Monocled Alchemist

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

Count & the Colony – “Can’t You See?” / “That’s The Way (It’s Got To Be)” (PA-GO-GO PAG121) December 1966

1960s garage psychedelic singles: I’ve had this ’60s garage 45 by Count and the Colony in my collection for several years and thought that I’d already reviewed it. However, a few weeks ago a group photograph surfaced on my Facebook feed which made me curious.

It transpired that the record went straight into a record box and consequently forgotten about! 

The group were from Bay City, MI but weren’t on the scene for very long, releasing two respectable singles on the PA-GO-GO label, operating in San Antonio, Texas.

“Can’t You See?” is full of teenage swagger with crunchy and aggressive fuzz guitar over a pounding beat. It’s a rave-up bursting with energetic raunch helped along by clattering tambourine and organ bursts.

The number was compiled years ago on ‘Teenage Shutdown’ (Jump, Jive & Harmonize) and is well worth checking out.

By contrast, the B-side “That’s The Way (It’s Got To Be)” is a slow ballad with falsetto vocals, that is until that singer decides to forget about all that and begins to talk over the beat. The lyrics are corny and the number simply doesn’t work.

Petula Clark – “Colour My World” / “I’m Begging You” (Pye 7N.17218) December 1966

A few weeks ago one of my long-time friends on Facebook posted this record by Petula Clark. I thought to myself what on earth has Petula Clark in her discography that would move young Mole to post a glowing appraisal of “Colour My World”? 

Of course I was intrigued and had to check out the video of her performing the number on the Ed Sullivan Show. And do you know what? I thought it was an absolute belter and searched eBay for a mint copy of the 45.  

The ’60s music press also thought it was a worthy tune with hit single potential. Her label took out some small advertising space in NME and Record Mirror, perhaps a few others too.

The record was a flop in Britain failing to crack the important top forty.

I’m presuming this failed attempt with a drug-inspired pop rocker with tinges of psychedelia including the addition of the sitar sound meant that Petula would slink away, back into the studio and reinvest her time and effort on squaresville pop for the masses.

Pet never seems to fail in finding strong commercial numbers. No doubt this is partly due to Tony Hatch and Jackie Trent, who supply her with most of her material.

1960s Garage Psychedelic Singles

“Colour My World” is an oriental flavoured up-tempo ballad with a lot of potential. The backing is a little clockwork, but Pet’s vitality carries it off. (Melody Maker – 03/12/66)

Another Tony Hatch composition, and stamped with his unmistakable hallmark. It’s one of those happy-go-lucky bouncers, with a gay sing-along chorus.

Pet is one of the best blues-chasers in the business, and this is in familiar poppy, toe-tapping style.

big-build ballad

Flip: Pet’s in more intense mood in this big-build ballad. Self-penned, it sounds like she was influenced by Burt Bacharach. Strings and humming support. (NME – 03/12/66)

“High Coin” – a song by Van Dyke Parks

Many ’60s songs were not only recorded by the original writers but also by many other groups and performers. Some, more successful than others.

Several cover versions were massive hits and out-sold the original artist’s release. I will endeavour to research some of my favourite songs here on ‘Tyme Trips’, highlighting not only the very well-known records but I’ll also zoom in on the long-forgotten and ignored 45s and LP tracks.

The next song under my spotlight for the next few weeks is “High Coin” by Van Dyke Parks. I’m not sure if he ever recorded a studio version himself but there are numerous attempts by others, mostly done in a folk-rock style.

I know versions by Harpers Bizarre, The Charlatans, Rick Jarrard, Skip Battyn, Bobby Vee, Jackie de Shannon, WCPAEB, Southall Riot, Mike Wilhelm, A. Ruthann Friedman and The Fault Line.

Bobby Vee

Bobby Vee released a very polished version of “High Coin” during October 1965 (according to 45Cat) complete with a bouncy rhythm, hand-claps and backing vocals. The single was never released in Britain and did not appear on any studio album back in the ’60s.

Bobby, under his real surname of Velline, is credited on the label as co-writer. Producer Joe Saraceno worked with him on many mid-sixties recordings and also produced the hit records for The Sunshine Company such as “Happy” and “Back On The Streets Again.”

Skip Battyn & the Group released a version of “High Coin” during October 1965 which may have been the first. The lead vocals are in the folkie / troubadour style with a folk-rock backing.

Skip ended up as the bass guitarist in a late ’60s version of The Byrds.

This is quite an obscure 45 and for whatever reason has never troubled any compilation apart from a homemade CDR “California Love-in Volume 6”.

1960s Garage Psychedelic Singles

Harpers Bizarre recorded a version of “High Coin” but not in the usual folk-rock style. This take is slow-paced, some would say ponderous, with heavily layered vocals. I’m not even sure if I like it or not. At least it’s unique and experimental.

It’s not immediate by any means but after a few plays I’m beginning to think it could be genius. It’s a long way from their Tikis days.

My hunt for “High Coin” recordings brought me to Jackie DeShannon who I previously didn’t know much about apart from those early ’60s songs covered by The Searchers.

Her orchestrated take of “High Coin” from June 1968 sounds over-produced with masses of strings and things. Although her vocals are accomplished sometimes it’s best to keep things simple.  

country-folk version

The Charlatans from San Francisco were regulars at the Family Dog and in particular the Fillmore Auditorium. After signing a record deal with Philips in 1967 they released a country-folk version of “High Coin” as a single during May 1969.

Hang onto your old Eva Records re-issue from the mid eighties because subsequent Charlatans retrospectives on Big Beat curiously omit “High Coin.” 

Only two versions of “High Coin” were released in 1967, The West Coast Pop Art Experimental Band recorded their instrumental take for their album “Part One”. This LP dates from March 1967.

This CD from a few years back on Psychic Circle compiles Rick Jarrard‘s version of the song, recorded at the famous Gold Star Studios in Hollywood and released on Chattahoochee Records in November 1965.

Rick went on to greater things as a producer for The Jefferson Airplane, Nilsson and in the early ’70s, David Cassidy!!

Versions in order of appearance – Bobby Vee, The Charlatans, Harpers Bizarre, Jackie DeShannon, Rick Jarrard, The West Coast Pop Art Experimental Band.

There are at least five other recorded versions of “High Coin” which have proved difficult to add to my archive. Perhaps one day I’ll find copies of the missing items!

1960s Garage Psychedelic Singles

Skip Battyn future member of The Byrds but prior to that he had a stab at success with a single on Record Records (RR-11), a small label from Los Angeles. His version of “High Coin” was released in October 1965 and is very much in the in-vogue (at the time) folk-rock sound.

Southall Riot featured on an obscure 10″ EP on Earworm (WORM 71) titled “Outta Town, Outta Space” – a tribute to the WCPAEB. It was released in 2001 making it the most recent version of “High Coin”.

Mike Wilhelm the former Charlatans member released an album on New Rose Records (ROSE 70) in 1985. Appearing on this obscure LP is his solo version of “High Coin”, the second visit to the song after his first with The Charlatans in 1969.

Ruthann Friedman released some records in the late sixties that barely got noticed. She also recorded a previously unreleased version of “High Coin” reissued on CD by Now Sounds some years ago. The CD is now almost impossible to obtain without paying extortionate sums of money.

The Fault Line were a short-lived group who recorded for the RCA label. Their one and only 45, released at the end of 1969, contained “High Coin” on the flip of the A-side “Did You Hear About The End Of The World” (RCA 47-9771).    

Their version has a late ’60s groove with brass, similar to the sound generated by The American Breed.

High Coin

“I’m goin’ for high coin baby
Or I ain’t goin’ nowhere at all
I’m goin’ for high coin baby
To keep me high and in and up and down and all
Some others living by the rules are turning
Mortals into fools like you and I
I’m fine It’s my time

It looks like high time baby
To stop our lovin’ nickel dime
We’re in the high times baby
Where words are lost and tempest tossed in lemon lime
When times and places effervesce
In words of wonder from down under
I’m no less, I’m fine, it’s my time.”

1960s Garage Psychedelic Singles

The Word D – “You’re Gonna Make Me” / “You’re Always Around” (Caprice 4983/2) November 1966

I was playing ‘Texas Punk: Volume 6’ yesterday mainly because I was interested in checking out the unreleased in the sixties Penthouse 5 cut “The Years Have Passed”.

The next set of songs on the compilation are from The Word D, an obscure group from Dallas who released only one single, then promptly broke up. 

This information intrigued me enough to dig a little deeper and also digitize the four tracks presented on this 1986 compilation, two of which were released for the first time on Cicadelic Records, presumably dubbed from a scratched acetate.

Genie Geer, who sang lead vocals on “You’re Always Around” was recently interviewed for an article published in Ugly Things No. 56.

The record label used in this feature is from the archive of Word D fan Jeff Jarema.

liners:

Jon Williams formed The Word D in the summer of 1966, after his stint in The By Fives. Jon had written a couple of songs for the group. One of these songs required a female vocalist so Jon contacted Genie Geer, a co-student of his at Bryan Adams High School.

Coincidentally, Genie had written a poem called “Today Is Tomorrow’s Yesterday” for which she had a tune in mind. They decided to use it as part of the demo.

When the four song demo was cut at Boyd Recording Studios, a single was released almost overnight on the Caprice label (a subsidiary of the Vandan label, owned by Tom Brown). 

The A-side “You’re Always Around” featured Genie on lead vocals and some great 12 string guitar by Richard Keathley. The song was played on American Bandstand and received a very high rating.

The flip was “You’re Gonna Make Me” with Jon on lead vocals (he would later redo this song with Richard and The Penthouse 5).

“Keep On Walking” was an improvement on the original version Jon had done with The By Fives, with some great psychedelic leads by Keathley.

A few weeks after the single was cut, The Word D broke up, after their agent split town due to various legal hassles. 

line-up:

Jon Williams (lead vocals, keyboards, harmonica)
Genie Geer (lead vocals)
Bob Johnson (drums)
Pat Whitefield (bass)
Richard Keathley (lead guitar)

1960s Garage Psychedelic Singles

The Penthouse Five – “The Years Have Passed” (Cicadelic Records CIC-981) 1986

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

I recently had contact from bass guitarist / vocalist Bill Looney via my YouTube channel. Bill mentioned that he thought their best ever recording was released on ‘Texas Punk Volume 6’ back in the mid-sixties.

Here’s what Bill had to say:

“The last recording from The Penthouse 5 was (what we called) “La, La, La” – featuring only 3 of us – Richard “Lurch” Keathley (guitars/vocals), Mike Echart (drums), and Bill Looney (bass/vocals).

It was recorded at Delta Studios in Ft. Worth. I think it was one of our best record songs/recordings. It was never released (originally), but got its first pressing, thanks to Michael Greisman (Cicadelic Records) in the late ’80s under the title “The Years Have Passed.”

Anita Harris – “Just Loving You” (CBS 63182) 1967

This album was a recent charity shop purchase for a couple of quid last month. I knew nothing about Anita Harris other than what I’d previously heard on the tele back in the ’70s, which in my mind was orchestrated middle-of-the-road numbers that would have had your dear old Granny vigorously shuffling about in her living room wearing a smile and her best slippers. 

But the record looked in very good shape and there was barely a crease on the cover. It was also a first press on CBS from 1967. £2 seemed reasonable so I bought it. And to be fair, if only one track was decent it would be worth it. This is my mind-set nowadays.

The majority of the tracks demonstrate that Anita had a distinguished vocal range put to good use on easy listening standards like “You’ve Lost That Lovin’ Feelin’” and slow ballads such as “Ave Maria”.

She even had time for a Beatles fusion titled “The Beatles Rhapsody” which incorporates three of their psych-pop numbers, “Strawberry Fields Forever”, “Penny Lane” and “All You Need Is Love”. Producer Mike Margolis adds some subtle psychedelic flourishes and the result is very good.

The most interesting song is the up-tempo “The Playground” notable for it’s thundering bass runs, brass and best of all, hand-claps. “The Playground” was released as a single at the end of September 1967 and enjoyed regular radio airplay and very favourable music press reviews. 

Despite all of this, the record failed to sell in enough quantity to usher it into the charts and it failed to crack the top forty. 

Music Press Reviews: “The Playground” / “B-A-D For Me” (CBS 2991) September 1967

A big bouquet to Anita for attempting something totally different from her present hit “Just Loving You”. It’s a punchy mid-tempo item, with a sizzling guitar beat, pounding kettle drums and biting brass.

But the electrifying backing doesn’t detract from the husky enchantment of the gal’s voice, or the vibrancy of her approach.

It’s a self-penned number, brilliantly executed – both by the soloist and the accompanying orchestra. But in view of the fast tempo, it doesn’t have the melodic impact of “Just Loving You”. (NME 30/09/67)

This is a brave record for Anita Harris to have made. Certainly in direct contrast to her hit this isn’t a song that hits you instantly. You have to play it to gather its form, which starts with echoey emptiness about an empty playground full of memories and then it widens into a big production sound with sharp clapping and a nice compact feel.

Somehow it sounds as though she ought to be seen singing it with a stage full of nothing. I can’t explain it. I like it very much. (Disc & Music Echo 30/09/67)  

Eagerly awaited; eagerness remains unabated. It’s a fine record, with a complete change of direction and approach. Anita sings marvellously on a haunting and well written song – rocking away madly later on and with a tremendous orchestral backing. Quite definitely a big hit. (Record Mirror 30/09/67)

The Leaping Ferns – ”It Never Works Out For Me” / “Maybe Baby” (Xpanded Sound X-103) February 1965

This is a very obscure single by a group from Santa Ana, California. Further investigation led me to the famous American surf group The Chantays who had a hit with ”Pipeline.”

Yes, they’re the same band but with a more up to date moniker for the fast changing times on the music scene.

”It Never Works Out For Me” could be described as a very early folk-rock jangler, it’s also filled with reverb guitar moves and menacing background vocal harmonies. The sound on this is arguably ahead of it’s time.

The flip is a version of the Buddy Holly tune ”Maybe Baby” and again there is reverb in the guitar. Both sides have yet to trouble the compilers which is probably the reason why The Leaping Ferns are an undiscovered joy.

This was their only single release under this name. Shortly afterwards they signed to Reprise Records and released two singles as The Ill Winds. I’ll focus on those 45s next time.

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.

formation

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.

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 of them in the studio recording, possibly at Gold Star Studios, Hollywood judging from the egg-shell blue painted walls.

The Sun – “A Truly Good Song” / “Soul Sync” (United Artists  UA 50568) August 1969

This obscure record originated out of Philadelphia, USA during 1969. My copy is a white label promo copy, produced by Phili based songwriter John Madara who also produced records by The Wildflower.

The line-up is probably the same as that of Elektra label recording group Gulliver who released an album in 1970. According to group member Tim Moore, The Sun were a pre Gulliver outfit, with this one-off single on United Artists. 

The plug side, “A Truly Good Song” was written by Tim Moore and is a catchy late period Beatles-style number. It’s not immediate by any means but is a bit of an earworm.

After signing with Elektra they changed their name to Gulliver and worked on new material at Sigma Sound Studios in PA.

Another, extended recording of “A Truly Good Song” was created and released once more as a single A-side b/w “Every Day’s A Lovely Day” on Elektra (July 1970).  

Tim Moore, Tom Sellers, Jim Helmer and Daryl Hall would go onto greater things within the music industry.

The instrumental number “Soul Sync” on the other side of The Sun single is a medium-paced cascade of fuzz and organ. It lasts just under two minutes and was probably just a filler track hastily assembled by the band for the flip.

But decades after the release it’s these unknown ‘filler’ tracks that appeal to the ’60s garage psych heads. They could have easily made this into an absolute raging monster by adding a deadly fuzz lead guitar break and extending the mix by another minute or so. 

Matchless: Original Film Soundtrack (Legend) 2011

It’s not that often that I watch a video clip on YouTube that moves me enough to want that piece of music from (to me) a completely obscure and unknown mid-sixties motion picture.

The film in question is “Matchless” – a spoof spy action thriller full of beautiful women, fast cars, crazy scenes and way-out incidental music by Ennio Morricone and Gino Marinuzzi Jr.

I’ve never seen this full in full, only clips here and there on YouTube. I’m not even sure if it’s available to buy on DVD or Blu-Ray. I will have to investigate. I certainly wanted the movie soundtrack though and spent an afternoon on the internet searching for a copy.

The soundtrack has been re-issued on vinyl but that is now long gone. Copies are available from international record dealers but the starting price is £50 for a copy!

I managed to locate the only CD reissue copy available to buy on Amazon. It was sourced from a seller in Switzerland. According to the back cover of the booklet only 1500 copies were manufactured in 2011.

The number I heard that made me want to investigate deeper was “Tema Scartato” – an instrumental beat raver created by Gino Marinuzzi Jr. I’m sure you’ll agree that it’s a magnificent piece of aural action.  

About “Matchless”

Ever notice how every secret agent in the movies seems to have a gimmick? Well, Perry Liston – code name: Matchless – has got a doozie. When confronted with unavoidable capture or certain death  from enemies, he can literally vanish into thin air.

He’s not superhuman though. His ability to become invisible at will is completely dependent on a unique ring given to him by a fellow prisoner in a Chinese jail.

And the ring’s powers are limited: it can only be used once every 10 hours and the wearer can expect his invisible state to last no more than twenty minutes.

Those are the rules and Matchless (1966), a quirky international spy spoof, plays fast and loose with the gimmick. In the title role, Patrick O’Neal is not really a professional spy.

He’s actually a reporter from the New York Tribune who signs his columns with the by-line of “Matchless.”

Chinese agents

While on assignment in China, he is captured and tortured in a secret prison by Chinese agents who think he possesses top-secret information about a lethal chemical substance. He miraculously escapes a firing squad only to end up imprisoned by American military intelligence who are after the same thing.

Considering his limited options, Liston agrees to masquerade as a secret agent for the U.S., teaming up with fellow spy Arabella (Ira Von Furstenberg).

Their mission leads them to the lair of international criminal Andreanu (Donald Pleasence) who keeps samples of the deadly chemical in a Munich bank.

Complicating their assignment are Hank Norris (Henry Silva) and Tipsy (Nicoletta Machiavelli), rival spies for the Chinese.

Matchless is less a spy spoof than a fantasy adventure with sci-fi overtones. Besides the ‘Invisible Man’ gimmick, there are Andreanu’s household of robotic servants including a black cyborg attendant named Charles, centrifugal force spinners used as torturing devices, and post-operative results of “Operation Plastic Surgery” – Chinese and American agents who have had their facial features altered in order to infiltrate the enemy’s ranks.

And since Matchless was made in midst of the sixties spy craze, there are plenty of gorgeous women to ogle. Ira von Furstenberg – a European Princess making her screen debut here – gets to sport a flashy wardrobe (one ‘evening wear’ outfit accents her bare midriff) but co-star Nicoletta Machiavelli makes an even stronger impression, particularly in the sequence where she drops from the sky via helicopter onto Andreanu’s estate, clad in a silver metallic suit.

not best work

It looks like something out of Fantomas (1913-14) or Les Vampires (1915-16), the fantasy serials of film director Louis Feuillade. The director of Matchless – Alberto Lattuada – may sound familiar to you. that’s because he co-directed Variety Lights with Federico Fellini in 1950 and has worked on numerous Italian and European films including Mafioso (1962) and Stay As You Are (1978) starring Marcello Mastroianni and Natassia Kinski in her first starring role.

While Matchless is certainly not Lattuada’s best work, it’s still a lot of fun and more entertaining than most James Bond imitations. Not only does it boast a catchy music score by Ennio Morricone and Gino Marinuzzi Jr. but it features a wide range of interesting locations, spanning the globe from New York (glimpses from the top of the Pan Am building, the Brooklyn Bridge and the subway) to London to Munich.

The special effects are goofy (how about that scene where Arabella is carried down a corridor by the invisible “Matchless”? and Mike Meyers of the Austin Powers films would love the pop-art opening credit sequence, set amid an array of multicoloured test tubes and beakers filled with bubbling liquids.