The Marmalade -"Man In A Shop" b/w "Cry (The Shoob Doroorie Song)" 45 rpm Single, 1967 (Epic)

This 1967 recording of "Man In A Shop" by the British band Marmalade is my favorite record of the Trump Virus Year.   I rarely spend $10 for a single, but after hearing it on YouTube, I must have this record at any cost.  Perfection is mind-boggling when something so beautiful is in your presence.  The song is structurally textured with various melodies coming and leaving, but the hook that gets me is the backward electric guitar, trumpet, and chorus. There are two lead vocals and the song is arranged with immense skill and charm.  Parts of it remind me of early David Bowie (pre-Space Oddity) with the then-charm of baroque pop.  A fantastic record that hasn't left my turntable. 

Hear it here:  "Man In A Shop" by The Marmalade

Jeff Beck -"Love is Blue" (L'amour Est Bleu) b/w "I've Been Drinking" 45rpm 7" single, Blue Vinyl, 1968/2015 (Sundazed)

For a few months after leaving The Yardbirds, Jeff Beck was unpredictable. He could go heavy, Psych, blues, but I wouldn't suspect him doing Middle-of-the-Road music.  "Love is Blue" is a MOR standard, and to me, it's a crazy concept between him and the producer Mickie Most. Still, at its best, there is a trace of a Shadows influence, regarding how Beck handles his guitar duty on this French pop song.  The first 20 seconds must have people look at the record label to see it wasn't a mistake.  Once the guitar kicks in, it's Beck, but a weird Jeff.   On a kitsch level, it's masterful. But Beck and kitsch really doesn't really mix well. Especially when the backup chorus kicks in. Did Mickie Most really see Jeff Beck as the guitar hero for the granddad set in the middle of the swinging 1960s?

The B-side (thank god for B-Sides) is "I've Been Drinking" a co-write between Beck and his vocalist at the time, Rod Stewart. I have to imagine that this is the classic Jeff Beck Group lineup with Ron Wood on bass, Mickey Weller on drums, and Nicky Hopkins on piano.  I like the echo effect on Rod's voice and the underhanded backup vocals.  Sturdy, workman-like, but not on a genius level. Still, there is something always cool about Jeff Beck. It's in his DNA. 

Jeff Beck - "Tallyman" b/w "Rock My Plimsoul" 45prm single, yellow vinyl, 1967/2015 (Epic/Sundazed)

Jeff Beck always appealed to me due to his clothes sense, physical looks, and of course, his guitar playing.  There is something no-nonsense concerning his approach to music-making.  I admire that and being a fan of The Yardbirds, I feel a devotion to his time in that band.  Still, in 1968, when I purchased his album "Truth" I was disappointed in its conservative approach to rock.  I loved the craziness and wildness of The Yardbirds singles and their manic quality.  Beck, on his own, was a tad tasteful.   He had a great band, with such talent as Rod Stewart, Ron Wood as the bassist, and Mick Weller as a drummer - plus the presence of the great Nicky Hopkins.  Still, there was something missing in the mix, and I think that was due that Beck is not a songwriter.  Also, he's not a great arranger like Jimmy Page, who by the way, I don't think he's a songwriter as well.  But he knows a great tune if you get my drift. 

"Tally Man" is an interesting record/song by Beck. Written by the great Graham Gouldman, who wrote hits for The Yardbirds as well as Herman's Hermits, and produced by Mickie Most.  I believe it's Beck on lead vocals, and it's a wonderful pop song done in that Beck manner to make it heavy.  A one-off single before the album, or before he got the band together.  

The Lemon Pipers - "Green Tambourine" b/w "No Help From Me" 45 rpm single, 1967 (Pye International)

Is it even possible to loathe "Green Tambourine?" Which by the way, is a superb song/recording released in the latter half of 1967.  Sometimes considered to be 'bubble-gum rock' record, but to me, it's 2 minutes and 23 seconds of magic.  The group is The Lemon Pipers from Ohio, and the songwriters of the song are hardcore Brill Building culture.  Paul Leka wrote the song with Shelley Pinz but based on Pinz observing a musician playing and asking for money in front of the Brill Building.  It seems his main instrumentation was a tambourine.  With the help of Leka, he came up with the song, and it's a record that is very much tattooed on my soul.  I'm also fond of Leka's "Na Na Hey Hey Kiss Him Goodbye recorded by a fake band called Steam, but that's another tale. 

The beauty of 'Green Tambourine is the psychedelic touches that are totally commercial, due to the echo delay of some of the lyrics, as well as the use of the electric sitar.  The narrative of sorts is a musician who wants to play his 'green tambourine' which has a Piped Piper, almost gypsy touch to its melody.  It's sad, but the production and arrangement (by Leka) convey pathos as a concept.  A projection of inner-misery, which naturally is organic in the process of pop music.  I also recommend The Associates version as well, if one can find it.  

Roxy Music - "All I Want is You" b/w "Your Application's Failed" 45 rpm Single, UK, 1974 (Island)

"All I Want is You" is the A-side, but of course what I'm interested in is the B-side of this single, the instrumental song "Your Application's Failed."   The beauty of the 45 rpm single are the b-sides that are not on an album.  Mostly they are a mere after-thought if anything else.  For whatever reason, Roxy Music usually put out interesting 'throw-a-way' songs on the b-sides, and "Your Application's Failed" is a small classic Roxy Music piece. 

It's a song by Roxy drummer Paul Thompson, and a great vehicle in exposing the band's talent and most important, a sense of play is on hand.  Most of the songs that end up on a Roxy Music album, or on their A-side singles, it's a very tight structure and there is a sense of seriousness on it all.  They're making commercial art.  Yet, the b-side songs are sometimes experiments or to see what happens, even if they allow their drummer to compose the song.  "Your Application's Failed" is fun.  The fact that Roxy Music or Bryan Ferry can show a lighter side of their record making is wonderful. One wishes that there were more pieces like "Your Application's Failed."  The classic Roxy is always great, but it's the B-sides that add the flavor or spice to Roxy Music. 

Canned Heat - "On The Road Again" b/w "Time Was" 7" 45 rpm Single, 1968 (United Artists Records)

I spent my late childhood and teenage years in Topanga Canyon, and one of the bands that were attracted to that area of the world was Canned Heat.  On one level, a blues band that had a student like obsession with the blues and its culture.  Then again, a song like "On The Road Again," mainly written by founding member Alan (Al) Wilson, who wasn't usually their lead singer, and based on a blues song by Floyd Jones.  It's a stunning and extraordinary record.

For one, it's a very intimate and almost a quiet recording.  Wilson's vocals are closed mike and its eerie in its sound of loneliness and despair.  A happy-go-lucky its ain't.  The other unique aspect of the song is that there is something like a drone string instrument that runs through the entire song.  Researching the record, I found its a tambura, which is an instrument from Central Asia.  It seems that the original version by Floyd Jones also had a drone sounding instrument on his release as well.

Minimal arrangement plus the drone is an interesting relationship within the song, and also its depressive tone makes "On The Road Again" a very unique record of its time and place.  Alan Wilson died a few years later in Topanga Canyon, where they found his body in a sleeping bag by a tree outside his home.

Joe Cocker - "Marjorine" b/w "New Age of the Lily" 45 rpm Single, 1968 (A&M)

Joe Cocker, the Britsh rhythm n' blues singer, who is an iconic figure in the rock n' roll world of the late 1960s and early 1970s also made a classic pop record as well.   "Marjorine" was my favorite cut on Cocker's first album "With a Little Help From My Friends."  I bought the album because the cover photo of Cocker was cool, and as a teenager into the product, I also liked the fact that famous musicians played on this album.  The range of talent is amazing, and I remember listening to the album, to notice the difference between Jimmy Page and Albert Lee on "Marjorine."  Throughout the album, you had musicians such as Tony Visconti, Carol Kaye (grand studio bassist), B.J. Wilson & Matthew Fisher of Procol Harum,  Steve Winwood,  and my favorite rock n' roll drummer Clem Cattini.  How can this album fail?

"With A Little Help From My Friends" is one of the first 'superstar' players on one album, that marketed itself in a fashion, where one is aware of the backing musicians behind Cocker. Also, this first album has many great versions of incredible songs, and the choices that were made were wise and totally practical in Cocker's manner and voice.   Still, the one song that impressed me the most was "Marjorine" which is a song co-written by Cocker.  It stands out compared to the rest of the album, because for one it is an original song, in an album of mostly covers, and those songs I was already familiar with, especially "Bye Bye Blackbird" (classic American songbook material), and "Feeling Alright" by Dave Mason when he was in Traffic.  Still, "Marjorine" had its own power, in that it's a beautiful melody, but performed with vigor by Cocker's voice, and the duo guitars of Page and Lee. Beautifully produced by  Denny Cordell. It's shocking to me that this song was not a radio hit of the time of its released.  I'm thrilled that I found this 45 rpm single in Rockaway Records here in Silver Lake. 

Fleetwood Mac - "The Green Manalishi with The Two Prong Crown" b/w "World in Harmony" 7" 45rpm Single, 1970 (Reprise Records)

In many ways, this is a perfect single.   As far as I know, these two songs are not on any official Fleetwood Mac albums, and to discover this disc is finding perfection as practiced.  The beauty of Fleetwood Mac during the height of the Peter Green years is the interaction of three guitars that one can listen to separately, but more likely admire the way they build a wall of sound.   The interplay of the guitars is one of the many joys, and it all comes together on this single. 

"The Green Manalishi" is classic Green/Kirwan/Spencer on guitars and the great rhythm section of Mick Fleetwood and John McVie.  The beauty of their arrangements and how they work out their guitar parts, with individual players is remarkable.  The awesome aspect is that each guitarist has its own sound and identity, and in that sense, they remind me a bit of the band Television, with respect to the dialogue between Tom Verlaine and Richard Lloyd.   Why "The Green Manalishi" never made it on their "Then Play On" album is a mystery to me.  

The b-side, "World in Harmony" is an instrumental that is highly melodic, and again its the beauty of the guitars working toward each other, yet remarkably distinctive styles at work.  Exceptional record. 

Chris Andrews - "Yesterday Man" b/w "Too Bad You Don't Want Me" 45 rpm 7" Single, 1965 (Atco)

Chris Andrews is a bit of a mystery to me.  I first came upon his name when I look at the credits for Sandie Shaw songs during the early 1960s.  He wrote all her major hits, and I'm a fan of her work.  The second time I became aware of this songwriter's talent was when I heard Robert Wyatt's 1973 version of "Yesterday Man," which is one of my favorite Wyatt recordings.   Chris Andrews wrote that song as well, and I think it's the best I have heard of his songwriting.  

Wyatt's version is slow, mournful, with a touch of regret and of course, romantic angst.  Chris Andrews recorded his own version of the song in 1965 and of course, it's upbeat with a strong Ska rhythm going through it, but the chorus has that Sandie Shaw sound.  It's particular talent of Andrews to add a clatter of vocals that are busy and frantic at the same time.  I like his approach to his song.  If I have to choose between the two, it would be the Wyatt version, just because he can milk the pathos deeply and profoundly.  Yet there is something sinister in the happy-go-lucky Andrews conveying the fact that he is genuinely a Yesterday Man in some woman's life.  In other words, a great tune. 

Traffic - "Here We Go Round The Mulberry Bush" b/w "Coloured Rain" 45 rpm vinyl single, 1967 (Island)

For me, Traffic was the most magnificent band, but only for the first nine or 12 months of their existence in 1967.  After that, I lost interest in them.  Never an offensive group, actually far from that category, but early Traffic was an essential listening experience.  Traffic always had a 'world' touch to their music, with traces of jazz, and folk leanings.  Still, in the early recordings, there was a sense of exploration in sound and songwriting structures.  The focus was on Steve Winwood, but it was the textural contributions from Chris Wood, their horn player, as well as Jim Capaldi (drummer).  Dave Mason was their guitarist, and he added songwriting skills, but there is something that kept him in line with the other three.  Original member, he left, then re-joined them for their second album.  A significant figure in the band, but his presence seemed to be the nail that stuck out too much, with respect to the band. 

"Here We Go Round The Mulberry Bush" is the theme song to the movie with the same title.  It has all the best elements of Traffic.  Soulful, melodic, superb musicianship, and superb songwriting.  I have a hunch that this song was not well-loved by Traffic at the time.  Still, an amazing recording, beautifully produced by Jimmy Miller, that had touches of exotic sounds that were dreamy, but very solid on the earth.  The b-side, "Colored Rain" is a classic Traffic cut.  A beautiful little window is looking out onto the landscape of late 1967. 

Elvis Presley with The Jordanaires - "It's Now or Never" b/w "A Mess of Blues" 45 rpm Single, 1960 (RCA)

"It's Now or Never" is one of my favorite records.  It's not just the song, but the arrangement and the tension between Elvis and rest of the instrumentation and voices by The Jordanaires.  Operatic, and I believe the song is based on an Italian pop song, it's interesting to hear a European melody attached to a solid American aesthetic such as Elvis.  The songwriters Aaron Schroeder and Wally Gold also wrote Elvis' "Good Luck Charm."   To me, this is a sound that is separate from his work in the 1950s. It has a dramatic flair, that is cinematic, and the cha-cha rhythm slowed down and then speeded up is a remarkable work of tension.  "A Mess of Blues" the b-side is written by Doc Pomus and the always fascinating Mort Schuman, who later had recordings in France, and became associated with the songs of Jacques Brel.  It's a strange world, and Elvis has always struck me as a man from another world - like his fellow label mate, David Bowie.  

David Bowie - "Lady Stardust demo" b/w "Crystal Japan" Vinyl, 7", 45 RPM, Single, Picture Disc , Japan, Limited Edition (Parlophone)

I bought this rarity at the right moment and time.  It was at the V&A "David Bowie Is" exhibition that took place in Tokyo in 2017.  I was like a child going to Disneyland for the first time. I was extremely excited to go to this exhibition to see or feel David Bowie, which was tragically taken away from us in this natural world.   The exhibition overall was fantastic, but the curating I felt could have been stronger.  The placement of the outfits I thought was wrong, and I hate the multi-media aspect of such an exhibition.  As I walked through the show, I kept a mental list of where I should place that item or costume in the exhibition.  But again, that was also part of the fun of such a show.  The gift shop, on the other hand, was a total joy, even though not everything was equal in its worthiness.  Still, I did purchase a picture disc 45 rpm single of a demo of "Lady Stardust" and an obscure instrumental that Bowie did during the "Low"/"Heroes" era, for a Japanese water or was it a sake commercial?  Nevertheless, a remarkable piece of music.  It could easily fit on side-two of the "Heroes" album.  Electronic in nature, but it had a slight Asian or Japanese approach to the melody as well.  

"Lady Stardust" is neither better or worse than the recorded version of the song on the Ziggy album.  It's just another layer of paint or texture one wants to bath themselves in the greatness of that song as well as sharing a few moments of worship on one's time. 

The Byrds - "Turn! Turn! Turn!" b/w "Eight Miles High" 45 rpm Single, Vinyl, Reissue (Columbia)

Without a doubt, the Los Angeles band The Byrds are probably the most respected band in my small world of record fiends.  We had the first Byrds album when it first came out, and I have to presume that my dad bought it.  He didn't play it that much, but I listened to it a lot.   One couldn't avoid the presence of The Byrds in Los Angeles during 1965 and 1966.  For one, the connection they had with Bob Dylan was a serious relationship between those who followed Dylan's career at the time, and also radio stations like KRLA and KHJ played Byrds music a lot.   To this day I have told people I admired The Byrds, and one has to because of their ability to do certain types of musical styles throughout the years.  From folk to psychedelic to country, they seemed to adopt musical landscapes like one changing their kaftan in the morning to work clothes for the ranch by the afternoon.   It's strange for me to write this, but they are probably my most unfavorite Los Angeles band. 

I have admired their recordings, and I have purchased their albums to the point (in its original releases) up to "Younger Than Yesterday."  The truth is I never really cared for these albums.  Perfectly crafted pop songs and some are even beyond that, for instance, the great "Eight Miles High."  A brilliant melody, with incredible guitar work from McGuinn, it's a beautiful piece of music.  I have always taken the song at heart that it is about flying above the ground, and not drugs.  If it was about drugs, I feel that imagery would have cheapened the song.  I prefer the thought of someone reflecting on a flight, or about landing on the ground.  "Turn! Turn! Turn!" an older song by The Byrds, and adopted by Pete Seeger from the Book of Ecclesiastes, is lush and the perfect vocalization is a sound to admire.  My aesthetic is to crush that sort of beauty, and I preferred the sound of the rave-up of The Yardbirds.  To me, that was sound that I could identify with, due to my young angst at the time.  

For decades I have always had a problem with David Crosby.  I don't know him, but he still struck me as an annoying presence in the pop music world.  I never liked his clothing style or hair, nor do I like his voice that much.  The only thing I do like about him (artistically) is that he once made music with Les Baxter, during his exotica days.   Nor do I care for his solo recordings, or the songs he wrote for CSN&Y.   The songs he wrote for The Byrds were horrible.  Saying that I know there are at least three or four generations of music lovers who disagree with me.  I respect that and them as fans and music lovers.  Still, "Eight Miles High" is a work of perfection.  And for that reason alone, I hesitantly admire The Byrds for that single recording. 

The Ronettes - "Be My Baby" b/w "Tedesco and Pitman" 45 rpm 7" single, 1963 (Philles)

It's sad that I bought this piece of vinyl masterpiece for $2.99 at my local second-hand record shop here in Los Angeles.  The feeling I get is exactly like when one finds a photo album in one's closet, and haven't seen it for years.    The drum pattern that starts off the song is probably one of the most identifying physical marks of any introduction for a recording.  The work is only 2:20 long, yet, it's after-effect lasts a lifetime.   

The beauty of a Phil Spector recording is not its perfection, but the violence and tragedy behind such recordings.  For those who try to place The Ronettes recordings as an oldie but goodie are missing the big landscape.  Spector represents not the teenager, but the idealized idea of a teenager, and the emotional pains that life gives them.  The truth is, even as an older fellow, Spector never really grew out of his childhood fears and passions.   Everything he did in the recording studio left a physical tattoo on the musicians, the aural sound, and how the audience (the listeners) respond to his productions.  "Be My Baby" is both a brilliant performance by Ronnie Spector, who captures that vulnerability in her vocals, but also brings up the drama between the instrumentation or arrangements (by Jack 'Specs' Nitzsche) and the strong presence of Phil Spector himself. 

For whatever reason, "Be My Baby" is not a happy-go-lucky love song.  It's almost a prayer during an emotional turmoil.   The melody is haunting, and seductive at the same moment.  Whenever I hear it as a soundtrack ("Mean Streets") or on a jukebox in some diner or bar, I immediately stop whatever I'm doing and I have to focus on the record.   It's a brilliant piece of work.   No doubt a masterpiece.  Many fingers are in the Phil Spector world, and in a sense, his name is like a company or a label like Motown or Factory Records.  He's not only a brand, but he's also a presence that is equally disturbing and profound.  

ABBA - "The Day Before You Came" b/w "The Day Before You Came" 7" vinyl single, Promo, 45 rpm, 1982 (Atlantic)

A song that haunts me from the very first time I've heard it.  I have always been attracted to the thought that Mr. Right or Ms. Right is just right around the corner, and by chance, they shall meet. It has a Nöel Coward approach of throwing the dice and seeing how life will come upon oneself.  The beauty of it is the passiveness of the singer, noting her day, which is very average, and something experienced every day.  Until the moment happens, and all of sudden the world changes.  Benny Andersson and Bjorn Ulvaeus go into the pathos and the dreaded counting of one's existence in a day that's normal but full of dread.  An ABBA masterpiece.  

Brian Wilson - "Caroline, No" b/w "Summer Means New Love" 7", Vinyl, 45 rpm, Single, 1966 (Capital)

A great song period.  The mystery here for me is why is this specific 45 rpm single of "Caroline, No"   under Brian Wilson's name and not The Beach Boys?    For one, none of the other Beach Boys are on "Caroline, No" and I wonder if Brian was thinking of life outside the Beach Boys?   One thing consistent with Brian Wilson is that he often composed music, even with a happy motif, often sounded sad.  "Pet Sounds" is a very dark album which hints of a troubled life.  The great irony of something like his masterpiece "Smile," which according to stories was a miserable time for him and the band, is very happy as an album.  On the other hand, even though the early songs were about cars/surfing, the melodies strike me as sad, which to my mind, makes the Beach Boys the greatest white blues band ever.  Mike Love likes to present 'his' band as happy-go-lucky lads in search of surf, sun, girls,  and hot wheels, but in fact, there is a desperation behind these recordings.  Beach Boys are one of the few bands that I can't listen to a lot because it really depresses me.

"Caroline, No" is one of those songs that I put on, just to reflect on life, or a meditation of sorts on what went wrong in one's life.   Even the b-side "Summer Means New Love" is not a happy melody. It's looking back at that summer that 'had' promise, but the romance didn't really happen.   I wished Brian Wilson at this time, ditched The Beach Boys and made more music under his name.   His main instrumentation at this time was really the recording studio.  The vocals of the lads are remarkable, but still, it is Brian Wilson all the way.  

Ronnie Spector - "Try Some, Buy Some / "Tandoori Chicken" Vinyl, 7" 45 rpm, 1971 (Apple)

Ronnie Spector's "Try Some, Buy Some" is the last great Phil Spector recording.  Or I should say the last bit of greatness on vinyl with Spector's participation.  He co-produced the 45 rpm single with George Harrison, who also wrote the song.  Must credit the arrangement of the song to John Barham, who with Harrison had/has a deep interest in Indian music.  Spector is normally a collaborative artist, but one wonders how he really felt giving co-credit to another producer, even though that person wrote the song.  The same goes for John Lennon/Yoko.   Nevertheless "Try Some, Buy Some" is not only a great Spector sounding disc but one of Harrison's best songs.   His version on "Living in the Material World" is totally fabulous as well.   David Bowie's version is great too.  

It's very much the sound of Harrison at the time.  Either he was swept up by the idea of a classic Spector wall of sound - especially in his first proper solo (song orientated) album "All Things Must Pass."  An album that I have a hard time relistening due that the production makes the material sound lifeless and stiff.  On the other hand, the Spector touch is fantastic on "Try Some, Buy Some."  Harrison was very much in tune with the orchestration of his voice fighting out with the amazing amount of strings, horns, and whatever there was in the studio at the time.  A beautiful melody, but Ronnie Spector's take, is the best, just due to the strength of her fantastic voice.  One can also imagine the horrible existence of Ronnie at the time of this recording, with respect to her marriage to Spector.  

Not the easiest record to find, but this is a fantastic single.  The B-side is "Tandoori Chicken, written by Harrison and Spector, and it's a great throwaway song that's perfect for the b-side of things. 

Thelonious Monk Trio - "Bemsha Swing" Vinyl, 7", EP, 45 RPM, France, 1960 (Barclay)

I found this slightly battered copy of this French 7" EP at Rockaway Records this evening.   These are four songs that were selected from his 1952 recording with the great drummer Max Roach and bassist Gary Mapp.   This is 7" of magic.  Offhand, I'm having dirty sexual thoughts tying this, but alas, I'm talking about the aural pleasure that comes with the name Thelonious Monk.  

There are four songs on this EP, and they are "Bemsha Swing," Reflections" and then go to side two, for "Trinkle Tinkle" and classic beautiful "These Foolish Things" written by Strackey and Link.  Monk wrote the other three and they are brilliant.   There are three great pianists that I'm aware of, one is Glenn Gould, the other is Ron Mael from Sparks, and then there is Monk.   This is an artist who sees music as a piece of sculpture, and what he does is gently trace the melody as if it was on thin rice paper.   I never heard another pianist who had this approach to melody and treating it like a beautiful lover.   

I'm imaging that this EP was once owned by someone like Juliette Gréco, who played it while drinking wine in a juice glass and looking outside her window and watching the leaves fall from trees.  I imagine a lot of things, but I always have a soundtrack to my fantasies.  Here's one of many. 

Tosh Talks - Joe Meek part1 The Honeycombs

My talk on the great British record producer Joe Meek.  Part 1

Barry Ryan - "Eloise" b/w "Love I Almost Found You" Vinyl, 7" Single, 1968 (MGM)

At the length of 5 minutes and 26 seconds, this is not your average 45 rpm single, but more of a statement of purpose.  There is the wall of sound, but the arrangement and direction by Johnny Arthey are similar to containing a typhoon in a recording studio.  "Eloise" is a song/recording that will not be forgotten once heard.  On one level it's about a loss of a girl named "Eloise," but the song is more about naked emotional feelings, and this is the landscape where excellent pop music is made.  

In 1967 there was a partnership made from the very beginning.  England's Paul and Barry Ryan were identical twin brothers, and both had the strong vocal talent of such artists like Tom Jones.  Paul became the songwriter of the duo, and eventually, he got burned out being on stage, touring, and made a new arrangement that he will be the songwriter, and Barry will be the solo singer.   Out of this partnership came "Eloise."  

Without a doubt one of the great 45 rpm single release from the 1960s.  This is a record that was going to be tremendous or fails miserably.   I recommend playing this at full volume and surrender to its big sound that is one huge sonic aural organism.   The b-side "Love, I Almost Found You" is almost as wonderful as the A-side.