The time has come to play the album version of Time Has Come Today in its entirety, something that hasn't been done on the show since 2017. We also have artists' sets from Love and the Rolling Stones, along with an Advanced Psych segments made entirely of songs that have never been heard on Stuck in the Psychedelic Era before.
Artist: Gerry And The Pacemakers
Title: It's Gonna Be Alright
Source: LP: Ferry Across The Mersey
Writer(s): Gerry Marsden
The Beatles are, of course, the most popular band to emerge from the Liverpool music scene. But who was second? The answer is Gerry And The Pacemakers, who became the first (and for 20 years only) artist to score consecutive #1 hits on the British charts with their first three releases. Formed in 1959 by Gerry Marsdon, his brother Fred, Les Chadwick, and Arthur McMahon, the band was originally known as Gerry Marsdon and the Mars Bars, but had to change their name when the candy company objected. They were the second band to sign with Brian Epstein, and released their first single, How Do You Do It, in 1963. In 1964, Marsden began writing most of the band's material, including It's Gonna Be Alright, which was released in September of 1964 in the UK as a single and then as the title track of an EP around Christmastime. The song was released in the US the following June, becoming their seventh US top 40 hit.
Title: Are You A Boy Or Are You A Girl
Source: Mono LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Label: Rhino (original label: Laurie)
From Boston we have the Barbarians, best known for having a drummer named Victor "Moulty" Moulton, who wore a hook in place of his left hand (and was probably the inspiration for the hook-handed bass player in the cult film Wild In The Streets a few years later). In addition to Are You A Boy Or Are You A Girl, which was their biggest hit, the Barbarians (or rather their record label) released an inspirational tune (inspirational in the 80s self-help sense, not the religious one) called Moulty that got some airplay in 1966 but later was revealed to have been the work of studio musicians, with only Moulty himself appearing on the record.
Artist: Clefs Of Lavender Hill
Title: Stop-Get A Ticket
Source: Mono CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s): Travis & Coventry Fairchild
Label: Rhino (original label: Thames)
The Clefs Of Lavender Hill were a band from North Miami that featured not one, but two sets of siblings: the brother and sister team of Travis and Coventry Fairchild (both of which sang and played guitar) and the Moss brothers, Bill (bass) and Fred (drums). The first single from the band was a song called First Tell Me Why, but it was the B side of the record, a Beatlesque tune called Stop-Get A Ticket that became a hit on Miami radio stations. The song was picked up by Date Records and peaked nationally at # 80. Subsequent releases by the Clefs failed to crack the Hot 100 and the group (after several personnel changes) finally called it quits in 1968.
Artist: Spencer Davis Group
Title: I'm A Man
Source: Mono British import CD: The Best Of The Spencer Davis Group (originally released as 45 RPM single)
Label: United Artists
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 (Back In The High Life, Roll With It...that kinda thing) in the mid-to-late 1980s. Other than that, nothing.
Artist: Max Frost And The Troopers
Title: Shape Of Things To Come
Source: CD: Shape Of Things To Come (originally released on LP: Wild In The Streets soundtrack)
Label: Captain High (original label: Tower)
Max Frost was a politically savvy rock star who rode the youth movement all the way to the White House, first through getting the support of a hip young Senator, then getting the age requirements for holding high political office lowered to 21, and finally lowering the voting age to 14. Everyone over 30 was locked away in internment camps, similar to those used during WWII by various governments to hold those of questionable loyalty to the current regime. What? You don't remember any of that? You say it sounds like the plot of a cheapie late 60s teen exploitation flick? Right on all counts except for the "cheapie" part. Wild in the Streets starred Christopher Jones as the rock star, Hal Holbrook as the hip young senator, and a Poseidon Adventure-sized Shelly Winter as the rock star's interred mom. Richard Pryor, in his film debut, played the band's drummer/political activist Stanley X. The most prominent song from the film was Shape Of Things To Come, writen by the Brill Building husband and wife team of Barry Mann and Cynthia Weil, who had written several hit songs over the years, including Kicks and Hungry for Paul Revere And The Raiders. Shape Of Things To Come ended up being a hit as well, leading to an entire album being released by the fictional Max Frost And The Troopers. Although who the musicians who actually played on the song is not known for sure, most people who know anything about it believe it to be the work of the 13th Power, who had recently signed with Tower Records, the label that issued both the movie soundtrack album and the Shape Of Things To Come LP.
Title: The Daily Planet
Source: CD: Forever Changes
Writer(s): Arthur Lee
The closest Love ever got to a stable lineup was in early 1967, when the group consisted of multi-instrumentalist and band leader Arthur Lee, lead guitarist Johnny Echols, rhythm guitarist Bryan MacLean, bassist Ken Forssi and drummer Michael Stuart. This group, along with "Snoopy" Pfisterer on keyboards and Tjay Cantrelli on flute and saxophone, had completed the De Capo album in late 1966 and were firmly entrenched as the top-drawing band on the Sunset Strip. There were drawbacks, however. Then, as now, Los Angeles was the party capitol of the world, and the members of Love, as kings of the Strip, had easy access to every vice they could imagine. This became a serious problem when it was time to begin working on the band's third LP, Forever Changes. Both Lee and MacLean had new material ready to be recorded, but getting the other band members into the studio was proving to be impossible, so their producer took matters into his own hands and brought in some of L.A.'s top studio musicians to begin work on the album. The move turned out to be a wake up call for the rest of the band, who were able to get their act together in time to finish the album themselves. Lee and MacLean, however, chose to keep the two tracks that they had completed using studio musicians. One of those was a Lee composition, The Daily Planet. Ken Forssi later claimed that bassist Carol Kaye was having problems with the song and Forssi himself ended up playing on the track, but there is no way now to verify Forssi's claim.
Title: My Little Red Book
Source: LP: Nuggets Vol. 2-Punk (originally released on LP: Love)
Label: Rhino (original label: Elektra)
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.
Title: The Good Humor Man He Sees Everything Like This
Source: CD: Forever Changes
Writer(s): Arthur Lee
There is avant garde and there is avant garde. Whereas most of the groups that have the label applied to them (Velvet Underground, United States of America, Fifty Foot Hose) sometimes were about as pleasant to listen to a nails on a blackboard, Love's Arthur Lee took an entirely different approach. Even though tracks like The Good Humor Man He Sees Everything Like This (from Forever Changes) are full of time, key and phrasing surprises throughout, he manages to make it all sound pretty on perhaps his most avant garde recording ever.
Title: What Have They Done To My Song Ma
Source: LP: Candles In The Rain
Writer(s): Melanie Safka
Melanie Safka was born to Ukrainian and Italian parents in the Astoria nieghborhood of Queens, New York in the late 1940s. While still in high school she performed regularly at the Inkwell, a coffee house in West End, New Jersey. While attending college she began performing in various Greenwich Village folk clubs, signing with first Columbia and then Buddah and releasing her first LP, Born To Be, in 1968. Inspired by a successful performance at Woodstock, Melanie released her third LP, Candles In The Rain, in 1970. The title track was her first top 10 single in the US, with a cover of the Rolling Stones' Ruby Tuesday doing the same in the UK. One of Melanie's strengths as a singer/songwriter was the diversity of her material, as tunes like What Have They Done To My Song Ma (which sounds like it could be written much earlier in the century) demonstrate.
Artist: Rolling Stones
Title: Let's Spend The Night Together
Source: CD: Flowers (originally released on LP: Between The Buttons)
Label: Abkco (original label: London)
The Rolling Stones second LP of 1967 was Flowers, one of a series of US-only albums made up of songs that had been released in various forms in the UK but not in the US. In the case of Flowers, though, there were a couple songs that had already been released in the US-but not in true stereo. One of those was Let's Spend The Night Together, a song intended to be the A side of a single, but that was soon banned on a majority of US radio stations because of its suggestive lyrics. Those stations instead flipped the record over and began playing the B side. That B side, a song called Ruby Tuesday, ended up in the top 5, while Let's Spend The Night Together barely cracked the top 40. The Stones did get to perform the tune on the Ed Sullivan Show, but only after promising to change the lyrics to "let's spend some time together." Later the same year the Doors made a similar promise to the Sullivan show to modify the lyrics of Light My Fire, but when it came time to actually perform the song Jim Morrison defiantly sang the lyrics as written. The Doors were subsequently banned from making any more appearances on the Sullivan show.
Artist: Rolling Stones (also released as Bill Wyman)
Title: In Another Land
Source: CD: Their Satanic Majesties Request
Writer(s): Bill Wyman
Label: Abkco (original label: London)
In Another Land was the first Rolling Stones song written and sung by bassist Bill Wyman, and was even released in the US as a Wyman single. The song originally appeared on the Stones' most psychedelic album, Their Satanic Majesties Request, in late 1967.
Artist: Rolling Stones
Title: The Singer Not The Song
Source: Mono CD: Singles Collection-The London Years (originally released in UK as 45 RPM single B side)
Label: Abkco (original label: Decca)
Several Rolling Stones singles, especially in the early years, were issued with different B sides in the US than in their native England. Sometimes it was because of topical references that only made sense in one country (The Under Assistant West Coast Promotion Man, for instance). Other times it was because a song had already appeared in one country on an album, but not in the other one. Sometimes there didn't seem to be any apparent reason at all. Such is the case with Get Off My Cloud, a hit single in both countries. The US B side was a tune called I'm Free, while in the UK Decca issued The Singer Not The Song. Both tracks were from September 1965 sessions at RCA studios in Hollywood, making the choices even more of a mystery.
Title: Busy Day
Source: 45 RPM single B side
Writer(s): Larry Weigand
Crow started off as a Minneapolis band called South 40, a name they used until they began releasing records nationally in 1969. Their first LP, Crow Music, was released in 1969 and did fairly well on the charts, thanks in large part to the success of the song Evil Woman (Don't Play Your Games With Me), which made the top 20. The follow-up single, Cottage Cheese, was released in advance of their second album, Crow By Crow, in 1970. As no other tracks from that LP were available for the B side, a tune from Crow Music, Busy Day, was included instead. The song was written by bassist Larry Weigand, who had been listed as co-writer on both A sides.
Artist: Moby Grape
Title: Murder In My Heart For The Judge
Source: LP: Wow
Writer(s): Don Stevenson
Moby Grape was one of those bands that probably should have been more successful than they were, but were thrown off-track by a series of bad decisions by their own support personnel. First, Columbia damaged their reputation by simultaneously releasing five singles from their debut LP in 1967, leading to accusations that the band was nothing but hype. Then their producer, David Rubinson, decided to add horns and strings to many of the tracks on their second album, Wow, alienating much of the band's core audience in the process. Still, Wow did have its share of fine tunes, including drummer Don Stevenson's Murder In My Heart For The Judge, probably the most popular song on the album. The song proved popular enough to warrant cover versions by such diverse talents as Lee Michaels, Chrissy Hynde and Three Dog Night.
Artist: Jimi Hendrix Experience
Title: Can You See Me
Source: British simulated stereo LP: Smash Hits (originally released in UK and Europe on LP: Are You Experienced)
Writer(s): Jimi Hendrix
Label: Polydor (original British label: Track)
Can You See Me was originally slated to be released as the B side of the third Jimi Hendrix Experience single, The Wind Cries Mary, but instead ended up on the album Are You Experienced, released in early 1967. The album was the first LP ever issued on the Track label, with European copies appearing under the Polydor imprint. The LP was issued monoraully, with later stereo copies bearing the disclaimer "Enhanced for stereo from original mono recordings" on the album cover. Later that same year Reprise released their own US version of Are You Experienced, using true stereo mixes created by their own engineers from the original 4-track master tapes. Three songs from the original UK release, including Can You See Me, were left off the US version of the album to make room for the three British singles that were not on the album itself. Those songs were never mixed in true stereo, however, and when Track and Polydor compiled the 1968 album Smash Hits, the "Enhanced for stereo from original mono recordings" were used for all the songs on the LP.
Title: Wild Thing
Source: Simulated stereo LP: Golden Days Of British Rock (originally released as 45 RPM single)
Writer: Chip Taylor
Label: Sire (original label: Fontana)
I have a DVD copy of a music video (although back then they were called promotional films) for the Troggs' Wild Thing in which the members of the band are lip-synching the song as they walk through what looks like a train station while being mobbed by girls at every turn. Every time I watch it I imagine singer Reg Presley saying giggity-giggity as he bobs his head.
Title: Eight Miles High (RCA Studios version)
Source: 45 RPM single (originally released on LP: Never Before)
Label: Columbia/Sundazed (original label: Re-Flyte)
Year: Recorded 1965, released 1987
In December of 1965, while Turn! Turn! Turn! was the number one song in the nation, the Byrds booked time at RCA Studios in Los Angeles to record a pair of songs, Eight Miles High and Why, which were intended to the be the band's next single. Columbia Records, however, had a policy prohibiting the use of a rival's studios (especially RCA's) and insisted that the Byrds re-record both songs, which were then issued as a single and included on the album Fifth Dimension. Meanwhile, the original recorded version of Eight Miles High remained unreleased until 1987, when it was included on an album of early unreleased Byrds recordings on the Re-Flyte label called Never Before. Both David Crosby and Roger McGuinn have said that they actually prefer the earlier version to the well-known Columbia recording.
Title: For Pete's Sake
Source: CD: Headquarters
Label: Rhino (original label: Colgems)
It didn't come as a surprise to anyone who knew him that first member of the Monkees to depart the band was Peter Tork. Of all the members of the "pre-fab four" Tork was the most serious about making the group into a real band, and was the most frustrated when things didn't work out that way. A talented multi-instrumentalist, Tork had been a part of the Greenwich Village scene since the early 60s, where he became close friends with Stephen Stills. Both Tork and Stills had relocated to the west coast when Stills auditioned for the Monkees and was asked if he had a "better looking" musician friend that might be interested in the part. Although Tork was, by all accounts, the best guitarist in the Monkees, he found himself cast as the "lovable dummy" bass player on the TV show and had a difficult time being taken seriously as a musician because of that. During the brief period in 1967 when the members of the band did play their own instruments on their recordings, Tork could be heard on guitar, bass, banjo, harpsichord and other keyboard instruments. He also co-wrote For Pete's Sake, a song on the Headquarters album that became the closing theme for the TV show during its second and final season. Until his passing in February of 2019 Tork was involved with a variety of projects, including an occasional Monkees reunion.
Source: British import 45 RPM EP: Magical Mystery Tour
Label: Parlophone (original US label: Capitol)
1967 was an odd year for the Beatles. They started it with one of their most successful double-sided singles, Strawberry Fields Forever/Penny Lane, and followed it up with the iconic Sgt. Pepper's Lonely Hearts Club Band album. From there, they embarked on a new film project. Unlike their previous movies, the Magical Mystery Tour was not made to be shown in theaters. Rather, the film was aired as a television special shown exclusively in the UK. The airing of the film coincided with the release (in the UK and Europe) of a two-disc extended play 45 RPM set featuring the six songs from the special. In the US, however, where EPs were considered to be virtually extinct, the songs became one side of an album that collected all the non-LP single sides they had released that year on the other. Among the songs from the film is Flying, a rare instrumental track that was credited to the entire band.
Artist: Bob Dylan
Title: I Want You
Source: Mono LP: Blonde On Blonde
Writer(s): Bob Dylan
I Want You, Bob Dylan's first single of 1966, was released in advance of his Blonde On Blonde album and was immediately picked by the rock press to be a hit. It was.
Title: Don't Bring Harry
Source: British import 33 1/3 RPM 7" EP
Writer(s): The Stranglers
Label: United Artists
Formed in the mid-1970s in Guildford, Surry, England, the Stranglers cited L.A. bands like the Doors and the Music Machine as early influences. They soon became associated with London's punk-rock scene, but were far more diverse in style than their contemporaries. This reputation for going "outside the box" gave them the freedom to record songs like Don't Bring Harry, a veiled reference to heroin use that was released on a 1979 EP. With relatively few personnel changes over the years, the Stranglers have continued to both perform and record new material, although the COVID-19 related death of founding keyboardist Dave Greenfield in May of 2020 has put the future of the band in doubt.
Artist: Electric Prunes
Title: Tidal Wave
Source: CD: California
After successfully reestablishing themselves as one of the world's premier psychedelic rock bands with the album Artifact in 2001, the Psychedelic Prunes got to work on their first self-generated concept album (Mass In F Minor having been imposed on them by their then-producer Dave Hassinger). That album, California, centers on the band's own impressions of the Summer of Love and the years beyond, and is an excellent showcase of the songwriting talents of lead vocalist James Lowe and bassist Mark Tulin, on songs like Tidal Wave.
Artist: King Crimson
Title: Nuages (That Which Passes, Passes Like Clouds)
Source: LP: Three Of A Perfect Pair
Label: Warner Brothers/EG
The third and final LP of the 1980s version of King Crimson was not as well-received as its predecessors. Three Of A Perfect Pair featured a "left side" made up mostly of relatively commercial songs with lyrics by Adrian Belew and music composed by the entire band. The "right" side of the LP featured more free-form improvisation on tracks like Nuages (That Which Passes, Passes Like Clouds), which closes the album. Robert Fripp, in a radio interview, described the LP's "left" side as "accessible" and its "right" side as "excessive", which seems as good a description of Three Of A Perfect Pair as any other.
Artist: Bee Gees
Title: Kilburn Towers
Source: LP: Idea
Writer(s): Barry, Robin and Maurice Gibb
Kilburn Towers are a pair of circular apartment buildings in Sydney, Australia, designed by architect William E. Beck and opened in 1960. Kilburn Towers is also a song by the Bee Gees from the 1968 album Idea that was also issued as the B side of the hit single I Started A Joke. And yes, the song was indeed inspired by the apartment complex, known for its uninterrupted view of Sydney Harbour.
Title: Jennifer Juniper
Source: British import CD: The Hurdy Gurdy Man
Writer(s): Donovan Leitch
Label: EMI (original label: Epic)
Donovan's British label, Pye, chose not to release 1967's Wear Your Love Like Heaven as a single. As a result, Donovan had no current tunes on the British charts in January of 1968, when he recorded Jennifer Juniper. The song was an instant British hit when released the following month, going to the #5 spot on the charts. The song did not do as well when it was released a month later in the US, however, stalling out at #35. The song was later included on the 1968 LP The Hurdy Gurdy Man.
Artist: Procol Harum
Title: Skip Softly (My Moonbeams)
Source: CD: Shine On Brightly
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.
Title: Space Child/When I Touch You
Source: CD: Twelve Dreams Of Dr. Sardonicus
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.
Title: The Acid Queen
Source: CD: Tommy
Writer(s): Pete Townshend
Label: MCA (original label: Decca)
Pete Townshend, the primary composer of the Who's rock opera Tommy, takes the lead vocals on The Acid Queen, a song that, while integral to the Tommy storyline, also stands as one of Townshend's strongest standalone compositions. The song is sung from the first person viewpoint of a gypsy who promises to cure Tommy's condition (blind, deaf and dumb) by using a combination of sex and drugs. Although her efforts are unsuccessful, the attempt itself has a profound effect on the youngster, who explores his inner self under the influence of LSD. Townshend himself has said that the song is "not just about acid: it's the whole drug thing, the drink thing, the sex thing wrapped into one big ball." In a reference to peer pressure, he adds that "society – people – force it on you. She represents this force." The song later became a hit single for, not surprisingly, Tina Turner, who played the part of the Acid Queen in the hit movie version of Tommy.
Artist: Blue Cheer
Title: Summertime Blues
Source: Mono LP: Vincebus Eruptum
European electronics giant Philips had its own record label in the 1960s. In the US, the label was distributed by Mercury Records, and was known primarily for a long string of hits by Frankie Valli and the Four Seasons. In 1968 the label surprised everyone by signing the loudest band in San Francisco, Blue Cheer. Their cover of the 50s Eddie Cochrane hit Summertime Blues was all over both the AM and FM airwaves that summer.
Artist: Chambers Brothers
Title: CD: Time Has Come Today
Source: The Time Has Come
Writer(s): Joe and Willie Chambers
The Chambers Brothers were an eclectic band with a gospel music background that dated back to the mid-50s, when oldest brother George finished his tour of duty with the US Army and settled down in the L.A. area. His three brothers soon followed him out to the coast from their native Mississippi, and began playing the Southern California gospel circuit before going after a more secular audience in the early 60s. Their best-known recording was Time Has Come Today, considered to be one of the defining tracks of the psychedelic era. The song, written by brothers Joe and Willie Chambers, was originally recorded in 1966 and released as a single, but went largely unnoticed by radio and the record-buying public. In 1967 the band recorded a new, eleven-minute version of Time Has Come Today for their album The Time Has Come. This version got considerable airplay on the handful of so-called "underground" FM stations that were starting to pop up across the US in college towns and major metropolitan areas, but was considered way too long for commercial radio. The following year two edited versions of the track were released. The second, longer edit ended up getting enough airplay to make the top 40; as a result the full-length version has become somewhat of a rarity on the radio, especially since the shorter version was made available in stereo in the mid-1980s. This week Stuck in the Psychedelic Era presents, for your enjoyment, the full-length album version of Time Has Come Today.