Monday, July 31, 2017

Stuck in the Psychedelic Era # 1731 (starts 8/2/17)

All the electric lights were out when I recorded this, so I went with longer tracks so I wouldn't have to write down as much stuff. Eyestrain, you know.

Artist:    Paul Revere and the Raiders
Title:    Steppin' Out (1990 stereo remix)
Source:    CD: The Legend Of Paul Revere (originally released as 45 RPM single)
Writer(s):    Revere/Lindsay
Label:    Columbia
Year:    1965
    1965 was the year that Paul Revere and the Raiders hit the big time. The Portland, Oregon band had already been performing together for several years, and had been the first rock band to record Louie Louie in the spring of 1963, getting airplay on the West Coast and Hawaii but losing out nationally to another Portland band, the Kingsmen, whose version was recorded the same month as the Raiders'. While playing in Hawaii the band came to the attention of Dick Clark, who was looking for a band to appear on his new afternoon TV program, Where The Action Is. Clark introduced the band to Terry Melcher, a successful producer at Columbia Records, which led to the Raiders being the first true rock band signed by the label. Appearing on Action turned out to be a major turning point for the band, who soon became the show's defacto hosts as well as house band. The Raiders' first national hit in their new role was Steppin' Out, a song written by Revere and vocalist Mark Lindsay about a guy returning from military service (as Revere himself had done in the early 60s, reforming the band upon his return) and finding out his girl had been unfaithful. Working with Melcher, the Raiders enjoyed a run of hits from 1965-67 unequalled by any other Amercian rock band of the time.

Artist:    Blues Project
Title:    Steve's Song
Source:    LP: Projections
Writer(s):    Steve Katz
Label:    Verve Forecast
Year:    1966
    The members of the Blues Project came from a variety of backgrounds, including jazz, rock, classical and of course, blues. Guitarist Steve Katz had the strongest connection to the Greenwich Village folk scene and was the lead vocalist on the Project's recording of Donovan's Catch The Wind on their first LP. For their second album Katz wrote his own song, entitled simply Steve's Song. The tune starts with a very old-English style repeated motif that gets increasing complicated as it repeats itself before segueing into a more conventional mode with Katz on the lead vocal. Katz would write and sing simlarly-styled tunes, such as Sometimes In Winter, as a member of Blood, Sweat and Tears.

Artist:     Donovan
Title:     Epistle To Dippy
Source:     Mono CD: Mellow Yellow (bonus track originally released as 45 RPM single)
Writer:     Donovan Leitch
Label:     EMI (original US label: Epic)
Year:     1967
     Following up on his successful Mellow Yellow album, Donovan released Epistle To Dippy in the spring of 1967. The song, utilizing the same kind of instrumentation as Mellow Yellow, was further proof that the Scottish singer was continuing to move beyond the restrictions of the "folk singer" label and was quickly becoming the model for what would come to be called "singer/songwriters" in the following decade.

Artist:    Jefferson Airplane
Title:    Streetmasse
Source:    LP: After Bathing At Baxter's
Writer(s):    Kantner/Dryden/Blackman/Thompson/Balin
Label:    RCA Victor
Year:    1967
     After Bathing At Baxter's is generally considered the most pyschedelic of all the Jefferson Airplane albums. For one thing, the members were reportedly all on LSD through most of the creative process and were involved in the entire package, right down to the decision to divide the album up into five suites and press the vinyl in such a way that the spaces normally found between songs were only present between the suites themselves, making it almost impossible to set the needle down at the beginning of the second or third song of a suite (there is a slight overlap between most of the songs as well). The first suite on After Bathing At Baxter's is called Streetmasse. It consists of three compositions: Paul Kantner's The Ballad of You and Me and Pooniel; A Small Package of Value Will Come To You Shortly (a free-form jazz piece led by drummer Spencer Dryden); and the Paul Kantner/Marty Balin composition Young Girl Sunday Blues.

Artist:     Jefferson Airplane
Title:     White Rabbit
Source:     CD: Psychedelic Pop (originally released on LP: Surrealistic Pillow)
Writer:     Grace Slick
Label:     BMG/RCA/Buddah
Year:     1967
     The first time I heard White Rabbit was on Denver's first FM rock station, KLZ-FM. The station branded itself as having a top 100 (as opposed to local ratings leader KIMN's top 60), and prided itself on being the first station in town to play new releases and album tracks. It wasn't long before White Rabbit was officially released as a single, and went on to become a top 10 hit, the last for the Airplane.

Artist:     Jefferson Airplane
Title:     How Suite It Is
Source:     LP: After Bathing At Baxters
Writer(s):     Kantner/Cassidy/Dryden/Kaukonen
Label:     RCA Victor
Year:     1967
     The second side of After Bathing At Baxters starts off fairly conventionally (for the Airplane), with Paul Kantner's Watch Her Ride, the first third or so of something called How Suite It Is. This leads (without a break in the audio) into Spare Chaynge, one of the coolest studio jams ever recorded, featuring intricate interplay between Jack Cassidy's bass and Jorma Kaukonen's guitar, with Spencer Dryden using his drum kit as enhancement rather than as a beat-setter. In particular, Cassidy's virtuoso performance helped redefine what could be done with an electric bass.

Artist:    Doors
Title:    The Spy
Source:    CD: Weird Scenes Inside The Gold Mine (originally released on LP: Morrison Hotel)
Writer(s):    Jim Morrison
Label:    Elektra
Year:    1970
    As the 1960s drew to a close, the Doors, who had been riding high since 1967, were at a low point. In fact, it could be argued that the last few months of 1969 were the worst in the band's career. Vocalist Jim Morrison had been arrested for indecent exposure for exposing himself onstage in Miami the previous March. This had resulted in the cancellation of over two dozen performances as well as a sizable number of radio stations refusing to play their records. In June, the band released their fourth album, The Soft Parade, which was critically panned for its overuse of horns and strings. The album was also the first to give individual members of the band songwriting credits (previously all songwriting credits were shared by the four band members). This was brought about by Morrison's wish to distance himself from the lyrics of the album's opening track, Tell All The People, which had been written by guitarist Robby Krieger. Adding to the problems, Morrison had been arrested for causing a disturbance on an airplane and charged under a new hijacking law that carried a fine up of to $10,000 and ten years in prison. In November, the Doors started work on their fifth album, to be called Morrison Hotel (with the second side subtitled Hard Rock Cafe). After the poor reception of The Soft Parade the band decided to take a back to basics approach. One thing that did not change, however, was the policy of band members taking individual song credits. Thus, we have songs like The Spy (originally called Spy In The House Of Love), which was inspired by Morrison's fiery relationship with his longtime girlfriend Pamela Coulson. Morrison Hotel would end up being a turning point for the Doors; their next LP, L.A. Woman, is universally considered one of their best.

Artist:    The Doors
Title:    Wild Child
Source:    45 RPM single B side
Writer(s):    Jim Morrison
Label:    Elektra
Year:    1969
    Although The Soft Parade is generally considered the weakest of all the Jim Morrison era Doors albums, it did have a couple of notable songs on it. Touch Me was a major hit for the band, and its B side, Wild Child, has long been a fan favorite. In fact, the band even made a video for Wild Child, something not commonly done for a B side.

Artist:    Doors
Title:    The End
Source:    CD: Weird Scenes Inside The Gold Mine (originally released on LP: The Doors)
Writer(s):    The Doors
Label:    Elektra
Year:    1967
    Prior to recording their first album the Doors' honed their craft at various Sunset Strip clubs, working up live versions of the songs they would soon record, including their show-stopper, The End. Originally written as a breakup song by singer/lyricist Jim Morrison, The End runs nearly twelve minutes and includes a controversial spoken "Oedipus section". My own take on the famous "blue bus" line is that Morrison, being a military brat, was probably familiar with the blue shuttle buses used on military bases for a variety of purposes, including taking kids to school, and simply incorporated his experiences with them into his lyrics.  The End got its greatest exposure in 1979, when Oliver Stone used it in his film Apocalypse Now.

Artist:    Knack
Title:    Time Waits For No One
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s):    Chain/Kaplan
Label:    Rhino (original label: Capitol)
Year:    1967
    In 1979 Capitol Records signed a group from Los Angeles called the Knack, promoted them heavily and released a single called My Sharona. It was a huge hit. Twelve years earlier Capitol Records signed a group from Los Angeles called the Knack, promoted them heavily and released a single called Time Waits For No One. It flopped. The strange thing is that Time Waits For No One is every bit as good a song as My Sharona, albeit in an entirely different style. Why one succeeded and the other one failed is one of those mysteries that will probably never be solved.

Artist:    Country Joe McDonald
Title:    Compared To Florence
Source:    CD: 50
Writer(s):    Joe McDonald
Label:    Rag Baby
Year:    2017
    A highly personal song, Compared To Florence continues our weekly presentation of tracks from the new Country Joe McDonald album, 50. Nice stuff.

Artist:    Brian Wilson
Title:    Wonderful/Song For The Children/Child Is Father Of The Man/Surf's Up
Source:    CD: Brian Wilson Presents Smile
Writer(s):    Wilson/Love/Asher
Label:    Nonesuch
Year:    2004
    Rock history is full of stories about albums that were started with the best of intentions, but for one reason or another ended up on the shelf, sometimes indefinitely. Perhaps the most famous of these was the Beach Boys' follow up album to their critically acclaimed Pet Sounds LP. The album was to be called Smile, and the priveledged few who had heard the work in progress all agreed it was to be Brian Wilson's masterpiece, both as writer and producer. However, a series of problems, including internal disputes among the band members and Wilson's own mental state, kept pushing back the album's completion date. Finally the whole thing was scrapped, and a far less ambitious LP called Smiley Smile was hastily recorded in its place. The legend of the original Smile continued to grow over the years, however, with occasional fragments of the original tapes (which had first thought to have been destroyed) surfacing from time to time. Throughout this time Wilson had resisted the urge to reopen the Smile project, but in the early 2000s he began to integrate some of the songs into his live concerts, including a 2001 performance of Heroes And Villains at Radio City Music Hall in New York. This led to members of his current band suggesting that he work up the majority of Smile for new performances as a followup to his Pet Sounds Live concerts. Wilson approved the idea, and with the help of band member Darian Sahanaja in particular began updating the material for the 21st century, eventually reuniting with lyricist Van Dyke Parks to finish the project. The newly completed version of Smile was first performed live in February of 2004; the concert was a critical and commercial success, and Wilson's band continued to perform Smile throughout 2004 and 2005. Beginning in April of 2004 Wilson began work on a studio version of Smile, which required substantial reworking from the stage version. Finally, in September, of 2004, Brian Wilson Presents Smile was released. The completed version of Smile is divided into three sections: Americana, Cycle Of Life, and The Elements. The middle section, Cycle Of Life, is also the shortest, consisting of just four songs, Wonderful, Song For The Children, Child Is Father Of The Man, and Surf's Up, all of which date back to the original 1966 Smile sessions.  

Artist:    Big Brother And The Holding Company
Title:    Magic Of Love
Source:    45 RPM single (from box set Move Over)
Writer(s):    M. Spoelstra
Label:    Columbia
Year:    1968
    Until 2011, the only available recordings of Magic Of Love by Big Brother And The Holding Company were of live performances in 1967 and 1968. What very few people realized, however, is that the band actually recorded a studio version of Magic Of Love for possible inclusion on their Cheap Thrills album in 1968. Ultimately, though, it was decided that Cheap Thrills would consist mostly of live recordings, and only two (three if you count Turtle Blues) of the studio tracks were used on the album. Thus the studio version of Magic Of Love was put on the shelf for over 40 years, finally surfacing as part of a special box set of four 45 RPM records called Move Over.

Artist:    Orange Wedge
Title:    From The Womb To The Tomb
Source:    Mono CD: An Overdose Of Heavy Psych (originally released as 45 RPM single B side)
Writer(s):    L.S.P.
Label:    Arf! Arf! (original label: Blue Flat Ownsley Memorial)
Year:    1968
    Recorded in Grand Rapids, Michigan in 1968, From The Womb To The Tomb was the only single from Orange Wedge, a forerunner of more famous Michigan bands such as the Stooges and the MC5.

Artist:    Gun
Title:    Race With The Devil
Source:    Mono German import CD: Gun
Writer(s):    Adrian Gurvitz
Label:    Repertoire (original label: CBS)
Year:    1968
    One of the most popular songs on the jukebox at the teen club on Ramstein Air Force Base, Germany in 1969 was a song called Race With The Devil by a band called Gun. The song was so popular, in fact, that at least two local bands covered it (including the one I was in at the time). Nobody seemed to know much about the band at the time, but it turns out that the group was fronted by the Gurvitz brothers, Adrian and Paul (who at the time used the last name Curtis); the two would later be members of the Baker-Gurvitz Army with drummer Ginger Baker. I've also learned recently that Gun spent much of its time touring in Europe, particularly in Germany, where Race With The Devil hit its peak in January of 1969 (it had made the top 10 in the UK in 1968, the year it was released).

Artist:    Corporation
Title:    India
Source:    German import CD: The Corporation
Writer:    John Coltrane
Label:    Repertoire (original label: Capitol)
Year:    1969
    A few years back I received an e-mail from a listener who works at WITT-FM near Indianapolis, which has been broadcasting Stuck In The Psychedelic Era since 2010. He mentioned a band he had heard in Chicago in the late 60s called the Corporation, adding that he had recently found a copy of their only album for Capitol on CD. He offered to make me a copy, but, as I am somewhat of a stickler for using legitimate sources for everything I play (i.e. no MP3s or burned copies), I decided to head over to my local music store (Area Records in Geneva, NY) to order my own copy of the CD instead. The track he mentioned in particular was called India, notable for taking up an entire side of the album. I've since learned that they track was also quite popular in discoteques, particularly those in Germany. The song itself was written by jazz legend John Coltrane, and as far as I know has never been attempted by any other rock band.

Artist:    Jimi Hendrix
Title:    Inside Out
Source:    LP: People, Hell And Angels
Writer(s):    Jimi Hendrix
Label:    Legacy
Year:    Recorded 1968, released 2013
    Even while sessions for Electric Ladyland were underway, Jimi Hendrix was starting to look beyond the limitations of working within the Jimi Hendrix Experience. This was evident on the album itself, with some tracks featuring guest musicians such as Steve Winwood, Chris Wood and even Buddy Miles. In the latter case, regular Experience drummer Mitch Mitchell found himself sitting one out so that Miles could provide the drum track for Rainy Day Dream Away (and its "sequel" Still Raining, Still Dreaming). Other songs, such as All Along The Watchtower, featured Hendrix himself providing the bass part, a move that did not sit well with bassist Noel Redding. Not all the recordings made at this time ended up being included on Electric Ladyland, however. One of these, Inside Out, did not get released until 2013, when the album People, Hell And Angels came out. The track, like Watchtower, features Hendrix on guitar, bass and vocals, and Mitchell on drums.

Artist:    Cream
Title:    Tales Of Brave Ulysses
Source:    CD: Disraeli Gears
Writer:    Clapton/Sharp
Label:    Polydor (original label: Atco)
Year:    1967
    Cream was one of the first bands to break British tradition and release singles that were also available as album cuts. This tradition likely came about because 45 RPM records (both singles and extended play 45s) tended to stay in print indefinitely in the UK, unlike in the US, where a hit single usually had a shelf life of around 4-6 months then disappeared forever. When the Disraeli Gears album was released, however, the song Strange Brew, which leads off the LP, was released in Europe as a single. The B side of that single was Tales Of Brave Ulysses, which opens side two of the album.

Rockin' in the Days of Confusion # 1731 (starts 8/2/17)

This one is a bit hard to describe. It starts with Genesis and ends with Spirit, so I guess that makes it some sort of religious statement, right? Nah...

Artist:    Genesis
Title:    Dance On A Volcano
Source:    LP: A Trick Of The Tail
Writer(s):    Rutherford/Banks/Hackett/Collins
Label:    Atco
Year:    1976
    Following Peter Gabriel's announcement that he would be leaving Genesis following the completion of their 1974 Lamb Lies Down On Broadway tour, the remaining members of the band decided to show that they could still write and produce quality music even without their charismatic frontman. They immediately began working up new material for their next album, A Trick Of The Tail, starting with a song called Dance On A Volcano. Meanwhile, they took out an anonymous ad in the British music newspaper Melody Maker for a "Genesis type" vocalist and got over 400 responses. Phil Collins had already done a handful of lead vocals on previous Genesis albums, and reportedly would have preferred to remain the band's full time drummer, but after recording one song, Squonk, for the new album, was chosen by the rest of the band to be the new Genesis frontman, and ended up doing the lead vocals on the entire album. Although Collins remained the drummer on all the group's recordings, he did personally pick former Yes and King Crimson drummer Bill Bruford to appear on stage while Collins was singing (although Collins himself continued to play on the instrumental passages).

Artist:    Starcastle
Title:    Forces
Source:    LP: Starcastle (promo copy)
Writer(s):    Tassler/Luttrell/Strater/Schildt/Stewart/Hagler
Label:    Epic
Year:    1976
    Formed in Champaign, Illinois in 1969, Starcastle was a fixture on the St. Louis music scene (including local radio stations) throughout the 1970s. They were hampered in their bid for national stardom, however, by a percieved similarity to the British band Yes. Lead vocalist Terry Luttrell in particular (who had been the original lead vocalist of REO Speedwagon) was criticized for trying to sound too much like Jon Anderson. I'll leave it to you to decide how much of this criticism is valid as you listen to Forces, from Starcastle's self-titled 1976 debut for the Epic label.

Artist:    Flash
Title:    Black And White
Source:    LP: Flash In The Can
Writer(s):    Banks/Bennett
Label:    Sovereign/Capitol
Year:    1972
    Once upon a time there was a band called Yes. This band had already released a pair of commercially unsuccessful albums and were on the verge of being dropped by their record label (Atlantic). The guitarist for Yes, one Peter Banks, saw what he took to be the writing on the wall and left to form his own band, Flash, in 1971, with vocalist Colin Carter. The lineup was soon filled out by bassist Ray Bennett and drummer Mike Hough. The group soon signed to Capitol Records' Sovereign sub-label and, along with guest keyboardist (and former Yes member) Tony Kaye, released their first LP in 1972. Although Kaye was invited to join Flash as a permanent member, he declined, and the group recorded their second LP, Flash In The Can, as a four-piece group (with Carter providing occasional keyboard parts) later the same year. Among the stronger tracks on that album is the Banks/Bennett collaboration Black And White, which opens side two of the original LP. The following year Capitol, without the band's knowledge or approval, released the group's third LP as "Flash featuring Peter Banks". This understandably caused a bit of friction within the band itself, culminating in the band breaking up rather abruptly in November of 1973 following a performance in Albuquerque, NM. As for Yes, they found another guitarist (Steve Howe) and keyboardist (Rick Wakeman) and didn't get their contract with Atlantic cancelled after all.

Artist:    Spencer Davis Group
Title:    Morning Sun
Source:    Mono British import CD: Love, Poetry And Revolution (originally released on LP: With Their New Faces On)
Writer(s):    Davis/Hardin/Duncan/James
Label:    Grapefruit (original label: United Artists)
Year:    1968
    Following the departure of brothers Steve and Muff Winwood, the Spencer Davis Group attempted to carry on with new members, releasing an album, With Their New Faces On, in mid-1968. The album, however, failed to chart, despite the presence of hard-rocking tunes such as Morning Sun.

Artist:    Robin Trower
Title:    The Fool And Me
Source:    LP Bridge Of Sighs
Writer(s):    Trower/Dewar
Label:    Chrysalis
Year:    1974
    Guitarist Robin Trower's breakthrough album, Bridge Of Sighs, featured vocals by bassist James Dewar, who also co-wrote a couple of the songs on the LP. The better of these was The Fool And Me, which closes out side one of the original LP. Drummer Reg Isidore completed the trio.

Artist:    Bachman-Turner Overdrive
Title:    Roll On Down The Highway
Source:    LP: Not Fragile
Writer(s):    Bachman/Turner
Label:    Mercury
Year:    1974
    Not Fragile was the most successful album from the Canadian band Bachman-Turner Overdrive, being their only LP to hit the #1 spot of the Billboard album chart. It was also the debut of second lead guitarist Blair Thornton, who replaced Tim Bachman in the band originally founded by his brother Randy, former lead guitarist of the Guess Who. A third Bachman brother, Rob, co-wrote (with bassist Fred Turner) the second top 20 single from the album, Roll On Down The Highway. The album title itself, according to Randy Bachman, was actually a parody of Yes's Fragile album title, which Bachman thought was "strange." He said he figured that BTO's music, on the other hand, could be dropped and kicked without breaking; thus the title Not Fragile.

Artist:     Grand Funk
Title:     We're An American Band
Source:     45 RPM single
Writer:     Don Brewer
Label:     Capitol
Year:     1973
     In 1972 I was the bass player/vocalist in a power trio that played a lot of Grand Funk Railroad, Black Sabbath and the like. Shortly after that band split up I started taking broadcasting classes from Tim Daniels, an Air Force Sergeant who had previously worked for the Armed Forces Vietnam Network (the same station that Adrian Cronauer worked at, although at that time nobody outside the military had ever heard of him). That led to my first regular airshift on the "Voice of Holloman" a closed-circuit station that was piped into the gym and bowling alley and some of the barracks at Holloman Air Force Base, New Mexico. One of the hot new records that the station got promo copies of was We're An American Band, pressed on bright yellow translucent vinyl with the stereo version on one side and the mono mix on the other. I snagged one of the extra copies Capitol sent and have somehow managed to hang onto it over the years.

Artist:     Argent
Title:     Closer To Heaven
Source:     45 RPM single B side
Writer:     Russ Ballard
Label:     Epic
Year:     1972
     After the Zombies split up in 1968 keyboardist Rod Argent set out to form a new band to be known simply as Argent. The new group scored its biggest hit in 1972 with the song Hold Your Head Up. The original single was released on April 11, 1972 and ran 2 minutes and 52 seconds. It was backed with a song called Keep On Rollin', written by Argent and fellow former Zombie Chris White. On May 1st the single was reissued with a longer version of Hold Your Head Up (3:15). For the reissue the B side was replaced with Closer To Heaven, a tune written by guitarist/keyboardist Russ Ballard.

Artist:    Gong
Title:    Tried So Hard
Source:    British import CD: Camembert Electrique (originally released in France)
Writer(s):    Christian Tritsch
Label:    Charly (original label BYG Actuel)
Year:    1971
    It's almost impossible to describe Gong. They had their roots in British psychedelia, founder Daevid Allen having been a member of Soft Machine, but are also known as pioneers of space-rock. The Radio Gnome Invisible trilogy, from 1973-74, is considered a landmark of the genre, telling the story of such characters as Zero the Hero and the Pot Head Pixies from Planet Gong. The groundwork for the trilogy was actually laid in 1971, when the album Camembert Electrique was recorded (and released) in France on the BYG Actuel label. The album itself ranges from the experimental (and even somewhat humorous) Radio Gnome tracks to the spacier cuts like Tropical Fish: Selene, and on occasion even rocks out hard on tracks like Tried So Hard, written by the group's bassist, Christian Tritsch.

Artist:    Spirit
Title:    Space Child/When I Touch You
Source:    CD: Twelve Dreams Of Dr. Sardonicus
Writer(s):    Locke/Ferguson
Label:    Epic/Legacy
Year:    1970
    Spirit keyboardist John Locke used a combination of piano, organ and synthesizers (then a still-new technology) to set the mood for the entire Twelve Dreams Of Dr. Sardonicus recording sessions with his instrumental piece Space Child. The tune starts with a rolling piano riff that gives bassist Mark Andes a rare opportunity to carry the melody line before switching to a jazzier tempo that manages to seamlessly transition from a waltz tempo to straight time without anyone noticing. After a short reprise of the tune's opening riff the track segues into Jay Ferguson's When I Touch You, a song that manages to be light and heavy at the same time.

Monday, July 24, 2017

Stuck in the Psychedelic Era # 1730 (starts 7/26/17)

A lot of tunes from 1966, '67, and '68 this time around, with a couple from 1969 and new tracks from Boris Garcia and Country Joe McDonald. Enjoy!

Artist:    Beatles
Title:    Sgt. Pepper's Lonely Hearts Club Band/With A Little Help From My Friends
Source:    CD: Sgt. Pepper's Lonely Hearts Club Band
Writer(s):    Lennon/McCartney
Label:    Parlophone
Year:    1967
            One of the first tracks recorded for the album Sgt. Pepper's Lonely Hearts Club Band was the title track itself, which opens up side one of the LP. The following song, With A Little Help From My Friends (tentatively titled Bad Finger Boogie at the time), was recorded nearly two months later, yet the two sound like one continuous performance. In fact, it was this painstaking attention to every facet of the recording and production process that made Sgt. Pepper's such a landmark album. Whereas the first Beatle album  took 585 minutes to record, Sgt. Pepper's took over 700 hours. At this point in the band's career, drummer Ringo Starr was generally given one song to sing (usually written by John Lennon and Paul McCartney) on each of the group's albums. Originally, these were throwaway songs such as I Wanna Be Your Man (which was actually written for the Rolling Stones), but on the previous album, Revolver, the biggest hit on the album ended up being the song Ringo sang, Yellow Submarine. Although no singles were released from Sgt. Pepper's Lonely Hearts Club Band, With A Little Help From My Friends received considerable airplay on top 40 radio and is one of the most popular Beatle songs ever recorded.
Artist:    Eric Burdon And The Animals
Title:    Poem By The Sea/Paint It Black
Source:    LP: Winds Of Change
Writer(s):    Burdon/Briggs/Weider/McCulloch/Jenkins/Jagger/Richards
Label:    M-G-M
Year:    1967
    One of the highlights of the Monterey International Pop Festival in June of 1967 was the onstage debut of Eric Burdon's new Animals, a group much more in tune with the psychedelic happenings of the summer of love than its working class predecessor. The showstopper for the band's set was an extended version of the Rolling Stone's classic Paint It, Black. That summer saw the release of the group's first full LP, Winds Of Change, which included a studio version of Paint It, Black preceded by a slow piece called Poem By The Sea.

Artist:    Jimi Hendrix Experience
Title:    Cat Talking To Me
Source:    Stereo 45 RPM single B side
Writer(s):    Jimi Hendrix
Label:    Legacy
Year:    Recorded 1967, released 2010
    The 1967 recording of Cat Talking To Me sat on the shelf for over thirty years before being released as the B side to the Valleys Of Neptune single in 2010. The song is notable for two reasons. The first is rather obvious in that it features a rare lead vocal by drummer Mitch Mitchell. The second thing that makes the song stand out from other Experience recordings is a bit more subtle. Cat Talking To Me is musically much more consistent with Hendrix's later tracks, especially those heard on various posthumous releases, than anything else he was working on in 1967.

Artist:    Strawberry Alarm Clock
Title:    Incense And Peppermints
Source:    Mono LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single)
Writer(s):    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.

Artist:    Young Rascals
Title:    I Don't Love You Anymore
Source:    CD: Groovin'
Writer(s):    Gene Cornish
Label:    Warner Special Products (original label: Atlantic)
Year:    1967
    For many teenagers in the 1960s the most necessary social skill (at least when dealing with members of the opposite sex) was not a verbal skill at all; rather, it was the ability to get out onto the dance floor and gyrate. It didn't really matter if you knew the latest steps; nobody was watching you anyway. What counted was the willingness to risk making a fool of one's self for the sake of impressing the girl (or boy) of your choice. Your first time out with a particular partner was always when a fast song was playing. This was usually followed by at least one more up tempo tune before you got to the real payoff: the slow dance. A good band could always sense when it was time for a slow song, and the Young Rascals, in their early days, was among the best at keeping a dance floor filled. This ability was still evident on their third album, Groovin', which was released in early 1967. While the band's usual songwriting team of Felix Cavaliere and Eddie Brigati provided an ample supply of danceable fast tunes, it was bassist Gene Cornish that came up with songs ideally suited to slow dancing. One such tune was I Don't Love You Anymore, which appears at just the right place on side two of the original LP.

Artist:    Buffalo Springfield
Title:    For What It's Worth
Source:    LP: Retrospective (originally released as 45 RPM single and included on LP: Buffalo Springfield (revised version))
Writer(s):    Stephen Stills
Label:    Atco
Year:    1967
    Most people associate the name Buffalo Springfield with the song For What It's Worth. And for good reason. The song is one of the greatest protest songs ever recorded, and to this day is in regular rotation on both oldies and classic rock radio stations. The song was written and recorded in November of 1966 and released in January of 1967. By then the first Buffalo Springfield LP was already on the racks, but until that point had not sold particularly well. When it became clear that For What It's Worth was turning into a major hit, Atco Records quickly recalled the album and added the song to it (as the opening track). All subsequent pressings of the LP (and later the CD) contain For What It's Worth, making earlier copies of the album somewhat of a rarity and quite collectable.

Artist:    Music Machine
Title:    Come On In
Source:    British import CD: The Ultimate Turn On (originally released as 45 RPM single and on LP: Turn On The Music Machine)
Writer(s):    Sean Bonniwell
Label:    Big Beat (original label: Original Sound)
Year:    1966
    It only cost a total of $150 for the Music Machine to record both sides of their debut single at RCA Studios in Los Angeles, thanks to the band having been performing the songs live for several months. The band then took the tapes to Original Sound, who issued Talk Talk and Come On In on their own label. It may seem odd now, but original promo copies of the record show Come On In, a song that in many ways anticipated bands like the Doors and Iron Butterfly, as the "plug side" of the record, rather than Talk Talk, which of course went on to be the band's only major hit.

Artist:        Jefferson Airplane
Title:        It's No Secret
Source:    LP: The Worst Of Jefferson Airplane (Originally released on LP: Jefferson Airplane Takes Off)   
Writer:    Marty Balin
Label:     RCA Victor
Year:        1966
        Although national stardom was still an album (and a couple of essential personnel changes) away, It's No Secret got a lot of airplay in the San Francisco Bay area and was featured in a Bell Telephone TV special on the hippie movement in 1966.

Artist:     Blues Project
Title:     Fly Away
Source:     The Blues Project Anthology (originally released on LP: Projections)
Writer:     Al Kooper
Label:     Polydor (original label: Verve Folkways)
Year:     1966
     The Blues Project has a permanent place in rock history, both for pioneering the idea of touring coast to coast playing college venues and as the first jam band. Still, they were never able to break into top 40 radio at a time when a top 40 hit was considered essential to a band's commercial success. Keyboardist Al Kooper, on the other hand, was no stranger to hit records, having co-written This Diamond Ring, a song that became the first number one hit for Gary Lewis and the Playboys (although Kooper himself hated their arrangement of the song) in 1965. One of Kooper's attempts at writing a hit song for the Blues Project was Fly Away, included on their second LP, Projections.

Artist:    Love
Title:    My Little Red Book
Source:    LP: Nuggets Vol. 2-Punk (originally released on LP: Love)
Writer(s):    Bacharach/David
Label:    Rhino (original label: Elektra)
Year:    1966
    The first rock record ever released by Elektra Records was a single by Love called My Little Red Book. The track itself (which also opens Love's debut LP), is a punked out version of a tune originally recorded by Manfred Mann for the What's New Pussycat movie soundtrack. Needless to say, Love's version was not exactly what Burt Bacharach and Hal David had in mind.

Artist:    Misunderstood
Title:    Find The Hidden Door
Source:    British Import CD: Love, Poetry And Revolution (originally released in UK on LP: Before The Dream Faded)
Writer(s):    Hill/Brown
Label:    Grapefruit (original label: Cherry Red)
Year:    Recorded 1966, released 1982
    One of London's most legendary psychedelic bands was actually from California. The story of the Misunderstood started in 1963 when three teenagers from Riverside, California decided to form a band called the Blue Notes. Like most West Coast bands of the time, the group played a mixture of surf and 50s rock 'n' roll cover songs, slowly developing a sound of their own as they went through a series of personnel changes, including the addition of lead vocalist Rick Brown. In 1965 the band changed their name to the Misunderstood and recorded six songs at a local recording studio. Although the recordings were not released, the band caught the attention of a San Bernardino disc jockey named John Ravencroft, an Englishman with an extensive knowledge of the British music scene. In June of 1966 the band, with Ravencroft's help, relocated to London, where they were joined by a local guitarist, Tony Hill.  Ravencroft's brother Alan got the band a deal with Fontana Records, resulting in a single in late 1966, I Can Take You To The Sun, that took the British pop scene by storm. In addition to that single, the band recorded a handful of outstanding tracks that remained unreleased until the 1980s. Among those unreleased tracks was a masterpiece called Find The Hidden Door, written (as were most of the songs the band recorded in London) by Brown and Hill.  Problems with their work visas soon derailed the Misunderstood, and the band members soon found themselves being deported back to the US, and in one case, drafted into the US Army.

Artist:    Captain Beefheart And His Magic Band
Title:    Big Black Baby Shoes
Source:    British import CD: Safe As Milk (bonus track)
Writer(s):    Don Van Vliet
Label:    Rev-Ola (original US label: Buddah)
Year:    1967
    Following the release of Safe As Milk, Captain Beefheart And His Magic Band got to work on a proposed double LP to be called It Comes To You In A Plain Brown Wrapper. The band's label, however, apparently decided that the experimental direction initiated by Beefheart was not where they wanted to be headed, and dropped the Magic Band from their roster before even vocal tracks could be added to existing tracks like Big Black Baby Shoes. The Captain and his crew reworked some of those tracks for their second LP, Strictly Personal, which was released on the Blue Thumb label in 1968. Meanwhile, Buddah Records became synonomous with the "bubble gum" sound that dominated top 40 radio that year with songs like Yummy Yummy Yummy and 1,2,3 Red Light.

Artist:    Fifty Foot Hose
Title:    Cauldron
Source:    LP: Cauldron
Writer:    BlossoM/Marcheschi/Kimsey
Label:    Limelight
Year:    1968
    Although New York is generally considered the epicenter for avant-garde rock, there were things happening out on the West Coast as well, including the United States Of America (led by an expatriot Manhattanite) in Los Angeles and Fifty Foot Hose in San Francisco. Fifty Foot Hose featured Cork Marcheschi's homemade electronic instruments and the unique vocal style of Nancy Blossom. This week's show closes with the title track of Fifty Foot Hose's only LP, Cauldron. The group disbanded when all of the members except Marcheschi left to join the cast of the musical Hair. Nancy Blossom herself played the female lead, Sheila, in the San Francisco production of the rock musical.

Artist:    Kak
Title:    Lemonade Kid
Source:    CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Kak)
Writer(s):    Gary Lee Yoder
Label:    Rhino (original label: Epic)
Year:    1969
    Kak was a group from Davis, California that was only around long enough to record one LP for Epic. That self-titled album did not make much of an impression commercially, and was soon out of print. Long after the band had split up, critics began to notice the album, and copies of the original LP are now highly-prized by collectors. Songs like the Lemonade Kid show that Kak had a sound that holds up better today than many of the other artists of the time. In fact, after listening to this track a couple times I went out and ordered a copy of the import CD reissue of the Kak album.

Artist:    Whatt Four
Title:    You're Wishin' I Was Someone Else
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s):    Sanders/Johnson
Label:    Rhino (original label: Mercury)
Year:    1967
    By 1967 Mercury Records had long since moved beyond its roots as a regional Chicago label. In fact, Mercury, along with Capitol, Columbia, M-G-M, Decca and RCA Victor, was one of the "Big Six" record labels of the time, so called because between them they owned virtually all of the commercial record pressing plants in the country. It was really no surprise, then, to see Mercury signing local acts and releasing the records regionally in other parts of the country as well as Chicago. One such act was Riverside, California's Whatt Four, who took their shot at the brass ring in 1967 with a song called You're Wishin' I Was Someone Else.

Artist:    Country Joe McDonald
Title:    I Don't Think So
Source:    CD: 50
Writer(s):    Joe McDonald
Label:    Rag Baby
Year:    2017
    Our presentation of Country Joe McDonald's 2017 album 50 at the rate of one song per week this summer continues with the second track from the album, a tune called I Don't Think So that probably could be classified as "Americana", for lack of a better term. Nice stuff.

Artist:    Boris Garcia
Title:    I'd Do Anything
Source:    CD: Around Some Corner
Writer(s):    Jeff Otto
Label:    Porchwerk
Year:    2016   
    One of the drawbacks of an overall environment of diversity in music is that gems such as the Boris Garcia album Around Some Corner are almost completely overlooked by the music consuming public. The band, which has been performing and recording for several years now is built around the talents of two songwriters, Jeff Otto and Bob Stirner. Although each writer is credited individually for their songs, both participate in the process in developing the basic ideas into full-fledged compositions such as I'd do Anything. Besides Otto, who provides vocals and plays ukelele, and Stirner, who plays acoustic guitar on the track, the recording includes contributions from Bud Burroughs (mandolin, mellotron), Tim Kelly (drums), E.J. Simpson (bass), Chip Desnoyers (pedal steel) and Tim Carbone (backing vocals).

Artist:    Paul Revere/Raiders
Title:    In My Community
Source:    LP: Spirit of '67
Writer(s):    Phil Volk
Label:    Columbia
Year:    1966
    Paul Revere And The Raiders had a truly great 1966, with three LPs going gold that year. The last of these (and, quite honestly, the last truly great Raider album), was Spirit of '67, released in late November, just in time for the Christmas rush. Like the two previous albums, Spirit of '67 contains a handful of tunes written and sung by someone other than Mark Lindsay. One of these, In My Community, showcases the talents of Phil "Fang" Volk, the group's longtime bassist. Sadly, the band would come to rely more and more on studio musicians to get across the musical vision of Lindsay and keyboardist Revere, to the exclusion of other band members. In fact, Volk and drummer Mike Smith would soon leave the Raiders, hooking up with former Raider lead guitarist Drake Levin to form the harder rocking Brotherhood in 1967.

Artist:    Yardbirds
Title:    You're A Better Man Than I
Source:    Mono Australian import CD: Over, Under, Sideways, Down (originally released in US on LP: Having A Rave Up With The Yardbirds)
Writer(s):    Mike & Brian Hugg
Label:    Raven (original label: Epic)
Year:    1965
    Perhaps more than any other British Invasion band, the Yardbirds' US and UK catalogs varied considerably. This is because the band only released a pair of LPs in the UK, one of which was a live album, with the bulk of their studio output appearing on 45 RPM singles and EPs. In the US, on the other hand, the group released four (mostly) studio LPs, compiled from the various UK releases. One song, You're A Better Man Than I, actually came out on a US album four months before it was issued as a single B side in February of 1966 in the UK.

Artist:    Simon and Garfunkel
Title:    Richard Cory
Source:    LP: Sounds Of Silence
Writer(s):    Paul Simon
Label:    Columbia
Year:    1966
    My ultra-cool 9th-grade English teacher brought in a copy of Simon And Garfunkel's Sounds Of Silence album one day. As a class, we deconstructed the lyrics of two of the songs on that album: A Most Peculiar Man and Richard Cory. Both songs deal with suicide, but under vastly different circumstances. Whereas A Most Peculiar Man is about a lonely man who lives an isolated existence as an anonymous resident of a boarding house, Richard Cory deals with a character who is a pillar of society, known and envied by many. Too bad most high school English classes weren't that interesting.

Artist:    Jethro Tull
Title:    Some Day The Sun Won't Shine For You
Source:    CD: This Was
Writer:    Ian Anderson
Label:    Chrysalis/Capitol (original label: Reprise)
Year:    1968
    Ian Anderson has often said that he disagreed with record company executives who characterized Jethro Tull as a blues band when the band's first LP, This Was, was released. Yet one of the most traditional sounding blues tunes on that LP was written by Anderson himself. Some Day The Sun Won't Shine For You sounds like it could easily have come from the pen of Jimmy Reed. Speaking of record labels, This Was, like all the early Tull albums, was originally released in the US on the Reprise label. Reprise had a policy (instituted by its founder and original owner, Frank Sinatra) of allowing its artists to retain ownership of the recordings released on the label, which is why most of the material released on Reprise in the late 60s has been reissued on other labels.

Artist:    Al Kooper/Stephen Stills/Harvey Brooks/Eddie Hoh
Title:    You Don't Love Me
Source:    LP: Super Session
Writer(s):    Willie Cobb
Label:    Sundazed/Columbia
Year:    1968
    You Don't Love Me was originally recorded and released as a single by Willie Cobbs in 1960. Although the song is credited solely to Cobbs, it strongly resembles a 1955 Bo Diddley B side, She's Fine She's Mine, in its melody, lyrics and repeated guitar riff. The Cobbs single was a regional hit on the Mojo label in Memphis, but stalled out nationally after being reissued on Vee-Jay Records, due to the label pulling promotional support from the song due to copyright issues. A 1965 version by Junior Wells with Buddy Guy saw some minor changes in the lyrics to the song; it was this version that was covered by Al Kooper and Stephen Stills for the 1968 Super Session album. The recording extensively uses an effect called flanging, a type of phase-shifting that was first used in stereo on the Jimi Hendrix Experience track Bold As Love.

Artist:    Lovin' Spoonful
Title:    Nashville Cats
Source:    LP: Homer (soundtrack) (originally released on LP: Hums Of The Lovin' Spoonful)
Writer(s):    John B. Sebastian
Label:    Cotillion (original label: Kama Sutra)
Year:    1966
    After the success of their debut LP, Do You Believe In Magic, The Lovin' Spoonful deliberately set out to make a followup album that sounded like it was recorded by several different bands, as a way of showcasing their versatility. With Hums Of The Lovin' Spoonful, released in 1966, they did just that. Songs on the album ranged from the folky Darlin' Be Home Soon to the rockin' psychedelic classic Summer In The City, with a liberal dose of what would come to be called country rock a few years later. The best example of the latter was Nashville Cats, a song that surprisingly went into the top 40 (but did not receive any airplay from country stations) and became a staple of progressive FM radio in the early 70s.

Artist:    Other Half
Title:    Mr. Pharmacist
Source:    Mono CD: Nuggets-Original Artyfacts from the First Psychedelic Era (originally released as 45 RPM single)
Writer:    Jeff Nowlen
Label:    Rhino (original label: GNP Crescendo)
Year:    1966
    The Other Half was one of the many bands that could be found playing the local L.A. clubs when the infamous Riot On Sunset Strip happened in 1966. They are also the only other band I know of besides the Seeds that recorded for the GNP Crescendo label. The guitar solo is provided by Randy Holden, who would end up replacing Leigh Stephens in Blue Cheer a few years later.

Artist:    Electric Prunes
Title:    I Had Too Much To Dream (Last Night)
Source:    CD: I Had Too Much To Dream (Last Night)
Writer(s):    Tucker/Mantz
Label:    Collector's Choice/Rhino (original label: Reprise)
Year:    1966
    Only a handful of tunes make virtually everyone's list of "psychedelic" songs. The Electric Prunes' I Had Too Much To Dream (Last Night) so well defines the genre that Lenny Kaye himself chose it to be the opening track on the original Nuggets album.

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:    Spencer Davis Group
Title:    Gimme Some Lovin'
Source:    Simulated stereo LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s):    Winwood/Winwood/Davis
Label:    United Artists
Year:    1966
    The movie The Big Chill used Gimme Some Lovin' by the Spencer Davis Group as the backdrop for a touch football game at an informal reunion of former college students from the 60s. From that point on, movie soundtracks became much more than just background music and soundtrack albums started becoming best-sellers. Not entirely coincidentally, 60s-oriented oldies radio stations began to appear in major markets as well. Ironically, most of those stations are now playing 80s oldies.

Artist:    Amboy Dukes
Title:    Baby Please Don't Go
Source:    CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released on LP: The Amboy Dukes)
Writer(s):    Joe Williams
Label:    Rhino (original label: Mainstream)
Year:    1967
            The Amboy Dukes were a garage supergroup formed by guitarist Ted Nugent, a Chicago native who had heard that Bob Shad, head of jazz-oriented Mainstream Records, was looking for rock bands to sign to the label. Nugent relocated to Detroit in 1967, where he recruited vocalist John Drake, guitarist Steve Farmer, organist Rick Lober, bassist Bill White and drummer Dave Palmer, all of whom had been members of various local bands. The Dukes' self-titled debut LP was released in November of 1967. In addition to seven original pieces, the album included a handful of cover songs, the best of which was their rocked out version of the old Joe Williams tune Baby Please Don't Go. The song was released as a single in January of 1968, where it got a decent amount of airplay in the Detroit area, and was ultimately chosen by Lenny Kaye for inclusion on the original Nuggets compilation album.
Artist:     Beacon Street Union
Title:     Sadie Said No
Source:     LP: The Eyes of the Beacon Street Union
Writer:     Ulaky/Wright
Label:     M-G-M
Year:     1968
     By the time the first Beacon Street Union album was released the band had already relocated to New York. That didn't stop executives from M-G-M from including the Union as part of its "Bosstown Sound" promotion. In the short term it may have generated some interest, but it was soon clear that the "Bosstown Sound" was empty hype, which in the long run hurt the band's credibility. This is a shame, since the music on The Eyes of the Beacon Street Union is actually quite listenable, as Sadie Said No, which opens side two of the original LP, demonstrates.

Artist:    Fleetwood Mac
Title:    Oh Well
Source:    Mono LP: The Big Ball (originally released on LP: Then Play On)
Writer(s):    Peter Green
Label:    Reprise
Year:     1969
    Fleetwood Mac had already established themselves as one of Britain's top up-and-coming blues bands by the time Then Play On was released in 1969. The band had just landed a deal in the US with Reprise, and Then Play On was their American debut LP. At the same time the album was released in the UK, a new non-LP single, Oh Well, appeared as well. The song was a top pick on Radio Luxembourg, the only non-BBC English language top 40 station still operating in 1969, and Oh Well soon shot all the way to the # 2 spot on the British charts. Meanwhile the US version of Then Play On (which had originally been issued with pretty much the same song lineup as the British version) was recalled, and a new version with Oh Well added to it was issued in its place. The song itself has two distinct parts: a fast blues-rocker sung by lead guitarist Peter Green lasting about two minutes, and a slow moody instrumental that runs about seven minutes. The original UK single featured about a minute's worth of part two tacked on to the end of the A side (with a fadeout ending), while the B side had the entire part two on it. Both sides of the single were added to the US version of the LP, which resulted in the first minute of part two repeating itself on the album.

Rockin' in the Days of Confusion # 1730 (starts 7/26/17)

This week it's all about the early 1970s, specifically the years 1970-72. Granted, the last track is actually from 1974, but even that is a live version of a song from 1970.

Artist:    Who   
Title:    Baba O'Reilly
Source:    LP: Who's Next
Writer(s):    Pete Townshend
Label:    Decca
Year:    1971
    Following the success of the Who's rock opera Tommy, composer Pete Townshend immediate got to work on a project to be called Lifehouse. Like Tommy, Lifehouse was to be a rock opera taking up four album sides. The project, however, was ultimately scrapped, and several of the songs were instead used on the 1971 album Who's Next. Although originally meant to be sung from the point of view of a Scottish farmer gathering up his wife and children for a move to London, Baba O'Reilly, according to Townshend, is about the "absolute desolation" of teenagers at Woodstock, many of whom were "wasted". Baba O'Reilly has proved to be one of the most popular Who songs ever recorded, despite not being released as a single in most markets, including the US and Britain, and has been used in several movie and TV soundtracks over the years, as well as being heard frequently at sporting events.

Artist:    Yes
Title:    Heart Of The Sunrise
Source:    CD: Fragile
Writer(s):    Anderson/Squire/Bruford
Label:    Atlantic
Year:    1971
    Although it is the fourth most played song in the Yes catalogue, Heart Of The Sunrise, from the 1971 album Fragile, was never issued as a single. This is due mostly to the fact that the track runs over ten minutes in length, far exceeding even such lengthy tunes as Paradise By The Dashboard Light, American Pie or MacArthur Park. The song was written by Jon Anderson, Chris Squire, Bill Bruford and Rick Wakeman, but due to contractual reasons, Wakeman's name had to be left off the credits.

Artist:    Uriah Heep
Title:    All My Life
Source:    LP: Demons And Wizards
Writer(s):    Byron/Box/Kerslake
Label:    Mercury
Year:    1972
    Uriah Heep is a hard band to define. Their roots were firmly in the psychedelic era, yet they are often identified with both progressive rock bands like Yes and early heavy metal bands such as Black Sabbath. The band's best-known tune was Easy Livin', a single taken from their 1972 Demons And Wizards LP. Perhaps even more typical of the group's sound at that time was the song chosen for the single's B side, All My Life (also from Demons And Wizards).

Artist:    Deep Purple
Title:    Maybe I'm A Leo
Source:    LP: Machine Head
Writer(s):    Blackmore/Gillan/Glover/Lord/Paice
Label:    Warner Brothers
Year:    1972
    Deep Purple hit their commercial peak in 1972 with the release of their sixth studio album, Machine Head. The album was recorded in late 1971 in Montreaux, Switzerland, and contains their most famous song, Smoke On The Water, which tells the story of how the album came to be recorded. But there are plenty of other outstanding tracks on the album as well, including some, such as Maybe I'm A Leo, that have received far less airplay than they deserve. I suppose that's the mark of a great album, though. Incidentally, only one of the five members of that particular incarnation of Deep Purple, vocalist Ian Gillan, was actually a Leo.

Artist:    Deep Purple
Title:    Demon's Eye
Source:    CD: The Very Best Of Deep Purple
Writer(s):    Blackmore/Gillan/Glover/Lord/Paice
Label:    Warner Brothers
Year:    1971
    Although by 1971 the practice of record companies compiling entirely different track lineups for the US versions of British rock albums was pretty much a thing of the past, there were still a few exceptions, usually involving songs being released as singles in the UK, but not in the US. Such was the case of the fifth Deep Purple album, Fireball. The original British version included a song called Demon's Eye that was replaced on the US version with the British single Strange Kind Of Woman. This made Demon's Eye somewhat of an obscurity for American (and Japanese) audiences, who would have to find an imported copy of the original British LP to hear the song until the 1980s, when The Very Best Of Deep Purple CD included the track. The song itself is a high energy piece that is fairly typical of the band at this point in their existence.

Artist:    Deep Purple
Title:    Never Before
Source:    LP: Machine Head
Writer(s):    Blackmore/Gillan/Glover/Lord/Paice
Label:    Warner Brothers
Year:    1972
    Deep Purple's Machine Head is rightly considered one of the most influential albums in the history of rock. How influential is it? Well, take a listen to the main riff of Never Before, then check out Peter Frampton's signature song Do You Feel Like We Do. 'Nuff said.

Artist:    Velvet Underground
Title:    Oh! Sweet Nuthin'
Source:    LP: Loaded
Writer(s):    Lou Reed
Label:    Cotillion
Year:    1970
    The final Velvet Underground album to feature Lou Reed, Loaded was deliberately constructed to be a commercial success, or as Reed himself put it, was meant to be Loaded with hits. One obvious exception, however, is the album's last track, the dronelike Oh! Sweet Nuthin', which runs in excess of seven minutes, making it an unlikely choice for inclusion on top 40 radio playlists. The fact that the song itself has a distinct underground feel to it only reinforces that unlikelihood. Like all the songs on Loaded, Oh! Sweet Nuthin' was written by Reed, but was credited to the entire band upon the album's release. By that point Reed had already left the group, which may or may not explain why this was done.

Artist:    Little Feat
Title:    Sailin' Shoes
Source:    CD: Sailin' Shoes
Writer(s):    Lowell George
Label:    Warner Brothers
Year:    1972
    Guitarist/vocalist Lowell George came into his own as a songwriter on the second Little Feat album, Sailin' Shoes. The title track itself is now  considered to be one of George's earliest classics. In addition to George himself, the Little Feat lineup at the time included organist Bill Payne, bassist Roy Estrada (like George, a veteran of Frank Zappa's Mothers Of Invention), and drummer Richie Hayward. Good stuff.

Artist:    Grateful Dead
Title:    Sugar Magnolia
Source:    LP: American Beauty
Writer(s):    Hunter/Weir
Label:    Warner Brothers
Year:     1970
            One of the most popular songs in the Grateful Dead catalog, Sugar Magnolia also has the distinction of being the second-most performed song in the band's history, with 596 documented performances. The song, written by Robert Hunter and Bob Weir, first appeared on the 1970 album American Beauty, but was not released as a single. A live version two years later, however, did see a single release, charting in the lower reaches of the Billboard Hot 100.

Artist:    James Gang
Title:    Tend My Garden/Garden Gate
Source:    CD: James Gang Rides Again
Writer:    Joe Walsh
Label:    MCA (original label: ABC)
Year:    1970
    Cleveland, Ohio's James Gang spent so much time on the road promoting their first album, Takes Off, that they didn't have much material ready when it came time to record a follow-up LP. The group found itself actually writing songs in the studio and recording them practically as they were being written. Guitarist/lead vocalist Joe Walsh, meanwhile, had some acoustic songs he had been working on, and it was decided that the new album would have one side of electric hard rock songs while the other would be an acoustic side. The opening tracks for the second side of the album were Tend My Garden, which features Walsh on both organ and guitar, followed by Garden Gate, a Walsh solo piece.

Artist:    Joni Mitchell
Title:    Rainy Night House
Source:    LP: Miles Of Aisles
Writer(s):    Joni Mitchell
Label:    Asylum
Year:    1974
    Joni Mitchell's first live album, Miles Of Aisles, was one of her most commercially successful LPs, going all the way to the #2 spot on the Billboard album charts in 1974. The album, which features Tom Scott and the L.A. Express as her stage band, includes some of her best-known tunes, such as Rainy Night House, which originally appeared on the Ladies Of The Canyon album in 1970.

Monday, July 17, 2017

Stuck in the Psychedelic Era # 1729 (starts 7/19/17)

A lot of "new" stuff this week, with nearly a quarter of the tracks having never been played on the show before. Four of these are from artists making their Stuck in the Psychedelic Era debut, too!

Artist:     Buffalo Springfield
Title:     Nowadays Clancy Can't Even Sing
Source:     CD: Buffalo Springfield
Writer:    Neil Young
Label:     Atco
Year:     1966
     One of the most influential folk-rock bands to come out of the L.A. scene was the Buffalo Springfield. The Springfield had several quality songwriters, including Neil Young, whose voice was deemed "too weird" by certain record company people. Thus we have Richie Furay handling the lead vocals on Nowadays Clancy Can't Even Sing, the group's debut single. The track was just one of several Young songs sung by Furay on the band's first album. By the time the second Buffalo Springfield album was released things had changed somewhat, and Young got to do his own lead vocals on songs like Mr. Soul and Broken Arrow.

Artist:    Lovin' Spoonful
Title:    Six O'Clock
Source:    45 RPM single
Writer(s):    John Sebastian
Label:    Kama Sutra
Year:    1967
    The last top 20 hit for the Lovin' Spoonful was Six O'Clock, released in 1967. Shortly after the record came out John Sebastian left the group. The remaining members tried to carry on without him for a while, but were never able to duplicate the success of the Sebastian years.

Artist:    Sound Sandwich
Title:    Tow Away
Source:    Mono LP: Ain't It Hard (released to radio stations as 45 RPM single)
Writer(s):    Johnny Cole
Label:    Sundazed (original label: Viva)
Year:    1968
    Sound Sandwich was a young (as in high school age) Los Angeles band that came under the wing of producer Johnny Cole, who wrote both of the band's singles. The second of these, Tow Away, does not show up in the database I usually use, leading me to believe the record was only released as a promo to L.A. area radio stations shortly before Viva Records closed its doors permanently.

Artist:    Deep Purple
Title:    Hush
Source:    CD: British Beat (originally released as 45 RPM single and on LP: Shades Of Deep Purple)
Writer:    Joe South
Label:    K-Tel (original label: Tetragrammaton)
Year:    1968
    British rockers Deep Purple scored a huge US hit in 1968 with their rocked out cover of Hush, a tune written by Joe South that had been an international hit for Billy Joe Royal the previous year. Oddly enough, the Deep Purple version of the tune was virtually ignored in their native England. The song was included on the album Shades Of Deep Purple, the first of three LPs to be released in the US on Tetragrammaton Records, a label partially owned by actor/comedian Bill Cosby. When Tetragrammaton folded shortly after the release of the third Deep Purple album, The Book Of Taleisyn, the band was left without a US label, and went through some personnel changes, including the addition of new lead vocalist Ian Gillian (who had sung the part of Jesus on the original Jesus Christ Superstar album), before signing to Warner Brothers and becoming a major force in 70s rock. Meanwhile, original vocalist Rod Evans hooked up with drummer Bobby Caldwell and two former members of Iron Butterfly to form Captain Beyond before fading from public view.

Artist:    Blue Cheer
Title:    Summertime Blues
Source:    LP: Nuggets Vol. 1-The Hits (originally released on LP: Vincebus Eruptum)
Writer(s):    Cochrane/Capehart
Label:    Rhino (original label: Philips)
Year:    1968
    If 1967 was the summer of love, then 1968 was the summer of violence. Framed by the assassinations of Martin Luther King and Bobby Kennedy, both major anti-establishment movements of the time (civil rights and anti-war) became increasing radicalized and more violent. The hippies gave way to the Yippies, LSD gave way to crystal meth, and there were riots in the streets of several US cities. Against this backdrop Blue Cheer released one of the loudest and angriest recordings ever to grace the top 40: the proto-metal arrangement of Eddie Cochrane's 1958 classic Summertime Blues. It was the perfect soundtrack of its time.

Artist:    Senators
Title:    Psychedelic Senate
Source:    CD: Shape Of Things To Come (originally released on LP: Wild In The Streets soundtrack)
Writer(s):    Les Baxter
Label:    Captain High (original label: Tower)
Year:    1968
    If I had to pick the most unlikely person to record something psychedelic that actually did record something psychedelic, that person would have to be Les Baxter. Born in 1922, Baxter became well-known in the 1940s as a composer and arranger for various swing bands. By the 50s he was leading his own orchestra, recording his own brand of what came to be known as "exotica", easy-listening music flavored with elements taken from non-Western musical traditions. In the 1960s he scored dozens of movie soundtracks, including many for the relatively low-budget American International Pictures, working with people like Roger Corman on films like The Raven, The Pit  And The Pendulum and House Of Usher, as well as teen exploitation films like Beach Blanket Bingo. It was through this association that he got involved with a film called Wild In The Streets in 1968. Although much of the film's soundtrack was made up of songs by Barry Mann and Cynthia Weil and performed by the fictional Max Frost And The Troopers, there were a few Baxter pieces included as well, including Psychedelic Senate, a bit of incidental music written to underscore a scene wherein the entire US Senate gets dosed on LSD.

Artist:    Simon And Garfunkel
Title:    Fakin' It
Source:    LP: Bookends
Writer(s):    Paul Simon
Label:    Columbia/Sundazed
Year:    1967
    Fakin' It, originally released as a single in 1967, was a bit of a departure for Simon And Garfunkel, sounding more like British psychedelic music than American folk-rock. The track starts with an intro that is similar to the false ending to the Beatles Strawberry Fields Forever; midway through the record the tempo changes drastically for a short spoken word section that makes a reference to a "Mr. Leitch" (the last name of the Scottish folksinger turned psychedelic pioneer Donovan). The stereo mix of Fakin' It was first released on the 1968 LP Bookends.

Artist:    H.P. Lovecraft
Title:    I've Been Wrong Before
Source:    CD: H.P. Lovecraft
Writer(s):    Randy Newman
Label:    Collector's Choice/Universal Music Special Markets
Year:    1967
    Formed in Chicago in 1967 by former folk singer George Edwards and classically trained multi-instrumentalist Dave Michaels, H.P. Lovecraft specialized in a brand of psychedelia inspired by the works of the author whose name they bore. The band's greatest strength was their ability to create a mood through their music, regardless of whether it was on their original material or on the cover songs that made up the majority of their debut LP, released late in the year. One such cover song was I've Been Wrong Before, a Randy Newman tune that had been a British hit for singer Cilia Black the previous year. The song had also been covered by Dusty Springfield and the California garage band New Breed, but the Lovecraft version has a mystical quality that sets it apart from the other versions of the tune.

Artist:    Coachmen
Title:    Drambuie
Source:    unknown
Writer(s):    unknown
Label:    unknown
Year:    unknown
    As mentioned on this week's show, Drambuie by the Rochester, NY area band known as the Coachmen, is a complete mystery to me. A copy of the recording was provided to me by Tom at the Bop Shop up in the city itself. Normally I wouldn't even consider playing something without knowing who to credit, but the track is so cool that I had to give listeners a shot at hearing it, in the hopes that someone out there might be able to provide a little background info on it. That means you, so if you've got something for me, I'm listening.

Artist:    Seeds
Title:    Pictures And Designs
Source:    LP: A Web Of Sound
Writer(s):    Saxon/Hooper
Label:    GNP Crescendo
Year:    1966
    The first Seeds album was somewhat unusual for its time in that all the songs on the album (including both singles from the album) were written by members of the band itself. Unfortunately this resulted in a sort of formulaic sameness from one track to the next, with many tunes sounding like attempts to recapture the magic of their most famous song, Pushin' Too Hard. The second Seeds album, A Web Of Sound, also was made up of (mostly) original material, but this time Sky Saxon and company made an effort to expand beyond the formula with tracks like Pictures And Designs, which starts off sounding a bit like the Yardbirds, but soon becomes a snarling punk drone that manages to break new ground for the band while maintaining the distinctive Seeds sound.

Artist:    New Dawn
Title:    Slave Of Desire
Source:    British import CD: With Love-A Pot Of Flowers (originally released as 45 RPM single B side)
Writer(s):    Leonti/Supnet
Label:    Big Beat (original label: Mainstream)
Year:    1967
    New Dawn, from the small town of Morgan Hill, California (a few miles south of San Jose), was not really a band. Rather, it was a trio of singer/songwriters who utilized the services of various local bands for live performances and studio musicians for their recordings. Schoolmates Tony Supnet, who also played guitar, Mike Leonti and Donnie Hill formed the group in 1961, originally calling themselves the Countdowns. They released a pair of singles on the local Link label, the second of which was recorded at San Francisco's Golden State Recorders. It was around that time that Bob Shad, owner of Mainstream Records, was in the Bay Area on a talent search. Shad was holding his auditions at Golden State, giving bands that had already recorded there an automatic in. Shad was impressed enough to offer the trio a contract, which resulted in a pair of singles using the name New Dawn. Although most of the group's material could best be described as light pop, the B side of the second single, a tune called Slave Of Desire, was much grittier. Leonti is the lead vocalist on the track, which, like the group's other recordings, utilized the talents of local studio musicians.

Artist:    Spirit
Title:    Veruska
Source:    CD: Spirit (bonus track)
Writer(s):    Randy California
Label:    Ode/Epic/Legacy
Year:    1967
    As is often the case, Spirit recorded more material for their first album than they could actually fit on two sides of LP vinyl without sacrificing sound quality. As a result, there were several unused tracks laying around for many years. In fact, it wasn't until the 1990s that some of these songs would finally be released as bonus tracks on the CD reissue of the first Spirit album. Among these "new" tunes is a Randy California composition called Veruska, a tune that starts off quietly, then gets very heavy before turning quiet again.

Artist:    Seatrain
Title:    Let The Duchess Go
Source:    LP: Sea Train
Writer(s):    Gregory/Roberts
Label:    A&M
Year:    1969
    Very few bands can claim to have gone through the kind of total changes that Seatrain experienced in their relatively short existence. Formed in Marin County, California by former members of the Blues Project, Mystery Trend and Jim Kweskin's Jug Band, Seatrain's first LP was released as a Blues Project album called Planned Obsolescence, in order to fulfill contractual obligations incurred by two of its members, Andy Kulberg and Roy Blumenthal. The official debut of Seatrain came in 1969 with the album Sea Train, released on the A&M label. Most of the songwriting came from guitarist John Gregory and vocalist Jim Roberts. The band's sound on this album might be best described as progressive folk music, with a strong element of fantasy, as can be heard on tracks like Let The Duchess Go. By the time Seatrain released its final album in 1973 only Kulberg remained from the band's original lineup, the group had relocated to Marblehead, Massachusetts and, most importantly, had completely changed its style to what would now be considered Americana, but at the time had people scratching their heads trying to figure out what to call it.

Artist:     Creedence Clearwater Revival
Title:     Don't Look Now (It Ain't You Or Me)
Source:     LP: Willy And The Poor Boys
Writer:     John Fogerty
Label:     Fantasy
Year:     1969
     The country-flavored Don't Look Now (It Ain't You Or Me) was never released as a single. Nor did it receive much FM airplay. Nonethelesst the song, which occupies the second spot on Creedence Clearwater Revival's Willy And The Poor Boys album, was featured on the second volume of Creedence Gold, indicating that it had somewhat of a following.

Artist:    Procol Harum
Title:    Skip Softly (My Moonbeams)
Source:    CD: Shine On Brightly
Writer(s):    Brooker/Reid
Label:    A&M
Year:    1968
    Procol Harum is not generally thought of as a novelty act. The closest they ever came was this track from the Shine On Brightly album that steals shamelessly from a classical piece I really should know the name of but don't. Even then, Skip Softly (My Moonbeams) ends up being as much a showcase for a then-young Robin Trower's guitar work as anything else.

Artist:    Chambers Brothers
Title:    Time Has Come Today
Source:    LP: Nuggets Vol. 9-Acid Rock (originally released on LP: The Time Has Come)
Writer(s):    Joe and Willie Chambers
Label:    Rhino (original label: Columbia)
Year:    1967
    One of the quintessential songs of the psychedelic era is the Chambers Brothers' classic Time Has Come Today. The song was originally recorded and issued as a single in 1966. The more familiar version heard here, however, was recorded in 1967 for the album The Time Has Come. The LP version of the song runs about eleven minutes, way too long for a 45 RPM record, so before releasing the song as a single for the second time, engineers at Columbia cut the song down to around 3 minutes. The edits proved so jarring that the record was recalled and a re-edited version, clocking in at 4:57 became the third and final single version of the song, hitting the charts in 1968.

Artist:    Beatles
Title:    Think For Yourself
Source:    Mono CD: Rubber Soul
Writer(s):    George Harrison
Label:    Capitol
Year:    1965
    By the end of 1965 George Harrison was writing an average of two songs per Beatle album. On Rubber Soul, however, one of his two songs was deleted from the US version of the album and appeared on 1966's Yesterday...And Today LP instead. The remaining Harrison song on Rubber Soul was Think For Yourself. Harrison later said that he was still developing his songwriting at this point and that bandmate John Lennon had helped write Think For Yourself.

Artist:    Country Joe McDonald
Title:    Round And Round
Source:    CD: 50
Writer(s):    Joe McDonald
Label:    Rag Baby
Year:    2017
    One of the most haunting tracks on the new Country Joe McDonald album, 50, Round And Round is about nothing less than life itself. Well, our lives, at least. I kind of doubt that the various non-sentient species on our planet think much about this stuff.

Artist:    Flick
Title:    The End
Source:    Stereo 45 RPM single
Writer(s):    Oran & Trevor Thornton
Label:    Columbia
Year:    1998
    Flick was formed in the mid-90s by the Thornton brothers, Oran and Trevor, who had been performing as an acoustic duo. The new band, which included bassist Eve Hill and drummer Paul Adam McGrath, played its first show in December of 1996 and issued its first EP the following spring. In 1998 Flick released their first full-length album on the Columbia label. One of the tracks from that album, The End, was also issued as a single on 7" 45 RPM vinyl, quite an unusual occurence in the 1990s.

Artist:    Jimi Hendrix Experience
Title:    Little Wing
Source:    CD: The Ultimate Experience (originally released on LP: Axis: Bold As Love)
Writer(s):    Jimi Hendrix
Label:    MCA (original label: Reprise)
Year:    1967
    Although it didn't have any hit singles on it, Axis: Bold As Love, the second album by the Jimi Hendrix Experience, was full of memorable tunes, including one of Hendrix's most covered songs, Little Wing. The album itself is a showcase for Hendrix's rapidly developing skills, both as a songwriter and in the studio. The actual production of the album was a true collaborative effort, combining Hendrix's creativity, engineer Eddie Kramer's expertise and producer Chas Chandler's strong sense of how a record should sound, acquired through years of recording experience as a member of the Animals.

Artist:    Lamp Of Childhood
Title:    No More Running Around
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s):    Mekler/Hendricks/Tani
Label:    Rhino (original label: Dunhill)
Year:    1967
    I've often wondered how it was that a somewhat raunchy rock band like Steppenwolf ended up on the same pop-oriented record label (Dunhill) as the Mamas and the Papas, the Grass Roots and 3 Dog Night. It turns out the Dunhill connection was from the man who produced Steppenwolf, Gabriel Mekler. Mekler was a member of the Lamp Of Childhood, a group that also included Cass Elliot's husband James Hendricks. Although the Lamp had a solid pop sound, they never really caught on and by the time their third and most successful single, No More Running Around, was released, the members had already moved on to other things (like, for instance, producing Steppenwolf records, or in the case of drummer Billy Mundi, joining the Mothers Of Invention).

Artist:    Eric Burdon and the Animals
Title:    Good Times
Source:    CD: Spirit Of Joy (originally released on LP: Winds Of Change)
Writer:    Burdon/Briggs/Weider/McCulloch/Jenkins
Label:    Polydor (original label: M-G-M)
Year:    1967
    By the end of the original Animals' run they were having greater chart success with their singles in the US than in their native UK. That trend continued with the formation of the "new" Animals in 1967 and their first single, When I Was Young. Shortly after the first LP by the band now known as Eric Burdon And The Animals came out, M-G-M decided to release the song San Franciscan Nights as a single to take advantage of the massive youth migration to the city that summer. Meanwhile the band's British label decided to instead issue Good Times (an autobiographical song which was released in the US as the B side to San Franciscan Nights) as a single, and the band ended up with one of their biggest UK hits ever. Riding the wave of success of Good Times, San Franciscan Nights eventually did get released in the UK and was a hit there as well.

Artist:        Vanilla Fudge
Title:        Season of the Witch
Source:    LP: Renaissance
Writer:        Donovan Leitch
Label:        Atco
Year:        1968
        The Vanilla Fudge are generally best remembered for their acid rock rearrangements of hit songs such as You Keep Me Hangin' On, Ticket To Ride and Bang Bang (My Baby Shot Me Down). Their third album, Renaissance, while actually featuring more original material that their previous albums, still included a couple of these cover songs. The best-known of these was this rather spooky (and a little over-the-top) version of Donovan's Season Of The Witch, a song that was also covered by Al Kooper and Stephen Stills the same year on the first Super Session album.

Artist:    Muddy Waters
Title:    The Same Thing
Source:    LP: Fathers And Sons
Writer(s):    Willie Dixon
Label:    Chess
Year:    1969
    Muddy Waters caught some flack for his 1968 album Electric Mud, which was, in a loose way, a concept album presenting the legendary bluesman in the role of a psychedelic rock star. He returned to his roots in a big way, however, with the 1969 double-LP album Fathers And Sons. The album came about when guitarist Michael Bloomfield told Marshall Chess that he and Paul Butterfield would be in Chicago for a charity concert and wanted to record an album with Waters while they were in town. Chess then recruited Donald "Duck" Dunn (from Booker T. & the M.G.s), pianist Otis Spann and drummer Sam Lay for the project. The group spent three days recording studio tracks, followed by a live concert on the following night that was recorded as well. The first LP contained the studio tracks, while the second record included live versions of classic tunes such as Willie Dixon's The Same Thing. Fathers And Sons ended up being Muddy Waters's highest charting album of his career, reaching #70 on the Billboard top 200 album chart.

Artist:    Moby Grape
Title:    Boysenberry Jam
Source:    LP: Grape Jam
Writer(s):    Spence/Miller/Stevenson/Mosley
Label:    Columbia
Year:    1968
    For their second album, San Francisco's Moby Grape decided to throw in something extra. Instead of a single LP at the standard price, the group added a second album for just a dollar more. This second album, packaged in its own cover, was made up of a series of jam sessions featuring various band members, with a couple of guest artists thrown in. One of the hardest rocking of these was Boysenberry Jam, which features guitarist Jerry Miller, drummer Don Stevenson and bassist Bob Mosley on their usual instruments, along with Skip Spence playing the piano. This was really not all that surprising, given that Spence, normally a guitarist, had been the original drummer of Jefferson Airplane, proving his versatility.

Artist:    Jefferson Airplane
Title:    Two Heads
Source:    European import CD: Pure...Psychedelic Rock (originally released on LP: After Bathing At Baxter's)
Writer(s):    Grace Slick
Label:    Sony Music (original US label: RCA Victor)
Year:    1967
    The third Jefferson Airplane album, After Bathing At Baxter's, saw the group moving in increasingly experimental directions, as Grace Slick's two contributions to the LP attest. The more accessible of the two was Two Heads, which was the first part of the fifth and final "suite" on the album.

Artist:    Beach Boys
Title:    Trombone Dixie
Source:    Mono CD: Pet Sounds (bonus track)
Writer(s):    Brian Wilson
Label:    Capitol
Year:    1966
    Nobody seems to know for sure just what Brian Wilson's intentions were for the reel of recording tape labeled "Trombone Dixie" and containing a three minute long instrumental piece. The track was recorded in November of 1965, not long before the sessions that would produce the title track of the Pet Sounds album. Although David Leaf speculates (in the liner notes for the 1990 reissue of Pet Sounds) that Trombone Dixie was probably an instrumental, it sounds to me more like a backing track on which vocals were never added. I guess only Brian Wilson himself knows for sure, and he ain't sayin'.

Artist:    Rolling Stones
Title:    I Don't Know Why aka Don't Know Why I Love You
Source:    CD: Singles Collection-The London Years (originally released as 45 RPM single)
Writer(s):    Wonder/Riser/Hunter/Hardaway
Label:    Abkco (original label: London)
Year:    1969
    In 1969 Stevie Wonder released a single called Don't Know Why I Love You. Before the record could take off, however, several radio stations decided to instead play the B side of the record, a balled called My Cherie Amour. The song became, to that point, Wonder's biggest hit, and Don't Know Why I Love You quietly faded off into obscurity. Or rather it would have, if not for the fact that the Rolling Stones recorded their own version of the tune (retitling it I Don't Know Why) around the same time the Stevie Wonder version was released. The Stones, however, did not release the recording immediately. In fact, by the time the record was released (in 1975), the band was no longer associated with either London Records, which issued the recording, or Allen Klein, who had managed to gain control of all of the Stones' London era recordings, and did not authorize the recording to be released.

Artist:    Cream
Title:    Badge
Source:    LP: Goodbye Cream
Writer(s):    Clapton/Harrison
Label:    Atco
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.