

Munford never became a member of Strawberry Alarm Clock, but it’s his voice you hear when you play that recording. His voice sounded best, and we all agreed on keeping his vocal track on the final version.” Greg Munford (a 16-year-old guitar player also produced by Holmes) was a guest in the studio that day, and gave a go at it. Weitz again said: “When it came time to record the vocal tracks, none of the members of the Alarm Clock sounded right for the lead vocal. Steve Bartek, a non-member at the time, played flute on the song. The others- King, Weitz, guitarist Lee Freeman, bassist Gary Levetro, drummer Randy Seol were relegated to playing the instruments and singing harmonies and backup vocals. While the SAC was in the studio recording the track, a visitor who sang with a band called the Shapes ended up becoming the uncredited lead singer of the soon-to-be hit. There would be one other strange development before the single was released. To this day, they have received 100 percent of the royalties.” Frank Slay ultimately credited that melody line solely to the writing team of John Carter and Tim Gilbert. John Carter was solely responsible for conjuring up the lyrics and the controversial melody line extracted out of the finished musical track.

Our producer Frank Slay decided to send the fully mixed music track (recorded on eight tracks of mono!) to John Carter, a member of the band the Rainy Daze, who Slay also produced at the time. At the time when the music was recorded at Art Laboe’s Original Sounds studio in Hollywood, there was only a temporary title to the song, and lyrics had not yet been written. In an interview Weitz explained: “I wrote the intro (the oriental-sounding riff), the verses and the ending (the major sevenths) while Ed King, at my request for some help on completing the song, co-wrote the bridge (the F # part) and of course the lead guitar parts. Carter and Tim Gilbert, who had come up with the lyrics and part of the melodic idea but were not even members of the band.
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The song was based on an instrumental concept by Thee Sixpence’s keyboardist, Mark Weitz, and guitarist, Ed King, but when it was released, full credit had been given to John S. They began as Thee Sixpence, a Los Angeles-based garage-style band that had already cut four singles for Bill Holmes’ All-American Records: “Long Day’s Care” b/w “Can’t Explain.” “My Flash on You” b/w “Fortune Teller,” “In the Building” b/w “Hey Joe” and “Heart Full of Rain” b/w “First Plane Home.”įor their next All-American single, the band recorded an original titled “The Birdman of Alkatrash,” with “Incense and Peppermints” as the intended B-side. As is so often the case in rock lore, there’s more to the story than you might have known.įor starters, there was the lead singer, who was not even a member of Strawberry Alarm Clock. It was called “Incense and Peppermints,” and the group, in the spirit of the times (Vanilla Fudge, Chocolate Watch Band, Peanut Butter Conspiracy), was Strawberry Alarm Clock. Personalize your playlist easily so that you can listen to your favorite songs from the Strawberry Alarm Clock album without any disturbance.It was one of the biggest hits of 1967 and remains one of the most memorable, an intoxicating psychedelic-lite feel-good tune dripping with kaleidoscopic organ, taut and tough guitar licks, uplifting vocal harmonies, a bit of cowbell and prototypically opaque Summer of Love lyrics urging listeners to “Turn on, tune in, turn your eyes around.”
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