Zero to 180 was browsing Lovin Spoonful‘s 7-inch releases on Discogs and decided to give a listen to an obscure 45 track, “Lonely” – a harmonica instrumental, as it turns out – only to discover upon further examination that this song was released as an A-side for the Brazilian market only!
“Lonely” Lovin’ Spoonful 1967
Zero to 180’s pleased to see Kama Sutra did up the occasion right with a picture sleeve:
Hey, wha’ d’ya know, “Lonely” (or “Solitário”) would also be tapped as a B-side for the Japanese market:
Wow – just discovered the existence of this entry in 45Cat for a US single release for “You’re a Big Boy Now” b/w “Lonely (Amy’s Theme),” with a date of “Jun. 1967” indicated but ultimately “unreleased” – what’s the story?
I also wholeheartedly share Kimsey’s supposition that “[NRBQ clavinet master] Terry [Adams] heard [‘Six O’Clock’] and that’s when he went after his own clav… I have no corroboration on this though. He was and remains a big Lovin’ Spoonful/J. Sebastian fan.”
Sebastian throws a spanner in the works, though, with his choice of words in the blurb for “Six “O’Clock” in his liner notes for Rhino’s Lovin’ Spoonful CD anthology from 1990:
“It was largely built around the instrument of the day, which was the electric harpsichord. For the first time, I was starting to yearn a little bit for the past. It’s a song of recollection about early romantic situations. Very often, in the early years, I’d end up in Washington Square in that early morning after, and ‘Six O’Clock’ is about that.”
Q: Is it possible that Sebastian’s “electric harpsichord” was, in actual fact, a clavinet?
I very much suspect* it is, as the key phrase in the passage above would be “of the day.” Fascinatingly, in the June 24, 1967 edition of Billboard, immediately below an article entitled “Rock Groups Lead Search for New Instrument Sounds” is this brief related news item “Firms Preview New Products“:
“NEW YORK—Two instrument manufacturers here will be introducing some musical equipment and amplification innovations at the Music Show in Chicago next week. Mershon Musical products will exhibit their Hagstrom 8-string bass and four of the largest amplifiers ever made for electric instruments — the Unicord Monster 1, 2, 3 & 4. Mershon will call their display ‘The Trip Room’ and will show 29 new Hagstrom, Unicord and Inivox products. – Mershon is also inviting all attending the convention to a party at the Cheetah in Chicago where the equipment will be displayed in the psychedelic background of the teen-age nightclub. –M. Hohner, Inc., will also have several new items in addition to their harmonica and melodica lines. They will show their Resonation, a piano accordion which incorporates a new concept of tone chamber construction. – In the electronic organ department, Hohner will introduce two new sound portables. The Clavinet, a battery-operated, first-of-its-kind is best described as a cross between a clavichord and an electric guitar. The Symphonic 35 is a lightweight organ giving sustained sound on treble or bass or both.”
Given that the recording of “Six O’Clock” preceded the official launch of Hohner’s “new” keyboard instrument per the Billboard news item above, how likely is it that Sebastian had used a “pre-release” Hohner clavinet vs. an actual “electric harpsichord”?
My web quest would immediately point me to a pair of video clips from the Lawrence Welk Show, of all things – one (identified as ‘Winter 1967’) features an “electronic harpsichord” (designed by Welk’s own conductor), and another clip from ‘1968’ – “Windows of Paris” – introduced by Welk, who identifies Frank Scott as the musician playing the “new” electric harpsichord. George Martin, according to Walter Everett’s The Beatles As Musicians, would play a Baldwin electric harpsichord on Abbey Road‘s “Because” [Trivia: Baldwin, a Cincinnati company, would purchase guitar companies Burns (1965) and Gretsch (1967)].
Baldwin electric harpsichord, as shown in the “Because” link above
Ultimately, the big question for history: Did Hohner allow access to the “new” Clavinet prior to its official commercial launch per the June 24, 1967 Billboard news item above? Moreover, whose ears are able to detect the sometimes subtle differences between the Hohner Clavinet and an electric harpsichord? For the record, I have queried John Sebastian, who I hope can put an end to all this speculation. Or do I?
“Six O’Clock” would spend a total of 8 weeks on the charts, peaking at #18 during the week of June 10, 1967.