Holmes would not agree to Slay's request for only having FOUR writers maximum to appear on the label. Holmes wanted HIS name as well as ALL the members of the SAC as writers to appear on the label. It was regarding who should receive the credit as writers of 'Incense and Peppermints.' Holmes was not happy with the fact that Ed King, John Carter, Tim Gilbert and I would receive credit as writers (which was rightfully so). When Frank Slay was approving the writer's names and how they would appear on the actual label prior to printing, our manager Bill Holmes and our producer Frank Slay had an argument. To this day, they have received 100% 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 8 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. Weitz gave us this account of how the song was written and how Munford ended up singing it: "I came up with the idea and actual music to the then untitled song that ultimately evolved into the #1 national hit, 'Incense and Peppermints.' 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. Despite this success, Munford never actually joined the group. He was not even a regular band member, but ended up singing a tune that would rocket to #1 in the United States and sell over a million copies. He was brought in to sing harmonies on this song, but ended up doing the lead vocals. It was Greg Munford, a 16-year-old singer with a group called The Shapes, who sang lead. The writing credits on the song are listed as John Carter and Tim Gilbert, who were not part of the band, and the lead vocalist on this track was also not a member of the group. Weitz, who was the original keyboard player of the Strawberry Alarm Clock, helped us sort out. Parked somewhere between the freaky frequencies of the Doors and the beautiful vocal pop of the Association, Incense and Peppermints is a stunning album.This song has a rather convoluted history that Mark S. Rushing rhythms cap the rocking “Lose To Live” and “Unwind With The Clock,” and then there’s “Strawberries Mean Love,” a tranquil but trippy slice of paisley patterned poetry. Spinning round and round with jagged and joyous tempos, “Paxton’s Back Street Carnival,” really does reflect the festive flavor of a carnival, where “Pass Time With SAC” is a bouncy and catchy little instrumental. Diversified and running wild with imagination, the Strawberry Alarm Clock proved to be equally at home performing mellow material as they were the quirky psychedelic stuff. ![]() Hypnotic to the core, the long winded piece demonstrates just how good the fellows were at doing the jam thing.Īn ethereal film encompasses the warm and gentle “Birds In My Tree,” while “Rainy Day Mushroom Pillow” offers a similar approach. Tapping into the improvisational side of the Strawberry Alarm Clock is “The World’s On Fire,” an 8 minute plus track assembled of thrashing congas, weaving guitar escapades and repetitious but right on drumming. ![]() Colorful songwriting, combined with layers of sun-kissed harmonies played a big part in making Incense and Peppermints the jewel of the effort that it is as well. The disc has recently been reissued by Sundazed Records, but copies are limited, so you best hurry and place an order quickly because this is definitely required listening for those who go for far out sounds.Īrmed with a variety of instruments, the Strawberry Alarm Clock took full advantage of such toys, resulting in an album stocked with exotic, esoteric and inventive dips and curves. The swinging tune appeared on the Strawberry Alarm Clock’s first album, pressed on the Uni label, and was also called Incense and Peppermints. Rigged with fizzy fuzz guitars, escorted by the tinny tone of a bubbly keyboard, a clingy chorus and bucking breaks, “Incense and Peppermints” ably integrated pop sensibilities with acid-informed expressions. 1 spot on the national charts in the autumn of 1967.ĭrafted of zany lyrics, culled from a rhyming dictionary, the song not only mirrored the creative insanity of the era, but subsequently flashed drifts of cool and groovy moves. Sprouting forth from the San Fernando Valley, located in Los Angeles County, the Strawberry Alarm Clock acquired instant success when their debut single, “Incense and Peppermints” zoomed to the No.
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