This week we manage to squeeze in 35 tracks, including a set of Rolling Stones songs from their most psychedelic period.
Title: Tomorrow Never Knows
Source: LP: Revolver
A few years ago I started to compile an (admittedly subjective) list of the top psychedelic songs ever recorded. Although I never finished ranking the songs, one of the top contenders for the number one spot was Tomorrow Never Knows. The recording is one of the first to use studio techniques such as backwards masking on the lead guitar track and has been hailed as a studio masterpiece.
Artist: Jimi Hendrix Experience
Title: Purple Haze
Source: CD: Are You Experienced?
Writer: Jimi Hendrix
Label: MCA (original US label: Reprise)
Purple Haze has one of the most convoluted release histories of any song ever recorded. Originally issued in the UK as a single on the Track label, it scored high on the British charts. When Reprise got the rights to release the first Hendrix album, Are You Experienced, in the US they chose to replace the first track on the album with Purple Haze, moving the original opening track, Foxy Lady, to side two of the LP. Reprise also released Purple Haze as a single in June of 1967, where it spent eight weeks on the Hot 100 chart, peaking at #65. The song next appeared on Track's 1968 Smash Hits album, which in Europe was on the Polydor label. The following year Reprise included the song on its own version of Smash Hits. The Reprise version of Are You Experience remained in print throughout the 1970s and 1980s, appearing on cassette, 8-track, and pre-recorded reel to reel tapes as well as CDs. ln the early 1990s MCA acquired the rights to the Hendrix catalog and re-issued Are You Experienced with the tracks restored to the UK ordering, but preceded by the six non-album sides (including Purple Haze) that had originally been released prior to the album. Most recently, the Hendrix Family Trust has again changed labels and the US version of Are You Experienced is once again in print, this time on Sony's Legacy label. This means that Purple Haze now has the distinction of having been released by all three of the world's major record companies.
Artist: Bubble Puppy
Source: British import CD: A Gathering Of Promises (originally released as 45 RPM single B side)
Label: Charly (original label: International Artists)
The Bubble Puppy came into existence in 1967, when two former members of the legendary Corpus Christie,Texas garage band the Bad Seeds, guitarist Rod Prince and keyboardist/bassist Roy Cox, relocated to San Antonio, recruiting guitarist Todd Potter and drummer Craig Root to form the new band. Success came quickly in the form of the band's very first gig, opening for the Who at the San Antonio Colosseum. After David Fore replaced Root in the band, the group relocated to Austin, where they got a steady gig at the Vulcan Gas Company. By 1968 the Bubble Puppy was traveling all over Texas for gigs, and late in the year got a contract with Houston-based International Artists, a label that had already gained notoriety by signing the 13th Floor Elevators and Red Crayola. After releasing a surprise top 40 hit, Hot Smoke And Sassafras (with Lonely on the B side) in December of 1968, the band got to work on a full album, A Gathering Of Promises. International Artists failed to get the album out quickly enough to capitilize of the popularity of Hot Smoke And Sassafras, and further hurt the band's chance of success by refusing to grant licensing rights on the single to Apple Records for European release. By 1970 the band and the label had parted company, with the Bubble Puppy relocating to Los Angeles and changing their name to Demian.
Artist: Bob Dylan
Title: Subterranean Homesick Blues
Source: CD: Bob Dylan's Greatest Hits (originally released as 45 RPM single and on LP: Bringing It All Back Home)
Writer(s): Bob Dylan
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).
Title: Four Until Late
Source: LP: Fresh Cream
Writer(s): Robert Johnson
By the time Cream was formed, Eric Clapton had already established himself as one of the world's premier blues-rock guitarists. He had not, however, done much singing, as the bands he had worked with all had strong vocalists: Keith Relf with the Yardbirds and John Mayall with the Bluesbreakers. With Cream, however, Clapton finally got a chance to do some vocals of his own. Most of these are duets with bassist Jack Bruce, who handled the bulk of Cream's lead vocals. Clapton did get to sing lead on a few Cream songs, however. One of the earliest ones was the band's updated version of Robert Johnson's Four Until Late, from the Fresh Cream album.
Artist: Peanut Butter Conspiracy
Title: Too Many Do
Source: CD: The Peanut Butter Conspiracy Is Spreading /The Great Conspiracy (originally released on LP: The Great Conspiracy)
Writer(s): Alan Brackett
Label: Collectables (original label: Columbia)
After a pop-driven first album that was dominated by producer Gary Usher, the Peanut Butter Conspiracy were able to sound more like their live performances on the follow-up LP, The Great Conspiracy. The longest track on the album was Too Many Do, which became one of the first six-minute songs to get airplay, mostly on the new "underground" FM stations that were beginning to pop up in large cities and smaller college towns across the country.
Title: Bus Stop
Source: 45 RPM single
Writer(s): Graham Gouldman
The Hollies already had a string of British hit singles when they recorded Bus Stop in 1966. The song, written by Graham Gouldman (later of 10cc), was their first song to make the US top 10, peaking at #5. Gouldman later said the idea for the song came to him as he was riding on a bus. His father, playwrite Hyme Gouldman, provided the song's opening line "Bus stop, wet day, she's there, I say please share my umbrella" and Graham built the rest of the song around it.
Artist: Mitch Ryder And The Detroit Wheels
Title: Devil With A Blue Dress/Good Golly Miss Molly
Source: 45 RPM single (reissue)
Label: Eric (original label: DynaVoice)
When it came down to old-fashioned get-out-on-the-dance-floor blue-collar rock 'n' roll, there was no local scene that could match the Detroit scene, and the unquestioned kings of Detroit rock 'n' roll in 1966 were Mitch Ryder and the Detroit Wheels. Ryder's boys cranked out hit after hit, many of which made the national charts, including Little Latin Lupe Lu, Sock It To Me-Baby!, and their biggest hit of all: Devil With A Blue Dress/Good Golly Miss Molly. Rock on!
Artist: Bobby Fuller Four
Title: I Fought The Law
Source: CD: I Fought The Law-The Best Of The Bobby Fuller Four (originally released as 45 RPM single)
Writer(s): Sonny Curtis
Label: Rhino (original label: Mustang)
I Fought The Law is one of the truly iconic songs in rock history. Originally recorded by the Crickets in 1959 after Sonny Curtis, who wrote the song, had joined the band as lead guitarist and taken over lead vocals after the death of Buddy Holly, the song became a national hit when it was covered by the Bobby Fuller Four in late 1965. The song hit the #9 spot on the Billboard Hot 100 in early 1966, and has since been recorded by numerous artists from a variety of genres, including the Clash, Hank Williams, Jr., the Dead Kennedys and Bruce Springsteen, who has made it a staple of his live show over the years.
Artist: John Sebastian
Title: Red-Eye Express
Source: LP: The Big Ball (originally released on LP: John B. Sebastian)
Writer(s): John Sebastian
Label: Warner Brothers (original label: Reprise)
John Sebastian's first solo album is one of those cases where the story behind the album is more interesting than the album itself. Sebastian had been the lead vocalist and primary songwriter for the Lovin' Spoonful during their period of greatest success (1965-67), but had left the group in early 1968 to pursue a solo career. The band tried to carry on without him, but after a string of commercial failures disbanded in early 1969. Meanwhile, Sebastian had been putting together tracks like Red-Eye Express for his debut solo album with the help of many of his old friends from his pre-Spoonful days as a struggling folk singer in New York's Greenwich Village, including (among others) David Crosby, Stephen Stills and Graham Nash, several months before they began recording together as a group. By early 1969 the album was ready to be released, but a series of unexpected problems delayed the album for over a year. The most pertinent of these problems was the fact that MGM records felt that the Lovin' Spoonful still owed them one more album under their previous contract with Kama Sutra Records, which had been distributed by MGM. Since the Spoonful no longer existed, MGM wanted to release Sebastian's album in its place, despite the fact that Sebastian had left the band the previous year. Sebastian and his manager, Bob Cavallo, felt differently, and made a deal with producer Paul Rothchild to get the album released on the Reprise label. Reprise head Mo Ostin bought out Sebastian's Kama Sutra contract and prepared to release the album, John B. Sebastian, in spring of 1969. MGM fought the move, however, and the album's release was delayed until 1970, when the album actually appeared on both labels at the same time (albeit with different cover art). Eventually Reprise ended up with the exclusive rights to the album, and the MGM version was withdrawn. During all this legal wrangling Sebastian made an unscheduled appearance at Woodstock (he was there as an audience member, but got drafted to fill time on the second day of the festival following a major rainstorm that left the stage covered in water, making it impossible for electric instruments to be used until it could be cleaned up), which enhanced his reputation and generated interest in the upcoming album, which eventually peaked at the #20 spot on the Billboard album charts.
Artist: Crosby, Stills, Nash and Young
Title: Everybody I Love You
Source: CD: déjà vu
The last track on the Crosby, Stills, Nash and Young album déjà vu is a Stephen Stills/Neil Young collaboration that sets the stage for the Stills/Young band a couple of years later. Stylistically it's pretty easy to figure out which part of Everybody I Love You was written by Stephen Stills and which part was written by Neil Young. What's interesting is how well the two parts actually fit together. As far as I know this is actually the first songwriting collaboration between the two, despite being bandmates in Buffalo Springfield since 1966 (and knowing each other even longer).
Artist: Guess Who
Source: CD: American Woman
Label: Buddha/BMG (original label: RCA Victor)
The most successful album for the Guess Who was American Woman, released in 1970. In additional to the three top 10 singles on the album (No Time, No Sugar Tonight and the title track), the album featured many strong tracks, including 8:15, which midway through the song breaks into (in the words of lead vocalist Burton Cummings) "some real percussive spice where it's sorely needed", courtesy of drummer Garry Peterson.
Artist: Missing Links
Title: You're Driving Me Insane
Source: Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in Australia as 45 RPM single)
Writer(s): Baden Hutchins
Label: Rhino (original label: Philips)
Long before AC/DC emerged from Down Under, the Missing Links were known as "Australia's wildest group". The name Missing Links was first used in 1964 by a group that released only one single in 1964. The following year an entirely new lineup made up of friends and associates of the original group began using the name, releasing three singles (the first of which was You're Driving Me Insane) and an album before disbanding in April of1966.
Title: I Never Loved Her
Source: Mono LP: Pebbles Vol. 8 (originally released as 45 RPM single)
Writer(s): Freddie Fields
Label: BFD (original label: G.I.)
The name Starfires has long been associated with rock 'n' roll, albeit with a number of different bands over the years. The name was probably first used in the late 1950s by a band from Long Beach, California, and was also the original name of the Cleveland, Ohio, band that became famous as the Outsiders. But the most revered of the various Starfires may well be the mid-60s Los Angeles garage band released three singles before disbanding. One of these, I Never Loved Her, has long been sought after by collectors, and copies of the record have been known to sell for over a thousand dollars apiece. Luckily, the song has been included on various collections over the years, including both the LP and CD versions of Pebbles, Volume 8.
Title: No Good Without You Baby
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): William Stevenson
Label: Rhino (original label: Decca)
Although they only released four singles from 1964-66 (the third of which being No Good Without You), the Birds were among the better UK bands not to get attention outside of their native land. Formed in 1963, the band was first known as the R&B Bohemians and then the Thunderbirds before shortening their name to the Birds. When the US Byrds came along, the Birds actually tried to sue them for using their name. What the group is probably best known for, however, is launching the career of guitarist Ron Wood, who would later join the Faces and is currently a member of some obscure British rock and roll band called the Rolling Stones.
Title: Strange Days
Source: LP: Weird Scenes Inside The Gold Mine (originally released on LP: Strange Days)
Writer(s): The Doors
One of the first rock albums to not picture the band members on the front cover was the Doors' second LP, Strange Days. Instead, the cover featured several circus performers doing various tricks on a city street, with the band's logo appearing on a poster on the wall of a building. The album itself contains some of the band's most memorable recordings, including the title tune, which tends to show up on just about every "best of" collection of Doors tracks ever released, despite having never been issued as a single.
Artist: New Dawn
Title: Slave Of Desire
Source: British import CD: With Love-A Pot Of Flowers (originally released as 45 RPM single B side)
Label: Big Beat (original label: Mainstream)
New Dawn, from the small town of Morgan Hill, California (a few miles south of San Jose), was not really a band. Rather, it was a trio of singer/songwriters who utilized the services of various local bands for live performances and studio musicians for their recordings. Schoolmates Tony Supnet, who also played guitar, Mike Leonti and Donnie Hill formed the group in 1961, originally calling themselves the Countdowns. They released a pair of singles on the local Link label, the second of which was recorded at San Francisco's Golden State Recorders. It was around that time that Bob Shad, owner of Mainstream Records, was in the Bay Area on a talent search. Shad was holding his auditions at Golden State, giving bands that had already recorded there an automatic in. Shad was impressed enough to offer the trio a contract, which resulted in a pair of singles using the name New Dawn. Although most of the group's material could best be described as light pop, the B side of the second single, a tune called Slave Of Desire, was much grittier. Leonti is the lead vocalist on the track, which, like the group's other recordings, utilized the talents of local studio musicians.
Source: Mono LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single B side)
Writer(s): Otis Redding
Label: Rhino (original label: Atco)
Sounding a lot like the Rascals, the Vagrants were a popular Long Island band led by singer Peter Sabatino and best remembered for being the group that had guitarist Leslie Weinstein in it. Weinstein would change his last name to West and record a solo album called Mountain before forming the band of the same name. This version of Respect is fairly faithful to the original Otis Redding version. Unfortunately for the Vagrants, Aretha Franklin would release her radically rearranged version of the song just a few weeks after the Vagrants, relegating their version of the tune (and the Vagrants themselves) to footnote status.
Artist: Morning Dew
Title: Crusader's Smile
Source: British import CD: Ah Feel Like Ahcid (originally released in US on LP: Morning Dew)
Writer(s): Mal Robinson
Label: Zonophone (original label: Roulette)
In the late 1960s Roulette Records was pretty much wholly supported by one act: Tommy James And The Shondells, who had cranked out a string of hit records starting with Hanky Panky in 1966 (the record had actually been released in 1964). There were other artists recording for the label, however, but for the most part their efforts went unnoticed by the record buying public. This is a bit of a shame, as some of those artists, such as Morning Dew, were actually pretty good. The Topeka, Kansas band took its name from the Tim Rose song made famous by the Grateful Dead, and on most tracks sounded pretty much exactly as one would expect. The group's only LP, released in 1970, started off on a bit more energetic note with the song Crusader's Smile, which was written by band leader Mal Robinson.
Artist: Rolling Stones
Title: She's A Rainbow
Source: LP: Their Satanic Majesties Request
The only song from the Rolling Stones' Their Satanic Majesties Request album to get significant airplay in the US was She's A Rainbow, released as a single in the fall of '67. Oddly enough it was the single's B side, 2,000 Light Years From Home, that charted in Germany. Another song from the album, In Another Land, had been released in the US a week before the album came out and was marketed as the first Bill Wyman solo song (with a Rolling Stones B side), but only made it to the #87 spot on the Billboard singles chart. This perhaps is a reflection of the uncertainty surrounding the Rolling Stones' role in the world of rock at the time. That uncertainty would soon be dispelled when the band hired a new producer, Jimmy Miller, the following year and released Jumpin' Jack Flash, an undisputed classic that helped define the band for years to come.
Artist: Rolling Stones
Title: Sympathy For The Devil
Source: CD: Singles Collection-The London Years (originally released on LP: Beggars Banquet)
Label: Abkco (original label: London)
Beggar's Banquet was a turning point for the Rolling Stones. They had just ended their association with Andrew Loog Oldham, who had produced all of their mid-60s records, and instead were working with Jimmy Miller, who was known for his association with Steve Winwood, both in his current band Traffic and the earlier Spencer Davis Group. Right from the opening bongo beats of Sympathy For The Devil, it was evident that this was the beginning of a new era for the bad boys of rock and roll. The song itself has gone on to be one of the defining tunes of album rock radio, and occupies the #32 spot on Rolling Stone magazine's "500 Greatest Songs of All Time" list.
Artist: Rolling Stones
Source: LP: Their Satanic Majesties Request
Probably the most overtly psychedelic track ever recorded by the Rolling Stones, Gomper might best be described as a hippy love song with its references to nature, innocence and, of course, pyschedelic substances. Brian Jones makes one of his last significant contributions as a member of the band he founded, playing the dulcimer, as well as tablas, organ, pan flutes and various percussion instruments on the song.
Artist: Simon and Garfunkel
Title: The Sound Of Silence
Source: CD: Collected Works (originally released as 45 RPM single and included on LP: Sounds Of Silence)
Writer(s): Paul Simon
The Sound Of Silence was originally an acoustic piece that was included on Simon and Garfunkel's 1964 debut album, Wednesday Morning 3AM. The album went nowhere and was soon deleted from the Columbia Records catalog. Simon and Garfunkel themselves went their separate ways, with Simon moving to London and recording a solo LP, the Paul Simon Songbook. While Simon was in the UK, producer Tom Wilson, who had been working with Bob Dylan on Highway 61 Revisited, pulled out the master tape of The Sound Of Silence and got some of the same musicians to add electric instruments to the existing recording. The song was released to local radio stations, where it garnered enough interest to get the modified recording released as a single. It turned out to be a huge hit, prompting Paul Simon to move back to the US and reunite with Art Garfunkel.
Artist: Janis Ian
Source: LP: Janis Ian
Writer(s): Janis Ian
Label: Polydor (original label: Verve Forecast)
It took guts for a fifteen-year-old to write and record a song that is basically an open letter to a prostitute. It took maturity to do it without either condoning or condemning that kind of life. Janis Ian displayed both with the song Pro-Girl on her 1967 debut LP.
Artist: Tyrannosaurus Rex
Title: The Seal Of Seasons
Source: CD: Unicorn
Writer(s): Marc Bolan
Label: A&M (original label: Blue Thumb)
Nearly everyone is familiar with a song called Get It On (aka Bang A Gong), a huge hit in the early 70s by a group known as T-Rex. Not all that many people, however, are aware that the band was originally called Tyrannosaurus Rex, and consisted of only two members, Marc Bolan and Steve Peregrin Took. Tyrannosaurus Rex, in its original incarnation, was best described as a psychedelic folk duo with a stong emphasis on fantasy themes on songs like The Seal Of Seasons, which appeared on the group's third LP, Unicorn. Took split with Bolan following the release of Unicorn after Bolan refused to use any of Took's compositions on the next Tyrannosaurus Rex album, A Beard Of Stars. Bolan replaced Took with Mickey Finn, who would remain a member after T-Rex expanded to become an electric rock band.
Artist: Blues Magoos
Title: Albert Common Is Dead
Source: Mono LP: Electric Comic Book
The second Blues Magoos LP, Electric Comic Book, was much in the same vein as their 1966 debut album, Psychedelic Lollipop, with a mix of fast and slow originals and a couple of cover songs, one of which was done in an extended rave-up style. The second side opener, Albert Common Is Dead, is a fast rocker (with a slowed down final chorus) about an average guy's decision to take to the road, leaving his former life behind. As many young people were doing exactly that during the summer of 1967, you might expect such a song to become somewhat of a soundtrack of its times, but with so many other songs filling that role, Albert Common Is Dead was largely overlooked by the listening public.
Artist: Lemon Pipers
Title: Green Tambourine
Source: CD: The Best Of 60s Psychedelic Rock (originally released as 45 RPM single and on LP: Green Tambourine)
Label: Priority (original label: Buddah)
Oxford, Ohio's Lemon Pipers have the distinction of being the first band to score a number one hit for the Buddah label. Unfortunately for the band, it was their only hit. Making it even worse is the fact that, although the Lemon Pipers themselves were a real band, they ended up being grouped in with several "bands" who were in fact studio creations by the Kazenetz/Katz production team that supplied Buddah with a steady stream of bubble-gum hits throughout 1968.
Title: The Walking Song
Source: 45 RPM single B side
Label: White Whale
When they weren't recording hit songs by professional songwriters, the Turtles were busy developing their own songwriting talents, albeit in a somewhat satirical direction. One early example is The Walking Song, which contrasts the older generation's obsession with material goods with a "stop and smell the roses" approach favored by the song's protagonist. This toungue-in-cheek style of writing would characterize the later careers of two of the band members, Mark Volman and Howard Kaylan, who, after performing with the Mothers at the Fillmore would become known as the Phlorescent Leech (later Flo) and Eddie.
Artist: Blossom Toes
Title: The Remarkable Saga Of The Frozen Dog
Source: British import CD: We Are Ever So Clean
Writer(s): Jim Cregan
Label: Sunbeam (original label: Marmalade)
Originally known as the Ingoes, Blossom Toes were discovered playing in Paris (where they had released an EP) by Giorgio Gomelsky, manager of the Yardbirds, who signed them to his own label, Marmalade, in 1967. Everyone on the British music scene was talking about (and listening to) the Beatles' Sgt. Pepper's Lonely Hearts Club Band, trying to figure out how to apply the album's advanced production techniques to their own material, including Gomelsky and Blossom Toes. The result was an album called We Are Ever So Clean, one of the first post-Sgt. Pepper albums to be released in the UK. The album is considered one of the best examples of British psychedelic music, with the word "whimsical" showing up in most reviews. The term certainly applies to The Remarkable Saga Of The Frozen Dog, one of two pieces on the album written solely by drummer Jim Cregan (he is credited as co-writer on two others).
Title: Utterly Simple
Source: CD: Heaven Is In Your Mind (originally released in UK on LP: Mr. Fantasy)
Writer(s): Dave Mason
Several tracks from Traffic's 1967 debut LP, Mr. Fantasy, were not included on the album's US counterpart, Heaven Is In Your Mind, which was released in early 1968. One of the missing tracks was Utterly Simple, a Dave Mason tune that features the sitar more prominently than any other Traffic recording. In fact, Mason himself was missing from the US album's cover photo, even after the album was retitled Mr. Fantasy with its second printing. Utterly Simple was finally made available in the US when both versions of the album were released on CD.
Artist: Pink Floyd
Title: Matilda Mother
Source: CD: The Piper At The Gates Of Dawn
Writer(s): Syd Barrett
Label: Capitol (original label: Tower)
Listening to tracks like Matilda Mother, I can't help but wonder where Pink Floyd might have gone if Syd Barrett had not succumbed to mental illness following the release of the band's first LP, The Piper At The Gates Of Dawn, in 1967. Unlike the rest of the band members, Barrett had the ability to write songs that were not only adventurous, but commercially viable as singles as well. After Barrett's departure, it took the group several years to become commercially successful on their own terms (although they obviously did). We'll never know what they may have done in the intervening years were Barrett still at the helm.
Title: I Ain't Done Wrong
Source: Mono Australian import CD: Over, Under, Sideways, Down (originally released in US on LP: For Your Love)
Writer(s): Keith Relf
I Ain't Done Wrong is the only track on the Yardbirds' US debut album For Your Love that was actually written by a member of the Yardbirds. To help understand how something like this might come about I have a short history lesson for you. Record albums have been around nearly as long as recorded music itself, albeit in a form that would be pretty much unrecognizable to modern listeners. The first record albums were collections of several 78 RPM discs in paper sleeves bound between hard covers, similar to photo albums (which is where the name came from). By the end of the 1940s the most popular albums featured single artists such as Frank Sinatra or the Benny Goodman Orchestra. Classical music, however, suffered from this format, since a typical 10" 78 RPM record could hold only about three and a half minutes of music per side. Even using 12" discs that could hold up to seven minutes' worth of music meant breaking up longer pieces into segments, which pretty much ruined the listening experience. Around 1948 or so, Columbia Records (US), the second largest record label in the world, unveiled the long play (LP) record, which could hold about 20 minutes per side with far superior sound quality to the 78s of the day. The format was immediately embraced by classical music artists and listeners alike. It wasn't long before serious jazz artists began to take advantage of the format as well. Popular music, however, was still very much oriented toward single songs, known then as the Hit Parade. This remained the case throughout the first wave of rock 'n' roll in the 1950s, with the new 45 RPM format serving as a direct replacement for 78s. LPs, being more expensive, were targeted to a more affluent audience than 45s were. The few LPs that did appear by popular artists often contained one or two of that artist's hit singles (and B sides), along with several "filler" tracks that were usually covers of songs made popular by other artists. In 1963, however, something interesting happened. An album called With The Beatles was released in the UK. What made this album unique is that it did not include any of the band's hit singles, instead featuring 14 newly recorded tracks. Such was the popularity of the Fab Four that their fans bought enough copies of With The Beatles to make it a hit record in its own right. This led to other British bands following a similar pattern of mutual exclusivity between album and single tracks. One of these bands was the Yardbirds, who had released a pair of singles in 1964. None of these songs had appeared on an album in the UK (the band, however, had released an LP called Five Live Yardbirds that had failed to chart). Then, in 1965, they hit it big with the international hit single For Your Love, which prompted their US label, Epic, to released a Yardbirds LP of the same name. There was, however, one small problem. Guitarist Eric Clapton had just quit the Yardbirds, complaining of the band's move toward more commercial material (such as For Your Love itself, a song which he had recorded under protest); his replacement, Jeff Beck, had only been with the band long enough to record three songs, none of which had yet been released. Epic, however, wanted to get a Yardbirds LP out while For Your Love was still hot, and ended up using all three Beck tracks, as well as the band's previously released British singles (plus two songs of uncertain origins), on the album. Two of the three Beck recordings were blues covers, making the third song, Keith Relf's I Ain't Done Wrong, the only original tune on the album (For Your Love came from an outside songwriter, Graham Gouldman).Since most of the tracks on the LP were already available in the UK, For Your Love was never issued there; the three Beck tracks did appear later that year, however, on a new EP called Five Yardbirds.
Artist: Shadows Of Knight
Title: Tomorrow's Gonna Be Another Day
Source: LP: Back Door Men
Writer(s): Tommy Boyce
Label: Sundazed (original label: Dunwich)
Tommy Boyce actually had a songwriting career separate from his many collaborations with Bobby Hart. One of his early songs was Tomorrow's Gonna Be Another Day, which was first recorded as a single by the Colorado-based Astronauts (which gave producer Steve Venet co-writing credit) before getting included on the first Monkees album. Along the way the song got recorded by a handful of garage bands, including Chicago's Shadows Of Knight, whose version closely parallels the Astronauts' original.
Artist: Moby Grape
Title: Come In The Morning
Source: LP: Moby Grape
Writer(s): Bob Mosley
Moby Grape's 1967 debut album has been called " the ancestral link between psychedelia, country-rock, glam, power pop and punk." Come In The Morning, written and sung by bassist Bob Mosley, provides the country-rock part.
Artist: Steve Miller Band
Title: Living In The U.S.A.
Source: LP: Sailor
Writer(s): Steve Miller
Although generally considered a San Francisco act, the Steve Miller Band, in truth, was never really confined to a single geographical area. Miller himself was originally from Chicago, and had cut his musical teeth in Texas. The first Steve Miller Band album was recorded in London, while their second effort, Sailor, was made in Los Angeles. Appropriately enough, the best-known track from Sailor, and the first Steve Miller Band song to get significant national radio exposure, was Living In The U.S.A., a song that is still heard fairly often on classic rock radio stations.