30 September, 2011

01. THE LYRICS - So What!!

THE LYRICS - 'So What!!'/'They Can't Hurt Me' (Era Records 3153) November 1965

Almost three years ago I exchanged emails with Ray Clearwater who wrote, sang and played harmonica on both songs on The Lyrics debut 45 released on Era Records. At the time Ray was a member of The Lyrics he was known as Christopher Gaylord.

My full interview with Ray can be found elsewhere on my site but here are exerpts from it that focus on this incredible two sided single. The double exclamation marks in the title of 'So What!!' was the deciding factor allowing this side to get the nod and become my Number One, LA Select of 2011.

QUES: 'So What!!' and 'They Can't Hurt Me' are very powerful songs. The words are full of anger and spite. What made you so pissed of to write these? Did you have any music influences here and what was your overall experience like in the band?

RAY: 'So What!!' and 'They Can’t Hurt Me', originally called 'Sticks and Stones', were big hits at the dances. Really got things rocking.
It was
Mike Allen that asked me to join the band. We were local kids that grew up playing music together from time to time. I didn’t really know anyone else in the band. Funny thing is, it was Mike Allen again that asked me to join The Magic Mushroom, and again, I didn’t really know anyone else in that band.

We recorded both songs at Gold Star Studios, in Hollywood with a guy named Don Ralke

QUES: Can you remember much about the recording of your songs and were you happy with the results. Also did you have any more original material at this point in time?

RAY: With regards to the record, when we went up to Hollywood to record 'So What!!' and 'They Can’t Hurt Me', the studio used another drummer and another lead guitar player. So the truth is, what you hear on the record was me playing the harp and singing, another band member named Steve Kayler singing back up, and I really don’t remember who played bass if it wasn’t Danny. They used the studio guys to punch up the record.

I seem to remember there being some bad feelings about this but personally, I was happy with the record. Why wouldn’t I be? It was my music and me playing the harp and singing. We all thought we were on our way to the big time.

As for why I was so angry in my songs – I really don’t know. I wrote both of those songs to (or at) a girl I was going with at the time. Her family had a very nice home and two refrigerators and all kinds of things that I had never seen and I was dirt poor and came from a very low income environment. 

I was raised by my grandmother on a small ranch in Cardiff, CA. I was pretty much of a punk. I certainly had my share of trouble in High School, was in Juvenile Hall for a bit, and I guess you might say I had somewhat of a BAD ATTITUDE – at any rate, if you add that up with the fact that I was attempting to be a Rolling Stone kind of guy, in conjunction with a Bob Dylan kind of guy, you get anger and resentment.

On top of this, my mother, who I had hardly known, passed away during my time with The Lyrics, and I never knew my father, so at that point I was basically on my own, taking out my frustrations on my girlfriend and throwing microphones around the stage. I guess it helped to act all of these things out but I can’t say I had a lot of friends. I really didn’t hang with the guys in the band much. Actually, I don’t remember being all that angry, I just liked to write that kind of song, and it seemed to work for everybody else so there it is.

THE LYRICS - So What!!

02. ADRIAN LLOYD - Got A Little Woman

ADRIAN LLOYD - 'Lorna'/'Got A Little Woman' (Charger CRG-112) 1965

According to the liners of Back From The Grave - Volume 8, Adrian Lloyd was from England but relocated to Los Angeles. He then joined a surf/instrumental group called The Rumblers as their prime evil drummer, before forming his own combo Adrian and the Sunsets.

It's not known if The Sunsets backed Adrian Lloyd on this incredible two sider released on Charger Records in 1965. 'Lorna' is a terrifying listening experience due completely to Lloyd's carnal screams over a crunchin' Bo Diddley beat with surf guitar. An absolute amazing performance.

The more sedate but equally appealing flip 'Got A Little Woman' is moody and intense, again with a surf twang. Lloyd's vocals are full of edge and attitude. This guy is fucked off about something.

Few original copies of this record exist so it was with good fortune that I managed to buy a bootleg copy a few years ago when they were doing the rounds on eBbay. Copies have since dried up.

03. THE GLASS FAMILY - House Of Glass

THE GLASS FAMILY - 'House Of Glass' (Warner Bros WS 1776) early 1969

'House Of Glass' is the stone cold killer psychedelic lead off track from The Glass Family.

This superb piece of lysergia would have made a fabulous single but it was overlooked in favour of 'Guess I'll Let You Go'/'Agorn (Elements Of Complex Variables)' two other great songs that were taken from this overlooked album and released as a single, no doubt to promote it.
The music for the album "Electric Band" was recorded late 1968 and released early 1969.

All cuts recorded at American Recording Studios in Studio City, California and produced by Richard Podolor, who has cropped up a couple of times on my site after working with other outfits.

I reviewed their 1967 single 'Teenage Rebellion' last year here

THE GLASS FAMILY - House Of Glass (stereo)

Billboard November 1968

29 September, 2011

04. THE DIRTY SHAMES - Makin' Love

THE DIRTY SHAMES - 'Makin' Love'/'I Don't Care' (Impression 112) August 1966

Los Angeles group The Dirty Shames released this great two sider on the collectable Impression Records label out of Hollywood then disappeared. Not a great deal is known about them other than the fact that they recorded a version of 'Makin' Love', originally made by The Sloths.

The Sloths also recorded for Impression Records and it's believed that this is how The Dirty Shames knew about the song and decided to record it themselves.

'Makin' Love' is an 'R'n'B' howler with harp and a kickin' fuzz break. Not a hint of the folk rock sound Los Angeles was famous for during the period mid 1965 to the end of '66.


28 September, 2011

05. THE DOVERS - The Third Eye

THE DOVERS - 'The Third Eye'/'Your Love' (Miramar 123) April 1966

The Dovers were the legendary folk rock group from Santa Barbara that released four singles on the small Hollywood label Miramar without causing much of a stir, then were gone. That was until Pebbles #2 featured their first single, the outstanding 'She's Gone' and The Dovers were vogue at last.

'The Third Eye' under the spotlight, was The Dovers third single on Miramar and although no credits are displayed on the label I'm confident that it was written by leader Tim Granada, the group's singer/songwriter and rhythm guitarist. Like their earlier 45 releases it was probably recorded at Gold Star Studios.

This exquisite, eastern tinged 12 string killer is one of the earliest excursions into psychedelia, and seemingly recounts an acid experience. According to the liners of The Dovers retrospective LP on Misty Lane, in early 1966 The Dovers underwent some line-up changes and group members started to experiment with LSD.

Tim Granada's haunting vocals deliver the lines,

"Unlocked by the key and now I am free" as well as "No wings for my flight, I drift through the night"

THE DOVERS - The Third Eye

more Dovers action here

27 September, 2011

06. THE PREACHERS - Stay Out Of My World

THE PREACHERS - 'Stay Out Of My World'/'Who Do You Love'/'Hey Joe' (Sundazed SEP 191) 2009

'Stay Out Of My World' first appeared in October 1965 on (Moonglow 5006) and is a tough record to track down but thankfully Sundazed re-issued the cut on 45 a couple of years ago complete with a fabulous picture sleeve. There's no reason why readers of my blog should be without their own copy.

The Preachers got together in early 1964 and played the local bars in Manhattan Beach, moving on to be a resident band at the Casbah Club in Canoga Park. They quickly became very popular in the San Fernando Valley before eventually performing regularly on the Sunset Strip by mid 1965.

The original lead vocalist Richard Fortunato was replaced by John English who wrote the lyrics of 'Stay Out Of My World', the folk punker under the spotlight. John had no music to his words so organist Rudy Garza came up with that groovy organ riff to bring the whole thing together. Listening to his organ runs, I can't help but think of the riff Ray Manzarek used for 'Soul Kitchen'.

Richard Fortunato and bassist Zeke Jim Camarillo went onto The Vejtables, Fortunato then joined W.C. Fields Memorial Electric String Band with Preachers drummer Steve Lagana. Lead guitarist Hal Tennant may have been with The Bees at some point.

THE PREACHERS - Stay Out Of My World

25 September, 2011

07. THE LYRICS - Wake Up To My Voice

THE LYRICS - 'Can't See You Any More'/'Wake Up To My Voice' (Feather 1968) February 1968

By the powers of the internet I've had the pleasure of exchanging emails with two members of The Lyrics over the years and exclusive interviews with Dan Garcia and Ray Clearwater (previously known as Christopher Gaylord) can be found on my site. Dan sent me a load of Lyrics photos and ephemera some of which I've posted today for the first time on 'Flower Bomb Songs'

The Lyrics hailed from the San Diego area but spent much of their existence recording and gigging in Los Angeles, often supporting The Doors.

This amazing and hard to find garage psych record was probably cut at Gold Star Studios in Hollywood where they had previously recorded the earlier 45 'Mr Man' / 'Wait' released on GNP Crescendo. They also used the same production team of Harlan Peacock and Don Ralke.

The A-Side appears to have been The Doors influenced 'Can't See You Any More' written by lead guitarist Bill Garcia . The flip might be recognisable to some because it was compiled on Highs In The Mid Sixties Volume 3. The sound quality on this comp is atrocious mainly because a beat up copy of the disc was used that has clicks and pops all over it.

'Can't See You Any More' was listed as a 'Hit Bound Sound' on the Santa Barbara Radio KIST music list, week ending 10th February 1968.
'Wake Up To My Voice' written by singer Craig Carll is a magical example of garage psychedelia. It's been a firm favourite of mine ever since I first heard it in the mid 80s and is clearly a classic of it's genre.

Related trivia:
Don Ralke produced and arranged many records during the great 66/67 period. As well as being employed by The Lyrics he also worked with Ty Wagner of 'Im A No Count' and 'Slander' fame as well as arranging the vocals on songs by The Sunrays. He also wrote several songs recorded by William Shatner on his 'The Transformed Man' LP from 1968.

originally written 12/08/11 

THE LYRICS - Wake Up To My Voice

The Lyrics playing in a strange place. Doesn't look like the right crowd to me.

three Lyrics in flamboyant shirts

KIST Radio list February 1968

24 September, 2011

08. THE TURTLES - Outside Chance

 THE TURTLES - 'Outside Chance'/'We'll Meet Again' (White Whale 234) August 1966

Yet another blog entry for The Turtles, I love this group! and surely 'Outside Chance' had the class and pop charm to be a big hit but the record somehow bought a ticket to nowheresville and sank without trace making it one of the most sought after Turtles 45s to collect.

'Outside Chance' was written by Warren Zevon who at this point in time was a White Whale label stablemate and part of duo Lyme & Cybelle. Here, The Turtles offer up a folk punk version with tough 12 string guitar and an electric piano break.
The song was covered by Sounds Like Us
Get more Turtles action here

Gotta dig the genius lines,

"You can try to please me, but it won't be easy,
Stone walls surround me, I'm surprised that you even found me."

THE TURTLES - Outside Chance

KRLA Beat - February 1966

09. THE ELECTRIC PRUNES - You've Never Had It Better

THE ELECTRIC PRUNES - 'Everybody Knows You're In Love'/'You've Never Had It Better' (Reprise RS 20652) February 1968

Recorded in late 1967 at American Recording Co studios in Hollywood, the flip of this record 'You've Never Had It Better' catches The Electric Prunes in a raunchy mood. The song is in complete contrast to the plug side 'Everybody Knows You're Not In Love' which is a soft pop number written by Lowe and Tulin.

But it's the psychedelic rocker 'You've Never Had It Better' that gets my nod and entry in my L.A. Select list. Check out the pulsating buzzsaw-fuzztone opening riff, straight away you know you're in for a heavy ride....settle down and take that fuzz trip.

THE ELECTRIC PRUNES - You've Never Had It Better

Italian release

French release

20 September, 2011

10. THE RISING SONS - I Got A Little

THE RISING SONS - 'I Got A Little' (Sundazed) recorded December 1965

Somehow, The Rising Sons never made it as a hit group outside of Los Angeles although on the Sunset Strip they became one of the legendary groups with memorable performances of potent R'n'B and country blues.

The good people at Sundazed Records released a stunning vinyl only release of material recorded by The Rising Sons during 1965/66, all of the cuts never saw the light of day in the 60s apart from the sides used as their only single 'Candy Man' and 'The Devil's Got My Woman'.

'I Got A Little' is a group original written by Jessie Lee Kincaid and is a rush of uptempo blues with jangle guitar that works real well. Short and sweet medication.

After their demise in mid 1966, Taj Mahal and Ry Cooder became famous in their solo careers and drummer Kevin Kelley joined The Byrds.


KRLA Beat advert July 1965. The original line-up of The Rising Sons with Ed Cassidy, future Spirit drummer

19 September, 2011


THE STANDELLS - 'Sometimes Good Guys Don't Wear White'/'Why Did You Hurt Me' (Tower 257) June 1966

The Standells hit the big time with 'Dirty Water' and followed that memorable rock n' roll raunch with the equally hip 'Sometimes Good Guys Don't Wear White' in the Summer of '66.

But it's the unheralded and forgotten 'Why Did You Hurt Me' on the flip that gets my blog action and entry into this years 2011 Los Angeles select 50. The song was recorded at Kearnie Barton's Audio Recording Studios in Seattle (also used by The Sonics) during April 1966 while The Standells were on the road touring outside L.A. on the back of the smash 'Dirty Water'.

'Why Did You Hurt Me' is a gritty performance and could easily have been a single in it's own right. Dig that combo organ, probably a Vox Continental played by Larry Tamblyn and the snotty punk vocals. It's certainly one of my favourite Standells cuts.

THE STANDELLS - Why Did You Hurt Me

'Sometimes Good Guys Don't Wear White' hit number 1 on the Santa Barbara KIST List - from the ARSA archives

18 September, 2011


CAL RAYE - "I Cry" / "Can I" (Runay Records RY-101) 1967

Most of Cal Raye's solo material is crooner, MOR pop and falls outside my radar but the garage raga rock winner 'I Cry' is certainly worthy of investigation. Cal Raye a.k.a. Jerry Raye signed to DeVille Records after this release on the obscure Runay label and 'I Cry' was re-released with a different flip side 'The Devil Is A Woman (You Tell Such Lovely Lies)'

Cal Raye hooked up with a local L.A. folk rock group called Fenwyck and their most famous recording is 'Mindrocker' which has seen several compilation appearances over the years. Other songs from that merge are quite stunning such as 'I'm Spinning', 'Away' and 'State Of Mind'.

With it's flipped out eastern fuzz guitar leads 'I Cry' could have been a contender but remains in the undiscovered shadows.

17 September, 2011


THE GENTLE SOUL - 'Tell Me Love'/'You Move Me' (Columbia 4-43952) rec January 1967

Pamela Pollard and Rick Stanley had been playing clubs together on Hollywood's Sunset Strip for about a year before Byrds producer Terry Melcher got them into the studio, first to record Pamela Pollard's 'You Move Me' in September 1966 followed by a session in January 1967 to lay down the Rick Stanley original 'Tell Me Love'.

The name of the group came about when Riley Wyldflower was smoking joints in their Hollywood apartment and blowing the hash smoke into the face of their cat. Riley said the cat didn't mind because he was a gentle soul....hence The Gentle Soul.

This debut 45 by The Gentle Soul is not on their studio album from mid 1968 and as such is a recommended single to track down. But not only for that reason! 'Tell Me More' is quite simply 'blissful' with it's ornate production by Melcher and beautiful arrangement by Jack Nitzsche, the song really soars with layers of perfect harmonies and baroque psych touches......GLORIOUS....

At this point in time, The Gentle Soul were a four piece including guitarist Riley Wyldflower who would go on to release an obscure 45 'The Smog Song'/'Electric California' on Beacon Records. I've only ever heard 'The Smog Song' which is hippie blues.

Drummer Sandy Konikoff played in several Buffalo, NY groups before linking up with The Gentle Soul including The Ravens and The Hawks who backed Bob Dylan during Feb/March 1966. 

15 September, 2011

14. THE FIRE ESCAPE - Love Special Delivery

THE FIRE ESCAPE - 'Love Special Delivery'/'Blood Beat' (GNP Crescendo 384) January 1967

'Love Special Delivery' or as it's billed on the front of The Fire Escape 'Psychotic Reactions' album, 'L.S.D' is a fierce garage psych assault with fuzz and a totally wired mid song rave-up in the best tradition of The Yardbirds.

Of course 'Love Special Delivery' is a cover of Thee Midniters song and here The Fire Escape do the original recording justice and add to it with that certain Sunset Strip vibe.
Not a great deal is known about The Fire Escape. They were most likely a studio outfit put together by producers Larry Goldberg and Hank Levine. They even have the flip 'Blood Beat' and 'Journey's End', on the album credited to themselves.

According to the liners on the back of the album Hollywood whiz-kid Michael Lloyd arranged musical proceedings adding weight to my theory that The Fire Escape, as a group, did not exist.

THE FIRE ESCAPE - Love Special Delivery

11 September, 2011

15. MERRELL and the XILE'S - Tomorrow's Girl

MERRELL & the XILE'S - 'Tomorrow's Girl'/'When I Get Home' (Glenn 426) April 1967

This was The Exiles final 45 in the Spring of 1967 after which Merrell Fankhauser would disband the group and return as Fapardokly with a new line-up.
Merrell & the Exiles or as shown on this label as Xile's enjoyed some degree of local popularity, even performing on Dick Clark's American Bandstand and 'Tomorrow's Girl' certainly entertains with it's raga rock rhythms, fuzz and lyrics about a girl with a fondness of hash.

"She is a girl who has everybody's needs
While she sits and smokes her $20 weed"

'Tomorrow's Girl' and the flip 'When I Get Home' were recorded at Audio Arts Studio, Hollywood during March 1967 with the following line-up:

Merrell Fankhauser (vocals/guitar)
Mark Thompson (organ)
Larry Willey (bass)
Randy Wimer (drums)


Billboard advert - April 1967

10 September, 2011

16. GENE VINCENT - Born To Be A Rolling Stone

GENE VINCENT - 'Born To Be A Rolling Stone' (Everest Records CBR 1006) April 1967

Every garage fanatic will know Gene's hard rockin' 60s swinger 'Bird Doggin' but several other cuts from his Challenge years are worthy of investigation, including the folk rock jewel 'Born To Be A Rolling Stone'.

By the mid 60s Gene Vincent was in his early 30s, no longer hip and without a record contract.  Enter Challenge Records, who signed him up to record some sessions at Sunset Sound Recorders in Hollywood, backed by The Champs and other notorious sessionmen including Larry Knetchel and David Gates as an arranger and backing singer.

Sadly all three single releases on Challenge Records sank and a proposed album in America was never released. However, Gene Vincent always had a loyal following in England and France where the album did find a release on London Records.

10 songs from the Challenge sessions were re-issued in 1984 on Everest Records.

GENE VINCENT - Born To Be A Rolling Stone

06 September, 2011

17. THE BYRDS - Renaissance Fair

THE BYRDS - 'My Back Pages'/'Renaissance Fair' (CBS 2648) May 1967

Forty four years ago, The Byrds released one of their finest ever singles. The top side being the impressive version of Dylan's 'My Back Pages' backed with the staggering psychedelic jewel 'Renaissance Fair'.

It's safe to say that The Byrds have been my favourite group for almost 30 years ever since I bought my first Byrds LP titled 'The Byrds - the original singles 1967-1969' from Boots in Sunderland sometime in 1982. I remember being hugely disappointed with the country side which I just didn't get. To me the songs sounded like background music I'd heard on some episodes of Dallas, probably when the Ewing's hosted the 'Oil Baron's Ball'......lol......

But I was completely in awe of the psych side. Listening to this side with songs of the calibre of 'Have You Seen Her Face', 'Lady Friend', 'Goin' Back' and 'Change Is Now' quite simply CHANGED MY LIFE...
At 16 years of age I had found my musical heroes and I set out on a mission to own everything they ever recorded.

'Renaissance Fair' was one such song on that album that made my head spin with it's glorious sound and mystical words. I could only imagine what The Byrds looked like because no photo of them was on either side of the cover.

my life changing Byrds album
Renaissance Fair was the name of one of the very first Love-Ins in Los Angeles and this is Crosby's vivid account of this medieval type festival of music. His song describes the event in a dream like sequence, focusing on the individual senses of hearing, smell and sight to convey his sensation of wonderment.

Anyone who has ever experienced an acid trip will no doubt know where Crosby is coming from.

It was a hit in USA (released March 1967) but sank without trace in the UK.

I think that maybe I'm dreaming...

I smell cinnamon and spices
I hear music everywhere
All around kaleidoscope of color
I think that maybe I'm dreaming...

Maids pass gracefully in laughter
Wine coloured flowers in their hair
Flags call from lands I've never been to
I think that maybe I'm dreaming...

Sun splash on a soda of prism
Bright jewels on the ladies flashing
Eyes catch on a shiny prism
Hear ye the crying of the vendors
Fruit for sale wax candles for to burn
Fires flare soon it will be night fall
I think that maybe I'm dreaming...

David Crosby soothes his lysergic head with a book

05 September, 2011


THE TURTLES - 'It Ain't Me Babe'/'Almost There' (Pye International 7N.25320)  September 1965

As everyone knows The Turtles are the undisputed kings of sunshine/harmony pop music but do not discount their folk rock period of 1965/66 and in particular the ferocious Kinks inspired garage rocker of 'Almost There' written and sung by Howard Kaylan.

The Turtles didn't have the cool, beautiful people image of say The Byrds or Love but they had the cutting 'now sound' of '65 alright. 'It Ain't Me Babe' transforms the Dylan original for the Sunset Strip crowd and I'm sure most of the kids back then would have been hip to the punky 'Almost There'......fantastic double sider to seek out and enjoy!

Pictured is my copy of the UK release and as you can imagine it's a tough 45 to find, set your sights on the USA White Whale release which is easier to locate but now getting quite sought after.

While I'm here I'd like to add that my website is fast becoming the only 60s blog worth bothering with but I'm sure you know that anyway.. However, last month my site hit rate was approx 17,000 which is showing a steady decline since I peaked at 20,000 earlier this year?

THE TURTLES - Almost There

KRLA Beat - August 1965

04 September, 2011

19. THE FANTASTIC ZOO - Light Show

THE FANTASTIC ZOO - 'Light Show'/'Silent Movies' (Double Shot 109) February 1967

The Fogcutters, a popular group from Denver, Colorado, cut some singles that did some action locally then sometime in 1966 the group relocated to Los Angeles or perhaps only members Don Cameron and Eric Karl and renamed themselves The Fantastic Zoo.

What is known is that veteran L.A. producers Hal Winn and Joseph Hooven produced all of The Fogcutters sides. Perhaps they persuaded the group to sign for their newly formed Hollywood label Double Shot.

The first Fantastic Zoo record released in December 1966, was the small L.A. hit and novelty 'Midnight Snack', although the far superior side is the psychedelic folk of 'This Calls For A Celebration' on the flip.

By now the small independent record label had a huge national hit on their roster with 'Psychotic Reaction' by The Count Five so I'm sure Hooven and Winn were focusing all of their efforts on this. However, the second and final Fantastic Zoo 45, the ultra trippy, 'Light Show' was released in early February 1967 but appears to have sank.
For every 500 copies of 'Silent Movies' you'll be lucky to find 1 copy of 'Light Show'....it's a very scarce record to locate suggesting few copies were manufactured.

Eric Karl wound up in Bodine who recorded an album for MGM. He wrote the majority of the songs on that long player.
Hopefully someone will get in touch about The Fogcutters and The Fantastic Zoo as they appear to have an intriguing history.

03 September, 2011

20. JEFFERSON LEE - Sorcerella

JEFFERSON LEE - 'Book Of Love'/'Sorcerella' (Original Sound OS-88) July 1969

In the late 60s Jefferson Lee was an up and coming producer from Atlanta who signed to Hollywood label Original Sound and released two sought after singles. The Monotones cover, 'Book Of Love' was the first from the Summer of '69 but it's the fuzz driven and Music Machine influenced flip 'Sorcerella' that wins out.

The intense fuzztone bass is just insane and the weird lyrics add to the songs overall creepiness. I didn't know much about Jefferson Lee so did a little digging. It turns out that he exclusively managed and produced Joe South in the late 60s early 70s.

'Book Of Love'/'Sorcerella' (Original Sound OS-88) July 1969
'Bubble Gum Music'/'Pancake Trees' (Original Sound OS-93) May 1970

JEFFERSON LEE - Sorcerella

01 September, 2011

21. THE POOR - Feelin' Down

THE POOR - 'Feelin' Down'/'Come Back Baby' (Decca 32318) May 1968

The Poor were regulars at clubs and venues on the Sunset Strip playing at the legendary Ciros, PJ's and The Whisky etc but seem to be one of those groups that still don't get much praise and recognition. An earlier 45 'She's Got The Time' got close to becoming a hit but subsequent material fared less well including this final single on Decca.

'Feelin' Down' from mid '68 shows The Poor in a good light with the punchy bass and stabbing background organ. Some pleasant Association harmonies add to the sunshine pop sound. The song was written by Michael Brewer in 1966 while he was a staff writer for A&M Records. It was also recorded by The Black Sheep and released in January 1967 on Columbia.
The Poor broke up after this 45 flopped with Randy Meisner, Allen Kemp and Pat Shanahan joining Rick Nelson in Rick Nelson and the Stone Canyon Band. Meisner then went on to Poco, then The Eagles.
Kemp and Shanahan later joined New Riders Of The Purple Sage.

THE POOR - Feelin' Down

22. THE PEPPERMINT TROLLEY COMPANY - Spinnin' Whirlin' 'Round

THE PEPPERMINT TROLLEY COMPANY - 'New York City'/'Spinnin' Whirlin' Round (Acta 45-835) 1969

There's several sites on the net devoting space to The Peppermint Trolley Company and by now everyone who is a regular visitor to my site should own the Now Sounds CD release 'Beautiful Sun' which compiles most of the Trolley sides plus rare and obscure 45s by their teenage garage outfits The Mark V, The C-Minors and The Intercoms.

By 1969 it was all over for the original members of The Peppermint Trolley Company. According to the CD liners, relations between the producer (Dan Dalton) and the band became strained and the Trolley decided to leave Dalton and reconvene as Bones.

That did not stop Dan Dalton recruiting Hollywood singer songwriter Bob Cheevers and session guitarist John Beland to continue under the guise of the Trolley and two further 45s on Acta were released in 1969.
The last record was 'New York City' backed with the super cool sunshine pop masterpiece 'Spinnin' Whirlin' 'Round' which was probably never heard at the time as it was lost on the B-side.

Sadly, this gem was not compiled on the Now Sounds CD at the request of the original Trolley members.