Sunday, April 30, 2023

Stuck in the Psychedelic Era # 2318 (starts 5/1/23)

    This week's Advanced Psych segment answers a couple nagging questions you may have had and poses another one. Come to think of it, the whole show is kind of like that this time around. In a sense, the title of the first song sums it up.

Artist:    Beatles
Title:    I Want To Tell You
Source:    LP: Revolver
Writer(s):    George Harrison
Label:    Apple/Capitol/EMI
Year:    1966
    The first pre-recorded reel-to-reel tape I ever bought was the Capitol version of the Beatles' Revolver album, which I picked up about a year after the LP was released. Although my Dad's tape recorder had small built-in speakers, his Koss headphones had far superior sound, which led to me sleeping on the couch in the living room with the headphones on. Hearing songs like I Want To Tell You on factory-recorded reel-to-reel tape through a decent pair of headphones gave me an appreciation for just how well-engineered Revolver was, and also inspired me to (eventually) learn my own way around a recording studio. The song itself, by the way, is one of three George Harrison songs on Revolver; the most on any Beatles album up to that point, and one of the many reasons that, when pressed, I almost always end up citing Revolver as my favorite Beatles LP.

Artist:    Jimi Hendrix Experience
Title:    Rock Me, Baby
Source:    LP: Historic Performances Recorded at the Monterey International Pop Festival
Writer(s):    King/Josea
Label:    Reprise
Year:    1967
    Despite having recorded and released over a dozen original songs in Europe and the UK prior to their US debut at the Monterey International Pop Festival, the Jimi Hendrix Experience chose to fill their set with more cover songs than originals at the festival itself. Of the five cover songs, two were high-energy reworkings of blues classics such as B.B. King's Rock Me, Baby. Hendrix would eventually rework this arrangement into an entirely original song with new lyrics.

Artist:    Neil Young
Title:    The Loner
Source:    LP: The Big Ball (originally released on LP: Neil Young)
Writer(s):    Neil Young
Label:    Warner Brothers (original label: Reprise)
Year:    1968
    The Loner could easily have been passed off as a Buffalo Springfield song. In addition to singer/songwriter/guitarist Neil Young, the tune features Springfield members Jim Messina on bass and George Grantham on drums. Since Buffalo Springfield was functionally defunct by the time the song was ready for release, however, it instead became Young's first single as a solo artist. The song first appeared, in a longer form, on Young's first solo album in late 1968, with the single being released three months later. The subject of The Loner has long been rumored to be Young's bandmate Stephen Stills, or possibly Young himself. As usual, Neil Young ain't sayin'.
Artist:    Chicken Shack
Title:    What You Did Last Night
Source:    German import LP: The Blues (originally released on LP: Forty Blue Fingers, Freshly Packed And Ready To Serve)
Writer(s):    Stan Webb
Label:    Blue Horizon (also released in US by Epic)
Year:    1968
    One of the most legendary British blues bands that went virtually unheard in the US, Chicken Shack is probably best known as being the first band to feature Christine Perfect on keyboards and occasional vocals. The band, taking their name from Jimmy Reed's Back To The Chicken Shack album, was formed in 1965 by guitarist/vocalist Stan Webb, bassist Andy Silvester and drummer Alan Morley. By 1968 they had added Perfect and had replaced Morley with Al Sykes to record their debut LP, Forty Blue Fingers, Freshly Packed And Ready To Serve. The majority of the songs on that album were covers of classic blues tunes, but Webb and Perfect each contributed two original songs to the album as well. The better known of Webb's songs was What You Did Last Night, which closes out the album. Perfect would stick around for one more album before marrying Fleetwood Mac's bassist John McVie, eventually becoming a member of that band. Meanwhile, Chicken Shack continues to perform (and sometimes record) with an ever-changing lineup, Webb being the only consistent member of the band.

Artist:    Human Beinz
Title:    April 15th
Source:    British import CD: Ah Feel Like Ahcid (originally released in US on LP: Evolutions)
Writer(s):    Belley/De Azevedo
Label:    Zonophone (original label: Capitol)
Year:    1968
    The Human Beinz started out in Youngstown, Ohio as the Premiers in 1964, but changed their name to the Human Beingz in 1966. After a few moderately successful singles on various regional labels (including a cover of Van Morrison's Gloria that predates the hit Shadows Of Knight version), the group signed to Capitol Records in 1967. In September of that year they released a cover of the Isley Brothers' Nobody But Me that became their only top 40 hit. Unfortunately, their name was misspelled on the label, and since the record was a hit, the band was stuck with the new spelling. By the time the group disbanded they had released several more singles (including two that hit the #1 spot in Japan), as well as two LPs, for Capitol. The second of these, Evolutions, was the more psychedelic of the two. Although the group was known mainly for its tight arrangements of cover songs, they did cut loose a bit on Evolutions, particularly on April 15th, a seven minute jam co-written by guitarist/vocalist Dick Belley.
Artist:    Wildwood
Title:    Plastic People
Source:    Mono CD: A Deadly Dose Of Wild Psych (originally released as 45 RPM single)
Writer(s):    F. Colli
Label:    Arf! Arf! (original label: Magnum)
Year:    1968
    Stockton, California's Wildwood only released two singles, both in 1968. The first of these, Plastic People, takes a somewhat cynical view of the Flower Power movement, which had by 1968 pretty much run its course. Musically the track owes much to Sean Bonniwell's Music Machine.

Artist:    Sagittarius
Title:    Glass
Source:    CD: Present Tense
Writer(s):    Marks/Sheldon
Label:    Sundazed (original label: Columbia)
Year:    1968
    Sagittarius started as a spare time project by Columbia Records staff producer Gary Usher, who had established himself as the king of surf music during the genre's heyday, working with people like Brian Wilson, Bruce Johnston and Terry Melcher, as well as the Wrecking Crew (the unofficial name given to the L.A. studio musicians that played on the records he produced). Usher had been in complete creative control of his projects during the surf years and was finding out that working with people like the Byrds and Simon And Garfunkel, while financially lucrative, was creatively stifling for him, as those artists had their own creative visions and he did not want to force his own ideas on them. In early 1967, inspired by his friend Brian Wilson's Good Vibrations, Usher began working on what would become Sagittarius over the weekends and late at night when the Columbia studios were not in use. Access to the studios were not an issue (he had his own keys), nor was access to L.A.'s top studio musicians such as drummer Hal Blaine and bassist Carol Kane, who were more than happy to help out the man who had provided them so much employment over the years. The first production to be released under the Sagittarius name was a single called My World Fell Down, a piece featuring Glen Campbell on vocals that rivaled Good Vibrations itself in complexity. Usher soon took on a partner in the project, producer Curt Boettcher, who had made a huge impression on both Usher and Wilson in early 1966 when he was a producer for Our Productions, working in the same building as Wilson and Usher. Boettcher brought considerable energy and a wealth of material to Sagittarius, and in one case even a lead vocalist. Craig Brewer, a friend of Boettcher's, reportedly just happened to wander in during the recording of Glass and was drafted to provide lead vocals to the song, which had previously been recorded by the Sandpipers, a middle-of-the-road vocal combo.

Artist:    Turtles
Title:    Surfer Dan
Source:    12 "45 RPM EP picture disc: The Turtles-1968 (originally released on LP: The Turtles Present Battle Of The Bands and as 45 RPM single B side)
Writer:    The Turtles
Label:    Rhino (original label: White Whale)
Year:    1968
    In 1968 the Turtles decided to self-produce four recordings without the knowledge of their record label, White Whale. When company executives heard the tapes they rejected all but one of the recordings. That lone exception was Surfer Dan, which was included on the band's 1968 concept album The Turtles Present Battle of the Bands. The idea was that each track (or band, as the divisions on LPs were sometimes called) would sound like it was recorded by a different group. As the Turtles had originally evolved out of a surf band called the Crossfires, that name was the obvious choice for the Surfer Dan track. The song was also chosen to be the B side of Elenore, the Turtles' biggest hit of 1968.

Artist:    Jethro Tull
Title:    My Sunday Feeling
Source:    LP: This Was
Writer(s):    Ian Anderson
Label:    Chrysalis (original label: Reprise)
Year:    1968
    For years my only copy of Jethro Tull's first LP, This Was, was a cassette copy I had made myself. In fact, the two sides of the album were actually on two different tapes (don't ask why). When I labelled the tapes I neglected to specify which tape had which side of the album; as a result I was under the impression that My Sunday Feeling was the opening track on the album. It turns out it was actually the first track on side two, but I still tend to think of it as the "first" Jethro Tull song, despite the fact that the band had actually released a single, Sunshine Day, the previous year for a different label (who got the band's name wrong, billing them as Jethro Toe).

Artist:    Fairport Convention
Title:    Chelsea Morning
Source:    British import CD: Fairport Convention
Writer(s):    Joni Mitchell
Label:    Polydor
Year:    1968
    Although Joni Mitchell wrote Chelsea Morning, she was not the first person to record the song. That honor goes to Dave Van Ronk, who released the song on his 1967 LP Dave Van Ronk and the Hudson Dusters. The following year the song was included on the first Fairport Convention album with vocalist Judy Dyble, and remains my personal favorite of the many different versions of the tune. Mitchell herself finally recorded the song for her second LP, Clouds, in 1969. The song itself was inspired by Mitchell's room in New York's Chelsea neighborhood.

Artist:    Rolling Stones
Title:    Mother's Little Helper
Source:    45 RPM single (stereo reissue)
Writer(s):    Jagger/Richards
Label:    London
Year:    1966
    By 1966 the Rolling Stones had already had a few brushes with the law over their use of illegal drugs. Mother's Little Helper, released in spring of 1966, is a scathing criticism of the parents of the Stones' fans for their habitual abuse of "legal" prescription drugs while simultaneously persecuting those same fans (and the band itself) for smoking pot. Perhaps more than any other song that year, Mother's Little Helper illustrates the increasingly hostile generation gap that had sprung up between the young baby boomers and the previous generation.

Artist:    Chocolate Watchband
Title:    Gone And Passes By
Source:    CD: No Way Out
Writer(s):    Dave Aguilar
Label:    Sundazed (original label: Tower)
Year:    1967
    Producer Ed Cobb, years after the fact, expressed regret that he didn't take the time to discover for himself what made the Chocolate Watchband such a popular band among San Jose, California's teenagers. Instead, he tried to present his own vision of what a psychedelic band should sound like on the group's debut LP, No Way Out. Many of the tracks on the album used studio musicians, and two of the tracks featuring the Watchband itself used studio vocalist Don Bennett instead of Dave Aguilar, including the single Let's Talk About Girls. The remaining tracks, altough featuring the full band, were somewhat obscured by additional instruments, particular the sitar, which was not normally used by the band when performing live. This synthesis of Cobb's vision and the actual Watchband is probably best illustrated by the song Gone And Passes By, an Aguilar composition that somewhat resembles a psychedelicized version of the Rolling Stones' cover of Buddy Holly's Not Fade Away.

Artist:    Kinks
Title:    Days
Source:    Mono Canadian import CD: 25 Years-The Ultimate Collection (originally released as 45 RPM single)
Writer:    Ray Davies
Label:    Polygram/PolyTel (original label: Reprise)
Year:    1968
    As the sixties wound down, the Kinks were busy proving that if a band could weather the bad times they would eventually re-emerge even stronger than before. The worst of those times for the band was 1968, when they had trouble scoring hits even on the UK charts where they had always had their greatest success. One of the singles released was Days, which shows a band still transitioning from the straight ahead rock of their early years to the sometimes biting satire that would characterize their later work.

Artist:    Lovin' Spoonful
Title:    Lovin' You
Source:    LP: Hums Of The Lovin' Spoonful
Writer(s):    John Sebastian
Label:    Sundazed/Kama-Sutra
Year:    1966
    The Lovin' Spoonful hit their creative peak with their third album, Hums Of The Lovin' Spoonful, in 1966. The LP included four hit singles, plus a couple of songs that became hits for other artists. One of those tunes was the album's opening track, Lovin' You, which Bobby Darin took into the top 40 that same year and Dolly Parton later covered for her award-winning album Here You Go Again.

Artist:    Love
Title:    ¡Que Vida!
Source:    German import CD: Da Capo
Writer(s):    Arthur Lee
Label:    Elektra/Rhino
Year:    1967
    The first Love album was pretty much garage rock. Their second effort, however, showed off the rapidly maturing songwriting skills of both Arthur Lee and Bryan MacLean. Que Vida! (yes, I know that technically there should be an upside down exclamation point at the beginning of the song title, but Notepad doesn't speak Spanish) is a good example of Lee moving into territory usually associated with middle-of-the-road singers such as Johnny Mathis. Lee would continue to defy convention throughout his career, leading to a noticable lack of commercial success even as he overwhelmingly won the respect of his musical peers.

Artist:    Other Half
Title:    Mr. Pharmacist
Source:    Mono CD: Nuggets-Original Artyfacts from the First Psychedelic Era (originally released as 45 RPM single)
Writer:    Jeff Nowlen
Label:    Rhino (original label: GNP Crescendo)
Year:    1966
    The Other Half was one of the many bands that could be found playing the local L.A. clubs when the infamous Riot On Sunset Strip happened in 1966. They are also the only other band I know of besides the Seeds that recorded for the GNP Crescendo label. The guitar solo is provided by Randy Holden, who would end up briefly replacing Leigh Stephens in Blue Cheer a few years later.

Artist:    Rare Earth
Title:    Hey Big Brother
Source:    CD: The Collection (originally released as 45 RPM single)
Writer(s):    Fekaris/Zesses
Label:    Motown (original label: Rare Earth)
Year:    1971
    Like many successful bands, Rare Earth relied on outside songwriters for their hit singles, although they did have many self-penned tunes on their LPs. At first those hits were covers of Temptations songs such as Get Ready and (I Know) I'm Losing You, but by the early 1970s they had switched to the songwriting team of Dino Fekaris and Nick Zesses, who provided them with their final top 20 hit, Hey Big Brother. It was also the most political of Rare Earth's hit records.

Artist:    Billy Cox's Nitro Function
Title:    Powerhouse
Source:    German import CD: Billy Cox's Nitro Function
Writer(s):    Char Vinnedge
Label:    O Music (original label: Pye International)
Year:    1971
    Following the death of Jimi Hendrix, his longtime friend and current bass player Billy Cox got in touch with Char Vinnedge, the founder of the Luv'd Ones, one of the first all-female rock bands. After the Luv'd Ones had split up, Vinnedge had spent a considerable amount of time studying Hendrix's unique approach to playing the guitar and had developed her own similar style of playing, which can be heard on Powerhouse, a song she wrote for the album Billy Cox's Nitro Function. In addition to Cox and Vinnedge, the album, which was never released in the US, features Robert Tarrant on drums.

Artist:    London Souls
Title:    Old Country Road
Source:    CD: The London Souls
Writer(s):    London Souls
Label:    Soul On10
Year:    2011
    Despite the implications of their name, the London Souls were actually a New York City band that was formed in 2008 by guitarist Tash Neal and drummer Chris St. Hilaire. The two met as teenagers, jamming with friends in rehearsal rooms rented by the hour. After recording a 16-song demo in 2009 they released their first actual album, The London Souls, in 2011. The duo made their mark by applying a 21st century sensibility to psychedelic era and classic rock concepts, resulting in songs like Old Country Road. A second album, Here Come The Girls, was originally planned for a 2013 release, but was delayed until 2015 after Tash Neal was injured in a hit-and-run accident. Although they never officially disbanded, the London Souls have been inactive since 2018.

Artist:    Electric Prunes
Title:    Mujo 22
Source:    British import LP: Artifact
Writer(s):    Electric Prunes
Label:    Heartbeat
Year:    2001
    The story of the Electric Prunes begins in Los Angeles in 1965 with a group called the Sanctions. Like most Southern California bands of the time, the Sanctions' repertoire was mostly covers of popular (and danceable) tunes like Money (That's What I Want), Love Potion # 9 and of course Louie Louie, all of which the band recorded at a home studio owned by Russ Bottomly in March of 1965. At that point in time, the Sanctions were a quartet consisting of James Lowe (vocals), Mark Tulin (bass), Ken Williams (guitar) and Michael "Quint" Weakley (drums). Early in 1966 they came to the attention of Dave Hassinger, who had just finished working with the Rolling Stones, putting the finishing touches on the Aftermath album, and was eager to try his hand at being a producer. He convinced the band that they needed a new name, and eventually the group came up with the name Electric Prunes, which they felt was so far out of the ordinary that people were bound to remember it.

    Even though their first single (a cover of the Gypsy Trips' Ain't It Hard) stiffed, the people at Reprise Records signed the Prunes to a rather onerous contract that left Hassinger firmly in control of virtually everything to come out of a recording studio with the name Electric Prunes on it. At first this was fine with the band (who had just replaced Weakley with Preston Ritter and added James "Weasel" Spagnola as a second guitarist), as they and Hassinger worked well together on the hit single I Had Too Much To Dream (Last Night). But it soon became obvious that Hassinger and the band itself had different priorities. Lowe and Tulin had been busy writing songs, yet only two of their compositions ended up on the band's 1967 debut LP. The majority of the songs on the album came from outside songwriters, with Annette Tucker's name in particular appearing on more tracks than anyone else's.

    The album provided the band with a second top 40 single, Get Me To The World On Time (like I Had Too Much To Dream, penned by Tucker), which in turn became a factor in the band being given a little more creative freedom for their second LP, Underground (although the fact that Hassinger's attention was divided between the Electric Prunes and a second band he was producing that summer, a San Francisco group called the Grateful Dead, was probably an even greater factor). This greater freedom resulted in an album that included seven original tunes among the twelve tracks, including the European hit single Long Day's Flight, which was co-written by Weakley, who had returned to the group in time to appear on five songs on the LP.

    The lack of a solid hit single on the album, however, led to Hassinger becoming rather heavy-handed with the group in 1968, possibly due to his frustration with the Grateful Dead that led to his resigning as that band's producer midway through their second LP, Anthem Of The Sun. The Electric Prunes did manage to record one final single, Lowe and Tulin's Everybody Knows You're Not In Love, before Hassinger came up with the idea of the band recording a concept album written by David Axelrod called Mass In F Minor. The band played on three tracks on the Mass, but Hassinger, frustrated by the members' slow pace in learning the material, brought in a Canadian band called the Collectors to finish the project. Although Lowe, Tulin and Weakley did end up making contributions to every track on the album, it had become clear that the Electric Prunes were no longer in control of their own destiny, and after a disastrous attempt to perform the Mass with a full orchestra at the Santa Monica Civic Auditorium, both Lowe and Weakley left the group. Tulin and Williams stayed around long enough to complete the band's current tour with a patched together lineup that included Kenny Loggins and Jeremy Stuart (of Chad & Jeremy), but by mid-1968 all the original Electric Prunes members were gone.

    Two more LPs and an assortment of singles later, the group Hassinger was still calling the Electric Prunes officially disbanded in 1970. Hardly anyone noticed. That wasn't the end of the story, however. Thanks in part to Lenny Kaye, who included I Had Too Much To Dream (Last Night) on the 1972 Nuggets compilation album that collected some of the best tracks of the psychedelic era on a double LP, interest in the music of the original Electric Prunes began to take root, eventually leading to both of the original band's albums being reissued in Europe in the 1980s. In the late 1990s rumors began circulating that the original group had begun to work on new material. Then, in Y2K, both original albums were issued in the US on compact disc, with the two non-album singles included as bonus tracks (it was these reissues, in fact, that helped convince me that creating a show called Stuck in the Psychedelic Era was a viable idea).

    Finally, in 2001, the album Artifact appeared on the band's own PruneTwang label in the US, with a truncated version appearing in the UK on vinyl (on the Heartbeat label) the following year. The core members of the band, James Lowe, Mark Tulin and Ken Williams, were joined by guitarist Mark Moulin, keyboardist Cameron Lowe and drummer Joe Dooley for the album, supplemented by guest appearances from former Moby Grape guitarist Peter Lewis, dotarist Jim Gripps, drummer Mike Vasquez and a special guest appearance by original drummer Michael "Quint" Weakley. The band was by no means going the nostalgia route, however; rather they referred to Artifact as "the real third album that we never got to make." Although most of the original material on Artifact was penned by Lowe and Tulin, the album's final track, Mujo 22, is essential a raga style studio jam (and with over eight minutes running time is the longest track on the album).
Since Artifact came out, the Electric Prunes have since released three more studio albums, as well as one live album (recorded in 2007) and a kind of hybrid CD called California '66 made to promote a 2009 East Coast tour that never happened, that would have featured the Electric Prunes, Sky Saxon (whose death prompted the tour's cancellation) and Arthur Lee's 21st century version of Love.

Artist:    Janis Ian
Title:    Insanity Comes Quickly To The Structured Mind
Source:    45 RPM single
Writer(s):    Janis Ian
Label:    Verve Forecast
Year:    1967
    Janis Ian followed up her critically acclaimed 1967 debut LP with an equally excellent single, Insanity Comes Quickly To The Structured Mind, later the same year. The song was later included on her 1968 LP For All The Seasons Of Your Mind. I don't (yet) have a copy of this album, so instead we have a rather scratchy copy of the single.

Artist:    Spencer Davis Group
Title:    I'm A Man
Source:    45 RPM single
Writer:    Winwood/Miller
Label:    United Artists
Year:    1967
    The Spencer Davis Group, featuring brothers Steve and Muff Winwood, was one of the UK's most successful white R&B bands of the sixties, cranking out a steady stream of hit singles. Two of them, the iconic Gimme Some Lovin' and I'm A Man, were also major hits in the US, the latter being the last song to feature the Winwood brothers. Muff Winwood became a successful record producer. The group itself continued on for several years, but were never able to duplicate their earlier successes. As for Steve Winwood, he quickly faded off into obscurity, never to be heard from again. Except as the leader of Traffic. And a member of Blind Faith. And Traffic again. And some critically-acclaimed collaborations in the early 1980s with Asian musicians. Oh yeah, and a few major solo hits like Back In The High Life Again and Roll With It in the late 80s. Other than that, nothing.

Artist:    Simon and Garfunkel
Title:    Scarborough Fair/Canticle
Source:    Collected Works (originally released on LP: Parsley, Sage, Rosemary and Thyme)
Writer(s):    Paul Simon
Label:    Columbia
Year:    1966
    After the reunion of Paul Simon and Art Garfunkel following the surprise success of an electrified remix of The Sound Of Silence, the two quickly recorded an album to support the hit single. Sounds Of Silence was, for the most part, a reworking of material that Simon had recorded for 1965 UK LP the Paul Simon Songbook. The pressure for a new album thus (temporarily) relieved, the duo got to work on their first album of all new material since their unsuccessful 1964 effort Wednesday Morning 3AM (which had in fact been re-released and was now doing well on the charts). In October the new album, Parsley, Sage, Rosemary and Thyme, hit the stands. The title track was a new arrangement of an old English folk ballad, Scarborough Fair, combined with a reworking of a 1963 Simon tune (The Side Of A Hill,) with all-new lyrics and retitled Canticle. The two melodies and sets of lyrics are set in counterpoint to each other, creating one of the most sophisticated folk song arrangements ever recorded. After being featured in the film The Graduate, Scarborough Fair/Canticle was released as a single in early 1968, going on to become one of the duo's most celebrated songs.

Artist:    Bob Dylan
Title:    I Want You
Source:    Mono LP: Blonde On Blonde
Writer(s):    Bob Dylan
Label:    Columbia
Year:    1966
    I Want You, Bob Dylan's first single of 1966, was released in advance of his Blonde On Blonde album and was immediately picked by the rock press to be a hit. It was.
Artist:    Tim Rose
Title:    King Lonely The Blue
Source:    45 RPM single B side
Writer(s):    Pomus/Adriani
Label:    Columbia
Year:    1966
    Tim Rose was a native of Washington, DC, who, along with his friend and neighbor Scott McKenzie in the early 1960s formed a folk group called the Singing Strings. In 1962 he met Cass Elliot at a party in Georgetown which led to the formation of The Big 3. The trio soon landed a steady gig at The Bitter End in New York's Greenwich Village and appeared on several national TV shows, including Hootenanny and Johnny Carson's Tonight Show. The Big 3 split up in 1966, and Rose soon signed a contract as a solo artist with Columbia Records, releasing his first single,  Mother, Father, Where Are You, in March. He followed it up with the first recorded slow version of Billy Roberts's Hey Joe (although Rose claimed it was a traditional song), which became a regional hit in the San Francisco area in the summer of 1966. The B side of the single was a cover of King Lonely The Blue, a song written by Doc Pomus and Bob Andriani and first released by The Bitter End Singers in 1965.

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:    Saturday's Children
Title:    Tomorrow Is Her Name
Source:    CD: If You’re Ready! The Best Of Dunwich Records...Volume 2 (originally released on LP: The Dunwich Records Story)
Writer(s):    Bryan/Holder
Label:    Sundazed/Here 'Tis (original label:Tutman)
Year:    Recorded 1966, released 1990
    Saturday's Children was a Chicago area band formed in 1965 by vocalist/songwriter Geoff Bryan, who also played bass for the band. Other members included Ron Holder (rhythm guitar, vocals), Rich Goettler (organ/vocals), Dave Carter (lead guitar, vocals) and George Paluch (drums, vocals). With so many vocalists in the band, it was inevitable that the band would feature harmonies; with it being 1966 it was probably just as inevitable that these harmonies would be along the same lines as those of various British Invasion bands such as the Searchers, the Zombies and of course the Beatles. The group went into the studio and recorded at least five tracks in August of 1966, issuing two of them on a single in October. Of the remaining songs, one was included on an early 70s sampler album on the Happy Tiger label. Possibly the best of all the songs, however, was a Bryan/Holder original called Tomorrow Is Her Name. The recording remained in the vaults until 1990, when it was included on an album called the Dunwich Records Story on the Tutman label in 1990. It was well worth the wait.

Artist:    Trolls
Title:    Are You The One?
Source:    45 RPM single B side
Writer(s):    Richard Clark
Label:    ABC
Year:    1966
    The Trolls were a garage rock band from Chicago consisting of Richard Clark (organ), Ken Cortese (drums), Rick Gallagher (guitar), and Max Jordan (bass). Like many Chicago area groups, they showed a stronger Beatles influence that most American garage bands, who tended to favor the rougher Rolling Stones approach. Their first single, Every Day And Every Night, was one of the last to be released on the ABC Paramount label, but was recalled and re-released as one of the first on the ABC label when it was discovered that the original label had the name of the song wrong. The B side (correctly identified on both releases) was a Clark tune called Are You The One?

Artist:    Blues Image
Title:    Take Me To The Sunrise
Source:    LP: Blues Image
Writer(s):    Blues Image
Label:    Atco
Year:    1969
    Formed in Tampa, Florida, in 1966, Blues Image originally consisted of singer-guitarist Mike Pinera, singer-drummer Manuel "Manny" Bertematti, singer-percussionist Joe Lala, keyboardist Emilio Garcia, and bassist Malcolm Jones. They were later joined by keyboardist Frank "Skip" Konte when Emilio Garcia left the band to become a pilot. The band relocated to Miami in 1968, where they became the house band at the legendary club Thee Image. While performing at Thee Image, the members of Blues Image became friends with members of several bands that played there, including Cream, Jimi Hendrix, and the Grateful Dead. It was Hendrix that convinced them that a move to Los Angeles would be to their benefit, and sure enough the Blues Image landed a contract with Atco shortly after their arrival there. Their debut album was released in February of 1969. After two more albums and one hit single (Ride Captain Ride), Blues Image split up in 1970, although several of the band's members stayed active with other bands for many years. Joe Lala, who shares lead vocals with guitarist Mike Pinera on Take Me To The Sunrise, later became an actor, appearing in several TV series and providing voice work for a number of animated features until his death in 2005.

Artist:    Frijid Pink
Title:    Tell Me Why
Source:    45 RPM single
Writer(s):    Beaudry/Thompson
Label:    Parrot
Year:    1968
    Tell Me Why was the first single released by Detroit's Frijid Pink in December of 1968. Although it failed to make the US charts, it did climb to the #70 spot in Canada in 1969 and was included on Frijid Pink's self-title debut LP in 1970.

Artist:    Monkees
Title:    No Time
Source:    CD: Headquarters
Writer(s):    Hank Cicalo
Label:    Rhino (original label: Colgems)
Year:    1967
    No Time is basically a Little Richard styled rock 'n' roll studio jam by the Monkees, with Micky Dolenz improvising on the lyrics. The band, who played their own instruments on the recording, decided to credit the song to recording engineer Hank Cicalo, in appreciation for the hard work he was putting in as de facto producer of their Headquarters album. This actually got Cicalo in trouble with the brass at RCA, who had strict rules about engineers soliciting songs to be recorded. On the other hand, the royalties from the song helped him buy a house.

Artist:    Who
Title:    Boris The Spider
Source:    LP: Meaty, Beaty, Big and Bouncy (originally released on LP: Happy Jack)
Writer:    John Entwhistle
Label:    MCA (original label: Decca)
Year:    1966
    For many years, Boris the Spider was Who bassist John Entwhistle's signature song. Eventually Entwhistle got sick of singing it and wrote another one. Truth is, he wrote a lot of songs, but like the Beatles's George Harrison, did not always get the recognition as a songwriter that more prolific bandmate Pete Townshend got. This was one of the first album tracks I ever heard played on an FM station (KLZ-FM in Denver, the first FM in the area to play something besides classical, jazz or elevator music).

Rockin' in the Days of Confusion # 2318 (starts 5/1/23)

    Only one-third of this week's tunes have been heard on Rockin' in the Days of Confusion before, and it's been over two years since half of those have been played on the show. The "new" tracks are pretty tasty, too, with contributions from Bonnie Raitt, the Allman Brothers Band, Steely Dan and others, including the unedited original version of a Grand Funk Railroad classic from the Survival album.

Artist:    Spirit
Title:    I Got A Line On You
Source:    European import CD: Pure....Psychedelic Rock (originally released as 45 RPM single and included on LP: The Family That Plays Together)
Writer(s):    Randy California
Label:    Sony Music (original label: Ode)
Year:    1968
    Although not an instant hit by any measure, I Got A Line On You, from Spirit's second album, The Family That Plays Together, has proven to be the band's most popular song. Released in October of 1968, the song lingered below the top 100 for several weeks before college radio stations began playing it in late November. The tune finally peaked at #25 on March 15, 1969.

Artist:    Wishbone Ash
Title:    Queen Of Torture
Source:    CD: Wishbone Ash
Writer:    Upton/Turner/Turner/Powell
Label:    MCA (original label: Decca)
Year:    1970
    One of the first bands to use dual lead guitars was Wishbone Ash. When Glen Turner, the band's original guitarist, had to leave, auditions were held, but the remaining members and their manager couldn't decide between the two finalists, Andy Powell and Ted Turner, so they kept both of them. Queen Of Torture, from their 1969 debut album, shows just how well the two guitars meshed.

Artist:    Steely Dan
Title:    Daddy Don't Live In That New York City No More
Source:    CD: Katy Lied
Writer(s):    Becker/Fagen
Label:    MCA (original label: ABC)
Year:    1975
    Walter Becker and Donald Fagen abandoned their usual commentary on the dark side of Southern California life for the even darker tale of an alcoholic low-class criminal from the opposite coast in Daddy Don't Live In That New York City No More, from the 1975 album Katy Lied. The song describes the life "Daddy" led before disappearing, implying that he himself may have been the victim, as well as the perpetrator, of foul play.

Artist:    Graham Nash and David Crosby
Title:    The Wall Song
Source:    45 RPM single B side
Writer(s):    David Crosby
Label:    Atlantic
Year:    1972
    Such was the popularity of Crosby, Stills, Nash and Young in the early 70s that each of the members, both as solo artists and in various combinations of two or three members, released albums in addition to official group recordings, all of which sold well. One such effort was the 1972 album by Graham Nash and David Crosby. One of the more notable tracks on the album is The Wall Song, featuring (in addition to Crosby and Nash) Jerry Garcia, Phil Lesh and Bill Kreutzmann on guitar, bass and drums. The version heard here is the rare mono mix of The Wall Song, issued as a B side in 1972.
Artist:    Steeleye Span
Title:    The Bold Poachers
Source:    LP: Parcel of Rogues
Writer(s):    Traditional lyrics w/ music by Steeleye Span
Label:    Chrysalis
Year:    1973
    While groups like Fairport Convention and the Pentangle did electrified versions of old British folk songs, Steeleye Span took it a step further by writing all-new music to go with traditional lyrics on songs such as The Bold Poachers, from their 1973 LP Parcel Of Rogues. Although it was the group's fifth studio album, it was the first to become a top 30 album in the UK.

Artist:    Led Zeppelin
Title:    Hey, Hey, What Can I Do
Source:    Stereo 45 RPM single B side
Writer(s):    Page/Plant/Bonham/Jones
Label:    Atlantic
Year:    1970
    In their entire existence Led Zeppelin only issued one non-album track. Hey, Hey, What Can I Do was originally released as the B side of Immigrant Song in 1970, and was included on a British anthology album called the New Age Of Atlantic the following year. The song was not available in any other form in the US until 1990, when it was included in the first Led Zeppelin box set. It has since been made available as a bonus track on the Led Zeppelin III CD.

Artist:    Bonnie Raitt
Title:    Write Me A Few Of Your Lines/Kokomo Blues
Source:    LP: Takin My Time
Writer(s):    Fred McDowell
Label:    Warner Brothers
Year:    1973
    Bonnie Raitt shines on slide guitar as well as vocals on her version of the Mississippi Fred McDowell tunes Write Me A Few Of Your Lines and Kokomo Bkues, presented as a medley on Raitt's third LP, Takin My Time. The album itself was originally slated to be produced by Little Feat's Lowell George, and several members of that band play on the LP, but Raitt replaced him with John Hall from the band Orleans, saying later that with George "It became too emotional. It's hard having a strong woman telling the man her ideas when, in fact, the man wants to take over the situation."

Artist:    Allman Brothers Band
Title:    Blue Sky
Source:    CD: Eat A Peach
Writer(s):    Dickie Betts
Label:    Mercury (original label: Capricorn)
Year:    1972
    When guitarist Duane Allman died in a motorcycle crash in October of 1971, his group, the Allman Brothers Band, had completed only three studio tracks for their next album. The best known of these is Blue Sky, a Dickie Betts composition that would appear in early 1972 on the album Eat A Peach. The song, featuring Betts on lead vocal, serves as an early blueprint for what would come to be known as Southern Rock.

Artist:    Santana
Title:    Every Step Of The Way
Source:    LP: Caravanserai
Writer(s):    Mike Shrieve
Label:    Columbia
Year:    1972
    In 1972, following three artistic and commercially successful albums, Carlos Santana and his band decided to undergo a major change in style, abandoning latin flavored rock in favor of a more experimental jazz sound. The resulting album, Caravanserai, was indeed a departure for the group. The album was made up mostly of long instrumental tracks like Every Step Of The Way, and produced no hit singles. Predictably, this marked the beginning of a commercial decline for Santana, and led to the departure of two of its members, Greg Rolie and Neal Schon, to form Journey in 1973.

Artist:    Beck, Bogert & Appice
Title:    Superstition
Source:    LP: Beck, Bogert & Appice
Writer(s):    Stevie Wonder
Label:    Epic
Year:    1973
    Superstition is a Stevie Wonder composition that grew out of a jam session with Jeff Beck, who came up with the song's opening drum riff. In appreciation for Beck's contribution to the album Talking Book, Wonder gave the song to Beck to release as a single. Beck recorded the song with his new group Beck, Bogert & Appice, but a combination of delays in the release of their debut LP and the insistence of Motown honcho Berry Gordy that Wonder's version had hit potential led to Wonder's version actually being released before Beck's. As Gordy had predicted, Superstition was a huge hit for Wonder, while the Beck, Bogert & Appice version ended up being released only as an album track (except in Japan, where it was released as a single as well).

Artist:    Grand Funk Railroad
Title:    All You've Got Is Money (2002 remix of original unedited version)
Source:    CD: Survival (bonus track)
Writer(s):    Mark Farner
Label:    Capitol
Year:    1971
    As originally recorded, Mark Farner's All You've Got Is Money ran over eight minutes in length and included a guitar intro, harmonica solo, a double-time section and several extra verses that were edited out of the album version of the song to make it less than five and a half minutes long. In 2002 the original versions of All You've Got Is Money and several other tunes were remixed and included as bonus tracks on the CD version of Survival.

Artist:    Jefferson Airplane
Title:    Somebody To Love
Source:    LP: Vintage Rock (originally released on LP: Surrealistic Pillow)
Writer(s):    Darby Slick
Label:    K-Tel (original label: RCA Victor)
Year:    1967
            If not for Somebody To Love, no one would even remember that Grace Slick and her husband Jerry were once in a band with her brother-in-law, Darby, who wrote the song.

Sunday, April 23, 2023

Stuck in the Psychedelic Era # 2317 (starts 4/24/23)

    In recent weeks we've had battles of band vs solo artist and band vs duo, but no actual battle of the bands...until now. And this one features two of the best, as we have the 1966-67 Electric Prunes going up against the 1965-66 Rolling Stones. Also of note: Jorma Kaukonen and Jack Casady (along with drummer Joey Covington) in a pre-Hot Tuna performance recorded by Owsley Stanley in June of 1969, and several sets from specific years, starting with a fairly long one from 1967.

Artist:    Strawberry Alarm Clock
Title:    Incense And Peppermints
Source:    Mono CD: Billboard Top Rock 'n' Roll Hits-1967 (originally released as 45 RPM single B side)
Writer:    Carter/Gilbert/Weitz/King
Label:    Rhino (original label: All-American)
Year:    1967
    Incense and Peppermints is one of the iconic songs of the psychedelic era, yet when it was originally released to Los Angeles area radio stations it was intended to be the B side of The Birdman of Alkatrash. Somewhere along the line a DJ flipped the record over and started playing Incense And Peppermints instead. The song caught on and Uni Records (short for Universal, which is now the world's largest record company) picked up the Strawberry Alarm Clock's contract and reissued the record nationally with Incense And Peppermints as the A side.

Artist:    Vagrants
Title:    Respect
Source:    Mono LP: Nuggets Vol. 2-Punk (originally released as 45 RPM single B side)
Writer(s):    Otis Redding
Label:    Rhino (original label: Atco)
Year:    1967
    Sounding a lot like the Rascals, the Vagrants were a popular Long Island band led by singer Peter Sabatino and best remembered for being the group that had guitarist Leslie Weinstein in it. Weinstein would change his last name to West and record a solo album called Mountain before forming the band of the same name. This version of Respect is fairly faithful to the original Otis Redding version. Unfortunately for the Vagrants, Aretha Franklin would release her radically rearranged version of the song just a few weeks after the Vagrants, relegating their version of the tune (and the Vagrants themselves) to footnote status.

Artist:    Jimi Hendrix Experience
Title:    The Stars That Play With Laughing Sam's Dice
Source:    German import 45 RPM single B side
Writer(s):    Jimi Hendrix
Label:    Polydor
Year:    1967
    The fourth single released in Europe and the UK by the Jimi Hendrix Experience was 1967's Burning Of The Midnight Lamp, which appeared in stereo the following year on the album Electric Ladyland. The B side of that single was a strange bit of psychedelia called The Stars That Play With Laughing Sam's Dice, which is also known in some circles as STP With LSD. The piece features Hendrix on guitar and vocals, with background sounds provided by a cast of at least dozens. Hendrix's vocals are, throughout much of the track, spoken rather than sung, and resemble nothing more than a cosmic travelogue with Hendrix himself as the tour guide. The original mono mix of the track has never been released in the US, which is a shame, since it is the only version where Jimi's vocals dominate the mix, allowing his somewhat whimsical sense of humor to shine through.

Artist:    Captain Beefheart And His Magic Band
Title:    Zig Zag Wanderer
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released on LP: Safe As Milk)
Writer(s):    Don Van Vliet
Label:    Rhino (original label: Buddah)
Year:    1967
    Don Van Vliet made his first recordings as Captain Beefheart in 1965, covering artists like Bo Diddley in a style that could best be described as "punk blues." Upon hearing those recordings A&M Records, despite its growing reputation as a hot (fairly) new label, promptly cancelled the project. Flash forward a year or so. Another hot new label, Buddah Records, an offshoot of Kama Sutra Records that had somehow ended up being the parent rather than the subsidiary, was busy signing new acts like Johnny Winter, and ended up issuing Safe As Milk in 1967 as their very first LP. The good captain would eventually end up on his old high school acquaintance Frank Zappa's Bizarre Records, turning out classic albums like Trout Mask Replica, and the world would never be quite the same.

Artist:      Kinks
Title:     Harry Rag
Source:      LP: Something Else By The Kinks
Writer:    Ray Davies
Label:    Reprise
Year:     1967
     By 1967 the Kinks were starting to feel the effects of a four-year ban on performing in the United States imposed in 1965 by the American Federation of Musicians due to their rowdy onstage behavior. Their last major US hit had been Sunny Afternoon the previous summer, although they continued to have success in their native England. Their 1967 album Something Else was their first LP to be released in stereo, but went virtually unnoticed in the US. The album was produced by Ray Davies, and included a wide variety of songs, including Harry Rag, a tune that could easily have been passed off as an English sea chanty. The Kinks would continue to struggle in the US until 1970, when the international hit Lola put them once again in the spotlight.

Artist:    Chambers Brothers
Title:    Time Has Come Today
Source:    LP: Nuggets Vol. 9-Acid Rock (originally released on LP: The Time Has Come)
Writer(s):    Joe and Willie Chambers
Label:    Rhino (original label: Columbia)
Year:    1967
    One of the quintessential songs of the psychedelic era is the Chambers Brothers' classic Time Has Come Today. The song was originally recorded and issued as a single in 1966. The more familiar version heard here, however, was recorded in 1967 for the album The Time Has Come. The LP version of the song runs about eleven minutes, way too long for a 45 RPM record, so before releasing the song as a single for the second time, engineers at Columbia cut the song down to around 3 minutes. The edits proved so jarring that the record was recalled and a re-edited version, clocking in at 4:57 became the third and final single version of the song, hitting the charts in 1968.

Artist:    Shadows Of Knight
Title:    I'll Make You Sorry
Source:    LP: Back Door Men
Writer(s):    Joe Kelley
Label:    Sundazed (original label: Dunwich)
Year:    1966
    Following the success of the Shadows Of Knight's debut single and LP (both titled Gloria), the band went back into the studio with a bit more experience under their belt and came up with their finest album, Back Door Men. Like Gloria, Back Door Men contained a mixture of Chicago blues and garage/punk, but overall had a greater diversity of style than its predecessor. Surprisingly, every song on the album worked, including the vindictive punk rocker I'll Make You Sorry, which was also released as a B side.

Artist:    13th Floor Elevators
Title:    Thru The Rhythm
Source:    CD: The Psychedelic Sounds Of The 13th Floor Elevators
Writer(s):    Sutherland/Hall
Label:    Collectables (original label: International Artists)
Year:    1966
    The Psychedelic Sounds Of The 13th Floor Elevators was reportedly recorded while the entire band was tripping on LSD, making it the first known example of acid rock to be released on vinyl. The album was also (arguably) the first rock album to include the word psychedelic in its title. The 13th Floor Elevators were formed by vocalist Roky Erickson, guitarist Stacy Sutherland and electric juggist Tommy Hall, who also provided lyrics for the group's original compositions such as Thru The Rhythm. Hearing is believing.

Artist:    Buffalo Springfield
Title:    For What It's Worth (Stop, Hey What's That Sound)
Source:    LP: Homer (soundtrack) (originally released as 45 RPM single)
Writer(s):    Stephen Stills
Label:    Cotillion (original label: Atco)
Year:    1967
    By mid-1966 Hollywood's Sunset Strip was being taken over every night by local teenagers, with several underage clubs featuring live music being a major attraction. Many of the businesses in the area, citing traffic problems and rampant drug and alcohol abuse, began to put pressure on city officials to do something about the situation. The city responded by passing new loitering ordinances and imposing a 10PM curfew on the Strip. They also began putting pressure on the clubs, including condemning the popular Pandora's Box for demolition. On November 12, 1966 fliers appeared on the streets inviting people to a demonstration that evening to protest the closing of the club. The demostration continued over a period of days, exascerbated by the city's decision to revoke the permits of a dozen other clubs on the Strip, forcing them to bar anyone under the age of 21 from entering. Stephen Stills, a member of Buffalo Springfield, one of the many bands appearing regularly in these clubs, wrote a new song in response to the situation, and the band quickly booked studio time, recording the still-unnamed track on December 5th. The band had recently released their debut LP, but sales of the album were lackluster due to the lack of a hit single. Stills reportedly presented the new recording to label head Ahmet Ertegun with the words "I have this song here, for what it's worth, if you want it." Ertegun, sensing that he had a hit on his hands, got the song rush-released two days before Christmas, 1966, using For What It's Worth as the official song title, but sub-titling it Stop, Hey What's That Sound on the label as well. As predicted, For What It's Worth was an instant hit in the L.A. market, and soon went national, where it was taken by most record buyers to be about the general sense of unrest being felt across the nation over issues like racial equality and the Vietnam War (and oddly enough, by some people as being about the Kent State massacre, even though that happened nearly three years after the song was released). As the single moved up the charts, eventually peaking at #7, Atco recalled the Buffalo Springfield LP, reissuing it with a modified song selection that included For What It's Worth as the album's openng track. Needless to say, album sales picked up after that. As a matter of fact, I don't think I've ever even seen a copy of the Buffalo Springfield album without For What It's Worth on it, although I'm sure some of those early pressings must still exist.

Artist:     Blue Cheer
Title:     Out Of Focus
Source:     Dutch import LP: Vincebus Eruptum
Writer:     Dickie Peterson
Label:     Philips
Year:     1968
     With the possible exception of the Grateful Dead (when they were using the Owsley-designed sound system), the loudest band to come out of San Francisco was Blue Cheer. The album Vincebus Eruptum, highlighted by the band's feedback-drenched version of Eddie Cochrane's Summertime Blues, is considered by some to be the first heavy metal album ever recorded. My own favorite track on the album is Out Of Focus, which opens side 2 of the LP and was issued as the B side of Summertime Blues.

Artist:    Cream
Title:    Passing The Time
Source:    CD: Wheels Of Fire
Writer(s):    Baker/Taylor
Label:    Polydor (original label: Atco)
Year:    1968
    Although Jack Bruce is generally acknowledged as the member of Cream that provided the most psychedelic material that the band recorded, drummer Ginger Baker gave him a run for his money on the studio half of their third LP, Wheels Of Fire. Perhaps the best of these was Passing The Time, which alternates between a slow, dreamlike section notable for its use of a calliope and a fast section that rocks out as hard as anything the band performed live in concert.

Artist:    Beatles
Title:    I'm So Tired
Source:    CD: The Beatles
Writer:    Lennon/McCartney
Label:    Parlophone (original label: Apple)
Year:    1968
    Somehow I can't help but thinking of the Firesign Theatre's Further Adventures of Nick Danger every time I hear this song. I guess that's better than thinking of Charles Manson's group, which some of the other songs on the "white album" make me do.

Artist:     Frumious Bandersnatch
Title:     Hearts To Cry
Source:     British import CD: The Berkeley EPs (originally released on self-titled EP)
Writer:     Jack King
Label:     Big Beat (original label: Muggles Gramophone Works)
Year:     1968
     Rock music and the real estate business have something in common: location can make all the difference. Take the San Francisco Bay Area. You have one of the world's great Cosmopolitan cities at the north end of a peninsula. South of the city, along the peninsula itself you have mostly redwood forest land interspersed with fairly affluent communities along the way to Silicon Valley and the city of San Jose at the south end of the bay. The eastern side of the bay, on the other hand, spans a socio-economic range from blue collar to ghetto and is politically conservative; not exactly the most receptive environment for a hippy band calling itself Frumious Bandersnatch, which is a shame, since they had at least as much talent as any other band in the area. Unable to develop much of a following, they are one of the great "should have beens" of the psychedelic era, as evidenced by Hearts To Cry, the lead track of their 1968 untitled EP.

Artist:    Simon And Garfunkel
Title:    Somewhere They Can't Find Me
Source:    LP: Sounds Of Silence
Writer(s):    Paul Simon
Label:    Columbia
Year:    1966
    The first Simon And Garfunkel album, Wednesday Morning 3AM, was a fairly traditional type of folk LP. The album was originally released in late 1964, but due to lackluster sales was soon deleted from the Columbia catalog. In 1965 Paul Simon relocated to London, releasing a solo LP called the Paul Simon Songbook there. Before leaving the country, however, he and Art Garfunkel recorded two new songs in a more upbeat style. One of those two, We've Got A Groovey Thing Goin', was used as the B side for an electrified version of The Sound Of Silence, a tune from Wednesday Morning 3AM that was issued without the knowledge of either Simon or Garfunkel. The other song, Somewhere They Can't Find Me, was, lyrically, a reworking of the title track of Wednesday Morning 3AM, but with entirely new music inspired by a Davey Graham tune called Anji. It remained unreleased until 1966, when the duo reunited in early 1966 and quickly put together a new album, Sounds of Silence, to capitalize on the success of the unauthorized (but happily accepted) single. On the album itself, Somewhere They Can't Find Me is followed by Simon's cover of Anji.

Artist:    Beach Boys
Title:    I'm Waiting For The Day
Source:    Mono CD: Pet Sounds
Writer(s):    Wilson/Love
Label:    Capitol
Year:    1966
    Although it was originally copyrighted in 1964 (words and music by Brian Wilson), I'm Waiting For The Day did not get recorded or released until 1966, when it appeared on the Pet Sounds album. Mike Love shares writing credit on the finished version of the song.

Artist:    Love
Title:    Stephanie Knows Who
Source:    CD: Da Capo
Writer(s):    Arthur Lee
Label:    Elektra
Year:    1966
    Following up on a strong, if not spectacular debut LP followed by a national hit record (7&7 Is), Love went into the studio with two new members to record their second album, Da Capo. By this point Love had established itself as the most popular band on the Sunset Strip, and the music on Da Capo is a fair representation of what the group was doing onstage (including the 17 minute Revelation, which takes up the entire second side of the LP). The opening track, Stephanie Knows Who, is hard proto-punk, showcasing the band's tightness with abrupt changes in tempo throughout the song. The tune, originally released as a single in October of 1966 but quickly withdrawn in favor of She Comes In Colors, also features the harpsichord playing of "Snoopy" Pfisterer, who switched over from drums to keyboards for the LP, making way for Michael Stewart, who stayed with the band for their next LP, Forever Changes.

Artist:    Bobby Hebb
Title:    Bread
Source:    45 RPM single B side
Writer(s):    Ross/Renzetti
Label:    Philips
Year:    1966
    Robert Von "Bobby" Hebb is best known for his 1966 hit Sunny, but in fact had a long and productive career starting when he was three years old, when he and his older brother Harold performed in Nashville as a song-and-dance team. In the early 1950s he performed on a local TV show, leading to him becoming a member of Roy Acuff's band. His other credits include a stint with the US Navy jazz band, recording backup vocals for Bo Diddley and even becoming a replacement Mickey in Mickey and Sylvia for awhile. At the height of his popularity Hebb toured with the Beatles in 1966 (at that time Sunny was charting higher than any Beatles song). Among the other songs Hebb was performing at the time was a song called Bread, which appeared as the B side of Sunny.  

Artist:    Poets
Title:    That's The Way It's Gotta Be
Source:    Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released in UK as 45 RPM single)
Writer(s):    Gallacher/Paton/Myles
Label:    Rhino (original label: Decca)
Year:    1965
    From Glasgow, Scotland, the Poets were discovered by Rolling Stones' manager/producer Andrew Loog Oldham while on a trip to Edinburgh to marry his 16-year-old girlfriend. Although Oldham's primary focus remained on the Stones (and presumably his girlfriend), he did stick by the Poets through half a dozen singles from 1964 through 1967. One of the best of these was That's The Way It's Gotta Be, released on the British Decca label in 1965.

Artist:    Rolling Stones
Title:    Play With Fire
Source:    Mono CD: Singles Collection-The London Years (originally released as 45 RPM single B side and on LP: Out Of Our Heads)
Writer(s):    Jagger/Richards
Label:    London
Year:    1965
    Generally when one thinks of the 60s incarnation of the Rolling Stones the first thing that comes to mind is down to earth rock and roll songs such as Satisfaction, Jumpin' Jack Flash and Honky Tonk Women. The band has always had a more mellow side, however. In fact, the first Mick Jagger/Keith Richards compositions were of the slower variety, including Heart Of Stone and As Tears Go By. Even after the duo started cranking out faster-paced hits like 19th Nervous Breakdown and The Last Time, they continued to write softer songs such as Play With Fire, which made the charts as a B side in 1965. The lyrics of Play With Fire, with their sneering warning to not mess with the protagonist of the song, helped cement the Stones' image as the bad boys of rock and roll.

Artist:    Electric Prunes
Title:    Capt. Glory
Source:    CD: Underground
Writer(s):    James Lowe
Label:    Collector's Choice/Rhino (original label: Reprise)
Year:    1967
        Electric Prunes lead vocalist James Lowe says one of his favorite vocals on the second Electric Prunes album, Underground, was on the song called Capt. Glory. Although he cites the song's "loose, silly" quality, my cynical side thinks it may have something to do with the fact that it is the only track on the album with writing credits going solely to Lowe himself.
Artist:    Rolling Stones
Title:    Going Home
Source:    British import LP: Aftermath
Writer(s):    Jagger/Richards
Label:    Abkco (original label: Decca)
Year:    1966
    Goin' Home was not originally meant to run over eleven minutes, but when the Rolling Stones recorded the track they decided to keep the tape rolling as the band kept on jamming after the intended two and a half minutes had passed. The result was one of the first extended-length studio recordings by a rock band and the first "jam" recorded expressly for an album. The regular lineup of Mick Jagger (vocals), Keith Richards (guitar), Billy Wyman (bass), Charlie Watts (drums) and Brian Jones (who plays harmonica on the tune) was augmented by Ian Stewart on piano and Jack Nitzsche on percussion. The track was included on both the US and UK versions of the Aftermath album, which was the first Stones LP to not include any cover songs as well as being the first Rolling Stones album to be recorded in true stereo.

Artist:    Electric Prunes
Title:    I Had Too Much To Dream (Last Night)
Source:    LP: Nuggets Vol. 1-The Hits (originally released on LP: The Electric Prunes and as 45 RPM single)
Writer(s):    Tucker/Mantz
Label:    Rhino (original label: Reprise)
Year:    1966
    The Electric Prunes' biggest hit was I Had Too Much To Dream (Last Night), released in November of 1966. The record, initially released without much promotion from their record label, was championed by Seattle DJ Pat O'Day of KJR radio, and was already popular in that area when it hit the national charts (thus explaining why so many people assumed the band was from Seattle). I Had Too Much To Dream (Last Night) has come to be one of the defining songs of the psychedelic era and was the opening track on the original Lenny Kaye Nuggets compilation (and the second track on Rhino's first Nuggets LP).

Artist:    Rolling Stones
Title:    Get Off My Cloud
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
    Early British Invasion bands generally fell into one of two camps. On the one hand there were the relatively clean-cut Merseybeat bands such as Gerry and the Pacemakers, Herman's Hermits and of course the Beatles themselves, who were the overwhelming favorites of teenage girls all across America. Then there were the so-called "bad boy" bands such as Them and the Animals who tended to favor a raunchier interpretation of rock and roll than their Merseybeat counterparts and had more male than female fans. Chief among these were London's Rolling Stones. While the Beatles were still cranking out love songs through most of 1965, the Stones were shouting their defiance at the world with songs like Get Off My Cloud.  

Artist:    Electric Prunes
Title:    Hideaway
Source:    CD: Underground
Writer(s):    Lowe/Tulin
Label:    Collector's Choice/Rhino (original label: Reprise)
Year:    1967
    After the moderately successful first Electric Prunes album, producer David Hassinger loosened the reigns a bit for the followup, Underground. Among the original tunes on Underground was Hideaway, a song that probably would have been a better choice as a single than what actually got released: a novelty tune called Dr. Feelgood written by Annette Tucker and Nancie Mantz, who had also written the band's first hit, I Had Too Much To Dream (Last Night)

Artist:    Scarlet Letter
Title:    Time Keeper
Source:    Mono British import CD: All Kinds Of Highs (originally released in US as 45 RPM single B side)
Writer(s):    Seanor/Spindler
Label:    Big Beat (original label: Mainstream)
Year:    1969
    One of the Detroit music scene's most overlooked bands, the Scarlet Letter released three singles for Bob Shad's Mainstream label. The best of these was a tune called Mary Maiden, with the equally strong Timekeeper on the flip side. The group also released a single on the Time label (a subsidiary of Mainstream) using the name Paraphernalia in 1968.

Artist:     Bob Seger System
Title:     Tales Of Lucy Blue (originally released as 45 RPM single B side)
Source:     LP: Ramblin' Gamblin' Man
Writer:     Bob Seger
Label:     Capitol
Year:     1969
     For many years the only Bob Seger record I owned was the single Ramblin' Gamblin' Man that I bought new in 1969 at the Base Exchange at Ramstein Air Force Base Germany for about 50 cents. The B side was the song Tales of Lucy Blue. After that single disappeared from my collection I never bought another Bob Seger record (although I did score a promo copy of Turn The Page from a radio station I was working at in the mid 90s). More recently I was allowed to pillage the WEOS vinyl archives (found on the Hobart and William Smith campus in a storage area in one of the dorms) and found this copy of the Ramblin' Gamblin' Man album. The cover features a young blond woman dressed in blue satin against a blue background. It turns out that the album (Seger's first) was originally going to be titled Tales of Lucy Blue but was changed at the last minute by the shirts at Capitol in order to capitalize on the popularity of the single that I had bought a copy of back in 1969. Luckily they didn't change the cover art as well, as a picture of Seger in blue satin probably wouldn't have worked.
Artist:    Jorma Kaukonen/Jack Casady
Title:    Inspiration In The Hall Of Arrivals
Source:    CD: Before We Were Them-June 28, 1969
Writer(s):    Kaukonen/Casady
Label:    Bear's Sonic Journals
Year:    Recorded 1969, released 2018
    Shortly after finishing recording sessions for the 1969 Jefferson Airplane album Volunteers, guitarist Jorma Kaukonen and bassist Jack Casady did a pair of shows at the Vets Memorial Building in Santa Rosa, California, that were recorded, but not released, by Owsley "Bear" Stanley. Accompanied by future Airplane drummer Joey Covington, Jorma And Jack, as they were billed, did a set of mostly improvisational pieces, most of which went nameless until 2018, when Bear's Sonic Journals, released recordings of the second show on a CD called Before We Were Them-June 28, 1969. Included as a bonus track was Inspiration In The Hall Of Arrivals, which was actually recorded on June 27, 1969. Three months later Kaukonen and Casady recorded their first Hot Tuna album together.

Artist:    Vanilla Fudge
Title:    She's Not There
Source:    LP: Vanilla Fudge
Writer(s):    Rod Argent
Label:    Atco
Year:    1967
    With the exception of three short audio bridges between songs on side two of the original LP (none of which exceed 23 seconds in length), the entire first Vanilla Fudge album was made up of heavily rearranged cover songs. Among them was a slowed down, psychedelic prog-rock version of She's Not There. Although it is one of the more overlooked songs from the Vanilla Fudge catalog, it is a unique take on the Zombies classic.

Artist:    Donovan
Title:    Wear Your Love Like Heaven
Source:    CD: Donovan's Greatest Hits (originally released on LP: A Gift From A Flower To A Garden)
Writer(s):    Donovan Leitch
Label:    Epic/Legacy
Year:    1967
    Following the release of his Mellow Yellow album in early 1967 Donovan decided to take a break from the studio, only recording a pair of singles over the next few months. Finally, in October, the Scottish singer/songwriter began work on his next album, a double LP to be called A Gift From A Flower To A Garden. The first disc was a collection of electric pop songs subtitled Wear Your Love Like Heaven, while the second, For Little Ones, featured more acoustic material and was oriented to a younger audience. As a way of hedging their bets, Epic Records also issued the project as a pair of separate albums. The lead single from the album was the title track from the first disc, Wear Your Love Like Heaven, which also opens the entire album. The song did fairly well on the charts, peaking at #23 in the US, and is considered a highlight of Donovan's psychedelic period.

Artist:    John Mayall with Eric Clapton
Title:    Ramblin' On My Mind
Source:    Mono LP: Blues Breakers
Writer(s):    Robert Johnson
Label:    London/Sundazed
Year:    1966
    After leaving the Yardbirds, guitarist Eric Clapton joined up with the dean of the British blues scene, John Mayall. Mayall was known for giving the members of his band, the Bluesbreakers, room to strut their stuff, even if they themselves were a bit shy about being in the spotlight. The first Mayall album to feature Clapton did just that: the LP itself was billed as John Mayall with Eric Clapton, and Mayall even convinced a reluctant Clapton to sing on their cover of Robert Johnson's classic Ramblin' On My Mind. Although Clapton had contributed vocally to some Yardbirds recordings, this was his first recorded solo vocal performance.

Rockin' in the Days of Confusion # 2317 (starts 4/24/23)

    The first two-thirds of this week's show is made up of three sets of three tunes from three different years. I guess you might call it a trio of trios from a trio of years. The last 20 minutes or so, on the other hand, have nothing to do with it at all (but are some pretty cool tracks nonetheless). Put together they make quite the rock 'n' roll stew.

Artist:    Traffic
Title:    Rock & Roll Stew
Source:    CD: Smiling Phases (originally released on LP: The Low Spark Of High Heeled Boys)
Writer(s):    Grech/Gordon
Label:    Island
Year:    1971
    Bassist Ric Grech (Family, Blind Faith) and drummer Jim Gordon (Derek and the Dominos) were only members of Traffic for one album, 1971's The Low Spark Of High Heeled Boys, but their main contribution was a memorable one. Whereas most Traffic songs at this point in time were written by Steve Winwood and Jim Capaldi and sung by Winwood, Rock & Roll Stew, which opens side two of the original LP, is a Grech/Gordon compostion that is sung by Capaldi rather than Winwood. Rock & Roll Stew was also the only single released from the album, and has been included on multiple greatest hits compilations such as Smiling Phases.
Artist:    George Harrison & Friends
Title:    Something
Source:    CD: The Concert For Bangla Desh
Writer(s):    George Harrison
Label:    Capitol/Apple
Year:    1971
    For years, the Beatles' George Harrison had felt that he was not getting the respect he deserved from his bandmates for his songwriting ability. That all changed in 1969 when he introduced them to his latest tune for inclusion on the Abbey Road album. Something impressed everyone who heard it, including John Lennon (who said it was the best song on the album), Paul McCartney (who called it Harrison's best song ever) and even producer George Martin, who made sure the song was released as the A side of the only single from Abbey Road. Commercially, Something was a major success as well, going to the top of the US charts and placing in the top 5 in the UK. Perhaps more tellingly, Something is the second most covered song in the entire Beatles catalog (behind Paul McCartney's Yesterday), with over 150 artists recording the tune over the years. in 1971, accompanied by an all-star band that included Eric Clapton, Billy Preston and Ringo Starr, among others, performed Something at The Concert For Bangla Desh at New York's Madison Square Garden.

Artist:    Pink Floyd
Title:    Biding My Time
Source:    CD: Relics
Writer(s):    Roger Waters
Label:    Capitol (original label: Harvest)
Year:    1971
    Although it was originally recorded during sessions for the Ummagumma album and performed live as part of a concept piece called The Man And The Journey, the studio version of Roger Waters's Biding My Time was held back for two years, finally seeing the light of day in 1971 as the only previously unreleased track on Pink Floyd's Relics album. Along with David Gilmour, Nick Mason and Roger Waters on their usual instruments, keyboardist Richard Wright plays trombone, as well as piano and organ, on the track.

Artist:    James Gang
Title:    Got No Time For Trouble
Source:    CD: Bang
Writer(s):    Bolin/Tesar
Label:    Atco
Year:    1974
    In 1974 the James Gang hired their third lead guitarist since the band was formed in 1969. That guitarist was Tommy Bolin, who had first come to national attention as a member of the Boulder, Colorado band Zephyr. Bolin co-wrote several of the tracks on his first album with the James Gang, Bang, including Got No Time For Trouble, which also was issued as the B side of the only single taken from Bang. Lead vocals on the song are by Roy Kenner, who had joined the James Gang shortly after the departure of the band's original guitarist/vocalist, Joe Walsh.

Artist:    Hot Chocolate
Title:    Brother Louie
Source:    45 RPM single
Writer(s):    Brown/Wilson
Label:    Rak
Year:    1973
    The British soul band Hot Chocolate recorded the original version of the song Brother Louie in early 1973. Co-written and sung by band members Errol Brown and Tony Wilson, the song peaked at #7 on the UK charts. A few months later the song was covered by an American band called Stories, who took Brother Louie to the top of the US charts in the summer of 1973. Personally I prefer the British original.

Artist:    War
Title:    The Cisco Kid
Source:    45 RPM single
Writer(s):    War
Label:    United Artists
Year:    1973
    The Cisco Kid, released as a single in 1973, was War's biggest hit. In fact, it only missed the top spot on the charts because of the immense popularity of Tony Orlando and Dawn's Tie A Yellow Ribbon Round The Ole Oak Tree. Guess which of the two songs is more fpopular 50 years later (and which one is best described as "cringeworthy")?

Artist:    Rolling Stones
Title:    No Expectations
Source:    Mono CD: Singles Collection-The London Years (originally released on LP: Beggar's Banquet and as 45 RPM single B side)
Writer(s):    Jagger/Richards
Label:    Abkco (original label: London)
Year:    1968
    The first single to be released from Beggar's Banquet was Street Fighting Man, which was also the first Rolling Stones track to be produced by Jimmy Miller, who had already established a reputation working with Steve Winwood, both with the Spencer Davis Group and Traffic. Brian Jones's slide guitar work on The B side of the single, No Expectations, is sometimes considered his last important contribution to the band he founded.

Artist:    Jeff Beck
Title:    Morning Dew
Source:    CD: Truth
Writer(s):    Bonnie Dobson
Label:    Epic/Legacy
Year:    1968
    With a stellar lineup that included vocalist Rod Stewart, bassist Ronnie Wood and drummer Micky Waller, Jeff Beck's debut solo album, Truth, is considered one of the earliest examples of what would come to be called heavy metal rock. This can be heard on tracks like Bonnie Dobson's Morning Dew, which by 1968 was already becoming well-known as a staple of the Grateful Dead's setlist as well as being a minor hit single for Tim Rose (particularly in the UK) in early 1967.

Artist:    Who
Title:    Faith In Something Better
Source:    LP: Odds And Sods
Writer(s):    Pete Townshend
Label:    Track
Year:    Recorded 1968, released 1974
    The Who's Faith In Something Better was recorded in 1968 for a followup album to The Who Sell Out, but was abandoned as the rock opera Tommy took shape. The song was later included on Odds And Sods, an album compiled by bassist John Entwistle to counterract the various bootleg LPs and tapes (and one called Who's Zoo in particular) that were circulating at the time.

Artist:    Deep Purple
Title:    The Mule
Source:    CD: Made In Japan
Writer(s):    Blackmore/Gillan/Glover/Lord/Paice
Label:    Purple/Rhino (original label: Warner Brothers)
Year:    1972
    Every hard rock band in the early 1970s had one song that contained a drum solo. For Deep Purple, perhaps the most successful hard rock band of its era, that song was The Mule. Inspired by the mutant dictator in Isaac Asimov's Foundation And Empire, the live version of the song, from the 1972 album Made In Japan, runs over nine minutes in length, about half of which is taken up by Ian Paice's solo.

Artist:    Emerson, Lake & Palmer
Title:    L.A. Nights
Source:    LP: Works
Writer(s):    Palmer/Emerson
Label:    Atlantic
Year:    1977
    Emerson, Lake & Palmer's double LP Works was one of the most anticipated album releases of 1977. Unfortunately it was also one of the most disappointing. The album had one side dedicated to each of the three band members, with the fourth made up of group compositions. Of the three "solo" sides, drummer/percussionist Carl Palmer's got the best reviews, with L.A. Nights, featuring guest guitarist/vocalist Joe Walsh, being singled out as one of the highlights of the entire album.

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 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 as being the highlight of the band's live performances.

Sunday, April 16, 2023

Stuck in the Psychedelic Era # 2316 (starts 4/17/23)

    It's once again time for artists' sets, and this time around we have four of 'em, including another Doors set taken from the vinyl L.A. Woman Sessions box set. Speaking of which, copies are already on their way (and may have arrived by the time you read this) to Lou in Estes Park, CO., Gregory in Marana, AZ., and Chris in Rochester, NY. Thanks to all who entered by answering the question "What is you favorite Doors song" (The Crystal Ship got the most votes, with L.A. Woman and The End not far behind). We'll let you know next time we have something cool to give away.

Artist:    Left Banke
Title:    Walk Away Renee
Source:    LP: Walk Away Renee/Pretty Ballerina
Writer(s):    Brown/Calilli/Sansune
Label:    Smash/Sundazed
Year:    1966
    The Left Banke's Walk Away Renee is one of the most covered songs in rock history, starting with a version by the Four Tops less than two years after the original recording had graced the top 5. The original Left Banke version kicked off what was thought at the time to be the latest trend: Baroque Pop. The trend died an early death when the band members themselves made some tactical errors resulting in radio stations being hesitant to play their records.

Artist:    Cuby + Blizzards
Title:    LSD (Got A Million Dollars)
Source:    45 RPM single B side
Writer(s):    Muskee/Gelling
Label:    Universal (original Dutch label: Philips)
Year:    1966
    In the Netherlands it was a given that if you wanted to hear some live blues you needed to check out Cuby + Blizzards. Led by vocalist Harry "Cuby" Muskee and lead guitarist Eelco Gelling, C+B, as they were known to their fans, had been in a couple of local bands as early as 1962, but had made a decision to abandon rock 'n' roll for a more blues/R&B approach in 1964. After cutting a single for the small CNR label in 1965, C+B signed a long-term contract with Philips the following year. Their first single, LSD (Got A Million Dollars) has a sound not dissimilar to many American garage bands of the time, especially those who favored the Yardbirds as their primary influence. Cuby + Blizzards hit the Dutch top 40 nine times between 1967 and 1971, and released several well-received albums as well.

Artist:    Jefferson Airplane
Title:    Go To Her
Source:    LP: Early Flight
Writer(s):    Kantner/Estes
Label:    Grunt
Year:    Recorded 1966, released 1974
    Nearly every major artist acquires a backlog of unreleased songs over a period of time, usually due to lack of space on their official albums. Eventually many of these tracks get released on compilation albums or (more recently) as bonus tracks on CD versions of the original albums. One of the first of these compilation albums was Jefferson Airplane's Early Flight LP, released in 1974. Of the nine tracks on Early Flight, five were recorded during sessions for the band's first two LPs, Jefferson Airplane Takes Off and Surrealistic Pillow. One song originally intended for Surrealistic Pillow was Go To Her, an early Paul Kantner collaboration with his friend Irving Estes. At four minutes, the recording was longer than any of the songs that actually appeared on the album, which is probably the reason it didn't make the final cut, as it would have meant that two other songs would have to have been deleted instead.

Artist:     Beatles
Title:     In My Life
Source:     CD: Rubber Soul
Writer:     Lennon/McCartney
Label:     Parlophone
Year:     1965
    Rubber Soul was the first Beatles album to be made up entirely of songs written by the band members themselves, with most of them penned by John Lennon and Paul McCartney. Lennon's contributions in particular were starting to move away from the typical "young love" songs the band had become famous for. One of the best examples is In My Life, which is a nostalgic look back at Lennon's own past (although put in such a way that it could be universally applied). Despite never being released as a single, In My Life remains one of the most popular songs in the Beatles catalog.

Artist:    Beatles
Title:    Flying
Source:    CD: Magical Mystery Tour
Writer(s):    Lennon/McCartney/Harrison/Starr
Label:    Apple/Parlophone
Year:    1967
    1967 was an odd year for the Beatles. They started it with one of their most successful double-sided singles, Strawberry Fields Forever/Penny Lane, and followed it up with the iconic Sgt. Pepper's Lonely Hearts Club Band album. From there, they embarked on a new film project. Unlike their previous movies, the Magical Mystery Tour was not made to be shown in theaters; rather, the film was aired as a television special shown exclusively in the UK. The airing of the film, in December of 1967, coincided with the release (again only in the UK and Europe) of a two-disc extended play 45 RPM set featuring the six songs from the special. As EPs were at that time considered a non-starter in the US, Capitol Records decided to release Magical Mystery Tour as a full-length album instead, with the songs from the telefilm on one side of the LP and all of the single sides they had released that year on the other. Among the songs from the film itself is Flying, an instrumental track that, unusually, was credited to the entire band.

Artist:    Beatles
Title:    The Word
Source:    CD: Rubber Soul
Writer(s):    Lennon/McCartney
Label:    Parlophone (original US label: Capitol)
Year:    1965
    The original concept for the album Rubber Soul was to show the group stretching out into 60s Rhythm and Blues (known at the time as "soul" music) territory. The US version of the album, however, deleted several of the more soulful numbers in favor of more folk-rock sounding songs (including a pair held over from the band's previous British LP, Help). This was done by Capitol records mainly to cash in on the sudden popularity of the genre in 1965. Not all of the more R&B flavored songs were deleted, however. John Lennon's The Word appeared on both US and UK versions of Rubber Soul.

Artist:    American Dream
Title:    Raspberries
Source:    LP: The American Dream
Writer(s):    Van Winkle/Jameson
Label:    Ampex
Year:    1970
    OK, I have to admit that I know very little about the album and band called The American Dream, which was one of many LPs rescued from the trash heap when WEOS/WHWS got kicked out of the big old house they had been occupying for several years and moved into much smaller digs with virtually no storage space. Here's what I do know. The American Dream was from Philadelphia. The album was produced by Todd Rundgren. In fact, it was his first time producing a group that he himself was not a member of (not to mention the first album ever released on the Ampex label). Finally, these guys were actually pretty good. How good? Well, take a listen to the album's final (and longest) track, Raspberries, and decide for yourself.

Artist:    Jimi Hendrix/Band of Gypsys
Title:    Message To Love
Source:    LP: Band Of Gypsys
Writer(s):    Jimi Hendrix
Label:    Capitol
Year:    1970
    In the mid-1960s Jimi Hendrix sat in on some recording sessions with his friend Curtis Knight, signing what he thought was a standard release contract at the time. It wasn't until Hendrix was an international star that the signing came back to haunt him in the form of a lawsuit by Capitol Records accusing him of breach of contract. The end result was that Hendrix ended up owing the label two albums, the first being an album called Get That Feeling that was made up of the material Hendrix had recorded with Knight. The second album was to be all new material, but at the time of the settlement in mid-1969 Hendrix had just disbanded the Experience and was experimenting around with different combinations of musicians before getting to work on his next studio project. Hendrix appeared at Woodstock with a number of these musicians, including his old Army buddy Billy Cox on bass. The two of them soon began to work up a live set with drummer Buddy Miles, who had made a guest appearance on the last Experience album, Electric Ladyland. The new three-piece group, calling itself Band Of Gypsys, played a two-night engagement at New York's Madison Square Garden over the New Year's holiday, using the best performances from both nights to compile a live album that was released by Capitol the following spring. Among the new songs that made their debut on Band Of Gypsys was Message To Love. The song is a fair indication of the direction that Hendrix's music was beginning to take.

Artist:    Simon And Garfunkel
Title:    Homeward Bound
Source:    LP: Parsley, Sage, Rosemary And Thyme
Writer(s):    Paul Simon
Label:    Sundazed/Columbia
Year:    1966
    Following the success of Sounds Of Silence, Paul Simon And Art Garfunkel set about making an album of all new material (Sounds Of Silence had featured several re-recorded versions of tunes from the 1965 British album The Paul Simon Songbook). The result was Parsley, Sage, Rosemary and Thyme, one of the finest folk-rock albums ever recorded. The album contained several successful singles, including Homeward Bound.

Artist:    Simon And Garfunkel
Title:    Mrs. Robinson
Source:    LP: Bookends
Writer(s):    Paul Simon
Label:    Sundazed/Columbia
Year:    1968
    A shortened version of Mrs. Robinson first appeared on the soundtrack for the film The Graduate in 1967, but it wasn't until the Bookends album came out in 1968 that the full four minute version was released. Although the Graduate was one of the most successful films of the decade, I suspect that many more people have heard the song than have seen the film. Take that, movie lovers!

Artist:    Simon And Garfunkel
Title:    The Big Bright Green Pleasure Machine
Source:    LP: Parsley, Sage, Rosemary And Thyme
Writer(s):    Paul Simon
Label:    Sundazed/Columbia
Year:    1966
    After the surprise success of the Sound Of Silence single, Paul Simon and Art Garfunkel, who had disbanded their partnership after the seeming failure of their Wednesday Morning 3 AM album in 1964, hastily reunited to record a new album of electrified versions of songs written by Simon, many of which had appeared on his 1965 solo LP the Paul Simon Songbook. With their newfound success, the duo set about recording an album's worth of new material. This time around, however, Simon had the time (and knowledge of what was working for the duo) to compose songs that would play to both the strengths of himself and Garfunkel as vocalists, as well as take advantage of the additional instrumentation available to him. The result was Parsley, Sage, Rosemary And Thyme, featuring tracks such as The Big Bright Green Pleasure Machine, an energetic piece that effectively combines folk and rock with intelligent (if somewhat satirical) lyrics.

Artist:    Who
Title:    Someone's Coming
Source:    Mono CD: The Who Sell Out Super Deluxe Edition (box set) (originally released as 45 RPM single B side)
Writer(s):    John Entwhistle
Label:    Polydor/UMC (original US label: Decca)
Year:    1967
    Some songs just get no respect. First released in 1967 in the UK as the B side of I Can See For Miles, John Alec Entwistle's Someone's Coming got left off the US release entirely. It wasn't until the release of the Magic Bus single (and subsequent LP) in 1968 that the tune appeared on US vinyl, and then, once again as a B side. The Magic Bus album, however, was never issued on CD in the US, although it has been available as a Canadian import for several years. Finally, in 1995 the song found a home on a US CD as a bonus track on The Who Sell Out.

Artist:    Who
Title:    Our Love Was
Source:    LP: Magic Bus (originally released on LP: The Who Sell Out)
Writer(s):    Pete Townshend
Label:    MCA (original label: Decca)
Year:    1967
    The Who's late-1967 album, The Who Sell Out, is best known for its faux commercials and actual jingles lifted from the British pirate station Radio London. Hidden in plain sight among all the commercial hype, however, are some of the band's best tunes, including Our Love Was, a song that was one of the few LP tracks to be included on the Who's Magic Bus compilation album.
Artist:    Who
Title:    Tattoo (early mono mix)
Source:    Mono CD: The Who Sell Out Super Deluxe Edition (box set)
Writer(s):    Pete Townshend
Label:    Polydor/UMC
Year:    1967
    Starting in 1966, the Who wrote songs about things no other rock group had even considered writing songs about. Happy Jack, for instance, was about a guy who would hang out on the beach and let the local kids tease (but not faze) him. I'm A Boy was about a guy whose mother insisted on dressing him the same as his sisters. And I'm not even getting into the subject matter of Pictures Of Lily. The Who Sell Out, released in December of 1967, continued this trend with songs like Tattoo, about an adolescent and his brother who go out and get (without their parents' permission) their first tattoos. The version heard here is an early mono mix that is preceded by one of the longer Radio London jingles that was not included on the original Who Sell Out LP.

Artist:    Yardbirds
Title:    Heart Full Of Soul
Source:    45 RPM single
Writer(s):    Graham Gouldman
Label:    Epic
Year:    1965
    Heart Full Of Soul, the Yardbirds' follow-up single to For Your Love was a huge hit, making the top 10 on both sides of the Atlantic in 1965. The song, the first to feature guitarist Jeff Beck prominently, was written by Graham Gouldman, who was then a member of Wayne Fontana's Mindbenders and would later be a founding member of 10cc.

Artist:    Spencer Davis Group
Title:    Gimme Some Lovin'
Source:    45 RPM single
Writer(s):    Winwood/Winwood/Davis
Label:    United Artists
Year:    1966
    By mid-1966 the Spencer Davis Group had already racked up an impressive number of British hit singles, but had yet to crack the US top 40. This changed when the band released Gimme Some Lovin', an original composition that had taken the band about an hour to develop in the studio. The single, released on Oct 28, went to the #2 spot on the British charts. Although producer Jimmy Miller knew he had a hit on his hands, he decided to do a complete remix of the song, including a brand new lead vocal track, added backup vocals and percussion and plenty of reverb, for the song's US release. His strategy was successful; Gimme Some Lovin', released in December of 1966, hit the US charts in early 1967, eventually reaching the #7 spot. The US remix has since become the standard version of the song, and has appeared on countless compilations over the years.

Artist:     Kinks
Title:     All Day And All Of The Night
Source:     45 RPM single (reissue)
Writer:     Ray Davies
Label:     Eric (original label: Reprise)
Year:     1964
     Following up on their worldwide hit You Really Got Me, the Kinks proved that lightning could indeed strike twice with All Day And All Of The Night. Although there have been rumors over the years that the guitar solo on the track may have been played by studio guitarist Jimmy Page, reliable sources insist that it was solely the work of Dave Davies, who reportedly slashed his speakers to achieve the desired sound.

    Next up we have three more tracks from the Doors L.A. Woman vinyl box set, all of which are among the earliest known versions of their respective pieces (and in the second case, "piece" is indeed an appropriate term).

Artist:    Doors
Title:    Hyancinth House (demo version)
Source:    German import LP: L.A. Woman Sessions
Writer(s):    The Doors
Label:    Elektra/Rhino
Year:    1969
    Recorded at Robby Krieger's home studio before actual recording sessions for the L.A. Woman album began.

Artist:    Doors
Title:    Mr. Mojo Risin'
Source:    German import LP: L.A. Woman Sessions
Writer(s):    The Doors
Label:    Elektra/Rhino
Year:    1970
    Interesting that they developed this short break in the middle of L.A. Woman separate from the song itself.

Artist:    Doors
Title:    Riders On The Storm (Sunset Sound version)
Source:    German import LP: L.A. Woman Sessions
Writer(s):    The Doors
Label:    Elektra/Rhino
Year:    1970
    This is the actual recording of what the Doors were playing at Sunset Sound Recorders when producer Paul Rothchild declared that it was "cocktail jazz" and that he wanted no part of it.

Artist:    Gypsy
Title:    Tomorrow Is The Last To Be Heard
Source:    LP: Gypsy
Writer(s):    Enrico Rosenbaum
Label:    Metromedia
Year:    1971
    Formed in Minneapolis by members of a band called the Underbeats, Gypsy came to national prominence when they became the house band at Los Angeles's famed Whisky-A-Go-Go club from September 1969 to April 1971. During that period they released their debut album, a two-LP set for the price of a single disc on the Metromedia label in 1970. The album did reasonably well on the charts, going to the #44 spot on the Billboard Pop Albums chart. Most of the songs on the album, including the final track, Tomorrow Is The Last To Be Heard, were written by guitarist Enrico Rosenbaum, who also provided lead vocals on the piece.

Artist:    Santana
Title:    Soul Sacrifice
Source:    CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: Santana)
Writer(s):    Brown/Malone/Rolie/Santana
Label:    Rhino (original label: Columbia)
Year:    1969
    Of all the bands formed in the late 1960s, very few achieved any degree of popularity outside of their local community. Fewer still could be considered an influence on future stars. Most rare of all are those who managed to be both popular and influential while maintaining a degree of artistic integrity. One name that comes immediately to mind is Santana (both the band and the man). It might be surprising, then, to hear that the first Santana album, released in 1969, was savaged by the rock press, particularly the San Francisco based Rolling Stone magazine, who called it boring and repetitious. It wasn't until the band performed Soul Sacrifice (heard here in its original studio version) at Woodstock that Santana became major players on the rock scene.

Artist:    Spirit
Title:    Grammophone Man
Source:    CD: Spirit
Writer(s):    Ferguson/Locke/California/Andes/Cassidy
Label:    Ode/Epic/Legacy
Year:    1968
    Like most of the tracks on Spirit's 1968 debut LP, Grammophone Man combines rock and jazz in a way that has yet to be duplicated. Rather than create a jazz/rock fusion the group chose to switch gears mid-song. After a couple of minutes of a section that can best described as light rock, the song suddenly shifts into a fast-paced bop instrumental featuring Wes Montgomery style guitar work by Randy California and a short Ed Cassidy drum solo that eventually drops the tempo for a short reprise of the piece's main section.
Artist:    Fleetwood Mac
Title:    Jewel Eyed Judy
Source:    LP: Kiln House
Writer(s):    Kirwan/Fleetwood/McVie
Label:    Reprise
Year:    1970
    Kiln House was the first Fleetwood Mac album following the departure of the group's founder, guitarist Peter Green. At this point the band was a quartet, featuring guitarist/vocalists Danny Kirwan and Jeremy Spencer (both of whom sang on their own material) along with drummer Mick Fleetwood and bassist John McVie. Whereas Spencer's material reflects his own interest in 50s rock 'n' roll, Kirwan's tunes, including Jewel Eyed Judy, were much more in line with the direction the band would take over the next few years. One factor that influenced this change in direction was the presence of McVie's wife Christine, who, although still not officially a member of Fleetwood Mac, made significant contributions to the album as a keyboardist and backup vocalist. She also provided the artwork for the album's cover.

Artist:    Vanilla Fudge
Title:    Good Good Lovin'
Source:    Mono CD: The Complete Atco Singles (originally released as 45 RPM single B side)
Writer(s):    Stein/Bogert/Martell/Appice
Label:    Real Gone/Rhino
Year:    1969
    Originally recorded for the album Near The Beginning, the Vanilla Fudge original Good Good Lovin' instead appeared as the B side of the band's hard-driving cover of Jr. Walker's Shotgun. As a general rule, the Fudge were better at arranging other people's material than in composing their own, but Good Good Lovin' is actually a pretty powerful piece musically, with some antiwar lyrics thrown in for good measure.
Artist:     Them
Title:     I'm Your Witch Doctor
Source:     Mono LP: Now and Them
Writer:    John Mayall
Label:     Tower
Year:     1968
     Here's an oddity for you: a pyschedelicized version of a John Mayall song by Van Morrison's old band with a new vocalist (Kenny McDowell). Just to make it even odder we have sound effects at the beginning of the song that were obviously added after the fact by the producer (and not done particularly well at that). But then, what else would you expect from the label that put out an LP by a band that didn't even participate in the recording of half the tracks on the album (Chocolate Watchband's No Way Out), a song about a city that none of the band members had ever been to (the Standells' Dirty Water), and soundtrack albums to teensploitation films like Wild In the Streets, Riot On Sunset Strip and The Love In? Let's hear it for Tower Records!

Artist:    Steppenwolf
Title:    The Ostrich
Source:    Canadian CD: Steppenwolf
Writer(s):    John Kay
Label:    MCA (original label: Dunhill/ABC)
Year:    1968
    Although John Kay's songwriting skills were still a work in progress on the first Steppenwolf album, there were some outstanding Kay songs on that LP, such as The Ostrich, a song that helped define Steppenwolf as one of the most politically savvy rock bands in history.

Artist:    Raik's Progress
Title:    Baby, Please Don't Go
Source:    Mono LP: Sewer Rat Love Chant
Writer(s):    Joe Williams
Label:    Sundazed
Year:    1966
    In 1966 Fresno, California's Raik's Progress recorded a slew of demos for the Liberty label. Only two of those songs, however, were released in 1966. The rest, including this cover of Joe Williams's best known song, Baby, Please Don't Go. Finally, in 2003, Sundazed Records released the LP Sewer Rat Love Chant, collecting all the band's 1966 recordings.

Artist:    Animals
Title:    Don't Let Me Be Misunderstood
Source:    45 RPM single
Writer(s):    Benjamin/Marcus/Caldwell
Label:    M-G-M
Year:    1965
    1965 was a huge year for the Animals. Coming off the success of their 1964 smash House Of The Rising Sun, the Newcastle group racked up three major hits in 1965, including Don't Let Me Be Misunderstood, a song originally recorded by jazz singer Nina Simone. The Animals version speeded up the tempo and used a signature riff that had been taken from Simone's outro. The Animals version of Don't Let Me Be Misunderstood made the top 20 in the US and the top five in both the UK and Canada.
Artist:      David Bowie
Title:     Space Oddity (original version)
Source:      Mono CD: The Deram Anthology 1966-1968 (originally released on LP: Love You Till Tuesday)
Writer:    David Bowie
Label:    Deram
Year:     1969
     When David Jones first started his recording career he was a fairly conventional pop singer, even after changing his name to David Bowie (to avoid being confused with Davy Jones of the Monkees). After several singles and a 1967 self-title debut LP failed to make a dent in the charts, Bowie decided to take a more experimental approach, starting a group called Feathers with dancer Hermione Farthingale (with whom he was in a relationship with at the time) and guitarist John Hutchinson. Bowie also acquired a new manager, Kenneth Pitt, who authorized the production of a promotion film called Love You Till Tuesday in an attempt to make Bowie known to a larger audience. With nothing but previously released material on hand, Pitt asked Bowie to come up with something new to be the focus of the film. Bowie obliged him by coming up with Space Oddity, an attempt to humanize the idea of being alone in a space capsule. After recording a demo of the song with Hutchinson in January of 1969, Bowie recorded his first studio version of Space Oddity on Feb. 2 at London's Morgan Studios. Joining Bowie and Hutchinson (who shared lead vocals) were Colin Wood on keyboards and flute, Dave Clague on bass and Tat Meager on drums. The odd flute-sounding instrument in the mix was an Ocarina played by Bowie himself.