Monday, May 14, 2018

Stuck in the Psychedelic Era # 1820 (starts 5/16/18)



    This week's first hour is mostly made up of sets from 1966 and 1968, with a handful of songs from other years thrown in. The second hour, on the other hand, shifts the emphasis to tracks never heard on Stuck in the Psychedelic Era before, including three Advanced Psych tunes from the Rochester, NY-based McFadden's Parachute.

Artist:    Shadows of Knight
Title:    Gloria
Source:    LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s):    Van Morrison
Label:    Rhino (original label: Dunwich)
Year:    1966
    The original Them version of Van Morrison's Gloria found itself banned on the majority of US radio stations due to controversial lyrics. By changing one line (essentially substituting "around here" for "up to my room") the suburban Chicago punk-blues band Shadows of Knight turned it into a huge hit and a garage band standard.

Artist:    Outsiders
Title:    Time Won't Let Me
Source:    Mono CD: Battle Of The Bands Vol. 2 (originally released as 45 RPM single)
Writer(s):    King/Kelly
Label:    Era (original label: Capitol)
Year:    1966
    From Cleveland we have another local band signed to a major label, in this case Capitol Records, which at the time was having great success with both the Beatles and the Beach Boys. Lead vocalist Sonny Gerachi would reappear a few years later with the band Climax, singing a song called Precious and Few, which is one of the greatest juxtapositions of artist names and song titles ever.

Artist:    Cyrkle
Title:    How Can I Leave Her
Source:    Mono LP: Red Rubber Ball
Writer(s):    Danneman/Dawes
Label:    Columbia
Year:    1966
    Originally known as the Rhondells, the Cyrkle got a huge break when they came to the attention of Brian Epstein, the manager of the Beatles, in late 1965. Epstein had been looking for an American band to manage, and liked what he heard when he caught the band in Atlantic City on Labor Day weekend. By the following summer the group, whom Epstein had renamed the Cyrkle (with John Lennon credited for the unique spelling) found itself opening for the Beatles on their last North American tour, including their final live performance at San Francisco's Candlestick Park on August 29th. By then the Cyrkle had released a hit single, Red Rubber Ball, and soon would release an album with the same title. About half the tracks on the LP were written by band members, including the soft-pop How Can I Leave Her, which features the Cyrkle's Beach Boys-inspired harmonies.

Artist:    The Underground
Title:    Easy
Source:    Mono British import: All Kinds Of Highs (originally released in US as 45 RPM single B side)
Writer(s):    O'Keefe/Wright
Label:    Big Beat (original label: Mainstream)
Year:    1966
    The Underground was a Houston-based vocal group made up of four folk singers (two male, two female) looking to transition to pop music. If this sounds a bit familiar, it might be because the Mamas and the Papas were at the peak of their popularity when the Underground was formed. The quartet included Larry O'Keefe, Jerry Wright, Susan Giles and Kay Oslin, with O'Keefe and Wright writing all four of the band's sides recorded for Bob Shad's Mainstream label in 1966. Although there were no production credits listed on the label, the song Easy was produced by Walt Andrus and recorded at his facility in Houston. The record was released in November of 1966.

Artist:    Blues Project
Title:    I Can't Keep From Crying Sometimes
Source:    LP: Projections
Writer(s):    Blind Willie Johnson
Label:    Verve Forecast
Year:    1966
    One lasting legacy of the British Invasion was the re-introduction to the US record-buying public to the songs of early Rhythm and Blues artists such as Blind Willie Johnson. This emphasis on classic blues in particular would lead to the formation of electric blues-based US bands such as the Butterfield Blues Band and the Blues Project. Unlike the Butterfields, who made a conscious effort to remain true to their Chicago-style blues roots, the Blues Project was always looking for new ground to cover, which ultimately led to them developing an improvisational style that would be emulated by west coast bands such as the Grateful Dead and Quicksilver Messenger Service, and by Project member Al Kooper, who conceived and produced the first rock jam LP ever, Super Session, in 1968. As the opening track to their second (and generally considered best) LP Projections, I Can't Keep From Crying Sometimes served notice that this was a new kind of blues, louder and brasher than what had come before, yet tempered with Kooper's melodic vocal style. An added twist was the use during the song's instrumental bridge of an experimental synthesizer known among band members as the "Kooperphone", probably the first use of any type of synthesizer in a blues record.

Artist:    Paul Revere And The Raiders
Title:    Kicks
Source:    Mono European import CD: Pure...Psychedelic Rock (originally released on 45 RPM single)
Writer(s):    Mann/Weil
Label:    Sony Music (original label: Columbia)
Year:    1966
    Kicks may not have been the first pop song with a strong anti-drug message, but it was the first one to be a certified hit, making it to the number four spot on the US charts and hitting number one in Canada. It was also the biggest hit for Paul Revere and the Raiders until Indian Reservation went all the way to the top five years later.

Artist:    Beatles
Title:    Taxman
Source:    CD: Revolver
Writer(s):    George Harrison
Label:    Parlophone (original US label: Capitol)
Year:    1966
    The Beatles' 1966 LP Revolver was a major step forward, particularly for guitarist George Harrison, who for the first time had three of his own compositions on an album. Making it even sweeter was the fact that one of these, Taxman, was chosen to lead off the album itself. Although Harrison is usually considered the band's lead guitarist, the solo in Taxman is actually performed by Paul McCartney, whose own style had a harder edge than Harrison's. This made the song difficult to perform live, but, as the world would soon know, the group had already decided to retire from live performing altogether in order to concentrate on perfecting their studio work.

Artist:    Steve Miller Band
Title:    Brave New World
Source:    LP: Homer soundtrack (originally released on LP: Brave New World)
Writer(s):    Steve Miller
Label:    Cotillion (original label: Capitol)
Year:    1969
    It took the Steve Miller Band half a dozen albums (plus appearances on a couple of movie soundtracks) to achieve star status in the early 1970s. Along the way they developed a cult following that added new members with each successive album. The fourth Miller album was Brave New World, the title track of which was used in the film Homer, a 1970 film that is better remembered for its soundtrack than for the film itself.

Artist:     Jefferson Airplane
Title:     Volunteers
Source:     LP: Volunteers
Writer:     Balin/Kantner
Label:     RCA Victor
Year:     1969
     By 1969 Jefferson Airplane's music was a staple of progressive FM stations but had all but disappeared from the top 40 charts. Still, the band continued to release singles from their albums, including the title track to their fifth (and final with the classic JA lineup) LP, Volunteers.

Artist:     Donovan
Title:     Sunshine Superman
Source:     CD: Sunshine On The Mountain (originally released in edited form on 45 RPM vinyl and on LP: Sunshine Superman)
Writer:     Donovan Leitch
Label:     Sony Music Special Products (original label: Epic)
Year:     1966
     Donovan's hugely successful Sunshine Superman is sometimes credited as being the tsunami that launched the wave of psychedelic music that washed over the shores of pop musicland in 1967. OK, I made that up, but the song really did change the direction of American pop as well as Donovan's own career. Originally released as a three and a quarter minute long single, the full unedited four and a half minute long stereo mix of the song heard here did not appear on vinyl until Donovan's 1969 Greatest Hits album.

Artist:    Rolling Stones
Title:    Dandelion
Source:    45 RPM single (stereo reissue)
Writer(s):    Jagger/Richards
Label:    London
Year:    1967
    If there was a British equivalent to the Beach Boys' Good Vibrations in terms of time and money spent on a single song, it might be We Love You, a 1967 single released by the Rolling Stones. To go along with the single (with its state-of-the-art production) the band spent a considerable sum making a full-color promotional video, a practice that would not become commonplace until the advent of MTV in the 1980s. Despite all this, US radio stations virtually ignored We Love You, choosing to instead flip the record over and play the B side, a tune called Dandelion. As to why this came about, I suspect that Bill Drake, the man behind the nation's most influential top 40 stations, simply decided that the less elaborately produced Dandelion was better suited to the US market than We Love You and instructed his hand-picked program directors at such stations as WABC (New York), KHJ (Los Angeles) and WLS (Chicago) to play Dandelion. The copycat nature of top 40 radio being what it is, Dandelion ended up being a moderate hit in the US in the summer of '67.
       
Artist:    Steppenwolf
Title:    Your Wall's Too High
Source:    CD: Born To Be Wild-A Retrospective (originally released on LP: Steppenwolf)
Writer(s):    John Kay
Label:    MCA (original label: Dunhill)
Year:    1968
    Most of the songs on Steppenwolf's first album had been in the group's stage repertoire for a year or more, giving the band plenty of opportunity to work the bugs out of their arrangements. As a result the band sounded tight and well-rehearsed on their debut LP, as is evident on Your Wall's Too High, a tune written by leader John Kay, who also played slide guitar on the tune.

Artist:    Blue Cheer
Title:    Just A Little Bit
Source:    LP: Insideoutside
Writer(s):    Dick Peterson
Label:    Philips
Year:    1968
    The first Blue Cheer album, Vincebus Eruptum, was known for its loudness. In fact, the feedback-drenched rendition of Eddie Cochrane's Summertime Blues, which was a top 40 hit in 1968, was actually only the tip of the loudness iceberg for the San Francisco power trio. The second Blue Cheer album, Outsideinside, continued the loudness, but tried to give it a bit of structure to go with it. The result was tracks like Just A Little Bit, the band's second single. Just A Little Bit did not, however, repeat the chart success of Summertime Blues, barely scraping the bottom reaches of the Billboard Hot 100. As a result, the album itself did not do as well as its predecessor, and guitarist Leigh Stephens soon departed for a solo career.

Artist:    Creation
Title:    How Does It Feel To Feel
Source:    Mono British import CD: Spirit Of Joy (originally released in UK as 45 RPM single)
Writer(s):    Garner/Phillips
Label:    Polydor
Year:    1968
    Creation was one of a handful of British bands that were highly successful in Germany, but were unable to buy a hit in their own country. Evolving out of a band known as the Mark Four, Creation was officially formed in 1966 by vocalist Kenny pickett, guitarist Eddie Phillips, bassist Bob Garner and drummer Jack Jones. Their first single stalled out at #49 on the British charts, but went to #5 in Germany. The gap was even wider for their second single, which topped the German charts but did not chart in Britain at all. Garner and Phillips both left the band just as How Does It Feel To Feel was issued in early 1968. The band, with a fluctuating lineup, continued on for a few months but finally threw in the towel in late 1968.

Artist:    Quicksilver Messenger Service
Title:    Codine
Source:    CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Revolution soundtrack)
Writer:    Buffy Sainte-Marie
Label:    Rhino (original label: United Artists)
Year:    1968
    Buffy St. Marie's Codine was a popular favorite among the club crowd in mid-60s California. In 1967, L.A. band The Leaves included it on their second LP. Around the same time, up the coast in San Francisco, the Charlatans selected it to be their debut single. The suits at Kama-Sutra Records, however, balked at the choice, and instead released a cover of the Coasters' The Shadow Knows. The novelty-flavored Shadow bombed so bad that the label decided not to release any more Charlatans tracks, thus leaving their version of Codine gathering dust in the vaults until the mid 1990s, when the entire Kama-Sutra sessions were released on CD. Meanwhile, back in 1968, Quicksilver Messenger Service were still without a record contract, despite pulling decent crowds at various Bay Area venues, including a credible appearance at the Monterey International Pop Festival in June of 1967. Not long after that the producers of the quasi-documentary film Revolution decided to include footage of three as-yet unsigned Bay Area bands, one of which was Quicksilver Messenger Service, who performed Codine in the film. Rather than use that performance for the soundtrack album, the producers chose to have the band re-record the song, making Codine the group's first officially released studio recording.

Artist:    T.I.M.E.
Title:    Tripping Into Sunshine
Source:    CD: Ah Feel Like Ahcid (originally released on LP: T.I.M.E. and as 45 RPM single)
Writer(s):    Nicholas/Richardson/Byron/Rumph
Label:    Zonophone (original label: Liberty)
Year:    1968
    After the demise of the Canadian band Sparrow, bassist Nick St. Nicholas gravitated to San Francisco, where he met up with former members of the San Diego-based Hard Times to form T.I.M.E. (Trust In Men Everywhere). The band recorded two albums for Liberty, the first of which opens with the track Tripping Into Sunshine. After the group's demise St. Nicholas rejoined his former Sparrow bandmates in their new band Steppenwolf. He was eventually joined by guitarist Larry Byrom.

Artist:    Limey And The Yanks
Title:    Guaranteed Love
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s):    Reed/Paxton
Label:    Rhino (original label: Star-Burst)
Year:    1966
    Limey and the Yanks were an Orange County, California band that boasted an honest-to-dog British lead vocalist. Despite being kind of Zelig-like on the L.A. scene, they only recorded two singles. The first one, Guaranteed Love, was co-written by Gary Paxton, best known for his involvement in various novelty records, including the Hollywood Argyles' Alley Oop, which he co-wrote with Kim Fowley, and Bobby "Boris" Pickett's Monster Mash, which was released on Paxton's own Garpax label.

    Although the psychedelic era itself officially covers only a few years in the late 1960s, for many the spirit of the era's music lives on. One such person is Darren Brennessel of Rochester, NY, who is the mastermind behind over two dozen McFadden's Parachute albums. Brennessel has been playing professionally since 1989, when he was the drummer for a band called the Purple Flashes, conceiving and recording the first McFadden's Parachute album as a side project. In the years since, in addition to playing multiple instruments on McFadden's Parachute albums then Brennessel has continued to play drums with a variety of bands, including Sky Saxon's Green Forests, which recorded an as-yet unreleased album in 2004. Brennessel has recently sent me a copy of his new CD, Fuzzy Organs, as well as a special sampler collection of McFadden's Parachute tracks recorded mostly in the 1990s. This week we present a special extended Advanced Psych segment made up entirely of McFadden's Parachute tunes. Enjoy.

Artist:    McFadden's Parachute
Title:    I Can't Get High
Source:    CD: Fuzzy Organs
Writer(s):    Darren Brennessel
Label:    PeterFonda
Year:    2018

Artist:    McFadden's Parachute
Title:    Uncle Thaddeus
Source:    CD: Psolipsystic Psychedelic Pslyces Of McFadden's Parachute
Writer(s):    Darren Brennessel
Label:    PeterFonda
Year:    1996

Artist:    McFadden's Parachute
Title:    Good Girls
Source:    CD: Fuzzy Organs
Writer(s):    Darren Brennessel
Label:    PeterFonda
Year:    2018
   
Artist:    Fotheringay
Title:    The Way I Feel
Source:    LP: Fairport Chronicles (originally released on LP: Fotheringay
Writer(s):    Gordon Lightfoot
Label:    A&M
Year:    1970
    After leaving Fairport Convention in 1970, vocalist Sandy Denny formed a new band, Fotheringay. The group released one self-titled LP before Denny decided to go it solo. A highlight from that album is a strong version of Gordon Lightfoot's The Way I Feel.

Artist:    Pentangle
Title:    Once I Had A Sweetheart
Source:    LP: Basket Of Light
Writer(s):    Trad., arr. Cox/Jansch/McShea/Renbourne/Thompson
Label:    Reprise (promo copy)
Year:    1969
    The folk-rock supergroup Pentangle continued to have major chart success in the UK in 1969 with their Basket Of Light LP, which peaked at the #5 spot on the British album charts. Two singles from the album also made the charts; the second of these, Once I Had A Sweetheart, reached a high of #46.

Artist:    Fever Tree
Title:    Nowadays Clancy Can't Even Sing
Source:    LP: Fever Tree
Writer(s):    Neil Young
Label:    Uni
Year:    1968
    Although not the best track on the 1968 Fever Tree debut LP by any means, Nowadays Clancy Can't Even Sing was nonetheless an interesting choice of cover songs for the Houston area band. The string and horn arrangements on the track were by David Angel, who had worked with Love the previous year on their Forever Changes album.

Artist:    Byrds
Title:    The World Turns All Around Her
Source:    LP: Turn! Turn! Turn!
Writer(s):    Gene Clark
Label:    Columbia
Year:    1965
    In their early days, the Byrds were known more for their reworking of other writers' material, such as Bob Dylan's Mr. Tambourine Man and Pete Seeger's Turn! Turn! Turn! than for the songs they wrote themselves. Eventually, Jim (Roger) McGuinn, David Crosby and Chris Hillman would all develop into outstanding songwriters, but before they did, Gene Clark was considered the band's top composer. The World Turns All Around Her, from their second album, Turn! Turn! Turn!, shows why.

Artist:    Bob Dylan
Title:    Visions Of Johanna
Source:    Mono LP: Blonde On Blonde
Writer(s):    Bob Dylan
Label:    Columbia/Sundazed
Year:    1966
    A favorite among hardcore Bob Dylan fans, Visions Of Johanna, from the Blonde On Blonde album, was one of the most difficult Dylan songs to get right in the studio. Dylan first attempted to record the song in New York in November of 1965, utilizing the talents of some of the same musicians he had worked with on his Highway 61 Revisited album as well as members of what would come to be called The Band. After something like 15 takes the song was put on the shelf and not revisited until sessions in Nashville for the Blonde On Blonde album had begun. Only two of the musicians that had worked on the earlier sessions were present in Nashville: guitarist Robbie Robertson and organist Al Kooper. Other musicians on the final recording include guitarists Charlie McCoy and Wayne Moss, bassist Joe South and drummer Kenneth Buttrey.

Artist:    Jimi Hendrix Experience
Title:    Manic Depression
Source:    CD: Are You Experienced?
Writer(s):    Jimi Hendrix
Label:    MCA (original label: Reprise)
Year:    1967
    On February 22, 1967 the Jimi Hendrix Experience played what was possibly their worst gig, which culminated in Hendrix's white Stratocaster being stolen before it was fully paid for. Later that night the band made an appearance at a press reception at which Hendrix, in the words of manager/producer Chas Chandler, sounded like a manic depressive. Inspired by Chandler's observation, Hendrix wrote a song on the subject, which he taught to the band and recorded the next day. Hendrix later referred to Manic Depression as "ugly times music", calling it a "today's type of blues."

Artist:    Albert King
Title:    Night Stomp
Source:    LP: Live Wire-Blues Power
Writer(s):    Jackson/King
Label:    Stax
Year:    1968
    Two legends came together when guitarist Albert King played the Fillmore Auditorium in June of 1968, just one month before promoter Bill Graham closed the venue in favor of the larger Fillmore West. The performance was recorded and released later that same year as Live Wire-Blues Power on the Stax label. It was King's first live album.

Artist:    Doors
Title:    You Need Meat (Don't Go No Further)
Source:    45 RPM single B side
Writer(s):    Willie Dixon
Label:    Elektra
Year:    1971
    The Doors only released three non-album tracks during their existence, one of which was recorded after the death of vocalist Jim Morrison. The newer of the two that did feature Morrison, You Need Meat (Don't Go No Further), was issued as the B side of Love Her Madly, and was released ahead of the L.A. Woman album in 1971. The tune, originally released by Muddy Waters in 1956, was one of several blues covers recorded during the L.A. Woman sessions. The song first appeared in album form on the LP Weird Scenes Inside The Gold Mine, but remained unavailable on CD until 2006, when it appeared on the Perception box set. Weird Scenes was finally reissued on CD in 2014.

Artist:    Doors
Title:    The Unknown Soldier
Source:    CD: Waiting For The Sun (also released as 45 RPM single)
Writer:    The Doors
Label:    Elektra
Year:    1968
    One of the oddest recordings to get played on top 40 radio was the Door's 1968 release, The Unknown Soldier. The song is notable for having it's own promotional film made by keyboardist Ray Manzarek, who had been a film major at UCLA when the Doors were formed. It's not known whether the song was written with the film in mind (or vice versa), but the two have a much greater synergy than your average music video.


Rockin' in the Days of Confusion # 1820 (starts 5/16/18)



    This week we feature then entire first side of the third Jimi Hendrix Experience album Electric Ladyland, including the live-in-the-studio original version of Voodoo Chile with Steve Winwood on organ and Jack Casidy on bass. This kicks off a long set that starts on the bluesy side and ends up rockin' out.

Artist:    Jimi Hendrix Experience
Title:    …And The Gods Made Love/Have You Ever Been (To Electric Ladyland)
Source:    LP: Electric Ladyland
Writer(s):    Jimi Hendrix
Label:    Reprise
Year:    1968
    Like its predecessor, the third Jimi Hendrix Experience album, Electric Ladyland, starts off with a track that is pure special effects. Unlike EXP (from Axis: Bold As Love), which was essentially made up of controlled guitar feedback, …And The Gods Made Love is a more subtle piece employing tape and echo effects to simulate, well, the title says it all. This leads directly in to what was for many Experience fans was new territory, but for Hendrix himself a hearkening back to his days as a backup musician for various soul artists. Have You Ever Been (To Electric Ladyland) is, in fact, a tribute to guitarist/vocalist Curtis Mayfield, leader of the Impressions, whom Hendrix had cited as an influence on his own guitar style.
    By 1968 it didn't matter one bit whether the Jimi Hendrix Experience had any hit singles; their albums were guaranteed to be successful. Nonetheless the Electric Ladyland album had no less that three singles on it (although one was a new stereo mix of a 1967 single). The first single to be released concurrently with Electric Ladyland was Crosstown Traffic, a song that has been included on several anthologies over the years.
    Midway through the making of the Electric Ladyland album, producer Chas Chandler parted ways with the Jimi Hendrix Experience. At first this may seem to be a mystery, but consider the situation: Hendrix, by this time, had considerable clout in the studio. This allowed him to invite pretty much anyone he damn well pleased to hang out while he was making records, including several fellow musicians. It also allowed him the luxury of using the studio itself as a kind of incubator for new ideas, often developing those ideas while the tape machine was in "record" mode. Chandler, on the other hand, had learned virtually everything he knew about producing records from Mickie Most, one of Britain's most successful producers. As such, Chandler tended to take a more professional approach to recording, finding Hendrix's endless jamming to be a waste of valuable studio time. Whether you side with Chandler or Hendrix over the issue, there is one thing that can't be disputed: the Hendrix approach resulted in some of the most memorable rock recordings ever made. Case in point: Voodoo Chile, a fourteen and a half minute studio jam featuring Jack Casady (Jefferson Airplane) on bass and Steve Winwood (Traffic) on keyboards, as well as regular Experience drummer Mitch Mitchell.

Artist:    Cream
Title:    Born Under A Bad Sign
Source:    LP: Wheels Of Fire
Writer:    Jones/Bell
Label:    RSO (original label: Atco)
Year:    1968
    Eric Clapton, Jack Bruce and Ginger Baker were pretty much considered the cream of the crop of the British blues scene in the mid 1960s, so it came as no surprise when they decided to call their new band Cream. Although the trio would go on to record several memorable non-blues tunes such as I Feel Free and White Room, they never completely abandoned the blues. Born Under A Bad Sign, originally recorded by Albert King  for the Stax label and written by labelmates William Bell and Booker T. Jones, is one of the better known tracks from Cream's double-LP Wheels Of Fire, the last album released while the band was still together.

Artist:    Love Sculpture
Title:    Wang Dang Doodle
Source:    British import CD: Blues Helping
Writer(s):    Willie Dixon
Label:    EMI (original label: Parlophone)
Year:    1968
    During my first year of college I moved into a house shared by five other people (not all of whom were students) near the University of New Mexico. Shortly after moving in I bought an old Philips reel-to-reel machine and began taping various albums from my roommates' collections. Not long after that I discovered a gold mine in the basement. A former resident of the house had left a box of reel-to-reel tapes, some of which were only vaguely labeled, if at all. One of the tapes was labeled simply "Love Sculpture". It turned out that some of the songs on that tape were actually from the Blues Project's Projections album, but others, such as this rather tasty version of Koko Taylor's Wang Dang Doodle, were indeed by a band called Love Sculpture. I was not aware at the time, however, that the song was from an album called Blues Helping, or that Love Sculpture's lead guitarist and vocalist was none other than Dave Edmunds, who I had only known as the guy who did the remake of I Hear You Knockin' in the early 1970s.

Artist:    Johnny Winter
Title:    I'll Drown In My Own Tears
Source:    British import CD: Johnny Winter
Writer(s):    Henry Glover
Label:    Repertoire (original US label: Columbia)
Year:    1969
    Originally recorded by Lula Reed in 1951 under the title I'll Drown In My Tears, Drown In My Own Tears was one of Ray Charles's legendary hits for the Atlantic label. Released in 1956, it was Charles's fourth song to top the R&B charts, and inspired him to hire a permanent group of backup singers that would come to be known as the Raelettes. In 1969 Johnny Winter combined the two titles for the version included on his first album for the Columbia label. Although most of the tracks on that album showcase Winter's prowess on guitar, I'll Drown In My Own Tears shifts the emphasis to his vocals, with an arrangement that closely parallels of the Ray Charles version. Keyboards on the track are provided by Johnny's brother Edgar, who would become a full-fledged member of Johnny's band for the album Second Winter.

Artist:    Lynyrd Skynyrd
Title:    I Know A Little
Source:    LP: Gold And Platinum (originally released on LP: Street Survivors)
Writer(s):    Steve Gaines
Label:    MCA
Year:    1977
    Guitarist Steve Gaines was only on one studio album, Street Survivors, as a member of Lynyrd Skynyrd, having joined the band as Ed King's replacement just before the recording of the live album One More For The Road, but he certainly made his mark with the band. Street Survivors was a major success, going into the top 5 on the Billboard album chart in 1977, the highest-charting album for the band at that point. Gaines's own contributions to the album were considerable, and included I Know A Little, which he wrote and played outstanding lead guitar on. Three days after the album was released, Gaines and two other members of the band were killed in a plane crash: Gaines's sister Cassie, who had gotten him invited to play with the band in the first place, and lead vocalist Ronnie Van Zant. 

Artist:    Pink Floyd
Title:    Seamus
Source:    CD: Meddle
Writer:    Waters/Wright/Mason/Gilmour
Label:    Pink Floyd Records (original label: Harvest)
Year:    1971
    After spending several months on the concept album Atom Heart Mother, the members of Pink Floyd decided to lighten things up a bit for their next album, Meddle. Stylistically, Meddle probably has the most variety of any Pink Floyd album, ranging from the driving rocker One Of These Days, to the acoustic blues tune Seamus. The latter song is best played loud, preferably with at least one dog in the room with you.

Artist:    Led Zeppelin
Title:    Over The Hills And Far Away
Source:    CD: Houses Of The Holy
Writer(s):    Page/Plant
Label:    Atlantic
Year:    1973
    Although it was released in 1973 on the album Houses Of The Holy, Over The Hills And Far Away actually dates back to the 1970 songwriting sessions at Bron-Y-Aur that produced most of the music for the Led Zeppelin III album. The band started playing the song in concert in 1972 and released it as a single in advance of the Houses Of The Holy album in early 1973. Although it only got a lukewarm reception from the rock press when it was first released, Over The Hills And Far Away has since come to be regarded as one of Led Zeppelin's top songs, making several "best of" lists over the years.

Artist:    Aerosmith
Title:    Dream Om
Source:    CD: Aerosmith
Writer(s):    Steven Tyler
Label:    Columbia
Year:    1973
    My former bandmate and roomate, the late Jeff "Quincy" Adams, was an Air Force brat like me, although my dad was an enlisted man and his father was a full bird colonel. One of the many places Quincy lived was the Boston area, near Andover AFB, in the early 1970s. Quincy once told me about this band that had a practice room down the street from where he lived. As an aspiring guitarist himself he would try to check out this band whenever possible, but as a young teenager he was of course too shy to actually approach any of the band members. Quincy, looking back on those times fifteen years later, swore that one of the songs that band was playing was Dream On, a song that was not recorded until 1973, when it came out on the first Aerosmith album. So was that jam band down the street indeed Aerosmith? Could be.

Artist:    Deep Purple   
Title:    Living Wreck
Source:    LP: Deep Purple In Rock
Writer(s):    Blackmore/Gillan/Glover/Lord/Paice
Label:    Warner Brothers
Year:    1970
    Deep Purple In Rock was the first studio album to feature what is now considered the "classic" Deep Purple lineup: Richie Blackmore on guitar, Ian Gillan on vocals, Roger Glover on bass, Jon Lord on organ and Ian Paice on drums. It was also the first Deep Purple to hit the top 10 on the British album charts, although the band had done much better in the US with the original lineup. The album is pretty much straight forward hard rock, especially on tunes like Living Wreck, which features Blackmore using a phasing effect and Lord playing through a Leslie rotating horn speaker cabinet.

Artist:    Wishbone Ash
Title:    Queen Of Torture
Source:    CD: The Collection (originally released on LP: Wishbone Ash)
Writer:    Upton/Turner/Turner/Powell
Label:    Spectrum/Universal (original label: Decca)
Year:    1970
    One of the first bands to use dual lead guitars was Wishbone Ash. When Glen Turner, the band's original guitarist, had to leave, auditions were held, but the remaining members and their manager couldn't decide between the two finalists, Andy Powell and Ted Turner, so they kept both of them. Queen Of Torture, from their 1969 debut album, shows just how well the two guitars meshed.

Artist:    Moody Blues
Title:    I'm Just A Singer (In A Rock And Roll Band)
Source:    Stereo 45 RPM single
Writer(s):    John Lodge
Label:    Threshold
Year:    1972
    Following the release of the eighth LP, Seventh Sojourn (don't ask), the Moody Blues decided to take a sojourn of a different kind: a five-year hiatus, allowing the individual members to pursue various solo projects. Before calling it quits, however, they released one last single. As the last track on Seventh Sojourn, I'm Just A Singer (In A Rock And Roll Band) was an appropriate choice for a final effort, and did reasonably well on the US charts, peaking at #12, although it barely made the top 40 in their native England. Since reforming in 1978, the Moody Blues have established themselves as a consistent concert draw, especially around PBS pledge drive time.

Monday, May 7, 2018

Stuck in the Psychedelic Era # 1819 [B19] (starts 5/9/18)



    This week's first hour has a couple of long progressions through the years (with a short 1968 set thrown in), while the second hour is a series of sets from specific years, and includes half a dozen tunes that have never been played on Stuck in the Psychedelic Era before.

 Artist:    Seeds
Title:    Can't Seem To Make You Mine
Source:    Simulated stereo LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single and included on LP: The Seeds)
Writer:    Sky Saxon
Label:    Rhino (original label: GNP Crescendo)
Year:    1965
    One of the first psychedelic singles to hit the L.A. market in 1965 was Can't Seem To Make You Mine. The song was also chosen to lead off the first Seeds album. Indeed, it could be argued that this was the song that first defined the "flower power" sound, its local success predating that of the Seeds' biggest hit, Pushin' Too Hard, by several months.

Artist:    Blues Magoos
Title:    Gotta Get Away
Source:    CD: Kaleidoscopic Compendium (originally released on LP: Psychedelic Lollipop and as 45 RPM single B side)
Writer(s):    Gordon/Adams
Label:    Mercury
Year:    1966
    As was common with most 1966 LPs, the Blues Magoos debut album, Psychedelic Lollipop, included a handful of cover songs, not all of which had been hits for other groups. One of the non-hits was Gotta Get Away, a fairly typical piece of garage rock that opens side two of the LP. The song was also selected as the B side for the group's second (and by far most successful) single, (We Ain't Got) Nothin' Yet. As the usual practice was to bring in outside songwriters for a new band's early singles and let the band write their own B side, it is possible that Gotta Get Away may have been the intended A side of the single.

Artist:    Yardbirds
Title:    Tinker, Tailor, Soldier, Sailor
Source:    45 RPM single B side
Writer(s):    Page/McCarty
Label:    Epic
Year:    1967
    By 1967 the Yardbirds had moved far away from their blues roots and were on their fourth lead guitarist, studio whiz Jimmy Page. The band had recently picked up a new producer, Mickey Most, known mostly for his work with Herman's Hermits and the original Animals. Most had a tendency to concentrate solely on the band's single A sides, leaving Page an opportunity to develop his own songwriting and production skills on songs such as Tinker, Tailor, Soldier, Sailor, a track that also shows signs of Page's innovative guitar style (including an instrumental break played with a violin bow) that would help define 70s rock.

Artist:    Doors
Title:    The Unknown Soldier
Source:    CD: The Best Of The Doors (originally released on LP: Waiting For The Sun and as 45 RPM single)
Writer:    The Doors
Label:    Elektra
Year:    1968
    One of the oddest recordings to get played on top 40 radio was the Door's 1968 release, The Unknown Soldier. The song is notable for having it's own promotional film made by keyboardist Ray Manzarek, who had been a film major at UCLA when the Doors were formed. It's not known whether the song was written with the film in mind (or vice versa), but the two have a much greater synergy than your average music video.


Artist:    Grateful Dead
Title:    Cosmic Charlie
Source:    45 RPM single B side
Writer(s):    Hunter/Garcia/Lesh
Label:    Warner Brothers
Year:    1969
    After spending several months working on their 1969 album, Aoxomoxoa, experimenting with state-of-the-art 16-track equipment and coming in waaaaay over budget in the process, the Grateful Dead's Jerry Garcia and Phil Lesh returned to the studio in 1971 to remix the entire album. Garcia felt that the band had "tended to put too much on everything...A lot of the music was just lost in the mix, a lot of what was really there" when doing the original mix, and the newer mix has been the only one in print ever since. Because the remix was done relatively soon after the original release, copies of the earlier mix are now considered quite rare and have become collectors items. Rarer still are the mono mixes of two tracks from the album that were issued as a 45 RPM single in 1969. The B side of that single was Cosmic Charlie. Feel free to compare it to your newer copy of the album (you know you have one, admit it).

Artist:    Savoy Brown
Title:    Money Can't Save Your Soul
Source:    CD: Looking In
Writer(s):    Simmonds/ Peverett
Label:    Deram (original label: Parrott)
Year:    1970
    Looking In was the sixth album by British blues-rockers Savoy Brown, and the first without lead vocalist Chris Youlden. It was also the final outing for guitarist Dave Peverett, bassist Tone Stevens and drummer Roger Earl, who would go on to form Foghat after being dismissed by bandleader Kim Simmonds. The album was made up entirely of original compositions such as the low-key Money Can't Save Your Soul, which was written by Simmonds and Peverett, had had taken over lead vocals upon Youlden's departure. Both Foghat and a new Savoy Brown lineup would continue to have success, especially in the US, where both bands toured extensively throughout the 1970s.

Artist:    Steppenwolf
Title:    Born To Be Wild
Source:    CD: Steppenwolf
Writer(s):    Mars Bonfire
Label:    MCA (original label: Dunhill)
Year:    1968
    Born To Be Wild's status as a counter-cultural anthem was cemented when it was chosen for the soundtrack of the movie Easy Rider. The popularity of both the song and the movie resulted in Steppenwolf becoming the all-time favorite band of bikers all over the world.

Artist:    West Coast Pop Art Experimental Band
Title:    As Kind As Summer
Source:    LP: Volume III-A Child's Guide To Good And Evil
Writer(s):    Markley/Harris
Label:    Reprise
Year:    1968
    The first time I heard As Kind As Summer from the West Coast Pop Art Experimental Band album Volume III-A Child's Guide To Good And Evil I jumped up to see what was wrong with my turntable. A real gotcha moment.

Artist:    Big Brother And The Holding Company
Title:    Combination Of The Two
Source:    LP: Cheap Thrills
Writer(s):    Sam Andrew
Label:    Columbia
Year:    1968
     Everything about Big Brother And The Holding Company can be summed up by the title of the opening track for their Cheap Thrills album (and their usual show opener as well): Combination Of The Two. A classic case of the whole being greater than the sum of its parts, Big Brother, with Janis Joplin on lead vocals, had an energy that neither Joplin or the band itself was able to duplicate once they parted company. On the song itself, the actual lead vocals for the verses are the work of Combination Of The Two's writer, bassist Sam Houston Andrew III, but those vocals are eclipsed by the layered non-verbal chorus that starts with Joplin then repeats itself with Andrew providing a harmony line which leads to Joplin's promise to "rock you, sock you, gonna give it to you now". It was a promise that the group seldom failed to deliver on.

Artist:    Rolling Stones
Title:    Have You Seen Your Mother, Baby, Standing In The Shadow?
Source:    Mono CD: Singles Collection-The London Years (originally released as 45 RPM single)
Writer(s):    Jagger/Richards
Label:    Abkco (original label: London)
Year:    1966
    By mid-1966 there was a population explosion of teenage rock bands popping up in garages and basements all across the US, the majority of which were doing their best to emulate the grungy sound of their heroes, the Rolling Stones. The Stones themselves responded by ramping up the grunge factor to a previously unheard of degree with their last single of the year, Have You Seen Your Mother, Baby, Standing In The Shadow? It was the most feedback-laden record ever to make the top 40 at that point in time, and it inspired America's garage bands to buy even more powerful amps and crank up the volume (driving their parents to drink in the process).

Artist:    First Edition
Title:    Just Dropped In (To See What Condition My Condition Was In)
Source:    CD: Even More Nuggets (originally released as 45 RPM single)
Writer:    Mickey Newbury
Label:    Rhino (original label: Reprise)
Year:    1968
    In 1968, former New Christy Mistrels members Kenny Rogers and Mike Settle decided to form a psychedelic rock band, the First Edition. Although Settle wrote most of the songs on the first album, it was Rogers who would emerge as the star of the group, even to the point of eventually changing the band's name to Kenny Rogers and the First Edition. That change reflected a shift from psychedelic to country flavored pop that would eventually propel Rogers to superstar status.

Artist:    Beatles
Title:    Birthday
Source:    CD: The Beatles
Writer:    Lennon/McCartney
Label:    Parlophone (original label: Apple)
Year:    1968
    One of the great ironies of rock history was that the album entitled simply The Beatles was the one that had the fewest songs with all four of the band members playing on them. By 1968 the Beatles were experiencing internal conflicts, and nearly all of John Lennon and Paul McCartney's songs were played by just the two of them, while George Harrison's songs (and Ringo Starr's single contribution as a songwriter) featured an array of some of the UK's top musicians (including guitarist Eric Clapton). The opening track of side three of the album is typical of this approach, as Birthday is essentially a McCartney solo piece.


Artist:    Bubble Puppy
Title:    I've Got To Reach You
Source:    British import CD: A Gathering Of Promises
Writer(s):    Potter/Cox
Label:    Charly (original label: International Artists)
Year:    1969
    The Bubble Puppy came into existence in 1967, when two former members of the legendary Corpus Christie,Texas garage band the Bad Seeds, guitarist Rod Prince and keyboardist/bassist Roy Cox, relocated to San Antonio, recruiting guitarist Todd Potter and drummer Craig Root to form the new band. Success came quickly in the form of the band's very first gig, opening for the Who at the San Antonio Colosseum. After David Fore replaced Root in the band, the group relocated to Austin, where they got a steady gig at the Vulcan Gas Company. By 1968 the Bubble Puppy was traveling all over Texas for gigs, and late in the year got a contract with Houston-based International Artists, a label that had already gained notoriety by signing the 13th Floor Elevators and Red Crayola. After releasing a surprise top 40 hit, Hot Smoke And Sassafras, in December of 1968, the band got to work on a full album, A Gathering Of Promises. International Artists failed to get the album, which was full of fine tunes like I've Got To Reach You, out quickly enough to capitilize of the popularity of Hot Smoke And Sassafras, and further hurt the band's chance of success by refusing to grant licensing rights on the single to Apple Records for European release. By 1970 the band and the label had parted company, with the Bubble Puppy relocating to Los Angeles and changing their name to Demian, in part to disassociate themselves from a genre (bubble gum) that they were actually never a part of to begin with.

Artist:    Tommy James And The Shondells
Title:    Talkin' And Signifyin'
Source:    LP: Travelin' (promo copy)
Writer(s):    James/King
Label:    Roulette
Year:    1970
    Tommy James And The Shondells were one of the most popular acts of the late 1960s, with several top 40 hits, including Hanky Panky, Mony Mony, and Crimson And Clover, to their credit. By 1970, however, public tastes were changing, and the Shondells, who had, perhaps unfairly, become associated with the "bubble-gum" trend that dominated the airwaves in 1968, found themselves faced with poor record sales and shrinking audiences for their live performances. Their seventh album, Cellophane Symphony, peaked at a disappointing #141 spot on the Billbard album charts, a severe drop from the #8 performance of their previous LP, Crimson And Clover. The band's final LP, Travelin', was an attempt to be taken more seriously, as can be heard on songs like Talkin' And Signifyin' (lots of apostrophes on that album), but managed to achieve a peak chart position of only #91. James soon departed the band for a solo career.

Artist:    Van Der Graff Generator   
Title:    Firebrand
Source:    British import CD: Spirit Of Joy (originally released as 45 RPM single B side)
Writer(s):    Peter Hammill
Label:    Polydor
Year:    1969
    One of the rarest records ever released was Van Der Graff's debut single, People You Were Going To, with a tune called Firebrand appearing on the B side. The record was released on the UK Polydor label in January of 1969, but was almost immediately withdrawn due to the fact that the band's leader, Peter Hammill, had signed a contract with Mercury Records the previous year. The Mercury contract was so bad, however, that the rest of the band members refused to sign it, and for a while it looked like Van Der Graaf Generator would be little more than a footnote in the history of British Rock. Later that year, however, Hammill began work on a solo album that appeared under the name Van Der Graaf Generator, but only in the US. Nonetheless, it was enough to fulfill the terms of his Mercury contract, freeing Hammill up to reform the band and sign with the Charisma label, where they established themselves as one of the most influential progressive rock bands of the 1970s.
   
Artist:       Easybeats
Title:        Friday On My Mind
Source:   CD: Nuggets-Classics From The Psychedelic 60s (originally released as 45 RPM single)
Writer(s):    Vanda/Young
Label:    Rhino (original label: United Artists)
Year:        1966
       Considered by many to be the "greatest Australian song" ever (despite the fact that it was actually recorded in London), the Easybeats' Friday On My Mind, released in late 1966, certainly was the first major international hit to emerge from the island continent. Rhythm guitarist George Young, who co-wrote Friday On My Mind, would go on to produce another Australian band featuring his two younger brothers, Angus and Malcolm.

Artist:     Kinks
Title:     Deadend Street
Source:     45 RPM single
Writer(s):    Ray Davies
Year:     1967
     The last major Kinks hit in the US was Sunny Afternoon in the summer of 1966. The November follow-up, Deadend Street, was in much the same style, but did not achieve the same kind of success in the US (although it was a top five hit in the UK). The Kinks would not have another major US hit until Lola was released in 1970.

Artist:    Outsiders
Title:    Help Me Girl
Source:    45 RPM single
Writer(s):    English/Weiss
Label:    Capitol
Year:    1966
    Although it doesn't happen very often these days, throughout pop music history there have been, on occasions, competing versions of the same song released by two or more artists. Sometimes one version would become the "standard" version soon enough for a record to be a genuine hit (for instance the Kingsmen's version of Louie Louie as opposed to the Paul Revere and the Raiders version recorded at around the same time and place), but as often as not the competing versions would actually end up hurting each other's chart action. Such was the case with Help Me Girl, a song released simultaneously by the Outsiders and Eric Burdon (as Eric Burdon And The Animals, despite actually being Burdon's vocals backed up by studio musicans). In Denver, where I was living at the time, there were two competing top 40 stations, ratings leader KIMN and ABC network affiliate KBTR, which still carried some network programming such as Don McNeill's Breakfast Club in the morning. Both stations published weekly charts, which were available in record stores and other locations. Although I listened to both stations, I was a bigger fan of KBTR, whose top 40 charts were included in a four page mini-newspaper, as opposed to KIMN's single page top 60 listing. When Help Me Girl came out, KIMN played the Eric Burdon version exclusively, while KBTR did the same for the Outsiders version. As a KBTR listener I was more into the Outsiders version of the song, so much so that I bought a copy of the 45. To me, Sonny Gerachi's yearning vocals seem to fit the song better than Burdon's swaggering style. Nationally, the Burdon version made it to the #29 spot, while the Outiders version stalled out at #37, reflecting, perhaps, the fact that by 1966 the Animals, with Burdon as frontman, already had a string of top 20 hits, while the Outsiders were known for just one song, Time Won't Let Me. Sonny Gerachi would have one more hit single a few years later as the lead vocalist of a group called Climax with a song called Precious And Few, while Outsiders drummer Jim Fox would go on to found the James Gang.

Artist:    The Id
Title:    The Rake
Source:    Mono CD: A Heavy Dose Of Lyte Psych (originally released as 45 RPM single)
Writer(s):    Paul Arnold
Label:    Arf! Arf! (original label: RCA Victor)
Year:    1967
    Not much is known about the Id other than the fact that they were from San Diego and released an album called The Inner Sounds Of The Id. The entire LP was written, produced and arranged by Paul Arnold, and was released on the RCA Victor label (at the time the world's #1 record label) in 1967. The opening track from that album, The Rake, was released as a single as well.

Artist:    Turtles
Title:    She's My Girl
Source:    Mono LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single)
Writer:    Bonner/Gordon
Label:    Rhino (original label: White Whale)
Year:    1967
    A favorite among the Turtles' members themselves, She's My Girl is full of hidden studio tricks that are barely (if at all) audible on the final recording. Written by the same team as Happy Together, the song is a worthy follow up to that monster hit.

Artist:    Garden Club
Title:    Little Girl Lost-And-Found
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s):    Walsh/Almer
Label:    Rhino (original label: A&M)
Year:    1967
    Garden Club was in reality Ruthann Friedman (who wrote the Association hit Windy) on vocals with a bunch of studio musicians performing a song co-written by Tandyn Almer (co-writer of the Association hit Along Comes Mary and inventor of the dual-chamber bong). Oddly enough, the track reminds me somehow of Suzanne Vega.

Artist:    Jimi Hendrix Experience
Title:    If 6 Was 9
Source:    CD: Axis: Bold As Love
Writer(s):    Jimi Hendrix
Label:    MCA (original label: Reprise)
Year:    1967
    Before 1967 stereo was little more than an excuse to charge a dollar more for an LP. That all changed in a hurry, as artists such as Jimi Hendrix began to explore the possibilities of the technology, in essence treating stereophonic sound as a multi-dimensional sonic palette. The result can be heard on songs such as If 6 Were 9 from the Axis: Bold As Love album, which is best listened to at high volume, preferably with headphones on. Especially the spoken part in the middle, when Jimi says the words "I'm the one who's got to die when it's time for me to die, so let me live my life the way I want." It sounds like he's inside your head with you.
   
Artist:    Bonzo Dog Band
Title:    I'm The Urban Spaceman
Source:    LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s):    Neil Innes
Label:    United Artists
Year:    1968
    The Bonzo Dog Doo-Dah Band (as they were originally called) was as much theatre (note the British spelling) as music, and were known for such antics as starting out their performances by doing calisthentics (after being introduced as the warm-up band) and having one of the members, "Legs" Larry Smith tapdance on stage (he was actually quite good). In 1967 they became the resident band on Do Not Adjust Your Set, a children's TV show that also featured sketch comedy by future Monty Python members Eric Idle, Terry Jones and Michael Palin along with David Jason, the future voice of Mr. Toad and Danger Mouse. In 1968 the Bonzos released their only hit single, I'm The Urban Spaceman, co-produced by Paul McCartney. Frontman Neil Innes would go on to hook up with Eric Idle for the Rutles project, among other things, and is often referred to as the Seventh Python.

Artist:     Cream
Title:        White Room
Source:    CD: Wheels Of Fire
Writer(s):    Bruce/Brown
Label:    Polydor (original label: Atco)
Year:        1968
        Musically almost a rewriting of Eric Clapton's Tales of Brave Ulysses (from Cream's Disraeli Gears album), White Room, a Jack Bruce/Pete Brown composition from the Wheels Of Fire album, is arguably the most popular song ever to feature the use of a wah-wah pedal prominently.

Artist:    Blue Cheer
Title:    Second Time Around
Source:    LP: Vincebus Eruptum
Writer(s):    Dick Peterson
Label:    Philips
Year:    1968
    Blue Cheer was the loudest, heaviest band on the San Francisco scene (and maybe the whole world) in 1968, and Second Time Around was the most feedback-drenched track on their debut album, Vincebus Eruptum. Appropriately, it was also the closing track on the LP.

Artist:    Lovin' Spoonful
Title:    Good Time Music
Source:    Mono LP: What's Shakin'
Writer(s):    John Sebastian
Label:    Sundazed (original label: Elektra)
Year:    1966
    Elektra Records almost signed its first rock band in 1965. The label, formed in New York in 1950 by Jac Holzman and Paul Rickolt, had built up a following for its folk music records in the 1950s and 60s, including recent releases by Phil Ochs and Tom Paxton, and was looking to broaden its scope with the locally popular Lovin' Spoonful. The Spoonful, however, despite their friendship with Holzman, decided that signing with Elektra was too risky. According to bassist Steve Boone, they "wanted to be clearly identified as a rock band" including appearances on Dick Clark's shows American Bandstand and Action, something the owners of Kama Sutra Records were able to provide, due to their connections. The fact that Kama Sutra had a national distribution deal with M-G-M Records, then one of the six major labels, probably factored into their decision as well. Still, the band felt that they owed Holzman something for his support, and gave him four recorded songs to use as he saw fit. Those four tracks ended up on an Elektra anthology album called What's Shakin' that was released in 1966. By that time, the Lovin' Spoonful was one of the hottest acts in the country, and the presence of songs like John Sebastian's Good Time Music helped make the album a success (as did the presence of recordings by the Butterfield Blues Band and a trio of songs credited to Eric Clapton and the Powerhouse). Many years later Sebastian would express his regret in not signing with Elektra, as the band got ripped off financially by Kama Sutra.

Artist:    Who
Title:    Don't Look Away
Source:    CD: A Quick One (original US title: Happy Jack)
Writer(s):    Pete Townshend
Label:    MCA (original label: Decca)
Year:    1966
    Don't Look Away may well be the least documented Who song ever. Even the expanded liner notes for the 1966 album A quick One are limited to a single line describing where and when the song was recorded (IBC Studios, London, November 1966 for those who care). The song was never issued as a B side or EP track. In fact, it seems to only exist as the opening track of side two of A Quick One. So there.

Artist:    Mamas And The Papas
Title:    Strange Young Girls
Source:    CD: The Mamas And The Papas
Writer(s):    John Phillips
Label:    MCA (original label: Dunhill)
Year:    1966
    The Mamas And The Papas had their own little soap opera going in 1966 when it was discovered that Mama Michelle (who was married to Papa John) and Papa Denny were having an affair. Being the 60s Michelle, but not Denny, soon found herself kicked out of the group, to be replaced by Mama Jill, who was actually Producer Lou's girlfriend. Michelle had already recorded several tracks for the group's second album, and some of those got recorded over by Jill. A couple of months later, however, Michelle rejoined the band and ended up recording over some (but not all) of Jill's vocal tracks. At this late date, nobody seems to know for sure just whose vocals ended up on which tracks by the time the LP hit the racks, and it is even possible that all five singers can be heard on songs such as Strange Young Girls, which has some of the most complex harmonies ever recorded by the group.

Artist:    Glad
Title:    Let's Play Make Believe
Source:    Feelin' Glad
Writer(s):    Floegel/Phillips
Label:    ABC
Year:    1969
    The band Glad is significant not for anything they released on their two albums (for example, a song called Let's Play Make Believe), but for what happened to the band afterwards. One member, Timothy B. Schmidt, went on to replace bassist Randy Meisner in Poco the following year (and the Eagles a few years after that), while the rest of the band eventually changed their name to Redbone and had a hit with Witch Queen of New Orleans.

Rockin' in the Days of Confusion # 1819 [B19] (starts 5/9/18)



    This week we have the most recent of five "contingency" shows, recorded in December of 2017, but not aired until now. It's a good one, too.

Artist:    Blue Oyster Cult
Title:    (Don't Fear) The Reaper
Source:    European import CD: Pure...Psychedelic Rock (originally released on LP: Agents Of Fortune)
Writer(s):    Donald Roeser
Label:    Sony Music
Year:    1976
    Guitarist/vocalist Buck Dharma wrote (Don't Fear) The Reaper in his late 20s. At the time, he said, he was expecting to die at a young age. Dharma (real name Donald Roeser), is now 71 years old.

Artist:    Mahogany Rush
Title:    Land Of 1000 Nights
Source:    Canadian import CD: Strange Universe
Writer(s):    Frank Marino
Label:    Just A Minute (original label: 20th Century)
Year:    1975
    Formed in Montreal in 1970, Mahogany Rush was, in its early days, a power trio led by guitarist Frank Marino, along with bassist Paul Harwood and drummer Jimmy Ayoub. Marino's style has often been compared to that of Jimi Hendrix, whom Marino cites as a major influence. Perhaps their most successful album was Strange Universe, recorded in Montreal and released on the 20th Century label in 1975. Later in the decade the trio was joined by Marino's brother Vince on rhythm guitar and began touring as Frank Marino And Mahogany Rush.

Artist:    Gun
Title:    Yellow Cab Man
Source:    British import CD: Gun
Writer(s):    Gurvitz/Parsons
Label:    Repertoire (original label: CBS)
Year:    1968
    Sometimes your timing is just right. Such was the case with Gun, whose powerful three-piece sound came along just as iconic bands like Cream and the Jimi Hendrix Experience were on the verge of breaking up. Released in 1968. Gun's self-titled debut LP featured the hit single Race With The Devil, a tune that made the top 10 in England and Germany. Other strong tracks on the album included Yellow Cab Man, which incorporated car horns mixed with the loud fuzz guitar of Adrian Gurvitz (then calling himself Adrian Curtis), backed by his brother Paul on bass and Louis Farrell on drums. Gun was unable to sustain their popularity after Race With The Devil had fallen off the charts, and the Gurvitz brothers soon disbanded the group and formed first Three Man Army and then the Baker-Gurvitz (with legendary Cream drummer Ginger Baker) in the 1970s.

Artist:    Deep Purple
Title:    Prelude: Happiness/I'm So Glad
Source:    LP: Shades Of Deep Purple
Writer(s):    Evans/Lord/Paice/Blackmore/Simper/James
Label:    Tetragrammaton
Year:    1968
    Deep Purple was originally the brainchild of vocalist Chris Curtis, whose idea was to have a band called Roundabout that utilized a rotating cast of musicians onstage, with only Curtis himself being up there for the entire gig. The first two musicians recruited were organist Jon Lord and guitarist Ritchie Blackmore, both of whom came aboard in late 1967. Curtis soon lost interest in the project, and Lord and Blackmore decided to stay together and form what would become Deep Purple. After a few false starts the lineup stabilized with the addition of bassist Nicky Simper, drummer Ian Paice and vocalist Rod Evans. The group worked up a songlist and used their various connections to get a record deal with a new American record label, Tetragrammaton, which was partially owned by actor/comedian Bill Cosby. This in turn led to a deal to release the band's recordings in England on EMI's Parlophone label as well, although Tetragrammaton had first rights to all the band's material, including the classically-influenced Prelude: Happiness, which leads directly into a cover of the Skip James classic I'm So Glad. The band's first LP, Shades Of Deep Purple, was released in the US in July of 1968 and in the UK in September of the same year. The album was a major success in the US, where the single Hush made it into the top five. In the UK, however, it was panned by the rock press and failed to make the charts. This would prove to be the pattern the band would follow throughout its early years; it was only after Evans and Simper were replaced by Ian Gillan and Roger Glover that the band would find success in their native land. (Check out this week's edition of Rockin' in the Days of Confusion for a classic track from the revised Deep Purple lineup).

Artist:      Fairport Convention
Title:     Tam Lin
Source:      LP: Leige and Leaf
Writer(s):    Trad. arr. Swarbuck
Label:     A&M
Year:     1969
     Fairport Convention was hailed as England's answer to Jefferson Airplane when they first appeared. As Tam Lin, from their 1969 album Leige And Lief shows, they soon established a sound all their own. Sandy Denny, heard here on lead vocals, is probably best known to US audiences for her backup vocals on Led Zeppelin's The Battle of Evermore from their fourth LP.

Artist:    Badfinger
Title:    No Matter What
Source:    Stereo 45 RPM single
Writer(s):    Pete Ham
Label:    Apple
Year:    1970
    Aside from the Beatles, the band most closely associated with Apple Records was Badfinger. Originally known as the Iveys, Badfinger was the first band signed to Apple and remained with the label throughout its existence. Led by Pete Ham, Badfinger had a string of successful singles for the label, including No Matter What, a Ham composition from the band's second LP, No Dice. The song, released in 1970, is considered by many to be the earliest example of what would come to be known as power pop later in the decade.

Artist:     Grand Funk Railroad
Title:     Rock 'N' Roll Soul
Source:     Stereo 45 RPM single
Writer:     Mark Farner
Label:     Capitol
Year:     1972
     By 1972 Grand Funk Railroad's performances were no longer all sellouts, and the band began to shift emphasis to their recorded work. Problems with Terry Knight's management practices were also becoming an issue, and their sixth studio LP, Phoenix, would be the last to be produced by Knight. Rock 'N' Roll Soul, a somewhat typical Mark Farner song, was the first and only single released from the album, and would have only minor success on the charts. The next record, We're An American Band, would signal a major change of direction for the band, with other members besides Farner taking a role in the songwriting and a much greater emphasis on hit singles than ever before.

Artist:    Santana
Title:    Everybody's Everything
Source:    Stereo 45 RPM single (promo)
Writer(s):    Santana/Moss/Brown
Label:    Columbia
Year:    1971
    Santana's third album, released in 1971, was called simply Santana. The problem is, their first album was also called Santana. The guitar solo on Everybody's Everything, by the way, is not by Carlos Santana. Rather it was performed by the then 17-year-old Neal Schon, who, along with keyboardist Greg Rolie would leave the band the following year to form Journey.

Artist:    Allman Brothers Band
Title:    Black Hearted Woman
Source:    CD: Beginnings (originally released on LP: The Allman Brothers Band)
Writer(s):    Gregg Allman
Label:    Polydor (original label: Atco)
Year:    1969
    It's almost a cliche that a rock and roll songwriter will get at least one good song out of a relationship that ends badly. If this is indeed the case, Gregg Allman's relationship with a woman in Los Angeles named Stacy must have been particularly rocky, as it served as the inspiration for no less than three songs on the Allman Brothers Band's debut LP. Perhaps the most "to the point" of these was Black Hearted Woman, which pulls no punches whatsoever.

Artist:    Yes
Title:    We Are Heaven/South Side Of The Sky
Source:    CD: Fragile
Writer(s):    Anderson/Squire
Label:    Atlantic
Year:    1971
    The fourth Yes album, Fragile, introduced the "classic" Yes lineup of John Anderson (vocals), Bill Bruford (drums), Steve Howe (guitar), Chris Squire (bass) and Rick Wakemen (keyboards), and features some of the band's best known songs. Four of the album's songs, including South Side Of The Sky, feature the entire band, while the remaining five tracks were contributed by the individual members. We Have Heaven, a multi-tracked Anderson solo piece, leads directly into South Side Of The Sky, and has a lyrical connection to the longer piece, as both songs address matters of mortality. South Side, according to new liner notes, is about a polar expedition that ends with the death of the entire party, with somewhat metaphorical references to mountain climbing as well. Anderson says the inspiration for the song's lyrics came from an article he read in which sleep was referred to as Death's little sister. Although the song is credited to Anderson and Squire, the basic guitar riff actually came from a composition played by Howe's previous band, Bodast, while the repeating piano arpeggio in the middle of the piece was provided by Wakeman.

Artist:     Jethro Tull
Title:     Wond'ring Aloud
Source:     CD: Aqualung
Writer:     Ian Anderson
Label:     Chrysalis (original US label: Reprise)
Year:     1971
     If the first three Jethro Tull albums can be considered steps on a path, then Aqualung would have to be the destination. The first Tull album to achieve massive commercial success, Aqualung shows the band finally divorced from its beginnings as a blues band and firmly in the control of vocalist/flautist/acoustic guitarist/songwriter Ian Anderson. An expanded version of Wond'ring Aloud called Wond'ring Again was recorded around the same time and was included on the 1973 album Living In The Past.

Monday, April 30, 2018

Stuck in the Psychedelic Era # 1818 [B18] (starts 5/2/18)



    Once again the emphasis is on deep tracks on a show recorded in December of 2016, but never before aired, that includes artists' sets from three British bands and a track from an album that I have been misreading the title of for over 50 years (hint: it's by the Buckinghams).

Artist:    Cream
Title:    Badge
Source:    CD: Goodbye Cream
Writer(s):    Clapton/Harrison
Label:    Polydor
Year:    1969
    Famously co-written by Eric Clapton and a psuedononomous George Harrison, Badge remains one of the best-loved songs in Clapton's repertoir. Both guitarists are featured prominently on this recording. Felix Pappaliardi (the unofficial 4th member of Cream and co-founder of Mountain) plays the tinkly piano.

Artist:    Cream
Title:    Politician
Source:    LP: Wheels Of Fire
Writer(s):    Bruce/Brown
Label:    Atco
Year:    1968
    Although the songwriting team of Jack Bruce and Pete Brown are best known for providing Cream with its more psychedelic songs such as White Room and SWLABR, they did occasionally come up with bluesier numbers such as Politician from the Wheels Of Fire album. The song quickly became a staple of Cream's live performances.

Artist:    Cream
Title:    Doing That Scrapyard Thing
Source:    CD: Goodbye Cream
Writer(s):    Bruce/Brown
Label:    Polydor (original label: Atco)
Year:    1969
    In its original form, the album Goodbye Cream had three new studio tracks on it, one for each member of the band. Jack Bruce's contribution was Doing That Scrapyard Thing, co-written (as were the majority of Bruce's compositions) by poet Pete Brown. Lyrics don't get much more psychedelic than this.

Artist:    Jethro Tull
Title:    My Sunday Feeling
Source:    CD: This Was
Writer(s):    Ian Anderson
Label:    Chrysalis/Capitol (original label: Reprise)
Year:    1968
    For years my only copy of Jethro Tull's first LP, This Was, was a cassette copy I had made myself. In fact, the two sides of the album were actually on two different tapes (don't ask why). When I labelled the tapes I neglected to specify which tape had which side of the album; as a result I was under the impression that My Sunday Feeling was the opening track on the album. It turns out it was actually the first track on side two, but I still tend to think of it as the "first" Jethro Tull song, despite the fact that the band had actually released a single, Sunshine Day, the previous year for a different label.

Artist:    Tomorrow
Title:    Real Life Permanent Dream
Source:    British import CD: Insane Times (originally released on LP: tomorrow)
Writer(s):    Keith Hopkins
Label:    Zonophone (original label: Parlophone)
Year:    1968
    One of the most prominent bands to emerge from London's psychedelic underground, Tomorrow never quite achieved the success it deserved, despite having several opportunities to show their stuff. Evolving out of the British soul cover band The In Crowd, Tomorrow was the band originally slated to appear in the film Blow Up, and even recorded the movie's theme song before having to bow out of the project (the Yardbirds appeared instead). They did get a decent amount of airplay for their 1967 single My White Bicycle, enabling them to record an entire album for Parlophone in 1968. Real Life Permanent Dream is a track from that album that showcases the talents of guitarist Steve Howe, who would go on to become a genuine rock star when he became a member of Yes in the early 1970s.

Artist:    Donovan
Title:    Jennifer Juniper
Source:    British import CD: The Hurdy Gurdy Man
Writer(s):    Donovan Leitch
Label:    EMI (original label: Epic)
Year:    1968
    Donovan's British label, Pye, chose not to release 1967's Wear Your Love Like Heaven as a single. As a result, Donovan had no current tunes on the British charts in January of 1968, when he recorded Jennifer Juniper. The song was an instant British hit when released the following month, going to the #5 spot on the charts. The song did not do as well when it was released a month later in the US, however, stalling out at #35. The song was later included on the 1968 LP The Hurdy Gurdy Man.

Artist:    Beatles
Title:    Yellow Submarine
Source:    CD: Revolver
Writer(s):    Lennon/McCartney
Label:    Capitol)/EMI
Year:    1966
    Ringo's greatest hit. (What, you expected some sort of hidden insight into one of the best-known songs in pop culture history???)

Artist:    Beatles
Title:    Fixing A Hole
Source:    CD: Sgt. Pepper's Lonely Hearts Club Band
Writer(s):    Lennon/McCartney
Label:    Parlophone (original label: Capitol)
Year:    1967
    Until 1967 every Beatle album released in the US had at least one hit single included that was not on the British version of the album (or was never released as a single in the UK). With the release of Sgt. Pepper's Lonely Hearts Club Band, however, the track lineup became universal, making it the first Beatle album released in the US to not have a hit single on it. Nonetheless, the importance (and popularity) of the album was such that virtually every song on it got top 40 airplay at one time or another, although some tracks got more exposure than others. One of the many tracks that falls in between these extremes is Fixing A Hole, a tune by Paul McCartney that features the harpsichord prominently.

Artist:    Beatles
Title:    She Said She Said
Source:    CD: Revolver
Writer(s):    Lennon/McCartney
Label:    Capitol/EMI
Year:    1966
    The last song to be recorded for the Beatles' Revolver album was She Said She Said, a John Lennon song inspired by an acid trip taken by members of the band (with the exception of Paul McCartney) during a break from touring in August of 1965. The band's manager, Brian Epstein, had rented a large house in Beverly Hills, but word had gotten out and the Beatles found it difficult to come and go at will. Instead, they invited several people, including the original Byrds and actor Peter Fonda, to come over and hang out with them. At some point, Fonda brought up the fact that he had nearly died as a child from an accidental gunshot wound, and used the phrase "I know what it's like to be dead." Lennon was creeped out by the things Fonda was saying and told him to "shut up about that stuff. You're making me feel like I've never been born." The song itself took nine hours to record and mix, and is one of the few Beatle tracks that does not have Paul McCartney on it (George Harrison played bass). Perhaps not all that coincidentally, Fonda himself would star in a Roger Corman film called The Trip (written by Jack Nicholson and co-starring Dennis Hopper) the following year.

Artist:     Who
Title:     Bucket T
Source:     CD: A Quick One (bonus track originally released in UK on EP: Ready Steady Who)
Writer:    Atfield/Christian/Torrance
Label:     MCA (original label: Track)
Year:     1966
     Ready Steady Go was Britain's answer to American Bandstand. A hugely popular one-shot special edition of the show called Ready Steady Who aired in 1966. A five song EP (also called Ready Steady Who) had an entirely different set of songs than the TV special, and included some real oddities such as their version of the Batman theme and Bucket T, a hot rod song from earlier in the decade.

Artist:    Who
Title:    Mary-Anne With The Shaky Hands
Source:    The Who Sell Out
Writer(s):    Pete Townshend
Label:    Decca
Year:    1967
    There are at least three versions of Mary-Anne With The Shaky Hands. A faster, electric version of the song was released only in the US as the B side to I Can See For Miles, while this semi-latin flavored acoustic version was included on The Who Sell Out. Yet another version is featured as a bonus track on the 1993 CD release of Sell Out.

Artist:     Who
Title:     In The City
Source:     CD: A Quick One (bonus track originally released in UK as a 45 RPM single B side)
Writer:     Entwhistle/Moon
Label:     MCA (original UK label: Track)
Year:     1966
     The war between the Who and Brunswick Records continued throughout 1966 with Brunswick responding to each new Who single with one of their own, using album tracks from the My Generation album. Despite this all the new Who singles on Reaction/Polydor that year made it to the top 5 in the UK, while the Brunswick singles did increasingly worse with each subsequent release. Brunswick finally gave up the battle after I'm A Boy (on Reaction) went all the way to # 2 on the UK charts, while Brunswick's La-La-La-Lies didn't even crack the top 100. The B side of I'm A Boy was In The City, a rare collaboration between bassist John Entwhistle and drummer Keith Moon. The song was included on the CD remastered version of the Who's second album, A Quick One, released in 1993.

Artist:    Bob Dylan
Title:    The Times They Are A-Changin'
Source:    CD: Bob Dylan's Greatest Hits (originally released on LP: The Times They Are A-Changin')
Writer(s):    Bob Dylan
Label:    Columbia
Year:    1964
    I vaguely remember seeing a movie back in the 80s (I think it may have been called The Wanderers) about a street gang from an Italian-American neighborhood somewhere in New York City, circa 1960. I really don't remember much about the plot of the film, but I do remember a bit near the end, where the main character walks down a street in Greenwich Village and hears the sound of Bob Dylan coming from a coffee house singing The Times They Are A-Changin'. I've often thought of that scene and how it symbolized the shift from the conformist culture of the late 50s (represented by the peer pressure-driven gang life) to the turbulence that would characterize the 1960s.

Artist:    The Word (aka War Babies)
Title:    Now It's Over
Source:    Mono British import CD: With Love- A Pot Of Flowers (bonus track originally released in US as 45 RPM single)
Writer(s):    Lincoln/Watt
Label:    Big Beat (original label: Brent)
Year:    1965
    Now it's Over was a one-off folk-rock single by multi-instrumentalists Wesley Watt and Bill Lincoln, recording as the Word, on Bob Shad's Brent label in 1965. The duo had originally recorded the song for the Highland label under the name War Babies, and would resurface in 1966 with a group called Euphoria.

Artist:    13th Floor Elevators
Title:    You're Gonna Miss Me
Source:    CD: The Psychedelic Sounds Of The 13th Floor Elevators
Writer:    Roky Erickson
Label:    Collectables (original label: International Artists)
Year:    1966
    If anyplace outside of California has a legitimate claim to being the birthplace of the psychedelic era, it's Austin, Texas. That's mainly due to the presence of the 13th Floor Elevators, a local band led by Roky Erickson that had the audacity to use an electric jug onstage. Their debut album was the first to actually use the word psychedelic (predating the Blues Magoos' Psychedelic Lollipop by mere weeks). Musically, their leanings were more toward garage-rock than acid-rock, at least on their first album (they got more metaphysical with their follow-up album, Easter Everywhere).

Artist:    Janis Ian
Title:    Janey's Blues
Source:    LP: Janis Ian
Writer(s):    Janis Ian
Label:    Polydor (original label: Verve Forecast)
Year:    1967
    Following the success of her first hit single, Society's Child, singer/songwriter/poet Janis Ian released her self-titled debut LP in early 1967, follwing it up with two more albums, For All The Seasons Of Your Mind and The Secret Life Of J. Eddy Fink, over the next year or so. Although there were singles released from each of these, none of them got much chart action. Finally, in late 1968, her label decided to go back to her debut LP for her fifth single, Janey's Blues. I suspect the song's length (nearly five minutes) automatically kept many AM radio DJs from playing the song, which is a shame, as Janey's Blues is one of the undiscovered gems of the late 1960s.

Artist:    World Column
Title:    Lantern Gospel
Source:    Mono British import CD: My Mind Goes High (originally released as 45 RPM single)
Writer(s):    Kaplan/Meyer
Label:    Warner Strategic Marketing (original label: Atco)
Year:    1968
    World Column was actually an R&B band from the midwest that, for some unknown reason, decided to change styles and record a song which has since become a psychedelic classic. Lantern Gospel, released in the summer of 1968, appeared on a dozen bootleg compilation albums before finally being officially released on the Rhino Handmade CD My Mind Goes High, which is now available in the UK through Warner Strategic Marketing.

Artist:    Guess Who
Title:    Laughing
Source:    CD: The Best Of 60s Supergroups (originally released as 45 RPM single and included on LP: Canned Wheat)
Writer(s):    Bachman/Cummings
Label:    Priority (original label: RCA Victor)
Year:    1969
    Following the success of their American LP debut, Wheatfield Soul (and the hit single These Eyes), the Guess Who headed back to the studio to record their fifth album, Canned Wheat. RCA Victor had a policy stating that groups signed to the label had to use RCA's own studios, whether they wanted to or not. The Guess Who and their producer, Jack Richardson, however, felt that RCA's New York studios were to inferior to A&R studios, where Wheatfield Soul had been recorded, and to prove their point secretly re-recorded two songs, Laughing and Undun, at A&R. They then sent dubs of the two new recordings to the shirts at RCA, who immediately issued the recordings as the band's next single, unaware that they had been recorded at A&R. By the time RCA realized what was going on, the single was already climbing the charts (eventually hitting the #10 spot), and ended up using the two new recordings on Canned Wheat. The remainded of the album was made up of the tracks recorded at RCA Studios. Their next album, American Woman, would be recorded at RCA's brand new Mid-America Recording Center in Chicago.
       
Artist:    Crosby, Stills, Nash And Young
Title:    Woodstock
Source:    LP: So Far (originally released on LP: déjà vu)
Writer(s):    Joni Mitchell
Label:    Atlantic
Year:    1970
    It's somewhat ironic that the most famous song about the Woodstock Music and Art Festival was written by someone who was not even at the event. Joni Mitchell had been advised by her manager that she would be better off appearing on the Dick Cavett show that weekend, so she stayed in her New York City hotel room and watched televised reports of what was going on up at Max Yasgur's farm. Further inspiration came from her then-boyfried Graham Nash, who shared his firsthand experiences of the festival with Mitchell. The song was first released on the 1970 album Ladies Of The Canyon, and was made famous the same year when it was chosen to be the first single released from the Crosby, Stills, Nash And Young album déjà vu. The CSNY version peaked just outside of the Billboard top 10.

Artist:    Spirit
Title:    Fresh Garbage
Source:    CD: Spirit
Writer(s):    Jay Ferguson
Label:    Ode/Epic/Legacy
Year:    1968
    Much of the material on the first Spirit album was composed by vocalist Jay Ferguson while the band was living in a big house in California's Topanga Canyon outside of Los Angeles. During their stay there was a garbage strike, which became the inspiration for the album's opening track, Fresh Garbage. The song starts off as a fairly hard rocker and suddenly breaks into a section that is pure jazz, showcasing the group's instrumental talents, before returning to the main theme to finish out the track.The group used a similar formula on about half the tracks on the LP, giving the album and the band a distinctive sound right out of the box.

Artist:    Fever Tree
Title:    Man Who Paints The Pictures
Source:    LP: Fever Tree
Writer(s):    Hlotzman/Holtzman/Michaels
Label:    Uni
Year:    1968
    Fever Tree is one of those bands that bridges the gap from the psychedelic rock of the late 60s to the progressive rock of the early 70s. Formed in Houston, the band recorded a couple of singles for Bob Shad's Mainstream label, both of which were successful enough for their producers, the husband and wife team of Scott and Vivian Holtzman, to move the band to Los Angeles, where they signed with Uni Records (now known as MCA). Fever Tree's 1968 debut LP for Uni featured arrangements by David Angel, who had provided string and horn arrangements for the critically-acclaimed Love album, Forever Changes, the previous year. Overall, side one is the stronger side of the LP, featuring the band's best-known song, San Francisco Girls (Return Of The Native), and the hard-rocking Man Who Paints The Pictures, among others.

Artist:    Eric Burdon And The Animals
Title:    Sky Pilot
Source:    CD: The Best Of Eric Burdon And The Animals (originally released on LP: The Twain Shall Meet)
Writer(s):    Burdon/Briggs/Weider/Jenkins/McCulloch
Label:    Polydor (original label: M-G-M)
Year:    1968
    After the original Animals lineup disbanded in late 1966, lead vocalist Eric Burdon quickly set out to form a "New Animals" group that would come to be called Eric Burdon and the Animals. Their biggest hit was 1968's Sky Pilot, a song that was so long it had to be split across two sides of a 45 RPM record. The uninterrupted version of the song was included on the group's second album, The Twain Shall Meet.

Artist:    Procol Harum
Title:    Quite Rightly So
Source:    CD: Shine On Brightly
Writer(s):    Brooker/Reid
Label:    A&M
Year:    1968
    In 1969, while living on Ramstein AFB in Germany, my dad managed to get use of one of the basement storage rooms in building 913, the 18-unit apartment building we resided in. For a few months (until getting in trouble for having overnight guests and making too much noise...hey I was 16, whaddaya expect?) I got to use that room as a bedroom. I had a small record player that shut itself off when it got to the end of the record, which meant I got to go to sleep every night to the album of my choice. As often as not that album was Shine On Brightly, a copy of which I had gotten in trade for another album (the Best of the Beach Boys I think) from a guy who was expecting A Whiter Shade of Pale and was disappointed to discover it was not on this album. I always thought I got the better end of that deal, despite the fact that there was a skip during the fade of Quite Rightly So, causing the words "one was me" to repeat over and over until I scooted the needle over a bit. Luckily Quite Rightly So is the first song on the album, so I was usually awake enough to do that.

Artist:    Big Brother And The Holding Company
Title:    I Need A Man To Love
Source:    LP: Cheap Thrills
Writer(s):    Joplin/Andrew
Label:    Columbia
Year:    1968
    Big Brother and the Holding Company recorded their first album at the Chicago studios of Mainstream records in 1967. Mainstream, however, was a jazz label and their engineers had no idea how to make a band like Big Brother sound good. When the band signed to Columbia the following year it was decided that the best way to record the band was onstage at the Fillmore West. As a result, when Cheap Thrills was released, four of the seven tracks were live recordings, including the Janis Joplin/Peter Albin collaboration I Need A Man To Love.

Artist:    Easybeats
Title:    Good Times
Source:    CD: More Nuggets (originally released in UK and Australia as 45 RPM single)
Writer(s):    Vanda/Young
Label:    Rhino (original label: Parlophone)
Year:    1968
    The Easybeats were Australia's most popular band in the sixties. Formed in 1964 at a migrant hostel in Sidney (all the members came from immigrant families), the band's earliest British Invasion styled hits were written by rhythm guitarist George Young (older brother of AC/DC's Angus and Malcolm Young) and lead vocalist "Little" Stevie Wright. By 1966, however, lead guitarist Harry Vanda (originally from the Netherlands) had become fluent in English and with the song Friday On My Mind replaced Wright as Young's writing partner (although Wright stayed on as the band's frontman). Around that same time the Easybeats relocated to England, although they continued to chart hits on a regular basis in Australia. One of their most memorable songs was Good Times from the 1968 album Vigil, featuring guest vocalist Steve Marriott. Young and Vanda later moved back to Australia and recorded a series of records under the name Flash and the Pan that were very successful in Australia and Europe. Stevie Wright went on to become Australia's first international pop star. The song Good Times became a hit for another Australian band, INXS, in the 1980s when it was used in the film The Lost Boys.

Artist:    Rolling Stones
Title:    Dandelion
Source:    45 RPM single (stereo reissue)
Writer(s):    Jagger/Richards
Label:    London
Year:    1967
    If there was a British equivalent to the Beach Boys' Good Vibrations in terms of time and money spent on a single song, it might be We Love You, a 1967 single released by the Rolling Stones. To go along with the single (with its state-of-the-art production) the band spent a considerable sum making a full-color promotional video, a practice that would not become commonplace until the advent of MTV in the 1980s. Despite all this, US radio stations virtually ignored We Love You, choosing to instead flip the record over and play the B side, a tune called Dandelion. As to why this came about, I suspect that Bill Drake, the man behind the nation's most influential top 40 stations, simply decided that the less elaborately produced Dandelion was better suited to the US market than We Love You and instructed his hand-picked program directors at such stations as WABC (New York), KHJ (Los Angeles) and WLS (Chicago) to play Dandelion. The copycat nature of top 40 radio being what it is, Dandelion ended up being a moderate hit in the US in the summer of '67.
       
Artist:    First Crew To The Moon
Title:    The Sun Lights Up The Shadows Of Your Mind
Source:    Mono British import CD: Ah Feel Like Ahcid (originally released as 45 RPM single B side)
Writer(s):    Jerry Milstein
Label:    Zonophone (original label: Roulette)
Year:    1967
    Originally known as the Back Door Men, and later the Bootleggers, Brooklyn, NY's First Crew To The Moon signed with the Roulette label on the recommendation of legendary songwriter Doc Pomus. Unfortunately for the band, their only record for Roulette, a song called Spend Your Life With Me, was released just as the label's entire promotional budget was being spent on the latest single by labelmates Tommy James And The Shondells, a tune called I think We're Alone Now. To add insult to injury, Roulette misspelled the band's name on both sides of the record, inadvertently rechristening them First Crow To The Moon, a name that actually fits the record's B side, a psychedelic masterpiece called The Sun Lights Up The Shadows Of Your Mind, quite well. As it turned out, none of this really mattered, as the band soon disbanded following the death of lead guitarist Alan Avick of leukemia. Perhaps the group's greatest legacy, however, was to serve as inspiration to their friend Chris Stein, who several years later would team up with Deborah Harry to form a group called Blondie.

Artist:    Buckinghams
Title:    I'll Be Back
Source:    LP: Time And Charges
Writer(s):    Lennon/McCartney
Label:    Columbia
Year:    1967
    I have a confession to make: I've had a copy of the Buckinghams' 1967 Columbia debut LP since the late 1970s, when I found it at a thrift store near the University of New Mexico in Albuquerque. All this time I thought the name of the album was Time And Changes. I recently (early 2018) realized that the actual title of the album is Time And Charges. It says so right on the label. And the front cover. And the spine of the album cover, for that matter. No idea how I missed that. Anyway, the album, despite being fairly light pop for the most part, does have some interesting tracks, such as a cover of the Beatles' I'll Be Back which was arranged for the band by producer James William Guercio, whose interest in rock bands with a horn section would lead him to produce the second (and most successful) Blood, Sweat & Tears album, as well as all the early Chicago LPs.

Artist:    Savoy Brown
Title:    Poor Girl
Source:    CD: Looking In
Writer(s):    Kim Simmonds
Label:    Deram (original label: Parrot)
Year:    1970
     Poor Girl, from the 1970 album Looking In, is probably Savoy Brown's best known recording. Shortly after Looking In was released, the entire band except for leader Kim Simmonds left Savoy Brown to form a new band: Foghat.

Artist:    Locomotive
Title:    Mr. Armageddon
Source:    British import CD: Psychedelic At Abbey Road (originally released as 45 RPM single and on LP: We Are Everything You See)
Writer(s):    Norman Haines
Label:    EMI (original label: Parlophone)
Year:    1969
    It's probably more than appropriate that a band from Birmingham, England, home of the industrial revolution, would have a name like Locomotive. Led by vocalist/guitarist Norman Haines, the group also included Mick Taylor (trumpet), Will Madge (keyboards), Mick Hincks (bass), and Bob Lamb (drums). After making their vinyl debut on the Direction label, the band moved to the larger Parlophone, recording their only album in 1968. The album, including the single Mr. Armageddon, was released in January of 1969. Not long after the album appeared on the racks Haines disbanded Locomotive and formed the Norman Haines group.

Artist:    Ultimate Spinach
Title:    Baroque # 1
Source:    LP: Ultimate Spinach
Writer(s):    Ian Bruce-Douglas
Label:    M-G-M
Year:    1967
    Of the six major US record labels of the time, only two, Decca and M-G-M, failed to sign any San Francisco bands in the late 1960s. Decca, which had been bought by MCA in the early 60s, was fast fading as a major force in the industry (ironic considering that Universal, the direct descendant of MCA, is now the world's largest record company). M-G-M, on the other hand, had a strong presence on the Greenwich Village scene thanks to Jerry Schoenbaum at the Verve Forecast label, who had signed such critically-acclaimed artists as Dave Van Ronk, Tim Hardin and the Blues Project. Taking this as an inspiration, the parent label decided to create interest in the Boston music scene, aggressively promoting (some would say hyping) the "Boss-Town Sound". One of the bands signed was Ultimate Spinach, which was led by keyboardist Ian Bruce-Douglas, who wrote all the band's material, including the instrumental Baroque # 1.

Artist:    Strawberry Alarm Clock
Title:    Incense And Peppermints
Source:    Mono CD: Nuggets-Original Artyfacts from the Psychedelic Era (originally released as 45 RPM single)
Writer:    Carter/Gilbert/Weitz/King
Label:    Rhino (original label: Uni)
Year:    1967
    Incense and Peppermints is one of the iconic songs of the psychedelic era, yet when it was originally released to Los Angeles area radio stations it was intended to be the B side of The Birdman of Alkatrash. Somewhere along the line a DJ flipped the record over and started playing Incense And Peppermints instead. The song caught on and Uni Records (short for Universal, which is now the world's largest record company) picked up the Strawberry Alarm Clock's contract and reissued the record nationally with Incense And Peppermints as the A side.