While a few of these tracks were released on singles, most of these 17 cuts (from 1966-67) were unavailable until this compilation. There's more potential than quality in this music. But it's an intriguing mix of typical frustrated fuzzy garage rock, adolescent Dylan lyricism, and all sorts of period production touches, like psychedelic reverb and guitar, pop-savvy string arrangements, and AM radio-friendly female backup singers. It's as if Martin couldn't decide whether to be Dylan, the Byrds, the Rascals, or John Phillips, and just decided not to worry about the imbalanced results.
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