I have reviewed thousands of records over the years. These reviews were posted on an ancient deleted blog but will be updated and refreshed here on Tyme Trips as My Back Payges.
JERRY JEFF WALKER & LSD – ’Found Me A Brand New Woman’
I’m not sure if this song was released as a 45 or on an album? I’ve checked various resources and can’t find any mention of this folk rock tune anywhere. It was included on a CD called ’Trip To The Psychedelic World’ which was a low budget CD compilation on Collectors Choice. Maybe it’s a demo and wasn’t released at the time.
Jerry Jeff Walker formed his own band Circus Maximus in the mid sixties after spending some time as a folkie in Greenwich Village. They released two psych albums on Vanguard but nothing on those discs are as good as ’Found Me A Brand New Woman.’
Hopefully, someone out there on the internet knows the story about this song. If you do, get in touch, thanks.
THE BAROQUES – ’The Baroques’ (LP 660) originally issued on Chess Records September 1967
Recorded March 1967 at Ter Mar Studios, Chicago
I’ve been enjoying this album by The Baroques who were a hot new psychedelic group from Milwaukee and signed to Chess Records in 1967. I bought this album back in the late 80s from Crash Landing Records, it’s not an original and probably a bootleg. There’s a sticker on both sides of the label claiming a ’limited edition collectors item.’
What is strange is that the front cover has mono printed bottom left of the sleeve, however, the record itself is a stereo pressing.
Looks like whoever put this out were playing some games. The music sounds excellent though so I can’t grumble at all. The picture of The Baroques on the cover is pure acid with the eerie doll’s head a genius addition to the line-up.
The more I listen to this album the better it becomes, it’s a real grower with some very strong original material mostly written by guitarist and lead singer Jay Borkenhagen.
My pick from this disc is the folk-psych winner ’There’s Nothing Left To Do But Cry’ which I reckon would have made a stunning single backed with the impressive raga drone of ’Purple Day’.
This is what Jay Borkenhagen said on the back sleeve liners.
”Our songs are our own idea of not what is happening, but what we think should be happening.”
line-up:
Dean Nimmer (drums)
Rick Bieniewski (bass)
Jay Borkenhagen (guitar / vocals)
Jacques Hutchinson (guitar / vocals)
Led by 19-year old Jay Borkenhagen, this quartet devised a powerfully original sound whilst gigging around Milwaukee in 1966.
Having signed to the fabled Chess label, their debut 45 combined the woozy pop ballad “Mary Jane” with the mind-melting “Iowa, A Girl’s Name,” featuring astounding guitar break sounds like a spaceship taking off.
Their sole album appeared in September, and consists entirely of original material.
Baroques ‘Prism’ Waxed by Chess
MILWAUKEE – Chess Records has recorded “Prism” a package of folk rock “Psychedelic-styled” songs by The Baroques, discovered by Director Corp., based here. A few weeks ago Chess recorded The Shaprels and jazz vocalist Charleen Gibson, both Milwaukee acts.
Organizing the Chicago recording session was Ralph Bass, A&R veteran who produced the current Dunhill click, “Dedicated To The One I Love” by the Mamas and the Papas.
Bass describes the Baroques’ material as being in the poet-minstrel vein and noted that all twelve of the tunes, one of which is scheduled as a single, were originals.
The group consists of Dean Nimmer, Jay Borkenhagen, Jacques Hutchinson and Rick Bieniewski. Borkenhagen, the youngest at 19, plays organ, harmonica, electric piano and lead guitar. Nimmer, drums and Hutchinson, rhythm guitar and flute, are both 21 and bass guitarist Bieniewski is 20. The group has been free-lancing at several area colleges. (Billboard)
Singles Discography:
“Mary Jane” / “Iowa, A Girl’s Name” (Chess 2001) June 1967
“I Will Not Touch You” / “Remember” (Baroque T-45-53) April 1968
“One” – A Song by Harry Nilsson
Many ’60s songs were not only recorded by the original writers but also by many other groups and performers. Some, more successful than others.
Several cover versions were massive hits and out-sold the original artist’s release. I will endeavour to research some of my favourite songs here on ‘Tyme Trips’, highlighting not only the very well-known records but I’ll also zoom in on the long-forgotten and ignored 45s and LP tracks.
The first song under the microscope is Harry Nilsson’s haunting baroque number, “One” which was written in 1967 and released as a single in America during February 1968.
The record was released in Britain a month later but it didn’t chart. Curiously, the song featured on the B-side of Nilsson’s big hit “Everybody’s Talkin'” released in the UK during September 1969 (RCA Victor 1876).
Al Kooper recorded a version of “One” which can be found on his debut album “I Stand Alone” (Columbia CS-9718) released December 1968. This fine recording is a well produced baroque take of Nilsson’s classic.
2022 has been the year that I discovered Bobby Vee‘s mid to late sixties Liberty recordings. It’s never too late to become a little obsessed with someone’s records decades after they were released.
Vee’s take of “One” is another baroque rock arrangement with sweeping strings perfectly coalescing with melancholic vocals. “One” by Bobby Vee can be found on his 1969 album “Gates, Grills And Railings” (Liberty LST-7612) March 1969.
Three Dog Night are not a group I’ve ever been interested in and for this project I had to locate a copy of their single on (Dunhill D-4191) April 1969.
This version discards the baroque arrangement for the in-vogue dynamic late sixties rock style. The guitars blaze away, drums pound energetically and the vocals are powerful and direct.
Before I started this Nilsson project I had never previously heard of Johnny Farnham so imagine my surprise when I discovered that he was famous in Australia, enjoying a huge chart topping single with “One” in 1969.
Johnny’s version is upbeat and quite psychedelic in parts especially the production effects. Great vocals too. Released as a single (Columbia DO-8827) July 1969
Chris Clark is virtually unknown and although she recorded for the popular Motown label failed to have any chart action.
For whatever reason the Motown label created a subsidiary and named it Weed (Weed WS-801) 1969 with the moniker “Your favourite artists are on Weed.” There was only ever one release on this newly formed label.
Chris Clark’s amazing soul bustin’ version of “One” can be found on her ignored album “C.C. Rides Again.”
It’s fair to say that arranger and composer George Tipton shaped the sound of Nilsson’s late sixties recordings. I don’t know if they were still working together in 1970 when Tipton released his album of Nilsson songs called “Nilsson By Tipton” on Warner Bros. (WS-1867) 1970
versions in order of appearance – Nilsson, Bobby Vee, Johnny Farnham, Chris Clark, Al Kooper, Three Dog Night and George Tipton.
*** since I compiled my entry of all the known recordings of “One” I have been informed by a respected record collector and a music sleuth that four other versions exist:
The Music Convention, a group from New Zealand, released “One” as a single on (RCA Victor 60452) during September 1968.
Mike Melvoin released “Plastic Cow Goes Moog”, an album on (Dot DLP-25961) in 1969. This record contains a version of “One” presumably a moog-fest instrumental.
The New Seekers are not a group I’ve taken much notice of in the past but to their credit did conceive a version of “One” for the album “Beautiful People” (Philips 6308 055) released during May 1971.
The Phoenix Authority released an album on (Mainstream MRL-303), released February 1970. The LP contains an interesting version of “One”.
Lyrics:
One is the loneliest number that you’ll ever do
Two can be as bad as one
It’s the loneliest number since the number one“No” is the saddest experience you’ll ever know
Yes, it’s the saddest experience you’ll ever know
Because one is the loneliest number that you’ll ever do
One is the loneliest number that you’ll ever knowIt’s just no good anymore since you went away
Now I spend my time just making rhymes of yesterdayBecause one is the loneliest number
That you’ll ever do
One is the loneliest number
That you’ll ever knowOne is the loneliest number
One is the loneliest number
One is the loneliest number that you’ll ever do
One is the loneliest number
Much, much worse than twoOne is the number divided by two
OneOne is the loneliest number
THE SEMI-COLONS – ’Beachcomber’/’Set Aside’ (Cameo Parkway C-468) April 1967
For those who don’t know, The Semi-Colons were in fact ? and the Mysterians. Why Cameo Parkway released this 45 as The Semi-Colons is probably lost in time but if anyone knows be sure to contact me or leave a message.
’Beachcomber’ was first recorded and released by Bobby Darin in 1960. His original version is a slow piano instrumental. The Semi-Colons on the other hand whip up the tempo somewhat and transform it into a ’67 go-go dancer.
The flip ’Set-Aside’ can be found on the debut ? and the Mysterians album ’96 Tears’. This is quite a slow instro that doesn’t really go anywhere, although I do dig the guitar. Both sides were produced by Cameo Parkway staff producer Neil Bogart who would go onto Buddah Records and work on many hits during the bubblegum era.
TONY AND THE BANDITS – ’It’s A Bit Of Alright’ / ‘(Oh No) I Can’t Lose (Flo-Roe FR-500) Aug 1965
This is one of my favourite 45 discoveries in a long time. Both sides are cracking British invasion inspired beat with cool guitar runs and harmonica bursts on ’It’s A Bit Of Alright’.
Tony and the Bandits won a tri-state Battle Of The Bands in early ’65 which tempted Flo-Roe Records to sign them for this debut record that reached Top 10 in Cincinnati, Ohio in August 1965.
This success led them to secure an appearance on TV Show Shindig where they performed their hit ’It’s A Bit Of Alright’ – check it out on YouTube.
The flip ‘(Oh No) I Can’t Lose’ is also a very decent number with a jangly edge.
TONY AND THE BANDITS – ’I’m Goin’ Away’ / ’The Sun Don’t Shine Now That You’ve Gone’ (Coral 62477) 1966
A classic follow up 45 and no less impressive that their debut. ’I’m Goin’ Away’ is another fast paced Merseybeat copy with jangly guitar and way cool harmonica.
’The Sun Don’t Shine Now That You’ve Gone’ is a moody folk rocker.
I’m not sure why singer/songwriter Tony Brazis would want to leave such a great band but leave he did after the release of this record.
His replacement was Ivan Browne from a local band called Ivan and the Sabers. With leader Tony Brazis gone it was pointless going by the name of Tony and the Bandits so a name change was due and they became known as The Lemon Pipers.
Everyone knows they then hit the big time with ’Green Tambourine’.
This single was picked up for national release on Coral.
BRAD LONG – ’Tell Me’ (Voxx VXS 200.006) 1981
I recently made contact with Brad Long, who in 1980 cut one of the very first jangle pop 45s since the mid 60s. This was released on his own vanity label to good reviews despite being way ahead of the so called ’garage revival’ that would follow in the early to mid 80s.
The sound of the record was sadly marred by a mistake at the pressing plant (which Brad will explain) but despite being wholly unfashionable (at the time) and offering a somewhat lo-fi sound the 45 was a sell out and is now a sought after item.
The 45 came housed in a way cool picture sleeve showing a youthful Brad holding his beloved 12 string guitar and sporting a 60s mop top.
Brad also had the distinction of having one of his recordings on Greg Shaw’s seminal compilation LP ’Battle Of The Garages.’
The song he chose to record and offer Greg Shaw for the project was a cover version of ’Tell Me’ originally released as a USA single by The Rolling Stones in June 1964.
It was one of the very first Jagger/Richards sides chosen as an A-Side and is mostly unknown in England where it was never released as a single but hidden away on side 2 of their debut album.
Brad Long’s version is terrific and fully does the song justice. It’s a slightly faster take with a jangle pop approach and sound that reminds me very much of ’It’s Cold Outside’ by The Choir. It’s easily one of the best tracks on ’Battle Of The Garages’.
I asked Brad to fill me in on some of the important facts and details:
Brad: ”First of all, about all my released recordings, I hate to make excuses but I’ve said for over 30 years that they weren’t mastered that well, especially the 45. All three songs were done at DeFord Sound Workshop here in Logansport, Indiana and when they sent in the master tape for the 45 the pressing plant was supposed to have EQ’d and compressed the tape, and mastered it loud - and they failed to do so, claiming the paperwork was improperly done and did not include these directions.
So…we were supposed to get a test pressing too, which also would have helped – instead we got 500 45’s with this lo-fi, tinny sound…grrrr… so after much haggling with the pressing plant, we just put out the records as they were and hoped for the best”.
”Most reviews were good, the only real complaint being the muddy, low sound. And strangely enough, a lot of people liked it, ha! Thought it had more of authentic garage sound to it that way – so there you go!
I’ve always preferred the mix the way it should sound, and if it comes out on Sing Sing Records on vinyl, or hopefully on CD later on, it will be the remastered version the way it’s supposed to sound. It’s not a different mix or anything like that, just a louder, punchier version of what’s already there.
’Tell Me’ had similar problems – it should have been mastered louder too, but being one song out of eight on one side of an LP, you’re going to lose some EQ, especially bass. So I understand that, but it still could have been better.
”My sound is more of a melodic garage sound, like The Flamin’ Groovies, etc., but that’s just regarding what’s been released – I’ve got other songs that lean more towards The Shadows Of Knight and Little Boy Blues sound, another genre that’s just as good.
I use an old Vox Tone Bender pedal and a great little Melody tube amp for that! I’ve also got several other Vox amps, and I still have most of the equipment used on my 45 – a Fender Stratocaster, Rickenbacker 360 guitar, the Vox Marx XII teardrop 12 string, the Vox Jaguar organ, Vox Panther bass, the Vox Royal Guarsdman amp I used in the studio, etc.”
”DeFord Sound Workshop started in 1977 as a small two-track studio in a basement on Market Street here in Logansport.
A couple of years later, they went to four-track, then eight-track, and then he closed the studio in 1986 and I bought the eight-track deck, the console, reverb unit, and some of the master tapes from Randy DeFord. The house the studio was in has since burned down”.
”But back to ’Tell Me’ – it was recorded on four tracks at DeFord Sound Workshop in 1980 with Jeff Hand on drums and tambourine, Mike Walker on backing vocals, and I played bass and guitars. I used a Rickenbacker 360 six string, a Les Paul copy (can’t remember the brand), and a Vox Mark XII teardrop. Then I used a Vox Panther bass. I gave Voxx/Bomp all this information when I submitted the tape, but for some reason it was omitted from the credits on the LP. I never found out why”.
The inspiration for ’Tell Me’ was in a fanzine I’d read with an interview with Greg Shaw where he said The Grass Roots’ version of ’Tell Me’ was one of his favourite songs. I always liked that one too, so I decided to record a version that was 1/3 The Grass Roots, 1/3 The Turtles, and 1/3 The Flamin’ Groovies, and I was pleased with the results!
I sent the tape in fairly quickly and received confirmation that my song had been chosen for Battle Of The Garages, and I was quite pleased with that good news! Later on I got my contract with the label and other paperwork, and about a year later the album came out, and stayed in print for years”.
”It’s done pretty well I think, and I admit I was a little disappointed when the CD finally came out, and I didn’t make the cut. A few months ago I sent Bomp a CD-R of a remastered version with more bass and presence, for them to use on a future reissue; in fact I suggested that they do a 30th Anniversary of Battle Of The Garages next year with all original 16 tracks – that’d be great. I’m not sure they will though, they seem to be somewhat dormant these days.
I sent them a couple of new tracks too that they liked, but they passed on them saying they aren’t going to issue anything new since Greg Shaw’s death”.
