Stuck in the Psychedelic Era # 1647 (starts 11/23/16)

Artist:    Doors
Title:    Love Me Two Times
Source:    CD: The Best Of The Doors (originally released on LP: Strange Days)
Writer(s):    The Doors
Label:    Elektra
Year:    1967
    Although the second Doors album is sometimes dismissed as being full of tracks that didn't make the cut on the debut LP, the fact is that Strange Days contains some of the Doors best-known tunes. One of those is Love Me Two Times, which was the second single released from the album. The song continues to get heavy airplay on classic rock stations.

Artist:    Byrds
Title:    Mind Gardens
Source:    European import CD: Pure...Psychedelic Rock (originally released on LP: Younger Than Yesterday)
Writer:    David Crosby
Label:    Columbia
Year:    1967
    Mind Gardens is a perfect example of what songwriter David Crosby refers to as "one of those weird David Crosby songs". The song is a deliberate attempt at abandoning Western concepts such as chord progressions in favor of a more modal approach favored in Eastern composing. Roger McGuinn's guitar perfectly compliments Crosby's esoteric lyrics and melody on this track from the Younger Than Yesterday album, the last LP to be completed with Crosby as a full member of the Byrds.

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

Artist:    Simon And Garfunkel
Title:    Anji
Source:    CD: Collected Works (originally released on LP: Sounds Of Silence)
Writer(s):    Davey Graham
Label:    Columbia
Year:    1966
    Paul Simon wrote nearly all the material that he and Art Garfunkel recorded. One notable exception is Davey Graham's instrumental Anji, which Simon played as a solo acoustic piece on the Sounds Of Silence. The song immediately follows a Simon composition, Somewhere They Can't Find Me, that is built around a similar-sounding guitar riff, making Anji sound somewhat like an instrumental reprise of the first tune.

Artist:    Kaleidoscope (US band)
Title:    Minnie The Moocher
Source:    British import CD: Pulsating Dreams (originally released in US on LP: Side Trips)
Writer(s):    Calloway/Mills/Gaskill
Label:    Floating World (original label: Epic)
Year:    1967
    Despite being a product of the same club scene that brought us Love, the Byrds and the Doors, Kaleidoscope had a reputation for being the "eclectic electric" band. A listen to their debut LP, Side Trips, confirms that Kaleidoscope did indeed cover a wide range of musical ground. Perhaps the most unexpected tune on the album is a cover of Cab Calloway's 1931 hit Minnie The Moocher (which was basically a remake of Willie The Weeper, a song that dates back to the early 1900s). The band, which consisted of
David Saul Feldthouse, David Lindley, Fenrus Epp and Chris Darrow (multi-instrumentalists all), along with drummer John Vidican (who also played a little tympani) went on to record three more albums for Epic before splitting up in 1969.

Artist:    Moles
Title:    We Are The Moles-Pt. 1
Source:    British import CD: Psychedelia At Abbey Road (originally released as 45 RPM single)
Writer(s):    The Moles
Label:    EMI (original label: Parlophone)
Year:    1968
    Sometimes success carries it own baggage. Take the case of Britain's Simon Dupree And The Big Sound. The group was formed by a trio of Scottish brothers, Phil, Derek and Ray Shulman, along with Peter O'Flaherty, Eric Hine and Tony Ransley in the Portsmouth area, going through a variety of band names before settling on Simon Dupree And The Big Sound in 1966. The group was originally known for its spot-on covers of songs by Otis Redding, Wilson Pickett and Don Covay. By 1967, however, audience tastes were rapidly changing, and psychedelic bands such as Pink Floyd and the Creation were drawing crowds away from the R&B bands. Under pressure from both their management and record label the band recorded a song called Kites, a psychedelic piece that became their biggest hit and placed the group firmly in the minds of record buyers as a flower-power band. But, like most fads, flower-power was itself out of style by 1968, but Simon Dupree And The Big Sound were stuck with a reputation that didn't even fit the members' own musical preferences (which still ran to R&B). To try to break free of this unwanted rep, the group released a rather bizarre single called We Are The Moles in 1968. The record was shrouded in mystery, with writing credits going to "the Moles", and production credit to George Martin (leading some to believe it was actually a Beatles outtake). The ploy almost worked, as the possible Beatles connection led to increased interest in the record, but that interest quickly dissipated when it was revealed (by Syd Barrett, of all people) that the record was indeed the work of Simon Dupree And The Big Sound. The band continued on for a few more months, until lead vocalist Derek Shulman announced his retirement in 1969, saying he was tired of being Simon Dupree. He would rejoin his brothers the following year for their new venture, an experimental rock band called Gentle Giant.

Artist:    Santana
Title:    Waiting
Source:    45 RPM single B side
Writer(s):    Santana (band)
Label:    Columbia
Year:    1970
    Possibly the most successful (in the long term) of the musicians to emerge from late 60s San Francisco was Carlos Santana, a Mexican-born guitarist who still plays to sellout crowds worldwide. Santana's band originally got lukewarm reviews from the rock press, but after their legendary performance at Woodstock found themselves among rock's royalty. Waiting, from the group's first LP, is an instrumental that was also released as the B side of the band's first single, Evil Ways.

Artist:     Jethro Tull
Title:     Alive And Well And Living In
Source:     LP: Living In The Past (originally released in UK on LP: Benefit and as a 45 RPM single B side)
Writer:     Ian Anderson
Label:     Chrysalis
    Year: 1970 (US release: 1973)
     The only Jethro Tull album to have a different track lineup in the UK and the US was Benefit, released in 1970. As it was the custom in Britain not to include singles on LPs, the song Teacher was not included on the UK release. In the US, however, Teacher was stuck in the middle of side two and the song Inside was moved to side one, replacing Alive And Well And Living In. The deleted song did not get released in the US until the Living In The Past compilation in 1973, which collected various singles, EP tracks and live recordings (along with one song from each of the band's first four LPs) that had not been previously released in the US.

Artist:      Crosby, Stills, Nash and Young
Title:     4+20
Source:      LP: déjà vu
Writer(s):    Stephen Stills
Year:     1970
     Crosby, Stills, Nash and Young were always more a collection of individuals than a true group. 4+20, from the group's second album, déjà vu, is a good illustration of this point. The song features Stephen Stills on acoustic guitar and vocal, with no other voices or instruments on the recording.

Artist:    Who
Title:    Boris The Spider
Source:    LP: Meaty, Beaty, Big and Bouncy (originally released on LP: Happy Jack)
Writer:    John Entwhistle
Label:    MCA (original label: Decca)
Year:    1966
    For many years, Boris the Spider was bassist John Entwhistle's signature song. Eventually Entwhistle got sick of singing it and wrote another one. Truth is, he wrote a lot of songs, but like the Beatles's George Harrison, did not always get the recognition as a songwriter that more prolific bandmate Pete Townshend got. This was one of the first album tracks I ever heard played on an FM station (KLZ-FM in Denver, the first FM in the area to play something besides classical, jazz or elevator music).

Artist:     Velvet Underground
Title:     Venus In Furs
Source:     CD: The Velvet Underground And Nico
Writer:    Lou Reed
Label:     Polydor (original label: Verve)
Year:     1967
     Although Andy Warhol was credited as sole producer of the first Velvet Underground album, it is widely believed that all the real production work was done by none other than Tom Wilson. After all, Warhol really didn't know a thing about the recording business, while Wilson had previously worked with Bob Dylan (producing Like A Rolling Stone, among others), the Blues Project (Projections), the Mothers of Invention (Freak Out) and several East Coast acts signed to the Verve label, where Wilson had become a staff producer after leaving Columbia in 1966 (after having turned the careers of Paul Simon and Art Garfunkel around by adding electric instruments to The Sound Of Silence). Among the many memorable tracks on The Velvet Underground And Nico is the original version of Venus In Furs, a song Lou Reed would continue performing throughout his career.

Artist:    Them
Title:    You're Just What I Was Looking For Today
Source:    Mono LP: Now And Them
Writer(s):    Goffin/King
Label:    Tower
Year:    1968
    After the departure of vocalist Van Morrison in late 1966, the remaining members of Them decided to carry on without him, returning to their native Belfast and recruiting Kenny McDowell as Morrison's replacement. After a few gigs the group decided to relocate to the US in early 1967, settling in southern California and recording two album's for Capitol's Tower subsidiary. The first of these albums, Now And Them, is a mixed bag, ranging from the soft pop of You're Just What I Was Looking For Today (written by Gerry Goffin and Carole King) to a grungy cover of John Mayall's I'm Your Witch Doctor.

Artist:    First Edition
Title:    Ticket To Nowhere
Source:    LP: The First Edition
Writer(s):    Mike Settle
Label:    Reprise
Year:    1967
    Although now known mainly as the band that launched Kenny Rogers into stardom, the First Edition started out as a far more egalitarian outfit, with rhythm guitarist Mike Settle as the band's in-house songwriter, responsible for nine of the twelve songs on their first LP. Among those songs is Ticket To Nowhere, a song that reflects the group's roots as members of the New Christy Minstrels, a pop folk band with more TV appearances than hit records.

Artist:      Donovan
Title:     Mellow Yellow
Source:      Mono CD: Sunshine On The Mountain (originally released as 45 RPM single)
Writer:    Donovan Leitch
Label:    Sony Music (original label: Epic)
Year:     1966
     Although the Mellow Yellow album came out in early 1967, the title track had been released several months earlier as a followup to Donovan's breakthrough US hit Sunshine Superman. Ironically, during Donovan's period of greatest US success none of his recordings were being released in his native UK, due to a contract dispute with Pye Records.

Artist:    Bob Dylan
Title:    Subterranean Homesick Blues
Source:    45 RPM single (reissue)
Writer(s):    Bob Dylan
Label:    Columbia
Year:    1965
    1965 was the year Bob Dylan went electric, and got his first top 40 hit, Subterranean Homesick Blues, in the process. Although the song, which also led off his Bringing It All Back Home album, stalled out in the lower 30s, it did pave the way for electrified cover versions of Dylan songs by the Byrds and Turtles and Dylan's own Like A Rolling Stone, which would revolutionize top 40 radio. A line from the song itself, "you don't need a weatherman to know which way the wind blows", became the inspiration for a radical offshoot of the Students for a Democratic Society (SDS) that called itself the Weathermen (later the Weather Underground).

Artist:    Saturday's Children
Title:    Tomorrow Is Her Name
Source:    LP: The Dunwich Records Story
Writer(s):    Bryan/Holder
Label:    Tutman
Year:    Recorded 1966, released 1990
    Saturday's Children was a Chicago area band formed in 1965 by vocalist/songwriter Geoff Bryan, who also played bass for the band. Other members included Ron Holder (rhythm guitar, vocals), Rich Goettler (organ/vocals), Dave Carter (lead guitar, vocals) and George Paluch (drums, vocals). With so many vocalists in the band, it was inevitable that the band would feature harmonies; with it being 1966 it was probably just as inevitable that these harmonies would be along the same lines as those of various British Invasion bands such as the Searchers, the Zombies and of course the Beatles. The group went into the studio and recorded at least five tracks in August of 1966, issuing two of them on a single in October. Of the remaining songs, one was included on an early 70s sampler album on the Happy Tiger label. Possibly the best of all the songs, however, was a Bryan/Holder original called Tomorrow Is Her Name. The recording remained in the vaults until 1990, when it was included on an album called the Dunwich Records Story on the Tutman label in 1990. It was well worth the wait.

Artist:    Villigers
Title:    I'll Call You
Source:    Mono CD: Lost Souls-Volume 4
Writer(s):    Barkley/Barkley/Hayes
Label:    Psych Of The South
Year:    Recorded 1966, released 2013
    The Villigers were formed by guitarist Pat Barkley and drummer Clay Thompson while both were attending North Little Rock High School in 1965. By the following year the group had expanded to seven members, including Barkley's twin sister Pam on guitar, Bill McCumber on bass, Ron Evans on guitar, Norman Snow on vocals and percussion and Billy Hayes on vocals. The group made a demo recording at a local studio of a song called I'll Call You, written by Hayes and the Barkley twins. The song only exists in recorded demo form and was never performed in public. Now that's obscure!

Artist:    Johnny Thompson Quintet
Title:    Color Me Columbuth
Source:    Mono CD: A Deadly Dose Of Wild Psych (originally released as 45 RPM single B side)
Writer(s):    Johnny Thompson Quintet
Label:    Arf! Arf! (original label: Guitarsville)
Year:    1966
    Not much is known about Monterey Park, California's Johnny Thompson Quintet. The group apparently only released two singles, the first of which was the punkish Color Me Columbus. Rather than come up with another song for the B side, one of the band members recorded a new vocal track doing what sounds like a Daffy Duck impersonation over the original instrumental track, titling it Color Me Columbuth. Strange stuff.

Artist:    Wilson Pickett
Title:    Land Of 1000 Dances
Source:    45 RPM single (reissue)
Writer(s):    Chris Kenner
Label:    Atlantic   
Year:    1966
    In the early 90s I did a short stint as program director for a slowly-dying full-service AM station in northeastern North Carolina. The station's music format had been Adult Contemporary since the early 70s, but in recent years had been surpassed in the local ratings by their own FM station. My idea was to get rid of the current stuff and concentrate on the station's fairly extensive library that dated back to the early 60s. One song that I wanted to put into rotation was Wilson Pickett's version of Chris Kenner's Land Of 1000 Dances, which had gotten extensive airplay on both top 40 and R&B stations in 1966. The station's owner and general manager, whose own musical tastes ran to what it known as "beach music" (a kind of soft R&B music that gave rise to a dance called the Shag), objected to my wanting to play the song, saying "That's not soul, it's hard rock."  As he was the guy signing my paycheck I didn't have a whole lot of choice in the matter, but to this day whenever I hear "1,2,3" followed by the blaring horns of the Bar-Kays and the following buildup by the MGs to Pickett's James Brown-styled vocals I can't help but think of that former boss and his condemnation of the record as "hard rock".

Artist:    Pink Floyd
Title:    Atom Heart Mother (live in Montreaux)
Source:    CD: Cre/Ation-The Early Years 1967-1972
Writer(s):    Mason/Gilmour/Waters/Wright/Geesin
Label:    Columbia
Year:    Recorded 1970, released 2016
    Before Dark Side Of The Moon came along, Pink Floyd was in the unique position of being an "underground" band in the US at the same time they were enjoying mainstream success in their native UK. Take the case of the Atom Heart Mother album, released in 1970. In the US the album was decidedly under the radar, with no hit singles and only limited airplay on progressive rock FM radio stations, the latter probably attributable to the fact that the album's strongest track (the title track itself) is nearly 24 minutes long. In the UK, however, the album was a bonafide hit. In fact, Atom Heart Mother was Pink Floyd's first LP to go all the way to the top of the British album charts. In support of the album, the group performed the Atom Heart Mother Suite several times between 1970 and 1972, both in its original form, supported by orchestra and choir, and in a modified version performed by only the band itself. One of the band-only performances has been included on the massive box set The Early Years 1965-1972 as well as a two-disc compilation called Cre/Ation-The Early Years 1967-1972. This version of Atom Heart Mother Suite was performed live at Montreaux on November 21, 1970, and runs almost exactly 18 minutes in length.

Artist:    Leaves
Title:    Too Many People
Source:    Simulated stereo LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s):    Pons/Rinehart
Label:    Rhino (original label: Mira)
Year:    1965
    The Leaves are a bit unusual in that in a city known for drawing wannabes from across the world, this local band's members were all native L.A.ins. Formed by members of a fraternity at Cal State Northridge, the Leaves had their greatest success when they took over as house band at Ciro's after the Byrds vacated the slot to go on tour. Like many bands of the time, they were given a song to record as a single by their producer (Love Minus Zero) and allowed to write their own B side. In this case that B side was Too Many People, written by bassist Jim Pons and  guitarist Bill Rhinehart. The song ended up getting more airplay on local radio stations than Love Minus Zero, making it their first regional hit. The Leaves had their only national hit the following year with their third attempt at recording the fast version of Hey Joe, the success of which led to their first LP, which included a watered down version of Too Many People. The version heard here is the 1965 original. Eventually Pons would leave the Leaves, hooking up first with the Turtles, then Frank Zappa's Mothers of Invention.

Artist:     Blues Project
Title:     Cheryl's Going Home
Source:     Mono CD: Projections
Writer:     Bob Lind
Label:     Sundazed (original label: Verve Folkways)
Year: 1966
     One of the more unlikely songs to appear on an album by one of rock's first jam bands, Cheryl's Going Home was a hit for its writer, Bob Lind, the same year the Blues Project recorded it. It's possible that the band recorded it as a possible single of their own but decided against it when Lind's version hit the charts. Only the band members and producer Tom Wilson know for sure.

Artist:     Chicago
Title:     Listen
Source:     CD: The Chicago Transit Authority
Writer:     Robert Lamm
Label:     Rhino (original label: Columbia)
Year:     1969
     By all accounts, one of the tightest road bands of 1968 was a group called the Chicago Transit Authority. Featuring a solid horn section and three quality lead vocalists, it was no surprise to anyone who had heard them perform that their first LP, released in 1969, was an immediate success. Getting two long-playing discs for the price of one didn't hurt either. Listen, written and sung by keyboardist Robert Lamm, is a fairly representative track from that album that features a memorable bass line from Peter Cetera as well as Terry Kath's distinctive guitar sound.

Artist:    Al Kooper/Mike Bloomfield/Barry Goldberg/Harvey Brooks/Eddie Hoh
Title:    Stop!
Source:    LP: Super Session
Writer(s):    Ragovoy/Shuman
Label:    Sundazed/Columbia
Year:    1968
    Al Kooper is one of those people who always seems to be in the right place at the right time, often because he was the one that made those times and places happen in the first place. At a Bob Dylan recording session in 1965, for instance, Kooper took it upon himself to sit in on organ, despite the fact that he was by no means proficient on the instrument at that time. The result was a series of classic tracks that made up the Highway 61 Revisited album. The following year Kooper happened to be in the studio when the Blues Project was auditioning for Columbia Records. Although the label passed on the band, Kooper ended up joining the group, making rock history in the process. In 1968 Kooper formed a new band, Blood, Sweat & Tears, but left them after just one LP. While working as an A&R man for Columbia, Kooper booked two days' worth of studio time later that same year, bringing in guitarist Mike Bloomfield, keyboardist Barry Goldberg, and bassist Harvey Brooks from the Electric Flag, as well as session drummer Eddie Hoh. When Bloomfield failed to show up on the second day, Stephen Stills (who had recently left Buffalo Springfield) was recruited to take his place. The result was an album called Super Session, which surprisingly went all the way to the #12 spot on the Billboard album charts. The popularity of Super Session inspired several more rock stars to make jam albums and gave birth to the idea of the rock supergroup as well. Among the mainly instrumental tracks that feature Bloomfield was a tune called Stop, written by the legendary songwriters Jerry Ragovoy and Doc Shuman.

Artist:    Country Joe And The Fish
Title:    Death Sound Blues
Source:    CD: Electric Music For The Mind And Body
Writer(s):    Joe McDonald
Label:    Vanguard
Year:    1967
    I generally use the term "psychedelic" to describe a musical attitude that existed during a particular period of time rather than a specific style of music. On the other hand, the term "acid rock" is better suited for describing music that was composed and/or performed under the influence of certain mind-expanding substances. That said, the first album by Country Joe and the Fish is a classic example of acid rock. I mean, really, is there any other way to describe Death Sound Blues than "the blues on acid"?

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

Artist:    Mustangs
Title:    That's For Sure
Source:    Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s):    Wade/Lisonbee
Label:    Rhino (original label: Nero)
Year:    1965
    Riverside, California, had a vibrant local music scene in the 1960s, supported by at least two competing top 40 radio stations that were generally able to hold their own against the more powerful stations like KHJ broadcasting out of Los Angeles, about 60 miles to the west. In the early part of the decade the city had their own local instrumental/surf bands, including the Ressacs and the Ris-Kays. In 1964, influenced by the British Invasion, members of both these bands combined to form the Mustangs (named for a new car from Ford Motor Company), adding vocals in the process. With the help of a local high school teacher, the Mustangs got to record one of their own tunes at a studio in nearby Glendale. That's For Sure, released in 1965 on the Nero, is a classic example of mid-60s garage rock, showing an obvious Rolling Stones influence and attitude. The song was written by drummer Terry Wade and keyboardist Dennis Lisonbee, both of whom sang on the tune.

Artist:    Butterfield Blues Band
Title:    Mary Mary
Source:    CD: East-West
Writer(s):    Michael Nesmith
Label:    Elektra
Year:    1966
    Mary Mary, from the 1966 Butterfield Blues Band album East-West, would at first seem to a cover of a Monkees song, but technically the song is not a cover tune at all, since it was actually the first version to get recorded. Still, since composer Michael Nesmith was the acknowledged leader of the Monkees, whose version came out in early 1967, the Butterfield version has to be considered a cover of sorts. Adding to the irony is the fact that when the Monkees' version of Mary Mary first came out many Butterfield fans accused the Monkees of being the ones doing the ripping off.

Artist:     Cream
Title:     Take It Back
Source:     CD: Disraeli Gears
Writer:     Bruce/Brown
Label:     Polydor (original 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 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:    Big Brother And The Holding Company
Title:    Combination Of The Two
Source:    CD: Cheap Thrills
Writer(s):    Sam Andrew
Label:    Columbia
Year:    1968
     Everything about Big Brother And The Holding Company can be summed up by the title of the opening track for their Cheap Thrills album (and their usual show opener as well): Combination Of The Two. A classic case of the whole being greater than the sum of its parts, Big Brother, with Janis Joplin on lead vocals, had an energy that neither Joplin or the band itself was able to duplicate once they parted company. On the song itself, the actual lead vocals for the verses are the work of Combination Of The Two's writer, bassist Sam Houston Andrew III, but those vocals are eclipsed by the layered non-verbal chorus that starts with Joplin then repeats itself with Andrew providing a harmony line which leads to Joplin's promise to "rock you, sock you, gonna give it to you now". It was a promise that the group seldom failed to deliver on.