Here are some of my random thoughts and words about obscure and in-demand 1960s garage and psychedelic singles over the years.
The Robin Hoods – ”Wait For The Dawn” / ”Love You So” (Mercury 72445) July 1965
Back From The Grave: 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.
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.
Back From The Grave
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.
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!!!
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.
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.
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.
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.
Back From The Grave
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?”
Line-up:
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.
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.
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.
Back From The Grave
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.
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.
The Storeybook – “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.
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.
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.”
Back From The Grave
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.
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.”
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.
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.
Back From The Grave
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.
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?
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”.
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.
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.
Back From The Grave
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 tremolo 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’
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.
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.
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, into a truth that is still. Into the land of the prophet.
Look past the living streets of Boston. Finally, into the eyes of the Beacon Street Union. (recitation by Tom Wilson)
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.
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.”
Back From The Grave
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
”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
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.
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