Monocled Alchemist

Here are some of my random thoughts and words about obscure and in-demand 1960s garage and psychedelic singles over the years. 

Simon & Garfunkel – ”Sounds Of Silence” (CBS BPG 62690) January 1966

1960s Music Discoveries Unveiled: Quite possibly my most played album since discovering it in my mid teens. Recently I set about securing MONO releases of this and their next album ”Parsley, Sage Rosemary & Thyme.”

The songs were mostly recorded during April – June 1965.

But the album took an age (by sixties standards) to get a release, eventually coming out at the start of January ’66.

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

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

Simon & Garfunkel – ”Parsley, Sage, Rosemary and Thyme” (CBS 62860) October 1966

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

The last year has seen two of their LPs and four of their singles sell an amazing total of five million copies.

Even more unusual is that these records are saying something, in lyrics and in music,.

And that the start of their popular acceptance came through the use of an electronic gimmick.

Paul Simon: ”Pop music has become the most exciting area of all music today.

Pop music is catching up with film as the leading medium in which to make some comment about the world for a large audience, just as film caught up with literature.” (back cover album liners)

Simon & Garfunkel – ”Wednesday Morning, 3AM” (CBS 63370) October 1964

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

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

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

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

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

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

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

1960s Music Discoveries Unveiled

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

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

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

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

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

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

Frank Kinsel – ’At Home’ (Epic BN 26492) 1969

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

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

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

music as an expression

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

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

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

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

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

The Serpent Power (Vanguard 79252) July 1967

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

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

Marshmallow Way (United Artists UAS 6708) 1969

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

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

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

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

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

1960s Music Discoveries Unveiled

Thorinshield (Philips PHS 600-251) September 1967

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

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

Terry Hand was a member of The Everpresent Fullness.

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

Slow burners

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

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

Reader comments:

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

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

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

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

The Cycle Savages – Original Soundtrack (AIR ST-A-1033) 1970

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

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

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

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

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

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

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

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

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

1960s Music Discoveries Unveiled

The Crystal Ball – ’Trans-Love Airways (Fat Angel)’ / ’You’re A Big Girl Now’ (Smash S-2092) May 1967

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

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

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

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

Dave & the Customs – ’I Ask You Why’ / ’He Was A Friend Of Mine’ (DAC Records 503) 1966

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

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

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

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

The Daybreakers – ’Psychedelic Siren’ / ’Afterthoughts’ (Dial 45-4066) December 1967

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

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

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

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

”Afterthoughts” received more play than the A-Side from KSTT Radio, Devonport.

The two sided hit clung to the Top 40 chart for over three months. Denny Maxwell and Mike Bridges are playing twelve string electric guitars which at times gives the illusion of an orchestra. The instrumental breaks are highlighted by Buddy Busch’s characteristically forceful yet precise drumming. 

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

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

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

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

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

1960s Music Discoveries Unveiled

Dick Dodd – ”First Evolution Of” (Sparton Records ST 5142) October 1968

I bought this album by Dick Dodd back in March 2002 for $40 played it a couple of times then more or less ignored it.

I was rather disappointed because it wasn’t the kind of sound I wanted to hear.

Things change of course and I’ve now got a less blinkered view of most things, especially music.

So, I decided to get the album off the shelf and digitize it to CDR. As far as I know Dick Dodd’s solo work has never been released on CD.

There is scope for such a retrospective as the ex Standells lead singer and drummer released three singles as well as this studio album.

Most of the material is late 60s rock tinged with soul.

It has a polished commercial sound and would have been chart friendly.

But it seems that no one was listening as none of the singles or this album sold in any quantity.

The songs were co-written by Buddy Bowie (Buie)  & Ed Cobb.

There are covers of ”Lonely Weekends” by Charlie Rich and ”Tell The Truth” by Ray Charles. My pick from the album is the driving soul rock of ”Twenty Four Hours Of Loneliness.”

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

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

The Sunshine Trolley – ’Cover Me Babe’ / ’It’s Gotta Be Real’ (Trump 2890) August 1970

Here’s a recent addition to my collection and it’s a record that I’ve needed for some time.

Especially after hearing ”Cover Me Babe” on one of those ’Fading Yellow’ compilations.

I’m not sure who The Sunshine Trolley were, they may have been a studio creation.

If they were a proper group I’d guess at California State location.

But the Trump label indicates that the music was recorded in Memphis, so who knows!

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

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

The Sunshine Trolley version got a ’special merit spotlight’ in Billboard during August 1970.

And why not – because it’s simply superb sunshine pop with mind melting harmonies and a melody that suggests late 60s but had a release of mid 1970.

Val Stoecklein – ’Grey Life’ (Dot DLP 25904) December 1968

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

Val was the ’leader’ and singer, songwriter and guitarist in the brilliant Kansas folk-rock group, The Blue Things.

When they broke up in 1967 Val signed a solo deal with Dot Records .

His efforts created ”Grey Life” was the fruits of his labour.

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

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

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

He was ready to write songs again.

Just like he had in 1964 when he left Kansas State University to record and travel with his group, The Blue Things.

The group broke up then there was a love that broke up very badly.

So Val drifted out of Kansas to work the Oklahoma oil fields and ride cowboy in Wyoming.

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

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

1960s Music Discoveries Unveiled

The Texas friend was jammed up in the recording studio for four days and Val’s songs sat there in a tape on his desk.

Meanwhile Val examined the walls of his motel room and very slowly watched his money go down to forty cents.

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

This record was made less than two weeks later.

Do yourself a favour and find a quiet room the first time that you listen to the beauty of this music Val Stoecklein.

It’s  made from real pieces of his life before it went grey – till these songs brought back his rainbow. (back cover sleeve notes – Nat Freedland)

Reader comment:

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

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

This 45 has been overlooked since the sixties and as far as I know ”Say Those Magic Words” has never been compiled.

So who were The Blox? Very little has ever been written about them and it’s doubtful that any members have ever been located. All I know is that they hailed from Houston, Texas and released two singles on Solar Records.

”Say Those Magic Words” is a fast paced jangle beat number.

The tempo on the version by The Blox is sharper than the first version by English R&B group The Birds, from September 1966 and by The McCoys released August 1967.

In my opinion The Blox version is the superior take.

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

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

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

Columbia Records seemingly released hundreds of beautiful one off 45s by teen garage groups .

They had their shot at fame only to find that no one cared and their brief moment in the sun had burned away to embers.

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

”Hollow Woman” is one of my favourite garage rockers and let’s be honest here, it’s basically a clever rewrite of The Zombies 1964 single ”Woman”.

I’m not sure how J. Johannessen got away with it but then again who would have heard the record anyway?

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

The other side ”Better Than That” is a charming British Invasion influenced beat number.

There’s jangle and as far as I know remains uncompiled.

1960s Music Discoveries Unveiled

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

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

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

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

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

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

This garage bubblegum pounder by Jerry & Jeff a.k.a. Jerry Kasenetz and Jeffrey Katz has become a very sought after disc.

It regularly sells in the $150 – $200 range and is perhaps the best 45 on the short lived Super K label.

”Voodoo Medicine Man” has got a wonderful Seeds like sound throughout and I’d imagine Sky Saxon would have enjoyed singing this one.

Doubt that he’d ever heard it though.

The compact organ dominates.

Add into the mix macabre vocals, some primitive drum action and a raunchy guitar, what a sound they create.

This is an ALL action, hard driving bubblegum assault.

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