With only two exceptions, none of the songs on this week's edition of Stuck in the Psychedelic Era were played on the show during the summer months of 2021. One of those two exceptions is part of a Jimi Hendrix set, while the other is part of our Advanced Psych segment this week. This week's blog entry includes a short history of the Electric Prunes (who are included in the aforemention Advanced Psych segment) that first appeared on a 2019 entry of The Hermit Rambles.
Artist: Canned Heat
Title: Boogie Music
Source: LP: Progressive Heavies (originally released on LP: Living The Blues and as 45 RPM single B side)
Writer(s): L.T.Tatman III
Label: United Artists (original label: Liberty)
Canned Heat was formed in 1966 by a group of San Francisco Bay Area blues purists. Although a favorite on the rock scene, the band continued to remain true to the blues throughout their existence, even after relocating to the Laurel Canyon area near Los Angeles in 1968. The band's most popular single was Going Up the Country from the album Living the Blues. The B side of that single was another track from Living The Blues that actually had a longer running time on the single than on the album version. Although the single uses the same basic recording of Boogie Music as the album, it includes a short low-fidelity instrumental tacked onto the end of the song that sounds suspiciously like a 1920s recording of someone playing a melody similar to Going Up The Country on a fiddle. The only time this unique version of the song appeared in stereo was on a 1969 United Artists compilation called Progressive Heavies that also featured tracks from Johnny Winter, Traffic, the Spencer Davis Group and others.
Artist: Fever Tree
Title: San Francisco Girls (Return Of The Native)
Source: CD: Psychedelic Pop (originally released on LP: Fever Tree)
Writer(s): Scott and Vivian Holtzman
Label: BMG/RCA/Buddah (original label: Uni)
A minor, but notable trend in 1968 was for producer/songwriters to find a band to record their material exclusively. A prime example is Houston's Fever Tree, which featured the music of husband and wife team Scott and Vivian Holtzman. While not as successful as the band that started the trend, Steve Barri and P.F. Sloan's Grass Roots, Fever Tree did manage to hit the lower reaches of the Billboard Hot 100 with San Francisco Girls (Return of the Native), a song featured on their eponymous debut LP.
Artist: Ultimate Spinach
Title: Funny Freak Parade
Source: LP: Ultimate Spinach (mono promo copy)
Writer(s): Ian Bruce-Douglas
1967 was also the year of the "Boss-Town Sound", a gimmick used to promote several Boston-based bands signed to the M-G-M label (M-G-M having been asleep at the wheel during the recent band-signing frenzy in San Francisco). Derided in the music press as a crass attempt to manipulate record buyers, the ultimate victims of this fraud were the bands themselves, many of which were actually quite talented. One of the best remembered of these bands was Ultimate Spinach, the brainchild of keyboardist Ian Bruce-Douglas, who wrote all the material for the group's first two LPs. Although much of the Spinach material sounds like it could have been written by Country Joe McDonald, there are a few tracks, such as Funny Freak Parade, that have a totally original sound to them. The recording uses a wah-wah effect in a rather unique way (at least I don't recall it being used quite like this elsewhere).
Title: You Know What I Mean
Source: Mono CD: All The Singles (originally released as 45 RPM single)
Label: Manifesto (original label: White Whale)
1967 was a good year for the Turtles, mainly due to their discovery of the songwriting team Garry Bonner and Alan Gordon. Not only did the former members of the Magicians write the Turtles' biggest hit, Happy Together, they also provided two follow-up songs, She's My Girl and You Know What I Mean, both of which hit the top 20 later in the year.
Artist: Third Bardo
Title: I'm Five Years Ahead Of My Time
Source: Mono CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Label: Rhino (original label: Roulette)
The Third Bardo (the name coming from the Tibetan Book of the Dead) only released one single, but I'm Five Years Ahead Of My Time has become, over a period of time, one of the most sought-after records of the psychedelic era. Not much is known of this New York band made up of Jeffrey Moon (vocals), Bruce Ginsberg (drums), Ricky Goldclang (lead guitar), Damian Kelly (bass) and Richy Seslowe (guitar).
Artist: First Crew To The Moon
Title: The Sun Lights Up The Shadows Of Your Mind
Source: Mono British import CD: Ah Feel Like Ahcid (originally released as 45 RPM single B side)
Writer(s): Jerry Milstein
Label: Zonophone (original label: Roulette)
Originally known as the Back Door Men, and later the Bootleggers, Brooklyn, NY's First Crew To The Moon signed with the Roulette label on the recommendation of legendary songwriter Doc Pomus. Unfortunately for the band, their only record for Roulette, a song called Spend Your Life With Me, was released just as the label's entire promotional budget was being spent on the latest single by labelmates Tommy James And The Shondells, a tune called I think We're Alone Now. To add insult to injury, Roulette misspelled the band's name on both sides of the record, inadvertently rechristening them First Crow To The Moon, a name that actually fits the record's B side, a psychedelic masterpiece called The Sun Lights Up The Shadows Of Your Mind, quite well. As it turned out, none of this really mattered, as the band soon disbanded following the death of lead guitarist Alan Avick of leukemia. Perhaps the group's greatest legacy, however, was to serve as inspiration to their friend Chris Stein, who several years later would team up with Deborah Harry to form a group called Blondie.
Artist: Country Joe And The Fish
Title: The Masked Marauder
Source: CD: Electric Music For The Mind And Body
Writer(s): Joe McDonald
Perhaps more than any other band, Country Joe and the Fish capture the essence of the San Francisco scene in the late 60s (which is rather ironic, considering that they were actually based in Berkeley on the other side of the bay and rarely visited the city itself, except to play gigs). Their first two releases were EPs included in Joe McDonald's self-published Rag Baby underground newspaper. In 1967 the band was signed to Vanguard Records, a primarily folk-oriented prestige label that also had Joan Baez on its roster. Their first LP, Electric Music For the Mind and Body had such classic cuts as Section 43, Not So Sweet Martha Lorraine, and the political parody Superbird on it, as well as the mostly-instrumental tune The Masked Marauder. Not for the unenlightened.
Artist: Beach Boys
Title: I'm Waiting For The Day
Source: Mono CD: Pet Sounds
Although it was originally copyrighted in 1964 (words and music by Brian Wilson), I'm Waiting For The Day did not get recorded or released until 1966, when it appeared on the Pet Sounds album. Mike Love shares writing credit on the finished version of the song.
Artist: Beach Boys
Title: Salt Lake City
Source: Simulated stereo LP: California Girls (original LP title: Summer Days (And Summer Nights)
Writer(s): Brian Wilson
Salt Lake City was one of the first places outside of California that the Beach Boys became popular. In 1965 Brian Wilson wrote a tribute song to the city that appeared on their highest charting LP, Summer Days And Summer Nights. The album itself was the band's ninth studio album, and their last to emphasize the surf culture that the band had built its original success around. In the mid 1970s Summer Days And Summer Nights was reissued under the title California Girls.
Artist: Beach Boys
Title: That's Not Me
Source: Mono CD: Pet Sounds
The Beach Boys were about as mainstream as bands like Love and the Music Machine were underground, yet Brian Wilson was turning out music every bit as original as any of the club bands in town. The album Pet Sounds is considered one of the masterpieces of the era, with the majority of songs, including That's Not Me, written by Wilson with lyrics by Tony Asher.
Artist: Chocolate Watchband
Title: Misty Lane
Source: Mono British import CD: Melts In Your Brain, Not On Your Wrist (originally released in US as 45 RPM single)
Writer(s): Martin Siegel
Label: Big Beat (original US label: Uptown)
The third Chocolate Watchband single, Misty Lane, was made, according to rock historian Alec Paleo, "under duress". Reportedly, the band hated the single so much that they took turns tossing copies in the air and using them for target practice. Written by British songwriter Martin Siegel, the song sounds nothing like the garage-punk club band that lived to outstage the big name acts they often opened for. The song was provided to the band by producer Ed Cobb, who later admitted that he didn't really know what to do with them in the studio.
Artist: Captain Beefheart And His Magic Band
Title: Zig Zag Wanderer
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Safe As Milk)
Writer(s): Don Van Vliet
Label: Rhino (original label: Buddah)
Don Van Vliet made his first recordings as Captain Beefheart in 1965, covering artists like Bo Diddley in a style that could best be described as "punk blues." Upon hearing those recordings A&M Records, despite its growing reputation as a hot (fairly) new label, promptly cancelled the project. Flash forward a year or so. Another hot new label, Buddah Records, an offshoot of Kama Sutra Records that had somehow ended up being the parent rather than the subsidiary, was busy signing new acts like Johnny Winter, and ended up issuing Safe As Milk in 1967 as their very first LP. The good captain would eventually end up on his old high school acquaintance Frank Zappa's Bizarre Records, turning out classic albums like Trout Mask Replica, and the world would never be quite the same.
Artist: Status Quo
Title: Pictures Of Matchstick Men
Source: Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released as 45 RPM single)
Writer(s): Francis Rossi
Label: Rhino (original label: Cadet Concept)
The band with the most charted singles in the UK is not the Beatles or even the Rolling Stones. It is, in fact, Status Quo, quite possibly the nearest thing to a real life version of Spinal Tap currently in existence. Except for Pictures of Matchstick Men, the group has never had a hit in the US. On the other hand, they remain popular in Scandanavia, playing to sellout crowds on a regular basis (yes, they are still together).
Artist: Rolling Stones
Title: Down The Road Apiece
Source: Mono LP: The Rolling Stones, Now!
Writer(s): Don Raye
In their early days the Rolling Stones recorded (and performed) a lot of songs originally recorded by American rhythm and blues artists. One of these was actually a cover of a cover song. Chuck Berry had originally released Down The Road A Piece (sic) as an album track on his 1960 LP Rockin' At The Hops, but the song actually dates back to 1940, when it was issued as as a boogie woogie single by the Will Bradley Trio (with uncredited vocals by songwriter Don Raye). Amos Milburn was the first to record a faster version of the song in 1947, which was the likely source of inspiration for Berry's 1960 cover of the tune.
Artist: Front Line
Title: Got Love
Source: Mono CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single)
Label: Rhino (original label: York)
The Front Line was a band from San Rafael, California whose story in many ways was typical of their time. Marin County, being a fairly upscale place, had its share of clubs catering to the sons and daughters of its affluent residents. Of course, these teens wanted to hear live performances of their favorite top 40 tunes and bands like the Front Line made a decent enough living catering to their preferences. Like most bands of the time, the Front Line had one song that was of their own creation, albeit one that was somewhat derivative of the kinds of tunes they usually performed (not to mention unusually short in duration) so as not to scare off their audience. That song was Got Love, which was released on the York label in 1965.
Title: So Long
Source: Mono LP: Kinda Kinks
Writer(s): Ray Davies
The second Kinks album, Kinda Kinks, was made over a period of two weeks immediately following the band's Asian tour. As such, many of the tracks sound a bit rough, as if they needed some finishing touches that the band didn't have time to add. It wasn't a matter of content; in fact Ray Davies himself said he thought the album had better songs than their first effort (So Long, for example). Davies has also said, however, that the entire album was "just far too rushed" and that "a bit more care should have been taken with it."
Artist: Jefferson Airplane
Source: LP: After Bathing At Baxter's
Label: RCA Victor
After Bathing At Baxter's is generally considered the most pyschedelic of all the Jefferson Airplane albums. For one thing, the members were reportedly all on LSD through most of the creative process and were involved in the entire package, right down to the decision to divide the album up into five suites and press the vinyl in such a way that the spaces normally found between songs were only present between the suites themselves, making it almost impossible to set the needle down at the beginning of the second or third song of a suite (there is a slight overlap between most of the songs as well). The first suite on After Bathing At Baxter's is called Streetmasse. It consists of three compositions: Paul Kantner's The Ballad of You and Me and Pooniel; A Small Package of Value Will Come To You Shortly (a free-form jazz piece led by drummer Spencer Dryden); and the Paul Kantner/Marty Balin composition Young Girl Sunday Blues.
Artist: Pretty Things
Source: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released as 45 RPM single)
Label: Rhino (original label: Fontana)
At a time when the length of one's hair was a defining characteristic of "hipness", London's Pretty Things were reputed to have the longest hair in the UK. Formed in 1962 by vocalist Phil May and original Rolling Stones bassist Dick Taylor on guitar, the Pretty Things were heavily influenced by American blues artists Bo Diddley and Jimmy Reed. In fact, their first single, Rosalyn, although written by their producers, Jimmy Duncan and Bill Farley, had a distinctive Bo Diddley sound to it, albeit even louder and more brash than any of Diddley's own records. The song was a modest hit in the UK, but did not chart at all in the States. Although the Pretty Things never caught on in the US, they had considerable success with their next two singles in their native Britain, as well as Germany, the Netherlands, Australia and New Zealand. Numerous personnel changes over the years, however, led to the group being perceived as not having a distinctive sound, and they were never able to duplicate the success of their early years.
Artist: Electric Prunes
Title: Lost Dream
Source: British import LP: Artifact
The story of the Electric Prunes begins in Los Angeles in 1965 with a group called the Sanctions. Like most Southern California bands of the time, the Sanctions' repertoire was mostly covers of popular (and danceable) tunes like Money (That's What I Want), Love Potion # 9 and of course Louie Louie, all of which the band recorded at a home studio owned by Russ Bottomly in March of 1965. At that point in time, the Sanctions were a quartet consisting of James Lowe (vocals), Mark Tulin (bass), Ken Williams (guitar) and Michael "Quint" Weakley (drums). Early in 1966 they came to the attention of Dave Hassinger, who had just finished working with the Rolling Stones, putting the finishing touches on the Aftermath album, and was eager to try his hand at being a producer. He convinced the band that they needed a new name, and eventually the group came up with the name Electric Prunes, which they felt was so far out of the ordinary that people were bound to remember it.
Even though their first single (a cover of the Gypsy Trips' Ain't It Hard) stiffed, the people at Reprise Records signed the Prunes to a rather onerous contract that left Hassinger firmly in control of virtually everything to come out of a recording studio with the name Electric Prunes on it. At first this was fine with the band (who had just replaced Weakley with Preston Ritter and added James "Weasel" Spagnola as a second guitarist), as they and Hassinger worked well together on the hit single I Had Too Much To Dream (Last Night). But it soon became obvious that Hassinger and the band itself had different priorities. Lowe and Tulin had been busy writing songs, yet only two of their compositions ended up on the band's 1967 debut LP. The majority of the songs on the album came from outside songwriters, with Annette Tucker's name in particular appearing on more tracks than anyone else's.
The album provided the band with a second top 40 single, Get Me To The World On Time (like I Had Too Much To Dream, penned by Tucker), which in turn became a factor in the band being given a little more creative freedom for their second LP, Underground (although the fact that Hassinger's attention was divided between the Electric Prunes and a second band he was producing that summer, a San Francisco group called the Grateful Dead, was probably an even greater factor). This greater freedom resulted in an album that included seven original tunes among the twelve tracks, including the European hit single Long Day's Flight, which was co-written by Weakley, who had returned to the group in time to appear on five songs on the LP.
The lack of a solid hit single on the album, however, led to Hassinger becoming rather heavy-handed with the group in 1968, possibly due to his frustration with the Grateful Dead that led to his resigning as that band's producer midway through their second LP, Anthem Of The Sun. The Electric Prunes did manage to record one final single, Lowe and Tulin's Everybody Knows You're Not In Love, before Hassinger came up with the idea of the band recording a concept album written by David Axelrod called Mass In F Minor. The band played on three tracks on the Mass, but Hassinger, frustrated by the members' slow pace in learning the material, brought in a Canadian band called the Collectors to finish the project. Although Lowe, Tulin and Weakley did end up making contributions to every track on the album, it had become clear that the Electric Prunes were no longer in control of their own destiny, and after a disastrous attempt to perform the Mass with a full orchestra at the Santa Monica Civic Auditorium, both Lowe and Weakley left the group. Tulin and Williams stayed around long enough to complete the band's current tour with a patched together lineup that included Kenny Loggins and Jeremy Stuart (of Chad & Jeremy), but by mid-1968 all the original Electric Prunes members were gone.
Two more LPs and an assortment of singles later, the group Hassinger was still calling the Electric Prunes officially disbanded in 1970. Hardly anyone noticed. That wasn't the end of the story, however. Thanks in part to Lenny Kaye, who included I Had Too Much To Dream (Last Night) on the 1972 Nuggets compilation album that collected some of the best tracks of the psychedelic era on a double LP, interest in the music of the original Electric Prunes began to take root, eventually leading to both of the original band's albums being reissued in Europe in the 1980s. In the late 1990s rumors began circulating that the original group had begun to work on new material. Then, in Y2K, both original albums were issued in the US on compact disc, with the two non-album singles included as bonus tracks (it was these reissues, in fact, that helped convince me that creating a show called Stuck in the Psychedelic Era was a viable idea).
Finally, in 2001, the album Artifact appeared on CD on the band's own PruneTwang label in the US, with a truncated version appearing in the UK on vinyl (on the Heartbeat label) the following year. The core members of the band, James Lowe, Mark Tulin and Ken Williams, were joined by guitarist Mark Moulin, keyboardist Cameron Lowe and drummer Joe Dooley for the album, supplemented by guest appearances from former Moby Grape guitarist Peter Lewis, dotarist Jim Gripps, drummer Mike Vasquez and a special guest appearance by original drummer Michael "Quint" Weakley. The opening track on the album, Lost Dream, shows that the band was by no means going the nostalgia route; rather, they referred to Artifact as "the real third album that we never got to make." They have since released three more studio albums, as well as one live album (recorded in 2007) and a kind of hybrid CD called California '66 made to promote a 2009 East Coast tour that never happened, that would have featured the Electric Prunes, Sky Saxon (whose death prompted the tour's cancellation) and Arthur Lee's 21st century version of Love.
Artist: Dukes Of Stratosphear (XTC)
Title: What In The World?
Source: CD: Chips From The Chocolate Fireball (originally released in UK on mini-LP: 25 O'Clock)
Writer(s): Colin Moulding
Label: Caroline (original label: Virgin)
Originally released on April Fool's Day, 1985, the mini-LP 25 O'Clock was purportedly a lost classic from the late 1960s by the previously unknown Dukes Of Stratosphear. In reality, the record was a side project by members of XTC, who wanted a break from their more serious commercial efforts. Two years later the group released a full-length album as the Dukes Of Stratosphear, and have since contemplated further projects under the name. Many people, myself included, consider both Dukes Of Stratosphear efforts more listenable than the 1986 XTC album Oranges and Lemons, which came out between the two Dukes recordings.
Source: British import 45 RPM single B side
Writer(s): The Stranglers
The Stranglers have always been difficult to pigeonhole, which may ultimately account for their longevity. Originally formed in 1974 as the Guildford Stranglers, the band soon became one of the first groups to be identified with Britain's punk-rock movement of the mid-1970s. They soon began to experiment with other musical styles, however, and ended up outlasting most of their contemporaries. By the early 1980s, punk-rock was waning in popularity, and the shirts at EMI hooked them up with producer Tony Visconti in an attempt at coming up with a more commercially viable sound. The result was La Folie, released in November of 1981. The lead single from the album was a song called Let Me Introduce You To The Family. The non-LP B side was Vietnamerica, a moody piece that reflects the influence on the Stranglers of 60s psychedelic bands like the Music Machine and the Doors.
Artist: 101 Strings
Title: Karma Sitar
Source: LP: Sounds Of Today
Writer(s): M. Kelly
The only turntable in our house during my youngest years was an RCA Victor 45 RPM changer from the early 1950s. As a result we had no LPs in the house until I was about ten years old, when my parents bought me a small portable record player. Even though the record player was technically mine, my mother did buy one album for herself, an LP called Fire And Romance of South America (or something like that) by 101 Strings. As I recall, she got it at the local Woolworth's store, which had entire racks dedicated to discount-priced LPs, usually for under a dollar. It turns out the name 101 Strings (actually there were 124) had been in use since 1957, when record mogul David L. Miller came up with the idea of using German orchestras to cover popular songs (although not rock and roll) and would continue to be used until the early 1980s. Many 101 Strings LPs were genre-based, including albums featuring Mediterranean, Middle Eastern, Asian and South American standards, as well as Broadway show tunes and orchestral covers of pop hits. In 1964 the franchise was sold to Al Sherman, who moved its base of operations to London, changing the name of the record label the group appeared on from Somerset to Alshire. Under Sherman the group attempted to shift its appeal to a younger audience, as evidenced by tracks like Karma Sitar, from the Sounds Of Today album. These efforts were ultimately unsuccessful, and the last 101 Strings album (a collection of early Beatles covers) was released in January of 1981.
Artist: Music Machine
Title: The Eagle Never Hunts The Fly
Source: LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single and included on LP: Bonniwell Music Machine)
Writer(s): Sean Bonniwell
Label: Rhino (original label: Original Sound, stereo LP version released on Warner Brothers)
The Music Machine was by far the most advanced of all the bands playing on Sunset Strip in 1966-67. Not only did they feature tight sets (so that audience members wouldn't get the chance to call out requests between songs), they also had their own visual look that set them apart from other bands. With all the band members dressed entirely in black (including dyed hair) and wearing one black glove, the Machine projected an image that would influence such diverse artists as the Ramones and Michael Jackson in later years. Musically, Bonniwell's songwriting showed a sophistication that was on a par with the best L.A. had to offer, demonstrated by a series of fine singles such as The Eagle Never Hunts the Fly. Unfortunately, problems on the business end prevented the Music Machine from achieving the success it deserved and Bonniwell, disheartened, dissillusioned and/or disgusted, eventually quit the music business altogether.
Title: Live And Let Live
Source: Australian import CD: (originally released on LP: Forever Changes)
Writer(s): Arthur Lee
Label: Raven (original label: Elektra)
In late spring of 1967 L.A.'s most popular local band, Love, was falling apart, mostly due to constant partying on the part of some of the band members. This became a real issue for producer Bruce Botnick when it came time to begin sessions for the band's third LP, Forever Changes. Botnick had already lost his co-producer on the project, Neil Young, when Young's own band, Buffalo Springfield, found themselves hugely popular in the wake of the success of the single For What It's Worth, and Botnick was now faced with a heavier-than-expected workload. Botnick's solution to the problem became evident when the band entered Sunset Sound Recorders on June 9th, only to find a group of studio musicians already set up and ready to record. Two new Arthur Lee songs were recorded that day, and the rest of the band was literally shocked in sobriety, returning to the studio the next day to record overdubs on the tracks to make them sound more like the work of the band itself. After two month's worth of intensive practice, the band was ready to return to the studio, recording the first track for the album performed entirely by the band itself, Live And Let Live. The unusual first line of the song was reportedly the result of Lee falling asleep in a chair with his nose running during practice sessions.
Artist: Jimi Hendrix Experience (II)
Source: LP: The Cry Of Love
Writer(s): Jimi Hendrix
Label: Legacy (original label: Reprise)
Shortly after the untimely death of Jimi Hendrix in September of 1970, Reprise released the first of many posthumous Hendrix albums, The Cry Of Love. Like millions of other Hendrix fans, I immediately went out and bought a copy. I have to say that there are very few songs that have ever brought tears to my eyes, and even fewer that did so on my very first time hearing them. Of these, Angel, featuring Mitch Mitchell on drums and Billy Cox on bass, tops the list.
Artist: Jimi Hendrix Experience
Title: Rainy Day, Dream Away
Source: CD: Electric Ladyland
Writer: Jimi Hendrix
Label: Experience Hendrix/Legacy (original label: Reprise)
Although officially credited to the Jimi Hendrix Experience, Rainy Day, Dream Away actually has several guest musicians appearing on it, including Electric Flag drummer Buddy Miles, who would later be a member of Hendrix's short-lived Band of Gypsys and then have some success as leader of his own band. Also featured on the track are Mike Finnegan on organ, Freddie Smith on tenor sax, and Larry Faucette on congas. It's unclear whether regular Experience bassist Noel Redding or Hendrix himself provided bass parts on the track (or even if there is a bass track, as Finnegan could have been playing a Ray Manzarek style bassline on the keyboards for all I know).
Artist: Jimi Hendrix
Title: Belly Button Window
Source: LP: The Cry Of Love
Writer(s): Jimi Hendrix
Following the death of Jimi Hendrix, Reprise Records got to work compiling tracks for The Cry Of Love, the first of many posthumous Hendrix albums released by the label. The final track on the LP was an unfinished piece called Belly Button Window that featured Hendrix on vocals and electric guitar, with no other musicians appearing on the track. In the late 1990s the Hendrix family released a CD called First Rays Of The New Rising Sun that was based on Hendrix's own plans for a double-length album that he was working on at the time of his death. First Rays Of The New Rising Sun ends with the same bare bones recording of Belly Button Window that was used on The Cry Of Love.
Title: Turn! Turn! Turn!
Source: Simulated stereo LP: Homer (soundtrack) (originally released as 45 RPM single and included on LP: Turn! Turn! Turn!)
Writer(s): Pete Seeger
Label: Cotillion (original label: Columbia)
After their success covering Bob Dylan's Mr. Tambourine Man, the Byrds turned to an even more revered songwriter: the legendary Pete Seeger. Turn! Turn! Turn!, with lyrics adapted from the book of Ecclesiastes, was first recorded by Seeger in the early 60s, nearly three years after he wrote the song.
Title: Friday On My Mind
Source: Mono CD: Battle Of The Bands-Vol. Two (originally released as 45 RPM single)
Label: Era (original label: United Artists)
Considered by many to be the "greatest Australian song" ever recorded, the Easybeats' Friday On My Mind, released in late 1966, certainly was the first (and for many years only) major international hit by a band from the island continent. Technically, however, Friday On My Mind is not an Australian song at all, since it was recorded after the band had relocated to London. The group continued to release records for the next year or two, but were never able to duplicate the success of Friday On My Mind. Ultimately vocalist Stevie Wright returned to Australia, where he had a successful solo career. Guitarists Harry Vanda and George Young, who had written Friday On My Mind, also returned home to form a band called Flash And The Pan in the early 1970s. Later in the decade Young would help launch the careers of his two younger brothers, Angus and Malcolm, in their own band, AC/DC.
Artist: Left Banke
Title: She May Call You Up Tonight
Source: 45 RPM single
Unlike their first two singles, Walk Away Renee and Pretty Ballerina, the Left Banke's third single, She May Call You Up Tonight, failed to chart, possibly due to the release two months earlier of a song called Ivy Ivy, written by keyboardist Michael Brown and shown on the label as being by the Left Banke. Ivy Ivy was in reality performed entirely by session musicians, including lead vocals by Bert Sommer, who would be one of the acoustic acts on the opening afternoon of the Woodstock festival a couple years later. The resulting fued between Brown and the rest of the band left a large number of radio stations gun shy when came to any record with the name Left Banke on the label, and She May Call You Up Tonight tanked.
Title: Cry Baby Cry
Source: CD: The Beatles
Unlike many of the songs on The Beatles (white album), Cry Baby Cry features the entire band playing on the recording. After a full day of rehearsal, recording commenced on July 16, 1968, with John Lennon's guitar and piano, Paul McCartney's bass and Ringo Starr's drum tracks all being laid down on the first day. The remaining overdubs, including most of the vocals and George Harrison's guitar work (played on a Les Paul borrowed from Eric Clapton) were added a couple of days later. At the end of the track, McCartney can be heard singing a short piece known as Can You Take Me Back, accompanying himself on an acoustic guitar in a snippet taken from a solo session the following September.
Title: Do It
Source: Stereo 45 RPM single B side
One sign of a truly great band is that even at the lowest point in their history they manage to create songs that are above and beyond most other bands. Case in point: the Doors. 1969 was a horrendous year for the band. Jim Morrison was looking at possible jail time for indecent exposure and their producer, Paul Rothchild, was pressuring them to add strings and horns to their recordings. The result was what is universally considered the weakest of the Doors' studio albums, The Soft Parade. Recorded over a period of nine months, The Soft Parade was the first Doors album to give individual writing credits, reportedly because vocalist Jim Morrison did not want his name associated with some of guitarist Robby Kreiger's lyrics. Despite all this, there were some hidden gems on The Soft Parade. Do It, also released as a B side of a failed single, is one such gem.