Session guitarist Mickey (“Love Is Strange“) Baker — whose work would grace dozens of releases by King Records and its subsidiaries — would end up being allotted exactly one solo album by the label as an artist in his own right: 1963’s But Wild.
Recorded in Paris in June of 1962, this album would feature Baker’s guitar (as Michel Ruppli’s King Label discography would seem to indicate) overdubbed onto instrumental tracks – licensed from the Versailles label – of French studio musicians.
The Soulful Strings evoke the magic of falling snow — thanks to Dorothy Ashby‘s harp — on their classic instrumental track, “Snowfall“:
“Snowfall” Soulful Strings 1968
Discogs helps us appreciate how The Soulful Strings were able to create an identifiable sound despite only playing other people’s material:
“The Soulful Strings was a project of the Chicago soul arranger Richard Evans, working with several musicians from the Cadet Records house band between 1966 and 1971 including Charles Stepney, Bobby Christian, Billy Wooten, Phil Upchurch, Lennie Druss, and Cleveland Eaton.
Employing a repertoire composed almost entirely of covers, Evans and company created a unique sound, combining a sharp, soulful rhythm section with a lush string backing. Evans pushed the strings to the front, assuming an attitude previously reserved only for the hulking funk of bass and rhythm guitar. It was this crucial element that made The Soulful Strings sound, so successful.”
“Snowfall” can be found on The Magic of Christmas, released in 1968 on Chess jazz subsidiary label, Cadet.
Cadet would issue 7 albums by The Soulful Strings between the years 1966-1970.
For those keeping count, today’s piece is (gulp) the 666th posted since Zero to 180 began December 12, 2012. What better way to face down this (meaningless) milestone by paying tribute to a classic television series – and also a musical ensemble – that bravely broke the bounds of conformist thought, intrepid travelers who dared to confront “the fifth dimension.” No, the band in question is not The 5th Dimension (although, good guess) but in actual fact The Grateful Dead, who (not everyone seems to be aware) recorded the theme music to the revitalized TV series in 1985:
Opening & Closing Theme – “Twilight Zone” The Grateful Dead 1985
As Blair Jackson would note in Garcia: An American Life — “The band and [Merl] Saunders worked out a new main theme, which was a short dissonant burst of ‘space‘ ending in a variation of the original Twilight Zone theme by Marius Constant.”
Dennis McNally would document some of the historical particulars of the Twilight Zone experience in 2002’s A Long Strange Trip:
“Few shows could possibly have been more appealing to the Dead and Garcia, who remarked, ‘Man, I live in the Twilight Zone.’ They leaped at the chance to record their own version of the signature three-note motif that identified the show. They didn’t stop there. [Producer Rick] DeGuere and his music director, Merl Saunders, came to a board meeting to discuss the band’s doing all of the music for the show, the ‘stings’ and ‘bumpers’ that set the atmospheric soundscape. Garcia left the meeting early, announcing that he voted yes. Lesh was ‘adamantly opposed,’ recalled DeGuere, and the decision was made to proceed without him.
They set to work, and while their music was appropriate and effective, the deal’s business aspects were badly handled, dooming the project to continuous friction among all parties involved. [Grateful Dead legal counsel] Hal Kant had delegated the negotiation of the arrangement with CBS to an associate, who didn’t know the Dead very well and produced a fairly standard contract. The head of the music department at CBS [Robert Drasnin, presumably] didn’t like the deal, since he now had no control, which put Merl in the middle of both an unhappy CBS and the Dead. Very quickly, Mickey Hart took the lead for the Dead in the studio, and proved to have a gift for sound design. Just as they began, he went into the hospital for back surgery, and ordered that all the necessary equipment be set up in his room. At first [road manager] Ram Rod vetoed this seeming insanity, but Mickey pleaded, ‘When I wake up, I want to go to work.’ The Demerol he’d gotten for his surgery proved to be aesthetically stimulating, and he produced music for the first four episodes from bed.”
The loss of Phil Lesh, the band member most closely linked to the musical avant-garde, is a notable one.
Composer, Robert Drasnin, as Variety noted in its obituary posted on May 15, 2105, would have a central role to play:
“While head of CBS’ music department in the 1980s, he worked with the Grateful Dead on music for the revived Twilight Zone series, along with scoring several episodes himself.”
“I’m still grateful that a steady salary for the two seasons The Zone ran
helped make the house payments and put food on the table for our family
of five back when the GD was staggering financially and I was set
running around the country doing low paying solo gigs to support us.
‘Touch of Grey’ was soon to solve that problem.”
Is it merely a coincidence that, just last month, a 1985 Twilight Zone contract between CBS Entertainment and The Grateful Dead — signed by all members of the band — would sell on Ebay for $29,470.70?It is curious the extent to which The Twilight Zone ‘reboot’ is under-remembered, given the caliber of talent that went into not only the music but the writing and acting, as well — as pointed out in arts blog Delusions of Grandeur:
“Writers such as Harlan Ellison, George R. R. Martin, Rockne S. O’Bannon, Jeremy Bertrand Finch, and Paul Chitlik wrote screenplays for the show. It was directed by many different talents including Wes Craven and William Friedkin. Many different mainstream stars made their appearance in the series including Bruce Willis, Helen Mirren, Season Hubley, Morgan Freeman, Martin Landau, Jonathan Frakes, and Fred Savage. The theme music was composed by Jerry Garcia and performed by The Grateful Dead.”
Hooterollin Around music blog (an “appendix to Lost Live Dead“) writes a fascinating piece that draws many musical connections between Jerry Garcia and stalwart session guitarist, Howard Roberts, a musician who is best remembered for having played the original haunting Twilight Zone guitar riff.
Zero to 180 cannot close this piece without reminding everyone of that uncanny musical ‘Twilight Zone’ moment: last July’s discovery of Germany’s The Dead-Heads, who released their debut single in 1966 — just one year after the The Grateful Dead’s official formation!
Zero to 180’s Gallery of Grateful Dead 45 Picture Sleeves
Given the band’s famous disregard towards commerce, I thought it would be great ironic fun to pull together all of The Grateful Dead’s 7-inch picture sleeves from around the world. Interesting to see domestic marketing efforts lag behind Warner Brothers’ international arm overseas, as the Dead would not see comparable investments on single releases, curiously enough, until the band’s tenure with Clive Davis’s Arista label, especially after the unexpected success with “Touch of Grey”:
Rear sleeve of German 45 “One More Saturday Night”: Mini fold-up coffin!45 above references “neu” Jerry garcia solo 45 “Sugaree” / “Deal” (below)
honorable mention: Colombian EP from 1967
This audio playback format was once considered state of the art
Remember last month when I was hot on the trail of identifying the first recording of a clavinet, thanks to a tip from Jim Kimsey: “Six O’Clock” by John Sebastian & The Lovin’ Spoonful? Was John Sebastian‘s “electric harpsichord” (as he referred to the instrument), in fact, a clavinet? Sebastian himself was gracious enough to respond to this historian-in-training:
“It was a Hohner Clavinet. My father [John B. Sebastian] was a concert chromatic harmonica player, so I was way inside when it came to Hohner (I played with Matt Hohner’s kids.) I may have had one of the first, due also to the band’s success.”
I cannot help but imagine the incredible array of harmonicas between the two households. Fun to note how musical advertising from around this time was so refreshingly fun and uncomplicated.
Throwing a musical bone to Paul Guinnessy here
Guess who else was in on the ground floor with the clavinet? If you guessed Paul Beaver, because his name is in the title of this piece, you would be correct! Zero to 180 is eternally thankful to the Bob Moog Foundation for all the fascinating (and free) history on its website. As Thom Holmes writes:
“One can’t help but notice that nine of the first ten Moog albums had one person in common—musician Paul Beaver. By late 1966, he and Bernie Krause had pooled their funds to buy a Moog Modular of their own. Beaver was designated as Moog’s West Coast Representative and together, he and Krause operated a company called Parasound that provided consulting, recording, and production services using the Moog Modular and other instruments. Beginning in April of 1967, he and Bernie were recruited to bring the Moog Synthesizer to a variety of recording sessions. These first Moog productions from the April 1967 time-frame began to appear on vinyl by May and June 1967. Another burst of activity occurred after Beaver and Krause set up a booth to demonstrate the Moog at the Monterey Jazz Festival in June 1967, leading to several sessions with rock groups including the Doors and The Monkees. By January, however, you still only needed ten fingers to count the number of records featuring the Moog.”
Photo of Paul Beaver – courtesy Bob Moog Foundation
Clavinet, what clavinet? And yet it says right there in the musician credits – Paul Beaver, clavinet, as well as Moog. All I hear is the Moog.
“Diamond” Emil Richards 1967
Was New Sound Element, in fact, recorded prior to February, 1967 — the release date of the debut album by The Left Banke, whose “Let Go of You Girl” appears to be the first clavinet on a pop record? Almost certainly not, as recordings with Beaver & Krause’s new Moog only began that April. Nevertheless, Emil Richards’ “Stones” album would be the third recording ever to feature the Moog modular synthesizer, according to Holmes:
“Although Paul Beaver set-up the Moog, Richards was actively engaged in experimenting with the synthesizer for this session. Richards told me that, ‘Beaver assisted as programmer for these sessions. I played the synthesizer and all mallet instruments on all twelve tracks.’
This is the first commercial recording to credit the ‘Moog Synthesizer’ by name.”
In 2011 NPR’s Weekend Edition put together a feature piece on “Tinseltown’s Timekeeper” — Emil Richards — who would perform the finger snaps for The Addams Family TV theme, bongos for Mission Impossible‘s theme song, xylophone on The Simpsons‘ opening theme, and endless other sessions as one of the top percussionists working on the West Coast.
Also worth noting that Richards played on one of my wife’s favorite albums – Queen Latifah’s Dana Owens Album from 2004. The following year, Richards would help Paul Anka recast contemporary rock (e.g., “Smells Like Teen Spirit“) in swing band fashion (á la In a Metal Mood, Pat Boone’s rebranding effort from 1997) via 2005’s Rock Swings.
In retrospect, I now realize that Ed Goldstein was the first musician I knew personally to obtain formal permission to record another musical artist’s work. This was in 1992 — before the Internet would so much more readily facilitate this kind of information sleuthing — and I remember being somewhat impressed, and a little envious, that Ed and his musical partner, Scott Fuqua, were able to navigate this aspect of the music business.
Scott + Ed = Fuquay
Goldstein and Fuqua joined together in the early 1990s to form Fuquay, Ohio Valley practitioners of EDM – “electronic dance music” – a full two decades or more before this musical genre (and I never saw this coming) would enter the pop mainstream.
cover art by Lynn Punkari
1992’s Psychosis would find the duo crafting 11 original instrumental compositions — and one inspired cover: Oliver Nelson‘s theme to the 1970s TV action series, The Six Million Dollar Man:
[Pssst: Click on triangle above to play “Six Million Dollars” by Fuquay]
I think it’s safe to say that Scott and Ed were the first “pop modernists” to breathe new life into Nelson’s composition following its mid-70s heyday. Nelson, a respected jazz composer, bandleader, arranger and saxophonist, would be best remembered for The Blues and the Abstract Truth, his 1961 album with Freddie Hubbard, Eric Dolphy, Bill Evans, Paul Chambers, and Roy Haynes, .
Keith Emerson would captivate me as a grade schooler with the deep, heavy Moog sounds he conjured for “Lucky Man” — the final track, fittingly, on a 4-LP box set from 1973 that got a lot of mileage in our household growing up, Superstars of the Seventies, one of the earliest titles in the Warner Special Products series.
Emerson, on an extended vacation in the Bahamas, rounded up a crew of local musicians and exploded with a wild variation of calypso and reggae tunes—foreign substances to the legions of ELP fanatics who were expecting something less whimsical and more monumental. But really — you can’t blame him for turning his back on the “legendary” noose around his neck and indulging seafaring gems like ‘Hello Sailor’ and ‘Rum-A-Ting.’ And the irresistible boogie woogie of Meade Anderson ‘Lux’ Lewis’ ‘Yancey Special’ shakes the manacles off completely.
According to the liner notes, “honky” was a nickname used by children of the island and, thus, appropriated by Emerson for the album’s title. “Yancey Special” would hit the airwaves two years after Rick Wakeman‘s cod reggae version of “Swan Lake,” the featured instrumental in Zero to 180’s January, 2015 piece, “Prog Rock Reggae.”
Keith Emerson: One of The Best (Literally)
BB Chronicles offers a 1990 soundboard recording of a little-known (and short-lived) supergroup named The Best that once included Keith Emerson, along with John Entwistle (The Who), Joe Walsh (James Gang/Eagles), Jeff ‘Skunk‘ Baxter (Doobie Brothers), and Simon Phillips (801/Jeff Beck).
Keith Emerson & the skunk Emerson & the ox & the skunk
Emerson’s spirit, sadly, would leave us this past March. – his obituary from the March 13, 2016 edition of The Guardian.
Tip of the hat to my old tennis partner and high school music rival. Ed Goldstein [he was in The Head Band with future “Smooth” songwriter, Itaal Shur, and one-time-bassist-for-Sleepy-Labeef-turned-sociology-professor, Adam Moskowitz, while I was in The Max, formerly Max & the Bluegills], who recently paid tribute to Peter Gabriel and late-70s Genesis as pivotal influences on his approach to percussion, with “Games Without Frontiers” leading the way as his favorite Gabriel track.
As music entered the ’80s, I remember how things got increasingly and disconcertedly digital — MIDI, disk drives, drum machines and the like — putting some of us analog-minded folks off, at least initially. Not Ed, though, who helped serve as a bridge to fearful, reactionary types like me, whose old school heart will always yearn for analog-only devices, such as a Hammond organ with a rotating Leslie speaker, or a Moog Taurus bass pedal synthesizer (my college roommate had one), or an Echoplex tape delay effects unit (sax man & friend, Bruce Batté, once had one), without which dub reggae would almost certainly have never been born.
Hammond B-3 red Walnut Leslie Speaker Cabinet
Moog Taurus II Bass Pedal Synth Echoplex – Complete with Case
“Games Without Frontiers,” unsurprisingly, would be cited in a fun historical romp – “Ghosts in the Machine: The Most Important Drum Machines in Music History” – which begins in 1959 with Wurlitzer’s built-in percussion sidekick, the Side Man. Peter Gabriel, as it turns out, utilized a Linn Drum predecessor I was not aware of until now – PAiA – that enjoys the distinction of being the “first programmable drum machine in history,” having been introduced to the marketplace in 1975.
Frustratingly, that information is not spelled out in the otherwise detailed credits captured on Discogs for the UK edition of Peter Gabriel’s third album from 1978. Did Gabriel himself do the drum programming vs. Jerry Marotta & Phil Collins, the drummers listed on the track? We do know, however, that Gabriel and Larry Fast both did some programming with respect to synthesizers, such as “Games Without Frontiers,” on which both musicians programmed synth bass lines (one of which I initially assumed to be Tony Levin playing a Chapman Stick).
Soon after playing bagpipes on the album’s concluding track “Biko,” Larry Fast — under the name Synergy — would issue his fourth long-playing release Games, an “all electronic production” that, like his three previous efforts, would be produced, engineered and programmed by Fast himself. Released in 1979, Games is an instrumental song cycle that some might deem “experimental, ambient” (Discogs) and challenging at times but is hard to categorize given the dynamics and dramatic shifts in mood and intensity, as demonstrated on six-minute composition “Delta Four“:
Digital synthesis realized using the digital synthesizer at Bell Laboratories – Murray Hill, New Jersey.
Mixed at House of Music June and July 1979 by Larry Fast except Delta One which was mixed by Charlie Conrad & Larry Fast. Mastered by Robert Ludwig, Masterdisk, NYC.
Digital synthesizer computer programming by Greg Sims. Equipment used on this production manufactured by — Moog Music Inc.; Oberheim Electronics; Sequential Circuits; Paia Electronics; 360 Systems; Musitronics; MXR; DBX; MCI; Eventide Clockworks; Sony; Teac-Tascam; EMT; The Synergy System; Apple Computer Corp.; Bell Labs Digital Synthesizer; Deltalab Research.
Soundcheck: “Delta 3” [parts A-F] developed from themes written during soundchecks on the August to December 1978 Peter Gabriel Tour. “Delta Two” themes are remnants of 1974’s electronic Realizations For Rock Orchestra writing sessions. “Delta Four” is a surviving digital synthesizer sequencer program experiment combined with some advanced tape loops. “Delta One” is an experiment fusing the pop and electronic vocabularies of turn of the decade composition.
Electronic music pioneer & Occasional Bagpipist – Larry Fast
“Games was the first encounter on a Synergy album with digital synthesis and to some degree, digital recording. It was done under laboratory conditions at Bell Labs, which was then the crown jewel of the AT&T Research Lab. It’s still there [or is it?], but it’s now part of the crown jewels of Lucent. AT&T was the telephone company—Ma Bell—back then and had lots of wonderful “blue sky” research going on in computers, audio and various other technologies. They would fund these things thinking—and rightfully so—that at some point, something would surface out of these free thinking projects that might be beneficial to the phone company. They don’t do that so much anymore. At that time, there wasn’t any real competition in the phone business. Now, it’s very cutthroat. However, at that time, one of their great, shining lights was Max Matthews, one of the pioneers of computer music and electronic music, at the academic and theoretical level. One of his departments was speech and synthesis. They were exploring several areas of synthesizers, speech and vocals, which could be made into singing. He had worked on one project as early as 1976 that incorporated aspects of that.
By 1978, they had some of the very earliest digital synthesizers, running essentially as software, with some concurrent specialized hardware they had built on minicomputers. They were just mind-boggling to me after struggling to extract sounds from the Moog, Oberheim and related instruments I had been working with in the analog world. This was positively world changing. Again, like any technology at the beginning, it was a little tedious and difficult to control. I was just getting my feet wet, but there were a few passages recorded at Bell Labs that found their way onto the Games record. The passages were enhanced with some of the analog synthesizers to flesh out the arrangements. It was a very eye opening experience. It set part of the tone for the album. The other aspect of Games it that I was on the road a lot with the Peter Gabriel band and recording with them as well. It meant that some of the writing was done on the road, captured on small cassette recorders and lots of scribbled-down notes. It was the first album where I hadn’t set aside a block of time in my composer’s studio to write. It was a different approach.”
Is it ironic that this digital work was issued on 8 TRACK?
Ed Goldstein’s current percussion philosophies are being carried out through Big Car Jack.
I’m a little surprised more ink has not been expended on a snappy early reggae 45 from 1970 on the Doctor Bird label that can command up to £200 [i.e., $300ish] at auction:
“Rum Bum a Loo” The Message 1970
“Rum Bum a Loo” was produced for the UK market by an entity named Philligree, which Discogs informs us, is the production team of Graeme Goodall and/or Phil Chen:. Meanwhile, the “reggae formation” known as The Message would release no fewer than four singles in 1970.
Desmond Dekker fans will recognize “Rum Bum a Loo” as a near-instrumental version of Dekker’s 1st place winner of the 1968 Jamaica Independence Festival Song Competition, “Music Like Dirt (Festival ‘68).” That same year the song would also be issued in the UK, though with the B-side (“Coconut Water“) imaginatively re-titled as “Coconut Woman“!
“Initially a ska label, Doctor Bird was started in 1965 by Graeme Goodall; it issued its first single in 1966 and put out around two hundred more before expiring in 1969. It qualifies for a mention in this list because Trojan revived it briefly in the early 1970s, for a handful of reggae singles.”
By then, Ken Khouri had moved his base of operations to 220 Foreshore Road, an industrial area west of the wharf, to establish Federal, the first fully fledged recording studio and pressing facility on the island. It was officially in use from October 1957. For his resident sound engineer, Khouri chose Graeme Goodall, an Australian radio technician trained in London who initially came to Jamaica to set up RJR’s cable service.
Earl ‘Joaquin‘ Murphey (who co-wrote yesterday’s featured song “Steel Guitar Jubilee“) is held in very high esteem among steel guitarists, with one performance in particular — “Oklahoma Stomp” by Spade Cooley’s Orchestra — almost single-handedly cementing his reputation (Bob Dunn, notwithstanding) as the first “sophisticated jazz steel guitar player,” as Texas Steel Guitar Hall of famer Tom Morrell would eulogize in The Independent‘s 1999 obituary of Murphey.
Ace music historian Rich Kienzle – in Southwest Shuffle – points out:
“Murphey’s abilities to combine complex chordal work with remarkably fluid, expressive single-string soloing set him apart from any other steel guitarist in the country” while the aforementioned “Oklahoma Stomp,” is a “Murphey tour de force that’s lost none of his power in the nearly six decades since he recorded it.”
Kevin Rainey’s 2001 tribute to the great steel guitarist for The Journal of Country Music, “Earl ‘Joaquin’ Murphey: Steel Man Extraordinaire,” notes that Murphey was very much a musician’s musician — “Joaquin is my idol,” the almighty Speedy West once declared. One-time Bob Wills musician, Herb Remington, would witness Murphey’s performing with Tex Williams‘ group and remark to Rainey:
“I thought it was a clarinet playing. I couldn’t find him in the band. I went up to the bandstand and I couldn’t find the steel guitar. He was playing a little lap steel way back in the back of the bandstand. And when he played, it was like hearing a good clarinet solo. A jazz solo, which is what he listened to. And it just dumbfounded me. I’d never heard a steel guitar like that before.”
In fact, if you listen to “Oklahoma Stomp,” Murphey’s guitar actually sounds likea clarinet around the 1:20 mark in the song — must be heard to be believed.
Not a lot of pictures of Earl ‘Joaquin’ Murphey out there
Though he would initially make his mark with the Spade Cooley Orchestra, Murphey would depart soon after. Rainey informs:
“In 1946, Murphey and accordionist George Bamby left the Cooley band to join Andy Parker and the Plainsmen (themselves a Cooley spin-off, having formed from a nucleus in the band led by Cooley bassist and vocalist, Deuce Spriggens). The band worked Pappy Cheshire’s show on KMPC, did the Saturday night Hollywood Barn Dance, recorded for the Coast label, and appeared in some of Eddie Dean‘s westerns. Murphey’s performance of ‘Sweet Georgia Brown’ on Coast remains one of his most revered performances, though it has yet to be reissued on CD.”
How curious that the ever-dependable PragueFrank does not affirm Murphey’s musical presence on Andy Parker and the Plainsmen‘s version of “Sweet Georgia Brown” – a performance that historians and music enthusiasts concede to be Joaquin and no other:
“Sweet Georgia Brown” Andy Parker and the Plainsmen 1946
[Eagerly awaiting the return of streaming audio]
Wait a minute, I swear I listened to “Sweet Georgia Brown” on YouTube about a week ago … and now I can’t find hide nor hair of it! Was that just a dream – or did it really happen? Today’s blog piece hinged on “Sweet Georgia Brown” being the featured song. Now what?
Plan B: “Let’s Go Sparkin‘” by Eddie Dean & The Plainsmen, with Murphey on steel:
Q: Is it possible that Freddie Roulette is paying tribute to Murphey on his unusually expressive (and previously-celebrated) composition “Joaquin”?
L-to-R top row: George Bamby (accordion), Paul ‘Clem’ Smith & Earl ‘Joaquin’ Murphey. Bottom row: Charlie Morgan (far L), Eddie Dean (black hat) & Andy Parker (white hat).
Most of us have long wondered, was ‘Joaquin’ Murphey of mixed Irish-Latin descent? Actually, no: Murphey, according to Rich Kienzle, earned this sobriquet from country disc jockey, Bert “Foreman” Phillips, “in honor of California’s San Joaquin Valley.”
I can’t get over how relaxed and appealing the kick drum sounds on this recording – almost threatens to steal the show:
“Steel Guitar Jubilee” Lloyd Green 1964
I admit, it’s hard to completely tune out the immaculate musicianship of the others who are supporting Lloyd Green on his 1964 debut LP, TheBig Steel Guitar. released on Bob Shad’s Time Records — a label whose roster would include Gordon Jenkins, Al Caiola, Hugh Montenegro, and (somehow) Ray Charles for a couple of (possibly “dodgy“) 45s.
Buddy Killen: Bass Murrey “Buddy” Harman: Drums Bill Pursell: Percussion Fed Carter, Harold Bradley & Kelso Herston: Guitar Hargus “Pig” Robbins: Piano Charlie McCoy: Harmonica
Discogs made a mistake: Tom Bradshaw himself confirmed via email that he, in fact, was not sitting in the producer’s chair for 1964’s The Big Steel Guitar.
“In 1964 [Lloyd Green] began working as a part-time assistant at the SESAC office for Roy Drusky. Although the pay was low, the job did give Green the opportunity to make demos and do session work. He remained with SESAC for three years, and soon was earning $50,000 a year from session work. Green worked with pop musicians as well, including Dame Vera Lynn, Paul McCartney, and Ringo Starr, as well as on the Byrds’ seminal Sweetheart at the Rodeo. He had just a handful of solo chart hits, including instrumental versions of ‘I Can See Clearly Now’ and ‘Here Comes the Sun’ in the early 70s. He also made the charts singing ‘You and Me.'”
1964 would see the release of a second (though unnamed) Lloyd Green full-length album, Hawaiian Enchantment, albeit on a different label — Modern Sound Records. Thank you to LP Discography and El Rancho for confirming the album’s existence. .