) 2013

Today’s album spin is this compilation of late 60s psychedelic groups armed with fuzz pedals. I’m particular sick cos this LP brings us the fuzztacular ”Bawling” by Thackeray Rocke.

I had a chance of buying a copy for $200 some years back but bought something else instead.
some you win MOST you lose.

”Fistful Of Fuzz” was released some time in the 90s but this album on Particles is a re-issue. It’s a good effort too and sounds very good indeed. They’ve used heavyweight vinyl, upgraded the sonics and have enclosed a sheet of liners with information about each song used. Most are from rare psychedelic 45s but the one I’m focusing on is from a one of a kind acetate.

The Ruins came from Central New Jersey and comprised Joe Mavica on lead vocals, Andy Fekete on lead guitar, Bill Shaw played rhythm guitar, Bruce Schofield on bass and Alan Mansfield on drums. ”She Doesn’t Understand” was taken from a 1967 Regend Sound acetate taped by Geno Viscione in the back of a Shopping Mall. The other side of the acetate was ”The Gordel Postulate” which I’ve not heard but I believe is also worth hearing.

(02/11/15)

BOHEMIAN VENDETTA – ”Riddles & Fairytales” (Mainstream 681) June 1968

By the time Mainstream Records released Long Island’s Bohemian Vendetta’s second single ”Riddles & Fairytales” was already a year old. The 45 was backed with the mod infused shaker ”I Wanna Touch Your Heart” (see my previous entry). The record was an edited version of the album track.

”Riddles & Fairytales” is an organ dominated psychedelic rocker with Seeds like fuzz and obscure lyrics. It got some radio plays on the East Coast but probably failed to get beyond ’promotional status.’

(01/11/15)

BOHEMIAN VENDETTA – ”I Wanna Touch Your Heart” (Mainstream S/6106) January 1968

This album by Bohemian Vendetta has been my latest spin and it’s a decent effort combining psychedelic effects, fuzz and weirdness. Billboard magazine reviewed it as ”a natural for underground stations featuring psychedelic music.”

There is a classy garage number, the July 1967 single ”Enough” and the psych strangeness of ”Riddles & Fairytales” and ”Paradox City” are great but the extended versions of ”The House Of The Rising Sun” and ”(I Can’t Get No) Satisfaction” are not really where it’s at in my mind right now but I’m sure others will dig ’em.

Check out ”I Wanna Touch Your Heart” which was used as the flip of their second single b/w ”Riddles & Fairytales.”

line-up:
Victor Muglia (bass)
Randy Pollock (rhythm guitar)
Nick Manzi (lead guitar)
Chuck Monica (drums)
Brian Cooke (organ / lead vocals)

(31/10/15)

THE SURFARIS – ”Search” / ”Shake” (Dot 45-17008) March 1967

This is perhaps the most difficult Surfaris single to find but I did just that a couple of years ago when a fellow record collector tipped me off –  thanks Mans P. Mansson – check out his new psychedelic group The Flight Reaction.

Anyway, back to this rather splendid Surfaris record. ”Search” was their final fling at success after their smash ”Wipe Out” but sadly no one was listening. ”Search” is a terrific fuzzy psych thriller with a rockin’ beat and harmonica. In a perfect world this would have made the Charts and would consequently be a lot easier to find.

The other side is a uptempo fuzztoned version of Sam Cooke’s ”Shake”

(24/10/15)

THE DRUIDS OF STONEHENGE – I (Who Have Nothing) Sundazed SEP 127) 1996

During the studio recording sessions for their 1967 album ”Creation” The Druids Of Stonehenge cut two other songs that were left off said long player. These were versions of ”Bald Headed Woman” and ”I (Who Have Nothing).”

I can live without ”Bald Headed Woman” a song that I’ve never cared for whoever has recorded it, and I’m even including The Who in that list. On the other hand though ”I (Who Have Nothing)” is a terrific blast of twisted verve and moody rhythms.

Thankfully, for completists both tunes were made available by Sundazed back in the mid 90s on this killer double single in gatefold sleeve.  

(20/10/15)

THE DRUIDS OF STONEHENGE – ”Six Feet Down” (UNI  73004) July 1967

Here’s an interesting garage psych album recorded by a group originally from New York but sometime in late 1966 relocated to Los Angeles, eventually securing a record deal with UNI Records. Their album ”Creation” is always listed as a 1968 release.

I made some investigations about this apparent 1968 release because I’ve always had my suspicions, especially as a single ”A Garden Where Nothing Grows” / ”Painted Woman” was released during July 1967. This 45 was listed in Billboard magazine as a new release in July ’67 and both songs are from the album.

Further more ”Creation” was released just after ”That Acapulco Gold” by The Rainy Daze (UNI 73002) and before The Strawberry Alarm Clock ”Incense and Peppermints” (UNI 73014) which I believe came out end of October / early November 1967.

Anyway, back to the music. ”Creation” is an impressive long player delivered by a band working on all cylinders. Most songs are forceful and tough R&B mixed with psych guitar and fuzz leads. The nearest group I can compare them with is probably The Chocolate Watch Band who had a similar vibration.

I’ve always had a soft spot for the trippy harpsichord laced  ”Six Feet Down” which I first heard in the late 80s on a compilation called ”Baubles.” They’ve also utilized Yardbirds styled ’gregorian chants’ giving it that eerie charm.

My copy is on Sundazed, mastered from the original analog tapes. They’ve even used original cover art front and back. A highly recommended vinyl release.

line-up:
David Budge – lead vocals
Carl Hauser – lead guitar, harpsichord, vocals
Steven Tindall – drums, organ
Billy Tracy – guitar
Tom Paine Workman – bass, slide guitar, vocals

Comment from Carl Hauser:
Carl Hauser here. First, we were the Druids. The ”Stonehenge” was added by some marketing consultant. ”Garden where nothing grows” and ”Painted Woman” were chosen for release by our thieving producer, Jerry Goldstein because they were both written (and produced) by our thieving producer, Jerry Goldstein.

UNI had decided they wanted to be the ”psychedelic label” so that’s how Jerry pushed us. It was a terrible experience for a bunch of young, idealistic blues players and it took 50 years to get over. But we’re still here.

If any one is interested in what we would have sounded like produced right, check out http://www.theDruidsof Stonehenge.com or look for the ”Resurrection” album on iTunes. Four of the 10 cuts are on the Druids Facebook page. More to come. An all original album is also to follow in early 2020. Stay cool!

(19/10/15)

CRYSTAL SYPHON – ”Marcy, Your Eyes” (Roaratorio 25) 2012

Crystal Syphon were a West Coast group from a little known town called Merced who recorded songs during 1967-68 but for various reasons never signed to any label, consequently their music remained on tapes and hidden away for over 40 years.

There is usually a lot of hype surrounding long lost music from the 60s and this album ”Family Evil” of unreleased recordings justifies the hype especially if your kinda bag is extended psychedelic guitar rock, introspection, fuzz leads and on occasion harmonies.

There are numerous internet sites and reviews highlighting Crystal Syphon’s work so I’m not gonna go into detail on my blog. All I’ll do is recommend this album with the assurance that you’re gonna dig it.

File in the same category as Moby Grape, Quicksilver Messenger Service and Tripsichord Music Box.

The song I’ve chosen from the set is ”Marcy, Your Eyes” recorded at Victory Recording Studios, Fresno, CA in June 1967

(18/10/15)

CHILDREN OF THE MUSHROOM – ”You Can’t Erase A Mirror” (Outsider Music OSR028) 2014

This psychedelic group from Thousand Oaks, CA only released one single during their brief existence, the double sided acid jewel ”You Can’t Erase A Mirror” / ”August Mademoiselle” (Soho Records) released late 1967 or early 1968. ’Teenbeat Mayhem” suggests a December 1967 release.

The back of the LP liners state both songs were recorded at Nashville West, Hollywood in 1968.

The single has become one of the most sought after late 60s psychedelic slabs of vinyl, expect to pay in the region of $400 for a copy if one ever shows up for sale. About six or seven years ago I placed a bid for a copy on eBay and was decimated. From memory I think I bid around $300 but it eventually sold for way above that!

”You Can’t Erase A Mirror” and ”August Mademoiselle” are simply wonderful, both songs are full of mystique, hauntingly trippy and with fuzz. I would have loved a legitimate re-issue of the single on 45 r.p.m. but I’ll certainly make do with this retrospection on Outsider Music.

Also included are previously unreleased recordings from a garage in Thousand Oaks and in a living room using a hand held reel to reel.

None of the other songs are essential but I’m happy to listen to them anyway. They all are a lot heavier in sound mixing Doors moves with Cream style vocals especially on ”Blade” The longer piece and mostly instrumental ”Exordium (The Mushroom Theme)” is lo-fi but high quality. No doubt this would have sounded fabulous as a studio recording. 

line-up:
Dennis Christensen (drums)
Al Pisciotta (bass)
Bob Holland (vox organ)
Paul Gabrinetti (rhythm guitar)
Dick Parker & Dick Torsk (background vocals)  

(17/10/15)

THE DOORS – ”Indian Summer” (Elektra 42 080) February 1970

The fifth Doors album was mostly recorded during November 1969 and is far superior than ”The Soft Parade” but just like the latter, the critics didn’t dig it that much. I tend not to bother with music reviews preferring to check things out for myself. All in all though ”Morrison Hotel” is an excellent long player, largely blues based. The opener ”Roadhouse Blues” is thunderous.

My pick is the mystical ballad ”Indian Summer” which for some reason was forgotten about until this album. The song was actually recorded during 1966 and seemingly left in the can. Another song not quite ready for their third LP and left off that album is ”Waiting For The Sun” despite the song being the album’s title!

Sales wise ”Morrison Hotel” was a success reaching #4 in America and #12 in the UK. 

(16/10/15)

THE DOORS – ”Wild Child” (Elektra 42 079) July 1969

The fourth Doors studio album was recorded at Elektra Sound Recorders, Los Angeles through July 1968 to May 1969. That’s a long time to be working on an album and it shows! It’s way to disjointed to hold my interest and the use of brass and strings do not suit The Doors sound at all.

Jim Morrison’s vocals are deeper and croonerish, not really my scene. No wonder I don’t really play this album much, today’s turntable spin is the first time since the late 80s

As I’ve suggested the album is a departure in sound from their earlier recordings incorporating brass and string arrangements, the mystical interludes have been replaced by experimental jazz, soft pop and bluesgrass. The couple of songs I do rate date from mid to late 1968 notably the blues rockin’ ”Wild Child” which was the B-Side of their December 1968 single ”Touch Me”

The back to basic rocker ”Easy Ride” harks back to 1967. The rest though all sounds too ponderous and overblown for my tastes, the title track and album closer ”The Soft Parade” verges on progressive rock and there’s no way I’m going anywhere near that kinda bag.

At this point in time it has been suggested by band members that Jim Morrison had little interest in studio work, missed rehearsals and became distant from the other Doors. The ’magic’ was gone from this long player that’s for sure.

(15/10/15)

THE DOORS – ”Summer’s Almost Gone” (Elektra 42 041) July 1968

Moving on to The Doors third studio album and one which drew negative reviews from some of the music critics at the time. Most of the one’s I’ve read dismiss it as not being as good as their previous two and their least enjoyable.

I personally think those remarks are a little harsh, it has it’s moments such as the evocative ”Summer’s Almost Gone” and the mellow hippie ballad ”Love Street”.

The songs for ”Waiting For The Sun” were recorded during February to May 1968 and released a few months later in July. Despite the critics not warming to it the album topped the Billboard chart in America and sold several million copies. The single ”Hello, I Love You” also reached #1 and was a decent Top 20 hit in Britain.

My highlight though is the previously mentioned ”Summer’s Almost Gone” written by Robby Krieger. This song was written in 1965 and is notable for Krieger’s impressive bottle-neck guitar.

(14/10/15)

THE DOORS – ”You’re Lost Little Girl” (Elektra 42 016) September 1967  

The second Doors album ”Strange Days” was recorded during May to August 1967 at Sunset Sound Recorders and released the following month housed in a weirdly wonderful cover depicting a group of street performers. The location was Manhattan, NYC.

Cleverly, the Elektra art Department did not blazon ”The Doors” all of the cover, instead reducing the group and album title to a poster hidden in the background. Some record stores added a ”Doors” sticker to the cover so buyers were not in a state of confusion.

The music is all very laid back and Los Angeles cool. All songs written by Jim Morrison apart from ”Love Me Two Times” and ”You’re Lost Little Girl” which were composed by Robby Krieger.

By the way my album is the German 1972 re-issue, bought from a shop in Newcastle way back in the mid 80s.

(13/10/15)

THE DOORS – ”End Of The Night” (Elektra 8122-79788-8) January 1967

Looking back through the mists of time I reckon that I discovered The Doors sometime in 1981. I know that I was still at school and in my mid teens. I probably found out about The Doors from an Echo and the Bunnymen feature or review in Sounds or NME.

That’s how it was back then, I’d read something about a group I liked and perhaps another ’unknown’ to me group were mentioned as an influence.

Weeks later I’d be delving back in time to the 60s where I’d remain lost in my own psychedelic chamber. I still inhabit that chamber, I threw away the key many years ago and have no wish to leave. 

The Doors innovative debut album was recorded at Sunset Sound Recorders, Hollywood during the end of August 1966. It was packaged and in the shops four months later during January 1967.

Back then it was released in both stereo and mono mixes, the latter was deleted not long later and has subsequently become a very hard to find item for several decades until it was packaged as a MONO re-issue ”Record Store Day” release back in 2011.

Check out the mono mix of ”End Of The Night.” This song was one of the earliest Doors compositions and dates from 1965.

”Some are born to sweet delight, some are born to the endless night.”

(12/10/15)

ULTIMATE SPINACH – ”Where You’re At” (MGM LP831 181-1) 1968

The second Ultimate Spinach album had some line-up changes and the sound was more free flowing than their debut with longer songs and jazzy interludes. Trippy sounds are still in abundance though with songs such as ”Gilded Lamp Of The Cosmos” ”Mind Flowers” and ”Fragmentary March Of Green.”

All songs were once again written and arranged by Ian Bruce-Douglas with production duties listed as by Alan Lorber.

I don’t dig uploading songs much more than three minutes in length so my pick goes to ”Where You’re At” which is a memorable West Coast flavoured interlude with female lead vocals, laid back guitar and harmonies.

(11/10/15)

ULTIMATE SPINACH – ”Pamela” (MGM SE-4518) January 1968

For the next few months I’ve decided to focus on my psychedelic albums and compilations bought way back in the 80s/90s. They’ve been neglected by me for far too long when I kind of took a detour and started concentrating on collecting 45s. It will be fabulous for me to rediscover lost gems and perhaps unearth hidden jewels that I paid no attention to at the time.

Enter Ultimate Spinach from Boston, who were a popular psychedelic combo in their local domains. This album sold 110,000 copies in it’s first week of release and subsequently remained on the Billboard Top LP charts for 24 consecutive weeks.

Each song on this album, recorded during September to December 1967, was written by leader Ian Bruce-Douglas who also was lead singer, played electric piano, harpsichord, organ, sitar, harmonica, flutes…almost anything.

According to Ian ”Pamela” shows the intense beauty that can be seen and felt if one’s senses are fully employed. Beauty pervades all and looks into the future of Ultimate Spinach.

line-up:
Ian Bruce-Douglas: vocals, electric piano, 12 string guitar, celeste, theremin
Barbara Hudson: vocals, guitar
Keith Lahteinen: vocals, drums, tabla
Richard Nese: bass
Geoffrey Winthrop: vocals, lead guitar, drone sitar

(10/10/15)

THE DAVE CLARK FIVE – ”Everybody Knows” / ”Concentration Baby” (Columbia DB 8286) October 1967

I watched a terrific Dave Clark Five documentary recently on BBC4 and didn’t realize just how big and popular they became in America. Most of their early beat singles are appealing but they did tend to get bogged down with limp love ballads as the sixties progressed. 

Fortunately some of their more adventurous gems can be found on the B-Sides of singles such as the soul tinged fuzz ’n tambourine rocker ”Concentration Baby” from 1967 – they didn’t even bother to mention this one on the documentary I watched which concentrated on the hits but none of their obscurities or ventures into psychedelia.

(10/05/16)

THE FLOWER POT MEN – ”You Can Never Be Wrong” / ”Man Without A Woman” (Deram DM-183) April 1968

This is the second time out for The Flowerpot Men on my blog, they last surfaced way back in July 2008 with their Byrdsian drone ”Blow Away.” Eight years later they’re back again with their third single and flop ”You Can Never Be Wrong.”

I’m not sure how this absolutely gorgeous psychedelic tinged harmony pop song failed to sell. Perhaps the vocal arrangements were just too complex for the casual buyer to comprehend. It’s also a song that rarely shows up on Flowerpot Men compilations and was again ignored when RPM released a CD of their obscurities back in 2000, although the liners do have a picture of a Dutch advert for the single published in ”Mini-Maat Music” magazine/trade paper.

I have other Flowerpot Men singles and I’ll try not to leave their next outing so long next time!

By the way, 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.

(09/05/16)

MIKI DALLON – ”Cheat and Lie” / I’m Gonna Find A Cave” (Strike JH 306) January 1966

It has taken me a couple of years to find this original Miki Dallon single on Strike but I managed just that back in April. Both sides are fabulous mod beat with forceful bass runs, riffs a plenty and brass.
Just prior to this record Miki Dallon fronted The Sessions (probably a studio group) who released ”Let Me In” / ”Bouncing Bass” on the American Fontana label. This was late 1965.

Miki was also producer for gritty R&B group The Sorrows who covered several of his songs including ”Let Me In” and ”Take A Heart” They even recorded a version of ”I’m Gonna Find A Cave” but it remained in the can for decades.

”I’m Gonna Find A Cave” was also recorded by Charlie Starr, Billy Lee Riley, Jimmy Powell & the Dimensions and The Banana Splits.

(08/05/16)

THE CHOCOLATE WATCH BAND – ”The Sound Of The Summer” / ”The Only One In Sight” (Decca F 12649) August 1967

Today’s turntable spin is an obscure Bee Gees styled harmony pop record from August 1967. More than likely copied their name from the American Chocolate Watch Band. The (UK version) were a duo featuring teenagers Jack Oliver and Gary Osborne and all of their publicity shots that I’ve seen show them dressed in fine Dandy threads.

Dave Aguilar, lead singer with American garage psych group The Chocolate Watch Band recently left this message on my YouTube Channel.

”This IS NOT THE REAL Chocolate Watchband…these are posers ripping off the name….Don’t be fooled-don’t bother listening to this garbage……..”

Reader comment:
You can tell Dave Aguilar that the Brits had no knowledge of a US group of the same name, as they never got a UK release at the time the duo came up with their name.

(30/04/16)

GRAPEFRUIT – ”Someday Soon” / ”Theme For Twiggy” (Stateside SSL 414) December 1968

I’m on a Grapefruit trip at the moment and if you dig psychedelic instrumentals look no further than B-Side ”Theme For Twiggy.” This is the Spanish release housed in a textured colour sleeve. Greatness from late 1968.

This soothing piece of music probably written with 60s model Twiggy in mind is not that well known and is certainly a lost gem hidden away on a B-Side of a single. It turned up on a long forgotten ”Instro-Hipsters A-Go-Go” compilation back in 2001

(30/04/16)

GRAPEFRUIT – ”Elevator” / ”Yes” (RCA Victor 1677) April 1968

This was Grapefruit’s second single and first of 1968. ”Elevator” is a very catchy pop psych mover reminding me so much of the early Move. I really don’t know how this was not a hit record.

Paul McCartney worked with the band on a promo video of ”Elevator” at London’s Albert Memorial. I’ve never seen this but perhaps it will surface on YouTube one day!

”Put yourself on an elevator going……HIGH”

(24/04/16)

JASON CREST – ”Turquoise Tandem Cycle” / ”Good Life” (Philips BF 1633) January 1968

Jason Crest have been posted on my music blog a couple of times in the past. Today I’ll concentrate on their beginnings and first single for Philips.

They formed in the suburbs of Kent, first calling themselves The Spurlyweeves but by early 1967 they were playing regular gigs and making a name for themselves as The Good Thing Brigade. By the end of ’67 they had secured a record deal with Philips and began recording their first single.

The beautifully psychedelic ”Turquoise Tandem Cycle” was released during January 1968 as Jason Crest. During the recording session(s) they had obviously decided to change their moniker inspired by an imaginary composer ”Justin Crest.”

”A turquoise tandem cycle has wheels of rubber rings
A choir of silent voices, a book of silent hymns.” 

(21/04/16)

THE HOLLIES – ”Peculiar Situation” / ”Pay You Back With Interest” (Odeon 23 535) July 1967

So it was ”Record Store Day” today and once again I never bothered going to any record shop. Come to think of it I’ve never bothered participating in RSD ever!!!

But those who did came away with some swag judging by the photos coming up on my Facebook timeline. That’s good cos they’re going to genuine collectors and not the bearded hipster fly-by-night types.

It’s ”Vinyl Day” every day of the year for me and this obscure Hollies German release from 1967 came way this week. Unique too cos both songs never appeared on any UK single. Both songs appeared on The Hollies fifth studio album ”For Certain Because” and were recorded at Abbey Road Studios between August – October 1966.

(17/04/16)

THE GRAPEFRUIT – ”Dear Delilah” / ”Dead Boot” (RCA Victor 45-15050) January 1968

I don’t suppose The Grapefruit are that well known among non 60s freaks but they released a few worthy singles on RCA during 1968 including ”Dear Delilah.” They evolved out of beat group Tony Rivers & the Castaways. Dig the phasing on ”Dear Delilah” – a classy pop psych tune and check out the rare promo video recently restored by ”Revolver TV”

The Grapefruit were the first signing to The Beatles’ Apple Publishing company, and the launch party to celebrate the event was attended by various fans, plus Donovan and a bearded Brian Jones. Paul McCartney even directed a promo film for the band’s ”Elevator” single at London’s Albert Memorial.

(17/04/16)

EPISODE SIX – ”Morning Dew” / ”Sunshine Girl” (Pye 7N.17330) June 1967

Episode Six had previously released several singles but none of them reached the Top Fifty. The group had high hopes that their version of ”Morning Dew” would provide them with their breakthrough hit and the record certainly had the attention of the Pirate Radio Stations.

Despite this push and an article in renowned music publication ”Beat Instrumental” Episode Six suffered another disappointment.

”Morning Dew” has been recorded by many artists and groups over the years. Most people think that Tim Rose wrote the song but this is contested by Canadian singer songwriter Bonnie Dobson who claimed that she wrote the tune back in the early 1960s.

Bonnie Dobson did not receive a credit on the Episode Six Pye label although she does receive co-writer credit on my US Compass label release. I have taken a photo of this label too.

(12/04/16)

EPISODE SIX – ”I Can See Through You” / ”When I Fall In Love” (Pye 7N.17376) October 1967

This is yet another single released during October 1967 that simply soared outta the psychedelic airwaves but as with so many records back in those heady tripped-out days this one by Episode Six went to nowheresville.

”I Can See Through You” is a very under-rated psych masterpiece that rarely (if ever) gets mentioned in those trendy lists of Top 10 this or Top 100 that of 60s psychedelic songs. I can’t think why this particular trip eludes the writers. Perhaps this is the greatest song future Deep Purple member Roger Glover ever wrote.

Another future Deep Purple member was Ian Gillan and his vocals here are treated in the mid ’67 style makin’ them a joyous rush of  Who-like aural sorcery. The Revolver period bass notes are superb and the obscure psychedelic lyrics are mind melters.

Then half way through this exhilaration everything stops except for flutes and voices, then it all starts up again. The middle section seems likes its taken from a motion picture epic as the Roman army marches off to war…then flutes and coral voices return….Perfection!

(10/04/16)

MARIANNE FAITHFULL – ”Is This What I Get For Loving You?” / ”Tomorrow’s Calling” (Decca F.22524) February 1967

Today’s spotlight is on Marianne Faithfull (again) with her 1967 flop ”Is This What I Get For Loving You?” The song was recorded first in 1965 by The Ronettes. Their version flopped too.

On this cut, Marianne’s vocals are at a lower register and have a similar moodiness to that of Nico on the first Velvet Underground album.

I wonder if she was singing with Mick Jagger in mind here?

(08/04/16)

THE PRETTY THINGS – ”Private Sorrow” / ”Balloon Burning” (Columbia DB 8494) November 1968

Everyone who visits my blog will know about The Pretty Things and their story has been told numerous times via fanzines and CD re-issue liners. For any novice out there start by obtaining a collection of their R&B period then move onto their psychedelic era where much treasure is available to be enjoyed.

This fabulous Pretty Things single from the back end of 1968 combines ”Private Sorrow” with ”Balloon Burning.” Both songs feature on their studio album ”S.F. Sorrow.” 

Several online commentators have suggested that this single didn’t stand a chance mainly because the songs were recorded within a loosely based concept album and perhaps were lost on the buying public.

I just think lack of any promotion and the fact that the serious heads were no longer buying 45s in late 1967/68 was the reason why The Pretty Things had single miss after miss. Perhaps this is the reason why ”Private Sorrow” is The Pretty Things most difficult single to find on Columbia.

”Balloon Burning” is a fierce turned-on psych rocker with a killer guitar solo. It’s certainly one of their finest.

(07/04/16)

THE TIMEBOX – ”Don’t Make Promises” / ”Walking Through The Streets Of My Mind” (Deram DM 153) October 1967

So I finally found a copy of this fab Timebox single. It has taken a fair few years but I secured one back in October 2015. I wrote about The Timebox several years ago when I covered their ”Gone Is The Sad Man” but this disc is perhaps my favourite.

The 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.

Incidentally, the mod movin’ ”Walking Through The Streets Of My Mind” with it’s slightlydelic arrangement was also recorded by Los Angeles group The Beethoven Soul who released it on their album a month before The Timebox version hit the markets.

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

(03/04/16)

PAPER BLITZ TISSUE – ”Boy Meets Girl” / ”Grey Man” (RCA Victor 1652) December 1967

Original copies sell for £400+ so this bootleg from years ago will suffice. Paper Blitz Tissue were part of London’s psychedelic underground scene along with The Pink Floyd, Tomorrow, Soft Machine etc – little is known about them.

”Boy Meets Girl” was written by Ron Grainer who was more accustomed to writing TV and Film theme tunes including ”The Prisoner”, ”Man In A Suitcase” and ”Steptoe and Son.”

”Boy” is pulsating pop-art freakbeat loaded with heavy fuzz, searing lead guitar and hypnotic drum and bass action. The vocals are treated and happening. The other side ”Grey Man” is also great starting off like a beat group from 1965 before exploding into Who like sound destruction.

(30/03/16)

The 23RD TURNOFF – ”Michael Angelo” / ”Leave Me Here” (Deram DM-150) September 1967

The 23rd Turnoff were named after Junction 23 of the M6 Motorway which leads to Liverpool. Prior to renaming themselves The 23rd Turnoff they released singles as The Kirkby’s. Check out their MODified merseybeat sound on ”It’s A Crime.”

The dreamy and hypnotic ”Michael Angelo” is in my top three songs of all time and the original vinyl release is a sought after artifact, expect to pay a decent sum of money for the pleasure of owning such a beautiful and melancholic record. It has obvious Beatles overtones with the use of organ drone and ”Penny Lane” style trumpets which add to the song’s haunting quality.

Singer-songwriter Jimmy Campbell made three solo albums after The 23rd Turnoff called it quits.

Reader comment:
Love your blog & that 23rd Turnoff 45 is one of my favorites too! You said Jimmy Campbell did 3 solo albums & called it quits. In case you aren’t already a fan you gotta hear his band ROCKIN’HORSE they back him on a few songs on ”Half Baked” and they released an album on Phillips called ”Yes it it is”in 1971.

Their LP is also in my top of all time. They also toured UK as Chuck Berry’s backing band. There is one song on YouTube.

Also a live album got released on a UK budget label. I haven’t found it yet. Some day. Billy Kinsley from The Merseys was also in Rockin’ Horse. So good!

Lastly Billy Fury did some Jimmy Campbell songs like ”Green Eyed American Actress”. This is stuff you may know, just in case tho, cos’ Jimmy Campbell was an absolute song writing genius so I always want to tell people about his music. Thanks again for all the great posts!

(29/03/16)

THE ’TAKERS – ”If You Don’t Come Back” / ”Think” (Pye 7N.15690) September 1964

In Britain, so many fabulous beat and R&B singles seem to have been released during September and October 1964 and here’s another entry that I know of.

The Undertakers were one of Liverpool’s premier beat groups who played the Cavern and then did the Germany trip like so many combos during that scene. They secured a residency at the famous Star-Club where they honed their beat skills and sound.

It’s fair to say that The Undertakers never had any real success in Britain. They released four singles but none of them achieved Top 40 status. ”If You Don’t Come Back” was their fourth and final disc for Pye Records. For some reason their name was shortened to The ’Takers. I’ve read that this was at the request of Tony Hatch who felt that the name The Undertakers was a drawback!

Sadly, ”If You Don’t Come Back”  failed to dent the Charts and The Undertakers disbanded. The song was written by successful song writing team Leiber / Stoller and was first recorded and released by The Drifters in April 1963. Gary Walker & The Rain recorded a heavy psych version in 1968. Check it out on their Album No. 1.

(27/03/16)

MARIANNE FAITHFULL – ”Full Fathom Five” (Decca LK 4688) April 1965

In their endeavours to obtain universal recognition, many outstanding artistes have recorded material alien to the particular field in which they achieved their initial success.

In the case of Marianne Faithfull, circumstance has reversed this state of affairs. For her name initially girdled the globe on the wings of a folk-tinged ballad, ”As Tears Go By” which was essentially ’pop’ in concept.

However, the success of this song served a dual purpose, for it not only established Marianne as an invigorating new talent with something to say, but more important still, it enabled her to bring before her new-found public her own brand of folk-music.

Marianne would be the last to decry her unqualified success in the ’pop’ stakes, but she has never made a secret of the fact that folk songs are the songs she loves to sing.

This album is a natural progression for her. It outlines her ability to create, and is a beautiful, and often moving example of how, through the medium of song, mere words can be transformed into a work of art. Most of all it signifies the extent of what Marianne Faithfull has done for the advancement of folk-music in this country. (Andy Wickham – back cover liners)

(21/03/16)

JULY – ”Crying Is For Writers” (Bam Caruso KIRI 097) 1987

This weekend’s album of choice is ”Dandelion Seeds” by July. Back in the mid to late eighties psychedelic re-issue label Bam Caruso had a terrific run with their ”Rubble” compilations and ventures into re-releasing mindblowers from the 1960s.

This one by July from 1968 is one such release that really blew my mind back then. The Bam Caruso artifact also includes both sides of their second Major Minor single ”The Way” / ”Hello, Who’s There?”

There is an abundance of information about July elsewhere but in brief, they were in their late teens and early twenties when they recorded this back in ’68.

Prior to becoming July they were quite a successful beat group called The Tomcats. Unknown in Britain (they came from Acton) but had a decent sized following in Spain.

My pick is not one of their most well known cuts like ”My Clown” or ”Dandelion Seeds” but a rather obscure psychedelic nugget called ”Crying Is For Writers.”

(20/03/16)

MARTY WILDE – ”Abergavenny” / ”Alice In Blue” (Philips 326 882 BF) May 1968

Pre Merseybeat era rocker Marty Wilde with his obscure 1968 pure pop two-sider. The toy-town tune ”Abergavenny” went to nowheresville in Britain although it did shift some units in Europe and was a small hit in America under the alias of Shannon on Heritage Records.

My pick though is the B-Side. ”Alice In Blue” is a fab moody pop song with orchestration and rather great vocals from Marty. Simply wonderful. The Bystanders or at least ex members Deke Leonard and Micky Jones provided backing on ”Abergavenny” and possibly ”Alice In Blue” with arrangement by Peter Knight who worked with The Moody Blues on their album ”Days Of Future Passed.”

(16/03/16)

DONOVAN – ”Tangerine Puppet” (Marble Arch MAL 795) May 1965

This is my second Donovan entry today and another re-issue on budget label Marble Arch. The latter released Donovan’s debut album at the end of 1968. The original on Pye came out mid 1965.
Don was only eighteen years old when he recorded the songs for this album. He had help of course, from Brian Locking on bass guitar. Brian also played with The Shadows for a short while and a couple of years for Marty Wilde’s backing group The Wildcats.

On drums was Skip Alan who would later become a member of The Pretty Things during their psychedelic period. Gypsy Dave joined in on kazzoo.

A really strong folk album, most of which was written by Donovan including the soothing acoustic instrumental ”Tangerine Puppet” and his famous hit ”Catch The Wind.” There’s also room for a fab folk blues version of ”You’re Gonna Need Somebody On Your Bond.”  

(13/03/16)

DONOVAN – ”The Summer Day Reflection Song” (Marble Arch MAL 867) October 1965

One of my very favourite artists of all time is Donovan and he would easily fit in my personal Top 10 all-time greats.

Out of interest my list would include The Byrds, The Monkees, Beau Brummels, Del Shannon, Johnny Kidd, Everly Brothers, The Easybeats, Syd’s Pink Floyd and The Beatles.

Anyway, back to Donovan. My copy of the album ”Fairytale” is the early 1969 re-issue on budget label Marble Arch. Just dig the psychedelic sleeve, it’s something else. Curiously, the label omitted two songs from the original album released in October 1965. There’s no ”Colours” or ”The Little Tin Soldier.”

My pick is the quite brilliant folk song ”The Summer Day Reflection Song” which has 12 string contribution from Shawn Phillips. One of his most evocative creations.

”Cat’s a-sleeping in the sun,
Eyes take heed the colours call.
Sunlight patterns touch the wall,
Red kerchiefs sail and fall,
Cat’s a sleeping in the sun.”

(13/03/16)

IAN & THE ZODIACS – ”No Money, No Honey” / ”Ride Your Pony” (Star-Club Records 148 548 STF) April 1966

Exactly fifty years ago Liverpool combo Ian & the Zodiacs were in Berlin recording this R&B fuzz pounder. For such a fabulous group it’s bordering on ludicrous that they were virtual unknowns in Britain, except for Merseyside of course.

Much of their material was recorded and released in Germany and other parts of Europe. Some were decent sized hits, they often appeared on several pop shows promoting records. Nothing in Britain of course, it seems the teenagers here were snoozing.

”No Money, No Honey” is one of those tunes that melts away at your mind, fuzz action, caveman drum beat, great vocals. Should have been a smash. The other side is a powerful version of ”Ride Your Pony.”

(13/03/16)

THE MOODY BLUES – ”Voices In The Sky” / ”Dr. Livingstone, I Presume” (Deram 17.014) June 1968

This wistful single by The Moody Blues is the latest introduction into my ’psychedelic sky’ series of records. Both sides appeared later on their symphonic rock album ”In Search Of The Lost Chord” but here they are in their edited mono mix.

”Voices In The Sky” written by their lead guitarist and singer Justin Hayward was recorded during March 1968 and on it’s release in the Summer of 1968 proved to be a decent sized hit, eventually reaching #27 in the UK Chart.

”Bluebird, flying high
Tell me what you sing
If you could talk to me
What news would you bring
Of voices in the sky.”

(06/03/16)

CHRIS FARLOWE & THE THUNDERBIRDS – ”The Last Goodbye” / ”Paperman Fly In The Sky” (Immediate IM-066) April 1968

Chris Farlowe hit the big time in Britain during 1966 with the #1 hit ”Out Of Time” but subsequent singles were only modest hits. It’s worth checking out some of the obscure B-Sides, especially ”Paperman Fly In The Sky” which is a pop psych delight.

Production by Manfred Mann vocalist Mike D’Abo.

(04/03/16)

PINK FLOYD – ”Point Me At The Sky” / ”Careful With That Axe Eugene” (Harvest 3C 006-05459) December 1968

Quite possibly the most obscure Pink Floyd single from the sixties was their fifth ”Point Me At The Sky” which bombed and as a consequence the UK release on Columbia hardly ever shows up. The disc is easier to obtain on the Harvest label. My copy is the Italian version in stereo.

”Point Me At The Sky” was recorded and released at the end of 1968, the sound is more progressive rock than their earlier trips into psychedelia, although the song does veer off into psych territory at it’s climax.

The vocals on the verse of the song are sung by Gilmour, and the bridge vocals are shared between Gilmour and Waters.

(03/03/16)

THE MEDIUM WAVE – ”Walk In The Sunshine” / ”Looking Towards The Sky” (Ember EMB S 265) 1969

The Medium Wave were a short lived, late 60s outfit led by singer Davey Payne. Some copies came with a folded picture sleeve but my copy came without, although for interest I have added an upload of a photo of the French release housed in a pop art cover….

”Looking Towards The Sky” is a decent rocker with brass and is part of my ’psychedelic sky’ set of posts. Produced by Kenny Lynch. The latter also wrote the A-side ”Walk In The Sunshine.”

By the way, the Davey Payne here is not the sax player of the same name who was a member of Ian Dury’s backing band The Blockheads.

(28/02/16)

THE FOX – ”Look In The Sky” (Polydor) 1970

Late 60s psychedelic group The Fox released one sought after album during 1970 called ”For Fox Sake” which successfully merged psych and progressive rock sounds, in particular the heavy use of hammond organ.

My choice cut is ”Look In The Sky” and one for my ’psychedelic sky’ series of posts. Here’s part of an interview with Fox guitarist and singer Steve Brayne, taken from the Marmalade Skies website.

So What happened when you met up with the guys?
Tim and I met in a pub and he told me that he, Alex, Nick and Dave Windross had got together with a bunch of songs (”Second Hand Love”, ”Birthday Card”) and were planning to go professional as a band playing originals. I said I had a few songs too (”Mr Blank”, ”Man In A Fast Car”, ”Butterfly”, ”Glad I Could”, ”Madame Magical”) and that maybe we should get together. We did – it clicked. 

Alex and I started writing together and came up with songs like ”Look In The Sky” and ”As She Walked Away”. Lenny Barker, who’d been the bass player in the Alex Lane Group and who’d also been at school with Alex, Tim and I, became our manager.

We rehearsed and rehearsed in a room above a pub and eventually we recorded a demo at Regent Sound in Denmark Street. Not long after that we got Winston Weatherill in on guitar. He was the local guitar hero from Gary Farr & The T-Bones. Nick left the band and Alex and I took over vocals from Nick. That was the final line-up.

What was you repertoire in those days?
We started rehearsing in late summer 1968 and were doing our own material plus a song by The Idle Race (can’t remember the title), a Vanilla Fudge (slowed down and heavy) style version of ”Day Tripper”, ”Take Another Little Piece Of My Heart”, ”The Cat” (an instrumental by Jimmy Smith) used to be our stage intro, one or two R&B things – one was called ”Sure Gonna Mess Him Up” (by who?) and so on. Mostly we played our own thing.

What kind of venues did you play?
Our first gig was supporting The Herd on Brighton seafront and we gigged round the local colleges, like the Art College and the Polytechnic. A local agent called Mike Clayton (known to The Mike Stuart Span as well!) got us a few gigs round the south east but he was more hot air than performance.

Other gigs we got through our own contacts. Our first gig supporting The Herd on the seafront at Brighton during the festival, supporting Aynsley Dunbar’s Blue Whale at Bristol University, supporting Principal Edward’s Magic Theatre at a couple of different venues in Bristol and Kettering. Those are the ones I remember.

(25/02/16)