Brace for the Obscure (60s rock)! / Off the Charts: 60s Rock Revelations😊

Where’s That Confounded Bridge? Special Edition: Keith Relf/Françoise Hardy: Keith Relf — “Shapes of My Mind”, Françoise Hardy — “Empty Sunday”: Brace for the Obscure (60s rock)! — July 13, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

Take one fantastic failed solo A-side with one of the greatest bridges of all time by the Yardbirds’ singer and let a French icon incorporate the bridge into an enchanting confection — I’d say that THIS was the greatest Anglo-French alliance that history has yet seen.

As Richie Unterberger explains:

This peculiar track only counts as a half-cover, perhaps. For the verses of “Empty Sunday” are acceptable, if hardly exceptional, slightly glum pop-rock with a Continental flavor. Yardbirds fans ears will instantly perk up, however, when Hardy sings the bridges, which are taken note-for-note and word-for-word from the bridges of Keith Relf’s flop 1966 single “Shapes in My Mind.” “Empty Sunday” was written by famed British music entrepreneur Simon Napier-Bell and Ready Steady Go assistant producer (and Dusty Springfield manager) Vicki Wickham. . . . In 1966 Napier-Bell became the Yardbirds’ manager. Though his stint was relatively brief, it did take in the even briefer attempt to launch a sideline solo career for their singer, Keith Relf. That was pretty much a bust, and Relf’s second and final 45 while with the Yardbirds, “Shapes in My Mind” (actually released in two different versions, one starting with organ, another with sax and bass) was a flop. . . . [Its] bridges were recycled for the otherwise unrelated “Empty Sunday,” Hardy faithfully using the same rhythm.
http://www.richieunterberger.com/wordpress/francoise-hardy-les-versions-originales/

514) Keith Relf — “Shapes of My Mind”

Richie Unterberger says that “Shapes of My Mind” is a “pretty cool, unusual moody song with a baroque-pop flavor and unusual tempo changes, moving from tango-like verses to more insistently pounding bridges.” (http://www.richieunterberger.com/wordpress/francoise-hardy-les-versions-originales/) Sam Leighty says that it is an “interesting period piece in which Keith seems to start out singing about freaking out badly on acid. But after singing a few lines, he gets to the point that it’s Condition Red because his woman left him. . . . [T]his is a great song.” (http://www.furious.com/perfect/keithrelf.html)

Richie Unterberger says of the Yardbirds’ co-founder that:

Relf worked more extensively with [Yardbirds drummer Jim] McCarty than any other musician, the pair also recording and writing with each other as part of Together, Renaissance, and other post-Yardbirds projects. Asked in 2020 to account for how the folkier sides of his ex-bandmate emerged, Jim speculates, “I guess they were a relief of the sort of heavy, rocking stuff. They were sort of gentle. And yet, Keith had sort of a gentle side in him as well. He was quite a complex character. He always had a sort of almost secret side to him that was rather mysterious, which you couldn’t quite fasten down. “He was very gentle, but he had a sort of heavy side to him as well. And there’s one that’s very extroverted. He had both those sides in his nature. We used to link up on the gentle side and the spiritual things. He was a very spiritual guy”— a quality that comes across strongly in these recordings, as if he’s drawing from the bottom of his well.
https://pleasekillme.com/keith-relf-yardbird-solo/

Here is the second version:

515) Françoise Hardy — “Empty Sunday”

From the French icon’s “wonderful” ’68 album of songs in English — “[En Anglaise is] a true lost gem in Françoise Hardy’s discography. It features 12 tracks recorded early 1968 between London and Paris, in order to satisfy the singer’s British and US fans demands.” (https://www.8raita.fi/shop/p26237-hardy-francoise-en-anglais-fi.html). Richie Unterberger calls it “Europop-flavored” and “one of the better tracks” on the album.” (https://www.allmusic.com/album/fran%C3%A7oise-hardy-en-anglais-mw0000892506)

I’ve talked of Françoise before (see #459, 476, 477), but Thom Jurek sums her impact up well:

“[She] is a pop and fashion icon . . . . With her signature breathy alto, she was one of the earliest and most definitive French participants in the yé-yé movement . . . . She is one of only a few female vocalists who could or would write and perform her own material. She offered a startling contrast to the boy’s club of French pop in the early ’60s, paving the way for literally thousands of women all over the globe.
https://www.allmusic.com/artist/fran%C3%A7oise-hardy-mn0000186594/biography

Here it is in French:

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Eric Burdon and the Animals — “Year of the Guru”: Brace for the Obscure (60s rock)! — July 12, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

513) Eric Burdon and the Animals — “Year of the Guru”

This crazy, and crazy-cool, album track from ‘68 is totally unexpected and seems decades ahead of its time. One YouTube commenter says it was the first rap song. Man, does Eric dis gurus — laugh out loud funny. It’s like John Lennon was giving him the blow-by-blow from Rishikesh. Sexy Sadie what have you done? You made a fool of everyone!x

Bruce Eder:

Eric Burdon & the Animals were nearing the end of their string, at least in the lineup in which they’d come into the world in late 1966, when they recorded Every One of Us in May of 1968 . . . . The group had seen some success, especially in America, with the singles “When I Was Young,” “San Franciscan Nights” and “Sky Pilot” over the previous 18 months, but had done considerably less well with their albums. Every One of Us lacked a hit single to help drive its sales, but it was still a good psychedelic blues album, filled with excellent musicianship . . . . “Year of the Guru” . . . show[s] the entire band at the peak of their musical prowess, and Burdon — taking on virtually the role of a modern rapper — generating some real power on some surprisingly cynical lyrics concerning the search for spiritual fulfillment and leaders. . . . the group as a whole would pack it in with the waning of 1968.
https://www.allmusic.com/album/every-one-of-us-mw0000654427

Nick James says that “‘Year Of The Guru‘ . . . [has] prose worthy of a master . . . further social commentary is provided, complete with psychedelic guitar and piano break.” (https://www.godisinthetvzine.co.uk/2020/02/25/eric-burdon-the-animals-when-i-was-young-the-mgm-recordings-1967-1968-esoteric-recordings/)

In the other hand, Jeff Burger says that Every One of Us . . . is [a] most forgettable CD . . . Qwith songs like “Year of the Guru[]” . . . sounding like filler from a group that has run out of ideas.” (https://americanahighways.org/2020/03/29/review-the-animals-second-act-plus-a-new-gordon-lightfoot-cd/amp/). Burger, your comment is a nothingburger!

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Dave Christie — “Penelope Breedlove”: Brace for the Obscure (60s rock)! — July 11, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

512) Dave Christie — “Penelope Breedlove“

OK, that is Penelope Pitstop, not Penelope Breedlove, but, as Jonathan Calder says, “I can discover nothing about the singer of this, very 1968 song. Even Marmalade Skies calls him ‘the mysterious Mr Christie’.” (http://liberalengland.blogspot.com/2014/01/dave-christie-penelope-breedlove.html?m=1)

Christie’s ’68 B-side (from the first of his two singles) is indeed very ’68, and very English. Garwood Pickjon says that that “Penelope” is full of “Zombies-likes eclecticism” (https://popdiggers.com/various-artists-fading-yellow-vol-8-9/) and Richie Unterberger says that it is full of “nearly baroque moodiness with influence from both classical music and Beach Boys harmonies” (http://www.richieunterberger.com/winter2007albums.html#Various_Artists_Fairytales_Can_Come) Come to think of it, Penelope Breedlove and Penelope Breedlove Pitstop really weren’t all that dissimilar, and “Penelope Breedlove” would have made a fine theme song to The Perils of Penelope Pitstop, which didn’t really have a theme song.

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Morning Dew — “Crusader’s Smile”: Brace for the Obscure (60s rock)! — July 10, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

511) Morning Dew — “Crusader’s Smile”

Hypnotic gangsta psych off the Morning Dew’s sole album (‘70). Well, at least their label was owned by a gangster — they’re not in Kansas anymore!

Mark Deming says that “songs like hard rocking . . . “Crusader’s Smile[]” . . . prove this band had more on the ball than most second-string psych acts of the era.” (http://therockasteria.blogspot.com/2018/08/the-morning-dew-at-last-1968-70-us.html)

Lead singer Mal Robinson recalls the inspiration for “Crusader’s Smile” in a 2013 interview:

It is simply about traveling in a band, playing guitar to entertain others, often getting requests to bring out the acoustic at the band parties. I met my “wife to be” at about this time, but “she didn’t know that my mind could float away, cause I play my guitar to make people happy”. And we’re still married after 42 years. I feel the highlight of this song is Don[ ]’s percussion work . . . it turns an ordinary song into something you want to listen to over and over. He worked his ass off on this song when we played it live . . . he was inspirational. . . . There were no singles released from the album ( we would have voted for Crusader’s Smile if one had been done).
https://www.psychedelicbabymag.com/2013/01/morning-dew-story-by-mal-robinson.html

Beverly Paterson says of the album:

Bold and powerful vocals, matched by strapping guitar work, sweeping keyboards, concrete drumming, and soaring harmonies cement Morning Dew, rendering it to be a magnetic mix of innovative textures and designs. Hard rocking rhythms, flecked with psychedelic frequencies, rub elbows with gleaming pop gestures in a most attractive way. Songs such as “Crusader’s Smile[]” . . . especially tap into Morning Dew’s varied strengths. . . . Morning Dew had enough novel drive and imagination to make a difference.
https://somethingelsereviews.com/2014/05/19/something-else-interview-mal-robinson-of-the-morning-dew/

From where did the Dew derive? Bruce Eder says: “The Morning Dew were formed from the remains of a collapsed folk-rock band called The Toads. Two early single releases, “No More” and “Be a Friend,” were local successes in 1967, and the group was signed to Morris Levy’s Roulette label in early 1969, for which they cut an entire album of material before disbanding later that year.” (https://www.allmusic.com/artist/the-morning-dew-mn0000603480) And Mark Deming:

The Morning Dew began as a good but not especially remarkable garage band from Topeka, Kansas, but as the mid-1960s became the late 1960s, their sound grew increasingly adventurous, and their approach became harder but more complex at the same time.

And, best of all, from Robinson:

We . . . took an acetate of . . . songs to New York to meet with several record labels to see if we could get signed. . . . There was no interest, as the labels didn’t feel there were any songs that could be released as singles. . . . Later, a local producer/agent . . . took the acetate to New York and met with several record companies . . . and he successfully got us a verbal commitment from Roulette Records in January, 1969. . . . Before proceeding with a final contract signing, representatives from Roulette wanted us to record a couple more songs and hear us play live . . . . So, in the Spring of 1969, we . . . recorded another original . . . and a cover . . . . Then in June of 1969, Fred Munao of Roulette Records came to Topeka to hear us play live . . . . It was at that audition, we officially signed our recording contract with Roulette . . . . In August, 1969 we loaded up our Chevy van and drove to New York to record the album . . . . [which] was recorded in 32 hours over a three day period with very little retakes. . . . It was a whirlwind experience, a 30 hour drive to New York and a one week long stay at the Hotel Albert in Greenwich Village (Led Zeppelin were staying there at the same time). Three days at the recording studio mixed in with a photo shoot in Central Park. . . . We met with Morris Levy, President of Roulette to “beg” for a cash advance so the band would have some spending money while in the city. He bitched and moaned, but ended up cutting us a check for $1,000. The only money we ever saw from Roulette. . . . The album was not released until 1970. We later found out that Roulette was mired in legal troubles at the time, owing back taxes, falsifying financial records, etc. . . . Levy was accused of tax evasion and was reputed to be linked to the mob. He later went to prison and died there in the 1980’s. . . . To this day, I never received an official accounting for the album. I was told there were 10,000 copies printed but most of them were “destroyed in a warehouse fire”. I have no idea how many were distributed on a retail basis.

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David Ruffin — David Ruffin — “The Double Cross”: Brace for the Obscure (60s rock)! — July 9, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

510) David Ruffin — “The Double Cross”

“The Double Cross” is a powerful and heart-rending track from Ruffin’s first solo album, ‘69’s My Whole World Ended (The Moment You Left Me).

Of course, Ruffin’s foundational days were with the Temptation. As John Lowe writes:

One of the greatest lead singers the Motown stable ever had, David Ruffin became one of the artistic cornerstones of the Temptations after his lead vocal on “My Girl” (1965) paved the way for such majestic follow-ups as “Since I Lost My Baby” (1965), “Beauty Is Only Skin Deep” (1966), “All I Need” (1967), and “I Wish It Would Rain” (1968). Unfortunately, ever-mounting internal pressures within the group, coupled with Ruffin’s swelling ego, led to his dismissal . . . in late 1968.
https://www.allmusic.com/artist/david-ruffin-mn0000811598

Bill DeMain elaborates:

David Ruffin was never a team player. . . . [H]e was a rebel in the close-knit Motown family. He wanted his own limo and more money. He wanted billing as David Ruffin & the Temptations. And he wanted creative freedom. As choreographer–and creator of the “Temptation Walk”–Cholly Atkins once said, “The Tempts[‘] . . . . choreography was all about conforming to a routine. David could do it–he could move with the best of them–but he wasn’t built to conform to anything. He resisted discipline like a cat resists water.”
http://www.puremusic.com/89david.html

Lowe notes that Ruffin’s “solo career got off to a promising start with the powerful ballad ‘My Whole World Ended . . .’ which cracked the pop and soul Top Ten in early 1969.” Lindsay Planer adds:

Although drugs would begin to erode his immeasurable talents from the inside out, Ruffin can be heard at the top of his game on My Whole World Ended . . . . [H]e was still considered a key component in the Motown family and, at least for a while, was afforded support by the best and brightest that the label had to offer. Among the perks was working with top-notch hit making producers . . . all of whom add their magic to the mix. Ruffin’s vocals are uniformly inspired . . . . In the end the project didn’t need too much help to take to the top of the R&B album survey for two weeks and into the Top 40 on the pop side.
https://www.allmusic.com/album/my-whole-world-ended-mw0000841168

Sadly, as Bill DeMain writes:

After going Top 10 with the [album’s title song], Ruffin would struggle for years while his former group scaled the charts . . . . The promising first album . . . with standout tracks like . . . “The Double Cross” . . . seemed to ensure stardom. But the follow-up Feelin’ Good . . . felt like a retread, with sub-par material . . . . [U]nlike fellow Motown rebels Marvin Gaye and Stevie Wonder, Ruffin did not write his own songs. Consequently, he was at the mercy of the Hitsville staffers, who loaded his third album with more B-minus material.

Ruffin died in 1991 at the age of 50.

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The Smoke — “No More Now”: Brace for the Obscure (60s rock)! — July 8, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

509) The Smoke — “No More Now”

Nuggets 2 concludes that this ‘67 Kiwi B-side “features some of the most vicious, overdriven guitar performances ever to be released in the Southern Hemisphere. . . . Brett Tauri’s savage slash ‘n’ burn guitar[,] including a strangled raga break . . . makes the song one for the ages.” Whoa, indeed it does. Andrew Schmidt calls “the feedback laced” song one of the best New Zealand singles of the ’60s. (https://www.audioculture.co.nz/profile/the-smoke). That is saying something.

Who is Brett Tauri? Andrew Schmidt informs us that:

The Smoke’s slight, long-haired guitarist Brett Tauri left home at 15, got his own flat . . . learnt one of the new instruments of teen rebellion (the bass) and grew his hair long, copping the usual redneck flak around town. At 16, Tauri hit out for America, playing guitar on a cruise ship headed for San Francisco . . . . He returned to New Zealand in 1965 . . . . Smoke played their first show at the infamous Battle of the Bands at the Auckland Town Hall in January 1967, when a bogus Australian promoter skipped with the proceeds and the prizes. The Smoke attracted the attention of local promoters . . . who set them up with South Auckland residencies . . . . ‘No More Now’ was one of the Smoke’s rave numbers, a loosely structured, semi-improvisational jam. . . . [It] sold well in the Auckland area, gaining the band a lot of work. It also made good ground in the Dunedin and Christchurch charts, and sold well in the United States, England and Germany, where it had good radio play on Radio Berlin. . . . . The Smoke [then recorded] their follow-up single, a version of Procol Harum’s Someone ‘Following Me’, together with a . . . Tauri composition, ‘Control Your Love’, which featured a swinging dance beat, wild Tauri guitar, and a reflective lyric. They played one final . . . tour with Larry’s Rebels . . . . Then . . . they were gone. Brett Tauri played in several bands in New Zealand . . . . [and then] worked as a session guitarist well into the 21st Century.
https://www.audioculture.co.nz/profile/the-smoke

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The Kinks — “Ring the Bells”: Brace for the Obscure (60s rock)! — July 7, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

508) The Kinks — “Ring the Bells”

Glorious album track from the Kinks’ third album — The Kink Kontroversy (’65). As Andrew Hickey says, it “has one of [Ray] Davies’ loveliest melodic ideas, based around a beautiful acoustic guitar riff”.

Of TKK, Richie Unterberger notes that:

The Kinks came into their own as album artists — and Ray Davies fully matured as a songwriter — with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. . . . [G]reat songs on this underrated album include the . . . plaintive, almost fatalistic ballad[] “Ring the Bells” . . . .
https://www.allmusic.com/album/the-kink-kontroversy-mw0000650366

Oh, and Andrew Hickey alleges that:

It’s such a nice melodic idea, in fact, that the Rolling Stones used it as the chorus to Ruby Tuesday a year later. . . . [T]he similarity is so strong it’s astonishing that there appears not to have been a lawsuit.
https://andrewhickey.info/2012/02/12/the-kinks-music-the-kink-kontroversy/

Well, I see it a little bit now that he points it out, but certainly not lawsuit worthy. Well, after “Blurred Lines,” who knows?

The lyrics are certainly a lot more upbeat than the melody. It’s usually the other way around — “Waterloo Sunset”!

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Kak — “Lemonaide Kid”: Brace for the Obscure (60s rock)! — July 6, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

507) KAK — “Lemonaide Kid”

I think someone definitely spiked the lemonade on this gentle but epic psych-folk-rock track from Kak’s only album (’68). Gio Arlotta says that:

[“Lemonaide Kid” is] one of the most evocative unknown songs of the late ’60s . . . . This song’s light, sativan* riff flies like a colored butterfly above leaves of droning tablas and flowers of sitars. You’ve reached the astral plane but you’ve got cotton mouth, the only cure is Lemonaide, kid.
https://isyourclaminajam.com/2014/02/16/kak-lemonaide-kid/amp/

Richie Unterberger opines that “Kak were best, and least derivative, at their quietest, as on . . . the good-time wistful psych-folk-rock of “Lemonade Kid[.]” (https://www.allmusic.com/artist/kak-mn0000296359) The album “is a beloved masterpiece, full of the inspiration and promise associated with the California psychedelic dream.” (https://www.forcedexposure.com/Catalog/kak-kak-lp/MAG.001LP.html)

Gio gives the Kak-story:

Kak were formed by the remnants of the Oxford Circle, a garage beat band from San Francisco . . . . Frontman Gary Lee Yoder would then go onto heavier stuff with Blue Cheer, but here we find a band ethereally floating around like a falling leaf in the summer of love’s comedown. Kak were signed to a major label before having even recorded anything and were given a mansion to live and write in in San Franscisco. They recorded one album worth of material, Kak-Ola, in 1969, which at the time didn’t have the success they were hoping for — it has since gained a cult like status — and unfortunately, the band disbanded shortly afterwards.

Unterberger somewhat dismissively adds:

The self-titled Kak LP was minor-league San Francisco psychedelic rock influenced by a lot of bigger Bay Area bands, particularly Moby Grape . . . . Kak’s album was barely promoted and didn’t sell well. It didn’t help that the band played less than a dozen shows before breaking up in early 1969 . . . .

Alec Palao gives his take on his friend Gary Lee Yoder and Kak:

A rapid local notoriety notwithstanding, it was in the psychedelic ballrooms of San Francisco that the [Oxford] Circle’s legend was made manifest . . . . [O]ut front was Yoder, parlaying either a dark folk-rock croon or demonic blues howl on a selection of Brit R&B or his own punk originals, often delivered whilst writhing on the stage floor, or with the coaxing of otherworldly feedback from his Gibson guitar. Something as fierce as the Oxford Circle was bound to burn too bright to last, and despite their popularity, the group only managed one single, some failed auditions and a gigging schedule that barely took them out of Northern California. A new group was quickly assembled at the end of 1967, when Yoder ran into an admiring Gary Grelecki, nascent songwriter with some intriguing connections. Grelecki instigated a deal with Epic Records and . . . . [t]he group spent most of 1968 lollygagging in a tony San Francisco townhouse whilst waiting for their album to come out, only to fracture immediately after its release, with just a handful of gigs under their belt.
https://acerecords.co.uk/news/2021/gary-lee-yoder-obituary

* a reference to marijuana!

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The Millennium — “I Just Want to Be Your Friend”: Brace for the Obscure (60s rock)! — July 5, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

506) The Millennium — “I Just Want to Be Your Friend”

Sunshine pop went supernova with the Millennium, a 60’s sunshine supergroup that created Begin, the greatest sunshine pop album ever recorded. One of the loveliest songs on the album, and B-side to the Band’s first single, is the melancholy “I Just Want to Be Your Friend.”

Begin cost more to make than any other album from ’68 other than The Beatles (the White Album)— and no one buys it (at least until era of CD reissues). As Richie Unterberger writes, it was “at once too unabashedly commercial for underground FM radio and too weird for the AM dial.” (https://www.allmusic.com/artist/the-millennium-mn0000814312) For more on the Millennium and Curt Boettcher, see #396.

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The Liberty Bell — “Look for Tomorrow”: Brace for the Obscure (60s rock)! — July 4, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

505) The Liberty Bell — “Look for Tomorrow”

Scorching hot ‘68 B-side by Corpus Christi garage band.

Bruce Eder talks of the band:

With a few breaks, the Liberty Bell might have been America’s Yardbirds — as it worked out, however, the group suffered the undeserved fate of being a footnote in the history of Corpus Christi rock bands. . . . [O]riginally named the Zulus[, they] played a mix of blues-rock drifting toward psychedelia, driven by some fairly ambitious guitar work by lead axeman Al Hunt. In 1967, they hooked up with Carl Becker, the co-owner of J-Beck Records, which, at the time, was recording the hottest local band, the Zachary Thaks. Becker signed them to his new Cee-Bee Records, and suggested a name change to the Liberty Bell. . . . [T]he group sound[ed] like an American version of the Yardbirds with more of an angry punk edge, courtesy of lead singer Ronnie Tanner. But the real star of the group was lead guitarist Al Hunt, who wrote most of the material in those days and played like Jeff Beck On a good day. Tanner exited the group in early 1968 and was replaced by Chris Gemiottis, formerly of the Zakary Thaks . . . . [who wrote “Look for Tomorrow”].
https://www.allmusic.com/artist/the-liberty-bell-mn0000259877

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Victoire Scott — “4eme”: Brace for the Obscure (60s rock)! — July 3, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

504) Victoire Scott — “4eme”

Victoire’s ‘68 A-side, “The 4th Dimension”, “describes hallucinations following an LSD take” (https://www.last.fm/fr/music/Victoire+Scott/+wiki). Jean-Emmanuel Deluxe proclaims in Yé-Yé Girls of ‘60s French Pop that the song “is a baroque pop masterpiece, a Paris Existentialism-meets-American psych rock kind of thing. Its string arrangements, atmosphere, and texture created a unique vision.” (https://formalcontentsonly.wordpress.com/tag/victoire-scott/)

About Victoire, Lastfm wiki says (courtesy of Google translate) that:

From 1968 to 1971, the wonderful Victoire Scott released a few records that are part of the great mysteries of French pop history. Completely ignored despite the beauty of the texts and arrangements, it was the Swiss Stéphan Rossato who “revealed” her in her encyclopedia “The Dinosaurs of Rock” in 2004, when no one seemed to remember the ep’s and singles she released between the spring of 68 and the end of 1971 respectively on Decca and CBS. . . .

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Serge Franklin — “Exister”: Brace for the Obscure (60s rock)! — July 2, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

503) Serge Franklin — “Exister”

This ultra-cool ‘68 A-side by Alain Patrice Amaraggi (AKA Serge Franklin) is the kind of freaky French freakbeat of which we were blissfully unaware. As Mark Deming says of the comp from which I plucked it:

Conventional wisdom has it that the French are not all that great at rock & roll — pop music, yes indeed, but not rock & roll . . . . But apparently there was a glorious window of time in the mid-’60s when France had a pretty lively rock scene . . . . [M]ost of the cuts could stand proudly beside the cream of American and U.K. garage and freakbeat sides from the era. . . . suggest[ing] there was a lot more going on in France during the garage era than most American fans ever knew.
https://www.allmusic.com/album/psychegaelic-french-freakbeat-mw0002603305

Of course, not all agree. Darryl Bullock played the song on his show of the worst records ever made! —

Author Darryl W. Bullock presents an hour of terrible records. From the dawn of recorded music right up to some of today’s most hateful aural atrocities, spend 60 minutes with some of the worst, and most hysterically funny, records ever made.
https://wfmu.org/playlists/shows/98911

Who was Serge Franklin? Wikipedia explains (courtesy of Google Translate):

Serge Franklin’s artistic journey began in the 1960s as a singer-songwriter. He publishes several super 45 rpm under his name. He quickly became a studio musician as a sitarist . . . . His journey continued to India in 1971, which led him to take the pseudonym Adjenar Sidhar Khan. In love with primitive string instruments, he immerses himself in oriental, African and Brazilian music. Some of his albums are then signed with the pseudonym Black Sun. At the same time, for eight years, he composed stage music . . . . [He] then turned to film music by collaborating on Arcady’s first five films (The Blow of Sirocco, The Great Forgiveness, The Great Carnival, Hold-Up and Last Summer in Tangier). Subsequently, he worked mainly for television . . . .
https://fr.m.wikipedia.org/wiki/Serge_Franklin

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Peter Pan & the Good Fairies — “Kaleidoscope”: Brace for the Obscure (60s rock)! — July 1, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

502) Peter Pan & the Good Fairies — “Kaleidoscope”

One of the great psychedelic instrumentals. John “Mojo” Mills said of the comp from which I plucked “Kaleidoscope” that it contains “the kind of incidental music to be heard during the trip scene of drug-ploitation flicks and no-budget sci-fi TV shows.” (https://www.allmusic.com/album/buzz-buzz-buzzzzzz-vol-2-mw0000088482). Ah, “Psych-Out”! They sure don’t make movies like that anymore. Hey, wait, Quentin, I have a screenplay!

Who is Peter Pan? Technicolor Web of Sound says:

Very little is known of this presumed to be studio concoction that issued one outstanding instrumental 45 . . . on the Challenge label in 1967. The record was the brainchild of a Jim Gordon . . . who would later go on to cut a respectable instrumental solo LP in 1969. It should also be noted that, contrary to popular belief this is not the same Jim Gordon of Derek & The Dominos fame.
https://techwebsound.com/artist/?artist=963

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Harumi — “First Impressions”: Brace for the Obscure (60s rock)! — June 30, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

501) Harumi — “First Impressions”

“Impressions” is the B-side of Harumi’s only single. Dr. Schluss says it’s “a great track that mixes British style whimsy with the lighter side of San Fran acid rock. Plus it has vibraphone, which as you may know, is always a plus”. (http://psychedelicobscurities.blogspot.com/2008/02/harumi-1968-harumi.html). The song is taken from Harumi’s self-titled ’68 album. He, as Last.fm says, “came from Japan to New York to record an album, and [then] disappeared” (https://www.last.fm/music/Harumi/+wiki).

The album is a treasure trove of unique pop psych. Dr. Schluss says that:

[The album (at least the first LP) is] a set of blue eyed soul and AM pop sounds thrown through a psychedelic pop prism . . . . pretty solid psychedelic pop . . . . Although going for a pop sound that generally harbours powerful vocalists, [Harumi] often sounds more like a stoned cosmonaut. I think this makes this more charming than it would be otherwise.
http://psychedelicobscurities.blogspot.com/2008/02/harumi-1968-harumi.html

For more on Harumi, International Man of Mystery, check out #471.

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Les Sauterelles — “Heavenly Club”: Brace for the Obscure (60s rock)! — June 29, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

500) Les Sauterelles — “Heavenly Club”

The “Swiss Beatles”! Their pop psych classic “Heavenly Club” asks the eternal question “What if I get to heaven and can’t pay the admission fee?”, and it was the first Swiss song to hit #1 in the Swiss chart! The song was promoted with one of the first music videos (watch below!). As Ursula Klein explains (Google Translate):

The band made their real breakthrough in 1968 with the single “Heavenly Club”. The disc stayed in the Swiss charts for 13 weeks, six of which were at number 1. “Heavenly Club” was the first Swiss song to make it to number 1 in the official hit parade. [They made] the clever move of advertising themselves as “The Swiss Beatles” during the Flower Power . . . .
https://www-kleinreport-ch.translate.goog/news/les-sauterelles-die-swiss-beatles-spielen-erst-wieder-im-heavenly-club-98531/?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Richie Unterberger gives some history:

A Swiss ’60s band that have sometimes been mistakenly identified as a British group due to their 1968 single “Dream Machine,” a quite catchy and enjoyable facsimile of British flower pop . . . . The band had actually been recording since 1965, and established themselves as one of Switzerland’s best and most popular groups. . . . . Much of their first LP (1966) was filled with covers of popular rock hits. . . . interpreted . . . with a brash energy that makes the record stand out . . . . “Dream Machine” was a more original effort, and an album from 1968, View to Heaven, also had a more pronounced folk and psychedelic feel than their earliest outings. Les Sauterelles continued recording all the way into the early ’70s . . . .
https://www.allmusic.com/artist/les-sauterelles-mn0000837494

And the band’s website says in sort of broken English (courtesy of Google Translate):

“Heavenly Club” was launched as a single and appeared on July 9, 1968 as the first Swiss production in the “Media Control Charts” of the official hit parade. She stays there for a sensational 13 weeks, 6 of them at number 1. Les Sauterelles are at the top of the listener hit parades of popular radio stations such as Radio Luxemburg or Südwestfunk Baden-Baden. The single is adopted by most European countries, released in the US and even in Japan. They have almost become regular guests on Swiss television in the show “Hits à Gogo”. Gianni Paggi shoots a small film with them that will achieve cult status and is considered the first video clip of the pop era! The album “View To Heaven” will be released at the end of August. The Sauterelles are to be brought out by Decca Germany. This invites the band to Hamburg for the program “4-3-2-1” and organizes a well-announced media conference in the press tower.

And now the big surprise: drummer Düde Dürst wants to leave the Sauterelles, of all times, when things should really get going. But Rolf Antener is also somehow burned out. A feat, as Les Sauterelles had been constantly on the move in recent years with over 300 performances a year! Toni Vescoli therefore decides to dissolve the entire formation, because Peter Rietmann and Fritz Trippel have unfortunately become “problem children” lately.
https://www-sauterelles-ch.translate.goog/story7.php?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Where did the name come from? Well —

“How about: LES SAUTERELLES,” says one of the [original band members]. “What does that mean in German?” you want to know. “Hop, grass-hop or something like that!” “Ah, locusts!” Toni specifies. “I think it’s great, it goes well with the chirping, shrill guitar tones.”
https://www-sauterelles-ch.translate.goog/story.php?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

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The Open Mind — “Cast a Spell”: Brace for the Obscure (60s rock)! — June 28, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

499) The Open Mind — “Cast a Spell”

Here is the spellbinding B-side to the band’s legendary ’69 A-side “Magic Potion.” (see #148)

John “Mojo” Mills says of the Mind that:

As a defining point of the U.K. psychedelic/progressive rock crossover, the Open Mind’s sole album is the perfect specimen. With a singing style rooted in the freakbeat era, rather than the operatic tenor screams hard rock ushered in, and acidic duel guitars, heavier than those of a typical psychedelic act, The Open Mind filled the gap between the beginning of one era and the end of another.
https://www.allmusic.com/album/the-open-mind-mw0000713246

Let’s open the Mind. Gilesi tells us that:

This outfit from . . . South London . . . . played hip London venues such as The Electric Garden, UFO and Happening 44, and gained a residency at The Marquee where they were sometimes fronted by future Yes man Jon Anderson . . . . Boxing impresario Benny Huntsman landed the band a deal with Philips on the condition that his son Roger became their manager (though in effect it was Benny who ran the show), and their excellent self-titled album on that label was recorded in 1968, though not released until July 1969.
https://cosmicmindatplay.wordpress.com/2013/12/21/classic-singles-80-the-open-mind-magic-potion-cast-a-spell-1969/

When asked about the origin of some of the Open Mind’s songs, bassist Timothy Dufeu explains that:

I wanted to get away from the soppy songs like “Dear Louise” and become more edgy. I had a set of French graphics Sci-Fi books. As I couldn’t speak French I used my imagination to think up the ideas for songs such as “My Mind Cries”, “Thor the Thunder God”, “Magic Potion”, “Horses & Chariots”, “Before My Time” and “Cast a Spell”. . . . Mick [Brancaccio] and Terry [Schindler] put the words to my ideas.
https://www.psychedelicbabymag.com/2013/01/the-open-mind-interview-with-timothy.html?amp=1

Dufeu then explains how the band got its name:

My mum chose it, really. I told her I needed to think of a new name for the band and was thinking up all sorts of weird things. She said “Why not call it The Open Mind” because she said she didn’t understand my way of life but had to have an open mind.
https://www.psychedelicbabymag.com/2013/01/the-open-mind-interview-with-timothy.html?amp=1

Thank God mom didn’t tell him “Why not call it The Never Calls because you never do!” Anyway, it is a cool name and a cool story, but Rob Horning thinks the band’s inspiration ran dry when it came to the album cover: “Largely ignored by the record-buying public in its day (perhaps because of its dopey cover, featuring the band crawling out of a statue’s cracked skull — get it?)”. (https://www.popmatters.com/the-open-mind-the-open-mind-2495694576.html)

Dufeu’s concluding reflection is that “Life’s too short for regrets! Only I wish I had kept my original copy of the LP – it’s worth a bit more that it was when released!” Ha, ha, ha, ha, ha.

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Etta James — “Just a Little Bit”: Brace for the Obscure (60s rock)! — June 27, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

498) Etta James — “Just a Little Bit”

As Derek Anderson says, “Etta James had one of the most recognizable, charismatic and soulful voices you’ll ever have privilege of hearing.” (see #316) (https://dereksmusicblog.com/2015/02/22/etta-james-at-last-2/) Just a year before Robert Plant announced his scheme to give away a whole lotta his love, Etta James asked for just a teeny weeny bit. But Etta didn’t claim anyone else’s lyrics as her own, she simply covered a sweet 50’s R&B chestnut. And by cover, I mean she wrapped the song in so much carnal heat that it single-handedly instigated global warming. Talk about a disco inferno.

Derek Anderson talks about the song and the album:

[Her album] Tell Mama closes with Just A Little Bit . . . . Etta’s sassy vocal . . . about wanting just a little bit of her man’s loving. . . . and the arrangement with rasping horns and the organ . . . merge magnificently, resulting in a track that combines jazz and soul masterfully. . . . Released in August 1968 [it] . . . was . . . [her] first album . . . since 1963 to enter the Billboard 200 reaching number eighty-two. . . . [and] reach[ed] number twenty-one [on the R&B chart and also included] . . . . Etta’s first top ten . . . [R&B chart] single[] since . . . 1963 . . . . [The album was] produced . . . at the Fame Studios in Muscle Shoals, Alabama. This had been Leonard Chess’ idea . . . . Using the Muscle Shoals Rhythm Section . . . . Rick Hall had assembled some of the finest musicians available. . . . The result was one of Etta James finest ever albums . . . .
https://dereksmusicblog.com/2011/11/25/etta-james-tell-mama/

Joseph Washek gives a sense of Etta’s life:

Etta James was in the heartbreak business. Other singers sold sweet dreams of love, romance, and sex, but Etta James sold pain and she had an endless supply. . . . . She never knew who her father was. When she was born, her mother who was fourteen, abandoned her, leaving her with a childless older couple. The woman, called “Mama Lu” by Etta, became her surrogate mother . . . . But . . . . [p]eriodically, her birth mother, Dorothy, who loved the night life, would appear and take the child away. . . . They would live in squalor . . . and then, bored and frustrated with parenthood, Dorothy would return Etta . . . . The pattern continued until Etta was twelve when Mama Lu died. Dorothy . . . took her to San Francisco. . . . [and] . . . left Etta with [Dorothy’s brother] and walked away. . . . Etta was shuttled between her aunt and uncle and her mother . . . . [She] began running with gangs and at fourteen was put in juvenile detention for thirty days. . . . .

Etta . . . had been gifted with extraordinary musical ability . . . . She was a radio Gospel star at the age of seven. She . . . was discovered by Johnny Otis and at sixteen recorded her song “Roll With Me Henry”, which became one of the biggest R&B hits of 1955. She became a star, went on the road with the Johnny Otis Show, and had more hits. . . . [But] she got ripped off by everyone; the record company didn’t pay royalties, Otis put his wife’s name on “Roll With Me Henry” and a white woman, Georgia Gibbs, covered it as “Dance With Me Henry[” and it reached] #1 Pop and sold over a million copies. Etta was singing for $10 a night when she watched Gibbs sing “Dance With Me Henry” on The Ed Sullivan Show.

By 1960, the hits had stopped coming . . . . Leonard Chess . . . was looking for black artists who could “crossover” and sell to the pop audience. He gave Etta a chance and soon she was again one of the biggest stars in Black Music and selling records to white people too. . . . [But s]he began shooting heroin[, t]he records started to sell less well . . . [, s]he started doing crimes for drug money[,] was in and out of jail[ and] in a . . . physically abusive relationship . . . . Leonard Chess [however,] never lost faith in her. . . . In August 1967, she arrived in Muscle Shoals[:] “I had tons of confusion and anger stored up inside…and ready to blow the doors off the studio.” . . . . Obviously, [Tell Mama is] a compilation of attempts to get an AM radio hit, like all R&B LPs were in those [days] . . . . The record shouldn’t be a near masterpiece, but Etta James made it one. She idolized Billie Holiday and learned from her that the deepest sadness and greatest despair could be found in the silliest, most cheerfully inane songs. The pain’s in the singer, not the song.
https://www.analogplanet.com/content/records-you-didnt-know-you-needed-4-tell-mama-etta-james-cadet-lps-802

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Here is Roscoe Gordon’s original version from ‘57:

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Robin Gibb — “Mother and Jack”: Brace for the Obscure (60s rock)! — June 26, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

497) Robin Gibb — “Mother and Jack”

What an unexpected and cool song by Robin! Bruce Eder calls “Mother and Jack” a “calypso-flavored piece that . . . ended up on the B-side of [Robin’s hit] “Saved By the Bell” and “offered possibilities for a new, leaner, different sound”. (https://www.allmusic.com/album/robins-reign-mw0000840610) Dave Furgess notes that the song “closes side one [of Robin’s solo album Robin’s Reign] and on first impression sounds like a cheery number until you realize it’s a song about a family getting evicted from their flat.” (https://www.headheritage.co.uk/unsung/review/229/) and Ed Whitelock says that it “highlights both Robin’s compassion and whimsy as he weaves a social commentary disguised as a fairy tale”. (https://www.popmatters.com/195182-robin-gibb-saved-by-the-bell-collected-works-1969-70-2495510628.html) “

Whitelock gives some context:

By January 1969 it seemed like the Bee Gees . . . and especially Robin, their vibrato singing teen idol — were on top of the world. . . . But clouds were quickly forming. Rumors of drug addiction swirled around 19-year-old Robin, heightened by a nervous collapse and ongoing personal health crises that forced cancellation of an American tour. The actual cause of Robin’s tenuous physical and emotional condition was actually post-traumatic stress brought on in the aftermath of Robin having survived the Hither Green rail crash in November 1967 where 49 people died. While unharmed, Robin was trapped for a time in his car, forced to watch the dead and injured as they were removed . . . . Adding to his personal insecurities, familial tensions in the form of competition with older brother Barry were reaching a head. Odessa producer Robert Stigwood . . . saw Barry as the group leader and favored his songwriting and singing over Robin’s. The final straw occurred when Stigwood released Barry’s “First of May” as the next Bee Gees single, relegating Robin’s “Lamplight” to the B-side. Shortly after this perceived slight, Robin announced his departure from the band.

[During t]he 12-month period of Robin’s absence . . . . Barry and Maurice released Cucumber Castle which, while including the hit single “Don’t Forget to Remember”, stalled on the UK album chart at #57 . . . . Robin[‘s] initial single “Saved By the Bell” reached #2 on the charts, but its parent album Robin’s Reign charted disappointingly and plans for a follow up record were shelved . . . .
https://www.popmatters.com/195182-robin-gibb-saved-by-the-bell-collected-works-1969-70-2495510628.html

When asked why he chose “Saved by the Bell” as the A-side, Robin explained that:

Everything I write I write to the best of my ability. That is every song I have written could be a single – I never write A-sides that would be an insult to my ego. Mother And Jack on the flip of Saved By the Bell could just as well have been an A-side. All the tracks for my first LP could be singles.
https://www.theguardian.com/music/2012/may/21/robin-gibb-classic-interview

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The Mindbenders — “Schoolgirl”: Brace for the Obscure (60s rock)! — June 25, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

496) The Mindbenders — “Schoolgirl”

BANNED BY THE BBC. This Graham Gouldman-composed (see #226) ‘67 A-side and album track by the post-Wayne Fontana Mindbenders got banned “over its allegedly lascivious tale of teen pregnancy)”/but “is an astonishingly catchy number that ought to have had enough hooks to get heard” in the U.S. (Bruce Eder, https://www.allmusic.com/album/with-woman-in-mind-mw0000854003) and “is an undiscovered gem”. (Dave Thompson, https://www.allmusic.com/artist/the-mindbenders-mn0000403151). The Hollies also recorded a cool version, but didn’t release it at the time following the BBC ban.

Anorak Thing says of the Mindbenders’ single version:

Far punchier than the orchestrated version that was later recut for the band’s 2nd LP “With Woman In Mind” this single allegedly skirted controversy at the time for it’s lyrics . . . about a grad student who gets seduced, deflowered, knocked up and abandoned. It’s delivery is punchy accented by some near Eastern sounding licks, a fierce driving rhythm section and some high backing vocals.
http://anorakthing.blogspot.com/2015/03/the-mindbenders-10-top-tunes-you-should.html?m=1

Well, it’s certainly no groovy kind of love!

Dave Thompson tell us about the Mindbenders:

Remaining together following the departure of frontman Wayne Fontana, the Mindbenders got off to one of the most promising starts any band could enjoy, when their debut single “A Groovy Kind of Love” soared to number two in the U.K. and topped the chart in America. And had the group only succeeded in locating a decent follow-up, they might well have developed into one of the finest British bands of the late ’60s. Instead, a series of disastrous choices of 45s condemned them to the ranks of rank also-rans, and it is only later that the sheer quality of their other work — material hitherto lost on two Mindbenders LPs — had been re-evaluated sufficiently to let listeners state that here was one of the greatest of all Britain’s post-beat bands. A Groovy Kind of Love album totally failed to capitalize on the success of its title track, floundering to a lowly number 92 . . . . The Mindbenders made their final American tour in July 1966 . . . . Fighting hard to keep abreast of the changing currents, the Mindbenders next embarked on their most audacious yet strangely prescient move yet, a full-blown concept album. No matter that, several months before Sgt. Pepper . . . nobody had even heard of concept albums, the Mindbenders’ With Woman in Mind remains a gem in that genre. . . . Unreleased in America, it did little anywhere else and disappeared as quickly as the accompanying single . . . . The group was invited to contribute two songs to the soundtrack of Sidney Potier’s movie To Sir, With Love . . . . Unfortunately, not even major celluloid exposure could break the group’s run of bad luck. . . . By the end of the year, the band was reduced to recording covers of current American hits, which could be rush released in Britain in the hope of beating out the original. . . . The Mindbenders made one final stab at reversing their fortunes, re-recording “Schoolgirl” and pulling out every psychedelic rock trick in the book. A BBC ban (that lasciviousness again), however, kept the single a good arm’s length from either the radio or the charts . . . . [I]n March 1968 . . . Graham Gouldman [joined the band and they] cut one final single . . . . [and] then broke up . . . . Eric Stewart and Gouldman, however, would [become] one half of 10cc.
https://www.allmusic.com/artist/the-mindbenders-mn0000403151/biography

Check out the site’s new page: Stick It to the (Fish)Man: Feedback — the coolest comments I have received!

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Here is the single version:

Here is the album version:

Here are the Hollies:

Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise

The playlist includes all the “greatest songs of the 1960’s that no one has ever heard” that are available on Spotify. The playlist will expand each time I feature an available song.

Just click on the first blue block for a month to month subscription or the second blue block for a yearly subscription.

We the People — “You Burn Me Up and Down”: Brace for the Obscure (60s rock)! — June 24, 2022

THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD

495) We the People — “You Burn Me Up and Down”

This sizzling ’66 B-side by the Orlando, Florida, garage rock “super-group” is “one of the genre’s greatest songs ever”/“a very unique number with a wonderful slide guitar riff to open the song[, with g]ravely vocals and quizzical and suggestive lyrics” (On the Flip-Side, http://ontheflip-side.blogspot.com/2012/12/song-of-week-we-people-you-burn-me-up.html?m=1), “contain[ing] all the classic garage rock ingredients: wild drums, buzzing fuzztone guitars, swirling electric organ, wailing harmonica, and a hormonally charged lead vocal by 16-year-old Tommy Talton that’s a cocky hybrid of Jagger and Dylan.” (J.M. Dobies, https://www.orlandoweekly.com/music/garage-days-revisited-2259038). “Grinding guitar chords, organ, aggressive vocals, and crazed guitar distortion (particularly on the swooping noises and feedback that introduce “You Burn Me Up and Down”) were the[e band’s] initial trademarks.” (Richie Unterberger, https://www.allmusic.com/artist/we-the-people-mn0000816941) Yup. I am not sure that Rick James could have done “Super Freak” without this song. Power to the People!

Richie Unterberger gives some history:

One of the most versatile mid-’60s garage groups — indeed, they were for the most part too accomplished and pop-savvy to truly merit the garage band tag — We the People had some big hits in Florida, but never broke out nationally, despite releases on the large RCA and Challenge labels. Veterans of Orlando garage [bands] . . . all found their way into We the People, who made their first single for the local Hotline label, “My Brother the Man,” in early 1966. “My Brother the Man” was a smoking, almost-crazed, hard garage-punk number, a path the band continued to follow on their early Challenge singles “Mirror of Your Mind” and “You Burn Me Up and Down.” . . . Yet at the same time they could throw in gentler and more lyrically and melodically subtle originals . . . . Unusual for a garage band, they boasted two prolific and talented songwriters in Tommy Talton and Wayne Proctor. Proctor was the more interesting of the pair, penning one of the great raga rock tunes (the gutsy “In the Past,” covered by the Chocolate Watch Band), the Baroque-psychedelic “St. John’s Shop,” and “(You Are) the Color of Love.” . . .
https://www.allmusic.com/artist/we-the-people-mn0000816941

J.M. Dobies gives a sense of the scene:

Summer 1966. At places like the Orlando Youth Center, Leesburg Armory, or the Coconut Teen Club . . . . [h]undreds upon hundreds of teens are dancing to the beat stomped out by one or more of the top local bands. . . . On Monday morning, the band members will be back in class, subject to being hassled by teachers about the length of their hair, but on the weekends, they are rock & roll stars. They’re totally boss, man.

Band members Terry Cox and David Duff later reflected on the changing scene, giving the most concise, incisive and hilarious analyses of the same that I have ever read:

Terry Cox: “I can almost pinpoint the day where everybody who was dancing around, jumping around, raising hell, packing the place, instead sat down on the floor and expected to hear ‘In-a-Gadda-Da-Vida.'”

David Duff: “The mood changed. And it was a change for the worse. I can remember playing in Gainesville at the University of Florida. We go set up in one of the frat basements and play all night, and there’d be nobody in the room. Everybody was upstairs in their rooms, smoking dope and having sex. I liked it better when everybody danced.”
https://www.orlandoweekly.com/music/garage-days-revisited-2259038

Check out the site’s new page: Stick It to the (Fish)Man: Feedback — the coolest comments I have received!

I have added a Facebook page for Brace for the Obscure 60s Rock! If you like what you read and hear and feel so inclined, please visit and “like” my Facebook page by clicking here.

Here is a killer 2018 version by the Pandoras:

Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise

The playlist includes all the “greatest songs of the 1960’s that no one has ever heard” that are available on Spotify. The playlist will expand each time I feature an available song.

Just click on the first blue block for a month to month subscription or the second blue block for a yearly subscription.

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