PREVIOUSLY ARCHIVED RECORD REVIEWS FROM MY OLD BLOG 'FLOWER BOMB SONGS'
Here are some of my random thoughts and words about obscure and in-demand ’60s garage and psychedelic singles over the years. All of the original blog posts on my old website have since been deleted so no label scans or picture sleeves are available. Instead, I’ve used images scanned from a 1968 Intro magazine.
THE CROME SYRCUS – ”Take It Like A Man” / ”Crystals” (Command 45-4111) 1968
This band of long hairs formed in Seattle but they later moved to San Francisco and did very well on the live circuit playing gigs with all the notable hippie bands. There is a live tape out there somewhere showcasing one of their gigs at The Avalon Ballroom in August 1968.
’Take It Like A Man’ is notable for it’s swirling keyboard opening before settling into a laid back groove. It was written by singer and bass player Lee Graham.
Graham also wrote the flip ’Crystals’ which is full of lysergic lyrics. It’s a strange song for sure with it’s jazzy backbeat and acid rock guitar.
Quite what their label Command thought of this type of music is unknown. They normally released records by Ray Charles and Enoch Light Orchestra.
Wow, just check out the threads on these guys. I don’t think the long kaftan was an ’off the peg’ number.
John Gaborit (guitar)
Lee Graham (vocals/bass)
Dick Powell (keyboards/harmonica)
Ted Shreffler (keyboards)
Rod Pilloud (drums)
Ted Shreffler later joined Seattle band Cannon Ball.
DANNY BURK & THE INVADERS – ’Ain’t Going Nowhere’/’Till I’m Sure’ (Ara 216) May 1966
Ignore the bad grammar on the song title on the label and concentrate on this blast of garage R&B from Danny Burk’s band. They hailed from Memphis, TN and I’m sure would have gone down a storm at gigs with this raunchy rock music.
The flip ’Till I’m Sure’ is much different but still has that British Invasion beat influence but at a much more gentle pace. It’s got some nice sounding guitar with a very basic drum beat. It may not be dangerous enough for garage heads but I dig it nonetheless.
Danny was the younger brother of Tommy Burk who had an established band of his own called Tommy Burk and the Counts.
Danny Burk (vocals/guitar)
Jimmie Crawford (lead guitar)
Eddie Sheridan (drums)
Van Gray (bass)
CHARLIE BROWN’S GENERATION – ’Fast Retreatin’ Female’/’Trash’ (Atco 45-6438) Sept 1966
A relatively unknown band from New York put together by funnily enough a guy called Charlie Brown. He originated from Columbus, Georgia but headed off to the Big Apple with some guitars to get into the music biz.
He formed his band Charlie Brown’s Generation sometime in ’66 and signed a one off deal with Atco Records to release this rather cool twin spin.
Diggin’ around the internet months ago I found online, a copy of a magazine called Teenstar ’69 and in among all the famous faces was a very small pic of Charlie’s band revealing that they consisted of three longhairs and a square.
There ain’t nothin’ square about this music though!…it’s got a fast pace with fuzz and has become a firm favourite of mine.
I def. share Westex’s enthusiasm for this one! Here are some add’l details I’m cutting ‘n pasting from research I did on this outfit several months ago:
Charlie actually got his start in Tokyo (yep, Japan!) with an outfit called The Teen-Tops. They were regulars on a live Far East Network Saturday morning radio show called Teenagers On Parade and even put out an album, Teen Tops On Parade, on Japan’s Universal label.
Back stateside in the mid-’60’s, Brown sat in with several combos in his hometown of Columbus, Georgia before making his way to the Big Apple, where he quickly landed a gig on staff at Atlantic Records doing session work on tracks by Solomon Burke, Barbara Lewis and The Drifters, among others.
In ’66 he put together Charlie Brown’s Generation and waxed the 45. He was quite a live attraction in NYC for a while–an early example of NYC’s odd hipster fixation with country twang, which was a pretty big facet of the early NYC punk scene (a fact that seems to grow more obscure with each passing year!)
Charlie formed a second aggregation called Players in early ’67, but exited to take a job as Musical Director for Van Morrison’s first post-Them tour, just as ”Brown Eyed Girl” was scaling the charts.
In the late ’60’s, Charlie landed a gig playing guitar in the Broadway production of Hair, and cut a couple of solo albums during that show’s spectacularly successful run on Broadway, ’68-’72. In ’73, he teamed up with multi-instrumentalist Eric Weissberg, who’d performed the music in the ”Dueling Banjos” scene in the film Deliverance.
That combo was called, yep, Deliverance, and they cut a moderately successful album titled Rural Free Delivery.
Since the mid-’70’s, Brown has stayed behind the scenes, doing advertising jingles, voice overs and the occasional studio gig.
He also sang ”Somebody To Love” on the movie soundtrack! That was how I first found out about him and his output seems very interesting the bits I’ve heard so far.
THE ALPHABETICAL ORDER – ’All Over The World (La La)’ /’Miss Blue Eyes’ (Rising Sons RS 45-710) July 1968
Here’s an interesting 45 for you all to track down by the mysterious Alphabetical Order, seemingly from Louisville, Kentucky.
’All Over The World (La La)’ is a pleasant pop song which reminds me of Rubber Soul era Beatles. It has a lovely harpsichord and guitar break mid way through the song with some cool ’La La’s and ’Yeah’s’. It could almost be Lennon.
This song was written by J. Corbitt and produced by Wayne Young.
The flip ’Miss Blue Eyes’ is a well produced Go-Go type instrumental sounding very similar in style to those excellent Manfred Mann work-outs. It has a hammond organ and guitar interplay with a steady backbeat and touches of flute. It also has spoken lyrics low in the mix that I can’t make out.
The swingin’ Go-Go type Party music reminds me of some of those 60s Cop/Spy TV shows. Picture the scene…there’s a blast going down at some hippie pad and the Heat burst through the door to unplug the amplifiers cos the squares just don’t get it maan.. ha ha ha.
This tune was written by P.Stuart and produced by Ray Allen and Stuart Payne. It has never been compiled before. I comped ’All Over The World (La La) on Fragments Volume 1 for the U-Spaces group a few years ago but I’ll probably have another go at mastering both sides for a future Gear!
THE ALPHABETICAL ORDER – ’All Over The World (La La)’ /’Gonna Fight The War’ (Soul Blvd 1002) May 1968
’All Over The World (La La)’ also got released on Soul Blvd but with a different flip. On the B-Side of this release was the Emitt Rhodes song ’Gonna Fight The War’. This is a worthy cover version. I’d even make it equal if not better than the original by The Merry Go Round.
Updates from Max Waller:
As promised, here’s additional info I have on Alphabetical Order.
The Lemco 45 is from September 1967, the Soul Blvd 45 is from May 1968.
The Rising Sons 45 is also listed as May 1968 but may be earlier.
’All Over The World (La La)’ is a Youngbloods song, from their 1966 debut LP, written by Jerry Corbitt. It was also covered by St.Louis, MO. band ”The Unknown?” (Cinema 6903, March 1968).
’All Over The World (La La)’ and ’Gonna Fight The War’ were produced by Wayne Young of Soul Inc..
Ray Allen, co-producer of ’Miss Blue Eyes’, also produced 45s by The Chateaus (originally the Shadows) who included Frank Bugbee, later of Soul Inc..
I believe the line-up I gave in Fuzz was pieced together with help from Louisville contacts, probably a couple of the guys who were in Soul Inc. (whom I put in touch with Roger Maglio at Gear Fab, resulting in their 3 CDs). Turns out this was the band’s second line-up, from 1967 onwards, which recorded their 45s.
Some time later, I got to hear about a book called Louisville’s Own – unsurprisingly it’s all about Louisville bands (1953-1983).
Eventually secured a copy; it’s a small 170-page softback by Brenda & Bill Woods, published in 1983 and long out-of-print.
The first band they feature is Alphabetical Order, with full details of line-ups, a brief history, and a couple of photos. Here’s the bones of it:-
The band was formed in 1965 and lasted until 1969.
1965 line-up was:
Steve Alford (rhythm guitar)
Fred Davidson (lead guitar)
Mike Heitz (bass)
Bobby McMillan (drums)
Will ”Buddy” Perryman (lead vocals)
In 1967 Alford, Heitz and McMillan were replaced by Bob McDaniel, Mike Crosby, and Bob Lamar respectively.
When they released their debut 45 they got a gig opening for the Beach Boys at the Freedom Hall, where they also played as backup band for the Boxtops.
thanks Max…..excellent information….EXPO67
FYI: Richard ”Buddy” Perryman’s name is Will – not Richard. Will does however; have a brother named Richard Bobby McMillan
Ronnie Brooks (that would be me) had replaced Fred Davidson on guitar by the time ”All Over the World” was recorded.
I had recorded previously with another Louisville band, The Oxfords, and played with bassist Mike Crosby a few years before that in a neighborhood garage band.
The Alphabetical Order actually appeared with the Box Tops in Lexington at U of K—not Freedom Hall—as the opening act (rather than being the Box Tops’ ”backup band”).
KEITH ALLISON – ’Action, Action, Action’ (Columbia CL 2641) 1966
’In Action’ is a recommended album by Keith Allison to track down for those 60s freaks (like myself) into the more commercial sounds of the day.
Allison got his big break in the music business by simply looking like Paul McCartney. He moved to Los Angeles from Texas in ’65 to seek work and ended up going to hang out joint The Whiskey A Go Go in Hollywood on the day that the film crew of TV programme ’Where The Action Is’ were recording for the show.
He was spotted in the ’in-crowd’ sitting watching bands perform and because of his likeness to Macca was asked to return and be part of the ’Where The Action Is’ set week in and week out.
This break and popularity with the girls led him to record a one off album deal with Columbia Records who spared no expense in getting the top musicians of the L.A. scene and producer Gary Usher to nail the sound down on tape.
The result is a time capsule of sunset strip sounds similar to Paul Revere and the Raiders (he would later end up as a member of The Raiders) with the odd Donovan folk rock song thrown in to vary the sounds and pace of the album…
One song from the album is the fuzz mover ’Action, Action, Action’ written by Boyce and Hart. This garage rocker would have been perfect for The Monkees.
I don’t know if Boyce and Hart ever offered the song to them but it was their loss if they didn’t want it.
THE KNICKERBOCKERS – ’High On Love’ / ’Stick With Me’ (Challenge 59332) June 1966
The high class wailing Brit Invasion rockers continued with this next release by The Knickerbockers. ’High On Love’ is intense with a wild arrangement of pounding drums, gritty guitar and a wall of voices but sadly it failed to give the band the big hit it deserved.
The flip ’Stick With Me’ is also a fine tune and slightlydelic….
THE KNICKERBOCKERS – ’One Track Mind’ / ’I Must Be Doing Something Right’ (Challenge 59326) March 1966
’One Track Mind’ was the solid follow up to the big hit ’Lies’ and once again The Knickerbockers serve up a merseybeat gem with raunchy guitar and power.
The flip is a Beau Charles original titled ’I Must Be Doing Something Right’ and it’s a slower paced Beatles fest.
Certainly a strong release and a hit in most regions but fell short of the success of ’Lies’.
THE KNICKERBOCKERS – ’Lies’ / ’The Coming Generation’ (Challenge 59321) Nov 1965
If straight forward, high energy 60s rock played by musicians with slicked back hair is your bag, then look no further than The Knickerbockers.
The band were from the New Jersey area and cut their teeth playing other people’s music, especially material by The Beatles.
They relocated to Los Angeles in the Autumn of 1965 and signed a deal with Challenge Records and became the house band on TV Show ’Where The Action Is’
’Lies’ was eventually a sizeable hit after a slow start. I say eventually because Challenge Records began promoting the mediocre folk rocker ’The Coming Generation’ as the top side. Thankfully someone, somewhere saw sense and ’Lies’ was elevated as the tune to deliver the goods and it certainly does that.
Obvious comparisons are The Beatles when they rocked out on songs such as ’I’m Down’ or ’I Feel Fine’. BUT, The Knickerbockers are allowed to be more raw and aggressive or perhaps it just came out that way.
THE WYLDE HEARD – ’Take It On Home’ / ’Stop It Girl’ (Philips 40454) 1967
Based in Wisconsin, The Wylde Heard were one of those bands that had a brief brush with local fame then quickly disappeared leaving behind one 45.
They were originally called The Heard and released ’Take It On Home’ / ’Stop It Girl’ on the small label Feather Records. It must have sold reasonably well or at least the band provoked some major label interest due to gigs because Philips signed them and released the single.
For unknown reasons, the label added ”Wylde” to their name and the band became known as The Wylde Heard. Some copies of this release came in a picture sleeve.
’Stop It Girl’ is a fast paced organ garage pop nugget with some interesting sustain sounds coming from the lead guitar. ’Take It On Home’ on the other hand is an Anglophile ballad of sorts with Association style background harmonies and strings.
I first heard the ”the Heard”, in 1966. The 45 was just a repress of their original regional recording. Which means it was poor at best.
Live The Heard was a 100% better than their single. Too bad you didn’t hear them at their best, they were great. Dick
CREATION OF SUNLIGHT – ’David’ / ’The Fun Machine’ (Windi 1005) 1968
Until recently very little was known about Creation Of Sunlight. Their album on Windi Records was virtually unseen let alone heard. Fortunately a bootleg CD appeared sometime in the 90s and it was from this bootleg that they became known to me. The album has since been re-issued legally and several band members have been located.
It is now known that the band were from Long Beach, California and when they formed, they named themselves Sunlight Seven, then simply Sunlight. The band never recorded, performed or referred to themselves as Creation Of Sunlight. That was only supposed to be the title of the album!
At the time of their formation in the Summer of 1968 they were all still in High School.
’David’ and ’The Fun Machine’ were re-recordings for the small Windi label. ’David’ in particular is a perfect lite psych tune with touches of fuzz guitar, organ and that California love-vibe.
Comparisons with the more jazzy Strawberry Alarm Clock tunes are obvious. It was written by Gene Rigalski. He’s not listed as a band member?
……..the sound of young ambition………
THE MYDDLE CLASS – ’Wind Chime Laughter’ / ’Don’t Look Back’ (Tomorrow T-912) 1967
The trilogy of Myddle Class 45s ended with a great cover of The Temptations song from ’65 ’Don’t Look Back’. This slightly countryfied and up-tempo version is way ahead of the slow and yawn inducing original. Too bad it wasn’t the hit that The Myddle Class deserved.
The flip was the sunshyne classic ’Wind Chime Laughter’ which sounds like a more introspective Association. A taste of the pure pop music The Myddle Class were capable of.
Danny Mansolino (keyboards), Dave Palmer (vocals)
Rick Phillip (lead guitar) Charlie Larkey (base)
Mike Rosa (drums)
THE MYDDLE CLASS – ’Don’t Let Me Sleep Too Long’ / ’I Happen To Love You’ (Buddah Records BDA 150) 1966
The second Myddle Class 45 paired ’Don’t Let Me Sleep Too Long’ with ’I Happen To Love You’. The former song, even though credited to all five Myddle Class band members was actually a song made more famous by The Blues Project (Al Kooper is credited as the songwriter but the title of the song is ’Wake Me-Shake Me’)
It was originally released on Tomorrow 7503 but re-issued on Buddah Records a couple of years later.
It’s been written that The Myddle Class picked up on this song after gigging with The Blues Project. It should be noted that Al Kooper and The Blues Project are credited as arrangers on the label of the Buddah release………whatever the matter, this song is a killer and needs to be heard!
As a footnote ’Don’t Let Me Sleep Too Long’ charted in the top 20 in San Bernardino, California during November 1966.
The flip ’I Happen To Love You’ is a Goffin & King song. It’s more famous as being an Electric Prunes offering but The Myddle Class were the first band to record it.
Both songs were produced by Gerry Goffin….. file under essential double sider.
THE MYDDLE CLASS – ’Gates Of Eden’ / ’Free As The Wind’ (Tomorrow 45-7501) Nov 1965
This very talented group of teenagers hailed from New Jersey and released three singles on Tomorrow, all of which sold in decent quantities locally but outside of their home territory bombed.
Even today The Myddle Class are something of a mystery. Hardly any of their songs have been compiled and several demos remain in the vaults, although these tapes or CDRs do surface in private trades.
’Gates Of Eden’ /’Free As The Wind’ was The Myddle Class debut and really should have done better than it ultimately did. When many bands were electrifying Bob Dylan songs and having huge hits The Myddle Class chose his sombre ’Gates Of Eden’ and made it into a folk rock gem but attracted little attention.
’Free As The Wind’ is high class 60s pop with these memorable lines:
’You never miss the water in the well
’Till the well runs dry.
And I never missed my baby
Until she said goodbye.
Now she’s free as the wind.
’Free As The Wind’ was the top side and charted at number 12 in Albany, New York during mid March 1966. Both sides were produced by the song writing team of Goffin & King.
AMERICAN ZOO – ’Back Street Thoughts’ / ’What Am I?’ (Reena Records 1030) 1967
This outfit were previously known as We The People and recorded earlier takes of both songs on this 45. Strangely ’What Am I?’ was titled ’Who Am I?’
’Back Street Thoughts’ is a sensitive mix of folk rock and psychedelia with harmonies and poignant guitar. The sound is as delicate as butterfly wings.
’What Am I?’ contains lots of prominent farfisa organ and is a real treat. BUT who were these boys?
A couple of years ago I wrote about American Zoo’s earlier 45 on Reena Records. Here it is again with better label scans.
AMERICAN ZOO – ’Magdalena’ / ’Mr. Brotherhood’ (Reena Records 1026) 1967
Another very cool double sided psych 45. American Zoo were a group of hip teenagers who recorded for Hollywood based label Reena. A picture of the band shows them looking extremely young and I suspect they never even went anywhere near an LSD tab so congrats on getting such a great sound on record.
That being said, they made an exciting couple of psychedelic 45s. ’Mr Brotherhood’ written by Bill Hawkins was probably the top side, although both songs are strong. Can’t decide which I prefer, so I won’t!
This version appeared on Psychedelic Unknowns Volume 11 however, a longer cut was compiled on High All The Time Volume 2 (never heard this version so I’ll have to try and locate that comp).
’Magdalena’ has four name credits on the label, J. Martz, B. Bottrell, B. Hawkins and D. Danieli. This song appears to be non comp which is strange because it really is a fast paced psycher with cool instrumentation. In fact, the band are very competent musicians for youngsters.
This band shot of American Zoo turned up on a yahoo psych forum and was unearthed by their drummer Jason Martz.
THE SUPERFINE DANDELION – ’Crazy Town’ (Move On Little Children) / ’Janies Tomb’ (Mainstream Records 673) 1967
The Superfine Dandelion came together after the demise of garage band The Mile Ends. The latter scoring huge points for their ’66 Stones type raver ’Bottle Up And Go’.
Main offenders, guitarist and chief songwriter Mike McFadden and bass player Ed Black then teamed up and changed their musical direction with The Superfine Dandelion.
’Janies Tomb’ has been compiled before and it’s a strange tale of deceit, murder and necrophilia all moving along innocently with acoustic guitar, gentle bass and neatly packaged like those Lovin’ Spoonful obscurities.
’Crazy Town’ (Move On Little Children) has got a west coast vibe throughout with use of some flute filling the sound. Both sides are on The Superfine Dandelion album released on Mainstream Records however, ’Crazy Town’ is an extended mix.
The shorter and punchier mono 45 version has not showed up anywhere before and was not part of The Superfine Dandelion re-issue (with bonus cuts) on Sundazed which is now sadly deleted and not even mentioned any more on the Sundazed web site.
SMART AND COLE INC – ’Nature Boy’ / ’Ashes Ashes’ (All Fall Down) (In Arts Records IA 109) 1967
So who were Smart And Cole Inc? Were they a group or a duo with the surnames of Smart and Cole? I don’t know, they’re a mystery to me but if any readers out there know the details be sure to leave a message.
This 45 was probably released some time in 1967 on the Hollywood label In Arts Records, they also released the rather great single by ESB (who previously recorded under the strangely named W.C. Fields Memorial Electric String Band)
’Nature Boy’ is a cover of a song written by Eden Abba. He was also known as George Aberle and played bass for a band from England called Accolade.
The latter also recorded ’Nature Boy’. The version by Smart And Cole Inc is a well produced pop song reminiscent of The Association.
The flip ’Ashes Ashes’ (All Fall Down) is another cool pop song and slightly psychedelic. It was written by songwriting team Tucker-Mantz.
They of course provided memorable material for The Electric Prunes (I Had Too Much To Dream Last Night), The Knickerbockers (The Coming Generation), The Brogues (I Ain’t No Miracle Worker) and The American Breed (Green Light).
THESE VIZITORS – ’Happy Man’ / ’For Mary’s Sake’ (Capitol P-2163) May 1968
Flower power folk rock outfit from Goshen, Indiana who enjoyed a strong local following. They signed to Capitol and travelled to New York City to record some songs at their studios.
The upbeat flower pop tune ’Happy Man’ recalls Mamas and the Papas or The Sunshine Company. It’s got that male/female vocals and folk rock backbeat that many bands had during the mid 60s, although by May 1968 this sound was probably last years news.
The flip ’For Mary’s Sake’ follows the same trip but the guitar sound is a little more experimental and the vocal arrangements are rather good. Both songs are credited to Richard Curtis and Michael Curtis.
Some unreleased These Vizitors recordings surfaced on u-spaces compilations Psychedelic Archaeology. ’Rippling Road’ can be found on Volume 6, whilst ’Reacher Teacher’ turned up on Volume 7.
SAPPHIRE THINKERS – ’Melancholy Baby’ / ’Blues On You’ (Hobbit Records HB 42002) 196?
It’s a surprising fact thatno Sapphire Thinkers recordings have ever appeared on any official or otherwise compilation. Their album ’From Within’ has been re-issued on CD before but I doubt whether it was a legal issue.
I’ve got a copy and it does sound OK to me and pleasingly the album has recently been re-issued legit (I think) on 180gm virgin vinyl, so if you can’t afford an original on Hobbit Records then grab yourself this before all copies sell out.
’Melancholy Baby’ bw ’Blues On You’ was lifted from the album but I don’t think it was a great seller and probably didn’t get passed the promo stage.
I’m also not sure where the Sapphire Thinkers originated from but I’d guess at California because their album was mastered at Pasadena’s Artisan Sound Recorders and released by Hobbit, a subsidiary of the Los Angeles based GRT Records.
It seems that the Sapphire Thinkers were heavily into lysergic drugs, probably magic mushrooms judging by their far out Mamas and the Papas type sound and of course the use of psilocybin images on the cover of their album.
There’s also plenty of organ, fuzz guitars, trippy phasing and excellent male/female vocalising. They’re certainly a band I’d like to know more about.
Just discovered this post from Sapphire Thinkers flautist Peggy (Kinney) Richmond on the William Howard Taft High School (Woodland Hills, Calif.) Reunion website. The mastermind behind the group, Bill Richmond, was her husband.
I agree: this is a fabulous album. The haunting ”Please Understand” is my personal fave.
Peggy and Bill are my parents. They are from California. They are still here, writing music and having no idea how much this album lives on on the web.
My parents haven’t touched a penny from this album since 1970. They met at Taft high. Bill was the mastermind, that’s true. My mom’s talent was real, though suppressed. We need to start our own site…there’s so much more amazing music from that time period that they wrote and recorded.
I came upon this fabulous website while looking for another vintage album and found the SAPPHIRE THINKERS From Within LP… It was a great album from a very talented and experimental rock band.
I produced the album (at Sound City Studios – in SF Valley) and got them their record deal (…and had no clue that there were reissues on CD and/or the web?) All legalities aside, I hope this album finds the audience it deserves… Note: to Deborah, you were a tiny-tot when we did the LP – cute as a button. Regards, Richard D. Kaye – rdkRecords@hotmail.com
Interesting side note re: SAPPHIRE THINKERS (LP) – Bill Richmond’s father Bill, Sr. worked in television production and asked the band to do a tripped-out version of Melancholy Baby for a TV comedy skit so we recorded the track as part of the Sound City sessions. In retrospect, it was a mistake as the record company chose it for the first (and only) single.
Hobbit Records also placed it as the opening track which was a commercial sell out for the image of a progressive band… Recommendation for the next person who bootlegs the album; move Melancholy Baby to the end of the LP (as a bonus track) Richard D. Kaye producer – rdkRecords@hotmail.com
THE INNOCENCE – ’The Day Turns Me On (The Buffering Song)’ / ’It’s Not Gonna Take Too Long’ (Kama Sutra KA237) Oct 1967
Song writing team and staff producers at Kama Sutra, Vinnie Poncia and Peter Anders were the force behind The Innocence. They also wrote songs recorded by previous group The Videls and contributed ’Bad Misunderstanding’ for The Critters and ’Mind Excursion’ for The Tradewinds. They both may also have had links with The Vacels.
The non LP 45 side ’The Day Turns Me On’ is as the title suggests a ’good time’ song where all worries are gone and the sun is on your face. Cool harmonies and punchy bass are it’s strong point and clocking in at just over two minutes it’s a mystery how this summer of love type tune was not a hit record. Maybe the October release was just too much out of time.
The flip ’It’s Not Gonna Take Too Long’ is lite pop and was included on their album which is recommended for those into well produced 60s pop music.