https://exchange.prx.org/pieces/361882-pe-2112
Last week's show was a bit heavy on the long album tracks, so to balance things out we have quite a few shorter tunes, starting with an early Rolling Stones single that only runs a minute and 43 seconds. There are still a couple of longer tracks, though, including the Jimi Hendrix Experience's cover of the classic Catfish Blues, recorded live in a Dutch TV studio. We also have an Advanced Psych segment this time around and an artists' set from Sean Bonniwell's Music Machine.
Artist: Rolling Stones
Title: I Wanna Be Your Man
Source: 45 RPM single B side
Writer(s): Lennon/McCartney
Label: London
Year: 1964
Mick Jagger and Keith Richards have written so many classic songs together that it's hard to imagine a time when they had yet to pen their first hit. That was precisely the case, however, in the early days of the Rolling Stones, when they were barely scratching the bottom of the British charts with covers of blues songs from the 1950s. A chance meeting with John Lennon and Paul McCartney, however, resulted in the Stones being given a song called I Wanna Be Your Man which became the band's first top 20 hit in the UK. The song was later released as the B side to the Stones' first US charted single, Not Fade Away.
Artist: Kinks
Title: Such A Shame
Source: Mono LP: Kinkdom (also released as 45 RPM single B side)
Writer(s): Ray Davies
Label: Reprise
Year: 1965
The B side of a 45 RPM record was usually thought of as filler material, but in reality often served another purpose entirely. Sometimes it was used to make an instrumental version of the hit side available for use in clubs or even as a kind of early kind of Karioke. As often as not it was a chance for bands who were given material by their producer to record for the A side to get their own compositions on record, thus giving them a share of the songwriting royalties. Sometimes the B sides went on to become classics in their own right. Possibly the band with the highest percentage of this type of B side was the Kinks, who seemed to have a great song on the flip side of every record they released. One such B side is Such A Shame, released as the flip of A Well Respected Man in 1966. It doesn't get much better than this.
Artist: Standells
Title: Why Pick On Me
Source: CD: The Best of the Standells (originally released on LP: Why Pick on Me — Sometimes Good Guys Don't Wear White)
Writer: Ed Cobb
Label: Rhino (original label: Tower)
Year: 1966
Ed Cobb, who produced both the Standells and their Tower labelmates the Chocolate Watchband, was also a prolific songwriter who penned three charting singles for the former band in 1966. Why Pick On Me, while the least successful of the three, still manages to capture the zeitgeist of late 60s youth alienation.
Artist: Doors
Title: The Crystal Ship
Source: 45 RPM single B side (European reissue of Japanese single)
Writer: The Doors
Label: Elektra
Year: 1967
One of the most popular B sides ever released, The Crystal Ship is a slow moody piece with vivid lyrical images. The mono mix of the song sounds a bit different from the more commonly-heard stereo version. Not only is the mix itself a bit hotter, it is also a touch faster. This is due to an error in the mastering of the stereo version of the first Doors LP that resulted in the entire album running at a 3.5% slower speed than it was originally recorded. This discrepancy went unnoticed for over 40 years, until a college professor pointed out that every recorded live performance of Light My Fire was in a key that was about half a step higher than the stereo studio version.
Artist: Fairport Convention
Title: One Sure Thing
Source: British import CD: Fairport Convention
Writer(s): Brooks/Glover
Label: Polydor
Year: 1968
The original Fairport Convention in many ways resembles the early Jefferson Airplane; the group, which featured Judy Dyble and Ian MacDonald (later known as Ian Matthews) on vocals, Richard Thompson and Simon Nicol on guitars, Ashley “Tyger” Hutchings on bass and Martin Lamble on drums, blended folk music with rock elements and included several songs in their repertoire that had originally been performed by other artists. One of these cover songs featuring Dyble on vocals is One Sure Thing, which was written by Jim Glover and Harvey Brooks and made famous by the folk duo Jim And Jean in the early 1960s. The Fairport version of One Sure Thing, like most of the band's early material, is far more psychedelic than the Jim And Jean rendition of the song.
Artist: Idle Race
Title: Days Of The Broken Arrows
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): Jeff Lynne
Label: Rhino (original label: Liberty)
Year: 1969
The Idle Race had already released one LP and four singles when they came out with Days Of The Broken Arrows in early 1969. Lead vocalist Jeff Lynne, who wrote and produced the song, was disappointed with the single's performance, and after releasing a second album late in the year he announced that he was leaving the Idle Race to join his friend Roy Wood's band, the Move. Eventually Lynne came to dominate the Move and saw that band evolve into the Electric Light Orchestra. Meanwhile, the remaining members of the Idle Race stayed together, finally becoming the Steve Gibbons Band in the early 1970s.
Artist: Guess Who
Title: No Sugar Tonight
Source: LP: Harmony (originally released on LP: American Woman and as 45 RPM single B side)
Writer(s): Randy Bachman
Label: RCA Special Products (original label: RCA Victor)
Year: 1970
Randy Bachman's No Sugar Tonight was not intended to be a hit single. In fact, when he first unveiled the song he was told by his bandmates that it was too short. So, to flesh it out he and Burton Cummings combined No Sugar Tonight with a Cummings tune, New Mother Nature, that was still a work in progress. The resulting medley was included on the 1970 LP American Woman. Additionally, No Sugar Tonight itself, in its short form, was also released as the B side of the American Woman single. It proved so popular that it made the top 40 in its own right. Meanwhile, FM rock stations began playing the full medley, and the shorter single version was soon abandoned by top 40 stations as well. Bachman says the song itself was inspired by an incident that transpired on a California street in which a "tough looking biker" type got publicly dressed down by a five foot tall woman for neglecting his household chores to hang out with his friends. The last words heard before they drove off in her car were "and one more thing, you ain't getting no sugar tonight".
Artist: Nilsson
Title: Driving Along
Source: LP: Nilsson Schmilsson
Writer(s): Harry Nilsson
Label: RCA Victor
Year: 1971
Referred to by one critic as a "snapshot of urban disconnectedness", Driving Along is the second track on Harry Nilsson's most successful LP, Nilsson Schmilsson. Made two years before he began hanging out with John Lennon, the tune has been compared to the later work of Lennon's former bandmate, Paul McCartney. The lead guitar on the song was provided by John Uribe, whose electric guitar work also appears on another Nilsson Schmilsson track, Jump Into The Fire.
Artist: Jimi Hendrix Experience
Title: Catfish Blues
Source: CD: Blues
Writer: Robert Petway
Label: MCA/Experience Hendrix
Year: 1967
Blues artists have long been known for "borrowing" each other's work, rearranging it to suit their own style and then publishing it under their own name. Such is the case with Catfish Blues. The earliest known recordings of the song are from 1941 by Robert Petway, a Missippippi-born singer/guitarist who, according to Dave "Honeyboy" Edwards "just made that song up and used to play it at them old country dances. He just made it up and kept it in his head." Muddy Waters slowed the song down and recorded it in 1950 as Rolling Stone, one of his most famous pieces. Jimi Hendrix, appearing on the Dutch TV show Hoepla with his band, the Jimi Hendrix Experience, performed his own version of the tune in November of 1967.
Artist: Traffic
Title: Here We Go 'Round The Mulberry Bush
Source: Mono CD: Smiling Phases (originally released as 45 RPM single)
Writer(s): Winwood/Capaldi/Wood/Mason
Label: Island (original label: United Artists)
Year: 1967
For many years I was completely oblivious to the existence of a movie called Here We Go 'Round The Mulberry Bush. The Traffic song of the same name, however, has been a favorite of mine for quite some time (I have black and white video footage of the band performing the song on some old British TV show). The song was released as a single in 1967 and was not included on either the US or UK version of the Mr. Fantasy album (originally known in the US as Heaven Is In Your Mind). It is now available, however, as a bonus track on both the mono (Mr. Fantasy) and stereo (Heaven Is In Your Mind) versions of the CD.
Artist: Pink Floyd
Title: Chapter 24
Source: CD: The Piper At The Gates Of Dawn
Writer(s): Syd Barrett
Label: Capitol (original label: Tower)
Year: 1967
One of the first tracks recorded for the debut Pink Floyd album, The Piper At The Gates Of Dawn, Chapter 24 is a Syd Barrett composition based on chapter 24 of the I Ching (the ancient Chinese Book of Changes). The tune itself is somewhat of a drone, and was considered for the band's greatest hits package Echoes: The Best Of Pink Floyd, despite never being released as a single.
Artist: Procol Harum
Title: A Whiter Shade Of Pale
Source: Simulated stereo 45 RPM single (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 over the past 70+ years.
Artist: Who
Title: I Can See For Miles
Source: LP: The Who Sell Out
Writer: Pete Townshend
Label: Decca
Year: 1967
I Can See For Miles continued a string of top 10 singles in the UK and was the Who's biggest US hit ever. Pete Townshend, however, was disappointed with the song's performance on the UK charts. He said that the song was the ultimate Who song and as such it should have charted even higher than it did. It certainly was one of the heaviest songs of its time and there is some evidence that it prompted Paul McCartney to come up with Helter Skelter in an effort to take the heaviest song ever title back for the Beatles. What makes the story even more bizarre is that at the time McCartney reportedly had never actually heard I Can See For Miles and was going purely by what he read in a record review. I Can See For Miles was also used as the closing track of side one of The Who Sell Out, released in December of 1967. Some of the commercials and jingles heard at the beginning of the track were recorded by the band itself. Others were lifted (without permission) from Radio London, a pirate radio station operating off the English coast.
Artist: Beatles
Title: Love You To
Source: CD: Revolver
Writer(s): George Harrison
Label: Parlophone (original label: Capitol)
Year: 1966
Following the release of Rubber Soul in December of 1965, the Beatles' George Harrison began to make a serious effort to learn to play the Sitar, studying under the master, Ravi Shankar. Along with the instrument itself, Harrison studied Eastern forms of music. His first song written in the modal form favored by Indian composers was Love You To, from the Revolver album. The recording also features Indian percussion instruments and suitably spiritual lyrics.
Artist: Love
Title: Mushroom Clouds
Source: Mono LP: Love
Writer(s): Lee/Echols/Forssi/MacLean
Label: Elektra
Year: 1966
Mushroom Clouds is a bit of an anomaly. For one thing, writing credit on the tune, from Love's first LP, is shared by Arthur Lee, guitarist Johnny Echols, bassist Ken Forssi and guitarist Bryan MacLean, despite being a purely acoustical piece. In fact, it is probably the closest thing to a pure folk song the band ever recorded, complete with obligatory 60s antiwar sentiment. Personally, I like the piece, despite the fact that it seems to have been left off every Love retrospective I have ever seen or heard.
Artist: Motorcycle Abileen
Title: (You Used To) Ride So High
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on CD: Warren Zevon: The First Sessions)
Writer(s): Warren Zevon
Label: Rhino (original label: Varese Sarabande)
Year: Recorded 1966, released 2003
One of the ripple effects of the British Invasion was the near-disappearance of the solo artist from the top 40 charts for several years. There were exceptions, of course. Folk singers such as Bob Dylan and Joan Baez, pop singers such as Jackie DeShannon and Dionne Warwick and more adult-oriented vocalists such as Frank Sinatra and Dean Martin all did reasonably well, but if you wanted to be a rock and roll star you pretty much had to have a band. Producers took to creating band names for pieces that were in fact entirely performed by studio musicians, and in a few cases a solo artist would use a band name for his own recordings. One such case is the Motorcycle Abilene, which was in reality producer Bones Howe on various percussion devices working with singer/songwriter Warren Zevon, who sings and plays all non-percussion instruments on (You Used To) Ride So High, a song he wrote shortly after disbanding the duo Lyme And Cybelle (he was Lyme, presumably).
Artist: Misunderstood
Title: Children Of The Sun
Source: British import CD: Before The Dream Faded (originally released in UK as 45 RPM single)
Writer(s): Hill/Brown
Label: Cherry Red (original label: Fontana)
Year: Recorded 1966, released 1969
Formed in Riverside, California in 1965, the Misunderstood relocated to London in 1966, where they soon became one of the top bands on the local underground scene. Unfortunately, the band was plagued by issues involving draft eligibility, resulting in original rhythm guitarist and primary songwriter Greg Treadwell returning to the states soon after arriving in the UK. This turned out to be a blessing in disguise, as his replacement, Londoner Tony Hill, teamed up with vocalist Rick Brown to write even better songs, augmented by the talents of Glenn Ross Campbell, who played his leads on a pedal steel guitar. The band soon signed with Fontana, releasing a single in December of 1966 before once again running into problems with the draft board, this time concerning Brown. With their frontman gone, the Misunderstood soon disbanded, with the remaining American members returning to California. Two years later Fontana released a second single by the Misunderstood, Children Of The Sun, which has since come to be regarded as a classic example of garage-flavored psychedelic music.
Artist: Yardbirds
Title: The Nazz Are Blue
Source: Australian import CD: Over, Under, Sideways, Down (originally released in UK on LP: Yardbirds, aka Roger The Engineer and in US as 45 RPM single B side)
Writer(s): Dreja/McCarty/Beck/Relf/Samwell-Smith
Label: Raven (original UK label: Columbia; US label: Epic)
Year: 1966
Unlike most of their fellow British Invasion bands, the Yardbirds did not release many albums, choosing to concentrate on single releases. In fact, over a period of five years the band only released one full studio LP in their native UK. Although the official name of that album was Yardbirds, it has since come to be known as Roger The Engineer, due to the distinctive cover drawing of the record's audio engineer, Roger Cameron, by band member Chris Dreja. The US version of the album had a different cover and a different name, Over Under Sideways Down. As was common in 1966, the UK version of the album had two more songs than its US counterpart. One of the two songs left off the US version was The Nazz Are Blue, a song written by the entire band and sung by guitarist Jeff Beck. The song was released in the US later the same year as the B side to Happenings Ten Years Time Ago, the last Yardbirds single to include Beck as a band member.
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, a relatively unusual occurence in the late 1990s.
Artist: Romeo Void
Title: I Mean It
Source: LP: itsacondition
Writer(s): Iyall/Zincavage/Woods/Bossi
Label: 415
Year: 1981
Formed in 1979 at the San Francisco Art Institute by vocalist Deborah Iyall and bassist Frank Zincavage, Romeo Void also included saxophonist Benjamin Bossi, guitarist Peter Woods, and a (shades of Spinal Tap!) succession of drummers. Their first LP, Itsacondition (sometimes referred to as It's A Condition) was released in 1981. I first ran across this album while doing a contemporary alternative rock show called Rock Nouveaux on KUNM in Albuquerque in the early 1980s. Although most of the album was fast-paced and punkish in nature, it was I Mean It, the haunting closing track from side one, that stood out from just about everything else that was happening musically at the time.
Artist: Splinter Fish
Title: Mars
Source: LP: Splinter Fish
Writer(s): Chuck Hawley
Label: StreetSound
Year: 1989
One of my favorite bands on the late 80s Albuquerque music scene was Splinter Fish, a group that didn't quite fall naturally into any specific musical genre. They certainly had things in common with many new wave bands, but also touched on world music and even hard rock. One of their most popular tracks was Mars, which itself is hard to define, thanks to many sudden tempo and even stylistic changes, even though the entire track runs less than three minutes in length. Guitarist/vocalist Chuck Hawley now leads his own band, while fem vocalist Deb-O performs with a variety of Albuquerque musicians in several different combos.
Artist: Byrds
Title: Turn! Turn! Turn!
Source: LP: Homer (soundtrack) (originally released as 45 RPM single and included on LP: Turn! Turn! Turn!)
Writer(s): Pete Seeger
Label: Cotillion (original label: Columbia)
Year: 1965
After their success covering Bob Dylan's Mr. Tambourine Man, the Byrds turned to an even more revered songwriter: the legendary Pete Seeger. Turn! Turn! Turn!, with lyrics adapted from the book of Ecclesiastes, was first recorded by Seeger in the early 60s, nearly three years after he wrote the song.
Artist: Leaves
Title: Words
Source: CD: Hey Joe
Writer(s): Boyce/Hart
Label: One Way (original label: Mira)
Year: 1966
In 1965 the songwriting team of Tommy Boyce and Bobby Hart recorded a demo of their song Words, in the hopes of either finding a band to record the tune or a getting a record contract for themselves. The following year a local Los Angeles band, the Leaves, included the song on their debut LP for the Mira label. For about a year the Leaves' recording was considered the definitive version of Words until the Monkees took the song into the top 40 as the B side of Pleasant Valley Sunday in the summer of '67.
Artist: Grass Roots
Title: Wake Up Wake Up
Source: LP: Golden Grass (originally released on LP: Let's Live For Today and as 45 RPM single)
Writer(s): Sloan/Barri
Label: Dunhill
Year: 1967
At at time when more and more record buyers were becoming interested in LPs, the Grass Roots were primarily a singles band. This probably explains why their highest charting album, Golden Grass, was a greatest hits compilation. Ironically, only a handful of the album's eleven songs were actually hits. Others, such as Wake Up Wake Up, can be described as "obscure" at best. Wake Up Wake Up, the fourth single released from the LP Let's Live For Today, is a pleasant enough song, but it is lacking the all-important hook needed to make it a hit.
Artist: Lollipop Shoppe (actual name: The Weeds)
Title: You Must Be A Witch
Source: German import CD: The Weeds aka The Lollipop Shoppe (originally released in US as 45 RPM single and on LP: Just Colour)
Writer(s): Fred Cole
Label: Way Back (original US label: Uni)
Year: 1968
The Weeds were formed in Las Vegas in 1965 by vocalist Fred Cole, who at age 16 was already a recording studio veteran. They showed up at the Fillmore to open for the Yardbirds in 1966 only to find out that their manager had lied to them about being on the playbill (in fact Bill Graham had never even heard of them). Disenchanted with their management and fearing the Draft, the entire band decided to head for Canada, but ran out of gas in Portland, Oregon. They soon landed a regular gig at a club called the Folk Singer (where Cole met his future wife Toody) and after relocating to Southern California in 1968 attracted the attention of Seeds' manager Lord Tim, who got them a contract with MCA Records (now Universal). They recorded one album for MCA's Uni label, (discovering after the fact that Lord Tim had changed their name to the Lollipop Shoppe), which included the single You Must Be A Witch. Fred Cole eventually become an icon of indy rock, returning to Portland to co-lead the band Dead Moon with his wife Toody from 1987-2006. Cole passed away from liver disease in 2017 at the age of 69.
Artist: Music Machine
Title: The Eagle Never Hunts The Fly
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single and included on LP: Bonniwell Music Machine)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound, stereo LP version released on Warner Brothers)
Year: 1967
The Music Machine was by far the most advanced of all the bands playing on Sunset Strip in 1966-67. Not only did they feature tight sets (so that audience members wouldn't get the chance to call out requests between songs), they also had their own visual look that set them apart from other bands. With all the band members dressed entirely in black (including dyed hair) and wearing one black glove, the Machine projected an image that would influence such diverse artists as the Ramones and Michael Jackson in later years. Musically, Bonniwell's songwriting showed a sophistication that was on a par with the best L.A. had to offer, demonstrated by a series of fine singles such as The Eagle Never Hunts the Fly. Unfortunately, problems on the business end prevented the Music Machine from achieving the success it deserved and Bonniwell, disheartened, dissillusioned and/or disgusted, eventually quit the music business altogether.
Artist: Music Machine
Title: Trouble
Source: CD: The Very Best Of The Music Machine-Turn On (originally released on LP: Turn On The Music Machine)
Writer(s): Sean Bonniwell
Label: Collectables (original label: Original Sound)
Year: 1966
Sean Bonniwell had definite plans for the Music Machine's first album. His primary goal was to have all original material, with the exception of a slow version of Hey Joe that he and fellow songwriter Tim Rose had been working on (and before you ask, both Rose and the Music Machine recorded it before Jimi Hendrix did). Unfortunately, the shirts at Original Sound Records did not take their own company name seriously and inserted four cover songs that the band had recorded for a local TV show. This was just the first in a series of bad decisions by the aforementioned shirts that led to a great band not getting the success it deserved. To hear Turn On The Music Machine the way Bonniwell intended it to be heard program your CD player to skip all the extra cover songs. Listened to that way, Trouble is restored to its rightful place as the second song on the disc (following Talk Talk) and a fairly decent album is transformed into a work that is equal to the best albums of 1966.
Artist: Music Machine
Title: Double Yellow Line
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single and included on LP: Bonniwell Music Machine)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound, stereo LP version released on Warner Brothers)
Year: 1967
One of the Original Sound singles that also appeared on the Warner Brothers LP Bonniwell Music Machine, Double Yellow Line features lyrics that were literally written by Bonniwell on the way to the recording studio. In fact, his inability to stay in his lane while driving with one hand and writing with the other resulted in a traffic ticket. The ever resourceful Bonniwell wrote the rest of the lyrics on the back of the ticket and even invited the officer in to watch the recording session. He declined.
Artist: Joan Baez
Title: Daddy You Been On My Mind
Source: 45 RPM single B side
Writer(s): Bob Dylan
Label: Vanguard
Year: 1965
Although I had heard songs like Where Have All The Flowers Gone and Blowin' In The Wind on the radio and around campfires, I did not actually own a folk record until early 1966, when I picked up a brown paper "grab bag" of four singles at a discount price at the Post Exchange at Fitzsimmons Army Hospital in Aurora, Colorado. Among the records in the bag was a single by Joan Baez that featured a Phil Ochs song on one side and a Bob Dylan song on the other. Being a twelve-year-old kid, I had never heard of Baez or Ochs, although the name Bob Dylan was vaguely familiar to me. Still, I was intrigued by this new kind of music, that was a bit similar to songs I had heard on the radio like Where Have All The Flowers Gone, but yet had a kind of exotic strangeness that set it apart. I still have that record, although my old record player pretty much ruined it, but have since found a copy in fairly decent condition to share with you. Enjoy!
Artist: Butterfield Blues Band
Title: Mary Mary
Source: CD: East-West
Writer(s): Michael Nesmith
Label: Elektra
Year: 1966
Poor Mike Nesmith. One of his first compositions to get recorded was Mary Mary, which appeared on the classic 1966 Butterfield Blues Band album East-West. Unfortunately for Mr. Nesmith, his name was inadvertently left out of the credits, leading Butterfield fans to assume it was a band original. Not long after East-West was released Nesmith successfully auditioned for a new TV show about the adventures of an up-and-coming band called the Monkees. The TV show was an instant success, spawning a hit single and album in late 1966, making Nesmith quite famous. When a second Monkees album appeared in January of 1967 with their own version of Mary Mary on it, a lot of people assumed that Nesmith had ripped off the Butterfield Blues Band. In reality, it was the Monkees themselves that were getting screwed, as the album, featuring studio musicians under the supervision of Don Kirschner playing on all the tracks, was released without the knowledge or consent of the band itself.
Artist: Cream
Title: Take It Back
Source: LP: Disraeli Gears
Writer(s): Bruce/Brown
Label: Atco
Year: 1967
After seven years of serving in the Air Force liason office at Fitzsimmons Army Hospital in Aurora, Colorado, my dad got transferred to Weisbaden Air Force Base in Germany. Standard practice at the time was for the married GI to go on ahead of the rest of the family and find a place to live "on the economy." My dad, already having quite a bit of time in the service, was able to instead get a spot in a place called Kastel, which was a group of WWII Panzer barracks near the city of Mainz that had been adapted for use by American military with families. When the rest of us arrived in August I was happily surprised to find that my dad, in addition to finding us a place to live, had bought a state-of-the-art Akai X-355 Tape Recorder using money he had won at Lotto, along with a pair of Koss headphones. I of course had to go to the Base Exchange to look for pre-recorded tapes. Already having experience with reel to reel machines, I knew that tapes recorded at 3 3/4 ips had more tape hiss than those recorded at 7 1/2 ips, so I was resolved to only buy tapes recorded at the faster speed. Unfortunately several albums I wanted were only available at the slower speed. The problem was resolved a year later when my dad finally got a Dual turntable to hook up to the tape recorded. I immediately went out and bought a reel of blank tape; the first album I made a copy of was Cream's Disraeli Gears. I would often fall asleep listening to that tape, which meant I ended up sleeping through the last songs on the album, including Take It Back. I must have done some kind of sleep learning, though, since to this day I can quote the lyrics of the entire song.
Artist: Fleetwood Mac
Title: Black Magic Woman
Source: LP: Golden Hits Of British Rock (originally released as 45 RPM single)
Writer(s): Peter Green
Label: Sire (original label: Epic)
Year: 1968
The original version of Black Magic Woman was the third single released by Fleetwood Mac. Written by the band's founder, Peter Green, the song has become a classic rock standard thanks to the 1970 cover of the song released by Santana on the album Abraxas. Many blues-rock purists, however, prefer the Fleetwood Mac original.
Artist: Deep Purple
Title: Faultline/The Painter
Source: LP: Deep Purple
Writer(s): Lord/Blackmore/Evans/Paice/Simper
Label: Tetragrammaton
Year: 1969
The third and final album by the original Deep Purple lineup was plagued with bad luck, the worst being that the band's US label, Tetragrammaton Records, ran into financial trouble right after the album was released and was unable to promote either the album or the band itself. The music was also a departure from the band's previous style, which could be described as England's answer to Vanilla Fudge. Deep Purple (the album) was almost entirely made up of original material, including the final track on side one which combines the instrumental Faultline with The Painter. Following the release of the album singer Rod Evans left the band to form Captain Beyond, and Deep Purple (the band) would move in a harder rock direction with new lead vocalist Ian Gillan.
Artist: Shadows Of Knight
Title: Gloria
Source: 45 RPM single
Writer(s): Van Morrison
Label: Dunwich
Year: 1966
The original Them version of Van Morrison's Gloria found itself banned on the majority of US radio stations due to controversial lyrics. By changing one line (substituting "around here" for "up to my room") the suburban Chicago punk-blues band Shadows of Knight turned it into a huge hit and a garage band standard.
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