Sunday, January 30, 2022

Stuck in the Psychedelic Era # 2206 (B23) (starts 1/31/22) 

    Due to an equipment failure at our home station, I was unable to produce a new show this week. But never fear! Back in June of 2018 I recorded a backup (or contingency, if you prefer) episode of Stuck in the Psychedelic Era for just for such a situation. It includes an artists' set (Traffic), several sets from specific years, a couple short progressions through the years and even a band that's never been played on the show before. Coincidentally, like last week's show, this one ends with John Mayall, although in this case it's a single track rather than an entire album side. Of course, since it's Groundhog's Day this week, I suppose I could have just run last year's show, but I like this way better...

Artist:    Kinks
Title:    Tired Of Waiting For You
Source:    Mono LP: Kinks-Size (originally released as 45 RPM single)
Writer:    Ray Davies
Label:    Reprise
Year:    1965
    After a series of hard-rocking hits such as You Really Got Me and All Day And All Of The Night, the Kinks surprised everyone with the highly melodic Tired Of Waiting For You in 1965. As it turns out the song was just one of many steps in the continually maturing songwriting of Ray Davies.

Artist:    Byrds
Title:    You Won't Have To Cry
Source:    LP: Mr. Tambourine Man
Writer(s):    Clark/McGuinn
Label:    Columbia
Year:    1965
    For the first year and a half of the Byrds existence, Gene Clark was the band's primary songwriter. In fact, all of the non-cover songs on their debut LP, Mr. Tambourine Man, were either written or co-written by Clark, including You Won't Have To Cry, which was co-penned by Roger (then still Jim) McGuinn. The song itself is a love song to a woman coming out of yet another bad relationship, promising to treat her better than her past lovers did.

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

Artist:    Grateful Dead
Title:    St. Stephen
Source:    LP: Aoxomoxoa
Writer(s):    Hunter/Garcia/Lesh
Label:    Warner Brothers
Year:    1969
    One of the Grateful Dead's most recognizable tunes is St. Stephen. The song first appeared on the 1969 album Aoxomoxoa, and was a regular part of the band's live performances (usually combined with The Eleven) for the next few years. From the mid-1970s on the song was only occasionally played in concert, and was considered a special treat by Deadheads.

Artist:    Aphrodite's Child
Title:    Magic Mirror
Source:    CD: Spirit Of Joy (originally released in Europe as 45 RPM single B side)
Writer(s):    Papathanassiou/Fiddy
Label:    Polydor (original European label: Mercury) (released in UK on Polydor)
Year:    1969
    Aphrodite's Child was formed in Greece in 1967, but left following a right-wing military coup that severely curtailed both political and artistic freedoms in that country. The band had been invited by Mercury Records to come to London and record, but were refused entry to the UK due to problems with their work permits and found themselves in Paris instead. Mercury's parent label, Philips, soon signed the band to a contract to record in France. Their first single for the label, Rain And Tears, was a top 10 single in several European countries and led to an equally popular album, End Of The World, that established Aphrodite's Child as one of the continent's most popular acts. That popularity did not extend to the UK, however, and subsequent records failed to make a dent on the British charts. One 1969 single was not even released in the UK by the band's regular label, Mercury, and was instead issued independently by the Polydor label. The B side of that single, Magic Mirror, shows a band just beginning to transition from their early psychedelic sound to the more experimental one that would characterize their best known work, a concept double LP based on the biblical book of Revelation called 666. The band's leader, Evangahlos Papathanassiou, would later shorten his name to Vangelis and become one of the world's top electronic music pioneers (can anyone say Chariots Of Fire?).

Artist:     Seatrain
Title:     Portrait Of The Artist As A Young Lady
Source:     CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Sea Train)
Writer(s):    Gregory/Roberts
Label:     Rhino (original label: A&M)
Year:     1969
     Following the breakup of the Blues Project, two of the members, bassist/flautist Andy Kulberg and drummer Roy Blumenthal, relocated to San Francisco. They hooked up with Richard Greene (violin, keyboards, viola, vocals), John Gregory (guitar, vocals), Don Kretmar (bass, saxophone) and dedicated lyricist Jim Roberts to form Seatrain. Greene had been a member of Jim Kweskin's Jug Band, while Gregory was from the Mystery Trend. After releasing an album called Planned Obsolescence as the Blues Project to fullfill contractual obligations, the band made their official debut in 1969 with the album Sea Train. By the time their next album, Seatrain, came out in 1970, only Kulberg and Greene remained from the band's original lineup.

Artist:    Country Joe And The Fish
Title:    Not So Sweet Martha Lorraine
Source:    LP: Electric Music For The Mind And Body
Writer(s):    Joe McDonald
Label:    Vanguard
Year:    1967
    While not as commercially successful as the Jefferson Airplane or as long-lived as the Grateful Dead (there's an oxymoron for ya), Country Joe and the Fish may well be the most accurate musical representation of what the whole Haight-Ashbury scene was about, which is itself ironic, since the band operated out of Berkeley on the other side of the bay. Of all the tracks on their first album, Not So Sweet Martha Lorraine probably got the most airplay on various underground radio stations that were popping up on the FM dial at the time (some of them even legally).

Artist:     Electric Prunes
Song:     Get Me To the World On Time
Source:     Mono CD: The complete Reprise singles (originally released on LP: The Electric Prunes and as 45 RPM single)
Writer(s):    Tucker/Jones
Label:     Real Gone/Rhino (original label: Reprise)
Year:     1967
     Songwriter Annette Tucker usually worked with Nancy Mantz, and the pair was responsible for the Electric Prunes biggest hit, I Had Too Much To Dream (Last Night). On Get Me To The World On Time, which originally appeared on the band's first LP, she instead teamed up with Jill Jones and came up with a kind of psychedelic Bo Diddley song that ended up being the Prunes second biggest hit (and the first rock song that I ever heard first on an FM station).

Artist:    Rovin' Kind
Title:    My Generation
Source:    Mono LP: The Dunwich Records Story (originally released as 45 RPM single)
Writer(s):    Pete Townshend
Label:    Tutman (original label: Dunwich)
Year:    1967
    Unlike most acts signed to Dunwich Records, the Rovin' Kind had already released a pair of singles (on two different labels) before switching labels in late 1966. Their first release for the Chicago-based label was a cover of the Who's My Generation with a decidedly garage-rock feel to it. The Rovin' Kind were primarily a live act, however, and continued to do gigs throughout their brief recording career. The Rovin' Kind eventually morphed into Illinois Speed Press, who released two LPs for the Columbia label before splitting up, with founding member Paul Cotton going on to become a member of Poco.

Artist:    Rolling Stones
Title:    Mercy, Mercy
Source:    Mono CD: Out Of Our Heads
Writer(s):    Covay/Miller
Label:    Abkco (original label: London)
Year:    1965
    One of Jimi Hendrix's first recordings as an R&B sideman was on Don Covay's 1964 recording of his song Mercy, Mercy (sometimes known as Have Mercy). The song was Covay's first breakthrough hit, going to the top of the R&B charts and crossing over into the top 40 charts as well. Possibly more importantly, the song was covered the following year by the Rolling Stones on their Out Of Our Heads album, bringing the song to a much wider worldwide audience. The Stones version of the song follows Covay's arrangement fairly closely, but, in the words of rock critic Richie Unterberger, "really upped the guitar wattage" from the original version. That's right. Keith Richards actually "out-louded" Jimi Hendrix on a recording of the same song. Granted, Hendrix, as a side man, was under strict instructions to play it the way he was told to without any embellishments of his own, but still...

Artist:    Standells
Title:    Dirty Water (live version)
Source:    45 RPM single
Writer(s):    Ed Cobb
Label:    Sundazed
Year:    Recorded 1966, released 2014
    In October of 1966 the Standells were riding high on the strength of their hit single, Dirty Water, when they opened for the Beach Boys at the University of Michigan. Unbeknownst to the band at the time, the entire performance was being professionally recorded by people from Capitol Records, the parent company of Tower Records, whom the Standells recorded for. The recordings remained unreleased for many years; in fact, even the band members themselves were unaware of their existence until around 2000. Finally, in 2014, Sundazed released the live recording of Dirty Water on clear 45 RPM vinyl as part of their Record Store Day promotion. Enjoy!

Artist:     Jimi Hendrix Experience
Title:     One Rainy Wish
Source:     CD: Axis: Bold As Love
Writer:     Jimi Hendrix
Label:     Experience Hendrix/Legacy (original label: Reprise)
Year:     1967
     In the summer of 1967 my dad (who was an Air Force NCO), got transferred to Lindsay Air Station in Weisbaden, Germany. The housing situation there being what it was, it was several weeks before the rest of us could join him, and during that time he went out and bought an Akai X-355 reel to reel tape recorder that a fellow GI had picked up in Japan. The Akai had small speakers built into it, but the best way to listen to it was through headphones. It would be another year before he would pick up a turntable, so I started buying pre-recorded reel to reel tapes. Two of the first three tapes I bought were Are You Experienced and Axis: Bold As Love, both by the Jimi Hendrix Experience. As I was forced to share a bedroom with my little brother I made it a habit to sleep on the couch in the living room instead, usually with the headphones on listening to Axis: Bold As Love. I was blown away by the stereo effects on the album, which I attributed (somewhat correctly) to Hendrix, although I would find out years later that much of the credit belongs to engineer Eddie Kramer as well. One Rainy Wish, for example, starts off with all the instruments in the center channel (essentially a mono mix). After a few seconds of slow spacy intro the song gets into gear with vocals isolated all the way over to the left, with a guitar overdub on the opposite side to balance it out. As the song continues, things move back and forth from side to side, fading in and out at the same time. It was a hell of a way to drift off to sleep every night.

Artist:    Them
Title:    The Moth
Source:    LP: Time Out! Time In! For Them
Writer(s):    Lane/Pulley
Label:    Tower
Year:    1968
    After Van Morrison left Them to pursue a career as a solo artist, his old band decided to head back to Ireland and recruit Kenny McDowell for lead vocals. Them then moved out to California and hooked up with Tower Records, which was already getting known for signing garage bands such as the Standells and the Chocolate Watchband, as well as for issuing soundtrack albums for cheapie teen exploitation flicks such as Riot on Sunset Strip and Wild in the Streets. The 1968 LP Time Out! Time In! For Them was the second of two psychedelic albums the group cut for Tower before moving into harder rock and another label.

Artist:    Jefferson Airplane
Title:    It's No Secret
Source:    LP: Jefferson Airplane Takes Off (originally released as 45 RPM single)
Writer:    Marty Balin
Label:    RCA Victor
Year:    1966
    The first Jefferson Airplane song to get played on the radio was not Somebody To Love. Rather, it was It's No Secret, from the album Jefferson Airplane Takes Off, that got extensive airplay, albeit only in the San Francisco Bay area. Still, the song was featured on a 1966 Bell Telephone Hour special on Haight Ashbury that introduced a national TV audience to what was happening out on the coast and may have just touched off the exodus to San Francisco the following year.

Artist:    Beatles
Title:    The Fool On The Hill
Source:    LP: Magical Mystery Tour
Writer(s):    Lennon/McCartney
Label:    Capitol
Year:    1967
    The Beatles only came up with six new songs for their 1967 telefilm Magical Mystery Tour, enough to fill up only one side of an LP. Rather than use outtakes and B sides to complete the album (which they had done in 1965 for the Help album), the band chose to release the six songs on a two-record 45 RPM Extended Play set, complete with a booklet that included the storyline, lyric sheets and several still photographs from the film itself. Magical Mystery Tour appeared in this form in both the UK and in Europe, while in the US and Canada, Capitol Records instead issued the album in standard LP format, using the band's 1967 singles and B sides to fill up side two. None of the songs from the telefilm were issued as singles, although one, I Am The Walrus, was used as the B side to the Hello Goodbye single. Another song, The Fool On The Hill, was covered by Sergio Mendes and Brazil '66, making the US charts in early 1968. By the 1980s, however, the only version of the song still played on the radio was the original Beatles version, with the footage from the Magical Mystery Tour telefilm used as a video on early music TV channels.

Artist:     Cream
Title:     Pressed Rat And Warthog
Source:     LP: Wheels Of Fire
Writer:     Baker/Taylor
Label:     Atco
Year:    1968
     The opening track of side two of Cream's third album, Wheels Of Fire, is one of those songs you either love or hate. Personally I loved Pressed Rat And Warthog the first time I heard it but had several friends that absolutely detested it. As near as I can tell, Ginger Baker actually talks that way. Come to think of it, all the members of Cream had pretty heavy accents.

Artist:    Fut
Title:    Have You Heard The Word
Source:    Mono British import CD: Love, Poetry And Revolution (originally released in UK as 45 RPM single)
Writer(s):    Kipner/Lawrie/Groves
Label:    Grapefruit (original label: Beacon)
Year:    1970
            Have You Heard The Word was the result of a drunken 1969 recording session attended by Steve Groves and Steve Kipner (known collectively as Tin Tin), Maurice Gibb (of the Bee Gees) and Gibbs's brother-in-law Billie Lawrie. A tape of the session was leaked to Beacon Records, who issued it as a single credited to the Fut. The song has been repeatedly mistaken for a lost Beatles track; in fact, Yoko One even tried to copyright the piece as a lost John Lennon composition in 1985.

Artist:    Count Five
Title:    Psychotic Reaction
Source:    Mono LP: Psychotic Reaction (originally released as 45 RPM single)
Writer(s):    Ellner/Chaney/Atkinson/Byrne/Michaelski
Label:    Concord/Bicycle (original label: Double Shot)
Year:    1966
    Although San Jose, Ca. is a rather large city in its own right (the 10th-largest city in the US in fact), it has always had a kind of suburban status, thanks to being within the same media market as San Francisco. Nonetheless, San Jose had its own very active music scene in the mid-60s, and Count Five was, for a time in late 1966, at the top of the heap, thanks in large part to Psychotic Reaction tearing up the national charts.

Artist:    Traffic
Title:    Who Knows What Tomorrow May Bring
Source:    CD: Traffic
Writer(s):    Winwood/Capaldi/Wood
Label:    Island (original US label: United Artists)
Year:    1968
    Of the ten songs on Traffic's self-titled second album, half were Dave Mason compositions that he sung himself, while the remaining five were credited to the team of Steve Winwood and Jim Capaldi. At least that was the way things stood when the LP was first released. On later issues of the album, however, flautist/saxophonist Chris Wood was credited as co-writer of Who Knows What Tomorrow May Bring. A check of the records of BMI, the licensing organization for broadcast rights, shows that Wood had been considered one of the writers all along, even though he didn't actually play on the recording.

Artist:    Traffic
Title:    Medicated Goo
Source:    LP: Last Exit
Writer(s):    Winwood/Miller
Label:    Island (original US lable: United Artists)
Year:    1968
    Originally released as a single in 1968, Medicated Goo was one of the last songs released by Traffic before the group disbanded in the wake of Steve Winwood's decision to join Eric Clapton, Ginger Baker and Rick Grech to form Blind Faith. After the group had split up, producer Jimmy MIller was able to cobble together enough material to complete a third Traffic album, Last Exit, in 1969. Medicated Goo, a legitimate hit single, was an abvious choice for inclusion on the LP.

Artist:      Traffic
Title:     (Roamin' Thro' the Gloamin' With) 40,000 Headmen
Source:      CD: Traffic
Writer(s):    Winwood/Capaldi
Label:    Island (original US label: United Artists)
Year:     1968
     In its original run, Traffic only released two full albums (and a third that consisted of non-LP singles, studio outtakes and live tracks). The second of these, simply titled Traffic, featured several memorable tunes, including (Roamin' Through the Gloamin' With) 40,000 Headmen, a  Steve Winwood/Jim Capaldi collaboration.

Artist:     Johnny Winter
Title:     Bad Luck And Trouble
Source:     LP: Progressive Heavies (originally released on LP: The Progressive Blues Experiment)
Writer:     Johnny Winter
Label:     United Artists (original labels: Sonobeat/Imperial)
Year:     1968
     Johnny Winter first started getting attention while playing the Texas blues circuit. His first album, The Progressive Blues Experiment, originally appeared on the regional Sonobeat label and was subsequently reissued nationally on Imperial. Unlike his brother Edgar, who got caught up in the whole glam rock thing, Johnny Winter remained a respected blues artist for his entire career.

Artist:    Frumious Bandersnatch
Title:    Cheshire
Source:    British import CD: The Berkeley EPs (originally released on untitled EP)
Writer(s):    Jack King
Label:    Big Beat (original label: Muggles Gramophone Works)
Year:    1968
    The longest track on the Frumious Bandersnatch EP (taking up the entire second side of the record), was a tune called Cheshire. Although the recent British CD issue of The Berkeley EPs credits Bob Winkleman as the writer of the piece, the liner notes of the same CD make it clear that Cheshire is actually the work of drummer Jackson King; in fact, the song dates back to the band's earliest days with its original lineup. Like the band name itself, the title of the track reflects King's intense interest in the works of Lewis Carroll.   
Artist:    Fairport Convention
Title:    It's Alright Ma, It's Only Witchcraft
Source:    British import CD: Fairport Convention
Writer(s):    Hutchings/Thompson
Label:    Polydor (original US label: Cotillion)
Year:    1968
    Fairport Convention has long been known for being an important part of the British folk music revival that came to prominence in the early 70s. Originally, however, the band was modeled after the folk-rock bands that had risen to prominence on the US West Coast from 1965-66. Their first LP was released in June of 1968, and drew favorable reviews from the UK rock press, which saw them as Britain's answer to Jefferson Airplane. One of the LP's highlights is It's Alright, It's Only Witchcraft, which features electric guitar work by Richard Thompson and Simon Nicol that rivals that of Jorma Kaukonen. This album was not initially released in the US. Two years later, following the success of Fairport Convention's later albums with vocalist Sandy Denny on the A&M label, the band's first LP (with Judy Dyble, known as much for her habit of knitting sweaters onstage as for her vocals) was given a limited release on Atlantic's Cotillion subsidiary. This album should not be confused with the first Fairport Convention LP released in the US (in 1969), which was actually a retitling of the band's second British album, What We Did On Our Holidays.

Artist:    Deep Purple
Title:    Listen, Learn, Read On
Source:    CD: The Book Of Taliesyn
Writer(s):    Blackmore/Evans/Lord/Paice
Label:    Eagle (original label: Tetragrammaton)
Year:    1968
    Deep Purple's second LP, The Book Of Taliesyn, was recorded only three months after the release of the debut LP, Shades Of Deep Purple, in 1968. The reason for this rush job was that they were about to embark on their first US tour, and their US label, Tetragrammaton, felt that they needed to have a new album to promote while on the road. This is actually a case of forward thinking, since putting out a new album just before starting a tour is now standard practice for popular artists. Given the lack of time the band had to come up with new material, The Book Of Taliesyn actually came out pretty good overall, although I have to say that every time I hear the album's opening track (Listen, Learn, Read On) images of Spinal Tap on stage with their miniature Stonehenge come to mind.

Artist:    Amboy Dukes
Title:    Journey To The Center Of The Mind
Source:    CD: The Best Of 60s Psychedelic Rock (originally released as 45 RPM single)
Writer(s):    Nugent/Farmer
Label:    Priority (original label: Mainstream)
Year:    1968
    Detroit was one of the major centers of pop music in the late 60s. In addition to the myriad Motown acts, the area boasted the popular retro-rock&roll band Mitch Ryder and the Detroit Wheels, the harder rocking Heard (later known as the Bob Seger System), the anarchistic MC5 and their "little brother" band, the Stooges, and Ted Nugent's outfit, the Amboy Dukes, who scored big in 1968 with Journey To The Center Of The Mind.

Artist:    Phil Ochs
Title:    The War Is Over
Source:    CD: The Best Of Phil Ochs (originally released on LP: Tape From California)
Writer(s):    Phil Ochs
Label:    A&M
Year:    1968
    Considered one of the most iconic antiwar songs of the 1960s, The War Is Over, from Phil Ochs' fifth album, Tape From California, was inspired by poet Allen Ginsberg. Ginsberg's idea was that, instead of expending energy protesting against the war in Vietnam, people should simply declare that the war was over, and if enough people did so, the war would indeed end. Of course, like all wars, the Vietnam War did eventually end, but not for several more years, although Ochs's song did inspire many young men to burn their draft cards as a symbolic gesture.

Artist:    Vanilla Fudge
Title:    You Keep Me Hangin' On
Source:    Mono LP: Nuggets Vol. 9-Acid Rock (originally released as 45 RPM single)
Writer(s):    Holland/Dozier/Holland
Label:    Rhino (original label: Atco)
Year:    1967
    You Keep Me Hangin' On, a hit for the Supremes in 1967, was the first song recorded by Vanilla Fudge, who laid down the seven-minute plus track in a single take. Producer Shadow Morton then used that recording to secure the band a contract with Atco Records (an Atlantic subsidiary) that same year. Rather than to re-record the song for their debut LP, Morton and the band chose to use the original tape, despite the fact that it was never mixed in stereo. For single release the song was edited considerably, clocking in at around three minutes.

Artist:    13th Floor Elevators
Title:    Postures (Leave Your Body Behind)
Source:    CD: Easter Everywhere
Writer(s):    Hall/Erickson
Label:    Charly (original label: International Artists)
Year:    1967
    There was so much going on with the 13th Floor Elevators in the months leading up to the release of their second LP, Easter Everywhere, that a book could easily be written about it all. The group returned to Texas following a successful California tour in late 1966 and were hailed as returning heroes, largely thanks to the success of their first single, You're Gonna Miss Me. Soon, however, things started to go wrong. The band was under considerable pressure to begin sessions for a new album, but the band members themselves were divided on whether to stay in Texas and work on studio projects or return to California, where the population was much more receptive to the psychedelic sounds the Elevators themselves had helped pioneer. The issue was finally decided when lead guitarist Stacy Sutherland, the one undecided member, got his probation revoked and was not allowed to leave the state. The band's rhythm section, Ronnie Leatherman and John Walton, went to California anyway, leaving Sutherland, guitarist/vocalist Roky Erickson and electric jug player Tommy Hall looking for replacements. Easter Anywhere was conceived as a major spiritual statement, meant to tie together elements of eastern and western religion with mind-expansion elements of LSD; an ambitious project, to be sure. Unfortunately, by the time the new bassist and drummer, Danny Galindo and Danny Thomas, arrived at the rural hunting cabin the rest of the band was hiding out in, Hall and Erickson were so deeply into the project (and LSD), that they were unable to effectively communicate their ideas to the new guys. As a result the group spent an excessive amount of time in the studio with little to show for it. Eventually, when time and money ran out the album was declared finished and Easter Anywhere was released in November of 1967.

Artist:     Pink Floyd
Title:     The Scarecrow
Source:     CD: The Piper At The Gates Of Dawn
Writer:     Syd Barrett
Label:     Capitol (original label: Tower)
Year:     1967
     Even people with only a passing familiarity with rock history know the name Pink Floyd. The album Dark Side Of The Moon set records for longevity on the Billboard album charts and the film version of The Wall was a midnight movie standard for years. With all that success it's easy to overlook the contributions made by the band's original lead guitarist and primary songwriter Syd Barrett. After two succesful singles, both written by Barrett, the band booked time in the Abbey Road studios to record their first LP, Piper At The Gates Of Dawn (coincidentally, the Beatles were also at Abbey Road at that time recording Sgt. Pepper's Lonely Hearts Club Band). Again, Barrett was the writer of record of the majority of material on the album, either as part of a group writing effort or, as is the case with Scarecrow, the sole songwriter. Sadly, mental health issues would sideline Barrett after Piper hit the racks and after contributing only a couple songs to the follow-up LP, A Saucerful Of Secrets, Barrett left Pink Floyd altogether, to be permanently replaced by David Gilmour.

Artist:    John Mayall
Title:    No More Tears
Source:    LP: The Blues Alone
Writer(s):    John Mayall
Label:    London
Year:    1967
    From the invention of the first phonograph up into the early 1950s, sound was recorded onto a single medium, be it a record, wire or magnetic tape. Then came stereo. The first stereo recordings were done on magnetic tape using special recording heads to record two signals simultaneously. It wasn't long before someone figured out that you could record two different things on those tracks and then mix them together into a monoraul final recording. This led to machines that could record three separate tracks, then four, which is where things stood in the mid-1960s. The next big step was to go to eight recording tracks that could be mixed down to two stereo tracks. With all these tracks came the possibility of doing something that had never been done before: one person could make a recording playing all the instruments himself. One of the first people to record an entire LP this way was John Mayall on his Blues Alone album in 1967 (although, to be honest, he did utilize the services of drummer Keef Hartley rather than play his own percussion parts). Although it may not have been Mayall's best album (a lot of competition for that title), The Blues Alone did have several outstanding tracks, such as No More Tears (which has absolutely nothing to do with either baby shampoo or Ozzy Osbourne).

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