Stuck in the Psychedelic Era # 1845 (starts 11/5/18)

    A few weeks agao I got an e-mail from a listener suggesting that I do a special Veteran's Day show featuring the most popular songs among soldiers serving in Vietnam during the late 1960s. I thought at the time, and still do, that it is a great idea. Unfortunately, there was just not enough time to do the necessary research to do such a show. There is also the fact to consider that, as one who did not have to go there (my draft number was in the 300s) I didn't really have the personal insight into what made one song more popular in that environment than another, even if the two songs may have had similar chart action back home. I did want to do something special, however, so I pulled out a CD single from 1994 that I have been meaning to play for several years now, but for one reason or another never got to. I think the song Vet, that you'll hear in the second hour of the show, captures the Vietnam experience like no other song I've ever heard. It's followed by the unofficial theme song of US troops serving in Vietnam, the Animals' We Gotta Get Out Of This Place. The rest of the show is focused on the years 1966-68, and includes artists' sets by Cream, Jefferson Airplane and the Jimi Hendrix Experience.

Artist:    Young Rascals
Title:    You Better Run
Source:    CD: Groovin' (originally released as 45 RPM single)
Writer(s):    Cavaliere/Brigati
Label:    Warner Special Products (original label: Atlantic)
Year:    1966
    The Young Rascals were riding high in 1966, thanks to their second single, Good Lovin', going all the way to the top of the charts early in the year. Rather than to follow up Good Lovin' with another single the band's label, Atlantic, chose to instead release a new album, Collections, on May 10th. This was somewhat unusual for the time, as having a successful single was considered essential to an artist's career, while albums were still viewed as somewhat of a luxury item. Three weeks later, a new non-album single, You Better Run, was released, with a song from Collections, Love Is A Beautiful Thing, as the B side. The stereo version of the song appeared on the 1967 LP Groovin'

Artist:    Bob Dylan
Title:    Just Like A Woman
Source:    CD: Bob Dylan's Greatest Hits (originally released on LP: Blonde On Blonde)
Writer(s):    Bob Dylan
Label:    Columbia
Year:    1966
    By late 1966 the shock of Bob Dylan's going electric had long since worn off and Dylan was enjoying a string of top 40 hits in the wake of the success of Like A Rolling Stone. One of the last hits of the streak was Just Like A Woman, a track taken from his Blonde On Blonde album. This was actually the first Bob Dylan song I heard on top 40 radio.

Artist:    Beach Boys
Title:    Pet Sounds
Source:    Mono CD: Pet Sounds
Writer(s):    Brian Wilson
Label:    Capitol
Year:    1966
    Originally titled Run James Run, Brian Wilson's instrumental Pet Sounds was intended for a James Bond film, but instead ended up as the title track of the Beach Boys' most celebrated album (although it actually appears close to the end of the album itself). The track somewhat resembles a 60s update of the Tiki room recordings made by Martin Denny in the 1950s, with heavily reverberated bongos and guiro featured prominently over a latin beat. Although credited to the Beach Boys, only Brian Wilson appears on the track (on piano), with the remainder of the instruments played by various Los Angeles studio musicians collectively known as the Wrecking Crew.

Artist:    We The People
Title:    Mirror Of Your Mind
Source:    Mono CD: Even More Nuggets (originally released as 45 RPM single)
Writer:    Thomas Talton
Label:    Rhino (original label: Challenge)
Year:    1966
    We The People were formed when an Orlando, Florida newspaper reporter talked members of two local bands to combine into a garage/punk supergroup. The result was one of the most successful regional bands in Florida history. After their first recording got airplay on a local station, they were signed to record in Nashville for Challenge Records (a label actually based in Los Angeles) and cranked out several regional hits over the next few years. The first of these was Mirror Of Your Mind. Written by lead vocalist Tom Talton, the song is an in-your-face rocker that got played on a number of local stations and has been covered by several bands since.

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:    Cream
Title:    Deserted Cities Of The Heart
Source:    British import CD: Spirit Of Joy (originally released on LP: Wheels Of Fire)
Writer(s):    Bruce/Brown
Label:    Polydor (original US label: Atco)
Year:    1968
     The most psychedelic of Cream's songs were penned by Jack Bruce and his songwriting partner Pete Brown. One of the best of these was chosen to close out the last studio side of the last Cream album released while the band was still in existence. Deserted Cities Of The Heart is a fitting epitaph to an unforgettable band.

Artist:    Cream
Title:    Strange Brew
Source:    LP: Disraeli Gears
Writer(s):    Clapton/Collins/Pappalardi
Label:    Atco
Year:    1967
    During sessions for Cream's second album, Disraeli Gears, the trio of Eric Clapton, Jack Bruce and Ginger Baker recorded an instrumental track for an old blues tune, Lawdy Mama. Producer Felix Pappalardi and his wife Janet Collins reworked the melody and lyrics to create an entirely new song, Strange Brew. Clapton provided the lead vocals for the song, which was issued as a single in Europe and the UK, as well as being chosen as the lead track for the album itself.

Artist:     Traffic
Title:     No Face, No Name, No Number
Source:     CD: Smiling Phases (originally released on LP: Mr. Fantasy, aka Heaven Is In Your Mind)
Writer(s): Winwood/Capaldi
Label:     Island (original US label: United Artists)
Year:     1967
     When the first Best of Traffic album was issued in 1969 (after the group first disbanded) it included No Face, No Name, No Number, a non-hit album track. Later Traffic anthologies tended to focus on the group's post-reformation material and the song was out of print for many years until the first Traffic album was reissued on CD. The song itself is a good example of Winwood's softer material.

Artist:    Focus Three
Title:    10,000 Years Behind My Mind
Source:    Mono British import CD: Psychedelia At Abbey Road (originally released in UK as 45 RPM single)
Writer(s):    Wilson/Steele/Strike
Label:    EMI (original label: Columbia)
Year:    1967
    By 1967 it seemed like every recording artist in Britain was trying his or her hand at psychedelia, no matter what their original background may have been. Take Focus Three, for instance. The group was a collaboration between three vocalists who were already well established on the soul circuit. Lisa Strike was leader of Lisa And The Jet Set; Larry Steele had been a member of the Soul Brothers, while Tony Wilson had had some success as a solo artist. The three of them wrote and recorded a tune called 10,000 Years Behind My Mind, which was released as a single on EMI's Columbia label in October of 1967. As it turned out, it was the only record they ever released, as the three singers returned to their own individual careers almost immediately after 10,000 Years Behind My Mind hit the record racks.

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:    Left Banke
Title:    Pretty Ballerina
Source:    LP: Walk Away Renee/Pretty Ballerina
Writer(s):    Sommer/Brown/Lookofsky
Label:    Smash/Sundazed
Year:    1967
    The Left Banke, taking advantage of bandleader Michael Brown's industry connections (his father owned a New York recording studio), ushered in what was considered to be the "next big thing" in popular music in early 1967: baroque pop. After their debut single, Walk Away Renee, became a huge bestseller, the band followed it up with Pretty Ballerina, which easily made the top 20 as well. Subsequent releases were sabotaged by a series of bad decisions by Brown and the other band members that left radio stations leery of playing any record with the words "Left Banke" on the label.

Artist:    Beatles
Title:    Getting Better
Source:    LP: Sgt. Pepper's Lonely Hearts Club Band
Writer(s):    Lennon/McCartney
Label:    Capitol/EMI
Year:    1967
    Following their 1966 North American tour, the Beatles announced that they were giving up live performances to concentrate on their songwriting and studio work. Freed of the responsibilities of the road (and under the influence of mind-expanding substances), the band members found themselves discovering new sonic possibilities as never before (or since), hitting a creative peak with their 1967 album Sgt. Pepper's Lonely Hearts Club Band, often cited as the greatest album ever recorded. The individual Beatles were about to move in separate musical directions, but as of Sgt. Pepper's were still functioning mostly as a single unit, as is heard on the chorus of Getting Better, in which Paul McCartney's opening line, "I have to admit it's getting better", is immediately answered by John Lennon's playfully cynical "can't get no worse". The members continued to experiment with their instrumentation as well, such as George Harrison's use of sitar on the song's bridge, accompanied by Ringo Starr's bongos.

Artist:      Donovan
Title:     Mellow Yellow
Source:      Mono CD: Donovan's Greatest Hits (originally released as 45 RPM single)
Writer:    Donovan Leitch
Label:     Epic/Legacy
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. Incidentally, electric banana didn't turn out to be a sudden craze after all, and it is not Paul McCartney whispering "quite rightly" on the chorus. Sorry to burst anyone's bubble.

Artist:    Lovin' Spoonful
Title:    Voodoo In My Basement
Source:    LP: Hums Of The Lovin' Spoonful
Writer(s):    John Sebastian
Label:    Sundazed/Kama Sutra
Year:    1966
     With their 1966 LP Hums Of The Lovin' Spoonful, New York's most popular band set out to make an album on which each song sounded like it was performed by a different band. For the most part they succeeded, with songs like Nashville Cats and Summer In The City having few similarities. One of the more notable tracks on the album is Voodoo In My Basement, which acknowledges the folk-blues scene of New York's Greenwich Village, where the band was formed.

Artist:     Yardbirds
Title:     Jeff's Boogie
Source:     45 RPM single B side
Writer:     Dreja/Relf/Samwell-Smith/McCarty/Beck
Label:     Epic
Year:     1966
     Jeff's Boogie is an instrumental track from the Yardbirds that originally appeared on the album Over Under Sideways Down in the US. That LP, with a different track lineup and cover, was issued in the UK under the name Yardbirds, although it has since come to be known as Roger The Engineer due to its cover art. The song was also chosen to be the B side of the Over Under Sideways Down single, released in 1966. Although credited to the entire band, the tune is actually based on Chuck Berry's guitar boogie, and features some outstanding guitar work by Jeff Beck.

Artist:    Del-Vetts
Title:    Last Time Around
Source:    Mono LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single)
Writer(s):    Dennis Dahlquist
Label:    Rhino (original label: Dunwich)
Year:    1966
    The Del-Vetts were from Chicago's affluent North Shore. Their gimmick was to show up at a high school dance by driving their matching corvettes onto the gymnasium dance floor. Musically, like most garage/punk bands, they were heavily influenced by the British invasion bands. Unlike most garage/punk bands, who favored the Rolling Stones, the Del-Vetts were more into the Jeff Beck incarnation of the Yardbirds. The 'Vetts had a few regional hits from 1965-67, the biggest being this single issued on the Dunwich label, home of fellow Chicago suburbanites the Shadows of Knight. In retrospect, considering the song's subject matter (and overall loudness), Last Time Around may well be the very first death metal rock song ever recorded.

Artist:     Standells
Title:     Sometimes Good Guys Don't Wear White
Source:     Mono CD: More Nuggets (originally released as 45 RPM single)
Writer:     Ed Cobb
Label:     Rhino (original label: Tower)
Year:     1966
     The Standells were probably the most successful band to record for the Tower label (not counting Pink Floyd, whose first LP was issued, in modified form, on the label after being recorded in England). Besides their big hit Dirty Water, they hit the charts with other tunes such as Why Pick On Me, Try It, and the punk classic Sometimes Good Guys Don't Wear White. All but Try It were written by producer Ed Cobb, who has to be considered the most prolific punk-rock songwriter of the 60s, having also written some of the Chocolate Watch Band's best stuff as well.

Artist:    Spencer Davis Group
Title:    Back Into My Life Again
Source:    French import CD: The Best Of The Spencer Davis Group featuring Stevie Winwood (originally released in UK)
Writer(s):    Edwards/Miller
Label:    Island
Year:    1967
    Back Into My Life Again is one of two tracks on an LP called The Best Of The Spencer Davis Group featuring Stevie Winwood that had never, to my knowledge, been released before that album came out in 1967. The song was co-written by Jackie Edwards, a Jamaican-born reggae/ska singer/songwriter who had been one of the first artists signed to the Island Records label when it was founded in 1962. Edwards actually wrote or co-wrote several songs for the Spencer Davis Group over the years, including one of their biggest UK hits, Keep On Running.

Artist:    Vigilantes Of Love
Title:    Vet
Source:    CD single (taken from CD: Welcome To Struggleville)
Writer(s):    Bill Mallonee
Label:    Capricorn
Year:    1994
    In the late 1960s most teenage guys didn't get much mail. The bills were all addressed to their parents and their friends were all people that they saw on a regular basis. In fact, aside from an occasional letter from Grandma, the only piece of mail a teenage male was likely to get was a draft notice from Uncle Sam. If you got one of those you had to make a choice. You could up and leave the country, along with all your friends and family, without knowing if and when you might see them again. Or you could refuse to register for the draft and risk going to jail. You could attempt to get conscientious objector status (there were two types; one was difficult to obtain but would keep you from having to serve at all; the other was much easier, but you'd still be in the Army, but you'd be wearing a red cross on your helmet, singifying that you were medical personnel and thus not a target; often, however, the opposite was true). Finally, you could just suck it up, register, get drafted, go through basic training and hope like hell you survived the next three years (there was actually one more option: you could voluntarily join a different branch of the military, but only if you could talk a recruiter into taking you, something they were discouraged from doing with draftees). As a result of all of this, the US Army at that point in time was made up of officers, most of which were academy trained, and enlisted men, most of which were draftees (although there were a few volunteers among their ranks as well). These draftees, despite the fact that they really didn't have much choice in the matter, were nonetheless treated shabbily upon their return to the US, often spit upon and called "baby killers" and things even worse than that. The song Vet, written and sung by Bill Mallonee, who was old enough to have served in Vietnam, was recorded in 1994 by Mallonee's band, the Vigilantes Of Love and included on the album Welcome To Struggleville. I personally think it's the best song of its type ever recorded, surpassing even John Prine's classic Sam Stone.

Artist:    Animals
Title:    We Gotta Get Out Of This Place (US version)
Source:    Mono LP: The Best Of The Animals (originally released as 45 RPM single)
Writer(s):    Mann/Weil
Label:    Abkco (original label: M-G-M)
Year:    1965
    In 1965 producer Mickey Most put out a call to Don Kirschner's Brill building songwriters for material that could be recorded by the Animals. He ended up selecting three songs, all of which are among the Animals' most popular singles. Possibly the best-known of the three is a song written by the husband and wife team of Barry Mann and Cynthia Weil called We Gotta Get Out Of This Place. The song (the first Animals recording to featuring Dave Rowberry, who had replaced founder Alan Price on organ) starts off with what is probably Chas Chandler's best known bass line, slowly adding drums, vocals, guitar and finally keyboards on its way to an explosive chorus. The song was not originally intended for the Animals, however; it was written for the Righteous Brothers as a follow up to (You've Got That) Lovin' Feelin', which Mann and Weil had also provided for the duo. Mann, however, decided to record the song himself, but the Animals managed to get their version out first, taking it to the top 20 in the US and the top 5 in the UK. As the Vietnam war escalated, We Gotta Get Out Of This Place became a sort of underground anthem for US servicemen stationed in South Vietnam, and has been associated with that war ever since. Incidentally, there were actually two versions of We Gotta Get Out Of This Place recorded during the same recording session, with an alternate take accidentally being sent to M-G-M and subsequently being released as the US version of the single. This version (which some collectors and fans maintain has a stronger vocal track) appeared on the US-only LP Animal Tracks in the fall of 1965 as well as the original M-G-M pressings of the 1966 album Best Of The Animals. The original UK version, on the other hand, did not appear on any albums, as was common for British singles in the 1960s. By the 1980s record mogul Allen Klein had control of the original Animals' entire catalog, and decreed that all CD reissues of the song would use the original British version of the song, including the updated (and expanded) CD version of The Best Of The Animals. This expanded version of the album first appeared on the ABKCO label in 1973, but with the American, rather than the British, version of We Gotta Get Out Of This Place. Luckily I have a copy of that LP, which is where this track was taken from. It's not in the best of shape, but it's worth putting up with a few scratches to hear the song the way the troops heard it back in '65.
      
Artist:    Jimi Hendrix Experience
Title:    May This Be Love
Source:    LP: Are You Experienced?
Writer(s):    Jimi Hendrix
Label:    Experience Hendrix/Legacy (original label: Reprise)
Year:    1967
    The original UK version of Are You Experienced featured May This Be Love as the opening track of side two of the album. In the US, the UK single The Wind Cries Mary was substituted for it, with May This Be Love buried deep on side one. It's obvious that Hendrix thought more highly of the song than the people at Reprise who picked the track order for the US album.

Artist:    Jimi Hendrix Experience
Title:    Red House
Source:    Mono CD: Blues (originally released in UK on LP: Are You Experienced)
Writer(s):    Jimi Hendrix
Label:    Legacy (original UK label: Track)
Year:    1967
    One of the first songs recorded by the Jimi Hendrix Experience, Red House was omitted from the US version of Are You Experienced because, in the words of one recording company executive: "America does not like blues". At the time the song was recorded, Noel Redding was not yet comfortable using a bass guitar, and would work out his bass parts on a slightly-detuned hollow body six-string guitar with the tone controls on their muddiest setting (I learned to play bass the same way myself). The original recording of Red House that was included on the UK version of Are You Experienced features Redding doing exactly that. A second take of the song, with overdubs, was included on the 1969 Smash Hits album, but the original mono version heard here was not available in the US until the release of the Blues CD in 1994.

Artist:    Jimi Hendrix Experience
Title:    Love Or Confusion
Source:    LP: Are You Experienced?
Writer:    Jimi Hendrix
Label:    Experience Hendrix/Legacy (original label: Reprise)
Year:    1967
    A little-known fact is that the original European version of Are You Experienced, in addition to having a different song lineup, consisted entirely of mono recordings. When Reprise got the rights to release the album in North America, its own engineers created new stereo mixes from the 4-track master tapes. As most of the instrumental tracks had already been mixed down to single tracks, the engineers found themselves doing things like putting the vocals all the way on one side of the mix, with reverb effects and guitar solos occupying the other side and all the instruments dead center. Such is the case with Love Or Confusion, with some really bizarre stereo panning thrown in at the end of the track. It's actually kind of fun to listen to with headphones on, as I did when I bought my first copy of the album on reel-to-reel tape.

Artist:     Rolling Stones
Title:     Lady Jane
Source:     CD: Aftermath (originally released as 45 RPM single B side)
Writer:     Jagger/Richards
Label:     Abkco (original label: London)
Year:     1966
     One of the best early Rolling Stones albums is 1966's Aftermath, which included such classics as Under My Thumb, Stupid Girl and the eleven-minute Goin' Home. Both the US and UK versions of the LP included the song Lady Jane, which was also released as the B side to Mother's Little Helper (which had been left off the US version of Aftermath to make room for Paint It, Black). The policy at the time in the US was for B sides that got a significant amount of airplay to be rated separately from the A side of the single, and Lady Jane managed to climb to the # 24 spot on the Hot 100 (Mother's Little Helper peaked at # 8).

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:    Jefferson Airplane
Title:    Lather
Source:    LP: Crown Of Creation
Writer(s):    Grace Slick
Label:    RCA Victor
Year:    1968
    One of Grace Slick's most memorable tunes was Lather from Jefferson Airplane's fourth LP, Crown Of Creation. Featuring an eerie instrumental bridge played on a tissue-paper covered comb (at least that's what I think it was), the song was reportedly about drummer Spencer Dryden, the band's oldest member, who had turned 30 while the album was being recorded. A popular phrase of the time was "don't trust anyone over 30", making it an unfortunate time to have that particular birthday.

Artist:    Jefferson Airplane
Title:    Eskimo Blue Day
Source:    CD: Volunteers
Writer(s):    Slick/Kantner
Label:    BMG/RCA
Year:    1969
    Jefferson Airplane's sixth LP, Volunteers, was by far their most socio-political album, from the first track (We Can Be Together, with its famous "up against the wall" refrain) to the last (the song Volunteers itself). One of the more controversial tracks on the 1969 album is Eskimo Blue Day, which describes just how meaningless human concerns are in the greater scheme of things with the repeated use of the phrase "doesn't mean shit to a tree". Eskimo Blue Day was one of two songs from Volunteers performed by the Airplane at Woodstock.

Artist:    Jefferson Airplane
Title:    If You Feel
Source:    LP: Crown Of Creation
Writer(s):    Blackman/Balin
Label:    RCA Victor
Year:    1968
    Although Marty Balin's contributions as a songwriter to Jefferson Airplane's third album, After Bathing At Baxter's, were minimal (he co-wrote one song), he was back in full force on the band's next LP, Crown Of Creation. One of his lesser-known songs on the album is If You Feel, co-written with non-member Gary Blackman, which opened side two of the LP.

Artist:    Steppenwolf
Title:    The Pusher
Source:    CD: Easy Rider Soundtrack (originally released on LP: Steppenwolf)
Writer(s):    Hoyt Axton
Label:    MCA (original label: Dunhill)
Year:    1968
    While AM radio was all over Born To Be Wild in 1968 (taking the song all the way to the # 2 spot on the top 40 charts), the edgier FM stations were playing heavier tunes from the debut Steppenwolf album. The most controversial (and thus most popular) of these heavier tunes was Hoyt Axton's The Pusher, with it's repeated use of the line "God damn the Pusher." Axton himself did not record the song until 1971, at which point the song was already burned indelibly in the public consciousness as a Steppenwolf tune.

Artist:    Jeff Thomas
Title:    Straight Arrow
Source:    Mono British import CD: My Mind Goes High (originally released in US as 45PM single)
Writer(s):    Jeff Thomas
Label:    Warner Strategic Marketing (original label: Warner Brothers)
Year:    1968
    To look at a publicity photo of Jeff Thomas, you'd think you had been transported to the late 1950s. Musically, he was squarely (pun intended) in the middle of the road, with a crooning style that was somewhat out of synch with the times. Somehow, though, he managed to write a tasty piece of psychedelia called Straight Arrow, which was released as his second of three singles in late 1968.

Artist:    Big Brother And The Holding Company
Title:    Flower In The Sun
Source:    CD: Live At The Carousel Ballroom-1968 (originally releasd on LP: Joplin In Concert)
Writer(s):    Sam Andrew
Label:    Columbia/Legacy
Year:    Recorded 1968, released 1972
    Sam Houston Andrew III is one of the more overlooked talents of the late 1960s San Francisco music scene. Born in 1941, Andrew was a military brat who, at the age of 17, was the host of his own TV show in Okinawa, Japan, as well as leader of the show's house band. His father was transferred to a base in California shortly after Andrew graduated high school, and Andrew soon became involved with the San Francisco music scene. In 1966 he and Peter Albin formed Big Brother And The Holding Company, a band that would, by the end of the year, include vocalist Janis Joplin. Following the release of the hit album Cheap Thrills in 1968, Andrew and Joplin left Big Brother to form the Kozmic Blues Band. Less than a year later Andrew returned to Big Brother And The Holding Company, becoming the band's musical director until his death in 2015. Andrew was Big Brother's most prolific songwriter (he had written his first song at age 6), contributing songs like Combination Of The Two (the band's usual set opener) and Flower In The Sun, the studio version of which was intended for inclusion on Cheap Thrills but cut when it was decided to include more live performances on the LP. A live recording of Flower In The Sun, recorded on June 23, 1968 at the Carousel Ballroom, was included on the LP Joplin In Concert in 1972. The complete performance of that Carousel Ballroom show, taken directly from Owsley Stanley's sound board, was made available in 2012.