1001 ART PROJECTS ABOUT MUSIC

Project 0005 You’re So Vain: The Historical Records For Unknown Recordings Project

Update: The Wickett Things

Suzanne Wickett, the widow of Edward Wickett (lead composer and musician for The Wickett Things) recently discovered a hereto unknown one-sided acetate containing a different version of the song Scarlet Sun. At first, the assumption was that this acetate featured Suzanne singing lead vocals. However, this is a recording of Edward singing new vocals over the original 1968 music track.

The date for this recording is unknown. It likely took place after 1968, possibly during the period Suzanne and Edward entered Ultra-Sonic Studios to lay down Suzanne’s vocals. This would put the recording date somewhere between 1972 and 1973. There’s no explanation as to why Edward redid his vocals. It could be that he wanted to make the song sound more contemporary. His singing on this version is more bluesy, supplanting the psychedelic sound of the earlier recording. His new vocals sound more like the rock bands popular at that time, such as Grand Funk Railroad, Free, or Bachman-Turner Overdrive.

The sound quality of the new vocal track is great, making it a lot easier to understand Edward’s lyrics. Here, for the first time, are the complete lyrics for Scarlet Sun.

They can’t remember what they’ve done today

It really doesn’t matter all that much anyway Concentrating on billboard worries While the world around them scurries Took years upon the ways of their minds Without emotions that leave them so blind, so blind

The scarlet sun has finally set Over those who have not yet discovered life

Now they remember what they’ve done today Life means much in so many different ways Fundamental simple actions With the force of one’s own reactions A piercing into their minds Only in what they find is divine, it’s bliss to have this the scarlet sun The scarlet sun The scarlet sun

The artifact itself isn’t too different from the 1968 acetate. The song is pressed on the standard Audiodiscs brand lacquer disc that Ultra-Sonic Studios used for all of their test records. The record is also protected by a generic Audiodiscs paper sleeve. Besides the new vocals, the only difference between this acetate and the acetate pressed in the sixties is that it just features Scarlet Sun. Edward did not re-record Scarlet Sun’s b-side, Gerry.

Project 0007 Tweet The Document: The Recordings Recording Project

Recordings acquired between March 18 and March 20, 2017. Social media documentation at:

Various Artists: The New Spirit of Capitol Instagram Twitter Flickr

The Flaming Lips: Oczy Mlody Instagram Twitter Flickr

The Everly Brothers: Born Yesterday Instagram Twitter Flickr

Richard Barone: Cool Blue Halo Instagram Twitter Flickr

Various Artists: Sound Waves Instagram Twitter Flickr

Various Artists: In The Beginning ... Instagram Twitter Flickr

Project 0007 Tweet The Document: The Recordings Recording Project

Recordings acquired between March 16 and March 18, 2017. Social media documentation at:

The Beatles: The Beatles Instagram Twitter Flickr

Jeff the Brotherhood: Wasted on a Dream Instagram Twitter Flickr

The Everly Brothers: The Fabulous Style of the Everly Brothers Instagram Twitter Flickr

Don Henley: All She Wants to Do Is Dance Instagram Twitter Flickr

Rick Nelson and the Stone Canyon Band: Garden Party Instagram Twitter Flickr

Chase: Ennea Instagram Twitter Flickr

Project 0008 Sleeves Was All My Joy: The Inner Sleeve Game Project The Record Game: Atlantic/Atco 1973

Project 0007 Tweet The Document: The Recordings Recording Project

Recordings acquired March 16, 2017. Social media documentation at:

The Dads: The Dads Instagram Twitter Flickr

John Carpenter: Lost Themes II Instagram Twitter Flickr

Tropea: Short Trip to Space Instagram Twitter Flickr

Grandaddy: Last Place Instagram Twitter Flickr

The Inner Dialogue: Friend Instagram Twitter Flickr

Damon and Naomi: The Wondrous World of Damon and Naomi Instagram Twitter Flickr

Project 0006 Makes Me Feel Fine: The Fake Book Project

Fake Book Used The New York Times Great Songs of the ‘70s: 81 Songs for Voice Piano and Guitar: Rock, Soul, Pop, Disco, Folk, Jazz, Broadway and the Movies by Milton Okun

Notes

Singing: I’m starting to make the song my own. I’m not singing like Seals and Crofts, but like myself. It’s raw, which is better than anything I’ve done before. I can say confidently that I’m not Seals and Crofts. If anything I’m trying to make the song less insipid, if that’s possible, so I’m adding more growl to my singing. Of course, there are some iffy spots, but they sound purposeful for the first time. I’m enjoying my harmonies as the backing vocals really ground the scratchy main vocal. I think I may a few more attempts at singing like this to get the vocals to place that will allow me to really do my own thing.

Playing: The music sounds good, in fact, I may even say it’s tight. I’m now making a considerate attempt to be messy, but also correct. Something I couldn’t have imagined doing early on. The main line, the chorus, and the bridge all sound good. There are mistakes, but I’m now going with them instead of letting them hang me up. You can pick out single mistakes but it’s not a series of mistakes, which is a major improvement. The goal will be to perfect my slapdash playing style. I think it’ll help me find new pathways forward.

Recording: I recorded the vocal track at a level lower than the guitars and keyboards. I didn’t do this on on purpose, but I admit I like how it turned out. The vocals don’t sound on top of the guitars, but equal to them, which again, helps to hide the rough edges of my singing. I also like that keeping the vocals and guitars at the same level makes the harmony sections pop. I did spend more time on the effects for everything. I was trying to get a crunchier, lo-fi sound, which I think works with the song’s sloppiness.

Project 0005 You’re So Vain: The Historical Records For Unknown Recordings Project

Concluding Notes

Researching The Wickett Things has been a rewarding and somber experience. The artifact itself offered little detail, just band name, song title, management, and recording studio. Yet, this data provided enough information to create a broad historical description of the band.

The Wickett Things were a psychedelic, proto-prog rock act playing and recording in and around Long Island, New York during the late sixties. The band was lead by Edward Wickett, who was the band’s main lyricist, composer, and musician.

This description is supported by the Library of Congress’s Catalog of Copyright Entries and historical documentation on Ultra-Sonic Studios. The strength of this information provided a unique opportunity to confirm and deepen the band’s historical record.

Further research on an Edward Wickett residing in Long Island around 1969 turned up a marriage license, issued in Queens, New York City, for him marrying Suzanne Scourby in 1971. This lead to, sadly, a recent obituary for Edward, which in turn produced a contact for Suzanne, who not only confirmed that her “Eddie” was the Edward Wickett of The Wickett Things, but she also agreed to provide some additional insights into the band.

Suzanne and Edward met in the late sixties. They were both playing in bands at that time. Suzanne was a vocalist in a seven-piece pop rock act named 7th House. Suzanne compares 7th House’s sound to that of The 5th Dimension or Sly and the Family Stone. They played clubs around Long Island and New York City, such as Community Gardens in Queens Village, Cloud Nine in Farmingdale, and Mystic Colossus in Howard Beach. (For more information on 7th House, read this short historical overview on the band’s management site, Lorito Management, Inc.)

The Wickett Things was Edward’s band. The live act consisted of Edward on vocals, organ, and trumpet, usually joined by a guitarist and drummer on stage, although Edward could also play drums. The music on the acetate is Edward playing most, if not, all of the instruments. The Wickett Things never had a major label contract and no official 45 was ever pressed of Scarlet Sun or Gerry, making the acetate the only known recording of these songs. Edward might have tried to compose other original songs, but they were never as complete as Scarlet Sun or Gerry.

Suzanne and Edward married in 1971, at which time Suzanne left 7th House. Edward and Suzanne went into Ultra-Sonic studios around 1973 to record an up-tempo version of Scarlet Sun, this time featuring Suzanne on vocals. Edward and Suzanne presented this recordings to Wally Gold, general manager for Don Kirshner's music company, who Suzanne had known through 7th House, as the band had signed a contract with Kirshner. While they didn't procure a record deal, this confirms that somewhere a recording of the updated version does exist.