LISTEN-IN REVIEWS

 

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

THE ROSALYNS – ”Hide And Seek” EP (UT-S75) 2014

Here’s a knock out all-star girl garage record to track down via your favourite independent stores by The Rosalyns. It was only released a couple of years ago and shouldn’t be too difficult to find.

My focus is on the savage and skull crunchin’ opener ”Der Hund Von Baskerville” with bassist Anja taking lead vocals in her native German and harmonies from keyboardist Birdy on Cindy and Bert’s take of  ”Paranoid” 

There are also rockin’ versions of ”Dream In My Mind”, ”Destroy That Boy” and ”Hold On.”

A worthy record to spin LOUD and knock some skulls together to.

notes:
recorded and mastered at Earthling Studios, El Cajon, California.

(13/10/16)

THE BROOD – ”But You’re Gone” / ”You Don’t Need Me” (GH-131) 1991

Yesterday I posted the original Spires Of Oxford version of ”But You’re Gone” and today it’s the turn of all girl garage group The Brood. Here they manage the near impossible and ’out-crude’ the original.

The tempo is a little faster and the guitar is buried a lot deeper in the mix. I’d rather listen to this than than awful grunge stuff that was doing the rounds doing the same period in time.

The other side is their take on ”You Don’t Need Me” by The Midnight Angels.

(19/07/16)

STEVEN ROBACK – ”Brightside” / ”Sudden Rain” (Rough Trade 45rev23) October 1993

It’s been a long time since I posted anything here not from the 60s but my plan is to post a lot more contemporary records, photos and ephemera on my blog in 2016. 

I’ll also revisit old entries and update the information, add more photos and perhaps upload a YouTube video. I have a lot of stuff and I dig sharing and finding out more information about certain items.

Take this obscure solo 45 on Rough Trade by ex Rain Parade member Steven Roback from October 1993 for instance. Steven played bass, guitar, added vocals and produced – Aided by former band mate Matt Piucci on guitar, organ and percussion. So it’s very much a project that will interest fans of Rain Parade.

There is a fine ’Paisley Underground’ Facebook group and I asked Matt to fill in some blanks. The photo of Steven adorning the front sleeve was taken by Missy Roback. The song ”Brightside” was done at the old Polymorph studios in Temescal, recorded by Stickman.

I believe ”Brightside” was very much taster for the Viva Saturn album of the same name which came out a couple of years later in 1995 although the latter was a re-recording.

(01/01/16)

THE VIPERS – ”Tears (Only Dry)” (PVC 8928) 1984

This is the second time out for The Vipers on my blog, the first time was way back in 2009 when I focused on their mid ’66 inspired garage fuzz punker ”Ain’t Nothin’ Like Her”

Now it’s the turn of their jangly pop tune ”Tears (Only Dry)”

Check out the cutting from Sounds magazine from 1984. I can actually remember reading this review while browsing through Sounds on the 194 bus on my way to Newcastle. I’m serious! I remember all kinds of inconsequential stuff concerning records and music.

(26/11/15)

THE WRONG SOCIETY – ”She Destroyed Me” / ”Without You” (Market Square Records MSR-11) August 2015

This single released a couple of weeks ago on Market Square Records is a two sided garage gem by Hamburg group The Wrong Society. They’ve been active for two years or so now and have more singles to investigate which of course I recommend.

”She Destroys Me” owes it’s sound to mid 80s garage revival, think of The Gruesomes or The Gravedigger Five and you’ll get the picture. The other side ”Without You” is a loner style 60s teen punk weeper with killer fuzz and happenin’ organ cascades. Both sides are group originals.

misc details:
The record was recorded by Heiko Herzog at Yeah! Yeah! Yeah! Studios in Hamburg, Germany.

Limited to 300 copies, housed in a company sleeve and including a hand-numbered postcard.

(20/09/15)

THE CYNICS – ”Painted My Heart” / “Sweet Young Thing” (Dionysus) 1985

This is only the second time that I’ve highlighted a Cynics record on my blog, now it’s gonna be their debut disc from 1985 on Dionysus. I’ve waited years to obtain this disc but managed to find a copy earlier this week.

”Painted My Heart” is a Cynics original. The first couple of plays I wasn’t that struck on it to be honest although it has grown on my since. I thought the vocals were just not right although the guitar sound was great including a very good guitar break mid song. It all sounds to me like an American indie rock group. It was a few plays in before I sussed out that the singer was not Michael Kastelic.

Further investigations and research cleared things up once and for all. The vocalist on both sides of the disc was original frontman Mark Keresman. He didn’t last long as singer after this single was released and was replaced by Kastelic.

The other side is a version of ”Sweet Young Thing.” It’s quite clear that The Cynics were ’missing’ something here though.

Both songs were recorded at Asterik Studios, Pittsburgh PA.

line-up:
Mark Keresman (vocals)
Gregg Kostelich (guitar)
Richard Schnap (guitar)
Amy Mathesius (bass)
Bill Von Hagen (drums)

(19/09/15)

THE MARSHMALLOW OVERCOAT – ”Groovy Little Trip” / Stop It Baby” (Dionysus Records 8601) 1986

Back in the mid to late 80s I caught the so called ’garage revival’ disease and spent most of my spare income buying ’now sounds’ records. I have built up quite a healthy collection and whenever I see anything that I don’t have I try to add it to my boxes.

Take this debut disc by the prolific Marshmallow Overcoat for instance. I never even saw it back in the 80s so was very pleased to find a copy last week for sale on eBay.

If you don’t already know, this band were led by Timothy Gassen, who has since wrote the fabulous book ”The Knights Of Fuzz”, a perfect document for the garage and psych revival groups from the 80s and 90s. His update book covers contemporary groups with the garage sound.

”Groovy Little Trip” is an extended blast of garage psych noise with tremolo guitar and the unrestrained growl of ”Randy Love” a.k.a. Timothy Gassen. The original was recorded by Tommy Jett. I first became aware of the song in the mid 80s when the original was compiled on ”Texas Flashback #5” The other side is a version of ”Stop It Baby” originally released by The Heard. Check it out via Pebbles #7. It’s also a worthy take.

Tim has a regular presence on Facebook and is always happy to answer any questions about his group, book and other projects. I have been curious why he went by the ”Randy Love” alias so asked him earlier this week.

”Randy Love” was a character I invented to be the lead singer of the Marshmallow Overcoat and for a radio show I was doing — I dropped the name once we started touring.” (Tim Gassen)

misc details:
record produced by Timothy Gassen and engineered by Dave Slutes at Sitting Duck Studios in Tucson, Arizona during July 1986.

line-up:
Lead Growl: Randy Love
Bass Throb: Linda Andes
Farfisa Organ: Jeff Puhl
Electric Fuzz: Al Perry
Primal Beat: B.G. King

(18/09/15)

THEE JEZEBELS – ”Black Book” / ”Cried Over You” (State Records THS-019) April 2015

Thee Jezebels are a new female trio based in Hastings on the South East coast of England who earlier this year released their debut disc on the ever collectable State Records. The self-penned songs written by guitarist / vocalist Laura Anderson were recorded in glorious MONO, ideal for their kind of brutal and primitive rhythm & punk.

”Black Book” recalls those early Glam Rock stompers, the jagged rhythms, screechin’ Quatro vocals, menacing bass and clattering drum action are out to destroy and if you just happen to be in their little black book it ain’t gonna end pretty, in fact it could be carnage.

The flip ”Cried Over You” follows the mean sound of ”Black Book” but has a faster pace and races along like an out of control train. Listen out for 70s style ”Hey Hey Hey’s” and handclaps. This is a really rockin’ side.

The single was recorded and mixed at The Ponswood Hit Factory on the 10th of January 2015.   

line-up:
Laura Anderson (guitar/vocals)
Letty Gallagher (bass)
Lois Tozer (drums)

(17/09/15)

THE NEUMANS – ”Fuzz Filled Dreams” / ”Stroke Of Midnight” / ”What’s Wrong With You” (Wild Records) 2013

Every so often a new garage group will create a slab of genius every bit as raw and exciting as the ’66 punk swingers we all love or those killer cuts from 80s revival combos. It’s a rare event but it still does happen. Take this raucous 45 r.p.m. from Santa Ana hustlers The Neumans as your aural and visual flashback from the past.

”Fuzz Filled Dreams” is a fuzz ravin’ teen punk blast of Godliness and is already one of my all time fave rave turntable spins. Quite an achievement when I have thousands to choose from. If someone ever decides to compile a ”Back From The Grave” type set with contributions from post 1966 groups I’d be severely disappointed if this hot mind cruncher isn’t the lead off track on Side One.

Featuring vintage vox instruments, cavemen and a cavegirl, energy, pulsating beats, reverb, snarl, fuzztoned magic and the wildest and most animalistic garage punk screams you’re likely to hear this side of 1966.

You’re gonna dig this impossible to find debut disc by the mighty Neumans. It’s a huge shame that they recently called it quits because of ’musical differences.’

(04/08/15)

THE OFFHOOKS – ”Off The Hook” (DDT Records DISPLP 18) late 1988

I spent the turgid 80s listening to hundreds of 60s garage comps and turning my mind onto the (in some circles) much maligned neo-garage revival groups.

I was just in the right place at the right time to be hip to some of the better groups of the day. No hilariously BAD hair metal groups or goth rockers for me, hell no, it was the ’underground’ garage combos that filled my airwaves such as The Offhooks from Edinburgh.

This mini album came out in 1988. Check out their superb moody 12 string jangler ”No More Tears” written by John Robb from indie group Jesse Garon & the Desperados harmonizing too, there weren’t enough groups doing this in the 80s – too busy counting their cheapo tattoos and spraying their backcombed metal hair I suppose.

The location of the cover photo is at Edinburgh University, Potter Row Facility.

recorded in June 1988 and produced by Jamie Watson at Chamber Studios, Edinburgh.

line-up:
Calvin Burt (lead vocals)
Clive Fenton (guitar, harmonica, tambourine, vocals)
John (guitar, vocals)
Andy (bass)
Lenny Helsing (drums, vocals)

(05/05/15)

THE BELLTOWERS – ”Here To Stay” / ”Lovin’ You (Leading Me On)” (Market Square Records MSR-08) March 2015

One of my fave rave contemporary groups are The Belltowers and they’ve held the highest echelon of my sonically charged mynd for several years. As a matter of fact I was probably the first person to ’discover’ them outside of their native Florida way back when…. I then wrote about them on several occasions and got to know them all via Facebook.

I’m particularly friendly with Paul Mutchler, surely one of the very best 12 string Rickenbacker guitarists there is. He’s mastered the jangle over many years in other groups including The Green Today and The Lears.

Anyway, The Belltowers have a new single out on Market Square Records. It’s a limited pressing because that’s how label owner Paul Messis likes it. So get your copy of the disc before it’s too late.

Check out ”Here To Stay” on this splendid YouTube video and transport your inner self upon their jangle pop reverie. There ain’t no comin’ down once you’re in their paisley sky.

(31/03/15)

THE SATELLITERS – ’More Of The Satelliters’ (Dionysus) July 2014

This combo from Germany have been regulars on the European garage scene since the mid 90s releasing records on tons of labels and displaying their solid garage beat action at prestigious festivals such as the Dionysus Demolition Derby, various Mod Rallies, Cavestomp and Euro Ye Ye…plus many other tours.

The Satelliters sound has developed over the years and maybe even become a little bit more sophisticated but importantly without losing any of their raunchy garage rock moves. Their music has always, to my ears, been heavily influenced by some of the better eighties garage revival groups such as The Cynics and early Miracle Workers, indeed the lead singer has a vocal style similar to Cynics frontman Michael Kastelic.

So with this in mind, it’s usually time to take notice when The Satelliters have a new record out. Their latest offering ”More Of The Satelliters” is due to be released next month on the famous Dionysus label and it’s been a long time comin’.

An update on their Facebook page confirmed that the group had completed the recording of the album during January 2013. So just over a year and a half later fans will be able to get copies from their favourite garage/psych emporiums.

A taster for the album was released as a single on Portuguese label Chaputa Records. They released their raucous version of ”Girl It’s Over” originally recorded by The Six Deep in 1967 backed with a non album cut ”When I’m In Between.”

Their new album contains the kind of tunes fans will wanna hear ranging from fuzztoned garage rockers like my favourite ”It’s Gotta Be You” and the opener ”You Turned In My World”.

The pace is slowed with a couple of psych-tinged winners, listen out for ”I’m Up To Find” and ”Tell Me Tell Me”… It wouldn’t be The Satelliters if they didn’t tackle some sixties cover versions and they please with the previously mentioned ”Girl It’s Over” and the classic ”I Was Alone” originally recorded by The Exotics in 1967. Their version of ”I’m A No Count” by Ty Wagner with the Scotchmen is decent enough but doesn’t have the primitive power of the original from 1965….no surprise though, how could any contemporary group come close to even matching that crude snarler?

A highly recommended album for this Summer’s garden parties.

(10/06/14)

THE HIGHER STATE – ’Same Title’ (13 O’Clock Records 015) November 2013

This was England’s very own The Higher State’s fourth album and third for Austin, Texas label, 13 O’Clock Records. I’m uncertain as to any reason why the group decided not to give the album a title, maybe they just didn’t want to, after all the band name alone is so killer, why detract from a Higher State?

Out of interest 13 O’Clock Records are a new label who’ve been busy recruiting talented groups and performers from around the globe, mostly European I may add. Their roster also includes Paul Messis, who is the new bass player for The Higher State, The Flight Reaction (from Sweden), Os Haxixins (from Brazil) and Arsene Obscene (from France).

They also reproduce wonderful thick card album sleeves and use heavy vinyl. Satisfaction is guaranteed for the purveyor of a quality record. If this wasn’t enough, The Higher State have recorded their new long player in MONO and it all sounds sublime.

The album was officially released on the 12th November 2013 but I got a sneak preview of it’s folk-rockin’ greatness via a very limited edition promo CD that Higher State’s drummer Mole kindly sent me during October. It’s taken me nine months to get my act together and write a review!

In hindsight, the year 2013 was quite busy for The Higher State. They replaced bass player Ben Jones with Paul Messis. I have exchanged many emails with Paul over the years and I can say for certain that he was thrilled to be joining such an amazing group, after all, The Higher State are the U.K’s foremost exponents of authentic folk-rock. Who wouldn’t want to be associated with and part of such a class act?

With this album, Kent’s finest have gone all out to create a purist ’65/’66 Los Angeles / Sunset Strip folk rock masterpiece. It’s a direction that they’ve hinted at ever since they began recording but in 2013 it seems that The Higher State focused their efforts wholly on this style of music.

The music is expertly recorded by Marty & Mole at Sandgate Sound Studio where they have custom built an 8 track recording facility. All twelve songs have beautiful multi-layered harmonies over the soundscapes of Rickenbacker jangle, tambourine splashes and drum patterns that are at the very least the equal of anything laid down at the ’epicentre of jangle’ during mid 1965 to mid 1966.

It’s difficult to pick my favourite cuts from the album as I dig them all, they really are stupendous and ooze a classy commercial folk beat. Back when The Byrds were having their hit records these boys would surely have also hit the big time. They have received rave reviews in the notable music magazines and fanzines as well as online blogs etc but underground critical acclaim aside, The Higher State have already hit the big time in my forever mid 60s world.

Paul Messis provided one song in the set, the driving folk rocker ’Why Don’t You Prove It’ which adds clattering Keith Moon style stick work and stellar guitar tones. Marty’s opening gambits ’Need To Shine’ and ’Jagged Words’ are sublime and so too is his mournful ’Sky Clears To Blue’ which sounds like the same kind of 12 string moody trip Westchester, LA combo The Roosters were so adept at recording.

Side two opens with the exciting single ’Potentially (Everyone Is Your Enemy)’ and continues on an unrelenting folk jangling trip until the powerful ’Try Slowing Down’ where Marty spits out some insightful and thought provoking words seemingly about ’plastic people’.

”But look here comes another trend
Now you look just like your friend
Where will it end – where will it end.

You’ve laughed at me for all these years
It helps to divert from your fears.
Get the latest style from the salon
as the band wagon rolls along – rolls along.”

line-up:
Marty Ratcliffe (12 string guitar, harmonica, vocals)
Daniel Shaw (guitar, vocals)
Mole (drums, percussion, vocals)
Paul Messis (bass)

Prior to the release of this album in November 2013 The Higher State released a single on their own label State Records as part of their ”Sandgate Sound Acetate Series” This came out in July 2013, limited to just 500 copies on super heavyweight vinyl.

’Potentially (Everyone Is Your Enemy)’ was backed with the non album cut ’All Ties That Bind’ written by Mole. This could easily have nestled on the album but the 60s purist creatures that they are could not have a thirteen song album. The classic 60s albums never had more than twelve songs.

The Higher State released one more song in 2013 when they provided a cover of  the classic ’Don’t Run And Hide’ for the Fruits de Mer, Hollies tribute ”Re-Evolution.”

I wonder what 2014 holds for the group, we’re already half way through the year without any offerings although I believe that they have been active in the studio last month cutting a couple of 13th Floor Elevators covers for a forthcoming Fruits de Mer 7” box set, ”7 And 7 Is”. 

Where to buy The Higher State records:
13 O’Clock Records 
State Records

THE BROOD – ’Knock On My Door’ / ’I’ll Come Again’ (Estrus Records ES-735) 1992

This is the first time that all-girl garage band The Brood have featured on ’Flower Bomb Songs’ and as far as I know I’ve chosen their final single to review. I’ve got plenty more Brood records in my archives so I’ll dig out some more of their feline punk soon.

Both songs on this disc are 60s garage classics and can’t be improved upon but I’m sure that was not The Brood’s intention anyway. They obviously had a great time in the studio laying these killer songs to tape that were probably a staple of their live performances.

’I’ll Come Again’ has got some great tough female vocals by Chris Horne aided by a rockin’ backbeat. The original was recorded by The Legends and can be found on an early ’Back From The Grave’ compilation.

I actually own an original Primates 45 and it was the latter who released the bone crunching ’Knock On My Door’ – The Brood give a good account of it here.

(13/04/14)

TYRNAROUND – ’Uncle Sydney’ / ’Uncle Jack’ (PolyEster LUV 21) 1990

This is the second time out for Tyrnaround on ’Flower Bomb Songs’, check out my previous entry here. ’Uncle Sydney’ is obviously inspired by English psych from 1966/67 but the guitar leads are definitely contemporary. There is not a lot of studio trickery or gimmix, just straight ahead guitar psych.

I’d like to think that Uncle Sydney is Syd Barrett and maybe the song is Tyrnaround’s homage to him.

Flip the disc over for more psychedelia, this one is about another uncle, ’Uncle Jack’….
It’s taken me a while to find a copy of this 45, it’s become quite a tough score nowadays.

(13/04/14)

THE TIMELAPSE – ’It’s Child’s Play’ EP (Sneaky Pete Records 391001) 1988

A recent purchase has been this four song EP by German group The Timelapse, who on evidence of this platter, were very much influenced by the English mod freakbeat sounds of 1966/67. It has been suggested that the group were based in Bonn.

All four well known songs on the disc are cover versions, which could fill some with horror, but believe me when I say that The Timelapse really do this material justice. In every way this is a classy reproduction with nailed on vocals, guitar sound and authentic drums ’66 style.

My highlight is their take on the mod psycher ’Desdemona’, originally recorded by John’s Children which goes into a Pink Floyd trip at it’s conclusion. An excellent sound that reminds me of the same kind of trip that early Plasticland were on.

The back of the sleeve credits The Timelapse in their English named alter egos:

Sir Francis Deekaye (bass)
Mitch Mason (drums)
Andy Bowland (vocals / guitar)

songs on EP:

Desdemona (John’s Children)
Brown Paper Sack (The Mods)
Jagged Time Lapse (John’s Children)
Rain (The Beatles)

(08/04/14)

OS HAXIXINS – ’Under The Stones’ (Groovie Records GROO 0024) 2010

Second time out for Brazilian group Os Haxixins on my blog ”Flower Bomb Songs”. I’ve been playing their second album ”Under The Stones” for the last few days and the songs are really burying deep in my mind.

They’re clearly fond of mid ’66 garage sounds but have combined this with some spooky Doors like organ. I was actually very intrigued by the organ sound and I’m led to believe that they’re using a Diatron.

Also in the mix is a heavy use of fuzztoned guitars and reverb. Most of the songs (apart from the two covers) are sung in their native language which is a huge bonus, for me anyway. No need to criticize unusual or wrong pronunciation of English words.

Hard to pick out a favourite as the whole album runs along smoothly, most songs have a fast tempo, no ballads. I’m not sure if Os Haxixins could pull off a slow love-song or ballad. I don’t think it’s their style.

(20/02/14)

THE MIRACLE WORKERS – ’Inside Out’ (Voxx Records 200.031) 1985

Currently immersing myself with ”Inside Out” by The Miracle Workers… This was released on Voxx Records back in 1985 and became a dominant presence on my turntable back then.

Let’s face it, in ’85 the music scene around the entire world was uninteresting apart from the odd scene here and there. You had to dig a little deeper beyond music weeklies like NME, Sounds and Melody Maker…..good rock ’n’ roll music was out there untouched by lousy 80s production and synths.

All songs on this stellar album are Miracle Workers originals apart from a choice cover of ’Hey Little Bird’ (The Barbarians)…If you want your garage beat undiluted with fuzz, maracas, tambourines and pissed off snarl I can recommend this….shame it was recorded in stereo and not MONO though…..
 
Impossible to pick out a favourite track as they all simmer and explode so I closed my eyes and settled on the intense ”One Step Closer To You”….written by lead singer Gerry Mohr.

The CD version of the album released many years later came housed in a different cover. 

I contacted Miracle Workers guitarist / organist Dan Demiankow via Facebook this week and he kindly answered some questions I put to him.

DAN: ”The above album cover that you posted, was the first pressing. We hated the bamboo lettering and the yellow background. Then there were 2 other Bomp versions, and 1 Virgin Records versions pressed. My favourite was this Virgin Records cover”.

”Funny story about this photo. We did several photo shoots with different photographers. After getting the pics back on this shoot/photo, we decided to not use any photos from this shoot. But, somehow, these pics got out there.”

”When I asked the guys who let these pics out, everyone shrugged their shoulders, ”Gee, I don’t know. Wasn’t me.” Well, that’s show biz. Looking back, I now like these pics and am happy they are out there. Still, OK, who’s gonna fess up?”

EXPO67: What are your memories about recording this album?
How many hours / days did the recordings take? Any songs abandoned because they weren’t working? Any songs unreleased?

DAN: ”As I recall, this album was done in two days. First day, all the songs were recorded live, in the studio. Meaning, we played together, like we were on stage. No song was over three takes. Usually, the second take was the one we kept.”

”We had a philosophy that we had to get it in three takes or less. Our great engineer, Gary Bomb, was so fast, he made it possible for us to hurry and re-play the song right away, if we wanted to. The second day, we did some overdubs, and mixed down the album.

In my opinion, it was Gary Bomb that suggested aggressive mixes and played the most major role in mixing the album. If it were a different engineer, I don’t think we would have sounded so aggressive.”

”No unreleased recordings in this session. No songs were abandoned. We never fought over what songs go on our albums. We had the attitude that, oh well, we’ll put any songs not yet recorded on our next album.

Greg Shaw asked us to record an album. We had no idea it would be well received. To us, we were just another 60s style garage band, happy to record an album. Overall, we just recorded what we played on stage. That’s probably why the music had the energy that it had.
 
OK, here’s a fun note: during the excitement of the sessions, the engineer accidentally grabbed a Herbie Hancock tape and we recorded over it. Oops!”

(15/02/14)

THE RAIN PARADE – ’This Can’t Be Today’ (Warf Rat SLP 0183) 1983

The compilation LP titled ’Warf Rat Tales’ was released in small quantity during 1983 and as the liners suggest, contained tracks from the murky bowels of L.A.
Underground acts compiled were The Last, 100 Flowers, The Leaving Trains, Wednesday Week, Pothead, The Clockwatchers, The Question? and of course the wonderful Rain Parade.

The Rain Parade have two songs included, ’I Look Around’ and ’This Can’t Be Today’, both are earlier versions of songs that would be re-recorded for their stunning album of 1984 ’Emergency Third Rail Power Trip’.

Reading the liners of ’Warf Rat Tales’ it becomes clear the the phrase ’the paisley underground’ hadn’t been coined yet as there is no mention of that particular tag, although they do state…

”This is garage music by the way, raw, loud, real and best of all , it’s alive, which is more than I can say for…but no, let’s not say bad things about the dead”.  

The music contained within the vinyl grooves of ’Warf Rat Tales’ is not my idea of garage, it’s mostly early 80s indie music with screechy guitars and not particularly that interesting to me apart from The Rain Parade songs, which is why I bought this disc in the first place.

line-up:
Matthew Piucci (guitar/vocals)
David Roback (guitar/vocals)
Will Glenn (keyboards/tambourine)
Steven Roback (bass/vocals)
Eddie Kalwa (drums)

(18/08/13)

CHRIS FARLOWE – ”Moanin” / ”What Have I Been Doing” (Immediate IM-056) June 1967

Chris Farlowe possessed a loud and gritty voice, similar to Eric Burdon’s and perfect for R&B and his vocals really shine on this odd single from mid 1967. It’s laced with fuzz guitar, tabla, sitar and a swinging brass section.

”Moanin” really is one of those records that’s difficult to categorize. It mixes psychedelia with soul and perhaps confused the record buying public as the record limped up the charts eventually stalling at #46. For me though, it’s a great sound and should have done better.

(17/07/16)

PAUL & BARRY RYAN – ”Pictures Of Today” / ”Madrigal” (MGM 1385) February 1968

Continuing my trip through the sonic pop trips of Paul & Barry Ryan I arrive at their final single together, recorded at the end of 1967 but not released until the following year.

The A-Side is a charming psychedelic pop song liberally sprinkled with sitar and orchestration, written by Peter Morris who also contributed songs recorded by The Orange Seaweed and City Smoke. It was perfect pop psych concoction for 1968 but it failed to hit the Charts.

”Pictures Of Today” was produced by Steve Rowland who was also working with The Herd, DDDBM&T and P.J. Proby at the time.

I dig the flip ”Madrigal” even more, again from the pen of Peter Morris and sung perfectly by the Ryan twins. Sublime production from Jimmy Smith making this a toy-town pop sike classic and pretty much still underground. 

(16/07/16)

PAUL & BARRY RYAN – ”Heartbreaker” / ”Night Time” (MGM 1354) October 1967

This was their first release on MGM after leaving Decca and as happens so often the label chose the wrong side. ”Heartbreaker” is an up-tempo pop number with brass and may have been more radio friendly but in my opinion the languid psychedelia of ”Night Time” is where it’s at.

”Night Time” was co-written by ex Searchers drummer Chris Curtis and Sharon Sheeley who was Eddie Cochrane’s girlfriend. Indeed she was in the car when it crashed and killed Eddie.

It appears that this single bombed and can be added to the long list of flops with far more interesting and superior B-sides.

(09/07/16)

THE KYTES – ”Blessed” / ”Call Me Darling” (Pye 7N.17136) June 1966

This was the debut disc from The Kytes who released a couple more 45s before sinking into oblivion. I reviewed their second single ”Frosted Panes” last year. Go here for further information.

”Blessed” wasn’t a big seller and so is quite difficult to turn up but fans of folk-rock and Simon & Garfunkel will relish their version. It was compiled in 1992 on Sequel’s CD ”Paisley Pop” Another version to track down is The Tremeloes debut on Decca which was also released during June 1966.

The B-Side ”Call Me Darling” is a pleasant pop number.

(07/07/16)

STEVE & STEVIE – ”Merry-Go-Round” / ”Remains To Be Seen” (Sono Play SN-20.180) October 1968

Steve & Stevie were exiled Australians, with the surnames Groves and Kipner respectively. The latter was the son of Nat Kipner, who owned the Aussie label Spin for which The Bee Gees recorded. Nat also produced the Gibb brothers and unsurprisingly, there was a distinct Bee Gees influence on Steve & Stevie’s obscure self-titled album, issued on the Major Minor subsidiary Toast in 1968.

”Merry-Go-Round” and ”Remains To Be Seen” were taken from the album and released as a single in Britain and a few other European Countries including Italy, France and Spain. My copy (pictured) is on the Spanish Sono Play label and came housed in a picture sleeve.

”Merry-Go-Round” is a fine example of late sixties orchestrated pop mixing Bee Gees with The Beatles period ”Sgt Pepper” overtones. After their album as a duo they added ex Bee Gees drummer Colin Peterson and renamed themselves Tin Tin.    

(05/07/16)

KATE – ”Hold Me Now” / ”Empty World” (CBS 3815) November 1968

This short lived pop group from London enjoyed three singles on CBS and then disbanded. ”Hold On Now” was their second release at the back end of 1968. It’s a bouncy pop affair with brass, no touches of psychedelia. It appears that these boys wanted to be as commercial and radio friendly as possible.

In their ranks was Chris Gilbey who would leave Britain in the early 70s to live permanently in Australia. He then became managing director of ATV Northern Songs and ventured into production work. He signed The Church and produced their early recordings including one of their most famous songs ”The Unguarded Moment”  

(30/06/16)

Q65 – ”World Of Birds” / ”It Came To Me” (Decca AT 10 263) April 1967

The first time I heard ”It Came To Me” was during the mid eighties but it wasn’t by Q65 it was a recording by R&B revivalists The Tell Tale Hearts. And a fine job they did too.

Both songs on this 45 were taken from the Q65 album ”Revival” recorded at the end of 1966 at Phonogram Studios in Hilversum, Holland. I don’t know if the Q65 were big hitters in the Netherlands like The Outsiders for instance. Not surprisingly nothing was ever released in Britain as far as I know.

”It Came To Me” is a fierce blast of rhythm and blues, quite basic in places, especially the drums. Vocalist Willem Bieler gives it his best shot in a Phil May kind of way. A Dutch classic.

(30/06/16)

THE HUNTERS – ”Russian Spy And I” / ”Spring” (RCA Victor 1541) September 1966

Amsterdam based beat group The Hunters hit the Top 10 in the Netherlands with the unique sounding ”Russian Spy And I” but subsequent singles failed to match this success. The record was

released three months later in Britain, no doubt trying to repeat the hit status enjoyed in Holland.

It was not to be and the single may not have even made it beyond the promo stage. The song made it’s way to America and California group The Regents released their version of ”Russian Spy And I” on Dot Records during October 1966.

The Hunters may have been completely forgotten about had it not been for lead guitarist Jan Akkerman who ended up in prog rock group Focus in the late sixties.

(30/06/16)

GRAPEFRUIT – ”C’mon Marianne” / ”Ain’t It Good” (RCA Victor 1716) July 1968

Continuing my Grapefruit trip with this, their third single. The top side was a cover of The Four Seasons ”C’mon Marianne” which is pleasant enough and had hit potential but it only climbed to #31 in the charts and was probably considered a disappointment after so much backing.

Better still is the nugget on the flip. ”Ain’t It Good” offers the listener fuzz, psych leads and close knit harmonies. I doubt if this side would have shifted more units than ”C’mon Marianne” though.

(29/06/16)

GARY WALKER & THE RAIN – ”Come In, You’ll Get Pneumonia” / ”Francis” (Philips BF 1740) January 1969

This is the second time out for Gary Walker & the Rain on my music blog, the first occasion was way back in 2007 when ”Spooky” was under my spotlight. This time around it’s their final single released in early 1969 but recorded the previous year.

”Francis” was the B-Side and it appeared on their No1 long-player released in Japan. It’s a strong group composition with powerful instrumentation. The other side ”Come In, You’ll Get Pneumonia” is a Vanda / Young song and is none album.

(29/06/16)

HERMAN’S HERMITS – ”Herman’s Hermits” (Regal SREG 1117) 1968

From what I can gather this album is a ”Best Of” or at least an interesting collection of Herman’s Hermits recordings, mostly singles but with some surprisingly good album cuts including a take on the folk-rock classic ”Where Were You When I Needed You”, The Hollies ”Bus Stop” and a satisfying cover of the rocker ”Jezebel”.

My choice is the bouncy pop tune ”If You’re Thinkin’ What I’m Thinkin’ written by Tommy Boyce & Bobby Hart. As far as I know The Monkees did not record this song, nor did Boyce & Hart when they started releasing records. Teen group Dino, Desi & Billy recorded a version so it must have been a song that was doing the ’rounds’ at the time.

(29/06/19)

MARIANNE FAITHFULL – ”Marianne Faithfull” (Decca DOA3) 1965

Angel blonde hair swirling in the wind, large wide eyes, grey and distant…heavy sweater, mittens, nose pressed against the window of a large department store…long evening gown, and wine, clear and red….a large, silver ring…a little girl alone on a windy common…her dog…a Dalmation called Sara…the elegant, sophisticated young panellist on the TV programme…laughter, frothy coffee. Joan Baez on the record player.

Riding in the park…a large white mare with sad eyes, head proudly raised… a small white figure on a large empty stage…darkness…sunshine…the cloistered solitude of a small Convent…the clinical mechanism of a recording studio…Byron…Bob Dylan…the haunting rhythm of a twelve-string guitar…the vibrant sensuality of a Fender bass…sunset on a lonely sea…the wind in the trees…the wistful beauty of Giselle…the wild spontaneity of a Rolling Stones concert…chattering on the telephone to her favourite girlfriend…the luxury of buying expensive cigarettes…the loneliness of a hotel room…the gunfire of applause…this is Marianne Faithfull. (Andy Wickham)

(29/06/16)

HERMAN’S HERMITS – ”Dandy” / ”No Milk Today” (Columbia CH 3098) October 1966

I collect vintage 60s music magazines and they’re full of Herman’s Hermits pictures and articles, so no doubt they were a group young teenagers (probably girls) doted upon. Much of their music is appealing in a sixties pop kind of way but they did delve a little deeper and recorded psychedelia and some choice cover versions.

”Dandy” is a Kinks klassic and no group can come close to surpassing their songs but full marks to Herman’s Hermits for recording this charming little song which in lyrical content is pure English. What else would you expect from Ray Davies in the mid to late sixties?

”Dandy” was never released as a single in Britain but it was in several other countries including America where it went Top 5. My copy is the Dutch release which came housed in a picture sleeve.
The other side ”No Milk Today” written by Graham Gouldman was a single in it’s own right in Britain and reached #7.

”Dandy” was also released as a single in 1966 by The Rockin’ Vickers who were Lemmy’s beat group before he joined psychedelic rockers Sam Gopal.

(28/06/16)

PAUL & BARRY RYAN – ”Two Of A Kind” (Decca LK 4878) July 1967

Paul and Barry Ryan are among the most talked about people in show business. Everyone knows they are a pair of fun loving swingers. Their exploits invariably attract attention. Somewhat removed from the world of hairy groups, their determination to establish their own vogue has made them trend-setters.

The Ryan’s entered the music business with a handicap – things were good for them to start with. Theirs was a home with everything they wanted, so it’s not a rags to riches story with them. Now they are richer as a result of their ventures into pop music.  They live on their own in a luxurious apartment poised at the top of a block in South Kensington. They stand on their own four feet and pay their own way.

The success story of Paul and Barry Ryan, therefore, is a different one. They know how to enjoy the wealth they are acquiring for themselves; how to enjoy themselves to the full when they are working and when they are playing.

But the swingers are singers too. And this, their first album, showcases twin vocal talents that will surprise a lot of people. Paul and Barry did not find it difficult to cause a sensation with their stage appearances and the cynics could say that this had something to do with their instant fame. However, these handful of songs must prove to be one and all that the Ryan’s justify their high placing on pop ladder of success.

Dedicated to their music they spend hours perfecting each track and the results prove a genuine understanding of their work. They have come a long way since they made their first British stage appearance at a ballroom in Crawley. Tours, a major pantomime, concert appearances all over the world. Into a short space of time they have crammed a lot of show business experience. It shows in the way they handle this album.

As we said, the swingers are singers too.

(28/06/16)

THE BUFFOONS – ”My World Fell Down” / ”Tomorrow Is Another Day” (Imperial IH 744) September 1967

Despite their horrendous name The Buffoons were actually no real life buffoons and if their version of ”My World Fell Down” is anything to go by, could actually sing perfect harmonies.

The Netherlands were never noted for producing harmony groups so I was more that intrigued when I saw this disc for sale on a list a month ago. I was buying other records but decided to add a few cheapies to my order, this being one of those cheapies.

”My World Fell Down” was originally recorded by The Ivy League then again by Sagittarius in America. The Buffoons version is every bit as good as those other two. Digging a little deeper I’ve noted that they released numerous singles and a couple of albums in Holland. Maybe their recordings from 1967 – 1969 are worth tracking down.

Both sides of this disc were produced by David Paramor who worked with Simon Dupree & The Big Sound, The Gods and The Nocturnes. Perhaps The Buffoons travelled to London for the sessions.

line-up:
Maarten Assink (drums)
Gerard van Tongeren (guitar)
Hylke ter Heide (vocals)
Eilert van Tongeren (lead guitar)
Bob Luiten (bass)
Bjinse de Groot (vocals)

(28/06/16)

TWICE AS MUCH – ”Crystal Ball” / ”Why Can’t They All Go And Leave Me Alone” (Columbia C 23512) August 1967

Twice As Much were English songwriting duo David Skinner and Andrew Rose who were signed to Immediate Records by Andrew ”Loog” Oldham after impressing him at an audition. Their first single, a Rolling Stones song, ”Sittin’ On A Fence” became a decent sized hit in Britain during mid 1966 but the singles that followed didn’t really do much.

”Crystal Ball” was their final single as a duo and as you can see came housed in a fab picture sleeve in Germany on the Columbia label. It was August 1967 by the time it was released over there. The B-Side ”Why Can’t They All Go And Leave Me Alone” is the highlight. A dramatic and intense piece of orchestral rock tinged with psychedelia and made memorable by the duo’s perfect harmonies.

It’s interesting to note that Twice As Much wrote songs for other Immediate artists including Chris Farlowe, P.P. Arnold and Del Shannon. During the 70s David Skinner played keyboards for Roxy Music.

(26/06/16)

ST. LOUIS UNION – ”English Tea” (alternative version) 1966

St. Louis Union were a short lived mod group from the mid ’60s. They had a hit with a tame version of The Beatles ballad ”Girl”, however, on another level is their fab (mostly) instrumental ”English Tea” housed to the brim with soulful vocals, way-out hammond with lashings of fuzz….. killer!
 
This version was never released but St Louis Union performed it on 1966 British film ”The Ghost Goes Gear” and contains much more fuzz guitar. The single version, on the back of April 1966 single ”Behind The Door” uses saxophone.

Find it on ”Mod Meeting” Volume 1

Reader Comment:
The lead singer Tony Cassidy was my Uncle. In later years he would become quite agitated if he heard himself singing anything from the Union. He became a headmaster at a leading Cheshire girls grammar school & past away from cancer a few years ago

PETER JAY & the JAYWALKERS – ’Before The Beginning’ / ’Solitaire’ (Piccadilly 7N.35259) August 1965

 I’m still in a killer instrumental mode and ’Before The Beginning’ by Peter Jay & The Jaywalkers is where it’s at….such a fabulous backbeat that hints at the happenin’ beat sound which would become a whole lot more freakier in 1966.

They were quite a popular 60s instrumental group with many of their singles produced by Joe Meek. A recent CD on Cherry Red showcases their many singles. ‘Big Boy’ Pete Miller was a member of the Jaywalkers.

This 45 on Piccadilly is a valuable collector’s items among the mod fraternity.

(21/06/16)

RONNIE BURNS – ”Coalman” / ”All The Kings Horses” (Spin EK-1578) January 1967

Turntable spin of the day is this fab pop 45 by Australian Ronnie Burns. ”Coalman” was written by the Gibb brothers (Bee Gees) and I’ve read that they provided backing vocals on this early 1967 Beatles inspired beat.

According to the liners on the Raven release ”Five by Four” ”Coalman” and his next hit ”Exit Stage Right” were actually Bee Gees tracks with Barry’s voice taken off.  The originals can be found on the ”Birth Of Brilliance” album from the early 70s.

Ronnie Burns turns in a great vocal performance, just right for the sound which reminds me of ”Revolver’ period Beatles psychedelia…. should have made the ending last longer Ronnie, would have made a better trip…

(12/06/16)

THE BYSTANDERS – ”Renaissance Fair” (Top Sounds TSLP 003) 2007

”Shapes & Sounds” is a premier series of compilations unearthing rare radio broadcasts from the late 1960s to early 1970s. Few if any of these unique performances have been heard in public since their original transmission making these comps a must have for psychedelic connoisseurs.

I recently wrote about The Bystanders when covering their single ”Pattern People” and here they are again, this time from a radio broadcast. It’s certainly an obscurity and one in particular for Byrds fans. This is their version of ”Renaissance Fair” recorded for the David Symonds Show on 6th May 1968.

Remember that this is a radio recording and was never given the full studio treatment and released as a single. It’s only available on ”Shapes & Sounds” Volume 2 (Top Sounds).

(11/06/16)

THE BYSTANDERS – ”Pattern People” / ”Green Grass” (Piccadilly 7N.35399) August 1967

The Bystanders hailed from Merthyr Tydfil in South Wales who managed to hang around long enough in the sixties to release several singles mostly all based around their tight harmonies and heavily influenced by The Beach Boys and The Four Seasons.

My particular pick is their fifth single ”Pattern People”, released during the Summer of 1967. This song was plucked from The Fifth Dimension’s album ”Up Up And Away” album. The Bystanders version switches the lush harmonizing chorus to the beginning and adds a recorder hook. It was an ideal Summer sound for ’67 but it somehow swerved the Charts.

Another fab song which was never released at the time was ”Royal Blue Summer Sunshine Day” written by Ronnie Scott (not the famous jazzman as stated on wiki). The version I’ve included below was an unused mix of their fourth single adding trumpet overdubs.

(05/06/16)

THE LORDS – ”Don’t Mince Matter” / ”No One Knows” (Columbia C23278) August 1966

This is the first time for The Lords on my blog and it’s all about their Troggs effected beat pounder ”Don’t Mince Matter”. I’ve got no idea what they mean by the song title, perhaps it’s been lost in translation or something as they’re singing in English on this .

The Lords were from Dusseldorf, Germany and were part of the very popular Beat Scene attracting loads of British Beat and R&B groups to that Country during the early to mid 1960s.

The Lords formed in 1959 for instance and their first single was a cover of ”Shakin’ All Over” by Johnny Kidd and the Pirates. As you can see from the record sleeve they all had very odd moptop hairstyles.

TV footage of their Beat-Club performances exist and are on YouTube demonstrating that The Lords were one of Germany’s premier groups.

(02/06/16)

THE KNACK – ”It’s Love Baby (24 Hours A Day)” / ”Time, Time, Time” (Decca F 12278) November 1965

This particular Knack were from Ilford near London and were on the scene for a couple of years during the mid sixties. They released several records on Decca and Piccadilly but never broke through in the Charts despite having strong commercial offerings, including this beat raver on Decca.

”It’s Love Baby (24 Hours A Day)” is classy up-tempo beat music. According to their wiki page The Knack were great live and had a strong mod following, it’s got to be said that ”It’s Love Baby” has a certain Who-like quality about it (but without the distortion and feedback).

Production by Troggs associate Larry Page.

The B-Side ”Time Time Time” is also essential which delivers a strident moody beat jangler. This song was first recorded by The Clique, another Larry Page produced combo.

When organist Tim Mycroft departed the Gurvitz brothers, Paul and Adrian along with drummer Louis Farrell continued but with a name change to The Gun pursuing a heavier rock direction.

(27/05/16)

PETER & the WOLVES – ”Little Girl Lost & Found” / ”Is Me” (MGM 61169) October 1967

This is an obscure 1967 pop syke single by John Pantry’s group Peter & The Wolves. ”Little Girl Lost And Found” was first released by US group The Garden Club during April 1967 on A&M Records.

For those who have no idea who John Pantry is, well he wrote two of the classics recorded by The Factory – ”Path Through The Forest” and ”Try A Little Sunshine”, supplying lead vocals for the latter.

(18/05/160

THE BRAIN – ”Nobody Knows The Game” (Tenth Planet TP-052) 2001

The core of ”Syde Tryps #7” is provided by a handful of previously unreleased 1967 tracks from The Brain, who were of course responsible for one of the more manic 45s of the psychedelic era with the May 1967 single, ”Kick The Donkey” / ”Nightmares In Red”. 

The group had previously been known as Trendsetters Ltd, though a December 1966 single for Page One ”Boyfriends And Girlfriends” / ”Shot On Sight” had appeared under the truncated name of The Trend.

”Nobody Knows The Game” is about as commercial sounding as The Brain ever got and could have easily been released as a single A-Side but sadly remained in the can until Tenth Planet called for this compilation.

The Brain were:
Michael Giles (drums, vocals)
Peter Giles (bass, vocals),
Alan Azern (piano, vocals)
Michael Blakesley (trombone, vocals).

(14/05/16)

THEM – ”It’s All Over Now, Baby Blue” / ”Good Or Bad” (Decca 6.11225) January 1974

Turntable spin today is a cover of Bob Dylan’s ”It’s All Over Now, Baby Blue” by Them from 1966. This 45 was never released in Britain at the time. I believe it came out in Germany during 1974, hence the fonts they’ve used on the cover which are more Glam Rock than Folk Rock.

According to a Them fan, the song was used in German film ”Die Rocker” [The Rocker] so the label issued it on a single and it went to number 1.

As a consequence Them reformed in Germany and recorded a new album ”Shut Your Mouth” which became their final album. They then went touring but due to problems with management and personal conflicts Them disbanded once again. 

(11/05/16)

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 music magazines.

999 – ”Obsessed” / ”Change” (Albion ION 1011) April 1981

With a bit more of a push and promotion drive I reckon this early 80s single by 999 stood a chance at hitting the Charts. It peaked at #71 which meant it was only around for a few weeks before disappearing for good. 

”Obsessed” is a radio friendly number and for the time very much in vogue musically. It has quite a big sound, production by Vic Maile is (as usual) great and the spaghetti western style noise is neat idea and with a sound reminiscent of some groups who at the time were having success. Adam & the Ants and Tenpole Tudor come to mind.

The B-Side showcases two live tracks. A solid release that deserved better. Initial copies came housed in a laminated embossed sleeve and the buyer was treated to a free 999 patch. Later pressings were in a matt sleeve.

(18/02/20)

999 – ”I’m Alive” / ”Quite Disappointing” (United Artists UP 36519) June 1979

Yesterday I wrote about The Rezillos first single receiving the re-release treatment a couple of years after the original came out and here’s another group who enjoyed a similar blessing. 999 proved to be a popular outfit, especially around the London area and their debut disc ”I’m Alive” from August 1977 was well received.

Having signed to United Artists 999 released several singles from 1977 to mid 1979, nothing really took off for them in the charts despite some clever numbers with commercial appeal.

Their last release for United Artists was a re-release of their debut on the small indie label LaBritain, this time the cover art was changed, but not for the better. The new cover featured an action shot of 999 at a gig.

”I’m Alive” is a rock ’n roll number to my ears, not much of a ’77 punk sound but a controlled burst of energy. Their promo material at this time stated that they didn’t believe they were a punk band but simply a modern band. I totally get where they were coming from.

(17/02/20)

ALTERED IMAGES – ”Dead Pop Stars” / ”Sentimental” (Epic EPC A1023) February 1981 

Glasgow group Altered Images had some success in Britain during the early 80s with their quirky pop singles, none of which register on my site. Their debut disc however, is a worthy effort of post punk indie darkness. ”Dead Pop Stars” has great appeal although didn’t sell, probably way too none commercial for the Charts to start with.

Factor in the fact that Beatle John Lennon was murdered two months before the record was released and you’ve got something which is a little bit too much for the open mourning wounds and masses to deal with.

There’s a definite Siouxsie & the Banshees feel to this number, mostly in the rhythms of the drum patterns. Closer inspection of the label reveals that Siouxsie guitarist Steve Severin was the producer. After this record the group chose much more commercial material and with radio friendly appeal the mainstream beckoned.

(16/02/20)

THE JAM – ”Down In The Tube Station At Midnight” / ”So Sad About Us” / ”The Night” (Polydor POSP8) October 1978

This record by The Jam was released during the month that I turned 14 years old and I can well remember it being played on the radio, then seeing The Jam performing the number on Top Of The Pops. Indeed it was considered a successful record and achieved a Top 20 chart position.

The song relates a story of a commuter attacked and beaten up on a London tube train. The lyrics are graphic and caused DJ Tony Blackburn to complain that punk groups only write about violence. I very much doubt that any teenagers would listen to anything that square banged on about.

The other side has a remarkable cover of ”So Sad About Us” by The Who. This was a tribute to Keith Moon who had died a few weeks before the single was released. On the back of the cover there’s a picture of Moon from the 1965/66 era.

(29/01/20)

BLONDIE – ”I Know But I Don’t Know” (Chrysalis CDL 1192 ) 1978

I played ”Parallel Lines” for the first time in years the other day. I bought a copy back in the day, I was still a schoolboy and remember getting my mother to order it out of her Great Universal catalogue. A few years later a girlfriend asked to borrow it and well, we broke up and I never saw my record again!

Fast forward to 2020 and I’m seriously investing my time and effort on late 70s punk rock and new wave groups. Saw a copy going cheap and decided to buy another ”Parallel Lines” As an album it still holds up and sounds very commercial, especially the worldwide hits.

I was hoping an obscure gem would jump out between the grooves though and sure enough I wasn’t disappointed in Frank Infante’s ”I Know But I Don’t Know”

There is enough space for the group to really rock out during the number, the lyrics don’t mean a great deal but who cares. This track is solid and demonstrates that Blondie could really play with an edge and swagger.

(28/01/20)

THE INMATES – ”So Much In Love” / ”Tell Me What’s Wrong” (Radar ADA 29) September 1980

Here’s another magical number by The Inmates, this time it’s a Jagger – Richard composition from 1964. The latter didn’t use it for The Rolling Stones at the time but it was recorded by The Mighty Avengers who promptly got recognised and had a hit record.

Immediate label solo artist Charles Dickens also released the song as a single in early 1966 but his version flopped.

The Inmates offer a faithful rendition with their customary instrumental skill and solid vocals. Quite why this commercial sounding and radio friendly record wasn’t a hit is anyone’s guess. The best material sometimes falls through the cracks as everyone knows. The back of the picture sleeve has details of their month long British tour during October 1980.

(25/01/20)

THE INMATES – ”Love Got Me” / ”Jealousy” (Radar ADA 50) February 1980

’Love Got Me’ is a big production effort with brass but sadly didn’t do anything chart wise. Around about this period Bill Hurley suffered a breakdown and temporarily left the band. This probably hindered any chance they had left of being successful.

The flip ’Jealousy’ is a wild live performance from a gig at The Electric Ballroom, London on 27/10/79. All songs during the early period of their career were produced by the late Vic Maile. He had a good pedigree having worked with Jimi Hendrix, Led Zeppelin, Motorhead and Dr Feelgood.

(25/01/20)

Searching for records in the North East 2019/20:

I’m up early and the weather is fine so I’ve decided to hang out with the ‘Good Lady’ and soon another record trip, this time to Sunderland. Hope to find something interesting. To get me in the mood I’m giving The Inmates ”The Walk” a spin.

AgeUK is a Charity Shop situated in Blandford Street and is well worth a visit if you’re ever in Sunderland. Almost everything is vintage from decades gone by. There is a ground floor selling mostly clothes, books, cameras and records.

Upstairs in split into three rooms and it’s ALL vintage gear up there. Everything that you can imagine, it’s a treasure trove of ornaments, picture frames, bags, toys, books, jewellery, hats, suitcases…..

Prices are a bit on the high side as a consequence. Could have walked away with a 60s Lava lamp which was working and had been pat tested but the £35 asking price put me off. I already own one anyway and in any case my mission was records, so I left it.

I was delighted to find a vintage 70s singles rack for £8 which will come in very handy when I start using my Spin-Clean Record Washer. Rack them high and dry them off! I also came away with ”Listen Here!” a Transatlantic label sampler released in 1968. The record looks in ’as new’ condition and for £10 I wasn’t gonna leave without it.

Next, I decided to walk up the road to the Park Lane area and to ”Hot Rats” situated on Stockton Road. For some strange reason I’ve never been inside before even though I’ve known about it for many years. It’s much smaller inside than I thought it would be and it’s like stepping back in time to some of those old school record shops I remember from the 70s and 80s. There are boxes full of records everywhere. The racks are well stocked mostly with Record Store Day albums and re-issues.

All fantastic mint condition and with decent prices too. I was on the look out for original pressings though. Hanging on the wall there were two Troggs original albums on Fontana. The back covers looked a bit grubby and brownish, probably came from a smokers home.

They had been signed by the West Country legends, no price on the cover which put me off, so I left them and continued my search. I was mainly looking for 70s punk records but there wasn’t much in the way of punk, plenty of heavy metal and Rock though. One guy was sitting on the floor rummaging his way through numerous boxes.

I came away with a couple of albums. A stereo pressing of a John Mayall collection on Decca called ”The World Of John Mayall” priced at £8 and I couldn’t resist obtaining a £3 copy of The Pretty Things version of”Eve Of Destruction.” I used to see this quite regularly back in the late eighties and nineties but never got around to buying it. I don’t know why they’re dressed like Motörhead though.

I reckon this put me off all those years ago. I got talking to the owner about the Pretty Things, so that was a bonus. Yeah, I’ll be back at Hot Rats again next time I’m in Sunderland.

Why is it always freezing and windy in Sunderland ??? The footy team must be playing at home too, plenty of red and white scarves draped around necks. Anyway, moving on to HMV in the Bridges Shopping Centre. I was requiring some poly-sleeves for album protection and they duly delivered. It’s the first time I’ve bought anything in that shop since I came away with a Nick Drake LP about five years ago.

Just as I was leaving HMV I got a text message from Argos in Washington to let me know my ’click and collect’ order from eBay had arrived. I had mostly finished looking around the shops for the day and decided to get the bus back to Washington to collect The Damned ”Machine Gun Etiquette” on the Chiswick label.

A lovely looking original pressing with the inner sleeve. At £20 it was another great addition to my punk archives.

On the 30th December, 2019 I decided to have a rummage around the record shops I knew existed in Newcastle. I’m sure there are more than the four places I visited but they’re the only one’s I know about. Record shops have come and gone over the recent years which is a shame considering we are now supposed to be living in an enlightened time of a vinyl resurgence.

So it’s off to Newcastle to look for records and a Soviet Union high velocity assault rifle e.g. AK-47. I’ll probably call into a Cafe for a cup of coffee and a slice of cake. (the reason for the photo of The Damned album, my 1977 original pressing)

I received a ”Spin-Clean” record washer for Christmas and watched a couple of videos on YouTube just to give me an idea of how they worked. One of the top tips I came away with was that washed records should be placed back into brand new inner covers.

This makes sense. If you’re gonna take the time and effort to clean your records surely after care is a necessity. With this in mind my first port of call was HMV in Eldon Square. I was sure that I’d seen inner sleeves for LPs in here before but sadly my visit proved a disappointment and I left empty handed. I checked out some re-issues but there was nothing that took my fancy.

Next stop was the Grainger CD stall in the Grainger Market. I know from the last time I was in Newcastle, a few months ago, that they had a small selection of records too. I looked through the racks and there were plenty of albums that I could have took a chance on but decided to purchase only two. A mint Los Bravos in beautiful condition for £19, this is a 1966 mono pressing with glossy cover, the vinyl looks perfect.

On this you’ll hear commercial mod beat sounds, nothing outrageous, no freakbeat guitar, but well produced pop music. Nothing tops their hit version of “Black Is Black” though.

The other album was a copy of ”Gorilla” by The Bonzo Dog Band. It was cheap at £6 and is in excellent condition, the sound is great too. A first rate stereo re-issue pressing on the budget Sunset label in 1975. It’s a weighty disc too, not as I expected, I suppose I was expecting something flimsy and light. I have a couple of Bonzo singles and have never heard this album by them so I’m mostly new to their eccentric comedy sounds but I now know where The Beatles got their wackiness from on Magical Mystery Tour.

Got talking to Dave on the stall who said they had a few contacts and a really good one in Austria who they hope to work with and obtain some obscure European pressings in the future. Next time I’m in Newcastle I will visit Grainger CD for sure!

After my dig at Grainger CD I met up with the ‘Good Lady’ who had been looking around Debenhams for an hour. We went over to the Tyne Cinema for a cup of coffee and a fruit scone at their restaurant on one of the upper floors. The place was full of older people, mainly women so my kinda place. Can’t be doing with the younger trendy set, showing my age I suppose.

After being suitably refreshed I made my way to RPM Music. I’ve bought a couple of items here before and was sure they’d have something today for me. As it turned out I came away with a couple of cheap original pressings.

”Malpractice” by Dr. Feelgood is a record that I’ve somehow never bought and at £14 I wasn’t gonna leave without it.

Strange because I have numerous singles by them and know what to expect. The album is good, back to basics rhythm and blues with harmonica, several 60s cover versions from the Beat era and plenty of gritty Wilko Johnson originals. Love his guitar sound. In 1975 this must have sounded totally refreshing.

In their ”New Stock” section I found a copy of ”Don’t Be Concerned” by Bob Lind. This was the heaviest (as in weight) record I bought yesterday in the wild. Heavy Fontana ‘66 vinyl and the thick glossy card sleeve make this a winner. And for just £8, can’t get much for that money nowadays. Keeper copy for sure. Notable for his introspective folk number “Mr Zero” not the most commercial of tunes but that didn’t stop Yardbirds frontman Keith Relf recording a version.

I’ve been buying records from Windows since the 1980s so was confident that there would be something worthwhile today. They mostly specialize in re-issues and Record Store Day releases so their prices are usually high as a result. The first record to catch my eye was a compilation on Ace called ”Girls With Guitars Take Over!” which is a set featuring mostly 60s teen girl groups ravin’ cos they can. Love this kinda scene, rough, raw and full of energy. A points win overall for Kathy Lynn & the Playboys with their 1964 beat mover “I Got A Guy” but at £26 quite pricey.

Their singles bins are always worth a look and I came away with an obscurity on Fly Records. Vivian Stanshall continued my Bonzo link, this time he’s helped out by members of The Who on an obscure and rare 1970 release. Checking the back sleeve credits it appears that it was a “Record Store Day” release from earlier this year. Poor Vivian must have been lying in the box since April. Price £10

Another record in the bin was Derek & Clive with ”Punk Song” which is hilarious. They are just a couple of cunts (their words) with a joke punk song, taking the piss out of The Sex Pistols and others but mostly Johnny Rotten with the pronunciation of words and phrases. In Cockney it sounds like ‘cants’ they are just a couple of cants. Price £7

The time was just after 1.00pm now and Newcastle was starting to buzz and that’s a drag for a reclusive type. So it was time to split and back to “The Cave” ? only so much interaction in one day.

So there you have my vinyl haul today. £90 spent on items I’ve somehow never got around to adding to my archive. Dr Feelgood LP for instance has taken me about 40 years.  Anyway, when you already have 1,678,890 records it’s not easy to find missing pieces.

Sunderland Record Fair – 18th May 2019

I survived my first Record Fair in ten years. Forgot how much I hated looking through boxes with big hairy blokes breathing in my face and coughing on the back of my neck. I came away with a mixed bag of British Beat and West Coast Psych. So it wasn’t all a drag.

Sunderland Record Fairs used to be held at the Crowtree Leisure Centre but that building was pulled down years ago. They’re now utilising a room at Sunderland’s Museum & Winter Gardens. Quite a small room is used but there are sufficient stalls and dealers to make my attendance worthwhile.

I had a few wants in mind but came away without any of those but still managed to spend £90 on seven albums.

THE REVILLOS – ”Hungry For Love” / ”Voodoo 2” (Dindisc DIN-Z 20) August 1980

I’ve just finished reading a book about Johnny Kidd and the author mentioned that New Wave group The Revillos recorded a version of ”Hungry For Love.” For those of you who don’t know, the latter was released by Johnny Kidd & The Pirates during November 1963 and became a Top Twenty hit..

With this in mind I decided to track down a copy of The Revillos single and here it is!
The Revillos is a slightly more uptempo arrangement and includes a rather cheeky little 60s style guitar break. I love this version. Footage exists of the band performing ”Hungry For Love” on a kid’s TV Show. Seek it out on YouTube.

(30/03/16)

THE CLASH – ’Capitol Radio’ (CBS 7324) May 1979

Singles by The Clash were never far away from the turntable back in the late 70s and early 80s. I collected all of their 45s up to and including ’Bank Robber’ from 1980 then they started sounding ’Americanized’ to me so I ceased to be interested in them. I was so fickle back then and fortunately I’ve never changed.

This four song EP was released during May 1979 and did well, just missing out on the Top 20. Maybe Radio 1 started to play Clash records or something, although I never heard anything played from this at the time.

The best cut is ’I Fought The Law’ which I later discovered to be a cover version written by Sonny Curtis, who was a member of The Crickets. The Clash may have heard it from them but more likely by The Bobby Fuller Four.

’Capitol Radio’ is an extended version with mellow acoustic guitar intro with a reprise of ’I Fought The Law’ in which Joe Strummer goes all Jamaican. And I must admit that I started to cringe. For the art loving sleeve sect praise must be given for this cool pop art design based on the Daz washing power box.

(18/11/12)

THE JAM – ‘(Love Is Like A) Heatwave’/’Saturday’s Kids’ (Polydor DPQ 6185) 1979

Forget about the top side ’Heatwave’, a cover of the Motown song, soul ain’t my bag so I’ll quickly move on.

’Saturday’s Kids’ brings back a lot of memories for me, Weller’s lyrics are littered with working class references and things teenagers got up to in late 70s Britain. Being brought up as a kid on a North East Council Estate wasn’t easy so I can completely relate to this song.

Instead of going on holiday to Selsey Bill and Bracklesham Bay it was day trips to Whitley Bay and Redcar for me…

It took me a few years to finally understand the line:

”Dip in silver paper when their pint’s go flat.”

This is of course is a reference to getting out a wrap of speed, something I used to do most Friday and Saturday nights back when I was young and daft.

’Saturday’s Kids’ was not released as a single in Britain but can be found on the album ’Setting Sons’ – The 45 shown is my copy of a Japanese import.

(15/11/12)

THE JAM – ’Art School’ (Polydor 2383 447) May 1977

I don’t often post YouTube promo videos on my site but I’ll make the exception with this one from The Jam. It’s strange that they bothered making a promo when ’Art School’ wasn’t released as a single. It was however, the lead track on side one of their debut Polydor album. What a start!

’Art School’ would have made a great single and was ready made for the radio in dullsville England 1977. It’s a punchy three chord punk blast but quite obviously rooted in 60s beat. I hear freedom and rebellion in this song, youth was about to take over from those long haired bearded twats in progressive rock groups.

Hearing this now still makes me want to kick down some doors or break some windows just for the sake of it. But I’m now in my mid forties and I don’t think ’Er Indoors would be too pleased.

The line ”Don’t need permission for everything that you want” sums up Weller’s rebellion neatly. I was only 12 years old in 1977 when I first saw The Jam performing ’All Around The World’ on The Marc Bolan Show.

The image stayed with me ever since. I knew then that this was not the typical Top Of The Pops tripe I’d put up with for years. Plus my parents hated the ’noise’- that was it, enough said! It was noisy fast music for me.

(17/06/11)

THE ROMANTICS – ’Little White Lies’/’I Can’t Tell You Anything’ (Spider Records 101) April 1977

I can’t claim to be an expert on The Romantics, this is the only record I own by them. A quick browse on the internet confirms that this Detroit, Michigan four piece group started out during February 1977, there’s even a claim that they formed on Valentines Day (hence the name – The Romantics).

’Little White Lies’ was their debut 45 and is a band original (not the ultra great song by The Choir) and clearly demonstrates that The Romantics were going for that up-tempo commercial powerpop sound.

I dig the flip so much more with it’s Bo Diddley backbeat and harmonica bursts. ’I Can’t Tell You Anything’ has a neo garage sound and a sparse production that works well.

Sadly the skinny ties, black shirts and three button jackets were soon ditched. I’ve checked out some other Romantics songs on YouTube and after their initial coolness it seems that they grew their barnets into those awful big 80s hair monstrosities and started wearing even scarier naff 80s jackets with big shoulders and cheap lookin’ leather pants.

Their music during this period has also been infected with hideous eighties style production. Should have stayed in the garage boys.

(01/01/11)

RADIO STARS – ’Nervous Wreck’/’Horrible Breath’ (Chiswick NS 23) Oct 1977

I’ve already written about the first Radio Stars single  and during my research on their follow up ’Nervous Wreck’ found that some muppet had copied my scans and posted them on YouTube, without a credit I may add. This fucking infuriates me somewhat.

Back to this record then. ’Nervous Wreck’ was a small hit and broke into the Top 40 in early 1978. It’s a Chas ’n’ Dave type tune with a tinkling joanna and some naff female backing vocals. Not my cuppa T.

Far more interesting is the flip ’Horrible Breath’ credited to ’Feld’. This was the glitterest of all pixies, Marc Bolan. (real name Mark Feld)  He recorded this song with the title as ’You Scare Me To Death’.

Andy Ellison, the frontman of Radio Stars was lead singer with 60s mod group John’s Children who briefly had Bolan as a member so I guess they kept in touch.

When Marc Bolan’s hits dried up he fronted his own TV Show during 1977 and invited the Radio Stars on it to perform a couple of songs. 

(30/12/10)

SPRING FEVER – ”Sand” / ”Give Me Some Time” (Splitsound Records SSDG- 8-1) June 1968

”Sand” 1968 eastern tinged psychedelic dreamer with fuzz, harmonies, finger cymbals, trippy-ness, sunset strip sounds, The Grodes with a female singer, Lee Hazlewood song – basically has it all, total greatness.

extract from Manny Freiser’s website:

The band was really starting to disintegrate by the spring of ‘68. Lead guitarist, Dale Smith aka Packy Pecker, hated me. Even bassist Rick Cota Robles aka CR, who was usually pretty good-natured and tended to be the mediator between me and Smith, was giving me a bad time. They were challenging what they saw as my unfair control of the band.

In the early days, they never cared about any of that stuff. There were no ‘leaders’ or ‘followers’ – just ‘us.’ Now that we saw the band might be going somewhere, everybody wanted to hold the steering wheel. There were endless arguments about every piece of band business: what songs to play, what songs to record, what jobs to take — even about who would sing lead on which song.

It became bitter. Smith saw the band as consisting of two factions — and he called the bad one ”Freiser’s people.”. Patti would soon unknowingly enter this war zone and become one of ”Freiser’s people.” Keith Craig had, by this time, replaced Rick Lust. Rick had moved on to join the Air Force. He’s now a senior American Airlines jumbo jet captain.

Keith Craig was kind of a laid back guy, known as the Grinch because of his look. He was an excellent keyboard player who owned a Farfisa, and played Light My Fire exactly like the Doors.

Dan came to me one day and told me he had seen a young girl singer who was amazing. She was singing at the time for a band of very young brothers whose construction worker father had spent about $10,000 to buy musical equipment that the kids couldn’t even play. She’d be easy to steal away. We ought to listen to her, he recommended. I dismissed his suggestion out of hand — ”we don’t need a girl singer; that’s not our sound.”

Dan persisted, and one day a 16-year old Patti McCarron and her father came my place to audition. When she started singing, it was all over! She joined the Grodes and became our featured singer.

Her first job with us was at a battle of the bands which included the biggest bands in Tucson: Dearly Beloved, The Grodes, Lewallen Brothers. We hadn’t had time to work out a full set with Patti — and in fact we wanted to do just a couple of songs to see the crowd reaction. Just before we went on, she told me she was nervous.

When she got up on stage, she was anything but nervous. When we unveiled our secret weapon singing Stop In The Name of Love and To Sir With Love, it changed our band — and the Tucson music scene — for good. Patti Grode, as local DJ’s called her, became the darling of Tucson with the release of Sand. One DJ on KIKX, Dino Day, totally smitten with her, started an Ode to Patti Grode contest.

He always said on the air that he wanted to meet and interview her, so we brought her to the station against her will — and just a little drunk — late one night after a job. Dino gushed — Patti owned Tucson.  In spring of ’68, I had written two prophetic songs: On To L.A. and Chandelier (my friend, Paul Malanga, co-wrote Chandelier). When I played them to the person who inspired them. Patti said ”you’re so good. You should do music. We should go to L.A.” We started daydreaming constantly about going to L.A. 

In early summer, 1968, the band changed its name to Spring Fever. It felt necessary because the band with Patti in it was really a different group. We recorded Sand at Copper State. I was surprised we got such a good sound out the newly improved studio. It was eerie how much the lyrics of Sand reflected what Patti and I were experiencing at the time. Sand came out, went Top 10, and yet it all seemed way beside the point. On top of all the personal politics, a major difference in philosophy brought the Grodes to an end.

(12/03/17)

THE SUNSHINE COMPANY – ”Back On The Street Again” / ”I Just Want To Be Your Friend” (Liberty LIF 66260F) October 1967

Here is my copy of the rare French release housed within a unique picture cover. The phrase sunshine pop couldn’t be any more apt to describe the lyte flower power sounds of the classic ’Back On The Street Again’. The Sunshine Company formed in Los Angeles during 1967 and combined their soft vocal harmonies with the folk rock sound to produce two and a bit minutes of perfect harmony pop.
 
Comparisons with The Mamas And The Papas were inevitable but the group were quick to distance themselves from that outfit during an interview with KRLA Beat.

Leader Maury Manseau stated:

”I think the comparison is valid only in the fact that both of us are vocal groups. But then – it’s not really that either, because we do our own instrumentals all the time, and they have a band behind them. I think we’ve got our own thing and it’s different.” 

’Back On The Streets Again’ was a hit and work poured in. They appeared on TV Shows Joey Bishop, Woody Woodbury and The Laugh In. Maybe one day tapes of these performances will show up on You Tube. The Sunshine Company also recorded a vocal backing for a Clairol TV Commercial.

Compilation appearances have been rare (they won’t appeal to the fuzz and farfisa crowd) but this song surfaced on Nuggets Volume 10 (Rhino Records) back in the mid 80s.

The B-Side, and the song highlighted today is ”I Just Want To Be Your Friend” which was written by Curt Boettcher and also recorded by his late 60s group The Millenium.

Guitarist Douglas Mark was previously a member of The Grains Of Sand.

(10/01/16)

THE SUNSHINE COMPANY – ”Happy” / ”Blue May” (Imperial IM-6351) June 1967

I’ve recently highlighted Hollywood group The Sunshine Company on my blog choosing a couple of obscure album cuts that weren’t used as single sides. So I thought it a good idea to post their first single from mid 1967.

”Happy” was given A-Side status and it delivered them an instant summer of love hippie hit.

Also of interest is their supreme flip ”Blue May” written by their lead vocalist Maury Manseau. It’s a classic jangle folk-pop tune with a wonderful melody and exquisite harmonies.

Listen out for their Byrds homage mid way through the song when they throw their ”The World Turns All Around Her” in the mix.

”Blue May” was easily good enough for a single in it’s own right but was sadly hidden away on the other side of ”Happy”

(31/12/15)

CHER – ”Come And Stay With Me” (Liberty LBV-3058) October 1965

Cher’s debut solo album featured numerous contemporary cover versions and a couple of Sonny Bono originals. The sound is folk-rock based and recorded using the cream of L.A’s studio musicians at the famous Gold Star Studios in Hollywood.

There are plenty of tunes to pick as a taster but I’ll go for Cher’s interpretation of ”Come Stay With Me” written and also recorded by Jackie DeShannon.

Marianne Faithfull released her single version of the song during February 1965 on Decca and had a Top 5 hit with it.

I’m particularly charmed by Cher’s deep vocal delivery over the folk-pop rhythms and all too short guitar break.

(30/12/15)

STEVE MILLER BAND – ”Mercury Blues” (United Artists UAS-5185) June 1968

Next time you use the word revolution you’d better include in your concept a beautiful blonde who went to San Francisco and illegally changed her name from Louise to Today.

Today panhandles and sells underground newspapers with an equal sense of absurdity. Today enjoys cooking and sewing and judo. Today believes that napalm is more harmful than LSD. Today learns more from talking with a little black kid on Haight Street than she did in school.

(23/12/15)

THE UNFOLDING – ”Play Your Game” (Audio Fidelity AFSD-6184) December 1967

This is ”Electric Mind Sound” by The Unfolding, so it says on the album sleeve and I’m not gonna argue. I don’t think the original albums on Audio Fidelity are that difficult to find but if owning original LPs is no big deal then locate this limited edition re-press on Wah Wah Records from 2012.
They even include a copy of the original insert.

Perhaps the most ’commercial’ sounding song of the whole set is the Byrds flavoured ”Play Your Game” and at just over two and a half minutes would have been the obvious choice for a single. Sadly, no promo 45s from the album were ever released.

”Play Your Game” has a lovely melody with cosmic stoned drone vibe throughout.  The vocals are way off on the right channel, the drummer is inspired, and someone’s playing with the pitch shift again mid-song.  An excellent tune, absolutely top-notch psych pop.

From ’Ken’, the guitarist. This is on a YT clip of the full album: I can’t believe this thing is here; I haven’t thought about it in over 40 years. I was the lead guitarist on this record. I was the co-founder, with my friend Peter Gitlin of a band originally called ’Rhinoceros’, later called ’Hmmm’. 

The story goes like this: A rock magazine writer named David Dalton heard Rhinoceros playing at Cheetah, the first ’discotheque’, i.e. ’disco’ in New York. We opened for the Grateful Dead, which is not as impossible as it might seem — they only had one album at that time.

Dalton hired us to set his lyrics to music. We hated his lyrics, but since we needed the money, we wrote the music (for the first 3 songs only; David Dalton somehow obtained other weird music for the ’poetry’ at the end of the album). The music was recorded at some studio on 42nd Street. All the wacky audio effects were added by the recording engineer there – we hated that also. 

None of us wanted our names on the album, but they persuaded us to put our first names only on it. I’m ’Ken’. I’m still a musician, and I still don’t make any money, but if you’re wondering what might have become of a guy like the lead guitarist on this record.

The bass player was Bo Peck, who eventually quit music and went into politics. Bo now lives in Israel. The drummer was Gary Bailey, who also quit music. Gary became a cop in Southern California, now retired. That’s funny – when we were in Rhinoceros, it was US whom the cops were after, to see what we had hidden in the glove compartment of our battered psychedelic van.

(20/12/15)

SYNDICATE OF SOUND – ”Little Girl” / ”You” (Stateside SS-523) June 1966

This fabulous group quickly earned a happenin’ reputation in San Jose during the mid 60s and broke through Nationally with their memorable folk-jangle beat winner ”Little Girl.” The single was originally released on the tiny Hush label in small quantity but the 45 was picked up by Bell Records and re-released in April 1966.

The record went Top #10 and footage exists of them performing this song on a TV Show. The record even got a UK release on Stateside some months later in June but it went no where fast.

”Little Girl” got a new lease of life during the punk rock era with releases by The Banned who had a Top 40 hit at the back end of 1977. The Dead Boys also released a live version on the B-Side of ”Sonic Reducer” in December 1977.

(18/12/15)

THE BARBARIANS – ”Are You A Boy Or Are You A Girl” / ”Take It Or Leave It” (Laurie 3308) July 1965

The Barbarians second single ”Are You A Boy Or Are You A Girl” released in July 1965 was a statement of defiance that also poked fun at the whole ’hair controversy’ of the day with lines like ”You’re either a girl, or you come from Liverpool.”

Musically, it’s a Rolling Stones inspired rocker with a simple beat, a great guitar break and a ’barbarian’ scream. The other side ”Take It Or Leave It” ain’t too shabby either.

(15/12/15)

GIANT CRAB – ”E.S.P.” / ”Hot Line Conversation” (UNI 509) September 1969

Giant Crab, from Santa Barbara, CA are very well represented on the internet so I won’t delve too deeply into their history. An excellent reference point is here. I have all of their vinyl records, and there are many, they come with my recommendation if you’re likely to dig late 60s sounds, with brass and a heavy progressive style of rock ’n roll.

I’m currently researching the song ”E.S.P.” and my past and more recent posts have examined the groups who have recorded this obscure tune from it’s original composition ”£.s.d” by The Pretty Things right up to the 1970 version by Big Brother featuring Ernie Joseph.

Giant Crab’s version was recorded sometime in mid 1969. It’s a real heavy outing with blistering fuzz guitar, pounding drums, brass and an overdose of phasing. I believe that it’s a very popular disc to spin at ”60s Nights” but that’s just what I’ve read elsewhere. I wouldn’t know for sure because I don’t go to these events.

My copy pictured is a rare UK pressing on the UNI label. I don’t suppose that there will be that many of these in circulation.

RAIN – ”E.S.P.” / ”Outta My Life” (A.P.I. Records 336) November 1966

Hollywood group Rain ’borrowed’ The Pretty Things ”£.s.d” and renamed it ”E.S.P” but gave themselves writing credits.

I don’t think their story/history has ever been told or if any members have come forward with information and photos. Quite the mystery group. Produced by Brian Ross who worked with The Music Machine of course.

The single was re-released on London Records during January 1967 but it’s a weaker version omitting the guitar feedback and effects. The other side ”Outta My Life” rips off Them’s ”I Can Only Give You Everything” making Rain quite the magpies.

The known recordings of the song ”E.S.P.” including The Pretty Things – Phil May / Dick Taylor penned ”£.s.d.”

PRETTY THINGS – ”£.s.d.” ***** B-Side of ”Come See Me” – (Fontana April 1966)

RAIN – ”E.S.P.” ***** other side ”Outta My Life” (A.P.I. Records November 1966) – this single was re-mixed and released on London Records in January 1967

BEAVER PATROL – ”E.S.P.” ***** B-Side of ”Just Like A Lady” (Columbia May 1967)

GIANT CRAB – ”E.S.P.” ***** other side ”Hot Line Conversation” (UNI Records September 1969)

BIG BROTHER featuring Ernie Joseph – ”E.S.P.” ***** other side ”Brother, Where Are You” (All American July 1970)

(12/12/15)

THE GRAINS OF SAND –”Passing Through The Night” / ”The Castaway Of Capt. Haze” (AMM 008) 1967

Following on from yesterday’s Grand Prees update here’s their second and final disc. For this outing on American Music Makers they changed their name to The Grains Of Sand and explored an introspective psychedelic sound. Both sides are worthy and have been compiled in the past. The best place is on Burghers #1.

”The Castaway Of Capt. Haze” is a slow burner, quite mellow and laid back, a teen psych tripper that ends in a haze of stunning farfisa organ.
I can’t help but think about ”Scarecrow” by Pink Floyd when I hear this, it’s very early Floyd…. magical.

(09/12/15)

GRAND PREES – ”This Lonely Day” / ”No Time To Lose” (Scotty GQP 825) April 1966

This combo were from Pittsburgh, PA releasing this double sided lo-fi teen punker in 1966. Both sides are very basic beat numbers with crude guitar and high pitched organ.

”This Lonely Day” is a fast movin’ swinger and gets my vote over the pedestrian ”No Time To Lose” which was the chosen side to plug.

”This Lonely Day” has seen compilation action on Wyld Sydes #7

After this release The Grand Prees changed their name to The Grains Of Sand. I’ll focus on their second single next time.  

(08/12/15)

MATTHEW MOORE – ”Face In The Crowd” / ”St James Infirmary” (Capitol CL 15467) September 1966

Matthew Moore was raised in Rupert, Idaho then relocated to Los Angeles forming his combo The Matthew Moore Plus Four. Here they enjoyed a successful career on the Sunset Strip scene releasing a couple of singles ”I’ve Been Lonely Before” / ”I Know You Girl” on GNP Crescendo and the amazing ”Codyne (She’s Real)” / ”You’ve Never Loved Before” on White Whale.

I’m unsure whether the Plus Four were still backing him at the time he recorded for Capitol Records, only his name appears on the label. Another curio on the label is the songwriting credit for ”Face In The Crowd” which is given as Gerry Goffin and Jack Keller. I believe that the song was composed by David Gates and was also recorded by Gary Lewis & the Playboys then Glenn Yarbrough in 1968.

The other side of this disc is a decent version of ”St James Infirmary” which remains uncompiled.

Co-production by Dan Dalton who did some fine work with The Peppermint Trolley Company and The Plymouth Rockers. Following his short stint with Capitol Records, Matthew Moore formed The Moon with ex Beach Boys member David Marks and they recorded two pleasant but unsuccessful albums for Liberty Records.

These are not without merit and were re-issued on Rev-Ola back in 2002. This particular disc is now sought after but out of print. It also includes singles.  

(05/12/15)

TOMMY T’S FEDERAL RESERVE – ”Take The Midnight Train” / ”Grow Up Someday” (Cadet 5584) November 1967

This combo from Des Moines, Iowa were previously on IGL Records and released some 45s under the name of Tommy Tucker & The Esquires. They then moved to Cadet and released two singles, this being the first, under the name of Tommy T’s Federal Reserve.

They were a well known act in Iowa and have been inducted in their Rock ’n’ Roll ”Hall Of Fame”

Perhaps their most well known cut in 60s garage circles is the teenbeat gem ”Don’t Tell Me Lies.”  (IGL 121). Check it out on the compilation ’Monsters Of The Mid-West #2’ 

Here are some snippets of information taken from the liners of the ”IGL Rock Story – Part One (1965 – 67)”

Who was Tommy Tucker?

”Tommy had more ambition and could get himself into more problems than anyone we ever had in the studio. One time in particular he was coming up from Des Moines and his mother packed him a lunch with some hard boiled eggs, so Tommy said. ”What do you do with eggs you don’t like? Naturally you throw them at another car.” He did, and ended up at the police station. The police in Spencer called me and I had to get Tommy and his band out of jail before they could come up and record.

He wrote a song and had a problem with the copyright because of his name.

Apparently ”Tommy Tucker” was already copyrighted so he had to show proof with his birth certificate that it was his actual name.

As with a lot of little bands from around here, The Esquires drove a used hearse, which was a big vehicle that could hold all their equipment along with four or five guys. 

Tommy Tucker later went on to build a recording facility in Des Moines called Triad Studio and then left to become one of the head engineers at Paisley Park in Minneapolis.”
(Cliff Plagman – IGL Records)

(29/11/15)

1910 FRUITGUM CO – ”Hip Hip Hip Urrah!” / ”(Poor Old) Mr Jensen” (Buddah Records BD-75.018) April 1968

Sifting through the bubblegum hits of the Buddah Records label brings me to this little known obscurity by 1910 Fruitgum Co. On the other side of the ”Hip Hip Hip Urrah!” is the soothing mellowness of”(Poor Old) Mr Jensen”.

The Italians didn’t even bother putting the title of this B-Side on the fab sleeve of their release, instead making room to mention that they were the ”1,2,3 Red Light” hit makers.

”(Poor Old) Mr Jensen” is notable for it’s inclusion of the piccolo trumpet and baroque feel throughout. It’s like a mini and cheaper produced version of something like ”Penny Lane”

Groups like these of course didn’t have the luxury of spending weeks in Abbey Road Studios.

The song was also released as a B-Side by Jerry & Jeff. Check it out on the B-Side of ”Sweet Sweet Lovin’ You” on Super K from December 1968. It’s only an instrumental version though.

It was also recorded by The Katz-Kasenetz Orchestral Circus Singers.

The instrumental track of ”Poor Old Mr. Jensen” (minus the piccolo trumpet), played in reverse, was re-released on another Buddha records single. Re-titled ”Zig Zag”, and credited to ”Ohio Express”, it’s the B-side to ”Yummy Yummy Yummy” (you know the one, ”I’ve got love in my tummy”).

(29/11/15)

THE SIR DOUGLAS QUINTET – ”The Story Of John Hardy” / ”In Time” (London HLU 10001) November 1965

There is plenty of information elsewhere about The Sir Douglas Quintet so this will be a brief entry. It’s all about introducing this greatness – an obscure B-Side by the Sir Douglas Quintet from the back end of 1965 with their moody beat, British Invasion style – diggin’ the Vox Continental organ sound.

The other side ”The Story Of John Hardy” is more in keeping with the hip sound of ’65 folk-rock.

(25/11/15)

GORDON ALEXANDER – ”Thinking In Indian Again” (Columbia CS 9693) 1968

It’s back to finding some long lost nuggets on albums and here’s a very interesting one by obscure late 60s singer songwriter Gordon Alexander. ”Gordon’s Buster” is not one of those immediate albums that blows your mind, it will take a couple of plays over a day or two before the songs and rhythms start sinking in and making sense.

It’s a very diverse collection of freak rock, psych tinged folk with jazzy & blues touches.

Checking out the cover information reveals that renowned Producer Curt Boettcher worked on three songs ”Looking For The Sun” ”Windy Wednesday” and ”Miss Mary” – all of these cuts have his unmistakable soft psych touches. I’ve read elsewhere that members of his own band The Millenium also helped with instrumentation throughout.

The other songs on the album, including my highlight ”Thinking In Indian Again” were produced by Sonny Knight with arrangements by David Angel fresh from his work with Fever Tree and Love’s ”Forever Changes”

”Thinking In Indian Again” is a short burst of psychedelia notable for the way-out and trippy guitar sound.

”How is your mind bending, how is your mind bending.
I like to fly using my middle eye on a beam to the end of the brain.”

One single was taken from the album as a promo sent to radio stations ”One Real Spins Free” ”Topango” during July 1968.

(22/11/15)

THE LINCOLN’S – ”Come Along And Dream” / ”Smile Baby Smile” (Tripp Records 45-1000) March 1969

According to ’Teenbeat Mayhem’ The Lincoln’s hailed from the North Bonneville – Stevenson area of Washington in USA. I’ve read elsewhere that they’ve been incorrectly attributed to Vancouver in Canada.

The name on this label is probably a typo because they’re The Lincolns on other releases. Perhaps their most well known is the organ/sax punker ”We Got Some” on Dot Records in 1966.

This record dates from early 1969 but the music sounds like it’s come from at least a year earlier. ”Come Along And Dream” is a fast paced fuzz and hammond organ-a-go-go rocker that ends in a barrage of psychedelic studio effects. It was compiled on ”Highs In The Mid Sixties #7’

The other side ”Smile Baby Smile” is a jaunty beatsville mover sounding not unlike some of those beaty Monkees numbers. Love the twangin’ guitar on this one. Currently uncompiled.

(14/11/15)

TEDDY AND HIS PATCHES –”Haight Ashbury” / ”It Ain’t Nothin” (Chance 669) June 1967

I wrote about their first disc ”Suzy Creamcheese” back in 2007 and here I am some eight years later picking up where I left off with their fabulous second and final 45 ”Haight Ashbury”.

Teddy and his Patches were a short lived outfit from San Jose but they certainly left their mark on the garage psych collector scene with their vinyl output.

”Haight Ashbury” written by members Teddy Flores and lead guitarist Bernard Pearson is a punkedelic classic with it’s moody opening beat and pissed off rant about the cops and the low-lives of the hippie scene. Mid way through, the pace quickens and the psychedelic effects take the listener on another trip altogether. This time it’s an Eastern raga colouring the pictures. Let your mind wander while taking in the trippy guitar break,  such a fantastic sound, pure ’67 mind tripper.

For such a talented group and one that was very active with gigs on the West Coast it’s a shame that they recorded a dismal kazoo led vaudeville indiscretion for the flip. I’m sure they would have had a superior song in their repertoire.

(08/11/15)

PUBLIC NUISANCE – ”7 or 10” (Third Man Records) 2012

Today’s spin is the late 1968 early 1969 recordings by Public Nuisance.

They were from Sacramento, CA. Their producer was Terry Melcher but the album was shelved after the Manson Family murders took place at his property which had been leased to Roman Polanski.
After a couple of plays this one has really burrowed it’s way into my mind.

Difficult to describe and categorize – bits of Love, Lollipop Shoppe, weirdness, baroque psychedelia and a gentle love ballad ”7 or 10”

(05/11/15)

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 teen music magazines.

Sadly I don’t have an original copy of ”Guess I Was Dreaming” but I’m fortunate to have an official re-issue on the ACME label. Back in 2007 this label released several box-sets of rare psychedelic British singles, this being one of them.

The Fairytale were formed in Warrington and most definitely had the talent to go further but after a few flop singles they disappeared. ”Guess I Was Dreaming” appears to be about a young hipster waiting patiently for his dealer to bring him some narcotics, now I’m thinking those would be of the mind-bending variety.

”Here he comes walking through my mind
In so many colours making me blind.”

I have scanned the picture from Record Mirror dated 14th October, 1967. The article mentions their second single ”Lovely People” which was not a strong as their first highly desirable disc from the Summer.

Curiosly, American group The Kingsmen also recorded a version of ”Guess I Was Dreaming”

I have no idea where and how this obscure psych song came to their attention but on the other side was a version of ”On Love” by Skip Bifferty.

(28/08/17)

MANFRED MANN – ”Mighty Garvey!” (Fontana TL5470) June 1968

Record Buyer: ”Your light hearted manner suggests this is a fun-album.”

Indeed, Dear Sir or Madam. Here is a group that have no wish to freak you out, turn you on, over or off. They are one of those rare groups left in the entertainment business who still believe it is their purpose to entertain. It is their earnest hope that when hearing Tom ’The K’ McGuinness introduce Eddie ’Fingers’ Garvey on ”Happy Families” a smile may flicker across your face and that when Ed Garvey and His Trio commence ”Happy Families” you may laugh out loud. In fact when Edwin O’ Garvey and His Showband take you for your ”Limp Down Memory Lane” you may wish to become ever so slightly hysterical.

Record Buyer: ”Perhaps you could highlight some other attractions on the album.”
By all means. Three of the tracks were originally produced by Mike Hurst on which Klaus Voorman evinces thrush-like flute on ”No Better No Worse” – the melodic qualities of Mike Hugg’s composition, ”It’s So Easy Falling” made it a potential single and the lyric content of Tom McGuinness’ composition ”Cubist Town” warrants special attention.

One slightly wistful song is ”Everyday Another Hair Turns Grey” which features Mike Hugg on harpsichord and is vocalised with a tender antiquity by D’Abo. Beautiful production and the kind of all round instrumental work which gives this group it’s deserved reputation for musicianship.

”The Vicar’s Daughter” is another of those delightful auto-biographical D’Abo songs with Manfred doing his famous impression of a string section. ”Harry The One Man Band” features snatches of Mike Hugg’s vocal ability in the introduction and some interesting clockwork drumming techniques amongst the other amusing interpolations of mouth music and sound effects. This is really a showcase for the instrumental ability and production of the group.

(21/08/17)

THE FORTUNES – ”Caroline” / ”If You Don’t Want Me Now” (Decca F.11809) January 1964

This record was The Fortunes second single, the A-Side ”Caroline” was picked up by Radio Caroline as their theme tune. It’s a decent number if that’s your bag but for me it’s the up-tempo beat shuffler on the flip that’s really happening.

”If You Don’t Want Me Now” is an early beat shaker, recorded at the back end of 1963. This side should have been the one to promote with it’s infectious Beatles influenced riff, rat-a-tat-tat drums, vocal harmony parts, sax and what sounds like an electric piano. I’m sure this would have been mopped up by the beat teens, it’s also an early Shel Talmy co-production job by the way.

UK Chart Position: None

(06/06/17)

NIRVANA – ”Tiny Goddess” / ”I Believe In Magic” (Island WIP-6016) July 1967

Now, here’s a lesson to all those record producers who try to be over-clever on records. Listen, if you will, to this beautifully constructed piece of work.

Jimmy Miller and Muff Winwood have taken a deep brown cello, a piano, a harpsichord, added it to a normal line-up and made it all have a purpose. It sweetly moves with each instrument having a place and a reason. Oh, lovely. The lead singer has a funny little voice of incredible sadness under the words.

It’s all like falling leaves and grows and grows on you. In fact, if the voice had been harder this could have been a huge hit. It would be nice if it were anyway. But whatever happens, I love to dream to it.
(Penny Valentine review – Disc & Music Echo – 22/07/67)

UK Chart Position: None

(01/06/17)

THE SANDS OF TIME – ”One Day” / ”Ev’rytime We Say Goodbye” (Pye 7N. 17236) January 1967

”One Day” was written by the Jackie Trent / Tony Hatch partnership, they were married in 1966.

The song has an easy listening sound, hardly progressive for late ’66 early ’67 but the vocal harmonies are pleasant enough. An overall Beach Boys vibration soaks through the disc.

The flip is a version of the Cole Porter tune and is not my scene.

(29/05/17)

THE GAMBLERS – ”Find Out What’s Happening” / ”Now I’m All Alone” (Decca F.12060) January 1965

I acquired this obscure R&B disc by The Gamblers last week. They hailed from Newcastle in the North East of England, my neck of the woods by the way, and are perhaps better known as Billy Fury’s backing group. However, they also recorded some singles in their own right, like this one.

”Find Out What’s Happening” was originally released by The Spidells in September 1964. Then The Downliners Sect had a crack with it in November 1964.

The Gamblers version is a B-Side from January 1965 and is solid R&B with compact organ, sounds heavily influenced by fellow Geordie group The Animals. They should have really come up with a much more fierce lead guitar break to elevate it higher but sadly the break is tame.

The other side is a soul beat mover with brass and also worth hearing.

(10/05/17)

THE SOFT MACHINE – ”Love Makes Sweet Music” / ”Feelin’ Reelin’ Squeelin’ (Polydor 56151) February 1967

Paul & Barry Ryan reviewed a selection of new single releases in Record Mirror published 11th March, 1967. Here’s what they had to say about The Soft Machine. Presumably they were listening to both sides of the disc.

Barry: No, much too much bass. I would have thought this was someone like the Association. Oh yes, it’s all very hip.
Paul: Hear those lyrics? Everybody’s trying to do a John Lennon and a ”Strawberry Fields” with hippie hippie words that don’t mean a thing.
Barry: It sounds like an Andy Warhol painting!
Paul: Yes, very psychedelic. About as psychedelic as my little finger!

UK Chart Position: None

(19/04/17)

THE MOVE – ”Night Of Fear” / ”Disturbance” (Deram DM109) December 1966

The Move burst onto the English pop scene with a destructive stage act and one of the greatest debut discs from a mid sixties act. The seminal ”Night Of Fear” peaked at number two in the UK Charts but more mayhem and superb singles were to follow.

The pop-art mod beat gem ”Disturbance” on the flip is equally memorable and would have been a strong contender as a single in it’s own right.. ”There’s been a slight disturbance in my mind.”

UK Chart Position: 2

(18/04/17)

THE TREMELOES – ”Here Comes My Baby” / ”Gentlemen Of Pleasure” (CBS 202519) January 1967

Happenin’ B-Side raver from The Tremeloes, released January, 1967. The hit side ”Here Comes My Baby” was written by Cat Stevens…..flip it over for your mod beat confectionery.

UK Chart Position: 4

(18/04/17)

DENNY LAINE – ”Say You Don’t Mind” / ”Ask The People” (Deram DM 122) April 1967

This is Denny’s first solo record since his split with the Moody Blues, and for the real effect you should play it at least five times. I know people will say this is cheating, because a hit record will smack into you on first playing, but I don’t always think this is true-certainly not with this record.

Beautifully arranged and produced with guitars and strings sounding as they never have before-clean and clear as crystal water. Denny wrote this himself and it has a super hook line. My only complaint is that he has a lovely pained voice and by double tracking it they’ve submerged that quality a little. A favourite, though, despite that.

(Penny Valentine review – Disc & Music Echo 15/04/67)

UK Chart Position: None

(17/04/17)

THE SMOKE – ”My Friend Jack” / ”We Can Take It” (Columbia DB 8115) February 1967

With a record called ”My Friend Jack Eats Sugar Lumps,” the Smoke could have expected some sort of kerfuffle. But the stern rebuke from the ”News Of The World” was only the iceberg tip of what went on behind the scenes.

It cost EMI £750 and two months to re-record and change the lyrics four times before their doubts about it’s suitability were met. The BBC was reported to have suffered qualms when Simon Dee played it.

Quite a rumpus for four young lads from Yorkshire to kick up in their first few months in London.

”But we didn’t set out to be deliberately controversial, although I suppose the meaning must be obvious to even someone who’s only seen LSD on his cheque book,” said Michael Rowley, 20 years old and the lead guitarist.

”In fact we only came to write the song by accident. It was a sticky time for us, nothing we wrote seemed to go right. To try to cheer the others up I began to sing this stupid phrase ”My Friend Jack Eats Sugar Lumps.” After a while nobody could forget this line and so we began building a song around it.

(Disc & Music Echo – 25th March, 1967)

(17/04/17)

SIMON DUPREE & the BIG SOUND – ”Reservations” / ”You Need A Man” (Parlophone R 5574) February 1967

A man to watch. I liked ”I See The Light” very much and here he comes up with another good raver. I particularly like the way he delivers these kind of songs, beautifully raw and unsophisticated. Makes a nice change.
(Penny Valentine review – Disc & Music Echo – February, 1967) 

UK Chart Position: None

(16/04/17)

THE MOVE – ”I Can Hear The Grass Grow” / ”Wave The Flag And Stop The Train” (Deram DM-117) March 1967

Here is a record that The Move can really be judged on (not like that last thing that was such a huge hit). A record much more representative of the group – and great.

Producer Denny Cordell has even put in some grass-growing sounds – like rain falling into an empty tin. There’s something Byrd-like about the sound and this is going to go down huge in America.

The title is a real gem-thank you Bobby who suggested it. The chorus is super-thank you the gentleman in my Office who has sung it daily though not it may be said with the success of the record. A touch of real genius was that sudden ”West Side Story” whistle part. Yes I like it.
(Penny Valentine review – Disc & Music Echo – 01/04/67)

UK Chart Position: 5

(13/04/17)

JEFF BECK – ”Hi Ho Silver Lining” / ”Beck’s Bolero” (Columbia DB 8181) March 1967

I’m sure this is a hit song and I’m pretty sure this is a hit treatment by the new solo figure on the scene. Curious sound effects early on then into a commercially staccato beating number with a catchy chorus phrase. And Jeff’s guitar gets a fair amount of space, too
FLIP: A virtuoso (and noisy) guitar instrumental. Self penned. Top Fifty Tip.

UK Chart Position: 14

(13/04/17)

PLASTIC PENNY – ”Your Way To Tell Me Go” / ”Baby You’re Not To Blame” (Page One POF 079) July 1968

I haven’t posted a single of the day for a while. How about this fab psych side by Plastic Penny from 1968 which MOVEs along, killer bass runs especially. ”Your Way To Tell Me Go” is an under the radar obscurity.

The other side is heavy mod bass pounder ”Baby You’re Not To Blame” from mid 1968. If you dig late period Small Faces then this is a must…

misc information:
Paul Raymond joined Chicken Shack. Mick Grabham went to Cochise and Procol Harum, and Tony Murray joined Troggs….Murray also produced the excellent ”Restless Night” album by Octopus on the Penny Farthing label.

(06/11/16)

THE HONEYCOMBS – ”That Loving Feeling” / ”Should A Man Cry” (Astor AP-1307) September 1966

45 ACTion time of the day and The Honeycombs final single from late 1966. Fab sound with male/femme vocal harmonies. Wonderful Joe Meek production job too. The Honeycombs started wearing Carnaby Street style mod threads but to no avail, the record didn’t sell and it remains very hard to find.

So much so, my search led me to Australia for the release on Astor.

(06/11/16)

THE CHEYNES – ”Goin’ To The River” / ”Cheyne-Re-La” (Columbia DB 7368) September 1964

Great R&B mover by this obscure London based group who would have been completely ignored had it not been for drummer Mick Fleetwood, who eventually formed his own blues band Fleetwood Mac via The Bo Street Runners and John Mayall’s Blues Breakers.

The Cheynes also included Peter Bardens who would later join Them, then The Shotgun Express and Phil Sawyer who was also with The Fleur de Lys. Lead singer Roger Peacock took over from Mark Leeman in The Mark Leeman Five.

The B-Side ”Cheyne-Re-La” is a fab R&B instrumental composed by Bardens.

line-up:
Peter Bardens (keyboards)
Mick Fleetwood (drums)
Phil Sawyer (guitar)
Roger Peacock (vocals)
Peter Hollis (bass)

(15/10/16)

TRAFFIC – ”Here We Go Round The Mulberry Bush” / ”Coloured Rain” (Island WIP 6025) November 1967

Another startling, punch-packed and absolutely fascinating disc from Traffic – full of light and shade, contrasting tempos and intriguing sounds. For the most part, it’s busy, urgent and infectiously beaty – but there are constant breaks in the rhythm when all manner of absorbing things happen.

The organ is gutty and fruity, and on one occasion gives out like a ship’s siren. The whole record swings along with uninhibited eagerness, and works up a walloping fever pitch – apart, of course, from those sudden breaks.

In fact, on first hearing, you’re never quite sure what’s going to happen next. The vocal is spirited and alive, and the whole thing has an irresistible carousel flavour. As the title song from a film it must be big.

FLIP: A much more bluesy number, with an intense and impassioned vocal by Stevie, and again that swirling organ. A touch of psychedelia in the instrumental passages. (NME review, November 1967)

(12/10/16)

ANDY ELLISON – ”It’s Been A Long Time” / ”Arthur Green” (Track 604018) December 1967

Andy Ellison’s ”It’s Been A Long Time” ranks as one of my fave rave orchestrated pop psych tunes from the late 1960s. This cut is from the original motion picture soundtrack of ”Here We Go ’Round The Mulberry Bush” filmed and recorded in 1967 but not released until the following year.

A copy of this sought after single sold a few months ago for £140, sadly I was well beaten in the bidding war and came up short but I decided to download the image from the eBay sale and research the disc.

Most interesting feature of this single is that it comes from the soundtrack of the movie ”Here We Go ’Round The Mulberry Bush.” It’s a poignant, almost sad song – with the scoring of sighing cellos, solo trumpet and muffled tambourine establishing a suitably plaintive mood.

The descriptive lyric is impressively performed by Andy Ellison  – though it loses a little out of context. (music press record review) 

Andy Ellison sang ”It’s Been A Long Time” on the film’s soundtrack. He recalls that Simon Napier-Bell was editing the music score at a cutting room in Old Compton Street while the legendary Beatles project Magical Mystery Tour was being edited next door.

It appears that Donner and Napier-Bell were not happy with the romantic music written for the Judy Geeson character, Mary. At the last moment Napier-Bell suggested a piece that he had written and which had already been recorded, namely ”It’s Been A Long Time.”

Donner liked the recording, so it appeared in the finished film. However by this time, the credit sequences for the movie had all been filmed and the front cover of the album had already been sent to the printers, so it was too late for Ellison’s name to be featured, though Napier-Bell feels contractual reasons might also have played a part in it.

Napier-Bell sequenced the various music strands well. The film title song was set against Richard Williams pop art credits. The Andy Ellison track played when Mary is on screen, is also heard in varying forms throughout the film. (CD liners – RPM re-issue)

(11/10/16)

THE BANANA BUNCH – ”The Tra-La-La Song” / ”Funky Hoe” (Page One POF 183) October 1970

Hidden away on the B-Side of this cash-in Banana Splits theme tune single is a happenin’ hammond organ groover that will most definitely interest some psych collectors. ”Funky Hoe” sounds like a group given freedom to do whatever they want in the studio and they came up with a bluesy proto-prog instro like the kind used in film sequences during late 60s party scenes.

Digging deeper it appears that The Banana Bunch were in fact psychedelic outfit The Nite People who had previously recorded for Fontana and also released records under the latter name on Page One. Why the moniker change for their final single is unknown to me.

Their producer Phil Waller also worked with The Troggs and Plastic Penny.

(09/10/16)

THE MONOTONES – ”It’s Great” / ”Anymore” (Pye 7N.15640) April 1964

I must admit to not knowing much about The Monotones until I started researching the group after buying their second single ”It’s Great” from early 1964, right at the height of the Beat Boom.

”It’s Great” is a fine up-tempo beat number which would have been even better with a savage lead guitar break but sadly these boys or their producer kept the freak outta the beat.

The other side ”Anymore” is much slower and in beat ballad mode. A decent two-sider and I’ll be looking out for their other singles released during February 1964 to April 1965.

I also collect vintage 60s music magazines and have found some Monotones items in my FABulous mag archives. The double page pictures and article date from 20th June 1964 edition while the group photo and information is scanned from FABulous 6th February, 1965.

(08/10/16)

KATCH 22 – ”Major Catastrophe” / ”Hold Me” (Fontana TF 768) November 1966

This sought after freakbeat single by Katch 22 doesn’t come up for sale very often so I was pleased to capture a copy a few months ago on eBay for a decent price too.

Katch 22 released five singles on Fontana between 1966 and 1969, all of which flopped. But despite no commercial success they were still able to record a studio album. I don’t have a copy of the album but I’ve read elsewhere that it’s a soft rock affair and not like this tormented piece of beat.

”Major Catastrophe” is an overload of fuzz guitar and brass flourishes. It doesn’t sound to me like this would have had any chance of making the Charts in 1966, it’s far too way-out. But for me it’s the most exciting thing the group created.

Both sides were recorded at Olympic Sound Studios in London during two sessions. (20/09/66 and 03/10/66). Accompaniment by Harry Roberts. Now I suspect this is the same person who wrote and produced The Spectrum who released records on RCA Victor.

(25/09/16)

THE ROBB STORME GROUP – ”Here Today” / ”But Cry” (Columbia DB 7993) August 1966

The Beach Boys were probably America’s biggest pop group import into Britain during the mid sixties but very few UK outfits recorded their songs. But here’s one by The Robb Storme Group who at the time were the regular backing group of Paul & Barry Ryan.

”Here Today” is a cut from ”Pet Sounds” and is ably covered here, the arrangement from Wilson Malone is neat and tidy, the vocal harmonies are excellent too. It must have been a daunting task to even get close to The Beach Boys original.

The flip ”But Cry” is also good. Both sides have never troubled the compilers either, but if anyone should ever create a Beach Boys collection of songs recorded by other groups and artists The Robb Storme Group should receive some serious consideration.

Wilson Malone and other members became The Orange Bicycle and the former released a very sought after and expensive solo album on Morgan Blue Town in 1969. Lewis Collins, the actor who played Bodie in ”The Professionals” was the bass player in The Robb Storme Group!

line-up:
Robb Storme (vocals)
Tony Ollard (guitar)
Lewis Collins (bass)
Jim St. Pier (piano)
Wilson Malone (drums)
songs recorded at: Landsdowne Studios, London

(14/08/16)

DAVEY SANDS & THE ESSEX – ”Advertising Girl” / ”Without You I’m Nothing” (CBS 202620) March 1967

Mod beat sound with a ”She’s About A Mover” organ riff.
”Advertising Girl” is a song about the obsession a lad has with a girl who appears in posters promoting soup, soap and cars while wearing a purple mini-skirt and having manageable fair hair. They don’t write them like this anymore!

Davey Sands & the Essex released an earlier single ”Please Be Mine” / ”All The Time” on Decca during June 1965. Both sides were produced by Brian Poole and Alan Blakley from The Tremeloes. On that particular disc the line-up was:

Ian Warner (drums)
Howard Schaffer (lead guitar)
Chip Hawkes (bass)
Chris Cochran (keyboards)
Davey Sands (vocals)

Chip Hawkes later joined The Tremeloes so I doubt that he was part of their 1967 single.

(30/07/16)

MIKE WALLACE – ”Natural High” / ”Mandarin” (Atco 45-6783) October 1970

I wrote about Mike Wallace’s other 45 on my blog a few years back, check the archives for further information. ”Natural High” is perhaps his most famous song, not that it was a major hit or anything, it’s just well known in psych collector circles.

Don’t be put off with the October 1970 release date cos this record really is a psych pop swinger, kinda sounds like Donovan on purple hearts. The Atco label is obviously the American release, the single was also given an outing in Britain on Polydor and this version may be different or at least an edited version. I’m trying to find out this information and when I do I’ll update this entry.

Update: the UK release on Polydor has a 3:28 playing time, meaning it is indeed an edited version of the US variant on Atco.

(27/07/16)

The free CD that came with Greek fanzine ”Lost In Tyme” #01 contains several really excellent cuts that were either ’long lost’, live recordings or unreleased numbers from demo tapes. I’ll name drop The Infidels, The Sound Explosion, The Stepford Husbands, The Maharajas, The Unheard Of who all contributed worthy cuts.

But my pick is ”Do What I Say” by the strangely named Blindshag which was an early 90s group led by Jen Lindberg. Check it out in the comments. What a relevant garage sound. Shame no records emerged.

(13/07/20)

THE BEFORE & AFTER – ”Your Choice Now” (CDR Bandcamp download) 2008

During my rake about in the garage the other day I found numerous CDs and other ephemera not seen for a decade. Now then, this leads me to a majestic set of psychedelic songs from the mind of ex Mystreated member Sean Thomas.

I bought the ”Before & After” CD-R directly from Sean several years ago. He was selling copies on eBay. I did a quick search online and couldn’t believe how little to zero exposure this has had!! 

This is a seriously great mindblower of a set recalling the way-out underground sounds of English groups from ’67. Add to this potent mix some Electric Prunes and you’ll get the gist. DELIGHTFUL 

(10/07/20)

THE INNER MYSTIQUES – ”You Can’t Turn That On Me” (unreleased demo) November 2000

When The Sound Explosion broke up in the late 90s some members (including John Alexopoulos, who sent me this CDR titled ”Get Mystified!”) formed a new group with former musicians from The Walking Screams and The Outta Sites.

They lasted just over a year and recorded a handful of demo numbers that never emerged on any discs. The demo recordings date from November 2000, there are ten original songs plus two spoken parts that appear to be extracts from some long forgotten American B-Movie.

In my opinion it would have been a worthy album release with some studio tinkering here and there.

John was interviewed in Greek fanzine ”Lost In Tyme” Issue #01 and here’s what he said about his short lived band The Inner Mystiques.

Periklis: After The Sound Explosion you formed a new group, The Inner Mystiques. With The Inner Mystiques you didn’t have any record releases but you wrote some fantastic songs and we also have the memories of a live show with The Fuzztones. When did you form The Inner Mystiques and what made you form a new band? Any deprivation syndrome?

John: After the break-up of The Sound Explosion and for a couple of years, I didn’t want to form a new band, however, The Inner Mystiques began in early 2000 when my pal George Rigas from The Walking Screams, who had at the time broken up as well, we both decided to start jamming and playing classic garage standards.

I dusted off my Vox guitar, George took his bass from his case and with the addition of Stathis on drums, who was also an ex-Walking Scream, and Paul on the farfisa organ, who had played before in various garage bands, we started playing. The band lasted for something like a year. In December 2000, George had to quit the band, due to lack of free time, and another ex-Walking Scream, Lefteris took his place until the Spring of 2001, when we finally broke up.

Periklis: The sound of this band was 60s with more beat elements and reminded me of the last period of The Sound Explosion. Tell me about the music of The Inner Mystiques.

John: I don’t think there’s a certain musical connection between the bands. Actually I think the sound of The Inner Mystiques was quite different to that of The Sound Explosion and The Walking Screams. It was like a merging of musical tastes, all in the ’garage’ music field, like we played fuzz punkers, garage beat songs, folk punkers, some minor key stuff, you name it. So it was just garage music after all, but in a different vein compared to our previous bands.

Periklis: Besides the live show with The Fuzztones did you perform any other live gigs?

John: No, we didn’t do any more shows. Just after that gig, opening for The Fuzztones, in their first show in Greece for ten years, we broke up.

Periklis: What was the fans reaction for the new band?

John: I think the reaction was quite positive. Every garage fan wants to see new bands forming and playing in their town.

Periklis: The Inner Mystiques had no record releases. Did you have any contact with record labels?

John: We never really had the chance to record something because the band had a really short life. We were together for something like a year, but only in the last six months or so were we serious about it. After that show there was talk with a couple of labels, but we broke up. There are some songs which were recorded roughly and live in a rehearsal with two mics. We did this with the first line-up in November 2000.

(08/07/20)

THE GRIP WEEDS – ”She Brings The Rain” / ”Strange Bird” (Twang! Records TS 081 280) August 1993

I’ve got a couple of Grip Weeds 45s….this one on Twang! from 1993 is great psychedelic rock. They use some pure pop jangle on ’Strange Bird’ which is of course my bag! As you can see from the record sleeve they all sported classy psych shirts and no doubt tight threads and Beatle boots…..good sound with a good image. This band pic brings to mind The Church on the cover of their ’Heyday’ album… I don’t know for sure but I think The Grip Weeds hailed from New Brunswick, NJ.

From Kurt Reil: An early all-male lineup! We took this shot in front of our guitar player’s wall, which he had painted with a mural of Van Gogh’s Starry Night. I remember we agreed to all wear our paisley shirts for the shoot (pretty much what we wore all the time back then anyway (and now!). These are early versions of both songs – we later re-cut them for album projects.

(26/06/20)

THE FRANTIC V – ”Play The Fugitive!” EP (Corduroy Records CORD 020) 1997

This is spooky farfisa organ dominated garage beat from Greece. Everywhere in the World has been infected by ’thee sound’ if you know where to look. This was one of their early singles and is not cheap nowadays. Four hard driving instrumentals, probably cut live in the studio. The back cover states that the songs were recorded during their 6th rehearsal in October 1994.

This is the only single by The Frantic V in my archive, I’m not quite sure why I haven’t added more but I suppose they’re not that easy to find in Britain. Too bad because I dig this kind of sound, the cruder the better. No need to over produce things but there was a need to wear sunglasses at their photo session.

songs:
The Fugitive!
Haunted Melody
James Bond In Space
Blues Theme

(20/04/20)

BIG STAR – ”Thirteen” (Big Beat CDWIKK 197) 1998 

I recently found a shoebox full of CDs in my garage. Long thought lost or accidentally thrown out for years, but there the box was, behind two huge bags of compost. Amongst a twenty odd CDs by the likes of The Barracudas, The Acrylic Tones, The Wondermints and The Thanes was this one on Big Beat by Big Star.

“September Gurls” is probably their most well known number but I’ve rediscovered “Thirteen” from 1972 which is sublime and a search on YouTube has found this devastating piece of history of the band in the studio. It’s the official music video for the Alternate Mix to this classic song featuring archival footage of Big Star members Alex Chilton, Alex Chilton, Chris Bell, Jody Stephens, and Andy Hummel. ”Thirteen” was initially released on the album ”#1 Record”.

In 2009, Rhino released the Alternate Mix on the career-spanning greatest hits compilation ”Keep An Eye On the Sky”.

(17/04/20)

”Here Today, Gone Tomorrow” (Dionysus Records ID123313) 1989

It’s the first time I’ve played the Zebra Stripes album for ages and it holds up well with a variety of styles, 60s garage, sleazy rock and roll and even a 70s punk cover!!! of The Ramones “Here Today, Gone Tomorrow” is not on YT so I’ll add it. Backed by members of The Yard Trauma, Thee Fourgiven, The Miracle Workers and SS20. Recorded in Hollywood in the late 80s.

Zebra Stripes provided a few numbers for late 80s garage compilations. ”Intro ’66” on ”Battle Of The Garages” #3 and perhaps her best known number ”The Trip” from ”Sounds Of Now” – of course it’s the Kim Fowley classic and it was played by John Peel on one of his radio shows at the time, although I didn’t hear it.

I rate her version of ”Here Today, Gone Tomorrow” mainly because the backing group lay down some crisp and polished sounds which don’t overwhelm Zebra’s fragile vocal style which incidentally remind me of mid sixties singer Twinkle.

My Facebook chat with Dionysus Records label owner Lee Joseph 

Lee: Thanks, that was my creation – I wanted to do an album with Zebra on vocals that covered all those genres as they were all things we were fans of! In particular, taking the Ramones song and interpreting in 60s girl-group style, one of their biggest influences! Besides the bass on the entire album, I played the lead solo on that track, it references ”You Showed Me” by The Turtles!

Me: Yeah, I checked out the back cover and realized you had a huge input. The album doesn’t sound like anything coming out at that time, quite a potpourri of styles. I rate it a lot especially the version of ”Some Velvet Morning” and the Ramones number!!

Lee: Thanks! ”Some Velvet Morning” was actually inspired by the Lydia Lunch/Roland Howard version!

(16/04/20)

SICK ROSE – ”I Don’t Care (She Doesn’t Care)\” (Electric Eye EELP006) 1986 

The very strange lockdown situation we all find ourselves in due to the Covid-19 virus because a hungry Chinese fucker decided to stuff his vile fucking face with an uncooked bat means that my investigation into the 1970s punk and new wave scene has been temporarily suspended. I can’t go out and find worthy releases to add to my archive for the time being.

This means that I’m back in my comfort zone, playing mid 80s garage punk records once again. Italian group The Sick Rose have been highlighted on my blog before with one of their worthy singles, this time around I turn my attention to their album ”Faces” released during 1986.

If fuzz, farfisa and punk attitude is your scene this album comes highly recommended although it may be a little tricky to pick up on the original Electric Eye label. My pick is the extraordinary fuzz onslaught of ”I Don’t Care (She Doesn’t Care)” which has enough fuzz and mayhem to blast huge cracks into your skull. Let your brains ooze out while you listen to this way-out number.

(14/04/20)

THE BEEVILLE HIVE V – ”Beer, Beer, Beer” (Satellite Records RAW 7) 1988

The other day Lenny posted this rare photo of his group The Beeville Hive V on his Thanes Facebook page and it inspired me into making a You Tube video for their number ”Beer, Beer, Beer” which according to Lenny was the only recording of theirs that ever made in onto vinyl. Fortunately Satellite Records were able to satisfy demand on their Raw Cuts – Volume 7 compilation from 1988.

”Beer, Beer, Beer” is raw and primal inebriated garage beat and sounds like it was produced by a pilled-up Morlock inside a Crypt and that’s what makes it such a brilliantly conceived artifact. This was the late 80s remember and absolutely nothing sounded as dirty as this.

Our Highland mop-top Cavemen keep wailing for their beer, beer, beer and of course they get their beer and drink, drink, drink. The number slowly comes to it’s ending in a crescendo of indistinguishable noise and what can only be described akin to a drunken hangover. The boys had drank their beer and all that remained was a pile of crushed Tartan Special cans and sore heads.

(21/12/19)

THE WRONG SOCIETY – ”Tell Me You’ll Be Mine” / ”I Really Don’t Care” (Market Square Records MSR-20) February 2018

Market Square Records is an enterprise coordinated by Paul Messis and what a fantastic job he’s doing too. Single releases are limited to 300 and all are relevant and his label has a new release by Germany’s The Wrong Society.

I’ve known about this combo for a number of years and have followed their progress via their Facebook page and have always bought a copy of their discs. This latest 45 doesn’t disappoint, the top side ”Tell Me You’ll Be Mine” is an up-tempo punker with background harmonies and a solid backbeat. This one really moves along nicely and is interspersed with a pulsating fuzz guitar break. Short but sweet but it’s there and it adds a touch of menace.

I particular dig the B-Side ”I Really Don’t Care” which has that sombre New England Teen-Scene sound that has become popular. So not only has Germany got great footballers, beer, cars, castles, chocolate and huge sausages….they’ve also got a cool garage band.

Both sides recorded at Heiko Herzog in Room 424 and mastered by Tim Warren.

(29/05/18)

THE GREEN TELESCOPE – ”Turnin’ Out” (Psycho Records 35) 1985

Until we get a long deserved Green Telescope retrospective we’ll have to make do with the selection of cuts found on singles and obscure vinyl only compilations from the mid 1980s, including ”Turnin’ Out” from ”The Waking Dream.”

”The Waking Dream” also showcased recordings by Mood Six, Sleep Creature & the Vampires, Palace Of Light and The Magic Mushroom Band. Those other bands are not my scene and for my particular head space The Green Telescope rise like Scottish Nobles above the others.

These Edinburgh based outsiders contributed three songs. The frantic acid punk gem ”Turnin’ Out” and a cover version of The Calico Wall’s ”I’m A Living Sickness” as well as another self penned number ”Can’t Step Off The Path.” These recordings were the first to be available on vinyl by The Green Telescope and predate their first single / EP ”Two By Two” on Imaginary Records.

Line-Up:
Lenny Helsing (guitar and vocals)
Bruce Lyall (farfisa organ)
Gavin Henderson (drums)
Steve Fraser (bass)

All songs recorded at Sound Site, May 1985 and produced and engineered by Ron Real. The gig photos have been taken from their Facebook page. Go here for more information and ephemera.

(04/03/18)

Day 1 of 7 Primitive Beat:

One of my old Geordie mates asked me to select seven songs with a memorable riff or in this case a caveman beat. The 1980s quite rightly get SMASHED cos most of it was horrendous. That’s why I’ll present an alternative vision that most humanoids are not even aware of. I think James Baker is rattling thee drums with human tibia bones on this number.
The Hoodoo Gurus ”Dig It Up” (1983)

Day 2 of 7 Primitive Beat:

OK, picture the scene. It’s 1986 and everything is rubbish and you don’t even have a job. You’re in a local record shop and you’ve got a spare £5 from your Dole money.

Do you buy the latest record by Flakey Goes To Hollywood, A Flock Of Sleaze Gulls, Depeche Commode or perhaps the new one by Bruise Springs Teen.

No No NO NO!!! that stuff is for squares. It’s gotta be this Primitive piece of Fuzz ’N’ Roll by The Primates.
The Primates ”I Ain’t Like You” (1986)

Day 3 of 7 Primitive Beat:

At the end of thee turgid 1980s this perfect four track twelve inch nugget was released by Chaos Records. Chris Such and his Savages a.k.a. The Headless Horsemen only used vintage equipment and has a back to basics merseybeat inspired approach. This early ’60s Rock ’N’ Roll style was almost extinct. Check out the cover with thee Stuart Sutcliffe lookalike, could almost be Hamburg 1962. MONO-tastic
Chris Such and his Savages ”Leave My Kitten Alone” (1989)

Day 4 of 7 Primitive Beat:

This number is not only primitive beat it is BRUTAL. It seems that The Misanthropes were feeding themselves with raw liver to get this wild.

There’s boundless garage noise, reckless energy, pissed off fury, the best scream outside of a Hammer House of Horror film and the drummer is probably bashing away on his kit with human tibia bones.
The Misanthropes ”Why Do You Treat Me So Bad?” (1988)

Day 5 of 7 Primitive Beat: 

The Mystery Machine are a very intriguing group with Crawdaddys and Tell Tale Hearts connections. My guess is that they named themselves after the van in ’Scooby Doo’ Sadly they never released any singles, only one song emerged on ”Battle Of The Garages #3” (Voxx Records) back in 1984….a kind of ’66 inspired Sunset Strip folk jangler with compact organ.

All of this going on when the mainstream was seemingly obsessed with awful production jobs including gated reverb, horrendous synths and sequenced sounds….I hear The Yardbirds in places too. The Mystery Machine ”She’s Not Mine” (1984)

Day 6 of 7 Primitive Beat:

It’s 1986 and it’s crap, everything is.. There’s not much to get excited about apart from reading in ”Bucketfull Of Brains” Edinburgh’s finest The Green Telescope have a single out!!!

The ”A” Side is an all time classic garage punk raver but thee ”Thoughts Of A Madman” on the other side is a worthy piece of greatness too. Big deal that it’s just a cover version of a 1967 number by The Nomads. The Green Telescope take the song to another level.

Lenny’s tormented vocals become so possessed I actually think he is a MAD man by the end of the disc. Listen out for the fuzz overload at around 1 minute 20 seconds. Drums on this are way-Out too….
The Green Telescope ”Thoughts Of A Madman” (1986)

Day 7 of 7 Primitive Beat: 

We’re in the middle of 1985 and it’s a time of grotesque synth bands and assorted wimpy crud… thank goodness there were still primitive punk outsiders recording manic swingers including Swedish garage band The Stomach Mouths. This record is so primitive and wild it belongs in a pre-Medieval period where their Viking predecessors are preparing thee soundtrack for their gruesome execution ”The Blood Eagle”
The Stomach Mouths ”Don’t Put Me Down”

(26/02/18)

THE THANES – ”Don’t Change Your Mind” / ”What You Can’t Mend” (Hidden Volume HV0043) December 2017

The new single by The Thanes arrived today also. Amazing to think that they’ve been releasing records for 30+ years. The top side ”Don’t Change Your Mind” is a bit of departure in sound for them with heavy use of hammond organ mixed with fuzz. Reminds me of early Small Faces.

The other side ”What You Can’t Mend” is thee more familiar teenbeat Thanes sound, dig those scattergun drums, compact organ and of course Lenny’s vocal delivery which is pretty damned fucking great. The revenge put down lyrics are particularly inspiring and worthy of any 60s punk lament. 

”Stood on the ledge, and now you’re gone”

(07/01/18)

BOBKAT ’65 – ”This Lonely Road” (Get Hip GH-1965) July 2017

Yeah! Bobkat ’65 are easily my favourite new group and ”This Lonely Road” is my nomination for album of the year. Love this little neo garage jewel. With two swingin’ kittens and a hat wearing bloke on drums they create a genius crude moody sound with fuzz and jangle. Check out their promo video of ”This Lonely Road” cos it’s where it’s at.

Before this album on Get Hip there was a single recorded during September 2015 and released some months later. ”Gwani” / ”Time” comes highly recommended and is worth tracking down before it becomes scarce.

Both songs are short sharp stabs of coolness, ”Gwani” was inspired by Ana’s pet dog. This upbeat number with fuzz is perhaps the most fast paced number I’ve heard from them. Great girl screams too, reminds me of The Pleasure Seekers.

The other side ”Time” is a convincing crude and moody cover version of a 1967 song originally by Dexter & the Derbies. Once again Bobkat ’65 are authentic in both style and approach, in other words they nail it and make it their own.

So it’s back to the album ”This Lonely Road” which was recorded at Estudios Circa Perrotti during December 2016, making it almost a year old already! A theme of melancholy and longing runs throughout the ten songs of stripped down ’66 inspired beat. Kinda like outsiders lookin’ in, loneliness, feelings of craving and desire after a lost love and those anxieties of life in general…it’s all a moody puzzle and they’re scrambling around for missing pieces that may never be found.

Their superb original songs are mixed perfectly with obscurities that only a few connoisseurs will spot. These include ”Try” by The Cobras, ”Loneliness Is Mine” by The Esquires and ”To Be Like You” by The Missing Lynx.

Ana (guitar / vocals) 
Paula (bass / vocals)
Diego (drums)

They have really come up with something solid here. I’m very impressed indeed and hope to hear more of their work in the months / years to follow.

(18/11/17)

THE SINISTER URGE – ”Ain’t Yet Dead” (demo tape) 1995

When The Offhooks disbanded or changed their name? I don’t know for sure but will find out and amend the details here. Whatever the consequences, an urge was born.

What I do know is they gigged quite regularly in the Edinburgh area and even travelled down to Newcastle for a gig, which is where I saw them and lead singer Calvin Burt gave me this six song demo tape.

They were a rockin’ garage band, not the purist ’66 sort with moptops and Beatle boots…they were much more into the basic rock ’n roll of The Sonics and The Wailers. It’s no surprise that The Sinister Urge recorded two Sonics tracks for their demo tape namely ”Witch” and ”Boss Hoss”.

All six cuts are decent to great and would have made a killer vinyl EP but sadly it seems that no label was around in a hurry to release any of their material. Check out the monstrous fuzztoned punker ”Ain’t Yet Dead” for the kind of medicine The Sinister Urge could have administered given half the chance.

demo tape cuts:
”Ain’t Yet Dead”
”I Can’t Tell”
”Bad Attitude”
”Witch”
”Nobody’s Fool”
”Boss Hoss” 

Updates:
Any other information to add and when and where did the recordings take place?
Brian Guthrie our cut price, rotund, Don Arden wannabe, deluded svengali, decided a few years ago he was going to release the demo as a 10” EP.

It must be sitting at the bottom of his vast ’things to do’ pile. It’ll never happen. Luckily we own the stuff ourselves (unlike the 2nd Offhooks album which was a bit complicated..) and if anyone was interested in a retrospective 45 it would be easy to get together.

It does have all the old bite!! Recorded live to 4 track in Chamber Studio rehearsal rooms. Calvin should be able to tell you about how the vocals were done. We had such a blast recording it. George Miller from the Kaisers recorded and engineered it. Just done on the spot. Think Calvin and George did the mixing about a week later. 

Lindsay Hutton has left a message on my YouTube upload saying that the title is ”Ain’t Yet Dead” but the demo tape states ”Ain’t Dead Yet” – is it a typo on the cassette?
It used to be either or, but we did tended to write Aint Dead Yet on the setlist!

Never really got a sniff of a release back then, but it did make it on to a Beatsville comp released by Angus a good few years ago. The song is indeed ”Ain’t Yet Dead” according to the Gardyloo! comp. It’s now official . . . we didn’t even know the titles to our own songs!! 

(01/07/16)

PAUL MESSIS – ”A Matter Of Opinion” (State Records THSLP-005) April 2013

As the modern world wakes, eager to check the latest technology for their next hit of adoration, Paul Messis delivers reality right under their noses!

What with the ”NOW” generation drowning in their own apathy…like this, like that…liking a Paul Messis record isn’t as lazy as staring at the blue screen, pushing a button and letting everyone know you mindlessly think something is good! Paul’s take on music and indeed life itself, although seemingly complex, is in fact quite simple…let the reality prevail.

Don’t be a slave to connectivity if the prize is the empty feeling sensed from screen-bound isolation…Paul writes and records real songs, from the heart of that which drives him, whist understanding there is a real world out there…way beyond the virtual one of today’s illusion!

Case closed.

Marty Ratcliffe:

Combine loner folk-rock with mordant punk and you get Paul Messis ”Case Closed” – this came out on the ever reliable State Records three years ago. Check out his incisive trip into the world of 1965/66 folk jangle with ”A Matter Of Opinion”

(12/06/16)

HEAD AND THE HARES – ”Painted Air” / ”No Use In Tryin” / ”How Many” (Outer Limits OL.62.705) 1995

I posted images of both Head and the Hares singles way back in 2007 with the intention of writing about them, it seems that I forgot! For those who don’t know Head and the Hares formed in Rome during the late 80s but at this point in time they were called The Spookies, their sound was also radically different going all out for 60s garage punkers.

They changed direction and name then started creating a much more subtle sound mixing low-key folk rock with the purist teen sounds from New England from the ’66 era. Their cover versions became much more obscure with less focus on ”Back From The Grave” style boneshakers.

”Painted Air” originally recorded by The Remaining Few is an extraordinary cover version which is very faithful the 60s acid punk classic. Quite how The Head and the Hares were able to recreate this sound in the (mostly dullsville) 90s is mind boggling.

The other side of the disc is very special too. ”How Many” is a low-key moody gem and that’s followed by a killer version of The Five Bucks nugget ”No Use In Tryin”
This is certainly one of my favourite 45s from Italy.

(07/01/16)

HEAD AND THE HARES – ”Two Tymes” / ”Lost” (Stanton Park M-107) 1992

I posted images of both Head and the Hares singles way back in 2007 with the intention of writing about them, it seems that I forgot! For those who don’t know Head and the Hares formed during the late 80s but at this point in time they were called The Spookies, their sound was also radically different going all out for 60s garage punkers.

They changed direction and name then started creating a much more subtle sound mixing low-key folk rock with the purist teen sounds from New England from the ’66 era. Their cover versions became much more obscure with less focus on ”Back From The Grave” style boneshakers.

”Two Tymes” is a group original and sounds very cool indeed but even better is their version of ”Lost” written by T. McCall.  Is this Toussaint McCall? Anyway, if it is I’ve never heard the original but The Head & the Hares version certainly delivers the goods. Seek out this single as fast as you can for your kicks and shakes.

(05/01/16)

KEN SMART – ”The Company I Keep” / ”On A Day Like Today” (Vogue DV 14679) January 1968 

This is one of those one off records that would have been more or less ignored back when they were released. In a perfect world Ken Smart’s ”The Company I Keep” would have been bought by millions worldwide and Ken would have been rejoiced as the next talented psychedelic minstrel. Sadly, nothing became of this record or Ken Smart who is extremely neglected online to the extent that he’s almost oblivious. 

”The Company I Keep” is a joyful orchestrated pop psych ballad, beautifully sung and enriched with resplendent harmonies and a melody that is impossible to ignore. The other side ”On A Day Like Today” is also quite wistful but not in the same league as the top side. The record was released in Britain on Domain Records but Ken’s name was switched to Brindley D. Spender. It appears that the latter is his real name. Production by Miki Dallon.

(28/08/20)

THE NORTH STARS – ”For My True Love” / ”Nothing But The Best” (Fontana TF 581) June 1965

Back in 2014 I wrote about The North Stars’ second and last record ”She’s So Far Out She’s In” released during July 1966. Recently, I found this rare picture of The North Stars in a vintage Music Echo so decided to create a YouTube video for their first single ”For My True Love.”

I’m a sucker for British Beat music and this number is an easy paced beat ballad reminiscent of records by The Merseybeats, Wayne Fontana & the Mindbenders, The Fourmost etc.

The other side ”Nothing But The Best” is not up to the same standards and is something of a novelty song to my ears. Both sides of the disc written by David Parkin.

(19/07/20)

VELVETT FOGG – ”Lady Caroline” (Pye NSPL.18272) 1969

Velvett Fogg are thee latest ”Hyghe Knyghtes” offering with their stupendous psychedelic murderous ballad ”Lady Caroline.” It’s all about Maidens, Castles, Jealousy, Murder and ultimately Lady Caroline’s Execution. A Medieval lament from a late 60s group wearing lipstick and paint.

Check it out for your way-0ut excursion to England in 1066 or something like that.

(17/03/18)

MARK FRY – ”The Witch” (IT ZSLT 70006) 1972

If psychedelic folk reverie is your bag have a listen to Mark Fry’s dark epic ”The Witch” from 1972. Man this is way-out and lasts for just under seven minutes so my suggestion is to spark up one of your favourite jazz cigarettes or do like me and have a cup of Earl Grey and a Cinnamon bagel. Then lose yourself in it’s sheer splendour.

The YT upload below uses footage from a TV kids show called ”Pogles’ Wood” which had an evil Witch. It ran from 1965-68 and has never been repeated since the early 1970s cos the Witch freaked out the kids…..This is just too much and it’s now official… ”Hyghe Knyghte” status granted to Lord Fry.

(17/03/18)

KEVIN AYERS – ”Girl On A Swing” (Harvest SHVL 763) November 1969

Arise, Sir Kevin Ayers…ex Soft Machine and creator of this wonderful album ”Joy Of A Toy” released in late 1969. The tracks were recorded at Abbey Road studios during the Summer of that year with assistance from Robert Wyatt, David Bedford and Hugh Hopper.

”Hyghe Knyghte” status attained with his whimsical, evocative and completely English sounding numbers ”Girl On A Swing” and ”The Lady Rachel”

Kevin died in 2013.

(13/03/18)

LEMON TREE – ”William Chalker’s Time Machine” / ”I Can Touch A Rainbow” (Parlophone R 5671) March 1968

Today’s 45 of choice is this psychedelic pop charmer by Lemon Tree which one could easily mistake for a Move record such is the resemblance of their sound. On closer inspection ”William Chalker’s Time Machine” was written by Ace Kefford and co-produced by fellow Move man Trevor Burton. Lemon Tree were also from Birmingham, just like The Move.

(22/02/18)

WORLD OF OZ – ”King Croesus” / ”Jack” (Deram DM-205) August 1968

This single was the World Of Oz follow up to the well received ”Muffin Man” but sadly this one went no where fast. ”King Croesus” is a much stronger disc though and has the typical English ’68 sound with heavy orchestration, hammond organ, strong bass notes and slightly treated vocals, at least that’s how they sound to me.

The disc was worked on by Manfred Mann guitarist Mike Vickers and enhanced by in house Deram producer Wayne Bickerton who is perhaps best remembered for his work with King Crimson.

This is my Dutch copy which came housed in a picture sleeve.

(17/02/18)

GORDON WALLER – “Rosecrans Blvd” / ”Red, Cream And Velvet” (Columbia DB 8337) January 1968

This is a lovely Jim Webb song that Fifth Dimension did on their LP and Johnny Rivers did so well and that was one of my favourite songs last year. A plaintive doomy little song about a man who keeps returning to the scene of an old love affair, this is Gordon’s first solo effort and his voice sounds very good indeed. I am a little worried about the arrangement, which sounds uncomfortable and speeds up worryingly in parts, it tries to be a bit too clever, I fear. 

I fear I’m too familiar with the song to really be able to judge his chances commercially. I just wish the splendid Mr Waller good luck.

(Penny Valentine review – Disc & Music Echo, January 1968)

UK Chart Position: None

(10/02/18)

CONSORTIUM – ”Melanie Cries Alone” / ”Copper Coloured Years” (Trend TNT 52) January 1970

This record caught me by surprise because I don’t normally venture into the year 1970 here on my website. West Coast Consortium were a vocal harmony group from England who mixed Association and Beach Boys sounds into their original mix of late sixties pop.

They were one of those groups who released interesting and polished pop singles but sadly none of them ever seemed to click to take them to the next level. Common with several groups back in the sixties they chipped away at their name and began releasing records as simply Consortium.

Hidden away on the B-Side of ”Melanie Cries Alone” is the pleasant, slickly produced and arranged ”Copper Coloured Years” which in my opinion may have stood a chance at cracking the Charts.

Nothing happened of course and this outstanding flip was probably only heard by the fortunate few.

UK Chart Position: None

(01/02/18)

THE HERD – ”So Much In Love” / ”This Boy’s Always Been True” (Parlophone R 5413) February 1966

Try finding a copy of this Herd Parlophone rarity from 1966, before they signed to the Fontana label. May even have been before Peter Frampton joined. The top side ”So Much In Love” is a recording of a Jagger / Richard song and had chart potential but didn’t click in the Charts.

”This Boy’s Always Been True” seems to have been inspired by The Who, similar guitar sound, pounding bass and Moon like drums. Shame that the vocals are not as strident as say Marriott’s or Don Fardon’s because this mod beater could have been a freakbeat monster. Still good though.

(21/01/18)

SIMON DUPREE & the BIG SOUND – ”Without Reservations” (Parlophone PCS 7029) May 1967

Between them, they don’t dig racial prejudice…potatoes…namedroppers…early rising and crowded beaches, but on the other hand, they comprise half a dozen minds with but a single passion in life…namely, MUSIC!!

As a matter of fact, I remember very well a late night in 1966 when I was invited to a dinner in the Royal Borough of Kensington, London W.8. to take in a little chicken, asparagus and potatoes, followed by strawberries and cream, and as it happens, it was a night when having drunk the coffee, one toyed with the idea of ….”and where do we go from here?”

But let me go back a little beyond that night because I remember hearing a crop of the week’s new releases that didn’t seem to have any special quality to ignite the imagination until I came across a Parlophone labelled single entitled ”I See The Light.” I played it three or four times on the trot and decided that someone just might be into something good – particularly the ones known as Simon Dupree & the Big Sound!!!

I hadn’t heard them before this single hit the scene, but I was so convinced of their ”Top Twenty” potential I poured passion into the microphone telling one and all that it was only a matter of time before they’d have the pop record buying public at their feet.

I must have enthused a little because I remember being asked ”Have you gone into the Agency Business?” Well, to get back to the post coffee period, we were told exactly ”where we went from there”…straight to the middle of the dance floor and lured by the exhilarating beat of Simon Dupree!!!

Not a soul remained seated, and as I shook by the group, I shouted to the fellas… ”Top ten in four weeks from now!”

But strange is the pattern of success in pop dictated by the frantic fans who supply it’s lifeline….The fellas didn’t see much of the light…then they followed up with ”Reservations.” As I scribble these cover notes by invitation (I’d have made application for the job without invite anyway) Simon & Co have another single out called ”Day Time, Night Time”. With the same initial belief in their ability I won’t revert to the superstition bit of ’third time lucky’ but those three tracks alone make this a part of any fan’s supply. Get a load of ”Teacher, Teacher”…”Get Off My Bach” and then some!

The boys have also included some of their popular Club numbers such as ”Amen” …”What Is Soul” and ”Love”. Someone will see the light sooner or later, and if you don’t mind…sooner! Huh?
(back cover notes: Alan Freeman)

(07/10/17)

STATUS QUO – ”Messages From The Status Quo” (Cadet Concept LPS 315) 1968

Now we’re talking, the first album from Status Quo, early 1968 release. Before they went hard rock/boogie….top shelf psychedelic pop music here my dear acid brethren.

This is from a batch of black gold I bought last week, £20 for a hardly played disc by the look of it….bargain. American pressing on Cadet Concept.

(03/10/17)

THE ZOMBIES – ”Zombies” EP (Decca DFE 8598) January 1965

The Zombies all came from the St Albans, Hertfordshire, area where they began their career playing local clubs and at school dances. The founder members of the group were organist Rod Argent, drummer Hugh Grundy and lead guitarist Paul Atkinson. They were joined by bass guitarist Chris White and vocalist/guitarist Colin Blunstone.

For a time they were only moderately successful, but a break-up was averted by their winning a beat competition sponsored by the Evening News. Riding on their first wave of success, they recorded ”She’s Not There”, penned by Rod Argent and took it high in the charts. Now they are in great demand for TV and stage appearances, one-night stands, ballroom and club dates.

(01/10/17)

Back in the early to mid 1990s Record Collector magazine published a monthly feature on 60s UK psychedelia titled ”The British Psychedelic Trip.” It was an in depth A to Z of all the groups who recorded mind expansion and fuzz fuelled pop.

Some very obscure groups were featured including The Societie who hailed from Glasgow and were talent spotted by The Hollies during one of their tours of Scotland. Allan Clarke was so impressed by this late teens outfit that he encouraged them to travel to London for some recordings which became their one and only single on Deram, released during November 1967.

Allan Clarke produced the disc and it’s perhaps no surprise that ”Bird Has Flown” has Hollies similarities, especially the lead vocals but the harmonies are very much Holliesesque. The B-Side ”Breaking Down” is in a mod soul direction and I really dig this one too.

Both sides were compiled on the late 80s Decal release ”Deram Dayze”

(03/09/17)

Felius Andromeda released only one single during their brief lifespan and it’s become one of the most desirable discs to obtain for UK Psych collectors, trouble being of course that obscure psychedelic releases in 1967 are virtually impossible to find.

Fortunately Bam Caruso compiled both sides ”Meditations” / ”Cheadle Health Delusions” on their ’Rubble 11’ sub-titled ”Adventures In The Mist.”

”Meditations” has since appeared elsewhere but the flip ”Cheadle Health Delusions” hasn’t had the same treatment and has become just a passing footnote.

I have an extensive 1960s magazine and music weeklies archive and recently found this small Felius Andromeda article in Record Mirror – November 1967. Despite the publicity given to ”Meditations” the record wasn’t a hit and no more releases ensued.

(02/09/17)

PETER FENTON – ”I Was Lord Kitchener’s Valet” / ”Walking In Circles” (Fontana TF 789) February 1967

Here’s one of those strange novelty records recorded by an artist that I have no information about.

Whoever Peter Fenton was it’s clear that he ramped up the posh upper-class English accent in glorious style. The music itself is totally Victoriana Music Hall, a sound that several of the English beat groups were experimenting with at the time.

”I Was Lord Kitchener’s Valet” was probably an attempt to ’cash-in’ on the popularity of second hand clothing boutique on Portobello Road, London famed in the sixties for selling antique military uniforms as fashion items.

File this record beside The Purple Gang ”Granny Takes A Trip” and The Kinks ”Dedicated Follower Of Fashion” which of course had similar themes and were pure swinging sixties.

(14/08/17)

NEW YORK PUBLIC LIBRARY – ”Got To Get Away” / ”Time Wastin’” (MCA MU-1025) June 1968

A rather bizarre name for a group who were probably based in London during the late sixties but whose members were from the West Yorkshire region. Terry Stokes and Dave Bower were in mid sixties beat group The Cherokees but it appears that they formed this new outfit when the latter had run it’s course, adding Brian Morris and Topper Clay.

After years off looking for a copy I finally found one!!!
1968 psych-tinged rock with chiming guitars, a loud bass mix and pure pop harmonies. Killer…but like most of the really good underground sounds this one sank without a trace.

UK Chart Position: None

(05/08/17)

THE JET SET – ”You Got Me Hooked” / ”True To You” (Capitol 5358) April 1965

This obscure beat record from The Jet Set is where it’s at. Released on Parlophone in Britain during November 1964. Hardly ever shows up though. Much easier and cheaper to track down the American Capitol disc which was released some months later in the Spring of 1965.

(27/07/17)

FREDDIE STARR & the MIDNIGHTERS – ”Who Told You” / ”Peter Gunn Locomotion” (Decca F.11663) May 1963

Freddie Starr is now better known in Britain as a comedian but back in the merseybeat days he led a group called The Midnighters. ”Peter Gunn Locomotion” is their hard driving beat number…
Joe Meek production, Lord Sutch-like screams, 1963 toughness.

(23/07/17)

THE FOUNDATIONS – ”Build Me Up Buttercup” / ”New Direction” (Pye 7N.17636) November 1968

On the flip side of The Foundations big hit ”Build Me Up Buttercup” is this pounding psychedelic soul number. Starts with a kind of Star Trek organ sound, builds into a Swinging London spy thriller tune, then goes all heavy. Loads of brass, organ and bad trip lyrics

”Colours swirling, emotions whirling, my mind is upside down.”

Get with their ”New Direction.”

UK Chart Position: #2

(21/07/17)

NEW YORK PUBLIC LIBRARY – ”Love Me Two Times” / ”Which Way To Go” (MU 1045) October 1968

A rather bizarre name for a group who were probably based in London during the late sixties but whose members were from the West Yorkshire region. Terry Stokes and Dave Bower were in mid sixties beat group The Cherokees but it appears that they formed this new outfit when the latter had run it’s course, adding Brian Morris and Topper Clay.

 ”Love Me Two Times” is a memorable cover of the Doors classics, the other side written by Morris is a worthy blues rocker. A collection of New York Public Library recordings is long overdue, perhaps even throw in their beat period as The Cherokees to create a fuller package.

UK Chart Position: None

as per Alphabeat Annual 1969:
Brian and Topper joined Terry and Dave of New York Public Library in November 1967. They had met while playing in different groups in Germany, found they had the same ideas and feelings about music and remained in close contact. It was only a matter of time before they were able to get together.

It took a few months to find the number they felt was right for them to record. They also played regularly at Universities, Colleges and London clubs such as The Speakeasy, Sybilla’s and Blaises.

(20/07/17)

UNIT FOUR plus TWO – ”You’ve Got To Be Cruel To Be Kind” / ”I Won’t Let You Down” (Decca F.12299) December 1965

ACE 1965 guitar jangle / Beach Boys sounding number, love the rattling drums and guitar break on this. Shame it was hidden away on the B-Side of a poor selling record. ”I Won’t Let You Down” is a winner though, grab it if you can.

UK Chart Position: None

(18/07/17)

FORCE WEST – ”All The Children Sleep” / ”Desolation” (Columbia DB 8174) April 1967

This Bristol based group released several singles during the 1960s on various labels including Decca, Columbia and CBS but somehow failed to achieve any success beyond their home areas.

Despite this lack of Chart entries they’re certainly an outfit that deserves attention and hopefully I’ll add more of their discs to my collection in the future.

The A-Side ”All The Children Play” is a cheeky re-write of Los Brincos 1966 Spanish hit ”Mejor.”

It’s worth hearing though but I wonder just what would have happened with regards to infringement laws if it was a hit record for Force West.

So I’ll move swiftly on to the flip ”Desolation” which is a terrific folk jangler with an up-tempo beat, great drums, clattering tambourine throughout and harmonies. Force West were good enough to merge the best parts of The Searchers with The Hollies to make their marvellous ”Desolation”. Such a shame it was hidden on the B-Side of a record that probably sold in small quantity.

(24/06/17)

FORCE WEST – ”I’ll Walk In The Rain” / ”What’s It To Be” (CBS 3632) August 1968

This Bristol based group released several singles during the 1960s on various labels including Decca, Columbia and CBS but somehow failed to achieve any success beyond their home areas. Despite this lack of Chart entries they’re certainly an outfit that deserves attention and hopefully I’ll add more of their discs to my collection in the future.

”I’ll Walk In The Rain” has a huge sound, like a combination of The Bee Gees with The Flowerpot Men. It’s lovely orchestrated pop with sort of West Coast style harmonies. An ideal sound for the radio back in the Summer of 1968 but it didn’t click and become successful. I’ve created a YouTube video and it’s the first time it’s been uploaded!

Force West had a one-off CBS single calling themselves The Oscar Bicycle. By the end of the 60s they were known as The Shakane.

(17/06/17)

WARM SOUNDS – ”Sticks And Stones” / ”Angeline” (Columbia CF 114) August 1967

Warm Sounds created a lot of attention with ”Birds And The Bees” and they’ll certainly do the same with this one, though I can’t really decide whether I like it or whether it’s really the stuff hits are made of.

An oddly un-orchestrated piece of work with an insane lyric based on the ’sticks and stones may break your bones but words will never hurt me’ theory. I remember we used to put out our tongues and waggle our fingers on our heads when we said it….charming children… I don’t know whether Warm Sounds do or not.
(Penny Valentine review – Disc & Music Echo – 29/07/67)

So what about the flip ”Angeline” – well it’s a well constructed and simple pop song with dual vocals and lots of tambourine. A very decent B-Side but because it plays for almost four minutes was probably not considered single length material for ’67.

In Britain the single was released on the Immediate label and can be found on the CD compilation ”The Immediate Alternative”

UK Chart Position: None 

(10/06/17)

THE TREMELOES – ”Even The Bad Times Are Good” / ”Jenny’s Alright” (CBS 2930) August 1967

One thing you could never accuse the Tremeloes of is being complicated. This, then, is another saga of simplicity and drum thumping much in the vein of ”Here Comes My Baby.”

For one moment at the beginning when everyone broke into extraordinary cackling I had doubts and wondered if the Tremeloes were about to freak out. But ah, no, here we go, lads….thump, bang, crash, wallop. It moves along though, and you have to admit it’s very persistent and will doubtless be a hit.
(Penny Valentine review – Disc & Music Echo – 29/07/67)

UK ChartPosition: 4 

(10/06/17)

THE FLOWERPOT MEN – ”Let’s Go To San Fransisco” Parts 1 & 2 (Deram 17.003) August 1967

Records are getting more and more complicated. This Flowerpot Men is a fine example, apart from being a sort of National Anthem for the Flower-children. It covers both sides of the single and is really about everyone going to SF because that’s where it’s beautiful and sunny and flowering.

The song, split into two separate movements – a very slow part where they actually GET there that starts the second side, and a faster beginning and end – was written by Ken Lewis and Perry Ford. It’s very hard to judge it’s chart chances even though it has a very nice tune, but it should do very well in America.
(Penny Valentine review – Disc & Music Echo – 29/07/67)

UK Chart Position: 4 

(10/06/17)

THE WRANGLERS – ”Liza Jane” / ”It Just Won’t Work” (Parlophone R 5163) July 1964

”Liza Jane” is a fabulous hard drivin’ 1964 rattlesnake beat shaker that deserved to do well in the charts but somehow failed to crack open the door of success. They were from the south London area and had a big following but still this record didn’t take off in the same way that singles from The Pretty Things and The Rolling Stones did.

For their second single ”The Tracker” / ”You Gotta Give” released on Pye they were known as Kenny Bernard and the Wranglers.

UK Chart Position: None

(07/06/17)

THE TRANSATLANTICS – ”Many Things From Your Window” / ”I Tried To Forget” (Fontana TF 593) July 1965

The Transatlantics were one of those British beat groups who released several singles during their short life span but none clicked with the record buying public despite having some interesting sides. This disc was their debut release in the Summer of 1965.

The top side ”Many Things From Your Window” is pleasant enough Searchers inspired beat pop without much of a lasting impression. Turn it over for the very moody ”I Tried To Forget” which is a sound a lot of teen garage combos from the USA seemed to be attracted to. By the way, the first three singles by The Transatlantics were released in America on the Jubilee label. They’re a group I hope to find out more about in the future.

UK Chart Position: None

(07/06/17)

HUNGER! – ”Mind Machine” / ”Colors” (Public 1001) December 1968

I’ve had this record for years but for some reason or another never got around to writing about it. First of all it’s a sought after disc and quite rare. It probably never got beyond promotional copy stage and of course Hunger! aren’t exactly a well known group.

Hunger! relocated from Portland, OR sometime in the late sixties to get where the action was in Los Angeles. Once in L.A. they set about creating waves by supporting the leading contenders especially The Doors. I’ve never seen any vintage psychedelic posters confirming this but I’m sure they will be out there somewhere.

I first became aware of Hunger! in the mid eighties from the compilation ”Highs In The Mid Sixties – Volume 3” which resurrected ”Colors” – who were Hunger! I’d ask myself and how cool it was that they ended their name with an exclamation mark.

Both sides were probably recorded during late 1968 but perhaps not released until early 1969. Some online sources suggest a December 1968 release but ”Teenbeat Mayhem” gives March 1969.
”Colors” for me is their stand out song although there are plenty of way-out nuggets on their album ”Strictly From Hunger!” But at two minutes long ”Colors” is where it’s at, wyld organ, trippy FX, fab lead guitar sound and a too short lead break. They say what they need to say and are gone.

Hunger! have a strong Strawberry Alarm Clock connection as their drummer Gene Gunnels was the original SAC and Thee Sixpence skin thumper. A later line-up included Ed King.    

(31/07/16)

BOYCE & HART – ”Alice Long (You’re Still My Favorite Girlfriend)” / ”P.O. Box 9847” (A&M210 033) August 1968

Today’s piece of ACE paisley pop is Boyce & Hart’s recording of ”P.O. Box 9847” which was released as the B-Side of ”Alice Long” back in the Summer of 1968. Listen out for some fab ’Revolver’ era guitar licks.

The Monkees also recorded this gem for their album ”The Birds, The Bees & The Monkees” Micky Dolenz handles lead vocals…
Greatness…

(22/05/16)

THE STARFIRES – ”I Never Loved Her” / ”Linda” (G.I. Records 4001) May 1965

Here’s a legendary record among 60s garage enthusiasts, The Starfires from Los Angeles with their intense and downright vicious tune ”I Never Loved Her”. This side scored a maximum ”10” in ’Teenbeat Mayhem’ confirming it one of the true greats of the genre.

Original copies sell for over $1,000 nowadays and so are obviously outta the range of most collectors. However, I own a great sounding white label bootleg. My advice is to catch ’em while you can. The original copies have gold labels with red writing and no doubt sound even better than this bootleg. It’s believed only 25 copies or less exist!

With it’s pounding bass, snarling vocals, screams, snotty attitude and teen angst ”I Never Loved Her” will live long in your memory.

(21/05/16)

THE TRADE WINDS – ”Mind Excursion” / ”Little Susan’s Dreamin” (Kama Sutra KA212) July 1967

New York based group The Trade Winds were centred around duo Peter Andreoli and Vincent Poncia who had been together previously as The Videls. They also wrote songs together which were recorded by Phil Spector’s artists in the early 60s.

You’d expect a head rush of acid sounds with a song title like ”Mind Excursion” but it demonstrates how straight groups co-opted the trend for utilizing a suggestive title that, in actuality, encouraged a positive physical adventure rather than a head trip. With it’s gorgeous melody and distinctive ’harp’ sounds sprinkled over the chorus the song had every chance to hit the Top 50 in USA, which it did. In some regions it even went Top 5 and stayed on radio playlists for several months after it’s release.

For some reason The Trade Winds changed their name to The Innocence and continued releasing records during 1967.

”Mind Excursion” was recorded by several other artists during the late sixties including Wayne Fontana, check out the B-Side of his solo single ”The Words Of Bartholomew” from May 1968.
Two version were released during 1969 one by Bob Dileo and another by Australian vocalist Lynne Randell.

(09/04/16)

THE AFFECTION COLLECTION – ”The Collector” (Evolution 2007) late 1969

The Affection Collection of every young individual is indeed a rare and precious one…even if only in memory. Some will remember with loving affection such things as knowing the feeling of being wanted and of being loved…and of building dreams for tomorrow.

You think of such things when you meet the young men who sport the name The Affection Collection. With hair just long enough to look neat…smiles a mile wide…and attitudes that would be a source of pride for anyone, anytime, anywhere, these boys drove to Norman Petty’s studio in Clovis, New Mexico, with ideas in mind…ideas to record and to become successful in music.

Mike Doggett writes songs, plays the guitar and seems to be the thinker of the group, Hal Rowberry is the movie star material of the bunch with good looks that he is comfortably aware of. Hal sings and clowns a bit and seems to get along very well with all ladies…young and old!

Then you must meet Don Christensen who plays organ and piano, sings, and worries a great deal about the next six or seven meals per day. He even thought of marriage, but has decided that he is too young for that sort of thing at the present. Tim Comeau plays drums, worries about malnutrition and money, and tries to sleep a lot. Ray Hassell is the fire cracker of the group with enough drive to hustle anyone or anything! He may turn out to be America’s youngest, richest, promotion man and plays bass on the side.

When you meet these boys, you may be surprised to learn that they are young…and old fashioned at the same time…just enough to be real. They look young, think young, have fun, and enjoy singing and making people happy with their music.

We at Stereo Dimension think that you will enjoy this collection, and that is the object of the affections of The Affection Collection.

(03/04/16)

THE #1 – ”The Collector” / ”Cracks In The Sidewalk” (Kapp K-824) April 1967

I’ve been fascinated by the song ”The Collector” for a number of years having discovered it on The Everly Brothers album ”Two Yanks In England.” I wanted to find out more which led me to Sonny Curtis who wrote the song. Sonny was a member of Buddy Holly’s backing band The Crickets.

I wrote about his version a few years ago but it’s taken me an age to get around to uncovering ”The Collector” by The #1. The latter hailed from Ridgefield, Connecticut and recorded as The Blue Beats before this disc on Kapp.

The #1’s version adds a more baroque psychedelic feel but it still retains the darkness of this fabulous psychedelic ballad.

‘I’m a collector of beautiful things I capture and keep them and pin down their wings.”

line-up:
Louie Mazza (drums)
Peter Robbins (bass)
Chris Covell (vocals / lead guitar)
Gary Quinn (rhythm guitar)

recordings of ”The Collector”
The Everly Brothers – ”Two Yanks In England”- released July 1966
Sonny Curtis (Viva-607) January 1967
The #1 (Kapp K-824) April 1967
The All Night Workers (Mercury 72833) July 1968
The Affection Collection – self titled album (Evolution 2007) late 1969 

(02/04/16)

THE CHILDREN OF DARKNESS – ”She’s Mine” / ”Sugar Shack A Go-Go” (Royce 5140) September 1966

I’m currently writing about my recent purchases and this one by Newark, Ohio combo The Children Of Darkness is one such nugget that took me years to finally add to my collection. I used to see it for sale quite often in the $60 – $100 region but for some reason the price soared to $200+ in recent times.

My copy is the red label second pressing on Royce which probably dates from early 1967. There was an earlier release on Royce with a green label. I’ve read that the group were disappointed with their first recording so went back into the studio to cut the disc again.

”She’s Mine” is a crude ’66 punker dominated by the compact organ sound. The singer offers his snotty rant proclaiming his love for his girl. No romantic slush here.

”She’s the kinda girl you like to meet
When you’re walkin’ down the street.”

The other side ”Sugar Shack A -Go-Go” is a frat rocker and is something of the theme song for The Sugar Shack which was the Club where The Children Of Darkness were the house band.

It’s believed that singer Howard ”Bird” Bartram and organist Mike Hopper are now deceased.

”She’s Mine” was compiled on ’Back From The Grave – Volume 2’

(01/04/16)

THE KNAVES – ”Leave Me Alone” / ”The Girl I Threw Away” (Dunwich DN-147) January 1967

The first thing you’ll notice about vintage Dunwich 45s is that they’re mastered LOUD. This one is no exception, the sound literally bursts outta the speakers when the needle hits the vinyl. This is the reason I buy singles. Nothing can compare.

So what about The Knaves? They hailed from Chicago and released this fab two-sider on local label Glen Records in late 1966. The single was then picked up by Dunwich for a wider distribution. According to ’Teenbeat Mayhem’ the Glen recording is a different mix to the one Dunwich released. Apparently it has louder backing vocals and harmonica on the R&B punker ”Leave Me Alone.” 

Sundazed unearthed unreleased tracks on their ”Oh Yeah!” CD compilation from the early nineties, including a stereo mix of ”The Girl I Threw Away.” Also located on master tapes were ”Tease Me” ”Inside Out”, ”Your Stuff” and a stereo mix of ”Leave Me Alone.”
Another song ”Away” was compiled on their Dunwich follow up CD ”If You’re Ready.”

My pick is the strident folk jangler ”The Girl I Threw Away” which simply shimmers in coolness. 

(31/03/16)

RABBIT MACKAY & THE SOMIS RHYTHM BAND – ”Lana Minus Life” (UNI 73026) June 1968

I bought this album back in 2003, played it once, didn’t dig it much mainly because I heard nothing like their earlier psych rocker single ”Tendency To Be Free” so I filed it away on the shelf. I’d almost forgot about it but that was until Rabbit Mackay was mentioned on Facebook earlier this week.

Half an hour later I’m giving ”Bug Cloth” a spin for the first time in over a decade and I’m now beginning to dig it from start to finish, even the couple of songs where there’s use of a kazoo ain’t too bad. The music is varied and interesting, blues and folk based with the occasional dalliance into a West Coast psych vibration perfectly demonstrated by my choice cut ”Lana Minus Life.”

”Lana Minus Life” gets into a laid back hippie groove and I start to drift away to Rabbit’s ’spoken’ vocals, then a snaking acid guitar break worms away in the background. Love the burst of harmonica as the song closes and ebbs away.

(05/03/16)

CANNERY ROW – ”Stand By Me” / ”Sweet Water” (World Pacific 77925) July 1969

I had no idea about this record until I was contacted by Gerry Blake via Facebook who informed me that he was in a group called Cannery Row after his previous band The Avengers broke up. Cannery Row were prior to the album he was part of by The United Sons Of America.

He obviously forgot to mention this after we were in contact about The Avengers some years ago! Anyway, I made an effort to track down the Cannery Row 45 and obtained a copy within weeks from a UK source.

”Sweet Water” has that typical late 60s American rock sound, influenced no doubt by groups such as Vanilla Fudge and The Young Rascals with heavy use of hammond organ. This song was composed by Gerry. The A-Side ”Stand By Me” is more soulful with crooner style lead vocals and harmonies.
My preference is ”Sweet Water.”

Larry Goldberg is the famous West Coast producer of the disc who is well known in psychedelic circles having worked with numerous outfits including The Other Half, The Love Exchange and The Neighb’rhood Childr’n.

Another Cannery Row release followed this one in April 1970 on World Pacific 77936. I believe it was a radio station promo single with ”Oh Suzannah” on both sides.

Gerry Blake, Ron Sackman and Gary Bernard were ex members of The Avengers.  

(22/02/16)

THE FREEBORNE – ”Yellow Sky” (Monitor) May 1968

Readers may have noticed that I’m covering 60s psych songs with either ’sky’ or ’skies’ within the song title. I never for one moment realized that there were so many until I started doing some research and flicked through my archive of 45s and vinyl LPs.

This leads me to obscure teenage group The Freeborne from Boston, Massachusetts. They released an album during May 1968 on the Monitor Record label and hung around long enough to make waves in their home domain.

My pick is the rather British influenced psych of ”Yellow Sky” which is notable for it’s trippy wah wah guitars, weaving drum patterns, la la la background vocals and off-kilter time changes.

Reader comment:

Chocolate Chip, Blue Flats, Orange Sunshine … A crack in the sky flashes green and purple…. “The Freeborne” a product of the times. Nice selection Colin. I first heard “The Freeborne” on Alison Steele’s (The Nightbird Show) (WNEW-FM) back in the day. Although what I remember Alison playing was “Visions Of My Own and Land Of Diana. And yes, “Visions Of My Own” carried the obligatory la la la background vocals.Thanks For The Sounds,TK

(07/02/16)

BRYAN MACLEAN – ”Orange Skies” 1966

Following on from my earlier post of the Love version of ”Orange Skies” here’s songwriter Bryan Maclean’s earlier acoustic demo. Just Bryan, his guitar and those unique tender vocals.

Extract from Sundazed’s Bryan MacLean CD retrospective ”Ifyoubelievein” from 1997.
In those few instances when MacLean’s songwriting matched Lee’s exacting standards, the actual recording sessions were stressful and, to MacLean, often disappointing. He didn’t even get to sing ”Orange Skies” on Da Capo: Lee did the honours.

”That was the closest Arthur and I ever got to a fist fight”, he says of the September 27, 1966 session for the song. ”I never felt that he was on pitch. Maybe he didn’t miss as bad as I thought he did while we were in the studio. But he misses on orange. I don’t think he quite got the notes. Then again, he was always singing out of his range.”

(06/02/16)

LOVE – ”Stephanie Knows Who” / ”Orange Skies” (Elektra EK-45608) October 1966

This is a rare Love record, it’s my white label promo sent to Radio Stations back in October 1966. It was then quickly withdrawn and released again but this time replacing ”Stephanie Knows Who” with ”She Comes In Colors.” Quite why is anybody’s guess!

I’ll focus on Brian Maclean’s rhythmic latin love ballad ”Orange Skies” which he wrote in 1965 when he was a young roadie for The Byrds. The following information is taken from the liners of my ”Da Capo” CD re-issue on Elektra.

Good vibes notwithstanding, the first day of recording on September 27th, 1966 at RCA Studios in Hollywood held some tense moments.

”On ’Orange Skies’ there’s a flute part in there and they kept threatening to call Herbie Mann in because Tjay could not get this part right simply because we were out of tune,” remembers Echols. ”You see what happened was we tuned up this harpsichord and the harpsichord was off and so everything was slightly off and he couldn’t get his flute to play in tune.”

(06/02/16)

THE HARD TIMES – ”Loving You” / ”You Couldn’t Love Me” (Ultimate 1) March 1966

Online website Garage Hangover has the scoop on this group from Birmingham, Alabama including rare photos and an interview with a member of the band.

”You Couldn’t Love Me” was a throwaway B-Side which was basically a one take recording. I don’t think it’s that great mainly because the vocals are in a greaser rocker style but the twangy guitar is neat. The other side is a ballad with female backing vocals.

The Hard Times changed their name to The Rites Of Spring and released ”Comin’ On Back To Me” / ”Why” on Parkway during the back end of ’66.

(03/02/16)

THE CHOSEN FEW – ”Asian Chrome” / ”The Earth Above The Sky Below” (Liberty 55962) April 1967

There were numerous groups in the 60s called The Chosen Few, this particular outfit is believed to have been based in Simi Valley, California.

Their first single of two on the Liberty label was ”Synthetic Man” / ”Last Man Alive” and is well worth locating, quite a strange sound creation, many ideas too. The same can be said for their final single released April 1967.

”Asian Chrome” is perhaps The Chosen Few’s most well known song having gained exposure on Boulders #7 back in the mid 80s. No doubt the sound quality was terrible on that thing so I would suggest finding a copy of the original 45.

The other side ”The Earth Above The Sky Below” is a psychedelic pop gem, the lead vocals are strong and the background ’ba ba bah’s’ add a certain trippy texture. There is also an off-kilter recorder break, at least that’s what I think it is. Most definitely a group with their own unique sound over their two single releases.

(02/02/16)

THE SAN FRANCISCO EARTHQUAKE – ”That Same Old Fat Man” / I Feel Loved” (Smash S-2117) September 1967

”That Same Old Fat Man” is bouncy and pleasant 60s pop psych composed and recorded by Kenny Young. I’m not certain if San Francisco Earthquake were a group as such, my guess is that it was basically just Young and some studio musicians……toytown here we come!

This was the debut San Francisco Earthquake single on Smash and four more would follow over the next two years. I have found no evidence that any of them were hits so Kenny Young did very well indeed to get his songs heard via 45s.

(01/02/16)

THE CALIFORNIA SPECTRUM – ”Sassafras” / ”Obviously Bad” (Rasberry Swawfly 9735) 1968

Here’s one of my latest rare and obscure 60s psych 45s. This is by The California Spectrum which were The West Coast Pop Art Experimental Band recorded under a pseudonym during 1968.

”Sassafras” is a melodic folk tune, produced by Bob Markley. I don’t suppose the record had much distribution beyond Los Angeles.  Pacific Palisades, CA (otherwise known as Santa Monica) is where Jim Morrison and amigos hung, in the beachy neighborhood of UCLA.

The other side ”Obviously Bad” is a short instrumental.

(31/01/16)

THE SUNSHINE COMPANY – ”I Need You” (Imperial Records LP-12359) 1967

My Sunshine Company excavation continues with their first album release on Imperial Records from 1967. The long player was only released in America and it contains a couple of songs not available on the UK release which was basically a patched up version of their first two American albums.

My pick is their splendid interpretation of The Beatles’ ”I Need You” written by George Harrison and available on their 1965 ”Help” release. The Sunshine Company transform the song into a flower pop gem, adding harmonies and baroque instrumentation to create a perfect soundscape of Los Angeles coolness.

Bill McEuen, Manager of The Nitty Gritty Dirt Band discovered them during their first engagement at The Mecca, a Southern California folk club. Two weeks later their unique sound was recorded by Imperial Records.

The Sunshine Company concentrate on vocals. They are famous for their beautiful vocal qualities and harmonic blends. They are all serious musicians and are very creative instrumentally, but they realize that talent is not necessarily commensurate with degree of volume. (Sue Cameron – Teen Magazine)

line-up:
Maury Manseau (vocals, rhythm guitar)
Larry Sims (bass)
Merle Brigante (drums)
Douglas Mark (lead guitar)
Mary Nance (vocals)

(24/01/16)

BILLY JOE ROYAL – ”Pollyanna” (CBS BPG-62590) August 1965

CBS is proud to welcome Billy Joe Royal, an electrifying new vocalist, to its distinguished roster of recording artists. Within a few weeks of its initial release in America, Billy Joe’s debut single, ”Down In The Boondocks,” moved with astonishing speed toward the top of the country’s best-seller charts. Suddenly, an exciting new talent skyrocketed into national prominence.

Now, in his auspicious CBS debut album, this dynamic young singer is heard in a full programme of great songs, nine of them brand new – including his smash hit, ”Down In The Boondocks.”

A versatile vocalist who also plays guitar, drums and piano, Billy Joe Royal was born in Valdosta, Georgia. When still a youngster, he moved with his family to Marietta, just north of Atlanta. In high school, he organized his first band and began performing at school functions and local social events.

After graduation, he was booked into one of Savannah’s leading nightclubs. He was so successful that the club’s manager persuaded him to remain as the star attraction. It turned out to be a two year engagement! Bill Joe’s reputation has since spread far beyond the borders of his home state, and he and his band now perform in many clubs throughout the U.S.A.

Here, in introducing Billy Joe Royal, is America’s newest talent, in a collection of powerful interpretations that mark him clearly as an impressive addition to the ranks of our finest singers.(back cover liners)

(29/12/15)

THE SUNSHINE COMPANY – ”A Stitch In Time Saves None” (Liberty LBS-83159E) Sept 1968

”Sunshine And Shadows” was the third and final album by The Sunshine Company. They had started their career releasing ’67flower pop creations with memorable melodies and harmonies. Check out their hits ”Happy” and ”Back On The Street Again” for that kind of tuneful medicine.

By the middle of 1968 they added David Hodgkins on guitar, he had been previously with the respected Sunset Strip group The Grains Of Sand with Douglas Mark. The former was never credited on the album cover as being a member though and he wasn’t even present on the super cool psychedelic photo adorning the front of the sleeve.

My pick of an overlooked set and one which is still a reasonable price is ”A Stitch In Time Saves None” which demonstrates their move into a more serious and less poppy laid back rock style. I’ve read that The Sunshine Company started recording songs for a fourth album but the group disbanded before any further releases materialized.

David Hodgkins and Douglas Mark then formed Redeye and enjoyed a couple of hit singles.
Bass player Larry Sims joined the Loggins And Messina Band. He died in December 2014.

(28/12/15)

THE SUNSHINE COMPANY – ”You Don’t Know Her Like I Do” (Liberty LBS-83120E) 1968

I wrote about The Sunshine Company back in 2011 when I focused on their single ”Back On The Street Again” so I thought it about time to delve into some of their obscure and highly recommended album tracks.

The album cover shown is my copy of their first release in Britain on the Liberty label. This was a combination of material from their first two American LPs. The cover is also different. I’m not quite sure why a Roman soldier riding a Chariot was chosen as the front picture or/why this image would best suit The Sunshine Company? I’d much prefer a photo of the group!

”You Don’t Know Her Like I Do” written by folk singer-songwriter Steve Gillette, is a typically West Coast affair, sounding not unlike The Jefferson Airplane. For some strange reason this song was not compiled on the Rev-Ola ”Best Of” CD release from 1999.

Steve Gillette also wrote one of The Sunshine Company’s hits ”Back On The Street Again.”

(28/12/15)

KASENETZ – KATZ SINGING ORCHESTRAL CIRCUS – ”Quick Joey Small (Run Joey Run)” / ”Rumble ’69” (Buddah Records 201 022) October 1968

The kings of bubblegum wrote, produced and recorded hundreds of songs during the late sixties and I won’t go into their history because it’s all over the internet if you’re interested. This single released in Britain during October 1968 is an obscurity though and deserves to be highlighted here on my blog.

The top side ”Quick Joey Small (Run Joey Run)” is a typical bouncy bubblegum pop number, very catchy and was probably a hit in some American States. The B-Side of the US release was their version of ”(Poor Old) Mr Jensen” which was also recorded by The 1910 Fruitgum Company. I wrote about their version a month or so ago.

Curiously, the B-Side of the UK release was ”Rumble ’69” and not ”(Poor Old) Mr Jensen.” As far as I know ”Rumble ’69” was never released in the States and it does not appear on their album titled ”Kasenetz – Katz Singing Orchestral Circus.”

It’s an obscure flip side that will have interest to some if pounding heavy psychedelic instrumentals with a hard driving beat are your bag. It’s almost an overdose of noise and effects. There is no real melody or tune. In fact it’s probably studio musicians experimenting and coming up with a throwaway B-Side. ”Rumble ’69” would make perfect sense used as background noise for a drug scene in a film.

(24/12/15)

LOST AND FOUND – ”I Realize” (Get Back 538) re-issue 1968

Some kind of spell shows me; that more is to be said about communication, that is, relating personal interpretations of one’s own experiences or dreams, than could be related through countless volumes of literary verse; also that relating is not so much the difficult task as is the hope of honest reflections or connections of a listener or viewer, necessary to complete communication. (I am aware that communication includes a number of senses, but I am referring to music and line or painted art only).

The name of the group itself, I think, is in direct relation to all living beings, for in daily participation in life or disassociation from life, everyone experiences a lost and found sensation.

I would also like to insert that in our generation, music is the strongest means of communication. When an individual or group of individuals share with you their soul’s interpretation of their experiences, trials, and dreams, you must feel it!!!

(24/12/15)

SYNDICATE OF SOUND – ”Rumors” / ”The Upper Hand” (Bell Records 646) August 1966

I wrote about their break-through hit ”Little Girl” last week but what about the follow up? Could they build on that success? The answer was no, their next single ”Rumors” basically went no where fast.

”Rumors” is a fabulous song with it’s tough jangling beat approach. There’s even a raga rave-up ending interspersed with a homage to Donovan. Listen out for the words ”What goes on, I really want to know.”

(23/12/15)

WE THE PEOPLE – ”Ain’t Gonna Find Nobody” / ”When I Arrive” (RCA Victor 47-9498) April 1968

Batten down the hatches and prepare to have your mind distorted by fuzztones . . . . Orlando, FL group We The People have arrived on my blog.

”When I Arrive” is a potent stew of wild Who like chords, fuzz guitar, bad vibe words spat out then manipulated with studio vocal FX and is another one of those singles where the record label picked the wrong song for the A-Side.

The horn rock of ”Ain’t Gonna Find Nobody” didn’t sell so few people would have had the chance to hear the incredible acid punker ”When I Arrive.”

(24/07/16)

THE GRASS ROOTS – ”Wake Up, Wake Up” / ”No Exit” (RCA Victor 49.904) October 1967

The Grass Roots have a complicated history and one that has been explained elsewhere in magazines, books and online sources. Some not totally accurate though. At first The Grass Roots was a name of a phantom group P.F. Sloan and Steve Barri came up with to release folk-rock records under.

For reasons described elsewhere Sloan & Barri decided to discontinue releasing records under the disguise of The Grass Roots but retained the name (eventually another group called 13th Floor took over) and worked on production and arranging.

The flip of this October 1967 single is the solid and garage-like rocker ”No Exit” which was also part of their ”Let’s Live For Today” studio album. It’s got a dark message about being trapped in a unsatisfactory life which may explain it’s B-Side status.

My copy shown is the French release in a stunning picture sleeve.

(20/07/16)

THE SPIRES OF OXFORD – ”But You’re Gone” / ”I Really Do” (MY Records 5096) July 1967

Believe it or not but this crude teen garage punk record was released during the same month as The Beatles’ ”Sgt Pepper” album. Their world and sound couldn’t have been further apart.

According to ”Teenbeat Mayhem” The Spires Of Oxford hailed from Oxford, Massachusetts and this was their only shot at the big time. Not that they would have had any chance of the big time of course. Perhaps only 500 copies of this record were ever pressed. It’s quite a difficult record to locate and doesn’t crop up on eBay, the internet or Set Sales that often.

”But You’re Gone” sees the boys invent a Kinks like riff which they utilize throughout, perhaps it’s all they can play. The two finger organ solo is great and I wish it went on longer. This song was covered by The Brood and released as a single in 1991. I’ll cover that 45 next time.

The other side ”I Really Do” is an awful crooner style ballad and is not my scene. These guys should have stuck with their primitive rockers.

(18/07/16)

13th PRECINCT – ”Junk Yard” / ”You Gotta Be Mine” (TRX 45-T-5005) November 1967

I bought this obscure single by 13th Precinct a few years ago and it’s taken me all that time to get it out of the box and research the group.

13th Precinct were from Rock Falls, IL and released a previous single on Feature under the name of The Inspirations. ”That Girl” / ”Baby Please Come Home” (Feature 110) was released mid 1966. A change of personnel followed as well as a label change to TRX. They also updated their moniker to 13th Precinct.

”Junk Yard” has a soothing hypnotic vibration with floating organ/guitar sounds, quite unique actually. Add to the mix flower-power harmonies and they came up with a ’67 winner, perfect for the times.

”If you find that you haven’t got a dime,
All you’ve got is time
Go to the junk yard.
There’s a new and groovy scene,
You know what I mean
Go to the junk yard.”

(17/07/16)

THE THIRTEENTH FLOOR ELEVATORS – ”You’re Gonna Miss Me” / ”Tried To Hide” (IA 107) June 1966

Voted THEE best 60s garage 45 of all time in ”Teenbeat Mayhem” and for once I agree with their score – which was ”10” ,in second place was The Gentlemen ”It’s A Cry’n Shame” and third was The Squires ”Going All The Way”

No need for any review on this MONSTER as it’s been written about everywhere. I’ll just add that ”You’re Gonna Miss Me” was first released on the local label Contact several months before it got a wider distribution on International Artists. It was never released in Britain which is a shame.

There are three pressings on IA 107. The first being the two tone light blue – dark blue label, the second pressing was the yellow and green two tone label combination issued after the HBR release. The third pressing is on a white label with a re-designed globe logo.

(16/07/16)

ADRIAN LLOYD – ”Lorna” / ”Got A Little Woman” (Sundazed S267) 2013

Sundazed re-issued this slab of raunchy rock & roll during ’Record Store Day’ in 2013 and I’ve just picked up a copy, better late than never as they say. Sixties garage band greatness is somewhat less than infrequently associated with solo acts, especially those with a pre British Invasion, professional resume. Southern California surf legend Adrian Lloyd ranks as a towering exception.

Maybe it’s just the British in him, but England born, SoCal transplanted Lloyd made the apparently effortless leap from surf (Adrian & the Sunsets) to the long haired Sunset Strip sound and the results are on this must have disc.

(29/06/16)

THE PSYCHEDELIC PSYMPHONY – ”Don’t Be Afraid” (Arcadia International 1) 2006

Recorded at Ryder Sound Studio in 1965 ”Don’t Be Afraid” is from the film ”Mondo Keyhole” a little morality play about people hooked on love, sex and drugs that include LSD. It is a testimonial for those ground under in a mid-sixties Tinsel Town underground.

As much as a film can be, it’s a snap shot of a season in a unique locale – Halloween in Hollywood 1965. And so we unleash this fuzzy 12 string folk rocker that’s all about strung out, flustered folk. They are the denizens who take time out from dying to dance to the sounds of The Psychedelic Psymphony at the Artists and Models Ball.

(29/06/16)

THE DILLONS – ”Simple Way Of Living” / ”Night Winds” (Impression 101) September 1965

Not a lot is known about The Dillons but in my educated view I suspect that they were from California. TV footage of them does exist and is on YouTube, here they perform ”Simple Way Of Living” on the ”Shivaree” music show. Interestingly, they are a rather square looking duo. I was expecting a four piece folk-rock group in Sunset Strip threads with bowl haircuts.

Perhaps they were a studio concoction to cash in on the Los Angeles folk-rock sound, even adopting a group name similar to ’Dylan’. Whatever The Dillons intentions ”Simple Way Of Living” is a knock-out tune and deserves wider recognition.

The song was written and produced by Dorsey Burnette who captures the ’sound’ of the times perfectly. If 12 string merseybeat folk janglers are your bag you’re sure gonna dig ”Simple Way Of Living.” The other side ”Night Winds” sounds like it’s from another era, it’s OK but not really my scene.

According to an online source The Dillons performed two songs on ”Shivaree”, the other cut was ”Great Shakin’ Fever” which may have been recorded but was presumably was left in the can when this single went to nowheresville because after their one stab at fame The Dillons were no more.

Other noteworthy singles on the Impression label include those by The Tangents, The Dirty Shames and Lonnie & the Legends.

(26/06/16)

THE SCOTT BEDFORD FOUR – ”You Turned Your Back On Me” / ”Manhattan Angel” (Congress CG-247) August 1965

I’ve had this great record for several years but somehow never got around to posting it on my blog and doing some research. That all changed the other day when I was in one of my many boxes filing away my Seeds 45 – I flicked onto this disc by The Scott Bedford Four.

Incredibly, ”You Turned Your Back On Me” has only appeared on one compilation, that being ”Kicks And Chicks” on Eleventh Hour way back in 1990. That in itself is not the easiest album to locate and never was, even back in the day.

According to ’Teenbeat Mayhem’ The Scott Bedford Four hailed from Northampton, PA. Prior to recording for their first label Joy Records they had been known as The Corvairs.
Today’s disc under spotlight is their only release on Congress so I’ll just concentrate on this one.

”You Turned Your Back On Me” is a scintillating beat pounder with a tough approach and aided by ringing 12 string guitars, cool background vocals, a fierce lead break with an ace harmonica burst. This song simply jumps outta my speakers, it’s mastered so loud. The disc was a ’Chart Spotlight’ in Billboard during August 1965 but no success became of this fabulous slab of vinyl.

I hadn’t realised this until today but The Scott Bedford Four left Congress after this release and signed to Philips, changing their name to The Elusives then released ”You Won’t Find Better Than Me” / ”Lost Love” in September 1966.

(08/06/16)

THE SEEDS – ”The Wind Blows Your Hair” / ”Six Dreams” (GNP Crescendo 398) October 1967

The Seeds are no strangers to my music blog and various singles have been written about over the years. This week I was fortunate enough to find a copy of their 1967 flop ”The Wind Blows Your Hair” which has eluded me for years. It rarely turns up for sale so when it does you gotta strike fast.

A full and descriptive post about this particular Seeds classic was posted on http://www.skysaxonseeds.com

”The Wind Blows Your Hair” is a scintillating and spooky 1967 psychedelic non-album single by The Seeds, and it is the best song they achieved.

”The Wind Blows Your Hair” achieves its odd and unsettling feel by mixing upbeat lyrics about a wedding celebration with a snaky, descending keyboard riff (and Sky Saxon’s provocative vocals) that gives the merry tale a darker and queasier aspect. This is partially explained by the fact that it’s original lyrics were also dark — a sneering put-down in the vein of 1965-era Dylan, with ”Prince Satan” in a starring role.

Recording of the song was attempted four separate times by The Seeds. The first was during a January 1966 session, and the other three times were during 1967. For the latter two sessions, ”The Wind Blows Your Hair” had its lyrics re-written (from Satan to wedding), and the sessions were booked specifically to record this song as a single.

Three separate recordings have been released officially: the original GNP Crescendo single from October 1967 (with the wedding lyrics), and two of the Satan versions — the January 1966 run-through and a mid-1967 take (in both mono and stereo mixes).

THE RECORDING HISTORY OF ”THE WIND BLOWS YOUR HAIR”

The song was first recorded in January 1966 at a session in which The Seeds also recorded both sides to the ”Try To Understand” b/w ”The Other Place” single. This version has a sparser and slower arrangement, though the basic structure is already present. It is a remarkable recording for January 1966, convincingly psychedelic and audaciously eerie. And there’s the prominent appearance of ”Crown Satan, Prince Satan again!” (This ”version 1” is available on the Big Beat 2013 expanded CD reissue of A Web Of Sound as a bonus track.)

On May 12, 1967, during sessions for Future, The Seeds revived ”The Wind Blows Your Hair”, at a faster tempo and with more ambitious instrumentation, but with the original Satan lyrics. Sky Saxon double-tracked his vocals. There was only one take, first released in 1977 on the Fallin’ Off The Edge rarities LP (misleadingly titled ”The Wind Blows Your Hair (reprise)” with a mono mix released for the first time in 2013 on the Big Beat expanded reissue of Future, identified as ”version 2”.

The May 1967 take of ”The Wind Blows Your Hair” was considered and then rejected for the Future album, but after the album’s release, The Seeds entered the studio twice more in mid-1967 for two more attempts at the song. Sky rewrote the lyrics, but the music remained mostly the same. The take that was deemed best was released in October 1967, with the head spinning ”Six Dreams” from Future as it’s B-side: one of the most satisfyingly psychedelic singles ever released.

It is this most-famous version of ”The Wind Blows Your Hair” that can be found most readily on several different compilations, as well as the original GNP vinyl single.

(05/06/16)

THE WEST COAST POP ART EXPERIMENTAL BAND – ”Smell Of Incense” / ”Unfree Child” (Reprise 0776) October 1968

The enigmatic and mysterious West Coast Pop Art Experimental Band were still no nearer a hit record at the end of 1968 despite releasing several previous singles on Reprise. These singles were incredibly uncommercial though and didn’t really stand much of a chance. I can’t see how the kids would have rushed out to buy ”1906” or ”Help, I’m A Rock”.

Perhaps their most chart worthy and commercial single they released was the psychedelic ”Smell Of Incense” with it’s irresistible chorus and strong instrumentation. The 45 version was more than half the length of the album cut. It’s been basically cut to bits and remixed to get it radio worthy and under three minutes.

Southwest F.O.B. had a huge regional hit with a cover of ”Smell Of Incense” and it even hit the Top 60 in the US National Chart.

(01/06/16)

THE PLASTIC BLUES BAND – ”One Week Ago Today” / ”A Thing You Gotta Face” (Busy-B Zap 9) May 1968

Not a great deal of information is available or has been written online about The Plastic Blues Band and I would certainly like to know more about them. If hippie blues is your particular bag of candy look no further than this group.

As far as I can gather they were a power trio from New Orleans releasing three obscure and hard to find singles on Busy-B which also released 45s by The Gaunga Dyns, Peabody and The Leather Pages. As a matter of fact a compilation of Busy-B material would be make an ideal release.

”One Week Ago Today” b/w ”A Thing You Gotta Face” was The Plastic Blues Band’s second single, both sides are laid back hippie swamp blues. The flip hints at a Lovin’ Spoonful sound.

They recorded at Cosimo’s Studios for Jeb Banashak and I’m wondering if there are more than the six songs they released. Who knows, unreleased Busy-B recordings may be in the can and sitting on a shelf somewhere.

line-up:
Jay Wolfe (vocals / guitar)
Johnny Behr (drums)
Ralph Richoux (bass)

discography:
”Country Food” / ”Gone” (Zap 8) January 1968
”One Week Ago Today” / ”A Thing You Gotta Face” (Zap 9) May 1968
”You’re Gonna Get Burned” / ”Dead Seed” (Zap 13) 1969

”Gone” and ”Dead Seed” were compiled on LP ”Florida Punk From the 60s” (Eva Records) mid 1980s. Both cuts also appeared on the Eva CD ”Sixties Archives – Volume 4” from 1991

Reader Comment:

The line-up posted here has Jay as the vocalist but actually Ralph Richoux, the bass player, was the vocalist. He is singing tonight at the Treasure Chest Casino in New Orleans with Midnight Streetcar. Jay Wolfe owns a guitar shop near Palm Beach, Florida (www.wolfeguitars.com). Johnny Behr lives in the Orlando, Florida area and is still gigging. 8/5/2016

(31/05/16)

DEREK – ”Cinnamon” / ”This Is My Story” (Bang B-558) August 1968

Derek were a short-lived ’studio’ group consisting of Johnny Cymbal and sundry musicians. This was their first record and when it became a hit Bang Records wanted a touring group to cash in and promote the record. A detailed history of Johnny Cymbal can be found on a wiki page.

”Cinnamon” is a bouncy piece of bubblegum pop, very catchy with hit potential. It sailed up the Charts in America but got no where fast in Britain. I’d never heard of Derek before buying this record on a whim last month. Tommy Roe also recorded ”Cinnamon” but did not release it on a single keeping it for an album track.

discography:
”Cinnamon” / ”This Is My Story” (Bang B-558) August 1968
”Back Door Man” / ”Sell Your Soul” (Bang B-566) February 1969
”Inside Outside” / ”Sell Your Soul” (Bang B-571) August 1969

(12/05/16)

BROTHERHOOD – ”California Dreamin” (RCA LSP-4228) 1969

Brotherhood were formed during mid-1967 by three members of Paul Revere and the Raiders (Phil ”Fang” Volk, Michael Smith and Drake Levin). Their debut album ”Brotherhood” took over a year after recording to see a release due to lawsuits with Columbia Records and Paul Revere.

This album under my spotlight was released in 1969 and the songs cover several genres including blues, folk, pop and heavy psychedelia, including their rendition of ”California Dreamin’ which has been posted here today.

Recorded at RCA’s Music Centre of the World, Hollywood, California.

(23/04/16)

NEIL DIAMOND – ”Cherry Cherry” / ”Solitary Man” (Metronome J 713) November 1966

Neil Diamond needs no explanation but his obscure mid 60s songs probably do. During this period he was writing songs for other artists mainly The Monkees and his commercial pop nugget ”Cherry Cherry” would have been perfect for them but sadly they never recorded it.

The first time I heard ”Cherry Cherry” would have been sometime in the mid eighties via The Music Machine. It’s on their ”Turn On” album. I had no idea that it was written by Neil Diamond, back then I wasn’t concerned with such detail. The Music Machine’s version adds fuzz guitar and is a bit slower.

I think I prefer Neil’s recording.

By the way ”Cherry Cherry” was also recorded by an English group called Wishful Thinking. They released the song as the B-Side of ”Peanuts” on Decca during June 1967. A very good take too.

The other side ”Solitary Man” sees Neil Diamond in moody folk-rock mode. The Kitchen Cinq recorded a version. Check it out on the album from 1967.

Two great songs on one German picture sleeved release from the back end of 1966. One to search out to add to your collection.

(14/04/16)

PEPPER & THE SHAKERS – ”Semi-Psychedelic” / ”I’ll Always Love You” (Coral 62523) June 1967

The location of the very obscure group Pepper & The Shakers is unconfirmed, some sources suggest Michigan while Teenbeat Mayhem did not add the location or speculate. Little has ever been written about them either and no photo has ever surfaced. Quite a mystery for a combo on a major label.

”Semi-Psychedelic (It Is)” is a tripped out psychedelic nugget oozing in fuzztones and what sounds like Echoplex delay. The lyrics seem to be dealing with an acid trip.

”The doors are shut behind us….the strobe lights are working…nothing else exists….
semi-psychedelic…all kinds of noises…you can’t look at anything too long….there’s still more changes coming…”

The other side ”I’ll always Love You” is decent pop with a touch of jangle.

(06/04/16)

THE CHAMBERS BROTHERS – ”Time Has Come Today” / ”Dinah” (Direction 58-3760) September 1968

This single by The Chambers Brothers proved to be a tricky little 45 to track down. I suppose this will be classed as psychedelic soul mainly because they were Afro-Americans and the producer added some echo FX.

Joe, Willie, Lester and George Chambers were all born and raised in the Southern state of Mississippi. 1961 found The Chambers Brothers in Los Angeles, where they performed as a folk/gospel quartet. In 1965 they added drummer Brian Keenan and headed for the rock and soul direction, recording three albums for Vault Records before inking with Columbia.

Teamed with David Rubinson (producer of Moby Grape) they scored a Top Ten hit with ”Time Has Come Today.”  The latter record has an intriguing past.

According to information on website 45cat ”Time Has Come Today” was first released on Columbia 4-43816 during September 1966 and clocks in at 2:37. Some copies came in a picture sleeve. Maybe this was purely for Radio Stations only to test the market as it were.

Whatever the case, the single gained another release on Columbia 4-44414 during December 1967 which became the huge hit. The white label pressing has an edited version running at 3:05.

My UK copy on Direction was released during September 1968 and appears to be an edit of the album version which lasts over ten minutes.

(26/03/16)

SONNY & CHER – ”Love Don’t Come” (Atco-118) 1966

I can’t resist Sonny & Cher EPs. This one is a 1966 French Atco pressing. By the way, hip Goddess dollybirds with long 60s hair wearing tight pants and white boots ain’t ever gonna go outta style.

My pick goes to the folk-rock genius of ”Love Don’t Come,” a song which was first recorded back in 1965. It was also chosen for the B-Side of ”The Beat Goes On.” 

(24/03/16)

THE MALES – ”Kiddie A Go Go” (Fibra) November 1965

I’m not sure if this disc would be categorized as a novelty record. Perhaps it is, but who cares because I really dig it a lot and recently paid $50 for my copy.

The Males were a teen group from Chicago who were asked to provide backing for Pandora, a TV Presenter on pre-teen children’s music and fun show ”Kiddie A Go Go.”

They provide instrumentation on the other side for Pandora’s spoken words. It is a different take and perhaps much wilder with killer farfisa organ and a happenin’ guitar break.

I’ll focus on The Males version without Pandora. Here the boys really kick it with their teen garage action. According to ”Teenbeat Mayhem” the 45 was released November 1965, but the disc is given 1966 status in Ugly Things #14. It is believed that ”The Hawk” who played organ for The Shadows Of Knight was a member of The Males.

”Kiddie A Go Go” was re-released in the mid 90s by Mike Stax. This came about when Mike interviewed the Kiddie A Go Go hosts who still had a box of original singles left so he made a deal. 100 were issue in a brand new picture sleeve.

(23/03/16)

THE INEXPENSIVE HANDMADE LOOK – ”What Good Is Up” / ”Ice Cream Man” (Brunswick 55334) July 1967

Here’s a record I bought earlier this year but have just made some time to write about. First of all, what a name. Who on earth came up with something like The Inexpensive Handmade Look especially when they had previously released a couple of singles as the rather unimaginative The Counts IV. Quite a change eh?

I first became aware of the Yardbirds inspired pounder ”What Good Is Up” via a bootleg vinyl compilation from the late eighties called ”Psychedelic Disaster Whirl” and raved about it ever since. I didn’t suffer any hesitation blues when a copy was up for sale on eBay. Pulled the trigger, it’s all mine!

Sundazed released a Counts IV single back in 2005 containing two ’unreleased’ gems by the band, recorded sometime in 1966. One was a cover version of ”It’s All Over Now, Baby Blue” and a song marked on the demo audiodisc as ”Discussion Of The Unorthodox Council” which is this Brunswick side… so the song WAS released but with a different title both for song and group name!

releases:
COUNTS IV – ”Listen To Me” / ”Lost Love (JCP 1006) late 1964
COUNTS IV – ”Spoonful” / ”Where Are You” (Date 2-1526) September 1966
INEXPENSIVE HANDMADE LOOK – ”What Good Is Up” / ”Ice Cream Man” (Brunswick 55334) July 1967
COUNTS IV – ”Discussion Of The Unorthodox Council” / ”Spoonful” / ”It’s All Over Now, Baby Blue” (Sundazed SEP-179) 2005

(15/03/16)

SOUTHWEST F.O.B. – ”Smell Of Incense” / ”Green Skies” (Hip HIA-8002)  September 1968

The strangely named Southwest F.O.B. hailed from Dallas and were originally called The Playboys 5 then changed their name to The Chimeras. According to the liners of their Sundazed retrospective CD, recordings existed of The Chimeras but they have been lost or locked in the Estate of a Monument Records promoter when he died.

Sometime in 1966, The Chimeras changed their name to Theze Few and released a single on local label Black Knight. You’ve gotta check out their garage raver ”Dynamite.”
Theze Few enjoyed a decent sized following and opened for many big name groups visiting Dallas.

Because they found out that ”Theze Few” had been registered as a business name they were ’forced’ to change their moniker once again, this time settling on Southwest F.O.B.

Their first single as Southwest F.O.B. was on the small label GPC but ”Smell Of Incense” was quickly picked up for a wider distribution on the Memphis based Stax off-shoot pop label Hip.

’Smell Of Incense’ is this Dallas band’s take on The West Coast Pop Art Experimental Band original. It’s a much shorter version and has a heavy organ sound. The arrangement is a lot more punchy.

My highlight is the progressive number and non album cut ”Green Skies” on the flip, written by lead singer Dan Seals.

(09/03/16)

FRATERNITY OF MAN – ”Don’t Bogart Me” / ”Wispy Paisley Skies” (Stateside SS 2166) March 1970

Fraternity Of Man are perhaps best known for their hippie blues tune ”Don’t Bogart Me” which was used in the film ”Easy Rider.” Far more interesting is the folk-psych winner ”Wispy Paisley Skies” hidden away on a B-Side. This single was probably released in Britain to coincide with ”Easy Rider” because it came out almost two years earlier in the USA. 

”Butterfly dreams swirling all around.”

The group featured ex members of Lowell George & The Factory. I don’t have any other records by them, I believe that they released two studio albums.  

(24/02/16)

H.P. LOVECRAFT – ”Mobius Trip” (Philip 6336 213) 1968

I bought a copy of ”This is H.P. Lovecraft Vol 2” last week for a bargain price. It’s the budget release on Philips which I believe was issued some time during 1970 and sounds monumental in stereo, such a fabulous album.

The song I’ll focus on is the tripped-out flower folk-rock of ”Mobius Trip” written by George Edwards. The song starts with a fluttering noise of keyboard sounds, this butterfly has awoken and is ready to fly free on some kinda trip – mobius trip.

Enter acoustics, dreamy lead and harmony vocals, echoes of wonderment, pitta-patta jazzy drums, far-out lyrics, probably about tripping to another Galaxy, sweet aural soundscapes washing my mind. But suddenly the psychedelic butterfly has flown away to feed on another flower and we’re onto the next track on the album, ”High Flying Bird.”

”Walking down the street I feel like crashing
Everybody’s groovy all their eyes are flashing.
Do you feel that this could be the time,
If the world behind the pantomime
Well everybody’s really feelin’ fine
A thought like that would really blow my mind.”

(12/07/17)

THE PAINTED FACES – ”I Want You” / ”Things We See” (Qualicon QU-5005) April 1967

It seems years ago since I reviewed The Painted Faces second single ”Anxious Color” and I’ve had this, their debut disc, for quite some time but have never researched it until today.

”I Want You” is a superb 12 string folk jangler and is indeed a Beau Brummels cover version. It’s no use trying to compare the two because the latter are in a league of their own but I must say that The Painted Faces lovingly reproduce Ron Elliott’s angst filled moody ballad to perfection.

The line-up is identical to the one that recorded their acid psych thriller ”Anxious Color” some months later. The flip, ”Things We See” was used as the B-Side of the former when released on the Manhattan label.

members:
Jack O’Neill (vocals)
Harry Bragg (drums)
Jerry Turano (guitar)
John McKinney (bass)

(09/07/17)

H.P. LOVECRAFT – ”Anyway That You Want Me” / ”It’s All Over For You” (Philips 40465) June 1967

This record was the debut disc by H.P. Lovecraft, the top side being a decent version of ”Anyway That You Want Me” which had recently been a hit for The Troggs in Britain. According to the liners of the Rev-Ola CD retrospective, this song was helped along with assistance from local Chicago group The Rovin’ Kind.

The George Edwards penned ”It’s All Over For You” on the flip is a dead ringer for Dylan’s ”It’s All Over Now, Baby Blue.” Perhaps the reason for hiding this cut on the B-Side. This was actually a solo recording from 1966 and explains why it sounds like a remnant of the earlier folk-rock era. My guess is that ”It’s All Over For You” was recorded during the same sessions for his Dunwich single.

I reviewed his disc ”Norwegian Wood” / ”Never Mind, I’m Freezing” way back in 2011.

(02/07/17)

UNITED SONS OF AMERICA – ”We’ve Only Just Begun” (Mercury 6338036) November 1970

”We’ve Only Just Begun” from the United Sons Of America is a long way from the mid 60s teenbeat of The Avengers. This was Gerry Blake’s group later in the decade. Their album was released November 1970 and got a favourable short review in Billboard magazine.
This particular song was a hit for The Carpenters.

Members of the United Sons Of America included Jerry Ritchey on bass guitar who was a member of The Chocolate Tunnel. Songs remixed by Gary S. Paxton who also produced The Avengers records and co-wrote their best known song ”Be A Cave Man.”

line-up:
Gerry Blake (electric piano, organ and vocals)
Jerry Ritchey (bass)
Steve Woods (vocals and percussion)
Mike Huestis (drums and percussion)
Richard Freeman (guitars)
strings and sax provided by the Los Angeles String Quartet

extract from my interview with Gerry Blake in 2007

After The Avengers you formed The United Sons Of America with ex Chocolate Tunnel bass player Jerry Ritchie. An LP was released on Mercury in 1970.

Did The USA perform live? How did the album come about and were you pleased with the outcome?

Yes, USA performed live many times. Eventually, as with some groups, disagreements and drugs played a large part in the demise of USA.

The album came about = We had formed a group to mostly play clubs and maybe some concerts. We were using an old bank building that had been converted into a studio to practice in. I honestly don’t remember how we managed to get permission to practice there but the studio part was run by, Gary A Paxton.

Paxton actually wasn’t around much. But one day while we were rehearsing, I saw Gary and a couple of people, I figured buyers, in the control booth. We were breaking down our stuff and Gary came out and asked what the last song was we were playing. I told it it was ours.

Next thing we knew, Bob Todd from Mercury Records came there and listened to us. Well, actually, some very young lady that was with him was listening. After our set.  

He just stood looking important and glanced down at his lady-friend and she looked up and slightly grinned and nodded her head yes. He looked at us and asked, ”Would you guys like to sign with Mercury Records?” That’s a true story. I suppose had she not liked us it would had turned out differently. The story gets even more twisted. Remind me to tell you about ”The rest of the story”

(23/06/17)

THE FORUM QUORUM – ”Girl Make Up Your Mind” (Decca DL75030) 1968

The truth about The Forum Quorum is stranger than all the gimmicky stories yet to be dreamed up by unborn generations of rock group promoters. So, in introducing the group’s first album, let’s forget all the adjectives and stick to straight, simple information.

First, what’s The Forum Quorum?

Take five boys of mixed Greek and Italian background, all living within walking distance of each other in Astoria, New York City. Give them musical backgrounds and a desire to be top professionals in rock ’n’ roll. Add an electrified bouzouki, the Greek classical guitar, plus an amplified flute for the shepherd’s sound, over a driving rock beat.

Drop in a father young enough to know rock, and talented enough to be the chairman of a music department in a New York Junior High School. Mix with an advertising man who grew up in the music business. That’s The Forum Quorum.

Discography:
”No More Tears” / ”Your Turn To Cry” (Decca 32340) June 1968
”Misery” / ”Just The Same” (Decca 32425) December 1968

(03/05/17)

THE HOBBITS – ”Treats” (Decca DL74920) October 1967

The Hobbits were a studio outfit led by Jimmy Curtiss. I wrote about his solo single ”Psychedelic Situation” maybe ten years ago. Anyway, I’ve had all of The Hobbits records for quite some time but have never seemed to get around spending that much time with them, until this weekend.

”Down To Middle Earth” is a strong pop album with some psychedelic touches in the production, use of sitar on the title track and some subtle fuzz guitar. I won’t go into the album in any detail mainly because I prefer to focus my attention on a song that was never given single status, either A or B-Side.

Check out the bubblegum pop raver ”Treats” hidden away as the last track on Side 2. Man, this should have been a single, it could have caught on and been a hit with it’s catchy beat and lyrics about mind ’treats’ and New York Village cats reading their poetry and complaining all the time.

It doesn’t take long to work out that the ’treats’ are some kind of psychedelic stimulant.

”Hey baby little treats can turn you on,
And you know those little treats can get you gone.”

Discography:
”Sunny Day Girl” / ”Daffodil Days” (the Affection Song) (Decca) 11/67
”Pretty Young Thing” / ”Strawberry Children” (Decca) 3/68

(07/05/17)

THE FUN AND GAMES – ”Sadie” (UNI 73042) 1968

The album ”Elephant Candy” by The Fun and Games is one of those discs that I’ve had in my collection for many years and enjoying regular spins on my Stanton ST-150 turntable. But somehow, until today, I’ve never spent an afternoon with it and remastered my vinyl to the digital format.

The Fun And Games were from Houston, TX and basically grew out of the ashes of a ravin’ garage band called The Six Pents / The Sixpentz. Some members dropped out and were replaced and a name change to The Fun And Games Commission followed, then shortened to The Fun And Games.

By mid 1968, The Fun And Games were operating and releasing records on the UNI label with this album as their pinnacle. It’s such  a memorable collection of songs, a mix of The Beach Boys, The Association and perhaps Sagittarius. Each song has it’s merits, loads of first rate harmonies and production values, no fuzz only wonderful vocalised pop.

Rev-Ola re-issue the album on CD some years back which I didn’t think I needed because I had most of their records but now I regret that decision. The CD is scarce and rarely shows up and is already much rarer than the original vinyl records!

Check out ”Sadie” the opener on Side One. This cut is album only and was never released on any single. The lyrics about marrying a girl called ”Sadie” are corny but the music and harmonies are most definitely my scene.

Discography as The Fun And Games:
”Elephant Candy” / ”The Way She Smiles” (UNI)
”Grooviest Girl In The World” / ”It Must Have Been The Wind” (UNI)
”We Gotta Say Goodbye” / ”We” (UNI)

(01/05/17)

CIRCUS MAXIMUS – ”How’s Your Sky, Straight Guy Spy” (Vanguard VSD-79274) 1968

This group are believed to have formed in Austin, TX sometime in 1967 but then relocated to NYC. There is a wiki page detailing some information about the group and releases etc.

The jazzy/psychedelic rock album ”Neverland Revisited” was their long-player, recorded late 1967 and released sometime in the Spring of ’68. A single from the disc emerged from the set ”Lonely Man” / ”Negative Dreamer Girl” (Vanguard VRS-35063) so that’s worth obtaining for the set.

My pick is the psychedelic rocker ”How’s Your Sky, Straight Guy Spy” with fast talkin’ lyrics, kind of like a late 60s hippie rap. Probably about squares invading their scene. Plenty of fuzz on this cut with go-go organ. A real neat one with plenty of action going on.

(30/04/17)

THE BUFFALO SPRINGFIELD – ”For What It’s Worth (Stop, Hey What’s That Sound)” / ”Do I Have To Come Right Out And Say It” (Atco 45-6459) December 1966

This Buffalo Springfield single was released in USA during late December, 1966. However, it wasn’t given a British outing until March, 1967. Here’s what Disc & Music Echo reviewer Penny Valentine had to say about the record.

One of the new American groups we should all, according to them that know, be taking notice of. If this record is anything to go by it may be advice well taken. A piece of expert understatement about the state of life. They have a careful professionalism that shines through the record and there’s some nice high guitar sound.

Strangely, and perhaps because it is so well made, I don’t see these sort of records making it here, though I hope I’m wrong.

UK Chart Position: None

(16/04/17)

THE CHARLES – ”Motorcycle” / ”Down By The Riverside” (Calliope 138) January 1970

According to ’Teenbeat Mayhem’, The Charles hailed from Williamsville, NY. There are a few YT uploads and some other information on the internet advising that the record was released in 1966. This is wrong. The recordings took place sometime in 1969.

”Motorcycle” is a tough rocker with heavy organ, decent guitar leads, harmonies and what I like best ”handclaps.” The song portrays a biker gang, one of them murders someone, then they take off on their bikes.

The flip, ”Down By The Riverside” is a very different sound altogether, reminding me very much of The Lovin’ Spoonful. Both sides are decent and it’s a record to look out for. ”Motorcycle” has been compiled on ”Scum Of The Earth”

John Valby from The Charles still performs today.

(15/04/17)

SALVATION – ”Hollywood 1923” (ABCS-653) 1968

Having watched Salvation at work on it’s two albums for ABC, I can readily understand why they should be a San Francisco favourite. Trying to put these evanescent reasons into black and white is something else again. Musicianship may be part of it – listen to the keyboard wizard U.S. of Arthur’s Coltrane/jazz-rooted soloing on ”Handles Of Care” and ”What’ll I Do” – but it is only a part, and not necessarily the most important one at that.

Then is it the songs and singing? Perhaps. But I have to confess that, beyond the bare observation that most of the songs are semi-autobiographical in nature (i.e. refer to experiences either of the whole band or chief writers Al Linde and Joe Tate), I can’t claim to ’understand’ each and every word. I cannot, that is, provide you with a literal, line-by-line translation, shovelling the songs, as Bob Dylan once put it, into the ditch of what each one means.

Musicianship, songs, singing – all are necessary, none sufficient. Add them up, and you still haven’t hit on the missing ingredient that makes Salvation such a joy to be around. If that sounds like the preface to a cliche – ’the whole is greater than the sum of the parts’ – rest assured, it is.
(Frank Kofsky)

(09/04/17)

SALVATION – ”Think Twice” / ”Love Comes In Funny Packages” (ABC 45-11025) March 1968

That there is something unique about the San Francisco music scene has been obvious for some time now. One after another, a succession of great bands  – The Jefferson Airplane, The Grateful Dead, Country Joe & the Fish, Big Brother & the Holding Co. – have emerged from what the rock generation has called ”the Liverpool of the U.S.” and more are coming.

”Music is different here,” says Joe Tate, lead guitarist of Salvation, latest in the succession of San Francisco bands to emerge on the national scene. ”Tastefully, it’s different. It has a flavour that hasn’t been heard before. ”I would use the word pure,” interjected Al Linde, his songwriting / singing associate in Salvation. ”Music is purer here. If you’re shucking, they know it!”

Salvation emerged this past year in San Francisco. For weeks the band was a feature at the free concerts in Golden Gate Park given every Sunday by local bands under the wing of The Diggers, the Monks of Haight Ashbury who provided free food and concerts all summer.

Salvation loved the concerts in the park. ”It’s our business to entertain.” Linde says. ”We’d play for Ed Sullivan, President Johnson’s press party, any place, if they’d ask us. It’s good for music to be there where people are and it’s good for them for us to be there.”

Salvation began when Al Linde, a former harpoon sharpener and garbage collector at the University of Washington in Seattle, met Joe Tate, a cesspool diver and former student at the School of Mining & Minerology of the University of Missouri.

”Al and I were running around with a tape we had made and we got a call for a job at the Roaring 20s that started in nine days. So we learned twenty songs and went to work and stayed there three months.” Teddy Stewart, the group’s drummer, met Joe outside a bar in Sausalito and U.S. of Arthur (his real name is Arthur Resnick and he went to the University of Minnesota with Bob Dylan) and bassist Artie McLean joined later.

”We’re growing,” says Linde, ”but we change all the time. The thing to do is to all grow at the same pace. We have depth and we’re growing with each other. We haven’t really even delved into what we COULD do yet. We haven’t even scratched the surface of each other’s talent.”

The music on the album is a good cross section of what Salvation does. Al Linde refers to it as ”the music we’ve listened to all our lives. Super product. Super square.” It took them three days in three four hour sessions to cut the album and all the songs are written by Al and Joe. The music, Al says, ”Is earthy, commercial, what just comes out of our mouths and souls.”

Of the songs on the album, Al wrote ”Love Comes In Funny Packages” on ”a riverboat in Seattle. It’s in B-flat. It’s just a corny cat digging a chick on the street.”
”Cinderella” (one of the group’s most successful songs in performance) is ”a true rock ’n roll song, Al says. ”The lyrics are cute.” Joe Tate adds, ”It’s a knock-out rock ’n roll song.”

”More Than It Seems” ”is our answer to Motown,” Joe says. ”This shows another side of Joe’s guitar playing,” Al adds.

”Getting My Hat” ”is kind of rhythm and blues variation of everything we’ve ever heard. It’s one of our true songs and has ’fours’ in it and is dedicated to all those groups that have ever done fours in jazz.” Al says ”G.I. Joe” is a rock-and-rollee! It is good time music. I was talking to myself. I didn’t write it or anything. I just sat down and played the whole song through once and I just knew it! I never had to do anything to it after that.”

”Think Twice” ”is a very free song. Every musician gets a chance to express himself in it and it ends in a jam.” Joe points out that Al plays harmonica on this one.

”She Said Yeah” ”is real hard rock. It’s really fun.”  ”The Village Shuck” is ”a good time song, a happy go lucky song. Joe plays electric mandolin on it. It’s bizarre,” Al adds, ”I sing it in an English-Western accent, like something out of the 30s, the Victorian times.”

”What Does An Indian Look Like” is a fun song, too. ”It’s the next thing between rock ’n roll and Village Shuck.” Joe says.

As the album was being released, Salvation was in New York and planning on driving back to San Francisco in their bus, ”a 24 passenger 1963 Ford school bus.” It used to belong to a church and the band has transformed it from it’s original image quite successfully. Joe designed the big metal hand which is one of it’s salient features. Some of the pictures Jim Marshall took of the group followed a mad bus ride in Los Angeles. The deepest conviction of Salvation is that they are guarded by the mighty hand of God in all driving adventures. Like their music, the bus is impromptu and joyous.

(09/04/17)

THE L.A. TEENS – ’I’m Gonna Get You’ / ’I’ll Come Running Back’ (Decca 31763) May 1965

The L.A. Teens only released two singles, this one under review being their first from May 1965. My previous blog entry when their second 45 ”Saturday’s Child” was reviewed has been updated. 

”I’m Gonna Get You” is a hard edged beat mover with some wild pounding and eerie organ. The other side is a lot more tamer and was probably the chosen side to play on the radio. ”I’ll Come Running Back” falls into the British Invasion bag and is reminiscent of The Searchers. It’s commercial sounding up-tempo jangle beat.

I’d love to know more about The L.A. Teens but information is scant and as far as I’m aware no group pix have ever surfaced on the internet. Three / all of the group members were possibly Ronald Weiser, James Weiser and William Schneed.

(16/10/16)

SHIVA’S HEAD BAND – ”Kaleidescoptic” / ”Song For Peace” (Ignite H-681) 1968

Austin, Texas was the home of cosmic hippie group Shiva’s Head Band. They were the house band for a while for the famous Vulcan Gas Company and were in high demand, earning large amounts of money for gigs.

Shiva’s Head Band secured a deal with Capitol Records and eventually released a 1969 album titled ”Take Me To The Mountains.” I’ve never heard the latter but I’ve read that it’s a mixture of roots rock, country and psychedelia. For the time being I’ll just stick with their first single on Ignite Records.

I understand that the first recording of ”Kaleidescoptic” was unsatisfactory so they re-recorded the song again at Pecan Street Studios under the supervision of producer Bruce Hooper, with a Summer of 1968 release. The song is a perfect blend of counter-culture sounds, loping rhythms, electric violin and an hallucinatory groove.

(13/10/16)

THE OXFORD WATCHBAND – ”Diagnosis (One Way Empty & Down)” / ”Welcome To The World” (Hand Records 496) August 1969

This group is a mystery to me, I know very little and scant information is available online. Someone left a message on YouTube years ago and suggested that The Oxford Watchband hailed from Rochester, USA.

”Diagnosis (One Way Empty & Down)” is an aural assault on the mind, I don’t have a clue what the song is about but who cares when it’s as way-out as this. The production by John Linde is certainly impressive, no expense has been spared. It’s a full on race until the end with sound FX, shouting, pounding beats and fuzz which then ebbs away into a realm of bewilderment.

(04/10/16)

EDDIE HODGES – ”Shadows And Reflexions” / ”Love Could Rule The World” (Sunburst 773) November 1967

This is the second time out for Eddie Hodges on my blog, this time it’s his version of ”Shadows And Reflexions” which was also recorded by The Lownly Crowde, The Action and The Byzantine Empire.

The song was co-written by his friend Tandym Almer who’s famous for being the author of ”Along Comes Mary”, the big hit for The Association. I first became aware of his song ”Shadows And Reflections” (without the ”X”) via English mod group The Action. I must admit being a little surprised when I heard that it had also been recorded by early 1960s teenage pop star Eddie Hodges.

This particular take has that typical late 1967 American baroque pop feel and is superbly produced by the team responsible for much of The Chocolate Watch Band output, including Ed Cobb and Richard Podolor.

(25/09/16)

FRIDAYS KEEPERS – ”Take Me For A Ride” / ”Sorrow At My Door” (Momentum 676) 196?

I sadly failed to win this incredible tripped out and dreamy psychedelic disc on eBay the other day. Copies seldom appear for sale, this one sold to the highest bidder for $225.

Dig the acid mind blowing vibrations of ”Take Me For A Ride.” This kind of dreamy psychedelia with vocal harmonies, strings, orchestration and backwards guitar is a joy to hear. The other side is ”Sorrow At My Door” which I’ve not heard.

Probably from Los Angeles. It’s only ever appeared on one compilation over the years – on ”Psychedelic Unknowns” Volume 6

”Take me for a ride
On the river in your mind.
Take me for a ride
Let me see what I can find.”

(25/09/16)

THE CHERRY SLUSH – ”I Cannot Stop You” / ”Don’t Walk Away” (U.S.A. Records 895) January 1968

A group of teenagers from Saginaw, MI almost hit the big time with this single which was written and produced by Dick Wagner. ”I Cannot Stop You” is a memorable and very commercial sounding disc with lots of hammond organ frills and brass instrumentation.

The single had seen an earlier release on local label Coconut Groove during November 1967 and the re-release on U.S.A Records almost broke The Cherry Slush nationally. The record was even released in Germany on Cornet Records and came housed in a picture sleeve.

I was surprised to find that several websites cover the Cherry Slush and there is even a Facebook page devoted to the group. 

(18/09/16)

THE COWSILLS – ”The Prophecy Of Daniel And John The Devine (Six-Six-Six)” / ”Gotta Get Away From It All” (MGM 1484) June 1969

This is an incredible single by The Cowsills and a new discovery for me. I dig it so much that I immediately sought UK and US pressings on MGM. I’d always had the image in my head that The Cowsills were a goodie, all-American kiddie family of musicians who only recorded pop songs for the teen market. How wrong I was.

”The Prophecy Of Daniel And John The Devine (Six-Six-Six)” is both creative and ambitious in equal measure. The classy arrangement and beautiful harmonies teases the brain into thinking that the song is one of those pleasant sunshine pop songs but they’re singing about the occult. The song is seemingly inspired by ”The Book Of Revelations” and all of that religious mumbo-jumbo that was rife with the late 60s hippies. Forget all of that and marvel at the spooky organ, the eastern instrumentation and clever use of spoken passages.

This extraordinary recording is particularly uncommercial and was a strange choice for a single. However, the record still sold in decent quantities, eventually reaching #75 in the Billboard Chart.

No Chart action in Britain and perhaps another reason why this psychedelic rock song is a new find for me.

(29/08/16)

THE IDES OF MARCH – ”Roller Coaster” / ”Things Aren’t Always What They Seem” (Parrot 310) September 1966

The Ides Of March are probably best remembered in America for their late 60s horn rock exploits which for my particular taste is not my scene but this early ’66 single is most definitely one to add to your collection.

They started as a teenage group playing British Invasion covers but then began writing their own material. Soon after they got noticed at their local Berwyn, Chicago gigs. This particular record was their second and perhaps best.

”Roller Coaster” is a jangle pounder, heavy on The Who inspiration with fab backing vocals and drum fills. It reached Top 20 in Chicago and entered the lower reaches of the Billboard Chart. Not bad for a bunch of late teens.

Larry Millas: ”We recorded the song in about an hour and packed up and headed for home as it was being mixed. As soon as it was done, our Manager took the acetate over to WCFL. The program director loved it so much that he put it on air immediately. An hour after recording it we heard ”Roller Coaster” on the radio as we were pulling into my driveway. It was so unbelievable and exciting.” (from the ”Ideology” Sundazed CD liner notes)

Jim Peterik who wrote ”Roller Coaster” would later co-write the famous ”Rocky” theme ”Eye Of The Tiger” recorded by Survivor.

line-up:
Bob Bergland (bass)
Jim Peterik (vocals, guitar)
Mike Borch (drums)
Larry Millas (guitar)

(31/07/16)

THE ROBIN HOODS – ”Wait For The Dawn” / ”Love You So” (Mercury 72445) July 1965

Both sides of the disc offer pleasant sounding beat ballads with the British sound of the 1964/65 era (pre fuzztones) I was quite surprised to read in ”Teenbeat Mayhem” that The Robin Hoods were formed by British exiles living in Chicago! ”Wait For The Dawn” is the most immediate number with it’s mournful harmonica bursts and melodic approach. Radio hit friendly sounds.

Some copies of the record came housed in a picture sleeve showing that the boys had the English look and style of the time. It was not released in Britain.

(08/12/19)

RANDY BARLOW – ”Listen To The Green Grass Grow” / ”It\’s Me Mr Lee” (Velvet Tone VTR-110) 1967

I know nothing about Randy Barlow apart from what I’ve read online. It seems that Randy is best known for his Country material but on this B-Side he rocks out a little with fuzz guitar and way-out leads. The other side, ”Listen To The Green Grass Grow” is also worthy and is tinged with psychedelia. A decent two-sider, reminds me of those Mike Nesmith numbers he brought to the studio for The Monkees to record.

(08/12/19)

RACE MARBLES – ”Like A Dribbling Fram” / ”Someday” (Tower 194) December 1965

What the hell is this one all about? Just found this 45 in a box and to be honest with you I had no idea I bought it!! Sounds like some square giving it a free form Dylan rap.

“Is your clam in a jam like a dribbling fram?”

The 45 was used on Pebbles #3 and was a small hit in parts of the USA and even made Top #10 in Canada probably because the guy behind the Race Marbles disc was a popular disc jockey there. 

(01/09/18)

THE PINEAPPLE HEARD – ”Valleri” / ”Ol’ Man River” (Diamond D-231) October 1967

The story goes something like this In early 1967 Ed Wool and the Nomads hear the Monkees perform “Valleri” on their TV Show and dig it so much that they record their own version for Diamond Records. Then a name change to The Pineapple Heard ensues before the single was released during October 1967.

Unsurprisingly their fuzztoned beat version sank without trace. Five months later, the Monkees released their commercial version with a Davy Jones lead vocal and it sold in the millions!!! 

(22/07/18)

THE RAY MEN – ”Baby, What’cha Want Me” / ”Walkin’ Down The Street Called Love” (Diamond D-186) July 1965

Here’s an obscure record from July 1965, both sides of the disc are primal R&B and one to seek out if you dig that kinda scene. The Ray Men were Link Ray’s backing group and I’m not sure if it’s just them making a one off 45 on Diamond but some comments I’ve read online have indicated that Link Ray is lead guitarist on both sides and possibly vocalist too.

”Baby What’cha Want Me” is a crude / simplistic run through the Jimmy Reed number, the other side also rocks hard and adds harmonica.

(21/07/18)

RAVIN’ BLUE – ”Love” / ”It’s Not Real” (Monument MN45-968D) September 1966

45rpm of the day and one that you’ll know from “Mayhem and Psychosis” This is a classy teenage rocker, gotta dig the Moon style drums and overall Who influence. According to ’Teenbeat Mayhem’ the group got together at Mississippi University and were around long enough while they were students to have another disc released on Monument almost a year later.

(17/07/18)

THE MUGWUMP ESTABLISHMENT – ”I Can’t Keep From Cryin’ / ”Bo Weevil” (Sidewalk 931) October 1967

This outfit were probably Los Angeles based and had their records released on Tower and Sidewalk. They are incorrectly associated with The Mugwumps from NYC who had Cass Elliot as a member, just check out some of the comments on various YouTube uploads and eBay listings.. All lazy cut and paste jobs.

I also believe that The Mugwump Establishment were an actual band and not just a collection of studio musicians put together by Mike Curb for his way-out soundtrack creations. I have found a couple of gig posters in which The Mugwumps are billed as an act. There is also an Italian release of ”Jug Band Music” which comes in a picture sleeve showing four long hairs.

”I Can’t Keep From Cryin” is a polished version with fluid lead guitar, flute and organ. The vocals are languid and suit the jazzy rock feel and is similar to The Blues Project take. The other side ”Bo Weevil” is ’jug band’ style and not my scene. I had hoped with a title like that it would have been a Bo Diddley style rocker but sadly not.

(15/07/18)

THE OTHER FOUR – ”Your Ma Said You Cried In Your Sleep Last Night” / ”How Do You Tell A Girl” (Decca 32050) November 1966

This San Diego group have appeared on my site before when I reviewed ”Searching For My Love” and here they are again, this time with an old rock ’n roll number from the early 60s. The song itself has been covered several times over the years, you can find a version by The Turtles on their first album and it also surfaced on the flip of ”Let Me Be” in late 1965.

There is also a take by The Thunderbirds on Delaware Records and in the early eighties Shakin’ Stevens recorded it and that’s a good version too.

(16/06/18)

THE SMOKE – ”The Smoke” LP (Sidewalk ST-5912) April 1968

I’ve already written a brief entry about The Smoke way back in February 2010 but I recently bought an original copy on Sidewalk for £50 so decided to re-examine the group and record.

I bought my first copy way back in the mid eighties, it was a re-issue on Capitol 062-2610441 and is of Greek origin. I have no idea if this was legitimate or a high quality bootleg. It became one of my favourite ever albums and I’ve played this so many times, possibly only out played by The Byrds ”Notorious Byrd Brothers”.

Some years later I bought a CD variant on Acid-Ray which no doubt was a shady release. There is no booklet for instance, only a thin card sheet with the album cover on one side and a cut and paste job from ”Fuzz, Acid And Flowers” on the other.

Looking around the internet these days it’s quite clear that The Smoke album has acquired a legion of fans and information is now readily available. This wasn’t the case in 2010 when I first delved into their story. I have found a small review published in Billboard during mid April 1968 which at least pin-points the release date.

The album has been something of a personal obsession for decades. At least once a year I take it off the shelf and examine every song, sometimes playing the record for days . . . nothing but the Smoke. This time around I’m fixated on a forty second song called ”Philosophy” – a Hyghe Knyghte worthy baroque tune. ”Do you wonder why we die?”

This studio based group consisted of Michael Lloyd (bass/keyboards/vocals/sundry items), Steve Baim (drums) and Stan Ayeroff (guitar). All three members also recorded as The Rubber Band.

Who’d have thought singer songwriter Michael Lloyd would go on to produce The Osmonds and Donny Osmond’s solo material in the early seventies.

I also have a single on Sidewalk by Raw Edge. It was released in December 1967, both sides are ”October Country” and it’s the same as The Smoke version so for whatever reason the label decided to release the record under a different name. Perhaps the studio outfit were going to go by the name of Raw Edge but decided to change for the album release.  

(03/06/18)

THE MOR-LOKS – ”There Goes Life” / ”Elaine” (Living Legend 100) September 1965

There other day I decided to check out my two Mor-Loks singles that I’ve had in my collection for some time. I don’t know why I never got around to doing a little research and uploading some sides to my YouTube Channel before now. Better late than never as they say.

The Mor-Loks hailed from Fort Lauderdale, Florida and were short lived. They did however leave behind a couple of 45s. Their debut disc ”There Goes Life” came out on Loks in small quantity but soon after got a re-release on Living Legend Records.

”There Goes Life” is a sombre jangle lament and was compiled in the late nineties on ”Love Is A Sad Song.” The other side ”Elaine” has got a distinct merseybeat sound. Quite good but definitely B-Side material.

A second single, this time on Decca was released sometime in April 1966. Both sides are essential listening especially ”What My Baby Wants” which is a beat raver with heavy use of fuzz and combo organ. Rattlin’ drums just how I like ’em too.    

(31/05/18)

THE LORDS – ”Death Bells At Dawn” / ”Light Rain” (Aldrich ALD 1001) December 1966

This is quite a stupendous disc, both sides are great but I would say ”Death Bells At Dawn” is an absolute classic. It’s a most beautiful haunting lysergic ballad with trippy organ, reverb guitar, subtle drums and mysterious vocals giving the song an almost other worldly sound.

Not a great deal is known about the Lords and I have seen no band shot although I believe they were a popular combo in New Jersey. According to ’Teenbeat Mayhem’ they hailed from Morris Plains.

If anyone knows anything about them please get in touch because I’d love to know more.

The other side ”Light Rain” is less immediate but still holds my interest and it’s worth repeated plays. It’s another languid performance but with some jangle, organ and pleasant vocals. Hearing these two songs it’s obvious that the Lords were talented and it’s such a shame that only this Aldrich 45 was released by them.

(14/04/18)

THE MYSTIC ASTROLOGIC CRYSTAL BAND – ”Flowers Never Cry” / ”Early Dawn” (Carole Records CAE-1004) 1967

My 45rpm of the day and certainly a product of 1967. The Mystic Astrological Crystal Band even hung around long enough for a couple of albums. Nothing released outside of USA though.

This one is orchestrated pop with the essential sunshine lyte harmonies. Unobtrusive catchy sounds for thee flower generation.

(08/04/18)

THE CLICHES – ”Save It For Me” / ”Why, Why, Why” (Wes Mar Records 1020) March 1966

Here’s an obscure and very pleasant love ballad by a group called The Cliches from Canton, Ohio. Notable for it’s jangle and quite basic song structure and performance. I particular dig the backing especially the drums which keep an unobtrusive beat. I have visions of a kid, barely out of school age, concentrating so hard to get his part right.

The other side ”Why, Why, Why” is a crude frat rocker which actually scored higher in ”Teenbeat Mayhem” but for my money the soft teen ballad with jangle gets my vote.

(07/04/18)

THE STORYBOOK – “Beads Of Innocence” / ”Psych-Out” (Sidewalk 940) 1968

The Storybook, genuine group or studio musicians? They left behind five numbers, all compiled on film soundtrack ”Psych Out”. I’ve long since thought that they were studio hustlers laying down these very decent acid trippers but now I’m not so convinced.

The songwriter for The Storybook songs was Ronald Stein who was employed by American International Pictures to create music for low budget and exploitation films in the late 1950s and most of the 1960s. Perhaps his songs were recorded by a Sunset Strip group and their name was changed to The Storybook for the soundtrack album? Who knows. I’m sure the truth will be out they somewhere.

Sidewalk released one Storybook single presumably to send to Radio Stations to promote the film ”Psych Out” – my copy came housed in a sleeve, they probably all did! ”Beads Of Innocence’  is a beautifully tripped-out piece of aural opulence driven along by a background charm of finger cymbals, what sounds like a glockenspiel, studio sound FX, languid guitar and dreamy vocals.

The other side ”Psych-Out” is a way-out mind tormentor.

(08/10/17)

EYE ZOOMS – ”She’s Gone” / ”On The Line” (Atila Records A213) October 1965

According to ”Teenbeat Mayhem” the Eye Zooms hailed from Toldeo, Ohio and this disc was their only release. ”She’s Gone” is a mournful teenbeat weeper with a cool tremelo’d guitar break. Also, dig that label, real classy affair.
Hey man, It’s normal for lads to be all forlorn when they get dumped for another. But don’t worry kid, you’ll get fixed up with another lass sooner than you think.

”She’s Gone” was compiled on ” No No No” some years ago. The other side, ”On The Line” is a rollicking piano led rock and roll instrumental. It sounds like an early 60s throwback. Not my scene and has not got the ’garage’ sound.

Atila was owned by Johnny Paris of Johnny & the Hurricanes. They also recorded a few quite decent garage numbers during this era.

(07/10/17)

THE EPITOME – ”I Need You” / ”Flower Power” (Mona Lee Records 219) April 1968

I’ve had this 45 for many years, every so often I’ll search the net for information about The Epitome . . . . but nothing. They released a second single ”I Can’t Face Myself” / ”Sleep” on Kama Sutra in 1969 but that one isn’t my scene.

”I Need You” is a slow tempo cover version of The Other Half’s savage and speaker shredding pounder. I dig Epitome’s languid psychedelic style, loads of organ and Monkees style background harmonies. The flip ”Flower Power” is a jaunty flower children bubblegum pop tune.

I’ve been informed that they were a New York group, the singer/songwriter Billy Hocher was later in Bulldog (2 LPs in the seventies) with the ex-Rascals Gene Cornish and Dino Danelli.

”Words can be like empty flowers, bloom and die in just one day.”

(07/10/17)

ERIK – ”Blind Street Singer” / ”Tell Me Are The Good Times Gone” (General International Records 352) June 1966

Second and last single from New York folkie Erik, who was 16/17 years old when this was released and may have been Erik Heller who released the acid folk album ”Look Where I Am” on Vanguard in 1967. I have searched for evidence to link the recordings but have drawn a blank. If anyone knows for sure let me know, thanks!

”Blind Street Singer” is a pleasant enough folk song which comes across with quite a strong Donovan influence. Quite a catchy number and after repeated plays really becomes hard to clear from your head.

The other side ”Tell Me Are The Good Times Gone” raises the tempo somewhat and has drums, guitar, bass and tambourine backing. The background harmonies could almost be described as ’mod’ern.

(19/09/17)

ERIK – ”One Too Many Mornings” / ”She Belongs To Me” (General International Records 350) October 1965

I was on my Erik Heller trip over the weekend, which leads me to a couple of singles by ”Erik” on General International Records. ”She Belongs To Me” / ”One Too Many Mornings” was released in October, 1965. Both sides are decent Bob Dylan covers, produced and arranged by Alan Lorber.

The release got a plug in Billboard as a potential ”Top 20” record. Although I have no concrete evidence or verification I’m still thinking that this could have been Erik Heller’s debut disc?!!

The Billboard review noted ”a new 16 year old from Ithaca, NY.”

(18/09/17)

ERIK – ”Why Come Another Day” (Vanguard VRS-9267) December 1967

My weekend’s album under the spotlight is this obscurity by folk singer Erik Heller. The recordings for his album date from late 1967 and it appears to have been released during December. A full page advert promoting the album and a single from it was published in Cashbox trade magazine and Billboard gave it four stars in their new releases column.

The music contained within can best be described as loner folk with orchestration. Erik’s songs are moody and desolate. Most here are stripped down acoustic based folk songs with Erik’s mournful ’spoken’ vocals increasing the anxiety.

Samuel Charters’ production adds psychedelics especially on the song I’ve chosen and my pick from ”Look Where I Am.” Some research reveals that the latter produced the first four Country Joe & the Fish albums so he was very familiar with the underground acid scene and in some ways was perfect for Erik.

There is some fuzz on one track, namely ”You Said, But I’ve Got My Way” which is quite a departure from the rest of his material. Rounding up then, this album is not gonna change your world or anything but visitors to ”Opulent Conceptions” will dig it.

A single was pulled as a taster ”Look Where I Am (Well It’s Right Over Here)” / ”Dead Afternoon Song” (Vanguard VRS-35056). Some came housed in a coloured picture sleeve but it’s unlikely to have achieved more than the promo white label stage.

(17/09/17)

THE BLUE BANANA – ”Spicks and Specks” / ”My Luv” (Kanxic HFCS-152) September 1968

Time for an obscure teenage group from Wichita, KS. Who were the Blue Banana? Not much has ever been written about them but both sides of this disc are polished efforts so they had a mastery of their instruments. I really dig the drumming especially.

”Spicks and Specks” is a lovely rendition of an early Bee Gees number, a good pop song played really well. Vocals are compact and neat. Maybe this was a hit locally. The other side ”My Luv” is less commercial and all about the fuzz and hammond organ. Lead guitarist is really enjoying himself on this.

The record came housed in a picture sleeve and was recorded in stereo.

(07/09/17)

THE RAINY DAY FRIENDS – ”Not Like Before” / ”Thru My Painted Window” (World Pacific 77870) May 1967

Don’t know anything about The Rainy Day Friends but it’s obvious that they were going for the commercial side of folk-rock with male/female harmonies. Pure flower pop, Mamas & Papas influence – from May 1967.

I’ve checked my database and found out that the producer Joe Saraceno worked with Joe South, The Sunshine Company and T.I.M.E. An earlier single, the Steven Stills penned ”Don’t You Feel Rained On?” / ”Away To Some Other World” released on World Pacific in January 1967 is like a merge of the Mamas & Papas with Lovin’ Spoonful. ”Away To Some Other World”  was written by Pricilla Paris who released records in her own right.

Below is my first FLAC upload using my new gear – Technics 1200G turntable, Pro-Ject Tube Box DS pre-amp, Ortofon MC Cadenza MONO cartridge and Ortofon LH-10000 headshell. LOADS more detail coming through.

(05/09/17)

THE MONKEES – “Love Is Only Sleeping” 1967

Trusted old friend, The Monkees crank up the style and psychedelics on this one from late 1967. Of course ”Love Is Only Sleeping” is a kool pop tune going all trippy from it’s mid point. Would the kids dig this?

(04/09/17)

LITTLE BOY BLUES – ”I’m Ready” / ”Little Boy Blues’ Blues” (IRC 6936) 1966

I’ve had this record for years and was recently raking about in a box marked ”L” and came across this little nugget which has been sadly neglected by me for long enough. ”I’m Ready” is tough and wailin’ R&B, much less polished than the singles the British groups were recording during the 1964/65 period.

Although drummer Jim Boyce has grabbed the writing credit for ”I’m Ready” the song is a Muddy Waters tune but I doubt the latter would have even known about the Little Boy Blues never mind their teenage version of R&B on this record.

”Little Boy Blues’ Blues” is another decent effort, not as immediate than the top deck but worthy of some spins. Their most famous song and perhaps best is ”The Great Train Robbery” which has appeared on several compilations over the years. Later in the 1960s the group changed direction and recorded a somewhat stoned/jazz album on Fontana ”In The Woodland Of Weir”

(26/08/17)

OUR PATCH OF BLUE – ”Zoom, Zoom, Zoom” / ”Lily White” (Warner Bros 7257) December 1968

This is a very obscure bubblegum rocker from late 1968. With it’s bass heavy beat, fuzz, organ and handclaps this one could have really hit big but I don’t think the tune caught on. I’ve read elsewhere that Our Patch Of Blue were from Rhode Island, I don’t know if this is accurate so if anyone knows for sure leave a comment. I compiled this side more than a decade ago for my Fragments Volume 1 set for the now defunct U-Spaces group.

”Zoom, Zoom, Zoom” was co-written by Bernie De Cesare and Pat Zomba, the flip ”Lily White” is also one of their dual songwriting efforts. The producer on this disc was Vini Poncia known for his fine work with The Tradewinds and The Innocence.

Cover versions were recorded by Agentinian group Los Barbaros and in a heavier style by Australian outfit The Cam-Pacts.

(19/08/17)

THE SPATS – ”She Done Moved” / ”Scoobee Doo” (ABC 10790) March 1966

The Spats were from Orange County in California and ”She Done Moved” was their fifth single. It’s a hard edged R&B side with a tough rhythm section, proper drums, harmonica, tambourine and a spooky organ sound. It’s been on plenty of compilations over the years but it’s best heard on the magnificent 4 CD set ”Where The Action Is” on Rhino Records.

Both sides were recorded at the famous Gold Star Studios during February 1966.

(29/07/17)

THE OTHERS – ”I Can’t Stand This Love, Goodbye” / ”Until I Heard It From You”  (RCA Victor 47-8669) October 1965

The Others, from Rhode Island, released three memorable singles during 1965/66. This sought after disc was their first and perhaps best, at least amongst 60s garage collectors. ”I Can’t Stand This Love, Goodbye” is a ravin’ slab of coolness with a merseybeat influence. The song was also recorded by The Damned in the early 1980s during their Naz Nomad & the Nightmares phaze.

Flip the disc over for a really beautiful folk-rocker with tremelo guitar throughout and exquisite three part harmonies. For me, this has instant appeal and one of the reasons why I’m giving ”Until I Heard It From You” post title status and not the more famous A-Side.

Both sides can be found on ’Mindrocker – Volume 9’

(06/06/17)

OSHUN – ”Ridin’ With The Milkman” / ”Rattle Of Life” (Mercury 72685) April 1967

Now this is a curious one-off single by a performer calling himself Oshun. The B-Side ”Rattle Of Life” is like a free-form flipped-out hippie protest rant with minimal musical backing. It’s full of sound FX of various ’life’ noises such as clocks chiming, cameras rolling, crickets, typewriters, wind, birds etc . . . really weird one which was compiled on Pebbles Volume 3 ”The Acid Gallery”

The top side ”Ridin’ With The Milkman” is a rather commercial pop song with a folk-rock backing, it was also recorded by Winston G (Decca F 12623) and released during June 1967. At first I didn’t care much for ”Ridin’ With The Milkman” but it’s grown on me and is what it is, a pop song.

(05/06/17)

THE BEACON STREET UNION – ”Now I Taste The Tears” (MGM SE-4568) September 1968

The second Beacon Street Union album included some strong numbers and a bizarre version of ”Blue Suede Shoes” which was lifted as a single. In my opinion the Doors inspired blues rocker ”Now I Taste The Tears” would have been a much better single to sell the LP. I’m not sure if the hippies would have been wanting to go back to a Carl Perkins number.

”Now I Taste The Tears” features a heavy bass sound and some thrilling lead guitar, not a touch of psychedelia here, just a fabulous late sixties up-tempo blues cut. The song was also recorded by Chris Morgan, The Smiths and Buzz Clifford.

(20/05/17)

THE BEACON STREET UNION – ”My Love Is” (MGM SE-4517) January 1968

A new mystery is dying and with it Spring. The last band of coastal brigands is crawling down the mountain to visit us but it will never find the road back, good, good, let them rot in the stifling air of their flowerspun graves.

Look to another mountain far from the international date line. Find the desert’s mystic dawn, the cave where eyes are nothing, the glacier where the living die – and there is the beauty they could never find. Look into the grave, look into a truth that is still, look into the land of the prophet.

Look past the living streets of Boston. Look, finally, into the eyes of the Beacon Street Union.

(recitation by Tom Wilson)

(20/05/17)

KING DAVID – ”Molly Barr” / ”Canticles To Jello” (Probe CP-450) October 1968

Here’s another record I’ve had for well over ten years that has always been on my mind to research and it hasn’t been until today that I’ve been driven to do so after recently finding a trade advert online.
King David recorded this one off single on Probe in 1968. The lead side ”Molly Barr” is not really my scene but others may enjoy it. For more interesting for my tastes is the baroque rock flip ”Canticles To Jello”

I have no idea what King David aka David Hess is singing about, the lyrics are completely bizarre. For instance, check this line out:

”The golden goose has laid her egg inside my unsuspecting jello,
From my hammock in the sky
I sing in canticles to jello.”

The single was reviewed in Billboard 02/11/68, I suspect the side under spotlight is ”Molly Barr”
An advert also appeared promoting it’s release.

”An impressive debut with King David, powerful rhythm material and vocal work combine to make this a Hot 100 winner.”

Over a decade ago Diggler Records released a limited edition CD of 500 copies rounding up rare and unreleased songs by David Hess. The CD contains both sides of this disc but not a one-off single on Epic he recorded with long time writing partner Jeremy Wind. So completists will need to track down the 45 ”The Closer She Gets” / ”Mrs Perkins’ Flowers” (Epic 5-10311) released March 1968.

According to an online source David Hess died of a heart attack at age 75 on October 7, 2011.

(14/05/17)

THE BALLOON FARM – ”Farmer Brown” / ”Hurry Up Sundown” (Laurie LR-3445) March 1968

This obscure NYC group are better known for their 1967 hit record ”A Question Of Temperature” which has been compiled numerous times. For those thinking that their follow up ”Farmer Brown” would have the same fuzztone appeal will be in for a shock because it sounds like a different outfit.

”Farmer Brown” is now very dated and is best described as a novelty number. After a few listens it’s not worth going back to however, the flip ”Hurry Up Sundown” is a grower and deserves repeated plays.

After this release The Balloon Farm (or at least Mike Appel and Don Henny) reconvened on the Kapp label as The Huck Finn releasing the single ”We’ll Catch The Sun” / ”Two Of A Kind.”

(13/05/17)

MUSIC BACHS – ”Dream Machine” / ”Dig Yourself” (Date 2-1584) December 1967

Long Island, NY group Music Bachs were a popular outfit in the own locale but seemingly didn’t make any waves further field leaving just two singles on Date behind. At first I thought they could have been simply a studio group cobbled together by the label in the hope of a hit record. This is not true of course.

My reference books and guides contained no Music Bach’s information but after some digging on the internet and Facebook I managed to track down some decent information and rare photographs. So it’s very much a big thank you to Linda Miller Lemons (if you ever read this – fab photos) and Jonas Carlsson who proved to be the perfect sleuth.

Music Bachs started their existence as The Trolls during the 1964/65 period of the British Invasion and were a suited and booted group playing local venues. It seems that most of the line-up remained intact when times started getting a little freakier and psychedelic. This is probably the reason behind the name change, new image and way-out music.

”Dream Machine” sounds like a psychedelic Lovin’ Spoonful with it’s use of trippy studio FX such as the closing reverse tape fade-out, soft layered languid vocals and dreamy atmosphere. The other side ”Dig Yourself” is also Lovin’ Spoonful influenced (at least to my senses) and has a brisk tempo and more upfront compact organ. The record was produced by the famed Bob Gallo who worked with mostly soul groups.

A follow up single emerged in March 1968. I don’t have this disc but have heard ”Life And Death” via a CD compilation called ”Soft Sounds For Gentle People” Volume 3.

Music Bachs member Marcel Thompsen ended up in Mr Flood’s Party who released an album on Cotillion in 1969.

Discography:
”Dream Machine” / ”Dig Yourself” (Date 2-1584) 12/67
”The Clown” / ”Life And Death” (Date 2-1695) 3/68

(11/05/17)

THE HOBBITS – ”Artificial Face” (Decca DL75009) 1968

The second Hobbits album featured male/female vocal harmonies and Flamenco guitar something not on the more interesting debut long-player. ”Men And Doors” has some weak songs (I call them filler) including a cringe-worthy weepy ballad thing called ”Feeling” – this one just ain’t my scene.

Some good cuts though including the opener ”Men And Doors,” ”University Of The Street,” the single ”Strawberry Children” and the put-down ”Artificial Face” which gets better every time I hear it and perhaps should have been released as a single.

(07/05/17)

BROTHERHOOD – ”Doin’ The Right Thing (The Way)” (RCA Victor LSP 4092) 1968 

I’m finding the odd Brotherhood article in various teen music magazines from 1968 and it’s sparked my interest in playing their albums for the first time in years. This one has plenty of variety with a couple of stand-outs including the sitar drenched ”Doin’ The Right Thing (The Way)” 

This number is a very introspective psychedelic recording with a hippie sentiment, now is that indeed a sitar or a Vox guitar making the sound of a sitar? Either way, the Eastern motive adds to the hypnotic feel and narrative of the song.

(10/10/20)

LARRY & THE LOAFERS – ”Let’s Go To The Beach” / ”Who” (Shurfine 017) 1966

Here’s one of those undeniably great records that totally captures the time of frat surf numbers circa 1966. According to Teenbeat Mayhem the group came from Pensacola, FL although there’s a site online indicating Birmingham, Alabama. Take your pick, but let’s not argue about this fabulous number.

”Let’s Go To The Beach” was compiled decades ago on ”What A Way To Die” and I don’t believe it’s turned up on anything since. Unbelievable! I’m not sure if this was the line-up for this disc but it’s a start: 

Larry Parker (vocals) 
Charles Giambrone (bass) 
Dale Serrano (drums) 
Wayne Gross (guitar)

(27/09/20)

LANCE FOX & the BLOODHOUNDS – ”That’s Your Problem (It Ain’t Mine)” / ”You Got Love” (Bang Records B-523) May 1966 

Not a great deal of information is readily available about Lance Fox & the Bloodhounds but according to the liners of Mindrocker #13 they hailed from New York and this single was their only release. The top side ”That’s Your Problem (It Ain’t Mine)” is a mean little garage rocker with a catchy riff, obligatory organ bursts, choice guitar, tambourine clatter and sort of put down lyrics. ”I never told you I’d be your man, baby” and ”I’m not the marrying kind” 

The other side ”You Got Love” is more sedated with 12 string guitar a little fuzz action. Another winner of course. 

(27/09/20)

THE SELECTIVE SERVICE – ”Green Onions” / ”Shake” (Trans Canada TC-32110 March 1967

Here’s an obscure record  from a soul beat group from Ohio, it’s an updated 1967 take of the mod instro ”Green Onions” – No hammond organ on this, instead some subtle fuzz guitar and brass which gives it quite a gritty sound. I can visualise something like this as background music to a punch up on 60s TV show ”Batman” ”POW” ”CRUNCH” ”ARRGH!”

The other side is a decent version of ”Shake.” So, two cover versions of hit records. Buckeyebeat wrote all about The Selective Service and included a photo of them. Head over to that website for more information but in the meantime have a listen to ”Green Onions” via my YouTube Channel.

(26/09/20)

THE OHIO EXPRESS – ”Try It” / ”Soul Struttin’” (Cameo Parkway KC-2001) January 1968 

I’ve been delving deep into hit making bubblegum outfits lately and The Ohio Express are one such combo that I’ve been concentrating on. The best thing being their groovy little tunes of course but another draw is that much of their records are cheap and easily available. Which leads me onto this disc. I checked their discography and found out that they had released ”Try It” as a single at the start of 1968. 

This one proved a little tricky to track down because it was never released in Britain! Months before The Ohio Express hit the big time with ”Yummy, Yummy, Yummy” they recorded some notable garage style numbers including this terrific remake of ”Try It”. Perhaps The Standells version from April 1967 is the definitive go to turntable action burner but this cut by The Ohio Express is a serious contender mainly because of the unmistakable driving force of the ”Super K” production. The dirty fuzz opening forces the number out of the blocks then that oh so great drum action kicks in. 

In my opinion this is worthy organ and fuzz punk, probably recorded in 1967 but released early ’68. The Ohio Express hailed from Mansfield, Ohio and were formally known as Sir Timothy & the Royals. 

Reader comment:

The Ohio Express wasn’t a group until the Buddah releases. The A-Side of the first Cameo single (”Beg, Borrow, and Steal) was a remixed version of a single by The Rare Breed, and the B-Side (Maybe) was the instrumental backing track of an audition tape by The Measles (featuring Joe Walsh). The A-Side of this single reportedly has at least one member of The Music Explosion, who Kassenetz-Katz also managed.

(29/08/20)

THE PRINCETONS – ”Georgianna” / ”Killer Joe” (Princeton PR-1465) November 1965

This 45 was the next single released by The Princetons after ”Little Miss Sad” / ”Bony Maronie” and is a much stronger record. The vibrant organ dominated ”Georgianna” reminds me of early Standells. The flip ”Killer Joe” reverts back to their frat / rock and roll style and is not as memorable.

The Princeton label release came out in November 1965 and a month later the record was re-issued on  Colpix and appears to be easier to find. 

(11/08/20)

THE PRINCETONS – ”Little Miss Sad” / ”Bony Maronie” (Wand 193B) August 1965 

The Princetons, from St Joseph – Coloma MI,  appear to be oblivious of the British Invasion sweeping USA during the period in time when they recorded these two numbers. No Beat music here, it’s the sound of American rock and a throwback to Chuck Berry, Buddy Holly and in this particular case Larry Williams. 

”Bony Maronie” has been covered many times and it was a popular song in 1965/66 with recordings also by The Standells, Dick Dale and The Cyrkle. This was the B-Side. The plug side ”Little Miss Sad’ is short and snappy with plenty of hand claps. This number was also recorded by The Five Empressions in a similar style. Another version with horns exists by The Five Emprees. Not sure if it’s the same group but with a different spelling? 

(10/08/200

THE PREACHERS – ”Hey, Girl” / ”Thoughts Of You” (Barry B 3469X) 1967

I’m still delving away in a record box full of groups that begin with the letter ”P” hence pulling out this one by Canadian group The Preachers. Information on the internet and the reference guides I have is very scarce, the disc isn’t even listed on 45Cat. They appear to have been a three piece outfit, probably all vocalists using studio musicians.

The top side ”Hey, Girl” is a Goffin – King composition and sounds like something The Walker Brothers would come up with on a B-Side or deep album cut. It’s not really the type of thing I get all excited about. The flip, ”Thoughts Of You” is a pleasant enough pop number but doesn’t really do much for me. This side was written by Stu Mitchell who wrote ”Acid” with the Wes Dakis Rebels.

Line-up:
Dennis Ferbey,
Gerry Dere,
Stu Mitchell

(10/08/20)

POWER – ”Children Ask (If He Is Dead)” / ”She Is The Color Of” (MGM K13815) September 1967 

Power were a young and talented group from South Bay, CA and this single was their only release. The record was released on the independent Showplace label a month earlier then was distributed by MGM who advised the group or at least the singer to re-record his vocal and change the words ”God is dead” to ”He is dead” to avoid any potential ban by radio stations. Squaresville existed in 1967. 

Both numbers were recorded at Paramount Studios on Melrose. ”Children Ask” is a psychedelic fuzz experience with brooding organ and religious overtones.  The other side ”She Is The Color Of” is a psych ballad similar to the trip Love were on, especially with the addition of trumpet during the outro.

(09/08/20)

THE TEMPOS – ”Heart Beat” (Justice) 1966

The Tempos album on Crypt records takes me right back to the mid 80s when I was discovering primitive garage music from the USA every day of the week. It seemed that compilations and fanzines writing about these compilations and groups were being released at will. It was exciting times but on a strict budget mainly because I didn’t have or particularly want a job back then.

It was probably because of a vast amount of choice and lack of money back in the 80s that I never got around to buying The Tempos LP on Crypt. I changed all that last month but had to fork out £30 for a copy. Imagine that! These re-issue albums and comps sold for about £7 or less back then. Anyway, I’m glad I’ve obtained this piece of Alabama history. My pick for this post is their primal ’66 surf instro ”Heartbeat” I’m giving this a 5 star salute. I’d make these boys Knights of thee Realm but they were probably off to Vietnam after they quit school.

(05/08/20)

ERIK AND THE SMOKE PONIES – ”I’ll Give You More” / ”From Where I’m Standing” (Kama Sutra KA227) May 1967

This group hailed from Hempstead, NY and despite being on a big label like Kama Sutra they remain virtually unknown. I’ve had a look around the internet on various blogs and sites etc and no one has ever written about these lads. At first I thought perhaps Erik and the Smoke Ponies were a studio creation so I asked on Facebook if anyone had seen a photograph of them. Thankfully Mole responded with a small picture which I’ll post here. I also traced an article written in Hullaballoo, October 1967.

They possessed, at least on ”I’ll Give You More”, a driving beat sound, indulging themselves with plenty of fuzz and harmonica. It’s a splendid little rocker that must have sounded way-out on the radio. The flip ”From Where I’m Standing” is a slow paced pop number that doesn’t really do much for me but others may enjoy it. 

“I’ll Give You More” has surfaced on a couple of compilations over the years namely ”Psychedelic Unknowns Volume 9” and ”Victims Of Circumstances Volume 2”

According to the Kama Sutra album discography Erik and the Stone Ponies were allocated LP label number KLP/KLPS 8062 but nothing was ever released. I wonder if this suggests that an album’s worth of unreleased material is lost in the vaults.

Another single was released on Cobblestone CB728 sometime in 1968 but I’ve not heard the sides ”I Think I’m A Flower” / ”I Know Someone’s There.” Both numbers remain uncompiled and the single itself appears to be quite obscure and difficult to find.

(29/07/20)

ERNIE & the EMPERORS – ”Meet Me At The Corner” / ”Got A Lot I Want To Say” (Reprise 0414) September 1965

I’ve been meaning to write about this disc for some time but for various reasons never got around to the task. It’s a splendid little record and I’ve had it for years before recently finding out that Ernie & the Emperors made some line-up changes and their name to the more familiar Giant Crab.

I have plenty of Giant Crab records and they’re a solid outfit too playing a late 60s psychedelic rock style. ”Meet Me At The Corner” is completely influenced by the British Invasion sound, in particular the pop orientated groups like Herman’s Hermits, The Beatles and other Merseybeat groups. It’s a decent little number and very commercial, rising to the top of the Charts in their local regions. In Santa Barbara they had a strong following and were well respected.

The flip ”Got A Lot I Want To Say” is another British Invasion influenced side but this time they add plenty of fuzz creating a much tougher sound. This number surfaced on the compilation CD ”Destination Frantic #3” but other than that appearance the song is not that well known.

There is an Ernie & the Emperors Facebook page for more details, information and photographs.

(29/07/20)

THE EMPTY SET – ”Tomorrow Is A Long Time” / ”Early Mornin’ Rain” (Coral 62486) April 1966

After researching this group and disc for quite some time I’ve still not uncovered very much information so for the time being The Empty Set will remain a mystery to me. They were probably months behind the times releasing this fabulous Byrdsian 12 string folk rock jangler. ”Tomorrow Is A Long Time” would have been a perfect Bob Dylan composition for The Byrds treatment however, The Empty Set really do turn on the style and have created a worthy jangler. Find it on the Misty Lane compilation ”Byrds Won’t Fly”

The other side ”Early Mornin’ Rain” is a Gordon Lightfoot number which has been covered many times. The Empty Set’s version is radio friendly and perhaps square friendly. Peter, Paul & Mary come to my mind.

(26/07/20)

ED WOOL & the NOMADS – ”I Need Somebody” / ”Please, Please (Don’t Go)” (RCA Victor 47-8940) September 1966

This group from Utica, NY were a very popular act on the local scene releasing records and supporting major talent from Britain when they rolled into town. They also had the British Invasion sound nailed, and on this disc from the end of 1966 are sounding very much like The Animals. The vocals on both sides have a yearning quality and are quite soulful.

The backbeat is more than adequate, the guitars have a tone that shines through the mix, especially the throbbing bass. My pick is the flip ”I Need Somebody” which has been compiled on ”Mind Blowers”

During my research I found a wiki page and decided to copy some of the information in my entry.

Ed Wool and the Nomads were formed in 1963 by Ed Wool, a graduate of the Watertown High School class of 1962. From a young age Wool was a guitar prodigy and songwriter. He became influenced by the British Invasion sound, then later by soul and R&B. The band’s initial line-up consisted of Ed Wool on lead guitar and vocals, Phil Udaskin on bass, and Al Grant on drums. Shortly afterward, Chris Christie replaced Udaskin on bass.

In the mid-1960s Ed Wool and The Nomads became one of the biggest bands in the northern Upstate New York region and opened for acts such as Mitch Ryder & the Detroit Wheels, the Young Rascals, and accompanied the Rolling Stones along with Patti Labelle and the Bluebelles and Boston’s the Rockin’ Ramrods. In 1966, the group secured a recording contract with RCA Victor and cut the single, ”I Need Somebody” b/w “Please, Please, Please.”

Several line-up changes ensued as the decade progressed. Bassist Christie departed and was replaced by Chuck Martuzes. Ed Wool remained the act’s focal point. The group was known as the Sure Cure briefly, releasing the Feldman, Goldstein, Gottehrer-penned ”I Wanna Do It” for the Cameo-Parkway label.” In 1967, as the Pineapple Heard, they became first to record Boyce & Hart’s ”Valleri”, for the Diamond label—a year before The Monkees had a hit with it. At the end of the decade, the band changed its name to Wool, and recorded the 1969 self-titled album, Wool.

(26/07/20)

THE DISCIPLES – ”Junior Saw It Happen” / ”Only The Blind Can See” (Ivanhoe Records 50.0010) September 1966

This is one of those records that is very much under the radar and has only ever been compiled on ”Bad Vibrations #1” decades ago. ”Junior Saw It Happen” is a fabulous rock and roll raunch attack, very similar to those way out sides by Paul Revere & the Raiders. The Disciples add plenty of teen energy, masses of fuzz, stupendous organ bursts and there’s an omnipresent tambourine bashing away in the background. This sound is totally my scene. The group hailed from Oklahoma City (according to Teenbeat Mayhem) but it seems they relocated to Los Angeles sometime in the late 60s.

The Disciples released two more singles before changing their name to Southwind and started to play a mature hippie rock style, releasing one album which is decent. But it’s their fuzz laden teen explosion of ”Junior Saw It Happen” that deserves wider acclaim.

The plug side ”Only The Blind Can See” is a worthy side too and much more commercial offering, very Beatles in a Merry Go Round sound kind of way. 

The Steve Miller Band recorded a hippie rock style of ”Junior Saw It Happen” and their take was part of the successful album ”Children Of The Future”

(25/07/20)

ELIZABETH – ”Mary Anne” / ”Worlds For Free” (Vanguard VSD-35070) July 1968

I don’t have much information about this mysterious group from Philadelphia but this one off single by Elizabeth is pleasantly laid back in a West Coast psychedelic rock kind of way with jazzy drums, flute and baroque harmonies. Released during July 1968 by which time some members had long hair and moustaches, wore beads and probably smoked those perfumed cigarettes.

In Sam Charters they also enjoyed the same Vanguard label in-house producer as Country Joe & the Fish. Elizabeth’s compilation appearances have been few and far between although their album track ”You Should Be More Careful” surfaced back in 2014 on the Vanguard retrospection album ”Follow Me Down”

I really must try and obtain a copy of their album one day. I’ve read a few times online that it’s mediocre but I prefer to check things out for myself. Until then I’ll make do with this single.

(19/07/20)

THE EIGHTH DAY – ”Hey Boy! (The Girl’s In Love With You)” / ”A Million Lights” (Kapp K-862) October 1967

I wrote about The Eighth Day several years ago and recently completed my collection of Eighth Day records with their first two 45s and album on Kapp Records. ”Hey Boy! (The Girl’s In Love With You)” was chosen as the debut single and perhaps album sampler.

The number written by the Dante – Allan team is a radio friendly pop nugget with brass and choice harmonies / vocal interplay by the group, who at times sound like a cross between The Association and The Cowsills.

More interesting for me is the flip ”A Million Lights” which is typical ’67 bouncy harmony pop and perhaps should have been the top side. Another number written by the Dante – Allan partnership.

(29/05/20)

MICHAEL’S MYSTICS – ”You Ran Away” / ”Hi Bird” (Bear #1965) 1965

Michael’s Mystics were a popular mid sixties outfit from St Paul, MN. despite having a large local following they failed to break out anywhere else and didn’t leave much behind apart from this 45 on the Bear label. What a great little bear logo too. Both sides are decent beat but for my taste ”You Ran Away” edges it.

”You Ran Away” is a competent Mersey beat style stomper with subtle background sax, unison vocals and a fabulous but short lead guitar break. This number would have sounded so much better played faster.

(21/12/19)

THE ROMANS – ”The Drag” / ”After You Go” (DB Records 41765) April 1965

Enthusiastic teenage romp with a number dominated by organ, some rattling drums drive the song on with a steady beat, the bass guitar is neat and tidy but not much in the way of electric guitar.
They probably performed this at School Dances, can’t think for one moment they were old enough for pubs and clubs. Location has been confirmed as York, PA.

(15/12/19)

T.I.M.E. – ”Tripping Into Sunshine” / ”What Would Life Be Without It” (Liberty 56060) August 1968

I’ve been meaning to create a post and YouTube video for ”Tripping Into Sunshine” for many years but have never seemed to get there for some reason. The wait is over! The number under review is the lead in track from their debut album ”Smooth Ball” and is a fabulous psychedelic rock interlude of strident guitar, trippy vibrations, and that Los Angeles sound from 1968. Very much a perfect encapsulation of the time.

T.I.M.E. by the way is an acronym for Trust In Men Everywhere. There’s a saying ’never trust a hippie’ but it seems T.I.M.E. trusted everyone. These particular long hairs formed in San Diego out of the ashes of The Sparrow and The Hard Times, two popular combos who were regulars on the L.A. circuit but never seemed to gain much exposure elsewhere.

I’m not sure which side was the single release. ”Tripping Into Sunshine” is the memorable number and had hit potential but ”What Would Life Be Without It” was not released on the album so perhaps the latter was the A-Side. Whatever, the single served as a choice introduction for their way-out psychedelic rock material.

(09/12/19)

THE NOVAS – ”William Junior” / ”And It’s Time” (STAR 001) September 1966

For lovers of folk-rock janglers and in my eyes one of the singles of thee Century, released September 1966.

”And It’s Time” is quite clearly inspired by The Hollies ”Look Through Any Window” but I don’t care about such things when such heights of beauty are reached. The other side ”William Junior” also also jangle heaven.

One of my most beloved singles.

(04/03/18)

POSITIVELY THIRTEEN O’CLOCK – ”Psychotic Reaction” / ”13 O’Clock Theme For Psychotics” (HBR-500) September 1966

I was thinking about the Hanna-Barbara label yesterday and I’m still amazed that no compilation re-issue has ever been undertaken, there are so many great records on HBR, so many choice sides waiting to be discovered.

Mouse & the Traps signed to HBR for a one-off single in late 1966, however for this release they changed their name to Positively Thirteen O’Clock. The top side is a fuzzy take of The Count Five classic but my interest has always been for the instrumental au go go B-Side ”13 O’Clock Theme For Psychotics” This side is a winner with it’s maxed out treble guitar sound and measured drum work.

(18/02/18)

PETER ANTELL – ”The Times They Are A Changing” / ”Yesterday And Tomorrow” (Bounty B-45103) September 1965

Here’s an obscure single by young folk singer Peter Antell, released September 1965. The flip ”Yesterday And Tomorrow” with it’s folk rock backing and forceful vocal is perhaps the strongest side and may have been best placed as the top side but I suppose ’cashing in’ on Bob Dylan songs during this period in time was the favourite route to possible success.

The Bounty label was linked with Elektra and future Doors music maker, Paul Rothchild was involved with production on the A-Side according to the label. There are several colour variants of the latter by the way. Despite exposure in Billboard trade magazine (see advert) I’ve found no evidence that Peter Antell’s record was a hit.

(16/02/18)

KIRIAE CRUCIBLE – ”The Salem Witch Trial” / ”Complain” (Night Owl J-6836) March 1968

USA: Hyghe Knyghte status achieved by Madison, Wisconsin group of teenagers Kiriae Crucible. ”The Salem Witch Trial” is quite an intense number notable for the audio oscillator effect – Yeah, hang those witches.

The group were popular locally and were supported by WISM who gave the single regular spins. Sales were steady especially in Madison. These days though the record hardly ever shows up for sale and will probably sell upwards of $400 if you’re lucky enough to locate a copy.

(30/12/17)

CRYSTAL GARDEN – ”Peach Fuzz Forest” / ”Flash” (Bay Town BT011s) March 1969

According to ”TeenBeat Mayhem!” Crystal Garden hailed from San Leandro, California and despite almost everywhere stating a 1968 release for this disc, in the book we’re looking at Spring 1969. The music certainly fits in with an early 69 sound. Top side ”Peach Fuzz Forest” is the most well known cut and has quite a crude recording but with plenty to get excited about.

The flip ”Flash” is a more laid back, downer affair. Again with a crude production in stereo and lyrics about a girl blowing her mind on acid. Kind of like lo-fi Byrds. I really dig this side but judge for yourselves.

(14/11/17)

T.J. BLACK – ”She Belongs To Me” / ”Gotta Turn Myself On, Babe” (Jubilee 45-5516) November 1965

I’m always on the look out for 1965/66 folk-rock records and I found a copy of T.J. Black ’She Belongs To Me’/’Gotta Turn Myself On, Babe’ on Jubilee. It’s the often covered Bob Dylan tune but this version is slowed right down with that typical folk-rock sound of clattering tambourine, gruff/protest style vocals and what could be an ocarina – (ie) the ’I Got You Babe’ kinda sound – no jangle guitars sadly.

The other side Gotta Turn myself On, Babe’ is strong folk-rock too.

Who was T.J. Black?

message from Max Myndblown:

I have this 45 too. I believe it’s Terry Black, a Canadian who put out 45s and LPs on Arc in Canada but also headed south of the border and had several US releases, including an LP on Decca, An Eye For An Ear, as Terence.

(03/11/17)

THE STRANGELOVES – ”Night Time” / ”Rhythm Of Love” (Bang B-514) December 1965

The Strangeloves should rapidly jump into the winner’s circle with this top-drawer follow up to their last time out smasheroo of  ”Cara-Lyn.” The top lid here, ”Night Time” is a pulsating, hard driving rhythmic romantic blueser about a lad who wants to spend the PM hours with his gal.

”Rhythm Of Love” is a plaintive, after hours, soulful romancer.
(Cashbox review, 1965)

(14/10/17)

CENTRAL PARK – ”Who Wouldn’t Love To Be Loved” / ”Flower Hill” (Amy 11,019) May 1968

It’s the B-Side ”Flower Hill” that grabs my attention on this Amy disc. Information about Central Park appears to be scarce to non-existent. To me, they sound like either a folk outfit from New York trying their hand at something a little bit more with the times or they’re perhaps a studio creation.

”Flower Hill” has double tracked vocals, guitars sounding like sitars, some studio FX and lyrics expressing the delight with the current scene of flowers, love and peace. This is radio friendly and safe. Not that this side would have got the plays because of it’s flip side status.

Producer and Arranger Wes Farrell went onto major success as a songwriter for the Partridge Family.

(12/10/17)

THE FALLEN ANGELS – FALLEN ANGELS (Roulette SR 25358) September 1967

The Fallen Angels have fallen away from the ordinary musical approach into something extra-communicable. (And the cow jumped over the moon). Their ability to communicate with their audience, starts with the kind of understanding they have created, first amongst themselves. (The dish ran away with the spoon).

They are not just a new group with a new sound, it’s more of something you’re unable to put into words. Their music is their own, and doesn’t fit into any categories.

It’s like taking pop music, exploiting it to it’s limit, and pulling it into a new dimension of time and sound. Lend a hand to the Fallen Angels and they will pull you in – bring you up or down, and make you (Wanna steal your mother’s shoe). They honestly love to addict people to their music and they do (Shoo-be-dooo).

(30/09/17)

ROUNDING-UP MY LATEST TURNTABLE SPINS, CD SELECTIONS, FILMS AND OTHER EPHEMERA. LISTEN-IN, IT’S WHAT’S HAPPENING

THE PURPLE UNDERGROUND – ”COUNT BACK” / ”SOON” (BOSS 010) AUGUST 1967

My turntable spin today is this psychedelic punk 45 by The Purple Underground. Wow man, this is intense! Check out ”Count Back” and the weird FX, treated vocals, whispered in parts, pounding bass and backwards outro. A bit like Love’s ”Seven And Seven Is”. I reckon they must have been influenced by Love with this.

Everything is kool, even the label name of ”Boss” Florida group, record released August 1967 and one to add to your psych boxes, recent sales have been $200+ though!

The flip ”Soon” is an intense weeper where the guy has lost his girl to another, awkward beat, way-out organ and more studio trickery towards the end. 

THE PURPLE GANG – ’BRING YOUR OWN SELF DOWN’/ ’ONE OF THE BUNCH’ (MGM K13607) OCT 1966 

Some groups take their name then base their whole image around that name. Take North Hollywood’s Purple Gang for instance. Someone decided that it would be cool or different or way out for all of the band members to wear purple shirts with puffy sleeves. Bass player Marty Tryon even came up with the concept of wearing a purple glove on one hand for added purpleness. So the image is corny, what of the music?

Both sides on this disc are real growers, the strange rhythms and fuzztones will slowly absorb into your mind. Sadly, The Purple Gang only released two singles before the players drifted off to other projects.  The first to go was rhythm guitarist Mark Landon.

He joined The Music Machine and took the single glove idea with him. Bass player Marty Tryon joined The Lamp Of Childhood and also worked with W.C. Fields Memorial Electric String Band. Alan Wisdom (lead guitar) and Harry Garfield (farfisa) eventually moved on to a later line-up of The Music Machine whilst singer Bob Corff stayed with MGM Records and released a single under the name of The Ark. 

Last night’s Blu-ray entertainment was “That Thing You Do!” – written and directed by Tom Hanks. The story is about a teenage garage band called The Wonders who hit the big time with their one and only single. Where have we heard that tale before?

The Wonders went from playing dives with cheap guitars to performing on National TV, surrounded by a screaming audience, go-go dancers and of course by now, Play-Tone Records had swapped their weapons of choice to expensive Rickenbacker and Fender guitars.

Just when they were on the cusp of domination and congregating inside a swanky professional studio, with a producer and arrangers all set to record a follow-up single to their Top 10 hit, “That Thing You Do!” – disaster struck.

Their lead singer, songwriter and guitarist went all egotistical and insisted on recording his own compositions, instead of one that Play-Tone had selected from one of their label songwriters. He quit and The Wonders were no more.

CD ROUND-UP

Over the past few days I’ve been catching up with a heap of CDs that have remained unplayed for some time. This one by The Archies is from the early ’90s and compiles 24 tracks of bubblegum greatness. Every number on this has merit with perhaps “Hot Dog” reigning supreme.

Dave Davies really did have some killer tracks in his repertoire. I’m sure everything he ever recorded during his brief ’60s solo career is on “Hidden Treasures”
There are plenty of mono and their stereo counterparts on here including the beat freak of “Creeping Jean” which sounds as dirty as the name suggests.

This “Best Of” John Lee Hooker was a recent £2 charity shop find. All of the tracks date from 1955 to 1963 and were releases on the Vee Jay label.
The greats are all here, “Boom Boom”, “Dimples”, “Crawlin’ Kingsnake”, “This Is Hip” and many more.

“Arthur” was released at the end of 1969 and flopped badly in Britain. It’s not their best to be fair, and it seems that Ray had ran out of ideas to make his songs both tuneful and memorable.
“Victoria” and “Shangri-La” reach normal Kinks supreme standards though!

Seeds completists will need this CD which comprises all of their single sides from 1965 – 1970. It’s clear that Sky Saxon was something of a one-trick pony, I lost count of the times he croaked “Night and Day” on many of the numbers here.

“That Thing You Do!” CD soundtrack is impressive. There are plenty of great numbers on this, not just by The Wonders, but also The Heardsmen and The Saturn 5.
I know they’re trying to recreate those 1964 sounds, aping the British Invasion but the drum sound and production is what it is . . . the mid ’90s.

ROUNDING-UP MY LATEST TURNTABLE SPINS, CD SELECTIONS, FILMS AND OTHER EPHEMERA. LISTEN-IN, IT’S WHAT’S HAPPENING

This week I was contacted by Flower Power bass guitarist Joe Rolison. I’ve exchanged many emails with Joe over the years and in the past kindly answered some of my band-related questions which can be found here.

Joe sent me several unreleased studio Flower Power recordings which were found recently and digitized into WAV files. This music has lay dormant for decades and is unheard outside a small minority of contacts. All of the songs have their distinctive sound, mixing West Coast acid psych with experimental rock concepts.

The male / female vocal interchanges are hypnotic, capturing one’s complete attention. The songs are probing and inventive.

LIST OF UNRELEASED SONGS:

“Black Dawn”, “Child Of Evil”, “Doctors”, “Freedom”, “Go And Love That Man”, “I Sing The Body Electric”, “Love Is Dead”, “Midnight Dream”, “Midnight In My Country”, “One Eyed Dog” “Send Me My Release” and “You Can Lead A Horse”.

“Black Dawn”, “Child Of Evil” and “Go And Love That Man” are not by the band or written by anyone in the band, my only guess is they’re songs Sandi Craig sang on as for an album, that’s what these numbers are part of that were being pitched to the Astro label distributed by Atlantic. (Joe Rolison)

There is enough material available to put together a Flower Power retrospective compilation. Hopefully in the future one of the many re-issue labels will finally get around and unleash this formidable hippie rock music to a wider audience.

It was Blu-ray time this afternoon and I spent some time with “My Generation”, playing the film in full then re-watching some of the segments. There are many photos and archived film that I’ve never seen before including a clip of a young David Bowie, dressed in his Dandy gear, inside a London Boutique.

BACK COVER LINERS:

British film icon Michael Caine produces, narrates and stars in “My Generation”, the vivid and inspiring story of his personal journey through 1960s London. Based on personal accounts and stunning archive footage this feature-length documentary film sees Caine travel back in time to talk to some of the best and biggest icons of the ’60s.

From the worlds of fashion, art, photography and music – celebrating a golden age of creativity.

The film has been painstakingly assembled over the last six years by Caine working with Producers Simon Fuller and Fodhla Cronin O’Reilly, Writer / Producers Dick Clement and Ian La Frenais and Director David Batty to tell the story of the birth of pop culture in London, through the eyes of the young Michael Caine.

“For the first time in history the young working class stood up for ourselves and said, we’re here, this is our society and we’re not going away!”

Michael Caine

My Prophets single “Playgirl” housed in a picture cover, is the French release. There is a date stamped on the head of one of the members – 5th February 1969.

The record was a regional hit in some American states and Thee Prophets were successful enough to have an album released, probably as a result of “Playgirl”.

The song is a bright and bouncy affair with orchestration and brass, kind of like The Buckingham’s sound. It looks like the boys were going heavy on the way-out psychedelic shirts. Interestingly the song was also recorded by The Knickerbockers.

On the flip there’s “Patricia Ann”, which has a basic and repetitive beat. It’s a bubblegum bounder with lots of “bah bah bah’s”- and for my particular taste, so much better than the top-side.

Puff were previously called The Rockin’ Ramrods but under the former guise embraced orchestrated pop and slightly psychedelic sounds. I’ve not heard their 1968 album on MGM, I don’t recall it ever being offered for sale on the dealer lists I get every few months.

“Looking In My Window” was not on their album so the 45 is worth tracking down for completists. It followed the album, with a release date of March 1969. The other side “Rainy Day” is a little more experimental with a bouncy rhythm section, not unlike any of those DDDBM&T singles – catchy pop aimed at the charts – but I doubt the hippie heads bought into it.

The commercial pop psych number “Looking In My Window” has been compiled on the Misty Lane LP “Bring Flowers To U.S.”

What a strange record by Purple Avalanche. Released during April 1969, the plug side “Oh-Bah-Um-dee-Dum” is bubblegum with fuzz and good caveman drum beat action. The downside, for me, is the annoying ‘cricket’ sound someone decided to add to the mix.

I suppose bubblegum music was aimed at the kids and they would probably go wild for the ‘cricket’ sound. When I had email exchanges with drummer Ernie Roig a few years ago he said that another version exists which is much more funky and less bubblegum.

The other side “When I Saw Her” is a low-key drum filled pop ballad.

ROUNDING-UP MY LATEST TURNTABLE SPINS, CD SELECTIONS, FILMS AND OTHER EPHEMERA. LISTEN-IN, IT’S WHAT’S HAPPENING

Welcome to my latest “Listen-in” update, the place where everything shines a golden-glow of brilliant creativity, long-forgotten gems touched by genius and tunes so memorable and so significant they’re always worthy of attention.

The Belltowers released a new album last year called “Magnetic” – you probably missed it too! This collection of ten songs was recorded before Eddie Foeller, their gentle-giant guitarist died suddenly. Everyone is still bewildered that such an awful event occurred.

This music of course is of a very high standard, the songs twist and turn in a wistful malaise of Rickenbacker jangle and harmonies. The drums are mixed loud, perhaps too loud for some.

The boys have been magpies in the past and they’ve also grasped inspiration from groups like Love, The Byrds and The Headless Horsemen here too. It’s up to the listener to piece together the jigsaw puzzle.

“Wait” unleashes a different Belltowers animal than the one we’re used to, this cut is full of compact organ, fuzz mayhem and thrills. Fast-paced garage rocker numbers are always welcome and could be an area rich for exploration for them if they plan to continue without Eddie.

Floating Bridge were an obscure Seattle group on the Vault label, out of Los Angeles. “Don’t Mean A Thing” was backed with “Mr Jaybird” (released 1969). This is a white label promo single, both sides appear to be edited versions of the one’s selected on their album.

“Don’t Mean A Thing” is notable for it’s use of wah-wah and small but effective guitar break. They probably had at least one member of the band extremely keen on Cream because the latter group’s bluesy sound is all over this!

After being left on a shelf and turned-off for many months I decided to bring my beloved Epson DS-50000 scanner back in the fold. I’ve also bought a new desktop PC since I last used it so was worried that I would experience problems getting it to work on my new system.

I couldn’t find the User-Manual or the CD that came with the Epson DS-50000 containing all of the drivers required to make this behemoth of a scanner work! My first indications were that I couldn’t get it to function without the drivers.

At this point in time my Ape brain kicked in and I decided to go searching on the internet for Epson DS-50000 drivers. I was lucky enough to find everything I needed on the Epson’s website.

My next worry was, would these drivers configure with Windows 11? And the answer was affirmative! I quickly got to work and my first scans from a Rock ‘n’ Roll history book, published during the early ’90s were Nancy Sinatra and Peter And Gordon. With many more to come.

I finally cracked open the seal from a CD I’ve had on my ‘to play’ pile for several months. I must have bought “The Land Of Sensations & Delights” during last summer – it’s been that long!

What we have here are 26 pop nuggets from the Los Angeles’ White Whale label. The promotional banter indicates that they’re all ‘sensational’ cuts but that’s way off the mark. Half of the material is just basically background music, it’s nothing great or memorable.

The Brothers “Love Story”, a song written by Randy Newman, is perhaps the most sickly sweet slop of syrup I’ve heard for a long time. There are a couple of keepers though from Professor Morrison’s Lollipop, The Answer and Rainy Daze.

The CD booklet is glossy, full of rare photos and label scans. The information is superb and for dogged music historians types, a huge bonus. Considering that I only paid £5 for this item the package is worthy of attention, despite the somewhat average material.