26 November, 2015


THE VIPERS - "Tears (Only Dry)" (PVC 8928) 1984

This is the second time out for The Vipers on my blog, the first time was way back in 2009 when I focused on their mid '66 inspired garage fuzz punker "Ain't Nothin' Like Her"

Now it's the turn of their jangly pop tune "Tears (Only Dry)"

Check out the cutting from Sounds magazine from 1984. I can actually remember reading this review while browsing through Sounds on the 194 bus on my way to Newcastle. I'm serious! I remember all kinds of inconsequential stuff concerning records and music.

25 November, 2015


THE SIR DOUGLAS QUINTET - "The Story Of John Hardy" / "In Time" (London HLU 10001) November 1965

There is plenty of information elsewhere about The Sir Douglas Quintet so this will be a brief entry. It's all about introducing this greatness - an obscure B-Side by the Sir Douglas Quintet from the back end of 1965 with their moody beat, British Invasion style....diggin' the Vox Continental organ sound...

The other side "The Story Of John Hardy" is more in keeping with the hip sound of '65 folk-rock.

22 November, 2015


GORDON ALEXANDER - "Thinking In Indian Again" (Columbia CS 9693) 1968

It's back to finding some long lost nuggets on albums and here's a very interesting one by obscure late 60s singer songwriter Gordon Alexander. "Gordon's Buster" is not one of those immediate albums that blows your mind, it will take a couple of plays over a day or two before the songs and rhythms start sinking in and making sense.

It's a very diverse collection of freak rock, psych tinged folk with jazzy & blues touches. Checking out the cover information reveals that renowned Producer Curt Boettcher worked on three songs "Looking For The Sun" "Windy Wednesday" and "Miss Mary" - all of these cuts have his unmistakable soft psych touches. I've read elsewhere that members of his own band The Millenium also helped with instrumentation throughout.

The other songs on the album, including my highlight "Thinking In Indian Again" were produced by Sonny Knight with arrangements by David Angel fresh from his work with Fever Tree and Love's "Forever Changes"

"Thinking In Indian Again" is a short burst of psychedelia notable for the way-out and trippy guitar sound.

"How is your mind bending, how is your mind bending.
I like to fly using my middle eye on a beam to the end of the brain."

One single was taken from the album as a promo sent to radio stations "One Real Spins Free" / "Topango" during July 1968.

21 November, 2015



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.
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.
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."

17 November, 2015


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.

16 November, 2015


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" 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.

14 November, 2015


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. Follow the link for information direct from band members.

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.


THE LINCOLN'S - "Come Along And Dream" / "Smile Baby Smile" (Tripp Records 45-1000) March 1969

According to 'Teenbeat Mayhem' The Lincoln's hailed from the North Bonneville - Stevenson area of Washington in USA. I've read elsewhere that they've been incorrectly attributed to Vancouver in Canada.

The name on this label is probably a typo because they're The Lincolns on other releases. Perhaps their most well known is the organ/sax punker "We Got Some" on Dot Records in 1966.

This record dates from early 1969 but the music sounds like it's come from at least a year earlier. "Come Along And Dream" is a fast paced fuzz and hammond organ-a-go-go rocker the ends in a barrage of psychedelic studio effects. It was compiled on 'Highs In The Mid Sixties #7'

The other side "Smile Baby Smile" is a jaunty beatsville mover sounding not unlike some of those beaty Monkees numbers. Love the twangin' guitar on this one. Currently uncompiled.

08 November, 2015


TEDDY AND HIS PATCHES - "Haight Ashbury" / "It Ain't Nothin" (Chance 669) June 1967

I wrote about their first disc "Suzy Creamcheese" back in 2007 and here I am some eight years later picking up where I left off with their fabulous second and final 45 "Haight Ashbury"
Teddy and his Patches were a short lived outfit from San Jose but they certainly left their mark on the garage psych collector scene with their vinyl output.

"Haight Ashbury" written by members Teddy Flores and lead guitarist Bernard Pearson is a punkedelic classic with it's moody opening beat and pissed off rant about the cops and the low-lives of the hippie scene. Mid way through, the pace quickens and the psychedelic effects take the listener on another trip altogether. This time it's an Eastern raga colouring the pictures. Let your mind wander while taking in the trippy guitar break.... such a fantastic sound, pure '67 mind tripper.

For such a talented group and one that was very active with gigs on the West Coast it's a shame that they recorded a dismal kazoo led vaudeville indiscretion for the flip. I'm sure they would have had a superior song in their repertoire.

05 November, 2015


PUBLIC NUISANCE - "7 or 10" (Third Man Records) 2012

Today's spin is the late 1968 early 1969 recordings by Public Nuisance.
They were from Sacramento, CA. Their producer was Terry Melcher but the album was shelved after the Manson Family murders took place at his property which had been leased to Roman Polanski.
After a couple of plays this one has really burrowed it's way into my mind.

Difficult to describe and categorize.... bits of Love, Lollipop Shoppe, weirdness, baroque psychedelia and a gentle love ballad "7 or 10"

Here's a photo of an earlier line-up when they were called Moss and the Rocks. Their crude folk jangler "There She Goes" was compiled on 'Garage Beat '66 "Feeling Zero"

03 November, 2015


THE MISSING LINKS - "Not To Bother Me" (Sundazed LP-5422) 2012

Little "Bobo" has to get used to my music preferences. Currently he has his tiny head spinnin' with The Missing Links and their R&B punk album from 1965.
You'll get used to it son and will become the hippest cat in Washington.

The Missing Links have a most unusual claim to fame - they're different! They're original! They have their own sound, not borrowed, not copied. They write a lot of their own material and it too has an originality and individualism, that makes "The Links" music the best thing that's 'happened' to the pop scene for a long time.

This is their first LP. It was recorded over a period of two months, shortly after The Links signed to Philips Records in September 1965. It includes "You're Driving Me Insane" written by Hutch, the drummer, and "Wild About You" the group's latest single, written by Andy, who sings both numbers.

Andy is also heard in another of his own songs "Speak No Evil" as well as "Some Kinda Fun" and Bob Dylan's "On The Road Again". Bass guitarist Ian Thomas vocalises on "Nervous Breakdown" and his own composition "Not To Bother Me." Not to be outdone, Doug Ford, the group's lead guitarist sings one he wrote "Hobo Man." It has a Jimmy Reed feel about it. The vocal on "All I Want" is John, he plays rhythm guitar and has a lot to do with the wild feedback sound achieved by The Links. Chris plays piano, organ, harmonica, and sings on "Bald Headed Woman" and "Mama Keep Your Big Mouth Shut" which features one of the wildest instrumental breaks ever put down by any group. The last track on the album "H'tuom Tuhs" is a 'way out' piece that exemplifies The Links' lust for originality.

The Links have been together now for about four months and have already established a reputation of having the wildest stage act in Australia. Maracas, tambourines, conga drums, and even microphones are constantly getting broken during their live performances. They are planning interstate tours and hope to visit all Australian capitols as well as New Zealand during 1966.

The average age is around 18 and Andy the group's vocalist, who also plays the conga drums comes from Auckland. His singing is in the 'blues shout' style and his favourites are Dylan, John Lee Hooker and Little Richard. Chris used to play harmonica on 'country blues' groups and jug bands.
(original album liners)  


02 November, 2015


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.

01 November, 2015


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.'

31 October, 2015


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."

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


25 October, 2015


THE RIOT SQUAD - "Freaking Out" (Record Collector LP006) 2013

Long time British magazine 'Record Collector' started releasing rare and obscure recordings on their own label a few years back using heavyweight vinyl pressings, lavish covers and as you would expect from such a professional and well established magazine each release comes with plenty of accurate information.

This Riot Squad release was rescued from a well worn acetate. The group had laid down some recordings at Advision Studios, London on two occasions during October 1967. Those recordings had some post production work done on them but nothing was ever released.

I highly recommend this album if you ever find a copy, it had a limited run of 750 copies only. My pick is their version of "Steppin' Out" which was first recorded by Memphis Slim but most record collectors will no doubt be more familiar with the John Mayall & the Bluesbreakers version that appeared on their "Beano" album with Eric Clapton. Indeed the latter took it with him to Cream where they'd play it at gigs.

The Riot Squad's version was titled "Freaking Out" on the acetate for some reason. It's a really strong take showcasing the guitar skills of Rod Davis.

'Croak' Prebble (vocals)
Bob Evans (sax/flute)
Del Roll (drums)
Butch Davis (organ)
Rod Davis (guitar) 
Pete Allen (bass)

24 October, 2015


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"

23 October, 2015


THE SLAVES - "Never Free" (Philips 339415 PF) 1966

Fans of European rhythm 'n beat have longed for an official Slaves document for decades and "Ralph Apple" was very close to securing the rights to release a Slaves retrospective including all sides of the rare Charles Ryders Corporation tracks (including the ones from the movie) but this bootleg of German origin appeared recently. So it's now very doubtful if there will ever be an official Slaves collection.

Although "Shut Up!" is a bootleg it actually sounds great, the packaging is also very good and the back cover liners are decent and informative. So, I'm very happy to have this in my collection which comprises all six sides of their three singles released on Philips during 1966.

My taster from the set is the Don Everly penned "Never Free" the B-Side of "Shut Up" I researched this Everly Brothers song and drew a blank that was until Mike Stax informed me via Facebook that The Everly's original version was titled "Nancy's Minuet" released as a single February 1963. The other side was "So It Always Will Be"


21 October, 2015


THOR'S HAMMER - "If You Knew" (Ugly Pop UPO46) 2013

This is an enjoyable compilation album to spin for top Thor's Hammer tunes from 1965 - 1967.
For those who don't know they were Iceland's premier and maybe only beat group. I don't know for sure if they were the only one but I doubt if Iceland had any beat scene going on in the mid 60s.

Thor's Hammer made their way to England and signed a deal with Parlophone and released a few records that were brimming with quality but went nowhere fast. Their aggressive fuzz crunchers "I Don't Care" and "My Life" get a lot of attention and quite rightly so, but my pick is The Searchers influenced jangle beat gem "If You Knew" from 1966. Absolutely their best song in my opinion.

20 October, 2015


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.  

19 October, 2015


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.

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


18 October, 2015


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 

Crystal Syphon Back row standing from Left Tom Salles, Dave Sprinkel, the late Marvin Greenlee. Leaning on rail from left Jeff Sanders, Bob Greenlee. Seated Jim Sanders.


17 October, 2015


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 vinyl, 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. 

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

16 October, 2015


THE DOORS - "Indian Summer" (Elektra 42 080) February 1970

The fifth Doors album was mostly recorded during November 1969 and 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. 

15 October, 2015


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.

14 October, 2015


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.

my 1973 German re-issue

13 October, 2015


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.

12 October, 2015


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 for several decades until 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."