Album Review: Strawberry Alarm Clock – Where’s One?

Strawberry Alarm Clock got a bad rap. Thanks to their period-evoking name (see also: Electric Prunes, Vanilla Fudge, Peanut Butter Conspiracy et. al.) the group’s image is sort of captured in metaphoric amber. Their biggest hit featured a guy singing who wasn’t even in the group – and who didn’t sound like anybody who was. As such, they’re often and unfairly destined for the “remember when” files. The thing is, they had lots of great songs – especially on their first two LPs, 1967’s Incense and Peppermints and Wake Up… It’s Tomorrow from ‘68. They played with the subtlety and inventiveness of jazzers; listen to the swingin’ “Unwind With the Clock” from the first record. And they could rock with seething, psychedelic intensity (check out “The World’s on Fire”).

By the late-late ‘60s, things went a bit off the rails, as they often did, and the lineup underwent many changes. Styles moved on, and SAC was all but forgotten, save of course for “Incense and Peppermints.” Some of us, though, hung onto those first two albums and continued (and continue) to enjoy them.

Now, in 2026 the news of an act from Way Back Then returning with new music is inevitably met with some skepticism. For every Chocolate Watch Band, there are, it would seem, several Cyrkles (to name one). But hope springs eternal, and so the news of a new album from Strawberry Alarm Clock certainly grabbed my attention. Upon learning a bit more — namely that no less than five of the band members (out of six total) are guys who were on those early LPs – I was more than intrigued.

And then I put on the album. Now, one of the strengths (in my view) of those ‘60s LPs was the vocal work. And the opening track on Where’s One? is “Feel the Love,” an a capella song that is quite reminiscent of Brian Wilson’s vocals-only remix of “Imagination” from the ‘90s. Great stuff. And it segues seamlessly into the dark, minor-key “Monsters.” That tune has more of those creamy harmonies (as backing) along with a delightfully atmospheric arrangement that evokes the ‘60s without slipping into pastiche (much less parody). Had the Dukes of Stratosphear given us “Monsters,” we’d be grateful. And the whacked-out guitar solo from relative newcomer Howie Anderson (who joined in 1986, by the way) is a thrill.

I’ll admit that upon seeing “Day Tripper” noted on the sleeve, I did worry a bit. Why bother, goes the thinking. The answer becomes plain when spinning the track. It’s effectively an instrumental, and an inventive, muscular one at that. Strawberry Alarm Clock nearly reinvent the tune yet insert enough reverential flourishes to avoid heresy. It rocks, and hard, besting, say, Cheap Trick’s version by a mile.

The woozy and psychedelic “White Light” is intentionally disorienting and hard to follow; it’s a bit like out-of-tune jazz filtered through a proggy sensibility. Truly weird to be sure, but commendable for its adventurousness. “Blow Your Mind” straddles boogie rock and a weird Southern California skewed pop reminiscent of Mike Nesmith’s “Cruisin’.” The gentle “I’m Not the One” feels like – of all things – a track from the first Yes album. And that’s meant as praise.

Another cover – another Beatles cover, in fact – is quite unexpected. Few artists have deigned to cover George Harrison’s Sgt. Pepper Indian excursion “Within You Without You,” but here SAC does just that, and well. The band’s choice of more rock-leaning instrumentation – electric sitar, synth – is a wise choice; they maintain the vibe while giving the track their own spin.

Anderson’s “Since You Have Gone Away” is a comparatively conventional melancholy love ballad, but the band’s arrangement choices and heartfelt delivery make it a delightful addition to the album. The breezy “Live Water” showcases some lovely textures, with flute and vocal harmonies adorning a solid melody. It also sports a superb and lengthy instrumental section featuring beautiful solos on guitar, keys and vibes.

“Primordial Soup” is dramatic and – with its spoken bits – a tad over the top. But it’s catchy, and all done in good fun. It sort of suggests in places what the Beach Boys might have sounded like had Brian stuck around after SMiLE. “The Sky Isn’t Falling” is perhaps the most contemporary-sounding tune on Where’s One?, but even so it has a timeless feel that follows on from what the group is doing as a whole.

“Tahitian Gardens” suggests what a collaboration between George Harrison and Jimmy Buffett might’ve sounded like, but it’s better than mention of the latter might augur. The album wraps in grand fashion with a wacky piece called “Galactic Symphony – Persian Skies.” Stephen Kalinich’s spoken word vocal may call to mind similar endeavors by Kim Fowley, but don’t hold that against it. The music bed is a treat.

In 2026 I certainly never expected to consider an album by Strawberry Alarm Clock as one of my potential picks for the year’s best. That may just happen, and even if not, Where’s One? is a fine record.