Sunday, May 7, 2023

Stuck in the Psychedelic Era # 2319 (starts 5/8/23)

    This week we have a battle of the bands featuring three of the top 6 bands of the psychedelic era (as determined by how much airplay each has gotten over the years on Stuck in the Psychedelic Era...see for the complete top 20 list). We also have a separate artists' set for one of the other three, as well as an all-Los Angeles set, and a few other tasty nuggets as well.

Artist:    Janis Ian
Title:    Society's Child (Baby I've Been Thinking)
Source:    45 RPM single
Writer(s):    Janis Ian
Label:    Verve Folkways
Year:    1966
    Janis Ian began writing Society's Child, using the title Baby I've Been Thinking, when she was 13 years old, finishing it shortly after her 14th birthday. She shopped it around to several record labels before finally finding one willing to take a chance on the controversial song about interracial dating. The record was released in September of 1966 by M-G-M subsidiary Verve Folkways, a label whose roster included Dave Van Ronk, Laura Nyro and the Blues Project, among others. Despite being banned on several radio stations the song became a major hit when re-released the following year after being featured on an April 1967 Leonard Bernstein TV special. Ian had problems maintaining a balance between her performing career and being a student which ultimately led to her dropping out of high school. She would eventually get her career back on track in the mid-70s, scoring another major hit with At Seventeen, and becoming somewhat of a heroine to the feminist movement.

Artist:    Jefferson Airplane
Title:    Chauffeur Blues (alternate version)
Source:    CD: Jefferson Airplane Takes Off (bonus track)
Writer(s):    Lester Melrose (disputed, may have been Lizzie Douglas)
Label:    RCA/BMG Heritage
Year:    1966
    Jefferson Airplane's original female vocalist was Signe Toly Anderson. Unlike Grace Slick, who basically shared lead vocals with founder Marty Balin, Anderson mostly functioned as a backup singer. The only Airplane recording to feature Anderson as a lead vocalist was Chauffeur Blues, a cover of an old Memphis Minnie tune. The song was featured on the band's first LP, Jefferson Airplane Takes Off. This alternate version is a touch longer and puts a bit more emphasis on Jorma Kaukonen's lead guitar work.

Artist:    Standells
Title:    Rari
Source:    Mono CD: The Best Of The Standells (originally released as 45 RPM single B side)
Writer(s):    Ed Cobb
Label:    Rhino (original label: Tower)
Year:    1965
    The Standells had already recorded several singles for various labels when they hooked up with producer Ed Cobb, whose Green Grass Productions had a distribution deal with Capitol Records' Tower subsidiary label. Cobb had the band record a pair of tunes that he had written himself at engineer Armin Steiner's garage studio in Los Angeles. Both Dirty Water and its B side, Rari, were recorded on 3-track tape, which meant that the instrumental tracks were recorded first, with overdubs and vocals added later. According to band leader Larry Tamblyn, this makes the Dirty Water/Rari single, released in November of 1965, one of the first (if not THE first) garage-rock records.

Artist:    Rolling Stones
Title:    If You Let Me
Source:    LP: Metamorphosis
Writer(s):    Jagger/Richards
Label:    Abkco
Year:    Recorded 1966, released 1975
    Allen Klein was a legend in the music industry as the man who managed to rip off both the Beatles and the Rolling Stones. In 1974 he decided to compile an album of unreleased Rolling Stones recordings from the 1960s that he owned the rights to. To give the project an air of legitimacy he enlisted Stones bassist Bill Wyman to come up with a list of songs for the album, but then substituted several songs written by Mick Jagger and Keith Richards for some of the cover songs Wyman had chosen so as to increase his own profit margin. The result was an album called Metamorphosis that was released on the same day as Made In The Shade, an authorized collection of tunes from the first four albums issued on Rolling Stones Records. Most of the songs on side two of Metamorphosis were studio outtakes, including If You Let Me, which was recorded during sessions for the 1967 LP Between The Buttons but not included on the album itself.

Artist:    Rolling Stones
Title:    Sittin' On A Fence
Source:    CD: Flowers
Writer(s):    Jagger/Richards
Label:    Abkco (original label: London)
Year:    Recorded 1965, released1967
    Not all the songs from the Rolling Stones' recording sessions for the album Aftermath were included on either the British or American version of the final LP. One of the songs that was left off the album was Sittin' On A Fence, a country flavored tune that finally surfaced in 1967 on the US-only LP Flowers.

Artist:    Rolling Stones
Title:    I Don't Know Why (aka Don't Know Why I Love You)
Source:    LP: Metamorphosis (originally released as 45 RPM single)
Writer(s):    Wonder/Riser/Hunter/Hardaway
Label:    Abkco (original label: London)
Year:    1969
    In 1969 Stevie Wonder released a single called Don't Know Why I Love You. Before the record could take off, however, several radio stations decided to instead play the B side of the record, a balled called My Cherie Amour. That song became, to that point, Wonder's biggest hit, and Don't Know Why I Love You quietly faded off into obscurity. Or rather it would have, if not for the fact that the Rolling Stones recorded their own version of the tune around the same time the Stevie Wonder version was released. The Stones, however, did not release the recording immediately. In fact, by the time the record was released (in 1975), the band was no longer associated with either London Records, which issued the recording, or Allen Klein, who had managed to gain control of all of the Stones' London era recordings, and did not authorize the recording to be released. The original US pressings of the Rolling Stones version of the tune, in addition to changing the song's title to I Don't Know Why, miscredited Mick Jagger, Keith Richards and MickTaylor as the songwriters on both the single and the subsequent LP Metamorphosis. As to whether this was accidental or deliberate is up for speculation, but keep in mind it is Allen Klein we're talking about...

Artist:    Sands
Title:    Mrs. Gillespie's Refrigerator
Source:    Mono British import CD: Love, Poetry And Revolution (originally released as 45 RPM single)
Writer(s):    Gibb/Gibb/Gibb
Label:    Grapefruit (original label: Reaction)
Year:    1967
    Sands got their big break when they were observed playing at a place called the Cromwellian Club by Beatles manager Brian Epstein. Liking what he heard, Epstein got the band signed to his NEMS management company. His partner at NEMS, Robert Stigwood, had recently formed his own label, Reaction Records, and released Sands' only single  in September of 1967, a song called Mrs. Gillespie's Refrigerator that was written by Barry, Robin and Maurice Gibb of the Bee Gees, who also recorded for Reaction. Unfortunately, Epstein died less than two weeks before the record was released, and the single got virtually no promotion as a result.

Artist:    Circus Maximus
Title:    Travelin' Around
Source:    LP: Circus Maximus
Writer:    Bob Bruno
Label:    Vanguard
Year:    1967
    Circus Maximus was formed in Greenwich Village in 1967 by lead guitarist/keyboardist/vocalist Bob Bruno (who wrote most of the band's material) and guitarist/vocalist Jerry Jeff Walker, who went on to much greater success as a songwriter after he left the group for a solo career (he wrote the classic Mr. Bojangles, among other things). The lead vocals on the first Circus Maximus LP were split between the two, with one exception: guitarist Peter Troutner shares lead vocal duties with Bruno on the album's opening track, the high-energy Travelin' Around.

Artist:    Misunderstood
Title:    I'm Not Talking
Source:    British simulated stereo CD: Before The Dream Faded
Writer(s):    Traditional
Label:    Cherry Red
Year:    Recorded 1965, released 1982
    The story of the legendary band the Misunderstood actually started in 1963 when three teenagers from Riverside, California decided to form a band called the Blue Notes. Like most of the bands at the time, the group played a mixture of surf and 50s rock and roll cover songs, slowly developing a sound of their own as they went through a series of personnel changes. In 1965 the band changed their name to the Misunderstood and recorded six songs at a local recording studio. Among those was I'm Not Talking, a blues tune in much the same style as the early Yardbirds recordings. Although the recordings were not released, the band caught the attention of a San Bernardino disc jockey named John Ravencroft, an Englishman with an extensive knowledge of the British music scene. In June of 1966 the band, with Ravencroft's help, relocated to London, where they were eventually joined by Ravencroft himself, who changed his name to John Peel and became perhaps the most well-known, and certainly the most influential, DJ in British radio history. The Misunderstood recorded six more songs in the UK, releasing their one and only single in late 1966 before being deported back to the US (where one of the members was immediately drafted into military service).

Artist:    Uniques
Title:    You Ain't Tuff
Source:    Mono CD: Nuggets-Original Artyfacts From The First Psychedelic Era (originally released as 45 RPM single)
Writer(s):    Henderson/Puckett
Label:    Rhino (original label: Paula)
Year:    1965
    The Uniques were a band operating out of Western Louisiana that recorded several singles in Tyler Texas for the Paula label. You Ain't Tuff, released in 1965, is a classic example of mid-60s garage rock, an ironic fact considering that lead vocalist Joe Stampley went on to become a successful country star in the 1980s.

Artist:    Jimmy Page
Title:    Keep Moving
Source:    European import 45 RPM single B side (reissue)
Writer(s):    Page/Mason
Label:    Fontana
Year:    1965
    Already established as a studio guitarist and harmonica player, 21-year-old Jimmy Page cut his first single under his own name in 1965. The A side also featured vocals, while the B side, Keep Moving, is a showcase of Page's already formidable instrumental skills.

Artist:    Warlocks
Title:    Can't Come Down
Source:    Mono CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70
Writer:    Garcia/Kreutzmann/Lesh/McKernan/Weir
Label:    Rhino
Year:    Recorded 1965
    In 1965 Ken Kesey and his Merry Pranksters were travelling around conducting the Electric Kool-Aid Acid Tests, basically an excuse to turn people on to LSD. Part of Kesey's entourage was a group of young musicians calling themselves the Warlocks, who had formed earlier that year. Around the time of the first acid test in November of 1965 group made their first visit to a recording studio, cutting a set of demos for Autumn Records. After hearing that there was already a band named the Warlocks making records, they booked studio time under the name Emergency Crew. The songs themselves, which were produced by Autumn Records' owners Tom "Big Daddy" Donahue and Bobby Mitchell, did not get released until 1999, when the Warlocks (who began calling themselves the Grateful Dead just days after the recording sessions) decided to include them on an anthology album. The lead vocals on Can't Come Down are by guitarist Jerry Garcia, although they don't sound much like his later Grateful Dead recordings.

Artist:    Steppenwolf
Title:    Magic Carpet Ride
Source:    LP: Vintage  Rock (originally released on LP: Steppenwolf The Second)
Writer(s):    Moreve/Kay
Label:    K-Tel (original label: Dunhill)
Year:    1968
    Steppenwolf's second top 10 single was Magic Carpet Ride, a song that combines feedback, prominent organ work by Goldy McJohn and an updated Bo Diddly beat with psychedelic lyrics. Along with Born To Be Wild, Magic Carpet Ride (co-written by vocalist John Kay and bassist Rushton Moreve) has become one of the defining songs of both Steppenwolf and the late 60s.

Artist:    Canned Heat
Title:    On The Road Again
Source:    LP: Boogie With Canned Heat
Writer(s):    Jones/Wilson
Label:    United Artists (original label: Liberty)
Year:    1968
    Canned Heat was formed by a group of blues record collectors in San Francisco. Although their first album consisted entirely of cover songs, by 1968 they were starting to compose their own material, albeit in a style that remained consistent with their blues roots. On The Road Again is based on an old Floyd Jones tune that was reworked by guitarist Alan "Blind Owl" Wilson into something that is purely Canned Heat.

Artist:    George Harrison
Title:    Ski-ing
Source:    CD: Wonderwall Music
Writer(s):    Clapton/Harrison
Label:    Apple
Year:    1968
    Starting in 1966 George Harrison showed an intense interest in the music of sitarist Ravi Shankar, and in Indian classical music in general, even to the point of learning to play the sitar himself. His first composition along those lines was Love You To, from the Revolver album, followed in 1967 by Within You Without You from Sgt. Pepper's Lonely Hearts Club Band. In 1968 Harrison took it a step further by composing and performing music for the soundtrack of a film by director Joe Massot called called Wonderwall. The film itself dealt with a wall separating two apartments occupied by individuals from extremely different backgrounds (a lonely college professor and a Vogue model), and a small gap in the wall itself creating a bridge between the two. Harrison used the film as a springboard to fuse music from Eastern (Indian classical) and Western (rock) traditions, introducing Western audiences to various Indian instruments in the process. The album, Wonderwall Music, was Harrison's first solo project as well as the first album released on the Apple label (predating the Beatles White Album by several weeks). Wonderwall Music featured several guest musicians, including Eric Clapton, who came up with the guitar riffs on Ski-ing, the shortest track on the album. Although Wonderwall Music was not a commercial success at the time of its release, it has since come to be highly regarded as a forerunner of both electronica and world music.

Artist:    United States Of America
Title:    The Garden Of Earthly Delights
Source:    CD: The United States Of America
Writer(s):    Byrd/Moskovitz
Label:    Columbia/Legacy
Year:    1968
    The United States Of America was an outgrowth of the experimental audio work of Joseph Byrd, who had moved to Los Angeles from New York in the early 1960s after studying with avant-garde composers Morton Feldman and John Cage. With lyricist/vocalist Dorothy Moskowitz, he founded The United States Of America in 1967 as a way of integrating performance art, electronic music and rock, with more than a little leftist political philosophy thrown into the mix. The band only released one album in early 1968, with internal problems leading to Byrd's departure not long after the album's release. Moskowitz, along with producer David Rubinson, attempted to keep the band going with a new lineup, but abandoned the effort after recording a few demos, while Byrd ended up releasing a followup LP, The American Metaphysical Circus, with an entirely new group he called the Field Hippies.

Artist:    Van Der Graaf Generator
Title:    People You Were Going To
Source:    Mono British import CD: Spirit Of Joy (originally released in UK as 45 RPM single)
Writer(s):    Peter Hammill
Label:    Polydor
Year:    1969
    One of the rarest records ever released was Van Der Graff's debut single, People You Were Going To. The record was released on the UK Polydor label in January of 1969, but was almost immediately withdrawn due to the fact that the band's leader, Peter Hammill, had signed a contract with Mercury Records the previous year. The Mercury contract was so bad, however, that the rest of the band members refused to sign it, and for a while it looked like Van Der Graaf Generator would be little more than a footnote in the history of British Rock. Later that year, however, Hammill began work on a solo album that appeared under the name Van Der Graaf Generator, but only in the US. Nonetheless, it was enough to fulfill the terms of his Mercury contract, freeing Hammill up to reform the band and sign with the Charisma label, where they established themselves as one of the top progressive rock bands of the 1970s.
Artist:    Doors
Title:    Peace Frog/Blue Sunday
Source:    LP: Weird Scenes Inside The Gold Mine (originally released on LP: Morrison Hotel)
Writer(s):    Morrison/Kreiger
Label:    Elektra/Rhino
Year:    1970
    The Doors' Peace Frog, in a very basic sense, is actually two separate works of art. The track started off as an instrumental piece by guitarist Robbie Kreiger, recorded while the rest of the band was waiting for Jim Morrison to come up with lyrics for another piece. Not long after the track was recorded, producer Paul Rothchild ran across a poem of Morrison's called Abortion Stories and encouraged him to adapt it to the new instrumental tracks. Peace Frog, which appears on the album Morrison Hotel, leads directly into Blue Sunday, one of many poems/songs written by Morrison for Pamela Courson, his significant other since 1965.

Artist:    Beatles
Title:    Fixing A Hole
Source:    CD: Sgt. Pepper's Lonely Hearts Club Band
Writer(s):    Lennon/McCartney
Label:    Parlophone (original US label: Capitol)
Year:    1967
    Until 1967 every Beatles album released in the US had at least one hit single included that was not on the British version of the album (or was never released as a single in the UK). With the release of Sgt. Pepper's Lonely Hearts Club Band, however, the track lineup became universal, making it the first Beatle album released in the US to not have a hit single on it. Nonetheless, the importance (and popularity) of the album was such that virtually every song on it got airplay on top 40 radio at one time or another, although some tracks got more exposure than others. One of the many tracks that falls in between these extremes is Fixing A Hole, a tune by Paul McCartney that features the harpsichord prominently.

Artist:    Jimi Hendrix Experience
Title:    Spanish Castle Magic
Source:    CD: Axis: Bold As Love
Writer(s):    Jimi Hendrix
Label:    MCA (original label: Reprise)
Year:    1967
    When the second Jimi Hendrix Experience album, Axis: Bold As Love came out it was hailed as a masterpiece of four-track engineering. Working closely with producer Chas Chandler and engineer Eddie Kramer, Hendrix used the recording studio itself as an instrument, making an art form out of the stereo mixing process. The unfortunate by-product of this is that most of the songs on the album could not be played live and still sound anything like the studio version. One notable exception is Spanish Castle Magic, which became a more or less permanent part of the band's performing repertoire.

Artist:    Doors
Title:    The Spy
Source:    LP: Weird Scenes Inside The Gold Mine (originally released on LP: Morrison Hotel)
Writer(s):    Jim Morrison
Label:    Elektra
Year:    1970
    As the 1960s drew to a close, the Doors, who had been riding high since 1967, were at a low point. In fact, it could be argued that the last few months of 1969 were the worst in the band's career. Vocalist Jim Morrison had been arrested for indecent exposure for an incident onstage in Miami the previous March. This had resulted in the cancellation of over two dozen performances as well as a sizable number of radio stations refusing to play their records. In June, the band released their fourth album, The Soft Parade, which was critically panned for its overuse of horns and strings. The album was also the first to give individual members of the band songwriting credits (previously all songwriting credits were shared by the four band members). This was brought about by Morrison's wish to distance himself from the lyrics of the album's opening track, Tell All The People, which had been written by guitarist Robby Krieger. Adding to the problems, Morrison had been arrested for causing a disturbance on an airplane and charged under a new hijacking law that carried a fine up of to $10,000 and ten years in prison. In November, the Doors started work on their fifth album, to be called Morrison Hotel (with the second side subtitled Hard Rock Cafe). After the poor reception of The Soft Parade the band decided to take a back to basics approach. One thing that did not change, however, was the policy of band members taking individual song credits. Thus, we have songs like The Spy (originally called Spy In The House Of Love), which was inspired by Morrison's fiery relationship with his longtime girlfriend Pamela Coulson. Morrison Hotel would end up being a turning point for the Doors; their next LP, L.A. Woman, is universally considered one of their best.

Artist:    Beatles
Title:    Lucy In The Sky With Diamonds
Source:    CD: Sgt. Pepper's Lonely Hearts Club Band
Writer(s):    Lennon/McCartney
Label:    Parlophone (original US label: Capitol)
Year:    1967
    The top album of 1967 was the Beatles' Sgt. Pepper's Lonely Hearts Club Band. It was also the first US Beatle album to have a song lineup that was identical to the original UK LP. Consequently, it was also the first Beatle album released in the US to not include any songs that were also released as singles. Nonetheless, several tracks from the LP found their way onto the playlists of both top 40 AM and "underground" FM stations from coast to coast. Among the most popular of these tracks was John Lennon's Lucy In The Sky With Diamonds, which shows up near the top of just about everyone's list of classic psychedelic tunes.

Artist:    Jimi Hendrix Experience
Title:    Voodoo Child (Slight Return)
Source:    LP: Electric Ladyland
Writer:    Jimi Hendrix
Label:    Reprise
Year:    1968
    Although not released in the US as a single, Voodoo Child (Slight Return), has become a staple of classic rock radio over the years. The song was originally an outgrowth of a jam session at New York's Record Plant, which itself takes up most of side one of the Electric Ladyland LP. This more familiar studio reworking of the piece has been covered by a variety of artists over the years.

Artist:    Beatles
Title:    Paperback Writer
Source:    CD: 1 (originally released as 45 RPM single)
Writer(s):    Lennon/McCartney
Label:    Apple/Parlophone
Year:    1966
    Following a successful 1965 that culminated with their classic Rubber Soul album, the Beatles' first single release of 1966 was the equally classic Paperback Writer. The song was as influential as it was popular, to the point that the coda at the end of the song inspired Tommy Boyce and Bobby Hart to write what would become the Monkees' first number one hit: Last Train To Clarksville.

Artist:    Doors
Title:    Five To One
Source:    European import CD: Weird Scenes Inside The Gold Mine (originally released on LP: Waiting For The Sun)
Writer(s):    The Doors
Label:    Elektra/Rhino
Year:    1968
    Despite the fact that it was the Doors' only album to hit the top of the charts, Waiting For The Sun was actually a disappointment for many of the band's fans, who felt that the material lacked the edginess of the first two Doors LPs. One notable exception was the album's closing track, Five To One, which features one of Jim Morrison's most famous lines: "No one here gets out alive".

Artist:    Jimi Hendrix Experience
Title:    Still Raining, Still Dreaming
Source:    LP: Electric Ladyland
Writer:    Jimi Hendrix
Label:    Reprise
Year:    1968
    Still Raining, Still Dreaming, from the third Jimi Hendrix Experience album Electric Ladyland, is the second half of a live studio recording featuring guest drummer Buddy Miles, who would later join Hendrix and bassist Billy Cox to form Band Of Gypsys. The recording also features Mike Finnegan on organ, Freddie Smith on tenor sax and Larry Faucett on congas, as well as Experience member Noel Redding on bass.

Artist:    Bobby Fuller Four
Title:    Let Her Dance
Source:    Mono CD: I Fought The Law: The Best Of The Bobby Fuller Four
Writer(s):    Bobby Fuller
Label:    Rhino (original labels: Mustang/Liberty
Year:    1965
    Once upon a time executive Bob Keane from the small Hollywood-based Stereo-Fi corp. (owner of the Del-Fi and Mustang labels) had lunch with Al Bennett, head of the much larger Liberty Records. Keane was excited about Mustang's about-to-be-released new single, a tune by the Bobby Fuller Four called Let Her Dance. Bennett told Keane he was interested in hearing it, so Keane obliged by sending over a tape of the song later that same day. Bennett liked the song so much that he asked Keane if he could put it out himself. Keane, hoping for a possible distribution deal with Liberty, replied "send me over a contract", and proceeded to release the single himself. Meanwhile Bennett had a contract drawn up and was so certain the deal was sealed, started sending out promos of the song on the Liberty label to several radio stations before receiving the signed contract back from Keane. When Keane read the contract itself, he saw that Bennett had included language that would have given Liberty first rights to a Bobby Fuller Four LP, as well as the Let Her Dance single. Keane, who had no intention of signing away either song or album, told Bennett that there was no way he was going to sign the contract. When he found out that promo copies of Let Her Dance had already been sent out on the Liberty label he immediately contacted every radio station that had a copy and let them know that the only legitimate release of the song was on the Mustang label. Unfortunately, he overlooked the trade magazines when making his phone calls, and the song was listed by both Billboard and Cashbox as being a Liberty release.

Artist:    Music Machine
Title:    The People In Me
Source:    45 RPM single
Writer:    Sean Bonniwell
Label:    Original Sound
Year:    1966
    After Talk Talk soared into the upper reaches of the US charts the Music Machine's management made a tactical error. Instead of promoting the follow-up single, The People In Me, to the largest possible audience, the band's manager gave exclusive air rights to a relatively low-rated Burbank station at the far end of the Los Angeles AM radio dial. As local bands like the Music Machine depended on airplay in L.A. as a necessary step to getting national exposure, the move proved disastrous. Without any airplay on influential stations like KHJ and KRLA, The People In Me was unable to get any higher than the # 66 spot on the national charts. Even worse for the band, the big stations remembered the slight when subsequent singles by the Music Machine were released, and by mid-1967 the original lineup had disbanded.
Artist:    Full Treatment
Title:    Just Can't Wait
Source:    Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer:    Buzz Clifford
Label:    Rhino (original label: A&M)
Year:    1967
    In the fall of 1966 Brian Wilson produced the classic Beach Boys single Good Vibrations, which sent vibrations of its own throughout the L.A. studio scene. Suddenly producers were stumbling all over themselves to follow in Wilson's footsteps with mini-symphonies of their own. Buzz Clifford and Dan Moore, calling themselves the Full Treatment, created Just Can't Wait in 1967 and quickly sold the master tape to A&M Records. Despite enthusiam for the recording at the label, the song was mostly ignored by radio stations and the Full Treatment was never heard from again.

Artist:    Truth
Title:    P.S. (Prognosis Stegnoisis)
Source:    Mono CD: A Heavy Dose Of Lyte Psych (originally released as 45 RPM single)
Writer(s):    Jose Sanchez
Label:    Arf! Arf! (original label: Warner Brothers)
Year:    1968
    The truth about Truth is that nobody seems to know the truth about Truth. What is known is: 1)Truth recorded a single for Warner Brothers and released it in 1968. 2)The A side of that single was a song written by Jose Sanchez called P.S. (Prognosis Stegnoisis). 3)The record was produced by Dave Hassinger, engineer of the Rolling Stones' recordings made at RCA studios in Hollywood and producer of the first couple of Grateful Dead albums as well as the Electric Prunes. 4) The song P.S. (Prognosis Stegnoisis) is a nice example of acid rock. Enjoy!

Artist:    Iron Butterfly
Title:    In The Time Of Our Lives
Source:    45 RPM single
Writer:    Ingle/Bushy
Label:    Atco
Year:    1969
    The lead track on Ball, Iron Butterfly's highly-anticipated 1969 follow-up LP to In-A-Gadda-Da-Vida, was In The Time Of Our Lives. It was also chosen to be released as a single. Although some labels were starting to issue stereo 45s, Atco was not one of them, and In The Time Of Our Lives became one of only two songs from Ball with an alternate monoraul mix (the other being the B side of the single, It Must Be Love).

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