Sunday, May 15, 2022

Stuck in the Psychedelic Era # 2221 (starts 5/16/22)

https://exchange.prx.org/pieces/421319-pe-2221 


    This week Stuck in the Psychedelic Era partakes in a new investigation of an old blues legend. His name was J.B. Lenoir, and on May 20th, Little Village is releasing The Lenoir Investigation, a new album by guitarists Rome Yamilov and Henry Kaiser. Our entire Advanced Psych segment features tracks from the album, along with short excerpts from a recent interview with Henry Kaiser himself. Of course there is plenty more to hear on this week's show, including a Rolling Stones set and half a dozen other tracks that have never been played on Stuck in the Psychedelic Era before.

Artist:    Beau Brummels
Title:    Laugh Laugh
Source:    Mono CD: Nuggets-Original Artyfacts from the Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Ron Elliott
Label:    Rhino (original label: Autumn)
Year:    1964
    It was difficult for an American band to get a hit record in 1964. Some, such as San Francisco's Beau Brummels, decided the best way was to beat the Brits at their own game. Laugh Laugh, their debut single, was released in December of that year as one of the first singles on popular local DJ Tom Donahue's Autumn label. Ultimately, the decision to emulate British rock worked against the Brummels, as they were never really considered part of the blossoming San Francisco music scene.

Artist:    Byrds
Title:    Wait And See
Source:    LP: Turn! Turn! Turn!
Writer(s):    McGuinn/Crosby
Label:    Columbia
Year:    1965
    Considering how prolific a songwriter David Crosby has been over the past five decades, it might be had to believe that he did not have a single writing credit on the Byrds' debut LP, Mr. Tambourine Man. In fact, Crosby's first official writing credit was on a song he co-wrote with Roger McGuinn called Wait And See, which was buried toward the end of side two of the second Byrds album, Turn! Turn! Turn! It was not as if Crosby wasn't writing songs at that point; he had brought two of his own tunes (Stranger In A Strange Land and the Flower Bomb Song) to the recording sessions, only to have them rejected by McGuinn and the band's manager, Jim Dickson, as well as by producer Terry Melcher. This was the beginning of tensions between Crosby and McGuinn that eventually led to Crosby's being fired from the band in 1967.
        
Artist:    Simon & Garfunkel
Title:    Leaves That Are Green
Source:    LP: Sounds Of Silence
Writer(s):    Paul Simon
Label:    Columbia
Year:    1966
    When The Sound Of Silence became a surprise hit in early 1966, Paul Simon, who had moved to England the previous year, hastily returned to the US and reunited with Art Garfunkel (who had gone back to college) to record a new Simon & Garfunkel album called (naturally) Sounds Of Silence. To expedite the process, the duo chose to include new recordings of several songs such as Leaves That Are Green that had been released the previous year in the UK on an album called The Paul Simon Songbook. The lyrics to one more of those songs, The Side Of A Hill, would be reworked into a piece called Canticle, which was sung as counterpoint to Scarborough Fair on the next Simon & Garfunkel album.

Artist:    Tol-Puddle Martyrs
Title:    Time Will Come
Source:    Mono CD: Tol-Pubble Martyrs (originally released as 45 RPM single)
Writer(s):    Peter Rechter
Label:    Secret Deals (original labels: Pacific/Spiral)
Year:    1967
    The Tol-Puddle Martyrs' Time Will Come was originally released in Bendigo, Victoria, Australia on the Pacific label, until the owner of the Pacific label was informed that there was already a Pacific label operating in Melbourne. At that time the label was hastily changed to Spiral, with the record having the same catalogue number. Although not a popular release at the time, both Time Will Come and its B side, Social Cell, are now considered classic examples of garage-rock, Australian style.

Artist:    Steppenwolf
Title:    Desperation
Source:    CD: Steppenwolf
Writer(s):    John Kay
Label:    MCA (original label: Dunhill)
Year:    1968
    A close listen to the first Steppenwolf album reveals a band still looking for its signature sound. As a result, the album includes songs from a greater variety of genres than on later efforts. Among those is the slow love ballad, as represented by John Kay's Desperation.

Artist:    Grateful Dead
Title:    Death Don't Have No Mercy
Source:    LP: Live Dead
Writer(s):    Rev. Gary Davis
Label:    Warner Brothers
Year:    1969
    Prior to 1969, the recording quality of live albums was noticably inferior to that of studio recordings by the same artist, particularly among rock bands. The Grateful Dead, however, set out to change all that with their 1969 double LP Live Dead. The band's previous album, had gone way over budget, and the band's label, Warner Brothers, wanted the band itself to help pay for it. By providing a double-LP live album at virtually no additional cost, the Dead would be able to give Warner three discs for the price of one, getting themselves out of debt in the process. The fact that the album itself sold quite well certainly didn't hurt the band's relationship with the label, either. Much of the credit for the album's success was due to the efforts of the band's legendary soundman, Owsley "Bear" Stanley. Bear began by asking electronics designer Ron Wickersham to come up with a microphone splitter that could feed signals to the PA system and the recording console simultaneously without any loss in sound quality. Just as important was the availability of a new state-of-the art Ampex 16-track recorder. Live Dead would be the first live performance ever recorded using 16-track equipment.The album was recorded over a period of about a week at two locations: the Avalon Ballroom and the Fillmore West. The fourth side of the album, which includes the Dead's version of Rev. Gary Davis's Death Don't Have No Mercy, was recorded on March 2, 1969 at the Fillmore West, the final recording date.

Artist:    Rolling Stones
Title:    Have You Seen Your Mother, Baby, Standing In The Shadow?
Source:    45 RPM single
Writer(s):    Jagger/Richards
Label:    London
Year:    1966
    By mid-1966 there was a population explosion of teenage rock bands popping up in garages and basements all across the US, the majority of which were doing their best to emulate the grungy sound of their heroes, the Rolling Stones. The Stones themselves responded by ramping up the grunge factor to a previously unheard of degree with their last single of the year, Have You Seen Your Mother, Baby, Standing In The Shadow? It was the most feedback-laden record ever to make the top 40 at that point in time, and it inspired America's garage bands to buy even more powerful amps and crank up the volume (driving their parents to drink in the process).

Artist:    Rolling Stones
Title:    Gomper
Source:    CD: Their Satanic Majesties Request
Writer(s):    Jagger/Richards
Label:    Abkco
Year:    1967
    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:    Rolling Stones
Title:    Who's Driving Your Plane
Source:    45 RPM single B side
Writer(s):    Jagger/Richards
Label:    London
Year:    1966
    By 1966 Mick Jagger and Keith Richards were writing everything the Rolling Stones recorded. As their songwriting skills became more sophisticated the band began to lose touch with its R&B roots. To counteract this, Jagger and Richards would occasionally come up with tunes like Who's Driving Your Plane, a bluesy number that nonetheless is consistent with the band's cultivated image as the bad boys of rock. The song appeared as the B side (mistitled on the label as Who's Driving My Plane) of Have You Seen Your Mother, Baby, Standing In The Shadow.
 
Artist:    Procol Harum
Title:    Understandably Blue
Source:    British import CD: Procol Harum (bonus track)
Writer(s):    Brooker/Reid
Label:    Salvo/Fly
Year:    Recorded 1967, released 2009
    Recorded only weeks after A Whiter Shade Of Pale, Understandably Blue was originally written to be given to Dusty Springfield, but instead ended up being recorded by the original Procol Harum lineup. That version, as well as the other sessions featuring guitarist Ray Royer and Bobby Hamilton, was eventually scrapped when new members Robin Trower and David Knights were brought in to record Procol Harum's debut LP, but during the sessions Brooker cut a solo version of Understandably Blue, which was later enhanced with strings arranged and conducted by Tony Visconti and issued as a bonus track on the 2009 CD release of the Procol Harum album.

Artist:    Hollies
Title:    Signs That Will Never Change
Source:    45 RPM single B side
Writer(s):    Hicks/Clarke/Nash
Label:    Epic
Year:    1967
    The Hollies' first record to appear on the Epic label in the US was Carrie Anne, released in May of 1967. By this time the band's three songwriters, Allan Clarke, Graham Nash and Tony Hicks, had abandoned the "L. Ransford" pseudonym in favor of using their real names on their compositions, including Signs That Will Never Change, which appeared as the B side of Carrie Anne.

Artist:    Status Quo
Title:    Pictures Of Matchstick Men
Source:    Simulated stereo CD: The Best Of 60s Psychedelic Rock (originally released as 45 RPM single)
Writer(s):    Francis Rossi
Label:    Priority (original label: Cadet Concept)
Year:    1967
    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. 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:    Velvet Underground
Title:    There She Goes Again
Source:    CD: The Velvet Underground And Nico
Writer(s):    Lou Reed
Label:    Polydor (original label: Verve)
Year:    1967    
    When the Velvet Underground first appeared, their fame was pretty much limited to the New York art crowd, among which their sponsor and primary financial backer Andy Warhol was a superstar in his own right. With talent like Lou Reed and John Cale in the band, however, the VU eventually attained legendary punk status of their own, albeit long after the band ceased to exist. One of the best tracks on the group's debut LP was There She Goes Again, a song that starts off sounding like the Rolling Stones' cover of Marvin Gaye's Hitch Hike, but soon moves into unexplored territory, especially in its subject matter (prostitution as a lifestyle choice).

Artist:    Music Machine
Title:    Double Yellow Line
Source:    Mono CD: The Very Best Of The Music Machine-Turn On (originally released as 45 RPM single)
Writer(s):    Sean Bonniwell
Label:    Collectables (original label: Original Sound)
Year:    1967
    Sean Bonniwell was an early champion of bands that played their own original material as opposed to covering the hits of the day. His own group, the Music Machine, deliberately played tight, segued sets of originals so that nobody in the crowd would have time to yell out "Cherish" or "Last Train to Clarksville" or whatever else was popular on local radio stations at the time. Imagine his chagrin when he learned that his record label, Original Sound (!), had substituted a set of cover tunes that the Music Machine had recorded for a TV show for four of Bonniwell's originals on the band's 1966 debut LP Turn On. One of the four songs to be cut was Double Yellow Line, a tune that appeared the following year as a single.
    
Artist:    "E" Types
Title:    Put The Clock Back On The Wall
Source:    CD: Even More Nuggets (originally released as 45 RPM single)
Writer(s):    Bonner/Gordon
Label:    Rhino (original label: Tower)
Year:    1967
    The E-Types were originally from Salinas, California, which at the time was known for it's sulfiric smell experienced by passing motorists travelling along US 101. As many people from Salinas apparently went to "nearby" San Jose (about 60 miles to the north) as often as possible, the E-Types became regulars on the local scene, eventually landing a contract with Tower Records and Ed Cobb, who also produced the Standells and the Chocolate Watchband. The Bonner/Gordon songwriting team were just a couple months away from getting huge royalty checks from the Turtles' Happy Together when Put The Clock Back On The Wall was released in early 1967. The song takes its title from a popular phrase of the time. After a day or two of losing all awareness of time (and sometimes space) it was time to put the clock back on the wall, or get back to reality if you prefer.

Artist:    Spirit
Title:    Uncle Jack
Source:    CD: The Best Of Spirit (originally released on LP: Spirit)
Writer(s):    Jay Ferguson
Label:    Epic
Year:    1968
    Despite nearly universal positive reviews by the rock press, the first Spirit album never really caught the imagination of the record buying public. Why this is the case is still a bit of a mystery, as the album is full of outstanding tracks such as Uncle Jack. Perhaps the album, and indeed the band itself, was just a bit ahead of its time.

    This week we have a special Advanced Psych segment featuring three tracks from a brand new (release date 5/20/22) album by guitarists Rome Yamilov and Henry Kaiser called The Lenoir Investigation. The origins of the project can be traced back to Jim Pugh, who in 2014 started the Little Village Foundation to produce and distribute "culturally significant recordings made by individuals and groups that might otherwise not be heard beyond the artists' community or family". One of the first musicians he found was Mumbai-born blues harmonicist Aki Kumar. . Kumar, who now lives in San Jose, California, brought along drummer June Core and Russian-born guitarist Rome Yamilov (who has lived in San Jose since he was seven years old), to record the album Hindi Man Blues. Eventually Pugh suggested to Yamilov that he team with the legendary Bay Area "free improviser" guitarist Henry Kaiser to make a "crazy guitar" album. Pugh even had an idea for the subject matter: an exploration of the music of J.B. Lenoir, himself a blue legend who tragically died at the age of 38 from untreated injuries suffered in a car crash. With backup from Core, Kumar (who also sings the Hindi lyrics on Na Er Jeg E Form! (Play A Little While)) and bassist Kid Anderson (from Charlie Musselwhite's band), the two guitarists set out to deconstruct and then reimagine some of Lenoir's compositions. For those of you listening in stereo (especially if you have headphones on), Yamilov's guitar, which is rooted solidly in the blues, is on the left side, while Kaiser's work, which tends to be a bit more (dare I say it?) psychedelic, is on the right. In between the tracks we have a few words from Kaiser himself.

Artist:    Rome Yamilov/Henry Kaiser
Title:    How Long
Source:    CD: The Lenoir Investigation
Writer(s):    J.D. Lenoir
Label:    Little Village
Year:    2022

Artist:    Rome Yamilov/Henry Kaiser
Title:    God's Word
Source:    CD: The Lenoir Investigation
Writer(s):    J.D. Lenoir
Label:    Little Village
Year:    2022

Artist:    Rome Yamilov/Henry Kaiser
Title:    Na Er Jeg E Form! (Play A Little While)
Source:    CD: The Lenoir Investigation
Writer(s):    J.D. Lenoir
Label:    Little Village
Year:    2022

    Artist:    Donovan
Title:    The Trip
Source:    Mono LP: Sunshine Superman
Writer(s):    Donovan Leitch
Label:    Sundazed/Epic
Year:    1966
    Donovan had already established a reputation in his native Scotland as the UK's answer to Bob Dylan, but had not had much success in the US, where his records were being released on the low-distribution Hickory label. That all changed in 1966, however, when he began to move beyond his folk roots and embrace a more electric sound. Unlike Dylan, who basically kept the same style as his acoustic songs, simply adding electic instruments, Donovan took a more holistic approach. The result was a body of music with a much broader range of sounds. The first of these new electric tunes was Sunshine Superman, sometimes cited as the first top 10 psychedelic hit. The B side of Sunshine Superman was a song called The Trip, which managed to be even more psychedelic than its A side. Both songs soon appeared on Donovan's major US label debut, an album that was not even released in the UK due to a contractual dispute between the singer/songwriter and Pye Records.

Artist:    Luv'd Ones
Title:    I'm Leaving You
Source:    CD: If You're Ready! The Best Of Dunwich Records...Volume 2 (originally released as 45 RPM single)
Writer(s):    Gallagher/Vinnedge
Label:    Sundazed/Here 'Tis (original label: Dunwich)
Year:    1966
    Although nearly all of the original material performed by the Luv'd Ones was written by lead guitarist/vocalist Char Vinnedge, rhythm guitarist Mary Gallagher got a co-writing credit on I'm Leaving You. The song was issued as the band's second single for the Dunwich label, and was reissued five months later as the B side of their third and final single, Dance Kid Dance.

Artist:    Blues Project
Title:    Wake Me, Shake Me
Source:    LP: Tommy Flanders, Danny Kalb, Steve Katz, Al Kooper, Andy Kuhlberg, Roy Blumenfeld Of The Blues Project (originally released on LP: Projections)
Writer(s):    arr. Al Kooper
Label:    Verve Forecast
Year:    1967
           After losing their original lead vocalist, Tommy Flanders, in early 1966, the remaining members of the Blues Project decided to concentrate on their improvisational and songwriting skills, splitting vocal duties between them. Rather than trying to rework the same songs they had been performing with Flanders, they instead began to work up new material, including keyboardist Al Kooper's rock and roll arrangement of an old gospel song, Wake Me, Shake Me. It was this arrangement that appeared on the group's next LP, Projections.
 
Artist:    Turtles
Title:    Outside Chance
Source:    French import CD: Happy Together (bonus track originally released as 45 RPM single)
Writer(s):    Zevon/Crocker
Label:    Magic (original label: White Whale)
Year:    1966
    The Turtles' Outside Chance is distinctive for several reasons. First, it was the last single released before Happy Together, the song that would become the band's signature song. It was also their first single since It Ain't Me Babe not to hit the charts, which is kind of hard to understand, as it really is a well-crafted record with a catchy hook. Outside Chance is also notable for being co-written by Warren Zevon, making the record's lack of success even more unfathomable.

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:    Aretha Franklin
Title:    Respect
Source:    45 RPM single (reissue)
Writer(s):    Otis Redding
Label:    Atlantic
Year:    1967
    So much has been written about Aretha Franklin's version of Respect, I really have nothing to add. Well, except to repeat the story that Otis Redding supposedly stole the song from Speedo Sims, who in turn had stolen it from an unnamed guitarist at Bobby Smith's recording studio in Macon, Georgia.

Artist:    Crazy World Of Arthur Brown
Title:    I Put A Spell On You
Source:    CD: The Crazy World Of Arthur Brown
Writer(s):    Jay Hawkins
Label:    Polydor (original label: Atlantic)
Year:    1968
    One of the most original records of 1968 was an album called The Crazy World Of Arthur Brown by the group of the same name. Arthur Brown was known for his stage show, which sometimes resembled a circus more than a rock concert, with band members wearing masks and Brown himself sporting flaming headgear. The music itself was more theatrical than your average rock band as well, as Brown's somewhat over the top version of Jay Hawkins' I Put A Spell On You clearly demonstrates.

Artist:    Santana
Title:    Evil Ways
Source:    CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Santana)
Writer(s):    Clarence Henry
Label:    Rhino (original label: Columbia)
Year:    1969
    Evil Ways was originally released in 1968 by jazz percussionist Willie Bobo on an album of the same name. When Carlos Santana took his new band into the studio to record their first LP, they made the song their own, taking it into the top 10 in 1969.

Artist:    Savoy Brown
Title:    A Hard Way To Go
Source:    LP: Raw Sienna
Writer(s):    Chris Youlden
Label:    Parrot
Year:    1970
    A Hard Way To Go is the opening track of the fifth Savoy Brown album, Raw Sienna. One of the group's best albums, it was also the last to feature the lead vocals of Chris Youlden, who also wrote A Hard Way To Go. Sadly, Youlden's solo career has been less than stellar, although I suppose he makes a living at it.


Rockin' in the Days of Confusion # 2221 (starts 5/16/22)

https://exchange.prx.org/pieces/421318-dc-2221


    This time around we have an actual dozen tracks, mostly from the early 1970s, as we bring you a bit of free-form May madness. Enjoy!

Artist:    Who
Title:    Won't Get Fooled Again
Source:    LP: Who's Next
Writer(s):    Pete Townshend
Label:    Decca
Year:    1971
    Won't Get Fooled Again was originally written to be the closing track for Pete Townshend's Lifehouse project. One of the first rock songs to be built around a synthesizer part, the song, in Townshend's words "screams defiance at those who feel any cause is better than no cause". Bassist John Entwistle later said the song was Townshend "saying things that really mattered to him, and saying them for the first time". When Lifehouse had to be abandoned, associate producer Glyn Johns convinced the band that several of the songs that had been recorded for the project were strong enough for a standalone album, and Won't Get Fooled Again became the closing track of Who's Next, released in 1971. The song has been part of every Who concert since it was first released as a single a couple months before Who's Next came out.

Artist:      Black Sabbath
Title:     Electric Funeral
Source:      CD: Paranoid
Writer(s):    Iommi/Osborne/Butler/Ward
Label:     Warner Brothers
Year:     1970
     When Black Sabbath first appeared on vinyl they were perceived as the next step in the evolution of rock, building on the acid rock of the late sixties and laying the groundwork for what would become heavy metal. Electric Funeral, from the band's second album, Paranoid, shows that evolution in progress.

Artist:    Humble Pie
Title:    Stone Cold Fever
Source:    CD: Performance-Rockin' The Fillmore
Writer(s):    Ridley/Marriott/Shirley/Frampton
Label:    A&M
Year:    1971
    Some artists make great records, but can't seem to connect with a live audience. Others, like Peter Frampton, are the exact opposite. His studio albums all went nowhere, yet Frampton Comes Alive stands as one of the top-selling live albums of all time. The same can be said of his earlier work with Humble Pie. Their studio albums actually did reasonably well, but their best selling album was 1971's Performance-Rockin' The Fillmore. Among the more memorable tunes on the album was Stone Cold Fever, which went on to become a staple of FM Rock radio throughout the 1970s.

rtist:    Mike Stuart Span
Title:    Second Production
Source:    Mono British import CD: Love, Poetry And Revolution
Writer(s):    Murphy/Bennett
Label:    Grapefruit
Year:    Recorded 1967, released 2013
    Like many British psychedelic bands, the Mike Stuart Span started off as part of the Mod scene, cutting a couple of British R&B flavored singles before changing directions in 1967. In October of that year, they recorded a demo of a tune called Second Production for the British Decca label, but the song went unreleased until the next century, when it was included on a CD collection called Love, Poetry And Revolution. The group ended up releasing a couple more singles before changing their name to Leviathan.

Artist:    Genesis
Title:    I Know What I Like (In Your Wardrobe)
Source:    CD: Selling England By The Pound
Writer(s):    Banks/Collins/Gabriel/Hackett/Rutherford
Label:    Rhino/Atlantic (original label: Charisma)
Year:    1973
    If you ask an American what Genesis's first hit single was, you might get an answer like Follow You Follow Me (from 1978) or maybe even Your Own Special Way (1977). In the UK, however, the band's first charted single was I Know What I Like (In Your Wardrobe) from the album Selling England By The Pound, which went all the way to the #21 spot in 1974. It was the only song to break the top 40 in any country while Peter Gabriel was still a member of Genesis.

Artist:    Bo Hansson
Title:    Wandering Song
Source:    LP: Magician's Hat
Writer(s):    Bo Hansson
Label:    Charisma
Year:    1972
    Swedish multi-instrumentalist/composer Bo Hansson released his first solo instrumental progressive rock album, Music Inspired By Lord Of The Rings, in 1970, after having read a copy of the Tolkien trilogy given to him by his girlfriend. The album, originally released in Sweden, was successful enough to be picked up for international distribution on the Charisma label in 1972. At around the same time, Hansson began work on his follow-up LP, Ur trollkarlens hatt (Magician's Hat). This second effort was released in Sweden in late 1972 and once again picked up by Charisma for international release. Although not as successful as its predecessor, Magician's Hat is still quite listenable, as can be heard on tracks like Wandering Song.

Artist:    Arthur Brown's Kingdom Come
Title:    Spirit Of Joy
Source:    British import CD: Spirit Of Joy (originally released on LP: Journey)
Writer(s):    Kingdom Come
Label:    Polydor
Year:    1973
    One of the great innovators in British rock history, Arthur Brown is best known for his 1968 hit Fire, which topped the charts in several countries. After his original band, The Crazy World Of Arthur Brown disbanded in 1969, Brown formed a new group, Kingdom Come, which released three albums in the early 1970s. The third of these, Journey, is notable for being the first rock album to use a drum machine exclusively for its percussion parts. In fact, the entire album is now considered to be an early classic of the electronic rock genre, as can be plainly heard on the track Spirit Of Joy.

Artist:    Eric Clapton
Title:    After Midnight
Source:    LP: Eric Clapton
Writer(s):    J.J. Cale
Label:    Atco
Year:    1970
    After his attempt at being "just another band member" (Derek and the Dominos) ended up only increasing his superstar status, Eric Clapton at last bowed to the inevitable and released his first official solo album in 1970. For the single from that album Clapton chose his cover of a 1966 J.J. Cale song, After Midnight. Clapton had become aware of Cale's music while touring with Delaney and Bonnie and Friends (yet another attempt at being "just another band member"), and recorded After Midnight with the help of Bobby Whitlock on organ and vocals, Jim Gordon on drums, Delaney Bramlett on rhythm guitar, Carl Radle on bass, Leon Russell on piano, Jim Price on trumpet, and Bobby Keys on saxophone. Clapton later said that learning Cale's rhythm guitar part was particularly challenging, even with Bramlett's help, adding that "I still don’t think we got it right." Cale himself was thrilled that Clapton scored a hit with the song, generating royalties for the singer/songwriter. As Cale himself put it "I was dirt poor, not making enough to eat and I wasn’t a young man. I was in my thirties, so I was very happy. It was nice to make some money." Cale went on to re-record a slowed-down version of the song for his own album Naturally, released in 1972.

Artist:    Family
Title:    Second Generation Woman
Source:    LP: The 1969 Warner/Reprise Songbook (originally released on LP: Family Entertainment)
Writer(s):    Rick Grech
Label:    Warner Brothers (original label: Reprise)
Year:    1968
    Family's original lineup of Roger Chapman, Rick Grech, Jim King, Rob Townsend and John Whitney was still intact for the recording of the band's second LP, Family Entertainment, although Grech soon left to join Blind Faith. Their debut LP had been well-received, but they had already dropped much of their early material from their live sets in favor of newer composition even before Family Entertainment was released. As a result, many of the songs on the new album, including Grech's Second Generation Woman, were already familiar to the band's fans by the time the LP was made available to the public. Grech's departure, though, was only the first in a series of personnel changes throughout Family's existence, and by 1973, when the group officially disbanded, only Chapman, Townsend and Whitney remained from the lineup that had recorded the first two LPs.

Artist:    Jethro Tull
Title:    Aqualung
Source:    LP: M.U.-The Best Of Jethro Tull (originally released on LP: Aqualung)
Writer(s):    Ian & Jennie Anderson
Label:    Chrysalis (original label: Reprise)
Year:    1971
    Arguably Jethro's Tull most popular song, Aqualung was the title track from the band's fourth LP and lifted the group into the ranks of rock royalty. Like nearly all of Tull's catalog, Aqualung was written by vocalist/flautist Ian Anderson, who also played acoustic guitar on the track. The lyrics of the song were inspired by photographs of homeless men taken by Anderson's then-wife Jennie, who received co-writing credits on the piece. The version of Aqualung heard on the 1976 compilation album M.U.-The Best Of Jethro Tull uses a different, and somewhat brighter, mix than the original LP.

Artist:    Wishbone Ash
Title:    Sometime World
Source:    LP: Argus
Writer(s):    Turner/Turner/Upton/Powell
Label:    Decca
Year:    1972
    Guitarist Andy Powell shines on Sometime World from the third Wishbone Ash album, Argus. The song, about missed opportunities and second chances, starts quietly, building slowly to become a powerful rocker over the course of nearly seven minutes. Although the song was seldom performed live, Powell has since stated that Sometime World is his favorite track on Argus.

Artist:     Jo Jo Gunne
Title:     Run Run Run
Source:     45 RPM single (stereo promo)
Writer:     Ferguson/Andes
Label:     Asylum
Year:     1972
     After Spirit called it quits following the disappointing sales of the Twelve Dreams of Dr. Sardonicus, lead vocalist Jay Ferguson and bassist Mark Andes hooked up with Andes's brother Matt and William "Curly" Smith to form Jo Jo Gunne. Their best known song was Run Run Run, which hit the British top 10 and the US top 30 in 1972, receiving considerable amount of airplay on progressive rock stations as well.

Sunday, May 8, 2022

Stuck in the Psychedelic Era # 2220 (starts 5/9/22)

https://exchange.prx.org/pieces/420331-pe-2220


    This week we are presenting our (unofficially annual) airing of the first side of The Who Sell Out, faux commercials and all. We also have a 1967 set that includes a track that isn't from 1967 (oops) and, to start things off, a Beatles vs. Stones set.

Artist:    Beatles
Title:    Revolution 1
Source:    CD: The Beatles
Writer(s):    Lennon/McCartney
Label:    Parlophone (original US label: Apple)
Year:    1968
    The Beatles' Revolution has a somewhat convoluted history. The song, as originally recorded, was over eight minutes long and included what eventually became Revolution 1 and part of Revolution 9. The song's writer, John Lennon, at some point decided to separate the sections into two distinct tracks, both of which ended up on the Beatles self-titled double LP (aka the White Album). Lennon wanted to release Revolution 1 as a single, but was voted down by both George Harrison and Paul McCartney on the grounds that the song's tempo was too slow. Lennon then came up with a faster version of the song, which ended up being released a few weeks before the album came out as the B side to the band's 1968 single Hey Jude. As a result, many of the band's fans erroneously assumed that Revolution 1 was the newer version of the song.

Artist:    Rolling Stones
Title:    Dandelion
Source:    LP: Through The Past, Darkly (originally released as 45 RPM single)
Writer(s):    Jagger/Richards
Label:    London
Year:    1967
    If there was a British equivalent to the Beach Boys' Good Vibrations in terms of time and money spent on a single song, it might be We Love You, a 1967 single released by the Rolling Stones. To go along with the single (with its state-of-the-art production) the band spent a considerable sum making a full-color promotional video, a practice that would not become commonplace until the advent of MTV in the 1980s. Despite all this, US radio stations virtually ignored We Love You, choosing to instead flip the record over and play the B side, a tune called Dandelion. As to why this came about, I suspect that Bill Drake, the man behind the nation's most influential top 40 stations, simply decided that the less elaborately produced Dandelion was better suited to the US market than We Love You and instructed his hand-picked program directors at such stations as WABC, KHJ and WLS to play Dandelion. The copycat nature of top 40 radio being what it is, Dandelion ended up being a moderate hit in the US in the summer of '67.

Artist:    Beatles
Title:    Piggies
Source:    British import LP: The Beatles
Writer(s):    George Harrison
Label:    Apple
Year:    1968
    Beatle George Harrison had first revealed an anti-establishment side with his song Taxman, released in 1966 on the Revolver album. This particular viewpoint remained dormant until the song Piggies came out on the 1968 double LP The Beatles (aka the White Album). Although the song was intended to be satirical in tone, at least one Californian, Charles Manson, took it seriously enough to justify "whacking" a few "piggies" of his own. It was not pretty.
    
Artist:    Rolling Stones
Title:    Surprise Surprise
Source:    Mono CD: Singles Collection-The London Years (originally released in UK as 45 RPM single B side)
Writer(s):    Jagger/Richards
Label:    Abkco (original label: Decca)
Year:    Recorded 1964, released1970
    The Rolling Stones' Street Fighting Man, from their Beggar's Banquet album, was released in the US as a followup single to Jumpin' Jack Flash in August of 1968, depsite the fact that was actually recorded first. In the UK, however, the song was not released until July of 1970, a year after Honky Tonk Women. For the UK B side, Decca went back to the group's 1964 sessions at Chicago's Chess Studios for Surprise Surprise, a Mick Jagger/Keith Richards composition that had been sitting on the shelf for six years.

Artist:    Beatles
Title:    Cry Baby Cry
Source:    CD: The Beatles
Writer(s):    Lennon/McCartney
Label:    Parlophone (original label: Apple)
Year:    1968
    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.

Artist:      Rolling Stones
Title:     The Last Time
Source:      Mono CD: Singles Collection-The London Years (originally released as 45 RPM single)
Writer(s): Jagger/Richards
Label:     Abkco (original label: London)
Year:     1965
     Released in late winter of 1965, The Last Time was the first single to hit the top 10 in both the US and the UK (being their third consecutive #1 hit in England) and the first one written by Mick Jagger and Keith Richards. Despite that, it would be overshadowed by their next release: (I Can't Get No) Satisfaction, which went to the top of the charts everywhere and ended up being the most-played song of 1965.

Artist:    James Brown
Title:    Papa's Got A Brand New Bag
Source:    CD: 20 All-Time Greatest Hits (originally released as 45 RPM single)
Writer:    James Brown
Label:    Polydor (original label: King)
Year:    1965
    Although he had been recording since the late 1950s, it wasn't until the release of Papa's Got A Brand New Bag in 1965 that James Brown achieved stardom. The song was recorded in less than an hour in a Charlotte, NC studio on the way to a performance. On the master tape Brown can be heard saying that they had a hit record on their hands. The record itself is actually a half-step higher in pitch than the master tape, which was deliberately sped up to give the song a bit of extra punch when the single was mastered.

Artist:    Ugly Ducklings
Title:    Nothin'
Source:    Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in Canada as 45 RPM single)
Writer(s):    Byngham/Mayne
Label:    Rhino (original label: Yorktown)
Year:    1966
    Coming from the Toronto suburb of Scarborough, the Ugly Ducklings made their first appearance in March of 1965 as the Strolling Bones, sounding a lot like their British idols, the...well, you can figure it out. By summer of that year they had changed their name and relocated to Yorkville, the epicenter of Toronto nightlife. In July of 1966 the Ducklings released their first single, Nothin', on the local Yorktown label. Thanks to an appearance at around the same time as the opening act for the Rolling Stones themselves, the Ugly Ducklings found themselves with a huge local hit record. A series of mildly successful singles and one album followed before the band underwent several personnel changes, as well as another name change (to Gnu) before finally disbanding in the early 1970s.

Artist:    Young Rascals
Title:    Lonely Too Long
Source:    LP: Collections
Writer(s):    Cavaliere/Brigati
Label:    Rhino (original label: Atlantic)
Year:    1967
    There seems to be a bit of confusion over the official title of the Young Rascals' first single from their 1967 album Collections. The album label and cover clearly show it as Lonely Too Long, but the single itself, released the same day as the album (January 9) just as clearly shows it as I've Been Lonely Too Long. Some sources, apparently trying to come up with a compromise, list it as (I've Been) Lonely Too Long. Since I'm playing this directly from a vinyl copy of Collections, I'm going with the title listed on the album itself.

Artist:     Troggs
Title:     Wild Thing
Source:     Mono CD: Nuggets-Classics From the Psychedelic 60s (originally released as 45 RPM single)
Writer:     Chip Taylor
Label:     Rhino (original label: Fontana)
Year:     1966
    I have a DVD copy of a music video (although back then they were called promotional films) for the Troggs' Wild Thing in which the members of the band are walking through what looks like a train station while being mobbed by girls at every turn. Every time I watch it I imagine singer Reg Presley saying giggity-giggity as he bobs his head.

Artist:    Nazz (Alice Cooper)
Title:    Lay Down And Die, Goodbye
Source:    45 RPM single B side
Writer(s):    Smith/Cooper/Dunaway/Buxton/Bruce
Label:    Very Record
Year:    1967
    Formed as a parody band in Phoenix, Arizona called the Earwigs in 1964, the band that would eventually be known as Alice Cooper underwent several name changes as they evolved into one of the most popular bands of the early 1970s. One of those names was Nazz, inspired no doubt by the Yardbirds track The Nazz Is Blue. They released one single under that name before discovering that there was already a band called Nazz making records in Philadelphia, prompting them to make their final name change. The B side of that single was Lay Down And Die, Goodbye, a song that would be re-recorded for their 1970 LP Easy Action.

Artist:    Paul Jones
Title:    The Dog Presides
Source:    British import CD: Insane Times (originally released as 45 RPM single B side)
Writer(s):    Paul Jones
Label:    Zonophone (original UK label: Columbia)
Year:    1968
    Like many frontmen in the mid-60s Manfred Mann's Paul Jones decided to leave the group for a solo career right at the height of the band's success. Also like many former frontmen, Jones's solo career, beginning in 1966, was less than stellar. Most of Jones's records were done in an almost lounge lizard style. One notable exception is The Dog Presides, the B side of a forgettable 1968 single called And The Sun Will Shine. In addition to Jones on vocals and harmonica, The Dog Presides features former Yardbirds guitarist Jeff Beck and bassist Paul-Samwell Smith and some guy named Paul McCartney on drums. This bit of psychedelic insanity was officially credited to Jones himself, but in all likelihood was a collaborative effort by the four of them.

Artist:    Steppenwolf
Title:    Power Play
Source:    CD: Monster
Writer(s):    John Kay
Label:    MCA (original label: Dunhill)
Year:    1969
    1969's Monster album is generally considered the most political of Steppenwolf's albums. A listen to Power Play certainly lends credence to that viewpoint.

Artist:    13th Floor Elevators
Title:    Earthquake
Source:    Mono British import CD: Easter Everywhere
Writer(s):    Hall/Erickson
Label:    Charly (original label: International Artists)
Year:    1967
    Although the second 13th Floor Elevators LP, Easter Everywhere, is generally a more quietly intense album than their 1966 debut, it did have a few higher-energy rockers such as Earthquake on it to spice up the mix. The band attempted to use a huge sheet of steel to produce the sound of thunder for the recording, but ultimately had to abandon the idea as unworkable. The album itself was awarded a special "merit pick" by Billboard magazine, which described the effort as "intellectual rock". Easter Everywhere was not a major seller, but has since come to be regarded as one of the hidden gems of the psychedelic era.

Artist:    Jelly Bean Bandits
Title:    Tapestries
Source:    British Import CD: All Kinds Of Highs (originally released on LP: The Jelly Bean Bandits)
Writer(s):    Buck/Donald/Dougherty/Raab/Scalfari
Label:    Big Beat (original label: Mainstream)
Year:    1968
    Of the various albums released on Bob Shad's Mainstream label from 1966-1969, one of the most fully realized was the first (and only) album by the Jelly Bean Bandits. Formed as the Mirror in 1966, the Bandits built up a following in the native Newburgh, NY and surrounding areas over a period on months. The particularly brash move of tearing pages out of the yellow pages and showing up unannounced at the offices of various record labels led them to a meeting with Shad at Mainstream's New York offices. After listening to the band's demos Shad offered the Jelly Bean Bandits a contract to record three albums, but, sadly, only one was released. One of the highlights of that album was Tapestries, sung by drummer Joe Scalfari. The Bandits immediately got to work on a second album, but a combination of internal and financial difficulties, coupled with lack of promotional support from their label, led to the group's early demise.

Artist:    Music Explosion
Title:    I See The Light
Source:    45 RPM single
Writer(s):    E. Chiprut
Label:    Laurie
Year:    1967
    The Music Explosion was a band from Mansfield, Ohio that found out the hard way that working with a company like Super K Productions might have some short term benefits, but ultimately led to the band joining the ranks of one-hit wonders. In this particular case, the "one hit" was originally intended to be a B side called Little Bit O' Soul. In fact, the band did not even get to play on the original A side, a song called I See The Light. Instead, the instrumental track was from a 1965 recording by another band, the Muphets, that had been acquired by Super K, with new lyrics credited to "E. Chiprut". Very little is known about the Muphets themselves, other than the fact that they released one single in 1964 on the Sound Spectrum label (which itself only released one other single) and recorded a four-song acetate for the New York based Allegro Sound in 1965. One of those four songs, My Money, became the backing track for I See The Light.

Artist:    Nice
Title:    Bonnie K
Source:    CD: The Thoughts Of Emerlist Davjack
Writer(s):    O'List/Jackson
Label:    Fuel 2000 (original UK label: Immediate)
Year:    1967
    The Nice was one of England's earliest progressive rock bands, best remembered for launching the career of keyboardist Keith Emerson. The band itself recorded several albums in the late 1960s, the first being Thoughts Of Emerlist Davjack, a title derived from parts of each band member's surname. Although the album was not originally released in the US, a repackaged version that included a non-album single (a rocked out instrumental version of America from West Side Story), as well as several tracks from the original LP, such as Bonnie K, was issued on the Charisma label in 1973 under the title Autumn To Spring.

Artist:    Seatrain
Title:    13 Questions
Source:    British import CD: Seatrain/Marblehead Messenger (originally released as 45 RPM single and on LP: Seatrain)
Writer(s):    Kulberg/Roberts
Label:    BGO (original US label: Capitol)
Year:    1970
    Despite being formed by the remaining members of the Blues Project, Seatrain spent most of its four years under the radar, getting little attention from the rock press and even less from the record buying public. Some of this lack of popularity can be attributed to the band's basic instability. None of their four albums (for three different labels!) have the same lineup, making it hard to establish a fan base. The fact that they didn't fit neatly into any particular genre, having elements of folk, country and jazz, in addition to rock, didn't help either. Their most successful record was the 1970 single, 13 Questions. Anyone who bought the album Seatrain soon realized, however, that the punchy horn-based single was nothing like the rest of the record.

Artist:    Who
Title:    The Who Sell Out (side one)
Source:    LP: The Who Sell Out
Writer(s):    Keen/Entwistle/Townshend
Label:    Decca
Year:    1967
    In December of 1967 the Who released what is sometimes considered both the greatest tribute to and parody of top 40 radio ever released on vinyl. The first side of The Who Sell Out is a collection of songs interconnected by fake commercials and actual jingles used by pirate radio station Radio London, which had been shut down by the British government in August of 1967. The Who had actually been recording real commercials during this period, and the fake ones they made were done in the same style. The jingles, on the other hand, were genuine, and had been produced by PAMS Productions of Dallas, Texas, for the actual Radio London. In fact, the use of those jingles on The Who Sell Out led to the band being sued by PAMS for using them without permission (the band presumably thought it would OK to use them since the station itself no longer existed). The album itself starts off with Armenia City In The Sky, a song written by roadie John "Speedy" Keen, who would later have a hit single as the lead vocalist/songwriter on Thunderclap Newman's Something In The Air. This is followed by the short Heinz Baked Beans, credited to bassist John Entwhistle but bearing a strong resemblance to Keith Moon's Cobwebs And Strange, which had appeared on the band's previous album, A Quick One. Following a quick "more music" jingle (used by many US radio stations as well as Radio London) is Pete Townshend's third known version of Mary Anne With The Shaky Hand, using a calypso-style arrangement. This is followed by a commercial for Premier Drums (which reportedly got the band a free drum set) followed by a Radio London jingle. The next song is a short story about a girl whose deodorant "let her down" because she used the wrong brand. The right brand, in this case, was Odorono, the brand that had sold America on the entire concept of deodorants in the early 1900s. Another Radio London jingle leads to Townshend's Tattoo, a story of two brothers whose trip to the tattoo parlor has consequences when their parents find out. Following another jingle is Our Love Was, a song that was considered strong enough to be included on their 1968 compilation album Meaty Beaty Big And Bouncy. Part of what made the 60s top 40 radio "sound" was the rapid-fire segue of jingles and commercials into a song, and the Who do it up right with a group of four quick spots leading into the final track on side one. I Can See For Miles had already been available as a single since September of 1967 (October in the UK), but this was the first time it had been released in stereo, with dual drum tracks from Keith Moon. The second side of the Who Sell Out for the most part abandons the top 40 radio concept, although it does include a couple "commercials", but the first side, taken as a whole, is a true work of art.

Artist:    Derek And The Dominos
Title:    Thorn Tree In The Garden
Source:    CD: Layla and Other Assorted Love Songs
Writer(s):    Bobby Whitlock
Label:    Polydor (original label: Atco)
Year:    1970
    Nearly half the songs on the landmark Derek And The Dominos album Layla and Other Assorted Love Songs are collaborations between guitarist/vocalist Eric Clapton and multi-instrumentalist Bobby Whitlock, written over a two-week period following the breakup of Delaney & Bonnie & Friends in 1970. Additionally, Whitlock wrote and played acoustic guitar on the album's final track, Thorn Tree In The Garden. In a technique reminiscent of early 50s orchestral recordings, Thorn Tree in the Garden was recorded with Whitlock, Clapton, Duane Allman, Carl Radle and Jim Gordon sitting in a circle around a single microphone.

Artist:    Amboy Dukes
Title:    Baby Please Don't Go
Source:    CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released on LP: The Amboy Dukes)
Writer(s):    Joe Williams
Label:    Rhino (original label: Mainstream)
Year:    1967
            The Amboy Dukes were a garage supergroup formed by guitarist Ted Nugent, a Chicago native who had heard that Bob Shad, head of jazz-oriented Mainstream Records, was looking for rock bands to sign to the label. Nugent relocated to Detroit in 1967, where he recruited vocalist John Drake, guitarist Steve Farmer, organist Rick Lober, bassist Bill White and drummer Dave Palmer, all of whom had been members of various local bands. The Dukes' self-titled debut LP was released in November of 1967. In addition to seven original pieces, the album included a handful of cover songs, the best of which was their rocked out version of the old Joe Williams tune Baby Please Don't Go. The song was released as a single in January of 1968, where it got a decent amount of airplay in the Detroit area, and was ultimately chosen by Lenny Kaye for inclusion on the original Nuggets compilation album.
        
Artist:    Blues Magoos
Title:    Rush Hour
Source:    Mono LP: Electric Comic Book
Writer(s):    Gilbert/Scala/Daking/Theilhelm/Esposito
Label:    Mercury
Year:    1967
    One of the best examples of music and subject matter supporting each other ever recorded is the Blues Magoos' Rush Hour from their Electric Comic Book album. From the overdriven opening chord through the crash and burn ending, the track maintains a frantic pace that resembles nothing more than a musical traffic jam, especially in its mono mix heard here. Rush Hour is also the only Blues Magoos track I know of to include writing credits for the entire band, including drummer Geoff Daking's only official songwriting credit.

Artist:    Tiny Tim
Title:    Mr. Tim Laughs
Source:    LP: The 1969 Warner/Reprise Songbook (originally released on LP: God Bless Tiny Tim)
Writer(s):    Herbert Khaury
Label:    Warner Brothers (original label: Reprise)
Year:    1968
    It's Tiny Tim. Laughing.

Artist:    Mothers Of Invention
Title:    Medley: The Voice Of Cheese/The Mothers Play Louie Louie At The Royal Albert Hall In London/Our Bizarre Relationship
Source:    LP: The 1969 Warner/Reprise Songbook (originally released on LP: Uncle Meat)
Writer(s):    Zappa/Berry/Underwood(?)
Label:    Warner Brothers (original label: Bizarre/Reprise)
Year:    1969
    Frank Zappa's contribution to the first Warner/Reprise Loss Leaders collection was a medley of three tracks from the fifth studio album by the Mothers Of Invention, Uncle Meat. The first part, The Voice Of Cheese, features Pamela Zarubica as the infamous Suzy Creamcheese. It's followed by The Mothers Play Louie Louie At The Royal Albert Hall In London, which is exactly what it sounds like. The final part of the medley is Ian Underwood explaining how he came to be a member of the Mothers. As such, I have chosen to include Underwood's name in the songwriting credits, even though Zappa and Louie Louie writer Richard Berry are the only ones actually credited on the album itself. Despite its avant-garde nature, Uncle Meat was a commercial success when it was released, peaking at #43 on the Billboard LP chart.

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)
Year:    1967
     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 (ensuring 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 groups. 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.

Artist:    Circus Maximus
Title:    Chess Game
Source:    CD: Circus Maximus
Writer(s):    Bob Bruno
Label:    Vanguard
Year:    1967
    New York's Greenwich Village based Circus Maximus was driven by the dual creative talents of guitarist/keyboardist Bob Bruno and guitarist Jerry Jeff Walker. Although Walker went on to have the greatest success, it was Bruno's more jazz-influenced songwriting on songs like Chess Game that defined the band's sound. Bruno is now a successful visual artist, still living in the New York area.

Artist:    Cream
Title:    SWLABR
Source:    LP: Disraeli Gears
Writer(s):    Bruce/Brown
Label:    RSO (original label: Atco)
Year:    1967
     I distinctly remember this song getting played on the local jukebox just as much as the single's A side, Sunshine Of Your Love (maybe even more). Like most of Cream's more psychedelic material, SWLABR (the title being an anagram for She Was Like A Bearded Rainbow) was written by the songwriting team of Jack Bruce and Pete Brown. Brown had originally been brought in as a co-writer for Ginger Baker, but soon realized that he and Bruce had better songwriting chemistry.

Artist:     Vejtables
Title:     Anything
Source:     CD: Love Is the Song We Sing: San Francisco Nuggets 1965-70 (originally released as 45 RPM single B side)
Writer:    Bob Bailey
Label:    Rhino (original label: Autumn)
Year: `1965
     As with any music scene, some of the early San Francisco acts fell by the wayside before the scene really took off. Such was the case with the Vejtables, who got a contract with local label Autumn Records and released a single called I Still Love You in 1965. The B side of that record, a tune called Anything, has proved more durable than its flip over the long haul. Lead vocalist and drummer Jan Errico would later join the Mojo Men in time for their 1967 cover of Buffalo Springfield's Sit Down I Think I Love You.

Artist:    Sonny And Cher
Title:    Love Don't Come
Source:    45 RPM single B side
Writer(s):    Sonny Bono
Label:    Atco
Year:    1967
    Sonny Bono's talents as a songwriter are often overlooked, mostly because all of Sonny Bono's talents were overshadowed by his wife Cher (who is one of the entertainment legends of the 20th century, after all). Nonetheless the fact remains that Bono was the guy who wrote the songs that made Sonny And Cher the most popular singing duo in the nation in the late 1960s and early 70s. Even an obscure B side like 1967's Love Don't Come demonstrates his ability to craft a song with unexpected key and tempo changes that keep the listener's attention right through to the end of the track.

Rockin' in the Days of Confusion # 2220 (starts 5/9/22)

https://exchange.prx.org/pieces/420329-dc-2220

 
    This week, after staring off on an eerily appropriate note from David Bowie's 1970 LP The Man Who Sold The World, we present a series of tracks that take us from 1968 to 1977, one year at a time. Since that still only makes eleven, we tack on two more tunes to bring the total up to 13 for the second consecutive show. Will the triskaidekaphelia continue for another week after this? Stay tuned...

Artist:    David Bowie
Title:    Saviour Machine
Source:    CD: The Man Who Sold The World
Writer(s):    David Bowie
Label:    Parlophone (original label: Mercury)
Year:    1970
    David Bowie's third album, The Man Who Sold The World, was the first one in which his band played a major role in the development of the songs themselves. Indeed, producer/bassist Tony Visconti later said  "the songs were written by all four of us. We'd jam in a basement, and Bowie would just say whether he liked them or not." According to Bowie's biographer, Peter Doggett, "The band (sometimes with Bowie contributing guitar, sometimes not) would record an instrumental track, which might or might not be based upon an original Bowie idea. Then, at the last possible moment, Bowie would reluctantly uncurl himself from the sofa on which he was lounging with his wife, and dash off a set of lyrics." Bowie himself, however, later said that he was indeed the sole songwriter on the album, as evidenced by the chord changes in the songs themselves. As Bowie put it, "No one writes chord changes like that". Regardless of who actually wrote what, there is no question that The Man Who Sold The World rocked out harder than anything else Bowie had done up to that point (and perhaps never would again), and songs like Saviour Machine, about the pitfalls of turning to a higher power (in this case a omnipotent computer) for solutions to problems, are on a par with what Black Sabbath and Led Zeppelin were doing around the same time.
    
Artist:    Traffic
Title:    Shanghai Noodle Factory
Source:    LP: Last Exit (originally released in UK as 45 RPM single B side)
Writer(s):    Winwood/Capaldi/Wood/Miller/Fallon
Label:    Island (original US LP label: United Artists)
Year:    1968
    After Traffic split up (for the first time), Island Records decided to milk one more album out of one their most popular groups. To do so they took studio outtakes, singles that had not been included on previous albums, and even an entire side of live performances, issuing the entire package in 1969 under the title Last Exit. Shanghai Noodle Factory, a song that was recorded without the participation of guitarist Dave Mason, was originally released in late 1968 as the B side of the Medicated Goo single.

Artist:      Mountain
Title:     Blood of the Sun
Source:      CD: Woodstock: 40 Years On-Back To Yasgur's Farm
Writer(s):    West/Pappalardi/Collins
Label:    Rhino
Year:     1969
     Reportedly Leslie West, Felix Pappalardi and Corky Laing of the band Mountain didn't like the way their performance of Blood Of The Sun at the Woodstock festival sounded, so they recorded a substitute live take for the album Woodstock 2. In 2009 Rhino issued the actual Woodstock performance heard here. Although there have been claims that the Woodstock 2 recording is the actual Woodstock performance, anyone with half an ear can hear the difference between the two versions.

Artist:    Bloodrock
Title:    Children's Heritage
Source:    CD: Bloodrock 2
Writer(s):    John Nitzinger
Label:    One Way (original label: Capitol)
Year:    1970
    Formed in 1963 in Ft. Worth, Texas as the Naturals, the band that would eventually become known as Bloodrock changed its name to Crowd+1 in 1966, releasing a pair of non-charting singles from Capitol Records. Continuing to build a fanbase, the band was often booked as a local opening act for nationally known bands on tour. It was at one of these gigs that Terry Knight, manager/producer of Grand Funk Railroad, saw them for the first time. About two weeks later Knight got the band signed to Capitol for a second time, this time under the name Bloodrock with Knight himself producing the band. He also sent them on tour with Grand Funk Railroad, which at the time was the hottest band in the country. Bloodrock's greatest success came with their second LP, which included one of the most notorious tracks ever to hit the airwaves, D.O.A. In addition to writing most of their own material, Bloodrock recorded several songs by fellow Ft. Worth native John Nitzinger. Children's Heritage, a straightforward rocker that opens side two of the LP Bloodrock 2, is one of Nitzinger's tunes.
    
Artist:    Wishbone Ash
Title:    Jail Bait
Source:    British import CD: The Collection (originally released on LP: Pilgrimage)
Writer(s):    Powell/Turner/Upton/Turner
Label:    Spectrum (original US label: Decca)
Year:    1971
    One of the most popular songs in their live repertoire, Jail Bait first appeared on the second Wishbone Ash album, Pilgrimage, released in 1971.

Artist:    Genesis
Title:    Watcher Of The Skies
Source:    CD: Foxtrot
Writer(s):    Banks/Collins/Gabriel/Hackett/Rutherford
Label:    Rhino/Atlantic (original label: Charisma)
Year:    1972
    The opening song for most of Genesis's live performances throughout the mid-1970s was also the opening track of their 1972 album Foxtrot. Watcher Of The Skies was inspired by the works of science fiction author Arthur C. Clarke (Childhood's End) and legendary comic book writer Stan Lee (the Tales Of The Watcher series), although the title itself reportedly was taken from an 1817 poem by John Keats. The two alternating chords at the beginning of the piece were actually the result of the limitations of a Mellotron MKII (a keyboard instrument that utilized tape loops of string orchestras) that keyboardist Tony Banks had just bought from King Crimson. According to Banks "There were these two chords that sounded really good on that instrument. There are some chords you can't play on that instrument because they'd be so out of tune. These chords created an incredible atmosphere. That's why it's just an incredible intro number. It never sounded so good on the later Mellotron."

Artist:    Cheech & Chong
Title:    The Strawberry Revival Festival/Don't Bug Me
Source:    CD: Los Cochinos
Writer(s):    Marin/Chong
Label:    Warner Brothers (original label: Ode)
Year:    1973
    Much of Cheech & Chong's humor was derived from the interaction between characters created by Cheech Marin and Thomas Chong. Not all of these characters had names, however. The Strawberry Revival Festival, for instance, is simply a conversation between two roommates in a house occupied by several other people that can be heard in the background throughout the piece. The only named person is Strawberry, who is not even part of the conversation (and is apparently passed out on the floor). The piece segues directly into the short Don't Bug Me, which is more of a punchline-oriented bit (hey, I'm trying not to give anything away, OK?).

Artist:    Patti Smith
Title:    Hey Joe
Source:    Mono 45 RPM single
Writer(s):    Billy Roberts (spoken intro written by Patti Smith)
Label:    Mer
Year:    1974
    Before signing with Arista Records in 1975, the Patti Smith group recorded a 1974 single for the independent Mer label. Financed by art collector/curator Sam Wagstaff, the record featured Smith's version of Hey Joe, with a spoken introduction concerning Patty Hearst, who had been kidnapped by, and subsequently became a member of, a radical group calling itself the Symbionese Liberation Army that year.

Artist:    Steppenwolf
Title:    Caroline (Are You Ready For The Outlaw World)
Source:    CD: Born To Be Wild-A Retrospective (originally released on LP: Hour Of The Wolf
Writer(s):    Mars Bonfire
Label:    MCA (original label: Mums)
Year:    1975
    After splitting up in 1972, three of the original members of Steppenwolf, vocalist/guitarist John Kay, drummer Jerry Edmonton and keyboardist Goldy McJohn, formed a new version of Steppenwolf with bassist George Biondo and lead guitarist Bobby (nephew of Eddie) Cochrane. McJohn was fired less than a year later, however, and was replaced by Andy Chapin for the 1975 album Hour Of The Wolf. By this time, Steppenwolf was nearly forgotten by the general public, although they still had a core following among various motorcycle club members. Looking to build on this core audience, the band enlisted Edmonton's brother Dennis, who under the name Mars Bonfire had written their biggest hit, Born To Be Wild, to come up with an appropriate single for Hour Of The Wolf. The result was Caroline (Are You Ready For The Outlaw World). After recording a contractual obligation album called Skullduggery, Steppenwolf disbanded for a second time in 1976.

Artist:    Robin Trower
Title:    Messin' With The Blues
Source:    CD: Essential Robin Trower (originally released on LP: Long Misty Days)
Writer(s):    Trower/Dewar/Lordan
Label:    Chrysalis
Year:    1976
    The 1974 LP Bridge Of Sighs, featuring the power trio of Robin Trower on guitar, James Dewar and bass and vocals and Reg Isadore was a critical and commercial success that elevated Trower to the upper echelon of rock guitarists. Following the release of Bridge Of Sighs, Isadore left the group and was replaced by former Gypsy drummer Bill Lordan, who played on the next five Trower LPs, including 1976's Long Misty Days. A highlight of that album was Messin' The Blues, which was credited to all three band members.

Artist:    Heart
Title:    Dreamboat Annie
Source:    45 RPM single
Writer(s):    Ann and Nancy Wilson
Label:    Mushroom
Year:    Original recordings 1975, single edit created 1976, charted 1977
    If you look at the label of Heart's Dreamboat Annie album you will notice that there are actually three tracks bearing the name Dreamboat
Annie. This single, however, is not the same as any of them. It is, in fact, a patchwork piece made by splicing the intro from Crazy On You (which was edited out of the single version of that song) onto the two-minute long Dreamboat Annie track that closes out side one of the LP. This new version of Dreamboat Annie (technically the fourth) was then issued as the band's third single. Although it barely missed the top 40 (peaking at #42) it was the first Heart single to hit the Adult Contemporary charts, making it to the #17 spot.

Artist:    Three Dog Night
Title:    Can't Get Enough Of It
Source:    45 RPM single B side (originally released on LP: Naturally)
Writer(s):    Winwood/Miller
Label:    Dunhill
Year:    1970
    What do Elvis Presley and Three Dog Night have in common? Neither was known for writing their own material. Three Dog Night's Naturally album, released in 1970, contained ten songs, nine of which were covers of songs such as Can't Get Enough Of It, which had originally appeared as the B side of Steve Winwood's final single as a member of the Spencer Davis Group, I'm A Man. For my money, Winwood's version can't possibly be improved upon, so I have to take Three Dog Night's version as a tribute to Winwood.

Artist:    Johnny Winter
Title:    On The Limb
Source:    European import CD: Johnny Winter And
Writer(s):    Rick Derringer
Label:    Columbia
Year:    1970
    After three albums' worth of what Johnny Winter called "progressive blues", the Texas guitarist used an entirely different lineup for his 1970 album Johnny Winter And. The new band included guitarist Rick Derringer, bassist Randy Hobbs and drummer Randy Z, all of who had all been members of the McCoys, known for the 1965 hit single Hang On Sloopy (even though only Derringer had actually played and sung on the record). The music of Johnny Winter And reflected a subtle shift in emphasis from rock-flavored blues to blues-favored rock. This shift was particularly noticable on the handful of songs written by Derringer, such as On The Limb.

Sunday, May 1, 2022

Stuck in the Psychedelic Era # 2219 (starts 5/2/22)

https://exchange.prx.org/pieces/419360-pe-2219


    This week we have a single-artist Advanced Psych segment featuring the early 1980s incarnation of King Crimson. We also have several trips up through the years and an artists' set featuring the original Animals. We finish with a California set, but not before providing a wealth of tunes ranging from the popular to the obscure, including a seldom-heard B side to start off the show.

Artist:    Seeds
Title:    Out Of The Question
Source:    Mono British import CD: Singles A's and B's 1965-1970 (originally released in US as 45 RPM single B side)
Writer(s):    Saxon/Serpent
Label:    Big Beat (original label: GNP Crescendo)
Year:    1965
    Until 2014, one's chances of hearing, let alone posessing, a copy of the B side of the original pressing of the Seeds' Your Pushing Too Hard was, for most of us, Out Of The Question. Thanks to Britain's Big Beat label, however, the song is now available on the CD Singles A's and B's 1965-1970.

Artist:    Simon and Garfunkel
Title:    A Hazy Shade Of Winter
Source:    CD: Collected Works (originally released as 45 RPM single and included on LP: Bookends)
Writer:    Paul Simon
Label:    Columbia
Year:    1966 (first stereo release: 1968)
    Originally released as a single in late 1966, A Hazy Shade Of Winter was one of several songs slated to be used in the film The Graduate. The only one of these actually used was Mrs. Robinson. The remaining songs eventually made up side two of the 1968 album Bookends, although several of them were also released as singles throughout 1967. A Hazy Shade Of Winter, being the first of these singles (and the only one released in 1966), was also the highest charting, peaking at # 13 just as the weather was turning cold in most of the country.

Artist:    Electric Prunes
Title:    Shadows
Source:    Mono CD: The Complete Reprise Singles (originally released as 45 RPM promo single)
Writer(s):    Gordon Phillips
Label:    Real Gone Music/Rhino (original label: Reprise)
Year:    1968
    Released only to radio stations, Shadows may well be the last song issued by the original lineup of the Electric Prunes. The song was recorded for a film called The Name Of The Game Is To Kill (a movie I know absolutely nothing about), and was issued in between two singles written by David Axelrod for concept albums that came out under the Electric Prunes name in 1968. Stylistically, Shadows sounds far more like the group's earlier work than the Axelrod material.

Artist:    Glass Prism
Title:    The Raven
Source:    LP: Poe Through The Glass Prism
Writer(s):    Poe/Christiano
Label:    RCA Victor
Year:    1969
    Formed in early 60s Pennsylvania, the El Caminos, consisting of Tom Varano (guitar/piano/vocal), Carl Syracuse (guitar/organ/vocal), Rick Richards (drums) and Augie Christiano (bass), were a classic example of a working band that played all over the northeastern US. Around the same time as the band got signed to record for RCA, Varano and Christiano came up with the idea of setting some of the works of Edgar Allan Poe to music, and changed the name of the band to Glass Prism to reflect the new direction the group was taking. The two split composing duties, with only one of the eleven tracks on the 1969 album Poe Through The Glass Prism being a collaboration between the two. The album itself starts with perhaps Poe's most famous work, The Raven, with music by Christiano. The song was also released as a single, but did not chart.

Artist:    Fotheringay
Title:    The Way I Feel
Source:    LP: Fairport Chronicles (originally released on LP: Fotheringay
Writer(s):    Gordon Lightfoot
Label:    A&M
Year:    1970
    After leaving Fairport Convention in 1970, vocalist Sandy Denny formed a new band, Fotheringay. The group released one self-titled LP before Denny decided to go it solo. A highlight from that album is a strong version of Gordon Lightfoot's The Way I Feel.

Artist:    Move
Title:    Message From The Country
Source:    LP: Message From The Country
Writer(s):    Jeff Lynne
Label:    Capitol
Year:    1971
    The Move was one of those bands that was extremely popular in its native UK without having any success whatsoever in the US. Although primarily a singles band, they did manage to release four albums over a period of years, the last of which was Message From The Country. Even as the album was being recorded, several members, including Jeff Lynne, were already working on the first album by the Move's successor, the Electric Light Orchestra. A conscious effort was made, however, to keep the two projects separate, with the Move album getting the more psychedelic material (such as the title track), while ELO took a more prog-rock approach.

Artist:    Colder Children
Title:    Memories
Source:    Mono CD: An Overdose Of Heavy Psych (originally released as 45 RPM single)
Writer(s):    Danny Felton
Label:    Arf! Arf! (original label: Boutique)
Year:    1968
    I know virtually nothing about the Long Island band known as Colder Children. How about you? If you are familiar with them, clue me in, OK?

Artist:    Blues Magoos
Title:    Summer Is The Man
Source:    CD: Kaleidoscopic Compendium (originally released on LP: Electric Comic Book)
Writer(s):    Gilbert/Esposito
Label:    Mercury
Year:    1967
    Following up on their successful debut LP, Psychedelic Lollipop, the Blues Magoos released Electric Comic Book in March of 1967. Unfortunately the first single from the album had two equally strong songs, one of which was favored by the producers and the other by the band. Radio stations were unsure which song to push, and as a result, neither made the top 40. Most of the remaining tracks on the album were written by the band members, including Summer Is The Man, a song with an interesting chord structure, a catchy melody and somewhat existential lyrics.

Artist:    Traffic
Title:    Heaven Is In Your Mind
Source:    LP: Best Of Traffic (originally released in US on LP: Heaven Is In Your Mind)
Writer(s):    Winwood/Capaldi/Wood
Label:    United Artists
Year:    1967
    For a time in the mid-1960s recording artists would actually make two mixes of each song on their albums, one in monoraul and one in stereo. Often the monoraul mix would have a brighter sound, as those mixes were usually made with AM radio's technical limitations in mind. In rare cases, the differences would be even more pronounced. Such is the case with Traffic's first LP, Mr. Fantasy. The two versions of Heaven Is In Your Mind differ not only in their mix but in the actual recording, as the mono mix features an entirely different guitar solo than the more familiar stereo mix heard here.

Artist:    St. Valentine's Day Massacre
Title:    Brother Can You Spare A Dime
Source:    British import CD: Think I'm Going Weird (originally released in UK as 45 RPM single)
Writer(s):    Harburg/Gomey
Label:    Grapefruit (original label: Fontana)
Year:    1967
    Did you know that Ronnie Wood, of Faces and Rolling Stones fame, had an older brother. His name was Art Wood, and he led his own band in the late 50s and early 1960s called (naturally) The Art Wood Combo, doing cover versions of songs by American artists like Chuck Berry and Fats Domino. After a brief stint as one of the vocalists for Alexis Korner's Blues Incorporated, he formed the Artwoods, whos membership included drummer Keef Hartley, who later became a member of John Mayall's Bluesbreakers, and organist Jon Lord, who would go on to become a founding member of Deep Purple. Although they released several singles for the British Decca label starting in 1964, none of them became a hit, and the label cut the Artwoods from their roster at the end of 1966. They released one final single under the name St. Valentine's Day Massacre in November of 1967 for Fontana Records, a cover of the depression-era classic Brother Can You Spare A Dime, but by then the group had already decided to disband.

Artist:    Beatles
Title:    Tomorrow Never Knows
Source:    CD: Revolver
Writer:    Lennon/McCartney
Label:    Capitol/EMI
Year:    1966
    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 various tape loops throughout, and has been hailed as a studio masterpiece.

Artist:    Who
Title:    Mary-Anne With The Shaky Hands (US single version)
Source:    45 RPM single B side
Writer(s):    Pete Townshend
Label:    Decca
Year:    1967
    There are at least three versions of Mary-Anne With The Shaky Hands. The first was a monoraul-only electric version of the song released in the US on September 18, 1967 as the B side to I Can See For Miles. Two months later a second, slightly slower stereo version of the tune appeared under the title Mary-Anne With The Shaky Hand (singular) on The Who Sell Out. This more acoustic version of the song, which has a kind of calypso flavor to it, is the best known of the three, due to the album staying in circulation far longer than the 45. A third version of the song, also recorded in 1967 and featuring Al Kooper on organ, appeared as a bonus track on the 1995 CD release of Sell Out. The liner notes on the CD, however, erroneously state that it is the US single version, when in fact it is an entirely different recording.
    
Artist:    Jimi Hendrix Experience
Title:    Crosstown Traffic
Source:    45 RPM single
Writer(s):    Jimi Hendrix
Label:    Reprise
Year:    1968
    By 1968 it didn't matter one bit whether the Jimi Hendrix Experience had any hit singles; their albums were guaranteed to be successful. Nonetheless the Electric Ladyland album had no less that three singles on it (although one was a new stereo mix of a 1967 single). The first single to be released concurrently with Electric Ladyland was Crosstown Traffic, a song that has been included on several compilation albums over the years.

Artist:    Frijid Pink
Title:    Drivin' Blues
Source:    45 RPM single B side
Writer(s):    Thompson/Beaudry
Label:    Parrot
Year:    1969
    Frijid Pink released two singles before hitting it big with their third, a distortion-ridden version of House Of The Rising Sun, in late 1969. The A side of their second single, Drivin' Blues, was recycled as the B side of House. I guess that's one way of getting your original material into the hands of the record buying public.

Artist:    Doors
Title:    Waiting For The Sun
Source:    CD: The Best Of The Doors (originally released on LP: Morrison Hotel)
Writer(s):    Jim Morrison
Label:    Elektra
Year:    1970
    The third Doors album, Waiting For The Sun, released in 1968, is notable for at least two things that were not on the album itself. The first, and most well-known, was the epic piece Celebration Of The Lizard, which was abandoned when the group couldn't get it to sound the way they wanted it to in the studio (although one section of the piece was included under the title Not To Touch The Earth). The second, and perhaps more obvious omission was the title track of the album itself. The unfinished tapes sat on the shelf until 1970, when the band finally completed the version of Waiting For The Sun that appears on the Morrison Hotel album.

Artist:    Redbone
Title:    The Witch Queen Of New Orleans
Source:    European import CD: Pure...Psychedelic Rock (originally released on LP: Message From A Drum)
Writer(s):    Pat and Lolly Vegas
Label:    Sony Music (original label: Epic)
Year:    1971
    Citing part-Cherokee Jimi Hendrix as an inspiration, brothers Pat and Lolly Vegas, already veteran performers who had appeared several times on ABC-TV's Shindig, among other venues, decided to form an all Native American band in 1969. Their first hit single was The Witch Queen Of New Orleans, from the 1971 LP Message From A Drum. Redbone recorded a total of six albums for the Epic label in the early 1970s, and are known for being the opening act at the first Earth Day event.    

Artist:    Vanilla Fudge
Title:    Ticket To Ride
Source:    LP: Vanilla Fudge
Writer(s):    Lennon/McCartney
Label:    Atco
Year:    1967
    The late 1940s saw the beginning of a revolution in the way people consumed recorded music. For decades, the only available recorded media had been the brittle 78 RPM (revolutions per minute) discs made of a material known as shellac. These discs, officially known as gramophone records, generally came in three sizes: 7" (for children's records), 12" (used mostly for classical recordings) and the standard 10" discs, which held about three minutes' worth of material per side. The high revolution speed meant that even the 12" discs could only hold a maximum of five minutes' worth of music per side, making it necessary to spread out longer pieces such as operas and symphonies over several discs, severely disrupting the listening experience. Following the end of World War II the two largest record companies, RCA Victor and Columbia, each separately began working on replacements for the 78 RPM discs. RCA's replacement was pretty much one on one; the 10" 78s were replaced by the 7" 45 RPM singles with about the same running time. Columbia, on the other hand, concentrated their efforts on long playing 12" records that, revolving at 33 1/3 RPM, could contain over 20 minutes' worth of music per side. Naturally, the LPs were far more expensive than 45s, and were marketed to a more affluent class of consumer than their shorter counterparts. This in turn led to popular music being dominated by 45 RPM singles, especially among American teenagers, while albums tended to be favored by fans of jazz and classical music. This dichotomy persisted well into the 1960s, with relatively few pop stars, such as Elvis Presley and later, the Beatles, selling a signficant number of LPs. By 1967, however, teenagers were buying enough LPs to make it feasable to a youth-oriented act to be considered a success without the aid of a hit single. One of the first of these new types of rock bands was Vanilla Fudge, whose debut LP did not contain any hit singles when it was first released. It did, however, contain a pair of Beatles covers, including the album's opening track, Ticket To Ride. A year later, another cover song from the album, You Keep Me Hangin' On, which had been a hit for the Supremes around the same time that the Vanilla Fudge album first came out, began to get significant airplay and was re-released as a single.

King Crimson is one of the most influential bands in the history of rock. Led by guitarist Robert Fripp, the band has always been known for innovation; in fact, King Crimson's debut LP, In The Court Of The Crimson King, is often cited as the album that created the entire progressive rock genre. But as it turned out, Fripp was just getting started. Despite (or maybe because of) never having the exactly the same lineup for two albums in a row, King Crimson continued to blaze new ground with every new release until Fripp decided to disband the group after the release of their seventh LP, Red, in 1974. After spending the next few years on solo projects and playing on albums by David Bowie and Peter Gabriel (as well as leading an instrumental new wave band called the League Of Gentlemen), Fripp decided to once again form what he called a "first division" band with drummer Bill Bruford (who had joined King Crimson in 1972), vocalist/guitarist Adrian Belew, and bassist Tony Levin. This new band, originally called Discipline, soon became the latest incarnation of King Crimson, and was the first to keep the same lineup for more than one album. Belew, who had already achieved fame for his work with such luminaries as Frank Zappa, David Bowie and the Talking Heads, as well as recording a solo album, was the first guitarist to play alongside Fripp in a band called King Crimson, and his writing style came to define the new group's sound, particularly on songs like Sleepless, which was also released as a single. This version of King Crimson ended up releasing three LPs over the course of four years, but was disbanded by Fripp exactly ten years after he broke up the first King Crimson. There have been several more incarnations of King Crimson over the years, including the current one, which Fripp refers to as a "Seven-Headed Beast".
    
Artist:    King Crimson
Title:    Sleepless
Source:    LP: Three Of A Perfect Pair
Writer(s):    King Crimson
Label:    Warner Brothers/EG
Year:    1984
    Sleepless is probably the most commercial of the 80s King Crimson recordings, having been released as a single in 1984, peaking at #51 on the US Rock chart and #79 on the UK chart.

Artist:    King Crimson
Title:    The Sheltering Sky
Source:    LP: Discipline
Writer(s):    King Crimson
Label:    Warner Brothers/EG
Year:    1981
    The Sheltering Sky is the only instrumental on King Crimson's 1981 LP Discipline. The piece is an example of what Fripp called "rock gamelon", with the guitars creating an interlocking rhythmic pattern.

Artist:    King Crimson
Title:    Man With An Open Heart
Source:    LP: Three Of A Perfect Pair
Writer(s):    King Crimson
Label:    Warner Brothers/EG
Year:    1984
    Man With An Open Heart is the shortest track on King Crimson's 1984 LP Three Of A Perfect Pair. Like the other songs on the first side of the LP, it is primarily an Adrian Belew composition, although officially credited to the entire band.

Artist:     Nightcrawlers
Title:     The Little Black Egg
Source:     CD: More Nuggets (originally released as 45 RPM single)
Writer:     Charles Conlon
Label:     Rhino (original label: Kapp)
Year:     1967
     The Nightcrawlers, from Daytona Beach, Florida, had a series of regional hits in the mid-60s. The only one to hit the national charts was The Little Black Egg, after Kapp Records (a division of MCA) bought the rights to the song and gave it widespread distribution.

Artist:    Animals
Title:    Outcast
Source:    British import 45 RPM single B side
Writer(s):    Campbell/Johnson
Label:    Decca
Year:    1966
    Like many mid-60s British groups, the Animals had a fondness for American R&B music, and would often feature covers versions of songs originally released by people like Ray Charles and John Lee Hooker. In 1966, for the B side of Inside Looking Out, the Animals recorded Outcast, a song that had been released the previous year by Eddie Campbell and Ernie "Sweetwater" Johnson of Phoenix, Arizona, who recorded as Eddie And Ernie. A different song was used for the US B side of Inside Looking Out, and Outcast was not released in North America until late 1966, when it appeared, in a shorter form, on the LP Animalisms.

Artist:    Animals
Title:    Hallelujah, I Love Her So
Source:    LP: The Animals On Tour (originally released in UK on LP: Animal Tracks)
Writer(s):    Ray Charles
Label:    M-G-M (original UK label: Decca)
Year:    1965
    Unlike the Beatles or the Rolling Stones, the original Animals recorded very few original tunes. Producer Mickey Most would find songs for the band to release as singles, with the band members themselves choosing some of their favorite R&B songs to record as B sides and album tracks. As was the case with nearly every British band of the mid-60s, their American label, M-G-M, insisted on including singles on the band's LPs, a practice that was generally not followed in the UK. This led to albums like The Animals On Tour, a 1965 US-only LP that included tracks from the band's first British LP in addition to a pair of recently released singles and several songs that had not yet been released in the UK. One of those songs, a cover of  Ray Charles's Hallelujah, I Love Her So, would appear two months later on the band's second British LP, Animal Tracks. There was also an American album called Animal Tracks that bore little resemblance to the original British LP, but that's another story.

Artist:     Animals
Title:     Inside Looking Out
Source:     British import 45 RPM single
Writer:     Lomax/Lomax/Burdon/Chandler
Label:     Decca
Year:     1966
     One of the last songs recorded by the Animals before their first breakup, Inside Looking Out (a powerful song about life in prison) was covered a few years later by Grand Funk Railroad, who made it one of their concert staples. This has always been one of my all-time favorite rock songs, no matter who recorded it.

Artist:    Misunderstood
Title:    Find The Hidden Door
Source:    British Import CD: Love, Poetry And Revolution (originally released in UK on LP: Before The Dream Faded)
Writer(s):    Hill/Brown
Label:    Grapefruit (original label: Cherry Red)
Year:    Recorded 1966, released 1982
    One of London's most legendary psychedelic bands was actually from California. The story of the Misunderstood started in 1963 when three teenagers from Riverside, California decided to form a band called the Blue Notes. Like most West Coast bands of the time, the group played a mixture of surf and 50s rock 'n' roll cover songs, slowly developing a sound of their own as they went through a series of personnel changes, including the addition of lead vocalist Rick Brown. In 1965 the band changed their name to the Misunderstood and recorded six songs at a local recording studio. Although the recordings were not released, the band caught the attention of a San Bernardino disc jockey named John Ravencroft, an Englishman with an extensive knowledge of the British music scene. In June of 1966 the band, with Ravencroft's help, relocated to London, where they were joined by a local guitarist, Tony Hill.  Ravencroft's brother Alan got the band a deal with Fontana Records, resulting in a single in late 1966, I Can Take You To The Sun, that took the British pop scene by storm. In addition to that single, the band recorded a handful of outstanding tracks that remained unreleased until the 1980s. Among those unreleased tracks was a masterpiece called Find The Hidden Door, written (as were most of the songs the band recorded in London) by Brown and Hill.  Problems with their work visas derailed the Misunderstood, and the band members soon found themselves being deported back to the US, and in one case, drafted into the US Army.
As for John Ravencroft, he eventually returned to London, where he changed his last name to Peel and went on to become the most celebrated British DJ (or "presenter", as they call them there) of all time.

Artist:    Music Machine
Title:    Talk Talk
Source:    LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single and on LP: Turn On The Music Machine)
Writer(s):    Sean Bonniwell
Label:    Rhino (original label: Original Sound)
Year:    1966
    The Music Machine was one of the most sophisticated bands to appear on the L.A. club scene in 1966, yet their only major hit, Talk Talk, was deceptively simple and straightforward punk-rock, and still holds up as two of the most intense minutes of rock music ever to crack the top 40 charts.

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

Artist:    Buffalo Springfield
Title:    Bluebird
Source:    LP: Buffalo Springfield Again
Writer(s):    Stephen Stills
Label:    Atco
Year:    1967
    When it comes right down to it Buffalo Springfield has one of the highest ratios of songs recorded to songs played on the radio of any band in history, especially if you only count the two albums worth of material that was released while the band was still active. This is probably because Buffalo Springfield had more raw songwriting talent than just about any two other bands. Although Neil Young was just starting to hit his stride as a songwriter, bandmate Stephen Stills was already at an early peak, as songs like Bluebird clearly demonstrate.

n/Schuster
Label:    Rock Beat (original label: Capitol)
Year:    Recorded 1968, released 2011
    One of the highlights of the first Quicksilver Messenger Service album was Gold And Silver, a six minute long instrumental which has drawn comparisons with Dave Brubeck's Take Five. This shorter version of the tune, entitled Acapulco Gold And Silver, was included on the 2011 CD reissue of the album.

Artist:    Steve Miller Band
Title:    Little Girl
Source:    LP: Your Saving Grace
Writer(s):    Steve Miller
Label:    Capitol
Year:    1969
    The fourth Steve Miller Band album, Your Saving Grace, was the lowest charting of the band's first five albums (generally considered their "psychedelic" period). Despite this lack of chart success, Your Saving Grace managed to provide four solid tracks, including Little Girl, for the band's 1972 Anthology album, released while Miller was recovering from a broken neck suffered in a 1971 car accident. Miller would reboot the band with the 1973 album The Joker, which touched off a string of chart toppers for the group.