Round 2 of the Battle of the Garage Bands Bracket: The Chocolate Watchband v The Ugly Ducklings

Round 8 is in the books. The representatives from Texas, The 13th Floor Elevators, bested the kings of the Pacific Northwest, The Sonics. It was hard for all of us to send a band like The Sonics packing, but that is the nature of the competition, isn't it?

Today one more band will be voted off the turntable while another gets a patch on their shoulder and matriculates to the finals, which we call the Thrilling Three. So without further hesitation...

On turntable 1 we have the Northern California champions, The Chocolate Watchband. They put forth with their final single, released in October of 1967 on Tower Records, Are You Gonna Be There (At The Love In) with a flip-side of No Way Out. The single has already bested the likes of The Mourning Reign, The Brogues and The Shadows of Knight just to have the opportunity to spin at 45rpm on this fine morning.

On Turntable 2 we have the champions of Canada. The entire hopes and dreams of the great white north now rest on the dusty grooves of The Ugly Ducklings and their third release, from 1966, on Yorktown Records: Just In Case You Wonder with a flip-side of That's Just A Thought I Had In My Mind. This Canuck of a single has bested the likes of The Painted Ship, The Haunted and America's The Enfields as it now starts spinning with the 7-inch white hot fury that can only come from a homely water fowl.

Here is a link to the original Chocolate Watchband post. 

Here is a link to the original post on The Ugly Ducklings

Until tomorrow, we'll see you On The Flip-Side!

Battle of the Garage Bands: The Litter v The Misunderstood

Well, well, well. We have the first showdown in the books and it surprised me. Big time. This is why we have all these celebrity judges helping out. I flat out expected The Squires to make it deep into the brackets. Not even close. The Blues Magoos took their New York power and ran rough-shod over their New England Brethren.

So now we spin the winner of the Midwest region, Minnsesota's The Litter, against Southern California's hotly contested winner, The Misunderstood. The seven judges, who Donald Trump has described "as the most classy, opulent judges in the world", will now settle the score with these two bands and their powerful releases from 1967. Don't forget, both sides count in the consideration of the greatness of the record.

Original post on The Litter can be found here.

Original post on The Misunderstood can be found here

To put this into better context, here is a look at some of the competition that these cats bested as they claimed their regional victory.

Until next time, we'll see you On The Flip-Side!

Canada Spotlight: The Plague - Love and Obey/High Flyin' Bird

Back for our 5th and last installment of Canada Garage Spotlight.

The Plague hailed from Thunder Bay in Ontario, Canada. The band put out just this one single (I believe). It was released in 1967 on REO Records. Love And Obey has a bunch of cool stutter stops and a real nice jangly guitar that rises into a great lead which helps lift the song to real nice new heights. Props to the bassist for some subtle and great bass work.

The flip is a cover of High Flyin' Bird. I don't have that so here is a vid of it.

Until next time, we'll see you On The Flip-Side!

Pacific Northwest Spotlight: The Bards - Light of Love/Never Too Much Love

Final day of our Pacific Northwest Battle of the Garage Band singles takes us to the small town of Moses Lake, Washington. There we find four cats calling themselves The Bards. This band espouses love on every side.

The Bards were Mike Blazotti, Bob Galloway, Mardig Sheridan and Chuck Warren. The band's discography is a bit of a mess with a-sides and flip-sides being issued in numerous forms. Regardless, we feature today their third single. Released in September of 1967 for Picadilly Records. As you know we like to do here, we start by flipping sides.

Light Of Love was written by the keyboardist and the guitarist and showcases the band's mousy vocal talent. Great bass work by Chuck Warren abounds. We really love the last :25 of the record as the band does a nice little vocal coda to finish the song off.

We have more love on the other side of the record. The A-side is a cover of the Curtis Mayfield number, Never Too Much Love. This side is a little scratchy, true. It does demonstrate that this band was not your typical garage band. A little jazzy, a little soul, a whole lot of vocal talent. The band would soon get picked up by Capitol Records for national distribution and would soldier on into the 70s. Dig that photo below. Stonecringe.

Until next time, we'll see you On The Flip-Side!

Northern California Spotlight: The Golliwogs - Porterville/Call It Pretending

Day 9 of our Northern California Battle of the Garage Bands takes us to the hamlet of El Cerrito, California, a small town wedged between on the north side of Berkeley. and Oakland at the eastern terminus of the Bay Bridge.

Here we find a band called The Golliwogs. The Golliwogs started in 1958 in Jr. High as a three-piece instrumental combo calling themselves The Blue Velvets. Stu was on piano, Doug on drums and John on guitar. When the older brother of the teenaged guitarist joined the band in 1960, they became a vocal act with the older brother, Tom, now singing. That band released three singles before 1962. Now in High School, in 1964 the band got picked up by the San Francisco based label, Fantasy Records. The owner of the label changed the name of the band to The Golliwogs and the band produced their first record three months before The Beatles would change the face of music in America.

The Golliwogs quickly adapted to the new landscape and recorded three singles for Fantasy Records between December 1964 and July 1965. Then the label created a subsidiary, Scorpio Records, to focus on local garage bands. The Golliwogs would release four singles on this label between December of 1965 and October of 1967. All originals, all written under pseudonyms. At some point the younger brother, John, started to assert more control of the band as he became the primary composer and took over the singing duties from his older brother.

Today we feature The Golliwogs' final record, released on Scorpio Records in October, 1967, Porterville/Call It Pretending. Both numbers were composed by John and he sings on both the a-side and the flip-side.

Porterville has a deep, dark dirge of a rhythm section offset by a catchy, recurring chiming Rickenbacker guitar. Our singer tells a tale of a son being persecuted for the crimes of his father in the California farming town of Porterville. Oh lord, stuck in Porterville again.

The flip-side, Call It Pretending, is our first real hint of what The Golliwogs would soon become. From the opening drum section from Doug with the accompanying hand claps, to the simple, yet catchy, James Jamerson inspired bass work of Stu (who moved from piano to bass around 1964). John sings his original composition with a real tip of the hat to the work coming out of Detroit. One can easily imagine The Temptations singing this tight, catchy soul number. The backing vocals of Tom, Stu and Doug add to the Motown feel.

Remarkably the single would see two releases, both on Scorpio Records. This first release in October of 1967 under the name The Golliwogs. And then a second release, just four months later in February of 1968 under the band's new name, the curiously named Creedence Clearwater Revival. Both releases were a flop but the band, John Fogerty, Tom Fogerty, Stu Cook and Doug Clifford would soldier on undaunted.

 Until next time, We'll see You On The Flip-Side!

Southern California Spotlight: The Music Machine - The People In Me/Masculine Intuition

The second to last day of our epic Southern California Spotlight on the Battle of the Garage Bands.

No need for us to rehash the greatness of the Music Machine and the brilliance of Sean Bonniwell. We've talked about them at length. They've been written about at length. 

So let's turn to their second single, released in the first month of 1967, on Original Sound Records. The People In Me was to be the follow up to the bands monster garage number, Talk Talk. The record failed to do much. But it's greatness is evident. Everything here is great. Keith Olsen's bass work, Ron Edgar's bumble bee of a buzz guitar work, Bonniwell's elliptical lyrics.

The flip-side is the brilliant Masculine Intuition. What a b-side. It tells the tale of a love going bad and flips the usual coinage on it's head to give the song a cryptic feel. 

The check's on the table

And the pen's in your hand

And if that makes you happy

Then nothing else can

My mind's on the laundry 

Where you sleep away

If I had the gumption

Then I'd leave you today. 

My favorite part of the song is the bridge at 1:18 where Olsen really pushes the bass line to something special.

Until next time, we'll see you On The Flip-Side!

Mid-West Spotlight: The Xtreems - Substitute/Facts of Life

The second to last day of our Mid-West Battle of the Garage Bands takes us to Kirkwood, Missouri. In that St. Louis suburb we find Mike King, Rick Tello, Alan Shelby and Phil Markley. These Show-Me-Staters were so extreme they called themselves The Xtreems. Along with extreme spelling. And extreme use of fuzz. And extreme use of the wah wah pedal. Extreme baby!

We have to spin this one since we are doing a Mid-West spotlight and Leonard Nimoy died this week. The connection being that the extreme Xtreems released this on Star Trek Records sometime between 1967 and 1969. All sorts of contradictory info out there. The band likely recorded this in 1967 in St. Louis. 

The A-Side is a cover of The Who's 1966 release, Substitute. This is all over the place. It starts with a nice a cappella opening before entering into an ear piercing fuzz lead. Back to the cool a cappella thing. The band clearly picked up their version of Substitute from the US pressing as it has the substitute lyrics that the US market insisted on. 

The flip-side is an original composition called Facts Of Life. The number was written by singer Mike King and bassist Gary Wood. Giving the number a writing credit of Wood-King. Ironically that was the High School era nickname of Jack Hayden, one of our Flip-Side contributors! And like Jack Hayden, this song is covered in fuzz and drenched in Wah Wah. 

Until next time, we'll see you On The Flip-Side!

Texas Spotlight: The Lavender Hour - I've Got A Way With Girls/So Sophisticated

Our final day of our Battle of the Garage Bands, Texas addition, takes us to Houston, Texas. Our first stop in the state's biggest city. 

The Lavender Hour put out two records in a very brief span of time. I've Got A Way With Girls/So Sophisticated was their final record and was released on Steffek Records in the Fall of 1967. The band were a bunch of High School kids -- Mike Teague, Tom Peña, Steve Headley, Sid Templeton, and Jerry Cope. These Houston High Schoolers had attitude for days. Steve Headley wrote the chest thumping number, I've Got A Way With Girls and cowrote the A-Side, So Sophisticated with Sid Templeton. 

The band would mutate into The Clique and turn into a bit of a bubblegum group. But here they are before they graduated High School and got all sophisticated. 

Until next time, we'll see you On The Flip-Side!

Texas Spotlight: The Stoics - Hate/Enough Of What I Need

Day five of our Texas Battle of the Garage Bands. The journey takes us down to San Antonio, Texas where we find a stiff-upper-lipped group that go by the name of The Stoics. The band was comprised of guitarists William Ash and Rufus Quillian, singer Al Acosta, drummer Sam Allen and bassist Michel Marechal. Legend has it that the latter three were from a tough part of town and the band sprang out of a bit of a gang affiliation they had. I don't know if that is true or not, but there you go. 

The Stoics released only one single in their brief existence. It's as rare as a Kardashian shunning publicity! Wow! That is rare. The number was recorded in 1966 and released on the one-off label, Brams Records, in January of 1967. 

The A-Side is a not-so-love song called Hate. The number was composed by some cat (or psuedonym for multiple cats) who went by the name of J. Cutrer. Don't know who he  or she is. But Mr. or Mrs. Cutrer had some pent-up aggression going on. The damn perfect song starts off with a sparse guitar and rapid-fire drums. Sam Allen keeps the relentless beat going perfectly for 2:25. Al Acosta nails the vocal delivery for his tale of mixed up confusion in a world where love turns dark.

If I could get my eyes from being paralyzed
I could have seen your love was hatred in disguise
No, please, please. Don't let me go.
No, please see, I need you so. 

I'm particularly fond of the falsetto harmonies on the number at points like "hatred in disguise". Pure teen-genius. The band screws up at the :45 mark. But hey, this is teen angst, live in a studio. We don't need no stinking over-dubs or anything like a "take 2'. Damn the torpedoes. Fire!

The flip-side was composed by guitarist, Rufus Quillian. The melodic Enough Of What I Need starts off with a great descending bass run by Michel Marechal that would make Chris White of The Zombies proud. Acosta keeps his requisite sneer over the soft backing vocals. With Acosta's aggressive vocals, everything takes on a menacing undertone.

I'm not asking if what you do is wrong
Because to me, that's where you belong
Think of all the nights that you kissed my lips
And the pleasure of my fingertips
You got to, Gotta Love me babe
You got to, gotta hold me
And give me enough of what I need.

Hmmm, I like the way this guy thinks.

 Until next time, we'll see you On The Flip-Side!

Great Lakes Spotlight: The Chentelles - Be My Queen/Time

Day 9 of our Great Lakes Spotlight has us digging on a great record on the famed Fenton Records label. Not too much out there about The Chentelles but it would appear they were a bunch of 13-16 year old kids from the Fennville, Michigan area in the West of the state. The band was Dale Atkins, Bruce Smiertka, Dennis Smiertka, Bill Dalton, Jr., Mark Adams and John Willerton. They released this one and only record in 1967. As usual, we'll flip the record over. Why? Because it's our blog and that is what we like to do. On The Flip-Side? get it?

The Flip-Side of the record, Be My Queen, is one of the all-time garage ravers, in this writer's opinion. Depraved vocals, wild organ, drums that sound as if they are being banged on by a group of wild baboons, tambourine leads, a hint of fuzz, and not one, but two restrained guitar solos. And the solos are done by a 13-year old junior high kid! The song was written by the bassist, Mark Adams, and the organ player, Bill Dalton. According to the cool folk at www60sgaragebands.com, Dalton does the lead vocals and Adams, the backup vocals. Adams also does the killer scream that pairs with the organ.

The A-Side, Time, is a slow, moody number that would make Wally Tax and his Outsiders stand up and take droopy-eyed notice. You may not dig it at first, but I urge you to stick with it. It's moodiness is really something to make this a better than average song. Plus, it's almost four minutes long! That doesn't happen much in the garage punk world. Bruce Smiertka and Bill Dalton Jr. share writing credit here.

Credit where credit is due. I've lifted the photo of Bill Dalton Jr. from the aforementioned 60sgarageband.com. More info on the band from that site, here.

Until next time, we'll see you On The Flip-Side!

Great Lakes Spotlight: The Turfits - Losin' One/If It's Love You Want

Day three of our Great Lakes Region of the Battle of the Garage Bands takes us to Ohio for the first time. That is where we find four Buckeye men wearing mini-skirts and frilly blouses. I don't know what more I can say about that.

The Turfits hailed from two small towns West of Cleveland, Fremont and Findlay, Ohio. The band was Whitey Gwinup, Gary Reddick, Kenny Turner and Roger Hilty. The members had been in various other bands and came together into one as The Other Ones. But, ironically, there was already another band called The Other Ones. So this other, Other Ones held a "name the band" contest at one of their shows. From that contest came the winning name of The Turfits. Okay. One has to wonder what the hell the other suggested names may have been for these hep-cats to choose The Turfits above the others? The Roadkill Kittens IV? The Pink Fluffies? The Mama's Boys?

Regardless, the curiously dressed, curiously named band recorded two songs written by Whitey Gwinup. Two songs he brought with him to the band. The A-Side is right out of garage songs 101. Losin' One has a  slow groove with a meandering Farfisa organ weaving it's way through the song. I particularly love the subtle fuzz guitar at 1:05 leading into the organ lead. The song was credited to the whole band per legal requirement. As is so often the case, the label misspelled a name. In this case, Gwinup's. The Flip-Side, If It's Love You Want, is a much more upbeat number. Again. Garage 101. Great back-up vocals, heavy organ, sweet guitar lead.

The record was recorded in Cleveland and released on Capitol Records in October of 1967.

As is the case with all things Ohio, we took a lot of info and pics from the great website, Buckeye Beat. They were given the pics from Whitey Gwinup and Wayne Van Doren.

Until next time, we'll see you On The Flip-Side!

The South Spotlight: Dr. Spec's Optical Illusion - Tryin' To Mess My Mind/She's The One

The final day of our regional Battle of the Garage Bands for the South Region. Today we are in New Orleans, Louisiana where we get the unique-named band, Dr. Spec's Optical Illusion. This very rare record was released on the not infamous Flambeau Records in the Summer of 1967. The band had gone by the name of the Illusions but when it came time to make a record the label owner's wife and business partner changed the name on the pressing to make it sound more psychedelic. The singer, Kris Sherman, his brother, drummer Scott Sherman, guitarist Marshall Clyburn, bassist Bryce "pinky" Hatchett and organ player Rick Stelma had no idea this name change had gone down. And, apparently, their parents weren't too hip on how things went down and didn't trust the manager, James Miglaccio. Being that not all in the band were old enough to sign, some parents refused to sign the contract. That means the record never got a release beyond it's initial pressing from the plant and never made it's way into stores. Very few of these records are thought to exist today. 

Both songs, Tryin' To Mess My Mind and She's The One, were written by the Kris and Scott Sherman as well as Marshall Clyburn. Somehow they spelled Clyburn's name two different ways on either side of the record. 

Both sides are ravers in the first order. The A-side, Tryin' To Mess My Mind, is ultimately a soul number hidden under a Psych-Rock coat. I dig Pinky's bass work on this number. She's The One starts with a nice bass line and warbly guitar that hint at a slightly earlier era in garage rock. The reverb drenched organ and Kris Sherman's raging vocals put the number right back in 1967.

Until next time, we'll see you On The Flip-Side!

The South Spotlight: Clock Work Orange - Your Golden Touch/Do Me Right Now

The Clockwork Orange - Your Golden Touch by On The Flip-Side on Mixcloud

Clock Work Orange - Do Me Right Now by On The Flip-Side on Mixcloud

Clock Work Orange hailed from Paducah, Kentucky and recorded only one single in their brief life. The recording session took place in Birmingham, Alabama and the boys - Terry Frazier on guitar, Barry Yancey on bass, Steve Rudolph on keyboards, Danny Powley on vocals and Bill Ashley on drums -- kicked out two wonderful songs that day. As usual we are flipping over their 1967 release on Creole Records and starting with the Flip-Side.

Your Golden Touch was written by the guitarist for the band and features some beautifully restrained vocals over a nice tremelo based guitar. The bass work from Barry Yancey is superb. Frazier brings out the fuzz pedal in full force for the very brief guitar lead, but luckily it doesn't overwhelm the song.

Do Me Right Now was written by Dough Kershaw, the fiddle player who went on to great fame in the 70s. It's a fast, rhythm guitar based song that fits the mold of the Flip-Side. The organ pokes it's head out for a few seconds for a "lead" before fading back into the background. Kershaw also produced both sides.

Until next time, we'll see you On The Flip-Side!

[ed. note - A music player we were using has apparently gone under taking much of our music files with it. We are experimenting with new music players and lots of bugs and failures are at hand. This music player, Mixcloud, does not appear to support a download function. Rest assured, whatever service we land on, we will have downloads available.]

The South Spotlight: The Nomads - Thoughts Of A Madman/From Zero Down

The Nomads - Thoughts Of A Madman by On The Flip-Side on Mixcloud

The Nomads - From Zero Down by On The Flip-Side on Mixcloud

Day four of our regional Battle of The Bands focusing on The South takes us to Mount Airy, North Carolina. The rural town is perhaps best known for being the home to one Mr. Andy Griffith. The town even claims that Mount Airy was the inspiration for Griffith's fictional town, Mayberry. That may be, but Aunt Bee and Floyd The Barber never rocked like the primal band we feature today. Otis couldn't even keep up with these moving maudlin marauders.

The Nomads recorded three singles in their brief day. We feature today, their last (and best) single. It was released on Tornado Records in April of 1967. Both sides are originals composed by members Bruce Evans and Larry Deatherage.

The A-Side is the wickedly cool Thoughts Of A Madman. It opens with an echo-chambered guitar that is reminiscent of the work on the 13th Floor Elevators' second album, Easter Everywhere. Bruce Evans pushes the microphone into the red ad he sings of suicide, death with peace of mind, insanity and "1000 graves dancing in my head". Not your typical A-Side material for rural North Carolina in 1967!

The Flip-Side is the raunchy raver with a quizzical title of From Zero Down. Gary Beeson shines on the organ as The Nomads sing about the timeless teen classic -- a party...tonight! But again, Evans adds in a bit of woe-is-me at the gospel like bridge.

I'm getting tired of being treated like dirt
I'm sick of being the only one who gets hurt
I'm tired of all those people always laughing at me
From now on baby, this is the way it's going to be

Despite that turn into the dark, rest assured, the boys are going to feel good at their party (tonight). Damn it!

Mike Badgett and Jerry Martin rounded out the rhythm section of the band. Not long after recording this farewell single, the boys scattered to the usual spots -- college and Vietnam.

Until next time, we'll see you On The Flip-Side!

Mid-Atlantic Spotlight: The Mad Hatters - I'll Come Running

Day nine of the Mid-Atlantic Battle of the Bands takes us to Annapolis, Maryland where we spin the second, and last, record from The Mad Hatters.

The Mad Hatters were Dave Vittek, Tom Curley, Alan Fowler and Richard Kumer. The band released their first single, a great original, on Ascot Records. They promptly were dropped and then picked up by Fontana Records. Their second single, released in April of 1967, is this blistering cover of Lulu's I'll Come Running, written by Bert Berns. (You can hear and read about that here). The lads from Maryland's quaint state capitol gave the number quite a rewrite, however. Changing the tune to a blistering fast 4/4 beat with a cool lead guitar riff throughout, a farfisa organ and a whimsical musical punctuation mark.

Until next time, we'll see you On The Flip-Side!

Mid-Atlantic Spotlight: The Tree - No Good Woman

More Mid-Atlantic battle of the garage bands. We go back to New Jersey with The Tree doing No Good Woman from 1967. I don't know too much about this record on the one-off Barvis Records label. So I'll let the record do all the talking for me today. 

Mid-Atlantic Spotlight: The Werp's - Love's A Fire.

We're back after a wonderful weekend with more Battle of the Bands for the The Mid-Atlantic Region.

Today we play a record by a band with the miserable name of The Werp's. Not sure why they have a possessive apostrophe in their name. The band hailed from Somerville, New Jersey and recorded only one record for WGW Records in 1967. That song is the catchy Love's A Fire.  But what we present to you today is not really that record. You see the one released was a much faster number with the guitar mixed way down, the organ mixed way up and some poppy horns scatting all over the song. It's okay, but the horns drive me crazy. So what we give you is an earlier unreleased take of Love's A Fire thanks to the hard work of Tim Warren from the Back From The Grave series. This version is a little slower, has the nice guitar hook at the beginning and gets a good non-Herb Alpert type mix. It also clocks in at a minute longer.

The song was written by J. Serenko and J. Matzko and recorded in New York city. Don't know too much more. Below is a YouTube link to the released version.

Until next time, we'll see you On The Flip-Side!

New York Spotlight: The Left Banke - She May Call You Up Tonight and Barterers and Their Wives

We are back after a couple of days off with more garage rock from the Empire State. Today we take a classical turn with The Left Banke. The Left Banke are one of those bands that lived largely in the studio. The band was Michael Brown on keyboards, Tom Finn on bass, Steve Martin on vocals, George Cameron on guitar and Warren David-Schierhorst on drums. Michael Brown's father was an established symphony violinist and he was instrumental in producing and managing his son's band. So it was, the Left Banke went straight from rehearsals to the studio.

Considering the father who was mentoring the band, it is not surprising that the band's first song was a string laden number with violin at the fore. That number, Walk Away Renee, turned into something of a hit for the music collective in the Summer of 1966. The number was co-written by the band's bard, Michael Brown, who also composed the band's wonderful follow-up hit that same year, the symphonically arranged, Pretty Ballerina. Then the management got cocky. Did they really need the band? The third single, released in the Winter of 1967 only featured Michael Brown who co-wrote both numbers with professional songwriters. Steve Martin's delicate, stuffy-nose styled vocal lead would be replaced with a falsetto vocal by Bert Sommer. Occasional On The Flip-Side visitor and comment-maker, Michael McKean (Best In Show, Spinal Tap, Laverne and Shirley) would serve as the guitarist for both tracks. The "Left Banke" sounded nothing like the previous two singles and deservedly flopped. The other four members of The Left Banke went into revolt filing suit against Smash Records, Michael Brown and his father.

Smash Records got jittery and withdrew that ill-fated single and instead released a single taken from the band's album. That fourth single, released in June of 1967, is what we feature today. She May Call You Up Tonight/Barterers And Their Wives. The A-Side was composed by Michael Brown and singer, Steve Martin (left and second from left in the photo below). It follows the time-tested Left Banke theme of a love triangle (Renee, the ballerina was a real person and was dating another member of the band). But the number doesn't have the strings of the previous hits. It was supposed to have them, but time was tight and the number was finished without them.  The Flip-Side, the quizzical, Barters And Their Wives, is composed by Brown and a professional songwriter. It's a beautiful number that plays up the band's baroque style nicely.

We're lifting a cool photo from the cool folk at Nitro-Retro Blog.

Until next time, we'll see you On The Flip-Side!

Richard and the Young Lions - You Can Make It

Richard and The Young Lions had attitude, dude. The Young Lions hailed from the lovely town of Newark, New Jersey and collectively were Richard Tepp, Bob Freedman, Marc Lees, Norm Cohen, Ricky Rackin, and Jerry Raff. Richard had some seriously long hair and the requisite snarl on his face to make a great front man. It didn't hurt that he could sing, too!

The Young Lions released three singles in their brief career, all on Philips Records. Today's song is, in our humble opinion, the best of their releases. The number is their swan song, You Can Make It, and it was released in March of 1967. This is the A-Side. In a rare public announcement that runs counter to the concept of this site, we warn you...do NOT Flip this record over. Ouch!

You Can Make It was comped on the legendary What A Way To Die record and is one of the standouts on that record. They even graced the cover of the record. That's how we learned of this band.

Until next time, we'll see you On The Flip-Side!