https://exchange.prx.org/pieces/389977-pe-2143
This week's show features an artists' set in every segment, including some Beatles recordings that sat on the shelf for several years before finally being released. Two of these are alternate versions of more familiar tunes, while the third was totally unknown until 1996, when it was included on the third Anthology collection. Speaking of alternate versions, the Jefferson Airplane set includes an eight minute studio performance of the final song from that band's first album, with an extended instrumental section from the core members of what would eventually become Hot Tuna.
Artist: Monkees
Title: (I'm Not Your) Steppin' Stone
Source: LP: Then And Now...The Best Of The Monkees (originally released as 45 RPM single B side)
Writer(s): Boyce/Hart
Label: Rhino (original label: Colgems)
Year: 1966
When Screen Gems/Columbia Pictures announced that they would be doing a new TV series about a rock band called the Monkees, Tommy Boyce and Bobby Hart had hopes of being chosen for the project, not only as songwriters, but as actual performing members of the group itself. That part didn't work out (although years later they would participate in a Monkees revival), but they did end up providing the bulk of the songs used for the show. The first of these songs was Last Train To Clarksville, which was released as a single just prior to the show's debut in the fall of 1966 and ended up being a huge hit for the group. For the November 1966 followup single a Neil Diamond song, I'm A Believer, was chosen for the A side of the record. The B side was another Boyce/Hart song, (I'm Not Your) Steppin' Stone, that had been previously released by Paul Revere and the Raiders on their Midnight Ride album earlier in the year. The Monkees version of the song ended up being a hit in its own right, going all the way to the #20 spot (I'm A Believer ended up being the #1 song of 1967). Although there were two different mono mixes of the song released, it is the stereo version from the album More Of The Monkees that is most often heard these days.
Artist: Jimi Hendrix Experience
Title: She's So Fine
Source: CD: Axis: Bold As Love
Writer(s): Noel Redding
Label: Experience Hendrix/Legacy
Year: 1967
When Jimi Hendrix met Noel Redding at a jam session, the latter was playing guitar. Hendrix, however, convinced him to switch to bass when he invited him to become part of his new band, the Jimi Hendrix Experience. Although Redding thrived in his new role, he always retained ambitions of writing and playing his own songs, which he would eventually get the chance to do with a band called Fat Mattress. In the meantime, however, he did manage to get a pair of his own songs recorded by the Experience. The first of these was She's So Fine, which was included on the Axis: Bold As Love album. Hendrix of course provided the lead guitar parts on the song, which was sung by Redding. Hendrix also co-produced the song, giving him his first taste of producing a song not written by himself. Hendrix would eventually expand on this concept, producing or co-producing the debut albums of two bands that toured with the Experience in 1969, Eire Apparent and Cat Mother And The All Night Newsboys (and providing some guitar work for the former).
Artist: Deep Purple
Title: Prelude: Happiness/I'm So Glad
Source: LP: Shades Of Deep Purple
Writer(s): Evans/Lord/Paice/Blackmore/Simper/James
Label: Tetragrammaton
Year: 1968
Deep Purple was originally the brainchild of vocalist Chris Curtis, whose idea was to have a band called Roundabout that utilized a rotating cast of musicians onstage, with only Curtis himself being up there for the entire gig. The first two musicians recruited were organist Jon Lord and guitarist Ritchie Blackmore, both of whom came aboard in late 1967. Curtis soon lost interest in the project, and Lord and Blackmore decided to stay together and form what would become Deep Purple. After a few false starts the lineup stabilized with the addition of bassist Nicky Simper, drummer Ian Paice and vocalist Rod Evans. The group worked up a songlist and used their various connections to get a record deal with a new American record label, Tetragrammaton, which was partially owned by actor/comedian Bill Cosby. This in turn led to a deal to release the band's recordings in England on EMI's Parlophone label as well, although Tetragrammaton had first rights to all the band's material, including the classically-influenced Prelude: Happiness, which leads directly into a cover of the Skip James classic I'm So Glad. The band's first LP, Shades Of Deep Purple, was released in the US in July of 1968 and in the UK in September of the same year. The album was a major success in the US, where the single Hush made it into the top five. In the UK, however, it was panned by the rock press and failed to make the charts. This would prove to be the pattern the band would follow throughout its early years; it was only after Evans and Simper were replaced by Ian Gillan and Roger Glover that the band would find success in their native land. Both editions of Deep Purple can be heard regularly on our companion show, Rockin' in the Days of Confusion.
Artist: Fleetwood Mac
Title: Fighting For Madge
Source: CD: Then Play On
Writer(s): Mick Fleetwood
Label: Reprise
Year: 1969
A jam session is defined (by me) as what happens when two or more musicians get together and play whatever they feel like playing. Jazz, rock and blues artists in particular are prone to jamming, sometimes with recording devices running. Sometimes these jams serve as the basis for future compositions, and in some cases (the Jimi Hendrix track Voodoo Chile from side one of Electric Ladyland comes to mind) the jam session itself ends up being released in its original form. Fleetwood Mac, in 1969, included two such jams on their Then Play On LP, although one of the two (Searching For Madge) was shortened from its original 17 minutes to just under seven minutes. The other jam, heard in its entirety on the album, is called Fighting For Madge. Both tracks were named for a female acquaintance of the band, with Mick Fleetwood getting the official writing credit for Fighting and John McVie the credit for Searching, even though everyone contributed equally to both jams.
Artist: Kinks
Title: You Really Got Me
Source: Canadian import CD: 25 Years-The Ultimate Collection (originally released as 45 RPM single)
Writer: Ray Davies
Label: Polygram/Polytel (original US label: Reprise)
Year: 1964
You Really Got Me has been described as the first hard rock song and the track that invented heavy metal. You'll get no argument from me on either of those.
Artist: Kinks
Title: Bald Headed Woman
Source: LP: You Really Got Me
Writer(s): Shel Talmy
Label: Reprise
Year: 1964
Although it was a traditional American blues song dating back at least to the earliest part of the 20th century, British record producer Shel Talmy took advantage of copyright laws (the song being in the public domain) to claim writing credit for Bald Headed Woman not once, but twice, in order to collect royalties on the song. The first time was in 1964, when he persuaded the Kinks to include the song on their debut LP. Later that same year Talmy did the same thing with the Who, with the song appearing as the B side of their first top 10 single, I Can't Explain.
Artist: Kinks
Title: Apeman
Source: Canadia import CD: 25 Years-The Ultimate Collection. (originally released on LP: Lola vs. Powerman and the Moneyground Part One)
Writer(s): Ray Davies
Label: Polygram/Polytel (original US label: Reprise)
Year: 1970
The Kinks, whose commercial success had been on the decline for a number of years, scored a huge international hit in 1970 with the title track from their album Lola vs. Powerman and the Moneyground Part One. They followed it up with the 1971 single Apeman, taken from the same album. The song was a top 10 single in the UK, although it was only moderately successful elsewhere.
Artist: Country Joe And The Fish
Title: Super Bird
Source: LP: Electric Music For The Mind And Body
Writer(s): Joe McDonald
Label: Vanguard
Year: 1967
Country Joe and the Fish, from Berkeley, California, were one of the first rock bands to incorporate political satire into their music. Their I-Feel-Like-I'm-Fixin'-To-Die Rag is one of the most famous protest songs ever written. Super Bird is even heavier on the satire than the Rag. The song, from the band's debut LP, puts president Lyndon Johnson, whose wife and daughter were known as "Lady-bird" and "Linda-bird", in the role of a comic book superhero.
Artist: H.P. Lovecraft
Title: The White Ship
Source: CD: Two Classic Albums From H.P. Lovecraft (originally released on LP: H.P. Lovecraft II)
Writer(s): Edwards/Michaels/Cavallari
Label: Collector's Choice/Universal Music Special Products (original label: Philips)
Year: 1967
Fans of Chicago's premier psychedelic band, H.P. Lovecraft, generally agree that the high point of the band's 1967 debut LP is The White Ship, which opens the second side of the original LP. The basic song was composed by George Edwards, who came up with it between sessions for other tracks on the album in about 15 minutes. Once the rest of the band got ahold of it, the track was, in the words of co-founder Dave Michaels, "instantly moulded into a new entity", adding that "By itself, the baritone melody and chords are merely a bare-bones beginning. Adding the harmonies, the feedback effects on lead guitar, and conceiving the 'bolero' rhythm all came into being in a group setting." Accordingly, Edwards insisted on sharing songwriting credit with both Michaels and lead guitarist Tony Cavallari. Although the song was also released, in edited form, as a single, it is the six-and-a-half minute long LP version of The White Ship that got a considerable amount of airplay on underground FM radio stations when it was released in 1967.
Artist: Velvet Illusions
Title: Acid Head
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer(s): Weed/Radford
Label: Rhino (original label: Tell, also released on Metromedia Records)
Year: 1967
Showing an obvious influence by the Electric Prunes (a suburban L.A. band that was embraced by the Seattle crowd as one of their own) the Illusions backtracked the Prunes' steps, leaving their native Yakima and steady gigging for the supposedly greener pastures of the City of Angels. After a few months of frustration in which the band seldom found places to practice, let alone perform, they headed back to Seattle to cut Acid Head before calling it quits.
Artist: Canned Heat
Title: Dust My Broom
Source: LP: Underground Gold (originally released on LP: Canned Heat)
Writer: Johnson/James
Label: Liberty
Year: 1967
The first Canned Heat album was released shortly after the band's appearance at the Monterey International Pop Festival in 1967 and consisted mainly of covers of blues classics. As could be expected of a band made up of record collectors, the songs on the album were as true to the original versions as the members of Canned Heat could make them. Of more interest is the song Dust My Broom itself, which was originally recorded in the 1930s by Robert Johnson, then electrified on Elmore James's 1951 recording. The James version, however, did not give Johnson any songwriting credit, a practice that was fairly common among blues artists at the time. Originally Canned Heat's version, which was based on James's recording, only gave James as the song's writer. Later releases, however, correctly give the credit to both Johnson and James.
Artist: Canned Heat
Title: One Kind Favor
Source: Italian import 45 RPM single B side
Writer(s): L T Tatman III
Label: Liberty
Year: 1968
Canned Heat's best known song is Going Up The Country, a single from the band's third LP, Living The Blues. The B side of that single, One Kind Favor, was also from the same album. One Kind Favor is one of two tracks on Living The Blues (the other being Boogie Music) credited to L.T. Tatman III, a name sometimes thought to be a pseudonym for one or more of the band members. Musicallyt the song bears a strong resemblance to an earlier Canned Heat single, On The Road Again, which appeared on the band's second LP, Boogie With Canned Heat. Lyrically, it borrows heavily from Blind Lemon Jefferson's 1927 classic See That My Grave Is Kept Clean.
Artist: Canned Heat
Title: Amphetamine Annie
Source: LP: Underground Gold (originally released on LP: Boogie With Canned Heat)
Writer: Canned Heat
Label: Liberty
Year: 1968
By the end of 1967 the Haight-Ashbury scene had taken a definite turn for the worse. Most veterans of the street (i.e. those who had been there before the Summer of Love) placed the blame firmly on the influx of naive runaways that had flooded the area in the wake of calls to "go to San Francisco" earlier in the year, and on the drug dealers who preyed upon them. Methamphetamine (aka speed) was the drug usually singled out as the most destructive force at play. Back then it was the pill form of speed, such as white crosses, that was prevalent among users; the powdered crystal meth that has become a concern in modern rural America would not be used widely until the 1970s. Although originally from Los Angeles, Canned Heat had become closely identified with the San Francisco area following their appearance at the Monterey International Pop Festival and decided it was their civic duty to take a stand against the drug, declaring in the song Amphetamine Annie that "speed kills", a phrase that would show up as graffiti on various walls in the city as well. Ironically, by the time Boogie With Canned Heat, the album containing Amphetamine Annie, was released the band had returned to L.A.'s Laurel Canyon.
Artist: Boots
Title: But You'll Never Do It Babe
Source: CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in West Berlin as 45 RPM single and on LP: Here Are The Boots)
Writer(s): Smith/Fox
Label: Rhino (original label: Telefunken)
Year: 1965
Formed in Berlin in 1965, the Boots were one of the more adventurous bands operating on the European mainland. While most bands in Germany tended to emulate the Beatles, the Boots took a more underground approach, growing their hair out just a bit longer than their contemporaries and appealing to a more Bohemian type of crowd. Lead guitarist Jurg "Jockel" Schulte-Eckle was known for doing strange things to his guitar onstage using screwdrivers, beer bottles and the like to create previously unheard of sounds. The band's first single, But You'll Never Do It Babe, was originally recorded by a British band, Cops 'n' Robbers, but the Boots took the song to its greatest heights.
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)
Writer: Lanigan/Philipet
Label: Rhino (original label: York)
Year: 1965
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.
Artist: Turtles
Title: Happy Together
Source: CD: Billboard Top Rock 'N' Roll Hits-1967 (originally released as 45 RPM single and included on LP: Happy Together)
Writer(s): Bonner/Gordon
Label: Rhino (original label: White Whale)
Year: 1967
The Turtles got off to a strong start with their cover of Bob Dylan's It Ain't Me Babe, which hit the top 20 in 1965. By early 1967, however, the band had fallen on hard times and was looking for a way to return to the charts. They found that way with Happy Together, a song written by Gary Bonner and Mark Gordon, both members of an east coast band called the Magicians. Happy Together was the Turtles' first international hit, going all the way to the top of the charts in several countries and becoming one of the most recognizable songs in popular music history.
Artist: Beatles
Title: You Know My Name (Look Up The Number)
Source: CD: Anthology 2 (mon version originally released as 45 RPM single B side)
Writer(s): Lennon/McCartney
Label: Apple/Parlophone
Year: 1970
Basically a studio concoction assembled by John Lennon and Paul McCartney, You Know My Name (Look Up The Number) was originally intended to be released as a 1969 single by the Plastic Ono Band. The track was the result of four separate recording sessions dating back to 1967 and originally ran over six minutes long. The instrumental tracks were recorded around the same time the album Sgt. Pepper's Lonely Hearts Club Band was released in Spring of 1967. Brian Jones added a saxophone part on June 8th of that year. In April of 1969 Lennon and McCartney added vocals, while Lennon edited the entire track down from a monoraul mixdown to slightly over four minutes. The single was readied for a November release, but at the last minute was withdrawn. The recording was instead released as the B side of the Beatles' Let It Be single the following year. In 1996 the original tapes were re-edited to create a new stereo mix that runs a little over five and a half minutes in length. The new mix was included on the Anthology 2 CD.
Artist: Beatles
Title: I Me Mine
Source: CD: Let It Be...Naked
Writer(s): George Harrison
Label: Apple/Capitol
Year: 1970 (remixed 2003)
Recorded in January of 1970, I Me Mine was the last new song recorded by the Beatles before their official breakup in April of that year, although technically it was only three-quarters of the band, as John Lennon had quit the group three months earlier. Written a year earlier, during sessions that would eventually become the basis for the film Let It Be, the song reflects writer George Harrison's feelings about the acrimony that dominated everything the Beatles were trying to do at that time. In the film, John Lennon is seen dancing with Yoko Ono while the other band members were working on the song, reflecting an attitude of dismissiveness toward Harrison's compositions in general. Although Paul McCartney was also dismissive of the song, he did participate in the final recording of I Me Mine a year later, playing Hammond organ and electric piano as well as bass. Ringo Starr of course played drums on the track, with Harrison providing all the guitar parts (including a lead guitar solo that sounds like it was deliberately done in Lennon's style). The entire track lasted only a minute and a half, so producer Phil Spector created a new mix by repeating the blues-based chorus and second verse, extending the length of the song to nearly two and a half minutes. Spector also gave the song his "wall of sound" treatment for the Let It Be album. Over 30 years later Paul McCartney remixed the song again, retaining the extra chorus and verse but eliminating Spector's other touches, instead giving greater prominence to the guitar and organ parts.
Artist: Beatles
Title: What's The New Mary Jane
Source: CD: Anthology 3
Writer(s): Lennon/McCartney
Label: Capitol/Apple
Year: Recorded 1968, released 1996
1968 brought an explosion of creativity from the Beatles, but very little cooperation between the individual members. In fact, they came up with so much new (and in some cases quite original) material that they couldn't confine it to a single LP. Instead, they released a new single (Hey Jude/Revolution) and a double LP set (the Beatles, aka the White Album), and still had plenty of tracks left over. One of those recordings, that sat on the shelf for nearly 30 years, was a John Lennon composition called What's The New Mary Jane. Like many of the songs from this period, What's The New Mary Jane only features two members of the Beatles on it. John, of course, provided the vocals, along with double-tracked piano, while George Harrison played all the guitar parts. The song also features various sound effects provided by Yoko One and production assistant Mal Evans.
Artist: Classics IV
Title: Spooky
Source: 45 RPM single (reissue)
Writer(s): Sharpe/Middlebrooks/Buie/Cobb
Label: Silver Spotlight (original label: Imperial)
Year: 1967
Most people don't know this (it was news to me too), but the Halloween classic Spooky, by the Classics IV, was orginally an instrumental. The tune was written by saxophonist Mike Sharpe, with Harry Middlebrooks, Jr. and released by Sharpe in 1967, making it to the #57 on the Billboard charts. Late in the year, Classics IV guitarist J. R. Cobb and producer Buddy Buie came up with lyrics for the song in time to get the song recorded and released by Halloween, and the band scored their first top 40 hit with the song, with drummer Dennis Yost on lead vocals. The Classics IV continued to hit the top 40 charts into the early 1970s, with Yost moving out from behind the drum kit and taking over top billing (See? Phil Collins wasn't the first to do that!), while Cobb and Buie, as a side project, formed the Atlanta Rhythm Section in 1970. Finally, in 1975, Yost officially went solo, ending the story of the Classics IV.
Artist: Left Banke
Title: Pretty Ballerina
Source: Stereo 45 RPM single (reissue)
Writer: Michael Brown
Label: Smash
Year: 1967
The Left Banke, taking advantage of bandleader Michael Brown's industry connections (his father ran 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: Rolling Stones
Title: Let's Spend The Night Together
Source: CD: Flowers (originally released on LP: Between The Buttons)
Writer(s): Jagger/Richards
Label: Abkco (original label: London)
Year: 1967
The Rolling Stones second LP of 1967 was Flowers, one of a series of US-only albums made up of songs that had been released in various forms in the UK but not in the US. In the case of Flowers, though, there were a couple songs that had already been released in the US-but not in true stereo. One of those was Let's Spend The Night Together, a song intended to be the A side of a single, but that was soon banned on a majority of US radio stations because of its suggestive lyrics. Those stations instead flipped the record over and began playing the B side. That B side, a song called Ruby Tuesday, ended up in the top 5, while Let's Spend The Night Together barely cracked the top 40. The Stones did get to perform the tune on the Ed Sullivan Show, but only after promising to change the lyrics to "let's spend some time together." Later the same year the Doors made a similar promise to the Sullivan show to modify the lyrics of Light My Fire, but when it came time to actually perform the song Jim Morrison defiantly sang the lyrics as written. The Doors were subsequently banned from making any more appearances on the Sullivan show.
Artist: Jefferson Airplane
Title: Run Around
Source: CD: Jefferson Airplane Takes Off
Writer(s): Balin/Kantner
Label: RCA/BMG Heritage
Year: 1966
The first Jefferson Airplane album was dominated by the songwriting of the band's founder, Marty Balin, both as a solo writer and as a collaborator with other band members. Run Around, from Balin and rhythm guitarist Paul Kantner, is fairly typical of the early Jefferson Airplane sound.
Artist: Jefferson Airplane
Title: Embryonic Journey
Source: Mono LP: Surrealistic Pillow
Writer(s): Jorma Kaukonen
Label: Sundazed (original label: RCA Victor)
Year: 1967
Jorma Kaukonen originally considered Embryonic Journey to be little more than a practice exercise. Other members of Jefferson Airplane insisted he record it, however, and it has since come to be identified as a kind of signature song for the guitarist, who played the tune live when the band was inducted into the Rock And Roll Hall Of Fame.
Artist: Jefferson Airplane
Title: And I Like It (alternate version)
Source: LP: Jefferson Airplane Takes Off
Writer: Balin/Kantner
Label: RCA Victor
Year: 1966
Jorma Kaukonen was giving guitar lessons when he was approached by Marty Balin about joining a new band that Balin was forming. Kaukonen said yes and became a founding member of Jefferson Airplane. The two seldom collaborated on songwriting, though. One of the few examples of a Balin/Kaukonen composition is And I Like It, the track that closes out the band's first album. A few months later, just prior to the album's release, drummer Skip Spence left the Airplane to co-found Moby Grape, and the band recruited experienced jazz drummer Spencer Dryden as his replacement. This longer version of And I Like It, recorded in July of 1966, is one of the first recordings to include Dryden as a member of the band.
Artist: Doors
Title: When The Music's Over
Source: LP: Strange Days
Writer(s): The Doors
Label: Elektra
Year: 1967
I remember the first time I heard When The Music's Over. My girlfriend's older brother had a copy of the Strange Days album on the stereo in his room and told us to get real close to the speakers so we could hear the sound of a butterfly while he turned the volume way up. What we got, of course, was a blast of "...we want the world and we want it now." Good times.
Artist: Spirit
Title: Straight Arrow
Source: CD: Spirit
Writer(s): Jay Ferguson
Label: Ode/Epic/Legacy
Year: 1968
Spirit was born when high school students and garage rockers Randy California, Jay Ferguson, Mark Andes and John Locke started jamming with California's stepfather, jazz drummer Ed Cassidy. The result was one of the earliest examples of jazz-rock, although the jazz element would be toned down for later albums. Unlike the later fusion bands, Spirit's early songs tended to be sectional, with a main section that was straight rock often leading into a more late bop styled instrumental section reminiscent of Wes Montgomery's recordings. Vocalist Jay Ferguson wrote most of the band's early material, such as Straight Arrow from their 1968 debut album.
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