https://exchange.prx.org/p/507692
Once again we've managed to squeeze nearly three dozen tunes into a two hour show, including a battle of the bands between the Jimi Hendrix Experience and the Beatles. We even threw in a Byrds set and a handful of songs never before heard on Stuck in the Psychedelic Era. Read on...
Artist: Monkees
Title: Love Is Only Sleeping
Source: CD: Pisces, Aquarius, Capricorn And Jones, LTD.
Writer(s): Mann/Weil
Label: Rhino (original label: Colgems)
Year: 1967
Among the various professional songwriters hired by Don Kirschner in 1966 to write songs for the Monkees were the husband and wife team of Barry Mann and Cynthia Weil, who had hit it big with a pair of songs for Paul Revere And The Raiders (Kicks and Hungry) earlier that year. But when the Monkees rebelled against Kirschner's control over their recorded output in early 1967 it looked as though the band was done with Mann/Weil compositions altogether. Later that year, however, the Monkees themselves, now firmly in control of their own musical direction, chose to record a new Mann/Weil tune, Love Is Only Sleeping, as their fourth single. At the same time, the group was working on their fourth LP, Pisces, Aquarius, Capricorn And Jones, LTD. A last-minute change of plans resulted in a different song, Daydream Believer, being released as a single instead of Love Is Only Sleeping, with a tune from the album, Goin' Down, as the B side. Goin' Down was then deleted from the album lineup and Love Is Only Sleeping included in its place. It was the closest that Michael Nesmith would ever come to being the lead vocalist on a Monkees hit single.
Artist: Kaleidoscope (UK)
Title: Flight From Ashiya
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): Daltry/Pumer
Label: Rhino (original label: Fontana)
Year: 1967
Although they did not have any hit singles, London's Kaleidoscope had enough staying power to record two album's worth of material for the Fontana label before disbanding. The group's first release was Flight From Ashiya, a single released in September of 1967. Describing a bad plane trip with a stoned pilot, the song is filled with chaotic images, making the song's story a bit hard to follow. Still, it's certainly worth a listen.
Artist: Electric Prunes
Title: Bangles
Source: CD: I Had Too Much To Dream (Last Night) (originally released on LP: The Electric Prunes)
Writer: John Walsh
Label: Collector's Choice (original label: Reprise)
Year: 1967
Half of the songs on the first Electric Prunes were written by the songwriting team of Annette Tucker and Nancie Mantz, with two more written by Tucker and Jill Jones and a pair of band originals as well. One of the remaining two was Bangles, written by West Coast pop singer Johnny Walsh, who had released a handful singles of his own between 1960 and 1966 for various labels. Oddly, of the A sides (and in fact only one B side) were written by Walsh himself.
Artist: Love
Title: Emotions
Source: Mono LP: Love
Writer(s): Lee/Echols
Label: Elektra
Year: 1966
Emotions, the last track on side one of the first Love album, sounds like it could have come directly from the soundtrack of one the spaghetti westerns that were popular with moviegoers in the mid-1960s. Probably not coincidentally, the instrumental is also the only Love recording to carry a writing credit for lead guitarist Johnny Echols (with the exception of the 17-minute jam Revelation on their second LP, which is credited to the entire band).
Artist: Chris Carpenter
Title: Waterfalls
Source: Mono CD: A Heavy Dose Of Lyte Psych (originally released in Canada as 45 RPM single B side)
Writer(s): L. Drake
Label: Arf! Arf! (original label: Stone; released in US on Sidra, Oceanside and United Artists)
Year: 1967
This World (Is Closing In On Me) was a lavishly produced piece from Detroit's Chris Carpenter that was released on several different labels in 1967. Its B side, Waterfalls, was a much simpler production, featuring Carpenter's vocals backed by some sort of keyboard instrument with what sounds like wind chimes in a thunderstorm in the background. The record first appeared on the Stone label in Canada, then on local Detroit labels Sidra and Oceanside (the latter being the source material for Arf Arf's CD reissue of both sides). The record was picked up for national distribution by United Artists and was also issued on colored vinyl on the Sound Patterns label, but credited to "Preston" rather than Chris Carpenter. A strange history indeed!
Artist: Rolling Stones
Title: Jigsaw Puzzle
Source: LP: Beggar's Banquet
Writer(s): Jagger/Richards
Label: London
Year: 1968
Jigsaw Puzzle, the longest track on the Beggar's Banquet album, comes across as a wry look at the inner workings of a rock and roll band like, say, the Rolling Stones. Brian Jones's only contribution to the recording is some soaring mellotron work toward the end of the song. Not long after the track was recorded, Jones was fired from the band he had founded in the first place.
Artist: Creedence Clearwater Revival
Title: Born On The Bayou
Source: LP: Bayou Country
Writer(s): John Fogerty
Label: Fantasy
Year: 1968
If there is any single song that sums up what Creedence Clearwater Revival was all about, it could very well be Born On The Bayou, the opening track of CCR's second LP, Bayou Country. The song, which was written by John Fogerty late at night, became the opening for nearly every Creedence concert over the next few years, and is considered by many to be the band's signature song. Oddly enough, John Fogerty had never set foot on a bayou in his life when he wrote the song, but had always been a fan of the movie Swamp Fever, as well as having a fascination with "every other bit of southern bayou information that had entered my imagination from the time I was born."
Artist: Cream
Title: Dance The Night Away
Source: LP: Disraeli Gears
Writer(s): Bruce/Brown
Label: Atco
Year: 1967
With their 1967 album Disraeli Gears, Cream established itself as having a psychedelic side as well as their original blues orientation. Most of the more psychedelic material was from the team of Jack Bruce and Pete Brown, including Dance the Night Away.
Artist: Troggs
Title: I Want You
Source: Mono British import CD: Greatest Hits (originally released as 45 RPM single B side)
Writer(s): Pagel/Fletcher
Label: Spectrum (original label: Fontana)
Year: 1966
The Troggs are best known in the US for their 1966 hit Wild Thing, a song that is still recognizable to most Americans today. In reality, though, the Troggs were one of England's most successful and long-lived bands, charting several hit records and remaining active until the death of lead vocalist Reg Presley in 2013. Among their most popular songs in the UK was I Want You, which was released as the B side of With A Girl Like You, the follow up to Wild Thing and the Troggs' only #1 record in the UK. (Wild Thing stalled out at #2 in the UK, although it did top the US charts).
Artist: Simon and Garfunkel
Title: Fakin' It
Source: LP: Bookends (originally released as 45 RPM single)
Writer: Paul Simon
Label: Sundazed/Columbia
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 (name-dropping Mr. [Donovan] Leitch) that is slightly reminiscent of the bridge in Traffic's Hole In My Shoe. The song was later included on the 1968 LP Bookends.
Artist: Canned Heat
Title: On The Road Again
Source: 45 RPM single
Writer(s): Jones/Wilson
Label: Liberty
Year: 1968
Canned Heat was formed by a group of blues record collectors in San Francisco. Although their first album consisted entirely of cover songs, by their 1968 album Boogie With Canned Heat they were starting to compose their own material, albeit in a style that remained consistent with their blues roots. On The Road Again, the band's second and most successful single (peaking at # 16) from that album, is actually an updated version of a 1953 recording by Chicago bluesman Floyd Jones (which was in turn adapted from delta bluesman Tommy Johnson's 1928 recording of a song called Big Road Blues) that guitarist/vocalist Al "Blind Owl" Wilson reworked, adding a tambura drone to give the track a more psychedelic feel. Wilson actually had to retune the sixth hole of his harmonica for his solo on the track. I didn't even know a harmonica could BE retuned!
Artist: Donovan/Jeff Beck Group
Title: Barabajabal
Source: CD: Sunshine On The Mountain (originally released on LP: Barabajagal)
Writer(s): Donovan Leitch
Label: Sony Music Special Products (original label: Epic)
Year: 1969
Donovan Leitch enlisted the Jeff Beck Group as collaborators for Barabajabal, a track from his 1969 album of the same name. Some pressings of the single list the title as Goo Goo Barabajabal (Love Is Hot), but since both the original LP track, and Epic's July 1969 trade ad for the single say Barabajagal I'm going with that.
Artist: First Edition
Title: Just Dropped In (To See What Condition My Condition Was In)
Source: 45 RPM single
Writer: Mickey Newbury
Label: Reprise
Year: 1967
Kenny Rogers has, on more than one occassion, tried to put as much distance between himself and the 1968 First Edition hit Just Dropped In (To See What Condition My Condition Was In) as possible. I feel it's my duty to remind everyone that he was the lead vocalist on the recording, and that this song was the one that launched his career. So there.
Artist: Ballroom
Title: Baby, Please Don't Go
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single B side)
Writer(s): Joe Williams
Label: Rhino (original label: Warner Brothers)
Year: 1967
Producer/vocalist Curt Boettcher first came to national attention at age 22 as producer of the album Along Comes...The Association, including the hit singles Along Comes Mary and Cherish. While working on a studio project he called the Ballroom for Our Productions in 1966 Boettcher came to the attention of Brian Wilson and Gary Usher. Usher was so impressed with Boettcher's creativity in the studio that he convinced his own bosses at Columbia Records to buy out Boettcher's contract from Our Productions. As a result, much of Boettcher's Ballroom project became part of Usher's own Sagittarius project, with only one single, an unusual arrangement of Joe Williams's Baby, Please Don't Go, released under the Ballroom name. Boettcher turned out to be so prolific that it was sometimes said that the giant "CBS" logo on the side of the building stood for Curt Boettcher's Studios.
Artist: Nice
Title: Rondo
Source: CD: The Thoughts Of Emerlist Davjack
Writer(s): Brubeck/Emerson/O'List/Davison/Jackson
Label: Fuel 2000 (original label: Immediate)
Year: 1967 or 1968 (disputed)
By the time they released their first album in either late 1967 (as it says in the CD liner notes) or early 1968 (as it says pretty much everywhere else), the Nice had already established a reputation for extended instrumental passages built around the virtuosity of keyboardist Keith Emerson. With only a couple of exceptions, however, this was not reflected on the album itself. Instead, The Thoughts Of Emerlist Davjack was for the most part typical British psychedelia. One track in particular, though, was a reflection of not only the Nice's live show, but also of the direction Emerson's career would take throughout the 1970s and beyond. That track was Rondo, a reimagining of Dave Brubeck's Blue Rondo à la Turk, with the piece's original 9/8 time signature adapted to standard 4/4 time. As he often did, Emerson included a few riffs from classical composers, in this case Johann Sebastian Bach. Rumor has it that Andrew Loog Oldham, owner of Immediate Records, wanted the Nice to edit the piece, but the band insisted that the entire eight-plus minutes be included on the album.
Artist: Everpresent Fullness
Title: Darlin' You Can Count On Me
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s): Johnson/Hand
Label: Rhino (original label: White Whale)
Year: 1967
The Everpresent Fullness was a band that appeared alongside such notables as Buffalo Springfield, Love and the Turtles at various Los Angeles venues. It was through their association with the latter that they landed a contract with White Whale Records. However, creative problems between the band and the label led to financial backing being pulled by White Whale before they could complete their first album. A single, Darlin' You Can Count On Me, was released in 1967, but the rest of the tracks remained in the vaults until 1970, when, in a reverse of the usual situation, White Whale released the LP under contractual obligation to the band.
Artist: Beatles
Title: One After 909
Source: CD: Let It Be...Naked
Writer(s): Lennon/McCartney
Label: Apple/Capitol
Year: 1970 (remixed 2003)
One of the earliest John Lennon compositions, One After 909 dates back to his days as a member of the Quarrymen with Paul McCartney, who helped him write the song sometime before 1960. The band tried to record the song during the mid-1960s, but were unable to produce a satisfactory take. Finally, as part of their Let It Be project, the band performed the song live on a London rooftop in January of 1969. The performance was included in the film and released on the Let It Be album in 1970.
Artist: Jimi Hendrix Experience
Title: Manic Depression
Source: Mono LP: Are You Experienced?
Writer: Jimi Hendrix
Label: Experience Hendrix/Legacy (original US label: Reprise)
Year: 1967
My dad bought an Akai X-355 reel to reel tape recorder when we moved to Ramstein, Germany in early 1968. It was pretty much the state of the art in home audio technology at the time. The problem was that we did not have a stereo system to hook it into, so he bought a set of Koss headphones to go with it. One of my first purchases was a pre-recorded reel to reel tape of Are You Experienced. The Akai had an auto-reverse system and I would lie on the couch with the headphones on to go to sleep every night listening to songs like Manic Depression. Is it any wonder I turned out like I did?
Artist: Beatles
Title: Ticket To Ride
Source: CD: Help!
Writer(s): Lennon/McCartney
Label: Parlophone (original label: Capitol)
Year: 1965
Trying to figure out the Beatles' catalog can be a bit confusing, as Capitol Records, which had the rights to release the band's recordings in the US, had their own ideas about what should be on a Beatles album, which was often at odds with the wishes of the band members themselves. Some US albums, such as Beatles '65, had no British counterpart at all, while others had different track lineups than the original UK versions. Probably the most radically altered of the original LPs was the soundtrack album to the film Help! In the UK, side one of the album contained songs from the film itself, while side two contained a collection of unrelated studio recordings, some of which had been intended for, but not used in, the film. In the US, however, the Help album included incidental orchestral pieces heard throughout the movie interspersed with the songs heard on side one of the UK album. Among the tracks heard on both versions (albeit with lots of added reverb on the US release) was Ticket To Ride, which was also issued as a single in the US (using one of the songs from side two of the UK Help album as a B side). The tune has gone on to become one of the most recognizable Beatle songs ever recorded.
Artist: Jimi Hendrix Experience
Title: Foxy Lady
Source: LP: Smash Hits (originally released on LP: Are You Experienced)
Writer(s): Jimi Hendrix
Label: Reprise
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 buried near the end of side 2.
Artist: Beatles
Title: Get Back
Source: CD: Let It Be...Naked
Writer(s): Lennon/McCartney
Label: Capitol (original label: Apple)
Year: 1970
Get Back was originally released as a single in 1969. This version of the song had reverb added, as well as a coda tacked onto the end of the song (the "Get Back Loretta" section) following a false ending. When Phil Spector was brought in to remix the tapes made for the aborted Get Back album project, he created a new mix without the reverb or coda, but including studio chatter at the beginning and end of the song. This version was used on the Let It Be album, released in 1970. Finally, in 2003, a third version of Get Back was released on the Let It Be...Naked CD. This version was stripped of all studio chatter and reverb, and does not include the coda from the single version.
Artist: Jimi Hendrix Experience
Title: Fire
Source: LP: Smash Hits (originally released on LP: Are You Experienced)
Writer(s): Jimi Hendrix
Label: Reprise
Year: 1967
Sometime in late 1966 Jimi Hendrix was visiting his girlfriend's mother's house in London for the first time. It was a cold rainy night and Jimi immediately noticed that there was a dog curled up in front of the fireplace. Jimi's first action was to scoot the dog out of the way so he himself could benefit from the fire's warmth, using the phrase "Move over Rover and let Jimi take over." The phrase got stuck in his head and eventually became the basis for one of his most popular songs. Although never released as a single, Fire was a highlight of the Jimi Hendrix Experience's live performances, often serving as a set opener.
Artist: Association
Title: Another Time, Another Place
Source: LP: Renaissance
Writer(s): Jules Alexander
Label: Valiant
Year: 1966
The Association was formed in 1965 after the breakup of the 13-member group known as the Men. Their first single was a cover of the folk song Babe I'm Gonna Leave You that was issued on the independent Jubilee label. In 1966 they signed with the slightly larger Valiant label, which had a distribution deal with Warner Brothers Records, and recorded their first album Along Comes...The Association. The album spawned two hit singles, Along Comes Mary and Cherish, and the Association soon got to work on their second LP, Renaissance. Unlike the first album, Renaissance was made up entirely of songs written by band members, including Jules Alexander's Another Time, Another Place, which closes out the LP's second side. Alexander, who was going by the name Gary Alexander on those two albums, would leave the group soon after the release of Renaissance, only to return to the band he helped found in 1969.
Artist: Blues Project
Title: Cheryl's Going Home
Source: LP: The Best Of The Blues Project (originally released on LP: Projections)
Writer(s): Bob Lind
Label: Verve Forecast
Year: 1966
It's kind of odd to hear a cover of a Bob Lind B side on an album by a band known for its progressive approach to the blues, but that's exactly what Cheryl's Going Home is. They did a pretty nice job with it, too.
Artist: Buffalo Springfield
Title: Sit Down I Think I Love You
Source: LP: Retrospective (originally released on LP: Buffalo Springfield)
Writer: Stephen Stills
Label: Atco
Year: 1967
Sit Down I Think I Love You, a Stephen Stills composition originally released on the first Buffalo Springfield album, was a minor hit for the Mojo Men in 1967. I prefer the original Buffalo Springfield version from their debut LP myself.
Artist: Byrds
Title: It Won't Be Wrong
Source: CD: Turn! Turn! Turn!
Writer(s): McGuinn/Gerst
Label: Columbia/Legacy
Year: 1965
The Byrds' It Won't Be Wrong, by all rights, should have been a hit single, and it almost was, despite the failure of Columbia Records to properly promote the song. Written in 1964 by Jim (now Roger) McGuinn and his friend Harvey Gerst, the song was first released as the B side of a single by the Beefeaters, an early version of the Byrds, but was recut in late 1965 for inclusion on the Turn! Turn! Turn! album. Early in 1966, the song was also released as the B side of the single Set You Free This Time. That, as it turns out, was a mistake, as disc jockeys soon began playing It Won't Be Wrong instead. Columbia was slow to react to this move, however, and continued to promote Set You Free This Time, releasing it as a single on their CBS in the UK. After finally noticing that It Won't Be Wrong was getting more airplay in the US, the label re-released the record with the sides officially flipped, but by then there was too much confusion associated with the single and neither side charted there. Meanwhile, despite the lack of promotion, It Won't Be Wrong managed to make it to the #63 spot in the US.
Artist: Byrds
Title: Turn! Turn! Turn!
Source: Simulated Stereo CD: The Best Of 60s Supergroups (originally released as 45 RPM single and included on LP: Turn! Turn! Turn!)
Writer(s): Pete Seeger
Label: Priority (origina label: Columbia)
Year: 1965
After their success covering Bob Dylan's Mr. Tambourine Man, the band turned to an even more revered songwriter: the legendary Pete Seeger. Turn! Turn! Turn!, with lyrics taken directly from the book of Ecclesiastes, was first recorded by Seeger in the early 60s, nearly three years after he wrote the song. The song was never mixed in true stereo, forcing the band's record label to use a simulated stereo mix on stereo copies of the LP. Once monoraul albums were phased out in the late 1960s, this "fake" stereo version remained the only one available for many years, appearing on various compilations before a mid-1990s remaster of the Turn! Turn! Turn! album used the original mono mix.
Artist: Byrds
Title: He Was A Friend Of Mine
Source: CD: Turn! Turn! Turn!
Writer(s): Traditional, arr. McGuinn
Label: Columbia/Legacy
Year: 1965
He Was A Friend Of Mine is a traditional folk song that Roger McGuinn wrote new lyrics for the night John F. Kennedy was assassinated. After the Byrds recorded McGuinn's arrangement for their second album in 1965 the song became a staple of the group's live performances. In 1967 David Crosby prefaced the band's performance of the song with an introduction that questioned the Warren Report's contention that assassin Lee Harvey Oswald acted alone, which did not go over well with other members of the band (particularly McGuinn), and is generally considered to be a contributing factor to Crosby's being fired by McGuinn and bassist Chris Hillman later that year.
Artist: Wailers
Title: You Weren't Using Your Head
Source: Simulated stereo LP: Nuggets Vol. 8-The Northwest (originally released as 45 RPM single)
Writer(s): Ron Gardner
Label: Rhino (original label: Etiquette)
Year: 1965
Originally formed as an instrumental group called the Nitecaps by five Tacoma, Washington high schoolers in 1959, the Wailers (aka the Fabulous Wailers) had their first national hit with a tune called Tall Cool One in 1959. After being released from their contract with Golden Crest Records, who wanted them to stay in the New York area, the Wailers returned to Washington state, where they eventually formed Etiquette Records, often considered the foundation label of the entire Seattle music scene. The group went through several personnel changes over the years, with saxophonist Ron Gardner joining in 1962 and taking over the lead vocals. Gardner also did some songwriting, including You Weren't Using Your Head, released as a single in 1965.
Artist: Young Rascals
Title: Do You Feel It
Source: Mono LP: The Young Rascals
Writer(s): Cavaliere/Cornish
Label: Atlantic
Year: 1966
The first Young Rascals album, released in 1966, was made up almost entirely of cover tunes. The sole exception was Do You Feel It, a composition by keyboardist Felix Cavaliere and guitarist Gene Cornish, which closes the album's first side.
Artist: Human Beinz
Title: Nobody But Me
Source: Mono CD: Battle Of The Bands-Vol. Two (originally released as 45 RPM single)
Writer: Ron, Rudy and O'Kelley Isley
Label: Rhino (original label: Capitol)
Year: 1967
The Human Beinz were a band that had been around since 1964 doing mostly club gigs in the Youngstown, Ohio area as the Premiers. In the late 60s they decided to update their image with a name more in tune with the times and came up with the Human Beingz. Unfortunately someone at Capitol misspelled their name on the label of Nobody But Me, and after the song became a national hit the band was stuck with the new spelling. The band split up in 1969, but after Nobody But Me was featured in the Quentin Tarantino film Kill Bill: Vol.1, original leader Ting Markulin reformed the band with a new lineup that has appeared in the Northeastern US in recent years.
Artist: Jeremy Spencer
Title: Who's Knocking
Source: LP: British Archives-Vol. Two (original album title: An Anthology Of British Blues Vol. 2)
Writer(s): Jeremy Spencer
Label: RCA Victor (original label: Immediate)
Year: 1968
The first thing guitarist Peter Green did after deciding to form Fleetwood Mac was to bring in Jeremy Spencer to share guitar and vocal duties. In fact, Spencer was technically a member of the band even before John McVie, who was hesitant to leave John Mayall's Bluesbreakers, a group that was bringing in a steady paycheck, at first. Spencer had led his own band, the Levi Set Blues, and Green, after hearing a demo tape given to him by producer Mike Vernon, went to a Levi Set gig specifically to convince Spencer to join his new band. Spencer himself was a huge fan of 50s rock 'n' roll and blues, and was adept at mimicing Elvis Presley, Buddy Holly, Elmore James and even John Mayall, which made him a valuable member of the band in its live performances. In the studio, however, he concentrated mostly on the songs he himself wrote or sang lead on, leading Green to eventually bring in a third guitarist, Danny Kirwan, to complement his own work. Spencer released his first solo album in 1970, but it was preceded by Who's Knocking, a track recorded for an album called An Anthology Of British Blues Vol. 2 for Andrew Loog Oldham's Immediate label in 1968. As far as I can tell, Who's Knocking has never been released on any of Spencer's own albums.
Artist: Leaves
Title: Hey Joe
Source: Mono CD: Nuggets-Original Artyfacts from the Psychedelic Era (originally released as 45 RPM single)
Writer(s): Billy Roberts
Label: Rhino (original label: Mira)
Year: 1966
In 1966 there were certain songs you had to know how to play if you had any aspirations of being in a band. Among those were Louie Louie, Gloria and Hey Joe. The Byrds' David Crosby claims to have discovered Hey Joe, but was not able to convince his bandmates to record it before their third album. In the meantime, several other bands had recorded the song, including Love (on their first album) and the Leaves. The version of Hey Joe heard here is actually the third recording the Leaves made of the tune. After the first two versions tanked, guitarist Bobby Arlin came up with the idea of adding fuzz guitar to the song. It was the missing element that transformed a rather bland song into a hit record (the only national hit the Leaves would have). As a side note, the Leaves credited Chet Powers (aka Dino Valenti) as the writer of Hey Joe, but California-based folk singer Billy Roberts had copyrighted the song in 1962 and had reportedly been heard playing the tune as early as 1958.
Artist: Seeds
Title: Six Dreams
Source: Mono British import CD: Singles As & Bs (originally released as 45 RPM single B side)
Writer(s): Sky Saxon
Label: Big Beat (original label: GNP Crescendo)
Year: 1970
The third Seeds album, Future, showed the band moving away from its garage-rock roots into more psychedelic territory. This change of direction is evident on tracks like Six Dreams, which was also released as the B side of the 1967 single The Wind Blows Your Hair.
Artist: Bubble Puppy
Title: Hot Smoke And Sassafras
Source: CD: The Best Of 60s Psychedelic Rock (originally released as 45 RPM single B side and included on LP: A Gathering Or Promises)
Writer(s): Prince/Cox/Potter/Fore
Label: Priority (original label: International Artists)
Year: 1968
Bubble Puppy was a band from San Antonio, Texas that relocated to nearby Austin and signed a contract with International Artists, a label already known as the home of legendary Texas psychedelic bands 13th Floor Elevators and Red Crayola. The group hit the national top 20 in early 1969 with Hot Smoke and Sassafras, a song that was originally released the previous year as a B side. Not long after the release of their first LP, A Gathering Of Promises, the band relocated to California and changed their name to Demian, at least in part to disassociate themselves with the then-popular "bubble gum" style (but also because of problems with International Artists).
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