Sunday, June 23, 2024

Stuck in the Psychedelic Era # 2426 (starts 6/24/24) 

    This week we have a battle of the bands highlighting an all "recorded in England" segment as John Lennon and the Beatles take on the Jimi Hendrix Experience, framed by tracks from Traffic and the Who. As an added bonus we have an artists' set from the Chocolate Watchband, featuring three tracks recorded by the actual band (as opposed to studio musicians), although one of them was originally credited to the fictitious Hogs to avoid contractual disputes. And that's just the tip of the iceberg, with lots more cool tunes coming your way for this first full week of summer on Stuck in the Psychedelic Era.

Artist:    Kinks
Title:    A Well Respected Man
Source:    45 RPM EP: Kwyet Kinks (reissue)
Writer:    Ray Davies
Label:    BMG (original UK label: Pye)
Year:    Released 1965, charted 1966
    The Kinks were one of the original British Invasion bands, scoring huge R&B-influenced hits with You Really Got Me and All Day And All Of The Night in 1964. The hits continued in 1965 with more melodic songs like Set Me Free and Tired Of Waiting For You. 1966 saw Ray Davies's songwriting take a satiric turn, as A Well Respected Man (actually released in late 1965 in the UK on the Kwyet Kinks EP) amply illustrates. Over the next few years the Kinks would continue to evolve, generally getting decent critical reviews and moderate record sales for their albums. The title of one of those later albums, Muswell Hillbillies, refers to the Davies brothers hometown of Muswell Hill, North London.

Artist:    Love
Title:    A Message To Pretty
Source:    Australian import CD: Comes In Colours
Writer(s):    Arthur Lee
Label:    Raven (original label: Elektra)
Year:    1966
    1966 was the peak year for the underground (and under-age) club scene in Los Angeles, and Love was the hottest band on that scene. They were so hot, in fact, that they became the first rock band signed to the Elektra label. In addition to high-energy tracks such as My Little Red Book and Hey Joe (the fast version), the album had a generous helping of the Southern California brand of folk-rock, as can be heard on the Arthur Lee compostion A Message To Pretty.

Artist:    Sunshine Company
Title:    Back On The Street Again
Source:    LP: Nuggets Vol. 10-Folk Rock (originally released as 45 RPM single)
Writer(s):    Steve Gillette
Label:    Rhino (original label: Imperial)
Year:    1967
    Los Angeles' Sunshine Company may not have invented the term "sunshine pop" but they were certainly one of its most ardent practitioners. Originally formed as a duo by Mary Nance (vocals) and Maury Manseau (vocals, guitar), they added bassist Larry Sims and drummer Merel Bregante when the signed with Imperial Records, releasing the debut LP, Happy Is The Sunshine Company, in 1967. Their first single from the album, Up, Up And Away, was scheduled to be released in May of 1967 but was withdrawn when the Fifth Dimension beat them to the punch. The followup title track from the album went nowhere, but their next single, Back On The Street Again, released in November, managed to make it to the #36 spot on the Billboard Hot 100. Two more albums and several more singles followed, but none were as successful as Back On The Street Again and the group disbanded in 1968.

Artist:    Canned Heat
Title:    One Kind Favor
Source:    British import CD: Living The Blues
Writer(s):    L T Tatman III
Label:    BGO (original label: Liberty)
Year:    1968
    Canned Heat's best known song is Going Up The Country, a single from the band's third LP, Living The Blues. The B side of that single, One Kind Favor, was also from the same album. One Kind Favor is one of two tracks on Living The Blues (the other being Boogie Music) credited to L.T. Tatman III, a name sometimes thought to be a pseudonym for one or more of the band members. The song itself bears a strong resemblance to an earlier Canned Heat single, On The Road Again, which appeared on the band's second LP, Boogie With Canned Heat.

Artist:     Jefferson Airplane
Title:     Volunteers
Source:     CD: The Worst Of Jefferson Airplane (originally released on LP: Volunteers)
Writer:     Balin/Kantner
Label:     BMG/RCA
Year:     1969
     By 1969 Jefferson Airplane's music was a staple of progressive FM stations but had all but disappeared from the top 40 charts. Still, the band continued to release singles from their albums, including the title track to their fifth (and final with the classic JA lineup) LP, Volunteers.

Artist:    Blues Project
Title:    Steve's Song
Source:    LP: Projections
Writer(s):    Steve Katz
Label:    Verve Forecast
Year:    1966
    The members of the Blues Project came from a variety of backgrounds, including jazz, rock, classical and of course, blues. Guitarist Steve Katz had the strongest connection to the Greenwich Village folk scene and was the lead vocalist on the Project's recording of Donovan's Catch The Wind on their first LP. For their second album Katz wrote his own song, entitled simply Steve's Song. The tune starts with a very old-English style repeated motif that gets increasing complicated as it repeats itself before segueing into a more conventional mode with Katz on the lead vocal. Katz would write and sing simlarly-styled tunes, such as Sometimes In Winter, as a member of Blood, Sweat and Tears.
Artist:    Saturday's Children
Title:    Deck Five
Source:    Mono CD: If You're Ready! The Best Of Dunwich Records...Volume 2 (originally released as 45 RPM single B side)
Writer(s):    Bryan/Holder
Label:    Sundazed/Here 'Tis (original label: Dunwich)
Year:    1966
    Although Saturday's Children were never popular enough to warrant an entire album, they did get to record a Christmas single in 1966. The B side of that single was an innovative take on both Deck The Halls and We Three Kings, done in 5/4 time a la Dave Brubeck's Take Five. Somehow this is appropriate for a show airing during the first week of summer, don't you think?

Artist:    ? And The Mysterians
Title:    I Can't Get Enough Of You Baby
Source:    45 RPM single (reissue)
Writer:    Randle/Linzer
Label:    Abkco (original label: Cameo)
Year:    1967
    ? And The Mysterians' 1966 hit 96 Tears was the last song on the legendary Cameo label to hit the top 10 before the label went bankrupt in 1967 (and was bought by Allan Klein, who still reissues old Cameo-Parkway recordings on his Abkco label). Shortly before that bankruptcy was declared, however, the group released Can't Get Enough Of You Baby, which, in the absence of any promotion from the label, stalled out in the lower reaches of the charts. The song itself, however, finally achieved massive popularity at the end of the century, when a new version of the tune by Smash Mouth went to the top of the charts.

Artist:    Paul Revere And The Raiders
Title:    Kicks
Source:    Mono European import CD: Pure...Psychedelic Rock (originally released on 45 RPM single)
Writer(s):    Mann/Weil
Label:    Sony Music (original label: Columbia)
Year:    1966
    Kicks may not have been the first pop song with a strong anti-drug message, but it was the first one to be a certified hit, making it to the number four spot on the US charts and hitting number one in Canada. It was also the biggest hit for Paul Revere and the Raiders until Indian Reservation went all the way to the top five years later.

Artist:    Buffalo Springfield
Title:    Kahuna Sunset
Source:    CD: Neil Young Archives Vol. 1 (originally released on CD: Buffalo Springfield box set)
Writer(s):    Neil Young
Label:    Reprise (original label: Rhino)
Year:    Recorded 1966, released 2001
    In addition to the nearly two dozen songs released on the first two Buffalo Springfield albums, the group recorded a few other tunes, such as the instrumental Kahuna Sunset. Written by Neil Young and Stephen Stills, the track remained unreleased until 2001, when it appeared on Rhino's Buffalo Springfield Box Set. More recently the song has been released on volume one of the Neil Young Archives.

Artist:    Wailers
Title:    You Weren't Using Your Head
Source:    Simulated stereo LP: Nuggets Vol. 8-The Northwest (originally released as 45 RPM single)
Writer(s):    Ron Gardner
Label:    Rhino (original label: Etiquette)
Year:    1965
    Originally formed as an instrumental group called the Nitecaps by five Tacoma, Washington high schoolers in 1959, the Wailers (aka the Fabulous Wailers) had their first national hit with a tune called Tall Cool One in 1959. After being released from their contract with Golden Crest Records, who wanted them to stay in the New York area, the Wailers returned to Washington state, where they eventually formed Etiquette Records, often considered the foundation label of the entire Seattle music scene. The group went through several personnel changes over the years, with saxophonist Ron Gardner joining in 1962 and taking over the lead vocals. Gardner also did some songwriting, including You Weren't Using Your Head, released as a single in 1965.

Artist:    Blues Magoos
Title:    Tobacco Road
Source:    LP: Psychedelic Lollipop
Writer(s):    John D. Loudermilk
Label:    Mercury
Year:    1966
    For years I've been trying to find a DVD copy of a video I saw on YouTube. It was the Blues Magoos, complete with electric suits and smoke generators, performing Tobacco Road on a Bob Hope TV special. The performance itself was a vintage piece of psychedelia, but the true appeal of the video is in Hope's reaction to the band immediately following the song. You can practically hear him thinking "Well, that's one act I'm not taking with me on my next USO tour."

Artist:    Doors
Title:    Light My Fire (single version)
Source:    45 RPM single
Writer(s):    The Doors
Label:    Elektra
Year:    1967
    Once in a while a song comes along that totally blows you away the very first time you hear it. The Doors' Light My Fire was one of those songs. I liked it so much that I immediately went out and bought the 45 RPM single. Apparently I was not the only one, as the song spent three weeks at the top of the charts in July of 1967. Despite this success, the single version of the song, which runs less than three minutes, is all but forgotten by modern radio stations, which universally choose to play the full-length album version. Nonetheless, the single version, which was created by editing out most of the solo instrumental sections of the piece, is a historical artifact worth an occasional listen.

Artist:    Otis Redding
Title:    (Sittin' On) The Dock Of The Bay
Source:    45 RPM single (reissue)
Writer(s):    Redding/Cropper
Label:    Atlantic
Year:    1968
    Otis Redding's (Sittin' On) The Dock Of The Bay, co-written by legendary MGs guitarist Steve Cropper, was released shortly after the plane crash that took the lives of not only Redding, but several members of the Bar-Kays as well. Shortly after recording the song Redding played it for his wife, who reacted by saying "Otis, you're changing." Redding's reply was "maybe I need to."

Artist:    Thunderclap Newman
Title:    Something In The Air
Source:    CD: Spirit Of Joy (originally released as 45 RPM single)
Writer(s):    John Keen
Label:    Polydor (original label: Marmalade)
Year:    1969
    Thunderclap Newman was actually the creation of the Who's Pete Townshend, who assembled a bunch of studio musicians to work with drummer (and former Who roadie) John "Speedy" Keen. Keen had written Armenia City In The Sky, the opening track on The Who Sell Out, and Townshend set up the studio project to return the favor. Joining Keen were 15-year-old guitarist Jimmy McCulloch (who would eventually join Paul McCartney's Wings before dying of a heroin overdose in 1979), studio engineer Andy "Thunderclap" Newman (who had worked with Pink Floyd, among others) on piano, and Townshend himself on bass. Following the success of Something In The Air, the group recorded an album, but sales were disappointing and the group soon disbanded.

Artist:    John Mayall
Title:    Please Don't Tell
Source:    LP: The Blues Alone
Writer(s):    John Mayall
Label:    London
Year:    1967
    From the invention of the first phonograph up into the early 1950s, sound was recorded onto a single medium, be it a record, wire or magnetic tape. Then came stereo. The first stereo recordings were done on magnetic tape using special recording heads to record two signals simultaneously. It wasn't long before someone figured out that you could record two different things on those tracks and then mix them together into a monoraul final recording. This led to machines that could record three separate tracks, then four, which is where things stood in the mid-1960s. The next big step was to go to eight recording tracks that could be mixed down to two stereo tracks. With all these tracks came the possibility of doing something that had never been done before: one person could make a recording playing all the instruments himself. One of the first people to record an entire LP this way was John Mayall on his Blues Alone album in 1967 (although, to be honest, he did utilize the services of drummer Keef Hartley rather than play his own percussion parts). Although it may not have been Mayall's best album (a lot of competition for that title), The Blues Alone did have several outstanding tracks, such as Please Don't Tell. Luckily, people did tell their friends about this album making it a commercial, as well as artistic success.

Artist:    Max Frost And The Troopers aka the 13th Power
Title:    A Change Is Gonna Come
Source:    CD: Shape Of Things To Come
Writer(s):    Wibier/Beckner
Label:    Captain High (original label: Tower)
Year:    1968
    The first thing you need to know about Max Frost And The Troopers is that they were a fictional rock band featured in the film Wild In The Streets. Sort of. You see, in the movie itself the band is never actually named, although Max (played by Christopher Jones) does refer to his followers as his "troops" throughout the film. The next thing you need to know is that Shape Of Things To Come was a song used in the film that became a hit record in 1968. The song itself was written by the Brill building songwriting team of Barry (Who Put The Bomp) Mann and Cynthia Weil, whose previous writing credits included Kicks and We Gotta Get Out Of This Place, among other tunes. Shape Of Things To Come, along with several other Barry/Weil tunes used in the film, was credited to the 13th Power on the film's soundtrack LP, which was released on Capitol's Tower subsidiary label, but to Max Frost And The Troopers on a single issued by the same label. After the single became a hit, producer Mike Curb commissioned an entire album by Max Frost And The Troopers called, naturally, Shape Of Things To Come. The band on this album actually was the 13th Power, which as it turns out was a real band fronted by vocalist Paul Wibier, who had previously recorded for Curb, both under their own name and as the Moms. This album was also released in 1968 on the Tower label, and featured mostly songs written (or co-written) by Wibier himself, such as  A Change Is Gonna Come. The name Max Frost And The Troopers popped up in a couple more 1968 film soundtracks before being permanently retired by the end of the year. What eventually happened to the 13th Power is not known.

Artist:    Turtles
Title:    Love In The City
Source:    CD: 20 Greatest Hits (originally released on LP: Turtle Soup and as 45 RPM single)
Writer(s):    Kaylan/Volman/Nichol/Pons/Seiter
Label:    Rhino (original label: White Whale)
Year:    1969
    One of the most overlooked songs in the Turtles catalog, Love In The City, produced by Ray Davies, was the last single released from the album Turtle Soup in 1969. At this point the band had gone through various personnel changes, although the group's creative core of Howard Kaylan, Mark Volman and Al Nichol remained intact. Still, as good as Love In The City was, it had become clear that the Turtles had run their last race. After releasing one more single (a rather forgettable balled called Lady-O), the band called it quits. Kaylan and Volman would end up joining the Mothers of Invention, appearing on the legendary Live At Fillmore East album before striking out on their own as the Phlorescent Leech (later shortened to Flo) And Eddie.

Artist:    Who
Title:    Hall Of The Mountain King
Source:    CD: The Who Sell Out (bonus track)
Writer(s):    Edvard Greig
Label:    MCA
Year:    1967
    In the early 1960s various local instrumental rock and roll bands began to mix rocked out versions of classical pieces into their sets, such as Nut Rocker by B. Bumble And The Stingers (from Tchaikovsky's Nutcracker). In the UK the most popular of these adaptations was Hall Of The Mountain King, from Greig's Peer Gynt Suite, which was actually recorded by several different bands. The Who did their own studio version of the piece in late 1967, although the recording was not released until 1995 as a bonus track on The Who Sell Out CD.

Artist:    Jimi Hendrix Experience
Title:    Purple Haze
Source:    LP: Smash Hits (originally released on LP: Are You Experienced and as 45 RPM single)
Writer(s):    Jimi Hendrix
Label:    Reprise
Year:    1967
    Following up on the success of their first UK single Hey Joe, the Jimi Hendrix Experience released Purple Haze in early 1967. The popularity of the two singles (originally released only in Europe) led to a deal with Reprise Records to start releasing the band's material in the US. By then, however, the Experience had already released their first LP, Are You Experienced, without either of the two hit singles on it. Reprise, hedging their bets, included both singles (but not their B sides), as well as a third UK single The Wind Cries Mary, deleting several tracks from the original version of Are You Experienced to make room for them.

Artist:    Beatles
Title:    Lucy In The Sky With Diamonds
Source:    LP: Sgt. Pepper's Lonely Hearts Club Band
Writer(s):    Lennon/McCartney
Label:    Parlophone/EMI (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 Beatles album to have a song lineup that was identical to the original UK LP. As such, it was also the first Beatles 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 on just about everyone's list of classic psychedelic tunes.

Artist:    Beatles
Title:    She Said She Said
Source:    CD: Revolver
Writer(s):    Lennon/McCartney
Label:    Capitol/EMI
Year:    1966
    The last song to be recorded for the Beatles' Revolver album was She Said She Said, a John Lennon song inspired by an acid trip taken by members of the band (with the exception of Paul McCartney) during a break from touring in August of 1965. The band's manager, Brian Epstein, had rented a large house in Beverly Hills, but word had gotten out and the Beatles found it difficult to come and go at will. Instead, they invited several people, including the original members of the Byrds and actor Peter Fonda, to come over and hang out with them. At some point, Fonda brought up the fact that he had nearly died as a child from an accidental gunshot wound, and used the phrase "I know what it's like to be dead." Lennon was creeped out by the things Fonda was saying and told him to "shut up about that stuff. You're making me feel like I've never been born." The song itself took nine hours to record and mix, and is one of the few Beatle tracks that does not have Paul McCartney on it (George Harrison played bass). Perhaps not all that coincidentally, Fonda himself would star in a Roger Corman film called The Trip (written by Jack Nicholson and co-starring Dennis Hopper) the following year.

Artist:     Jimi Hendrix Experience
Title:     Manic Depression
Source:     Mono LP: Are You Experienced?
Writer:     Jimi Hendrix
Label:     Experience Hendrix/Legacy (original US label: Reprise)
Year:     1967
    My dad bought an Akai X-355 reel to reel tape recorder when we moved to Ramstein, Germany in early 1968. It was pretty much the state of the art in home audio technology at the time. The problem was that we did not have a stereo system to hook it into, so he bought a set of Koss headphones to go with it. One of my first purchases was a pre-recorded reel to reel tape of Are You Experienced. The Akai had an auto-reverse system and I would lie on the couch with the headphones on to go to sleep every night listening to songs like Manic Depression. Is it any wonder I turned out like I did?

Artist:    Beatles
Title:    Tomorrow Never Knows
Source:    CD: Revolver
Writer:    Lennon/McCartney
Label:    Capitol/EMI
Year:    1966
    A few years ago I started to compile an (admittedly subjective) list of the top psychedelic songs ever recorded. Although I never finished ranking the songs, one of the top contenders for the number one spot was the Beatles' Tomorrow Never Knows, from the Revolver album. The recording is one of the first to use studio techniques such as backwards masking on the lead guitar track and various tape loops throughout, and has been hailed as a studio masterpiece.

Artist:    Jimi Hendrix Experience
Title:    Are You Experienced?
Source:    Mono LP: Are You Experienced (original UK version)
Writer(s):    Jimi Hendrix
Label:    Experience Hendrix/Legacy (original label: Track)
Year:    1967
    Until the release of Are You Experienced by the Jimi Hendrix Experience the emphasis in rock music (then called pop) was on the 45 RPM single, with albums seen as a luxury item that supplemented an artist's career rather than defined it. Are You Experience helped change all that. The album was not only highly influential, it was a major seller, despite getting virtually no airplay on top 40 radio. The grand finale of the LP was the title track, which features an array of studio effects, including backwards masking and tape loops. Interestingly enough, the album was originally issued only in a mono version in the UK, with later European pressings using a simulated stereo mix. After Reprise bought the rights to release the LP in the US it had its own engineers create stereo mixes of the songs from the four-track master tapes.

Artist:    Traffic
Title:    Berkshire Poppies
Source:    Mono CD: Mr. Fantasy
Writer:    Winwood/Capaldi/Wood
Label:    Island
Year:    1967
    Mr. Fantasy was far more psychedelic than any subsequent Traffic album, and in a way is also the most experimental. It's certainly hard to imagine a song as novel as Berkshire Poppies showing up on an album like Shoot Out At The Fantasy Factory.

Artist:     Chocolate Watchband
Title:     No Way Out
Source:     Mono British import CD: Melts In Your Brain, Not On Your Wrist (originally released on LP: No Way Out and as a 45 RPM single B side)
Writer:     Ed Cobb
Label:     Big Beat (original label:Tower)
Year:     1967
    The Chocolate Watchband, from the southern part of the San Francisco Bay Area (specifically Foothills Junior College in Los Altos Hills), were fairly typical of the south bay music scene, centered in San Jose. Although they were generally known for lead vocalist Dave Aguilar's ability to channel Mick Jagger with uncanny accuracy, producer Ed Cobb gave them a more psychedelic sound in the studio with the use of studio effects and other enhancements (including adding tracks to their albums that were performed entire by studio musicians). Cobb also pulled other questionable stuff, such as taking credit for the finished version of the song No Way Out, despite the fact that the basic tracks came from a jam session recorded months earlier by the band itself.

Artist:    Chocolate Watch Band
Title:    Are You Gonna Be There (At The Love-In) (originally released on LP: No Way Out and as 45 RPM single)
Source:    LP: Nuggets Vol. 2-Punk
Writer:    McElroy/Bennett
Label:    Rhino (original label: Tower)
Year:    1967
    It took me several years to sort out the convoluted truth behind the recorded works of San Jose, California's most popular local band, the Chocolate Watch Band. While it's true that much of what was released under their name was in fact the work of studio musicians, there are a few tracks that are indeed the product of Dave Aguilar and company. Are You Gonna Be There (At The Love-In), a song used in the cheapie teenspliotation flick the Love-In and included on the Watch Band's first album, is one of those few. Ironically, the song was co-written by Don Bennett, the studio vocalist whose voice was substituted for Aguilar's on a couple of other songs from the same album. According to legend, the band actually showed up at the movie studio without any songs prepared for the film, and learned to play and sing Are You Gonna Be There (At The Love-In) right there on the set. This, combined with the story of their first visit to a recording studio the previous year (a story for another time) shows one of the Watch Band's greatest strengths: the ability to pick up and perfect new material faster than anyone else. It also shows their overall disinterest in the recording process. This was a band that wanted nothing more than to play live, often outperforming the big name bands they opened for.

Artist:     Chocolate Watch Band (recording as the Hogs)
Title:     Loose Lip Sync Ship
Source:     Mono British import CD: Melts In Your Brain, Not On Your Wrist (originally released as 45 RPM single B side)
Writer:     Aguilar/Loomis
Label:     Big Beat (original label: Hanna-Barbera)
Year:     1966
    The Chocolate Watchband's first visit to a recording studio was interrupted by an associate of producer Ed Cobb with word that a track called Blues Theme by Davie Allen And The Arrows that appeared on the soundtrack album for a cheesy biker flick was not going to be released as a single. Cobb felt that the tune was a potential hit and asked the Watchband if they could cover the song right then and there. As the Watchband's  specialty was doing cover versions of songs like Blues Theme anyway, the band was happy to oblige, reportedly getting it down in one take. A recording of a motorcycle revving its engine was edited onto the beginning of the song, probably at Cobb's insistence. For the B side the group concocted Loose Lip Sync Ship, a piece that starts off sounding like a generic instrumental, but soon gets weird in a way that resembles both Frank Zappa and the Firesign Theatre. The entire package was then issued as a single on the Hanna Barbera label, credited to the Hogs (no doubt to cash in on the biker connection).
Artist:    Electric Flag
Title:    Groovin' Is Easy
Source:    LP: A Long Time Comin'
Writer(s):    Ron Polte
Label:    Columbia
Year:    1968
    After leaving the Butterfield Blues Band, guitarist Michael Bloomfield hooked up with keyboardist Barry Goldberg and drummer Buddy Miles to form the Electric Flag in 1967, a band that also included vocalist/songwriter Nick Gravenites and Butterfield alumni Harvey Brooks on bass. After a soundtrack album written entirely by Bloomfield for a Peter Fonda movie called the Trip and released in 1967, the group set about recording their "official" debut LP, A Long Time Comin'. The album featured tracks from a variety of sources, including Groovin' Is Easy, penned by Ron Polte, best known as the manager of Quicksilver Messenger Service and Ace Of Cups.

Artist:    Frumious Bandersnatch
Title:    Cheshire
Source:    British import CD: The Berkeley EPs (originally released on untitled EP)
Writer(s):    Jack King
Label:    Big Beat (original label: Muggles Gramophone Works)
Year:    1968
    The longest track on the Frumious Bandersnatch EP (taking up the entire second side of the record), was a tune called Cheshire. Although the recent British CD issue of The Berkeley EPs credits Bob Winkleman as the writer of the piece, the liner notes of the same CD make it clear that Cheshire (named for the cat) was actually the work of drummer Jackson King; in fact, the song dates back to the band's earliest days with its original lineup. Like the band name itself, the title of the track reflects King's intense interest in the works of Lewis Carroll.   
Artist:    Big Brother And The Holding Company
Title:    Oh, Sweet Mary
Source:    CD: Cheap Thrills
Writer(s):    Albin/Andrew/Getz/Gurley/Joplin
Label:    Columbia/Legacy
Year:    1968
    The only song credited to the entire membership of Big Brother And The Holding Company on their Cheap Thrills album was Oh, Sweet Mary (although the original label credits Janis Joplin as sole writer and the album cover itself gives only Joplin and Peter Albin credit). The tune bears a strong resemblance to Coo Coo, a non-album single the band had released on the Mainstream label before signing to Columbia. Oh, Sweet Mary, however, has new lyrics and, for a breath of fresh air, a bridge section played at a slower tempo than the rest of the tune.

Artist:     Animals
Title:     Inside Looking Out
Source:     Mono LP: Animalization
Writer:     Lomax/Lomax/Burdon/Chandler
Label:     M-G-M
Year:     1966
     The last Animals single to feature original drummer John Steel, Inside Looking Out (a powerful song about life in prison) was adapted from an actual chain gang chant called Rosie, which was included as part of Alan Lomax's Popular Songbook around 1960 or so. Released as a single in early 1966, the song was later included on the LP Animalization. Three years later Grand Funk Railroad recorded an extended version of Inside Looking Out that became a staple of their live show.

No comments:

Post a Comment