31 March, 2015


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

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

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

Anyway, The Belltowers have a new single out on Market Square Records. It's a limited pressing as that's how label owner Paul Messis likes it. So get your copy of the disc before it's too late.
Check out "Here To Stay" on this splendid YouTube video and transport your inner self upon their jangle pop reverie. There ain't no comin' down once you're in their paisley sky.

Belltowers @ Market Square Records

27 March, 2015


SCREAMING LORD SUTCH & the SAVAGES - "The Cheat" (BBC Transcription Service) May 1966

I've acquired some "Top Of The Pops" BBC Transcription Service CD-Rs of the Brian Matthew's radio show. They are mostly full broadcasts in excellent sound quality. I'll pick out my faves over time, upload them to YouTube and post them here.

First one is "The Cheat" by legendary English rock 'n' roll group Screaming Lord Sutch & The Savages. The song was released on CBS during May '66 as the B-Side to "Black and Hairy"
The released studio version is excellent but in my opinion in trails behind the looser 'live' BBC take. The drumming moves are classy, Lord Sutch sounds his sinister best and the fluid droney raga guitar leads hint at psychedelia.

"The Cheat" was written by Lee Hazelwood and was originally recorded by rockabilly singer Sandford Clark in 1958 on Dot Records titled "A Cheat".

Simply wonderful.

from an eBay seller:
"The Cheat", Sutch's stab at psychedelia, was a Lee Hazelwood song, on which he was backed by session musicians including The Des Champ's Quartet playing violin and flute, Nicky Hopkins on piano, Ian Buisel on rhythm guitar, Paul Francis on drums (both from The Tony Jackson Group), Jim Lawless on Percussion, and two future Led Zeppelin members, John Paul Jones on bass and Jimmy Page on lead guitar.    

The musical arranger on this release, sax player Des Champ is better heard on The B-side "All Black And Hairy" which was written by Dave Sutch and remained a hilarious staple of his live act for many years.

20 March, 2015


Things you should have known...

ZOMBIES - I Must Move
FORTUNES - This Golden Ring
FORTUNES - Things I Should Have Known
GREAT UNCLE FRED - I'm In Love With An ex Beauty Queen
MINDBENDERS - Uncle Joe, The Ice Cream Man
HONEYBUS - Girl Of Independent Means
CYMBALINE - Found My Girl
BERNIE SCHWARTZ - Something's Wrong
BEATSTALKERS - Everybody's Talking 'Bout My Baby
DON FARDON - Belfast Boy

19 March, 2015


THE ZOMBIES -"Whenever You're Ready" / "I Love You" (Decca F.12225) September 1965

It's about time The Zombies had another hit, and "Whenever You're Ready" could give them a touch. Piano and cymbals support the soloist at the outset then it breaks into a unison-vocal mid shaker.

What I like about these boys is their inherent R&B feel plus the leaders honest approach, without resorting to nasal drawls or the unnecessary shouting. Another pleasing feature of the disc is the exciting thumping piano break.

The flipside is a mid-shaker tempo for the un-originally titled "I Love You"
More forthright approach here with organ and harmony support. A most competent B-Side.
(NME review, September 1965)

18 March, 2015


THE ZOMBIES - "She's Coming Home" / "I Must Move" (Decca F.12125) April 1965

A powerful medium beat number from The Zombies, with a build and build approach. A strident sound but not as potent as their last.
(Record Mirror review, April 1965)

The Zombies follow up to "Tell Her No" was "She's Coming Home" which was issued in April 1965. This one was quite an eye-opener as Rod Argent wrote it with his days as a choirboy in mind. "When I sang the 'Nunc Dimittis' in church", he said, "it used to bowl me over because I thought it sounded like a blues!"

Accordingly, the song was written with a very churchy feel to it, while White's flipside "I Must Move" had a vocal that sounded in places like the chant of an oriental Buddhist monk! Although the single failed in Britain, it did make #58 in America.
(Record Collector magazine)

Phil & the Frantics 'borrowed' the tune, applied a faster tempo, wrote different words and slightly renamed the song to "I Must Run" Their version is majestic moody beat too.



16 March, 2015


THE ZOMBIES - "Begin Here" (Decca) April 1965

Whether you have picked up this LP at random while half-consciously glancing through hundreds, or whether you are reading the sleeve after purchasing the record, the chances are that you are expecting about 700 words or sugared praise telling you how brilliant both the group and the record are.

Since all of us are convinced that the main part of any LP consists of the music reproduced inside the sleeve, we concluded that the public are more interested to read about it than have to wade through a mass of boring and superficial praise. And that, folks, is how I came to writing these notes!

Of the seven tracks not written by Chris or myself, all but two are 'soul' numbers, and consist of some of our favourite material. The other two, "Road Runner" and "I Got My Mojo Working" are tried and tested blues constructions.

The only instrumental on the album "Work 'N' Play" was written by our recording manager, Ken, who took over the piano stool while I played harmonica in unison with Paul's 12 string guitar. The fact that it is essentially an instrumental work song didn't prevent him from beaming happily as he always does when we 'let him join in'!

Rod Argent (edited sleeve notes)

15 March, 2015


THE ZOMBIES - 'Tell Her No' / 'What More Can I Do' (Decca F.12072) January 1965

A good one here from a group doing so well in the States now. This one starts gently enough then builds into a succession of dramatic-sold "no's". Nicely balanced backing aids the commercial appeal.
Lead voice bends tunefully and soulfully around the mid-way mark. Yes, it should click in the "50"

Organ booms into the flipper, an uptempo item with a fair bluesy content. Not quite as strong as "Tell Her No" on sales appeal.

Record Mirror review, January 1965. 
Chart Position: #42


12 March, 2015


THE ZOMBIES - 'Leave Me Be' / 'Woman' (Decca F.12004) October 1964

A beaty ballad with a gently rocking rhythm, "Leave Me Be" features a huskily whispered harmonic duet, backed by a delicate guitar figure. The Zombies are much more subdued than on "She's Not There" but I like it just as much. The tune is both ear catching and absorbing, and it suddenly explodes in the middle eight, with the organ adding substance.

A welcome combination of pleasant melody and beat, which should appeal to both armchair listeners and dancers.

A heavier and more strident beat, and a more forceful vocal approach for "Woman" a mid-tempo shaker in the R&B idiom with screams and shouts.

(NME review, October 1964)


08 March, 2015


THE ZOMBIES - 'She's Not There' / 'You Make Me Feel Good' (Decca F.11940) July 1964

Pounding medium pacer "She's Not There" introduces new Decca group The Zombies. The boys have a distinctive sound, with intriguing phrases by the lead singer, and attractive vocal blends in the unison passages. The drummer and bassist are pretty solid, too.
I'd have tipped it for a hit if the material was stronger - even so, it must still stand a chance.

More in the familiar Mersey-inspired mould is "You Make Me Feel Good." No change in the tempo, but this one is largely unison vocal.

(NME review, July 1964)
Chart Position: #12   

06 March, 2015


this one goes out to all you squares! 

NOVA LOCAL - Other Girls
LEAVES - Girl From The East
MORTIMER - Dedicated Music Man
PEANUT BUTTER CONSPIRACY - Turn On A Friend (To The Good Life)
SEMI-COLONS - Beachcomber
SEEDS - March Of The Flower Children
MORE-TISHANS - (I've Got) Nowhere To Run
TOMMY BOYCE - Pretty Thing (You're Out Of Sight)
SQUIRES - Go Ahead

21 February, 2015


so you want to be a rock 'n roll star

FLAVOR - Heart Teaser
POP OVERS - Time's Run Out
PUFF - Looking In My Window
PHLUPH - Doctor Mind
SHEPPARDS - When Johnny Comes Marching Home
SHEPPARDS - Poor Man's Thing WAPHPHLE - Goin' Down
WAPHPHLE - Goin' Down
FIVE BUCKS - No Use In Tryin'
GENE RICKY & the SWINGERS - What You Wanted Most
STRING & the BEANS - Come On Back To Me

14 February, 2015


SIMON & GARFUNKEL - "Sounds Of Silence" (CBS BPG 62690) January 1966

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?"


THE BYRDS - "Fifth Dimension" (Columbia CL 2549) July 1966

The Byrds' first instrumental emerged during a break between  recording sessions when they were riffing on Lee Dorsey's "Get Out Of My Life Woman" 

recorded: 18th May, 1966


13 February, 2015


THE BYRDS - "Younger Than Yesterday" (Columbia CL 2642) February 1967

"Thoughts And Words" is arguably Chris Hillman's finest solo composition and I would even say that (in my opinion) it is a sonic art masterpiece. The melody and harmonies are wondrous then there are those interludes of eerie sitar-like sounds of backwards guitars. Sublime.

recorded: 6th December 1966

10 February, 2015


BERT JANSCH - "It Don't Bother Me" (Transatlantic Records 132) December 1965

"Tinker's Blues"
Tinker is a pussy cat, who strides through our flat and amuses himself by being rescued by firemen from the topmost chimney of the house.

Recorded at Pye Studios, London (April 1965)

09 February, 2015


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)

08 February, 2015


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)

SIMON & GARFUNKEL - The Sounds Of Silence (stereo)

01 February, 2015


Mid 60s British Beat currently letting my mynd submit to it's power.

KINGPINS - Diamond Girl
FIRST GEAR - Leave My Kitten Alone
REVOLUTION - Shades Of Blue
BOYS - It Ain't Fair
KINKS - Something Better Beginning
BEATMEN - Now The Sun Has Gone
BRAND - Zulu Stomp
CLIQUE - She Ain't No Good
SEARCHERS - Magic Potion
KINGPINS - For Your Love

31 January, 2015



I've spent the last couple of days spinning this vinyl compilation album from the late 90s on Dig The Fuzz.

"Return Of The Amphetamine Generation" is a mid 1960s collection of the odd obscure B-Side but mostly previously unreleased recordings from one of a kind acetates and private pressings..... including unknown groups called The Uprooted, Themselves, James King & the Farinas, The Falcons, The Nomads, Those Fadin' Colours, The In-Sect (plus more)

Well worth getting a hold of. Quality release with plenty of informative notes and a few group pix.

The group I'll focus on from this disc are The Falcons. Sadly little is known about the group behind the unreleased "Phone Me." The Ilford Sound label, based in Essex was in operation between 1964 - 1965 and recorded acetates by several other beat groups including Dave Anthony & the Classics and The Integrals.   

26 January, 2015


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 songwriting partnership. They wrote the hits for The Archies including "Sugar Sugar" but couldn't repeat the magic with Ron Dante, at least chart wise.

RON DANTE - How Do You Know

19 January, 2015


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). 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) 


18 January, 2015


THE KINGPINS - 'For Sale' (Tenth Planet TP016)

Tenth Planet seemed to come up with the undiscovered goods on a regular basis during the 90s and it was one of those labels that gained respect from vinyl collectors with their handsome releases in gatefold sleeves with choice unseen photos and rare music (mostly from acetates) in sparkling sound quality.

The Kingpins "For Sale" was one of their earliest releases from 1995 and was limited to 600 copies. They're long gone now but the collection may show up on eBay now and again, but with a premium price of course.

I want to concentrate on The Kingpins 1965 recordings. There were two. The ravin' "Diamond Girl" and a potent version of "For Your Love." But the album also covers their unreleased songs from 1966 through to 1969 when they experienced line-up changes and group names to Those Fadin' Colours and The Orange Seaweed.

The Kingpins formed in 1964 in the small town of Adlington, part of the borough of Croydon. The ages of the members ranged from 14 to 17 years old. In other words they were a schoolboy combo.
The line-up consisted of:

Ray Neale (rhythm guitar / vocals)
Keith Neale (bass)
Tony Martin (lead vocals)
Glyn Stephens (lead guitar)
Jimmy Barnard (drums)

By mid 1965, The Kingpins had progressed enough to enter a local beat group competition. One of the contest's adjudicators was Ronald Jones, owner of R.G. Jones recording studio and Oak custom label in Morden. He agreed free recording time for the top three acts. The Kingpins finished third.

The entered R.G. Studio on 31/05/65 to cut "Diamond Girl" and "For Your Love" which were pressed up as an acetate. "Diamond Girl" was written by Tony Martin and is a hard driving beat number turning positively freak. In my opinion an absolute classic beat punk raver '65 style.

"You're My Girl" is one of the great lost tracks of the 60s. Only ever released on an acetate, it features the vocals of a 17 year old Ray Neale. It's quite amazing, and when you think he's playing lead guitar and wrote it as well, it kinda blows you away. The flip side features Tony Martin on vocals and is also a great bit of song crafting. Ray's brother Keith was also in the band and played bass.

I knew Ray as a friend since 1977 when I happened upon his band 'Ramrod' one Sunday dinner time in a Croydon pub. A great guy who I spent many happy hours drinking and smoking to an almost Olympic standard. Alas the fags got him in the end, and he died in 2012. They say you're never dead as long as someone alive remembers you. I'm not being sentimental, but the stuff the Kingpins recorded on Oak will still be talked about when we're all dust. They're magnificent. (rollinrecords-shop)


17 January, 2015


THE BYRDS - Turn! Turn! Turn! (Columbia CL 2454) December 1965

Well, here it is. And about time, too.
Didn't our old grannies wag their wise and withered heads and tell us that good things are worth waiting for?

This album was as long in the making as a President. But, as Jim McGuinn trusted it would, everything's worked out all right. Personally, I think it's a beautiful piece of work, and maybe The Byrds were right to linger over it.After all, a great album is to the 1960s what a piece of sculpture was to the Middle Ages. Isn't it?

The Byrds think it should be, and I agree with them because I agree with them on most things. So do The Beatles, by the way. Two of the Fab Four came to the recording sessions at Columbia's Hollywood studios when they could have been sprawling beside their Bel Air pool gazing at Joan Baez. Some choice.

Anyway, down from the hills rode George and Paul because they'd liked The Byrds' "Mr Tambourine Man," and they know that a record like that doesn't happen by accident, ("Ho," John had said, "The Byrds have something." and the others nodded.) So there they were, At Columbia - bachelor Beatle two-some, denims and fringes and so much experience, heads bent up to pick up the sound-subtleties of the Los Angeles Byrds, whom The Beatles publicly named as their fave rave American group.

(notes by Derek Taylor, Press and Public Relations Officer for The Byrds)

THE BYRDS - The World Turns All Around Her

11 January, 2015


a mix of twelve songs currently dominating my turntable:
Remastered from my vinyl records uploaded as MONO MP3's in 320 kbit sound resolution.
Downloadable. As usual, all cuts taken from my 45s

MAGICIANS - An Invitation To Cry
SPIRIT - I Got A Line On You
SURFARIS - I'm A Hog For You
BERNIE SCHWARTZ - Something's Wrong
LORDS - Light Rain
VEJTABLES - Mansion Of Tears
OSHUN - Rattle Of Life
ORACLE - Don't Say No
VISITORS - Is It Them Or Me?
MONKEES - Forget That Girl

05 January, 2015


THE MONKEES - 'Alternate Title' / 'Forget That Girl' (RCA Victor 1604) June 1967

"Forget That Girl" is an overlooked Monkees song recorded at RCA Studios in Hollywood on the 7th and 8th March 1967. The recording line-up consisted of Mike Nesmith (12 string guitar), Peter Tork (electric piano), Davy Jones (vocals and maracas) and Micky Dolenz (drums).

This beautiful jangling ballad was written by Chip Douglas who had become the Monkees producer at this point in time.
"Douglas Farthing Hatlelid" is his made up name. Although "Forget That Girl" never appeared on a 45 in America it was part of the "Headquarters" album.

Thankfully, "Forget That Girl" did get a single release in Britain during June 1967, it can be found on the B-Side of "Alternate Title." The song featured in the Monkees episode "One Man Shy" during August 1967. 

01 January, 2015


THE SERPENT POWER - '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.

Billboard December 1967


30 December, 2014


MARSHMALLOW WAY - '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 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.


THORINSHIELD - "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". Read about that release on my blog here.

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. 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.


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)

26 December, 2014


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.

24 December, 2014


a mix of eleven 45s currently adding colours to my mynd:

CHRISTOPHER & the CHAPS - They Just Don't Care
DAYBREAKERS - Psychedelic Siren
DANNY & the COUNTS - Ode To The Wind
RAVES - Mother Nature
RAVES - Think Of Your Love
JIMMY CURTISS - Psychedelic Situation Dee Jay & the Runn
EVIL I - Love Conquers All
ESKO AFFAIR - Morning Dull Fires
FABULOUS PACK - Wide Trackin'
FAMILY - San Francisco Waits
DEE JAY & the RUNNAWAYS - He's Not Your Friend

22 December, 2014


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.

Billboard - May 1967