THE BACKGROUNDS - "Day Breaks At Dawn" b/w "Oh Baby Please Take Me" (Cenco – 110, 1967)

by Achille Brunet

Buried in the depths of time, the case of The Backgrounds had remained an unfathomable mystery. Only a couple of copies surfaced and soon became highly sought-after collector items mostly for the A side, "Day Breaks At Dawn", the mind-blowing fuzz riff of which had more than one head spinning. Drummer, vocalist and songwriter SY GORAIEB finally provides the story of the band.

The Backgrounds was formed as The Four Aces in 1965, first as a four-piece, by teens from Saint John the Baptist Catholic Elementary School in Norwalk, California when one of their teachers suggested they become a band.

Sy Goraieb: "The four of us were already friends, especially Johnny and me, so we did. I was the drummer and lead vocalist for the band. The others were Roland Bautista (guitar), Bobby Torres (bass) and Johnny Graveline (keys). For all of us, it was our first band, and like so many others at that time, it was the result of The Beatles on the Ed Sullivan show on February 9, 1964. It changed everything! On the block where we rehearsed, on Saturdays, you would find six other bands doing the same thing! Our first performance was for our student body. So much fun! It was a great time!"

THE BACKGROUNDS

From left to right: Sy Goraieb, Johnny Graveline, Bobby Torres, 

Roland Bautista and on the floor is Dick Harris (Courtesy of Sy Goraieb).

At some point, the band changed name to The Backgrounds. A year or so later, the members went to different High Schools in Gardena, Lawndale and Los Angeles, CA but kept playing together. It was then that Richard "Dick" Harris came into the picture.

SG: "Roland went to Serra High School, Johnny to Loyola High School and that’s funny, I can’t remember where Bobby went. Dick and I were Leuzinger High School students and he and I were involved in the music department. When he heard our band, he asked if he could join. He was incredibly talented. When he joined he and I shared the lead vocals. He was with us for one year in 1966-'67."

The band played at dances, parties, and private functions, but were too young to play clubs. They also shared a few concerts with other bands and participated in Battle of the Bands. The band was interested in different music styles, ranging from British Invasion material to Soul music and Rhythm & Blues.

SG: "Because of Dick and my very different styles of singing, we could cover a lot. Johnny was an incredible pianist, especially for his age, and that gave us much freedom to do songs by the Beatles, Rolling Stones, Stevie Wonder, Motown and so much more."

In late 1966/early '67, The Backgrounds recorded two songs at an unidentified studio in Los Angeles: "Day Breaks At Dawn", a great fuzz rocker written by Richard Harris, and "Oh Baby Please Take Me", a catchy soul ballad written by Sy. The pair was released on the Hollywood label Cenco, owned by Mike Gradney.

SG: "I learned how to play guitar at that time for one reason, to write songs. 'Oh Baby…' was the first song I ever wrote. Dick was a great songwriter, I learned a lot from him! Cenco was a label that a friend’s dad started and when he heard us, he wanted to record us. Normally I sang on my songs and Dick as well but we decided for the record to have one vocalist. Dick sang both songs. But we shared the vocals on all of the other material. Nothing came from it and the record slipped into oblivion. This was the only recording we did."

The single was released in February 1967 and never went anywhere. It was so rare Sy wasn't even sure the record existed. Shortly after a benefit concert at Leuzinger High in May 1967, The Backgrounds broke up.

(The Daily Breeze - May 25, 1967)

SG: "After Dick graduated from High School, he got more serious about acting and pursued it. At that time, he was an incredible actor."

In High School in 1965-'66, Dick Harris had sung in "Oklahoma" and "My Fair Lady". While in his senior year at Leuzinger, he won the role of the king in the musical play 'The King And I'. He also directed the comedy and held the romantic lead in "You Can't Take It With You" while attending rehearsals of "Guys And Dolls" at El Camino College. At 17, Harris was the first person to win a leading role at the College while still a student at Leuzinger. Sy lost touch with Dick Harris so it's not know what became of him afterward. (He's not to be confused with prolific movie actor Richard Harris, born in 1930.)

SG: "Bobby, I believe, continued in teaching guitar (although I’m exactly sure what he's been up to)."

In the following months, Roland Bautista stepped in in replacement of guitarist Dewayne Russell in The Velvet Illusions, a band from the Washington state that had relocated to Hollywood, CA. Roland's blistering lead guitar can be heard with certainty on "Lazy", "The Stereo Song" and "Minny Shimmy", and possibly "Hippy Town", all released in Nov 1967. Though his guitar tracks are less prominent in the mix than with the blasting fuzz of "Day Breaks At Dawn", his style is unmistakable.

SG: "In 1967, Johnny and I joined Al McKay and The Turbans, a ten-piece soul band with friends from our neighborhood. Al asked us both to join after Roland had left. We all remained friends. That was a great band also!"

Al McKay and The Turbans had made two records in 1966, including one on Cenco. Al McKay and drummer Ralph Johnson would later become key members of Earth, Wind and Fire. Lester Smith, leader of the Turbans, was a nephew of Louis Armstrong. More about it HERE.

SG: "Johnny and I toured and recorded together up through our late 20’s and are still very close friends to this day. In a latter band called Orion, Johnny and I wrote more and recorded a bunch. This was between 1973-76. Nothing was formally released at that time. Johnny went on to play with various bands and write songs for various projects."

SG: "I later played with different bands, signed with Capitol Records as the drummer and one of two lead vocalists of the group Future Flight, produced and songs written and co-written with Lamont Dozier (the famed Motown writers and producers Holland, Dozier, Holland) for one album in 1981. Since 1984, I’ve been involved in Church music as a worship pastor and songwriter and have written songs for Integrity Music. In 1993, I re-recorded "Oh Baby Please Take Me" for a music library album called "Remember The 50's" that I produced for Sonoton Music. The song has since had some activity in various TV and Film projects."

Roland Bautista went on to record as a not consistent full member of Earth, Wind & Fire in different periods of time. He also collaborated as session man and songwriter for The Crusaders, The Jackson 5, Lamont Dozier, Ramsey Lewis, Randy Crawford, George Duke, Wayne Henderson and Hubert Laws. He passed away in 2012.

__________

Many thanks to Sy Goraieb. More information about Richard "Dick" Harris would be appreciated.

THE GRAPES OF WRATH - "Cause It Was Her" (Vita Records – V-005/V-006, 1967)

by Achille Brunet

A deep blue label for the guys by the sea, straight from the Los Angeles seaside in San Pedro. For fans of the Garage Punk Unknowns comps, "Cause It Was Her" needs no introduction. The band in itself, however, does!

The Grapes Of Wrath were from San Pedro, a district of Los Angeles, CA on the waterfront that includes part of the City's port. Of the half-dozen of 1960s bands to bear this name, it seems these had a special connection with John Steinbeck as the author reportedly had ties with the area.

The band was formed by students of San Pedro High School during summer 1966, with Ralph Sias (guitar), Danny Morrow (bass), William Doheney (drums), Brian Magnan (vocals), and Bill Lichty (organ).

(News Pilot - May 17, 1967)

Bassist Danny Morrow introduced the band in the press: "Ralph writes the songs, plays lead guitar and gets nervous. Brian sings lead vocal and smiles at girls. Bill plays organ and wears leather boots. William plays drums and loves drums. I play bass and get in and out of trouble."

The boys had met while in the high school gymnastics team, at the exception of Lichty. Ralph was the commissioner of athletics. Ralph Sias and Danny Morrow had known for a while. Ralph had also been part of a folk trio, The Brandyhill Singers, in late 1965.

Commissioner Ralph Sias crowns a Queen.

(News Pilot - Nov 11, 1966)

The band soon played their own songs, written by Ralph Sias and sometimes Brian Magnan. The band was managed by H. Eugene MacDonald, a.k.a. U. L. McDonald, who was a 41-year-old hotel manager at the Hacienda Hotel in San Pedro. He also managed and produced artists on Vita Record, Inc. since 1965.

At the beginning of 1967, the band recorded a "rough demo disc" at a small studio (it's unclear if the article refers to the actual Vita single or to an anterior acetate). MacDonald then presented it to various recording companies.

(News Pilot - May 17, 1967)

One Mr. Roth, vice-president of Sunburst Records (a label founded by Ed Cobb started with the second single by the "E" Types), was impressed enough with both the band and recording, finding them a "professional air", and arranged for another session. 

Danny Morrow recounted the trip for the promotional article:

"The band owned one set of drums, five microphones, and one five-year-old amplifier. With the help of a not-too-willing 1959 Plymouth station wagon and rented equipment trailer totaling over $1,500, the "Grapes" headed for Studio City. For the trip, Brian occupied a position between the tail-gate of the car and the sacred amplifiers, a space of six inches. I filled in the back seat, alone with a spare tire, two dress coats, a lead guitar and my oversize feet. The front seat contained Bill and Ralph, who looked much like the pilot and co-pilot of a strickened WW II B-24 bomber. Despite a trip on the freeways that rivaled with the Wizard of Oz, the Grapes Of Wrath made it to the studio."

The band went over to American Recording Co. studios in the Studio City district in North Hollywood and recorded two songs written and arranged by Ralph Sias in the course of a five-hour session, produced by Mr. Roth.

The band recorded "For Every Year" and "Cause It Was Her". Sunburst didn't release the songs and the Vita single was pressed in March. The songs subsequently received some airplay at the local rock station, at least in May. When the summer came, all members (except Lichty who was one year younger) had graduated from San Pedro High School.

Despite the Seeds-like tones of their best side, the band described themselves as folk-rock. An article of the time pointed out that they had not embraced the hippie style and stuck to short hair and burgundy-cherry dinner jackets.

In September 1967, the band appeared on a Fresno TV show and left for a tour in Redding, Red Bluff and North Sacramento Valley. The tour was planned because "Cause It Was Her" had become popular on Redding's airwaves. Drummer William Doheney was also an amateur radio operator and obtained the single to be played by DJ Ian Evans there.

It's the last thing I found on the band and they likely disbanded in the following months or years.

Ralph Sias became an architect and worked as a chief engineer for various construction companies. He also invented an air-conditioning decontaminating process in the early 2000s.

Bill Lichty in Church Choir, 1968.

Danny Morrow passed a scientific Master Thesis in Lawrence Bekerley Laboratory at the University of California in 1977 and moved to Half Moon Bay, CA.

Bill Lichty sung in many choirs and later attended Harbor College. He later worked in the aircraft field.

H. Eugene MacDonald kept producing a couple of rock singles, 50th Anniversary Zoo ("Love Man") and Scorpio Tube ("Yellow Listen"), that were both bands/projects of Eugene's son Conn. McDonald. It also seems Conn. had been imposed as the bass player to the Grapes by his father for the recordings.

EDIT: I was advised the band was also discussed in Ugly Things #39, you will find more useful information there. The article was also available HERE (site is defunct but the archive survives)

THE GENERATION GAP from Phoenix, AZ - "He'll Make A Fool Out Of You" b/w "Too Far Gone" (Plush, 215 — 1968)

by Achille Brunet

This really cool and rare single with a Beverly Hills, Calif. address got collectors confused for a while. Though indeed having definite ties with California as we'll see, The Generation Gap were in fact based in Phoenix, Arizona and moreover only took up that name with the release.

Let's start at the beginning with lead singer Greg Aitken from Needles. Needles is indeed a California city, but stands right on the Arizona border, placing it almost at exact distance from Phoenix, AZ and Los Angeles, CA.

Born in Chicago, Greg Aitken moved to Needles when he was 8 and attended Needles High School in the early sixties. In 1963, he was part of the saxophone section in the High School band The Bluenotes and toured other Eastern Arizona high schools in St. Johns and Holbrook playing proms. He won the John Philip Souza award on clarinet in 1964, also playing solo perfomances on sax, and kept up with the Bluenotes until mid-1965 when they recorded a souvenir LP "Blue Note '65" that was sold at local venues (but no copy seems to have surfaced).

(Needles Desert Star - Oct 27, 1966)

In Sept 1965, Greg relocated to Phoenix to attend the ASU. In 1966, he joined the In-Turns, a band formed by Central High student Glenn Rosner that was looking for a lead singer. The band included Greg's cousin Charlie Moss who also attended the ASU and introduced him to the band.

Glenn Rosner aka Gage Garnier hailed from Beverly Hills, CA and had probably moved to Phoenix with his father George who was a music director at the Phoenix Country Club. It's not shown on the picture but Glenn played organ. By 1967, he was considered one of the best organist in town at only 17.

Greg joined on lead vocals, sax and tambourine. Charlie Moss hailed from Las Vegas and played bass (but could also play a variety of wind intruments including trumpet). 

(1967 Central High School Yearbook)

Aside from Greg, Glen and Charlie, the band included two other members. One of them might be Alex Witzerman, who likely left the band quickly as he's no longer with the band by Nov 1967. Still he had the time to co-write the A-side of their future single, even if he was out of the band by the time of the recordings.

The other member should be either Brian Garno or John Bryant who were both members by Nov 1967. Brian Garno, the son Vic Caesar's saxman Lou Garno, was on drums but could play bass, guitar and other things as well. John Bryant took care of the lead guitar. Both attended Central High School with Glen.

(The Arizona Republic - May 7, 1967)

The In-Turns appeared mostly at the ASU, billing their sound as "semi-psychedelic" and playing many fraternity dances. The band rapidly achieved a regular following on the campus as one of the most popular band around. Greg also kept ties with Needles and brought the band back with him to play at the 1966 Homecoming Dance at Needles High in October.

In 1967, the band had the oportunity to audition for the Red Dog club in Scottsdale, thanks to Nooney Rickett whom they had befriended and who was a regular at J.D.'s. The club signed them for two months but the manager suggested they change name for Gage Garnier & the Filly Five. Even if Greg was the lead singer and that most articles put his name forward as most were published in his hometown, Gage Garnier was really the leader of the band so it makes sense that the band should take his name.

(The Arizona Republic - May 27, 1967)

It's under that name that the band started to play at the Red Dog from April 1967, often sharing the bill with Stan Devereaux and the Trendsetters until June, then playing a Halloween party at the Safari Hotel in Scottsdale. The sound of the band, originally more rock'n'roll, turned to Rhythm & Blues to fit the club audience.

Their popularity kept increasing and after a month of break, the band started to play Mondays at Mr. Lucky in West Phoenix from November, now playing as the Gage Garnier V. It seems Mr. Lucky had a habbit to shorten band names, i.e. Stephen McGlaughlin and Themselves (dedicated article HERE) that became Steph and Themselves because the name wouldn't fit on the marquee! The reason was probably the same here.

(The Arizona Republic - Nov 12, 1967)

At Mr. Lucky, the band started to hit the big time, playing on the revolving stage (or "musical carrousel") downstairs to the club six nights a week for a couple of weeks until December, probably when Steph and Themselves were out of town since they usually had the job. The band also played all Manzanita-sponsored dances at the ASU, the College Inn, and regularly at the Memorial Union campus in Tempe.

Before leaving Beverly Hills, Glenn Rosner had become friends with Frank Kavelin (the son of legendary musician and record executive Al Kavelin) who had since become producer and arranger himself. 

When the growing local reputation of the band reached his ear, Frank travelled to Phoenix in January 1968 to get the Gage Garnier V on tape. To note only the A side was produced by Frank. Glenn Rosner produced "Too Far Gone" and the song does sound like it was recorded a little later at a different session.

(The Arizona Republic - Jan 20, 1968)

On Jan 20, the band announced "He'll Make A Fool Out Of You" should be out soon, yet pointing out it was "nothing like their club act" but rather "along the line of Paul Revere and the Raiders", then coming back to their original own sound with the In-Turns.

Frank likely drove back to California with the tapes. He may have tried to place them on labels there but the songs weren't picked up, leading to producing the single themselves on their own Plush Records.

The Generation Gap (the S is a typo)

(Needles Desert Star - May, 2 1968)

The timing of the release is a bit unclear. The master numbers date the pressing as late March but the release was only announced as "released this month" on May 2. The band took the opportunity of the release to change their name to the Generation Gap, planning it in advance, maybe keeping it secret until the actual announcement in May.

To add to the confusion, the guys weren't too sure about the new name at first. I take it that they still played as the Gage Garnier V in May 7 when opening for Linda Ronstadt and the Stone Poneys at Borphy Prep gym. 

The band started announcing the name change during their performances, then backed up and published an ad on May 19 asking for better suggestions. But anyway, the name was already printed on the disc for at least a month. 

(The Arizona Republic - May 19, 1968)

Both originals were written in early/mid-1967. "He'll Make A Fool Out Of You", the A side, was co-written by Glenn Rosner and Alex Witzerman, who as mentioned had left by the time of the release.

For once, the fast track is on the A side. The song is cool, fast paced garage track. Some harp seems to be heard in the intro. Glen's voice is accompanied by vocal harmonies throughout the song. The organ bridge is also a great demonstration of Glenn's impressive play. The papers weren't lying when they said he was good! 

Here we have a young guy who despite honestly working and paying his taxes, has to give a piece of his mind to an older guy who constantly bothers and mocks him because of his clothes and hair and anti-war position.

...I own a barber shop

Pay my taxes too

Why don't you take what I give?

I can't understand you

[...]

Wear your hair too long

He'll put you on a spot

If you sing your own song

You're the man that you stop...

"Too Far Gone", the B side, was co-written by Greg Aitken and John Bryant. By the time of the release, John too had already left the band and been replaced Doug Irvine, a native from Santa Monica, CA who first played drums before a leg injury prompted him to turn to guitar. Doug would join Phoenix Junior College in September.

The song has great lyrics. It's a slower but solid number with a noticeable pounding bassline. Charlie Moss explained using a special speaker for extra treble boost and a muted board which allowed him to get a sound by touching the strings with one hand.

Try to sweep out the brain fog

Extricate your thoughts from the mind ball

But you can't even see

You're drowning in the sea of [agony?]

You lost your dynamic health

When you fell into the river of wealth

And you were finally pulled under

In the shame of your colonial plunder

You're too far gone

The fire of defiance is torn

So no other revolution will be born

And I can see on your face

There is no place for disgrace

As I look through the door of my tomb

I can laugh at the other's doom

I have experienced it all but seems unreal

A picture on the wall

You're too far gone

It seems to relate the dark thoughts of a man who lost touch with the world, having become wealthy and powerful by exploiting others, and whose answer to the people's protest is a violent repression. The narrator seems to be the laughing spirit of one of his dead workers. The dark imagery that emanates from the lyrics and its precise construction makes it a very good song.

The song is livened up with an irregular bip (to evoke the sound of a sputnik lost in space?) Not sure what the goal is but it's original.

(Needles Desert Star - May 2, 1968)

The band had brand new bright and colorful stage clothes made by a designer in Scottsdale to accompany the change of sound and name. By that point, the band was managed by George Laibe (also manager of Stan Devereaux, and Eclectic Mouse-a project of ex-Topsy Turbys' Steve Forman-a little later), who announced touring plans for the summer throughout the Midwest and in Alaska.

At the end of May, the band (billed again Gage Garnier V for whatever reason) rented two planes they filled with equipment and flew for a two-night engagement in Midland, Texas. They were back at Mr. Lucky six nights a week at the beginning of June, filling the gap left by Steph And Themselves who were starting to get national attention and were only a few months away from becoming the successful Cornerstone pop band.

(The Arizona Republic - July 21, 1968)

After seven weeks at Mr. Lucky, the band finally made up their mind and announed they were becoming the Generation Gap for good. Greg explained then that the new name fitted best their new style they billed as "musical rock", a restyled rock'n'roll with vocal harmonies and a wider variety of instruments like horns (that aren't in fact heard on the record). With many multi-instrumentists in the band, the aim was to be able to turn between instruments during the shows.

The band left again and toured in New Mexico and on the West Coast, ending the summer in Lake Tahoe on the Calif/Nevada border.

The release of the single had placed great hopes, and the band members had declared its success would define the future of the band. Unfortunately, maybe bummed because the single had not leveled to expectations, the band started to discompose. 

Some members likely refocused on studies and by October, the Generation Gap had regressed into a trio, playing around Scottsdale and Camelback, including once at a Benefit Celebration at Mr. Lucky. Greg took up leadership, having even lost former leader and once namesake Glen Rosner that was "supposedly trying to get into his own thing". That's the last we heard of him in the press.

(Needles Desert Star - Oct 31, 1968)

Having likely lost the job at Mr. Lucky, the trio started to appear more regularly at the Roc-Inn back in Needles. The band also hired ex-YOUR FRIENDS organist Gary Gilbert in November and started to perk up again, announcing working on a third recording.

In February 1969, keeping up with a good popularity in the Needles and Phoenix area, the band signed a four-week playing contract in Hawaii for the summer. One of the crowd's favorite was their arrangement of the Rascals' "People Gotta Be Free" among other popular songs.

An amusing fact is that in March, Greg Aitken attended a lecture of the Needles Marathon Association, not as a singer, but gave a speach to the teenagers on the actual concept of generation gap.

(Needles Desert Star - May 22, 1969)

The band appeared occasionally at the Roc-Inn and Needles High until May 1969, after what they left to Hollywood for recording, then presumably leaving for Hawaii from there.

That's the last we heard of the Generation Gap. The band likely disbanded after returning from Hawaii and the aforementioned recordings never surfaced.

Drummer Brian Garno joined a 10-piece band called Calliope in Dec 1969. He drummed on a dozen of LPs in the 1980s for several Arizona artists. He passed away in 2001.

Greg Aitken

Greg Aitken later released a power pop single in the early 1980s as "Greg Aitken & 360". He worked for the Sedona school district for the past 18 years, teaching music, weight lifting and special education until he passed away in 2011 at his home in Sedona, Arizona. He was buried in Needles.

Glenn Rosner stayed in the area and now lives (I think) in Cottonwood.

_______

Thanks to Mike Markesich and Mikael for additional information on this release.

THE RESTLESS NATIVES - "Wilderness Of Monkeys" b/w "I Had A Spring" (Bantam Records — 3235, 1966)

by Achille Brunet

"Theme songs became the thing for the movies a decade or so ago and every multimillion dollar production had one. Now the same dodge is being tried in the book industry." 

So is introduced the article of the Philadelphia Daily News presenting "Wilderness Of Monkeys", one of the very few, if not the only example of a 1960s rock single actually issued to promote a novel. The thing had indeed become commonplace for movies or commercials, but for a book, that was unheard of.

First published in August 1965 by Dutton, Judith Paige Mitchell's book "A Wilderness Of Monkeys" tells the story of attorney Will Barrett, who's job is to prove that Jacques Gariura, a M.D. who set up a clinic in Leesburg, Virginia, has been slandered by his former perverted colleagues. He goes to Leesburg, uncovers abortion, miscegenation, and adultery. He precipitates a suicide, sheds a mistress, mixes it up pretty good with the ladies, and in the process wins his case.

Bantam's 1966 edition.

The reviews were positive, including in legal periodicals praising its realistic trial scenes and the book quickly became a popular success, though its approach of some daring topics got it to be banned in Memphis, Tennessee.

Judith Paige Mitchell aka Paige Mitchell was born Judith Paige Segel. A native of New Orleans, she lived in Jackson, Mississippi where she was married to Civil Rights attorney Alvin Binder. She worked as a medical artist, illustrating a textbook of physiology. She started to write her first novel "A Wilderness Of Monkeys" in 1963 and also studied law for a year only to strenghen its autencity. The book was published in 1965 and after divorcing, she moved to Los Angeles that year. She also turned to painting, ultimately adding music to the list with this single.

The single by The Restless Natives was made one year later for the paperback print of the novel in November 1966, a year after the first edition. Paige Mitchell was the one to come up with the idea. Her paperback publisher, the well established Bantam Books, was so impressed by the song she wrote that they went as far as establishing a new firm, Bantam Records.

"We at Bantam expect such great things from 'Wilderness' that we formed a record company just to promote the book," said Miss Margolis to The Register.

"They call it diversification" answered Mitchell to the Fort Worth Star-Telegram.

"Wilderness Of Monkeys" is a fast upbeat rocker, sung with a powerful voice by a male singer, backed with female harmonies. Where the title of the book served obviously as an metaphor, the song has in fact nothing to do with the story told in the novel and instead refers to the actual wilderness, speaking of monkeys, fish, sand, hot rocks, oceans and so on. If that was metaphoric too, I didn't grasp it.

Take me where the fishes fly

Take me where all the monkeys cry

Take me (yeah) in the wilderness of monkeys

The flip side, "I Had A Spring", is a slow atmospheric ballad sung with harmonies by a female vocalist (probably the same singer who did backing vocals on the A side) and might feel at home on a Garage Girls compilation. (I'll make a better transfer than this one when I get the chance)

Paige Mitchell was probably the first author to write a rock 'n' roll theme song for her own book, at least Bantam representatives proudly presented her as such, but she wasn't making a stong case for it.

"One day when I didn't have anything in particular to do, I thought it might be amusing to write a song to go with my book. I don't know any music, but a tune comes into my head and I set it to lyrics." she explained to the Philadelphia Daily News.

After bringing the song to Bantam, the publisher most likely hired a studio band for the work. Since Paige Mitchell lived in Los Angeles, the Wrecking Crew and the likes obviously come to mind. However, Bantam Records was established in New York City. Either way, a local band might also have been hired for the job. 

(Cash Box - Nov 12, 1966)

Note: they mixed Allen and Paige's names in credits 

for "Once I Had A Spring". There is no "Miss Allen".

All articles refer to The Restless Natives as a "new rock 'n' roll group". The name was obviously made up in relation to the theme song. I didn't find any band touring under that name, I don't think any gig was done to promote the single either but the band might have had other activities under a different moniker. Articles gave no information on the band. If Bantam took care of it, Paige Mitchell herself may have not known much about the band and recording.

Though it's not precised on the actual release, the copyright entry credits Paige Mitchell for the lyrics and Raymond Allen for the music.

Raymond Allen (miscredited Allan on the label) may have been the producer of the session and the one to find the musicians. He could also have been the male singer of the theme song, for all I know.

I couldn't identify him with certainty. Among the better possibilities in California, he could be Raymond L. Allen who co-wrote a song for the Allegro's in 1959. The Allegro's were from around Cucamunga, CA and the single was later picked up by a Los Angeles label. In the case he was more from the publishing world, there was also a publicity director by that name in Los Angeles in the mid-1960s, and also a magazine publisher in South Pasadena.

If he was rather from New York, I have even fewer leads. There was a veteran actor from New York who performed actively in New York, New Jersey and Pennsylvania and was also singer and dancer in a chorus for a musical in March 1966. But that seems unlikely.

With one man and one woman sharing credit on the 45, I first supposed Allen and Mitchell may have been the two singers heard on the single, but Paige, though often mentioning writing the songs, never said she sang them.

Anyway, as for Allen and the actual band, the mystery remains.

Paige Mitchell went on tour in various cities to plug the Bantam paperback edition of her novel. The book was successful but the record likely had nothing to do with it. It was already selling before that. 

Only a couple of newspapers found worthwhile to mention the record. Most articles have nothing to say about the music itself and rather praise Mitchell's versatility. One Pennsylvania article called them "lilts". In December, another journalist mentioned the record slightly more extensively and the description isn't very flattering:

"I took [...] her record and headed for home where I played the theme song to "A Wilderness Of Monkeys" on the stereo. [...] Paige Mitchell may be a talented novelist and painter, but when it comes to rock and roll songs, The Beatles don't have a thing to worry about!"

The record went way under the radar at the time. DJ copies were sent to radio stations at strategic points in the country in California, New York and Texas. Someone from Austin, Texas recalled his father who was in the DJ business in the mid-60s had given him the promo, possibly after playing it or renouncing to play it (I too own a promo copy). Stock copies were pressed and sales-tested in Dallas, Texas but since they are as scarce as DJ copies, I assume it wasn't very conclusive.

(The Register from Santa Ana, California - Dec 11, 1966)

"[Paige Mitchell] has a second book due out in the spring, 'Love Is Not A Safe Country' and has already cleffed the companion tune." (Philadelphia Daily News from Philadelphia - Nov 23, 1966)

The novel was indeed published in March 1967 (and in 1968 by Bantam) but as for the theme song, it unfortunately stayed in a drawer. "Wilderness Of Monkeys" would be the first and last attempt of this kind. Bantam Records never made anything else.

'Love Is Not A Safe Country' addressed topics that were very controversial in the South and articles report her move to Los Angeles, just before the publication, had something to do with it. 

"'My Jackson friends told me how glad they were I didn't write my [first] novel about the race question,' Miss Mitchell said. 'But my next one [...] IS about the race question.' So, before hardcover publication last year, the lovely 33-year-old author packed up household goods and 3 children and moved from Jackson, Miss. to Los Angeles, knowing she'd broken the code and would no longer be welcome at home." (Cleveland Plain Dealer - Nov 1966)

But that didn't stop Mitchell. Placing authenticity in the center of her work as a novelist, she went as far as taking flying lessons to research her third novel. Due to its popularity, "Wilderness Of Monkeys" was reprinted in 1968 by Dell. The paperback cover ventured into more sensual territory:

Paige Mitchell kept ties with music as in 1966-67 she collaborated with Leon Uris on the musical version of Uris' book "Exodus" planned for Broadway, and occasionally wrote song lyrics. 

She wrote several novels turned on topics of the era including integration and civil rights. She later worked in television in the 1980s as a writer and producer, with topics mainly focused on true crime.

Paige Mitchell passed away in Los Angeles in 2010.

Paige Mitchell in 1965.