Stuck in the Psychedelic Era # 1812 (starts 3/21/18)

    This week we do things strictly by the year...until the entire show weirds out at the end. It starts with a (Foxy) lady and ends with a (Tangerine) dream.

Artist:    Jimi Hendrix Experience
Title:    Foxy Lady
Source:    Dutch import LP: The Singles (originally released on LP: Are You Experienced?)
Writer(s):    Jimi Hendrix
Label:    Polydor (original UK label: Track)
Year:    1967
    The first track on the original UK release of Are You Experienced was Foxy Lady. The British custom of the time was to not include any songs on albums that had been previously released as singles. When Reprise Records got the rights to release the album in the US, it was decided to include three songs that had all been top 40 hits in the UK. One of those songs, Purple Haze, took over the opening spot on the album, and Foxy Lady was moved to the middle of side two of the original LP. The song was also released as a US-only single in 1967, but did not chart. Eventually a European single version of the song was released as well, albeit posthumously, warranting its inclusion on the Singles double-LP, released in Europe in the early 1980s.

Artist:    Fingers
Title:    Circus With A Female Clown
Source:    Mono British import CD: Psychedelia At Abbey Road (originally released in UK as 45 RPM single B side)
Writer(s):    Robin/Mills/Ducky
Label:    EMI (original label: Columbia)
Year:    1967
    One of the first British bands to label themselves as "psychedelic", the Fingers included as part of their stage show a monkey named Freak Out, whom the band members claimed produced "psychotic" odors. The band only released two singles, however. The second of these had the truly strange Circus With A Female Clown on its B side. The somewhat more conventional A side failed to chart, however, and the group broke up soon after the record was released.
       
Artist:    Circus Maximus
Title:    Bright Light Lover
Source:    LP: Circus Maximus
Writer(s):    Bob Bruno
Label:    Vanguard
Year:    1967
    Keyboardist Bob Bruno's contributions as a songwriter to Circus Maximus tended to favor jazz arrangements. On Bright Light Lover, however, from the band's first album, he proves that he could rock out with the raunchiest of the garage bands when the mood hit.

Artist:    Jefferson Airplane
Title:    She Has Funny Cars
Source:    45 RPM single B side
Writer(s):    Kaukonen/Balin
Label:    RCA Victor
Year:    1967
    She Has Funny Cars, the opening track of Jefferson Airplane's second LP, Surrealistic Pillow, was a reference to some unusual possessions belonging to new drummer Spencer Dryden's girlfriend. As was the case with many of the early Airplane tracks, the title has nothing to do with the lyrics of the song itself. The song was also released as the B side to the band's first top 10 single, Somebody To Love. The mono mix used for the single has noticably less reverb than the more familiar stereo version of the song.

Artist:    Beach Boys
Title:    You Still Believe In Me
Source:    Mono LP: Pet Sounds
Writer(s):    Wilson/Asher
Label:    Capitol
Year:    1966
    Although they were one of the first self-contained US rock bands, by 1966 the Beach Boys were using studio musicians almost exclusively on their recordings. At the same time Brian Wilson, who by then was writing all the band's music, had retired from performing with the band onstage. These factors combined to give Wilson the freedom to create the album that is often considered his and the band's artistic peak, Pet Sounds. Much of the material on the album, such as You Still Believe In Me, was written with the help of lyricist Tony Asher. Like many of the songs on Pet Sounds, You Still Believe In Me includes unusual instrumentation such as a theramin and even a bicycle bell.

Artist:    Frantics
Title:    Human Monkey
Source:    Mono CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single)
Writer:    Miller/Stevenson
Label:    Rhino (original label: Action)
Year:    1966
    The Frantics were a popular cover band in Tacoma, Washington in the early 60s. Guitarist Jerry Miller, however, had greater ambitions and eventually relocated to San Francisco, taking the band's name and two of its members, keyboardist Chuck "Steaks" Schoning and drummer Don Stevenson, with him. After recruiting bassist Bob Mosely the Frantics cut their only single, an early Motown-style dance number called the Human Monkey, in 1966. The group would soon shed Schoning and pick up two new members, changing their name to Moby Grape in the process.

Artist:    Kinks
Title:    Big Black Smoke
Source:    Mono CD: Face To Face (bonus track originally released as 45 RPM single B side)
Writer(s):    Ray Davies
Label:    Sanctuary (original label: Reprise)
Year:    1966
    The Kinks had some of the best non-album sides of the 60s. Case in point: Big Black Smoke, which appeared as the B side of Dead End Street in November of 1966. The song deals with a familiar phenomenon of the 20th century: the small town girl that gets a rude awakening after moving to the big city. In this case the city was London, known colloquially as "the Smoke".

Artist:    Rising Sons
Title:    Take A Giant Step
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on CD:The Rising Sons featuring Taj Mahal and Ry Cooder)
Writer(s):    Goffin/King
Label:    Rhino (original label: Columbia)
Year:    Recorded 1968, released 1992
    Popular Los Angeles club band The Rising Sons were blessed with the talents of not one, but three musicians that would go on to become highly respected in the music business: vocalist Taj Mahal, guitarist Ry Cooder, and singer/songwriter Jesse Lee Kincaid. At the time, however, Columbia Records had no clue how to market an interracial country-blues/rock band. After an early single bombed the band attempted a more commercial sounding tune, the Gerry Goffin/ Carole King penned Take A Giant Step, but Columbia sat on it, as well as over an album's worth of other material. The song itself became well known when the Monkees released it as the B side of their debut single, Last Train To Clarksville. Taj Mahal, who liked the lyrics but not the fast tempo of the original version, re-recorded the song at a slower pace for his 1969 album Giant Step, making it one of his signature songs in the process.

Artist:    Rolling Stones
Title:    Mother's Little Helper
Source:    Mono CD: Flowers
Writer:    Jagger/Richards
Label:    Abkco (original label: London)
Year:    1966
    By 1966 the Rolling Stones had already had a few brushes with the law over their use of illegal drugs. Mother's Little Helper, released in Spring of '66, is a scathing criticism of the abuse of legal prescription drugs by the parents of the Stones' fans. Perhaps more than any other song of the time, Mother's Little Helper illustrates the increasingly hostile generation gap that had sprung up between the young baby boomers and the previous generation.

Artist:    Hearts And Flowers
Title:    Rock And Roll Gypsies
Source:    LP: Homer (soundtrack) (originally released on LP: Of Houses, Kids And Forgotten Women)
Writer(s):    Roger Tillison
Label:    Cotillion (original label: Capitol)
Year:    1968
    Led by singer/songwriters Larry Murray and Dave Dawson, Hearts And Flowers is best known for launching the career of guitarist/vocalist Bernie Leadon, who joined the group for their second LP and would later go on to co-found the Eagles (he is now a producer in Nashville). That second album, Of Houses, Kids And Forgotten Women, is generally considered the most accessible of the group's three albums, and included the song Rock And Roll Gypsies, which was included on the Homer movie soundtrack album in 1970.

Artist:    Them
Title:    Dirty Old Man (2nd single version)
Source:    British Import CD: Time Out! Time In! For Them (bonus track originally released on LP: Now And Them)
Writer(s):    Tom Lane
Label:    Rev-Ola
Year:    1968
    This track puzzles me. The CD booklet that comes with the expanded version of Time Out! Time In! For Them lists the song as Dirty Old Man (2nd single version), yet according to every database I have access to the song was only issued as a single once. Even more confusing is the fact that the first single version of the song (also included on the CD) runs about fifteen seconds longer than this one, and that this version is exactly the same length as the version heard on the LP Now And Them, which was released after the first single version but before Time Out! Time In! For Them. Furthermore, this particular track is in stereo, which was fairly uncommon for singles released in 1968 and totally unprecedented for the Tower label at that time. As there is nothing in the liner notes to indicate otherwise, I'm going to assume that this version is in fact the album version from Now And Them that was perhaps prepared as a single but never released.
       
Artist:    Steppenwolf
Title:    Your Wall's Too High
Source:    CD: 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:     Mountain
Title:     Theme From An Imaginary Western
Source:     CD: Woodstock 2
Writer(s):    Bruce/Brown
Label:     Atlantic
Year:     1969
     Keyboardist Felix Pappaliardi worked closely with the band Cream in the studio, starting with the album Disraeli Gears, so it was only natural that his new band Mountain would perform (and record) at least one song by Cream's primary songwriting team, Jack Bruce and Pete Brown. If Mississippi Queen was guitarist Leslie West's signature song, then Theme From An Imaginary Western was Felix's, at least until Nantucket Sleighride came along. This particular recording, from the Woodstock 2 album, sounds like a different performance than the one heard on the Rhino 40th anniversary box set. The story I heard is that the band was unhappy with the actual Woodstock recording (due to both technical and performance flaws) and provided an alternate live recording to be used on the original LP. The fact that the 40th anniversary version includes a section where the vocals are inaudible that is not is this recording lends credence to that theory.

Artist:    Who
Title:    Pinball Wizard
Source:    Woodstock: 40 Years On: Back To Yasgur's Farm
Writer(s):    Pete Townshend
Label:    Rhino
Year:    Recorded 1969, released 2009
    Despite being one of Britain's most popular bands from 1966-69, the Who were still mostly unknown in the US, with only a couple 40 hits  to their credit. That all changed with the release of the rock operaTommy and their subsequent performance of the piece at Woodstock in 1969.  Most of that performace remained unreleased until 2009, when several sections of it were included in the box set Woodstock: 40 Years On: Back To Yasgur's Farm. Among the newly released selections was Pinball Wizard, the song that had been chosen to be the lead single from the original album in 1969.

Artist:    Country Joe And The Fish
Title:    Rock And Soul Music
Source:    LP: Woodstock
Writer(s):    McDonald/Melton/Cohen/Barthol/Hirsch
Label:    Cotillion
Year:    1969
    Country Joe and the Fish actually performed Rock and Soul Music twice at Woodstock. The first instance was a short intro that led directly into the next song. This is the piece used on the original Woodstock soundtrack album, which, through the magic of tape editing, leads directly into...

Artist:     Arlo Guthrie
Title:     Coming Into Los Angeles
Source:     LP: Woodstock (originally released on LP: Running Down The Road)
Writer:     Arlo Guthrie
Label:     Cotillion (original label: Rising Son)
Year:     1969
     As seen in the Woodstock movie, Arlo Guthrie performed Coming Into Los Angeles at the Woodstock Arts and Music Festival in 1969. The original Woodstock soundtrack album, however, subsituted this studio version for the live performance of the song. This was probably done at Guthrie's request, as several of the performers expressed dissatisfaction with the recordings made at the festival, either due to problems with the sound system or, in some cases, the performances themselves. This is understandable given the adverse conditions many of them had to deal with (rain, audio problems, lack of sleep, etc.).

Artist:    Creedence Clearwater Revival
Title:    Fortunate Son
Source:    LP: Willy And The Poor Boys
Writer(s):    John Fogerty
Label:    Fantasy
Year:    1969
    John Fogerty says it only took him 20 minutes to write what has become one of the iconic antiwar songs of the late 1960s. But Fortunate Son is not so much a condemnation of war as it is an indictment of the political elite who send the less fortunate off to die in wars without any risk to themselves. In addition to being a major hit single upon its release in late 1969 (peaking at #3 as half of a double-A sided single), Fortunate Son has made several "best of" lists over the years, including Rolling Stone magazine's all-time top 100. Additionally, in 2014 the song was added to the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant".

Artist:    Poets
Title:    That's The Way It's Gotta Be
Source:    Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in UK as 45 RPM single)
Writer(s):    Gallacher/Paton/Myles
Label:    Rhino (original label: Decca)
Year:    1965
    From Glasgow, Scotland, the Poets were discovered by Rolling Stones' manager/producer Andrew Loog Oldham while on a trip to Edinburgh to marry his 16-year-old girlfriend. Although Oldham's primary focus remained on the Stones (and presumably his girlfriend), he did stick by the Poets through half a dozen singles from 1964 through 1967. One of the best of these was That's The Way It's Gotta Be, released on the British Decca label in 1965.

Artist:    Paul Revere and the Raiders
Title:    Steppin' Out
Source:    Mono CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Revere/Lindsay
Label:    Rhino (original label: Columbia)
Year:    1965
    1965 was the year that Paul Revere and the Raiders hit the big time. The Portland, Oregon combo 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 group, the Kingsmen, whose version was recorded the same month as the Raiders'. While playing in Hawaii the group 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 actual rock band signed by the label. Appearing on Action turned out to be a major turning point for the group, 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 Raiders 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:    Procol Harum
Title:    A Whiter Shade Of Pale
Source:    45 RPM single (simulated stereo reissue)
Writer(s):    Brooker/Reid/Fisher
Label:    A&M (original label: Deram)
Year:    1967
    Often credited as being the first progressive rock band, Procol Harum drew heavily from classical music sources, such as the Bach inspired theme used by organist Matthew Fisher as the signature rift for A Whiter Shade of Pale. Fisher initially did not get writing credit for his contributions to the song, but finally, after several lawsuits, began collecting royalties for the song in 2009. A Whiter Shade Of Pale, incidentally, holds the distinction of being the most-played song on the British airwaves of the past 70 years.

Artist:    Byrds
Title:    Thoughts And Words
Source:    CD: Younger Than Yesterday
Writer(s):    Chris Hillman
Label:    Columbia/Legacy
Year:    1967
     In addition to recording the most commercially successful Dylan cover songs, the Byrds had a wealth of original material over the course of several albums. On their first album, these came primarily from guitarists Gene Clark and Jim (now Roger) McGuinn, with David Crosby emerging as the group's third songwriter on the band's second album. After Clark's departure, bassist Chris Hillman began writing as well, and had three credits as solo songwriter, including Thoughts And Words, on the group's fourth LP, Younger Than Yesterday. Hillman credits McGuinn, however, for coming up with the distinctive reverse-guitar break midway through the song.

Artist:    Seeds
Title:    The Wind Blows Your Hair
Source:    Mono LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single)
Writer(s):    Saxon/Bigelow
Label:    Rhino (original label: GNP Crescendo)
Year:    1967
    The Wind Blows Your Hair is actually one of the Seeds' better tracks. Unfortunately, by the time it was released the whole concept of Flower Power (which the Seeds were intimately tied to) had become yesterday's news and the single went nowhere.

Artist:     Electric Prunes
Title:     Are You Lovin' Me More (But Enjoying It Less)
Source:     45 RPM single B side
Writer:     Tucker/Mantz
Label:     Reprise
Year:     1967
     For a follow-up to the hit single I Had Too Much To Dream (Last Night), producer Dave Hassinger chose another Annette Tucker song (co-written by Jill Jones) called Get Me To The World On Time. This was probably the best choice from the album tracks available, but Hassinger may have made a mistake by choosing Are You Lovin' Me More (But Enjoying It Less) as the B side. That song, written by the same Tucker/Mantz team that wrote I Had Too Much To Dream (Last Night) could quite possibly been a hit single in its own right if it had been issued as an A side. I guess we'll never know for sure.

Artist:    Van Morrison
Title:    Brown Eyed Girl
Source:    LP: Blowin' Your Mind
Writer(s):    Van Morrison
Label:    Bang
Year:    1967
    It may not be Van Morrison's favorite song, but it is arguably his most popular one. The 1968 single was originally written as Brown Skinned Girl, but, as Morrison later said "That was just a mistake. It was a kind of Jamaican song. Calypso. It just slipped my mind. After we'd recorded it, I looked at the tape box and didn't even notice that I'd changed the title. I looked at the box where I'd lain it down with my guitar and it said 'Brown Eyed Girl' on the tape box. It's just one of those things that happen." Morrison's contract with Bang Records was fairly typical of the times. Not only did he not receive any royalties from the recording, the song was included on the album Blowin' Your Mind without Morrison's input or knowledge. Brown Eyed girl is, to this day, one of the most played songs in radio history.

Artist:    Tim Hardin
Title:    Red Balloon
Source:    Mono LP: Tim Hardin II
Writer(s):    Tim Hardin
Label:    Verve Forecast
Year:    1967
    There have always been singer/songwriters whose songs are usually associated by the artists who recorded hit cover versions of those songs. Such is the case with Tim Hardin, who wrote If I Were A Carpenter and recorded it for his 1967 LP Tim Hardin II. Bobby Darin covered the song a couple years later, charting one of his biggest hits in the process. A later version by Johnny Cash and June Carter topped the country charts. Another, lesser-known track from Hardin's second LP is Red Balloon, which is written in a similar vein.

Artist:    Donovan
Title:    There Is A Mountain
Source:    British import CD: Mellow Yellow (originally released in US as 45 RPM single)
Writer(s):    Donovan Leitch
Label:    EMI (original label: Epic)
Year:    1967
    1967 was a year that saw Donovan continue to shed the "folk singer" image, forcing the media to look for a new term to describe someone like him. As you may have already guessed, that term was "singer-songwriter." On There Is A Mountain, a hit single from 1967, Donovan applies Eastern philosophy and tonality to pop music, with the result being one of those songs that sticks in your head for days.

Artist:    Move
Title:    Flowers In The Rain
Source:    45 RPM single
Writer:    Roy Wood
Label:    A&M
Year:    1967
    The Move was one of Britain's most popular acts in the mid to late 1960s. That popularity, however, did not extend to North America, where the band failed to chart even a single hit. The closest they came was Flowers In The Rain, a song that made it to the # 2 spot in England and was the very first record played on BBC Radio One (the first legal top 40 station in the UK). Eventually Roy Wood would depart to form his own band, Roy Wood's Wizzard, and the remaining members would evolve into the Electric Light Orchestra.

Artist:    Buckinghams
Title:    And Your Love
Source:    LP: Time And Charges
Writer(s):    James William Guercio
Label:    Columbia
Year:    1967
    The Buckinghams were a Chicago area band that hit the top of the US charts with Kind Of A Drag, released on the local USA label in late 1966. Not long after that the band was introduced to James William Guercio, who immediately saw the potential of a rock band with a strong horn presence. Guercio soon became the band's producer, getting the Buckinhams a contract with Columbia, at the time the second largest record label in the US (behind RCA Victor). Guercio produced the band's second LP, Time And Charges, which included several of Guercio's own compositions such as And Your Love. After creative differences resulted in Guercio and the Buckinghams going their separate ways,  Guercio found a pair of new bands with horn sections in need of a producer: Blood, Sweat & Tears (who had just added David Clayton-Thomas to the lineup) and the Chicago Transit Authority, who would end up shortening their name to Chicago.

Artist:    Freddie And The Dreamers
Title:    Johnny B. Goode
Source:    Mono LP: Freddie And The Dreamers
Writer(s):    Chuck Berry
Label:    Mercury
Year:    1965
    Possibly the tamest version of Chuck Berry's Johnny B. Goode ever recorded appeared on the 1965 album Freddie And The Dreamers.

Artist:    Count Five
Title:    Psychotic Reaction
Source:    Mono CD: Nuggets-Original Artyfacts From The First Psychedelic Era
Writer(s):    Ellner/Chaney/Atkinson/Byrne/Michaelski
Label:    Rhino
Year:    1966
    In the early 1960s the San Bernardino/Riverside area of Southern California (sometimes known as the Inland Empire), was home to a pair of rival top 40 stations, KFXM and KMEN. The newer of the two, KMEN, had a staff that included Ron Jacobs, who would go on to co-create the Boss Radio format (more music, less talk!), and Brian Lord, one of the first American DJs to champion British Rock (even going so far as to have copies of Beatle albums shipped from record shops in London before they were released in the US), and the man responsible for setting up the Rolling Stones' first US gig (in San Bernardino). From 1965-67 Lord took a break from KMEN, moving north to the San Jose area. While there, he heard a local band playing in a small teen club and invited them to use his garage as a practice space. The band was Count Five, and, with Lord's help, they got a contract with L.A.'s Double Shot label, recording and releasing the classic Psychotic Reaction in 1966. Lord later claimed that this was the origin of the term "garage rock".

Artist:    Spencer Davis Group
Title:    I'm A Man
Source:    Mono LP: Progressive Heavies (originally released as 45 RPM single)
Writer(s):    Winwood/Miller
Label:    United Artists
Year:    1967
    The Spencer Davis Group, featuring Steve and Muff Winwood, was one of the UK's most successful white R&B bands of the sixties, cranking out a steady stream of hit singles. Two of them, the iconic Gimme Some Lovin' and I'm A Man, were also major hits in the US, the latter being the last song to feature the Winwood brothers. Muff Winwood became a successful record producer. The group itself continued on for several years, but were never able to duplicate their earlier successes. As for Steve Winwood, he quickly faded off into obscurity, never to be heard from again. Except as the leader of Traffic. And a member of Blind Faith. And Traffic again. And some critically-acclaimed collaborations in the early 1980s with Asian musicians. Oh yeah, and a few major solo hits (Higher Love, Roll With It...that kinda thing) in the mid-to-late 1980s. Other than that, nothing.

Artist:    Beacon Street Union
Title:    The Prophet
Source:    British import CD: The Eyes Of The Beacon Street Union
Writer(s):    Ulaky/Wright
Label:    See For Miles (original US label: M-G-M)
Year:    1968
    The Beacon Street Union had already relocated to New York from their native Boston by the time their first LP, The Eyes Of The Beacon Street Union, appeared in early 1968. Unfortunately, they were grouped together with other Boston bands such as Ultimate Spinach by M-G-M Records as part of a fictional "Boss-Town Sound", which ultimately hurt the band's chances far more than it helped them. The album itself is actually one of the better psychedelic albums of the time, with tracks like The Prophet, which closes out side two of the original LP, combining somewhat esoteric music and lyrics effectively.

Artist:    Joe Byrd And The Field Hippies
Title:    Patriot's Lullabye/Nightmare Train
Source:    LP: The American Metaphysical Circus
Writer(s):    Joseph Byrd
Label:    Columbia
Year:    1969
    Following his departure from the United States Of America, avant-garde composer/artist Joseph Byrd got to work on an album called the American Metaphysical Circus. For the album he put together a group of Los Angeles based musicians, giving them the name Field Hippies. The group included Tom Scott, who would gain fame as the leader of the L.A. Express; the reclusive guitarist Ted Greene in one of his few recorded appearances; Meyer Hirsch, a member of the Buddy Rich Big Band and an experimental composer in his own right; Victoria Bond, who went on to have a prominent career as a classical composer, conductor and vocalist; and Fred Selden, a student of Byrd's at UCLA, who joined the Don Ellis Orchestra (led by Byrd's partner in the UCLA New Music Workshop), received a Grammy nomination, and later returned to UCLA to receive his Ph.D. The album, released on Columbia's Masterworks label, remained in the label's catalogue for 20 years, and is considered a landmark album for its use of synthesizers and other electronic effects. Patriot's Lullabye is a soft, melodic, politically controversial piece sung by Bond that leads directly into Nightmare Train, a loud rocker with Byrd himself on vocals.

Artist:    Tangerine Dream
Title:    Journey Through A Burning Brain
Source:    British import CD: Electronic Meditation (originally released in Germany)
Writer(s):    Schnitzler/Froese/Schultze
Label:    Reactive/Esoteric (original German label: Ohr)
Year:    1970
            Tangerine Dream is generally acknowledged to be the band that started the entire electronic rock genre. Although they became famous for their use of synthesizers, their first LP, Electronic Meditation, was recorded in a rented factory in Berlin in October 1969, using just a two-track Revox tape recorder. It was the only album recorded by the group's original lineup of Edgar Froese, Klaus Schulze, and Conrad Schnitzler. The album itself is highly experimental, as can be heard on Journey Through A Burning Brain.