Strawberries music in Rock & Pop Music

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"Incense & Peppermints" (01/01/1995) Rock & Pop Incense and Peppermints, Universal Special ProductsINCENSE & PEPPERMINTS is a Strawberry Alarm Clock compilation originally released in the mid-'90s, not their LP with the same title from 1967. Personnel: Ed King (vocals, guitar); Lee Freeman (vocals, drums, wind); Randy Seol (vocals, drums); Gary Lovetro (vocals); Mark Weitz (keyboards). A brief budget compilation--named, naturally, after the Strawberry Alarm Clock's only hit--INCENSE AND PEPPERMINTS is geared more toward the casual fan or the curious neophyte who might be put off by the import price tag or the much bigger track selection of the other Strawberry Alarm Clock compilations available. Like all Universal Special Products compilations, the packaging and sound are functional and adequate, but unlike many, the nine other songs on this compilation are an interesting cross-section of the Strawberry Alarm Clock's career, picking non-charting singles, b-sides (the punky "The Birdman of Alkatrash"), and interesting album tracks ("Strawberries Mean Love") from all four of the group's original albums. Serious psych-pop fans may do better with Ace/Big Beat's excellent STRAWBERRIES MEAN LOVE or One Way's ANTHOLOGY, but this is a perfectly reasonable alternative for everyone else.

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"Incense and Peppermints" (03/14/2006) Rock & Pop Incense and Peppermints, Collectables RecordsINCENSE & PEPPERMINTS is a Strawberry Alarm Clock compilation originally released in the mid-'90s, not their LP with the same title from 1967. Personnel: Ed King (vocals, guitar); Lee Freeman (vocals, harmonica, drums, wind); Mark Weitz (vocals, piano, harpsichord, organ, keyboards); Randy Seol (vocals, vibraphone, drums, bongos); Gary Lovetro, George Bunnell (vocals). Recording information: 1967. Arrangers: Mark Weitz; Ed King. A brief budget compilation--named, naturally, after the Strawberry Alarm Clock's only hit--INCENSE AND PEPPERMINTS is geared more toward the casual fan or the curious neophyte who might be put off by the import price tag or the much bigger track selection of the other Strawberry Alarm Clock compilations available. Like all Universal Special Products compilations, the packaging and sound are functional and adequate, but unlike many, the nine other songs on this compilation are an interesting cross-section of the Strawberry Alarm Clock's career, picking non-charting singles, b-sides (the punky "The Birdman of Alkatrash"), and interesting album tracks ("Strawberries Mean Love") from all four of the group's original albums. Serious psych-pop fans may do better with Ace/Big Beat's excellent STRAWBERRIES MEAN LOVE or One Way's ANTHOLOGY, but this is a perfectly reasonable alternative for everyone else.

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"Good Morning Starshine [Collectors' Choice]" (10/25/2005) Rock & Pop Strawberry Alarm Clock, Collectors' Choice MusicPersonnel: Jimmy Pitman (vocals, guitar); Lee Freeman (vocals, harmonica); Gene Gunnels (drums). Liner Note Author: Richie Unterberger. Recording information: Decca Studios, Universal City, CA. Photographer: Frank Bez. This is the fourth and final long-player of new material from Strawberry Alarm Clock (SAC). As with their previous discs, Good Morning Starshine is a mixed affair. Prior to recording the album, the band underwent a somewhat drastic personnel change -- replacing longtime members George Bunnell (bass/vocals) and Randy Seol (drums/vocals) with Jimmy Pitman (guitar/vocals) and Gene Gunnels (drums), respectively. Also of note is the fact that all of Bunnell's songwriting credits for material on this album actually belong to Gunnels. The music has shifted away from the mix of punky psychedelia such as "Love Me Again" and "The World Is on Fire," inheriting a much more aggressive, bluesy approach ? la Grand Funk Railroad or even (gasp) MC5. Although there are sonic vestiges and remnants of the band's former self -- such as the disc's pseudo-hippie title track -- by all accounts this was the antithesis of what the band had been up until this point. The dichotomy in the material on Good Morning Starshine is indicative that SAC had pretty much run their course. With managerial and other behind-the-scenes issues continuing to plague them, there are no signs of cohesion within the grooves. The disc is certainly full of strong material, despite the decidedly aimless direction. "Small Package" is reminiscent of the band's sound, circa Wake Up...It's Tomorrow. Likewise, the song is a minor chord masterpiece in the same vein as their previous hit, "Tomorrow." The "California Girls" vocal tag is a nod to the Beach Boys, with whom SAC shared many a late-'60s performance stage. Additionally, either of the two versions of the mid-tempo rocker "Miss Attraction" would have been a welcome addition to their earlier releases. The free-form jamming and lead guitar lines are definitely reminiscent of early Spirit and the highly underrated Bay Area band Kak. The heavier and blues-influenced "Me and the Township," "Off Ramp Road Tramp," and "Hog Child" recall Blue Cheer and even later-era Moby Grape as much as they do the electric British blues of, say, Fleetwood Mac. ~ Lindsay Planer This is the fourth and final long-player of new material from Strawberry Alarm Clock (SAC). As with their previous discs, Good Morning Starshine is a mixed affair. Prior to recording the album, the band underwent a somewhat drastic personnel change -- replacing longtime members George Bunnell (bass/vocals) and Randy Seol (drums/vocals) with Jimmy Pitman (guitar/vocals) and Gene Gunnels (drums), respectively. Also of note is the fact that all of Bunnell's songwriting credits for material on this album actually belong to Gunnels. The music has shifted away from the mix of punky psychedelia such as "Love Me Again" and "The World Is on Fire," inheriting a much more aggressive, bluesy approach ? la Grand Funk Railroad or even (gasp) MC5. Although there are sonic vestiges and remnants of the band's former self -- such as the disc's pseudo-hippie title track -- by all accounts this was the antithesis of what the band had been up until this point. The dichotomy in the material on Good Morning Starshine is indicative that SAC had pretty much run their course. With managerial and other behind-the-scenes issues continuing to plague them, there are no signs of cohesion within the grooves. The disc is certainly full of strong material, despite the decidedly aimless direction. "Small Package" is reminiscent of the band's sound, circa Wake Up...It's Tomorrow. Likewise, the song is a minor chord masterpiece in the same vein as their previous hit, "Tomorrow." The "California Girls" vocal tag is a nod to the Beach Boys, with whom SAC shared many a late-'60s performance stage. Additionally, either of the two versions of the mid-tempo rocker "Miss Attraction" would have been a welcome addition to their earlier releases. The free-form jamming and lead guitar lines are definit

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"The World in a Sea Shell [Collectors' Choice]" (10/25/2005) Rock & Pop Strawberry Alarm Clock, Collectors' Choice MusicLiner Note Author: Richie Unterberger. The third long-player from Strawberry Alarm Clock runs the gamut of pop music. This unfortunately detracts from the album's cohesion instead of unifying it. As with their previous release Wake Up...It's Tomorrow, The World in a Sea Shell offers a few criminally overlooked tracks. However, for the most part, the contents vacillate between the saccharine sweetness of the mid-tempo opening track "Sea Shell" and the overly orchestrated "An Angry Young Man" and "Home Sweet Home." Any cohesive momentum from the first two LPs has seemingly been discarded for the external input of different writers. Increasingly, the band began to turn externally for material. This was partially due to pressures from producers Bill Holmes and Frank Slay, who brought in Roy Freeman to write lyrics for the band because -- in the words of bassist and composer George Bunnell -- "they thought we were awful at it." Contributions also come from the somewhat unlikely team of Carole King and Toni Stern. "Blues for a Young Girl Gone" and "Lady of the Lake" are akin to the stuff the pair was concurrently writing for the likes of the Monkees. Both suffer the double-edged sword of having such a strong voice written into them. They end up sounding more like the Mike Curb Congregation than any of the other material on the disc. Saving the album are the kitschy "Barefoot in Baltimore," as well as the lost rock & roll masterpiece "Love Me Again" -- a spirited number that could easily be mistaken for a discarded Buffalo Springfield track. The latter features the return of the classic Strawberry Alarm Clock noir vibe -- replete with haunting vocal harmonies, over-amped fuzz guitar leads, and harpsichord-drenched accents that drive the tune front to back. The fitting "Eulogy" is a final group effort and draws on the same strengths as "Pretty Song from Psych-Out" and "The Curse of the Witches" from Wake Up...It's Tomorrow. ~ Lindsay Planer

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"Grass and Wild Strawberries" (03/08/2005) Rock & Pop Collectors, Collectors' Choice MusicThis is a strange album, from that brief moment when it looked like rock and theater could merge productively and profitably. The band hooked up with poet-playwright George Ryga and the result was a stage work called Grass and Wild Strawberries -- there's no telling if it was ever produced, or what the reaction was if it did make it to a theater (though one can guess, from the fact that nobody has ever heard of it, what any audiences and critics must've thought). And then there's this album of the score. All of the music was written by the band, and the lyrics by Ryga, and the funny thing is, it's not half bad. They still fall back a little too much on the pseudo-Gregorian sound, which only the Yardbirds really pulled off successfully in a rock context ("Still I'm Sad"), but for a good part of this album, their sound is lyrical, enthusiastic, unforced, and rather pleasing, and creative -- at least, they abandoned their Moody Blues pretensions in favor of a bit more of a roots rock sound. "Don't Turn Away (From Me)" might've made the charts in some circumstances, and it plays even better if you ignore the description of the scene for which it was written, something to do about the hero discovering that asparagus is a desert vegetable and encountering falling trees and whispering waves before going to touch his girlfriend's body -- this writer didn't want to know and didn't ask any more questions. Half the tracks are still tuneless filler, but the other half pass muster, and the sound on this album is a lot crisper than their debut, with the drums and bass nice and clear and the guitar well delineated. ~ Bruce Eder

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"Odorama" (05/07/2002) Rock & Pop Strawberry Smell, Rainbow Quartz (USA)Although both the band name and album title are pretty horrible, Strawberry Smell's debut album, Odorama, is a solid piece of psych pop that respects the traditions of the genre without being constrained by them. Although the requisite fuzzy/jangly guitars and Byrds-influenced harmonies are here in spades, the songs on Odorama are built on lead singer Cyril Jean's Farfisa organ and vintage Moog synthesizers. That blast of icy retro-futurism links Strawberry Smell both to '60s experimentalists like the United States of America or the Silver Apples and to later guardians of the analog synth sound like the band's fellow Frenchmen Tahiti 80 or Air. Unlike all of those bands, however, Jean and the other Smellers (guitarist and bassist Christophe and Olivier Valliant and drummer Cyrille Mazella) are primarily interested in pop hooks, not cool sounds. Like no psych pop revival album since Cotton Mather's 1998 gem Kon-Tiki, Odorama has melodies and (English language) lyrics that measure up to the clever arrangements and production. The perfect touches like the horns at the end of "Friends of Da Teenage" and the funky organ rave-up in the middle of the heavy-psych "Balthazar" would be much less impressive if the songs themselves weren't so instantly engaging. Unfortunately, some of these songs overstay their welcome by a minute or so each. Odorama is a great album, but with some judicious pruning it could have been a classic. ~ Stewart Mason

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"Strawberries [Deluxe Edition]" (04/05/2005) Rock & Pop Damned (The), Sanctuary (USA)The Damned includes: Dave Vanian (vocals); Captain Sensible (guitar, bass); Rat Scabies (drums). All tracks have been digitally remastered. Liner Note Author: Kieron Tyler. Finding their feet again after yet another career misstep, the Damned emerged with STRAWBERRIES, their fifth studio album in as many years. With their line-up more or less stable at this point, it features Dave Vanian's more assured vocals and the more-pop-by-the-minute keyboards and guitars of Captain Sensible. STRAWBERRIES evokes the best of the Stranglers with a touch of XTC thrown in. Well produced by the band themselves, aurally it's a great improvement over previous efforts, and even includes a lyric sheet. From the catch-a-fire punk of "Ignite," the album moves on to new-wave pop with "Generals" and "Stranger on the Town." "Dozen Girls" foreshadows the gothic Damned of the near future, while "The Dog," STRAWBERRIES' most interesting track, fortifies their creepy vampiric image. For un-cynical punks in love, there's also the surprisingly bouncy un-cynical love song "The Pleasure and the Pain," and its companion "Life Goes On." An enjoyable album and highly recommended.

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"Strawberries" (02/22/2005) Rock & Pop Damned (The), Phantom Import DistributionThe Damned includes: Dave Vanian (vocals); Captain Sensible (guitar, bass); Rat Scabies (drums). All tracks have been digitally remastered. Finding their feet again after yet another career misstep, the Damned emerged with STRAWBERRIES, their fifth studio album in as many years. With their line-up more or less stable at this point, it features Dave Vanian's more assured vocals and the more-pop-by-the-minute keyboards and guitars of Captain Sensible. STRAWBERRIES evokes the best of the Stranglers with a touch of XTC thrown in. Well produced by the band themselves, aurally it's a great improvement over previous efforts, and even includes a lyric sheet. From the catch-a-fire punk of "Ignite," the album moves on to new-wave pop with "Generals" and "Stranger on the Town." "Dozen Girls" foreshadows the gothic Damned of the near future, while "The Dog," STRAWBERRIES' most interesting track, fortifies their creepy vampiric image. For un-cynical punks in love, there's also the surprisingly bouncy un-cynical love song "The Pleasure and the Pain," and its companion "Life Goes On." An enjoyable album and highly recommended.

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"Strawberry Shade" (08/29/2000) Rock & Pop Strawberry Shade, Orchard (Distributor)

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"Strawberries" (04/04/2005) Rock & Pop The Metroschifter, DoghouseMetroschifter: Scott Ritcher (vocals, guitar, piano, programming); Pat McClimans (guitar, bass, background vocals); Chris Reinstatler (drums, background vocals). Recorded at Red House Recorders, Eudora, Kansas and Initial Studios, Louisville, Kentucky. Personnel: Pat McClimans (guitar, bass guitar, background vocals); Christian Frederickson (viola); Eve Miller (cello). Recording information: Baltimore, MD; Initial Records, Louisville, KY; Red House Recording, Eudora, KS.

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"Strawberries Mean Love" (04/15/1992) Rock & Pop Strawberry Alarm Clock, Big Beat Records (Dance)Liner Note Author: Brian Hogg. Arrangers: Mark Weitz; Ed King. STRAWBERRIES MEAN LOVE, unless you're allergic, in which case they mean hives. That pretty much sums up the two likely responses to the Strawberry Alarm Clock, Santa Barbara's first and best exponent of flower power-era psychedelic pop. Either you'll find their catchy pop tunes, laced with pseudo-profound lyrics and cool trippy production effects, to be potent reminders of a certain place and time, or you'll find it all extremely calculated and commercial. Actually, the Strawberry Alarm Clock were both at once, and as a result, songs like "Incense and Peppermints" and "Rainy Day Mushroom Pillow" are both somehow more honest evocations of the real spirit of '67 as most people actually experienced it and, frankly, much better pop songs than, say, "Somebody To Love." This anthology, a remastered and expanded version of a previous collection on the excellent UK reissue label Ace/Big Beat, is the best SAC experience.

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"Black Strawberries" (09/30/2002) Rock & Pop Unbunny, Two-Ton Santa RecordsUnbunny returned in 2002 with Black Strawberries on New Hampshire's Two-Ton Santa Records. The band's quirky musical strategy remained mostly the same, with singer/guitarist Jarid Del Deo serving as songwriter, and drummer James Ess and bassist Steve Haruch providing rhythm support. The disc begins with the upbeat and casual "In a Way," which is followed by the bare-bones instrumental "Blorn Blind." On "5th of July," the band sounds like a folk band more than ever, with a healthy dose of blues behind Del Deo's calculated and straightforward lyrics. The pace picks up on "Water and the Spanish Tongue," and the majestic instrumentation reaches a new level on "Glacier," with guest piano by Death Cab For Cutie's Chris Walla. The disc ends with "Northerns Pies," an orchestral and reflective mood piece. Black Strawberries marked the return of Unbunny, who remained at top form after recording at a frantic pace in the mid- to late '90s. Sidney Linder, Rob Downen, Julie Law, and Gregg Porter guest on guitar, trumpet, piano, and drums respectively on the 12-track disc, which was mostly recorded with Walla in early 2002. ~ Stephen Cramer

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"Twist" (11/07/2000) Rock & Pop Wild Strawberries, MCA Records (USA)Twist is CD number four for the Wild Strawberries, and the husband-and-wife musical duo's first after parting company with Nettwerk Records. As with their first three CDs, they continue to define and perfect their sound. Fans of this band will be familiar with its hard-edged, alternative pop sound, and Twist does not stray from that formula. Roberta Carter Harrison's vocals are as steady and strong as ever. Her voice is very pleasing, but there is not a great deal of variety in the styling. This can be said about the entire CD. It plods along quite nicely, but after five songs, they all start sounding the same. The music is well-produced and melodic, but some variety (besides going from a fast song to a moderately fast song) would have made this CD much more interesting. There are highlights -- the beautiful "I Know You're Gonna Break My Heart" and "Somersault" are treats -- and overall it is a good album. As a bonus, the Wild Strawberries include two bonus cuts, including a rather useless cover of the Soft Cell version of "Tainted Love," which adds very little to the CD. The second bonus is a true highlight of the CD: "Wrong to Let You Go" is a brilliant piece of pop music and is a welcome addition here (it was previously only available on the CD Women and Song 3). Fans of alternative pop music -- and this band -- will love this CD. It does not reach the highs of past glories (such as the brilliant Heroine), but it does feature some good material. ~ Aaron Badgley

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"The Strawberry Blonde School of Class" (04/13/2004) Rock & Pop Treeball, Orchard (Distributor)

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Deals on Strawberries music in Rock & Pop Music. Visit BizRate to find the best deals on Rock & Pop Music. See which Music stores have the Strawberries music that you want. Read reviews on Music merchants and buy with confidence. Find savings on Strawberry Cream and Gunpowder [Digipak] by Avi Belleli (CD - 01/09/2007) - Strawberries [Remaster] by The Damned (CD - 09/11/2001).