![]() ![]() A victim to changing fashion, the name now slips ever deeper into oblivion, only to be resurrected as an example of psychedelic excess. The band is also unique in that their break-out song, "Incense and Peppermints", was neither credited to its actual writers (Weitz and King), nor sung by an actual band member (instead, 16-year old Greg Munford did vocals, without credit).To this day, the Strawberry Alarm Clock does not receive the acclaim that a band of their importance might deserve. After dropping their cover-band status, the Strawberry Alarm Clock began to write for themselves, drawing much of their inspiration from their home in southern California - at the time a major flower-power stronghold.From abstract names to trippy colors and whimsical costumes, Strawberry Alarm Clock was pivotal in establishing, and then indulging in, many of the cliches associated with the genre today. Encompassing both the colorful imagination and obnoxious novelties of psychedelica, the group formed in 1966 from the remnants of The Sixpence - a band dedicated to playing hits from The Who and other popular artists of the day. ![]() read moreįor better or worse, the Strawberry Alarm Clock will forever be remembered as the band who, in 1967, unleashed the psychedelic-pop anthem "Incense and Peppermints" upon masses of unsuspecting flower children. After dropping their cover-band status, the Strawberry Alarm Clock began to write for themselves, drawing much of their inspiration from their home in southern. Another chapter in the ignominious demise of the Clock.For better or worse, the Strawberry Alarm Clock will forever be remembered as the band who, in 1967, unleashed the psychedelic-pop anthem "Incense and Peppermints" upon masses of unsuspecting flower children. So I guess it wasn’t a total loss, but ultimately it represented neither the band nor the album it was on. “Good Morning Starshine” did make it onto the pop charts – to #87. The idea of making a track as silly as “Good Morning Starshine” the centerpiece of their new album is just the sort of choice that may seem regrettable in retrospect. This may have occasionally led to making some questionable musical decisions. Having had a fluke #1 hit with “Incense And Peppermints”, the band would be happy to achieve it again. (See “Go Back (You’re Going The Wrong Way)” from Wake Up… It’s Tomorrow and “Home Sweet Home” from The World In A Sea Shell.)īut pursuing commercial acceptance was not anathema to Strawberry Alarm Clock. It does, however, evoke the playfulness, gentility, and accomplished vocal harmonizing of much of the band’s previous work. ![]() Its goofy “sing sing sing sing” chorus is wholly unrelated to the musical ideas the band was exploring at the time. ![]() “Good Morning Starshine” did not fit the style of the album or the mood of the band members in 1969. They had by this time managed to wrest musical control from the managers and producers who had done so much to screw up the previous album, The World In A Sea Shell. The jarring anomaly, recording a version of “Good Morning Starshine” from the musical Hair was not the idea of the band members. Strawberry Alarm Clock recorded “Good Morning Starshine” for their fourth and final LP, also called Good Morning Starshine. It wasn’t their choice, though, and sounds like nothing else on the album. ![]()
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