Monocled Alchemist

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

The Legend – ”The Sky That Is Blue” (KLIMT re-issue) 1968

Trippy Sounds: Magic Mushrooms and more: The Legend  album was released sometime during 1968 and contains several pop psych delights especially the Monkees sounding ”The Sky That Is Blue.” This one goes straight into my pool of ’psychedelic sky’ songs.

After this album The Legend changed their name and musical style calling themselves Dragonfly and moved onto heavy rock material with fuzz and wah wah.

The Legend recorded at American Recording Co, Studio City in California.

line-up:
Jack Duncan (bass)
Barry Davis (drums, backing vocals)
Gerry Jimmerfield (lead vocals, guitar)
Randy Russ (guitar, backing vocals)
Ernie McElwaine (keyboards)

The Legend issued a single after the album, Enjoy Yourself / Portrait Of Youth. I especially dig Enjoy Yourself. Both songs were completely reworked and rerecorded for the Dragonfly album. Enjoy Yourself (first version) gets my vote as their finest moment.

Trippy Sounds: Magic Mushrooms and more

The Magic Mushroom – ”I’m Gone” / ”Cry Baby” (Warner Bros 5846) August 1966

This is a fabulous two sided gem from San Diego group The Magic Mushroom which incidentally was the name given to them by Warner Bros. This 45 had an earlier release on a smaller label called Coast where they were named The Sons.

”I’m Gone” is perhaps their most famous cut in 60s garage circles having been compiled on the recommended 80s compilation ”What A Way To Die”. It’s a harmonica driven ’66 punk tormentor. It’s believed that the harp was played by someone connected with The Seeds. Sky Saxon’s name has been mentioned on other sites.

My focus is on the much neglected B-Side ”Cry Baby” which is just as good in my opinion. It’s a classic ’put down’ song with a beaty rhythm and a terrific guitar break. Find it on ”Psychedelic Unknowns #6”

”Cry baby cry baby don’t come cryin’ to me.”

What is known for sure, and it’s something that the late Ray Clearwater confirmed with me via email years ago, is that he joined The Magic Mushroom after he was fired from The Lyrics for his bad attitude. Ray did not play on this record though.

Here’s the information he provided about his time with The Magic Mushroom. 

”As for the Magic Mushroom, I can’t tell you much. They asked me to join and we immediately flew off to New York. We stayed with their manager Mike Friedman and he stayed with his girlfriend.

I came up with the name, Love Special Delivery but I don’t remember why. I think they were looking for a new name due to some contractual obligations or something but again, the name was changed shortly after I got to New York. Of course the name was a take on LSD.

We only played three or four jobs in New York and we really weren’t very good. We just sort of played some easy stuff and jammed a lot as I remember. I really didn’t know their songs, being the new guy, so we did what we could.

After a couple of months, we met a woman named Susan McCusker (spelling) and she was hooked up with a guy that said if we cut a record he could get it played in lots of stations in different cities. We smelled the big money and left Mike Friedman to do this thing with Susan.

at Les Paul’s house

She set up a recording session with Les Paul at his home in Mahwah, New Jersey. His son Rusty came out to the train station in his big Caddy and picked us up.

We recorded three of my songs that night and honest to God, there were people there with suits and ties and harps and violins. It was insane – I mean, I was just a kid from nowhere at Les Paul’s house recording music.

The songs we recorded were – ’If You Care’, a very slow love song, ’Plastic Man’, and ’Night Time’ – all my songs and sung by me.

I remember being so moved by the strings on ’If You Care’, I went outside and started to cry. No one could figure out what was wrong with me. Anyway, as I understand it, Susan never paid Les Paul for the tapes so they were never released.

the break-up

It was close to Christmas and John Buell, Carl Conte and Mike Allen went home to California. for the Christmas holidays.

Mike Lowther and I remained in New York. We were broke but fortunately, Sis Cunningham and Gordon Friesen, the folks that put out Broadside Magazine, allowed us to stay with them for a while until we were able to rent a very small apartment in Greenwich Village.

Carl never came back, John and Mike Allen did but at that point.

The four of us in a small apartment with no money just didn’t work and Susan and basically dumped us on our own.

I finally bailed and flew back to California. I was extremely lonely and broke in New York City and totally disappointed with all that had happened.

The only up side to this was that while Mike Lowther and I were staying with Sis and Gordon.

They published three of my songs and later on, one of the songs that I had recorded on a small recorder at their apartment turned up on the Best Of Broadside compilation.

Many years later, they wrote a book and said something very nice about me, comparing me to Dylan – well just a bit.”

The Magic Mushrooms – ”Municipal Water Maintenance Man” / ”Let The Rain Be Me” (East Coast EC-1001) 1968

This was the third and final single by The Magic Mushrooms and perhaps their most obscure and difficult to locate. The top side was a rather unworthy pop novelty. I’m not quite sure who this song was aimed at.

Far superior is the jangle and tambourine folk-rock fest of ”Let The Rain Be Me”.

 The label indicates a ’B’ side so sadly this song would have been lost in action if the record received any sort of promotion or radio plays.

The Magic Mushrooms – ”Look In My Face” / ”Never Let Go” (Philips 40483) August 1967

The Magic Mushrooms were dropped by A&M Records because the squares at the label were horrified that magic mushrooms had drug connotations. This was despite the fact that their single ”It’s-A-Happening” had been a decent sized hit.

They moved to Philips for one single with the slightlydelic soul pop cruncher ”Look In My Face”.

It’s a song I’ve never taken much notice of but I really dig it now. The other side, the guitar and tambourine stomper ”Never Let Go” is more in keeping with their first disc.

The Magic Mushrooms – ”It’s-A-Happening” / ”Never More” (A&M 815) September 1966

I can still remember the first time I heard ”It’s-A-Happening” via the double Nuggets album back in the 80s. Wow, it really knocked me out. What a wild and far-out sound, a psychedelic noise of the which I’d never heard before.

It has now been established that The Magic Mushrooms formed their band whilst students at the University of Pennsylvania, PA. They somehow got a deal with A&M Records and released this amazing 45 that shifts from Yardbirds style rave-ups to fuzztoned acid recitations.

”Spray the weed
A zephyr breeze
A mushroom hangs above the ground.”

The scoop on the mysterious The Magic Mushrooms was divulged on ”Garage Hangover” some years back.

It seems that they recorded enough material for an album but were sadly dropped from the label when Herb Alpert of A&M Records decided that magic mushrooms was not a good image for the label who, at the time, were releasing records by clean-cut pop groups and performers.

Trippy Sounds: Magic Mushrooms and more

The Ruins – ”She Doesn’t Understand” (Particles LP4020) 2013

Today’s album spin is this compilation of late 60s psychedelic groups armed with fuzz pedals. I’m particular sick cos this LP brings us the fuzztacular ”Bawling” by Thackeray Rocke.

I had a chance of buying a copy for $200 some years back but bought something else instead.
some you win MOST you lose.

”Fistful Of Fuzz” was released some time in the 90s but this album on Particles is a re-issue. It’s a good effort too and sounds very good indeed. They’ve used heavyweight vinyl, upgraded the sonics and have enclosed a sheet of liners with information about each song used. Most are from rare psychedelic 45s but the one I’m focusing on is from a one of a kind acetate.

The Ruins came from Central New Jersey and comprised Joe Mavica on lead vocals, Andy Fekete on lead guitar, Bill Shaw played rhythm guitar, Bruce Schofield on bass and Alan Mansfield on drums. ”She Doesn’t Understand” was taken from a 1967 Regend Sound acetate taped by Geno Viscione in the back of a Shopping Mall. The other side of the acetate was ”The Gordel Postulate” which I’ve not heard but I believe is also worth hearing.

Bohemian Vendetta – ”Riddles & Fairytales” (Mainstream 681) June 1968

By the time Mainstream Records released Long Island’s Bohemian Vendetta’s second single ”Riddles & Fairytales” was already a year old. The 45 was backed with the mod infused shaker ”I Wanna Touch Your Heart” (see my previous entry). The record was an edited version of the album track.

”Riddles & Fairytales” is an organ dominated psychedelic rocker with Seeds like fuzz and obscure lyrics. It got some radio plays on the East Coast but probably failed to get beyond ’promotional status.’

Bohemian Vendetta – ”I Wanna Touch Your Heart” (Mainstream S/6106) January 1968

This album by Bohemian Vendetta has been my latest spin and it’s a decent effort combining psychedelic effects, fuzz and weirdness. Billboard magazine reviewed it as ”a natural for underground stations featuring psychedelic music.”

There is a classy garage number, the July 1967 single ”Enough” and the psych strangeness of ”Riddles & Fairytales” and ”Paradox City” are great but the extended versions of ”The House Of The Rising Sun” and ”(I Can’t Get No) Satisfaction” are not really where it’s at in my mind right now but I’m sure others will dig ’em.

Check out ”I Wanna Touch Your Heart” which was used as the flip of their second single b/w ”Riddles & Fairytales.”

line-up:
Victor Muglia (bass)
Randy Pollock (rhythm guitar)
Nick Manzi (lead guitar)
Chuck Monica (drums)
Brian Cooke (organ / lead vocals)

The Surfaris – ”Search” / ”Shake” (Dot 45-17008) March 1967

This is perhaps the most difficult Surfaris single to find but I did just that a couple of years ago when a fellow record collector tipped me off –  thanks Mans P. Mansson – check out his new psychedelic group The Flight Reaction.

Anyway, back to this rather splendid Surfaris record. ”Search” was their final fling at success after their smash ”Wipe Out” but sadly no one was listening. ”Search” is a terrific fuzzy psych thriller with a rockin’ beat and harmonica. In a perfect world this would have made the Charts and would consequently be a lot easier to find.

The other side is a uptempo fuzztoned version of Sam Cooke’s ”Shake”

The Druids Of Stonehenge – I (Who Have Nothing) Sundazed SEP 127) 1996

During the studio recording sessions for their 1967 album ”Creation” The Druids Of Stonehenge cut two other songs that were left off said long player. These were versions of ”Bald Headed Woman” and ”I (Who Have Nothing).”

I can live without ”Bald Headed Woman” a song that I’ve never cared for whoever has recorded it, and I’m even including The Who in that list. On the other hand though ”I (Who Have Nothing)” is a terrific blast of twisted verve and moody rhythms.

Thankfully, for completists both tunes were made available by Sundazed back in the mid 90s on this killer double single in gatefold sleeve.  

Trippy Sounds: Magic Mushrooms and more

The Druids Of Stonehenge – ”Six Feet Down” (UNI  73004) July 1967

Here’s an interesting garage psych album recorded by a group originally from New York.

But sometime in late 1966 relocated to Los Angeles, eventually securing a record deal with UNI Records. Their album ”Creation” is always listed as a 1968 release.

I made some investigations about this apparent 1968 release because I’ve always had my suspicions, especially as a single ”A Garden Where Nothing Grows” / ”Painted Woman” was released during July 1967.

This 45 was listed in Billboard magazine as a new release in July ’67 and both songs are from the album.

Further more ”Creation” was released just after ”That Acapulco Gold” by The Rainy Daze (UNI 73002).

And before The Strawberry Alarm Clock ”Incense and Peppermints” (UNI 73014) which I believe came out end of October / early November 1967.

Anyway, back to the music. ”Creation” is an impressive long player delivered by a band working on all cylinders. Most songs are forceful and tough R&B mixed with psych guitar and fuzz leads. The nearest group I can compare them with is probably The Chocolate Watch Band who had a similar vibration.

I’ve always had a soft spot for the trippy harpsichord laced  ”Six Feet Down” which I first heard in the late 80s on a compilation called ”Baubles.” They’ve also utilized Yardbirds styled ’gregorian chants’ giving it that eerie charm.

My copy is on Sundazed, mastered from the original analog tapes. They’ve even used original cover art front and back. A highly recommended vinyl release.

line-up:
David Budge – lead vocals
Carl Hauser – lead guitar, harpsichord, vocals
Steven Tindall – drums, organ
Billy Tracy – guitar
Tom Paine Workman – bass, slide guitar, vocals

Comment from Carl Hauser:
Carl Hauser here. First, we were the Druids. The ”Stonehenge” was added by some marketing consultant. ”Garden where nothing grows” and ”Painted Woman” were chosen for release by our thieving producer, Jerry Goldstein because they were both written (and produced) by our thieving producer, Jerry Goldstein.

UNI had decided they wanted to be the ”psychedelic label” so that’s how Jerry pushed us. It was a terrible experience for a bunch of young, idealistic blues players and it took 50 years to get over. But we’re still here.

If any one is interested in what we would have sounded like produced right.

Check out http://www.theDruidsof Stonehenge.com or look for the ”Resurrection” album on iTunes. Four of the 10 cuts are on the Druids Facebook page.

More to come. An all original album is also to follow in early 2020. Stay cool!

Crystal Syphon – ”Marcy, Your Eyes” (Roaratorio 25) 2012

Crystal Syphon were a West Coast group from a little known town called Merced who recorded songs during 1967-68 but for various reasons never signed to any label.

Consequently their music remained on tapes and hidden away for over 40 years.

There is usually a lot of hype surrounding long lost music from the 60s and this album ”Family Evil” of unreleased recordings justifies the hype.

Especially if your kinda bag is extended psychedelic guitar rock, introspection, fuzz leads and on occasion harmonies.

There are numerous internet sites and reviews highlighting Crystal Syphon’s work so I’m not gonna go into detail on my blog.

All I’ll do is recommend this album with the assurance that you’re gonna dig it.

File in the same category as Moby Grape, Quicksilver Messenger Service and Tripsichord Music Box.

The song I’ve chosen from the set is ”Marcy, Your Eyes” recorded at Victory Recording Studios, Fresno, CA in June 1967.

Trippy Sounds: Magic Mushrooms and more

Children Of The Mushroom – ”You Can’t Erase A Mirror” (Outsider Music OSR028) 2014

This psychedelic group from Thousand Oaks, CA only released one single during their brief existence, the double sided acid jewel ”You Can’t Erase A Mirror” / ”August Mademoiselle” (Soho Records) released late 1967 or early 1968. ’Teenbeat Mayhem” suggests a December 1967 release.

The back of the LP liners state both songs were recorded at Nashville West, Hollywood in 1968.

The single has become one of the most sought after late 60s psychedelic slabs of viny.

Expect to pay in the region of $400 for a copy if one ever shows up for sale. About six or seven years ago I placed a bid for a copy on eBay and was decimated.

From memory I think I bid around $300 but it eventually sold for way above that!

”You Can’t Erase A Mirror” and ”August Mademoiselle” are simply wonderful, both songs are full of mystique, hauntingly trippy and with fuzz.

I would have loved a legitimate re-issue of the single on 45 r.p.m. but I’ll certainly make do with this retrospection on Outsider Music.

Also included are previously unreleased recordings from a garage in Thousand Oaks and in a living room using a hand held reel to reel.

None of the other songs are essential but I’m happy to listen to them anyway.

They all are a lot heavier in sound mixing Doors moves with Cream style vocals especially on ”Blade” .

The longer piece and mostly instrumental ”Exordium (The Mushroom Theme)” is lo-fi but high quality.

No doubt this would have sounded fabulous as a studio recording. 

line-up:
Dennis Christensen (drums)
Al Pisciotta (bass)
Bob Holland (vox organ)
Paul Gabrinetti (rhythm guitar)
Dick Parker & Dick Torsk (background vocals)  

The Doors – ”Indian Summer” (Elektra 42 080) February 1970

The fifth Doors album was mostly recorded during November 1969.

This is far superior than ”The Soft Parade” but just like the latter, the critics didn’t dig it that much. I tend not to bother with music reviews preferring to check things out for myself. All in all though ”Morrison Hotel” is an excellent long player, largely blues based. The opener ”Roadhouse Blues” is thunderous.

My pick is the mystical ballad ”Indian Summer” which for some reason was forgotten about until this album. The song was actually recorded during 1966 and seemingly left in the can.

Another song not quite ready for their third LP and left off that album is ”Waiting For The Sun” despite the song being the album’s title!

Sales wise ”Morrison Hotel” was a success reaching #4 in America and #12 in the UK. 

The Doors – ”Wild Child” (Elektra 42 079) July 1969

The fourth Doors studio album was recorded at Elektra Sound Recorders, Los Angeles through July 1968 to May 1969. That’s a long time to be working on an album and it shows!

It’s way to disjointed to hold my interest and the use of brass and strings do not suit The Doors sound at all.

Jim Morrison’s vocals are deeper and croonerish, not really my scene. No wonder I don’t really play this album much, today’s turntable spin is the first time since the late 80s

As I’ve suggested the album is a departure in sound from their earlier recordings incorporating brass and string arrangements, the mystical interludes have been replaced by experimental jazz, soft pop and bluesgrass. The couple of songs I do rate date from mid to late 1968 notably the blues rockin’ ”Wild Child” which was the B-Side of their December 1968 single ”Touch Me”.

The back to basic rocker ”Easy Ride” harks back to 1967. The rest though all sounds too ponderous and overblown for my tastes, the title track and album closer ”The Soft Parade” verges on progressive rock and there’s no way I’m going anywhere near that kinda bag.

At this point in time it has been suggested by band members that Jim Morrison had little interest in studio work, missed rehearsals and became distant from the other Doors. The ’magic’ was gone from this long player that’s for sure.

The Doors – ”Summer’s Almost Gone” (Elektra 42 041) July 1968

Moving on to The Doors third studio album and one which drew negative reviews from some of the music critics at the time. Most of the one’s I’ve read dismiss it as not being as good as their previous two and their least enjoyable.

I personally think those remarks are a little harsh, it has it’s moments such as the evocative ”Summer’s Almost Gone” and the mellow hippie ballad ”Love Street”.

The songs for ”Waiting For The Sun” were recorded during February to May 1968 and released a few months later in July. Despite the critics not warming to it the album topped the Billboard chart in America and sold several million copies. The single ”Hello, I Love You” also reached #1 and was a decent Top 20 hit in Britain.

My highlight though is the previously mentioned ”Summer’s Almost Gone” written by Robby Krieger. This song was written in 1965 and is notable for Krieger’s impressive bottle-neck guitar.

The Doors – ”You’re Lost Little Girl” (Elektra 42 016) September 1967  

The second Doors album ”Strange Days” was recorded during May to August 1967 at Sunset Sound Recorders and released the following month housed in a weirdly wonderful cover depicting a group of street performers. The location was Manhattan, NYC.

Cleverly, the Elektra art Department did not blazon ”The Doors” all of the cover, instead reducing the group and album title to a poster hidden in the background. Some record stores added a ”Doors” sticker to the cover so buyers were not in a state of confusion.

The music is all very laid back and Los Angeles cool. All songs written by Jim Morrison apart from ”Love Me Two Times” and ”You’re Lost Little Girl” which were composed by Robby Krieger.

By the way my album is the German 1972 re-issue, bought from a shop in Newcastle way back in the mid 80s.

Trippy Sounds: Magic Mushrooms and more

The Doors – ”End Of The Night” (Elektra 8122-79788-8) January 1967

Looking back through the mists of time I reckon that I discovered The Doors sometime in 1981. I know that I was still at school and in my mid teens. I probably found out about The Doors from an Echo and the Bunnymen feature or review in Sounds or NME.

That’s how it was back then.

I’d read something about a group I liked and perhaps another ’unknown’ to me group were mentioned as an influence.

Weeks later I’d be delving back in time to the 60s where I’d remain lost in my own psychedelic chamber. I still inhabit that chamber, I threw away the key many years ago and have no wish to leave. 

The Doors innovative debut album was recorded at Sunset Sound Recorders, Hollywood during the end of August 1966. It was packaged and in the shops four months later during January 1967.

Back then it was released in both stereo and mono mixes.

The latter was deleted not long later and has subsequently become a very hard to find item.

Thankfully, after several decades of searching for many, it was packaged as a MONO re-issue ”Record Store Day” release back in 2011.

Check out the mono mix of ”End Of The Night.” This song was one of the earliest Doors compositions and dates from 1965.

”Some are born to sweet delight, some are born to the endless night.”

Ultimate Spinach – ”Where You’re At” (MGM LP831 181-1) 1968

The second Ultimate Spinach album had some line-up changes and the sound was more free flowing than their debut with longer songs and jazzy interludes. Trippy sounds are still in abundance though with songs such as ”Gilded Lamp Of The Cosmos” ”Mind Flowers” and ”Fragmentary March Of Green.”

All songs were once again written and arranged by Ian Bruce-Douglas with production duties listed as by Alan Lorber.

I don’t dig uploading songs much more than three minutes in length so my pick goes to ”Where You’re At” which is a memorable West Coast flavoured interlude with female lead vocals, laid back guitar and harmonies.

Ultimate Spinach – ”Pamela” (MGM SE-4518) January 1968

For the next few months I’ve decided to focus on my psychedelic albums and compilations bought way back in the 80s/90s. They’ve been neglected by me for far too long when I kind of took a detour and started concentrating on collecting 45s. It will be fabulous for me to rediscover lost gems and perhaps unearth hidden jewels that I paid no attention to at the time.

Enter Ultimate Spinach from Boston, who were a popular psychedelic combo in their local domains. This album sold 110,000 copies in it’s first week of release and subsequently remained on the Billboard Top LP charts for 24 consecutive weeks.

Each song on this album, recorded during September to December 1967, was written by leader Ian Bruce-Douglas who also was lead singer, played electric piano, harpsichord, organ, sitar, harmonica, flutes – almost anything.

According to Ian ”Pamela” shows the intense beauty that can be seen and felt if one’s senses are fully employed. Beauty pervades all and looks into the future of Ultimate Spinach.

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line-up:
Ian Bruce-Douglas: vocals, electric piano, 12 string guitar, celeste, theremin
Barbara Hudson: vocals, guitar
Keith Lahteinen: vocals, drums, tabla
Richard Nese: bass
Geoffrey Winthrop: vocals, lead guitar, drone sitar