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NOTE: The individual song ratings take into consideration the quality of the composition (music and lyrics) as well as the band performance.
1. Green Tambourine (Leka/Pinz)
At its core, Green Tambourine is a simple folk song. The lyrics depict the one man band protagonist in a lighthearted and pleasing manner. The humorous "money feeds my music machine" line at the end might be taken as a subtle commentary on life in the music industry. The ornate production complimented the song well, with the effects adding to the psychedelic atmosphere. A timeless classic.
Rating: 10
2. Turn Around Take a Look (Bartlett)
A failed venture to make the charts - an unsuccessful attempt to emulate perhaps the Lovin' Spoonful. This track sounds like a harmless filler tune that might appear on an album, but they probably shouldn't have released this as a single. There are a few oddball lines about stalking that are entertaining, but on the whole, the song does not grab one's attention enough to be a hit. The idea of the (intentional) wrong guitar note in the beginning also took away from the recording.
Rating: 6
3. Rice is Nice (Leka/Pinz)
This is perhaps the only song of all the Leka/Pinz compositions where the childish nature and lyrics are too syrupy to bear. There are two versions, one had a short piano introduction, while the other version cut right into the high-pitched vocals. Although the song is cloying, it is harmless.
Rating: 4.2 for the short version, and 4.5 for the piano version
4. Shoeshine Boy (Leka/Pinz)
Although the presentation makes this sound like a sappy over-the-top goof, the unique instrumentation saves the day to an extent. Expert wah pedal guitar (presumably played by Bartlett) represents a strange counterpoint to Leka's choppy orchestration. A steady drumbeat at the fadeout would have made it even better.
Rating: 7.2
5. Rainbow Tree (Laguna/Mizrahi)
The first couple of lines seem rather intelligent, but the rest of the song has childish lyrics. Good instrumentation, along with a decent arrangement and melody make this pass for psychedelic pop. Also, it seems that the Beatles' "In My Life" was the prototype for the arrangement and chord changes of this track. They've even got a harpsichord solo in the middle, much like the sped-up piano solo heard in "In My Life."
Rating: 7.1
6. Ask Me If I Care (Ehrmann)
A fine Byrds knock-off with critical lyrics, electric twelve-string guitar, and small touches of orchestration. Arguably would have been the best follow up to "Green Tambourine" out of all the Lemon Pipers recordings. One of the finest songs the band recorded, this protest folk/rocker reminds listeners of the work of P.F. Sloan, though the band performance is clearly inspired by the Byrds.
Rating: 8.5
7. Stragglin' Behind (Leka/Pinz)
A pretty rocking song for a Leka/Pinz composition, with heavy organ and fuzz guitar. Humorous and rather demented high vocals make this somewhat trivial composition decent.
Rating: 7
8. Blueberry Blue (Leka/Pinz)
The lyrics are over the top and silly, but the music is impressive. As with all orchestral pop, this track is best appreciated with headphones or careful listening. An echoing piano, stringy psychedelic sitar, and well-executed orchestration are the highlights.
Rating: 7.1
9. The Shoemaker of Leatherwear Square (Leka/Pinz)
Almost a nursery rhyme set to music, and in the fantasy category featuring medieval influence in the lyrics. The harmony vocals were impressive, as was the instrumentation. A good number.
Rating: 7.5
10. Fifty Year Void (Lemon Pipers)
Finally, an original song, this one being heavy blues/rock. It sounds as if the singer says something about taking the "dope," but it is difficult to hear, because it may have been edited by the record company. Decent overall, if somewhat basic.
Rating: 7
11. Through With You (Bartlett)
The track features a psychedelic guitar rave-up in between verses with strong female putdown lyrics. Though there are traces of the Byrds "Eight Miles High" in the melody, Bartlett displayed his talent well, especially in the guitar leads that floated back and fourth between the speakers. The seven minute instrumental section was effective on the whole, with echoed acoustic guitars, organ, and other embellishments coming in at various times. The bass playing was also skillful in this long psychedelic/garage raver.
Rating: 8.3
12. No Help From Me (D. Browne)
The B-side of Green Tambourine written by singer Ivan Browne, though he does not do much singing on the track. Instead, Bartlett's lower pipes handle the leads. The track features heavy organ and psychedelic guitar along with a fast and furious bass pattern. There are places where the instrumentation gets sloppy, and the mix makes the song sound more thin than it should be. That aside, the bass playing and song structure vaguely remind one of the Byrds' "Renaissance Fair." A good choice for the b-side, even if it was not remotely as strong as the aforementioned Crosby penned Byrds track.
Rating: 7.1
13. Danger (???)
The flip to Turn Around Take a Look, a decently crafted song with perhaps a slight soul influence. Some good organ playing, guitar work, and effective singing. This song (though not especially noteworthy) might have been more commercial than it's a-side, but in a more standard pop/rock vein.
Rating: 7.1
14. Jelly Jungle (Of Orange Marmalade) (Leka/Pinz)
A high quality single with orchestration as well other instruments along with the band's primary ones, (such as brass and harpsichord). The song also features pornographic lyrics (like, for example, "take a trip on my pogo stick... I'll play a beat on your pumpkin drum") sung in an innocent and harmless sounding voice. The vocals disguise the licentious intent of the lyrics, and (similar to the Beatles Penny Lane's subtle "fish and finger pie" line), turn the whole thing into a laugh through understatement. Psychedelic echoed vocal effects make good use of the stereo separation. Commendable mixing and production.
Rating: 8.1
15. I Was Not Born to Follow (Goffin/King)
An interesting Goffin/King cover with good vocals and rhythm guitar, a talented guitar solo, and just a touch of orchestration to enhance the overall arrangement. This was an original interpretation different from the Byrds version, and significant it its own right. If the band was ever afforded an opportunity to explore more serious folk/rock territory, this rendition could have been a hit. Coming after four consecutive lightweight singles though, the song did not chart.
Rating: 8.8
16. Everything Is You (Leka/Pinz)
A well-crafted song in lyrics and melody, even if the warm and heartfelt sentiment might have been better suited to an earlier era. A highlight was the organ passages, which sounded influenced by Procol Harum.
Rating: 7.2
17. Catch Me Falling (Lemon Pipers)
Quite a good original composition, with the lyrics among the band's finest. Bartlett played skillful lead guitar - countryish at some points and Hendrix-like at others. The vocals were strong, as Browne seemed genuine in singing the lyrics (unlike, understandably so, the other material foisted upon the group.) The melody was catchy as well with consistent organ throughout. This was really two songs, with the second part a mysterious instrumental having little to do with the first part.
Rating: 8.5
18. Lonely Atmosphere (Leka/Pinz)
A well crafted orchestral ballad with good lyrics and melody, this was released as a single, but failed to chart. The song is more serious, but for the Leka/Pinz team, their lightweight psychedelic offerings are arguably their most enjoyable work.
Rating: 7
19. Hard Core (Lemon Pipers)
A bluesy track with some weird backwards effects in the beginning, (harmonica and voices). Perhaps a bit too simplistic to merit a high rating.
Rating: 6.8
20. Love Beads and Meditation (Ross/Crane/Gajnos)
Musically the song is put over well, but the lyrics are mightily silly. Highlights are the drums, and an enjoyable horn break.
Rating: 7
21. I Need Someone (The Painter) (Leka/Pinz)
Decent track, with the highlight being the relaxing harmonies and an oddly played instrument (maybe a sitar) that seems separate from the rest of the song.
Rating: 7
22. Quiet Please (???)
This single was independently released on the Carol label, and barely even sounds like the same band. A crude and heavy garage recording that owes considerable debt to Eddie Cochran's "Summertime Blues." The main highlight is Bartlett's explosive guitar workouts.
Rating: 7
23. Wine and Violet (Lemon Pipers)
A strong original composition. The demented lyrics and vocals were impressive, as were the backwards guitar leads. On the whole, well arranged and recorded. There also was an echoed flute. An obscure gem of the psychedelic era.
Rating: 8.5
24. Dead End Street/Half Light (Lemon Pipers)
This was an impressive twelve-minute track, with tight jamming. The organ and guitar solos were quite good, and unlike "Catch Me Falling," it sounded like one song, with all the transitions in place. The lyrics (though often vague) were some of the Pipers' most ambitious. The reckless experimentation in the musical arrangement arguably makes this progressive tinged track the Lemon Pipers finest hour aside from Green Tambourine.
Rating: 9.0